sign in sign up
<<
Home , Andy Moor (The Ex), Barney Wilen, Bernard Stollman, Brilliant Circles, Buell Hall, Captain Kirk Douglas

JUNE 2015—ISSUE 158 YOUR FREE GUIDE TO THE NYC SCENE NYCJAZZRECORD.COM

RAN BLAKE Primacy of the Ear

STANLEY SAMUEL SHUNZO BARNEY COWELL BLASER OHNO WILEN Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The City Jazz Record 116 Pinehurst Avenue, Ste. J41 JUNE 2015—ISSUE 158 New York, NY 10033 New York@Night 4 Laurence Donohue-Greene: [email protected] Interview : by anders griffen Andrey Henkin: 6 [email protected] General Inquiries: Artist Feature : Samuel Blaser 7 by ken waxman [email protected] Advertising: On The Cover : 8 by suzanne lorge [email protected] Editorial: [email protected] Encore : Shunzo Ohno 10 by russ musto Calendar: [email protected] Lest We Forget : 10 by clifford allen VOXNews: [email protected] Letters to the Editor: LAbel Spotlight : Summit 11 by ken dryden [email protected] VOXNEWS 11 by katie bull US Subscription rates: 12 issues, $35 International Subscription rates: 12 issues, $45 For subscription assistance, send check, cash or money order to the address above In Memoriam 12 by andrey henkin or email [email protected] Festival Report Staff Writers 13 David R. Adler, Clifford Allen, Fred Bouchard, Stuart Broomer, CD Reviews 14 Katie Bull, Thomas Conrad, Ken Dryden, Donald Elfman, Brad Farberman, Sean Fitzell, Miscellany 41 Kurt Gottschalk, Tom Greenland, Alex Henderson, Marcia Hillman, Event Calendar Terrell Holmes, Robert Iannapollo, 42 Suzanne Lorge, Marc Medwin, Robert Milburn, Russ Musto, Sean J. O’Connell, Joel Roberts, John Sharpe, Elliott Simon, Andrew Vélez, Ken Waxman There is a nobility to turning 80 and a certain mystery to the attendant noun: octogenarian. It is especially impressive in the world of jazz, which takes an unnatural toll on those who Contributing Writers pursue it. Everyone talks about the rock ‘n’ rollers who died young; what about the myriad Duck Baker, Brad Cohan, Phil Freeman, jazz ? But the difference between the two genres is that jazz players are still creative Anders Griffen, George Kanzler, and probing into their later decades (take that, Mick Jagger). Mark Keresman, Ken Micallef Celebrating this feat is pianist/educator/vocal collaborator par excellence Ran Blake (On The Contributing Photographers Cover). He has worked with , Patty Waters, Christine Correa, Dominique Eade Scott Friedlander, Peter Gannushkin, and, most recently Sara Serpa, the latter with whom he will appear at Jazz at Kitano, celebrating Andy Hurlbut, Vera Marmelo, their new release and his milestone birthday (a couple of months late). Pianist Stanley Cowell Rainer Ojaste, R.I. Sutherland-Cohen, (Interview) is six years shy of 80 but has the activity level of someone half his age, releasing Jack Vartoogian, Nils Winther annually and now making his leader debut at Village Vanguard. It would take 2.42 Samuel Blasers (Artist Feature) to add up to 80 but the young trombonist is already prolific as a leader and collaborator beyond his years. He appears around town throughout the month.

Oak is a traditional gift for one’s 80th anniversary while diamonds or pearls are a more modern nycjazzrecord.com option. All speak aptly to longevity, strength and beauty. On The Cover: Ran Blake (photo by Andy Hurlbut) In Correction: In last month’s What’s News, the full name of the Jazz Journalists Association Jazz Hero for Boston is Mark Sumner Harvey. All rights reserved. Reproduction without permission strictly prohibited. All material copyrights property of the authors.

2 JUNE 2015 | THE JAZZ RECORD WWW.BLUENOTEJAZZ.COM JUNE 2015

SAVION GLOVER HIROMI: STANTON MOORE JUNE 2 - 3 THE TRIO PROJECT JUNE 9 - 10 TRIO FEAT. ANTHONY JACKSON & SIMON PHILLIPS JUNE 12 - 13 JUNE 4 - 7

DAVID MURRAY TRIO ABDULLAH IBRAHIM ROBERT GLASPER BEBEL GILBERTO FEAT. TERRI LYNE CARRINGTON & EKAYA TRIO JUNE 29 - JULY 1 JUNE 15 - 17 JUNE 18 - 21 JUNE 24 - 27 JUNE 1 • REVIVE PRESENTS IGMAR THOMAS FT. Special Guest (8PM) / RAVEL RE-IMAGINED + ORIGINAL WORKS FEAT. ELDAR & MORE (10:30PM) JUNE 8 KATHLEEN BATTLE: SOMETHING TO SING ABOUT III W/ CYRUS CHESTNUT Produced By Jill Newman Productions JUNE 11 • JUNE 14 & 23 • ORGAN QUARTET JUNE 22 • AYO Produced By Jill Newman Productions JUNE 28 SUNDAY BRUNCH THANA ALEXA JUNE 7 • CAMILA MEZA QUARTET JUNE 14 • JOHNNY O’NEAL TRIO - BLUE NOTE DEBUT JUNE 21 • YOUNGJOO SONG QUARTET *SAT, JUNE 27* • ALAN BROADBENT TRIO JUNE 28 LATE NIGHT GROOVE SERIES DESSY DI LAURO’S NEO-RAGTIME JUNE 5 • RABBI DARKSIDE JUNE 6 • RES Produced By Jill Newman ProductionsJUNE 12 • LEX SADLER’S RHYTHM & STEALTH W/SPECIAL GUESTS JUNE 13 THE BRIGHTON BEAT JUNE 19 • SOUL INSCRIBED JUNE 20 • TBA JUNE 26 • PRESENTS: A NIGHT W/ - RELEASE JUNE 27

RD bluenotenyc l3l WEST 3 STREET NEW YORK CITY • 2l2.475.8592 • WWW.BLUENOTEJAZZ.COM

@bluenotenyc TWO SHOWS NIGHTLY 8PM & l0:30PM • FRIDAY & SATURDAY LATE NIGHTS: l2:30AM TELECHARGE.COM TERMS, CONDITIONS AND RESTRICTIONS APPLY @bluenotenyc SUNDAY BRUNCH, ll:30AM & l:30PM, $35 INCLUDES BRUNCH AND DRINK

2751 Broadway NYC, NY (btw 105th & 106th Streets) www.smokejazz.com 212.864.6662 JUNE 2015 JUNE WEEKENDS JUNE WEEKNIGHTS JUNE ’ROUND MIDNIGHT

6/5, 6/6 & 6/7 M 6/1 THE CAPTAIN BLACK BIG Tu EMMET COHEN ORGAN TRIO STEVE DAVIS SEXTET Tu 6/2 MIKE LEDONNE’S GROOVER QUARTET W QUARTET “SAY WHEN” CD RELEASE / W 6/3 THE BRICKTET Th NICKEL & DIME OPS Th 6/4 MICHELLE WALKER F JOHN FARNSWORTH QUARTET or J.J. JOHNSON TRIBUTE F PATIENCE HIGGINS’ SUGAR HILL QUARTET Jim Rotondi [tpt] Eric Alexander [ts] Steve Davis [tbn] [p] M 6/8 THE CAPTAIN BLACK Sa JOHNNY O’NEAL & FRIENDS Nat Reeves [b] Joe Farnsworth [d] Tu 6/9 MIKE LEDONNE’S GROOVER QUARTET Su WILLERM DELISFORT QUARTET W 6/10 TIM GREEN QUARTET 6/12, 6/13 & 6/14 Th 6/11 JD WALTER JAM SESSION INGRID JENSEN’S FAMILY QUINTET M JAM SESSION w/CAPTAIN BLACK BIG BAND Ingrid Jensen [tpt] Christine Jensen [saxes] M 6/15 THE CAPTAIN BLACK BIG BAND Gary Versace [p] Matt Clohsey [b] SUNDAY JAZZ BRUNCH Jon Wikan [d] + Joel Miller [ts - sat only] Tu 6/16 MIKE LEDONNE’S GROOVER QUARTET Su ANNETTE ST. JOHN & HER TRIO W 6/17 ROXY COSS QUARTET 6/19, 6/20 & 6/21 Th 6/18 ALEXIS COLE Sets at 7, 9 & 10:30pm GEORGE COLEMAN QUARTET George Coleman [ts] Harold Mabern [p] M 6/22 THE CAPTAIN BLACK BIG BAND ’ROUND MIDNIGHT SETS at 11:30PM John Webber [b] Joe Farnsworth [d] Tu 6/23 MIKE LEDONNE’S GROOVER QUARTET FRI & SAT also at 12:45AM W 6/24 LUMMIE SPANN QUARTET 6/26, 6/27 & 6/28 MON at 7 & 9pm only Th 6/25 GREGG AUGUST QUINTET HELEN SUNG QUARTET MON Jam Session starts at 10:30pm John Ellis [ts] Helen Sung [p] [b] Donald Edwards [d] M 6/28 THE CAPTAIN BLACK BIG BAND SUN Brunch sets at 11:30am, Tu 6/29 MIKE LEDONNE’S GROOVER QUARTET 1:00pm & 2:30pm NEW YORK @ NIGHT

The venerable Dutch ICP played a three- For 24 years, Bruce Gallanter’s Downtown Music night run at Roulette in May with a rotation of guests, Gallery has been a for fans of creative improvised the first night (May 6th) being trombonist Ray Anderson music. To celebrate and support the retail store/ and Fay Victor. The trombonists, in fact (Anderson performance space, The Stone staged a benefit (May and Wolter Wierbos) were among the first to take the 11th) featuring a series of quartets drawn from a pool stage, joining violinist Mary Oliver and cellist Tristan of ten musicians: Chuck Bettis and Ikue Mori NEW RELEASES Honsinger in a peppy dissonance. The rest of the tentet (electronics), Sylvie Courvoisier (), flanked the stage waiting for the music to open up and Chris Pitsiokos (alto ), Mark Helias enough to let them in, which wouldn’t take long— (bass), Jason Kao Hwang (violin), Ned Rothenberg things often don’t within the ICP sphere and nobody (alto /), Adam Rudolph (percussion), makes atonality swing like the celebrated band from Steve Swell () and Nate Wooley (). Amsterdam. They touched on some Monk, so beloved The changing combinations of improvisers made for by co-founder Misha Mengelberg (who no longer travels diverse musical chemistry, from Ehrlich and with the band) as well as a coterie of his compositions. Rothenberg’s two-alto onslaught; Mori and Bettis’ In his absence drummer was the elder, if psychedelic washes under Pitsiokos’ frenzied alto not the leader. He set the pace for the second piece, full squawks; and Swell and Wooley’s pinched brass of rich harmonies across the entire ensemble. Michael timbres against Hwang’s incisive pizzicato. The set MICHAEL GIBBS & THE NDR BIGBAND Moore took a soulful clarinet solo while Bennink hit finished with a delicate, intuitive trio piece by harder than hardbop concurrent with decorations from Rothenberg, Courvoisier and Helias. Next, pianist Play A Bill Frisell Set List the rest of the horns. For the third piece, Victor joined in, and bassist Michael Bisio played an great BILL FRISELL delivers a tour de force accompanied three in another bit of dissonance, extended improvisation with two original compositions performance on a program of designed this time slow and sweet. Victor is one of the few who (“LP-X” and “The Conduct of Jazz”) inserted. At first, speci cally for him and the NDR BIGBAND. remembers that Ella could go off the cuff at times. She Shipp dominated, his shoulders half-hunched, trunk segued into “’Round Midnight”, a nice vehicle for twisting, forearms yanking away from the keys at each pianist Guus Janssen with occasional strums of the phrase-end, his right arm arching high to drop low- strings inside. She later returned for a Honsinger romp, end bombs. But Bisio asserted himself in a solo the cellist singing like old recordings of Charles Ives, interlude, employing an arsenal of expressive demonstrating that the ICP can carry on and add to techniques. Then both raced neck-and-neck to a Mengelberg’s mission. —Kurt Gottschalk rousing finale. —Tom Greenland

ROB MAZUREK / EXPLODING STAR ORCHESTRA Galactic Parables: Volume 1 Trumpeter and avant-garde force ROB MAZUREK

is in the forefront of the wave of modern jazz O W N M U S I C . E T and creative music in today’s electronic age. t I . S u h e r l a n d - C o P e t r G a n u s h k i / D O W N T R o b e r Han Bennink, Ab Baars, Michael Moore @ Roulette Matthew Shipp & Michael Bisio @ The Stone

MICHAEL GIBBS & THE NDR BIGBAND Kato Hideki and John King presented the third The Downtown Music Gallery’s long-standing iteration of their duo piece “Amorphous” at The Stone tradition of Sunday-afternoon in-store In My View (May 5th). It seemed (at least in this performance) as establishes an atmosphere where, as proprietor/ MICHAEL GIBBS has honed a subtle and highly personal approach much about their commonality as any preset structures. curator/master-of-ceremonies Bruce Gallanter put it, to arranging and composition, both beautifully showcased here. They worked in slow time frames, facing each other “people can play for free, in more ways than one.” A with stringed instruments and laptops. There was no VSOP benefit was held (May 2nd) with tenor clue to the audience that they were working in set saxophonist Tony Malaby and bassist William Parker. blocks, however (unless one heard their discussion Sitting on folded chairs or standing among the immediately beforehand), but there was a distinct homemade CD bins, the small but serious crowd was impression that they were working under some treated to Parker’s humorous reminiscences of various restraint. King started with a slow, looping pulse, low colorful characters he’d encountered in his childhood. tone and harmonic response, letting it build for a Malaby then started the set in a tight-throated tone considerable time. Hideki at length disrupted with a that soon sweetened while Parker established a loud, sudden analog synth eruption. King picked up throbbing riff, played on his “hundred-dollar bass”, his and started crafting small figures, which he had hand-painted in stark reds and blacks, molding each line with outboard effects. Hideki highlighted by cryptic symbols. Malaby, a consummate GUAPO concocted a bass beat out of his crate of cables and sound-shaper, produced a gamut of effects, from high- Obscure Knowledge patches, augmented by a banjo that lay on the floor, the pitched chirps, long-swooping sirens, breathy whispers Active for 20 years, GUAPO plays ‘muscular & modern’ progressive resonator used as a sound chamber (dropping and multiphonic chords, but he is, at heart, a thinking- rock. For fans of: Magma, King Crimson, Present, Koenjihyakkei. uncooked rice on the head, for example). King switched man’s improviser, developing each theme with audible to violin, a different attack but remarkably similar logic that allows the attentive listener to monitor his tonality. At about midpoint they clicked into something musical progress closely. Even at his most exuberant, cuneiformrecords.com interlocking, a tease of momentum that didn’t last no notes are throwaways, no tones expendable. The cuneiformrecords.bandcamp.com long. Only about 40 minutes in did the piece seem to duo moved through various moods as the music gain a footing, if with signal interruption between, unfolded, from rocking beats, gentle balladry, pealing Buy these and thousands of other then a return of the initial pulse underneath. It was climaxes, funky slapping, down-home riffing, interesting releases at our online store: deeply meditative, active below the surface if not uptempo walking, light revelry and, at last, deep waysidemusic.com entirely musical, like listening to an automobile with a spirituality. They capped the event with a short, loose fan belt trying to start. (KG) nimbly-fingered coda. (TG)

4 JUNE 2015 | THE NEW YORK CITY JAZZ RECORD looked every bit the mad scientist at The appearance of Wayne Shorter as featured soloist SubCulture (May 8th). The guitarist’s stark white mane with the Jazz at Lincoln Center Orchestra (JLCO) flared out in all directions, he was bathed in sci-fi blue offered the singular opportunity to hear jazz’ greatest WHAT’S NEWS lighting and he kept peering into banks of processors. living composer improvising freely on a wide range of Had he cackled, “It’s alive!!!”, it would have surprised pieces from his voluminous songbook, many of which On Jun. 8th at The Players, The Jazz Gallery will present the 2015 Contribution to the Arts Award to producer George no one. But instead, to introduce the evening, the first he may not have played since first recording them. The Avakian, honor pianist Junior Mance, bassist night of a 23-date solo guitar tour celebrating the final of a three-night stand (May 16th) at Rose and producer/author/photographer Hank O’Neal as well as release of only sky (ECM), Torn softly intoned that the Theater began with an extended standing ovation for honor The Jazz Gallery founder Dale Fitzgerald, who passed concert and the album approximate “music that I play the man JLCO Music Director Wynton Marsalis away earlier this year. Performers will include Johnathan Blake, when I am by myself.” This informality manifested introduced as a “true master”. Seated stage right, Ravi Coltrane, Maggie Condon, Sullivan Fortner, Vijay Iyer, itself in pieces that often sounded like they were coming flanked by pianist Dan Nimmer and bassist Carlos Linda Oh, Jaleel Shaw, George Wein and Ben Williams. For out of tunings of Torn’s instrument and continued, via Henriquez, Shorter let his horn do the talking, with more information and to purchase tickets, visit jazzgallery.org. precise yet improvised layers of musical fragments, Marsalis prefacing each of the program’s 11 original -fusion drummer Harvey Mason and vocalist Dee Dee some created on the spot, others recorded earlier, into arrangements by 10 different bandmembers with Bridgewater were among this year’s honorary doctorate spirited solo conversations. What the set may have anecdotes that offered insight into the composer’s Zen recipients at . Meanwhile, half a mile lacked in visceral engagement, it more than made up mindset. The band came out swinging on saxophonist away, pianist was among those given an for in intellectual stimulation. One could read a Victor Goines’ hard-hitting of “Yes or honorary doctorate by the New England Conservatory. And still comment on the death of American manufacturing in No”, with Shorter’s tenor leaping out of the orchestra in Beantown, founder George Wein received his own honorary doctorate from Boston University, the juxtaposition of Americana-style balladry over as he engaged in a call-and-response dialogue with the his alma mater. pulsing industrial undertones or the ironic placidity in band before embarking on a solo that twisted through moments of proto-metal. Torn’s methodology was, unexpected turns of phrase. Saxophonist Ted Nash’s The musical winners of the Jazz Journalists Association according to him, to “set up accidents to occur” but that take on “Diana” highlighted the beauty of Shorter’s (JJA) 2015 Awards have been named. Lifetime Achievement pseudo-deprecation belied the total command of the soprano sound and use of space. Switching between in Jazz: Randy Weston; of the Year: Jason Moran; Up generated soundworlds. Whether replicating the static horns on pieces from his Jazz Messengers tenure and Coming Artist of the Year: Cécile McLorin Salvant; Composer of the Year: ; Arranger of the that might be heard from the SETI Project or a pastoral (“Hammerhead” and “Nelly Bly”), days Year: Maria Schneider; Record of the Year: The Art of recollection frosted by glitchy calliope-like flourishes, (“E.S.P.”), his own Blue Note period (“Contemplation”) Conversation (Impulse!)— and ; Torn the technician worked atomistically while his and post-Weather Report solo efforts (“The Three Historical Record of the Year: Miles at the Fillmore (Columbia- musical counter-ego concurrently plied a more holistic Marias”), Shorter steadfastly confirmed the astounding Legacy)—Miles Davis; /Platform of the Year: approach. —Andrey Henkin range of his genius. —Russ Musto Motéma Music; Male Singer of the Year: Gregory Porter; Female Singer of the Year: Cécile McLorin Salvant; Large Ensemble of the Year: Arturo O’Farrill Afro Latin Jazz Orchestra; Midsize Ensemble of the Year: Wayne Shorter Quartet; Trio or Duo of the Year: Kenny Barron and Dave Holland; Trumpeter of o s the Year: Ambrose Akinmusire; Trombonist of the Year: Steve Turre; Multi-reeds Player of the Year: Anat Cohen; Alto Saxophonist of the Year: Miguel Zenón; Tenor Saxophonist of the Year: Chris Potter; Baritone Saxophonist of the Year: Gary Smulyan; Soprano Saxophonist of the Year: Jane Ira Bloom; Flutist of the Year: Nicole Mitchell; Clarinetist of the Year: Anat Cohen; Guitarist of the Year: Mary Halvorson; Pianist of the Year: Kenny Barron; Keyboards player of the Year: ; Bassist of the Year: Christian McBride; Violinist/Violist/ Cellist of the Year: ; Percussionist of the Year: o g i a n / F r t R w P h

t Pedrito Martinez; Mallets Instrumentalist of the Year: Warren

a r Wolf; Traps Drummer of the Year: Brian Blade; Player of Instruments Rare in Jazz of the Year: Edmar Castaneda (harp). s c o t f r i e d l a n The New York City Jazz Record has been nominated for the o b y eighth time as Jazz Publication of the Year as part of the JJA media awards, which will be announced at an awards ceremony

p h o t © 2 0 1 5 J a c k V for this year’s winners at Blue Note Jun. 16th. For more David Torn @ SubCulture Wayne Shorter & Jazz at Lincoln Center Orchestra @ Rose Theater information, visit jjajazzawards.org.

ackwoods came to Bushwick in the form of nce a standout staple on the resurgent ‘90s jazz The CD/DVD release During This Time - /Ben B O Webster/Tony Inzalaco/Niels-Henning Ørsted Pedersen (M.I.G. Cooper-Moore and , both raised scene that blossomed around the establishment of Music), reviewed in our May 2015 issue, has been given a in Virginia, performing as a primal duo in the middle of Smalls, the Jason Lindner Big Band has sadly been on special award by the German Echo Jazz 2015. And the a triple bill at New Revolution Arts (May 9th), curated an extended sabbatical for much of the past decade, as German Moers Festival received the award presented annually by our own Clifford Allen. They were preceded by the its leader has forged ahead with various other creative to a major jazz festival by the European Jazz Network. sci-fi solo tuba of Ben Stapp and followed by Kristin endeavors. In a celebration of the 20th anniversary of Slipp-Dov Manski’s duo deconstructions of standards. the band’s inception, Lindner reconvened the group at The winners of the 20th Anniversary Essentially Ellington High School Jazz Band Competition have been announced. Just like city ballers can create art with just an orange The Jazz Gallery, the scene of its 2005 live album American Music Program from Portland, OR took . spheroid and a metal circle on a pole, Cooper-Moore commemorating its first ten years of creating bold new Second place is Tucson Jazz Institute from Tucson, AZ. The and Baker showed that music ultimately comes from music. The (May 2nd) began with his own third-place winner is Lexington High School from Lexington, the musician, not the instrument. The former played “Space”, a cacophonous outing melding electronics, MA. Dillard Center for the Arts from Fort Lauderdale, FL two drums heads with sticks or a brush, his homemade screaming horns and the voice of Baba Israel into a received an honorable mention. For more information, visit twanger (an ersatz banjo) and diddley bow (single massive space chord reminiscent of Sun Ra. The academy.jazz.org/ee. string bass), a pair of fifes taped together Rahsaan moved from his piano to center stage In a roundup of miscellaneous awards, trombonist Wycliffe Roland Kirk-style, a or simply two drumsticks where he conducted his cohorts in a slowly harmonizing Gordon received the Highlights In Jazz Annual Award, a annual tapped together while the latter was armed only with a decrescendo, which gave way to a Jacques Schwarz- prize given to a living jazz musician for their “matchless musical miniature washboard and a few tiny cymbals, his Bart tenor solo over ensemble backgrounds achievements”. Vocalist Magos Herrera received the inaugural fingers encased in used shotgun shells (heightening the moving between classic and contemporary big band “Berklee Latino Masters Award” presented by Berklee College country aesthetic). In 30 minutes of improvisations, elements. Israel rapped politically on Avi Lebovich’s of Music. And pianist Manuel Valera has been granted the built from the most skeletal of rhythms or melodic “Recovery” and tenderly on ’s 2015 “Bacardi Choice” commission. snatches, the duo became transcendently symphonic. “Silhouettes”, memorializing the late bassist over Jazz at Lincoln Center’s annual Swing! A Summer Cocktail Baker has been exploring the textural possibilities of Lindner’s piano and Omer Avital’s bass, before Jeff Party will take place Jun. 22nd at 6:30 pm. Proceeds will the washboard for several years now and could put Ballard’s powerful drum interlude introduced the benefit the organization’s myriad educational initiatives. many drummers, armed to the beat with massive ensemble and Duane Eubanks’ free-bopping trumpet Honored this year will be Melissa Aldana, Ulysses Owens and trapkits, to shame. Cooper-Moore’s autodidactic solo. Reprises of two songs from the 10th Anniversary Bria Skonberg. Tickets starting at $125 are available at musicality is remarkably consistent across the diversity date, Avital’s “Song For Amos”, featuring trumpeter jazz.org. of his instruments, deeply spiritual and expressive. In Alex Norris and tenor saxophonist Anat Cohen, and this world premiere collaboration, musical history was Lindner’s “Suheir”, pairing off Eubanks and Schwarz- Submit news to [email protected] remade and downhome fun was had by all. (AH) Bart, closed the show. (RM)

THE NEW YORK CITY JAZZ RECORD | JUNE 2015 5 INTERVIEW

with music students at Rutgers?

A p S SC: At Rutgers there’s no actual music business course that I’m aware of, unless they’ve instituted that in the last couple years, but I individual teachers talk to students about that; I certainly did in the advanced improvisation course. I actually spent several classes STANLEY on contract reading, trying to get them up on how not to be ripped off by contracts, recording contracts, sample licenses, mechanical licenses and just a simple performance contract that they should use, even between their sidemen and the producer or presenter of a performance. They should control that if possible. COWELL (CONTINUED ON PAGE 50) Eric Person Big Band

© N i l s W n t h e r , S p C a P o d u c by anders griffen at Pianist Stanley Cowell arrived in New York in 1966 and SC: I can’t really speak to that, but it seems to be [true] Dizzy’s Club Coca-Cola found work right away with and , because of the number of students studying jazz that With Fantastic New Compositions and Arrangements , and and went want to play. However, I ask my advanced Wednesday, June 10th on to work with the Heath Brothers, J.J. Johnson and many improvisation class, these are Masters level students, 7:30 & 9:30pm jazz greats. In partnership with trumpeter , “What do you want to do when you leave here, when Jazz at Lincoln Center –Time Warner Bldg he started the influential Strata-East label in 1971. A prolific you graduate?” and only two or three people said they Broadway & 60th Street, 5th Floor 212-258-9595 composer, Cowell’s music is featured on some 30 albums as a want to perform, the rest said they want to teach. But I leader and his “Equipoise” has been recorded by numerous still think there’s a plethora of performers coming from Cover $35.00 Students $20.00 www.jazz.org/dizzys artists. In 2013, Cowell retired, Professor Emeritus, from the schools that are not so much academic oriented but Music Department of the Mason Gross School of the Arts at more performance oriented, like Berklee, William “The horn arrangements are especially fine and refreshing. A present-day Rutgers, the State University of New Jersey. Paterson and the New School. Another reason Charles sound, an original view. “ Tolliver and I started Strata-East Records was because Gapplegate Music Review The New York City Jazz Record: Has the orchestral there were a lot of creative artists that had no outlet “An inspiring and original new voice in large jazz ensemble writing”. treatment of your Asian Art Suite been performed? and a recording was, of course, a calling card to get Amy Duncan (Composer) hired and to perform. www.ericperson.com Stanley Cowell: It has been done several times: the Toledo Symphony, the George’s Philharmonic at TNYCJR: Charles Tolliver said that a lot of people the University of Maryland and the have tried to read political and racial motivations into Orchestra. Those three have also done my the creation of Strata-East, but he said it had to do with piano concerto in honor of , a three- ownership, pure and simple. movement work commissioned in 1990 by the Toledo Orchestra and Meet The Composer. The last SC: That was the starting point, I agree. performance was 2003 by the Rutgers Orchestra. TNYCJR: Because elsewhere there’s been discussion of TNYCJR: You encourage composition and orchestration artistic independence as a political statement or a to your students as a way to create more outlets for break with traditional structures of music industry. themselves. Are there aspects of that as well?

SC: Yes, there are other venues outside of the jazz club SC: That’s the post-facto reality of Strata-East. You that could be written for, even beyond the concert hall. know, it started out just Charles and myself and There are male choruses, various community choirs, gradually involving other artists who were producers there are other types of ensembles that you might find of their own masters to affiliate and to assign their associated with academic institutions, like percussion product—I think you have information on the nature ensembles, brass choirs, that are separate from the of that—it was not a cooperative, it was a condominium flagship orchestras that may be associated with the concept. Charles and I owned the structure, the university or college. So, anything that one can do to distribution set up by us over a period with our own create in a different venue and connect with a different recordings and then we began to expand by performing group would be helpful to expand the incorporating other producers and they would assign music to the public. their product to us to distribute. We reversed the monetary arrangement that companies had; the lion’s TNYCJR: It’s at once an artistic encouragement as well share went to the producers. Certain artists, though, as a way to be more active, have more work? were focused on the social aspect and racial—these were African-American artists that did want to express SC: Certainly. You can’t sit around and wait to be cultural feelings, political feelings, coming from their called, unless you’re an old veteran and everybody experiences as black artists, as black people. Remember, knows who you are and everybody may want to hear the inception of Strata-East is following on the urban you. But for the younger players, they have to create, upheaval of the late ‘60s—the assassinations of King not only the music, but they have to create places to and Malcolm X and the urban upheaval in black play, situations to play. Not everybody wants to communities across the United States. It was something compose, but most jazz improvisers are capable of that was encouraged by Max Roach, to begin to control putting stuff on paper, or at least organizing your destiny. It can be looked at, if you want, as some performances with other types of ensembles… all of sort of a racial movement, but that’s not how it started. the arts disciplines, write for plays, write music dramas, get into , dance, all of that. TNYCJR: How important is it to own your art in order to help insure your financial success? TNYCJR: A lot of people have put forth the opinion that it is more difficult to make a living in music today SC: It’s very helpful. [laughs] as compared to the ‘60s, ‘70s or ‘80s; do you think this is true? TNYCJR: Is that something that’s taught or discussed

6 JUNE 2015 | THE NEW YORK CITY JAZZ RECORD ARTIST FEATURE

For more information, visit samuelblaser.com. Blaser is at Ibeam Jun. 7th with and 10th, Cornelia Street Café Jun. 14th with Sebastien Ammann and Delroy’s Cafe and Wine Jun. 15th. See Calendar.

Recommended Listening: • Samuel Blaser—Solo Bone (SLAM, 2007) SAMUEL • /Samuel Blaser—Vol À Voile (Intakt, 2009) O W N M U S I C . E T • Samuel Blaser/Paul Motian—Consort in Motion (Kind of Blue, 2010) • François Houle 5 + 1—Genera (Songlines, 2012) • Samuel Blaser/Benoît Delbecq/— Fourth Landscape (Nuscope, 2013) BLASER • Samuel Blaser Quartet—Spring Rain (Whirlwind, 2014) CHRISTOPH IRNIGER TRIO

P e t r G a n u s h k i / D O W N T by ken waxman June 3, 8:30pm, Seeds, Brooklyn NYC, Swiss-born trombonist Samuel Blaser maintains strong Canadian clarinetist François Houle and Ducret Christoph Irniger (Sax) feat. Chris North American ties that extend far beyond the are two of the musicians for whom Blaser is writing Lightcap (Bass) & Ziv Ravitz (Drums) musicians on Spring Rain (Whirlwind), his newest CD. concertos as part of his heightened interest in While the disc, dedicated to late clarinetist Jimmy composition. He’s also composing a chamber piece for CHRISTOPH IRNIGER TRIO Giuffre, features all-American backing from keyboardist two violins. He doesn’t want to limit himself, he Octopus , bassist Drew Gress and drummer Gerald explains. Although he was a full-fledge jazzer in the Christoph Irniger: Saxo- Cleaver, one of his frequent trans-Atlantic trips bring conservatory, once he relocated to the U.S. to study phone · Raphaele Bossard: him to NYC this month for gigs with other longtime jazz he wanted to play Baroque and new music. Mirror Bass · Ziv Ravitz: Drums associates like drummer Harris Eisenstadt, bassist to Machaut was an outgrowth of that baroque interest, Michael Bates and tenor saxophonist Michael Blake—all he explains, but presenting early Renaissance-styled Intakt CD 253 Canadians. “It’s like a big family,” says Blaser, 33. “I like sounds in a unique way. Spring Rain is more of the (release date: June 30) to draw upon the same members in many of my bands.” same. He had played Giuffre’s “Four Brothers” in Blaser, who also maintains an as-yet-unrecorded student big bands, but when he later discovered the European working trio with French guitarist Marc reedplayer’s other interests, “I went crazy,” he recalls. Intakt Records: www.intaktrec.ch Ducret and Danish drummer Peter Bruun, has kept up “I can relate to him because he did all kinds of things.” Distributed by Naxos · Amazon.com · iTunes Store close ties with this continent since the period in the Although the five compositions by Giuffre and Carla JSnycjr0615Available in NYC: 5/12/15 Downtown 1:48 MusicPM Page Gallery 1 mid-aughts when he lived in Brooklyn while studying, Bley were recorded by Giuffre’s trio with courtesy of a Fulbright Scholarship, for a Master’s pianist and bassist Steve Swallow, Blaser’s degree in music at Pace University. The trombonist instrumentation, arrangements and approach are doesn’t limit himself to any one style either. In Berlin nothing like the those versions. “There’s no point in he writes advanced compositions and plays in new playing anything that’s too close to the originals,“ and early music ensembles. Recent CDs reflect this as he declares. “That’s why I asked Russ to play all the well. Before Spring Rain, the trio album Fourth Landscape keyboards available in the studio.” “Best Jazz Venue of the Year” NYC JAZZ RECORD#“Best Jazz Club” NY MAGAZINE+CITYSEARCH TUE-THU JUNE 2-4 (Nuscope) consisted of originals by Blaser, French Blaser’s two solo trombone tracks on Spring Rain pianist Benoît Delbecq and American drummer Gerry are part of an avenue he plans to pursue further. He DR. LONNIEJONATHAN KREISBERG SMITH- JOHNATHAN BLAKE TRIO Hemingway while Mirror to Machaut (Songlines) already has a new solo trombone CD album ready for FRI-SUN JUNE 5-7H7:30PM & 9:30PM ONLY featured his original pieces influenced by early release. Plans are to link the 18 compositions and Renaissance composers. improvisations with a documentary plus drawings. DR. LONNIE SMITH’S Part of a music-loving family, he grew up listening “It’s hard to play solo on a trombone because it’s a to his family’s record collection, which ranged from monophonic instrument,” he reveals. “It doesn’t have KEYON HARROLD“EVOLUTION” - FREDDIE HENDRIX (6/6) - JOHN ELLIS - JONATHAN KREISBERG JOE DYSON (6/5 & 6/6) - JOHNATHAN BLAKE - LEE PEARSON (6/7) opera to Harry Belafonte and . He became sustain and it can’t play more than one note unless you TUE-WED JUNE 9-10 fixated on studying the trombone (“it was shiny, it had use multiphonics. If you play for an hour you have to a slide and it made funny noises,” he recalls). Entering attract the ears of the audience without tiring them.” JOE LOCKE the local conservatory at nine, he graduated with a He has studied advanced technique with a respected “LOVE IS A PENDULUM” WITH SPECIAL GUESTS DONNY McCASLIN - VICTOR PROVOST degree in classical trombone in 2001. Along the way he trombone teacher in and performed works by ROBERT RODRIGUEZ - RICKY RODRIGUEZ - TERREON GULLY was introduced to jazz. “I wanted to be a bebopper and Vinko Globokar and Iannis Xenakis plus Luciano THU-SUN JUNE 11-14H7:30PM & 9:30PM ONLY spent time transcribing J.J. Johnson solos,” he Berio’s “Sequenza” for trombone. “I think everybody TRIO+HORNS remembers. “The first records I bought were by Dave likes to play ‘Sequenza’ but the piece is known to be PAT BIANCHI - ADAM NIEWOOD - ALEX NORRIS - CARMEN INTORRE, JR. Brubeck, [ and] and the hardest one in the trombone repertoire. It takes TUE-WED JUNE 16-17 .” After graduation he freelanced, time to read the part and memorize it. The plunger is a THE ASSAD BROTHERS SÉRGIO ASSAD - ODAIR ASSAD learned about section work and phrasing while in the difficulty, but it wasn’t one for me since jazzers use it WITH SPECIAL Swiss Jazz School Big Band, attended master classes more than classical players.” GUEST ROMERO LUBAMBO taught by the likes of and did two tours Blaser stays in touch with his audience and, as part SAMBA EXOTICO´ with the Vienna Art Orchestra. Even as far back as of a pre-order campaign for Spring Rain on his THU-SUN JUNE 18-21H7:30PM & 9:30PM ONLY when he first played a blues, he was told it sounded website, used t-shirts, album downloads, CDs, CLAYTON BROTHERS QUARTET like he was playing free. “So gradually I realized that I autographs and even private solo and band JEFF CLAYTON - JOHN CLAYTON - GERALD CLAYTON - TERELL STAFFORD - OBED CALVAIRE TUE-SAT JUNE 23-27H7:30PM & 9:30PM ONLY had more fun playing open music than anything else,” performances as lures. So far, however, no one has Blaser notes. “But there was no one in Switzerland come up with the cash for the private concerts. “You BENNYDAVID WONGGREEN - RODNEY GREEN TRIO doing that.” That translated into a desire to become have to be a big name,” he laughs. SUN JUNE 28 part of the freer New York scene. Big name he may not be, but after nine albums, OMER AVITAL QUINTET In retrospect, he admits, there were some advanced many concerts—100 in the past two years alone with ELI DEGIBRI - JOEL FRAHM - YONATHAN AVISHAI - JOHNATHAN BLAKE improvisers in Switzerland and later on Blaser Ducret and Bruun—and his involvement in different TUE JUNE 30 established an ongoing relationship with one. For musical styles, he’s busy and fulfilled. “I like playing MATT WILSON’S ARTS & CRAFTS years, via his jazz-fan aunt, he had been hearing about Baroque trombone; I like to perform with symphony GARY VERSACE - TERELL STAFFORD - MARTIN WIND HHHMINGUS MONDAYSHMINGUS MONDAYSHHH drummer Pierre Favre, now 77, who was playing free orchestras; and I like jazz and improvisation,” he MON JUNE 1, 8, 15 & 29 MON JUNE 22 jazz in Zurich in the ‘60s. “In 2008 I got in touch with declares. His attention may sometimes be drawn MINGUS BIG BAND MINGUS ORCHESTRA him and said I’d like to play with him,” Blaser recalls. elsewhere but he insists “I’ll always play jazz and “He said set up a gig, we did at a local museum and improvised music. I have too much fun playing it to we’re still playing together seven years later.” give it up.” v

THE NEW YORK CITY JAZZ RECORD | JUNE 2015 7 ON THE COVER

RAN BLAKE p h o t o b y

Primacy of the Ear v e r a by suzanne lorge m a r e l o

This month pianist Ran Blake, who turned 80 in April, quality that is especially important for those who want and you hear her scream, it follows you through a will release Ghost Tones: A Tribute to George Russell to use “pan-tonality or switch keys or be non-diatonic” lifetime…I can hear her and Max Roach in my dreams (A-Side Records) in homage to his longtime friend and during an improvisation, he says. by just pushing a button on my forehead.” mentor. The CD jacket and liner notes feature shadowy Blake does not underestimate the effort that goes Throughout his career Blake has formed strong images of composer Russell and reproductions of into this type of training. “You have to work,” he says. collaborations with singers, often as duos where the dozens of scrawled names—, Freddie “This is not Do-Re-Me.” Not only is the training for two instruments play off of each other, without any Hubbard, , Stan Getz, Gil Evans and this type of performance lengthy and time-consuming, comping from Blake. Blake formed his first such among them—all signatories of a but also it’s difficult and most young musicians are not collaboration with late avant garde pioneer Jeanne Lee, petition that Blake organized in 1959 in an attempt to prepared to move away from their dependence on whom he met as an undergraduate at in convince executives at RCA Victor to rerelease Russell’s written music. In high school, Blake says, students are the late ‘50s. The two launched their careers together album Jazz Workshop, which had gone out of print. taught to read music in a band or choir but don’t with the release of the first album for both of them, Blake’s bid was unsuccessful, but the images of these receive ear training and to listen to a tune repeatedly The Newest Sound Around (RCA Victor, 1961). Since then signatures give us a glimpse into the musical world and assiduously takes tremendous concentration. Blake has worked and recorded with several other that launched Blake’s decades-long career as a beloved “To memorize a melody is not fun,” Blake admits. singers, including Chris Connor, Laïka Fatien, NEC performer, composer and educator. “And some who do succeed lose the melody after three professor Dominique Eade and NEC alums Christine Blake spent most of that career at New England months. So did they get it in the first place, or did they Correa and Sara Serpa. The trait that all of these singers Conservatory (NEC) in Boston, teaching alongside get it too soon and forget it? Weeks go by where I share—with each other and with Blake—is an ability to Russell, who died in 2009 and receives much of the torture myself, why isn’t this more successful?” strike unerringly at the emotional center of a song. credit for creating modal jazz; his influential book from One listen to Ghost Tones might quell any doubts Aside from Ghost Tones, Blake’s recent releases 1953, The Lydian Chromatic Concept of Tonal Organization about the efficacy of Blake’s pedagogical process. have been duo or trio recordings with singers. In 2014 for Improvisation, laid the theoretical foundation for Practically all of the musicians on the album are recent he appeared on both Cocktails at Dusk: A Noir Tribute to jazz innovators in the latter part of the 20th century by graduates of NEC’s Contemporary Improvisation Chris Connor (Impulse/Universal Music ) with introducing them to the rich harmonic landscapes that department (formerly the “” department), Frenchwoman Fatien and on The Road Keeps Winding: lay outside of the traditional major/minor scales of which Blake started in 1973 under the stewardship of Tribute to Abbey Lincoln, Vol. 2 (Red Piano) with Western classical music. Pianist and visionary composer and NEC President Gunther Mumbai-born Correa. This month, Blake and Serpa trumpeter Miles Davis, two early proponents of Schuller. (In the late ‘50s Schuller coined the term will kick off Kitano Noir (Sunnyside) at Jazz at Kitano, Russell’s work, cited his theory as the guiding principle “Third Stream” to refer to the space where classical where they recorded the live album. for their ground-breaking albums: Evans’ New Jazz and jazz collide.) The Kitano gig is a rare New York appearance for Conceptions (Riverside, 1956) and Davis’ Kind of Blue The album, recorded live at NEC’s Jordan Hall in Blake, who teaches and performs year-round at NEC, (Columbia, 1959). 2010 and only minimally edited, features 17 tracks, one of the “few places in the country, if not the world”, Blake’s own book, Primacy of the Ear, posits that most of them compositions by Russell or Blake. Blake he says, that offers in-depth training in his primacy of musicians need to train the ear methodically and plays on each piece, either alone or in ensemble, the ear techniques. Blake recalls the day-to-day painstakingly, developing a highly personal musical exercising characteristic discernment regarding sacrifices that have led to his long career there—the memory from which they can create compositions in phrasing and mood: he strikes a note or a chord and “years [of] running the elevator, moving , real time. In other words, to be a great jazz musician lets the sound swirl around in the listener’s ear a bit delivering mail, newspapers, the right brand of it’s not enough to be able to whip through chord before shifting to the next idea, sometimes introducing coffee”—and the many teachers and mentors both changes in a bunch of keys or replicate famous horn surprising and teasing musical references, like snatches within NEC and outside of it that shared their solos. Instead, one must externalize the sounds and of Billy Strayhorn’s “Take the ‘A’ Train” on Richard knowledge with him. “I’m so glad I have 50 years of feelings that are sui generis to the musician; this Rodgers-Lorenz Hart’s “Manhattan” or bits of Cole studying with Gunther,” he says. “And then to study mash-up of internal impressions, brought to life with Porter’s “Love For Sale” on Russell’s “Ezz-thetic”. with Bill Evans and Oscar Peterson and an instrument or a voice, is what makes a jazz The 12 musicians who performed alongside Blake and …and Mary Lou [Williams]… What performance worth hearing. “[It’s] whatever is inside in the performance are likewise sensitive interpreters would I have done without those private lessons?” of you,” Blake explained in a recent interview. “So of Russell’s work. On “Vertical Form VI”, for example, Today people bring him coffee, he jokes, and many people want to read music, [which] is the one of the disc’s six ensemble numbers, Blake and his Schuller has finally “kicked him out” as a private primacy of the eye, or the primacy of obedience. [It’s] former students remain true to Russell’s changes but student. “It’s been so, so exciting,” he says of being an letting other people tell you what to do. The ear should soften the drive of the tune; as a result Blake’s version educator. “Part of me could have probably gone out into tell you what to do and then your own personality.” has less bite and more sweetness than the original. It’s the world more and sometimes I do, but just to be at Russell and Blake trained scores of young jazz touching, actually, listening to the two versions side by [this] conservatory…It’s just a miracle place here.” v musicians over the years, with the former teaching his side. In a similar display of tenderness, Blake includes music theoretically and the latter experientially. a heartbreaking violin solo (by Rachel Massey) and a For more information, visit ranblake.com. Blake is at Jazz at To develop “ear retention”, as he calls it, Blake would mournful pedal steel guitar (David “Knife” Fabris) on Kitano Jun. 20th. See Calendar. have students live with a tune for a while, listening to “You Are My Sunshine”, the tune that Russell arranged and memorizing it, singing or playing the melody and for and recorded with singer Sheila Jordan in 1962 and Recommended Listening: then digging into the chords. “After that, we want her first hit. • Jeanne Lee/Ran Blake—The Newest Sound Around them to personalize whatever they’re doing,” Blake Blake likes to work with singers and has trained (RCA Victor, 1961) explains, by exploring through music how they many of them, but none appear on this album. Even so, • Ran Blake—Plays Solo Piano (ESP-Disk’, 1965) “process anger, fear, angst, tragedy, rage.” This process Blake asserts quite affirmatively that his favorite • Ran Blake—Wende (Owl-Sunnyside, 1976) of ear retention, which leaves the musician open to instrument is the voice, followed in rank order by the • Ran Blake—Duke Dreams (The Legacy of deeper emotional expression, takes more time than orchestra, piano and film. “You can’t talk enough about Strayhorn-Ellington) (Soul Note, 1981) reading a tune from a fake book. But it helps jazz singers,” he says. Singing is “so primal, so universal, • Ran Blake Trio—Sonic Temples (GM, 2001) musicians develop authenticity in performance, a so flexible…if you hear ‘Triptych’ by Abbey Lincoln • Ran Blake—Driftwoods (Tompkins Square, 2009)

8 JUNE 2015 | THE NEW YORK CITY JAZZ RECORD NEW RELEASES INCLUDE

JAMIE CULLUM JACKY TERRASSON JOSÉ JAMES MARCUS MILLER OUT NOW OUT NOW OUT NOW OUT NOW

JOE LOVANO & DAVE DOUGLAS CHARLES LLOYD TERENCE BLANCHARD ROBERT GLASPER TRIO SOUND PRINTS OUT NOW OUT MAY 26 OUT JUNE 16 OUT NOW

VINYL REISSUES

ART BLAKEY QUINTET BOBBY HUTCHERSON A NIGHT AT BIRDLAND, VOL 1 COMPONENTS

MEDESKI MARTIN & WOOD QUARTET END OF THE WORLD PARTY SEARCH FOR THE NEW LAND HANK MOBLEY QUARTET (JUST IN CASE) (2LP)

Blue Note Authorized Dealer exclusive 10” Hank Mobley Quartet “Hank Mobley Quartet”

BlueNote.com

© For a full list of Blue Note Authorized Dealers please go to www.recordstoreday.com ENCORE

that had drama, laughter, mystery… He was an artist produced by Sean Gallagher and narrated by Williams. first. No matter what was happening in his life, some The film, which will have a screening at The Cutting SHUNZO OHNO kind of spirit or strong force took over when he was Room Jun. 17th, recounts the misfortunes Ohno has playing. He never missed anything on stage. He overcome, including the serious car accident that by russ musto pushed all of us to play beyond our limits.” permanently damaged his lips and teeth and a bout Ohno went on to play with drummer Norman with throat cancer that required traumatizing In a lifetime that has seen more than its fair share of Connors, gaining recognition in the increasingly treatments and a very long recovery period. The movie misfortune Shunzo Ohno has remained steadfastly popular world of electric jazz. His own early recordings also shines a light on Ohno’s efforts in aiding victims positive in his pursuit of creating music for the greater as a leader feature pioneering fusioneers like Reggie of the catastrophes that have caused so much strife in good. The trumpeter, born Mar. 22nd, 1949 in central Lucas, Marcus Miller, Kenny Kirkland and . Japan. He notes, “The tsunami/earthquake/nuclear Japan’s Gifu Prefecture, first became enamored with Later his fiery trumpet playing was featured with Latin failure still affects families in Japan today. I have jazz as a teenager and was in the early stages of a career legend Machito, who he calls “the finest gentleman I visited Northern Japan over 20 times since the disaster, as one of his country’s most celebrated jazz artists have ever met.” Following that he joined the Gil Evans learning more and more about the spirit of hope, when a chance encounter with Art Blakey in 1974 set Orchestra: “Gil Evans was a mentor to me. Besides courage and recovery from families who have lost their him on the path he continues to travel. working together for years, he encouraged me to children, spouses, parents, homes and health.” Ohno recalls, “I met Mr. Art Blakey when he was compose and arrange. He pushed me to do my best, Bassist has played with Ohno on shooting a live performance for a TV station in Japan. break through limitations. He was an extraordinary some of his many performances to benefit victims of He needed a trumpet player and I was asked to join teacher. I was fortunate to work with Gil and to get to the devastation. He remembers, “I met Shunzo first in him for that performance. I had been listening to Art know him personally. Gil lived spiritually. We had the early ‘90s when we did a couple of gigs with Wayne Blakey and the Jazz Messengers records in small jazz many long conversations on Buddhism.” Shorter and he was in the band. We went to Japan and coffee houses and wherever I could find records. We Ohno is also a devout Buddhist, something he it was a huge thing, a very big peace convention in did not have many opportunities then to meet with shares with Wayne Shorter and Herbie Hancock. Tokyo. It was kind of amazing to witness such a thing. American jazz musicians directly, so this was like a “Herbie, Wayne and I practice Nichiren Daishonin It was at some huge place we played and we had a lot dream come true for me.” Blakey suggested that Ohno Buddhism,” he says. “We performed with each other in of fun. Not only did I like his trumpet playing, but I come to New York, but the trumpeter was busy working various Buddhist festivals and events and have liked him as a person because I felt like he was a man in Japan and about to begin leading a new band, so he recorded together on album Something of integrity and he cared about people. He was kind balked at the drummer’s invitation. “A few months More. Buster has been a friend since 1976. I had the and generous, the kind of guy who was always later Art returned to Japan and I had an opportunity to great fortune to tour with him several times and have encouraging. Later on when I moved back to New York play with him again. This time he strongly encouraged learned a lot, particularly about chords, from him. He in 1996, his wife and he reached out to my wife and I me to come to New York and I did. I came here with has high standards for musicians. I really do appreciate about taking part in these benefit concerts. They put it nothing and did not even speak English. I went on tour his sensibilities and generous heart. Our families are together and they were really passionate about it.” v with the Messengers and that was my introduction to close and we have gone through many of life’s the United States.” challenges together, supporting each other.” Williams For more information, visit shunzoohno.com. Ohno is at The Jazz Messenger alumnus David Schnitter affirms Ohno’s assertion. “I have the deepest respect Cutting Room Jun. 17th. See Calendar. remembers his first encounter with the young Ohno. and love for Shunzo,” he says. “And appreciation— “Shunzo was in the band before me. That was the because he teaches me. In all of these years that I have Recommended Listening: group with Shunzo, Nelson Sanamiago, who had known him he has always been really teaching me how • Shunzo Ohno—Something’s Coming (East Wind, 1975) studied with Jackie McLean, on alto, Kasal Allah on to live in a positive way and not be defeated by any • Shunzo Ohno—Quarter Moon (Inner City, 1979) piano and Chin Suzuki on bass. Art invited me to come circumstances or in any situation. He’s never dropped • Shunzo Ohno—Antares (Electric Bird, 1980) down to a rehearsal and we played a gig at the Village the ball. He’s a fighter and he always wins. Plus he • Shunzo Ohno—Manhattan Blue Gate that weekend. He played really good. I liked him. plays his butt off. He is a remarkable human being. (Electric Bird/King, 1986) He was kind of coming out of a Miles bag.” Ohno has Shunzo is undefeated.” • Buster Williams—Something More (In + Out, 1989) fond memories of his days with the band. He says, “Art The bassist’s pronouncement is echoed in the title • Shunzo Ohno/Steve Wilson/Renee Rosnes/ was a great storyteller. He would share long stories of the documentary Shunzo Ohno: Never Defeated, James Genus/—Maya (TBM, 1991) LEST WE FORGET

Charlie Parker, , and Lucky In 1969, with a troupe of filmmakers, actors and Thompson (with whom he’d record in 1960 in a session musicians, Wilen left France for a trek through , barney wilen recently released as Four Brothers by Sonorama). He Mali, the Congo, Niger and Tanzania, recording all the was working regularly as a sideman with visiting way and, upon returning to Paris in 1971, sculpting an by clifford allen Americans like pianist John Lewis and vibraphonist audio collage of African ritual song and free music and stepped out as a leader at 19; Tilt, titled Moshi (released on the forward-thinking French Jazz is not an art form relegated to complacency. Often recorded in 1957 for Swing, featured a program of label Saravah). He would return to Niger in the mid the search moves across perceived stylistic boundaries. standards and progressive bop lines, including four ‘70s on humanitarian grounds following the country’s French saxophonist Barney Wilen (1937-96) was Monk tunes. In addition, the poll-winning Wilen crippling drought. Wilen didn’t feel the compulsion to restless, his work ranging from hardbop to , continued to impress his American counterparts, make records, especially if the music or environment musique concrète and sound collages and psychedelic making sideman appearances with Miles Davis, Bud didn’t suit him, but he did reemerge in the late ‘80s beat in a series of curious left-hand turns. Yet coursing Powell, Art Blakey, and . and early ‘90s playing in a relaxed, straightahead mode through the entirety of Wilen’s oeuvre was a steely In 1965, he began working with the younger with pianists Mal Waldron and , sense of melody and balladic grace. vanguard, including drummers Jacques Thollot and drummer Sangoma Everett, guitarist Philippe Petit Wilen was born in Nice to an American Jewish , bassists Jean-François Jenny-Clarke and and the soul-jazz combo Open Sky Unit. Wilen passed father and a Russian-French mother who, in 1939, Béb Guerin, violinist-percussionist Eddy Gaumont, away from cancer in 1996 at a young 59. v relocated to the U.S., avoiding the horrors of WWII. vibraphonist-pianist Karl Berger and pianist François Wilen began to play saxophone shortly before they Tusques. Zodiac (recorded for Vogue with Berger, Thollot For more information, visit barneywilen.com returned to France in 1946, soon attracting attention and Jenny-Clarke) was his first salvo in this new with amateur jazz groups in Paris and emulating both direction, followed closely thereafter by Tusques’ Recommended Listening: Sidney Bechet and . The predominant rugged Le Nouveau Jazz (Mouloudji, 1967) and his own • Miles Davis—Ascenseur pour l’echafaud (Fontana, 1957) approach of Wilen and his continental peers was rather Auto Jazz: The Tragic Destiny of Lorenzo Bandini (MPS, • Donald Byrd/Barney Wilen— ‘cool’ by the early ‘50s, out of Lester Young and Gerry 1968), the latter superimposing the fiery Grand Prix Jazz in Camera (Sonorama, 1958) Mulligan, and he was already name-checked in the demise of Italian driver Bandini atop and around spry • Art Blakey’s Jazz Messengers (featuring Barney French jazz press as a “rising star” in his teen years— free improvisation. The German SABA/MPS label Wilen)—Les Liaisons Dangereuses (Fontana, 1959) indeed, at 17 he debuted under American drummer Roy would also record Wilen with Indian musicians (Jazz • Barney Wilen—Zodiac (Disques Vogue, 1966) Haynes’ leadership for the French label Swing. Meets , 1967), in a soul group (Dee Dee, Barry & The • Barney Wilen—Auto Jazz: The Tragic Destiny By the second half of the ‘50s, Wilen’s approach Movements, 1968) and with his “Amazing Free Rock of Lorenzo Bandini (MPS, 1968) became tougher and more complex, drawing from Band” on Dear Professor Leary (1968). • Barney Wilen—New York Romance (Venus-Sunnyside, 1994)

10 JUNE 2015 | THE NEW YORK CITY JAZZ RECORD LABEL SPOTLIGHT

Mendoza arrangements from a longer live performance have working with the label. McGuinness, a Professor in a great Prague venue. It’s a wonderful compilation, of Jazz Studies at William Paterson University, has SUMMIT some great arrangements and beautiful playing. We released three CDs on Summit and sings their praises: did some remixing and remastering. The bottom line is “The label is very honest with their artists; they allow by ken DRYDEN that we do what our artists feel is the best thing.” maximum artistic freedom for us in a very respectful Christensen views each CD as a collaboration manner. Working directly with label president Darby Among independent jazz labels, Summit has evolved between the label and artist, working together towards Christensen, vice president Kip Sullivan and the label’s in a different way. Summit was launched in 1989 by the same goal. “We’ve had artists who have made art department, I’ve been able to create recordings that Summit Brass, a large classical brass ensemble, to things happen on their end, like [trombonist/vocalist] I am proud of. The products I create are always very produce and issue their own recordings, along with Pete McGuinness, an extreme talent all around and close to how I personally envision them, down to the CDs by its individual members and the OrchestraPro incredible arranger. He has built on his success and smallest detail: music, song order, art, etc.” Pianist Ted Series, instructional CDs by players from major we’ve helped him however we can. A few years ago he Kooshian, well known for his work with the Ed orchestras across the country. There were a handful of earned a Grammy nomination for his CD and last year Palermo Big Band and in Broadway orchestras, has jazz CDs prior to 1996, when current Summit president two Grammy nominations for another. These accolades released three Summit CDs featuring a diverse mix of Darby Christensen came on board. The focus has since are hard to get; it’s a team effort. [Composer] Chuck material, drawing from old television and cartoon shifted more to jazz, though new classical CDs remain Owen has had two Grammy nominations for his themes, standards, pop and originals in often madcap an important part of the catalogue. Summit CDs. Watch out for New West Guitar Group. or unexpected arrangements: “I’ve been happy with Although they have had a few well-known artists Their new recording, their third on Summit, has some them in all of my dealings. Darby Christensen has on their roster, Summit has frequently championed incredible vocalists and the playing is top-notch.” always been straightforward and friendly. I think it’s young, regional or overlooked veteran artists. Summit Working with organ player Tony Monaco led to the great that they give opportunities to some lesser- doesn’t do many in-house recordings. Christensen start of a subsidiary B3 record label, Chicken Coup known musicians.” explains, “We get a lot of demos from musicians, along Records. Christensen’s enthusiasm about Monaco is Like any small record label, Summit faces with referrals or recommendations from our artists. A apparent: “We started working with Tony on his first significant challenges. “We’re not a label run by project referred by one of our artists tends to project and have built an incredible catalogue of his independent wealth with the ability to spend huge automatically feel accredited and usually is great. We recordings. It was not in the vein of us discovering amounts of money on production. We must be strategic know from the first few minutes if a blind submission him, but more of a mutual decision to work hard for with our marketing plan and the related challenges are is something we’d release; it’s immediate and obvious.” each other.” Summit also acquired MAMA Records, the new models for consumers to obtain music. If we But the label still puts a lot of work into the issuing numerous acclaimed CDs by the Bob Florence can do that, we’ve done what we set out to do. We finished product. “Most of our projects come to us the Limited Edition, David Liebman and the late Gerald must adapt to the new way of doing business and keep way the artist wants it: a dedicated master recording. Wilson, among others. Summit hasn’t delved into the faith that things will work out.” There are many exceptions and we master and sequence historic recordings or reissues much, aside from some It’s apparent to Christensen that the nature of the per the artist’s needs. For one recent release, Trumpet performances on long forgotten tapes that the late record business is shifting. “Digital downloads and Summit Prague, featuring and Bobby pianist Hal Schaefer found in his home. streaming have impacted physical CD sales, though Shew with Orchestra, we selected just the Vince Summit artists appreciate the freedom that they (CONTINUED ON PAGE 50)

Road Scholars Live A Tribute to Wayne Shorter Visitation Strength in Numbers Blue Shift Stan Kenton Alumni Band Dave Liebman Big Band Saxophone Summit Pete McGuiness Jazz Orchestra Rex Richardson/Steve Wilson VOXNEWS

renditions, including the young contemporary jazz exquisitely earthy, sensual and simultaneously diva Cécile McLorin Salvant and a treasure-trove of otherworldly vocalist Falu as she brings her RE: GENERATIONS archival recordings (Sippie Wallace, Fats Waller, Louis contemporary Bollywood Orchestra to Highline Armstrong and more). The last track is a stunning Ballroom (Jun. 20th) as part of the Blue Note Jazz by katie bull remix of Smith’s composition “Gimmie A Pigfoot and Festival. Falu’s music is infused with her masterful A Bottle of Beer”, merging 2015 Latifah with in Indian classical tradition, roots that have During Bessie Smith’s appearance as a singer/actor original 1933 Smith recording. What a magnificent way moved generations of jazz musicians. in the 1929 short film “The Saint Louis Blues”, art to respect past generations—and generate new jazz And then there’s straightahead jazz tradition eerily mimicked life. In the recently released HBO film appreciation. splendor in the hands of veteran singer Steve Cromity Bessie, starring Grammy winning Gospel-rooted rap More June jazz history celebrations include the on his second album All My Tomorrows (Cromcake). icon and Academy Award-nominated actor Queen Spring Benefit for the National Jazz Museum in Cromity’s grounded, self-assured voice is relaxed and Latifah, sections of Smith’s life are the substance of the , featuring vocal jazz icon Dianne Reeves at the richly resonant and his band of jazz masters seriously film’s art. Kaye Playhouse (Jun. 10th); renowned jazz tap dancer tight. Cromity is firmly in the swinging pocket. This month the fantastic soundtrack, Bessie: Music Michaela Marino Lerman’s “Salute to Betty Carter” at Continuing in the tradition vein, icon Tony from the HBO Film (Legacy), is released, featuring an Ginny’s Supper Club (Jun. 19th) in collaboration with Bennett’s tried-and-true jazz fans will marvel at a new extraordinarily moving mix of songs, which deliver -born Charenee Wade; and, by virtue of archival release of his near-telepathic duos with the the arc of Bessie’s life and art: childhood traumas; his veteran status, saxophone player Roy Nathanson’s late piano genius Bill Evans on The Complete Tony vaudevillian dancing roots; intense and enduring forward-thinking residency at The Stone, featuring the Bennett/Bill Evans Recordings (Concord): The Tony relationship with her maternal-like mentor Ma Rainey; international beatboxing sensation Napoleon Maddox Bennett/Bill Evans Album (1975) and Together Again experiences of segregation and violent prejudice; in “Sotto Voce” (Jun. 5th) and the Roy Nathanson/ (1976) in a deluxe, 180-gram vinyl boxed set with two bi-sexual intimacies; turbulent marriage and domestic Napoleon Maddox/Claire Daly Trio (Jun. 7th). LPs of extra tracks. Nearly 40 years later, Bennett’s violence; addiction’s influence; and complex family Anyone interested in the roots of spoken word numerous vocal duos reveal the 89-year-old’s dynamics—all set in the pre- and post-Depression Era should not miss bassist Bill Laswell’s residency at The boundless energy; he is an inspiring example of jazz as through which she lived. Stone on the night he features The Last Poets with a literal generator. (Some may want to attend his duo The essence of this portrait can be heard in living legends Abiodun Oyewole and Umar Bin with Lady Gaga Jun. 19th-20th and 22-23rd at Radio Latifah’s invocation of The Empress of the Blues’ raw Hassan, accompanied by conga player Babatunde (Jun. City Music Hall, celebrating their newly released Cheek heart and sassy timbre. Smith’s signature compositions 27th). The Last Poets are the original spoken word to Cheek on Streamline.) and songs by other blues of the time artists; primary inventors of the form itself. Bow down. From Bessie Smith to now, jazz is an inter- covered by Latifah are intermingled with guest vocalist While we’re on the note of extreme respect, hail generational, inter-genre/ational force of life. v

THE NEW YORK CITY JAZZ RECORD | JUNE 2015 11 IN MEMORIAM

MICK COLLINS (1938—Apr. 9th, 2015) The British trumpeter was part of BERNARD STOLLMAN several progressive English large ensembles led by pianists in the ‘60s- by andrey henkin 70s, such as Chris McGregor’s Brotherhood of Breath, Mike Westbrook’s big bands and Keith Tippett’s Centipede, and later led his own bands, including the 40-year-old Modern Jazz Orchestra, a proving ground for many young British jazz musicians. Collins died Apr. 9th at 76.

ERIC DONEY (Jan. 22nd, 1953—Apr. 17th, 2015) The pianist got early experience in Poconos resort bands led by saxophonist Al Cohn, drummer Bill Goodwin and others, later played with singer and bandleader Les Brown and founded Pacific St. Records, releasing albums by saxophonist , pianist Bob Dorough and himself. Doney died Apr. 17th at 62. Bernard Stollman, a lawyer turned label impresario, whose ESP-Disk’ imprint gave a home to a generation of progressive jazz musicians (as well as some MARTY NAPOLEON (Jun. 2nd, 1921— European compatriots and an array of free-thinking Apr. 27th, 2015) The pianist came from rock and folk acts) from 1964-74, died Apr. 19th at 85. a musical family (uncle Phil was a Stollman was born Jul. 19th, 1929 in New trumpeter who led the Memphis Five Brunswick, NJ and raised in Plattsburg, NY. He and older brother Teddy, who died in attended law school in New York City. A brief spell 1964 at 50, was also a pianist and had a under a lawyer working on the estates of two-piano quartet with his brother), and introduced him to the world of jazz; worked with numerous big bands in the ‘40s, was during a 2005 interview with Clifford Allen, Stollman one-quarter of “The Big Four” alongside drummer admitted “Jazz was just a word to me then [1960].” Buddy Rich, bassist Chubby Jackson and leader/ Stollman began helping musicians and, as word got saxophonist Charlie Ventura and had two stints (14 around, he became involved with pianist years apart) with trumpeter Louis Armstrong’s All- and saxophonist Ornette Coleman, the work with the Stars, to go along with a handful of sessions as a leader latter planting the seeds for what would become ESP- (mostly in the late ‘50s for Bethlehem and Everest but Disk’ a few years later. The label’s first release was Ni also a self-released album from 2011 appropriately Kantu En Esperanto (Let’s Sing in Esperanto). But it was called Swingin’ at 90) and numerous soundtrack credits. the albums that followed, sessions by (his Napoleon died Apr. 27th at 97. U.S. debut), (his leader debut), the New York Art Quartet (one of its only two official sessions during its lifetime), Byron Allen, Ornette WOLFGANG SAUER (Jan. 2nd, 1928— Coleman, , Paul Bley and even Bob Apr. 26th, 2015) The vocalist/pianist James, which cemented the label’s reputation, as did its had a successful career in the early ‘50s- mottoes: “The artists alone decide what you will hear 60s in his native Germany, working on their ESP-Disk’” and “You never heard such sounds with countrymen orchestra leaders like in your life.” Speaking of that first Ayler album to Kurt Edelhagen, Erwin Lehn and Paul Allen, Stollman recalled, “It’s a magnificent recording... Kuhn (his 1959 Electrola album Sweet and I’m happy with it to this day.” Und Swing, a collection of Great American Songbook From 1964-74, ESP-Disk’ released over 100 albums, standards, was reissued in 2010 by Sonorama Records), including sessions by Marion Brown, Sun Ra, Frank before switching to pop music and eventual radio Wright, Burton Greene, Sonny Simmons, European broadcasting. Sauer died Apr. 26th at 87. v jazzers like Karel Valebny and Karl Berger, avant-rock acts like and The Godz and even an album by Charles Manson. The label was restarted in 2005, reissuing many of its releases (and previously unissued historical sessions) and signing new artists like Flow Trio, Talibam! and Joe Morris. Extensive celebrations of “A great place to record jazz!” its 50th (total) anniversary took place last year. But Stollman was excoriated throughout the decades for, at best, negligence and, at worst, Excellent Steinway B Piano malfeasance. There were accusations of unpaid Hammond B3 & Leslie royalties, particularly for shady European reissues after the label’s initial folding. Stollman claimed that Vintage keys, amps & drums many of the deals were done without his knowledge, Relaxed, comfortable vibe that his legal recourse was limited and remained reasonably unapologetic: “The recognition that came Seasoned musician engineer from being a part of ESP helped some artists to teach at the university level, participate in international Kensington, Brooklyn (Q, B, F, G trains) festivals and go on to major-label careers... I think most washdrystudio.com of them now recognize and appreciate the importance to their professional careers of having participated in [email protected] the history of ESP.” Always in Trouble: An Oral History of ESP-Disk’, the Most Outrageous Record Label in America Recording • Production • Arranging by Jason Weiss was published in 2012.

12 JUNE 2015 | THE NEW YORK CITY JAZZ RECORD FESTIVAL REPORT

Pfammatter looked aloof and methodical while he generated insidious, hypnotic dark Balkan rituals in 7 JAZZKAAR and 9. Duni, eyes closed, caught up in the rhythms, danced in circles while she sang of love and exile. by thomas conrad Albanian is a language few of Duni’s listeners understand, yet she communicates vividly. “Ylberin” and the title track, which means “Swallow”, were devastating in their sadness. Her voice, like pure spirit, draws you into her world. It is a voice that speaks to the heart, beyond words. Harmonica player Grégoire Maret’s quartet, with pianist John Beasley, bassist Robert Kubiszyn and drummer Clarence Penn, played a set in which tempos were often urgent, but all melodies were yearning. Few instruments can yearn like the harmonica, especially in the hands of a master. Maret commands its full expressive potential, its plaintive soft keenings and its FRANK LACY & MINGUS BIG BAND chilling shrieks. Part of the fascination of a Maret performance is simply to hear the harmonica’s MINGUS SINGS haunting sonorities, with their emotional and historical SSC 1407 - IN STORES 6/23/15 associations, in a current jazz context. He plays lines that would be advanced iterations of the jazz art form his is the first Mingus album devoted entirely to R a i n e r O j s t Mathias Eick on any instrument. The best piece was his ballad Tsong. Although Mingus compositions have inspired “Why”, with a long, beautifully convoluted—and individual lyrics by jazz and pop performers like Joni Tallinn, Estonia is impossibly beautiful. Its perfectly yearning—harmonica solo. Mitchell, and by Mingus himself, the cur- preserved Old Town is encircled by an intact city wall Mathias Eick’s new ECM album Midwest, with rent recording includes thirteen compositions interpret- with 26 watchtowers. Go there in late April, before the violinist extraordinaire Gjermund Larsen, is his finest ed by Ku-umba Frank Lacy, the prodigiously gifted musi- summer tourists arrive. Cold winds are blowing off the achievement to date, as both trumpeter and composer. Gulf of Finland, but Jazzkaar is happening. It has It was therefore slightly disappointing that he played cian, former physicist, trombone player and become the most important jazz festival in the Baltics. in Tallinn with an earlier ensemble: jazz/pop/blues singer, Lacy has played a central role in The headliners for 2015 (Apr. 17th-26th), vocalist (keyboards), (electric bass) and two the Mingus Big Band since the early Nineties. Gregory Porter and saxophonist David Sanborn, drummers, and Olaf Olsen. It is appearing @ JAZZ STANDARD played in Nordea Kontserdimaja, a classy 1,700-seat approximately the personnel on Eick’s second ECM June 1, 8, 15 & 29 concert hall in a shopping mall just off the Old Town. album, Skala, and is, in effect, his electric boogie band. resevations: jazzstandard.com But Jazzkaar’s most memorable music and its But an Eick boogie band sustains his proprietary communal festival vibe were all centered in a district lyricism. The grooves are real and of a complexity that called Telliskivi, near the train station, just below the only two drummers can provide. But juxtaposed city wall. Back in what Estonians refer to (solemnly) as against the energy are Eick’s lucid, spare lines, like “Soviet times” (prior to 1991), the area had been pristine strands of thought. off-limits because of its military installations. Among A surprising percentage of the most interesting Telliskivi’s deteriorating warehouses, there are now musicians at Jazzkaar were Estonian. Apr. 19th was a cool restaurants, bars and boutiques. The neighborhood “free day” in Telliskivi. Estonian artists were scheduled ambience is edgy industrial chic. Vaba Lava (“free every hour, from 10 am to early evening. The crowd stage”) is a nice new 550-seat auditorium. Punane Maja moved from bar to coffee shop and even to office spaces (“red house”) is a smaller space right next door. and heard fresh, adventurous young bands like Moment Three of the concerts in Vaba Lava were After Goodbye and Inner Sound. A bandoneon/ extraordinary. Elina Duni performed music from her accordion duo of Kaspar Uljas and Jaak Lutsoja played new ECM album Dallëndyshe. Duni was born in Tirana, music that was exotic yet somehow familiar to the and moved to Switzerland when she was ten. subconscious. (Is there a more poignant sound of Like her 2012 ECM debut, Matanë Malit, Dallëndyshe loneliness than the bandoneon?) A trio called Bad Habits contains traditional folk songs in Albanian. Duni’s hot had a brilliant electric bassist from the Steve Swallow Swiss band (pianist Colin Vallon, bassist Lukas Traxel, aesthetic, Peedu Kass. Holger Marjamaa is a 22-year-old SARA SERPA & RAN BLAKE drummer Norbert Pfammatter) was the antithesis of pianist with special chops, who smoked Chick Corea’s traditional. Vallon jolted the music forward with fierce “Humpty Dumpty” then broke “‘Round Midnight” into KITANO NOIR accents in unexpected places or spilled ornate fragments and scattered them. His brother, alto SSC 1362 - IN STORES 6/23/2015 digressions in luminescent right-hand chimings. saxophonist Mairo Marjamaa, is also a promising talent. The alt-rock/jazz quintet MiaMee has two singers he legendary pianist Ran Blake has long been with deceptively innocent little-girl voices: Liina Saar, Tknown as a unique and eloquent stylist, his style who writes the music, and Anni Elif Egecioglu, who ranging from the evocative to romantic to avant-garde. also plays cello. The classically trained keyboardist He is also known as a tremendous accompanist to Taavi Kerikmäe prances wildly in place. Saar sings in vocalists, stretching back to his groundbreaking per- English, enveloped in intricate arrangements built up formances with unmatched Jeanne Lee. Sara Serpa is a from simple elements. The sound is airy and seductive, vocalist of a much younger generation, who approach- with an inner core of intensity and a cello threading es the songs of the American songbook, music from her through it. MiaMee has star quality. Watch for them. native Portugal and her own original material with equal Watch too for singer Kadri Voorand, one of the expertise. Together they showcase their unique musical most fearless risk-takers in jazz. “Singer” is an inadequate classification. She is a performance artist bond on Kitano Noir, a live recording from New York who hammers the piano, screams, whistles, scats, City’s Kitano Jazz venue and their third release as a manipulates electronics, blows free and segues into duo. rapt spoken word recitations. Her set in Punane Maja appearing @ KITANO was unleashed creativity that flirted with chaos but June 20 always coalesced as music. resevations: kitano.com Given that Estonia has only 1.3 million people (fewer than San Antonio, ), it may lead the nations of the world in jazz badasses per capita. v iTunes.com/FrankLacy iTunes.com/SaraSerpa For more information, visit jazzkaar.ee www.sunnysiderecords.com

THE NEW YORK CITY JAZZ RECORD | JUNE 2015 13 CD REVIEWS

plants its semi-funky insistent earworm and “Blue world, its effect on the soul. Tale” is a snappy, jaunty narrative. “Zapoteca”, the In one panoramic photo, Schneider walks on a dashing trio-only closer, suggests the tightly coiled sandy gravel road, looking out over the sprawling arabesques of Oaxacan ruins, its spicy mole sauces and native prairie (the “Thompson Fields” of the title) near its textiles’ dazzling indigo and cochineal hues. her hometown of Windom. Her music captures the Domenico Sanna’s trio with bassist Ameen Saleem extraordinary peace but also the volatility of the place. Seldom and drummer Dana Hawkins prances with fluid Steve Wilson’s feature on “Nimbus”, a Alessandro Lanzoni (CAM Jazz) generosity on Brooklyn Beat! in constant ruminative minor-key epic inspired by Schneider’s close encounter Brooklyn Beat! improvisation, balancing piano with Rhodes, with a funnel cloud, brings out some of the band’s Domenico Sanna (Via Veneto Jazz / Jandomusic) sometimes overdubbed, as on the amply adventurous most intense moments. “Walking by Flashlight”, the This Is The Day “Miracle Fishing”. Now 31, Sanna unleashes sidewise, leadoff track, finds Scott Robinson on the surpassingly Giovanni Guidi Trio (ECM) slanting themes (if occasionally tedious vamping) on beautiful alto clarinet, spilling pure melody, evoking by Fred Bouchard the aforementioned “Miracle Fishing” but slyly the poetry of Ted Kooser (“Cloudy, dark and windy. Italian pianists have been branding jazz with strong surreptitious ring-tones on “Cow Bells”. Nodding to Walking by flashlight / at six in the morning…”). national and regional characteristics and singular tradition, the Gaeta native salutes composer Jaki One can only marvel at the intricacy and rigor of stamps of individualistic artistry for decades. Byard’s “DDJL” with bright staccato postbop and Schneider’s orchestrations, the textural blend of the Alessandro Lanzoni, Domenico Sanna and Giovanni effortless lock-hand glides. Tuneful variations on a ensemble, the way it handles dynamics and subtle Guidi bring classical training and technical facility to fluid and nimble “Body and Soul” wax rhapsodic yet fluctuations in tempo (particularly on the closing the keyboard, rootedness in the jazz vernacular, tightly wound. But he most impresses with an edgy “Lembrança”). The soloists give everything they have: conscious inclusion of Italian pop, folksong and opera, yen for experimentation: “A New Joy”, a hymnic piano standouts include guitarist Lage Lund on the title respectful stretching of established repertory and incantation, showcases slowed-down cymbal hits and track; tenor saxophonist Rich Perry on the plaintive distinctive, evolving approaches to composition. a hidden bonus track speeds back to normal with a “Home”; fellow tenor saxophonist Donny McCaslin on Lanzoni, a wunderkind mature beyond his 24 peppy, funky Rhodes/cymbal duo and fade, capping a “Arbiters of Evolution”; and accordionist Gary Versace years, debuted sassy and bouncing with a playful taste session that balances subtle wit and whimsy with on “A Potter’s Song” (dedicated, as is the entire album, for Thelonious Monk on Dark Flavour. He showed savvy sophistication. to the late MSO trumpeter Laurie Frink). similar relaxed, witty panache in an outdoor duo Giovanni Guidi, 30, caught the ear of trumpet Schneider’s music has always had a strong tapping all eras from ragtime to postbop with reed guru , who pressed him for his band. emotional impact, whether it’s introspective or full of whiz Nico Gori at Sardinia’s Time In Jazz last summer. Leading his own quintet at Saalfelden in 2012, he tumult, simple or complex. Beyond the searching solos Seldom evinces more complexity with veteran American showed superb poise and finely wrought, porcelain- and high virtuosity both on and off the paper, it’s the trumpeter , whose regal gravitas delicate pieces, whose unison swags of melancholic love poured into The Thompson Fields that flows back complicates and enriches the group dynamic and incantation also show up in this arch, unflappable trio. out of the speakers and makes it such an unusually dimensional intrigue, bassist Matteo Bortone and This Is The Day, Guidi’s second ECM session, sweeps in moving work of art. It captures Schneider’s artistic drummer Enrico Morello. “Wine and Blood” and as an attenuated, swooning sigh, cast vaguely in the vision unlike anything else in her catalogue. “Horizonte” evolve as dramatic narratives while the Keith Jarrett mold of hushed sustains and well-pedaled lengthy “Composition”, with its commanding central ballads (“I’m Through With Love” being a direct For more information, visit artistshare.com. This project is ppp>fff crescendo, leads to an ebullient song. “Yuca” homage). All unfolds in quiet calm, with heady, at Birdland Jun. 2nd-6th. See Calendar. transporting anthems, Guidi rapt in an embrace with the hushed -deep solemnity of bassist • Ran Blake—Ghost Tones (Portraits of and sympathetic rustlings of drummer R George Russell) (A-Side) Academy Records João Lobo. Matters peak towards the middle with Lobo’s restless “Baiiia” [sic] and a jostling, unfolding e • & The Council of Balance— “Debate”, then subsides into “Where They’d Lived”, Synovial Joints () & CDs rhapsodic as a Chopin nocturne with a somber trance- c • Alfonso Deidda—Lucky Man (Jando Music) like refrain on the coda, and a poised “Quizas, Quizas, o • Pierre Dørge—Blui (SteepleChase) Quizas”, stately as a preening peacock. • Ghost Train Orchestra— m Hot Town (Accurate) For more information, visit camjazz.com, jandomusic.com • Muriel Grossmann— Cash for new and used and ecmrecords.com. These three pianists are at Roulette m Jun. 1st. See Calendar. Earth Tones (Dreamland) compact discs,vinyl e • Bartłomiej Oleś/Tomasz Dąbrowski— records, -rays and n Chapters (Fenom Media) • Mario Pavone—Blue Dialect (Clean Feed) dvds. d • Trio—Now This (ECM) e • Simon Toldam Trio—Kig Op15 (ILK Music) We buy and sell all d Laurence Donohue-Greene, Managing Editor genres of music. n • Paolo Angeli—S’Û (Angeli Manuche Prod.) • Bobby Bradford/John Carter Quintet— All sizes of collections The Thompson Fields Maria Schneider Orchestra (ArtistShare) e NoUTurn (Dark Tree) welcome. by David R. Adler w • John Butcher/Andy Moor— Experiments With A Leaf (Unsounds) he Maria Schneider Orchestra (MSO) has logged a fair T • konstruKt—Live at Tarcento Jazz (Holidays) amount of bandstand time since the release of Sky Blue For large collections, in 2007. Hard to believe, then, that The Thompson Fields r • Jacek Mazurkiewivc—3FoNIA (solo) is the group’s first release since. “Making a recording (Multikulti Project) please call to set up an like this is becoming increasingly difficult,” writes e • Henrik Munkeby Nørstebø/Raymond Strid/ appointment. Schneider in her program notes, thanking nearly two l Nina De Heney—Oslo Wien (Vafangool) dozen ArtistShare fans for their pivotal funding support. • Gary Peacock Trio—Now This (ECM) The effort was clearly monumental: beyond the e • Eric Person—Duoscope (Distinction) eight demanding compositions, there are stunning • Pulverize The Sound—Eponymous photographs and vintage illustrations throughout the a Open 7 days a week 11-7 booklet. There are quotations, poems and paeans to the s (Relative Pitch) beauty of Schneider’s childhood home in southwestern • Eve Risser—Des Pas Sur La Neige 12 W. 18th Street NY, NY 10011 Minnesota. Her background notes to each track move e (Clean Feed) 212-242-3000 effortlessly between personal narrative and deeper Andrey Henkin, Editorial Director reflection on music—its connection to the natural s

14 JUNE 2015 | THE NEW YORK CITY JAZZ RECORD

Stacken’s originals, each of which evolved from the The whole band solos with abandon and glee on pianist’s goal to write, record and share a new Johnson’s arrangement of “What is This Thing Called composition every week on his website for a year. His Love” and the album closes with a surprisingly fresh original solo performances are no longer available take on “When the Saints Go Marching In”, also from a online for comparison but Stacken has succeeded in Johnson arrangement. transforming these nine pieces into vehicles for his Most of the tunes are given fairly straightahead capable band. treatments, but stand out for the impeccable The angular “quasi-shuffle” (as Stacken describes musicianship of all involved. This labor of love and it) “Dog Walk” has a hip air with quirky tenor respect clearly shows the care and time that Davis has

Adramelech: The Book of Angels Vol. 22 saxophone embracing its charms. The pianist credits put into it and provides assurance that Johnson’s (Tzadik) French composer Oliver Messiaen as an influence in legacy is in good hands. by Brad Cohan his haunting “Hidden Solitude”, with piano providing a dirge-like cadence to back mournful soprano sax. For more information, visit smokesessionsrecords.com. This Of the adventurous mountains of volumes birthed “Cork Soles” has a campy flavor that the composer project is at Smoke Jun. 5th-7th. See Calendar. from Downtown patriarch ’s Book of Angels describes as a drunken waltz, though only the music series—first explored in Book One by the composer and not the players prove to be intoxicating. “Field of himself, accompanied by his expansive Masada crew, Grass” dramatically changes the mood, with Stacken’s UNEARTHED GEM then followed by Book Two, wherein he summoned more conventional approach to harmony in this prodigies from his stable of luminaries to interpret his bittersweet ballad and the group making a delayed vision—one would be hard-pressed to pick a favorite. entrance, producing a powerful centerpiece to the The latest installment in the vast oeuvre would be a album. good place to start. For Volume 22, Zorn dialed up yet “Ambrose Burnside” sounds like something that another of his ace guitarists. Jon Madof is a nimble, could have been written for The Microscopic Septet, as genre-conquering six-string magician, one toting a the group dives head first into its jaunty, whimsical venerable and long-standing résumé as a Tzadik theme, with jagged piano lines providing the fuel. mainstay; the output of his trio , “Give” blends tense, movie-like piano with atonal, deconstructing surf rock, folk and jazz through the darting soprano, as Conly and Rainey pull all stops wide lens of traditional Jewish music, stretches four with their superb . The finale title track records from 2003-09. In Zion80, he tackles AfroBeat— is an impressionistic piece allowing the musicians lots First Detail Detail (Rune Grammofon) the radical vision birthed by the late Nigerian pioneer of freedom. Stacken continues to be one of the most by Ken Waxman Fela Kuti, which blended jazz, funk and pop with impressive pianists and composers of his generation. African music—and intersected it with Jewish melodies He understands that the challenges of taking musical Stavanger-based reedplayer Frode Gjerstad had to and the ethos of punk rock. risks are worth the rewards for those with the ability to wait for the 21st Century and his nurturing of a new Madof has assembled a band for the ages here: challenge themselves, their bandmates and the generation of Norwegian improvisers to gain local (trumpet), Matt Darriau (alto saxophone, listeners as well. accolades. Starting in the ‘80s, however, it was , clarinet), Jessica Lurie (baritone sax, flute) and overseas that he connected with like-minded Zach Mayer (baritone sax) wailing away in permanently For more information, visit freshsoundrecords.com. This associates and this fascinating CD preserves the first- boisterous mode; the keyboards of Brian Marsella project is at Cornelia Street Café Jun. 4th. See Calendar. ever session by the Detail group, whose impetus bustling with funky rhythms; the twin guitar attack— came from late freewheeling British drummer John courtesy of Madof and —allowed to fly Stevens (1940-90), Gjerstad’s first and most important off the rails with Klezmer-meets-funk soloing mayhem. foreign contact. Stevens, who would have turned 75 The percussive twosome of Mauro Refosco and this month, was one of the progenitors of British Marlon Sobol are the pulsating foundation beneath improvisation in the mid ‘60s, founding the Adramelech and with their tightly-wound polyrhythms Spontaneous Music Ensemble and working with a holding the fort, Madof and Fruchter star on the dizzying array of other musicians in many contexts. blistering guitar clinic “Lelahiah ” while Lurie takes a Detail’s long-standing configuration was a trio with revelatory flute solo on the rollicking salvo “Nehinah”. bassist Johnny Dyani but it began as a trio with With this hulking band of pioneers going off on a Stavanger keyboardist Eivin One Pedersen (1956- danceable romp for nearly an hour, it’s an arduous task 2012), a long-time Gjerstad associate. Say When to pick out the highlights and indeed there are many. First Detail’s three hitherto unreleased tracks Steve Davis Sextet (Smoke Sessions) In the end, Adramelech, like Zion80 itself, is a sprawling by Joel Roberts from October 1982 suggest why Pedersen eventually and raging party record for the Downtown sect, its quit. A weighty pacesetter in every sense of the word, eight raucous tunes methodically composed, groove- Trombonist Steve Davis says it has taken him 20 years his solos frequently reach Dave Brubeck-ian density intensive and addictively repetitious, yet complete to feel ready to record this tribute album to J.J. Johnson and dominance. With Stevens’ beats sparse and with the loosest of jamming vibes. (1924-2001). Davis says Johnson “changed ” oblique, the ebullience comes from the contrast for the trombone and belongs on the “Mount Rushmore between Pedersen’s steamroller-like thrusts and For more information, visit tzadik.com. This band is at Joe’s of bebop musicians” for adapting the innovations of resilient responses from Gjerstad. The contrast works Pub Jun. 2nd and 9th. See Calendar. Charlie Parker for the instrument. He recalls how effectively on “First Version”, as bass clarinet getting Johnson’s seal of approval when he was a obbligati taunt tremolo piano motions. Pedersen’s

young musician was like “getting my passport kinetic piano rumbles are so intense on “This is the” stamped”. that the saxophonist’s vibrating glossolalia is coerced Davis has worked mostly as a sideman over the into penetrating shrills and the drumming takes on a course of his career in the bands of masters like Art harder edge. Each part is like a singular amoeba, Blakey, Jackie McLean and Chick Corea, among many touching but never merging into a coherent whole. others. For this set of 11 tunes by or associated with The final “Of Detail” steers a middle course as the Johnson, he’s lined up a stellar cast of his own: Eddie hawk-like gliding soprano sax smears eventually Henderson (trumpet), Eric Alexander (tenor make cause with the arabesque grinds from saxophone), Harold Mabern (piano), Nat Reeves (bass) the darkest parts of the piano soundboard, following and Joe Farnsworth (drums). a fantastic display of accelerating thematic tension Helleborus The six Johnson tunes chosen by Davis showcase a from Pedersen. Jesse Stacken (Fresh Sound-New Talent) by Ken Dryden sophisticated and broad compositional talent, from the A thrilling revelation of what might have been, powerful opener “Pinnacles” to the beautiful ballad with each player improvising superlatively, First Pianist Jesse Stacken has showed versatility “Lament”, probably Johnson’s best-known piece, Detail’s constant sound confrontation also foretells throughout his dates as a leader and in duo recordings which gives Davis plenty of room to display his the division that would soon rupture this version of with cornet player Kirk Knuffke, being equally at home gorgeous tone. The band also covers ’s the band. in both mainstream jazz and free improvisation. This “Village Blues”, a tune Johnson recorded, along with outing with saxophonist Tony Malaby, bassist Sean Mabern’s dedication to his former bandmate, “Mr. For more information, visit runegrammofon.com Conly and drummer Tom Rainey includes nine of Johnson”, a tune seeped in the Coltrane sound.

THE NEW YORK CITY JAZZ RECORD | JUNE 2015 15

Strickland (saxophones), Matthew Stevens (guitar), GLOBE UNITY: Christian Sands (piano) and John Davis (drums). Williams is an accomplished composer, his singable melodies supported by subtle, hip harmony. There are incredible guest artists on the album as well, trumpeter Christian Scott and vibraphonist to name just two. Even a makes an appearance. Disc opener “Black Villain Music” starts with dreamily phased Rhodes, killer groove and octave- Live at Tarcento Jazz jumping upright bass and the lyrical melody has a nice konstruKt (Holidays) Blue, Vol. 1 whatsnext? Jeff “Tain” Watts (Dark Key Music) presentation with guitar and saxophone. “Strength Mehmet Ali Sanlikol (DÜNYA) by Russ Musto and Beauty” is a rolling waltz with a halftime backbeat Climate Change inspired by the grace of saxophonist Jimmy Greene. On Burak Kaya (Weplay) Jeff “Tain” Watts confirms his standing as one of the “Voice of Freedom (For Mandela)”, guest vocalist by Tom Greenland most important drummers of his generation, mixing it Goapele sings a gentle Afrobeat and is answered by a Turkish musics, like jazz, have long been influenced up with more than a dozen sidemen on a program sweet, laid back unison riff. “Toy Soldiers” is Williams’ by the traffic of traders and travelers on indigenous comprised of seven original compositions and two take on the sacrifices of war, marching snare drum and artistry. Three recent albums show three very inventive arrangements of jazz classics. The veteran’s repetitive piano creating a martial scene that gets a different styles of Turkish jazz. composing and arranging are as personal as his breath of air from the bass solo, Williams’ lyrical Recorded live in Italy on Jul. 18th, 2014, Live at uninhibited drumwork. playing sitting nicely against the static Tarcento Jazz captures (most of) the freeform quartet Opening up with Thelonious Monk’s “Brilliant backdrop. “Forecast” is a complex samba influenced konstruKt’s dynamic appearance. Stirred by Corners”, Watts drives his quartet of tenor saxophonist by the Wayne Shorter composition “Over Shadow Hill drummer Korhan Argüden’s restless ride cymbal Troy Roberts, pianist David Budway and bassist Neal Way”. Gentle arpeggios and foggy strings are stirred and throbbing toms, which form the sonic bedrock Caine through a series of rhythm and tempo changes— by Sands’ rolling two-fisted chords and Strickland saxophonist Korhan Futaci’s probing cries, slow funky backbeat of the piece’s introduction; takes a great soprano solo with amazing control and the Istanbul-based group sustains an energy level deliberate blues-drenched medium-paced reading of beautiful lines. Williams’ tunes have so many intricate comparable to John Coltrane’s extended forays with the melody; breakneck tempo of the solos—that would sections that melt into each other, only possible with a . Bassist Özün Usta provides support sorely test the mettle of lesser players. Roberts remains group that seems to sense each other telepathically. through a combination of pizzicato and arco with pianist James Francies and bassist Orlando Le Williams is one of the most important young jazz passages, often forcing upper partials from pitches Fleming on “Farley Strange”, a wildly rollicking jaunt bassists on the scene and his maturity as a composer with his forceful bowing while Umat Çağlar switches on a New Orleans second line rhythm, which adds and versatility on electric and upright are impressive. off between electric guitar, Farfisa organ, tape echo trumpeter Kenyatta Beasley, trombonist/tuba player Expect lots more from this great talent. effects and several woodwinds. When he and Futaci Clark Gayton, guitarist Paul Bollenback, percussionist both play zurna (Turkish ) or when his Luisito Quintero and a raucous vocal chorus. For more information, visit concordmusicgroup.com. Williams is (end-blown flute) is juxtaposed against Futaci’s The mood mellows for “May 15, 2011”, a beautiful at Dizzy’s Club Jun. 9th with Jacques Schwarz–Bart and Ginny’s high-pitched fife or siren-like slide-whistle, they ballad spotlighting the vocal of Frank McComb Supper Club Jun. 18th with Christian Sands. See Calendar. create a distinctively Anatolian sonic thumbprint. alongside Osmany Paredes (piano), Henry Hey Bursa-born composer and multi-instrumentalist (keyboards), Mark Whitfield (guitar) and Christian Mehmet Ali Sanlikol moved to Boston to study jazz, McBride (bass). Things get wild again on Max Roach’s later returning to his native music, a broadened “Driva Man”, featuring Ku-umba Frank Lacy’s raspy focus reflected on whatsnext?, his big-band album reading of Oscar Brown, Jr.’s lyric, and the slavery era mixing Third Stream compositional ideas (think Gil theme continues on “Blues For Mr. Charley”, a Evans, Bob Brookmeyer) with Turkish makamlar powerful quartet outing. Chromatic harmonica and usûller (modal and rhythmic systems) and virtuoso Gregoire Maret steps into the spotlight on the instruments, including zurna, ney, kös and nekkare next three tracks: “Faux Paul”, a melancholic lament (large and small kettledrums) and rebab (spiked heightened by Maret’s plaintive tone; “Flip and Dip”, a fiddle). An ambitious composer and prodigious folkish melody with harmonica and tenor in a technician, Sanlikol’s music is neither jazz nor impassioned conversation; and “Brainlifter”, moving (Turkish) classical, but something in between. His from a melodic start to a frenzied group improvisation. playing on tracks like “A Violet Longing”, where he The date concludes with the opening quartet on doubles the keyboard solo with vocal scatting, is “Reverie”, a memorial to Watts’ late mother beginning jaw-dropping, but overall the project is only partially with the Sanctuary Studio church bell tolling. successful, begging further investigation. Guitarist Burak Kaya’s Climate Change is a self- For more information, visit tainish.com. This project is at produced “message album” designed to heighten The Cutting Room Jun. 6th. See Calendar. awareness of humans’ destruction of the ecosystem,

adorned with 13-year-old Filipino artist Trisha Co Reyes’ provocative painting of a young girl drawing aside black and white curtains covered with images of pollution to reveal a colorful utopia of birds and beasts. Like the painting, Kaya’s chord changes are lush and chromatic, evidently inspired by Brazilian bossa nova and rendered with a delicate touch on classical guitar. Supported by the fleet-fingered bass playing of Ozan Musluoğlu, whose solos provide some of the album’s more dramatic moments, and Coming of Age minimalist hand percussion of Yinon Muallem, Ben Williams (Concord) Kaya’s gentle compositions ebb and flow like waves by Brian Charette on a beach, but would profit from more of the dark tension represented by the fish skeletons and Bassist Ben Williams captured everyone’s attention in noxious fumes on the curtains of Co Reyes’ 2009 when he won the Monk Institute competition. His painting—tension hinted at, but insufficiently resumé reads like someone twice his age: Wynton explored, on tracks like “Ağaçkesen Köprüsü (Tree Marsalis, and are just a Cutter Bridge)” and “Gerze”. few. Williams will even appear in the upcoming Miles Davis biopic alongside Don Cheadle. His 2011 Concord For more information, visit holidaysrecords.it, debut, State of Art, was critically acclaimed and Coming dunyainc.org and burakkaya.com.tr of Age is just as powerful. At the core of the project is Williams’ working band Sound Effect: Marcus

16 JUNE 2015 | THE NEW YORK CITY JAZZ RECORD It’s festival season! Don’t miss the one that started it all!

Chris Botti 8 Jamie Cullum 8 Cassandra Wilson celebrates Billie Holiday 8 Dr. John 8 Snarky Puppy 8 Jon Batiste & Human Michel Camilo/Hiromi Piano Duets 8 Maria Schneider Orchestra Christian McBride 8 Ms. Lisa Fischer & Grand Baton 8 José James Jack DeJohnette’s Made in Chicago w. Henry Threadgill & Muhal Richard Abrams Cécile McLorin Salvant 8 Irvin Mayfield& the New Orleans Jazz Orchestra Pat Martino 8 Conrad Herwig’s Latin Side of fea. Michel Camilo Hiromi: The Trio Project 8 Bill Frisell 8 Kneebody 8 John Hollenbeck Ambrose Akinmusire 8 Steve Lehman 8 8 James Carter Tom Harrell 8 Arturo O’Farrill’s Afro Latin Jazz Orchestra fea. Rudresh Mahanthappa Kenny Garrett 8 Lucky Peterson 8 Mike Stern/Bill Evans 8 Billy Childs 8 Jon Faddis 8 Gerald Clayton 8 Bria Skonberg 8 Herlin Riley Matana Roberts 8 Johnathan Blake 8 Wycliffe Gordon 8 Scott Robinson Jason Lindner 8 Peter Evans 8 Helen Sung 8 Christian Sands 8 Aaron Diehl Frank Kimbrough 8 Giorgi Mikadze 8 Berklee Concert Jazz Orchestra w. Sean Jones University of Rhode Island Newport Big Band 8 RIMEA & MMEA High School Jazz Ensembles & Introducing Joey Alexander

Photo: Jamie Cullum 2010. ©Ayano Hisa.

/

PLUS: STORYVILLE...A NEW intimate festival stage... & A MILES DAVIS CELEBRATION... Interludes performed by various artists, in celebration of Columbia/Legacy Recordings’ newly released “Miles at Newport” box set.

Need a ride? Official travel partner, WBGO Travel & Events, offers Day-Trip packages, inclusive of round-trip luxury bus transportation; drop off and pickup at the festival gates, and event admission ticket. Pickup/Drop-off venues are: JALC in NYC, BRIC House in Brooklyn, NJPAC in Newark, NJ, and The Side Door in Old Lyme, CT. Weekend packages also available. Space is limited. BOOK NOW! Info & reservations at newportjazzfest.org/travel; email [email protected]; or call (973) 624-8880 ext. 269.

Artists not in play order, and subject to change. Newport Jazz Festival® is a production of Newport Festivals Foundation, Inc.™, a 501(c) (3) non-profit corporation, duly licensed.

NYC_JAZZ_RECORD.indd 1 5/18/15 4:35 PM

while keeping McGarry and Theo Bleckmann tied to them. Unlike many jazz guitarists, Hunter has a style The 5th Dimension’s distinctive vocal harmonies. based in rock, blues and funk. So it goes with the Those two songs are the strongest of the seven members of his trio on Let the Bells Ring On: trombonist tracks. The album opens with Pete Seeger’s “How Can Curtis Fowlkes and drummer Bobby Previte. I Keep From Singing”, followed by “True Colors”, first On opener “Anthem: USA”, Previte lays down an made famous by Cyndi Lauper. They are both smart almost martial-sounding funk-inflected heavy beat arrangements, if not entirely inviting. The first makes under Fowlkes’ guttural trombone riffs, a rasp part for a logical introduction but drifts a bit in its nine Ellington, part New Orleans and part minutes. “Colors”, at close to 10, doesn’t call on the . Hunter comes in with his surly Memphis-

Songs We Like A Lot recognizable refrain for an astonishing four minutes, sounding twang on a melody that is Peter Gunn mystery John Hollenbeck (Sunnyside) adding to the drift set by the opener. and after-midnight juke joint blues and essays some by Kurt Gottschalk Hollenbeck’s two originals are arguably still nasty picked notes and bluesy bent strings alongside settings of songs by others, taking their text from poets strutting trombone on “These People”. John Hollenbeck likes songs. He likes to write and Rumi and Kenneth Patchen. They’re both quite lovely The title track is slow, sharp, Southern funk-laced arrange and rearrange them. He likes them jam-packed and reveal themselves as some of the most elegant of blues, Fowlkes testifying earnestly and Previte making with melodies he can repeat and remold. The drummer the album. A brief, nicely textured take on ’s with a languid yet rock-solid beat. “Welcome To likes playing songs and likes playing with them. One of “Get Lucky” rounds out the 58-minute disc. Nutley” is hard Southern funk, Previte percolating the disarmingly charming things about Songs We Like A with a sinuous, slinky rhythm, Fowlkes’ buttery Lot is that some he likes so much he wrote himself. For more information, visit sunnysiderecords.com. This trombone a one-man horn section and Hunter stinging Including oneself under such a banner seems a little project is at Roulette Jun. 10th. See Calendar. like a fresh heartache. On the wistful ballad “Fellini cocksure, but once you get over the shock, why not? Farm Team”, Fowlkes croons in the manner of the

The second layer of charm is in the song selections. ballad masters, Previte rustles with subtlety and grace Hollenbeck includes songs that might well elicit and Hunter’s bluesy notes ring and shimmer snickers, such as thoughtful arrangements of the Burt throughout. The sardonic, Zappa-esque “Vernel” Bacharach-penned “Close to You” and Jimmy Webb’s features Fowlkes’ most vox humana playing, Hunter “Up, Up and Away”, made famous (respectively) by and Previte slowly seething with dramatic tension. The Carpenters and The 5th Dimension. Hollenbeck Let the Bells Ring On is one of those relatively rare may be diving into the treacherous waters of AM Gold albums that will likely bring (seemingly) disparate here but these aren’t simple songs and Hollenbeck music fans together—rock and blues devotees will love certainly doesn’t dumb them down. In “Close to You” the razor-sharp, vividly gritty guitar; jazz fans (of the he homes in on the quality that makes the love song non-purist stripe) will be struck by the expressive Let the Bells Ring On almost spiritual. It is a song of romantic desire sung to a improvisational panache; and fans of old-school funk Charlie Hunter (Charlie Hunter Music) celestial being, a dream come true made by angels and by Mark Keresman and soul jazz will relish the deep grooves. Kate McGarry sings it almost like a hymn. In “Up, Up and Away” Hollenbeck brings out the mild psychedelia Guitarist Charlie Hunter not only acknowledges For more information, visit charliehunter.com. This project of the original, creating an almost unstable arrangement influences outside of jazz but unashamedly embraces is at Joe’s Pub Jun. 10th. See Calendar.

THE BAD PLUS JOSHUA REDMAN

“A roaring and beautiful summit meeting...but what emerges is a zillion miles from summit meeting jazz. That’s the real triumph: It exhibits genuinely fresh thinking.” NPR

“A“ trio that pushes the limits in expected repertoire in jazz and a versatile superstar tenor man team up to create The Bad Plus Joshua Redman.” BBC

AVAILABLE ON

18 JUNE 2015 | THE NEW YORK CITY JAZZ RECORD

something truly magical and truly universal. Think was the case with the extraordinary music on this Marvin Gaye’s “What’s Going On”, ’s album, restored from tapes made at a session at the Tin “Imagine”, Billie Holiday’s “Strange Fruit”. Angel, a club in old city sometime in the Compared to that museum of living riches, Passion mid ‘90s. It’s a rare guitar-piano session by Pat Martino, World is a quiet little affair that never stokes passion who returned to the format in the last few years with beyond a sad, sorrowful glance at a woeful world. Gil Goldstein. Martino recruited Ridl for his group in Elling never swings in the set, his natural style and 1994 and the pianist would spend a decade working dynamic grace buried in gentle, swooning songs. From with him, a good proof of their musical rapport. “Loch Tay Boat Song”, a traditional piece Elling learned The two meld so well together they seem to be

Passion World while backpacking through the Highlands, and a sharing a pulse or heartbeat. The jazz duo is a (Concord) ho-hum take on ’s “Where The Streets Have No demanding format requiring an almost telepathic by Ken Micallef Name” to Brahms’ “Nicht Wandle, Mein Licht”, Elling mutual communicability. It jumps right out at you with brings his intellect but forgets his soul. Universal the first track, Martino’s “Recollection”, a driving riff At some point in his or her career, every mature artist messages are far from pretty—they’re the messy tune with the pair pushing and devouring the beat goes for the “big concept album”. Typically spanning a product of the dark night of the soul, not a balmy jet with relish. But for sheer, exhilarating speed and central theme, striving for inclusion of the big universal ride from Scotland to Cuba to Rio and back. swing, Sonny Rollins’ “Oleo” takes the prize. From a emotions (love), the big micro and macro subjects neatly syncopated, lock-step rendering of the theme, it (what’s it all about, Alfie?), the big global problems For more information, visit concordmusicgroup.com. This careens off into an inventive, precisely articulated (man’s inhumanity to man) and, of course, the big project is at Birdland Jun. 10th-13th. See Calendar. guitar solo bursting with inventive lines and solution (love, second act, naturally), the concept culminating in a short riff phrase repeated with such album is always a heavy hitter. Zappa tackled building intensity it doesn’t even sound repetitious scatological merriment on Joe’s Garage; Sinatra posited but recalls the dramatic climaxes that were such a love as the harbinger of emotional hell on Only the feature of the organ combos on which Martino cut his Lonely; promoted dropping LSD on Sgt. teeth. Ridl picks right up where the guitarist leaves off, Pepper’s Lonely Hearts Club Band. Vocalist/composer rollicking two-handedly through swinging choruses, Kurt Elling is no less ambitious with Passion World. then trading lines and phrases as they take it out. The Kurt Elling is a great artist; he’s chosen excellent rhythmic compatibility of the duo extends to ferocious material performed by stellar musicians and recorded comping under each other’s solos, best heard on some truly wonderful jazz albums. Beyond his status Harold Mabern’s funky “The Phineas Trane”. The of jazz’ finest vocalists, the man is a sage, a can also be more contemplative, as on Ridl’s ballad Nexus scholar, someone who truly considers the world’s “Sun In My Hands”, or lyrical, as on Martino’s very Pat Martino (with Jim Ridl) (HighNote) problems and how we can make the world a better by George Kanzler folksy “Country Road” or John Coltrane’s “Naima”. place. But hey, Barry Manilow probably had the same It’s almost as good as the terrific rhythmic interaction. ambitions, if not the same talent, as Elling. The problem Eric Dolphy famously said that once you make music in shooting for the moon lies in the artist’s “it’s gone, in the air, you can never capture it again.” For more information, visit jazzdepot.com. Martino is at ability to rise above source material, to infuse it with But lucky for us, some of it is captured, on tape. That Jazz Standard Jun. 11th-14th. See Calendar.

austrian cultural forum ny presents: iconoclasms new directions in austrian jazz

friday, june 26, 2015 at the acfny (11 east 52nd street, new york, ny 10022)

07:30 PM mario rom’s interzone mario rom: trumpet lukas kranzelbinder: bass herbert pirker: drums

09:00 PM könig leopold feat. mc rhine leo riegler: electronics, turntables, voice, clarinet lukas könig: drums, synthesizer mc rhine: vocals

get your free ticket at www.acfny.org

THE NEW YORK CITY JAZZ RECORD | JUNE 2015 19 Away the Blows” has a punchiness that perfectly suits the track’s Blue Note-ish soul jazz energy. If it’s not explicitly a tribute to , it could easily be one. Ultimately, WAKE-UP! is an enjoyable way to spend an hour and pure pleasure being rare enough these days, it justifies its own existence on that score alone. Good Tipper For more information, visit posi-tone.com and Brian Charette (Posi-Tone) WAKE-UP! liftoffmusic.com. Charette is at Guitar Center Union Square Eric Schugren/Vin Scialla/Brian Charette/ Jun. 11th and Urban Meadow Jun. 21st as part of the Red Mike DiRubbo (Lift Off/Prime Directive Jazz) Hook Jazz Festival. See Calendar. by Philip Freeman

Brian Charette is one of the most impressive organists in 21st Century jazz. His interest in balancing adventurous compositional gambits and unexpected BENNY GREEN lineups, like his Sextette, with a firm grip on the soul- LIVE IN SANTA CRUZ! jazz tradition and a formidable technical command of the instrument, makes him pretty much the total SSC 1401 - IN STORES NOW package. He’s been building a relationship with Posi-Tone Records for the past few years, releasing

eturning to the site where he recorded a live album albums as a leader and appearing on other titles by on his 30th birthday, Green recorded Live In Santa Harmolodic Monk R saxophonists Mike DiRubbo, Tom Tallitsch and Doug Matt Lavelle/John Pietaro (Unseen Rain) Cruz! to mark both the 20th Anniversary of that gig and Webb, guitarist Will Bernard and drummer Jordan by Ken Waxman his 50th birthday. The night and the performance were Young (who returns the favor by appearing on magical, as the trio featuring bassist David Wong and Charette’s latest). Matt Lavelle and John Pietaro, searching for an On Good Tipper, Charette showcases two different individual method with which to frame 10 familiar drummer Kenny Washington lit up Kuumbwa with a trios. 8 of the album’s 12 tracks are with guitarist Avi Thelonious Monk standards, strip the tunes down to program of all original Green compositions. Rothbard and Young. The other four are performed by their essence(s), before enhancing the themes with Yotam Silberstein on guitar and Mark Ferber behind their multi-instrumental skills. But Harmolodic Monk appearing @ JAZZ STANDARD the kit. Each pairing has its merits, though Silberstein/ resembles a rote Hollywood thriller: it builds up slowly Ferber get the short end of the stick, where material is June 23 - 27 to pounding excitement and eventually reinvigorates concerned. There are some really good, inspired the tunes so that the program finishes strongly but, resevations: jazzstandard.com choices—a version of The Zombies’ “Time of the like many action flicks, loses focus and sags in the Season” (Silberstein/Ferber) has surprising potency middle. while the James Bond theme “You Only Live Twice” Lavelle (cornet, and alto clarinet) and (also Silberstein/Ferber) sets a simmering mood and Pietaro (, bodhrán or frame drum, congas ’s “Wichita Lineman” (Rothbard/ and percussion) aim to uncover the folkloric and Young) is suitably meditative. On the other hand, humanist underpinning of Monk’s music via Ornette there’s a version of “Cuando, Cuando, Cuando” here, Coleman’s Harmolodic strategies. Theories aside, again with Silberstein and Ferber, and there’s just no these sparse treatments lack the distinctive voicing excuse for that. Charette sets his organ to maximum Monk was able to give to his small-group performances lounge and the listener is left wondering just what the to bolster the sound to aural Technicolor but the hell everyone involved was thinking. The funky symbolic black and white treatments sharpen the “Another Quarter”, when Charette indulges his images as if they were scenes in a classic ‘40s Film passion for making weird, almost sci-fi noises mid-solo Noir. as Rothbard goes full Memphis soul and Young turns Note the way “Pannonica” and “” the groove into a thick, bluesy strut, is much, much are handled. On the former, Lavelle outlines high- better, one of the disc’s real high points. pitched theme variants on clarinet, followed by Pietaro Charette appears as a sideman on tenor bringing out the un-prepossessing beauty of the head saxophonist Eric Schugren’s album WAKE-UP!, a with shimmering vibes, until both players tease the JOHN HOLLENBECK collaboration with drummer Vin Scialla also featuring variations still further. The latter is first invested with alto saxophonist Mike DiRubbo and, on various tracks, a marching-band-like rhythm that Monk never SONGS WE LIKE A LOT Fabio Morgera (trumpet), Jeff Fairbanks (trombone) imagined, including bass-drum pops and chiming SSC 1412 - IN STORES 6/23/2015 and Nano Valerio (percussion). Most of the material is bells, until cornet flutter-tonguing, clanging cymbals with FRANKFURT RADIO BIG BAND written by Schugren or Scialla, with the exception of and press rolls double the excitement quotient. Steve Nelson’s “New Beginnings” and an album- Bolstering the listless middle section are the later feat. THEO BLECKMANN, KATE McGARRY & URI CAINE opening take on Jackie McLean’s “Appointment in “Blue Monk” and climactic “Monk’s Mood”. The ow to follow-up a Grammy-nominated album disarm- Ghana”. That initial slab of circa-1960 hardbop, perfect finale foreshadowing, “Blue Monk” captures energetic but not exactly adventurous or particularly the duo’s versatility, reinterpreting the melody with Hingly called Songs I Like a Lot? By broadening the challenging, sets the tone for an album that’s a fun subtle bell clangs and echoing grace notes so that its canvas and releasing Songs We Like a Lot, of course. blowing session, but not much more than that…which rhythmic heft is as obvious as its balladic underpinning. John Hollenbeck returns after the triumph of Songs I Like winds up being one of its greatest virtues. Backed by kettledrum strokes of Herculean proportions a Lot, accompanied again by vocalists Kate McGarry and Let us never suggest, after all, that there’s anything on “Monk’s Mood”, Lavelle demonstrates musical Theo Bleckmann, with an expanded palette and even wrong—or even unappealing—about swinging, role-playing of Lon Chaney proportions. Moving groove-oriented hardbop, particularly when multiple between clarinet and cornet, he smears and spits out more robust sonic transformations. skilled horn players are soloing over swirling organ- personalized variations from each as if taking different drums rhythm. Scialla is a talented drummer with a roles in sequence, harmonizes each instrument’s appearing @ ROULETTE lightness that keeps the music bouncing and Charette’s output at points and finally moves each from June 10 keyboard work has the slight tinge of the unexpected foreground to background and vice versa. resevations: roulette.org that made ’s early recordings with Grant Harmolodic Monk is a noteworthy session as much Green such an evolutionary leap for the jazz organ. for what it attempts as for how much it succeeds. It Between them, they set up a perfect foundation for the confirms the players’ skills as it offers a new variant of various horns. Schugren is a melody-minded, bluesy Monk’s music. iTunes.com/BennyGreen saxophonist whose phrases have a loping rhythm iTunes.com/JohnHollenbeck reminiscent of while DiRubbo opts for For more information, visit unseenrainrecords.com. Lavelle www.sunnysiderecords.com fleet, spiraling lines. Morgera’s playing on “Bluein’ and Pietaro are at The Stone Jun. 11th. See Calendar.

20 JUNE 2015 | THE NEW YORK CITY JAZZ RECORD

tunes with this trio in mind (“Look for the Red Door” is an open improvisation) and though the three musicians are highly capable of effective blowing, the results are far more supple and introspective—marking rubbery time against the hoarse, warbling interjections of Indian clarinet on the aforementioned improvisation and slowly tightening up into a succession of dusty, intertwined vamps. Innanen is reminiscent of John Live at NHKM Surman on “A Morning, a Day, a Night”, exhibiting konstruKt/William Parker (Holidays) Song For A New Decade airy facility with folk-like phrases that dance around Mikko Innanen (with William Parker and their own husks, while pizzicato and martial invention ) (TUM) are the basis for wide-open dialogues. Parker and by Clifford Allen Cyrille have a combined 66 years on Innanen, but he more than holds his own in such heavy company. There is a common misconception that in the highly self-reliant New York creative music environment of For more information, visit holidaysrecords.it and the ‘70s, being locally supportive was at odds with tumrecords.com. William Parker is at Funkadelic Studios international recognition or taking comers from all Jun. 6th, Alchemical Theatre Jun. 7th as part of the Bernard over the world. After all, European improvisers like Stollman Memorial and The Stone Jun. 12th. See Calendar. had made their homes in New York and were participating heavily in the Loft Scene alongside established local figures like saxophonist Singing TV and Frank Lowe and drummer Steve Reid. From Japan came reedplayer Kazutoki Umezu and trumpeter Radio personality Toshinori Kondo while bassist Peter Kowald, saxophonist Peter Brötzmann and painter/multi- instrumentalist A.R. Penck would make regular Oleg Frish appearances in the ‘80s. It’s no wonder that bassist William Parker, consistently hungry for new playing opportunities, would be one to bridge boundaries releases between African-American improvisation and the Golden State II similarly restless scenes across and Asia. Harris Eisenstadt (Songlines) by John Sharpe It only took a few years for Parker to find kindred “Duets with spirits in the Turkish free music ensemble konstruKt, On Golden State II Canadian drummer Harris consisting of guitarist/keyboardist Umut Çağlar, Eisenstadt helms a set of elegant chamber jazz recorded My American Idols” saxophonist Korhan Futaci, bassist Özün Usta and live at the 2014 Vancouver Jazz Festival. At the unit’s drummer Korhan Argüden (all play a variety of double core remains the pairing between the drummer and his Distributed by BDG/RED Distribution, LLC reeds, percussion and little instruments). The group partner Sara Schoenbeck, one of the few practitioners (a division of SONY Music Entertainment) has been busy in Istanbul since 2008, creating of the tricky in a jazz setting. Since the outfit’s intercontinental collaborations with saxophonists Evan eponymous debut Eisenstadt has replaced flutist “I am very proud to introduce my Parker, Joe McPhee, Marshall Allen, Akira Sakata and Nicole Mitchell, who was unavailable, with Brötzmann, as well as veteran Turkish improvisers Amsterdam-based reedplayer Michael Moore, who good friend, Russian TV and radio Hüseyin Ertunç and Okay Temiz. Live at NHKM brings brings along his clarinet to the date, thus maintaining personality and American Parker into their orbit on a double LP of continuous the contrast in registers between the two woodwinds. recording artist, Oleg Frish. play, in which the bassist’s voluminous pizzicato Completing the foursome, bassist Mark Dresser retains motor and elevating harmonic inventions supplant the the link to the band’s West Coast origins. Oleg and great singers featured here ensemble’s reedy, alien electricity and dry chug into Coming at the end of a short tour, the group had on his new CD are all helping to keep strong relief. The first part of the set places emphasis thoroughly internalized Eisenstadt’s five subtly the music we love alive. All over the on Çağlar’s Minimoog synthesizer and tape tuneful charts, which they realize with a combination manipulations, all housed in a rather delirious, spare of practiced ease and understated virtuosity. The world. So relax and enjoy! Thank you, echo through which Parker’s reedy arco makes thoughtful writing encourages intricate yet unforced Oleg, for memories and nostalgia” generous slices, with an effect not unlike Ronnie interplay, founded on the dynamic rhythmic - Connie Francis Boykins’ work with mid ‘60s Sun Ra. Parker’s bass is latticework created by light airy propulsion and certainly present, but the recording is somewhat lo-fi buoyant swing. Both Schoenbeck and Moore leaven a and rooted in an otherworldly din, evening out the cool school vibe with poised but artful delivery, which “I truly respect Oleg and it’s an proceedings as Çağlar’s electronics burble and whistle makes sparing but effective use of unusual timbres. honor for me to be part of this project.” against Argüden’s shimmering, all-over pulse. Futaci Moore, in particular, calls on his experience with the - Ben E.King is an extraordinary saxophonist, heel-digging on a ICP Orchestra to blend his playful yet lyrical style with number of steely and hawkish tenor improvisations both blues and more abstract leanings. and with a pensive, melodic turn on soprano and alto. Eisenstadt leads from the rear, prompting and “We definitely need more It’s a wonder that these players haven’t made it shading, content to do just what’s needed to give the projects like this.” stateside, but hopefully that’s just a matter of time. compositions life. His only stint in the spotlight comes Finnish saxophonist Mikko Innanen has become as a crisp solo break, forming the bridge between the - Lainie Kazan increasingly visible in New York, making regular visits two parts of “Seven in Six/A Particularity with a from his home base in Helsinki. Innanen’s raspy alto Universal Resonance”. Earlier in the same piece, an Available on: flywheels and choppy baritone (he also plays sopranino interchange between querulous clarinet and grumbling saxophone, clarinets and wooden ) have found a bassoon leads to a march-like section, reminiscent of home in the Finnish creative TUMO Orchestra and Dresser’s erstwhile employer . Other small groups like Plop and Innkvisitio (Finland) and notable passages include bassoon veering between The Curators (New York). On Song For A New Decade, sighs and growls on the angular “Agency” and ringing a two-disc set, he’s joined by Parker and drummer arco bass figures introducing the stealthy “A Kind of Andrew Cyrille on a program of eight trios and six Resigned Indignation”. A quiet passion burns reed-percussion duets. Though they’ve only recorded throughout, most brightly on the closing “Gleaning”, together previously in the Full Blown Trio with pianist but altogether it’s a set that really does merit repeated , both Parker and Cyrille have collectively visits to appreciate fully. shared stages and recordings with pianist Cecil Taylor, olegfrish.com saxophonists Kidd Jordan and David S. Ware and For more information, visit songlines.com. Eisenstadt is at violinist Billy Bang. Innanen wrote all but one of the Delroy’s Cafe and Wine Bar Jun. 15th. See Calendar.

22 JUNE 2015 | THE NEW YORK CITY JAZZ RECORD The Melody Lingers On Houston Person (HighNote) I Love You, Yes I Do (featuring Houston Person) Barbara Morrison (Savant) by Alex Henderson

Houston Person celebrated his 80th birthday last November. Almost half a century has passed since the big-toned tenor saxophonist recorded his first album as a leader, Underground Soul (Prestige, 1966), state-of- the-art soul-jazz that set a funky tone for his long recording career That career is alive and well on The Melody Lingers On. Person leads an acoustic quintet: Lafayette Harris, Jr. (piano), Steve Nelson (vibraphone), (bass) and Lewis Nash (drums). As soloists, Nelson and Harris fit right in with the soul-jazz/hardbop mood that Person is going for and Drummond and Nash hold down the fort rhythmically. The album’s engineer is someone Person has crossed paths with many times over the years: Rudy Van Gelder, who gives The Melody Lingers On a warm, organic sound. Although Person’s albums have become more laid-back in recent years, The Melody Lingers On gets off to an energetic start with a surprisingly uptempo interpretation of “My Funny Valentine”. But even when Person is playing fast, his improvisations are delightfully lyrical. The album title is appropriate whether Person is getting into ballads, as on the -associated “Gone Again” and Richard Rodgers-Lorenz Hart’s “Bewitched, Bothered and ”, playing the blues on Harris’ “You Can’t Lose with the Blues” or putting a bossa nova spin on ’s “Only Trust Your Heart”. Person is equally lyrical on “Try a Little Tenderness”, putting a bluesy, R&B-minded spin on the song, bringing to mind Otis Redding’s version but without vocals. Since the ‘60s, Person has appeared on numerous albums as a sideman and has a long history of backing singers from to Ernestine Anderson. Person is an ideal sideman for veteran singer Barbara Morrison (a fixture on the Los Angeles jazz scene since the ‘70s), both jazz improvisers with strong R&B influences. In addition to producing I Love You, Yes I Do, Person solos extensively. The other sidemen are Stuart Elster (piano), Richard Simon (bass) and Lee Spath (drums), all helping Morrison achieve a bluesy, gritty, R&B- flavored ambiance. Morrison embraces a wide variety of songs, blending jazz and soul elements on everything from Buddy Johnson’s “” and Leonard Feather’s humorous “Blow Top Blues” to Eddie Heywood’s “Canadian Sunset”. Morrison is great at performing Tin Pan Alley gems and one of the highlights here is a swinging version of Richard Rodgers-Lorenz Hart’s “I Didn’t Know What Time It Was”. But Morrison is just as happy to use rock and R&B songs as vehicles for jazz improvisation: The Beatles’ “” (listed as “And I Love Him”); Joe Cocker’s “Black Eyed Blues”; and the Isley Brothers’ “For the Love of You”, the latter quiet-storm ballad getting an acoustic bop makeover. Both I Love You, Yes I Do and The Melody Lingers On were recorded in 2014, another busy year for Person, whose chops have held up impressively well over the decades. It’s great to see this elder statesman continuing to excel.

For more information, visit jazzdepot.com. Person is at Riverdale Y Jun. 16th. See Calendar.

THE NEW YORK CITY JAZZ RECORD | JUNE 2015 23

mature output is focused on a more nuanced exposition Elsewhere Coleman evokes a “Tempest” and a dry of more reflective themes. Here he is in wonderful West African trade wind called “Harmattan”; the latter form on a program that is about evenly balanced is followed by another African-themed piece, between reworkings of older compositions (“African “Nomadic”, inspired in part by the horn ensembles of Dawn”, “For Coltrane” and “Eclipse at Dawn” being Chad. “Harmattan” has the most strongly sustained perhaps the more familiar of these) and spontaneously ensemble writing, endlessly complex, shifting music; composed pieces. “Nomadic” pulses in interlocking layers of rhythm. In the hour-long accompanying DVD, Ibrahim Solos are so seamlessly interwoven that it’s easy to talks about and plays short versions of several more of overlook individual efforts, but Coleman’s own solos

Vol. 3 his tunes, focusing to some extent on those that have and those of trumpeter Jonathan Finlayson stand out. Miles Davis (Blue Note) particularly interesting stories behind them, such as What ultimately counts, though, is the vitality. by Anders Griffen “Mannenberg”. Here we get the full story of how the original record was made, how no one wanted to For more information, visit pirecordings.com. Coleman is at Miles Davis started recording in 1945, at the age of 19. release it until it had already become an enormous Whitney Museum Jun. 18th. See Calendar. By the time of this 1954 session, the trumpeter was success through sales from, originally, just one record already deeply experienced, if not yet the influential store in Capetown, what it meant for the freedom artist he would become. According to his autobiography, fighters, etc. The DVD concludes with what would this was the first session he recorded after breaking his seem to be the encore from Ibrahim’s performance at heroin habit, an allstar quartet of Horace Silver (piano), the Fazioli Concert Hall (at 17 minutes, with no breaks (bass) and Art Blakey (drums). The between tunes, it can hardly be a full set). Ibrahim original 10” LP satisfied a contract with Blue Note as exhibits his influences, from African folk styles and Davis moved on to Prestige. These six tracks were Ellington to Monk, but it’s interesting to note that he subsequently included on the 12” Volume 2 LP and has at this stage achieved a mature minimalism, which, later on the Volume 1 CD. curiously, evokes that of the young Eric Satie. This This reissue looks like the original and sounds release is warmly recommended to those who have clean and crisp. The 10” LP offers a concise set with followed this fascinating and important musician just over 13 minutes per side. The mysterious “Take through the years. Off” explores George Shearing’s “Conception”— “Deception”, as the exploration was called with Gerry For more information, visit sunnysiderecords.com. Ibrahim Mulligan on Birth of the Cool—Miles contrasting the is at Blue Note Jun. 18th-21st as part of the Blue Note Jazz compelling harmony with an eight-bar pedal-point. Festival. See Calendar. Vol. 3 holds Davis’ first recording of “It Never Entered

My Mind”, maybe not quite as realized as on his later album Workin’, but a gorgeous rendering of the same basic arrangement. Likewise, “Well, You Needn’t” is stronger on Steamin’, but here they give it a slow, crisp groove, with Silver at his most Monk-ish and Blakey taking a nice rim shot solo. Like “Half Nelson”, “Lazy Susan” travels the Alex Norris orgAN QuArtet changes of Tadd Dameron’s “Lady Bird”. “Weirdo”, an exteNsioN DeADliNe altered blues in F, is almost the same tune as “Walkin’”, a long-running component of Davis’ set. “The Leap” featuring gary thomas – tenor sax Synovial Joints is a fast 40-bar swing, with a pedal for the last 16. Davis Steve Coleman and the Council of Balance (Pi) george Colligan – organ quotes “Mona Lisa” (as he hinted at on “Lazy Susan”), by Stuart Broomer rudy royston – Drums which is somewhat indicative of the jazz sensibility here. It’s not postbop, but some cool renderings of Steve Coleman has a gift for taking multiple interests— now available on BJurecords bebop with Miles in good shape. philosophy, anatomy, ancient histories and myth— locating their musical components and analogues, then For more information, visit bluenote.com. A Miles Davis translating and compounding them into original, tribute is at Birdland Jun. 16th-20th. See Calendar. engaging works. That alchemy is the basis of Synovial Joints, including the title suite and a series of other

pieces performed here by The Council of Balance, an expansive project first launched in 1997. Coleman begins with his usual Five Elements and adds 16 other musicians, among them a string quartet, four percussionists and an assortment of brass and winds. Coleman’s current compositions are built from taped free improvisations that are transcribed, combined and developed. It’s a call on the unconscious that fuels the off-kilter metric and harmonic elements and the multi-cultural references as well, a series of fractures The Song Is My Story and collisions that add a dream-like ambience and an Abdullah Ibrahim (Sunnyside) by Duck Baker original momentum to works often inspired by journeys and landscapes. The four parts of the title suite add This release is conceived both as a celebration of literal connections to the body, each segment inspired pianist Abdullah Ibrahim’s 80th birthday and 40 years by different types of joints and their specific movements. since he recorded Mannenberg - ‘Is Where It’s Happening’ The ensemble writing is consistently thoughtful, (under the name Dollar Brand, released in the U.S. as with Coleman using his resources selectively and Cape Town Fringe, the title track of which became a continuously, creating dialogues between sections or well-loved anthem of the South African resistance balancing them with individual instruments, whether movement as things were reaching a crescendo). they’re improvising or playing composed parts. “Celtic Recorded on a beautiful Fazioli piano in that company’s Cells” is particularly graceful in its shifting emphases, concert hall in Sacile, Italy, the maestro seems to savor from Jen Shyu’s wordless vocal statement of the Alex Norris performs at: the rich sound of the instrument itself, leaving ample opening theme through Coleman’s own alto saxophone space throughout the program for the rich overtones to dialogue with a composed string part to Tim Albright’s silvana – June 4th, 6PM ring out. It should not come as news that Ibrahim no regal trombone solo. longer takes pianos by their throats to shake epic That effective blending of written and spontaneous polyrhythmic, polytonal expositions out of them; his parts is a constant here, each enhancing the other. alexpopenorris.com

24 JUNE 2015 | THE NEW YORK CITY JAZZ RECORD WWW.BLUENOTEJAZZFEST.COM FIFTH ANNIVERSARY ROBERT GLASPER TRIO • BUIKA THE BAD PLUS JOSHUA REDMAN • • HIROMI ROY HAYNES • AL DI MEOLA • BEBEL GILBERTO • MANHATTAN TRANSFER MEETS TAKE 6 KATHLEEN BATTLE W/ CYRUS CHESTNUT • BUDDY GUY KENNY G • ABDULLAH IBRAHIM & EKAYA AVISHAI COHEN TRIO • GINGER BAKER PEDRITO MARTÍNEZ • SAVION GLOVER DAVID MURRAY TRIO W/ TERRI LYNE CARRINGTON GRÉGOIRE MARET W/ LIZZ WRIGHT ALICIA HALL MORAN W/ JASON MORAN GATO BARBIERI & MANY MORE

York and Goldsbury came to visit him. They decided to record a session. Drummer for all seasons Lou Grassi was enlisted and brought along a couple of compositions. Goldsbury wanted to pay tribute to his first recording date with jazz organist Charles Earland (Infant Eyes) so he recruited an old friend, organist Mark Minchello, to round out the group and The Last of the Beboppers was born. “Dim Sum” starts the proceedings, sounding like

The Complete Recordings the leadoff track to an early ‘60s Blue Note recording. /Bill Evans (Concord) But that (and the album’s title) is a bit of a red herring. by Andrew Vélez Much of the recording, while maintaining the flavor of hardbop, definitely straddles the line between that and 40 years ago, as Captain & Tennille topped the pop more modern impulses. Grassi’s “Dark Dawn In charts with “Love Will Keep Us Together”, mutual Aurora”, with its baleful melody and intense solo by Mon, Jun 01 DAVID AMRAM & CO 8:30PM Kevin Twigg, Rene Hart, Elliot Peper admirers Tony Bennett and Bill Evans joined their Goldsbury, is about as far from Blue Note hardbop- Tue, Jun 02 PETER BRENDLER/VINNIE SPERRAZZA GROUP 8:00PM talents for The Tony Bennett/Bill Evans Album, an intimate isms as one can get. Goldsbury’s tenor is a force Michael Attias, Jon Davis session of standards. They followed it up a year later throughout, his big, burly sound breathing life into JOHN YAO QUINTET 9:30PM Jon Irabagon, Randy Ingram, Peter Brendler, Shawn Baltazor with Together Again, another low-lights, highly these compositions, and Fortuna’s clarion trumpet Wed, Jun 03 JASON YEAGER TRIO & FRIENDS 8:30PM improvised date, again focusing on great songs. Even as meshes nicely with Goldsbury’s gruff sound. Minchello Jason Yeager, Danny Weller, Matt Rousseau much of America may have been humming Glen eschews the empty virtuosity that tends to be the Thu, Jun 04 VINNIE SPERRAZZA TRIO 8:00PM Campbell’s “Rhinestone Cowboy”, this duo were calling card of most organists in favor of being a Jacob Sacks, Masa Kamaguchi JESSE STACKEN QUARTET 9:30PM standard bearers of the Great American Songbook. In a textural foil for the frontline. He gives the music a Tony Malaby, Sean Conly, Gerald Cleaver commemoration worthy of this coupling of musical dense middle ground and his solos are always Fri, Jun 05 TOM QUARTET 9:00PM & 10:30PM giants, Concord has released this deluxe, 180-gram meaningful. Grassi, better known for his drumming Quinsin Nachoff, Sam Minaie, Nate Wood vinyl boxed set along with two discs’ worth of alternate with avant garde groups, gives the music its drive Sat, Jun 06 KRIS DAVIS QUINTET 9:00PM & 10:30PM Ralph Alessi, Sylvaine Helary, Stephan Crump, Gerald Cleaver takes and bonus tracks, plus a 12-page illustrated without resorting to bop clichés. Sun, Jun 07 NEW BRAZILIAN PERSPECTIVES: Billy Newman, host booklet with incisive notes by Will Friedwald. For an impromptu session by a pickup group of LAURA DREYER QUARTET 8:30PM The opens with “Young and Foolish”, an sorts, this album has a surprisingly strong band feel. Klaus Mueller, Itaiguara, Mauricio Zotarelli BENJI KAPLAN CD RELEASE: “REVERIES EM SOM” 10PM Albert Hague showtune Bennett and Evans had And best of all, this isn’t a mere nostalgic look back. Anne Drummond, Jason Ennis previously recorded independent of each other. The It’s a celebration of their influences while looking Tue, Jun 09 RICARDO GRILLI 8:30PM ease with which they express the melancholy heart of forward. It would be nice if there were a followup. Aaron Parks, Joe Martin that first song instantly seizes and holds the listener Wed, Jun 10 ALEX LORE QUARTET 8:30PM Glenn Zaleski, Desmond White, Colin Stranahan completely. As does the nighttime imagery they conjure For more information, visit fortuna-music.com. Lou Grassi with “My Foolish Heart”. With “The Touch of Your is at Ibeam Brooklyn Jun. 5th and WhyNot Jazz Room Jun. Wed, Jun 11 MARC MOMMAAS 8:30PM Jean-Michel Pilc, John Hebert, Lips”, Bennett gently sings/speaks “the touch of your 21st. See Calendar. Fri, Jun 12 RALPH ALESSI AND MAINUS 9:00PM & 10:30PM lips on my brow” before Evans slips in just as tenderly. Florian Weber, Then their pace quickens ever so lightly, a swinging USED Sat, Jun 13 EQUALITY 9:00PM & 10:30PM that lends further eloquence to the story they are Darius Jones, Aruán Ortiz, Mark Helias telling. Their take on Betty Comden-Adolph Green’s Sun, Jun 14 SEBASTIEN AMMANN QUINTET 8:30PM NEW Michaël Attias, Samuel Blaser, John Hébert, Billy Mintz WWII gem “Some Other Time” is another heart- Mon, Jun 15 DAVY MOONEY 8:30PM stopping expression of longing and reluctant partings Linda Oh, Mark Ferber in which every word matters, every note counts. Tue, Jun 16 SAM TRAPCHAK, CD RELEASE: For a change of pace there’s the flirtatious delight LAND GRAB 8:30PM Greg Ward, Tom Chang, Christian Coleman of “When In Rome”, with a pounding solo by Evans before Bennett comes back in to wrap it up. Song after Wed, Jun 17 ADAM KOLKER TRIO 8:30PM Steve Cardenas, Billy Mintz song these are conversations in which the interplay Thu, Jun 18 BRIAN LANDRUS 8:30PM feels telepathic. Among the alternate takes are some Lonnie Plaxico, singular moments of Evans’ particular expressiveness. 236 West 26 Street, Room 804 Fri, Jun 19 PETROS KLAMPANIS 9:00PM & 10:30PM First it’s with “Waltz for Debby”, he and Gene Lees’ Jean-Michel Pilc, John Hadfield, Maria Manousaki, Gokce Erem, New York, NY 10001 Carrie Frey, Colin Stokes sweet paean to the fleeting dearness of childhood, with Sat, Jun 20 THUMBSCREW 9:00PM & 10:30PM Bennett as forceful as he is gentle. The two solo Monday-Saturday, 10:00-6:00 Mary Halvorson, Michael Formanek, Tomas Fujiwara alternate takes by Evans of David Raksin’s sensual Sun, Jun 21 JANE IRA BLOOM TRIO 8:30PM “The Bad and the Beautiful” are simply haunting. Tel: 212-675-4480 Mark Helias, Bobby Previte In considering the perfection of these masterworks, Tue, Jun 23 JAMIE BAUM AND SHORT STORIES 8:30PM Fax: 212-675-4504 Gilad Hekselman, Andy Milne, Joe Martin, Jeff Hirshfield, drums Bennett’s own words are surpassingly eloquent: “If you can get to a pure simple thing, it always lasts forever.” Wed, Jun 24 MARS 8:30PM Miles Okazaki, Anjna Swaminathan, Email: [email protected] Rajna Swaminathan, Stephan Crump For more information, visit concordmusicgroup.com. Web: jazzrecordcenter.com Thu, Jun 25 JEFF DAVIS HOLYOKE 8:30PM Bennett is at Radio City Music Hall Jun. 19th, 20th, 22nd Chris Speed, Jon Goldberger, Russ Lossing, Eivind Opsvik and 23rd. See Calendar. LP’s, CD, Videos (DVD/VHS), Fri, Jun 26 CONNECTIONS, CD RELEASE: MIND THE GAP 9:00PM & 10:30PM Books, Magazines, Posters, Bob Stewart, Randall Haywood, Nick Finzer, Curtis Stewart Jannina Norpoth, Nick Revel, Amanda Gookin Postcards, T-shirts, Sat, Jun 27 RUBENS SALLES, CD RELEASE: Calendars, Ephemera LIQUID GRAVITY PLUS 9:00PM & 10:30PM Leco Reis, Kenny Grohowski, Michel Gentile , Kavita Shah Buy, Sell, Trade Sun, Jun 28 PETER EVANS’ ZEBULON TRIO 8:30PM Peter Evans, John Hébert, Kassa Overall Collections bought Tue, Jun 30 STEPHAN CRUMP’S RHOMBAL 8:30PM Ellery Eskelin, Adam O’Farrill, Stephan Crump, Tyshawn Sorey and/or appraised Also carrying specialist labels The Last of the Beboppers e.g. Fresh Sound, Criss Cross, Fortuna/Goldsbury/Minchello/Grassi (FM) Ayler, Silkheart, AUM Fidelity, by Robert Iannapollo Nagel Heyer, Eremite, Venus, In his liner notes Texas tenor Mack Goldsbury recounts Clean Feed, Enja and many more that this session came about in the most casual of ways. Polish trumpeter Maciej Fortuna was visiting New

26 JUNE 2015 | THE NEW YORK CITY JAZZ RECORD by Graham Haynes’ trumpet. The vibe builds back up to a dance-hall mood with more horn riffs and an exposé on revolution by vocalist Garrison Hawk, subsiding in a denouement of suspended organ chords and Worrell’s Bach-like chorale. Space/Time · Redemption is Laswell’s duo outing The Epic Botanical Beat Suite with drummer Milford Graves, a chance to hear the Hu Vibrational (Meta) bassist in a pared-down setting. The album contains Phantom Soundclash Cut-Up Method: One five extended tracks, which retain a certain unity over Method of Defiance (M.O.D. Technologies) repeated listenings. Bass, processed with an envelope Space/Time· Redemption filter, heavy echo, phasing and/or looping, doubled at Milford Graves/Bill Laswell (TUM) an upper octave for melody statements, usually by Tom Greenland introduces an ambling, pentatonic-based theme that Bassist/producer Bill Laswell has been a major force gives each track its sense of song. The powerful behind an impressively eclectic and prolific assortment personalities of the musicians are well balanced: on of projects. Amid the swirl of rock, funk, reggae/dance “Sonny Sharrock”, Graves’ percolating stick-work hall and electronica that exemplifies his sound(s), there meshes with Laswell’s burning-ember sound effects; is a core that honors jazz’ dance-beat origins even as it on “Another Space” they achieve an intuitive, loose- explores its improvisational frontiers. but-tight lock-up; and on “Another Time”, Laswell’s Drummer/composer Adam Rudolph’s fourth Bootsy Collins-inspired future-funk matches Graves’ release with Hu Vibrational, The Epic Botanical Beat deep-rooted tom-tom and pulsing, the latter Suite, features a septet of percussionists: Brahim also featured on an extended solo in “Autopossession”. Fribgane, James Hurt, Matt Kilmer, Tim Keiper, Keita This project exposes Laswell’s sensitivity to an extent Ogawa and Tripp Dudley, with guests guitarist Eivind not possible in the more heavily produced sessions. Aarset, electric pianist Alex Marcelo, flutist Steve Gorn and Laswell. It imagines a rainforest of percussive For more information, visit metarecords.com, voices: low-low malleted boom of bass drum; scratchy mod-technologies.com and tumrecords.com. Laswell is at riffs of dusun’goni (West African gourd-harp); and The Stone Jun. 23rd-28th. See Calendar. high-pitched slaps of udu (Igbo clay drum). Utilizing

African, Brazilian and Indian hand percussion instruments, the compositions are set in fixed, danceable meters with agile cross-rhythms. For all the density there is clear separation of parts; even complex compositions like “Soma” (in 7) and “Kwa-shi” (in 27!) sustain a strong at the top of the cycle. Aarset and Marcelo’s electronic washes give the acoustic soundscape a gentle metallic sheen; Gorn’s improvisations on bansuri (end-blown flute), heavily echoed and panned in the mix, add waïflike ambiance St. Thomas and Laswell provides an earthquake-thump. Dion Parson (United Jazz International) “Nebuchadnezzar” is the 38-minute track by Elliott Simon comprising Phantom Soundclash Cut-Up Method: One, the fifth album in Laswell’s ongoing, ever-changing Drummer Dion Parson is deeply passionate about his Method of Defiance project. Out of Bernie Worrell’s U.S. Virgin Island roots and it permeates his worldly peaceful keyboard introduction arises a hard-hitting, rhythmical knowledge and academic understanding of slightly off-kilter death-metal beat, threaded by Peter disparate musical styles. St. Thomas features Parson Apfelbaum’s serpentine , settling into with some countrymen who have also made their mark a funky “Charleston” riff peppered by Worrell’s wah- on NYC jazz as part of his 21st Century Band: bassist wah and shifting reverb effects. Vocalist Dr. Israel calls Reuben Rogers and steel pan player Victor Provost. out politicians, Pharaoh and other representatives of Pianist Carlton Holmes, percussionist Alioune Faye, Babylonian oppression, recited over a one-drop reggae saxophonist Ron Blake and trumpeter Rashawn Ross groove with chanting horns and dub-style dropouts on straddle the genres while ensuring that the melody a rhythmic bed provided by Laswell’s electric bass, and jazz don’t get buried and that integrity is not Guy Licata’s drums and Adam Rudolph’s percussion. sacrificed for the sake of an island groove. A middle section features Foday Musa Suso’s gentle Jazz, calypso, reggae, ska and quelbé are combined kora and Apfelbaum’s lilting saxophone, later joined with nods to Miles, Trane and Duke for a funky, diverse program. A newly arranged version of Sonny Rollins’ title track sets the stage for the approach: a combination of crisscrossing rhythms over which Blake and Ross solo inventively. Holmes, Ross and Blake maintain the original feel of Duke’s “Rockin’ in Rhythm” as it is bathed in island rhythm. Miles’ “All Blues” is given an AfroCaribbean treatment. The originals introduce the islands to New Orleans for a bluesy “Calypso Bayou”, showcase Provost’s steel pan in a modern context titled “Minor Details”, give a melodic Rasta feel to the “Ambergis Cay” islands and bring in da funk with “Come Now”. The session ends with the band’s theme, “21st Century” and banjo player Boo Reiners for a very hip tribute to native U.S. Virgin Islands quelbé music, then Senegalese percussion summoning Trane to join the “Knights at the Round Table”. The aptly titled St. Thomas infuses modern jazz with a danceable rhythmic base for a novel Virgin/Manhattan island vibe.

For more information, visit dionparson.com. This project is at Dizzy’s Club Jun. 23rd-25th. See Calendar.

THE NEW YORK CITY JAZZ RECORD | JUNE 2015 27

selections. But most of all, Alexander has the gift of an with which they play was palpable. It was also clear emotional insight far beyond his years, as heard in that they make chamber music swing. Hwei dazzled renditions of Billy Strayhorn’s “Lush Life” and Monk’s on his tune “Spidey Falls!” and Harman’s “Paths “’Round Midnight”. Become Lines” was intricate and lovely. They stretched At the CD release party held at Dizzy’s Club in out on selections from “New York Suite”, then Stan late April, Alexander, small in stature but large in and bassist Jeff Carney joined the group for “Colors of confidence and authority, performed mostly selections the East”. Huebner and Stan replicated their from the album. Starting with a solo opener of “On The outstanding performances on “Balkan Dance” and, in a Sunny Side of the Street”, he was then joined by Hall truly memorable moment, Carney, spurred by

Cuentos and Miller. The trio, exhibiting the same kind of Huebner’s relentless bow against violin body Pedro Giraudo Big Band (ZOHO) musical interplay heard on the album, went on to percussion on “Out of Belgrade”, plucked a note with by Donald Elfman perform Tadd Dameron’s “Lady Bird”, which had so much force that it startled the audience. Alexander so involved that he jumped to his feet while In late April, Jazz Standard buzzed over the Pedro playing. His set included a performance of “Lush For more information, visit autenticomusic.com Giraudo Big Band, celebrating the release of Cuentos. Life”, which almost took your breath away. The soft- The first set of the evening consisted of music from the spoken Alexander announced song titles and made album plus two other works, all of which deftly blend comments on the selections, displaying an eagerness to rhythms and textures from Giraudo’s native Argentina communicate with his audience verbally as well as with a sense of swing found in the best big jazz bands. musically. The encore was album closer “Over The At the show, the band worked wonders on the Rainbow”, one chorus played solo with wistfulness gorgeous ballad “La Ley Primera”. Inspired by a poem, and yearning. The jam-packed room reacted with a the piece is based on Argentina’s most noted dance standing ovation. With this kind of impressive debut, rhythm, the zamba. Alejandro Aviles (alto and soprano it will certainly be exciting to follow this young talent saxophones) is the one voice and his playing is quiet, as he hones his craft and continues his musical journey. simple and speaks in its own way of the poem’s themes of unity and family. “Push Gift”, notes Giraudo, is a For more information, visit motema.com present given from father to mother at the birth of a baby. Repeated notes open the composition and the whole piece grows out of these. John Ellis solos on tenor and absorbs the composition’s urgency and the movement propelled by the leader’s bass and drummer Franco Pinna and percussionist Paulo Stagnaro. The evening ended with the album’s centerpiece, the incredibly diverse, four-part “Angela Suite”. Todd Bashore’s alto solo in the dramatic jazzy overture and the great section playing led to a vivid piano solo and cadenza by Jess Jurkovic. Then there’s another lovely Colors of the East zamba, “Ojos que no ven”, with a gentle but forceful Sirius Quartet (Autentico Music) solo by trumpeter Josh Deutsch. Some orchestral chaos by Terrell Holmes leads to the next section, frenetic ‘La Rabiosa”. Baritone saxophonist Carl Maraghi captures the power of what Violinists Gregor Huebner and Fung Chern Hwei, Giraudo calls “a very angry woman”. And, finally, in violist Ron Lawrence and cellist Jeremy Harman are the brief “Coda”, many elements of the suite come the Sirius Quartet, a stellar ensemble that transforms together in a bold and brilliant ensemble burst. Pedro standard chamber music frameworks with exceptional Giraudo’s music is daring, ravishingly scored and yet playing, writing and arranging. Its new album, Colors traditional and timelessly appealing. of the East, composed by Huebner, is challenging and vivid, with expanded instrumentation that enhances For more information, visit zohomusic.com the music’s texture. The album’s evocative nature surfaces in the title

suite, whose opening movement, “Balkan Dance”, encapsulates a balkanized conflict. The strings pulse with tension, brooding and forbidding, but the gallant voice of an accordion, played brilliantly by Peter Stan, greets them and engenders a festive dance. His growling and barking gives the accordion an organ- like sound that recalls instead of Lawrence Welk. The beautiful “Andante” seamlessly incorporates chamber elements with avant garde jazz; Stan’s lovely prelude on “Out of Belgrade” leads to My Favorite Things some vigorous plucking by bassist Pascal Joey Alexander (Motéma Music) by Marcia Hillman Niggenkemper. Cellist Mike Block sits in on String Quartet #3, 12-year-old Joey Alexander makes his recording “New York Suite”, which perfectly captures the pace debut with My Favorite Things, a collection of jazz and diversity of this cauldron. Each movement has a tunes, standards and one original (“Ma Blues”). story: lane-changing pizzicato of “G.W. Bridge”; sleek Accompanying him, except on the solo closer “Over “125th Street”; rusty gate in the wind desolation of The Rainbow”, is bassist Larry Grenadier and drummer “Underground Summer”; call-to-prayer majesty of Ulysses Owens, Jr. on three tracks, bassist Russell Hall “Redhook”; poignancy of “Ground Zero” and “For and drummer Sammy Miller also on three tracks and John”; chaos of “JFK”; and the frenetic last stop at the trumpeter Alphonse Horne on one (“Tour De Force”). crossroads of the world, “Times Square, 7p.m.” Alexander, a native of Bali, has not had any formal Bassist Veit Huebner adds color and depth to the jazz education but picked out Thelonious Monk’s striking landscapes of String Quintet No. 1, a piece “Well, You Needn’t” and other jazz standards from his defined by the urgent pizzicato and soaring lines of father’s record collection by ear at the age of six. His “Allegro Georgina”, adagio “Shalom”, well-organized technique is impeccable, allowing him to explore a cacophony of “Confusion” and energetic “Presto”, a wide range of emotions. He possesses imagination and splendid conclusion to a stunning album. inventiveness, which enables him to paint Impressionist The Sirius Quartet showcased Colors of the East at musical pictures—employed in the intros to each of his ShapeShifter Lab in late April and the joy and energy

28 JUNE 2015 | THE NEW YORK CITY JAZZ RECORD

single chorus of the song with some fascinating twists, Pilc makes it clear that his variations won’t be typical, mixing mystery, beauty and playfulness in his brilliant “Cole”, which includes a whimsical tag of “Kerry Dance”. The shimmering ballad “Dawn” quickly transforms into an offbeat, yet subdued tango. His humor is also on display in “Giant”, blending the chords from John Coltrane’s “” with the Porter melody, along with “Duet”, where he accompanies

Sentimentale himself by whistling, adding a snippet of Fats Waller’s Richard Galliano (Resonance) “Jitterbug Waltz”. “Martial”, a salute to fellow French by Fred Bouchard pianist Solal, is a hilarious potpourri of quotes ranging from Mozart to “Rhythm-a-Ning”, “La Marseilles”, Back in the ‘50s, few Americans heard the squeeze-box “Autumn Leaves” and “Lullaby of Birdland” while still other than at Italian weddings, Polish polka dances or keeping a thread of Porter’s song within reach. The Western hoe-downs. Lawrence Welk played it on TV, elegant “Grace” honors pianist Kenny Werner, marked but hardly anyone did in the way-too-hip jazz world. by pensive chords and melancholy theme. French accordionist Richard Galliano elevated the By the final track, “Now You Know What Love Is”, sound from wheezy roller-rink schmaltz into grudging one wants to stand and applaud Pilc’s phenomenal respect with brilliant technique and le grand passion. ability to find new avenues of inspiration. He brings gypsy flair, brisk classical training, dramatic awareness, knowledge of folk traditions and plentiful For more information, visit sunnysiderecords.com. Pilc is at sessions backing French singers. Galliano has aged Smalls Jun. 10th with Michael Feinberg and 15th with Ari well over the years, his sound grander, more expansive, Hoenig and Cornelia Street Café Jun 11th with Marc less intimate chugging and more sweeping legato. His Mommaas and 19th with Petros Klampanis. See Calendar. bandmates here—bassist Carlitos del Puerto, drummer

Mauricio Zottarelli, guitarist Anthony Wilson and pianist Tamir Hendelman—relish their multicultural strains in this heavily arranged, occasionally maudlin Francophile milieu. Lovely waltzes gently sway the set and decorative solos embellish it. Wilson and Hendelman find pretty statements in Dave Grusin’s intricately woven “Canto Invierno”, but things go loungey on most of the latter half of the set. “Ballade for Marion” has its edge emery- boarded and meshed in dense chords, with mounting Love is a Pendulum layers of melodramatic marzipan on the coda. “Lili”, a Joe Locke (Motéma Music) lilting carousel duo for Wilson and Galliano, makes a by Joel Roberts sweetly fetching coda. A few jazz standards turn up, but—apart from the Vibraphonist Joe Locke is a fiery and versatile postbop opening “Armando’s Rumba” a Chick Corea blazer, and player with a steady stream of solo releases over the a Francis Lai film weeper unexpectedly veering into 4/4 past 25 years. His latest album is his most ambitious and swing—most are transformed from American frenzy to personal effort to date. The centerpiece is a five- continental sang-froid: ultra-laid-back ; movement suite based on a poem by writer/musician Horace Silver’s defanged but cutely precise funk; John Barbara Sfraga. The poem is a reflection on the many Coltrane’s misty-fied “Naima”; Ivan Lins’ under-the- facets of love and it’s easy to see what made Locke relate waves “The Island”. Listeners may lose themselves in it to jazz with lines like: “Love is a pendulum, swinging this breathlessly all-too-pretty set, background music freely, parting the atmosphere with each slice.” for a suburban country club garden party. Each part of the suite focuses on a different way to imagine love. “Love is the Tide” starts off with For more information, visit resonancerecords.org. Galliano drummer Terreon Gully’s crashing cymbals, evoking is at Dizzy’s Club Jun. 26th-28th. See Calendar. surging water, before Locke and pianist Robert Rodriguez step in with dazzling solos. “Love is a

Planchette” is gentle and light, meant to convey the movement of a planchette across a Ouija board, and features the ethereal vocals of Theo Bleckmann. The title section moves back and forth between harmonically distinct segments, varying in intensity and complexity, suggesting the movement of a pendulum. “Love is Perpetual Motion” is energetic and wide open, with saxophonists Rosario Giuliani and Donny McCaslin trading ideas and Locke and Victor Provost engaging in an unusual vibraphone/steel pan dialogue. What Is This Thing Called? Four Locke originals not part of the suite round Jean-Michel Pilc (Sunnyside) by Ken Dryden out the set, including the tender “For Jesse Mountain”, written for Locke’s nephew; and “Embrace”, based on Jean-Michel Pilc is not the first jazz pianist to devote an the Gershwins’ “Embraceable You”, conceived as a entire release to variations of one song (Dick Hyman vehicle for Provost’s pan. Locke’s compositional devoted a ‘70s LP to interpretations of ’ prowess is again showcased on “Variation on Wisdom”, “A Child is Born”), but it remains rare as it takes an the chamber piece that opens the album and reworks imaginative artist to hold attention. This music begins material from “Last Ditch Wisdom”, a hard-driving in an unconventional way with Pilc’s “C Scale Warm postbop workout that appears later in the album. Up”, taking the exercise from a piano student’s first Together, Locke and company have made a stirring lesson and transforming it into a viable vehicle for and memorable album that charts new territory for the improvisation, highlighted by incorporation of some leader and easily ranks as one of the best of his career. mischievous -like stride. The remaining 30 tracks are inspired by a familiar standard, Cole Porter’s For more information, visit motema.com. This project is at “What is This Thing Called Love”. Beginning with a Jazz Standard Jun. 9th-10th. See Calendar.

30 JUNE 2015 | THE NEW YORK CITY JAZZ RECORD

Bruce Harris’ muted trumpet. The quintet plays with remarkable cohesion as it traverses through the suite- like composition’s stylistically varied sections. Riley returns for “Kat’s Dance”, an intriguing 6/4 bolero, which brims with quiet intensity, written by Diehl’s piano contemporary Adam Birnbaum. The trio is featured on “Santa Maria”, a commissioned work beginning with bowed bass singing over rhapsodic piano and sprawling malleted tom toms and cymbals

Space Time Continuum before moving into a Spanish-tinged interlude that Aaron Diehl (Mack Avenue) introduces a brightly swinging melody. The trio ratchets by Russ Musto things up several notches on Diehl’s “Broadway Boogie Woogie”, a fiercely bebopping tour de force taken at a Aaron Diehl’s sophomore effort for Mack Avenue demonic tempo. The concluding title track brings back finds the American Pianists Association 2011 Cole Golson and Harris and adds vocalist Charenee Wade, Porter Fellow expanding his compositional voice on an the latter, featured on the song’s brooding first section intergenerational date. The leader augments his usual singing the lyric (written by Cécile McLorin Salvant to working trio with cameo appearances by hornplayers, go with her frequent accompanist Diehl’s melody), then young and old, on four of eight tracks. Opening with scatting along with the horns on the swinging second the thorny Walter Davis, Jr. classic “Uranus”, Diehl half. proves himself on the serpentine piece that once served as a testing ground for pianists wishing to join the For more information, visit mackavenue.com. This project is ranks of Art Blakey and the Jazz Messengers. The at Ginny’s Supper Club Jun. 12th-14th. See Calendar. pianist’s original arrangement (which also features solo spots for bassist David Wong and drummer Quincy Davis) displays his two-handed technique, rich harmonic acumen and propulsive rhythmic drive. Diehl’s compositional skill is exhibited on the next three tracks. “The Steadfast Titan” features Jazz at Lincoln Center Orchestra stalwart baritone saxophonist Joe Temperley on a slow journey overflowing with Ellingtonian elegance. Young veteran tenor saxophonist Stephen Riley is featured on the uptempo “Flux Capacitor”. The album’s centerpiece, “Organic Mingus Sings Consequence”, is a masterful episodic narrative, Ku-umba Frank Lacy & Mingus Big Band (Sunnyside) showcasing ’s airy tenor saxophone and by Kurt Gottschalk It’s a shame never put together a working band with a singer. Even as a one-off in his discography, it would have been welcome. Although the evidence was parceled out across albums of mostly instrumental compositions, the man had a knack for penning a song. The closest we have is the 1962 release Oh Yeah, which features the powerhouse moving over to the piano while belting a few memorable tunes (notably “Eat That Chicken” and “Oh Lord, Don’t Let Them Drop That Atomic Bomb on Me”). Elsewhere (as on the denunciatory “Original Faubus Fables” on 1960’s Mingus Presents Mingus) he showed his passion could easily make up for his limited singing range. Had Mingus wanted to make a record of songs, he would have. Maybe he reasoned his songs went down best in small doses. As much might be evidenced by the 13 tracks on Mingus Sings, the collection credited to Ku-umba Frank Lacy & Mingus Big Band. As a whole, the collection feels forced. Lacy, a fine trombonist, who served as musical director for Art Blakey’s Jazz Messengers and was a mainstay in Henry Threadgill’s sextet in the ‘80s, lacks the voice to carry a full album. Starting with the opener “Consider Me”, with a text by Langston Hughes, curiously the band forgoes what could have been barnstormers (the aforementioned “Chicken”, “Atomic Bomb”, “Faubus”) for selections with lyrics written by Joni Mitchell (from Mingus, her album with the great man at the end of his life) and Elvis Costello (from previous collaborations with the band). It’s in these upbeat pop star collaborations, however, where Lacy most clicks in, namely Costello’s “Invisible Lady” and Mitchell’s “Dry Cleaner From Des Moines”. Lacy is a fine showman and has pulled these songs off in concert with the Big Band. He’s not, however, a balladeer, and such melodic gems as “Goodbye Pork Pie Hat”, “Duke Ellington’s Sounds of Love” and “Eclipse” here only drag the album down.

For more information, visit sunnysiderecords.com. This project is at Jazz Standard Jun. 29th. See Calendar.

THE NEW YORK CITY JAZZ RECORD | JUNE 2015 31

including one on which the two men shared billing.) That side of him is represented on this CD, which features eight tracks of slowly unspooling grooves, ‘fronted’ by saxophonist Pee Wee Ellis, best known for his lengthy tenure in James Brown’s band. The title track is the only new composition here. Plane Crash Two “Ginger Spice” and “Cyril Davies” were first recorded Henry Kaiser/Damon Smith/Weasel Walter (New Atlantis) by Baker on his 1999 album Coward of the County; “Aiko At CNMAT Biaye” is a traditional Nigerian song he reworked with

David Wessel/Chris Muir/Henry Kaiser (s/r) his early ‘70s fusion band, Ginger Baker’s Air Force; Deconstruction of What You Know Graffiti JD Allen (Savant) and “Ain Temouchant” was originally heard on Going Joshua Allen (s/r) Back Home, the 1994 debut by the Ginger Baker Trio by Mark Keresman by George Kanzler (with Bill Frisell and Charlie Haden). There are also Guitarist Henry Kaiser is one of those musicians at Among the current decade’s most distinctive small versions of two standards: Wayne Shorter’s home in diverse contexts—rock, blues, jazz, world bands is this trio of tenor saxophonist JD Allen, a “Footprints” and Sonny Rollins’ “St. Thomas”. But the music and, especially, in assorted schools of free continuation of the format—sax, bass and drums— uniqueness of the band renders all this music new. improvisation. These three recent discs feature different pioneered by Sonny Rollins in the ‘50s. The reference With one horn, electric bassist, drummer and aspects and approaches to the latter, including that of to Rollins isn’t gratuitous, as Allen is one of the few percussionist, this is a rhythm-focused album. But it’s American free jazz, its European counterparts as well as prominent tenor saxophonists from his generation patient and never frantic, throbbing instead of rock (à la The Grateful Dead). (40-somethings) not in thrall to the Circe-like charms pummeling. Baker’s kit-demolishing Cream style is The trio of Kaiser, bassist Damon Smith and of John Coltrane, but displaying the stronger long behind him; here, he sets up a rock-steady beat, drummer Weasel Walter has history behind it, gravitational pull of a Rollins influence, one thoroughly which Abass Dodoo ornaments with congas, hand including a brilliant tribute to Albert Ayler’s somewhat subsumed by now into a mature personal style. drums, bells and whatever else is required. Alec controversial late music (Healing Force: Songs of Albert Like Rollins, Allen is an extremely focused player, Dankworth’s bass playing is fluid, melodic and Ayler, Cuneiform) and a project with British guitarist but while Rollins often concentrates on the classic swinging but with the depth of dub. Ellis, meanwhile, Ray Russell (Celestial Squid, also Cuneiform). This trio 32-bar pop standards, Allen works mostly with shorter has a thick, bluesy tone that recalls , if he plays with the aggression and impudence of a rock forms, such as riffs and blues choruses, investing each was playing in Fela’s band. The eight tracks flow band and improvisational vivacity of a free jazz group. piece with a particular structure and motivic idea. He smoothly into each other, turning the album into a All four tracks on Plane Crash Two share titles with The even will apply multiple approaches to a single piece, seamless whole bolstered by a kind of strutting, parade Three Stooges’ short films and some of that comedy as here where he uses the form of “Jawn Henry”’s rhythm that recalls New Orleans and Africa in equal troupe’s anarchic energy. “Violent Is the Word For 20-bar solo sections as the basis for “Disambiguation”, measure. This isn’t a toe-tapping album; it’s a head- Curly” finds Kaiser wrenching a mix of anguished for what he calls a group approach to improvising. nodding one. wails and frenzied staccato picking, Walter bashing “Jawn Henry” is the first trio piece heard, a striking merrily away and Smith the (seemingly) calm pulse in reimagining of the African-American folk legend John For more information, visit motema.com. This project is at the center of the hurricane (except when he coaxes Henry (“the steel-driving man”) and his competition B.B. King’s Blues Bar Jun. 17th-18th as part of the Blue guitar-like feedback sounds from his bowed upright with the machine, represented by an eight-bar vamp Note Jazz Festival. See Calendar. bass). Kaiser plays with the bracing audacity of Jimi and chugging rhythms from bassist Gregg August and Hendrix. In fact, if Hendrix had lived, he may have drummer Rudy Royston. made a gloriously cathartic racket such as this. The CD opens with “Naked”, a ferocious duet At CNMAT (Center for New Music and Audio with Royston conjuring the energy of free jazz within a Technologies, at University of California at Berkeley) is 16-bar structure. Other tracks purvey different improvisation by two performers of electronic and strategies: the tripartite “Third Eye”, where Allen computer media, Chris Muir on the Buchla 200e and plays either with or against the other musicians; the David Wessel on SLABS (a custom instrument with title tune, an exercise in “getting as lost as possible” by sound generation software), alongside Kaiser on both playing form against form, superimposing one tune on acoustic and electric axes. The five lengthy pieces are another; and “Sonny Boy”, an attempt at “trying to soundscapes, masses of textured sound with intuitive phrase and play the way John Lee Hooker sings.” ebb and flow. Kaiser strums, plucks and twangs in a There’s also a lyrically affecting ballad/elegy for Butch measured manner while electronic media generates Morris; a blues, “Little Mack”, that was “the germ for” rhythmic motifs, burbles and snatches of orchestral “Jawn Henry”; and an infectious, “straight-up” washes of gentle noise. At CNMAT is spacious swinger, “Indigo (Blue Like)”. background sound to accompany deep rumination Through a brisk 45+ minutes more typical of a and/or a science fiction epic, sometimes soothing, hardbop LP, Allen adroitly avoids clichés, from long sometimes disquieting, sometimes both. Recommended arpeggios to high-note squealing while ranging widely for fans of electronic music and those jazz fans enjoying over his saxophone’s considerable tonal and timbral the interface of jazz and electronica. range, sometimes even sounding Rollins-esque. The Deconstruction of What You Know names Bay Area tenor saxophonist Joshua Allen (who’s played For more information, visit jazzdepot.com. This project is at with Cecil Taylor, Glenn Spearman and Marco Eneidi) Minton’s Jun. 12th-13th. See Calendar. as leader of a quartet of Kaiser, bassist Randy Hunt and drummer William Winant (active in both free improv and contemporary classical circles). This set is very much in the vein of post-Coltrane/Ayler improvisation, featuring Allen’s full-bodied, agitated tenor (sometimes evoking the late great Frank Wright), rattling percussion, probing bass and Kaiser’s alternately exploratory and confrontational six-string ventures. While Allen has a powerful, compelling tone and there are some interesting interactions herein, The Deconstruction of What You Know ambles a bit too much Why? and doesn’t really catch fire, except for “Across Ginger Baker (Motéma Music) Walnuts and Wine”, where Kaiser’s anguished, blues- by Philip Freeman laced free moans and Allen’s fervent rage spur each other on to some cathartic heights. Drummer Ginger Baker is best known for the ‘60s rock trio Cream but has always considered himself a For more information, visit newatlantisrecords.com and jazz drummer, with a keen interest in African rhythms. henrykaiserguitar.com. Kaiser is at Whitney Museum Jun. (He lived in Nigeria from 1970-76 and appeared on 25th and The Stone Jun. 26th. See Calendar. three albums by famed AfroBeat bandleader Fela Kuti,

32 JUNE 2015 | THE NEW YORK CITY JAZZ RECORD FEATURING SHEILA E. MAZE FEATURING FRANKIE BEVERLY Cassandra Wilson celebrates Billie Holiday Snarky Puppy Al DiMeola Electric Band Ronnie Earl & The Broadcasters JUNE 27 & 28 Christian McBride Big Band AND MANY, MANY MORE!

MAZE Erykah Badu Featuring Frankie Beverly Sheila E. Etienne Charles Performing Sunday, June 28 spac.org GROUP RATES AVAILABLE! 108 Avenue of the Pines FOR MORE INFORMATION VISIT Saratoga Springs, NY 12866 SPAC.ORG/GROUP-SALES 518.584.9330

songbook and scatting alongside Eddie Jefferson. St. Louis-raised alto saxophonist Luther Thomas (who would have turned 65 this month but died in 2009) is decidedly more obscure than these players; he emerged with the AACM-inspired in the early ‘70s, co-leading the Human Arts Ensemble and the St. Louis Creative Ensemble before working in New York with no wave saxophonist James Chance and his own squirrelly funk-rock outfit Dizzazz.

Terminals Residing in Denmark in his final years, Thomas played Bobby Previte (Cantaloupe Music) free music with local Copenhagen musicians as well as by Ken Waxman reaching back to Bird, Monk and Ornette. The two-disc In Denmark features Thomas unaccompanied as well as This isn’t the Bobby Previte of The Voodoo Orchestra tearing through tunes like “Groovin’ High” (in duo North or gigs with Charlie Hunter. Terminals features with drummer Kresten Osgood) and “Crazeology” the drummer as composer of concertos for the Sō with acerbic, stringy language. Where Thomas might Percussion ensemble and a different improvising be a little shaky, Osgood is a fluid partner with soloist. With a formal structure these lengthy pieces methodical jumps and when they add bassist Niels rise or fall depending on the guest. Davidsen on Ornette’s “Lonely Woman”, the results Since the four-member Sō ensemble plays a are strangled, swinging and emphatically real. A few percussion factory’s inventory of drums, cymbals, tracks join Erling Kroner’s trombone to the proceedings vibes, bells and nearly every other idiophone, and grant a wry, stately smear to Thomas and Osgood’s “Terminal 4”, featuring Previte, is rather like jubilant power; another finds him sitting in with distinguishing the silhouette of a black cat on a dark pianist Mikkel Mark’s trio. night. But Previte makes his presence felt by mid- The second disc is entirely solo, gentle shimmies point, consolidating everyone’s clanks, clunks and and occasional shouts punctuated by Rahsaan Roland whacks into something like modern jazz. Conversely, Kirk-like whistle overblow and vocal commentary at a until electric harpist Zeena Parkins asserts herself on disarmingly fragile, very open pace. Thomas can be at “Terminal 1”, tugging gritty glissandi into turns eviscerating, garish or caressing—all in a few approximations of electric guitar runs, her instrument unsettled and captivating bars. The set closes with nearly makes the proceedings too formal. Thomas playing piano and having a rap session with Tracks featuring alto saxophonist Greg Osby, Osgood, as though one was listening in on the tail-end guitarist Nels Cline and keyboard player of a late-night rehearsal and this is alone worth the are more eventful. Osby’s distinctively tart tone plots a price of admission. straightforward course no matter what procession of gongs, thunder sheets, and other textures For more information, visit ilkmusic.com A rare Brooklyn performance by one of the most resound around him. With the drummers’ contributions original and important voices in American jazz merged into cicada-like buzzing, Osby doesn’t even pause in his thematic variations when one drummer outputs siren-like whistles. Osby’s strong showing confirms Previte’s concept. So too in their fashion do WAdAdA Leo Smith’S Medeski and Cline. With focused patterning from the piano as well as skittering smears from the organ, Medeski cajoles Sō Percussion into a gospel-styled groove they probably never experienced in classical percussion studies. Cline’s twanging reverberations and resolutely swelling harmonic buzzes also Hosted by trombonist/composer CRAIG HARRIS, encourage the percussionists to loosen up on “Terminal a major figure in jazz for over thirty years. GoLden 3”. By the climax he’s improvising over a distinctive Rendall Memorial Presbyterian Church near-swinging continuum, equal parts The Incredible th Bongo Band, Rich versus Roach and Mitch Mitchell 59 W. 137 Street (between Lenox and Fifth Aves.) with . Terminals demonstrates Previte’s st nd talent as a composer. But would the results be as 1 set 12 – 12:45pm ~ 2 set 1 – 1:45pm QuArtet notable, with other, less convincing, soloists? Admission is just $15! (discount for students, seniors and groups) For more information, visit cantaloupemusic.com. This 212-662-7779 Sun June 7 | 8pm project is at Winter Garden Jun. 21st. See Calendar. Tickets at the door or welcometoharlem.com

WAdAdA Leo Smith trumpet + flugelhorn TOUR COMPANIES ARE WELCOME Anthony dAviS piano John LindBerG bass June 2nd drums + percussion PheeroAn AkLAff Jay Rodriguez “Wadada is one of the most imaginative and th explorative composers in creative music. June 9 His playing is consistently brilliant and his sound is personal, with a clarity of tone Ted Daniel recognizable after one note.” – JoHn Zorn th In Denmark June 16 Luther Thomas (ILK Music) Vincent Chancey BQCM.ORG/TICKETS by Clifford Allen $20 | Students & Seniors $15 rd Streaming live at Among second- and third-wave free musicians, much June 23 BQCM.ORG/LIVE later work not only appears reflective, but beholden to the ‘tradition’ of a standard repertoire. Saxophonists Jonathan Finlayson Archie Shepp, Marion Brown and Frank Wright turned Support for this performance is provided by th Chamber music America and by the Doris Duke to Charlie Parker, Don Byas and for Charitable Foundation. June 30 continued inspiration—not that freedom didn’t matter, but freedom may also include playing from the

34 JUNE 2015 | THE NEW YORK CITY JAZZ RECORD

pop elements and, while a virtuoso on his instrument, mastery of his horn’s sonic by-ways and developing an never beats the listener over the head with his original voice as a composer. Here it’s devoted to a considerable chops. The carioca pays tribute to Lady methodologically complex suite, which explores Day on the elegiac “Funeral de Billie Holiday” and multiple modes of harmony to generate melody, remembers Duke Ellington and his distinctive dialogue and improvisation with a quartet of his compositional style on the charming “Ellingtoniana”. longtime mentor Dave Liebman on soprano saxophone, bassist Tony Marino and pianist Ron Stabinsky. For more information, visit acoustic-music.de The combination of soprano and baritone is unusual, but what stands out more than the range is a

Roendopinho certain shared insistence between the two saxophonists, Guinga (Acoustic Music) a kind of willed precision of attack. The closeness is by Alex Henderson apparent in the remarkably subtle contrast of alternating and overlapping lines in “Movement I”: Veteran acoustic guitarist/singer Carlos Althier de Liebman seems joyous while Evans extends his phrases Souza Lemos Escobar, a.k.a. Guinga, has embraced a and mutates pitch in ways that suggest foreboding. variety of Brazilian rhythms during his long career, The same kinds of emotional and tonal contrast arise in ranging from samba and choro to baião and frevo. The “Interlude I” and are key to the way this accumulates Rio de Janeiro native (who reaches “retirement age” meaning through nuance. By the time the piece reaches this month) has his non-Brazilian influences as well, “Movement IV”, improvisation stretches further into Dialogues (Live @Shapeshifter Lab Brooklyn) including jazz and European classical music. Guinga Warren Smith/Edith Lettner (ArtDialogue) potent extended duos. has long had a deep appreciation of the subtlety of cool by Anders Griffen The suite’s title shows concern for a quality rarely jazz and that is very much in evidence on Roendopinho. addressed but that once stood at the center of the idea Whether he is embracing samba or choro, this Warren Smith is a rare musician who can perform in of art. In that regard, at least, it indicates Evans’ 47-minute CD thrives on understatement and favors a every setting, from Broadway to free improv with the engagement with value of the abstract and, toward decidedly relaxed mood. masters. Between this and all of the instruments he that end, this music doesn’t mind being difficult, even Unaccompanied, Guinga plays acoustic guitar brings to the stage, the percussionist has an enormous in the sense of sometimes being slightly aloof. Beauty throughout Roendopinho (recorded in 2014 during a palette of sound and expression from which to draw here may be a mobile concept, from the rich, burred visit to Osnabrück, Germany). He offers wordless scat and it’s fun listening to this CD when you might not be edge of a saxophone sound to the sonic rapture of vocals on “Lendas Brasileiras”, “Cambono” and opener exactly sure the origins of some of the sounds. The Stabinsky’s cadenza-like solos, or it may lie in the sense “Pucciniana” but Roendopinho is predominantly listener is drawn in by an array of bells and gongs and of precise delineation of emotions and psychic states instrumental—and a caressing, gentle approach percussion pitched and unpitched. Smith is adept at that arises from this work and which have no other prevails on “Unha e Carne”, “Anjo de Candura”, keeping things developing and changing so they don’t means of description. The work of Evans is clearly “Picotado” and “Choro Breve, No. 1” (which get stuck on one theme for too long. meaningful, whether we can translate it or not. underscores his mastery of the choro rhythm). Edith Lettner has a personal sensibility that flows Guinga, who wrote or co-wrote all 15 of the songs, in harmony throughout her visual and sonic creations. For more information, visit moreismorerecords.com. This project blends jazz, Euro-classical, Brazilian folk and Brazilian Once again she has made something interesting. She is at Greenwich House Music School Jun. 19th. See Calendar. spends most of the set on alto saxophone, but also plays the , a instrument from . It sounds like it could be a single reed—it doesn’t have the same edge of an oboe or other double reed instruments; in fact, it doesn’t sound that different from her alto, but it does bring another color and character to the set. The brick walls shaping the large room at ShapeShifter Lab can sound quite lively and bright, but this recording sounds warm and intimate. None of the eight improvised tracks are especially distinctive from one another, but these “dialogues” keep moving and hold the listener’s interest as the duo play with texture, dynamics and space. As with verbal dialogue, both parties have the opportunity to give the conversation direction with their ideas. Sometimes June 2 "Mat Walerian plays some of most lovely and they create a setting where the listener’s thoughts and relaxed uncompromised beauty that I have feelings may hold sway. Lettner does not have the Mike Longo NY State ever heard in a long time." - William Parker ability and range of Smith; however, there is a mutual acceptance and sharing that make this a great of the Art Jazz Ensemble R performance. Many jazz ensembles would be more 5 E with Ira Hawkins 0 M successful if they could cooperate like this. T A For more information, visit edith-lettner.net. Smith is at June 9th H S T Urban Meadow Jun. 21st as part of the Red Hook Jazz Irini Res with A E Festival. See Calendar. N R Cecilia Coleman Big Band N E I

D V June 16th E E R D Nora McCarthy Trio S I A T with Mike Longo R I Y O Blake's rare 1965 solo debut, rst U.S. CD N New York Baha’i Center Manufactured in the USA by 53 E. 11th Street On Beauty (between University Place and Broadway) Charles Evans (More is More) Shows: 8:00 & 9:30 PM by Stuart Broomer Gen Adm: $15 Students $10 www.espdisk.com Charles Evans is a dedicated baritone saxophonist, 212-222-5159 The artists alone decide... dedicated in the sense that he doesn’t double on other bahainyc.org/nyc-bahai-center/jazz-night 584 Bergen St., Brooklyn NY 11238 reeds, but dedicated in other ways, too, exhibiting a

THE NEW YORK CITY JAZZ RECORD | JUNE 2015 35

listener will walk away whistling them, but rather rely for their effectiveness on textural qualities, the harmonic and rhythmic phrasing, fleshed out with relaxed but precise interplay. One could imagine these incisive, pieces as theme music for a TV series in that they generate considerable excitement without pinning down the plot. Many tracks have a quasi-Latin feel of arpeggiated montunos, usually doubled by bass and piano. The soloing is understated: Hershkovits displays a

Live in Santa Cruz! delicate and unique sense of phrasing on “Halelyah” Benny Green (Sunnyside) and “Ballad for an Unborn”, then a little more edge on by Andrew Vélez the catchy samba “Lost Tribe”. Cohen restricts his solo features to a few cuts, notably his fretless electric bass This lively recording marks the 20th anniversary of a playing on the title track and acoustic bass work on live album at Kuumbwa Jazz Center pianist Benny “Amethyst” and the outro blowing over Charlie Green recorded with the legendary bassist Ray Brown Chaplin’s “Smile”—elsewhere his dazzling touch and also commemorates his own 50th birthday. surfaces in a few well-placed fills and runs. Dor Kuumbwa is something of a special home away from stretchs out a bit on the dubiously titled “C#-” (it home for Green. It began as a non-profit club and sounds more like it’s in F# minor) and the title track, festival in Santa Cruz in 1975 and celebrated its 40th his tightly wound snare punching out spiky accents. anniversary this past April. Introduced to the club while still a teenager, in those early years he was soon For more information, visit sunnysiderecords.com. This playing with greats such as and Woody project is at Highline Ballroom Jun. 29th-30th as part of the Shaw. It was only a few years later that he returned Blue Note Jazz Festival. See Calendar. with the likes of Betty Carter, Art Blakey, Freddie

Hubbard and Ray Brown while evolving into a highly regarded bandleader. As successful as he has been with his many cherished mentors, it’s his own straightahead piano trios that many consider his best work. It’s evident that Green wants to entertain with the most swinging music he can. There’s an abundance of it on this set full of his own compositions, featuring his trio of bassist David Wong and a longtime associate, drummer Kenny Washington. Right from the swinging opener, “Certainly”, the joy flows from Green’s Live cascading keyboard and Washington’s hot drumming, Dorado + Amati Schmitt Group (Stunt) with strong support from Wong, drawing cheers from by Elliott Simon the audience. Green’s emphatic windup has a sound that happily recalls Oscar Peterson’s masterful chords. While the song says there are 1,352 guitar pickers in “Phoebe’s Samba” is a breathless outpouring with Nashville, not one of them can pick more notes than a bop feel. Washington tears up a solo with deft Dorado and Amati Schmitt. The Schmitt family are the interweaving by Green. “Cactus Flower” has an even current keepers of the “Gypsy jazz” flame and trace more distinct bossa flavor to it, tinged with a bit of their lineage to Django Reinhardt. Live presents this blues. Green’s music reflects how deeply he has father/son guitar duo as recorded in Copenhagen, absorbed the total jazz idiom. For a sizzling taste of Denmark across two nights in a club atmosphere. harder bop piano there’s Green’s “” and The “Nashville Cats” analogy may also not be as sizzle it does. “Golden Flamingo” is a romantic piece, farfetched as it seems. The ‘genetic’ familiarity and leisurely and dreamy. Green is a jazz communicator ease with which father and son play off each other is par excellence, his joyful music beautifully played. reminiscent of the late guitarists Doc and Merle Watson. And like the Watsons they put their own For more information, visit sunnysiderecords.com. Green is stamp on a chiefly traditional corpus of songs while at Jazz Standard Jun. 23rd-27th. See Calendar. respectfully enlarging its conventional boundaries. This is immediately apparent on the session opener as

the gentle sway of George Benson’s smooth jazz classic “Before You Go” is infused with blazing immediacy. Rhythm guitarist Francko Mehrstein and bassist Xavier Niko drive the ‘hot’ tunes with unrelenting percussive intensity and give this music its instantly recognizable ‘swing’. They are joined by local guitarist Esben Mylle Strandvig for an exceptionally full sound. The program includes four Django standards. The quick runs and clipped chords of the often copied “Djangology” benefit from the deeper resonance and broader Darkness soundstage of the quintet while “Django’s Tiger” has Avishai Cohen Trio (Sunnyside) by Tom Greenland become much fiercer with age. The tenderness of Amati’s lovely “Ballade Amati” perfectly sets up a Israeli bassist Avishai Cohen’s latest release returns to wistfully bluesy “Nuages” and stately “Troublant the acoustic trio format of 2008’s Gently Disturbed and, Bolero”. Dorado switches to violin for two of his own as on the earlier album, he prefers to lead from behind, compositions. On “Tendresse” he milks the instrument’s emphasizing the talents of his bandmates, pianist Nitai deep emotional expressiveness while “Sinti Rapsodie” Hershkovits and newcomer drummer Daniel Dor. is an exercise in swing. The session closes with a Cohen’s original compositions contain the familiar yet delightful ‘jazz manouche’ send-up of Cole Porter’s unusual combination of Sephardic and Latin American “What is This Thing Called Love”. Live amazes with accents, delivered with his signature touch—adroit fiery virtuosity, hot swing and untainted honesty. and soulful—employing a complicated yet organic rhythmic approach that rolls and flows with ceaseless For more information, visit sundance.dk. Dorado Schmitt is momentum. at Birdland Jun. 23rd-27th as part of the Django Reinhardt These are not tuneful tunes in the sense that the Festival. See Calendar.

36 JUNE 2015 | THE NEW YORK CITY JAZZ RECORD “One of the 8 most amazing outdoor music venues in the world” — CNN

July 18 / Saturday Caramoor Jazz Festival Presented in collaboration with Jazz at Lincoln Center Jazz at Lincoln Center Orchestra with Wynton Marsalis and Cécile McLorin Salvant Cécile McLorin Salvant / Orrin Evans Quartet / Joey Alexander Trio / Sammy Miller and the Congregation / Bryan Carter Quintet Plays Ray Charles / Jazz for Young People on Tour: “Let Freedom Swing” with the Jerome Jennings Quintet / Jazz at Lincoln Center Youth Orchestra featuring Joey Alexander / and more! July 24 / Friday

Jon Batiste and Stay Human Photo by Whit Lane and Marylene

Tickets & info: caramoor.org / 914.232.1252 / Katonah, NY

www.trost.at TROsT REcORds & cIEN FUEgOs 2 015 www.cienfuegosrecords.com

THE sUN RA BRÖTZMANN/ BRÖTZMANN/ scHlIppENBAcH spRAwl ARKEsTRA KEIJI HAINO/ KEIJI HAINO/ TRIO s/T lIVE IN JIM O’ROURKE JIM O’ROURKE pAKIsTANI TR070 LP NIcKEls dORF TwO cITy TwO cITy pOMAdE TR118 4LP/3CD BlUEs 1 BlUEs 2 CF011 LP TR126 LP TR128 CD

THE THINg/ scHlIppENBAcH THE THINg ZU & BRÖTZMANN/ THURsTON TRIO gARAgE ROBINsON VAN HOVE/ MOORE FIRsT TTR004 LP THE lEFT BENNINK lIVE REcORdINgs HANd pATH FMp 0130 TTR003 LP/CD TR132 LP/CD TR133 LP CF012 LP

section of Mark Turner and John Ellis on tenor Braxton was making—that the rivulets of tradition and saxophone and bass clarinet, respectively, plus experimentation are a part of the same stream. With Venezuelan flutist Marco Granados, alongside bassist Dave Holland (his former bandmate in Circle) drummer Adam Cruz and masterful Venezuelan he finds an ease in upholding and updating—without bassist Roberto Koch, augmented by percussionist Luis upending—the Gershwins’ “Embraceable You” and Quintero, maraquero Luis Granados and cuatro guitar ’s “You Go to My Head”, giving player Jorge Glem. Colombian harpist Edmar Holland generous soloing space. The two added tracks, Castañeda joins on the opening “Barinas”, the first of “On Green Dolphin Street” and “I Remember You”, the suite’s four sections, each one named for the city only sweeten the deal.

New Jazz Standards associated with the piece’s form and/or rhythm. The 40 years ago, Trio and Duets no doubt made for a Sam Most (Summit) song opens with flute, bass and cuatro playing a pair of exciting sets. It’s all the more exciting to by Marcia Hillman melodic joropo, the vivacious national rhythm and discover now that they make an even better single one. dance of Venezuela, the rest of the band soon joining What a delight to rediscover Sam Most on this recent the threesome to swell the piece’s advancing harmonic For more information, visit delmark.com release. Recorded in January 2013 (five months and and rhythmic variations. A piano interlude moves the one day before his death on Jun. 13th, 2013 at 82), the music into a jazz mode reminiscent of McCoy Tyner’s session features Most (flute, baritone saxophone, large ensemble work while a bass feature boosts the IN PRINT clarinet and one vocal) accompanied by Christian dynamic intensity, which continues to grow with cajón Jacob (piano), Kevin Axt (bass), Santo Savino (drums) and harp solos before the serene closing. and Leddie Garcia (percussion). The “new jazz The suite’s three other sections—rhythmic 5/8 standards” are all compositions of Carl Saunders, a merengue “Caracas”, a showcase for bass clarinet; trumpeter who played with the Stan Kenton band and dramatic waltz “Mérida”, spotlighting tenor; and the a very melodic composer who writes interesting chord celebratory gaita-based “Maracaibo”, featuring the changes well-suited for improvisation. percussion section—seamlessly integrate elements of This is vintage Most—impeccable technique and a contemporary jazz with Venezuelan rhythms to create feeling of warmth and joy in his playing. Most of the an appealing amalgam that enhances rather than tracks feature him on flute but there are two tracks with dilutes the dual components. The date concludes with baritone (“Blues Mix” and “Scataplangalang”), Simon’s exhilarating orchestration of the Venezuelan exhibiting his command of this difficult instrument, standard “El Diablo Suelto”, with blowing sections for Battle of the Five Spot: Ornette Coleman and the New York Field while “Splatter On The Platter” features him on clarinet. each of the soloists to close a masterful endeavor. David Neil Lee (Wolsak and Wynn) The rest of the album is flute playing at its best— by Ken Waxman uptempo, ballads and Latin-flavored songs—all For more information, visit sunnysiderecords.com. Simon is refreshing to the ear. One standout, “Is That Asking Too at The Jazz Gallery Jun. 16th. See Calendar. Ornette Coleman’s 1959-60 engagements at the Much”, is a funky little item with a fun lyric that Most Five Spot Café have since passed into jazz mythology, sings. His vocal quality is soft and light but what is not so much because it gave the alto saxophonist’s impressive is when he starts scatting on the second quartet its first prolonged NYC exposure, but chorus of the song; if there is such a thing as triple- because it demonstrated that Coleman’s free jazz tongued scatting, Most demonstrates it here. had to be taken seriously. Taking his cue from Most’s bandmates are given opportunity to shine French-based philosophical tropes, author David as well: Jacob on “Waking Up Is Hard To Do” and the Lee situates Coleman’s Five Spot appearance within aforementioned “Is That Asking Too Much”; Axt its time, noting that the controversy surrounding performing a lyrical solo on the Latin-ish “Twinkling those gigs, and the saxophonist’s subsequent Eye”; Savino’s conversational drumming highlighted in acceptance, owed as much to extra-musical as trades on “Scataplangalang”; and Garcia’s congas right musical circumstances. Trio and Duet on with the Latin-styled tracks. Anthony Braxton (Sackville-Delmark) Lee sketches the scene at the turn of the ’60s Although this was Most’s last recording and thus by Kurt Gottschalk when jazz, at the height of its post-war popularity, a bittersweet delight, it is so good to have this recording symbolized American high art and bohemianism, of a musician at the peak of his career, playing his best Back in the LP era, the sides of a record offered the with certified intellectuals like Norman Mailer as and his most. possibility of a two-act program. This was no doubt the supporters. Following the advances of Miles Davis thinking in 1974 when Anthony Braxton released Trio and Charles Mingus, jazz tastemakers were waiting For more information, visit summitrecords.com and Duet, an album pairing a side-long piece for horns for a someone who would adapt atonality to thrill and electronics with a short set of standards. The audiences. Coleman fit the bill.

surprise with this CD reissue isn’t the 20 minutes of Very quickly, notes Lee, nearly everyone had an added material so much as how easily the two halves opinion on Coleman. His detractors included swing sit on the same side of a shiny, silver disc. and bop-identified musicians of the caliber of Davis, By 1974, Braxton, who turns 70 this month, already , Max Roach and Roy Eldridge—some had the reputation of being unpredictable but even of whom would later become avant garde still, Trio and Duet must have come as a surprise. The supporters—and critics such as Leonard Feather. On trio on side one was Leo Smith (his Creative Coleman’s side were influential critic Martin Construction Company cohort prior to adding the Williams, who persuaded The Five Spot’s owners to “Wadada” to his name) on trumpet, flugelhorn, engage Coleman, and such musicians as John Lewis percussion and small instruments and Richard (the Modern Jazz Quartet’s music director), Third Venezuelan Suite Teitelbaum on Moog synthesizer and percussion. It is Stream composer and even the Edward Simon & Ensemble Venezuela (Sunnyside) by Russ Musto clearly a composed piece, with unison horn lines New York Philharmonic’s Leonard Bernstein. Lee weaving through the windswept electronic field, but it points out that Coleman’s recognition provided a At the helm of his own units and in an assortment of feels no less uncharted for the fact. The horns wander, blueprint for the advancement of the careers of other ensembles, Edward Simon has shown himself to be one recede and rise again to the fore. The synthesizer genre-stretchers such as Cecil Taylor, Anthony of the most versatile pianists in jazz today. While well whooshes and moans and turns unexpectedly musical. Braxton and the Art Ensemble of Chicago. Later versed in the jazz tradition, Simon has frequently The music moves in many directions while never though, a different group of tastemakers, using reached beyond the genre to create a hybrid sound seeming to fall out of place. similar anti-establishment tropes and definitions of both organic and unique. On his previous efforts the Listeners in 1974 wouldn’t have heard how tightly legitimacy, fostered the career of jazz’ neo- pianist has included original arrangements of popular the wonderful trio piece transitions into the Jerome conservative star Wynton Marsalis. songs from throughout Latin America. Here he takes Kern-Oscar Hammerstein chestnut “The Song is You” This is a book worth reading for its exhaustive the process a step further in presenting a quartet of and it likely wasn’t by design that so little space was research and the provocative ideas contained in its originals reflecting the four principal genres of his left between what were once the two sides of the thesis. homeland’s , performed by a band that album. The flow from track one to track two on the CD holistically blends jazz and AfroCaribbean elements. is perfect, unexpected and seamless, like the deft segue For more information, visit wolsakandwynn.ca Ensemble Venezuela features the unusual horn of a smooth DJ. As such, it only bolsters the argument

38 JUNE 2015 | THE NEW YORK CITY JAZZ RECORD “Haunted Heart”, she invests the ballad with a “Untitled 3” contrasts space with eruptions and diaphanous mood, creating a perfect impressionistic features a dynamic guest appearance by trumpeter aural painting. Other ballads follow that painterly Ahmed Abdullah. “Logical Extensions” and “Closing pattern while faster tempos make for more bravura Announcement” are both short statements in the virtuosity. Art Tatum filigrees and arpeggiated tradition of a set-closing theme. flourishes enhance “All The Things You Are”; Herbie “Olu Dara once told me,” Butch Morris recalls in Hancock’s electric band “Actual Proof” is realized, the liner notes, “that on any given night Frank could almost magically, in all its rhythmic and thematic kick anybody’s ass on the saxophone and to play with The 2 Bass Band...Live Billy Mintz complexity; and Thelonious Monk’s “Ba Lue Bolivar him… you find this absolutely true.” A number of Emanation (Solo: Volume 2) Roberta Piket (Thirteenth Note) Ba Lues” is a compact (3:20) masterpiece of feints and people came together to make this special release a by George Kanzler lurches that coalesces into Monk’s tune at the very end. tribute to this original and idiosyncratic artist. It’s a collector’s set, but also essential listening. Thirteenth Note Records’ seventh and eighth releases For more information, visit thirteenthnoterecords.com. feature the two artists who lead five of the six previous These projects are at Ibeam Brooklyn Jun. 19th and Smalls For more informatoon, visit triplepointrecords.com releases: drummer Billy Mintz and pianist Roberta Jun. 20th. See Calendar. Piket, his project is a piano-less tentet while her new one is an acoustic solo outing. ON SCREEN The 2 Bass Band…Live was recorded before what sounds like an appreciative audience. There’s much to appreciate. Mintz composed all the music and arranged all but one piece. His music has a cinematic and/or architectonic sense of drama and form, including careful dynamics and attention to momentum, tension and release. The first five tracks flow one into another, beginning with a short saxophone colloquy, “Beautiful You”, adding brass and basses as it segues into “Bass Out Loud Thing”, a dialogue/duel between the pizzicato basses Frank Lowe Quartet (Triple Point) of Cameron Brown and Masa Kamaguchi. That gives by Anders Griffen way to a raucous saxes and brass free-for-all, “Free This is Gary McFarland: The Jazz Legend Who Should Have Been A Pop Star Thing”, the first example of Mintz’ very Mingus- he care taken in producing this limited edition double T (A Film by Kristian St. Clair) (Century 67) influenced use of calibrated chaos, which fades down LP set is usually reserved for the most popular and by Russ Musto to a bass pulse and silence introducing “Ghost Dance”. influential artists. Frank Lowe would have been 72 Exotic sax intones over deep basses and throbbing tom- years old this month and surely gratified to see this This somewhat hyperbolically subtitled DVD toms (Mintz finally joining the fray) as trombonists release. The performances are great and the music is shines a deserved spotlight on a neglected original Brian Drye and Samuel Blaser solo, alone and in pressed on heavy vinyl limited to a hand-numbered 550 voice. Vibraphonist Gary McFarland may not be an tandem, over the exotic rhythm. “Ghost Sanctuary” copies. A 38-page book accompanies the gatefold actual legend in jazz and his forays into the world of emerges with horns like a procession on a dusty road, package with photographs by Omar Kharem and Val popular music hardly qualify him for stardom, yet riding over bass vamps and rolling drums framing Wilmer and a biographical essay by Ed Hazell that his artistry remains unquestionably valuable. tenor saxophone (Adam Kolker) and trombone (Blaser) chronicles Lowe’s musical emergence from the Orange Kristian St. Clair’s film brings into focus a man at solos that fade to mournful ensemble dirge and a final Mound neighborhood of Memphis through the ‘60s and various times both hailed and derailed for his very crescendo. Six more-or-less stand-alone pieces follow, up to these sessions, putting this work into some context personal artistic vision. One does get the impression ranging from a stuttery “Dit”, with bursts of controlled and perspective (it even identifies “The Memphis Four”, that McFarland could have made it into the upper horn polyphonic cacophony, to a very modern credited for “Chu’s Blues” on 1975’s Fresh). echelons had he not died under unsettled Ellingtonian “Darkland”, pitting the trombonists, The master tapes from these sessions were for circumstances in 1971. The accompanying audio employing mutes and plungers, against suave ensemble decades in the able care of Fred Cohen at the Jazz disc documents McFarland’s mid ‘60s quintet from passages. Two solo highlights are “The Dream”, John Record Center in New York. Logical Extensions, as they broadcasts of the group performing live at The O’Gallagher’s alto channeling Eric Dolphy with were labeled, was intended to be the followup to Penthouse jazz club in Seattle during June-July 1965. Mingus; and “Flight”, a mellow swinger (brushes not Lowe’s ESP-Disk’ debut, Black Beings, which was “He was an overdose of style,” guitarist Joe sticks) with an indelible trumpet solo. bassist William Parker’s first album appearance. notes early in the film. In a later segment Emanation (Solo: Volume 2) was also recorded live, Parker joins Lowe again and the quartet is completed drummer/vocalist Grady Tate opines stoically, but in a studio. The results are impressive, often by trombonist and drummer Steve Reid, “Some people become popular and famous and viscerally compelling. The opening two tracks nicely the only recordings by this incredible group. Two some people don’t. Gary’s just one who didn’t.” Bob delineate Piket’s two main approaches. “Softly, As In A sessions are documented here: LP 1 recorded by Brookmeyer attests to McFarland’s musical prowess, Morning Sunrise” displays virtuosic technique as she Rashied Ali at his Survival Studio on May 1st, 1974 and recalling that after first hearing an arrangement of flashes through lines and sequences while LP 2 recorded by Scott Trusty live at ’ Studio one his original pieces for the reharmonizing the familiar standard. Next, on RivBea sometime around then. It also comes with 40 Concert Band at the Vanguard, “Everybody in that minutes of video showcasing the quartet in action at room knew that something happened. The air in Studio RivBea that spring or summer—“ground zero New York City had changed.” Footage of for the loft scene”, as critic Will Hermes describes it. McFarland’s collaborations with the likes of Stan This set comprises a remarkable project, unearthing a Getz, Bill Evans and Steve Kuhn confirm the phenomenal set of music, a snapshot of ‘70s New York evaluation. Conversations with Sy Johnson and and a story that might have been lost. Gene Lees (who calls McFarland an “adult prodigy”) Out Loud consists of different approaches to group as well as words from Phil Woods, improvisation where they can, as Bowie puts it, “let it and offer more personal insights as do develop into whatever it’s gonna develop into.” Lowe clips from interviews with the artist himself. vocalizes and plays various percussion and McFarland’s ardent embrace of bossa nova, first noisemakers in addition to his potent tenor and heard on his Soft Samba album, receives praise from BRIAN LANDRUS TRIO soprano saxophones. Collectively, the group changes percussionist Airto. His fusion of jazz and rock and rhythms, textures and colors to create varying story work with film and television is examined both as a “The Deep Below” Release arcs. “Act of Freedom” makes up a suite, five parts of facet of his restless creativity and cause of his fall On Palmetto And Blueland Records which are documented on LP 1. Parker’s running walk from grace with the music press, the latter which Landrus – bari sax, bass clarinet, alto & bass fl ute starts a driving rhythm before the head soars, almost seemed not to faze him at all. “I would be climbing Lonnie Plaxico – bass superimposed above. “Act of Freedom Part 4” drives the walls if the only thing I could do was write for Billy Hart – drums through various tensions with a great , jazz ensemble… You get too bored and you don’t sometimes getting funky before Lowe’s “Out Loud” make any progress musically,” he declares. June 18 * Cornelia St Cafe * 8:30pm chorus, which gives this release its title. Side C is filled 29 Cornelia St, Ny, Ny 10014 with the 23-minute “Whew!”, which closely portends For more information, visit century67.com Bowie’s “Sun Voyage” (later released on The Flam).

THE NEW YORK CITY JAZZ RECORD | JUNE 2015 39 Disc One commences with a somewhat Festival in Germany. The Large Unit wails with a BOXED SET directionless version of “Round About Nothing”—to heady mixture of abandon and focused power. paraphrase Moe Howard, they’re getting no place “Round About Nothing” now is a fierce free jazz fast. There is heartfelt and inspired playing, to be blowout, but there is ebb and flow driving the piece, sure, but it sounds as if the players are waiting for with bombastic solos and crashing drums until a inspiration to alight. But the following “Fortar subtle, strangely haunting low passage evokes Hardar” is when the 11-tet clicks into high gear. Duke Ellington’s writing for massed reed Nilssen-Love and second drummer Andreas instruments, then ends (or segues?) with buzz and Wildhagen cook on all burners while the five horns crackle of guitar, electronics or wind instruments (Thomas Johansson: cornet and flugelhorn; Mats driven beyond their usual limits via extended Äleklint: trombone; Kasper Værnes: soprano and techniques. alto saxophone; Klaus Holm: alto and baritone “Fortar Hardar II” roars away with more wild Erta Ale saxophone; Børre Molstad: tuba) make with a and woolly, snapping solos. “Austin Birds” begins Paal Nilssen-Love Large Unit (PNL) bittersweet dirge that’s oddly galvanizing. Baritone with some beautifully blues-rich bop alto before by Mark Keresman saxophone blisters with feverish, Brötzmann-like evolving into a storm and then segueing into some intensity while “Fendika” has Horse latitudes low-volume reductive sighs and drones. That Norwegian drummer Paal Nilssen-Love has courtesy of swelling trombone. gradually rises into a cubist rave-up via volcanic established himself through collaborations with Disc Two begins “Culius” and a raw, caustic drums and rising horns, leading into a riveting reedplayers , Joe McPhee and Peter barrage of crackling, abrasive dissonance from Lasse conclusion with “Culius”. Over a vaguely march-like Brötzmann as well as his own projects, be it the Marhaug, “noise artist in residence” (so says the beat, horns swirl and surge, led by clarion-like Townhouse Orchestra (actually a quartet) or the booklet notes) until a lurching theme, loping and cornet. Then the band lurches as if they were playing cooperative The Thing. With this triple CD boxed set looping, during which guitarist Ketil Gutvik shreds a bluesy (and sardonic) march by Charles Mingus, a (alternately issued as a four-cassette box; four-LP, salvos of his own wiry noise. “Slow Love” is driven playful burlesque. The ensemble roars to a climax, one-CD, one flexi-disc deluxe set; and high-definition by scraped from Jon Rune Strøm and dissonant but thoroughly joyful and purgative. download), Nilssen-Love steps out as a leader of a Christian Meaas Svendsen and insistent repetition of The highlights of Erta Ale are many—there are a large ensemble comprised mostly of young(er) short, clipped riffs punctuated by deep horn bleats— few moments of excess (some collective Norwegian musicians, one in which the separations the effect would be hypnotic save for the latter, improvisations feel a bit redundant at times) but between composition and improvisation (seemingly) keeping one’s inner ear (delightfully) off-balance. those are offset by profoundly stimulating blur. Two-thirds of Erta Ale is a collection of This take of “Birdbox” may be the high point of performances. There is an undisputable earthiness recordings from assorted live and studio contexts in uneasy listening, overtly bringing a sincerely and feeling of catharsis (both dark and joyous) in early 2014, featuring multiple renditions personalized version of the Albert Ayler influence— throughout. of Nilssen-Love’s originals. The sounds range from overblown horns with serrated New Orleans funeral angular swing (a little) and feverish discourses march cadences, cracking brass, sounding loosely For more information, visit paalnilssen-love.com. This (a lot) to subdued, almost sub-sonic, voyage-to-the- akin to the rapturous wails of a gospel chorus. project is at First Unitarian Congregational Society Jun. bottom-of-the-psyche soundscapes. Disc Three is all live, in concert at the 2014 Moers 13th. See Calendar. Cobi Narita Presents

JUNE 1–2 JUNE 15 aaron goldberg trio dmitry baevsky quartet OPEN MICS

JUNE 3 JUNE 16–18 etienne charles creole soul javon jackson celebrates 50 EVERY FRIDAY JUNE 4 JUNE 19–21 7:30 TO 10:30 PM closed for private event warren wolf and the wolfpack JUNE 5–7 JUNE 22 | MONDAY NIGHTS WITH WBGO OPEN MIC/JAM SESSION tootie heath 80th jamison ross birthday celebration Open Mic/Jam Session for Singers, Tap Dancers, JUNE 23–25 JUNE 8 dion parson & 21st Instrumentalists, Poets - hosted by Frank Owens, florida state university century band one of the most gifted pianists you will ever hear! sextet with chris pattishall JUNE 26–28 Our Open Mic is one of the best of the Open Mics JUNE 9 richard galliano quintet: jacques schwarz-bart sentimentale happening in New York & elsewhere, with the presents racine incomparable pianist Frank Owens playing for you. JUNE 29 JUNE 10 band director academy An unmatchable moment in your life! eric person big band faculty band As a participant, or as an audience member, you will

JUNE 11–14 JUNE 30 always have an amazing time, one you will never forget! 80th jazztopad festival presents: birthday celebration with obara international quartet Don’t miss! Admission: $10 steve turre sextet

swing by tonight set times jazz.org / dizzys 7:30pm & 9:30pm Pearl Studios, 519 8th Avenue, 12th Floor Jazz at Lincoln Center’s Frederick P. Rose Hall Broadway at 60th Street, 5th Floor, nyc cobinarita.com

40 JUNE 2015 | THE NEW YORK CITY JAZZ RECORD MISCELLANY ON THIS DAY by Andrey Henkin

Eponymous Ursula Live in Tokyo Secundum Artem Symbolic Gesture Les Jazz Modes (Dawn) Mal Waldron (Musica) Quartet (Atlantic) (Xanadu) Joe Morris Trio (Soul Note) June 12th, 1956 June 12th, 1969 June 12th, 1971 June 12th, 1980 June 12th, 1993 Les Jazz Modes was the cooperative 1969 found pianist Mal Waldron Vibraphonist Gary Burton began his While Ted Dunbar may be best known Guitarist (and now upright bassist as ensemble of French horn (in jazz) wandering around Europe, recording leader career as a precocious 18-year- as the guitarist in the second iteration well) Joe Morris has cult status among pioneer and future Monk tenor a trio of trio recordings for a trio of old with 1961’s New Vibe Man In Town. of ’ Lifetime and teacher six-string cognoscenti and has been saxophone foil Charlie Rouse. It labels, all with different rhythms By the time of this album, he was a of such players as and consistently prolific since his first existed for less than five years and this sections (as well as participating in a seasoned veteran with over 15 albums Trey Anastasio, he had many credits albums in the early ‘80s. After a is its full-length debut (a February 1956 live Nathan Davis session). This album to his credit. Recorded live at Sankei from the mid ‘60s on (David “Fathead” number of sessions for Riti Records, session was split with the - was waxed in France with local bassist Hall in Tokyo for the Japanese Atlantic Newman, McCoy Tyner, Gil Evans, this is both his debut and penultimate Dick Sherman Quintet), recorded with Patrice Caratini and drummer Franco affiliate, Burton is featured alongside Kenny Barron) as well as five sessions album for the Italian imprint Soul Gildo Mahones (piano), Paul Manzecchi (the former would appear a an interesting group of guitarist Sam as a leader, of which this is the third Note. Joining Morris are a pair of semi- Chambers or (bass) year later on Blood and Guts and 11 Brown (who appeared on Throb and and second of three for Xanadu. A regular collaborators during the ‘90s: and Ron Jefferson (drums). Watkins years later on Live At The Dreher). Gary Burton And Keith Jarrett), Burton’s young Steve Nelson (vibraphone) is Chicago bassist Nate McBride and was the main composer, writing more Waldron penned five of the eight semi-regular 1969 drummer Bill heard in one of his earliest dates along Boston drummer Curt Newton. Morris than half the tunes, including the four- tracks, including the title piece and Goodwin and only-time-bassist Tony with the veteran rhythm section of wrote all five pieces, lengthy part “Jazz Garden Suite”, to go along first appearance of “Blood and Guts”, Levin on a program of mostly late ‘60s Kenny Barron, Rufus Reid and Al excursions showcasing his unique with pieces by Richard Rodgers. while Manzecchi contributed three. Burton originals. Foster for six Dunbar originals. style and sensibility. BIRTHDAYS June 1 June 6 June 11 June 15 June 21 June 26 †Nelson Riddle 1921-85 †Jimmie Lunceford 1902-47 †Clarence “Pine Top” Smith †Allan Reuss 1915-1988 †Dewey Jackson 1900-94 †Teddy Grace 1905-92 †Herbie Lovelle 1924-2009 †Raymond Burke 1904-86 1904-29 †Erroll Garner 1921-77 †Jamil Nasser 1932-2010 †Don Lanphere 1928-2003 †Hal McKusick 1924-2012 †Gil Cuppini 1924-96 †Shelly Manne 1920-84 †Jaki Byard 1922-99 Lalo Schifrin b.1932 †Jimmy Deuchar 1930-93 Lennie Niehaus b.1929 †Grant Green 1931-79 †Hazel Scott 1920-81 Mel Moore b.1923 Jon Hiseman b.1944 Dave Grusin b.1934 Rossano Sportiello b.1974 Monty Alexander b.1944 †Bob Gordon 1928-55 Tony Oxley b.1938 Chuck Anderson b.1947 b.1937 †Zbigniew Seifert 1946-79 Nils Lindberg b.1933 Eric Reed b.1970 Joey Baron b.1955 June 2 Paul Lovens b.1949 Bernard “Pretty” Purdie b.1939 June 16 Bill Cunliffe b.1956 †Ernie Hood 1923-91 G. Calvin Weston b.1959 Jamaaladeen Tacuma b.1956 †“Lucky” Thompson 1924-2005 June 22 Mathias Eick b.1979 Gildo Mahones b.1929 Alex Sipiagin b.1967 †Clarence Shaw 1926-73 b.1934 John Pisano b.1931 June 7 Assif Tsahar b.1969 Joe Thomas b.1933 Hermeto Pascoal b.1936 June 27 Pierre Favre b.1937 †Gene Porter 1910-1993 Tom Harrell b.1946 Heikki Sarmanto b.1939 † 1923-67 b.1941 † 1921-98 June 12 Fredy Studer b.1948 Eddie Prevost b.1942 George Braith b.1939 June 25th, 1942 Matthew Garrison b.1970 †Tina Brooks 1932-74 Marcus Belgrave b.1936 Mike Baggetta b.1979 Ed “Milko” Wilson b.1944 Todd Herbert b.1970 Noah Preminger b.1986 Norberto Tamburrino b.1964 Kent Carter b.1939 Ryan Keberle b.1980 The drummer, born in Devin Gray b.1983 Chick Corea b.1941 June 23 June 28 Philly, began his decades- June 3 Jesper Lundgaard b.1954 June 17 †Eli Robinson 1908-72 †Jimmy Mundy 1907-83 long career in an auspicious †Carl Pruitt 1918-1977 June 8 Geri Allen b.1957 †Lorenzo Holden 1924-87 †Milt Hinton 1910-2000 †Arnold Shaw 1909-89 fashion, playing on Andrew †Al Harewood 1923-2014 †Billie Pierce 1907-74 Oscar Feldman b.1961 Frank E. Jackson, Sr. b.1924 †Eddie Miller 1911-91 Gene Traxler b.1913 Hill’s 1964 Andrew!!!. He Phil Nimmons b.1923 †Erwin Lehn 1919-2010 Christian Munthe b.1962 Chuck Rainey b.1940 †Helen Humes 1913-81 †Pete Candoli 1923-2008 would go on to appear on †Dakota Staton 1932-2007 †Kenny Clare 1929-85 Peter Beets b.1971 b.1957 †Lance Harrison 1920-2000 Bobby White b.1926 classics by Wayne Shorter †Bob Wallis 1934-91 Bill Watrous b.1939 †George Russell 1923-2009 John Lee b.1952 (Et Cetera, The All Seeing Eye, † 1935-2012 Julie Tippetts b.1947 June 13 June 18 †Sahib Shihab 1925-89 Tierney Sutton b.1963 Schizophrenia) and Bobby Grachan Moncur III b.1937 Uri Caine b.1956 †Charlie Elgar 1885-1973 †Sammy Cahn 1913-93 †Hank Shaw 1926-2006 Aaron Alexander b.1966 Hutcherson (Components, Corey Wilkes b.1979 †Doc Cheatham 1905-97 William Hooker b.1946 Donald Harrison b.1960 Jesse Stacken b.1978 Dialogue, Happenings), along June 9 †Eddie Beal 1910-84 with sessions by Sam Rivers, June 4 †Les Paul 1915-2009 †Phil Bodner 1919-2008 June 19 June 24 June 29 Joe Henderson, Archie †Teddy Kotick 1928-86 † 1926-2008 †Attila Zoller 1927-98 †Joe Thomas 1909-86 †Charlie Margulis 1903-67 †Mousey Alexander 1922-88 Shepp, Don Friedman, † 1932-75 †Eje Thelin 1938-90 †Buddy Catlett 1933-2014 †Jerry Jerome 1912-2001 †Manny Albam 1922-2001 †Ralph Burns 1922-2001 Donald Byrd, †Alan Branscombe 1936-86 Kenny Barron b.1943 Frank Strozier b.1937 †Al Kiger 1932-2013 † 1932-2013 †Ove Lind 1926-1991 and many others. He began b.1937 Mick Goodrick b.1945 Harold Danko b.1947 Chuck Berghofer b.1937 †Frank Lowe 1943-2004 b.1935 his career as a leader in the Ted Daniel b.1943 Mike Khoury b.1969 Paul Nieman b.1950 †Clint Houston 1946-2000 Ike Sturm b.1978 early ‘70s with Anthony Braxton b.1945 June 10 Billy Drummond b.1959 Greg Burk b.1969 (Muse) and continued Paquito D’Rivera b.1948 †Chink Martin 1886-1981 June 14 John Hollenbeck b.1968 †Bernardo Sassetti 1970-2012 June 30 throughout the decades Winard Harper b.1962 †Willie Lewis 1905-71 †John Simmons 1918-79 †Harry Shields 1899-1971 with records for Muse, †Dicky Wells 1907-85 Burton Greene b.1937 June 20 June 25 †Grady Watts 1908-86 Candid, Blue Note and, in June 5 †Guy Pedersen 1930-2005 Pete Lemer b.1942 †Doc Evans 1907-77 †Jean Roberts 1908-81 †Lena Horne 1917-2010 the new millennium, Savant, †Kurt Edelhagen 1920-82 †John Stevens 1940-94 Marcus Miller b.1959 †Lamar Wright 1907-73 †Johnny Smith 1922-2013 †Andrew Hill 1937-2007 which released The Outlaw, †Specs Powell 1922-2007 Gary Thomas b.1961 Gary Husband b.1960 †Thomas Jefferson 1920-86 †Bill Russo 1928-2003 Chris Hinze b.1938 Horace to Max and Joe †Pete Jolly 1932-2004 Charnett Moffett b.1967 Diallo House b.1977 †Eric Dolphy 1928-64 Joe Chambers b.1942 Jasper Van’t Hof b.1947 Chambers Moving Pictures Misha Mengelberg b.1935 Jonathan Kreisberg b.1972 Loren Stillman b.1980 Joe Venuto b.1929 Marian Petrescu b.1970 b.1951 Orchestra. (AH) Jerry Gonzalez b.1949 Ben Holmes b.1979 Ben Syversen b.1983 Anders Nilsson b.1974 John Yao b.1977 Ken Fowser b.1982 CROSSWORD

1 2 3 4 5 6 ACROSS 3. Model of Buffet saxophone 4. Threadgill/Hopkins/McCall

7 8 1. Zorn songbook(s) 5. Recording medium 7. 1978 Miroslav Vitous album _____ Angels 6. Compilation series 100 ___ De Jazz 9. Sammy Fain-Bob Hilliard’s 7. Japanese hip-hop group with 9 10 “______and Gentle People” jazz collaborations 11. 1989 Mike Stern album 8. saxophonist Phil 11 12. “I Fall _____ Too Easily” 9. Bay Area trumpet improviser Tom 13. Philly pianist/composer Massey 10. “____ Kleine Marschmusik” from 16. Singer Jeanne Peter Brötzmann’s 1976 solo LP 12 13 14 15 17. Vince Giordano and 13. Bootleg label that reissued music by the Nighthawks’ NYC home Slam Stewart, Don Byas and Leo Watson 16 17 18 19. Dave Barbour-Peggy Lee’s 14. Pianist Fort “Don’t Be ______to Baby” 15. Full Throttle Orchestra leader Adam

19 20. Miles Davis drummer who 18. Late fall Swedish jazz festival replaced Williams founded in 1968 24. 1997 Joe Morris Trio album 20. French label that released Eddie Palmieri 20 21 22 23 25. Jazz trio named for northern and Chucho Valdés albums in the late ‘90s Italian town 21. Alonso who designed the cover to 24 The Freestyle Band’s 1984 eponymous DOWN release 22. 25 NEA concert presentation program 1. John McLaughlin’s spiritual name 23. Catalogue prefix for Jon Faddis’ 2. Leon Thomas song “What ______Do?” Into The Faddisphere cassette By Andrey Henkin visit nycjazzrecord.com for answers THE NEW YORK CITY JAZZ RECORD | JUNE 2015 41 CALENDAR

Monday, June 1 êTerell Stafford Quintet with Tim Warfield, Jr., Bruce Barth, , êThe Bricktet: Jeremy Pelt, Vincent Herring, Rick Germanson, Dezron Douglas, Billy Williams Village Vanguard 8:30, 10:30 pm $30 Willie Jones III Smoke 7, 9, 10:30 pm $9 êLee Konitz Quartet with Dan Tepfer, Matt Wilson and guest • Savion Glover Blue Note 8, 10:30 pm $45 • Joe Farnsworth Quartet with Eric Alexander, Victor Gould, Bob Cranshaw Blue Note 8, 10:30 pm $30 êFrank Vignola Guitar Night with Al Caiola, Bucky Pizzarelli, Vinny Raniolo, An Beal Bocht Café 8, 9:30 pm $15 • Aaron Goldberg Trio with Reuben Rogers, Eric Harland James Chirillo The Cutting Room 7:30 pm $25 • Gerald Clayton/Ben Wendel Mezzrow 9:30 pm $20 Dizzy’s Club 7:30, 9:30 pm $30 • Mike Longo NY State of the Art Jazz Ensemble with Ira Hawkins • Etienne Charles and Creole Soul Dizzy’s Club 7:30, 9:30 pm $30 êGiovanni Guidi Trio with Thomas Morgan, João Lobo; Alessandro Lanzoni solo; NYC Baha’i Center 8, 9:30 pm $15 • Sammy Miller Congregation Dizzy’s Club 11:30 pm $5 Domenico Sanna’s Brooklyn Beat! with Ameen Saleem, Dana Hawkins • Ursel Schlicht, Stephanie Griffin, Catherine Sikora, Josh Sinton, François Grillot, • Nelson Gonzalez and Son Mundano Roulette 7:30 pm $15 Andrew Drury Soup & Sound 7 pm $15 Subrosa 8, 10 pm $20 êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 • Peter Brendler/Vinnie Sperrazza Group with Michaël Attias, Jon Davis; • Chris Irniger Trio with Chris Lightcap, Ziv Ravitz; Emi Makabe Group with êOrrin Evans Captain Black Big Band John Yao Quintet with Jon Irabagon, Randy Ingram, Peter Brendler, Shawn Baltazor Thomas Morgan, Satoshi Takeishi SEEDS 8:30, 10 pm Smoke 7, 9 pm $9 Cornelia Street Café 8, 9:30 pm $10 • Lainie Cooke Quintet with Myron Walden, Tedd Firth, Ugonna Okegwo, Ralph Peterson • David Amram and Co. with Kevin Twigg, Rene Hart, Elliot Peper êMatt Pavolka Horns Band with Kirk Knuffke, Loren Stillman, Jacob Garchik, Jazz at Kitano 8, 10 pm $15 Cornelia Street Café 8:30 pm Mark Ferber; Fay Victor Ensemble with Anders Nilsson, Ken Filiano • Gilad Hekselman Band; Dan Aran/Itai Kriss Quartet with Shai Maestro, Matt Clohesy; • Barbara Fasano/Eric Comstock Metropolitan Room 7 pm $25 Korzo 9, 10:30 pm Sanah Kadoura Band with Stacy Dillard, Greg Glassman, Davis Whitfield, • Brad Shepik, Ben Monder, Diego Voglino • Lezlie Harrison with Saul Rubin, Ben Paterson, Brandon Lewis James Robbins Smalls 7:30, 10:30 pm 1:30 am $20 55Bar 10 pm Minton’s 7, 8:30, 10 pm $10-20 • Jason Yeager Trio with Danny Weller, Matt Rousseau • Philip Dizack Quintet with Glenn Zaleski, Joshua Crumbly, Charles Altura, Joe Dyson; • Noah Preminger Quartet with Jason Palmer, Kim Cass, Ian Froman Cornelia Street Café 8:30 pm $10 Ari Hoenig Quintet with Tivon Pennicott, Gilad Hekselman, Eden Ladin, 55Bar 9:30 pm $10 • Taylor Haskins and Gnosis with Nir Felder, Fima Ephron, Nate Smith Orlando Le Fleming; Jonathan Michel • Simona Premazzi Mezzrow 9:30 pm $20 ShapeShifter Lab 8 pm $10 Smalls 7:30, 10:30 pm 1 am $20 • Spike Wilner Trio; David Bryant Quintet with Mark Shim, Josh Evans, David Bryant, • Corey Wallace DUBtet with Brent Birckhead, Willerm Delisfort, Noah Jackson, • Laila Biali with Jo Lawry, Zach Brock, Sara Caswell, Christina Courtin, Laura Metcalf, Dezron Douglas, Eric McPherson; Alex Claffy and Friends Darrian Douglas Minton’s 7, 8:30, 10 pm $10 Alex Foote, Chris Tarry, Ben Wittman Smalls 7:30, 9:30 pm 12:30 am $20 • Daniel Levin’s Antlers and Capillaries with Kenny Warren, Sean Ali, Carlo Costa; SubCulture 8 pm $20 êZion80: Jon Madof, Frank London, Matt Darriau, Greg Wall, Jessica Lurie, Zach Mayer, Curriculum Quartet: Danny Gouker, Josh Sinton, Will McEvoy, Max Goldman • Progress Notes: Alex Weiss, Nir Sadovnik, Frank Wagner, Luke Schneiders; Brian Marsella, Yoshie Fruchter, Shanir Blumenkranz, Marlon Sobol, Yuval Lion Rye 9 pm $10 Yoni Kretzmer Quartet with Steve Swell, Max Johnson, Chad Taylor and guest Cyro Baptista Joe’s Pub 9:30 pm $14 • Brad Farberman Group with Dave Sewelson, Josh Sinton, Ras Moshe, Francois Grillot, ShapeShifter Lab 7, 8:15 pm $10 • Chloé Perrier Trio with Aki Ishiguro, Rodrigo Recabarren; Marie-Claire Group with Lewis Porter; Yoni Kretzmer/Andrew Dury Duo êDeborah Latz Trio with Freddie Bryant, Jim Ridl Alberto Pibiri, Luc Decker WhyNot Jazz Room 7, 9 pm $10 Kings County Saloon 7:30, 8:30 pm Bar Next Door 8:30, 10:30 pm $12 • James Silberstein Trio with Andrea Veneziani, Peter Grant • Groover Trio; Ned Goold Jam Fat Cat 9 pm 12:30 am • The Hot Sardines Rainbow Room 6:30 pm $175 Bar Next Door 8:30, 10:30 pm $12 • Allison Adams Tucker with Mike Moreno, Marco Panascia, Mauricio Zottarelli • Ned Goold Quartet; Billy Kaye Jam • Veronica Nuñes Brazilian Gafieira Band Rockwood Music Hall Stage 3 8:30 pm $18 Fat Cat 9 pm 12:30 am Fat Cat 9 pm • Roger Davidson Caffe Vivaldi 7 pm • Seth Farber solo Le Poisson Rouge 8 pm $12-18 • Zola Band Duo; Suzanne Ross Trio • Queens Jazz OverGround Clinic and Jazz Jam • Akemi Yamada Trio Tomi Jazz 8 pm Tomi Jazz 8, 9:30 pm Flushing Town Hall 6, 7 pm $10 • Howard Williams Jazz Orchestra; Ken Kobayashi Trio with Anders Nilsson, • Addison Frei solo Jazz at Kitano 8 pm • Free Ride: Nicolas Letman-Burtinovic, Christof Knoche, Danny Sher Todd Nicholson The Garage 7, 10:30 pm • Itzik Gottesman and Friends Stephen Wise Free Synagogue 7:30 pm $15 Bar Chord 9 pm • Alex Conroy Silvana 6 pm • Nobuki Takamen Trio; Chris Bates Trio • Moira Lo Bianco Duo; Kat Vokes Trio • Stachel Quintet Shrine 6 pm The Garage 6, 10:30 pm Tomi Jazz 8, 11 pm • Duo Scorpio; Alexis Cuadrado Group • Aaron Goldberg Trio with Reuben Rogers, Eric Harland • Yvonnick Prene Quartet; Valentia Marino Trio Bryant Park 5:30 pm Dizzy’s Club 7:30, 9:30 pm $30 The Garage 6, 10:30 pm • Sue Maskaleris Bryant Park 12:30 pm • Sammy Miller Congregation Dizzy’s Club 11:30 pm $5 êDr. Lonnie Smith Trio with Jonathan Kreisberg, Johnathan Blake • Barbara Fasano/Eric Comstock Metropolitan Room 7 pm $25 Jazz Standard 7:30, 9:30 pm $30 • Gene Ess & Fractal Attraction Silvana 6 pm • Maria Schneider Orchestra Birdland 8:30, 11 pm $45 Tuesday, June 2 • Hajime Yoshida Band Shrine 6 pm êTerell Stafford Quintet with Tim Warfield, Jr., Bruce Barth, Peter Washington, • Jay Rodriguez Rendall Memorial Presbyterian Church 12, 1 pm $15 Billy Williams Village Vanguard 8:30, 10:30 pm $30 êRoy Nathanson/Curtis Fowlkes Duo; The Jazz Passengers: Curtis Fowlkes, • Sue Maskaleris Bryant Park 12:30 pm • Savion Glover Blue Note 8, 10:30 pm $45 Roy Nathanson, Brad Jones, Bill Ware, Sam Bardfeld • Noah Preminger Quartet with Jason Palmer, Kim Cass, Ian Froman The Stone 8, 10 pm $15 55Bar 9:30 pm $10 êDr. Lonnie Smith Trio with Jonathan Kreisberg, Johnathan Blake Wednesday, June 3 • Barbara Fasano/Eric Comstock Metropolitan Room 9:30 pm $25 Jazz Standard 7:30, 9:30 pm $30 • Nick Grinder Group Silvana 6 pm êJoel Forrester/Phillip Johnston Barbès 7 pm $10 êMarc Ribot/Roy Nathanson Duo; Roy Nathanson Organ Quartet with , • Alex Bryson Quartet Shrine 6 pm • Maria Schneider Orchestra Birdland 8:30, 11 pm $45 Greg Lewis, Nasheet Waits The Stone 8, 10 pm $15 • Bucky Pizzarelli/Ed Laub Saint Peter’s 1 pm $10 • Sue Maskaleris Bryant Park 12:30 pm

Copa Village ZINC BAR and Cantaloupe Productions present: NYC release event for “COPA VILLAGE” with internationally renowned Brazilian vocalist CAROL SABOYA Latin Grammy nominee pianist ANTONIO ADOLFO and award-winning harmonica virtuoso HENDRIK MEURKENS with Itaiguara Brandão, bass / Adriano Santos, drums Wednesday, June 10, 2015 Sets at 8 ($25 cover) and 10 pm ($15 cover) Zinc Bar: 82 W. 3rd Street / (212) 477-9462

42 JUNE 2015 | THE NEW YORK CITY JAZZ RECORD Thursday, June 4 • Craig Yaremko Organ Trio Silvana 6 pm • Emily Asher’s Garden Party Joe’s Pub 7 pm $14 • Sue Maskaleris Bryant Park 12:30 pm • Renaud Penant Trio with Steve Ash, Chris Haney êMyra Melford/Roy Nathanson Duo; Russ Johnson’s Still Out to Lunch with Little Branch 10:30 pm Roy Nathanson, Myra Melford, Brad Jones, • Manna For Thought: Nora McCarthy, Ras Moshe, Dom Minasi; Dikko Faust Ensemble The Stone 8, 10 pm $15 Saturday, June 6 ABC No-Rio 7 pm $5 êJason Moran David Rubenstein Atrium 7:30 pm • Kathryn Allyn Duo Tomi Jazz 8 pm • Hiromi’s The Trio Project with Anthony Jackson, Simon Philips êJeff “Tain” Watts’ Blue The Cutting Room 7 pm $25 • Thomas Piercy with John Lander, Lani Bass; John Lander Trio Blue Note 8, 10:30 pm $55 êPeter Bernstein, , Bill Stewart Caffe Vivaldi 7, 9 pm • Chip White Dedications Sextet with Patience Higgins, Dave Smith, Nick Grinder, Iridium 8:30, 10:30 pm $27.50-37.50 • Jerry DeVore Trio Indian Road Café 7 pm Michael Cochrane, Matthew Parrish • Blue Note Jazz Festival: Kenny G Town Hall 8 pm $45-175 êPeter Bernstein, Larry Goldings, Bill Stewart Jazz at Kitano 8, 10 pm $15 êArturo O’Farrill/Roy Nathanson Duo; Institute for Collaborative Education All Star Band: Iridium 8:30, 10:30 pm $27.50-37.50 • Alex Cummings Quintet with Patrick Adams, Julia Chen, Daniel Stien, Jay Sawyer; Roy Nathanson, Isaiah Barr, Leo Hardman-Hill, Sean Sondregger, Max Balton, êAlbert “Tootie” Heath 80th Birthday Celebration with Ethan Iverson, Ben Street and Rhythm And Noise: Leo Genovese, , Francisco Mela Nadeghe Giraudet, Zuri Gordon, Pete Karp, Zara Acosta guests Jimmy Heath, David Wong, Jeb Patton WhyNot Jazz Room 7, 9 pm $10 The Stone 8, 10 pm $15 Dizzy’s Club 7:30, 9:30 pm $45 • Mark Guiliana Quartet with Jason Rigby, Shai Maestro, Chris Morrissey êKris Davis Quintet with Ralph Alessi, Sylvaine Helary, Stephan Crump, Gerald Cleaver • Steve Davis Sextet with Jim Rotondi, Eric Alexander, Harold Mabern, Nat Reeves, Rockwood Music Hall 8, 10 pm 12 am $15 Cornelia Street Café 9, 10:30 pm $10 Joe Farnsworth Smoke 7, 9, 10:30 pm $38 • Michelle Walker with Wayne Escoffery, Toru Dodo, Michael O’Brien, Willard Dyson • On Davis, Welf Dorr, William Hooker; Fay Victor/William Parker; • Hiromi’s The Trio Project with Anthony Jackson, Simon Philips Smoke 7, 9, 10:30 pm $9 Daniel Carter/William Hooker Funkadelic Studios 7 pm $15 Blue Note 8, 10:30 pm $55 • Mike Baggetta Trio with , Billy Mintz; Jeff Davis Trio with Russ Lossing, • Banana Puddin’ Jazz 12th Anniversary Celebration/Fundraiser: Rodney Kendricks, êDr. Lonnie Smith Evolution with Keyon Harrold, John Ellis, Jonathan Kreisberg, Eivind Opsvik Ibeam Brooklyn 8:30, 9:30 pm $10 Onaje Allan Gumbs, Eric Lewis, Andre “Chez” Lewis, , Carol Woods, Joe Dyson, Lee Pearson Jazz Standard 7:30, 9:30, 11:30 pm $35 • Bobby Avey Quartet with John O’Gallagher, Thomson Kneeland, Jordan Perlson Arlee Leonard, Lezlie Harrison, Dennis Day, TC III, Steve Cromity, Dezron Douglas, êTerell Stafford Quintet with Tim Warfield, Jr., Bruce Barth, Peter Washington, The Jazz Gallery 8, 10 pm $15 Hilliard Greene, Dave Colding, Rachiim Ausar Sahu, Patience Higgins, Jeff King, Billy Williams Village Vanguard 8:30, 10:30 pm $30 êVinnie Sperrazza Trio with Jacob Sacks, Masa Kamaguchi; Jesse Stacken Quartet with TK Blue, Michael C. Lewis, Cyril D. Greene, Steve Kroon, Eric Frazier, Dave , • Chris Welcome/Sam Weinberg Downtown Music Gallery 6 pm Tony Malaby, Sean Conly, Gerald Cleaver Bernard Lenette, Frederika Krier Nuyorican Poets Café 9:30 pm $50 • Adam Larson Quartet Saint Peter’s 5 pm Cornelia Street Café 8, 9:30 pm $10 êWinard Harper Sistas’ Place 9, 10:30 pm $20 êBernard Stollman Memorial: William Parker, Paul Thornton, Kali Fasteau, Matt Mottel • Joel Forrester Spectrum 7 pm • Shai Maestro Trio with Ben Wendel, Matt Brewer Alchemical Theatre 4 pm • Pedrito Martinez Group Subrosa 8, 10 pm $20 ShapeShifter Lab 8 pm êCarl Allen Abyssinian Baptist Church 4 pm $20 • Giorgi Mikadze Group with Uri Gurvich, Adam O’Farrill, Giorgi Subeliani, • Steve Bloom Trio with Danton Boller, Jeremy Carlstedt • Jazzberry Jam!: Bertha Hope, Kim Clarke, Lucianna Padmore, Angeleisha Rogers Jared Henderson, Kenneth Salters; Sungazer: Adam Neely/Shawn Crowder; Bar Next Door 7:30, 9:30, 11:30 pm $12 Manna House 4 pm $10 PLS.trio: Pier Luigi Salami, Martin D. Fowler, Shawn Crowder • Raphael D’lugoff Quintet; Greg Glassman Jam • Thana Alexa Project Blue Note 11:30 am 1:30 pm $35 ShapeShifter Lab 7, 8:15, 9 pm $10 Fat Cat 10 pm 1:30 am • Emily Braden Trio with Sara Slonim, Myles Sloniker • Amy Cervini with Nadje Noordhuis, Jesse Lewis, Ike Sturm • Pedrito Martinez Group Subrosa 8, 10 pm $20 North Square Lounge 12:30, 2 pm 55Bar 7 pm • Carol Sudhalter’s Astoria Big Band • Jolie Môme Jazz Band Rainbow Room 12:30 pm $95 • Saul Rubin Zebtet Fat Cat 10 pm Sunnyside Reformed Church 7 pm • Rick Stone City Crab 12 pm • Michael Olatuja with Elio Villafranca, Samir Zarif, E.J. Strickland • Zack Lober’s The Ancestry Project with Matt Brewer, Pete Rende, Alon Albagli, • Kyoko Oyobe Trio; David Coss Quartet; Abe Ovadia Trio Minton’s 7, 8:30, 10 pm $15-25 Ben van Gelder, Craig Weinrib The Jazz Gallery 8, 10 pm $22 The Garage 11:30 am 6:30, 11 pm • Bryan Carter Ginny’s Supper Club 7:30, 9:30 pm $15 • Camille Garnier Jones Quartet The Cell 9:30 pm • Alex Goodman Trio with Rick Rosato, Jimmy Macbride • Marvin Dolly Trio with Jonathan Michel, Zane Rodulfo; Jacob Teichroew Group with Bar Next Door 8:30, 10:30 pm $12 Jarrett Cherner, Matt Aronoff, Shawn Baltazor; Satoshi Kataoka Group with Will Slater, Monday, June 8 • Gilad Hekselman Band; Nick Hempton Band with Tadataka Unno, Dave Baron, Jesse Simpson WhyNot Jazz Room 6, 8:30, 10:30 pm $10 Charles Ruggiero Smalls 7:30, 10:30 pm $20 • Takafumi Suenaga and Friends; Valentina Marino êLew Soloff Memorial: Paul Shaffer, Noah Evans, Wynton Marsalis, Randy Brecker, • Complete Unknowns Tomi Jazz 9 pm $10 Tomi Jazz 8, 11 pm $10 Jon Faddis, , Cecil Bridgewater, Steve Tyrell, Chris Potter, Ray Anderson, • Libby Richman Trio Cleopatra’s Needle 7 pm • Justin Lees Trio Cleopatra’s Needle 8 pm Gil Goldstein, Danny Gottlieb, Mark Egan, Sammy Figueroa, Manhattan Brass, • George Weldon Trio; Roy Mor Trio The Garage 6, 10:30 pm êAlbert “Tootie” Heath 80th Birthday Celebration with Ethan Iverson, Ben Street and Jeff Berlin, Fred Lipsius, Jeff “Tain” Watts, Pete Levin, Jesse Levy • Gerald Clayton/Ben Wendel Mezzrow 9:30 pm $20 guests Jeb Patton, David Wong Dizzy’s Club 7:30, 9:30 pm $45 Manhattan School of Music Borden Auditorium 7 pm • Etienne Charles and Creole Soul Dizzy’s Club 7:30, 9:30 pm $35 • Sammy Miller Congregation Big Band • Les Rhinocéros: Michael Coltun, Amit Peled, Jon Burrier • Sammy Miller Congregation Big Band Dizzy’s Club 11:30 pm $20 The Stone 8, 10 pm $15 Dizzy’s Club 11:30 pm $10 êDick Hyman/Ken Peplowski Duo Jazz at Kitano 8, 10 pm $30 • Igmar Thomas with Marc Cary, Marcus Strickland, Rashaan Carter, Justin Brown; êDr. Lonnie Smith Trio with Jonathan Kreisberg, Johnathan Blake • Steve Davis Sextet with Jim Rotondi, Eric Alexander, Harold Mabern, Nat Reeves, Ravel Re-Imagined: Eldar Blue Note 8, 10:30 pm $20 Jazz Standard 7:30, 9:30 pm $30 Joe Farnsworth Smoke 7, 9, 10:30 pm $38 êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 • Maria Schneider Orchestra Birdland 8:30, 11 pm $45 • Tom Dempsey/Tim Ferguson Quartet with Joel Frahm, Eliot Zigmund; êOrrin Evans Captain Black Big Band êTerell Stafford Quintet with Tim Warfield, Jr., Bruce Barth, Peter Washington, David Kikoski Band; Philip Harper Smalls 7:30, 10:30 pm 1:30 am $20 Smoke 7, 9 pm $9 Billy Williams Village Vanguard 8:30, 10:30 pm $30 • Jonny King Trio with Vincent Herring, David Williams • Michael Eaton and Adam Minkoff’s Ascension with Sean Sonderegger, • Barbara Fasano/Eric Comstock Metropolitan Room 7 pm $25 Mezzrow 9:30 pm $20 James Brandon Lewis, Michaël Attias, Daniel Carter, Briggan Krauss, Dan Brantigan, • Alex Norris Silvana 6 pm êDjango A Go-Go: Stephane Wrembel, Sebastien Felix, Kamlo, Howard Alden, Jonathan Finlayson, Graham Haynes, Ava Mendoza, Anthony Coleman, Calvin Weston, • Sunfree Shrine 6 pm John Intrator, Kells Nollenberger, Nick Anderson, David Langlois Nick Anderson; Periscope: Noah Preminger, Russ Lossing, , • Pedro Giraudo Sextet Citigroup Center Plaza 12:30 pm Joe’s Pub 7, 9, 11 pm $30 Peter Davenport; No Face, No Name: Arnold Hammerschlag, Sam Bardfeld, • Sue Maskaleris Bryant Park 12:30 pm êJC Hopkins Biggish Band with Wayne Tucker, Seneca Black, Corey Wallace, Will Holshouser, Fima Ephron, Aaron Alexander Claire Daly, Julian Pressley, Christopher McBride, Noah Jackson, Charles Goold and ShapeShifter Lab 7, 8:15, 9:30 pm $10 guests Charenee Wade, Melanie JB Charles, Tapper Dewitt Fleming, Jr., Charles Turner, • Marc Miralta OAM Trio with Aaron Goldberg, Omer Avital; Ari Hoenig Nonet with Friday, June 5 King Solomon Hicks Minton’s 7:30, 9:30 pm $25-50 Darren Barrett, Will Vinson, Adam Larson, Eden Bareket, Tim Gallagher, Ryan Keberle, • Jon Davis/Gianluca Renzi Knickerbocker Bar and Grill 9:45 pm $5 Shai Maestro, Noam Wiesenberg; Jonathan Barber êAlbert “Tootie” Heath 80th Birthday Celebration with Ethan Iverson, Ben Street • Marquis Hill Blacket Ginny’s Supper Club 7:30, 9:30 pm $15 Smalls 7:30, 10:30 pm 1 am $20 Dizzy’s Club 7:30, 9:30 pm $45 • Hiromi’s The Trio Project with Anthony Jackson, Simon Philips • Melissa Stylianou Trio with Orlando Le Fleming, Mark Ferber • Sammy Miller Congregation Dizzy’s Club 11:30 pm $10 Blue Note 8, 10:30 pm $55 Bar Next Door 8:30, 10:30 pm $12 êDick Hyman/Ken Peplowski Duo Jazz at Kitano 8, 10 pm $30 êDr. Lonnie Smith Evolution with Keyon Harrold, Freddie Hendrix, John Ellis, • Matt Baker Trio Birdland 7 pm $30 • Steve Davis Sextet with Jim Rotondi, Eric Alexander, Harold Mabern, Nat Reeves, Jonathan Kreisberg, Joe Dyson, Johnathan Blake • Florida State University Sextet with guest Chris Pattishall Joe Farnsworth Smoke 7, 9, 10:30 pm $38 Jazz Standard 7:30, 9:30, 11:30 pm $35 Dizzy’s Club 7:30, 9:30 pm $30 • Jeremy “Bean” Clemons Band; David Kikoski Band • Maria Schneider Orchestra Birdland 8:30, 11 pm $45 • Barbara Fasano/Eric Comstock Metropolitan Room 7 pm $25 Smalls 7:30, 10:30 pm $20 êTerell Stafford Quintet with Tim Warfield, Jr., Bruce Barth, Peter Washington, • David Berger Orchestra Rainbow Room 6:30 pm $175 êRoy Nathanson/Anthony Coleman Duo; Roy Nathanson’s Sotto Voce with Billy Williams Village Vanguard 8:30, 10:30 pm $30 • Eric Trudel Trio with Adam Hopkins, Nathan Ellman-Bell; Jerome Sabbagh, Napoleon Maddox, Tim Kiah, Curtis Fowlkes, Jerome Harris, Sam Bardfeld • Anders Nilsson Trio with Dave Ambrosio, Gerald Cleaver Simon Jermyn, Allison Miller Delroy’s Cafe and Wine Bar 9, 10 pm $10 The Stone 8, 10 pm $15 Barbès 6 pm $10 • Abe Ovadia Trio with Anthony Pocetti, Jarrett Walser; Triage: Jarrett Gilgore, • Jonny King Trio with Vincent Herring, David Williams êBlue Note Jazz Festival: Meshell Ndegeocello; Roy Hargrove; Gabriel Garzón-Montano Adam Niewood, Noah Jarrett, Kevin Ripley Mezzrow 9:30 pm $20 Central Park Summerstage 2 pm WhyNot Jazz Room 8, 10 pm $10 • Gregorio Uribe Big Band Subrosa 8, 10 pm $20 • Larry Corbin City Crab 12 pm • Yuki Futami Trio Tomi Jazz 8 pm êDjango A Go-Go: Stephane Wrembel, Sebastien Felix, Kamlo, Howard Alden, • Art Lillard‘s Heavenly Band Spoke the Hub 12:45 pm • Lou Caputo Not So Big Band; Tucker Flythe Trio John Intrator, Kells Nollenberger, Nick Anderson, David Langlois • Larry Newcomb Quartet; Alex Layne Trio; Akiko Tsuruga Trio The Garage 7, 10:30 pm Joe’s Pub 7, 9, 11 pm $30 The Garage 12, 6:15, 10:45 pm • Geoff Keezer/Ingrid Jensen Mezzrow 9:30 pm $20 êJC Hopkins Biggish Band with Wayne Tucker, Seneca Black, Corey Wallace, • Rachel Linkovsky Quintet Silvana 6 pm Claire Daly, Julian Pressley, Christopher McBride, Noah Jackson, Charles Goold and • Jon Sheckler Trio Shrine 6 pm guests Charenee Wade, Melanie JB Charles, Charles Turner, King Solomon Hicks Sunday, June 7 • Dona Carter Bryant Park 12:30 pm Minton’s 7:30, 9:30 pm $25-50 • ’s NeoBass Ensemble êWadada Leo Smith Golden Quartet with Anthony Davis, John Lindberg, Symphony Space Leonard Nimoy Thalia 8 pm $35 Pheeroan akLaff Brooklyn Conservatory of Music 8 pm $20 AIMEEALLENMUSIC.COM êUrsel Schlicht, Ken Filiano, Lou Grassi êBlue Note Jazz Festival: Candido’s 94th Birthday Celebration with Ibeam Brooklyn 8:30 pm $15 Bobby Sanabria Quarteto Ache Subrosa 7, 9 pm $20 • Jon Davis/Gianluca Renzi Knickerbocker Bar and Grill 9:45 pm $5 êRoy Nathanson solo; Roy Nathanson with Zack O’Farrill Trio • Jared Gold/Dave Gibson Fat Cat 10:30 pm The Stone 8, 10 pm $15 • Adam Larson Quintet with Matt Stevens, Fabian Almazan, Matt Penman, êUrsel Schlicht/Steve Swell; Statements: Ursel Schlicht/Hans Tammen Jimmy Macbride The Jazz Gallery 8, 10 pm $22 WhyNot Jazz Room 7, 8:30 pm $10 • Marquis Hill Blacket Ginny’s Supper Club 7:30, 9:30 pm $15 êMichael Blake’s Out of Towners with Samuel Blaser, Alessandro Lanzoni, Max Johnson, • Tom Dempsey Trio with Ron Oswanski, Dion Parson Michael Sarin Ibeam Brooklyn 8 pm $10 Bar Next Door 7:30, 9:30, 11:30 pm $12 • Geoff Keezer/Ron Blake Mezzrow 9:30 pm $20 • Tom Chang Quartet with Quinsin Nachoff, Sam Minaie, Nate Wood êPeter Leitch/Sean Smith Walker’s 8 pm Cornelia Street Café 9, 10:30 pm $10 • Emilio Solla y La Inestable de Brooklyn with Tim Armacost, Jorge Roeder, Ziv Ravitz, • Tacuma Bradley’s Unity Band Rockwood Music Hall Stage 1 11 pm John Ellis, Alex Norris, Noah Bless, Rodolfo Zanetti; Michela Marino Lerman • Onyx Collective: Austin Williamson, Joshua Benitez, Isaac Sleator, Malik McLaurine, Smalls 4:30, 7:30 pm $20 June 16, 7:30pm Isaiah Barr, Dean Torrey, Julian Soto, Dev Hynes, Jack Gulielmetti, • Terry Waldo’s Gotham City Band; Jade Synstelien’s Fat Cat Big Band; THE CUTTING ROOM James Tillman, Wiki ShapeShifter Lab 8 pm $10 Brandon Lewis/Renee Cruz Jam Fat Cat 6, 8:30 pm 1 am 44 E. 32nd Street • Ben Cassara Cafe Noctambulo at Pangea 7, 9 pm $20 • Laura Dreyer Quartet with Klaus Mueller, Itaiguara, Mauricio Zotarelli; Benji Kaplan with • Hiroko Kanna Trio Tomi Jazz 9 pm $10 Anne Drummond, Jason Ennis Cornelia Street Café 8:30, 10 pm $10 Aimée Allen Quartet • Matt Baker Trio Cleopatra’s Needle 8 pm êBrooklyn Infinity Orchestra: David Bindman, Sean Sonderegger, Michaël Attias, Matter of Time • Valentina Marino; Florencia Gonzalez Duo Joe Moffett, Jen Baker, Lester St. Louis, Michael Bates, Andrew Drury Shrine 6, 8 pm The Firehouse Space 8 pm $10 CD Release Party • Fukushi Tainaka Trio; Hot House The Garage 6:15, 10:45 pm • KROM: Adam Kromelow, Raviv Markovitz, Jason Burger; The Wee Trio: feat. François Moutin • Rob Silverman Indian Road Café 8 pm James Westfall, Dan Loomis, Jared Schonig SubCulture 7:30 pm $18 • Hiromi’s The Trio Project with Anthony Jackson, Simon Philips “A fully fledged composer, Blue Note 8, 10:30 pm $55 • Marquis Hill’s Blacktet with Milton Suggs, Christopher McBride, Jonathan Michel, lyricist and vocalist, her êDr. Lonnie Smith Evolution with Keyon Harrold, John Ellis, Jonathan Kreisberg, Anwar Marshall Minton’s 5:30, 7, 8:30 pm$10-20 ideas are filled with depth Joe Dyson, Johnathan Blake Jazz Standard 7:30, 9:30, 11:30 pm $35 • ROSA: Marija Stojnic, Tiffany Wilson, Shilpa Ananth, Eleni Arapoglou, and meaning and her • Maria Schneider Orchestra Birdland 8:30, 11 pm $45 Vanessa Bergonzoli; The Take Off Collective: Ole Mathisen, Matt Garrison, lyrics profoundly unique.” êTerell Stafford Quintet with Tim Warfield, Jr., Bruce Barth, Peter Washington, Marko Djordjevic; Florian Hoefner Group with Seamus Blake, Sam Anning, - Constance Tucker, All About Vocals Billy Williams Village Vanguard 8:30, 10:30 pm $30 Peter Kronreif ShapeShifter Lab 7, 8:15, 9:30 pm $10

THE NEW YORK CITY JAZZ RECORD | JUNE 2015 43 Tuesday, June 9 • Joe Locke’s Love is a Pendulum with Ricky Rodriguez, Terreon Gully and guests êZhenya Strigalev, Matt Garrison, Eric Harland; Angry Little Bees; Mellissa Guerro; Donny McCaslin, Victor Provost Jazz Standard 7:30, 9:30 pm $25 Tammy Scheffer Sextet; Soft Sirens; Morning Bound êRoy Haynes Blue Note 8, 10:30 pm $45 • Addison Frei Silvana 6 pm ShapeShifter Lab 7, 8 pm $10 êRenee Rosnes Quartet with Steve Nelson, Peter Washington, Bill Stewart • Duke Bantu X Shrine 6 pm • Assaf Kehati Quartet with Donny McCaslin, Yoni Marianer, Peter Traunmueller Village Vanguard 8:30, 10:30 pm $30 • David Chamberlain’s Band of Bones Jazz at Kitano 8, 10 pm $30 • Joe Locke’s Love is a Pendulum with Ricky Rodriguez, Terreon Gully and guests Saint Peter’s 1 pm $10 • Rema Hasumi’s ITAK Ensemble with Masa Kamaguchi, Randy Peterson Donny McCaslin, Victor Provost Jazz Standard 7:30, 9:30 pm $25 • Dona Carter Bryant Park 12:30 pm Ibeam Brooklyn 8:30 pm $15 • Jacques Schwarz–Bart’s Racine Haiti with Darren Barrett, Rozna Zila, Milan Milanovic, • Petros Klampanis Trio with Gilad Hekselman, John Hadfield Ben Williams, Ari Hoenig, Bonga Jean-Baptiste Bar Next Door 7:30, 9:30, 11:30 pm $12 Dizzy’s Club 7:30, 9:30 pm $30 Thursday, June 11 • Champian Fulton Cafe Noctambulo at Pangea 7, 9 pm $20 • Adam Moezinia Dizzy’s Club 11:30 pm $5 • Marquis Hill Quintet Fat Cat 10:30 pm • Rolando Morales-Matos Birdland 8:30, 11 pm $40 êHighlights in Jazz: Randy Weston/; Highlights In Jazz New Stars: • Jorge Sylvester ACE Collective with Nora McCarthy, Waldron Ricks, Marvin Sewell, • Irini Res with Cecilia Coleman Big Band Steven Frieder, Benny Benack III, Dylan Meek, Devin Starks, Kosta Galanopoulos Donald Nicks, Kenny Grohowski Spectrum 8:30 pm NYC Baha’i Center 8, 9:30 pm $15 and guest Tribeca Performing Arts Center 8 pm $45 • Pirulo Y La Tribu Subrosa 8, 10 pm $20 • Johnny O’Neal Trio with Luke Sellick, Charles Goold êSound Bites - A Concert to Benefit Roulette: Ha-Yang Kim; TIGUE; Rinde Eckert; • Jure Pukl Quartet with Yotam Silberstein, Or Bareket, Jimmy McBride Minton’s 7, 8:30, 10 pm $10-20 Oliver Lake; Pauline Oliveros Roulette 8 pm $50 WhyNot Jazz Room 10 pm êAndrew Barker/Charles Waters Duo; Charles Waters Southern Oracle Trio with • Blue Note Jazz Festival: The Manhattan Transfer Meets Take 6 • Diane Jonston Knickerbocker Bar and Grill 9:45 pm $5 Zachery Rowden, Alex Lambert The Stone 8, 10 pm $15 Town Hall 8 pm $67-125 • Sarah Vaughan Tribute: Indigo Love • Marquis Hill Quintet; Joe Sanders Infinity; Alex Claffy and Friends êPat Martino Trio with Pat Bianchi, Carmen Intorre, Jr. and guests Adam Niewood, Metropolitan Room 7 pm $25 Smalls 7:30, 9:30 pm 12:30 am $20 Alex Norris Jazz Standard 7:30, 9:30 pm $30 • Ayumi Ishito Trio Tomi Jazz 9 pm $10 • Brad Linde’s Big Ol’ Ensemble with Elliott Hughes, Jon Irabagon, Billy Wolfe, • Rahsaan Roland Kirk 80th Birthday Celebration: Steve Turre Sextet with James Carter, • Dan Furman Trio Cleopatra’s Needle 8 pm Oran Etkin, Seneca Black, Tara Kannangara, Joe Herrera, Ryan Keberle, Jeff Nelson, Vincent Herring, , Gerald Cannon, Dion Parson • Jeff Barone Trio; Peter Valera Jump Blues Band Amie Amis, Aaron Quinn, Erika Dohi, Julian Anderson-Bowes, Jonathan Taylor Dizzy’s Club 7:30, 9:30 pm $40 The Garage 6:15, 10:45 pm The Jazz Gallery 8, 10 pm $15 • Adam Moezinia Dizzy’s Club 11:30 pm $10 êPat Martino Trio with Pat Bianchi, Carmen Intorre, Jr. and guests Adam Niewood, êWill Bernard Trio with Ben Allison, Allison Miller • Lukas Ligeti Festival: Thomas Bergeron/Candy Chiu; Jennifer Hymer; Alex Norris Jazz Standard 7:30, 9:30 pm $35 Bar Next Door 8:30, 10:30 pm $12 Ben Reimer/David Cossin; Notebook: Lukas Ligeti, Daniel Blake, Lorna Krier, • Rahsaan Roland Kirk 80th Birthday Celebration: Steve Turre Sextet with James Carter, • Corniel and Grupo Chow Subrosa 8, 10 pm $20 Eyal Maoz, Grey McMurray Austrian Cultural Forum 7:30 pm Vincent Herring, Xavier Davis, Gerald Cannon, Dion Parson • Triage: Noah Jarrett, Jarrett Gilgore, Adam Niewood, Kevin Ripley; Mat Maneri, • Zhenya Strigalev’s Smiling Organizm with Alex Sipiagin, Aaron Parks, Matt Garrison, Dizzy’s Club 7:30, 9:30 pm $40 Craig Taborn, Ches Smith Korzo 9, 10:30 pm Matt Penman, Eric Harland; Spencer Murphy Band with John Chin, Tivon Pennicott, • Adam Moezinia Dizzy’s Club 11:30 pm $10 • Gino Sitson 4 with Helio Alves, Lonnie Plaxico, Willard Dyson Jeremy Dutton Smalls 7:30, 10:30 pm $20 • Soundpainting Festival: Brooklyn Soundpainting Ensemble; Zinc Bar 8, 10 pm $10 • Soundpainting Festival: Evan Mazunik’s ZAHA; Brooklyn Soundpainting Company; Leese Walker’s Strike Anywhere Performance Ensemble; Walter Thompson Orchestra • Four (un)Score(d): Janet Feder, Miguel Frasconi, Shoko Nagai, Jane Rigler; Walter Thompson Orchestra The Firehouse Space 8, 9, 10 pm $10 The Firehouse Space 8, 9, 10 pm $10 diNMachine; Heroes of Toolik ShapeShifter Lab 7, 8, 9 pm $10 • Kathleen Battle with Cyrus Chestnut • Kurt Elling’s Passion World Birdland 8:30, 11 pm $40-50 • Stan Killian Trio with Corcoran Holt, Colin Stranahan Blue Note 8, 10:30 pm $65 êAdam Nussbaum, , 55Bar 7 pm • Blue Note Jazz Festival: Svetlana and The Delancey Five with guest Wycliffe Gordon SEEDS 9 pm • Saul Rubin; Peter Brainin Latin Jazz Workshop Lucille’s at B.B. King’s 7, 9:30 pm $20-25 êRenee Rosnes Quartet with Steve Nelson, Peter Washington, Bill Stewart Fat Cat 7, 9 pm • Marc Mommaas with Jean-Michel Pilc, John Hebert, Tyshawn Sorey Village Vanguard 8:30, 10:30 pm $30 êZion80: Jon Madof, Frank London, Matt Darriau, Greg Wall, Jessica Lurie, Zach Mayer, Cornelia Street Café 8:30 pm $10 • Aquiles Navarro/Tcheser Holmes Silvana 6 pm Brian Marsella, Yoshie Fruchter, Shanir Blumenkranz, Marlon Sobol, Yuval Lion and êDavid Gibson Quartet with Josh Evans, Jared Gold, Kush Abadey • Dona Carter Bryant Park 12:30 pm guest Shlomit & RebbeSoul Joe’s Pub 9:30 pm $14 Jazz at Kitano 8, 10 pm $15 • Jason Ewald Group with Jim Saxa, Kevin Bernstein; Eva Lin with Daniel Ori, • JC Hopkins Biggish Band with Wayne Tucker, Seneca Black, Corey Wallace, Paul Orbell, Joe Hertenstein WhyNot Jazz Room 7:30, 9 pm $10 Claire Daly, Julian Pressley, Troy Roberts, Hill Greene, Noah Jackson, Charles Goold Saturday, June 13 • Ricardo Grilli Group with Aaron Parks, Joe Martin and guests Queen Esther, Melanie JB Charles, Charles Turner, King Solomon Hicks Cornelia Street Café 8:30 pm $10 Minton’s 7, 8:30, 10 pm $15-25 êPaal Nilssen-Love Large Unit with Thomas Johansson, Mats Äleklint, Julie Kjær, • Jamir Dias Group; David Kahn Tomi Jazz 8, 9:30 pm • J.D. Walter with Sam Newsome, Orrin Evans, Alex Claffy, Donald Edwards Klaus Holm, Per Åke Holmlander, Ketil Gutvik, Tommi Keränen, Jon Rune Strøm, • Addison Frei solo Jazz at Kitano 8 pm Smoke 7, 9, 10:30 pm $9 Christian Meaas Svendsen, Andreas Wildhagen, Christian Obermayer • Lisa Gutkin Trio with Pete Rushefsky, Remy Yulzari • Greg Glassman Quintet Fat Cat 10 pm First Unitarian Congregational Society 8 pm $15 Stephen Wise Free Synagogue 7:30 pm $15 • Nick Grinder’s Spot Marks with Nathan Ellman-Bell, Ethan Helm; êGold Sparkle Band: Andrew Barker, Charles Waters, Adam Roberts, Roger Ruzow • Rob Edwards Quartet; Nicholas Brust Quartet Mescalito: Leo Genovese/Gerald Cleaver and guests The Stone 8, 10 pm $15 The Garage 6, 10:30 pm WhyNot Jazz Room 7, 9 pm $10 • Gene Bertoncini/Clay Jenkins Trio with Ike Sturm • Barbara Fasano/Eric Comstock Metropolitan Room 7 pm $25 • Matt Lavelle’s 12 Houses with Ras Miguel, Nicole Davis, Tim Stocker, Ras Moshe, Jazz at Kitano 8, 10 pm $30 • Geoff Keezer/Steve Wilson Mezzrow 9:30 pm $20 Charles Waters, Lee Odom, Mary Cherney, Cheryl Tirpak, Gil Selinger, François Grillot, êIngrid Laubrock/Tom Rainey; James Brandon Lewis Trio with Max Johnson, • Julieta Eugenio Shrine 6 pm Chris Forbes, John Pietaro, Ryan Sawyer, Anders Nilsson Dominic Fragman New Revolution Arts 8, 9 pm êTed Daniel Rendall Memorial Presbyterian Church 12, 1 pm $15 The Stone 8, 10 pm $15 • E.J Strickland Project The Cell 8, 10 pm • Dona Carter Bryant Park 12:30 pm • Marquis Hill’s Blacktet with Christopher McBride, Justin Thomas, Joshua Ramos, êMatt Mitchell Quartet with Chris Speed, Chris Tordini, Dan Weiss; Makaya McCraven The Jazz Gallery 8, 10 pm $15 Devin Gray’s Relative Resonance with Chris Speed, Kris Davis, Chris Tordini • Travis Laplante; Feast of the Epiphany: Nick Podgurski, Caley Monahon-Ward, Greenwich House Music School 7:30 pm $30 Wednesday, June 10 Andrew Smiley, Keith Abrams Ibeam Brooklyn 8:30 pm $15 • Brooklyn Infinity Orchestra: David Bindman, Sean Sonderegger, Michaël Attias, • Pat Carroll Quintet with Phil Dizack, Sharik Hasan, Joshua Crumbly, Jimmy Macbride; Joe Moffett, Jen Baker, Lester St. Louis, Michael Bates, Andrew Drury êNational Jazz Museum in Harlem Benefit Concert with Dianne Reeves, Jonathan Greenstein Resolution Quintet with Eden Bareket, Michael King, Or Bareket, Spoke The Hub 7 pm $10 Joe Lovano Classic Quartet Kaye Playhouse 7:30 pm $35-55 Mark Whitfield, Jr. ShapeShifter Lab 7, 8:15 pm $10 êNasheet Waits Equality with Darius Jones, Aruán Ortiz, Mark Helias êBlue Note Jazz Festival: The Bad Plus: Ethan Iverson, Reid Anderson, Dave King and • Pirulo Y La Tribu Subrosa 8, 10 pm $20 Cornelia Street Café 9, 10:30 pm $10 guest Joshua Redman Highline Ballroom 7:30, 10 pm $30-60 • Tom Tallitsch Trio with Art Hirahara, Mark Ferber • Elsa Nilsson/Jon Cowherd Rockwood Music Hall Stage 3 7 pm • Kurt Elling’s Passion World Birdland 8:30, 11 pm $40-50 Bar Next Door 8:30, 10:30 pm $12 • Shenel Johns with Dezron Douglas Quartet êCharlie Hunter Trio with Curtis Fowlkes, Bobby Previte • Jonathan Saraga Sextet Metropolitan Room 7 pm $10 The Cell 8 pm Joe’s Pub 9:30 pm $20 • Yaniv Taubenhouse Trio Williamsburg Music Center 10 pm • John Benitez; Greg Glassman Jam • John Hollenbeck Large Ensemble with Theo Bleckmann, Kate McGarry, Ben Kono, • Eileen Howard Trio Tomi Jazz 9 pm $10 Fat Cat 10 pm 1:30 am Jeremy Viner, Tony Malaby, Dan Willis, Bohdan Hilash, Mark Patterson, • Joel Forrester Trio Cleopatra’s Needle 7 pm êRotem Sivan Trio with Matt Clohesy, Colin Stranahan Mike Christianson, Jacob Garchik, Alan Ferber, Tony Kadleck, Jon Owens, Dave Ballou, • Jim Hickey and Friends Symphony Space Bar Thalia 9 pm Bar Next Door 7:30, 9:30, 11:30 pm $12 Matt Holman, Matt Mitchell, Chris Tordini, Patricia Francheschy, JC Sanford • Champian Fulton Quartet; Gabe Valle Quartet • Chiemi Nakai Project with Justin Flynn, Carlo De Rosa, Vince Cherico Roulette 8 pm $20 The Garage 6, 10:30 pm ShapeShifter Lab 7 Pm $15 • Michael Feinstein’s Swinging Songs for Lovers with Freddy Cole, Patti Austin, • Kurt Elling’s Passion World Birdland 8:30, 11 pm $40-50 • Sylvia Mims with Matt Dechamplain, Matt Dwonszyk, Eliot Zigmund Julia Goodwin The Appel Room 7, 9 pm $75-115 • Michael Feinstein’s Swinging Songs for Lovers with Freddy Cole, Patti Austin, Metropolitan Room 7 pm $22.50 êEric Person Big Band with Duane Eubanks, Craig Bailey, Jim Seeley, Jonathan Beshay, Julia Goodwin The Appel Room 7, 9 pm $75-115 • Lunana and Her Lunanos; Dana Reedy Trio Dion Tucker, Sylvester Scott, Mark Williams, Frank Vacin, Adam Klipple, • BANN: Seamus Blake, Jay Anderson, Oz Noy, Adam Nussbaum Tomi Jazz 8, 11 pm $10 Adam Armstrong, Shinnosuke Takahashi SEEDS 9 pm • Jordan Piper Trio Cleopatra’s Needle 8 pm Dizzy’s Club 7:30, 9:30 pm $35 • Sullivan Fortner Mezzrow 9:30 pm $20 êDave Liebman/ Mezzrow 9:30 pm $20 • Adam Moezinia Dizzy’s Club 11:30 pm $5 êRenee Rosnes Quartet with Steve Nelson, Peter Washington, Bill Stewart • The Music Of Puente, Machito & Henriquez: Carlos Henriquez and the Jazz at • Raphael D’lugoff; Harold Mabern Trio; Ned Goold Jam Village Vanguard 8:30, 10:30 pm $30 Lincoln Center Orchestra with guests George Delgado, José Madera, Pete Nater, Fat Cat 7, 9 pm 12:30 am • Fernando Saci Silvana 6 pm Johnny “Dandy” Rodriguez Rose Theater 8 pm $30-120 êPRISM Quartet with Chris Potter, Ravi Coltrane • Leland Baker Quintet Shrine 6 pm êAaron Diehl with Joe Temperley, Brandon Lee, Stephen Riley, Paul Sikivie, Symphony Space Leonard Nimoy Thalia 7:30 pm $22 êBrian Charette Trio with Will Bernard, Eric Kalb Quincy Davis Ginny’s Supper Club 7:30, 9:30 pm $20 • Copa Village: Carol Saboya, Antonio Adolfo, Hendrik Meurkens Guitar Center Union Square 5 pm • Stanton Moore Trio with guests Blue Note 8, 10:30 pm $25 Zinc Bar 8, 10 pm $15-25 • Sharel Cassity/Lauren Sevian Band êIngrid Jensen Quintet with Christine Jensen, Gary Versace, Matt Clohesy, Jon Wikan êAdam Nussbaum Blues Tinge with Ohad Talmor, Nate Radley, Steve Cardenas Citigroup Center Plaza 12:30 pm and guest Joel Miller Smoke 7, 9, 10:30 pm $38 SEEDS 9 pm • Dona Carter Bryant Park 12:30 pm êJD Allen Trio with Gregg August, Rudy Royston • Tim Armacost/Yutaka Shiina Quintet with Mike Rodriguez, Yasushi Nakamura, Minton’s 7:30, 9:30 pm $25-50 Rudy Royston Jazz at Kitano 8, 10 pm $15 • Ralph Bowen Quartet with Jim Ridl, Kenny Davis, Donald Edwards; Stacy Dillard • David Berkman Band; Michael Feinberg’s Elvin Jones Project with Godwin Louis, Friday, June 12 Smalls 10:30 pm 1:30 am $20 Tivon Pennicott, Jean-Michel Pilc, Ian Froman; Sanah Kadoura Band with Stacy Dillard, • Chris Morrisey’s Standard Candle with Mike Lewis, Grey McMurray, Josh Dion Greg Glassman, Davis Whitfield, James Robbins • Celebrate Brooklyn!: ’s Emily’s D+Evolution; José James The Jazz Gallery 8:30, 10:30 pm $22 Smalls 7:30, 10:30 pm 1:30 am $20 Prospect Park Bandshell 7:30 pm • Rema Hasumi’s ITAK Ensemble with Masa Kamaguchi, Randy Peterson • Tim Green Quintet with Gilad Hekselman, Allyn Johnson, Matt Clohesy, Obed Calvaire êDave Liebman/Richie Beirach Mezzrow 9:30 pm $20 Ibeam Brooklyn 8:30 pm $15 Smoke 7, 9, 10:30 pm $9 • Blue Note Jazz Festival: Alicia Hall Moran with Jason Moran • Diane Jonston Knickerbocker Bar and Grill 9:45 pm $5 • Assemblage: Ryan Ingebritsen/Charles Waters; Charles Waters’ Anti Social Music Highline Ballroom 8 pm $25-55 êPat Martino Trio with Pat Bianchi, Carmen Intorre, Jr. and guests Adam Niewood, The Stone 8, 10 pm $15 • The Music Of Puente, Machito & Henriquez: Carlos Henriquez and the Jazz at Alex Norris Jazz Standard 7:30, 9:30 pm $35 êMasa Kamaguchi/Matt Pavolka; Russ Lossing, Samuel Blaser, Matt Pavolka, Lincoln Center Orchestra with guests George Delgado, José Madera, Pete Nater, • Rahsaan Roland Kirk 80th Birthday Celebration: Steve Turre Sextet with James Carter, Masa Kamaguchi, Jeff Davis Ibeam Brooklyn 8:30, 9:30 pm $10 Johnny “Dandy” Rodriguez Rose Theater 8 pm $30-120 Vincent Herring, Xavier Davis, Gerald Cannon, Dion Parson • Travis Laplante/Josh Sinton; Honey Ear Trio: Jeff Lederer, Rene Hart, Allison Miller; êAaron Diehl with Benny Golson, Buster Williams, Lawrence Leathers Dizzy’s Club 7:30, 9:30 pm $45 Psycollage: Daniel Carter, Demian Richardson, Pete Volino, Gerry Tuohy Ginny’s Supper Club 7:30, 9:30 pm $20 • Adam Moezinia Dizzy’s Club 11:30 pm $20 Threes Brewing 8, 9, 10 pm $15 • Stanton Moore Trio with guests Blue Note 8, 10:30 pm $25 • Soundpainting Festival: Brooklyn Soundpainting Percussion Ensemble; Cinesthesia; • LABtrio: Bram De Looze, Anneleen Boehme, Lander Gyselinck and guests • Ralph Alessi and Mainus with Florian Weber, Dan Weiss New York Soundpainting Orchestra; Brooklyn Soundpainting Ensemble; Michaël Attias, Christopher Hoffman Cornelia Street Café 9, 10:30 pm $10 Walter Thompson Orchestra and Guests Barbès 8 pm $10 êIngrid Jensen Quintet with Christine Jensen, Gary Versace, Matt Clohesy, Jon Wikan The Firehouse Space 8 pm $10 • Pedrito Martinez Group Subrosa 8, 10 pm $20 Smoke 7, 9, 10:30 pm $38 • Kurt Elling’s Passion World Birdland 8:30, 11 pm $40-50 • Noah Jackson Sextet Minton’s 7, 8:30, 10 pm $10 êJD Allen Trio with Gregg August, Rudy Royston êAdam Nussbaum, David Virelles, Ohad Talmor • Sullivan Fortner Mezzrow 9:30 pm $20 Minton’s 7:30, 9:30 pm $25-50 SEEDS 9 pm • Alex LoRe Quartet with Glenn Zaleski, Desmond White, Colin Stranahan • Renaud Penant Trio with Steve Ash, Chris Haney; Ralph Bowen Quartet with Jim Ridl, êRenee Rosnes Quartet with Steve Nelson, Peter Washington, Bill Stewart Cornelia Street Café 8:30 pm $10 Kenny Davis, Donald Edwards Smalls 7:30, 10:30 pm $20 Village Vanguard 8:30, 10:30 pm $30 • Vilray Rye 9 pm $10 • Chris Morrisey’s Standard Candle with Mike Lewis, Grey McMurray, Josh Dion • Anders Nilsson/Ken Filiano Barbès 6 pm $10 • Sein Oh Trio; Takao Heisho 4 Tomi Jazz 8, 11 pm The Jazz Gallery 8:30, 10:30 pm $22 • Roz Corral Group with Paul Bollenback, Orlando Le Fleming, Steve Williams • Mayu Saeki Trio; Eiko Rikuhashi Quartet • Constructionburg Festival Orchestra: Katie Pawluk, James Ilgenfritz, Charles Waters; 55Bar 6, 7:45 pm The Garage 6, 10:30 pm Andrew Barker, Daniel Carter, William Parker, Charles Waters • Asako Takasaki Shrine 6 pm êRoy Haynes Blue Note 8, 10:30 pm $45 The Stone 8, 10 pm $15 • Kyoko Oyobe City Crab 12 pm êRenee Rosnes Quartet with Steve Nelson, Peter Washington, Bill Stewart • Centennial Celebration: Loston Harris Trio • Chuck Braman Trio; Brooks Hartell Trio; King Solomon Hicks Village Vanguard 8:30, 10:30 pm $30 Rubin Museum 7 pm $25 The Garage 12, 6:15, 10:45 pm

44 JUNE 2015 | THE NEW YORK CITY JAZZ RECORD “One hell of a monolithic jazz colossus. Big band jazz just took another evolutionary step.”

PAAL NILSEN-LOVE

THOMAS JOHANSSON – CORNET • MATS ÄLEKLINT - TROMBONE JULIE KJÆR – REEDS • KLAUS HOLM – REEDS • PER ÅKE HOLMLANDER – TUBA KETIL GUTVIK – GUITAR • TOMMI KERÄNEN – ELECTRONICS JON RUNE STRØM – BASS • CHRISTIAN MEAAS SVENDSEN – BASS ANDREAS WILDHAGEN – DRUMS • PAAL NILSSEN-LOVE – DRUMS CHRISTIAN OBERMAYER – LIVE SOUND

JUNE 13 2015 ISSUE PROJECT ROOM FIRST PERFORMANCE IN USA 8PM • FIRST UNITARIAN CONGREGATIONAL SOCIETY: 116 PIERREPONT ST., BROOKLYN, NY

DEBUT ALBUM “ERTA ALE” OUT NOW ON 3XCD / 4XLP / 3XMC ON PNL RECORDS. DISTRIBUTED BY: MUSIKKOPPERATØRENE, METAMKINE, CATALYTIC SOUND, DMG AND SQUIDCO

NORTH AMERICAN TOUR 2015: 13.06: BROOKLYN, NY • 14.06: BALTIMORE, MD • 15.06: RALEIGH, NC • 16.06: COLUMBIA, SC • 17.06: LEXINGTON, KY 19.06: BUFFALO, NY • 20.06: MONTREAL, QC • 21.06: MONTREAL, QC • 22.06: , ON • 23.06: DETROIT, MI 24.06: MILWAUKEE, WI • 25.06: CHICAGO, IL • 27.06: VANCOUVER, BC • 28.06: SEATTLE, WA

UNDERWRITING SUPPORT PROVIDED BY THE ROBERT D. BIELECKI FOUNDATION Sunday, June 14 • Chris McNulty with John Di Martino, Paul Bollenback, Ugonna Okegwo, Matt Wilson êSpace Cake: Leo Genovese, Gene Perla, 54Below 9:30 pm $25-35 WhyNot Jazz Room 7, 9 pm $10 êSun Ra Arkestra Rough Trade 8 pm $20 • Kaoru Watanabe ShapeShifter Lab 7:30 pm $10 êBriggan Krauss The Firehouse Space 8 pm $10 • Gato Barbieri Blue Note 8, 10:30 pm $45 • Lauren Henderson Quintet with Sullivan Fortner, Alex Cummings, Eric Wheeler, êAlexis Cole with Joel Frahm, John Di Martino, David Finck, Kenny Hassler êGold Sparkle Orchestra: Andrew Barker, Charles Waters, Sabir Mateen, Adam Roberts, Lawrence Leathers Minton’s 7, 8:30, 10 pm $10-20 Smoke 7, 9, 10:30 pm $9 Roger Ruzow and guests The Stone 8, 10 pm $15 • Alan Ferber Nonet with , Jon Gordon, John Ellis, Charles Pillow, êDezron Douglas Trio with guest Tony Hewitt êDuane Eubanks Quintet with Abraham Burton, David Bryant, Dezron Douglas, Nate Radley, Bryn Roberts, Matt Clohesy, Mark Ferber; Dan Cray Trio with Minton’s 7, 8:30, 10 pm $15-25 Eric McPherson Minton’s 5:30, 7, 8:30 pm$10-20 Clark Sommers, Mark Ferber Korzo 9, 10:30 pm êBrian Landrus Trio with Lonnie Plaxico, Billy Hart • Connie Crothers; Kyoko Kitamura, Ingrid Laubrock, Ken Filiano • Sam Trapchak Quartet with Greg Ward, Tom Chang, Christian Coleman Cornelia Street Café 8:30 pm $10 Soup & Sound 8 pm $15 Cornelia Street Café 8:30 pm $10 • Brian Groder Trio with Michael Bisio, • Sebastien Ammann Quintet with Michaël Attias, Samuel Blaser, John Hébert, • Ehud Asherie Trio; Lucas Pino No Net Nonet with Mike Rodriguez, Alex LoRe, Muchmore’s 9:30 pm Billy Mintz Cornelia Street Café 8:30 pm $10 Nick Finzer, Andrew Gutauskas, Alex Wintz, Glenn Zaleski, Desmond White, • MUSICMUSICMUSIC: Fabian Kallerdahl, Josef Kallerdahl, Michael Edlund; êPeter Leitch/Harvie S Walker’s 8 pm Jimmy Macbride; Alex Claffy and Friends The Splendor: Lisen Rylander Löve, Fabian Kallerdahl, Lars Källfelt, Josef Kallerdahl • Bruce Harris Band Smalls 10:30 pm $20 Smalls 7:30, 9:30 pm 12:30 am $20 Scandinavia House 7 pm $15 • Jonathan Kreisberg Mezzrow 9:30 pm $20 • Saul Rubin; Són De Mádre Fat Cat 7, 9 pm • New West Guitar Group: Perry Smith, John Storie, Will Brahm with guests • Terry Waldo’s Gotham City Band; Alexi; Brandon Lewis/Renee Cruz Jam • Joshua Kwassman’s Brother Spirit Gretchen Parlato, Sara Gazarek, Peter Eldridge Fat Cat 6, 8:30 pm 1 am SubCulture 9 pm $20 SubCulture 8 pm $20 • Matt Marantz Quartet with Martin Nevin, Sam Harris, Jochen Rueckert; • Tom Beckham/Brad Shepik 55Bar 7 pm • Theo Bleckmann/Kirk Nurock; Theo Bleckmann/Ben Monder Sam Harris Trio with Martin Nevin, Craig Weinrib • Aimée Allen’s Matter of Time with Toru Dodo, François Moutin, Jacob Melchior The Stone 8, 10 pm $15 ShapeShifter Lab 7, 8:15 pm $15 The Cutting Room 7:30 pm $20 • Maryanne de Prophetis/Adam Caine; Virg Dzurinko and Friends • Jure Pukl Trio with Will Slater, Zan Tetickovic • PJ Rasmussen Quartet with Cassandra Kubinski, Daseul Kim, Joe Spinelli; Ibeam Brooklyn 8, 9:30 pm $15 Meridian 23 8 pm Amanda Cross with Alberto Pibiri, Nathan Peck, Tom Pollard • Paul Nedzela Band; Ken Fowser Band with Rick Germanson, Gerald Cannon, • Jessica Ackerley Trio with Mat Muntz, Curtis Nowosad WhyNot Jazz Room 7, 9 pm $10 Willie Jones III, Josh Bruneau Smalls 7:30, 10:30 pm $20 WhyNot Jazz Room 7 pm $10 • Spike Wilner Mezzrow 9:30 pm $20 • Alex Wintz Trio with Dave Baron, Jake Goldbas • Harvey Fraser; In Sonitus Lux: Serson Brannen/Pablo Dimitri Wilder • Tom Finn Trio with Martin Nevin, Craig Weinrib Bar Next Door 8:30, 10:30 pm $12 ABC No-Rio 7 pm $5 Bar Next Door 8:30, 10:30 pm $12 • Allyn Johnson Mezzrow 9:30 pm $20 • Setuko Hata Trio Tomi Jazz 8 pm • Chieko Honda Duo; Kerry Politzer, Chieko Honda, Laura Dreyer • Point of Departure Fat Cat 10 pm • John Lander Trio Caffe Vivaldi 9 pm Tomi Jazz 8, 9:30 pm • Melanie Goerlitz and The Bianco Martinis; Steven Chera êAaron Diehl with Wynton Marsalis, Victor Goines, Charenee Wade, Paul Sikivie, • Addison Frei solo Jazz at Kitano 8 pm Metropolitan Room 7, 9:30 pm $15-20 Quincy Davis Ginny’s Supper Club 7:30, 9:30 pm $20 • Aaron Alexander Klezmer Kapelye Stephen Wise Free Synagogue 7:30 pm $15 • Kate Cosco Trio Cleopatra’s Needle 7 pm êIngrid Jensen Quintet with Christine Jensen, Gary Versace, Matt Clohesy, Jon Wikan • Edge of Jazz; Ram Erez Trio The Garage 6, 10:30 pm • Dorian Devins Symphony Space Bar Thalia 9 pm Smoke 7, 9, 10:30 pm $38 êDavid Murray Trio with Geri Allen, Terri Lyne Carrington • Scot Albertson Duo Tomi Jazz 9 pm $10 êPat Martino Trio with Pat Bianchi, Carmen Intorre, Jr. and guests Adam Niewood, Blue Note 8, 10:30 pm $35 • Rick Stone Trio; Joonsam Lee Trio The Garage 6, 10:30 pm Alex Norris Jazz Standard 7:30, 9:30 pm $30 • Terence Nolan Silvana 6 pm • Equilibrium: Brad Baker, Pam Belluck, Rich Russo, Elliot Honig, Terry Schwadron, • Rahsaan Roland Kirk 80th Birthday Celebration: Steve Turre Sextet with James Carter, • Joey Wagner Shrine 6 pm Dan Silverstone Caffe Vivaldi 8 pm Vincent Herring, Xavier Davis, Gerald Cannon, Dion Parson êVincent Chancey Rendall Memorial Presbyterian Church 12, 1 pm $15 êBlue Note Jazz Festival: Ginger Baker Quartet with Pee Wee Ellis, Alec Dankworth, Dizzy’s Club 7:30, 9:30 pm $35 êDaryl Sherman Bryant Park 12:30 pm Abass Dodoo B.B. King’s Blues Bar 8 pm $42.50-80 êRenee Rosnes Quartet with Steve Nelson, Peter Washington, Bill Stewart êEric Revis Trio with Kris Davis, Gerald Cleaver Village Vanguard 8:30, 10:30 pm $30 The Jazz Gallery 8, 10 pm $15 • Kyoko Kitamura/Nicolas Letman-Burtinovic Wednesday, June 17 • Steve Davis Trio with David Hazeltine, David Williams Downtown Music Gallery 6 pm Mezzrow 9:30 pm $20 • Bediam Swing Silvana 6 pm êShunzo Ohno The Cutting Room 7:30 pm $25 êStanley Cowell Quartet with Bruce Williams, Jay Anderson, Billy Drummond • Lukas Ligeti Festival: Vicky Chow; Ensemble mise-en êBlue Note Jazz Festival: Ginger Baker Quartet with Pee Wee Ellis, Alec Dankworth, Village Vanguard 8:30, 10:30 pm $30 Roulette 5:30 pm $20 Abass Dodoo B.B. King’s Blues Bar 8 pm $42.50-80 êFour Generations of Miles: , Mike Stern, Buster Williams, Jimmy Cobb • Angelo Di Loreto Trio Saint Peter’s 5 pm êEric Revis Trio with Kris Davis, Gerald Cleaver Birdland 8:30, 11 pm $40-50 • Tribute To Clifford Brown and Booker Little: Bruce Harris, Vitaly Golovnev, Theo Hill, The Jazz Gallery 8, 10 pm $15 • Javon Jackson 50th Birthday Celebration with Jeremy Manasia, David Williams, Mike Karn, Peter Van Nostrand The West End Lounge 4 pm $25 • Steve Davis Trio with David Hazeltine, David Williams Willie Jones III Dizzy’s Club 7:30, 9:30 pm $30 • Quarter 2 Four Metropolitan Room 4 pm $22.50 Mezzrow 9:30 pm $20 • George DeLancey Dizzy’s Club 11:30 pm $10 • Michelle Walker Perez Jazz 3 pm $20 • Theo Bleckmann, Gary Versace, Chris Tordini, John Hollenbeck, Ben Monder; • Nick Ascher Quartet Silvana 6 pm • Paul Gabriel Winston solo Beethoven Pianos 2:30 pm $25 Refuge Trio: Theo Bleckmann, Gary Versace, John Hollenbeck • JC Sanford Shrine 6 pm • Camila Meza Quartet with Shai Maestro, Matt Penman, Eric Doob The Stone 8, 10 pm $15 • Greg Lewis Organ Monk Citigroup Center Plaza 12:30 pm Blue Note 11:30 am 1:30 pm $35 • Joshua Breakstone Cello-Quartet with Lisle Atkinson, Mike Richmond, Andy Watson • Carol Sudhalter’s Sophisticated Ladies with Elena Camerin, Katie Cosco, • Roz Corral Trio with Dave Stryker, Paul Gill Jazz at Kitano 8, 10 pm $15 Michaela Coppola, Sylvia Cuenca, Melissa Slocum, Deborah Weisz, Nicoletta Manzini North Square Lounge 12:30, 2 pm • Glass House Orchestra: Frank London, Pablo Aslan, , Yonadav Halevy, 345 Park 12:30 pm • Glenn Crytzer Quartette Rainbow Room 12:30 pm $95 Jake Shulman-Ment, Miklós Lukács, Béla Ágoston, Szirtes Edina Mókus; Muzsikás: êDaryl Sherman Bryant Park 12:30 pm • Jason Ennis City Crab 12 pm Mihály Sipos, László Porteleki, Péter Éri, Dániel Hamar, Ágnes Herczku • Lou Caputo Quartet; David Coss Quartet; Afro Mantra Skirball Center 8 pm $36 The Garage 11:30 am 6:30, 11 pm • Pete Rodriguez El Conde Negro with Luis Perdomo, Roberto Quintero, Friday, June 19 êRed Hook Jazz Festival: Jason Kao Hwang’s Amygdala with Rami Seo, Ricky Rodriguez, Rudy Royston Minton’s 7, 8:30, 10 pm $10 Michael Wimberly; Alon Nechushtan Quintet with Duane Eubanks, Donny McCaslin, êEivind Opsvik’s Overseas with Tony Malaby, Brandon Seabrook, Jacob Sacks, • Tony Bennett and Lady Gaga Radio City Music Hall 8 pm $59-150 François Moutin, Ari Hoenig; Ahmed Abdullah Trio with Radu Ben Judah, Kenny Wollesen Greenwich House Music School 8 pm $15 êGeorge Coleman Quartet with Harold Mabern, John Webber, Joe Farnsworth Reggie Nicholson; Ben Monder Trio with Eivind Opsvik, Ben Perowsky; • Adam Kolker Trio with Steve Cardenas, Billy Mintz Smoke 7, 9 pm $38 Trio X: Joe McPhee, Dominic Duval, Jay Rosen and guest Rosi Hertlein Cornelia Street Café 8:30 pm $10 • Steve Kuhn Mezzrow 8:30 pm $20 Urban Meadow 1 pm $10 • Matt Pavolka Horns Band with Kirk Knuffke, Loren Stillman, Jacob Garchik, • Antonio Sanchez and Migration with Donny McCaslin, John Escreet, Matt Brewer and Mark Ferber SEEDS 8:30 pm guests Thana Alexa, Adam Rogers Monday, June 15 • Joris Teepe 5tet Tribute to Rashied Ali with Josh Evans, Lawrence Clark, Greg Murphy, SubCulture 8 pm $25 Shinnosuke Takahashi; Sanah Kadoura Band with Stacy Dillard, Greg Glassman, • Vernon Reid Iridium 8:30, 10:30 pm $25 • Blue Note Jazz Festival: Gregoire Maret’s The Inner Voice Ensemble with guest Davis Whitfield, James Robbins Smalls 7:30 pm 1:30 am $20 • Warren Wolf and the Wolfpack with Alex Brown, Kris Funn, John Lamkin Lizz Wright Highline Ballroom 8 pm $25-50 • Roxy Coss Quintet with Alex Wintz, Chris Pattishall, Rahsaan Carter, Willie Jones III Dizzy’s Club 7:30, 9:30 pm $40 êDavid Murray Trio with Geri Allen, Terri Lyne Carrington Smoke 7, 9, 10:30 pm $9 • George DeLancey Dizzy’s Club 11:30 pm $10 Blue Note 8, 10:30 pm $35 êJohn Yao and His 17-piece Instrument with John O’Gallagher, Alejandro Aviles, êCharles Evans’ On Beauty with David Liebman, Tony Marino, Ron Stabinsky êSamuel Blaser, Mike McGinnis, Michael Bates, Harris Eisenstadt; Rich Perry, Jon Irabagon, Frank Basile, John Walsh, Jason Wiseman, David Smith, Greenwich House Music School 8 pm $15 HE QUAKE: Jake Henry, Nathaniel Morgan, Devin Gray Andy Gravish, Luis Bonilla, Matt McDonald, Kajiwara Tokunori, Jennifer Wharton, • Freddie Bryant Trio with Martin Jaffe, Willard Dyson Delroy’s Cafe and Wine Bar 9, 10 pm $10 Jesse Stacken, Robert Sabin, Vince Cherico Bar Next Door 7:30, 9:30, 11:30 pm $12 • George Braith; Billy Kaye Jam Fat Cat 9 pm 12:30 am ShapeShifter Lab 7, 8:15 pm $15 • Michela Marino Lerman Salute to Betty Carter with Charenee Wade êDmitry Baevsky Quartet with Jeb Patton, David Wong, Joe Strasser • Ark Ovrutski Quintet with Michael Thomas, Benny Benack III, Theo Hill, Jason Brown Ginny’s Supper Club 7:30, 9:30 pm $15 Dizzy’s Club 7:30, 9:30 pm $30 Zinc Bar 9 pm • Ralph Lalama’s Bop-Juice with Mike Karn, Clifford Barbaro; Neal Smith Band; êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 • Anthony Strong Rockwood Music Hall Stage 3 7 pm $15 Eric Wyatt Group with Benito Gonzalez, Eric Wheeler, Shinnosuke Takahashi êOrrin Evans Captain Black Big Band • Raphael D’lugoff; Don Hahn Band; Ned Goold Jam Smalls 7:30, 10:30 pm 1:30 am $20 Smoke 7, 9 pm $9 Fat Cat 7, 9 pm 12:30 am • Point of Departure Fat Cat 10:30 pm êBria Skonberg and her Jazz Compatriots • Tony Corrao Metropolitan Room 7 pm $22.50 êSkirl Records Party: Sean Sonderegger with Harvey Valdes, Joe Hertenstein, Rainbow Room 6:30 pm $175 • The Pride of Lowell: Patrick Breiner/Max Goldman; James Carney Group with Greg Chudzik, Areni Agbabian; Simon Jermyn’s Trot A Mouse with Mat Maneri, • Ari Hoenig Quartet with Tivon Pennicott, Jean-Michel Pilc, Johannes Weidenmuller; Tony Malaby, Chris Lightcap, Mark Ferber Ingrid Laubrock, Tom Rainey; Arnold Hammerschlag with Sam Bardfeld, Jonathan Michel Smalls 10:30 pm 1 am $20 Rye 9 pm $10 Wil Holshouser, Fima Ephron, Aaron Alexander; Devin Gray Band; Leah Paul’s Trenza • Tal and Dida Peled Mezzrow 9:30 pm $20 • Dit Cats: Nicolas Letman-Burtinovic, Gary Fisher, Nathan Elman-Bell Jalopy 8 pm $15 • Davy Mooney Trio with Linda Oh, Mark Ferber Bar Chord 9 pm • Russ Kassoff/Jay Anderson Knickerbocker Bar and Grill 9:45 pm $5 Cornelia Street Café 8:30 pm $10 • Hironobu Honshuku Trio Tomi Jazz 8 pm • Becca Stevens with Jo Lawry, Chris Turner, Timo Andres, Nathan Schram, • Kazuki Yamanaka; Sebastian Noelle Group with Matt Clohesy, Dan Weiss • Marc Devine Trio; Arthur Sadowsky Trio Hamilton Berry, Liam Robinson, Chris Tordini, Jordan Perlson ShapeShifter Lab 8:15, 9:30 pm $10 The Garage 6, 10:30 pm The Jazz Gallery 8, 10 pm $22 • Peter and Will Anderson Rockwood Music Hall Stage 3 7 pm $10 êStanley Cowell Quartet with Bruce Williams, Jay Anderson, Billy Drummond • Lynette Washington/Dennis Bell Jazz New York with Alex Blake, Victor Jones, • Cat Toren Band with Kenji Herbert, Adam Hopkins, Nathan Ellman-Bell and guest Village Vanguard 8:30, 10:30 pm $30 Jacques Schwarz-Bart Jazz at Kitano 8, 10 pm $30 Michaël Attias; NMN: Michaël Attias, Noah Garabedian, Nathan Ellman-Bell êFour Generations of Miles: Sonny Fortune, Mike Stern, Buster Williams, Jimmy Cobb • JC Hopkins Biggish Band with Wayne Tucker, Seneca Black, Corey Wallace, Ibeam Brooklyn 7:30 pm $10 Birdland 8:30, 11 pm $40-50 Claire Daly, Julian Pressley, Christopher McBride, Noah Jackson, Charles Goold • Sonia Szajnberg Trio with Matt Davis, Leon Boykins • Javon Jackson 50th Birthday Celebration with Jeremy Manasia, David Williams, and guests Melanie JB Charles, Tapper Dewitt Fleming, Jr., Charles Turner, Bar Next Door 8:30, 10:30 pm $12 Willie Jones III Dizzy’s Club 7:30, 9:30 pm $30 King Solomon Hicks Minton’s 7:30, 9:30 pm $25-50 • Marcella Camargo Duo Tomi Jazz 8 pm • George DeLancey Dizzy’s Club 11:30 pm $5 • Theo Bleckmann solo; Theo Bleckmann/Rob Schwimmer • Sammy Miller Big Band; Michika Fukumori Trio • Samba Exótico: The Assad Brothers with Romero Lubambo The Stone 8, 10 pm $15 The Garage 7, 10:30 pm Jazz Standard 7:30, 9:30 pm $30 êRoberta Piket solo; Billy Mintz 2 Bass Band with Ron Horton, Joe Magnarelli, • Jeff Barone Trio Silvana 6 pm êDavid Murray Trio with Geri Allen, Terri Lyne Carrington Brian Drye, Mark Patterson, Curtis Folkes, Adam Kolker, John O’Gallager, • Yoshiki Miura Group Shrine 6 pm Blue Note 8, 10:30 pm $35 Kenny Berger, Masa Kamaguchi, Cameron Brown êDaryl Sherman Bryant Park 12:30 pm • Jon LaTona Silvana 6 pm Ibeam Brooklyn 8:30, 9:30 pm $15 êEric Plaks Quintet Shrine 6 pm • Petros Klampanis Group with Jean-Michel Pilc, John Hadfield, Maria Manousaki, êSheila Jordan/Cameron Brown Saint Peter’s 1 pm $10 Gokce Erem, Carrie Frey, Colin Stokes Tuesday, June 16 êDaryl Sherman Bryant Park 12:30 pm Cornelia Street Café 9, 10:30 pm $10 • Adam Larson Quartet with Glenn Zaleski, Joshua Crumbly, Eric Doob; êStanley Cowell Quartet with Bruce Williams, Jay Anderson, Billy Drummond Marko Djordjevic’s Sveti with Tivon Pennicott, Evan Marien Village Vanguard 8:30, 10:30 pm $30 Thursday, June 18 WhyNot Jazz Room 7, 11 pm $10 êThe 3 Jazzy Tenors: Houston Person, Lew Tabackin, Jerry Weldon, Ted Rosenthal, • Tom Blatt Trio Tomi Jazz 9 pm $10 Noriko Ueda, Quincy Davis Riverdale Y 7:30 pm $30 • Abdullah Ibrahim and Ekaya Blue Note 8, 10:30 pm $45 • Ai Murakami Trio Cleopatra’s Needle 8 pm êFour Generations of Miles: Sonny Fortune, Mike Stern, Buster Williams, Jimmy Cobb • Blue Note Jazz Festival: Buika Town Hall 8 pm $55-125 • Al Marino Quartet; Kevin Dorn and the BIG 72 Birdland 8:30, 11 pm $40-50 • Celebrate Brooklyn!: Bill Frisell Trio with guest Sam Amidon The Garage 6:15, 10:45 pm êEdward Simon with Miguel Zenón The Jazz Gallery 8, 10 pm $15 Prospect Park Bandshell 7:30 pm • Abdullah Ibrahim and Ekaya Blue Note 8, 10:30 pm $45 • Javon Jackson 50th Birthday Celebration with Jeremy Manasia, David Williams, êThe Clayton Brothers: Jeff, Gerald and John Clayton, Terell Stafford, Obed Calvaire êThe Clayton Brothers: Jeff, Gerald and John Clayton, Terell Stafford, Obed Calvaire Willie Jones III Dizzy’s Club 7:30, 9:30 pm $30 Jazz Standard 7:30, 9:30 pm $30 Jazz Standard 7:30, 9:30 pm $35 • George DeLancey Dizzy’s Club 11:30 pm $5 êSteve Coleman and Five Elements with Jonathan Finlayson, Miles Okazaki, êStanley Cowell Quartet with Bruce Williams, Jay Anderson, Billy Drummond • Samba Exótico: The Assad Brothers with Romero Lubambo Anthony Tidd Whitney Museum 8 pm Village Vanguard 8:30, 10:30 pm $30 Jazz Standard 7:30, 9:30 pm $30 êDaryl Sherman Trio with James Chirillo, Harvie S êFour Generations of Miles: Sonny Fortune, Mike Stern, Buster Williams, Jimmy Cobb • Nora McCarthy Trio with Mike Longo Jazz at Kitano 8, 10 pm $15 Birdland 8:30, 11 pm $40-50 NYC Baha’i Center 8, 9:30 pm $15 êChristian Sands Trio with Ben Williams, Marcus Baylor • Michael Farrell Trio Silvana 6 pm • Theo Bleckmann/Uri Caine; Theo Bleckmann/John Hollenbeck Ginny’s Supper Club 7:30, 9:30 pm $15 • Rodrigo Bonelli Septet Shrine 6 pm The Stone 8, 10 pm $15 êDaryl Sherman Bryant Park 12:30 pm

46 JUNE 2015 | THE NEW YORK CITY JAZZ RECORD Saturday, June 20 • Jean Philippe Vidal/Veronika Rodriguez • Chris Potter Underground Orchestra Metropolitan Room 4 pm $22.50 Madison Square Park 7 pm êRan Blake/Sara Serpa Duo Jazz at Kitano 8, 10 pm $30 • Johnny O’Neal Trio Blue Note 11:30 am 1:30 pm $35 • Robert Glasper Trio Blue Note 8, 10:30 pm $35 êRandy Weston African Rhythms Trio with Alex Blake, Neil Clarke • The Ladybugs Rainbow Room 12:30 pm $95 • Blue Note Jazz Festival: The Rippingtons Minton’s 7:30, 9:30 pm $25-50 • Laura Angyal Trio; David Coss Quartet; Danny Green Trio B.B. King’s Blues Bar 8 pm $42.50-77.50 êThumbscrew: Mary Halvorson, Michael Formanek, Tomas Fujiwara The Garage 11:30 am 6:30, 11 pm êPlucky Strum: Harvie S/Sheryl Bailey Cornelia Street Café 9, 10:30 pm $10 • Kelsey Jillette Trio with Paul Meyers, David Silliman Jazz at Kitano 8, 10 pm $15 • Sheryl Bailey Trio with Pat Bianchi, Ian Froman North Square Lounge 12:30, 2 pm • George Colligan Mezzrow 9:30 pm $20 Bar Next Door 7:30, 9:30, 11:30 pm $12 • Mark Marino City Crab 12 pm • Lummie Spann Quartet with David Bryant, Ameen Saleem, Jeremy “Bean” Clemons • Timucin Sahin Quartet with Matt Moran, Drew Gress, Tom Rainey êBang on a Can Marathon: Bang on a Can All-Stars and guest Gong Linna; Smoke 7, 9, 10:30 pm $9 ShapeShifter Lab 9:30 pm $15 Sō Percussion with Bobby Previte, Nels Cline; Cyro Baptista and Friends; • MARS: Miles Okazaki, Anjna Swaminathan, Rajna Swaminathan, Stephan Crump • Hello Earth—The Music of Kate Bush: Theo Bleckmann, Laila Biali, Chris Tarry, Glenn Branca Ensemble; Grand Band; Asphalt Orchestra; Crossfire Steel Orchestra; Cornelia Street Café 8:30 pm $10 Ben Wittman, Caleb Burhans The Stone 8, 10 pm $15 Dither Guitar Quartet; Third Angle New Music êBand of Bones Zinc Bar 9 pm êUnderground Horns Nublu 10:30 pm Winter Garden 12 pm • Benny Benack III Band with Emmet Cohen, Russell Hall, Mark Whitfield, Jr. • Revive Big Band led by Igmar Thomas with guests êRed Hook Jazz Festival: Kenny Wessel Quartet with Lisa Parrott, Matt Pavolka, Minton’s 7, 8:30, 10 pm $10 Ginny’s Supper Club 7:30, 9:30 pm $15 Warren Smith; The Mighty Grinders: Brian Charette, Will Bernard, Eric Kalb; • Harlem Blues and Jazz Band Brooklyn Public Library Central Branch Plaza 7 pm • Jason Mears’ 20 Ton Bridge with Quentin Tolimieri, James Ilgenfritz, Andrew Drury Rez Abbasi’s Junction with Mark Shim, Ben Shivers, Kenny Grohowski; • Brad Farberman The Firehouse Space 9 pm $10 Ibeam Brooklyn 8:30 pm $15 Eric Person Trio with Adam Armstrong, Shinnosuke Takahashi; • Three Minute Mullet: Joe Moffett, Joanna Mattrey, Henry Fraser, Connor Baker; • Chris Massey’s Nue Jazz Project with Tivon Pennicott, Benny Benack III, Brooklyn Qawwali Party: Loren Stillman, Brian Drye, Rob Jost, Noah Jarrett, Simon Jermyn Trio with Jerome Sabbagh, Tom Rainey Willerm Delisfort, Ryan Berg WhyNot Jazz Room 8:30 pm $10 Michael Bellar, Brook Martinez Urban Meadow 1 pm $10 Rye 9 pm $10 • Gabrielle Stravelli Cafe Noctambulo at Pangea 7, 9 pm $20 • Blivet: Jon Madof, Brian Marsella, Shanir Blumenkranz, Mathias Künzli; • Sumbaya; George Burton Group; Greg Glassman Jam Bop Kabbalah: Ty Citerman, Ben Holmes, Ken Thomson, Adam D Gold Fat Cat 7, 10 pm 1:30 am Monday, June 22 ShapeShifter Lab 7, 8:15 pm $12 • Paul Sanwald Quartet The Drawing Room 7 pm $10 • Raphael D’lugoff; Ark Ovrutski Quintet with Michael Thomas, Benny Benack III, • Veronika Rodriguez Metropolitan Room 7 pm $22.50 êOliver Lake Organ Quartet with Freddie Hendrix, Jared Gold, Chris Beck Theo Hill, Jason Brown; Ned Goold Jam • DeSoto solo Pete’s Candy Store 8 pm Blue Note 8, 10:30 pm $25 Fat Cat 7, 9 pm 12:30 am • Ken Kobayashi; Nick Morrison Tomi Jazz 8, 11 pm $10 • Tony Bennett and Lady Gaga Radio City Music Hall 8 pm $59-150 • Song Yi Jeon Trio Tomi Jazz 8 pm • Satchmo Mannan Trio with Vinnie Knight, Wink “Flythe” Ellington • Jamison Ross with Rick Lollar, Chris Pattishall, Corcoran Holt, Dayve Stewart, • Tori Gee and Trio; Tsutomu Naki Trio Cleopatra’s Needle 8 pm Alphonso Horne Dizzy’s Club 7:30, 9:30 pm $30 The Garage 6, 10:30 pm • Tony Bennett and Lady Gaga Radio City Music Hall 8 pm $59-150 • Joe Morris solo; Joe Morris, Daniel Levin, Jaimie Branch, Joe Moffett • Odd Albrigtsen 4tet with Gianni Gagliardi, Lars Ekman, Jesse Simpson êGeorge Coleman Quartet with Harold Mabern, John Webber, Joe Farnsworth Ibeam Brooklyn 8:30, 9:30 pm $15 Caffe Vivaldi 9 pm Smoke 7, 9 pm $38 • Amirtha Kidambi Quartet with Matt Nelson, Brandon Lopez, Max Jaffe êHarold Mabern Trio with John Webber, Joe Farnsworth • Steve Kuhn Mezzrow 8:30 pm $20 Roulette 8 pm $20 Village Vanguard 8:30, 10:30 pm $30 • Warren Wolf and the Wolfpack with Alex Brown, Kris Funn, John Lamkin êJosh Sinton/Nate Wooley; Megan Schubert/Jamie Jordan • Dion Parson and 21st Century Band with Ron Blake, Rashawn Ross, Carlton Holmes, Dizzy’s Club 7:30, 9:30 pm $45 Delroy’s Cafe and Wine Bar 9, 10 pm $10 Reuben Rogers, Victor Provost Dizzy’s Club 7:30, 9:30 pm $35 • George DeLancey Dizzy’s Club 11:30 pm $20 êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 • Dean Tsur Dizzy’s Club 11:30 pm $5 • Roberta Piket solo; Billy Mintz 2 Bass Band with Ron Horton, Joe Magnarelli, êOrrin Evans Captain Black Big Band • Benny Green Trio with David Wong, Rodney Green Mark Patterson, Curtis Folkes, Kenny Berger, Adam Kolker, John O’Gallagher, Smoke 7, 9 pm $9 Jazz Standard 7:30, 9:30 pm $30 Cameron Brown, Masa Kamaguchi; Neal Smith Band; Philip Harper • Welf Dorr Unit with Dave Ross, Dmitry Ishenko, Joe Hertenstein êDjango Reinhardt Festival: Dorado and Samson Schmitt, Ludovic Beier, Smalls 7:30, 9, 10:30 pm 1:30 am $20 Nublu 10:30 pm Pierre Blanchard, Dou Dou Cuillerier, and guest Ken Peplowski • Russ Kassoff/Jay Anderson Knickerbocker Bar and Grill 9:45 pm $5 • Ari Hoenig Quintet with Tivon Pennicott, Gilad Hekselman, Orlando Le Fleming, Birdland 8:30, 11 pm $40-50 • Becca Stevens with Jo Lawry, Chris Turner, Timo Andres, Nathan Schram, Eden Ladin; Jonathan Barber Smalls 10:30 pm 1 am $20 • Brian Molley Silvana 6 pm Hamilton Berry, Liam Robinson, Chris Tordini, Jordan Perlson • Jon De Lucia’s Luce Trio with Mike Baggetta, Chris Tordini; Julia Biel Trio; • Aaron Weinstein/Matt Munisteri Saint Peter’s 1 pm $10 The Jazz Gallery 8, 10 pm $22 Andrew Jamieson solo ShapeShifter Lab 7, 8:15, 9:30 pm $10 • Joel Forrester Bryant Park 12:30 pm • JC Hopkins Biggish Band with Wayne Tucker, Seneca Black, Corey Wallace, • Irene Jalenti Trio with Kevin Clark, Joe Busey Claire Daly, Julian Pressley, Christopher McBride, Noah Jackson, Charles Goold Bar Next Door 8:30, 10:30 pm $12 and guests Melanie JB Charles, Charles Turner, King Solomon Hicks • James Langton’s New York All-Star Big Band with Dan Levinson, Molly Ryan Thursday, June 25 Minton’s 7:30, 9:30 pm $25-50 Rainbow Room 6:30 pm $175 • Abdullah Ibrahim and Ekaya Blue Note 8, 10:30 pm $45 • Akihiro Yamamoto Duo Tomi Jazz 8 pm • Bill Laswell/John Zorn Duo; Bill Laswell/Milford Graves êThe Clayton Brothers: Jeff, Gerald and John Clayton, Terell Stafford, Obed Calvaire • Eyal Vilner Big Band; Masami Ishikawa Trio The Stone 8, 10 pm $20 Jazz Standard 7:30, 9:30 pm $35 The Garage 7, 10:30 pm êAdam Rudolph’s Go: Organic Orchestra with Kaoru Watanabe, Michel Gentile, êStanley Cowell Quartet with Bruce Williams, Jay Anderson, Billy Drummond • Julieta Eugenio Silvana 6 pm Zé Luis Oliveira, Sylvain Leroux, Mariano Gil, Ned Rothenberg, Avram Fefer, Village Vanguard 8:30, 10:30 pm $30 • Omar Hakim Experience with Chieli Minucci, Bobby Franceschini, Scott Tibbs, Sean Sonderegger, Sara Schoenbeck, Batya Sobel, Graham Haynes, Peter Zummo, êFour Generations of Miles: Sonny Fortune, Mike Stern, Buster Williams, Jimmy Cobb Jerry Brooks, Rachel Z Iridium 8, 10 pm $27.50 Libby Schwatrz, Charlie Burnham, Trina Basu, Sarah Bernstein, Mark Chung, Birdland 8:30, 11 pm $40-50 • Joel Forrester Bryant Park 12:30 pm Elektra Kurtis, Sanaco Nagano, Gwen Laster, Alva Anderson, Emma Alabaster, • Anders Nilsson/Aaron Dugan Barbès 6 pm $10 Leco Reis, Brahim Fribgane, Shakoor Sanders, Joe Hertenstein, Kenny Wessel, • Luis D’Elias Ensemble Silvana 6 pm Alexis Marcelo, Damon Banks Brooklyn Conservatory of Music 8 pm $20 • Wade Barnes Tribute Band: Roy Meriwether, Bill Saxton, Vincent Chancey, Tuesday, June 23 êHenry Kaiser/Lukas Ligeti Whitney Museum 8 pm Philip Harper, Alex Grassel, Dave Gibson • Christian Scott Rockwood Music Hall Stage 2 9, 10:45 pm $20 Brownsville Heritage House 3 pm êHarold Mabern Trio with John Webber, Joe Farnsworth êAfroHorn: Sam Newsome, Aruán Ortiz, Brad Jones, Roman Díaz, • Yvonnick Prene City Crab 12 pm Village Vanguard 8:30, 10:30 pm $30 Francisco Mora-Catlett and guest Bob Stewart • Linus NYC Trio; Mark Marino Trio The Garage 12, 6:15 pm • Dion Parson and 21st Century Band with Ron Blake, Rashawn Ross, Carlton Holmes, Zinc Bar 9, 11 pm • Carol Sudhalter’s Swingin’ Women of Jazz Reuben Rogers, Victor Provost Dizzy’s Club 7:30, 9:30 pm $35 • Tony Middleton Group 80th Birthday Celebration with Craig Handy, Jesse Elder, Forest Hills Library 3 pm • Dean Tsur Dizzy’s Club 11:30 pm $5 Ron Jackson, Steve Whipple, Shirazette Tinnin • Louis Armstrong’s Wonderful World Festival: Ms. ; Antibalas; Ozomatli; • Benny Green Trio with David Wong, Rodney Green Jazz at Kitano 8, 10 pm $15 Rebirth Brass Band; Shannon Powell Traditional All-Star Band Jazz Standard 7:30, 9:30 pm $30 • Gregg August Quintet Smoke 7, 9, 10:30 pm $9 Flushing Meadows Corona Park 12 pm • Gato Barbieri Blue Note 8, 10:30 pm $45 • Jeremy Pelt Trio with Richard Wyands, Peter Washington êDjango Reinhardt Festival: Dorado and Samson Schmitt, Ludovic Beier, Mezzrow 9:30 pm $20 Pierre Blanchard, Dou Dou Cuillerier, Brian Torff and guest Ken Peplowski êChromatic Gauchos: Dan Blake, Leo Genovese, John Lockwood, Bob Gullotti Sunday, June 21 Birdland 8:30, 11 pm $40-50 WhyNot Jazz Room 7, 9 pm $10 êBlue Buddha: Louie Belogenis, Dave Douglas, Bill Laswell, Tyshawn Sorey • Rick Germanson’s Brickhouse Fat Cat 10 pm • Omar Hakim Experience with Chieli Minucci, Bobby Franceschini, Scott Tibbs, and guest Graham Haynes The Stone 8, 10 pm $20 êAmanda Monaco’s MoFiBa with Joe Fielder, Michael Bates Jerry Brooks, Rachel Z Iridium 8, 10 pm $27.50 • Bryan and the Aardvarks; Mostly Other People Do the Killing: Steven Bernstein, Bar Next Door 8:30, 10:30 pm $12 • Tony Kadleck Big Band with Aaron Heick, Andy Snitzer, David Mann, Jason Rigby, Jon Irabagon, Dave Taylor, Jonathan Goldberger, Ron Stabinsky, Moppa Elliott, • Jeff Davis’ Holyoke with Chris Speed, Jon Goldberger, Russ Lossing, Eivind Opsvik Kenny Berger, Jon Owens, James De La Garza, John Bailey, Darryl Shaw, Mike Pride; Bobby Selvaggio Quartet with Theron Brown, Cory Todd, Zaire Darden Cornelia Street Café 8:30 pm $10 Michael Davis, Keith O’Quinn, John Wheeler, Randy Andos, Mike Holober, Jesse Lewis, ShapeShifter Lab 7, 8:15, 9:30 pm $10 • Kavita Shah with Yotam Silberstein, Glenn Zaleski, Michael Olatuja, Obed Calvaire David Finck, Jared Schonig, Mike Berkowitz • Johnny O’Neal Trio with Luke Sellick, Charles Goold The Jazz Gallery 8, 10 pm $15 SubCulture 8 pm $18 Minton’s 7, 8:30, 10 pm $10-20 • Jon Irabagon; The Awakening Orchestra; Saxofour: Florian Bramböck, • A Clear Midnight—Kurt Weill and America: Theo Bleckmann, Julia Hülsmann, êOhad Talmor NewsReel with Shane Endsley, Jacob Sacks, Matt Pavolka, Dan Weiss Klaus Dickbauer, Christian Maurer, Wolfgang Puschnig; Denys Baptiste’s Triumvirate Marc Muellbauer, Heinrich Köbberling; Theo Bleckmann with itsnotyouitsme: SEEDS 8:30 pm with Larry Bartley, Moses Boyd ShapeShifter Lab 7, 8:15, 9:30, 10:45 pm $10 Caleb Burhans/Grey McMurray The Stone 8, 10 pm $15 êJamie Baum and Short Stories with Gilad Hekselman, Joe Martin, Jeff Hirshfield • JC Hopkins Biggish Band with Wayne Tucker, Seneca Black, Corey Wallace, • Gene Bertoncini The Drawing Room 7 pm $10 and guest Andy Milne Cornelia Street Café 8:30 pm $10 Claire Daly, Julian Pressley, Troy Roberts, Hill Greene, Noah Jackson, Charles Goold êJane Ira Bloom Trio with Mark Helias, Bobby Previte • Will Bernard, Devin Hoff, Ches Smith; Marta Sanchez Quartet and guests Jazzmeia Horn, Charles Turner, King Solomon Hicks ‘ Cornelia Street Café 8:30 pm $10 Korzo 9, 10:30 pm Minton’s 7, 8:30, 10 pm $15-25 êPeter Leitch/Sean Smith Walker’s 8 pm • Stuart Popejoy/Briggan Krauss; Craig Flanagin Trio • New Orleans Swamp Donkeys Ginny’s Supper Club 7:30 pm $15 • Eyal Vilner Big Band with Charenee Wade, Joel Frahm, John Mosca, Dan Block, Freddy’s Backroom 8:30, 10 pm $10 • Carlos Abadie Quintet with Peter Zak, Clovis Nicolas, Luca Santaniello Freddie Hendrix, Asaf Yuria, Wayne Tucker, Andrew Gould, Vitaly Golovnev, • Guillermo Gregorio/Mara Rosenbloom Smalls 10:30 pm $20 Eden Bareket, Bryan Davis, Eric Miller, Ron Wilkins, Tadataka Unno, Tamir Shmerling, Ibeam Brooklyn 8:30, 9:30 pm $10 • Danny Bacher Swing That Music! All Stars Eran Fink; Michela Marino Lerman; Joe Magnarelli Band • Spike Wilner Trio; Smalls Legacy Band: Frank Lacy, Stacy Dillard, Josh Evans, Metropolitan Room 9:30 pm $22.50 Smalls 4:30, 7:30, 10:30 pm $20 Theo Hill, Yasushi Nakamura, Kush Abadey; Alex Claffy and Friends • Senri Oe Tomi Jazz 9 pm $10 • Terry Waldo’s Gotham City Band; Brandon Lewis/Renee Cruz Jam Smalls 7:30, 9:30 pm 12:30 am $20 • Joe Morant Trio Cleopatra’s Needle 7 pm Fat Cat 6 pm 1 am • Midsummer Night Swing: Jonathan Stout All Star Orchestra with Hilary Alexander • Stephanie Rivers Shrine 8 pm • Cheryl Richards, Adam Caine, Nick Lyons; Aural Compass: François Grillot, Damrosch Park 7:30 pm $17 • Glenn Alexander’s Oria Aspen Symphony Space Bar Thalia 9 pm Richard Tabnik, Lou Grassi WhyNot Jazz Room 7, 8:30 pm $10 • Dexter Mason Mezzrow 9:30 pm $20 • Dre Barnes Project; Laura Campisi Trio • Hajnal Pivnick, Oran Canfield, Craig Flanagin • Saul Rubin Fat Cat 7 pm The Garage 6, 10:30 pm ABC No-Rio 7 pm $5 • Alex Nguyen Trio with Leon Boykins, Kenneth Salters • Pete Muller Trio Caffe Vivaldi 7:30 pm • Lunana and Her Lunanos Tomi Jazz 8 pm Bar Next Door 8:30, 10:30 pm $12 • Robert Glasper Trio Blue Note 8, 10:30 pm $35 • Three Daves Shrine 8 pm • Michael Gallant Trio Tomi Jazz 8 pm êHarold Mabern Trio with John Webber, Joe Farnsworth • Eden Bareket Caffe Vivaldi 7 pm • Addison Frei solo Jazz at Kitano 8 pm Village Vanguard 8:30, 10:30 pm $30 êRandy Weston African Rhythms Trio with Alex Blake, Neil Clarke • Frank Basile Quartet; Bongwool Lee Trio • Dion Parson and 21st Century Band with Ron Blake, Rashawn Ross, Carlton Holmes, Minton’s 7:30, 9:30 pm $25-50 The Garage 6, 10:30 pm Reuben Rogers, Victor Provost Dizzy’s Club 7:30, 9:30 pm $35 êGeorge Coleman Quartet with Harold Mabern, John Webber, Joe Farnsworth • Tony Bennett and Lady Gaga Radio City Music Hall 8 pm $59-150 • Dean Tsur Dizzy’s Club 11:30 pm $10 Smoke 7, 9 pm $38 • Georgia Weber Silvana 6 pm • Benny Green Trio with David Wong, Rodney Green • Steve Kuhn Mezzrow 8:30 pm $20 • Antonello Parisi Quartet Shrine 6 pm Jazz Standard 7:30, 9:30 pm $30 • Warren Wolf and the Wolfpack with Alex Brown, Kris Funn, John Lamkin êJonathan Finlayson Rendall Memorial Presbyterian Church 12, 1 pm $15 • Musette Explosion: Will Holshouser, Matt Munisteri, Marcus Rojas Dizzy’s Club 7:30, 9:30 pm $35 • Joel Forrester Bryant Park 12:30 pm Birdland 6 pm $25 • Abdullah Ibrahim and Ekaya Blue Note 8, 10:30 pm $45 êDjango Reinhardt Festival: Dorado and Samson Schmitt, Ludovic Beier, êThe Clayton Brothers: Jeff, Gerald and John Clayton, Terell Stafford, Obed Calvaire Pierre Blanchard, Dou Dou Cuillerier, Brian Torff and guest Ken Peplowski Jazz Standard 7:30, 9:30 pm $30 Wednesday, June 24 Birdland 8:30, 11 pm $40-50 êStanley Cowell Quartet with Bruce Williams, Jay Anderson, Billy Drummond • Peter Brendler Silvana 6 pm Village Vanguard 8:30, 10:30 pm $30 • James “Blood” Ulmer, Bill Laswell and guest • Jae Young Jeong Shrine 6 pm • Jack Kilby Quintet Silvana 6 pm The Stone 8, 10 pm $20 • Melba Joyce and Time Citigroup Center Plaza 12:30 pm • Chanda Rule Saint Peter’s 5 pm • Joel Forrester Bryant Park 12:30 pm

THE NEW YORK CITY JAZZ RECORD | JUNE 2015 47 Friday, June 26 • Blue Note Jazz Festival: Natalie Cole Town Hall 8 pm $55-125 êBob Stewart’s Connections with Randall Haywood, Nick Finzer, Curtis Stewart, • Tribute to Elmo Hope: Bertha Hope, Kim Clarke, Lucianna Padmore, REGULAR ENGAGEMENTS Jannina Norpoth, Nick Revel, Amanda Gookin Angeleisha Rogers, Rob Schedule Minton’s 5:30, 7, 8:30 pm $10-20 Cornelia Street Café 9, 10:30 pm $10 êOmer Avital Quintet with Eli Degibri, Joel Frahm, Yonathan Avishai, Johnathan Blake MONDAY • Richard Galliano Quintet with Vic Juris, John Nelson, , Mauricio Zottarelli Jazz Standard 7:30, 9:30 pm $25 Dizzy’s Club 7:30, 9:30 pm $40 êPeter Evans Zebulon Trio with John Hébert, Kassa Overall • Ron Affif Trio Zinc Bar 9, 11pm, 12:30, 2 am Cornelia Street Café 8:30 pm $10 • Woody Allen/Eddy Davis New Orleans Jazz Band Café Carlyle 8:45 pm $155 • Dean Tsur Dizzy’s Club 11:30 pm $10 • Rick Bogart Trio Broadway Thai 6:30 pm (ALSO SUN) • Mario Rom’s Interzone with Lukas Kranzelbinder, Herbert Pirker; êAlfredo Rodriguez Trio Subrosa 8, 10 pm $25 • Richard Clements and guests 11th Street Bar 8 pm König Leopold: Leo Riegler, Lukas König, MC Rhine • Bill Laswell and Foday Musa Suso with DJ Logic, Dominic James • Emerging Artists Series Bar Next Door 6:30 pm (ALSO TUE-THU) Austrian Cultural Forum 7:30, 9 pm The Stone 8, 10 pm $20 • Joel Forrester solo Brandy Library 8 pm • Tardo Hammer Trio with Lee Hudson, Jimmy Wormworth; Lew Tabackin Trio with • Raphaelle Brochet/Carmen Staaf Duo; Greg Ward Ensemble; • Vince Giordano’s Nighthawks Iguana 8 pm (ALSO TUE) Boris Kozlov, Mark Taylor; Anthony Wonsey Trio Brian Krock’s Heart Machine with Adam Bellard, Olli Hirvonen, Marty Kenney, • Grove Street Stompers Arthur’s Tavern 7 pm Smalls 7:30, 10:30 pm 1:30 am $20 Nathan Ellman-Bell; Jozefius Rattus and IMPetus with guest Zuriel Waters • Jazz Foundation of American Jam Session Local 802 7 pm ShapeShifter Lab 5:30, 7, 8:15, 9:30 pm $10 • Arthur Kell and Friends Bar Lunatico 8:30 pm • Valerie Capers/John Robinson Knickerbocker Bar and Grill 9:45 pm $5 • Renaud Penant Trio Analogue 7:30 pm êMarc Cary Focus Trio with Rashaan Carter, Sameer Gupta êPeter Leitch/Ray Drummond Walker’s 8 pm • Earl Rose solo; Earl Rose Trio Bemelmans Bar 5:30, 9 pm Minton’s 7:30, 9:30 pm $25-50 • Behn Gillece Quintet with Ken Fowser, Rick Germanson, Paul Gill, Charles Ruggiero • Stan Rubin All-Stars Charley O’s 8:30 pm • Duduka Da Fonseca Trio with Romero Lubambo, Martin Wind and guest Maucha Adnet Smalls 10:30 pm $20 • Smoke Jam Session Smoke 11:30 pm Jazz at Kitano 8, 10 pm $30 • Terry Waldo’s Gotham City Band; Brandon Lewis/Renee Cruz Jam • Swingadelic Swing 46 8:30 pm êHelen Sung Quartet with John Ellis, Reuben Rogers, Donald Edwards Fat Cat 6 pm 1 am • Vanguard Jazz Orchestra Village Vanguard 8:30, 10:30 pm $25 Smoke 7, 9, 10:30 pm $38 • KNN: Ken Kobayashi, Anders Nilsson, Todd Nicholson • Jordan Young Group Bflat 8 pm (ALSO WED 8:30 pm) • Method of Defiance: Henry Kaiser, Dr Israel, Grandmixer DXT, Steven Bernstein, WhyNot Jazz Room 7 pm $10 Bill Laswell, Guy Licata, Adam Rudolph and guests • Rocco John Iacovone Ensemble; Walker Storz/Bryan Counter TUESDAY The Stone 8, 10 pm $20 ABC No-Rio 7 pm $5 • Daisuke Abe Trio Sprig 6 pm (ALSO WED-THU) • Bill Ware’s Urban Vibes with Paul Pesco, DJ Diamond, Jay Rodriguez, Ratzo Harris, • Kengo Yamada Tomi Jazz 8 pm • Rick Bogart Trio L’ybane 9:30 pm (ALSO FRI) Jaime Affoumado ShapeShifter Lab 9:30 pm $10 • Richard Galliano Quintet with Vic Juris, John Nelson, George Mraz, Mauricio Zottarelli • Orrin Evans Evolution Series Jam Session Zinc Bar 11 pm • Ben Monder Trio with Gary Wang, Diego Voglino Dizzy’s Club 7:30, 9:30 pm $35 • Irving Fields Nino’s Tuscany 7 pm (ALSO WED-SUN) Bar Next Door 7:30, 9:30, 11:30 pm $12 êHelen Sung Quartet with John Ellis, Reuben Rogers, Donald Edwards • George Gee Swing Orchestra Swing 46 8:30 pm $12 Smoke 7, 9, 10:30 pm $38 • Earl Rose; Chris Gillespie Bemelmans Bar 5:30, 9:30 pm (ALSO WED-SAT) êJonathan Finlayson with Steve Lehman, Brian Settles, Matt Mitchell, Mark Helias, • Loston Harris Café Carlyle 9:30 pm $20 (ALSO WED-SAT) Craig Weinrib The Jazz Gallery 8, 10 pm $22 êHarold Mabern Trio with John Webber, Joe Farnsworth • Art Hirahara Trio Arturo’s 8 pm • Chris Dingman’s The Subliminal and The Sublime with Loren Stillman, Fabian Almazan, Village Vanguard 8:30, 10:30 pm $30 • Yuichi Hirakawa Trio Arthur’s Tavern 7, 8:30 pm Ryan Ferreira, Linda Oh, Justin Brown; Garth Stevenson • Noah Baerman Resonance Ensemble • Mike LeDonne Quartet; Emmet Cohen Band Smoke 7, 9, 10:30, 11:30 pm The Greene Space 7 pm $15 Saint Peter’s 5 pm • Ilya Lushtak Quartet Shell’s Bistro 7:30 pm • David Weiss Fat Cat 10:30 pm • Danny Bacher Swing That Music! All Stars • Mona’s Hot Four Jam Session Mona’s 11 pm Metropolitan Room 4 pm $22.50 • Annie Ross The Metropolitan Room 9:30 pm $25 • Eric Lewis’ ELEW Mezzrow 9:30 pm $20 • Diego Voglino Jam Session The Fifth Estate 10 pm • Pedrito Martinez Group Subrosa 8, 10 pm $20 • Mari Toussaint Emmanuel Baptist Church 3 pm $20 êAlan Broadbent Trio with Harvie S, Billy Mintz • Danny Bacher Swing That Music! All Stars WEDNESDAY Metropolitan Room 7 pm $22.50 Blue Note 11:30, 1:30 pm $35 • Takenori Nishiuchi Tomi Jazz 9 pm $10 • Marcus Goldhaber Trio with Ron Affif, Paul Gill • Astoria Jazz Composers Workshop Waltz-Astoria 6 pm • Richard Benetar Quartet Cleopatra’s Needle 8 pm North Square Lounge 12:30, 2 pm • Sedric Choukroun and the Eccentrics Chez Oskar 7 pm • Joe Pino Quartet; Peter Valera Jump Blues Band • Joelle and the Pinehurst Trio Rainbow Room 12:30 pm $95 • Rob Duguay’s Low Key Trio Turnmill NYC 11 pm • Al Marino City Crab 12 pm • Jeanne Gies with Howard Alden and Friends Joe G’s 6:30 pm The Garage 6:15, 10:45 pm • Uta Habbig Jam Session Cellar 58 8:30 pm • Rob Silverman Indian Road Café 7:30 pm • Hilary Kole Café Noctambulo at Pangea 7 pm $20 • Christian Scott Rockwood Music Hall Stage 2 10:30 pm $20 • Mark Kross and Louise Rogers WaHi Jazz Jam Le Chéile 8 pm • Robert Glasper Trio Blue Note 8, 10:30 pm $35 Monday, June 29 • Les Kurtz Trio Cleopatra’s Needle 7 pm êHarold Mabern Trio with John Webber, Joe Farnsworth • Jonathan Kreisberg Trio Bar Next Door 8:30, 10:30 pm $12 Village Vanguard 8:30, 10:30 pm $30 • Blue Note Jazz Festival: Avishai Cohen Trio with Nitai Hershkovits, Daniel Dor • Ron McClure solo piano McDonald’s 12 pm (ALSO SAT) • Benny Green Trio with David Wong, Rodney Green Highline Ballroom 8 pm $29.50-60 • David Ostwald’s Louis Armstrong Centennial Band Birdland 5:30 pm $20 Jazz Standard 7:30, 9:30 pm $30 • Bebel Gilberto Blue Note 8, 10:30 pm $45 • Saul Rubin Vocalist Series Zeb’s 8 pm $10 Jazz at Lincoln Center’s Band Director Academy Faculty Band: Ronald Carter, • Stan Rubin Orchestra Swing 46 8:30 pm êDjango Reinhardt Festival: Dorado and Samson Schmitt, Ludovic Beier, • • Eve Silber Arthur’s Tavern 7 pm Pierre Blanchard, Dou Dou Cuillerier, Brian Torff and guest Edmar Castañeda Reginald Thomas, Rodney Whitaker • Camille Thurman Quartet Smoke 11:30 pm Birdland 8:30, 11 pm $40-50 Dizzy’s Club 7:30, 9:30 pm $30 • Reggie Woods with Greg Lewis Organ Monk Sapphire NYC 8 pm • Paul Jones Silvana 6 pm • Ku-umba Frank Lacy and Mingus Big Band • Bill Wurtzel/Mike Gari American Folk Art Museum Lincoln Square 2 pm • Joe Abba Shrine 6 pm Jazz Standard 7:30, 9:30 pm $25 • Joel Forrester Bryant Park 12:30 pm êOrrin Evans Captain Black Big Band THURSDAY Smoke 7, 9 pm $9 Peter Bernstein solo; Ari Hoenig Quartet; Jonathan Michel • Jovan Alexandre Band Carroll Place 10 pm 12 am • • Sedric Choukroun Brasserie Jullien 7:30 pm (ALSO FRI, SAT) Saturday, June 27 Smalls 7:30, 10:30 pm 1 am $20 • Richard Clements Piano Workshop University of the Streets 5 pm • Premoticon: Patrick Breiner/Will McEvoy; Max Jaffe Trio with Brandon Seabrook, • Joel Forrester/Christina Clare Vespa 7:30, 9 pm êCelebrate Brooklyn!: Jason Moran’s Fats Waller Dance Party; Henry Butler, Peter Evans Delroy’s Cafe and Wine Bar 9, 10 pm $10 • Craig Harris and the Harlem Night Songs Big Band MIST 9, 10:30 pm $15 Steven Bernstein and The Hot 9 Prospect Park Bandshell 7:30 pm • Whitney James Trio with Pete McCann, Gregg August • Jazz Jam Session American Legion Post 7:30 pm • 2nd Annual Made in NY Jazz Gala: Randy Brecker, Alex Blake, Bobby Sanabria, Bar Next Door 8:30, 10:30 pm $12 • Kazu Trio Cleopatra’s Needle 11:30 pm Yaacov Mayman, Eden Rabin International Project • Gordon Webster Band Rainbow Room 6:30 pm $175 • Lapis Luna Quintet The Plaza Hotel Rose Club 8:30 pm • Atsushi Ouchi Trio Tomi Jazz 8 pm • Curtis Lundy Jam Session Shell’s Bistro 9 pm Tribeca Performing Arts Center 7 pm $45 • Yaacov Mayman Quartet Gambrinus Seafood Café 7 pm • The Last Poets: Abiodun Oyewole and Umar Bin Hassan with guest Babatunde • Cecilia Coleman Big Band; Dmitry Baevsky Trio • Sol Yaged Grata 8 pm The Stone 8, 10 pm $20 The Garage 7, 10:30 pm • Eri Yamamoto Trio Arthur’s Tavern 7 pm (ALSO FRI-SAT) • Rubens Salles’s Liquid Gravity with Leco Reis, Kenny Grohowski, Michel Gentile, êBlue Note Jazz Festival: Al Di Meola’s Elegant Gypsy and More John Clark, Kavita Shah Cornelia Street Café 9, 10:30 pm $10 B.B. King’s Blues Bar 8 pm $37.50-75 FRIDAY • PoemJazz: Robert Pinsky and Laurence Hobgood • Luiz Simas Bryant Park 12:30 pm SubCulture 8 pm $25 • Scot Albertson Parnell’s 8 pm (ALSO SAT) • Rob Anderson Jam Session University of the Streets 10 pm • John Raymond Trio with Gilad Hekselman, Colin Stranahan • Gene Bertoncini Ryan’s Daughter 8 pm Bar Next Door 7:30, 9:30, 11:30 pm $12 Tuesday, June 30 • Birdland Big Band Birdland 5:15 pm $25 • Williamsburg Salsa Orchestra Subrosa 8, 10 pm $20 • The Crooked Trio: Oscar Noriega, Brian Drye, Ari Folman-Cohen Barbès 5 pm • Nicole Raízes Roots Drom 9:30 pm $15 êMatt Wilson’s Arts & Crafts with Terell Stafford, Gary Versace, Martin Wind • Day One Trio Prime and Beyond Restaurant 9 pm (ALSO SAT) • Yuko Ito Trio; Yusuke Seki Tomi Jazz 8, 11 pm $10 Jazz Standard 7:30, 9:30 pm $30 • Gerry Eastman Quartet Williamsburg Music Center 10 pm • Clifford Barbaro Trio Cleopatra’s Needle 8 pm • Jazztopad Festival Presents - Obara International Quartet: Maciej Obara, • Finkel/Kasuga/Tanaka/Solow San Martin Restaurant 12 pm $10 • Richard Galliano Quintet with Vic Juris, John Nelson, George Mraz, Mauricio Zottarelli Dominik Wania, Ole Morten Vågan, • Patience Higgins & The Sugar Hill Quartet Smoke 11:45 pm Dizzy’s Club 7:30, 9:30 pm $35 • Sandy Jordan and Friends ABC Chinese Restaurant 8 pm Dizzy’s Club 7:30, 9:30 pm $45 • Bernard Linnette Jam Session University of the Streets 11:30 pm • Dean Tsur Dizzy’s Club 11:30 pm $20 • “Blue” Gene Tyranny, Samita Sinha, Fast Forward; Anthony Coleman, Min Xiao-Fen, • Frank Owens Open Mic Pearl Studios 7:30 pm $10 • Lew Tabackin Trio with Boris Kozlov, Mark Taylor Fast Forward The Stone 8, 10 pm $15 • Richard Russo Quartet Capital Grille 6:30 pm Smalls 10:30 pm $20 • Midsummer Night Swing: Cachao’s Mambo All Stars • Bill Saxton and the Harlem Bebop Band Bill’s Place 9, 11 pm $15 (ALSO SAT) • Valerie Capers/John Robinson Knickerbocker Bar and Grill 9:45 pm $5 Damrosch Park 7:30 pm $17 • Joanna Sternberg Trio Cleopatra’s Needle 12:30 am êMarc Cary Focus Trio with Rashaan Carter, Sameer Gupta êJoe Morris solo; Dre Hocevar’s Coding of Evidentiality with Bram De Looze, • Wayne Tucker Quartet Minton’s 12 am Minton’s 7:30, 9:30 pm $25-50 Lester St. Louis; Dre Hocevar Large Ensemble with Nate Wooley, Joe Morris, • Duduka Da Fonseca Trio with Romero Lubambo, Martin Wind and guest Maucha Adnet Chris Pitsiokos, Bram De Looze, Philip White, Lester St. Louis SATURDAY Jazz at Kitano 8, 10 pm $30 ShapeShifter Lab 7, 8, 9 pm $10 • Avalon Jazz Quartet Matisse 8 pm êHelen Sung Quartet with John Ellis, Reuben Rogers, Donald Edwards • Stephan Crump’s Rhombal with Ellery Eskelin, Adam O’Farrill, Tyshawn Sorey • The Candy Shop Boys Duane Park 8, 10:30 pm Smoke 7, 9, 10:30 pm $38 Cornelia Street Café 8:30 pm $10 • Barbara Carroll Birdland 6 pm $30 êJonathan Finlayson with Steve Lehman, Brian Settles, Matt Mitchell, Mark Helias, • Ken Thomson; Jon Irabagon, Matt Mitchell, Kate Gentile • Curtis Lundy Trio with guests Shell’s Bistro 9 pm Craig Weinrib The Jazz Gallery 8, 10 pm $22 Korzo 9, 10:30 pm • Jonathan Moritz/Chris Welcome/Shayna Dulberger The Graham 1 pm • Eric Lewis’ ELEW Mezzrow 9:30 pm $20 • Kellylee Evans Joe’s Pub 7:30 pm $15 • Yoo Sun Nam The Grain 8 pm • Aziza Miller Iridium 8:30, 10:30 pm $30 • Johnny O’Neal and Friends Smoke 11:45 pm • Robert Glasper Trio Blue Note 8, 10:30 pm $35 • Skye Jazz Trio Jack 8:30 pm êHarold Mabern Trio with John Webber, Joe Farnsworth • Spike Wilner Trio; Josh Evans Big Band with Stacy Dillard, David Gibson, Bruce Williams, Theo Hill, Max Seigel, Stafford Hunter, Vitaly Golovnev, Frank Lacy, Village Vanguard 8:30, 10:30 pm $30 SUNDAY • Benny Green Trio with David Wong, Rodney Green Yunie Mojica, Lauren Sevian; Alex Claffy and Friends Jazz Standard 7:30, 9:30, 11:30 pm $30 Smalls 7:30, 9:30 pm 12:30 am $20 • Avalon Jazz Quartet The Lambs Club 11 am êDjango Reinhardt Festival: Dorado and Samson Schmitt, Ludovic Beier, • Saul Rubin; Itai Kriss and Gato Gordo; John Benitez Latin Bop • John Benitez Jam Session Terraza 7 9:30 pm Pierre Blanchard, Dou Dou Cuillerier, Brian Torff and guest Edmar Castañeda Fat Cat 7, 9 pm 12:30 am • The Candy Shop Boys The Rum House 9:30 pm • Solomon Hicks Minton’s 7, 8:30, 10 pm $10-20 • Creole Cooking Jazz Band; Stew Cutler and Friends Arthur’s Tavern 7, 10 pm Birdland 8:30, 11 pm $40-50 • Isaac Darch Group Basik Bar 7 pm • Anders Nilsson/Michaël Attias Barbès 6 pm $10 • Daniel Eli Weiss Trio with Luke Sellick, Charles Gould • The EarRegulars with Jon-Erik Kellso The Ear Inn 8 pm • Erhard Hirt with guests Steve Swell, Steve Dalachinsky Bar Next Door 8:30, 10:30 pm $12 • Marjorie Eliot/Rudell Drears/Sedric Choukroun Parlor Entertainment 4 pm Sidewalk Café 6 pm • Kazuki Yamanaka Trio Tomi Jazz 8 pm • Joel Forrester solo Grace Gospel Church 11 am • Kool Element Jazz Project Silvana 6 pm • Addison Frei solo Jazz at Kitano 8 pm • Broc Hempel/Sam Trapchak/Christian Coleman Trio Dominie’s Astoria 9 pm • Youngjoo Song Quartet Blue Note 11:30, 1:30 pm $35 êEric Wyatt Quartet with Benito Gonzalez, Eric Wheeler, Shinnosuke Takahashi; • Bob Kindred Group; Junior Mance Trio Café Loup 12:30, 6:30 pm • Linus Wyrsch City Crab 12 pm Adam Moezinia Trio The Garage 6, 10:30 pm • Peter Mazza Trio Bar Next Door 8, 10 pm $12 • Blue Note Jazz Festival: Avishai Cohen Trio with Nitai Hershkovits, Daniel Dor • Tony Middleton Trio Jazz at Kitano 11:30 am $35 • Marsha Heydt Project of Love; Champian Fulton Quartet; Virginia Mayhew Quartet • The Minton’s Players Minton’s 12, 1:30, 3 pm $10-20 The Garage 12, 6:15, 10:45 pm Highline Ballroom 8 pm $29.50-60 • Arturo O’Farrill Afro Latin Jazz Orchestra Birdland 9, 11 pm $30 • Bebel Gilberto Blue Note 8, 10:30 pm $45 • Artemisz Polonyi and Trio Indigo BarSix Restaurant 8 pm • Echoes Quartet Silvana 6 pm • Earl Rose solo; Tony DeSare Bemelmans Bar 5:30, 9 pm Sunday, June 28 • Tom Blatt Project Shrine 6 pm • Lu Reid Jam Session Shrine 4 pm êHamiet Bluiett Rendall Memorial Presbyterian Church 12, 1 pm $15 • Annette St. John; Wilerm Delisfort Quartet Smoke 11:30 am 11:45 pm êBlue Note Jazz Festival: Al Di Meola’s Elegant Gypsy and More • Luiz Simas Bryant Park 12:30 pm • Ryo Sasaki Trio Analogue 7 pm B.B. King’s Blues Bar 8 pm $37.50-75 • Milton Suggs Cávo 7 pm

48 JUNE 2015 | THE NEW YORK CITY JAZZ RECORD CLUB DIRECTORY

• 345 Park Avenue Subway: 6 to 51st Street; E to Lexington Avenue • Fat Cat 75 Christopher Street at 7th Avenue (212-675-6056) • Pearl Studios 500 8th Avenue • 11th Street Bar 510 E. 11th Street Subway: 1 to Christopher Street/Sheridan Square www.fatcatmusic.org (212-904-1850) Subway: A, C, E to 34th Street www.pearlstudiosnyc.com (212-982-3929) Subway: L to 1st Avenue www.11thstbar.com • The Fifth Estate 506 5th Avenue, Brooklyn • Perez Jazz 71 Ocean Parkway Subway: F, G to Fort Hamilton Parkway • 54 Below 254 West 54th Street (646-476-3551) (718-840-0089) Subway: F to 4th Avenue www.fifthestatebar.com • Pete’s Candy Store 709 Lorimer Street Subway: N, Q, R to 57th Street www.54below.com • The Firehouse Space 246 Frost Street (718-302-3770) Subway: L to Lorimer Street • 55Bar 55 Christopher Street (212-929-9883) Subway: L to Graham Avenue www.thefirehousespace.org • The Players 16 Gramercy Park South Subway: 1 to Christopher Street www.55bar.com • The Flatiron Room 37 West 26th Street (212-475-6116) Subway: 6 to 23rd Street www.theplayersnyc.org • ABC Chinese Restaurant 34 Pell Street (212-725-3860) Subway: N, R to 28th Street www.theflatironroom.com • The Plaza Hotel Rose Club Fifth Avenue at Central Park South (212-346-9890) Subway: J to Chambers Street • Flushing Meadows Corona Park Subway: 7 to Willets Point/Shea Stadium (212-759-3000) Subway: N, Q, R to Fifth Avenue www.fairmont.com • ABC No-Rio 156 Rivington Street (212-254-3697) • Flushing Town Hall 137-35 Northern Boulevard, Flushing • Prime and Beyond Restaurant 90 East 10th Street Subway: J,M,Z to Delancey Street www.abcnorio.org (718-463-7700) Subway: 7 to Main Street www.flushingtownhall.org (212-505-0033) Subway: 6 to Astor Place www.primeandbeyond.com • Abyssinian Baptist Church 132 Odell Clark Place/W. 138th Street • Forest Hills Library 108-19 71st. Avenue, Queens • Prospect Park Bandshell Subway: F to Prospect Park (212-862-5959) Subway: 2, 3 to 135th Street www.abyssinian.org (718-268-7934) Subway: E to 71-Continental Avs-Forest Hills • Radio City Music Hall 1260 6th Avenue • Alchemical Theatre Laboratory 104 W. 14th Street • Freddy’s Backroom 627 5th Avenue, Brooklyn (718-768-0131) (212-307-7171) Subway: B, D, F, V to 47th Street www.radiocity.com (212-675-1390) Subway: 1, 2, 3, F, M to 14th Street www.atlnyc.com Subway: R to Prospect Avenue www.freddysbar.com/events • The Rainbow Room 30 Rockefeller Plaza • American Folk Art Museum 45 W 53rd Street (212-265-1040) • Funkadelic Studios 209 W. 40th Street (212-696-2513) (212) 632-5000 Subway: B, D, F, M to 47-50th Streets - Rockefeller Center Subway: E to 53rd Street www.folkartmuseum.org Subway: 1, 2, 3, 7, A, C, E, N, Q, R to 42nd Street-Times Square www.rainbowroom.com • American Legion Post 248 West 132nd Street www.funkadelicstudios.com • Rendall Memorial Presbyterian Church 59 W. 137th Street #61 (212-283-9701) Subway: 2, 3 to 135th Street www.legion.org • Gambrinus Seafood Café 3100 Ocean Parkway (212-283-2928) Subway: 2, 3 to 135th Street • An Beal Bocht Café 445 W. 238th Street (718-265-1009) Subway: B, Q to Brighton Beach www.gambrinusny.com • Riverdale YM-YWHA 5625 Arlington Avenue (718-548-8200) Subway: 1 to 238th Street www.LindasJazzNights.com • The Garage 99 Seventh Avenue South (212-645-0600) Subway: 1 to 242 Street - Van Cortlandt Park www.riverdaley.org • Analogue 19 West 8th Street (212-432-0200) Subway: 1 to Christopher Street www.garagerest.com • Rockwood Music Hall 196 Allen Street (212-477-4155) Subway: A, B, C, D, E, F, M to W. 4th Street www.analoguenyc.com • Ginny’s Supper Club at Red Rooster Harlem 310 Malcolm X Boulevard Subway: F, V to Second Avenue www.rockwoodmusichall.com • The Appel Room Broadway at 60th Street, 5th floor (212-792-9001) Subway: 2, 3 to 125th Street www.ginnyssupperclub.com • Rose Theater Broadway at 60th Street, 5th floor (212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle • Grace Gospel Church 589 E. 164th Street (212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.jalc.org (718-328-0166) Subway: 2, 5 to Prospect Avenue www.jalc.org • Arthur’s Tavern 57 Grove Street (212-675-6879) • The Graham 190 Graham Ave (718-388-4682) • Rough Trade NYC 64 N. 9th Street, Brooklyn Subway: 1 to Christopher Street www.arthurstavernnyc.com Subway: L to Montrose Avenue www.thegrahambrooklyn.com Subway: L to Bedford Avenue www.roughtradenyc.com • Arturo’s 106 W. Houston Street (at Thompson Street) • The Grain 893 Broadway • Roulette 509 Atlantic Avenue (212-677-3820) Subway: A, B, C, D, E, F, M to W. 4th Street (646-398-9663) Subway: 6 to 23rd Street www.thegrainnyc.com (212-219-8242) Subway: 2, 3, 4, 5 to Atlantic Avenue www.roulette.org • Austrian Cultural Forum 11 East 52nd Street at Madison Avenue • Grata 1076 1st Avenue (212-842-0007) • Rubin Museum 150 West 17th Street (212-319-5300) Subway: 6 to 51st Street www.acfny.org Subway: 4, 5, 6, N, Q, R to 59th Street www.gratanyc.com (212-620-5000) Subway: A, C, E to 14th Street www.rmanyc.org • BAMCafé 30 Lafayette Ave at Ashland Pl, Fort Greene, Brooklyn • The Greene Space 44 Charlton Street • Rue B 188 Avenue B (212-358-1700) Subway: L to 1st Avenue (718-636-4139) Subway: M, N, R, W to Pacific Street; (646-829-4400) Subway: 1 to Houston Street www.thegreenespace.org • The Rum House 228 W. 47th Street Q, 1, 2, 4, 5 to Atlantic Avenue www.bam.org • Greenwich House Music School 46 Barrow Street (646-490-6924) Subway: N, Q, R to 49th Street www.edisonrumhouse.com • BB King’s Blues Bar 237 W. 42nd Street (212-242-4770) Subway: 1 to Christopher Street www.greenwichhouse.org • Ryan’s Daughter 350 E 85th Street (212-997-2144) Subway: 1, 2, 3, 7 to 42nd Street/Times Square • Guitar Center Union Square 25 W. 14th Street (212-628-2613) Subway: 4, 5, 6 to 86th Street www.ryansdaughternyc.com www.bbkingblues.com (212-463-7500) Subway: 4, 5, 6, L, N, Q, R to 14th Street-Union Square • Rye 247 S. 1st Street (718-218-8047) Subway: G to Metropolitan Avenue • Bflat 277 Church Street (between Franklin and White Streets) stores.guitarcenter.com www.ryerestaurant.com Subway: 1, 2 to Franklin Streets • Highline Ballroom 431 W. 16th Street • Saint Peter’s Church 619 Lexington Avenue at 54th Street • Bar Chord 1008 Cortelyou Road (212-414-5994) Subway: A, C, E to 14th Street www.highlineballroom.com (212-935-2200) Subway: 6 to 51st Street www.saintpeters.org (347-240-6033) Subway: Q to Cortelyou Road www.barchordnyc.com • Ibeam Brooklyn 168 7th Street between Second and Third Avenues • San Martin Restaurant 143 E. 49 Street between Lexington and Park • Bar Lunatico 486 Halsey Street Subway: F to 4th Avenue www.ibeambrooklyn.com Avenues (212-832-0888) Subway: 6 to 51st Street (917-495-9473) Subway: C to Kingston-Throop Avenues • Iguana 240 West 54th Street (212-765-5454) • Sapphire NYC 333 E. 60th Street (212-421-3600) • Bar Next Door 129 MacDougal Street (212-529-5945) Subway: B, D, E, N, Q, R to Seventh Avenue www.iguananyc.com Subway: 4, 5, 6, N, Q, R to 59th Street www.nysapphire.com Subway: A, B, C, D, E, F, M to W. 4th Street www.lalanternacaffe.com • Indian Road Café 600 West 218th Street @ Indian Road • Scandinavia House 58 Park Avenue at 37th Street (212-879-9779) • BarSix Restaurant 502 Sixth Avenue (212-942-7451) Subway: 1 to 215th Street www.indianroadcafe.com Subway: 4, 5, 6 to 42nd Street-Grand Central www.scandinaviahouse.org (212-691-1363) Subway: 1, 2, 3, F, M to 14th Street www.barsixny.com • Iridium 1650 Broadway at 51st Street (212-582-2121) • SEEDS 617 Vanderbilt Avenue Subway: 2, 3, 4 to Grand Army Plaza • Barbès 376 9th Street at 6th Avenue, Brooklyn (718-965-9177) Subway: 1,2 to 50th Street www.theiridium.com www.seedsbrooklyn.org Subway: F to 7th Avenue www.barbesbrooklyn.com • JACK 505 Waverly Avenue • ShapeShifter Lab 18 Whitwell Place • Beethoven Pianos 211 W 58th Street (212-765-7300) (718-388-2251) Subway: C to Clinton-Washington Avenue www.jackny.org (646-820-9452) Subway: R to Union Street www.shapeshifterlab.com Subway: 1, A, B, C, D to 50th Street www.beethovenpianos.com • Jack 80 University Place Subway: 4, 5, 6, N, R to 14th Street • Shell’s Bistro 2150 5th Avenue • Bemelmans Bar 35 E. 76th Street (212-744-1600) • Jalopy 315 Columbia Street, Brooklyn (212) 234-5600 Subway: 2, 3 to 135th Street www.shellsbistro.com Subway: 6 to 77th Street www.thecarlyle.com (718-395-3214) Subway: F to Smith Street www.jalopy.biz • Showman’s 375 W. 125th Street at Morningside) • Bill’s Place 148 W. 133rd Street (between Lenox and 7th Avenues) • Jazz 966 966 Fulton Street (212-864-8941) Subway: A, B, C, D to 125th Street (212-281-0777) Subway: 2, 3 to 125th Street (718-638-6910) Subway: C to Clinton Street www.jazz966.com www.showmansjazz.webs.com • Birdland 315 W. 44th Street (212-581-3080) • Jazz at Kitano 66 Park Avenue at 38th Street (212-885-7000) • Shrine 2271 Adam Clayton Powell Boulevard (212-690-7807) Subway: A, C, E, to 42nd Street www.birdlandjazz.com Subway: 4, 5, 6, 7, S to Grand Central www.kitano.com Subway: B, 2, 3 to 135th Street www.shrinenyc.com • Blue Note 131 W. 3rd Street at 6th Avenue (212-475-8592) • The Jazz Gallery 1160 Broadway, 5th floor (212-242-1063) • Sidewalk Cafe 94 Avenue A at E. 6th Street Subway: 6 to Astor Place Subway: A, B, C, D, E, F, M to W. 4th Street www.bluenotejazz.com Subway: N, R to 28th Street www.jazzgallery.org • Silvana 300 West 116th Street • Branded Saloon 603 Vanderbilt Avenue (between St. Marks Avenue and • Jazz Museum in Harlem 104 E.126th Street between Park & Lexington (646-692-4935) Subway: B, C, to 116th Street Bergen Street Subway: 2, 3 to Bergen Street www.brandedsaloon.com Avenues (212-348-8300) Subway: 6 to 125th Street • Sistas’ Place 456 Nostrand Avenue at Jefferson Avenue, Brooklyn • Brandy Library 25 N. Moore Street www.jazzmuseuminharlem.org (718-398-1766) Subway: A to Nostrand Avenue www.sistasplace.org (212-226-5545) Subway: 1 to Franklin Street • Jazz Standard 116 E. 27th between Park and Lexington Avenue • Skirball Center 566 LaGuardia Place at Washington Square • Broadway Thai 241 West 51st Street (212-576-2232) Subway: 6 to 28th Street www.jazzstandard.net (212-992-8484) Subway: B, D, F, V, A, C, E to West 4th Street (212-226-4565) Subway: 1, C, E to 50th Street www.tomandtoon.com • Joe G’s 244 W. 56th Street (212-765-3160) • Smalls 183 W 10th Street at Seventh Avenue (212-252-5091) • Brooklyn Conservatory of Music 58 Seventh Avenue Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle Subway: 1,2,3 to 14th Street www.smallsjazzclub.com Subway: F to Seventh Avenue, N, R to Union Street www.bqcm.org • Joe’s Pub at the Public Theater 425 Lafayette Street • Smoke 2751 Broadway between 105th and 106th Streets • Brooklyn Public Library Central Branch (212-539-8770) Subway: N, R to 8th Street-NYU; 6 to Astor Place (212-864-6662) Subway: 1 to 103rd Street www.smokejazz.com Subway: 2, 3 to Grand Army Plaza; Q to 7th Avenue www.joespub.com • Soup & Sound 292 Lefferts Avenue (between Nostrand and Rogers • Brownsville Heritage House 581 Mother Gaston Boulevard • Kaye Playhouse 695 Park Avenue at 68th Street (212-772-5207) Avenues) Subway: 2 to Sterling Street (718-385-1111) Subway: L to New Lots Avenue Subway: 6 to 68th Street www.kayeplayhouse.hunter.cuny.edu • Spectrum 121 Ludlow Street, 2nd floor Subway: F to Delancey Street • Bryant Park 5th and 6th Avenues between 40th and 42nd Streets • Kings County Saloon 1 Knickerbocker Avenue (347-987-3751) www.spectrumnyc.com Subway: 4, 5, 6 to 42nd Street www.bryantpark.org Subway: L to Morgan Avenue www.kingscountysaloon.com • Spoke the Hub 295 Douglass Street (between 3rd and 4th Avenues) • Café Carlyle 35 E. 76th Street (212-744-1600) • Knickerbocker Bar & Grill 33 University Place (212-228-8490) Subway: R to Union Street Subway: 6 to 77th Street www.thecarlyle.com Subway: N, R to 8th Street-NYU www.knickerbockerbarandgrill.com • Stephen Wise Free Synagogue 30 W. 68th Street • Café Loup 105 W. 13th Street between Sixth and Seventh Avenues • Korzo 667 5th Avenue Brooklyn (718-285-9425) Subway: R to Prospect Avenue (212-877-4050) Subway: 1 to 66th Street www.swfs.org (212-255-4746) Subway: F to 14th Street www.cafeloupnyc.com www.facebook.com/konceptions • The Stone Avenue C and 2nd Street • Café Noctambulo at Pangea 178 Second Avenue • The Lambs Club 132 W. 44th Street Subway: F to Second Avenue www.thestonenyc.com (212-995-0900) Subway: L to First Avenue www.pangeanyc.com 212-997-5262 Subway: A, C, E, to 42nd Street www.thelambsclub.com • SubCulture 45 Bleecker Street (212-533-5470) • Caffe Vivaldi 32 Jones Street between Bleecker and W. 4th Streets • Le Chéile 839 W. 181st Street Subway: 6 to Bleecker Street www.subculturenewyork.com Subway: A, B, C, D, E, F, Q, V to W. 4th Street-Washington Square (212-740-3111) Subway: A to 181st Street www.lecheilenyc.com • Subrosa 63 Gansevoort Street (212-997-4555) www.caffevivaldi.com • Le Poisson Rouge 158 Bleecker Street (212-228-4854) Subway: 1, 2, 3 to 14th Street; L to Eighth Avenue www.subrosanyc.com • Capital Grille 120 Broadway Subway: A, B, C, D, E, F, V to W. 4th Street www.lepoissonrouge.com • Sugar Bar 254 W. 72 Street between Broadway and West End Avenue (212-374-1811) Subway: 2, 3, 4, 5 to Wall Street www.thecapitalgrille.com • Little Branch 22 7th Avenue South (212-579-0222) Subway: 1, 2, 3 to 72nd Street www.sugarbarnyc.com • Cávo 42-18 31st Avenue, Astoria (212-929-4360) Subway: 1 to Houston Street www.littlebranch.net • Sunnyside Reformed Church 48-03 Skillman Avenue (718-426-5997) (718-721-1001) Subway: M, R, to Steinway Street www.cavoastoria.com • Local 802 322 W. 48th Street between Eighth and Ninth Avenues Subway: 7 to 52nd Street www.sunnysidenyc.rcachurches.org • The Cell 338 West 23rd Street (212-245-4802) Subway: C to 50th Street www.jazzfoundation.org • Swing 46 349 W. 46th Street (646-322-4051) (646-861-2253) Subway: C, E to 23rd Street www.thecelltheatre.org • L’ybane 709 8th Avenue (212-582-2012) Subway: A, C, E to 42nd Street www.swing46.com • Cellar 58 58 2nd Avenue Subway: A, C, E to 42nd Street-Port Authority www.lybane.com • Symphony Space Leonard Nimoy Thalia, Peter Jay Sharpe Theatre (212-420-1300) Subway: F to Second Avenue www.cellar58.com • Madison Square Park 5th Avenue and 23rd Street and Bar Thalia 2537 Broadway at 95th Street (212-864-5400) • Central Park Summerstage, Rumsey Playfield 72nd Street and Fifth Avenue Subway: R, W to 23rd Street Subway: 1, 2, 3 to 96th Street www.symphonyspace.org (212-36O-2777) Subway: B, D to 72nd Street www.summerstage.org • Manhattan School of Music Borden Auditorium Broadway and 122nd Street • Tagine 537 9th Ave. between 39th and 40th Streets • Charley O’s 1611 Broadway at 49th Street (212-749-2802 ext. 4428) Subway: 1 to 116th Street www.msmnyc.edu (212-564-7292) Subway: A, C, E, 1, 2, N, R, 7 to 42nd Street (212-246-1960) Subway: N, R, W to 49th Street • Manna House 338 E. 106th Street between First and Second Avenues • Terraza 7 40-19 Gleane Street (718-803-9602) • Chez Oskar 211 Dekalb Ave, Brooklyn (718-852-6250) (212-722-8223) Subway: 6 to 103rd Street Subway: 7 to 82nd Street/Jackson Heights www.terrazacafe.com Subway: C to Lafayette Avenue www.chezoskar.com • McDonald’s 160 Broadway between Maiden Lane and Liberty Street • Threes Brewing 333 Douglass Street • Citigroup Center Plaza 53rd Street and Lexington Avenue (212-385-2063) Subway: 4, 5 to Fulton Street www.mcdonalds.com (718-522-2110) Subway: R to Union Street www.threesbrewing.com Subway: 6 to 51st Street • Matisse 924 Second Avenue • Tomi Jazz 239 E. 53rd Street • City Crab Park Avenue South at 19th Street (212-546-9300) Subway: 6 to 51st Street www.matissenyc.com (646-497-1254) Subway: 6 to 51st Street www.tomijazz.com (212-529-3800) Subway: 6 to 23rd Street • Meridian 23 161 W. 23rd Street • Tribeca Performing Arts Center 199 Chambers Street • Cleopatra’s Needle 2485 Broadway (212-769-6969) (212-645-0649) Subway: 1 to 23rd Street www.meridian23.com (212-220-1460) Subway: A, 1, 2, 3 to Chambers Street www.tribecapac.org Subway: 1, 2, 3 to 96th Street www.cleopatrasneedleny.com • Metropolitan Room 34 W. 22nd Street (212-206-0440) • Turnmill NYC 119 East 27th Street • Cornelia Street Café 29 Cornelia Street Subway: N, R to 23rd Street www.metropolitanroom.com (646-524-6060) Subway: 6 to 27th Street www.turnmillnyc.com (212-989-9319) Subway: A, B, C, D, E, F, M to W. 4th Street • Mezzrow 163 W. 10th Street Subway: 1, 2, 3 to 14th Street • University of the Streets 2381 Belmont Avenue, 2nd Floor, Bronx www.corneliastreetcafé.com www.mezzrow.com (212-254-9300) Subway: B, D to 182-183 Streets • The Cutting Room 44 E. 32nd Street • Minton’s 206 West 118th Street (212-243-2222) www.universityofthestreets.org (212-691-1900) Subway: 6 to 33rd Street www.thecuttingroomnyc.com Subway: B, C to 116th Street www.mintonsharlem.com • Urban Meadow President and Van Brunt Streets • Damrosch Park at Lincoln Center Broadway and 62nd Street • MIST Harlem 40 West 116th Street Subway: 2, 3 to 116th Street Subway: 2, 3, 4, 5 to Borough Hall then B61 Bus Subway: 1 to 66th Street • Mona’s 224 Avenue B Subway: L to First Avenue • Vespa 1625 2nd Avenue (212) 472-2050 • David Rubenstein Atrium Broadway at 60th Street • Muchmore’s 2 Havemeyer Street Subway: 4, 5, 6 to 86th Street www.vespaitalianorestaurant.com (212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle (718-576-3222) Subway: L to Bedford Avenue • Village Vanguard 178 Seventh Avenue South at 11th Street www.new.lincolncenter.org/live/index.php/atrium • NYC Baha’i Center 53 E. 11th Street (212-222-5159) (212-255-4037) Subway: 1, 2, 3 to 14th Street www.villagevanguard.com • Delroy’s Café and Wine Bar 65 Fenimore Street Subway: 4, 5, 6, N, R to 14th Street-Union Square www.bahainyc.org • Walker’s 16 North Moore Street (212-941-0142) Subway: A, C, E to Canal Street Subway: Q to Parkside Avenue www.facebook.com/65fenmusicseries • New Revolution Arts 7 Stanhope Street Subway: J to Kosciuszko Street • Waltz-Astoria 23-14 Ditmars Boulevard (718-95-MUSIC) • Dizzy’s Club Broadway at 60th Street, 5th Floor (212-258-9800) www.jazzrightnow.com/new-revolution-arts-series Subway: N, R to Ditmars Blvd-Astoria www.Waltz-Astoria.com Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.jalc.org • Nino’s Tuscany 117 W. 58th Street (212-757-8630) • The West End Lounge 955 West End Avenue at West 107th Street • Dominie’s Astoria 34-07 30th Avenue Subway: N, Q to 30th Avenue Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.ninostuscany.com (212-531-4759) Subway: 1 to 110th Street www.thewestendlounge.com • Downtown Music Gallery 13 Monroe Street (212-473-0043) • North Square Lounge 103 Waverly Place (212-254-1200) • WhyNot Jazz Room 14 Christopher Street Subway: F to East Broadway www.downtownmusicgallery.com Subway: A, B, C, E, F to West 4th Street www.northsquareny.com (646-756-4145) Subway: 1 to Christopher Street www.whynotjazzroom.com • The Drawing Room 56 Willoughby Street #3 (917-648-1847) • Nublu 62 Avenue C between 4th and 5th Streets • Williamsburg Music Center 367 Bedford Avenue, Brooklyn, NY Subway: A, C, F to Jay Street/Metrotech www.drawingroommusic.com (212-979-9925) Subway: F, V to Second Avenue www.nublu.net (718-384-1654) Subway: L to Bedford Avenue • Drom 85 Avenue A (212-777-1157) • Nuyorican Poets Café 236 E. 3rd Street between Avenues B and C • Winter Garden Battery Park City Subway: F to Second Avenue www.dromnyc.com (212-505-8183) Subway: F, V to Second Avenue www.nuyorican.org Subway: E to World Trade Center www.worldfinancialcenter.com • The Ear Inn 326 Spring Street at Greenwich Street (212-246-5074) • Parlor Entertainment 555 Edgecombe Ave. #3F • Zeb’s 223 W. 28th Street Subway: C, E to Spring Street www.earinn.com (212-781-6595) Subway: C to 155th Street www.parlorentertainment.com 212-695-8081 Subway: 1 to 28th Street www.zebulonsoundandlight.com • Emmanuel Baptist Church 279 Lafayette Avenue • Parnell’s 350 East 53rd Street #1(212-753-1761) • Zinc Bar 82 W. 3rd Street (212-477-8337) (718-622-1107) Subway: G to Classon Avenue www.ebcconnects.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.zincbar.com

THE NEW YORK CITY JAZZ RECORD | JUNE 2015 49 (INTERVIEW CONTINUED FROM PAGE 6) course there. When I came over to Rutgers in 2000 I got the electronic studio there to acquire it and it was a Contract reading is important. [We also discussed], later model, smaller and more powerful. In the last five historically, what has happened to many musicians in or six years they have come out with the Pacarana. I all genres of music who basically died very poor. use the smaller Paca unit along with a laptop computer. I’m considering using it on certain things at the TNYCJR: You’ve been working with SteepleChase for Vanguard; I haven’t fully decided, but I think I will. quite a while now. TNYCJR: Are there plans to realize that treatment of SC: Yes. Some artists on SteepleChase do a sub- Juneteenth for orchestra? publishing agreement with the producer, Nils Winther, but I do not and never have and it does seem to work SC: It’s pretty difficult, but I do have an offer in out fine for me. He’s been very open about me Washington D.C. I don’t know whether they can have a composing and using original works, but I usually mix concert band available, but perhaps a smaller version things up because I know people want to hear some is possible. We’ll see. It’s originally for concert band, things that they are familiar with. that’s the orchestra. The concert band conductor at Rutgers was interested and looking into it but, as I TNYCJR: Your recent album, Are You Real?, was meant said, I retired and didn’t pursue it any further. I’ve to be a Freddie Redd date, but you were called when he gotten involved in some other things like the Strata- couldn’t make it and worked with the rhythm section of East All-Stars tour with Tolliver that we just did. And I Jay Anderson and Billy Drummond for the first time. recently performed at the solo piano event celebrating the 80th anniversary of the Village Vanguard with four SC: That’s correct, I had no plans to record for other pianists that Jason Moran put together—Fred SteepleChase at that point but Nils called me and I put Hersch, Ethan Iverson, Kenny Barron and myself. It something together. It worked out great! I never was really an enjoyable night... So, you know, my life is worked with Jay before, but I had played once with full enough. v Billy in Charles Tolliver’s big band. Cowell is at Village Vanguard Jun. 16th-21st. See Calendar. TNYCJR: They’ll be joining you at the Village Vanguard? Recommended Listening: SC: Yes. We’ve got another trio recording with the • Stanley Cowell— same rhythm section. We will be debuting some of the (Arista Freedom-Black Lion, 1969) music from the forthcoming CD, which will probably • Charles Tolliver—Mosaic Select 20 not be released until the fall. This will be my debut (Strata-East-Mosaic, 1970/73) performance at the Village Vanguard with my own • Stanley Cowell—Illusion Suite (ECM, 1972) group. I have worked the Vanguard many times with • Sonny Fortune/Billy Harper/Stanley Cowell/ various artists in the ‘70s, ‘80s and ‘90s, but not since. I Reggie Workman/Billy Hart—Great Friends haven’t performed there in a number of years, so this (Black & Blue-Evidence, 1986) will be great, to come into a most important, prestigious • Stanley Cowell—Live at Maybeck Recital Hall, Vol. 5 jazz club in New York with my quartet. We will be (Concord, 1990) doing solo, duo, trio and quartet in the course of the • Stanley Cowell—Are You Real? (SteepleChase, 2014) set, so there’ll be quite a bit of textural variety.

TNYCJR: This June will be the 150th anniversary of (LABEL CONTINUED FROM PAGE 11) Juneteenth [commemorating the ending of slavery in the U.S.] and you have a recording coming out our artists still sell their CDs and we still sell CDs commemorating the festival. How did that come about? through our distributor, which provides Summit with strong marketing. A fraction of a penny per stream SC: I was visited in 2006 by Philippe Ghielmetti, the makes it hard to replace CD sales, but we realize that producer of the Juneteenth recording [solo piano our number one goal is getting the music heard. released on Vision Fugitive], and I wasn’t too interested Although streaming is overtaking the pie charts as the at the time, but it turned out that I wrote a concert band future of the business, I think there will always be at work based on the Emancipation Proclamation, as a least some portion of the chart for CDs, plus look out sabbatical project for Rutgers in 2007. It got expanded for vinyl’s comeback! But the push towards downloads/ to include orchestra, chorus and electronics, but it has streaming has impacted the way we think and it is one not been performed. The producer suggested I make a of the main reasons we reworked our website to offer piano reduction of the larger work, but there are added the music directly to our customers. Fans can now buy tracks including a 17-minute improvisation, “Juneteenth tunes right off our site, or simply sample them. We’ve Recollections”, a gospel/spiritual type number, “Ask put a lot of energy to make this work and although Him” and “We Shall 2”. There is also the use of melodies there are still some bugs, we’ll get them worked out. of “Strange Fruit” and hints of Civil War-era songs. The Also of importance is coverage in jazz publications main theme of the big work and the Juneteenth solo are [print and on-line] and social media. Reviews can be from one of my earlier vehicles for jazz improv titled very powerful and jazz radio is great exposure, though “Sienna: Welcome To This New World”. it’s not really a big influence on sales. When everything works , there is a very powerful synergy that TNYCJR: Are the electronics in the larger piece related is created.” v to the electronics on the Welcome to this New World CD? For more information, visit summitrecords.com. Artists SC: Yes, that’s a platform by Symbolic Sound called performing this month include Gene Bertoncini at Jazz at Kyma that I use. It’s become very compact and I’ve Kitano Jun. 13th and The Drawing Room Jun. 21st; Randy even been using it on the road. It processes the piano in Brecker at Manhattan School of Music Borden Auditorium real time. If I dared I would process the others too. I’m Jun. 8th as part of a Memorial and Tribeca experimenting with it primarily on my instrument. Performing Arts Center Jun. 27th as part of the Made in NY Some of those processes were used in real time on the Jazz Gala; Dave Liebman at Mezzrow Jun. 12th-13th and Welcome to this New World CD. It’s like the Swiss army Greenwich House Music School Jun. 19th with Charles knife of sounds. It used to be pretty large. I acquired Evans; Art Lillard at Spoke the Hub Jun. 6th; New West one through a grant when I was teaching at Lehman Guitar Group at SubCulture Jun. 18th; and Charles Pillow College in ’97 when I took over the electronic music at Korzo Jun. 16th with Alan Ferber. See Calendar.

50 JUNE 2015 | THE NEW YORK CITY JAZZ RECORD

Sunday, July 5 Vision Films at Anthology Film Archives 7:00 Billy Bang Lucky Man (by Markus Hansen & Jean-Marie Boulet) Featuring a Retrospective 9:15 & Parker (Michael L. Sternbach) / Visions: (Susan Littenberg)

of 19 years of Monday, July 6 Conference at Buell Hall, Vision Community Celebrating 20 Years of Vision 10 am–8 pm FREE ADMISSION

Tuesday, July 7 7:00 Invocation Joseph Jarman 7:30 Douglas Ewart 10-piece Ensemble “For Love of Baraka” 8:30 Nathaniel Mackey 9:30 Henry Grimes / Amina Claudine Myers 10:30 Roscoe Mitchell: Two Trios & Combined Quintet Roscoe Mitchell / Hugh Ragin / Tyshawn Sorey / Craig Taborn / Kikanju Baku

Wednesday, July 8 7:00 Dance / FreeJazz Communion – Tony Morales with Connie Crothers 7:30 / Mark Whitecage / Ken Filiano / Lou Grassi 8:30 Marilyn Crispell / Gerry Hemingway 9:30 Larry Roland 10:00 Whit Dickey Quartet: Cosmic Breath 11:00 SUN RA Arkestra directed by Marshall Allen

Thursday, July 9 7:00 Dance / FreeJazz Communion – Lance Gries & friends with Thomas Heberer 7:30 Darius Jones Quartet featuring Emilie LesBros Sean Conly / Craig Taborn / Gerald Cleaver 8:30 David Budbill 9:00 Milford Graves / Charles Gayle / William Parker / Hugh Glover 10:00 Dave Burrell Civil War Project w/ Steve Swell 11:00 Joe McPhee FOUR FOR TAZZ Charles Gayle / Charles Downs / Warren Smith

Our goal is to keep alive in hearts Friday, July 10 5:30 VISION Parade in Washington Square Park and minds all of the idealism, 7:00 Dance / FreeJazz Communion – Yoshiko Chuma School of Hard Knocks integrity and sense of responsibility 7:30 Karl Berger 15 piece Improvisers Orchestra ‘The Sertso Suite’ Featuring Ingrid Sertso that has inspired previous 8:30 Tyehimba Jess 9:00 Jason Kao Hwang Quintet “Sing House” generations 10:00 David Murray & Class Struggle Trio 11:00 William Parker Martin Luther King Project: Part 5

Saturday, July 11 6:00 Dance / FreeJazz Communion – Patricia Nicholson July 5-12, 2015 6:30 Ingrid Laubrock Sextet Craig Taborn / Miya Masaoka / Dan Peck / Tyshawn Sorey / Sam Pluta 7:30 Wadada Leo Smith / Aruan Ortiz Duo Celebrating 20th Anniversary 8:30 Steve Dalachinsky & Yuko Otomo 9:00 Tony Malaby TubaCello of VISION Chris Hoffman / Bob Stewart / John Hollenbeck The On-going Legacy of FreeJazz music, 10:00 Joelle Leandre / Gerald Cleaver / Mat Maneri Sunday, July 12 dance, poetry, art and ideas 3:00 PANEL: Empowering Freedom & Justice Today – A Creative Movement At Historic Judson Memorial Church 5:00 Dance / FreeJazz Communion – Urban Bush Women 6:00 HEAR in NOW Mazz Swift / Tomeka Reid 55 Washington Square Park South, NYC 7:00 Matthew Shipp Trio Newman Taylor-Baker / Michael Bisio 8:00 David Mills 8:30 Rob Brown Quartet www.artsforart.org 9:30 FINALE: Hamiet Bluiett Telepathic Orchestra – ALL STARS