November 2012 - The New York City Jazz Record

Transcription

Your FREE Guide to the NYC Jazz Scene
November 2012 | No. 127
nycjazzrecord.com
EDDIE
HENDERSON
Trumpeting Change
FRED
•
VAN HOVE
TED
NASH
•
PHIL
COHRAN
•
GLIGG
• EVENT
RECORDS
CALENDAR
CHICK COREA &
STANLEY CLARKE BAND
ft. RAVI COLTRANE & MARCUS GILMORE
ELLIS MARSALIS QUARTET
11/8 - 11
ERIC PERSON
11/12
CURTIS STIGERS
11/13 - 14
KENNY G
11/15 - 18
11/3 - 7
SHEILA JORDAN & STEVE KUHN DUO
11/19
JACQUI NAYLOR
11/20 - 22
LATE NIGHT GROOVE SERIES:
JEFF FOXX & CHARMAINE AMEE 11/2
THOUSANDS OF ONE 11/3
RITMOSIS 11/9
MAURICIO ZOTTARELLI - MOZIK 11/10
JOHN RAYMOND PROJECT 11/16
MUTHAWIT 11/17
MATT DICKEY & TRY THIS AT HOME 11/23
SWISS CHRIS 11/24
MICHAEL FEINBERG 11/30
THE MANHATTAN TRANSFER
11/23 - 25
CASSANDRA WILSON
11/29 - 12/2
SuNdAy BRuNcH SERIES:
NYU JAZZ: MICHAEL RODRIGUEZ 11/4
IRIS ORNIG 11/11
JUILLIARD JAZZ ENSEMBLE 11/18
ERIKA 11/25
TELECHARGE.COM
TERMS, CONDITIONS AND RESTRICTIONS APPLY
4
6
7
9
10
New York@Night
Interview: Fred Van Hove
by Clifford Allen
Artist Feature: Ted Nash
by George Kanzler
On The Cover: Eddie Henderson
by Brad Farberman
Encore: Phil Cohran
Lest We Forget:
Gigi Gryce
by Kurt Gottschalk
11
12
by Ken Waxman
MegaphoneVOXNews
by Andy Milne
by Katie Bull
Label Spotlight:
Gligg Records
Listen Up!:
Emily Braden
& Louise DE Jensen
by Ken Waxman
13
14
38
45
47
Festival Report: Jazz Brugge
CD Reviews: Richard Sussman, Roscoe Mitchell, JD Allen,
Ben Holmes, Sara Gazarek, Anthony Braxton, Houston Person and more
Event Calendar
Club Directory
Miscellany: In Memoriam • Birthdays • On This Day
Everyone has seen one of those classic kung fu movies where some line like “Now
the student has become the master” is spoken. It may seem a bit trite when heard
with bad overdubbing but jazz wouldn’t be the same without the concept. While
there have been some players that appeared fully formed, most worked numerous
apprenticeships - learning on the bandstand, as it were - with their elders,
absorbing lessons they themselves later passed on.
Trumpeter Eddie Henderson (On The Cover) got his start as part of Herbie
Hancock’s Mwandishi band in 1970 but is now an elder statesman himself, sharing
decades of jazz wisdom. He performs at Smoke and Village Vanguard this month.
Belgian pianist Fred Van Hove (Interview) came up in the groups of saxophonist
Peter Brötzmann in late ‘60s Europe and now is a legendary free improviser in his
own right. He makes two rare New York appearances this month at ShapeShifter
Lab and The Firehouse Space. And saxophonist Ted Nash (Artist Feature) learned
his lessons early on at the hands of his trombonist father Dick and saxist uncle
Ted. A founder of the Jazz Composers Collective, Nash takes part in that
organization’s 20th anniversary celebration at Jazz Standard and is part of the Jazz
at Lincoln Center Orchestra at Rose Hall this month. Sun Ra veteran trumpeter
Phil Cohran (Encore) takes the idea of mentorship to its extreme, schooling his
eight sons to be musicians (they perform together as the Hypnotic Brass Ensemble).
One imagines saxophonist Gigi Gryce (Lest We Forget) and pianist Andy
Milne (Megaphone) had similar experiences. Jazz thrives on its history and the
griot tradition. The youngest alto saxophonist just starting out can be traced, no
matter how indirectly, to Charlie Parker. But jazz at its best is not a calcified,
nostalgic exercise. Each new generation, imbued with the knowledge of their
forbears, makes the music its own, which then gets transmogrified down the line,
keeping the music vital and constantly evolving.
We’ll see you out there in the middle of the whole process...
Laurence Donohue-Greene, Managing Editor
Andrey Henkin, Editorial Director
On the cover: Eddie Henderson (photo by Alan Nahigian)
Corrections: In last month’s NY@Night on Wilbur Ware, the MC/bassist’s name is
spelled Bill Crow. In On The Cover, Brad Mehldau’s Introducing was released by
Warner Bros. In VOXNews, the Voxify Festival at Cornelia Street Café was not
curated by Inner Circle Music. In the Globe Unity three-CD review, Ankara, not
Istanbul is the capital of Turkey and Mark Alban is based in The Hague, not Berlin.
In the Boxed Set review, “Just You, Just Me” is the basis of Monk’s composition
“Evidence”.
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, Sean Fitzell, Graham Flanagan,
Kurt Gottschalk, Tom Greenland, Alex Henderson, Marcia Hillman,
Terrell Holmes, Robert Iannapollo, Francis Lo Kee, Martin Longley, Wilbur MacKenzie,
Marc Medwin, Matthew Miller, Sharon Mizrahi, Russ Musto, Sean O’Connell, Joel Roberts,
John Sharpe, Elliott Simon, Jeff Stockton, Andrew Vélez, Ken Waxman
Contributing Writers
Brad Farberman, George Kanzler, Andy Milne
Contributing Photographers
Jim Anness, Peter Gannushkin, Erika Kapin, Alan Nahigian, Susan O’Connor, Jack Vartoogian
To Contact:
The New York City Jazz Record
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 2012
3
N EW YOR K @ N I G HT
®
SMOKE JAZZ&SUPPER CLUB
An announcer at Town Hall (Oct. 12th) erred when he The Interpretations series brought an inspired firstintroduced the night’s marquee act as the Pat Metheny time pairing to Roulette (Oct. 11th) in the form of
Group. It was in fact the Pat Metheny Unity Band, with trumpeter Peter Evans and visiting German bassist
Chris Potter on reeds, Ben Williams on upright bass John Eckhardt, each playing short solo sets before an
and Antonio Sanchez on drums. Winding down a exploratory duet. Eckhardt opened with a surprisingly
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into material from its rich arco growl and slowly crawled up the neck, deftly
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eponymous Nonesuch CD but also explored a range of moving between tonal territories (the sounds were too
Friday & Saturday Nov 2, 3
the master guitarist’s older repertoire. Potter ’s bass resonant to call them simply “notes”). Each movement
clarinet on the opening “Come and See” was right of the bow seemed essential: from a full 15 seconds in
Joel Frahm (sax) • Jack Walrath (tp) •
away a departure - a tone color not found in Metheny’s silence spent building up enough vibration in the
Orrin Evans (p) • Ben Wolfe (b) • Obed Calvaire (dr)
previous work. There were moments, such as the bridge for the strings to resonate to a percussive
vivacious coda of “New Year”, the flowing rubato exploration of bow handle between muted strings.
Wednesday, Nov 7
portions of “This Belongs To You” or the slightly sour Evans similarly explored minutiae, although magnified
harmony of “Interval Waltz”, which pointed to subtle by the microphone and moving into jet propulsion. He
compositional triumphs. Crowd energy surged when considered and then pushed past the instrument’s
Metheny detoured into “James”, an older concert sonorities, working it as a sound chamber, a feedback
staple, and “Two Folk Songs”, a rare gem from the chamber, seeming to give it breath of its own and
80/81 album with Potter in Michael Brecker ’s perhaps not getting to what might be called a melody
Roxy Coss (sax) • Jeremy Pelt (tp) • Danny Grissett (p) •
unforgettable role, blowing brutally dissonant tenor line or three until the last few minutes of his solo. Their
Dwayne Burno (b) • JD Allen (dr)
sax lines over a simple strumming progression. duo began cautiously, Eckhardt traipsing across the
“Signals”, which found the band creating in tandem bass before settling at the back of the scroll where he
Wednesday, Nov 14
with Metheny’s “orchestrion” - a jaw-dropping array matched Evans in a prolonged but broken single note.
of mechanized instruments - was climactic in its way. From there on they stayed in close proximity like a
But the machines were put to even more inspired use joint monologue. Perhaps it was a part of feeling each
in the early ’80s classic “Are You Going With Me”, the other out, playing together for the first time. Perhaps
first of three encores. Airy textures and beats, meshing there was a bit of a shared hesitancy, but even if so it
with Potter ’s gorgeous alto flute (in place of Lyle Mays’ was a hesitancy of alarming proficiency, resolving with
Jim Rotondi (tp) • David Hazeltine (p) •
original synths), brought the night to another level.
a wonderfully satisfying sort of walking (and tripping)
Peter Washington (b) • Joe Farnsworth (dr)
- David R. Adler blues. - Kurt Gottschalk
Orrin Evans Quintet
Brandon Wright Quintet
Jeremy Pelt Quintet
George Burton Quintet
David Hazeltine Quartet
Wednesday, Nov 21
Vondie Curtis Hall
Eddie
Henderson Quintet
Javon Jackson (sax) • Eddie Henderson (tp) •
Kevin Hays (p) • Doug Weiss (b) • Carl Allen (dr)
Wednesday, Nov 28
Victor Bailey’s V-BOP
Alex Foster (sax) • Monte Croft (p) • Victor Bailey (b) •
Lenny White (dr)
Sundays, Nov 11, 25
SaRon Crenshaw
George Papageorge (o) • Thomas Hutchings (sax) •
Richard Lee (tp) • Cliff Smith (b) • Damon Due White (dr)
Sundays Nov 4, 18
Allan Harris Band
Allan Harris (vox & g) • Pascal LeBoeuf (p & keys) •
Leon Boykins (b) • Jake Goldbas (dr)
Mondays, Nov 5, 19
Captain Black Big Band
A 14-piece Jazz Orchestra conducted by Orrin Evans
Mondays, Nov 12, 26
Bill Mobley’s Big Band
A 16-piece Jazz Orchestra directed by Bill Mobley
Thursdays, 1, 8, 15, 29
Gregory Generet
Sundays Jazz Brunch
Vocalist Annette St. John
and her Trio
2751 Broadway • New York NY 10025
212-864-6662
www.smokejazz.com
Photo by Jim Anness
Friday & Saturday Nov 30 & Dec 1
Photo by Erika Kapin
Cynthia Holiday
Chris Potter & Pat Metheny @ Town Hall
John Eckhardt @ Roulette
After a warm spell of several days, the temperature
was dropping just outside The Bar on Fifth, on the
ground floor of the Setai Hotel (Oct. 6th). Pianist
Pete Malinverni captured the moment with Vernon
Duke’s “Autumn in New York”, easing into a ballad
feel with his partners for the night: tenor saxophonist
Attilio Troiano, bassist Giuseppe Venezia and drummer
Carmen Intorre. Part of the annual Italian Jazz Days
series, the gig was Malinverni’s first encounter with
these sidemen. The tunes they chose were common
standards, sensible hotel-bar fare, enlivened by a
flexible and alert sense of swing. Malinverni and the
rhythm section broke the ice as a trio, opening the first
set with “There Will Never Be Another You”. Troiano
came on board for “There Is No Greater Love” in a
similar midtempo vein. The robust, vibrato-rich sound
of his tenor hinted at a Coleman Hawkins influence; it
became much clearer when the group offered “Body
and Soul”, famously Hawkins’ signature number.
Venezia soloed with tenacity throughout the evening
and Intorre’s trading choruses were tight and spirited,
not least on an uptempo reading of Cole Porter ’s “I
Love You”. Malinverni brought a boppish vocabulary
and a restrained old-school touch to the music, opting
for a faster-than-usual tempo on “Like Someone In
Love” but a very slow one on “Stompin’ at the Savoy”.
His bandmates took these twists in stride and put
forward a sound impeccably steeped in the tradition. (DA)
It says something pretty remarkable about a band that
it can remain contemporary while doing what it’s done
for close to 50 years. The trio Musica Elettronica Viva
opened a rare appearance (Oct. 6th) at The Kitchen
with a fitting silence and then a tone so faint it sounded
like a distant train whistle. Another moment’s silence
produced an electronic cricket chirp suggesting
something almost too audio-scenic until Alvin Curran
started dropping quick symphonic swells and
fragmented human voices from his synthesizer and
Frederic Rzewski’s piano - the only truly acoustic voice
- entered slowly but surely. They built a cocoon inside
the room, the sound emanating not from the players
but from eight speakers on the Kitchen stage. The
piano sounded beautiful submerged in synthetics, but
also beautiful was a sampled clarinet that sounded just
as real and came from nowhere, or the convincing
piano voice from Curran’s electric keyboard, which
came like a holograph in front of the baby grand before
being outpaced by Richard Teitelbaum’s stereo-panned
bass rumblings. The trio didn’t seem to play together
but simply stayed out of each other ’s way with a keen
ear toward when a particular mismatch should be held
onto. There’s something mysterious about a single
piano note placed within a bed of sampled voices and
squelching feedback, something funny about a brief
harmonica/slide whistle duet, something remarkable
about a melody line remaining stubbornly slow against
contrary electronic trills building in intensity.
(KG)
4 November 2012 | THE NEW YORK CITY JAZZ RECORD
WHAT’S NEWS
J azz is a decidedly democratic music - on stage in its
implementation and off in the principal political party
affiliation of its practitioners. So it was apropos to find
some of its most famous artists featured on a Jazz For
Obama benefit concert at Symphony Space (Oct. 9th).
Opening the auspicious gathering, NEA Jazz Masters
Jimmy Heath, Kenny Barron and Ron Carter, with
drummer Greg Hutchinson, swung hard in the
tradition on “There Will Never Be Another You”
(dedicated by Heath to the President) and “Autumn In
New York”, with Carter remaining on the bandstand
for a pair of duets with guitarist Jim Hall and another
with Barron. The energy level rose to a fever pitch on
an impassioned reading of John Coltrane’s “Wise One”
(an Obama favorite) by Ravi Coltrane, Geri Allen,
Christian McBride and Ralph Peterson, remained with
McCoy Tyner and Joe Lovano on “Walk Spirit, Talk
Spirit” and “Search For Peace” and finally for McBride
and MC Dee Dee Bridgewater, who funked it up on
“It’s Your Thing”. Gretchen Parlato and Becca Stevens
gently opened the second half, followed by Brad
Mehldau and McBride with Jeff “Tain” Watts and then
the Arturo O’Farrill family band with Claudia Acuña
singing a soulful “Moondance”. Allen and Watts
joined bassist Henry Grimes for a free flowing
“Freedom Jazz Dance” before the night closed with the
irrepressible Roy Haynes powering Lovano, McBride
and event organizer/pianist Aaron Goldberg through
Monk’s “Epistrophy”. - Russ Musto
A remarkably ambitious event will take place in Central
Park on Nov. 10th. The first annual Jazz & Colors will
present 30 jazz ensembles of various sizes at different
locations throughout the park’s 1.3 square miles, all
simultaneously performing the same setlist of autumnrelated jazz standards. A guide with a map of
performers will be available at several entrances to
the park (Columbus Circle, 6th Avenue, 72nd Street
and Central Park West, 72nd Street and Pilgrim Hill,
79th Street and 5th Avenue, 85th Street near West
Drive, 90th and Central Park West, Engineer’s Gate
at 90th and 5th Avenue, Great Hill and the Charles A.
Dana Discovery Center). For more information, visit
jazzandcolors.com.
The winners of the 2012 Jazzmobile Vocal
Competition have been announced, after a live
judging at the end of September. The winner is Emily
Braden. First runner-up was Laura Brunner. Judging
the competition were Carla Cook, Eve Cornelious and
Dr. Dee Daniels. For more information, visit
jazzmobile.org.
The first international edition of Jazz at Lincoln
Center, located in Doha, Quatar in partnership with
St. Regis Hotels & Resorts, opened last month with
performances by the Wynton Marsalis Quintet. For
more information, visit jalc.org.
Photo by Alan Nahigian
© 2012 Jack Vartoogian/FrontRowPhotos
Crescent City spirit was in the hall - Carnegie that is
- when trumpeter Irvin Mayfield brought his New
Orleans Jazz Orchestra (NOJO) and some very special
guests to Stern Auditorium (Oct. 8th) to celebrate the
group’s tenth anniversary. NOJO is no ‘museum’ band,
but a live-and-in-living-colorful assemblage of
distinctive musical personalities, each with his own
sound and swagger. Unfortunately, the audio
technicians for the concert frequently fumbled the ball:
many solos were buried due to poor mic-ing and the
electric/acoustic balance was muddy and uneven.
Such technical difficulties didn’t rain on the secondline parade, however. From the opening “I’ve Got the
World on a String”, complete with a kazoo (!) solo, to
the final march down the aisles (and through the seats),
NOJO emphasized that jazz is first and foremost about
having fun and expressing yourself. Highlights
included Mayfield’s trumpet ‘oratory’ over “God Bless
the Child” and later behind singer Aaron Neville’s
rendition of “Nature Boy”; “The Elysian Fields Suite”,
featuring hoedown banjo pickin’ and rollicking piano;
saxophonist Edward Petersen’s foghorn tenor over
“Sweet Bread on the Levy”; vocalist Dee Dee
Bridgewater and saxist Branford Marsalis’ tasteful
exchanges on “Lady Sings the Blues”; clarinetist Evan
Christopher ’s operatic high notes on “Creole Thang”
and Mayfield’s sanctified flugelhorn on “May His Soul
Rest in Peace”, an elegy for his father that raised hairs
on the back of my arms.
- Tom Greenland
Branford Marsalis & Irvin Mayfield @ Carnegie Hall
Dee Dee Bridgewater & Christian McBride @ Symphony Space
The Sidney Bechet Society held the third show of its
15th-year season (Oct. 10th) at Kaye Playhouse, with
bassist/tubist Vince Giordano fronting a Hot 7-style
band including three members of his Nighthawks
group - soprano saxist/clarinetist Mark Lopeman,
guitarist/banjoist Ken Salvo and drummer Arnie
Kinsella - along with trumpeter Randy Sandke,
trombonist John Allred and pianist Mark Shane, joined
by vocalist Catherine Russell and pianist George Wein
as guests. The setlist emphasized songs associated
with late clarinetist/saxophonist Bechet, particularly
his Big 4 recordings with cornetist Muggsy Spanier
(“Sweet Sue”, “Four or Five Times”, “If I Could Be
with You (One Hour Tonight)” and “Squeeze Me”) and
sterling arrangements of popular and lesser-known
chestnuts from jazz’ earliest days, performed with flair
and impeccable musicianship. In addition to his fine
finger-work, Wein recounted several personal
experiences he’d had with Bechet, offering insight into
the man and his music. Russell rocked the house with
Fats Waller ’s “Inside This Heart of Mine”, Duke
Ellington-Billy Strayhorn’s “I’m Checkin’ Out,
Goombye” and two tunes associated with Louis
Armstrong, “Back O’ Town Blues” and “Struttin’ with
Some Barbecue”. Shane swung soulfully on “Indian
Summer” and elsewhere and the frontline (brass and
reed) soloists were consistently excellent, individually
and as a team, with the MVP award going to Allred for
his ebullient intelligence and greasy growls.
(TG)
In accordance with the will of its deceased leader, the
Willem Breuker Kollektief departed its Holland home
for one final world tour, bringing the late Dutch
multi-reedist/composer ’s venerable band to Brooklyn
for a memorial concert at ShapeShifter Lab (Oct. 4th),
performing music from its voluminous songbook.
Opening with a raucous two-minute “Mahagonny” by
Kurt Weill, the band’s brand of (ir)reverently blending
elements of avant garde jazz in the tradition of the Art
Ensemble of Chicago, Mingus Jazz Workshop and
Carla Bley Band with polkas, tangos and other
European forms was immediately on display. A medley
of Breuker ’s dark march “Hasse 2” and the swinging
“Deining” followed, featuring Frans Vermeerssen’s
Dolphy-esque alto and Andy Bruce’s unaccompanied
trombone on the former and the pyrotechnical
trumpeting of George Pancras on the latter. A piano
interlude by Henk de Jonge hearkening to Ellington,
James P. Johnson and Cecil Taylor flowed into
“Antelope Cobbler”, a brisk pastiche of bebop, Irish jig
and Hungarian sabre dance spotlighting Maarten van
Noorden’s tenor and Hermine Deurloo’s alto. The
trombone of Bernard Hunnekink was heard to great
effect on the funereal “Waddenall” over the New
Orleanean bass and drums of Arjen Gorter and Rob
Verdurmen. Vermeerssen’s soprano was featured on a
coupling of Breuker ’s “Steaming” and “Annabelle”,
which began in frenetic cartoon chase mode and flowed
into romantic melodicism to end the first set.
(RM)
Late September saw the completion of a deal whereby
Universal Music, which owns such jazz labels as
Verve and ECM, acquired EMI Music, parent company
of Blue Note Records, for $1.9 billion, making it by far
the largest of the three major record companies still in
existence (alongside Sony Music Entertainment and
Warner Music Group). As part of the regulatory
process, Universal is required to sell off major portions
of EMI’s musical holdings.
The Latin Grammys have announced the nominees
for their award ceremony taking place Nov. 15th in
Las Vegas. Relevant category nominees include
Album of the year: Dear Diz (Every Day I Think Of
You) - Arturo Sandoval (Concord Jazz); Best Latin
Jazz Album: Live In Chicago - Chuchito Valdes (Music
Roots Records); Dear Diz (Every Day I Think Of You)
- Arturo Sandoval (Concord Jazz); Chano Y Dizzy! Poncho Sanchez And Terence Blanchard (Concord
Picante); Tempo - Tania Maria (Naive) and Eponymous
- Jerry González y El Comando De La Clave
(Sunnyside); Best Instrumental Album: Alma Adentro:
The Puerto Rican Songbook - Miguel Zenón (Marsalis
Music); Brasilianos 3 - Hamilton De Holanda Quinteto
(Adventure Music); Rasgando Seda - Guinga +
Quinteto Villa-Lobos (SESC SP); Día Y Medio Paquito D’Rivera & Berta Rojas (On Music Recordings)
and Further Explorations - Chick Corea, Eddie Gomez
& Paul Motian (Concord Jazz). For more information,
visit latingrammy.com.
Bill Terry has been named Interim Executive Director
of the National Jazz Museum in Harlem. Terry is a
veteran in not-for-profit arts organization management.
David Reese, formerly curator of Gracie Mansion, has
been named to the same position at the Louis
Armstrong House Museum.
Bassist/vocalist Esperanza Spalding began hosting
Groundbreaking Music, a weekly television program
on ASPiRE, the television network from Magic
Johnson Enterprises.
Submit news to [email protected]
5
INT ER V I EW
Peter Gannushkin/DOWNTOWNMUSIC.NET
Fred
Van Hove
by Clifford Allen
Belgian pianist/organist Fred van Hove, born Feb. 19th,
1937, has been at the forefront of European free improvisation
for over 45 years, playing early on with Peter Brötzmann,
Han Bennink, Peter Kowald and Kris Wanders. In addition
to his work in various multinational groups, he has recorded
and performed as a soloist since the ‘70s and founded the
WIM (now defunct) in 1973 as an organization to promote
free improvisation in Belgium. Van Hove rarely performs in
the United States, but he will be in New York this month as
part of an East Coast tour.
The New York City Jazz Record: How did you become
interested in music and specifically the piano?
Fred Van Hove: For about 10 or 15 years my father was
a professional musician, playing trombone and bass.
He was mostly self-taught and the end of the Second
World War and the birth of my younger sister didn’t
stop this interest - he continued semi-professionally
and played on the weekends. His favorite music was
jazz and he probably wanted me to have more
opportunities than he did. I was eight years old when I
went to the music academy - you had to do three years
of theory before you were allowed to play an
instrument. I was asked at home (when I was 11 or so),
how about learning the piano? I thought well, why
not? After hearing my father ’s trombone and bass, the
piano said something to me.
My dad and his friends listened to 78-rpm records
from the States and while I did my piano exercises,
they argued about the music. Antwerp has a port and
ships went to New York, not only with trade but also
people and they often had a band on board. So we
knew about bebop shortly after the war. In a discussion
between musicians in our house about this bebop and
whether it was jazz or not, I was asked if I liked bebop.
At age 11 I said yes - that was the beginning of my
interest in jazz.
TNYCJR: What was the climate for jazz and improvised
music like in Belgium in the ‘60s? Who were some of
the Belgian musicians you worked with during the
early years?
FVH: There was of course mainstream jazz in Belgium
like [pianist] Marc Moulin, [guitarist] René Thomas
and [saxophonist] Jacques Pelzer in the Walloon
[French-speaking] part. Many Flemish Belgians also
played the music - saxophonists Mike Zinzen and Cel
Overberghe, for example. We had a quartet playing in
Mike’s bar with a number of different drummers and
the payment was a beer.
Gradually there came another jazz with more
freedom and no rules, which became free jazz. The
next group I had was with [saxophonist] Kris Wanders
(now in Australia) and [drummer] Jan Van de Ven, who
died young. I memorialized him with the piece
“Responsible” on [saxophonist] Peter Brötzmann’s
Machine Gun [BRÖ-FMP, 1968]. The bassist Peter
Kowald married an Antwerp girl, so he was around.
We also invited [saxophonist] Marion Brown to play a
couple gigs and [drummer] Han Bennink also played
with us.
TNYCJR: I often associate the Belgian community
during the ‘60s-70s with having a lot of collaboration
with the Dutch players.
FVH: The Netherlands is very near Flemish Belgium
[Antwerp to Breda is about 30 miles] and we all wanted
to hear each other. We were few but we found likeminded people. On the Flemish National Radio was a
man named Elias Gistelinck who played jazz and he
founded the festival Middelheim, which is still going
each August. Because there was a new movement in
jazz, I founded another radio program that played for
a half hour on Sunday and I called it Jazz Now. I knew
many musicians - I asked for or bought their LPs and
even was the first to interview these artists on a jazz
radio program.
TNYCJR: Could you describe the transition from
modern jazz into free music as you experienced it
during those years? Were the new forms of playing
well regarded by modern jazz musicians or
contemporary composers within Belgium?
FVH: It was a [cultural] feast, discovery after discovery.
But the modern jazz people never did like free
improvisation. In Belgium there are many places for
jazz, but those for free improvisation are rare. Belgian
modern jazz is entertainment music and it is not
culturally interesting. Some contemporary composers
liked our free improvisation and there were composers
who turned to it, but their version was quite different
from ours.
TNYCJR: How did you begin working with Brötzmann?
FVH: We [Wanders, Van den Ven and myself] invited
Brötzmann and Kowald for a small tour in Belgium.
The first concert I could not play because there was no
piano; by the next concert there was a piano and
[drummer] Sven-Åke Johansson had arrived from
Sweden. After a short period of time I was invited to
play in a quartet with Brötzmann, Kowald and
Johansson. Machine Gun followed in 1968 with two
drummers, two basses, three saxes and an upright
piano.
The quartet soon changed drummers, with
Johansson out and Bennink in. After a time Kowald
stepped out to do his own group and Buschi Niebergall
replaced him. Then Buschi left and the trio of
Brötzmann, Van Hove and Bennink remained. Finally,
the last step was that I was gone and it became the duo
of Brötzmann and Bennink.
TNYCJR: Could you discuss WIM and the environment
around its founding?
FVH: We tried to get some subsidy from the Flemish
Government and they said you must have an
association. In 1973, we founded WIM, or Werkgroep
Improviserende Musici. Most members came from
Antwerp and Ghent. We had about 50 or 60 people, but
many of them thought that with improvisation you
didn’t need to have any experience with the instrument
- that is not true! By a certain point we had a subsidy of
€25,000 and we knew we would not get more, so we
stopped.
In 2004 I was chairman of the 32nd festival of Free
(CONTINUED ON PAGE 46)
Junior …Jazz
Mance
pianist
Hidé Tanaka…Bassist
Michi Fuji...violinist
at
Café Loup
EVERY SUNDAY
6:30 - 9:30 pm
NO COVER, JUST AWARD
WINNING JAZZ AND FOOD
105 West 13th Street 212-255-4746
www.juniormance.com
AR TIST F EA T U RE
© Jack Vartoogian/FrontRowPhotos.
Ted
Nash
as part of the Jazz Composers Collective Festival, Jazz
Museum in Harlem Nov. 15th and Rose Hall Nov. 16th-17th
with the Jazz at Lincoln Center Orchestra. See Calendar.
Recommended Listening:
• Herbie Nichols Project - Love is Proximity
(Soul Note, 1995-96)
• Ben Allison - Medicine Wheel (Palmetto, 1997)
• Ted Nash Double Quartet - Rhyme & Reason
(Arabesque, 1999)
• Ted Nash - The Mancini Project (Palmetto, 2007)
• Jazz at Lincoln Center Orchestra Portrait in Seven Shades (The Orchard-JALC, 2010)
• Ted Nash - The Creep (Plastic Sax, 2011)
by George Kanzler
It took a guest appearance by trumpeter Wynton
Marsalis at a Jazz Composers Collective (JCC) concert
in Greenwich Village at the New School in 1999 to
bring out New York’s jazz critics, many of them for the
first time even though the JCC had been by then
presenting concerts for seven years. The draw for the
critics was, as more than one wrote (and I here
paraphrase), Uptown comes Downtown, the two
different worlds of Big Apple jazz coming together in a
rare meeting. It was as if Jazz at Lincoln Center and the
JCC had nothing in common.
“A lot of critics in the ‘90s were trying to be
divisive, trying to put people in categories,” says Ted
Nash. “Uptown music, Downtown music. But I’ve
never been a big believer in that kind of separation in
music. I think music is music, jazz, swing, everything
is related. The JCC had a reputation for pushing the
envelope, of being Downtowny or whatever, but we
had all sorts of music and different kinds of players.”
Saxophonist, clarinetist and flutist Ted Nash isn’t
speaking hypothetically here, for it was his band
Odeon with whom Marsalis appeared as a guest at that
concert. And at the time Nash had been a member of
the Jazz at Lincoln Center Orchestra (JLCO) for over a
year and appeared off and on with Marsalis for half a
decade. So if Uptown was meeting Downtown
anywhere, it was in the person of Nash.
The namesake of an uncle who once placed right
behind Lester Young in a DownBeat poll, Nash, 52,
grew up in a musical family in Los Angeles. His father,
Dick, a trombonist, and tenor saxophonist uncle Ted
both were first-call studio musicians, working in
Hollywood for both the movies and TV.
“Growing up in a musical family is something I
definitely share with Wynton,” says Nash, who also
points out that both are in their early 50s and have
“kids the same age. We even grew up listening to the
same music. When we talk about the parallels between
us, it’s amazing it took us so long to hook up and work
together.”
Nash came to New York in the late ‘70s and was
soon playing alto sax in some of the Big Apple’s best
big bands, including those of Toshiko Akiyoshi, Gerry
Mulligan and Mel Lewis’ Monday night at the Village
Vanguard orchestra, as well as working in pit orchestras
for Broadway musicals. He was also gravitating away
from the alto, at least as a solo instrument, favoring his
tenor sax in small groups and his own bands. He
became one of the charter members of the Jazz
Composers Collective when it formed in the ‘90s (it has
been largely in hiatus since 2004 or so) and is looking
forward to the Collective’s 20th anniversary reunion
week taking place at The Jazz Standard early this
month.
“The JCC gave us the opportunity to explore a lot
of different things,” says Nash, whose JCC groups
included a double quartet joining jazz combo and
strings. “And for this one concert I said I’d like to put
together a group of instruments I’m not that familiar
with or don’t like all that much, such as the accordion,
violin and tuba, because as jazz instruments I’d never
got connected very much with any of them: the
accordion was such a corny instrument; the tuba, what
can you do with a tuba? And the violin, it just always
sounds so old-fashioned. So I had all these
misconceptions about these instruments, but at the
time I was working with Bill Schimmel, the accordionist,
in Threepenny Opera and I said, man, you can do so
much with that accordion.”
Schimmel showed him he could do a lot more,
including “Giant Steps”, so he became a part of the
band, Odeon. “In putting together this band,” says
Nash, “I asked myself what instrument I was least
comfortable playing and OK, it was clarinet. So I put
together all these instruments and it was really earopening for me, what all these instruments could do
combined, everything from Debussy and Monk to
tango and my own music.”
Although Nash is currently promoting a new
album, The Creep, featuring a piano-less quartet in
which he plays alto sax, modeled on Ornette Coleman’s
late ‘50s band, he is so fond of Odeon that he recently
acquired the rights to Sidewalk Meeting, the band’s
debut album on Arabesque, and began making it
available online as a digital download on iTunes, etc.
In 2010 the JLCO debuted, released an album of
and then went on the road with Nash’s Portrait in Seven
Shades, a suite that was one of the first JLCO major
works not composed by Wynton Marsalis. It is based
on works by seven modern painters - Claude Monet,
Salvador Dali, Henri Matisse, Pablo Picasso, Vincent
Van Gogh, Marc Chagall and Jackson Pollock - and
during the performances images of the relevant
paintings, courtesy of the Museum of Modern Art,
were projected on a screen behind the orchestra. “It
was a nice collaboration with MoMA,” says Nash. “I
would go to the museum [when it was closed to the
public] and play my soprano sax in front of the
paintings, inspiring me to write the music.”
Marsalis has said of Nash: “He plays, on a virtuosic
level, all of the reed instruments. He plays them all
perfectly in tune and has a personality on each one
that’s different.” So, does he have a different approach
to all his different instruments?
“I don’t really have a particular method,” says
Nash. “I enjoy playing them all, I love the different
colors. It makes me feel different when I’m playing
them, even in the saxophone family. The alto for me is
more intense, open and expressive; the tenor a little
cooler; the clarinet I feel a little more quirky and the
flute, which I always considered a double I had to play
in bands, is becoming more expressive for me as an
outlet for creative improvising just in recent years.”v
For more information, visit tednash.com. Nash is at Jazz
Standard Nov. 8th with Ron Horton, Nov. 9th as a leader
and with the Herbie Nichols Project, Nov. 10th with Ben
Allison and Nov. 11th with the Herbie Nichols Project, all
JSnycjr1112
10/16/12
2:23 PM
Page 1
“Best Jazz Venue of the Year” NYC JAZZ RECORD“Best Jazz Club” NY MAGAZINE+CITYSEARCH
THU-SUN NOV 1-47:30PM & 9:30PM ONLY
STEVE KUHN TRIO
BUSTER WILLIAMS - BILLY DRUMMOND
TUE NOV 6
BEN ALLISON BAND
WED NOV 7
FRANK KIMBROUGH GROUP
THU NOV 8
RON HORTON SEXTET 7:30PM
RON HORTON/TIM HORNER ELEVENTET 9:30PM
FRI NOV 9
TED NASH DOUBLE QUARTET 7:30PM
TED NASH QUARTET 9:30PM
HERBIE NICHOLS PROJECT 11:30PM
SAT NOV 10
MICHAEL BLAKE’S ELEVATED QUARTET 7:30PM
BEN ALLISON & MEDICINE WHEEL9:30PM
BEN ALLISON PLAYS THE MUSIC OF JIM HALL11:30PM
SUN NOV 11
MICHAEL BLAKE BAND 7:30PM
HERBIE NICHOLS PROJECT 9:30PM
TUE-WED NOV 13-14
WINARD
HARPER & JELI POSSE
JAZZMEIA HORN- BRUCE HARRIS - ALIOUNE FAYE - JOVAN ALEXANDER
JONATHAN BESHAY - ROY ASAF - STEPHEN PORTER
SPECIAL GUESTS
DELFEAYO MARSALIS & FRANK WESS
THU-SUN NOV 15-18
VINICIUS CANTUÁRIA
HÉLIO ALVES - PAUL SOCOLOW - ADRIANO SANTOS - DENDE
TUE-SUN NOV 20-25
THU NOV 22 CLOSED FOR THANKSGIVING
MARIA SCHNEIDER
ORCHESTRA
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MON NOV 5, 12, 19 & 26
MINGUS BIG BAND
JAZZ FOR KIDS WITH THE JAZZ STANDARD YOUTH ORCHESTRA EVERY SUNDAYAT 2PM [EXCEPT 11/4&25] - DIRECTED BY DAVID O’ROURKE
7
O N T HE CO VER
Photo by Alan Nahigian
EDDIE henderson
Trumpeting Change
by Brad Farberman
“Everything
must change,” says the veteran
trumpeter Eddie Henderson after explaining that “the
Swing Era went to bebop, bebop went to the cool era,
the cool era went to avant garde.” But the 72-year-old
could easily have been talking about his nearly fivedecade career, a trip that began in earnest with Herbie
Hancock’s Mwandishi crew and has seen layovers with
Art Blakey, Gary Bartz, Kenny Barron and Norman
Connors, not to mention his own varied bands. As
busy as ever with record dates and groups like The
Cookers, one thing remains unchanged for Henderson:
his strong, clear voice on his horn.
Raised in the Bronx and, from the age of 14, San
Francisco, Henderson first gained traction as a
musician in Washington, DC. While a medical student
at Howard University from 1964-68, Henderson found
time for a little bit of everything: jams with drummer
Eric Gravatt; sit-ins with Eddie Harris; gigs as a leader
at legendary jazz haunt Bohemian Caverns and backup
work for James Brown and Smokey Robinson as part of
the Howard Theatre house band.
After Howard, Henderson moved back to the West
Coast to do a residence in psychiatry under doctor and
fellow jazz man Denny Zeitlin. Then, in the fall of 1970,
Henderson got The Call: Herbie Hancock had booked a
week at San Francisco’s Both/And club and he needed
a trumpeter. “One of [Hancock’s] regular trumpet
players, Johnny Coles, was on sabbatical with Ray
Charles,” says Henderson. “At that time, Woody Shaw
was living in San Francisco and Woody Shaw
recommended me to play the week with Herbie. Herbie
didn’t expect me to play as well as I did. Even though
I was a doctor, I was playing music. That was where
my heart was. And I was keeping abreast with all the
current music that was happening at that time. All of
Miles’ records. Herbie’s records. And I knew what
Herbie was gonna play. So when he had a rehearsal, he
was kinda shocked that I knew the music so well. And
then I did the gig with him that whole week. And that
turned into the rest of my life. I actually quit the
residency and joined Herbie. And the people at the
hospital were aghast; they couldn’t understand how I
could stop being a doctor and being a psychiatrist and
go and play music. I said, ‘You’re in the mental health
field. You can’t understand how a person can go do
something that makes them happy? I should put you
on a 72-hour hold!’”
At the Both/And, Hancock’s sextet - trombonist
Julian Priester, saxophonist Bennie Maupin, bassist
Buster Williams, drummer Billy Hart, Hancock and
Henderson - played tunes from Fat Albert Rotunda.
Then, during a stint at Chicago’s London House that
lasted all of November, a new, looser set of tunes
emerged and Hancock’s sextet became a band.
Rechristened Mwandishi, the group toured the world
from 1970-73. [A new book on the band, Herbie Hancock
and The Mwandishi Band: You’ll Know When You Get
There by Bob Gluck, has recently been published.]
“I worked with that band for three years, about ten
months a year and [the experience] was like a collage,”
remembers Henderson fondly. “It was such a powerful
band. We had people following us - men and women.
They left their homes and stuff. They were just
enthralled by that band. It was really somethin’ else.”
One trademark of the group was the soaring,
mysterious interplay between Maupin, Henderson and
Priester. “Sometimes, I wouldn’t know whether I
played the note or Bennie played it or Julian played it,”
says Henderson. “It was just a natural chemistry of
musicians that had something unique. The way we
breathed together. And phrased together. It really
changed my life.” The band made three albums in the
early ‘70s: 1971’s Mwandishi, 1972’s Crossings and
1973’s Sextant. It was at the January 1971 sessions for
Mwandishi that Henderson was made a permanent
member of the group. “On the tune ‘Ostinato’, Herbie
only had three notes for me,” says Henderson. “I said,
‘Where do you want me to place these notes?’ And he
said, ‘If you don’t know, maybe I should get somebody
else.’ I said, ‘Give me one shot.’ And that was on the
album. We did one take. Listening to the tape back, he
looked at me and said, ‘You’re in the band.’”
Jazz groups aren’t built to last though and in 1973
Mwandishi dissolved due to financial reasons. In the
wake of the breakup, Henderson experienced little
downtime. “Joe Henderson used to tell me, ‘Your
credentials are in order. You played with Herbie.’ I
started getting these calls from Joe Henderson. Jackie
McLean. I didn’t have to go up through the ranks like
other musicians paying their dues. I started at the top.
It just thrust me out there. After playing with Herbie, it
sorta lifted me up by my bootstraps, musically and
personally and spiritually.”
It was also during this time that Henderson started
recording as a leader. Prior to the disbanding of
Mwandishi, producer Skip Drinkwater had hooked
Henderson up with rock label Capricorn Records and
the company released Henderson’s first two albums:
1973’s Realization and 1974’s Inside Out. Both albums
feature lineups nearly identical to Mwandishi’s and
the music, to some fans, is better than the real thing. “A
lot of people say that’s really how the Mwandishi band
sounded in person,” says Henderson, referring to his
two Capricorn albums. “Because [Hancock’s] albums
were a little watered-down. The record companies he
was with wanted him to be a commercial success. But
on my albums, I just let the reins go.”
After a couple of years at Capricorn, Henderson
moved to Blue Note, which released two funk-oriented
albums by the brass expert: 1975’s Sunburst and 1976’s
Heritage. The latter, in particular, is an appealing greasy
affair, due in no small part to its crack rhythm section:
keyboardist Patrice Rushen, bassist Paul Jackson,
drummer Mike Clark and percussionist Mtume. The
album’s raw lead track, “Inside You”, was sampled on
Jay-Z’ 1996 song “Coming of Age” but Henderson isn’t
holding his breath for a royalty check. “That’s way
back in 1996 that he sampled it and he hasn’t paid me
any money yet,” says Henderson with a laugh. “I’ve
been after him with lawyers and everything, trying to
get him to pay me for sampling that record. I got a
funny feeling about that.”
At the dawn of the ’80s, Henderson shifted focus
from electric music to bop and hardbop, the styles he
still prefers today. An eye-opening music hang pointed
him in his current direction.
“It got to the point where I would take my Echoplex
[delay pedal] to jam sessions,” remembers Henderson
of the ’70s. “And I used to think to myself, ‘Wow,
Eddie, you sure have a big, beautiful sound.’ And then,
accidentally, somebody kicked the plug out of the wall.
Went back to my meek little sound. So I gave all my
electrical equipment away. I said, ‘I’ll use it again when
I get my own sound back together.’”
In the years since his electric period, Henderson
has continued to hone his craft in the company of the
greats: McCoy Tyner, Mal Waldron, Pharoah Sanders,
Archie Shepp. But he sees this well drying up and the
knowledge that comes of drinking from it disappearing.
“There are really no more institutions of masters like
Art Blakey and the Jazz Messengers,” laments
Henderson. “That was a musical institution where
younger musicians could come up, do their
apprenticeship for four or five years and go out and be
journeymen on their own. There was the Horace Silver
group, there was the Miles Davis group, there was the
Coltrane group. There are no more musical institutions
in the field of quote-unquote jazz like that anymore.
It’s just a different era.”
A master himself at this point, Henderson sees his
sound not as an original concept that came out of thin
air, but as an amalgamation of the people he’s studied
and the things he’s heard. And he’s transparent about
his debt: One of his latest albums, 2010’s For All We
Know, includes an arrangement of Hancock’s
“Cantaloupe Island” and an Al Foster composition
entitled “Missing Miles”. Message received.
“Right before the Mwandishi group, I had the
advantage of listening to Miles Davis’ Bitches Brew,”
explains Henderson. “I would play along with the
record and listen carefully to that floaty style. And I’d
try to emulate that. People say they like my style. It’s
just a collection of little things that I’ve emulated or
stolen from other people that I like and Scotch-taped
’em all together. I could play like Miles Davis. I could
play like Lee Morgan. I could play like Freddie
Hubbard. And I liked some of the phrases that John
Coltrane played. I liked some of the phrases Charlie
Parker played. And I’d steal little fragments from each
of those heroes of mine.” v
Henderson is at Village Vanguard Nov. 1st-4th with Jeff
Ballard and Smoke Nov. 23rd-24th as a leader. See Calendar.
• Herbie Hancock - Mwandishi (Warner Bros., 1970)
• Eddie Henderson - Heritage (Blue Note, 1976)
• Eddie Henderson - Phantoms (SteepleChase, 1989)
• Billy Harper - Live on Tour in the Far East, Vol. 1-3
(SteepleChase, 1991)
• Eddie Henderson - So What
(Village/Eighty-Eights - Columbia, 2002)
• The Cookers - Believe (Motéma Music, 2012)
9
E NC OR E
Phil Cohran
by Kurt Gottschalk
The phrase “Great
Black Music” - a creed
for the Association for
the Advancement of
Creative
Musicians
(AACM) - is generally
credited to the great
Lester Bowie. But it might apply just as well to another
trumpeter who was a part of the formative years of
that seminal Chicago collective. Kelan Phil Cohran’s
lifetime in jazz has stretched from working for Clark
Terry and Jay McShann to Sun Ra, has involved poetry
and theater and has even spawned a pair of progenies
in Earth Wind & Fire, the hit-making soul band
founded by his former students, and the Hypnotic
Brass Ensemble, a nonet featuring his eight sons (a
collaborative album was released this year).
Born in Oxford, Mississippi in 1927, Cohran moved
to Missouri with his family when he was still young.
He won first prize singing and tap-dancing in a St.
Louis citywide talent competition when he was five,
studied piano and took up the trumpet, his primary
instrument, in high school. Touring with Terry first
took him to Chicago and, after being drafted in 1951
and studying at the US Naval School of Music in
Washington, DC, he made his way back there,
eventually meeting up with the forward thinking Sun
Ra. He spent a mere two years with the band, opting to
stay in Chicago when they relocated to New York, but
those two years seemed to have challenged both men.
“The old jazz died with Sun Ra,” Cohran said,
speaking from his Chicago home. “Sun Ra said ‘Jazz is
dead’ in 1958 but people are hanging onto it like they
hang on to Bach and Mozart. But our music is alive. My
system I developed when I was with Sun Ra, but he
didn’t like my system. He’d start playing real
disruptively when I started playing my thing.”
Continuing to work in Chicago, Cohran met
pianists Muhal Richard Abrams and Jodie Christian
and drummer Steve McCall. It was those four, sitting
in the kitchen in Cohran’s home in the Bronzeville
neighborhood, who first formulated the AACM.
Cohran’s Artistic Heritage Ensemble (with Amina
Claudine Myers and Gene Easton) played the second
AACM concert and Cohran would arguably play a key
part in the organization’s ethos of self-determination.
According to George Lewis’ essential A Power Stronger
Than Itself: The AACM and American Experimental Music,
Cohan suggested they collect dues from members and
was elected financial secretary. He also suggested that
they use the word “musicians” rather than “music” in
their name as it was “the musicians who need help.”
He left the organization to found his own
enterprise, also focused on education and performance
on Chicago’s south side, building awareness with
weekly lakefront concerts and asking people for small
donations to go towards founding a center for African
American arts, a goal that gained easy traction during
the heady Black Power days. The Affro Arts Theater
(the unusual spelling connoted AFrica FROm out of)
was founded in an old movie theater and was soon
hosting regular concerts as well as weekly classes.
Maurice White, who went on to front Earth Wind
& Fire, was a regular visitor to the center, as were other
future members of the band. “Maurice was with me
almost three years,” Cohran said. “He didn’t have any
source of knowledge. He came out of Chicago schools.
He played with me and learned my system.” White
took up Cohran’s Frankiephone, an electric thumb
piano devised and named for his mother, and in 1974
put it on the Top 40 with Earth Wind & Fire’s “Evil”.
In more recent years, Cohran’s focus has been
teaching (including a two-year stint at Northeastern
University), playing solo shows (he recently ended a
15-year engagement at the Ethiopian Café on Chicago’s
north side) and studying astronomy, as well as keeping
a watchful eye over his sons’ band. His eight hornplaying children all benefitted from his tutelage,
starting daily two-hour lessons before school when
they were five years old. He still plays in Europe when
the occasion arises but he said he was happy to give up
the regular gigging around town. “Now I’m just
cruising,” he said. “When you get to be 85 you don’t
have that pop, you don’t want to play too many gigs.”
Instead he makes daily trips to Lake Michigan, this
time to the beach in Rogers Park, the city’s northernmost
neighborhood and a good stretch from the South Side
beach where he got his start and leading workshops in
wellness and astronomy. “You got two tides a day and
your body is 90% water,” he said. “What the hell do
you think the moon does to your body? Everything in
the cosmos is balanced, so everything here has to
follow that rule because we’re part of the cosmos.” v
For more information, visit philcohran.com
• Sun Ra Arkestra - We Travel The Spaceways
(Saturn-Evidence, 1959-60)
• Philip Cohran and The Artistic Heritage Ensemble Singles (Zulu, 1967)
• Sun Ra Arkestra - Holiday for Soul Dance
(Saturn-Evidence, 1968-69)
• Phil Cohran and The Artistic Heritage Ensemble -
The Spanish Suite: Martina, Delores & Marguirite
(Zulu-Katalyst, 1968)
• Phil Cohran and The Artistic Heritage Ensemble The Malcolm X Memorial (A Tribute in Music)
(Zulu, Katalyst, 1968)
• Kelan Philip Cohran and The Hypnotic Brass
Ensemble - Eponymous (Honest Jon’s, 2011)
November 6th
Charli Persip big band Supersound
November 13th
Chip White Ensemble
November 20th
Mike Longo Trio CD release Party
November 27th
Cecilia Coleman and Group
December 3rd
Richard Boukas and Quarteto Moderno
Dark until January 8th 2013
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
LE ST WE F OR GE T
Gigi Gryce (1927-83)
by Ken Waxman
Arguably the most accomplished jazz musician to
abandon his career at the height of his fame then make
his mark elsewhere was alto saxophonist Gigi Gryce.
Gryce was one of jazz’ most creative composerarrangers, whose precisely organized small groups
and now classic tunes such as “Minority”, “Nica’s
Tempo” and “Social Call” established new orchestral
possibilities in the ‘50s-60s. However, he abruptly
abandoned music in 1963 and spent the remainder of
his life teaching music and other subjects full time.
After his death, his educational achievements were
honored when the Bronx public school at which he
taught was renamed for him.
Born in Pensacola, FL on Nov. 28th, 1925, George
General Grice, Jr. was an instrumental polymath who
quickly mastered flute, clarinet and saxophones and
by the early ‘50s had attended Boston Conservatory
and worked in many groups, most prominently on an
overseas tour with Lionel Hampton’s big band. By the
end of the decade, established in New York, Gryce’s
skills as composer, arranger and player made him
nearly ubiquitous. His best-known band was the Jazz
Lab Quintet with trumpeter Donald Byrd. But he also
played in large and small bands led by Teddy Charles,
Oscar Pettiford, Lee Morgan, Art Blakey and others,
many of which featured his compositions. He arranged
and conducted the famous Max Roach-Buddy Rich
drum battle date, Rich versus Roach (Verve) and worked
with Thelonious Monk. He’s the third saxophonist
alongside John Coltrane and Coleman Hawkins on
Monk’s Music (Riverside).
Gryce was also convinced that jazz musicians
weren’t getting a fair share of publishing royalties.
Business-oriented, he encouraged others to set up their
own publishing companies and from 1955 until 1963
ran Melotone Music/Totem Music to publish his own
compositions and those of his contemporaries. That
many popular hardbop tunes, including Ray Bryant’s
“Little Susie”, Benny Golson’s “I Remember Clifford”,
Bobby Timmons’ “Moanin’” and Randy Weston’s “Hi
Fly”, were administered by Gryce’s firms didn’t endear
him to other publishers, record companies or bookers.
Although most of the pressure exerted against him led
to a slowing of work rather than outright threats, his
already secretive nature soon turned paranoid.
Eventually he returned rights to all tunes to their
composers, cut himself off from the jazz world and
taught under his Muslim name of Basheer Qusim until
his death from a heart attack on Mar. 14th, 1983.
This abrupt change of direction after 1963
shouldn’t preclude an investigation of Gryce’s music.
Even a cursory listen to sessions featuring his playing,
arranging
and
especially
his
compositions,
unmistakably reveal the breadth of his contributions to
jazz. v
ME GA PHON E
Why Do We Duo?
by Andy Milne
The duo configuration in jazz is both common and
uncommon. Countless musicians have performed in
stand-alone duos and as featured duos within larger
ensembles. What is the allure of the duo and what
drives us to revisit it frequently? On a basic level, I
believe it reflects something powerful about human
nature. Why do we couple, car-pool, share books,
music, recipes and generally impart profound
discoveries to those around us? From my time on the
planet, it appears that we often experience a deeper
meaning of the events in our lives when we are able to
share those experiences with another being. Perhaps
the growing tide of narcissism I often cynically
attribute to technology is merely in service of our
human nature rather than a reprogramming of that
nature. Assuming our kinship for the duo is in no
danger of being challenged, can its multiple forms
within music offer helpful insights for humanity as we
grapple with increasingly complex issues related to
global sharing?
As a pianist, I have often envied the ease of how
two or more musicians who play the same instrument
can interact. I have known numerous horn players who
would frequently get together to practice or share
experiences on the mechanics of their horn. In the
drum world, there is support for several annual events
where players gather to geek out and celebrate their
instrument and their approach to it. Pianists
occasionally get together to play for one other but it is
rare that we actually play together because of how
difficult it is to find two pianos in the same room, let
alone same venue. Pianists do, however, perform
frequently as part of a duo. Sometimes these duos are
formed purely for artistic reasons while other times
they are merely a result of financial pressures or sound
restrictions placed upon us by a venue.
When I stop to consider the number of duos I have
performed in over the years, it is actually quite
staggering. Regardless of my perceived inspiration for
the formation of these duos, I am actually more
intrigued with considering the underlying resultant
potency the format offers. As an educator, I often
instruct my students to explore duo playing to help
develop better listening skills. Duos force us to interact
using musical behaviors and reactions that solo playing
does not require. Duos also leave us exposed just
enough, so that we remain connected to the
responsibilities and vulnerabilities associated with our
solo playing. I think it is this heightened proximity to
group and solo playing sensibilities that makes the
duo such an exhilarating configuration.
In trios, quartets, quintets and larger, sometimes
musicians reference the challenge they occasionally
experience connecting with one musician over another.
Of course, the past and present of this music have been
robustly populated with bands whose chemistry
embodies the ideal ‘hookup’, so I am certainly not
making a case for the duo being the only place where
this exists. I am instead celebrating the delicate
proportions of the duo and the inherent challenge it
creates for satisfying our desire for freedom and the
hookup. I think the societal framework within which
all humans exist plays a role in cultivating our dual
desire both to be free and connected. Perhaps that is
the wonderful gift jazz has given humanity, as it
represents a highly sophisticated form of democracy
where somehow the needs of the individual and group
exist in balance. I am not ruling out the possibility that
some musical performances might not live up to this
ideal, but I do often wonder what the world would be
like were our systems of governance headed by
improvisers, artists and creative types.
Although there are significant logistical challenges
for piano duos more than duos between pianos and
other instruments (or two players of the same
instrument), piano duos do flourish. I think the first
piano duo I experienced was the one between Herbie
Hancock and Chick Corea. In the ‘90s, Harold Mabern,
Mulgrew Miller, Donald Brown, James Williams and
Geoff Keezer toured as a rotating four-piano summit.
Earlier this year, on WBGO radio, jazz historian Bill
Kirchner examined the lineage of piano duos, profiling
duos ranging from Dick Hyman and Dick Wellstood to
Bill Charlap and Renee Rosnes. During the last decade,
both Merkin Hall and The Jazz Gallery presented piano
duo series. Of course, Marian McPartland’s Piano Jazz
program on NPR has long been an opportunity for
listeners to experience piano duos.
Despite the efforts of musicians and presenters,
our ears are not particularly used to the sound of two
pianos. When I began to explore the format seriously, it
was very clear to me that I had to learn to adjust my
ears to react to the sound of another person playing
‘my’ instrument. It was somehow foreign and familiar
at the same time. It requires that each pianist be willing
to surrender temporarily a portion of ‘their ’ instrument
AND redefine their role and function. There are issues
of how to share the physical space available on stage,
as well as the sonic space in the room. It’s a little bit
like having to share your tiny studio apartment with a
friend who needs to crash for a couple of weeks. You
are happy to have their company, but the arrangement
requires that you relearn how you navigate your space.
It is possible the piano duo may never become as
common as the piano/bass or piano/voice duo. Left to
our own devices, pianists might yet find new ways to
explore co-habiting their musical worlds for the simple
reason of what we gain through giving something up.
Perhaps this is a lesson the duo within music can offer
humanity as we struggle to reconcile the necessity for
sharing space, resources and diverging philosophies. v
using her own body to incorporate percussive accents,
she is an earthy grounding rod for some powerfully
streaming wattage. Hear her Jazz Flamenco Fusion
Trio at Drom (Nov. 16th). There is a bluesy and funkedged roar at the core of smooth and easy flowing
Gregory Porter. His lion-like presence will fill Dizzy’s
Club (Nov. 8th-11th) and Littlefield (Nov. 17th).
Rambling over towards the ‘out’ side, wild
virtuosic Austrian Katja Cruz pairs with percussionist
Howard Curtis for Lightning and Thunder (Ein Klang) in
improvisations about the elements. From the earopening perspective of shamanistic ritual, this album
sounds like a channeling. Cruz’ mercury-fast unbound
range resounds like echoes in mystical canyons. Andrea Wolper’s leaderless trio on TranceFormation
(New Artists) is comprised of free jazz veterans like
pianist Connie Crothers and bassist Ken Filiano. As
unified as an harmonic overtone series, their energy
moves in synchronous impulse. Hear them organically
spill together in sonic landscapes at I-Beam (Nov. 9th).
Electronic-edged violinist, singer and spokenwordist Sarah Bernstein releases Interactive Album
Rock (Phase Frame Music) with her trio, Iron Dog.
Playing an EKG of the modern world, her violin sings
as her spoken poetry frames an arrestingly intense
Rorschach for our times. Andrew Drury’s drumming
and Stuart Popejoy’s electric bass and synthesizer form
a bed of harnessed mayhem. Hear them at JACK in
Brooklyn (Nov. 10th).
And, speaking of spoken word, saxophonist
Oliver Lake will ‘harmonize’ in collaboration with
poet Cornelia Eady and singer/poet Sabrina HayeemLadani at St. Augustine’s Church (Nov. 18th).
As November comes to a close, consider producer
Cobi Narita’s invitation to “Speak to me of love. Speak
to me of Truth.” 60 improvising singing voices scat
with saxophonist Billy Harper ’s Sextet at Saint Peter ’s
Church (Dec. 1st)! Narita, a producing ‘shaman’, has
been keeping the intangible alive, forever. Bow down
and feel it. v
For more information, visit andymilne.com. Milne is at
ShapeShifter Lab Nov. 28th-30th in duo with Benoît Delbecq
and with guests. See Calendar.
Considered one of the most respected voices in jazz today,
pianist Andy Milne composes for multiple projects in which
he is a principle performer and improviser. His music spans
everything from contrapuntal, odd-metered grooves, free
improvisation and multi-form structures to an orchestralinspired palette and prepared piano textures. Awarded The
2009 Civitella Fellowship to compose a new orchestral work,
Milne is a 2012 PennPAT roster member and the recipient
of numerous commissions and awards from The Canada
Council, The Japan Foundation, New Music USA and
Chamber Music America. Milne’s group Dapp Theory,
which lives at the meeting-point of lyrical jazz piano,
funkified polyrhythmic exploration and spoken word
poeticism, is currently recording their next CD with
Grammy-winning producer Jimmy Haslip.
Donna Singer
with the
Doug Richards Trio
Live At
217 East 119th Street, NYC
Thursday, Nov. 8th, 2012
7:30pm - $10.00
Reservations 212-280-2248
@Critical Jazz: “Donna Singer
is a first call vocalist”
A remarkable repertoire of jazz,
swing, rhythm and blues
donna-singer.com
VO X NEW S
by Katie Bull
J azz vocalists in this month’s VOXNews highlights are
connected to elemental core energy in the body; a life
force energy that moves the breath swirls and impels
truthfully expressive sound. It is a vibratory center,
part of the whole body flow of electricity pulsing
through the heart, around the solar plexus and
centering down into the gut of the belly and pelvis. The chakra system in traditional Indian singing
involves the exploration of energy centers generating
sound. In Korean pansori singing the master points to
“the core” in the belly and says, feel your power here,
breathe with your heart rhythm and let everything else
go. When a jazz singer or a spoken word vocalist comes
from their core energy, the listener ’s core resonates.
You can ‘feel’ them singing.
“If you have a heartbeat you have rhythm,” says
the vibrant Rebecca Vallejo who calls herself “a jazz
singer with a Flamenco flair”. Hailing from Spain,
11
LA BE L SPO T LIG HT
Auf den Punkt
Thewes/Mahall
Vorzeitiges Requiem
Christof Thewes
Zuckerberg with improvised music cred. A German
mandolinist and electric bassist who has been gigging
since the ‘80s, he was able to start Gligg Records and
the Spielraum recording studio because his love for
advanced mathematics plus the growth of social
networking presented a unique opportunity.
In 1996, Schmidt, who had previously been a fulltime musician, usually in groups with trombonist
Christof Thewes, decided to pursue a long-time
ancillary interest in physics, mathematics and
computer programming. In 1999 he helped create a
comprehensive, worldwide social network for
scientists using a system he invented and patented. By
2009, when the network was sold to Elsevier Science,
B.V., the world’s leading science information provider,
it had registered more than 400,000 scientists and had
1.8 million scientific profiles.
“The sale gave me the chance to step out of that
business and get back to music,” Schmidt recalls, “and
it explains where the financing for Gligg Records and
the studio comes from: I decided to invest a good part
of the money into long-lasting and sustainable
platforms, specializing in music that always suffers
from lack of money.”
Founded with an investment of €100,000, the highend Spielraum Studio does no commercial productions
and is a separate entity from Gligg. However Schmidt
production phase is that Schmidt and I realized a lot of
projects, which could now be released via the label,”
says Thewes. “In addition I recorded a couple of projects
which could be released by Gligg in very small editions.
With these records Schmidt could experiment with the
design, colors and picture selection without being
under time pressure - which is important for the start
of a label. I hope I can go on to record in the Spielraum
Studio in the future and publish via Gligg, but the
number of CDs will definitely decrease - although I
still have material for another 50 or so,” he jokes.
As for Gligg’s musical identity: “There’s no hard
definition of what Gligg publishes, but the core spreads
definitely from avant garde and experimental jazz
through free improvisation to contemporary music,
which will come with two records dedicated to John
Cage’s compositions performed by percussionist Dirk
Rothbrust,” Schmidt elaborates. “These genres fit
nicely together and overlap in many cases. I see no
problem to publish any genre, as long as there’s a good
portion of innovation in it.”
“It was [bassist] Jan Roder who first came up with
the idea to record our trio Die Dicken Finger in Martin’s
studio,” notes Berlin-based guitarist Olaf Rupp,
featured on four Gligg CDs. “Later [trombonist]
Matthias Müller offered Martin a recording we made
in Berlin and it was [saxophonist] Frank-Paul Schubert
who invited me to a recording session there. Die
Dicken Finger was difficult to record, because of bandsound was more akin to hardcore and rock, so I drove
to do the mix together with Martin. I brought my guitar
and on the third day we recorded some duos.
(CONTINUED ON PAGE 46)
Two pieces
Ulrich Schmidt Thewes
P erhaps Martin Schmidt could be thought of as a Mark
Beyond The Yellow Line
Undertone Project
by Ken Waxman
is owner and managing director of both, is Spielraum’s
chief engineer and so far has played on seven Gligg
CDs. Thewes is on 12. Spielraum and Gligg are both
located in Schiffweiler/Heiligenwald, about 150 miles
from Frankfurt. In local dialect “spielraum” means
playroom while “Gligg” means luck. Also “Gligg” is
intentionally unusual to appear easily on internet
search engines.
This mixture of the local and the futuristic
characterizes Gligg’s releases. Committed to the most
up-to-date standards of fidelity; physical, download
and streaming distribution; focused marketing and
publicity and a five-year plan to establish the label, the
initial CDs feature musicians Schmidt has played with
over the years. “We started with what existed and what
was ready to be released first, bands that were mostly
driven by Christof or both of us,” Schmidt explains.
“We then extended our network to include many
Berlin-based musicians. There will always be music by
us on Gligg, but over time it will balance with other
artists.” A dozen CDs make up Gligg’s first set of
releases, with the second another 12. “There’s more
going on than current labels are willing to publish so
too many things lack documentation,” avers Schmidt.
“That drove me to build a studio for documentation
first and then a label to get things published.”
Although Gligg’s first projects were built around
Schmidt
and
Thewes’
Undertone
ensembles,
subsequent releases feature, among others, such
players as Japanese drummer Shoji Hano, Australian
bassist Clayton Thomas, American cellist Tomas Ulrich
and Greek pianist Antonis Anissegos.
“The reason I appear so frequently in Gligg’s first
Clear Horizons
Tomas Ulrich
Gligg Records
LISTEN UP!
EMILY BRADEN is a Harlem-based vocalist originally
from the great jazz mecca of Boise, Idaho. Her training
includes two years with the award-winning vocal
group Genesis in Oregon. Her album Soul Walk features
her fresh take on standards and marks her debut as
bilingual songwriter. Braden was just named NYC’s
“Best of the Best” Jazz Vocalist as the winner of the
New York City’s 2012 Jazzmobile Vocal Competition.
Teachers: Dave Barduhn (former arranger for Stan
Kenton) and Louise Rose (student of Duke Ellington
and Oscar Peterson protégé).
I knew I wanted to be a musician when... I’ve always
felt there was nothing else that could make me this
happy!
Dream Band: Not sure yet. I moved to NYC to meet them.
Did you know? I excel at the art of jazz whistling!
For more information, visit emilybraden.net. Braden is at
Zinc Bar Nov. 26th. See Calendar.
Current Projects: I’m constantly experimenting with
new artists. I have straightahead groups, an original
music project and a steady R&B gig at the Ella Lounge.
I have recently been collaborating with tap dancer
Michela Marino Lerman.
By Day: I juggle my business responsibilities as an
independent artist with a part-time job as a bilingual
(Spanish/English) interviewer at a nursing home in
the Bronx.
Peter Gannushkin
Influences: So many musical influences! Billie, Ella,
Sarah, Carmen, Dinah, Nancy, Nina, Etta (Jones), Betty,
Joe Williams, Andy Bey. Classic and modern soul
artists such as Donny Hathaway, Sam Cooke, Aretha
Franklin, Chaka Khan, D’Angelo and Bilal. Erroll
Garner, Ahmad Jamal, Jimmy Smith - and I love Hank
Mobley!
Emily Braden
Current Projects: My duo The Home of Easy Credit
with Tom Blancarte; a duo with drummer Luca Marini
called Herbert Eckardt; another duo with drummer
Andrew Drury; trios with Weasel Walter and Tim Dahl,
Han-earl Park and Michael Evans, Damon Holzborn
and Tom Blancarte; an upcoming electro-acoustic
ensemble that will play at Douglass Street Music
Collective.
By Day: I teach and play for a living.
I knew I wanted to be a musician when... I was six and
started to learn recorder in my village’s music school.
Louise DE Jensen
LOUISE DAM ECKARDT JENSEN is a saxophonist
hailing from the Danish-German border region of
Denmark known as Sønderjylland. She has spent time
in Copenhagen, Amsterdam and Berlin, but her
marriage to bassist Tom Blancarte several years ago
brought her into the New York music scene.
Teachers: Ferdinand Povel, Albert Beltman, Dick
Oatts, Arnold Dooyeweerd.
Influences: Dewey Redman, Pharoah Sanders, Miles
Davis, Jimi Hendrix, Ben Webster, Coleman Hawkins,
Billie Holiday, Björk, Jan Garbarek, Lee Konitz, Wayne
Shorter, the Danish countryside and that my father is a
social worker and my mother is a teacher.
Dream Band: Wayne Shorter, Björk, Mats Gustafsson,
Weasel Walter, Brandon Seabrook, Craig Taborn, Tim
Dahl.
Did you know? I love coffee and tend to be clumsy. I
am shy but once you get to know me, it completely
disappears…haha…
For more information, visit myspace.com/louisejensen.
Jensen is at JACK Nov. 10th and Douglass Street Music
Collective Nov. 11th. See Calendar.
F ES TIVA L REP OR T
Jazz Brugge
(c) Susan O’Connor, www.jazzword.com
by Ken Waxman
Irène Schweizer & Jürg Wickihalder
W hen
Jazz Brugge takes place in a Belgium town
designated as an UNESCO World Heritage site for its
picturesque canals and lovingly preserved medieval
buildings, a certain time and space dislocation can be
expected. Considering that concerts (Oct. 4th-7th) were
in the attic performance space of the 12th century SintJanshospitaal museum or in a massive or a smaller hall
of the four-tier Concertgebouw, purpose built in 2002,
this time displacement intensified. Additionally, three
of the most insightful performances melded
celebrations of art from earlier centuries with
perceptive improvisations.
Most spectacular was an afternoon SintJanshospitaal multimedia presentation by France’s
Collective ARFI. As individual details or entire scenes
from Flemish Renaissance painter Pieter Bruegel the
Elder ’s “A La Vie, La Mort” were projected on a video
screen, trumpeter Jean Mereu, saxophonist Jean
Aussanaire, bassist Bernard Santacruz and Laurence
Bourdin on the hurdy-gurdy provided musical
interpretations of the scenes of rampaging skeletons,
prone peasants and bleak landscapes.
As impressive were sets on the Concertgebouw’s
main stage by French musicians whose bands
reinterpreted the Renaissance-to-Baroque themes of
Italian composer Claudio Monteverdi or Antonio
Vivaldi’s 17th Century Italian Baroque concerto The
Four Seasons. With an ensemble of soprano saxophonist/
bass singer Gavino Murgia, Katharina Bäuml playing
Renaissance woodwinds, Bruno Helstroffer on theorbo,
a medieval lute, lyric soprano Guillemette Laurens and
Michel Godard playing tuba’s ancestor, the serpent,
plus electric bass, this was no typical jazz combo.
Godard’s arrangements expanded Monteverdi’s
adaption of basso continuo and polyphony with
multiphonics
and
improvisations.
Meanwhile
Helstroffer ’s slurred fingering and Murgia’s agitated
licks were thoroughly contemporary as the bass’ pedalpoint pattern provided ostinatos as much as Murgia’s
subterranean throat rumbles. Saxophonist Christophe
Monniot played up Vivaldi’s populist appeal, using
the composer ’s motifs as reference points as others
would utilize Ellington or Monk material. Tubaist
Michel Massot provided the rhythmic foundation,
drummer Eric Echampard’s press rolls and paradiddles
touched on rock and jazz beats, pianist Emil Spányi
spun out swinging asides while the all-saxophone
Quatuor Arcanes recreated Vivaldi’s themes,
harmonized distinctively or backed Monniot’s notable
solos on soprano, alto and baritone. Mutating a famous
concerto to fit another context worked admirably;
trying to extend the metaphor by adding pre-recorded
voices discussing climate change didn’t.
Another missed opportunity was the Monk’n’Roll
project of tenor saxophonist/clarinetist Francesco
Bearzatti, Giovanni Falzone, who played trumpet and
electronics and led sing-alongs, electric bassist Danilo
Gallo and drummer Zeno de Rossi. Although Monk’s
themes are no more sacrosanct than Ellington or
Vivaldi’s, unlike the sympathetic genre-mulching of
Godard and Monniot, this was a cut-and-paste job.
Explaining that as 40-something musicians their
sympathies were as much with heavy metal as Monk’s
music, the four proceeded to mash up Monk themes
with rock standards such as “Iron Man”, “Immigrant
Song” and “Walk on the Wild Side”. Trouble was that
once the Monk head was played, the band ignored it
until the end, with the remainder of the performances
standard rock tropes: de Rossi pummeled the backbeat;
Gallo’s output was crunchingly repetitive; heavily
processed, Falzone’s capillary flourishes borrowed
from Miles Davis’ fusion period and while pogo-ing
up-and-down like a punk rocker and miming guitar
licks, Bearzatti’s reed smears attempted to channel the
spirit of Jimmy Page.
More praiseworthy were three duos linking
veterans and youngish players. One concert at the
Concertgebouw’s Kamermuziekzaal united two Swiss:
pianist Irène Schweizer, 71, and soprano and tenor
saxophonist Jürg Wickihalder, 39. Another, at SintJanshospitaal
matched
British
soprano/tenor
saxophonist Evan Parker, 67, with Belgian bassist Peter
Jacquemyn, 49; the third at Sint-Janshospitaal, featured
percussionist Pierre Favre, 75, and fellow Swiss
trombonist Samuel Blaser, 31.
An object lesson in how to blend Monk tunes with
others, Schweizer and Wickihalder joyously slipped
in-and-out of “Ruby, My Dear”, “Little Rootie Tootie”
and other Monkisms without altering the program’s
flow. Mixing allusions to blues or boogie-woogie
alongside snatches of Charles Mingus or Carla Bley
themes, Schweizer played with the economy that
comes from 50 years of self-sufficiency. Able to produce
Booker Ervin-like hollers or telescope his breaths to
microtones, Wickihalder ’s comments were meaningful
whether sounding two saxes at once for polyphonic
contrast, blowing into the up-ended soprano’s bell or
disassembling his horns to display the individual
parts’ sonic qualities.
Also conversant with every saxophone part was
Parker, who underlined the sonorous possibilities of
both horns, as Jacquemyn - whose strikingly humanlooking sculptures were on display at Sint-Janshospitaal
during the festival - hacked at, slapped and scrubbed
his bass. Sporadically inserting two bows behind his
strings for reflective multiphonics, Jacquemyn
frequently smacked strings sul tasto, not only in the
warm mid-range, but to reveal unexpected textures
from beneath the bridge and near the scroll. Rarely
evoking circular breathing, Parker stuck to smears and
reed bites, at points making two complementary trills
audible. Near the end, the two attained organic
connection, as abrasive reed shrieks and frenetic string
pumps settled into concentrated lines.
Synchronization was also in evidence with Favre/
Blaser. Using sticks, brushes, mallets and curved bean
pods to produce rhythms that contrasted or rumbled
alongside the trombonist’s actions, the percussionist
exuded a sense of relaxed swing at all tempos.
Comfortable with a variety of mutes, Blaser used
silences to support the drummer ’s pacing. Employing
lip-pressure and slide positions, his solos encompassed
tandem multiphonics, breakneck boppy lines and
emphasized plunger growls. Both men played
distinctively enough to underscore each other ’s skills,
but cohesively enough to reach exultant conclusions.
It was sets like this that emphasized the festival’s
strengths. Unabashedly European, Jazz Brugge takes
place every second year, 55 miles northwest of Brussels,
providing a meaningful illustration of advanced
continental improv. v
Thu Nov 1
GV3 8:30PM
Geoff Vidal, Dezron Douglas, Neil Smith
TYLER BLANTON’S “GOTHAM” 10PM
Donny McCaslin, Matt Clohesy, Nate Wood
Fri Nov 2
JASON RIGBY 9PM & 10:30PM
Cameron Brown, Gerald Cleaver
Sat Nov 3
DEVIN GRAY, DIRIGO RATAPLAN 9PM & 10:30PM
Dave Ballou, Jeff Lederer, Michael Formanek
Sun Nov 4
MANNER EFFECT 9PM & 10:30PM
Sarah Elizabeth Charles, Caleb Curtis, Logan Evan Thomas,
PJ Roberts, Josh Davis
Mon Nov 5
AMRAM & CO 8:30PM
David Amram, Kevin Twigg, John de Witt, Adam Amram
Tue Nov 6
ABE OVADIA ORGAN TRIO 10PM
Anthony Pocetti, Steve Picataggio
Wed Nov 7
LIFE SIZE: FEATURING SAMIR ZARIF 8:30PM
Brian Krock, Samir Zarif, Olli Hirvonen, Dan Rufulo,
Philippe Lemm, Leo Sherman
Thu Nov 8
JESS KORMAN: THE KORMUDGEON PROJECT 8:30PM
Mark Wade, Tony Romano
Fri Nov 9
JIM BLACK MYSTERY DUO 9PM & 10:30PM
Mystery Guest
Sat Nov 10
ELLERY ESKELIN TRIO 9PM & 10:30PM
Chris Lightcap, Billy Mintz
Sun Nov 11
GLOBAL LIVING ROOM: TENORES DE ATERÚE 8:30PM
Avery Book, Gideon Crevoshay, Carl Linich, Doug Paisley
GLOBAL LIVING ROOM: ZOZULKA 10PM
Eva Salina Primack, Maria Sonevytsky, Willa Roberts
Jean Rohe, host
Tue Nov 13
VOXIFY: ROSANA ECKERT 8:30PM
Peter Eldridge, Matt Aronoff, Ben Wittman,
Jay Rattman, Gary Eckert
VOXIFY: ALISON WEDDING 10PM
Matt Aranoff, Pete McCann, Ben Wittman
Nicky Schrire, host
Wed Nov 14
JEROME SABBAGH QUARTET
FEATURING BEN MONDER 8:30PM
Joe Martin, Colin Stranahan
Thu Nov 15
PETER EVANS QUARTET 8:30PM
Ron Stabinsky, Tom Blancarte, Jim Black
Fri Nov 16
NASHEET WAITS-ABRAHAM BURTON 3
9PM & 10:30PM
Sat Nov 17
BOBBY AVEY GROUP 9PM & 10:30PM
Miguel Zenón, Ben Monder, Thomson Kneeland, Jordan Person
Sun Nov 18
NEW BRAZILIAN PERSPECTIVES:
PAUL MEYERS, DEANNA WITKOWSKI 8:30PM
Billy Newman, host
Wed Nov 21
JACAM MANRICKS ‘CLOUD NINE’ CD LAUNCH 8:30PM
Des White, Obed Calvaire
Fri Nov 23
HUSH MONEY WITH
JOHN MCNEIL & JEREMY UDDEN 9PM & 10:30PM
Aryeh Kobrinski, Vinnie Sperrazza
Sat Nov 24
DAVID LIEBMAN QUINTET 9PM & 10:30PM
Sam Newsome, Ellery Eskelin, Chris Tordini, Jim Black
Mon Nov 26
ALTERMAN/CAMMACK/RADERMAN TRIO
FEATURING RALPH LALAMA 6PM
Joe Alterman, James Cammack, Ralph Lalama, Alex Raderman
Tue Nov 27
PETER BRENDLER QUARTET 8:30PM
Peter Evans, Rich Perry, Vinnie Sperrazza
Wed Nov 28
SURFACE TO AIR 8:30PM
Jonathan Goldberger, Jonti Siman, Rohin Khemani
Thu Nov 29
TOM CHANG QUARTET 8:30PM
Jason Rigby, Sam Trapchak, Jeff Davis
Fri Nov 30
LOREN STILLMAN AND FRIENDS 9PM & 10:30PM
Russ Lossing, John Hebert, Eric McPherson
For more information, visit jazzbrugge.be
13
CD R EVI EW S
Brand New For China!
Cactus Truck (Public Eyesore)
by Clifford Allen
F leshing out the lengthy but not always appreciated
connection between free jazz and punk rock is the third
and latest LP by Amsterdam trio Cactus Truck, which
consists of expatriate saxophonist John Dikeman,
guitarist/bassist Jasper Stadhouders and drummer
Onno Govaert. They’ve collaborated with agitprop
bouncers The Ex as well as open-form improvisers like
Ab Baars, Dave Rempis and Jeb Bishop and it’s not
difficult to see why they’ve found a willing stable of
partners: the trio gets things done.
Spry and limber they have energy to spare, but
being go-for-broke is not without a healthy amount of
conversational
awareness.
I
use
the
term
“conversational awareness” as opposed to “listening”,
because Weasel Walter recently pointed out in a
discussion that musicians’ refusal to listen can create
diverse and complex musical environments. Players
may be aware of the plurality and instead choose to
isolate themselves formally, which in the most
successful instances can create bizarrely tense
structures. It’s a risk, but most good art is.
Certainly a healthy dose of obstinance is at play
here, Stadhouders doggedly strumming a detuned
guitar in careening chunks as Govaert rattles and
pushes, Dikeman’s effusive and steely keen soaring
atop it all. Or, in a fine tenor and drum duet towards
the end of “Sweet Movie”, the fourth track here,
Govaert hangs out just behind the beat and a little to
the left, continuing his twinkle-eyed random careen as
Stadhouders picks up a gritty bass line reminiscent of
Confusion is Sex-era Kim Gordon. Clocking in at a half
hour in its CD incarnation (the vinyl is pressed at 45
rpm and less two tracks), Brand New For China! doesn’t
overstay its welcome or much else. Once again: Cactus
Truck gets things done.
For more information, visit publiceyesore.com. This group
is at Zebulon Nov. 1st. See Calendar.
Continuum
Richard Sussman Quintet (Origin)
by Terrell Holmes
As the title suggests, Richard Sussman’s album is a
study in endurance. By reuniting with some of the
players who appeared on his 1978 debut Free Fall and
presenting a diverse roster of new tunes, Sussman
underscores how true musicality is never diminished
by the passage of time.
In other words, the ol’ fellas still have it. Tenor
man Jerry Bergonzi steps in straight from the woodshed
on the Jazz Messengers-inflected “Spare Change” and
his enthusiastic, harmonically challenging style
enhances the uptempo “Crossroads” and the ballad
“Theme For Ernie”. Randy Brecker plays trumpet and
flugelhorn (Tom Harrell appeared on Free Fall), giving
his honey-smooth tonality and high-octane upperregister flights to “Meridian” and the standard “Alone
Together”, whose inclusion on this album deepens the
theme of endurance. Bassist Mike Richmond is a rock
on the bottom and his singing pizzicato on the waltz
“It’s Never Too Late” is one of the highlights. Guitarist
Mike Stern makes a guest appearance on “Mike’s
Blues”, a fusion trip that Sussman wrote specifically
for him. Stern’s fervid riffs blaze a path for Sussman’s
retro-futuristic synthesizer on a tune that manages to
sound old school and contemporary simultaneously.
Sussman’s excellent composing and playing is the
driving force at the center of Continuum. Whether
weaving a tender meditation like “The Wayfarer”,
comping with Richmond and drummer Jeff Williams,
doubling up wonderfully on piano and synthesizer or
building a solo whose intricacy seems to reflect his
kinetic energy, Sussman mines countless riches from
the keyboard. All of this great music, reflective but
unburdened with misty-eyed sentimentality and
played by some of the best in the business, is what
makes Continuum an excellent album.
On their own, the musicians reference the blues
plus some extended techniques. Pastor occasionally
adds electronic oscillations to his showy triple stopping
while stacked harmonies cleanly balance the
trumpeter ’s grace notes or plunger tones with the
saxophonist’s mellow vamping or low-pitched runs.
Perhaps in Italian Dagnino performs with the aplomb
and confidence of a Leonard Cohen. Narcéte, however,
offers neither of these qualities.
For more information, visit slamproductions.net. Dagnino
is at Douglass Street Music Collective Nov. 2nd, Brecht
Forum Nov. 11th, Boulevard Books & Café Nov. 14th and
Downtown Music Gallery Nov. 18th. See Calendar.
For more information, visit origin-records.com. Sussman is
at Smalls Nov. 1st. See Calendar.
Narcéte
Erika Dagnino/George Haslam/
Stefano Pastor/Steve Waterman (SLAM)
by Ken Waxman
Mixing jazz with poetry or prose has been attempted
almost from the music’s beginnings, reaching an
apogee in the ‘50s when a clutch of writers, including
Jack Kerouac and Langston Hughes, recorded with
instrumental accompaniment. Only a few of these
efforts, most notably The New York Art Ensemble’s
“Black Dada Nihilismus” and Charles Mingus’ “Scenes
in the City” are wholly satisfying. Rather than being
jazz with spoken word, these two were jazz and spoken
word, with the speaker ’s cadences intertwined among
the music.
Narcéte isn’t in that category despite the players’
qualifications. Erika Dagnino, who wrote the 10
selections, is an Italian author of nine books of poetry
and three of prose and has performed alongside
musicians such as saxophonist Ras Moshe. Italian
Stefano Pastor, an award-winning violinist who has
performed with pianist Borah Bergman, also reveals an
unexpected talent as a bassist here. From England,
trumpeter Steve Waterman was in Carla Bley’s big
band and baritone saxophonist George Haslam has
played with almost everyone in his lengthy career.
So what’s the problem? With the musicians
playing exemplarily, the drawback is Dagnino and her
material. The English translations that Dagnino emotes
aren’t the highest form of prose-poetry. Many of the 10
“chants” seem either needlessly prosaic or rife with
pseudo-classical allusions that don’t jibe. It’s also
beneficial that the words are published in the CD
booklet. For when the music pauses for Dagnino, she’s
often difficult to understand. While her accented
English isn’t the same as foreign singers who learn
lyrics phonetically, misplaced accents or mumbled
expressions add confusion. For instance “pinches”
sounds like “beaches” and “sticking fingers” like
“chicken fingers”. Plus if she wants idiomatic English,
the expression is “hemming and hawing”, not
“humming and hawing” - poetic license or not.
RECOMMENDED
NEW RELEASES
• Nik Bärtsch’s Ronin - Live (ECM)
• Michael Blake - In the Grand Scheme of Things
(Songlines)
• Dan Block - Duality (Miles High)
• George Cables - My Muse (HighNote)
• Dave King - I’ve Been Ringing You (Sunnyside)
• Angelica Sanchez Quintet Wires & Moss (Clean Feed)
David Adler, New York@Night Columnist
• Katja Cruz/Howard Curtis Lightning & Thunder (Ein Klang)
• Joe Harriott Quintet - Movement/High Spirits
(Columbia-Vocalion)
• Bill Laswell - Means of Deliverance (Innerhythmic)
• Jason Robinson - Tiresian Symmetry (Cuneiform)
• David Virelles - Continuum (Pi)
• Jesper Zeuthen - PLUS (Barefoot)
Laurence Donohue-Greene
Managing Editor, The New York City Jazz Record
• Michaël Attias - Spun Tree (Clean Feed)
• Han Bennink Trio - Bennink # Co. (ILK Music)
• Fischermanns Orchestra - Conducting Sessions (Unit)
• Fred Lonberg-Holm’s Fast Citizens Gather (Delmark)
• Peter Knight - Allotrope (Listen Hear Collective)
• Alexander Von Schlippenbach Plays Monk (Piano Solo) (Intakt)
Andrey Henkin
Editorial Director, The New York City Jazz Record
Their take on Kurt Weill’s “My Ship” has a mythic air
before dissolving into Corea’s own “Mozart Goes
Dancing”, on which they are joined by the Harlem
String Quartet. It serves as a fine reminder of the pair ’s
previous work with a string quartet in the ‘80s. But as
good as that piece is, this endlessly creative dynamic
duo really requires nothing more than each other to
deliver what’s needed.
The Mothership Returns
Return to Forever
(Eagle Rock)
Hot House
Chick Corea/Gary Burton
(Concord)
For more information, visit eaglerockent.com and
concordmusicgroup. Chick Corea and Stanley Clarke are at
Blue Note Nov. 3rd-7th. See Calendar.
by Andrew Vélez
It was after first gigging together with Joe Henderson
in the early ‘70s that Chick Corea and Stanley Clarke
formed the iconic group Return to Forever (RTF). The
double-disc-set-plus-DVD The Mothership Returns
celebrates the fourth version of the band and its 2011
world tour along with RTF longtimer Lenny White
(drums), Jean-Luc Ponty (electric violins) and Frank
Gambale (electric and acoustic guitars).
It was with RTF that Clarke, a virtuoso on the bass
guitar, came to real prominence. In talking about the
latest tour, Corea speaks of Clarke as “helping me to
put the ship back on its course of unrestrained creative
communication and for being the undeniable
inspirational force that he is to the creation of our
ideals and in all our performances.”
That heady praise is borne out by the performances,
as well as the conversations captured on the DVD in
the set, which offer specific windows into their
creativity. Corea and Clarke’s delight in each other ’s
company and their articulate detailing of how
particular pieces came about deepens the enjoyment
when listening to the Latin pleasure of Corea’s “Sénor
Mouse” or Clarke’s signature piece “School Days”.
These are pieces typical of the seemingly endlessly
creative rhythmic and textural changes that emerge
from their decades of mutual musical know-how.
Nowhere is that creativity more evident than on
the undulating rhythms of Ponty’s “Renaissance”. The
long passages of his sweetly pulsating violin are joined
to White’s solid drumming and are nigh to hypnotic.
Corea chimes in and a mystical journey is further
deepened by Gambale’s cascading acoustic riffs. As
Corea smilingly observes, “Of all the jazz rock bands of
the ‘70s, we are the last band standing.” No kidding.
Hot House finds Corea turning up the heat yet with
another longtime partner, vibes virtuoso Gary Burton.
Their four-decades-long collaboration first began in
1972 when they performed a spur-of-the-moment
encore at a jazz festival in Berlin. Only a few months
later they recorded their first studio album together,
the now-classic Crystal Silence.
What Burton characterizes as their “natural
reaction” together is heard on a collection from favorite
composers from the ‘40s-60s. It opens with “Can’t We
Be Friends”, a salute to Art Tatum. It’s a lighthearted
take, which intentionally retains some of Tatum’s
flourishes and stride/swing feel. What follows is a
darker piece, The Beatles’ “Eleanor Rigby”, in which
Burton mirrors the uptempo urgency of Corea’s piano.
Jobim’s “Chega de Saudade” is a salute to Stan Getz,
with whom Corea and Burton played in the ‘60s. It
opens with a glowing, slightly meditative Corea before
Burton comes in with lines so in synch they seem to
have flowered out of the piano.
Tadd Dameron’s title track gets a particularly
vigorous workout as Burton sweeps into Corea’s
pulsating intro. Here again their high energy and
melodic take is the perfect joining of piano and vibes.
“Strange Meadow Lark” is taken from Dave Brubeck’s
1959 classic Time Out and gets a playful turn. There is a
mercurial quality throughout this set, never more so
than on Bill Evans’ “Time Remembered”. Corea opens
it with an ease as solid as it is pleasing. Soon it feels if
the tune has been gently wrapped in Burton’s vibes.
“Quintet”. It opens with a strained solo by Bowie that
resonates with the trademark AEC sound. A full eight
minutes of horn-and-drum meditation is allowed
before saxophones step up and soft-spoken bass slides
underneath. A free blow is allowed to last only a few
minutes before shifting down to another contemplation.
It can be seen as foreshadowing much of Jarman’s
career (which he has referred to as being the music of a
peaceful and chaotic universe), ending in horn
harmonies that reveal their free-reigning groupthink.
For more information, email [email protected].
Mitchell is at Roulette Nov. 4th with S.E.M. Ensemble.
See Calendar.
UNEARTHED GEM
Before There Was Sound
Roscoe Mitchell
(Nessa)
Early Combinations
Art Ensemble of Chicago
(Nessa)
by Kurt Gottschalk
The story of the coming of age of Roscoe Mitchell and
the Art Ensemble of Chicago (AEC) is one of the great
tales of avant garde jazz, if not 20th Century American
music. The band’s formative years are mostly known
through a prolific two years spent in Paris at the end of
the ‘60s but there were some ripples before they left for
Europe. Mitchell’s Sound was the first commercial
record to come out of the nascent Association for the
Advancement of Creative Musicians and a year before
that recording Mitchell got together with trumpeter
Fred Berry, drummer Alvin Fielder and future AEC
bassist Malachi Favors to record the eight tracks that
see their first release on Before There Was Sound.
Mitchell hadn’t entirely come into his own by the
1965 session - there’s a strong Ornette Coleman
influence heard here, not just due to the instrumentation.
No doubt part of what Mitchell saw in Coleman was
the determined spirit of forging one’s own path and
the path Mitchell was to set out on is apparent on the
album. The shifting, near-unison horns of Coleman’s
quartet would of course become a feature of the AEC,
played out in more dramatic and sometimes even
comical ways. The titles here are mostly Mitchell’s
(including two takes of “Carefree”, which would also
be recorded by the AEC more than once, and “Jo Jar”,
which would be recorded 25 years later by Mitchell’s
3x4 Eye Ensemble) but there’s a lovely, loping ballad
by Berry and a rare composition by Favors. It’s also
worth noting that if Mitchell hadn’t entirely come into
his own at 25, he was still supremely capable of leading
a strong session of distinctive music.
By 1967, the AEC was starting to come together.
Mitchell and Favors were playing with Lester Bowie
and “Jo Jar” dedicatee Joseph Jarman, both of whom
would be members of the longstanding quintet that
came back from Paris. In September of that year, they
recorded two demos (with drummer Thurman Barker
and Charles Clark supplying a second bass on one) to
send out to European festivals. Those two tracks saw
light as part of the five-disc set Art Ensemble: 1967-68
(released by Nessa in 1993) and are available now on a
single disc. The first of the two cuts, “A To Ericka”,
shows the group already establishing its working
methods, playing in distinct isolation and snapping
together on tight themes, using shouts and song
fragments, whistles and handheld percussion to
broaden the scope of their sound and creating a feeling
that anything might happen. It’s actually two pieces,
the 22 minutes resolving in Jarman’s “Ericka”, another
track that the classic AEC lineup would revisit more
than once. The second half is a Jarman piece entitled
Super Bass
Wilbur Ware (Wilbur Ware Institute)
by George Kanzler
Back in 1957 we (college students from New Jersey)
favored two jazz clubs in the Village that had
memorable bassists. Charles Mingus led his Jazz
Workshop at the Half Note and Wilbur Ware (192378) was with Thelonious Monk’s Quartet (with John
Coltrane) at the Five Spot. Ware’s sound was as
distinctive and unmistakable as Mingus’, maybe
even more emphatic. He evinced a booming,
sonorous tone from the instrument, which he played
with a percussive fervor, plucking out short, fullyformed notes. He could execute double- and triplestops with alacrity, but what impressed most was
his big sound and rhythmic drive, plus the sheer
narrative melodicism he could bring to what were
primarily staccato, single-note line solos.
Plagued by addictions and ill health throughout
his life, Ware’s career was sporadic, his most
sustained activity the years he spent in New York
from 1956-62, including classic recordings with
Monk, Sonny Rollins (live with a trio at the
Vanguard) and as house bassist for the Riverside
label. This album, Ware’s last as a leader, was
recorded in 1968 as part of “The Dolphy Series” for
Strata East but never released. Produced by Clifford
Jordan, who also played tenor sax, it is an ideal
showcase for Ware, a bare-bones piano-less quartet
date completed by Don Cherry’s trumpet and Ed
Blackwell’s drums.
But the main attraction for Ware fans are two
long, unaccompanied bass solo tracks, “Symphony
for Jr.” and “By Myself”. Both are fully conceived
and realized performances. The former manages to
create melodic lines out of walking bass rhythms,
enveloping the listener in Ware’s rhythmic work.
The latter is more playful and exuberant, trills and
triple-stops announcing the theme out of the gate,
Ware continuing with double-timing, slapping
strings on bass body and effortless octave leaps,
illustrating the term “tonal virtuosity”, ending it all
with rhythmic authority. His powerful beat anchors
the quartet tracks, often with his bass sharing a lead
role as well as solo space. Jordan’s “A Real Nice
Lady” is a seductive contrafact on “Sophisticated
Lady”, the gem of the ensemble pieces.
For more information, visit wilburwareinstitute.org
15
GLOBE UNITY: POLAND
A Postcard From the Road
William Hooker Strings 3 (New Atlantis)
by Fred Bouchard
Quachatta Samech (Tzadik)
Watching Edvard
Ircha-Mikolaj Trzaska Clarinet Quartet (Kilogram)
TOM TRIO Tomasz Dabrowski (ILK)
by Tom Greenland
P olish
musicians from Krzysztof Komeda to the
Oles Brothers have embraced jazz for eight decades,
currently active in thriving local scenes in Warsaw,
Cracow, Poznan, Gdansk and other areas. Recent
releases reveal the country’s eclectic legacy.
Samech, a string trio with percussion from
Cracow, debuts with Quachatta, a blend of western
classical, Ashkenazi and Middle Eastern musical
influences. Founded by cellist and principal
composer/arranger Anna Ostachowska, the group
includes cellist Magdalena Pluta, double bassist
Marek Lewandowski and percussionist Robert
Sztorc, with ‘silent partner ’ Agata Krauz, writer on
half the tracks. Many melodies use the Ahavo Rabbah
mode, with minor second and major third pitch
intervals, a distinctive color often associated with
Greek, Turkish and especially Jewish musics.
Sztorc’s hand percussion, favoring Arabic dumbek
rhythms, lifts the low-pitched strings. “Sun Salute”
and “Zwiertnuk” are particularly strong, the former
for graceful chords and responsorial gestures, the
later for rhythmic interplay and charismatic solos.
Mikolaj Trzaska’s Ircha, a quartet of Bb and
bass clarinets, is another chamber group blending
Jewish and jazz influences. Watching Edvard, their
second date, contains restrained tone poems that
explore the rich timbres of the low reeds, posing
three bass clarinets against a single Bb, or vice versa,
or two-on-two. Most of the tracks are co-composed,
providing minimal but cohesive scaffolds for freeflowing improvisation, often consisting of held-out,
pulsing chords or staggered contrapuntal textures,
both dense and sparse, with extended techniques
such as tongue-slaps, aspirated notes and bird calls.
“Cenozoic-Kenobi” embodies the group’s strengths,
from the opening four-way free-for-all to a barely
audible section of pinched whispers followed by
lush lyricism, ending with Bb clarinet ‘call’ to the
choir with microtonal pitch shadings.
Tomasz Dabrowski’s TOM TRIO, with bassist
Nils Bo Davidsen and drummer Anders Mogensen,
features the young Polish trumpeter in a subdued
but expansive set of originals, recalling the folksy
futurism of Ornette Coleman, with hummable
melodies that morph unexpectedly. A subtle sonic
colorist à la Nate Wooley or Cuong Vu, Dabrowski
shades his rich, warm tone with squelches, halfvalvings and wah-wahs to achieve a bright but
burred effect. The trio synchs seamlessly, plodding
lyrical melodies bolstered by Mogensen’s active but
unobtrusive percussion to expand and unfold midtrack. Highlights include the chameleonic “Cold
Hands” and “CPH Talk”, the intimate dialogue of
“Triangle” and the ever-changing but ever-swinging
tempos of “This Way Up”.
For more information, visit tzadik.com, kilogram.pl and
ilkmusic.com
Drummer William Hooker ’s career trajectory began in
rock and soul (Isley Brothers, Dionne Warwick) and
strode inexorably into free jazz while acknowledging
these roots. Here Hooker with two guitars (Edward
Ricart, Dave Ross) and Glen Hall on tenor sax tear it up
at Toronto’s Placebo Space in August 2011.
Seven slashing, driving tracks - the fades suggest
these five-to-six-minute chunks may have been cut
from a longer suite - seem energized by a rough-cut
African-inspired animus. The restless, protean,
inchoate melodies unfold as exuberant blues-tinged
6/8 dance rhythms in animatedly gesticulating openended discussions and animated group dancing.
From the powerful onset, a riveting five-minute
drum solo, Hooker ’s kit commands center stage, with
spoken exhortations not unlike Charles Mingus’ prayer
meetings, in the role of chief locutor or deacon. Even
when slightly detuned guitar chorales quietly lead in
some segments (on “Harmony” and “Tantri” they
sound like a harmonium or computer-tweaked),
Hooker ’s brushes swish a turbulent undercurrent.
Hall’s role is that of an occasional testifier, usually
buoyed (sometimes drenched, as on “Kulit”, Tagalog
for ‘pesky’) by Hooker ’s unrelenting tidal whitecaps.
The recording is primitive: this grainy black-andwhite postcard arrives dog-eared and manhandled,
but with its powerful message incontrovertible.
For more information, visit facebook.com/NewAtlantisRecords.
Hooker is at The Firehouse Space Nov. 4th. See Calendar.
In The Grand Scheme of Things
Michael Blake (Songlines)
The Creep Ted Nash (Plastic Sax)
Nocturnal Prophecy
John O’Gallagher/Vardan Ovsepian (Red Piano)
by Donald Elfman
H ere are three new recordings with saxophones in the
lead with music that is vital, in-the-groove, lyrical,
smart - all the finest qualities to assure that the music
continues and that new instrumentalists will thrive.
On Michael Blake’s latest recording In The Grand
Scheme of Things, he uses words by writer Michael
Ondaatje in the notes: “There is a story always ahead
of you. Barely existing. Only gradually do you attach
yourself to it and feed it.” Blake seems to be a searcher
for that story and he feeds it by looking around in the
present and past to find ways of being extraordinarily
expressive.
There is so much sound in this recording coming
from the depth and breadth of Blake’s experience and
imagination, but also from the creative way he works
with his fellow musicians. All the compositions but
one are by Blake and his work is rich in color and
texture. He and his mates can be beautifully lyrical and
evocative and then surprise with a funky groove or
smart electronic effect. For example, opener “The Road
to Lusaka” starts with percussion colors and JP Carter ’s
electronically altered trumpet and then evolves over a
groove courtesy of Chris Gestrin’s keyboards and
Dylan van der Schyff’s drums. The whole mood is
evanescent - it slowly comes into being, does what it
needs to and fades back into a pulsing quiet and then
to a kind of cosmic stillness. “Cybermonk” suggests
the jumpiness of Monk and moves forward with a
terrific, ranging Blake solo that is virtuosic but ever
musical. There’s lots of lovely melody here, too. “Willie
(The Lonely Cowboy)” is a glorious ballad that is
moving emotionally, intelligent in its use of space and
variety of mood and fruitful in its improvisation,
indicative of the whole of this very special recording.
Ted Nash reveals a world of influences on his
tasty, adventurous new quartet album The Creep but
still emerges as his own person - he’s got an engaging
tone, a unique approach to writing and a striking
clarity of expression. The recording has everything:
smart, communicative group interplay, thoroughly
absorbing solo work and a great variety of mood.
The sinuous and sleek title tune finds the two
horns playing a long and mysterious line deep in the
jazz tradition but still going into strange and wonderful
places. Trumpeter Ron Horton is a perfect partner for
Nash and his solo is open and dark at the same time.
Then comes a bluesy bit of chaos in “Plastic Sax
Rumble”. It’s as raucous as the title suggests but,
again, these players, buoyed by the ferociously
swinging rhythm of bassist Paul Sikivie and drummer
Ulysses Owens, take the seeming disorder into
controlled and always appealing structure. The bubbly
“Twilight Sounds” seems like a mélange of lovely riffs
from real and imagined jazz classics. Both horns solo in
a more frenetic way, suggesting that possibly twilight
is just turning into full-fledged night. All of this music
sounds somehow both freeform and exceptionally well
planned.
The moods from the John Gallagher/Vardan
Ovsepian recording Nocturnal Prophecy all seem to
come from a quiet night. It’s a daring endeavor to take
on such uniformly shadowy and sleepy sound picture,
but this recording is the aural equivalent of, say, a film
by a stylist in which the pictures drawn are so singular
and different that they create a new and different
world. The music is never overly brooding.
Saxophonist Gallagher and pianist Ovsepian met
at the Maine Jazz camp and the result of their work at
that facility has found individual and unmatched
fruition. “New Objects Old Game” opens this
excursion, exquisitely slow and atmospheric. The
piano tolls insistently but sparingly while the
saxophone spills out a breathy paean to the night. It’s
over before we know it but we also know that quite a
lot has been expressed in that short space. And that
short form defines most of what we hear here.
“Damnable Soul” is the longest track at over eight
minutes and suggests a solitary walk through the
darkest part of the night. Sure it’s lonely but seems to
find a universality in that loneliness. By the time the
last of the 18 tunes comes around - “Old Object New
Game” - the night is drawing to an end and it’s time to
face the morning or quietly find solace in sleep.
For more information, visit songlines.com, tednash.com and
redpianorecords.com. As part of the Jazz Composers
Collective Festival at Jazz Standard, Blake plays Nov. 9th
with Herbie Nichols Project, 10th as a leader and with Ben
Allison and 11th as a leader and with Herbie Nichols
Project; Nash plays Nov. 8th with Ron Horton, Nov. 9th as
a leader and with the Herbie Nichols Project, Nov. 10th
with Ben Allison and Nov. 11th with the Herbie Nichols
Project; O’Gallagher plays Nov. 8th with Ron Horton/Tim
Horner. 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
Quartet
Max Johnson
(Not Two)
Harlem Speaks
Elevated Vegetation
Max Johnson
(FMR)
by John Sharpe
Bassist Max Johnson has gigged around town with
bluegrass and out-jazz ensembles and popped up with
masters such as Anthony Braxton. Now come his first
two releases featuring a roster of hoary and
contemporary talent. If you run with the fastest, you
need to be able to keep up, but with his big sound and
fertile imagination that’s no problem. Over the past
two years, he has penned a program of well-crafted
charts, far from blowing vehicles, whose interlocking
parts corral his resources to unpredictable ends.
And what resources he has assembled in his
eponymous quartet debut. Exciting soloing is almost
guaranteed from the likes of trombonist Steve Swell,
whose subtly shaded lines are ripe with bluster, and
reedman Mark Whitecage, whose accomplished seatof-the-pants navigation can’t mask an irrepressible
swing. But all are integrated into a strong group ethos.
On “Lost & Found (for Henry Grimes)”, the trajectory
mirrors that of its dedicatee. After an appropriately
hairy bowed introduction, a dirge-like theme frames a
minimalist collective exchange, which gives way to a
nimble-fingered pizzicato statement full of interpolated
asides. That in turn blossoms into a duet with Swell’s
muted ‘bone, followed by a triumphant passage for
Whitecage’s mellifluous serpentine clarinet, before a
return to the opening device. Elsewhere sometimes
there is a disconnect between the themes and the
ensuing arrangement, which perhaps betokens an
additional layer of compositional intrigue. On “60-66”
a boppish head presages an extended series of rapidly
alternating mercurial duets while the klezmer-tinged
whirl of “Iset-Ra” bookends an initially fingerpropelled excursion of customary precision and
timbral wit by drummer Tyshawn Sorey, building into
pulsating freeform episodes for trombone and alto.
On Elevated Vegetation, the bassist’s working trio,
completed by cornetist Kirk Knuffke and drummer Ziv
Ravitz, takes a spin through six more of the leader ’s
originals, along with one from the trumpeter and two
unlikely covers. Even allowing for the reduced
numbers, the arrangements are noticeably more
spacious and skeletal. Both materials and methods
have been completely internalized making eversudden transitions seem natural. With his soft but
articulate attack and understated lyricism, Knuffke is
an equal partner in an inverted triangle, which has
Ravitz supplying momentum and color at its base.
Their rendition of Abba’s “Money, Money, Money”
provides a good illustration of the bassist’s thinking,
with the almost unrecognizable low-key exposition
providing the loosest of structures off which to hang a
diaphanous improvisation. Elsewhere heads and riffs
act as the anchor points on an otherwise sheer face of
spontaneous interplay, with the airy “Death Wish” and
the trumpeter ’s angular “Meta Analylitcal Procedures
for Social Research” particularly fine. Knuffke’s
rumination against an almost subliminal tattoo
introduces a heartfelt soliloquy from the bassist on
Richard Rodgers’ “Bali H’ai” for a gentle close to an
album whose depths repay longer acquaintance.
A SPECIAL SERIES HONORING HARLEM HEROES
T ime : 6:30 --- 8:30 pm
11/15: Ted nash
11/29: bill kirchner
Saxophonist
Saxophonist
P rice : Free
LocaTion: The NJMH Visitors Center, 104 E. 126th Street, #4D
saturday panels
12:00 PM – 4:00 PM • FREE
Jazz for Curious Listeners
FILMS, PANEL DISCUSSIONS & LIVE MUSIC
Tuesdays 7:00 - 8:30 p.m.
The NJMH Visitors Center, 104 E. 126th Street, #4D
Nov. 17: Hearing Tremé
A New Orleans Jam
Free classes celebrating Harlem and its legacy.
Attend any individual class.
Tuning into TremE with Larry Blumenfeld,
The Wall Street Journal
11/6: Bands on the Run
1 1 / 1 3 : Tremé at 200 - Maysles Cinema
(343 Lenox Avenue between 127th & 128th)
11/20: In The Tradition?
11/27: Do You Know What It Means?
NJMH Visitors Center, 104 E. 126th St., #4D
Jazz at The Players
Nov. 14: Wayne Escoffery w/ Danny Grissett,
Ugonna Okegwo, Mike Clark
7:00pm | $20 | The Players, 16 Gramercy Park S.
[email protected] | 212-475-6116
RT
E
C
IT
EF
N
BE
N
O
C
Christian McBride & Jonathan Batiste
TOGETHER IN CONCERT!
A concert to benefit The National Jazz Museum in Harlem
featuring: Christian McBride Trio, Jonathan Batiste and the Stay Human Band
The National Jazz Museum All-Star Big Band,led by Loren Schoenberg,
featuring: Janis Siegel
For more information or to buy tickets, go to:
http://www.jazzmuseuminharlem.org/evite/
or call 212-348-8300 x106
Thursday, November 8, 2012
6:30pm Reception | 7:30pm Concert | El Teatro at El Museo del Barrio
1230 Fifth Avenue @ 104th Street, New York, NY
the
DOCTOROW FAMILY
F O U N D AT I O N
For more information, visit nottwo.com and fmr-records.com.
The trio is at The Stone Nov. 8th, the quartet Nov. 29th. See
Calendar.
Funded in part by Council Member Inez E. Dickens, 9th C.D., Speaker Christine Quinn and the New York City Council
17
The Matador and the Bull
JD Allen (Savant)
by Jeff Stockton
JD Allen and his rhythm section deliver The Matador
and the Bull as a novel concept. No, not the bullfight
metaphor. It’s the fact that the album lists 12 titles and
yet clocks in at just over 40 minutes. No 20-minute
cuts. No ten-minute cuts. In fact, the experience of
listening to this CD is so self-contained, succinct and
relatively brisk that I was tempted to rip it to my
computer as a single continuous work.
Allen has earned a lot of recent attention for his
band’s economy of approach and the title cut kicks off
the album with a swift hardbop statement delivered
via Allen’s authoritative tone on tenor saxophone.
Rhythmic interaction among Allen, bassist Gregg
August and drummer Rudy Royston catapult the
music through the first three cuts before the first
audible break and lowering of energy for the ballad
“Santa Maria”. August handles the segue into
“Cathedral”, bowing his bass before being joined by
Royston’s splashing cymbals and Allen’s continually
searching, exploratory lines. “Paseillo” ratchets up the
tempo with Royston’s pulse getting a bit more regular
and August’s bass moving from a walk to a trot.
“Erlanger” arrives in the middle of the program and
serves as a showcase for a controlled torrent of Allen’s
ideas. Just as you’re getting into it, the band resolves
the melody, the track stops and it’s on to the next. They
say what they have to say and move on. No time to
waste.
Whenever a CD doesn’t wear out its welcome and
presents jazz music with conventional instrumentation,
it’s said to evoke “the classic era of Blue Note records”.
That comparison is as tired as the struggle between
matador and bull, but in the case of the JD Allen Trio,
bringing up Blue Note couldn’t be more apt. Allen
conjures memories of John Coltrane, Wayne Shorter
and Joe Henderson, et al, while the music he makes
with his bandmates is made the old-fashioned way: it’s
melodic, conveys emotional content, lacks selfindulgence and rewards and encourages repeated
listening. The Matador and the Bull goes down easy and
leaves you hungry for more.
For more information, visit jazzdepot.com. Allen is at Smoke
Nov. 9th-10th with Jeremy Pelt and Rose Hall Nov.
16th-17th with Jazz at Lincoln Center Orchestra. See
Calendar.
TranceFormation In Concert
Connie Crothers/Ken Filiano/Andrea Wolper
(New Artists)
by Marc Medwin
50 years after it became a topic of public interest and
controversy, many still have the wrong idea about
freedom in improvised music. In one of those “What is
the Beat Generation” lectures of the late ‘50s, Jack
Kerouac exclaimed, “Responsibility? Who wouldn’t
help a dying man on an empty road!” His comment
addresses a fundamental characteristic of human
interaction and, consequently, musical interaction
when two or more improvisers assemble. They share
the responsibility either to communicate with each
other or not, but the decision is integral to their
freedom. TranceFormation’s debut shows that when
such considerations are taken seriously, the resulting
music can be miraculous.
The disc’s opening phrases give the game away.
Bassist Ken Filiano begins a line and pianist Connie
Crothers continues it, both acting with the absolutely
natural simplicity of a conversation. This happens
repeatedly as the music proceeds; there’s a remarkable
moment in “Whale Song” where Filiano hints at a
pulse, Crothers offers a bluesy retort and the two lock
into a groove that broadens and pervades the texture.
Hearing the pitch complexes on offer, vocalist Andrea
Wolper circles the pattern, ultimately adopting and
flavoring it with swells and sudden full-voice bursts.
These switches from parallel to serial listening are
delightfully unpredictable and satisfying on many
levels, speaking to deep listening and collaboration.
Crothers and Filiano have fostered a well-documented
musical relationship in her quartet, but these
performances mark the first time that Wolper has
recorded with them. The timbre of her voice conjures
uncanny shades of Jeanne Lee and Grace Slick, drawing
on rhetoric that juxtaposes ‘soul’ slides and operatic
bloom with easy skill. Her collaborators demonstrate
similar diversity, jumping into tradition with acrobatic
dexterity and casting it aside with the muscular
certainty only experience affords. Ben Manley’s
recording is gorgeous as usual and it captures each
detail of the multivalent interaction that inhabits every
moment of this group’s excellent first offering. May
there be many more!
For more information, visit newartistsrecords.com. This
group is at I-Beam Nov. 9th. See Calendar.
Side Effects
Trio Generations
(ARC)
Between Shadow and Light
Bebelaar/Fonda/Joos
(Double Moon)
by Robert Iannapollo
Bassist-for-all-seasons Joe Fonda is always involved
in a multitude of his own projects but he also seems
game to collaborate in many unusual group settings.
One combination he seems to favor most is the trio,
especially the piano trio. His long-standing
collaboration with pianist Michael Jefry Stevens has
been ongoing since the late ‘80s and actually predates
the forming of their long running Fonda/Stevens
Group. The bassist and pianist began performing as
Trio Generations about two years ago with
20-something Austrian drummer Emil Gross. This has
developed into quite an enterprising side project and
the results on the new CD Side Effects bode quite well
for the future of the group.
The material on Side Effects, primarily by Fonda
and Stevens, has mostly been performed in other
bands. “Parallel Lines” goes back to the mid ‘90s as the
title track of Fonda/Stevens’ second album. It’s a good
one to pull out, a complex and multi-sectional
construction that requires a drummer to be on top of
his game. Gross rises to the occasion, segueing in and
out of the passages with ease. “Full Figure” is a new
Fonda original, a jagged line that moves into free
territory, testing the free improv chops of the young
drummer. “Trio Generations” by Fonda is a beautiful,
moody, almost expressionistic piece, which features
some of Stevens’ most trenchant piano work of the set.
On the final two tracks the band is joined by saxophonist
Lily White for the title track and “Boot Camp”, both
her compositions. White is an engaging saxophonist
with a full-bodied tone and the band delivers the songs
with vigor. But these two tracks seem apart from the
rest of the set and break the deep piano trio spell this
group had woven previously. But even as it stands,
Side Effects is a worthwhile enterprise.
In 2009 Fonda recorded a trio session with German
pianist Patrick Bebelaar and bassoonist Michael
Rabinowitz. Between Shadow and Light is a follow-up of
sorts with Rabinowitz being replaced by legendary
German trumpeter Herbert Joos, one of the major
players in the Vienna Art Orchestra with a large
number of his own releases dating back to the mid ‘70s.
Joos, whose soft, breathy sound seems almost to be a
template for modern day trumpeters like Nils Petter
Molvaer, is all over this disc. He’s complemented by
Bebelaar ’s strongly melodic piano with Fonda’s deep,
sonorous bass both contrasting and complementing
the lighter aura of the other two players nicely. Fonda’s
“Small Melody For A. Schoenberg” captures the
essence of this session: a beautiful melody etched by
Joos, Bebelaar ’s inside-the-piano work and Fonda’s
bass lending a mysterious underpinning. This session
wouldn’t sound out of place in ECM’s current
catalogue.
For more information, visit artistsrecordingcollective.info
and doublemoon.de. Joe Fonda is at 92YTribeca Nov. 10th
with Joe Fonda/Michael Jefry Stevens Group. See Calendar.
“Masters at work and
play, whose music is
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Cadence Magazine
New Recording
Project:
Julian Priester,
trombone
BLANKET
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David Haney,
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For more info, visit
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The crowdfunding campaign
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Cookbook
Thomas Heberer’s Clarino (Red Toucan)
by Stuart Broomer
Thomas Heberer is a German trumpeter of thoughtful
phrase and subtle wit, best known for his long-running
presence in the Instant Composers Pool Orchestra. In
recent years he has also aligned himself with a group
of younger New York-resident musicians with
European backgrounds and a common aesthetic.
His group Clarino includes Belgian clarinetist
Joachim Badenhorst and French-German bassist Pascal
Niggenkemper. Heberer ’s system of graphic notation
that he calls “Cookbook” was employed on the group’s
first CD (Klippe, Cleanfeed, 2011); for this recording,
Heberer has extended the system to include specifically
notated passages as well, creating a mixed methodology
that structures, conditions and grows with the
improvisation. Where one method begins or ends,
though, is unlikely to be immediately apparent to the
listener: the 12 short works are virtually seamless, freeform chamber pieces that assume their ultimate shape
with a refinement that might be achieved through any
of the methods involved when employed by musicians
of this level. Heberer, Badenhorst and Niggenkemper
are all masters of varied sonorities, consistently giving
the music a particularly beautiful surface, whether it’s
Heberer ’s subtle use of mutes, the controlled overtones
of Badenhorst’s bass clarinet or the woodiness of his
soprano or the cello-like sweetness of Niggenkemper ’s
bowed upper-register.
There’s often a spaciousness here and it connects
with the breadth of timbres to suggest a much larger
group. It might feel like chamber music, but there’s
nothing precious about it: it’s controlled, focused and,
in its own spare way, intense.
For more information, visit www3.sympatico.ca/cactus.red/
toucan. Heberer is at 92YTribeca Nov. 10th with the Fonda/
Stevens Group, Seeds Nov. 14th with Joe Hertenstein and
El Taller LatinoAmericano Nov. 15th with Karl Berger. See
Calendar.
Interactive Album Rock
Iron Dog (Phase Frame Music)
by Wilbur MacKenzie
Iron Dog started as a duo with the wife/husband team
of Sarah Bernstein on processed violin and vocals and
Stuart Popejoy on electric bass and synthesizers. The
mix of Iron Dog’s abstract poetry and electroacoustic
textures owes much to the sonic experimentation
generally associated with Brian Eno’s ‘70s recordings
and ‘80s No Wave (which initially gained wider
attention through Eno’s No New York compilation). The
addition of drummer Andrew Drury and the occasion
to make their first studio recording results in a more
completely immersive musical experience that captures
the group’s live performance potential.
The opening track, “Like The Slow Train”, kicks
things off with an unexpected tone-rousing march,
leading the ensemble not to a passionate battle of wills
but a grotesque dismemberment of traditional
ensemble dynamics, as previously groovy bass quickly
digresses into backwards drones and feedback.
“Love Segment” features heavily processed bass
and rumbling percussion textures, with Bernstein’s
delay-laden vocals instigating a tumultuous sonic
excursion. The violin is featured more heavily on
“Februarists”, with bass and drums setting up a
frenetic tempo that eventually collapses into a beautiful
ending. “Comic Reactions” finds heavily processed
bass setting up an evocative time feel, one that serves
not as a foundation but as a focal point, as percussion
and violin maintain a resolute focus on texture and
colors. Bernstein’s poetry on this track plays with
expectation in that every line suggests a move towards
more conversational approach, which ultimately does
not materialize, her words instead emerging and
receding from the abstract textures.
“Pain Glorious” calls to mind the irreverent
excesses of ‘70s arena rock, highlighting the particular
elements that perhaps linked Miles Davis and Jimmy
Page in those days. Of course, in Iron Dog land, such
cultural references are balanced by only the most
delightfully esoteric of percussion techniques and
indecipherable bass loops.
The mix of violin pizzicato and poetry on “He
Said Writing” and the closing track “Is It For Breaking”
bring to mind the classic Iron Dog sound, the latter
offering a rather ruminative ending, as Drury’s bowed
cymbals fade into darkness.
and on “Autumn Kiss”, where he shows off on a series
of rapid runs. Rosenwinkel plays a bluesy guitar on
“We Shall Meet Beyond The River” and stands out
with compelling statements on “Venus As A Boy” and
“Gate 29”. Sung is in great form with her piano fills
and solos, most notably on “Gate 29” and the title
track, which also features some delicious Gilmore
drumming.
This well-put-together CD (produced by Ornig)
can only increase Ornig’s visibility on the jazz scene as
a fresh instrumentalist and composer.
For more information, visit irisornig.com. Ornig is at Blue
Note Nov. 11th and The Garage Nov. 25th. See Calendar.
For more information, visit phaseframemusic.com. This
group is at JACK Nov. 10th. See Calendar.
New Release
2012
The first performance of
the trio that became Trio X
The Joe McPhee Trio
No Restrictions
Iris Ornig (s/r)
by Marcia Hillman
FIRST DATE
No Restrictions is bassist Iris Ornig’s second CD outing
Live at the third annual Vision Festival
as leader. Ever since this German-born instrumentalist
relocated to New York City, she has been a frequent
collaborator with musicians like Joel Frahm, Ambrose
Akinmusire and Gretchen Parlato in clubs such as Blue
Note, Jazz at Kitano, Joe’s Pub and Zinc Bar. Her
cohorts here for eight Ornig original compositions and
two covers - Björk’s “Venus As A Boy” and the late
Michael Jackson’s “The Way You Make Me Feel” - are
trumpeter Michael Rodriguez, guitarist Kurt
Rosenwinkel, pianist Helen Sung and drummer Marcus
Gilmore.
As a composer, Ornig is of the less-is-more school.
Her melodies are spare but lyrical and her chord
changes often go to interesting and unexpected places.
She is an advocate of the mainstream and knows how
to construct a standard AABA song form (unlike many
contemporary jazz songwriters who compose only riffs
and pass them off as ‘songs’). As a player, Ornig has a
mellow sound and feel to her bass work. She is solidly
behind the ensemble on every track and shines with
her conversational solos on “The Way You Make Me
Feel” and the bop-oriented, toe-tapping closer
“Uptight”.
From the position of leader, Ornig has put together
a group that is very tightly knit. Rodriguez has a
wonderfully clear tone and carries the initial melody
on each of the tracks. He shines on the surprisingly
swinging rendition of “The Way You Make Me Feel”
Joe McPhee
tenor and soprano saxophones and pocket trumpet
Dominic Duval
bass
Jay Rosen
drums
North Country Distributors
Cadence Building, Redwood, NY 13679-3104
Tel: 315-287-2852 s Fax: 315-287-2860
Email: [email protected]
Thoughts on God
Eric Person (Distinction)
by Alex Henderson
Spiritual
music has been influencing jazz for many
years. Duke Ellington incorporated elements of gospel
at times; John Coltrane, Alice Coltrane, Pharoah
Sanders and Lonnie Liston Smith were all influenced
by Hindu ideas. So if a jazz improviser wants to record
an album with some type of spiritual focus, there is a
lot of history.
Alto and soprano saxophonist/flutist Eric Person’s
Thoughts on God doesn’t express spiritual ideas with
any lyrics, the extended 12-movement suite totally
instrumental. Instead, Person creates a spiritual mood
with his melodies, harmonies and saxophone playing,
sometimes recalling the mid ‘60s albums of Coltrane
and Sanders. There are hints of Ellington on “Never
Far from His Grace”, but the Coltrane/Sanders
aesthetic is a stronger influence on “Song of Praise”,
“Soothes the Soul” and the probing “The Lighted
Way”. Thoughts on God has both a Hindu/Eastern and
a biblical connection. While Person’s melodies and
harmonies clearly owe something to Eastern aesthetics,
some of the song titles have biblical references: “And
Then There Was Light” is a Book of Genesis reference
from the Old Testament while “All Those with Ears
Hear” is a Book of Revelations reference from the New
Testament. The optimistic “Gratitude” has a
delightfully churchy, Sunday-morning feel.
Person has usually been heard in small groups,
but here he leads a 13-piece ensemble. And while he is
the main soloist, there are also enjoyable contributions
from trumpeter/flugelhornist Duane Eubanks, pianist
Adam Klipple, vibist Bryan Carrott and others. With
Thoughts on God, Person offers an engaging reminder of
the role that spirituality can play in the jazz tradition.
For more information, visit ericperson.com. Person is at
Blue Note Nov. 12th. See Calendar.
Mahoroba
Akiko Pavolka & House of Illusion
(Fresh Sound-New Talent)
by Elliott Simon
Deeply felt vocals sung in Japanese against a band
perfectly in tune with her timbre and phrasing define
pianist/vocalist Akiko Pavolka’s Mahoroba. The title is
an allusion to an illusion, a fictional Japanese land of
perfect harmony. Pavolka’s voice is deeply resonant,
hyper-mature in a way and carries with it a gorgeous
round resonance that blends incredibly well with both
Loren Stillman’s expressive alto and Matt Pavolka’s
emotive bass. Her piano style is measured and likewise
richly tonal, imparting an overall harmony to
compositions that stylistically borrow from and blend
together pop, jazz and Japanese balladry.
Her allusion to a state of perfect harmony comes
through loudly and clearly even though her lyrics are
sung in Japanese. Perhaps this is because the nonJapanese speaking listener is better able to focus on her
emotion and interconnectedness with her piano and
band - an apperception of the whole based on one’s
own experience as opposed to a perception of the lyric.
Regardless, each of these pieces impress as a beautifully
delicate reminiscence.
“Alfama“ is a subtle vision of yearning and
remembrance that includes touching arco basslines
deftly matched by Stillman’s alto. “Immigrants“ is a
brilliant portrayal of pathos, opening with an ethereal
voice/guitar harmonic pairing of Pavolka with
guitarist Nate Radley. The latter ’s touch and Guillermo
Klein’s Wurlitzer are central to many of these pieces,
both in setting the mood and broadening the sound.
“Tango” features drummer Bill Campbell up in the mix
as he sets up a walking rhythmical figure that defines
this dance. The title cut closes out the session as a
peaceful ballad, which includes vocal harmony
between Pavolka and Klein.
While the current state of the world may make it
seem like Mahoroba is slipping further and further
away, Pavolka and her House of Illusion skillfully
assemble around these heartfelt compositions to pull it
a tiny bit closer.
Sperrazza matches their cadence. Nodding to sci-fi cult
favorite They Live, the bouncy head of “Nada vs.
Armitage” fuels the quartet’s improvisations: Pavolka
twists and stretches the phrases; Holmes blows subtle
then forceful squalls; Hasselbring bounds over and
spars with the groove and Sperrazza plays it out with
a flurry across the kit.
On just his second release as a leader, Holmes
establishes himself as a performer and composer to
note, craftily expressing a range of emotion and
influence within seemingly traditional jazz settings.
For more information, visit skirlrecords.com. This group is at
ShapeShifter Lab Nov. 12th and Barbès Nov. 13th. See Calendar.
For more information, visit freshsoundrecords.com. Pavolka
is at ShapeShifter Lab Nov. 12th. See Calendar.
Anvil of the Lord
Ben Holmes Quartet (Skirl)
by Sean Fitzell
With its 20th release, trumpeter Ben Holmes’ Anvil of
the Lord, Skirl Records again proves its aesthetic
commitment to vibrant, sincere performances. Unlike
other catalog titles that unabashedly flout genre
notions with extreme experimentation, Holmes leads a
more traditional two-horns-plus-rhythm quartet in a
jazz romp. That’s not to say that the music is staid or
old-fashioned, but it weaves its influences more subtly
without rending the forms. Holmes pairs with Curtis
Hasselbring’s trombone for an uncommon two-brass
frontline and they echo or complement each other with
uncanny interplay that bolsters the nine originals.
Bassist Matt Pavolka and drummer Vinnie Sperrazza
propel the brass with solid grooves and rhythmic
creativity to help shape the music.
Insistent ride cymbal paces “A Doodle for
Rhapsody”, forming a deep pocket with the taut
bassline, buoying the horn’s regal theme. Without
wavering from the groove, Sperrazza prods the
spiraling soloists with effective fills and accents.
Emerging from the lilting melody, Holmes builds a
narrative that plays off the bass before ceding to
Hasselbring’s elegant turn and Pavolka’s tuneful solo
on “Magic Mondays”. Holmes boasts clarion tone that
figures prominently on the lovely unfolding of “Moved
Like a Ghost”, his effective mute coloring the lolling
swing of “Kingston” and Hasselbring responding in
kind over the accelerating rhythm, the two exchanging
quips through the fadeout.
Pavolka’s probing line supports Hasselbring’s
hushed introduction to “Otesánek”, which evolves
into a marching feel spurring the Eastern Europeantinged theme and Holmes’ effervescence, as he pops
notes in tandem with the snare hits. The bassist’s
galloping opening pushes the title track’s whirling
horn parts - first phased, then joined in unison - as
Our Latest Release
Trio is the long-standing improvising unit of Dartmouth
composers Kui Dong, Larry Polansky and Christian Wolff.
They have crafted a disc of singular beauty, huge contrast
and immense power.
HenCeforTH records
www.henceforthrecords.com
21
Double Portion
Edmar Castaneda (Arpa Y Voz Productions)
by Russ Musto
V ery few musicians have revolutionized the approach
to their instrument and its sound in jazz on the scope
achieved by Colombian harpist Edmar Castaneda
during his relatively young career, possessing a
heretofore-unheard stylistically inventive virtuosity
on “el arpa llanera”. Castaneda’s unique ambidextrous
handwork finds him playing engaging melodies and
improvisations
simultaneously
with
powerful
basslines concurrently informed by the deep rhythms
of the AfroCuban and jazz traditions, as he plucks,
strums and hammers an amazing array of sounds from
the strings of the chordophone. On his previous two
releases he demonstrated his imposing talents, both as
an instrumentalist and composer, within the context of
his idiosyncratic trio of trombonist Marshall Gilkes
and multi-percussionist David Silliman, intermittently
adding guests such as Paquito D’Rivera, Joe Locke,
Mike Rodriguez and John Scofield to the mix. Here he
pares down the instrumentation, but not the music’s
sound, on a date divided evenly between solo
performances and a series of duets with Cuban pianist
Gonzalo Rubalcaba, Puerto Rican alto saxophonist
Miguel Zenón and Brazilian mandolin player Hamilton
The New York City
Jazz Record
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de Holanda.
Double Portion, in keeping with the duo
configurations correlating to the biblically derived
title, features Castaneda playing two different harps,
the folk harp native to South America and the classical
instrument of European origin. The opening title track,
an exciting duo excursion with Rubalcaba, features
him on the former in a rhythmically expansive,
harmonically rich environment. On the unaccompanied
“Zeudi” that follows, he exhibits an appealingly
delicate lyrical impressionism on the classical harp. “A
Harp In New York”, once more with arpa llanera, pairs
Castaneda with Zenón in an Africa-New Yorkinfluenced rhythmic setting, the harpist projecting a
raw folkish primitivism from the instrument’s sonic
palette in contrast with the rich liquid sound of the alto
while the solo “Poem Of Strings” displays a pretty
melodicism on classical harp. Astor Piazzolla’s
“Libertango”, the date’s one piece not penned by
Castaneda, is a thrilling tour de force dancing string
outing featuring folk harp and mandolin. Brazilian
rhythms are played by classical harp on the solo “Ocaso
De Mar” and the bracing cadences of the Joropo music
from the plains of Colombia and Venezuela come alive
on the Rubalcaba-Castaneda duet “Quitapesares”,
which demonstrates the rich sound of the arpa llanera
in its natural setting - much as the pastoral Debussian
beauty of “Portrait D’un Jardin” does for its European
counterpart. Castaneda and Zenón come together one
more time on “A La Tierra”, an exhilarating episodic
flamenco-tinged dance that is equally passionate and
brooding. The concluding “Samba for Orvieto” finds
the harpist alone, once more proving that he needs no
company to deliver similar excitement.
For more information, visit edmarcastaneda.com. Castaneda is
at Americas Society Nov. 13th, 19th and 26th. See Calendar.
Somewhere in
the Night
Bobby Hutcherson
(Kind of Blue)
Blue Vibes/Happy Ground
Johnny Lytle Trio
(Jazzland/Riverside Fresh Sound)
by Joel Roberts
V ibes
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and organ is a relatively rare combination in
jazz - so rare, in fact, that until veteran vibraphonist
and NEA Jazz Master Bobby Hutcherson began
working with Joey DeFrancesco a few years ago, he
had not recorded with an organist since he cut a pair of
mid ‘60s sides with Big John Patton and Grant Green
(with Larry Young on the B3).
Recorded in October 2009 at Dizzy’s Club in New
York, Hutcherson’s new release Somewhere in the Night,
his first in three years, features the vibraphonist
alongside DeFrancesco and his trio of guitarist Peter
Bernstein and drummer Byron Landham. Like a lot of
former radicals, Hutcherson, who was one of the most
innovative artists of the ‘60s when he appeared on
seminal albums by fellow free thinkers like Eric
Dolphy, Andrew Hill, Archie Shepp and Jackie McLean,
has settled comfortably into the mainstream as he’s
grown older - though it’s a mainstream he’s helped
expand and make more inclusive of challenging
musical ideas.
The set he performs here doesn’t break any new
ground, but it features some sublime moments and
plenty of exciting playing from all members of the
ensemble. Hutcherson is at his most intense and
creative on Duke Ellington’s nod to John Coltrane,
“Take the Coltrane”, and on a pair of originals
dedicated to his sons, “Teddy” and “Little B’s Poem”.
DeFrancesco has mellowed over the years, too. Once a
bit of a bombastic player, prone to overly frequent
displays of his full pyrotechnical arsenal, he’s learned
to play with greater subtlety and nuance, as on the title
tune and the ballad staple “My Foolish Heart”. And he
and Hutcherson play off each other terrifically,
particularly on the hard-charging closing take on
Gershwin’s “S’Wonderful”. Theirs is a bit of an
unexpected collaboration, but it’s certainly a
worthwhile one.
Another example of vibes with organ has now
been reissued, featuring the superb, but underrated
vibraphonist Johnny Lytle. Blue Vibes/Happy Ground
pairs two early ‘60s albums by Lytle, who recorded
with everyone from Louis Armstrong to Miles Davis
(Lytle began his career in the late ‘50s as a drummer),
but never really established himself as a major jazz
figure despite close to two dozen albums as a leader
from 1960-92. It’s not from any lack of talent, however.
Lytle has serious chops and a pop-leaning style that
draws on fellow vibraphonists Milt Jackson, Lionel
Hampton and Cal Tjader.
Both albums feature Lytle and his main foil Milt
Harris on organ, along with two different drummers,
including a young Albert “Tootie” Heath on Blue Vibes.
The mood here is heavy soul jazz with a touch of
bebop, the material mostly standards except for a pair
of Lytle originals per album and Milt Jackson’s “Movin’
Nicely” from Blue Vibes. It’s a heck of a lot of fun and
well worth searching out.
For more information, visit kindofbluerecords.com and
freshsoundrecords.com. Hutcherson is at Allen Room Nov.
16th-17th as part of a Joe Henderson tribute. See Calendar.
The Jukebox Crowd
Randy Napoleon (Gut String)
by Ken Dryden
Many
young up-and-coming jazz artists focus on
showcasing themselves by playing blazing uptempo
solos. Yet guitarist Randy Napoleon, who has toured
with the Clayton-Hamilton Jazz Orchestra and Freddy
Cole, is quite comfortable emphasizing melody and
space in his playing. The Jukebox Crowd is his third CD
as a leader, with a fine supporting cast of trumpeter
Justin Walter, tenor saxophonist Ben Jansson,
trombonist Josh Brown, organist Duncan W. McMillan
and drummer Quincy Davis.
There are several standards. Dimitri Tiomkin’s
“Wild is the Wind” is usually found on vocalists’
albums, but Napoleon’s elegant, deliberate scoring of
it works well without the presence of a singer. The hip
Latin setting of “Fools Rush In” has the flavor of Wes
Montgomery while the golden oldie “I’m in the Mood
For Love” is transformed from its usual slow ballad
setting to a brisk bop arrangement with intricate solos.
The strutting take of “You Make Me Feel So Young”
finds Napoleon and McMillan joined at the hip.
Napoleon is also comfortable tackling ‘60s pop like
The Beach Boys’ “God Only Knows”, contributing rich
writing for the horns in addition to his sublime guitar.
Half of the 14 tracks are the guitarist’s originals,
beginning with the deliberate “Everybody Has Soul”, a
throwback to ‘60s soul jazz. The gospel flavor of “We’re
a Work in Progress” makes it sound like it was written
decades ago as well, highlighted by mellow,
conversational guitar and understated organ. “Against
the Grain” takes the session in another direction with a
decidedly Latin flavor while “Our First Dance” is a
mellow ballad that Napoleon plays unaccompanied.
McMillan contributed the funky midtempo cooker
“Road Warrior”.
For more information, visit gutstringrecords.com. Napoleon
is at Saint Peter’s Nov. 21st. See Calendar.
Blossom & Bee
Sara Gazarek (Palmetto)
by Sean O’Connell
Sara
Gazarek does not sound like Blossom Dearie.
Thankfully, she isn’t trying to. Instead, the young, Los
Angeles-based vocalist is reaching a sound of her own,
a little less coy but no less swinging in her tip of the
cap to the late Dearie. Under the production guidance
of organist Larry Goldings, Gazarek sticks with her
working group (pianist Josh Nelson, bassist Hamilton
Price, drummer Zach Harmon) to craft a dozen tunes
that roll with a popping, straightahead swing.
The album opens with a song associated with
Dearie’s 1957 debut, “Everything I’ve Got”. The upbeat
tale of physical violence is driven by Harmon’s crisp
drumming while Nelson takes a brief, two-handed
solo. Guitarist John Pizzarelli follows, lending a little
celebrity to the ensemble, dueting on the titular
Gazarek co-write. The two tangle in tight harmonies as
Gazarek works her higher range. She gets a little too
sentimental on a cover of Ben Folds’ pop love song
“The Luckiest” (Gazarek notes that both she and her
husband have a snippet of the lyrics tattooed with hers
clearly visible on her outstretched arm on the cover).
The album retorts with a little oomph, letting Harmon
drive on the bell of his cymbal during “Down With
Love” while Nelson gives an off-kilter solo that bounds
across the keyboard. A pair of well-worn standards
hover next to each other. “Tea for Two” gets a sultry,
slow rendition with Price getting room to amble gently
for a chorus while “I’m Old Fashioned” feels equally
hushed but the band quietly churns, peaking during
Nelson’s flickering solo.
The album closes with another nod to Dearie,
“Unpack Your Adjectives”, from the old Schoolhouse
Rock series. Goldings lends some blues organ touches
as Nelson is muscular on the piano, Gazarek adding
some sass to her delivery, which will hopefully make
more than a cameo in her next album.
Gazarek has a beautiful, pure voice that is
perpetually indebted to the lyrics. Rather than flighty
histrionics or bubbly mumbling, Gazarek sells the tune
with a straightforward, refreshing approach. Hopefully
it will be less than five years before her next outing.
For more information, visit palmetto-records.com. Gazarek
is at Blue Note Nov. 26th. See Calendar.
$20.00 Adults / $10.00 Students & Seniors
THE YORK COLLEGE
PERFORMING ARTS
CENTER
94-45 Guy Brewer Blvd.,
Jamaica, NY 11451
Tickets available at the box
office: 718-262-2840
or online at: www.yorkpac.com
PAC Office: 718-262-3750
Beautiful Friendship
Tom Dempsey/Tim Ferguson Quartet (Planet Arts)
by George Kanzler
Smart
repertoire choices, reciprocal ease among the
players and memorable solo and ensemble moments
help catapult this mainstream-modern quartet session
led by guitarist Tom Dempsey and bassist Tim Ferguson
above the quotidian norm. The finely meshed
interaction is a result of familiarity mixed with novelty,
as the co-leaders have worked frequently with both
drummer Eliot Zigmund and saxophonist Joel Frahm,
who had not played with each other before this date.
Zigmund is a catalyst for the elegant, airy
ensemble textures. His fluid yet crisp cymbal time,
accents and lithe brushwork, combined with an ability
to interact with nuanced empathy to changing musical
textures, keep the tracks tight and focused. On Randy
Weston’s “Little Niles” his nimble drum patterns
complement the seductive weave of tenor and guitar
around the theme and join with Ferguson’s bass in
sustaining the lilting African 6/8 feel. Zigmund’s
sprightly, syncopated beats and paradiddles spark
“Cakewalk”, a Ferguson concoction redolent of New
Orleans second-line rhythms, with prancing soprano
sax and dancing double lines from guitar.
Guitar versions of Thelonious Monk have become
almost de rigueur of late, but “Coming On the Hudson”
deserves an honored place on the list. Dempsey
eschews his usual fluid style for one of the closest
approximations of Monk’s plunking dissonances,
abrupt hesitations and quirky rushes you’ll ever hear.
His a cappella intro channels solo Monk and his
comping in the ensemble and behind Frahm continues
à la Monk, right down to the odd spacing and atonal
plucks. He asserts his own style on other album
highlights, including an atmospheric “Autumn in New
York” and the exhilaratingly quick, start-stop time title
track. And don’t miss the collaborative counterpoint
and tandem guitar-tenor sax soloing on “It’s True”, a
contrafact on the changes of “There Is No Greater
Love”, or Ferguson’s “Last Summer”, its echoes of “It
Might As Well Be Spring” also recalling the sound of
the ‘50s Johnny Smith Quintet with Stan Getz.
ranges from Lewis’ own compositions to his inventive
takes on pianist Thelonious Monk’s work. And in this
context, this album can be judged in part by its pitchblack cover - Lewis crafts 14 complex tracks that
showcase the organ in a stormy and passionate light.
Despite its bubbly name, “Little Rootie Tootie” is
one of the most charged pieces on the record,
hearkening back to the organ’s gospel roots. Lewis
immediately makes clear that he doesn’t merely play
the organ, he pours raw emotion into every winding
note, morphing his instrument into a daring
thunderbolt. Ronald Jackson’s guitar heightens the
electric appeal and packs a punch in each fluid riff.
Tenor saxist Reginald R. Woods, however, proves
that brass and organ can also intertwine with intuitive
harmony, notably on the hazy Monk piece “Ugly
Beauty”. His smooth, almost soprano-like sax cuts
through Lewis’ seemingly infinite notes, offering an
intense textural contrast between acidic and savory.
The enigmatically named piece is, too, an aural
mystery, hinting at brewing chaos without delving into
disorder. Yet Lewis achieves the same complexity in
“Stuffy Turkey”, one of the album’s few outwardly
gregarious tracks. Drummer Nasheet Waits acts as the
fuel to this upbeat fire, rippling away one cymbal tide
after the other and peppering the air with playful
nuances. As Woods charges through a stream of bold
slurs, Lewis takes a subtler approach in the background,
tactfully accenting the easygoing melody. The organist
then spins the light ambience with his signature dark
twist, leaving a poignant mark on the ears.
For more information, visit planetarts.org. This group is at
Smalls Nov. 23rd. See Calendar.
Uwo in the Black
Greg Lewis Organ Monk (s/r)
by Sharon Mizrahi
For more information, visit greglewismusic.com. Lewis’ Organ
Monk is at For My Sweet Restaurant Nov. 5th, Lenox Lounge
Nov. 9th and 16th, The Garage Nov. 25th and Sapphire New
York Wednesdays. See Calendar and Regular Engagements.
O rganist Greg Lewis illustrates the darker side of
innovation in Uwo in the Black. The 70-minute album
The New York Society for Ethical Culture Presents
An Evening of Great Jazz
featuring Lenore Raphael & Friends
SAVE THE DATE
Friday, November 16, 2012 8pm
WP Strouse
Wonderful Tenor Saxophone
Renowned Jazz Pianist
LENORE RAPHAEL
HARRY ALLEN
Featuring
Great Bassist
PHIL BOWLER
Tasty Drummer RUDY LAWLESS
Ceremonial Hall, 2 West 64th Street- 4th Floor, New York, New York 10023
Tickets: General Admission $20; Members, Seniors & Students $15
TEL: 212.874.5210
A member of the American Ethical Union and the International Humanist & Ethical Union
2 West 64th Street · New York, NY 10023 · 212.874.5210 · www.nysec.org
Our 100-year-old building is accessible for most wheelchair users with prior arrangements.
Please call ahead (212 874 5210 x 107) for set up of our portable system and plan to arrive
one hour before start time.
25
Eponymous
Karl 2000 (s/r)
by Clifford Allen
J ust taking a wild guess, the tenor/bass/drums power
trio Karl 2000 appears to take its name from the 2000
Upper Deck Century Legends #19 card, featuring early
Spurs guard George Karl. Two of Karl 2000’s members
- tenorman Daniel Rovin and bassist Austin White - are
renowned basketball card collectors. Along with
drummer Dave Miller, they bring an athletic approach
to 11 rollicking tunes. Like the music of Albert and
Donald Ayler, Karl 2000 uses folk and popular songs as
a framework and leaping-off point, casting Gustav
Lange’s “Blumenlied” into Gato Barbieri-derived
romanticism and free martial antics. With negligible
irony, they also cover the Partridge Family’s already
loopy “I Think I Love You”, “A Birch-Tree in a Field
Did Stand” (the Soviet Army Chorus & Band), “We’ll
Meet Again” and a number of Russian folk songs in
addition to featuring several of their own compositions.
“A Cliff on the Volga” takes a similar tack as
“Blumenlied”, steely and burred tenor in measured
steps against press rolls and throaty, Charlie Hadenlike strums. It’s not too far off from some of the music
that the Liberation Music Orchestra performed in its
early years (especially as an overdubbed saxophone
section comes in at the end) or Portuguese bassist Zé
Eduardo’s underrated trio with tenorman Jesús
Santandreu and drummer José Salgueiro. The strongest
pieces on the disc are those brimming with populist
melody, allowing the trio to scream, yank and careen
within a referential environment. Rovin is a fine player,
not always given to a huge dose of variety but that’s
okay - he is young (as are White and Miller), has
already got a pretty remarkable dynamic range and
can hold an unaccompanied solo with interest
(“Xhocolate Wonderfall”). “Der…” has a swinging,
almost shit-kicking bounce as well as meaty
multiphonics while “Birch-Tree” is nuanced and
charged. It’ll be interesting to watch and listen as this
triadic brotherhood develops.
For more information, visit karl2000.com. This group is at
ShapeShifter Lab Nov. 13th. See Calendar.
Because She Hoped
Benoît Delbecq/François Houle (Songlines)
Crescendo in Duke Benoît Delbecq (Nato)
Genera François Houle 5 +1 (Songlines)
by Ken Waxman
P aris-based,
but as likely to turn up on North
American as well as European sessions, pianist Benoît
Delbecq is the very model of a cosmopolitan improviser.
Often working with prepared piano and/or electronics,
he specializes in cutting-edge interpretations, but his
limpid playing also relates to a tradition that takes in
Steve Lacy and through him Duke Ellington.
Delbecq has worked with Vancouver-based
clarinetist François Houle since the mid ‘90s and the
temperate Because She Hoped is their third duo disc.
Houle is the perfect match for the pianist. Dazzlingly
interactive here, both allow sounds to evolve
organically rather than calling attention to their
prodigious techniques.
For instance, a live and a studio version of “Pour
Pee Wee” are distinct. Houle smears intense reed
variations atop Delbecq’s echoing key clicks during
the 120-second studio piece. Three times the length,
the live version is buoyant and swinging. The title tune
demonstrates that interactive romanticism can arise
from an exposition featuring tongue slaps and key
clipping while “Le Concombre de Chicoutimi”
expresses a mood rather than a melody, with the
clarinetist’s almost pure tones uniting with the pianist’s
impressionistic harmonies. Paying homage to their
ancestors, Steve Lacy’s “Clichés” finds Delbecq’s
marimba-like string pops perfect accompaniment to
the jaunty theme elaborated by Houle. Ellington’s “The
Mystery Song” is restructured with expressive
glissandi paired with clavichord-like plinks. The hints of Ellingtonia displayed on Because She
Hoped become a commitment on Crescendo in Duke. A
dozen participants besides Delbecq - Europeans such
as clarinetist Tony Coe and percussionist Steve
Argüelles, plus Americans including saxophonist Tony
Malaby and bass guitarist Yohannes Tona - help honor
jazz’ most celebrated canon. Delbecq proclaims his
individuality by concentrating on later period material,
mainly taken from Ellington’s many suites.
While the featured soloists are often clarinetists Kenni Holmen and Kathy Jensen as well as Coe - Tona’s
choice of instruments provides a clue to how Delbecq
reconstitutes the Ducal charts. A veteran of
Minneapolis’ funk scene, Tona plus acoustic bassist
Jean-Jacques Avenel, Argüelles and drummer Michael
Bland ensure the backbeat is powerful, confirming
Ellington’s influence on R&B. Those links are
fundamentally emphasized during a performance of
“Diminuendo and Crescendo in Blue”, famously
played at Newport 1956, and the “Get-With-Itness”
sequence from The Goutelas Suite. A marvel of quickened
tension, the former is piloted by swaying, near-stride
piano and a walking bassline, as Coe and Malaby
alternate flutter-tongued solos and polyphonic
obbligati. Stop-time excitement, the latter is notable for
a saxophonist’s howling slurs and corkscrewed shrieks.
Overall these frenetic interludes nicely contrast with
the treatment of the suite’s other themes, divided
among fanfares, swing sequences and processional
marches. Still, the only notable example of Delbecq’s
own expressive playing appears on interludes like
“Fontainebleau Forest”.
A sideman rather than a partner on Genera,
consisting of 10 Houle compositions, Delbecq’s
presence confirms the sextet’s internationalism.
Although New York residents, bassist Michael Bates
and drummer Harris Eisenstadt are Canadian like
Houle, trombonist Samuel Blaser is Swiss and cornetist
Taylor Ho Bynum American. Dedicated to group
expression, Houle’s writing, like Ellington’s, also aims
to emphasize each soloist’s personality.
The title tune is a perfect instance of this, as the
measured composition makes room for idiosyncratic
expression without losing the harmonic thread. Blaser
spews out sinewy multiphonics, Bates’ pulse includes
guitar-like twanging and Eisenstadt’s hand-pats reflect
his study of African percussion. “Le Concombre de
Chicoutimi” reappears twice, briefly heard as a study
for piano key-clipping blended with cornet and clarinet
slurs and later growing to intermezzo length, as
Ellington would often do with his sketches. Embellished
with electronic quivers and string buzzes from Delbecq,
Houle’s flutter-tongued reed lines gust upwards
backed by ecclesiastical piano chords.
Accommodating in his writing, Houle balances
interludes of extended techniques with sequences that
are more formally organized to maintain pacing.
Exclamatory expositions can include discordant reed
variations or jabbing keyboard pulses while other
themes approach bop, with Delbecq sprinkling
arpeggios like Hank Jones and Bates producing a
steady Mingus-like pulse. Displaying all Houle’s
influences, “Sulfur Dude” features an infectious head
that keeps reappearing.
For more information, visit songlines.com and natomusic.fr.
Delbecq is at ShapeShifter Lab Nov. 28th-30th in duo with
Andy Milne and with guests. See Calendar.
NOVEMBER 2012
JAZZ VESPERS
Sundays at 5:00 P.M. — All Are Welcome — Free
4
11
18
25
Arne Hiorth
Richard Maegraith
Helge Nysted
Steve Nelson
Alexis Cole Quartet
John DiMartino
Jim Cammack
Clarence Penn
Chanda Rule
JAZZ FOR ALL
November 4 at 4:00
Norwegian Folk Melodies
Free Improvisation Workshop
for families and people of all ages
MIDTOWN JAZZ AT MIDDAY
Sponsored by Midtown Arts Common
Wednesdays at 1:00 P.M. — ($10 suggested)
7 Aaron Graves, piano
14 Chris Gines, singer
Ronny Whyte, piano
Boots Maleson, bass
21 Randy Napoleon, guitar
David Wong, bass
Kevin Kanner, drums
28 Art Lillard’s Heavenly Big Band
2BY2 (Duets)
Composition,
Anthony Braxton/
Improvisation, Synthesis
Buell Neidlinger
Anthony Braxton
(K2B2)
(Tri-Centric Foundation)
by Kurt Gottschalk
If we were to map out the various terrains in the
acreage of Anthony Braxton’s recorded output, one
particularly fascinating bit of geography would be his
use of the standard repertoire. The masterfully
inventive composer has turned to the jazz songbook a
number of times in his long career and generally does
so for pointedly specific reasons. As with everything
Braxton does, we can trust that his standards projects
aren’t undertaken lightly, even if we don’t always
know the thinking at work. One of his most purely
enjoyable takes on the tradition is the 1987 Black Saint
release Six Monk Compositions. A wonderful quartet
including pianist Mal Waldron and bassist Buell
Neidlinger plays like an overstuffed easy chair: big
and comfortable but so full it seems about to tear apart
at the seams. A year and three quarters after that
session, Braxton and Neidlinger met again for a duo
session at McCabe’s Guitar Shop in Santa Monica, CA,
dedicating close to half the two sets they played to
Monk’s music - although interestingly enough no titles
were repeated from the Black Saint session. A tape
from that night has managed to come to light, allowing
us now to hear that casual meeting.
Some of the details of 2BY2 (Duets) are lost to
history. Neidlinger writes in the notes to the two-CD
release that “not even Braxton scholars can identify the
pieces we played that weren’t written by Monk.” If
they truly can’t be ID’d, that suggests a certain
informality to the proceedings. But its having been a
casual evening doesn’t mean a lack of intensity. The
two make for a wonderfully focused duo. Braxton
stays in the upper register, playing alto, soprano,
sopranino and C-melody saxophones while Neidlinger
remains securely in an accompanist’s role. Which
doesn’t mean he’s doing anything simplistic: the other
association Neidlinger is best known for is playing
with Cecil Taylor in the early ‘60s. In both partnerships
the bassist beautifully managed to find ways to give
grounding to his high-flying associates.
The Monk cuts range from the loosely faithful
“Criss-Cross” and joyously exploratory “Well You
Needn’t” to a slowly simmering “’Round Midnight”,
which seems to heat up the saxophonist so much that
he follows it with an explosive 80-second solo,
furiously puncturing his own lines with reed-shredding
stabs. The other cuts, the half-dozen unknown
properties, have a similar spontaneity without seeming
open-ended - a loosely scripted dialogue. The whole
session is nicely bookended by two takes on “Off
Minor”, the latter melting into a brief and joyful coda.
Covering the whole of Braxton’s terrain has
always been a formidable task, but it has expanded
multi-fold since the relaunch of the Braxton House
imprint. Originally a CD label that produced ten titles
between 1995-98, the imprint was relaunched in 2010
as a download (FLAC and mp3) label. Operated by the
Tri-Centric Foundation, the label has already released
more than 60 titles as well as making those original ten
available again. It’s a lot of ground to cover, but the
journey is made easier by means of a sampler that’s
available for free. Composition, Improvisation, Synthesis:
Selections from the Tri-Centric Foundation Archives isn’t
entirely satisfying as an album in itself and that may be
the point. Like good businesspeople, they give you the
first one for free. Braxton’s work tends to run in hourlong chunks, so this 80-minute collection includes only
excerpts from the 11 performances represented. The
tracks are culled from over 30 years of performances
and feature a variety of projects, so this is really just a
starter set. Braxton is heard solo, in duet with Max
Roach, in quartet, sextet and septet and with one and
three orchestras. Recording quality varies, of course
(none are bad but the differences break the flow), so
what the disc does best is create landmarks for further
exploration. Highlights (in addition to the previously
unreleased excerpt with Roach) include a trumpet
septet, an excerpt from the wonderful first Braxton
House release (Sextet (Istanbul) 1996) and a segment
from the 2011 recording of his Trilium E opera, itself
some four hours long.
Once this is absorbed, there are also free ‘bootleg’
recordings to be found at tricentricfoundation.org
before making the (recommended) plunge of paying
the monthly rate for the rest of the recordings. 44 years
after the release of his first record, the landmark solo
saxophone album For Alto, Braxton is continuing to
make challenging and exciting music. And, as he might
say, we are fortunate now to be in a time-space where
we are able to access that work.
For
more
information,
visit
k2b2.com
and
tricentricfoundation.org. Kyoko Kitamura/Ann Rhodes sing
Braxton at Downtown Music Gallery Nov. 11th. See Calendar.
27
BEN
HOLMES
QUARTET
NEW ALBUM
“ANVIL OF THE LORD”
AVAILABLE 11/12 ON SKIRL RECORDS
FEATURING BEN HOLMES trumpet
CURTIS HASSELBRING trombone
MATT PAVOLKA bass
VINNIE SPERRAZZA drums
CD release shows
MONDAY NOVEMBER 12TH 8 PM
Click Track Jazz: Slave to the Machine, Vol. 1 & 2
Sean Wayland (Seed Music)
by Andrew Vélez
Click Track Jazz: Slave to the Machine is the 21st album
from prolific Australian-born, Brooklyn-resident,
improvisational jazz and funk instrumentalist Sean
Wayland. His early jazz influences were Keith Jarrett
and Chick Corea and classically Messiaen and Debussy.
Touring and recording has been mostly with his piano
trio of Jochen Rueckert (drums) and Matt Penman
(bass). In his words, “I’ve spent a great deal of time
tinkering with what’s possible.”
Possibilities are a rollercoaster blend of Wayland’s
acoustic jazz piano trio and modern rhythms.
Embedded within the “possibles” are jazz and funk
fusion style echoes of guitarist Wayne Krantz, with
whom Wayland has worked. It all rocks off with the
opener of Vol. 1, “Belt Parkway”; a blend of acoustic
piano and swirling synthesizers, it’s a constantly
shifting mix as Wayland swings nimbly to and from
synthesizer to piano. The drums of Mark Guiliana keep
him very close company along with a so subtle yet
solid throb from Orlando Le Fleming’s bass. At one
point it even exudes an Oriental flavor.
On “Devotional”, the set’s only vocal, Kristen
Berardi’s beckoning charm is low-key and wistful. On
the anthem-like chords of “Stop I Want to Get Off”,
Wayland cascades crystal piano well complemented by
James Muller ’s rapidly vibrant guitar. Throughout
there is Guiliana’s solid support. On Vol. 2’s “Waiting
for the Computer to Take Over”, influences as varied
as a Debussy-like motif along with smoothly insistent,
Philip Glass-like passages prove syntonic.
By contrast, swing easy is the mood of the
Wayland-Rueckert-Penman Trio on “Special When Lit”
and on “Neu Neu Blow” the threesome kicks it up,
Wayland and Rueckert happily trading licks. From end
to end as he straddles multiple styles, Wayland’s
explorations on Click Track Jazz are nothing if not
constantly surprising.
For more information, visit seanwayland.com. Wayland is
at 55Bar Nov. 5th. See Calendar.
with
AKIKO PAVOLKA’S HOUSE OF ILLUSION
SHAPESHIFTER LABS
18 WHITWELL STREET - BROOKLYN
shapeshifterlab.com
TUESDAY NOVEMBER 13TH 7 PM
BARBÈS
6TH AVE. & 9TH STREET - BROOKLYN
barbesbrooklyn.com
FOR MORE INFORMATION VISIT
ben-holmes.com
skirlrecords.com
Thank You Les (A Tribute to Les Paul)
Lou Pallo (Showplace Music Productions)
by Donald Elfman
If any music fan ever needed or wanted to know about
the influence of and the loving spirit that was Les Paul,
they could do no better than by listening to this tribute
album and watching the accompanying DVD. Guitarist
Lou Pallo, Paul’s musical compatriot for so many
years, has, under the expert guidance of producer
Stephen Schiff and producer/director Ben Elliott,
recorded with many of the people who came under the
spell of the wonderful late guitarist. José Feliciano says
here that anyone who ever played an electric guitar
anywhere has to know and love the work and life of
this legend. So who’s here? Keith Richards playing and
singing “It’s Been A Long, Long Time”. Eddie Brigati
of The Young Rascals performing “I’m Confessin’”
with Bucky Pizzarelli. ZZ Top guitarist Billy Gibbons
playing “September Song” and the aforementioned Mr.
Feliciano doing “Bésame Mucho”. Many of these
musicians would come to New York’s Iridium club and
get to play with Paul on his much-celebrated Monday
nights, where he provided a warm and often funny
setting for them to play opposite the master. And Paul
never disappointed. Even in later years, with fingers
bent through age, he could make music that swung
and danced and made you smile.
And that’s what this entire collection is about. It’s
a Les love-fest with everyone playing in his memory
and still in his light. The DVD contains six videos of
performances of songs from the album plus a feature
on the making of the album with interviews of…well
…everyone. There’s great footage of Paul and Pallo
recreating an Edison cylinder. Everyone is calling him
a genius or something like it.
Highlights? Well, certainly Richards crooning and
paying funny homage to both Les Paul and “Bing”.
Nicki Parrott, who played bass and was the sexy ‘girl
singer ’ with Paul in his later years, is charming on a
quietly enchanting “Tennessee Waltz”. Frank Vignola
spins out dazzlingly speedy but always thoroughly
musical runs on “Avalon”, “Brazil” and “Carioca”. This is an allstar revue but it’s important to
remember that Pallo, who often seemed in the
background at the shows, is the driving force and
loving presence behind it.
For more information, visit showplacestudios.com. Pallo is
at J&R Music World Nov. 9th and Iridium Mondays. See
Calendar and Regular Engagements.
Tomorrow Sunny/The Revelry, Spp
Henry Threadgill Zooid (Pi)
by Jeff Stockton
H enry Threadgill remains as individualistic,
iconoclastic and enigmatic as ever. Just look at the title
of his new CD: Tomorrow Sunny/The Revelry, Spp. Of
course the music made by Zooid hasn’t much to do
with convention, anyway. The concept and composition
are typically Threadgillian, but the music is as defined
by Christopher Hoffman’s cello or Liberty Ellman’s
guitar as it is the leader ’s darting alto sax or fluttering
flutes. And with Jose Davila’s tuba and Stomu
Takeishi’s bass guitar, the tunes are deeply rooted in
the low end. The music has ballast, but with so much
of it emanating from acoustic hollow-bodied string
instruments, is also remarkably light on its feet.
Take “Ambient Pressure Thereby”, at ten-and-ahalf minutes the disc’s longest track. Threadgill
participates with a couple of nervous solos, but the
first half is given to Hoffman while the latter half is
Ellman’s, strumming against Davila’s tuba-heavy
undertow. The opening cut, “A Day Off”, is practically
its inverse, less agitated but just as generous to the solo
and melodic space granted to guitar. Over Hoffman’s
push-pull bowing and Elliot Humberto Kavee’s
skittering drums, Threadgill makes his statement
before getting the heck out of the spotlight just as
quickly as he appears. Threadgill’s alto takes the lead
on “So Pleased, No Clue”, the shortest of the disc’s six
tracks, supported by plucked cello, wallowing tuba
and Ellman’s strummed outbursts.
Davila takes up the trombone for the final track,
“Put on Keep/Frontispiece, Spp”, developing a
coming-into-being feel as Kavee hits the drums prior
to Hoffman and Threadgill’s (on flute) entry.
Collectively the band extends the idea that creativity,
improvisation and musical realization are part of an
interlinked continuum. Threadgill’s music lends itself
to this sort of theorizing. It’s intellectualized, but also
intelligent and enjoyable. Challenging, but accessible.
It’s almost as if with each outing Threadgill says,
“Trust me” and expects you to do so, with complete
confidence in his ability to deliver on the agreement.
For more information, visit pirecordings.com. This group is
at Roulette Nov. 23rd-24th. See Calendar.
Wires and Moss
Angelica Sanchez Quintet (Clean Feed)
by Stuart Broomer
P ianist Angelica Sanchez presents a new band here,
with a frontline of Tony Malaby on soprano and tenor
saxes and Marc Ducret on guitar and a rhythm section
of Drew Gress and Tom Rainey. It might be convenient
to call it a quintet, but at times it hints at that ancient
usage of “orchestra” for even the smallest number of
musicians: there’s a breadth and a passion and a vision
here that suggest great movements and the sweep of
history. Sanchez’ compositions are essentially lyrical,
whatever the tempo, and they draw on the expressive
reserves of both Malaby and Ducret. The former ’s
sound is a kind of on-going mutation of the idea of
breath with the latter ’s a sometimes astonishing
transformation of the human, his guitar a machine that
has learned to speak its own language.
The degrees of empathy and focused intensity
come to the fore on “Soaring Piasa”, an almost anthemic
melody first drawn from Malaby’s mutters, then
carried forward by Sanchez’ lightly darting, abstract
piano lines, the subtle underpinnings of Ducret, the
power of Gress and the looming drama of Rainey all
extending the range of motion until Malaby returns
and tests the theme for every hint of meaning,
expanding its phrases until new messages break
through the dense grain and wide vibrato of his sound.
Each member of the group assumes the foreground,
whether in solo spots or as a leading voice. “Dare” has
Rainey at his most abstract, a central figure in a
dialogue in which other musicians may keep time
while he plays with, plunders and ultimately trivializes
its conventionality. Sanchez’ structure is made for it,
an elastic vision in which that play of time ultimately
becomes a kind of five-ring circus, the various speakers
bending the notion of time toward a lyric center. This quintet might be an ideal vehicle for Sanchez,
whether the musicians are picking up strands of
meaning in her work or adding their own (like Ducret’s
intro to the title track or that of Gress on “Bushido”),
enriching them all and creating a richly layered field of
interpretation and realization around each theme.
For more information, visit cleanfeed-records.com. Sanchez
is at Korzo Nov. 13th, I-Beam Nov. 16th and Klavierhaus
Nov. 17th. See Calendar.
29
Let’s Misbehave (The Cole Porter Songbook)
Cheryl Bentyne (Summit)
by Marcia Hillman
V ocalist Cheryl Bentyne delivers her take on the Cole
Porter Songbook with a selection of 14 familiar and
memorable songs, covering his writing from 1927 (the
album’s title track) until 1955 (“All Of You”). Since
Bentyne feels that all of Porter ’s songs are “little houses
in which our hearts still live”, each one is approached
as an individual story with an appropriate musical
arrangement.
Bentyne - reigning soprano of the vocal group The
Manhattan Transfer - enjoys a dual career, still singing
with the group and pursuing a solo path. She has a
wide vocal and emotional range, a warmth of tone and
can sing just about anything. And listen for her perfect
diction, innovative phrasing and obvious love and
understanding of the lyric.
There are many highlights, starting with the
opening “Love For Sale”, which is done uptempo in a
bluesy and provocative manner. “My Heart Belongs To
Daddy” is done as a salsa number and Bentyne’s vocal
is high-spirited here as well. She does a little vocal
Bach invention to start off “You’d Be So Nice To Come
Home To” - inspired by the Swingle Singers vocal
group of the ‘60s - and some well-done vocalese shows
up on “All Of You”. “Begin The Beguine” has drum
and voice in the forefront, delivering a feeling akin to
Ravel’s “Bolero”.
But the standout items are two tracks featuring
guest saxophonist James Moody, done within about six
months of his death in 2010. Moody plays the first
chorus on “What Is This Thing Called Love”, Bentyne
sings the second and Moody follows with a swinging
solo. Particularly bittersweet is “Ev’ry Time We Say
Goodbye”, an exquisitely sensitive duo reading.
This album will require more than one listening to
reap the rewards of its rich tapestry. Cheryl Bentyne
and Cole Porter are a perfect combination of talent,
sophistication and enjoyment.
For more information, visit summitrecords.com. Bentyne is
at Blue Note Nov. 23rd-25th with The Manhattan Transfer.
See Calendar.
Naturally
Houston Person (HighNote)
by Alex Henderson
Many of the great soul-jazz saxophonists of the
‘50s-70s have passed away, but Houston Person (now
77) continues to provide quality soul-jazz/hardbop
albums almost yearly. And on this July 2012 session
“a fresh take on the age-old piano trio,
catapulted by McCraven's propulsive percussion into an orbit
that few first-time groups ever achieve.” - Neil Tesser
Available at CDBaby, iTunes, Amazon, ChicagoJazz.com, everywhere
www.chicagosessions.com
(which brings together the big-toned tenor man with
pianist Cedar Walton, bassist Ray Drummond and
drummer Lewis Nash), Person once again demonstrates
why his followers hold him in such high regard. His
chops haven’t suffered a bit, which is a plus, but for
Person technique alone is not enough.
Person has always made a point of reaching
audiences on an emotional level and true to form, he is
highly expressive throughout Naturally. Whether he is
turning his attention to Victor Young-Ned Washington’s
“My Foolish Heart”, Carolyn Leigh-Phil Springer ’s
“How Little We Know” or Will Grosz’ “Red Sails in the
Sunset”, Person invests considerable feeling in the
songs he’s chosen for this album.
Two of the things that Person has been revered for
over the years are ballads and the blues. On Naturally,
he savors the latter with a gritty performance of Milt
Jackson’s “Bags’ Groove”. And he reminds us how
expressive a ballad player he can be with performances
of Alan Brandt-Bob Haymes’ “That’s All” and Duke
Ellington-Johnny Hodges’ “It Shouldn’t Happen to a
Dream”. Naturally, like other Person dates of recent
years, favors a generally laid-back mood with lots of
relaxed medium-tempo performances: “How Little We
Know”, Chester Conn-Benny Krueger ’s “Sunday” and
Illinois Jacquet’s “Black Velvet”, aka “Don’ Cha Go
‘Way Mad”.
Special mention should be made of Walton’s
contributions. Person and the 78-year-old Walton have
been playing together on and off since the ‘60s and we
are lucky for another chapter in their long musical
friendship.
For more information, visit jazzdepot.com. Person is at
Jazz 966 Nov. 9th and Metropolitan Room Nov. 15th and
17th with Pamela Luss. See Calendar.
The Big Eyes
Nate Radley (Fresh Sound-New Talent)
by Elliott Simon
Another young musician has crystallized his skills
into a distinctive voice via the New England
Conservatory-to-Brooklyn jazz highway. Guitarist
Nate Radley uses the musically fertile Kings County
soil to nurture his NEC mantra of individual creativity
and experimentation within group improvisation. The
result is his strikingly pensive debut as a leader.
Joining Radley on these nine original compositions
are bassist Matt Pavolka and drummer Ted Poor. They
prove to be like-minded and the session gains its
foothold primarily from the soundscape this core trio
develops, defined by the intersection of Poor ’s
drumming and Radley’s sustained reverby approach.
Pete Rende uses Fender Rhodes to widen the setting
even further and alto saxophonist Loren Stillman joins
on several cuts both to blend with Radley for
interestingly complex voicings and challenge him to
more uptempo solo interchanges.
Stillman impresses with his ability to partner with
Radley in exposing the beautifully melodic
underpinnings of a tune like “January”, providing
boppish counterpoint on session opener “Boo” and
leisurely exploring the recesses of the title cut.
Likewise, Rende steps out of the shadows to push
things toward a more standard form on the intricately
configured “Ascent”. Radley, Poor and Stillman are
three parts of the working band Bad Touch and a
special connection exists among them. However, the
most creative aspects of this release are when Radley is
freed up to interact with Poor on his own terms. Within
that context, “Archipelago” is a clinic in the use of
dynamics, dissonance and chordal inventiveness to
infuse disconcerting tension into a light folk melody;
drummer and guitarist broodingly contemplate on the
ambient flow of “Wise River” and “All That’s Solid”
belies its title as an airy and elegant relaxed discourse.
A fine first effort from a thoughtful player.
For more information, visit freshsoundrecords.com. Radley’s
quartet is at Seeds Nov. 28th. See Calendar.
Swept Away
Marc Johnson/Eliane Elias (ECM)
by Joel Roberts
It would be easy to attribute the musical intimacy and
empathy Eliane Elias and Marc Johnson express on
their new release Swept Away to the fact that they’re a
longtime married couple. Regardless of the reason, the
Brazilian pianist and her Nebraska-born bassist
Paulette McWilliams
husband show a remarkable ease and rapport on this
album of exploratory originals.
The set was recorded in the couple’s Hamptons
home along with two frequent associates, the extremely
sympathetic drummer Joey Baron and, on five tunes,
the tireless saxophone titan Joe Lovano. There’s an
obvious debt here to Bill Evans - Johnson was a member
of the great pianist’s last trio in the ‘70s and Elias
recorded the terrific Something for You: Eliane Elias
Sings & Plays Bill Evans for Blue Note in 2008 - in the
harmonic complexity of the tunes, in Elias’ delicate
touch at the keyboard and in the group’s subtly
sophisticated improvisations.
Elias has made a number of exquisite vocal
recordings, but here she focuses solely on her
considerable piano skills. Many of the tunes, like the
title track, “It’s Time” and the gorgeous “B is for
Butterfly”, have a mood of quiet, even haunting
introspection. One exception to the generally hushed
tone is the infectious, danceable “One Thousand and
One Nights”, on which Elias showcases both her
pianistic virtuosity and her sheer joy of playing.
Johnson is the quintessential bassist, whether he’s
supporting the rest of the group or playing his own
elegant solos, most impressively on the closing solo
feature “Shenandoah”. Baron, meanwhile, is a model
of unobtrusive, yet always creative drumming while
Lovano, who can steal the show at the drop of a hat,
wields his axe here in an unusually restrained,
understated manner.
It all adds up to one of the most enjoyable and
imaginative collaborations of the year, a masterpiece of
gentle, inspirational and unabashedly beautiful jazz.
For more information, visit ecmrecords.com. Johnson and
Elias are at Birdland Nov. 27th-Dec. 1st. See Calendar.
Flushing Town Hall
Friday, December 14, 7pm & 9pm
She sang with Quincy Jones,
Marvin Gaye and Luther Vandross.
Experience her
sultry jazz vocals in this
rare NY appearance!
Telling Stories with
The Nat Adderley Jr. Quartet
Nat Adderley, Music Director & Piano
Vincent Herring, Reeds
Vince Ector, Drums
Gregory Jones, Bass
Produced by GJ Productions
NEA JAZZ MASTERS
Fri, Nov 16, 8 pm
Classic standards from the Great
American Songbook - Five NEA Jazz
Masters Jimmy Heath, saxophone;
Barry Harris, piano; Ron Carter, bass;
Curtis Fuller, trombone; Jimmy Owens,
trumpet, with Tootie Heath, drums.
Dedicated to Phoebe Jacobs, Executive
Vice President, Louis Armstrong
Educational Foundation, who
passed away this year.
Jimmy Heath
(Table seating for 2, Wine & Snacks)
Pre-concert panel discussion at 7pm
(Free with tickets to 8 pm show)
FREE Monthly Jazz Jams for Musicians;
FREE Monthly High School Jazz Clinics –
Call FoR dEtailS.
Ron Carter
General admission $25
www.adhatccny.org | Call 212-650-6900
aaroN daViS haLL iS LocatEd at W. 135th St.
& coNVENt aVE. oN thE caMPuS of thE citY
coLLEGE of NEW York
ORdER TiCkETS TOdAy!
(718) 463-7700 x222 flushingtownhall.org
These programs are made possible by the NEA; NYSCA; DCA; Bloomberg Philanthropies;
Louis Armstrong Educational Foundation; Macys; and Paul and Cobi Ash.
31
W ith
his second CD as a leader, drummer Jordan
Young is establishing himself as a rising star. While he
is a strong soloist, Young prefers to put the focus on his
musicians and here his crack band includes organist
Brian Charette and guitarist Avi Rothbard, with tenor
saxophonist Joe Sucato making it a quartet on a few
tracks. The songs include a mix of fresh arrangements
of standards, pop songs from several decades, along
with originals and overlooked jazz works. Jimmy Webb’s sleepy ballad “By the Time I Get to
Phoenix” was a huge hit for Glenn Campbell in the ‘60s
but Young transforms it via Charette and Rothbard‘s
solid groove, propelled by the leader ’s light touch.
“Raindrops Keep Falling on My Head” also takes on a
new sound with a decidedly funky arrangement.
Young shines as well with his settings of standards,
including a sublime rendition of “Ghost of a Chance”,
which showcases Rothbard’s spacious playing (à la
Kenny Burrell), and a furious bop setting of “Easy
Living” with hard-charging solos all around.
Sucato’s robust tenor is paired with Young’s
brushwork in a snappy duo take of Irving Berlin’s
warhorse “The Best Thing For You is Me”. The
drummer ’s versions of classic Blue Note music from
the ‘60s also prove memorable. Sucato is on hand for
an infectious take of Lee Morgan’s bluesy hardbop
vehicle “Free Wheelin’”, in which the saxophonist’s
big tenor tone is the focal point, bookending tasty solos
by Rothbard and Charette. A brief trio performance of
Grant Green’s “Grantstand” is punchy, with Young’s
solo as its centerpiece. The drummer ’s originals also
stand up to the familiar songs. “Bird Bath” settles into
a playful groove for the trio while the perky soul jazz
cooker “Mood For McCann” is an enthusiastic tribute.
Expect to hear more from Jordan Young.
For more information, visit posi-tone.com. Young is at Fat
Cat Nov. 29th and B-Flat Mondays and Wednesdays. See
Calendar and Regular Engagements.
Today is Tomorrow
Dayna Stephens (Criss Cross)
by Sean O’Connell
Young
tenor saxophonist Dayna Stephens has been
dogged by health issues lately. While waiting for a
kidney donation, he continues a rigorous schedule of
dialysis but his newest album is filled with strength
and vitality. Recorded over a single day last October,
Stephens managed to compile ten confident
performances with a stellar band.
Stephens sticks mostly to the seize-the-day
direction but he starts the album off with a confident
swing through Hoagy Carmichael’s “Skylark”. His
languid take on the melody floats over the driving
rhythm section of pianist Aaron Parks, bassist Kiyoshi
Verheyen’s calm and sauntering soprano sax, guided
along by Davis’ earthy hand drum rhythm. Such
textural contrast forms the crux of this disc.
Yet the minimalist opening to “Roscopaje” offers
the most striking textural contrast of all. Verheyen
embraces silence as an instrument in and of itself as he
punctuates the first minute with stray, half-finished
and trailed-off notes. Though the band soon interjects
at full speed, the saxist’s brief adventure remains the
highlight of the entire album, illustrating Verheyen’s
mastery of uncanny innovation.
For more information, visit crisscrossjazz.com. Stephens is
at Oceana Restaurant Nov. 10th, Smalls Nov. 12th and Bar
Next Door Nov. 17th with Daniel Ori. See Calendar.
Call 1-800-JFA-JAMS or
visit jazzfoundation.org to help.
For more information, visit 52creations.com. Verheyen is at
Sycamore Nov. 26th. See Calendar.
After 40 years of
PAYING HIS DUES,
he shouldn’t have to struggle
to pay his rent.
© photography by Bradley Smith.
The Jazz Foundation of America / 322 West 48th Street / New York, NY 10036
Trinity
Robin Verheyen Quartet (52 Creations)
by Sharon Mizrahi
Job # & CC: JAZZ2282_1/12_V2
About Jazz New York Ad
Date: 08-22-02
3.209"x3.147" Trim: Rule prints
Bleed: —
Page: 1 Rev: 3
H ailing from Belgium, saxophonist Robin Verheyen
Stage: Mech Release: 08-23-02 gm AD: SC CW: AD PM: TB RM: LB
Scale: 100%
brings a new kind of experimentalism to the table with
Color: b&w
Gutter: —
Other: —
ST: GM/
his NY Quartet on Trinity. Trumpeter Ralph Alessi,
Initials / Date
Initials / Date
Initials / Date
bassist Thomas Morgan and drummer Jeff Davis round C-LO
MK: ______________________ PM: ______________________ AB:_______________________
out the group, making this collaboration a melting pot
MECH
AD:_______________________ CW: ______________________ RM: ______________________
of intrepid avant garde explorers. Verheyen’s quartet
undergoes many transformations over the course of PROOF QC: ______________________ CD: ______________________
this album, tirelessly paving new musical terrain while
Client / Date: ________________________________________________
stimulating the senses.
“RR” proves to be just as enigmatic in sound as in
name, opening as a quiet duo between Verheyen and
Alessi. Each musician carefully follows the other in a
continuous stream of brass, alternately echoing and
leading the music. Davis cracks the thread-thin veneer
with his deep, rumbling drums, especially
complementing Morgan’s dense double bass sound.
An electric guitar seemingly streaks across the bustling
atmosphere, only to reveal itself as Verheyen’s newly
outspoken sax. Within moments, however, Alessi’s
fierce horn takes over, launching a power play that
runs throughout the remaining ten tracks.
The two brass players intertwine with varying
shades of agreement in “Africa”, oscillating between
harmony and argumentation within seconds. Morgan’s
instrument bellows in the background while Alessi
serves as the dominant force, embarking on intriguing
and pungent streams of thought. Verheyen waits his
turn while the trumpeter sails on convoluted tangents,
slowly emerging in the foreground as Alessi returns to
shore. This exchange took on an even more gripping
immediacy live at the Jazz Standard CD release concert
last month. Alessi’s shrieking trumpet gave way to
Job Name: All
Live:
APPROVALS
Cymbal Melodies
Jordan Young (Posi-Tone)
by Ken Dryden
Kitagawa and drummer Donald Edwards.
After that masterful display, a majority of the
focus is on Stephens’ pen. The swinging “Kwooked
Stweet” places the leader in tight harmony with
trumpeter Michael Rodriguez, Stephens putting his
guttural honk to use, digging in over Edwards’
persistent cymbal. “Radio-active Earworm” is
supplemented by the addition of Raffi Garabedian.
The two tenor saxophones blend in close harmony on
held-out tones while Parks takes an equally spacious
solo. Guitarist Julian Lage is added to the troupe for
Joe Henderson’s “Black Narcissus”, taken as a gentle
waltz with Rodriguez returning on flugelhorn and
Parks on a shimmering Rhodes. The band digs into the
Parks-enabled ‘70s vibe, neither rushing nor dragging
the tune, as Lage takes a brief but spidery solo.
Parks makes a couple of compositional
contributions that bring out the beast in Stephens.
“Hard-boiled Wonderland” gets a rich tenor solo over
the pulsating rhythm section while album closer
“Cartoon Element” is equally bright. Stephens and
Parks dip and dive in formation on the melody before
the tune turns into a tug of war between Stephens’
splattering phrases and the rumbling rhythm section.
The resulting hour plus is an inspiring collection
of performances that rise above Stephens’ health
hurdles and present a powerful band rolling through a
well-rehearsed set. Here’s to many more tomorrows.
723 7th Ave. 3rd Floor
New York, NY. 10019
212-730-8138 Store Hours: 11-7 Monday-Friday & 11-6 Saturday
Owner: Steve Maxwell Manager: Jess Birch
Steve’s cell: 630-865-6849 Email: [email protected]
Visit us on the web at: www.maxwelldrums.com
COME SEE US IN IN MANHATTAN
We celebrated our 1 year anniversary in Manhattan
on April 1st. Our shop is located at 723 7th Ave. 3rd
floor. We’re right at the corner of 7th Avenue and
48th Street, which is known as “Music Row” in
Manhattan. Thanks to all who have stopped by!!!
NEW: We have a full service repair facility now
open. Willie Martinez, New York's premier
craftsman, joins our team heading up our
repair shop. We are your one stop shop for new and
vintage drums and cymbals, accessories, repairs,
lessons and practice space.
Our philosophy for the shop is to create an inviting atmosphere where players and collectors alike can visit and see wonderful vintage and custom drums
and cymbals that you can’t find anywhere else; enjoy listening to some jazz vinyl while hanging in the drummer’s lounge area of our museum; and
exchange ideas and information with friends. We even have sound proof rooms for testing cymbals, drum sets and snare drums. Our sets, snares and
cymbals are set up and ready for you to play. We believe in the highest level of personal, professional service and we have the experience you need when
considering vintage and custom drums and cymbals. Call Steve on his cell anytime, or email him at [email protected] . He wants to hear from you.
Our shop includes:
• Craviotto: World’s largest selection of Craviotto
one-ply snares and drum sets. We are the largest
Craviotto dealer in the world.
• Vintage: Extensive inventory of high end vintage snare
drums, sets and cymbals. We have vintage Gretsch,
Rogers, Slingerland, Ludwig, Leedy, Camco and more!
• Player’s Specials: Snares, sets and cymbals focused
on the needs of players
• Gretsch: USA Custom drums in bebop sizes made
famous by the 60s era jazz greats
• Leedy: Our Leedy USA Custom Shop drums will debut
in NYC later this year
• GMS: Great USA made drums built in New York!
• George Way: We are your source for Ronn Dunnett’s
great new George Way snares
• Maxwell: Our Maxwell line of custom drums includes
small bebop sets and more.
• Heads, hardware, sticks, bags and more
Cymbals: We have Istanbul, Bosphorus, Zildjian, Old As, Old Ks, Spizzichino, Dream and
our own Session Cymbals line of hand hammered cymbals made in Turkey. New and vintage cymbals galore.
Stop in and see our museum section with items such as:
Gene Krupa’s 30s Slingerland Radio King! • Elvin Jones’s Tama brass shell snare used by him from 78-88. Rare Slingerland black beauty snare drum.
Recording Studio Support:
Enormous selection of vintage and custom drums to suit the needs of any recording studio looking for that special, unique sound.
Need that “vintage” drum or cymbal sound? Come see us. We have what you need. Need a versatile but unique
custom drum sound? We have that as well with our Craviotto solid shell drums. None finer in the world.
NYC DRUMMERS, WE HAVE DRUM SET PRACTICE
SPACE AVAILABLE FOR RENT ON AN HOURLY BASIS.
CALL JESS AT 212-730-8138 FOR DETAILS.
TEACHING STUDIO IS OPEN
Ron Tierno has relocated his long standing teaching studio to
our shop. Call Ron directly at 646-831-2083 for lesson
information and visit his site at www.nydrumlessons.com
WE NOW HAVE OUR BRAND NEW VINTAGE STYLE RAIL
CONSOLETTE TOM HOLDER IN STOCK. CHECK IT OUT
ON OUR WEBSITE AND IN THE SHOP.
Trio Caveat - Introspective Athletics /
Josh Sinton - Pine Barren
(Engine)
by Clifford Allen
It’s hard to tell exactly where it started, but the ‘split’
album can be traced back at least to the heyday of punk
rock, related bands each gracing one side of a seveninch single. Coming from punk rock as Engine Records
founder Steven Walcott does, it’s not particularly
surprising that he’d find a way to cater to the fans’
interests, releasing budget double-disc sets and this
curious split CD by two rather different projects, Trio
Caveat and reedman Josh Sinton’s Pine Barren.
Bassist James Ilgenfritz and saxophonist Jonathan
Moritz have been working in Trio Caveat for the better
part of five years. Their initial EP, Compliments of the
Season (KMB, 2008), joined them with drummer John
McLellan. Introspective Athletics finds the drummer ’s
chair absent and the addition of Chris Welcome on
guitar. The instrumentation reflects Jimmy Giuffre’s
trio with Jim Hall and Ralph Peña, but musically this is
a far spikier affair, marking tension with flinty guitar
strokes and tough, breathy saxophone harmonics.
Were it not for Ilgenfritz’ gorgeous, full tone and
bright, keening pizzicato lines, the music might seem
too rarified. Throughout nine improvisations, the trio
eke out a furrowed palette of metallic footfalls and
eliding cubistic tendencies, resulting in a series of
skewed but fascinating conversations.
Reedman Josh Sinton is primarily known for his
soprano-less Steve Lacy repertory ensemble Ideal
Bread and work with Anthony Braxton, Nate Wooley
and Harris Eisenstadt. While all of this music is
important and part of Sinton’s personality, he hasn’t
had much chance to step out on his own as a leader.
This solo recording of ten vignettes shifts focus to
Sinton’s arsenal and vision, with muscular and often
aggressive pieces for baritone saxophone, contrabass
and bass clarinet. An ensemble version has been
recorded and released digitally on Prom Night, but
these unaccompanied iterations stand up well, ranging
from bright and mouthy boppishness to bluesy weight,
microtonal sputter and layered minimalism. While the
music is rooted in autobiographical excavation (as the
accompanying online notes detail), Sinton’s playing is
wry and pure and his music relatable rather than cagey.
it’s growing organically on its own. Maoz wrote much
of the material and he makes clear just how open his
ears are with a tune like “Wind of Water”, a combination
of the most creative kind of rock balladry with the
imagination of jazz and other new musics. “Yes Your
Majesty” shares ‘composer ’ credits among the three
group members. It’s a synthesis of many things that
define powerful ‘new’ music - electronics and other
sound elements, very free improvisation and the
passion of the world of rock. It builds to powerful
climaxes and ends suddenly and with conviction.
For more information, visit outnowrecordings.com. An OutNow
showcase is at ShapeShifter Lab Nov. 23rd. See Calendar.
IN PRINT
For more information, visit enginecompilation.bandcamp.com.
Sinton is at Douglass Street Music Collective Nov. 2nd with
Erika Dagnino and Nov. 26th-29th with Nate Wooley and
Herbie Hancock and The Mwandishi Band:
You’ll Know When You Get There
Bob Gluck (University of Chicago Press)
by Tom Greenland
W ith
Weight
Yoni Kretzmer 2Bass
Quartet (OutNow)
Open Circuit
9Volt
(OutNow)
by Donald Elfman
Tenor saxophonist Yoni Kretzmer, guitarist Yair Yona
and guitarist Ido Bukelman have come together to
found OutNow Recordings, a new music label whose
motto is, “Search for the sound you never stop
hearing”. The releases considered here celebrate the
essence of improvised music: the convergence of what
is happening now and what might be in the offing.
Kretzmer slams these notions to us immediately in
how he approaches his own classic sax-bass-drums
ensemble on Weight. For one thing, he adds an extra
bass (uprights courtesy of Sean Conly and Reuben
Radding), adding depth and expanding the core. The
album states that the “written ideas” are by Kretzmer,
indicating that the music blends a sense of the
composed and the improvised. The album opens,
appropriately, with “Number One” and all the players
work to move the music forward but also up, down
and sideways. It recalls the playing of avant garde
pioneers like Frank Lowe, Albert Ayler and of, course,
John Coltrane. “A Bit of Peace” almost suggests a kind
of Ayler hymn, something that gives true shape to the
word “peace”. It’s not necessarily quiet or even
peaceful but rather it suggests that in some important
ways the notion of peace may be clarified or measured
in the form of music. After the tenor plays the ‘theme’,
first the basses and then drums (Mike Pride) step
forward to make forceful solo expressions.
Imagine the energy enabled by a 9-volt battery
and you begin to get a sense of the power generated by
Open Circuit. Trombonist Rick Parker, guitarist Eyal
Maoz and drummer Yonadav Halevy utilize electronics
and sheer drive to create music with shape and pulse.
Saxist Tim Berne complements this band with incisive,
thrusting alto playing on four of the eight tracks.
Parker ’s “Squeegee” opens the set, building in
intensity thanks to Halevy’s propulsive drumming and
the dynamic use of electronics. There is thematic
material but the power and volume make it sound as if
a few recent exceptions, surprisingly little
scholarly work has focused on pianist/keyboardist
Herbie Hancock, an oversight redressed by Bob
Gluck’s You’ll Know When You Get There, which
focuses on Hancock’s post-Miles Mwandishi group,
arguably the most creative period of his stunning
career.
An accomplished keyboardist and electronic
synthesist himself, Gluck provides a wealth of
insight into Hancock’s music, discussing his early
influences and development; his solo and comping
styles; his early solo career and tenure with Miles
Davis; his experiments with timbre, ostinati, abstract
harmony, open musical forms, electronic keyboards,
sound effects and studio postproduction techniques
and his approach to musical collectivism and
spirituality. The book gives close readings of all of
the Mwandishi band recordings, track by track,
section by section, revealing the intricate interplay
of improvisation and mixology, form and flow, funk
and freedom that produced this innovative music. It
also compares recorded versions of the repertoire
with extant bootlegs of live concerts to give an
indication of how the music evolved on the road. Casual readers may get lost in the dense musical
descriptions, particularly because the music itself is
highly abstract, but for those who have heard these
recordings, or are willing to follow the guided
listening tour, Gluck’s commentary is enlightening.
Even better, he conducted extensive interviews with
bandmembers and others affiliated with or
influenced by the group, quoting them at length to
provide insider perspectives, supplementing these
with published reviews of gigs. Gluck also takes
time to introduce the distinctive musical
personalities of Buster Williams, Billy Hart, Bennie
Maupin, Eddie Henderson and Julian Priester and
examines the influence of producer David Rubinson
and synthesist Patrick Gleeson. What emerges is an
incredible coalition of collective improvisers that
straddled the ‘divide’ between postbop and
postmodernism, the ultimate jazz jam band.
For more information, visit press.uchicago.edu. A book
release event is at 92YTribeca Nov. 2nd.
Hayley Sings
Rachael MacFarlane (Concord)
by Sharon Mizrahi
“I
began to wonder where Hayley stopped and
Rachael began,” remarked Rachael MacFarlane in
concert at the Highline Ballroom last month and in the
liner notes to her new record Hayley Sings. MacFarlane
refers to Hayley - the music-loving character she voices
on the animated comedy American Dad - quite often,
peppering each description of her album tracks with
quips about the cartoon. The vocalist’s passion for her
television counterpart is clear, but this disc is onehundred percent Rachael MacFarlane.
In collaboration with arranger Tedd Firth, the
crisp-voiced MacFarlane brings her charisma to music
of the ‘60s-70s. “Makin’ Whoopee!” opens in the hands
of an ultra-smooth brass section but MacFarlane shows
the ears what smoothness is truly all about. She is
effortless yet poignant, intertwining with the big band
while shining in her own right. Pianist and singer Tony
DeSare turned the tune into a duo live in concert, his
raspy vocals providing an evocative counterpoint to
MacFarlane’s sound. Brilliance also comes in the form
of “Sooner or Later”, a tune led into full bloom by
forceful trumpeters Wayne Bergeron, Rick Baptist and
Bob Summers. MacFarlane sashays across the track
with a dancing flair that aptly carries into “Do You
Want to Dance?” The tune proceeds with gusto as
vocalist Rafael Ferrer brings Spanish zest to the affair.
The true allure of this album, however, rests in
MacFarlane’s remarkable way of harmonizing her
impeccable technique with personality. “Feelin’
Groovy” illustrates her resonance to the fullest. Each
Paul Simon word slowly unwinds, streaked with
melancholy as it drapes across guitarist George
Doering and pianist Randy Waldman’s warm notes.
Joe LaBarbera accents the air with wisps of percussion
while Mike Valerio’s bass heightens the piece’s depth.
Yet this depth is most apparent when the song ends,
for it lingers like a sultry cloud.
For more information, visit concordmusicgroup.com
Extension
Clare Fischer Orchestra
(Pacific Jazz-International Phonograph)
by Clifford Allen
Composer/pianist/organist Clare Fischer (1928-2012)
didn’t often get his due in the world of modern jazz,
which is unfortunate because over the course of five
decades, he cut some extraordinary sessions. Following
two trio albums for the Pacific Jazz label (First Time
Out and Surging Ahead, both reissued on the Mosaic
Select Pacific Jazz Piano Trios), Fischer upped the ante
considerably with Extension, an orchestral recording
released in 1963 and seeing its first CD reissue. John
William Hardy (1930-2012) produced the original
sessions; to bring this release full circle, Hardy and
International
Phonograph
label-head
Jonathan
Horwich later collaborated on the West Coast label
Revelation, active from the mid ‘60s until the ‘80s.
Extension features a veritable Who’s Who of the
Los Angeles scene of the time, including reedmen Bud
Shank, Jack Nimitz, Jerry Coker, Gary Foster and Sam
Most, drummers Larry Bunker and Colin Bailey and
bassist Bobby West. The orchestra ranges from 16 to 18
musicians, creating both lush and strikingly mirrorbent textures on eight pieces totaling a half hour. The
opening “Ornithardy” isn’t so much a play on Charlie
Parker as it is homage to Hardy’s other great love, the
study of birds (he was a professor of ornithology). It’s
a soaring waltz, subtle wheeling patterns and
undulating low brass against a spry and organ-abetted
rhythm with Coker ’s soft knots woven into the fabric.
“Quiet Dawn” sports large and unsettled dissonances,
looking to Elliott Carter and Igor Stravinsky in its
overlapping, dry and open-ended architecture, which
wraps elegantly around Fischer ’s crisply atonal piano.
“Igor” is, of course, a nod to the favored composer
with glassy blues flourishes and garish horn statements
that, in true Fischer form, are arranged with enough
dappling to go down easily. The title track voices flutes
in such a tight fashion that they seem almost electronic;
Coker is supple and fluid across spare, eliding and odd
horn blocks, which are picked up in Fischer ’s Sun
Ra-like organ solo. “Canto Africano” is the closer, its
exotica-like flourishes (congas, bells, shakers, sansa)
given serious weight with taut horn arrangements.
This may be the ideal starting point for a firm
reevaluation of Fischer ’s work.
For more information, visit internationalphonographinc.com
Adored
Ross Hammond Quartet (Prescott)
by Sharon Mizrahi
Cap draped across his forehead, body slung over his
instrument, Ross Hammond is the image of the intense
artist - but when he puts a pick to his guitar strings, the
image rises to full-fledged life. Hammond’s latest disc
sheds some light on the inspiration and complexity
behind his pensive approach.
Though Hammond dons the electric guitar, his
sound takes on an acoustic personality, rooted in
warmer textures and subtler dynamics. Saxophonist
Vinny Golia provides a stark contrast to Hammond’s
implicit style, piercing “Maribel’s Code” with a
continuous stream of angular notes, deep bellows and
assertive squeals. Even when Hammond engages in
conversation with Golia’s sax, the two musicians
maintain a degree of dissonance, tapered by drummer
Alex Cline’s swift cymbals.
“Sesquipedalian” features Hammond in more
acerbic form, as he departs from sparse instrumentation
onto a more gregarious path. His solo resembles a
series of distinct aural thunderbolts rather than just
plucks on a string, ceaselessly powering through
Cline’s quickstep rhythm. Tensions rise as Golia grows
agitated, bringing his sax to both high and low
extremes. And “extremes” is the word that comes to
mind when experiencing “Just Knowing You’re There”.
It opens with a few unassuming plucks of Steuart
Liebig’s electric bass before thrashing into a heavy
metal-inspired conglomerate of guitar and brass.
What most illuminated Hammond’s artistry,
however, was a brief set at the Douglass Street Music
Collective last month, where a trio with Golia and
bassist Adam Lane was slated to celebrate the new
record. Hammond thoughtfully hovered over his
guitar as Daryl Shawn of the next set explained that
the trio would become a last-minute guitar duo due to
Golia and Lane’s traffic delays. Yet the two musicians
poignantly captured the introspective and searching
spirit of Adored. Methodical experimentalism branched
into a linear, then abstract rhythm, evoking the
journeying vibe of “Water Always Finds Its Way, Like
The Soul”. And indeed, Hammond found his way on
the venue’s stage as he did on his stellar album.
For more information, visit prescottrecordings.blogspot.com
ON DVD
Billy Bang: Long Overdue
Oscar Sanders (Malcolm Entertainment)
by John Sharpe
It’s still hard to comprehend the jazz world without
someone as vital and exuberant as violinist Billy
Bang, who tragically passed away in April 2011,
after struggling with cancer. By way of tribute and
celebration, director Oscar Sanders has produced a
77-minute documentary focusing on the musical life
of the violinist. It’s a story he knows well, as both a
childhood friend of Bang from the Bronx and as the
guitarist on some of his ‘80s albums.
Bang appears briefly, in concert sequences with
his quartet shot in 2010, six months before his
passing, and in a short interview shot at the same
time. But the bulk of the film is composed of extracts
from interviews with a wide array of articulate and
engaging associates from across Bang’s career,
including early colleagues such as bassists John
Lindberg and William Parker through to pianist
Andrew Bemkey and drummer Newman Taylor
Baker from his last quartet. Rather than take a
straightforward chronological route, Sanders
structures the film by posing questions of the type
which might be asked by a jazz journalist, using the
most eloquent and revealing answers for each
segment. Subjects range from inquiring about the
violinist’s bowing technique to his preferences for
recording to what made him different from other
violinists.
Apart from touching on the musical aspects of
his Vietnam trilogy, there is nothing about Bang’s
army experiences, or indeed his life away from
music. But there is very little of Bang’s music in the
film either, notwithstanding the short concert
episodes. That’s even more strange as slightly
intrusive, out-of-context fusion, classical and
contemporary music is used as background behind
many of the interviews. Sanders does seek to
illuminate Bang’s humanity by asking interviewees
for funny and caring stories. One of the most
affecting comes from Baker: even as Bang lay dying
in hospital, he was phoning promoters to ensure
that his band got gigs even though he himself
wouldn’t be there. The credits roll over footage of
the musical send-off given at the violinist’s funeral,
concluding a fitting testament to his legacy.
For more information, visit malcolmentertainment.com
35
BOXED SET
20 Years (1991-2011)
Ab Baars Trio (GeestGronden/Wig)
by Robert Iannapollo
W hat?
You say you never heard of the Ab Baars
Trio, so how could they have a five-CD boxed set?
Here’s your chance to find out. The trio of clarinetist/
saxophonist Ab Baars, bassist Wilbert De Joode and
drummer Martin van Duynhoven, all from The
Netherlands, have been delivering their distinctive
brand of trio interplay for over two decades and it’s
celebrated with 20 Years (1991-2011), a rerelease of
four of their previous albums and one newly
recorded disc.
Baars is a distinctive reed player. His tenor
sports a dry tart tone delivered in angular skittering
lines. His clarinet has a fluid, wispy sound that he
flavors with well-placed distortion. De Joode’s bass
roams actively in the lower end, working with Baars,
complementing and counterpointing his lines,
playing almost as much arco as pizzicato. Van
Duynhoven (a true veteran of the Dutch scene going
back to the ‘60s) is a remarkable drummer, keeping
up a stream of kinetic rhythms, always mindful of
his textural impact as well. These three work
perfectly together.
The trio’s first album, 1992’s 3900 Carol Court,
(the address of American clarinetist John Carter,
with whom Baars studied) was almost a statement of
intent. In “Glorpjes” (with a remarkable clarinet solo
that takes in the entire range of the instrument) one
hears intimations of future swinging excursions
such as their Kinda Dukish phase. “Krang”, featuring
Baars on tenor, incorporates both the group’s
penchant for textural exploration as well as their
abilities to shape their music into a more traditional
jazz structure. And “Trav’lin In Plastic Dreams” is an
off-the-beaten-track Modern Jazz Quartet cover that
plays to the group’s strength in putting an individual
stamp on outside material. It’s a diverse program
delineating the trio’s directions in the future.
1999’s A Free Step, the trio’s third album (1995’s
Sprok is absent for some reason) is an all John Carter
program, Baars given access to scores by Carter ’s
widow. The material is chosen wisely: the playful
“Juba Stomp”; pieces that test the limit of the clarinet
(especially the intro to “Woodman’s Hall Blues”);
“Karen On Sunday”, which is given over to De
Joode’s spectral bass work gently limned by Baars
and van Duynhoven. One hears Carter compositions
from throughout his career, filtered through the
unique prism of this trio.
Songs (2001) emerged from Baars’ interest in
Native American culture. Drawing from the music of
various tribes, this isn’t your everyday cliché ‘Injun’
music. Baars took his source material from a turn-ofthe-century sourcebook and the trio explores the
music, using it for both rhythmic and melodic
NOV 1–4
NOV 12
W YCLIFFE GORDON & FRIENDS:
Dreams of New Orleans
M ANHAT TAN SCHO OL OF MUSIC
JAZZ ORCHESTRA
NOV 5
N OV 13–18 | T H E B E S T O F B LU E N OT E FE S T I VA L
M ANHAT TAN SCHO OL OF MUSIC
AFRO-CUBAN JAZZ ORCHESTRA
LOU DONALDSON QUARTET
with Pat Bianchi, Randy Johnston, and Fukushi Tainaka
Conducted by Bobby Sanabria
N OV 19 | M O N D AY N I G H T S W I T H W B G O
NOV 6
GIACOMO G ATE S ALL S TARS
with John DiMartino, Lonnie Plaxico, Tony Lombardozzi,
and Vincent Ector
NOV 7
M O L LY J O H N S O N
with Seamus Blake, Robi Botos, Larnell Lewis,
and Mike Downes
BARCELONA JAZZ ORCHESTRA
N O V 2 0 –2 5
MONTY ALEXANDER
HARLEM-KINGSTON EXPRESS
NOV 26
BR ANDI DIS TE RHE F T ALL S TARS
with Anne Drummond, Greg Hutchinson, and
N OV 8–11
G R E G O R Y P O R T E R : Be Good
with Chip Crawford, Yosuke Sato, Aaron James, and
Emanuel Harrold
L I V E JA Z Z N I G H T LY
RE S E RVATI O N S 2 12-2 5 8 -9 59 5 / 97 9 5
Aaron Goldberg
N OV 2 7– D E C 2
M ARY S TALLINGS & E RIC RE E D TRIO
JALC.ORG/DIZZYS
exploration. For a little added irony there are a
couple of covers, including a highly abstracted
version of “Cherokee”. This is a rich and inimitable
album and the gem of the set.
Party at the Bimhuis celebrated the band’s tenth
year and they partied with a number of luminaries
including flutist Mariëtte Rouppe van der Voort and
violist Ig Henneman. The repertoire is mostly drawn
from the trio’s albums. “Indiaan”, one of the covers
from the Songs disc, authored by Guus Janssen (he
and van der Voort formed Baars’ first trio in 1984),
finds the composer sitting in on piano while Baars’
boss in the ICP Orchestra (the reedist’s other major
gig), pianist Misha Mengelberg, guests on five tracks
including a version of Monk’s “Reflections”. A
rousing “Von”, dedicated to Chicago saxophonist
Von Freeman with all guests present is the disc’s
high point.
The final disc is the trio’s most recent release
Gawky Stride, a studio session from 2011. (At this
point it’s only available as part of the set.) The
program is all Baars originals except for two group
improvisations. The trio is a lot looser on this set
(compare it to 3900 Carol Court) and the music shows
how this trio has become masterful at beautiful,
uncluttered improvisations. While they have
collaborated with many others (not shown on this set
except for the Bimhuis date) including Roswell
Rudd, Joost Buis, Steve Lacy and Ken Vandermark,
it’s the trio in its pristine state that’s frequently the
most satisfying and this boxed set demonstrates the
high quality of their music.
For more information, visit stichtingwig.com. Baars is at
Rose
Bonanza
Live!
with Ricky Ritzel
Musical Director/Pianist
Sunday November 4th
4:00 PM
At the Metropolitan Room
34 W 22nd St, New York, NY
Rose will be singing many of her original recordings along with the classics
from her Las Vegas career during the days of the “Rat Pack”. You’ll also be
thrilled by her reminiscences about well known Las Vegas celebrities from her
many years performing there.
Tickets for the upcoming “Memories of Las Vegas” show at the Metropolitan
Room are available from their website: www.metropolitanroom.com. You can
also make reservations by calling the Metropolitan Room at: (212) 206-0440.
Experience Rose Bonanza on CD!
k www.rosebonanza.com
800.526.1526
available from Amazon
CALENDAR
Thursday, November 1
êLee Konitz Quartet with Florian Weber, Jeff Denson, Adam Cruz
Birdland 8:30, 11 pm $30-40
êSteve Kuhn Trio with Buster Williams, Billy Drummond
Jazz Standard 7:30, 9:30 pm $25
êWycliffe Gordon’s Dreams of New Orleans with Jon Erik-Kellso, Adrian Cunningham,
Michael Dease, Matt Munisteri, Ibanda Ruhumbika, Marion Felder
Dizzy’s Club 7:30, 9:30 pm $30
êJeff Ballard’s Fairgrounds with Eddie Henderson, Kevin Hays, Jeff Parker,
Larry Grenadier
Village Vanguard 9, 11 pm $25
• Camila Meza Duet; Richard Sussman Group
Smalls 7:30, 9:30 pm $20
• Phil Markowitz/Zach Brock Quartet with James Cammack, Jordan Perlson
Jazz at Kitano 8, 10 pm $10
• Al Margolis and PAS; Elliott Sharp solo
The Stone 8, 10 pm $10
êPublic Eyesore Showcase: Nels Cline/Elliot Sharp; Cactus Truck; Normal Love;
Bunny Brains
Zebulon 8 pm
• Mat Maneri, Gerald Cleaver, Jesse Stacken; 40Twenty: Vinnie Sperrazza, Jacob Garchik,
Jacob Sacks, Dave Ambrosio
I-Beam 8:30 pm $10
• Thiefs: Guillermo E. Brown, Christophe Panzani, Keith Witty with guest Shoko Nagai
The Jazz Gallery 9, 10:30 pm $15
• GV3: Geoff Vidal, Dezron Douglas, Rudy Royston; Tyler Blanton Gotham Quartet with
Donny McCaslin, Matt Clohesy, Nate Wood
Cornelia Street Café 8:30, 10 pm $10
• Gregorio Uribe Big Band
Zinc Bar 9, 10:30 pm 12 am
• Sylvain Leroux Quartet with Karl Berger, Matt Pavolka, Sergo Decius; Damon Banks
ShapeShifter Lab 8, 9:30 pm $11
• Kyoko Oyobe Quintet; Saul Rubin; Will Terrill Quartet
Fat Cat 7, 10 pm 1:30 am
• Lucio Ferrara
The Bar on Fifth 8 pm
• Rory Stuart Trio with Aidan Carroll, Obed Calvaire
Bar Next Door 8:30, 10:30 pm $12
• Phil Gibbs/Mossa Bildner
Spectrum 8 pm
• Cécile Broché; Simone Weißenfels and Friends
The Firehouse Space 8, 9:15 pm $10
• Broken Reed Saxophone Quartet ZirZamin 7 pm
• Kate Pittman/Dustin Carlson; Jeremy Udden/Mike Baggetta
Lark Café 8:30 pm
• Richard Clements Trio
Cleopatra’s Needle 7 pm
• Golda Solomon/Will Connell Jr. Eve’s Lounge 8 pm
• The McCarron Brothers: Paul Carlon, Mark McCarron, Phil Palombi, Russ Meissner;
The CHASE Experiment: Jackie Coleman, Mark Chuvala, Michael Davis,
Aaron Rockers, Maria Eisen, Brad Whiteley, Dean Anbar, Nick Oddy, Adam Minkoff,
Marco Bucelli
Somethin’ Jazz Club 7, 9 pm $5-10
• Rick Stone Trio; Alan Chaubert Trio
The Garage 6, 10:30 pm
• Keith Curbow
Shrine 6 pm
Friday, November 2
• Falafel, Freilach, and Frijoles: From Mambo to Borscht: Arturo O’Farrill and the
Afro Latin Jazz Orchestra with guests Larry Harlow, Steve Bernstein
Symphony Space Peter Jay Sharp Theatre 8 pm $30-50
êDon Friedman Quartet with Tim Armacost, Phil Palombi, Shinnosuke Takahashi
êBucky Pizzarelli, Russ Kassoff, Steve LaSpina
Knickerbocker Bar and Grill 9:45 pm $5
êOrrin Evans Quintet with Joel Frahm, Jack Walrath, Ben Wolfe, Obed Calvaire
Smoke 8, 10, 11:30 pm $30
êJohnathan Blake Group with Jaleel Shaw, Ben Wendel, Ben Street
êJason Rigby Trio with Cameron Brown, Gerald Cleaver
Cornelia Street Café 9, 10:30 pm $15
• Deco Heart: Lucian Ban/Mat Maneri
Greenwich House Music School 8 pm $15
• Ralph LaLama Bop-Juice with David Wong, Clifford Barbaro; Steve Davis Quintet
Smalls 7:30, 10:15 pm $20
• Judith Berkson
Roulette 8 pm $15
• Gene Ess’ Fractal Attraction with Thana Alexa, David Berkman, Thomson Kneeland; Maryanne de Prophetis, Ron Horton, Satoshi Takeishi
I-Beam 8:30, 9:30 pm $10
• Hazel Rah: Tim Byrnes, Adam Minkoff, Rich Bennett; Steve Buchanan/Ken Yamazaki
• Dmitry Baevsky Quartet; Dave Gibson; Behn Gillece Quartet
Fat Cat 6, 10:30 pm 1:30 am
• Mercedes Figueras, Tomas Ulrich, Joe Hertenstein, Philip Gibbs, Mossa Bildner
Nublu 10 pm
• Lars Graugaard and the NYU Improvisers’ Ensemble with Robert Dick, Chris Jordan,
Katherine Liberovskaya
The Firehouse Space 8 pm $10
• Daniel Weiss Band; Patrick Cornelius Maybe Steps with Miles Okazaki, John Chin,
Peter Slavov; Nick Vayenas with Doug Wamble, Linda Oh, Dan Kaufman,
Colin Stranahan
ShapeShifter Lab 7:30, 8:30 pm $10
• World on a String Trio: Paul Meyers, Leo Traversa, Vanderlei Pereira
Bar Next Door 7:30, 9:30, 11:30 pm $12
• Erika Dagnino, Andrea Wolper, Sarah Bernstein, Ras Moshe, Josh Sinton, Ken Filiano,
John Pietaro
Douglass Street Music Collective 9 pm $10
• François Grillot Trio with Christian Amigo, Blaise Siwula
Culture Fix 8 pm
• Raya Brass Band; Pitchblak Brass Band
Littlefield 10 pm $10
• Benny Benack Band with Adam Larson, Emmet Cohen, Raviv Markovitz,
Jimmy Macbride
Metropolitan Room 11:30 pm $20
• Ed Stoute Quintet
Jazz 966 8 pm $15
• Jeff King Band with Yoichi Uzeki, Rachiim Asu-Sahu, George Gray
Buka Restaurant 9, 10:30 pm
• Jocelyn Medina Quartet with Pete McCann, Sean Smith, Greg Ritchie
Zinc Bar 7 pm
• YoungJoo Song Trio
• Line of Sight: John Blevins, Brad Mulholland, Jeff McLaughlin, Kameron Markworth,
Alex Raderman; Hyuna Park Quintet with David Bertrand, Jacob Teichroew,
Amadis Dunkel, Joseph Han, Spiro Sinigos; Anthony Fung Quartet with Ben Solomon,
Davis Whitfield, Russell Hall
Somethin’ Jazz Club 7, 9, 11 pm $5-10
• JB Baretsky Trio
Triad 9:15 pm $10
• Doug McDonald Trio; Hot House The Garage 6:15, 10:45 pm
Birdland 8:30, 11 pm $30-40
Dizzy’s Club 7:30, 9:30, 11:30 pm $35
• Chris Pattishall Quintet
Dizzy’s Club 12:45 am $20
Larry Grenadier
• Lucio Ferrara
• Rakiem Walker Project
Shrine 6 pm
• Jane Ira Bloom Trio with Dominic Fallacaro, Dean Johnson
New School Wollman Hall 1 pm
Saturday, November 3
êChick Corea/Stanley Clarke Band with Ravi Coltrane, Marcus Gilmore
Blue Note 8, 10:30 pm $75
êRudresh Mahanthappa’s Indo-Pak Coalition with Rez Abbasi, Dan Weiss
Miller Theatre 8 pm $25-30
êJeff “Tain” Watts Group with Mark Whitfield, Manuel Valera, Yunior Terry Cabrera
ShapeShifter Lab 8:30 pm $15
êRuss Lossing solo
Greenwich House Music School 8 pm $15
êDonal Fox solo
92YTribeca 8 pm $25
• Jane Monheit with Michael Kanan, Neal Miner, Rick Montalbano and guest
Mark O’Connor
92nd Street Y 8 pm $40
• Idiot Saint Crazy; Anthony Coleman with Mat Maneri, Brian Chase
êBen Williams Quartet
Ginny’s Supper Club 8, 10:30 pm $15
• Devin Gray Dirigo Rataplan with Dave Ballou, Jeff Lederer, Michael Formanek
• David Schnitter Quartet; Raphael D’lugoff; Todd Herbert Quartet
êImprovisations: Carol Robinson, Frances-Marie Uitti, Nate Wooley, Satoshi Takeishi
Issue Project Room 8 pm $10
• Philip Gibbs solo and with Daniel Carter, Joe Hertenstein, Harvey Valdes,
Sylvain Leroux, Gianluigi Diana, Mossa Bildner, Max Johnson
I-Beam 8:30 pm $10
• Brooklyn Jazz Wide Open: Rob Garcia 4 with Noah Preminger, Kris Davis, Matt Pavolka;
Michel Gentile Quintet with Shane Endsley, Nate Radley, Chris Lightcap, Rob Garcia
Brooklyn Conservatory of Music 8 pm $15
êMr. Ho’s Orchestrotica: Brian O’Neill, Geni Skendo, Jason Davis, Noriko Terada
Barbès 8 pm $10
• Jerome Sabbagh Trio with Joe Martin, Billy Drummond
Bar Next Door 7:30, 9:30, 11:30 pm $12
• Jessica Pavone/Nick Millevoi Exapno 8 pm $5
• Captain for Dark Mornings: Emma Alabaster, Charlie Rauh, Zach Dunham;
Gabrield Guerrero and Friends Douglass Street Music Collective 8 pm $10
• Ryan Hayden Quartet with Jean Caze
Oceana Restaurant 9 pm
• Fukushi Tainaka Quartet
• CHIVES: Steven Lugerner, Matt Wohl, Max Jaffe
The Freedom Garden 8 pm
• Tomas Janzon Duo Garden Café 7:30 pm
• Ross Kratter Big Band; Hiromi Kasuga Band with Joe Magnarelli, Marco Panascia,
Mark Taylor; Noshir Mody Quintet with Tsuyoshi Niwa, Carmen Staaf, Daniel Foose,
Yutaka Uchida; Gianni Gagliardi’s Nomadic Nature with Yago Vazquez, Scott Colberg,
Jesse Simpson
Somethin’ Jazz Club 5, 7, 9, 11 pm $5-15
• Russel Brown G-Slinger Band Metropolitan Room 11:30 pm $20
• Falafel, Freilach, and Frijoles: From Mambo to Borscht: Arturo O’Farrill and the
Afro Latin Jazz Orchestra with guests Larry Harlow, Steve Bernstein
Symphony Space Peter Jay Sharp Theatre 8 pm $30-50
êDon Friedman Quartet with Tim Armacost, Phil Palombi, Shinnosuke Takahashi
êBucky Pizzarelli, Russ Kassoff, Steve LaSpina
êOrrin Evans Quintet with Joel Frahm, Jack Walrath, Ben Wolfe, Obed Calvaire
Smoke 8, 10, 11:30 pm $30
êJohnathan Blake Group with Jaleel Shaw, Ben Wendel, Ben Street
• Virginia Mayhew Group; Steve Davis Quintet
Smalls 7:30, 10:15 pm $20
• Judith Berkson
Roulette 8 pm $15
Birdland 8:30, 11 pm $30-40
Dizzy’s Club 7:30, 9:30, 11:30 pm $35
Larry Grenadier
• Lucio Ferrara
• Larry Newcomb Trio; Evgeny Lebedev
• Carol Sudhalter Astoria Big Band Steinway Reformed Church 3 pm
Sunday, November 4
êS.E.M Ensemble with guests Conrad Harris, Petr Kotik, Roscoe Mitchell
Roulette 5 pm $15
• William Hooker Quartet with Matt Lavelle, Larry Roland, Mark Hennen
• Mike Kanan/Peter Bernstein; Dmitry Baevsky Quartet
Smalls 7:30, 11 pm $20
êThe Four Bags: Brian Drye, Jacob Garchik, Sean Moran, Mike McGinnis
Barbès 8 pm $10
• Ehud Asherie; Fat Cat Big Band; Brandon Lewis/Renee Cruz Jam
Fat Cat 6, 8:30 pm 12:30 am
• Ku Fu Masters; Marko Djordjevic Group
ShapeShifter Lab 8:30 pm
• Manner Effect: Sarah Elizabeth Charles, Caleb Curtis, Logan Evan Thomas, PJ Roberts,
Josh Davis
Cornelia Street Café 8:30 pm $10
• Victor Poison-Tete; Tamio Shiraishi/Cammisa Buerhaus
• Peter Leitch/Harvie S
Walker’s 8 pm
• Tony Romano Trio with Steve LaSpina, Matt Kane
Bar Next Door 8, 10 pm $12
• Edgar Allan Poe’s “The Tell Tale Heart”: Katie Down, Eyal Maoz, Daniel Kelly,
Rob Garcia and guest Lenard PetitSycamore 8:30 pm $10
• Out of Your Head: Drew Williams, Danny Gouker, JP Schlegelmilch, Keisuke Matsuno,
Matt Rosseau; Carlo Costa, Kate Pittman, Devin Gray, Devin Drobka
The Backroom 9:30, 11 pm
• Craig Flanagin, Matthew Choplick and Company; Sean Ali/Jake Henry
ABC No Rio 7 pm $5
• Shrine Big Band
Shrine 8 pm
• Alberto Pibiri The Bar on Fifth 8 pm
Larry Grenadier
• Philip Gibbs/Mossa Bildner with guests Steve Swell, Jason Kao Hwang, Gerald Cleaver
Downtown Music Gallery 6 pm
• Jazz Mass: Arne Hiorth, Richard Maegraith, Helge Nysted
Saint Peter’s 5 pm
• Bob Rodriguez Trio with Lou Pappas and guest Jimmy Martocci
Somethin’ Jazz Club 5 pm $15
• Rose Bonanza’s More Memories of Las Vegas
Metropolitan Room 4 pm $20
• NYU Jazz Brunch: Michael Rodriguez
Blue Note 12:30, 2:30 pm $29.50
• Metropolitan Klezmer; Isle of Klezbos
Brooklyn Center for the Performing Arts 2 pm $30
• Frank Senior Trio with Lou Rainone, Paul Beaudry
North Square Lounge 12:30, 2 pm
• Evan Schwam Quartet; David Coss Quartet; Masami Ishikawa Trio
The Garage 11:30 am 7, 11:30 pm
Monday, November 5
êBucky Pizzarelli, Ken Peplowski, John Allred, Bill Allred, Rossano Sportiello,
Joel Forbes, Chuck Riggs
Feinstein’s at Loews Regency 7 pm $25
êSidney Bechet Society - Sidney Bechet & The New Orleans Trumpet Greats:
Jon-Erik Kellso and Evan Christopher with Ehud Asherie, Matt Munisteri, Pat O’Leary,
Marion Felder
Kaye Playhouse 7:15 pm $35
êSteve Turre’s Three-Trombone Sextet with Steve Davis, Frank Ku-Umba Lacy
Smoke 7, 9 pm
• Manhattan School of Music Afro Cuban Jazz Orchestra Conducted by Bobby Sanabria
• David Amram and Company with Kevin Twigg, John de Witt, Adam Amram
• Kendra Shank Trio with John Stowell, Dean Johnson
• Sean Wayland with Sam Minaie, Nate Wood, Sarah Tolar, James Muller
55Bar 10 pm
• Asen Doykin Trio; Mike Moreno Group
Smalls 7:30, 9:30 pm $20
• Noriko Ueda Jazz Orchestra
Tea Lounge 9, 10:30 pm
• Lucio Ferrara
• Yulia Musayelyan Quartet with Maxim Lubarsky, Oleg Osenkov, Franco Pinna;
Manu Koch with Panagiotis Andreou, Mauricio Zottarelli, Sebastian Nickoll and
guest Brahim Fribgane
ShapeShifter Lab 7:30, 9 pm $8
• Napoleon Revels-Bey with Greg Lewis Organ Monk
For My Sweet Restaurant 7:15, 9:15 pm
• Kevin Kastning/Mark Wingfield Drom 7 pm $15
• Juilliard Jazz Ensembles
Paul Hall 8 pm
• PascAli: Sean Ali/Pascal Niggenkemper; Cheryl Pyle/Nicolas Letman-Burtinovic;
Unattended Parking: Nicolas Letman-Burtinovic, Tony Malaby, Bobby Avey,
Satoshi Takeishi Sycamore 8 pm
• Evan Shinners; Joe Farnsworth; Billy Kaye Jam
• Elisabeth Lohninger
Zinc Bar 7 pm $8
• Howard Williams Jazz Orchestra; Ben Cliness Trio
Tuesday, November 6
êFred Van Hove solo and duo with Lou Grassi; Ab Baars/Ig Henneman;
Lars Graugaard/Brad Shepik
ShapeShifter Lab 7:30, 9, 10 pm $15
êJazz Composers Collective Festival: Ben Allison Band with Steve Cardenas,
Brandon Seabrook, Allison Miller, Rogerio Boccato
• Guillermo Klein with Richard Nant, Aaron Goldberg, Matias Mendez, Sergio Verdinelli
and guest Liliana Herrero
êDjango Reinhardt Festival: Dorado, Amati, Bronson and Samson Schmitt with
Ludovic Beier, Pierre Blanchard, Xavier Nikq and guest Ken Peplowski
Birdland 8:30, 11 pm $30-40
êGiacomo Gates All Star Election Night Special with John di Martino, Lonnie Plaxico,
Tony Lombardozzi, Vincent Ector Dizzy’s Club 7:30, 9:30 pm $30
• Pete Zimmer Quartet
Dizzy’s Club 11:30 pm $10
• Charli Persip Supersound
NYC Baha’i Center 8, 9:30 pm $15
• Jack Jeffers and the New York Classics with Antoinette Montague
Zinc Bar 8, 10 pm
• Joe Sanders Group
Smalls 9:30 pm $20
• Brilliant Coroners: John McDonough, Ed Littman, Tom Shad, Andy O’Neill;
XBOP: Will Arvo, Jon Roberds, Brandon Miller
êJames Carney Group; Kris Davis, Eivind Opsvik, Flin van Hemmen
Korzo 9, 10:30 pm $5
êRebecca Martin/Larry Grenadier The Jazz Gallery 9, 10:30 pm $15
• Abe Ovadia Organ Trio with Anthony Pocetti, Steve Picataggio
Cornelia Street Café 10 pm $10
• Saul Rubin; Maximo Bachata Y Merengue; Gregg Glassman Jam
• Jake Saslow Trio with Matt Clohesy, Colin Stranahan
• Antonio Ciacca
êJack Wilkins/Gene Bertoncini
Bella Luna 8 pm
• Tom Beckham Trio
Interstate Food and Liquor 9:30 pm
• Maurício de Souza Quartet
The Lambs Club 7:30 pm
• David Jimenez with Ryan Park Chan, Jon Nankof, Keelan Dimick, Wesley Troeger;
GKTV Quartet: Jostein Gulbrandsen, Gian Tornatore, Eddy Khaimovich,
Rodrigo Villanuva
• DK Ibomeka
• Kyle Athayde Big Band
The Garage 7 pm
Wednesday, November 7
• Omer Avital Band Of The East; Gregory Tardy Quintet
92YTribeca 8 pm $12
êTom Swafford; Maro Cappelli Acoustic Trio with Ken Filiano, Satoshi Takeishi
êValery Ponomarev “Our Father Who Art Blakey” Big Band
Zinc Bar 8 pm
êRick Germanson Trio with Phil Palombi, Joe Farnsworth
An Beal Bocht Café 8, 9:30 pm $15
• Pamelia Kurston with Vehicle of Ascension
Roulette 8 pm $15
• Molly Johnson with Seamus Blake, Robi Botos, Larnell Lewis, Mike Downes
• Sue Raney with Alan Broadbent, Harvie S, Bill Goodwin
• Mercedes Hall Quartet with Glafkos Kontemeniotis, Gaku Takanashi, George Mel
êLoren Stillman, Brad Shepik, David Ambrosio, Mark Ferber
Barbès 8 pm $10
• Life Size: Brian Krock, Samir Zarif, Olli Hirvonen, Dan Rufulo, Leo Sherman,
Philippe Lemm
• Rob Duguay Songevity with Abraham Burton, Justin Kauflin, Nadav Snir;
Simona Premazzi with Ameen Saleem, Melissa Aldana
Smalls 9:30 pm 12 am $20
• Tyler Blanton’s Gotham Quartet with Donny McCaslin, Matt Clohesy, Nate Wood;
Franz Hackl’s IDO with Adam Holzman, Freddy Cash, Kim Plainfield
ShapeShifter Lab 8, 9:30 pm
• Raphael D’lugoff; Groover Trio; Ned Goold Jam
• Brandon Wright Quintet
Smoke 7, 9 pm
• Ed Vodicka Trio with guest Warren Vache
Pier 9 Restaurant 8 pm
• Eric Fraser/Steven Celluci
Seeds 9 pm $10
• Sean Ali/David Grollman
Spectrum 7 pm
• Matt Panayides Group with Rich Perry, Jeff Davis
• Marc Devine; Anderson Brothers The Garage 6, 10:30 pm
êJazz Composers Collective Festival: Frank Kimbrough Group with Steve Wilson,
Jay Anderson, Lewis Nash
Ludovic Beier, Pierre Blanchard, Xavier Nikq and guest Anat Cohen
Birdland 8:30, 11 pm $30-40
• Antonio Ciacca
• Elise Wood Duo
Shrine 6 pm
• Aaron Graves
Saint Peter’s 1 pm $10
êEllis Marsalis Quartet with Derek Douget, Jason Stewart, Joe Dyson
êNational Jazz Museum in Harlem Benefit: Christian McBride Trio; Jonathan Batiste
Stay Human Band; National Jazz Museum All-Star Big Band led by Loren Schoenberg
with guest Janis Siegel
El Museo Del Barrio 7:30 pm
êVince Giordano and The Nighthawks with guest Catherine Russell
Merkin Concert Hall 8 pm $25-250
êMiguel Zenón, Scott Colley, Antonio Sanchez
• The Wolff and Clark Expedition: Mike Clark, Michael Wolff, Tom Harrell, Steve Wilson,
Alex Foster, James Genus
Iridium 8, 10 pm $30
êGregory Porter with Chip Crawford, Yosuke Sato, Aaron James, Emanuel Harrold
• Max Johnson Trio with Kirk Knuffke, Ziv Ravitz; J-Zee-Shushi-Car: Zachary Pruitt,
Derek Leslie, Justin Veloso
êJoe Hertenstein’s Future Drone with Jon Irabagon, Ken Filiano
• Marco Panascia Birthday Party; Sylvia Cuenca Group
Smalls 7:30, 9:30 pm $20
• Taylor Haskins with Ben Monder, Chris Lightcap, Jeff Hirshfield; Greg Diamond with
Seamus Blake, Brian Hogans, Mike Eckroth, Edward Perez, Henry Cole,
Mauricio Herrera
• Antonio Barbagallo Quartet with Craig Hartley, Ugonna Okegwo,
Jeremy “Bean” Clemons
• Andy Statman
Barbès 8 pm $10
• Tal Ronen Quartet; Greg Glassman Quintet; Avi Rothbard
• Timothy Hayward Trio with Thomson Kneeland, Steve Johns
• Tim Lancaster Group with Tim Hagans, Michael Bard, Jason Shattil, Steve LaSpina
• Donna Singer and Doug Richards Trio with Billy Alfred, Mike Cervone and
guest Luis Camacho
Billie’s Black 7:30 pm $10
• Damien Olsen/Lisa Dowling; Adam Dym Trio
Spectrum 8 pm
• Equilibrium; Roger Davidson Caffe Vivaldi 8:30, 9:30 pm
• Christian Finger Band with Pete McCann, Adam Armstrong
Inkwell Café 8 pm
• Don Furman Trio
• David Engelhard Group with Matt Baker, Willie Harvey; Jeron White Quintet with
Sean Powell, Kaori Yamada, Sam King, Mayu Saeki
• Champian Fulton Quartet; Andrew Hadro Quartet
êJazz Composers Collective Festival: Ron Horton Sextet with Marty Ehrlich, Ted Nash,
Frank Kimbrough, Ben Allison, Tim Horner; Ron Horton/Tim Horner Eleventet with
Nate Ecklund, Marty Ehrlich, John O’Gallagher, Ted Nash, Marc Mommaas, Mike Fahn,
Alan Ferber, Mark Sherman, Frank Kimbrough, Ben Allison
Ludovic Beier, Pierre Blanchard, Xavier Nikq and guest Nicki Parrott
Birdland 8:30, 11 pm $30-40
• Antonio Ciacca
• Cheryl Pyle/Nicolas Letman-Burtinovic Duo
Orchard Windows Gallery 6 pm
• Peter Honan
Shrine 6 pm
Friday, November 9
êFred Van Hove solo and duo with Lou Grassi
êReggie Nicholson/Marty Ehrlich; Craig Harris 4 Trombones with Ray Anderson,
Art Baron, Aaron Johnson
Community Church Of New York 8 pm $35
êHouston Person
Jazz 966 8, 10 pm $25
• David Amram Tribute with Paquito D’Rivera, Peter Yarrow, Tom Paxton, John Sebastian,
Josh White, Jr., Guy Davis, Henry Butler
Symphony Space Peter Jay Sharp Theatre 6:30 pm $60-125
• Mark Murphy Quartet
êNed Rothenberg’s Ghost Stories with Erik Friedlander, Min Xiao-Fen, Satoshi Takeishi,
Mivos Quartet
Roulette 8 pm $15
êEddie Allen
York College Performing Arts Center 7 pm $20
êJim Black Mystery Duo
êJacob Garchik’s The Heavens with Josh Roseman, Jason Jackson, Curtis Hasselbring,
Curtis Fowlkes, Brian Drye, Joe Daley, Kenny Wolleson
Barbès 10 pm $10
êJeremy Pelt Sextet with Roxy Coss, Darren Barret, Danny Grissett, Dwayne Burno,
JD Allen
Smoke 8, 10, 11:30 pm $30
• Ehud Asherie/Harry Allen
• Jon Davis Trio; Vincent Gardner Group
Smalls 7:30, 10:15 pm $20
• Grew Lewis Organ Monk with Napoleon Revels-Bey
Lenox Lounge 8:30, 10:30 pm
• Ray Gallon Trio; Sylvia Cuenca Fat Cat 6, 10:30 pm
• The Molecules: Ron Anderson, Thomas Scandura, John Shiurba; Drum Trio:
Tom Scandura, Keith Abrams, Mike Pride
êTranceFormation: Connie Crothers, Ken Filiano, Andrea Wolper; Gene Ess’
Fractal Attraction with Thana Alexa, Gadi Stern, Thomson Kneeland, Chris Beck
I-Beam 8:30, 9:30 pm $10
• Eric Lewis’ ELEW
Le Poisson Rouge 7:30 pm $20
êDizzy Atmosphere - The Big Band Music of Dizzy Gillespie: MSM Jazz Orchestra with
guest Jon Faddis
Borden Auditorium 7:30 pm $12
• Richard Boukas Trio with Gustavo Amarante, Mauricio Zottarelli
Bar Next Door 7:30, 9:30, 11:30 pm $12
• Rudi Mwongozi Quartet
• The Music of Hyeseon Hong: Ange Sande, Jeremy Miloszewicz, Colin Brigstocke,
Jason Wiseman, Jason Colby, Matt Vashlishan, Mike Wilkens, Alex Terrier, Justin Wood,
Paul Nedzela, Matt McDonald, Joe Beaty, Nick Finzer, Andrew Jaeger, Matt Panayides,
Broc Hempel, Fumi Tomita, Dan Pugach; Maya Nova Quintet with Yasuno Katsuki,
Tuomo Uusitalo, Eduardo Belo, Joao Mota; Ray Parker with Russell George, John Hart
• Kyoko Oyobe Trio; Kevin Dorn and the Big 72
The Garage 6:15, 10:45 pm
• Ritmosis: David Deej, Doron Lev, Eddie Torres, Elvin Cartagena, Josh Ortiz,
Adam Iofida, John Arrons, Satish Robertson
Blue Note 12:30 am $10
• The Wolff and Clark Expedition: Mike Clark, Michael Wolff, Tom Harrell, Steve Wilson,
Alex Foster, James Genus
êJazz Composers Collective Festival: Ted Nash Double Quartet with Nathalie Bonin,
Joyce Hammann, Lev Zhurbin, Tomas Ulrich, Erik Charlston, Frank Kimbrough,
Ben Allison, Tim Horner; Ted Nash Quartet with Ron Horton, Paul Sikivie,
Ulysses Owens; Herbie Nichols Project: Ron Horton, Ted Nash, Michael Blake,
Frank Kimbrough, Ben Allison, Michael Sarin
Jazz Standard 7:30, 9:30, 11:30 pm $30
Ludovic Beier, Pierre Blanchard, Xavier Nikq and guest Jisoo Ok
Birdland 8:30, 11 pm $30-40
• Antonio Ciacca
• Rakiem Walker
Shrine 6 pm
• Lou Pallo Trio
J&R Music World 12:30 pm
êJazz and Colors: JD Allen Quartet; Jamie Baum Quintet; Kahlil Kwame Bell;
Lakecia Benjamin and Soul Squad; Marc Cary Quartet; Sharel Cassity Quintet;
Claire Daly Quartet; Chris Dingman Quartet; ELEW; Wayne Escoffery Quartet;
Mitch Frohman Quartet; Joel Harrison Quartet; Kevin Hays Trio; JC Hopkins Quintet;
Marika Hughes’ Bottom Heavy; Jason Kao Hwang Trio; Jazz at Lincoln Center All-Stars;
The Klezmatics; Gregoire Maret; Jason Marshall Quartet; Mingus Big Band;
Mike Mo Quartet; Jacques Schwartz-Bart Quartet; Bob Stewart Quintet;
Kirk Knuffke, Jesse Stacken, Bill Goodwin; Roy Campbell Tazz Quartet;
Yosvany Terry Quartet; Kimberly Thompson Quartet; Doug Wamble Quartet;
YES! Trio: Aaron Goldberg, Omer Avital, and Ali Jackson
Central Park 4 pm
êJoe Fonda/Michael Jefry Stevens Group with Thomas Heberer, Harvey Sorgen
92YTribeca 8 pm $25
êHarry Allen Quartet with Rossano Sportiello, Joel Forbes, Alvin Atkinson
• Jack Wright, Ron Stabinsky, John McClellan; PAK: Ron Anderson, Keith Abrams,
Tim Byrnes, Marco Cappelli, Nonoko Yoshida
êEllery Eskelin Trio with Chris Lightcap, Billy Mintz
• Dayna Stephens Quartet
• Corin Stiggall Quintet; Valery Ponomarev Septet
Fat Cat 7, 10 pm
• Charenee Wade
Sistas’ Place 9, 10:30 pm $20
• Iron Dog: Sarah Bernstein, Stuart Popejoy, Andrew Drury; The Home of Easy Credit:
Louise Dam Eckardt Jensen/Tom Blancarte; Briggan Krauss/Jim Black
JACK 8 pm $10
• Michael Winograd’s Tarras Band with Pete Sokolow, Ben Holmes, Jim Guttmann,
Dave Licht
Barbès 8 pm $10
• The Moon: Adam Caine/Federico Ughi; Daniel Carter/Federico Ughi Astonishment
I-Beam 8:30, 9:30 pm $10
• Steve Bloom Trio with Danton Boller, Jeremy Carlstedt
Bar Next Door 7:30, 9:30, 11:30 pm $12
• Isra-Alien: Oren Neiman/Gilad Ben-Zvi
Drom 7:15 pm $15
• Carlo Costa/Ryan Ferreira; HAG: Brad Henkel, Sean Ali, David Grollman
Launch Pad Gallery 8 pm
• Ken Simon Quartet
• Aaron Ward’s NuGen Jazz Project with Keith Curbow, Chris Perkins, Kom Wongsawat,
Jesse Bielenberg, Jim Bloom; Cara Campanelli Group with Thomas Meunier,
Adam Shulman, Mike Lembke; Sam Mortellaro Trio with Peter Yuskauskas,
Dan Kleffmann; James Robbins Quintet with Christoph Huber, Nat Janoff,
Sharik Hassan, Charles Goold Somethin’ Jazz Club 5, 7, 9, 11 pm $5-15
êNed Rothenberg’s Ghost Stories with Erik Friedlander, Min Xiao-Fen, Satoshi Takeishi,
Mivos Quartet
Roulette 8 pm $15
êJeremy Pelt Sextet with Roxy Coss, Darren Barret, Danny Grissett, Dwayne Burno,
JD Allen
Smoke 8, 10, 11:30 pm $30
êEhud Asherie/Harry Allen
êPete Malinverni Trio; Vincent Gardner Group
Smalls 7:30, 10:15 pm $20
• Mauricio Zottarelli’s Mozik with Gilson Schachnik, Yulia Musayelyan, Fernando Huergo,
Gustavo Assis Brasil
Feinstein’s at Loews Regency 8, 10:30 pm $30
êJazz Composers Collective Festival: Michael Blake’s Elevated Quartet with
Frank Kimbrough, Ben Allison, Ferenc Nemeth; Ben Allison and Medicine Wheel with
Ron Horton, Ted Nash, Michael Blake, Frank Kimbrough, Michael Sarin, Ben Allison;
Ben Allison Trio with Ted Nash, Steve Cardenas plays Jim Hall
Jazz Standard 7:30, 9:30, 11:30 pm $30
Ludovic Beier, Pierre Blanchard, Xavier Nikq and guest Jisoo Ok
Birdland 8:30, 11 pm $30-40
• Antonio Ciacca
• Karen Bentley Pollick
• 9th Annual Encuentro NYC Colombian Music Festival:
Sebastián Cruz Cheap Landscape Trio; Martin Vejarano-Chia’s Dance Party;
Nilko Andreas Guarín; Alejandro Flórez-Tibaguí; Alejandro Zuleta Vallenato Collective;
Pablo Mayor’s Folklore Urbano Orchestra; Daniel Fetecua and Pajarillo Pinta’o
Dance Company; Gregorio Uribe Big Band; M.A.K.U. SoundSystem; Grupo Rebolú
Le Poisson Rouge 3:30 pm $20
• Daniela Schaechter Trio; Brooks Hartell Trio; Akiko Tsuruga Trio
The Garage 12, 6:15, 10:45 pm
Sunday, November 11
• Chico Hamilton with Nick Demopoulos, Paul Ramsey, Evan Schwam, Mayu Saeki,
Jeremy Carlstedt and guests
Drom 7:15 pm $15
• Elliott Sharp’s Terraplane with Tracie Morris, Eric Mingus, David Hofstra, Don McKenzie,
Alex Harding
Joe’s Pub 9:30 pm $20
• Victor Wooten Band
BB King’s Blues Bar 8 pm $35
• Marti Mabin Duo; David Schnitter Quartet
Smalls 7:30, 11 pm $20
• Will Redmond; Michael Evans/Scott Robinson
• Ehud Asherie; Jade Synstelien Quartet; Brandon Lewis/Renee Cruz Jam
Fat Cat 6, 8:30 pm 12:30 am
• Cthulhu’s Electro-Acoustic Ensemble of Xibalba: Dan Blake, Matt Nelson,
Louise Dam Eckardt Jensen, Taavi Kerikmäe, Sam Pluta, Damon Holzborn, Tim Dahl,
Tom Blancarte, Craig Taborn; Dan Blake solo; Stuart Popejoy Project
• Bill Cole/Catherine Moones; Music Now: Omar Tamez, John Pietaro, Matt Lavelle,
Ras Moshe; Erika Dagnino
Brecht Forum 7 pm $10
• Yoon Sun Choi’s E-String Band with Thomas Morgan, Jacob Sacks, Vinnie Sperrazza,
Khabu Doug Young
Sycamore 8:30 pm $10
• Brett Sandler Trio with Peter Longofono, Adam Pin; Adam Larson Quintet with
Nils Weinhold, Raviv Markovitz, Can Olgun, Guilhem Flouzat
ShapeShifter Lab 8:30, 9:30 pm $8-10
• Nate Radley Trio with Matt Pavolka, Ted Poor
• Peter Leitch/Charles Davis
Walker’s 8 pm
• Flip City: David Aaron, Will McEvoy, Kate Pittman; Brian Price/Federico Ughi
ABC No Rio 7 pm $5
• Yoshiki Miura Group; Stevie Swaggz: Steven Fowler, Stephen Gladney, Rafeal Statin,
Joe Harley, Tony Lannen, Owen Erickson
Somethin’ Jazz Club 5, 7 $5-10
êJazz Composers Collective Festival: Michael Blake Band with Kirk Knuffke,
Ryan Blotnick, Landon Knoblock, Michael Bates, Greg Richie; Herbie Nichols Project:
Ron Horton, Ted Nash, Michael Blake, Frank Kimbrough, Ben Allison, Michael Sarin
Ludovic Beier, Pierre Blanchard, Xavier Nikq and guest Stephane Seva
Birdland 8:30, 11 pm $30-40
• Mofodishu: Mike Noordzy, Chris Welcome, Max Ross; Kyoko Kitamura/Ann Rhodes
sing Anthony Braxton
• Steve Nelson
• Iris Ornig with Brandon Wright, Helen Sung, Jerome Jennings
Blue Note 12:30, 2:30 pm $29.50
• Medicine Woman of Jazz: Golda Solomon, Michael TA Thompson, Will Connell Jr.,
Larry Roland
Harlem Arts Salon 2:30 pm $25
• The Music of Louis Armstrong: Hot Lips Joey Morant and Catfish Stew
• Roz Corral Trio with Ron Affif, Paul Gill
• Lou Caputo Quartet; David Coss Quartet; Mauricio DeSouza Trio
39
Monday, November 12
êEric Person and Metamorphosis with Adam Klipple, Adam Armstrong,
Shinnosuke Takahashi
• Ben Holmes Quartet with Curtis Hasselbring, Matt Pavolka, Vinnie Sperrazza;
Akiko Pavolka Band with Matt Pavolka, Guillermo Klein, Loren Stillman, Nate Radley,
Bill Campbell
• Manhattan School of Music Jazz Orchestra
• Blaise Siwula/François Grillot; Timaeus: Douglas Bradford, Zack Lober, Cody Brown;
Bobby Avey Trio with Thomson Kneeland, Jordan Perlson
Sycamore 8 pm
• Yotam Silberstein solo; Dayna Stephens Group
Smalls 7:30, 9:30 pm $20
• Public String Quartet; Ned Goold Quartet; Billy Kaye Jam
• Deanna Witkowski Trio with Marco Panascia, Scott Latsky
• NewYorkestra
• Ron Dabney
• Jane Irving
Zinc Bar 7 pm $8
• Antonio Ciacca
• Ed Stoute Trio with Gene Ghee For My Sweet Restaurant 7:15, 9:15 pm
• Howie Leshaw Trio with Sean Mahony, Dave Dunaway
Bello Giardino 7:30 pm
• Howard Williams Jazz Orchestra; David Baron
Tuesday, November 13
êThe Best of Blue Note Festival: Lou Donaldson with Pat Bianchi, Randy Johnston, Fukushi Tainaka
• Bruce Harris Quintet
êPharoah Sanders Quartet
Birdland 8:30, 11 pm $30-40
• Winard Harper and Jeli Posse with Jazzmeia Horn, Bruce Harris, Jovan Alexander,
Jonathan Beshay, Roy Assaf, Stephen Porter, Alioune Faye and guests
Delfeayo Marsalis, Frank Wess Jazz Standard 7:30, 9:30 pm $25
• Greg Osby Quartet with Kenny Drew Jr, Lonnie Plaxico, Justin Brown
êEdmar Castaneda Trio with Shlomi Cohen, Davd Silliman and guest Jorge Glem
Americas Society 7 pm
• Curtis Stigers with Matthew Fries, Cliff Schmitt, Keith Hall, John “Scrapper” Sneider
• Chip White Ensemble
• Pedro Giraudo Big Band
Zinc Bar 8, 10 pm
Smalls 9:30 pm $20
• Barrsheadahl: Tim Dahl, Mick Barr, Kevin Shea; Inzinzac: Alban Bailly, Dan Scofield,
Eii Litwin
êBen Holmes Quartet with Curtis Hasselbring, Matt Pavolka, Vinnie Sperrazza
Barbès 7 pm $10
êKarl 2000: Daniel Rovin, Austin White, David Miller
• Phyllis Chen
Roulette 8 pm $15
êAngelica Sanchez, Omar Tamez, Ratzo Harris, Satoshi Takeishi; Loren Stillman,
Ryan Ferreira, Billy Mintz
Korzo 9, 10:30 pm $5
• Stan Killian Quartet with Benito Gonzalez, Bryan Copeland, Darrell Green
55Bar 7 pm
• Saul Rubin; Peter Brainin Latin Jazz Workshop; Gregg Glassman Jam
• Voxify: Rosana Eckert with Peter Eldridge, Matt Aronoff, Ben Wittman, Jay Rattman,
Gary Eckert; Alison Wedding with Matt Aronoff, Pete McCann, Ben Wittman
Cornelia Street Café 8:30, 10 pm $10
• Perry Smith Trio with Sam Minaie, Ross Pederson
• Jack Wilkins/Tom Dempsey
Bella Luna 8 pm
• Sapphire Adizes with Lucas Del Calvo, Jochem Le Cointre, Zack Hartmann,
Donnie Spackman; Troy Roberts Quartet
• Eyal Vilner Big Band with Andrew Gould, Mike McGarril, Asaf Yuria, Lucas Pino,
Jonah Parzen-Johnson, Cameron Johnson, Matt Jodrell, John Mosca, Nick Finzer,
Yonatan Riklis, Tal Ronen, Joe Strasser, Yaala Ballin, Brianna Thomas; Mayu Saeki Trio
• Antonio Ciacca
êMike DiRubbo Quintet with Mike Rodriguez, Helen Sung, Rashaan Carter,
Rudy Royston
êWayne Escoffery Group with Danny Grissett, Ugonna Okegwo, Mike Clark
The Players Club 7 pm $20
êSteve Cardenas Group
Smalls 9:30 pm $20
êJonathan Moritz Secret Tempo with Shayna Dulberger, Mike Pride; Joe Hertenstein’s
HNH with Pascal Niggenkemper, Thomas Heberer
Seeds 8:30, 10 pm $10
êCacaw: Oscar Noriega, Landon Knoblock, Jeff Davis
Barbès 8 pm $10
• MJ-12: Percy Jones, Steve Moses, Aubrey Smith; Daniel Carter, David Schnug,
Will McEvoy, Max Goldman
• Jerome Sabbagh Quartet with Ben Monder, Joe Martin, Colin Stranahan
• ACT: Ben Wendel, Harish Raghavan, Nate Wood
• George Burton Quintet
Smoke 7, 9 pm
• Sean Smith Trio with John Hart, Russell Meissner
55Bar 7 pm
• Gilad Hekselman Trio
Museum of Jewish Heritage 7 pm $15
• Raphael D’lugoff; Ryan Berg Quintet; Ned Goold Jam
• Ed Vodicka Trio with guest Ron Odrich
• Marcus Goldhaber
• Erika Dagnino/John Pietaro
Boulevard Books & Café 7 pm
• Matt Garrison Projection with Matthew Jodrell, Roy Assaf, George DeLancey,
Andrew Swift; Yuki Shibata Quartet with Tomoko Omura, Yuki Shibata, Yoshiki Yamada,
Bob Edinger
• Dylan Meek Trio; Ryan Meagher Trio
• Terry Blossom
Shrine 7 pm
êThe Best of Blue Note Festival: Lou Donaldson with Pat Bianchi, Randy Johnston,
Fukushi Tainaka
Birdland 8:30, 11 pm $30-40
• Winard Harper and Jeli Posse with Jazzmeia Horn, Bruce Harris, Jovan Alexander,
Jonathan Beshay, Roy Assaf, Stephen Porter, Alioune Faye and guests
Delfeayo Marsalis, Frank Wess Jazz Standard 7:30, 9:30 pm $25
• Curtis Stigers with Matthew Fries, Cliff Schmitt, Keith Hall, John “Scrapper” Sneider
• Antonio Ciacca
• Chris Gines, Ronny Whyte, Boots Maleson
êFred Ho’s Saxophone Liberation Front with James Carter, Darius Jones, Bhinda Keidel
St. Mary’s Church 7 pm $15
êPeter Evans Quartet with Ron Stabinsky, Tom Blancarte, Jim Black
• Vinicius Cantuaria with Helio Alves, Paul Socolow, Adriano Santos, Dende
• Kenny G
êSteve Swell Trio with Tim Daisy, Matt Bauder; Steve Swell Quartet with Darius Jones,
Max Johnson, Chad Taylor
êHoward Alden/Anat Cohen Duo Bar Next Door 8:30, 10:30 pm $12
• Glenn Zaleski solo; Samir Zarif Alternative Trio with Maria Neckam, Zack Lober,
Colin Stranahan
• Leslie Pintchik Trio with Scott Hardy, Michael Sarin
• Ehud Asherie; Matt Jorgensen Quartet
Smalls 7:30, 9:30 pm $20
• Karl Berger Workshop Band
El Taller LatinoAmericano 9 pm $15
• Pamela Luss/Houston Person Metropolitan Room 9:30 pm $20
• Jill McManus/Boots Maleson Sofia’s 7 pm
• Interpretations: Erik Griswold; Camilla Hoitenga
Roulette 8 pm $15
• Jesse Stacken and Friends; Party Pack: Dustin Carlson, Adam Hopkins,
Nathan Ellman-Bell
Lark Café 8:30 pm
• David Ullmann Quintet with Chris Dingman, Karel Ruzicka, Eivind Opsvik
• Brandee Younger Quintet; POD; Tal Ronen Quartet
• Le Boeuf Brothers: Remy and Pascal Le Boeuf, Mike Ruby, Martin Nevin, Henry Cole
with Myth String Quartet: Jeremy Blanden, Tallie Brunfelt, Kim Uwate, Isaac Melamed
• LathanFlinAli: Lathan Hardy, Sean Ali, Flin van Hemmen
Spectrum 8 pm
• Stephanie Chou; Lisa Dowling The Firehouse Space 7:30, 9 pm $10
• Baby Soda: Ben Polcer, Patrick Harrison, Jared Engel, David Langlois, Peter Ford
Barbès 10 pm $10
• Keith Ingham Trio
• Deborah Latz; Ross Kratter Fusion Trio with Robby Mack, Mark Sundermeyer
• Nick Moran Trio; New Tricks
Fukushi Tainaka
Birdland 8:30, 11 pm $30-40
• Antonio Ciacca
• Harlem Speaks: Ted Nash
Jazz Museum in Harlem 6:30 pm
Friday, November 16
êNEA Jazz Masters: Jimmy Heath, Curtis Fuller, Jimmy Owens, Barry Harris, Ron Carter,
Albert Tootie Heath
Flushing Town Hall 8 pm $40
êThe Best of Blue Note Festival: Joe Henderson’s 75th Birthday Celebration with
Chris Potter, Renee Rosnes, Bobby Hutcherson, Robert Hurst, Jeremy Pelt,
Lewis Nash, Michael Dease
Allen Room 7:30, 9:30 pm $55-65
êThe Best of Blue Note Festival: Jazz at Lincoln Center Orchestra with guests
Ryan Kisor, JD Allen
Rose Hall 8 pm $30-120
êJunior Mance Trio with Hide Tanaka, Michi Fuji
êSteve Coleman and Five Elements with Jonathan Finlayson, Anthony Tidd,
Sean Rickman
êAaron Dugan/Anders Nilsson; Billy Martin’s Percussion Festival
• Dayramir Gonzalez and Habana enTRANCE with Yosvany Terry, Luis Faife, Yunior Terry,
Richie Flores, Obed Calvaire; Aldo López-Gavilán Quartet with Roberto Martínez,
Raúl Gil, Ruy Adrián López-NussaZankel Hall 9 pm $40-50
• David Hazeltine Quartet with Jim Rotondi, Peter Washington, Joe Farnsworth
Smoke 8, 10, 11:30 pm $30
êLenore Raphael and Friends with Harry Allen, Phil Bowler, Rudy Lawless
NY Society for Ethical Culture 8 pm $20
• Roy Campbell Akhenanton Band with Hill Greene, Bryan Carrott;
Outside Within: Daniel Carter, Maria Grand, Akili Haynes, Larry Roland
êNasheet Waits/Abraham Burton 3 Cornelia Street Café 9, 10:30 pm $15
êAngelica Sanchez Quartet with Omar Tamez, Ratzo Harris, Satoshi Takeishi
I-Beam 8:30 pm $10
• Greg Lewis Organ Monk Trio Lenox Lounge 8:30 pm
• Ned Goold Trio; Ken Fowser/Behn Gillece Group
Smalls 7:30, 10:15 pm $20
• Sean Smith/Adam Birnbaum
• Stix Bones
• Rebeca Vallejo; Hadar Noiberg Trio with Edward Perez, Ziv Ravitz
Drom 6:45 pm $15
• Tom Dempsey Trio with Ron Oswanski, Dion Parsons
Bar Next Door 7:30, 9:30, 11:30 pm $12
• Weekly Reeders: Carlos Cuevas, Elizabeth Tomboulian, Christine Bard, Cliff Schmidt,
Lee Tomboulian
• Jocelyn Medina Quartet with Jesse Lewis, Zack Lober, Paul Wiltgen
Apologetics Café 8:30 pm
• La Voz De Tres: Natalia Bernal, Michael Eckroth, Jason Ennis
Concertino 7 pm
• Mamiko Watanabe Quartet
• Matt Baker Trio; Harmony Keeney; Tommaso Gambini
• Ben Benack Quartet; Kevin Dorn and the Big 72
Jazz Standard 7:30, 9:30, 11:30 pm $30
• Kenny G
• John Raymond Project with Gilad Hekselman, Javier Santiago, Ben Williams,
Ulysses Owens Jr.
Fukushi Tainaka
Birdland 8:30, 11 pm $30-40
• Antonio Ciacca
• Alex Hoffman
Fat Cat 6 pm
• David Caldwell-Mason Trio with Pablo Menares, Alan Mednard
Shrine 6 pm
LESLIE PINTCHIK TRIO
Thursday, November 15th 8:00 PM & 10:00 PM
The Kitano Hotel
66 Park Ave @ 38th St. NYC
(212) 885-7119 for reservations
“...enormous gifts as a composer, arranger and pianist.”
All Music Guide
Leslie Pintchik - piano
Scott Hardy - bass
MIchael Sarin - drums
DVD/CD Combo
LESLIE PINTCHIK QUARTET
LIVE IN CONCERT
available now at Amazon.com
www.lesliepintchik.com
êJunior Mance Trio with Hidé Tanaka, Michi Fuji
York College Performing Arts Center 7 pm $20
êSylvie Courvoisier/Mark Feldman Greenwich House Music School 8 pm $12
• Michele Rosewoman’s Time in Textures Trio with Liberty Ellman, Tyshawn Sorey
92YTribeca 8 pm $25
• Claudia Acuña Quartet with Pablo Vergara, Yayo Serka
êKris Davis/Angelica Sanchez Duo; Angelica Sanchez/Omar Tamez Duo
Klavierhaus 7 pm
êGregory Porter
Littlefield 8 pm $15
• Pedro Giraudo Sextet
Barbès 8 pm $10
• Medicine Woman of Jazz: Golda Solomon, Larry Roland, Michael TA Thompson; Jazz & Poetry Choir Collective: Michael TA Thompson, EJ Antonio, Sarah Bernstein,
Rosie Hertlein, Larry Roland, Golda Solomon, Phylisha Villanueva
• Nioka Workman Fiery Strings Sistas’ Place 9, 10:30 pm $20
• Jesse Stacken solo; Douglas Detrick, Hashem Assadullahi, Rafal Sarnecki,
Michael Bates
I-Beam 8:30, 9:30 pm $10
• Bobby Avey Group with Miguel Zenón, Ben Monder, Thomson Kneeland,
Jordan Perlson
• Eden Ladin Quintet; George Burton; Ray Gallon
• Pamela Luss/Houston Person Metropolitan Room 9:30 pm $20
• Adam Kromelow Trio with Jason Burger, Raviv Markovitz; Federico Ughi Quartet with
David Schnug, Kirk Knuffke, Max Johnson
ShapeShifter Lab 8 pm $6-10
• Daniel Ori Trio with Dayna Stephens, Greg Ritchie
Bar Next Door 7:30, 9:30, 11:30 pm $12
• Mayuko Katakura Trio
• Ken Butler
• Ray Blue Quartet
• Sapphire Adizes Quintet
University of the Streets 9 pm $10
• Tamm E. Hunt and Trio
• Tomas Janzon Duo Garden Café 7:30 pm
• SambuluS: Luana Mariano/Caesar Barbosa; Brenda Earle Quartet; Fredrick Levore
êThe Best of Blue Note Festival: Joe Henderson’s 75th Birthday Celebration with
Chris Potter, Renee Rosnes, Bobby Hutcherson, Robert Hurst, Jeremy Pelt,
Lewis Nash, Michael Dease
Allen Room 7:30, 9:30 pm $55-65
êThe Best of Blue Note Festival: Jazz at Lincoln Center Orchestra with guests
Ryan Kisor, JD Allen
Rose Hall 8 pm $30-120
êSteve Coleman and Five Elements with Jonathan Finlayson, Anthony Tidd,
Sean Rickman
• David Hazeltine Quartet with Jim Rotondi, Peter Washington, Joe Farnsworth
Smoke 8, 10, 11:30 pm $30
• Nick Hempton Quartet; Ken Fowser/Behn Gillece Group
Smalls 7:30, 10:15 pm $20
• Sean Smith/Adam Birnbaum
Jazz Standard 7:30, 9:30, 11:30 pm $30
• Kenny G
Fukushi Tainaka
Birdland 8:30, 11 pm $30-40
• Antonio Ciacca
êYosvany Terry Quintet with Michael Rodriguez, Manuel Valera, Yunior Terry,
Obed Calvaire
El Museo del Barrio 4 pm
• Larry Newcomb Trio; Mark Marino Trio; Virginia Mayhew Quartet
The Garage 12, 6:15, 10:45 pm
Sunday, November 18
• Stanley Jordan solo
êSecret Keeper: Mary Halvorson/Stephan Crump
Barbès 8 pm $10
• Larry Roland’s Outside Within with Charles Burnham, Sonya Roberson, Melonie Dyer,
Nioka Workman, David Harwood The Stone 8, 10 pm $10
• International Contemporary Ensemble with Tyshawn Sorey
Roulette 8 pm $15
• Paul Meyers/Deanna Witkowski Cornelia Street Café 8:30 pm $10
• Terry Waldo’s Gotham City Band; Alexi David; Brandon Lewis/Renee Cruz Jam
Fat Cat 6, 8:30 pm 12:30 am
• Lucas Pino Group; Lezlie Harrison Duo; Charles Owens Quartet
Smalls 4:30, 7:30, 11 pm $20
• Ray Parker, Zack Brock, John HartMetropolitan Room 9:30 pm $20
• Out of Your Head: Patrick Breiner, Timo Volbrecht, Nico Soffiato, Tim Kuhl;
Curtis Sydnor, Scott Colberg, Max Jaffee
The Backroom 9:30, 11 pm
• Trust the Tomatoes; Dave Brahinsky, Rocco John Iacovone, Jon Sea, Mike Davis,
Keith Dorgan; Omar Tamez NY Trío with Katie Bull, Ratzo B. Harris
ABC No Rio 7 pm $5
• Peter Mazza Trio with Marco Panascia, Dan Wilson
• Peter Leitch Duo
Walker’s 8 pm
• Sarah Bernstein’s Chamber Music Project
Sycamore 8:30 pm $10
• Heights: John Blevins, Drew Williams, Jeff McLaughlin, Alex Minier, John Doing
• David Coss Quartet; Ethan Mann Trio
• Kenny G
Fukushi Tainaka
• Bill Cole/Shayna Dulberger Duo; Erika Dagnino, Ras Moshe, Matt Lavelle
• Alexis Cole Quartet with John di Martino, Jim Cammack, Clarence Penn
• Magos Herrera with Luis Perdomo, Nir Felder, Hans Glawischnig, Alex Kautz,
Rogerio Boccato and guest Javier Limon
Abrons Arts Center 3 pm
• Yoon Sun Choi/Elena Camerin Lark Café 4 pm $5
• Oliver Lake, Cornelius Eady, Sabrina Hayeem-Ladani
St. Augustine’s Church 2 pm $20
• Juilliard Jazz Brunch - Groove in Time: Chase Baird, Adison Evans, Gabe Medd,
Adam Moezinia, Samora Pinderhuges, Luke Sellick, Carmen Intorre
Blue Note 12:30, 2:30 pm $29.50
• Marianne Solivan Trio with Ethan Mann
Monday, November 19
êSheila Jordan/Steve Kuhn Duo Blue Note 8, 10:30 pm $25
êJames Spaulding Swing Expressions with TC III
êEdmar Castaneda Trio with Shlomi Cohen, Davd Silliman and guest Joe Locke
êDave Kikoski solo; Ben Wolfe Group
Smalls 7:30, 9:30 pm $20
• Barcelona Jazz Orchestra
• Bill Charlap/Sandy Stewart
• Curtis Lundy
êJeff Davis Trio with Eivind Opsvik, Russ Lossing; James Carney Quartet with
Oscar Noriega, Chris Lightcap, Chad Taylor
ShapeShifter Lab 7:30, 10 pm $10
• Trio Russo: Akira Ishiguro, Julian Smith, Rodrigo Recabarren; Laila & Smitty:
Kenny Warren, Jeremiah Lockwood, Myk Freedman, Josh Meyers
Sycamore 8 pm
• Inconspicuous Meeting: Daniel Carter, Jeff Platz, Nicolas Letman-Burtinovic,
Frederico Ughi, Ras Moshe
Shrine 11 pm
• Johnny O’Neal; George Braith; Billy Kaye Jam
• Holli Ross Trio with Paul Meyers, Dean Johnson
• Kay Matsukawa
Zinc Bar 7 pm $8
• Erica Seguine/Shannon Baker Jazz Orchestra
• Howard Williams Jazz Orchestra; Kenny Shanker Quartet
• Stanley Jordan solo
41
www.gligg-records.com
Musikverein Heilijewald
call me cake
Rudi Mahall bcl, Christof
Thewes tb, Martin Schmidt
mandolin, Hartmut Oßwald ts,
Dirk-Peter Kölsch dr, Jan
Oestreich bs
Tomas Ulrich’s
TransAtlantic Quartet
clear horizon
Tomas Ulrich cello, Christof
mandolin, Michael Griener dr
Ulrich / Schmidt /
Thewes
two pieces
Tomas Ulrich cello, Christof
mandolin
Rupp/ Müller /
Fischerlehner
tingtingk
Olaf Rupp git ,Matthias Müller
tb, Rudi Fischerlehner dr
Undertone Project
beyond the yellow line
Christof Thewes tb, Martin
Schmidt mandolin+bass,
Hartmut Osswald reeds,
Dirk-Peter Kölsch dr
Die Dicken Finger
offroad core
Olaf Rupp git, Oliver Steidle dr,
Jan Roder bs
Fischer / Rupp /
Schubert
Phugurit
Olaf Rupp git, Frank Paul
Schubert reeds, Jörg Fischer dr
êJason Moran and The Bandwagon with Tarus Mateen, Nasheet Waits
• Maria Schneider Orchestra
• Monty Alexander Harlem-Kingston Express
• Ryan Hayden Quartet
• Cyrille Aimée and The Surreal Band with Wayne Tucker, Matt Simons, Assaf Gleizner,
Sam Anning, Rajiv Jayaweera Birdland 8:30, 11 pm $30-40
• Mike Longo Trio
• Art Baron and Friends
David Rubenstein Atrium 7:30 pm
• Tomas Ulrich/Maxim Pakhomov; Jeremy Carlstedt/Jim Motzer
• Jon Irabagon Trio with Yashushi Nakamura, Rudy Royston
• Glenn Zaleski, Rick Rosato, Craig Weinrib; Ralph Alessi Group
Korzo 9, 10:30 pm $5
• Juilliard’s Artist Diploma Ensemble with guest Paulo Braga
Paul Hall 8 pm
• JC Sanford Orchestra with Meg Okura, Will Martina, Taylor Haskins, Matt Holman,
Chris Komer, Mark Patterson, Jeff Nelson, Dan Willis, Ben Kono, Chris Bacas,
Kenny Berger, Tom Beckham, Jacob Garchik, Aidan O’Donnell, Satoshi Takeishi
êJack Wilkins/Bucky Pizzarelli
Bella Luna 8 pm
• Andrea Brachfeld
Zinc Bar 8, 10 pm
• Saul Rubin; Cocomama; Gregg Glassman Jam
• Dorian Wallace Big Band with Cam Collins, Lynn Ligammari, Tim McDonald,
Zach Mayer, Frank London, Wayne Tucker, Alphonso Horne, John Raymond,
Andy Hunter, Frank Niemeyer, Joe McDonough, Frank Cohen, Tim Basom,
Dmitri Kolesnik, Mike Campenni, Madison Cano
• Fat Cat Big Band; JT Project
êBen Wolfe Group
Smalls 9:30 pm $20
• Curtis Lundy
• Yuko Yamamura
Shrine 6 pm
• Leni Stern
• Music Now Duo: Ras Moshe/Shayna Dulberger; Music Now Extended Unit: Ras Moshe,
Shayna Dulberger, Tor Yochai Snyder, James Keepnews, Matt Lavelle,
Jason Kao Hwang, Steve Swell, Nick Gianni, Jeremy Dannemann, John Pietaro
êJeff Lederer’s Swing n’ Dix with Kirk Knuffke, Bob Stewart, Matt Wilson
Barbès 8 pm $10
• Noah Garabedian 6tet with Ralph Alessi, Pat Carroll, Jared Weinstock, Raffi Garabedian,
Evan Hughes; Loren Stillman and Bad Touch with Nate Radley, Gary Versace, Ted Poor
Seeds 8:30, 10 pm $10
• Kaoru Watanabe Group with Satoshi Takeishi
• Jana Herzen/Charnett Moffett Joe’s Pub 7:30 pm $20
• Jacob Manricks’ Cloud Nine with Des White, Obed Calvaire
• Vondie Curtis Hall
Smoke 7, 9 pm
• Abe Ovadia Quartet with Anthony Pocetti, Jonah Jonathan, Steve Picataggio
• Melissa Stylianou Quintet with Jamie Reynolds, Pete McCann, Gary Wang, Mark Ferber
55Bar 7 pm
• Raphael D’lugoff; Don Hahn; Ned Goold Jam
• Jonathan Lefcoski Trio
Smalls 12 am $20
• Audrey Silver Quintet
• Ed Vodicka Trio with guest Tony Middleton
• Maurício de Souza Quartet
The Lambs Club 7:30 pm
• Rob Edwards Quartet; Danny Walsh Quartet
• Curtis Lundy
• Glenn White Quartet
Shrine 6 pm
• Randy Napoleon Trio with David Wong, Kevin Kanner
êChes Smith and These Arches with Tim Berne, Tony Malaby, Mary Halvorson,
Andrea Parkins
• Joel Frahm Quartet; Carlos Abadie Group
Smalls 9 pm 12 am $20
• Kazu Trio
• Yoshino Nakahara Quartet with Jeff Miles, Leon Boykins, Nahum Corona
Somethin’ Jazz Club 7 pm $5-10
• Curtis Lundy
• Isaac Darche
Shrine 6 pm
• Larry Newcomb Trio; Justin Lees Trio
Friday, November 23
Also available on iTunes
and AmazonMP3
êEddie Henderson Quintet with Javon Jackson, Kevin Hays, Doug Weiss, Carl Allen
Smoke 8, 10, 11:30 pm $35
êHenry Threadgill’s ZOOID with Liberty Ellman, Jose Davila, Stomu Takeishi,
Elliot Humberto Kavee
Roulette 8 pm $25
êOutnow Showcase: Sean Conly/Michael Attias; 9Volt: Rick parker, Eyal Maoz,
Yonadav Halevi; Yoni Kretzmer 2Bass Quartet with Sean Conly, Reuben Radding,
Mike Pride; RIBBS: Dave Ballou, Jason Robinson, James Ilgenfritz, George Schuller
êGerald Clayton
êJohn McNeil’s Hush with Jeremy Udden, Aryeh Kobrinski, Vinnie Sperrazza
• Tom Dempsey/Tim Ferguson Group; Sacha Perry Sextet
Smalls 7:30, 10:15 pm $20
• The Manhattan Transfer: Tim Hauser, Cheryl Bentyne, Alan Paul, Janis Siegel with
Yaron Gershovsky, Adam Hawley, Gary Wicks, Steve Hass
• Matt Dickey’s Try This At Home Blue Note 12:30 am $10
• John Zorn Improv Night
The Stone 8 pm $25
• Dee Daniels Quartet with Carlton Holmes, Paul Beaudry, Alvester Garnett
• Cat Toren Band with Ryan Ferreira, Pat Reid, Nathan Ellman-Bell;
Jasmine Lovell-Smith’s Towering Poppies with Cat Toren, Pat Reid, Kate Pittman
I-Beam 8:30, 9:30 pm $10
• Tessa Souter
• Todd Herbert Quartet; Avi Rothbard Quintet
Fat Cat 6, 10:30
• Rick Stone Trio with Marco Panascia, Tom Pollard
Bar Next Door 7:30, 9:30, 11:30 pm $12
• Jijye Park Trio
• Natalie Fernandez Project with Jarrett Cherner, Alex Hernandez, Reinaldo DeJesus;
Terry Vakirtzoglou Quartet with Tuomo Uusitalo, George Kostopoulos, Joao Mota
• Michika Fukumori Trio; Joey Morant Trio
Jazz Standard 7:30, 9:30, 11:30 pm $35
• Curtis Lundy
• Rakiem Walker
Shrine 6 pm
êDave Liebman Quintet with Sam Newsome, Ellery Eskelin, Chris Tordini, Jim Black
êKen Peplowski Quartet with Don Friedman, Phil Palombi, Shinnosuke Takahashi
êVincent Chancey and Phat Chance with Steve Bloom, Jeremy Carlstedt; Roy Campbell/
Louis Belogenis Coltrane Project with Uri Caine, Hill Greene, Michael Wimberly
êDawn of Midi: Aakaash Israni, Amino Belyamani, Qasim Naqvi
• PUBLIQuartet: Jessie Montgomery, Curtis Stewart, Nick Revel, Amanda Gookin
92YTribeca 8 pm $20
• Jack Wilkins Trio with Andy McKee, Mike Clark
Bar Next Door 7:30, 9:30, 11:30 pm $12
• Bobby Porcelli Quartet; Carlos Abadie
Fat Cat 7, 10 pm
• Michael Dease Quartet
• Tamm E. Hunt and Trio
• Kuni Mikami Quartet
• Yacine Boulares Band
Shrine 8 pm
êEddie Henderson Quintet with Javon Jackson, Kevin Hays, Doug Weiss, Carl Allen
Smoke 8, 10, 11:30 pm $35
êHenry Threadgill’s ZOOID with Liberty Ellman, Jose Davila, Stomu Takeishi,
Elliot Humberto Kavee
Roulette 8 pm $25
êGerald Clayton
• Tardo Hammer Trio; Sacha Perry Sextet
Smalls 7:30, 10:15 pm $20
Jazz Standard 7:30, 9:30, 11:30 pm $35
• Cyrille Aimée and The Surreal Band with Wayne Tucker, Joel Frahm, Assaf Gleizner,
• Curtis Lundy
• Brown Girl Blue: Carol R. Daggs, James Daggs, Billy Arnold
• Marsha Heydt Quartet; Champian Fulton Quartet; Virginia Mayhew Quartet
The Garage 12, 6:15, 10:45 pm
Sunday, November 25
• Here and Now: Gerard Farous/Jane Ira Bloom; Matt Lavelle and Solidarity with
Ras Moshe, Catherine Sikora, Giuseppi Logan, François Grillot, Dave Miller
• Larry Gelb; Bucky Pizzarelli/Ed Laub; Spike Wilner Group
Smalls 4:30, 7:30, 11 pm $20
• Tony Moreno with Ron Horton, Marc Mommaas, Nate Radley, Johannes Wiedenmueller
55Bar 9:30 pm
• Aaron Dugan/Anders Nilsson DuoSycamore 8 pm $10
• Bjorn Solli Trio with Matt Clohesy, Kendrick Scott
• Peter Leitch Duo
Walker’s 8 pm
• Terry Waldo’s Gotham City Band; Billy Kaye; Brandon Lewis/Renee Cruz Jam
Fat Cat 6, 8:30 pm 12:30 am
• Frederika Krier with Richard Padron, James Cammack, Malik Washington;
Peter Apfelbaum/Josh Jones
ShapeShifter Lab 7:30, 9 pm
• Commun Disgression: Keith Parker, Nicolas Letman-Burtinovic, Cheryl Pyle,
Daniel Carter, Blaise Siwula
ABC No Rio 7 pm $5
• Paula Jaakkola
• Dee Pop/Daniel Carter; Flip City: David Aaron, Will McEvoy, Kate Pittman
• Chanda Rule
• Marie-Claire with Luc Decker, Murray Wall, Sam Raderman, Dwayne Clemons,
Nial Djuliarso
• Erika with Helio Alves, Freddie Bryant, Ben Zwerin, Willard Dyson, Yosvany Terry
Blue Note 12:30, 2:30 pm $29.50
êDaryl Sherman
• The Music of Louis Armstrong: Hot Lips Joey Morant and Catfish Stew
• Roz Corral Trio
• Iris Ornig Quartet; David Coss Quartet; Greg Lewis Organ Monk Trio
êJoe Lovano/Dave Douglas Sound Prints with Lawrence Fields, Linda Oh, Joey Baron
• Marc Johnson and Eliane Elias with Rafael Barata, Rubens de La Corte
Birdland 8:30, 11 pm $30-40
• Mary Stallings with Eric Reed Trio Dizzy’s Club 7:30, 9:30 pm $30
• Cecilia Coleman Group
• Nicole Henry
Joe’s Pub 7:30, 9:30 pm $25-30
êPeter Brendler Group with Peter Evans, Rich Perry, Vinnie Sperrazza
• SAMA: Sabir Mateen/Matthew Shipp; Sabir Mateen Ensemble with Jason Kao Hwang,
Daniel Levin, Raymond King, Jane Wang, Michael Wimberley and guest Roy Campbell
êJosh Sinton’s Ideal Bread with Kirk Knuffke, Richard Giddens, Tomas Fujiwara;
Michael Dessen Trio with Christopher Tordini, Dan Weiss
ShapeShifter Lab 8:30, 9:30 pm $10
Smalls 9:30 pm $20
• Leni Stern with Mamadou Ba, Yacouba Sissoko, Makan Kouyate
Barbès 7 pm $10
• Jerome Sabbagh, Simon Jermyn, Allison Miller; Terry McManus/Ben Monder
Korzo 9, 10:30 pm $5
• Lukas Kranzelbinder’s Lukas im Dorf with Jure Pukl, Phil Yaeger, Max Andrzejewski
Austrian Cultural Forum 7:30 pm
• Saul Rubin; Itai Kriss Salsa All-Stars; Gregg Glassman Jam
• Catherine Sikora; Chris Welcome/Bonnie Kane Duo
The Backroom 8:30 pm $10
• Yaron Gershovsky
Drom 9:30 pm $10
• Benjamin Drazen Trio with Carlo DeRosa, Shinnosuke Takahashi
êJack Wilkins/John Stowell
Bella Luna 8 pm
• Jazz Band Classic; Justin Lees TrioThe Garage 7, 10:30 pm
êThe Gate: Dan Peck, Tom Blancarte, Brian Osborne and guest Nate Wooley;
Nate Wooley Quintet Omega with Josh Sinton, Matt Moran, Dan Peck,
Harris Eisenstadt
Douglass Street Music Collective 8, 9:30 pm $10
• Antonio Ciacca
Monday, November 26
êEdmar Castaneda Trio with Shlomi Cohen, Davd Silliman and guests Andrea Tierra,
Hector del Curto
• Sara Gazarek
• Brandi Disterheft All Stars with Anne Drummond, Aaron Goldberg, Greg Hutchinson
and guests
• For the Mill: Jesse Stacken, Andrew D’Angelo, Josh Sinton, Mike Pride;
Nate Wooley Quintet Alpha with Josh Sinton, Matt Moran, Eivind Opsvik,
Harris Eisenstadt
Douglass Street Music Collective 8, 9:30 pm $10
• Federico Ughi Quartet with Kirk Knuffke, David Schnug, Max Johnson
Zebulon 9 pm
êPeter Bernstein solo; Ari Hoenig Group
Smalls 7:30, 9:30 pm $20
• Antonio Ciacca
• Radu Ben Judah Quintet with Joe Ford, Bruce Edward, Janice Taylor
• Life Squad: Sean Sonderegger, Michael Eaton, Nicolas Letman-Burtinovic,
Kate Pittman; Robin Verheyen Trio with Todd Neufeld, Flin van Hemmen
Sycamore 8 pm
• Taj Palmer Group; Jonathan Moritz Secret Tempo with Shayna Dulberger, Mike Pride;
alt.timers: Denman Maroney, Ratzo B. Harris, Bob Meyer
ShapeShifter Lab 8:30, 9:30, 10:30 pm $10
• Emily Braden; Albare with Albert Dadon
Zinc Bar 7, 9 pm
• Dida Pelled Trio with Tal Ronen, Joe Strasser
• Billy Kaye Jam
Fat Cat 12:30 am
• Delphian Jazz Orchestra
• Angela Davis Quartet with Chris Ziemba, Sam Anning, Rajiv Jayaweera
• Howard Williams Jazz Orchestra; Camille Thurman
• Joe Alterman, James Cammack, Ralph Lalama, Alex Raderman
Cornelia Street Café 6 pm $15
êCrystal Magnets Piano Duo: Andy Milne/Benoît Delbecq with guest Ethan Iverson
ShapeShifter Lab 8 pm $15
• Geri Allen’s Timeline Band with Kenny Davis, Kassa Overall, Maurice Chestnut
• Duke Robillard Band
• Aaron Parks The Jazz Gallery 9, 10:30 pm $20
• Jeff Davis, Kirk Knuffke, Russ Lossing; Aaron Irwin Trio with Pete McCann,
Matt McDonald
I-Beam 8:30, 9:30 pm $10
• Raphael D’lugoff; Pete Malinverni Trio; Ned Goold Jam
• Sara Serpa Trio with Andre Matos, Tommy Crane; Nate Radley 4tet with Loren Stillman,
Matt Pavolka, Mark Ferber
Seeds 8:30, 10 pm $10
êSurface to Air: Jonathan Goldberger, Jonti Siman, Rohin Khemani
• Curtis Macdonald Group with Bobby Avey, Zach Lober, Adam Jackson
Barbès 8 pm $10
• Cynthia Holiday
Smoke 7, 9 pm
• Yuka Aikawa Trio with Atsundo Aikawa, Newman Taylor Baker
• Milton Suggs; Philip Dizack
Smalls 9:30 pm 12 am $20
• Build: Matt McBane, Andrea Lee, Mike Cassedy, Ben Campbell, Adam D. Gold;
Tarana: Ravish Momin, Rick Parker, Tanya Kalmanovitch
• Ed Vodicka Trio with guest John David Simon
• Stan Killian Jam Session
The Backroom 11:30 pm
• Sapphire Adizes Quintet with Lucas Del Calvo, Jochem Le Cointre, Zack Hartmann,
Donnie Spackman; The Archi-tet: Miki Hirose, Mike Wilkens, Elizabeth!, Dave DeMotta,
Aki Yamamoto, Yutaka Uchida Somethin’ Jazz Club 7, 9 pm $5-10
• Josh Lawrence; Paul Francis Trio The Garage 6, 10:30 pm
Birdland 8:30, 11 pm $30-40
êNate Wooley Quintet Alpha and Omega with Josh Sinton, Matt Moran, Eivind Opsvik,
Dan Peck, Harris Eisenstadt
Douglass Street Music Collective 9:30, 10:30 pm $10
• Antonio Ciacca
• Art Lillard’s Heavenly Big Band Saint Peter’s 1 pm $10
BRANDI DISTERHEFT
Few bassists this young have such a
mature approach to the instrument or
such a deep appreciation of jazz icons
like Charles Mingus and Duke Ellington or
revered songwriters like George Gershwin
and Jimmy Van Heusen. But that’s where
Disterheft lives as a budding jazz
musician-composer.
2SHOWS
Monday November 26th
& 7:30 pm
9:30 pm
Dizzy’s Club Coca-Cola
Located in Jazz at Lincoln Center’s
Frederick P. Rose Hall
Time Warner Center, 5th floor
New York, NY 10019
Reservations:
212-258-9595 or jalc.org/dizzys
Brandi Disterheft: bass
Aaron Goldberg: piano
Anne Drummond: flute
Gregory Hutchinson: drums
GRATITUDE
AVAILABLE AT
www.justin-time.com
43
• Cassandra Wilson
êLords of the Trumpet play Dizzy Gillespie: Randy Brecker, Brian Lynch, Jeremy Pelt,
James Weidman, Lonnie Plaxico, Billy Drummond
êMax Johnson Quartet with Mark Whitecage, Steve Swell, Tyshawn Sorey; Kris Davis,
Max Johnson, Mike Pride
êAlt Timers: Denman Maroney, Ratzo Harris, Bob Myers
êFay Victor Ensemble with Anders Nilsson, Ken Filiano
55Bar 7 pm
• Tom Chang Quartet with Jason Rigby, Sam Trapchak, Jeff Davis
• Lillie Bryant-Howard Quartet with Joe Vincent Tranchina, Christopher Dean Sullivan,
Bobby Sanabria
êEhud Asherie/Bob Wilber Duo; Jay Collins Trio
Smalls 7:30, 9:30 pm $20
• Jeanne Gies with Howard Alden, Sherman Irby, Paul Gill
• Jordan Young; Darryl Yokley Quintet
Fat Cat 7 pm 1:30 am
• Camille Thurman The Jazz Gallery 9, 10:30 pm $15
• Eduardo Belo Trio with Freddie Bryant, Victor Prieto
• Lonnie Gasperini Trio
• Fred Gilde Ensemble with Dave Anderson, Marco Coco, Phil Sirois, Tim Lancaster;
Chives: Matthew Wohl, Steven Lugerner, Max Jaffe
Caffe Vivaldi 8:30, 9:30 pm
• Paul Carlon Strayhorn Tribute Project; Zeke Martin Project with Kevin Choo, Wan Gigi,
Yusaku Yoshimura, Rozhan Razman
• Nue Jazz Project; Bryan Carter Trio
êCrystal Magnets Piano Duo: Andy Milne/Benoît Delbecq with guest Fred Hersch
Birdland 8:30, 11 pm $30-40
• Antonio Ciacca
êEivind Opsvik and Friends; Nate Wooley Quintet Alpha and Omega with Josh Sinton,
Matt Moran, Eivind Opsvik, Dan Peck, Harris Eisenstadt
Douglass Street Music Collective 9:30, 10:30 pm $10
• Harlem Speaks: Bill Kirchner Jazz Museum in Harlem 6:30 pm
Friday, November 30
• Victor Bailey’s V-BOP with Alex Foster, Monte Croft, Lenny White
Smoke 8, 10, 11:30 pm $35
êDarcy James Argue’s Secret Society
êJoanne Brackeen/Cecil McBee
êRahn Burton Quartet
êLoren Stillman with Russ Lossing, John Hébert, Eric McPherson
• Sleep Song: Mike Ladd, Ahmed Abdul Hussein, Maurice Decaul, Vijay Iyer,
Serge Teyssot-Gay, Ahmed Mukhtar
Harlem Stage Gatehouse 7:30 pm $30
• Bob Gluck solo; James Keepnews solo; Bob Gluck, James Keepnews, Daniel Carter,
Ken Filiano
I-Beam 8:30 pm $10
• Mark Sherman Quartet with Frank Kimbrough, Ray Drummond, Greg Hutchinson
• Jason Kao Hwang’s Edge with Taylor Ho Bynum, Ken Filiano, Andrew Dury;
Andrew Lamb’s The Black Lamb Quartet with Tom Abbs, Michael Wimberly,
Guillermo Brown
• Ben Monder Trio with Joe Martin, Jochen Rueckert
Bar Next Door 7:30, 9:30, 11:30 pm $12
• Bryn Roberts Trio; Ian Hendrickson Smith Group
Smalls 7:30, 10:15 pm $20
• Electroacoustic Trio: Ben Gerstein, Mike Pride, Gian Luigi Diana
• Ras Moshe/Shayna Dulberger; Dafna Naphtali; Chris Jones Ensemble
Goodbye Blue Monday 8 pm
• Burning Gums: Ron Jackson, Norbert Marius, Hiroyuki Matsuura and guest
Lucia Jackson
Brooklyn Conservatory of Music 8 pm $15
• Eugene Marlow’s Heritage Ensemble
Nuyorican Poets Café 7:30 pm $15
• Kendra Shank with John Stowell 55Bar 6 pm
• Stix Bones
• Jake Henry/Sean Ali
• Tyler Kaneshiro Sextet with Chad Lefkowitz-Brown, Keisuke Matsuno,
Adam Kromelow, Jeff Koch, Jamie Eblen
University of the Streets 9 pm $10
• Songs of Charley Gerard and Judith Weinstock: Kris Adams, Syberen van Munster,
Petros Klampanis, Tony Lewis; Matt Baker Trio; Reach Sextet: John Petrucelli,
Adam Machaskee, Jack Giannini, Will Macirowski
• Dave Kain Group; Dre Barnes TrioThe Garage 6:15, 10:45 pm
• Cassandra Wilson
• Michael Feinberg with Tivon Pennicott, Eliot Mason, Glenn Zaleski, Ari Hoenig
êLords of the Trumpet play Dizzy Gillespie: Randy Brecker, Brian Lynch, Jeremy Pelt,
James Weidman, Lonnie Plaxico, Billy Drummond
êCrystal Magnets Piano Duo: Andy Milne/Benoît Delbecq with guests Greg Osby,
Michael Attias, Vincent Chancey, Jacob Garchik
Jazz Standard 7:30, 9:30, 11:30 pm $30
Birdland 8:30, 11 pm $30-40
• Antonio Ciacca
R E G U L A R
E N G A G E M E N T S
MONDAYS
• Tom Abbott Big Bang 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 $125
• SMOKE or Captain Black Big Band; John Farnsworth 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
• Gato Loco
ZirZamin 10 pm
• George Gee Swing Orchestra Gospel Uptown 8 pm
• Vince Giordano’s Nighthawks Sofia’s 8 pm (ALSO TUE)
• Grove Street Stompers Arthur’s Tavern 7 pm
• JFA Jazz Jam
Local 802 7 pm
• Roger Lent Trio Jam
• Mingus Big Band
• Iris Ornig Jam Session The Kitano 8 pm
• Les Paul Trio with guests Iridium 8, 10 pm $35
• Ian Rapien’s Spectral Awakenings Jazz Groove Session Rhythm Splash 9 pm
• Stan Rubin All-Stars
Charley O’s 8:30 pm
• Vanguard Jazz Orchestra Village Vanguard 9, 11 pm $30
• Rakiem Walker Project Red Rooster 7:30 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
• 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; Jason Marshall Quartet Smoke 7, 9, 10:30, 11:30 pm
• Russ Nolan Jazz Organ Trio Cassa Hotel and Residences 6 pm
• Iris Ornig Quartet
Crooked Knife 7 pm
• Annie Ross
The Metropolitan Room 9:30 pm $25
• Robert Rucker Trio Jam Cleopatra’s Needle 8 pm
• Slavic Soul Party Barbès 9 pm $10
• Ed Vodicka Trio with guests Pier 9 8 pm (ALSO WED-THU; FRI-SAT 9 PM)
WEDNESDAYS
• Astoria Jazz Composers Workshop Waltz-Astoria 6 pm
• Sedric Choukroun and the Eccentrics Chez Oskar 7 pm
• Roxy Coss Smoke 11:30 pm
• Roger Davidson/Pablo Aslan Caffe Vivaldi 6 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)
• John McNeil/Mike Fahie Tea and Jam Tea Lounge 9 pm
• 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
• David Schnug
Papa’s Gino’s Restaurant 8:30 pm
• Alex Terrier Trio
Antibes Bistro 7:30 pm
• Justin Wert/Corcoran Holt Benoit 7 pm
• Bill Wurtzel/Mike Gari
American Folk Art Museum Lincoln Square 2 pm
• Bill Wurtzel Duo
Velour Lounge 6:30 pm
THURSDAYS
• Rahn Burton
449 Lounge 1 pm (ALSO SAT)
• Jason Campbell Trio
Perk’s 8 pm
• Sedric Choukroun
Brasserie Jullien 7:30 pm (ALSO FRI, SAT)
• Jazz Open Mic
Perk’s 8 pm
• Lapis Luna Quintet
The Plaza Hotel Rose Club 9 pm
• Michael Mwenso and Friends Dizzy’s Club 11 pm (ALSO SAT 11:30 pm)
• Eri Yamamoto Trio
Arthur’s Tavern 7 pm (ALSO FRI-SAT)
FRIDAYS
• The Crooked Trio: Oscar Noriega, Brian Drye, Ari Folman-Cohen Barbès 5 pm
• Deep Pedestrian
Sintir 8 pm
• Charles Downs’ CentipedeThe Complete Music Studio 7 pm
• Gerry Eastman’s Quartet Williamsburg Music Center 10 pm
• Patience Higgins & The Sugar Hill Quartet Smoke 11:30 pm
• Kengo Nakamura Trio
Club A Steakhouse 11 pm
• Brian Newman Quartet
Duane Park 10:30 pm
• Frank Owens Open Mic The Local 802 6 pm
• Albert Rivera Organ Trio B Smith’s 8:30 pm (ALSO SAT)
• Brandon Sanders Trio
Londel’s 8, 9, 10 pm (ALSO SAT)
• Bill Saxton and Friends Bill’s Place 9, 11 pm $15
SATURDAYS
• Cyrille Aimee
The Cupping Room 8:30 pm
• Candy Shop Boys
Duane Park 8, 10:30 pm
• Jesse Elder/Greg RuggieroRothmann’s 6 pm
Indian Road Café 11 am
• Guillaume Laurent/Luke Franco Casaville 1 pm
• Johnny O’Neal Smoke 12:30 am
• Skye Jazz Trio
Jack 8:30 pm
• UOTS Jam Session
University of the Streets 11:30 pm $5 (ALSO SAT)
• Michelle Walker/Nick Russo Anyway Café 9 pm
• Bill Wurtzel Duo
Henry’s 12 pm
SUNDAYS
• Birdland Jazz Party
Birdland 6 pm $25
• Bill Cantrall Trio
Crescent and Vine 8 pm
• Barbara Carroll
54Below 1 pm $30-40
• Marc Devine Trio
TGIFriday’s 6 pm
• JaRon Eames/Emme KempEats 6 pm
• Ear Regulars with Jon-Erik Kellso The Ear Inn 8 pm
• Marjorie Eliot/Rudell Drears/Sedric Choukroun Parlor Entertainment 4 pm
• Gene Ess Jam Session ShapeShifter Lab 3 pm $3
• Sean Fitzpatrick and Friends Ra Café 1 pm
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; Allan Harris; Cynthia Soriano Smoke 11:30 am, 7, 11:30 pm
• Bob Kindred Group
Café Loup 12:30 pm
• Nate Lucas All Stars
Ginny’s Supper Club 7 pm
• Alexander McCabe Trio CJ Cullens Tavern 5 pm
• Junior Mance Trio
Café Loup 6:30 pm
• Arturo O’Farrill Afro-Latin Jazz Orchestra Birdland 9, 11 pm $30
• Lu Reid Jam Session
Shrine 4 pm
• Vocal Open Mic; Johnny O’Neal Smalls 4:30, 8:30 pm
• Rose Rutledge Trio
Ardesia Wine Bar 6:30 pm
• Secret Architecture
Caffe Vivaldi 9:45 pm
• Gabrielle Stravelli Trio
The Village Trattoria 12:30 pm
• Cidinho Teixeira
Zinc Bar 10, 11:30 1 am
• Jazz Jam hosted by Michael Vitali Comix Lounge 8 pm
• Brian Woodruff Jam
Blackbird’s 9 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
S O LO P I A N O E V E RY T U E S D AY I N N OV E M B E R ( 6, 13, 20 & 27):
MICHIKA FUKUMORI • 8:00 PM - 11:00 PM
THURS. NOVEMBER 1
PHIL MARKOWITZ/
ZACH
BROCK QUARTET
PHIL MARKOWITZ, ZACH BROCK
JAMES CAMMACK, JORDAN PERLSON
$10 COVER + $15 MINIMUM
FRI. & SAT. NOVEMBER 2 & 3
DON FRIEDMAN QUARTET
FEATURING TIM ARMACOST
CD RELEASE EVENT “FRIDAY AM”
DON FRIEDMAN, TIM ARMACOST
PHIL PALOMBI, SHINNOSUKE TAKAHASHI
WED. NOVEMBER 7
MERCEDES
HALL QUARTET
MERCEDES HALL, GLAFKOS KONTEMENIOTIS
GAKU TAKANASHI, GEORGE MEL
THURS. NOVEMBER 8
ANTONIO BARBAGALLO QUARTET
ANTONIO BARBAGALLO, CRAIG HARTLEY
UGONNA OKEGWO, JEREMY “BEAN” CLEMONS
FRI. NOVEMBER 9
MARK
MURPHY QUARTET
SAT. NOV. 10
HARRY
ALLEN QUARTET
HARRY ALLEN, ROSSANO SPORTIELLO
JOEL FORBES, ALVIN ATKINSON
WED. NOVEMBER 14
MIKE
DIRUBBO QUINTET
MIKE DIRUBBO, MIKE RODRIGUEZ
HELEN SUNG, RASHAAN CARTER. RUDY ROYSTON
THURS. NOVEMBER 15
LESLIE PINTCHIK TRIO
LESLIE PINTCHIK, SCOTT HARDY, MICHAEL SARIN
FRI. NOVEMBER 16
JUNIOR MANCE TRIO
JUNIOR MANCE, HIDE TANAKA, MICHI FUJI
SAT. NOVEMBER 17
CLAUDIA
ACUNA QUARTET
CLAUDIA ACUNA. PABLO VERGARA
TBA – BASS, YAYO SERKA
WED. NOVEMBER 21
ABE
OVADIA QUARTET
ABE OVADIA, ANTHONY POCETTI
JONAH JONATHAN, STEVE PICATAGGIO
THURS. NOVEMBER 22
THANKSGIVING - NO MUSIC
FRI. NOVEMBER 23
DEE
DANIELS QUARTET
DEE DANIELS, CARLTON HOLMES
PAUL BEAUDRY, ALVESTER GARNETT
SAT. NOVEMBER 24
KEN PEPLOWSKI QUARTET
FEATURING DON FRIEDMAN
KEN PEPLOWSKI, DON FRIEDMAN
PHIL PALOMBI, SHINNOSUKE TAKAHASHI
WED. NOVEMBER 28
YUKA AIKAWA TRIO
YUKA AIKAWA, ATSUNDO AIKAWA, NEWMAN TAYLOR BAKER
THURS. NOVEMBER 29
LILLIET RBRYANT-HOWARD
QUARTET
I B U T E T O D I N A H WAS H I N G T O N
LILLIE BRYANT – HOWARD, JOE VINCENT TRANCHINA
CHRISTOPHER DEAN SULLIVAN, BOBBY SANABRIA
FRI. & SAT. NOV. 30 & DEC. 1
MARK
SHERMAN QUARTET
MARK SHERMAN, FRANK KIMBROUGH
RAY DRUMMOND, GREG HUTCHINSON
RESERVATIONS - 212-885-7119
VISIT OUR TWEETS AT: http://twitter.com/kitanonewyork
www.kitano.com • email: [email protected]
66 Park Avenue @ 38th St.
CLUB DIRECTORY
• 449 Lounge 449 Lenox Avenue Subway: 2, 3 to 135th Street
• 54 Below 254 W. 54th Street (646-476-3551) Subway: N, Q, R to 57th
Street; B, D, E to Seventh Avenue www.54below.com
• 55Bar 55 Christopher Street (212-929-9883)
Subway: 1 to Christopher Street www.55bar.com
• 92nd Street Y Lexington Avenue at 92nd Street
(212-415-5500) Subway: 6 to 96th Street www.92y.org
• 92YTribeca 200 Hudson Street
(212-601-1000) Subway: 1, A, C, E to Canal Street www.92ytribeca.org
• ABC No-Rio 156 Rivington Street (212-254-3697)
Subway: J,M,Z to Delancey Street www.abcnorio.org
• Abrons Arts Center 466 Grand Street
(212-598-0400) Subway: F to Grand Street www.henrystreet.org/arts
• American Folk Art Museum 45 W 53rd Street (212-265-1040)
Subway: E to 53rd Street www.folkartmuseum.org
• Americas Society 680 Park Avenue
(212-628-3200) Subway: 6 to 68th Street www.as-coa.org
• An Beal Bocht Café 445 W. 238th Street
Subway: 1 to 238th Street www.anbealbochtcafe.com
• 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
• Apologetics Café 205 E. 7th Street Subway: 6 to Astor Place
• Ardesia Wine Bar 510 W. 52nd Street
(212-247-9191) Subway: C to 50th Street www.ardesia-ny.com
• 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
• Austrian Cultural Forum 11 East 52nd Street at Madison Avenue
(212-319-5300) Subway: 6 to 51st Street www.acfny.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 4 15th Street and 7th Avenue (718-832-9800) Subway: F to 7th Avenue,
N, M, R, D to Prospect Avenue www.bar4brooklyn.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
• The Bar on Fifth 400 Fifth Avenue (212-695-4005) Subway: 6 to 33rd Street
www.capellahotels.com/newyork/bar-on-fifth-en.html
• Barbès 376 9th Street at 6th Avenue, Brooklyn (718-965-9177)
Subway: F to 7th Avenue www.barbesbrooklyn.com
• Bella Luna 584 Columbus Avenue Subway: B, C to 86th Street
• Bello Giardino 71 W. 71st Street
(212-875-1512) Subway: B, C to 72nd Street www.bellogiardino.com
• Benoit 60 W. 55th Street
Subway: F to 57th Street, N, Q, R,W to 57th Street
• Bill’s Place 148 W. 133rd Street (between Lenox and 7th Avenues)
(212-281-0777) Subway: 2, 3 to 125th Street
• Billie’s Black 217 E.119th Street
(212-280-2248) Subway: 6 to 116th Street
• Birdland 315 W. 44th Street (212-581-3080)
Subway: A, C, E, to 42nd Street www.birdlandjazz.com
• 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
• Borden Auditorium Broadway and 122nd Street (212-749-2802 ext. 4428)
Subway: 1 to 116th Street www.msmnyc.edu
• Boulevard Books & Cafe 7518 13th Ave, Brooklyn
(718-680-5881) Subway: D to 71st Street
• Brandy Library 25 N. Moore Street
(212-226-5545) Subway: 1 to Franklin Street
• Brecht Forum 451 W. Street (212-242-4201)
Subway: A, C, E, L, 1, 2, 3, 9 to 14th Street www.brechtforum.org
• Brooklyn Center for the Performing Arts 2900 Campus Road
(718-951-4500) Subway: 5 to Flatbush Avenue - Brooklyn College
www.BrooklynCenterOnline.org
• Brooklyn Conservatory of Music 58 Seventh Avenue, Brooklyn
Subway: F to Seventh Avenue, N, R to Union Street www.bqcm.org
• Brooklyn Lyceum 227 4th Avenue
(718-857-4816) Subway: R to Union Street www.brooklynlyceum.com
• Buka Restaurant 946 Fulton Street (347-763-0619)
Subway: C to Clinton-Washington Avenues www.bukanewyork.com
• 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 Subway: A, B, C, D, E, F, M to W. 4th Street www.caffevivaldi.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
• 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
• 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
• Concertino 425 W. 45th Street Subway: A, C, E to 42nd Street-Port Authority
• Cornelia Street Café 29 Cornelia Street (212-989-9319)
Subway: A, B, C, D, E, F, M to W. 4th Street www.corneliastreetcafé.com
• The Counting Room 44 Berry Street (718-599-1860)
Subway: L to Bedford Avenue www.thecountingroombk.com
• Creole 2167 3rd Avenue at 118th Street
(212-876-8838) Subway: 6 th 116th Street www.creolenyc.com
• Crescent and Vine 25-01 Ditmars Boulevard at Crescent Street
(718-204-4774) Subway: N, Q to Ditmars Boulevard-Astoria
• Crooked Knife 29 E. 30th Street (212-696-2593)
Subway: 6 to 33rd Street www.thecrookedknife.com
• Culture Fix 9 Clinton Street
(646-863-7171) Subway: F to Second Avenue www.culturefixny.com
• The Cupping Room 359 West Broadway between Broome and Grand Street
(212-925-2898) Subway: A, C, E to Canal Street
• David Rubenstein Atrium Broadway at 60th Street (212-258-9800)
Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.jalc.org
• 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
• 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
• El Museo Del Barrio 1230 Fifth Avenue at 104th Street
(212-831-7272) Subway: 6 to 103rd Street www.elmuseo.org
• El Taller LatinoAmericano 2710 Broadway (at 104th Street - 3rd floor)
(212-665-9460) Subway: 1 to 103rd Street
• Eve’s Lounge 769 Washington Avenue
(347-442-5959) Subway: 2, 3 to Eastern Parkway-Brooklyn Museum
• Exapno 33 Flatbush Avenue Subway: 2, 3, 4, 5 to Nevins Street
• Fat Cat 75 Christopher Street at 7th Avenue (212-675-6056)
Subway: 1 to Christopher Street/Sheridan Square www.fatcatmusic.org
• Feinstein’s at Loews Regency 540 Park Avenue (212-339-4095)
Subway: 4, 5, 6 to 59th Street www.feinsteinsattheregency.com
• The Firehouse Space 246 Frost Street
Subway: L to Graham Avenue www.thefirehousespace.org
• Flushing Town Hall 137-35 Northern Boulevard, Flushing
(718-463-7700) Subway: 7 to Main Street www.flushingtownhall.org
• For My Sweet Restaurant 1103 Fulton Street at Claver Place
(718-857-1427) Subway: C to Franklin Avenue
• Frank’s Cocktail Lounge 660 Fulton St. at Lafayette, Brooklyn
(718-625-9339) Subway: G to Fulton Street
• The Freedom Garden 294 Troutman Street Subway: L to Jefferson Street
• The Garage 99 Seventh Avenue South (212-645-0600)
Subway: 1 to Christopher Street www.garagerest.com
• Garden Café 4961 Broadway at 207 Street
(212-544-9480) Subway: A to 207th Street-Inwood
• Ginny’s Supper Club at Red Rooster Harlem 310 Malcolm X Boulevard
(212-792-9001) Subway: 2, 3 to 125th Street www.redroosterharlem.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
• Harlem Arts Salon 1925 Seventh Avenue, Apt 7L
(212-749-7771) Subway: 2, 3, B, C to 116th Street
• Harlem Stage Gatehouse 150 Convent Avenue at West 135th Street
(212-650-7100) Subway: 1 to 137th Street www.harlemstage.org
• Henry’s 2745 Broadway (212-866-060) 1 to 103rd Street
• I-Beam 168 7th Street between Second and Third Avenues
Subway: F to 4th Avenue www.ibeambrooklyn.com
• Indian Road Café 600 W. 218th Street @ Indian Road
(212-942-7451) Subway: 1 to 215th Street www.indianroadcafe.com
• Inkwell Café 408 Rogers Avenue between Lefferts and Sterling
Subway: 5 to Sterling Street www.plgarts.org
• Interstate Food & Liquor 74 Orchard Street
(212-804-6237) Subway: B, D, to Grand Street; J, M, Z to Essex Street
www.interstatenyc.com
• 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; A, C, F, N, R to Jay Street
www.issueprojectroom.org
• J&R Music World Park Row
(212-238-9000) Subway: 2, 3, 4, 5, 6 to Fulton Street www.jr.com
• JACK 505 Waverly Avenue
(718-388-2251) Subway: C to Clinton-Washington Avenue www.jackny.org
• Jack 80 University Place Subway: 4, 5, 6, N, R to 14th Street
• 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 290 Hudson Street (212-242-1063)
Subway: C, E, to Spring 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
• Kaye Playhouse 695 Park Avenue at 68th Street (212-772-5207)
Subway: 6 to 68th Street www.kayeplayhouse.hunter.cuny.edu
• 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 & Grill 33 University Place (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
• The Lambs Club 132 W. 44th Street
212-997-5262 Subway: A, C, E, to 42nd Street www.thelambsclub.com
• Lark Café 1007 Church Avenue, Brooklyn
(718-469-0140) Subway: Q to Beverly Road www.larkcafe.com
• Launch Pad Gallery 721 Franklin Avenue
(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, M to W. 4th Street www.lepoissonrouge.com
• Lenox Lounge 288 Lenox Avenue between 124th and 125th Streets
(212-427-0253) Subway: 2, 3 to 125th Street www.lenoxlounge.com
• Littlefield 622 Degraw Street
(718-855-3388) Subway: M, R to Union Street www.littlefieldnyc.com
• The Local 802 322 W. 48th Street between Eighth and Ninth Avenues
(212-245-4802) Subway: C to 50th Street www.jazzfoundation.org
• 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
• Merkin Concert Hall 129 W. 67th Street between Broadway and Amsterdam
(212-501-3330) Subway: 1 to 66th Street-Lincoln Center
www.kaufman-center.org
• Metropolitan Room 34 W. 22nd Street (212-206-0440)
Subway: N, R to 23rd Street www.metropolitanroom.com
• Miller Theatre 2960 Broadway and 116th Street (212-854-7799)
Subway: 1 to 116th Street-Columbia University www.millertheater.com
• Museum of Jewish Heritage 36 Battery Place
(212-968-1800) Subway: 4, 5 to Bowling Green www.mjhnyc.org
• 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
• New School Wollman Hall 65 W. 11th Street, 5th floor
(212-229-5600) Subway: F, V to 14th Street www.newschool.edu
• NY Society for Ethical Culture 2 W. 64th Street at Central Park West
(212-873-2848) Subway: 1, 2 to 66th Street-Lincoln Center www.nysec.org
• Night of the Cookers 767 Fulton Street, Brooklyn
(718-797-1197) Subway: C to Lafayette Avenue
• 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.northsquarejazz.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, M to Second Avenue www.nublu.net
• Nuyorican Poets Café 236 E. 3rd Street between Avenues B and C
(212-505-8183) Subway: F, M to Second Avenue www.nuyorican.org
• Oceana Restaurant 120 W. 49th Street (212-759-5941)
Subway: B, D, F, M to 47-50 Streets - Rockefeller Center
www.oceanarestaurant.com
• Orchard Windows Gallery 37 Orchard Street
(917-995-1001) Subway: B, D to Grand Street
• Parlor Entertainment 555 Edgecombe Ave. #3F between 159th and
160th Streets (212-781-6595) Subway: C to 155th Street www.parlorentertainment.com
• Paul Hall 155 W. 65th Street (212-769-7406) Subway: 1 to 66th Street www.juilliard.edu
• Pier 9 802 9th Avenue
(212-262-1299) Subway: N, Q, R to 57th Street www.pier9restaurant.com
• The Players Club 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
• Rhythm Splash 673 Flatbush Avenue
Subway: B, Q to Parkside Avenue
• Rockwood Music Hall 196 Allen Street (212-477-4155)
Subway: F, M 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
• St. Augustine’s Church 290 Henry Street
(212-673-5300) Subway: F to East Broadway www.staugnyc.org
• St. Mary’s Church 521 W. 126th Street
(212-864-4013) Subway: 1 to 125th Street www.stmarysharlem.org
• Saint Peter’s Church 619 Lexington Avenue at 54th Street
(212-935-2200) Subway: 6 to 51st Street www.saintpeters.org
• 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
• 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
• Sintir 424 E. 9th Street between Avenue A and First Avenue
(212-477-4333) Subway: 6 to Astor Place
• 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
• Smoke 2751 Broadway between 105th and 106th Streets
(212-864-6662) Subway: 1 to 103rd Street www.smokejazz.com
• Sofia’s 221 W. 46th Street Subway: B, D, F to 42nd Street
• 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, M to Second Avenue
• Steinway Reformed Church 21-65 41 Street at Ditmars Boulevard
Subway: N to Ditmars Blvd-Astoria
• The Stone Avenue C and 2nd Street
Subway: F to Second Avenue www.thestonenyc.com
• Swing 46 349 W. 46th Street (646-322-4051)
Subway: A, C, E to 42nd Street www.swing46.com
• Sycamore 1118 Cortelyou Road (347-240-5850)
Subway: B, Q to to Cortelyou Road www.sycamorebrooklyn.com
• Symphony Space Leonard Nimoy Thalia and Peter Jay Sharp Theatre
2537 Broadway at 95th Street (212-864-5400)
Subway: 1, 2, 3, 9 to 96th Street www.symphonyspace.org
• Tea Lounge 837 Union Street, Brooklyn (718-789-2762)
Subway: N, R to Union Street www.tealoungeNY.com
• Triad 158 West 72nd Street, 2nd floor
(212-787-7921) Subway: B, C to 72nd Street www.triadnyc.com
• Tribeca Performing Arts Center 199 Chambers Street (212-220-1460)
Subway: A, 1, 2, 3, 9 to Chambers Street www.tribecapac.org
• University of the Streets 130 E. 7th Street
(212-254-9300) Subway: 6 to Astor Place www.universityofthestreets.org
• Velour Lounge 297 10th Avenue
(212-279-9707) Subway: C, E to 23rd Street www.velournyc.com
• Via Della Pace 48 E. 7th Street and Second Avenue
(212-253-5803) Subway: 6 to Astor Place
• 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
• York College Illinois Jacquet Perf. Space 94-20 Guy R. Brewer Blvd.
Subway: E to Jamaica Center www.york.cuny.edu
• York College Performing Arts Center 94-20 Guy R. Brewer Blvd.
Subway: E to Jamaica Center www.york.cuny.edu
• Zankel Hall 881 Seventh Avenue at 57th Street
(212-247-7800) Subway: N, Q, R, W to 57th Street www.carnegiehall.org
• Zeb’s 223 W. 28th Street
212-695-8081 Subway: 1 to 28th Street www.zebulonsoundandlight.com
• Zebulon 258 Wythe Avenue, Brooklyn (718-218-6934)
Subway: L to Bedford Avenue www.zebuloncafeconcert.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
• ZirZamin 90 West Houston Street (646-823-9617)
Subway: B, D, F, M to Broadway-Lafayette Street www.zirzaminnyc.com
45
JA ZZ AT LINCOLN CENTER
25 YEARs OF JAZZ
NOv
dEC
(INTERVIEW CONTINUED FROM PAGE 6)
Music in Antwerp. It is now called Follow the Sound
and it’s curated by Rob Leurentop. We not only did the
festival, but also regular concerts in different locations
- sometimes every week, sometimes once a month, as
well as workshops for children or adults and so forth.
TNYCJR: As an improviser and a composer, how do
you approach solo performance, and how is that
contrasted with your approach to duo or small group
situations?
FVH: There was a time I refused to do solo concerts.
With free jazz and the equality of the instruments, that
meant there were no more rhythm sections with only
trumpet and sax getting the improvisations - that
situation was finished! We were all equal, a collective
like the bands of the ‘20s.
Later on, I decided to do solos and it was fine to
have all the space for oneself. In the beginning I
prepared my solos - this was not composition, but
things I chose randomly from a set of known variables.
Now I do not prepare anything - the things I prepared
beforehand never really succeeded because the room
was always different from what I planned for, the
piano was different and at home were no people and
the energy was different. Now I go with a blank mind
- the second before I start is terrible, but the following
second the train is on the rails.
With a solo the only response is that of the
audience - you can feel if they are following you or not,
even if they are silent. With a duo or a small group you
listen to what the others do and you react to it and you
can go along or you can contradict them. You give the
other musicians space or you accompany - or you may
claim the space for yourself.
TNYCJR: What was the impetus in forming MLA/
MLB? Is this work still ongoing?
joe henderson Photo courtesy of
the Frank Driggs Collection
nov 3
1 PM & 3 PM
J O H N C O LT R A N E F E S T I VA L | FA m I Ly C O N C E R T
Wh O I s J O hN CO LTR A NE ?
Jazz at Lincoln Center Orchestra
with Wynton Marsalis
nov 9–10
7: 3 0 P M
& 9 : 3 0 PM
A Lv I N YO u N G B L O O d h A R T
Blues master Alvin Youngblood Hart
with special guests Corey Harris and
Phil Wiggins
nov 16–17
7: 3 0 P M
& 9 : 3 0 PM
nov 16–17
8 PM
Dec 7
8 PM
T H E b E S T O F b Lu E N OT E F E S T I VA L
JOE hENdERsON’s
7 5 Th B I R T h d AY
Saxophonist Chris Potter with Renee
Rosnes, Bobby Hutcherson, and others
T H E b E S T O F b Lu E N OT E F E S T I VA L
ThE BEsT OF BLuE NOTE
Jazz at Lincoln Center Orchestra
with trumpeter Ryan Kisor and
saxophonist JD Allen
B I G B A N d h O L I dAY s
Jazz at Lincoln Center Orchestra with
Wynton Marsalis and vocalists Renee
Marie and Gregory Porter.
Dec 8
2 PM & 8 PM
B O X O F F I C E B r o a d w a y a t 6 0 Th
CENTERChARGE 212-721-6500
jalc .org
Preferred Card of
Jazz at Lincoln Center
FVH: Instead of using the formal “Opus xx” to
designate a new work, I named the groups based on
their different [improvised] approaches and used Latin
abbreviations. So there was MLB III, which was Musica
Libra Belgica, a trio with [reedman] André Goudbeek
and [percussionist] Ivo Vanderborght. MLA stood for
Musica Libra Anversa and then there was MLB blek
(meaning “tin”), which had the trombones of Radu
Malfatti and Paul Rutherford as well as trumpeter
Marc Charig. MLB DD4 was a quartet with [violinist]
Phil Wachsmann, Charig and [drummer] Günter Baby
Sommer. Except for MLB III, none of the other groups
still perform.
TNYCJR: You have done a significant amount of
intermedia work – with film and visual artists. Could
you talk more about that?
FVH: Yes, I worked with film and painting, as well as
theater; I did all three, including some short films of
my own. I also accompanied very old films, such as
Laurel and Hardy, and performed with two painters.
There were also quite a few plays, mostly in Belgium
or The Netherlands and also in Germany. The work
was alright, but it was strictly accompanying someone
else’s idea and you have to follow others’ directions.
TNYCJR: My one opportunity to see you perform, in
duet with trombonist Johannes Bauer at the 2004 Vision
Fest, the contrast between his theatricality and what I
viewed as your rigor was rather apparent. I feel that in
a number of settings, what has struck me about your
voice and those of your partners is a remarkable sense
of contrasting extremes. Is this an aspect of your
approach that has been cultivated?
Lead Corporate Sponsors of Jazz for Young People®
FVH: I’ll say this - the average is not interesting, you
have to contradict and provoke in order to shape the
stars. v
For more information, visit efi.group.shef.ac.uk/mvanhove.
html. Van Hove plays solo and in duo with Lou Grassi at
ShapeShifter Lab Nov. 6th and The Firehouse Space Nov.
9th. See Calendar.
• Peter Brötzmann/Fred Van Hove/Han Bennink Balls (FMP-Atavistic Unheard Music Series, 1970)
• Fred Van Hove - Complete Vogel Recordings
(Vogel-Atavistic Unheard Music Series, 1972-74)
• Fred Van Hove/Marc Charig/Radu Malfatti/
Paul Rutherford - M.L.A. ‘Blek’ (FMP, 1980)
• Fred Van Hove - Flux (Potlatch, 1998)
• Fred Van Hove - Journey (psi, 2007)
• Fred Van Hove/Paul Dunmall/Paul Rogers/
Paul Lytton - Asynchronous (SLAM, 2008)
(LABEL CONTINUED FROM PAGE 12)
“The big problem with improvised music in
Europe has been that there are so few private sponsors
and we depend so much on the benevolence of public
cultural budget administrators. With the rise of turbocapitalism this benevolence ended and financial
support has gone down to almost zero. It’s very special
that in a small village in the countryside something is
possible that was never possible here among the
arrogant and shattered Berliner improvising scene. I
can’t tell you how much I was surprised when I heard
about Martin’s plans to start a new label in my old
home region. I like Martin’s well-thought-out grassroots approach. He’s planning everything very
carefully and realistically. I hope I can travel many
times to the hilly countryside of Saarland and do many
recordings for Gligg.”
Gligg can record, mix and master a CD plus
provide a cover design and publishing at a cost far less
than musicians could do on their own, notes Schmidt.
Since “musicians never make CDs without the need of
at least 150 for themselves, we split the costs for the
initial release.”
Adds Thewes: “The main advantage of Gligg is the
connection to a first-class recording studio. Selected
musicians who do not receive payments for recording
sessions can use the studio without any costs for their
productions, recording, editing, mixing, mastering and
finally publishing via Gligg. Musicians are only bound
to the label for that particular production and can
publish with other labels.”
Still Schmidt is realistic about improvised music’s
place in the business world. “Sales don’t yet play any
serious role, as this kind of music only finds a very
small audience around the world,” he adds. “But the
idea is to build on the image over the next years to
establish Gligg in the world-wide community of
enthusiasts.” The label’s multi-focus will continue
with projected CDs including a quartet helmed by
trumpeter Axel Dörner and one matching legendary
German pianist Alexander von Schlippenbach with the
Undertone trio.
So is this ambitious five-year plan to establish an
important creative music imprint while running a
high-end recording studio enough to occupy Schmidt’s
time? Not really. Since 2009, he has been studying for a
bachelor ’s degree in physics from a UK-based distant
learning university and expects to have it completed in
2014. v
For more information, visit gligg-records.com. Artists
performing this month include Tomas Ulrich at Nublu Nov.
2nd, Jazz Standard Nov. 9th with Ted Nash as part of the
Jazz Composers Collective Festival and The Stone Nov.
20th. See Calendar.
IN MEMORIAM
By Andrey Henkin
EDDIE BERT - Two years before his first professional gig with the Sam Donahue Orchestra,
the trombonist got lessons from Basie stalward Benny Morton. He would go on to work with
dozens of big bands from the ‘40s on: Woody Herman, Stan Kenton, Benny Goodman, Illinois
Jacquet, Lionel Hampton, to name only some. He was part of the Town Hall groups of both
Thelonious Monk and Charles Mingus as part of a discography of hundreds of albums. In
between all of this work, Bert managed to release over a dozen albums as a leader. Bert died
Sep. 27th at 90.
JOSÉ CURBELO - No less than Tito Puente owed his career to the Latin jazz bandleader.
Moving to New York in 1939 from Cuba, after playing in orchestras there, Curbelo formed a
new band that featured a young Puente. Later he became a manager for major Latin music
acts, working diligently to get his clients proper wages and working conditions. Curbelo died
Sep. 21st at 95.
MAT DOMBER - In a world of changing musical tastes, the producer was integral in keeping
traditional jazz forms in the spotlight through his Arbors record label. Originally an attorney,
after moving to Florida in the mid ‘80s, Domber started with an album by Dixielander Rick
Fay. Now Arbors has a catalogue of over 300 recordings by both original practitioners and
younger musicians Domber helped bring into the music. He died Sep. 19th at 84.
VICTOR GASKIN - There is little on record from the bassist after the ‘80s but Gaskin worked
steadily in the ‘60s-70s, appearing on albums by Les McCann, Cannonball Adderley and
Monty Alexander. 1970 found him working in various Duke Ellington groups and he held
down the bass chair in Billy Taylor ’s trio from the late ‘70s until the early ‘90s. Gaskin died
Jul. 14th at 77.
JERRY GORDON - An adherent of the Wes Montgomery school, the Washington DC-based
guitarist was a mainstay in bars and nightclubs throughout the capital and nearby Baltimore.
In 1993 his group won the Best of DC Jazz contest at Blues Alley and he released five albums
as a leader while working during the day as an auto mechanic and salesman in a record store.
Gordon died Aug. 26th at 58.
JOHN WILLIAM HARDY - A world-renowned ornithologist (owner of the leading bird
recording label), Hardy also documented some less-feathered but no less deserving creatures
with his Revelation Records imprint from the ‘60s-70s, including Clare Fischer, Warne Marsh
and John Carter/Bobby Bradford. Hardy died Oct. 1st at 82.
JACKY SAMSON - The French bassist was a stalwart on that country’s jazz scene, working
with countrymen like George Arvanitas (as part of his trio and in a working rhythm section),
Eddy Louiss and Jef Gilson from the late ‘60s on as well as with visiting Americans like Ted
Curson, Anita O’Day and Ben Webster. Samson died Oct. 3rd at 72.
PATRICK SAUSSOIS - A child of Basque and Gypsy parents, the Parisian guitarist was
naturally drawn to the work of Django Reinhardt. His discography included work with
countrymen like George Arvanitas and the Schmitt Family. A 2009 stroke left him unable to
perform and he died Sep. 21st at 58.
DICK SHANAHAN - A veteran of the Big Band Era, the drummer - a peer of Buddy Rich and
Gene Krupa - worked with the large groups of Charlie Barnet and Les Brown as well as
appearing on bassist Ray Brown’s 1960 album Jazz Cello (Verve), Spike Jones’ 1954 TV show
and numerous soundtracks. Shanahan died Aug. 5th at 91.
JOHN TCHICAI - He may have gotten his first wide exposure as part of John Coltrane’s 1965
Ascension group, but the alto-later-tenor saxophonist was already a trailblazer by the time of
that 1965 session. Moving to New York from his native Denmark after meeting Archie Shepp
and Bill Dixon at a 1962 Finnish jazz festival, Tchicai was part of three groundbreaking
metropolitan groups of The New Thing: New York Contemporary Five, New York Art Quartet
and New York Eye and Ear Control. Returning home in 1966, he founded the monumental
Cadentia Nova Danica large ensemble and went on to bring his strident lyricism to his own
varied groups (from the ‘70s Strange Brothers quartet to his most recent Danish groups with
players a third of his age) as well as sideman appearances with everyone from Johnny Dyani
and Cecil Taylor to the ICP Orchestra and Pierre Dørge’s New Jungle Orchestra. Tchicai died
Oct. 7th at 76.
BIRTHDAYS
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 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 b.1949
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
Rogerio 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
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
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
TONY COE
November 29th, 1934
That saxophone playing on
the original Pink Panther theme
belonged to British multireedist Tony Coe, a veteran of
numerous
English
and
European big bands during
the ‘60s onwards. Like many
of his countrymen, Coe thrives
in eclectic situations, whether
it be the John Dankworth
Orchestra, Derek Bailey’s
Company, a co-led group with
drummer Tony Oxley or as a
first-call
musician
for
soundtrack work. The first
non-American to win the
Danish Jazzpar Prize (1995),
Coe, who also plays clarinet
and bass clarinet, has
composed numerous largescale works for ensembles and
film. His leader discography for labels like hatART, Nato
and Storyville - is not massive
but his sideman credits are
vast and impressive.
-AH
ON THIS DAY
by Andrey Henkin
Miles: The New Miles Davis Quintet
Miles Davis (Prestige)
November 16th, 1955
Infinity
Lee Morgan (Blue Note)
November 16th, 1965
Outback
Joe Farrell (CTI)
November 16th, 1970
Garden
Cecil Taylor (hatHUT)
November 16th, 1981
This would be, at the time, the debut
of Miles Davis’ first classic quintet
(slightly earlier material surfaced
later). The trumpeter had worked
with pianist Red Garland and
drummer Philly Joe Jones before but it
was the addition of saxist John
Coltrane and bassist Paul Chambers
that birthed a legendary group (which
actually didn’t last all that long in this
incarnation). For their first album, the
material is all from outside of the
group - Ellington, Benny Golson,
three standards - except for the first
appearance of Davis’ “The Theme”.
Trumpeter Lee Morgan’s impact on
the jazz landscape far outsized his
relatively brief career (first session at
18, murdered at 33). He was one of the
leading lights of the Blue Note label,
having made a dozen albums for it
prior to this one, underappreciated
due to its proximity to such discs as
Search For The New Land or Cornbread
(as well as its posthumous release).
Joining him are Jackie McLean (alto
sax), Larry Willis (piano), Reggie
Workman (bass) and Billy Higgins
(drums) on four Morgan originals and
McLean’s “Portrait of Doll”.
Joe Farrell, player of too many wind
For all his various groups - trios, large
and reed instruments to list, deserves
greater acclaim than he receives. His
work with people like Charles
Mingus, Chick Corea, Jaki Byard and
Elvin Jones was consistently excellent.
His own albums though never really
presented him at his best, partially
due to the influence of producers like
CTI’s Creed Taylor. But this may be
his best effort, Corea and Jones in tow,
Buster Williams playing bass and
Airto on percussion, a short four-tune
program of two originals, a piece by
Corea and the title soundtrack theme.
ensembles, etc. - perhaps the best
distillation of pianist Cecil Taylor are
his solo performances. He began
working in this format over 15 years
after beginning his career and has
returned to it frequently over the
years, many of the concerts recorded
for posterity. This particular solo
concert took place in Basel,
Switzerland, released on the Swiss
hatHUT label, and includes seven
expositions of decreasing length, from
the nearly 27-minute “Ellel” to twoand-a-half minute “Points”.
The D Stands For Diesel
Karl Denson (Greyboy)
November 16th, 1994
Saxophonist
Karl Denson may have
trouble convincing jazz purists of his
legitimacy but who cares when you
sold millions of records as part of
Lenny Kravitz’ group and are revered
in the jam band circuit? And clearly
legendary jazz vocalist Andy Bey,
who appears here on two tracks,
didn’t need any cajoling. Denson,
whose jazz career began in earnest
after leaving Kravitz, wrote eight of
the nine tunes on this two-LP set (Bey
wrote closer “Tune-Up”), released on
the Greyboy imprint, the label of the
Greyboy Allstars.
47

November 2012 - The New York City Jazz Record

Transcription

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