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Home , Ahmed Abdullah, Alex Blake, Allen Lowe, Andy Biskin, Andy McKee (bassist), Arnie Lawrence

MAY 2014 - ISSUE 145 YOUR FREE GUIDE TO THE NYC SCENE NYCJAZZRECORD.COM THE THING WHAT IS THIS LOVE CALLED THING

AHMED • GREG • LENNIE • HEP • EVENT ABDULLAH WARD NIEHAUS JAZZ CALENDAR “BEST JAZZ CLUBS OF THE YEAR 2012” JAZZ & SUPPER CLUB • , FEATURED ARTISTS / 7:00, 9:00 & 10:30pm ONE NIGHT ONLY / 7:00, 9:00 & 10:30pm

Fri & Sat, May 2 & 3 Wed, May 7 TOMMY CAMPBELL & VOCAL-EYES JIMMY GREENE QUARTET Miles Griffith, vocals I Carolyn Leonhart, vocals I Helio Alves, Jimmy Greene, tenor I Xavier Davis, piano Ben Sher, I Harvey S, bass I Tommy Campbell, drums Gerald Cannon, bass I Jeff “Tain” Watts, drums NEW RELEASES FOR 2014! AVAILABLE ON COMPACT DISC & DIGITAL DOWNLOAD Fri & Sat, May 9 & 10 Wed, May 14 , JR. QUINTET ERIC REED QUARTET Donald Braden, saxophone & I Nat Adderley, Jr., piano , I , piano Trifon Dimitrov, bass I Rocky Bryant, drums Reuben Rogers, bass I Rodney Green, drums Wed, May 21 Fri & Sat, May 16 & 17 JERRY WELDON QUARTET Record Release Weekend Jerry Weldon, tenor saxophone I Jeb Patton, piano Mike Karn, bass I Jason Brown, drums LOUIS HAYES & THE JAZZ COMMUNICATORS Wed, May 28 Steve Nelson, I Abraham Burton, tenor saxophone JOANNA PASCAL David Bryant, piano I Dezron Douglas, bass I Louis Hayes, drums WITH THE ORRIN EVANS TRIO JoannaSPECIAL Pascal, EVENTvocals / 7:00, 9:00 & 10:30pm Fri & Sat, May 23 & 24 Orrin Evans, piano I Vicente Archer, bass I Obed Calvaire, drums Celebration & Mon, Feb 9 & 10 & Record Release Weekend & PETER BERNSTEIN Brad Mehldau (piano) • Peter Bernstein (guitar) & FRIENDS Music 7 Nights a Week & Sunday Brunch Fri & Sat, May 30 & 31 No Music Charge (Sunday to Thursday) QUINTET For Complete Music Schedule Visit Bruce Williams, I Steve Turre, trombone www.smokejazz.com Xavier Davis, piano I Gerald Cannon, bass I Willie Jones III, drums WWW.SMOKESESSIONSRECORDS.COM 212-864-6662 • 2751 Broadway NYC (Between 105th & 106th streets) • www.smokejazz.com SMOKE “No man is an island,” wrote English poet John Donne in the 17th century. Jazz was a few hundred years off but his message is easily applied to the mentorship, New York@Night historical awareness and respectful homage inherent in the genre. To paraphrase, 4 “No musician comes out of nowhere” and some are especially grateful to their Interview: forbears, whether they be stylistic antecedents or direct teachers. The Thing (On The Cover), Scandinavia’s beloved power trio, was initially by Clifford Allen 6 convened to record a tribute to trumpeter . All are avid students Artist Feature: Greg Ward of musical history and their brutal performances may feature anything from Albert by Ken Waxman Ayler to Lightning Bolt, all delivered with the delicacy of a 2x4 to the face. They 7 perform this month as part of the Red Bull Music Academy Festival. Trumpeter On The Cover: The Thing Ahmed Abdullah (Interview) learned his trade under the wise tutelage of figures 9 by Kurt Gottschalk like and, most notably, , and then honed it alongside peers like , and . Abdullah turns 67 this month and Encore: Lest We Forget: celebrates with his Diaspora band at Sistas’ Place, where he doubles as Music 10 Mary Lou Williams Director, as well as leading the New School Sun Ra Ensemble twice in celebration of the pianist/bandleader’s centennial. Alto saxophonist Greg Ward (Artist Feature) by Marcia Hillman by Ken Dryden is the youngster of the group but no less aware of history, having been forged in the Megaphone VOXNews smithy that was legendary saxophonist ’s Velvet Lounge. 11 by Todd Stoll by Katie Bull Since then, he has worked with many of his peers in both Chicago and his adopted home of New York and presents a piece in homage to one of his mentors Label Spotlight: Listen Up!: commissioned by The Jazz Gallery. Without belaboring the theme, the impact of figures like saxophonist/ 12 Hep Jazz Yvonnick Prene /arranger Lennie Niehaus (Encore) and pianist Mary Lou Williams (Lest & Eyal Vilner by Donald Elfman We Forget) is still being felt in music made today, like the many you can CD Reviews: Ideal Bread, Allen Lowe, Rich Perry, Vijay Iyer, Sun Ra, find in our CD Reviews sections, linked to many release celebrations listed in our 14 Arturo O’Farrill, Ted Rosenthal, , Tony Malaby and more always-bursting Event Calendar. We’ll see you out there... 38 Event Calendar Laurence Donohue-Greene, Managing Editor Andrey Henkin, Editorial Director 45 Club Directory On The Cover: The Thing (Peter Gannushkin/DOWNTOWNMUSIC.NET)

Miscellany: In Memoriam • Birthdays • On This Day 47 In Correction: In last month’s CD Reviews, pianist Michael Jefry Stevens lives in Black Mountain, NC, not Memphis, TN.

Submit Letters to the Editor by emailing [email protected] US Subscription rates: 12 issues, $35 (International: 12 issues, $45) 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 - facebook.com/nycjazzrecord Managing Editor: Laurence Donohue-Greene To Contact: Editorial Director & Production Manager: Andrey Henkin The New York City Jazz Record Staff Writers 116 Pinehurst Avenue, Ste. J41 David R. Adler, Clifford Allen, Fred Bouchard, Stuart Broomer, New York, NY 10033 Katie Bull, Tom Conrad, Ken Dryden, Donald Elfman, Brad Farberman, Sean Fitzell, Kurt Gottschalk, Tom Greenland, Alex Henderson, Marcia Hillman, Terrell Holmes, Robert Iannapollo, Suzanne Lorge, Wilbur MacKenzie, Laurence Donohue-Greene: Marc Medwin, Robert Milburn, Russ Musto, Sean J. O’Connell, Joel Roberts, [email protected] John Sharpe, Elliott Simon, Jeff Stockton, Andrew Vélez, Ken Waxman Andrey Henkin: [email protected] Contributing Writers General Inquiries: [email protected] Duck Baker, Brad Cohan, George Kanzler, Ken Micallef, Michael Steinan, Todd Stoll Advertising: [email protected] Contributing Photographers Editorial: [email protected] Jim Anness, Peter Gannushkin, Don Getsug, Alan Nahigian, John Rogers, Jack Vartoogian Calendar: [email protected] VOXNews: [email protected]

All rights reserved. Reproduction without permission strictly prohibited. All material copyrights property of the authors.

THE NEW YORK CITY JAZZ RECORD | MAY 2014 3 NEW YORK @ NIGHT

Roy Nathanson stood on the dimly lit stage at Joe’s Celebrating the 20th anniversary of South ’s Pub (Apr. 2nd), cradling his big baritone sax and independence from Apartheid Rule and favorite son/ SPRING 2014 listening to his band - a group as much as trumpeter Hugh Masekela’s 75th birthday, anything - play the title song from their new CD, Johannesburg all-star group Uhadi graced Dizzy’s Club Complicated Day (Enja/Yellowbird). His longtime for four consecutive nights. From the opening notes of SPECIAL SELECTIONS collaborator, trombonist Curtis Fowlkes, sang the lead the opening (Apr. 3rd), which featured vocalist and Nathanson, eyes closed, head bowed, smiled Sibongile Khumalo’s resonant scatting and flugelhornist FROM faintly. Over six years, his band has relaxed into itself. Feya Faku’s burnished sound, it was immediately Beatboxer Napoleon Maddox is better integrated now, apparent that here was a sweeter, gentler side of jazz, less a crossbred presence and more a percussionist. though not without its righteous fire. “Paddy’s Place” NAXOS OF AMERICA The addition of Jerome Harris on electric guitar and gave hints of Cape Town carnival rhythms in pianist backing vocals has smoothed the edges, helping them Paul Hanmer’s delicate chording, bassist Herbie pull off the stacked harmonies Nathanson writes for Tsoaeli’s booming tone and drummer Justin the group, and his guitar filled out their cover of Isaac Badenhorst’s buoyant stick-work. Winston Ngozi’s Hayes’ “Do Your Thing”, the third song they played “Yalchal’ Inkomo”, performed with a similarly that night, sung by Maddox. The ranks were further restrained but infectious lilt, showcased Khumale’s JAZZexpanded with a take on Johnny Nash’s “I Can See subtle play with pitch and rhythm and saxophonist & Clearly Now the Rain Has Gone”, with the leader’s son McCoy Mrubata’s masterful control of dynamics. But Gabriel on vocals and . Nathanson himself the music’s true power began to emerge on Hanmer’s NEW MUSIC PARTNERS sang “Slow Boat to China” and even while surrounded tune “Same Old”, which set South African author Don by stronger voices his love for the song shined through Mattera’s poem entreating us to “heal the Earth”, and HELEN CARR | DOWN IN THE DEPTHS OF THE 90TH FLOOR just as his love for songs is the real driving force of the Khumale and Faku’s “Hymn for All”, a paean to the band. On record and especially on stage, they were a spirits of bygone musicians, remembering them with “You take the records to your pad (home, apartment) still mumbling Helen-Helen-Carr-Carr-Carr, you put a black grooved disc on your very different band than they had been as a quintet. an improvised prayer poignantly embodied in Faku’s phonograph and it starts to spin. Suddenly the sound of “I Don’t Want To Cry Anymore” makes you realize in an atom-flash that here is no What started out as a jazz band with spoken word and fluid lip smears and Khumale’s distinctive yodeled stranger, but a friend you have yet to meet…” allusions to R’n’B has become, well, not that anymore. vocalese. “Grace and Mercy”, uncoiled in a snaky 6/8 –SID GARRIS, KBLA It’s still a band fronted by a jazz saxophonist who meter, wrapped up the musical offering, leaving BETHLEHEM RECORDS writes poetry, but it’s grown into its own skin. listeners with something to feel and remember as they cd: BCP1027 • 689466687057 lp: BCP1027LP • 689466687309 - Kurt Gottschalk headed home. - Tom Greenland | Early Chet (Standard Edition) The idea of recording singer Caterina Valente in duet with Chet Baker was also ahead of its time: “I’ll Remember April” and “Every Time We Say Goodbye.” “Just Caterina and Chet – no one else. A meeting of ultimate refinement and ultimate simplicity,” wrote Joachim-Ernst Berendt. In these intimate duets, Chet Baker plays trumpet as only he knows how: delicate, melodic, supple. FROM 2013 NYC JAZZ Early Chet sets out his personal agenda to OF THE YEAR, communicate real depth using few notes.” JAZZHAUS lp: 101740 • 807280174090

ANDREW LITTON | A TRIBUTE TO

Collecting all of Peterson’s recordings over the years, Litton realized that his admiration was shared by many of the classical musicians that o n t R w P h s he met during his ‘day job’ as a conductor. As he kept learning new improvisations, a dream took shape – to record his own performances of some of these transcriptions as a tribute to his hero.

BIS a r t o g i n / F BIS-SACD-2034 • 7318599920344 A l a n N h i g MEREDITH MONK • ERIC SALZMAN | WESTERN WIND 45TH ANNIVERSARY COMMISSIONS While noted for its performances of early music, The Western Wind Vocal Ensemble, is also a leader in the performance of new works. This P h o t b y © 2 0 1 4 J a c k V recording of Meredith Monk’s ‘Basket Rondo’ and Eric Salzman’s ‘Juke- box In The Tavern Of Love’ celebrates the ensemble’s 45th anniversary ’s Sotto Voce @ Joe’s Pub Uhadi - All-Stars of Johannesburg Jazz @ Dizzy’s Club with two commissioned works that address contemporary issues in fascinatingly original musical styles. RELEASE PARTY AT ROUGH TRADE, NYC - It’s nice when promoters from foreign soils come Harlem’s historic Abyssinian Baptist Church, a MAY 10, 1 PM around to raise our own bar. Such was the case when longtime supporter of the local jazz community, hosts a LAB 7094 • 790987709422 LABOR RECORDS the Poland-based Unsounds returned to New York for Jazz Vespers program most Sunday afternoons of the TIMO LASSY BAND | Live with Lassy five days in April with a program of local and visiting year. There was a tinge of sadness as the Black Arts

“If you would ask me how to tell a great band apart from all the quite artists (presented in conjunction with Issue Project Jazz Collective stepped to the stage (Apr. 6th) because good ones, my answer would be to just listen to any given group live for Room) and especially so on the night when Phill of founding bassist Dwayne Burno’s tragic passing this three nights in a row. See if you still think they sound fresh for your ears during the encore of the third show. Timo Lassy Band does.” Niblock played to a packed house in the First Unitarian last December due to kidney disease at the age of 43. - Matti Nives Church in Heights (Apr. 4th). Under the Carrying on in his name were trumpeter , banner “The Long Tone”, Niblock shared a bill with the tenor saxophonist , trombonist James SCHEMA RECORDS SCLP465 • 8018344114651 LIMITED 2LP + CD SPECIAL EDITION! Polish guitarist Stara Rzeka, who played a solo set of Burton III, pianist Xavier Davis, new bassist Dezron grinding, ambient black metal, and the British duo Douglas and substitute drummer Darrell Green. YVES LÉVILLÉ | essences des bois Demdike Stare, who added strings for a set of pop Invoking the spirit with an unadorned hymn, “Guide Difficult to resist are the flood of imagery and the muffled waves of the instrumental scores to short films. Nothing about Me, O Thou Great Jehovah”, the sextet followed with woodwinds set in motion by the latest album from the composer/pianist Yves Léveillé. Shifting from the pursuit of ideal phrasing to the complex Niblock’s work, his music or his films is often short and Burno’s “Devil Eyes”, filling the hall with plunging and the lyrical, Léveillé persistently strives for jazz-like beauty. for this occasion he presented two sound pieces serpentine lines as early spring sunlight streamed alongside his film T H I R (completed in 1972). Images through the beautifully colored stained glass windows

EFFENDI of water surfaces, plants and insects were a visual of the high-ceilinged sanctuary. The mixed crowd of FND131 • 690579013121 analog to the music: seemingly still but full of activity. well-dressed locals and appreciative tourists was then Niblock worked with recorded sounds of Jim O’Rourke treated to a rendition of Escoffery’s “Awaiting Change”, | birdland 1953 playing hurdy-gurdy (from his 1999 piece “Hurdy followed by its logical musical riposte, “No Small “Having spent more than sixteen months in various mental institutions, where he was subjected to electroshock therapy, the great pianist Hurry”) and violinists Conrad Harris and Pauline Kim Change”, a Davis original inspired by Barack Obama, was released in early 1953. Subsequently, the regularity of work that Powell had during that period facilitated his regaining a great deal Harris with the two joining in the darkened aisles for the first set concluding with Burton’s “Going of the virtuoso technique that had often eluded him in the wake of repeated nervous breakdowns. Despite the previous availability of the the 2013 composition “Unipolar Dance”. Midrange Somewhere”. One small flaw, the poorly amplified material, this set is a valuable addition to the jazz discography because of its vastly improved sound quality- the fruits of producer Michael warbles and complementary tones shifted and phased, acoustic piano, hindered the otherwise heavenly Anderson’s hard work and keen ear.” - Russ Musto, The New York City Jazz Record pulses passed by and bass notes resonated deeply sounds: Pelt’s stark pointed peals soaring to the joists ESP4073 • 825481407328 enough to be felt in the large chapel. Niblock’s music like Gabriel’s trumpet; Escoffery’s initially pensive ESP-DISK, LTD. needs volume and for Unsounds it was not ear-splitting intervallic ideas escalating to a sanctified burn; and available at : fasdlfkjdaflshalsdkhfldaksnvl but loud enough for the ebbs and flows of the tones to Green’s inspired soloing layered over repeated kicks come through beautifully. (KG) from the band. (TG)

4 MAY 2014 | THE NEW YORK CITY JAZZ RECORD ’s solo piano concert at Town Hall (Apr. Leading the latest edition of his longstanding quintet 10th) was, in fact, more like three shows stitched - trumpeter Mike Rodriguez, saxophonist Dayna WHAT’S NEWS together. planning an intermission, Corea Stephens, bassist Kiyoshi Kitagawa and drummer said he just felt like playing - in his favorite city and on Johnathan Blake - pianist kicked off his his favorite piano - and did so for over two , sold-out Saturday night (Apr. 12th) second set at the A two-day festival, Freedom of Sound: , dedicated to the late saxophonist, will take place May doing his best Victor Borge impression in between Village Vanguard with a piece penned by one of the 30th-31st at Memorial Auditorium at Montclair State pieces and bringing a jazz club intimacy to an august group’s many distinguished alumni, the late University in New Jersey. Performers will include concert hall. The first third of the evening was given saxophonist John Stubblefield. Setting up the song, , Grachan Moncur III, , over to standards: ’s “How Deep is the “Dialogues In Blue”, with a slow two-handed piano , , Howard Johnson, James Newton, , , , Marty Ocean”; Jobim’s “”; ’ “Turn Out vamp, the leader was quickly joined by his two rhythm Ehrlich, Jerome Harris, Pheeroan akLaff, Vernon Reid, the Stars”; a Monk medley of “Ask Me Now” and section mates, the sound swelling as the groove shifted Orrin Evans, Nasheet Waits, Jay Hoggard, Diane “Work”. These songs have long histories and strong gears into a soulful shuffle on top of which Stephens’ Moser, Ken Filiano, David Virelles, Oscar Noriega, personalities but were Corea-fied, floridly embellished airy tenor saxophone blew the earthy melody, first Anton Denner, Michael Sarin, Russ Johnson, Myra with the airy virtuosity that differentiates Corea from alone, then joined by Rodriguez in a buoyant Melford, Roy Nathanson, , George Schuller, James Brandon Lewis, Tomeka Reid and Veronica peers and Keith Jarrett. The middle conversation that set the tone for the evening. Pushed Nunn. Of particular interest, compositions written by segment was the most interesting, both for the material and prodded by the polyrhythms of the trio, the Dolphy, but never recorded or performed, will be given and Corea’s performances. ’s “Pastime frontline soloed with measured abandon, navigating premieres during the festival. For more information, Paradise” is a good fit for Corea and he stayed pretty through the dynamic waves of shifting cadences. The visit seedartists.org/event-category/freedom-of-sound. close to the original. Two classical pieces - a Chopin rhythm section bounded energetically into Kitagawa’s The New York City premiere of The Breath Courses mazurka and Scriabin prelude - were lovely and the “Sagittarius”, a Messenger-ish bounce featuring a Through Us, a documentary film about the New York liberties taken more fitting than on the jazz pieces. And compelling solo from the composer following a Latin- Art Quartet directed by Alan Roth, will take place at in homage to the recently passed Paco de Lucía, Corea inflected piano outing and fiery statements from Anthology Film Archives May 18th at 7:30 pm. The played “The Yellow Nimbus” from his 1982 album Rodriguez and Stephens. Barron’s beautifully lyrical 1964 film New York Eye and Ear Control, with music and images of , , , Touchstone, which featured the guitarist. To close, “In The Slow Lane” calmed the mood for a short spell Don Cherry, and will be Corea spent 15 minutes bringing up audience members before Rodriguez’ “Night Spring” had the band back shown preceding the main feature. For more and improvising portraits, then played a number of his charging straightahead, this time with Stephens information, visit thebreathcoursesthroughus.com. Children’s Songs before inviting wife Gayle Moran wielding his baritone. The set closed with a tour de The 2014 Essentially Ellington High School Jazz and NBA Star Kareem Abdul-Jabbar onstage for some force rendition of Monk’s “Well You Needn’t”, featuring Band Competition and Festival will take place at Rose anti-climactic encores. - Andrey Henkin Blake and Barron. - Russ Musto Hall May 8th-10th. Among the 15 finalists is “local” band Jazz House Kids of Montclair, NJ. The finale will take place May 10th with performances by the top three bands and the Jazz at Orchestra. For more information, visit academy.jalc.org/ee. As part of an ambitious reissue program, ECM Records has released the first of what hopes to be many of its seminal earlier albums in three remastered formats: 180-gram vinyl, compact disc and high-definition digital files. The initial slate of releases include albums by Gary Burton, Ralph Towner/John Abercrombie, Keith Jarrett, Sam Rivers, Miroslav Vitous and . For more information, visit ecmrecords.com.

o g e r s n y c . m Famed harmonica player and NEA Jazz Master , age 91, has announced his retirement

A n e s from performing. The New York Public Library for the Performing Arts has received the collection of George Avakian for its archives, which includes recordings, radio broadcasts, P h o t b y J i m © J o h n R g e r s / unreleased studio takes, interviews, photographs, Chick Corea @ Town Hall Kenny Barron @ Village Vanguard sheet music, correspondence and other materials by and about artists such as , Dave he name Jagged Spheres implies some bleak post- ounding onto the Rose Hall stage with a youthful Brubeck, , , Coleman T B Hawkins, , , Fats Waller and war cityscape ravaged by mechanized overlords (or do energy belying his septuagenarian status to begin the Mary Lou Williams. Eventually the materials will be I need to get out more?). But this Austrian-Canadian- show Hugh Masekela: Celebrating 75 Years (Apr. 5th), made available to researchers. American piano trio, headquartered unofficially in the superstar received a well-deserved Brooklyn and celebrating their eponymous debut at hero’s welcome. Two weeks earlier Masekela played Some more details have been announced regarding Congressman John Conyers’ Jazz the Austrian Cultural Forum (Apr. 2nd), is actually a intimate acoustic /piano duets culled from Preservation Bill, mentioned in this column several highly organic unit fit for sun-dappled forests. Proving the Great American Songbook with longtime colleague months ago. The bill, an update to legislation passed in Benetton right, three disparate realms of modern avant across the hall at Dizzy’s Club. But this 1987, seeks to create programs that will address garde jazz came together harmoniously in a number of night the music would be electrified with the sound of preservation, education and promulgation of jazz within shortish (7-10 minutes) pieces written by the group’s his South African band performing songs the United States and around the world, done in coordination with the Smithsonian Institution, US State members. Pianist Elias Stemeseder, saxophonist/flutist predominantly from their homeland. The group of Department and National Endowment for the Arts. For Anna Webber and drummer (and melodica player) Cameron John Ward (guitar), Randal Skippers more information, visit conyers.house.gov/index.cfm. Devin Gray are dense without sacrificing clarity and (keyboards), Abednigo “Fana” Zulu (bass guitar), Lee- work within through-composed pieces that never get Roy Sauls (drums) and Francis Fuster (percussion) laid Two young and already acclaimed jazz musicians recently received honors. Saxophonist Melissa Aldana too hairy or too cerebral. Stemeseder’s pieces were down a pulsing ambient sound over sprawling rhythms was named a winner of the 2014 Martin E. Segal Award, elfin in quality with declamatory melodies and his as their leader jauntily strode to center stage, picked given by Lincoln Center. Trumpeter Ambrose shifts between spaciousness and opacity made the up his trademark flugelhorn and blew a long fluid line Akinmusire was given the Paul Acket Award for Artist compositions seem longer then they were. Webber’s with a sound as personal as any in jazz, then echoed Deserving Wider Recognition 2014 as chosen by the contributions were a tad more frenetic, particularly a the notes in his equally distinctive vocal style. The North Sea Jazz Festival. dedication to a spurning ex-boyfriend, and gave more song, “Languta”, was one of many South African After the premiere of Keep On Keepin’ On, directed by opportunities for intentionally plodding grooves from melodies (“Chileshe”, “ Le Se” and “Stimela” were Al Hicks and produced by , at the Tribeca Gray. The drummer’s numbers were as full of constant others) that had the capacity crowd singing and Film Festival last month, Jones organized a concert at shifts as his partners’, one an oddly insistent ballad clapping time with the band, along with a gritty the Borough of Manhattan Community College honoring 93-year-old trumpeter , who stars in the film. driven by Webber’s flute, the other a piece that had reading of Bob Dylan’s “It’s All Over Now, Baby Blue”. Participating in the concert were Herbie Hancock, both the longest title and broke the mold of pithiness The energy rose progressively with the telling narrative , , established earlier, going on and on for over 20 minutes of “The Coal Train”, ending with a minutes-long and Justin Kauflin, the film’s other star. until it seemed formless. Only three tunes played were extended standing ovation, after which the audience from the album so Jagged Spheres will continue to stood up dancing for the obligatory “Grazing in the Submit news to [email protected] fight for a dwindling human race. (AH) Grass” and the moving encore “Mandela”. (RM)

THE NEW YORK CITY JAZZ RECORD | MAY 2014 5 INTERVIEW

floating and I was ready.

TNYCJR: How did Sun Ra view the lofts? Did he observe what musicians were doing in New York, or Ahmed was he separate from it? And if it was separate, did you find it difficult to navigate those two areas?

AA: He certainly was aware of it and he always kept his antennae up and I kept him informed about what was happening in the lofts. He didn’t like the fact that I went Abdullah to Europe with Sam Rivers. I got fired because of that. TNYCJR: You came back a few years later. (CONTINUED ON PAGE 46) A l a n N h i g

P h o t b y by Clifford Allen smalls jazz club Trumpeter Ahmed Abdullah is a localizing force in the Musicians’ Festival and the lofts sprung out of that. I broad swath of improvised music that we call jazz in New don’t know that there was a thought as to creating a York. Born in Harlem on May 10th, 1947, Abdullah emerged model of community control and involvement. This is as a formidable leader and collaborator during the ‘70s loft a lot different. movement, playing with saxophonist , bassist William Parker, violinist Billy Bang and vibraphonist TNYCJR: With your own work in the past year or so it Jay Hoggard, as well as working frequently with the Sun Ra seems like you’re reinvestigating a lot of your earlier Arkestra from 1975 until the composer-arranger’s death. music, at least through fielding releases like the An educator in the New York public schools, Abdullah also Melodic Art-Tet and The Group. Are you in a reflective teaches at The New School, programs music at Sistas’ Place place, or is it just happenstance? and leads the ensemble Diaspora. 183 west 10th street AA: I’ve had The Group’s recording in a shoebox for 25 greenwich village, The New York City Jazz Record: Could you talk a bit years and it probably is a reflective thing because I was new york city 10014 about the educational aspect of your work? thinking how all these guys were leaving us. [Bassist] first, then [bassist] and [violinist] www.smallsjazzclub.com Ahmed Abdullah: That is something that I kind of just Billy Bang, [alto saxophonist] Marion Brown and it slipped into from 1980 on. I started working with was kind of odd that only [drummer] Andrew Cyrille sign up for our FREE live video Mickey Davidson, a dancer, and actually I replaced and I are left here. I happened to be listening to the Oliver Lake in a program that she does in the schools music when Danas [Mikailionis, of NoBusiness called Young Audiences New York. It is a partial Records] contacted me about the Melodic Art-Tet, history of the music and dance; we would do lecture because he had the recording and he offhandedly demonstrations and we’d go from the early Swing, asked whether I had anything else. He picked up on James Reese Europe and ragtime up to the ‘50s. We The Group and loved it. would do residencies, go in the schools and I went from that to working with a number of different TNYCJR: I know loosely how the Melodic Art-Tet organizations - Lincoln Center, - and it came together, but how did you get into the fold? was the Carnegie Hall Link Up program that really got me over to PS 3 in Brooklyn. I was doing a residency in AA: I met Charles Brackeen at a rehearsal for the 1999 for three years here in Bed-Stuy and then Carnegie Collective Black Artists and we bonded immediately. Hall phased out the program and I wound up becoming He came to the meeting and was on a mission to find independent. I went back to school to get my education someone to play his music and he got [bassist] Hakim degree and the people at the school knew me and they Jami and I into a group to perform it. Charles and I had a whole caseload of instruments that they couldn’t lived very close to one another in , so our find a music teacher to teach. So here I am. relationship was solid and he was close with [percussionist] Roger Blank and Roger was close with TNYCJR: As far as the education element of your work, [bassist] from Sun Ra’s Arkestra, so how does it fit in with the community development and that became the unit. work you encountered in the ‘70s in the loft scene? TNYCJR: What was your role in the lofts? Did you AA: I think that it is more direct. In the ‘70s, we were book concerts at any of the venues? like fish out of water in a sense because we were doing work on the Lower East Side. We weren’t necessarily AA: I was a self-producing artist and the information interested in the community; we were artists who that I garnered from that has served me well since performed in that area mainly because it was then, especially booking at Sistas’ Place. At a place like somewhere we could perform. It had the most [’s] The Brook, for instance, they didn’t reasonable rents but I don’t know if besides performing have any grants, unlike Studio Rivbea. Even [Rashied] there was the kind of community development that I’m Ali’s Alley, it wasn’t a guaranteed salary - you had to involved with now at PS 3. I’m working around the work and develop an audience and you had to produce corner at Sistas’ Place and I feel much more intrinsic your own concerts. You had to know something about here in this environment. I’ve been working with the marketing and the business of music in order to get Central Brooklyn Jazz Consortium from its inception, your product out there. And it was Ali’s Alley that got so there are a number of venues around Brooklyn the attention of About Time Records, because I played where I know people who are involved at a high level. there and wrote a wonderful review in It’s very different - this is much more like the ideal, and that’s what got the label more what the goal probably was without us salivating about the possibility of recording me. I’d articulating it in the ‘70s. We came together with the just come back from playing with [saxophonist] Sam loft movement more in a reactionary manner than as a Rivers at Nancy Jazz Pulsations in France and that proactive thing. We were reacting to George Wein’s came about through the loft recordings. That was my coming to New York and we created the New York first European concert on my own. I was...my head was

6 MAY 2014 | THE NEW YORK CITY JAZZ RECORD ARTIST FEATURE

For more information, visit gregward.com. Ward is at The Jazz Gallery May 16th-17th. See Calendar.

Recommended Listening: Greg • Karl E.H. Seigfried - Portrait of Jack Johnson (Imaginary Chicago, c. 2006) • Mike Reed’s Loose Assembly - The Speed of Change (482 Music, 2007) • Greg Ward - South Side Story (19/8, 2008) • Greg Ward’s Phonic Juggernaut - Eponymous Ward (Thirsty Ear, 2011) • Mike Reed’s People, Places & Things - Second Cities: Volume 1 (482 Music, 2012) • Jason Roebke Octet - High Red Center (Delmark, 2013)

P h o t b y D n G e s u g by Ken Waxman

Back in the heyday of Vaudeville, answering yes to the heard of Roscoe Mitchell but Vincent gave me videos question “Will it play in Peoria?” meant that if an act of their sets and taught me how this approach to could impress the audience in that small town, improvisation could be learned and applied to the it was good enough to work nationwide. Ironically music that we were making. At first I had no idea what enough, alto saxophonist Greg Ward embodies that Mitchell was doing. I said, ‘What was that’? But after a maxim. Before maturing in Chicago and moving to while I learned that there’s no right way to play. That’s New York, Ward, 31, spent his teenage years playing often the hardest lesson a young person has to face every gig he could in his hometown of Peoria. because initially you’re most concerned with mastering This month at The Jazz Gallery, Ward’s septet will your craft.” premiere his series of compositions honoring the 70th In Chicago Ward regularly worked in drummer birthday of Preston Jackson, one of his longtime Hamid Drake’s Bindu, multi-reed player Ernest mentors. Jackson, who is Professor Emeritus of Dawkins’ larger bands and, after meeting Mike Reed at sculpture at the Art Institute of Chicago, as well as a the Velvet Lounge, as a member of the drummer’s many semi-professional guitarist, first played with Ward projects for more than a decade. Ward even recorded when the latter was 14. That was three years after Ward with Mitchell on CDs by Reed, flutist Nicole Mitchell had made up his mind to become a musician, despite and trumpeter Rob Mazurek. Ward’s move east came in JSnycjr0514 4/16/14 4:38 PM Page 1 family pressure to become a doctor. That too was 2009. He was all ready to buy a Chicago apartment ironic, since both his father and uncle were professional when the financing fell through. “I took that as a sign,” gospel musicians and Ward had been singing gospel he says. Not that NYC was that welcoming, he reveals. music as a three-year-old and studying violin from the “When I first got here I was so nervous. But it was the age of nine. By the fifth grade he began playing alto best decision I ever made. The only way to be involved saxophone using his father’s old Conn. in New York music is to be here.” The deciding factor was when he saw the film Bird He hasn’t cut his ties with Chicago, however. He’s “Best Jazz Venue of the Year” NYC JAZZ RECORD#“Best Jazz Club” NY MAGAZINE+CITYSEARCH THU-SUN MAY 1-4 and first heard play. “That was it,” he still a member of three of Reed’s projects: Living by CLAYTON BROTHERS QUINTET recalls. “I knew what I was going to do for the rest of Lanterns, Loose Assembly and People, Places & Things. - JEFF CLAYTON - GERALD CLAYTON - - OBED CALVAIRE my life and by the time I was 16 I could play every “Mike’s bands aren’t local Chicago bands,” he explains. TUE-SUN MAY 6-11 night in , rock or jazz groups.” Despite their “So we’ll get together in Chicago to rehearse, maybe FRED HERSCH DUO earlier opposition, his parents were supportive, even play one gig and then go on tour.” Besides that, Ward HINVITATION SERIESH FRED HERSCH WITH letting him regularly take the bus to nearby Chicago plays in the Illinois city with other bands, including TUE MAY 6 THU MAY 8 (“$15 each way,” he remembers) for jam sessions led by the funky Deep Blue Organ Trio. “I love to play in KATE McGARRY WED MAY 7 FRI-SAT MAY 9-10 two legendary tenor saxophonists: The New Apartment groups like that,” he confesses. “It’s good to be COHEN Lounge overseen by and Fred Anderson’s connected with blues and swing.” SUN MAY 11 Velvet Lounge. By the time Ward was 20, Anderson, Being a New York musician is “a balancing act”, he JOHN ABERCROMBIE with whom he had developed a friendship over a admits. Although he has recorded two CDs as leader, TUE-SUN MAY 13-18 shared love of Charlie Parker, asked him to lead the Ward only plays local clubs a couple of times a year. THE PROJECT Velvet’s weekly jam sessions. Not only was Ward Besides playing, he also produces pop, classical, R&B DIRECTED BY RYAN TRUESDELL TUE-THU MAY 13-15 studying music full time at Northern Illinois University and electronica sessions and composes soundtracks. MUSIC FOR CLAUDE THORNHILL (NIU) in DeKalb - he graduated in 2004 - but he was Another affiliation with cinema is his marriage to FRI-SUN MAY 16-18 MUSIC FROM also traveling the 60 miles to Chicago many times a filmmaker Diana Quiñones Rivera; a documentary on NEW BOTTLE OLD WINE & THE INDIVIDUALISM OF GIL EVANS week. “That’s something I miss about Chicago,” he Jackson she made will be shown as part of this month’s TUE MAY 20 states, “the opportunity to play 10 gigs a week and all concerts at The Jazz Gallery. STEVEN KROON SEXTET kinds: jazz, African, Latin, R&B, rock.” The soundtrack plus other pieces honoring Jackson CRAIG RIVERS - IGOR ATALITA - BRYAN CARROTT - RUBEN RODRIGUEZ - DIEGO LOPEZ WED MAY 21 At NIU students wanted original music to play will be played by a band consisting of tenor saxophonist DAYNA STEPHENS QUINTET and Ward was encouraged by music professor and Chad Lefkowitz-Brown, pianist John Escreet, guitarist CHARLES ALTURA - AARON PARKS - JOE SANDERS - JUSTIN BROWN trombonist Joey Sellers to write for various sized Dave Miller, bassist Zack Lober, drummer Kenneth THU-SUN MAY 22-25 AFRICAN ensembles. Ward says that the most challenging project Salters and vocalist Brianna Thomas, who Ward ’S RHYTHMS he ever was involved in was composing a 40-minute proudly points out is also from Peoria. “Words for - - NEIL CLARK - LEWIS NASH QUINTET MON MAY 26 CLOSED FOR MEMORIAL DAY score for the Peoria Ballet, which premiered in 2008. some of the pieces come from a combination of TUE-WED MAY 27-28 Preston’s own writings, the film’s interview material FEATURING DEE DEE Jackson was involved there as well as set designer. THEO CROKER’S DVRK FUNK BRIDGEWATER When Jackson sat in with Ward’s band many years and lyrics that Brianna and I came up with,” Ward IRWIN HALL - SETH JOHNSON - SULLIVAN FORTNER ERIC WHEELER - KASSA OVERALL - JEROME JENNINGS ago, almost the first thing he said admiringly was: explains. Meanwhile, Ward leads two working groups, THU-SUN MAY 29-JUNE 1 “Damn, boy! You been studying with Jesus!” Ward a trio with bassist Joe Sanders and drummer Damion TRIO recalls. “He encouraged me to make up music with Reid, which recorded his debut, Phonic Juggernaut, and BURNISS TRAVIS - JUSTIN FAULKNER him on the spot simply by demanding that I play with a quartet with Miller, Lober and drummer Tomas HHHMINGUS MONDAYSHMINGUS MONDAYSHHH MON MAY 5, 12 & 19 him as he played. Before that I was only accustomed to Fujiwara. MINGUS playing tunes and improvising over forms.” That One assertion he’s certainly proven though is that #JAZZFORKIDSWITHTHEJAZZSTANDARDYOUTHORCHESTRASEASON FINALE MAY 18 [RETURNING IN OCTOBER] -DIRECTEDBYDAVIDO’ROURKE# freedom expanded later during many Chicago jobs what played in Peoria is certainly of high enough with drummer Vincent Davis, a longtime associate of quality to play in The Windy City and The Big Apple, multi-instrumentalist Roscoe Mitchell. “I had never or any other major metropolis for that matter. v

THE NEW YORK CITY JAZZ RECORD | MAY 2014 7 Fimav_NYCJR_Print.pdf 1 2014-03-30 15:55

15 to 18 May 2014

MEREDITH MONK with KATIE GEISSINGER THE RATCHET ORCHESTRA with « Sun Ra @ 100 » AVA MENDOZA « Unnatural Ways » SARAH NEUFELD COLIN STETSON GGRIL GROS MENÉ / RENÉ LUSSIER JERUSALEM IN MY HEART RICHARD PINHAS / KEIJI HAINO MERZBOW / TATSUYA YOSHIDA A HISTORICAL EDITION! UFOMAMMUT

FRANÇOIS CARRIER Join us for 4 days of concerts MICHEL LAMBERT sound art installations and visual arts / EVAN PARKER Full program at www.fimav.qc.ca PIERRE LABBÉ / MICHEL FAUBERT « parlures et parjures » GORDON GRDINA « Haram » ASTMA KEN VANDERMARK « Audio One » KEIJI HAINO / OREN AMBARCHI STEPHEN O'MALLEY « Nazoranai » EVAN PARKER « ElectroAcoustic Septet »

MEREDITH MONK FRED FRITH / EVAN PARKER MAJA RATKJE SOLO DUCHESS SAYS FRED FRITH « The Gravity Band »

KEIJI HAINO MAJA RATKJE ON THE COVER THE

O W N M U S I C . E T THING WHAT IS THIS LOVE CALLED THING by Kurt Gottschalk P e t r G a n u s h k i / D O W N T

What is this Thing from Scandinavia? It’s a fair Whatever trio line up it is, be it piano/sax/drums, the trio’s been good at understanding what works and question. It seems like some kind of unstoppable thing, sax/bass/drums or piano/bass/drums, the three doesn’t and moving on to new territories, continuously something ready for anything. It seems to refuse lines complement each other as if there’s no need of a fourth pushing boundaries, leaving things behind. But all you between out and groove. It took its name from a instrument. Also, the effect of not playing is quite do, all you have done, will always leave traces through composition by legendary trumpeter and significant and one easily forgets the effect of that, the experience, so one can’t tell if it’s gone or not.” multikulturalist Don Cherry and with his step- laying out. If you haven’t got anything to say, you’re Håker Flaten concurred. “Yes, always!” he said. “A daughter made a record of abstractly funky covers of contributing in a greater way than just ‘comping’.” three-person democracy can be intense at times but songs by protopunk bands The Stooges and Suicide Håker Flaten stated, “The sax trio format is mostly we’re just trying to figure out how to make as and abstract hip-hoppers MF Doom and Tricky as well important and it would be ignorant to reject the good music as possible together! And we still enjoy as daddy Don and his old boss . But influences of all the great trios and incredible players each other’s company after all these years, which is the trio has also worked with such jazz and improv that’s been part of it and shaping this format. But this pretty remarkable. There is definitely a brotherhood.” giants as Barry Guy, Toshinori Kondo, Joe McPhee and said, the sax trio is not necessarily important for The Gustafsson, on the other hand, responded, “No, it is a Ken Vandermark and restless experimenters Thurston Thing as a group. We didn’t form The Thing because perfect beast.” Moore, Jim O’Rourke and Otomo Yoshihide. Over the we wanted to start another sax trio! Both Mats and Perhaps, then, the question that should be asked is last 14 years, saxophonist Mats Gustafsson, bassist Paal are total masters of stretching the traditional ideas what could be added, or what is left undone for them? Ingebrigt Håker Flaten and drummer Paal Nilssen- and uses of their instruments and I believe we formed Nilssen-Love points out that they’ve yet to cover The Love have also crafted an identity for their trio in its based on a common idea that we’re not interested in Troggs’ classic “Wild Thing”, something that doesn’t own right and have released a half-dozen albums on trying to recreate what’s already been done while seem too far removed from their covers of wide-ranging their own, forging an exciting group aesthetic. gladly referring to it with use of different cover acts such as The Ex, PJ Harvey, Lightning Bolt, The More than exciting, in fact. Exhilarating. material and styles of improvisations as a springboard Sonics, The White Stripes, The Yeah Yeah Yeahs as well Exhilarating enough to lead us to want to ask, what for our music. In my definition that’s free music. It’s as jazz icons Albert Ayler, , Duke Ellington makes that Thing so good? What is The Thing? Is it the extremely liberating to play for people who don’t and James Blood Ulmer. Nilssen-Love further added, greatest sax trio since Sonny Rollins started strolling? know shit about the jazz history and just listen to “We definitely have to make a trip to Ethiopia with the Or is it the hottest backup band this side of the M.G.’s? music. For them the importance of the sax trio format trio. People will be quite shocked if they saw Ingebrigt What is this love called “Thing”? In hopes of is likely as important as the Swedish king!” Gustafsson, and what he does to the double bass. I think the trio uncovering an answer, a set of questions was separately on the other hand, said simply “I never consider us as would learn quite a bit too.” Gustafsson stated that The put to each member of the group, in an effort to come a sax trio. We are a trio. End of story. The Thing is The Thing is the future and if he knew what the future held up with objective data and, we hope, a conclusive and Thing. It will never become a sax trio.” he “would start a newspaper.” unbiased answer. The desire expressed by Håker Flaten to play to Asking a more basic question might help arrive at Addressing the question of whether the band is people for whom the sax trio and the King of Sweden the nature of the group. Like, for example, is The Thing best classified as a backing band or a stand-alone are unimportant was likely met with the 2011 recording a jazz band? Håker Flaten points out that they also project, Gustafsson said, “Having guests is a necessity The Cherry Thing, alluded to above and created in play “Scandinavian creative power-hit parades”. for The Thing...in order to change what we do with The collaboration with a Swedish-born singing star of the Nilssen-Love mused “World music? Garage jazz? Thing. A creative way to do this is to invite guests. But ‘80s. “Playing with Neneh was a trip!” he said. “I Bizarro Jazz? It could be called anything,” but that it needs to be guests that kick our minds and asses. It believe we broke new musical ground. The recording ultimately “The Thing plays The Thing music!” For his needs to be a challenge.” Håker Flaten further of the album was a total split-effort between all of us in part, Gustafsson stated, “I [we] play music.” suggested, “The trio has worked out its own sound the studio and the music was incredibly intense when So what, then, is this love called “Thing”? and approach to improvisation after many years of performed live. Working with a singer like that was Gustafsson says, “It is all clear. Crystal clear. Who can working together. We read each other very well but something we as a trio never have done before and I ‘understand’? Is it necessary to ‘understand’? Do I still manage to surprise each other. We’ve definitely would love to do it again! ‘understand’? Music, literature and art are mysteries. become a strong unit as a trio and we like to play as “The Thing started out at a recording session of Let’s keep it like that. Everyone makes up their own often as we can as the trio. The Thing with guests Don Cherry’s music, so obviously his music has been truths about things and thangs. With music and art pushes both us and, hopefully, the guests into new very important for the group,” he added. “His music you can show the doors, but the doors need to be territories and gives us inspiration we can draw from also has been a key inspiration for me - as well I’m sure opened by the individual.” within the trio as well. Depending on which guests we for all of us - since we started dealing with jazz and Such is love, whatever that Thing is. v get to work with, we get to explore quite different improvised music many years ago and all the way to modes of operation and I think it shows how dynamic where we are today.” Regarding that first project, which For more information, visit thethingjazz.com. The Thing is we can be. Working with Ken Vandermark obviously came about in 2000 at an invitation from Gustafsson to at Knockdown Center May 16th as part of the Red Bull brings out something quite different than when we’re do a concert and recording of Cherry’s music, Nilssen- Music Academy Festival. See Calendar. working with Neneh Cherry or Toshinori Kondo. Both Love said the influence was felt at the beginning and sides are important to us and feed from each other.” remains. “It kind of shaped the trio. Still, I think we Recommended Listening: But, of course, that is only half of what they do. As managed to give his pieces our own sound. Don Cherry • The Thing - Now and Forever (Crazy Wisdom- far as the history of the sax trio goes, as well as their was very important for the Swedish scene I think and Smalltown Superjazzz, 2000-01, 2005) place within it, Nilssen-Love commented that, “It’s vice versa. When recording with Neneh Cherry we kind • The Thing - Garage (Smalltown Superjazzz, 2004) played an important role for jazz music, that’s for sure, of ended a circle and it was a natural thing to do.” • The Thing (with Ken Vandermark) - being the first chord-less lineup in jazz. For me Maybe a working definition of the components of Immediate Sound (Smalltown Superjazzz, 2007) personally, it gives a certain kind of freedom. You don’t The Thing could be arrived at by trying to separate the • The Thing - Bag It! (Smalltown Superjazzz, 2008) have a chord instrument that wraps together the music. elements from one another. Each of the members of the • The Thing (with Barry Guy)- Metal! The way piano players play when they’re not soloing, trio was asked if there was anything that could be (NoBusiness, 2011) they wouldn’t be playing most of the time. But for me eliminated from the group. “If there was, I hope we • Neneh Cherry & The Thing - The Cherry Thing the actual trio lineup is the most interesting thing. managed to eliminate it,” Nilssen-Love said. “I think (Smalltown Supersound, 2011)

THE NEW YORK CITY JAZZ RECORD | MAY 2014 9 ENCORE

band. Finishing his Army service in 1954, he joined up a combination of Bird and .” Lennie Niehaus with Kenton again. “This time, Kenton was looking to Nearing his 85th birthday, Niehaus is still writing replace Lee Konitz,” Niehaus quips. He stayed for five and arranging for big bands, concert bands and high by Marcia Hillman years before he decided to get off of the grinding school bands, published by several firms. He wrote a routine of being on the road. Besides, the call to write series of books called Jazz Conceptions in the ‘60s, which Lennie Niehaus knew was getting stronger than the need to play. he says are “still selling after 50 years.” Although he his musical calling at an Back in , with his wife and young does not actively perform, he still keeps the instrument early age. Born in St. child, Niehaus was able to get arranging jobs and still out on his saxophone stand. “I’ll pick it up and play a Louis, Missouri on Jun. perform in the growing scene. Even couple of tunes every now and then. I have to keep my 1st, 1929 into a musical though he was well established as a jazz alto player fingers and my lips in condition,” he chuckles. v family, he started violin and jazz writer, he began to downplay that aspect and at age seven. It was little by little gained recognition as a writer for film Recommended Listening: about then that talkies were in, so his father (a violinist and television. His association with composer Jerry • Lennie Niehaus - Vol. 1: The Quintets (OJC) and concertmaster with an orchestra that played Fielding was a major breakthrough, which led to (Contemporary, 1954) accompaniment for silent movies) moved the family to credits on TV projects such as Amazing Stories, the TV • Lennie Niehaus - Vol. 2/3: The Octet - Zounds!/#2 Los Angeles where there were lots of opportunities in version of Titanic and his score for the Showtime TV (OJC) (Contemporary, 1954-55) studio orchestras. In high school, Niehaus went on to film Lush Life, which won him an Emmy in 1993. • Lennie Niehaus - Vol. 4: The Quintets & Strings (OJC) learn and before finally settling on alto And then there is the long string of - (Contemporary, 1955) saxophone and at 13. His interest in jazz came produced or directed films with which Niehaus was • Lennie Niehaus - Vol. 5: The Sextet (OJC) from listening to the big bands and at first he wanted involved. Niehaus first met Eastwood while they were (Contemporary, 1956) to play tenor sax. When he had saved enough money, both serving in the Army. “Clint was tending bar in the • - (Capitol-EMI, 1958) Niehaus went to a music store to buy a tenor. When he NCO club and we got to talking to each other - mostly • Lennie Niehaus - Patterns (Fresh Sound, 1989) asked the price, he recalls, “The man said it was $125. about jazz,” he recalls. Their first professional So I asked the price of the alto saxophone that was collaboration was when Niehaus did the score for the there too and it was $75. So I bought it and became an 1984 film City Heat, which starred Eastwood. He WEDNESDAY, MAY 14, 8 PM alto player.” In high school, Niehaus had a band and continued his scoring and/or musical directing work Kettle Collective Presents was already writing charts when bandleader Phil with Eastwood through 2002’s Blood Work, including Carreon heard him play and asked him to be in his such movies as , , The Bridges of JAY CLAYTON “DIFFERENT VOICES” band. “So, in my spare time, I became a lead alto player Madison County and Midnight In The Garden of Good and Amanda Bloom in his band and was also writing charts.” Evil, among others. His jazz background shows up in Maryanne de Prophetis Niehaus went on to study music at Los Angeles the scores that call for it but he is able to write in other Carol Flamm Alexis Parsons City College. “My goal was to take every music course styles as well. “I have tried to blend my classical Cheryl Richards in college,” he states. After graduation, the opportunity training with my playing,” he explains. The one Kendra Shank to join the Stan Kenton band came his way. “Kenton film that he worked on, though, which was purely Judi Silvano Andrea Wolper was looking for someone to replace . A jazz-oriented was Bird. Acting as Musical Director, he trumpet player friend of mine referred me to Kenton’s teamed up with a group of engineers to accomplish An A Cappella Vocal Improvisation manager and I went to the Florentine Gardens to what was, at that time, a technological marvel. Going Ensemble which performs audition. Kenton asked me to play the lead alto part in back to the original monaural tracks recorded by Jay’s compositions as well as works by other new jazz/ ‘Deep Purple’ and that was it. When I went with the Charlie Parker, they managed to isolate a group of new music . band, I shared the alto parts with .” In Parker solos by filtering out all of the other instruments Janis Wilkins 1952, graduated from college and touring with Kenton, and then insert them into tracks with musicians such Niehaus became eligible for the draft, so after five or as and . “This was a labor IBEAM BROOKLYN six months with the band, he was drafted into the of love for me,” Niehaus asserts. “The first time I heard 168 7th Street, Brooklyn, NY / 917-428-4575 Army where he wound up playing oboe in the military Bird on the radio, I said ‘Wow!’ I always wanted to be ibeambrooklyn.com / kettlecollective.org

LEST WE FORGET

Pittsburgh, where she played with former Kirk Piano Jazz, the latter two issued commercially. Her duo Mary Lou Williams (1910-81) trumpeter Harold “Shorty” Baker, to whom she was piano concert with avant garde pianist briefly married. They relocated to New York City, (Embraced) was a misfire due to Taylor’s insistence on by Ken Dryden where Williams led a trio and a group with Baker at playing avant garde throughout her envisioned two- Café Society Downtown. piano history of jazz. Mary Lou Williams made immense contributions as a After Baker joined Duke Ellington, Williams was Her triumphant solo concert at Montreux in 1978 pianist, composer, arranger and teacher. The commissioned to write for the has been issued as an LP, CD and DVD while a number native was born in 1910 as Mary Scruggs and raised in bandleader, including “Trumpet No End”, her of unissued recordings (Mary Lou Williams at Rick’s Pittsburgh. A self-taught pianist, she was playing reworking of Irving Berlin’s “Blue Skies”. Her interest Café Américain, Live at the Keystone Korner and A Grand organ by ear at age three in her mother’s lap and made in the growing bop movement of the ‘40s led to jam Night For Swinging) and reissues have appeared as her professional debut at 11. Before the age of 20, she sessions in her Harlem home, where young artists like well. For the last few years of her life Williams was had sat in with Duke Ellington’s Washingtonians and , Bud Powell, Tadd Dameron and artist-in-residence at Duke University, until McKinney’s Cotton Pickers. would jam after their club dates. In succumbing to cancer in 1981. v Williams married saxophonist in 1945, Williams composed her ambitious Zodiac Suite, 1927, then followed him to Memphis, where they which she recorded with her trio and performed with A Mary Lou Williams tribute is at Dizzy’s Club May 13th. formed a group. He left her to join ’s Twelve an orchestra at Carnegie Hall. See Calendar. Clouds of Joy in Oklahoma City; she followed after In 1952, Williams left for Europe, where she would finishing their remaining bookings. When Kirk’s group work and record for the next two years before quitting Recommended Listening: began a long engagement in Kansas City, Williams was jazz and returning to New York City. She became • Andy Kirk & Mary Lou Williams - guesting with them and contributing originals and Roman Catholic and opened up a charitable thrift Mary’s Idea (Decca-GRP, 1936-41) arrangements, including “Froggy Bottom” and “Mary’s shop. She revived her career when Gillespie convinced • Mary Lou Williams - 1944-1945 (Classics, 1944-45) Idea”. Williams blossomed in the lively Kansas City her to play with him at the 1957 . • Mary Lou Williams - Signs of the Zodiac (Zodiac Suite) jazz scene of the ‘30s and developed into a formidable Williams gained prominence in her later years (Asch-Smithsonian Folkways, 1945) pianist and in-demand composer/arranger. She also with a flurry of recordings for Pablo and the launch of • Mary Lou Williams - Live at the Cookery began recording some solo sides and wrote music for her own Mary Records. She played her striking (Chiaroscuro, 1975) other bandleaders, including “Roll ‘Em” for Benny “History of Jazz” medley at the 1978 White House Jazz • Mary Lou Williams - Live at the Keystone Korner Goodman and “What’s Your Story, Morning Glory” for Festival, took part in Benny Goodman’s Carnegie Hall (HighNote, 1977) . 40th anniversary concert and was the first guest • Mary Lou Williams - Solo Recital: Montreux Jazz She divorced her husband in 1942 and returned to featured on the new NPR series Marian McPartland’s Festival 1978 (OJC) (Pablo, 1978)

10 MAY 2014 | THE NEW YORK CITY JAZZ RECORD MEGAPHONE

young people - this is serious business!) However, analogy that I still use to this day. Imagine, if you will, Education, Enrichment, these events, while motivating and part of our national a high school American Literature teacher, prepping mindset, may also be limiting the scope and depth of the literature for the year. This teacher, well-intentioned and Ellington their educational value. In jazz education, it may have and trained by a university, looks at the great writers been even more so. of our country - Faulkner, Hemingway, Ellison - and by Todd Stoll In the late ‘80s, as a young music teacher, I read in says “Wow, these books seem nice, but I don’t know my IAJE (International Association for Jazz Education much about these writers and, honestly, I really want For more than two decades, , - RIP) Journal a list of the top ten most influential big the kids to have fun.” Said teacher then assigns comic through its Essentially Ellington program, has band compositions and arrangements. Wow, I thought, books to his class - Spiderman, Batman, Superman - all distributed more than 150,000 Duke Ellington scores to I’ll go out and buy these and have my kids play them... with good intentions. After all, kids are reading, having thousands of schools. These scores have been played they’re the ‘best’ and we should do this. a good time, engaged with words on a page. How long by more than 500,000 high school students across all 50 I headed down to the local music store (which just does one imagine that teacher might keep their job? United States, Canada and American schools abroad. happened to be one of the largest brick and mortar I understand that my analogy may be a bit extreme, Why would an institution get in the business of sheet music stores in the US), plunked down my school but that is the situation many times in our nation’s jazz publishing little-known artifacts of a by-gone era and purchase order and said, “Hey, I’d like to buy these.” bands. With no disrespect to the hard-working music for almost zero financial gain? Now, if memory serves me right, on this list were five teachers in schools all over our country, we need, we A little history. I was a child of the ‘70s, played Ellington compositions (I distinctly remember “KoKo” have to do a better job. We should ‘teach like our trumpet in the school band and was attracted to any and “Cottontail”), some tunes and a few students’ lives depend on it’ - their cultural lives at type of music that featured horns: rock, R&B, funk and others that escape me now. The salesperson started least. We should understand that the content of our jazz and orchestral music. I started playing in my typing into his computer, looked at me and said, “Well, literature is just as important as the technique. Our junior high jazz band and played through high school you know none of those are available.” What?! I was classes and rehearsals need to reflect the best of and into college. My major was in music and I attended completely taken aback. Come on, check again, you American intent. It needs to carry the weight of the a major conservatory as a graduate student. At 23 years must be kidding me...? But, I was turned away. At that culture that created it and challenge young people to old, I had played in jazz bands for half of my life - time my school band was playing a fairly typical rise up to it, not us reaching down to them. literally 12 years - but had not played a single note of mixture of different pieces. I distinctly remember the That is why. v Duke Ellington’s music? Really? Arguably one of our programming. It was a bit random, consisting of two country’s greatest composers and certainly one of our or three original swing tunes, a Latin/rock tune, a rock For more information, visit academy.jalc.org/ee. The 2014 most prolific, Duke Ellington toured and composed for ballad and two funk tunes. Not a single composition Essentially Ellington Competition is at Rose Hall May the better part of 50 years, producing one of the richest was a work by a prominent jazz composer and it was 8th-10th. See Calendar. (and largest) bodies of work seen in the totality of ‘fun’. By ‘fun’ I mean, fun for the kids. They seemed to Western culture. How did ‘we’ miss this? How was it enjoy coming to rehearsal/class, playing the music and Todd Stoll has been a leading advocate in jazz education for possible? Imagine young violinists, serious students of appeared to be engaged in what I was teaching. more than 25 years. He has taught music at the elementary, European , without contact with Now that word ‘fun’ is interesting and popped up secondary and collegiate levels and most recently served as Mozart? Or Haydn? Or Beethoven? in discussions with my colleagues, my friends at the Music Curriculum Supervisor for Westerville City Schools, In American instrumental music education, little music store and with the kids themselves. Jazz band Westerville, Ohio. Stoll is a past President of the Ohio effort, many times, is given to teach beyond the strict was something ‘fun’. Not serious like our concert band International Association of Jazz Educators, served as the confines of a given year’s performances. Contests, or, in many cases, marching band (which was geared Ohio Music Education Association Jazz Events Coordinator festivals, concerts are public displays of the quality of towards competitions). I started thinking about what I and founder and leader of the nationally recognized a school’s band program. There are standards for was actually teaching, what lessons the music was Columbus Youth Jazz Orchestra. On the business side he performance, ratings with concise rubrics and events teaching, who created it, how the literature itself has worked as the orchestra contractor for Broadway Across in which these ideas move from the theoretical to perhaps carried the cultural DNA of our country. America, booking agent for various jazz festivals and actual. (If you have never sat with a group of teenagers Interestingly enough, a close friend, who taught promoter for a series of independent jazz concerts. Stoll awaiting their band’s rating at an adjudicated event, it English, was also a jazz aficionado. In one of our many currently serves as the Vice President of Education at Jazz is a rare glimpse into the seriousness of our nation’s late-night debates about this exact topic, he gave me an at Lincoln Center.

VOXNEWS

relatively unsung great in the voice/horn lineage, edge vocalists are related to brass. Swiss-born You Bet Your Brass preserved in priceless archival film clips and several experimental jazz vocalist and beat boxer Andreas recordings. Of course jazz fans know trumpet player Schaerer also calls himself a “human trumpet”. On the by Katie Bull Chet Baker’s voice well, a mirror of the smooth clean latest release of his band Hildegard Lernt Fliegen, The lines he played on his horn. Spring ahead to today and Fundamental Rhythm of Unpolished Brains (Enja/ set the bar for all horn players who hear how these artists were springboards. Yellowbird), Schaerer takes listeners on a playfully sing. The 1961 musical The Real Ambassadors, by Dave Pete McGuinness, who credits Baker as his main fantastical sonic trip into subterranean mutterings of Brubeck, Iola Brubeck and Armstrong, featured as part influence, is a quadruple threat: he leads, arranges, the collective mind. (Let’s hope for an American tour of the Jazz at Lincoln Center Brubeck Festival last plays trombone and sings with his Jazz Orchestra on soon!). Likewise, Portuguese-born, Brooklyn-based month, was rendered with precision, heart and soul. In the new album Strength In Numbers (). Though vocalist Sara Serpa’s voice is often compared to a a particularly poignant moment, the live ensemble only three of ten tracks are vocals, McGuinness ‘sings’ trumpet. Serpa unites with her husband, guitarist went silent. A recording of Satchmo’s rich, rough and non-stop on this powerful celebration of big bands. Go André Matos and guests , Leo Genovese and earthy voice rose up. Hearing his recorded voice echo to brunch at the Blue Note for the release show of this Pete Rende, for Primavera (Inner Circle), their gentle inside the cavernous Appel Room was a moving contemporary great (May 25th). ode to spring. A refreshing song cycle of minimalistic reminder of other great horn-playing singers in history, Anyone who loves horns and singers should know motifs in syncopation, Latin roots and experimental including one of Armstrong’s favorites, trombone about young Canadian-born, New York-based trumpet sensibilities permeate the album; the release concert is player Jack Teagarden. In archival footage from a 1956 sensation Bria Skonberg, a DownBeat “Rising Star”. at Greenwich House Music School (May 22nd). televised duet, the two trade vocal phrases as if Skonberg’s new CD, Into Your Own (Random Act), goes It must be noted that although her voice is not completing each other’s thoughts. Another trombone in what she calls a “modern” direction of pop-edged compared to horns, nor does she play one (she plays playing singer was the brightly buzzy sounding Frank jazz originals and covers. The album boasts electronic guitar), Kendra Shank shapes lines like a horn player, Rosolino, also an Armstrong contemporary, known for trumpet effects and vocals are overdubbed in hip breaking apart lyrics in entrained exchanges with his unique lightning scat. Then there’s the trumpet harmonics on some tracks. Live, Skonberg will more guitarist John Stowell, her musical soulmate, on their playing singer and dancer Valaida Snow, dubbed by than hold her own (horn) at The Iridium (May 13th) new duo album, New York Conversations (TCB), weaving Armstrong as the “second best trumpet player in the and the New York Hot Jazz Festival at The Players acoustic voice and nuanced electronic overlays with world” (naming her “little Louis”). Vivacious and Club (May 18th). Jennifer Hartswick is another current bluesy plucking and chordal responses. The release daring, she was born in 1905 and in the ‘20s-30s was a trumpet-playing vocalist, composer and bandleader event at Roulette (May 4th) will feature guest blues innovator alongside the likes of Ethel Waters and not to be missed. She will bring her deeply resonant percussionist Rogério Boccato. Josephine Baker. Snow performed in the USA and and superbly funky blues to Perez Jazz (May 18th). Owing a debt to the first jazz horn players who Europe, a sensation in London and . Snow is a Though not literally trumpet players, two cutting sang, May’s vox highlights are sure bets. v

THE NEW YORK CITY JAZZ RECORD | MAY 2014 11 LABEL SPOTLIGHT

earliest listening but also includes some truly unusual London and managed to get him into a studio with Hep Jazz and wonderfully esoteric choices - players both much and Jay McShann [who just happened to be and little recorded but deserving of further hearings. A in town]. It was completely unrehearsed and mildly by Donald Elfman true gem of the Hep Metronome series is the two-disc chaotic but that was Slim.” collection of Octets by Alec Wilder. Wilder was The 1000 Series features rare live and/or broadcast Though it may seem that hep is a curiously dated something of a pioneer in attempts to fuse jazz and recordings by Shaw and Dorsey and Goodman but a word, Merriam-Webster defines it as “having or showing classical music. He wrote a few tunes that became number of others by , , Ivie knowledge about the newest things in music, fashion, standards - “I’ll Be Around” and “While We’re Young” Anderson with Duke Ellington, Chick Webb, Bennie etc.” Hep Records documents much music made many - but has remained relatively obscure. The Octets are Moten, Claude Hopkins, Django decades ago, but listening to these recordings, one brilliant, often lovely pieces that are melodically and Reinhardt and more, over 70 in all. In addition to the senses timelessness in their artistic qualities. The label harmonically memorable and often quirky. “I was names that most fans know, there are some lesser- was founded in 1974 by Scottish jazz aficionado always aware of his compositions and had a couple of known artists - except to serious listeners and collectors Alastair Robertson, who has made it his life’s work to his 78s in my youthful collection,” notes Robertson. “I - such as Teddy Powell, Isham Jones, Bob Zurke and document great music from the ‘30s to the present. have always been a sucker for slightly left-field Jack Jenney. Some special treats include a two-part “As a schoolboy in the ‘50s,” says Robertson, “I endeavor and empathize with semi-losers in the “Sounds of Harlem” Series from the ‘30s-early ‘40s listened to music on the Armed Forces Network and game.” himself was a fan of Wilder’s with such rare artists as Freddy Jenkins, Taft Jordan, the Voice of America. I just liked the big bands of Artie music and he’s here conducting six of these pieces. Eddie Durham, Nora Lee King and Pete Brown; Shaw, Tommy Dorsey, and, latterly, Then there’s Slim Gaillard. If anyone ever deserved collections of Benny Goodman playing music of Boyd Raeburn. I also later realized the importance of the word ‘hep’ - or ‘hip,’ or ‘original’ or ‘the grooviest’ Fletcher Henderson, Jimmy Mundy, Eddie Sauter and the great black creators, such as , Duke - it’s certainly this phenomenally entertaining guitarist, Mel Powell; and a beautiful pairing of Coleman Ellington and Fletcher Henderson. My formative singer and all-around cat. Robertson knows the pure Hawkins with Henry ‘Red’ Allen. musicians were the West Coast Americans - Shorty musical value of Gaillard and has managed to unearth The 2000 series of Hep Records brings us a little Rogers, Stan Kenton, Art Pepper and then the arrangers five terrific broadcast performances. And in the label’s further into the present but the accent is still on the like Gil Evans and Gary McFarland. I became quite a video series, there’s a performance of the late Gaillard underappreciated and brilliantly individual. There are collector and eventually connected with the very from 1982. That last one came about through, indirectly, fine recordings by saxophonists Don Lanphere and specialized guys who traded 16” transcriptions, AFRS Dizzy Gillespie. Says Robertson, “I had long regarded ; pianists Jessica Williams and Gene and V Discs, which became Hep Records in 1974 with Slim as one of jazz’ originals, After I’d released The DiNovi; and saxophonist, arranger and composer Herb the first issues of Boyd Raeburn broadcasts and the Legendary McVouty in the ‘70s, I suggested he think Geller who did five recordings, including one pairing Sam Donahue Navy Band. We diversified into actual about a UK tour and even set him up with an agent. … him with Charlie Mariano. live recordings in 1978.” What I didn’t know until later was that Dizzy had also One artist that Robertson feels strongly about is Hep is like aural witness to Robertson’s experiences persuaded him to think about the UK and Europe, so the late pianist Eddie Thompson, who attended the as a young listener. The Metronome Series reflects his in 1982 all the pieces came together. I met him in (CONTINUED ON PAGE 46)

You’ve Changed Up jumped you with love Swingin’ & Jumpin’ (Broadcasts 1937-39) Wher You At? - ‘41-’64 Music for Lost Souls and Wounded Birds Trio with Dill Jones Bunny Berigan David Allyn Alec Wilder The Octets

LISTEN UP!

Harmonica player YVONNICK PRENE was born in Dream Band: Herbie Hancock, and Teachers: Barry Harris, Kirk Nurock, Erez Barnoy, Paris, France in 1984. He moved to New York in 2007 Kurt Rosenwinkel‘s bands. I also dream of performing Arnie Lawrence, Amit Golan, Yuval Cohen, Jimmy after earning a MA from Sorbonne University and with a string orchestra. Owens, Dave Glasser and David Berger. continued his studies on scholarships at The New School, The City College of New York and Columbia Did you know? I have opened the first harmonica Influences: Charlie Parker, , , University. He has performed at the Iridium, Fat Cat, school in New York for beginners as well as advanced , , Dizzy Gillespie, Duke Cornelia Street Café and Sleep No More and has two players. For more information, visit Ellington, Count Basie, Tadd Dameron, Abu Hassan albums as a leader: Jour de Fête (SteepleChase Lookout) nyharmonicaschool.com. and Roni Henig. and Wonderful World (s/r). For more information, visit yvonnickprene.com. Prene is at Current Projects: I’ve recently extended my big band Teachers: Since I have been in New York I had the Tomi Jazz May 2nd, The Garage May 7th, Alor Café May to an Ellington-sized band and started writing for a chance to study with Lee Konitz, Peter Bernstein, 11th and The Flatiron Room May 20th. See Calendar. vocal trio in the Lambert, Hendricks & Ross fashion. Aaron Goldberg, John Patitucci, Charles Tolliver, Kevin We’re getting ready to record our next album in a few Hays, Charli Persip, Ben Street, Dave Glasser, Jerome weeks and our Kickstarter campaign is up and running. Sabbagh and other greats. By Day: Compose/arrange, practice, teach, organize Influences: Bud Powell, Charlie Parker, Sonny Rollins, the band, eat tahini and dates and drink black coffee. John Coltrane, , , Herbie Hancock, Toots Thielemans and also Kenny I knew I wanted to be a musician when... I switched from Garrett, Branford Marsalis, , Joshua violin to sax at 15. Music became the center of my life. Redman and , among others. Dream Band: I love my band and feel so lucky to collaborate Current Projects: The Yvonnick Prene Quartet. I also Yvonnick Prene Eyal Vilner with such musicians. It would have been nice to sit in with lead a band called Padam Swing. Duke, Basie and the Minton’s hang of the ‘40s. Born and raised in Tel-Aviv, Israel, saxophonist EYAL By Day: I teach diatonic and chromatic harmonica, VILNER moved to New York in 2007 to study at the Did you know? It’s not very unlikely to find me write music, practice and go to concerts. New School. He started his big band the following year cooking stuffed cabbage at 3 am. and has collaborated with jazz legends such as Frank I knew I wanted to be a musician when... It happened Wess, , Jimmy Owens and Junior Mance. For more information, visit eyalvilner.com. Vilner is at The naturally. My curiosity and love for music has grown The band has performed regularly at Smalls, Fat Cat Garage May 26th and Dizzy’s Club May 27th-31st. See constantly since I was a child. and The Garage, as well as Iridium and Dizzy’s Club. Calendar.

12 MAY 2014 | THE NEW YORK CITY JAZZ RECORD New from ARBORS RECORDS Great Jazz Lives On

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construct strikingly different works on Lacy’s patterns, , and Gerald’s playing shows advancement with the composer’s own pointillist approach to beyond his chronological age. The pianist contributed melody and rhythm taking on new dimension. The “Sunny Day Go”, a lyrical ballad blending elements of results are often sparse and moody, sometimes reduced Baroque and with jazz. To close, the duo to reed squeaks and brush strokes, with a sense of incorporates Dizzy Gillespie’s famous B-flat intro meaning and form as looming and not entirely welcome vamp created for his of Kern’s “All The presences. Further, Sinton adds elements from all kinds Things You Are”, though Gerald’s tantalizing, of other music: “The Wish” is driven along by a stripped-down solo takes many liberties. John makes a minimalist bass riff blasted on baritone with the delayed entrance, then takes center stage for an equally Play the Music of Beating The Teens concentrated force of the band Morphine; the adjoining inspired unaccompanied solo, Gerald returning for the , Vol. 2 Ideal Bread “Lesson” has bowed bass and cornet in baroque delicate finale, where the theme is finally revealed. The Whammies (Driff) (Cuneiform) costume; “Scraps” seems to insist on sources in European ambulance and police horns. When Ideal For more information, visit artistshare.com. The Claytons are by Stuart Broomer Bread decides to develop a groove, however, it has, at May 1st-4th. See Calendar. From the early years of his career, setting out in the given the heft of the baritone, a kind of power that mid ‘50s, Steve Lacy was an original, from his adoption seems un-Lacy like: “Paris Rip-Off” is solid, collectively of the to his position at the stylistic improvised freebop of the first order and “The Wane” limits of jazz, working with both bands and develops a kind of free R&B worthy of the Art Ensemble SHERYL BAILEY of Chicago or Charles Tyler. Cecil Taylor. He was also an advocate of focused New from Cellar Live: Upcoming dates: repertoire, investigating the more obscure aspects of While The Whammies embellish and enhance the Ellington canon and concentrating on the works of what was already clearly there in Lacy’s music, Ideal Saturday, May 3 The Deer Head Inn Thelonious Monk. He was the first, after Monk himself, Bread seems to be interrogating its interstices, looking deerheadinn.com for inferences for which its creator might have been to record an LP entirely devoted to the pianist’s Friday, May 9 compositions (Reflections, 1958) and later led a band unprepared. Lacy’s musical spirit was sufficiently Puffin Cultural Forum devoted largely to his repertoire (School Days, 1963). broad that these very different approaches both seem puffinfoundation.org It’s fitting, then, that Lacy has inspired several bands true to it. Tuesday, May 27 to define themselves by their exploration of his own The 55 Bar compositions. Two such groups, The Whammies and For more information, visit driffrecords.com and 55bar.com Ideal Bread, do it in very different ways. cuneiformrecords.com. Ideal Bread is at Douglass Street The Whammies is a sextet of musicians drawn Music Collective May 1st. See Calendar. Guitarist Sheryl Bailey from Boston, Amsterdam and Chicago, with the Dutch- with Ron Oswanski (organ), Ian Froman (drums) born, Boston-based alto saxophonist Jorrit Dijkstra, a “The ultimate contemporary organ trio” former Lacy student, and Boston pianist Pandelis - JazzInside Karayorgis evidently assuming leadership roles. The ensemble resembles the configuration of some of Lacy’s own groups, with a sound characterized by www.sherylbailey.com trombonist Jeb Bishop and violinist/violist Mary Oliver. Its spirit, too, is close to a Lacy ideal: the music is bounced, jostled, cajoled, pushed and pulled along RECOMMENDED by the superb rhythm section of bassist Nate McBride and drummer . Parlor Series (with Gerald Clayton) NEW RELEASES The Whammies play together with a rare kind of John Clayton (ArtistShare) • The Bad Plus - The Rite of Spring rambunctious precision perfect for Lacy’s sense of by Ken Dryden perpetual transition, evident in the rapid changes of (Sony Masterworks) time and mood in works like “Skirls” and “Hanky- Bassist John Clayton’s lengthy musical resumé • Amy Cervini - Jazz Country (Anzic) Panky” and the highly developed level of collective includes co-leading bands with his saxophonist brother • Brian Charette - Square One (Posi-Tone) improvisation, worthy of the Instant Composers Pool Jeff Clayton and drummer Jeff Hamilton, stints in the • Kris Davis Trio - Waiting for You to Grow (of which Bennink and Oliver are part). At times it Monty Alexander Trio and , as (Clean Feed) feels like party music for the dedicatees of Lacy’s well as appearing on numerous recordings as a • - Quiet Pride (Motéma) • Matt Slocum - Black Elk’s Dream (Chandra) pieces heard here (Monk, Willem de Kooning, Ivie sideman. He is presumably delighted that his son David Adler, New York@Night Columnist Anderson, Albert Einstein, Samuel Beckett, Marilyn Gerald also chose a career in jazz, becoming one of the Monroe and ), nowhere more so than most acclaimed pianists of his generation. • Raoul Björkenheim - eCsTaSy (Cuneiform) on the final riotous version of Monk’s “Shuffle Boil”, The bassist envisions the Parlor Series as an • John Carter/ Quartet - the only non-Lacy tune heard here. ongoing set of recordings, simulating an informal Flight for Four (Flying Dutchman- Another Lacy student, baritone saxophonist Josh performance at home for a few friends, with minimal International Phonograph) Sinton, has been at it longer, first organizing Ideal rehearsing of the material; forthcoming sessions • John Escreet - Sound, Space and Structures Bread in 2006. Since then, cornet player Kirk Knuffke scheduled for release feature the late pianists Hank (Sunnyside) and drummer Tomas Fujiwara have remained while Jones and . Besides the familial • 3 & 4 - New York Concerts bassist Adam Hopkins replaces Reuben Radding on connection, Gerald is the pianist in the Clayton (Elemental Music) their third release, the two-CD Beating The Teens. Brothers Band and father and son have an intuitive • Natura Morta - Decay (Cuneiform) Sinton’s focus and methodology have become more sense as a duo, making a superb debut in this hopefully • Alex Riel/Stefan Pasborg - Drum Faces intense here, as he concentrates on a very specific body long-running series for ArtistShare. (Stunt) of Lacy’s work - the music for his midsized groups Most of the session is devoted to familiar Laurence Donohue-Greene recorded on Saravah from 1971-77. There’s already an standards, though approached in new ways. “Alone Managing Editor, The New York City Jazz Record interesting contrast in instrumentation. Ideal Bread is Together” is not simply bass accompanying piano, but both minimalist and weighty, a piano-less quartet with a lively musical conversation. “If I Should Lose You” • Jeff Denson & Claudio Puntin - the ballast of baritone saxophone, yet playing music opens with a glistening improvised introduction, Two (pfMentum) associated with a group of great levity and variety: giving way to the Claytons alternating the lead in a • Ensemble 5 - The Summary of 4 (Leo) Lacy’s bands with violin, voice and the sparkling piano robust, driving performance. A moving setting of • Jimmy Giuffre 3 & 4 - New York Concerts of Bobby Few (the very model that The Whammies Antonio Carlos Jobim’s “Zingaro” captures its (Elemental Music) • Alex Riel/Stefan Pasborg - Drum Faces adopt so handily). bittersweet air, there is creative use of space and (Stunt) In addition to that concentration, Sinton has taken inventive thematic variations for Jerome Kern’s • Ted Rosenthal Trio - Rhapsody in Gershwin a much more active role as arranger here than before, “Yesterdays” and a gorgeous treatment of Billy Joel’s (Playscape) limiting the frequency with which he would use a “And So It Goes” has a hymn-like flavor, accented by • Elias Stemeseder/Devin Gray/Anna Webber compositional device, thus requiring constant lush chords and warm arco bass. The beautiful - Jagged Spheres (s/r) restructuring of material. There’s a continuous process Ellington/Strayhorn ballad “Isfahan” features a Andrey Henkin of deconstruction and recomposition at work here, a masterful solo by the elder Clayton, demonstrating Editorial Director, The New York City Jazz Record fragmentation of materials in which Sinton begins to why he should be considered alongside the late great

14 MAY 2014 | THE NEW YORK CITY JAZZ RECORD

abandon, blending Latin Iberian, South American and the band is much less impressive when it attempts to AfroCuban cadences in a narrative manner. pile yet another sound - traditional music - on top of Chilean vocalist Claudia Acuña’s passionate those two. With the slowed-down folksy tempos of rendering of the poet’s words, fueled with empathy for tracks such as “Spoonful”, “Devil Mountain Blues” the plight of the displaced artist in an energetic and “Deep River” , the stacking of strings and environment rife with social injustice, is very much in percussion overwhelm the purposely simple melodies tune with her own work. Puerto Rican alto saxophonist when not overly prettifying them. And when the Miguel Zenón, too, is a good choice to give voice to the co-leaders exchange bottleneck-like steel-string guitar composer’s serpentine melodies and improvise and sarod flanges on “Spoonful”, the effect is curiously

Macroscope perceptively in response to Lorca’s stories. Joining lacking. Mike Bloomfield, Buddy Guy or Hubert Singers (MACK Avenue) Cuadrado in the rhythm section, and returning from Sumlin wouldn’t be challenged. by Ken Micallef his previous album, flamenco-infused Noneto Iberico, pianist Dan Tepfer and drummer Mark Ferber navigate For more information, visit sunnysiderecords.com. This A widely acknowledged guitar innovator, who crosses the leader’s twisting lines with consummate ease. project is at Cornelia Street Café May 2nd. See Calendar. genres like most of us change lanes, Nels Cline is both a Following a coherent storyline, the music moves macro- and micro-musician, performing in Radiohead- from “Vuelta de paseo” (The walk back) and “Norma y ready rock palettes and intimate jazz situations with paraiso - rey de Harlem” (The norm and paradise - UNEARTHED GEM equal ease. Kind of an expert mechanic in the science of The king of Harlem) to “Asesinato (Dos voces de guitar possibilities, Cline’s resume is confoundingly madrugada en Riverside Drive)” (Murder - Two voices diverse, from Sonic Youth and Deerhoof to Charlie of the morning on Riverside Drive) and “Danza de Haden, Mike Watt and Wilco. Macroscope finds Cline, muertela ” (Dance of Death), the dramatic impetus of bassist and drummer Scott Amendola the latter two pieces intensified by the addition of pursuing their music alongside a few guests: Brazilian percussionist Gilmar Gomes. The compelling keyboardist Yuka C. Honda, percussionists Cyro program ends peacefully with “Vals en las ramas” Baptista and Josh Jones and harpist Zeena Parkins. (Waltz In The Branches). Cline even adds his voice on two tracks, turning the band’s name into reality for their fifth album. For more information, visit sunnysiderecords.com. Cline glories in his polyglot sensibilities: twisted Cuadrado is at SEEDS May 1st-3rd. See Calendar. acoustic psychedelia mashes against alt-rock noise; Bigbands Live (feat. Mary Lou Williams and Caterina Valente) steel guitar soars over Country-and-Western Orchester Kurt Edelhagen (Jazzhaus) landscapes; odd sci-fi sounds push and pull John by Ken Dryden Bonham-styled beats. The threesome allude to many styles, knowing you’ll get the reference without hitting Following the defeat of Nazi in World it too hard. Like ‘70s studio musicians, these are War II, part of the rebuilding included a vibrant masters of the implied gesture, stylizing authentic interest in jazz. Big band leader Kurt Edelhagen sounds into readily digestible musical nuggets. may be unfamiliar to some American jazz fans but “Seven Zed Heaven” imagines Mahavishnu he molded his unit on Stan Kenton’s orchestra, Orchestra lunching with ‘80s King Crimson, dancing focusing on American standards and jazz works, drum figures and swollen bass membranes scurrying sprinkling in some originals by Austrian jazz pianist while acidic wah-wah guitar goes all Jimi Hendrix. Leave the Door Open Roland Kovac. This collection mixes concert and Joel Harrison/Anupam Shobhakar’s Multiplicity “Hair Mother” combines what sounds like a screaming studio recordings made for broadcast by Radio (Whirlwind) wicked witch of the west with bubbling radar blips, by Ken Waxman Baden-Baden in 1954, all of which are well recorded. disturbing voices and freaky synth sounds. Baptista’s The Kenton influence is most apparent on genius makes “The Wedding Band” an acoustic-meets- Guitarist Joel Harrison delves into Indo- Edelhagen’s studio recordings from July 1954. The electronic thrill, the veteran percussionist making his plus some nods to so-called Americana with this CD, chugging “Tuxedo Junction” features alto arsenal of bells, shakers and hand drums resonate with co-led with sarod (Indian lute) player Anupam saxophonist Helmut Reinhardt. The arranger’s life as Cline maneuvers guitar pedals up and down for Shobhakar. Unlike earlier experimenters, who usually somewhat heavy-handed scoring of “You Go to My spooky sound effects. exhibited both genres side by side, Harrison’s take is Head” is saved by alto saxophonist Franz von Macroscope resurrects the guitar hero as musical more sophisticated and profound, blending original Klenck’s excellent solo. tour guide, touching down in styles we’ve all heard textures into a unique mix. On the jazz side are The mood changes dramatically when Mary before but newly gussied up in Cline’s peculiarly keyboardist Gary Versace, saxophonist , Lou Williams takes over on piano, accompanied by aromatic craftsmanship. bassist Hans Glawischnig and percussionist Todd Isler the rhythm section. She delivers a romping, modern while Shobhakar has a background in both classical bop setting of “St. Louis Blues” and equally inspired For more information, visit mackavenue.com. This band is Hindustani music and indie rock and the versatile Dan “The Man I Love”. Her inventive approach to at Le Poisson Rouge May 1st. See Calendar. Weiss is equally proficient on drums and tablas. The “Yesterdays” is harmonically rich, showcasing addition of -based vocalists on a couple of masterful technique. Williams’ whimsical “Blues On

tracks doesn’t shift the balance. the Bongo Beat” (better known as “Cool Bongo”) The admixture is present from track one, aptly also features hand percussion by Bobby Schmidt. titled “The Translator”, scene-setting piano chording The full band joins the pianist for her swinging blues giving way to some fierce double-tonguing from “Nancy and the Colonel”, featuring unidentified Binney, the background quivering with Bollywood tenor sax and trombone solos before Williams takes soundtrack-like asides. Another highpoint is reached center stage and swings the piece home. on “Madhuvanti”, with sprays of sharp licks from The raucous rendition of “Lester Leaps In” is guitar and sarod at various levels of pitch, timbre and big and brassy, with drummer Bobby Schmidt intensity and Versace and Weiss switching to different fueling the fire. It’s unclear which of the alto

instruments according to atmosphere; the drummer’s saxophonists solos in the brisk bop of “The Man I A Lorca Soundscape Alexis Cuadrado (Sunnyside) stop-time tabla responses to Shobhakar’s multi-string Love”, though the Charlie Parker influence is by Russ Musto narratives are as effective as his kit work backing obvious. The band does a fine job with trumpeter Al saxophone reed bites. Killian’s swinging “On the Upbeat”, which was Barcelona-born, New York-based bassist Alexis The session’s climax comes with the decisive title recorded by Count Basie and deserves to be better Cuadrado draws inspiration from both his native and track. Virtuosic traditional yodeling and throat singing known. And while band vocalist Caterina Valente’s adopted homelands on A Lorca Soundscape, music from one of the vocalists initially permeates the raga- vocal in “Pennies From Heaven” is rather heavily composed to accompany poems from Spanish poet like theme, created by timbral mash-ups from tremolo accented, it is saved by a fine scat chorus. Frederico Garcia Lorca’s Poeta en Nueva York, written organ, stop-time percussion and tabla clunks. Finally during his yearlong sojourn to the city during The pressurized energy bursts into thrilling animation as For more information, visit jazzhaus-label.com. A Mary Great Depression and telling tales of isolation and processed guitar distortions and staccato sarod quivers Lou Williams tribute is at Dizzy’s Club May 13th. See exhilaration, compassion and anguish. Done in free cross and challenge each other. Calendar. verse, Cuadrado composed linearly with rhythmic As high quality as the elevated Indo-Jazz fusion is,

THE NEW YORK CITY JAZZ RECORD | MAY 2014 15

on Tristano. Lowe is rarely the featured soloist even GLOBE UNITY: when he’s directing an ensemble; “Blues From One Room To The Next” hinges on Suhy’s frantic, scrambled blues and Kalaparusha’s pathos-laden muscularity (these are the last recordings made by the tenor saxophonist before his passing in November 2013), with a finely grumbling passage for player Christopher Meeder and bassist Kevin Ray. This is a sizable and minimally edited set of music

Mulatto Radio: Field Recordings 1-4 with an accompanying book of notes to match and Allen Lowe (Constant Sorrow) engaging the world of Allen Lowe’s music and thought by Clifford Allen is a commitment. Full of self-critical humor and dangerous puns, Lowe’s approach to the American New York is still the center of the jazz universe; sonic landscape is deeper and graced with more heart Real Live (Live in Japan) otherwise, why would we have a homegrown jazz than he’s given credit. Omar Sosa/The New AfroCubano Quartet (Otá) gazette or scores of already well-established musicians Border-Free relocating to the boroughs to test their mettle? Sure, For more information, visit allenlowe.bandcamp.com. This Chucho Valdés & The Afro-Cuban Messengers the music happens on a high level elsewhere, but it’s project is at Spectrum May 3rd. See Calendar. (Jazz Village-Harmonia Mundi) often hard to visualize a non-urban setting as a hotbed Eponymous Volcán (5 Passion) of creative music. Saxophonist/guitarist/composer/ by Tom Greenland musicologist/author Allen Lowe has been a vibrant Cuban music, particularly the rumba, mambo, cha- figure on an equally vibrant geographic periphery cha and various Cu-bop and Latin jazz fusions, has since the ‘80s, first in New Haven and now based in had a seismic influence on North American jazz Portland, Maine. His collaborators have included while it in turn has been popular on the island since multi-reed players and David Murray, World War II. Three recent releases attest to the trumpeter Doc Cheatham and trombonist Roswell continuing compatibility of Cuba and jazz. Rudd and he has curated vast explorations of American Drawing on classical, rap, AfroCuban batá music that would make Harry Smith blush. Lowe visits drumming and Afropop, among other musics, New York occasionally and has presented his work at Callicoon Sessions pianist Omar Sosa’s style is as distinctive as it is such venues as Roulette and the , yet Kazzrie Jaxen Quartet (Cadence Jazz) hard to pin down. Real Live captures Sosa and he’s not well known. Perhaps that could change with by Marc Medwin compadres saxophonist/flutist Leandro Saint-Hill, the latest four-disc offering (like , bassist Childo Tomas and drummer Ernesto Simpson Lowe is known for boxed sets), released on his own The composer Dieter Schnebel’s innovative in an inspired mood at Yokohama Motion Blue. A Constant Sorrow label. transcription of Schubert’s G-Major piano sonata seamless unit (all but Tomas hail from Camagüey), An alto saxophonist with a dry, squirrelly and includes a layer of harmonies, which, though not heard the quartet handles the complex rhythmic interplay loquacious approach (certainly out of the Hemphill in the sonata, are present by implication. Pianist of Sosa’s compositions with passion and finesse. In school), Lowe’s compositions are witty, delicate and, in Kazzrie Jaxen’s treatment of standards on her new less inspired hands, these pieces might suggest this case, where the traditions of ragtime, funereal quartet disc employs similar complexities. The tunes radio-friendly contemporary jazz and, indeed, marches, -schooled modernism and are there, but Jaxen’s harmonies veil them in mystery much of this music may appeal to casual jazz fans, free improvisation blend, incomparable. Across 62 while simultaneously illuminating them afresh via but the sheer inventiveness and harmonic audacity unique pieces, Lowe has convened a diverse who’s- some of the most vital interpretations they have of Sosa’s improvisations and the ferocity of the who of contemporary music, including pianists received in some time. percussive onslaught ensures that the record will Matthew Shipp and Ursula Oppens, saxophonists Jaxen, tenor saxophonist Charley Krachy, bassist appeal to a wide range of listeners. Kalaparusha Maurice McIntyre, Ras Moshe, JD Allen Don Messina and drummer Bill Chattin made these Pianist Chucho Valdés, a maestro-mind behind and Noah Preminger, drummer Lou Grassi and recordings over several years, straight to DAT and the Cu-bop sound, is a living legend on both sides of clarinetist Ken Peplowski. Lowe’s most frequent never intending to make an album from them; but as the gulf. Border-Free, with a slightly revamped collaborators are also present throughout - pianist the group-penned liners make plain, they were aware version of his AfroCuban Messengers, includes Lewis Porter, trumpeter Randy Sandke and guitarist of something special as the recordings were assembled. guest Branford Marsalis on tenor and soprano Ray Suhy - and theirs are names that, like Lowe, should There is something ethereal and yet down-to-earth as . Nodding to ’s hardbop probably be discussed in heavy company. old tunes are made new, as when, to delve into only quintet sound, the album also references flamenco There are many highlights and a persistent vibe one representative example, Jaxen, Krachy and Messina (“Santa Cruz”), Moroccan music (“Abdel”), even a across four rather full discs of music, far more than can swing into “All the Things You Are”, Krachy and bit of Rachmaninoff (“Caridad Amaro”). Valdés’ be discussed here. “My Little Voudon Babe”, which Messina in relaxed and flowing counterpoint during dazzling technical facility, apparent on cuts like closes out the third disc, is one of several pieces paying the head. Chattin’s entrance kicks the swing up to the “Congadanza” and “Pilar”, never overshadows his tribute to or referencing author Zora Neale Hurston next level, glittering cymbals and perfectly-timed aesthetic sensitivity and rhythmic flexibility. Ángel and sets brash tone rows against Grassi’s soft tom snare punctuations serving to place rock-solid bass Gastón Joya Perellada deserves special mention for pummels. Porter is first out of the gate with elbowed drum and hi-hat in stark relief. his precocious bass work, as does Marsalis for his lyricism and a staunch left hand while trumpeter Jon- Yet, none of this explains how the music lifts off solo turn on “Abdel”. Erik Kellso declaims in wide-barreled, dramatic and and floats amidst Krachy’s altered tones and over Pianist Gonzalo Rubalcaba is only a short step compelling swagger with copious use of a plunger Messina’s pizzicato double stops, amazing in and of behind Valdés in terms of impact and, on Volcán, a mute. Lowe closes the run of solos hanging behind the themselves. Much of the freedom must come down to collective debut with bassist Armando Gala, rhythm and proselytizing with a considered, jubilant Jaxen’s voicings. Despite her prodigious harmonic drummer Horacio “El Negro” Hernandez and rasp. Two tracks earlier, Lowe duets with Suhy’s banjo language, her allegiance to what the others are doing is percussionist Giovanni Hidalgo, he updates the jazz on “Poor Billy in the Lowground”, where the latter’s always evident and she’s not so much pushing beyond fusion of Return to Forever and Irakere. Switching grungy and discursive slide commentary is reminiscent rhythmic boundaries as using them as points of between synthesizers and acoustic piano, Rubalcaba of and the former’s gutsy trills departure and return. It is a joy to hear how she weaves draws on a wide sonic palette on an impressive are an appropriate paean to a fallen comrade. fragments of “What Is This Thing Called Love”’s setlist of his own compositions and covers by João As with compositional forebears like Charles melody into a solo of huge dynamic and harmonic Bosco, Dizzy Gillespie, Chucho Valdés and Chico Mingus, Lowe’s music doesn’t require that he perform contrast, almost forming a language of varying Buarque. More cerebral than Valdés, Rubalcaba is on every piece; thus the set includes a number of solo densities as Messina and Chattin lay the groundwork. equally proficient and restlessly eclectic while piano works performed by Porter. While much of the These recordings give new meaning to the words Gala’s nuanced electric fretless bass lends an earthy, music was recorded in Maine and uses an electric freedom and tradition, juxtaposing them in ways that almost vocal counterpoint to the proceedings. keyboard (you wouldn’t know it from hearing Shipp or render them useless. The recording is a no-nonsense Oppens on the instrument), the solo pieces were audio portrait, leaving room for the playing to breathe For more information, visit melodia.com, recorded in a Brooklyn studio and granted attendant and bloom. A great disc from an innovative ensemble. jazzvillagemusic.com and 5passion.com. Sosa is at Blue classical flesh - witness the rolling pointillism of “Blind Note May 1st-4th. See Calendar. Parade”, written for Blind Boone, or the roiling and For more information, visit cadencejazzrecords.com. Jaxen shifty surface of “Descent into the Mailroom”, a play is at The Drawing Room May 4th. See Calendar.

16 MAY 2014 | THE NEW YORK CITY JAZZ RECORD ...But Not Heard New York Conversations Scenes Kendra Shank/ (Origin) John Stowell (TCB) by Donald Elfman Guitarist John Stowell is an original in sound and approach. He can wail with the best of them but his sense of space, harmony, color and texture makes listeners take note. Here we find him in varied settings: in a traditional quartet of longstanding and an intimate duo with an old friend, vocalist Kendra Shank. The group Scenes emerged in Seattle in 1990 from an immediate connection between Stowell, bassist Jeff Johnson and drummer John Bishop. The group also had a history with Hans Teuber and felt his saxophones and flute would be a fine addition. The pun of the Paquito D’Rivera album’s title ...But Not Heard either suggests the notion that audiences might see a group and not really hear what’s being played or maybe is simply an invitation to come and hear the group live. In either case, this group has a strong aural identity. Opener “C minor Waltz” may seem just as simple as its title. The waltz certainly is subtle and beautiful but the four players bring individuality to create something not at all predictable. Stowell’s compositions reveal themselves slowly and thus demand full attention. The best example of this is “Old Fellow”, a hymn to the gentleman of the title. But an intimate bass solo, delicate flute and the composer’s guitar paint a detailed portrait, equal to and then going beyond the sum of its parts. It’s that approach that defines all of the music on ...But Not Heard. Stowell’s work with Kendra Shank also has its roots in Seattle - both lived there around 1990 - but took a turn as Shank moved East. It’s clear from the first note of New York Conversations that the two have stayed in touch, personally and musically. It often feels as if there is one musician with two distinct voices. On the opening “Blue Skies”, there is the beautiful mixture of wide openness and closest of atmospheres presents that comes from deep friendship. That juxtaposition informs the pair’s take on the other songbook chestnuts. -Lorenz Hart’s “My Romance” appears suddenly out of some smart, wordless improvising by Shank, Stowell instrumentally urging her on. In less than two minutes, Stowell and Latin Jazz Traditions Shank reveal Sammy Fain-Irving Kahal’s “I’ll Be Seeing You” as the heartbreakingly sad farewell it is, but still Featuring young artists coached by Paquito D’Rivera, Oscar suggest hope and real love. The folk music world is Stagnaro, and other members of the Paquito D’Rivera Ensemble also revivified in a dark and gorgeous medley of Woody Guthrie’s “Hard Travelin’” and the spiritual ballad “Motherless Child”. Singer and guitarist pay tribute to another powerful duo in “Songs and Friday, May 16 at 7:30 PM Lullabies”, by vocalist and pianist Program to include works by Paquito D’Rivera, Lecuona, Juan Andrés Ospina, Fred Hersch. Shank and Stowell display another side of their Piazzolla, Salvador, and Oscar Stagnaro partnership on tunes they’ve improvised and created Workshops and master classes are made possible, in part, by Mr. and Mrs. Nicola Bulgari and The Gladys Krieble Delmas Foundation. together - four in all, two apiece - mostly short in duration and wordless. Shank uses an electronic looper Tickets: $15 to create special in-the-moment effects that broaden the sound picture. She also wrote words to two of Stowell’s compositions: the haunting “Ghosts”, where the lyrics talk intimately to a lost friend, and the title track, which simply, yet rhythmically, lists areas of the carnegiehall.org | 212-247-7800 | Box Offi ce at 57th and Seventh Photo by Lane Pederson. Artists, programs, dates, and ticket prices subject to change. © 2014 CHC. great urban metropolis.

For more information, visit origin-records.com and tcb.ch. Proud Season Sponsor Stowell is at Bar Next Door May 2nd and Shank and Stowell are at Roulette May 4th. See Calendar.

THE NEW YORK CITY JAZZ RECORD | MAY 2014 17

opens “Cherokee”, floating over the changes with downside of this approach is that many of the tracks sequential constellations of fresh ideas before, at 5:59, either fade out or start in mid-flow, depriving the he finally plays (no, breathes) the melody. It is a listener of a sense of a complete journey. “Begin” forms uniquely free “Cherokee”, perhaps the most languid on one of the highlights. A dialogue-filled opening for record, but Perry’s cadenza at the end is quietly intense. Carter’s soprano saxophone, bass and drums, with Nocturne is hauntingly lyrical, intellectually some lovely slurs from Grillot, gives way to a funky substantive. It is hard to choose the best track. “Old motif and a blues-infused guitar solo. That only serves Folks” is the longest. Perry enters like a soft wind to launch Carter upon a simmering tenor outing, which containing snatches and suggestions of the song. ends the number. Elsewhere, “Distance” works out of

Nocturne Hébert and Hirshfield pull against Perry’s dreaminess dreamy ambience into animated but understated Rich Perry (SteepleChase) with nervous rhythmic figures. Radley spills interaction while urgent piping soprano on “Evolve” by Tom Conrad counterlines in long cascades. Perry’s solo is a rapt, ignites swirling guitar washes and clattering drums. intimate flowing. He does not sound like he is On The Imaginary Quartet’s disc Featuring Daniel Rich Perry is not exactly a cult figure. He has made 21 inventing but like he is reliving deep private memories. Carter, post-production manipulation is the fourth records for SteepleChase and has been a featured tenor member of the ensemble supplementing Carter, saxophonist in the Maria Schneider and Village For more information, visit steeplechase.dk. Perry is at Blue drummer David Freeman and bassist Mike Noordzy Vanguard orchestras. Yet his fiercely dedicated Note May 5th with NYU Jazz Orchestra, Birdland May (responsible for the mixing and collaging). Thus on following is small. Probably Perry’s most passionate 8th-10th with Maria Schneider, Cornelia Street Café May 13th, “Modern Museum” Carter’s pastoral flute proceeds fans are other tenor saxophone players. Those who Smalls May 23rd-24th with Mark Soskin and 31st with Matt with his trumpet drifting in chorus through it. In other have spent their lives studying the instrument Panayides and Village Vanguard Mondays with the Vanguard cases the processing can be so heavy that it’s impossible understand that the purity of Perry’s minimalism is a Jazz Orchestra. See Calendar and Regular Engagements. even to name which instrument Carter is playing and rare quality to which they themselves aspire. he becomes a ghostly visitant to the feast. At times the Nocturne is a quartet session with guitarist Nate core trio sounds right on the money, but those episodes Radley, bassist John Hébert and drummer Jeff tend to be truncated or peter out before your ears, as Hirshfield. It is not entirely a ballad album, but even happens when Carter begins to dig in on alto saxophone the medium tempo pieces have a spellbound, pensive at the end of “Boating with John”, only to be replaced atmosphere. The tunes are eight standards from the by another stream of musical thought. Noordzy tackles Great American Songbook and the jazz repertoire, all both electric and acoustic basses, adding a contrapuntal approached from non-standard perspectives. Nocturne element to Freeman’s expansive percussion. When the is Perry’s first album with a guitar instead of a piano. processing is kept to a minimum, the disc is at its most The format creates space. Radley is an ideal potent, allowing Carter to hold forth unimpeded. collaborator; like Perry, he is a sensitive romantic poet whose subjective designs have firm edges. For more information, visit fastspeakingmusic.com, Radley solos first on “Never Let Me Go” and Say Hello to Anyone I Know jeffplatz.com and nachtrecords.com. Daniel Carter is at refuses to be drawn into the double-time of Hébert and Devin Brahja Waldman (Fast Speaking Music) Clemente Soto Velez Cultural Center May 5th and Hirshfield, pursuing slow motivic variations. Perry Past & Present Futures Downtown Music Gallery May 11th. See Calendar. Jeff Platz/Daniel Carter/François Grillot/ Federico Ughi (Glitch) Featuring Daniel Carter The Imaginary Quartet (Nacht) by John Sharpe Veteran multi-instrumentalist Daniel Carter is one of NYC’s best-kept secrets. His visibility has not been helped by his steadfast refusal to front his own bands and preference to remain part of a collective in keeping with his anarchist credo. He has always been open to collaboration, however, often with colleagues several generations younger, like the three at hand. On Say Hello to Anyone I Know, Carter appears alongside newcomer alto saxophonist Devin Brahja Waldman and two seasoned improvisers, cellist Daniel Levin and drummer Satoshi Takeishi, on five cooperative pieces. It’s a strong session marked by generous use of space and unforced conversational interplay. In spite of his avant garde associations, Carter has never been a screamer. He understands well the beauty of restrained passion and his lyrical abstractions establish the tone. Waldman takes his lead from Carter, working out of reiterated phrases with sparing use of tonal twists to generate nuance and interest. The virtuosic Levin, as much as a frontline instrument as the horns, sticks largely to the lower registers. Only on the slow burning of “Jayne Cortez” and towards the end of the lengthy “Butch” do proceedings become in any way heated. By way of contrast, Past & Present Futures finds Carter in a quartet as busy as the previous outfit is restrained. Even here Carter is often a man apart, pitching his oblique stories against faster-paced accompaniment. Central to the group sound is guitarist Jeff Platz, who augments his jazzy single-note runs with electronic effects and fuzzed distortion. Federico Ughi maintains a garrulous commentary on drums throughout while bassist François Grillot regularly creates a freebop feel, even though all seven pieces are completely improvised. This was the first time the four participants had combined and the excerpts chosen stem from several hours of recording. Perhaps the only

18 MAY 2014 | THE NEW YORK CITY JAZZ RECORD Upcoming JAzz performances at NJPAC! Coming this Fall My Favorite Things: A Tribute to Coming this Fall Richard Rodgers Sassy Award Bill Charlap, Sandy Stewart, Are your Jaleel Shaw, Terrell Stafford, vocals divine? John Allred, , We’re looking for Willie Jones and Freddy Cole November 9 –16 Friday, May 9 at 7:30pm the world’s next Be a part of this exciting jazz great female jazz festival with a week of singer. Enter to win unforgettable performances! Terrell Stafford $5,000 and an Schedule will be announced opportunity to May 16! launch your career! Pat Metheny Bruce Hornsby Unity Group with Sonny Emory “Last Train Home,” Enter Now! “The Way It Is” and more! Deadline for entries is Friday, Aug 8 at 8pm September 2, 2014 New Jersey PerformiNg Arts CeNter oNe CeNter street, NewArk, NJ

Visit website for details For tickets and full schedule www.sarahvaughancompetition.com visit njpac.org or call 1-888-GO-NJPAC

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“Undecided” to ’s “Body and Soul” and As on his previous albums, Tardy’s devotion is evident “I’m Confessin’ That I Love You”. A highlight is in his religious-themed originals and the hymns, pianist/bandleader Claude Thornhill’s lovely 1941 hit spirituals and modern gospel tunes he covers, along “Snowfall”, one of the definitive hits of the Swing Era. with a few purely secular numbers, like ’s Often performed by big bands, it works well with “Jinrikisha”. But for all his focus on the otherworldly, nothing but three . Tardy’s music resonates in the here and now; it’s So many of the great musicians who emerged accessible to all listeners, believers and non-believers, during the Swing Era are long gone, but Pizzarelli, like his most obvious and profound influence, the thankfully, is still keeping that spirit alive. A Love Supreme-era (and later) Coltrane. Beyond a

Three For All shared interest in spiritual matters, Tardy has a Bucky Pizzarelli (Chesky) For more information, visit chesky.com. Pizzarelli is at The sweeping, swirling, forceful tenor sound, which recalls by Alex Henderson Cutting Room May 2nd, Saint Peter’s May 7th and but does not mimic the late saxophone master. Symphony Space Peter Jay Sharp Theatre May 19th as part Tardy is joined here by a hard-charging, inventive Much has changed in jazz guitar since WWII, when a of an Arbors Records tribute. See Calendar. quartet featuring (piano) and Jaimeo teenaged Bucky Pizzarelli began to play professionally. Brown (drums), both of whom have made a major

But Pizzarelli has stuck with swing all these years, impact as leaders lately, along with the fine bassist continuing to show the influence of , Sean Conly. It’s the same group Tardy recorded his first George Van Eps, and other guitarists who SteepleChase album with eight years ago and their emerged during jazz’ prebop era. Pizzarelli, now 88, sense of familiarity and empathy is apparent. adds to his sizeable catalogue with Three For All. The quartet covers a wide swath of stylistic This album finds Pizzarelli leading an all-guitar ground. The original “A Tree and Its Fruits” is a trio with his son John and Ed Laub. Pizzarelli still darting, rollicking avant-bop workout with Tardy and excels when it comes to both technique and feeling and Sung trading ferocious solos and Brown pushing the his son (now 53) is a talented swing guitarist in his tempo aggressively. Tardy explores freer, more wide- own right. A variety of moods can be found: Pizzarelli open territory on sections of “The Cost of Discipleship” Hope is exuberant and passionate on Al Jolson’s “Avalon”, Gregory Tardy (SteepleChase) and “Every Life is Precious” while the powerful “Be Edgar Sampson’s “Stompin’ at the Savoy” and George by Joel Roberts Thou My Vision”, a duo with Conly, is pure gospel and Gershwin’s “I Got Rhythm”, but his more introspective down-home blues. And when it comes to old-school side prevails on lyrical performances of Jimmy Tenor saxophonist Gregory Tardy emerged as one of ballad playing, Tardy shows his chops on a soulful, Campbell’s “If I Had You”, Jerome Kern’s “All the the most exciting young postbop players on the New -ish reading of the standard “That’s All”. Things You Are”, ’s “In the Dark” and York scene in the ‘90s, leading his own groups and Mixing the sacred and the profane, traditional and a medley of Jule Styne-’s “It’s Been a performing alongside a diverse assortment of artists. cutting-edge, Tardy proves himself an artist of vision Long, Long Time” and Henry Nemo’s “Don’t Take A man of deep religious conviction, Tardy took a and depth, with a sound and purpose all his own. Your Love from Me”. Pizzarelli doesn’t offer a lot of three-year sabbatical from performing a few years back surprises in his choice of material. Most of the songs to concentrate on Christian ministry, before returning For more information, visit steeplechase.dk. Tardy is at are well-known standards, from Charlie Shavers’ to jazz and relocating to Tennessee for a teaching gig. Smalls May 7th. See Calendar.

Rich Perry SteepleChase recording artist

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the end of “Mutation V: Automata”, when Iyer layers form of Rudresh Mahanthappa for a Third Stream- jazz-inflected lines over minimalist string textures. worthy 20 minutes of choreographed jamming. “Brown Many of the movements are electronically embellished, Eyes” casts Monder into what could pass for a Wes but the effects are subtle and sublimated, the line Montgomery ballad while the rich arrangement of “Mr. between acoustic and electronic not always obvious. Bobs and Lori Ann” brings to mind some of those other Framing the suite are solo piano numbers. sax quartets, both retaining the guitar and drums and “Spellbound and Sacrosanct, Cowrie Shells and the adding Tim Ries on soprano sax. The set also includes Shimmering Sea”, an early composition of Iyer’s, three pieces for the quartet alone, highlighting Levy’s opens the album with a relentlessly reappearing seven- ear for arranging for the four horns.

Mutations note motif, constantly reharmonized by ramping The Singing Gobi Desert finds PRISM on foreign Vijay Iyer (ECM) chords of ambiguous tonality, followed by the recently assignment again, this time working with four Chinese by Tom Greenland composed “Vuln, Part 2”, a pastiche of noodling composers and expanding to a nonet with the addition arpeggios over whirring electronics. Another recent of the ensemble Music for China for a small, Vijay Iyer, one of jazz’ most conspicuous artists, composition, “When We’re Gone”, concludes the surprisingly cohesive orchestra. The title piece, highly decorated by the critical press, well respected in album in a ruminative mood, its low bass pedal composed by Bright Sheng, is upbeat and enticing, the academia, is a chameleonic presence adaptable to a sustaining unusual chord structures, closing quietly, as saxophones providing harmonic groundcover for the variety of musical contexts. Mutations, his debut for if an afterthought. piercing strings and the reedy sheng, not to mention an ECM, reveals yet another side of his oeuvre: a ten- unexpected marimba. It’s a strong contrast to the movement suite for piano and string quartet. For more information, visit ecmrecords.com. Iyer is at The textural fantasia of Lei Liang’s “Messages of White” Like much of his work, Iyer here builds complex, Stone May 7th and 13th and Aaron Davis Hall May 9th as that follows it. The bowed erhu sets the tone for Fang spontaneously morphing structures around relatively part of Harlem Jazz Shrines Festival. See Calendar. Man’s elegant and dramatic “Dream of a Hundred simple building blocks, often by looping and Flowers”, with strings and reeds scored to emulate the intertwining melodic cells of contrasting phrase pitched speaking of the Pekingese opera. Huang Ruo’s lengths. Inspired by the dynamics of biological “The Three Tenses” for pipa and four saxophones, mutation, where one small unit spontaneously inserted closes the disc, building tension by accentuating the or deleted from a chain of genetic information can differences in the instruments; sustained saxophone create anything from a mild disorder to a drastic lines and short pipa trills seem to collide while upheaval, Iyer similarly empowers his players to make mirroring one another. small but potentially massive alterations to his What makes PRISM’s work so successful is that compositional raw materials. On “Mutation III: they work as a choir, not forcing the saxophone sound Canon”, for example, the strings are paired in gently from top to bottom. And from to China anarchistic counterlines, which finally coalesce on they’ve created a remarkable mix in these discs. cued hits of closely rubbing clusters. “Mutation IV: People’s Emergency Center The Singing Gobi Desert For more information, visit innova.mu. This group is at Chain” is the aural equivalent of one of those infinitely PRISM Quartet (Innova) rising MC Escher staircases, never quite reaching the Symphony Space Leonard Nimoy Thalia May 9th with by Kurt Gottschalk next floor. One of the most effective moments comes at guests Tim Ries and Miguel Zenón. See Calendar. The diversity of music in the eight compositions spread across the two discs of the PRISM Quartet’s People’s Emergency Center shouldn’t come as a surprise. The group’s founder, Matthew Levy, has ensured eclecticism for the quartet for close to 30 years, recording works by living composers as diverse as the American Martin Bresnick, Ireland’s Donnacha Dennehy, from China and Briton Steve Mackey as well as the Dutch composer Jacob TV’s head-spinning Pitch Black, which samples , Chet Baker, death row inmates and Times Square preachers. What is surprising is how little of the Philadelphia-based bandleader’s own work they’ve recorded. That omission is rectified in the sprawling People’s Emergency Center. The album takes its evocative name from the first movement of Been There and from an actual facility in Philly. It’s an upbeat and slightly anxious score with Ben Monder’s electric guitar spinning in and out of the unison sax lines pushed When Jayne Cortez died on December 28, 2012 it put a along by a rhythm section of bassist Jay Anderson and hole in my life and in my heart. We were artistic drummer Bill Stewart. The music was written for a associates for 40 years but most of all we were friends. documentary on the community service center and it’s There were other poets who read their poetry to music not the sound of things going wrong so much as but none as consistently with great quality and power as working to ensure that things keep going right. The Jayne. Jayne was the ultimate professional artist. I loved 13-minute first section is followed, nicely and oddly, being around her energy, and receiving her incites and with a nod to Satie. “Gymnopedie” is a gentle knowledge about Africa. For me Jayne is still here. 180-second ballad and a bit of a march for the composer - on tenor backed by guitar, drums and the rest of the saxophone quartet (Timothy McAllister, Zachary NEW ALBUM WITH Shemon and Taimur Sullivan) all on baritones. Bill Cole - Australian Didgeridoo, The set opens with the strongest of the three Indian Nagaswarm, Chinese Sona compositions, the four-movement Under the Sun for the Warren Smith - Drums, percussion quartet with pianist and percussionist Joseph Daley - Euphonium François Zayas. Levy sets a striking counterpoint for Shayna Dulberger - Bass quick piano trills and saxophone flutters and slowly Ras Moshe - Saxophone, Flute allows Moran to break into soloing as the horns grow Althea SullyCole - Kora, voice (spoken) prominent. Moran plays almost painfully slowly, breaking into chordal runs and falling back into the Lisette Santiago - , Cajon, percussion, buried tempo. voice (singing) If those are all a bit measured, the second CD is a surer sell to the saxophone enthusiast. Serial Mood brings back the rhythm section and adds a fifth in the WWW.BILLCOLE.ORG

THE NEW YORK CITY JAZZ RECORD | MAY 2014 21

and Ali Hasaan and again much of the music is performed on instruments not primary to the players. at KITANO These include a lot of small percussion instruments, JAZZMusic • Restaurant • Bar which all five players use. The leader is listed as “ONE OF THE BEST JAZZ CLUBS IN NYC” ... NYC JAZZ RECORD LIVE JAZZ EVERY playing “strings”, presumably from the same near- WEDNESDAY - SATURDAY random collection of instruments heard on Strange $15 WED./THUR + $15 Minimum/Set. Strings. Jenkins does do a little vocalizing and Hasaan $30 FRI./SAT. + $15 Minimum/Set a little tromboning, but Gilmore never leaves the 2 SETS 8:00 PM & 10:00 PM percussion section and the only reed Allen plays is the

JAZZ BRUNCH EVERY SUNDAY oboe. This at least is what the liners tell us, though on TONY MIDDLETON TRIO The Adventurous Monk 11 AM - 2 PM • GREAT BUFFET - $35 Eric Reed (Savant) the last two tracks we hear another double reed OPEN JAM SESSION MONDAY NIGHTS • $15 MINIMUM by George Kanzler involved in engaging exchanges with the oboe and at 8:00 PM - 11:30 PM • HOSTED BY IRIS ORNIG the very end of “Journey Among the Stars” something SOLO TUESDAYS IN MAY 8:00 PM - 11:00 PM • $15 MINIMUM The title here can mischievously hint at another that sounds very much like Allen on alto joins in. YOUNG PIANO SHOWCASE iteration: The Institutional Monk. For more than any Perhaps overdubbing was used. The leader is also MAY 6, 13, 20 & 27 - CAILI O'DOHERTY other figure from the modern jazz that emerged at the heard at some length on celeste and kalimba. THURS. MAY 1 WHITNEY JAMES QUINTET mid-point of the 20th Century as a composer-performer, Of course the use of ‘small instruments’ would WHITNEY JAMES, JON DAVIS with the possible exception of , soon be taken to much further lengths; the Art Ensemble ED HOWARD, JON WIKAN JONATHAN POWELL . Thelonious Monk has become an institution. There is of Chicago, we are told, used over 500 instruments $15 COVER + $15 MINIMUM the Monk Institute and its Monk Prize and countless during their concert appearances in Europe in 1969. But FRI. MAY 2 repertory ensembles and homage recordings devoted the music here sounds different, with the various DENNY ZEITLIN - SOLO PIANO $30 COVER + $15 MINIMUM to his oeuvre. They have ranged from solo pianists to timbral episodes tending to go on for much longer. The SAT. MAY 3 big bands, from quartets mirroring Monk’s favorite absence of real soloing is unimportant, as is often the DENNY ZEITLIN TRIO performing configuration to drummer Ben Riley’s case with free improvised music, the group feel being DENNY ZEILTIN, Monk Legacy Septet, a piano-less group. paramount. Are the many interesting moments enough MATT WILSON $30 COVER + $15 MINIMUM Eric Reed’s The Adventurous Monk is a multi- to recommend this record to fans? It depends on the WED. MAY 7 faceted exploration of ten Monk tunes by the pianist’s fan, but listeners who have all the really great Arkestra LIBBY YORK QUARTET trio, augmented on three tracks by Seamus Blake’s records may well want to check out Other Strange LIBBY YORK, JOHN DI MARTINO tenor sax and one other by singer Charenee Wade. The Worlds, especially if they like free improvisation. While WARREN VACHÉ, MARTIN WIND $15 COVER + $15 MINIMUM tracks with Blake recall not only Monk’s quartets but not as wild and woolly, it is more successful than THURS. MAY 8 also the first prominent, posthumous Monk tribute . What’s really strange is that this music DAISUKE ABE TRIO band, Sphere, which featured longtime Monk sideman has never seen the light of day until now. DAISUKE ABE, KURIKO TSUGAWA, ANTHONY LEE Charlie Rouse on tenor sax. Rouse is a touchstone for $15 COVER + $15 MINIMUM Blake, especially on “Work”, the number that most For more information, visit roaratorio.com. Sun Ra tributes FRI. MAY 9 closely conjures the later (‘60s) Monk quartets as well are at New School Arnhold Hall May 1st, Sistas’ Place May JANE IRA BLOOM QUARTET/ as Sphere. Even more than Kenny Barron, Sphere’s 10th and ShapeShifter Lab May 11th. See Calendar. ALL BALLADS JANE IRA BLOOM, DOMINIC FALLACARO pianist, Reed can evoke Monk’s spiky dissonances and , MATT WILSON quirky, off-kilter timing, also a feature of another $30 COVER + $15 MINIMUM quartet track, “Gallop’s Gallop”. But album and SAT. MAY 10 KEN PEPLOWSKI QUARTET quartet opener “Thelonious” steps out of the template: KEN PEPLOWSKI, EHUD ASHERIE delivered at a faster-than-Monk tempo, with explosive JOEL FORBES, AARON KIMMEL drumming from Gregory Hutchinson and quicksilver $30 COVER + $15 MINIMUM time from bassist , Reed and Blake’s take- WED. MAY 14 JON DI FIORE TRIO off-running solos only glance at the original melody. CD RELEASE EVENT “YELLOW PETALS” The trio tracks find Reed applying different styles, JON DI FIORE, BILLY TEST, ADRIAN MORING from -ish melodicism (over exotic tom- $15 COVER + $15 MINIMUM tom-dominated drums) on “Pannonica” to ruminative THURS. MAY 15 CLOVIS NICOLAS QUINTET lyricism on “’Round Midnight” and from a calypso CD RELEASE EVENT “NINE STORIES” take on “Nutty” to a refracted, abstract trio colloquy of CLOVIS NICOLAS, RILEY MULHERKAR “Evidence”. But he also displays his impressive Monk LUCA STOLL, TADATAKA UNNO JIMMY MACBRIDE technique on “Reflections” and “Bolivar Ba-Lues-Are”. $15 COVER + $15 MINIMUM Wade suggests a young, hip Billie Holiday in an FRI. & SAT. MAY 16 & 17 evocative reading of Sally Swisher’s lyrics to “Ruby, May 6th TRIO DON FRIEDMAN, , MATT WILSON My Dear”, offering new avenues for the song. $30 COVER + $15 MINIMUM Lou Caputo WED. MAY 21 For more information, visit jazzdepot.com. Reed is at Smoke MICHELLE WALKER QUARTET May 9th-10th. See Calendar. Not So Big Band MICHELLE WALKER, SEAN FITZPATRICK MICHAEL O'BRIEN, WILLARD DYSON $15 COVER + $15 MINIMUM THURS. MAY 22 May 13th HANKY PANKY TRIO ALEX MINASIAN, BRANDI DISTERHEFT, STEVE WILLIAMS $15 COVER + $15 MINIMUM Gene Perla Group FRI. & SAT. MAY 23 & 24 STEVE GROSSMAN QUARTET STEVE GROSSMAN, JOSEPH LEPORE, JASON BROWN May 20th $30 COVER + $15 MINIMUM WED. MAY 28 LARRY GELB TRIO Ray Blue Ensemble LARRY GELB, CAMERON BROWN, MICHAEL STEPHANS $15 COVER + $15 MINIMUM Other Strange Worlds THURS. MAY 29 THE OKB TRIO Sun Ra & His Astro-Infinity Arkestra (Roaratorio) OSCAR PEREZ, KURIKO TSUGAWA, BRIAN WOODRUFF by Duck Baker New York Baha’i Center $15 COVER + $15 MINIMUM 53 E. 11th Street FRI. & SAT. MAY 30 & 31 Here’s an interesting addition to the Sun Ra (between University Place and Broadway) MARTIN WIND QUARTET discography: a previously unreleased 1965 session that CD RELEASE EVENT “TURN OUT THE STARS” Shows: 8:00 & 9:30 PM MUSIC WRITTEN OR INSPIRED BY BILL EVANS is a sort of conceptual companion piece to the notorious MARTIN WIND, SCOTT ROBINSON Gen Adm: $15 Students $10 BILL MAYS, JOE LA BARBERA Strange Strings date on which members of the Arkestra $30 COVER + $15 MINIMUM played instruments for much of the proceedings with 212-222-5159 RESERVATIONS - 212-885-7119 VISIT OUR TWEETS AT: http://twitter.com/kitanonewyork which they had no real familiarity. The group here is a bahainyc.org/nyc-bahai-center/jazz-night www.kitano.com • email: [email protected] ò 66 Park Avenue @ 38th St. quintet with , Marshall Allen, Art Jenkins

22 MAY 2014 | THE NEW YORK CITY JAZZ RECORD THE HANG PRESENTED BY

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of a culture. Other notable tracks include Castañeda’s the wispy final movements. Pleasant enough, it performance on his own “Cuarto de Colores”, where underutilizes a large and talented assemblage. he demonstrates an amazing ability to capture both the Voice Prints, three reed wizards pitted against melodic and percussive qualities of his instrument; Rudolph’s percussion, exhibit more fire, collegiality Antonio Lizano’s haunting vocal on Eric Satie’s and focus. Viewed another way, it’s Lateef achieving “Gnossienne 3”; O’Farrill’s own “ of spiritual detente with three Chicago veterans, congenial Malecon and Bourbon”, in which a ragtime song turns elder statesmen in this 2008 arc at ’ Walker into a Cuban montuno to make a perfect connection Art Center. Roscoe Mitchell’s ney, in almost-string-like between Latin and jazz; the classic tune “Iko Iko”, with whining, over traps and gongs on “Sound Search”,

The Offense of the Drum the second line picking up some Latino participants on reaches a highpoint topped when joined by Douglas R. Arturo O’Farrill & The Afro Latin Jazz Orchestra its march through the streets of ; and Ewart’s police-horn and siren and fading to Lateef’s (Motéma Music) “Alma Vacia”, composed and conducted by Spanish- moody, eerie flute alone with Rudolph’s delicate piano by Marcia Hillman born Miguel Blanco, a track recalling the hot New York echoes. “Harpers Ferry” and “Morning Moves” are City salsa of the legendary night club The Palladium. gentler, brief and spacious valedictions. This CD is all about the drum - one of the most O’Farrill succeeds in covering a lot of territory Lateef’s compositions, presented on Live at important elements of and connection between all of with this CD, both a history and geography of music. Roulette, exhibit endless curiosity and erudition and various rhythms in the rich musicality simplified by sometimes, taut inquisitive writing. “String Quartet the term “Latin Jazz”. Pianist Arturo O’Farrill and the For more information, visit motema.com. O’Farrill is at Apollo #2”, interpreted by the Momenta Quartet, consists of Afro Latin Jazz Orchestra (ALJO) salute the drum with Theater May 10th as part of Harlem Jazz Shrines Festival, warm, impulsive fragments, with rich melodic kernels. original material by various composers, representing Brooklyn Center for the Performing Arts May 15th and “Trio In December” for saxophonists (here JD Parran, the countries of Puerto Rico, Cuba, Colombia and Birdland Sundays. See Calendar and Regular Engagements. , Allen Won), at times querulous and others, and a bevy of drums (28 in all) and percussion peckish as cantankerous ducks, expands into the instruments from Africa, Japan, Puerto Rico, Cuba - sprightly and conversational. “Autophysiopsychic and even the DJ turntable! The 18-piece ALJO is Variations for Piano” (a Lateef-ism coined to describe supplemented by a total of 17 guests: harpist Edmar jazz more broadly ), played by Taka Kigawa, are mainly Castañeda, pianist Vijay Iyer, DJ Logic, spoken word hesitant, pedal-down arpeggios in Mingus-like artist Christopher “Chilo” Cajigas, vocalists Donald meanderings. Rudolph appears only on “When”, a Harrison and Antonio Lizana, accordion player Uri poem recited in Lateef’s sandpapery, nuanced voice, Sharlin and other guest conductors and percussionists. featuring his reverbed flute and Rudolph’s dry O’Farrill’s two-movement title composition is a woodblocks and feathery electronica; it’s a piece that highlight, which spotlights the high energy and evolves - unlike the others but unsurprisingly - as virtuosity of the orchestra, and (according to the liner spacy, spiritual improvisation. notes) portrays his view of the drum as both “an oppressor and a liberator.” As the former, the drum can For more information, visit metarecords.com and Sonic Mandala be rigid and controlling and as the latter, a means of Adam Rudolph/GO: Organic Orchestra (Meta) yuseflateef.com. Rudolph is at ShapeShifter Lab May 12 communication and continuance of the oral tradition Voice Prints with GO: Organic Orchestra. /Roscoe Mitchell/Adam Rudolph/ Douglas R. Ewart (Aarawak/Meta/YAL/AEC) Live at Roulette Yusef Lateef (YAL) by Fred Bouchard DISSIDENT ARTS Adam Rudolph, percussionist, was an acolyte of and presents collaborator with Yusef Lateef in improvisatory, intuitive music for 30 years. Rudolph appears here on A TRIBUTE TO ‘NEW YORK three recent recordings that salute Lateef’s memory: he loosely conducts a large ensemble in a quasi-improvised EYE & EAR CONTROL’ suite; plays in an improvisational quartet with Lateef and two Chicago reed stalwarts; and introduces the Roulette date of Lateef compositions and duos with him on one (seemingly improvised) track. Saxophone Summit Renaissance man Lateef died at 93 last fall, leaving a rich, variegated legacy of music, poetry, painting, Heritage/Evolution writing and philosophy, which spans seven decades th and a world-wealth of cultures. A robust compelling 50 Anniversary of the Free Jazz Classic! MAY 9, 7:30 voice on tenor sax in bands with , The VETERANS of FREE and later Cannonball Adderley’s Sextet, PRISM Quartet he pioneered and mastered jazz flute and was virtually Daniel Carter, , Warren Tim Ries jazz’ lone convincing practitioner on the demanding Smith, Will Connell & Ingrid Sertso! Miguel Zenón double reeds (oboe, bassoon, shenai, argul). Regarding himself as an eternal scholar, Lateef studied Fulani STEVE DALACHINSKY flute in Africa and was an ‘evolutionist’, embracing JUNE 12, 7:30 world music beyond the strictures of the jazz moniker. RAS MOSHE UNIT PRISM Quartet Rudolph treads softly in Lateef’s footsteps and subtle pathways on Sonic Mandala, his dot-to-dot with Dave Ross, John Pietaro ‘conduction’ of his GO: Organic Orchestra. The large & Andrew Drury Greg Osby cast (33 players) appear mostly in desultory walk-on roles. “Invitation”, the opening (and longest) of 12 12 HOUSES ORCHESTRA parts, lays a sultry groove, clopping clavé under airy symphonyspace.org flute sections, but few follow-throughs. 11 reed players directed by Matt Lavelle (nary a saxophone!) gather forces only twice: in “Part Four”, over relentless Cuban-style percussion, gritty SUNDAY JUNE 1, 3PM multi-improv brass, piano and swirling rising to The Firehouse Space a full-bore fortissimo, and on “Part Seven”, with 246 Frost Street, Bklyn NY sporadic ‘big-band’ shouts in three tempi, driven by spirited oud and hand-drums, featuring solos by a vocal flutist (Zé Oliveira?), Graham Haynes’ snarly trumpet and Kenny Wessel’s languidly searing guitar. DissidentArts.com The ten string players are only sporadically evident in

24 MAY 2014 | THE NEW YORK CITY JAZZ RECORD the bass/gong, classical music-imbued opener “Now is a time!” and the creepy bow squealing of “M/S Kissavik” and “Extraterrestrial breakfast” before the full-throttle plucking assault of “Antsisters”. Not only does Davidsen brandish both an immense tone and mellifluous voice, he layers multiple basses and gongs, stunningly within the same composition. Another imposing presence from the Danish improv scene is the Berlin-based Adam Pultz Melbye,

whose impressive resumé includes collaborations with Herculean saxophonists such as Ken Vandermark and The Shortening of the Way Tom Blancarte (Tubapede) Peter Brötzmann and cellist Fred Lonberg-Holm. That Noget at Glæde Sig Til Nils Davidsen (ILK Music) experimental lineage is evident on Gullet, released on Gullet Adam Pultz Melbye (Barefoot) Melbye’s own Barefoot Records, a dark journey into by Brad Cohan the exploration of alien sounds. Melbye utilizes his bass as a means to navigate the sonic unknown through In 1968, bassist revolutionized the sound manipulation. Over the gamut of Gullet’s nine sound orb with Journal Violone, an improvised set of unsettling, minimalist sketches, he digs into his bass solo acoustic bass. Over the subsequent decades, a with abrasive yanking, bow scraping, finger stabbing featuring cornucopia of solo bass records followed, manifesting and sticks to gouge out a splattered collage of clang Journal Violone’s vision. The spirit of Phillips continues and clatter. EVAN PARKER to hover above an excellent trifecta of solo excursions, JOHN HÉBERT which finds each artist not just pushing the envelope For more information, visit tubapederecords.com, ilkmusic.com of the bass’ cosmos but deconstructing it and launching and barefoot-records.com. Blancarte plays solo at Spectrum it into the otherworld. Not for the squeamish, these May 13th. See Calendar. SSC 1386 / in stores May 13 three records are entirely worth seeking out.

The Shortening of the Way by New York’s own Tom Blancarte - known for his furious presence in Seabrook Power Plant, The Home of Easy Credit and Sweet Banditry - is executed with a similar violent aesthetic as tuba player’s Dan Peck’s Solo and is the second release on Peck’s Tubapede label. The disc’s two 17-minute crusades, with titles taken from Frank Herbert’s Dune, portend a man on a mission, equipped with an amplified upright bass designed to bulldoze any obstacles in its path. From the brutal get-go of Inspire Me! “Secher Nbiw” (The Golden Path), Blancarte is in Tim Warfield (HHM) interstellar overdrive, abusing the strings with bow in by Sean O’Connell hand, his bass bleeding a deafening soundworld of shrieks and caterwauls, conjuring terrifying images of Herb Harris wrote and arranged every tune on this ’s viola in The Velvet Underground. album. He also produced it. And contributed a few “Kralizec” mirrors its translation of impending doom vocals. And a saxophone solo. Nonetheless, he is not (Typhoon Struggle at the End of the Universe), a the leader. His face does not grace the cover. Instead, relentless spelunking into a sonically mangled abyss. tenor saxophonist Tim Warfield is there, gripping his The polar opposite can be found in Nils Davidsen’s saxophone with the awe of a pinstriped Indiana Jones. foundation of spatial elegance and bold expression on Warfield shares the frontline with trumpeter Noget at Glæde Sig Til (translation: Something to Look Antoine Drye, who blends for a Jazztet vibe on opener Forward To). An inventive Danish player who has “Monkee See Monkee Doo”. The band puts on a worked alongside Tim Berne, Marc Ducret and the late swinging swagger, all making individual introductions John Tchicai, Davidsen - who calls his beefy with the exception of drummer Rodney Green, who is improvisations “solo outbursts” - traverses a more a dependable watchman regardless of the tempos lucid path but his ethos is also one of fearlessness. called on the rest of the disc. “NY Daze NY Knights” is Recorded in Oslo and Copenhagen, the 11 vignettes a ten-minute riot of robust phrasing and pounding have the adventurous Dane attacking and massaging momentum and the lone feature for Harris’ saxophone. his instrument both arco and pizzicato to striking He joins Warfield and Co. with a flurry of confident The impressive collaboration results. Davidsen demonstrates that chilling effect on ideas, each soloist pushing the energy further. The band is loose and energized, responding to the high- between John Escreet’s Trio and energy visions unfolding. Why didn’t Harris join this the luminary saxophonist Evan band for more tunes on his saxophone? He provides a Parker on Sound, Space and noticeable spark to an already swinging band. Warfield leaves no doubt that he wields a heavy sound and Structures is truly revelatory. It pianist Kevin Hays keeps the proceedings soulful. An provides a wonderful example of of that lineup would have been welcome. an innovator without boundaries Instead, Harris makes a pair of vocal appearances, which cause the album to sag. His - working with equally passionate esque, self-penned melodies are loaded with far- musicians of the next generation leaping phrases requiring a far more nimble vocalist who plan to keep rattling expecta- than his strained hush can provide. The maudlin “What Ifs” is buoyed by Warfield’s selective solo lines tions. while “A Tinge of Melancholy” is more upbeat but a bit JOHN ESCREET of a hokey dip into Tin Pan Alley. Both vocal features are a far cry from the rocketing energy of Harris’ saxophone appearance, leaving this listener with “what ifs” of his own.

For more information, visit cdbaby.com/cd/timwarfield1. iTunes.com/JohnEscreet Warfield is at Village Vanguard May 13th-18th with Terell sunnysiderecords.com Stafford. See Calendar.

THE NEW YORK CITY JAZZ RECORD | MAY 2014 25

was the extroverted trombonist whose wide-as-the- sound enveloped the listener with the history of the instrument, from Dixieland to modernity, while Tchicai’s style was enigmatic, embracing a free jazz sensibility and molding it into a wholly unique sound. After the NYAQ, they went their separate ways (occasionally meeting up), each developing their styles into totally personal approaches to music. Followers of Rudd have been aware of his pan-

Rhapsody in Gershwin stylistic approach since 1973’s Flexible Flyer. His albums Ted Rosenthal (Playscape) from the last decade, recorded with African and Latin by Elliott Simon musicians, were unlike anything else, but distinctly elio villafranca Rudd. Trombone For Lovers is an unusual take on the Beginning with a version of the iconic “Rhapsody in Great Popular Songbook, with tunes that stem from Blue”, Ted Rosenthal’s piano trio offers spacious takes pop, country, labor songs, Broadway and . on seven other classics for the aptly This time around Rudd is working with , titled Rhapsody in Gershwin. Rosenthal has used whose Hammond B3 is all over this record, and slide Gershwin and other composers from the Great trumpeter Steven Bernstein. Both clearly understand American Songbook as settings for his jazz stylings Rudd’s approach and they operate as excellent foils, before. The results can be what he calls “derangements” meshing perfectly with the trombone master. There are - reharmonizing a tune while keeping its soul intact. vocal cameos by Bob Dorough (’ “Here, These unique arrangements date back to at least There And Everywhere”) and the magnificent Fay Rosenthology (Concord, 1994). Rosenthal is such a great Victor (“Trouble In Mind”). BeauSoleil’s violinist pianist, both technically and creatively, that he Michael Doucet makes two appearances (“Tennessee comforts the listener with these au fait melodies as he Waltz” and “September Song”). It’s a diffuse and nimbly challenges them. sprawling set unified by Rudd’s trombone - singing, With bassist Martin Wind and drummer Tim growling, playing harmony lines. Those familiar with Horner, Rosenthal has the freedom of an entire CD to Rudd’s music probably know what to expect. Those arrange and rearrange Gershwin in ways that he has who don’t are in for a treat. never and always been heard. The inherent contrasts of The relationship between Tchicai and guitarist “” make it the perfect centerpiece for Pierre Dørge was close. Dørge’s recording debut was

photo by whit lane and marylene mey this release. Rosenthal’s phrasing is crisp through all on Tchicai’s epochal 1969 big band record Afrodisiaca. the shifting moods and his unmatched ability to swing In turn, it was playing with Tchicai that eventually symphonically, rag and play the blues combine with spurred Dørge to form his New Jungle Orchestra, new jazz standards Horner and Wind’s coloration. It makes this orchestral mixing West African music with Ellington/Mingus- piece a triumph in the trio format. style jazz. Tchicai was with the band for its first ten may 16 • 7pm | may 17 • 9:30pm “Fascinatin’ Rhythm” is introduced with a Monk- years and would occasionally return as a guest soloist. With Carla Kihlstedt, Guillermo Klein, Bill McHenry, ish tinge, which effortlessly devolves into a somewhat So, when he passed in 2012, it was inevitable that the Reid Anderson, and ‘out’ arco bass-led section before the trio takes off. The band would record a tribute to their mentor and inherent waggishness of “Let’s Call the Whole Thing colleague. Tjak Tjaka Tchicai consists of material that nuevo jazz latino Off” is maintained through cleverly placed rhythmical was either performed during the era Tchicai was in the stops and starts while “Someone to Watch Over Me” is band (“A Rose For Laurent”), inspired by/dedicated to may 16 • 9:30pm | may 17 • 7pm presented in a fresh unhurried arrangement with an him or composed by him (“Largo Lapidarius”). But With Carlos Henriquez, Elio Villafranca, Yosvany Terry, emotive bass solo adding a tender touch. Rosenthal rather than sounding funereal, Tchicai is celebrated Dafnis Prieto, and Pedrito Martinez has redefined the touching beauty of “I Loves You with rousing performances. When playing “Largo Porgy” à la Bill Evans before on The 3 B’s (Playscape, Lapidarius”, the band emphasizes the rapturous 2007) but here the piece receives a more mature vocal beauty inherent in the composition. And when the jlCo Hosts: CHristian MCBride treatment. “Strike Up the Band” and Love Walked In”, energy level is elevated, the enthusiasm and dynamism & Kurt rosenwinKel both of which were previously de-ranged on really comes to the fore (“Mozimbo”, “Ker Dorong” Rosenthology, are yet again revitalized. Complex and the title track). And in thanking Tchicai on this may 23–24 • 8pm rhythms, lightning-quick runs, distinctive disc, his memory is given a spirited send-off. Jazz at Lincoln Center Orchestra with Wynton harmonization, melodic fluency and inventive Marsalis and special guests Christian McBride improvisations make Rhapsody in Gershwin a refreshing For more information, visit sunnysiderecords.com and and Kurt Rosenwinkel approach to classically familiar material. steeplechase.dk. The New York City premiere of The Breath Courses Through Us, a documentary film about the New Modern ellington For more information, visit playscape-recordings.com. This York Art Quartet, is at Anthology Film Archives May 18th. project is at Dizzy’s Club May 14th. See Calendar. jun 5–7 • 8pm Jazz at Lincoln Center Orchestra with Bill Frisell: tHe eleCtriC guitar in aMeriCa

jun 6–7 • 7pm & 9:30pm With Bill Frisell, Greg Leisz, , and Trombone Tjak Tjaka Tchicai For Lovers Pierre Dørge & New jalc.org Roswell Rudd Jungle Orchestra (Sunnyside) (SteepleChase) jazz at lincoln center by Robert Iannapollo Venue Frederick P. Rose Hall Box Office Broadway at 60th, Ground Fl. Aficionados of ‘60s avant garde jazz point to the New CenterCharge 212-721-6500 York Art Quartet (NYAQ) as one of the premier groups of the era. Founders trombonist Roswell Rudd and A CorporAte SponSor of JLCO HOsts: CHristian MCBride & Kurt rOsenwinKeL And MOdern eLLingtOn saxophonist John Tchicai were thoughtful, intelligent, probing musicians who worked well together. Rudd

26 MAY 2014 | THE NEW YORK CITY JAZZ RECORD

“Paradise”, backed by a shimmering wall of strings as and by virtue of sheer determination. Her work was she moans softly when she sings “he dims the light”, unflinchingly honest, courageous and confrontational, the effect is totally fresh. “Someone To Watch Over with a focus on Civil, Women’s and ultimately, Human Me” has an edge of predatory confidence, implying Rights. Her words were backed on recordings that that “this little lamb” will definitely find her man. featured Richard Davis, , Bobby Bradford Throughout she smoothly enunciates each word, and most often, the Firespitters, a band whose members each syllable, all caramel and honey, as elegant as it is overlapped with Ornette’s Prime Time. sensual. Ten singles (including a very simmering “Take Cortez found a kindred spirit in multi- It Slow, Joe” from her 1958 Tony Award-nominated instrumentalist/composer Bill Cole. They shared the

On The Blue Side turn in Jamaica) have been added to the original same creative goals and traveled in the same circles Lena Horne (RCA Victor-Sepia) recording. Sides with Marty Paich and Neil Hefti and in the liner notes to Politics: Tribute to Jayne Cortez, by Andrew Vélez further highlight what a uniquely nuanced stylist Cole calls her “an artistic associate of 40 years.” This Horne had become at her peak. concert, recorded at New York City’s Brecht Forum in When Lena Horne passed four years ago this month 2013, comes from the heart and that spirited sense of at 92, a unique chapter in the history of American For more information, visit sepiarecords.com dedication pours from the players, with Cole on his music, film and theater was closed. Once known as Australian didgeridoo and usual assortment of ethnic

“The Bronze Venus”, her unique blend of glamour and double-reeds: Indian nagaswarm, Chinese suona and talent took her from dancing in the chorus of the Cotton Korean piri. Cortez and Cole may have been thought of Club in Harlem to film musicals, Broadway first as African-American artists but, by virtue of Cole’s and elegant nightclubs. Because of then-prevailing playing, that association is expanded outward to the limitations on racial mixing in movies, her appearances world. He is supported by the tasteful polyrhythms of in musical films were usually brief and non-essential. drummer Warren Smith and percussionist Lisette When the movies were shown in the still racially Santiago, Joseph Daley’s authoritative euphonium, segregated South, her scenes were removed. Althea SullyCole’s gently strummed kora and Shayna Under the tutelage of her second husband, MGM Dulberger’s rock-solid bass. orchestrator and conductor Lennie Hayton, Horne There are some lovely sounds on this immediate- Politics: Tribute to Jayne Cortez refocused her career on nightclubs, records and the and clear-sounding CD. The Untempered Ensemble is Bill Cole Untempered Ensemble (s/r) stage. Her 1957 release, Lena Horne at the Waldorf by Jeff Stockton comprised of skillful musicians who improvise around Astoria, became RCA’s biggest seller of the year and well thought-out themes and carefully constructed was followed by a series of popular albums, including Jayne Cortez, who would have turned 80 this month melodic compositions. For his part, saxophonist Ras the newly reissued On The Blue Side. Arranged and but died in December 2012, was a jazz poet. By Moshe shakes things up with some free-jazz blowing conducted by Marty , this 1962 set features the association (she married Ornette Coleman in 1954 and to cut through the pastoral soundscapes. And lastly, vibrant RCA stereo sound for which he and the label the couple had Denardo Coleman in 1956); by there is Cortez’ poetry: bracing, defiant, expressive became well known in the ‘50s-60s and ear-opening inclination (she was captivated early on by the music and enduring. new takes on classics, with an erotic tone, which of Duke Ellington, Charlie Parker, Dizzy Gillespie, became a hallmark of Horne’s singing style. In opener and especially ); For more information, visit billcole.org Get the Truth! The debut recording of Joel Forrester and The Truth

Joel Forrester: piano Claire Daly: baritone saxophone Vito Dieterle: tenor saxophone David Hofstra: bass Matt Garrity: drums

11 new Forrester originals! May Sundays May 4, 11, 18, 25 Wednesdays May 7, 14, 21, 28 Saturday May 3 Joel Forrester plays service Joel Forester, solo piano Joel Forrester duo Grace Gospel Church Manhattan Inn with vocalist Christina Clare 589 E.164th St. 632 Manhattan Ave. Indian Road Cafe 11 am – 1 pm 7 to 10. No cover. 600 W.218th St. 8 – 11 pm. No cover. Sundays May 4, 11, 18, 25 Tuesday-Thursday May 27, 28, 29, 30 Joel Forrester, solo piano Joel Forrester, solo piano Thursday May 15 Manhattan Inn Bryant Park Joel Forrester quartet 632 Manhattan Ave. behind the 5th Avenue Library with vocalist Christina Clare Solo piano 7 – 10 pm 12:30-2:30 pm. Cleopatra’s Needle 8:30 set: duo with vocalist Free to the public. 2485 Broadway at W.93rd St. Christina Clare. 7 – 11 pm No cover. Wednesday May 14 and May 28 No cover. $10. minimum Joel Forrester Mondays May 5, 12, 19, 26 accompanies silent films Tuesday May 20 Joel Forrester, solo piano Manhattan Inn Joel Forrester quartet Brandy Library 632 Manhattan Ave. with vocalist Christina Clare 25 N.Moore St. 8pm. No cover Spectrum 8 – midnight. No cover. 121 Ludlow St. 9 – 10:30. Donation.

www.joelforrester.com

28 MAY 2014 | THE NEW YORK CITY JAZZ RECORD

vocals by his partner Ginger Rogers are pleasant prolific output of quirky, infectious compositions enough but it’s clear why she didn’t record often on drawing from stride, swing, boogie-woogie and other her own. True, the performances might be best served styles. Baritone saxophonist Claire Daly, a longtime by selective listening. Much of the material is collaborator, along with bassist Dave Hofstra, predictably about romantic yearning - exceptions suggested a name change for Forrester’s group after being the tart “A Fine Romance”, tribute to Bill the addition of drummer Matt Garrity and tenor Robinson “Bojangles of Harlem”, self-explanatory “I’d saxophonist Vito Dieterle. Thus The Truth. Rather Lead a Band” and “Slap That Bass” - and Part of the fun of listening to Forrester’s pieces is although the orchestral accompaniments are beautifully trying to anticipate the direction they will take, as the

The Early Years at RKO executed, they offer a certain sameness as well. But pianist always incorporates surprising twists. Daly’s Fred Astaire (TCM-Sony Masterworks) Astaire is remarkable and inimitable, a model the most hard-blowing baritone dominates the rollicking by Michael Steinman subtle singers of this century have understood, “Donald E” (honoring jazz journalist Donald Elfman), something Michael Feinstein points out in his notes. a piece that sounds like a mad scientist’s reworking of Fred Astaire, who was born 115 years ago this month, said that was the first hip “All the Things You Are” with a dash of Monk’s piano hardly appears in jazz discographies. Some might white man in the US; the music on this set makes a for seasoning. Dieterle shines in the bittersweet ballad wonder why a two-disc compilation of songs featured subtle but compelling case for Astaire being the second. “Now is the Time to be Careful”, delivering a lush solo in his 1935-38 film musicals deserves attention here. with Daly providing a soft harmony underneath him. Because we do not see the familiar image of the For more information, visit sonymasterworks.com “Get Serious” builds upon the theme of a famous immaculately attired elegant dancer, listeners can Frédéric Chopin piano composition and transforms it concentrate on Astaire the peerless singer. He found into a lively bossa nova featuring Forrester with his the rhythmic heart of every song, sincere and rhythm section. “The End” begins as a playful, nonchalant at once. His limited vocal range was an somewhat dark tango, then takes on a different path as immense benefit, forcing him to present the song itself a melding of Monk and Herbie Nichols with creative rather than impressing with vocal drama. These use of dissonance, accented by big-toned, swinging qualities would have made him a fine popular singer baritone. Forrester’s lyrical “Il Pleut” represents a but not necessarily an influential one in terms of jazz, rainy day in Paris and has a semi-classical air, well but Louis Armstrong, Billie Holiday, Mildred Bailey, supported by subtle bass and adept cymbal work. Fans , and two dozen of of Forrester’s earlier small groups will be delighted Astaire’s contemporaries knew these now-classic songs with the latest edition of his band. Furtive Sex first through his performances. The finest composers Joel Forrester and The Truth (Ride Symbol) and lyricists of the period wrote songs for him - George by Ken Dryden For more information, visit ridesymbol.com. Forrester is at and Ira Gershwin, Irving Berlin, Jerome Kern and Indian Road Café May 3, Cleopatra’s Needle May 15th, , Vincent Youmans and Cole Porter. Pianist Joel Forrester is known for his work co-leading Spectrum May 20th, Bryant Park May 27th-30th, Grace Listened to in the right spirit (not a rote immersion the Microscopic Septet and heading various small Gospel Church Sundays, Manhattan Inn Sundays and in nostalgia), these recordings are sweetly compelling groups of his own. One of his best known originals is Wednesdays and Brandy Library Mondays. See Calendar and almost every song is in itself a marvel. The two the theme to the NPR show , typical of his and Regular Engagements.

Gregory Tardy SteepleChase recording artist Recent Releases

SCCD 31775 SCCD 31754 SCCD 31725

SCCD 31698 SCCD 31647

“... one of the most important saxophonists of his SCCD 31610 generation ...” AllAboutJazz

SCCD 31583

US distribution: Stateside Distributors [email protected]

THE NEW YORK CITY JAZZ RECORD | MAY 2014 29

take of “The Building Is On Fire” by an unaccompanied DKV, Vandermark gruffly tearing in with jovial burrs and blistered runs, the latter recalling prime late ‘60s

2 , against the shifting, thrummed funk of 0 Drake and Kessler. There are occasional breakdowns

1

4 where Kessler brings forth a shady pizzicato or Drake isolates a few elements from his panoply of rhythms, but mostly this tune is a limber patch of fiery blowing. Adding Gustafsson and company on the shorter

Sound, Space and Structures “All In” (which opens the LP version), the heat is John Escreet (Sunnyside) significantly turned up with the Swede’s panning by Ken Micallef baritone squall, Pupillo’s loose fuzz and the clattering spray of Nilssen-Love’s kit. The bulk of the disc is Swirling saxophone and piano notes recalling a throng made up of “All Out”, a 30-minute improvisation that of singing ducks at sunup; chattering drums and begins with rousing arco/electric bass volleys and, as cymbals intertwined with childlike piano figures; much as the rhythm section tends toward a stewed quartet skirmishes that morph into laidback swing battle between Drake and Nilssen-Love, the pulses. All this and more finds its joyous way on saxophonists and bassists are different enough in their pianist John Escreet’s latest release. approaches to keep things interesting. The main issue 8pm Accompanied by his fluid and often cathartic trio is the recording quality, which is surprisingly murky 12am of bassist John Hébert and drummer Tyshawn Sorey and compressed and could do with a bit of space - even plus fellow Englishman Evan Parker on saxophones, the most brutal fracas should have some. Escreet continues to cement his place among New York’s elite jazz pianists and composers. Though much For more information, visit trost.at. Mats Gustafsson and of Sounds, Space and Structures was improvised in the Paal Nilssen-Love are at Knockdown Center May 16th with studio, the musicians are of such accord that this nine- The Thing as part of the Red Bull Music Academy Festival.

F E A piece suite (“Part I” through “Part IX”) often sounds See Calendar. T U R IN composed. And no matter how boisterous or serene, a G sense of calm permeates the music, the musicians finding peace through a shared sense of group ecstasy. This level of freedom, control and ultimate release derives from a place of mastery. Veteran Parker is the perfect foil for Escreet’s constantly dazzling trio. Vocals & Soprano Sax Escreet begins “Part V” with lone, solemn piano notes, Parker augmenting the spectral mood with HARLEM AWAKENING 2.0 splayed circular breathing suggesting anguish. The piece grows in intensity, Escreet rolling the piano’s upper register as Parker raises his cries, the music SATCHMO MANNAN BAND Birch Hall Concerts Live almost turning in on itself. A shimmer of jointly The Bechet Legacy (Classic Jazz) cascading duo notes suggests free-falling, then a final by Donald Elfman high pitched twinkle signals the abrupt end. Much of the album follows a similar pattern: engrossing These performances exist because of a time in 1946 conversations quickly climaxing, dissipating, then when saxophonist/clarinetist studied with disappearing - swoosh! But the core of this immensely . The joy and spirit of these concerts - satisfying album is the exciting shared improvisations made by collector Stan Bowmen in England in 1981-82 and ceaseless flow of appealing melodies. and previously unreleased - comes directly from the lessons Bechet imparted to the then-18-year-old. The For more information, visit sunnysiderecords.com. Escreet is album celebrates what Wilber calls, “all of the beautiful at The Jazz Gallery May 3rd with Adam Larson, 9th as a music that he wrote and recorded through the years” leader, 15th with Zack Lober and 16th-17th with Greg Ward. and is chock full - 23 tunes in all - reflecting Swing and See Calendar. traditional music from nearly a century. Things open up with the Gershwin standard, “Oh,

Lady Be Good”. Wilber and trumpeter Glenn Zottola swing the lead, propelled by the knockout, steady pulse of pianist Mark Shane, bassist and drummer . The two play hot and lovely solos and complement Shane’s own short but perfectly Yurie Fukayawa & Terri Davis smart solo. Guitarist Mike Peters is a little hard to hear Vocalists but he’s right in the spirit of things. In addition to a handful of Ellington gems and standards from the Great American Songbook, the group performs its magic on six tunes composed by Schl8hof Bechet. “Egyptian Fantasy” is a sinuous, slow beauty $ DKV Trio + Gustafsson/Pupillo/Nilssen-Love (Trost) featuring Wilber on clarinet, who takes the line first ADM by Clifford Allen Suggested and then offers appropriate accompaniment to Zottola. Donation $10 Schl8hof (or Schlachthof) is a community arts center It sounds like a Middle East-meets-New Orleans blues located in Wels, Austria, which has been presenting a as both horn players sail in and out of the melody. variety of contemporary art and music performances Three tunes are reminders that Bechet’s legacy is since 1985. In the realm of free improvisation, Schl8hof due in great part to France. The sentimentally gorgeous has hosted the Music Unlimited Festival since 1987. A ballad “Si Tu Vois Ma Mere (If You See My Mother)” double-trio was convened in 2011 at the 25th Music features soprano and trumpet buoyed by a rhythm Unlimited, comprised of DKV - drummer Hamid figure from Peters on banjo while “Promenade Aux Drake, bassist Kessler and saxophonist Ken Champs-Elysees” is a jaunty walk and “Dans Le Rue Vandermark - and a trio of saxophonist Mats Gustafsson D’Antibes” a stirring march. (Swedish, resident in Austria), electric bassist Massimo , Pupillo and drummer Paal Nilssen-Love, the results For more information, visit innercityjazz.com. Bob Wilber issued on both vinyl and CD by Austrian imprint Trost. is at Symphony Space May 19th as part of an Arbors The CD issue of Schl8hof begins with a 20-minute Records Tribute. See Calendar.

30 MAY 2014 | THE NEW YORK CITY JAZZ RECORD ENJOY JAZZ LEGENDS, NIGHTLY 8-11 PM, MEASURE LOUNGE

May 1-3, 12-17, 26-31 May 5-10 May 19-20 May 21-24 ANTONIO CIACCA FABRIZIO SOTTI STEVE ALBERTO PIBIRI Antonio Ciacca has served as artistic Fabrizio Sotti is an Italian-American Steve Ash received his formal Alberto Pibiri is an Italian Jazz director for the Italian cultural agency, jazz guitarist, composer, musical training at Indiana musician, well-respected by jazz C-Jam, Calagonone Jazz Festival, and producer. He will be University, receiving his B.A in Jazz enthusiasts everywhere, this jazz trio and as Director of Programming for accompanied by James Genus on Piano. He has been performing in is sure to impress audiences with Jazz at Lincoln Center in New York. bass and on drums. the New York City area as well as their energy and creative stylings.

internationally for over 30 years. PIANO SOLO SUNDAYS: MAY 4: ALBERTO PIBIRI MAY 11: MARCO DI GENNARO MAY 18: STEVE ASH MAY 25: ALBERTO PIBIRI

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and drummer Greg Sergo. Guitarist songs, like ’s “Footprints” and chestnut joins on Ralph Ranger-Leon Robin’s “Thanks for the “I Fall in Love Too Easily” (given a radically new Memory”, Cy Coleman’s “When in Rome” and Roberto treatment), are tossed in, along with some material, like Menescal’s bossa nova standard “Little Boat” while “Willie Nelson”, which wouldn’t appear until Davis’ cornet player Warren Vaché is featured on Jimmy Van even more rock-oriented album Jack Johnson a year later. Heusen-Johnny Burke’s “Put It There, Pal” and George As usual, Davis had an astute eye for young talent, Gershwin’s “Let’s Call the Whole Thing Off”. surrounding himself with future stars like Chick Corea For all her subtlety, York brings plenty of feeling and Keith Jarrett, a whirlwind tandem on electronic to Memoir, whether interpreting Cole Porter’s “Take keyboards, and the powerhouse duo of bassist Dave

Somos Agua Me Back to Manhattan”, Frank Loesser’s “On a Slow Holland and drummer Jack DeJohnette, who drive the Tony Malaby Tamarindo (Clean Feed) Boat to China”, Rube Bloom-Harry Ruby’s “Give Me proceedings with relentless force and creativity. While by John Sharpe the Simple Life” or “Walk Between the Raindrops” by Davis frequently lets his young charges run wild, he . York’s sense of humor is evident with remains the focal point, playing far more trumpet far While Tony Malaby has many outlets for his burly some fun male/female banter with Vaché on “Put It more robustly than he would as the ‘70s progressed and tenor saxophone, few of them pack the visceral heft of There, Pal” and “Let’s Call the Whole Thing Off”. his soloing became more sporadic. Tamarindo, the outfit crewed by bassist William Parker Some jazz instrumentalists don’t care to work For a sense of how far Davis had come in just a and drummer Nasheet Waits. Malaby hit paydirt with with singers, but thankfully, the musicians York chose few years, it’s worth comparing the Fillmore concerts the trio’s eponymous 2007 debut, built on that success are known for their work with vocalists: Malone spent with Newport 1967, from his second classic quintet with by adding trumpeter for a somewhat years backing ; Vaché played with Herbie Hancock, Wayne Shorter, Ron Carter and Tony murky live recording in 2010, but has now reverted to extensively; and Wind and di Williams. This brief but indispensable set captures the original lineup for the band’s third album, Somos Martino have both backed numerous singers in their another of Davis’ revolutionary ensembles at its apex. Agua. It’s every bit the match for its illustrious careers. The overarching melodicism of the band The scorching quintet pushes the boundaries of forebears. Heads tend to be sketchy affairs, which only certainly doesn’t hurt. In , York (who hardbop and modal jazz while mixing in aspects of free serve to get the real business underway - a series of didn’t start singing professionally until 35) would jazz, which was never really Davis’ bag, but which he cohesive collective outbursts. have a larger catalogue. But the albums she has had the foresight to let his band’s younger members Malaby is a monster, restlessly creative through all recorded have been solid and Memoir is no exception. explore. The group covers familiar tunes, “Footprints”, the registers of his horn, from earthy honks to fluent “So What” and “‘Round Midnight”, reworking each of overblowing. But what makes him so fascinating is For more information, visit libbyyork.com. This project is at them fresh, bold and mesmerizing. It’s that the undoubted power is leavened by a willingness Jazz at Kitano May 7th. See Calendar. an exceptional achievement by a remarkable band, but to enlist any resource, whether muffled snorts, hoarse one that Davis would soon feel he had taken as far as whistles, multiphonic shrieks or querulous wavering he could and would jettison for his next adventure. cries. Whatever works. Parker has the savvy to follow wherever Malaby roams, able to turn on a dime from For more information, visit legacyrecordings.com and gargantuan propulsion to bravura swipes of the bow concertvault.com. Davis tributes are at Iridium May while Waits blends crisp articulation at high tempos 21st-24th, Smoke May 23rd-24th and ShapeShifter Lab with a playbook of ever-changing rhythmic patterns. May 23rd. See Calendar. At first blush each of the seven cuts sounds part of an unfettered blowing session, but after repeated listens barely discernible melodic themes become apparent, which briefly surface from the organic ebb Miles at the Fillmore Newport 1967 Academy Records and flow (not always at the outset) and fuel further Miles Davis Miles Davis Quintet group exploration. Neither tone nor time pass as (Columbia-Legacy) (Concert Vault) absolutes in Tamarindo’s universe, shifting by Joel Roberts & CDs unpredictably and stretching or compressing elastically. Malaby forges a particularly strong The original Columbia release of Miles at the Fillmore connection to Parker, manifest most notably on the was an incomplete representation of Davis’ four-night lengthy discursive conversation between the pair on 1970 stand at Bill Graham’s legendary Fillmore East. “Bitter Dream”. But bass and drums don’t always Producer , by necessity, had to chop up the Cash for new and used shadow the saxophone, creating a quicksilver three- hour-long nightly performances to fit them onto the compact discs,vinyl part counterpoint emerging from more conventional four sides of the two-LP collection. The names of the trio transactions. Malaby clearly understands the individual tunes weren’t even included, with each side records, blu-rays and paradox that it takes a really tight unit to play this simply referred to by the night the show took place. loose yet still keep focus. The resulting album gave listeners a taste of the new dvds. trail Davis’ electric septet was blazing, but failed to For more information, visit cleanfeed-records.com. This capture its volcanic power and excitement. group is at Cornelia Street Café May 9th-10th. See Calendar. Columbia has finally gotten it right, issuing the full Fillmore concerts on 4 CDs, with over 100 minutes We buy and sell all

of previously unheard material, plus three songs recorded at the Fillmore West a few months earlier. It’s genres of music. an invaluable documentation of -era Davis, All sizes of collections when he was creating a new language melding rock’s sonic power with the improvisational freedom of jazz. welcome. It’s worth remembering that Davis was charged in some jazz circles with “selling out” by tailoring his music to rock audiences. While he was no doubt influenced by - and in some ways jealous of - James For large collections, Brown, Sly Stone and Jimi Hendrix, the one thing he Memoir please call to set up an Libby York (s/r) cannot fairly be accused of is making watered-down by Alex Henderson music easy for youthful rock fans to digest. If Davis appointment. adopts some of the psychedelic trappings of the time, Libby York is not a huge name in the jazz world, but above all by adding electronics and playing as loud as those who are familiar with her singing know her to be the rock bands, his music remains challenging, an appealing representative of the Cool School. forward-thinking and resolutely uncompromising. Influenced by Anita O’Day, Chris Connor and June The setlists are nearly the same on each of the four Open 7 days a week 11-7 Christy, York does not shout to get your attention. nights, but the performances are different enough to Restraint and understatement prevail throughout make listening to repeat versions of classic tunes like 12 W. 18th Street NY, NY 10011 Memoir, a pleasing effort that finds the Chicago native “Directions”, “Bitches Brew” and “It’s About That 212-242-3000 joined by pianist John di Martino, bassist Martin Wind Time” worthwhile. For variety’s sake, a few older

32 MAY 2014 | THE NEW YORK CITY JAZZ RECORD

up with the late guitarist’s frequent workmates - guitarist , bassist Jim Hughart and drummer Colin Bailey - on For Joe. The latter three are all veterans of Pass’ landmark album, from which three tunes (the title track, “Fleur d’Ennui” and “Rosetta”) are revisited here, along with Pisano’s “Blues for Joe” and several of Pass’ favorite songs to play. A far more relaxed session than the previous two recordings (unlike Pass, Potenza isn’t trying to mix it up with jazz’

fastest and most furious), the rhythm section provides a Live at 800 East laid-back ambiance for Potenza’s melody statements Michael Feinberg’s Humblebrag (Behip) Dizzy’s Big 4 (OJC) and soloing, often supplemented by Pisano’s tastefully by George Kanzler Dizzy Gillespie//Ray Brown/ concise solos. While Potenza’s style clearly owes a debt (Pablo-Concord) to Pass, on tracks like “Catch Me” and “Do Nothin’ ‘Til Bassist Michael Feinberg’s last recording was The Skol (OJC) You Hear From Me”, where he stretches out, taking Project; here he showcases six of his own Oscar Peterson/Stephane Grappelli (Pablo-Concord) more risks, his own voice begins to emerge. often knotty and complex originals. What carries over For Joe from the earlier project is an intense kinetic energy, Frank Potenza (Capri) For more information, visit concordmusicgroup.com and amplified here by the explosive, smack and crackle by Tom Greenland caprirecords.com drumming of , the senior member of this uitarist Joe Pass is one of a select group of jazz’ young quintet. Feinberg follows in the tradition of G greatest artists known more for their craftsmanship bassist-leaders like Charles Mingus and Dave Holland, than their innovations, though certainly Virtuoso, his creating demanding challenges for his sidemen. breakout 1973 album on Pablo, permanently raised the Humblebrag features a frontline of Godwin Louis (alto bar for solo guitar performances. In memory of his sax), Billy Buss (trumpet) and Julian Shore (piano), passing 20 years ago this month and in conjunction Feinberg dividing his time equally between acoustic with Pablo Records’ 40th anniversary, two reissues and bass and electric bass guitar. The music is definitely a new tribute album pay homage to his legacy. postbop, boasting influences of hip-hop and jazz fusion Dizzy’s Big 4 was one of producer ’ as well as more than a dollop of Mingus strategies. many successful assemblages of super-groups, an A+ This live-in-studio recording begins with team consisting of trumpeter Dizzy Gillespie, Pass, “Tutuola”, a reference not to the late Nigerian fabulist Wish the Children Would Come on Home bassist Ray Brown and drummer Mickey Roker, Amos Tutuola, but to the rapper Ice-T, who plays The Westerlies (Songlines) recorded in Los Angeles in 1973 when Gillespie, then by Kurt Gottschalk detective Fin Tutuola on TV’s Law and Order: SVU, the in his late 50s, was still at the height of his chops. The theme alluding to Ice-T’s early rap career in the setlist includes three Gillespie originals - “Frelimo”, The change in ’ temperament, if judged rhythms. The stuttering theme gives way to a splashy “Be Bop (Dizzy’s Fingers)” and “Birks’ Works” - by the evolution in his music, wasn’t immediate in the solo from Buss, whose brash playing throughout standards “September Song” and Fats Waller’s wake of the relocation from his native New York to pushes the instrument’s limits with daredevil abandon. “Jitterbug Waltz”, as well as the less heard “Russian Seattle in 1988. There were some funky bands that He and Louis engage in a heated exchange, encroaching Lullaby” (by Irving Berlin) and “Hurry Home” (by followed in the rowdy style of the East Coast groups. excitingly on each other’s space, on “Puncher’s Meyer-Emmerich-Bernier), with alternate takes of the But somewhere along the line things started getting Chance”, a piece with a hip-hop ostinato electric Berlin and Waller tunes added for the reissue. At this more sublime. His Gravitas Quartet played a sort of bassline and the shifting times and burgeoning point Gillespie hadn’t lost any of his younger ’s chamber jazz for piano, trumpet, bassoon and cello intensity of a Mingus piece. roar and the tempos on “Russian Lullaby” and “Be and his 2006 album Whispers, Hymns and a Murmur was Electric bass also propels a funky backbeat shuffle Bop” would prove daunting to lesser technicians, but the first release of his compositions for string quartet. on “Duckface”, an update of New Orleans blues, and Pass & Co. prove more than equal to the task, burning The brass quartet The Westerlies complements the title tune, a nod to early electric Miles Davis with a up these tracks with fluid phrasing and rock-solid those efforts with a collection of new arrangements of fast fusion line over a jazz-rock beat, gritty staccato swing. Gillespie delivers most of the melodies and Horvitz tunes for the unlikely lineup of two bounce from Louis and slithery perfervid wails from ensuing solos with his mute in, exploiting its full range (Zubin Hensler and Riley Mulherkar) and two Buss, plus an eye-of-the-storm piano turn from Shore. of timbres and textures, yet often returns for a second, trombones (Andy Clausen and Willem de Koch). Wish Spooky sounds clash with bop lines and changing even more dramatic solo with an open horn. On “Birks’ the Children Would Come on Home is a lot of things, but rhythms, suspended time and extreme dynamics on Works” and elsewhere Pass proves both a sensitive first and foremost it should be noted that it is just a the overly ambitious suite “But the Sound…”. Jacob accompanist and adroit soloist while Brown and Roker lovely listen. It is that rare combination of approachable Deaton’s guitar is added on the largely through- are impeccable throughout, even dipping into the funk and unusual that can challenge listeners who want to composed and engagingly developed, contrapuntal bag on both takes of “Jitterbug Waltz”. be challenged and entertain those who don’t. ballad “Untitled 2”. Skol is another all-star outing masterminded by But beyond that, it’s a deserved nod to Horvitz. Granz, this one recorded live in July 1979 in the Tivoli The bandmembers selected the pieces and did most of For more information, visit behiprecords.com. This project Gardens Concert Hall in Copenhagen with pianist the arrangements. Horvitz appears on 4 of the 16 tracks is at Blue Note May 11th. See Calendar. Oscar Peterson, violinist Stephane Grappelli, bassist (playing keyboards and electronics) but three of those Niels-Henning Ørsted Pedersen, Pass and Roker. It are minute-long “interludes”. So the project is an was five world-class chefs all in the same kitchen but appreciation, done by a band 75% of which studied FAST SPEAKING MUSIC announces the resultant cuisine is remarkably cohesive, the strong under the composer. And it’s a record by a band that individual flavors highly compatible. Grappelli, for knows how to rise above itself. The paired trumpets Sir Real Live at Resonance one, was at this point an elder statesman in his late 60s and trombones might not be easy to arrange for a new album by Brahja Waldman’s Quintet and his leadership is natural, unquestioned. Peterson (Horvitz acknowledges as much in his liner notes), but available online and at Downtown Music Gallery and Other Music is dazzling, rattling off scintillating runs, one after the tunes sound full, big without being bombastic. And another, as if effortlessly, though their complexity it’s a nicely varied set. Much of it is slow and a bit belies the illusion of ease. Like Pass he is more of a somber; other times, as in “Home”, it strikes more consummate craftsman than an innovator, but his squarely of the New Orleans tradition. “9/8” is sheer musicianship on “Makin’ Whoopee”, “Skol reminiscent of Julius Hemphill’s joyful complexities Blues” and “Honeysuckle Rose” is worth the price of and “Parade” is upbeat and slightly off-kilter like a admission. Running with such fast company, Pass once theme. Such parallels suggest aspects of again shows his taste and pluck, providing just the moodiness, playfulness, jazziness, but none of them right accompaniment to complement the collective arrive at the same mix as Wish the Children Would Come musical ‘sauce’ and ample fire and brio on cuts like on Home. The Westerlies - musicians from Seattle who “How About You?” and “That’s All”. Ørsted Pedersen have reversed Horvitz’ path and relocated to New locks in with Roker, laying unshakable bedrock at any York - have done their teacher proud. and all tempos, prompting high-powered playing and inspired performances. For more information, visit songlines.com. This project is at www.brahjawaldman.com Guitarist Frank Potenza, a student of Pass, teamed Cornelia Street Café May 25th. See Calendar.

THE NEW YORK CITY JAZZ RECORD | MAY 2014 33

uniquely constructed Bonebridge Band establishes that resonating string twangs could come from guitars. their eponymous 2011 debut was not a one-off novelty Lengthened or split-second silences succinctly impart project. Featuring the same slide guitar, pizzicato cello, a sense of dynamics to the ardent improvisations. bass and drums format, Nighthawks is intentionally In her work with Evan Parker and others, Lee has shadier than the down-home-comes-downtown feel of shown herself capable of the highest level of their first effort. The repartee between Doug Wamble’s improvisational smarts. Operating alongside another slide guitar and Friedlander’s plucked cello still forms string player, the interface is unquestionably more the band’s center, but here they explore dark musical intense and satisfying. Describing this as dissonant alleys, pool halls and bus stations. chamber music wouldn’t be too far from the mark.

Act Necessary Friedlander wrote many of these tunes in the Andy Biskin’s Ibid (Strudelmedia) literal and figurative darkness that descended on NYC For more information, visit fataka.net. Lee curates a week at by Brad Cohan in the wake of Hurricane Sandy, a time that, for The Stone this month and is there May 6th-11th and at Friedlander, evoked the essence of painter Edward Knockdown Center May 16th as part of the Red Bull Music Of the innumerable merits New York City’s avant Hopper’s stark and identically titled angular view of a Academy Festival. See Calendar. garde jazz scene brings to the musical table, it’s the Greenwich Village diner. This is mainly accomplished stylistic arc draping its terrain that lends an awe- by bassist Trevor Dunn and drummer Michael Sarin as inspiring vibe. But for the influx of fire-breathing they set the tone for songs that induce the monotony of IN PRINT energy music that seemingly engulfs the sphere, there’s “26 Gasoline Stations”, loneliness of “One Red Candle” composers like the melodiously rich, spry and crafty and vengeance of a “Poolhall Payback”. clarinetist Andy Biskin who make this city’s palette Opener “Sneaky Pete” has an uptempo swagger, even deeper by balancing out the fray with an equally funky melody and bluesy rock guitar, which makes it intrepid, yet contrasting, vision. an exception to the predominate ambiance. The title Like fellow clarinet master Chris Speed’s own cut begins with that ambient approach, which creates a Skirl Records, Biskin documents a bulk of his recorded shadowy, free-floating vibe. It then coalesces into an fabric via Strudelmedia, the label he owns and operates. easy-going, slightly resigned progression evoking a From the collaborative wind trio The Spokes’ breezy sleepy, unlit island. Friedlander does pick up his bow harmonics conveyed on Not So Fast to the chamber-jazz on occasion and when he does, the juxtaposition is delight of Trio Tragico and on to the revelatory and attention-grabbing. These are welcomed flashes and quirky sprawl of his Quartet’s Early American: The although he amazes with his ability to blend the Kansas City Lightning: The Rise and Times of Charlie Parker Melodies of Stephen Foster, Biskin’s oeuvre has been pizzicato cello with Wamble’s guitar, the genre does Stanley Crouch (Harper Collins) quite the musicological tour de force. have its limits. Nighthawks serves to validate further by Russ Musto Now, Biskin has assembled a powerhouse unit Friedlander’s concept and makes one very curious with cornetist Kirk Knuffke, trombonist Brian Drye about which direction the band will head next. Stanley Crouch’s tome on the life of Charlie Parker and drummer Jeff Davis dubbed Ibid for Act Necessary, comes to readers after three decades of research, not a colorful platter of chipper tunes ostensibly serving as For more information, visit skipstonerecords.com. This as a full-course meal, but a satisfying appetizer in the soundtrack for ‘20s-era Chaplin-esque theater, project is at SubCulture May 22nd. See Calendar. preparation for a sumptuous dinner that is to follow. when live music accompanied films and pathos and This is not the full life story of the celebrated hijinks ruled the day. The impeccable horn trifecta of saxophonist but, as the title implies, simply the start Biskin, Knuffke and Drye were seemingly born for of the tale, the first of a promised two-volume these cinematic histrionics, interlocking, weaving in biography. Beginning midway with a recounting of and about, taking turns and trading light jabs with a the circumstances leading up to Bird’s legendary wielding of bubbly phraseology as Davis guides the Apollo Theater solo on “Cherokee” with Jay rumpus with a swaggering backbeat. The organic McShann’s Band, which heralded a new architecture confluence that Biskin’s troupe effortlessly creates for jazz improvisation that would become known as fulfills his underlying premise of Ibid, which is an bebop, the book looks back on the early formative abbreviation of the Latin ibidium, meaning “in the years of the great alto saxophonist. same place” and the spirited playing on Act Necessary The book is not a minutia-seeking chronicle White Cable Black Wires mirrors that aesthetic. John Edwards/Okkyung Lee (Fataka) laden with dry dates and facts. The writing is In apropos fashion, the recording begins its upbeat by Ken Waxman cadenced with the rhythms of a jazz soloist, informed jaunt with the strutting title track, a deliciously funky by an insider’s familiarity with the hidden details of number that immediately showcases the juxtaposing Like the spools of sharp wires pictured on the inner the musician’s life. Reading more like a novel, the chemistry between the quartet while setting the sleeve of White Cable Black Wires, the sounds that make book paints a vivid picture of the Kansas City music record’s jovial, slapstick-style outlook. One can just up this CD are industrial, utilitarian and rugged. scene of the ‘30s, fostered by an atmosphere of picture the tomfoolery of Chaplin miming, prankstering During five improvised tracks, British bassist John corruption that gave birth to the rhythmic Southwest and ledge-walking while the playful and introspective Edwards and Korean-American cellist Okkyung Lee swing sound that McShann’s group epitomized. A tempos of “Companion Piece”, “Page 17” and vie with one another to expand a mini-suite made up master of the metaphor, Crouch describes the music “Balderdash” provides a raucous backdrop. While of scrubs, scuffs, jangles and pumps to its furthest as “the unruly holler from the territories (that) hits Biskin receives top billing as Ibid’s brain trust, Act limits. The result may be anything but melodious. But like ice water on a hot stove, sending steam up to the Necessary presents a group of equals brimming with it’s never less than captivating in its power. ceiling.” Crouch’s account of Parker’s early years is flawless interaction. Edwards, whose activity on the London free music insightful, probing into the conditions that made scene is analogous to that of William Parker in New him the man he was to become. Informed by For more information, visit strudelmedia.com. This project York - working with everyone from saxophonist John interviews with family and friends (including his is at Cornelia Street Café May 30th. See Calendar. Butcher to The Remote Viewers group - has similar first wife), readers are given an intimate view into a noise-band experience as the cellist. He manages to complex individual who was a product of his time

hold down the thematic bottom while simultaneously and place in black America. ripping descriptive whimpers from his punished string Like a jazz improvisation, Crouch’s narrative is set when needed. Meanwhile, knowledgeable about full of surprises as he regularly pauses from the extended techniques from classical and ethnic music central theme to put his story in context. Cowboys studies, Lee kinetically stabs her strings to produce and Indians, cops and robbers, hoboes and harlots near-human cries even as she uses bow percussion to all enter into the narrative, along with fellow join with the bassist to propel the narrative forward. musicians, as Parker embarks on the journey that The constant listening means that a track such as would eventually lead him to New York and the “WCBW II” remains tightly connected, no matter how center of the jazz universe. much triple stopping unrolls at speedy velocity. High- Nighthawks pitched rasps and knife-sharp string slices share space For more information, visit harpercollins.com. A book ’s Bonebridge (Skipstone) by Elliott Simon with low-pitched scrubs as vibrations from string and discussion with the author is at Minton’s Playhouse May wood snap and shudder back onto themselves. Col 5th. Visit harlemjazzshrines.org. The sophomore release from cellist Erik Friedlander’s legno thumps bring in suggestions of drumbeats while

34 MAY 2014 | THE NEW YORK CITY JAZZ RECORD

George Gershwin tune discovered and outfitted with lyrics by Ira Gershwin in 1946: “For You, For Me, Forevermore”. Two tunes that Flanagan favored, Quincy Jones’ “Quintessence” and “Don’t Love Me” (recorded by Coleman Hawkins with Flanagan), are lyrical highlights. And the pianist’s “Invention” displays the trio’s, as they collectively improvise the first section before breaking into swing.

The Inquiring Mind The Bluebird of It’s A Good Day For more information, visit arborsrecords.com. A tribute to Euphoria (Joyous Shout) Happiness Rossano Sportiello/ Mat Domber of Arbors is at Symphony Space May 19th by Alex Henderson Bryan Shaw and Eddie Metz/Nicki Parrott with Sportiello as well as Anat Cohen, Wycliffe Gordon, the Hot Shots (Arbors) (Arbors) , Bucky Pizzarelli, Warren Vache, Harry Allen, When drummer/composer/bandleader Chico by George Kanzler Bob Wilber and others. See Calendar. Hamilton passed away last November at 92, jazz lost one of its few remaining members of the World War II This year is the 25th anniversary of Arbors Records, a generation. Hamilton, born in 1921, played behind label that has been showcasing and documenting ON SCREEN Fred Astaire for a dance sequence in the 1941 movie practitioners, many of them white, of the mostly pre- You’ll Never Get Rich, recorded his first album as a bebop era styles of jazz known as mainstream, Swing leader in 1955 and kept busy up until the end. The and Dixieland. The label is just as important in Inquiring Mind, in fact, was recorded only a month exposing and encouraging these musicians as the before his death. European labels Criss Cross and ECM are in presenting This posthumous release finds Hamilton more modern jazz stylists, many of them also white. overseeing his group Euphoria: Evan Schwam (tenor, Arbors doesn’t have the cutting-edge reputation of alto, soprano and baritone saxophones and flute), Paul those other labels, but it has consistently produced Ramsey (electric bass), Jeremy Carlstedt (drums and some of the best mainstream jazz of the last decades, in percussion), Nick Demopoulos (guitar) and Mayu the process developing the talents of many emerging Saeki (flutes). Guests George Bohanon (trombone) and musicians who have been overlooked by other labels. Jimmy Owens (trumpet, flugelhorn) appear on some of Good examples are these two albums, the first The Breath Courses Through Us Alan Roth (Assymetric Pictures) the tracks. And with Hamilton producing, Euphoria produced before the death of Arbors co-founder Mat by Duck Baker spends most of the album performing new material by Domber in 2012 at the age of 84 and It’s A Good Day the him. Over the years, Hamilton embraced everything first after his passing. This excellent documentary tells the story of the from hardbop and avant garde to fusion but, despite Among the many pleasures of an Arbors CD is the short-lived but extremely important New York Art some funk/soul touches on his “Nice Lick” and repertoire. Mainstream jazz is focused more on the Quartet (NYAQ), using as a focus the equally short- Ramsey’s “534 Play”, this is a postbop album first and song, often the standard or previously popularized lived reunion of the band 35 years after its original foremost, including the good-natured “Joy of Spring”, song, than is contemporary jazz. Hot Shots bandleader incarnation. The NYAQ was among the foremost Charles Mingus-like “Who Knows?” and moody “Out Bryan Shaw, a professor at Louisiana State University, groups of what has been called the second wave of of Sight, Out of Mind”. Members of Euphoria also is an expert on early jazz and trumpeters like Louis the ‘60s “New Thing” in jazz. They occupied a niche contribute some material: Demopoulos penned the Armstrong and among the pleasures of The Bluebird of of particular importance, owing to the ability of alto melancholy “Nate Sure”; Saeki the contemplative Happiness is a rousing, New Orleans two-beat, saxophonist John Tchicai and trombonist Roswell “Hope”; and Carlstedt the vibrant “Up to You”. One of polyphonal version of “Papa De Da Da”, a 1924 Rudd to improvise contrapuntal horn lines, the the most interesting surprises is an unlikely Clarence Williams tune recorded by Armstrong in that breathtaking new way in which drummer Milford arrangement of ’s “Perdido”. That standard, decade. Shaw, with the aid of Brad Roth’s banjo, Graves continually fragmented and transfigured which Tizol wrote in 1941 during his association with resurrects the two-beat Dixieland feel of a couple of time and the overall approach to group playing that Duke Ellington’s orchestra, has been recorded by songs that became Swing standards - “Love Me or involved equal participation by all four members countless artists over the years - and in many cases, it Leave Me” and “Blue Room” - as well as reviving such (the bass chair was a musical one in every sense, has been fast and exuberant. Hamilton and Euphoria, pre-Swing rarities as “Wang Wang Blues” and “I Lost having been filled by several outstanding players, of however, slow “Perdido” down to a crawl and do so in My Gal from Memphis”. There’s also a wonderful whom is the best known). Poet a funky, bluesy way. evocation of Duke Ellington’s recording of “Chloe”, often recited with the group in Hamilton left behind a huge catalogue. While The replete with plunger mutes, clarinet and Jimmie performance and on record (as LeRoi Jones for the Inquiring Mind isn’t as essential as some of the great Blanton-like breaks, courtesy of bassist John group’s 1965 eponymous ESP-Disk debut) and he albums he recorded in the ‘60s, it is an enjoyable Dominguez. Ellington’s “Just a Lucky So and So” was also involved in the reunion. farewell from the eclectic jazzman. recalls the Duke-Satchmo recording, but with Shaw The Breath Courses Through Us shows the poet displaying his plunger technique. When not in a and musicians getting together to discuss the For more information, visit joyousshout.com. Euphoria is at Dixieland/Nola mode, the band purveys enticing performances they would do after reuniting in 1999 Drom May 18th. See Calendar. mainstream jazz, Shaw’s keen melodicism and easy and also features short interview sections with each swing matched by trombonist Dan Barrett, saxophonist/ member in which they discuss both the things that clarinetist Evan Arntzen and pianist Ehud Asherie. were going on for them in the ‘60s and those that Propelling it all are the drums of Jeff Hamilton, best have happened in their lives thereafter, as well as known as co-leader of the Clayton-Hamilton Jazz how they hope to bring it all together again in a new Orchestra. Roth contributes four originals to the mix, way. Best of all is footage from several concerts including “The Bloomin’ Blues”, a relaxed piece that showing that, indeed, the group retained its magic, invokes a Verve session with . even as the individual members brought all kinds of It’s a Good Day showcases a trio that has worked new things to the table. Especially noteworthy is the together enough to display an easy camaraderie and interplay between Tchicai and Rudd, who sound as musical rapport and a pianist, in Rossano Sportiello, if they had worked together every day of those 35 who is just as accomplished in the tradition exemplified years! by the late and as the By the end of the film, the viewer feels as if he better known Bill Charlap. Nicki Parrott is not only a has gotten to know all the participants personally. Kerry Politzer’s Sixth CD, on PJCE Records supple bassist with a constant rhythmic lilt, but also a The departure of two of the five (Tchicai in 2012 and “A thoughtful young postbop pianist” comely singer with a wry wit, as she proves on three Baraka this past January) since the film was made - The New York Times tunes here: “Pick Yourself Up”, “It’s A Good Day” and underlines the timeliness and timelessness of this “Too Late Now”. Drummer Ed Metz is a subtle document. “An exciting, and often dazzling young jazz pianist accompanist, especially adept on brushes. Sportiello is who plays with precision, spirit and freedom.” as encyclopedic in his knowledge of tunes as Flanagan For more information, visit thebreathcoursesthroughus.com. - Keyboard Magazine and the repertoire here ranges from swinging The New York City premiere of The Breath Courses adaptations of familiar themes by Bach and Beethoven Through Us is at Anthology Film Archives May 18th. www.kerrypolitzer.com to the end title theme from Grumpy Old Men and the

THE NEW YORK CITY JAZZ RECORD | MAY 2014 35 earliest tracks can’t be compared to the assured bop based on a revolutionary poem by LeRoi Jones, with BOXED SET runs from tenor saxophonist Otis Greene, McPhee is that slogan chanted at the top, is the stunner here, obviously coming from a different place than the McPhee attaining the funk-futuristic music blend he saxophonist and vibraphonist Ernest Bostic, whose was seeking. Mixing harsh Ayler-ian screeches and workout on “Bags’ Groove” is neither helped nor majestic, Trane-like meditations, McPhee sidles up hindered by McPhee’s tremolo blasts. But in the final against thumping electric piano and the thickened section the leader composed for the first run-though percussion rumble without the narrative faltering. of “” - titled after the fact - the anthemic After that, it was just a short step to Black Magic theme that will be elaborated into a more-than-19- Man. Although the band still retained some of its minute showpiece is germinating. funk-jazz origin - the Kull-McPhee duet at the end of Recorded the next year, The Vassar Sessions find a “Hymn of the King” could be from Eddie rough and ragged band trying its hand at all sorts of Harris-Les McCann’s Swiss Movement LP - the Nation Time - The Complete Recordings jazz-oriented sounds, including the foot-stomping selections are fully in the free-jazz orbit. Three Joe McPhee (Corbett vs. Dempsey) Brown piece, mostly an R&B showcase for extended versions (two previously unreleased) of “Song for by Ken Waxman drum solos from Bostic and Bruce Thompson, plus Lauren” demonstrate how stuttering reed bites note-stuffed comping from electric pianist Mike Kull. mixed with gentle piano allow the group to play a Hard to imagine with Joe McPhee’s present day With McPhee doing his best Coltrane-like undulations ballad, but add enough distance so it never becomes mastery as a cerebral improviser, but there was a on tenor, Kull switches to badly recorded acoustic flowery. More remarkable are the title tune and time when the trumpeter/saxophonist was a jazz- piano for McCoy Tyner’s “Contemplation”, with “Hymn of the Dragon King”. On the former, McPhee funk proponent as well. Consisting of sessions from more attention to detail than depth, Kull almost fabricates a searching, avant garde performance with 1969-70, this four-CD boxed set not only includes the drowned out by the drummers and Tyrone Crabb’s enough leeway for more traditional sliding electric originally issued Nation Time and Black Magic Man electric bass. Despite jittery smears from Herbie piano breaks, brawny drum beats and brassy trumpet LPs in their entirety, but also 17 tracks previously Leaman’s B3 and Crabb’s dreary unison humming- runs. On the latter, Greene gets into the mood, unreleased on CD. Here is the earliest recorded and-plucking on acoustic bass, the arrangement on propelling a ney-like obbligato to McPhee’s multi- McPhee, in a nightclub setting playing trumpet on McPhee’s “Sunshower” presages a two-sax faceted growls and whinnies, as the six-man rhythm standards like “Milestones”. Even more astounding improvising strategy he would later perfect. With one section vamps as robustly if it was playing R&B. are tracks taped at the same concerts that produced honking and the other shrilling, a common ground is A singular achievement, Nation Time - The Nation Time, an eight-piece ensemble, including two created and Greene pushes past his comfort zone. Complete Recordings should interest those who follow electric keyboards and two percussionists, working The three tracks originally released as Nation McPhee’s incredibly productive career and want to out on James Brown’s “Cold Sweat”. Time confirm this evolution, although it was still a check out his origins, as well as folks whose Like other boxed sets devoted to the initial mercurial work in progress. “Shakey Jake”, for preference is for vibrant funk-jazz from the ‘60s-70s. works of game-changers such as Miles Davis or instance, is a straightforward funk riff, which sounds Charlie Parker, in truth most of the unissued tracks like War fronted by David “Fathead” Newman and For more information, visit corbettvsdempsey.com. here are of more historical than musical interest. For , especially when guitarist Davey McPhee is at Knockdown Center May 16th as part of The example, while the melodic trumpeting on the Jones trots out predictable blues licks. The title track, Red Bull Music Academy Festival. See Calendar. Cobi Narita Presents EVERY FRIDAY MAY 2–4 MAY 15–18 fairview baptist church brass renÉ marie’s i wanna be evil: band with shannon powell with love to eartha kitt 7:30 TO 10:30 PM MAY 5 MAY 19 temple university jazz band ensemble OPEN MIC/JAM SESSION featuring jon faddis and jimmy heath MAY 20 MAY 6 ’s berklee Open Mic/Jam Session for Singers, Tap Dancers, cincinnati college quintet conservatory of music Instrumentalists, Poets - hosted by Frank Owens, jazz ensemble MAY 21 terell stafford and the jazz one of the most gifted pianists you will ever hear! MAY 7–11 orchestra of philadelphia juilliard jazz orchestra MAY 22–25 Our Open Mic is one of the best of the Open Mics MAY 12 monday nights with wbgo ben wolfe quintet featuring oran etkin cd release: happening in New York & elsewhere, with the gathering light MAY 26–27 incomparable Frank Owens playing for you. MAY 13 quintet An unmatchable moment in your life! mary lou williams’ zodiac suite: with peter zak, , john webber, As a participant, or as an audience member, chris pattishall quintet and peter bernstein

MAY 14 (9:30PM) MAY 28–JUN 1 you will always have an amazing time, ted rosenthal trio cd release: juilliard jazz quartet one you will never forget! rhapsody in gershwin with ron carter, ron blake, and Don’t miss! Admission: $10 swing by tonight set times jalc.org / dizzys 7:30pm & 9:30pm Pearl Studios, 519 8th Ave, 12th Floor, Studio A Jazz at Lincoln Center’s Frederick P. Rose Hall Broadway at 60th Street, 5th Floor, nyc cobinarita.com

36 MAY 2014 | THE NEW YORK CITY JAZZ RECORD JUNE 1 - 30, 2014 NEW YORK • WWW.BLUENOTEJAZZFEST.COM 30 DAYS ▪ 15 + VENUES ▪ 150 + PERFORMANCES ▪ BOBBY MCFERRIN & QUESTLOVE & CHRISTIAN MCBRIDE /JOHN PATITUCCI/BRIAN BLADE TRIO RAMSEY LEWIS W/PHILIP BAILEY JON BATISTE & STAY HUMAN ▪ MICHAEL MCDONALD HYPNOTIC BRASS ENSEMBLE ▪ BUIKA MARQUES TOLIVER ▪ JOSÉ JAMES ▪ REGGIE WATTS CHRISETTE MICHELE ▪ LALAH HATHAWAY MARCUS MILLER ▪ SÉRGIO MENDES ▪ MICHAEL BOLTON ▪ MONTY ALEXANDER “CELEBRATING ORNETTE: THE MUSIC OF ORNETTE COLEMAN” WITH DENARDO COLEMAN VIBE & FEAT. AFRIKA BAMBAATAA , BRUCE HORNSBY, FLEA, GERI ALLEN, HENRY THREADGILL, JAMES BLOOD ULMER, PATTI SMITH, AND MANY MORE. JOE LOVANO ▪ GATO BARBIERI ▪ AVISHAI COHEN TRIO ▪ BEKA & DJ LOGIC DIZZY GILLESPIE™ AFRO CUBAN EXPERIENCE ▪ GINGER BAKER ▪ JEFF LORBER, W/DR. LONNIE SMITH ▪ MICHEL CAMILO ▪ ANDY BEY HIROMI ▪ FABRIZIO SOTTI ▪ CURTIS STIGERS ▪ ▪ JAZZ FORUM @ 35! SADAO WATANABE AND MANY MORE

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Thursday, May 1 • Antonio Ciacca Measure 8 pm êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 • Randy Johnston Ensemble Silvana 6 pm • The Three Flats: Dave Sewelson, Daniel Carter, Will Connell; Smooth Freejazz: êNels Cline Singers with Trevor Dunn, Scott Amendola; Mary Halvorson solo Dave Sewelson, Mike Neer, Jesse Krakow, Doug Wygal; Orchestra Dave: Le Poisson Rouge 6:45 pm $18 Saturday, May 3 Jake Sokolov-Gonzalez, Yoni Kretzmer, Leila Bordreuil, Michael Foster, Yaniv Kot, êIdeal Bread: Josh Sinton, Kirk Knuffke, Adam Hopkins, Tomas Fujiwara Tristan Shepherd, Lou Grassi Clemente Soto Velez Cultural Center 7:30 pm $11-22 Douglass Street Music Collective 8 pm $15 êAllen Lowe Field Recordings Orchestra with Hayes Greenfield, Bobby Zankel, • NYU Jazz Orchestra conducted by Rich Shemaria with Alan Ferber, Michael Rodriguez, • TK Blue’s A Warm Embrace with James Weidman, , Sylvia Cuenca, Lewis Porter, Matthew Shipp, Kevin Ray, Paul Austerlitz, Lou Grassi, Brian Simontacchi, Billy Drewes, Rich Perry, Dave Pietro and guest Emily Bear Ron Jackson, Roland Guerrero Birdland 6 pm $30 Christopher Meeder, Randy Sandke Blue Note 8, 10:30 pm $15 êSteve Kuhn Trio with Steve Swallow, Joey Baron Spectrum 10 pm • Music of John Coltrane Ensemble directed by Reggie Workman Birdland 8:30, 11 pm $30-40 êDenny Zeitlin Trio with Buster Williams, Matt Wilson New School Arnhold Hall 7 pm êEnrico Pieranunzi Trio with Scott Colley, Joe La Barbera Jazz at Kitano 8, 10 pm $30 • Avi Rothbard solo; Ari Hoenig Trio; Spencer Murphy Village Vanguard 8:30, 10:30 pm $25 • Made In Competition Gala Concert: Ricardo Baldacci; Pablo Elorza; Smalls 7:30, 10 pm 12:30 am $20 êClayton Brothers Quintet: Terell Stafford, Jeff, Gerald and John Clayton, Obed Calvaire Vladimir Maras; Rozina Patkai; Nick Vintskevich; NGA Big Band; Lenny White; • Mark Whitfield Jr. Trio; Billy Kaye Jam Jazz Standard 7:30, 9:30 pm $25 Randy Brecker, Yaacov Mayman Tribeca Performing Arts Center 8 pm $40-55 Fat Cat 9 pm 12:30 am • Omar Sosa Quarteto AfroCubano with Ernesto Simpson, Childo Tomas, • Billy Martin, Roger Kleier, Annie Gosfield and guests • Donna Lewis; Viktoria and Go Trio; Victor Jones Trio with Dylan Meek, Alex Blake Leandro Saint-Hill; Melissa Aldana Quartet with Glenn Zaleski, Pablo Menares, The Stone 8, 10 pm $15 Zinc Bar 8, 9, 11 pm Jochen Rueckert Blue Note 8, 10:30 pm $35 êKris Davis Trio with Tony Malaby, Gerald Cleaver • David Amram and Co. with Kevin Twigg, Rene Hart, Elliot Peper, Robbie Winterhawk • Whitney James Quintet with Jon Davis, Ed Howard, Jon Wikan, Jonathan Powell Cornelia Street Café 9, 10:30 pm $15 Cornelia Street Café 8:30 pm $10 Jazz at Kitano 8, 10 pm $15 • Tom Dempsey Trio with Ron Oswanski, Alvin Atkinson êJason Marshall Big Band Smoke 7, 9 pm êMusic Of Ornette Coleman Ensemble directed by Jane Ira Bloom; Bar Next Door 7:30, 9:30, 11:30 pm $12 • Jon Madof’s Zion80 plays ’s Book of Angels with Matt Darriau, Greg Wall, Music of Sun Ra Ensemble directed by Ahmed Abdullah • Kahlil Kwame Bell Sistas’ Place 9, 10:30 pm $20 Frank London, Jessica Lurie, Zach Mayer, Yoshie Fruchter, Shanir Ezra Blumenkranz, New School Arnhold Hall 7, 9 pm • Juancho Herrera BAMCafé 10 pm Brian Marsella, Marlon Sobol, Yuval Lion êKarl Berger Improvisers Orchestra ShapeShifter Lab 7, 8:15 pm $15 • Mike Karn Quintet; Raphael D’lugoff Quintet; Steve Hall Quartet The Stone 8, 10 pm $15 • Zaid Nasser with Pasquale Grasso, Ari Roland, Keith Balla; Joe Martin Quartet with Fat Cat 7, 10 pm 1:30 am • Sean Wayland, Des White, Ben Eunson, Nate Wood Steve Wilson, Kevin Hays, Jeff Ballard; Emmet Cohen Trio with Russell Hall, • Adam Larson Quintet with Matthew Stevens, John Escreet, Matt Penman, 55Bar 7 pm Evan Sherman Smalls 6, 9:30 pm 12:30 am $20 Jimmy Macbride The Jazz Gallery 9, 11 pm $22 • Todd Clouser’s One Vicious Disco with Dred Scott, Hernan Hecht; Dave Miller Group • Marcus and Jean Baylor Project Smoke 7, 9, 10:30 pm • Emy Tseng with Q Morrow, David Jernigan, Vanderlei Pereira, Lyle Link ShapeShifter Lab 8:15, 9:30 pm $8 • Samir Zarif Trio with Fima Ephron, Henry Cole Metropolitan Room 9:30 pm $20 • Harlem Jazz Shrines Festival: Late Night Jam with Antonio Hart Bar Next Door 8:30, 10:30 pm $12 • Sebastian Cruz and The Cheap Landscape Trio with Ruben Samana, Franco Pinna Minton’s Playhouse 10 pm $10 • Gregorio Uribe Big Band Zinc Bar 9, 10:30 pm Terraza 7 8 pm $7 • Sonia Szajnberg Trio with Matt Davis, Leon Boykins • Jorge Roeder solo; Cabin Trio: James Carson, Dan Blake, Richie Barshay • Joel Forrester/Christina Clare Indian Road Café 8 pm Bar Next Door 8:30, 10:30 pm $12 The Firehouse Space 8 pm $10 • Hiromi Kasuga Trio; Brett Sandler Trio with Peter Longofono, Adam Pin • Hyeseon Hong Jazz Orchestra Tea Lounge 9, 10:30 pm • String Noise: Pauline Kim Harris/Conrad Harris; Ikue Mori/Annie Gosfield Somethin’ Jazz Club 7, 9 pm $10 • Anthony Cekay Organ Trio with Ben Paterson, Christian Coleman and guest Billy Ryan The Stone 8, 10 pm $15 • Chieko Honda; Airi Mwochizuki Tomi Jazz 8, 11 pm $10 LIC Bar 7:30 pm • Yale Strom and Hot Pstromi with David Licht, Norbert Stachel, Peter Stan, Sprocket, • Richard Benetar Quartet Cleopatra’s Needle 8 pm • Fabrizio Sotti with James Genus, Francisco Mela Elizabeth Schwartz Dweck Center at Brooklyn Public Library 7 pm êJimmy Greene Quartet with Xavier Davis, Gerald Cannon, Jeff ‘Tain’ Watts Measure 8 pm • Alexis Cuadrado Poetica with Melcion Mateu, Rowan Ricardo Philips, Miles Okazaki, Smoke 7, 9, 10:30 pm $38 • Shoko Amano Somethin’ Jazz Club 7 pm $20 Andy Milne, Tyshawn Sorey SEEDS 9 pm • Dmitry Baevsky Quartet; Harry Allen Quartet; Stacy Dillard, Diallo House, Ismail Lawal • Marla Sampson Tomi Jazz 8 pm • Dan Rufolo Quintet with Pat Carroll, Adam Larson, Adrian Moring, Jimmy MacBride Smalls 7:30, 10:30 pm 1 am $20 • Danny Bacher Le Cirque Café 7:30 pm Cornelia Street Café 8:30 pm $10 • Fairview Baptist Church Brass Band with Kevin Louis, David Harris, Darryl Adams, • The Moonglowers; Nick Wright Trio • Victor Gould Trio with Corcoran Holt, Ralph Peterson Jeffrey Hills, Terrence Andrews and guest Shannon Powell The Garage 7, 10:30 pm The Jazz Gallery 9, 11 pm $15 Dizzy’s Club 7:30, 9:30 pm $45 • Jose Andres Cid de Leon Marquez Silvana 6 pm • Amy Cervini/Janis Siegel Duets with Michael Cabe, Matt Aronoff, Matt Wilson êLuis Bonilla, Bruce Barth, Andy McKee 55Bar 7 pm Knickerbocker Bar and Grill 9:45 pm $5 Tuesday, May 6 • UMOJA: Yunie Mojica/Raynel Frazier; Saul Rubin Zebtet; Josh Evans êSteve Kuhn Trio with Steve Swallow, Joey Baron Fat Cat 7, 10 pm 1:30 am Birdland 8:30, 11 pm $30-40 êEddie Palmieri Latin Jazz Band with Anthony Carrillo, Luques Curtis, Camilo Molina, • Osso String Quartet: Edwin Huizinga, Andie Springer, Anne Lanzilotti, Maria Jeffers; êEnrico Pieranunzi Trio with Scott Colley, Joe La Barbera Vicente “Little Johnny” Rivero and guests Alfredo de la Fé, Donald Harrison, Joe Locke, Weather Vest Quartet: Jay Rattman, Aaron Irwin, Michael Lormand, Max Seigel Village Vanguard 8:30, 10:30 pm $25 Ronnie Cuber Blue Note 8, 10:30 pm $45 Ibeam Brooklyn 8:30 pm $15 êClayton Brothers Quintet: Terell Stafford, Jeff, Gerald and John Clayton, Obed Calvaire • Sheila Jordan Birdland 8:30, 11 pm $40 • Bomb X: Nicolas Letman-Burtinovic, Loren Stillman, Bobby Avey, Nick Anderson; Jazz Standard 7:30, 9:30, 11:30 pm $30 êBrad Mehldau Trio with Larry Grenadier, Jeff Ballard Anna Webber 4tet with Jonathan Goldberger, Michael Bates, Jeff Davis • Omar Sosa Quarteto AfroCubano with Ernesto Simpson, Childo Tomas, Village Vanguard 8:30, 10:30 pm $25 Spectrum 7:30, 9:30 pm Leandro Saint-Hill; Melissa Aldana Quartet with Glenn Zaleski, Pablo Menares, êFred Hersch/Ralph Alessi Jazz Standard 7:30, 9:30 pm $25 • Alex Brown Quartet Terraza 7 9 pm $7 Jochen Rueckert Blue Note 8, 10:30 pm $35 • Cincinnati College Conservatory of Music Jazz Ensemble with guest Fareed Haque • Antonio Ciacca Measure 8 pm • Alexis Cuadrado Poetica with Melcion Mateu, Rowan Ricardo Philips, Miles Okazaki, Dizzy’s Club 7:30, 9:30 pm $30 • Ian O’Beirne with Dave Bozenhard, Kurt Kotheimer, Dean Schweiger; Andy Milne, Tyshawn Sorey SEEDS 9 pm • Steve Tyrell Café Carlyle 8:45 pm $65-155 Ross Kratter Quintet with Randy Johnston, Enrique Sanchez, Xavier Del Castillo, êBrian Drye/Kirk Knuffke; Weather Vest Quartet: Jay Rattman, Aaron Irwin, • Lou Caputo Not So Big Band NYC Baha’i Center 8, 9:30 pm $15 Jerrold Kavanagh Somethin’ Jazz Club 7, 9 pm $10 Michael Lormand, Max Seigel Ibeam Brooklyn 8:30 pm $15 êOkkyung Lee solo; Corvus: Ches Smith/Okkyung Lee • Takeshi Iwasaki Tomi Jazz 9 pm $10 • Antonio Ciacca Measure 8 pm The Stone 8, 10 pm $15 • Burt Eckoff Trio Cleopatra’s Needle 7 pm • Ruby Choi Silvana 6 pm • Harlem Jazz Shrines Festival: Nathan Lucas • Carl Bartlett Jr. Quartet; Gabe Valle Quartet • Pericopes Shrine 6 pm Showman’s Jazz Club 8:30 pm The Garage 6, 10:30 pm • Eddie Allen and PUSH St. Albans Congregational Church 5 pm êHarlem Jazz Shrines Festival: Christian Sands Trio with Noah Jackson, Rodney Green • Seneca Black Silvana 6 pm êPapo Vázquez Mighty Pirates Troubadours with Mario Castro, Richard Germanson, Ginny’s Supper Club 10 pm Ruben Rodriguez, Victor Jones, Gabriel Lugo, Carlos Maldonado • Jack Jeffers and the New York Classics with Kathryn Farmer Friday, May 2 Snug Harbor Cultural Center 2 pm Zinc Bar 8, 10 pm • Larry Newcomb Quartet; Evgeny Sivtsov; Akiko Tsuruga Trio êKris Davis/ Flin van Hemmen Duo; How to Make a Mountain: Jesse Stacken, êBucky Pizzarelli’s Swing Xing! with Frank Vignola, Vinny Raniolo The Garage 12, 6:15, 10:45 pm Adam Hopkins, Martin Urbach, Josh Sinton, Patrick Breiner The Cutting Room 8 pm $30 Spectrum 9:30, 10:30 pm $10 êDenny Zeitlin solo Jazz at Kitano 8, 10 pm $30 Sunday, May 4 • Spike Wilner Trio with Yotam Silberstein, Paul; Smalls Legacy Band: Josh Evans, êCharlie Hunter Rockwood Music Hall 3 9 pm $15 Stacy Dillard, , Theo Hill, Rashaan Carter, Kush Abadey; êJimmy Greene Quartet with Xavier Davis, Gerald Cannon, Jeff ‘Tain’ Watts êBladerunner: John Zorn, Bill Laswell, Dave Lombardo Kyle Poole and Friends Smalls 7:30, 10:30 pm 1 am $20 Smoke 7, 9, 10:30 pm $38 Le Poisson Rouge 8 pm $40 • Saul Rubin; CocoMama; Greg Glassman Jam • Joel Harrison/Anupam Shobhakar’s Multiplicity with Jacob Sacks, Hans Glawischnig, • Annie Gosfield, Max Mandel, Eric Huebner; George Kentros, Max Mandel, Eric Huebner Fat Cat 7, 9 pm 12:30 am Dan Weiss, Samarth Nagarkar and guest Anindo Chatterjee The Stone 8, 10 pm $15 • Gabriel Zucker and The Delegation with Adam O’Farrill, Jacob Teichroew, Eric Trudel, Cornelia Street Café 9, 10:30 pm $15 • Kendra Shank/John Stowell with guest Rogério Boccato Bryan Qu, Mark Chung, Ron Lawrence, Eric Allen, Artemisz Polonyi, Tiffany Ortiz, êEast West Guitar Trio: John Stowell, Gene Bertoncini, Paul Meyers Roulette 7 pm $20 Bam Bam Rodriguez, Gabriel Globus-Hoenich, Chris Connors Bar Next Door 7:30, 9:30, 11:30 pm $12 êRobert Dick solo 61 Local 7 pm $10 The Jazz Gallery 9 pm $15 • Al MacDowell’s Just Ornette Quartet with Tony Falanga, Ron Thompson, Tony Lewis • Kazzrie Jaxen/Gary Levy The Drawing Room 7 pm $20 • University of Michigan Jazz Ensemble and guest Jay Rodriguez BAMCafé 10 pm êJames Brandon Lewis Trio with Max Johnson, Dominic Fragman; ShapeShifter Lab 8:15, 9:30 pm $10 êTad Shull Quartet; Harry Allen Quartet Catherine Sikora/Brian Chase WhyNot Jazz Room 7:30, 9 pm $10 • Henrik Meurkens Trio with Misha Tsiganov, Oleg Osenkov Smalls 7:30, 10:30 pm $20 • Falkner Evans Group with Marc Mommaas, Ron Horton, Belden Bullock, Matt Wilson; Bar Next Door 8:30, 10:30 pm $12 • Craig Wuepper EarSight Quartet; Jared Gold with Dave Gibson, Josh Evans, Barbara Rosene Duo; Johnny O’Neal with Paul Sikivie, Charles Goold; Marc Devine • Caili O’Doherty Jazz at Kitano 8 pm Kush Abadey Fat Cat 6, 10:30 pm with Paul Sikivie, Fukushi Tainaka Smalls 4:30, 7:30, 10 pm 12 am $20 • Dave Damiani and Lyman Medeiros Trio with Andy Langham, Aaron McLendon; • Fairview Baptist Church Brass Band with Kevin Louis, David Harris, Darryl Adams, • Terry Waldo’s Gotham City Band; Fat Cat Big Band; Brandon Lewis/Renee Cruz Jam Forest Band: Itamar Shatz, Yoav Shlomov, Eitan Kenner, Max Oleartchik, Itay Morchi; Jeffrey Hills, Terrence Andrews and guest Shannon Powell Fat Cat 6, 8:30 pm 12:30 am Paul Tafoya Project with Matt Chalk, Alex “Blade” Silver, Quincy Chimich, Dizzy’s Club 7:30, 9:30 pm $40 • Nadav Remez Quintet with Greg Tardy, Victor Gould, Haggai Cohen Milo, Devon Gillingham, Connor Parks Somethin’ Jazz Club 7, 9, 11 pm $10-15 • Annie Gosfield, Roger Kleier, Ches Smith; Stephen Gosling/James Ilgenfritz Ferenc Nemeth; Greasers: Ian Gittler, Avi Bortick, Andy Hess, Aaron Johnston, • Dawoud Kringle Tomi Jazz 8 pm The Stone 8, 10 pm $15 Eric Hoegemeyer with The Beautiful Brass and Aleksandar Petrov • Recessionals Jazz Band; Joe Pino Trio êGabriel Alegría Afro-Peruvian Sextet WhyNot Jazz Room 8, 10 pm The Garage 6, 10:30 pm Zinc Bar 8 pm • The Cleaning Lady; Jackson Krall Trio • Fabrizio Sotti with James Genus, Francisco Mela êLuis Bonilla, Bruce Barth, Andy McKee ABC No-Rio 7 pm $5 Measure 8 pm Knickerbocker Bar and Grill 9:45 pm $5 • Peter Leitch/Jed Levy Walker’s 8 pm • Joe Pino Quintet Silvana 6 pm • Charles Downs’ Centipede with Billy Stein, Larry Roland, Michael Moss, Ras Moshe • Alberto Pibiri Measure 8 pm • The New York Bakery Connection Shrine 6 pm Westbeth Music Works 8 pm $10 • Larry Bluth Trio with Dylan LaGamma, Bill Chattim and guest Dana Holness; êExposed Blues Duo: Anders Nilsson/Fay Victor Suzanne Pittson with Jeff Pittson, Harvie S, Dave Meade Barbès 8 pm $10 Somethin’ Jazz Club 5, 7 pm $10 • Imani Uzuri’s Praise House The Jazz Gallery 9, 11 pm $22 • Periscope + 1: Emiliano Vernizzi, Alessandro Sgobbio, Nick Wight • Damon Banks’ Travelguides with Sylvester “Sly” Scott, Manu Koch, Bruce Cox, Caffe Vivaldi 8 pm Billy Lester Brahim Fribgane and guests ShapeShifter Lab 8 pm $10 • Fairview Baptist Church Brass Band with Kevin Louis, David Harris, Darryl Adams, • Alex García’s AfroMantra with Ole Mathisen, Mike Eckroth, Ariel de la Portilla Jeffrey Hills, Terrence Andrews and guest Shannon Powell is accepting new jazz piano students, The New York City Business Club 7 pm Dizzy’s Club 7:30, 9:30 pm $40 offering an original approach to jazz • The Messiaen Project: Jesse Stacken solo êEnrico Pieranunzi Trio with Scott Colley, Joe La Barbera Bloomingdale School of Music 7 pm Village Vanguard 8:30, 10:30 pm $25 creativity, technique, theory and ear • PROJECT Trio: Greg Pattillo, Eric Stephenson, Peter Seymour êClayton Brothers Quintet: Terell Stafford, Jeff, Gerald and John Clayton, Obed Calvaire SubCulture 7:30 pm $15-20 Jazz Standard 7:30, 9:30 pm $25 training to students of all levels. • Dee Lucas Smooth Factor Metropolitan Room 9:30 pm $20 • Marike van Dijk Blue Note 6:30 pm • Asher Ben-Or Trio Indian Road Café 8 pm • Omar Sosa Quarteto AfroCubano with Ernesto Simpson, Childo Tomas, • Terry Vakirtzoglou Somethin’ Jazz Club 9 pm $10 Leandro Saint-Hill; Melissa Aldana Quartet with Glenn Zaleski, Pablo Menares, Re: Storytime - Billy’s solo piano CD: • Yvonnick Prene Tomi Jazz 9 pm $10 Jochen Rueckert Blue Note 8, 10:30 pm $35 • Masami Ishikawa Organ Trio Cleopatra’s Needle 8 pm • Kyle Moffatt Sextet Silvana 6 pm “Connoisseur jazz...at an ever higher level • Guy Mintus Trio; Peter Valera Jump Blues Band • Ike Sturm’s Evergreen with Melissa Stylianou, Chanda Rule, Loren Stillman, The Garage 6:15, 10:45 pm Jesse Lewis, Chris Dingman Saint Peter’s 5 pm of daring and mastery.” êSteve Kuhn Trio with Steve Swallow, Joey Baron • BJ Jansen with Marcus Persiani, Amanda Ruzza, Chris , Angel Rodgers Birdland 8:30, 11 pm $30-40 InFuse 51 5 pm $10 -Howard Mandel, President, êEnrico Pieranunzi Trio with Scott Colley, Joe La Barbera • Harlem Jazz Shrines Festival: Brianna Thomas Jazz Journalists Association Village Vanguard 8:30, 10:30 pm $25 Abyssinian Baptist Church 4 pm $20 êClayton Brothers Quintet: Terell Stafford, Jeff, Gerald and John Clayton, Obed Calvaire • NYU Jazz Brunch - Combo Nuvo: Dave Schroeder, Billy Drewes, Brad Shepik, Jazz Standard 7:30, 9:30, 11:30 pm $30 Rich Shemaria, , John Hadfield “You won’t get any better than this.” • Omar Sosa Quarteto AfroCubano with Ernesto Simpson, Childo Tomas, Blue Note 11:30 am 1:30 pm $29.50 Leandro Saint-Hill; Melissa Aldana Quartet with Glenn Zaleski, Pablo Menares, • Roz Corral Trio with Nir Felder, Ed Howard -Rotcod Zzaj, rotcodzzaj.com Jochen Rueckert Blue Note 8, 10:30 pm $35 North Square Lounge 12:30, 2 pm • Elsa Nilsson Quintet with Jessica Lurie, Jeff McLaughlin, Alex Minier, Cody Rahn; • Mayu Saeki Trio; David Coss Quartet; Mauricio de Souza with Alan Chauber, “Solo jazz piano at its best” Davy Mooney Quartet with Jon Cowherd, Matt Clohesy, Mark Ferber Joonsam Lee The Garage 11:30 am 6:30, 11 pm Blue Note 12:30 am $10 - Scott Albin, Jazz Times • Alexis Cuadrado Poetica with Melcion Mateu, Rowan Ricardo Philips, Miles Okazaki, Monday, May 5 Andy Milne, Tyshawn Sorey SEEDS 9 pm www.billylester.com • Weather Vest Quartet: Jay Rattman, Aaron Irwin, Michael Lormand, Max Seigel; • Temple University Jazz Band with guests Jon Faddis, Jimmy Heath Frank Basile Collective Ibeam Brooklyn 8:30 pm $15 Dizzy’s Club 7:30, 9:30 pm $30 studio in Yonkers, NY

38 MAY 2014 | THE NEW YORK CITY JAZZ RECORD Wednesday, May 7 • Daisuke Abe Trio with Kuriko Tsugawa, Anthony Lee Jazz at Kitano 8, 10 pm $15 êJeff “Tain” Watts 3SUM with Lionel Loueke, James Genus • Dwayne Clemons Quintet with Josh Benko, Sacha Perry, Murray Wall, Minton’s Playhouse 7, 9:15 pm Jimmy Wormworth; Matt Brewer Group; Carlos Abadie Quintet with Joe Sucato, • Igmar Thomas and Guests Minton’s Playhouse 11 pm $10 Peter Zak, Clovis Nicolas, Luca Santaniello êGreg Tardy Trio; Greg Glassman Quartet with Jeremy Manasia, Joseph Lepore, Smalls 6, 9:30 pm 12:30 am $20 Jason Brown Smalls 9:30 pm 12:30 am $20 • Point of Departure; Greg Glassman Quintet; Spencer Murphy Quartet êTommy Campbell and Vocal-Eyes with Miles Griffith, Carolyn Leonhart, Helio Alves, Fat Cat 7, 10 pm 1:30 am Ben Sher, Harvie S Smoke 7, 9, 10:30 pm • Joaquin Pozo David Rubenstein Atrium 7:30 pm • Juilliard Jazz Orchestra Celebrating Duke Ellington and • Colin Stranahan, Glenn Zaleski, Rick Rosato Dizzy’s Club 7:30, 9:30 pm $35 The Jazz Gallery 9, 11 pm $15 êIkue Mori, Vijay Iyer, Okkyung Lee; Kim Gordon/Okkyung Lee êDave Chamberlain’s Band of Bones with Noah Bless, Charley Gordon, Nick Grinder, The Stone 8, 10 pm $20 Sara Jacovino, Nate Mayland, Chris Rinaman, Max Seigel, Dale Turk, Kenny Ascher, êValery Ponomarev “Our Father Who Art Blakey” Big Band Tim Ferguson, Chris Parker, Chembo Corniel, Kat Gang and guest Steve Turre Zinc Bar 8 pm Christ & St. Stephen’s Church 8 pm $15 êLibby York Quartet with John di Martino, Warren Vaché, Martin Wind • Camila Meza Ginny’s Supper Club 8:30 pm $15 Jazz at Kitano 8, 10 pm $15 • Tom Guarna Trio with Yasushi Nakamura, Rudy Royston NEW CD OUT NOW • Harlem Jazz Shrines Festival: Manuel Valera with Sofia Rei; Aruán Ortiz with Bar Next Door 8:30, 10:30 pm $12 , Don Byron Harlem Stage Gatehouse 7:30 pm $10 • Jazz Orchestra Ensemble directed by Charles Tolliver; Music of Art Blakey and • Harlem Jazz Shrines Festival: Kimberly Thompson Ensemble directed by Charles Tolliver Showman’s Jazz Club 8:30 pm New School Arnhold Hall 7, 9 pm • Harlem Jazz Shrines Festival: Late Night Jam with TS Monk • Rozina Patkai Zinc Bar 8 pm Ginny’s Supper Club 10 pm • Albert Marques, Walter Stinson, Zack O’Farrill • Flying Home - The Music of Benny Goodman: John Mettam, Mike McGinnis, Caffe Vivaldi 9 pm Brian Drye, Sean Moran, Tom Beckham, Jim Whitney • Heavy Favorites: Jimmy Cozier, Bill Wurtzel, Lindsey Horner; Barbès 8 pm $10 VIktorija Gecyte and Go Trio with , Sean Gough, Gene Perla, Colby Inzer • Chick Corea Ensemble directed by Armen Donelian; M Base Ensemble directed by Somethin’ Jazz Club 7, 9 pm $12 Andy Milne New School Arnhold Hall 7, 9 pm • Scot Albertson/Lee Tomboulian Tomi Jazz 9 pm $10 • Julian Shore Quintet with Gilad Hekselman, Dayna Stephens, Aidan Carroll, • Ruslan Khain Trio Cleopatra’s Needle 7 pm Colin Stranahan Cornelia Street Café 8:30 pm $10 • Champian Fulton Quartet; Kyle Moffatt Sextet • Raphael D’lugoff; Groover Trio; Ned Goold Jam The Garage 6, 10:30 pm Fat Cat 7, 9 pm 12:30 am • Alex Foster Jazz Band Shrine 9 pm • Becca Stevens Band Rockwood Music Hall 2 8:30 pm • Juilliard Jazz Orchestra Celebrating Duke Ellington and Gerald Wilson • Tyler Blanton Electric Project with Nate Wood, Sam Minaie Dizzy’s Club 7:30, 9:30 pm $35 Rockwood Music Hall 1 12 am êEddie Palmieri Latin Jazz Band with Anthony Carrillo, Luques Curtis, Camilo Molina, • Joey Alexander; Jan Kus Quartet with Sean Fitzpatrick, Dan Martinez, Joel Mateo Vicente “Little Johnny” Rivero and guests Alfredo de la Fé, Donald Harrison, Joe Locke, ShapeShifter Lab 7, 8:15 pm $10 Ronnie Cuber Blue Note 8, 10:30 pm $45 • Sergio Krakowski Trio with Vitor Gonçalves, Todd Neufeld; Marta Sanchez Group with êBrad Mehldau Trio with Larry Grenadier, Jeff Ballard Roman Filiu, Jerome Sabbagh, Sam Anning, Jason Burger Village Vanguard 8:30, 10:30 pm $25 SEEDS 8:30, 10 pm êFred Hersch/Kate McGarry Jazz Standard 7:30, 9:30 pm $25 • New Parallels: Loren Stillman, Nicolas Letman-Burtinovic, Travis Reuter, Nick Anderson • Steve Tyrell Café Carlyle 8:45 pm $65-155 Bar Chord 9 pm • Fabrizio Sotti with James Genus, Francisco Mela • Queens Jazz OverGround Jazz Jam Measure 8 pm Flushing Town Hall 7 pm $10 • 19th Annual Essentially Ellington High School Jazz Band Competition • Guy Mintus Spectrum 9 pm $15 Rose Hall 8 am $10 • Juan Felipe Quartet Terraza 7 9 pm $7 • Roger Davidson; Joe Alterman Caffe Vivaldi 7, 9:30 pm Friday, May 9 • JC3: Jack Gulielmetti, Ethan Cohn, Julius Rodriguez; Greg Diamond Quartet with Mike Eckroth, Edward Perez Somethin’ Jazz Club 7, 9 pm $10-12 êThe : , John Lindberg, Rob Thomas • Julio Botti Trio Tomi Jazz 8 pm Columbia University Prentis Hall 7:30 pm • Yvonnick Prene Quartet; Rotem Sivan Trio êPRISM Quartet with Tim Ries, Miguel Zenón The Garage 6, 10:30 pm Symphony Space Leonard Nimoy Thalia 7:30 pm $22 • Joe Pino Quintet; Julia Ehninger Silvana 6, 8 pm • Harlem Jazz Shrines Festival: Vijay Iyer Trio with Stephen Crump, Marcus Gilmore KENDRA SHANK & êEddie Palmieri Latin Jazz Band with Anthony Carrillo, Luques Curtis, Camilo Molina, Aaron Davis Hall 7:30 pm Vicente “Little Johnny” Rivero and guests Alfredo de la Fé, Donald Harrison, Joe Locke, • Harlem Jazz Shrines Festival: Fred McFarlane Ronnie Cuber Blue Note 8, 10:30 pm $45 Showman’s Jazz Club 9, 11 pm • Sheila Jordan Birdland 8:30, 11 pm $40 • Harlem Jazz Shrines Festival: Late Night Jam with Charenee Wade JOHN STOWELL êBrad Mehldau Trio with Larry Grenadier, Jeff Ballard Ginny’s Supper Club 10 pm Village Vanguard 8:30, 10:30 pm $25 • Harlem Jazz Shrines Festival: Lakecia Benjamin and the Motéma All Stars • Fred Hersch/Kurt Elling Jazz Standard 7:30, 9:30 pm $25 Apollo Music Café 10 pm $10 • Steve Tyrell Café Carlyle 8:45 pm $65-155 êTony Malaby’s Tamarindo with William Parker, Nasheet Waits • Fabrizio Sotti with James Genus, Francisco Mela Cornelia Street Café 9, 10:30 pm $15 Measure 8 pm • Tardo Hammer Trio with Lee Hudson, Jimmy Wormworth; George Burton Group; NEW YORK êBucky Pizzarelli/Ed Laub Saint Peter’s 1 pm $10 David Gibson Quintet Smalls 7:30, 10:30 pm 1 am $20 • Quartet Fat Cat 10:30 pm Thursday, May 8 • Valerie Capers/John Robinson Knickerbocker Bar and Grill 9:45 pm $5 • Eric Reed Quartet with Seamus Blake, Reuben Rogers, Rodney Green CONVERSATIONS êHighlights in Jazz - Brothers in Jazz: The Heath Brothers: Jimmy and Smoke 7, 9, 10:30 pm $38 Albert “Tootie” Heath, Jeb Patton, David Wong; Peter and Will Anderson Band with êJohn Escreet Quartet with Amir ElSaffar, François Moutin, Tyshawn Sorey Wycliffe Gordon Tribeca Performing Arts Center 8 pm $40-45 The Jazz Gallery 9, 11 pm $22 êEddie Henderson Quartet with George Cables, Doug Weiss, Carl Allen • Jane Ira Bloom Quartet with Dominic Fallacaro, Cameron Brown, Matt Wilson Smoke 7, 9, 10:30 pm Jazz at Kitano 8, 10 pm $30 Sun. May 4 - Brooklyn, NY • Maria Schneider Orchestra with Steve Wilson, Dave Pietro, Rich Perry, Donny McCaslin, êPerpetual Stranger: Liberty Ellman, Ches Smith, Okkyung Lee Scott Robinson, Tony Kadleck, Greg Gisbert, August Haas, Mike Rodriguez, The Stone 8, 10 pm $15 Roulette: 7 PM Keith O’Quinn, Ryan Keberle, Marshall Gilkes, George Flynn, Gary Versace, Lage Lund, • Mika Stoltzman with , John Tropea Frank Kimbrough, Jay Anderson, Clarence Penn The Cutting Room 8 pm $25-45 509 Atlantic Avenue Birdland 8:30, 11 pm $45 êGabriel Alegría Afro-Peruvian Sextet • Harlem Jazz Shrines Festival: Christian aTunde Adjuah Double Quartet Zinc Bar 8 pm with guest percussionist Harlem Stage Gatehouse 7:30 pm $10 êMatt Darriau’s Paradox Trio with Rufus Cappadocia, Brad Shepik, Seido Salifoski • Harlem Jazz Shrines Festival: Jazmyn Barbès 8 pm $10 Rogerio Boccato Showman’s Jazz Club 8:30, 10, 11:30 pm êSol(o)los: Darius Jones solo and duo with Giacomo Merega • Harlem Jazz Shrines Festival: Late Night Jam with TK Blue Prospect Range 8:30 pm $10 917-267-0363 Ginny’s Supper Club 10 pm • Bobby Katz Quartet with Don Friedman, Trevor Brown, Rodrigo Bonelli; • Theo Bleckmann/Okkyung Lee; Chris Corsano, Bill Nace, Okkyung Lee Grupo Los Santos; John Funkhouser Quintet with Aubrey Johnson roulette.org The Stone 8, 10 pm $15 ShapeShifter Lab 7, 8:15, 9:30 pm $15 • Ari Hoening Quartet with Tivon Pennicott , Eden Ladin, Noam Wiesenburg • Music of Wayne Shorter Ensemble directed by Doug Weiss; Terraza 7 9 pm $7 Music of Herbie Hancock Ensemble directed by George Cables • Ursula Scherrer/Brian Chase; diNMachine; Nir Naaman Quartet with George Cables, New School Arnhold Hall 7, 9 pm Tamir Shmerling, Mark Whitfield Jr. • Danny Fox Trio with Chris van Voorst van Beest, Max Goldman Thurs. May 8 - Marlboro, NY ShapeShifter Lab 7, 8:15, 9:30 pm $8 SubCulture 8 pm $15 • Mat Maneri Quartet with Eliot Cardinaux, Will McEvoy, Randy Peterson • John Raymond Trio with Gilad Hekselman, Colin Stranahan The Falcon: 7:30 PM Cornelia Street Café 8:30 pm $10 Bar Next Door 7:30, 9:30, 11:30 pm $12 • Evan Mazunik’s ZAHA; NY Soundpainting Orchestra; Walter Thompson Orchestra 1348 Route 9W The Firehouse Space 8 pm $10 • Kenny Warren’s Laila and Smitty Littlefield 8:45 pm $10 845-236-7970 • Hayes Greenfield/Dean Johnson Inkwell Café 7 pm • Jake Hertzog/Trevor Gordon Hall Stage 72 7 pm $20 liveatthefalcon.com Sistas’ Place • Rob Silverman Indian Road Café 8 pm 456 Nostrand Avenue • Noah Haidu Quartet WhyNot Jazz Room 9:30 pm • Naomi Okai with Noriko Tomikawa, Eric Lemon, Doug Richardson; corner of Jefferson Avenue Laura Taglialatela with Scott Colberg, Francesco Ciniglio Bedford Stuyvesant, Brooklyn NYC Somethin’ Jazz Club 7, 9 pm $12 • New York Choro Tomi Jazz 9 pm $10 Fri. May 9 - Albany, NY (718) 398-1766 - sistasplace.org • Matt Baker Trio Cleopatra’s Needle 8 pm • San Francisco High School Jazz All-Stars; Kevin Dorn and the BIG 72 Professor Java’s: 7:30 PM Sat., May 3rd - Khalil Kwame Bell Group The Garage 6:15, 10:45 pm • Maria Schneider Orchestra with Steve Wilson, Dave Pietro, Rich Perry, Donny McCaslin, 217 Wolf Road. Library Room Sat., May 10th - Ahmed Abdullah’s Diaspora Scott Robinson, Tony Kadleck, Greg Gisbert, August Haas, Mike Rodriguez, Keith O’Quinn, Ryan Keberle, Marshall Gilkes, George Flynn, Gary Versace, Lage Lund, Tix & Info: (Taurean Birthday Celebration) and Frank Kimbrough, Jay Anderson, Clarence Penn Sun Ra Centennial Celebration with Birdland 8:30, 11 pm $45 [email protected], Alex Harding, D.D. Jackson, Radu, Reggie Nicholson, • Juilliard Jazz Orchestra Celebrating Duke Ellington and Gerald Wilson 415-385-7248 Monique Ngozi Nri, TC III Dizzy’s Club 7:30, 9:30 pm $35 êEddie Palmieri Latin Jazz Band with Anthony Carrillo, Luques Curtis, Camilo Molina, Sat., May 17th- George Gray Quartet Vicente “Little Johnny” Rivero and guests Alfredo de la Fé, Donald Harrison, Joe Locke, Ronnie Cuber Blue Note 8, 10:30 pm $45 Sat., May 24th Organ Monk Greg Lewis & Band êBrad Mehldau Trio with Larry Grenadier, Jeff Ballard Village Vanguard 8:30, 10:30 pm $25 Distributed Sat., May 31st Kenny Gates Quartet êFred Hersch/Anat Cohen Jazz Standard 7:30, 9:30, 11:30 pm $30 • Fabrizio Sotti with James Genus, Francisco Mela Measure 8 pm in the USA by: The New School Sun Ra Ensemble (with special guests) directed by • Harlem Jazz Shrines Festival: Bobby Sanabria Multiverse Big Band Ahmed Abdullah will celebrate Sun Ra’s Centennial Arrival Day at Apollo Theater 11:30 am $7 • 19th Annual Essentially Ellington High School Jazz Band Competition Allegro Media Group, Shapeshifter Lab, 18 Whitwell Place on Sunday May 11th with two Rose Hall 10 am $10 shows: 6:15 to 7pm & 7:20 until 8:05. For information (646) 820-9452. Portland OR

THE NEW YORK CITY JAZZ RECORD | MAY 2014 39 Saturday, May 10 Monday, May 12 • Xiomara Laugart with Axel Tosca Laugart, Amaury Acosta, Alex Da Silva, Max Cudworth, Michael Valeanu, Mauricio Herrera and guests êSun Ra Centennial: Ahmed Abdullah’s Diaspora and 67th Birthday Celebration with • The Jazz Gallery Honors Gala: ; George Wein; Roy Hargrove; Minton’s Playhouse 7, 9:15 pm Alex Harding, DD Jackson, Radu, Reggie Nicholson, Monique Ngozi Nri, TC III Dale Fitzgerald; Lezlie Harrison The Jazz Gallery 7 pm $225-1,000 • Rich Medina’s Afro Jazz Cuts Minton’s Playhouse 11 pm $10 Sistas’ Place 9, 10:30 pm $20 • Trio with Henry Grimes, Chad Taylor • Deborah Latz; Liam Sillery Quintet with Matt Blostein, Jesse Stacken, Peter Brendler, êHarlem Jazz Shrines Festival: Arturo O’Farrill and The Afro Latin Jazz Orchestra with Le Poisson Rouge 10:30 pm $18 Tony Moreno Somethin’ Jazz Club 7, 9 pm $10-12 guests Randy Weston, Rudresh Mahanthappa, Freddy “Huevito” Lobaton, Café êAdam Rudolph’s GO: Organic Orchestra • The Anderson Brothers; Nobuki Takamen Trio Apollo Theater 8 pm $10-45 ShapeShifter Lab 7, 8:15 pm $15 The Garage 6, 10:30 pm • Harlem Jazz Shrines Festival: Jazzmobile Vocal Competition êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 êJohn Scofield Trio with Larry Goldings, Greg Hutchinson MIST Harlem 7 pm $10 • Oran Etkin’s Gathering Light with Lionel Loueke, Ben Allison, Curtis Fowlkes Blue Note 8, 10:30 pm $35 • Harlem Jazz Shrines Festival: Hopping at the Savoy Dance Party - Dizzy’s Club 7:30, 9:30 pm $25 êTerell Stafford Quintet with Tim Warfield, Bruce Barth, Peter Washington, Dana Hall Celebrating Frankie Manning’s 100th Birthday: Harlem Renaissance Band • Revive Big Band Blue Note 8, 10:30 pm $20 Village Vanguard 8:30, 10:30 pm $25 MIST Harlem 10 pm $10 • Matt Pavolka Trio; Joe Sanders’ Infinity with Ben Wendel, Ben van Gelder, • Joey DeFrancesco Trio Birdland 8:30, 11 pm $40 • Harlem Jazz Shrines Festival: Claudia Hayden Justin Brown; Spencer Murphy Smalls 7:30, 10 pm 12:30 am $20 êMusic for Claude Thornhill: Ryan Truesdell’s Gil Evans Project with Wendy Gilles, Showman’s Jazz Club 9, 11 pm • Ned Goold Quartet; Billy Kaye Fat Cat 9 pm 12:30 am Augie Haas, Greg Gisbert, Jesse Han, Steve Kenyon, Steve Wilson, Dave Pietro, • Harlem Jazz Shrines Festival: Water Seed Ensemble êCaptain Black Big Band Smoke 7, 9 pm Donny McCaslin, Scott Robinson, Brian Landrus, Adam Unsworth, David Peel, Apollo Music Café 10 pm $10 • Two Sisters Inc.: Clare Daly, Dave Sewelson, Dave Hofstra; Dave Sewelson Quartet Ryan Keberle, Marshall Gilkes, , James Chirillo, Frank Kimbrough, êLost Jazz Shrines - Mondays @ Minton’s: Eddie Allen, Rodney Jones, Helen Sung, with Steve Swell, William Parker, Marvin Bugalu Smith; Orchestra Dave: Yoni Kretzmer, Jay Anderson, Lewis Nash Jazz Standard 7:30, 9:30 pm $30 Yasushi Nakamura, Antonio Hart Tribeca Performing Arts Center 8:30 pm $25 Jake Sokolov-Gonzalez, Yoni Kretzmer, Leila Bordreuil, Michael Foster, Yaniv Kot, • Steve Tyrell Café Carlyle 8:45 pm $65-155 • Darcy James Argue’s Secret Society; Take Off Collective: Ole Mathisen, Tristan Shepherd, Steve Clemente Soto Velez Cultural Center 7:30 pm $11-22 • Antonio Ciacca Measure 8 pm Matt Garrison, Marko Djordjevic ShapeShifter Lab 7, 8:15 pm $10-18 • Donna Lewis; Eddie Allen Aggregation Big Band • Laura Angyal Silvana 6 pm êKen Peplowski Quartet with Ehud Asherie, Joel Forbes, Aaron Kimmel Zinc Bar 8, 9 pm • Ben Sutin and Klazz-Ma-Tazz Shrine 6 pm Jazz at Kitano 8, 10 pm $30 • Sarah Bernstein String Quartet with Scott Tixier, Mat Maneri, Rubin Kodheli • Molly Ryan Macy’s Herald Square 5 pm • Andrew Rathbun Octet with Aubrey Johnson, Michel Gentile, Matt Holman, Cornelia Street Café 8:30 pm $10 • Joyce Breach/John di Martino Saint Peter’s 1 pm $10 Chris Komer, Frank Carlberg, Aidan O’Donnell, Rob Garcia • The Ulysses Project: Kirsten Carey, Derek Worthington, Patrick Booth, Ben Willis, • Todd Robinson solo Bryant Park 12:30 pm Brooklyn Conservatory of Music 8 pm $10 Jonathan Taylor, Corey Smith and guest Nicolas Horner • Kevin Hays/Bill Stewart Duo The Jazz Gallery 9, 11 pm $22 Spectrum 9 pm $15 êEd Cherry Trio with Pat Bianchi, Steve Williams • Nora McCarthy Trio with Daniel Weiss, Donald Nicks Bar Next Door 7:30, 9:30, 11:30 pm $12 Bar Next Door 8:30, 10:30 pm $12 Swing Era • Michelle Boulé/Okkyung Lee; C Spencer Yeh/Okkyung Lee • Erica Seguine/Shannon Baker Jazz Orchestra The Stone 8, 10 pm $15 Tea Lounge 9, 10:30 pm Molly Ryan Songbird • Michael Organ Trio; Carlos Abadie Quintet • Avalon Jazz Band Le Cirque Café 7:30 pm Fat Cat 7, 10 pm • Will You Learn Faculty Concert Metropolitan Room 9:30 pm $20 “...worldly wise beyond • Mike Bliss Quintet with Mark McIntyre, Joe Beerman; • Antonio Ciacca Measure 8 pm Alex Rivas/Adam Ramsay Collective with Shawn Whitehorn, Jr., Lluis Capdevila, • The Modern Jazz Quintet: Brian Chahleytr, Lucas Pino, Glenn Zaleski, Rick Rosato, her years, wonderfully Curtis Ostle; Jacob Melchior Trio with Kazu, Yoshi Waki and guest Frank Senior Colin Stranahan; Greasers: Ian Gittler, Avi Bortick, Andy Hess, Aaron Johnston, gentle and lyrical…” Somethin’ Jazz Club 5, 7, 9 pm $10 Eric Hoegemeyer with The Beautiful Brass and Aleksandar Petrov • Emilio Teubal Trio; Michael Gallant Tomi Jazz 8, 11 pm $10 WhyNot Jazz Room 8, 10 pm - Will Friedwald, • Satchmo Mannan Band with Wink Flythe, Brian McKenzie, Yayoi Ikawa, Vinnie Ruggieri, • Anne Boccato’s Porque Sim! with Gianni Gagliardi, Quentin Angus, Ralph Hamperien, Kelly Downing, Darrell Smith, Dr. , Makiko Bam Bam Rodriguez, Mike Gordon; Alex Clough Trio with Lars Ekman, Jay Sawyer The Wall Street Journal Cleopatra’s Needle 8 pm Somethin’ Jazz Club 7, 9 pm $10 • The Highliners; Kate Chaston Silvana 6, 8 pm • Takenori Nishiuchi Tomi Jazz 8 pm NYC Schedule êTony Malaby’s Tamarindo with William Parker, Nasheet Waits • New York Youth Symphony Jazz Band; Afro Mantra May 14th - Macy’s Herald Square Cornelia Street Café 9, 10:30 pm $15 The Garage 7, 10:30 pm • Hayes Greenfield Quartet; George Burton Group; Philip Harper • The Sons of Rest; Peter Lenz Quartet May 17th - Empire City Swing Smalls 7:30, 10:30 pm 1 am $20 Silvana 6, 8 pm May 18th - NY Hot Jazz Festival • Valerie Capers/John Robinson Knickerbocker Bar and Grill 9:45 pm $5 • Todd Robinson solo Bryant Park 12:30 pm May 29th - The Rum House • Eric Reed Quartet with Seamus Blake, Reuben Rogers, Rodney Green Smoke 7, 9, 10:30 pm $38 Tuesday, May 13 • Brooklyn Soundpainting Company; Strike Anywhere Performance Ensemble; Walter Thompson Orchestra The Firehouse Space 8 pm $10 êMarc Ribot plays ’s The Kid • Maria Schneider Orchestra with Steve Wilson, Dave Pietro, Rich Perry, Donny McCaslin, Anthology Film Archives 8 pm $15 Scott Robinson, Tony Kadleck, Greg Gisbert, August Haas, Mike Rodriguez, êJohn Scofield Trio with Larry Goldings, Greg Hutchinson Keith O’Quinn, Ryan Keberle, Marshall Gilkes, George Flynn, Gary Versace, Lage Lund, Blue Note 8, 10:30 pm $35 Frank Kimbrough, Jay Anderson, Clarence Penn êTerell Stafford Quintet with Tim Warfield, Bruce Barth, Peter Washington, Dana Hall Birdland 8:30, 11 pm $45 Village Vanguard 8:30, 10:30 pm $25 • Juilliard Jazz Orchestra Celebrating Duke Ellington and Gerald Wilson • Joey DeFrancesco Trio Birdland 8:30, 11 pm $40 for Performances, Bookings Dizzy’s Club 7:30, 9:30 pm $35 êMusic for Claude Thornhill: Ryan Truesdell’s Gil Evans Project with Wendy Gilles, êEddie Palmieri Latin Jazz Band with Anthony Carrillo, Luques Curtis, Camilo Molina, Augie Haas, Greg Gisbert, Jesse Han, Steve Kenyon, Steve Wilson, Dave Pietro, & Recordings, visit mollyryan.com Vicente “Little Johnny” Rivero and guests Alfredo de la Fé, Donald Harrison, Joe Locke, Donny McCaslin, Scott Robinson, Brian Landrus, Adam Unsworth, David Peel, Ronnie Cuber Blue Note 8, 10:30 pm $45 Ryan Keberle, Marshall Gilkes, Marcus Rojas, James Chirillo, Frank Kimbrough, êBrad Mehldau Trio with Larry Grenadier, Jeff Ballard Jay Anderson, Lewis Nash Jazz Standard 7:30, 9:30 pm $30 Village Vanguard 8:30, 10:30 pm $25 • Chris Pattishall Quintet plays Mary Lou Williams’ Zodiac Suite êFred Hersch/Anat Cohen Jazz Standard 7:30, 9:30, 11:30 pm $30 Dizzy’s Club 7:30, 9:30 pm $30 • Steve Tyrell Café Carlyle 8:45, 10:45 pm $75-165 êBria Skonberg Group with Evan Arntzen, Dalton Ridenhour, Sean Cronin, • Fabrizio Sotti with James Genus, Francisco Mela Darrian Douglas Iridium 8:30, 10:30 pm $25-35 Measure 8 pm • Steve Tyrell Café Carlyle 8:45 pm $65-155 • The Highliners: Melissa Fogarty, Debra Kreisberg, Steve Newman, Adam Kahan, • Gene Perla Group NYC Baha’i Center 8, 9:30 pm $15 Tommy Mattioli Silvana 6 pm • Vijay Iyer, Jeff Zeigler, Scott Colley, Satoshi Takeishi • Harlem Jazz Shrines Festival: Bobby Sanabria and Ascension The Stone 8, 10 pm $15 Apollo Theater 1 pm $10 êTom Blancarte solo Spectrum 9:30 pm • Daniela Schaechter Trio; Brooks Hartell Trio; Mayhew Quartet • Brown House: Rich Perry, Vuyo Sotashe, Fima Chupakhin, Vince Dupont, The Garage 12, 6:15, 10:45 pm Theo Lebeaux Cornelia Street Café 8:30 pm $10 • 19th Annual Essentially Ellington High School Jazz Band Competition • Spike Wilner Trio with Yotam Silberstein, Paul Gill; Lucas Pino No Net Nonet with Rose Hall 10 am $10 Brian Chahley, Rick Rosato, Colin Stranahan, Glenn Zaleski, Alex LoRe, Rafal Sarnecki, Nick Finzer, Andrew Gutauskas; Kyle Poole and Friends Sunday, May 11 Smalls 7:30, 10:30 pm 1 am $20 • Saul Rubin; Peter Brainin Latin Jazz Workshop; Greg Glassman Jam êThe New School Sun Ra Ensemble directed by Ahmed Abdullah Fat Cat 7, 9 pm 12:30 am ShapeShifter Lab 6, 7:10 pm $10 • Stan Killian Quartet with Tom Guarna, Harvie S, Shareef Taher êAndy Bey/Paul Meyers The Drawing Room 7 pm $20 55Bar 7 pm êMarc Ribot’s Ceramic Dog with Shahzad Ismaily, Ches Smith • Austin Day Trio with Marty Kenny, Ben Waters Rough Trade NYC 8 pm $18 Bar Next Door 8:30, 10:30 pm $12 • Craig Taborn, Tyshawn Sorey, Okkyung Lee; Okkyung Lee • Caili O’Doherty Jazz at Kitano 8 pm The Stone 8, 10 pm $15 • Ben Winkelman Trio with Sam Anning, Eric Doob • Eri Yamamoto Trio with David Ambrosio, Ikuo Takeuchi WhyNot Jazz Room 8 pm WhyNot Jazz Room 8, 10 pm $10 • Peter Lenz’ Eclectic Vision with Matt Woroshyl, Kenji Herbert, Tom Berkman • Seamus Blake with Henry Hey, Matt Clohesy, Nate Smith Somethin’ Jazz Club 9 pm $10 Rockwood Music Hall 2 7 pm • Candace DeBartolo Quartet; Chris Carroll Trio • Matt Savage Trio; Gene Bertoncini solo; Johnny O’Neal with Paul Sikivie, The Garage 6, 10:30 pm Charles Goold; Clifford Barbaro Smalls 4:30, 7:30, 10 pm 12 am $20 • Michael Veal’s Armillary Sphere Silvana 7 pm • Gamelan Dharma Swara; Terry Waldo’s Gotham City Band; • Talking Strings Shrine 7 pm Brandon Lewis/Renee Cruz Jam Fat Cat 7, 9:30 pm 12:30 am • Antonio Ciacca Measure 8 pm • CACAW; Kris Keyser; Cookies; Killer Bob • Todd Robinson solo Bryant Park 12:30 pm The Grand Victory 7 pm $10 • Pretzel Club: Nic Handahl, Allen Fogelsanger, Tim O’Hara; Andrew Weather Wednesday, May 14 ABC No-Rio 7 pm $5 • Peter Leitch/Sean Smith Walker’s 8 pm êRed Bull Music Academy and Undead Jazz Present Improvised Round Robin Duets: • Marco Di Gennaro Measure 8 pm Marc Ribot, Nels Cline, Allan Toussaint, Daedelus, Terri Lyne Carrington, James Carter, • Gin Fizz: Bridget Crawford, Rebecca Steinberg, Mark Phillips, Rich Berta, Amp Fiddler, David Murray, Karsh Kale, Petra Haden, Shigeto Ian Underwood, Anthony Rella; Kaz Araki Trio with Anthony Pocetti, Jarrett Walser; Town Hall 7:30 pm $30 Expedito Andrade Quartet with Andres Malagon, Tonny Lannen, Daniel Silva êTed Rosenthal Trio with Martin Wind, Tim Horner Somethin’ Jazz Club 5, 7, 9 pm $10-12 Dizzy’s Club 7:30, 9:30 pm $30 • The Intergalactic Space All Stars Shrine 8 pm • Let’s Do it - The Music of Cole Porter: Michael Feinstein, Marilyn Maye, Denzal Sinclair, • Brooklyn Soundpainting Company; Walter Thompson Orchestra Kate Davis, Vince Giordano and the Nighthawks The Firehouse Space 8 pm $10 The Appel Room 7, 9 pm $45-55 • Juilliard Jazz Orchestra Celebrating Duke Ellington and Gerald Wilson • Nat Adderley Jr. Quartet with Donald Braden, Trifon Dimitrov, Rocky Bryant Dizzy’s Club 7:30, 9:30 pm $35 Smoke 7, 9, 10:30 pm êEddie Palmieri Latin Jazz Band with Anthony Carrillo, Luques Curtis, Camilo Molina, • Kettle Collective presents: Jay Clayton’s Different Voices with Amanda Bloom, Vicente “Little Johnny” Rivero and guests Alfredo de la Fé, Donald Harrison, Joe Locke, Maryanne de Prophetis, Carol Flamm, Alexis Parsons, Cheryl Richards, Kendra Shank, Ronnie Cuber Blue Note 8, 10:30 pm $45 Judi Silvano, Andrea Wolper Ibeam Brooklyn 8 pm $15 • Michael Feinberg’s Humblebrag with Godwin Louis, Jason Palmer, Julian Shore, êChes Smith Quartet with Jonathan Finlayson, Mat Maneri, Stephan Crump Dana Hawkins Blue Note 12:30 am $10 Cornelia Street Café 8:30 pm $10 êBrad Mehldau Trio with Larry Grenadier, Jeff Ballard • Other Life Forms: Gordon Beeferman, Stephanie Griffin, Pascal Niggenkemper, Village Vanguard 8:30, 10:30 pm $25 Andrew Drury ShapeShifter Lab 7 pm $10 êFred Hersch/John Abercrombie Jazz Standard 7:30, 9:30 pm $25 • Pedro Giraudo Sextet with Alejandro Aviles, Jonathan Powell, Mike Fahie, • Thomas Heberer, Yoni Kretzmer, Max Johnson; Daniel Carter, Wieland Moler, Jess Jurkovic, Franco Pinna Terraza 7 9 pm $7 Robert Boston, Nicolas Letman-Burtinovic • ; Tyler Mitchell Smalls 9:30 pm 12:30 am $20 Downtown Music Gallery 6, 7 pm • Raphael D’lugoff; Trio; Ned Goold Jam • Tunk Trio Silvana 6 pm Fat Cat 7, 9 pm 12:30 am • Nadje Noordhuis Quintet Saint Peter’s 5 pm • Brian Drye Trio with Matt Pavolka, Jeff Davis, Dave Ambrosio’s Gone with • Sara Gazarek Blue Note 11:30 am 1:30 pm $29.50 Loren Stillman, Russ Meissner SEEDS 8:30, 10 pm • Melissa Stylianou Trio with Gene Bertoncini, Ike Sturm • Jon Di Fiore Trio with Billy Test, Adrian Moring North Square Lounge 12:30, 2 pm Jazz at Kitano 8, 10 pm $15 • The Music of Louis Armstrong: “Hot Lips” Joey Morant and Catfish Stew • Brian Marsella’s iMAGiNARiUM with , Dan Blankinship, Jason Fraticelli, Lucille’s at BB King’s Blues Bar 1 pm $25 , Tim Keiper, Meg Okura Drom 7:15 pm $15 • Yvonnick Prene Alor Café 12 pm • Kevin Hays New Day Trio with Rob Jost, Greg Joseph • Lou Caputo Quartet; David Coss Quartet; Abe Ovadia Trio 55Bar 7 pm The Garage 11:30 am 6:30, 11 pm • Rale Micic/Brad Shepik WhyNot Jazz Room 8 pm

40 MAY 2014 | THE NEW YORK CITY JAZZ RECORD êFlin van Hemmen Ensemble with Jonathan Moritz, Ben Gerstein, Sean Ali; Thursday, May 15 Saturday, May 17 Chad Taylor Trio with Angelica Sanchez, Chris Lightcap; LEastSideQuartet: • The Brooklyn College Big Band directed by Arturo O’Farrill with guests • Oz Noy Trio with Oteil Burbridge, Keith Carlock William Parker, Andy Bemkey, Jason Kao Hwang, Jackson Krall Anat Cohen, Rafi Malkiel Brooklyn Center for the Performing Arts 7 pm $10 Iridium 8:30, 10:30 pm $35 Clemente Soto Velez Cultural Center 7:30 pm $11-22 êRene Marie’s I Wanna Be Evil with Kevin Bales, Elias Bailey, Quentin Baxter, êJeff Davis’ Dragon Father with Kirk Knuffke, Oscar Noriega, Russ Lossing, • Gene Ess and Fractal Attraction with Thana Alexa, David Berkman, Thomson Kneeland Robert Stringer, Adrian Cunningham, Etienne Charles Eivind Opsvik Cornelia Street Café 9, 10:30 pm $15 and guest Clarence Penn; Sebastien Ammann Quartet with Ohad Talmor, Dizzy’s Club 7:30, 9:30 pm $35 • Misha Piatigorsky Trio with Danton Boller, Conor Szymanski Dave Ambrosio, Eric McPherson ShapeShifter Lab 8:15, 9:30 pm $15 êYard Byard - The Project: Jamie Baum, Adam Kolker, Jerome Harris, Zinc Bar 8 pm • Juilliard School Ensemble Dizzy’s Club 7:30, 9:30 pm $25 , George Schuller Cornelia Street Café 8:30 pm $10 • George Gray Sistas’ Place 9, 10:30 pm $20 êDan Tepfer Trio; Ari Hoenig Trio; Spencer Murphy • Aaron Parks’ Little Big with Greg Touhey, Anders Christensen, Darren Beckett • Ilya Lushtak Quintet; Steve Carrington Smalls 7:30, 10 pm 12:30 am $20 ShapeShifter Lab 8, 9:30 pm $10 Fat Cat 7, 10 pm • George Braith; Billy Kaye Jam Fat Cat 9 pm 12:30 am • Misha Piatigorsky’s Sketchy Black Dog with Conor Szymanski, Danton Boller, • Brandon Bernstein Trio with , Jeff Hirschfeld êJason Marshall Big Band Smoke 7, 9 pm Frederika Krier, Nadya Meykson, Celia Hatton, Agnes Nagy Bar Next Door 7:30, 9:30, 11:30 pm $12 • Billy Mintz Quartet with Roberta Piket, , Putter Smith Zinc Bar 9, 10 pm • Molly Ryan Dance With Me SoHo 9 pm Greenwich House Music School 8:30 pm $15 • Alex Hoffman Group; Quintet; Nick Hempton Band • Nico Soffiato’s Paradigm Refrain Goodbye Blue Monday 8 pm • Akvariettrio: Wieland Moller, Robert Boston, Nicolas Letman-Burtinovic Smalls 6, 9:30 pm 12:30 am $20 • Jidam Kang Group; Jo-B Sebastian with Eran Sabo, Antonio Mazzei, Jon Toscano, Spectrum 9 pm • Clifford Barbaro Quartet; Stacy Dillard Quintet David Jimenez; Nick Brust/Adam Horowitz Quintet with Matthew Sheens, • Elisabeth Lohninger Trio with Steve Cardenas, Alexis Cuadrado Fat Cat 7, 10 pm James Quinlan, Dani Danor Somethin’ Jazz Club 5, 7, 9 pm $10-12 Bar Next Door 8:30, 10:30 pm $12 • Duchess: Amy Cervini, Hilary Gardner, Melissa Stylianou with Michael Cabe, • Daniel Bennett Group; Annie Chen Trio • Deborah Weisz Jazz Orchestra Tea Lounge 9, 10:30 pm Matt Aronoff, Matt Wilson Swing 46 8:30 pm $12 Tomi Jazz 8, 11 pm $10 • Donna Lewis; Dana Lauren Zinc Bar 8, 9 pm êFay Victor’s Herbie Nichols Sung with Michaël Attias, Anthony Coleman, Ratzo Harris, • Alan Rosenthal Trio Cleopatra’s Needle 8 pm • Common Quartet: Nitzan Gavrieli, Pablo Menares, Alex Wyatt, Seth Trachy and guest Rudy Royston Greenwich House Music School 8 pm $20 êTribute to Preston Jackson: Greg Ward Septet with Brianna Thomas, Peter Bernstein Vodou Bar 8 pm • Victor Prieto Trio with Jorge Roeder, Eric Doob Chad Lefkowitz-Brown, Dave Miller, John Escreet, Zack Lober, Kenneth Salters • Mariko/Nabuko Kiryu; Kenji Herbert Trio with Jared Henderson, Roberto Giaquinto Terraza 7 9 pm $7 The Jazz Gallery 9, 11 pm $22 Somethin’ Jazz Club 7, 9 pm $10-15 • Clovis Nicolas Quintet with Riley Mulherkar, Luca Stoll, Tadataka Unno, êDon Friedman Trio with George Mraz, Matt Wilson • Akemi Yamada Tomi Jazz 8 pm Jimmy MacBride Jazz at Kitano 8, 10 pm $15 Jazz at Kitano 8, 10 pm $30 • Cole Rumbough Le Cirque Café 7:30 pm • Zack Lober’s The Ancestry Project with Dave Binney, Chet Doxas, John Escreet, êNuevo Jazz Latino: Carlos Henriquez, Pedrito Martinez, Dafnis Prieto, Yosvany Terry, • Howard Willliams Jazz Orchestra; Adam Moezinia Trio Dan Weiss The Jazz Gallery 9, 11 pm $15 Elio Villafranca; New Jazz Standards: Reid Anderson, Eric Harland, Carla Kihlstedt, The Garage 7, 10:30 pm • Marcus and Jean Baylor Project Smoke 7, 9, 10:30 pm Guillermo Klein, Bill McHenry The Appel Room 7, 9:30 pm $45-55 • Steve Ash Measure 8 pm • Howard Fishman Quartet SubCulture 7:30 pm $15-20 êLouis Hayes Jazz Communicators with Steve Nelson, Abraham Burton, David Bryant, • Tony DiGregorio Sextet Silvana 6 pm • Tom Tallitsch Trio with Jared Gold, Mark Ferber Dezron Douglas Smoke 7, 9, 10:30 pm $38 • Sue Maskaleris Bryant Park 12:30 pm Bar Next Door 8:30, 10:30 pm $12 êJoel Press Quartet; ’s Freedom of Ideas; Stacy Dillard, Diallo House, • Joel Forrester/Christina Clare Quartet Ismail Lawal Smalls 7:30, 10:30 pm 1 am $20 Tuesday, May 20 Cleopatra’s Needle 7 pm • Tardo Hammer/Lee Hudson Knickerbocker Bar and Grill 9:45 pm $5 • Scot Albertson/Daryl Kojak Klavierhaus 8 pm êNew Bottle Old Wine and Individualism of Gil Evans: Ryan Truesdell’s Gil Evans Project êSteve Wilson’s Wilsonian’s Grain with Orrin Evans, Ugonna Okegwo, Bill Stewart • Haruna Fukazawa/Yasuno Katsuki Group; Brothers of Contrapuntal Swing: with Wendy Gilles, Augie Haas, Greg Gisbert, Steve Wilson, Dave Pietro, Village Vanguard 8:30, 10:30 pm $25 Jimmy Halperin, Larry Meyer, Dave Frank, Bill McCrossen, George Hooks Donny McCaslin, Tom Christensen, Alden Banta, Adam Unsworth, David Peel, êMatana Roberts/ The Stone 8, 10 pm $15 Somethin’ Jazz Club 7, 9 pm $10-12 Ryan Keberle, Marshall Gilkes, George Flynn, Marcus Rojas, Lois Martin, • Curtis Hasselbring; Carlo Costa’s Acustica with Kyungmi Lee, Joe Moffett, • Senri Oe Tomi Jazz 9 pm $10 James Chirillo, Frank Kimbrough, Jay Anderson, Lewis Nash Ben Gerstein, Dan Peck, Nathaniel Morgan, Jonathan Moritz, Jen-Brice Godet, • Rick Stone Trio; Adam Rongo Trio The Garage 6, 10:30 pm Jazz Standard 7:30, 9:30, 11:30 pm $30 Miranda Sielaff, Todd Neufeld, Jesse Stacken, Pascal Niggenkemper, Sean Ali • Let’s Do it - The Music of Cole Porter: Michael Feinstein, Marilyn Maye, Denzal Sinclair, êRene Marie’s I Wanna Be Evil with Kevin Bales, Elias Bailey, Quentin Baxter, Ibeam Brooklyn 8:30, 10 pm $15 Kate Davis, Vince Giordano and the Nighthawks Robert Stringer, Adrian Cunningham, Etienne Charles • Karrin Allyson Birdland 8:30, 11 pm $40 The Appel Room 7, 9 pm $45-55 Dizzy’s Club 7:30, 9:30 pm $45 êTuck & Patti Blue Note 8, 10:30 pm $35 êJohn Scofield Trio with Larry Goldings, Greg Hutchinson êJohn Scofield Trio with Larry Goldings, Greg Hutchinson • Donald Harrison’s Berklee Quintet with Santiago Bosch, Osmar Okuma, Darryl Staves Blue Note 8, 10:30 pm $35 Blue Note 8, 10:30 pm $35 Dizzy’s Club 7:30, 9:30 pm $35 • Terell Stafford Quintet with Tim Warfield, Bruce Barth, Peter Washington, Dana Hall êTerell Stafford Quintet with Tim Warfield, Bruce Barth, Peter Washington, Dana Hall • Steven Kroon Sextet with Craig Rivers, Igor Atalita, Bryan Carrott, Ruben Rodriguez, Village Vanguard 8:30, 10:30 pm $25 Village Vanguard 8:30, 10:30 pm $25 Diego Lopez and guest Tim Ries Jazz Standard 7:30, 9:30 pm $20 • Lorin Cohen Quartet Birdland 6 pm $25 • Joey DeFrancesco Trio Birdland 8:30, 11 pm $40 • Ray Blue Ensemble NYC Baha’i Center 8, 9:30 pm $15 • Joey DeFrancesco Trio Birdland 8:30, 11 pm $40 • Steve Tyrell Café Carlyle 8:45, 10:45 pm $75-165 • TAUOM: Satoshi Takeishi, Dan Blake, Ricardo Gallo êMusic for Claude Thornhill: Ryan Truesdell’s Gil Evans Project with Wendy Gilles, • Antonio Ciacca Measure 8 pm ShapeShifter Lab 8:15 pm $10 Augie Haas, Greg Gisbert, Jesse Han, Steve Kenyon, Steve Wilson, Dave Pietro, • Lucy Blanco Afro-Garifuna Jazz Ensemble • Zach Brock Rockwood Music Hall 1 12 am Donny McCaslin, Scott Robinson, Brian Landrus, Adam Unsworth, David Peel, Bronx Music Heritage Center 6 pm • Joel Forrester/Christina Clare Quartet Ryan Keberle, Marshall Gilkes, Marcus Rojas, James Chirillo, Frank Kimbrough, • Larry Newcomb Quartet; Mark Marino Trio Spectrum 9 pm Jay Anderson, Lewis Nash Jazz Standard 7:30, 9:30 pm $30 The Garage 12, 6:15 pm • Carlo Costa’s Acoustica with Kyungmi Lee, Joe Moffett, Ben Gerstein, Dan Peck, • Steve Tyrell Café Carlyle 8:45 pm $65-155 Jonathan Moritz, Nathaniel Morgan, Johnny B. Goode, Miranda Sielaff, Todd Neufeld, • Antonio Ciacca Measure 8 pm Sunday, May 18 Jesse Stacken, Sean Ali, Pascal Niggenkemper, Carlo Costa • Irv Grossman Sextet Silvana 6 pm Ibeam Brooklyn 9 pm $10 • William Paterson University Jazz Ensemble directed by Tim Newman êNew York Hot Jazz Festival: Vince Giordano And The Nighthawks with guest • Spike Wilner Trio with Yotam Silberstein, Paul Gill; Smalls Legacy Band: Josh Evans, Citigroup Center Plaza 12:30 pm Catherine Russell; Ken Peplowski New Swing Quartet; Frank Vignola/Vinny Raniolo; Stacy Dillard, Frank Lacy, Theo Hill, Ameen Saleem, Kush Abadey • Todd Robinson solo Bryant Park 12:30 pm Bria Skonberg Brass Kicker Brass Band; The Hot Sardines; Kate Davis; Kyle Poole and Friends Smalls 7:30, 10:30 pm 1 am $20 Adrien Chevalier With The Hot Club Of New York; Mike Davis And His New Wonders; • Saul Rubin; Greg Glassman Jam Fat Cat 7 pm 12:30 am Friday, May 16 David Ostwald’s Louis Armstrong Eternity Band; Cynthia Sayer’s Sparks Fly with • Roz Corral Quartet with Paul Bollenback, Boris Kozlov, Steve Williams Vincent Gardner; Dan Levinson’s Gotham Sophisticats with Molly Ryan, 55Bar 7 pm êRed Bull Music Academy Presents Hardcore Activity in Progress: Tim Hecker; Jerron “Blind Boy” Paxton; Professor Cunningham And His Old School • Allen Watsky’s Djangle Box Project with Marty Fogel, Brian Glassman, David Licht Napalm Death; Gunplay; The Thing: Mats Gustafsson, Ingebrigt Håker Flaten, The Players Club 1 pm $70 Stephen Wise Free Synagogue 7:30 pm $15 Paal Nilssen-Love; Wolf Eyes; Regis; Bastard Noise; Lubomyr Melnyk; Skullflower; • Gregor Huebner/Brandon Ross Spectrum 8:30 pm $15 • Yvonnick Prene The Flatiron Room 8 pm Joe McPhee/Chris Corsano; Okkyung Lee; Clipping; Yoshiko Ohara; Reg Bloor; Gnaw êGene Bertoncini solo The Drawing Room 7 pm $20 • Ben Eunson Trio with Matt Clohesy, Faron Tilson Knockdown Center 8 pm $10 êGuy Klucevsek Barbès 7 pm $10 Bar Next Door 8:30, 10:30 pm $12 êLatin Jazz Traditions: Paquito D’Rivera Young Artists Ensemble • Billy Newman Quintet with Eric Schugren, Bruce Williamson, Leco Reis, • Caili O’Doherty Jazz at Kitano 8 pm Zankel Hall 7:30 pm $15 Vanderlei Pereira Cornelia Street Café 8:30 pm $10 • Lisa DeSpain; Dorian Wallace and The Free Sound Ahn-somble êTo Bird & Dizzy With Love: Queens Jazz Orchestra led by Jimmy Heath • Johnny O’Neal with Paul Sikivie, Charles Goold; Jonathan Lefcoski Trio Somethin’ Jazz Club 7, 9 pm $12 Flushing Town Hall 7:30 pm $20-40 Smalls 10 pm 12 am $20 • Paul Corn Jazz Collective Tomi Jazz 8 pm êTribute to Preston Jackson: Greg Ward Septet with Brianna Thomas, • Terry Waldo’s Gotham City Band; Trio; • The Dazzelhawk Trio; Paul Francis Trio Chad Lefkowitz-Brown, Dave Miller, John Escreet, Zack Lober, Kenneth Salters Brandon Lewis/Renee Cruz Jam Fat Cat 6, 8:30 pm 12:30 am The Garage 6, 10:30 pm The Jazz Gallery 9, 11 pm $22 • James Keepnews, Michael Bisio, Dave Berger; Clash of the Downtown Avengers: • Steve Ash Measure 8 pm êDon Friedman Trio with George Mraz, Matt Wilson Fung Chern Hwei/Vicky Chow WhyNot Jazz Room 7:30, 9 pm $10 • Ian Buss Silvana 6 pm Jazz at Kitano 8, 10 pm $30 • Chico Hamilton Tribute - Euphoria: Paul Ramsey, Evan Schwam, Jeremy Carlstedt, • Tyrone Birkett Shrine 6 pm êNew Jazz Standards: Reid Anderson, Eric Harland, Carla Kihlstedt, Guillermo Klein, Mayu Saeki, Nick Demopolous Drom 7:15 pm $20 • Sue Maskaleris Bryant Park 12:30 pm Bill McHenry; Nuevo Jazz Latino: Carlos Henriquez, Pedrito Martinez, Dafnis Prieto, • Lena Bloch Quartet with Boris Netsvetaev, Putter Smith, Billy Mintz Yosvany Terry, Elio Villafranca The Appel Room 7, 9:30 pm $45-55 The Firehouse Space 8:30 pm $10 Wednesday, May 21 êLouis Hayes Jazz Communicators with Steve Nelson, Abraham Burton, David Bryant, • M; Kate Mohanty ABC No-Rio 7 pm $5 Dezron Douglas Smoke 7, 9, 10:30 pm $38 • Peter Leitch/Harvie S Walker’s 8 pm êElectric Miles: Randy Brecker, Jeremy Pelt, Paul Bollenback, Lonnie Plaxico, êMarc Ribot’s Los Cubanos Postizos with Anthony Coleman, Brad Jones, • Steve Ash Measure 8 pm Steve Smith Iridium 8:30, 10:30 pm $35-45 Horacio “El Negro” Hernandez, EJ Rodriguez • Yoshiki Miura Group with Olivier Rambeloson, Bruno Razafindrakoto, Alec Menge; • Jazz Orchestra of Philadelphia led by Terell Stafford Le Poisson Rouge 7:30 pm $25 Leah Gough-Cooper; The Wolfhound Trio: Chris McCarthy, Isaac Levien, Dizzy’s Club 7:30, 9:30 pm $35 êDavid Tronzo Trio with Stomu Takeishi, Ben Perowsky; Amanda Monaco 3 with Russell Holzman Somethin’ Jazz Club 5, 7, 9 pm $10-12 êIkue Mori/Susie Ibarra; John King/Susie Ibarra Joe Fiedler, Sean Conly SingleCut Beersmiths 8, 9:30 pm $10 • Isaiah Barr Quintet Silvana 8 pm The Stone 8, 10 pm $15 • New York Trombone Consort with guests Jen Baker, ; Sarah Kervin Band • Oz Noy Trio with Oteil Burbridge, Keith Carlock êHarold Mabern Trio; Willerm Delisfort Group ShapeShifter Lab 8:15, 9:30 pm $10 Iridium 8:30, 10:30 pm $35 Smalls 9:30 pm 12:30 am $20 • Richie Vitale Quintet; Billy Drummond’s Freedom of Ideas êNew Bottle Old Wine and Individualism of Gil Evans: Ryan Truesdell’s Gil Evans Project • Dayna Stephens Quintet with Aaron Parks, Joe Sanders, Justin Brown Smalls 7:30, 10:30 pm 1 am $20 with Wendy Gilles, Augie Haas, Greg Gisbert, Steve Wilson, Dave Pietro, Jazz Standard 7:30, 9:30 pm $20 • Josh Evans; Jared Gold Fat Cat 10:30 pm 1:30 am Donny McCaslin, Tom Christensen, Alden Banta, Adam Unsworth, David Peel, • Jeremy Udden’s Hush Point with John McNeil, Aryeh Kobrinsky, Vinnie Sperrazza; • Tommy Campbell’s Tea Tree with David Kikoski and guest Toku Ryan Keberle, Marshall Gilkes, George Flynn, Marcus Rojas, Lois Martin, Canada Day: Nate Wooley, Matt Bauder, Chris Dingman, Pascal Niggenkemper, WhyNot Jazz Room 8 pm James Chirillo, Frank Kimbrough, Jay Anderson, Lewis Nash Harris Eisenstadt Douglas Street Music Collective 8, 9:30 pm $10 • Tardo Hammer/Lee Hudson Knickerbocker Bar and Grill 9:45 pm $5 Jazz Standard 7:30, 9:30 pm $30 • Jerry Weldon Quartet with Jeb Patton, Mike Karn, Willie Jones III êGabriel Alegría Afro-Peruvian Sextet êRene Marie’s I Wanna Be Evil with Kevin Bales, Elias Bailey, Quentin Baxter, Smoke 7, 9, 10:30 pm Zinc Bar 8 pm Robert Stringer, Adrian Cunningham, Etienne Charles • Aaron Burnett and the Big Machine with Peter Evans, Carlos Homs, Nick Jozwiak, • Will Holshouser Trio with Ron Horton, Dave Phillips Dizzy’s Club 7:30, 9:30 pm $35 Tyshawn Sorey Minton’s Playhouse 7, 9:15 pm Ibeam Brooklyn 8:30 pm $10 êJohn Scofield Trio with Larry Goldings, Greg Hutchinson • Sharel Cassity Minton’s Playhouse 11 pm $10 êNew Bottle Old Wine and Individualism of Gil Evans: Ryan Truesdell’s Gil Evans Project Blue Note 8, 10:30 pm $35 • Michelle Walker Quartet with Sean Fitzpatrick, Michael O’Brien, Willard Dyson with Wendy Gilles, Augie Haas, Greg Gisbert, Steve Wilson, Dave Pietro, êTerell Stafford Quintet with Tim Warfield, Bruce Barth, Peter Washington, Dana Hall Jazz at Kitano 8, 10 pm $15 Donny McCaslin, Tom Christensen, Alden Banta, Adam Unsworth, David Peel, Village Vanguard 8:30, 10:30 pm $25 • Billy Mintz Quartet with Roberta Piket, John Gross, Putter Smith Ryan Keberle, Marshall Gilkes, George Flynn, Marcus Rojas, Lois Martin, • Jerry DeVore Trio Indian Road Café 6 pm Barbès 8 pm $10 James Chirillo, Frank Kimbrough, Jay Anderson, Lewis Nash • Kate McGarry/Keith Ganz Saint Peter’s 5 pm • Devin Gray’s Relative Resonance with Chris Speed, Kris Davis, Chris Tordini Jazz Standard 7:30, 9:30, 11:30 pm $30 • Kirpal Gordon/Steve Dalachinsky and Frank Perowsky Trio with Bruce Edwards, Cornelia Street Café 8:30 pm $10 • Petros Klampanis’ Contextual with Jean-Michel Pilc, Gilad Hekselman, Zach Brock, Bill Ware Bowery Poetry Club 3:30 pm • Iris Ornig Quartet with Brandon Wright, Billy Test, Nadav Snir Maria Manousaki, Lev Zhurbin, Yoed Nir, John Hadfield • Dances of the World Ensemble: Diana Wayburn, Barry Seroff, Josh Mizruchi, Zinc Bar 7 pm Cornelia Street Café 9, 10:30 pm $15 Ken Silverman, Yonatan Avi Oleiski • Raphael D’lugoff; Don Hahn; Ned Goold Jam • Adam Larson Trio with Raviv Markovitz, Jimmy MacBride St. Mark’s Church 3 pm Fat Cat 7, 9 pm 12:30 am Bar Next Door 7:30, 9:30, 11:30 pm $12 • Jennifer Hartswick Perez Jazz 2 pm $20 • Jon Weber Metropolitan Room 7 pm $20 • Asher Ben-Or Trio Indian Road Café 8 pm • Juilliard Jazz Brunch: Lukas Gabric, Greg Duncan, Reuben Allen, Paolo Benedettini, • Loren Stillman, Nicolas Letman-Burtinovic, Igal Foni • Ms. Blu and Trio with Billy Test, Iris Ornig, Chris Benham; Laura Angyal with Jordan Young Blue Note 11:30 am 1:30 pm $29.50 Bar Chord 9 pm Taulant Mehmeti, Billy Ruegger Somethin’ Jazz Club 7, 9 pm $10 • Ed Laub Trio with Saul Rubin, Sara Caswell • Equilibrium: Brad Baker, Pam Belluck, Rich Russo, Elliot Honig, Terry Schwadron, • John Malino Duo Tomi Jazz 9 pm $10 North Square Lounge 12:30, 2 pm Dan Silverstone Caffe Vivaldi 8:30 pm • Sacha Perry Trio Cleopatra’s Needle 8 pm • Michika Fukumori Trio; Rob Edwards Quartet; Adam Larson Trio • Alberto Pibiri Measure 8 pm • Al Marino Quintet; Peter Valera Jump Blues Band The Garage 11:30 am 6:30, 11 pm • Luis Camacho and Sounds del Caribe with Roberto Agron, Victor Molina; The Garage 6:15, 10:45 pm Ted Perry Trio with Gustavo Amarante, Vanderlei Pereira êRene Marie’s I Wanna Be Evil with Kevin Bales, Elias Bailey, Quentin Baxter, Monday, May 19 Somethin’ Jazz Club 7, 9 pm $10-12 Robert Stringer, Adrian Cunningham, Etienne Charles • Kristen Lee Sergeant Trio Tomi Jazz 8 pm Dizzy’s Club 7:30, 9:30 pm $40 êSidney Bechet Society: Tribute to Mat Domber and Arbors Records with Anat Cohen, • Bobby Porcelli Quartet; Ken Simon Trio êJohn Scofield Trio with Larry Goldings, Greg Hutchinson Wycliffe Gordon, Dick Hyman, Bucky Pizzarelli, Warren Vache, Joel Forbes, The Garage 6, 10:30 pm Blue Note 8, 10:30 pm $35 Rebecca Kilgore, Ed Metz, Rossano Sportiello, Harry Allen, John Allred, êSteve Wilson’s Wilsonian’s Grain with Orrin Evans, Ugonna Okegwo, Bill Stewart • Terell Stafford Quintet with Tim Warfield, Bruce Barth, Peter Washington, Dana Hall Rajiv Jayaweera, Bob Wilber Symphony Space Peter Jay Sharp Theatre 7:15 pm $35 Village Vanguard 8:30, 10:30 pm $25 Village Vanguard 8:30, 10:30 pm $25 êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 • Karrin Allyson Birdland 8:30, 11 pm $40 • Joey DeFrancesco Trio Birdland 8:30, 11 pm $40 êThe Big Band Living Legacy Project directed by Ryan Keberle with Jerry Dodgion, êTuck & Patti Blue Note 8, 10:30 pm $35 • Steve Tyrell Café Carlyle 8:45, 10:45 pm $75-165 Joe Temperley, Bob Milikan, Earl Gardner, Clarence Banks, Rufus Reid, • Dave Hassell Quintet Silvana 6 pm • Antonio Ciacca Measure 8 pm Lang Recital Hall 8 pm • Cecilia Coleman Big Band Saint Peter’s 1 pm $10 • Alex Foster Band Silvana 6 pm • Jay Rodriguez Blue Note 8, 10:30 pm $15 • Sue Maskaleris Bryant Park 12:30 pm • Todd Robinson solo Bryant Park 12:30 pm

THE NEW YORK CITY JAZZ RECORD | MAY 2014 41 Thursday, May 22 Friday, May 23 • Karrin Allyson Birdland 8:30, 11 pm $40 • Watson Jazz Combo Silvana 6 pm êRandy Weston African Rhythms Quintet with Billy Harper, Robert Trowers, Alex Blake, • Jazz at Lincoln Center Orchestra with guests Christian McBride, Kurt Rosenwinkel • The Highliners: Melissa Fogarty, Debra Kreisberg, Steve Newman, Adam Kahan, Neil Clarke Jazz Standard 7:30, 9:30 pm $25 Rose Theater 8 pm $30-120 Tommy Mattioli Shrine 6 pm • Ben Wolfe Quintet with Nicholas Payton, Stacy Dillard, Dave Kikoski, Donald Edwards êBenny Golson Quartet Blue Note 8, 10:30 pm $35 • Sue Maskaleris Bryant Park 12:30 pm Dizzy’s Club 7:30, 9:30 pm $35 êMiles Davis Celebration: Jimmy Cobb and Friends • Erik Friedlander’s Bonebridge with Doug Wamble, Trevor Dunn, Michael Sarin Smoke 7, 9, 10:30 pm $40 Saturday, May 24 SubCulture 7:30 pm $15-20 êSteve Grossman Quartet with George Cables, Joseph Lepore, Jason Brown • Folkloriko: Susie Ibarra solo; Mysteries of Nature: Susie Ibarra and guests Jazz at Kitano 8, 10 pm $30 • Spencer Murphy Quintet; Wayne Escoffery The Stone 8, 10 pm $15 • Electric Kulintang: Roberto Rodriguez, Susie Ibarra and guest Yusef Komunyakaa Fat Cat 7, 10 pm • Claudia Acuña Rockwood Music Hall 3 8 pm The Stone 8, 10 pm $15 êMostly Other People Do the Killing; Charles Evans Quartet • Dwayne Clemons Quintet with Josh Benko, Sacha Perry, Murray Wall, êHelen Sung Trio Flushing Town Hall 8 pm $15 The Firehouse Space 8 pm $10 Jimmy Wormworth; Jon Cowherd Trio; Carlos Abadie Quintet with Joe Sucato, • Ralph Lalama’s Bop-Juice; Mark Soskin Quartet with Rich Perry • Clarence Penn Quartet with Dayna Stephens, Lage Lund, Matt Brewer Peter Zak, Clovis Nicolas, Luca Santaniello Smalls 7:30, 10:30 pm 1 am $20 Cornelia Street Café 9, 10:30 pm $15 Smalls 6, 9:30 pm 12:30 am $20 • Eden Ladin Quartet; Darryl Yokley Latin Project êGreg Lewis’ Organ Monk Sistas’ Place 9, 10:30 pm $20 • Davis Whitfield Quintet; Point of Departure Fat Cat 6, 10:30 pm • Mantra Percussion and Brian Chase Fat Cat 7, 10 pm 1:30 am êLinda Oh Group with Greg Ward, Matt Mitchell, Ches Smith and Sirius Quartet: The Stone 8, 10 pm $15 • Noah Preminger Ginny’s Supper Club 8:30 pm $15 Fung Chern Hwei, Earl Maneein, Ron Lawrence, Jeremy Harman • Women Composers Concert: Carol Sudhalter’s Astoria Big Band • Adrian Frey Trio with Patrick Sommer, Tony Renold; Armen Donelian Trio with The Jazz Gallery 9, 11 pm $22 Sunnyside Reformed Church 7 pm David Clark, George Schuller Zinc Bar 9 pm êJoe Sanders/Taylor Eigsti Duo Cornelia Street Café 9, 10:30 pm $15 • Vanderlei Pereira and BlindFold Test • Billy Mintz Quartet with Roberta Piket, John Gross, Putter Smith; Jonas Tauber Quartet • Jeff Barone Trio with Ron Oswanski, Victor Jones Zinc Bar 8 pm with John Gross, Hans Tammen, Billy Mintz; The Lost Quartet: Benjamin Koppel, Bar Next Door 7:30, 9:30, 11:30 pm $12 • Alexis Cole Metropolitan Room 7 pm $20 Jean-Michel Pilc, Johannes Weidenmueller, John Hadfield êGabriel Alegría Afro-Peruvian Sextet • Aleksi Glick Trio with Jeff Koch, Phillipe Lemme ShapeShifter Lab 7, 8:15, 9:30 pm $10-15 Zinc Bar 8 pm Bar Next Door 7:30, 9:30, 11:30 pm $12 • Sara Serpa/André Matos; Emilie Weibel’s oMoO • Ronny Whyte, Boots Maleson, David Silliman • Banda Magda Rockwood Music Hall 2 12 am Greenwich House Music School 7:30 pm $15 Knickerbocker Bar and Grill 9:45 pm $5 • Isaiah Barr with Keefe Martin, Zen Groom, Malik McLaurine, Austin Williamson; • Hanky Panky Trio: Alex Minasian, Brandi Disterheft, Steve Williams • Off Lines Project: Guy Mintus/Yinon Muallem Steve Kaiser Quartet with Kevin Golden, Lewis Porter, Jason Burger; Jazz at Kitano 8, 10 pm $15 Drom 9:30 pm $20 Cristian Mendoza Quartet with Alex Ayala, Joel Mateo • Jesse Elder’s The Elderchild Ensemble with Blanca Cecila Gonzalez, Jeremy Viner, • Billy Mintz Quartet with Roberta Piket, John Gross, Putter Smith Somethin’ Jazz Club 7, 9, 11 pm $10 Ryan Ferreira, Steve Whipple, Tyshawn Sorey Ibeam Brooklyn 8 pm $10 • Spencer Jones Trio Tomi Jazz 11 pm $10 Cornelia Street Café 8:30 pm $10 • Freeman Runs the Voodoo Down Miles Davis Celebration: David Freeman, • Emanuele Tozzi Trio Cleopatra’s Needle 8 pm • Victor Haskins The Jazz Gallery 9, 11 pm $15 Ari Folman-Cohen, Oren Neiman, Tyler Sussman and guest James Zollar; • Jazz at Lincoln Center Orchestra with guests Christian McBride, Kurt Rosenwinkel • Gregory Generet Smoke 7, 9, 10:30 pm Florencia Gonzalez Candombe Project with Jonathan Powell, Shannon Barnett, Rose Theater 8 pm $30-120 • Nelson Riveras Trio with Thomson Kneeland, Pablo Bencid Leo Genovese, Luis Guzman, Franco Pinna êBenny Golson Quartet Blue Note 8, 10:30 pm $35 Bar Next Door 8:30, 10:30 pm $12 ShapeShifter Lab 8:15, 9:30 pm $10 êMiles Davis Celebration: Jimmy Cobb and Friends • Josh Deutsch/Nico Soffiato WhyNot Jazz Room 8 pm • Akvariettrio: Wieland Moller, Robert Boston, Nicolas Letman-Burtinovic Smoke 7, 9, 10:30 pm $40 • Judi Marie Indian Road Café 7:30 pm Goodbye Blue Monday 8 pm êSteve Grossman Quartet with George Cables, Joseph Lepore, Jason Brown • Dave Acker Quartet with Dale Kleps, Lecco Reis, Dan Pugach; Blue Heaven: • Rob Silverman Indian Road Café 8 pm Jazz at Kitano 8, 10 pm $30 Mark McGowan, Tommy Morimoto, Alex Jeun, Alberto Pibiri, Ralph Hamperian, • Gary Levy Quartet with Jimmy Halperin, Aidan O’Donnell, Taro Okamoto; • Billy Mintz Quartet with Roberta Piket, John Gross, Putter Smith; Mark Soskin Quartet Art Lillard Somethin’ Jazz Club 7, 9 pm $10-12 Modern Life Trio: Tom Beckham, Rale Micic, Slavov and guest Aleksandar Petrov with Rich Perry; Philip Harper Smalls 7:30, 10:30 pm 1 am $20 • Jonathan Powell Tomi Jazz 9 pm $10 WhyNot Jazz Room 8, 10 pm • Ronny Whyte, Boots Maleson, David Silliman • Ben Paterson Trio Cleopatra’s Needle 7 pm • Marc Schwartz Quartet with Ben Bishop, Fumi Tomita, Mike Gordon and guest Knickerbocker Bar and Grill 9:45 pm $5 • Steve Picataggio Trio; Nathan Peck Trio Katie Ernst; Jeff Walton with Julian Shore, Danny Weller, Charles Burchell; êRandy Weston African Rhythms Quintet with Billy Harper, Robert Trowers, Alex Blake, The Garage 6, 10:30 pm Will Mac Quintet with , John Petrucelli, John Morrison, Gusten Rudolph Neil Clarke Jazz Standard 7:30, 9:30, 11:30 pm $30 êElectric Miles: Randy Brecker, Jeremy Pelt, Paul Bollenback, Lonnie Plaxico, Somethin’ Jazz Club 7, 9, 11 pm $12 • Ben Wolfe Quintet with Nicholas Payton, Stacy Dillard, Dave Kikoski, Donald Edwards Steve Smith Iridium 8:30, 10:30 pm $35-45 • Marina Makarova Trio Cleopatra’s Needle 8 pm Dizzy’s Club 7:30, 9:30 pm $45 êMichaël Attias/Arúan Ortiz; Canada Day: Nate Wooley, Matt Bauder, Chris Dingman, • Masami Ishikawa Trio; Kevin Dorn and the BIG 72 êElectric Miles: Randy Brecker, Jeremy Pelt, Paul Bollenback, Lonnie Plaxico, Pascal Niggenkemper, Harris Eisenstadt The Garage 6:15, 10:45 pm Steve Smith Iridium 8:30, 10:30 pm $35-45 Douglas Street Music Collective 8, 9:30 pm $10 êRandy Weston African Rhythms Quintet with Billy Harper, Robert Trowers, Alex Blake, êJosh Sinton’s Musicianer with Jason Ajemian, Chad Taylor; Canada Day: Nate Wooley, • Alberto Pibiri Measure 8 pm Neil Clarke Jazz Standard 7:30, 9:30, 11:30 pm $30 Matt Bauder, Chris Dingman, Pascal Niggenkemper, Harris Eisenstadt êSteve Wilson’s Wilsonian’s Grain with Orrin Evans, Ugonna Okegwo, Bill Stewart • Ben Wolfe Quintet with Nicholas Payton, Stacy Dillard, Dave Kikoski, Donald Edwards Douglas Street Music Collective 8, 9:30 pm $10 Village Vanguard 8:30, 10:30 pm $25 Dizzy’s Club 7:30, 9:30 pm $40 • Alberto Pibiri Measure 8 pm • Nick Ziobro Birdland 6 pm $20 êElectric Miles: Randy Brecker, Jeremy Pelt, Paul Bollenback, Lonnie Plaxico, êSteve Wilson’s Wilsonian’s Grain with Orrin Evans, Ugonna Okegwo, Bill Stewart • Karrin Allyson Birdland 8:30, 11 pm $40 Steve Smith Iridium 8:30, 10:30 pm $35-45 Village Vanguard 8:30, 10:30 pm $25 êTuck & Patti Blue Note 8, 10:30 pm $35 • Chris Hoffman’s Magic Wells with Sara Schoenbeck, Stomu Takeishi, Brian Chase; • Karrin Allyson Birdland 8:30, 11 pm $40 • Stan Killian Trio Strand Bistro 6 pm Canada Day: Nate Wooley, Matt Bauder, Chris Dingman, Pascal Niggenkemper, • Alex Layne Trio; Hide Tanaka Trio; Virginia Mayhew Quartet • Bill Mobley Band Silvana 6 pm Harris Eisenstadt Douglas Street Music Collective 8, 9:30 pm $10 The Garage 12, 6:15, 10:45 pm • Joel Forrester Trio Shrine 6 pm • Alberto Pibiri Measure 8 pm • Robert Mwamba Band Silvana 6 pm • New School Jazz Ensemble Citigroup Center Plaza 12:30 pm êSteve Wilson’s Wilsonian’s Grain with Orrin Evans, Ugonna Okegwo, Bill Stewart • Mike Yaw Quartet Shrine 6 pm • Sue Maskaleris Bryant Park 12:30 pm Village Vanguard 8:30, 10:30 pm $25

joe sanders taylor eigsti duo Friday, May 23 - 8:30pm Cornelia Street Café 29 Cornelia Street, NYC joesandersbass.com / tayjazz.com

42 MAY 2014 | THE NEW YORK CITY JAZZ RECORD Sunday, May 25 • Donna Lewis; The Vocal Summit: Beat Kaestli, Elisabeth Lohninger, Melissa Stylianou, • CTMD Tantshoyz with Steven Weintraub, Amy Zakar’s Fidl Kapelye Dylan Pramuk, Jamie Reynolds, Gary Wang and guests Magos Herrera, Stephen Wise Free Synagogue 7:30 pm $15 • The Westerlies play Wayne Horvitz: Riley Mulherkar, Zubin Hensler, Andy Clausen, Gabriell Stravelli, Aria Hendricks, Navin Chettri • Caili O’Doherty Jazz at Kitano 8 pm Willem de Koch Cornelia Street Café 8:30 pm $10 Zinc Bar 8, 9 pm • Benno Marmur Trio Tomi Jazz 8 pm • Susie Ibarra solo The Stone 10 pm $15 • Emily Wolf with Jason Yeager, Dorota Piotrovska, Lauren Falls, Leah Gough-Cooper, • Ben Sutton Quartet; Benjamin Drazen Trio • John Merrill Trio with Tyler Mitchell, Brian Floody; Johnny O’Neal with Paul Sikivie, Satish Robertson Cornelia Street Café 8:30 pm $10 The Garage 6, 10:30 pm Charles Goold; Ken Fowser Quintet • Laura Campisi Trio with Saul Rubin, Ameen Saleem • Antonio Ciacca Measure 8 pm Smalls 4:30, 7:30, 10 pm 12 am $20 Bar Next Door 8:30, 10:30 pm $12 • Sam Trapchak’s Orphan Planet Silvana 6 pm • Terry Waldo’s Gotham City Band; Greg Murphy Quartet; • New York Jazz 9 + 3 Spirit Tea Lounge 9, 10:30 pm • Julieta Eugenio Trio Shrine 6 pm Brandon Lewis/Renee Cruz Jam Fat Cat 6, 8:30 pm 12:30 am • Antonio Ciacca Measure 8 pm • Joel Forrester solo Bryant Park 12:30 pm êLaFrae Sci’s 13th Amendment with Mazz Swift, Aaron Whitby; William Hooker solo • Dorian Devins Quartet with Richie Vitale, Lou Rainone, Ben Meigners; WhyNot Jazz Room 7:30, 9 pm $10 Greasers: Ian Gittler, Avi Bortick, Andy Hess, Aaron Johnston, Eric Hoegemeyer with Wednesday, May 28 êPeter Leitch/Ray Drummond Walker’s 8 pm The Beautiful Brass and Aleksandar Petrov • Jan Pele Dal Motion Jazz Project by Jan Pele with Sam Minae, Jonathan Powell; WhyNot Jazz Room 8, 10 pm êJuilliard Jazz Quartet: Ron Carter, Ron Blake, Frank Kimbrough, Carl Allen Annie Chen’s Pisces the Dreamer with Boris Acosta Jaramillo, Joseph Han, • Transitory: Jacob Spadaro, Bridget Supka, Yael Cederbaum, Mordy Weinstein, Dizzy’s Club 7:30, 9:30 pm $40 Joochan Im, Rafal Sarnecki ShapeShifter Lab 7, 8:15 pm $10-12 Will Armstrong, Ross Kratter, Sam Gautier • Eyal Vilner Group Dizzy’s Club 11:30 pm $10 • Bossa Brasil: Maurício de Souza, Ben Winkelman, Joonsam Lee Somethin’ Jazz Club 7 pm $12 • Wallace Roney Quartet with Victor Gould, Daryl Johns, Kojo Roney Inwood Local 9 pm • Eyal Vilner Big Band; Will Terrill Trio Minton’s Playhouse 7, 9:15 pm • Alex Frondelli Quintet with Matt Martinez, Matt Malanowski, Cole Davis, Michael Vetter The Garage 7, 10:30 pm êJacob Sacks/Yoon Sun Choi Duo; Jacob Sacks Trio with Thomas Morgan, Dan Weiss Somethin’ Jazz Club 7 pm $12 • Ammo Cake Jazz Trio Silvana 6 pm Weill Recital Hall 8 pm $35 • Vanunu Ethno Jazz Ensemble Silvana 8 pm • Dezron Douglas Black Lion Quartet êBenny Golson Quartet Blue Note 8, 10:30 pm $35 Tuesday, May 27 Minton’s Playhouse 11 pm $10 êRandy Weston African Rhythms Quintet with Billy Harper, Robert Trowers, Alex Blake, • Roman Filiu Group SEEDS 8:30 pm Neil Clarke Jazz Standard 7:30, 9:30 pm $25 êJoe Lovano’s Village Rhythms Band with Liberty Ellman, Matt Garrison, Otis Brown, • Larry Gelb Trio with Cameron Brown, Michael Stephans • Ben Wolfe Quintet with Nicholas Payton, Stacy Dillard, Dave Kikoski, Donald Edwards Abdou Mboup Blue Note 8, 10:30 pm $35 Jazz at Kitano 8, 10 pm $15 Dizzy’s Club 7:30, 9:30 pm $35 êJeff “Tain” Watts Quartet with Troy Roberts, David Budway, Chris Smith • Joanna Pascale and the Orrin Evans Trio with Vicente Archer, Obed Calvaire • Alberto Pibiri Measure 8 pm Village Vanguard 8:30, 10:30 pm $25 Smoke 7, 9, 10:30 pm êSteve Wilson’s Wilsonian’s Grain with Orrin Evans, Ugonna Okegwo, Bill Stewart • BossaBrasil: Marcos Valle and Roberto Menescal with Patricia Alvi, Renato Massa, • Conrad Harris solo; Max Mandel/Eric Huebner Village Vanguard 8:30, 10:30 pm $25 Jesse Sadoc, Itaiguara Brandao, Jorge Continentino The Stone 8, 10 pm $15 • Duo: Cheryl Pyle/Bern Nix Downtown Music Gallery 6 pm Birdland 8:30, 11 pm $40 • Misha Piatigorsky Quintet with Tatum Greenblatt, Tivon Pennicott, Danton Boller, • Akvariettrio: Wieland Moller, Robert Boston, Nicolas Letman-Burtinovic • Ryan Kisor Quintet with Peter Zak, Peter Bernstein, John Webber, Willie Jones III Rudy Royston Zinc Bar 9, 11 pm Caffe Vivaldi 6 pm Dizzy’s Club 7:30, 9:30 pm $30 • Yotam Silberstein Quartet; Dorota Piotrowska Quartet • Marianne Solivan Quartet Saint Peter’s 5 pm • Eyal Vilner Group Dizzy’s Club 11:30 pm $10 Smalls 9:30 pm 12:30 am $20 • Amy Cervini and Jazz Kids! 55Bar 2 pm $5 • Theo Croker’s DVRK Funk with Dee Dee Bridgewater, Irwin Hall, Seth Johnson, • Raphael D’lugoff; Sharp Radway Quintet; Ned Goold Jam • William Patterson College Brunch: Pete McGuinness Orchestra with Steve Kenyon, Sullivan Fortner, Eric Wheeler, Kassa Overall, Jerome Jennings Fat Cat 7, 9 pm 12:30 am Mark Phaneuf, Tom Christensen, Dan Pratt, Dave Reikenberg, Jon Owens, Tony Kadlek, Jazz Standard 7:30, 9:30 pm $25 • Goonj Beyond Boundaries: Navin Chettri, Jamie Baum, Matt Moran, Manu Koch, Bill Mobley, Chris Rogers, Bruce Eidem, Mark Patterson, Matt Haviland, Tim Newman, êJoe Fiedler Trio with Rob Jost, Michael Sarin Fausto Sierakowski, Kenny Warren, Trifon Dimitrov; Manu Koch Band Michael Holober, Andy Eulau, Scott Neumann Cornelia Street Café 8:30 pm $10 ShapeShifter Lab 7:30, 9 pm $10 Blue Note 11:30 am 1:30 pm $29.50 • Kyle Saulnier’s The Awakening Orchestra with Rob Mosher, David Dejesus, • Rale Micic/Jack Wilkins WhyNot Jazz Room 8 pm • Roz Corral Trio with Dave Stryker, Paul Gill Samuel Ryder, Andrew Gutauskas, Daniel Urness, Seneca Black, Nadje Noordhuis, • Bob Arthurs with Dave Frank, Jon Easton, Joe Solomon; Kike Perdomo with North Square Lounge 12:30, 2 pm Jonathan Powell, Michael Boscarino, Matthew Musselman, Benjamin Griffin, George Dulin, Joseph Lepore, Greg Ritchie • Kyoko Oyobe Trio; David Coss Quartet; Tsutomu Naki Trio Max Seigel, Julie Hardy, Nathan Hetherington, James Shipp, Michael Macallister, Somethin’ Jazz Club 7, 9 pm $10-12 The Garage 11:30 am 6:30, 11 pm Aaron Kotler, Joshua Paris, Will Clark • Yoshi Iwata Duo Tomi Jazz 8 pm SubCulture 7:30 pm $15-20 • Sam Taylor Quartet; Isaiah Barr Trio Monday, May 26 • Kavita with Lionel Loueke Joe’s Pub 7:30 pm $20 The Garage 6, 10:30 pm • Sheryl Bailey 55Bar 7 pm êJoe Lovano’s Village Rhythms Band with Liberty Ellman, Matt Garrison, Otis Brown, êJimmy Cobb Quintet; Billy Kaye Jam • Spike Wilner Trio with Yotam Silberstein, Paul Gill; Josh Evans Big Band with Abdou Mboup Blue Note 8, 10:30 pm $35 Fat Cat 9 pm 12:30 am Ned Goold, Stafford Hunter, Stacy Dillard, Freddie Hendrix, David Gibson, êJeff “Tain” Watts Quartet with Troy Roberts, David Budway, Chris Smith êAvram Fefer Trio with Michael Bisio, Michael Wimberly; Flin van Hemmen Ensemble Bruce Williams, Theo Hill, Ameen Saleem, Chris Beck, Max Seigel, Vitaly Golovnev, Village Vanguard 8:30, 10:30 pm $25 with Ben Gerstein, Jonathan Moritz, Sean Ali; Alex Harding Trio with Hill Greene, Frank Lacy, Yunie Mojica, Lauren Sevian Kyle Poole and Friends • BossaBrasil: Marcos Valle and Roberto Menescal with Patricia Alvi, Renato Massa, Reggie Nicholson Clemente Soto Velez Cultural Center 7:30 pm $11-22 Smalls 7:30, 10:30 pm 1 am $20 Jesse Sadoc, Itaiguara Brandao, Jorge Continentino • Ryan Kisor Quintet with Peter Zak, Peter Bernstein, John Webber, Willie Jones III • Saul Rubin; Itai Kriss and Gato Gordo; Greg Glassman Jam Birdland 8:30, 11 pm $40 Dizzy’s Club 7:30, 9:30 pm $30 Fat Cat 7, 9 pm 12:30 am • Theo Croker’s DVRK Funk with Dee Dee Bridgewater, Irwin Hall, Seth Johnson, êCaptain Black Big Band Smoke 7, 9 pm • Jacam Manricks Trio with Gianluca Renzi, Ross Pederson Sullivan Fortner, Eric Wheeler, Kassa Overall, Jerome Jennings • Matthew Finck/Jonathan Ball Project with Jay Anderson, Adam Nussbaum Bar Next Door 8:30, 10:30 pm $12 Jazz Standard 7:30, 9:30 pm $25 ShapeShifter Lab 9:30 pm $15 • Tom Chiu solo; Tom Chiu/Conrad Harris • Antonio Ciacca Measure 8 pm • Ehud Asherie Trio with Paul Sikivie, Phil Stewart; Ari Hoenig Trio; Spencer Murphy The Stone 8, 10 pm $15 • John Suntken Quartet Silvana 6 pm Smalls 7:30, 10 pm 12:30 am $20 • Nick Virzi; Leslie Ross Freddy’s Backroom 8:30, 10 pm $10 • Laurel Masse/Tex Arnold Saint Peter’s 1 pm $10 • Caterina Zapponi Blue Note 8, 10:30 pm $15 • Aubrey Johnson Sextet with Michael Thomas, Tomoko Omura, Chris Ziemba, • Joel Forrester solo Bryant Park 12:30 pm • Aaron Irwin Group with Danny Fox, Sebastian Noelle, Dan Foose Hans Glawischnig, Jeremy Noller WhyNot Jazz Room 8 pm ShapeShifter Lab 8:15 pm $10

Strength In numberS The PeTe McGuinness Jazz OrchesTra Critically acclaimed, past Grammy Finalist, Pete McGuinness brings together his dynamic Jazz Orchestra - 16 incredible NYC jazz musicians for a soaring large ensemble recording! [SMT 627]

Catch the Pete McGuinness Jazz Orchestra LIVE at an Incredible Sunday “Strength in Numbers” Brunch New Release Event!

Blue Note • May 25th • 11:30am aNd 1:30pm

AVAILABLE AT FINE RETAIL AND E-TAIL OR DIRECTLY FROM summitrecords.com OR 1-800-543-5156 North American distribution by Allegro Media Group records

THE NEW YORK CITY JAZZ RECORD | MAY 2014 43 Thursday, May 29 • Kuba Wiecek Quartet Shrine 6 pm REGULAR ENGAGEMENTS Joel Forrester solo Bryant Park 12:30 pm • MONDAYS êJacky Terrasson Trio with Burniss Travis, Justin Faulkner • Ron Affif Trio Zinc Bar 9, 11pm, 12:30, 2 am Jazz Standard 7:30, 9:30 pm $25 Saturday, May 31 • Woody Allen/Eddy Davis New Orleans Jazz Band Café Carlyle 8:45 pm $145 êTim Berne/Matt Mitchell Duo; David Torn solo • Kermit Ruffins and the BBQ Swingers • Big Band Night; John Farnsworth Quintet Smoke 7, 9, 10:30 pm Ibeam Brooklyn 8:30, 10 pm $15 • Rick Bogart Trio Broadway Thai 6:30 pm (ALSO SUN) • HBC: Scott Henderson, Jeff Berlin, Dennis Chambers Brooklyn Bowl 8 pm $15 • Duane Eubanks Quintet Fat Cat 10 pm • Michael Brecker Tribute with Dan Barman The Counting Room 8 pm Iridium 10:30 pm $50 • Sedric Choukroun and The Brasilieros Chez Lola 7:30 pm êJon Irabagon, Jeremiah Cymerman, Moppa Elliott • Matt Brewer with Steve Lehman, Lage Lund The Firehouse Space 8 pm $10 Cornelia Street Café 9, 10:30 pm $15 • Pete Davenport/Ed Schuller Jam Session Frank’s Cocktail Lounge 9 pm êJonathan Finlayson’s Sicilian Defense with Miles Okazaki, David Virelles, Keith Witty, • FLUX Quartet: Tom Chiu, Conrad Harris, Max Mandel, Felix Fan and guests Oliver Lake, • Emerging Artists Series Bar Next Door 6:30 pm (ALSO TUE-THU) Marcus Gilmore Greenwich House Music School 8 pm $15 Michael Shumacher The Stone 8, 10 pm $15 • Joel Forrester solo Brandy Library 8 pm • Jo-Yu Chen Trio+1 with Gilad Hekselman, Chris Tordini, Tommy Crane êHypnotic Brass Ensemble Knitting Factory 12 am $10 • Vince Giordano’s Nighthawks Iguana 8 pm (ALSO TUE) Steinway Hall 7:30 pm $30 • Kenny Gates Group Sistas’ Place 9, 10:30 pm $20 • Grove Street Stompers Arthur’s Tavern 7 pm • OKB Trio: Oscar Perez, Kuriko Tsugawa, Brian Woodruff • Adriano Santos Trio with Richard Padron, Eduardo Belo • Earl Rose solo; Earl Rose Trio Bemelmans Bar 5:30, 9 pm Jazz at Kitano 8, 10 pm $15 Bar Next Door 7:30, 9:30, 11:30 pm $12 • Stan Rubin All-Stars Charley O’s 8:30 pm • Samarth Nagarkar/Dan Weiss SEEDS 9 pm • Akie Bermiss Ginny’s Supper Club 7:30, 9:30 pm $15 • Swingadelic Swing 46 8:30 pm • Nick Sanders Trio The Jazz Gallery 9, 11 pm $15 • Scot Albertson/Dan Furman Klavierhaus 8 pm • Vanguard Jazz Orchestra Village Vanguard 8:30, 10:30 pm $25 • Ricardo Grilli New Quartet with Julian Shore, Edward Perez, EJ Strickland and guest • Jack Gulielmetti Quintet with Ryan Park-Chan, Isaiah Barr, Ethan Cohn, • Diego Voglino Jam Session The Village Lantern 9:30 pm ShapeShifter Lab 8:15 pm $10 Julius Rodriguez; Rubens Salles Somethin’ Jazz Club 7, 9 pm $10-12 • Jordan Young Group Bflat 8 pm (ALSO WED 8:30 pm) • Sofia Rei and Aca Seca Joe’s Pub 7 pm $20 • Yuko Ito Trio; Yusuke Seki Tomi Jazz 8, 11 pm $10 TUESDAYS • Will Bernard Trio with Steve Cardenas, Chris Lightcap • Ray Parker Trio Cleopatra’s Needle 8 pm • Daisuke Abe Trio Sprig 6 pm (ALSO WED-THU) Bar Next Door 8:30, 10:30 pm $12 • Steve Turre Quintet with Bruce Williams, Xavier Davis, Gerald Cannon, Willie Jones III • Rick Bogart Trio L’ybane 9:30 pm (ALSO FRI) • Eric Kurimski Quartet with Edward Perez, Josh Deutsch, Arturo Stable Smoke 7, 9, 10:30 pm $38 ê • Orrin Evans Evolution Series Jam Session Zinc Bar 11 pm Terraza 7 9 pm $7 Martin Wind Quartet with Scott Robinson, Bill Mays, Joe La Barbera • Irving Fields Nino’s Tuscany 7 pm (ALSO WED-SUN) • Gregory Generet Smoke 7, 9, 10:30 pm Jazz at Kitano 8, 10 pm $30 Matt Panayides Group with Rich Perry; Jay Collins and The Kings County Band with • George Gee Swing Orchestra Swing 46 8:30 pm $12 êMelissa Aldana and The Crash Trio with Pablo Menares, Francisco Mela; • • Chris Gillespie; David Budway Bemelmans Bar 5:30, 9:30 pm (ALSO WED-SAT) Yaala Ballin Group with Pasquale Grasso, Ari Roland, Keith Balla Scott Sharrard, George Lax, Jeff Hanley, Diego Voglino; Eric Wyatt Smalls 7:30, 10:30 pm 1 am $20 • Loston Harris Café Carlyle 9:30 pm $20 (ALSO WED-SAT) Smalls 6, 10:30 pm $20 • Art Hirahara Trio Arturo’s 8 pm • Corin Stiggall Quintet; Avi Rothbard Quintet • John Pizzarelli Quartet with guest Jane Monheit The Appel Room 7, 9:30 pm $45-55 • Yuichi Hirakawa Trio Arthur’s Tavern 7, 8:30 pm Fat Cat 7, 10 pm 1:30 am • Mike LeDonne Quartet; Charles Turner III Smoke 7, 9, 10:30, 11:30 pm • Felix Fan solo; FLUX Quartet: Tom Chiu, Conrad Harris, Max Mandel, Felix Fan and • Matthew Fries/Phil Palombi Knickerbocker Bar and Grill 9:45 pm $5 • Ayman Fanous The Firehouse Space 8 pm $10 • Ilya Lushtak Quartet Shell’s Bistro 7:30 pm guest Fast Forward The Stone 8, 10 pm $15 • Mona’s Hot Four Jam Session Mona’s 11 pm • Andrea Wolper Trio with Michael Howell, Ken Filiano • John Ellis/Andy Bragen’s MOBRO with Becca Stevens, Miles Griffith, WhyNot Jazz Room 7 pm Sachal Vasandani, Johnaye Kendrick, Shane Endsley, John Clark, Alan Ferber, • Russ Nolan Jazz Organ Trio Cassa Hotel and Residences 6 pm • Jon Weber Metropolitan Room 7 pm $20 Josh Roseman, Mike Moreno, Ryan Scott, Joe Sanders, Rodney Green • The Metropolitan Room 9:30 pm $25 • Molly Ryan The Rum House 9:30 pm The Jazz Gallery 9, 11 pm $22 • Saul Rubin; Greg Glassman Jam Fat Cat 7 pm 12:30 am • Albert Marques, Walter Stinson, Zack O’Farrill êJacky Terrasson Trio with Burniss Travis, Justin Faulkner • Slavic Soul Party Barbès 9 pm $10 Caffe Vivaldi 8 pm Jazz Standard 7:30, 9:30, 11:30 pm $30 • Diego Voglino Jam Session The Fifth Estate 10 pm • New Big One Octet: Muriel Vergnaud, Rhys Tivey, John Beaty, Jerome Sabbagh, êTim Berne/Matt Mitchell Duo; David Torn solo WEDNESDAYS Joe Beaty, Jean-Michel Pilc, Or Bareket, Jerad Lippi; Alexis Parsons; Ibeam Brooklyn 8:30, 10 pm $15 • Astoria Jazz Composers Workshop Waltz-Astoria 6 pm Biello/Suntken Quartet Somethin’ Jazz Club 7, 9, 11 pm $12 • HBC: Scott Henderson, Jeff Berlin, Dennis Chambers • Sedric Choukroun and the Eccentrics Chez Oskar 7 pm • Yunko Yagami Tomi Jazz 9 pm $10 Iridium 8:30, 10:30 pm $30 • Raphael D’lugoff; Ned Goold Jam Fat Cat 7 pm 12:30 am • Art Lillard Trio Cleopatra’s Needle 7 pm • Juilliard Jazz Quartet: Ron Carter, Ron Blake, Frank Kimbrough, Carl Allen • Rob Duguay’s Low Key Trio Turnmill NYC 11 pm • Dre Barnes Project; Gabe Valle Quartet Dizzy’s Club 7:30, 9:30 pm $45 • Jeanne Gies with Howard Alden and Friends Joe G’s 6:30 pm The Garage 6, 10:30 pm • Eyal Vilner Big Band Dizzy’s Club 11:30 pm $20 • Les Kurtz Trio; Joonsam Lee Trio Cleopatra’s Needle 7, 11:30 pm • Juilliard Jazz Quartet: Ron Carter, Ron Blake, Frank Kimbrough, Carl Allen êJoe Lovano’s Village Rhythms Band with Liberty Ellman, Matt Garrison, Otis Brown, • Jonathan Kreisberg Trio Bar Next Door 8:30, 10:30 pm $12 Dizzy’s Club 7:30, 9:30 pm $40 Abdou Mboup Blue Note 8, 10:30 pm $35 • Jed Levy and Friends Vino di Vino Wine Bar 7:30 pm (ALSO FRI) • Eyal Vilner Big Band Dizzy’s Club 11:30 pm $10 êJeff “Tain” Watts Quartet with Troy Roberts, David Budway, Chris Smith • Ron McClure solo piano McDonald’s 12 pm (ALSO SAT) êJoe Lovano’s Village Rhythms Band with Liberty Ellman, Matt Garrison, Otis Brown, Village Vanguard 8:30, 10:30 pm $25 • David Ostwald’s Louis Armstrong Centennial Band Birdland 5:30 pm $20 Abdou Mboup Blue Note 8, 10:30 pm $35 • BossaBrasil: Marcos Valle and Roberto Menescal with Patricia Alvi, Renato Massa, • Saul Rubin Vocalist Series Zeb’s 8 pm $10 êJeff “Tain” Watts Quartet with Troy Roberts, David Budway, Chris Smith Jesse Sadoc, Itaiguara Brandao, Jorge Continentino • Stan Rubin Orchestra Swing 46 8:30 pm Village Vanguard 8:30, 10:30 pm $25 Birdland 8:30, 11 pm $40 Antonio Ciacca Measure 8 pm • Eve Silber Arthur’s Tavern 7 pm • BossaBrasil: Marcos Valle and Roberto Menescal with Patricia Alvi, Renato Massa, • • Brianna Thomas Quartet Smoke 11:30 pm Jesse Sadoc, Itaiguara Brandao, Jorge Continentino • Eileen Howard with Daniel Bennett, Ron Jackson, Eddy Khaimovich, Darrell Smith The West End Lounge 4 pm • Reggie Woods with Greg Lewis Organ Monk Sapphire NYC 8 pm Birdland 8:30, 11 pm $40 • Bill Wurtzel/Mike Gari American Folk Art Museum Lincoln Square 2 pm • Antonio Ciacca Measure 8 pm • John Minnock Metropolitan Room 4 pm $20 • David Kardas Shrine 6 pm • Marsha Heydt Project of Love; Champian Fulton Quartet; Hot House THURSDAYS • Joel Forrester solo Bryant Park 12:30 pm The Garage 12, 6:15, 10:45 pm • Michael Blake Bizarre Jazz and Blues Band Bizarre 9 pm • Fat Afro Latin Jazz Cats with Jim Seeley • Sedric Choukroun Brasserie Jullien 7:30 pm (ALSO FRI, SAT) Citigroup Center Plaza 12:30 pm • Lucy Galliher Singers Session Zinc Bar 6 pm $5 • Gregory Generet Smoke 7, 9, 10:30 pm Friday, May 30 • and the Harlem Night Songs Big Band MIST 9, 10:30 pm $15 • Bertha Hope Band Minton’s Playhouse 7 pm (THRU SAT) êJC Sanford Orchestra with Dan Willis, Ben Kono, Chris Bacas, Kenny Berger, • Jazz Jam Session American Legion Post 7:30 pm David Spier, Matt Holman, Nathan Koci, Mark Patterson, Jeff Nelson, Meg Okura, • Kazu Trio Cleopatra’s Needle 11:30 pm Christopher Hoffman, Aidan O’Donnell, Jacob Garchik, Tom Beckham, Satoshi Takeishi • Lapis Luna Quintet The Plaza Hotel Rose Club 8:30 pm Greenwich House Music School 8 pm $15 • Curtis Lundy Jam Session Shell’s Bistro 9 pm • Steve Turre Quintet with Bruce Williams, Xavier Davis, Gerald Cannon, Willie Jones III • Metro Room Jazz Jam with guests Metropolitan Room 11 pm $10 Smoke 7, 9, 10:30 pm $38 • Eri Yamamoto Trio Arthur’s Tavern 7 pm (ALSO FRI-SAT) êMartin Wind Quartet with Scott Robinson, Bill Mays, Joe La Barbera Jazz at Kitano 8, 10 pm $30 FRIDAYS • Quartet with Spike Wilner, Ugonna Okegwo, Anthony Pinciotti; • Scot Albertson Parnell’s 8 pm (ALSO SAT) Jay Collins and The Kings County Band with Scott Sharrard, George Lax, Jeff Hanley, • The Crooked Trio: Oscar Noriega, Brian Drye, Ari Folman-Cohen Barbès 5 pm Diego Voglino Smalls 7:30, 10:30 pm 1 am $20 • Day One Trio Prime and Beyond Restaurant 9 pm (ALSO SAT) • Steve Hall Quartet; Ed Cherry Fat Cat 6, 10:30 pm • Lisa DeSpain solo Machiavelli’s 8 pm • John Pizzarelli Quartet with guest Jane Monheit • Gerry Eastman Quartet Williamsburg Music Center 10 pm The Appel Room 7, 9:30 pm $45-55 • Finkel/Kasuga/Tanaka/Solow San Martin Restaurant 12 pm $10 êAndy Biskin’s Ibid with Kirk Knuffke, Brian Drye, Jeff Davis • Patience Higgins & The Sugar Hill Quartet Smoke 11:45 pm Cornelia Street Café 9, 10:30 pm $15 • Tommy Igoe Birdland Big Band Birdland 5:15 pm $25 • Matthew Fries/Phil Palombi Knickerbocker Bar and Grill 9:45 pm $5 • Sandy Jordan and Friends ABC Chinese Restaurant 8 pm • Ayman Fanous The Firehouse Space 8 pm $10 • Frank Owens Open Mic Pearl Studios 7:30 pm $10 • John Ellis/Andy Bragen’s MOBRO with Becca Stevens, Miles Griffith, • Richard Russo Quartet Capital Grille 6:30 pm Sachal Vasandani, Johnaye Kendrick, Shane Endsley, John Clark, Alan Ferber, • Bill Saxton and the Harlem Bebop Band Bill’s Place 9, 11 pm $15 (ALSO SAT) Josh Roseman, Mike Moreno, Ryan Scott, Joe Sanders, Rodney Green • Joanna Sternberg Trio Cleopatra’s Needle 12:30 am The Jazz Gallery 9, 11 pm $22 • UOTS Jam Session University of the Streets 11:30 pm $5 (ALSO SAT) êGabriel Alegría Afro-Peruvian Sextet SATURDAYS Zinc Bar 8 pm • Avalon Jazz Quartet Matisse 8 pm • Paul Bollenback Trio with Joseph Lepore, Donald Edwards • The Candy Shop Boys Duane Park 8, 10:30 pm Bar Next Door 7:30, 9:30, 11:30 pm $12 • Barbara Carroll/ Duo Birdland 6 pm $35 • FLUX Quartet: Tom Chiu, Conrad Harris, Max Mandel, Felix Fan and guest David First • Michika Fukumori Trio Cleopatra’s Needle 9 pm The Stone 8, 10 pm $15 • Joonsam Lee; Diego Voglino Jules Bistro 12, 8:30 pm • Sean Noonan’s Pavees Dance with Malcolm Mooney, , Aram Bajakian Bowery Electric 8:30 pm • Curtis Lundy Trio with guests Shell’s Bistro 9 pm • John Daversa Big Band; Justin Morell Dectet with Hashem Assadullahi, Matt Otto, • Johnny O’Neal Smoke 11:45 pm Phil O’Connor, John Daversa, Ryan Keberle, Max Seigel, Leonard Thompson, • Skye Jazz Trio Jack 8:30 pm Gary Wang, Mark Ferber ShapeShifter Lab 8, 9:30 pm $8-10 SUNDAYS • Household Tales: William Lea, David Redbranch, Elise Reynard, Sean Ali, Tim Shortle • Avalon Jazz Quartet The Lambs Club 11 am Sidewalk Café 9 pm • Birdland Jazz Party with Carolyn Leonhart Birdland 6 pm $25 • Jerry DeVore Trio Indian Road Café 7 pm • Satish Robertson; Renaud Penant Jules Bistro 12, 8:30 pm • Mika Jazz Trio with Eduardo Belo, Rafael Barata; Sandy Taylor Band with • The Candy Shop Boys The Rum House 9:30 pm Benito Gonzalez; Spencer Jones Trio with Nick Westbass • Creole Cooking Jazz Band; Stew Cutler and Friends Arthur’s Tavern 7, 10 pm Somethin’ Jazz Club 7, 9, 11 pm $12 • Isaac Darch Group Basik Bar 7 pm • John Watts Trio Tomi Jazz 9 pm $10 • Marc Devine Trio TGIFriday’s 6 pm • Darrell Smith Trio Cleopatra’s Needle 8 pm • Ear Regulars with Jon-Erik Kellso The Ear Inn 8 pm • Joel Perry Trio; Peter Valera Jump Blues Band • Marjorie Eliot/Rudell Drears/Sedric Choukroun Parlor Entertainment 4 pm The Garage 6:15, 10:45 pm • Ken Foley/Nick Hempton Quintet Smithfield 8:30 pm • Stefania Carati Quartet; Adam and The Argentinians • Joel Forrester solo Grace Gospel Church 11 am Silvana 6, 8 pm • Joel Forrester Manhattan Inn 8:30 pm êJacky Terrasson Trio with Burniss Travis, Justin Faulkner • Nancy Goudinaki Trio Kellari Taverna 12 pm Jazz Standard 7:30, 9:30, 11:30 pm $30 • Broc Hempel/Sam Trapchak/Christian Coleman Trio Dominie’s Astoria 9 pm êTim Berne/Matt Mitchell Duo; David Torn solo • Bob Kindred Group; Junior Mance Trio Café Loup 12:30, 6:30 pm Ibeam Brooklyn 8:30, 10 pm $15 • Ras Chemash Lamed Vocal Jam Session University of the Streets 6:45 pm $10 • HBC: Scott Henderson, Jeff Berlin, Dennis Chambers • Peter Leitch Duo Walker’s 8 pm Iridium 8:30, 10:30 pm $30 • Peter Mazza Trio Bar Next Door 8, 10 pm $12 • Juilliard Jazz Quartet: Ron Carter, Ron Blake, Frank Kimbrough, Carl Allen • Arturo O’Farrill Afro Latin Jazz Orchestra Birdland 9, 11 pm $30 Dizzy’s Club 7:30, 9:30 pm $40 • Earl Rose solo; Eric Yves Garcia Trio Bemelmans Bar 5:30, 9 pm • Eyal Vilner Group Dizzy’s Club 11:30 pm $15 • Lu Reid Jam Session Shrine 4 pm êJoe Lovano’s Village Rhythms Band with Liberty Ellman, Matt Garrison, Otis Brown, • Annette St. John; Roxy Coss Smoke 11:30 am 11:30 pm Abdou Mboup Blue Note 8, 10:30 pm $35 • Ryo Sasaki Trio Analogue 7 pm êJeff “Tain” Watts Quartet with Troy Roberts, David Budway, Chris Smith Village Vanguard 8:30, 10:30 pm $25 • Sara Serpa/André Matos Pão Restaurant 2 pm • BossaBrasil: Marcos Valle and Roberto Menescal with Patricia Alvi, Renato Massa, • Corin Stiggall and Associates Speedy Romeo 12 pm Jesse Sadoc, Itaiguara Brandao, Jorge Continentino • Milton Suggs Cávo 7 pm Birdland 8:30, 11 pm $40 • Terry Waldo; Brandon Lewis/Renee Cruz Fat Cat 6 pm 12:30 am • Antonio Ciacca Measure 8 pm • Brian Woodruff Jam Blackbird’s 9 pm

44 MAY 2014 | THE NEW YORK CITY JAZZ RECORD CLUB DIRECTORY

• 55Bar 55 Christopher Street (212-929-9883) • The Ear Inn 326 Spring Street at Greenwich Street (212-246-5074) • Prentis Hall Columbia University 632 W. 125th Street Subway: 1 to Christopher Street www.55bar.com Subway: C, E to Spring Street www.earinn.com (212-854-9266) Subway: 1 to 125th Street www.music.columbia.edu • 61 Local 61 Bergen Street • Fat Cat 75 Christopher Street at 7th Avenue (212-675-6056) • Prime and Beyond Restaurant 90 East 10th Street (347-763-6624) Subway: F, G to Bergen Street www.61local.com Subway: 1 to Christopher Street/Sheridan Square www.fatcatmusic.org (212-505-0033) Subway: 6 to Astor Place www.primeandbeyond.com • ABC Chinese Restaurant 34 Pell Street • The Fifth Estate 506 5th Avenue, Brooklyn • Prospect Range 1226 Prospect Avenue (212-346-9890) Subway: J to Chambers Street (718-840-0089) Subway: F to 4th Avenue www.fifthestatebar.com Subway: F to Fort Hamilton Parkway www.prospectrange.com • ABC No-Rio 156 Rivington Street (212-254-3697) • The Firehouse Space 246 Frost Street • Rockwood Music Hall 196 Allen Street (212-477-4155) Subway: J,M,Z to Delancey Street www.abcnorio.org Subway: L to Graham Avenue www.thefirehousespace.org Subway: F, V to Second Avenue www.rockwoodmusichall.com • Abyssinian Baptist Church 132 Odell Clark Place/W. 138th Street • The Flatiron Room 37 West 26th Street • Rose Hall and Theater Broadway at 60th Street, 5th floor (212-258-9800) (212-862-5959) Subway: 2, 3 to 135th Street www.abyssinian.org (212-725-3860) Subway: N, R to 28th Street www.theflatironroom.com Subway: 1, 2, 3, 9, A, C, E, B, D, F to Columbus Circle www.jalc.org • Alor Café 2110 Richmond Road, Staten Island (718-351-1101) • Flushing Town Hall 137-35 Northern Boulevard, Flushing • Rough Trade NYC 64 N. 9th Street, Brooklyn www.alorcafe.com (718-463-7700) Subway: 7 to Main Street www.flushingtownhall.org Subway: L to Bedford Avenue www.roughtradenyc.com • American Folk Art Museum 45 W 53rd Street (212-265-1040) • For My Sweet Restaurant 1103 Fulton Street at Claver Place • Roulette 509 Atlantic Avenue Subway: E to 53rd Street www.folkartmuseum.org (718-857-1427) Subway: C to Franklin Avenue (212-219-8242) Subway: 2, 3, 4, 5 to Atlantic Avenue www.roulette.org • American Legion Post 248 West 132nd Street • Frank’s Cocktail Lounge 660 Fulton St. at Lafayette, Brooklyn • Rubin Museum 150 W. 17th Street (212-620-5000) (212-283-9701) Subway: 2, 3 to 135th Street www.legion.org (718-625-9339) Subway: G to Fulton Street Subway: A, C, E to 14th Street www.rmanyc.org • Analogue 19 West 8th Street (212-432-0200) • Freddy’s Backroom 627 5th Avenue, Brooklyn (718-768-0131) • The Rum House 228 W. 47th Street Subway: A, B, C, D, E, F, M to W. 4th Street www.analoguenyc.com Subway: R to Prospect Avenue www.freddysbar.com/events (646-490-6924) Subway: N, Q, R to 49th Street www.edisonrumhouse.com • Anthology Film Archives Second Avenue and Second Street • The Garage 99 Seventh Avenue South (212-645-0600) • St. Albans Congregational Church 172-17 Linden Boulevard Subway: F, V to Second Avenue, J, M, Z to Delancey Subway: 1 to Christopher Street www.garagerest.com (718-657-8282) Subway: E to Jamaica Center - Parsons/Archer • Apollo Theater & Music Café 253 W. 125th Street • Ginny’s Supper Club at Red Rooster Harlem 310 Malcolm X Boulevard www.stalbanscc.org (212-531-5305) Subway: A, B, C, D, 2, 3 to 125th Street (212-792-9001) Subway: 2, 3 to 125th Street www.ginnyssupperclub.com • St. Marks Church 2nd Avenue and 10th Street www.apollotheater.org • Goodbye Blue Monday 1087 Broadway, Brooklyn (718-453-6343) (212- 674-6377) Subway: 6 to Astor Place • The Appel Room Broadway at 60th Street, 5th floor (212-258-9800) Subway: J, M train to Myrtle Avenue www.goodbye-blue-monday.com • Saint Peter’s Church 619 Lexington Avenue at 54th Street Subway: 1, 2, 3, 9, A, C, E, B, D, F to Columbus Circle www.jalc.org • The Grand Victory 245 Grand Street (347-529-6610) (212-935-2200) Subway: 6 to 51st Street www.saintpeters.org • Arthur’s Tavern 57 Grove Street (212-675-6879) Subway: G to Metropolitan Avenue www.thegrandvictory.com • San Martin Restaurant 143 E. 49 Street between Lexington and Park Subway: 1 to Christopher Street www.arthurstavernnyc.com • Grace Gospel Church 589 E. 164th Street Avenues (212-832-0888) Subway: 6 to 51st Street • Arturo’s 106 W. Houston Street (at Thompson Street) (718-328-0166) Subway: 2, 5 to Prospect Avenue • Sapphire NYC 333 E. 60th Street (212-421-3600) (212-677-3820) Subway: A, B, C, D, E, F, M to W. 4th Street • Greenwich House Music School 46 Barrow Street Subway: 4, 5, 6, N, Q, R to 59th Street www.nysapphire.com • BAMCafé 30 Lafayette Ave at Ashland Place (212-242-4770) Subway: 1 to Christopher Street www.greenwichhouse.org • SEEDS 617 Vanderbilt Avenue Subway: 2, 3, 4 to Grand Army Plaza (718-636-4139) Subway: M, N, R, W to Pacific Street; • Harlem Stage Gatehouse 150 Convent Avenue at West 135th Street www.seedsbrooklyn.org Q, 1, 2, 4, 5 to Atlantic Avenue www.bam.org (212-650-7100) Subway: 1 to 137th Street www.harlemstage.org • ShapeShifter Lab 18 Whitwell Place • BB King’s Blues Bar 237 W. 42nd Street (212-997-2144) • Ibeam Brooklyn 168 7th Street between Second and Third Avenues (646-820-9452) Subway: R to Union Street www.shapeshifterlab.com Subway: 1, 2, 3, 7 to 42nd Street/Times Square www.bbkingblues.com Subway: F to 4th Avenue www.ibeambrooklyn.com • Shell’s Bistro 2150 5th Avenue • Bflat 277 Church Street (between Franklin and White Streets) • Iguana 240 West 54th Street (212-765-5454) (212) 234-5600 Subway: 2, 3 to 135th Street www.shellsbistro.com Subway: 1, 2 to Franklin Streets Subway: B, D, E, N, Q, R to Seventh Avenue www.iguananyc.com • Showman’s 375 W. 125th Street at Morningside) (212-864-8941) • Bar Chord 1008 Cortelyou Road • Indian Road Café 600 West 218th Street @ Indian Road Subway: A, B, C, D to 125th Street www.showmansjazz.webs.com (347-240-6033) Subway: Q to Cortelyou Road www.barchordnyc.com (212-942-7451) Subway: 1 to 215th Street www.indianroadcafe.com • Shrine 2271 Adam Clayton Powell Boulevard (212-690-7807) • Bar Next Door 129 MacDougal Street (212-529-5945) • InFuse 51 331 West 51st Street Subway: B, 2, 3 to 135th Street www.shrinenyc.com Subway: A, B, C, D, E, F, M to W. 4th Street www.lalanternacaffe.com (212-974-8030) Subway: C, E to 50th Street www.infuse51.com • Silvana 300 West 116th Street • Barbès 376 9th Street at 6th Avenue, Brooklyn (718-965-9177) • Inkwell Café 408 Rogers Avenue between Lefferts and Sterling (646-692-4935) Subway: B, C, to 116th Street Subway: F to 7th Avenue www.barbesbrooklyn.com Subway: 5 to Sterling Street www.plgarts.org • SingleCut Beersmiths 19-33 37th Street, Astoria (718-606-0788) • Bemelmans Bar 35 E. 76th Street (212-744-1600) • Inwood Local 4957 Broadway Subway: N, Q to Astoria-Ditmars Boulevard www.singlecutbeer.com Subway: 6 to 77th Street www.thecarlyle.com (212-544-8900) Subway: 1 to 207th Street www.inwoodlocal.com • Sistas’ Place 456 Nostrand Avenue at Jefferson Avenue, Brooklyn • Bill’s Place 148 W. 133rd Street (between Lenox and 7th Avenues) • Iridium 1650 Broadway at 51st Street (212-582-2121) (718-398-1766) Subway: A to Nostrand Avenue www.sistasplace.org (212-281-0777) Subway: 2, 3 to 125th Street Subway: 1,2 to 50th Street www.theiridium.com • Smalls 183 W 10th Street at Seventh Avenue (212-252-5091) • Birdland 315 W. 44th Street (212-581-3080) • Issue Project Room 22 Boerum Place (718-330-0313) Subway: 1,2,3,9 to 14th Street www.smallsjazzclub.com Subway: A, C, E, to 42nd Street www.birdlandjazz.com Subway: 2, 3, 4, 5 to Borough Hall www.issueprojectroom.org • Smithfield 215 West 28th Street • Bizarre 12 Jefferson Street Subway: J, M, Z to Myrtle Avenue • JACK 505 Waverly Avenue (718-388-2251) (212-564-2172) Subway: 1 to 28th Street www.smithfieldnyc.com www.facebook.com/bizarrebushwick Subway: C to Clinton-Washington Avenue www.jackny.org • Smoke 2751 Broadway between 105th and 106th Streets • Blackbird’s 41-19 30th Avenue (718-943-6898) • Jack 80 University Place Subway: 4, 5, 6, N, R to 14th Street (212-864-6662) Subway: 1 to 103rd Street www.smokejazz.com Subway: R to Steinway Street www.blackbirdsbar.com • Jazz 966 966 Fulton Street • Snug Harbor Cultural Center 1000 Richmond Terrace, Staten Island • Bloomingdale School of Music 323 West 108th Street (718-638-6910) Subway: C to Clinton Street www.jazz966.com (718-448-2500) (212-663-6021) Subway: 1 to Cathedral Parkway www.bsmny.org • Jazz at Kitano 66 Park Avenue at 38th Street (212-885-7000) • Somethin’ Jazz Club 212 E. 52nd Street, 3rd floor (212-371-7657) • Blue Note 131 W. 3rd Street at 6th Avenue (212-475-8592) Subway: 4, 5, 6 to Grand Central www.kitano.com Subway: E to Lexington Avenue-53rd Street www.somethinjazz.com/ny Subway: A, B, C, D, E, F, M to W. 4th Street www.bluenotejazz.com • The Jazz Gallery 1160 Broadway, 5th floor (212-242-1063) • Spectrum 121 Ludlow Street, 2nd floor Subway: F to Delancey Street • The Bowery Electric 327 Bowery Subway: N, R to 28th Street www.jazzgallery.org www.spectrumnyc.com (212-228-0228) Subway: 6 to Bleecker Street www.theboweryelectric.com • Jazz Standard 116 E. 27th between Park and Lexington Avenue • Speedy Romeo 376 Classon Ave (718-230-0061) • Bowery Poetry Club 308 Bowery (212-614-0505) (212-576-2232) Subway: 6 to 28th Street www.jazzstandard.net Subway: G to Bedford-Nostrand Avenues www.speedyromeo.com Subway: F to Second Avenue; 6 to Bleecker Street www.bowerypoetry.com • Joe G’s 244 W. 56th Street (212-765-3160) • Stage 72 158 West 72nd Street, 2nd floor • Brandy Library 25 N. Moore Street Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle (800-838-3006) Subway: B, C to 72nd Street www.stage72.com (212-226-5545) Subway: 1 to Franklin Street • Joe’s Pub 425 Lafayette Street (212-539-8770) • Steinway Hall 109 W. 57th Street (212-246-1100) • Brecht Forum 388 Atlantic Avenue (212-242-4201) Subway: N, R to 8th Street-NYU; 6 to Astor Place www.joespub.com Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.steinwayhall.com Subway: A, C, G to Hoyt/Schermerhorn Streets www.brechtforum.org • Jules Bistro 60 St Marks Place • Stephen Wise Free Synagogue 30 W. 68th Street • Bronx Music Heritage Center 1303 Louis Nine Boulevard (212-477-5560) Subway: 6 to Astor Place www.julesbistro.com (212-877-4050) Subway: 1 to 66th Street www.swfs.org Subway: 2, 5 to Freeman • Kellari Taverna 19 W. 44th Street (212-221-0144) • The Stone Avenue C and 2nd Street • Brooklyn Bowl 61 Wythe Avenue Subway: B, D, F, M, 7 to 42nd Street-Bryant Park www.kellari.us Subway: F to Second Avenue www.thestonenyc.com (718-963-3369) Subway: L to Bedford Avenue www.brooklynbowl.com • Klavierhaus 549 W. 52nd Street, 7th Floor (212-245-4535) • Strand Bistro 33 West 37th Street (212-584-4000) • Brooklyn Center for the Performing Arts 2900 Campus Road Subway: C, E to 50th Street www.klavierhaus.com Subway: 7, B, D, F, M to 42nd Street-Bryant Park www.thestrandbistro.com Subway: 5 to Flatbush Avenue - Brooklyn College www.brooklyncenter.org • Knickerbocker Bar and Grill 33 University Place (212-228-8490) • SubCulture 45 Bleecker Street (212-533-5470) • Brooklyn Conservatory of Music 58 Seventh Avenue Subway: N, R to 8th Street-NYU www.knickerbockerbarandgrill.com Subway: 6 to Bleecker Street www.subculturenewyork.com Subway: F to Seventh Avenue, N, R to Union Street www.bqcm.org • Knitting Factory 361 Metropolitan Avenue • Sunnyside Reformed Church 48-03 Skillman Avenue • Broadway Thai 241 West 51st Street (347-529-6696) Subway: L to Lorimer Street www.knittingfactory.com (718-426-5997) Subway: 7 to 52nd Street (212-226-4565) Subway: 1, C, E to 50th Street www.tomandtoon.com • Knockdown Center 52-19 Flushing Avenue, Queens www.sunnysidenyc.rcachurches.org • Bryant Park 5th and 6th Avenues between 40th and 42nd Streets Subway: L to Canarsie - Rockaway Pkwy www.knockdowncenter.com • Swing 46 349 W. 46th Street (646-322-4051) Subway: 4, 5, 6 to 42nd Street www.bryantpark.org • LIC Bar 45-58 Vernon Boulevard Subway: A, C, E to 42nd Street www.swing46.com • Café Carlyle 35 E. 76th Street (212-744-1600) (718-786-5400) Subway: 7 to Vernon-Jackson Boulevard • Symphony Space Leonard Nimoy Thalia and Peter Jay Sharp Theatre Subway: 6 to 77th Street www.thecarlyle.com • The Lambs Club 132 W. 44th Street 2537 Broadway at 95th Street (212-864-5400) • Café Loup 105 W. 13th Street between Sixth and Seventh Avenues 212-997-5262 Subway: A, C, E, to 42nd Street www.thelambsclub.com Subway: 1, 2, 3, 9 to 96th Street www.symphonyspace.org (212-255-4746) Subway: F to 14th Street www.cafeloupnyc.com • Le Cirque Café One Beacon Court, 151 East 58th Street (212-644-0202) • Tea Lounge 837 Union Street, Brooklyn • Caffe Vivaldi 32 Jones Street between Bleecker and W. 4th Streets Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.lecirque.com (718-789-2762) Subway: M, R to Union Street Subway: A, B, C, D, E, F, Q, V to W. 4th Street-Washington Square • Le Poisson Rouge 158 Bleecker Street (212-228-4854) • Terraza 7 40-19 Gleane Street www.caffevivaldi.com Subway: A, B, C, D, E, F, V to W. 4th Street www.lepoissonrouge.com (718-803-9602) Subway: 7 to 82nd Street/Jackson Heights • Capital Grille 120 Broadway • Local 802 322 W. 48th Street between Eighth and Ninth Avenues www.terrazacafe.com (212-374-1811) Subway: 2, 3, 4, 5 to Wall Street www.thecapitalgrille.com (212-245-4802) Subway: C to 50th Street www.jazzfoundation.org • Tomi Jazz 239 E. 53rd Street • The Carlyle 35 E. 76th Street (212-744-1600) • L’ybane 709 8th Avenue (212-582-2012) (646-497-1254) Subway: 6 to 51st Street www.tomijazz.com Subway: 6 to 77th Street www.thecarlyle.com Subway: A, C, E to 42nd Street-Port Authority www.lybane.com • Town Hall 123 W. 43rd Street (212-997-1003) • Cassa Hotel and Residences 70 W. 45th Street, 10th Floor Terrace • McDonald’s 160 Broadway between Maiden Lane and Liberty Street Subway: 7, B, D, F, M to 42nd Street-Bryant Park www.the-townhall-nyc.org (212-302-87000 Subway: B, D, F, 7 to Fifth Avenue www.cassahotelny.com (212-385-2063) Subway: 4, 5 to Fulton Street www.mcdonalds.com • Tribeca Performing Arts Center 199 Chambers Street • Cávo 42-18 31st Avenue, Astoria • Machiavelli’s 519 Columbus Avenue (212-220-1460) Subway: A, 1, 2, 3, 9 to Chambers Street (718-721-1001) Subway: M, R, to Steinway Street www.cavoastoria.com (212-724-2658) Subway: B, C to 86th Street www.machiavellinyc.com www.tribecapac.org • Charley O’s 1611 Broadway at 49th Street • Macy’s Herald Square 151 W. 34th Street • Turnmill NYC 119 East 27th Street (212-246-1960) Subway: N, R, W to 49th Street (212-695-4400) Subway: B, D, F, M to 34th Street www.l.macys.com (646-524-6060) Subway: 6 to 27th Street www.turnmillnyc.com • Chez Lola 387 Myrtle Avenue, Brooklyn (718-858-1484) • Manhattan Inn 632 Manhattan Avenue (718-383-0885) • Two Steps Down Restaurant 240 Dekalb Avenue Subway: C to Clinton-Washington Avenues www.bistrolola.com Subway: G to Nassau Avenue www.themanhattaninn.com Subway: G to Clinton-Washington Avenues • Chez Oskar 211 Dekalb Ave, Brooklyn (718-852-6250) • Matisse 924 Second Avenue www.twostepsdownrestaurant.com Subway: C to Lafayette Avenue www.chezoskar.com (212-546-9300) Subway: 6 to 51st Street www.matissenyc.com • University of the Streets 130 E. 7th Street • Christ & St. Stephen’s Church 120 W. 69th Street • Measure 400 Fifth Avenue (212-695-4005) Subway: B, D, F, M to 34th Street (212-254-9300) Subway: 6 to Astor Place www.universityofthestreets.org Subway: 1, 2, 3 to 72nd Street www.langhamplacehotels.com • The Village Lantern 167 Bleecker Street • Citigroup Center Plaza 53rd Street and Lexington Avenue • Metropolitan Room 34 W. 22nd Street (212-206-0440) (212-260-7993) Subway: A, B, C, D, E, F, M to W. 4th Street Subway: 6 to 51st Street Subway: N, R to 23rd Street www.metropolitanroom.com • Village Vanguard 178 Seventh Avenue South at 11th Street • Clemente Soto Velez Cultural Center 107 Suffolk Street • Minton’s Playhouse 206 West 118th Street (212-243-2222) (212-255-4037) Subway: 1, 2, 3 to 14th Street www.villagevanguard.com Subway: F, J, M, Z to Delancey Street www.csvcenter.com Subway: B, C to 116th Street www.mintonsharlem.com • Vino di Vino Wine Bar 29-21 Ditmars Boulevard, Queens • Cleopatra’s Needle 2485 Broadway (212-769-6969) • MIST Harlem 40 West 116th Street Subway: 2, 3 to 116th Street (718-721-3010) Subway: N to Ditmars Blvd-Astoria Subway: 1, 2, 3 to 96th Street www.cleopatrasneedleny.com • Mona’s 224 Avenue B Subway: L to First Avenue • Vodou Bar 95 Halsey Street • Cornelia Street Café 29 Cornelia Street • NYC Baha’i Center 53 E. 11th Street (212-222-5159) (347-405-7011) Subway: A, C to Nostrand Avenue www.vodoubar.com (212-989-9319) Subway: A, B, C, D, E, F, M to W. 4th Street Subway: 4, 5, 6, N, R to 14th Street-Union Square www.bahainyc.org • Walker’s 16 North Moore Street (212-941-0142) www.corneliastreetcafé.com • New School Arnhold Hall 55 West 13th Street Subway: A, C, E to Canal Street • The Counting Room 44 Berry Street (718-599-1860) (212-229-5600) Subway: F, V to 14th Street www.newschool.edu • Waltz-Astoria 23-14 Ditmars Boulevard (718-95-MUSIC) Subway: L to Bedford Avenue www.thecountingroombk.com • The New York City Business Club 4 W. 43rd Street Subway: N, R to Ditmars Blvd-Astoria www.Waltz-Astoria.com • The Cutting Room 44 E. 32nd Street Subway: 7 to Fifth Avenue www.newyorkcitybusinessclub.com • Weill Recital Hall (at Carnegie Hall) 154 W. 57th Street at Seventh Avenue (212-691-1900) Subway: 6 to 33rd Street www.thecuttingroomnyc.com • Nino’s Tuscany 117 W. 58th Street (212-757-8630) (212-247-7800) Subway: N, R to 57th Street www.carnegiehall.org • Dance With Me SoHo 466 Broome Street, Basement level Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.ninostuscany.com • Westbeth Music Works 55 Bethune Street (212-840-3262) Subway: 6 to Spring Street www.dancewithmeusa.com • North Square Lounge 103 Waverly Place (212-254-1200) (212-691-1500) Subway: 1, 2, 3 to 14th Street • David Rubenstein Atrium Broadway at 60th Street Subway: A, B, C, E, F to West 4th Street www.northsquareny.com • The West End Lounge 955 West End Avenue at West 107th Street (212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle • Pão Restaurant 322 Spring Street (212-531-4759) Subway: 1 to 110th Street www.thewestendlounge.com www.new.lincolncenter.org/live/index.php/atrium (212-334-5464) Subway: C, E to Spring Street www.paonewyork.com • WhyNot Jazz Room 14 Christopher Street • Dizzy’s Club Broadway at 60th Street, 5th Floor (212-258-9800) • Parlor Entertainment 555 Edgecombe Ave. #3F (212-781-6595) (646-756-4145) Subway: 1 to Christopher Street Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.jalc.org Subway: C to 155th Street www.parlorentertainment.com • Williamsburg Music Center 367 Bedford Avenue • Dominie’s Astoria 34-07 30th Avenue Subway: N, Q to 30th Avenue • Parnell’s 350 East 53rd Street #1(212-753-1761) (718-384-1654) Subway: L to Bedford Avenue • Downtown Music Gallery 13 Monroe Street (212-473-0043) Subway: E, M to Lexington Avenue/53 Street www.parnellsny.com • York College (CUNY) 94-20 Guy R. Brewer Blvd., Queens Subway: F to East Broadway www.downtownmusicgallery.com • Pearl Studios 500 8th Avenue Subway: E to Jamaica Center www.york.cuny.edu • The Drawing Room 56 Willoughby Street #3 (917-648-1847) (212-904-1850) Subway: A, C, E to 34th Street www.pearlstudiosnyc.com • Zankel Hall 881 Seventh Avenue at 57th Street (212-247-7800) Subway: A, C, F to Jay Street/Metrotech www.drawingroommusic.com • Perez Jazz 71 Ocean Parkway Subway: F, G to Fort Hamilton Parkway Subway: N, Q, R, W to 57th Street www.carnegiehall.org • Drom 85 Avenue A (212-777-1157) • The Players Club 16 Gramercy Park South • Zeb’s 223 W. 28th Street Subway: F to Second Avenue www.dromnyc.com (212-475-6116) Subway: 6 to 23rd Street www.theplayersnyc.org 212-695-8081 Subway: 1 to 28th Street www.zebulonsoundandlight.com • Dweck Center at Brooklyn Public Library Central • The Plaza Hotel Rose Club Fifth Avenue at Central Park South • Zinc Bar 82 W. 3rd Street (212-477-8337) Subway: 2, 3 to Grand Army Plaza; Q to 7th Avenue (212-759-3000) Subway: N, Q, R to Fifth Avenue www.fairmont.com Subway: A, B, C, D, E, F, M to W. 4th Street www.zincbar.com

THE NEW YORK CITY JAZZ RECORD | MAY 2014 45 (INTERVIEW CONTINUED FROM PAGE 6) (LABEL CONTINUED FROM PAGE 12)

AA: With Sun Ra you’re never really “fired”. I started same school for the blind as and had in ’75 and I always say I was with the band for 22 years an accomplished career in the UK as both leader and because I was in and out, but that gig he was not sideman. Thompson is, says Robertson, “the best all- appreciative of because he had a gig at Storyville around jazz pianist produced in the UK.” coming up in October 1977 and he couldn’t find me Frank Griffith is an American-born tenor because I was in Europe with Sam Rivers. When I came saxophonist/clarinetist and composer who moved back from Nancy, that was the first time I met to London in 1996. “I called Alastair out of the blue,” [trumpeter] and Mike was the person who he recalls, “and after we seemed to hit it off met up was going to be my replacement. So eventually he took when he was visiting London. He released my CD The over and I left to do my own thing and that was actually Suspect [with trumpeter Tom Harrell], a second album necessary. I don’t think I would be here today if I with a nonet, a Jimmy Deuchar tribute album with my hadn’t seen that opening and went for it. nonet and a big band disc. I also arranged a Joe Temperley-with-strings session and my work as TNYCJR: When you first encountered Sun Ra’s music, arranger, composer, producer and contact with many you must have been a teenager, right? musicians have helped Alastair and helped his confidence in me.” AA: Yes, I was a teenager. I was on the Lower East Side. And so into the present and future for Hep Jazz. I’d moved into my own apartment, which was about a There are still new old recordings including the current half mile from Slug’s, so that was my laboratory and an Where You At? by the great, late singer David Allyn education for me. I would be there every night I could (music from 1941-64) and Swingin’ & Jumpin’ by and just soak it up and Sun Ra was there on Monday trumpeter Bunny Berigan (broadcasts from 1937-39); nights and I was bound to be there. That’s what I tell and Record Session 1939-42. my students - Ra’s music changed the way I think The most current of the new recordings is Divas by about life, because all of it, the philosophy he had British singer Tina May. Here are 12 tunes from various about eternal things, expanding your mind and never eras, deftly brought to life by this unique singer. Eight limiting yourself, hit me hard as a young person and of the tunes are arranged by Frank Griffith (May sang I’ve lived that way all my life. I think it has helped me three arrangements on his big band album). Hep is also protect myself and allowed me to do what I’ve done. planning more historical releases by the likes of Jan He was absolutely a prophet and in tune on a genius Savitt, among others, and Robertson and his label are level with the music. He had all of that together and I still creatively working at dealing with all the thought he was brilliant. challenges the current record business has to offer - why, they’ve even made some mp3s available! v TNYCJR: So with Sistas’, could you elaborate on your work there? For more information, visit hepjazz.com

AA: This is another karmic thing because this corridor on Jefferson Avenue, where I teach, my first gig with Sun Ra was down the street on Claver Place off of Jefferson. Now I’m teaching at PS 3 on Jefferson and booking at Sistas’ on Jefferson, which is a strange coincidence. Sometimes my life baffles me. It’s crazy trying to understand how these things happen. ...Sistas’ Place was conceived in reaction to the greengrocers whom they believed were coming into the community and not treating black people with respect. The people at Sistas’ Place began boycotting the greengrocers and then decided that instead of a boycott, we should have our own place. ...On the day they opened, [saxophonist] happened to come by and he asked them about doing music and it was around John Coltrane’s birthday. Every year we open around Coltrane’s birthday and end in May around African Liberation Day. The people at Sistas’ Place are very political and understand the politics of the music. The mission of bringing the music back into the community is a deliberate plan because nothing can grow if it’s not rooted and the problem with this music that we call jazz is that it’s never been rooted the way it should have been. That’s one of the things about the loft movement - it happened in the Lower East Side even though we weren’t all rooted there, whereas here in Bedford-Stuyvesant you can actually be rooted. v

For more information, visit ahmedian.com. Abdullah is at New School Arnhold Hall May 1st, Sistas’ Place May 10th and ShapeShifter Lab May 11th. See Calendar.

Recommended Listening: • Arthur Blythe - Metamorphosis/The Grip: In Concert ( Navigation, 1977) • The Group - Live (NoBusiness, 1986) • Ahmed Abdullah - Liquid Magic (Silkheart, 1987) • Sun Ra - (A&M, 1988) • Ahmed Abdullah (with NAM) - Song of Time (Live at the Vision Festival) (Clean Feed, 2001) • Ahmed Abdullah - Tara’s Song (TUM, 2004)

46 MAY 2014 | THE NEW YORK CITY JAZZ RECORD IN MEMORIAM by Andrey Henkin GARY BENSON - The Canadian guitarist worked with , , JOE MUDELE - The British bassist came up in the dawn of that country’s bebop Peter Appleyard and and was a founding member of the Canadian scene, worked alongside Ronnie Scott and starting in the late Jazz Quartet, active since 1989. Benson died Mar. 11th at 75. ‘40s and complemented his jazz career (notable for giving alto saxophonist his first regular gig in England) with regular session work. Mudele died IOLA BRUBECK - The wife/manager/collaborator of legendary pianist Dave Mar. 7th at 93. Brubeck helped her husband make his name by organizing unprecedented college tours for his quartet in the ‘50s and later worked with him as a lyricist for some of RALPH PENLAND - The Cincinnati drummer spent most of his career in Los his more ambitious long-form compositions. Brubeck died Mar. 12th at 90. Angeles, amassing numerous recording credits, beginning with Freddie Hubbard in 1973 (and returning to work with the trumpeter through the years) and TEDDY EHRENREICH - The Austrian multi-reed player led his own big band continuing into this decade with George Cables, Dianne Reeves, Marc Copland, for decades in his home city of , worked for many years as part of the Eddie Daniels, Carmen Lundy, and Hubert Laws. Penland died Mar. Austrian Broadcasting Company Big Band and supported visiting American 14th at 61. players on local performances. Ehrenreich died Mar. 2nd at 77. SIMO SALMINEN - The Finnish trumpeter was a mainstay of his country’s big MED FLORY - An actor with over 90 TV and film credits from 1961-90, the alto band scene starting in the ‘70s in groups like Tapiola Big Band, Paradise and UMO saxophonist was in the big bands of Woody Herman and Claude Thornhill after but also spent the late ‘70s-early ‘80s in the United States, where he worked with WWII, participated in the nascent West Coast Jazz movement of the ‘50s and Eddie Palmieri, and others and recorded with the Mel Lewis Jazz co-founded the Charlie Parker tribute band Supersax. Flory died Mar. 12th at 87. Orchestra. Salminen died Mar. 3rd at 57.

AL HAREWOOD - Despite never releasing an album under his own name, the PATTI WICKS - The pianist’s early classical training gave way to jazz performance drummer participated on nearly a hundred sessions from the mid ‘50s to mid ‘80s (and a number of albums under her own name), whether solo, in duo with a led by a Who’s Who of jazz like JJ Johnson, Curtis Fuller, , Horace bassist or leading a trio (in which she also sang) as well as work as a sideperson Parlan, , , , George Benson, Dexter for a number of instrumentalists and vocalists in her adopted homes of Maine and Gordon and Lee Konitz. Harewood died Mar. 13th at 90. Florida. Wicks died Mar. 7th at 69. BIRTHDAYS May 1 May 6 May 11 May 16 May 22 May 27 b.1931 †Freddy Randall 1921-99 †King Oliver 1885-1938 †Woody Herman 1913-87 †Sun Ra 1914-93 †Albert Nicholas 1900-73 † 1934-2005 †Denny Wright 1924-92 †JC Higginbotham 1906-73 †Eddie Bert 1922-2012 †Elek Bacsik 1926-1993 †Jock Carruthers 1910-71 Carlos Ward b.1940 Isla Eckinger b.1939 †Oscar Valdambrini 1924-97 †Betty Carter 1930-98 Giuseppi Logan b.1935 † 1926-2009 James Newton b.1953 Paul Dunmall b.1953 John Coppola b.1929 b.1944 †Dick Berk 1939-2014 Ramsey Lewis b.1935 Kevin Hays b.1968 Dick Garcia b.1931 †Rufus Jones 1936-90 May 7 May 17 May 23

Ambrose Akinmusire b.1982 †Freddie Roach 1931-80 †Niels-Henning Ørsted o b ’ e v a

†Yank Porter 1895-1944 b.1938 † 1916-83 †Artie Shaw 1910-2004 Pedersen 1946-2005 o r May 2 †Pete Jacobs 1899-1952 Ralph Humphrey b.1944 †Dewey Redman 1931-2006 †Rosemary Clooney 1928-2002 Gonzalo Rubalcaba b.1963 †Pat Smyth 1923-83 †Leon Abbey 1900-75 Mikkel Ploug b.1978 †David Izenzon 1932-79 †Les Spann 1932-89 †Richard “Groove” Holmes †Edward Inge 1906-88 †Jackie McLean 1932-2006 b.1938 May 28 L u b a V 1931-91 † 1926-2003 May 12 Michiel Braam b.1964 Marvin Stamm b.1939 †Andy Kirk 1898-1992 BILLY COBHAM Eddy Louiss b.1941 Arthur Blythe b.1940 †Marshall Royal 1912-95 Don Moye b.1946 †Al Tinney 1921-2002 May 16th, 1944 b.1943 b.1958 †Don DeMichael 1928-82 May 18 Richie Beirach b.1947 †Russ Freeman 1926-2002 While Panama-born, NYC- Keith Ganz b.1972 Gary Peacock b.1935 †Joe Turner 1911-85 Ken Peplowski b.1959 Alfred Patterson b.1937 raised drummer Billy May 8 b.1936 † 1922-83 Darcy James Argue b.1975 b.1946 Cobham is most known for May 3 † 1905-65 Trevor Tompkins b.1941 Jim McNeely b.1949 his myriad contributions to † 1920-2001 †Mary Lou Williams 1910-81 b.1972 May 24 May 29 the fusion movement, he was †Jimmy Cleveland 1926-2008 †Jerry Rusch 1943-2003 May 13 †Frank Signorelli 1901-75 b.1927 a compelling straightahead b.1926 Keith Jarrett b.1945 †Maxine Sullivan 1911-87 May 19 †Herbie Fields 1919-58 †Hilton Ruiz 1952-2006 drummer for folks like Johnny Fischer b.1930 Jon-Erik Kellso b.1964 †Gil Evans 1912-88 Cecil McBee b.1935 Max Bennett b.1928 b.1958 Stanley Turrentine, George John Alexander b.1948 Meinrad Kneer b.1970 †Red Garland 1923-84 b.1939 †Gianni Basso 1931-2009 Lafayette Harris, Jr. b.1963 Benson and Larry Ochs b.1949 b.1929 Richard Teitelbaum b.1939 Michael White b.1933 Wycliffe Gordon b.1967 when first starting out in the Guillermo E. Brown b.1974 May 9 †Erick Moseholm 1930-2012 Henry Butler b.1949 Archie Shepp b.1937 Sean Jones b.1978 late ‘60s. But it was Matt Bauder b.1976 †George Simon 1912-2001 John Engels b.1935 Michael Blake b.1964 † 1941-99 participation in sessions for Alexander Hawkins b.1981 † 1940-2000 Gregoire Maret b.1975 Francesco Cafiso b.1989 May 30 Miles Davis’ Bitches Brew and Dennis Chambers b.1959 May 20 †Sidney DeParis 1905-67 Jack Johnson that led to May 4 Ricardo Gallo b.1978 May 14 Tommy Gumina b.1931 May 25 †Benny Goodman 1909-86 meeting guitarist John †Sonny Payne 1926-79 †Sidney Bechet 1897-1959 Louis Smith b.1931 Marshall Allen b.1924 †Pee Wee Erwin 1913-81 McLaughlin and the brief but † 1928-2006 May 10 †Zutty Singleton 1898-1975 †Bob Florence 1932-2008 †Miles Davis 1926-91 † 1927-97 blinding incandescence of Warren Smith b.1932 †Pee Wee Hunt 1907-79 †Skip Martin 1916-76 Charles Davis b.1933 †Piet Noordijk 1932-2011 † 1935-2010 the original Mahavishnu Don Friedman b.1935 †Al Hendrickson 1920-2007 Al Porcino b.1925 †Rufus Harley 1936-2006 b.1936 Ann Hampton Callaway b.1959 Orchestra, which helped Ron Carter b.1937 †Mel Lewis 1929-90 b.1943 Victor Lewis b.1950 Christof Lauer b.1953 Juan Pablo Carletti b.1973 define fusion. Cobham’s Chuck Folds b.1938 George Golla b.1935 Virginia Mayhew b.1959 Ralph Peterson b.1962 Wallace Roney b.1960 Frank Rosaly b.1974 own albums, from 1973’s Rudresh Mahanthappa b.1971 †Julius Wechter 1935-99 Frank Basile b.1978 Sheryl Bailey b.1966 Spectrum to more recent live Jeremiah Cymerman b.1980 Mike Melvoin b.1937 Benjamin Duboc b.1969 May 26 May 31 discs, continue the lineage he b.1946 May 15 †Ady Rosner 1910-76 †Red Holloway 1927-2012 helped to establish decades May 5 Ahmed Abdullah b.1947 †Ellis Larkins 1923-2002 May 21 †Shorty Baker 1914-66 Albert “Tootie ”Heath b.1935 ago but he also has revisited b.1935 †Hans Reichel 1949-2011 Karin Krog b.1937 †Fats Waller 1904-43 †Ziggy Elman 1914-68 Louis Hayes b.1937 his beginnings in a current b.1941 Alex Foster b.1953 Oscar Castro-Neves b.1940 †Tommy Bryant 1930-82 †Calvin Jackson 1919-85 Marty Ehrlich b.1955 trio with Ron Carter and Jack Walrath b.1946 Philip Harper b.1965 Omer Klein b.1982 Marc Ribot b.1954 †Neil Ardley 1937-2004 Eric Revis b.1967 Donald Harrison. -AH Pablo Aslan b.1962 Jasper Hoiby b.1977 Grace Kelly b.1992 Lewis “Flip” Barnes b.1955 David Torn b.1953 Christian McBride b.1972 ON THIS DAY by Andrey Henkin

Eponymous Prayer for Peace Saga of the Outlaws Live At Bubba’s Piano Night Quartet (Prestige) Amalgam (Transatlantic-FMR) Charles Tyler (Nessa) (Kingdom Jazz) Kenny Drew (Meldac Jazz) May 20th, 1955 May 20th, 1969 May 20th, 1976 May 20th, 1980 May 20th, 1990 Vibraphonist Milt Jackson is best Amalgam was the short-lived trio of Charles Tyler was among the many Ahmad Jamal is an unusual figure in Some might argue that pianist Kenny known for his co-leading of the alto saxophonist Trevor Watts, New Thing saxophonists working jazz history as a player who, in a career Drew’s reputation suffered somewhat (MJQ) from 1951- drummer John Stevens and a revolving around NYC in the ‘60s, though he was approaching six decades, only worked for leaving the States to settle in Europe 74 and then again in the ‘80s. Kenny cast of bassists (mostly Jeff Clyne but unique for the at-the-time-unusual as a leader and usually in trios of long in the ‘60s. His sideman credits may Clarke was the group’s original also Barry Guy and even Johnny doubling on alto and baritone. His first standing. But this didn’t stop him from have diminished but he was still a drummer alongside bassist Percy Dyani). While these musicians albums were, unsurprisingly, for ESP- being named an NEA Jazz Master in prolific leader up until his death in Heath. But for this quartet session, recorded together often, this is the Disk’ and he recorded solely as a 1994. This live album from a club in 1993 at age 64. This album, waxed in Heath is paired with , who group’s only official release, waxed leader, albeit infrequently, in the ‘70s. Ft. Lauderdale, Florida features the Baden, Switzerland, is the companion would join the MJQ immediately after. following an earlier session that only This is his only session for Nessa pianist fronting the rhythm section of to Expressions, recorded two weeks And instead of John Lewis, Horace survives as an acetate. Watts composed Records, done with frequent partners Sabu Adeyola and Payton Crossley on earlier. Both feature Drew in a trio with Silver is in the piano chair (only the the pieces for the album, “Tales of Ronnie Boykins (bass), a varied program: standards like Danish bass stalwart Niels-Henning second session they recorded together Sadness”, the three parts of “Judy’s (drums) and Earl Cross (trumpet) plus “Waltz for Debby”, “Autumn in New Ørsted Pedersen and drummer Alvin at the time). The leader contributes the Smile”, the title track and “Hope”. second bassist . The two-part York” and “I’ve Never Been in Love Queen, another American ex-pat, on a original “Stonewall” to leaven the Recently reissued, this is an important “polyphonic sonic tale” was recorded Before” alongside showtunes by set of standards like “It Might As Well otherwise all-standards program. document of early British avant jazz. live at Sam Rivers’ loft. Hammerstein-Kern and Merrill-Styne. Be Spring” and “St. Thomas”.

THE NEW YORK CITY JAZZ RECORD | MAY 2014 47 Chucho Valdés invites you to visit Cuba for the Havana International Jazz Festival Tour December 14-22, 2014. Legal Cuba travel. JazzCuba.com + 1-888-965-5647 toll free