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Home , Alex Sipiagin, Allan Barnes, Allan Zavod, Andy Laster, Bauer Hotel (Venice), Blue Mitchell

JANUARY 2017—ISSUE 177 YOUR FREE GUIDE TO THE NYC SCENE NYCJAZZRECORD.COM

JEFF “TAIN” SPECIAL FEATURE: WATTS BEST OF UNCON-TAIN-ABLE 2016

JON MIKE LEON ROY FADDIS LEDONNE PARKER CAMPBELL Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The City Jazz Record 66 Mt. Airy Road East JANUARY 2017—ISSUE 177 Croton-on-Hudson, NY 10520 Phone/Fax: 212-568-9628 New York@Night 4 Laurence Donohue-Greene: Interview : 6 by ken dryden [email protected] Andrey Henkin: [email protected] Artist Feature : Mike LeDonne 7 by russ musto General Inquiries: [email protected] On The Cover : Jeff “Tain” Watts 8 by terrell holmes Advertising: [email protected] Encore : Leon Parker by john pietaro Calendar: 10 [email protected] VOXNews: Lest Forget : Roy Campbell 10 by kurt gottschalk [email protected] LAbel Spotlight : Newvelle by marcia hillman US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or VOXNEWS 11 by suzanne lorge money order to the address above or email [email protected] In Memoriam Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Fred Bouchard, Festival Report Stuart Broomer, Thomas Conrad, 13 Ken Dryden, Donald Elfman, Philip Freeman, Kurt Gottschalk, Tom Greenland, Anders Griffen, CD Reviews 14 Alex Henderson, Marcia Hillman, Terrell Holmes, Robert Iannapollo, Suzanne Lorge, Mark Keresman, Special Feature: Best of 2016 26 Marc Medwin, Ken Micallef, Russ Musto, John Pietaro, Joel Roberts, John Sharpe, Miscellany 36 Elliott Simon, Andrew Vélez, Ken Waxman. Scott Yanow Event Calendar Contributing Writers 38 Robert Bush, Tyran Grillo, Laurel Gross, Matthew Kassel, M.J. Lester, Eric Wendell One of the more tumultuous years in recent memory is finally behind us. The challenges don’t stop with the turning of the calendar page but there is a moment of mental restart, of (a New Contributing Photographers Year’s) resolution towards addressing issues facing our country and the world. And in times Gerard Beckers, Richard Conde, of strife, art is a healer, a unifier and a mirror into which society looks at itself. Alan Nahigian, Susan O’Connor, Dino Perrucci, John Rogers, Steve Sussman, But before we throw the last spadeful of dirt onto 2016, we take a moment to celebrate the R.I. Sutherland-Cohen, Jack Vartoogian brightest in jazz from the past year, with the Best of 2016 center spread and our choices in a Fact-checker wide array of categories. And in more somber tones, we also publish the list of all those stitches Nate Dorward lost in the jazz tapestry (pg. 12) and a special section of CD Reviews (pgs. 34-35). But on to 2017: drummer Jeff “Tain” Watts (On The Cover) celebrates the release of his new at Jazz Standard; trumpeter Jon Faddis (Interview) appears around town; pianist Mike LeDonne (Artist Feature) and drummer Leon Parker (Encore) perform as part of the annual Winter Jazzfest; and late trumpeter Roy Campbell (Lest We Forget) is honored with an evening at the Arts for Art Evolving Music concert series. And our CD Review section is packed with release concerts, some of which may end up in our best of 2017 list 12 months from now. nycjazzrecord.com On The Cover: Jeff “Tain” Watts (john rogers/johnrogersnyc.com) Corrections: In last month’s Lest We Forget, the Castro who denounced Pérez Prado was actually Fernando Castro, local agent of the Southern Music Publishing Company. In last month’s CD Reviews, played with Wes Montgomery from 1966-68. All rights reserved. Reproduction without permission strictly prohibited. All material copyrights property of the authors.

2 JANUARY 2017 | THE JAZZ RECORD WWW.BLUENOTEJAZZ.COM JANUARY 2017

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WED JAN 18 TRIO - THU-SUN JAN 19-22 BirhtDAY jeff“tain”watts:CELEBRATION “TOP 10 VENUES IMPACTING NY MUSIC SCENE TODAY” [2015]-NEW YORK MAGAZINE RAVI COLTRANE - DAVE KIKOSKI - PAUL BOLLENBACK - [EXCEPT 1/21] - YUNIOR TERRY CABRERA [1/21 ONLY] SUN JAN 1 ANDY GRAVISH - JOHN ELLIS - ANDRE MURCHINSON TUEJAN 24 JASON MARSHALL - JOHNATHAN BLAKE - KHALIL KWAME BELL CAMILA MEZA &the NECTAR ORCHESTRA DR. LONNIE SMITH OCtet NOAM WIESENBERG - KEITA OGAWA MON JAN 2HCLOSED FOR holiday WITH STRING QUARTETTOMOKO OMURA - FUNG CHERN HWEI - BENNI VON GUTZEIT - ADAM FISHER TUE-WED JAN 3-4 WED JAN 25HCLOSED FOR PRIVATE event : MADERA LATINO THU-SUN JAN 26-29 A LATIN JAZZ INTERPRETATION Of THE MUSIC OF & INGRID JENSEN - PHILLIP DIZACK - ZACCAI CURTIS - RUBEN RODRIGUEZ - LITTLE JOHNNY RIVERO - OBED CALVAIRE butler, BERNSTEINthe HOT 9 THU-FRI JAN 5-6 CURTIS FOWLKES - CHARLIE BURNHAM - DOUG WIESELMAN - PETER APFELBAUM ERIK LAWRENCE - MATT MUNISTERI - LUQUES CURTIS - DONALD EDWARDS : SIMPLY ELLA TUE-SUN JAN 31-FEB 4 XAVIER DAVIS - MARVIN SEWELL - - ALVESTER GARNETT MONTY ALEXANDER:“LOOKING BACK” SAT-SUN JAN 7-8 TUE-WED JAN 31-FEB 1 ANAT COHEN tentet 1969: THAT’S THE WAY IT IS RUBIN KODHELI - NADJE NOORDHUIS - NICK FINZER - OWEN BRODER -VITOR GONÇALVES REMEMBERING & RAY BROWN SHERYL BAILEY - TAL MASHIACH - ANTHONY PINCIOTTI - JAMES SHIPP THU FEB 2 TUE JAN 10 SAT JAN 14 1977: JAZZ AT THE PHILHARMONIc BILLCHARLAP SOLO BILL CHARLAP TRIO REMEMBERING , & milt jackson WED JAN 11 WITH FRI-SAT FEB 3-4 SPECIAL Freddy Cole & 2016: & JAZZ: -KINGSTON EXPRESS PLUS WITH GUESTS CAROL SLOANE Person REMEMBERING studio one SUN JAN 15 THU-FRI JAN 12-13 SUN FEB 5HCLOSED WITH BILL CHARLAP TRIO HMINGUS MONDAYSHMINGUS MONDAYSHMINGUS MONDAYSH TUEJAN 17 MON JAN 9, 16, 23 & 30 FEATURING QUARTET CHRIS POTTER RICK ROSATO - JONATHAN PINSON MINGUS HJAZZ FOR KIDS WITH THE JAZZ STANDARD YOUTH ORCHESTRA EVERY SUNDAY AT 2PM [EXCEPT 1/1]-DIRECTED BY DAVID O’ROURKEH NEW YORK @ NIGHT

It’s not every day that one gets to experience an A sudden bitter cold snap kept more than a few fans orchestra rehearsal featuring some of New York’s from picking up their pre-purchased tickets Thursday finest players directed by one of the most noted (Dec. 14th) at Asia Society, but those of sturdier stock thinkers in jazz history. On Dec. 11th and 18th, pianist who made it out to see Rez Abbasi’s Invocations were and founder of the Association for the Advancement of treated to a live preview of the group’s upcoming Creative Muhal Richard Abrams convened (third) release, Unfiltered Universe. The group, a 17-piece ensemble to work through pieces at the comprising (in addition to its Pakistani-American Carroll Music Studios in afternoon workshops free to leader/guitarist) Indian- and the public. On the first day, Abrams conducted four Rudresh Mahanthappa (on and alto , pieces and gave short, often jovial talkbacks to the respectively), drummer Dan Weiss, cellist Elizabeth audience and assembled musicians, beginning with Means and bassist Johannes Weidenmueller, has a “to get the sound of the band.” Lush horns led a consciously South Asian bent and Abbasi’s new into a gospel-like, rollicking backbeat provided by works are allegedly inspired by Carnatic (South Indian pianist Richard Sears and drummer . classical) music, but listeners would be hard-pressed It took a few starts to get going, ’s alto to make this connection. Instead, the compositions— welling up and James Stewart’s blistering, clean howl “Disagree to Agree”, the title track, “Thin King”, on tenor demarcating with refractive twirls. “Propensity”, “Turn of Events”, “Dance Number”— “New View” was a new piece written for the sounded more like alumni of the M-BASE school, participants, beginning with vibrato ululation and containing tricky, additive meters, hard-hitting ‘street’ swirling piano chunks. Soon, halting the proceedings beats with floating accents and lyrical, long-form again, Abrams suggested the trumpeters should “give melodies laced with odd intervals. The sextet it some drama” and “make it theirs”, before pursed negotiated these Byzantine charts with finesse and screams were laid atop and reeds. Later, in Abbasi, Mahanthappa and Iyer each delivered exciting, working out a part for four bass clarinets and the cogent solos—the former with blues-inflected fusion soprano of Ingrid Laubrock, Abrams maintained that lines, the second with fiery post-postbop chromatics, “solo space means space for whatever you put into it… the latter with carefully crafted motives moving in what I would like to see here is [taking] more space parallel—but the fiercest heat beneath the pot came until it begins to talk to you. You can leave some silence from Weiss, who played like a heavy metal drummer because I trust all of you.” —Clifford Allen trapped in a jazzman’s body. —Tom Greenland o s o g i a n / F r t R w P h t a r © R . I S u t h e r l a n d - C o / j z x p s i g © 2 0 1 6 J a c k V Muhal Richard Abrams @ Carroll Music Studios Rez Abbasi @ Asia Society

The second annual 577 Forward Festival went off ’s Go: Organic Orchestra, fiery and without a hitch at the cozy Scholes Street Studio. While free-sprawling, amoebic yet well honed, seemed to the 2015 version was essentially a three-night birthday erupt in primordial complexity at the Brooklyn party for multi-instrumentalist , this year Conservatory of Music (Dec. 4th). Besides the cynosural was a celebration of late pianist Connie Crothers, who conductor/, the pied and motley crew encouraged 577 Records founder Federico Ughi to stay comprised six string players (Charles Burnham, on his path. The final night’s set (Dec. 11th) was built Julianne Carney, Mark Chung, Sana Nagano, Stephanie around Crothers’ quartet—the piano chair was Griffin, Emma Alabaster), nine winds (Michel Gentile, occupied by Boston pianist Harvey Diamond—filled Zé Luis, Mariano Gil, Ivan Barenboim, Sean out by alto saxophonist Richard Tabnik, drummer Sonderegger, Avram Fefer, , Peter Roger Mancuso and bassist Ken Filiano. Tearing Zummo, Libby Schwartz) a ‘rhythm section’ (Alexis through oblique numbers from the Tristano school Marcelo, Marco Cappelli, Damon Banks) and six book, Tabnik’s bitter left turns and relentless, tart sonic percussionists (James Hurt, Tim Keiper, Joe Hertenstein, sheets were front and center but it was the robust, Keita Ogawa, John Hadfield, Shakoor Sanders). crystalline tempo shifts from Diamond and the Although Rudolph has taught his unique system of alternating currents of crackling drive and delicate matrices, “cosmograms” and “ostinatos of circularity” brushwork that really kept things in suspended to a global community of receptive improvisers, this contrapuntal motion. The rest of the evening was filled particular crew is the ‘home team’, well-versed in his out by Heart Talk, Ughi’s quartet with tenor unusual ways, equipped to flesh out these materials in saxophonist David Schnug, trumpeter Michael Irwin real time. Like the inveterate / and the homemade electronics of Jeff Snyder, which aggregate, this 24-piece unit can sound like an intimate sounded like someone dropped Romulus Franceschini small group, with individual personalities coming to into a late ‘60s Ornette Coleman band, and squirrelly the fore, as when the irrepressible Burnham bowed improvisation from alto saxophonist Nick Lyons, unorthodox ‘blues’ lines over “East Savannah Groove” pianist Kazzrie Jaxen, guitarist Adam Caine and or when the drummers held a ‘roundtable discussion’. clarinetist Patrick Holmes. Sandwiched in between Tellingly, there was little talking onstage, among was the Ancestral Duo of Luke Stewart and Jamal musicians or to the audience, for most of the long set; Moore, blending small electronics, percussion, reeds everything seemed to arise out of glances, hand signals and bass in a deep psychedelic stew. (CA) and perhaps a bit of telepathy. (TG)

4 JANUARY 2017 | THE NEW YORK CITY JAZZ RECORD This reporter admits to a bit of despondency upon A smiling strode on to the Birdland hearing that the of the meeting between Chick bandstand (Dec. 2nd), introduced the members of his Corea and John McLaughlin at Blue Note (Dec. 7th), cooperative quartet—saxophonist Chris Potter, WHAT’S NEWS part of the former’s nearly two-month 75 birthday guitarist and drummer Obed Calvaire— Nominees for this year’s Grammy Awards, which will air Feb. 12th, residency, was mostly standards. Two such strong and announced that there would be no other words have been announced: Best Improvised Jazz Solo: “Countdown” by and we were going to be subjected to “Stella spoken once the music had begun. Picking up his bass, Joey Alexander; “In Movement” by Ravi Coltrane; “We See” by Fred By Starlight”. Well, this reporter is not afraid to admit the NEA Jazz Master played a three-note motif that Hersch; “I Concentrate On You” by ; and “I’m So when he is wrong. The point of the concert, of which dynamically swelled as Calvaire responded, gently Lonesome I Could Cry” by . Best Jazz Vocal Album: Sound Of Red, René Marie (Motéma Music); Upward Spiral, Branford the was a glorious 90+ minutes, was hardly drumming with mallets on his and shells- Marsalis Quartet With Special Guest (OKeh); Take Me To the material but rather the opportunity to sit in on the capped sock cymbal. Soon Eubanks joined the The Alley, Gregory Porter (Blue Note); Harlem On My Mind, Catherine “living room” (Corea’s term) conversation, one begun rhythmic conversation, providing an impressionistic Russell (Jazz Village); The Variations, The Tierney Sutton Band (BFM Jazz). Best Jazz Instrumental Album: , Kenny almost 48 years earlier in ’ - underpinning on top of which Potter laid down a Barron Trio (Impulse!); Dr. Um, (Fuzzy Music); Sunday era band. It was fitting then that the highpoint was lyrical tenor counterline. This evolved melodically to Night At The Vanguard, Trio (Palmetto Records); Nearness, a 10-minute version of Davis’ “All Blues”, wherein announce the theme of the guitarist’s “The Dancing & Brad Mehldau (Nonesuch); Country For Old Men, John Scofield (Impulse!). Best Large Jazz Ensemble Album: Real McLaughlin, the tone of his slightly distorted, Sea”, which served as a launching pad for an organic Enemies, Darcy James Argue’s Secret Society (New Amsterdam came as close to his Mahavishnu days as one can get group improvisation, rife with both subtle and Records); MONK’estra, Vol. 1, John Beasley (Mack Avenue); and the outro was a thing of rhythmic wonder. Pianist dramatic shifts in cadence and tonality, Eubanks ended Kaleidoscope Eyes: Music Of The Beatles, John Daversa (BFM Jazz); and guitarist bubbled up a cauldron of wizardry on in a Hendrix-ian whisper. Picking up the guitarist’s All L.A. Band, (Fuzzy Music); Presidential Suite: Eight Variations On Freedom, Ted Nash Big Band (Motéma Music). Best Latin tunes by , , the closing rhythmic figure, Potter seamlessly segued into Jazz Album: Entre Colegas, Andy González (Truth Revolution); Madera aforementioned “Stella by Starlight” and closed the set the melody of his “ALC”, with Holland raucously Latino: A Latin Jazz Perspective On The Music Of Woody Shaw, Brian with another Davis tune, “Solar”, which became almost rocking as Eubanks provided fuzz-toned accents to the Lynch (Hollistic Musicworks); Canto América, Michael Spiro/Wayne Wallace La Orquesta Sinfonietta (Patois); Eponymous, Trio Da Paz surrealistic in the interplay between the musicians. saxophonist’s soulful wails and Calvaire’s energized (ZoHo); Tribute To Irakere: Live In Marciac, Chucho Valdés (Jazz One original was presented, the delicate “A Lotus On drumming. Holland introduced his “Quiet Fire” Village). Best Contemporary Instrumental Album: Human Nature, Herb Irish Streams” from the Mahavishnu Orchestra’s debut unaccompanied, an episodic narrative that found Alpert (Herb Alpert Presents); When You Wish Upon A Star, album, absolutely lovely with McLaughlin’s virtuosity Potter evoking the spiritual sound of John Coltrane (OKeh); Way Back Home: Live From Rochester, NY, Steve Gadd Band (BFM Jazz); Unspoken, Chuck Loeb (Shanachie); Culcha Vulcha, ecstatic rather than gratuitous. This was the love-fest over Eubanks’ ethereal harp-like chords. The band (Ground Up Music). Best Instrumental Composition: we’ve been needing, Corea and McLaughlin taking then settled into a straightahead groove to end the “Bridge Of Spies (End Title)” by Thomas Newman; “The Expensive every opportunity to remember their history and powerful nonstop musical journey, swinging on Train Set (An Epic Sarahnade For Double Big Band)” by Tim Davies; “Flow” by Alan Ferber; “L’Ultima Diligenza Di Red Rock - Versione reaffirm their kinship. —Andrey Henkin Eubanks’ “Seven Rings”. —Russ Musto Integrale” by Ennio Morricone; “Spoken At Midnight” by Ted Nash. Best Arrangement, Instrumental or A Cappella: “Ask Me Now” by John Beasley; “Good ‘’ Wenceslas” by Sammy Nestico; “Linus & Lucy” by Christian Jacob; “Lucy In The Sky With Diamonds” by John Daversa; “We Three Kings” by Ted Nash; “You And I” by Jacob Collier. Best Arrangement, Instruments and Vocals: “Do You Hear What I Hear?” by Gordon Goodwin; “Do You Want To Know A Secret” by John Daversa,; “Flintstones” by Jacob Collier; “I’m A Fool To Want You” by Alan Broadbent; “Somewhere (Dirty Blvd)” (Extended Version) by Billy Childs and Larry Klein. Best Album Notes: Sissle And Blake Sing Shuffle Along, Ken Bloom and Richard Carlin. For more information, visit grammy.com. The annual Jazz Connect Conference takes place Jan. 5th-6th at Saint Peter’s Church. For the complete schedule, list of participants and registration information, visit jazz-connect.org. The Jazz Gallery will present its inaugural film festival Jan. 6th-7th, screening the following movies: Black Science: & The World of M-Base; Radhe Radhe: Rites of Holi; Ornette: Made in America; The Cry of Jazz; : Rambling Boy; and A Joyful Noise. For more information, visit jazzgallery.org. A number of grant announcements: Jazz at Lincoln Center received

d i n o p e r u c a l n h i g $50,000 from the National Endowment for the Arts to curate the Jazz & & John McLaughlin @ Blue Note Dave Holland @ Birdland Popular Song Series. The Creative Music Studio received $5,000 from the New York State Council on the Arts to support the CMS Improvisers Orchestra. And recipients of the New Barbès, the club tucked into Park Slope, was packed Taking advantage of a rare break from his busy Conservatory Entrepreneurial Musicianship Department Fall 2016 on the evening of Dec. 8th. Without the air conditioning, touring schedule with , Ravi Coltrane or Project Grants have been named and include two jazz projects: Morgan the air was thick and the environs steamy. Unpleasant , drummer Johnathan Blake brought his Middleton’s play Remember When and Julian Loida-Sofia Kriger Mojubá Quintet. but perfectly in sync with the Mediterranean-inspired quartet with saxophonist Jaleel Shaw, guitarist jazz of saxophonist/clarinetist Souren Baronian’s Lage Lund and bassist Ben Street into The Jazz Gallery The ASCAP Foundation gave composer/bandleader Maria Schneider Taksim. The leader had some interesting discographical (Dec. 3rd) for a live recording session. With guest its Life in Music Award, Roxy Coss, Remy Le Boeuf and Jeremy Siskind Herb Alpert Young Jazz Composer Awards and Marie Incontrera the credits with Phil Woods (1967), Tony Scott (1968) and David Virelles joining the group on piano for the Fred Ho Award. For more information, visit ascapfoundation.org. Carla Bley (1971) yet his own music is an amalgam of band’s final set, the versatile drummer started his Armenian heritage (he was born in Harlem in 1930) off paying tribute to his father, John Blake (who died in The dates for this year’s New York Hot Jazz Camp have been and the traditions of surrounding countries like , 2014), performing the late violinist’s “New Light”. The announced: a newly created Youth Camp will take place Apr. 10th-14th and the Adult Camp is scheduled for May 15th-21st. Both programs mixed liberally with jazz to create a delicious dzhash. optimistic ode was first recorded by McCoy Tyner, take place at Greenwich House Music School. For more information, Visually, the jazz to folk progression started stage left whose influence was evident in Virelles’ percussive visit nyhotjazzcamp.com. with bassist Sprocket Royer and kit drummer Mal left-hand chords and articulate right-hand runs, the The third annual Jazz Legends for Disability Pride evening will take Stein, darbukkeh player Lee Baronian in the center, leader’s ringing ride cymbal driving solos by the place Jan. 5th at The Quaker Friends Meeting Hall as part of the Winter flanked on stage right by the elder Baronian (who also pianist, Lund and Shaw. The trio introduced Bobby Jazzfest. Organized by pianist Mike LeDonne, the proceeds from the played the end-blown duduk and Armenian Hutcherson’s “Montara” before Lage and Shaw entered fundraiser go towards the annual Disability Pride Parade. For more information and a complete list of participants, visit winterjazzfest.com/ riq) and oud player Adam Good. This was doubling the meditative melody, the latter switching to jazzlegends. Also as part of this year’s Winter Jazzfest events, several a concert for dancing, despite the close space, and also alto from soprano. Blake snapped off a bright tempo panel discussions have been scheduled: Social Justice & The Role of for celebration, lasting over 90 minutes with no for ’ “Cain and Abel”, a bluesy Music; Metamusician’s Stomp: Andrew Cyrille; and Thelonious Monk lessening of enthusiasm. In fact, the concert became outing with Shaw quoting Bird melodies on alto, Makes A Hundred, all taking place at The New School 5th Floor Theater. For more information, visit winterjazzfest.com/talks. more energetic as it progressed, slow-burning grooves leading into a horn-and-drum duet, followed by Street, via Royer and Stein yielding to whirling-dervish Virelles and Lund solos. Shaw’s alto took on a sweeter Saxophonist is the inaugural winner of the Berlin dances. The elder Baronian and Good either doubled tone for “Darn That Dream”, digging deep into the Jazz Award, established by municipal government and the public radio station RBB, which includes a €15,000 prize. the appealing themes or presented them in spritely melody before Lund took a lyrical turn on the bridge. counterpoint. The music was all original, much taken The set ended with two Blake pieces, “Homeward Vince Giordano—There’s a Future in the Past, a documentary on the from the band’s recent live album from the Montréal Bound” and “West Berkley Street”, the first dedicated hot jazz bandleader, will premiere at Cinema Village Jan. 13th. Jazz Festival, but Baronian also included a folk tune to Sandy Hook victim Ana Márquez-Greene (daughter from his ‘native’ land, a somber, plaintive departure of saxophonist Jimmy Greene), the second to his Submit news to [email protected] from the rest of the performance. (AH) Philadelphia roots. (RM)

THE NEW YORK CITY JAZZ RECORD | JANUARY 2017 5 INTERVIEW

Poughkeepsie, Schenectady or Boston. Those were some of the best experiences and best education that I’ve ever had in my life.

TNYCJR: When did you attend Manhattan School of JON Music? JF: I graduated high school in 1971 and my father had been after me to get a degree. I was on tour in Europe in 1972 with the sextet, with Charles McPherson, Bobby Jones, John Foster and .

p r u c h a s e Mingus got some offers so he wanted to extend the tour. I said, “I’m sorry, I’ve got to go back to audition (CONTINUED ON PAGE 50)

o f s u n y FADDIS t e s y

c o u r by ken dryden Known for his incredible range and ability to play startling Soloff’s roommate and he would call people in the high notes with accuracy, trumpeter Jon Faddis has long middle of the night, wake me and have me play over been acknowledged as a hard-working, dedicated composer, the phone. Of course, there was Dizzy, with whom arranger, bandleader and jazz educator. Barely after I had already played and I started playing with him graduating from high school, Faddis was playing with when I got to New York. Then Thad Jones and Mel and before the decade was over had recorded Lewis were like fathers to me and really supportive. with the Thad Jones/Mel Lewis Orchestra, Charles Mingus, Dizzy Gillespie, McCoy Tyner and , among TNYCJR: How did you meet Dizzy? many others. Although he has devoted himself to his teaching career at SUNY Purchase in recent years, he remains an JF: My parents took me to where minors active leader and composer. were allowed at Basin Street West. He was playing with James Moody, Kenny Barron, Chris White and The New York City Jazz Record: How did you end up Rudy Collins, probably 1965. When Dizzy walked by studying ? the table and my father said, “Hey, Diz! My boy plays the trumpet and really digs you.” Diz looked at me and Jon Faddis: My parents asked me if I could play an said, “Yeah?” I froze, I couldn’t say anything. When instrument, which one would it be? I remembered the evening was over I said, “The next time seeing on Ed Sullivan, so I said I meet Dizzy, I’m going to talk to him.” It was 1968 trumpet. The next thing I knew they bought me when I was 15, at the . My a trumpet and at seven I started taking lessons. Then mother drove me and I took my 50 or so Dizzy Gillespie all these trumpet records started showing up: Dizzy records. After I saw Dizzy on the fairgrounds, I said, Gillespie, big bands, Louis Armstrong, Al Hirt. “Mom, go get the records!” So she ran to the car and I started collecting LPs and 45s and my dog would lugged them back. I said, “Diz, may I have your howl like he was in pain when I practiced. I played in autograph on my records?” He sat down and junior high dance band. autographed each and every one of them, a crowd gathered and I was talking to him. He said, “I don’t TNYCJR: When did you study piano? remember that one.” and I said, “That’s the one where you such and such and your solo goes…” and I started JF: I took some lessons in summer school and studied his solo. with a professional, Sy Perkov, but I didn’t take formal A couple of weeks later he was playing at the lessons until I got to New York with Sanford Workshop. My mother took me and I got in somehow. Gold. He was a really good teacher. I played Bach I had my horn with me so we put it in the dressing inventions, Chopin and learned about theory and room. Dizzy remembered me and signing all my harmony. I haven’t maintained my chops, but I can still records. During the set, he was playing “A Night in work out compositions and chords. It also helps me ” but this was a different group with James with improvising. When Dizzy was improvising with Moody, Mike Longo, and Candy Finch. a chart in front of him, he wanted his chords in concert, During Jymie’s extended solo on “”, as opposed to trumpet key, which is a step higher. He Dizzy walked by the table and I said, “Dizzy, are you wanted the piano key so he could visualize what going to play the ending?” and he said, “You got your chords went where. But I haven’t gotten to that level horn, why don’t you do it?” So I ran down to the yet (laughs). dressing room, got out my horn and put the mouthpiece in and sat at the table. Dizzy is playing the cadenza TNYCJR: Who were your early mentors? and stops so there’s silence on the stage and he signals me with his horn and eyebrows to the stage and JF: My parents were really supportive of me starting an I played “Oo-dah-doo-dee!” He invited me to play a instrument. My trumpet teacher at ten, Bill Catalano, couple of tunes, “’” and “Get That Money was my most important mentor growing up. He Blues”, which was on a record he had just released inspired me to listen to Dizzy and made the trumpet called . I played some of his solo fun. My high school band director, Bob Soder, had one from the record and he was impressed that I could play of the first accredited jazz band classes in the country. it and the ending to “A Night in Tunisia”. When I came Another trumpet teacher, Bill Atwood, one of the best to New York, I was playing with Lionel Hampton on jazz players around San Francisco, was recommended little runs out of town and I started subbing with the by Bill Catalano. After I got to New York, Clark Terry Thad Jones-Mel Lewis Orchestra. I gave Hampton two was very helpful. He hadn’t heard me play but he was weeks notice when I learned Dizzy was going to be recommending me to all these trumpet players around playing two weeks at the Village Vanguard, because town. I met him at a jazz camp at the College of the I didn’t want to miss one night. Dizzy remembered me Pacific [now the University of the Pacific] and talked to and he started letting me sit in with him. So whenever him. He introduced me to Doc Severinson and my Dizzy was playing in or around New York City, favorite lead player, Snooky Young. I became Lew sometimes I’d rent a car to play with him in

6 JANUARY 2017 | THE NEW YORK CITY JAZZ RECORD ARTIST FEATURE

For more information, visit mikeledonne.net. LeDonne is at Quaker Friends Meeting Hall Jan. 5th as part of Jazz Legends for Disability Pride, Birdland Jan. 10th-14th, Mezzrow Jan. 30th with Hendrik Meurkens and Tuesdays. See Calendar and Regular Engagements.

MIKE Recommended Listening: • Mike LeDonne Quintet—‘Bout Time (Criss Cross, 1988) • Milt Jackson—Sa Va Bella (For Lady Legends) (Qwest-Warner Bros., 1997) • Mike LeDonne—Bags Groove (Double-Time, 2001) • —Terminal 1 (Concord, 2004) • Mike LeDonne Trio—Speak (Cellar Live, 2012) LEDONNE • Mike LeDonne Groover Quartet—That Feelin’ (HighNote, 2016)

s t e v u m a n by russ musto At 60, Mike LeDonne has already amassed a lifetime it’s totally made me into a better person. Without of achievements of which he can be proud, with a a doubt and that comes into the music.” Ironically, it resumé that includes tenures with some of the jazz was music, but not his own that provoked a sea change world’s greatest masters and a discography of over a in LeDonne’s life. He recalls, “About six years ago at hundred recordings, including a dozen and a half a little graduation ceremony at Mary’s school, I was under his own name. The Bridgeport, Connecticut looking around at all the kids and I guess you can say native grew up surrounded by the sounds of music in I was going through some of the growing pains you the store owned by his parents. He started playing have as a parent of a disabled child. Because as a parent piano at age five and by ten was already making gigs of a disabled child it’s a different world that you’ve got booked by his jazz guitarist father. As a teenager he to get used to and it’s not the world that you thought it worked around the Boston area while studying at the was going to be... So I’m looking at this world sitting New England Conservatory. Upon his graduation in there and I have to admit that I was feeling a little 1979 he headed to New York City as a member of the down when this choir came out at this school of blind Widespread Depression Orchestra, with whom he kids. So the turning point was when they came out made his recording debut. while I was and they started singing In New York he paid dues working as a sideman in ‘gray skies are going to clear up, so put on a happy a variety of settings, earning himself a reputation as a face.’ And I took the words literally, as if they were versatile player in settings from traditional to modern. singing it right to me. I thought ‘Wow! Here they are He joined Francis and the Savoy Sultans, making me feel better. I thought I had to make them traveling to Europe, and upon his return he landed the feel better and here they are helping me.’ I looked at job as house pianist at Jimmy Ryan’s, where he these kids and all of a sudden the whole thing changed. performed with Swing Era veterans like Roy Eldridge, It was like a revelation, really. It was just like, ‘This is Papa Jo Jones and Vic Dickenson. Soon he was sitting really nice; this is kind of beautiful. It was in June. We in the piano chair of the renowned had just had Gay Pride Day and that’s when it hit me. Sextet while also freelancing around with other I turned to my wife and said, ‘You know they just had traditionalist players like , and Gay Pride Day, why isn’t there Disability Pride Day?’ Ruby Braff. And she said, ‘Hah, that’s a good idea.’ And I thought By the mid ‘80s, following the trajectory of the that it was just something you just say to your wife at music’s history, LeDonne began performing with the spur of the moment. modernists from the era, most notably as “Being a jazz musician I’m used to looking into the a member of the Art Farmer- Quintet, unknown and figuring how to get through and make where he occupied the piano chair once held by one of something work from nothing to something. So that’s his primary influences, the great . By the how my mind started to work on this thing. I called end of the decade, following gigs with Dizzy Gillespie, Benny Golson and I called and I called the , Charles McPherson, James Moody, people that I’ve known for years and explained to and , he earned them what I was doing and put together the first a permanent spot with the Milt Jackson Quartet, benefit concert in 2015, Jazz Legends for Disability remaining with the group until the vibraphonist’s Pride, which, like this year and last, took place at The death in 1999. He released his debut as a leader, the Quaker Friends Meeting Hall.” The first concert also aptly titled ‘Bout Time, in 1988 at the age of 31. featured Bill Charlap, Jimmy Cobb, George Coleman, Since that initial recording LeDonne has split his , Russell Malone, Brad Mehldau and time between leading his own groups and holding Renee Rosnes. LeDonne proudly notes, “It was a great down the piano chair with the Benny Golson Quartet success. We raised a lot of money and it put us on the while also staying busy working as a sideman with map.” As a result other funding began to pour in and a variety of veterans and peers. In 2004 he released LeDonne’s dream became a reality. On July 12, 2015 Smokin’ Out Loud, his first recording featuring his New York City had its first Disability Pride Parade. mastery of the Hammond B-3 organ and his Groover Last year , , Joe Quartet of saxophonist Eric Alexander, guitarist Peter Lovano and Roberta Gambarini joined the fold for the Bernstein and drummer Joe Farnsworth, which had event’s sophomore outing. This year’s concert will been firing things up weekly at the Upper West Side have most of the first two years’ participants returning, club Smoke. 14 years later, the group continues there with the addition of and Jon Faddis. every Tuesday night. LeDonne promises to make the concert an annual 2004 marked another turning point. On Valentine’s event. He says, “Whether my music is important or not Day his daughter Mary was born with the rare genetic I guess history will judge. But what I’m doing with disorder Prader-Willi Syndrome. LeDonne minces no Disability Pride, this is important for people, for the words in how the event has changed him as a human betterment of people’s lives. It’s something that is an being and an artist: “I’m sure just being a parent would extension of my character that I had no idea was even affect any person, there’s no doubt about that. But that in there. It was just something that was tapped by Mary is so unique and our relationship is so unique, having Mary come into my life.” v

THE NEW YORK CITY JAZZ RECORD | JANUARY 2017 7 ON THE COVER

JEFF “TAIN” WATTS UNCON-TAIN-ABLE by terrell holmes j o h n r g e s / y c . m

In a career that has spanned over three decades, Jeff Branford Marsalis and the rest of the family,” Watts Chieftain gas station in . After Kirkland’s “Tain” Watts has established himself as one of the said. “It’s pretty easy to kind of lump the Marsalis sudden passing in 1998 Watts dedicated the rest of his greatest jazz musicians of his generation. This family in with the establishment or something like that musical career to him. He is still a strong presence in Grammy-winning drummer, composer and producer is because they’ve been successful for so long. When Watts’ life; when he discusses his friend he occasionally a standard bearer on his instrument. He can lay down I moved to New York to work with Wynton he had uses the present tense. polyrhythms with head-spinning speed and complexity a good record deal but it was pretty grassroots at the “He was a really cool dude, first of all,” Watts or thunder on bass, toms and snare drum with beginning, with the bad vans and cars. We played recalled. “Musically he was very much ahead of his a volume and power measurable in megatons. Watts is some dives, shared hotel rooms and tried to make it time. Just the way that he was able to function in all of steeped in the jazz, blues, gospel and R&B traditions, work. But I can definitely say that a big thing was to these idioms really, really well. It wasn’t something with influences ranging from Thelonious Monk and just not be misrepresented and to not take any mess. that he had to talk about or that he thought was special. John Coltrane to the Players and Marvin Gaye, You’ll have a contract and the least the promoter He felt that you should play all the music that you’re which reflects the music he heard while growing up in should oblige to do is to welcome you to town or pick able to play. He encouraged me to compose and he in the ‘60s-70s. you up to take you to the gig or whatever. There were made it very easy for me to start writing. He just felt “I remember liking James Brown and stuff like definitely a few times where we flew into a city and we that my ears were good enough that if I trusted what Mandrill, The Meters, just stuff that came across the were expecting to be picked up and no one came to I heard I would be able to compose without going radio,” Watts recalled from his home pick us up and we would simply pull out the plane through composition classes and such. And you know, during a phone interview. “I remember watching the tickets for the next city and just leave.” he’s just like a real people person. If you become his Ed Sullivan Show and seeing The Temptations. I guess Leaving Branford Marsalis’ quartet in 2009 to form friend you’re a friend.” from about five to ten years old, it was pretty much his own quartet, as well as the ensemble The Watts Watts’ latest Dark Key release, Blue, Volume 2, R&B radio and a little bit of rock radio and whatever Project, wasn’t an easy transition. “Yeah, it definitely touches various genres but is grounded firmly in the was on television. When I was in high school my was tricky,” Watts admitted. “I’m still very, very blues. Like Volume 1, it’s dedicated to his mother, who brother worked at a college record store and I got a lot connected to him. I guess at a certain point no matter passed away in 2012. “I’m still trying to maintain some of fusion from him. So I kind of got into jazz what you do—and I’d recommend this to musicians in kind of blues element,” Watts said. “Without through fusion and some of the bigger bands like the general—you should spend a certain amount of time complaining too much about present-day music, there Mahavishnu Orchestra, and the being a sideman because it teaches you how to be can be a lack of things that I can trace to the blues Headhunters and Return to Forever with Chick Corea. a leader because you’re doing what you can to flesh tradition and even to the church sometimes. I think I guess it was through being exposed to this stuff that out the ideas and concepts and presentation of the about my audience. I try to have something that will I backtracked into traditional jazz. So my interest in person you’re working for and it’s really admirable. appeal to them and maybe they’ll follow me into more John McLaughlin and Chick Corea led me to Miles What made Branford a great bandleader was that he abstract stuff that I do. I try to drop a certain amount of Davis naturally and to Charlie Parker from there.” was a great sideman.” swing on people during shows because I feel like Watts’ exposure to fusion and R&B led to his first Watts founding the label Dark Key Music was there’s probably a large segment of the traditional jazz drumming models. “I liked Buddy Miles and the guys inspired by the need for another level of independence audience that goes to a show and if they don’t hear who played with Parliament/Funkadelic like Jerome and an insistence on artistic control. The imbroglio something down the middle swingin’ it’s like they Brailey and Tiki Fulwood. But then I moved into the surrounding the release of his album Megawatts partly didn’t really check out a jazz show at all. So I just try to fusion thing that my brother introduced me to, people explains this. “[Bassist] Charles Fambrough be inclusive.” like , , . approached me and he was like ‘Man, we’re gonna do After many years in Brooklyn Watts moved back to I went through a Steve Gadd period. I became aware of this recording’ and it really was kind of a hip idea,” Pennsylvania, where his home is part of a converted drummers like Bernard Purdie and Steve Ferrone from Watts explained. “We’re going to form a group from church complex. His recording studio, the aptly named the Average White Band. I went to Duquesne University the rhythm section and instead of the horn player Sanctuary Studios, is also located there. Now married for two years as a major and while being the leader, this trio will be the leader and we’ll and the father of twin girls, Watts is enjoying this I was there I started to go to jam sessions and get have a guest. We’ll have [trumpeter] challenging but exhilarating phase of his life and looks exposed to traditional jazz. It [seemed] that traditional as a guest or [tenor saxophonist] as forward to continuing what has been a stellar career. jazz wasn’t important [but] I had no idea about the role a guest, you know, kind of flipping the whole thing “I try to represent my generation and the ideals we put that African-Americans had played in putting this around. We started to make the recording and as it out here, represent my friends and just don’t take any music together. So it was actually kind of a surprise,” progressed I heard producers and people saying that it mess,” Watts stated. “Love the music, love the history Watts noted. “I see a lot of jazz education going on for was my recording. I was led into the project under the of the music, love the whole music and not be ashamed young people and it’s very important for young assumption that it was a group thing. So there was of it.” v African-Americans to realize their heritage with this a period of time where the recording tried to come out music.” and I had an attorney block it from coming out in the For more information, visit tainish.com. Watts is at Jazz Watts paid his dues by recording and touring with United States as my recording. It came out in Europe as Standard Jan. 19th-22nd. See Calendar. acts including Betty Carter, McCoy Tyner, , Megawatts, it came out in the States as Thunder and Harry Connick, Jr. and Steve Coleman. But it was his Rainbows and it was even released in under the Recommended Listening: association with the Marsalis brothers, trumpeter name J.F.K.: Jeff, Fambrough and [pianist Kenny] • Wynton Marsalis—Black Codes (From the Wynton and saxophonist Branford, that was the most Kirkland! It was rereleased years later after I signed an Underground) (Columbia, 1985) important and fruitful. He was a member of Wynton’s amicable agreement with François [Zalacain] from • Branford Marsalis Trio—The Beautyful Ones Are Not quintet during the halcyon “Young Lions” days of the Sunnyside, mostly so that people could hear Kenny Yet Born (Columbia, 1991) ‘80s, then moved on to play with Branford’s quartet Kirkland in a trio setting and he’s killing on that • Jeff “Tain” Watts—Citizen Tain (Columbia, 1998) until 2009. During that time he developed and refined recording.” • Branford Marsalis Quartet— his playing style and learned valuable lessons about Watts was close to Kirkland, a magnificent pianist (-Rounder, 2001) the inner workings of the music business. and fellow Marsalis alum. It was Kirkland who • McCoy Tyner—Quartet (, 2006) “I was really fortunate to connect to Wynton and nicknamed Watts “Tain” when they drove past a • Jeff “Tain” Watts—Watts (Dark Key Music, 2008)

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behind others in his band. And I’ve always enjoyed “Now I have one cymbal and no hi-hat. I can Tony Williams and use some of his spice. But my communicate so much more with that. Bass drum, LEON PARKER favorite musician in the world is . I’ve snare, two tom-toms, one cymbal.” never copied his approach but the spirit is there.” After releasing several more albums, the drummer by john pietaro At 17 Parker started working with Hudson Valley became disenchanted with the direction the jazz area saxophonist Carmen Leggio. Still, he felt a world industry was taking the music. “I saw all the bullshit After 15 years of life abroad, where he engaged in a away from New York’s jazz center. “White Plains to involved. I was looking for something but was very musical pilgrimage of sorts, native New Yorker Leon NYC is only a 40-minute train ride but for me it was as outspoken,” he said of his bifurcated rebellion against Parker is back. Hopefully to stay. Known as a brash far off as . The bridge was guitarist Melvin and desire to be accepted by the broader jazz young lion at the dawn of the ‘90s, the drummer was as Sparks. He introduced me to [organ player] Dr. Lonnie community. “I saw the authentic values disregarded celebrated as deemed notorious due to a thorny Smith.” Parker also engaged in pianist ’ while the music industry capitalized on the tradition of frankness and arduous drive to authenticity. Parker programs and by 1986, was an “unofficial student” at jazz. So I left in 2001.” explained, “I’m the same person as back then, but after the New School’s jazz program under the watchful eye Relocating to a small French village, Parker much reflection, I don’t hold the anger I once did.” of saxophonist Arnie Lawrence. He credits saxophonist immersed himself in the essence of music’s What he may have given up in agitation, Parker Virginia Mayhew (“an unsung hero”) with bringing communication. “I didn’t bring a drumset with me. cultivated in a renewed vitality for the drumset as well him to Lawrence’s attention. I had been experimenting with body rhythms and as the realization of his concept of body percussion and Serving as the frequent drummer on many student vocal sounds and wanted to explore this more.” He voice he calls EmbodiRhythm. recitals, Parker came into contact with the up-and- avoided much of the French jazz scene, focusing Born in White Plains, New York in 1965, Parker coming players of that period. He also began making instead on teaching EmbodiRhythm workshops. was exposed to the lineage of jazz as a toddler. “My nightly vigils to Bradley’s during pianist Kenny Over the years he was away, Parker had only grandparents had met uptown during the Harlem Barron’s long tenure at the club. Parker began sitting in isolated occasions to play drums before heeding the Renaissance and they carried this incredible record with the group, but not by taking over drummer Ben call from old friend pianist Aaron Goldberg. After collection with them through the years.” He was drawn Riley’s kit: “I was fascinated by the cymbals. When I playing a local show with the pianist, Parker was ready to the inherent rhythms of jazz and early on showed an was 22 years old and used to go to Bradley’s all the time to return home to the U.S.; he arrived in New York in affinity toward percussives. The decisive moment was and carry only a cymbal with me. Kenny would let me time for last fall’s performance season. Gigs with seeing play on The Tonight Show. “My sit in.” When Riley was unavailable to make the gig for Goldberg continue and Parker is now well within his parents got me out of bed to see this. I was about six one week, “I took the drum chair,” he said with a laugh, comfort zone, performing with his own Humanity years old and was inspired enough to demand they “but still played on just the one cymbal,” causing a Quartet and facilitating EmbodiRhythms workshops. buy me a real drumset as opposed to just toys. Seeing rumble across the jazz community. “Deciding to move back to New York, I had to look someone play so strongly and with so much command Playing a slightly fuller drum set, he formed his over the earlier expectations I had put upon myself and of the instrument, I knew I needed to do this.” own quartet and also began working with pianist Bill the institution of jazz. I no longer believe in institutions. In grade school, the youthful Parker began playing Charlap and saxophonist Joshua Redman. Soon, he too We are artists and if there’s sincerity and authenticity drums in a school band and befriended another would become house drummer for the Blue Note jam in our work, then it remains powerful.” v budding young percussionist, Scott Latzky. “His father sessions and at the terrace of the Village Gate, leading was a complete jazz nut and we used to go to his place a trio with pianist Brad Mehldau and bassist Ugonna Parker is at Zinc Bar Jan. 6th with Aaron Goldberg as part of to listen to his records.” Both then entered a local talent Okegwo. In 1992, the drummer recorded and toured Winter Jazzfest and Yamaha Artists Services Jan. 7th. See Calendar. show, performing solo drumset spots. Within a few with saxophonist . years, both were members of the Westchester Youth A year or so later, Parker recorded his first album Recommended Listening: Jazz Ensemble. “I listened to a lot of the old Gene as a leader, Above & Below, and with it set out to redefine • Dewey Redman—Choices (Enja, 1992) Krupa records when I was learning,” recalled Parker. the drumset to his own specifications. “Trying to do • —Lover Man (Venus, 1993) “Especially what he played on [Benny] Goodman’s gigs on the ride cymbal alone, I realized it was crazy. • Leon Parker—Above & Below (Sony-Epicure, 1994) ‘Sing, Sing’, Sing’. I still love the floor tom; it’s a special I had come up with a drumset that let me do gigs like • Leon Parker—Belief (Sony-Columbia, 1996) drum that needs taming. Then I came to love Art a normal guy with a focus on the cymbal.” A period of • Dave Kikoski—Inner Trust (Criss Cross, 1997) Blakey’s drumming, especially his supportive playing experimentation had him incorporate a hi-hat briefly. • /Leon Parker—Duo (Blue Note, 1999) LEST WE FORGET

theatrical projects including Ludwig, Parole by Death “It’s a call to worship, an invocation. You feel like and Hughes’ Dream Harlem, the latter based on the you’re going to heaven and when you hear that bassline ROY CAMPBELL Harlem Renaissance poet Langston Hughes. you feel like you’re going to do some heavy activities. A key part of dozens of downtown, hard-edged And then when that saxophone comes in, you feel like by kurt gottschalk ensembles, from ’s Muntu to Other you’re leaving all your earthly possessions.” Dimensions in Music, Nu Band (whose 2012 final Campbell’s own death on Jan. 9th, 2014, was Precision isn’t always the currency of New York City concert with the original lineup was recently released a shock to the community surrounding the annual jazz. It’s a hardscrabble town and volume and stamina by NoBusiness Records), ’s , where he frequently performed. are often as determining factors as pitch and tone when tribute Spiritual Unity and his own groups, including In his later years, he added flute and percussion to it comes to making one’s mark. This ain’t Saõ Paulo, the powerful Pyramid Trio, he was also, with fellow his setup, but never quite showed the singularity of after all, and it sure ain’t L.A. But every once in a while trumpeter , a founder of the Festival Of purpose on those instruments as he did the trumpet there comes a player who can keep a sharp focus while New Trumpet Music in 2003. and its closer cousins. But listening back to the many channeling the energy of the city and one such player Campbell was on point like Louis Armstrong, still records he appeared on, his tone on those brass horns was the late Roy Campbell. one of the brass standard bearers and, like Satchmo, still resounds, clear as a bell. v Born in on Sep. 29th, 1952, Roy Campbell—or “Tazz”, as he liked to call himself, Sinclair Campbell, Jr. grew up in the Bronx starting at suffered from no undue humility. He didn’t look to A multi-set tribute evening for Campbell is at Clemente the age of two. L.A. held some sway over him—he had Armstrong for inspiration though, or at least not as Soto Velez Cultural Center Jan. 9th. See Calendar. a taste of success early in life as an actor—but music a primary source. Instead he turned to another master was in his blood. His father was also a trumpeter and of a different horn and someone who, like himself, was Recommended Listening: started him on piano, flute and at an early age. driven by spiritual belief. Campbell explored the music • Roy Campbell—New Kingdom (Delmark, 1991) As a teenager in New York, Campbell studied with Lee of the saxophone master John Coltrane with his band • Roy Campbell/Pyramid Trio— Morgan, and Howard McGhee through Shades and Colors of Trane, creating a bridge if not Communion (Silkheart, 1994) and at the Borough of Manhattan altogether unlikely then at least not easily crossed • Other Dimensions in Music—Now! Community College with while earning between the trumpet and the saxophone. (AUM Fidelity, 1997) a Bachelor’s degree in trumpet. That early influence I interviewed him for this publication in 2004 and • Roy Campbell—Ethnic Stew and Brew may never have left him, however, and over the course asked him about the great man, who died when (Delmark, 2000) of his life he composed and arranged scores for Campbell was just 14. “When I first heard A Love • Roy Campbell—It’s Krunch Time (Thirsty Ear, 2001) a number of documentaries (including The Selling of Supreme and read what he had said [in the album’s • Nu Band (featuring Roy Campbell)— Harlem and Survival in New York) and off-Broadway liner notes], that really changed my life,” he told me. The Final Concert (NoBusiness, 2012)

10 JANUARY 2017 | THE NEW YORK CITY JAZZ SPOTLIGHT

saxophonist Noah Preminger; the late pianist Don website. “After checking it out, I became very interested Friedman’s trio [see review on pg. 34]; bassist Ben in the way the label operated and wrote a letter to Elan. NEWVELLE Allison’s trio; and pianist Leo Genovese. The second We then started talking about a project that I had wanted season selections will be albums by bassist John to do for a long time,” continued Reid. “I had always by marcia hillman Patitucci’s trio; the duo of pianist and wanted to record with strings. Elan said okay and now guitarist ; pianist Jon Cowherd; Aruán my album, which contains all original compositions by With all of the changes in the recording industry Ortiz playing solo piano; bassist Chris Tordini’s trio; myself, features five tracks with the Sirius String during the past few decades, it has been increasingly and bassist ’s trio with the Sirius String Quartet.” Reid states that he is “really excited about difficult for a record label to do business in the ‘old Quartet. working with people who are truly global and world- fashioned way’. However, Newvelle Records—started The uniqueness of the label does not stop with the class. The quality of the product is wonderful and Elan by Elan Mehler (a pianist himself) and his partner Jean- marketing approach. The packaging is in a class by itself has been very generous.” Christophe Morisseau in Paris in 2014—is meeting the as well. Instead of the traditional LP jacket with pictures Preminger is also happy about his relationship with challenge with their unique format and marketing of the artists on the covers and liner notes about the Newvelle. “I know Elan from the Boston area where we approach. music and the musicians, buyers receive a complete art both lived. Since Elan is a fellow musician, he knows all The label is truly an American-French collaboration, package. The jackets are gatefold so as to accommodate about the creative process and lets us have creative even to the name (an Americanized pun on nouvelle). photos (not of the musicians) each season by a prominent control.” Preminger had always wanted to do a vinyl Recording is done and mixed by Marc Urselli at East photographer and the text written by a noted author, album of just ballads and Newvelle gave him the chance Side Sound in Manhattan, mastered by Alex DeTurk and continuing the concept of French-American to do that. “The great thing about what Elan is doing,” pressed and printed at MPO outside of Paris. The collaboration. Season One features images by renowned Preminger remarked, “is making a complete product of sessions are issued only on vinyl and sold strictly on French photographer Bernard Plossu and text by art that is incredibly fair to all the artists. He really a membership basis. Six albums will be issued each year Pulitzer Prize-winning poet Tracy K. Smith. Season Two understands how a musician deserves to be treated.” and the buyer will receive one album every two months. has pictures from the French photographic collective In keeping with Newvelle’s art focus, Mehler waxed The musicians are paid up front and keep their rights to Tendance Floue and text by best-selling novelist Douglas poetic about the label’s mission by saying: “The kind of the music but grant Newvelle a few years where the Kennedy. music we record is intimately linked with the way we music is available only at Newvelle and only on vinyl. Newvelle’s artist roster, explains Mehler, “is record it. A sound that is elegant and uncluttered. The After that, the rights revert to the artists, who can release selected in lots of different ways. and carefully chosen note more precious than the explosion the music in whatever format they choose. “We are Frank Kimbrough were teachers of mine at NYU. of scales. Melody is king here. Simplicity and building a musically and aesthetically uncompromising I reached Jack DeJohnette through his website. Other sophistication never drifting into intellectualization. model devoted to high quality where a stable economic people I heard or knew at NYU. Becca Stevens used to Music that is designed instead of fussily constructed. model is provided by a membership base allowing the sing in my band. Rufus Reid reached out to me. It’s The real sound of musicians playing in a space together art to be paramount,” stated Mehler. really where the wind takes me and a sound that hits rather than the post-production assemblage of disparate The first season’s selections were albums by pianist home.” parts. Creating the freedom and the space to hear the Frank Kimbrough’s quintet; drummer Jack DeJohnette According to Reid, he had heard about Kimbrough’s finger on a bass string, the weight of a hand through playing solo piano (his original instrument); tenor connection with the label and visited Newvelle’s (CONTINUED ON PAGE 50)

Meantime Return Some Other Time Strength and Sanity Quiet Revolution Frank Kimbrough Jack DeJohnette Noah Preminger Don Friedman VOXNEWS

Sandoval (trumpet), Till Brönner (trumpet) and the late concert happened to be in the same apartment building James Moody (saxophone) and Oscar Castro-Neves where years before jazz legend had given Hoping & Dreaming (guitar). The collaborators’ appreciation for Scott as an Shank the chart to “When Love Was You and Me”, a tune artist and person is palpable on each track and stands that she had written with trumpeter Thad Jones. It by suzanne lorge as a fitting tribute to the underappreciated singer. The appears on the album, along with other similarly album releases in the U.S. on Jan. 27th. evocative compositions that lend themselves to the duo’s Jimmy Scott, who got his start singing with Lionel May 2016 was a big month for singer Gregory inspired improvisations. On “Life’s Mosaic” or “Alone Hampton’s band in the ‘40s-50s, may be the only Porter. Not only did he launch Take Me to the Alley Together”, for instance, Shank displays the imagination countertenor in the history of vocal jazz. After Scott’s (Blue Note), which went on to garner a Grammy and expressiveness that earns her a spot alongside initial success with Hampton, his career was hamstrung nomination this year, but he performed at the mentors Lincoln, Shirley Horn and Jay Clayton. The two for decades, the casualty of legal wrangling over album Philharmonie Berlin. The live recording and DVD of will kick off the album at Mezzrow (Jan. 9th). releases. What a sorry loss for jazz listeners. Eden this concert, Gregory Porter: Live in Berlin (Eagle Rock), Singer Rebecca Kilgore will be performing in River Records and producer Ralf Kemper go a long came out only a few months later. The concert recapped town this month, providing New Yorkers with several way to remedy this loss with I Go Back Home—A Story most of the signature tunes from Porter’s three hugely opportunities to hear the Oregon-based Songbook about Hoping and Dreaming, Scott’s final album, successful albums—how thrilling it is to watch and specialist. She plays both Midday Jazz Midtown at recorded in 2009, five years before Scott’s death in 2014 hear Porter perform them live in the minimalist setting Saint Peters and Mezzrow (Jan. 18th), following this at 88. His voice had settled into a wide vibrato and its of a concert hall, his vibrant baritone ringing out like with a show at Metropolitan Room (Jan. 19th). timbre had thinned, but his elongated phrases, a church bell. In introducing “Take Me to the Alley” on Kurt Elling will be touring with the Branford uncanny feel for time and deft back-phrasing remained the DVD, Porter says that the song is about “those Marsalis Quartet during 2017 to promote Upward Spiral as gripping as ever. Nobody sings like this. places that need illumination, elevation…and the (Marsalis Music-OKeh), the first-time collaboration On the album Scott recreates some of his better- people that live there.” He goes on to describe visiting between the two jazz superstars. The tour comes to known numbers like “Everybody’s Somebody’s Fool” those places with his mother to help minister to the Jazz at Lincoln Center (Jan. 20th-21st), with two shows (his only charting tune), “Motherless Child” and needy. By the end of the first tune it’s clear that Porter and a free pre-concert discussion each night. Next “If Ever I Lost You”, each showcasing impressive is still working to illuminate and elevate—he’s just month, Elling/Marsalis and Porter will square off for visiting talent. Across the dozen tunes on the recording, doing it in different alleys these days. Best Vocal Jazz Album at the Grammys in Los Angeles. Scott sings duets with vocalists Dee Dee Bridgewater, Singer Kendra Shank and pianist The tip of the Winter Jazzfest iceberg: singers Monica Mancini, Joe Pesci and Renee Olstead and six named their new CD, Half Moon (Ride Symbol), after the and Dee Dee Bridgewater/ of the tunes feature solos by instrumentalists Joey globe lamp suspended above the grand piano at the Theo Bleckmann/Alicia Olatuja (Jan. 6th) and Claudia DeFrancesco (organ), Kenny Barron (piano), Arturo house concert that spawned this live recording. The Acuña and Becca Stevens (Jan. 7th). v

THE NEW YORK CITY JAZZ RECORD | JANUARY 2017 11 IN MEMORIAM

MOSE ALLISON (Nov. 11th, 1927— IN MEMORIAM 2016 Nov. 15th, 2016) The pianist and singer’s work bridged the gap between BHUMIBOL ADULYADEJ FAY ELLEN LEHR ALOISIO AGUIAR KATHRIN LEMKE jazz and blues on over 50 albums MOSE ALLISON O’DONEL LEVY starting in the late ‘50s for Prestige and BARRY AMASS DONALD LEWIS by andrey henkin DANIEL AMELOT JIMMY LEWIS continuing on Atlantic, Elektra, Blue ERNESTINE ANDERSON JACK LIDSTRÖM Note and Verve and he also had early SPARTACO ANDRÉOLI EARL “BUZZ” LOVELAND WILLY ANDRESEN JACQUES MAHIEUX recording credits with , and Stan HELEN ARLT TIMMY MAKAYA Getz as well as having his songs recorded by dozens of ALFREDO ARMENTEROS JOE MARILLO JOE ASCIONE SIR GEORGE MARTIN artists in the jazz, pop and rock worlds. Allison died IRENG MAULANA Nov. 15th at 89. DAVID BAKER PAUL McDOWELL SAMMY BANKS JOHN McKELLEN GATO BARBIERI GÉTATCHÈW MÈKURYA VICTOR BAILEY ALLAN BARNES TOSHIYUKI MIYAMA (Mar. 27th, 1960— JOHANNES BAUER SHELLEY MOORE Nov. 11th, 2016) The electric bassist had HANNES BECKMANN MARY MOSS DETLEV BEIER several records as a leader since the late REMO BELLI JÜRGEN MÜLLER ‘80s, including a collaborative project JOSH BENKO JANUSZ MUNIAK CHUCK BERG GUY NADON with and Lenny White, ELSIE BIANCHI FREDRIK NORÉN and also worked with , PETER NTHWANE TASSILI BOND HOD O’BRIEN Sadao Watanabe, Kevin Eubanks, Jim JIMMY BORGES Beard, and and was the fourth PAUL BROWN TOM OLIN LUTZ BÜCHNER PAULINE OLIVEROS and final bassist to be in , appearing on RALF BUTSCHER JOÃ0 PALMA Procession, Domino Theory, Sportin’ Life and This is This. JOE CABOT ROLAND PAOLUCCI a l n h i g FRANK CAGLIUSO VASSIL PARMAKOV Bailey died Nov. 11th at 56. AL CAIOLA KIRA PAYNE Bob Cranshaw, an upright bassist who HAM CARSON MICHAEL PEDECIN EDGAR “DOOKY” CHASE TERRY PLUMERI increasingly moved to electric over the years in an AL CAIOLA (Sep. 7th, 1920—Nov. 9th, PHIL CHESS ROLAND extensive and eclectic discography of over 400 sessions, 2016) The guitarist’s long career took JOHN CHILTON ED PUCCI ARMSTED CHRISTIAN TONY RAINE died Nov. 2nd at 83 from cancer. place across a wide variety of styles, JANUARY CHRISTY RICH RAJEWSKI Cranshaw was born in Evanston, IL on Dec. 3rd, with much of his jazz work coming on MAC CHRUPCALA DOUG RANEY ROGER CICERO LUCKY RANKU 1932 into a musical family (his father was a drummer his own late ‘50s-early ‘60s albums for JACK COKER DAVID L. REESE and his brothers played piano and ). He Savoy, RCA Victor and United Artists FRANK COLLETT HANS REFFERT GERHARD CONRAD JACK REILLY originally wanted to be a classical percussionist but alongside work with Astor Piazzolla, JEF COOLEN DOMINIQUE RÉPÉCAUD gravitated towards the bass after being exposed to Jackie Gleason and Klaus Ogerman. Caiola died Nov. BUSTER COOPER GEORGE REZNIK BOB CRANSHAW KEN RHODES gospel choirs. In an interview with Ethan Iverson for 9th at 96. CONNIE CROTHERS BILL RICHMOND DOC DAHAVEN JIM RIVARD the pianist’s Do The M@th blog, Cranshaw recalled, MIKE DANIELS GEORGE ROBERT “One of the things that stood out at the time with the HOD O’BRIEN (Jan. 19th, 1936—Nov. CHARLES DAVIS KELLY ROBERTY DENNIS DAVIS ROSIE RODRIGUEZ choir was the bass singers...and I enjoyed the sound, 20th, 2016) The autodidact pianist came JUDY DAY JOHNNY ROGERS that deep roar... I swear—the basses were so low—it up in the late ‘50s NYC loft scene, BRUCE DEMOLL BRYCE ROHDE HARALD DEVOLD JOHN ROULET just went through me.” worked with Art Farmer, MICHAEL DIPASQUA STEVEN RUDIG It was his pianist brother who exposed him to jazz and Idrees Sulieman on the 1957 PAUL DUBOIS KAREL RŮŽIČKA HOWARD DUDUNE CHRISTER SANDELL and encouraged his playing. Early inspiration came Prestige album Three , mid ‘70s BILL DUNHAM PINISE SAUL from older bass players in like Victor Sproles, dates led by and MANFRED SCHIEK EDDIE “POPPA DUKE” JOE SHEPLEY and Eugene Wright. In his mid ‘20s, J.R. Monterose, ‘80s albums by , Ted Brown EDWARDS BRIAN SIBBALD Cranshaw appeared on the EmArcy album and Joe Puma, had several albums as a leader and a MARCO ENEIDI JOHN FARRIS JUNE SMITH + 4 On The Chicago Scene alongside Booker Little, family band with wife Stephanie Nakasian and IRVING FIELDS LOUIS SMITH George Coleman and Eddie Baker. This would be daughter Veronica Swift and published his JOHN FISCHER PAUL SMOKER PETE FOUNTAIN FRED “MOE” SNYDER followed by sessions with Walter Perkins, Cy Touff, autobiography, Have Piano...will Swing!, in 2015. LÉON FRANCIOLI DUNCAN SOUTAR , , and O’Brien died Nov. 20th at 80. DON FRANCKS JEPTHA SPENCER-BEY DON FRIEDMAN JANUSZ STEFAŃSKI participation in the allstar band The Young Lions for WOLFGANG FUCHS VeeJay. But most significant was when Cranshaw was PAULINE OLIVEROS (May 30th, RYO FUKUI GERHARD STEIN TONY GABLE THOMAS STETT tapped by saxophonist Sonny Rollins to play with him 1932—Nov. 24th, 2016) The accordion JOSEPH GATTONE AL STEWART at the , sight unseen. Cranshaw player and early experimenter with ANNE GERMAIN LOUIS STEWART BEN GERRITSEN RICK STONE told Iverson: “We played the concert. Sonny wrote me electronics had her first album come PERCY GILBERT HUGO STRASSER a letter and said, ‘I’m going to put a group together. out in 1968, followed by a fallow period HUBERT GIRAUD FREDDY SUNDER GIORGIO GOMELSKY RALPH SWIFT Would you like to be a part?’ I said, ‘Yes,’ but then that ended in the mid ‘80s, at which STEVE GROVER HARRY “ALAN” TARPINIAN DELLA HAENSCH GRAHAM TAYAR I started to think again. I said, ‘Oh, shit. I don’t know point she released albums regularly on BOBBY HALES BETTY LOO TAYLOR whether I’m ready for Sonny Rollins.’...He didn’t do it hatART, New Albion, Mode, Deep Listening, Roaratorio DAWN HAMPTON MIKE TAYLOR EDMOND HARNIE JOE TEMPERLEY right away. He would write me letters and so forth, and Pogus and several albums by her longstanding JOE HARRIS TOOTS THIELEMANS and a year later, he put it together.” This led to the 1962 improvising group Deep Listening Band. Oliveros died WARD HARSTON SIR CHARLES THOMPSON CHRIS HASKINS WAYNE THOMPSON sessions that would produce The Bridge (RCA Victor). Nov. 24th at 84. ALAN HAVEN PAUL TILLOTSON Not only was it Cranshaw’s most significant exposure BILL HENDERSON BERND TITUS LEON HENDERSON ERICH TRAUGOTT to date, it began a lifelong association with Rollins, JANUSZ STEFAŃSKI (Jun. 14th, NANCY HILDEGARDE RUDY VAN GELDER which would continue with albums such as Our Man In 1946—Nov. 4th, 2016) The Polish RADIM HLADÍK HAROLD VAN PELT DAVE HUBBARD NANÁ VASCONCELOS Jazz, Sonny Meets Hawk!, Now’s The Time, Horn Culture, drummer’s earliest exposure was as PERCY HUGHES LA VELLE Nucleus, Reel Life, Here’s to the People, The Meeting and part of Tomasz Stanko’s early ‘70s JEAN HULING CLAUDE VIHN-SAN BOBBY HUTCHERSON TED WALD Without a Song: The 9/11 Concert. groups on albums like Music for K and TOTLYN JACKSON ANN E. WARD The list of musicians with whom Cranshaw played Purple Sun and he also worked with GIRSHEL JAVAKHISHVILI ROB WASSERMAN FRANK JEFFES MOE WECHSLER over the decades is far too long to include here, which Hans Koller, Wolfgang Dauner, MORRIS “MOE” JENNINGS HAENS’CHE WEISS explains why he never led his own dates. He was also Zbigniew Namysłowski, , Kenny ROBERT W. JOHNSON VOLKER WEISS JAMES JONES STEPHEN WELCH busy in another musical realm as a decades-long Drew, Wolfgang Lackerschmid and the Vienna Art RANDY JONES BOBBY WELLINS veteran of PBS’ Sesame Street, which, along with Orchestra. Stefański died Nov. 4th at 70. STEPHEN JONES DAVE WEST RON KALINA SEBASTIAN WHITTAKER a car accident, prompted the transition from upright to BOB KINDRED CLAUDE WILLIAMSON electric. He confided to Iverson: “I know that the jazz ALLAN ZAVOD (Oct. 16th, 1945—Nov. PATRICIA ROSE KING MORRIS WILSON CARLTON KITTO PETE WOLBRETTE guys don’t dig the electric, so I gotta make it sound 29th, 2016) The Australian pianist’s HOWARD KOSLOW BILLY WOOTEN and I gotta make it feel like I’m playing the string bass, move to the States led to work with CELESTIN KOUKA YURI KUZNETSOV ALFONS WÜRZL because I’m not looking for them to change, so I gotta , Gary Burton, Jean- BILL KYLE PETE YELLIN NATALIE LAMB CELIA MINGUS ZAENTZ make it more inviting for them to want to sit down... Luc Ponty, , ZENA ALLAN ZAVOD I didn’t want to fight them, so I gotta make it as inviting and a handful of albums as a leader. to them as I can.” Zavod died Nov. 29th at 71.

12 JANUARY 2017 | THE NEW YORK CITY JAZZ RECORD FESTIVAL REPORT JAZZDOR EXIT ZERO by ken waxman by joel roberts by andrey henkin . j a z w o r d c m S u s a n O ’ C o r / w r i c h a d o n e g e r a d b c k s Dave Douglas Cécile McLorin Salvant Rimbaud #4

Festival Jazzdor 2016 took place Nov. 4th-18th. This Now in its fifth year, the Exit Zero Jazz Festival has You may have travelled throughout Europe but have five-day report confirmed its commitment to settled into a consistent groove, bringing top-notch you been to Luxembourg? With a national population outstanding improvised performances and shows why jazz to the scenic coastal New town of Cape one-quarter that of Paris and a total land area that audiences keep returning after 31 years. The mid-point May. Produced by the tireless Michael Kline, a former competes with Samoa, and Comoros (?), you of Jazzdor’s second week was Nov. 11th, when resident who moved up north after can blink while on the TGV from to ceremonies honor soldiers who died during both world Hurricane Katrina, this year’s fall edition (Nov. and miss Luxembourg entirely. And by extension, you wars. Strasbourg’s Jazzdor presented several concerts 11th-13th; there’s another each spring) was one of the may know the big guns of European jazz but how in nearby Offenburg, Germany throughout the festival, best yet, combining big-name headliners like Wynton many Luxembourgish (yes, Luxembourgish) players despite the fact that this French city of unique Alsatian Marsalis and Cécile McLorin Salvant with a diverse can you name? That’s what I thought. meals and mixed French and German architecture, lineup of performers, including a strong contingent of Righting this is the biannual Luxembourg Jazz atmosphere and street signs is in a region conquered Cuban artists, plus an impressive array of local talent. Meeting (LJM), taking place in the charming capital by Germany from 1870-1917 and 1940-44. The main attraction on opening night was McLorin Luxembourg City (Nov. 25th-27th), which, despite its Swiss trombonist Samuel Blaser’s playing was Salvant, who performed at Schmidtchen Theater, size, has been a key area in centuries’ worth of military anything but neutral during his solo recital at the a large, well-appointed arena on a high-school campus conflicts and features such sights as the Passerelle CEAAC Arts Centre (Nov. 8th). Propelling textures a few miles from downtown. Backed by fellow viaduct, General George S. Patton’s grave in the from lazy slurs to staccato slides and utilizing a series 20-something phenom pianist Aaron Diehl and his trio, Luxembourg American Cemetery and grim Bock of mutes, note flurries were often segmented by McLorin Salvant showcased the dazzling technique, Castle. The LJM brings together industry professionals silences. While his set encompassed roaming blues and range, wit and poise that have made her easily the best for pithy showcase concerts in the Robert Krieps the stark exercise of ’s “Sequenza V”, he jazz singer to come along in a generation. She sang Auditorium at the historic Centre Culturel de was most inventive deconstructing ’s a mix of clever originals and expertly chosen covers, Rencontre Abbaye de Neumünster. Despite the “Mood Indigo” and “Creole Love Call”. He saluted the mostly of ‘20s and ‘30s vintage, invigorated with country’s size, its indigenous jazz is rich and eclectic, tradition while propelling it forward with an original a decidedly modern, often ironic sensibility. Her as demonstrated by the 11 sets presented at the most vision combining the melodic feeling of Ducal closing rendition of “Something’s Coming” from West recent edition. players like Tricky Sam Nanton with the Side Story was nothing short of stunning, as she reached Oddly enough, however, the LJM began with technical acumen of Albert Mangelsdorff. for and hit the song’s final, impossibly high note, a quartet seemingly far removed from its stated The same could be said for drummer Hamid leaving the audience in a state of awe. mission. The long-standing Auguste Quartet hails , featured in two ensembles at the auditorium of Marsalis took the main stage with his quintet from Montréal and is led by bassist/Effendi Records the Centre Socio-Culturel du Fossé des Treize (Nov. (saxophonist Walter Blanding, pianist Dan Nimmer, head Alain Bédard, completed by Frank Lozano 8th). His duet with local percussionist Yuko Oshima bassist Carlos Henriquez and drummer Ali Jackson) (), Alexandre Grogg (piano) and Michel produced faultless rhythms at moderate volumes the following night, after appearing a year ago with Lambert (drums). This was gentle, soft-edged modern despite every variety of bells, and small the full Jazz at Lincoln Center Orchestra (JLCO). This jazz with a romantic flair from the leader’s lush bass percussion. Oshima’s skill was notable with the latter; is a group that’s been together for a decade now and and a slightly nasal alto tone from Lozano. Of particular on full kit she appeared stiff compared to Drake’s their sense of familiarity was evident from the start. interest was hearing Lambert, known more for a long fluidity. Drake also subtly thrust Parisians Sylvain For those who tend to pigeonhole Marsalis as free-improvising partnership with saxophonist Kassap (clarinet, bass clarinet and melodica) and a conservative player, this was a revealingly François Carrier, nudging a more traditional outfit. Benjamin Duboc (bass) into a swing groove. The latter adventurous set, ranging from the avant garde-leaning Turns out he is a master accenter. specialized in col legno punctuation or meditative opener “The Magic Hour” to the bawdy swing of Jelly The (pianist Michel) Reis-(bassist Marc) Demuth- string pops while Kassap’s reed facility encompassed Roll Morton’s “Tom Cat Blues”, featuring growling, (drummer Paul) Wiltgen Trio got the LJM conceptually unbroken low-pitched glissandi or strident whistles, at muted trumpet. Jackson stood out even in this esteemed on track. Originally formed in 1988 while the members one point splitting his clarinet in two and playing company for his inventiveness and enthusiasm. One of were in high school and then reunited in 2011, the essentially different melodies on each. the festival’s nicest moments came at the end of the set, threesome have established themselves in the modern French-Turkish cellist Anil Eraslan and German when Marsalis brought out a pair of clearly delighted Luxembourgish and larger European scene, plying pianist Julia Kadel tried for a mix of improvised and young musicians to join the group: percussionist a sort of hyperkinetic piano trio style much in vogue contemporary notated music at the CEAAC (Nov. 9th). Marcos Lopez and trumpeter Kalí Rodríguez-Peña. In throughout the continent. Sort of like a jitterier version Except for the livelier opening and closing tunes, too a conversation later that evening, Rodríguez-Peña of The Necks, the trio worked with tenacious ostinati many of the others were precise and academic, shared that he first met Marsalis during the JLCO’s and shading between the instruments, sometimes Eraslan’s intense angled string-stopping and Kadel’s visit to in 2010, when Marsalis gave him becoming trance-like with -ish insistence, touch approximating recital precision not jazz freedom. a trumpet and that he’s been mentoring him ever since. other times a bit too constrained and repetitive. A Swiss trio of pianist Marc Perrenoud, bassist Marco Lopez and Rodríguez-Peña were also part of Israeli The Andreas Rodosthenous Trio featuring Andreas Müller and drummer Cyril Regamey at the Centre flute player Itai Kriss’ exciting young group Telavana, Polyzogopoulos brought things southwards, at least Socio-Culturel had the opposite problem: with heavy- which melded Israeli and Cuban rhythms in energetic geographically, with this -based group and its handed drumming, a solid bassist and a pianist sets at both the Cape May Convention Hall and Greek guest trumpeter. The leader, a sort of Cypriot determined to convert each selection into a galloping Congress Hall, a 200-year-old landmark hotel that Jaco, plays electric bass, joined by pianist Giorgos (CONTINUED ON PAGE 51) (CONTINUED ON PAGE 51) (CONTINUED ON PAGE 51)

THE NEW YORK CITY JAZZ RECORD | JANUARY 2017 13 CD REVIEWS

pocket good-time bounce on “Blues for Mo”, where together in trades dwindling down to single bars. one hears Mabern smiling as he gets in touch with his Another highlight is the spirited three trumpet inner . The quartet gives ’s delivery of “Song of Songs”, following Shaw’s division “T-Bone Steak” a scotch-and-soda strut and really gets into single- and double-time choruses for the soloists: after it with the delicious urgency of “Frenzy”, another Lynch, Evans and Rodriguez. Jones has distinctive solid burner where they work out with the interplay solos, most notably on Judi Singh’s “Time Is Right” and timing of a well-trained relay team. Alexander (the title track of a rare 1983 Shaw quintet album on the plays the standard “Everything Happens to Me” Red label). Lynch’s quarter-hour suite that caps off the initially at its usual hangdog tempo, then lifts it out of album is a fittingly impressive showcase for trumpets,

It’s Hard the dumps with some swing, making this anthem for including a rubato prelude with four trumpet cadenzas The Bad Plus (OKeh) the down and out sound more optimistic than resigned. from the leader, Charles, Davis and Urcola. by Alex Henderson While Second Impression is far from monochromatic, its already vivacious colors were enhanced by a bit of For more information, visit hollisticmusicworks.com. This The Bad Plus are the latest in a long line of jazz serendipity when Mabern and Cranshaw found project is at Jazz Standard Jan. 3rd-4th. See Calendar. musicians adept at finding the jazz possibilities in a Fender Rhodes and electric bass in the recording familiar pop and rock gems. The band’s sense of studio, giving a few tunes different texture and feeling. HOT CLUB OF SAN FRANCISCO adventure is alive and well on It’s Hard. They augment the straight-up funkiness of “Jennie’s A few selections here started out in jazz, including Dance”, put a bounce in the step of “Secret Love” and Ornette Coleman’s “Broken Windows” and saxophonist add crispness to the wiry “Full House”, a tune by Wes Bill McHenry’s “Alfombra Magica” but most come out Montgomery, which Mabern undoubtedly played of the popular canon. Ethan Iverson (piano), Reid when he was a member of the guitarist’s band. Anderson (bass) and David King (drums) have no Alexander has a trademark sound, using a soaring problem bringing a postbop/avant garde perspective tonality and musical intelligence to create remarkable to everything from Prince’s “The Beautiful Ones” and statements from the most rudimentary melodies. Place Peter Gabriel’s “Games Without Frontiers” to The Yeah him in a quartet as tight as a miser’s grip on a dollar bill Yeah Yeahs’ “Maps”, Crowded House’s “Don’t Dream and the result is excellent work like Second Impression. It’s Over” and TV on the Radio’s “Staring at the Sun”. The Bad Plus approach Johnny Cash’s 1956 classic For more information, visit jazzdepot.com. Alexander is at THRILLED TO BE AN “I Walk the Line” in an angular, Monk-ish fashion, Smoke Jan. 1st, An Beal Bocht Café Jan. 4th with Joe HONORABLE MENTION a long way from the honky tonk/outlaw country that Farnsworth and Birdland Jan. 10th-14th. See Calendar. “…AN IMAgINATIvE,uNpREDIcTABLE Cash had in mind in 1956, while Cyndi Lauper’s 1984 AND HIgHLy sATIsfyINg ExcuRsION TO sOME INTEREsTINg cORNERs Of ballad “Time After Time” (most famously covered by THE BEATLEs’ vAsT cATALOguE.” BLAIR JAcksON Miles Davis on his 1985 album You’re Under Arrest) AcOusTIc guITAR MAgAzINE recalls the expansiveness of Paul Bley or Andrew Hill, Buy AT ITuNEs, spOTIfy, ETc. two of Iverson’s obvious influences. Kraftwerk’s “The Robots” is an especially interesting choice. The seminal www.HOTCLUBSF.COm German synth-pop group influenced everyone from Nine Inch Nails to Afrika Bambaataa and their high- • Richard Andersson—UDU/Itu tech, heavily programmed production style is far R (Hobby Horse) removed from The Bad Plus’ improvisatory mindset; • Paul Dunmall Brass Project— rather than trying to emulate Kraftwerk’s production e (SLAM) Madera Latino: A Latin Jazz Perspective on the Maha Samadhi style, the trio tackle the piece from a melodic/harmonic • Yelena Eckemoff Quintet— standpoint and don’t make you miss the . Music of Woody Shaw c Brian Lynch (Hollistic MusicWorks) Blooming Tall Phlox (L&H Prod.) by George Kanzler o • Satoko Fujii Orchestra Tokyo—Peace (Libra) For more information, visit okeh-records.com. This band is • Kirk Knuffke/Jesse Stacken— at Village Vanguard through Jan. 1st. See Calendar. Who does a double album with nine trumpets, no m Satie (SteepleChase) other horns and a percussion-heavy rhythm section? • Daniel Levine/Marc Hannaford/

With every tune employing some variation of an m Devin Gray—Knuckleball (Gold Bolus) AfroLatin clavé beat? And all but two tunes from • —As the Wind (Emanem) Woody Shaw’s oeuvre? Brian Lynch has done it here e • —Constant Change 1976-2016 and it’s much more triumph than disaster. n (NoBusiness) Lynch is the only trumpeter to appear on all tracks • Sonny Rollins Trio & and they range from two to four trumpets per selection. d Quintet—Zurich 1959 (TCB) The late Shaw’s quirky, harmonically challenging • Ned Rothenberg/Mark Feldman/ tunes create blueprints beyond the confines of the e Sylvie Courvoisier—In Cahoots insistent clavé beats, coaxing the trumpeters away d (Clean Feed) from full-out macho mode, although there’s an awful Laurence Donohue-Greene, Managing Editor Second Impression lot of bravura blowing here. Lynch also contributes Eric Alexander (HighNote) by Terrell Holmes two pieces that anchor each disc: “Blues for Woody n and Khalid”, and extended “Madera Latino Suite”. • BassDrumBone—The Long Road (Auricle) Eric Alexander is one of the baddest tenor saxophone Lynch has also recruited some terrific trumpeters for e • Michiel Braam—Gloomy Sunday players on the scene, known for his lyricism and fierce this project, not all known for playing AfroLatin music: (BMC Records) harmonic excursions. His latest album underscores his Dave Douglas, , Diego Urcola, Josh Evans, w • Albert Cirera/Hernãni Faustino/ reputation and is sure to create more converts. A stellar Michael Rodriguez, Etienne Charles, Philip Dizack and Gabriel Ferrandini/Agustí Fernández— Before the Silence (NoBusiness) quartet of pianist Harold Mabern, recently departed Bryan Davis. And the format maximizes the impact of r • Carsten Dahl Experience— bassist Bob Cranshaw [see obituary on pg. 12] and individual trumpeters on each track, with all enjoying Caleidoscopia (Storyville) drummer Joe Farnsworth makes it a can’t-miss prospect. ample solo space. e • Fiil Free—Everything Is A Translation Alexander jumps out of the box with the fiery title A fast montuno take of “Zoltan” kicks off the first (Fiil Free) track, a robust variation on John Coltrane’s CD with four trumpeters, Lynch, Charles, Douglas and l • Forebrace—Steeped (Relative Pitch) “Impressions”. Although Alexander’s comparatively Urcola lighting things up. A hardbop feel invades the • Evan Parker—As the Wind (Emanem) even-tempered harmonies downplay the original clavé on “Sweet Love of Mine”, pianist Zaccai Curtis e • Michel Portal—Radar (Live at Theater tune’s stream-of-consciousness pedigree, it is no less stealing some of the thunder from Lynch and Rodriguez a Gütersloh) (Intuition) impassioned. This quartet announces itself immediately in his memorable solo opener. Two of the best tracks • Sonny Rollins Trio & Horace Silver and is so confident, individually and collectively, that feature the pairing of Lynch and Douglas: “In A s Quintet—Zurich 1959 (TCB) they can reduce their conversation to the trading of Capricornian Way” has weaving solos over a distinctive • Wolter Wierbos/Jasper Stadhouders/ twos, playing in a kind of jazz shorthand. Shaw theme and “On the New Ark” (for Shaw’s e Tim Daisy—Sounds in a Garden (Relay) Farnsworth seduces on the silky hometown of Newark, NJ), adds Charles, highlighted Andrey Henkin, Editorial Director romance “So Many Stars” and provides the in-the- by the contrasts among the three and tight coming s

14 JANUARY 2017 | THE NEW YORK CITY JAZZ RECORD

This could not be further from the truth as Dada People Not all of the CD’s fusion is as palatable though. leans more on contemporary tastes. However, while The concluding “Bittersweet”, which adds Nicholas the theme of the album may not entirely ring true, the Ryan Gant’s affected wordless vocalizing to a heavy collaboration between Douglas and Woeste is fruitful, drum backbeat, is cloying enough in parts to approach exploratory and thoroughly satisfying. Grover Washington territory before it literally fades Ten tracks are evenly split and alternate between away. Lewis’ fourth CD as a leader is laudable as he compositions by Douglas and Woeste. An early adds hip-hop sentiments to free-form spirituality. Like highlight is the Woeste-composed “Mains Libres”, a committed believer in a sinful world, he must filter where muted trumpet pushes and pulls throughout the out some concepts to prevent musical sentimentality

The Trio firm tides of bassist Matt Brewer and drummer from swamping otherwise admirable performances. Billy Hart (Progressive) Clarence Penn. Douglas’ “Spork” mixes together by Matthew Kassel modern, folk and neo-noir fibers into a sinuous stew For more information, visit jblewis.com. Lewis is at and is one of best performances on the album. Clemente Soto Velez Cultural Center Jan. 5th and Roulette Recorded in 1978, this album has an un-selfconscious Douglas brings out the playful nature of the Jan. 14th with William Parker. quality not often found on the piano trio records ensemble on “Transparent”, the arrangement slowly coming out now. It has a late-stage bebop feel, but isn’t boiling from an unpredictable mix into a semi- reaching back nostalgically for some imagined past, freewheeling blend beautifully reflected by Penn UNEARTHED GEM since leader/drummer Billy Hart, pianist Walter during his spotlight. Woeste’s Fender Rhodes solo on Bishop, Jr. and bassist had a tangible “Noire et Blanche” showcases timbral malleability and connection to the jazz of the ‘40s and early 50s. (Bishop, an ability to take a small window of time and make it born in 1927, was actually a part of it.) The Trio is his own. Douglas especially extracts Woeste’s superb a loose, lumbering album, offering a refined kind of harmonic quality on “Longings and Illusions” with bebop. Stylistically, it has something in common with, piano voicings that hit you square in the chest while say, Our Man in Paris, the 1963 album never feeling melodramatic or forced. Dada People ends featuring Bud Powell, serving up big handfuls of keys with the slightly feverish “Danger Dancer”, where the mostly at ballad and medium-swing tempos. ensemble goes full steam ahead. The Trio consists of old standards, bebop tunes— While Dada People may not exalt the artistic Ready Take One including “There Will Never Be Another You”, “For All leanings of Salvador Dalí or Man Ray, Douglas and (Columbia-Legacy/Octave Music) We Know”, “Every Time We Say Goodbye”, “A Night Woeste’s output showcases their individual styles by George Kanzler in Tunisia”, “Anthropology”—and originals from brilliantly and how said brilliance accents the chemistry Bishop. Though the tempos do get blistering at times, of the ensemble. Collaboration may be the true theme Even if you’ve seen Erroll Garner: No One Can Hear particularly on ’s “Minority”, the musicians of the album with one hoping that this is not merely a You Read and heard bassist Ernest McCarty, Jr. talk keep it casual. Hart’s ride cymbal is the record’s ballast, one-off but rather an introduction of what’s to come. about how unpredictable the pianist, who died 40 powerful, shimmering and echoey, intertwined with years ago this month, could be when playing a tune, snare-and-bass filigree. For more information, visit greenleafmusic.com. Douglas is changing the key or tempo in ways he’d never done Why are we only hearing the record now? at The Stone Jan. 5th and Le Poisson Rouge Jan. 6th as part before, it is still exciting to hear Garner come up with According to Lars Edegran, who put the album out of Winter Jazzfest. See Calendar. new ways to play familiar tunes. He does just that on through the Jazzology group, The Trio was produced by these unreleased studio tracks, available on both CD

Gus Statiras, owner of Progressive Records, which and LP, from the late ‘60s-early ‘70s, a time when his Jazzology purchased in 1984 and has since been quartet was touring with such frequency that Garner reissuing a lot of the material. From there it gets a little was rarely in the studio. Appearing on all 14 tracks is complicated. Statiras gave the album a Progressive conguero Jose Mangual, an extension of Garner’s release number, Edegran says, but, as far as he knows, kinetic embrace of constant rhythmic impetus. never released it in the U.S., instead licensing it to a Longtime drummer Jimmie Smith is on all but one Japanese label, which released it on an LP. “On the Billy track, and McCarty shares duties with his predecessor Hart CD,” Edegran said in an email, “we included two in the band, Ike Isaacs. On Garner’s original “Chase alternate takes and one unissued tune that were not Me”, is on bass, Joe Cocuzzo drums. part of the Japanese LP release.” It’s a pleasure to hear The program is fairly unusual in that it features No Filter this record now, frozen freshly in time for modern ears. six originals, including his most famous tune “Misty”. James Brandon Lewis (BNS Sessions) by Ken Waxman This one is different from other versions, as Garner For more information, visit jazzology.com. Hart is at The seemed unwilling, or perhaps unable, to duplicate Stone Jan. 4th and Greenwich House Music School Jan. Many talk about it and some have tried it but it a performance from one day to the next. It begins, 21st. See Calendar. appears as if tenor saxophonist James Brandon Lewis like most tracks here, with a piano cadenza that could be the one who effects real jazz-rap fusion. On No teases the audience—and, says McCarty, the band

Filter his hard-hitting trio of bassist Luke Stewart and just as often. Garner picks out the familiar melody in drummer Warren G. Crudup III manage to insinuate tinkling high notes, embellishing with almost cocktail rhymes from P.SO the Earth Tone King—as well as the piano-like romantic runs and flourishes but, midway guitar of Anthony Pirog—on to a couple of tracks through ups the tempo, playing those signature without upsetting the basic complexity and flow of the lagging, strumming left-hand chords and improvising session. The pulse the rhythm section draws upon takes through to a quick four-bar melody reprieve to as much from hip-hop’s reach as jazz’ fluidity. conclude. Other favorite standards of Garner’s are “Y’all Slept” mixes shattering guitar loops and transformed or given fresh faces: “Night and Day” at P.SO’s rhyming free-styling to the group but, despite a fast clip; “Satin Doll” as if the pianist had been chiming string sluices and parable-like statements, the listening to Monk or Herbie Nichols; and “Stella By Dada People focus is still on the saxophonist’s multiphonic timbre Starlight” with deep affection for the melody. But the Dave Douglas/Frank Woeste (Greenleaf Music) by Eric Wendell stretching, which attains spiritual as well as strident originals are the gems, from opener “High Wire”, levels. This shouldn’t surprise, since the Buffalo-born that rare Garner tune begun with a bass rhythm Adorning the cover of Dada People, a collaboration Lewis was associated with gospel savants like Albertina figure, not a piano cadenza, then propelled by a between American trumpeter Dave Douglas and Walker as well as freedom seekers like William Parker. funky backbeat. “Wild Music” suggests his ears were French pianist Frank Woeste, are Surrealist artist When tunes such as “Say What” and “Raise Up Off attuned to, if not too sympathetic with, the late ‘60s Salvador Dalí and Dadaist artist Man Ray, the latter the Me” attain critical mass, busy drum thwacks and solid avant garde. And a rare blues, “Down Wylie Avenue”, dedicatee of the album. Douglas in his liner notes basslines back the saxophonist’s harsh tone stuttering has a modern right hand doing whole tone scales and states that Man Ray was both a “contrarian and that relates to Sonny Rollins’ tendency for theme clusters over a boogie left. Throughout, there’s an imposter” and that his work touched on “the variations. Lewis is at his most investigative on the effervescent swing and joie-de-vivre in Garner we’ve intersection of the avant garde with popular arts.” title tune, where he has the space to snarl and bend rarely heard since in major jazz musicians. With two prominent movement figureheads, one colorful variations onto the theme. Before the honking may be under the impression that Dada People reflects finale he also invokes Rollins’ preference for hoary For more information, visit legacyrecordings.com the bizarre nature associated with said movements. melodies by interpolating snatches of “Shortin’ Bread”.

THE NEW YORK CITY JAZZ RECORD | JANUARY 2017 15

but uncluttered—that’s Jim Black on his drumkit: GLOBE UNITY: CANADA whether from late ‘80s high-energy Seattle-to-Boston start-up Human Feel or today as a Euro-Gotham- centric leader/composer and sought-out sideman. Black—deemed “fluent in all languages” and “wickedly inventive”—at 50 still looks and moves (maybe thinks) like an excitable teenager. Recently out are Black’s 12th leader date pairing loose-limbed originals with Jerome Kern’s aw-shucks Blue Canvas Brandi Disterheft (Justin Time) Trane 90 love song “Bill” and an airy two-saxophone quintet led LUNGTA (featuring ) John Coltrane (Acrobat Music) by Köln bassist Robert Landfermann. Both feature Philippe Côté (Mythology) 26-year-old Salzburg pianist Elias Stemeseder, a steady Tell Tale by Kurt Gottschalk Film in Music (Drip Audio) collaborator with Black: it’s their third CD since by Tom Greenland It’s as hard to imagine the perfect John Coltrane boxed 2010 with bassist Thomas Morgan; Black avows that set as it is to imagine the need for another one. His they are “together rhythmically” in “meaningful When talking about “North American” jazz, one just recording career—all told, about 15 years—has been conversations”. Both dates largely comprise darkling may overlook its northernmost exponent: Canada. repeatedly repackaged and repurposed for the simple introspective tracks where Black’s tidy kit winks as This would be a mistake, considering the vigor and reason that we have an undying fascination for the bright spots of color and often contrary motion. The scope of music emanating from the land up over. saxophone playing sage that left us all too soon. Trane big difference is the working trio glows as if lit from Bassist/vocalist Brandi Disterheft, raised in 90, issued for Coltrane’s 90th birthday last September, within, whereas Black and Stemeseder seem to be Vancouver, with studies in Toronto, now keeps time isn’t the perfect Coltrane boxed set either. The basics tugging Landfermann’s mournful hornmates into in New York. Blue Canvas is her fourth CD, a trio are too basic for the aficionado and rarities (a few rather sunlight. with pianist Harold Mabern and drummer Joe lacking in fidelity) too obscure for the casual listener (if The tunes Black wrote for The Constant are Farnsworth. Her earlier dates have covered more there can be such a thing as a casual listener to Coltrane). subsidiary to how the trio plays together, the music ground, displaying the many facets of her talent, but That said, however, it is an immensely listenable set. evolving over time between familiar conversants. Thus this is more focused and mature, concentrating on The four discs are divided into his early sideman his simple songs with variants churn forward with bluesy postbop and leaving ample room for her work, emergence as a leader, later collaborations and good-natured restlessness, serious without sobriety, all ‘sidemen’ to shine. There are the usual bass features, finally a disc of rarities. Along the 4-hour-and-44- three stirring the stew with tireless invention: rethink notably on “Dis Here”, solo prelude to the original minute running time, we also hear Cannonball Paul Bley//Paul Motian. Black names his “Crippling Thrill”, sliding double-stops on Adderley, Miles Davis, Eric Dolphy, Dizzy Gillespie, four-minute tunes playfully, for altitudes (high, low, “Daahoud”, call-and-response phrases over “Willow Milt Jackson, Thelonious Monk, Sonny Rollins and medium), a concept (H, O, M, E) and labials (Chinchilla, Weep for Me” and overdubbed cello lead on another others. If a reminder is needed of what a monumental Falls); they’re just hooks for discussions around genial original, “When the Mood Is Right”, but “Daahoud” force he was in the ’50s, the case is made here. But the clatterings, wry moods and sociable taffy-pulls. is really a showcase for Mabern while the cover of case is closed before it’s finished. The musical Landfermann’s Night Will Fall opens with austere his “Beehive” brings Farnsworth firmly to the fore. chronology stops in 1962. There’s no “classic quartet”, horns limning medieval plainsong, softly in high Lee Tenor saxophonist Philippe Côté’s debut no and no later ‘difficult’ work. It’s a Konitz-ian cooing. Then bass and drums rumble and LUNGTA (referring to a Tibetan windhorse) took great listen but hardly an overview. creak like ship rigging, bleating alto rolls over some ten years to make. Combining the flexibility of More than compensating for that shortcoming is crystalline piano and Black’s kit bashes off-kilter, like a small group (alto saxophonist David Binney, 37 pages of liner notes by the British saxophonist sneakers in a dryer. Drum slaps and hammered piano pianist Steve Amirault, bassist Fraser Hollins and Simon Spillett. In an informed and even-handed way, bend 4/4 into 9/8 and 7/8 on “Berg” as horns cry. drummer Martin Auguste) with the finesse and Spillett deals with both the man and legend in a way Bowed bass harmonics on “Katarrh” underlie alto power of a 13-piece wind orchestra (, , that is a pleasure to read. With different packaging, it saxophonist Christian Weidner’s stasis, which clarinets, bassoon, French horns, trumpets, trombone could have been a bound essay with four bonus CDs. continues à deux on the dreamy title track, as Weidner and ), the multi-talented Montréaler’s epic- Spillett does go through the free improvisation years, and tenor saxophonist Sebastian Gille scrawl airy length CD is nothing short of amazing. Its chief the mastery that so many heard as noise and spiritual patterns over ostinato ‘toy’ piano and brushed piques strength lies in complex yet crystalline arrangements, compulsions behind it. Sadly, though, he ignores (as so and plaffs. “Randnotiz” rolls a sprawling, slo-mo which adroitly exploit each instrument’s many who try to encapsulate the great man) one of the “Shenandoah” with Black’s rippling undercurrents ‘personality’ and capabilities, whether in layered most curious stones in Trane’s path and the final one. and the snappy rhythm section carries “Zehn und minimalist loops, dense long-form melodies, As evidenced by the album Expression, the last studio Acht” and Paul Motian’s “Arabesque”, finally riling tessellated entrances, polyphonic chorales, punchy album he approved for release, Coltrane may well up the horns into querulous exchanges. ‘comp’ figures, swelling pads or multi-tiered have been finding a new peace in his music. It’s counterpoint. Côté and Binney thread lithe solo a gorgeous and strangely neglected record—almost as For more information, visit intaktrec.ch and pirouet.com. lines over, under, around and through the morphing if we can’t talk about it because it doesn’t fit into our Black is at New School 5th Floor Theater Jan. 6th and orchestral textures, weaving the pre- and free- picture of Coltrane the firebrand. SubCulture Jan. 7th with Peter Evans, both as part of composed strands into a composite musical fabric. The shortcomings of Trane 90 lie not in what’s Winter Jazzfest, and curates and performs at The Stone Jan. One might guess from its name, Film in Music, there but what’s missing, which is maybe for the better. 10th-15th. See Calendar. or its debut, Tell Tale, that cellist Peggy Lee’s 50 years after his death, it’s still too soon for all of Vancouver-based octet is all about story. This Coltrane’s mysteries to be solved. particular cast was originally inspired by that of HBO Western series Deadwood. Composed of Lee, For more information, visit acrobatmusic.net. Tributes to violinist Jesse Zubot, trumpeter Kevin Elaschuk, Coltrane are at Smoke Jan. 1st with Eric Alexander and guitarist Ron Samworth, keyboardist Chris Gestrin, SOB’s Jan. 6th with Brooklyn Raga Massive as part of bassists Torsten Müller (acoustic) and André Winter Jazzfest. See Calendar. Lachance (electric) and drummer Dylan van der Schyff, the ensemble resembles the principal players in a Robert Altman movie, where personalities augment rather than overshadow each other. Individual idiosyncrasies are most apparent in the free interludes—haunted house opener “A Turn Of Events”, Müller’s soliloquy on “Gruesome Goo”, van der Schyff on “An Eyeball for Dan” or Lee’s confessional intro to “Dangling W”—but most of the date is highly listenable rock-rooted jazz. The Constant Jim Black Trio (Intakt) Night Will Fall For more information, visit justin-time.com, philippecote.com Robert Landfermann (Pirouet) and dripaudio.com. Disterheft’s trio is at Dizzy’s Club Jan. by Fred Bouchard 3rd. See Calendar. Bustling yet tidy, rambunctious and relevant, complex

16 JANUARY 2017 | THE NEW YORK CITY JAZZ RECORD

cover art and terse liner notes to an airy, sharp sonic imprint, their 1,500-titles-strong catalog remains diverse. ECM’s latest documents include new work by The STONE septuagenarian drummer Andrew Cyrille, Danish artistic director guitarist Jakob Bro and Swiss pianist Nik Bärtsch. -at the corner of ave C and 2nd st- Cyrille first appeared as a sideman on ECM, via saxophonist Marion Brown’s Afternoon of a Faun 2017 in 1970. The Declaration of Musical Independence is THE STONE RESIDENCIES Cyrille’s first album as a leader for ECM and joins him

The Truth of What I Am > The Narcissist with artist Richard Teitelbaum, guitarist JERRY GRANELLI George Burton (Inner Circle Music) Bill Frisell and bassist Ben Street on nine tunes, originals Mr Jerry Granelli celebrates 76 years on the planet except for the Coltrane-penned opener “Coltrane by David R. Adler and 60 years of performance of improvised music. Time”. Not to be confused with anything on the 1958 JANUARY 3–8, 2017 George Burton, in-demand pianist from Philadelphia, United Artists record assembled for pianist , teamed with producer Derrick Hodge for this strong this was a piece given to drummer Rashied Ali and and often surprising debut album. Piano and Rhodes passed on to Cyrille as a snare exercise, onto which ______are very present and the vivacious, hard-swinging Frisell grafts incisive peals, harmonic inquisitions and rapport between Burton, bassist Noah Jackson and grungy whirs, abetted by Teitelbaum’s wispy accents Jan 3 - Tuesday ($20) drummer Wayne Smith, Jr. gives the album its backbone. and Street’s muscular nods. On the bassist’s “Say”, 9 pm There’s more going on, however. Horn players Teitelbaum switches to piano and stakes out chordal Celebrating the 30th anniversary of the CD drop in and out of rotation: trumpeter Jason Palmer territory apposite a landscape of strummed progressions Sound Songs and saxophonist Tim Warfield are particularly well and backward twists. The music often volleys between Jerry Granelli (drums) Jay Clayton (voice) represented on a few cuts; trumpeter Terell Stafford suspended jitters and fleshier impulsions and Cyrille, appears just once, on the straight-eighth ballad whose crispness recalls Max Roach and fluidity echoes Briggan Krauss (saxophone) “In Places”; alto saxophonist Chris Hemingway joins , excels at giving weight and elegant J Anthony Granelli (piccolo bass) -slinging guitarist Ilan Bar-Lavi on “Song 6” direction to rather sparse interplay. Jerry Granelli (drums, slide guitar, piano) and “From Grace to Grass”, lending a more amped-up, On Bro’s second ECM outing, he continues in the ø rock-tinged feel at the beginning and end (“Song 6”, trio format with bassist Thomas Morgan and drummer Jan 4 - Wednesday ($20) the first full-band track, comes back in a beautiful, across seven originals shifting effortlessly laid-back trio version without drums for the finale). between folkish lope and triangulated, open drift. 9 pm There is a prevailing hardbop intensity as well as Given Morgan’s robust, thick precision and Baron’s Double Trouble an inward lyricism in Burton’s writing and narrative churning detail, enough of a rhythmic environment is Jerry Granelli (drums) & Billy Hart (drums) cohesion: “First Opinion”, an electronically tweaked stoked for Bro to chase ideas with their germs in ø 90-second sketch for soprano sax, Rhodes and glitchy appealing melodies, spreading out through stippled Jan 5 - Thursday ($20) drums, segues to the somewhat McCoy Tyner-esque fields and thorny tessellations as on the neighboring quartet waltz feel of “Second Opinion”. Palmer and tunes “Heroines” and “PM Dream”. The delicate 9 pm Warfield pair up with devastating force on the difficult transmission of mood here is something quite What I Hear Now form of “Stuck in the Crack” and are similarly relentless remarkable in Bro’s playing—not always subtle, he Jerry Granelli (drums) on “Bernie’s Tune” (an old -Chet Baker builds from diffuse areas into arresting tonal shifts and Jane Ira Bloom (soprano saxophone) vehicle given way more horsepower). On “Ecidnac” toys with explorations of metallic classicism and Dave Douglas (trumpet) they stretch some more, on a relaxed 5/4 vamp with an smudged dissonance. But “Shell Pink” brings the three extra beat every eighth bar: just a blip in the tune’s together in a cohesive meld, romantic and cloudy (bass) gravitational pull, turning a simple, open-ended cycle overlays in gentle, brief minor runs floating atop ø into something less common. brushy elbows and massive, resonant bass tugs. Jan 6 - Friday ($20) Burton has that Philadelphia drive, that tendency Sculpting and dissipating sonic values out of partly- 9 pm to prioritize swing momentum over perfect technical amplified ether is this trio’s primary focus and they do polish. He has a hurtling, carefree touch on acoustic, an it with taste and dramatic flair. Streams is a fine slice of TRIO - Songs From My Life imaginative and slinky feel on Rhodes. His album title contemporary guitar-fronted improvisation. Jerry Granelli (Drums) refers to a statement once made by Charles Mingus and Though Nik Bärtsch has been working as an ECM (keyboards/piano) so it’s Mingus’ solo piano work one may recall when artist for a decade, Continuum is his first record for the Brad Jones (bass) listening to Burton’s three solo-piano vignettes, each label featuring the ensemble Mobile, which blends ø one with its oddball twist: children’s voices in the strategies of continuous music (or “minimal” music) background of the three-minute opener “Brown”; with staged environments for an immersive experience. Jan 7 - Saturday ($20) broken-piano sonic manipulation on the minute-long An acoustic quartet with a range of expanded 9 pm “Bern…ies” (a prelude of sorts to “Bernie’s Tune”); and approaches, Mobile joins Bärtsch with drummers BADLANDS a raw, live-recorded cadenza imported in for “Ecidnac Kaspar Rast and Nicolas Stocker and one-named bass Jerry Granelli (drums) Intro”. It makes sense that The Truth of What I Am would clarinetist/contrabass clarinetist Sha. The third disc of Peter Epstein (soprano sax) include moments as pleasingly imperfect as these. Mobile music to be released since Bärtsch’s leader debut in 2001, Continuum finds the quartet engaging in Chris Speed (tenor sax, clarinet) For more information, visit innercirclemusic.net. This band is eight pieces, or “modules”, with the occasional added Jamie Saft (piano, fender rhodes) at Zinc Bar Jan. 7th as part of Winter Jazzfest. See Calendar. flesh of a string quintet (two , two cellos and J. Anthony Granelli (bass) viola). Though the pianist is known for imbuing his Briggan Krauss (alto sax, baritone sax) music with an infectious, charged funk and that current ø remains, there’s an obsessive attention to isolated elements, which frequently congeal with ensemble heft Jan 8 - Sunday ($20) into pointillist drama and pedal-pointed vistas. In 9 pm part, this work echoes the later compositions of SANDHILLS REUNION - TEXT By Rinde Eckert Michael Nyman or pianist Bernardo Sassetti’s filmic Rinde Eckert (voice) The Declaration Of Musical Independence encounters, as on “Modul 60”, and like those figures Andrew Cyrille (ECM) Jerry Granelli (drums) Bärtsch’s music holds its own, being nebulously Streams Ben Goldberg (clarinet) evocative without visual attachments. Jakob Bro (ECM) Ned Rothenberg (bass clarinet) Continuum Nik Bärtsch’s Mobile (ECM) For more information, visit ecmrecords.com. Cyrille is at (baritone saxophone) by Clifford Allen New School Tishman Auditorium Jan. 6th, New School Jeff Zeigler (cello) 12th Street Auditorium Jan. 7th, Littlefield Jan. 8th and Le Christian Kogel (guitar) The German label ECM has remained on one leading Poisson Rouge Jan. 9th, all as part of Winter Jazzfest. Bro J Anthony Granelli (bass) edge of new jazz or another for the last 47 years. While and Bärtsch’s projects are at New School Tishman holding fast to an aesthetic, from their minimalist Auditorium Jan. 7th as part of Winter Jazzfest. See Calendar. ______THE NEW YORK CITY JAZZ RECORD | JANUARY 2017 17

Hot jazz, simply put, is short, spunky songs with probing melody arises, gradually ascending higher in fast, almost manic, danceable tempos and blazing solos pitch, knotting in clusters with Fonda and some high- rich with concise dexterity. The horn voicings of “Put A pitched percussion. As that movement ebbs, Tamura Lid On It” and “Flight of the Passing Fancy” somewhat turns to the lowest range of his trumpet to initiate suggest Ellington—also note the hint of “Caravan” in some startlingly speech-like effects, until he is the roiling drum rhythms in the latter. On the gently eventually joined by flute and prepared piano in music swaggering, mock-melodramatic “Blue Angel”, that’s wildly playful with a certain macabre dissonance. Katherine Whalen’s slinky, undulating singing, with It’s an inventive meeting, with plenty of promise vinegar-laced tone, recalls ‘30s . Despite for the future but already substantial achievement.

It’s Easy to Remember (featuring David Hazeltine) the ominous title, “Memphis Exorcism” is Cory Weeds Quintet (Cellar Live) a jumping dance number with crackling guitar (and For more information, visit longsongrecords.com. Fonda is by Ken Dryden some bebop phrasing therein) and a big-toned, majorly at New School 12th Street Auditorium Jan. 7th as part of brassy N’awlins-style trumpet solo. Winter Jazzfest and Clemente Soto Velez Cultural Center Tenor saxophonist Cory Weeds resides in Vancouver, Having recently seen them live, this writer can Jan. 9th and 17th. See Calendar. where he founded the Cellar Jazz Club. This live album attest that SNZ are a good time waiting to happen. They from Smalls is with some of NYC’s most in-demand condense the years when jazz was a major factor in players: trumpeter Joe Magnarelli, pianist David American pop music and part of the nexus of rural and Hazeltine, bassist Paul Gill and drummer Jason Tiemann. urban, old and recent immigrant sounds of the U.S., The energy is apparent beginning with the driving without coming off as retro or ain’t-we-hip trendy. midtempo opener, a lively setting of ’s “With Prestige” showcasing the leader’s big yet mellow For more information, visit snzippers.com. This band is at tone. The refreshing approach to the standard “Emily” Highline Ballroom Jan. 7th. See Calendar. shifts back and forth between time signatures, in addition to key changes throughout the powerful solos by Weeds and Magnarelli. “Smoke Gets in Your Eyes” is another warhorse, which is too frequently played as a deliberate ballad, so this choppy arrangement with an infectious Latin undercurrent proves to be stimulating, Weeds conjuring a bit of Dexter Gordon in AVAILABLE AT CDBABY his robust solo and inventive playing by Hazeltine. Weeds pays homage to his good friend Ross Taggart www.BILLCOLE.Org (late Vancouver pianist, tenor saxophonist and jazz www.jODAmusIC.COm educator who mentored him) with a soaring treatment Duet êêê êêê of his hardbop gem “Expose” (fueled by in-the-pocket Satoko Fujii/Joe Fonda (Long Song) BILL COLE/A LEx BLAkE drum breaks) and the spirited, jaunty “Kelp”. The by Stuart Broomer jAN. 10TH, 8 pm $10 / ZürCHEr gALLErY musicians know how to pace a show and their sensitive 33 BLEECkEr sTrEET gALErIEZurCHEr.COm rendition of “Candy Man” amply showcases lyrical Duet documents a first-time meeting between pianist solos by Magnarelli and Weeds. The leader penned the Satoko Fujii and bassist/flutist Joe Fonda in Portland, hard-charging “The Mabe” (likely honoring pianist Oregon, in 2015 and it results in two pieces: “Paul Harold Mabern, with Hazeltine’s attack being similar Bley”, a long and sometimes quietly intense extended on this selection), a perfect choice to end an outstanding improvisation between the two, and a relatively brief set and leave the crowd wanting more. During several piece in which they’re joined by Fujii’s husband and of the performances the audience is so attentive and the frequent musical partner, trumpeter Natsuki Tamura. acoustics of the room so warm that it seems like this is Whether “Paul Bley” was titled before or after the a studio date, until the enthusiastic response is heard at pianist’s death, it’s a fitting invocation as well as a the conclusion of a piece. particularly personal one: Fujii studied with Bley at the New England Conservatory in the ‘90s and her first For more information, visit cellarlive.com. This project is at recording, 1994-95’s Something About Water consisted Smalls Jan. 7th. See Calendar. largely of hand-in-glove duets with the senior pianist. It’s an episodic improvisation, Fujii and Fonda

alternately introducing materials that blossom into collective music. The two share a warmth and lyricism that lends a consistency of mood as well as thematic development. Fonda has a rich resonance and his lines are filled with subtle expressive touches. His unaccompanied bass is the first thing that we hear, his melodic lead developing a certain bluesy reverence. From there, it’s a fluid, shared invention, an exploration of each other’s special resources. There are explosions of spontaneous color, rapid-fire inventions Hot Squirrel Nut Zippers (Mammoth-Hollywood) in which Fujii explores the breadth of the keyboard by Mark Keresman accompanied by Fonda’s own explosive runs and dense ostinatos; there’s a moment of absolute reverie Originally released in 1996, Hot, the second album by when Fonda turns to his flute and the two craft Squirrel Nut Zippers (SNZ), gets the digitally- a spontaneous ballad that might have sprung from the remastered treatment for this rerelease plus one bonus imagination of Satie or Debussy. At another moment, track. While lumped in with the ’90s Neo-Swing scene an isolated plucked string from Fujii calls up a koto, (and its ring-a-ding-ding Rat Pack affectations), the leading to a distinctly Japanese meditation; Fonda’s band’s inspirations go back much further. SNZ draw vigorously plucked harmonics suggests the same upon the early days of the big dance bands (Count instrument, inspiring zither-like string sweeps from Basie, ) and small group hot jazz of the the pianist. Each has a certain percussive bent and ‘20s (Louis Armstrong, , early Duke there are moments when Fonda’s deliberately buzzing Ellington) and ‘30s (Fats Waller, ). strings or Fujii’s use of brittle vibrating materials on There were also strains of jug bands, rural blues, Tin the piano strings seem to add a drummer to the Pan Alley pop and Klezmer, plus hints of the proceedings, suggesting the classic piano trio. impertinence of punk rock (as some of the players were Tamura, a master of timbral mutation, introduces in punk bands pre-SNZ). Much of the repertoire consists “JSN” with muted, sustained trills, creating a dense of originals written in the style of that 1925-42 epoch. and narrow pitch range from which Fujii’s spacious,

18 JANUARY 2017 | THE NEW YORK CITY JAZZ RECORD JEROMEJENNINGS.COM JEROME JENNINGS “...dRuMMER OfINGENIOSaNdwItty “a lIS “tHE CRISpaNdEffECtIvJEROMEENNINGS...”-ly t pERfORMER...tHEElECRICJEROMEENNINGS”-d intakt records bES êêêê www.intaktrec.ch t dEbut Distributed by Naxos America | Mailorder: www.naxosdirect.com | .com | iTunes Store Available in NYC: Downtown Music Gallery | Digital-Download-Shop: intaktrec.bandcamp.com ava 4 S S Of2016:NpR&ty dION tuCkER-tROMbONE/HRIS dId yOuCallHERtOday / tHE CORE/CaMMy’SMIlE CHRIS lO t IlablE at vE tHEdRuMS/COOlItNO aRS INdO SEaN JONES-tRuMpt/HO CCOMplISHMENt...” -tHEplaINdEalER(ClEvNd) Sa tIaN 9 tRa yOu dON’tkNO tHE bEaS atu fE ( NdS -pIaNO/JazzMEIa HORN-vOCalS fEatu CkS 6ORIGINal ) ORN H a MEI Jazz RING N SHIptON(lONdtIMES) t /NEwbEGINNINGS a wNbEat vId wIEGaNd (SfCHRONIClE) Intakt CD275/2016 Intakt CD272/2016 Intakt CD276/2017 Intakt CD283/2017 at w wHat SENSATIONS OF TONE SERPENTINES Alexander vonSchlippenbach:Piano|Evan Parker: Tenor Saxophone|Paul Lovens: Drums sc Sam Pluta:Electronics |DanPeck: Tuba |Peter Evans: Trumpets |Tyshawn Sorey: Drums Ingrid Laubrock: Saxophones|Miya Masaoka:Koto, Electronics |Craig Taborn: Piano in : Saxophone|ChristianWeber: Bass|MichaelGriener:Drums York New Stone, The 2017, e 10, January / York New Jazzfest, Winter 2017, 6, January Concerts: Christopher Tordini: Bass|EliasStemeseder:Keyboards Jim Black:Drums,Composition|ÓskarGuðjónsson:Saxophone MALAMUTE J WARSAW CONCERT WARSAW RING: LL i M BL G w /ICECREaMdREMS HL w erY eske rid tIaN McbRIdE-baSS aRd wIlEy-Sax i CJR PP lO

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the Western hemisphere—Chinese sona, Korean piri, Indian nagaswaram and shenai, Australian didgeridoo Hollistic Music Works and Ghanaian wood flutes. These instruments also happen to be untempered (not fixed in pitch); in the aspects of jazz presented by Brian Lynch space between a half step on the equal tempered scale in the West, numerous intervals are recognized by other available through Amazon, CD Baby, cultures and have their natural place in this music. That iTunes, select music retailers & sound and the improvisational nature of this music hollisticmusicworks.com create a lot of surprises for the listener.

Passion In his introduction to Trayvon Martin Suite, Brian Lynch presents Jihee Heo (Heonah Music) performance producer George Sampson announces by Elliott Simon that the music operates on a number of different levels Madera Latino simultaneously. The subject matter—dedicated to the (HMW 13/14 2 CDs) Classical training has for better or worse become teenager who was illegally targeted, followed and a prerequisite for NYC jazz pianists and Jihee Heo is murdered about a month before this performance—is 2017 Grammy© Award Nominee certainly in that mold. But what make this debut so challenging, even for the performers. When Cole first Best Latin Jazz Album refreshing are its ambitious environs and cohesive starts to play the didgeridoo, he has some difficulty approach. Passion, the kind that is intertwined with getting his sound, which is rather uncharacteristic. frank spirituality, is evident throughout these Between the second and third pieces (at the beginning 12 compositions and is what ties them together. Philip of the fourth track) he tells the audience a little bit Dizack is in tune with Heo’s style and his trumpet about what he was thinking. The performers obviously leads the horn section with soulful boldness. This is feel deeply about what they are presenting and as apparent from the outset with the tender yet powerful improvisational musicians articulate that in individual horn voicings of “The Glorious Walking”. Trombonist ways. This is an emotional performance. The entire Frank Cohen, tenor saxophonist Jure Pukl and alto suite is improvised, but one hears distinct sections too. saxophonist Pat Carroll round out the horns Heo The instrumentation changes from piece to piece, artfully mixes and matches together. giving the suite a broad palette of expressions. Joseph Poignant phrasing from Heo induces the mood on Daley, best known for his inimitable tuba, also plays a pathos-filled rendering of “Betray” and delicate balaphone, ocarina and synthesizer and his euphonium presentation of “Hypocrisy” while for “The Vision” is breathtaking on “Desecration of Life, Liberty and the she steps back and comfortably leads an astute rhythm Pursuit of Happiness”. The music flows in and out of section of bassist Daniel Stein and drummer Charles consonance and dissonance, tension and ease, hope “What a gift that Brian Lynch, one of the most Burchell for a collective statement. The gorgeously and struggle and the listener will experience this dynamic & accomplished trumpet players stated ballad “Your Love” gives way to a sad, darkly individually, especially while reflecting on the crime in jazz, has chosen to interpret the music of voiced version of “Obey” followed by an exciting and against the dedicatee. Woody Shaw..through the lens of Latin Jazz. cacophonous portrayal of “That Night”. Although the Daley has been with the Untempered Ensemble Even better that he invited eight other trumpet clichéd religiosity of “I Don’t Know Him” with vocalist since its inception, as has drummer Warren Smith and players to the party, including Sean Jones, Patricia Wichmann is somewhat out of place, Heo’s the relationships of the three of them go back further. Dave Douglas, and Diego Urcola. What a distinctive passionate depictions that are both subtle All of the compositions on Sunsum were penned by dream project.” and powerful make for very few missteps. Cole and four out of five of them are based on Yoruban Paul De Barros, DownBeat 4-Stars The title cut is a short harmonic horn excursion proverbs. Their subtitles express pain and struggle, before “The Great Sacrifice” and “Hope” provide but the music also expresses humanity and power. Brian Lynch/Emmet Cohen exceedingly well-crafted compositions for touching Compared to the suite above, the music here is more improvisation. The former features a moving alto solo arranged, consisting of specific parts for a layered Questioned Answer (HMW 12) while the latter is highlighted by equally impassioned ensemble. In addition to Cole, Daley and Smith, ensemble playing before the decidedly upbeat closer percussionist Lisette Santiago, six-string bassist Gerald “We Will See Each Other Again”. Veasley and Ras Moshe on tenor saxophone, flute and Passion isn’t simply a stage for Heo to show off her percussion seamlessly blend their individual precision and obvious instrumental ability but a contributions into the whole, flowing in and out of platform for her to lead adventurous horn and rhythm arrangement and improvisation, melodies and colors, sections on explorations of complex thematic material. beats and textures. “Grounded” opens with an undercurrent of didgeridoo while percussion joins to For more information, visit jiheeheomusic.com. Heo is at reveal a wide periphery. “The Dove Finds Peace Rockwood Music Hall Stage 3 Jan. 9th. See Calendar. Everywhere” is a blues of sorts where Cole plays the piri, which at moments reminds this listener of ’s organ on Translinear Light (Impulse!, 2004) while the upbeat dotted rhythm and bass motive on “Great loss is yours if your love for another is not returned” are reminiscent of Joe Chambers’ “Caravanessa” from Ray Mantilla’s Mantilla album “Fiery...colorful and unpredictable... (Inner City, 1978). “A Scar is Never so Smooth as ‘Questioned Answer’ features Lynch and Natural Skin” is pensive. The closer “Evil sown by Cohen bringing out the best in each other” a man will grow on his children’s heads” is an exciting Trayvon Martin Suite Scott Yanow, DownBeat 4-Stars piece featuring a fiery exchange between the Bill Cole/Joseph Daley (Joda Music) percussionists and Moshe’s tenor. Veasley later quotes Sunsum “The Star-Spangled Banner” during a powerful duet Bill Cole’s Untempered Ensemble (s/r) Other Hollistic MusicWorks Releases: with Smith. After the final chorus, the group is met Brian Lynch: Unsung Heroes Vol. 1 & 2 by Anders Griffen (5-Stars DownBeat) with a rousing ovation. Killer Ray Appleton: Naptown Legacy These two albums are the most recent in a significant This can be challenging music for some audiences, Eric Jacobson/Schoor Quintet: Combinations body of work by Bill Cole. Trayvon Martin Suite is a for some of the same reasons it is so rewarding: unusual The Brian Lynch/ Project: duet with Joseph Daley recorded live in March 2012 at instrumentation, focus on improvisation and the Simpatico Grammy© Award Winner! (Digital Only) the University of Virginia and Sunsum was recorded mastery of the players, which allows them an infinite Upcoming HMW Releases: live in July 2014 at the Clemente Soto Velez Cultural freedom of expression. At once profound and accessible, Rob Schneiderman Quintet: Tone Twister Center in New York with the Untempered Ensemble, this music rewards those who listen openly. Brian Lynch: Songbook Vol. 1 and introducing The Mentor Series: which has been around in one iteration or another since Vol. 1 Jared Hall Quintet 1992. The music on both discs is masterful and truly For more information, visit jodamusic.com and billcole.org. Vol. 2 Alec Aldred amazing. Cole gets an incredible range of sounds out of Cole is at Zürcher Gallery Jan. 10th and Roulette Jan. 13th the instruments he employs, which are unfamiliar in with William Parker. See Calendar.

20 JANUARY 2017 | THE NEW YORK CITY JAZZ RECORD

The ‘A’ Train” and “Satin Doll”. 2013. (The albums share no personnel, only a mood.) Since this is a vocalist’s album, there really aren’t But things only start out friendly; soon enough, the any solos from the band, but Hanna manages to shine intertwining melody lines sprout thorns. On “Different on “In A Sentimental Mood” and “Mood Indigo” and Times”, Moran’s solo wanders hither and yon, distorted Mraz is featured on the medley “I Let a Song Go Out of and stinging. When Schneit takes over the spotlight, My Heart/Do Nothing Till You Hear From Me” as sole ascending from repetitive postbop extrapolations of accompaniment to Sloane. Pratt is supportive, keeping a simple line to high-tension screams, the guitarist time on the uptempo tracks and delivering delicate continues to skitter and zing behind him, making brushwork on the ballads. noises one might more reasonably expect to hear on a

Sophisticated Lady Hopefully, there will be more rereleases and/or album. Carol Sloane (Audiophile) new recordings to come from Carol Sloane, a true jazz When Schneit switches to clarinet, as on the nearly by Marcia Hillman voice. nine-minute “Hope for Something More”, the music takes a turn for the plaintive. The bass is a slow The alleged backstory of this album, recorded in For more information, visit jazzology.com. Sloane is at Jazz repetitive boom; Wollesen shifts between toms and Tokyo, Japan in 1977 and released as a CD for the first Standard Jan. 11th with Bill Charlap. See Calendar. cymbals; guitar has the tastefulness of ’70s soft rock; time, is that vocalist Carol Sloane, who had already and the leader’s solo heads in the direction of ‘tootling’, been recording for decades on Cadillac, Columbia and but in a non-cheesy way. Moonbeam, upon first meeting Duke Ellington, In its second half, the album gets a little looser, not promised him that she would record one of his songs always to its benefit. The title track is one of those on every album she would make in the future. Time seemingly unstructured, gently explosive pieces every passed by and there were several albums in which band seems to have in their pocket these days and “My Sloane did not include an Ellington selection. So, by Secret Hobby” starts out as a skronky saxophone- way of an apology, Sloane decided to record this album guitar duo like something might have of all Ellington songs. The singer is joined by Roland tried in the early ’90s with some saxophonist from the Hanna (piano), George Mraz (bass) and Richie Pratt Knitting Factory scene. When the rhythm section (drums). comes in, they’re clattering and booming all over the Light Shines In This is not just a replay of oldies because Sloane place, emitting a lot of energy but no real drive. Adam Schneit Band (Fresh Sound-New Talent) brings her own touch to these familiar selections, by Phil Freeman But the album concludes with the aptly titled refreshing them by way of her vocal tone quality, “Song for Silence”, which brings back the relaxed feel which can be described as silky, and her devotion to Saxophonist Adam Schneit is accompanied on this of the opening track “A Clearer View”. Schneit’s the lyrics, resulting in distinctive, innovative phrasing. deceptively simple-seeming album by guitarist Sean extended solo, while busy, never gets too out of control, Cases in point: her rendition of the title track, where Moran, bassist Eivind Opsvik and drummer Kenny deliberately staying within the lines, like a sideman on she is able to present it as the torch song it really is, Wollesen. Its meditative, heartfelt compositions, many a Steely Dan album given his one moment in the sun. and her a cappella delivery of “Come Sunday”. The of which are performed with the patience of an autumn lady also knows how to scat and does it with an ease afternoon walk down a path in the woods, recall those For more information, visit freshsoundrecords.com. This reminiscent of or Mel Tormé on “Take on labelmate guitarist Nate Radley’s Morphoses from project is at Threes Brewing Jan. 19th. See Calendar.

THE NEW YORK CITY JAZZ RECORD | JANUARY 2017 21

the band needed to play more blues. Yamin and Clifford Carlson developed the Jazz NEW RELEASES Drama Program, which created this musical as one of a number of such productions designed to engage students in the healing power of jazz and its history. That notion is evident from the beginning as vocalist Camille Thurman intones Yamin’s lovely melody about the curative power of the blues. It changes from hymn- like to a bouncy blues and there’s tough, joyously

Eponymous raucous tenor saxophone, also from Thurman. Life Station (577 Records) “A Healing Song”, like other infectious numbers in the by John Sharpe musical, reappears in several guises, with a chorus of singers and a and a full ensemble For Life Station, 577 Records label boss drummer Federico complemented by strings. Ughi assembled a geographically and stylistically diverse “Departure Overture” is the actual opening of the group spanning generations, from Downtown vet Daniel stage presentation and it’s a hip, boppish theme jarred BMC CD 232 Carter to young New Zealand avant pop pianist/vocalist by the entrance of some avant garde orchestration à la Hungarian musical Leila Adu by way of her countryman, improvising Mr. Ra. The trip the tune speaks of is taken in the story tradition and West- saxophonist Jeff Henderson, and American sound artist by three young people named Mary, Lou and William. African rhythms meet Jeff Snyder. In 2013 they crafted the three spontaneous Their quest is celebrated in “Mary Lou Williams contemporary jazz excursions presented here. Theme”, a smart, jazzy interlude that is, of course, also Such is the gravitas Carter engenders that he tends a brief paean to the late pianist. to become the focal point. That’s certainly the case on There’s so much here: a beautiful and touching the title track where his blues-tinged trumpet sails love song for William and Lou, sung by Thalia St. serenely on an ever more choppy sea, courtesy of Hubert and Maximus Britton; rootsy harmonica Henderson’s busy squalling alto and Ughi’s more playing by Big Nancy; spirited choral singing transparent wave forms. Snyder integrates his throughout echoing the themes that give the musical electronic embellishments into the fabric without its foundation; what feels like a percussion lesson on becoming overbearing while Adu’s insistent piano “Earth Stomp”, complete with thumping and hand- vamp adds to the density of the backdrop. clapping; and a riotous klezmer vocal by Andrew Carter switches to his reeds for the remaining two Farella on “Music Holds the Key”, including Yiddish- numbers and partakes in some spirited interaction inflected call and response. with Henderson’s alto on “No Drones”. There’s also an attractive passage for Snyder and Henderson’s For more information, visit thejazzdramaprogram.org. This interweaving textures. Adu’s voice is prominent early project is at Jazz Museum in Harlem Jan. 8th and Dizzy’s in the proceedings, but her conversational rejoinders Club Jan. 17th. See Calendar. don’t stand up as much as her crashing piano chords, which presage the most animated section of the disc. BMC CD 244 “Punk Years” progresses as a swirling morass shaped by Henderson’s yelping clarinet, Snyder’s Charles Lloyd’s world- synthesizer evoking a distant organ, Carter’s soulful class Hungarian cimbalom player with alto and Adu’s mellifluous voice all fuelled by Ughi’s one of the best jazzy cymbal play. Again the dealings between the two US rhythm sections reed players produce one of the highlights, buttressed by percussive piano attacks and bustling drum spurts. Carter continues regardless, spinning out coolly lyrical reflections, sometimes seeming as if he has wandered in from another session entirely. Although Snyder’s reverberant electronics and Henderson’s skittering eddies undercut the melodicism, Ughi’s well-placed accents somehow unite the constituent parts into a coherent whole full of tension and vitality.

For more information, visit 577records.com. Daniel Carter is at Roulette Jan. 13th with William Parker, New Revolution Arts Jan. 14th and Clemente Soto Velez Cultural Center Jan. 17th. See Calendar.

BMC CD 235 ’s leading ethno-jazz out t with their long-time friend Chris Potter

Message from Saturn BMC RECORDS Eli Yamin and The Astro Intergenerational Arkestra With four albums selected for: (Avatar) by Donald Elfman Message from Saturn is a work of wide scope and Distribution: serious intent by a pianist/composer deeply concerned about the future of both music and of education. The work is a theatrical production, a celebration of blues bmcrecords.hu mvdentertainment.com and jazz improvisation and a sweet tribute to , whose own message was—from Saturn, he said—that

22 JANUARY 2017 | THE NEW YORK CITY JAZZ RECORD

with an insistent riff, it makes the transition to alto intact, losing none of its urgency. The piece is dedicated to artist Niklaus Troxler, the man who gave McPhee’s early hatHUT releases their distinctive visual look and who was in the audience that night. But the beauty of McPhee’s solo sets is that they are, for the most part, improvised. Lines careen into unexpected minimalist sequences (“Eight Street And Avenue C”), fierce cries (the title track) and wistful melodicism (“The

Flowers Whistler”), the latter a particularly effective piece BEST TRIBUTE RELEASES 2016 Joe McPhee (Cipsela) dedicated to saxophonist . by Robert Iannapollo Although the tenor saxophone is still his most distinctive instrument, McPhee has made the alto one A new Joe McPhee solo recording is always a special of his main voices. Flowers was released in a limited event. The multi-instrumentalist has released a slew of edition of 300, so snap it up while you can. solo albums: studio sessions containing overdubbing and/or playing against an electronic backing while For more information, visit cipsela-records.com. McPhee is live releases feature his array of instruments (tenor, at Clemente Soto Velez Cultural Center Jan. 19th with alto and soprano saxophone and trumpets). But he has and 22nd as part of a tribute to Dominic Duval. also recorded sets solely devoted to one instrument: See Calendar. the epochal Tenor from 1977 was the first while his first solo alto saxophone recording (Alto) was a limited edition 2009 Roaratorio release. Flowers was recorded at a concert at Museu Nacional Machado De Castro in Coimbra, a month after the aforementioned Roaratorio recording. The flowers of the title refer to a rule of thumb McPhee has frequently espoused: “Give them their flowers while they’re here”, meaning don’t wait until someone has passed to dedicate a piece of music to that person. Two pieces are particularly relevant. “Old Eyes” is Up and Coming a song by McPhee that goes back to the late ‘70s John Abercrombie Quartet (ECM) HONORABLE MENTION NEW RELEASE 2016 dedicated to Ornette Coleman, which McPhee pulled by John Pietaro out for this set in celebration of Coleman’s 80th birthday. Even more relevant is a rare performance of Iconic guitarist John Abercrombie has had a career “Knox”, which was the lead-off track on Tenor. A blues ranging from the thunderous to the utterly sublime. His credits include membership in the seminal fusion band Dreams (1969) just three years out of , as well as sessions with the likes of before moving to front and center in Billy Cobham’s bands. And yet, once signed to the ECM stable of artists in 1973, Abercrombie’s subtle, understated voice—that which had apparently been a part of his core all along—cast his career in a new direction. In the decades that followed, the guitarist has thrived in gigs of assorted instrumentation and BEST LATIN RELEASES 2016 varying dynamics, tore it up in free improv sessions and dueled with a guitar synth, but usually came home to a music that features silences and whispers in partnership to wandering melodies of rare elegance. Up and Coming is the sophomore release by this band, a vehicle the guitarist seems to have built with deference to and Paul Bley’s own visions of rare elegance. Sharing the frontline with the deft piano of , Abercrombie offers up eight selections, which include haunting Erik Satie-like airs (“Sunday School”) backed with moments of uptempo swing in hip quietude (the title track). But don’t let the delicacies fool you into thinking that this is some sort of cocktail jazz; this music lures you in when you least expect it. If it’s music for drinking, then it better be Jack Daniels straight-up. The rhythm section is comprised of musicians who have been heard in the widest mix of genres over the years: bassist and drummer Joey Baron. Both allow the space to envelop them as it too becomes part of the soundscape. They respond by crafting late- night slow dances out of the atmosphere, bathed in shadow and, alternately, flaring turbulence. HONORABLE MENTION NEW RELEASE 2016 Most of the compositions are those of the leader but Copland’s “Tears” midway through turns the groove on its head with pulsating chords and a searching melody. Abercrombie even adds a Miles Davis cover to this outing—“Nardis”—which the quartet rapidly makes its own. iTunes.com/DennyZeitlin iTunes.com/DE3 For more information, visit ecmrecords.com. This group is iTunes.com/EdwardSimon at Birdland Jan. 24th-28th. See Calendar. iTunes.com/JohnEscreet

THE NEW YORK CITY JAZZ RECORD | JANUARY 2017 23

McKinney and tenor and soprano saxophonist Antoine of Charlie Parker. They are the natural heirs to Sonny Roney, who all played with Jones, shine throughout, Rollins, Freddie Hubbard and, in some instances, were aptly expressing their fondness for the master’s students of pianist Barry Harris, carrying forward a accomplishments and singular musical personality. music that is urban and a happy mix of the gritty and Trumpeter Keyon Harrold also excels, as does guest the elegant. Just how fine their chemistry is together is keyboardist Jan Hammer taking it all home on evident on a ‘40s gem, Jimmy Van Heusen-Phil Silver’s “Destiny”, reprising his role from Jones’ 1975 trio “Nancy With the Laughing Face”. Here the beauty of recording On the Mountain (PM Records) with bassist Manasia’s piano phrasing is closely echoed by Gene Perla. Bernstein’s guitar and the tasty licks of drummer

Celebrating Elvin Jones Calhoun expands the proceedings by exploring Charles Ruggiero. (Motéma Music) some of his own musical interests, for instance by That totally satisfying take is followed by a by Laurel Gross uniting a recording of the late Senegalese drummer contrasting and undulating, steamier swing into Dizzy Doudou N’Diaye Rose leading a crew of several other Gillespie’s “ Hall”. While there is nothing The intensity inhabiting every pore of drummer Elvin African drummers with his current band’s retro about the sounds here, one can easily imagine Jones’ face in an iconic portrait captured by interpretation of the Japanese folk song “Doll of the Gillespie and tapping their feet and photographer Roy DeCarava is staggering—and that’s Bride”. It’s an unusual move, but it works. appreciating the pretty notes. Piano ripples with without hearing a beat. Creating music with John gorgeous energy and Barak Mori’s bass lends solid Coltrane appears to have transported Jones to a state of For more information, visit motema.com. This project is at heat to the proceedings. Ruggiero stokes it up even almost religious ecstasy. Blue Note Jan. 24th-26th. See Calendar. further until Bernstein jumps back in, punctuated by Imagine adding sound to such a moment and you crashing cymbals before all four merge for a climax as would be indelibly marked for life. That’s what sudden as it is fulfilling. happened to Bronx-raised drummer Will Calhoun, Bernstein, a former protégé of the late, great Jim who as a 14-year-old ventured “downtown” to hear Hall, has a similar expressiveness as eloquent as it is Jones at the Village Vanguard. In his new CD, Calhoun uncluttered. On Manasia’s “Witchery” he takes a long creates a fitting and deeply affecting tribute to one of solo with beautiful backing from bass and drums. the greatest of the greats. Their care of the melody is tender until finally Manasia Wisely avoiding any attempt at replication (which seems to float in to join them. He begins quietly and would be impossible and also serve to deny Calhoun’s then gradually it is as if they all can’t resist stirring the own technical and interpretive skills), the first three pot in fine sync together. That gorgeous bass of Mori’s tracks do reference works Jones performed on famed affirms how expressive wordless sounds can be and, as Metamorphosis (featuring Peter Bernstein) recordings, “EJ Blues”, “Whew” and “Harmonique”. with this fine set overall, leaves the listener sighing Jeremy Manasia Trio (Rondette Jazz) In the fourth, Calhoun offers a highly lyrical and lovely by Andrew Vélez with pleasure. quiet work of his own called “Sarmastah” on which he takes up a 12-string acoustic guitar in addition to Spike Wilner of Smalls calls the Jeremy Manasia Trio For more information, visit rondettejazz.com. Manasia is at his drums. plus Peter Bernstein “a real New York crew“, citing Smalls Jan. 24th and Dizzy’s Club Jan. 31st-Feb. 2nd with Bassist Christian McBride, pianist Carlos a direct lineage to the great era of bebop and the music . See Calendar.

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24 JANUARY 2017 | THE NEW YORK CITY JAZZ RECORD

High Voltage Dream (The Lost Recordings) Count Basie Orchestra (MPS) Margaret Whiting (Sepia) by Scott Yanow by M.J. Lester

When High Voltage was recorded in 1970, the Count Margaret Whiting, who passed away six years ago this Basie Orchestra was at a transitional point. While the month, was blessed with a wildly successful career ‘50s were a golden period with recordings produced by spanning over 40 years. She not only recorded copiously, Norman Granz and such soloists as trumpeters Thad but her repertoire ranged from big band and popular Jones and and tenor saxophonists Frank songs to a smattering of country to jazz. Kathy Brown, Foster and , the ‘60s were a period of V.P. of My Ideal Music (owned by Whiting’s only child, struggle, at least on record. While the Basie Orchestra Debbi Whiting), found almost two years worth of radio survived the departure of those four soloists and still transcriptions at the Media Heritage Museum in West sounded in prime form in concerts, its recordings were Chester, Ohio, stemming from Whiting’s regular often another story, stuck functioning as a prop behind appearances on the syndicated Barry Wood Show in the singers (including , Sammy Davis, Jr., early ‘40s. From the transcriptions, Brown, with Debbi Arthur Prysock, the Mills Brothers, Jackie Wilson, Bing Whiting, selected 57 songs for this two-disc set. Crosby and Kay Starr) or featured on concept albums. Dream contains much of the expected American It would not be until 1972 when they signed with Songbook titles by composers such as the Gershwins, Granz’ new Pablo label that the band would again be Cole Porter, -Lorenz Hart and Johnny consistently recorded at its best. Mercer, but there are several of the unexpected as well, High Voltage is a much better-than-average Basie including “Some of These Days” (Shelton Brooks), recording from this ‘off period’. Several of the musicians, “‘Sposin” (Paul Denniker-Andy Razaf), “There’ll Be including temporarily returning trumpeter Newman, Some Changes Made” (William Blackstone-W. Benton alto saxophonist , trombonist Buddy Overstreet) and “I Ain’t Got Nobody” (Roger Graham- Morrow and bassist George Duvivier, were substitutes Spencer Williams). But it is the jazz selections that are as the orchestra was undergoing personnel changes. of especial interest, even with a downside of Newman, Morrow, Dodgion, alto saxophonist Bill unimaginative, vanilla arrangements carried out by Adkins, tenor saxophonist Eddie “Lockjaw” Davis, Wood’s music director, Henry Sylvern, conductor of flutist Eric Dixon and Basie all take concise solos along the string-heavy orchestra backing Whiting. The the way. Of greatest importance was that Chico O’Farrill, saving grace is Whiting’s instrument, a transformative best known for his work in AfroCuban jazz, is the voice remarkably clear, rich and honeyed and capable arranger throughout and really understood and of turning dross into pure gold. As the daughter of appreciated the Basie sound. songwriter Richard Whiting, she learned early on how High Voltage features the 17-piece big band playing to phrase and interpret music. a dozen standards Basie had never recorded before in The lush treatment of “Confessin’” (Al J. Neilburg- an instrumental setting. The individual renditions are Doc Daugherty-Ellis Reynolds) is far removed from the mostly brief, with eight being under three minutes and interpretation of the song’s popularizer, Louis only “Bewitched” exceeding 3:43. “Chicago”, “The Armstrong, whose approach was simple but powerful. Lady Is A Tramp”, “Day In Day Out” and “If I Were A Yet Whiting matches Armstrong’s imploring, yearning Bell” are among the highlights, with Lockjaw and Basie quality note for note. “Stormy Weather” (Ted Koehler- being the main solo stars. Harold Arlen) is less successful, with Whiting Basie’s orchestra on High Voltage always swings, uncharacteristically more technically perfect rather gets its message across quickly and leaves one feeling than emotionally invested in the song. “Memories of satisfied despite the brevity of the performances. You” (Eubie Blake-Andy Razaf) makes much of the backup group, the Melody Makers. Whiting seems For more information, visit mps-music.com. The Count Basie almost impatient with their intrusion into the intensity Orchestra is at Blue Note Jan. 31st-Feb. 5th. See Calendar. of her interpretive process, which, with this tune, is on the money. It is to Whiting’s credit that she early on embraced the great Duke Ellington and two of his numbers are on Dream: “I Let a Song Go Out of My Heart” (Ellington--Henry Nemo-John Redmond) and “I’ve Got It Bad and That Ain’t Good” (Ellington-Paul Francis Webster) are both impossibly tricked out with an organ and plenty of strings, but despite Sylvern’s attempt at creating skating rink music out of Ellington, Whiting’s phrasing still manages to transcend and at least suggest jazz. Numbers usually delivered breezily uptempo, such as “Taking A Chance On Love” (John Latouche-Ted Fetter-Vernon Duke) and “I’ve Got You Under My Skin” (Porter), are also enfeebled under the Sylvern baton. Yet, Whiting’s impulse to strain against the blandness of the arrangements is palpable. With an ear and soul for music so finely tuned, it’s no wonder that the young Whiting (at the start of her magnificent career) went on to attain richly deserved heights.

For more information, visit sepiarecords.com (CD REVIEWS CONTINUED ON PAGE 28)

THE NEW YORK CITY JAZZ RECORD | JANUARY 2017 25 BEST OF 2016 BEST OF 2016 BEST OF 2016 BEST OF 2016 BEST OF 2016 BEST OF 2016 THE NEW YORK CITY JAZZ RECORD ALBUMS OF THE YEAR UNEARTHED GEMS REISSUES Rez Abbasi—Behind the Vibration (Cuneiform) /// Peter Brötzmann// Léon Francioli/Pierre Favre— Rashied Ali—Songlines (FMP-Trost) Darcy James Argue’s Secret Society— Musical Monsters (Willisau Concert) (Intakt) Real Enemies (New Amsterdam) Trio—Live at the Jazz’Inn (Futura) Thad Jones/Mel Lewis Orchestra— Nels Cline—Lovers (Blue Note) Dizzy Gillespie & Friends—Concert of the Century All My Yesterdays: The Debut 1966 Recordings (A Tribute to Charlie Parker) (Justin Time) Stephan Crump—Rhombal (Papillon) at the Village Vanguard (Resonance) Barry Harris—Live in Tokyo Ensemble Kolossus— Yusef Lateef—Live at ’s (Gearbox) (Xanadu-Elemental Music) The Distance (ECM) Lucky Thompson—Bop & Ballads (Sonorama) Joe Henderson—Mirror Mirror (MPS-Edel) Tony Moreno Quintet—Short Stories (Mayimba) Finn von Eyben—Plays Finn von Eyben/Finn von Eyben —Emily’s D+Evolution (Concord) Workshop & Radiojazzgruppen (1966-1967) (Storyville) Joshua Redman & Brad Mehldau— BOXED SETS Nearness (Nonesuch) Svend Asmussen— Dan Weiss—Sixteen: Drummers Suite (Pi) LATIN RELEASES The Incomparable Fiddler - 100 Years (Storyville) Matt Wilson’s Big Happy Family— Orbert Davis Chicago Jazz Philharmonic Count Basie and Lester Young— Beginning of a Memory (Palmetto) Chamber Ensemble—Havana Blue (Orbark Productions) Classic 1936-1947 Studio Sessions (Mosaic) Andy Gonzalez—Entre Colegas (Truth Revolution) -David R. Adler Joëlle Léandre—A Woman’s Work… (Not Two) Brian Lynch—Madera Latino: A Latin Jazz Perspective Howard Riley—Constant Change 1976-2016 On The Music of Woody Shaw (Hollistic MusicWorks) Bushman’s Revenge—Jazz, Fritt Etter Hukommelsen (NoBusiness) (Rune Grammofon) Little Johnny Rivero—Music in Me (Truth Revolution) Various Artists—The Boston Creative Jazz Fanfare Ciocărlia—Onwards to Mars! (Asphalt Tango) Edward Simon—Latin American Songbook (Sunnyside) Scene 1970-1983 (Cultures of Soul) Christy Doran’s Sound Fountain— Belle Epoque (Between the Lines) Silke Eberhard/Christian Marien/ VOCAL RELEASES LARGE ENSEMBLE RELEASES Nikolaus Neuser— Cyrille Aimée—Let’s Get Lost (Mack Avenue) Darcy James Argue’s Secret Society— I Am Three: Mingus, Mingus, Mingus (Leo) Réne Marie—Sound of Red (Motéma Music) Real Enemies (New Amsterdam) ERGO—As Subtle as Tomorrow (Cuneiform) Amina Claudine Myers—Sama Rou Audio One—What Thomas Bernhard Saw (Audiographic) Fire!—She Sleeps, She Sleeps (Rune Grammofon) (Songs From My Soul) (Amina C.) Catherine Russell—Harlem On My Mind Pierre Dørge New Jungle Orchestra— Charlie Haden Liberation Music Orchestra— Ubi Zaa (SteepleChase) Time/Life (Song For The Whales and Other Beings) (Impulse!) (Jazz Village) Bria Skonberg—Bria (OKeh) Charlie Haden Liberation Music Orchestra— Aruán Ortiz Trio—Hidden Voices (Intakt) Time/Life (Song For The Whales and Other Beings) (Impulse!) Steve Swell—Soul Travelers (Rogue Art) Slavic Soul Party!— Jorma Tapio & Kaskia—Ghatika (Karkia Mistika) TRIBUTES Plays Duke Ellington’s Far East Suite (Ropeadope) -Laurence Donohue-Greene Silke Eberhard/Christian Marien/ Nikolaus Neuser— Darcy James Argue’s Secret Society— I Am Three: Mingus, Mingus, Mingus (Leo) ORIGINAL ALBUM ARTWORK Real Enemies (New Amsterdam) Michael Musillami/Rich Syracuse— Ryan Carraher—Vocturnal (s/r) Stephan Crump—Rhombal (Papillon) Of The Night (Playscape) Daniel Erdmann’s Velvet Revolution— A Short Moment of Zero G (BMC Records) Peter Evans—Lifeblood (Moreismore) Slavic Soul Party!— Plays Duke Ellington’s Far East Suite (Ropeadope) —Moments in Time (Resonance) //— Deep Memory (Intakt) —Music Of Weather Report (ECM) Victor Gould—Clockwork (Fresh Sound-New Talent) Mary Halvorson Octet—Away With You Denny Zeitlin—Early Wayne (Solo Wayne) (Sunnyside) —160 (Innova) (Firehouse 12) Briggan Krauss—Art of the Saxopohone, Vol. 1: The Tunnel Recordings (s/r) DEBUTS Alyssa Allgood—Out of the Blue (Jeru Jazz) Starlite Motel—Awosting Falls (Clean Feed) Ben Cohen—Viriditas (Eschatology) Craig Taborn/Christian McBride/ Tyshawn Sorey—John Zorn: Flaga (Tzadik) Jerome Jennings—The Beast (Iola) Thumbscrew—Convallaria (Cuneiform) Julie Kjær 3—Dobbeltgænger (Clean Feed) ZAKS—Live at 5e (ILK Music) Ray McMorrin—RayMack (Truth Revolution) -Andrey Henkin

HONORABLE MENTIONS—NEW RELEASES Idris Ackamoor & The Pyramids—We Be All Africans (Strut) • Harry Allen’s All Star New York Saxophone Band—The Candy Men (Arbors) • Arild Andersen—The Rose Window (Live at Theater Gütersloh) (Intuition) • Richard Andersson—UDU/Itu (Hobby Horse) Ehud Asherie—Shuffle Along (Blue Heron) • The Bad Plus—It’s Hard (OKeh) • Mike Baggetta—Spectre (Fresh Sound-New Talent) • Cyro Baptista—Bluefly (Tzadik) • Nik Bärtsch’s Mobile—Continuum (ECM) • BassDrumBone—The Long Road (Auricle) • Battle Trance—Blade of Love (New Amsterdam) Michel Benita & Ethics—River Silver (ECM) • Michael Bisio/Kirk Knuffke—Row for William O. (Relative Pitch) • Full Blast—Risc (Trost) • Jane Ira Bloom—Early Americans (Outline) • Michiel Braam—Gloomy Sunday (BMC Records) • Per Aage Brandt/Karsten Vogel—Cry! (Storyville) Peter Brendler—Message in Motion (Posi-Tone) • /Los Angeles Jazz Orchestra Unlimited—Unlimited 1 (Live at Catalina’s) (HighNote) • Joe Chambers—Landscapes (HighNote) • Albert Cirera/Hernãni Faustino/Gabriel Ferrandini/Agustí Fernández—Before the Silence (NoBusiness) The Cookers—The Call of the Wild and Peaceful Heart (Smoke Sessions) • Cosmic Brujo Mutafuka—Rhapsody of the Oppressed (Dimensional) • Andrew Cyrille—The Declaration Of Musical Independence (ECM) • Tomasz Dabrowski—S-O-L-O: 30th Birthday/30 Concerts/30 Cities (Barefoot) Carsten Dahl Experience—Caleidoscopia (Storyville) • Tim Daisy’s Celebration Sextet—The Halfway There Suite (Relay) • Joseph Daley/Warren Smith/Scott Robinson—The Tuba Trio Chronicles (JoDa Locust Street Music) • DE3—Live At Maxwell’s (Sunnyside) • Deep Whole Trio—Paradise Walk (Multikulti Project) Jack DeJohnette/Ravi Coltrane/Matthew Garrison—In Movement (ECM) • Der verkaterte Stiefel—Luftschlösser (JazzHausMusik) • Robert Dick/Ursel Schlicht—The Galilean Moons (Nemu) • The Dixieland Stumblers—Eponymous (Artesuono) • —The Unknown (Sunnyside) Peter Evans Quintet—Genesis (Moreismore) • Garrison Fewell/Gianni Mimmo—Flawless Dust (Long Song) • Jonathan Finlayson & Sicilian Defense—Moving Still (Pi) • Free Nelson MandoomJazz—The Organ Grinder (RareNoise) • Fresh Cut Orchestra—Mind Behind Closed Eyes (Ropeadope) Erik Friedlander—Rings (Skipstone) • Don Friedman—Strength and Sanity (Newvelle) • Generations Quartet—Flow (Not Two) • Muriel Grossmann—Natural Time (Dreamland) • Giovanni Guidi//Louis Sclavis/Gerald Cleaver—Ida Lupino (ECM) Alexander Hawkins/Evan Parker—Leaps in Leicester (Clean Feed) • Honey Ear Trio—Swivel (Little (i) Music) • The Hot Club of San Francisco—John Paul George & Django (Hot Club) • I.P.A.—I Just Did Say Something (Cuneiform) • JASS—Mix of Sun and Clouds (YOLK Music) Dawda Jobarteh/Stefan Pasborg—DUO (ILK Music) • Jungle: Mat Walerian//—Live at Okuden (ESP-Disk’) • Stacey Kent—Tenderly (OKeh) • Franklin Kiermyer—Closer to the Sun (Mobility Music) • Masabumi Kikuchi—Black Orpheus (ECM) Frank Kimbrough—Solstice (Pirouet) • Martin Küchen/Mark Tokar/Arkadijus Gotesmanas—Live at Vilnius Jazz Festival (NoBusiness) • Group—Expansions Live (Whaling City Sound) • Living Things—Upwind Circles (Barefoot) • LOK 03 +1—Signals (Trost) • Lume—Xabregas 10 (Clean Feed) Rafał Mazur/Keir Neuringer—Diacronic Paths (Relative Pitch) • Thollem McDonas—Meeting At The Parting Place (Odradek) • Allison Miller’s Boom Tic Boom—Otis Was A Polar Bear (Royal Potato Family) • Jemeel Moondoc/—Cosmic Nickelodeon (Relative Pitch) Nacka Forum—We are the world (Moserobie Music) • Nikolaus Neuser 5tet—Pink Elephant (Jazzwerkstatt) • New Old Luten Quintet—Tumult! (Euphorium) • Csaba Palotaï—The Deserter (BMC Records) • Papanosh—Oh Yeah Ho! (Enja Yellowbird) Emile Parisien Quartet—Spezial Snack (ACT Music) • Evan Parker—As the Wind (Emanem) • Adam Pieronczyk/Miroslav Vitous—Wings (ForTune) • Michel Pilz/Jean-Nöel Cognard—Ressuage (JazzHausMusik) • Alberto Pinton Noi Siamo—Resiliency (Moserobie Music) Michel Portal—Radar (Live at Theater Gütersloh) (Intuition) • Raya Brass Band—RAYA (s/r) • Red Trio/John Butcher—Summer Skyshift (Clean Feed) • Dave Rempis//Avreeayl Ra + Jim Baker—Perihelion (Aerophonic) • Renku—Live in Greenwich Village (Clean Feed) Trio—Crowded Solitudes (Clean Feed) • Yves Robert Trio—Inspired (BMC Records) • Roswell Rudd/Jamie Saft/Trevor Dunn/Balázs Pandi—Strength & Power (RareNoise) • Ken Schaphorst Big Band—How To Say Goodbye (JCA) • Friedhelm Schönfeld Quartett—What Happened? (Jazzwerkstatt) Santos Silva/Wodrascka/Meaas Svendsen/Berre—Rasengan! (Barefoot) • /Vijay Iyer—A cosmic rhythm with each stroke (ECM) • —MD66 (Savant) • Lew Tabackin Trio—Soundscapes (s/r) • Ensemble Double Up—Old Locks and Irregular Verbs (Pi) Tiziano Tononi/Daniele Cavallanti—The Brooklyn Express: No Time Left! (Long Song) • Laura Toxvaerd—Compositions Part 1 (ILK Music) • —Site Specific (Audiographic) • Alexander von Schlippenbach Trio—Warsaw Concert (Intakt) • Alexander von Schlippenbach—Jazz Now! (Intuition) Trio—Meets Pat Metheny (Nonesuch) • Kenny Washington—Moanin (Storyville) • West Coast Chamber Trio—L.A. Strictly Confidential (Ictus) • Nate Wooley—Argonautica (Firehouse 12) • Nate Wooley/Ken Vandermark—All Directions Home (Pleasure of the Text/Audiographic) THE NEW YORK CITY JAZZ RECORD BEST OF 2016 BEST OF 2016 BEST OF 2016 BEST OF 2016 BEST OF 2016 BEST OF 2016 REISSUES CONCERTS OF THE YEAR Peter Brötzmann/Fred Hopkins/ ROVA Charles Lloyd & The Marvels Rashied Ali—Songlines (FMP-Trost) David Budway, Chris Smith Bruce Ackley, Steve Adams, Larry Ochs, Jon Raskin Bill Frisell, Greg Leisz, , Jaki Byard Trio—Live at the Jazz’Inn (Futura) Baruch Performing Arts Center, January 10th and guests Tom Rainey, Michael Sarin The Appel Room, January 30th Dizzy Gillespie & Friends—Concert of the Century OGJB Quartet The Stone, January 22nd Vijay Iyer-Wadada Leo Smith (A Tribute to Charlie Parker) (Justin Time) , Graham Haynes, Joe Fonda, Julian Lage Trio The Met Breuer, March 30th Barry Harris—Live in Tokyo Winter Jazzfest, New School 12th Street Auditorium, January 16th , Kenny Wollesen open plan: Cecil Taylor (Xanadu-Elemental Music) Mr. Joy: A Celebration of Paul Bley Rockwood Music Hall Stage 2, March 10th Min Tanaka, , Jackson Krall, Harri Sjöström, Joe Henderson—Mirror Mirror (MPS-Edel) Lucian Ban, Jacob Sacks, , Matt Mitchell, Philip Catherine Elliott Levin, Bobby Zankel, Tristan Honsinger, Rob Schwimmer, Frank Kimbrough, Ethan Iverson, Martin Wind, Matt Wilson Albey Balgochian, Jane Balgochian Greenwich House Music School, February 11th Jazz at Kitano, March 12th The Whitney Museum, April 14th BOXED SETS Philip Catherine Eddie Palmieri Harlem River Drive Svend Asmussen— Martin Wind, Matt Wilson Amina Claudine Myers, Tom McClung, Joe Fonda Marcus Garvey Park, May 22nd Jazz at Kitano, March 11th White Box Gallery, March 29th The Incomparable Fiddler - 100 Years (Storyville) The Legends Honor McCoy TYNER Count Basie and Lester Young— Steve Swell Kende Dreams Sangam Ron Carter, Wallace Roney, Renee Rosnes, Rolando Morales-Matos, Classic 1936-1947 Studio Sessions (Mosaic) Connie Crothers, , Larry Roland, Chad Taylor Charles Lloyd, Zakir Hussain, Eric Harland Payton Crossley, Roy Haynes, Jaleel Shaw, Martin Bejerano, Joëlle Léandre—A Woman’s Work… (Not Two) Vision Festival, Judson Hall, June 9th Town Hall, June 11th David Wong, Sherman Irby, Gerald Cannon, Joe Farnsworth Central Park SummerStage, June 4th Howard Riley—Constant Change 1976-2016 Sangam Arild Andersen Trio (NoBusiness) Charles Lloyd, Zakir Hussain, Eric Harland Tommy Smith, Paolo Vinaccia Salute To Town Hall, June 11th Le Poisson Rouge, July 2nd , Randy Weston, Gary Bartz, Jack DeJohnette, Various Artists—The Boston Creative Jazz Larry Willis, , Rufus Reid, Akira Tana Scene 1970-1983 (Cultures of Soul) Steve Lacy Festival Peter Evans Quartet , Dave Liebman, Andrew Raffo Dewar, Jon Irabagon, John Hébert, Tyshawn Sorey Dizzy’s Club, September 8th , Andrew Cyrille Village Vanguard, August 12th Elio Villafranca Letters To Jazz Museum in Harlem, July 23rd , David Murray, Lewis Nash, Abdou Mboup, Vuyo Sotashe Peter Evans/Joe McPhee LARGE ENSEMBLE RELEASES The Appel Room, October 15th Darcy James Argue’s Secret Society— Mulatu Astatke Issue Project Room, August 13th Real Enemies (New Amsterdam) Adam O’Farrill, James Arben, , The Andrew Hill Legacy Project 100: The Apollo Celebrates Ella! Tal Messiah, Daniel Freedman Vijay Iyer, John Hébert, Mark Helias, Eric McPherson , Andra Day, , Count Basie Orchestra Audio One—What Thomas Bernhard Saw Metropolitan Museum of Art, September 9th , October 22nd (Audiographic) Jazz Standard, September 20th Mary Stallings John Zorn/Christian McBride/ Pierre Dørge New Jungle Orchestra— CHICK COREA/JOHN McLAUGHLIN Ubi Zaa (SteepleChase) Mike LeDonne, , Justin Brown Blue Note, December 7th Village Vanguard, November 13th Smoke, September 23rd Dave Holland Quartet Charlie Haden Liberation Music Orchestra— —Andrey Henkin Time/Life (Song For The Whales and Other Beings) (Impulse!) Michael Leonhart Orchestra Kevin Eubanks, Chris Potter, Obed Calvaire BRIC Jazzfest, BRIC House Ballroom, October 13th Birdland, December 2nd Slavic Soul Party!— Plays Duke Ellington’s Far East Suite (Ropeadope) —Laurence Donohue-Greene —Russ Musto ORIGINAL ALBUM ARTWORK MUSICIANS OF THE YEAR LABELS OF THE YEAR VENUES OF THE YEAR Ryan Carraher—Vocturnal (s/r) DARCY JAMES ARGUE (composer) ECM (ecmrecords.com) jazz at kitano (Murray Hill) Daniel Erdmann’s Velvet Revolution— ANDREW CYRILLE (drums) intakt (intaktrec.com) A Short Moment of Zero G (BMC Records) jazz standard (Kip’s Bay) PETER EVANS (trumpet) RELATIVE PITCH (relativepitchrecords.com) Stan Getz—Moments in Time (Resonance) ROULETTE (Boerum Hill) BRIA SKONBERG (trumpet/vocals) resonance (resonancerecords.org) Victor Gould—Clockwork (Fresh Sound-New Talent) the stone (Alphabet City) ALEXANDER VON SCHLIPPENBACH (piano) STORYVILLE (storyvillerecords.com) Mick Rossi—160 (Innova) village vanguard (West Village)

HONORABLE MENTIONS—NEW RELEASES Idris Ackamoor & The Pyramids—We Be All Africans (Strut) • Harry Allen’s All Star New York Saxophone Band—The Candy Men (Arbors) • Arild Andersen—The Rose Window (Live at Theater Gütersloh) (Intuition) • Richard Andersson—UDU/Itu (Hobby Horse) Ehud Asherie—Shuffle Along (Blue Heron) • The Bad Plus—It’s Hard (OKeh) • Mike Baggetta—Spectre (Fresh Sound-New Talent) • Cyro Baptista—Bluefly (Tzadik) • Nik Bärtsch’s Mobile—Continuum (ECM) • BassDrumBone—The Long Road (Auricle) • Battle Trance—Blade of Love (New Amsterdam) Michel Benita & Ethics—River Silver (ECM) • Michael Bisio/Kirk Knuffke—Row for William O. (Relative Pitch) • Full Blast—Risc (Trost) • Jane Ira Bloom—Early Americans (Outline) • Michiel Braam—Gloomy Sunday (BMC Records) • Per Aage Brandt/Karsten Vogel—Cry! (Storyville) Peter Brendler—Message in Motion (Posi-Tone) • Kenny Burrell/Los Angeles Jazz Orchestra Unlimited—Unlimited 1 (Live at Catalina’s) (HighNote) • Joe Chambers—Landscapes (HighNote) • Albert Cirera/Hernãni Faustino/Gabriel Ferrandini/Agustí Fernández—Before the Silence (NoBusiness) The Cookers—The Call of the Wild and Peaceful Heart (Smoke Sessions) • Cosmic Brujo Mutafuka—Rhapsody of the Oppressed (Dimensional) • Andrew Cyrille—The Declaration Of Musical Independence (ECM) • Tomasz Dabrowski—S-O-L-O: 30th Birthday/30 Concerts/30 Cities (Barefoot) Carsten Dahl Experience—Caleidoscopia (Storyville) • Tim Daisy’s Celebration Sextet—The Halfway There Suite (Relay) • Joseph Daley/Warren Smith/Scott Robinson—The Tuba Trio Chronicles (JoDa Locust Street Music) • DE3—Live At Maxwell’s (Sunnyside) • Deep Whole Trio—Paradise Walk (Multikulti Project) Jack DeJohnette/Ravi Coltrane/Matthew Garrison—In Movement (ECM) • Der verkaterte Stiefel—Luftschlösser (JazzHausMusik) • Robert Dick/Ursel Schlicht—The Galilean Moons (Nemu) • The Dixieland Stumblers—Eponymous (Artesuono) • John Escreet—The Unknown (Sunnyside) Peter Evans Quintet—Genesis (Moreismore) • Garrison Fewell/Gianni Mimmo—Flawless Dust (Long Song) • Jonathan Finlayson & Sicilian Defense—Moving Still (Pi) • Free Nelson MandoomJazz—The Organ Grinder (RareNoise) • Fresh Cut Orchestra—Mind Behind Closed Eyes (Ropeadope) Erik Friedlander—Rings (Skipstone) • Don Friedman—Strength and Sanity (Newvelle) • Generations Quartet—Flow (Not Two) • Muriel Grossmann—Natural Time (Dreamland) • Giovanni Guidi/Gianluca Petrella/Louis Sclavis/Gerald Cleaver—Ida Lupino (ECM) Alexander Hawkins/Evan Parker—Leaps in Leicester (Clean Feed) • Honey Ear Trio—Swivel (Little (i) Music) • The Hot Club of San Francisco—John Paul George & Django (Hot Club) • I.P.A.—I Just Did Say Something (Cuneiform) • JASS—Mix of Sun and Clouds (YOLK Music) Dawda Jobarteh/Stefan Pasborg—DUO (ILK Music) • Jungle: Mat Walerian/Matthew Shipp/Hamid Drake—Live at Okuden (ESP-Disk’) • Stacey Kent—Tenderly (OKeh) • Franklin Kiermyer—Closer to the Sun (Mobility Music) • Masabumi Kikuchi—Black Orpheus (ECM) Frank Kimbrough—Solstice (Pirouet) • Martin Küchen/Mark Tokar/Arkadijus Gotesmanas—Live at Vilnius Jazz Festival (NoBusiness) • Dave Liebman Group—Expansions Live (Whaling City Sound) • Living Things—Upwind Circles (Barefoot) • LOK 03 +1—Signals (Trost) • Lume—Xabregas 10 (Clean Feed) Rafał Mazur/Keir Neuringer—Diacronic Paths (Relative Pitch) • Thollem McDonas—Meeting At The Parting Place (Odradek) • Allison Miller’s Boom Tic Boom—Otis Was A Polar Bear (Royal Potato Family) • Jemeel Moondoc/Hilliard Greene—Cosmic Nickelodeon (Relative Pitch) Nacka Forum—We are the world (Moserobie Music) • Nikolaus Neuser 5tet—Pink Elephant (Jazzwerkstatt) • New Old Luten Quintet—Tumult! (Euphorium) • Csaba Palotaï—The Deserter (BMC Records) • Papanosh—Oh Yeah Ho! (Enja Yellowbird) Emile Parisien Quartet—Spezial Snack (ACT Music) • Evan Parker—As the Wind (Emanem) • Adam Pieronczyk/Miroslav Vitous—Wings (ForTune) • Michel Pilz/Jean-Nöel Cognard—Ressuage (JazzHausMusik) • Alberto Pinton Noi Siamo—Resiliency (Moserobie Music) Michel Portal—Radar (Live at Theater Gütersloh) (Intuition) • Raya Brass Band—RAYA (s/r) • Red Trio/John Butcher—Summer Skyshift (Clean Feed) • Dave Rempis/Joshua Abrams/Avreeayl Ra + Jim Baker—Perihelion (Aerophonic) • Renku—Live in Greenwich Village (Clean Feed) Eric Revis Trio—Crowded Solitudes (Clean Feed) • Yves Robert Trio—Inspired (BMC Records) • Roswell Rudd/Jamie Saft/Trevor Dunn/Balázs Pandi—Strength & Power (RareNoise) • Ken Schaphorst Big Band—How To Say Goodbye (JCA) • Friedhelm Schönfeld Quartett—What Happened? (Jazzwerkstatt) Santos Silva/Wodrascka/Meaas Svendsen/Berre—Rasengan! (Barefoot) • Wadada Leo Smith/Vijay Iyer—A cosmic rhythm with each stroke (ECM) • Jim Snidero—MD66 (Savant) • Lew Tabackin Trio—Soundscapes (s/r) • Henry Threadgill Ensemble Double Up—Old Locks and Irregular Verbs (Pi) Tiziano Tononi/Daniele Cavallanti—The Brooklyn Express: No Time Left! (Long Song) • Laura Toxvaerd—Compositions Part 1 (ILK Music) • Ken Vandermark—Site Specific (Audiographic) • Alexander von Schlippenbach Trio—Warsaw Concert (Intakt) • Alexander von Schlippenbach—Jazz Now! (Intuition) Cuong Vu Trio—Meets Pat Metheny (Nonesuch) • Kenny Washington—Moanin (Storyville) • West Coast Chamber Trio—L.A. Strictly Confidential (Ictus) • Nate Wooley—Argonautica (Firehouse 12) • Nate Wooley/Ken Vandermark—All Directions Home (Pleasure of the Text/Audiographic) (CD REVIEWS CONTINUED FROM PAGE 25) given the aggregate talent and prominence of the great saxophonist and the popular vocalist. The result is

Upward Spiral, an album that, in spite of its best intentions, doesn’t quite fulfill its potential. The song list is fabulously diverse, as challenging as a dare and Elling’s infectious vocals get things off to a running start with “There’s A Boat Dat’s Leavin’ Soon for New York”, one of George and Ira Gershwin’s tunes from . Vibrant playing by Marsalis on soprano, pianist , bassist Eric Revis and drummer Justin Faulkner make it impossible not to hum along and snap the fingers. Elling’s voice and Paco and John: Live At Montreux 1987 delivery are as distinctive as any in jazz, containing as Paco de Lucía/John McLaughlin (Eagle Eye Media) by Alex Henderson much as Frank Sinatra. He doesn’t always follow the melody along its expected path and Paco de Lucía, 66 when he died in 2014, not only sometimes short-arms notes when he ought to soar but Tue, Jan 3 VOXECSTATIC: TERI ROIGER “GHOST OF YESTERDAY,” influenced many other fellow flamenco guitarists but certainly isn’t short on risk-taking and exuberance. AN HOMAGE TO LADY DAY 8PM Nick Hetko, John Menegon, Steve Williams was also an inspiration to , collaborating Where Elling sounds the most at home and is most “SOUTHERN STANDARD TIME” 9:30PM with pianist Chick Corea and guitarists , effective is on the cuts where the words are a little Mark Soskin, Dean Johnson, Tim Horner, Mitch Stein, , Wed, Jan 4 AND THIS AGAINST THAT 8 & 9:30PM Larry Coryell and John McLaughlin. In 1979, de Lucia arcane, such as the hopeful title cut, which he co-wrote, Ravi Coltrane, Andy Milne, Drew Gress, Mark Ferber formed The Guitar Trio with McLaughlin and Coryell or Calvin Forbes’ delightful poem “Momma Said” set Thu, Jan 5 RYAN KEBERLE & CATHARSIS WITH GUESTS 8 & 9:30PM (replaced by Di Meola in 1981) and de Lucía and to music by Marsalis. Elling’s guileless delivery works Sofia Rei, Ingrid Jensen, Scott Robinson, Jorge Roeder, Obed Calvaire Fri, Jan 6 APAP FEST: DAN WEISS TRIO 9PM & 10:30PM McLaughlin, who turns 75 this month, played together nicely on Sting’s somber ballad “Practical Jacob Sacks, Thomas Morgan extensively during the ‘80s and here join forces for the Arrangement” but in other places his style isn’t nearly Sat, Jan 7 APAP FEST: DIDA PELLED QUARTET 8:30PM Julian Pollack, Or Bareket, Rodney Green 1987 in . This is a as effective. He steps a little too carefully through the ITAMAR BOROCHOV QUARTET 9:30PM three-disc set consisting of a DVD and two CDs, lyrics of Raoul Kraushaar’s ballad “Blue Gardenia”, Maya Kronfeld, Rick Rosato, Jay Sawyer OR BAREKET QUARTET 10:30PM capturing visually and aurally their vitality as partners from the film noir of the same name, sounding closer Shahar Elnatan, Nitai Hershkovits, Jeremy Dutton on a set neither strictly flamenco nor strictly jazz-rock to reading the words than singing them. His version of Sun, Jan 8 APAP FEST: JEN SHYU & JADE TONGUE 8:30 & 10PM fusion, but an exciting combination thereof. Just as Antonio Carlos Jobim-Aloysio de Oliveira’s “Só Tinha Satoshi Haga, Chris Dingman, Mat Maneri, Mariel Roberts, Satoshi Takeishi Thur, Jan 12 GUITAR FEST: SEBASTIAN NOELLE 8 & 9:30PM de Lucía was criticized by flamenco purists for his de Ser Com Você”, though earnest, veers perilously Marc Mommaas, Matt Mitchell, Matt Clohesy, Dan Weiss collaborations with jazz improvisers, McLaughlin has close to a parody of bossa nova. And he performs Fri, Jan 13 GUITAR FEST: BEN MONDER TRIO 9PM & 10:30PM been attacked by jazz purists who decry his pioneering Bernie Wayne-Lee Morris’ “Blue Velvet” at dirge Tony Malaby, Tom Rainey Sat, Jan 14 GUITAR FEST: REZ ABBASI TRIO 9PM & 10:30PM fusion work. McLaughlin’s willingness to be influenced tempo, with vocals so muddled that he sounds like he Marko Churnchetz, Kenny Grohowski by everything from rock to Indian ragas has been one is singing from the bottom of a well. Sun, Jan 15 VOXFEST: EMILY BRADEN 8PM EMMA KATE 9:30PM of his strong points and his lengthy relationship with And that’s where the advantage of teaming up Michael Thomas, Chris Glaskell de Lucía yields consistently memorable results here. with the Marsalis quartet becomes evident. Marsalis, Mon, Jan 16 VOXFEST: RIZUMIK 8PM XSPIRITMENTAL MAROONS INDIGENOUS BLACK 9:30PM Live At Montreux 1987 opens with McLaughlin Calderazzo, Revis and Faulkner, through years of spiritchild, Nejma Shea performing an introspective unaccompanied medley of playing together, have developed a sound and Tue, Jan 17 VOXFEST: SUSAN PEREIRA AND SABOR BRASIL 8PM the Victor Young-Ned Washington standard “My simpatico as formidable as any in jazz and are excellent Noah Bless, Deanna Witkowski, Eduardo Belo, Vanderlei Pereira ALON & JOCA - CD RELEASE CONCERT 9:30PM Foolish Heart” and his own “One Melody”. After that, throughout this album, whether complementing Alon Yavnai, Joca Perpignan de Lucía is unaccompanied on his bulería “El Panuelo”. Elling, as Marsalis does on tenor on a duo version of Wed, Jan 18 ISRAELI JAZZ FEST: ARNAN RAZ QUINTET 8PM Eyal Hai, Daniel Meron, Will Slater, Dani Danor The rest of the performance is in duo and whether the Frank Sinatra-Jack Wolf-Joel Herron’s “I’m A Fool to DANA HERZ 10PM set leans more in the direction of flamenco or fusion Want You”, or with the quartet stepping between Shachar Elnatan, Haggai Cohen Milo, Jonathan Pinson Thu, Jan 19 ISRAELI JAZZ FEST: NADAV REMEZ QUINTET 8PM varies from one selection to the next. Elling’s vocal brackets to lay down incendiary lines on Haggai Cohen Milo, Colin Stranahan Though De Lucía received criticism from flamenco Chris Whitley’s late ‘90s blues “One Island to Another” ODED TZUR QUARTET 10PM Fri, Jan 20 ISRAELI JAZZ FEST: JONATHAN GREENSTEIN QUARTET 9PM purists for working with McLaughlin but was unfazed, and “Cassandra Song”. No matter what kind of music Caili O’Doherty, Shinichiro Sakaino, Jonathan Pinson exulting in the mutual admiration. The guitarists he plays, or with whom he plays, whether it’s on TAMMY SCHEFFER QUINTET 10:30PM maintain a strong camaraderie whether leaning toward soprano or tenor, Marsalis is one of the greatest Eyal Hai, Dan Pratt, Chris Ziemba, Ronen Itzik Sat, Jan 21 DJANGO AT CORNELIA FEST: fusion on the McLaughlin offerings “Florianapolis”, saxophonists of his era and will be front and center TIM CLEMENT DJANGO EXPERIENCE 9PM & 10:30PM “David” and “Guardian Angel” or flamenco on the even if he takes two steps back. And while it would be Ryan Weisheit, Julian Smith, Dani Danor Sun, Jan 22 DJANGO AT CORNELIA FEST: TRIO FAB 8:30 & 10PM de Lucía compositions “Chiquito” and “Sichia”. unfair to say that Marsalis saves Upward Spiral, it Koran Agan, Eduardo Belo, Raj Jayaveera De Lucía and McLaughlin also turn their attention wouldn’t be unfair to say that Elling certainly benefits Mon, Jan 23 DJANGO AT CORNELIA FEST: ANOUMAN 8:30 & 10PM to Rio de Janeiro native Egberto Gismonti’s “Frevo” from having this stellar group along for the ride. Peter Sparacino, Koran Agan, Josh Kaye, Eduardo Belo Tue, Jan 24 GENE ESS & FRACTAL ATTRACTION 8PM and the result is an engaging blend of Brazilian, Thana Alexa, , Thomson Kneeland, Clarence Penn SEBASTIEN AMMANN QUARTET 9:30PM flamenco and jazz elements. Another high point is For more information, visit okeh-records.com. This project Chet Doxas, Dave Ambrosio, Allan Mednard Chick Corea’s “”, which was originally recorded is at Rose Theater Jan. 20th-21st. See Calendar. Wed, Jan 25 SAM MINAIE QUARTET 8 & 9:30PM by Return to Forever in 1972 and went on to become Mitch Marcus, Mark Ferber Thu, Jan 26 FEST: EDUARDO BELO GROUP 8PM a standard. The song’s melody is a perfect vehicle for Kevin Hays, Vic Juris, Adriano Santos the jazz-meets-flamenco ambiance de Lucía and RICHARD MILLER 9:30PM McLaughlin were celebrating. Fri, Jan 27 BRAZIL FEST: RUBENS SALLES GROUP 9PM Leco Reis, , Kaoru Watanabe, Kenny Grohowski FELIPE SALLES QUARTET 10:30PM For more information, visit eagle-rock.com Nando Michelin, Frank Ojeda, Steve Langone Sat, Jan 28 BRAZIL FEST: BILLY NEWMAN QUINTET 9PM Eric Schugren, Evan Francis, Leco Reis, Kenny Grohowski SERGIO KRAKOWSKI TRIO 10:30PM Sun, Jan 29 PATRICK CORNELIUS OCTET 8:30 & 10PM Riley Mulherkar, John Ellis, Nick Vayenas, Miles Okazaki, Glenn Zaleski, Peter Slavov, Paul Wiltgen Tue, Jan 31 MIKE BONO, NATALIE CRESSMAN DUO 8PM SONG YI JEON TRIO 9:30PM

Upward Spiral Branford Marsalis Quartet (Marsalis Music-OKeh) by Terrell Holmes On the surface, teaming up Branford Marsalis with Kurt Elling, would seem to be a can’t-miss proposition,

28 JANUARY 2017 | THE NEW YORK CITY JAZZ RECORD

range of his instrument, including plucked strings, with an idiosyncratic virtuosity. And Shank participates fully in the collaborative give and take. But she is also capable of a delicate fragility, especially in bringing out the romantic sentiments of “You Are There”, Dave Frishberg’s haunting lyrics to Johnny Mandel’s ballad.

For more information, visit ridesymbol.com. This project is at Mezzrow Jan. 9th. See Calendar.

Half Moon (Live in New York) Kendra Shank/Geoffrey Keezer (Ride Symbol) by George Kanzler

This private concert—a post-20th Century salon recital if you will—pairs singer Kendra Shank with pianist Geoffrey Keezer but does not resemble the conventional singer with accompaniment format of most jazz and cabaret singer-pianist duos. Here is a true, fluid collaboration, full of surprising, adventurous Collider interactions as well as sparkling moments of arresting DKV Thing Trio (Not Two) Semikujira solo piano. The repertoire is also not the usual bouquet Arashi (Trost) of classic standards and precociously sensitive but by Ken Waxman witty originals by the singer. Shank’s two lyrics strike subtle emotional chords, not easy sentiments, and are Norwegian drummer Paal Nilssen-Love appears to be both musical collaborations with Keezer. everywhere at once when improvised music is involved, Two songbook standards bookend the 11 tracks. leading his own aggregations and in groups led by “Alone Together”, the Howard Dietz-Arthur Schwartz players ranging from to Peter Brötzmann. classic, serves as a suitable subtitle for the album, Collider solders together The Thing, the drummer’s introducing the loose dynamic and strong rapport punk-jazz trio with Swedish saxophonist Mats between singer and pianist. A quirky piano intro— Gustafsson and Norwegian bassist Ingebrigt Håker shades of Erroll Garner—ushers in Shank’s Flaten, with its U.S. counterpart, the DKV trio of reed straightforward delivery of the lyrics for one chorus, player Ken Vandermark, bassist and then she kneads the harmonies in variations bordering drummer Hamid Drake. Collider is an opportunity to the ethereal and wordlessly coos into Keezer’s compare the styles of Nilssen-Love and Drake, who contrapuntal high-low piano rumblings. He picks up seems to be behind every drumkit that Nilssen-Love the tempo as Shank returns to scat before reprising the isn’t. During the ebb-and-flow of “Moving Map”’s 24 ending lyric with an extended, ghostly “together”. The minutes, the tensile creativity of both is discernible, closer is a high-spirited take, at heartbeat swing tempo, with one vibrating cymbals and the other crunching of the Victor Young-Jack Elliott song “A Weaver of the bass drum. As the dual bassists underscore the Dreams”, highlighted by scat-piano trades of fours. narrative with a menacing rumble, the horns perform Two other tracks are Abbey Lincoln songs, her an intricate do-si-do, with Vandermark’s clarinet own “The Music Is The Magic” and “When Love Was squeals then Gustafsson’s smearing filibuster of a You And Me”, her lyrics to Thad Jones’ “The Summary”. tenor solo moving upfront. When midway through In her forthright, unsentimental approach, stylistically each drummer takes a solo, the abrasions of metal and Shank descends from Lincoln while her distinctive scat wood on skin align flashiness with fragility. Drake and and exploratory harmonic sense suggest Sheila Jordan Nilssen-Love maintain a shuffle beat on “Cards”, is also in her lineage. “The Music Is The Magic” begins backing the reeds’ dyspeptic smears, percussive tongue with a cappella voice and vocal (and body?) percussion slaps and hoarse roars. “Left and Left Again” is in Brazilian Portuguese, Keezer joining in on the jaunty a turnaround to a melodic though leathery R&B-like bossa/ feel as the English words arrive; his pulse, at its most forceful when baritone and tenor following solo is a manifesto of anti-cliché pianistics. saxophones vamp with conjoined twin-like sympathy. There’s an exhilarating, without-a-net feel to the Semikujira is the newest chapter in the history of an improvised title track, begun as spoken word rising to on-again/off-again trio of Nilssen-Love, Swedish chant, then a melody enhanced and developed as bassist Johan Berthling and veteran Japanese alto Keezer joins in. Throughout, Keezer is an equal voice saxophonist/clarinetist Akira Sakata. The latter’s take in this duo, with distinctive solos that mine the full on combines torqued freak notes that teeter as if being gashed by a samurai sword plus vocalized subterrestrial growls sourced from a Nipponese horror flick, but he leaves space for Berthling’s buxom strokes and the drummer’s perfectly positioned accents. An amphibious vessel like “Blow of Humpback Whale”, for instance, doesn’t shake its moorings to become lost in the choppy atonal sea. “Saitaro Bushi-Atlantis- Version” puts the trio’s skills in boldest relief: Sakata’s savage output mates a Viking warrior’s berserker- styled yodeling with Peter Brötzmann-like fearless reed exposition; Berthling simultaneously accompanies and guides the others; and Nilssen-Love supplements overbearing percussion violence with the welcoming, echoing tones of Buddhist temple-like gongs. Nilssen-Love’s percussion strengths and smarts can be put to premium use in an East and West or Europe meets America program, without losing any of his singular power and with similar superior results.

For more information, visit nottwo.com and trost.at. Paal Nilssen-Love is at Clemente Soto Velez Cultural Center Jan. 19th with Steve Swell. See Calendar.

THE NEW YORK CITY JAZZ RECORD | JANUARY 2017 29 20th and 30th Anniversary Dizzy Gillespie Reunion Big Band (MPS) Concert of the Century (A Tribute to Charlie Parker) Dizzy Gillespie & Friends (Justin Time) by Fred Bouchard

Holiday season is a fine time to ring in the classics and Santa Dizzy weighs in with an historic three-generation big band and a heavyweight sextet. Berlin’s 1968 Jazz Festival and a 1980 Montréal concert are the settings, where the common threads are James Moody’s sassy alto saxophone and flute and Gillespie’s unimpeachable bent-horn antics and deadpan mock-pedantic introductions. Audio quality on neither release is impressive by today’s standards: the Berlin date sounds jam-packed and glinty; the Montréal date rings with vibes tinsel, bass snowballs and drum bunches. Gillespie thanks the Berliners, in slo-mo, mashed- potato gravitas, for their “tumultuous ovation... boundless enthusiasm... profound ebullience...” and, pausing for the shoe-drop, “damn’ good fo’ a Sou’ Ca’lina hah-school dropout!” Gillespie enlisted composer Gil Fuller for ripping charts (“Things to Come”, “One Bass Hit”) and straw-boss summoning: baritone saxophonist Cecil Payne and trombonist Ted Kelly (‘40s); trombonist (50s); recent trumpet protégé , plus current quintet members Mike Longo (piano), Paul West (bass) and Candy Finch (drums). The fast-paced set opens with uproarious “Things To Come” (Gillespie builds a three- chorus pyramid, wack section scuffles and dramatic 1-5-flat-3 codas) and closes with a stand-on-its-head “The Things Are Here” (near-far duos for Gillespie/ Owens, Fuller/trombonist Tom McIntosh, alto saxophonist Chris Woods/Moody, saxophonist /Payne and a seething minute for Finch.) In between are a ticklish “One Bass Hit” for West and puckish, textural Gillespie; Longo’s 6/4 pseudo-cop- series “Frisco” with frisky Moody and antiphonal brass shouts; and a leisurely Latin “” with two- minute solos for the quintet, cowbell a-clanking and trombones a-stuttering with a strong full-band finale. Canadians habitually eschew hyperbole, except when it comes to bebop concerts. Gillespie and Charlie Parker’s Quintet at Toronto’s Massey Hall (1953) was billed as “The Greatest Jazz Concert Ever” and this next-gen Montréal date—also available on two LPs and subtitled “Tribute to Charlie Parker”—is similarly garishly bedecked with bunting and tinsel. With six stars aboard this bandstand jam, it’s fitting that each has his tune to shine: vibraphonist Milt Jackson chimes in the Ralph Rainger-Leo Robin ballad “If I Should Lose You” at medium trot, Moody’s flute with a frisky, flutter-tongued tail-chaser, Harmon-muted Gillespie’s puffs easy with time on his hands—you dig the scene. Ensembles run loose and sketchy on “Blue ‘n Boogie” and “Get Happy” but bassist Ray Brown and drummer churn the butter; Brown even shapes it into salty sticks via Luiz Bonfá-Antônio Maria’s “Manhã de Carnaval” and ’s “Work Song”. Gillespie takes a relaxed valedictory with verse and chorus of “Stardust”, pianist brightly pacing him with his usual gracious perfection.

For more information, visit mps-music.com and justin-time.com. Tributes to Gillespie are at Peter Jay Sharp Theater Jan. 18th with the Juilliard Jazz Orchestra, Rose Theater Jan. 26th-28th with Jazz at Lincoln Center Orchestra, The Appel Room Jan. 27th-28th with Carlos Henriquez Band and Dizzy’s Club Jan. 27th-29th with Bruce Harris and Theo Croker. See Calendar.

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ones could transport a listener into a new sonic world. Night Music’s titles imply a narrative arc; we begin Satie was also one of the first European composers to with “Hotel Insomnia”, pass through “Late Call”, incorporate elements of ragtime and jazz. “Night Music” and “Afterparty” and end with Cornet player Kirk Knuffke and pianist Jesse “Sunrise” and “Color of the Sun”. As the album Stacken have at it on an all-Satie program. Yes, as many progresses, it transitions from indigo-tinted jazz-funk listeners might expect, it’s an introspective affair but to more abstract explorations, winding up in these lads bring lots to the table, presenting and a shimmering, bright-lit place. But as seamlessly as extending Satie’s iconic compositions in unique ways. everything fits together, each track stands on its own, “Petite Ouverture A Danser” is bright and leisurely as reflecting the work of an ensemble consisting of

My Scandinavian Blues: A Tribute to a sunny walk beside the Seine but Knuffke has hints of individuals with powerful statements to make—Blake US4 (Stunt) the wide-toned New Orleans yearning of Louis and Grissett in particular. by Ken Dryden Armstrong and King Oliver while Stacken contributes some shades of gospel. “Bonjour, Biqui, Bonjour!” has For more information, visit whalingcitysound.com. Micic is US4 is a band specifically assembled to record the a bereaved cast not unlike Billie Holiday’s “Gloomy at Smalls Jan. 23rd. See Calendar. music of Horace Parlan, the American pianist from Sunday”, the duo condensing as much restless Pittsburgh who moved to Europe in the early ‘70s and resignation as they can muster, Knuffke occasionally flourished there until a major stroke paralyzed and evoking Chet Baker at his most let’s-get-lost forlorn. IN PRINT blinded him. Although Parlan, who turns 86 this The thornier side of Satie can be gleaned in the month, is now living in a nursing home, he financed “Vexations” miniatures—quirky, angular, mocking, this CD with his savings and chose the songs from his pointed, a touch of stuttering, staccato rhythm. (Add extensive list of original compositions. The band is some swingin’ bass and drums to “Vexations 2” and it made up of two veteran Danish musicians: pianist could be mistaken for Monk.) “Trois Gymnopedies No. Thomas Clausen (who also wrote the arrangements) 1” features magnificent ballad playing, Stacken evoking and bassist Jimmy Roger Pedersen (Parlan’s longtime Satie’s spare, minimalistic placement of notes, Knuffke duo partner) plus Swedish tenor saxophonist Tomas touching on the high-on-a-hill panoramic quality of Franck and American drummer Adam Nussbaum, Miles Davis’ Sketches of Spain. The duo imparts some with Danish vocalist Sinne Eeg appearing on two elegant hints of swing to “Pieces Froides”. songs. All in all, a dandy introduction/tribute to Satie Parlan overcame the damage polio inflicted on the and a good set for when you need to inject some Gender and Identity in Jazz: Darmstadt Studies in Jazz Research Edited by Wolfram Knauer fingers of his right hand to create a unique sound. The drollery into your evening brooding sessions. (Jazzinstitut Darmstadt / Wolke Verlag Publishing) bluesy themes draw from several decades, beginning by Ken Waxman with the peppy treatment of “Us Three” highlighted by For more information, visit steeplechase.dk. Knuffke is at Clausen’s superb blend of hardbop with a touch of Clemente Soto Velez Cultural Center Jan. 21st, Silvana Jan. Only during the past 20 years has serious scholarship funk. “Norma” was written for Parlan’s wife and Eeg 21st and Greenwich House Music School Jan. 27th with examined the effect of gender inequality and sexual delivers upbeat, heartfelt interpretations of Susie Frank Kimbrough. See Calendar. preference on jazz. With different identities the Scraigg’s lyrics while her playful side is displayed in subject of 2015’s Darmstadt Jazzforum, the 17 essays the equally enjoyable “Little Esther”. The quartet is at collected here offer a thoughtful overview of the their peak for “In the Spur of the Moment”, as if they subjects. Written mostly in English, with summaries are wrapping an invigorating set in a Copenhagen provided for German entries, the most valuable club. The AfroCuban-flavored “Arrival” is a miniature pieces are based on primary research. An important masterpiece focusing more on the group than distinction is also made between the two concepts. individual soloists. “Broken Promises” is a brooding, While a woman playing jazz has been accepted— late-night blues that comes to life through Franck’s although downgraded as not being as profound as searing tenor, Clausen’s brooding chorus and jazz from males—the idea that homosexuals were Pedersen’s dissonant, effective solo. involved in the music seems to have been a non- The accompanying DVD features six of the studio starter for many practitioners. Night Music tracks, with images of the musicians in performance, Rale Micic (Whaling City Sound) Jenna Bailey’s piece on Ivy Benson’s British All- augmented by visuals of the Danish countryside and by Phil Freeman Girl band, which lasted from 1940-81, is instructive. Parlan album covers, along with a Parlan interview While Benson provided training and exposure for excerpt that explains the meaning behind his song title 3 of the 11 tracks on this disc are by Hungarian hundreds of women instrumentalists, she was “Broken Promises” while Clausen’s commentary is composer Béla Bartók (“Melody in a Mist” and two fixated on her musicians’ looks. As illuminating are shown on the screen rather than dubbed over the music. versions of “Nocturne”). This isn’t some classical- the conclusions of Yoko Suzuki, after discussion with This is a powerful tribute to a great pianist and composer inspired chamber-jazz record though; those three other female reed players, about how perceived who overcame multiple challenges not only to have a pieces add up to less than 5 of the disc’s 54 minutes. timidity in their playing is a legitimate way of successful career but add to his legacy after it was over. The rest of the music is by guitarist Rale Micic and utilizing the horn. Probably the most noteworthy most of it has the nocturnal feel implied by its title. The thesis is Ilona Haberkamp’s examination of pianist For more information, visit sundance.dk. opening piece, “Hotel Insomnia”, prominently features Jutta Hipp. Besides shyness and an alcohol problem, Danny Grissett on Fender Rhodes, with Johnathan Hipp’s alienation was due to the combination of

Blake rattling out twitchy, drum ’n’ bass rhythms and being a white foreign female when jazz was Corcoran Holt’s bass booming mournfully. The leader’s dominated by black American men. Her initial ultra-clean, drawn-out single notes only rarely poke exoticism also worked against her. In the U.S., her through the bluish mood created by the others—the playing was influenced by hardbop, causing early track sounds more like the work of DJ Shadow than a champions to charge that she had abandoned her jazz ensemble. cool-inflected style to sound like every other pianist. The two versions of “Nocturne” are used as Homosexuality is another matter. Despite brackets surrounding the album’s title track. The first Christian Broecking’s sympathetic review of the career is a guitar-piano duet, the second guitar-organ and of Swiss pianist Irène Schweizer, a self-proclaimed while each is beautiful in a meditative way, they feel “authentic” lesbian, European attitudes towards Satie like exercises. In between, “Night Music” is a roiling, homosexual identification of jazz musicians has been Kirk Knuffke/Jesse Stacken (SteepleChase) by Mark Keresman seven-minute eruption that initially seems to be more accepting than in the U.S. Meanwhile, adopting a structural conceit similar to the Wayne Christopher Dennison’s piece on homophobia is more Erik Satie (1866-1925), pianist and composer, was the Shorter composition “Nefertiti”—the melody is detailed if inconclusive. Citing well-known jazzers Thelonious Monk of the French classical sphere. Like repeated over and over on guitar and piano, as Blake who are gay, he is content to let their achievements Monk, Satie left space(s) between notes, letting the whips the drums into a frenzy. Eventually though, refute those who insist gay people can’t play “true” silences count as much as what was heard; both were conventional solos begin. Micic’s is almost modal jazz without actually analyzing their achievements. mavericks with a puckish sense of humor (Satie titled while Grissett unleashes one insanely fast piano run a work “True Flabby Preludes”) and neither would after another, practically screeching to a halt when it’s For more information, visit jazzinstitut.de unleash a deluge of notes when one or two well-placed time to revert to the almost ballad tempo of the head.

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does favor lyrical, boppish lines and logical tonal Fabian Almazan plays some slightly percussive yet progressions while Akinmusire is more quirky and very lyrical piano in the manner of McCoy Tyner. adventurous, with octave leaps, asymmetrical phrases Bassist Dan Loomis and drummer Jared Schonig seem and bleats, blares and chirps accenting his solos. The understated until you listen closely—they don’t solo instrumentation contributes to an airy ensemble but instead buoy the soloists’ flights with plenty of openness, the two accompanied by Akinmusire zest. compatriot Charles Altura (guitar) alongside Harrell Stylistically it is postbop with overtones of fusion, cohorts (bass) and Johnathan Blake and the mothership New Orleans. While the (drums). guests all get some spotlighting, Wee+3 is a group

Something Gold, Something Blue “Delta of the Nile” features guest Omer Avital on effort and a concise one at that—12 tracks in 53 minutes, Tom Harrell (HighNote) oud; while a Middle Eastern exoticism is overt on that meaning all killer, no filler. by George Kanzler track, rhythms undulating under interwoven trumpets soloing, its trancelike rhythmic undertow is typical of For more information, visit theweetrio.com. This project is Trumpeters Tom Harrell and many of Harrell’s originals. An atypical highlight is at Birdland Jan. 22nd. See Calendar. hail from totally different eras, in different centuries. “Body and Soul”, trumpets trading melody sections, Harrell came up in the later ‘60s heyday of hardbop, initially over just bass, then each digging into the lyric serving a noteworthy apprenticeship with pianist richness of the ballad standard in distinctive yet ON SCREEN Horace Silver. It wasn’t until Harrell was on the jazz complementary solos. scene for two decades that Akinmusire was even born Among the Harrell original standouts are and he emerged in this last decade as a strikingly “Trances”, a rolling odd meter churning below original, idiosyncratic player with his own vision, trumpets soloing over (over-dubbed?) Harmon muted expressed mostly in original compositions and obbligati; the jolting broken rhythms of “View”, with concepts. some of Akinmusire’s most arresting solo moments; So pairing the two as the only horns on and the funky, infectious “Sound Image”. On the a small group album naturally promises a significant whole, this meeting of two important trumpeters from clash of styles and musical personalities. The surprise different eras is an overwhelming triumph of a united here is the close rapport the trumpeters achieve, so jazz vision. close that at times it is even hard to distinguish who is soloing. For more information, visit jazzdepot.com. Harrell is at The Ballad of Fred Hersch (Swell Cinema) But then, a seamless blend suppressing, although Village Vanguard Jan. 24th-29th with Ethan Iverson. See by Tyran Grillo hardly stifling, individual expression, seems to be the Calendar. goal of this album, Harrell’s project filled with his An intimate portrait of a pianist and composer at originals except for a memorable rendering of “Body the height of his career, produced and directed by and Soul”. No horn solo credits are listed and there is Charlotte Lagarde and Carrie Lozano, this little stereo separation of the two, although Harrell is documentary polishes facets of Hersch’s life that the only one occasionally on . The leader may be less obvious to casual fans. Viewers are introduced to Hersch as he descends the stairs of New York’s Jazz Standard to set up for a performance. From a web of starts, stops and stolen glances, the sound of a musician who now stands among the giants of jazz piano takes shape. In the words of music critic David Hadju, one of Wee+3 a handful of advocates interviewed, “Fred’s music is The Wee Trio (Bionic) by Mark Keresman borderless” and the film shows that characterization extending further to his personality. As one who For their fifth recording, The Wee Trio takes on a new embodies the art of improvisation outside the cage tack, adding three guests, each track with a different of performance, Hersch is invested in the outcomes performer. This gives the set a sense of cohesion, of jazz beyond boundaries. It’s there in his organic sounding truly collaborative—almost all tracks are mosaic of traditions and influences, in his originals by Wee Trio members—as opposed to a star willingness to work with a variety of musicians and turning up for a cameo/solo. in his activism as an HIV-positive gay man. The Opener “R T 3” shimmers like steam rising from latter point, largely yet respectfully stressed a rain-swept street on a hot day. Electric guitarist Nir throughout, is vital to understanding his music’s Felder overlays smooth, wistful chords over a gradually river-like qualities, which constitute nothing less percolating rhythm, James Westfall’s vibraphone than an ode-in-progress to life itself. virtually reverberating in the ether. Felder’s approach Nowhere is this so boldly expressed than in his is refreshing, combining the ethereal qualities of Bill My Coma Dreams, the preparations for and premiere Frisell with the blues-laced drive of Kenny Burrell. of which dominate this documentary’s second half. This track evokes misty mornings on the West Coast, Inspired by a series of vivid dreams Hersch overlooking the ocean’s simple majesty. experienced after an infection forced him into a coma “No Justice” is a compelling hardbop strut with in 2008, this multimedia work employs speech, video subtle soul jazz overtones—it could be a ‘60s Blue Note projection and live musicians to tell the story of his obscurity, especially with ’s soulful recovery. As pianist points out, singing, then pointedly swinging trumpet high in the however, more important than Hersch’s brush with mix. His tone is as genial as Herb Alpert at first but he death are the ways in which this magnum opus gradually turns up the heat without resorting to underscores his historical importance as a torchbearer pyrotechnics, his wide tone carrying echoes of Kenny of jazz’ reckoning with hardship. It’s a message Dorham. Payton and Westfall both shine on the New underscored by his biography, which the filmmakers Orleans tribute “Belle Femme De Voodoo”, the latter uncover through interviews with his mother Florette trying on his Louis Armstrong hat (fitting nicely), all Hoffheimer and partner Scott Morgan, but also by jaunty and puckish with some growls and brassy his tireless mission to treat music as reality over smears. fantasy. Hersch is keen on acknowledging the Without the punchy bass and drums, one could specificity of any given performance as an event and mistake the intro of “Titan Up” for the mesmerizing hopes that listeners may do the same in return. minimalism of Steve Reich or Michael Nyman. The Wee lads are dynamic here, almost volatile. Westfall For more information, visit fredherschfilm.com. Hersch plays the warmer and deeper-sounding , is at Village Vanguard Jan. 3rd-8th. See Calendar. a sober tone conveying some impish notions. Pianist

THE NEW YORK CITY JAZZ RECORD | JANUARY 2017 33 IN MEMORIAM 2016

a European movie theme flavor. “Victory and Sorrow” blues, but cutting through these hard-earned lines is is an engaging bop vehicle, blending numerous twists a sense of jubilance, of play, a bitter, exuberant in its breezy setting. In “Man of Words”, emotional loquaciousness that speaks to love and humanity. arco bass provides a hypnotic vamp as Friedman is full Occasionally Eneidi will wander a bit around the of surprising moments. studio, a little bit off mic, pontificating and preaching The audio is bright and warm on this limited while bass and percussion continually stoke as a two- edition 180-gram LP, sold exclusively as part of a man congregation and modulating his speech to subscription series of LPs Newvelle issued in its first breathy delicacy on “A Child Walks in a Dream”. Remembering year of operation, which makes it a bit pricey if one Rhapsody of the Oppressed is full of life and an affirmation (Live at Jazz at Kitano, New York) Don Friedman Quartet (feat. Peter Bernstein) only wants one or two of the releases. The other quibble that the underground will always have a voice. (Edition Longplay) is that both the liner notes and the musician credits Strength and Sanity aren’t in the gatefold jacket but only available for For more information, visit downtownmusicgallery.com. Don Friedman (Newvelle) viewing online. The artistic concept of the packaging, by Ken Dryden which uses the photography of Bernard Plossu and a poem by Tracy K. Smith on the insert, was of more Don Friedman passed away in June 2016 after a brief importance to the producer. This remarkable LP is also battle with pancreatic cancer at the age of 81, leaving an essential part of Don Friedman’s discography and a recorded legacy spanning six decades. The pianist will also likely become a valuable rarity. worked with many greats, including numerous sessions with Clark Terry, led many recording dates For more information, visit editionlongplay.com and and was an underrated composer. His final sessions newvelle-records.com. were made for companies specializing in 180-gram

LP-only limited editions. Basically Baker Vol. 2: The Big Band Music of David Baker Remembering Attila Zoller, recorded in concert at Buselli-Wallarab Jazz Orchestra (Patois) New York’s Jazz at Kitano in April 2016, salutes the by George Kanzler late guitarist—with whom Friedman frequently collaborated—in a quartet completed by guitarist Peter The Buselli-Wallarab Jazz Orchestra consists of former Bernstein, bassist Harvie S and drummer Klemens students and acolytes of David Baker, who headed the Marktl. The fluid interpretation of Johnny Carisi’s Jazz Studies program at University for half “” finds Friedman at the peak of his powers and a century and died in March 2016 at age 84. This second Bernstein’s intricate solo demonstrating why he is a volume of Baker’s arrangements, all but one his first-call guitarist. The remaining three songs were all compositions, features music written from the mid ‘60s Rhapsody of the Oppressed penned by Zoller. Bernstein is prominent throughout Cosmic Brujo Mutafuka (Dimensional) to mid ‘70s. Baker’s works establish him as a major much of “Meant To Be”, a joyful ballad, Friedman’s by Clifford Allen modern jazz composer, on a par with more celebrated heartfelt playing and splendid interaction with the ones such as Gil Evans, George Russell, Thad Jones, rhythm section essential to its interpretation. Creative musicians are often faced with two challenges and Duke Ellington. Like Evans, Baker “Hungarian Rhapsody” is fueled by a catchy bass that must be met and they are often not able to be met expanded the tonal palette of the standard big band, vamp and highlighted by the marvelous interplay at the same time. Either one must dedicate a significant augmenting the usual trumpets, trombones and between Friedman and Bernstein. The session wraps part of one’s practice to creating a preordained saxophone with deep brass horn and tuba, as well as with the tender ballad “When It’s Time” as Friedman structure that will sculpt improvisation or one must adding occasional vibraphone and celeste to the and Bernstein create lyrical music worthy of ‘simmer in one’s own gravy’, building a language out rhythm/percussion section. He also believed in fully comparison to the recorded meetings of Bill Evans and of total spontaneity. There are pitfalls to both—either utilizing the complete potential of the jazz orchestra, , with subtle work by the rhythm section. writing to the detriment of skilled play and deep filling his charts behind soloists with riffs and more Listening to this 180-gram LP reminds one of why listening or playing in one’s own bag without regard to intricate backgrounds from the brass and reeds, analog recordings are so appreciated by audiophiles; the other carts. Few but remarkable are those artists including stop-time figures and drop-outs. there’s an intimacy and warmth too often missing from who are well equipped as free improvisers and burning Although Baker was pushing the boundaries of big CDs. The artwork accompanying each LP is important soloists who can also write and develop an overarching band jazz, he loved bop and one of the highlights of to Edition Longplay founder and producer Rainer sonic architecture. Alto saxophonist Marco Eneidi, this album is the only cover, Dizzy Gillespie’s “Bebop”. Haarmann and this one features a creative ink drawing who died last May at 59, was and is one such figure, A cappella horns and a drum break kick off the famous by Kerstin Kartscher. Remembering Attila Zoller has a unsurprisingly existing far outside of the jazz and theme, delivered at the requisite furious tempo with pressing of only 500 copies and includes an mp3 improvised music mainstream through decades of full orchestral brio and Graham Breedlove’s trumpet download for listening away from the turntable. It is work in the Bay Area, New York, Vienna and finally in doing Dizzying runs, Rob Dixon’s tenor searing destined to become a treasured part of any jazz Cuernevaca, Mexico. Though small groups were his through orchestral pauses punctuated by riffs and collector’s library. mettle, Eneidi also composed for large units—the rhythmic bursts. There are also nods to Russell in Strength and Sanity is a very different date, focusing American Jungle Orchestra in the Bay area and “Honesty”, a jaunty, boppish piece written for Russell’s on Friedman’s adventurous work of the ‘60s. The eight aggregations from the Neu New York/Vienna Institute band, which Baker interspersed with Bach-like brass songs were penned by trumpeter Booker Little and of Improvised Music, which he founded. chorales, as well as stop-times during Tom Walsh’s recorded in groups he led with Friedman on two LPs Cosmic Brujo Mutafuka was the last small group fervent alto solo. Another alto saxophonist, Bill Sears, made in 1961 prior to Little’s untimely death that year Eneidi worked with, based in Mexico and presenting echoes Johnny Hodges on the very Duke-ish, bluesy from uremia. The pianist features his working trio with a return to his power-trio roots. Their lone disc, “Black Thursday”, a definite salute to Ellingtonia, right bassist Phil Palombi and drummer Shinnosuke Rhapsody of the Oppressed, joins the saxophonist with down to Mark Buselli’s muted, growling, vocalizing Takahashi. The lack of horns isn’t an issue, as the bassist Itzam Cano and drummer Gabriel Lauber on a trumpet solo. “Walt’s Barbershop” rides the surf of musicians interact with the music as if it were part of program of nine collective compositions, ranging in calypso rhythms and spritely rounds among the their regular repertoire and, because Little’s music has length from barely a minute to nearly a half-hour and sections and “Shima 13” rolls along on an AfroLatin- been rarely performed since his death, with little fear delivered with as much joy, sorrow and ferocity as inflected odd meter. The celeste is used as an intro of duplicating earlier interpretations. “Moods in Free present in the titles themselves (“Uprising of the before a swing feel and interlocking brass and reed Time” shifted through several time signatures on Downtrodden Saints”, “A Child Walks In A Dream”, figures take over on the infectious “Harlem Pipes”. Little’s LP but Friedman chose to slow the tempo with “Liberation”). It should be noted that “brujo” is slang The only true ballad here—“Soft Summer Rain” the rhythm section providing sporadic response, for a shaman while “mutafaka” calls to mind the picks up to midtempo halfway through—is “Kristen’s making it seem like a free improvisation rather than French comic Mutafakaz, which traces the adventures First Song”, a lullaby for Baker’s daughter, which is a composition. “Looking Ahead” is a driving hardbop of two friends through an amnesiac dystopia. also the only track featuring the band’s two guest work worthy of greater attention; this interpretation Things get down to business almost immediately— soloists, guitarist Vic Juris and trumpeter Randy extensively showcases Palombi and Takahashi. A trio the one-minute overture “Exordium” halting to catch Brecker. It is a softly sumptuous piece with stately, version of the title track was recorded during the its breath before jumping into “‘Language is Never muted brass and delicate reeds. The Buselli-Wallarab session, but Friedman’s unaccompanied lyrical Neutral’—Paulo Freire”, hard-bitten, flinty alto cells Jazz Orchestra covers an expansive range of Baker’s rendition of this forgotten ballad was used instead. and torqued curls dancing over shimmying, interlocked always-inventive music with enjoyable verve. “Calling Softly” is an enchanting jazz waltz featuring pizzicato and pulsative waves. Eneidi’s tone is gruff Friedman’s brilliant improvising, giving the piece and his cries dole out more than a half-century of For more information, visit patoisrecords.com.

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strings snap with the accuracy of trained archers. and became an active sideman, though he eschewed The music is refreshingly focused for a one-off concert music for a brief period in the ‘60s to finish college and setting. Tchicai introduces a quick figure about five work as a computer programmer. From the ‘70s onward minutes into the second section, which Schweizer echoes, he remained a leading light of the bebop piano quieting down the proceedings before Francioli and Favre tradition, touring and recording regularly before his support it with a martial rhythm and Cherry soars death on Nov. 20th, 2016. overhead. Tchicai’s themes are the connective tissue of the While the ‘80s have been thought of as a time of concert (with fellow Dane Pierre Dørge’s “Xongly” laying neo-conservatism in jazz, that ignores the fact that the foundations of Part 3), as is his ecstatic glossolalia modern jazz was still a vital and hungry art form to

Musical Monsters (Willisau Concert) vocalizing. Schweizer, Francioli and Favre work together those who had come up in its early ranks. In 1986, at Don Cherry/John Tchicai/Irène Schweizer/ as a dynamic section, the latter, who had worked Holland’s famed Porgy & Bess jazz club, O’Brien was Léon Francioli/Pierre Favre (Intakt) extensively with both, acting as a rhythmic translator. It is caught live with a group of veteran Dutch drummer by Andrey Henkin tempting to think of Cherry as the odd man out but that John Engels, Jr., bassist Harry Emmery and tenor overlooks how he had made himself integral to the scenes saxophonist Sal Nistico (1938-91), a Syracuse-born Like Hitchcock’s Ten Little Indians, those that make up of various countries in his travels during his career, far less alumnus whose postbop tenor bona fides the fabric of the jazz tapestry keep passing, leaving Ugly American than International Citizen. and ironclad sense of pacing are in full flight here. holes impossible to mend. American trumpeter Don O’Brien is one of a school of pianists who, like Cherry died in 1995, Danish saxophonist John Tchicai in For more information, visit intaktrec.ch. Tommy Flanagan and Al Haig, distilled Bud Powell’s 2012. And March 2016 witnessed the demise of bassist fluid complexity and poised romanticism into a

Léon Francioli at 69, bulwark of the Swiss rhythm language of swing, lyricism and drama without being section, alongside pianist Irène Schweizer and drummer a ‘stylist’—this was clearly present in his early appeal Pierre Favre, found on this marvelous unearthed gem to musicians like trumpeter and pianist from the 1980 Jazzfestival Willisau. This concert is also a Randy Weston and is available on this disc in florid, reunion of sorts, Cherry and Tchicai part of the New jouncy spades. The quartet works through a program York Contemporary Five some 16 years earlier. of seven standards and bebop tunes (the latter from the You may not know Francioli nearly as well as the pens of Charlie Parker, Sonny Rollins and Gigi Gryce), other members of this quintet but that’s your fault, not exploring balladry with gentle, quizzical moodiness his. The 1970 Nolilanga LP he led for Evasion Disques and uptempo numbers with pure fire, stoked by is a wonder as are his projects with Favre and French Engels’ thinly top-heavy charge (he was an early Live from The reed player Michel Portal, appearances with German influence on Han Bennink) and Emmery’s even, Hod O’Brien meets Sal Nistico (HodStef Music) trombonist Albert Mangelsdorff and American by Clifford Allen muscular time. This disc is certainly proof of O’Brien’s saxophonist/trumpeter Joe McPhee and the Bovard/ artistry, but more than that, of bebop’s vitality decades Bourquin/Francioli/Clerc quartet. He makes his gooey Pianist Hod O’Brien was born in Chicago on Jan. 19th, after its invention and that the music’s mainstream is presence felt five minutes into the first part of this 1936 and raised in the Berkshires. Eventually settling still a home for invention at a feverish level. four-section eponymous suite with an absolute in New York, O’Brien was hired by vibraphonist and Monster (pun intended) of a solo. Elsewhere, his then-A&R man Teddy Charles to record for Prestige For more information, visit hodobrien.com.

JAN 3 JAN 18 Brandi disterheft trio chris washBurne and the JAN 4 syotos Band Billy harper quintet JAN 19 JAN 5 emmet cohen’s masters legacy series featuring jimmy coBB john Beasley’s monk’estra JAN 20–22 JAN 6 –7 & something more herlin riley JAN 23 MONDAY NIGHTS WITH WBGO JAN 8 7:30pm, harold lopez-nussa trio the spirit of django 9:30pm, sammy miller and JAN 24 the congregation fahir atakoglu trio JAN 9 JAN 25 elew trio miho hazama and m_unit JAN 10 JAN 26–29 james morrison quartet dizzy gillespie festival JAN 11 JAN 30 james morrison academy jazz new century jazz quintet orchestra JAN 31–FEB 2 JAN 12–15 javon jackson Band nicholas payton: afro-cariBBean swing by tonight set times 7:30pm & 9:30pm jazz.org / dizzys

Jazz at Lincoln Center’s Frederick P. Rose Hall Broadway at 60th Street, 5th Floor, nyc

THE NEW YORK CITY JAZZ RECORD | JANUARY 2017 35 MISCELLANY ON THIS DAY by Andrey Henkin

Relaxed Piano Moods Noisy Silence - Gentle Noise Soweto All Too Soon The Cooler Suite Hazel Scott (Debut) Dave Pike Set (MPS) (Red) Quadrant (Pablo Today) Borgmann/Brötzmann/Parker/Bakr (GROB) January 21st, 1955 January 21st, 1969 January 21st, 1979 January 21st, 1980 January 21st, 1997 From 1952-55, bassist Charles Mingus American vibraphone player Dave Given how busy he was from his 1957 Quadrant is the fancy name for the is a German free- and drummer Max Roach were paired Pike, longtime member of Herbie debut with Lucky Thompson to his quartet of Milt Jackson (vibraphone), improvising saxophonist cast from in the rhythm section of several piano Mann’s bands, made a handful of final recordings with Charles Lloyd in Joe Pass (guitar), Ray Brown (bass) the mold set by the nearly 15-year- trios, years before Duke Ellington’s albums after moving to Europe for the 2001, it is no surprise that drummer and (drums), all four older Peter Brötzmann, who joins him Money Jungle. Here they accompany German MPS label between this, his Billy Higgins didn’t lead many dates. with previous experience in the bands in the frontline for this concert from the classically-trained Hazel Scott, debut for the imprint, and June 1972, Half of those came for ’s Red of during the ‘60s-70s. the defunct Meatpacking District who later acted and sang in numerous in addition to appearing as a sideman Records, Soweto being the first, with a Here they fête another famed pianist venue The Cooler. Filling out the films and married Adam Clayton on other MPS dates. His own albums lineup of Bob Berg (tenor saxophone), in Duke Ellington, their late labelmate quartet are bassist William Parker, Powell, Jr., on her only album made always featured his Set of guitarist Cedar Walton (piano) and Tony on Pablo, for which they had a frequent collaborator of Brötzmann’s for Mingus and Roach’s Debut Volker Kriegel, bassist Hans Dumas (bass), the same as 1980’s Once previously made an album in 1977. since the mid ‘80s, and drummer imprint. Apart from Scott’s “Peace of Rettenbacher and drummer Paul More. Berg and Walton contributed The 11-tune program is a highlight in his only recorded Mind” and “Git Up From There”, the Baumeister and a particular brand of one and two tunes, respectively, to the reel of Ellington tunes, both written appearance with either saxophonist. program comprises music by Burke- psychedelic jazz-rock, mostly written program, the opening and closing by and played by his bands, including The set is split into two untitled Van Heusen, J.J. Johnson, Ellington, by Kriegel and Rettenbacher, plus tunes—the title track and “Bahia, “Caravan”, “Mood Indigo”, “Take the extemporaneous pieces, each Rodgers-Hart and the Gershwins. a Frank Zappa tune. Bahia, Bahia”—written by Higgins. ‘A’ Train” and “Sophisticated Lady”. hovering around the 25-minute mark. BIRTHDAYS January 1 January 6 January 11 January 16 January 22 January 26 †Al McKibbon 1919-2005 †Bobby Stark 1906-45 †Wilbur De Paris 1900-73 †Irving Mills 1884-1985 † 1900-84 †Stephane Grappelli 1908-97 †Milt Jackson 1923-99 †Keith Christie 1931-80 †Tab Smith 1909-71 b.1941 †Teddy McRae 1908-99 †Alice Babs 1924-2014 †Helmut Brandt 1931-2001 †Danny Moore 1941-2005 †Bob Enevoldsen 1920-2006 †JJ Johnson 1924-2001 Dick Nash b.1928 Sonny Greenwich b.1936 Barry Altschul b.1943 †Osie Johnson 1923-66 January 17 †Teddy Smith 1932-79 Benny Golson b.1929 †Susannah McCorkle 1946-2001 Adam Larson b.1990 †Cal Massey 1927-72 †Big Sid Catlett 1910-51 †Jean-Louis Viale 1933-84 Aki Takase b.1948 Chris Potter b.1970 †George Handy 1920-97 b.1939 James Shipp b.1980 January 7 January 12 †Cedar Walton 1934-2013 Eberhard Weber b.1940 January 27 †Henry “Red” Allen 1908-67 †Trummy Young 1912-84 † 1937-98 Maarten Altena b.1943 †Oran “Hot Lips” Page 1908-54 January 2 †Chano Pozo 1915-48 †Jay McShann 1916-2006 Billy Harper b.1943 Michal Urbaniak b.1943 Jimmie Smith b.1938 †Nick Fatool 1915-2000 †Keg Purnell 1915-65 †Guy Lafitte 1927-98 Pheeroan akLaff b.1955 †Bobby Hutcherson 1941-2016 BARRY ALTSCHUL †Arthur Prysock 1929-97 †Sam Woodyard 1925-88 † January 23 Noah Jarrett b.1978 †Kenny Davern 1935-2006 1940-2013 January 18 †Benny Waters 1902-98 January 28 January 6th, 1943 †Eldee Young 1936-2007 Ernst Bier b.1951 Don Thompson b.1940 †Django Reinhardt 1910-53 †Ronnie Scott 1927-96 January 3 Jane Ira Bloom b.1955 b.1944 †Teddy Napoleon 1914-64 Buddy Terry b.1941 Drummer Barry Altschul †Preston Jackson 1902-83 January 8 Ivo Perelman b.1961 Steve Grossman b.1951 †Scoops Carry 1915-70 Bob Moses b.1948 has been a respected †Herbie Nichols 1919-63 constant in the more †Wendell Culley 1906-83 Ingrid Jensen b.1966 Clark Gayton b.1963 †Ray Abrams 1920-92 Kent Kessler b.1957 adventurous realms of jazz †Musa Kaleem 1921-88 †Bobby Tucker 1923-2007 Gene Lake b.1966 Dominic Lash b.1980 †Marty Paich 1925-95 Lorenzo Sanguedolce b.1975 since debuting at 22 as part †Geezil (Harolde) Minerve Bill Goodwin b.1942 †Curtis Counce 1926-63 of pianist Paul Bley’s trio, 1922-92 b.1948 January 13 January 19 Harold Ousley b.1929 January 29 with whom the Bronx native †John Jenkins 1931-93 Marilyn Mazur b.1955 †Quentin Butter Jackson †JR Monterose 1927-93 Gary Burton b.1943 †Arnold Ross 1921-2000 would continue to work on †Motohiko Hino 1946-1999 b.1982 1909-76 Horace Parlan b.1931 Andre Hayward b.1973 †Ed Shaughnessy 1929-2013 and off through the ‘80s. b.1969 †Otis Johnson 1910-94 †Hod O’Brien 1936-2016 †Frank Assunto 1932-74 Another notable association January 9 † 1926-99 Phil Wilson b.1937 January 24 † 1932-2005 was with the band Circle, January 4 †Kenny Clarke 1914-85 †Joe Pass 1929-95 †Sam T. Brown 1939-77 †Avery Parrish 1917-59 †Jeff Clyne 1937-2010 originally a trio led by Chick †Frankie Newton 1906-54 †Jimmy Maxwell 1917-2002 Bill Easley b.1946 Joe Magnarelli b.1960 † 1920-80 †Jeanne Lee 1939-2000 Corea and then expanding †Joe Marsala 1907-78 †Betty Roche 1920-99 Eero Koivistoinen b.1946 †Joe Albany 1924-88 to a quartet with Anthony †Slim Gaillard 1916-91 †Roger Guerin 1926-2010 January 20 Lenny McBrowne b.1933 January 30 Braxton, the latter another †Frank Wess 1922-2013 b.1926 January 14 Jimmy Cobb b.1929 †Bobby Scott 1937-90 †Roy Eldridge 1911-89 frequent partner. Altschul Al Dreares b.1929 †Carson Smith 1931-97 †Jimmy Crawford 1910-80 Valery Ponomarev b.1943 † 1938-95 †Bernie Leighton 1921-94 has also worked with Sam John McLaughlin b.1942 Malcolm Cecil b.1937 †Billy Butterfield 1917-88 † 1944-2002 Marcus Printup b.1967 †Ahmed Abdul Malik 1927-93 Rivers, Kenny Drew and Eugene Chadbourne b.1954 †Joe Muranyi 1928-2012 Andy Sheppard b.1957 Duane Eubanks b.1969 † 1935-73 John Lindberg, co-led the Alex Cline b.1956 January 10 †Kenny Wheeler 1930-2014 Jeff “Tain” Watts b.1960 † 1940-2011 cooperative FAB Trio with †Haywood Henry 1913-94 b.1932 Tatsuya Nakatani b.1970 January 25 Ralph Lalama b.1951 Billy Bang and Joe Fonda January 5 †Buddy Johnson 1915-77 †Wellman Braud 1891-1966 and released a number of †Wild Bill Davison 1906-89 †Max Roach 1924-2007 January 15 January 21 †Truck Parham 1913-2002 January 31 albums under his own name †Lennie Hastings 1927-78 †Willie Dennis 1926-65 † 1909-73 Steve Potts b.1945 †Floyd Smith 1917-82 †Bobby Hackett 1915-76 for IAI, Muse, Soul Note, b.1931 †Allen Eager 1927-2003 †Artie Shapiro 1916-2003 Lou Grassi b.1947 Barbara Carroll b.1925 b.1936 Red and, most recently, Chuck Flores b.1935 William Parker b.1952 †Bob Maize 1945-2004 b.1956 †Antonio Carlos Jobim 1927-95 Frank Ricotti b.1949 ’s TUM with his The b.1957 Mike Stern b.1954 b.1947 Jason Moran b.1975 Alexis Cuadrado b.1971 b.1977 3dom Factor band. -AH CROSSWORD

1 2 3 ACROSS 27. Drummer Humphries who played with , John Coltrane and Sun Ra 1. Queen ____ Trio of Ig Henneman, Lori Freedman 4 5 6 7 and Marilyn Lerner DOWN 4. 2011 Octet Ogun album 8 9 From ____ To Wind 1. Trombonist Duncan who was one of 8. One of Oscar Pettiford’s most famous tunes Ken Colyer’s Jazzmen 10. 1964 Nancy Wilson Capitol album 2. “____ Or A Wink (Dedicated To Richard Rogers)”, 10 11 How Glad ____ tune by bassist Kelly Roberty 11. British label that was Ella Fitzgerald’s home 3. 1979 Columbia album Take A ____ 12 13 14 in the ‘50s 4. Drummer Oliphant 12. 1993 MMW Gramavision album 5. Song off of the 1975 The Headhunters Arista ____ Jungle In Here album Survival Of The Fittest named for a 15 16 13. Theo Bleckmann did a 2011 tribute to this Bush Nigerian river 15. Saxophonist Moshe 6. Finnish large ensemble Ricky ____ Big Band 17 18 19 16. Trumpeter Fleming 7. 2009 SteepleChase album 17. 2013 Wayne Shorter Quartet Blue Note album 8. Rome studio where many Horo Records albums Without ____ were made 20 21 22 23 19. Belgian percussionist/vibraphonist Fats 9. Both and Kenny Dorham recorded 20. ____ Quartet of Gerry Hemingway, albums with this title two years apart

24 25 , Michael Formanek and 12. Jazz critic Gitler Rob Schwimmer 14. British record company that once owned 23. Billie Holiday standard “Ain’t Nobody’s 26 Business If ____” 18. There are two uses for these on the bandstand 24. He had a ragtime band? 19. Slang for an LP

27 26. 1971 single Two Little Pigeons / 21. Trumpeter Dörner ____ Of Superbly Played Mellotron Codas 22. With 2, Dave Holland imprint 25. Guitarist Bern By Andrey Henkin visit nycjazzrecord.com for answers 36 JANUARY 2017 | THE NEW YORK CITY JAZZ RECORD MONK IN MOTION Presenting Finalists of Previous Thelonious Monk International Jazz Competitions

TICKETS: CALL 212 220  1460 ONLINE: TRIBECAPAC.ORG 199 CHAMBERS STREET BMCC CAMPUS CALENDAR

Sunday, January 1 • Z.I.S. Trio: Zoe Christiansen, Sasha Lurje, Ilya Shneyveys Wednesday, January 4 Bar Lunàtico 8:30, 10 pm $10 êDr. Lonnie Smith Octet with Andy Gravish, John Ellis, Andre Murchinson, • Chris Botti 12th Annual Holiday Residency êDouble Trouble: Jerry Granelli/Billy Hart Jason Marshall, Dave Stryker, Johnathan Blake, Khalil Kwame Bell Blue Note 8, 10:30 pm $95 The Stone 9 pm $20 Jazz Standard 7:30, 9:30 pm $35 êBen Goldberg/Tom Rainey Downtown Music Gallery 6 pm êBilly Harper Quintet with Freddie Hendrix, Francesca Tanksley, Hwansu Kang, êThe Bad Plus: Ethan Iverson, Reid Anderson, Dave King Aaron Scott Dizzy’s Club 7:30, 9:30 pm $30 Village Vanguard 8:30, 10:30 pm $30 Tuesday, January 3 • Vuyo Sotashe Dizzy’s Club 11:30 pm $5 êCountdown 2017 Coltrane Festival: Eric Alexander Quartet with Harold Mabern, êRalph Alessi And This Against That with Ravi Coltrane, Andy Milne, Drew Gress, John Webber, Joe Farnsworth Smoke 7, 9, 10:30 pm $40 êSound Songs: Jerry Granelli, Jay Clayton, Briggan Krauss, J. Anthony Granelli Mark Ferber Cornelia Street Underground 8, 9:30 pm $10 êCécile McLorin Salvant and Aaron Diehl Trio with Paul Sikivie, Lawrence Leathers The Stone 9 pm $20 • Joe Farnsworth Quartet with Eric Alexander, Isiah Thompson, Gerald Cannon Dizzy’s Club 7, 9 pm $45 êFred Hersch Trio + 2 with Dayna Stephens, Mike Rodriguez, John Hébert, An Beal Bocht Café 8, 9:30 pm $15 • Chris Botti 12th Annual Holiday Residency Eric McPherson Village Vanguard 8:30, 10:30 pm $30 • John di Martino Trio with Mark Taylor Blue Note 8, 10:30 pm $115 êMarcus Roberts Trio and The Modern Jazz Generation Jazz at Kitano 8, 10 pm $17 • Olli Soikkeli Barbès 9 pm $10 Birdland 8:30, 11 pm $40 êItalian Surf Academy: Marco Cappelli, Dave Miller, Damon Banks • Terry Waldo’s Gotham City Band; Jade Synstelien Fat Cat Big Band; êMadera Latino – A Latin Jazz Interpretation On The Music Of Woody Shaw: Rockwood Music Hall Stage 3 8:30 pm $10 Brandon Lewis/Renee Cruz Jam Fat Cat 6, 8:30 pm 1 am Brian Lynch, Ingrid Jensen, Phillip Dizack, Zaccai Curtis, Ruben Rodriguez, êCharlie Burnham Trio with Ben Goldberg, • Christine Jensen, Helge Nysted and Friends Little Johnny Rivero, Obed Calvaire Bar Lunàtico 8:30, 10 pm $10 Saint Peter’s 5 pm Jazz Standard 7:30, 9:30 pm $25 • Irreversible Entanglements: Luke Stewart, Camae Ayewa, Keir Neuringer, Jamal Moore, • Donald Vega Trio Blue Note 11:30 am 1:30 pm $35 êBrandi Disterheft Trio with Harold Mabern, Joe Farnsworth Tscher Holmes, Khalid Thompson; Ras Moshe Ensemble with Larry Roland, • Rick MacLaine Trio with Saul Rubin, Kevin Hailey Dizzy’s Club 7:30, 9:30 pm $35 Tor Yochai Snyder, Lisette Santiago, Warren Smith; Ingrid Laubrock/Tom Rainey North Square Lounge 12:30, 2 pm • Vuyo Sotashe Dizzy’s Club 11:30 pm $5 Clemente Soto Velez Cultural Center 7 pm $11-22 êBroken Shadows: , Chris Speed, Reid Anderson, Dave King; • Brandon Bain with JS Williams, Marvin Dolly, Willerm Delisfort, Jonathan Michel, Igor Lumpert, Ralph Alessi, Todd Neufeld, Chris Tordini, Gerald Cleaver Jimmy MacBride, Kareem Thompson Monday, January 2 Korzo 9, 10:30 pm Smoke 7, 9, 10:30 pm $12 êAbraham Mennen, Kesivan Naidoo, Brandon Lopez; Mara Rosenbloom/Cooper-Moore; • Aaron Diehl/Warren Wolf; Tony Hewitt êChris Speed Trio with Chris Tordini, Dave King Aruán Ortiz Quartet with Darius Jones, Marika Hughes, Fay Victor Mezzrow 8, 11 pm $20 Le Poisson Rouge 9:30 pm $25 Clemente Soto Velez Cultural Center 7 pm $11-22 • Jochen Rueckert Quartet with , Orlando Le Fleming, Lage Lund; êDave Sewelson Quartet with Ryan Frazier, Devin Hoff, Alex Cline and guest • Voxecstatic: Teri Roiger Ghost Of Yesterday with Nick Hetko, John Menegon, Adam Larson Quartet with Can Olgun, Matt Penman, Johnathan Blake; Aaron Seeber Mike Watson; Gerald Cleaver/Chris Potter; Songs for Girshel: Cheryl Pyle/ Steve Williams; Roseanna Vitro Southern Standard Time with Mark Soskin, Smalls 7:30, 10:30 pm 1 am $20 Premik Russell Tubbs Clemente Soto Velez Cultural Center 7 pm $11-22 Dean Johnson, Tim Horner, Mitch Stein, Don Braden, Ron Horton • Billy Kaye; Groover Trio; Ned Goold Jam êThe Out Louds: Tomas Fujiwara, Ben Goldberg, Mary Halvorson Cornelia Street Underground 8, 9:30 pm $10 Fat Cat 7, 9 pm 12:30 am Ibeam Brooklyn 8:30 pm $15 • Roni Ben-Hur/Santi Debriano; Miki Yamanaka/Adi Meyerson êJure Pukl, Darius Jones, Pablo Menares, Gerald Cleaver • Tivon Pennicott/Chip Crawford; Pasquale Grasso Mezzrow 8, 11 pm $20 Happylucky no.1 7:30 pm $10 Mezzrow 8, 11 pm $20 • Spike Wilner Trio with Tyler Mitchell, Anthony Pinciotti; Greg Tardy Quintet with • Hot Club of Flatbush Radegast Hall 9 pm • Jure Pukl Quintet with Mike Moreno, Marko Churnchetz, Vicente Archer; , Bruce Barth, Sean Conly, Johnathan Blake; Jon Beshay with êFred Hersch Trio + 2 with Dayna Stephens, Mike Rodriguez, John Hébert, Ari Hoenig Group; Jonathan Michel Tadataka Unno, George DeLancey, Curtis Nowosad Eric McPherson Village Vanguard 8:30, 10:30 pm $30 Smalls 7:30, 10:30 pm 1 am $20 Smalls 7:30, 10:30 pm 1 am $20 êMarcus Roberts Trio and The Modern Jazz Generation • Johnny O’Neal; Behn Gillece Quintet; Billy Kaye Jam • Marcus Persiani; Willie Martinez; Yoshi Waki Birdland 8:30, 11 pm $40 Fat Cat 6, 9 pm 12:30 am Fat Cat 7, 9 pm 12:30 am êMadera Latino – A Latin Jazz Interpretation On The Music Of Woody Shaw: • Steve Slagle’s Alto Manhattan with Lawrence Fields, Gerald Cannon, Jason Tiemann • Tom Finn Trio with Jorge Roeder, Jeff Hirshfield Brian Lynch, Ingrid Jensen, Phillip Dizack, Zaccai Curtis, Ruben Rodriguez, Zinc Bar 10 pm Bar Next Door 8:30, 10:30 pm $12 Little Johnny Rivero, Obed Calvaire • Rebecca Martin Group with Lage Lund, Larry Grenadier, Dan Rieser • Chris Botti 12th Annual Holiday Residency Jazz Standard 7:30, 9:30 pm $25 Rockwood Music Hall Stage 3 7 pm $15 Blue Note 8, 10:30 pm $95 • Chris Botti 12th Annual Holiday Residency • Peter Amos Trio with Dave Hassel, Tim Talavera; Dida Pelled Trio with Or Bareket, • Rims & Keys Shrine 6 pm Blue Note 8, 10:30 pm $95 Daniel Dor Bar Next Door 6:30, 8:30, 10:30 pm $12 êHarvie S/Alan Broadbent Saint Peter’s 1 pm $10 • Litvakus with Sasha Lurje Jalopy 8:30 pm $15

Stephan Crump’s Rhombal “bristles with the unexpected and the lively” HHHH Downbeat

Ellery Eskelin u tenor saxophone Adam O’Farrill u trumpet Tyshawn Sorey u drums available now on vinyl and CD u Stephan Crump acoustic bass stephancrump.bandcamp.com

38 JANUARY 2017 | THE NEW YORK CITY JAZZ RECORD Thursday, January 5 êWinter Jazzfest: Brooklyn Raga Massive Coltrane Tribute: Sameer Gupta, Marc Cary, Brandee Younger, Jay Gandhi, Arun Ramamurthy, Pawan Benjamin, Neel Murgai, êWinter Jazzfest/Jazz Legends for Disability Pride: Ron Carter, Benny Golson, Basu, Rashaan Carter, Michael Gam; Earth Wind and Brown: Butcher Brown, Jimmy Cobb, George Coleman, Louis Hayes, Harold Mabern, Bill Charlap, Devonne Harris, Andrew Randazzo, Corey Fonville, Marcus Tenney, Morgan Burrs, Renee Rosnes, Joe Farnsworth, Buster Williams, John Webber, Peter Bernstein, Nigel Hall; Vinicius Cantuaria Quintet with , Paul Sokolow, Adriano Santos, , Kenny Washington, , Eddie Henderson, , Dende; Steven Bernstein’s Universal Melody Brass Band; Zig Zag Trio: Will Calhoun, Mike LeDonne, Larry Willis, Roberta Gambarini, Jon Faddis , SOB’s 7 pm $45 Quaker Friends Meeting Hall 6:30 pm $100 êWinter Jazzfest: Fleurine and The Boys from Brazil with Vitor Gonçalves, Eduardo Belo, êWinter Jazzfest: with William Henderson, Dezron Douglas, Ian Faquini; Darcy James Argue’s Secret Society with Dave Pietro, Rob Wilkerson, Johnathan Blake; Shabaka And The Ancestors with Thunzi Mvubu, Chris Speed, John Ellis, Carl Maraghi, Seneca Black, Jonathan Powell, Matt Holman, Siyabonga Mthembu, Ariel Zomonsky, Tumi Mogorosi Nadje Noordhuis, Ingrid Jensen, Mike Fahie, Ryan Keberle, Jacob Garchik, AMINA Le Poisson Rouge 8 pm $45 George Flynn, Sebastian Noelle, Carmen Staaf, Matt Clohesy, Jon Wikan; • John Beasley’s MONK’estra with Bijon Watson, Brian Lynch, Scott Wendholt, Jacob Garchik’s Ye Olde with Ava Mendoza, Mary Halvorson, Jonathan Goldberger, Brian Swartz, , , James Burton, Danny Janklow, Vinnie Sperrazza; Somi with Michaël Attias, Liberty Ellman, Ben Williams, Nate Smith; Oliver Santana, Greg Tardy, Dave Riekenberg, Adam Kolker, James Genus, Kneebody: Adam Benjamin, Shane Endsley, Ben Wendel, Kaveh Rastegar, Nate Wood; Terreon Gully Dizzy’s Club 7:30, 9:30 pm $35 Battle Trance: Travis Laplante, Matt Nelson, Jeremy Viner, Patrick Breiner CLAUDINE • Vuyo Sotashe Dizzy’s Club 11:30 pm $10 SubCulture 6 pm $45 êIn Cahoots: Ned Rothenberg, Mark Feldman, Sylvie Courvoisier; êWinter Jazzfest: Killiam Shakespeare; Kandace Springs Trio with Jesse Bielenberg, James Brandon Lewis/Anthony Pirog; Yoni Kretzmer Trio with Jason Ajemian, Dillon Treacy; Isaiah Sharkey; ’s Twi-Life; Kevin Shea Clemente Soto Velez Cultural Center 7 pm $11-22 Chris Dave and The Drumhedz Bowery Ballroom 7 pm $45 êAlicyn Yaffee Trio with Benny Rietveld, Todd Isler; Jon Irabagon Trio with Gary Versace, êWinter Jazzfest: Wild Cotton with Imani Uzuri and Marcus Gilmore; Tom Rainey Bar Next Door 6:30, 8:30, 10:30 pm $12 Hazmat Modine and Alash Ensemble: Wade Schuman, Erik Della Penna, Joseph Daley, êRyan Keberle and Catharsis with Sofia Rei, Ingrid Jensen, Scott Robinson, Pam Fleming, Steve Elson, Reut Regev, Kevin Garcia, Micheala Gomez, Mazz Swift, Jorge Roeder, Obed Calvaire Cornelia Street Underground 8, 9:30 pm $10 Tim Keiper, Bady-Dorzhu Ondar, Ayan-ool Sam, Ayan Shirizhik; Omer Avital Group with êBen Goldberg’s Invisible Guy with Hamir Atwal, Michael Coleman; Chris Cochrane solo Asaf Yuria, Alexander Levin, Eden Ladin, Ofri Nehemya; Nir Felder Trio with MYERS The Owl Music Parlor 7:30 pm Matt Penman, Jimmy Macbride; Big Yuki êBurnt Sugar the Arkestra ChamberDavid Rubenstein Atrium 7:30 pm The Bitter End 6:40 pm $45 • La Belle Epoque: Vincent Peirani/Émile Parisien; Pablo Ziegler JazzTango Trio with êWinter Jazzfest: /Omar Hakim Group with Sandro Albert, Jonathan Toscano; Hector Del Curto, Claudio Ragazzi Club Bonafide 7:30, 9:30 pm $15-20 Aaron Goldberg Trio with Yasushi Nakamura, Leon Parker; Peter Bernstein Monk Trio • Ben Monder/; Spike Wilner with Doug Weiss, ; Plus+tet with Anthony Wonsey, Mezzrow 8, 11 pm $20 Kenny Davis, Rudy Royston; Roy Nathanson/Arturo O’Farrill; • Jochen Rueckert Quartet with Mark Turner, Orlando Le Fleming, Lage Lund; JC Hopkins Biggish Band Zinc Bar 6:20 pm $45 Vitaly Golovnev Quartet with Melissa Aldana, Simona Premazzi, Jay Sawyer; Joel Ross êWinter Jazzfest: Yonatan Gat plays Dvořák’s American Quartet; The Westerlies; Smalls 7:30, 10:30 pm 1 am $20 House of Waters: Max ZT, Moto Fukushima; Colin Stetson, Greg Fox, Trevor Dunn • Camille Gainer; Saul Rubin Zebtet; Ray Gallon Bowery Electric 7 pm $45 Fat Cat 7, 10 pm 1:30 am êWinter Jazzfest: Terry Waldo’s Storyville; Eddie Barbash Band; Nicki Parrott Duo; • Jesse Fischer with guest Sarah Elizabeth Charles Gunhild Carling Band; Sammy Miller and The Congregation; Ginny’s Supper Club 7:30, 9:30 pm $15 The Ladybugs Disney Show The Django at Roxy Hotel 6:40 pm $45 • Smoke Sessions Records Showcase êWinter Jazzfest: Corey King; Brookzill!: Prince Paul, Ladybug Mecca, Don Newkirk, Smoke 7, 9, 10:30 pm $12 Rodrigo Brandão; Oracle with Taylor Eigsti, John Ellis, Mike Moreno, • Regina Carter’s Simply Ella with Xavier Davis, Marvin Sewell, Chris Lightcap, Joe Sanders; Jason Lindner Now vs Now; Ilhan Ersahin’s Istanbul Sessions Alvester Garnett Jazz Standard 7:30, 9:30 pm $30 Nublu 7:20 pm $45 êWhat I Hear Now: Jerry Granelli, Jane Ira Bloom, Dave Douglas, Mark Dresser êBilly Harper Quintet with Freddie Hendrix, Francesca Tanksley, Hwansu Kang, The Stone 9 pm $20 Aaron Scott Smoke 7, 9, 10:30 pm $38 êHypnotic Brass Ensemble Iridium 9:30 pm $25 • Herlin Riley Band with Godwin Louis, Bruce Haris, Emmet Cohen, Russell Hall • Toku Quartet with John di Martino, Boris Kozlov, Mark Taylor Dizzy’s Club 7:30, 9:30 pm $40 Jazz at Kitano 8, 10 pm $17 • Vuyo Sotashe Dizzy’s Club 11:30 pm $10 • JC Stylles; Alex Claffy The Django at The Roxy Hotel 7:30, 10 pm êDan Weiss Trio with Jacob Sacks, Thomas Morgan • The NOW Sound of Budapest: Meszecsinka; David Yengibarian Trio with István Bata, Cornelia Street Underground 9, 10:30 pm $10 Márk Badics; Borbély Mihály Polygon • Alan Broadbent Trio with Don Falzone, Billy Mintz; Johnny O’Neal Drom 8 pm Mezzrow 8, 11 pm $20 • Ilhan Ersahin’s Istanbul Sessions Drom 10:30 pm $20 • Tom Guarna with Ugonna Okegwo, E.J. Strickland; Billy Drummond’s Freedom of Ideas AMINA CLAUDINE MYERS • Eli Wallace solo; KinAesthetic: Ben Cohen/Tim Cohen; with Chris Potter, David Virelles, Dezron Douglas; Eric Wyatt Viriditas and Friends: Ben Cohen, Ross Gallagher, Tim Cohen and guests Smalls 7:30, 10:30 pm 1 am $20 “SAMA RoU – SoNgS FRoM MY SoUL” Muchmore’s 8:30 pm êSongs From My Life: Jerry Granelli, Jamie Saft, Brad Jones Now AvAILAbLE thRoUgh CD bAbY • Peter Maness Quartet Cavatappo Grill 9, 11 pm $10 The Stone 9 pm $20 • Gordon’s Grand Street Stompers Radegast Hall 9 pm • Vanessa Rubin Quartet with Brandon McCune, Peter Dominguez, Alvin Atkinson and êFred Hersch Trio + 2 with Dayna Stephens, Mike Rodriguez, John Hébert, guest Houston Person Jazz at Kitano 8, 10 pm $32 Eric McPherson Village Vanguard 8:30, 10:30 pm $30 • Leila Bordreuil/Michael Foster; Jason Kao Hwang; Tony Malaby’s Up Against the Wall • Danny Bacher with Jason Teborek, Dean Johnson, Mark McLean, Sam Hoyt, with Ben Gerstein, Tom Rainey Clemente Soto Velez Cultural Center 7 pm $11-22 Evan Arntzen Birdland 6 pm $25 • Patrick Cornelius Trio with Orlando Le Fleming, Jochen Rueckert AMINA CLAUDINE MYERS êMarcus Roberts Trio and The Modern Jazz Generation Bar Next Door 7:30, 9:30, 11:30 pm $12 pERFoRMS At wINtER JAzzFESt Birdland 8:30, 11 pm $40 • ; Christine Tobin/Kelley Suttenfield • Chris Botti 12th Annual Holiday Residency Club Noctambulo at Pangea 7, 9:30 pm $20 Blue Note 8, 10:30 pm $95 • Balkan Peppers: , Kenny Warren, Ethan Helm, Mike Verselli, JANUARY 6, 2017, 6:40 pM • The Erik Satie Quartet Silvana 6 pm Seido Salifoski; Uri Gurvich Quartet with Kevin Hays, Peter Slavov, Francisco Mela At thE NEw SChooL 12th StREEt AUDItoRIUM Club Bonafide 7:30, 9:30 pm $10 • Sammy Figueroa Club Bonafide 11 pm $20 Friday, January 6 • Rogério Boccato Quartet with Dan Blake, Vitor Gonçalves, Jay Anderson Neighborhood Church of Greenwich Village 8, 9:30 pm êWinter Jazzfest: ’ Breathe; Andrew Cyrille/Bill McHenry Duo; • Kavita Rubin Museum 7 pm $20 AMINACLAUDINEMYERS.CoM Songs of Freedom: Dee Bridgewater, Theo Bleckmann, Alicia Olatuja, Allyn Johnson, • JC Sanford 4 with Pete McCann, Dave Ambrosio, George Schuller; David Rosenthal, Reuben Rogers, Ulysses Owens, Jr.; Urban Bush Women: Du’Bois A’Keen, Amanda Castro, Courtney J. Cook, Jason Moran and The Bandwagon with , Nasheet Waits Chanon Judson, Tendayi Kuumba, Stephanie Mas, Samantha Speis, Pyeng Threadgill, New School Tishman Auditorium 7 pm $45 Kahlil Kwame Bell, Craig Harris, Michael King, Melissa Slocum, Camille Thurman êWinter Jazzfest: Amina Claudine Myers solo; Spanish Harlem Orchestra; ShapeShifter Lab 7, 9 pm $10 Melissa Aldana Group with Glenn Zaleski, Pablo Menares, Craig Weinrib, Joel Ross, • Ryan Meagher’s Spontaneous Composition with Charlotte Greve, Geoff Kraly, Godwin Louis; David Murray Class Struggle with Mingus Murray; William Parker, Vinnie Sperrazza Ibeam Brooklyn 8 pm $15 Cooper-Moore, Hamid Drake, Rob Brown • Dida Pelled Quartet; Jared Gold/Dave Gibson Band; Paul Nowinski New School 12th Street Auditorium 6:40 pm $45 Fat Cat 6, 10:30 pm 1:30 am êWinter Jazzfest: Brian Drye’s Bizingas with Hank Roberts, Shane Endsley, • King Solomon Hicks Minton’s 7 pm Jonathan Goldberger, Ches Smith; Andy Milne and The Seasons of Being with • Michael Mwenso and the Shakes Ginny’s Supper Club 7, 9 pm $15 Aaron Kruziki, Michaël Attias, Ralph Alessi, La Tanya Hall, John Moon, Ben Monder, • Rotem Sivan/Gracie Terzian; Dana Reedy Chris Hoffman, Chris Tordini, Kenny Grohowski; Trio with Mark Helias, Caffe Vivaldi 7, 9 pm Clarence Penn; Jim Black’s Malamute with Loftur Gudmundsson, Elias Stemeseder, • Michika Fukumori Trio Cleopatra’s Needle 8 pm Chris Tordini New School 5th Floor Theater 7:20 pm $45 • Regina Carter’s Simply Ella with Xavier Davis, Marvin Sewell, Chris Lightcap, êWinter Jazzfest: Jonathan Finlayson’s Sicilian Defense with Miles Okazaki, Alvester Garnett Jazz Standard 7:30, 9:30 pm $30 Matt Mitchell, John Hébert, Craig Weinrib; Nate Smith + Kinfolk with Fima Ephron, êFred Hersch Trio + 2 with Dayna Stephens, Mike Rodriguez, John Hébert, Jeremy Most, Amma Whatt, Jon Cowherd, Jaleel Shaw; Tigue: Matt Evans, Eric McPherson Village Vanguard 8:30, 10:30 pm $30 Amy Garapic, Carson Moody, Tristan Kasten-Krause, Ben Seretan; êMarcus Roberts Trio and The Modern Jazz Generation Mike Reed’s Flesh & Bone with Greg Ward, Ben Lamar Gay, Tim Haldeman, Birdland 8:30, 11 pm $40 Jason Stein, Jason Roebke, Marvin Tate; Samora Pinderhughes’ • Chris Botti 12th Annual Holiday Residency The Transformations Suite with Elena Pinderhughes, Jeremie Harris, Jules Latimer, Blue Note 8, 10:30 pm $95 Vuyo Sotashe, Riley Mulherkar, Lucas Pino, Braxton Cook, Tony Lustig, Clovis Nicolas, • Elsa Nilsson Quartet Rockwood Music Hall Stage 1 6 pm Mark Whitfield, Jr. New School Glass Box Theater 6:40 pm $45 • Ernesto Larcher 5tet Shrine 6 pm êWinter Jazzfest: Daymé Arocena with Rafael Aldama, Jorge Luis Lagarza Perez, Raul Herrera Martinez; Dave Douglas High Risk with Shigeto, Jonathan Maron, Mark Guiliana, Geoff Countryman; Donny McCaslin Group with Jason Lindner, Nate Wood, Mark Guiliana, Jeff Taylor Le Poisson Rouge 6:20 pm $45

THE NEW YORK CITY JAZZ RECORD | JANUARY 2017 39 Saturday, January 7 êCory Weeds Quintet with Joe Magnarelli, David Hazeltine, Paul Gill, Jason Tiemann; Billy Drummond’s Freedom of Ideas with Chris Potter, David Virelles, Dezron Douglas; vocalist êWinter Jazzfest—ECM Showcase: Michael Formanek, Tim Berne, Craig Taborn, Brooklyn Circle: Stacy Dillard, Diallo House, Ismail Lawal Gerald Cleaver; Jakob Bro, Thomas Morgan, Joey Baron; Ravi Coltrane/David Virelles; Smalls 7:30, 10:30 pm 1 am $20 Bill Frisell/Thomas Morgan; Nik Bärtsch’s Mobile with Sha, Kaspar Rast, Nicolas Stocker • Urban Bush Women: Du’Bois A’Keen, Amanda Castro, Courtney J. Cook, New School Tishman Auditorium 6 pm $45 Chanon Judson, Tendayi Kuumba, Stephanie Mas, Samantha Speis, Pyeng Threadgill, êWinter Jazzfest: Joe Fonda Quintet; Ralph Peterson Aggregate Prime with Kahlil Kwame Bell, Craig Harris, Michael King, Melissa Slocum, Camille Thurman KENDRA Gary Thomas, Mark Whitfield, Zaccai Curtis, Kenny Davis; Becca Stevens Trio with ShapeShifter Lab 9 pm $10 Chris Tordini, Jordan Perlson and guest Michael League; êFred Hersch Trio + 2 with Dayna Stephens, Mike Rodriguez, John Hébert, Andrew Cyrille Haitian Fascination with Alix Pascal, Alix Ambroise, Jean Guy Rene, Eric McPherson Village Vanguard 8:30, 10:30 pm $30 ; Florian Weber’s CrissCross with Donny McCaslin, Dan Weiss êMarcus Roberts Trio and The Modern Jazz Generation New School 12th Street Auditorium 6:20 pm $45 Birdland 8:30, 11 pm $40 SHANK Chris Botti 12th Annual Holiday Residency êWinter Jazzfest: Mary Halvorson Octet with Jonathan Finlayson, Jon Irabagon, • Ingrid Laubrock, Jacob Garchik, Susan Alcorn, Chris Lightcap, Ches Smith; Blue Note 8, 10:30 pm $95 pianist Ben Goldberg’s Invisible Guy with Hamir Atwal, Michael Coleman; êLeon Parker’s Humanitu Quartet with Joel Frahm, Peter Bernstein, Sean Smith Edmar Castañeda World Ensemble; Chris Lightcap’s Superette with Curtis Hasselbring, Yamaha Artists Services 5:30 pm Jonathan Goldberger, Dan Rieser; Talibam! Hard Vibe: Matt Mottel, Kevin Shea, • Sylvain Leroux 440Gallery 4:40 pm $10 Ron Stabinsky, Matt Nelson New School 5th Floor Theater 7 pm $45 êWinter Jazzfest: John Hébert’s Rambling Confessions with Jen Shyu, Andy Milne, GEOFFREY Satoshi Takeishi; Amirtha Kidambi’s Elder Ones with Matt Nelson, Brandon Lopez, Sunday, January 8 Max Jaffe; Adam O’Farrill’s Stranger Days with Chad Lefkowitz-Brown, Walter Stinson, Zack O’Farrill; Ben Allison’s Think Free with Jeremy Pelt, Steve Cardenas, êWinter Jazzfest—Thelonious Monk 100th Birthday Improv Show: Kris Davis, Allan Mednard; Ben Wendel Seasons Band with Aaron Parks, Gilad Hekselman, David Virelles, Shabaka Hutchings, Sam Newsome, Marc Ribot, Charlie Burnham, Matt Brewer, Eric Harland New School Glass Box Theater 6:40 pm $45 Erik Friedlander, Linda Oh, Trevor Dunn, Hamid Drake, Andrew Cyrille, Deva Mahal KEEZER Littlefield 8 pm $35 êWinter Jazzfest: Michael Leonhart Orchestra; Shabaka and The Ancestors with Thunzi Mvubu, Siyabonga Mthembu, Ariel Zomonsky, Tumi Mogorosi; Quantic Live • and The E-Collective Le Poisson Rouge 6:20 pm $45 Ginny’s Supper Club 7:30, 9:30 pm $20 CD CELEBRATION! êWinter Jazzfest: Jaimeo Brown Transcendence with Chris Sholar, Jaleel Shaw; êGhost Train Orchestra; Hazmat Modine; The Klezmatics; Briga Black Rock Coalition’s Get Down Revue with Luqman Brown, Shelley Nicole, Highline Ballroom 7:30 pm $25 Keith Fluiett, Lisala, Wayne Cobham, V. Jeffrey Smith, J.S. Williams, Ben Tyree, • Harold Lopez-Nussa Trio with Ruy Lopez-Nussa; Sammy Miller and the Congregation Leon Gruenbaum, Ramsey Jones, Jared Michael Nickerson; with Alphonso Horne, Ben Flocks, Sam Crittenden, David Linard, John Snow Social Science with Aaron Parks, Matt Stevens, Morgan Guerin, Dizzy’s Club 7:30, 9:30 pm $30 MONDAY, JANUARY 9 Nadia Washington, DJ Val; Marc Ribot Young Philadelphians with Mary Halvorson, • Sandhills Reunion: Rinde Eckert, Jerry Granelli, Ben Goldberg, Ned Rothenberg, Jamaaladeen Tacuma, G. Calvin Weston, Joanna Mattrey, Amy Bateman, Andy Laster, Jeff Zeigler, Christian Kogel, J. Anthony Granelli Jeremy Harmon SOB’s 6:40 pm $45 The Stone 9 pm $20 MEZZROW êWinter Jazzfest: Peter Evans Quintet with Sam Pluta, Ron Stabinsky, Tom Blancarte, êJen Shyu and Jade Tongue with Satoshi Haga, Chris Dingman, Mat Maneri, Jim Black; Kris Davis Duopoly with Tim Berne, Angelica Sanchez, Billy Drummond; Mariel Roberts, Satoshi Takeishi Cornelia Street Underground 8:30, 10 pm $10 th Adam Rudolph’s Moving Pictures Octet with Hamid Drake, Graham Haynes, • Diego Figueiredo; John Merrill Mezzrow 8, 11 pm $20 163 W. 10 St., NYC Ralph M. Jones, Kenny Wessel, James Hurt, Alexis Marcelo, Damon Banks; • Ai Murakami Trio with Tyler Mitchell, Zaid Nasser and guest Sacha Perry; Harold López-Nussa Trio with Ruy Lopez-Nussa, Julio Cesar Gonzalez; Johnny O’Neal Trio with Ben Rubens, Itay Morchi; Eli Degibri Quartet with Reservations: www.mezzrow.com Arturo O’Farrill Afro Latin Jazz Ensemble with Jim Seely, Ivan Renta, Rafi Malkiel, Tamir Shmerling, Tom Oren, Eviatar Slivnik; Hillel Salem Carlo De Rosa, Tony Rosa, Carly Maldonado, Vince Cherico; Chano Dominguez Smalls 4:30, 7:30, 10:30 pm 1 am $20 SubCulture 6 pm $45 • Terry Waldo’s Gotham City Band; John Benitez Ensemble; 8:00 & 9:30 pm sets êWinter Jazzfest: Emile Parisien/Vincent Peirani; Raphael Imbert’s Music Is My Home; Brandon Lewis/Renee Cruz Jam Fat Cat 6, 8:30 pm 1 am Daniel Freedman Quartet with Gilad Hekselman, Gadi Lehavi, Tal Maschiach; Imany; • The Hartt School of Music Presents: Shane Shanahan with the Piers Faccini; Papanosh The Bitter End 6 pm $45 Hartt Graduate Percussion Group; Nat Reeves and State of Emergency êWinter Jazzfest: Scott Tixier with Glenn Zaleski, Luques Curtis, Justin Brown and guest Drom 6:30 pm Tony Tixier; Claudia Acuña’s Chilean Connection with Pablo Vergara, Pablo Menares, • Chris Jentsch No Net with JC Sanford, Michel Gentile, Mike McGinnis, Jason Rigby, Yayo Serka; Jean/Marcus Baylor Project; George Burton Quintet; AfroHORN Superband; David Smith, Brian Drye, Jacob Sacks, Jim Whitney, Eric Halvorson Braxton Cook Zinc Bar 6:20 pm $45 Ibeam Brooklyn 8 pm $15 êWinter Jazzfest: Blackstring: Yoon Jeong Heo, Jean Oh, Aram Lee, Min Wang Hwang; • Abraham Mennen/Kesivan Naidoo; Daniel Levin/Henry Fraser LaFrae Sci Sonic Black; Justin Brown Nyeusi with Jason Moran, Burniss Travis, Downtown Music Gallery 6, 7 pm Mark Shim; Avram Fefer’s Rivers on Mars • Alex Simon Gypsy Swing Ensemble Bowery Electric 7 pm $45 Radegast Hall 7 pm êWinter Jazzfest: Sullivan Fortner; Anouman; Ghost Train Orchestra; • Anat Cohen Tentet with Rubin Kodheli, Nadje Noordhuis, Nick Finzer, Owen Broder, Peter and Will Anderson Quintet; Glenn Crytzer’s Savoy Seven; Julien Labro Quartet Vitor Gonçalves, Sheryl Bailey, Tal Mashiach, Anthony Pinciotti, James Shipp The Django at Roxy Hotel 6:40 pm $45 Jazz Standard 7:30, 9:30 pm $30 êWinter Jazzfest: Stem Sounds; CatotheBand; Marcus Gilmore’s Actions Speak; êBilly Harper Quintet with Freddie Hendrix, Francesca Tanksley, Hwansu Kang, Deva Mahal; Brandee Younger; Russell Gunn’s Ethnomusicology Aaron Scott Smoke 7, 9, 10:30 pm $38 Nublu 7 pm $45 • , , Donald Edwards, Boris Kozlov; Urban Bush Women: êAnthony Coleman, Brian Chase, Chris Cochrane Du’Bois A’Keen, Amanda Castro, Courtney J. Cook, Chanon Judson, Tendayi Kuumba, The Firehouse Space 8 pm $10 Stephanie Mas, Samantha Speis, Pyeng Threadgill, Kahlil Kwame Bell, Craig Harris, êRed Baraat Subrosa 8, 10 pm $20 Michael King, Melissa Slocum, Camille Thurman • María Grand Quartet with David Bryant, Rashaan Carter, Jeremy Dutton and guest ShapeShifter Lab 7, 9 pm $10 Roman Filiú The Cell 8 pm êFred Hersch Trio + 2 with Dayna Stephens, Mike Rodriguez, John Hébert, • Dida Pelled Quartet with Julian Pollack, Or Bareket, Rodney Green; Eric McPherson Village Vanguard 8:30, 10:30 pm $30 Itamar Borochov Quartet with Maya Kronfeld, Rick Rosato, Jay Sawyer; • Chris Botti 12th Annual Holiday Residency Or Bareket Quartet with Shahar Elnatan, Nitai Hershkovits, Jeremy Dutton Blue Note 8, 10:30 pm $95 Cornelia Street Underground 8:30, 9:30, 10:30 pm $10 • Karrin Allyson’s Songs of Love, Change and Holiday Cheer êJohn Menegon Quartet East; Teri Roiger Quartet Birdland 6 pm $30 Caffe Vivaldi 6:30, 8 pm • Ike Sturm + Evergreen Saint Peter’s 5 pm • Vanessa Rubin Quartet with Brandon McCune, Peter Dominguez, Alvin Atkinson êMade In : Michael Blake, Samuel Blaser, Michael Sarin Sistas’ Place 9, 10:30 pm $20 Dupuy’s Landing 3 pm $20 • Gabrielle Stravelli Quartet with Art Hirahara, Pat O’Leary, Mark McLean • Eli Yamin and the Astro Intergenerational Arkestra with James Zollar, “A deep, stimulating rapport Jazz at Kitano 8, 10 pm $17 Okra Dancem Zah! Jazz Youth Jazz Museum in Harlem 2:30 pm êSquirrel Nut Zippers Highline Ballroom 8 pm $30-55 • Scott Morgan Quartet with Billy Test, Matt Aronoff, Mark Ferber and guests Joel Frahm, honed over many years … êBadlands: Jerry Granelli, Peter Epstein, Chris Speed, Jamie Saft, J. Anthony Granelli, Nanny Assis Blue Note 11:30 am 1:30 pm $35 Briggan Krauss The Stone 9 pm $20 • Roz Corral Trio with Gilad Hekselman, Matt Clohesy • Anat Cohen Tentet with Rubin Kodheli, Nadje Noordhuis, Nick Finzer, Owen Broder, North Square Lounge 12:30, 2 pm Mesmeric, uplifting, powerful.” Vitor Gonçalves, Sheryl Bailey, Tal Mashiach, Anthony Pinciotti, James Shipp • Akie Bermiss; Joe Pino Minton’s 12, 6:30 pm Jazz Standard 7:30, 9:30 pm $35 —Jazz Times • Miriam Parker/Tomeka Reid; Fay Victor’s Peace Pipe with Ben Gerstein; Michael Bisio Accortet with Art Bailey, Steve Swell, Michael Wimberly Clemente Soto Velez Cultural Center 7 pm $11-22 • Kevin Hays/Gregoire Maret; Oscar Peñas Trio with Moto Fukushima, Richie Barshay Club Bonafide 7:30, 9:30 pm $15 êEtienne Charles Ginny’s Supper Club 7:30, 9:30 pm $20 • Vanessa Rubin Sistas’ Place 9, 10:30 pm $20 • Alex Lore Trio with Desmond White, Colin Stranahan H A L F ◗ Bar Next Door 7:30, 9:30, 11:30 pm $12 • Vicki Burns; Svetlana Shmuylian and The Delancey 5 Club Noctambulo at Pangea 7, 9:30 pm $20 • Mimi Jones; Raphael D’lugoff Quintet; Greg Glassman Jam Fat Cat 7, 10 pm 1:30 am • Jochen Rueckert Quartet Minton’s 7 pm MOON êBrooklyn Raga Massive Rockwood Music Hall Stage 2 8:30 pm $15 • Polly Gibbons with James Pearson, Paul Bollenback, James Genus, Mark McLean Rockwood Music Hall Stage 3 10 pm $10 Ride Symbol Records • ConSoul Williamsburg Music Center 10 pm • Kristina Koller Symphony Space Bar Thalia 9 pm • Kayo Hiraki Trio Cleopatra’s Needle 8 pm 11 diverse and inspired performances êBilly Harper Quintet with Eddie Henderson, Benito Gonzalez, Hwansu Kang, Aaron Scott Smoke 7, 9, 10:30 pm $38 . • Herlin Riley Band with Godwin Louis, Bruce Haris, Emmet Cohen, Russell Hall recorded live in New York Dizzy’s Club 7:30, 9:30 pm $45 • Vuyo Sotashe Dizzy’s Club 11:30 pm $20 • Alan Broadbent Trio with Don Falzone, Billy Mintz Available at: CdBaby.com, Amazon, iTunes Mezzrow 8 pm $20

40 JANUARY 2017 | THE NEW YORK CITY JAZZ RECORD Monday, January 9 êWinter Jazzfest: Charlie Haden’s Liberation Music Orchestra conducted by Carla Bley • Kevin Hays New Day Trio with Orlando Le Fleming, Greg Joseph with Tony Malaby, Chet Doxas, Loren Stillman, Michael Rodriguez, Seneca Black, Jazz at Kitano 8, 10 pm $17 êHonoring Roy Campbell: The Nu Band: Lou Grassi, Mark Whitecage, Thomas Heberer, Curtis Fowlkes, Vincent Chancey, Joseph Daley, Steve Cardenas, Scott Colley, • Savion Glover Blue Note 8, 10:30 pm $45 Joe Fonda; 3 For Roy: Bryan Carrott, Hilliard Greene, Michael Wimberly; Matt Wilson and guest Geri Allen Le Poisson Rouge 8 pm $40 • We Free Strings: Melanie Dyer, Charles Burnham, Gwen Laster, Lester St.louis, Pyramid Trumpets for Roy: William Parker, Hamid Drake, Nabate Isles, êChristian McBride Trio with Christian Sands, Jerome Jennings Hilliard Greene, Michael Wimberly; Tomeka Reid Septet with Mazz Swift, Clemente Soto Velez Cultural Center 7 pm $11-22 Village Vanguard 8:30, 10:30 pm $30 Jason Kao Hwang, Sarah Bernstein, Adam Hopkins, Chris Hoffman, Tomas Fujiwara; êWinter Jazzfest: Andrew Cyrille solo; Sam Amidon Extended with Guests êBill Charlap solo Jazz Standard 7:30, 9:30 pm $35 Jaimie Branch Trio with Brandon Lopez, Mike Pride Shahzad Ismaily, Marc Ribot, Sam Gendel, Ben Goldberg, Linda Oh, Kris Bowers, • Keyon Harrold and Friends Blue Note 8, 10:30 pm $25 Clemente Soto Velez Cultural Center 7 pm $11-22 Richard Sears, Jeremy Gustin Le Poisson Rouge 8 pm $25 êBill Cole/Alex Blake Zürcher Gallery 8 pm $10 • Sebastian Noelle with Marc Mommaas, Matt Mitchell, Matt Clohesy, Dan Weiss • Donny McCaslin Group with Jason Lindner, , Mark Guiliana • Mike Longo’s NY State of the Art Jazz Ensemble with Ira Hawkins Cornelia Street Underground 8, 9:30 pm $10 Birdland 7 pm $30 NYC Baha’i Center 8, 9:30 pm $15 • Yoni Kretzmer and Friends; Carlo Costa solo • Derrick Hodge/Mike Mitchell Blue Note 8, 10:30 pm $25 • Malamute: Óskar Guðjónsson, Elias Stemeseder, Chris Tordini, Jim Black The Firehouse Space 8 pm $10 • ELEW Trio Dizzy’s Club 7:30, 9:30 pm $35 The Stone 9 pm $20 • New Ear Festival: Miya Masaoka/Byron Westbrook • New Ear Festival: Amir ElSaffar Fridman Gallery 8 pm $20 • James Morrison Quartet with William Morrison, Harry Morrison, Patrick Danao Fridman Gallery 8 pm $20 êAlexis Cole Club Noctambulo at Pangea 7, 9:30 pm $20 Dizzy’s Club 7:30, 9:30 pm $30 • King Solomon Hicks Ginny’s Supper Club 7:30, 9:30 pm $15 • Jihee Heo Rockwood Music Hall Stage 3 7 pm $10 • Chris Pattishall Dizzy’s Club 11:30 pm $5 • David Gibson; Chris Norton The Django at The Roxy Hotel 7:30, 10 pm êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 • New Ear Festival: Kassa Overall Fridman Gallery 8 pm $20 • Cynthia Hilts Lyric Fury with Jack Walrath, Lisa Parrott, Lily White, Deborah Weisz, êBattle Trance: Travis Laplante, Patrick Breiner, Matt Nelson, Jeremy Viner; êJames Carney Quartet with Ravi Coltrane, John Hébert, Gerald Cleaver; Leigh Stuart, Ratzo Harris, Scott Neumann Susan Alcorn; Bad Luck: Neil Welch/Chris Icasiano Relative Resonance: Devin Gray, Chris Speed, Kris Davis, Trevor Dunn ShapeShifter Lab 7 pm $15 Silent Barn 8 pm Korzo 9, 10:30 pm • Benny Benack Quartet with Emmet Cohen, Alex Claffy, Ulysses Owens, Jr. • Mike Moreno Quartet with Jon Cowherd, Doug Weiss, Kendrick Scott êJon Irabagon/Julien Labro; Lathan Hardy, Flin Van Hemmen, Sean Ali; Smoke 7, 9, 10:30 pm $12 Bar Lunàtico 8:30, 10 pm $10 Andrew Drury Content Provider Trio with Ingrid Laubrock, Briggan Krauss • Julius Rodriguez with Maya Carney, Daryl Johns, Michael Ode • Kendra Shank/Geoffrey Keezer; Pasquale Grasso Clemente Soto Velez Cultural Center 7 pm $11-22 The Jazz Gallery 7:30, 9:30 pm $15 Mezzrow 8, 11 pm $20 • Lisa Hilton solo Weill Recital Hall 8 pm $25 • Ralph Lalama Quartet Cavatappo Grill 9, 11 pm $10 • French Quarter—Jazz in NYC: Clovis Nicolas with Luca Stoll, Brandon Lee, • French Quarter—Jazz in NYC: Raphaël Imbert with Jean Luc Di Fraja, Thomas Weirich, • Frank Kimbrough/Masa Kamaguchi; Spike Wilner Kenny Washington; Lou Tavano with Arno de Casanove, Maxime Berton, Pierre Fenichel, Pierre François Blanchard, Big Ron Hunter; Lou Tavano’s For You with Mezzrow 8, 11 pm $20 Alexandre Perrot, Ariel Tessier; Tony Tixier with Karl McComas-Reichl, Tommy Crane; Alexey Asantcheeff, Arno de Casanove, Maxime Berton, Alexandre Perrot, Ariel Tessier; • Brandon Sanders Quintet with David Wong, David Hazeltine, Joe Magnarelli, Laurent Coulondre/Martin Wangermee; Raphael Imbert; Jonathan Barber Imany/Taofik Farah Joe’s Pub 6:30 pm $15 Grant Stewart; Sarah Slonim Project Smalls 7:30 pm 1 am $20 • Hilary Gardner/Ehud Asherie; Miki Yamanaka/Adi Meyerson Smalls 7:30 pm 1 am $20 • Ned Goold Quartet; Billy Kaye Jam Fat Cat 6, 9 pm 12:30 am Mezzrow 8, 11 pm $20 • Tyler Blanton Quintet; Greg Glassman; Eric Lewis • Paul Jubong Lee Trio with Geo Progulakis, Tony Lannen; Michelle Walker Trio with • Spike Wilner Trio with Tyler Mitchell, Anthony Pinciotti; Jovan Alexandre Fat Cat 7, 10 pm 1:30 am Toru Dodo, Michael O’Brien Bar Next Door 6:30, 8:30, 10:30 pm $12 Smalls 7:30 pm 1 am $20 • David Kuhn Trio with Jasper Dutz; Alessio Menconi Trio with Ugonna Okegwo, • James Shipp; Bob Lanzetti Delroy’s Café and Wine Bar 9, 10 pm $10 • Saul Rubin Zebtet; Peter Brainin Latin Jazz Workshop; Ray Parker Diego Voglino Bar Next Door 6:30, 8:30, 10:30 pm $12 • Urban Bush Women: Du’Bois A’Keen, Amanda Castro, Courtney J. Cook, Fat Cat 7, 9 pm 12:30 am • Verena McBee and Trio with Billy Test, Ethan O’Reilly, Jon Di Fiore Chanon Judson, Tendayi Kuumba, Stephanie Mas, Samantha Speis, Pyeng Threadgill, • Tal Yahalom Trio with Bam Bam Rodriguez, Raphael Pannier; Rotem Sivan Trio with Metropolitan Room 9:30 pm $24 Kahlil Kwame Bell, Craig Harris, Michael King, Melissa Slocum, Camille Thurman Haggai Cohen Milo, Colin Stranahan • Ray Parker Duet Cleopatra’s Needle 7 pm ShapeShifter Lab 9 pm $10 Bar Next Door 6:30, 8:30, 10:30 pm $12 • Tantshoyz with Sarah Myerson, Ilye Shneyveys • Justin Kauflin Trio; ’s Mandekan Cubano • Stan Killian Quintet with Tom Guarna, Benito Gonzalez, Ugonna Okegwo, Jalopy 8:30 pm $15 Club Bonafide 6 pm $20 McClenty Hunter 55Bar 7 pm êThe Story of Jazz: Jon Faddis, Jeremy Pelt, James Carter, Eric Alexander, , • Paul Jones Group with Alex LoRe, Matt Davis, Glenn Zaleski, Johannes Felscher, Mike LeDonne, David Williams, Carl Allen, Nicolas Bearde Allan Mednard ShapeShifter Lab 8:15 pm $10 Birdland 8:30, 11 pm $40 Tuesday, January 10 • Anything Mose with John Chin, Richard Julian êChristian McBride Trio with Christian Sands, Jerome Jennings Bar Lunàtico 8:30, 10 pm $10 Village Vanguard 8:30, 10:30 pm $30 êThe Story of Jazz: Jon Faddis, Jeremy Pelt, James Carter, Eric Alexander, Steve Turre, êBill Charlap/Renee Rosnes Jazz Standard 7:30, 9:30 pm $35 Mike LeDonne, David Williams, Carl Allen, Nicolas Bearde • Osso String Quartet Silvana 6 pm Birdland 8:30, 11 pm $40 Wednesday, January 11

êBrian Charette Trio with Peter Bernstein, Ari Hoenig Smoke 7, 9, 10:30 pm $12 êNot Bloodcount: Tim Berne, Chris Speed, Michael Formanek, Jim Black Upcoming concerts at the The Stone 9 pm $20 Austrian Cultural Forum NY • The Benntet: Bruce Williamson, Hui Cox, Michael Bisio, Michael Wimberly; Cooper-Moore/Daro Behroozi; Amirtha Kidambi Vocal Choir with Jean-Carla Rodea, Anaïs Maviel, Charmaine Lee, Emilie Lesbros, Kristin Slipp Clemente Soto Velez Cultural Center 7 pm $11-22 Phil Yaeger “Hunter” • Grace Kelly with Julian Pollock, Julia Pederson, Ross Pederson Jan 12, 07:30 PM Joe’s Pub 7 pm $25 jazz, improv, modern rock • Rachel Z Trio with Solomon Dorsey, ; Tony Hewitt Mezzrow 8, 11 pm $20 • Francisco Mela Quartet with Hery Paz, Kris Davis, Gerald Cannon; Jimmy O’Connell Sextet with Andrew Gould, Tim Basom, Tuomo Uusitalo, Peter Slavov, Jake Goldbas; Sanah Kadoura Smalls 7:30, 10:30 pm 1 am $20 • Raphael D’lugoff Trio +1; Harold Mabern Trio; Ned Goold Jam Fat Cat 7, 9 pm 12:30 am January 10 • Kyoko Oyobe Quartet with Michael O’Brien, Andrew Atkinson Jazz at Kitano 8, 10 pm $17 êBen Goldberg, Brian Drye, Jacob Sacks; Mike McGinnis MusicNOW Trio with Mike Longo’s Angelica Sanchez, Tom Rainey Ibeam Brooklyn 8:30 pm $15 • James Morrison Academy Jazz Orchestra NY State of the Art Dizzy’s Club 7:30, 9:30 pm $35 • Chris Pattishall Dizzy’s Club 11:30 pm $5 Jazz Ensemble • School of Tristano: Eric Rasmussen, Nate Radley, Dave Ambrosio, Matt Wilson The Owl Music Parlor 7:30 pm with vocalist Ira Hawkins • New Ear Festival: Ohal Grietzer/Victoria Keddie Kompost 3 Fridman Gallery 8 pm $20 • Falkner Evans Minton’s 7 pm Jan 19, 07:30 PM January 24th êThe Story of Jazz: Jon Faddis, Jeremy Pelt, James Carter, Eric Alexander, Steve Turre, improv, avant-groove, funk Mike LeDonne, David Williams, Carl Allen, Nicolas Bearde Dave Chamberlain Birdland 8:30, 11 pm $40 êChristian McBride Trio with Christian Sands, Jerome Jennings and Band of Bones Village Vanguard 8:30, 10:30 pm $30 êBill Charlap/Carol Sloane Jazz Standard 7:30, 9:30 pm $35 • Keyon Harrold and Friends Blue Note 8, 10:30 pm $25 January 31 • Alan Kwan Quartet Shrine 6 pm • Darcy James Argue Master Class Manhattan School Carla Bossi-Comelli Studio 3 pm Ray Blue Ensemble • Mauricio De Souza Bossa Brasil with Bob Rodriguez, Joonsam Lee Saint Peter’s 1 pm $10 New York Baha’i Center 53 E. 11th Street Thursday, January 12 (between University Place and Broadway) • Nicholas Payton’s Afro-Caribbean Mixtape with Vicente Archer, Joe Dyson, at the Austrian Cultural Forum New York Shows: 8:00 & 9:30 PM Daniel Sadownick, DJ Lady Fingaz Dizzy’s Club 7:30, 9:30 pm $40 11 East 52nd Street (btw. 5th and Madison) • Chris Pattishall Dizzy’s Club 11:30 pm $10 Gen Adm: $15 Students $10 êEndangered Blood: Chris Speed, Oscar Noriega, Trevor Dunn, Jim Black NY 10022 212-222-5159 The Stone 9 pm $20 bahainyc.org/nyc-bahai-center/jazz-night • Philip Yaeger’s Hunter with Martin Eberle, Andreas Broger, David Cinquegrana, Nathan Peck, Yonadav Halevy Austrian Cultural Forum 7:30 pm get your free tickets at www.acfny.org

THE NEW YORK CITY JAZZ RECORD | JANUARY 2017 41 êChristian McBride Trio with Christian Sands, Jerome Jennings Friday, January 13 Village Vanguard 8:30, 10:30 pm $30 êWilliam Parker’s Healing Songs From The Tone World with Patricia Nicholson, • Bill Charlap Trio with Peter Washington, Kenny Washington and guests Freddy Cole, Matthew Shipp, Nate Wooley, Ellen Christi, Lisa Sokolov, Cooper Moore, Houston Person Jazz Standard 7:30, 9:30 pm $35 Jake Sokolov Gonzalez, Jeff Schlanger, Anne Humanfeld, Leonid Galavanov, • Underground Horns Radegast Hall 3 pm JD Parran, On Ka’a Davis, Morley, Jason Kao Hwang, AnnMarie Sandy, Daniel Carter, Eri Yamamoto, Tanya Kalmanovitch, Jean Cook, Bill Cole Roulette 8 pm $20-25 Sunday, January 15 • Jimmy Bosch Orchestra SOB’s 8, 10 pm $30 • /Chris Potter Duo Jazz at Kitano 8, 10 pm $32 • Jim Black and guests The Stone 9 pm $20 • Todd Coolman Trio with Bill Cunliffe, Dennis Mackrel; Johnny O’Neal • Gene Bertoncini The Drawing Room 7 pm $20 Mezzrow 8, 11 pm $20 êSam Newsome solo; Thomas Heberer/Ken Filiano êMarty Ehrlich Group; Steve Slagle Alto Manhattan with Bill O’Connell, Gerald Cannon, Downtown Music Gallery 6, 7 pm Jason Tiemann; Corey Wallace Smalls 7:30, 10:30 pm 1 am $20 • Michael Mwenso’s Melting Pot with Vuyo Sotashe • Euroradio Jazz Orchestra Led By Ohad Talmor with Joao Guimaraes, Joe’s Pub 9:30 pm $20 Pedro Jose Coelho, Tapiwa Svosve, Christoph Knoche, María Grand, • Emily Braden; Emma Kate with Michael Thomas, Chris Glaskell Hans Marius Andersen, Tomi Nikki, Baptiste Germser, Tom Green, Max Seidel, Cornelia Street Underground 8, 9:30 pm $10 Jacob Garchik, Justin Mullens, Viola Hammer, Simon Quinn, Adriano Bernobic • New Ear Festival: Levy Lorenzo/Lea Bertucci The Jazz Gallery 7:30, 9:30 pm $22 Fridman Gallery 8 pm $20 • Eyebone: Nels Cline, Elias Stemeseder, Jim Black • Yoosun Nam Quintet; Song Yi Jeon Quintet; Jihye Lee Orchestra The Stone 9 pm $20 Club Bonafide 7:30, 9:30, 10:30 pm $15 • Ben Monder Trio with Tony Malaby, Tom Rainey • Michael Feinberg’s The Elvin Jones Project with Noah Preminger, Ian Froman Cornelia Street Underground 9, 10:30 pm $10 Rockwood Music Hall Stage 3 7 pm $10 • Gregor Huebner’s El Violin Latino with Klaus Mueller, Itaiguara Brandao, • McAuliffe Aaron Gould Trio with David Aaron, Dave Gould Jerome Goldschmidt Bargemusic 7:30 pm $35 The Firehouse Space 8 pm $10 • Andrea Wolper’s Cento Project with Mazz Swift, Adam Caine; William Hooker Trio with • Audrey Chen, Henrik Munk Norst, Carlo Costa; Aki Onda solo Louie Belogenis, Andrew Lamb; The Ghost: Michael Foster, Zach Rowden, Gallery 456 7, 8 pm Derek Baron Clemente Soto Velez Cultural Center 7 pm $11-22 • Tad Shull Trio with Rob Schneiderman, Paul Gill; John Merrill JAN 20–21, 8PM • Steve Davis Sextet with Steve Wilson, Jimmy Green, Larry Willis, Peter Washington, Mezzrow 8, 11 pm $20 Lewis Nash Smoke 7, 9, 10:30 pm $38 • Ai Murakami Trio with Tyler Mitchell, Zaid Nasser and guest Sacha Perry; • Igor Butman Quintet with Nick Levinovsky, Sergey Korchagin, Eugene Pobozhiy, Falkner Evans Trio with Belden Bullock, Anthony Pinciotti; Eli Degibri Quartet with BRANFORD MARSALIS Eduard Zizak Feinstein’s/54 Below 9:30 pm $30-70 Tamir Shmerling, Tom Oren, Eviatar Slivnik; Hillel Salem • Misha Piatigorsky’s The Sketchy Orkestra Smalls 4:30, 7:30, 10:30 pm 1 am $20 QUARTET WITH SPECIAL COURTESY OF THE ARTIST Le Poisson Rouge 8 pm $25 • Terry Waldo’s Gotham City Band; Ed Cherry; Brandon Lewis/Renee Cruz Jam • Jon-Erik Kellso Club Noctambulo at Pangea 9:30 pm $20 Fat Cat 6, 8:30 pm 1 am • New Ear Festival: Tomeka Reid, Jaimie Branch, Selina Trepp • Zack Foley Quartet with Jesse Elder, Chris Tordini, Devin Gray GUEST KURT ELLING Fridman Gallery 8 pm $20 ShapeShifter Lab 7 pm $8 • Dom Palombi Project; Onaje Allen Gumbs • Julio Botti South American Jazz Project; Horacio Martinez Featuring Branford Marsalis, Kurt Elling, Joey Club Bonafide 7:30, 9:30 pm $10-25 Williamsburg Music Center 9, 10:15 pm • Luca Rosenfeld Trio with Steven Frieder, Bob Meyer • Steve Davis Sextet with Steve Wilson, Jimmy Green, Larry Willis, Peter Washington, Calderazzo, Eric Revis, and Justin Faulkner ShapeShifter Lab 7 pm $10 Lewis Nash Smoke 7, 9, 10:30 pm $38 • Ken Fowser Quintet; King Soloman Hicks • Nicholas Payton’s Afro-Caribbean Mixtape with Vicente Archer, Joe Dyson, ROSE THEATER The Django at The Roxy Hotel 7:30, 10:30 pm Daniel Sadownick, DJ Lady Fingaz Dizzy’s Club 7:30, 9:30 pm $30 • Alex Wintz Trio with Rick Rosato, Adam Arruda • Savion Glover Blue Note 8, 10:30 pm $45 Bar Next Door 7:30, 9:30, 11:30 pm $12 êChristian McBride Trio with Christian Sands, Jerome Jennings • Eiko Rikuhashi La Descarga Band; Steve Carrington; Avi Rothbard Village Vanguard 8:30, 10:30 pm $30 Fat Cat 6, 10:30 pm 1:30 am êBill Charlap Trio with Peter Washington, Kenny Washington • Tom Tallitsch Quartet Minton’s 7 pm Jazz Standard 7:30, 9:30 pm $35 JAN 20–21, 7PM & 9:30PM • Corey Harris Band Ginny’s Supper Club 7:30, 9:30 pm $15 • Rudy Royston Saint Peter’s 5 pm • Alan Rosenthal Trio Cleopatra’s Needle 8 pm • Roz Corral Trio with Josh Richman, LUCKY PETERSON: • G String Orchestra Shrine 7 pm North Square Lounge 12:30, 2 pm • Courtney Sappington Trio KD’s 7:30 pm • Emily Braden; Wayne Tucker Minton’s 12, 6:30 pm ROOTS OF ACOUSTIC BLUES • Nicholas Payton’s Afro-Caribbean Mixtape with Vicente Archer, Joe Dyson, Vocalist, organist, and guitarist Lucky Daniel Sadownick, DJ Lady Fingaz Dizzy’s Club 7:30, 9:30 pm $40 • Chris Pattishall Dizzy’s Club 11:30 pm $10 Monday, January 16 Peterson makes his Appel Room debut • Savion Glover Blue Note 8, 10:30 pm $45 êThe Story of Jazz: Jon Faddis, Jeremy Pelt, James Carter, Eric Alexander, Steve Turre, êMedeski Martin & Wood Le Poisson Rouge 8 pm $35 THE APPEL ROOM Mike LeDonne, David Williams, Carl Allen, Nicolas Bearde • Ron McClure Trio; Ari Hoenig Group; Jonathan Michel Birdland 8:30, 11 pm $40 Smalls 7:30, 10:30 pm 1 am $20 êChristian McBride Trio with Christian Sands, Jerome Jennings • George Braith; Billy Kaye Jam Fat Cat 9 pm 12:30 am JAN 26–28, 8PM Village Vanguard 8:30, 10:30 pm $30 • Joel Weiskopf/Peter Coco; Pasquale Grasso êBill Charlap/Renee Rosnes Jazz Standard 7:30, 9:30 pm $35 Mezzrow 8, 11 pm $20 êAnaïs Maviel solo; Washboard XT: Newman Taylor Baker, Avram Fefer, Hilliard Greene; DIZZY GILLESPIE FESTIVAL Alvin Fielder, William Parker, Rob Brown, Saturday, January 14 Clemente Soto Velez Cultural Center 7 pm $11-22 CELEBRATING DIZZY GILLESPIE êRoy Hargrove Blue Note 8, 10:30 pm $45 Jazz at Lincoln Center Orchestra with Wynton êWilliam Parker’s Little Huey Music Orchestra with Rob Brown, Darius Jones, êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 Abraham Mennon, Yoni Kretzmer, James Brandon Lewis, Dave Sewelson, Steve Swell, • Jazz at Lincoln Center Youth Orchestra Marsalis and music director Vincent Gardner Masahiko Kono, Jaimie Branch, Lewis Barnes, Heru Shabaka-ra, Brandon Lopez, Dizzy’s Club 7, 9 pm $30 celebrate Dizzy Gillespie’s centennial with Andrew Barker Roulette 8 pm $20-25 • Rizumik; Xspiritmental Maroons Indigenous Black Spiritchild êGeorge Braith Minton’s 7, 9 pm $10 Cornelia Street Underground 8, 9:30 pm $10 treasured standards and new works • Jim Black Trio with Elias Stemeseder, Thomas Morgan • Improvisation Circle: Magdalena Abrego, Kalia Vandever, Dion Kerr, Mike DeiCont, The Stone 9 pm $20 Yuma Useka, Lee Meadvin, Noah Halpern, Micah Thomas, Eric Stillwell, Aimee Nieman; ROSE THEATER • Vernon Reid Masque with DJ Logic Ingrid Laubrock; Wind up Elephant: Carrie Frey/Robert Fleitz Ginny’s Supper Club 7:30, 9:30 pm $20 ShapeShifter Lab 6, 8, 9 pm $10 êRez Abbasi Trio with Marko Churnchetz, Kenny Grohowski • Duck, Duck, Goose!: David Schnug, David Miller, Rob Duguay JAN 27–28, 7PM & 9:30PM Cornelia Street Underground 9, 10:30 pm $10 Bar Lunàtico 8:30, 10 pm $10 • Yoshiko Chuma, Miriam Parker, Jason Kao Hwang; Mazz Swift/Mike McGinnis; • Sagi Kaufman Trio with Tal Yahalom, Doron Tiroshi; Melissa Stylianou Trio with Ken Filiano Trio with Michaël Attias, Michael TA Thompson Gene Bertoncini, Ike Sturm Bar Next Door 6:30, 8:30, 10:30 pm $12 DIZZY GILLESPIE FESTIVAL Clemente Soto Velez Cultural Center 7 pm $11-22 • Yeonathan Shachar Band; Angela Morris Band THE LATIN SIDE OF DIZZY • Jerome Sabbagh Quartet with Ben Monder, Doug Weiss, Rudy Royston Delroy’s Café and Wine Bar 9, 10 pm $10 Greenwich House Music School 8 pm $15 • Dan Pugach Nonet Rockwood Music Hall Stage 2 9 pm $10 WITH CARLOS HENRIQUEZ • Ekene Okobi; No Land and Daniel Carter; Kenny Warren Quartet with • Courtney Cutchins Silvana 8 pm J.P. Schlegelmilch, Noah Garabedian, Satoshi Takeishi Music director and bassist Carlos Henriquez New Revolution Arts 8 pm • María Grand Quartet with David Bryant, Rashaan Carter, Jeremy Dutton with , Terell Stafford, Mike The Cell 8 pm Rodriguez, Melissa Aldana, Marshall Gilkes, • Alan Palmer Group Sistas’ Place 9, 10:30 pm $20 • Paul Bollenback Trio with Noriko Ueda, Rogério Boccato Larry Willis, and Obed Calvaire Bar Next Door 7:30, 9:30, 11:30 pm $12 • Nick Hempton Quartet; Benny Benack III THE APPEL ROOM The Django at The Roxy Hotel 7:30, 10:30 pm • New Ear Festival: Diego Espinosa Fridman Gallery 8 pm $20 • Steve Blum Trio; Greg Glassman Jam FEB 10–11, 8PM Fat Cat 7 pm 1:30 am • Denton Darien Trio Cleopatra’s Needle 8 pm • Kenny Werner/Chris Potter Duo Jazz at Kitano 8, 10 pm $32 • Todd Coolman Trio with Bill Cunliffe, Dennis Mackrel Grammy Award-winning vocalist Dianne Mezzrow 8 pm $20 • Max Ionata Quartet with Spike Wilner, Tyler Mitchell, Anthony Pinciotti; Reeves returns for Valentine’s Day weekend Steve Slagle Alto Manhattan with Bill O’Connell, Gerald Cannon, Jason Tiemann; Philip Harper Quintet Smalls 7:30, 10:30 pm 1 am $20 ROSE THEATER • Euroradio Jazz Orchestra Led By Ohad Talmor with Joao Guimaraes, Pedro Jose Coelho, Tapiwa Svosve, Christoph Knoche, María Grand, Hans Marius Andersen, Tomi Nikki, Baptiste Germser, Tom Green, Max Seidel, Jacob Garchik, Justin Mullens, Viola Hammer, Simon Quinn, Adriano Bernobic The Jazz Gallery 7:30, 9:30 pm $22 venue • Steve Davis Sextet with Steve Wilson, Jimmy Green, Larry Willis, Peter Washington, frederick p. rose hall Lewis Nash Smoke 7, 9, 10:30 pm $38 • Igor Butman Quintet with Nick Levinovsky, Sergey Korchagin, Eugene Pobozhiy, box office Eduard Zizak Feinstein’s/54 Below 9:30 pm $30-70 broadway at 60th st., • Nicholas Payton’s Afro-Caribbean Mixtape with Vicente Archer, Joe Dyson, ground fl. Daniel Sadownick, DJ Lady Fingaz Dizzy’s Club 7:30, 9:30 pm $45 • Chris Pattishall Dizzy’s Club 11:30 pm $20 centercharge JAZZ.ORG • Savion Glover Blue Note 8, 10:30 pm $45 212-721-6500 @jazzdotorg êThe Story of Jazz: Jon Faddis, Jeremy Pelt, James Carter, Eric Alexander, Steve Turre, Mike LeDonne, David Williams, Carl Allen, Nicolas Bearde Birdland 8:30, 11 pm $40

42 JANUARY 2017 | THE NEW YORK CITY JAZZ RECORD Tuesday, January 17 • Matt Brewer Group; Harold Mabern Trio; Aaron Seeber • Emmet Cohen’s Masters Legacy Series with Godwin Louis, Alex Claffy, Jimmy Cobb Smalls 7:30, 10:30 pm 1 am $20 Dizzy’s Club 7:30, 9:30 pm $40 êChristian McBride Quartet with Marcus Strickland, Josh Evans, Nasheet Waits êEhud Asherie/Rebecca Kilgore; Tony Hewitt • Jonathan Barber Dizzy’s Club 11:30 pm $10 Village Vanguard 8:30, 10:30 pm $30 Mezzrow 8, 11 pm $20 • Manuel Valera and New Cuban Express • Victor Wooten, Dennis Chambers, Bob Franceschini • Deanna Kirk/John di Martino Jazz at Kitano 8, 10 pm $17 Club Bonafide 7:30 pm $15 Blue Note 8, 10:30 pm $35 • Jaimoe’s Jasssz Band Iridium 8:30 pm $25 • Theo Croker Joe’s Pub 9:30 pm $25 • Joey DeFrancesco Quartet Birdland 8:30, 11 pm $40 • Chris Washburne SYOTOS Band with John Walsh, , Hector Martignon, • Marie-Jo Thério Lycée Français de New York 7 pm $35 • Eli Yamin and the Astro Intergenerational Arkestra with Camille Thurman, James Zollar, Leo Traversa, Vince Cherico Dizzy’s Club 7:30, 9:30 pm $35 êJohn Webber; Mark Whitfield The Django at The Roxy Hotel 7:30, 10 pm Tom Dempsey, Russell Hall, Stefan Schatz, Okra Dance, Zah! Jazz Youth • Jonathan Barber Dizzy’s Club 11:30 pm $5 • Nadav Remez Quintet with Haggai Cohen Milo, Colin Stranahan; Oded Tzur Quartet Dizzy’s Club 7:30, 9:30 pm $35 • Arnan Raz Quintet with Eyal Hai, Daniel Meron, Will Slater, Dani Danor; Dana Herz with with Petros Klampanis Cornelia Street Underground 8:30, 10 pm $10 • Jonathan Barber Dizzy’s Club 11:30 pm $5 Shachar Elnatan, Haggai Cohen Milo, Jonathan Pinson • Alicia Olatuja with David Rosenthal, Juan Pastor êGilad Hekselman Quartet with Chris Potter, Rick Rosato, Jonathan Pinson Cornelia Street Underground 8:30, 10 pm $10 The Jazz Gallery 7:30, 9:30 pm $15 Jazz Standard 7:30, 9:30 pm $25 • Barbara Martinez Sextet with Gonzalo Grau, Cristian Puig, Panagiotis Andreou, • Matt Brewer Group; Joel Ross Smalls 7:30 pm 1 am $20 êAngelica Sanchez/Pheeroan akLaff; Rob Brown Trio with Todd Nicholson, Josi Montaqa Smoke 7, 9, 10:30 pm $12 • Kompost 3: Martin Eberle, Benny Omerzell, Manu Mayr, Lukas König and guest Juan Pablo Carletti; Ehran Elisha, Daniel Carter, Joe Fonda • James Moore/Ayano Kataoka The Stone 9 pm $20 Mira Lu Kovacs Austrian Cultural Forum 7:30 pm Clemente Soto Velez Cultural Center 7 pm $11-22 • The Mess: Brandon Lopez, Sam Yulsman, Chris Corsano; Andrew Lamb, êWith Love To My Favorite Vocalists: Rebecca Kilgore with Jeb Patton, Tom Wakeling • Desolation Pops: Kathleen Supové, James Ilgenfritz and The Rhythm Method: William Parker, Michael Wimberly; Chris Pitsiokos Quartet with Andrew Smiley, Metropolitan Room 9:30 pm $24 Marina Kifferstein, Leah Asher, Anne Lanzilotti, Meaghan Burke Henry Fraser, Connor Baker Clemente Soto Velez Cultural Center 7 pm $11-22 • Sari Kessler Quartet Birthday Bash with John di Martino, Sean Smith, Tommy Campbell The Stone 9 pm $20 • Raphael D’lugoff Trio +1; Don Hahn/Mike Camacho Band; Ned Goold Jam Jazz at Kitano 8, 10 pm $17 êLean: Jerome Sabbagh, Simon Jermyn, Allison Miller; Ralph Alessi Trio with Fat Cat 7, 9 pm 12:30 am • Liberté Big Band Williamsburg Music Center 8:30 pm Florian Weber, Dan Weiss Korzo 9, 10:30 pm • Uri Shaham Project; Allan Andre solo • John Cage’s The Ten Thousand Things: Jim Fletcher, Andie Springer, James Moore • Susan Pereira And Sabor Brasil with Noah Bless, Deanna Witkowski, Eduardo Belo, ShapeShifter Lab 7, 8:15 pm $8 The Stone 9 pm $20 Vanderlei Pereira; Alon Yavnai/Joca Perpignan • Peyton Pleninger’s Biotonic Shrine 7 pm • Charmaine Lee/Lester St.louis; Sean Ali solo; David Grollman, Flin van Hemmen, Cornelia Street Underground 8, 9:30 pm $10 êChristian McBride Quartet with Marcus Strickland, Josh Evans, Nasheet Waits Max Jaffe, Carlo Costa Fridman Gallery 8 pm • Pedrito Martinez Group Subrosa 7, 9 pm $15 Village Vanguard 8:30, 10:30 pm $30 • Adam Schneit Quartet with Sean Moran, Eivind Opsvik, Kenny Wollesen; • Carolyn Leonhart; Miki Yamanaka/Adi Meyerson • Victor Wooten, Dennis Chambers, Bob Franceschini Jeremy Udden’s Plainville with Pete Rende, Eivind Opsvik, Kenny Wollesen Mezzrow 8, 11 pm $20 Blue Note 8, 10:30 pm $35 Threes Brewing 8:30, 9:30 pm • Spike Wilner Trio with Tyler Mitchell, Anthony Pinciotti; Group; • Joey DeFrancesco Quartet Birdland 8:30, 11 pm $40 • Tommaso Gambini Trio with Dean Torrey, Dan Nedeau; Justin Lees Trio with Jon Beshay with Tadataka Unno, George DeLancey, Curtis Nowosad êMedeski Martin & Wood Le Poisson Rouge 8 pm $35 Scott Ritchie, Phil Stewart Bar Next Door 6:30, 8:30, 10:30 pm $12 Smalls 7:30, 10:30 pm 1 am $20 • Alan Kwan Silvana 6 pm • Mute The Commercials: Jeff Miles, Alex Clough, John Gray, Alex Feldman; • Saul Rubin Zebtet Fat Cat 7 pm êWith Love To My Favorite Vocalists: Rebecca Kilgore with Ehud Asherie, Tom Wakeling Johnny Butler Group ShapeShifter Lab 7, 8:15 pm $8 • Jeff Miles Trio with Shin Sakaino, Rodrigo Recabarren; Will Bernard Trio with Saint Peter’s 1 pm $10 • Caleb Curtis Quartet Cavatappo Grill 9, 11 pm $10 Matt Pavolka, Mark Ferber Bar Next Door 6:30, 8:30, 10:30 pm $12 • Kelly Green Minton’s 7 pm • Victoria Lecta Cave Metropolitan Room 6:15 pm $40 • Bjorn Ingelstam’s Hot 5 Radegast Hall 9 pm • Pete Remm, DanIead, Hampus Öhman-Frölund Thursday, January 19 • Dan Furman Duet Cleopatra’s Needle 7 pm ShapeShifter Lab 8:15 pm $10 • Jordan Hirsch Jalopy 8:30 pm $15 • Freestones Shrine 7 pm êJeff “Tain” Watts Birthday Celebration with Ravi Coltrane, Dave Kikoski, êChristian McBride Quartet with Marcus Strickland, Josh Evans, Nasheet Waits êMedeski Martin & Wood Le Poisson Rouge 8 pm $35 Paul Bollenback, James Genus Jazz Standard 7:30, 9:30 pm $35 Village Vanguard 8:30, 10:30 pm $30 êJay Clayton/Ken Filiano; Steve Swell Trio with Joe McPhee, Paal Nilssen-Love; • Victor Wooten, Dennis Chambers, Bob Franceschini Francisco Mora Catlett AfroHorn with Sam Newsome, Aruán Ortiz, Rashaan Carter, Blue Note 8, 10:30 pm $35 Wednesday, January 18 Roman Díaz Clemente Soto Velez Cultural Center 7 pm $11-22 • Nancy Kelly with Dino Losito, Jerry Weldon, Mark Taylor, Bob Sneider • Johnny O’Neal Ginny’s Supper Club 7:30, 9:30 pm $15 Birdland 6 pm $25 êWoody ‘n’ Dizzy: The Bands of and Dizzy Gillespie: êIn Cahoots: Ned Rothenberg, Mark Feldman, Sylvie Courvoisier • Joey DeFrancesco Quartet Birdland 8:30, 11 pm $40 Juilliard Jazz Orchestra with guest Jon Faddis The Owl Music Parlor 7:30 pm • Filmharmonic Brass Silvana 6 pm Juilliard School Peter Jay Sharp Theater 7:30 pm êClub d’Elf: , Mat Maneri, Brahim Fribgane, Mister Rourke, Mike Rivard, êVic Juris Trio with Jay Anderson, Adam Nussbaum Dean Johnston Roulette 8 pm $20-25 Jazz Standard 7:30, 9:30 pm $25

Gregor Huebner new CD: El Violin Latino Vol 2 Marie-Jo Thério Barge Music ZINC bar Fulton Ferry 82 West 3rd Landing Street Brooklyn, NY New York, NY January 13 January 23 7:30 pm $35 10 pm $15

January 19, 2017, 7pm Adults: $35 Lycée Français de New York 505 E. 75th Street www.lfny.org An uncommonly-gifted Acadian singer and songwriter. Her latest album, Trois petits tours d’automne, was released in 2014. gregorhuebner.COM Marie-Jo lives with her husband between Montreal, Paris, and .

THE NEW YORK CITY JAZZ RECORD | JANUARY 2017 43 Friday, January 20 êChristian McBride Quartet with Marcus Strickland, Josh Evans, Nasheet Waits êJ.J. Johnson Birthday Tribute: Dave Chamberlain’s Band of Bones with guests Village Vanguard 8:30, 10:30 pm $30 Steve Turre, NYC Baha’i Center 8, 9:30 pm $15 êJimmy Cobb 88th Birthday Celebration with Vincent Herring • Victor Wooten, Dennis Chambers, Bob Franceschini êMephista: Sylvie Courvoisier, Ikue Mori, and guest Jen Shyu Smoke 7, 9, 10:30 pm $40 Blue Note 8, 10:30 pm $35 The Stone 9 pm $20 êBuster Williams and Something More with Steve Wilson, George Colligan, • Joey DeFrancesco Quartet Birdland 8:30, 11 pm $40 êAngelica Sanchez/Pheeroan akLaff; Made In China: Michael Blake, Samuel Blaser, Lenny White Dizzy’s Club 7:30, 9:30 pm $40 êIdeal Bread: Josh Sinton, Kirk Knuffke, Adam Hopkins, Tomas Fujiwara Michael Sarin Korzo 9, 10:30 pm • Jonathan Barber Dizzy’s Club 11:30 pm $10 Silvana 6 pm • Gene Ess and Fractal Attraction with Thana Alexa, Manuel Valera, Thomson Kneeland, • Branford Marsalis Quartet with Joey Calderazzo, Eric Revis, Justin Faulkner Clarence Penn; Sebastien Ammann Quartet with Chet Doxas, Dave Ambrosio, and guest Kurt Elling Rose Theater 8 pm $45-135 Allan Mednard Cornelia Street Underground 8, 9:30 pm $10 êWolff & Clark Expedition: Michael Wolff, Mike Clark, Eddie Henderson Sunday, January 22 • Pedrito Martinez Group Subrosa 7, 9 pm $15 Jazz at Kitano 8, 10 pm $32 • Barbara Rosene with Conal Fowkes, John Merrill; Miki Yamanaka/Adi Meyerson • Arthur Kell and Friends with Brad Shepik, Nate Radley, Mark Ferber êA 20th Century Nonlinear Overture: Mixashawn/Pheeroan akLaff; kjær (beloved) for Mezzrow 8, 11 pm $20 Bar Lunàtico 8:30, 10 pm $10 Dominic Duval: Joe McPhee, , Dominic Duval, Jr., Rosie Hertlein, • Jeremy Manasia Trio; Steve Nelson Group; Jovan Alexandre • Jed Levy Trio with Dado Moroni, Peter Washington; Johnny O’Neal James Keepnews Clemente Soto Velez Cultural Center 7 pm $11-22 Smalls 7:30, 10:30 pm 1 am $20 Mezzrow 8, 11 pm $20 • James Moore/Marc Ribot The Stone 9 pm $20 • Saul Rubin Zebtet Fat Cat 7 pm • Tardo Hammer Trio with Lee Hudson, Steve Williams; Jay Collins Band with êFrom with Swing led by Zinovy Pritsker • Tommy Holladay Trio with Alex Claffy, Oscar Suchanek; Yuto Kanazawa Trio with Scott Sharrard, Kyle Koehler, Diego Voglino; Joe Farnsworth The Cutting Room 7 pm $20 Raviv Markovitz, Jonathan Pinson Bar Next Door 6:30, 8:30, 10:30 pm $12 Smalls 7:30, 10:30 pm 1 am $20 • Sun Tiger: Sean Moran, Vinnie Sperrazza, Hank Roberts • Vitor Gonçalves Rockwood Music Hall Stage 3 8:30 pm $10 êTom Rainey Obbligato with Ralph Alessi, Ingrid Laubrock, Kris Davis, Drew Gress Ibeam Brooklyn 8:30 pm $15 • Glenn Crytzer Quartette Radegast Hall 8 pm The Jazz Gallery 7:30, 9:30 pm $22 • Trio Fab: Koran Agan, Eduardo Belo, Raj Jayaveera êSongs for Connie: Patricia Nicholson, Melanie Dyer, Jochem Van Dijk, Cornelia Street Underground 8:30, 10 pm $10 Michael TA Thompson; Trio with Francois Grillot, Reggie Sylvester; • Alec Harper Trio with Brandon Lopez, Flin van Hemmen; Knuckleball: Daniel Levine, Marc Hannaford, Devin Gray Downtown Music Gallery 6, 7 pm JP Carletti Xul Trio with Jon Irabagon, William Parker; Chris Cochrane, Kevin Shea, 2016, 2014 & 2012 Gordon Beeferman Clemente Soto Velez Cultural Center 7 pm $11-22 • Tardo Hammer/Peter Washington; John Merrill Mezzrow 8, 11 pm $20 LATIN êJD Parran and Harlem Reunion with Alexis Marcelo, Larry Roland, Syd Smart GRAMMY Soup & Sound 8 pm $20 • Ai Murakami Trio with Tyler Mitchell, Zaid Nasser and guest Sacha Perry; Nominee • Jonathan Greenstein Quartet with Caili O’Doherty, Shinichiro Sakaino, Bruce Harris Group; Eli Degibri Quartet with Tamir Shmerling, Tom Oren, Eviatar Slivnik; Hillel Salem Smalls 4:30, 7:30, 10:30 pm 1 am $20 STEINW AY Jonathan Pinson; Tammy Scheffer Quintet with Eyal Hai, Dan Pratt, Chris Ziemba, ARTIST Ronen Itzik Cornelia Street Underground 9, 10:30 pm $10 • Terry Waldo’s Gotham City Band; Ark Ovrutski Quintet with Benny Benack III, • Forever House: Meaghan Burke, James Ilgenfritz, James Moore, Peter Wise and , Glenn Zaleski, Charles Goold; Brandon Lewis/Renee Cruz Jam casenave.com ‘BEST JAZZ guests; An Ontological Subharmonic Convergence: , Yamaki Hideo, Fat Cat 6, 9 pm 1 am BASSIST’ • Erica Seguine and Shannon Baker Orchestra Bass Player Raoul Björkenheim, Mike Sopko, Dominic James Magazine The Stone 9, 10:30 pm $20 Williamsburg Music Center 9 pm • Tacuma Bradley Unity Band Minton’s 7 pm • Jazzingaro Radegast Hall 7 pm • André Matos 4tet Rockwood Music Hall Stage 3 7 pm $10 • Get Happy—Harold Arlen’s Early Years: Stephen DeRosa, Erin Dilly, Catherine Russell, • Ken Fowser Quartet; Champian Fulton Nathaniel Stampley, Vince Giordano and the Nighthawks QUARTET The Django at The Roxy Hotel 7:30, 10:30 pm 92nd Street Y 2, 7 pm $70 featuring êJimmy Cobb 88th Birthday Celebration with Vincent Herring CASENAVE • Pasquale Grasso Trio with Ari Roland, Jimmy Wormworth Bar Next Door 7:30, 9:30, 11:30 pm $12 Smoke 7, 9, 10:30 pm $40 • Joe Benjamin and A Mighty Hand BAMCafé 9 pm êBuster Williams and Something More with Steve Wilson, George Colligan, • Vortkip Trio: Nicolas Letman-Burtinovic, Elijah Shiffer, Britt Ciampa Lenny White Dizzy’s Club 7:30, 9:30 pm $30 Spectrum 8 pm $10 êJeff “Tain” Watts Birthday Celebration with Ravi Coltrane, Dave Kikoski, NICK DANIELSON violin SACHI PATITUCCI cello • Richard Benetar Trio Cleopatra’s Needle 8 pm Paul Bollenback, James Genus Jazz Standard 7:30, 9:30 pm $35 • The Freshtones Silvana 8 pm êChristian McBride Quartet with Marcus Strickland, Josh Evans, Nasheet Waits êJeff “Tain” Watts Birthday Celebration with Ravi Coltrane, Dave Kikoski, Village Vanguard 8:30, 10:30 pm $30 ST Paul Bollenback, James Genus Jazz Standard 7:30, 9:30 pm $35 • Victor Wooten, Dennis Chambers, Bob Franceschini ê Blue Note 8, 10:30 pm $35 JAN 21 7:30 PM Christian McBride Quartet with Marcus Strickland, Josh Evans, Nasheet Waits Village Vanguard 8:30, 10:30 pm $30 • The Wee Trio: James Westfall, Dan Loomis, Jared Schonig and guests Fabian Almazan, • Victor Wooten, Dennis Chambers, Bob Franceschini Nir Felder Birdland 6 pm $20 Blue Note 8, 10:30 pm $35 • Carrie Jackson’s Jazz Vocal Collective with Patricia Walton, Barbara Hassenfeld, FLUSHINGTOWNHALL.ORG • Joey DeFrancesco Quartet Birdland 8:30, 11 pm $40 George Young, Sherry Gibson, Ruby Valdez, Herb Glenn and Bob De Benedette Trio Metropolitan Room 6 pm $20 êAndrew Lamb Trio Saint Peter’s 5 pm Saturday, January 21 • Trio with Mike Pope, Mauricio Zottarelli Blue Note 11:30 am 1:30 pm $35 • Billy Hart Academy with Alex Cummings, Jackson Laskey, Dan Pappalardo • Vicki Burns Trio with Ron Affif, Sam Bevan Greenwich House Music School 8 pm $15 North Square Lounge 12:30, 2 pm • Bobbi Humphrey Ginny’s Supper Club 7:30, 9:30 pm $40 • Brandon Bain; Candice Reyes Minton’s 12, 6:30 pm • Get Happy—Harold Arlen’s Early Years: Stephen DeRosa, Erin Dilly, Catherine Russell, Nathaniel Stampley, Vince Giordano and the Nighthawks 92nd Street Y 8 pm $70 Monday, January 23 êBob Dorough and The Ambassador Trio with Steve Berger, Pat O’Leary Jazz at Kitano 8, 10 pm $32 • Victor Bailey Memorial Saint Peter’s 7 pm • Larry Harlow and Ismael Miranda Lehman Center 8 pm $50-125 êRoy Hargrove Blue Note 8, 10:30 pm $45 êMarc Cary Trio The Cell 8 pm • The Spirit of Django: Sam Reider, Justin Poindexter, Alphonso Horne, Alex Hargreaves, êJen Shyu and Jade Tongue with Satoshi Haga, Erica Dicker, Chris Dingman, Roy Williams, Dave Speranza, Arthur Vint Christopher Hoffman, Mat Maneri, Thomas Morgan, Anna Webber, Dan Weiss Dizzy’s Club 7:30, 9:30 pm $30 The Jazz Gallery 7:30, 9:30 pm $22 • New Masses Nights Presents: The Beyond Group: Carmen Moore, Cheryl Pyle, • Gustavo Casenave Quartet with John Patitucci, Sachi Patitucci, Nick Danielson Michael Eaton, Roberta Piket, Bern Nix, Newman Taylor Baker; David Laibman; Flushing Town Hall 7:30 pm $29 Ngoma Hill Henry Winston Unity Hall 7:30 pm • Raymond Nat Turner; Steve Dalachinsky; /Kirk Knuffke; David Mills; • Jessica Lurie Ensemble with Mazz Swift, Brandon Seabrook, Rene Hart, Allison Miller Darius Jones and guest Clemente Soto Velez Cultural Center 7 pm $11-22 Bar Lunàtico 8:30, 10 pm $10 • Ben Monder Trio with Matt Brewer, Johnathan Blake êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 Bar Next Door 7:30, 9:30, 11:30 pm $12 • Michael Olatuja and Lagos Pepper Soup with Thana Alexa, Samir Zarif, Manuel Valera, • Tim Clement Django Experience with Ryan Weisheit, Julian Smith, Dani Danor Obed Calvaire Schomburg Center 7 pm Cornelia Street Underground 9, 10:30 pm $10 • Jim Ridl; Pasquale Grasso Mezzrow 8, 11 pm $20 • Chamber Music by Virginia Seay: Mila Henry, Mellissa Hughes, Margaret Lancaster, • Rale Micic Night Music with Nitzan Gavrieli, Corcoran Holt, Johnathan Blake; Karisa Antonio, Eileen Mack, Eleonore Oppenheim, Peter Wise, The Rhythm Method: Ari Hoenig; Jonathan Barber Smalls 7:30, 10:30 pm 1 am $20 Marina Kifferstein, Leah Asher, Anne Lanzilotti, Meaghan Burke • Bruce Williams; Billy Kaye Jam Fat Cat 9 pm 12:30 am The Stone 9 pm $20 • Gregor Huebner Zinc Bar 10 pm $15 êBilly Mintz Two Bass Band with Ron Horton, Dave Scott, John O’Gallagher, • Anouman: Peter Sparacino, Koran Agan, Josh Kaye, Eduardo Belo Adam Kolker, Brian Drye, Curtis Fowlkes, Masa Kamaguchi, Cornelia Street Underground 8:30, 10 pm $10 Ibeam Brooklyn 8:30 pm $15 • Flavio Silva Trio with Shin Sakaino, Jonathan Pinson; Deborah Latz Trio with • Reggie Woods Band Sistas’ Place 9, 10:30 pm $20 Freddie Bryant, Ray Parker Bar Next Door 6:30, 8:30, 10:30 pm $12 • Jeb Patton Trio; Champian Fulton The Django at The Roxy Hotel 7:30, 10:30 pm • Improvisation Circle, Louis Cohen, Elijah Shiffer, Chris McCarthy, Connor Parks, • Ricky Rodriguez Group; Greg Glassman Jam Edward Gavitt, Adam O’Farrill, Peyton Plenninger, Zosha Warpeha, Kalun Leung, Fat Cat 10 pm 1:30 am Camille Dietrich; Chris Pitsiokos ShapeShifter Lab 6, 8 pm $10 • Harry Smith Quartet with Lucas Kadish, Alex Karakis, Noel Mason • Sana Nagano Trio with Kevin Shea, Yuma Uesaka; Isis Paolo Giraldo solo Club Bonafide 9:30 pm $10 Delroy’s Café and Wine Bar 9, 10 pm $10 • Tyler Blanton Horny Electric Band Bar Lunàtico 8:30, 10 pm $10 • Get Happy—Harold Arlen’s Early Years: Stephen DeRosa, Erin Dilly, Catherine Russell, • Rogiérs Williamsburg Music Center 10 pm Nathaniel Stampley, Vince Giordano and the Nighthawks • Ai Murakami Trio Cleopatra’s Needle 8 pm 92nd Street Y 2, 7 pm $70 êJimmy Cobb 88th Birthday Celebration with Vincent Herring Smoke 7, 9, 10:30 pm $40 êBuster Williams and Something More with Steve Wilson, George Colligan, Tuesday, January 24 Lenny White Dizzy’s Club 7:30, 9:30 pm $45 • Jonathan Barber Dizzy’s Club 11:30 pm $20 êJohn Abercrombie Quartet with Marc Copland, Drew Gress, Joey Baron • Branford Marsalis Quartet with Joey Calderazzo, Eric Revis, Justin Faulkner Birdland 8:30, 11 pm $40 and guest Kurt Elling Rose Theater 8 pm $45-135 êWill Calhoun’s Celebrating Elvin Jones with Ravi Coltrane • Jed Levy Trio with Dado Moroni, Peter Washington Blue Note 8, 10:30 pm $35 Mezzrow 8 pm $20 êEthan Iverson Quartet with Tom Harrell, Ben Street, Eric McPherson • Steve Williams Quartet with Anthony Nelson, Essiet Essiet, James Weidman; Village Vanguard 8:30, 10:30 pm $30 Jay Collins Band with Scott Sharrard, Kyle Koehler, Diego Voglino; • Camila Meza and The Nectar Orchestra with Noam Wiesenberg, Keita Ogawa, Brooklyn Circle: Stacy Dillard, Diallo House, Ismail Lawal Tomoko Omura, Fung Chern Hwei, Benni von Gutzeit, Adam Fisher Smalls 7:30, 10:30 pm 1 am $20 Jazz Standard 7:30, 9:30 pm $25 êJeff “Tain” Watts Birthday Celebration with Ravi Coltrane, Dave Kikoski, • Fahir Atakoglu Trio with Alain Caron, Horacio “El Negro” Hernandez Paul Bollenback, Yunior Terry Cabrera Dizzy’s Club 7:30, 9:30 pm $30 Jazz Standard 7:30, 9:30 pm $35 • Evan Sherman Dizzy’s Club 11:30 pm $5

44 JANUARY 2017 | THE NEW YORK CITY JAZZ RECORD Wednesday, January 25

• Erika Matsuo Quintet with Art Hirahara, Boris Kozlov, Keita Ogawa Jazz at Kitano 8, 10 pm $17 at Cavatappo Grill • Miho Hazama and m_unit with Gil Goldstein, Cam Collins, Ryoji Ihara, Andrew Gutauskas, Matthew Jodrell, Adam Unsworth, Joyce Hammann, Sara Caswell, Lois Martin, Meaghan Burke, James Shipp, Sam Harris, Alex Brown, Sam Anning, Jake Goldbas Dizzy’s Club 7:30, 9:30 pm $30 • Evan Sherman Dizzy’s Club 11:30 pm $5 Live Jazz Music • Antonio Farao Quartet with Mark Sherman, John Patitucci, Mike Clark Smoke 7, 9, 10:30 pm $12 • Lazuline: Pauline Kim Harris, Jennifer Choi, Mark Feldman, Sylvie Courvoiser every Tuesday (8-10 pm) The Stone 9 pm $20 • Ross Kratter Jazz Orchestra with Robby Mack, Michael Bliss, Bob Franceschini, Xavier Del Castillo, John DiSanto, Charles Clausen, Anthony Sisson, Michael Sarian, & Paul Tafoya, Eric Iannucci, Ric Becker, Karl Lyden, Peter Isaac, Quintin Zoto, Will Armstrong, Jerrold Kavanagh, Megan Tischhauser Club Bonafide 7:30 pm $15 Thursday (9-11 pm) • Melissa Aldana/Glenn Zaleski; Tony Hewitt Mezzrow 8, 11 pm $20 • Wayne Tucker; Sanah Kadoura Smalls 10:30 pm 1 am $20 • Raphael D’lugoff Trio +1; Ned Goold Jam Live piano every Monday (7-10 pm) Fat Cat 7 pm 12:30 am • Tomoko Omura Roots 4 with Zach Lapidus, Noah Garabedian, Jay Sawyer; Yuhan Su Quintet with Matt Holman, Kenji Herbert, Petros Klampanis, Nathan Ellman-Bell ShapeShifter Lab 8:15, 9:30 pm $10 • Sam Minaie Quartet with Mitch Marcus, Sam Minaie, Mark Ferber Cornelia Street Underground 8, 9:30 pm $10 “It’s a joy to create jazz in such a positive atmosphere and • Adam Ramsay Quartet Minton’s 7 pm êJohn Abercrombie Quartet with Marc Copland, Drew Gress, Joey Baron to be so close to the people too! Enjoying a great bowl of pasta Birdland 8:30, 11 pm $40 listening to world class jazz is the only way to go” êWill Calhoun’s Celebrating Elvin Jones with Randy Brecker Blue Note 8, 10:30 pm $35 John Pizzarelli, Grammy-nominated guitarist and singer êEthan Iverson Quartet with Tom Harrell, Ben Street, Eric McPherson Village Vanguard 8:30, 10:30 pm $30 • David White Orchestra with Cherette White, Andrew Gould, Omar Daniels, Sam Taylor, Sam Dillon, Jeff Newell, Ron Harter, Pablo Masis, Alicia Rau, Ryo Sasaki, Nick Finzer, James Hall, Jimmy O’Connell, Brandon Moodie, Angelo Diloreto, Alexi David, Paul Francis Saint Peter’s 1 pm $10 Mondays with Roger Lent solo piano 7-10pm no cover Thursday, January 26

êCelebrating Dizzy Gillespie: Jazz at Lincoln Center Orchestra Rose Theater 8 pm $45-140 January 5th êButler, Bernstein, And The Hot 9: Henry Butler, Steven Bernstein, Curtis Fowlkes, Charlie Burnham, Doug Wieselman, Peter Apfelbaum, Erik Lawrence, Matt Munisteri, Peter Maness Quartet Luques Curtis, Donald Edwards Jazz Standard 7:30, 9:30 pm $35 • Riley Mulherkar Ensemble with Patrick Bartley, Jeb Patton, Clovis Nicolas, 9/11pm $10 cover Sammy Miller Dizzy’s Club 7:30, 9:30 pm $30 • Evan Sherman Dizzy’s Club 11:30 pm $10 êSylvie Courvoiser/Mary Halvorson The Stone 9 pm $20 January 12th • Cecilia Zabala/Philippe Baden Powell Americas Society 7 pm $20 Ralph Lalama Quartet • A Girl Named Bill – The Life And Times Of Billy Tipton: Nellie McKay Feinstein’s/54 Below 7 pm $55-110 9/11pm $10 cover êBruce Cox Quartet with Mark Shim, Essiet Essiet, Marvin Sewell Williamsburg Music Center 9 pm êBrooklyn Raga Massive: Sameer Gupta, Marc Cary, Brandee Younger, Jay Gandhi, Arun Ramamurthy, Pawan Benjamin, Neel Murgai, Trina Basu, Rashaan Carter, January 19th Michael Gam; Arun Ramamurthy Trio with Michael Gam, Sameer Gupta The Jazz Gallery 7:30, 9:30 pm $15 Caleb Curtis Quartet • Marion Cowings Birthday Celebration Smoke 7, 9, 10:30 pm $12 9/11pm $10 cover • Audrey Silver Quintet with Jon Cowherd, Jean Caze, Paul Beaudry, Gene Lewin Jazz at Kitano 8, 10 pm $17 • Dominique Gagne/Albert Marques; Marshall Gilkes Trio with Matt Clohesy, January 26th Johnathan Blake Club Bonafide 7:30, 9:30 pm $10-20 • Mike Longo/Paul West; Spike Wilner John Dokes Quintet Mezzrow 8, 11 pm $20 • Alex LoRe Group with Glenn Zaleski, Martin Nevin, Colin Stranahan; 9/11pm $10 cover Carlos Abadie Quintet with Mike Troy, Peter Zak, Clovis Nicolas, Luca Santaniello; Sarah Slonim Project Smalls 7:30, 10:30 pm 1 am $20 • Alita Moses; Ian Hendrickson-Smith January 31st The Django at The Roxy Hotel 7:30, 10 pm • Eduardo Belo Group with Kevin Hays, Vic Juris, Adriano Santos; Richard Miller Mike Sailors Quartet Cornelia Street Underground 8, 9:30 pm $10 • NanJo Lee Trio with Matt Clohesy, Jimmy MacBride; Will Bernard Trio 8/10pm $10 cover Bar Next Door 6:30, 8:30, 10:30 pm $12 • John Chin Trio Bar Lunàtico 8:30, 10 pm $10 • Ladies Day Jazz Quartet: MJ Territo, Linda Presgrave, Iris Ornig, Barbara Merjan Metropolitan Room 7 pm $24 • Rema Hasumi Billows of Blue with Masa Kamaguchi, Randy Peterson The Owl Music Parlor 7:30 pm Luca’s Jazz Corner • Elijah Shiffer and Friends The Firehouse Space 8 pm $10 • John Dokes Quintet Cavatappo Grill 9, 11 pm $10 • Jason Prover Sneak Thievery Orchestra with Nick Myers, Mike Sailors, at Cavatappo Grill Evan Crane, Sam Raderman, Alex Raderman Radegast Hall 9 pm • Matt Baker Duet Cleopatra’s Needle 7 pm 1712 First Avenue • Adam Ramsay Quartet Minton’s 7 pm • Itamar Borochov with Michael King, Tal Mashiach, Jay Sawyer Birdland 6 pm $20 New York, NY 10128 êJohn Abercrombie Quartet with Marc Copland, Drew Gress, Joey Baron Birdland 8:30, 11 pm $40 êWill Calhoun’s Celebrating Elvin Jones with Russell Malone (212) 987-9260 Blue Note 8, 10:30 pm $35 êEthan Iverson Quartet with Tom Harrell, Ben Street, Eric McPherson Village Vanguard 8:30, 10:30 pm $30 lucasjazzcorner.com • Zocalo Brass Silvana 6 pm

THE NEW YORK CITY JAZZ RECORD | JANUARY 2017 45 Friday, January 27 Saturday, January 28 êButler, Bernstein, And The Hot 9: Henry Butler, Steven Bernstein, Curtis Fowlkes, Charlie Burnham, Doug Wieselman, Peter Apfelbaum, Erik Lawrence, Matt Munisteri, êLegacies of Jazz: Bebo, Chico, Chucho, ‘Turo: Arturo O’Farrill, Chucho Valdes and the êOdean Pope Quartet with Tom Lawton, Leo Smith, Craig McIver Luques Curtis, Donald Edwards Jazz Standard 7:30, 9:30 pm $35 AfroLatin Jazz Orchestra Symphony Space Peter Jay Sharp Theatre 8 pm $20-40 Sistas’ Place 9, 10:30 pm $20 • A Girl Named Bill – The Life And Times Of Billy Tipton: Nellie McKay êAl Foster 74th Birthday Celebration with Jeremy Pelt, Mike DiRubbo, Adam Birnbaum, êEngrenages with Kenny Wollesen, Sylvie Courvoisier Feinstein’s/54 Below 7 pm $55-110 Doug Weiss Smoke 7, 9, 10:30 pm $40 The Stone 9 pm $20 êJohn Abercrombie Quartet with Marc Copland, Drew Gress, Joey Baron êGeorge Cables Trio with Essiet Okon Essiet, Victor Lewis • Dana Jessen’s Carve with Paula Matthusen, Dan Peck, Andrew Drury; Birdland 8:30, 11 pm $40 Jazz at Kitano 8, 10 pm $32 Briggan Krauss String and Reed Quartet êEthan Iverson Quartet with Tom Harrell, Ben Street, Eric McPherson • Joel Fass Group with Tardo Hammer, John Eckert, Tim Givens, Miles Griffith, Soup & Sound 8 pm $20 Village Vanguard 8:30, 10:30 pm $30 Neal Smith; George Garzone’s Cosa Nostra with Seamus Blake, Chris Cheek, êAnaïs Maviel/Michael Bisio Issue Project Room 8 pm $12-15 • Innerspace Ensemble Shrine 6 pm Peter Slavov, Niclas Campagnol; Joe Farnsworth êMarc Hannaford Trio with Simon Jermyn, Satoshi Takeishi; êBobby Hutcherson Memorial: Warren Wolf, Joe Locke, , , Smalls 7:30, 10:30 pm 1 am $20 Jagged Spheres: Anna Webber, Elias Stemeseder, Devin Gray Ray Drummond, Cecil Mcbee, Victor Lewis, Al Foster • Jeb Patton Trio with Dezron Douglas, Peter Van Nostrand; Johnny O’Neal Ibeam Brooklyn 8 pm $15 Saint Peter’s 1 pm Mezzrow 8, 11 pm $20 • Chris Dingman Habitat for Humanity Build for Unity Concert êFrank Kimbrough Trio with Kirk Knuffke, Masa Kamaguchi Saint Peter’s 8 pm Greenwich House Music School 8 pm $15 • Jerome Sabbagh Quartet with Greg Tuohey, Matt Brewer, Allan Mednard; Sunday, January 29 êDion Parson 21st Century Band Ginny’s Supper Club 7:30, 9:30 pm $15 Stéphane Spira Quartet with Jerome Thompson, Steve Wood, Ross Pederson êThe Latin Side of Dizzy Gillespie: Carlos Henriquez Band with Pedrito Martinez, The Cell 8, 9:30 pm êSylvie Courvoisier Trio with Drew Gress, Kenny Wollesen Terell Stafford, Mike Rodriguez, Melissa Aldana, Marshall Gilkes, Larry Willis, • Mac Gollehon and The Hispanic Mechanics The Stone 9 pm $20 Obed Calvaire The Appel Room 7, 9:30 pm $65-85 SOB’s 8, 10 pm $15 • Patrick Cornelius Octet with Riley Mulherkar, John Ellis, Nick Vayenas, Miles Okazaki, êDizzy Gillespie Festival: Have Trumpet, Will Excite! with Bruce Harris; • Billy Newman Quintet with Eric Schugren, Evan Francis, Leco Reis, Kenny Grohowski; Glenn Zaleski, Peter Slavov, Paul Wiltgen Kush to Cool with Theo Croker Dizzy’s Club 7:30, 9:30 pm $40 Sergio Krakowski Trio Cornelia Street Underground 9, 10:30 pm $10 Cornelia Street Underground 8:30, 10 pm $10 • Evan Sherman Dizzy’s Club 11:30 pm $10 • Ben Eunson Trio with Alex Claffy, Adam Arruda • Contratemp: Salvatore Macchia/Jazer Giles êSylvie Courvoisier, Mark Feldman, Ingrid Laubrock, Tom Rainey Bar Next Door 7:30, 9:30, 11:30 pm $12 The Drawing Room 7 pm $15 The Stone 9 pm $20 • Emily Braden Minton’s 7 pm • HAG: Brad Henkel, Sean Ali, David Grollman; Makoto Kawasima; êReverse Blue: Mary Halvorson, Chris Speed, Eivind Opsvik, Tomas Fujiwara • Maya Carney; Matt Malanowski Stories Collective Blaise Siwula/Eric Plaks Downtown Music Gallery 6, 7, 8 pm The Owl Music Parlor 7:30 pm Williamsburg Music Center 9, 10:15 pm • Philip Harper; John Merrill Mezzrow 8, 11 pm $20 • Kyle Eastwood Blue Note 8, 10:30 pm $35 • Fukushi and Chihiro Trio Cleopatra’s Needle 8 pm • Ai Murakami Trio with Tyler Mitchell, Zaid Nasser and guest Sacha Perry; • Ras Moshe New Language Collaborative with Larry Roland, Matt Lavelle, John Pietaro, êLegacies of Jazz: Bebo, Chico, Chucho, ‘Turo: Arturo O’Farrill, Chucho Valdes and the Bruce Harris Group; Eli Degibri Quartet with Tamir Shmerling, Tom Oren, Stephanie Griffin, Edith Lettner, Glynis Lomon, Syd Smart, Eric Zinman; AfroLatin Jazz Orchestra Symphony Space Peter Jay Sharp Theatre 8 pm $20-40 Eviatar Slivnik; Hillel Salem Smalls 4:30, 7:30, 10:30 pm 1 am $20 Samuel Yulsman The Firehouse Space 7, 9 pm $10 êAl Foster 74th Birthday Celebration with Jeremy Pelt, Mike DiRubbo, Adam Birnbaum, • Terry Waldo’s Gotham City Band; Brandon Lewis/Renee Cruz Jam • Rubens Salles Group with Leco Reis, John Clark, Kaoru Watanabe, Kenny Grohowski; Doug Weiss Smoke 7, 9, 10:30 pm $40 Fat Cat 6 pm 1 am Felipe Salles Quartet with Nando Michelin, Frank Ojeda, Steve Langone êGeorge Cables Trio with Essiet Okon Essiet, Victor Lewis êAl Foster 74th Birthday Celebration with Jeremy Pelt, Mike DiRubbo, Adam Birnbaum, Cornelia Street Underground 9, 10:30 pm $10 Jazz at Kitano 8, 10 pm $32 Doug Weiss Smoke 7, 9, 10:30 pm $40 • Ken Fowser; Gregory Generet The Django at The Roxy Hotel 7:30, 10:30 pm • Chris Byars Sextet with Stefano Doglioni, John Mosca, Pasquale Grasso, Ari Roland, êDizzy Gillespie Festival: Have Trumpet, Will Excite! with Bruce Harris; • Greg Skaff Trio with Pat Bianchi, Jonathan Barber Phil Stewart; George Garzone’s Cosa Nostra with Seamus Blake, Chris Cheek, Kush to Cool with Theo Croker Dizzy’s Club 7:30, 9:30 pm $30 Bar Next Door 7:30, 9:30, 11:30 pm $12 Peter Slavov, Niclas Campagnol; Philip Harper Quintet • Kyle Eastwood Blue Note 8, 10:30 pm $35 • Tim Green Quartet Minton’s 7 pm Smalls 7:30, 10:30 pm 1 am $20 êButler, Bernstein, And The Hot 9: Henry Butler, Steven Bernstein, Curtis Fowlkes, • MSM Concert Jazz Band Manhattan School Neidorff-Karpati Hall 7:30 pm • Jeb Patton Trio wuth Dezron Douglas, Peter Van Nostrand Charlie Burnham, Doug Wieselman, Peter Apfelbaum, Erik Lawrence, Matt Munisteri, • Chip Shelton Trio Cleopatra’s Needle 8 pm Mezzrow 8 pm $20 Luques Curtis, Donald Edwards Jazz Standard 7:30, 9:30 pm $35 êCelebrating Dizzy Gillespie: Jazz at Lincoln Center Orchestra êThe Latin Side of Dizzy Gillespie: Carlos Henriquez Band with Pedrito Martinez, êEthan Iverson Quartet with Tom Harrell, Ben Street, Eric McPherson Rose Theater 8 pm $45-140 Terell Stafford, Mike Rodriguez, Melissa Aldana, Marshall Gilkes, Larry Willis, Village Vanguard 8:30, 10:30 pm $30 êButler, Bernstein, And The Hot 9: Henry Butler, Steven Bernstein, Curtis Fowlkes, Obed Calvaire The Appel Room 7, 9:30 pm $65-85 • Peyton Pleninger’s Biotonic Silvana 6 pm Charlie Burnham, Doug Wieselman, Peter Apfelbaum, Erik Lawrence, Matt Munisteri, êDizzy Gillespie Festival: Have Trumpet, Will Excite! with Bruce Harris; • Oded Lev-Ari Saint Peter’s 5 pm Luques Curtis, Donald Edwards Jazz Standard 7:30, 9:30 pm $35 Kush to Cool with Theo Croker Dizzy’s Club 7:30, 9:30 pm $45 êHoward Johnson’s Friends and Family with Yayoi Ikawa, Melissa Slocum, • A Girl Named Bill – The Life And Times Of Billy Tipton: Nellie McKay • Evan Sherman Dizzy’s Club 11:30 pm $20 Newman Taylor Baker Jazz Museum in Harlem 2:30 pm $15 Feinstein’s/54 Below 7 pm $55-110 • Kyle Eastwood Blue Note 8, 10:30 pm $35 êTed Rosenthal Trio Blue Note 11:30 am 1:30 pm $35 êJohn Abercrombie Quartet with Marc Copland, Drew Gress, Joey Baron êCelebrating Dizzy Gillespie: Jazz at Lincoln Center Orchestra • Roz Corral Trio with Freddie Bryant, Santi Debriano Birdland 8:30, 11 pm $40 Rose Theater 8 pm $45-140 North Square Lounge 12:30, 2 pm êEthan Iverson Quartet with Tom Harrell, Ben Street, Eric McPherson • Brandon Bain; Amanda Ferguson Minton’s 12, 6:30 pm Village Vanguard 8:30, 10:30 pm $30

46 JANUARY 2017 | THE NEW YORK CITY JAZZ RECORD Wayne Shorter Weekend • April 21-23

Cécile McLorin Salvant Esperanza Spalding Herbie Hancock

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Dorthaan’s Place Sunday Jazz Brunches You might also enjoy!

NJPAC’s series of intimate jazz brunches returns, curated and hosted by jazz champion and WBGO legend Dorthaan Kirk, Newark’s “First Lady of Jazz.” NICO Kitchen + Bar • 11am & 1pm

The Bucky Pizzarelli Here Is The Place, Our City Kevin Mahogany Rob Paparozzi and Ed Laub Duo Dedicated to Clement Price and February 12 March 12 April 2 Amiri Baraka The renowned jazz baritone Blues, harmonica and more The accomplished guitar duo Adegoke Steve Colson, Composer/Pianist performs. from NJ’s Rob Paparozzi. perform American Songbook Friday, April 7 at 8pm selections.

For tickets & full schedule visit njpac.org or call 1.888.GO.NJPAC Groups 973.297.5804 One Center Street, Newark, NJ

9.5x12_NYCJazzRecord_jan_njpac_2016.indd 1 12/13/16 9:58 AM Monday, January 30

êBob Cranshaw Memorial Saint Peter’s 7 pm REGULAR ENGAGEMENTS êRoy Hargrove Blue Note 8, 10:30 pm $45 • New Century Jazz Quintet: Benny Benack, Tim Green, Takeshi Ohbayashi, MONDAY Yasushi Nakamura, Ulysses Owens, Jr. • Richard Clements and guests 11th Street Bar 9 pm Dizzy’s Club 7:30, 9:30 pm $30 • Glenn Crytzer Orchestra Slate 7:30 pm êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 • Captain Black Band; Smoke Jam Session Smoke 7, 9, 10:30 pm • Hendrik Meurkens Trio with Mike LeDonne, Chris Berger; Pasquale Grasso • Vince Giordano’s Nighthawks Iguana 8 pm (ALSO TUE) Mezzrow 8, 11 pm $20 • Grove Street Stompers Arthur’s Tavern 7 pm • Sarah Jane Cion Group; Gerry Gibbs Group; Jonathan Barber • Patience Higgins Band with Lady Cantrese Nabe Harlem 7 pm Smalls 7:30, 10:30 pm 1 am $20 • Jazz Foundation of American Jam Session Local 802 7 pm • Arthur Kell and Friends Bar Lunatico 8:30 pm • Alex Terrier Trio Bar Lunàtico 8:30, 10 pm $10 • Roger Lent solo Cavatappo Grill 7 pm • Tyler Blanton Trio Subrosa 8, 10 pm $10 • Renaud Penant Trio Analogue 7:30 pm • Brad Henkel with Nathaniel Morgan, Shayna Dulberger, Chris Welcome; • Earl Rose solo; Earl Rose Trio Bemelmans Bar 5:30, 9 pm Nicola Hein with Sam Weinberg, Devin Gray • Stan Rubin All-Stars Charley O’s 8:30 pm Delroy’s Café and Wine Bar 9, 10 pm $10 • Svetlana and the Delancey 5 The Back Room 8:30 pm • Improvisation Circle: Mat Muntz, Mark Ballyk, Theo Walentiny, Sasha Berliner, • Swingadelic Swing 46 8:30 pm • Gracie Terzian Bar Hugo 6 pm Morgan Guerin, Evan Lane, Kalia Vandever, Magdalena Abrego, Zosha Warpeha, • Vanguard Jazz Orchestra Village Vanguard 8:30, 10:30 pm $30 Kalun Leung, Sara McDonald; Charmaine Lee; Carlos Cordiero • James Zeller Duo Spasso 7 pm (ALSO SUN) ShapeShifter Lab 6, 8, 9 pm $10 • Mike Sailors Pocket Sized Swing Orchestra TUESDAY Radegast Hall 8 pm • Orrin Evans Evolution Series Jam Session Zinc Bar 11 pm • and The Robu Trio The Five Spot Brooklyn 11 pm $10 • Joel Forrester solo Stop Time 7 pm Tuesday, January 31 • George Gee Orchestra Swing 46 8:30 pm • Chris Gillespie; Loston Harris Bemelmans Bar 5:30, 9:30 pm (ALSO WED-SAT) êThe Count Basie Orchestra with Dee Dee Bridgewater • Jerome Harris/Dave Baron Barawine 7 pm (ALSO SUN 6 PM) Blue Note 8, 10:30 pm $45 • Loston Harris Café Carlyle 9:30 pm $20 (ALSO WED-SAT) êCarmen Lundy Birdland 8:30, 11 pm $40 • Art Hirahara Trio Arturo’s 8 pm êThat’s The Way It Is – Remembering Milt Jackson And Ray Brown: Monty Alexander • Yuichi Hirakawa Trio Arthur’s Tavern 7, 8:30 pm • Mike LeDonne Quartet; Emmet Cohen Band Smoke 7, 9, 10:30, 11:30 pm with Warren Wolf, Ron Blake, Hassan Shakur • Mona’s Hot Four Jam Session Mona’s 11 pm Jazz Standard 7:30, 9:30 pm $35 • Annie Ross The Metropolitan Room 9:30 pm $25 • Javon Jackson Band with Jeremy Manasia, David Williams, Willie Jones III • Bill Todd Open Jam Club Bonafide 9 pm $10 Dizzy’s Club 7:30, 9:30 pm $30 • Diego Voglino Jam Session The Fifth Estate 10 pm • Kali Rodriguez Dizzy’s Club 11:30 pm $5 • The Westet Analogue 7:30 pm • Ray Blue Ensemble NYC Baha’i Center 8, 9:30 pm $15 êJohn Medeski solo The Stone 9 pm $20 WEDNESDAY • Marta Sanchez; Jeonglim Yang Quartet with Oscar Noriega, Jacob Sacks, • Astoria Jazz Composers Workshop Waltz-Astoria 6 pm Kenny Wollesen Korzo 9, 10:30 pm • Rick Bogart Trio L’ybane 9:30 pm (ALSO FRI) • Mike Bono/Natalie Cressman; Song Yi Jeon Trio with Vitor Gonçalves • Django Big Band and Jam Session The Django 8 pm Cornelia Street Underground 8, 9:30 pm $10 • Rob Duguay’s Low Key Trio Turnmill NYC 11 pm • Kyle Poole Group; Frank Lacy Group; Jon Beshay Quartet with Tadataka Unno, • Jeanne Gies with Howard Alden and Friends Joe G’s 6:30 pm George DeLancey, Curtis Nowosad • Martin Kelley’s Affinity John Brown Smoke House 5:30 pm • Mark Kross and Louise Rogers WaHi Jazz Jam Le Chéile 8 pm Smalls 7:30, 10:30 pm 1 am $20 • Les Kurtz Trio Cleopatra’s Needle 7 pm • Saul Rubin Zebtet; Itai Kriss Gato Gordo; John Benitez Latin Bop • Jonathan Kreisberg Trio Bar Next Door 8:30, 10:30 pm $12 Fat Cat 7, 9 pm 12:30 am • Ron McClure solo piano McDonald’s 12 pm (ALSO SAT) • Sam Zerna Trio Hugh Stuckey, Adam Arruda; Richard Padron Trio with Dan Martinez, • David Ostwald’s Louis Armstrong Centennial Band Birdland 5:30 pm $20 Kenny Growhowski Bar Next Door 6:30, 8:30, 10:30 pm $12 • Nathan Peck Funky Electrical Unit Smoke 11:30 pm • The Extended Works of Wynton Marsalis: Juilliard Jazz Ensembles • Stan Rubin Orchestra Swing 46 8:30 pm • Eve Silber Arthur’s Tavern 7 pm Juilliard School Paul Hall 7:30 pm • Donald Smith and Friends Cassandra’s Jazz and Gallery 8, 10 pm $10 • Mike Sailors Quartet Cavatappo Grill 8, 10 pm $10 • Bill Wurtzel/Jay Leonhart American Folk Art Museum 2 pm

THURSDAY • Marc Cary’s The Harlem Sessions Ginny’s Supper Club 10:30 pm $10 • Gene Bertoncini Ryan’s Daughter 8:30, 10:30 pm • Dr. Dwight Dickerson Cassandra’s Jazz and Gallery 8 pm $5 • Harlem Renaissance Orchestra Swing 46 8:30 pm • Jazz Jam Session American Legion Post 7:30 pm • Kazu Trio Cleopatra’s Needle 11:30 pm • Martin Kelley’s Affinity Domaine Wine Bar 8:30 pm • Jon Lang’s First Name Basis Jam Session Symphony Space Bar Thalia 9 pm • Lapis Luna Quintet The Plaza Hotel Rose Club 8:30 pm • Curtis Lundy Jam Session Shell’s Bistro 9 pm • Sol Yaged Grata 8 pm • Eri Yamamoto Trio Arthur’s Tavern 7 pm (ALSO FRI-SAT)

FRIDAY • Scot Albertson Parnell’s 8 pm (ALSO SAT) • Birdland Big Band Birdland 5:15 pm $25 • Rick Bogart Trio New York Yankees Steakhouse 5 pm • Day One Trio Prime and Beyond Restaurant 9 pm (ALSO SAT) • Gerry Eastman Quartet Williamsburg Music Center 10 pm • Finkel/Kasuga/Tanaka/Solow San Martin Restaurant 12 pm $10 • Patience Higgins Sugar Hill Quartet Smoke 11:45 pm 12:45 am • Sandy Jordan and Friends ABC Chinese Restaurant 8 pm • Michael Kanan Trio Arturo’s 8 pm • Richard Russo Quartet Capital Grille 6:30 pm • Bill Saxton and the Harlem Bebop Band Bill’s Place 9, 11 pm $15 (ALSO SAT)

SATURDAY • Rob Anderson Jam Session University of the Streets 10 pm • Rick Bogart Trio Broadway Thai 7:30 pm (ALSO SUN) • The Candy Shop Boys Duane Park 8, 10:30 pm • Barbara Carroll Birdland 6 pm $30 • Agustin Grasso Quartet Duet 8 pm (ALSO SUN 11 am) • Assaf Kehati Duo Il Gattopardo 11:30 am • Curtis Lundy Trio with guests Shell’s Bistro 9 pm • Jonathan Moritz/Chris Welcome/Shayna Dulberger The Graham 1 pm • Ruben Steijn/Sharik Hasan/Andrea Veneziani Farafina Café & Lounge 8:30 pm • Nabuko and Friends Nabe Harlem 12 pm • Johnny O’Neal and Friends Smoke 11:45 pm 12:45 am • James Zeller Trio Spasso 1pm

SUNDAY • Avalon Jazz Quartet The Lambs Club 11 am • Rick Bogart Trio New York Yankees Steakhouse 12 pm • Emily Braden; Davi Vieira Club Bonafide 7, 9 pm $10 • The Candy Shop Boys The Rum House 9:30 pm • Creole Cooking Jazz Band; Stew Cutler and Friends Arthur’s Tavern 7, 10 pm • Glenn Crytzer Group Pegu Club 6:30 pm • Stefano Doglioni Trio Analogue 7:30 pm • JaRon Eames/Emme Kemp The Downtown Club 2 pm $20 • The EarRegulars with Jon-Erik Kellso The Ear Inn 8 pm • Marjorie Eliot/Rudell Drears/Sedric Choukroun Parlor Entertainment 4 pm • Joel Forrester solo Grace Gospel Church 11 am • Broc Hempel/Sam Trapchak/Christian Coleman Trio Dominie’s Astoria 9 pm • Ian Hendrickson-Smith The Strand Smokehouse 7 pm • Jazz Brunch Harlem Besame Latino Soul Lounge 1:30 pm • Peter Mazza Trio Bar Next Door 8, 10 pm $12 • Tony Middleton Trio Jazz at Kitano 11 am $35 • Arturo O’Farrill Afro Latin Jazz Orchestra Birdland 9, 11 pm $30 • Earl Rose solo; Champian Fulton Bemelmans Bar 5:30, 9 pm • Lu Reid Jam Session Shrine 4 pm • Annette St. John; Wilerm Delisfort Quartet Smoke 11:30 am 11:45 pm • Sean Smith and guest Walker’s 8 pm

48 JANUARY 2017 | THE NEW YORK CITY JAZZ RECORD CLUB DIRECTORY

• 11th Street Bar 510 E. 11th Street • Fat Cat 75 Christopher Street at 7th Avenue (212-675-6056) • New School Jazz Building Glass Box Theater 55 West 13th Street (212-982-3929) Subway: L to 1st Avenue www.11thstbar.com Subway: 1 to Christopher Street/Sheridan Square www.fatcatmusic.org (212-229-5600) Subway: F, V to 14th Street www.newschool.edu • 440Gallery 440 Sixth Avenue, Brooklyn • Feinstein’s/54 Below 254 West 54th Street • New School Jazz Building 5th Floor Theater 55 West 13th Street (718-499-3844) Subway: F, G to Seventh Avenue www.440gallery.com (646-476-3551) Subway: N, Q, R to 57th Street; B, D, E to Seventh Avenue (212-229-5600) Subway: F, V to 14th Street www.newschool.edu • 5C Café 68 Avenue C www.54below.com • The New School Tishman Auditorium 63 Fifth Avenue (212-477-5993) Subway: F, V to Second Avenue www.5cculturalcenter.org • The Fifth Estate 506 5th Avenue, Brooklyn (212-229-5488) Subway: 4, 5, 6, L, N, Q, R to Union Square • 55Bar 55 Christopher Street (212-929-9883) (718-840-0089) Subway: F to 4th Avenue www.fifthestatebar.com www.newschool.edu Subway: 1 to Christopher Street www.55bar.com • The Firehouse Space 246 Frost Street • New York Yankees Steakhouse 7 W. 51st Street (646-307-7910) • 92nd Street Y Lexington Avenue at 92nd Street Subway: L to Graham Avenue www.thefirehousespace.org Subway: E, M to Fifth Avenue/53rd Street www.nyysteak.com (212-415-5500) Subway: 6 to 96th Street www.92y.org • The Five Spot 459 Myrtle Avenue, Brooklyn • North Square Lounge 103 Waverly Place (212-254-1200) • ABC Chinese Restaurant 34 Pell Street (718-852-0202) Subway: G to Clinton/Washington Subway: A, B, C, E, F to West 4th Street www.northsquareny.com (212-346-9890) Subway: J to Chambers Street www.fivespotsoulfood.com • Nublu 62 Avenue C between 4th and 5th Streets • American Folk Art Museum 65th Street at Columbis Avenue • Flushing Town Hall 137-35 Northern Boulevard, Flushing (212-979-9925) Subway: F, V to Second Avenue www.nublu.net (212-595-9533) Subway: 1 to 66th Street www.folkartmuseum.org (718-463-7700) Subway: 7 to Main Street www.flushingtownhall.org • Opia 130 E. 57th Street • American Legion Post 248 West 132nd Street • For My Sweet Restaurant 1103 Fulton Street at Claver Place (212-688-3939) Subway: 4, 5, 6 to 59th Street www.opiarestaurant.com (212-283-9701) Subway: 2, 3 to 135th Street www.legion.org (917-757-0170) Subway: C to Franklin Avenue • The Owl Music Parlor 497 Rogers Avenue, Brooklyn • Americas Society 680 Park Avenue • Fridman Gallery 287 Spring Street (718-774-0042) Subway: 2, to to Sterling Street www.theowl.nyc (212-628-3200) Subway: 6 to 68th Street www.as-coa.org (646-345-9831) Subway: C, E to Spring Street www.fridmangallery.com • Parlor Entertainment 555 Edgecombe Ave. #3F • An Beal Bocht Café 445 W. 238th Street • Gallery 456 456 Broadway Third Floor Subway: R to Canal Street (212-781-6595) Subway: C to 155th Street www.parlorentertainment.com Subway: 1 to 238th Street www.LindasJazzNights.com • Ginny’s Supper Club at Red Rooster Harlem 310 Malcolm X Boulevard • Parnell’s 350 East 53rd Street #1(212-753-1761) • Analogue 19 West 8th Street (212-432-0200) (212-792-9001) Subway: 2, 3 to 125th Street www.ginnyssupperclub.com Subway: E, M to Lexington Avenue/53 Street www.parnellsny.com Subway: A, B, C, D, E, F, M to W. 4th Street www.analoguenyc.com • Grace Gospel Church 589 East 164th Street • Pegu Club 77 W. Houston Street (212-473-7348) • The Appel Room Broadway at 60th Street, 5th floor (212-258-9800) (718-328-0166) Subway: 2, 5 to Prospect Avenue Subway: B, D, F, M to Broadway-Lafayette www.peguclub.com Subway: 1, 2, 3, 9, A, C, E, B, D, F to Columbus Circle www.jalc.org • The Graham 190 Graham Ave (718-388-4682) • 158 Ludlow Street • Arthur’s Tavern 57 Grove Street (212-675-6879) Subway: L to Montrose Avenue www.thegrahambrooklyn.com (212-505-3733) Subway: F, V to Second Avenue www.pianosnyc.com Subway: 1 to Christopher Street www.arthurstavernnyc.com • Grassroots Tavern 20 Saint Marks Place • The Plaza Hotel Rose Club Fifth Avenue at Central Park South • Arturo’s 106 W. Houston Street (at Thompson Street) (212-475 9443) Subway: 6 to Astor Place, N,R to 8th Street (212-759-3000) Subway: N, Q, R to Fifth Avenue www.fairmont.com (212-677-3820) Subway: A, B, C, D, E, F, M to W. 4th Street • Grata 1076 1st Avenue (212-842-0007) • Prime and Beyond Restaurant 90 East 10th Street • Austrian Cultural Forum 11 East 52nd Street at Madison Avenue Subway: 4, 5, 6, N, Q, R to 59th Street www.gratanyc.com (212-505-0033) Subway: 6 to Astor Place www.primeandbeyond.com (212-319-5300) Subway: 6 to 51st Street www.acfny.org • Greenwich House Music School 46 Barrow Street • Quaker’s Friends Meeting House 15 Rutherford Place (15th Street between • B.B. King’s Blues Bar 237 W. 42nd Street (212-242-4770) Subway: 1 to Christopher Street www.greenwichhouse.org Second and Third Avenues) Subway: 4, 5, 6, N, R, L to 14th Street/Union Square (212-997-2144) Subway: 1, 2, 3, 7 to 42nd Street/Times Square • Groove Bar & Grill 125 MacDougal Street • Radegast Hall 113 North 3rd Street www.bbkingblues.com (212-254-9393) Subway: A, B, C, D, E, F, V to W. 4th Street (718-963-3973) Subway: L to Bedford Avenue www.radegasthall.com • BAMCafé 30 Lafayette Ave at Ashland Place www.clubgroovenyc.com • Rockwood Music Hall 196 Allen Street (212-477-4155) (718-636-4139) Subway: M, N, R, W to Pacific Street; • Happylucky no.1 734 Nostrand Avenue Subway: F, V to Second Avenue www.rockwoodmusichall.com Q, 1, 2, 4, 5 to Atlantic Avenue www.bam.org (347-295-0961) Subway: 2, 3, 4, 5 to Franklin Avenue • Rose Theater Broadway at 60th Street, 5th floor (212-258-9800) • Bar Hugo 525 Greenwich Street • Harlem Besame Latino Soul Lounge 2070 Adam Clayton Powell, Jr. Blvd. Subway: 1, 2, 3, 9, A, C, E, B, D, F to Columbus Circle www.jalc.org (212-608-4848) Subway: C, E to Spring Street www.hotelhugony.com Subway: 2, 3 to 125th Street www.harlembesame.com • Roulette 509 Atlantic Avenue • Bar Lunàtico 486 Halsey Street • Henry Winston Unity Hall 235 W. 23rd Street, 7th floor (212-219-8242) Subway: 2, 3, 4, 5 to Atlantic Avenue www.roulette.org (917-495-9473) Subway: C to Kingston-Throop Avenues Subway: 1 to 23rd Street www..com/NewMassesNights • Rubin Museum 150 West 17th Street • Bar Next Door 129 MacDougal Street (212-529-5945) • Highline Ballroom 431 W 16th Street (212-620-5000) Subway: A, C, E to 14th Street www.rmanyc.org Subway: A, B, C, D, E, F, M to W. 4th Street www.lalanternacaffe.com (212-414-5994) Subway: A, C, E to 14th Street www.highlineballroom.com • Rue B 188 Avenue B • Barawine 200 Lenox Avenue at W. 120th Street • Ibeam Brooklyn 168 7th Street between Second and Third Avenues (212-358-1700) Subway: L to First Avenue www.ruebnyc188.com (646-756-4154) Subway: 2, 3 to 116th Street Subway: F to 4th Avenue www.ibeambrooklyn.com • The Rum House 228 W. 47th Street • Barbès 376 9th Street at 6th Avenue, Brooklyn (718-965-9177) • Iguana 240 West 54th Street (212-765-5454) (646-490-6924) Subway: N, Q, R to 49th Street www.edisonrumhouse.com Subway: F to 7th Avenue www.barbesbrooklyn.com Subway: B, D, E, N, Q, R to Seventh Avenue www.iguananyc.com • Ryan’s Daughter 350 E 85th Street • Bargemusic Fulton Ferry Landing • Il Gattopardo 13-15 W. 54th Street (212-628-2613) Subway: 4, 5, 6 to 86th Street www.ryansdaughternyc.com (718-624-4061) Subway: F to York Street, A, C to High Street (212-246-0412) Subway: E, M to Fifth Avenue/53rd Street • Rye 247 S. 1st Street (718-218-8047) Subway: G to Metropolitan Avenue www.bargemusic.org www.ilgattopardonyc.com • S.O.B.’s 204 Varick Street • Bemelmans Bar 35 E. 76th Street (212-744-1600) • Iridium 1650 Broadway at 51st Street (212-582-2121) (212-243-4940) Subway: 1 to Varick Street www.sobs.com Subway: 6 to 77th Street www.thecarlyle.com Subway: 1,2 to 50th Street www.theiridium.com • Saint Peter’s Church 619 Lexington Avenue at 54th Street • Bill’s Place 148 W. 133rd Street (between Lenox and 7th Avenues) • Issue Project Room 22 Boerum Place (212-935-2200) Subway: 6 to 51st Street www.saintpeters.org (212-281-0777) Subway: 2, 3 to 135th Street (718-330-0313) Subway: 2, 3, 4, 5 to Borough Hall • San Martin Restaurant 143 E. 49 Street between Lexington and Park • Birdland 315 W. 44th Street (212-581-3080) www.issueprojectroom.org Avenues (212-832-0888) Subway: 6 to 51st Street Subway: A, C, E, to 42nd Street www.birdlandjazz.com • JACK 505 Waverly Avenue • The Schomburg Center 515 Macolm X Boulevard • The Bitter End 147 Bleecker Street between Thompson and LaGuardia (718-388-2251) Subway: C to Clinton-Washington Avenue www.jackny.org (212-491-2200) Subway: 2, 3 to 135th Street Subway: A, B, C, D, E, F, V to W. 4th Street • Jalopy 315 Columbia Street, Brooklyn www.nypl.org/locations/schomburg • Blue Note 131 W. 3rd Street at 6th Avenue (212-475-8592) (718-395-3214) Subway: F to Smith Street www.jalopy.biz • ShapeShifter Lab 18 Whitwell Place Subway: A, B, C, D, E, F, M to W. 4th Street www.bluenotejazz.com • Jazz at Kitano 66 Park Avenue at 38th Street (212-885-7000) (646-820-9452) Subway: R to Union Street www.shapeshifterlab.com • Bowery Ballroom 6 Delancey Street Subway: 4, 5, 6, 7, S to Grand Central www.kitano.com • Showman’s 375 W. 125th Street at Morningside) (212-864-8941) (212-533-2111) Subway: F to Delancey Street www.boweryballroom.com • The Jazz Gallery 1160 Broadway, 5th floor (212-242-1063) Subway: A, B, C, D to 125th Street www.showmansjazz.webs.com • The Bowery Electric 327 Bowery Subway: N, R to 28th Street www.jazzgallery.org • Shrine 2271 Adam Clayton Powell Boulevard (212-690-7807) (212-228-0228) Subway: 6 to Bleecker Street www.theboweryelectric.com • Jazz Museum in Harlem 58 W. 129th Street between Madison and Lenox Subway: B, 2, 3 to 135th Street www.shrinenyc.com • Broadway Thai 241 West 51st Street Avenues (212-348-8300) Subway: 6 to 125th Street • Silent Barn 603 Bushwick Avenue (212-226-4565) Subway: 1, C, E to 50th Street www.tomandtoon.com www.jazzmuseuminharlem.org Subway: J, M, Z to Myrtle Avenue www.silentbarn.org • Café Carlyle 35 E. 76th Street (212-744-1600) • Jazz Standard 116 E. 27th between Park and Lexington Avenue • Silvana 300 West 116th Street Subway: 6 to 77th Street www.thecarlyle.com (212-576-2232) Subway: 6 to 28th Street www.jazzstandard.net (646-692-4935) Subway: B, C, to 116th Street www.silvana-nyc.com • Café Loup 105 W. 13th Street between Sixth and Seventh Avenues • Joe G’s 244 W. 56th Street (212-765-3160) • Sistas’ Place 456 Nostrand Avenue at Jefferson Avenue, Brooklyn (212-255-4746) Subway: F to 14th Street www.cafeloupnyc.com Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle (718-398-1766) Subway: A to Nostrand Avenue www.sistasplace.org • Café Noctambulo at Pangea 178 Second Avenue • John Brown Smokehouse 10-43 44th Drive, Queens (347-617-1120) • Slate 54 W. 21st Street (212-995-0900) Subway: L to First Avenue www.pangeanyc.com Subway: 7, E, M to Court Square www.johnbrownseriousbbq.com (212-989-0096) Subway: F, M, N, R to 23rd Street www.slate-ny.com • Caffe Vivaldi 32 Jones Street Subway: A, B, C, D, E, F, Q, V • Juilliard School Peter Jay Sharp Theater and Paul Hall 155 W. 65th Street • Smalls 183 W 10th Street at Seventh Avenue (212-252-5091) to W. 4th Street-Washington Square www.caffevivaldi.com (212-769-7406) Subway: 1 to 66th Street www.juilliard.edu Subway: 1 to Christopher Street www.smallsjazzclub.com • Capital Grille 120 Broadway • KD’s 408 Rogers Avenue between Lefferts and Sterling • Smoke 2751 Broadway between 105th and 106th Streets (212-374-1811) Subway: 2, 3, 4, 5 to Wall Street www.thecapitalgrille.com Subway: 5 to Sterling Street www.plgarts.org (212-864-6662) Subway: 1 to 103rd Street www.smokejazz.com • Cassandra’s Jazz and Gallery 2256 Adam Clayton Powell, Jr. Boulevard • Korzo 667 5th Avenue Brooklyn (718-285-9425) Subway: R to Prospect Avenue • Soup & Sound 292 Lefferts Avenue (917-435-2250) Subway: 2, 3 to 135th Street www.cassandrasjazz.com www.facebook.com/konceptions (between Nostrand and Rogers Avenues) Subway: 2 to Sterling Street • Cavatappo Grill 1712 First Avenue • The Lambs Club 132 W. 44th Street • Spectrum 121 Ludlow Street, 2nd floor (212-987-9260) Subway: 4, 5, 6 to 86th Street www.cavatappo.com 212-997-5262 Subway: A, C, E, to 42nd Street www.thelambsclub.com Subway: F to Delancey Street www.spectrumnyc.com • The Cell 338 West 23rd Street • Le Chéile 839 W. 181st Street • The Stone Avenue C and 2nd Street (646-861-2253) Subway: C, E to 23rd Street www.thecelltheatre.org (212-740-3111) Subway: A to 181st Street www.lecheilenyc.com Subway: F to Second Avenue www.thestonenyc.com • Charley O’s 1611 Broadway at 49th Street • Le Poisson Rouge 158 Bleecker Street (212-228-4854) • Stop Time 1223 Bedford Avenue Subway: A, C to Nostrand Avenue (212-246-1960) Subway: N, R, W to 49th Street Subway: A, B, C, D, E, F, V to W. 4th Street www.lepoissonrouge.com • The Strand Smokehouse 25-27 Broadway, Queens (718-440-3231) • Clemente Soto Velez Cultural Center 107 Suffolk Street • Lehman Center 250 Bedford Park Boulevard West, Bronx Subway: N, Q to Broadway www.thestrandsmokehouse.com Subway: F, J, M, Z to Delancey Street (718-960-8833) Subway: 4, D train to Bedford Park Blvd. • SubCulture 45 Bleecker Street • Cleopatra’s Needle 2485 Broadway (212-769-6969) • Littlefield 622 Degraw Street (212-533-5470) Subway: 6 to Bleecker Street www.subculturenewyork.com Subway: 1, 2, 3 to 96th Street www.cleopatrasneedleny.com (718-855-3388) Subway: M, R to Union Street www.littlefieldnyc.com • Subrosa 63 Gansevoort Street (212-997-4555) • Club Bonafide 212 E. 52nd Street (646-918-6189) Subway: 6 to 51st Street; • Local 802 322 W. 48th Street between Eighth and Ninth Avenues Subway: 1, 2, 3 to 14th Street; L to Eighth Avenue www.subrosanyc.com E, V to 53rd Street www.clubbonafide.com (212-245-4802) Subway: C to 50th Street www.jazzfoundation.org • Swing 46 349 W. 46th Street (646-322-4051) • Cornelia Street Underground 29 Cornelia Street (212-989-9319) • L’ybane 709 8th Avenue (212-582-2012) Subway: A, C, E to 42nd Street www.swing46.com Subway: A, B, C, D, E, F, M to W. 4th Street www.corneliastreetcafé.com Subway: A, C, E to 42nd Street-Port Authority www.lybane.com • Symphony Space Leonard Nimoy Thalia, Peter Jay Sharpe Theatre • The Cutting Room 44 E. 32nd Street • Lycée Francais de New York 505 E. 75th Street and Bar Thalia 2537 Broadway at 95th Street (212-864-5400) (212-691-1900) Subway: 6 to 33rd Street www.thecuttingroomnyc.com (212-439-3820) Subway: 6 to 77th Street www.lfny.org Subway: 1, 2, 3 to 96th Street www.symphonyspace.org • David Rubenstein Atrium Broadway at 60th Street • McDonald’s 160 Broadway between Maiden Lane and Liberty Street • Terraza 7 40-19 Gleane Street (212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle (212-385-2063) Subway: 4, 5 to Fulton Street www.mcdonalds.com (718-803-9602) Subway: 7 to 82nd Street www.terrazacafe.com www.lincolncenter.org/atrium • Manhattan School of Music Neidorff-Karpati Hall, Miller Recital Hall, • Threes Brewing 333 Douglass Street • Delroy’s Cafe and Wine Bar 65 Fenimore Street Ades Performance Space, Carla Bossi-Comelli Studio Broadway and (718-522-2110) Subway: R to Union Street www.threesbrewing.com Subway: Q to Parkside Avenue www.facebook.com/65fenmusicseries 122nd Street (212-749-2802 ext. 4428) Subway: 1 to 116th Street • Tomi Jazz 239 E. 53rd Street • Dizzy’s Club Broadway at 60th Street, 5th Floor (212-258-9800) www.msmnyc.edu (646-497-1254) Subway: 6 to 51st Street www.tomijazz.com Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.jalc.org • Metropolitan Room 34 W. 22nd Street (212-206-0440) • Troost 1011 Manhattan Avenue • The Django The Roxy Hotel 2 Sixth Avenue (212-519-6600) Subway: N, R to 23rd Street www.metropolitanroom.com (347-889-6761) Subway: G to Greenpoint Avenue www.troostny.com Subway: A, C, E to Canal Street; 1 to Franklin Street www.roxyhotelnyc.com • Mezzrow 163 W. 10th Street • Turnmill NYC 119 East 27th Street • Domaine Wine Bar 50-04 Vernon Boulevard (718-784-2350) (646-476-4346) Subway: 1 to Christopher Street www.mezzrow.com (646-524-6060) Subway: 6 to 27th Street www.turnmillnyc.com Subway: 7 to Vernon Boulevard-Jackson Avenue www.domainewinebar.com • Minton’s 206 West 118th Street • University of the Streets 2381 Belmont Avenue, 2nd Floor (212-254-9300) • Dominie’s Astoria 34-07 30th Avenue Subway: N, Q to 30th Avenue (212-243-2222) Subway: B, C to 116th Street www.mintonsharlem.com Subway: B, D to 182-183 Streets www.universityofthestreets.org • The Downtown Club 240 E. 123rd Street • MIST - My Image Studios 40 West 116th Street • Village Vanguard 178 Seventh Avenue South (212-255-4037) (212-868-4444) Subway: 4, 5, 6 to 125th Street Subway: 2, 3 to 116th Street www.mistharlem.com Subway: 1, 2, 3 to 14th Street www.villagevanguard.com • Downtown Music Gallery 13 Monroe Street (212-473-0043) • Mona’s 224 Avenue B Subway: L to First Avenue • Walker’s 16 North Moore Street (212-941-0142) Subway: A, C, E to Canal Street Subway: F to East Broadway www.downtownmusicgallery.com • Muchmore’s 2 Havemeyer Street (718-576-3222) • Waltz-Astoria 23-14 Ditmars Boulevard (718-95-MUSIC) • The Drawing Room 56 Willoughby Street #3 (917-648-1847) Subway: L to Bedford Avenue Subway: N, R to Ditmars Blvd-Astoria www.Waltz-Astoria.com Subway: A, C, F to Jay Street/Metrotech www.drawingroommusic.com • NYC Baha’i Center 53 E. 11th Street (212-222-5159) • Weill Recital Hall (at ) 154 W. 57th Street at Seventh Avenue • Drom 85 Avenue A (212-777-1157) Subway: 4, 5, 6, N, R to 14th Street-Union Square www.bahainyc.org (212-247-7800) Subway: N, R to 57th Street www.carnegiehall.org Subway: F to Second Avenue www.dromnyc.com • National Sawdust 80 N. 6th Street • Williamsburg Music Center 367 Bedford Avenue, Brooklyn, NY • Duet 37 Barrow Street (212-255-5416) (646-779-8455) Subway: L to Bedford Avenue www.nationalsawdust.org (718-384-1654) Subway: L to Bedford Avenue Subway: 1 to Christopher Street www.duetny.com • Neighborhood Church of Greenwich Village 269 Bleecker Street • Services Center 689 Fifth Avenue at 55th Street • Dupuy’s Landing 433 W. 22nd Street (212-691-1770) Subway: A, B, C, D, E, F, V to W. 4th Street (212-339-9995) Subway: E, M to 5th Avenue www.yamaha.com/yasi (646-770-0433) Subway: 1 to 23rd Street www.dupuyslanding.com • New Revolution Arts 7 Stanhope Street Subway: J to Kosciuszko Street • Zinc Bar 82 W. 3rd Street (212-477-8337) • The Ear Inn 326 Spring Street at Greenwich Street (212-246-5074) www.jazzrightnow.com/new-revolution-arts-series Subway: A, B, C, D, E, F, M to W. 4th Street www.zincbar.com Subway: C, E to Spring Street www.earinn.com • New School Auditorium on 12th Street 66 W. 12th Street • Zürcher Gallery 33 Bleecker Street • Farafina Café & Lounge Harlem 1813 Amsterdam Avenue (212-281-2445) (212-229-5488) Subway: 4, 5, 6, L, N, Q, R to Union Square (212-777-0790) Subway: 6 to Bleeker Street; B, D, F to Broadway-Lafayette Subway: 1 to 145th Street www.farafinacafeloungeharlem.com www.newschool.edu www.galeriezurcher.com

THE NEW YORK CITY JAZZ RECORD | JANUARY 2017 49 (INTERVIEW CONTINUED FROM PAGE 6) TNYCJR: You always have crowd-funding. students an assignment to learn Booker’s solo on “Milestones”. He gave up after a month. That’s the for college.” He looked at me and said, “Boy, you’re in JF: My main focus is my family and my six-year-old kind of stuff I love, not giving them something that the best college you could be in right now.” I didn’t son. I’m working enough right now where I have the they can’t do, but giving them a goal to reach. That was understand that at the time, it took me years to discover option of spending a little more time at home and just one instance where the trumpeter couldn’t do that, what he meant. I went to Manhattan School of Music helping him to grow and teach him some things, that’s but I have other ones who say, “Okay” and come in for a few months, but I quit when we started playing my choice. I know a lot of musicians who had children, and play the stuff and I say “Excellent”. Then I give some Thad Jones arrangements in the jazz band. At the spent most of the time on the road and missed seeing them the next one. school I was playing the second parts but at the their children grow. I’m trying not to let that happen. Vanguard, I was playing the first parts. I was playing I was late coming to the party, I was 57. TNYCJR: You’re still growing as a trumpeter. lead with Thad and Mel at that time. So I said to the band director, “I play lead with the Thad Jones-Mel TNYCJR: How do you choose music for a record date? JF: It’s a lifetime of study. In his 70s Dizzy said that, Lewis Orchestra and here you have me playing second. “It’s taken me this long to learn what not to play.” I can Don’t you think I should be playing first or lead?” He JF: Sometimes I get input from the record company. see the growth in my playing, but maybe a lot of people said, “I can’t do that, he’s a senior”, talking about the Other times I might have freedom to do what I want, just hear that “He’s playing high notes.” That’s okay if guy playing lead. So that’s when I left school. It’s okay, which is what happened on the last record I did ten that’s what you want to think. But nobody says that because I wouldn’t have had the opportunities to play years ago, Teranga. I had guests like Clark Terry, Gary when there’s a clarinet player or piano player, it just with Count Basie and Duke Ellington, who asked me to Smulyan, Frank Wess, Russell Malone, just some happens to be where I hear music. I hear lines up there, join their bands. I couldn’t do that because I enjoyed friends to get together and play some music. When I’m notes up there. It’s like second nature to me. We never playing Thad’s arrangements so much. That definitely guesting at a high school or college and I’m doing stop learning about this music. First of all, playing the led me to where I am now. Some years ago I received master classes or clinics, I have some of my music trumpet is one of the most difficult of instruments, so an honorary doctorate from Manhattan School of arranged for big band and I’ll send that out. Dizzy, of a lot of my practice is maintenance and trying to keep Music, which they conferred on me at the graduation course, gave me tons of his big band music. what I have. I’m in my 60s now and it’s not as easy as ceremony. I said, “Several years ago, I was a student it was when I was 18. v here at Manhattan School of Music and I lasted TNYCJR: You share with students from personal experience. a couple of months…” and all the kids cheered (laughs). For more information, visit terangajazz.com. Faddis is at JF: There are so many things, from copyrighting their Quaker Friends Meeting Hall Jan. 5th as part of Winter TNYCJR: Was it intimidating recording a duo album compositions to how they want the public to perceive Jazzfest/Jazz Legends for Disability Pride, Birdland Jan. with Oscar Peterson when you were so young? them by writing a 150-word biography. How would 10th-14th and Juilliard School Peter Jay Sharp Theater Jan. you like to be seen in the public eye? What do you 18th with the Juilliard Jazz Orchestra. See Calendar. JF: (Laughs) What do you think? I was 22, I didn’t want them to know about you? My wife, who is a great know what I was doing. That came about through writer and attorney, helps me with that and sometimes Recommended Listening: Dizzy and I think that he talked to Norman Granz comes into the class and takes them through copyright • Oscar Peterson/Jon Faddis— about me. So they set up the recording with Oscar and issues. What happens when you co-write something or Oscar Peterson & Jon Faddis (Pablo, 1975) the next year I did a quartet record. The recording with you’re in a cooperative band? Did you have a contract? • Dizzy Gillespie—Jam: Montreux ’77 (Pablo Live, 1977) Oscar went pretty quickly. I think that we were done in Legal issues that students might not be aware of. Then • Jon Faddis—Legacy (Concord, 1985) about an hour and forty-five minutes. He asked, “What there’s the history of the music, which is what I like to • & The JazzMasters (featuring Jimmy do you want to play?” I said, “I don’t know.” So Oscar dwell on with them and try to get them to have some Heath & Jon Faddis)—Dedicated to Diz (Live at the said, “‘A Train’, take one. We’re doing it in three” and respect for a lot of the musicians who helped to create Village Vanguard) (Telarc Jazz, 1993) he started playing. So I sort of faked my way through this music and some who even died for this music. • The Carnegie Hall Jazz Band (Music Director Jon “A Train”, “Autumn Leaves”, “Things Ain’t What They I teach a senior college class and a graduate class of Faddis)—Eponymous (Blue Note, 1995) Used to Be” and whatever else we played. I don’t students who are pursuing a Master’s degree so they • Jon Faddis—Teranga (Koch, 2005) remember much else. It was definitely scary but Oscar can teach. So I make sure that they know the history of was very welcoming, very gracious, because he knew this music. Everyone talks about Jamestown and the I was out of my element, out of my depth at that time. first settlers in America, the first settlers have been (LABEL CONTINUED FROM PAGE 11) here for 30,000 years (laughs). Such a Eurocentric view TNYCJR: What are your current bands? that we have in our history books for kids. I try to let the piano, the breadth of tone in the sax and the timbre them know about field hollers, spirituals and the blues, of a cymbal. The warmth of a gorgeous tone and the JF: I have a quartet and a big band. Sometimes I’ll do the Original Dixieland Jazz Band and Freddie Keppard, burn of a locked-in tempo. We have faith that a a special configuration called The Triumph of Trumpets, who, for that matter, turned down that first [jazz] beautiful melody, beautifully recorded, will always which usually includes Sean Jones, Terell Stafford and recording session [for Victor] and how important that find a home.” Kudos to Newvelle Records for its myself, along with my rhythm section of David Hazeltine, is. I’ll play them some of that music. So to trumpet adventurous spirit and its commitment to bring the and Dion Parson. Sometimes we’ll players who are only listening to Roy Hargrove, Sean delicious benefits of the sound of vinyl recordings to a have African percussion or guests, depending on the Jones, Wynton Marsalis, Terell Stafford, some of the new generation. v budget available. Then I have the Jon Faddis Jazz hot guys, I’ll say, “Learn this” and give them Louis Orchestra of New York, which is a continuation of the Armstrong’s “Weather Bird” or “Cornet Chop Suey” or For more information, visit newvelle-records.com. Artists Carnegie Hall Jazz Band, which I led for ten years. just the intro to “West End Blues” and watch them performing this month include Ben Allison Jan. 7th at New struggle. Then I say, “Here’s what you do and how you School Glass Box Theater as part of Winter Jazzfest; Jon TNYCJR: You haven’t recorded as a leader recently. do it.” Then I introduce them to lesser known Cowherd at New School Glass Box Theater Jan. 6th with trumpeters they might not know: Bix Beiderbecke, Roy Nate Smith as part of Winter Jazzfest, Bar Lunàtico Jan. 9th JF: I thought I had a deal worked out earlier this year but Eldridge and those in the Swing Era like Harry James, with Mike Moreno and Jazz at Kitano Jan. 26th with Audrey it fell through. I was writing music and had my sketches Buck Clayton, Sweets Edison, Ziggy Elman, Bunny Silver; Kevin Hays at Club Bonafide Jan. 6th with Uri laid out. We are looking to see what else is available. I’ve Berigan and those guys. Dizzy, Fats, Miles and Kenny Gurvich and Jan. 7th with Gregoire Maret, Jazz at Kitano been in New York and on the scene since 1971 and 45 Dorham, Red Rodney. Who is that? , you Jan. 12th and Cornelia Street Underground Jan. 26th with years later I’m getting contracts that would be offered to never heard him? No, but I like that! Or I’ll play a Eduardo Belo; Frank Kimbrough at Mezzrow Jan. 12th and someone who just graduated college, new on the scene. 23-year-old Woody Shaw. I have them do a lot of Greenwich House Music School Jan. 27th; Aruán Ortiz at I think that’s disrespectful and inappropriate. listening and transcribing, a lot of work on changes Clemente Soto Velez Cultural Center Jan. 3rd and Jan. 19th and send them out to get them on the scene. There are with Francisco Mora Catlett; John Patitucci at Flushing TNYCJR: I know a lot of labels ask for a cut of a couple of former students, Bruce Harris, who is Town Hall Jan. 21st with Gustavo Casenave and Smoke Jan. publishing on your compositions as well. making quite a name for himself in New York, and 25th with Antonio Farao; Noah Preminger at Rockwood another was Max Darché, who not a lot of people know Music Hall Jan. 15th with Michael Feinberg; and Chris JF: It’s fruitful for the record company because of all but I tell audiences he reminds me of me when I was Tordini at Le Poisson Rouge Jan. 2nd with Chris Speed, the digitization of the music and people are streaming his age. Young and black, only he’s white. Korzo Jan. 3rd, New School 5th Floor Theater Jan. 6th with and sharing. The record business has changed. I was in Andy Milne and with Jim Black, both as part of Winter the studio with Miles and Noah Evans, Gil Evans’ sons. TNYCJR: There are also trumpeters like Booker Little Jazzfest, New School 12th Street Auditorium Jan. 7th with They’re doing a tribute to Gil. It was great seeing a lot who died young but made an impact. Becca Stevens as part of Winter Jazzfest, The Stone Jan. of the guys that I played with in the ‘70s and ‘80s, but 10th with Jim Black and ShapeShifter Lab Jan. 15th with who knows what’s going to happen with the recording? JF: Absolutely. Earlier this semester I gave one of my Zack Foley. See Calendar.

50 JANUARY 2017 | THE NEW YORK CITY JAZZ RECORD (JAZZDOR CONTINUED FROM PAGE 13) (EXIT ZERO CONTINUED FROM PAGE 13) Alexander von Schlippenbach and Manfred Schoof) with German pianist Georg Ruby, German drummer foot-tapper, critical mass turned to overkill, waltzes, boasts of having hosted four U.S. presidents. Several Daniel “D-Flat” Weber and French vocalist Elodie blues and Latin numbers seemingly stamped from the other groups at the festival explored Cuban influences: Brochier. The band interacts with text by the French same assembly line. Swiss pianist Sylvie Courvoisier Canadian soprano saxophonist Jane Bunnett’s dynamic 19th Century symbolist poet Arthur Rimbaud and with Americans bassist Drew Gress and drummer all-female sextet Maqueque mixed traditional and while many projects of this ilk fail to cohere, this one Kenny Wollesen was discrete where modern AfroCaribbean sounds with exceptional deftly does the job. The album by the group was an animation grew organically from interaction. The musicianship during a rousing early afternoon interesting listen but seeing the performance lent heft, pianist often concentrated on the bassline as she shifted Convention Hall performance while Cuban-born as Pilz ejaculated visceral moans and Brochier’s between flowing intensity and ranging over the keys pianist Omar Sosa joined with German trumpeter Joo theatrical delivery heightened the tension. with fingers, hands and elbows, Gress providing the Kraus and Puerto Rican percussionist (and former The final day began with the Jeff Herr Corporation, foundation on which Courvoisier floated. Weather Report member) Manolo Badrena to present a led by the Luxembourgish drummer and completed by Nov. 10th was a detour to the Salle du Cercle in the more experimental vision of Latin jazz, drawing on Luxembourgish saxophonist Maxime Bender and suburb of Bischheim where the French trio of free improvisation and electronics, along with bassist Payfert. The band’s name is apt as it is merely an keyboardist Jérémie Ternoy, guitarist Ivann Cruz and danceable rhythms and multilingual chants during a assembly line for producing one showy technique after drummer Peter Orins created an expressive background well-received show at local restaurant Alathea’s. another, a drum clinic posing as a jazz-funk concert. of angularly atmospheric or intense melancholic sounds Legendary Philadelphia guitarist Pat Martino, Pit Dahm Trio is a hip amalgam under the baton of for a screening of F.W. Murnau’s 1924 silent classic The who had to cancel his date at last year’s festival due to Luxembourgish drummer Dahm alongside Belgian Last Laugh. As good as the performance was, it was illness, returned for a set of fast-paced, no-nonsense bassist Lennart Heyndels, Dutch saxophonist Charley literally overshadowed by the onscreen action. postbop. He tore through classic tunes like Sonny Rose and adding Dutch pianist Harmen Fraanje. While Concerts on both sides of the border took place Rollins’ “Oleo” and John Coltrane’s “Impressions”, this was the first traditional jazz band set-up, the music Nov. 11th, but the double bill featuring trombonist Nils ably backed by a quintet featuring organ player Pat could have hailed from a backroom in Brooklyn. The Wogram at Offenburg’s Kulturforum bested tenor Bianchi and a pair of hard-hitting horns. In an entirely interactions were mellow, melodies sprightly, dynamic saxophonist Hugues Mayot’s quartet at the CEAAC. different musical vein, the Squirrel Nut Zippers, who range effective, shifts between lovely and complex Wogram was first paired with Serbian keyboardist had a brief moment of stardom during the best- organic and Fraanje filled in the cracks like his Bojan Z then led his Root 70 band with New Zealand forgotten ‘90s Swing craze, delivered a rollicking set of American doppelganger Matt Mitchell. alto saxophonist Hayden Chisholm, British bassist hot hillbilly jazz to a packed Convention Hall house. The final set brought back Bender with his Universal Neil Duncan and German drummer Jochen Rueckert. After hours, the action shifted to the beachfront Sky, also reprising drummer Klein plus French organ Bojan Z suffused Wogram’s hyperactive slide acrobatics clubs, where New Orleans seemed to be the thing. On player Jean-Yves Jung and guitarist Manu Codjia. This with Slavic-tinged swing and elongated asides yet a single evening, visitors could hear pianist/singer band could also be mistaken for modern American jazz Wogram’s brass command was so staggering that the and Treme stalwart Davis Rogan at an upstairs bar; the in its synthesis of Donny McCaslin’s more fusiony work keyboardist’s natural ebullience was downplayed. The raucous High and Mighty Brass Band from Brooklyn at and Bill Frisell’s country-fried ballads. With too many quartet loped from beboppy blues to more complicated one downstairs venue; and fiery early-jazz revivalists styles being attempted, however competently, who can lines—one saluting George Russell—with the foursome Davina and the Vagabonds at another. v say what would make this band really take flight. sometimes functioning as two duos. Three strong performances on the final day of this For more information, visit exit0jazzfest.com For more information, visit musiclx.lu report suggest the best was saved for last. At the CEAAC, Swiss percussionist Julian Sartorius demonstrated how one player could stretch the (LUXEMBOURG CONTINUED FROM PAGE 13) technical requirements of a standard kit plus Academy Records miscellaneous little instruments and a Shruti box for Morfitis and drummer Stelios Xydias. The core group an enthralling show. Creating his rhythm from a single has a nice interaction flattened by the inclusion of snare, Sartorius rubbed cymbals and metal balls onto Polyzogopoulos, too breathy, too Miles-ian. Some & CDs the polymer for additional color, accenting his hour- tunes were atmospheric (all prologue, no novel), others long improvisation with droning ostinato or feathery more urgent so what is the real band sound? marimba-like strokes from either side of the Shruti. Sascha Ley and Laurent Payfert is a German- Taking inspiration from Anglo Celtic folk songs, French vocal-bass collaboration based in Luxembourg. the Bedmakers band of three French players—Robin Ley is also an actress and her delivery of overbaked Cash for new and used Fincker (tenor saxophone and clarinet), Mathieu lyrics and pedestrian extended techniques became too Werchowski (violin) and Fabien Duscombs (drums)— hammy for Hanukkah, overwhelming what was a nice compact discs,vinyl and German-French bassist Pascal Niggenkemper bit of playing by Payfert. records, blu-rays and turned centuries-old jigs, airs and ballads into modern The next day began with Dock In Absolute, another improvisations. The themes retained their earthy young Luxembourgish pianist trio comprised of pianist dvds. cadences but were reimagined with reed slap-tonguing Jean Philippe Koch, electric bassist David Kintziger and slurps, Niggenkemper slipping brass mutes and and drummer Michael Meis. A very disciplined outfit, sticks between his strings for added resonance and there was a baroque underpinning to Koch’s Werchowski slicing and plucking his strings in post- compositions wedded to an indie rock feel, resulting in We buy and sell all modern invention. The band produced the closest what could best be described as Tori Amos jazz. approximation to good-time music at the festival. Pascal Schumacher Meets Maxime Delpierre genres of music. An uncommon instrumental mix also linked to the matched the Luxembourgish vibraphonist/pianist All sizes of collections melodic tradition was trumpeter Dave Douglas’ New with the French guitarist. The music was ethereal and Sanctuary band with guitarist Marc Ribot and drummer dreamy, a pastel soundscape achieving a lovely welcome. Susie Ibarra at Fossé des Treize. The combination of anthemic quality towards the end as the aural sky constant string picking, cascading open-horn brass widened. Vibraphone floated like dense fog and the notes and focused drum beats evoked the sounds of a guitarist avoided any Bill Frisell-ian cliché. Steve Reich simpler, better time, a sentiment articulated by would have found this mesmerizing. For large collections, Douglas, who noted that the presidential election had Pol Belardi’s Force with Riaz Khabirpour is led by left “many Americans in a state of shock” and thanked the Luxembourgish electric bassist, completed by please call to set up an the audience for its “sympathy”. The trio inventively Frenchman David Fettmann (alto saxophone) and appointment. explored various combinations and tempos such as fellow Luxembourgish Jérôme Klein (piano) and Niels pealing bells and delicately shaking brushes to Engel (drums) and featuring German guitarist accompany sharp trumpet whistles or sour open horn Khabirpour. This group demonstrated why fusion’s tones meeting insistent guitar flanges. During the trio’s lifespan was so short, despite decades’ worth of second encore, a skipping Reveille-like melody ended resuscitation efforts. No melody, however fleet, was Open 7 days a week 11-7 in bright swing, portraying future musical, if not memorable and each player became a caricature. political, harmony. v Rimbaud #4 was a fascinating collaboration 12 W. 18th Street NY, NY 10011 bringing together Luxembourg’s most notable musical 212-242-3000 For more information, visit jazzdor.com son Michel Pilz (bass clarinet, veteran of groups led by

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