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September 2012 | No. 125 Your FREE Guide to the NYC Scene nycjazzrecord.com B O B B Y M C F E R R RIAM HIL2L I X 01 -2 IN MEMO 2 N STILL UNPREDICTABLE 93 LOL 1CO JERRY • DAN • RAHN • INNER • EVENT GRANELLI TEPFER BURTON CIRCLE CALENDAR

As you read this intro, you’re probably unconsciously humming “Don’t Worry, Be Happy”. Well, stop! Just as is hardly just “What a Wonderful 4 New York@Night World”, the career of vocalist Bobby McFerrin (On The Cover) encompasses far more than that 1988 hit song. His career as a virtuoso vocalist began in the early Interview: Jerry Granelli ‘80s and, besides his many as a leader, includes work with Pharoah 6 by Ken Waxman Sanders, , , Jack DeJohnette, and . McFerrin performs this month to kick off Jazz at Lincoln Center’s Artist Feature: Dan Tepfer 25th Anniversary Celebration. 7 by Ken Dryden In sadder news, we take two pages to remember the life of saxophonist , who passed away Jul. 9th at age 79. We have a number of remembrances On The Cover: Bobby McFerrin from his friends and colleagues, all who describe a rare musical spirit. 9 by Alex Henderson Drummer Jerry Granelli (Interview) may have gotten his start back in the ‘60s with pianist (he played on A Charlie Brown Christmas) but he has Encore: Lest We Forget: moved into much deeper territory in the decades since, releasing numerous 10 Rahn Burton Wilbur Ware albums as a leader and solo performer. Granelli plays solo and with a trio at by Matthew Miller by Donald Elfman I-Beam this month. Pianist Dan Tepfer (Artist Feature) recently released an of variations on the famed Goldberg Variations, an ambitious project for this Megaphone VOXNews 30-year-old but just another stop in what is shaping up to be an impressive jazz 11 by Mario Pavone by Katie Bull career. Tepfer plays those Goldberg Variations variations at Greenwich House Music School this month as well as takes part in a Bud Powell tribute at Birdland. Label Spotlight: Listen Up!: We also have features on Rahn Burton (Encore), performing at Cleopatra’s 12 Inner Circle Douglas Detrick Needle, Wilbur Ware (Lest We Forget), fêted at Merkin Hall this month by by Alex Henderson & Adam O’Farrill an allstar lineup, a Megaphone from bassist/composer Mario Pavone (appearing with various groups at Cornelia Street Café), saxist ’s imprint Inner Circle (Label Spotlight, with a roster festival at Cornelia Street Café) and Festival Report: Heineken Jazzaldia • Newport • Jazz Em Agosto 13 ShapeShifter Lab plus Festival Reports from , Portugal and Rhode Island. Don’t Worry, Be Happy...aw, shoot. In Memorian: Lol Coxhill (1932-2012) 14 Laurence Donohue-Greene, Managing Editor Andrey Henkin, Editorial Director 16 CD Reviews: On the cover: Bobby McFerrin (© Carol Friedman) Corrections: We are now able to provide the death date of drummer Gerryck King. He died Sep. 11th, 2011. Also regarding In Memoriam, pianist Fritz Pauer’s death age Event Calendar was inflated. He was 68, not 78. In last month’s Encore, we incorrectly implied that 42 Music and Art High School in Harlem was a local school rather than a city-wide elite high school. And finally, the photo from the Vision Festival report was taken by Alan 49 Club Directory Nahigian. Submit Letters to the Editor by emailing [email protected] US Subscription rates: 12 issues, $30 (International: 12 issues, $40) Miscellany: In Memoriam • Birthdays • On This Day 51 For subscription assistance, send check, cash or money order to the address below or email [email protected].

The Jazz Record www.nycjazzrecord.com / twitter: @nycjazzrecord Managing Editor: Laurence Donohue-Greene To Contact: Editorial Director & Production Manager: Andrey Henkin The New York City Jazz Record Staff Writers 116 Pinehurst Avenue, Ste. J41 David R. Adler, Clifford Allen, Fred Bouchard, Stuart Broomer, Katie Bull, New York, NY 10033 Tom Conrad, Ken Dryden, Donald Elfman, Sean Fitzell, Graham Flanagan, Kurt Gottschalk, Tom Greenland, Laurel Gross, Alex Henderson, Marcia Hillman, Terrell Holmes, Robert Iannapollo, Francis Lo Kee, Martin Longley, Wilbur MacKenzie, Laurence Donohue-Greene: Marc Medwin, Matthew Miller, Sharon Mizrahi, Russ Musto, Sean O’Connell, Joel Roberts, [email protected] John Sharpe, Elliott Simon, Jeff Stockton, Andrew Vélez, Ken Waxman Andrey Henkin: [email protected] Contributing Writers General Inquiries: [email protected] George Kanzler, Matthew Kassel, Mario Pavone, Sam Spokony Advertising: [email protected] Contributing Photographers Editorial: [email protected] Geoffrey Creighton, Eckhart Derschmidt, Gary Firstenberg, Scott Friedlander, Calendar: [email protected] Carol Friedman, Peter Gannushkin, Phillippe Marchin, Alan Nahigian, Nuno Martins, John Rogers, Jack Vartoogian, Lolo Vasco

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THE NEW YORK CITY JAZZ RECORD | September 2012 3 NEW YORK @ NIGHT

An eight-week run of free concerts in the Whole Foods There is something about Roulette’s newish Brooklyn café at Union Square was more impressive in its space that inspires grandeur. Maybe not in the most ®programming than for its publicity efforts, but traditional sense of the word but an actual stage under neverthelessJAZZ&SUPPER the Wednesday evening shows CLUBenticed a lovely proscenium arch makes the music played there small cadres of the faithful for sets by Steve Berrios, seem especially impressive. Clarinetist Jeremiah SMOKEJazz & Supper Club 2751 BROADWAY • NEW YORK • NY 10025Cooper-Moore, • 212 864 Bern 6662 Nix, • SteveWWW.SMOKEJAZZ.COM Swell and, on Aug. Cymerman, leading his amplified quartet (Aug. 9th), Wednesday, Sept 5 15th, William Parker’s Summer Songs with Charles was a beneficiary of this effect. While his grouping of Gayle and Marvin “Boogaloo” Smith. And if like-minded conceptualists - trumpeters Nate Wooley Nat Adderley Jr. Quartet in the supermarket doesn’t make New Yorkers’ and Peter Evans and saxophonist/clarinetist Matt nonplussed heads turn, perhaps nothing would. The Bauder - would feel at home at the city’s more prosaic Friday & Saturday Sept 7, 8 first set Parker’s trio played was standards, though venues, at Roulette the 42-minute piece conceived by through the voice of Gayle’s hard-bitten tenor they Cymerman had greater impact, if only because it was George Coleman Quartet might not have been recognized as such by many in the not constrained by low ceilings, close walls or featuring room, most of whom were typing on smartphones and inattentive listeners. The Amplified Quartet is just sipping lattes. They played an impassioned set that, the natural timbres of brass and woodwinds Wednesday, Sep 12 nonetheless, working through “Lady Bird”, “I’ll transmogrified through various forms of manipulation: Remember April” and other chestnuts and if it might electronic processing; feedback and microphone Chris Bergson & have been a bit cacophonous for the environs, it was placement; amplifier settings. Except for Cymerman still a far cry from By Any Means, the Gayle/Parker presenting melodic fragments in a relatively Friday & Saturday Sept 14, 15 trio with drummer - not just for Smith’s straightforward manner, all the players trafficked in Quartet lighter touch but the relative restraint the other two extended techniques and Bauder also integrated Steve Nelson (v) • (b) • Lewis Nash (d) musicians displayed. Any such bets were off for their separate electronics. Heard on CD the sounds would second set, though. Gayle let the young Buffalo have been unidentifiable (a factory during an air raid Wednesday, Sept 19 saxophonist James Brandon Lewis open and on the or small unmanned drones killing even smaller insects) small stage area listened intently before picking up his but in person became logically impressive as Ken Fowser Sextet horn and laying an appreciative squall over the mix. concentrated gestures fed into the whorled whole. And it was this, not the fractured standards, that got Most fascinating, however, was a 10-minute acoustic Friday & Saturday Sept 21, 22 the room’s attention: gazes of disbelief to be sure but encore, more staccato and unadorned, a fanfare that Quintet generally topping off smiles. - Kurt Gottschalk seemed to come from a different group. - Andrey Henkin Ben Solomon (t s) • Victor Gould (p) • Darryl Johns (b) • Kush Aberdey (d) Wednesday, Sept 26 Festival: P e t r G a n u s h k i / D O W N T Alexis Cole Quintet featuring Eric Alexander Friday & Saturday Sept 28, 29 Mike Le Donne’s 5LIVE Eric Alexander (t s) • (t) • John Webber (b) • Joe Farnsworth (d) Sundays Sept 2, 16 O W N M U S I C . E T Allan Harris Band Allan Harris (v & g) • Pascal LeBoeuf (p & k) • Leon Boykins (b) • Jake Goldbas (d)

Sundays, Sept 9, 30 P h o t b y S c F r i e d l a n William Parker Trio @ Whole Foods Union Square Jeremiah Cymerman Amplified Quartet @ Roulette SaRon Crenshaw George Papageorge (o) • Thomas Hutchings (s) • Kimmo Pohjonen’s appearance at Lincoln Center In today’s ‘modern mainstream’ (Who came up with Richard Lee (t) • Cliff Smith (b) • Damon Due White (d) Out-of-Doors on Aug. 3rd opened in familiar small- this awful term? Is there an ‘antiquated avant garde’? Mondays, Sept 10, 24 world-after-all fashion with a procession by the Actually, yes there is.) players take less from the Chinese Chio-Tian Folk Drums and Arts Group before compositional lessons of their forbears in lieu of Captain Black Big Band the Finnish accordionist and his troupe of wrestlers individual instrumental prowess. Blowing sessions A 14-piece Jazz Orchestra conducted by took the Damrosch Park stage. Pohjonen’s thoroughly with interchangeable and forgettable melodies abound entertaining Accordion Wrestling was a good bit of - as long as everyone can solo and solo often. Hammond Mondays, Sept 3, 17 scripted hilarity, but it was borne of a longstanding organist Brian Charette - possibly modern mainstream, The SMOKE Big Band Finnish tradition of bouts with musical maybe more main modernstream - is a delightful A 16-piece Jazz Orchestra directed by Bill Mobley accompaniments. They pantomimed weighing in, they exception, as evidenced by a set at Smalls (Aug. 9th) by displayed moves, they waltzed, played like airplanes his Sextette. Charette can burn as can his interesting and flipped each other about, all to the booming live frontline of Itai Kriss (), Seamus Blake and Mike Tuesdays, Sept 4, 11, 18, 25 accordion soundtrack, dramatically processed and DiRubbo (saxes) and John Ellis (bass ) but his The Groover Quartet amplified by Helsinki Nelson. The carefully music is not about blowing for blowing’s sake. He Eric Alexander (a s) • tba (g) • Mike LeDonne (B3) • choreographed show elicited laughs but at the same writes interesting and unique compositions (a step Joe Farnsworth (d) time was an athletic and a musical display. Pohjonen is above ‘tunes’), his currency inventive little twists, and Thursdays Sept 6, 13, 20, 27 a new music hero in his homeland, having worked works from behind the keys as an active arranger. with the Kronos Quartet and guitarist Much of the music from the first set (slightly marred Gregory Generet Trey Gunn. He is a striking figure, muscle-bound and by a loud early evening crowd, which included many mohawked and his commanding presence was a big soon-to-be-playing musicians) came from Charette’s Saturdays & Sundays Jazz Brunch part of the stageshow. He unstrapped his instrument at recent SteepleChase disc Music for Organ Sextette and one point to assume the role of coach in a gravelly displayed an advanced whimsy. So Charette is a good Vocalist Annette St. John voice somewhere between Tom Waits and Donald composer yet doesn’t take himself too seriously? Call and her Trio Duck. Later he was quite literally caught up in the the police (jazz or otherwise). “Fugue For Katheleen 2751 Broadway • New York NY 10025 action as one wrestler lifted him and carried him off, Anne/Ex Girlfriend Variations” and “The Elvira his accordion falling over him with a moan. Ultimately Pacifier”, classical and reggae respectively, were the 212-864-6662 the much maligned instrument was sacrificed, along highlights mainly because Charette’s sidemen believed with its player, in a ritual killing, closing the book on a in his music, playing their features with concision - www.smokejazz.com most unusual chapter in musical history. (KG) run-scoring singles instead of solo home runs. (AH)

4 September 2012 | THE NEW YORK CITY JAZZ RECORD The World Yacht sailed into Pier 81 on Aug. 3rd, One of the most distinctively original voices in music propelled not only by its engines, but also by the Hot today, Rebecca Martin transcends the boundaries WHAT’S NEWS Club of ’s gypsy jazz sound. The quintet between jazz vocalist and singer/songwriter in her assembled gauntlet-style on the vessel’s makeshift performances, alternating original compositions with stage, resembling the Django Reinhardt band model an eclectic mix of classic pieces from the standards A city-wide celebration of the life and music of with guitarists Paul Brady and Evan Perri in the songbook. At The Jazz Gallery (Aug. 3rd), with only saxophonist Pepper Adams will take frontline. The former shined as lead instrumentalist the spare accompaniment of her own acoustic place this month in conjunction with the Motéma throughout the evening, strumming full-bodied notes and bassist , the individuality of her Music release of Joy Road: The Complete Works in unison with the latter’s rhythmic accentuation. approach was all the more clear. From the opening of Pepper Adams (Volumes 1-5), organized by Their spirited approach rejuvenated the set of classic strains of her “Don’t Mean A Thing At All”, Martin boleros, reaching full-bodied harmony both in upbeat marked herself as a modern-day troubadour, a musical jazz historian Gary Carner. Events include the and reflective tunes. “Troublant Bolero” featured storyteller possessed of a daring willingness to bare Vanguard Jazz Orchestra Honors Pepper Adams another poignant duo, with Andrew Bishop on bass her soul in the telling of tales fraught with both (, Sep. 24th); The Hammond clarinet and Shawn Conley on bass. Bishop’s buzzing personal and universal meaning. Alternately exuding B3 Meets Pepper Adams (Smoke, Sep. 25th); notes lent the air an electronic feel - but once Conley bold confidence and delicate fragility in tone, her Alexis Cole Sings Pepper Adams (Smoke, Sep. joined, the vibe rippled into exhilarating territory. renditions of “Willow Weep For Me”, “Brother, Can 26th); Frank Basile Sextet Plays the Compositions Accordionist Julien Labro stirred up a subtler dynamic You Spare A Dime”, “Sophisticated Lady” and of Pepper Adams (Smalls, Sep. 28th); The Three in his “Chutzpah”. His acerbic notes sparked a rich “Everything Happens To Me” were thoroughly fresh, Baris (Ginny’s Supper Club, Sep. 29th) and contrast with Brady and Perri’s acoustic vibe. Bishop’s full of new intrigue despite their well-known words Urban Dreams and String Quartets (Birdland soprano sax solo, however, proved most intriguing of while the originals “Beyond The Hillside”, “Some Sep. 30th). For more information, visit all. His slurs ranged from slow and methodical to Other Place, Some Other Day”, “To Up And Go” and PepperAdams.com. assertive and blaring, emerging in a nearly free-form “God Is In The Details”, in spite of their newness, had manner. On another band original, Labro paired with an air of familiarity resulting from the convincing Bishop (on clarinet) in a shrill battle of musical wills, honesty of her delivery. Throughout the evening The dates for the Jazz Connect Conference, exuding an off-putting astringency that soon yielded Grenadier was typically masterful, his supple chords organized in conjunction with Association of to smooth cohesion. And as the yacht rolled into the accompanying sensitively while his lyrical Performing Arts Presenters (APAP) conference, pier after its two-hour voyage, the Hot Club of Detroit introductions and solos offered refreshing contrast, have been announced. It will be held Jan. clinched the set with a final Reinhardt piece, coasting right through the final notes of the closing “Born To Be 11th-13th at the Hilton New York and Sheraton forward into vibrant horizons. - Sharon Mizrahi Blue” and “The Sweetest Sounds”. - Russ Musto New York Hotels in midtown and include panels, workshops and presentations. Admission will be free. For more information, email [email protected]. Historian/radio personality Phil Schaap has signed a deal with Jazz at Lincoln Center to pen o n t R w P h s two history books, compiling the exhaustive

j o h n r information presented on his daily radio program Bird Flight. o g e r s / j h n a r t o g i n / F Every Thursday night, Jazz at Lincoln Center webcasts that night’s Dizzy’s Club set. For more

o g e r s n y c . m information, visit jalc.org/live. Vibraphonist has begun teaching an online course through P h o t g r a p © 2 0 1 J c k V Hot Club of Detroit @ World Yacht Rebecca Martin & Larry Grenadier @ The Jazz Gallery called “Jazz Improvisation” as part of the school’s online music courses and certificate programs. The dusky-lit Zebulon might have found its soulmate During the course of her 15 years on the New York There are over 150 courses available for the Fall on Aug. 15th in the likeness of Sam Mickens. This music scene, Kendra Shank has progressively Semester beginning Sep. 24th. For more experimental pop-turned-jazz vocalist is more than expanded the role of the improvising vocalist in a jazz information, visit berkleemusic.com. just a singer - Mickens turns the vocal craft into a ensemble. Taught in Seattle by Jay Clayton, introduced transcendent art-form. His raspy, soulful wail filled the here by and championed by Abbey As a followup to last month’s item about dark confines of the hip Williamsburg venue, beckoning Lincoln, she has blazed her own incomparable trail, Neal’s daughter Lia Neal’s participation in the the ears to abandon all preoccupations and enter a demonstrating a deep respect for tradition while still US Olympic swim team, we can now report that trance-like stupor. His sound emerged as neither song daring to be different. At Jazz at Kitano (Aug. 15th), Ms. Neal won Bronze in the Women’s 4x100m nor instrument, slinking along like a forlorn romantic. Shank served up a courageous set, leading her Mickens’ band heightened the hypnotic appeal by longstanding quartet of Frank Kimbrough at the , Freestyle Relay. crafting a slow yet chaotic scene of brass, percussion Dean Johnson on bass and Tony Moreno on drums, and electronics. Alexis Marcelo’s electric Rhodes through a kaleidoscopic assortment of music old and As part of the festivities surrounding the 25th harmonized with Mickens’ glimpses of falsetto, new. Beginning with a dramatic intoning of her poem annual International Jazz brought to full-fledged radiance by Jonathan Moritz’ “Reflections In Blue”, which climaxed in an unusually Competition (this year spotlighting drummers), pitchy tenor . Drummer Mike Pride stirred free reading of Irving ’s “Blue Skies”, the singer taking place Sep. 22nd-23rd, a “Women, Music about cinematic fireworks during the vocalist’s more embarked on an intrepid journey filled with rewarding and Diplomacy” Gala will be held at which former pensive moments, shrouding the sultry momentum surprises. On two selections from the Norma Winstone US Secretary of State Madeleine Albright will be with energetic nuances. Once Mickens returned to the songbook, “Some Time Ago” and “Songs and honored. Judges for the competition will be Carl microphone in one swift motion, bassist Peter Bitenc Lullabies”, she exhibited a virtuosic range while on Allen, , , Peter kept him company, seeping out a rich hum that Jeff Johnson’s ironic “I’m Never Sure” she affected an Erskine, and . For more resonated across the space. Throughout the evening, easy conversational tone recalling . Mickens also hearkened back to his roots in the avant- Coupling ’s lyric to “Blue Monk” with information, visit monkinstitute.org. pop scene (Seattle’s The Dead Science), Marcelo her own improvised chorus, she paid tribute to her drenching the air in an electronic haze, echoing mentor while remaining true to herself. Shank further Memphis native saxophonist George Coleman Mickens’ vocals in a futuristic context. With every enhanced the multi-hued panorama of her performance, has been named among the inaugural class of evocative inflection and rise in pitch, Mickens charmed singing wordlessly on Kimbrough’s “November” and the Memphis Music Hall of Fame. the hipster audience with his mysterious mask of in French on “Papillion de Nuits”, then ended by romance and darkness, morphing entropy and drear revisiting her folk roots, with transformations of Submit news to [email protected] into sources of light. (SM) “Lonesome Road” and “Black Is The Color”. (RM)

THE NEW YORK CITY JAZZ RECORD | September 2012 5 INTERVIEW

look around for some other ways to live. I was fortunate to meet my Buddhist teacher, Chögyam Trungpa, the great Tibetan master, who introduced me to meditation and another amazing time of life. Trungpa really Jerry encouraged me to teach and I helped start Naropa Institute, in Boulder, particularly the creative music program, with [percussionist] Colin Walcott. So was pretty much over for me. I moved to Colorado to teach at Naropa. During the summers we were able to invite some of the greatest jazz improvisers Granelli to inspire new ways of teaching. Each move in my life e i g h t o n from that point on seemed to involve teaching, fortunately from one great innovative program to e y C r f r (CONTINUED ON PAGE 41) P h o t b y G e f by Ken Waxman …Jazz pianist Percussionist Jerry Granelli, now 72, has been involved in play. Yes, Dewey was there and Pharoah and Hidé Tanaka…Bassist so many different projects over the years that he would seem others, but more importantly was a piano player, Michi Fuji...violinist to be several drummers. A San Franciscan, Granelli was the Joseph Nunez. Flip as he was called, was one of those at drummer on Vince Guaraldi’s popular series of Peanuts LPs legends in the music, who only the players know Café Loup and TV music specials. He has played on hit records and about. The really out playing that I did was with him EVERY SUNDAY with bands while his jazz gigs encompass and Fred. All that playing was for no money, but was 6:30 - 9:30 pm work with Denny Zeitlin, Jane Ira Bloom and . so exciting for all of us. The music was raw, new and in Granelli, who moved to Canada in the late ‘80s, has taught those days it really got people upset, because they music in three countries and recorded a spate of CDs under thought we were trying to destroy . But we his own name. figured we were just going where it led. All of this playing, the non-paying and the paying gigs, enabled The New York City Jazz Record: Although you were me to find a voice. It was confirmation of what I had NO COVER, JUST AWARD already working steadily at the time, you’ve said that heard in terms of stating the time, new ways to generate WINNING JAZZ AND FOOD it wasn’t until you studied with Joe Morello that you time and form and to enter the world of spontaneous 105 West 13th Street 212-255-4746 finally formed your idea of how to play the drums. composition. Later, when I played with Denny and Charlie, we Jerry Granelli: The Morello relationship was very were really interested in approaching the trio as a www.juniormance.com important in my life. I had been, like you say, basically three-way relationship, which was a different approach working professionally since I was 15. I guess I was at the time. The work with Mose has always been one about 17 when I met Joe. Before that I felt there was so of my favorite things. Mose is really pretty out and, much more to playing the instrument than I knew, but again, he comes to play all the time. During this whole no one around San Francisco at that time could help period I played with a lot of different people, but as with the technical aspects. Then I heard Morello and part of the ensemble. Still, I was always pushing was lucky enough to meet him and he became a great forward towards getting into creating a larger drum mentor. His greatest gift was that he really opened up set or playing electronics. I think I began to more and another whole level of technical skill to me. That more see myself as a sound artist rather than a continues to be of value, even at this age. I think the drummer, per se. most important part of his teaching was that he never tried to get me to play like him. He just kept saying, TNYCJR: Jazz people may not know that you’ve ‘find your voice’ and all the technical teaching was just actually been inducted into the Hall of to serve the music. He was first a great mentor and Fame as a pioneer of the psychedelic scene. What was later a dear friend. the Light Sound Dimension collective?

TNYCJR: When you joined pianist Vince Guaraldi’s JG: I think the time period we’re looking at was late trio he already had recorded the Charlie Brown TV ‘60s. I’d started working with the big drum set and show albums around that time. Did you figure people having more sounds and amplifying the instrument. would still remember those sessions, especially the Then Frank Werber, who owned the Trident, where I Christmas album, nearly 50 years later? had worked with Vince and Denny, somehow got the idea of putting us together with the great light painters JG: Ah, the great Peanuts question. Well, when we did Bill Ham and Bob Fine. They had been innovating with it we had no idea what a cultural phenomenon it was light painting at the Avalon and Fillmore [Ballrooms], going to turn into. No one can know those kinds of but also loved improvisation. So we started to play things. It was just the right time, right project, right together and explore the form of a light and sound people and right music. I’m just happy that it has band, playing spontaneous audiovisual work. It was touched so many people. People don’t know, but the pretty underground. We played at Bill’s studio and recordings with Vince were the tip of the iceberg. Vince people started showing up; then at the Museum of came to play, really play, every night and he demanded Modern Art in San Francisco. I guess at that time – ‘68, that you do the same. It was great training. ‘69, ’70 – we were way ahead of the curve, but that work kept growing. TNYCJR: You were also playing with saxophonists Dewey Redman and at the same time TNYCJR: Even though you seemed to be established in and in pianist Denny Zeitlin’s trio with . the Bay area in the ‘60s and ‘70s, shortly afterwards What distinguished those gigs from more mainstream you moved first to Boulder then Seattle, then Berlin ones with Guaraldi or Mose Allison, for instance? and finally Halifax. Was it primarily to teach music? You also recorded with people like , Jane JG: Like I said, that was a great time, having the ‘real Ira Bloom during that period. gig’ [with Guaraldi]. But [bassist] Fred Marshall was in Vince’s trio, so after the gig we would go to [famous JG: Well, since life always changes that period came to San Francisco after-hours club Jimbo’s] Bop City and its natural conclusion. I, like a lot of folks, began to

6 September 2012 | THE NEW YORK CITY JAZZ RECORD ARTIST FEATURE

Birdland Sep. 25th-29th as part of a Bud Powell Tribute. See Calendar.

Recommended Listening: Dan • George Schuller - Life’s Little Dramas (Fresh Sound New Talent, 2008) • /Dan Tepfer - Duos with Lee (Sunnyside, 2008-09) • Rob Garcia 4 - Perennial (Brooklyn Jazz Underground Records, 2009) • - Sixty-Eight (SteepleChase, 2009) c h i n Tepfer • Dan Tepfer - Five Pedals Deep (Sunnyside, 2010) • Dan Tepfer - Goldberg Variations / Variations (Sunnyside, 2011)

P h o t b y i l p e M a r by Ken Dryden

Though he only turned 30 earlier this year, Dan Tepfer absolutely different. Every time we’re feeling our way, already has an impressive resumé. The pianist has because we want to be precisely connected at that exact played duo gigs with Lee Konitz, and moment and not just recreating some memory of where Gary Peacock, recorded acclaimed CDs in duo, trio and the music might have been last time.” solo settings and won several jazz piano competitions. Asked about his composing method, Tepfer He has a fascinating background: an American raised explained, “I’ve gotten a lot of perspective on writing in . “My mom is an opera singer, so music was in the last few years. I wrote and orchestrated a piano always around the house. My granddad, Chuck Ruff, concerto in 2010, which is a very labor-intensive was a jazz pianist in Eugene, Oregon. My dad’s a process, since you’re writing out so many notes for the biologist, which probably explains why I got into orchestra. I sometimes used to overwrite my jazz science, too. I started reading books about astrophysics compositions; I was confusing jazz writing with when I was a teenager. I still find the subject classical writing. Jazz writing is a very minimalist fascinating.” framework, like the difference between writing a novel Music came first, Tepfer recalled, “I started and a poem. There’s no point in playing with master studying classical piano at six. I went through the Paris improvisers if you’re going to micromanage them: the conservatory system, but also started improvising and goal is to guide them into a vibe and let them work JSnycjr0912 8/13/12 1:02 PM Page 1 never really thought of myself as a classical pianist. I their magic. Nowadays, my jazz writing process is played a lot of boogie-woogie - I was into James P. pretty quick.” Johnson and . I taught myself jazz: I put The pianist has several recordings in the works or together a trio in high school and played with local recently completed. A duo led by bassist Gary Peacock French guys in my teens.” is scheduled for tracking in December. There are two Tepfer studied astrophysics at the University of Sunnyside releases due next year. “I just made a new Edinburgh, though his interest in music remained. “I trio record [after three previous trio albums: Five Pedals “Best Jazz Venue of the Year” NYC JAZZ RECORD#“Best Jazz Club” NY MAGAZINE+CITYSEARCH SAT-SUN SEP 1-2#7:30PM+9:30PM ONLY was genuinely passionate about astrophysics: it’s the Deep, with and Ted Poor, and OXYGEN science that deals with the biggest things we can and Before the Storm, both with Jorge Roeder and Richie BIG BAND possibly imagine, the origin of the universe, the nature Barshay], which will be out in January. And I have an MON SEP 3 CLOSED FOR LABOR DAY HOLIDAY TUE SEP 4 of time. But I was playing gigs on the jazz scene there ongoing collaboration with [saxist] Ben Wendel; we’re ALFREDO RODRIGUEZ TRIO two or three times a week and I realized that music was excited about the duo record we made this summer. RICARDO RODRIGUEZ - HENRY COLE where my heart really was.” It’s coming out in March.” WED SEP 5 After graduating, Tepfer switched to a Masters in Tepfer’s latest recording is Goldberg Variations / REUNION GENE BERTONCINI - MIKE MANIERI Music at the New England Conservatory (NEC). Variations, also on Sunnyside. “I discovered the MICHAEL MOORE - JOE CORSELLO “Danilo Perez, , Charlie Banacos, Jerry ‘Goldberg Variations’ in junior high school; I thought it THU-SUN SEP 6-9 Bergonzi, Bob Moses were all there. I found that they was some of the most beautiful music I’d heard. I JS10 had an open-minded curriculum that allowed you to played a lot of Bach growing up, but I only bought a CONCERT MULGREWIVAN TAYLOR MILLER - RODNEY GREEN TRIO check out other forms of music and integrate them into score of the Goldbergs after I got to NEC in 2003. I TUE SEP 11 DUDUKA DA your work. I studied composition with Brookmeyer - it realized I could learn the first few variations, so I kept RONI BEN-HUR+ FEAT. FONSECA moving on. As I learned them, it felt natural for me to WED SEP 12 was almost like a meta-deconstruction of what QUARTET composing is. He would break things down to their grab ideas and improvise with them. It was just AARON PARKS - MATT BREWER - TED POOR WITH SPECIAL GUEST WARREN WOLF bare essentials.” something I did for fun until I was on a solo tour of the THU SEP 13 JS10 Tepfer credits additional artists with helping his Czech Republic about four years ago, doing free CONCERT ORGAN QUARTET JARED GOLD - FREDDIE HENDRIX - CHRIS BECK development. “ has been a great mentor to improvisations along the line of my record Twelve FRI SEP 14 OLIVER LAKE 70TH B’DAY me, starting when I was at NEC and I would take the Improvisations in Twelve Keys. I decided to play a few of OLIVER LAKE BIG BAND CELEBRATION SAT-SUN SEP 15-16 bus down to New York to take lessons with him. He the ‘Goldberg Variations’ one night and improvise on PLUS SPECIAL TRIO 3 GUEST helped me get a foothold in the city by referring me for them. The audience reacted to it and I realized it would OLIVER LAKE - REGGIE WORKMAN - some great gigs when I first moved here.” In Paris, be a fun thing to keep doing. TUE SEP 18 Tepfer also got to know French piano icon Martial Over the last four years I’ve gotten more serious ED CHERRY TRIO PAT BIANCHI - BYRON LANDHAM Solal. “I only took a few lessons with him; he’s been about playing the Goldbergs better and the project has WED-SUN SEP 19-23 more of a mentor than a teacher. I still go to his house evolved into a more rigorous framework where I play to play for him and talk about music.” One of his all 30 variations and improvise off of each one.” DONALD HARRISON: WITH SPECIAL DAVELL greatest learning experiences has been working with Tepfer’s solo performance this month at Greenwich QUANTUM LEAP GUEST CRAWFORD DETROIT BROOKS - ZACCAI CURTIS - MAX MORAN - JOE DYSON the demanding Lee Konitz. “I was listening to Lee’s House will be somewhat of a milestone for him: “This TUE-SUN SEP 25-30 duo CD with Martial (Star Eyes, 1983, will be my first performance of the Goldberg Variations hatOLOGY) right after I moved to New York and had a where I do all 30 of them, with improvisations, live. QUINTET JS10 DAYNA STEPHENS - - JOE SANDERS - JUSTIN BROWN sudden urge to play with him. I asked Martial for an It’ll be around 80 minutes of playing. I’m excited about CONCERT WITH SPECIAL GUESTS SACHAL VASANDANI+ [SEP 28 & 29 ONLY] introduction. I went over to Lee’s house; we played the challenge.” v MON SEP 10, 17 & 24 and hit it off right away. He invited me to sit in with him at The Jazz Gallery, then we did a few duo gigs. For more information, visit dantepfer.com. Tepfer plays solo MINGUS BIG BAND We’ve ended up playing quite a bit over the last five at Greenwich House Music School Sep. 14th, ShapeShifter years around the world. Every gig with him is Lab Sep. 17th, Smalls Sep. 24th with Alexis Cuadrado and

THE NEW YORK CITY JAZZ RECORD | September 2012 7 FALL AT PACE PRESENTS2012

SATURDAY, SEPTEMBER 22 | 7:30PM |$35 ALL TICKETS FRIDAY, OCTOBER 19 | 7:30PM | $55•$40•$30 SATURDAY, OCTOBER 20 | 7:30PM | $55•$40•$30 ROMANIA’S LEGENDARY GYPSY BRASS BAND AMERICAN FANFARE CIOCA˘RLIA SHOWSTOPPERS AND HIS ELECTRIC BAND Photo: Jeremy Cowart FRIDAY AND SATURDAY, OCTOBER 26 – 27 | 7:30PM | $50•$35•$25 SUNDAY, OCTOBER 28 | 7:30PM |$55•$40•$30 SATURDAY, DECEMBER 8 | 7:30PM |$55•$40•$30 IN THE SPIRIT OF BANJO : A GATHERING OF 5-STRING MASTERS DEBBIE GRAVITTE’S JUSTIN TOWNES EARLE BÉLA FLECK ALL-STAR HOLIDAY SHOW

To purchase tickets visit schimmel.pace.edu or call 866.811.4111 ON THE COVER © Carol Friedman BOBBY

MCFERRINSTILL UNPREDICTABLE by Alex Henderson

30 years have passed since released changed by it. A Judy Garland song. A spiritual. The Marsalis and the Jazz at Lincoln Center Orchestra. My Bobby McFerrin’s self-titled debut album. From the electric band. ’s Mwandishi Audio Biography is not being billed strictly as a jazz beginning of his recording career, it was evident that project. Mathis der Maler. Mancini. A recording of an concert, but as an event that also acknowledges other the Manhattan-born singer was not an easy artist to African marriage ritual. solo. Who knows parts of McFerrin’s artistry, including gospel, soul, pin down stylistically. McFerrin demonstrated that he why something hits you like a ton of bricks? But European classical and the . was primarily a jazz vocalist, yet he was far from a sometimes, it does - and then, everything is different.” “I’ve been thinking a lot about what shaped my purist and also influenced by soul, , classical, McFerrin, however, didn’t start out wanting to be point of view,” McFerrin explains. “That’s why I’m so gospel, African music and the blues. And at 62, a singer. There was a time when he considered himself excited about this My Audio Biography program coming McFerrin is no easier to pigeonhole now than he was a pianist more than a vocalist and he was a bit of a late up with the Jazz at Lincoln Center Orchestra. Some then. In 2012, a McFerrin concert is still likely to bloomer in making singing his primary focus. “It things I heard early on just hit me like a ton of bricks, include anything from jazz standards, soul and rock wasn’t until I was 27 and had been working as a pianist changed me on a molecular level. Those early songs to spirituals and European classical compositions. for a dozen or more years that I realized I was actually influences made me who I am and all the in McFerrin, in fact, is working on a forthcoming album a singer,” McFerrin remembers. “But by then, I was the world hasn’t altered my DNA.” titled SpiritYouAll, which he says will pay tribute to used to taking responsibility for the harmony and the McFerrin says of My Audio Biography: “I listed a the African-American spiritual tradition but will do so rhythm. I think that’s given me an interesting bunch of the pieces I loved most and felt most deeply on his own improvisatory terms. “So much of what I’m perspective. I enjoy exploring all the different functions influenced by and the arrangers in the band picked striving for is the same as it was 30 years ago,” the voice can serve, communicating melody and their favorites. So we’ll reinterpret those pieces McFerrin explains. “I can look back and see the seeds harmony and rhythm and emotions and ideas. That’s together and take the audience on a journey through of things that took years to bear fruit. But there they always been part of what I wanted to do as a singer. It’s my formative years. Not so much nostalgia as are, early on.” easier than it used to be, but it’s the same idea. Part of reclamation; the reasons I love those pieces are alive Some artists find one style of music and excel by my inspiration was that the voice is so immediate, so and well.” sticking to it but McFerrin’s strength has been his unquestionably personal. I wanted to do what Keith These days, McFerrin says, he finds himself giving flexibility. Along the way, journalists have wondered, Jarrett was doing and give solo concerts that invited a lot of thought to things that shaped him musically who is the real Bobby McFerrin? Is he the jazz the audience on my own internal journey into the over the years. But if one asks McFerrin to evaluate improviser who has performed with the likes of Chick music. I spent years trying to learn how to do what I contemporary artists, he responds that he would rather Corea, Dizzy Gillespie, Herbie Hancock, Wynton heard in my head so that I could make that a reality.” leave music criticism to professional music critics. Marsalis and the Yellowjackets? Is he the Top 40 star McFerrin was also a late bloomer to recording; he “There are so many wonderful vocalists and artists who enjoyed a #1 hit with his good-natured pop- was 32 when his debut album came out. But McFerrin carrying traditions forward, making new sounds, reggae single “Don’t Worry, Be Happy” back in 1988? has kept busy since then, hurling himself into a variety finding their way toward the future - my incredibly Or is he the classical vocalist who has performed with of musical situations. McFerrin’s groundbreaking talented kids among them,” McFerrin asserts. “I trust cellist Yo-Yo Ma? McFerrin is all of those things. second album, The Voice (Elektra, 1984), marked the them to get there. And of course, sometimes random “My world has always been full of music of all first time that a jazz singer recorded an entire album things find their way into my consciousness: my kinds,” McFerrin observes. “It’s only natural that the unaccompanied (without any overdubbing at all). daughter loved Avril Lavigne’s first record and I heard music I hear in my head is inclusive. I’ve met artists Early McFerrin albums like it so much that I learned to love it too. But please don’t who’ve been exposed to lots of different music but (Blue Note, 1986) underscored his ability to use his ask me to evaluate them or make critical who are specialists, who know in their hearts that voice to emulate different musical instruments in an pronouncements. I’m in a very introspective, reflective playing Bach is the true expression of everything they improvisatory way. But while those early albums phase. I’m listening to the things I loved 30 or 40 or 50 want to say. I understand that; it makes sense to me. established his jazz credentials, they also demonstrated years ago - when I was a child - thinking about why I But for me, there are no hard lines around genre or that funk, soul, the blues and African pop were a part loved them so much and how they changed me. There style or language or culture. It all comes together. Some of his musical vocabulary. McFerrin’s musical heritage are so many gifted people in the world, old and young, people have written that I’m coming up with new included , King Pleasure, from so many points of reference. Whatever I hear languages; I love that idea, but I’m not working and Babs Gonzales, but also James Brown, Earth, Wind influences me - and then, my job is to keep finding my towards it consciously. And I don’t try to speak for & Fire and The Beatles. own way forward no matter how old I am.” everyone everywhere. I just try to sing the music I hear Asked to reflect on some of his fondest musical McFerrin concludes: “All of life is improvisation. in my head.” memories, McFerrin replies: “Oh, my goodness. There It’s not just beneficial, it’s necessary. I always tell McFerrin says that his broad-minded outlook can are too many to choose from. It’s hard to talk about the people I graduated from MSU: Making Stuff Up.” v be traced back to his childhood and exposure to a wide deepest musical ones, hard to put into words. There variety of music by his parents Sara Copper (an opera have been some crazy star-struck moments: the time - For more information, visit bobbymcferrin.com. McFerrin is and Broadway vocalist) and the late operatic baritone before we ever played together - when Chick Corea at Rose Hall Sep. 13th-15th with the Jazz at Lincoln Center Robert McFerrin, Sr. (the first African-American slapped my shoulder backstage and said ‘nice tune’ Orchestra. See Calendar. vocalist to perform with the Metropolitan Opera). then walked onstage himself while I tried to keep “Many people know that my parents were incredible myself from jumping up and down yelling ‘Chick Recommended Listening: singers and I grew up with their practice, their Corea liked my tune!’ The time I won my first Grammy • Bobby McFerrin - Bobby McFerrin (Elektra, 1982) listening, their friends,” McFerrin recalls. “I absorbed and had to accept it standing in front of Miles in a • Bobby McFerrin - The Voice (Elektra/Musician, 1984) a lot. There was a constant background of symphonies sequined keyboard suit. Yo-Yo Ma congratulating me • Bobby McFerrin - Spontaneous Inventions and blues and arpeggios and silly made-up songs. I’m after my conducting debut at the San Francisco (Blue Note, 1986) sure that had an enormous impact. I remember Symphony on my 40th birthday.” • Bobby McFerrin - Simple Pleasures standing in front of the stereo pretending to conduct In 2012, the veteran singer plans to look back on (EMI-Manhattan, 1988) the orchestra, hiding under the piano listening to my his long career with My Audio Biography, a three-night • Bobby McFerrin/Chick Corea - Play father teach. But for me, there are a series of thunderbolt appearance inaugurating Jazz at Lincoln Center’s 25th (Blue Note, 1990) moments - times when I heard something and felt Anniversary Celebration with trumpeter Wynton • Bobby McFerrin - (Sony, 1996)

THE NEW YORK CITY JAZZ RECORD | September 2012 9 ENCORE

around with Kirk and his band when an argument See Calendar and Regular Engagements. Rahn Burton broke out. “It was a falling out over some money,” the pianist recalled, “and in the end, the band quit right in Recommended Listening: by Matthew Miller the middle of the engagement.” • Roland Kirk - Introducing Roland Kirk The band’s departure was a setback for Kirk, but a (and featuring ) (Chess-GRP, 1960) “I’m just amazed at remarkable opportunity for the young Burton. “He • Roland Kirk - (Atlantic, 1967) the way destiny [Kirk] asked me on the night they quit if I would go • - The Eighth Wonder (Strata-East, 1974) works,” Rahn Burton with him to Nashville, TN,” Burton recalled, “so I took • 360 Degree Music Experience - explained, midway a leave of absence from the Post Office and went with Beautiful Africa (Soul Note, 1979) through a conversation him.” Unfortunately, the newly formed band with • Rahn Burton Trio - The Poem (DIW, 1992) that traced his musical Burton in the piano seat only got to play one gig in • Michael Marcus - Sunwheels (Justin Time, 2000) journey from part-time Nashville before the tour came to an abrupt end at the pianist in the clubs, beer halls and juke joints of ‘50s hands of Jim Crow, when the entire band was arrested Louisville to the world stage as a long-standing for consorting with a group of white women. Despite member of multi-instrumentalist Rahsaan Roland the briefness of the tour, Burton made a lasting Kirk’s ensemble. “I’m sure that if I had tried to plan all impression on Kirk and the two toured extensively of this,” he continued, “it would have been a big flop.” throughout the ‘50s. In the early ‘60s, Burton made the Born in 1934, Burton’s interest in music developed move to New York City after the Kirk group recorded a early, fostered through the myriad sounds wafting session for Argo records, released as Introducing Roland from open windows throughout his community. “I Kirk (1960). asked my mother if I could take piano lessons, just so I Following a string of well-received gigs in New could learn to read music - that was all I wanted to do York, Kirk left for Europe without the band and Burton - so I did that and it paid off.” The teenage Burton was back to a freelance life. “I played with a guy named began haunting clubs like the Top Hat, one of Chris Powell in Syracuse before heading back to Louisville’s premier music venues in the ‘40s-50s. By Louisville,” the pianist explained, to work with touring the time he completed high school, Burton was an musicians coming through town. One of those was the in-demand pianist with a wide cross section of great saxophonist , who enlisted Burton September 11th Louisville musicians. “It was a music scene,” Burton in his band and convinced him to move to Atlanta in recalled with emphasis on the word “music”, “because the mid ‘60s. By 1968, Burton was back in New York Russ Kassoff Orchestra we didn’t make any designation between Jazz and City and “got a call from to come and Gospel, you know, it was just to Kongsberg, Norway to play with him. After that with Catherine Dupuis entitled black music, or some other term.” tour, I was a member of the nucleus of his rhythm Burton soon settled down in Louisville. “I was a section with the bassist and drummer mailman at the time,” he recalled, “because it never .” As a core member of Kirk’s band well September 18th occurred to my mind that I would be able to raise a into the ‘70s, Burton recorded on seminal Kirk albums family playing music.” That would change when he like , The Inflated Tear and others. Warren Chiasson heard an exciting new saxophonist on a visit to Following the extended stint with Kirk, Burton Columbus, Ohio. “He was known as Ronnie Kirk,” the returned to New York to play with Marvin Hannibal pianist recalled. “He was playing with the singer Big Peterson, Beaver Harris, Michael Carvin, Charlie Maybelle and they had a little jam session, so Roland Rouse, and among other jazz September 25th got on the mic and said ‘are there any musicians who luminaries over the ensuing decades. The pianist also would like to come up and play?’ And I - after some began leading ensembles, including a group with Santi Debriano Quartet apprehension - put my hand up. We played ‘Pennies bassist and drummer that From Heaven’. Nothing much was said and the next recorded the pianist’s stunning album The Poem. day, I drove back to Louisville.” After more than 40 years, Burton continues to call New York Baha’i Center As the pianist recalls it, destiny reasserted itself a New York home, spreading the jazz gospel with every 53 E. 11th Street year later when his mail route took him by the Top Hat bracing run and propulsive phrase. “Nothing will ever (between University Place and Broadway) and he recognized a familiar face. “I saw this sign in take away from my desire and love for the music, Shows: 8:00 & 9:30 PM the window, ‘Jazz Phenomenon Ronnie Kirk, playing because I know the importance of it,” Burton intoned. Gen Adm: $15 Students $10 two horns at one time’ and it had a picture of him and “That’s enough for me.” v 212-222-5159 I said ‘oh, I know him.’ I think I went probably three or four nights in the two-week stint,” Burton remembered. Burton is at Cleopatra’s Needle Sep. 29th and 449 Lounge bahainyc.org/nyc-bahai-center/jazz-night One night, after a late show, the pianist was hanging Thursdays, Saturdays and the third Sunday of each month.

LEST WE FORGET

to play and sit in with bands whenever he got the Chicago’s New Music folks - Andrew Hill, Roscoe Wilbur Ware (1923-79) chance. His enthusiasm and tenacity earned a spot Mitchell, Thurman Barker - and then moving to New leading the house band at the famous Beehive Club. York where he joined Archie Shepp’s group. He also by Donald Elfman In 1955 Ware first performed with Thelonious worked with , , Philly Joe Monk. This led to an association in the later ‘50s with Jones and Hank Mobley. As the ‘60s closed, Ware found Bassist Wilbur Ware’s art consisted of rock-solid time, the pianist - notable is the 1957 live recording at the it harder to get work; some, including Ware himself, natural and authoritative swing and an inspired sense Five Spot for Riverside - as well as work on the Blue noted that his inability to read was the root of the of harmony. He supported many of the most original Note label with and others. It was during problem. He moved to Philadelphia in 1972 and did and complex soloists in bebop and beyond and did so this period that there was some question about Ware’s some work with members of ’s Arkestra but he being somehow both unflagging and flexible. reliability (there were drug issues) but he did make it had an advancing case of emphysema and, on Sep. 9th, He was born in Chicago on Sep. 8th, 1923. One of for the Great Day in Harlem photo shoot in 1958. 1979, died in the Germantown section of Philadelphia. Ware’s earliest professional musical contacts was The early ‘60s seemed promising - the bassist The encyclopedia of great names Ware played saxophonist Von Freeman. Ware was playing gigs played with , in a group led by Charles with attests to his brilliance. Listen to his playing with around Chicago by the time he was 10 and then worked Mingus, with and and with Rollins (Blue Note) to Monk (Riverside) or Chicago around the Midwest through his teenage years. At 15, a number of the avant garders including Sound (Riverside), his leader debut. The bassist’s Ware recorded with blues artist Big Bill Broonzy. and - but moved back to Chicago in 1963 second session as a leader, a 1968 date with Clifford After a brief stint in the military, the bassist to contend with tuberculosis. His poor health - Jordan, Don Cherry and , will be released returned to Chicago in 1946 and soon was playing with aggravated, it seems, by his drug use - kept him off the for the first time this month. v Stuff Smith, Roy Eldridge, Hot Lips Page and Sonny scene for much of 1963-68. Stitt. Ware came to be known as a musician who loved By 1968, Ware was back, meeting up with some of A Ware Tribute is at Merkin Hall Sep. 8th. See Calendar.

10 September 2012 | THE NEW YORK CITY JAZZ RECORD MEGAPHONE

trombonist) George E. Lewis in his great book A Power CMIF experience - “…a community with every Composing...always forward, Stronger Than Itself. The New Haven offshoot, however, ensemble thriving on communication, a code of ethics remains undocumented and under the radar, but and an implicit grasp of roles.” but looking back recently there are stirrings of interest in writing the Today I am looking back at having written music CMIF story. for some 23 CDs over the last 30 years. It’s great to by Mario Pavone In the 1977-83 era, New Haven was a cauldron of have a body of work. Recently I have gone back to creativity. The original members of the CMIF - Leo, some of my early and mid-career writing to remind In the last 18 months or so, I have been getting out and , Bobby Naughton, Wes Brown, myself of the basic elements that laid the foundation. hearing music all over Manhattan and Brooklyn. It’s Dwight Andrews, myself and others - organized many Often I will deconstruct some of the components of been wonderful and enlightening. And while our small concerts at Yale and other venues, providing me with these early works, reversing the order of written notes, part of the music industry may be experiencing opportunities to develop my compositional skills. I stacking one line on top of the other, as well as writing paradigm shifts, downturned economics and possibly constantly recorded myself playing open and free and new pieces. I still write exclusively from the bass and decreased opportunities to perform, I am happy to played the tapes back repeatedly, to discern and have also been blessed to collaborate with wonderful report that the MUSIC itself is in great shape and is develop my personal voice. I was unencumbered by arrangers, whose great musicianship and generosity being performed at a very high level. Today, almost all preconceptions; the blank sheet of music paper was a have colored my work. They include saxophonist/ young and mid-career creative musicians also compose wide-open invitation to create a world of notes and/or composer , trumpeter/bandleader and the playing and the writing together make for symbols and pictures for musicians to play. The Steven Bernstein and more recently trumpeter/ unique and successful performances. influences that were present came from watching Leo educator Dave Ballou and guitarist/composer Michael It wasn’t always this way! conduct his pieces, studying the unusual and visually Musillami. I have been a bassist in the music for almost 48 colorful graphic scores written by Leo and Anthony Finally, it’s always been about the work - and years now (beginning at the relatively late age of 24 in Braxton. The cauldron of creativity taking place with composing is hard work. Writing has saved my life as 1964). Before that, I spent eight years pursuing an musicians living in and around New Haven and/or a musician, providing a framework for my engineering degree, fulfilling my military service attending Yale University at the time was extremely performances. To young players entering this music obligation and falling in love with jazz. I was a fan, an stimulating (they included, among others, Jane Ira world: I believe we have an obligation to contribute avid listener. Bloom, , , Pheeroan akLaff something to the music by adding to it. Write early and In my early years of playing I was aware of the and Anderson). 20 minutes up the road in often. v Jazz Composers Orchestra Association (JCOA), yet it Middletown at lived Mr. Braxton, had not occurred to me to write music. I was too busy , , and Bill Lowe. For more information, visit mariopavone.com. Pavone is at playing 8 to 10 hours a day and all night long, at what Among the more significant events organized by Cornelia Street Café Sep. 29th. See Calendar. was to be called the “first wave” of Loft-Era jam the CMIF in 1981-82 were several 25-piece large sessions. The music was totally open and free with an orchestra concerts, with veteran masters conducting Bassist/composer Mario Pavone has collaborated with both endless array of musicians jumping in and out of the their own compositions. They included Muhal Richard legendary innovators and today’s most respected young music. It was somewhat of an endurance test (there Abrams, , Braxton, , Wadada, musicians to define the cutting of jazz for the past 40 were no bass pickups yet invented), incredible fun and others. The members of the years. He has anchored the trios of (1968-72), Bill and, partly due to the political protest climate in the orchestra included virtually all of the musicians Dixon (‘80s) and the late (1990-97) and country at the time, somewhat angry and rebellious in mentioned above as well as New York stalwarts co-led a variety of notable ensembles with , tone. No compositions were brought in, no composing Andrew Cyrille, Oliver Lake, Amina Claudine Myers, , Marty Ehrlich and Michael Musillami. was involved. Frank Gordon, Marty Ehrlich and JD Parran. These His list of sidemen past and present includes Steven Then, 13 years into my bass playing life, I began to epic events were sponsored by one of the oldest Bernstein, , , , write down some short, horizontal lines, little sketches mainstream jazz organizations in the country - The and Matt Wilson among many others. And, and ideas about texture, sounds and silence. The Hartford Jazz Society. One wonders if such unlike most artists whose careers span five decades, his most inspiration to ‘start composing’ came about through collaboration could occur today. recent recordings are his most widely acclaimed, appearing the direct power and influence of trumpeter/composer Throughout the existence of the CMIF organization on best-of-the-year lists from AllAboutJazz.com, Wadada Leo Smith. During this time frame (1977-83) I and particularly during the extensive preparation for Slate.com, Coda, Village Voice and New York Times, was deeply involved in an organization formed in New these large orchestra concerts, I experienced what I among others. Since 1998, Pavone has recorded almost Haven called the Creative Musicians Improvisers believe was a unique process. To quote a recent Nate exclusively with his own bands. His discography now Forum (CMIF), a self-generating musicians collective Chinen article in – “jazz’ natural features numerous recordings as a leader/co-leader, spearheaded by Leo and modeled on some of the cycle of mentorship and apprenticeship, that guidelike including seven on Playscape Recordings, the label he has precepts of the Association for the Advancement of process, by which young musicians absorb invaluable called home since 1999. In addition, Pavone’s artwork and Creative Musicians (AACM), which came into being in lessons from their elders.” Our process offered photography have graced the covers of dozens of recordings Chicago some 15 years earlier. The AACM’s importance mentoring and apprenticeship within a musicians since the mid ‘90s and he currently serves as an educator, in musical history has been well documented by collective! In describing why jazz apprenticeships are administrator and board member for the Litchfield Jazz composer/improviser/technologist (and amazing so vital, Mr. Chinen has captured the essence of this Festival and Litchfield Summer Jazz Camp.

VOXNEWS by Katie Bull Reinhardt-inspired, multi-genre-influenced Junction Sunnyside), capturing his luscious internal solitude (Mack Avenue). The lively album features the spritely with her nearly hushed, long and gentle tones. Hear If you are walking down a New York City street on a young French singer Cyrille Aimée on three tracks. Souza’s dual release at Joe’s Pub (Sep. 12th). balmy September night of jazz listening, a kiss of sharp Aimée has lightning fast, pitch-perfect chops, yes. Now, if you are more avant-leaning, the vocal cool air might brush against your skin. As you feel it She’s shining bright, however, because she is her own comet named Shelley Hirsch is streaking through the you might say, “Oh, here’s the fall again.” Stop in your jubilant self in Django’s songs. Hear Aimée at Iridium skies yet again. On her new CD, Where Were You Then? tracks. Look up. The stars are the same yet not the (Sep. 7th-8th), Birdland (Sundays, starting Sep. 9th) (Tzadik), Hirsch has created a powerfully personal same. The displays are familiar, yet within the familiar, and The Cupping Room (Saturdays). sung/spoken story arc in a semi-absurdist style; a the sky is evolving. That’s true in vocal jazz; there is “Life’s a repetition. It’s an action of repeat. Act of passionately delivered elegant fusion of avant- invention, nuanced reinvention and everything doing. Act of saying. Something bitter. Something Victorian/new-jazz/art-songs - all originals. The in between. This September, let’s enjoy vocal projects sweet...” Abbey Lincoln’s lyrics say it all. Hear exciting album is co-composed and arranged with that are rooted in the familiar yet are their own Lincoln’s songs sung in tribute by the deeply relaxed, Simon Ho and is in its own jazz galaxy. Hear Hirsch constellations. beautifully swinging Teri Roiger on Dear Abbey (Inner collaborate with choreographer Melanie Maar and “We’ve always believed that if Django Reinhardt Circle); the CD release is at Dizzy’s Club (Sep. 3rd). visual artist/performer Kenta Nagai at Roulette (Sep. were alive today, he wouldn’t play the same way he Lincoln’s familiar unrushed phrasing and fluid note 29th). always did. In his short lifespan you can see how much bending is embodied in Roiger’s own temperament From Aimée’s Django to Roiger’s Abbey to evolution and vision he had. To pay tribute to him is to and vocal nuance; through Roiger, kindred Abbey lives Souza’s Chet, to the Hirsch ghost of “Then” - the night continue pursuing our own ideas.” This statement on. Speaking of relaxed, the flowingly layered Luciana is like a lovely tune and the singers croon under a about the familiar and the new comes from guitarist Souza revisits her Brazilian duos format with Duos III constant moon. In the New York City vocal jazz dome, Evan Perri, as the Hot Club of Detroit releases the and reanimates on The Book of Chet (both on the sky’s the limit. v

THE NEW YORK CITY JAZZ RECORD | September 2012 11 LABEL SPOTLIGHT

pianist James Weidman. The Inner Circle roster ranges Another thing that makes Inner Circle stand out is Inner Circle from trumpeters (Evan Weiss), saxophonists (Logan the abundance of female artists recording for the label Richardson, Meilana Gillard, Russell Kirk, Jacob like vocalists like Serpa, Johnson, Pavolka and Scheffer by Alex Henderson Yoffee) and flutists (Yukari) to vibists (Michael Pinto), and instrumentalists Aldana, Yukari, Stefanikova, Bae guitarists (Ben Azar) and vocalists (Aubrey Johnson, and baritone saxophonist Lauren Sevian. Osby asserts: Greg Osby has worn many different hats during his Sara Serpa, Tammy Scheffer, Akiko Pavolka). Jason “I’ve found through careful observation that my long career in jazz, including saxophonist, composer, Yeager is a pianist whose CD, Ruminations, was musical ideas and intentions fare better when there is bandleader, producer and educator. In 2007, he added released by Inner Circle in 2011. some female involvement. I’ve worked with many another to the list: owner. Osby has been “We are not solely developing virgin artists,” Osby talented women throughout my career and in my life, operating Inner Circle Music for five years now and points out. “We also have some established veterans so it would only be natural to include them on our the New York City-based label has earned a reputation and there are more in the works. However, I have made roster. It shows balance and the natural order of how for being a place where musicians are not a mere it my mission to give the younger artists a more all things should be. Jazz has long embraced the afterthought in the creative process. Often jazz labels pleasant and hands-on experience than most new ‘forbidden boys club mentality’, where even capable and their A&R representatives have a lot of say over deals, which are set up in the best interests of the women have been dismissed and not included in many what an album will sound like; at Inner Circle, company. Our artists are first selected based upon their creative circles. In order for our music to flourish and however, the musicians themselves ultimately make spirit and individuality and all decisions - unless they reach a broader demographic, it is absolutely that decision. would be decidedly detrimental to the project - are imperative that all creative output by concerned artists “As a veteran recording artist with two major theirs alone. I function as a guide and a second set of be reflective of a woman’s involvement. Too much labels - JMT/Polygram for four years and Blue Note ears. I also make myself available to give professional testosterone has hurt the music, in my opinion.” Records for 16 years - I took it upon myself to carefully business counsel or be a sounding board for ideas and Original composition is among the things that observe how the underpinnings of the business direction. Ours is a slowly developing family and I’d Inner Circle has been encouraging. Osby observes: “So structure affected how my music was packaged, prefer to keep things small and not allow numbers of much of the so-called standard repertoire does not promoted and distributed,” Osby explains. “When I our ranks to swell out of control.” connect with potential new patrons, as it sounds dated organized our label, I wanted to insure that we would Musicians on the Inner Circle roster come from and is reflective of older societal tendencies and do everything within our means to make the artists’ different parts of the world; some are American while perspectives. This is why Inner Circle is largely perceptions of themselves our primary concern. We do others are originally from Israel (Azar), Japan international: because the potential for a realistic not aim to mold nor shape anyone into what we think (Pavolka), Italy (bassist Joseph Lepore), Portugal portrayal of the global creative music landscape is they should be. I have chosen to seek out individuals (Serpa, guitarist André Matos), Colombia (bassist Juan increased when artists of such a vast array of who already have a stockpile of compositions at hand Garcia-Herreros), Chile (tenor saxophonist Melissa backgrounds are involved.” and have had some experience in leading their own Aldana), Greece (bassist Petros Klampanis), Slovakia When one talks to artists who have recorded for ensemble already.” (vibist Ludmila Stefanikova) and South Korea (pianist Inner Circle, the word “community” often comes up. Inner Circle has a diverse roster that includes Jangeun “JB” Bae). Scheffer was born in Belgium and “One of the most unique things about Inner Circle is younger artists as well as veterans such as Osby and raised in Israel. (CONTINUED ON PAGE 41)

Blueprint Lauren Sevian Lauren

Mobile Three Worlds Contextual Sara Serpa James Weidman James Klampanis Petros

Obscura Ran Blake/Sara Serpa

LISTEN UP!

DOUGLAS DETRICK is a trumpeter and composer Dream Band: Playing new music by Christian Wolff Teachers: Jim Seeley, Nathan Warner, Laurie Frink, whose work straddles the worlds of jazz, contemporary with the composer and the Merce Cunningham Dance Vincent Penzarella, Robert Apostle, , classical and . His chamber-jazz quintet Company at their final performances was a dream , Michael Rodriguez and Bobby Shew. AnyWhen Ensemble will release its third album in come true. 2013, the 10-movement suite The Bright and Rushing Influences: Vijay Iyer, Maurice Ravel, Francis Poulenc, World commissioned by Chamber Music America’s Did you know? When I was picking an instrument, my Venetian Snares, John Coltrane, Ambrose Akinmusire, 2011 New Jazz Works program. sister tried desperately to convince me to play the Steve Reich, Jason Moran, , Tool, saxophone because I’d get “ lips”. Radiohead, The Beatles, Jimi Hendrix and many more. Teachers: Too many to name, but Brian McWhorter helped me to focus on my own aspirations for my work For more information, visit douglasdetrick.com. Detrick is Current Projects: Music for the FONT show, half of and stop worrying about anyone else’s. at The Jazz Gallery Sep. 13th as part of FONT. See Calendar. which is inspired by land, architecture and construction and the other half which is inspired by more personal Influences: Living People: Nate Wooley, Arve things inside my twisted mind, etc. Henriksen. Dead people: , Thomas Tallis, Roscoe Holcomb, Son House, Morton Feldman. By Day: I walk to Prospect Park to get some fresh park air and sunlight. I get back and practice and/or Current Projects: AnyWhen Ensemble is my primary compose, or watch Louie or Mad Men on Netflix, etc. focus as a composer and performer. In addition to our upcoming FONT performance, we’ll be touring the I knew I wanted to be a musician when... I used to sit Midwest and the West Coast this season and behind the trumpet section in my dad’s band. collaborating with lots of great performers along the way. I’m also playing with lots of musicians in New Douglas Detrick Adam O’Farrill Dream Band: My dream band is...not to be disclosed... York and I hope to have a new band formed soon. but I do know that I would love to play with these four ADAM O’FARRILL was born in 1994 in Brooklyn to a people I have in mind for a band and that I’ll make By Day: I’m a grant writer for a group that teaches musical family. His grandfather, Chico, was the sure that dream comes true. creative writing to kids. legendary AfroCuban composer and his father, Arturo, is a Grammy-award-winning pianist. He has performed Did you know? I have a bit of a balloon phobia. I knew I wanted to be a musician when... I was very with , , Wynton Marsalis, Lee young and was amazed to hear my older sister’s Konitz, Donald Harrison, Christian Scott and DJ Logic. For more information, visit ofarrillbrothers.com. O’Farrill middle school band, kids who were just a few years O’Farrill is entering his freshman year at the Manhattan is at The Jazz Gallery Sep. 14th as part of FONT. See older playing music together. School of Music, on full scholarship. Calendar.

12 September 2012 | THE NEW YORK CITY JAZZ RECORD FESTIVAL REPORT Heineken Jazzaldia Newport Jazz Fest Jazz em Agosto by Tom Conrad by Terrell Holmes by Stuart Broomer g a s c o / B l u e p h t © L o l V P h o t b y G a r F i s e n F C G / N u n o M a r t i s Nils Petter Molvær Trio

San Sebastián, in the Basque region of northern Spain, Every year thousands of jazz enthusiasts armed with Lisbon’s Jazz em Agosto is a very special festival, is a spectacular setting for a jazz festival. The town lawn chairs, water bottles and sun block make their founded in 1984 and devoted largely to free jazz and curls around Concha Bay, between Monte Igueldo and way to Fort Adams State Park in Rhode Island for the its legacy. It’s presented by the Gulbenkian Foundation Monte Urgull. You can walk for two miles on a Newport Jazz Festival (Aug. 3rd-5th, with opening with most concerts in an outdoor amphitheatre promenade along one of Europe’s most beautiful night at the International Tennis Hall of Fame), surrounded by trees, ponds and art galleries. In recent beaches. America’s premier jazz fest and the blueprint that years the festival has presented some senior innovators This year’s Heineken Jazzaldia (Jul. 19th-23rd) others have followed since impresario George Wein - Ornette Coleman, and - and was the 47th edition, which makes it the second-oldest presented the inaugural edition in 1954. The festival’s has also mounted large-scale projects you’ll seldom jazz festival in Europe, after Jazz à Juan in Antibes. In three stages were pulsating with jazz of many different find elsewhere, like ’s Electro-Acoustic 2012 there was a disconnect between life inside and genres, concertgoers dashing among the venues to Ensemble, OrchestRova and John Hollenbeck’s Large outside your hotel room. Inside, International CNN check out as much of the great music as possible. Ensemble. The 29th edition of the festival (Aug. telecast continuous coverage of massive demonstrations On Saturday, drummer Jack DeJohnette led a band 3rd-12th) had veterans as well as newcomers, but it in Madrid and other major Spanish cities, protesting of guitarist , alto saxist Rudresh emphasized compact ensembles ranging from duos to the government’s cutbacks and tax increases. Outside, Mahanthappa, keyboardist George Colligan (also a sextet, some intimately conversational, some driven the golden sand of Concha Beach was black with pocket trumpet) and bassist . Colligan’s by infernal energies. thousands of sun worshipers and young, well-dressed soulful trumpet underscored the languor of “Blue”, the The festival began with a trio led by Sunny Murray, Spaniards overflowed the tapas bars of the Old Town. Ornette-ish “Ahmad the Terrible”, written for pianist a founder of free jazz drumming whose broken rolls, Spain’s economic crisis did not seem to affect Jazzaldia. , featured a cyclonic statement by unpredictable accents and shimmering cymbals can Attendance was up 6% this year. Mahanthappa and he and Fiuczynski later had a lively launch or cushion a soloist. That floating, layered The bigger names played in Kursaal, an 1,800-seat call and response on “Priestesses of the Mist”. “Miles” soundscape seemed to embrace the ricocheting lines of auditorium in an avant garde structure on the Río was an ultra-funky throwdown that sounded like a English tenor saxophonist Tony Bevan and bassist John Urumea, or Teatro Victoria Eugenia, an elegant 900- blend of “Chameleon” and “Birdland”. Edwards, who often provided the drive of a more seat horseshoe with three tiers of opera boxes, or The Bad Plus, with , followed conventional drummer. The performance ended with outdoors in Plaza de la Trinidad, a stone and brick DeJohnette, playing what was essentially a tribute to Murray turning from to sing medieval public square. They included Melody Gardot, the late Paul Motian since most of the songs were “Nature Boy”, in the process making it - like composer Antony and the Johnsons, Bobby McFerrin, the penned by the late drummer (the only exception a eden ahbez had before him - an ode to himself. Yellowjackets and . The best of the surprisingly straight reading of Sonny Rollins’ “No Murray’s whimsy was matched by Dutch pianist headliners were Ninety Miles and Miles Smiles. Both Moe”). From the first notes of “Owl of Cranston” it , the 77-year-old founder of the very bands played nothing more ambitious than head-solos- was clear that Frisell’s guitar added a compelling specifically Dutch school of free improvisation. Here head, but the soloists (Stefon Harris/Nicholas Payton/ dimension to a trio known for its elliptical musings. he fed tremolos, random flutters, non sequiturs and David Sanchez for Ninety Miles; Wallace Roney/Joey Pianist Ethan Iverson frequently rose from his piano one-liners to British saxophonist Evan Parker, who DeFrancesco/Rick Margitza/Robben Ford for Miles bench as if enraptured by what he played. The usually managed to create continuity and coherence in Smiles) were strong enough to light up the Plaza. irrepressible Dave King, who always plays like he’s a fraternal bout of catch-as-catch-can and occasionally As often happens at jazz festivals, most of the discovering the for the first time, laughed out burst forth in cadenzas the phrases of which had bits of memorable moments came from artists further down loud during his blistering solo on “Mumbo Jumbo”. -esque bluster shouldering aside the list, usually playing in smaller venues. No one was He and Frisell opened “It Should’ve Happened A Long wisps of -ian luminosity. It was as if this duo prepared for L’Orchestre d’Hommes-Orchestres, six Time Ago” with a beautiful guitar/percussion intro, might have others, like Parker and Parker (or musicians and performance artists from Quebec. Their followed with subtle shadings by Iverson and bassist Mengelberg and Mengelberg), secreted within. tribute to Tom Waits was wildly bizarre, fascinating Reid Anderson. ”Ramblin’” ended this splendid, In contrast, the festival’s other duo, pianist and hilarious. It took three people to play an accordion, heartfelt tribute to one of jazz’ all-time greats. and percussion Gerry Hemingway none of whom was the person to whom the accordion Pat Metheny and his Unity Band - Chris Potter was strikingly direct, two players engaged in was attached. They were so pitch-perfect and true to (saxes, flute and bass clarinet), (bass) and continuous dialogue based on nearly three decades of their strangeness that they became the buzz of the Antonio Sanchez (drums) - closed the day’s festivities working together. Empathy was always evident, festival. A third, unscheduled, performance had to be at the Fort Stage, the festival’s largest. After Metheny whether the music was an explosion of percussive runs added to the program. opened with a solo acoustic version of the tender and polyrhythms, a rhapsody on a theme by Coltrane, Enrico Rava’s Tribe Quintet played high-class “Sound of Water”, the band launched into “Come and an airy flight into an eerie pointillist beauty. lunch music in the early afternoon at the Basque See” with the leader playing fiery licks on the synth- The same heads-down commitment to the long- Culinary Center. Rava’s trumpet still erupts in startling guitar and Potter weaving intricate, spiraling lines on form was evident in Matthew Shipp’s trio with bassist lines and he surrounds himself with some of the hottest soprano. The uptempo “Police People” had a crisp solo Michael Bisio and drummer Whit Dickey, with Shipp young players Italy has to offer. Spearing the air with by Sanchez, whose timekeeping was economical and Dickey developing monolithic blocks of sound his slide, Gianluca Petrella struck like a throughout. Potter blew tenor like a madman on “Folk that launched Bisio’s more out-going flights. Deviating cobra. Pianist Giovanni Guidi smashed chords at both Song #1”, the band’s tribute to . from a continuum of Shipp’s originals to play “On ends of the keyboard. It was powerful stuff for so early Metheny’s encore was his signature tune “Are You Green Dolphin Street”, the trio maintained the same in the day. Going With Me”. sense of sculptural mass. (CONTINUED ON PAGE 50) (CONTINUED ON PAGE 50) (CONTINUED ON PAGE 50)

THE NEW YORK CITY JAZZ RECORD | September 2012 13 IN MEMORIAM

Lol Coxhill - a great individual, secure in his The inimitable sound of his soprano saxophone, like Lol always had his own values - busking solo in the individuality. An unmistakable sound and a warm Lol himself, was full of humor and wit. Always streets and underground of had, to him, no human presence in every one of the many diverse bringing joy to those who, like myself, had the less challenge and satisfaction than the most music making situations in which he lived. From opportunity to play with him and to listen. He spoke, prestigious venues and festivals. He had the ability solo to one voice inside the 40-strong London through his soprano, a language that all could to cut to the kernel of the situation and not be Improvisers Orchestra he was always there, in the understand. Lol’s contribution to the London absorbed into the hype. Whenever I face a lack of moment, in the music. Thanks Lol. improvised music scene is immense and his presence confidence or uncertainty, I say to myself “What will be sadly missed by all. would Lol do?” God bless him! - EVAN PARKER, SAXOPHONIST - MARCIO MATTOS, BASSIST - GEORGE HASLAM, SAXOPHONIST Lol Coxhill, the personification of improvising. Some years ago the two of us were about to get on a train at A unique musician, sometime singer, sometime actor, Without Lol, everything to do with jazz and King’s Cross Station for a gig in Newcastle, but the raconteur, wit and gentleman geezer, “The Bald improvisation in London would be different. The guard closed the gate and said we were too late. Soprano”, a man whose shirts often matched his way he played, the way he focused on music. Faster than giant steps, Lol pointed to his hat, a looping, colourful playing style. The inimitable Lol Whenever we heard that he was coming to play at scruffy nonspecific officer type peaked one with an Coxhill. the Vortex, it was always something to look forward anchor on it and said, “We must get on this train, I I played in many different situations with to with anticipation because there would always be am the captain of a ship that will sail on the next tide Lol. It was always a great pleasure to hear him an (impish) twist. And isn’t that a reason why we from Newcastle” and I was his first mate. The guard negotiate his own unique path through any music support such musicians? opened the gate and off we went. that he was involved with - and I’ve seen the old TV clip of him playing tenor sax on “Walkin’ The Dog” - OLIVER WEINDLING, VORTEX CLUB - , VOCALIST with Rufus Thomas. I was once offered a residency on a mock steamboat on a quayside in Southampton. Lol was doing things that sometimes were happily Lol’s soprano saxophone playing was instantly They wanted us to play music, the money seen as eccentric but in fact were a manifestation of recognizable. His free improvisations were endlessly was good, so I asked Lol and . We played an incredible courage, a deep way to increase the inventive. Solo saxophone playing was his speciality. stuff like “Buddy Bolden’s Blues” and “Just A Closer power of life, to indicate a possible and strong When he played in other genres he still retained his Walk”. After a few nights they asked us if we could independence of the mind, never far from the one of own character but worked within the ensemble, play more popular stuff like The Saints or, better still, the body - Lol was also a great dancer. Lol was one of respecting the players and the music. He was The Beatles. Lol sang “Ain’t Misbehavin’” and though those creative beings, one of those major musicians, enormously loved and he was one of the funniest there were vocal mics, he dropped to his knees and improving humanity and relations, showing us people I ever met. sang through his soprano mic - in pretend German. always a real way not only for free music, but for The management saved us the decision to quit. freedom, generosity and autonomy. Thank you! - , PIANIST, ET AL On tour and rummaging through the vinyl in a jazz record shop, I found a copy of Jazz Reunion - JEAN ROCHARD, NATO RECORDS I started to play with Lol in the ‘80s in Paris at Théâtre with and Coleman Hawkins. Lol Dunois, the place where all the creative music was was quite envious, until he remembered that he had Lol was a great figure of the improvised music. We happening. I have a wonderful memory of Lol, his it lurking somewhere in his collection. I have always met and played twice - that was a long time ago. Lol very special sound on sax, his humor, his eccentricities. thought that there is something of Pee Wee in Lol’s had a very rich artistic life. He played with so many I was young but he gave me the musical adventure of playing: the surprises, the wit and the nod to tradition. different people and not only musicians! We will all European free music and also generosity and love so He was modest and quick to praise. A very English remember him, of course! See you on the notes, Lol! I could be free to be me. Thanks Lol. man, he will always be, the one and only Lol Coxhill. - RAYMOND BONI, GUITARIST - JOËLLE LÉANDRE, BASSIST - NICK STEPHENS, BASSIST I first met Lol Coxhill when Henry Cow shared a bill I first heard Lol busking outside the National Portrait In my 40–year career, I have been lucky to play with with ’ Whole World in 1971. He was an Gallery in London’s Trafalgar Square. Somehow I some of the best soprano players in the world but a extraordinary character, shy but very direct, remembered his unique sound quality on the soprano very peculiar collaboration was the one with Lol combining warm enthusiasm with an inimitably from that occasion when I did a concert with John Coxhill from 1977-83. Lol, beside being a stellar eccentric humor and a vast knowledge that seemed Stevens in Lol’s then-home town of Aylesbury with soprano player and one of the few to develop an to encompass pretty much everything that was going the Spontaneous Music Ensemble a few months later. original language on the instrument, was one of the on in music that was worth listening to. For the next He always said that I was the first sax player he heard funniest people I ever met in my life. ten years or so, until I emigrated to New York, our play freely and he remembered my shiny shoes that I I remember the first time I went to pick him paths crossed more or less constantly and he became wore on that occasion and always with a wry smile. up at the airport in Florence. I immediately identified an important mentor and a valued friend. He was one of the first musicians I invited to the man: a big guy with a military kind of coat and a We played together a lot at a time when I join my Moire Music Group (1980) as I knew that soprano case in his right hand. When I said, “Let’s go was trying to figure out who I was and what I wanted whatever settings I gave him he’d make beautiful to the baggage claim,” he replied, “Oh, no. I have all to do. Lucky for me! Lol strongly reinforced the idea mincemeat out of them. I remember a recording I need here.” As matter of fact, he had his toothbrush that playing in a wide range of musical contexts is a session when the deck kept breaking down and on the soprano’s bell and that really was all!!! sign of strength and not weakness (he liked to everything was delayed. It was the middle of the What really was striking in Lol’s personality compare the way actors are praised for their skill and night, he was asleep in the studio and I woke him up was his openness to explore any form of music he range when they take on different kinds of roles to do his solo, which he took with aplomb and went discovered, blending it into his own language. In while musicians are questioned for indecisiveness or back to sleep. I was lucky to get a last chance to play concert (both in duo or later in trio with Franz lack of commitment). More importantly, he was an together during a recording of a film being made Koglmann or Giancarlo Schiaffini) it was a continuous uncompromising player with an instantly about the British “improv” scene called Just Not flow of quotes from pop songs to jazz standards to recognizable sound who could deflate the most Cricket. It was in a Berlin club in October 2011, which folk music. And all with his signature mark. tenacious egos with charm and efficiency and could was the first time I’d played with him in years. A nice He also had the ability to pick the most hold his own with anyone, as those who heard him way to say goodbye if that was how it was to be. trashy kind of stuff and turn it in shining gems. I perform with and Evan Parker can readily He was a large presence on the scene, not remember once in my house when Lol found the attest. There was - is - so much music and so much only as a player with a unique sound and approach, Evel Knievel LP…. he went wild listening to it over history in Lol’s playing that it takes your breath but as a performer too. I considered him a friend and and over. The next duo concert featured “The Ballad away. I was lucky enough to perform with him as always loved the chance, if it happened, to have a of Evel Knievel” (certainly not a memorable piece of recently as two years ago and his mastery as an drink and chat together. He will be sadly missed for art), turned into a spectacular soprano performance. improviser was still intact, his playing as intense and all those reasons. He was a lovely human being and We had five CDs released in duo and in trio deeply felt as always. Perhaps his most obvious and great player who understood all the traditions of and each has new elements to discover since he never humbling attribute, however, is that he inspired a music as well as having the ability to play through repeated himself. I’ll miss dear Lol, a genius of the fierce and loyal affection in all who knew him. We them in his own way. instrument but especially an incredible human being. are many, to say the least.

- , SAXOPHONIST - ANDREA CENTAZZO, PERCUSSIONIST - , GUITARIST

14 September 2012 | THE NEW YORK CITY JAZZ RECORD My first released recording was with Lol. We lived in the same artists community for eight years. I learned an enormous amount about music and life from Lol. There are many different tunes that I learned because of Lol. We played them at social events and gigs and he never used sheet music. I have a feeling of great loss now he has gone. Something enormous is LOL COXHILL missing. He was very funny and would use this humor often to make a subtle point sometimes about very important issues, often very personal. The sound of that soprano saxophone was incredibly characterful in any situation, whether playing a 1932-2012 simple little ditty through to his full-on, hard-edged improvising. It was always ‘that sound’. The inimitable Lol Coxhill, laid to rest, but his music lives on in a huge diversity of recordings thankfully. But most important of all – thank YOU Lol.

- , PIANIST

Lol Coxhill… the name forever conjures up a warm glow of generosity - yes, that’s the word - generosity. Such a great and diverse contributor, so many angles, for me memorably Lol as a narrator in Tom Philip’s opera Irma, the performance in Raleigh North Carolina 1992, his fantastic balanced performance of deadpan narration, hint of humor, quirky twist and turns, the seamless transition from speech to saxophone brilliant. Also on that occasion, in Raleigh, while queuing to pay at a fast food diner, Lol heard the woman at the till repeat in a robotic manner “Thank you all…come back and see me again you all…have a nice day!”. When it was Lol’s turn to pay, the woman duly repeated her line, to which Lol responded by placing his face closer to hers, fixing her gaze and in a deep East End London gruff gangster accent said, “I’ll decide if I have a nice day, thank you very much!” and exited, the woman’s face in utter shock. Lol’s ability to place the saxophone in to his mouth and just play, without an agenda, without a formula, just playing… wonderful.

- , GUITARIST

If music derives its power from reflecting the patterns and rhythms of human consciousness and time- perception and if part of the point of improvisation is to access this potential in its most direct form by presenting music as an outcome of real-time thought and response, then Lol Coxhill exemplified this aspect of instrumental improvisation in his playing to a higher degree than possibly anyone else I have ever heard. What one heard was the sound of a mind doing what a mind does: moving at its own ever- changing pace in unpredictable counterpoint to the unceasing flow of the time-stream, rifling through its own contents - lingering over one, summarily dismissing another - and watching intently as its components are constantly transformed both by each other and by the influence of external perceptions. Of course, it helps that the contents of that mind as manifested in Lol’s musical vocabulary were so captivating in themselves - a phraseology, harmonic language and concept of tone that were completely individual and recognizable, even as they alluded to whole swathes of musical history. But while his musical personality was too strongly imprinted into everything he played for there to be any question of it ever appearing arbitrary, at the same time his unconcernedness with making his flow of ideas exhibit the traditional signifiers of ‘musical logic’ gave rise to a phrase-to-phrase unpredictability of direction in his playing that is practically unmatched. This made both listening to Lol and playing with him a completely unique experience for me and I will miss him like hell.

- ALEX WARD, MULTI-INSTRUMENTALIST © Eckhart Derschmidt

THE NEW YORK CITY JAZZ RECORD | September 2012 15 CD REVIEWS

from 1971’s Hunky Dory to “Ashes to Ashes” from 1980’s Scary Monsters to the title track of 1970’s The Man Who Sold the World and also acknowledge more recent efforts, like “Sunday” from 2002’s Heathen and “Battle for Britain” from 1997’s Earthling. Anyone familiar with all of these songs is a real fan but even if one does know the songs, there is plenty of intrigue on Ashes on Ashes: the instrumentation is totally different, no vocals are used and a considerable amount of

Plays Samba Jazz - Jazz Samba Eponymous improvisation occurs, blending postbop with jazz-funk Trio Duduka Da Fonseca Plutino (Spacebone) and, at times, avant garde elements. (ZOHO) Quartet (Anzic) by Elliott Simon by Ken Dryden For more information, visit theweetrio.com. This group is at Like its extraterrestrial namesake, this Plutino is Cornelia Street Café Sep. 4th. See Calendar. Percussionist Duduka Da Fonseca has found the rhythmically adventurous yet systemically grounded, perfect mix between his native Brazilian music and due in large part to drummer ’s solid American jazz. Whether working with the cooperatives control of these nine semi-structured musical Trio da Paz and the Brazilian Trio, appearing as a commentaries on Planet Earth’s structured financial or leading one of his own groups, Da Fonseca system. An odd concept, but in a post-bubble-burst has been in the forefront of the growth of samba jazz in economy, viewing collateralized debt obligations from the US since his arrival in 1975. the outermost reaches of the solar system provides a It isn’t surprising that Da Fonseca would be drawn unique and at times clarifying perspective. to the music of countryman Toninho Horta, as the Previte employs his own celestial musical guitarist has been a friend for several decades and mechanics to fill out this power trio with two superb excels as a songwriter. During a visit to , the young Italian musicians. Baritone saxophonist Beppe drummer took part in a record date by saxophonist Scardino is a wonderfully melodic player in touch with Paulo Levi, where he met two talented young Previte’s rhythmically complex compositions. He musicians, pianist David Feldman and bassist Guto invokes the bari’s power to lead the no-frills march Wirtti. Da Fonseca was so pleased working with them forward that is “Austerity” but also uses an exquisite that he decided to form his Brazilian Trio, working tone and elegant feel to provide just the right amount with them whenever he returns to . of despair for “Downgrading”. Guitarist Francesco Horta’s music is greatly appreciated among Diodati is a beautiful stylist and his chordal Brazilian jazz aficionados, though the general jazz expressiveness in the context of this bottom-heavy trio public isn’t as familiar with his works. Yet there are is responsible for the brighter colors in what can many songs on Plays Toninho Horta that deserve to sometimes be a fairly bleak picture. He adds an off- become standards. As with many piano trios, the focus center counterpoint to the ups and downs of “Volatility” can’t help but center around Feldman, though Wirtti and colorizes “Default” into a surreal experience. and Da Fonseca make their presence felt throughout Previte’s rhythmic inventiveness is at the heart of the session. The delicate ballad “Moonstone” is these tunes. He turns “Rollover” into a full-speed- RECOMMENDED beautifully interpreted by the trio, with subtle backing ahead rocker and comes up with an infectious Latin for lyrical, spacious piano. The easygoing “De Ton Pra rhythm that emphasizes the contagious in “Contagion”. NEW RELEASES Tom” conjures the spirit of Antonio Carlos Jobim, with “Tranche”, a treatise on the complex world of bond Da Fonseca’s articulate drumming prominent in the credit ratings, is a vehicle for the band to blow over mix. The band wails in the frenzied bossa nova Previte’s driving rhythms while “Contango” delicately • Riccardo Fassi/New York Pocket Orchestra - “Aquelas Coisas Todas” and in the energetic finale dances through the ethereal futures trading market. Sitting in a Song (Alice) “Retrato Do Gato”, the latter in which Da Fonseca Fear not though, it appears that Planet Earth is saved • Jürgen Friedrich - Monosuite (Pirouet) takes an extended solo. yet again through another dirge-like “Bailout”. • Fred Hersch Trio - Alive at the Vanguard (Palmetto) For the quintet session Samba Jazz - Jazz Samba, Da • François Houle 5 + 1 - Genera (Songlines) Fonseca is joined by tenor saxophonist/clarinetist For more information, visit bobbyprevite.com. Bobby Previte • Hafez Modirzadeh - Post-Chromodal Out! (Pi) Anat Cohen, pianist , guitarist Guilherme is at Cornelia Street Café Sep. 2nd with Jane Ira Bloom and • Arturo O’Farrill - The Noguchi Sessions (Zoho) Montero and bassist Leonardo Cioglia, a band he The Paper Box Sep. 13th. See Calendar. David Adler, New York@Night Columnist formed in 2002, which rehearsed regularly even though bookings were infrequent. The primary soloists are Cohen and Montero, with most of the music written by • Bill Barron - The Tenor Stylings of Bill Barron/ Brazilian composers, with two exceptions. Ornette /Hot Line (Savoy-Fresh Sound) Coleman’s “Blues Connotation” is arranged by Cohen • Josh Berman & His Gang - There Now (Delmark) into a lively samba, spotlighting fleet guitar and down- • Pat Martino - Alone Together (with Bobby Rose) home, gritty tenor, along with potent solos by Alves (HighNote) and Cioglia. Cohen’s clarinet, alongside the leader’s • Hafez Modirzadeh - Post-Chromodal Out! (Pi) whispering brushwork, provides the perfect mix of • Stephen Riley - Hart-Beat (SteepleChase) melancholy and nostalgia in ’ timeless ballad “The Peacocks”. • Teri Roiger - Dear Abbey (Inner Circle) Ashes to Ashes (A David Bowie Intraspective) The other songs are all by Brazilian composers, Laurence Donohue-Greene The Wee Trio (Bionic) Managing Editor, The New York City Jazz Record many of whom have played alongside Da Fonseca in by Alex Henderson various bands: penned the brisk “Depois Da Chuva”; the quintet could easily conjure a Carnaval Many jazz purists and bop snobs believe that rock • Rodrigo Amado Motion Trio & - parade with their infectious playing of Raul and R&B material cannot possibly work in a jazz Burning Live at Jazz ao Centro (JACC) Mascarenhas’ intense “Sabor Carioca” and bittersweet setting. But a variety of broad-minded improvisers, • Marco Cappelli’s Italian Surf Academy - clarinet is central to Antonio Carlos Jobim’s “Rancho from The Bad Plus to the late , have The American Dream (Mode) Das Nuvens”, a complex work that deserves to be more demonstrated the fallacy of that thinking. On this • Darth Vegas - Brainwashing for Dirty Minds (Romero) widely known. The leader’s superb drumming is ambitious CD, the Wee Trio (vibist James Westfall, prominent behind the soloists in his breezy “Flying bassist Dan Loomis and drummer Jared Schonig) has • Gato Libre - Forever (Libra) Over Rio” while Toninho Horta’s “Dona Olympia” is no problem putting an instrumental jazz spin on songs • Fred Ho & The Saxophone Liberation Front - another fine showcase for Cohen’s tenor. that span about 32 years of David Bowie’s career. Snake-Eaters (Big Red Media-Mutable) Ashes to Ashes doesn’t limit itself to major hits. • New Zion Trio - Fight Against Babylon (Veal) For more information, visit zohomusic.com and anzicrecords.com. Missing are “Fame”, “Let’s Dance”, “Ziggy Stardust” Andrey Henkin Da Fonseca is at Dizzy’s Club Sep. 1st-2nd, Sep. or “Changes”. Instead, Westfall, Loomis and Schonig Editorial Director, The New York City Jazz Record 11th and Jazz at Kitano Sep. 28th-29th. See Calendar. make unlikely choices that range from “Queen Bitch”

16 September 2012 | THE NEW YORK CITY JAZZ RECORD

contrasts of instrumentation and style with dramatic stand-out, although its soul-jazz vibe sounds a bit results. strained. With the chromatic line pushed along by The prelude “Hope” boasts the Toomai String Weiss’ rolls and pops, the piece gains in intensity as it Quartet introducing recurring melodic motifs, careens forward, goosed by sustained triplets from Vu, including one spurred by insistent but spare percussion. until Harrison’s steady blues progression calms things A clipped guitar phrase opens “Providence”, as bass down to eventual diminuendo. and percussion pulse sweeping string movements and With artful composing and playing evident at short call-and-responses for Manzo to sing against. points, Holy isn’t in a complete void. But next Her almost liturgical delivery on “Dawn to Dark” time out more variety in the writing and liveliness in

Dear Abbey: The Music of Abbey Lincoln matches the strings’ emotively soaring highs and its execution could move the band closer to producing Teri Roiger (Inner Circle) rumbling lows, suggesting both spiritual and physical something (w)holy satisfying. by Joel Roberts longing. “If You Can’t”, an uncomplicated song interestingly introduced by plucked strings, gains For more information, visit cuneiformrecords.com. Harrison Abbey Lincoln is nearly alone among the late great momentum as the voice mirrors the string cadence and is at ShapeShifter Lab Sep. 6th. See Calendar. divas of jazz singing - the ones instantly identifiable by percussion punctuates the phrases. first name alone, like Ella, Sarah, Billie, Carmen, Betty Halvorson provides textural relief after classical - in that she wrote much of her own material and left strings open “Plutonium”, as bass and cello pulsate UNEARTHED GEM behind as rich a legacy as a composer as she did as a with supporting minimalist touches. Fujiwara’s vocalist. There have been a handful of recorded tributes unwavering percussion paces “Jump to the Thunder” to this much beloved artist but not many, which is a as the piece morphs into a colloquial song from its surprise given what a fertile ground for exploration classically structured beginning and he powers the and improvisation her compositions provide. concluding “And ” with a forceful and melodic Veteran vocalist Teri Roiger answers the call to solo before a dynamic middle passage of guitar and keep Lincoln’s music alive on her new CD, which cropped pizzicato retorts recede to a moody atmosphere revisits 13 of Lincoln’s best tunes, including “Wholly and brief vocal denouement. A phrase from Earth”, “Bird Alone” and “You Gotta Pay the Band”. It “Deconstruction, Reconstruction” may best summarize is an obviously heartfelt effort that’s helped Pavone’s maturation as a composer: “confidence immeasurably by Roiger’s impressive musicianship results in migration from what’s familiar.” and a vocal timbre that in many ways recalls Lincoln’s. The Bremen Concert Noah Howard Quartet (JaZt TAPES) Like Lincoln and their mutual influence , For more information, visit tzadik.com. This project is at by Robert Iannapollo Roiger doesn’t have a big voice, but she makes I-Beam Sep. 4th. See Calendar. with a delicate, sultry, sure-handed touch and a flair y 1975, when this concert was recorded, alto B for drama. Also like Lincoln, she surrounds herself saxophonist Noah Howard had already logged six with superb sidemen and gives them plenty of room to years as an expatriate, residing in France. In the late roam. Her fine quartet includes husband John Menegon ‘60s, as a member of the second wave of free jazzers, (bass), Frank Kimbrough (piano) and drummer Steve with a brace of ESP albums to his credit but with Williams. Alto master Greg Osby appears as a guest dwindling live venue options and very little press, soloist on five tunes and guitarist Mark Dziuba on one. he had little choice but to leave the US to find an If there’s a complaint here, it’s that the audience. It’s somewhat surprising since, among the , while handled expertly and vanguardists, his style was more accessible than enthusiastically, stick pretty close to Lincoln’s originals, most. His tone was lyrical but with a tart edge and a shame given the opportunities her open-ended tunes his solos could pack heat. But he was just as likely to Holy Abyss provide for fresh treatments. Still, this is an enjoyable Joel Harrison/Lorenzo Feliciati (Cuneiform) bask in a lyrical glow as he was to scream his piece. hour spent with a delightful vocalist and some by Ken Waxman Recordings from this time period featured a wonderful tunes. Kudos to Roiger for doing her part to quartet that usually included pianist Takashi Kako, ensure that Lincoln’s still underappreciated songs earn There’s a thin line between low-key and listless and bassist Kent Carter and drummer Oliver Johnson. their rightful place in the jazz canon. sadly much of this otherwise lyrical CD crosses it many The Bremen Concert is with that group and is the times. For some reason the five seasoned musicians third recording to be released from Howard’s For more information, visit innercirclemusic.net. This decided to pitch most of this program of all-originals European tour of early 1975. (Berlin Concert and In project is at Dizzy’s Club Sep. 3rd. See Calendar. at tempos that range from gloomy to lugubrious, only Europe, Vol. 1 are the others.) One has to question occasionally lively enough to sound cheerful. this release, however. It’s a copy of a radio broadcast

Certainly the talent is here. New York-based and the sound is less than optimal. The first minute session co-leader guitarist Joel Harrison, whose is practically inaudible due to what sounds like a previous CDs have featured the likes of saxophonist crinkled tape. When it does finally settle into what , manages to work in trebly tone seems like a reasonable sound, the bass is boomy distortions and spidery reverb in some of his solos, but and overpowering, the drums are muffled and the otherwise stays more linear than a super highway. piano is underrecorded. Additionally songs and Italian bassist Lorenzo Feliciati, the session’s co-leader, musicians are mislabeled. was influenced by King Crimson and worked with But all that said, this is a prime Noah Howard saxophonist , but his writing on three performance. The opening track, listed as “Ole tracks seems more noteworthy than his stolid playing. Negro”, a Noah Howard tune found on his Black Hope Dawson is Missing Ark, has nothing to do with what is played. It’s Jessica Pavone (Tzadik) British keyboardist Roy Powell, who now lives in by Sean Fitzell Norway, has played with figures such as guitarist Terje actually Coltrane’s “Olé”, a piece Howard frequently Rypdal and manages to inhabit many piano styles from used as an opener around this time. It’s a stirring Widely known for her work with composer Anthony supper-club comping to bop chording. Drummer Dan performance and Howard tears through it with Braxton and longstanding duet with guitarist Mary Weiss, sideman of choice for saxist David Binney verve. “Pearl Stream” has a skeletal theme that is Halvorson, violist Jessica Pavone seeks boundary- among others, plays spaciously and rhythmically, but quickly discarded as the band navigates into free blurring music. In her own projects, she’s infused folk- never seems to dig into the material. Probably the territory. Howard’s passionate, searing sound spits like song forms into classical chamber settings and biggest surprise is Seattle-based trumpeter , out shredding lines while Kako’s peculiar mix of improvising groups. On her Tzadik debut Songs of whose harmonizing with Harrison provides many of Cecil Taylor and McCoy Tyner scurries after him. Synastry and Solitude, Pavone composed for a string the CDs defining moments, closer to his discreet “New Arrival” is a feature for Howard’s limpid quartet with bass supplanting 2nd violin. contributions to guitarist Pat Metheny’s group. lyricism and “Ziki” closes the set with Coltrane-ish On the followup Hope Dawson is Missing, she That said the trumpeter’s best soloing occurs on meditative calm. The Bremen Concert is as good as augments the chamber group with Halvorson’s guitar, the Harrison-composed “North Wind (Mistral)”, where any example of Howard’s music of this period. Just Tomas Fujiwara’s drums and Emily Manzo’s voice. his flutter-tonguing and vibrating triplets join wish it sounded better. The song-cycle explores contradictions - deprivation Feliciati’s slap bass and the composer’s rock-tinged and nourishment, demolition and reconstruction, licks to toughen the initially moderato theme. “Small For more information, visit janstrom.se falsity and truth - and the music similarly works in Table Rules”, composed by the bassist, is a spirited

THE NEW YORK CITY JAZZ RECORD | September 2012 17

execution. Added inventiveness is found on Dresser’s GLOBE UNITY: BRAZIL composition “Yeller Grace”, which blends “Yellow Rose of Texas”, “Amazing Grace” and the National Anthem into a barely recognizable yet fully engaging mix. And they show plenty of versatility, as piano and bass converse equally well within the sweeping, legato passages of “For My Mother” or the jarring, playful bounces of “Big Mama”. But the true highlight is their interplay on Dresser’s composition “Mattress on a Stick”, which leads with a breathtakingly lyrical bass introduction, over Moser’s sparse and haunting choice Patience of chords. Each tune was recorded straight to two Stéphane Kerecki/ (Zig-Zag Territoires) entirely clean, un-mixed tracks, the depth of the tones All Strung Out astounding, providing a truly intimate experience. Piano Masters Series, Vol. 2 Denman Maroney/Dominic Lash (Kadima Collective) Philippe Baden Powell (Adventure Music) Duetto /Diane Moser (CIMP) For more information, visit outhere-music.com/zigzag, Tempo (feat. Eddie Gomez) Tania Maria (Naïve) by Sam Spokony kadimacollective.com and cimprecords.com. Moser and Constelação Brazilian Trio (Motéma Music) In these three albums, we find each piano/bass duo Dresser are at Cornelia Street Café Sep. 6th. See Calendar. by Tom Greenland approaching the world of free improvisation with

The world’s fifth largest country, home of bossa different modes of thought and intensity. nova, samba and birthplace of Tom Jobim, Airto Patience, by French bassist Stéphane Kerecki and Moreira, and Hermeto Pascoal British pianist John Taylor, reveals the strong influence (to name only a few), Brazil has deeply impacted of the classic dynamic that once existed between jazz. Recent releases show that the impact continues. pianist and bassist Scott LaFaro. After an Rio-raised Philippe Baden Powell (son of Baden improvised “Prologue” (followed later by a similar Powell) is the second Brazilian pianist to go solo on “Interlude” and, finally, an “Epilogue”) the title track the Piano Masters Series, recorded at Klavierhaus on is darkly moody, but not tense, as Kerecki’s basslines a fabulous Fazioli grand, boasting a brassy, brawny have room to breathe beneath Taylor’s searching bass register that vaults right out of the sounding melodies. “Gary” follows in this same vein, introducing Big Sackbut box. On Vol. 2, Powell’s touch is gentle, with deft more particularly good interplay amidst the tune’s Joe Fiedler (Yellow Sound) ornamentation and intricate two-hand figures. After swift motion. Taylor tends to display his virtuosity by Kurt Gottschalk a short prelude and two minor-keyed ruminations, while maintaining a wonderfully light touch in the he hits his stride on “’Round Midnight” with upper register, which is expertly balanced by Kerecki’s Big Sackbut was born as an idea some 25 years ago sprawling, hypnotic gestures. Other highlights are spirited runs up and down the neck of his instrument. although it only emerged in the physical realm in the Egberto Gismonti’s “Lôro”, a funky samba recalling “La Source” opens with a beautifully bowed past couple of years. The genesis came when Joe Keith Jarrett; “Canto Triste”, lush with contrapuntal introduction from the bassist, the fluid, singing quality Fiedler first saw the (WSQ) harmonies and textures; “Garfield”, an elegant of which seems to epitomize much of what he aimed to and wanted to devise a similar setting for his trombone. original that momentarily ventures off the beaten accomplish with this session. The most successful track But there’s another landmark avant-bop band of the path; Coltrane’s “Giant Steps”, here in semi-modal is the only composition not by Kerecki, LaFaro’s “Jade ‘80s that seems at least as much a forebear. It’s not just guise; capped by “Ending”, the most harmonically Visions”. Kerecki and Taylor combine their own voices the instrumentation that invites parallels with Lester adventurous piece. with those of the past greats to provide a deep, Bowie’s Brass Fantasy, it’s the music and in the spirit it Pianist/vocalist Tania Maria, originally from introspective take on that beautiful tune. invokes. WSQ aimed at being as huge as possible, both northern Brazil, duets with bassist Eddie Gomez on After experiencing that aura, All Strung Out feels in sound and in the conquistadorial cultural aspirations Tempo, comfortable yet compelling, in-the-pocket like a polar opposite. In nine improvisations, American its name implied, whereas Bowie already had a world but never predictable. Maria’s voice runs hot and pianist Denman Maroney and British bassist Dominic takeover ensemble (even if it modestly only cool, scatting along to her solos on “Sentado a Beira Lash release their energy in hectic, fast-paced bursts geographically namechecked Chicago). His Brass do Caminho” (where she also whistles amazingly) while also exploring the sonic limits of their Fantasy (coming along a half-dozen or so years after or else caressing the Portuguese lyrics of “Estate”, instruments. Maroney utilizes his own “hyperpiano” the WSQ) only sought to prove that the horn section “Bronzes e Cristais”, a beautiful bossa, and the title technique, in which he strikes, plucks and bows the was self-sufficient. It wasn’t that they could sound like track. Tempos are subdued, but rhythmic energy strings of the piano to create strikingly unusual tones. a whole band, just that they could sound like all you never drops. Maria’s originals are standouts: “Yeah On “Air Wheel”, he achieves a dry, acidic cymbal-like needed. It was about - deeply about - the love of a horn Man”, a boogie shuffle; “Senso Unica”, which shifts sound, as Lash follows with his own untraditional and the love of music, all music. between slow soul and spicy samba; “Dear Dee bowing. “Bowled Under” is wildly ambient, building Likewise, Big Sackbut is a defiantly naked horn Dee”, a tricky yet catchy line rivaling Chick Corea’s slowly out of tinny scrapes and lightly jarring punches. section. And just as Bowie fished in diverse musical “Spain”, and “Tempo”, featuring a rhapsodic Phrases are introduced and sometimes repeated, but ponds, Fiedler has arranged Captain Beefheart, Willie opening, democratic repartee and surprise moments. are rarely developed very far beyond their basic stages. Colon and Sun Ra for the first album by his trombone- Pianist Helio Alves, bassist , both The layered scratches and metallic screams that swell trio-plus-tuba group, as well as penning some new from São Paulo, and drummer Duduka Da Fonseca, in “Case in Area” remind one, alternately, of a jet tunes and rearranging a couple from past projects. The from Rio, are all New Yorkers now, known engine and a frantic ensemble of violinists. It is diversity is no surprise; Fiedler’s work has ranged collectively as Brazilian Trio. Constelação, their intriguing and impressive that Maroney can even from playing with Celia Cruz and Wyclef Jean to second release, contains an original from each express these tones fluently - not to mention Anthony Braxton and Cecil Taylor. But the range of member, three infrequently played Jobim songs discovering them in the first place - but they do not styles makes for a roundly enjoyable record. (But let us (“Quebra Pedra”, “Luiza” and “O Boto”), Cedar always inspire much in the way of emotion. also remember Sun Ra’s traditionalism and Willie Walton’s “Bolivia” and a few bossa-jazz standards. While the first two albums in this group are Colon’s experimentalism before over-enthusing about The threesome plays fast and loose, testy but tasty, constructed within two opposing atmospheres, Duetto radical programming.) Fiedler is a smart arranger, synched like a six-armed spider. Alves’ “Bebe” displays ranges of dynamics and insight that are wide guaranteeing a nice fluidity to the set and his band - fronts his fluid, filigreed style, broken chords enough to span across both ends of that spectrum. , and Marcus Rojas - punctuated by sudden exclamations. Da Fonseca Pianist Diane Moser and bassist Mark Dresser, who breathe warm life into the music. His own compositions trades dynamic choruses with bass and drums on both contributed compositions to the effort, have the hold the album together, something called “Ging “Embalo” and gently fleshes out the texture of “O strongest and most affecting album of this group - not Gong” being an especially sweet surprise. Cantador”. Matta’s agile authority is evident because they display more skill, but simply because All of that said, then, in what chair does Big throughout, notably on “LVM/Direto ao Assunto”. their free jazz explorations are, well, freer. From the Sackbut sit? It is certainly in the tradition that the late first track, Moser’s tune “Hello”, both players exude a Bowie liked to term “serious fun”. (Might we say “out For more information, visit adventure-music.com, boundless feeling of self-expression that reveals itself for a good time?”) It is not experimental but it is naive.fr and motema.com. Nilson Matta and Duduka Da in every note they play. What results is a very rare inventive. Perhaps best put simply, it’s a job well done. Fonseca are at Dizzy’s Club Sep. 1st-2nd (Brazil Day) balance of wildly atonal improvisation and consonant and Jazz at Kitano Sep. 28th-29th. See Calendar. harmonic lushness - one that is born of arrangements, For more information, visit yellowsoundlabel.com. This but is truly spontaneous in its development and project is at The Jazz Gallery Sep. 8th. See Calendar.

18 September 2012 | THE NEW YORK CITY JAZZ RECORD visitors center: OPEN M-F 10 AM - 4 PM 104 E. 126th Street, #4D, New York, NY 10035 (Take the 2/3/4/5/6 train) WWW.JMIH.ORG

THE NATIONAL JAZZ MUSEUM IN HARLEM PRESENTS

Quite Simply Mind Games Angelika Niescier Maroney/Ilgenfritz/ (Enja) Niescier/Drury (OutNow) by Terrell Holmes Harlem Speaks Alto saxophonist Angelika Niescier plays on a pair of A SERIES DEDICATED TO CAPTURING THE HISTORY AND LEGACY OF JAZZ new releases, solidifying her as a first-call player. The scope of the discs differs significantly, but Niescier’s 9/20:9/20: Roy Roy Eaton Eaton 9/27:9/27: George George Gee Gee musical range and talent is such that she can work PianistPianist Bandleader marvelously within these or any other frameworks. Bandleader Niescier leads a high-energy trio on Quite Simply, with bassist Thomas Morgan and drummer . Morgan’s fluid plucked solo on the cyclonic Time: 6:30 --- 8:30 pm Price: Free LocaTion: The NJMH Visitors Center, 104 E. 126th Street, #4D “Diffractions” sets up a fierce dynamic between the thunderous Sorey and Niescier, who improvises with excellent tonal and rhythmic balance. Her intensity on other burners like “Level 3” and the pulsating “Untitled” proves that she can go mano a mano with any sax player around. The trio downshifts with “Mithra’s Despair”, built from elements like Niescier’s breathy murmuring, Sorey’s hand-drumming and Morgan’s plucking alternating with a deep-blue arco. Her phrasing on “Uncertainty Principle” is melancholy but lovely. Niescier adds subtle harmonic punctuation $18 ADVANCE $20 AT DOOR 9/21:9/21: Jonathan Jonathan BatisteBatiste Trio Trio and her brand of rhythmic intensity to Ornette Coleman’s “Congeniality” and the group’s wonderful TICKETS: www.rmanyc.org/harleminthehimalayas interpretation of Anthony Braxton’s “69-0” is a perfect companion to “Mithra’s Despair”. This trio’s blend of straightahead and free jazz is pure dynamite. Niescier is also part of an outstanding quartet with Denman Maroney (piano), James Ilgenfritz (bass) and Andrew Drury (drums). Their album, Mind Games, is jazz from the inside out, a compelling damnation of theme-solos-theme conventionality. Jazz Is Now Drury’s high-pitched cymbal effects with Ilgenfritz’ moaning arco and bold plucking mark the listing-ship abstraction of “Ledig House”. Maroney 7 :00 PM | NJMH Visitors Center, 104 E 126th St., #4D | FREE makes his piano strings sing while trilling at the keys and Niescier’s harmonic stridency rounds out the Hosted by: tableau. Maroney’s first excursion into what he Jazz for Curious Listeners Jonathan Batiste and Band describes as “hyperpiano” occurs on “Perplexia”, Free classes celebrating Harlem and its legacy where he strums and uses other objects against the September: 5, 12, 19, 26 piano strings to produce a variety of textures and Tuesdays 7:00 - 8:30 p.m. pitches. Indeed, Maroney is the furthest outside the The NJMH Visitors Center, 104 E. 126th Street, #4D | FREE box when he’s inside it. Drury, Niescier and Ilgenfritz Attend any individual class join in on this free excursion, their harmonizing a Presented with The Berklee College Of Music beehive of color and elasticity. Ilgenfritz’ bass is the 12 PM – spindle around which “Social Hypochondria” revolves, : GENIUS SOUL: saturday panels 4 PM as Maroney’s inspired string effects accompany & FREE Niescier’s intense sax soliloquy. Niescier involves herself in the extra-instrumentality, as she did on Quite September 4: The Trio and Early Band Years Simply, by blowing gently into her mouthpiece on September 15: “Innervista” while her braying harmonics move Ray Charles in Performance “Greene St.” to another level of creativity. Drury’s September 11: Live! percussive solo on the brooding “Canter” is his Rare Films at Maysles Cinema 343 Lenox Avenue Between 127th & 128th signature moment on the album, where he uses (Donation Suggested) hy-percussive implements such as bells and bamboo to produce his desired sonic textures. The epic “Warum Bist Du Gekommen?” is a tour de force that balances September 18: the abstract and the conventional perfectly. This music Classic Recordings with isn’t sound for sound’s sake but is built within a discernible harmonic and rhythmic framework. And September 25: NJMH Visitors Center, 104 E. 126th St. #4D this striking originality announces a formidable band Big Band Classics with & Basie with which to be reckoned.

For more information, visit enjarecords.com and outnowrecordings.com. Niescier is at Douglass Street Music Collective Sep. 8th and Spectrum Sep. 14th with the Funded in part by Council Member Inez E. Dickens, 9th C.D., Speaker Christine Quinn and the New York City Council Mind Games project. See Calendar.

THE NEW YORK CITY JAZZ RECORD | September 2012 19 Debriano and Da Fonseca’s earthy vibe with a cool electric flair. He evokes the sprightliness of jazz’ contemporary guitar generation, dripping away each intricate refrain like melodic water. Debriano’s bass proves just as acrobatic, through shrouded in far muskier overtones. Da Fonseca’s complex musical facets blossom in his own “Isabella”, a bittersweet piece threaded with hopeful layers. The percussionist demonstrates the full Alive at the Vanguard Da Vinci range of his cymbals, opening with assertive cascades Fred Hersch Trio Fred Hersch/Nico Gori before fading to metallic droplets - only to resurge in a (Palmetto) (Bee Jazz) wave of sparkling leaps. Ben-Hur harmonizes with his by Matthew Kassel distinctive starry-eyed flair, setting forth a waterfall of pristine and pensive elaborations. The title of pianist Fred Hersch’s new album, Alive at “Earl’s Key” features Ben-Hur’s clever technique the Village Vanguard, is a clever updating of two as he oscillates from a low-key breeze to a marathon of previous records he’s put out with similar names. intricate riffs. Da Fonseca’s expressive cymbals slow There’s Live from 2003 and Alone down and fast-forward to keep the pace while at the Vanguard, recorded in 2010. But the name goes Debriano’s subliminal bass fuels the action from afar. deeper than that. Hersch, who has AIDS, fell into a His solo, however, basks in the foreground, emerging pneumonia-induced coma for two months in 2008 and bold and deeply exhilarating. almost died. So the title comes with that extra baggage, The trio’s cross-cultural unity vibrantly courses which is not to say that you should appreciate the through the spectral opposites “Afroscopic” and “Ela record more for that reason. Appreciate it because it is E Carioca”. Debriano’s former composition is a a superb statement from one of the most respected kaleidoscope of AfroLatin flavors, strung together by pianists in jazz. Da Fonseca’s innovative hand drums and shakers. The Recorded with bassist John Hébert and drummer bass-guitar dynamic emerges particularly riveting, Eric McPherson during a week-long run at the featuring zesty chords alongside thick plucks. The Vanguard back in February, the two-disc set is a latter tune, composed by Antonio Carlos Jobim and balanced assemblage of Hersch originals, ballads and Vinicius de Moraes, offers dynamism in a breezier medium-swing standards. Perhaps most lovely are the context. Ben-Hur, Debriano and Da Fonseca sway ballads, particularly renditions of “I Fall In Love Too across the air with the grace of palm trees, exuding a Easily”, lush and melancholy, and “The Song Is You”, laidback introspection. usually played at a fast tempo but here sounding wonderful slowed down. Hersch solos rapturously For more information, visit motema.com. This group is at throughout, drawing you in with his beautiful sound. Jazz Standard Sep. 11th. See Calendar. The music feels soft and powerful at the same time and that’s due in large part to Hébert and McPherson’s sensitive accompaniment. Equally lovely, though different, is Da Vinci, an album Hersch recorded in a duo with the Italian clarinetist Nico Gori. Hersch is an inveterate solo pianist and this record gives him the chance, unaccompanied by drums and bass, to exhibit his strong rhythmic feel further. He and Gori have a tight connection; the pianist weaves intricate arabesques with his left hand around Gori’s concise phrases, as in “Lee’s Dream”, which Hersch wrote in dedication to the alto saxophonist Lee Konitz. It’s a format you’d like to hear Hersch in more often.

For more information, visit palmetto-records.com and beejazz.com. The trio is at Village Vanguard Sep. 11th-16th. See Calendar.

Our Thing (featuring Duduka Da Fonseca) Roni Ben-Hur/Santi Debriano (Motéma Music) by Sharon Mizrahi Roni Ben-Hur and Santi Debriano join with Duduka Da Fonseca to craft Our Thing, an album that transforms subtlety into an artform. The liner notes stress the fierce and fiery cross-cultural unity among the three artists - Ben-Hur hails from Israel, Debriano from Panama and Da Fonseca Brazil - but their sound emerges far more ethereal than anticipated. Thelonious Monk provides the trio’s opening inspiration in “”. Ben-Hur is the narrator of the lightly tropical tale, counterpointing

20 September 2012 | THE NEW YORK CITY JAZZ RECORD so-familiar ballads and invests them with his own very particular colors and shadings. He comes to us with a deeply reharmonized “Body and Soul”, a dark and mysterious reading, beautifully embellished to let the listener hear it anew. Be prepared for a surprise with Bobby Troup’s “The Meaning of the Blues” from the Miles Davis album Miles Ahead. Zeitlin, informed by a new reading of the lyrics, digs deep into the “tragedy of loss”, as he calls it, and fashions an achingly intimate rubato gem that unfolds with the slow and exquisite pace of a work of nature. The theme only makes itself evident as the piece winds to a close. Jobim also is reworked as the pianist fuses “Quiet Nights” and “How Insensitive” into one sensual poem of bittersweet Songs of Earth Jessica Williams (Origin) melancholy. It’s the pianist’s smart and ever-thoughtful Wherever You Are (Midnight Moods for Solo Piano) approach that finds new levels of expression in these Denny Zeitlin (Sunnyside) most familiar bossa nova chestnuts. Zeitlin also revisits The Noguchi Sessions Arturo O’Farrill (Zoho) some of his originals - “Time Remembers One Time Contemplation Gabriel Zufferey (Bee Jazz) Once” and “Wherever You Are” - and continues to by Donald Elfman reveal insights about love and connection. The four artists who make up this quartet of splendid On The Noguchi Sessions, Arturo O’Farrill pays new solo piano recordings are careful and thoughtful tribute to the great Japanese-American artist Isamu in their choice of both notes and spaces. The Noguchi. The pianist set up his instrument in a gallery performances collected here are clearly about of the Noguchi Museum (in Long Island City) and expression. played a celebration to the “fragility” and “transience” In concert at Seattle’s The Triple Door, on Songs of of our lives and even of our art in 12 affecting and Earth Jessica Williams’ concept and technique are compelling performances ranging from originals by grand and symphonic but fall, as she rightly says, into the composer and works from the Spanish and Latin- no category or genre. The individual pieces suggest a American canon to an exploration of Americana and full spectrum of moods and colors as does, says Irish roots and rarely performed tunes from the jazz Williams, the Earth. “Joe and Jane” is a kind of hymn repertoire. In Stephen Foster’s “Oh! Susanna”, the in tribute to the men and women in the military, the pianist takes the minstrel song, chock full of corny and mood sorrowful but also rhapsodic, working as a even horrid stereotypes, and finds a way to reflect an hopeful prayer for peace. The one tune not composed American past honestly. One of the great and neglected by Williams is John Coltrane’s “To Be”, where she composers from this hemisphere is Cuban-born Ernesto avoids any particular stylistic approach but seeks what Lecuona. His “Siboney” is a tribute to an indigenous Coltrane means to her in terms of freedom and Cuban people and O’Farrill feels it his duty to celebrate invention. Williams’ latest influence, she notes, is that “before we got here, there were others”. The Spanish guitarist Carlos Montoya, disliked by critics rhythms of Cuba are present but they take an organic for straying from traditional form; his daring and role in the commanding power of the piano. O’Farrill’s bravery in doing so inspires Williams on her dedicatory approach is more meditative but no less artful on “Oh tune “Montoya”. The pianist’s understanding is Danny Boy”, another look back at the past. O’Farrill is revealed in her ability to suggest the mercurial passions a gifted composer as well, as is manifest in his of the guitar and the Spanish forms he both played adventures with “simple chords and major triads” with and transformed. coming from “Once I Had a Secret Love”and becoming Denny Zeitlin has come a long way since he was O’Farrill’s “Once I Had a Secret Meditation”. It’s a thought of as “the jazz psychiatrist”. He is a master brief and lovely tune, a touching set of intriguing interpreter of song and his approach has developed improvisations on the old tune. into one that is harmonically rich, intellectually Swiss-born Gabriel Zufferey has made reflective and deeply lyrical. On Wherever You Are, the Contemplation, his first solo piano album, a grand, notion of lyrical goes beyond its meaning of simply ambitious excursion – 18 tunes, many of them songlike and melodic to one that celebrates the words associated with some of the greatest names in jazz and intoned by the human voice. These are the words of jazz piano. Zufferey makes these performances his the writers of the Great American Songbook, the own thanks, in part, to brevity - none of these contemplative notions of love and longing that inform performances is much longer than five minutes. The the human experience. Zeitlin takes familiar and not- five-four pulse of Paul Desmond’s “Take Five” is the starting and staying point of this improvisation, which never really states the melody except for the bridge. Zufferey also offers a number of very brief interludes, demonstrating his own adventurous work in miniature composition for the keyboard. The young artist discovers a new way to enter the world of Thelonious Monk, finding “Trinkle Tinkle” at the center of a maelstrom of sound, thus framing the melody in a way not quite seen before. The same might be said of “Giant Steps”, presented as a moody ballad in which the familiar and complex line is only revealed after some atmospheric soul-searching. Ellington’s “In a Sentimental Mood” finds the old standard constructed and deconstructed as if to make us think we’ve not heard it before but hearkening to something we’re sure we know. This pattern is indicative of the way Zufferey gets to the heart of great tunes.

For more information, visit originarts.com, sunnysiderecords.com, zohomusic.com and beejazz.com. O’Farrill is at Saint Peter’s Sep. 12th and Birdland Sep. 30th and Sundays. See Calendar and Regular Engagements.

THE NEW YORK CITY JAZZ RECORD | September 2012 21 marketing strategy around which to build albums. It’s nothing new; Louis Armstrong put out an album of WC Handy tunes over half a century ago. But honoring composers and musician-composers is different than referencing musicians for their brand name value. Dear John C., an album titled when drummer Elvin Jones was still, just barely, a member of John Coltrane’s seminal quartet, was producer Bob Thiele’s nakedly exploitative way to cash in on the fame of Trane. The Duos III The Book of Chet Elvin Jones Project, by bassist Michael Feinberg leans on Luciana Souza the value of the Elvin Jones name and its associations (Sunnyside) (Sunnyside) with Coltrane, whose name as a marketing hook is of by Marcia Hillman comparable value in jazz to that of Elvis or Marilyn (Monroe). In both cases, the names invoked by the Brazilian vocalist Luciana Souza delivers a one-two album titles are not substantially reflected in the music. punch with releases - one Brazilian material Dear John C., recorded in 1965, is as much or more sung in her native Portuguese and the other her first a showcase for alto saxist Charlie Mariano as it is for recording exclusively of standards sung in English – Jones and the repertoire has little to do with Coltrane. showing the two sides of this talented songbird, or The core group is Mariano, Jones and bassist Richard uirapuru if you prefer. Davis, a trio heard on three tracks. and Duos III is the last in the trilogy featuring only join them on piano for three tracks voice, guitar and song. Souza’s collaborators on this apiece. ’ “Love Bird”, familiar to both album are , Marco Pereira and Mariano and Hanna from their times with the Toninho Horta, each on four tracks apiece. The material composer, is a highlight, as is “Anthropology”, with is mostly from Antonio Carlos Jobim, Gilberto Gil, pianist Jones joining his brother-leader, who begins on Dorival Caymmi and Djavan along with some originals brushes and ends with sticks in a deft delineation of by Horta and Pereira. The songs are either bossas or the Bird anthem. Elvin is eruptive at times, but is sambas, put together to achieve a well-paced album. almost overshadowed by the ferocious intensity of Souza is in fine voice, sounding pure and clear and rhythm-mate Davis’ absolutely compelling solos. both Lubambo and Pereira are longtime collaborators, The Elvin Jones Project name may be a good so there is a marvelous chemistry and while Horta is a marketing tool for Feinberg, but the music can stand new partner he also is able to attain a strong musical on its own. Sure, the tracks, save for an original connection with Souza. Highlights include “Doralice”, purportedly inspired by an Elvin Jones// where Souza and Lubambo both shine; “Pedro da Lua” Bill Frisell album, are all found on Jones or Coltrane (a Horta original) where the composer joins Souza on recordings but Feinberg and his excellent band give the vocal and “Dona Lu” (a Pereira original), which them an original spin. Drummer Billy Hart, although overflows with joy from both performers. But most influenced by Jones, is his own man, with his own notable is the version of the familiar song “Dindi”, distinctive sound. Pianist Leo Genovese, the junior treated almost as a blues. member, is a welcome revelation, viscerally compelling The Book of Chet offers Souza’s interpretation of as a soloist. Trumpeter and tenor material associated with the legendary trumpeter/ saxophonist both fill ensemble and vocalist Chet Baker, accompanied by Larry Koonse solo roles with winning panache. The musical styles (guitar), (bass) and (drums). range wide, from the eerie “Earth Jones”, a Jones The selections are all ballads, which does result in little original, with shimmering, wafting Fender Rhodes and contrast from track to track but does produce an almost slow ostinato bassline underpinning horn solos, to the hypnotic effect, reminiscent of Baker’s introspective evocation of the mid ‘50s Miles Davis Quintet on singing style. Souza tackles the singing in a “Nancy with the Smiling Face”, melody begun by straightforward manner, including either one chorus bowed bass, the bulk of it a trio performance, but or a chorus and a half on each song, Koonse’s guitar capped off by Harmon-muted trumpet and keening fills blending seamlessly. Piltch steps forward with his tenor sax to take the theme out. Guitarist Alex Wintz bass on “The Very Thought Of You”, a track that guests on two tracks, including ’s “The contains some wordless singing with guitar. Bellerose Unknighted Nations”, a funky hard bop flag-waver. contributes drumwork that is almost a whisper. Notable tracks on this one are “The Touch Of Your For more information, visit analogueproductions.com and Lips” and “I Fall In Love Too Easily”, the former sunnysiderecords.com. Feinberg’s project is at Birdland dreamlike, the latter with outstanding work by Koonse. Sep. 13th. See Calendar.

For more information, visit sunnysiderecords.com. Souza is at Joe’s Pub Sep. 12th. See Calendar. Frank BasileÕs newest release Modern inventions is noW availaBle.

Please visit WWW.cdBaBy.coM or FrankBasileMusic.coM to order. Dear John C. The Elvin Jones Project Elvin Jones Michael Feinberg (Impulse-Universal) (Sunnyside) by George Kanzler There’s a fine line between homage/tribute and exploitation in jazz. But wherever the line is, there can be no doubt that the concept - exploiting/honoring a jazz figure from the past - has become a plethoric

22 September 2012 | THE NEW YORK CITY JAZZ RECORD

originally a vehicle for DeJohnette’s band Special brilliant ensemble playing. Bynum states his goal as Edition, harks back to the midtempo strut of “Tetragon” “not just to blur the lines between composition and but with a more complex written theme. Perdomo’s improvisation...but to try to upend the listeners’ originals range from the lyrical, harmonically spare expectations in other ways: circular melodies without “Langnau” and “Just Before” to the waltz “Above the beginnings or ends, disguised unisons and non- Storm” and polyrhythmic burners “Gene’s Crown” repetitive vamps, transitions that are simultaneously and “Doppio”. His “Rebellious Contemplation” seems jarring and organic.” to start in mid-thought with ferocious eight-bar trades, All of these elements play out as promised working up to a twisty and unexpected coda. throughout the fluid, interconnected movements,

Universal Mind It takes high skill to spar with DeJohnette and not acting as a catalyst for fearless improvisations from the Luis Perdomo (RKM Music) get overpowered or upstaged. Perdomo thrives under sextet: saxist Jim Hobbs, bass trombonist/tubaist Bill by David R. Adler the pressure. Whether or not his relationship with Lowe, guitarist Mary Halvorson, bassist Ken Filiano DeJohnette takes further root, he’s advanced his art and drummer Tomas Fujiwara. On Universal Mind, his fourth outing as a leader, considerably with this fine release. Bynum’s puckish cornet opens “Shift”, the first pianist Luis Perdomo embraces a hard-swinging piano movement, with a brazen cadenza that hops from lip- trio aesthetic, mixing it up with bassist For more information, visit facebook.com/RKMMusic. splitting high notes and quivers to thudding, low and drummer Jack DeJohnette. It’s a logical move: his Perdomo is at The Jazz Gallery Sep. 14th with Adam exhortations and finally a series of dizzying runs 2006 disc Awareness was also steeped in trio modernism, O’Farrill as part of FONT. See Calendar. before he’s joined by bass trombone and whispered even avant gardism. His 2008 date Pathways, also with alto. The horn trio’s melancholic polyphony lasts for trio, combined originals with standards and a Bud two minutes before Filiano and Fujiwara enter with Powell classic. This time the opener is ’s furious rhythms, marking the beginning of the second “Tetragon”, an angular midtempo blues from 1968, just movement, “Strike”. the thing to break the ice. (DeJohnette played on The leader’s composing skills certainly rival his Henderson’s album of the same name, but not on the playing - an extended contrapuntal section in “Source”, title track.) the third movement, is a standout for the juxtaposition There’s a polished virtuosity, a smoothness of of guitar and cornet unisons against the often execution, to be heard on Perdomo’s earlier efforts. diametrically opposed bass, alto and bass trombone The interplay on Universal Mind is lumpier, more off- figures - but it is ultimately the improvisational centered, thanks largely to the rousing, relentless virtuosity of the ensemble that takes the day. Apparent Distance churn of DeJohnette’s drums. Keith Jarrett’s trio with Taylor Ho Bynum Sextet (Firehouse 12) Halvorson’s vibrato-laden, turned bone-dry, turned DeJohnette is a reference point, although it has worked by Matthew Miller blippy, trippy introduction to “Source”, is a high point for decades; the Universal Mind session, by contrast, is from both a technical and improvisational perspective, Perdomo and the drummer’s first-ever encounter. Cornetist Taylor Ho Bynum has put funding from but it is just one of many in this impressive outing. The newness has musical benefits, of course. Two Chamber Music America’s 2010 New Jazz Works to improvised piano-drum duets (“Unified Path” I & II) excellent use in Apparent Distance, a four-part suite of For more information, visit firehouse12.com. This group is yield strong, semi-abstract results. “Tin Can Alley”, nonlinear melodies, gripping improvisations and at The Jazz Gallery Sep. 15th as part of FONT. See Calendar.

THE NEW YORK CITY JAZZ RECORD | September 2012 23

dense/light soprano spews out high-energy solos full title track is a furious clatter that features Perowsky of quicksilver ornaments, slurred tumbling sequences, fighting a swarm of bees behind his kit as Douglas non-harmonic interjections, expressive scoops and provides a merciless solo. The fairly straightforward slides, colored with a light, mercurial vibrato. She “Mistaken Identity” finds Douglas at his most gilded, plays light, cool clarinet over the Brazilian ballad “As twittering over Potter’s engaging counterpoint. The Rosas Nao Falam”, channels Artie Shaw in a faithful album closes with the goofily titled “Euro Disney”, rendition of “Nightmare”, weaves fluid arpeggios which offers up the classic Miles Davis “Theme” around Lindner’s piano on Jobim’s “Olha Maria”, ending, a fitting closure to an album that embraces matches the irrepressible Paquito D’Rivera note for much of the bop crowd’s tight harmonic intimacy but

Fortune Songs note in a revved-up, jaw-dropping run on Pixinguinha’s takes it into a future of driving drums and greater Jasmine Lovell-Smith’s Towering Poppies (Paintbox) choro “Um x Zero”, then brings it all home with some harmonic freedom. by Wilbur MacKenzie soulful gospel preaching on “The Wedding”. Lindner is excellent everywhere, mixing solo and For more information, visit greenleafmusic.com. Douglas is The debut release by Jasmine Lovell-Smith has so comping styles seamlessly while Martin and Freedman at 92YTribeca Sep. 19th as part of FONT. See Calendar. much to offer: an arrestingly wry and lyrical are effortlessly at-ease in their pan-global grooves. compositional style, a cohesive quintet comprised of Gordon’s “Tricky” Sam Nanton-style growls and Cobi Narita presents talented emerging artists and, nestled comfortably at “Pops” Armstrong-esque singing are welcome the center, a distinctive new voice on the soprano additions to “La Vie en Rose” and Dr. Lonnie Smith’s Remembering Sep. 11: Frank Owens Singers: saxophone. “And the World Weeps”, as is D’Rivera’s impeccable This is clearly a band that has worked together playing on these cuts (his solo turn on “Weeps” is Never Again! all proceeds and learned to live and breathe in the music, extending dazzling), “Um x Zero” and “Kick Off”, where his Jazz Celebrates benefit the Frank far beyond the ink and into the realm of a truly clarinet percolates over the hypnotic Candomblé beat. New York Owens Workshops communicative ensemble of effusive musical cohorts. On compositions like “Confidence (One)” or “Let Go For more information, visit anzicrecords.com. This project featuring Musicians, Singers and Kumiko Yamakado Be Free”, the band will establish a pervasive mood is at Village Vanguard Sep. 18th-23rd. See Calendar. Tap Dancers, celebrating Jazz in Jo Marchese New York. Soft drinks and snacks Ira Lee Collings inspired by the folk-like melodies, only to take a available for purchase with the Frank Owens Trio surprising turn towards expressionism, navigating constant shifts of hues in the most logical and even- September 11, 2012 September 15, 2012 handed way. Sharing the frontline with Lovell-Smith is 7 p.m. to 12 midnight 7 to 10 p.m. trumpeter Russell Moore, whose bright tone blends Free! $10 with the soprano, or darkens and widens in response to the shifts from ruminative sentimentality to Zeb’s impressionistic gestures. The of pianist 223 W. 28 Street (between 7th & 8th Avenues), 2nd Floor - 212-695-8081 Cat Toren, bassist Patrick Reid and drummer Kate Pittman are in a constant state of ebb and flow, for more information: 516-922-2010 or [email protected] Magic Triangle/Leap of Faith providing an ever-shifting framework. Pittman’s Dave Douglas (Arabesque-) ability to integrate lyrical, almost melodic percussion by Sean O’Connell with more frenetic gestures establishes a sense that the music will shift anywhere while Reid’s sense of melody Trumpeter Dave Douglas has released over 35 records and counterpoint are distinctive and Toren blends under his own name in the last 20 years. Greenleaf broad, lush harmonies with more plucky phrases. Music, Douglas’ own label, has been a home to his SEPTEMBER 2012 As a composer, Lovell-Smith’s penchant for recordings since 2005, including the overwhelming counterpoint and distinctive blend of melodic recordings of every note played during a six-night run JAZZ VESPERS phrasing, driving pulses and free jazz expressionism at the Jazz Standard in 2006. Here the label has dug Sundays at 5:00 P.M. — All Are Welcome — Free unfold throughout the record. Any given tune may into Douglas’ back catalogue, releasing two albums favor one element or the other, but always reminding originally on Arabesque, recorded in 1997 and 1998. 2 Florian Höfner Group the listener that a few surprising changes to the color Both sets feature the same tight quartet - Chris 9 Quartet palette await around each corner. Potter (saxophone), (bass) and Ben 16 Ike Sturm Ensemble Perowsky (drums) - with the 2-hour, 20-track collection For more information, visit paintboxrecords.com. This entirely composed by Douglas. These two recordings 23 Aaron Diehl Trio group is at Korzo Sep. 18th. See Calendar. are a fitting pair, highlighting the state of Douglas’ 30 Nadje Noordhuis Quintet pursuits in such a brief timespan despite three other

albums being released in between. MIDTOWN JAZZ AT MIDDAY “I was trying to see how much harmony I could Sponsored by Midtown Arts Common get into the game with just three notes,” states Douglas Wednesdays at 1:00 P.M. — ($10 suggested) in the liner notes. How much is a funny question. A lot isn’t quite an answer to it. Three melodic voices can 5 Anderson Twins Sextet just about make three harmonic relations but which Peter Anderson, tenor sax/clarinet and when is where Douglas makes it his own. William Anderson, alto sax/clarinet/flute Magic Triangle, which came out in 1997, was Jon-Erik Kellso, trumpet Douglas’ 11th album and opens with “Everyman”, a Ehud Asherie, piano playful tune that has Douglas and Potter sharing the Kevin Dorn, drums Claroscuro Clovis Nicolas, bass Anat Cohen (Anzic) same breaths, almost finishing each other’s sentence, a by Tom Greenland trait that lasts throughout the recordings. “Padded 12 Sandy Stewart, singer Cell” gives Perowsky more room to splatter across his , piano With Claroscuro, Anat Cohen exceeds the orbital cymbals, taking things to the outer reaches of the 19 Ralph Hamperian’s Tuba D’Amore, velocity of her rising star status, delivering an record. “Kisangani” puts a mute in Douglas’ horn for a Bob Albanese, piano intelligent and infectious set with pianist Jason dirge-like spell aided by long saxophone tones and Will Woodard, bass Lindner, bassist Joe Martin, drummer Daniel Freedman sputtering kit. The album closes with “The Ghost”; far Jeff Brillinger, drums and guests clarinetist Paquito D’Rivera, trombonist from a wandering spirit, the track is a hard-hitting 26 Aaron Diehl, piano and percussionist Gilmar Gomez. launching point for the entire band including a nice Cohen’s many strengths are immediately apparent propulsive jaunt between Genus and Perowsky. on “Anat’s Dance”, where she spins out long, logical, Leap of Faith, Douglas’ 15th album, followed his JAZZ FOR ALL rhythmically authoritative postbop lines; on “La Vie en major label release on RCA, Soul on Soul. The band September 16 at 4:00 Rose”, where she slips into a Sidney Bechet bag, picks up right where they left off, a little more Free Improvisation Workshop constructing a liquescent, slightly sassy solo in five aggressive and quickly digging into opening track for families and people of all ages elegant phrases, and on “All Brothers”, where her “Caterwaul” with more disjointed harmony while the

24 September 2012 | THE NEW YORK CITY JAZZ RECORD and valleys softer and more malleable than that of KAZE, but a beautiful landscape nonetheless. The bass and guitar harmonics that punctuate the opening of “Court” while Tamura and Fujii emote coolly alongside give an idea of the group’s introspective sound yet the roles are switched on “Hokkaido”, where trumpet and guitar etch innocent lines as bass and accordion drone in sympathy. Were one forced to choose, KAZE maintains interest more completely. However, both discs project Rafale Forever KAZE Gato Libre the Tamura/Fujii partnership’s interest in space, (Circum-Libra) (Libra) timbre and, above all, feeling. These releases are rife with conviction and that, peppered with the obvious by Marc Medwin abilities demonstrated by all involved, will carry any Pianist Satoko Fujii and trumpeter Natsuki Tamura’s ensemble a very long way. output is astonishing in scope and diversity. Fujii manages to lead several large ensembles while For more information, visit librarecords.com. Satoko Fujii participating in a seemingly infinite array of others, and Natsuki Tamura are at Douglass Street Music Collective skipping between continents as if simply going out to Sep. 22nd. Tamura is at Village Zendo Sep. 23rd as part of the store and back. Tamura is on board for many of FONT. See Calendar. these projects, as composer or performer, and these two releases represent a part of the duo’s ever-evolving transcontinental scene. KAZE is a fairly new project, graced by the heavy trumpet frontline of Tamura and Christian Pruvost while Fujii’s piano is complemented by Peter Orins’ drumming. On Rafale, you can hear the pushing each other to new levels of exploration and interplay on “Polly”, but that’s the tip of the iceberg. This is a stunning achievement from note one and, as might be inferred from the title of the first track, “Noise Chopin”, the quartet tosses Chopin quotations around, Live at the Blue Note Enfants Terribles (Half Note) or maybe it’s better to say the etudes and sonatas by Clifford Allen referenced form the brew of the piece. It’s all amidst a rapidly changing dynamic climate, sudden and There was a very interesting point raised in a recent dizzying shifts in tension and volume keeping things post on the blog Running the Voodoo Down concerning fresh over nearly a quarter of an hour. The whole disc the relevance of the standard repertoire in contemporary teems with life, blistering free jazz tempered by improvisation. From critic Phil Freeman: “This is a moments of composed introspection that roil with problem afflicting the music across the board and I their own undercurrents, threatening to explode at any think it may be time to lay down the law: Jazz musicians moment. If the arc-and-build formula so common to need to stop recording standards… Play the old western music, freely improvised music in particular, standards live if you want, if you’ve got so little respect rears its head a bit too often, it hardly seems to matter for your audience that you think they still want to hear in the face of such excellent and committed ‘Body and Soul’ in 2012 (if you do still want to hear musicmaking. The recording is spectacular and it ‘Body and Soul’ in 2012, seek professional help).” needs to be, given the group’s interest in sound and its He was referring to the present album by the deployment. quartet Enfants Terribles: altoist Lee Konitz, guitarist Gato Libre’s Forever is not nearly as pleasing on Bill Frisell, bassist Gary Peacock and drummer Joey the ears, having been done live in less than ideal Baron. Sure, their repertoire is based in a very specific circumstances. However, it represents bassist sector of the book - “Body and Soul”, “I Can’t Get Norikatsu Koreyasu’s last recording with the quartet, Started”, “I’ll Remember April” and, in a performance as he died a short time after the performance. His at the Blue Note last month, “All the Things You Are” sound is rich and full, perambulating the group and “Cherokee”, among others. The kick is that each through its spacious music, serving as an excellent foil musician starts the tune solo or in open dialogue, with to Kazuhiko Tsumura’s guitar. Tamura and Fujii the others falling into conversation. No discussion of provide liquid support throughout, the dynamic peaks the tunes or their order is supposed to color the proceedings. It’s meant to be spontaneous, insofar as the references are often oblique at first and the tunes are dealt with through a mutual love and respect for history as well as openness. Konitz brings to the proceedings a long, long relationship with these tunes and a ‘free’ conception of the repertoire is his . He began his professional career six years before Frisell was born and a full decade before Baron, but that’s not to say their work isn’t integral: the joy and intellect shared between the guitarist and drummer is palpable on both recording and stage. Sure, nothing ‘new’ exists under the sun, but it’s enjoyable to hear Frisell’s muted, Americana-derived fragments weaving through the changes against loose, plastic rhythms and Konitz’ ebullient runs. Live at the Blue Note captures a 2011 run of the quartet and while not as wily with the same concept as, say, Ellery Eskelin’s Trio New York, Enfants Terrible’s approach shouldn’t necessarily be relegated to the bin of anachronism.

For more information, visit halfnote.net

THE NEW YORK CITY JAZZ RECORD | September 2012 25

regular beat to satisfy the foot-tapper while on “4 North” the combination of Daisy’s multiple barrage and the saxophonist’s torrential tenor touches on free jazz. Thereafter the references are blurred, reaching their apogee on the lengthy “Fifty Cent Opera”, which incorporates elements from both bop and free, but then builds to a storming finish by way of an unlikely breathy interlude that might have been inspired by Stan Getz. More certain influences inform Mark in the Water, Vandermark’s second solo album after Furniture Music A New Margin (Okka Disk, 2003), from an unaccompanied Side A: /Havard Wiik/Chad Taylor performance recorded in Poland. In the liners, (Clean Feed) Vandermark explains his strategy, which was to mix The Conversation open pieces with portraits of the reed players who had Tim Daisy/Ken Vandermark (Multikulti Project) inspired him most through using a loose interpretation Mark in the Water of their creative aesthetics. Ken Vandermark (Not Two) The selections from the gig present three portraits by John Sharpe alongside seven extemporizations dedicated to those Chicago reedman Ken Vandermark has honed a knack same masters. In some ways the dedications are for seeking out fruitful working relationships. Since unfortunate, as they inevitably bring to mind a host of moving to Chicago from in 1989, he has been virtuoso improvisers. That’s not to say that the integral to the fertile Windy City scene, both as a Chicagoan’s efforts are inferior, but as they don’t aspire performer and organizer. That solid foundation has to mirror the virtues of the dedicatees, the comparisons allowed him to spread his reach wider. His introduction afford an unnecessary benchmark. For the ten-piece to Swedish saxophonist led to program, he assembles a varied collection of successful interactions with an ever-widening sphere improvisations that follow their own inner logic, of young Scandinavian musicians. Furthermore, ranging from tightly coiled split-toned squeals all the working opportunities in Poland have lately led to way through to airy impressionistic lyricism. While collaborations with other European musicians too, Vandermark concludes the liners with the realization notably in his cosmopolitan Resonance Ensemble that it’s time to take the leap to walking on stage First convened in 2010, Side A neatly brings without a plan, this set convinces as a worthwhile together two of the main strands in Vandermark’s milestone on that artistic journey. career, comprising drummer Chad Taylor, best known as part of assorted Chicago Underground units, and For more information, visit cleanfeed-records.com, Norwegian pianist Håvard Wiik, from supergroup multikulti.com and nottwo.com Atomic and a colleague from Free Fall. Everyone writes for what is a cooperative venture on A New Margin. Quality is consistently high across the ten cuts captured in concert in Portugal at the end of a short tour. They have a slightly looser take on the inside/outside conundrum than the Vandermark 5, but trade in similarly elaborate arrangements, touching on both the free jazz and contemporary vernaculars, creating vehicles that launch spirited solos. Whether filling the role of the absent bass with rolling vamps, adding crashing percussive accents or embarking on sparkling two-handed runs, Wiik exploits the possibilities his piano affords to the full. The combination with Taylor’s pulsing polyrhythms and diverse timbral palette and Vandermark’s muscular baritone and soaring clarinet, creates a very full sound, belying the numbers involved. Among the many highlights are the folksy “Trued Right”, which finds the hornman in full spate over a roiling backdrop, suddenly cutting out to leave him floating over empty Michael Feinberg’s “Elvin Jones Project” space, and the seething collective “Fold”, which pulls featuring Billy Hart, George Garzone, the reverse trick, where yelping baritone gradually Leo Geonvese and Tim Hagans available retreats into its normal register while piano and drums everywhere Sept. 2012 continue to burn. on . Recorded live back on home turf, The Conversation finds the reedman in the company of longtime associate drummer Tim Daisy for a series of five expressive, “Hes one bad dude!” - spontaneously generated duets. That title gives an apt “A musical prodigy turned into summary of proceedings as the pair maintain a robust an genius.” - spinner.com dialogue, each highly attuned to variations in pace and pitch. An ongoing process of calibration means they 9/7 The Blue Whale LA 8 and 10pm $10 repeatedly lock into each other’s phrase length. w/Larry Koonse, Dan Schnelle, While built around unfettered two-way Ryann Dragonn, Walter Smith III interaction, there is a strong connection to the tradition 9/13 Birdland NYC 6pm $20 as each instrument performs its expected role. w/Donny McCaslin, Ian Froman, Tim Hagans, Leo Genovese Vandermark moves from overblown harmonics on clarinet to squalling skronk on and 9/15 Emory University Atlanta 7pm $10-15 w/Billy Hart, George Garzone, Leo Genovese plosive keypad popping on bass clarinet, matched every step of the way by Daisy’s sensitive percussion. 9/21 An Die Musik 8 and 10pm $10 w/Leo Genovese, Dayna Stephens, Gregory Hutchinson The first two tracks deal with a defined territory. With its boppish bass clarinet and relaxed loping drums, “Pasfoto” persuades as lyrical and songlike, with a www.michaelfeinbergmusic.com

26 September 2012 | THE NEW YORK CITY JAZZ RECORD FRED HERSCH TRIO ALIVE AT THE VANGUARD recorded live at the Village Vanguard, NYC February 7 - 12, 2012

A new trio recording by five-time Grammy nominee Fred Hersch offers the rare opportunity to recalibrate expectations about the most fundamental of all jazz settings. Captured in the heat of creative ferment at the Village Vanguard, the sanctified venue that has long served as the pianist’s second home, Hersch’s trio with bassist John Hébert and drummer Eric McPherson displays all the rhythmic daring, preternatural interplay, harmonic sophistication, and passionate lyricism that makes it one of the era’s definitive ensembles. The double album features a diverse array of seven scintillating Hersch originals four American Songbook gems, and seven classic jazz tunes. This specially priced 2-CD set is available everywhere on September 11 The Fred Hersch Trio appearing at the Village Vanguard 9/11 -9/16. ______MATT WILSON’S ARTS & CRAFTS “An Attitude For Gratitude’s excellence is partly due to the players - bassist Martin Wind, gorgeous-sounding trumpeter Terell Stafford, and the droll pianist and organist Gary Versace. The other reason the album’s so good is Wilson’s knack for writing spry tunes and for picking ones by other composers that inspire his players....they all get on Matt Wilson’s slightly warped wavelength.” - NPR Fresh Air Matt Wilson’s Arts & Crafts appearing at the Village Vanguard 9/4 - 9/9

palmetto-records.com

reinforce this standard’s lyricism with thoughtful and bassist Martin Wind’s bowed didgeridoo-like solos, supported by the potent rhythm section. hypnotic undertones. Coupled with the paucity of The other tracks are all Davis originals. “Piece of female trumpeters that makes Morgan’s plaintive the Apple” is a brisk reworking of the chord changes to discourse on Coleman’s melody all the more believable, “Sweet Georgia Brown”, where the leader’s mastery of it certainly would qualify for title cut status. bop vocabulary is firmly established. A two-song But Morgan is not one to latch on to the obvious, medley begins with the bittersweet “Pray Thee”, a titling this release Blue Glass Music and tilting it toward ballad infused with gospel roots and featuring some of intimate bluesy explorations of standards while adding Davis’ most emotional playing of the engagement, a few wild card originals from saxist Joel Frahm and

Live at Smalls segueing into the boisterous soul jazz number “Beyond Wind. The former is integral to this group and although Jesse Davis (smallsLIVE) the Storm”. Closing the album is the jaunty “Journey his tenor doesn’t soar and bop like Coleman’s alto, his by Ken Dryden From the Lighthouse”, highlighted by Wilner’s blues is the perfect counterpoint to Morgan’s soul. In swinging solo. Intimately recorded with an attentive the context of such an inventive rhythm section, the native Jesse Davis has been impressive audience, Live at Smalls is a valuable document. rich tenor/trumpet voicings and delicate instrumental since his debut recording back in 1991. The alto give and take between Morgan and Frahm would saxophonist, a former student of Ellis Marsalis, For more information, visit smallslive.com. This project is actually be less compelling if a piano was in this mix. displays the influence of greats like Cannonball at Smalls Sep. 11th-12th. See Calendar. Two chestnuts, Cole Porter’s “I Love You” and Adderley and without merely mimicking Vernon Duke’s “April in Paris”, open the session. The their work. His big tone, articulate phrasing and the former allows Frahm and Morgan to feel each other ability, in the words of Lester Young, to tell a story in out while remaining true to the tune’s original tongue- his solos have helped him to find his own voice on his in-cheek intent while the latter leisurely swings in a instrument. This live recording was compiled from sets loose after-hours way. Likewise, “Booker’s Waltz” over three nights at Smalls, with trumpeter Ryan Kisor, gently floats through its changes before Frahm’s pianist Spike Wilner, bassist Peter Washington and “Glyph” has the band gelling on a peculiarly devolving drummer Billy Drummond rounding out his quintet. little nugget to highlight how well Morgan and Frahm’s The performances all allow for extended blowing, voices blend. “Where are You” revisits loneliness but yet the band never runs out of steam in the process. with more astonishment than longing and Wind’s aptly Davis opens with the standard “I’ll Close My Eyes” at titled session closer “Last Waltz” turns the lights down Blue Glass Music a loping tempo, alternately playing spacious lines and Carol Morgan Quartet (Blue Bamboo Music) low but strays much further afield than trumpeter rapid-fire bop improvisations, followed by Kisor’s by Elliott Simon Booker Little’s aforementioned ode to 3/4. A stark expressive yet whimsical solo. Critics keep claiming unhurried beauty elevates each of these seven cuts and that “Body and Soul” has been exhausted with its Ornette Coleman’s “Lonely Woman” and his makes Blue Glass Music a stylish portrayal of Morgan’s many recorded versions, yet players keep coming back revolutionary piano-less quartet, certainly informs influences and reach as a leader. to it in search of new possibilities. This rendition is trumpeter Carol Morgan’s own similarly constructed opened by Wilner’s elegant solo, followed by Kisor foursome. The tune, here clocking in at over 10 minutes, For more information, visit bluebamboomusic.com. Morgan and Davis moving in and out of the spotlight as they features Matt Wilson’s lovely percussive colorations is at Bar Next Door Sep. 11th. See Calendar.

28 September 2012 | THE NEW YORK CITY JAZZ RECORD

near-rock, plus those tunes which could be taken up by the cornetist’s jazzier projects like the Exploding Star Orchestra, Starlicker or the Chicago Underground Duo/Trio with drummer Chad Taylor. “Just Lovin’” and “Six Six Eight” are fascinating representations of the latter, especially since Mazurek Chi-Town associates vibraphonist Jason Adasiewicz, bass guitarist Matthew Lux and drummer John Herndon are on board. Mazurek’s “Six Six Eight”, his

Homage most extensive cornet feature, balances on Adasiewicz Marcus Printup (SteepleChase) and Herndon’s shuddering percussion pulse and by Joel Roberts includes sliding runs and discursive time- shedding while the intervallic theme is advanced by One of the premier trumpeters in jazz today, 45-year- flutter-tongued triplets from the brassman. Based on a old Jazz at Lincoln Center stalwart Marcus Printup loop from Granado, “Just Lovin’” is denser, with an Sat, Sep 1 KIRK KNUFFKE, MARY HALVORSON, ROB GARCIA - offers up a mid-career tribute to some of his major avant-rock beat presaging measured vibe echoes and AMERICAN SONGS 9PM & 10:30PM Sun, Sep 2 JANE IRA BLOOM QUARTET/WINGWALKER 8:30PM influences on his latest SteepleChase release Homage. snaking guitar runs. Dawn Clement, Mark Helias, Bobby Previte Most of the usual suspects are covered in this For the jazz samba-familiar, some of the more Mon, Sep 3 AMRAM & CO 8:30PM condensed trip through some 80 years of jazz trumpet, lyrical tunes with delicate, almost slack-key guitar David Amram, Kevin Twigg, John de Witt, Adam Amram Tue, Sep 4 THE WEE TRIO 8:30PM from Louis Armstrong and Roy Eldridge, Miles and licks, gentle muted brass lines and rumbling dance- James Westfall, Dan Loomis, Jared Schonig Dizzy, Clifford Brown and Lee Morgan, Freddie like beats may sound more South American. Don’t Wed, Sep 5 PILC-MOUTIN-HOENIG 8:30PM Hubbard and , right up to Printup’s forget though that Brazil is home to as Jean-Michel Pilc, Francois Moutin, Ari Hoenig Thu, Sep 6 DIANE MOSER & MARK DRESSER - contemporaries Wynton Marsalis and . well as João Gilberto. Dragging percussion friction, CD RELEASE: “DUETTO” 8:30PM DIANE MOSER QUINTET Printup, with his clear, crisp tone, shines brightest off-center bell-ringing and high-pitched guitar licks on “MUSIC FOR THE LAST FLOWER” 10PM on straightahead burners like Morgan’s “Mr. Kenyatta” Takara’s “Lado Leste” plus the oscillating electronic Anton Denner, Ben Williams, Mark Dresser, and Hubbard’s “Mr. Clean”, which are smack in the grinds, overdubbed sound loops, rock-guitar-like Fri, Sep 7 JASON RIGBY QUARTET 9PM & 10:30PM Russ Lossing, Kermit Driscoll, Rudy Royston center of his postbop comfort zone. He also does a distortions and processed cornet smears on “Pigeon” Sat, Sep 8 TONY MALABY PALOMA TRIO 9PM & 10:30PM valiant job on the classic “Weather Bird”, aping are as much a part of Brazilian music as ever-shifting , Sun, Sep 9 GLOBAL LIVING ROOM: Armstrong’s historic version with Earl Hines with his inventive rhythms. SKYE STEELE’S RAILROAD RODIA 8:30PM own duo with up-and-coming piano star Aaron Diehl. Fusion in its best sense, Três Cabeças Loucuras is Aram Bajakian, Josh Myers, John Hadfield; Jean Rohe, host Printup and Diehl team up again for an effectively open-minded music that melds North and South Tue, Sep 11 VOXIFY: ROZ CORRAL 8:30PM Alan Broadbent, Boris Kozlov; Nicky Schrire, host tender duo reading of Dizzy Gillespie’s romantic American impulses without fissure. VOXIFY: JUDI SILVANO 10PM standard “Con Alma”. Printup handles more modern Fred Jacobs, Frank Kimbrough, Ben Allison Wed, Sep 12 INNER CIRCLE MUSIC FESTIVAL: material with flair, too, as on Shaw’s ethereal “Theme For more information, visit cuneiformrecords.com. This ANDRÉ MATOS QUARTET 8:30PM for Maxine”, where he’s ably abetted by Gregory project is at University Settlement Sep. 20th as part of Jacob Sacks, Eivind Opsvik, Billy Mintz TAMMY SCHEFFER BAND 10PM Tardy’s intense, Coltrane-esque tenor saxophone. The FONT. See Calendar. Andrew Urbina, Dan Pratt, Chris Ziemba, fine quintet is rounded out by bassist Corcoran Holt Daniel Foose, Ronen Itzik Thu, Sep 13 INNER CIRCLE MUSIC FESTIVAL: and drummer Alvin Atkinson. SARA SERPA QUINTET 8:30PM Printup is such an accomplished and versatile André Matos, Kris Davis, Aryeh Kobrinsky, Tommy Crane JASON YEAGER TRIO 10PM player that he’s adept performing tunes from any point Danny Weller, Michael Gleichman in the many decades of jazz dealt with here. But so Fri, Sep 14 INNER CIRCLE MUSIC FESTIVAL: PETROS KLAMPANIS TRIO 9PM much ground and so many styles are covered that the Lefteris Kordis, Ziv Ravitz album can lose focus and at times feel a bit like a GREG OSBY 6 10:30PM Sara Serpa, André Matos, Jaeung Bae, Joe Lepore, John Davis history lesson, even if it’s a hard swinging lesson Sat, Sep 15 ELLERY ESKELIN QUARTET 9PM & 10:30PM taught by a master musician. , Drew Gress, Gerald Cleaver Sun, Sep 16 NEW BRAZILIAN PERSPECTIVES: ROGERIO SOUZA 8:30PM For more information, visit steeplechase.dk. Printup is at Billy Newman, Leonardo Lucini, Ranjan Ramchandani, Rose Hall Sep. 13th-15th with Bobby McFerrin and the Jazz Dennis Lichtman; Billy Newman, host Mon, Sep 17 CARL MAGUIRE - CD RELEASE: at Lincoln Center Orchestra. See Calendar. FAR FROM ALMOST ALWAYS 8:30PM Oscar Noriega, Stephanie Griffin, John Hebert, Tue, Sep 18 HARRIS EISENSTADT AND SEPTEMBER TRIO 8:30PM Angelica Sanchez, Ellery Eskelin Wed, Sep 19 JIM BLACK TRIO 8:30PM Teddy Klausner, Thomas Morgan Thu, Sep 20 JULIAN SHORE 8:30PM Sasha Dobson, Gilad Hekselman, Shelly Tzarafi, Alexa Barchini, Phil Donkin, Tommy Crane Fri, Sep 21 BEN WALTZER TRIO 9PM & 10:30PM , Gerald Cleaver Sat, Sep 22 NASHEET WAITS’ EQUALITY BAND 9PM & 10:30PM Logan Richardson, Craig Taborn, Mark Helias Tue, Sep 25 CONTINUOUS BREAK - THE LEIF ARNTZEN BAND 8:30PM Ryan Blotnick, Landon Knoblock, Michael Bates, Jeff Davis Três Cabeças Loucuras Wed, Sep 26 BILLY DRUMMOND’S FREEDOM OF IDEAS 8:30PM São Paulo Underground (Cuneiform) Dezron Douglas, Don Vega Thu, Sep 27 TOM CHANG QUARTET 8:30PM by Ken Waxman Jason Rigby, Sam Trapchak, Jeff Davis Fri, Sep 28 MARC MOMMAAS - Newest entry in Chicago-based cornetist Rob LANDMARC: THE GUITAR PROJECT 9PM & 10:30PM Mazurek’s ongoing Underground ensemble projects, Nate Radley, , Tony Moreno Sat, Sep 29 MARIO PAVONE 9PM this CD fuses American improv textures with the beats Mike Dirubbo, Pete Robbins and melodies prevalent in Brazilian music. With both MARIO PAVONE’S QUARTET AXIS 10:30PM Michael Musillami, Craig Hartley, Tyshawn Sorey jazz and maracatu based on African roots, the other Sun, Sep 30 ERI YAMAMOTO/YVES LÉVEILLÉ QUARTET 8:30PM members of the São Paulo Underground - Mauricio Yves Léveillé, David Ambrosio, Ikuo Takeuchi Takara, who plays percussion and miniature Brazilian guitar, drummer Richard Ribeiro and keyboardist Guilherme Granado - find common ground with Mazurek through rock and samba beats plus the spirited use of samples and electronics. The end result is that the tracks on Três Cabeças Loucuras vary from those whose affiliation seems to be with delicate guitar-strummed pop, including mariachi brass-like echoes, to tough, percussion-hammered

30 September 2012 | THE NEW YORK CITY JAZZ RECORD

ballads in smaller groups begin to replace the hard- driving, larger ensemble work that dominates those middle years. Two of the set’s most beautifully performed selections are ‘80s duets - first “Bye Bye Blackbird” with pianist Louis van Dijk in 1982 and then an extraordinarily lyrical and sensitive take on “Spartacus Love Theme” with bassist . The final track, then, provides a fittingly emotional finish, as Thielemans figures in yet another duet - this

Yesterday and Today time playing “What a Wonderful World” alongside the Toots Thielemans (Out of the Blue) piano and of . by Sam Spokony By the end, one hears a very different Thielemans but the unexpected and well-ordered selections Having recently turned 90, Belgian harmonica player provide the listener with the perfect context to and guitarist Toots Thielemans has been recording for understand better the development of this truly unique over six decades and is one the few musicians whose musician. A detailed, explanatory liner essay and playing has spanned the history of modern jazz up to biography written by Jeroen de Volk also adds a nice the present day. This two-disc, 38-track set offers a touch to the collection. selection of chronological tracks that are mostly rare or even unavailable on CD, providing a deep and For more information, visit naxos.com. Thielemans is at insightful look at Thielemans’ incredible career, as well Rose Hall Sep. 28th-29th. See Calendar. as his diverse cast of collaborators.

The first tracks date back to the artist’s earliest records in the mid-to-late ‘40s and reveal his initial encounters with bop and the vital influence of . From there, we can track the development of his playing as he moves to the US in 1951 and eventually performs with the George Shearing Quintet, a 1953 engagement from which two tracks are featured: “Love is Just Around The Corner” and an interesting take on Ellington’s “Caravan”. An early highlight is Thielemans’ 1958 recording As the Crow Flies of his own “Cool and Easy” over a heavily swinging Aych (Relative Pitch) rhythm section of Hank Jones, Doug Watkins and Art by Kurt Gottschalk Taylor. Another star-studded track is his 1964 version of “Lullaby of Jazzland” with JJ Johnson, McCoy Tyner, The Aych of this unusual trio’s name presumably and Elvin Jones. One can truly hear connotes an “H” and stands for the common initial of Thielemans’ vocabulary as a soloist grow and mature the three members, Jim Hobbs, Mary Halvorson and in this period. “Soul Bird”, a 1965 recording with an Taylor Ho Bynum, but perhaps primarily for Hobbs, ensemble that includes and Grady Tate, the underrated Boston saxophonist who convened this also nicely spotlights Thielemans’ foray into Latin jazz. assemblage. Hobbs is the leader of the fine Fully The second disc takes the listener into the ‘70s, Celebrated Orchestra, which counted Ho Bynum as a during which time Thielemans took part on some member and has worked with Fred Hopkins, Joe interesting collaborations with Quincy Jones. Featured Morris and Matthew Shipp, to name a few. Here he is here is Jones’ tight and punchy of found in the curious position of what seems to be “Chump Change” as well as “Love Theme from ‘The leader of a collective group. 5 of the 12 tracks are his Getaway’”. Following soon after that is a rare gem compositions with the rest group improvisations. from a live recording in the , as Thielemans Hobbs here is, in a sense, first among equals. plays his solo guitar version of Ellington’s classic Hobbs is an impressive composer and arranger for “Black Beauty”. An even rarer cut will be “Fritiof larger groups (his Hobbettes, ranging from quintet to Anderssons Paradmarsch”, recorded in 1978 in septet, is his smallest working unit) so As the Crow Flies with local Swedish musicians and never is an uncommon opportunity to hear his horn up close. previously released outside of that country. This track, Not that it’s a standard sax trio. With Halvorson on among several others in collection, also features guitar and Ho Bynum on cornet, there’s no traditional Thielemans’ iconic whistling over his own guitar solo. rhythm section. It’s a bit of everyone for themselves, After that point in the collection, passionate except of course they are in it together. Halvorson and Hobbs also play together in Ho Bynum’s Sextet and Halvorson and Ho Bynum are half of the 13th Assembly, so the three are well conversant already. That’s the who and the what of Aych. The three other Ws fall in close proximity. The where is at Hummelvision Studio in Jamaica Plain, MA and the when is Dec. 27th, 2010. But what matters is the why. Against the sea of small label releases of open-form jazz, including plentiful issues by the three members, why does As the Crow Flies matter? The answer to that lies back in Jamaica Plain and with engineer Joe Stewart, who gave this recording a remarkable purity. The recording is distinct, direct, almost stark, the instruments austere against a backdrop of nothing. But it falls shy of being harsh. Instead it’s a remarkably honest recording, lacking in undue reverb and compression. Ultimately what stands out about this record is the unadulterated and superb musicianship.

For more information, visit relativepitchrecords.com. This trio is at The Jazz Gallery Sep. 15th as part of Bynum’s sextet as part of FONT. See Calendar.

THE NEW YORK CITY JAZZ RECORD | September 2012 31

piano above the constantly shifting tempos of his skin, tackling ten tracks with ease and finesse. rhythm section. Vilner’s arrangement of Bud Powell’s “Un Poco Closing track “Ribofour” is probably the most Loco” illustrates his rare counterbalance of boldness realized song on the album; it almost sounds like this and tact. A dramatic brass sequence opens the piece, whole album is a warmup for this one song, one where yielding to more nuanced mingling. Brandon Lee’s the group is wholly committed to any kind of true trumpet rises from the midst, zesting the air with his musical ideal. With Bailey’s piano string-strumming, pungent spice. Tinged with an exploratory avant garde well-spaced trilling and internal dialogue, Howard’s vibe, alto saxist Andrew Gould’s solos offer an angular cymbal play and more fine bass work from Bates, this contrast. The brass section reconvenes for a grand

Quiet As A Bone is an inspiring finale to the album. finale, clinching the piece with a thunderbolt of energy. Art Bailey (HRL) There are no grand revelations on Quiet As A Bone, Singer Yaala Ballin’s balmy vocals set a different by Terrell Holmes but there is a lot of really good jazz definitely worth a scene on Irving Berlin’s “Remember”, hearkening back listen. to the ‘cocktail party’ big band sound. Though Ballin’s While there’s nothing extraordinary about Art appearance spans no more than a few lines, trombonist Bailey’s new album Quiet As A Bone, it’s clear that the For more information, visit hrlrecords.com. This trio is at Kevin Cerovich carries her influence in every smooth, pianist (known for leading and also playing accordion I-Beam Sep. 22nd. See Calendar. swinging note then passes on the lively spirit to alto for the experimental Jewish music ensemble Orkestra saxist Pablo Castano, whose masterful delivery is both

Popilar) and his bandmates, bassist Michael Bates and easygoing and emotional. drummer Owen Howard, comprise a trio with Vilner’s tunes showcase the band’s sophisticated considerable talent. range, each revealing a new facet of their sound and Bates’ querulous arco and bas-relief plucking lie at inspiration. The ears can’t help but get lost in “Your the center of the evocative “Octopants”, which has fine Eyes”, a charming number led by Vilner’s slightly interplay among the members. The straightahead “The breathy clarinet. Bassist Alexi David and drummer Bread of Affliction” is a solid midtempo tune while Yonatan Rosen craft a crisp bounce that propels the Bailey’s deft piano weaving drives the uptempo piece through its rosy terrain. “New One” projects this “Malocclusion”. Bates’ plucked solo on the driving yet quality through a brazen, brass-dominated lens. The cool “Rebus” is also excellent, with Bailey adding bold subtler touches give the piece its flair, however, notably Introducing rhythmic harmonic runs and trills to his solo and Eyal Vilner Big Band (Gut String) Rosen’s athletic cymbal- and drum-rolls. Howard laying down an intense drum groove. “O My by Sharon Mizrahi The album’s outlier initially appears to be the final Swineherd” is a thoughtful, carefully modulated tune track “Epilogue” - a procession of mournful horns and and Bailey’s tender, reflective playing on the ballad There’s only one chance for a first impression, or so a lone clarinet. But before the air gets too heavy, the “Regime Change” unfolds beautifully. The deft and the adage goes. And Eyal Vilner’s big band debut takes band gets into the swinging spirit once again, uniting clever “I See Your Little Head” is nicely rendered by an oddly discreet approach to the first impression. But their innate poise with the art of surprise. the trio. “Coupes Are For Chickens” is another spirited on this album is the sound of a band so well versed straightahead bopper and the group stretches out that flashy allure emerges unnecessary; Vilner and his For more information, visit gutstringrecords.com. This nicely on “Ribofree”, with Bailey playing a measured 14 musicians are thoroughly comfortable in their own group is at The Garage Sep. 11th. See Calendar.

32 September 2012 | THE NEW YORK CITY JAZZ RECORD

she’s joined by Alden at mostly swinging clips. “Alone keyboardists round out the rhythm section, trading Together” becomes suite-like, beginning with lush, spots over the course of eight tracks. Each has their swirling piano, then kicking into a faster tempo as own feel with a Fender Rhodes and an organ setting Alden sidles into his solo in expounding variations of the mood amid straightahead piano sounds but the the melody, followed by a sleek, arpeggiated solo by transition between tracks is fairly smooth. Raphael. Then, instead of the expected - many of the The album opens with ’s “Utopia”. tracks have them - four-bar trades, the two interlock in Although never recorded by him, it has the a fugue variation before taking the theme out in unmistakable horn harmonies of mid ‘60s Blue Note, swinging, interactive bursts. Raphael has an admirable with the Roney brothers staying in tight formation

Loverly command of piano history, channeling Ellington’s over the head before they both offer up twisting solos Lenore Raphael/Howard Alden (Swingin’ Fox Music) distinctive chords on “Do Nothing Till You Hear From over drummer Kush Abadey’s slinky cymbal. The band by George Kanzler Me” and referencing Ray Charles, as well as Garner, on plugs in for “Pacific Express” with Aruan Ortiz “”. Alden enlivens the proceedings sneaking through the rhythm section with a clavinet- The piano-guitar duo format is versatile, two with a variety of approaches, from legato echoing like keyboard sound. The album makes a stylistic leap instruments equally assured at melody, rhythm and tones to sharp, staccato bop cascades. forward with “Plaza Real”, giving George Burton a chordal harmony engaging in an intimate musical track over which to float his oscillating keyboards. colloquy. Pianist Lenore Raphael, whose sobriquet is For more information, visit swinginfox.com. This duo is at Antoine dominates the melody before Wallace steps in “Swingin’ Fox”, a name she more than lives up to, is NY Society for Ethical Culture Sep. 28th. See Calendar. with a rapid-fire solo on the 10-minute track, Antoine joined here by the expansive guitarist Howard Alden. following quickly behind. Drummer Darryl Green

Although best known for his neo-swing associations, provides much of the momentum. Alden is also well versed in bop, AfroLatin and postbop Organist Doug Carn joins the band for “Dawn”, styles. Pianist and guitarist mesh well here, creating implying a soul-jazz feel until the band gets going with skeins of intertwining lines that never tangle or knot Wallace’s sputtering trumpet over Carn’s clustered and swinging with a contagious brio. comping. “Evolution of the Blues” opens with a The program consists of six familiar standards and triumphant Charlie Parker reference before Wallace two Raphael originals, but the execution proves that tears into the form with help from Abadey. Antoine even when you think you’ve heard it all with a muscles up on tenor to deliver a breathless honk. standard, accomplished jazz musicians like these can “Ghost of Yesterday” features Wallace in muted reinvigorate it. Such is the case with opener “Wouldn’t retrospection. Veteran Boston drummer Bobby Ward’s Home It Be ” from My Fair Lady. Raphael semi- brushes flutter behind Ortiz’ spacious piano creating a Wallace Roney (HighNote) abstractedly bounces into it with an intro right out of by Sean O’Connell soft palette over which the brothers stretch out. The the Erroll Garner playbook, hide-and-seek playful, album closes with a solo drum performance by Ward before laying down the theme with thick chords, Trumpeter Wallace Roney offers an album of pulsating whose snare trembles over three rollicking minutes. backed by Alden’s strummed rhythm. Raphael solo work and diverse moods with help from his introduces most of the tracks , employing younger saxophone-playing brother Antoine. Along For more information, visit jazzdepot.com. Roney is at rubato flourishes that glance at the melodies before with bassist Rashaan Carter, four drummers and three Smoke Sep. 21st-22nd. See Calendar.

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Percussionist/composer Andrea Centazzo, 15 years Preston’s junior, is a perfect partner. Centazzo has had a similarly fractured career, playing with saxophonist Steve Lacy, large orchestras and gamelan ensembles plus creating soundtracks and multi-media projects. Using electronic interface and sampling along with conventional instruments here, the two conjure up textures that suggest staccato cello and violin sweeps, positioned marimba pings, conga patting and

I Carry Your Heart bell-tree shakes. At the same time these acoustic Alexis Cole (Motéma Music) approximations burble along beside or are involved by Ken Dryden with interaction from signal-processed whooshes, buzzing waveforms and loops. In a career that spanned the ‘50s into the mid ‘80s, Tracks like “Escape #6” and “Escape #7” pinpoint Pepper Adams was one of the most in-demand baritone the duo’s contrasting jazz-like or electronic-focused saxophonists, taking part in many memorable dates as approaches. The exposition of “Escape #6” features a sideman, along with leading 20 albums of his own. Preston’s walking bass and Centazzo time-keeping on Less attention has been paid to his compositions, percussion. But the overdubbed cymbals and tam-tams which are the focus of Joy Road: The Complete Works of confirm they’re not in the ‘50s. With thick voicing, Pepper Adams, a five-volume set available as a digital Preston’s pressurized keyboard glissandi drag the tune download, though this fifth volume, featuring vocalist into the 21st Century, as the drummer’s snaps, rattle Alexis Cole, is available as a physical CD. and drags subtly accompany him. While rhythmically This project was launched by Adams’ biographer paced drumbeats underlie the head of “Escape #7”, the and discographer Gary Carner. He honored Adams’ remainder of the narrative is defined by dial-twisting desire to have lyrics written to his songs by recruiting oscillations and watery synthesizer sputters. Yet other poet Barry Wallenstein, who does a remarkable job, surprises are on tap at the finale. As Centazzo balances particularly since it was his first time writing lyrics for a resonating vibe-like tone produced by his MIDI- jazz tunes. The producer also assembled a fine band of controlled malletKAT, Preston as pianist creates a pianist Jeremy Kahn, tenor saxophonists Pat LaBarbera skeletal note cluster that could fit seamlessly into any and Eric Alexander, bassist Dennis Carroll and microtonal performance. drummer George Fludas. Considering the talent displayed on this The seven ballads were all recorded in the previous 2010-recorded concert, you wonder about the title. volumes, but for the vocal interpretations, Carney Surely high-quality improvisations like these shouldn’t asked Kahn to mix things up, making specific stylistic be escaping from this year but celebrated with pride. suggestions. “In Love With Night” proves to be an auspicious opener with Cole’s sublime vocal, Kahn’s For more information, visit andreacentazzo.com sensitive accompaniment and the conversational tenor backing them (though it is unknown which saxophonist solos). “Now in Our Lives” begins as a slow ballad, but soon switches to a peppy postbop setting, with one tenor occasionally sounding like Adams’ gruff baritone. Cole’s spacious vocal in “Urban Dreams” is another session highlight. “Julian” is an infectious groover with Cole making a late entrance, first scatting in unison with the tenor, then digging into the lyric of this neglected tribute to Cannonball Adderley. Only one performance disappoints, the midtempo funk treatment of “I Carry Your Heart”, far better with Adams’ lush melody as the centerpiece instead of the quickly tiresome funk rhythm. Fortunately, the song is reprised as a duo ballad with Cole and Kahn to close.

For more information, visit motema.com. This project is at Smoke Sep. 26th. See Calendar.

Escape from 2012 /Andrea Centazzo (Ictus) by Ken Waxman The majority of people who know of keyboardist Don Preston only recall his tenure with and Mothers of Invention and later involvement in Zappa tribute bands. But -based Preston, who turns 80 this month, has had a more varied career. As bassist, pianist and pioneering synthesizer player he gigged with people like trumpeter Don Ellis and clarinetist John Carter, consorted with rockers and also is featured on CDs with trumpeter Michael Mantler and pianist Carla Bley.

34 September 2012 | THE NEW YORK CITY JAZZ RECORD New York City’s most famous jazz clubs profit from musicians every night—but they refuse to contribute a few dollars toward pensions Older jazz musicians that would allow older jazz musicians to retire with dignity. Tell The Blue Note, Birdland, The Iridium, The Jazz Standard, are living in poverty The Village Vanguard and Dizzy’s Club Coca-Cola that hardworking jazz musicians deserve better. while jazz club owners To sign the petition and learn more, visit: are getting rich. JusticeforJazzArtists.org

NYCJazzRecord-J4JA-print-cej.indd 1 3/9/12 10:34 AM

Ware plays sopranino on “Minus Gravity 1”, working off of what might be described as a blues-based raga, growling, moaning and shrieking with circular breathing to sustain the intensity. “Minus Gravity 2”, the Chicago version, was equally passionate and inventive. In both instances the flow of ideas is rapid and dynamic, supplemented with occasional lightness and humor. Ware’s tenor is ferocious on both versions of the title track. From cyclonic stridency to the soft,

Where Were You Then? sweet blues, Ware pushes himself to the limit and the Shelley Hirsch/Simon Ho (Tzadik) result is neither forced nor pretentious. His outstanding by Kurt Gottschalk improvisational skills are transcendent in the way he swiftly builds and transforms the music. What’s Shelley Hirsch is among the most honest of important, however, is that the songs are anchored by improvisers, direct and deeply in the moment. Where a harmonic and melodic coherence and sophistication other performers are said to “work the room”, Hirsch that goes beyond simple self-indulgent blowing. works it like a fistful of modeling clay, using the décor, Neil Welch is a lively impressionist whose album the temperature, maybe a hat someone in the audience Iron Creek is equally striking. Welch doesn’t just play is wearing or a song playing on a radio on the street as the sax, he creates images. “Figure of Eight” begins Judi Silvano Trio inspiration for her vocalizing. When she turns that with a tremulous whisper and ends with a raucous, candor and intimacy to composed works, the results triumphant growl. In between, the arresting aural “Word Games” can be revelatory in the strictest sense of the word. effects within the tenor harmonies evoke a solitary Her talent doesn’t stop at her singing. Hirsch is at voice in the distance, a ship’s horn blowing far away, Ratzo B. Harris, bass heart a storyteller with a particular flair for bringing the spinning beacon of a lighthouse. The gate in the Newman Taylor-Baker, personal memories to the fore. She infuses her wind sound of Welch’s soprano on “Hollow Braid” reflections with a sentimentality that invites rather turns out to be a door opening onto the rudiments of drums/percussion than alienates and her talents as a vocalist allow her to the creative process: Welch modulating his breathing fill simultaneously the roles of narrator and cast of to create the various effects on the soprano; the urgent characters. It’s a lot to balance, a sort of fictive percussion of his fingers hitting the keys and the September 28, 2012 schizophrenia and her musical associates have vibrations in the horn as he wails like an air-raid siren. The Stone, 8 pm generally met that with an equally mad soundtrack. The subtle melodies that emerge give the song a deeper The Swiss composer Simon Ho has taken a very meaning and power and underscore Welch’s overall different approach to collaborating with Hirsch and in technical excellence and creativity. Premiers of new material with so doing has cast her in a theatrically austere light. Word and Sound Improvisations Employing an ensemble of 17 musicians (heavy on the For more information, visit aumfidelity.com and About Life and Love! strings and percussion with the composer on piano, tableandchairsmusic.com accordion, organ and electric keyboards and including drummer Tony Buck, violist Stephanie Griffith, tuba/ “Like tenor saxophonist John bassist Dave Hofstra and cellist Tomas Ulrich), Ho has Coltrane’s tone, Silvano’s voice is crafted an effective and sometimes quite beautiful commanding and sublime. soundtrack for Hirsch’s multi-tracked tales. Travel It is one that cannot be ignored.” features prominently in the 16 storysongs as do lost – C. Michael Bailey, loves and past acquaintances, aging parents and online AllAboutJazz.com dating. Some pieces fall into song form while others contain what seem to be full chapters of text. And at about the two-thirds mark, the repeated phrase “take down the wall” becomes an unexplained yet urgent call, an emotive pivot in Hirsch’s mysterious memoir.

For more information, visit tzadik.com. Hirsch is at Roulette Sep. 29th. See Calendar.

Organica Iron Creek David S. Ware Neil Welch celebrates 20 years of (AUM Fidelity) (Table & Chairs Music) recording with her 10th CD by Terrell Holmes In art, abstraction is eyed suspiciously, cautiously Indigo Moods. tolerated and frequently frowned upon, like the shady relative who shows up uninvited at family holiday Available now at gatherings. Solo saxophonists are among the boldest www.jazzedmedia.com & abstractionists, baring their souls through a visceral www.amazon.com rhapsodizing that to cynics is just (to quote The Talented Mr. Ripley) insolent noise. Two albums stare down those cynics and literally blow their notions away. David S. Ware is a saxophone conquistador whose creative genius is evident on Organica, a live album judisilvano.com recorded in Brooklyn and Chicago, masterfully blending linear musical constructs with freer elements.

36 September 2012 | THE NEW YORK CITY JAZZ RECORD

with tenor saxist Stacy Dillard (appearing in Blake’s With honorary brothers guitarist Mike DeMicco and place). The two invigorated the space with their sinus- pianist Chuck Lamb, the Brubecks have achieved a clearing energy, leading into Edward Perez’ tightly-knit group sound over their nine years together. surprisingly fierce bass solo. Eckroth shines in the It’s not surprising that much of the repertoire has come denser album version, where his chords agitate the from their famous father’s band, as Chris and Dan melody to gripping effect. both toured and recorded with him for significant The band takes a few moments to meditate in “El stretches, in addition to being on call to fill as subs Pozo” (or “the well”). Diamond particularly sparks an after going out on their own. acoustic sensibility, stirring up a deep contrast to his The Dave Brubeck repertoire begins with his

Conduit powerhouse approach. He unites with Eckroth, Cole constantly shifting “The Duke”, which Lamb reshaped Greg Diamond (Dot Time) and Perez to craft a sublime aura that cleanses and by adding a tense vamp and alternating between laid- by Sharon Mizrahi stimulates the musical palate. Once “Turbulence” back and uptempo sections. The quartet arranged the charges through, however, the band’s vivacity returns. remaining tracks. “Jazzanians” is the first of several Though Greg Diamond’s new release Conduit falls Diamond streaks the air with bolts of guitar while Cole tunes to feature Chris overdubbed on bass trombone, under the Latin jazz genre, the distinction is more and Herrera shake up a percussive dust storm, though the solo spotlight is stolen by Lamb and Dan. categorical than descriptive. The guitarist’s style is a intensified by Brian Hogans’ alto sax slurs, until the The graceful rendition of “Kathy’s Waltz” (a salute to smorgasbord of approaches both compositional and tempest settles several minutes later. their sister) has a lighthearted touch with swinging aural, each as rejuvenating as the last. solos by Lamb and DeMicco. Chris’ heartfelt bass Diamond collaborates with six musicians on the For more information, visit dottimerecords.com trombone is back as the lead voice in the bittersweet album, but each track exudes the intuitive musical ballad “My One Bad Habit”. The extended workout of chemistry of a trio or quartet. The introspective piece Paul Desmond’s “Take Five” is highlighted by Dan’s “Inertia” illustrates the band’s powerful harmony. A skilled polyrhythmic solo, which he has perfected by somber mood permeates the melody, first led by pianist playing this jazz standard for over four decades. Mike Eckroth and tenor saxist Seamus Blake. The The band also contributed originals to the date. latter’s brassy cries are slightly acidic, providing a DeMicco’s “Prezcence” is a cooking workout based bright complement to Diamond’s mellower notes. And upon the familiar “I Got Rhythm” chord changes, at a moment’s notice, Eckroth restarts the tune with a showcasing his superb bop chops, followed by Lamb, rock-inspired flair, set aflame by Diamond’s blaring though Chris (on bass trombone) threatens to steal the riffs. Percussionists Henry Cole and Mauricio Herrera composer’s thunder with his boisterous solo. Lamb’s add an organic element to the mix, toning down the two originals include the constantly shifting “Go LifeTimes fire without fizzling it out. Brubeck Brothers Quartet (Blue Forest) Round”, a new piece debuted in the studio during the At a Joe’s Pub release concert last month, the vibe by Ken Dryden sessions, and the lively Latin-infused “The Girl From turned even more immersive, especially in “El Massapequa”. Martillo”, Spanish for “the hammer”. The fast-paced Chris and Dan Brubeck have long made a powerful tune channeled effortless fluidity amid impressive rhythm section, though their recordings as The Brubeck For more information, visit brubeckmusic.com. This project musical gymnastics, notably Diamond’s lightning duo Brothers Quartet have been among their best work. is at Iridium Sep. 30th. See Calendar.

THE NEW YORK CITY JAZZ RECORD | September 2012 37

the Glasgow Improvisers Orchestra (GIO) is another glissandi are quickly replaced by disjointed unexpected turn. Guitarist George Burt composed the deconstructions, spiced with verbal mumbles and large-scale structured improvisation “Improcherto (for shouts and studded with fuzzy triplets, gruff tonalities HB)” in memory of trumpeter Harry Beckett, who died and even a bugle-like tattoo. Other times his capillary in 2010 at the age of 75, and recorded it the following strategies include plunger cries and mouthpiece year with the 18-strong GIO the following year at the bubbling, bagpipe-like quivering and fortissimo Gateshead International Jazz Festival, adding to the plunger evacuations. Using his voice to create lineup Coxhill and Evan Parker. That 40-minute piece multiphonics, there are other instances when he takes up the whole of GN82 and it’s a wonderfully executes speedy runs with the facility of a cornet expansive chunk of music. The playing is deliberate player. Thewes simultaneously salutes and extends the and conscientious enough that it truly merits the term jazz tradition on the disc without making it obvious. Instant Replay Lol Coxhill (Nato) “orchestra” - to some ears it might even come off as an The Rock on the Hill electronic soundbed for . True to the spirit For more information, visit cadencejazzrecords.com, Lol Coxhill/Barre Phillips/JT Bates (Nato) of cheeky UK eccentricity, the piece was scored on creativesourcesrec.com and jazzhausmusik.de GN82 (with Lol Coxhill & Evan Parker) sticky notes handed out to the ensemble immediately Glasgow Improvisers Orchestra (Iorram) before the performance and was led by a rotation of by Kurt Gottschalk conductors. And also true to that Brit spirit, the ends IN PRINT Saxophonist Lol Coxhill - who died in July at the age succeed despite the means. It’s a fine tribute to Beckett of 79 after a period of illness - left behind a fascinatingly and the London community he fell into and as it diverse discography, to be amended as more recordings happens an inadvertent tribute to Coxhill as well. surface. On the one hand, he was an immediately recognizable player, so dedicated to his horn of choice For more information, visit natomusic.fr and that he was often referred to as simply “the bald iorram.blogspot.com soprano” (following a 1989 cassette release, The Bald Soprano Companion). On the other, the groupings he entered into were wildly diverse enough nearly to defy comprehension. A free improviser at heart, he still toured with punk band The Damned, released a 10” record of TV theme show songs with a trio known as Wail: The Life of Bud Powell Peter Pullman (Bebop Lives) The Melody Four and worked with Jimi Hendrix, the by Russ Musto Balanescu String Quartet and AMM. Coxhill was a part of the generation dealing with Coming on the heels of Thelonious Monk: The Life (and not trying to get over) Britain’s dance hall and Times of an American Original, Peter Pullman’s tradition, that quasi-Vaudevillian entertainment Wail: The Life of Bud Powell is a most valuable which, for example, allowed the Beatles to look back addition to jazz bibliography, an unsentimental and come up with “Your Mother Should Know”. He examination of the 41-year existence of the other Loverman Paul Hubweber (Cadence Jazz) was also of that country’s first generation of free most important and enigmatic pianist in modern Solo Henrik Munkeby Nørstebø (Creative Sources) improvisers. Between those two signposts, it seemed, Trombonealone Christof Thewes (JazzHaus Musik) jazz. Also the result of over a decade of research, anything was possible. He was a squawker and a by Ken Waxman based upon “the public record and press on Powell… crooner both and those tendencies are displayed quite eyewitness accounts of his live performances and on nicely on the recently reissued Instant Replay from More so than most brass instruments, the trombone personal opinions of his private life - in addition to 1982. It’s a brilliant record born of a sequence of has the structure to be used as a solo instrument, yet, subjective assessments of his studio recordings”, failures. The collection includes selections from a set of as these choice examples of contemporary European Pullman’s work is, in his words, “a political book”, compositions Coxhill wrote for the French Bagad bro solo trombone discs make obvious, careful planning as one that “looks to explain how one of the most Kemperle orchestra (most of which they refused to well as limitless chops is needed to make things work. exciting art forms coexisted…with the harsh realities play). There are tracks with another orchestra (La Paul Hubweber decided to balance his that its performers had to endure.” Chantenaysienne), which feature Coxhill improvising improvisations on Loverman with some of Charlie The life story of the person Elvin Jones called over them as he was inaudible in the original Parker’s more familiar lines. Not only does he play six “the most mistreated man I ever knew”, this is for recordings. Those wonderful inventions aside, most of Bird tunes, but some of the other solos are actually the most part not a happy tale. Pullman does a good the album is duos and trios with a variety of other contrafacts of contrafacts. For instance when he creates job of recounting his subject’s earliest joy-filled days improvisers, including Louis Sclavis, , Joëlle his version of “A Leu Cha”, he’s playing a piece which as a child prodigy pianist, first taught the stride Léandre and Raymond Boni. These become source Bird manufactured from “Honeysuckle Rose” with a idiom by his father, further soaking up the living material for another aspect of Coxhill’s inventive bridge based on the chord changes of “I Got Rhythm”. history of his instrument looking over the shoulders genius. The album is essentially four suites built from Contrast that with his reading of “Lover Man”, in of masters Willie “The Lion” Smith and James P. disparate sources and Coxhill’s editing and sequencing which his rugged pitch-sliding and gargling cries Johnson. He then took the music to another level in are wonderful. A typically scraggly duet with make the piece even more dyspeptic and agitated. uptown after-hours clubs before becoming the trombonist Paul Rutherford melds into an artsy Furthermore, among dark guffaws, split tones and acknowledged master of bebop piano, playing on exploration with percussionist Sven-Åke Johansson staccato runs, suggestions of contrafacts from pop 52nd Street and in Birdland, where he performed as and vocalist Annick Nozati, which finds its way into a tunes such as “” or “Love Me or a leader for the better (and worse) part of his career. quick and charming vocal duet on “Embraceable You”. Leave Me” sneak into his own compositions. Pullman examines the circumstances of Powell’s A tuneful improv with Misha Mengelberg resolves Henrik Munkeby Nørstebø on the other hand mental deterioration, his lifelong struggle with with a meandering “Caravan” and shapeshifts via sax creates 10 solo tracks which are microtonal and alcohol (and heroin), which resulted in the solo into an organ trio. It’s uncommon to get to hear abstract. However, among the blustery guffaws and institutional abuse (including electroshock therapy) Coxhill from so many angles on one record, making agitated glissandi, some surprisingly expressive that only further exacerbated his fragile psyche. this just a terrific title in the Coxhill canon. timbres can be heard. For instance “s3” may have a Pullman’s discovery of heretofore unseen medical The Rock on the Hill is a very different affair, a finale based on doubling the brass tone with throat- and court records is most telling in just how terribly straightforward free improv set recorded live in Paris murmured growls, but the exposition is dedicated to Powell was treated, not just by the establishment, in 2010. Bassist is the guiding force here, fully formed vibrations resulting from a blustery but also by those purportedly trying to help him. at once serene and intensely focused. His spirit makes chromatic tone and tongue stops. Utilizing extended Yet it is the ample quoting of those who knew for an unusual (and beautiful) setting for the bald brass techniques ranging from wide-bore blowing to Powell the best, in both his up and down days, first soprano. While generally a boisterous player, here expansive throat tightening, Nørstebø produces any in New York, then Paris and Scandinavia and finally Coxhill pulls back on the tempo while matching manner of textures from his horn. New York again, that brings him to vivid life (even Phillips in the focus. The trio is rounded out by Christof Thewes takes a middle course on if it is most often a predominantly depressing one) Minneapolis drummer JT Bates, who is versed in Trombonealone. His Ornette Coleman-mashup of “Free/ and sets this legend’s story, so full of myths, straight. classical and country, giving him plenty to pull from Beauty is a Rare Thing/Ramblin’” is more dissonant for their quiet intricacies. than Hubweber’s tune strategy. Although the often- For more information, visit BudPowellBio.com. A Powell If it even makes sense to call a Coxhill context sprightly themes peak through, Thewes is more tribute is at Birdland Sep. 25th-29th. See Calendar. surprising, his spot as one of two guest soloists with concerned with theme variations. Smooth, chromatic

38 September 2012 | THE NEW YORK CITY JAZZ RECORD

subdued moments. Gold’s musical fire meets its match appreciates when less is more, as he plays Duke in Cherry’s guitar, stirred along by Davis’ rolling Ellington’s lovely “The Single Petal of a Rose” with momentum. “I Wanna Walk” further illustrates the minimal embellishment. band’s unity, propelled by Gold’s assertive chords. Germanson’s writing is equally interesting. His Even when the trio simmers down to a more dark, infectious “Interloper” is a driving postbop work introspective sound, their energy remains innately that crackles with energy, His lyrical side is showcased gripping. Gold’s own “Pensa Em Mim” unravels in the wistful “Shorter Waltz”, Henderson’s expressive slowly and organically, shrouded in a ghastly hum of trumpet as its lead voice. Germanson’s rambunctious cymbals and guitar. Gold periodically pierces through postbop vehicle “Edge” keeps the listener guessing

Golden Child the blur with fierce electric uprisings, making the piece with its many twists, the enthusiastic Smalls audience Jared Gold (Posi-Tone) as enthralling as the album’s fast-paced tracks. But wanting more. by Sharon Mizrahi whether the band is feeling energetic or pensive, this album can’t help but be absolutely golden with a For more information, visit smallslive.com. Germanson is at In the vast jazz animal kingdom, few instruments have bandleader as innovative as Jared Gold. Smalls Sep. 6th with Bill Cantrall. See Calendar. as big a personality as the ever-temperamental organ. It has the power to transform trios and quartets into For more information, visit posi-tone.com. Gold is at Bar “organ bands” and concert halls into portals of funky Next Door Sep. 8th with Dave Stryker, Jazz Standard Sep. ON DVD soul. But it’s the organ’s transcendent, otherworldly 13th with Oliver Lake and Smalls Sep. 25th. See Calendar. musical presence that emerges most captivating of all.

Jared Gold’s Golden Child illustrates this charm through a tangy mix of reinvented standards and creative originals. As soon as Gold belts out the opening notes to “A Change Is Gonna Come”, the air comes alive with groovy zest. Though the organist assumes a laidback vibe, his approach is laced with plenty of attitude in the Sam Cooke piece, growing ever more intricate and bold. Guitarist Ed Cherry’s coolly electric chords introduce some complex dynamics to the mix, acting as both a mellow foil and a Live in France 1961 Live at Smalls Ray Charles (Eagle Vision) fierce contender to the organ. And while Quincy Davis Rick Germanson Quartet (featuring Eddie Henderson) by George Kanzler knocks out several sharp cymbal accents, Gold brings (smallsLIVE) the tune to newfound acerbic heights. by Ken Dryden In the spring of 1961 Ray Charles toured for the first Gold takes a narrative approach on the Johnny time with an expanded, 17-piece band that for the Nash piece “I Can See Clearly Now”. The tune’s classic Rick Germanson has been part of the New York City next 40-plus years was part of his performance refrain resonates through the Hammond B-3, twisted jazz scene since the late ‘90s, arriving not long after package. But when he went to Europe for the first with a magnetic edginess that persists even in the most winning the Grand Prize at The American Pianists’ time that summer, he led an octet, like his smaller Association Jazz Piano Competition. He served as a band for much of the previous decade, when his sideman with Pat Martino for several years, along with records for Atlantic defined a new category of black touring and recording as a part of The Cannonball pop music: Soul. This DVD, filmed for French TV at Legacy Band featuring . His lengthy the Antibes Jazz Festival, captures one of the last resumé also includes record dates with Wayne instances of Charles working in concert with that Escoffery, , Jeremy Pelt, Carolyn Leonhart smaller band. And without an electric instrument in and David Gibson. He’s shared the stage with George sight - Charles plays only acoustic grand piano, Coleman, , Slide Hampton, Edgar Willis an upright - the film is and Charles McPherson, to name only a few. invaluable as a document of Charles’ concert style in Germanson has a self-confidence that proves the ‘50s. The black and white footage also captures a infectious on the bandstand. His quartet includes bygone era when jazz festivals were largely ad-hoc several veterans of note: trumpeter Dr. Eddie affairs. Charles is seen straddling a mic stand Henderson, bassist Paul Gill and drummer Lewis between his hands at the piano and on the first night Nash. The pianist launches this live set with a driving the horns use chairs for music stands. take of Bobby Timmons’ neglected hardbop gem “So The bulk of the DVD consists of shows on two Tired”, which features potent solos throughout its nights, Jul. 18th and 22nd, the first notable for high-octane reading. Henderson adds a mute for the kicking off with three instrumentals: James Moody’s creative reworking of the standard “The Surrey With “The Story”, followed by ’s “Doodlin’” the Fringe on Top”, which only hints at its theme as the and “One Mint Julep”, Charles playing the latter in musicians explore endless variations. The pianist also a montuno Latin piano style very different from his B-3 organ recording of the piece. The two trumpets - Phillip Guilbeau and John Hunt - and three saxists - tenor David “Fathead Newman”, alto Hank Crawford and baritonist Leroy Cooper - all get to solo, but on most of the vocal numbers Newman and Guilbeau are the only horn soloists. Those vocals range from the then-recent- Grammy-winning hit “Georgia On My Mind” to quintessential, multi-layered call-response and stop-time soul classics like “Sticks and Stones”, “Hallelujah, I Love Her So” and “What’d I Say”. Joining Charles on some of them are the four Raelettes, with Margie Hendrix front and center on the gospel-testifying “Tell the Truth”, a perfect amalgam of sanctified soul and get down blues. And don’t miss Jul. 22nd’s only instrumental, “Hornful Soul”, the frame for a great, bluesy jazz piano solo.

For more information, visit eaglerockent.com. Ray Charles events are at Jazz Museum in Harlem Sep. 4th, 11th, 15th, 18th and 25th. Visit jmih.org for more information.

THE NEW YORK CITY JAZZ RECORD | September 2012 39 saxophonist Frank Basile and vocalist Alexis Cole. George Fludas. The Strayhorn-esque “Julian” slows BOXED SET Volume 1 features a piano trio led by Kahn. the pulse while “Jirge” is a playful, labyrinthine They open with “Muezzin”, giving bassist Rob performance by the two leads. Amster and drummer George Fludas ample space to Volume 5 is the most curious. Here lyrics have stretch out. The trio works gently and swinging with been set to Adams’ tunes by poet Barry Wallenstein. Adams’ compositions: “Etude Diabloque” and It’s always a delicate task of adding lyrics to a tune “Bossa Nouveau” finds the trio sprinting while “I long after the composer has passed. The group plays Carry Your Heart” gives Kahn plenty of room to roll it safe by sticking to the ballad repertoire. Vocalist up and down the keyboard. “Doctor Deep” gets the Alexis Cole gives very pure, straightforward most joyful pummeling with Kahn digging into the readings of the tunes, handling Wallenstein’s puzzles quartal bag. with ease. Despite the addition of a vocalist, the Volume 2 features Bales in a straightahead band still manages to stretch out on the tunes, with Joy Road: The Complete Works of Pepper Adams quartet amped by guitarist Barry Greene. The latter the aforementioned “Julian” more upbeat and (Motéma Music) blasts off early, strutting over “Cindy’s Tune” but building to nearly 11 minutes with help from the by Sean O’Connell Bales is no slouch keeping up the pace, trembling on horn crew. The set closes with an elegant duet the low-end with precision. The band maintains the between Kahn and Cole on “I Carry Your Heart”. Park Adams III already had a pretty great stage high energy throughout their set with a bouncing The result of these five volumes is an name set in place two generations before his birth. “Mary’s Blues” and the high harmonies of unbelievably thorough tribute to a saxophone Pepper works too though. The baritone saxophonist’s “Apothegm”, slowing down only for the graceful master. Clocking in at over five hours the box can get great career has been thankfully getting the attention “Lovers of the Their Time”. a little overwhelming but it is for a worthy pursuit, it deserves in the last few years. Adams passed away Volume 3 finally brings some horns with Basile’s bringing a legend to the spotlight. It might be a in 1986, less than a month shy of his 56th birthday baritone-driven sextet. Trumpeter Joe Magnarelli strange place to start for someone unfamiliar with but during that brief life, he managed to be a part of and trombonist John Mosca bring a rich, bellowing Adams’ work but its mere existence will do a lot to every major jazz scene of his time, working with the frontline to the band. The bombastic “What Is It” increase awareness of the overlooked baritone saxist. Detroit scene of the ‘50s, with Mingus in the early tests the limits of the hornmen’s embouchure while ‘60s, the birth of the /Mel Lewis big band, “Joy Road” has an effervescent swing that provides For more information, visit motema.com. A celebration of even the Lighthouse All Stars out on the West Coast. a nice platform for Mosca’s breathless rip. They close the life and music of baritone saxophonist Pepper Adams He was in-demand until his passing, managing to out their disc with a striding ballad, imbuing “Urban will take place this month. Events include the Vanguard lug his baritone to over 600 sessions. Dreams” with a sound as ethereal as the title. Jazz Orchestra Honors Pepper Adams (Village Vanguard, Motéma Records with producer Gary Carner Volume 4 brings back the Kahn trio with a boost Sep. 24th); The Hammond B3 Meets Pepper Adams (Smoke, has compiled a five-volume tribute to Adams’ under- from baritone saxophonist . He is in Sep. 25th); Alexis Cole Sings Pepper Adams (Smoke, Sep. recognized talent as a composer. The recordings top form, providing rapid-fire Adams-like lines 26th); Frank Basile Sextet Plays the Compositions of Pepper were done mostly in the 25th anniversary of Adams’ throughout the set. The lengthy “Patrice” and Adams (Smalls, Sep. 28th); The Three Baris (Ginny’s passing, covering all 43 of his tunes with bands led “Hellure” gets swinging turns from Smulyan and Supper Club, Sep. 29th) and Urban Dreams and String by pianists Jeremy Kahn and Kevin Bales, baritone Kahn before trading popping phrases with drummer Quartets (Birdland Sep. 30th). See Calendar.

TITO PUENTE JR. ORCHESTRA Saturday, October 13, 2012 at 7:00PM

$20.00 Adults / $10.00 Students & Seniors

YORK COLLEGE PERFORMING ARTS CENTER Tickets available at the Box Office 94-45 Guy R. Brewer Blvd. Call: 718-262-2840 or online at www.york.cuny.edu For more information call 718-262-3750

Major funding for this series provided by NYC Councilmembers Leroy Comrie (27th-CD), Deputy Majority Leader NY City Council and Chair of Land Use Committee, and Ruben Wills (28th-CD), Chair of Substance Abuse Sub-Committee.

40 September 2012 | THE NEW YORK CITY JAZZ RECORD (INTERVIEW CONTINUED FROM PAGE 6) the solo album 1313 when other drummers have done so at an earlier age? another: the Cornish Institute of Arts in Seattle, the at KITANO JAZZMusic • Restaurant • Bar Hochschule der Kunst in Berlin, now Jazz Institute JG: I’ve always thought about doing a solo record, but “ONE OF THE BEST JAZZ CLUBS IN NYC” ... NYC JAZZ RECORD Berlin and the Maritime Conservatory of Performing I also love to play in the band context - and solo is a big LIVE JAZZ EVERY Arts in Halifax. For two weeks each summer I also leap even from working in a duo. The idea for 1313 WEDNESDAY - SATURDAY teach at the Creative Music Workshop, part of the came from Darcy Spindle at Divorce, a Halifax-based $10 WED./THUR + $15 Minimum/Set. Halifax Jazz Festival. alternative music label. I had to push myself a little to $25 FRI./SAT. + $15 Minimum/Set In Seattle, Ralph Towner, Gary Peacock and I do it since it was all spontaneous compositions. The 2 SETS 8:00 PM & 10:00 PM became a trio and toured and recorded for ECM. Also real challenge came when I started doing solo JAZZ BRUNCH EVERY SUNDAY during this time I spent a lot of really great time with concerts, what with just getting used to the TONY MIDDLETON TRIO Jane Ira Bloom, touring and recording. She loved compositional form, learning how to develop things 11 AM - 2 PM • GREAT BUFFET - $35 electronics and creating new sounds and the music she with even more patience and space, since they’re so OPEN JAM SESSION MONDAY NIGHTS composed challenged me to go further with using many different ways to play the drums not in a band 8:00 PM - 11:30 PM • HOSTED BY IRIS ORNIG more electronics, synths and octopads. In Europe I context. One of the great benefits though is that I do TUES. (4, 11, 18, & 25) IN SEPTEMBER formed my double guitar band called UFB and worked these concerts in settings where there are new and 8:00 PM - 11:00 PM • STEVEN FEIFKE - SOLO PIANO on projects with , the great producer. So young audiences. v SAT. SEPTEMBER 1 it’s funny how teaching allowed me to find some new and to begin producing work as a leader and For more information, visit jerrygranelli.com. Granelli JOANNE BRACKEEN, TBA - BASS composer - and now it’s something like 20 CDs later. plays solo and in trio at I-Beam Sep. 7th. See Calendar. ADAM CRUZ $25 COVER + $15 MINIMUM TNYCJR: Why move to Canada? Recommended Listening: WED. SEPTEMBER 5 • Denny Zeitlin - : Live at the Trident DEANNA KIRK QUARTET DEANNA KIRK, JG: I moved to Halifax, in, I guess, 1988 really because (Columbia, 1965) JOHN DI MARTINO, NEAL MINER of Trungpa, who moved there along with about 1,000 • Jay Clayton/Jerry Granelli - Sound Songs $10 COVER + $15 MINIMUM people in the sangha [community] because he thought (Winter & Winter, 1985) THURS. SEPTEMBER 6 it was a good place for the dharma [natural law] to • Jerry Granelli - Another Place (Intuition, 1994) AUBREY JOHNSON QUARTET grow. ...I’ve been able to get projects presented here • Jerry Granelli and Badlands - AUBREY JOHNSON, MALCOLM CAMPBELL and to develop an ongoing relationship with Enter, A Dragon (Songlines, 1998) ZACH BROWN, LEE FISH $10 COVER + $15 MINIMUM [Vancouver’s] Songlines Records, for which I’ve • Jerry Granelli V16 - Vancouver ‘08 (Songlines, 2008) recorded six CDs, including V16, Badlands and The • Jerry Granelli Trio - Let Go (Plunge, 2011) FRI. & SAT. SEPTEMBER 7 & 8 Sandhills Reunion [a spoken-word cycle with music VICTOR GOINES QUARTET VICTOR GOINES, AARON DIEHL featuring writer Rinde Eckert]. You know, you can PHILIP KUEHN, MARION FELDER trace connections. Like getting to spend so much time $25 COVER + $15 MINIMUM at Naropa working with the great poets like Allen (LABEL CONTINUED FROM PAGE 12) WED. SEPTEMBER 12 Ginsberg probably lead to recording A Song I Heard SHIRLEY CRABBE QUARTET Buddy Sing based on Michael Ondaatje’s novel Coming that it is a community as much as it is a business,” SHIRLEY CRABBE, DONALD VEGA Through Slaughter (The Life of Buddy Bolden), which led Evan Weiss says. “Although Greg gives a lot of support JON BURR, STEVE JOHNS me to connect with Rinde years later for Sandhills. and guidance, the label is really in the hands of all the $10 COVER + $15 MINIMUM Now I’ve got the new trio with two Nova Scotians, artists. We have complete freedom over our music and THURS. SEPTEMBER 13 [bassist/cellist] Simon Fisk and [tenor, soprano and a great network of support from the other musicians. MEL MARTIN QUARTET baritone saxist] Danny Oore, brilliant young artists Rather than being told what to work on, we hold MEL MARTIN, PHIL PALOMBI, SHINNOSUKE TAKAHASHI who I’ve kind of watched grow up musically. Wanting meetings and send constant streams of emails to $10 COVER + $15 MINIMUM to play with them and to record Let Go [Plunge Records] discuss the next direction for the label.” FRI. & SAT. SEPTEMBER 14 & 15 came out of V16, the band I had with [guitarists] David Yeager explains: “Greg founded the label, but he DENA DEROSE TRIO Tronzo and Christian Kogle and [electric bassist] J. likes to say it’s not ‘his’, but rather, a collective where DENA DEROSE, , STEVE WILLIAMS Anthony Granelli. I needed to take a rest after six years each artist is independent and responsible for her or $25 COVER + $15 MINIMUM and three CDs and I wanted to explore trio playing his own project and, at the same time, responsible for WED. SEPTEMBER 19 again. Both [Fisk and Oore] play more than one helping the label as a whole progress. Also, projects are IRIS ORNIG QUARTET instrument, so it was a chance to try to make the trio primarily self-funded by each artist him/herself - the IRIS ORNIG, MIKE RODRIGUEZ HELEN SUNG, JEROME JENNINGS more diverse and orchestral. Right now that’s my label serves as an artistic community, distributor and $10 COVER + $15 MINIMUM working band, but I’m also doing some solo recording incubator of ideas on how to get new creative music THURS. SEPTEMBER 20 and playing. And I’m reforming a trio with David out there to the public. It does not provide funds for CLARENCE PENN QUARTET Tronzo and J. Anthony, which is also so much fun. each project. The result is that each artist owns his/her CLARENCE PENN, JALEEL SHAW copyright and project.” DONALD VEGA, YASUSHI NAKAMURA $10 COVER + $15 MINIMUM TNYCJR: Why did you wait until you were 70 to record Sara Serpa notes: “I like the fact that [Inner Circle] is a collective of people with different backgrounds FRI. & SAT. SEPTEMBER 21 & 22 who have the same goal, which is to be able to make LEW TABACKIN QUARTET FEATURING ROBERTO GATTO and record the music they love and make it available to TRIBUTE TO the public. What I appreciate about working with Greg LEW TABACKIN, YAKOV OKUN Osby is the fact that he gives me a lot of freedom to PHIL PALOMBI, ROBERTO GATTO find my own role - or to be myself - in his band, in his $25 COVER + $15 MINIMUM music and in this label.” WED. SEPTEMBER 26 Tammy Scheffer says that as a young artist, one of CHIEMI NAKAI TRIO CHIEMI NAKAI, LUQUES CURTIS, STEVE BERRIOS the things she appreciates about recording for Inner $10 COVER + $15 MINIMUM Circle is its “artist-run nature” and the fact that Osby THURS. SEPTEMBER 27 and other participants are genuinely interested in her BILLY TEST QUARTET ideas. “Having a say and [being able to] collaborate on BILLY TEST, MARC MOMMAAS BORIS KOZLOV, TONY MORENO label initiatives means that anything is possible $10 COVER + $15 MINIMUM because it’s in our hands,” Scheffer notes. “In today’s FRI. & SAT. SEPTEMBER 28 & 29 changing music industry, I think it’s important to be NILSON MATTA'S proactive and learn the business side of things - and BRAZILIAN VOYAGE BAND being on this type of label gives you a great support NILSON MATTA, MAUCHA ADNET system without making you dependent.” v HELEN SUNG (9/28), MATT KING (9/29) “Stripped-down music that is as DUDUKA DA FONSECA $25 COVER + $15 MINIMUM organic as it is ethereal.” For more information, visit innercirclemusic.net. Inner RESERVATIONS - 212-885-7119 VISIT OUR TWEETS AT: http://twitter.com/kitanonewyork — C. Michael Bailey, All About Jazz Circle showcases are at Cornelia Street Café Sep. 12th-14th www.kitano.com • email: [email protected] and ShapeShifter Lab Sep. 16th. See Calendar. 66 Park Avenue @ 38th St.

THE NEW YORK CITY JAZZ RECORD | September 2012 41 CALENDAR

Saturday, September 1 • Object Collection: Devin Maxwell, John P. Hastings, Taylor Levine, Paula Matthusen, • Aimee Allen Zinc Bar 7 pm $8 Daniel Allen Nelson, Kara Feely, Travis Just; Shoko Nagai/Satoshi Takeishi • Howard Williams Orchestra; Ben Cliness Trio êCharlie Parker Birthday Celebration: Brian Lynch, , , The Stone 8, 10 pm $10 The Garage 7, 10:30 pm , Birdland 8:30, 11 pm $30-40 • The Four Bags: Brian Drye, Jacob Garchik, Sean Moran, Mike McGinnis • Arthur Vint and Quartet Premiere with Scott Colberg, Gordon Au, Adrian Cunningham • Ron Carter Big Band with Jay Brandford, David deJesus, Jerry Dodgion, Bobby LaVell, Barbès 7 pm $10 Maison Premiere 3 pm Ivan Renta, Greg Gisbert, Frank Greene, Alex Norris, Jon Owens, James Burton, êRobin Verheyen, Michael Bates, Owen Howard • Deanna Witkowski Bryant Park 12:30 pm Steve Davis, Jason Jackson, Douglas Purviance, Donald Vega, Russell Malone, Sycamore 8 pm Kenny Washington Jazz Standard 7:30, 9:30 pm $30 êJohn di Martino/Warren Vache Smalls 7:30 pm $20 • Kenny Werner Quintet with , Miguel Zenón • Elad Gellert Group ShapeShifter Lab 8 pm Tuesday, September 4 Blue Note 8, 10:30 pm $35 • Peter Leitch Duo Walker’s 8 pm êJenny Scheinman Quartet with Jason Moran, Greg Cohen, Rudy Royston • Simona Premazzi The Bar on Fifth 8 pm êOregon: Ralph Towner, Paul McCandless, , Mark Walker Village Vanguard 9, 11 pm $25 • Rubens Salles Quintet with Conor Meehan, Jon de Lucia, Ben Gallina, Pedro Silva Birdland 8:30, 11 pm $30-40 êJoanne Brackeen Trio with Adam Cruz Somethin’ Jazz Club 9 pm $10 êMatt Wilson’s Arts & Crafts with , Gary Versace, Martin Wind Jazz at Kitano 8, 10 pm $25 • Shrine Big Band Shrine 8 pm Village Vanguard 9, 11 pm $25 • Quintet with , , Corcoran Holt, Dion Parson • Ron Carter Big Band with Jay Brandford, David deJesus, Jerry Dodgion, Bobby LaVell, êVernon Reid Trio Iridium 8, 10 pm $25 Smoke 8, 10, 11:30 pm $30 Ivan Renta, Greg Gisbert, Frank Greene, Alex Norris, Jon Owens, James Burton, • Lionel Loueke with Robert Glasper, , Mark Guiliana • The Music of Stan Getz & Joao Gilberto: Harry Allen, Joe Locke, Maucha Adnet, Steve Davis, Jason Jackson, Douglas Purviance, Donald Vega, Russell Malone, Blue Note 8, 10:30 pm $30 Romero Lubambo, Nilson Matta, Duduka da Fonseca Kenny Washington Jazz Standard 7:30, 9:30 pm $30 • Alfredo Rodriguez Trio with Ricardo Rodriguez, Henry Cole Dizzy’s Club 7:30, 9:30, 11:30 pm $35 • Kenny Werner Quintet with Lionel Loueke, Miguel Zenón Jazz Standard 7:30, 9:30 pm $20 • Bruce Harris Quintet Dizzy’s Club 12:45 am $20 Blue Note 8, 10:30 pm $35 • Sarah Elizabeth Charles Quintet with Obed Calvaire • Jonathan Saranga; Juini Booth plays McCoy Tyner with Norbert Stachel, êJenny Scheinman Quartet with Jason Moran, Greg Cohen, Rudy Royston Dizzy’s Club 7:30, 9:30 pm $30 Benito Gonzalez, ; Joe Magnarelli Quartet with , Village Vanguard 9, 11 pm $25 êVitaly Golovnev and Friends Dizzy’s Club 11 pm $10 Dwayne Burno, Jason Brown Smalls 4, 7:30, 10 pm $20 • The Music of Stan Getz & Joao Gilberto: Harry Allen, Joe Locke, Maucha Adnet, • Jack Jeffers and the New York Classics êKirk Knuffke, Mary Halvorson, Rob Garcia Romero Lubambo, Nilson Matta, Duduka da Fonseca Zinc Bar 8, 10 pm Cornelia Street Café 9, 10:30 pm $15 Dizzy’s Club 7:30, 9:30 pm $35 • The Wee Trio: James Westfall, Dan Loomis, Jared Schonig • Gelsey Bell; Shannon Fields The Stone 8, 10 pm $10 • Florian Höfner Group Saint Peter’s 5 pm Cornelia Street Café 8:30 pm $10 • Sheryl Bailey 3 with Ian Froman, Ron Oswanski • NYU Jazz Brunch Blue Note 12:30, 2:30 pm $29.50 êJames Carney Trio with , Ted Poor; Russ Lossing Trio with Bar Next Door 7:30, 9:30, 11:30 pm $12 • The Music of Louis Armstrong: Hot Lips Joey Morant and Catfish Stew Masa Kamaguchi, Billy Mintz Korzo 9, 10:30 pm $5 • Sam Trapchak’s Put Together Funny with Jason Rigby, Tom Chang, Christian Coleman; BB King’s Blues Bar 12 pm $25 • Cage100@Stone Festival: The Noisy Toy Piano Orchestra directed by Miguel Frasconi; Jonathan Goldberger, Aryeh Kobrinsky, Satoshi Takeishi; Juan Pablo Carletti Trio with • Roz Corral Trio with Gene Bertoncini, Sean Smith Samuel Clay Birmaher The Stone 8, 10 pm $10 Michael Attias, Angelica Sanchez Douglass Street Music Collective 8 pm $10 North Square Lounge 12:30, 2 pm • Toomai String Quintet: Pala Garcia, Emilie-Anne Gendron, Erin Wight, John Popham, • Jaimeo Brown The Bar on Fifth 8 pm • Joel Perry Trio; Rob Edwards Quartet; Masami Ishikawa Trio Andrew Roitstein; Jessica Pavone’s Hope Dawson with Pala Garcia, Erin Wight, • Cartography Duo: Douglas Detrick/Mazz Swift The Garage 11:30 am 7, 11:30 pm John Popham, Andrew Roitstein, Emily Manzo, Mary Halvorson I-Beam 8:30 pm $10 I-Beam 8:30, 10 pm $10 • Diane Johnston/Lee Hudson Knickerbocker Bar and Grill 9:45 pm $5 • Spike Wilner solo; Dezron Douglas New Jazz Workshop with Lummie Spann, • Banana Puddin’ Jazz: Devin Starks Trio Monday, September 3 Josh Evans, Joel Holmes, Chris Beck; , Josh Evans, Theo Hill Nuyorican Poets Café 9 pm $15 Smalls 6:30, 9 pm 12 am $20 • Roberto Pianca/Gabriele Donati Quartet with Greg Ruggiero; Olli Hirvonen with êThe Music of Abbey Lincoln: Teri Roiger Quartet with Frank Kimbrough, • 1RIS + Hannah Read Band ShapeShifter Lab 8 pm Frederick Menzies, Sam Anning, Philippe Lemm; Racha Fora with Hiroaki Honshuku, John Menegon, Steve Williams Dizzy’s Club 7:30, 9:30 pm $25 • Ed Cherry Trio with Pat Bianchi, Jerome Jennings Rika Ikeda, Mauricio Andrade, Rafael Russi, Renato Malavasi • David Amram and Co. with Kevin Twigg, John de Witt, Adam Amram Bar Next Door 8:30, 10:30 pm $12 Somethin’ Jazz Club 5, 7, 9 pm $10 Cornelia Street Café 8:30 pm $10 • Jack Wilkins/Joe Giglio Bella Luna 8 pm • Jacob Teichroew Trio; Kenji Yoshitake Trio • John Merrill solo; Ari Hoenig Group with Shai Maestro, Gilad Hekselman, • Steven Feifke solo Jazz at Kitano 8, 10 pm $25 Tomi Jazz 8, 11 pm $10 Johannes Weidenmuller; Spencer Murphy • Malcolm Parson Somethin’ Jazz Club 7 pm $10 • David Robinson Quartet Cleopatra’s Needle 8 pm Smalls 7:30, 9 pm 12 am $20 • Mike Dease Big Band with Sharel Cassity, Godwin Louis, Troy Roberts, Tony Lustig, • Larry Newcomb Trio; Evgeny Lebedev; Carl Bartlett Jr. Quartet • Aruan Ortiz The Bar on Fifth 8 pm Eric Miller, Stafford Hunter, Coleman Hughes, Nick Grinder, Seneca Black, Mat Jodrell, The Garage 12, 6:15, 10:45 pm • Jon Madof’s Zion80 The Stone 9 pm $10 Benny Benack III, Bruce Harris, Miki Hayama, Russell Hall, Evan Sherman; • Chris Stover Big Band Tea Lounge 9, 10:30 pm Brandon Less Quartet \The Garage 7, 10:30 pm • Mike Gamble’s Second Wind with Simon Jermyn, Tommy Crane; • Isaac Darche; Duke Bantu X Shrine 6, 9 pm Sunday, September 2 Igor Lumpert Innertextures with Chris Tordini, Tommy Crane • Aruan Ortiz The Bar on Fifth 8 pm Bar 4 8 pm • Deanna Witkowski Bryant Park 12:30 pm êJane Ira Bloom Quartet with Dawn Clement, Mark Helias, Bobby Previte • Melissa Stylianou Trio with Gene Bertoncini, Ike Sturm Cornelia Street Café 8:30 pm $10 Bar Next Door 8:30 pm $12

InterpretatIons season 2012/13 24 Thursday, September 20, 2012 Tim Brady // david Behrman Thursday, October 11, 2012 John eckhardT // PeTer evans Sunday, November 4 at 5 pm, 2012 s.e.m. ensemBle Plays cage, koTik, & miTchell Thursday November 15, 2012 erik griswold // camilla hoiTenga & Taavi kerikmäe Thursday, December 6, 2012 sTeve swell & omar Tamez // douglas r. ewarT & invenTions Thursday, January 24, 2013 ekmeles vocal ensemBle // Pheeroan aklaff Thursday, February 21, 2013 Thomas Buckner, wiTh ensemBle l’arT Pour l’arT Thursday, March 21, 2013 anne leBaron // melvyn Poore & corT liPPe Thursday April 11, 2013 dioTima sTring quarTeT Thursday May 9, 2013 marTy ehrlich // Brandon ross roulette

509 Atlantic Ave Downtown Brooklyn. 2, 3, 4, 5, C, G, D, M, N, R, B & Q trains & LIRR. General admission: $15 / $10 Roulette Members, Students, Seniors. Tickets can be purchased online: www.interpretations.info

42 September 2012 | THE NEW YORK CITY JAZZ RECORD Wednesday, September 5 • Eugene Marlow’s The Heritage Ensemble with Bobby Sanabria, Michael Hashim, Frank Wagner, Oba Allende; Quartet with Roberto Pettinato, , êPeter Brötzmann/Jason Adasiewicz Duo; Joshua Abrams Natural Information Society Tyshawn Sorey Somethin’ Jazz Club 7, 9 pm $15-20 with Chad Taylor Le Poisson Rouge 8 pm $18 êBig Satan: , , SEPTEMBER 7, 2012 êRoy Haynes and The Fountain of Youth Band with Jaleel Shaw, Martin Bejerano, Greenwich House Music School 8 pm $12 David Wong Dizzy’s Club 7:30, 9:30 pm $35 êMary Halvorson Septet with Jonathan Finlayson, Jon Irabagon, Ingrid Laubrock, êVitaly Golovnev and Friends Dizzy’s Club 11 pm $10 Jacob Garchik, John Hébert, Ches Smith êReunion: Gene Bertoncini, Mike Manieri, Michael Moore, Joe Corsello Roulette 8:30 pm $15 DRUMMING LEGEND Jazz Standard 7:30, 9:30 pm $25 êGeorge Coleman Quartet with Harold Mabern êValery Ponomarev “Our Father Who Art Blakey” Big Band Smoke 8, 10, 11:30 pm $35 Zinc Bar 8 pm • Victor Goines Quartet with Aaron Diehl, Philip Kuehn, Marion Felder JERRY GRANELLI êJean-Michel Pilc, Francois Moutin, Ari Hoenig Jazz at Kitano 8, 10 pm $25 Cornelia Street Café 8:30 pm $10 • Ninety Miles: Stefon Harris, David Sánchez, Nicholas Payton with , Plays êFrank Kimbrough Trio with Masa Kamaguchi, ; Simona Premazzi with Luques Curtis, Henry Cole, Mauricio Herrera , Yasushi Nakamura, Shinnosuke Takahashi Blue Note 8, 10:30 pm $35 Smalls 9 pm 12 am $20 êJason Rigby Quartet with Russ Lossing, Kermit Driscoll, Rudy Royston BROOKLYN’S • Eric Alexander Quartet with Harold Mabern, John Webber, Joe Farnsworth Cornelia Street Café 9, 10:30 pm $15 An Beal Bocht Café 8, 9:30 pm $15 êRebecca Martin/Larry Grenadier The Jazz Gallery 9, 10:30 pm $20 • Nat Adderley Jr. Quartet with Vincent Herring, Kenny Davis, Dion Parson • Sam Raderman, Luc Decker, Nial Djuliarso; Neal Miner Quartet with Alex Hoffman, Smoke 7, 9, 10:30 pm Phil Stewart; Tim Green Group Smalls 4, 7:30, 10 pm $20 • Deanna Kirk Quartet with Harry Allen, John di Martino, Neal Miner • Cyrille Aimee/Diego Figueiredo Iridium 8, 10 pm $30 IBEAM Jazz at Kitano 8, 10 pm $10 • Trio with Marco Panascia, Jerome Jennings 168 7th Street • Cage100@Stone Festival: The John Cage Variety Show Big Band directed by Bar Next Door 7:30, 9:30, 11:30 pm $12 Miguel Frasconi with Daniel Goode, Gelsey Bell, Kathleen Supove, Chris McIntyre, • Tim Perkis, Han-Earl Park, Harris Eisenstadt; Kinda Green: Tom Djll, Tim Perkis, Brooklyn, NY 11215 Cristian Amigo, Richard Carrick, David Watson, Andrew Drury The Stone 8, 10 pm $10 The Stone 8, 10 pm $10 • Ilusha Tsinadze with Richie Barshay, Chris Tordini, Rob Hecht, Liam Robinson and www.ibeambrooklyn.com • Michael McNeill Trio with Ken Filiano, Andrew Drury guest Jean Rohe Barbès 8 pm $10 Barbès 8 pm $10 • Shaynee Rainbolt/Donn Trenner Metropolitan Room 9:30 pm $25 • Rob Scheps Core-tet with Jamie Reynolds, • Diane Johnston/Lee Hudson Knickerbocker Bar and Grill 9:45 pm $5 ShapeShifter Lab 8 pm • Tomoko Omura Duo Tomi Jazz 9 pm $10 • Liz Wagener with Jacob Cohen, Eric Colman, Dimitri Moderbacher, Mike Johnson; • Rudi Mwongozi Quartet Cleopatra’s Needle 8 pm Mac Gollehon Oddessey of Nostalgia with Ronnie Cuber, Robert Arron, êMulgrew Miller Trio with Ivan Taylor, Rodney Green Amina Claudine Myers, Ron McClure, Warren Smith, Olga Merediz Jazz Standard 7:30, 9:30, 11:30 pm $30 Somethin’ Jazz Club 7, 9 pm $10 êRoy Haynes and The Fountain of Youth Band with Jaleel Shaw, Martin Bejerano, • Teriver Cheung; Young Gu Kim Shrine 7, 9 pm David Wong Dizzy’s Club 7:30, 9:30 pm $40 êOregon: Ralph Towner, Paul McCandless, Glen Moore, Mark Walker êVitaly Golovnev and Friends Dizzy’s Club 11:30 pm $20 Birdland 8:30, 11 pm $30-40 êOregon: Ralph Towner, Paul McCandless, Glen Moore, Mark Walker êMatt Wilson’s Arts & Crafts with Terell Stafford, Gary Versace, Martin Wind Birdland 8:30, 11 pm $30-40 Village Vanguard 9, 11 pm $25 êMatt Wilson’s Arts & Crafts with Terell Stafford, Gary Versace, Martin Wind • Lionel Loueke with Robert Glasper, Derrick Hodge, Mark Guiliana Village Vanguard 9, 11 pm $25 Blue Note 8, 10:30 pm $30 • Aruan Ortiz The Bar on Fifth 8 pm • Aruan Ortiz The Bar on Fifth 8 pm • Federico Ughi Quartet with Kirk Knuffke, Dave Schnug, Max Johnson; • Marc Devine Trio; The Anderson Brothers Jonathan Scales Fourchestra Shrine 6, 8 pm The Garage 6, 10:30 pm • Hide Tanaka Trio; Jason Prover Quintet • Peter and William Anderson Sextet with Jon-Erik Kellso, Ehud Asherie, Kevin Dorn, The Garage 6:15, 10:45 pm Clovis Nicolas Saint Peter’s 1 pm $10 • Deanna Witkowski Bryant Park 12:30 pm • Deanna Witkowski Bryant Park 12:30 pm WITH Saturday, September 8 Thursday, September 6 & êRemembering Wilbur Ware: Louis Hayes/Juini Booth and Friends with , êMulgrew Miller Trio with Ivan Taylor, Rodney Green Rodney Kendrick; Quartet with , , J. ANTHONY GRANELLI Jazz Standard 7:30, 9:30 pm $25 ; /Russell Malone and Company with Jimmy Owens, êJoel Harrison’s Infinite Possibility with Ned Rothenberg, Ohad Talmor, Ben Kono, Michael Carvin; guests Bill Crow, Larry Ridley ______Rob Scheps, , Michel Gentile, Nick Marchione, Dave Smith, Taylor Haskins, Merkin Concert Hall 8 pm $35 Justin Mullens, Jacob Garchik, Curtis Fowlkes, Alan Ferber, Jose Davila, Daniel Kelly; êJoe Fiedler’s Big Sackbut with Josh Roseman, Ryan Keberle, Marcus Rojas Kermit Driscoll, James Shipp, Rob Garcia, JC Sanford; Ohad Talmor’s Newsreel with The Jazz Gallery 9, 10:30 pm $20 AN EVENING OF SOLOS , Miles Okazaki, Jacob Sacks, Matt Pavolka, Dan Weiss • Tony Malaby Paloma Trio with Ben Monder, Nasheet Waits ShapeShifter Lab 8, 10 pm Cornelia Street Café 9, 10:30 pm $15 8:30PM • Meah Pace and the MAP Legends; Michael Kammers’ MK Groove Orchestra êRuss Lossing Trio with Masa Kamaguchi, Billy Mintz; Billy Mintz Two Bass Band with The Paper Box 9 pm $10 Tom Christiansen, John O’Gallagher, Dave Scott, , Brian Drye, Scott Reeves, AND • Nils Weinhold Quintet with Adam Larson, , Linda Oh, Bastian Weinhold , Masa Kamaguchi I-Beam 8:30, 10 pm $10 The Jazz Gallery 9, 10:30 pm $15 • Billy White Group; Adam Kolker Group; Tim Green Group THE JERRY GRANELLI TRIO • Diane Moser/Mark Dresser; Diane Moser Quintet with Anton Denner, Ben Williams, Smalls 4, 7:30, 10 pm $20 10:00PM Mark Dresser, Michael Sarin Cornelia Street Café 8:30 pm $10 • Dave Stryker Trio with Jared Gold, McClenty Hunter • Gregorio Uribe Big Band Zinc Bar 9, 10:30 pm 12 am Bar Next Door 7:30, 9:30, 11:30 pm $12 • Sacha Perry Trio with Chris Mees, Ai Murakami; Ehud Asherie solo; • Ha-Yang Kim and JACK Quartet Roulette 8:30 pm $15 Bill Cantrall’s Axiom with Freddie Hendrix, Stacy Dillard, Rick Germanson, • Scot Gresham-Lancaster; Gordon Monahan with guest Pauline Kim Harris Gerald Cannon, Montez Coleman; Bruce Harris/Alex Hoffman Group The Stone 8, 10 pm $10 Smalls 4, 7, 9 pm 12 am $20 êBrad Henkel solo; Angelika Niescier, , Chris Tordini, Tommy Crane; • Jamie Fox Trio with Stephan Crump, Ches Smith Han-earl Park, Michael Evans, Louise Dam Eckardt Jensen Bar Next Door 8:30 pm $12 Douglass Street Music Collective 8 pm $10 • Vinnie Sperrazza, Mike McGinnis, Khabu Young; Jesse Stacken • Roberto Pianca, Ben Syversen, Flin Van Hemmen I-Beam 8:30 pm $10 Launch Pad Gallery 8 pm • Aryeh Kobrinsky’s Down to the Valley with Josh Sinton, Owen Stewart-Robertson, • New York Tokyo Connection: Dave Pietro, Jonathan Katz, Sam Minaie, Ross Pederson; Jonathan Goldberger; Alex Wyatt Douglass Street Music Collective 8 pm $10 Dani and Debora Gurgel with Jon Burr, Thiago Rabello • Broken Reed Saxophone Quartet ZirZamin 7:30 pm Somethin’ Jazz Club 7, 9 pm $10 • Aubrey Johnson Quartet with Malcolm Campbell, Zach Brown, Lee Fish • Yuko Okamoto Trio; Erisa Ogawa Trio Jazz at Kitano 8, 10 pm $10 Tomi Jazz 8, 11 pm $10 • Cage100@Stone Festival: Ecstasy Mule: Kurt Gottschalk/Len Siegfried; • Hank Johonson Trio Cleopatra’s Needle 8 pm Todd Reynolds and Friends The Stone 8, 10 pm $10 • Noah Kohut; Fractal Attraction; Freddy Fuego • Jacaszek/Holly Herndon Roulette 8 pm $10 Shrine 6, 8, 9 pm • Amy Cervini Quartet with Michael Cabe, Mark Lau, Ernesto Cervini êGeorge Coleman Quartet with Harold Mabern 55Bar 7 pm Smoke 8, 10, 11:30 pm $35 The IBEAM performances will • Kozue Kuriyama Quartet with Zac Zinger, James Robbins, Oscar Suchanek; êVictor Goines Quartet with Aaron Diehl, Philip Kuehn, Marion Felder Dorian Wallace Big Band Somethin’ Jazz Club 7, 9 pm $10 Jazz at Kitano 8, 10 pm $25 highlight work from • Mamiko Taira Trio Tomi Jazz 9 pm $10 • Ninety Miles: Stefon Harris, David Sánchez, Nicholas Payton with Edward Simon, JERRY GRANELLI’s • Steve Elmer Trio Cleopatra’s Needle 7 pm Luques Curtis, Henry Cole, Mauricio Herrera êRoy Haynes and The Fountain of Youth Band with Jaleel Shaw, Martin Bejerano, Blue Note 8, 10:30 pm $35 long-awaited solo drum project: David Wong Dizzy’s Club 7:30, 9:30 pm $35 • Cyrille Aimee/Diego Figueiredo Iridium 8, 10 pm $30 • Michael Pedicin Band with Johnnie Valentino, Jim Ridl, Andy Lalasis, Bob Shomo • Diane Johnston/Lee Hudson Knickerbocker Bar and Grill 9:45 pm $5 1313 Birdland 6 pm $20 êMulgrew Miller Trio with Ivan Taylor, Rodney Green êOregon: Ralph Towner, Paul McCandless, Glen Moore, Mark Walker Jazz Standard 7:30, 9:30, 11:30 pm $30 -Divorce Records- Birdland 8:30, 11 pm $30-40 êRoy Haynes and The Fountain of Youth Band with Jaleel Shaw, Martin Bejerano, êMatt Wilson’s Arts & Crafts with Terell Stafford, Gary Versace, Martin Wind David Wong Dizzy’s Club 7:30, 9:30 pm $40 and his trio CD: Village Vanguard 9, 11 pm $25 êVitaly Golovnev and Friends Dizzy’s Club 11:30 pm $20 • Lionel Loueke with Robert Glasper, Derrick Hodge, Mark Guiliana êOregon: Ralph Towner, Paul McCandless, Glen Moore, Mark Walker Blue Note 8, 10:30 pm $30 Birdland 8:30, 11 pm $30-40 Let Go • Aruan Ortiz The Bar on Fifth 8 pm êMatt Wilson’s Arts & Crafts with Terell Stafford, Gary Versace, Martin Wind -Plunge Records- • Natalie Cressman’s Secret Garden with Ivan Rosenberg, Chad Lefkowitz-Brown, Village Vanguard 9, 11 pm $25 Pascal LeBeouf, Ruben Samama, Jake Goldbas • Aruan Ortiz The Bar on Fifth 8 pm Drom 6:30 pm $15 • Festival of New Trumpet Music (FONT): Stephanie Richards’ Rotations, Rotations • Rick Stone Trio; Dylan Meek Trio The Garage 6, 10:30 pm Brooklyn Bridge Park 6:30 pm Find both recordings • Deanna Witkowski Bryant Park 12:30 pm • Roulette Kids: Free Music Funhouse with Matthew Mehlan, Doron Sadja Roulette 1 pm $5 @ • Daniela Schaechter Trio; Brooks Hartell Trio; Akiko Tsuruga Trio Friday, September 7 The Garage 12, 6:15, 10:45 pm JerryGranelli.com êJerry Granelli solo and Trio with David Tronzo, J. A. Granelli I-Beam 8:30, 10 pm $10

THE NEW YORK CITY JAZZ RECORD | September 2012 43 Sunday, September 9 • Antonio Ciacca The Bar on Fifth 8 pm JAZZ AT LINCOLN CENTER • The September Concert: The Heart of Jazz êMark Helias’ Open Loose with Tony Malaby, Tom Rainey Sugar Bar 6 pm • Antonio Mazzei Shrine 6 pm opening night Greenwich House Music School 8 pm $12 SEP 13–15 êBucky Pizzarelli/Ed Laub Duet Smalls 7:30 pm $20 êDaryl Sherman Bryant Park 12:30 pm 8 PM b O bby m C f ERRIN: êNoah Preminger, Masa Kamaguchi, Rob Garcia m y Aud IO bIOg RAphy Sycamore 8 pm Jazz at Lincoln Center Orchestra • Ras Moshe, Fay Victor, Tom Zlabinger, Tor Yochai Snyder; Jen Baker/ Daphna Naphtali Wednesday, September 12 Brecht Forum 7 pm $10 with Wynton Marsalis • Aki Onda/Raha Raissnia; Gina Leishman/Kenny Wollesen êInner Circle Festival: André Matos Quartet with Jacob Sacks, Eivind Opsvik, Billy Mintz; The Stone 8, 10 pm $10 Tammy Scheffer Band with Andrew Urbina, Dan Pratt, Chris Ziemba, Daniel Foose, • Skye Steele Railroad Rodia with Aram Bajakian, Josh Myers, John Hadfield Ronen Itzik Cornelia Street Café 8:30, 10 pm $10 SEP 28–29 JAm E s COTTON Cornelia Street Café 8:30 pm $10 • Celebrating : Myron Walden Group with Jerry Weldon Dizzy’s Club 7:30, 9:30 pm $30 7:30PM ‘ s upERh ARp’ bAN d • Rebeca Vallejo; Hadar Noiberg ShapeShifter Lab 8 pm $15 êPascAli: Sean Ali/Pascal Niggenkemper • Paul Nedzela Quartet Dizzy’s Club 11 pm $10 & 9:30 PM Ze Couch 7 pm êLuciana Souza with Romero Lubambo, , Clarence Penn • Peter Leitch/Harvie S Walker’s 8 pm Joe’s Pub 7:30, 9:30 pm $20 • A Small Dream In Red: Nora McCarthy/Jorge Sylvester; Mossa Bildner, Blaise Siwula, • John O’Gallagher’s Anton Webern Project with Matt Moran, Pete McCann, Hill Greene and guest Gian Luigi Diana Russ Lossing, Johannes Weidenmuller, Tyshawn Sorey; Joe Branciforte and Friends ABC No-Rio 7 pm $5 I-Beam 8:30, 10 pm $10 SEP 28–29 TOOTs T h IELEm ANs: • Takana Miyamoto Trio with Matt Penman, Ulysses S. Owens Jr. • Annea Lockwood/Miguel Frasconi; Miguel Frasconi The Stone 8, 10 pm $10 8 PM Somethin’ Jazz Club 9 pm $12 CELEb RATINg 90 y EARs • Swingadelic Swing 46 8:30 pm • Mike Moreno Quartet with Aaron Parks, Matt Brewer, Ted Poor and guest Warren Wolf with Herbie Hancock, Kenny Werner, • Ninety Miles: Stefon Harris, David Sánchez, Nicholas Payton with Edward Simon, Jazz Standard 7:30, 9:30 pm $20 Oscar Castro-Neves, , Luques Curtis, Henry Cole, Mauricio Herrera • Emilio Solla y La Inestable de Brooklyn with Terry Goss, Chris Cheek, Alex Norris, and Blue Note 8, 10:30 pm $35 Ryan Keberle, Meg Okura, Victor Prieto, Jorge Roeder, Eric Doob êMulgrew Miller Trio with Ivan Taylor, Rodney Green Zinc Bar 7, 8:30 pm Jazz Standard 7:30, 9:30 pm $25 • Shirley Crabbe Quartet with Donald Vega, Jon Burr, Steve Johns êRoy Haynes and The Fountain of Youth Band with Jaleel Shaw, Martin Bejerano, Jazz at Kitano 8, 10 pm $10 David Wong Dizzy’s Club 7:30, 9:30 pm $35 • Sheryl Bailey 4 with Jim Ridl, Tal Ronin, Joe Strasser êMatt Wilson’s Arts & Crafts with Terell Stafford, Gary Versace, Martin Wind Fat Cat 9 pm • Chris Cochrane with mbiraNYC, Manhattan Samba, Chris Rael jazz Village Vanguard 9, 11 pm $25

f Roulette 8:30 pm $15 o • Aruan Ortiz The Bar on Fifth 8 pm êJimmy Owens Quartet Saint Peter’s 5 pm • Ben Gerstein, Mat Maneri, Garth Stevenson • David Berkman Trio with Ed Howard, Eric McPherson Barbès 8 pm $10 Tim Kuhl’s St. Helena with Grey McMurray, Joshua Valleau, Rick Parker, Ryan Ferreira years Blue Note 12:30, 2:30 pm $29.50 • 5 2 • Michelle Walker Trio with Jason Ennis, Michael O’Brian Union Pool 9 pm North Square Lounge 12:30, 2 pm • Michael Kammers’ MK Groove Orchestra 10th Anniversary • Lou Caputo Quartet; David Coss Quartet; Maurício de Souza Trio with Benito Gonzales, The Paper Box 9 pm $10 Joonsam Lee The Garage 11:30 am 7, 11:30 pm • Jamie Reynolds Trio ZirZamin 9 pm $5 • Equilibrium?: Brad Baker, Pam Belluck, Frederic Gilde, Rich Russo, Terry Schwadron, Dan Silverstone Caffe Vivaldi 8:30 pm Monday, September 10 • David Ullmann with Chris Dingman, Karel Ruzicka Jr., Gary Wang, Vinnie Sperrazza Somethin’ Jazz Club 7 pm $10 êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 êDave Liebman Group Birdland 8:30, 11 pm $30-40 • Sammy Figueroa Blue Note 8, 10:30 pm $15 • Brecker Brothers Band Reunion: , Mike Stern, Rodney Holmes, • Harry Allen Quartet with Rossano Sportiello, Joel Forbes, Chuck Riggs and guests Ada Rovatti, George Whitty, Will Lee, Oli Rockberger Luigi Grasso, Jesse Davis Feinstein’s at Loews Regency 7 pm $25 Blue Note 8, 10:30 pm $35 êIngrid Laubrock, Dan Peck, Tom Rainey; Chris Hoffman’s Magic Wells with êFred Hersch Trio with John Hébert, Eric McPherson , Sara Schoenbeck, Brian Chase Village Vanguard 9, 11 pm $25 Sycamore 8:30 pm $10 • Jesse Davis Quintet with Ryan Kisor, Spike Wilner, Peter Washington, Billy Drummond; êPeter Bernstein solo; Ari Hoenig Group with Shai Maestro, Johannes Weidenmuller; David Bryant Trio with Dezron Douglas, Kush Abadey Spencer Murphy Smalls 7:30, 9 pm 12 am $20 Smalls 9 pm 12 am $20 • Alphonso Horne/Jordan Pettay Quintet • Antonio Ciacca The Bar on Fifth 8 pm Dizzy’s Club 7:30, 9:30 pm $25 • Sandy Stewart/Bill Charlap Saint Peter’s 1 pm $10 • and Ne(x)tworks Ensemble, JACK Quartet • Joan Uttal Anderson Memorial with Arturo O’Farrill, Junior Mance, Barbara Carroll, Roulette 8:30 pm $15 Sandy Stewart, Bill Charlap Saint Peter’s 6 pm • Jon Madof’s Zion80 The Stone 9 pm $10 • Bobby Porcelli Quartet; Andrew Atkinson and Friends • Antonio Ciacca The Bar on Fifth 8 pm The Garage 6, 10:30 pm • Dani and Debora Gurgel with Thiago Rabello, Jon Burr • Daryl Sherman Bryant Park 12:30 pm ShapeShifter Lab 8 pm $10 • Nathan Parker Smith Large Ensemble Tea Lounge 9, 10:30 pm Thursday, September 13 • Vin Scialla/Eric Schugren’s World Elements with Leco Reis, Lars Potteiger LIC Bar 9:45 pm êMy Audio Biography: Bobby McFerrin with Jazz at Lincoln Center Orchestra • Jocelyn Medina Trio with Dan Rochlis, Chris Tarry Rose Hall 8 pm $30-120 Bar Next Door 8:30 pm $12 êAnthony Braxton Quartet with Dan Blacksberg, Ken Filiano, Mike Szekely; • Nancy Harms Zinc Bar 7 pm $8 Diamond Curtain Wall Music Ensemble: Anthony Braxton, Taylor Ho Bynum, • John Snauwaert/Marcos Varela Quartet Josh Sinton, Maura Valenti, Amy Crawford, Michael Douglas Jones, Kyoko Kitamura, Somethin’ Jazz Club 7 pm $10 Anne Rhodes, Vince Vincent Roulette 8 pm $30 • Howard Williams Jazz Orchestra; Tomas Janzon Trio êInner Circle Festival: Sara Serpa 5tet with André Matos, Kris Davis, Aryeh Kobrinsky, The Garage 7, 10:30 pm Tommy Crane; Jason Yeager Trio with Danny Weller, Michael Gleichman and guest êDaryl Sherman Bryant Park 12:30 pm Cornelia Street Café 8:30, 10 pm $10 êOliver Lake 70th Birthday Celebration: Oliver Lake Organ Quartet with Jared Gold, Freddie Hendrix, Chris Beck Jazz Standard 7:30, 9:30 pm $25 Tuesday, September 11 • FONT: Douglas Detrick’s AnyWhen Ensemble with Hashem Assadullahi, Steve Vacchi, Shirley Hunt, Ryan Biesack The Jazz Gallery 9, 10:30 pm $20 êTarbaby: Eric Revis, Nasheet Waits, Orrin Evans with guests Oliver Lake, Marc Ducret • Misha Piatigorsky’s Sketchy Black Dog with Chris Wabich, Ugonna Okegwo, Le Poisson Rouge 10:30 pm $15 Katie Kresek, Kiku Enomoto, Surai Balbeisi, Agnes Nagy êDave Liebman Group Birdland 8:30, 11 pm $30-40 Zinc Bar 9, 10:30 pm 12 am • Brecker Brothers Band Reunion: Randy Brecker, Mike Stern, Rodney Holmes, • Bobby Previte; Michael Kammers’ MK Groove Orchestra; Zongo Junction; Ada Rovatti, George Whitty, Will Lee, Oli Rockberger Josh Roseman’s Line of Swords The Paper Box 9 pm $10 Photo by Platon Blue Note 8, 10:30 pm $35 • Scott Henderson, Jeff Berlin, Mike Clark êFred Hersch Trio with John Hébert, Eric McPherson Iridium 8, 10 pm $30 Village Vanguard 9, 11 pm $25 • Joshua Light Show with guests Dame , Zeena Parkins êResoNations - Breath of Peace: Jane Ira Bloom, Lety ElNaggar, Joe McPhee, Skirball Center 7:30 pm $20-68 êMel Martin Quartet with Don Friedman, Phil Palombi, Shinnosuke Takahashi OCT 5–6 bRAd m E h L d A u: Zafer Tawil, Erik Friedlander, Mark Dresser, Gerry Hemingway, Sarah Weaver Iridium 8, 10 pm $25 Jazz at Kitano 8, 10 pm $10 7:30PM s OLO • Roni Ben-Hur, Santi DeBriano, Duduka Da Fonseca êLage Lund Trio with Orlando Le Fleming, Johnathan Blake & 9:30 PM Jazz Standard 7:30, 9:30 pm $20 Bar Next Door 8:30 pm $12 • Johnny O’Neal Trio with guests Dizzy’s Club 7:30, 9:30 pm $30 • Sacha Perry Trio with Chris Mees, Ai Murakami; Jeremy Manasia Trio with Barak Mori, • Paul Nedzela Quartet Dizzy’s Club 11 pm $10 Charles Ruggerio; Helen Sung Group; Carlos Abadie • Russ Kassoff Orchestra with Catherine Dupuis Smalls 4, 7, 9 pm 12 am $20 NYC Baha’i Center 8, 9:30 pm $15 • Hunter/Gatherers: John Morton, David Simons, Denman Maroney, Lisa Karrer; Suzanne Thorpe The Stone 8, 10 pm $10 OCT 12–13 • Spike Wilner solo; Jesse Davis Quintet with Ryan Kisor, Spike Wilner, KuRT E LLINg Peter Washington, Billy Drummond; Frank Lacy, Josh Evans, Theo Hill • Mark Dresser; Dave Allen Quartet with David Binney, Drew Gress, Jeff Ballard 7:30PM Smalls 6:30, 9 pm 12 am $20 ShapeShifter Lab 8 pm SPOKE: Andy Hunter, Justin Wood, Dan Loomis, Danny Fischer; & 9:30 PM • Carol Morgan Trio with Corrin Stigall, Jackie Williams • Bar Next Door 8:30, 10:30 pm $12 Pete McGuinness Jazz Orchestra with Dave Pietro, Charles Pillow, Tom Christensen, • Secret Keeper: Mary Halvorson/Stephan Crump; Tyler Blanton Group with Jason Rigby, Dave Reikenberg, Tony Kadlek, Jon Owens, Bill Mobley, Chris Rogers, Donny McCaslin Korzo 9, 10:30 pm $5 Bruce Eidem, Mike Christianson, Mark Patterson, Jeff Nelson, Mike Holober, • Voxify: Roz Corral, Alan Broadbent, Boris Kozlov; Judi Silvano, Fred Jacobs, Andy Eulau, Scott Neumann Somethin’ Jazz Club 7, 9 pm $10 Frank Kimbrough, Ben Allison Cornelia Street Café 8:30 pm $10 • Angela Davis Trio Tomi Jazz 9 pm $10 OCT 12–13 m ARCus RO b ERTs: • Sasha Bogdanowitsch; Peter Whitehead • Dan Furman Trio Cleopatra’s Needle 7 pm 8 PM ROm ANCE, sw INg The Stone 8, 10 pm $10 • Celebrating Stanley Turrentine: Myron Walden Group with Jerry Weldon • Mariel Vandersteel; Hannah Read Band Dizzy’s Club 7:30, 9:30 pm $30 ANd T h E b L u E s ShapeShifter Lab 8 pm êMichael Feinberg Quintet with Donny McCaslin, Leo Genovese, Tim Hagans, • Stan Killian Group with Mike Moreno, Benito Gonzalez, Corcoran Holt, McClenty Hunter Ian Froman Birdland 6 pm $20 55Bar 7 pm êDave Liebman Group Birdland 8:30, 11 pm $30-40 • September 11th Tribute Zeb’s 7 pm • Brecker Brothers Band Reunion: Randy Brecker, Mike Stern, Rodney Holmes, • The Verge: Jon Hanser, Kenny Shanker, Brian Fishler, Danny Conga Ada Rovatti, George Whitty, Will Lee, Oli Rockberger b OX O ffICE Broadway at 60 T h Somethin’ Jazz Club 7 pm $10 Blue Note 8, 10:30 pm $35 • Eyal Vilner Big Band with Andrew Gould, Mike McGarril, Asaf Yuria, Lucas Pino, êFred Hersch Trio with John Hébert, Eric McPherson CENTERCh ARg E 212-721-6500 Jonah Parzen-Johnson, Cameron Johnson, Matt Jodrell, John Mosca, Nick Finzer, Village Vanguard 9, 11 pm $25 Yonatan Riklis, Tal Ronen, Joe Strasser, Yaala Ballin, Brianna Thomas; Mayu Saeki Trio • Antonio Ciacca The Bar on Fifth 8 pm The Garage 7, 10:30 pm • Dre Barnes Project; Randy Jonhston Trio • Jack Wilkins/Howard Alden Bella Luna 8 pm The Garage 6, 10:30 pm Preferred Card of • Steven Feifke solo Jazz at Kitano 8, 10 pm $25 • The Black Butterflies Shrine 6 pm Jazz at Lincoln Center jalc.org • Zeena Parkins and Ne(x)tworks Ensemble, JACK Quartet êDaryl Sherman Bryant Park 12:30 pm Roulette 8:30 pm $15

44 September 2012 | THE NEW YORK CITY JAZZ RECORD Friday, September 14 • Frank Owens Singers with Kumiko Yamakado, Jo Marchese, Ira Lee Collings Zeb’s 7 pm $10 êDan Tepfer’s Goldberg Variations / Variations • Aaron Ward’s NuGen Jazz Project with Keith Curbow, Joe Alterman, Jim Bloom; Greenwich House Music School 8 pm $12 Luiz Simas/Freddie Bryant Duo; Arun Luthra Quartet with Steve Barry êInner Circle Festival: Petros Klampanis Trio with Lefteris Kordis, Ziv Ravitz; Somethin’ Jazz Club 5, 7, 9 pm $10 garth Greg Osby 6 with Sara Serpa, André Matos, JB Jangeun Bae, Joe Lepore, John Davis • Scot Albertson/Keith Ingham; Benjamin Servenary Trio Cornelia Street Café 9, 10:30 pm $15 Tomi Jazz 8, 11 pm $10 êJoshua Light Show with guests John Zorn, Lou Reed, Bill Laswell, Milford Graves • Swingadelic Swing 46 8:30 pm Skirball Center 10 pm $20-68 • Larry Newcomb Quartet Cleopatra’s Needle 8 pm êOliver Lake 70th Birthday Celebration: Oliver Lake Big Band with James Stewart, êMarlena Shaw and The DIVA Jazz Orchestra with guests Mike Lee, Darius Jones, Bruce Williams, Jason Marshall, Freddie Hendrix, Dizzy’s Club 7:30, 9:30 pm $40 Waldron Ricks, Peck Allmond, EJ Allen, Aaron Johnson, Stafford Hunter, Al Paterson, • Stay Human Trio Dizzy’s Club 11:30 pm $20 Terry Greene, Yoichi Uzeki, Robert Sabin, Chris Beck • Renee Rosnes Quartet with Steve Nelson, Peter Washington, Lewis Nash Fagan Jazz Standard 7:30, 9:30, 11:30 pm $30 Smoke 8, 10, 11:30 pm $35 êMarlena Shaw and The DIVA Jazz Orchestra with guests êDena DeRose Trio with Dwayne Burno, Steve Williams Dizzy’s Club 7:30, 9:30 pm $40 Jazz at Kitano 8, 10 pm $25 • Stay Human Trio Dizzy’s Club 11:30 pm $20 • Tom Tallitsch with Dave Allen, Art Hirahara, Peter Brendler, Mark Ferber; • Renee Rosnes Quartet with Steve Nelson, Peter Washington, Lewis Nash Don Friedman Quartet with Mel Martin, Phil Palombi, Shinnosuke Takahashi; Smoke 8, 10, 11:30 pm $35 Rob Scheps Core-tet with Jim O’Connor, Jamie Reynolds, Cameron Brown, êDena DeRose Trio with Dwayne Burno, Steve Williams Anthony Pinciotti Smalls 4, 7:30, 10 pm $20 Jazz at Kitano 8, 10 pm $25 êValerie Capers/John Robinson Knickerbocker Bar and Grill 9:45 pm $5 • Sam Raderman, Luc Decker, Nial Djuliarso; Tardo Hammer Trio with Lee Hudson, êMy Audio Biography: Bobby McFerrin with Jazz at Lincoln Center Orchestra Festival Jimmy Wormworth; Rob Scheps Core-tet with Jim O’Connor, Jamie Reynolds, Rose Hall 8 pm $30-120 Cameron Brown, Anthony PinciottiSmalls 4, 7:30, 10 pm $20 • Scott Henderson, Jeff Berlin, Mike Clark êFONT: Adam O’Farrill Group with Luis Perdomo, Burniss Traviss, Nasheet Waits Iridium 8, 10 pm $30 and guest The Jazz Gallery 9, 10:30 pm $20 êDave Liebman Group Birdland 8:30, 11 pm $30-40 êJason Rigby Double Drums with Mark Ferber, Jeff Davis; Jeff Davis Trio with • Brecker Brothers Band Reunion: Randy Brecker, Mike Stern, Rodney Holmes, Russ Lossing, Eivind Opsvik I-Beam 8:30 pm $10 Ada Rovatti, George Whitty, Will Lee, Oli Rockberger ave • International Contemporary Ensemble Blue Note 8, 10:30 pm $35 Roulette 8 pm $10 êFred Hersch Trio with John Hébert, Eric McPherson êValerie Capers/John Robinson Knickerbocker Bar and Grill 9:45 pm $5 Village Vanguard 9, 11 pm $25 w êAngelika Niescier, Denman Maroney, James Ilgenfritz, Andrew Drury • Antonio Ciacca The Bar on Fifth 8 pm “Mr. Fagan and Mr. Spectrum 9 pm • Larry Newcomb Trio; Mark Marino Trio; Mayhew Quartet • Nick Moran Trio with Brad Whitely, Chris Benham The Garage 12, 6:15, 10:45 pm

xt Marsalis are their own Bar Next Door 7:30, 9:30, 11:30 pm $12

• NewBorn Trio: Katie Down, Jeffrey Lependorf, Miguel Frasconi; Band5: e griots, and the story Chris Cochrane, Roger Kleier, Richard Carrick, Miguel Frasconi, Annie Gosfield Sunday, September 16 The Stone 8, 10 pm $10

n they tell is inspiring.” • Andrew Sheron ShapeShifter Lab 8 pm êInner Circle Festival: Aubrey Johnson Group with Malcolm Campbell, Zach Brown, • Shaynee Rainbolt/Donn Trenner Metropolitan Room 9:30 pm $25 Lee Fish; Evan Weiss Group with Matt Marantz, Michael Palma, Steve Pruitt; –The New York Times • Luiz Simas/Freddie Bryant Duo; Jeff McLaughlin Trio JB Jangeun Bae Trio with Daniel Foose, Ross Pederson and guest; Joseph Lepore with Somethin’ Jazz Club 7, 9 pm $10 Lucas Pino, JB Jangeun Bae, Luca Santaniello; Melissa Aldana with Felix Lecaros, • Wade Barnes Quartet Cleopatra’s Needle 8 pm Pablo Menares ShapeShifter Lab 6 pm M • Moth To Flame Shrine 8 pm • The Prisoner: Ingrid Laubrock, Mat Maneri, Jeff Davis êMy Audio Biography: Bobby McFerrin with Jazz at Lincoln Center Orchestra Barbès 8 pm $10 a Rose Hall 8 pm $30-120 êRalph Alessi, Kris Davis, Owen Howard

• Scott Henderson, Jeff Berlin, Mike Clark Sycamore 8 pm B SEP 5—JAN 19 Iridium 8, 10 pm $30 • Jimmy Bruno/Howard Alden Smalls 7:30 pm $20 êDave Liebman Group Birdland 8:30, 11 pm $30-40 • Rogerio Souza with Billy Newman, Leonardo Lucini, Ranjan Ramchandani, • Brecker Brothers Band Reunion: Randy Brecker, Mike Stern, Rodney Holmes, Dennis Lichtman Cornelia Street Café 8:30 pm $10 Ada Rovatti, George Whitty, Will Lee, Oli Rockberger • Peter Leitch Duo Walker’s 8 pm 30 Blue Note 8, 10:30 pm $35 • Attention Screen: Liam Sillery, Bob Reina, Chris Jones, Mark Flynn; êFred Hersch Trio with John Hébert, Eric McPherson Francois Grillot Ensemble with Claire de Brunner, Brian Groder, Blaise Siwula Village Vanguard 9, 11 pm $25 ABC No-Rio 7 pm $5 • Antonio Ciacca The Bar on Fifth 8 pm êOliver Lake 70th Birthday Celebration: Trio 3: Oliver Lake, Reggie Workman, • Kyoko Oyobe Trio; Hot House The Garage 6:15, 10:45 pm Andrew Cyrille and guest Geri Allen êDaryl Sherman Bryant Park 12:30 pm Jazz Standard 7:30, 9:30 pm $30 êMarlena Shaw and The DIVA Jazz Orchestra with guests Dizzy’s Club 7:30, 9:30 pm $35 Saturday, September 15 • Brecker Brothers Band Reunion: Randy Brecker, Mike Stern, Rodney Holmes, Ada Rovatti, George Whitty, Will Lee, Oli Rockberger êOliver Lake 70th Birthday Celebration: Trio 3: Oliver Lake, Reggie Workman, Blue Note 8, 10:30 pm $35 Andrew Cyrille and guest Geri Allen êFred Hersch Trio with John Hébert, Eric McPherson Jazz Standard 7:30, 9:30, 11:30 pm $30 Village Vanguard 9, 11 pm $25 • John Zorn Improv Night The Stone 8 pm $25 • Antonio Ciacca The Bar on Fifth 8 pm êEllery Eskelin Quartet with Marc Copland, Drew Gress, Gerald Cleaver • Peter Whitehead; The Home of Easy Credit: Louise Dam Eckardt Jensen/Tom Blancarte Cornelia Street Café 9, 10:30 pm $15 Downtown Music Gallery 6 pm êFONT: Taylor Ho Bynum Sextet with Jim Hobbs, Bill Lowe, Mary Halvorson, Ken Filiano, • Ike Sturm Ensemble Saint Peter’s 5 pm Chad Taylor The Jazz Gallery 9, 10:30 pm $20 • Juilliard Jazz Brunch - The Voice of the Saxophone with Mike Thomas, Robert Haight, êSam Newsome/Ethan Iverson Greenwich House Music School 8 pm $12 Chris Ziemba, John Tate, Jeremy Noller êJoe Fonda/Michael Jefry Stevens Group with , Harvey Sorgen Blue Note 12:30, 2:30 pm $29.50 The Loft of Thomas Rochon 8 pm • Carol Sudhalter’s Astoria Jazz Band with guest Sarah McLawler • Marko Djordjevic Trio with Tivon Pennicott, Des White Grace Lutheran Church 2 pm Bar Next Door 7:30, 9:30, 11:30 pm $12 • Emily Braden Trio with Theo Hill, Ryan Berg • Kris Bowers and Carson Adjacent Joe’s Pub 9:30 pm $15 North Square Lounge 12:30, 2 pm w y nton • Tommy Campbell’s Vocal-Eyes with Miles Griffith, Carolyn Leonhart, Helio Alves, • Maurício de Souza Quartet with Nancy Harms, Yotam Silberstein, Iris Ornig Richie Goods ShapeShifter Lab 8 pm The Lamb’s Club 11:30 am • Iron Eagle Pearring Knife: Jeff Pearring, Adam Caine, Brian Questa, Todd Capp • Evan Schwam Quartet; David Coss Quartet I-Beam 8:30 pm $10 The Garage 11:30 am 7 pm Monday, September 17 Marsalis êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 Lighthouse/Lightning Rod and êBucky Pizzarelli and Gene Bertoncini with Les Paul Trio Iridium 8, 10 pm $35 Griot New York (excerpts) • Young Lions Quintet: Stacy Dillard, Zaccai and Luques Curtis, EJ Strickland sep 27—30 Dizzy’s Club 7:30, 9:30 pm $25 êPeter Bernstein solo; Aaron Parks Group; Spencer Murphy garth Fagan dance Smalls 7:30, 9 pm 12 am $20 wynton Marsalis septet êAndrew D’Angelo Group; Matt Garrison; Dan Tepfer Trio with Jorge Roeder, Ted Poor ShapeShifter Lab 8 pm Choreography by garth Fagan • Carl Maguire’s Floriculture with Stephanie Griffin, Oscar Noriega, John Hébert, Music by wynton Marsalis Dan Weiss Cornelia Street Café 8:30 pm $10 • Jonathan Golberger/Harris Eisenstadt; Juan Pablo Carletti Trio with Michael Attias, Eivind Opsvik Sycamore 8:30 pm $10 • Gato Loco ZirZamin 10 pm • Romain Collin Blue Note 8, 10:30 pm $15 • Magos Herrera Trio with , George Schuller Bar Next Door 8:30 pm $12 BaM.org • Natalia Bernal Quartet; Samuel Torres Quartet Zinc Bar 7, 9 pm Brooklyn, NY / Tickets start at $20 • Kakitani Jazz Orchestra Tea Lounge 9, 10:30 pm • Howard Williams Jazz Orchestra; Kenny Shanker Quartet The Garage 7, 10:30 pm BAM 30th Next Wave Festival Sponsor Lighthouse/Lightning Rod and Griot New York (excerpts) are part of Diverse Voices at BAM sponsored by: • Antonio Ciacca The Bar on Fifth 8 pm • Dan Manjovi Bryant Park 12:30 pm

THE NEW YORK CITY JAZZ RECORD | September 2012 45 Tuesday, September 18 Thursday, September 20 • Joyce with Dom Salvador, Chico Pinheiro, Helio Alves Dizzy’s Club 7:30, 9:30 pm $40 êColtrane Revisited: Steve Kuhn, Tom Harrell, Eric Alexander, Lonnie Plaxico, êRudresh Mahanthappa’s Codebook with Craig Taborn, Francois Moutin, Dan Weiss • John Raymond Quartet Dizzy’s Club 11:30 pm $20 Andrew Cyrille Birdland 8:30, 11 pm $30-40 Brooklyn Conservatory of Music 7, 9 pm $25 • Deidre Rodman and Friends; Sam Bardfeld/Napoleon Maddox • /Hiromi Duo Blue Note 8, 10:30 pm $45 êFONT: The Spaces In Between with São Paulo Underground The Stone 8, 10 pm $10 êAnat Cohen Quartet with Jason Lindner, Joe Martin, Daniel Freedman University Settlement 8 pm • NoReduce: Chris Benedict, Dave Gisler, Raffaele Bossard, Nasheet Waits; Ohad Talmor, Village Vanguard 9, 11 pm $25 • Raya Brass Band; Michael Kammers’ MK Groove Orchestra; Natalie Cressman Chris Benedict, Zack Lober, Dan Weiss êEd Cherry Trio with Pat Bianchi, Byron Landham The Paper Box 9 pm $10 I-Beam 8:30, 10 pm $10 Jazz Standard 7:30, 9:30 pm $20 • Curtis Fowlkes/Tracy Morris; Truth Thomas and Friends • Ron Jackson Group ShapeShifter Lab 8 pm $15 • Charenee Wade and Aaron Diehl Trio The Stone 8, 10 pm $10 • Shaynee Rainbolt/Donn Trenner Metropolitan Room 9:30 pm $25 Dizzy’s Club 7:30, 9:30 pm $25 • Clarence Penn Quartet with Jaleel Shaw, Donald Vega, Yasushi Nakamura • Vijay Iyer/Mike Ladd’s Holding It Down: The Veteran’s Dreams Project • John Raymond Quartet Dizzy’s Club 11 pm $10 Jazz at Kitano 8, 10 pm $10 Harlem Stage Gatehouse 7:30 pm $30 • Warren Chiasson Trio with Ed MacEachen, Ralph Hamperian • Sacha Perry Trio with Chris Mees, Ai Murakami; Ehud Asherie solo; Pete Zimmer Group • Donald Harrison’s Quantum Leap with Detroit Brooks, Zaccai Curtis, Max Moran, NYC Baha’i Center 8, 9:30 pm $15 with Mike Rodriguez, Peter Bernstein, Toru Dodo, David Wong; Joe Dyson and guest Davell Crawford • NuSkuMu - Three Generations of New School Alumni: Moon Hooch: Mike Wilbur, Bruce Harris/Alex Hoffman Group Smalls 4, 7, 9 pm 12 am $20 Jazz Standard 7:30, 9:30, 11:30 pm $30 Wenzl McGowen, James Muschler; Corey King and Taffy with Takuya Kuroda, • Colin Stranahan, Glenn Zaleski, Rick Rosato êColtrane Revisited: Steve Kuhn, Tom Harrell, Eric Alexander, Lonnie Plaxico, Max Siegel, Leo Genovese, Adam Agati, Vicente Archer, Adam Jackson; The Jazz Gallery 9, 10:30 pm $15 Andrew Cyrille Birdland 8:30, 11 pm $30-40 Peter Bernstein with , Grégoire Maret, Dwayne Burno, Greg Hutchinson • Intepretations: David Behrman; Tim Brady • Stanley Clarke/Hiromi Duo; Gadi Lehavi solo Highline Ballroom 8 pm $15 Roulette 8:30 pm $15 Blue Note 6:30, 8, 10:30 pm $45 êRespect Sextet: Eli Asher, James Hirschfeld, Malcolm Kirby, Ted Poor, Josh Rutner, • Julian Shore with Sasha Dobson, Gilad Hekselman, Shelly Tzarafi, Alexa Barchini, êAnat Cohen Quartet with Jason Lindner, Joe Martin, Daniel Freedman Red Wierenga; Loadbang Le Poisson Rouge 7:30 pm $15 Phil Donkin, Tommy Crane Cornelia Street Café 8:30 pm $10 Village Vanguard 9, 11 pm $25 êHarris Eisenstadt September Trio with Angelica Sanchez, Ellery Eskelin • Jake Saslow Trio with Linda Oh, Mark Ferber • Antonio Ciacca The Bar on Fifth 8 pm Cornelia Street Café 8:30 pm $10 Bar Next Door 8:30 pm $12 • New Tricks; Kevin Dorn and the Big 72 • Sean Sondregger; Pete Karp The Stone 8, 10 pm $10 • Good Vibrations - Theremin x 4: Dorit Chrysler; Michael Evans; Rob Schwimmer; The Garage 6:15, 10:45 pm • NoReduce: Chris Benedict, Dave Gisler, Raffaele Bossard, Nasheet Waits Allison Sniffin Joe’s Pub 9:30 pm $15 • Dan Manjovi Bryant Park 12:30 pm Douglass Street Music Collective 8 pm $10 • Joe Sanchez Group; Dean Brown Workshop • Spike Wilner solo; Rodrigo Villanueva Group with Adam Birnbaum, Eddie Gomez; ShapeShifter Lab 8 pm Frank Lacy, Josh Evans, Theo Hill Smalls 6:30, 9 pm 12 am $20 • Broken Reed Saxophone Quartet ZirZamin 7:30 pm Saturday, September 22 êJasmine Lovell-Smith’s Towering Poppies with Cat Toren, Russell Moore, Patrick Reid, • Bob Rodriguez with Lee Marvin, Bruce Ditmas; Christiana Drapkin/Charles Sibirsky; Kate Pittman; Julian Pollack Trio with Noah Garabedian, Evan Hughes Straight Street: Sam Dillon, Nick Mauro, Shinya Yonezawa, Steven Mooney, Paris Wright êFanfare Ciocărlia Schimmel Center for the Arts 7:30 pm $35 Korzo 9, 10:30 pm $5 Somethin’ Jazz Club 7, 9, 11 pm $10 êKaren Mantler with Kato Hideki, Doug Wieselman • Anders Nilsson Band with David Ambrosio, Daniel Kelly, Brahim Fribgane, Rob Garcia; • Kay Matsukawa Tomi Jazz 9 pm $10 Barbès 8 pm $10 Hannah Read Band ShapeShifter Lab 7:30 pm • Justin Lees Trio Cleopatra’s Needle 7 pm êSotto Voce: , Curtis Fowlkes, Sam Bardfeld, Tim Kiah, • Matt Marantz Trio with Sam Harris, Greg Ritchie êSonny Fortune/Sharel Cassity Quintet Napoleon Maddox with guests Jeff Friedman, Ross Gay, Judith Vollmer, Gerald Stern, Bar Next Door 8:30, 10:30 pm $12 Dizzy’s Club 7:30, 9:30 pm $35 Anne Marie Marcarie The Stone 8, 10 pm $10 • /Vinny Raniolo ZirZamin 7:30 pm • Vijay Iyer/Mike Ladd’s Holding It Down: The Veteran’s Dreams Project êSatoko Fujii/Natsuki Tamura; Colonic Youth: Kevin Shea, James Ilgenfritz, Philip White, êJack Wilkins/ Bella Luna 8 pm Harlem Stage Gatehouse 7:30 pm $30 Dan Blake Douglass Street Music Collective 8 pm $10 • Steven Feifke solo Jazz at Kitano 8, 10 pm $25 • David Kikoski Zinc Bar 8, 10 pm êParadoxical Frog: Ingrid Laubrock, Kris Davis, Tyshawn Sorey • Lou Caputo Not So Big Band; Bossa Brasil: Maurício de Souza, Ben Winkelman, • Donald Harrison’s Quantum Leap with Detroit Brooks, Zaccai Curtis, Max Moran, The Jazz Gallery 9, 10:30 pm $20 Joonsam Lee The Garage 7, 10:30 pm Joe Dyson and guest Davell Crawford êNasheet Waits Equality Band with Logan Richardson, Craig Taborn, Mark Helias • Antonio Ciacca The Bar on Fifth 8 pm Jazz Standard 7:30, 9:30 pm $25 Cornelia Street Café 9, 10:30 pm $15 • Tim Lancaster Shrine 6 pm • Andy Ezrin Quartet Birdland 6 pm $20 • with Alex Han, Federico Gonzalez Peña, Adam Agati, Louis Cato • Dan Manjovi Bryant Park 12:30 pm êColtrane Revisited: Steve Kuhn, Tom Harrell, Eric Alexander, Lonnie Plaxico, BB King’s Blues Bar 7:30, 10 pm $40 Andrew Cyrille Birdland 8:30, 11 pm $30-40 • Quartet Sistas’ Place 8, 10 pm $25 • Stanley Clarke/Hiromi Duo; Gadi Lehavi solo • Jack Wilkins, Andy McKee, Mike Clark Wednesday, September 19 Blue Note 6:30, 8, 10:30 pm $45 Bar Next Door 7:30, 9:30, 11:30 pm $12 êAnat Cohen Quartet with Jason Lindner, Joe Martin, Daniel Freedman • Art Bailey Trio with Michael Bates, Owen Howard; Stephen Gauci Quintet with êSonny Fortune/Sharel Cassity Quintet Village Vanguard 9, 11 pm $25 Kirk Knuffke, Art Bailey, Mike Bisio, Nathan Ellman-Bell Dizzy’s Club 7:30, 9:30 pm $35 • Antonio Ciacca The Bar on Fifth 8 pm I-Beam 8:30 pm $10 • John Raymond Quartet Dizzy’s Club 11 pm $10 • Harlem Speaks: Roy Eaton Jazz Museum in Harlem 6:30 pm • Matt DiGiovanna Group with Adam Kromelow, Jason Burger • FONT: Dave Douglas Quintet with guest Aoife O’Donovan • George Weldon Trio; Andrew Hadro Quartet ShapeShifter Lab 8 pm 92YTribeca 8 pm $15 The Garage 6, 10:30 pm • Alon and Words Beyond Trio with Francois Moutin, Dan Weiss and • Vijay Iyer/Mike Ladd’s Holding It Down: The Veteran’s Dreams Project • NoReduce: Chris Benedict, Dave Gisler, Raffaele Bossard, Jeff Davis guest Donny McCaslin The Firehouse Space 8 pm $10 Harlem Stage Gatehouse 7:30 pm $30 Shrine 6 pm • Donna Singer with Doug Richards Trio • David Kikoski Zinc Bar 8, 10 pm • Dan Manjovi Bryant Park 12:30 pm University of the Streets 8 pm $20 êRed Baraat Le Poisson Rouge 8:30 pm $20 • Sean Ali/David Grollman Fester 8 pm êNate Wooley/Mazen Kerbaj Issue Project Room 8 pm $10 • Ross Kratter Big Band with Sam Torres, Robby Mack, Keith Curbow, Casey Berman, • Rob Garcia with David Liebman, Craig Taborn, Chris Lightcap; Jamale Davis with Friday, September 21 Lauren Wood, Enrique Sanchez, Dan Filstrup, Kate Amrine, Aaron Ward, Eric Iannucci, Shimrit Shoshan, Charles Goold Smalls 9 pm 12 am $20 Kevin Virgilio, Kyle Molitor, Jason Silva, Rahm Silverglade, Eli Rojas; Eliane Amherd; êJim Black Trio with Thomas Morgan, Teddy Klausner êMuhal Richard Abrams solo and Quartet with , Bryan Carrott, Mike Treat Quintet with Adam Ramsay, Matt Podd, Willie Harvey, Chris Earley, Cornelia Street Café 8:30 pm $10 Community Church of New York 8 pm $25 Diana Yourke Somethin’ Jazz Club 5, 7, 9 pm $10 • David Orr with Roy Nathanson, Lloyd Miller, Curtis Fowlkes; /Roy Nathanson êErik Friedlander Barbès 8 pm $10 • Shoko Amano Trio; Mayuka Ezure Tomi Jazz 8, 11 pm $10 The Stone 8, 10 pm $10 êLew Tabackin Quartet with Yakov Okun, Phil Palombi, Roberto Gatto • Young Joo Song Trio Cleopatra’s Needle 8 pm • Donald Harrison’s Quantum Leap with Detroit Brooks, Zaccai Curtis, Max Moran, Jazz at Kitano 8, 10 pm $25 êLew Tabackin Quartet with Yakov Okun, Phil Palombi, Roberto Gatto Joe Dyson and guest Davell Crawford • Wallace Roney Sextet with Ben Solomon, Arnold Lee, Victor Gould, Darryl Johns, Jazz at Kitano 8, 10 pm $25 Jazz Standard 7:30, 9:30 pm $25 Kush Aberdey Smoke 8, 10, 11:30 pm $30 • Wallace Roney Sextet with Ben Solomon, Arnold Lee, Victor Gould, Darryl Johns, • Jean-Michel Pilc/Perry Smith Caffe Vivaldi 8:30 pm • Sam Raderman, Luc Decker, Nial Djuliarso; Ralph LaLama’s Bop-Juice; Kush Aberdey Smoke 8, 10, 11:30 pm $30 • Jeff Davis’ General with Kirk Knuffke, Jonathan Goldberger Montez Coleman Group Smalls 4, 7:30, 10 pm $20 • Falkner Evans with Marc Mommaas, Ron Horton, Belden Bullock, Matt Wilson; Barbès 8 pm $10 êFONT: TILT Brass Ensemble University Settlement 8 pm Richie Vitale Quintet; Montez Coleman Group • Tyler Blanton Group with Donny McCaslin, Matt Clohesy, Nate Wood • Wayne Krantz with Keith Carlock, Nate Wood Smalls 4, 7:30, 10 pm $20 ShapeShifter Lab 8 pm Highline Ballroom 8 pm $25-55 • Tomoko Ohno/Steve LaSpina Knickerbocker Bar and Grill 9:45 pm $5 • Ken Fowser Sextet Smoke 7, 9, 10:30 pm • Pedro Giraudo Jazz Orchestra with Will Vinson, Todd Bashore, Luke Batson, John Ellis, • Joyce with Dom Salvador, Chico Pinheiro, Helio Alves • Iris Ornig Quartet with Mike Rodriguez, Helen Sung, Jerome Jennings Carl Maraghi, Jonathan Powell, Tatum Greenblatt, Miki Hirose, Scott Wendholt, Dizzy’s Club 7:30, 9:30 pm $40 Jazz at Kitano 8, 10 pm $10 Ryan Keberle, Mike Fahie, Mark Miller, Nate Mayland, Jess Jurkovic, Jeff Davis, • John Raymond Quartet Dizzy’s Club 11:30 pm $20 • NoReduce: Chris Benedict, Dave Gisler, Raffaele Bossard, Nasheet Waits Paulo Stagnaro The Jazz Gallery 9, 10:30 pm $20 • Vijay Iyer/Mike Ladd’s Holding It Down: the Veteran’s Dreams Project Seeds 8 pm $10 • Ben Waltzer Trio with Dwayne Burno, Gerald Cleaver Harlem Stage Gatehouse 7:30 pm $30 • Melissa Stylianou Quintet with Jamie Reynolds, Pete McCann, Gary Wang, Mark Ferber Cornelia Street Café 9, 10:30 pm $15 • Donald Harrison’s Quantum Leap with Detroit Brooks, Zaccai Curtis, Max Moran, and guest Zach Brock 55Bar 7 pm • Jonathan Batiste Trio Rubin Museum 7 pm $20 Joe Dyson and guest Davell Crawford • Jostein Gulbrandsen with Gian Tornatore, Rodrigo Villanueva, Eddy Khaimovich • Tomoko Ohno/Steve LaSpina Knickerbocker Bar and Grill 9:45 pm $5 Jazz Standard 7:30, 9:30, 11:30 pm $30 Somethin’ Jazz Club 9 pm $10 • Melissa Aldana Trio with Joseph Lepore, Robert Gatto êColtrane Revisited: Steve Kuhn, Tom Harrell, Eric Alexander, Lonnie Plaxico, êColtrane Revisited: Steve Kuhn, Tom Harrell, Eric Alexander, Lonnie Plaxico, Bar Next Door 7:30, 9:30, 11:30 pm $12 Andrew Cyrille Birdland 8:30, 11 pm $30-40 Andrew Cyrille Birdland 8:30, 11 pm $30-40 • Geoff Countryman and The Buffalo Band with Chris Bonner, Sean Fitzpatrick, • Stanley Clarke/Hiromi Duo; Gadi Lehavi solo • Stanley Clarke/Hiromi Duo Blue Note 8, 10:30 pm $45 Joe Ancowitz, Spencer Cohen, Tyler McDiarmid Blue Note 6:30, 8, 10:30 pm $45 • Anat Cohen Quartet with Jason Lindner, Joe Martin, Daniel Freedman The Firehouse Space 8 pm $10 êAnat Cohen Quartet with Jason Lindner, Joe Martin, Daniel Freedman Village Vanguard 9, 11 pm $25 • Beat Kaestli’s Vocal Summit with Melissa Stylianou, Elisabeth Lohninger, Village Vanguard 9, 11 pm $25 • Antonio Ciacca The Bar on Fifth 8 pm Magos Herrera, Clarice Assad, Jamie Reynolds; E.S.P.: Matthew Vacanti, • Antonio Ciacca The Bar on Fifth 8 pm • Rob Edwards; Bryan Carter Trio The Garage 6, 10:30 pm John Magnante, Loraine Faina; Jeron White Quintet with Dimitri Nassar, • Guilhem Flouzat Shrine 6 pm • KARL 2000 Shrine 6 pm Shannon Cottman, Sam King, Kevin Thornton • Marsha Heydt Quartet; Champian Fulton Trio; Virginia Mayhew Quartet • Ralph Hamperian’s Tuba D’Amore with Bob Albanese, Will Woodard, Jeff Brillinger Somethin’ Jazz Club 7, 9, 11 pm $10 The Garage 12, 6:15, 10:45 pm Saint Peter’s 1 pm $10 • Kayo Hiraki Tomi Jazz 9 pm $10 • Dan Manjovi Bryant Park 12:30 pm • Masami Ishikawa Trio Cleopatra’s Needle 8 pm

Q u e CORNELIA STREET CAFE s Saturday, Sept. 29th / 6pm t i M 29 Cornelia Street o a Reservations (212) 989 9319 n t a t Deborah Latz Trio Series b h release Deborah Latz, vox l e Party e w Jon Davis, piano ShapeShifter Lab

John Hart, guitar C s Tues, Sept. 25th, 7pm r i with Ryan Ferreira Solo & Jeremy Udden‘s Plainville e l a b 18 Whitwell Pl, Brooklyn “...few are in Deborah Latz’s league...” t e — L.A. Jazz Scene u r Questionable Creatures r M out 9.11.12 on DeSoto Sound Factory e a desotoinc.com Photo www.deborahlatz.com ©Todd Weinstein s n matthewsilberman.com

46 September 2012 | THE NEW YORK CITY JAZZ RECORD Sunday, September 23 • Tony Malaby, Juan Pablo Carletti, Chris Hoffman; CACAW!!!: Landon Knoblock, • Cecilia Coleman Big Band; Justin Lees Trio Oscar Noriega, Jeff Davis Sycamore 8:30 pm $10 The Garage 7, 10:30 pm êFONT: Natsuki Tamura/David Miller; Josh Deutsch/Nico Soffiato • Foolish Hearts Duo: Peter Eldridge/Matt Aranoff • Jack Wilkins/Tim Cummisky Bella Luna 8 pm Village Zendo 7 pm Bar Next Door 8:30 pm $12 • Steven Feifke solo Jazz at Kitano 8, 10 pm $25 êTony Malaby’s Novela with Michael Attias, Joachim Badenhorst, Andrew Hadro, • Jarrett Cherner; Alexis Cuadrado Group with Miguel Zenón, Claudia Acuña, Dan Tepfer, • Ali Carter’s The Alicats Somethin’ Jazz Club 9 pm $10 , Ben Gerstein, Dan Peck, Kris Davis, Tom Rainey Mark Ferber; Ari Hoenig Group with Tivon Pennicott, Glenn Zaleski, Noam Wiesenberg; êChick Corea/Gary Burton Duo with Harlem String Quartet; Gadi Lehavi solo Greenwich House Music School 8 pm $12 Spencer Murphy Smalls 7:30, 9 pm 12 am $20 Blue Note 6:30, 8, 10:30 pm êMichael Sarin Quartet with Brad Shepik, Russ Lossing, Jerome Harris êSean Noonan Double String Quartet with Mat Maneri, Jason Kao Hwang, Tom Swafford, • Jon Davis The Bar on Fifth 8 pm Sycamore 8 pm David West Roulette 8 pm $10-15 • Yuka Aikawa Bryant Park 12:30 pm • Two of Anything: JP Schlegelmilch, Jeremy Viner, Jesse Stacken, Eivind Opsvik, • James Shipp with James Shipp, Gilad Hekselman, Rogerio Boccato, , Jason Nazary; For the Mill: Jesse Stacken, Andrew D’Angelo, Josh Sinton, Mike Pride Jean Rohe, Ivan Goff ShapeShifter Lab 8 pm ShapeShifter Lab 7:30, 9 pm $10 • Gato Loco ZirZamin 10 pm Wednesday, September 26 • Lezlie Harrison Smalls 7:30 pm $20 • Jon Madof’s Zion80 The Stone 9 pm $10 • Peter Leitch/Dwayne Burno Walker’s 8 pm • Mike Webster’s Leading Lines Tea Lounge 9, 10:30 pm • Lawrence Clark Quartet with Jarod Kashkin, Eric Wheeler, Thomas Galliano; • Jonah Rosenberg/Aleks Karjaka; Herb Robertson, Bob Ackerman, Bob Hovey, • Dida Pelled Zinc Bar 7 pm $8 Jeff “Tain” Watts 4 with Marcus Strickland, Osmany Paredes, Chris Smith Jim Yanda, Chris Lough, • Jon Davis The Bar on Fifth 8 pm Zinc Bar 7, 9, 10:30 pm 12 am ABC No-Rio 7 pm $5 • Howard Williams Jazz Orchestra; Alex Brown Trio • Roy Ayers Blue Note 8, 10:30 pm $35 • The Luddites The Stone 8, 10 pm $10 The Garage 7, 10:30 pm • Ali Jackson New Generation Dizzy’s Club 7:30, 9:30 pm $30 • Daryl Shawn The Firehouse Space 8 pm $10 • Yuka Aikawa Bryant Park 12:30 pm • Rodney Green Trio Dizzy’s Club 11 pm $10 • Swingadelic Swing 46 8:30 pm êPepper Adams Festival: Alexis Cole Quintet with Eric Alexander • Joyce with Dom Salvador, Chico Pinheiro, Helio Alves Smoke 7, 9, 10:30 pm Dizzy’s Club 7:30, 9:30 pm $35 Tuesday, September 25 êFONT: Dave Chisholm’s Calligraphy; Bruce Harris Group; • Donald Harrison’s Quantum Leap with Detroit Brooks, Zaccai Curtis, Max Moran, Jon Crowley’s Heart of Darkness Smalls 7:30, 9, 10:30 pm $20 Joe Dyson and guest Davell Crawford êBouncin’ with Bud: Tim Hagans, Greg Osby, Dan Tepfer, Lonnie Plaxico, Matt Wilson • Billy Drummond’s Freedom of Ideas with Dezron Douglas, Don Vega Jazz Standard 7:30, 9:30 pm $25 Birdland 8:30, 11 pm $30-40 Cornelia Street Café 8:30 pm $10 • Stanley Clarke/Hiromi Duo Blue Note 8, 10:30 pm $45 • Standards Trio with Ugonna Okegwo, Colin Stranahan • Ari Hoenig Group with Orlando Le Fleming; Naked Truth êAnat Cohen Quartet with Jason Lindner, Joe Martin, Daniel Freedman Village Vanguard 9, 11 pm $25 ShapeShifter Lab 8 pm Village Vanguard 9, 11 pm $25 • Gerald Clayton Quintet with Dayna Stephens, Logan Richardson, Joe Sanders, • Terrence McManus’ Obsessive Propulsive with Mat Maneri, Tom Rainey • Antonio Ciacca The Bar on Fifth 8 pm Justin Brown Jazz Standard 7:30, 9:30 pm $25 Barbès 8 pm $10 • Juan Pablo Carletti/Daniel Levin Downtown Music Gallery 6 pm êCecile McLorin Salvant and Aaron Diehl Trio êMichael Bates Quartet with Tony Malaby, Russ Lossing, Jeff Davis; • Aaron Diehl Trio Saint Peter’s 5 pm Dizzy’s Club 7:30, 9:30 pm $25 Band with Landon Knoblock, Michael Bates, Greg Ritchie and guest • Kinya Sogawa’s Shakuhachi Exploration with guests Ned Rothenberg, • Rodney Green Trio Dizzy’s Club 11 pm $10 Daniele Richiedei I-Beam 8:30, 10 pm $10 Elizabeth Brown, Ralph Samuelson, Laurie Sogawa • Santi Debriano Quartet NYC Baha’i Center 8, 9:30 pm $15 • Chiemi Nakai Trio with Luques Curtis, Steve Berrios Roulette 5 pm $15 • Victor Jones Trio Zinc Bar 8, 10 pm Jazz at Kitano 8, 10 pm $10 • Women of the World: Ayumi Ueda, Annette Philip, Giorgia Renosto, Débòrah Pierre, êLine of Swords: Josh Roseman, Bill McHenry, Ben Monder, Nasheet Waits; • Zach Brock ZirZamin 9:30 pm Hinako Sato, Sara Cristal Peña-Coffin, Shirazette Tinnin, Noriko Terada, Kazuyo Kuriya, Jon Irabagon Trio with Mark Helias, • Luce Trio: Jon De Lucia, Ryan Ferreira, Chris Tordini; Empyrean Atlas: David Crowell, Sue Buzzard Blue Note 12:30, 2:30 pm $29.50 Korzo 9, 10:30 pm $5 Andrew Smiley, Ryan Ferreira, Greg Chudzik, Jason Nazary • Roz Corral Trio with Paul Meyers, Santi Debriano • Joanna Wallfisch/Art Hirahara; Will Vinson Quartet with Aaron Parks, Matt Brewer, Sycamore 8:30, 10 pm $10 North Square Lounge 12:30, 2 pm Jochen Rueckert; Jared Gold Trio with Dave Stryker, McClenty Hunter • Mia Zabelka solo University of the Streets 8 pm $10 • Iris Ornig Quartet; David Coss Quartet; Dave Kain Group Smalls 6:30, 9 pm 12 am $20 • Alexis Parsons Somethin’ Jazz Club 7 pm $10 The Garage 11:30 am 7, 11:30 pm • Leif Arntzen Band with Ryan Blotnick, Landon Knoblock, Michael Bates, Jeff Davis • Bouncin’ with Bud: Tim Hagans, Greg Osby, Dan Tepfer, Lonnie Plaxico, Matt Wilson Cornelia Street Café 8:30 pm $10 Birdland 8:30, 11 pm $30-40 • Ryan Ferreira solo; Matthew Silberman and Press Play with Ryan Ferreira, • Kurt Rosenwinkel Standards Trio with Ugonna Okegwo, Colin Stranahan Monday, September 24 Greg Ruggiero, Christopher Tordini, Tommy Crane; Jeremy Udden’s Plainville with Village Vanguard 9, 11 pm $25 Pete Rende, Ryan Scott, Eivind Opsvik, Michael Sarin • Gerald Clayton Quintet with Dayna Stephens, Logan Richardson, Joe Sanders, êChick Corea/Gary Burton Duo with Harlem String Quartet; Gadi Lehavi solo ShapeShifter Lab 7 pm $10 Justin Brown Jazz Standard 7:30, 9:30 pm $25 Blue Note 6:30, 8, 10:30 pm • Le Boeuf Brothers Trio Bar Next Door 8:30, 10:30 pm $12 • Jon Davis The Bar on Fifth 8 pm êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 • Frank Vignola/Vinny Raniolo ZirZamin 7:30 pm • Nick Moran Trio; Paul Francis Trio The Garage 6, 10:30 pm • Etienne Charles’ Kaiso Dizzy’s Club 7:30, 9:30 pm $25 • David Watson, Chris Cochrane, Abraham Gomez-Delgado; Iron Dog: Sarah Bernstein, • Jonas Tauber Shrine 6 pm êIdeal Bread: Josh Sinton, Kirk Knuffke, Richard Giddens, Tomas Fujiwara Stuart Popejoy, Andrew Drury The Backroom 8:30 pm $10 • Aaron Diehl Saint Peter’s 1 pm $10 Pete’s Candy Store 8 pm $10 • Maurício de Souza Quartet with Emma Larsson, Ben Winkelman, Gary Mazzaroppi • Yuka Aikawa Bryant Park 12:30 pm The Lamb’s Club 7:30 pm

THE NEW YORK CITY JAZZ RECORD | September 2012 47 Thursday, September 27 • Gerald Clayton Quintet with Dayna Stephens, Logan Richardson, Joe Sanders, REGULAR ENGAGEMENTS Justin Brown Jazz Standard 7:30, 9:30, 11:30 pm $30 MONDAYS êSex Mob plays Nino Rota: Steven Bernstein, Briggan Krauss, Tony Scherr, • Jon Davis The Bar on Fifth 8 pm • Tom Abbott Big Bang Big Band Swing 46 8:30 pm Kenny Wollesen Winter Garden 7 pm • Carl Bartlett Jr.; Joey Morant Trio The Garage 6:15, 10:45 pm • Ron Affif Trio Zinc Bar 9, 11pm, 12:30, 2 am êPharoah Sanders Quartet with Joe Farnsworth • Yuka Aikawa Bryant Park 12:30 pm • Woody Allen/Eddy Davis New Orleans Jazz Band Café Carlyle 8:45 pm $125 Dizzy’s Club 7:30, 9:30 pm $35 • SMOKE or Captain Black Big Band; John Farnsworth Smoke 7, 9, 10:30 pm • Michael Brecker Tribute with Dan Barman The Counting Room 8 pm • Garth Fagan Dance/Wynton Marsalis Septet Saturday, September 29 • Sedric Choukroun and The Brasilieros Chez Lola 7:30 pm BAM Howard Gilman Opera House 7:30 pm $20 • Pete Davenport/ Jam Session Frank’s Cocktail Lounge 9 pm • Andy Laster; Anthony Coleman The Stone 8, 10 pm $10 êRahn Burton Trio Cleopatra’s Needle 8 pm • Emerging Artists Series Bar Next Door 6:30 pm (ALSO TUE-THU) • Mike LeDonne’s 5LIVE with Eric Alexander, Jeremy Pelt, John Webber, Joe Farnsworth êDeborah Latz Trio with Jon Davis, John Hart • Joel Forrester solo Brandy Library 8 pm Smoke 8, 10, 11:30 pm $30 Cornelia Street Café 6 pm • George Gee Swing Orchestra Gospel Uptown 8 pm êJim Black Trio with Chris Tordini, Teddy Klausner; Workshop êMario Pavone, Mike DiRubbo, Tyshawn Sorey; Pete Robbins, Mario Pavone, • Vince Giordano’s Nighthawks Sofia’s 8 pm (ALSO TUE) ShapeShifter 8 pm Tyshawn Sorey; Quartet Axis: Michael Musillami, Craig Hartley, Mario Pavone, • Grove Street Stompers Arthur’s Tavern 7 pm • Oz Noy Trio with , Jeff “Tain” Watts Tyshawn Sorey Cornelia Street Café 9, 10:30 pm $15 • JFA Jazz Jam Local 802 7 pm 55Bar 10 pm êPepper Adams Festival: The Three Baris: Gary Smulyan, Frank Basile, Joe Temperley • Roger Lent Trio Jam Cleopatra’s Needle 8 pm with Don Friedman, , Kenny Washington • Iris Ornig Jam Session The Kitano 8 pm • Akio Suzuki, Gozo Yoshimasu, • Les Paul Trio with guests Iridium 8, 10 pm $35 Issue Project Room 8 pm $15 Ginny’s Supper Club 9, 10:30 pm ê • Ian Rapien’s Spectral Awakenings Jazz Groove Session Rhythm Splash 9 pm • Ravish Momin; Michael Kammers’ MK Groove Orchestra; No Small Money Brass Band The Cosmosamatics: , Michael Marcus, John Austria, Rashaan Carter, • Stan Rubin All-Stars Charley O’s 8:30 pm The Paper Box 9 pm $10 Jay Rosen Brecht Forum 8 pm $15 • Kavita Shah Trio Tomi Jazz 8 pm • Dan Blake’s Aquarian Suite with Jason Palmer, Jorge Roeder, Richie Barshay êNoah Preminger Group with Ben Monder, Matt Pavolka, Colin Stranahan • Vanguard Jazz Orchestra Village Vanguard 9, 11 pm $30 Greenwich House Music School 8 pm $12 Greenwich House Music School 8 pm $12 • Rakiem Walker Project Red Rooster 7:30 pm êFONT: Alicia Rau’s aRAUz; John Raymond Group; Sextet with • Bill Ware Quartet with Eddie Conde, Tato Laviera; Marty Ehrlich TUESDAYS Marcus Strickland, Tim Green, Xavier Davis, EJ Strickland The Stone 8, 10 pm $10 • Daisuke Abe Trio Sprig 6 pm (ALSO WED-THU) Smalls 7:30, 9, 10:30 pm $20 êGilad Hekselman Trio with Matt Brewer, Obed Calvaire • Orrin Evans Evolution Series Jam Session Zinc Bar 11 pm • Billy Test Quartet with Marc Mommaas, Boris Kozlov, Tony Moreno Bar Next Door 7:30, 9:30, 11:30 pm $12 • Irving Fields Nino’s Tuscany 7 pm (ALSO WED-SUN) Jazz at Kitano 8, 10 pm $10 • Larry Gelb with Steve LaSpina, Michael Stephans; Dwayne Clemons Quintet with • George Gee Swing Orchestra Swing 46 8:30 pm • Trevor Long Trio Tomi Jazz 8 pm êJoe Phillips’ Numinous/DELIRIOUS Dances Josh Benko, Sacha Perry, Jamale Davis, Jimmy Wormworth; Jonathan Kreisberg Group with Will Vinson, Joe Martin, Mark Ferber • Loston Harris Café Carlyle 9:30 pm $20 (ALSO WED-SAT) Irondale Center 8 pm $20 • Art Hirahara Trio Arturo’s 8 pm • Maria Rivas Zinc Bar 9, 10:30 pm 12 am Smalls 4, 7:30, 10 pm $20 • Yuichi Hirakawa Trio Arthur’s Tavern 7, 8:30 pm • Tom Chang Quartet with Jason Rigby, Sam Trapchak, Jeff Davis • Wolfgang Schalk Quartet with Dave Kikoski, James Genus, Clarence Penn • Sandy Jordan and Larry Luger Trio Notaro 8 pm Cornelia Street Café 8:30 pm $10 Drom 9 pm $15 • Mike LeDonne Quartet; Jason Marshall Quartet Smoke 7, 9, 10:30, 11:30 pm • Sacha Perry Trio with Chris Mees, Ai Murakami; Carlos Abadie • Melanie Maar, Shelley Hirsch, Kenta Nagai • Russ Nolan Jazz Organ Trio Cassa Hotel and Residences 6 pm Smalls 4 pm 12 am $20 Roulette 8:30 pm $15 • Iris Ornig Quartet Crooked Knife 7 pm • Rondi Charleston Joe’s Pub 7:30 pm $20 • Federico Ughi’s Songs for Four Cities with Darius Jones, Eri Yamamoto, Ed Schuller • The Metropolitan Room 9:30 pm $25 • Nobuki Takamen Trio with John Lenis, Utaka Uchida The Firehouse Space 8 pm $10 • Robert Rucker Trio Jam Cleopatra’s Needle 8 pm Bar Next Door 8:30 pm $12 • David Freeman Runs the Voodoo Down with Oren Neiman, Carsten Rubeling, • Slavic Soul Party Barbès 9 pm $10 • Liam Sillery Trio with Jesse Stacken, Eivind Opsvik; Noshir Mody Quintet with Tyler Susan, Dave Wyrtzen, Adrain Morgan WEDNESDAYS Branded Saloon 9:30 pm • Astoria Waltz-Astoria 6 pm Tsuyoshi Niwa, Carmen Staaf, Daniel Foose, Maiko Uchida • Jonathan Batiste Band Jazz Museum in Harlem 7 pm Somethin’ Jazz Club 7, 9 pm $10 • Linda Presgrave Quartet with Stan Chovnick, Fred Weidenhammer, Seiji Ochiai; Dee Cassella; Fredrick Levore with Paul Beaudry, Yayoi Ikawa, Tony Jefferson, • Sedric Choukroun and the Eccentrics Chez Oskar 7 pm • Tomoyasu Ikuta Trio Tomi Jazz 9 pm $10 • Roxy Coss Smoke 11:30 pm • Michika Fukumori Trio Cleopatra’s Needle 7 pm Lou Rainone Somethin’ Jazz Club 5, 7, 9 pm $10 • Roger Davidson/Pablo Aslan Caffe Vivaldi 6 pm • Roy Ayers Blue Note 8, 10:30 pm $35 • Miki Yoshitake; Arthur Sadowsky Tomi Jazz 8, 11 pm $10 • Walter Fischbacher Trio Water Street Restaurant 8 pm êBouncin’ with Bud: Tim Hagans, Greg Osby, Dan Tepfer, Lonnie Plaxico, Matt Wilson êToots Thielemans: Celebrating 90 Years with Herbie Hancock, Kenny Werner, • Jeanne Gies with Howard Alden and Friends Joe G’s 6:30 pm Birdland 8:30, 11 pm $30-40 Oscar Castro-Neves, Eliane Elias, Ivan Lins, Dori Caymmi, Marc Johnson, Rafael Barata • Les Kurtz Trio; Joonsam Lee Trio Cleopatra’s Needle 7, 11:30 pm • Kurt Rosenwinkel Standards Trio with Ugonna Okegwo, Colin Stranahan Rose Hall 8 pm $30-120 • Jonathan Kreisberg Trio Bar Next Door 8:30, 10:30 pm $12 Village Vanguard 9, 11 pm $25 • Nilson Matta’s Brazilian Voyage Band with Maucha Adnet, Matt King, • Guillaume Laurent Trio Bar Tabac 7 pm • Gerald Clayton Quintet with Dayna Stephens, Logan Richardson, Joe Sanders, Duduka Da Fonseca Jazz at Kitano 8, 10 pm $25 • Jake K. Leckie Trio Kif Bistro 8 pm Justin Brown Jazz Standard 7:30, 9:30 pm $25 êLuis Bonilla, Bruce Barth, Andy McKee • Jed Levy and Friends Vino di Vino Wine Bar 7:30 pm (ALSO FRI) Knickerbocker Bar and Grill 9:45 pm $5 • Greg Lewis Organ Monk with Reggie Woods Sapphire NYC 8 pm • Jon Davis The Bar on Fifth 8 pm • Ron McClure solo piano McDonald’s 12 pm (ALSO SAT) • Harlem Speaks: George Gee Jazz Museum in Harlem 6:30 pm • Ben Wendel/Ralph Alessi Quintet with Fabian Almazan, Noah Garabedian, • John McNeil/Mike Fahie Tea and Jam Tea Lounge 9 pm • Champian Fulton Trio; Alan Chaubert Trio Johnathan Blake The Jazz Gallery 9, 10:30 pm $20 • Jacob Melchior Philip Marie 7 pm (ALSO SUN 12 PM) The Garage 6, 10:30 pm êPharoah Sanders Quartet with Joe Farnsworth • Alex Obert’s Hollow Bones Via Della Pace 10 pm • Yuka Aikawa Bryant Park 12:30 pm Dizzy’s Club 7:30, 9:30 pm $40 • David Ostwald’s Louis Armstrong Centennial Band Birdland 5 pm $10 êRodney Green Trio Dizzy’s Club 11:30 pm $20 • Yoshino Nakahara Trio Tomi Jazz 8 pm • Garth Fagan Dance/Wynton Marsalis Septet • Stan Rubin Orchestra Swing 46 8:30 pm Friday, September 28 BAM Howard Gilman Opera House 7:30 pm $20 • David Schnug Papa’s Gino’s Restaurant 8:30 pm êJoe Phillips’ Numinous/DELIRIOUS Dances • Alex Terrier Trio Antibes Bistro 7:30 pm • Justin Wert/Corcoran Holt Benoit 7 pm êToots Thielemans: Celebrating 90 Years with Herbie Hancock, Kenny Werner, Irondale Center 8 pm $20 Roy Ayers Blue Note 8, 10:30 pm $35 • Bill Wurtzel/Mike Gari American Folk Art Museum Lincoln Square 2 pm Oscar Castro-Neves, Eliane Elias, Ivan Lins, Dori Caymmi, Marc Johnson, Rafael Barata • • Bill Wurtzel Duo Velour Lounge 6:30 pm Rose Hall 8 pm $30-120 êBouncin’ with Bud: Tim Hagans, Greg Osby, Dan Tepfer, Lonnie Plaxico, Matt Wilson • Jordan Young Group Bflat 8:30 pm • Sam Raderman, Luc Decker, Nial Djuliarso; Frank Basile Sextet plays the music of Birdland 8:30, 11 pm $30-40 THURSDAYS Pepper Adams with Adam Birnbaum, Joe Magnarelli, David Wong, John Mosca, • Kurt Rosenwinkel Standards Trio with Ugonna Okegwo, Colin Stranahan • Rahn Burton 449 Lounge 1 pm (ALSO SAT) Tim Horner, Frank Basile; Jonathan Kreisberg Group with Will Vinson, Joe Martin, Village Vanguard 9, 11 pm $25 • Jason Campbell Trio Perk’s 8 pm Mark Ferber Smalls 4, 7:30, 10 pm $20 • Gerald Clayton Quintet with Dayna Stephens, Logan Richardson, Joe Sanders, • Sedric Choukroun Brasserie Jullien 7:30 pm (ALSO FRI, SAT) • Judi Silvano Trio with Ratzo B. Harris, Newman Taylor-Baker; : Justin Brown Jazz Standard 7:30, 9:30, 11:30 pm $30 • Gregory Generet Smoke 7, 9 pm Roy Nathanson, Curtis Fowlkes, Sam Bardfeld, Bill Ware, Brad Jones, EJ Rodriguez • Jon Davis The Bar on Fifth 8 pm • Jazz Open Mic Perk’s 8 pm The Stone 8, 10 pm $10 • Michika Fukumori Trio The Garage 6:15 pm • Lapis Luna Quintet The Plaza Hotel Rose Club 9 pm • Nilson Matta’s Brazilian Voyage Band with Maucha Adnet, Helen Sung, • Omar Haddad Shrine 6 pm • Michael Mwenso and Friends Dizzy’s Club 11 pm Duduka Da Fonseca Jazz at Kitano 8, 10 pm $25 • ZigZag Quartet: Alexander Wu, Francisco Roldan, Hilliard Greene, Danny Mallon • Eri Yamamoto Trio Arthur’s Tavern 7 pm (ALSO FRI-SAT) ê David Rubenstein Atrium 2:30 pm FRIDAYS Luis Bonilla, Bruce Barth, Andy McKee • The Crooked Trio: Oscar Noriega, Brian Drye, Ari Folman-Cohen Barbès 5 pm Knickerbocker Bar and Grill 9:45 pm $5 • Deep Pedestrian Sintir 8 pm • Ben Wendel/Ralph Alessi Quintet with Fabian Almazan, Noah Garabedian, • Charles Downs’ Centipede The Complete Music Studio 7 pm Johnathan Blake The Jazz Gallery 9, 10:30 pm $20 Sunday, September 30 • Gerry Eastman’s Quartet Williamsburg Music Center 10 pm êLenore Raphael with Howard Alden, Kelly Friesen and guest Jerry Mandel • Patience Higgins & The Sugar Hill Quartet Smoke 12:30 am NY Society for Ethical Culture 8 pm • The Brubeck Brothers Quartet: Chris and Dan Brubeck, Mike DeMicco, Chuck Lamb • Kengo Nakamura Trio Club A Steakhouse 11 pm • Marc Mommaas Landmarc with Nate Radley, Vic Juris, Tony Moreno Iridium 8, 10 pm $30 • Brian Newman Quartet Duane Park 10:30 pm Cornelia Street Café 9, 10:30 pm $15 êPepper Adams Festival: Arturo O’Farrill Trio with guest Lew Tabackin; David Amram, • Frank Owens Open Mic The Local 802 6 pm • Andrew Smiley, Travis Reuter, Aryeh Kobrinsky; Carlo Costa Quartet with Gary Smulyan, George Mraz Birdland 9, 11 pm $30-40 • Albert Rivera Organ Trio B Smith’s 8:30 pm (ALSO SAT) Jonathan Moritz, Owen Stewart-Robertson, Sean Ali; Two of Anything: • Tim Kiah, Jesse Mills, Kenji Bunch; Brad Jones/Julie Patton • Brandon Sanders Trio Londel’s 8, 9, 10 pm (ALSO SAT) JP Schlegelmilch, Jeremy Viner, Eivind Opsvik, Jason Nazary; The Stone 8, 10 pm $10 • Bill Saxton and Friends Bill’s Place 9, 11 pm $15 Curtis MacDonald Quartet with Bobby Avey, Chris Tordini, Adam Jackson • Keiko Matsui BB King’s Blues Bar 8 pm $32 SATURDAYS êEri Yamamoto/Yves Léveillé Quartet with David Ambrosio, Ikuo Takeuchi • Cyrille Aimee The Cupping Room 8:30 pm Douglass Street Music Collective 8 pm $10 • Candy Shop Boys Duane Park 8, 10:30 pm • Baby Soda: Ben Polcer, Patrick Harison, Jared Engel, David Langlois, Peter Ford Cornelia Street Café 8:30 pm $10 • Jesse Elder/Greg RuggieroRothmann’s 6 pm Barbès 10 pm $10 êQuinsin Nachoff Group Sycamore 8 pm • Joel Forrester solo Indian Road Café 11 am • Tyler Blanton Band; Billy Mintz/ • Howard Alden Smalls 7:30 pm $20 • Guillaume Laurent/Luke Franco Casaville 1 pm I-Beam 8:30, 10 pm $10 êCargo Cult: Tomas Ulrich, Rolf Sturm, Michael Bisio • Annette St. John; Johnny O’Neal Smoke 11:30 am, 12:30 am • World on a String Trio: Paul Meyers, Leo Traversa, Vanderlei Perreira The Firehouse Space 8 pm $10 • Skye Jazz Trio Jack 8:30 pm Bar Next Door 7:30, 9:30, 11:30 pm $12 • CACAW!!!: Landon Knoblock, Oscar Noriega, Jeff Davis • UOTS Jam Session University of the Streets 11:30 pm $5 (ALSO SAT) • Shaynee Rainbolt/Donn Trenner Metropolitan Room 9:30 pm $25 I-Beam 8:30 pm $10 • Michelle Walker/Nick Russo Anyway Café 9 pm • Susan Hefner/Michael Evans Roulette 8 pm $10 • FONT: No BS! Brass Rockwood Music Hall 7 pm $12 • Bill Wurtzel Duo Henry’s 12 pm • Sarah Plum The Firehouse Space 8 pm $10 • Assaf Gleizner’s Trio Shalva ShapeShifter Lab 8 pm SUNDAYS • Biba Bell/Ben Hall Roulette 8 pm $10 • Cyrille Aimee Birdland 6 pm • Mihoko NY Trio Plus One with Waldron Ricks, Larry Roland, Vince Ector; • Bill Cantrall Trio Crescent and Vine 8 pm Michael Webster Quintet with Chris Dingman, Jesse Lewis, Ike Sturm, Jared Schonig • Eyal Maoz/Michael Lytle; Evan Gallagher ABC No-Rio 7 pm $5 • Marc Devine Trio TGIFriday’s 6 pm Somethin’ Jazz Club 7, 9 pm $10 • JaRon Eames/Emme Kemp Eats 6 pm • Marc Devine Duo Tomi Jazz 9 pm $10 • David Jimenez Quintet with Michael Webster, Charles Evans, Adam Birnbaum, • Ear Regulars with Jon-Erik Kellso The Ear Inn 8 pm • Rudi Mwongozi Quartet Cleopatra’s Needle 8 pm Moppa Elliott; Devin Bing; Yasuyuki Saiga, Sousuke Kawamoto, Hiroyuki Yokota • Marjorie Eliot/Rudell Drears/Sedric Choukroun Parlor Entertainment 4 pm • Andrei Matorin Shrine 8 pm Somethin’ Jazz Club 5, 7, 9 pm $10 • Gene Ess Jam Session ShapeShifter Lab 3 pm $3 êPharoah Sanders Quartet with Joe Farnsworth êPharoah Sanders Quartet with Joe Farnsworth • Sean Fitzpatrick and Friends Ra Café 1 pm Dizzy’s Club 7:30, 9:30 pm $40 Dizzy’s Club 7:30, 9:30 pm $35 • Joel Forrester solo Grace Gospel Church 11 am • Garth Fagan Dance/Wynton Marsalis Septet • Roy Ayers Blue Note 8, 10:30 pm $35 • Nancy Goudinaki’s Trio Kellari Taverna 12 pm BAM Howard Gilman Opera House 7:30 pm $20 • Kurt Rosenwinkel Standards Trio with Ugonna Okegwo, Colin Stranahan • Enrico Granafei solo Sora Lella 7 pm • Annette St. John; Cynthia Soriano Smoke 11:30 am, 11:30 pm êRodney Green Trio Dizzy’s Club 11:30 pm $20 Village Vanguard 9, 11 pm $25 • Gerald Clayton Quintet with Dayna Stephens, Logan Richardson, Joe Sanders, • Stan Killian Trio Ocean’s 8 8:30 pm • Mike LeDonne’s 5LIVE with Eric Alexander, Jeremy Pelt, John Webber, Joe Farnsworth • Bob Kindred Group Café Loup 12:30 pm Smoke 8, 10, 11:30 pm $30 Justin Brown Jazz Standard 7:30, 9:30 pm $25 • Nate Lucas All Stars Ginny’s Supper Club 7 pm • Akio Suzuki, Gozo Yoshimasu, Otomo Yoshihide • Jon Davis The Bar on Fifth 8 pm • Alexander McCabe Trio CJ Cullens Tavern 5 pm Issue Project Room 8 pm $15 • Sean Ali solo Downtown Music Gallery 6 pm • Junior Mance Trio Café Loup 6:30 pm êJoe Phillips’ Numinous/DELIRIOUS Dances • Nadje Noordhuis Quintet Saint Peter’s 5 pm • Peter Mazza Bar Next Door 8 pm $12 Irondale Center 8 pm $20 • Garth Fagan Dance/Wynton Marsalis Septet • Arturo O’Farrill Afro-Latin Jazz Orchestra Birdland 9, 11 pm $30 • Eugene Marlow’s The Heritage Ensemble BAM Howard Gilman Opera House 3 pm $20 • Lu Reid Jam Session Shrine 4 pm Nuyorican Poets Café 7:30 pm $15 • Marianne Solivan Blue Note 12:30, 2:30 pm $29.50 • Vocal Open Mic; Johnny O’Neal Smalls 4:30, 8:30 pm Roy Ayers Blue Note 8, 10:30 pm $35 • Roz Corral Trio with Dave Stryker, Paul Gill • Rose Rutledge Trio Ardesia Wine Bar 6:30 pm • • Secret Architecture Caffe Vivaldi 9:45 pm êBouncin’ with Bud: Tim Hagans, Greg Osby, Dan Tepfer, Lonnie Plaxico, Matt Wilson North Square Lounge 12:30, 2 pm Jazz Kids! with Amy Cervini 55Bar 2 pm $5 • Gabrielle Stravelli Trio The Village Trattoria 12:30 pm Birdland 8:30, 11 pm $30-40 • • Cidinho Teixeira Zinc Bar 10, 11:30 1 am • Kurt Rosenwinkel Standards Trio with Ugonna Okegwo, Colin Stranahan • Maurício de Souza Quartet with Nancy Harms, Benito Gonzales, Joonsam Lee • Jazz Jam hosted by Michael Vitali Comix Lounge 8 pm Village Vanguard 9, 11 pm $25 The Lamb’s Club 11:30 am • Brian Woodruff Jam Blackbird’s 9 pm

48 September 2012 | THE NEW YORK CITY JAZZ RECORD CLUB DIRECTORY

• 449 Lounge 449 Lenox Avenue Subway: 2, 3 to 135th Street • Downtown Music Gallery 13 Monroe Street (212-473-0043) • Ocean’s 8 at Brownstone Billiards 308 Flatbush Avenue • 55Bar 55 Christopher Street (212-929-9883) Subway: F to East Broadway www.downtownmusicgallery.com (718-857-5555) Subway: B, Q to Seventh Avenue Subway: 1 to Christopher Street www.55bar.com • Drom 85 Avenue A (212-777-1157) • The Paper Box 17 Meadow Street • 92YTribeca 200 Hudson Street Subway: F to Second Avenue www.dromnyc.com (718-383-3815) Subway: L to Grand Street www.paperboxnyc.com (212-601-1000) Subway: 1, A, C, E to Canal Street www.92y.org • Duane Park 157 Duane Street (212-732-5555) • Parlor Entertainment 555 Edgecombe Ave. #3F between 159th and • ABC No-Rio 156 Rivington Street (212-254-3697) Subway: 1, 2, 3 to Chambers Street www.duaneparknyc.com 160th Streets (212-781-6595) Subway: C to 155th Street Subway: J,M,Z to Delancey Street www.abcnorio.org • The Ear Inn 326 Spring Street at Greenwich Street (212-246-5074) www.parlorentertainment.com • American Folk Art Museum 45 W 53rd Street (212-265-1040) Subway: C, E to Spring Street www.earinn.com • Pete’s Candy Store 709 Lorimer Street Subway: E to 53rd Street www.folkartmuseum.org • Eats Restaurant 1055 Lexington Avenue Subway: 6 to 77th Street (718-302-3770) Subway: L to Lorimer Street • An Beal Bocht Café 445 W. 238th Street • Fat Cat 75 Christopher Street at 7th Avenue (212-675-6056) • The Plaza Hotel Rose Club Fifth Avenue at Central Park South Subway: 1 to 238th Street www.anbealbochtcafe.com Subway: 1 to Christopher Street/Sheridan Square www.fatcatmusic.org (212-759-3000) Subway: N, Q, R to Fifth Avenue www.fairmont.com • Antibes Bistro 112 Suffolk Street (212-533-6088) • Feinstein’s at Loews Regency 540 Park Avenue (212-339-4095) • Rhythm Splash 673 Flatbush Avenue Subway: J, Z to Essex Street www.antibesbistro.com Subway: 4, 5, 6 to 59th Street www.feinsteinsattheregency.com Subway: B, Q to Parkside Avenue • Antique Garage 41 Mercer Street (212-219-1019) • Fester 109 Broadway, Brooklyn Subway: J, M, Z to Marcy Avenue • Rockwood Music Hall 196 Allen Street (212-477-4155) Subway: N, Q, R, W to Canal Street • The Firehouse Space 246 Frost Street Subway: F, M to Second Avenue www.rockwoodmusichall.com • Anyway Café 34 E. 2nd Street (212-533-3412) Subway: L to Graham Avenue www.thefirehousespace.org • Rose Hall Broadway at 60th Street, 5th floor (212-258-9800) Subway: F to Second Avenue • Frank’s Cocktail Lounge 660 Fulton St. at Lafayette, Brooklyn Subway: 1, 2, 3, 9, A, C, E, B, D, F to Columbus Circle www.jalc.org • Ardesia Wine Bar 510 West 52nd Street (718-625-9339) Subway: G to Fulton Street • Roulette 509 Atlantic Avenue (212-247-9191) Subway: C to 50th Street www.ardesia-ny.com • The Garage 99 Seventh Avenue South (212-645-0600) (212-219-8242) Subway: 2, 3, 4, 5 to Atlantic Avenue www.roulette.org • Arthur’s Tavern 57 Grove Street (212-675-6879) Subway: 1 to Christopher Street www.garagerest.com • Rubin Museum 150 West 17th Street (212-620-5000) Subway: 1 to Christopher Street www.arthurstavernnyc.com • Garden Café 4961 Broadway at 207 Street Subway: A, C, E to 14th Street www.rmanyc.org • Arturo’s 106 W. Houston Street (at Thompson Street) (212-544-9480) Subway: A to 207th Street-Inwood • Saint Peter’s Church 619 Lexington Avenue at 54th Street (212-677-3820) Subway: A, B, C, D, E, F, M to W. 4th Street • Ginny’s Supper Club at Red Rooster Harlem 310 Malcolm X Boulevard (212-935-2200) Subway: 6 to 51st Street www.saintpeters.org • BAM Howard Gilman Opera House 30 Lafayette Avenue (212-792-9001) Subway: 2, 3 to 125th Street www.redroosterharlem.com • Sapphire NYC 333 East 60th Street (718-636-4100) Subway: Subway: M, N, R, W to Pacific Street; • Gospel Uptown 2110 Powell Junior Boulevard (212-421-3600) Subway: 4, 5, 6, N, Q, R to 59th Street Q, 1, 2, 4, 5 to Atlantic Avenue www.bam.org (212-280-2110) Subway: A, B, C, D to 125th Street www.gospeluptown.com www.nysapphire.com • BB King’s Blues Bar 237 W. 42nd Street (212-997-2144) • Grace Gospel Church 589 East 164th Street • Schimmel Center for the Arts 3 Spruce Street Subway: 1, 2, 3, 7 to 42nd Street/Times Square www.bbkingblues.com (718-328-0166) Subway: 2, 5 to Prospect Avenue (212-346-1715) Subway: 2, 3, 4, 5, A, C, J, Z to Fulton Street www.pace.edu • Bflat 277 Church Street (between Franklin and White Streets) • Grace Lutheran Church 31-20 21st Avenue, Astoria • The Schomburg Center 515 Macolm X Boulevard (212-491-2200) Subway: 1, 2 to Franklin Streets (718-728-0093) Subway: N, Q to Astoria-Ditmars Boulevard Subway: 2, 3 to 135th Street www.nypl.org/research/sc/sc.html • The Backroom 627 5th Avenue (718-768-0131) • Greenwich House Music School 46 Barrow Street • Seeds 617 Vanderbilt Avenue Subway: 2, 3, 4 to Grand Army Plaza Subway: D, N, R to Prospect Avenue www.freddysbar.com (212-242-4770) Subway: 1 to Christopher Street www.greenwichhouse.org www.seedsbrooklyn.org • Bar 4 15th Street and 7th Avenue (718-832-9800) Subway: F to 7th Avenue, • Harlem Stage Gatehouse 150 Convent Avenue at West 135th Street • ShapeShifter Lab 18 Whitwell Place N, M, R, D to Prospect Avenue www.bar4brooklyn.com (212-650-7100) Subway: 1 to 137th Street www.harlemstage.org (646-820-9452) Subway: R to Union Street www.shapeshifterlab.com • Bar Next Door 129 MacDougal Street (212-529-5945) • Henry’s 2745 Broadway (212-866-060) 1 to 103rd Street • Showman’s 375 West 125th Street at Morningside) (212-864-8941) Subway: A, B, C, D, E, F, M to W. 4th Street www.lalanternacaffe.com • Highline Ballroom 431 W 16th Street Subway: A, B, C, D to 125th Street www.showmansjazz.webs.com • The Bar on Fifth 400 Fifth Avenue (212-414-5994) Subway: A, C, E to 14th Street www.highlineballroom.com • Shrine 2271 Adam Clayton Powell Boulevard (212-690-7807) (212-695-4005) Subway: 6 to 33rd Street www.jazzbaronfifth.com • I-Beam 168 7th Street between Second and Third Avenues Subway: B, 2, 3 to 135th Street www.shrinenyc.com • Barbès 376 9th Street at 6th Avenue, Brooklyn (718-965-9177) Subway: F to 4th Avenue www.ibeambrooklyn.com • Sintir 424 E. 9th Street between Avenue A and First Avenue Subway: F to 7th Avenue www.barbesbrooklyn.com • Indian Road Café 600 West 218th Street @ Indian Road (212-477-4333) Subway: 6 to Astor Place • Bella Luna 584 Columbus Avenue Subway: B, C to 86th Street (212-942-7451) Subway: 1 to 215th Street www.indianroadcafe.com • Sistas’ Place 456 Nostrand Avenue at Jefferson Avenue, Brooklyn • Benoit 60 W. 55th Street • Iridium 1650 Broadway at 51st Street (212-582-2121) (718-398-1766) Subway: A to Nostrand Avenue www.sistasplace.org Subway: F to 57th Street, N, Q, R,W to 57th Street Subway: 1,2 to 50th Street www.theiridium.com • Skirball Center 566 LaGuardia Place at Washington Square • Bill’s Place 148 W. 133rd Street (between Lenox and 7th Avenues) • Irondale Center 85 South Oxford Street (212-992-8484) Subway: B, D, F, V, A, C, E to West 4th Street (212-281-0777) Subway: 2, 3 to 125th Street Subway: C Lafayette Street; G to Fulton Street www.gimmeartirondale.com • Smalls 183 W 10th Street at Seventh Avenue (212-252-5091) • Birdland 315 W. 44th Street (212-581-3080) • Issue Project Room 22 Boerum Place Subway: 1,2,3,9 to 14th Street www.smallsjazzclub.com Subway: A, C, E, to 42nd Street www.birdlandjazz.com (718-330-0313) Subway: 2, 3, 4, 5 to Borough Hall; A, C, F, N, R to Jay Street • Smoke 2751 Broadway between 105th and 106th Streets • Blackbird’s 41-19 30th Avenue (718-943-6898) www.issueprojectroom.org (212-864-6662) Subway: 1 to 103rd Street www.smokejazz.com Subway: R to Steinway Street www.blackbirdsbar.com • Jack 80 University Place Subway: 4, 5, 6, N, R to 14th Street • Sofia’s 221 W. 46th Street Subway: B, D, F to 42nd Street • Blue Note 131 W. 3rd Street at 6th Avenue (212-475-8592) • Japan Society 333 East 47th Street • Somethin’ Jazz Club 212 E. 52nd Street, 3rd floor (212-371-7657) Subway: A, B, C, D, E, F, M to W. 4th Street www.bluenotejazz.com (212-832-1155) Subway: 4, 5, 6 to 42nd Street www.japansociety.org Subway: 6 to 51st Street; E to Lexington Avenue-53rd Street • Brandy Library 25 N. Moore Street • Jazz at Kitano 66 Park Avenue at 38th Street (212-885-7000) www.somethinjazz.com/ny (212-226-5545) Subway: 1 to Franklin Street Subway: 4, 5, 6 to Grand Central www.kitano.com • Sora Lella 300 Spring Street (212-366-4749) • Brecht Forum 451 West Street (212-242-4201) • The Jazz Gallery 290 Hudson Street (212-242-1063) Subway: C, E to Spring Street www.soralellanyc.com Subway: A, C, E, L, 1, 2, 3, 9 to 14th Street www.brechtforum.org Subway: C, E, to Spring Street www.jazzgallery.org • Spectrum 121 Ludlow Street, 2nd floor Subway: F, M to Second Avenue • Brooklyn Bridge Park Furman Street and Atlantic Avenue • Jazz Museum in Harlem 104 E.126th Street (212-348-8300) • The Stone Avenue C and 2nd Street Subway: A, C to High Street; 2, 3 to Clark Street Subway: 6 to 125th Street www.jazzmuseuminharlem.org Subway: F to Second Avenue www.thestonenyc.com • Brooklyn Conservatory of Music 58 Seventh Avenue, Brooklyn • Jazz Standard 116 E. 27th between Park and Lexington Avenue • Sugar Bar 254 W. 72 Street between Broadway and West End Avenue Subway: F to Seventh Avenue, N, R to Union Street www.bqcm.org (212-576-2232) Subway: 6 to 28th Street www.jazzstandard.net (212-579-0222) Subway: 1, 2, 3 to 72nd Street www.sugarbarnyc.com • Bryant Park 5th and 6th Avenues between 40th and 42nd Streets • Joe G’s 244 West 56th Street (212-765-3160) • Swing 46 349 W. 46th Street (646-322-4051) Subway: 4, 5, 6 to 42nd Street www.bryantpark.org Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle Subway: A, C, E to 42nd Street www.swing46.com • Buona Sera 12th Street and University Place • Joe’s Pub 425 Lafayette Street (212-539-8770) • Sycamore 1118 Cortelyou Road (347-240-5850) Subway: 4, 5, 6, L, N, R, Q, W to Union Square Subway: N, R to 8th Street-NYU; 6 to Astor Place www.joespub.com Subway: B, Q to to Cortelyou Road www.sycamorebrooklyn.com • CJ Cullens Tavern 4340 White Plains Road, Bronx • Kellari Taverna 19 West 44th Street (212-221-0144) • Symphony Space Leonard Nimoy Thalia and Peter Jay Sharp Theatre Subway: 2 to Nereid Avenue/238th Street Subway: B, D, F, M, 7 to 42nd Street-Bryant Park www.kellari.us 2537 Broadway at 95th Street (212-864-5400) • Café Carlyle 35 East 76th Street (212-744-1600) • Knickerbocker Bar & Grill 33 University Place (212-228-8490) Subway: 1, 2, 3, 9 to 96th Street www.symphonyspace.org Subway: 6 to 77th Street www.thecarlyle.com Subway: N, R to 8th Street-NYU www.knickerbockerbarandgrill.com • Tea Lounge 837 Union Street, Brooklyn (718-789-2762) • Café Loup 105 W. 13th Street between Sixth and Seventh Avenues • Korzo 667 5th Avenue, Brooklyn (718-285-9425) Subway: N, R to Union Street www.tealoungeNY.com (212-255-4746) Subway: F to 14th Street www.cafeloupnyc.com Subway: R to Prospect Avenue www.korzorestaurant.com • Tomi Jazz 239 E. 53rd Street (646-497-1254) • Caffe Vivaldi 32 Jones Street • Launch Pad Gallery 721 Franklin Avenue, Brooklyn Subway: 6 to 51st Street www.tomijazz.com Subway: A, B, C, D, E, F, M to W. 4th Street www.caffevivaldi.com (718-928-7112) Subway: S to Park Place www.brooklynlaunchpad.org • Union Pool 484 Union Avenue at Meeker • Casaville 633 Second Avenue • The Lambs Club 132 W. 44th Street (718-609-0484) Subway: L to Lorimer Street (212-685-8558) Subway: 6 to 33rd Street www.casavillenyc.com 212-997-5262 Subway: A, C, E, to 42nd Street www.thelambsclub.com • University of the Streets 130 East 7th Street • Cassa Hotel and Residences 70 W. 45th Street, 10th Floor Terrace • Le Poisson Rouge 158 Bleecker Street (212-228-4854) (212-254-9300) Subway: 6 to Astor Place www.universityofthestreets.org (212-302-87000 Subway: B, D, F, 7 to Fifth Avenue www.cassahotelny.com Subway: A, B, C, D, E, F, M to W. 4th Street www.lepoissonrouge.com • University Settlement 184 Eldridge Street (212-674-9120) • Charley O’s 1611 Broadway at 49th Street (212-246-1960) • Lenox Lounge 288 Lenox Avenue between 124th and 125th Streets Subway: F, M to Second Avenue www.universitysettlement.org Subway: N, R, W to 49th Street (212-427-0253) Subway: 2, 3 to 125th Street www.lenoxlounge.com • Velour Lounge 297 10th Avenue • Chez Lola 387 Myrtle Avenue, Brooklyn (718-858-1484) • LIC Bar 45-58 Vernon Boulevard (212-279-9707) Subway: C, E to 23rd Street www.velournyc.com Subway: C to Clinton-Washington Avenues www.bistrolola.com (718-786-5400) Subway: 7 to Vernon-Jackson Boulevard • Via Della Pace 48 East 7th Street and Second Avenue • Chez Oskar 211 Dekalb Ave, Brooklyn (718-852-6250) • The Local 802 322 W. 48th Street between Eighth and Ninth Avenues (212-253-5803) Subway: 6 to Astor Place Subway: C to Lafayette Avenue www.chezoskar.com (212-245-4802) Subway: C to 50th Street www.jazzfoundation.org • The Village Trattoria 135 West 3rd Street (212-598-0011) • Citigroup Center Plaza 53rd Street and Lexington Avenue • The Loft of Thomas Rochon 100 Grand Street, 6th Floor Subway: A, B, C, D, E, F, M to W. 4th Street www.thevillagetrattoria.com Subway: 6 to 51st Street Subway: 6, A, C, E, N, Q, R to Canal Street • Village Vanguard 178 Seventh Avenue South at 11th Street • Cleopatra’s Needle 2485 Broadway (212-769-6969) • Londel’s 2620 Frederick Douglas Boulevard (212-234-6114) (212-255-4037) Subway: 1, 2, 3 to 14th Street www.villagevanguard.com Subway: 1, 2, 3 to 96th Street www.cleopatrasneedleny.com Subway: 1 to 145th Street www.londelsrestaurant.com • Village Zendo 588 Broadway (212-340-4656) • Club A Steakhouse 240 E. 58th Street (212-618-4190) • McDonald’s 160 Broadway between Maiden Lane and Liberty Street Subway: B, D, F, M to Broadway-Lafayette Street www.villagezendo.org Subway: 4, 5, 6 to 59th Street www.clubasteak.com (212-385-2063) Subway: 4, 5 to Fulton Street www.mcdonalds.com • Vino di Vino Wine Bar 29-21 Ditmars Boulevard, • Comix Lounge 353 W. 14th Street Subway: L to 8th Avenue • Maison Premiere 298 Bedford Avenue (718-721-3010) Subway: N to Ditmars Blvd-Astoria • Community Church of New York 40 E. 35th Street (347-335-0446) Subway: L to Bedford Avenue www.maisonpremiere.com • Walker’s 16 North Moore Street (212-941-0142) (212-594-7149) Subway: 6 to 33rd Street • Merkin Concert Hall 129 W. 67th Street between Broadway and Subway: A, C, E to Canal Street • The Complete Music Studio 227 Saint Marks Avenue, Brooklyn (212-501-3330) Subway: 1 to 66th Street-Lincoln Center • Waltz-Astoria 23-14 Ditmars Boulevard (718-95-MUSIC) (718-857-3175) Subway: B, Q to Seventh Avenue www.completemusic.com www.kaufman-center.org Subway: N, R to Ditmars Blvd-Astoria www.Waltz-Astoria.com • Cornelia Street Café 29 Cornelia Street (212-989-9319) • Metropolitan Room 34 West 22nd Street (212-206-0440) • Water Street Restaurant 66 Water Street (718-625-9352) Subway: A, B, C, D, E, F, M to W. 4th Street www.corneliastreetcafé.com Subway: N, R to 23rd Street www.metropolitanroom.com Subway: F to York Street, A, C to High Street • The Counting Room 44 Berry Street (718-599-1860) • NY Society for Ethical Culture (NYSEC) 2 W. 64th Street • Williamsburg Music Center 367 Bedford Avenue Subway: L to Bedford Avenue www.thecountingroombk.com (212-873-2848) Subway: 1, 2 to 66th Street-Lincoln Center www.nysec.org (718-384-1654) Subway: L to Bedford Avenue • Crescent and Vine 25-01 Ditmars Boulevard at Crescent Street • NYC Baha’i Center 53 E. 11th Street (212-222-5159) • Winter Garden Battery Park City Subway: E to World Trade Center (718-204-4774) Subway: N, Q to Ditmars Boulevard-Astoria Subway: 4, 5, 6, N, R to 14th Street-Union Square www.bahainyc.org www.worldfinancialcenter.com • Crooked Knife 29 East 30th Street (212-696-2593) • Night of the Cookers 767 Fulton Street, Brooklyn • York College (CUNY) 94-20 Guy R. Brewer Boulevard, Queens Subway: 6 to 33rd Street www.thecrookedknife.com (718-797-1197) Subway: C to Lafayette Avenue Subway: E to Jamaica Center www.york.cuny.edu • The Cupping Room 359 West Broadway between Broome and Grand Street • Nino’s Tuscany 117 W. 58th Street (212-757-8630) • Ze Couch Series 533 Ocean Avenue Subway: B, Q to Church Avenue (212-925-2898) Subway: A, C, E to Canal Street Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.ninostuscany.com • Zeb’s 223 W. 28th Street • David Rubenstein Atrium Broadway at 60th Street • North Square Lounge 103 Waverly Place (212-254-1200) 212-695-8081 Subway: 1 to 28th Street www.zebulonsoundandlight.com (212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle Subway: A, B, C, E, F to West 4th Street www.northsquarejazz.com • Zebulon 258 Wythe Avenue, Brooklyn (718-218-6934) www.jalc.org • Notaro Second Avenue between 34th & 35th Streets (212-686-3400) Subway: L to Bedford Avenue www.zebuloncafeconcert.com • Dizzy’s Club Broadway at 60th Street, 5th Floor (212-258-9800) Subway: 6 to 33rd Street • Zinc Bar 82 West 3rd Street (212-477-8337) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.jalc.org • Nublu 62 Avenue C between 4th and 5th Streets Subway: A, B, C, D, E, F, M to W. 4th Street www.zincbar.com • Douglass Street Music Collective 295 Douglass Street (212-979-9925) Subway: F, M to Second Avenue www.nublu.net • ZirZamin 90 West Houston Street Subway: R to Union Street www.295douglass.org • Nuyorican Poets Café 236 E. 3rd Street between Avenues B and C (646-823-9617) Subway: B, D, F, M to Broadway-Lafayette Street (212-505-8183) Subway: F, M to Second Avenue www.nuyorican.org www.zirzaminnyc.com

THE NEW YORK CITY JAZZ RECORD | September 2012 49 (JAZZALDIA CONTINUED FROM PAGE 13) subconscious. The video backdrops are the mystery Nuova Camerata is a recently formed, Lisbon- made momentarily visible in flickering glimpses. based quintet that matches the sonic and harmonic Håkon Kornstad’s concert, after midnight under Jazzaldia was a five-day jazz festival with almost vocabulary of mid-20th century European formal the dome of a converted church in the Museo San 100 concerts that built to a climax and ended with its music - Messiaen, Boulez - with the methodology of Telmo, was spellbinding. It began with his tenor single most powerful performance. v improvisation. Veteran violinist Carlos Zíngaro is saxophone wafting up into the towering, reverberant adept at spontaneously generating music that sounds space. Then he used digital loops to turn himself into a For more information, visit heinekenjazzaldia.com uncannily like the advanced mathematics of serialism tenor saxophone choir. Then he added another tenor while classical percussionist Pedro Carneiro, a tone, his own operatic singing voice. Then two more newcomer to improvisation, is possessed of very quick musicians joined, Harkaitz Martínez de San Vicente ears as well as hands. The younger string players - and Mikel Ugarte. Together, they played an ethnic (NEWPORT CONTINUED FROM PAGE 13) violist João Camões, cellist Ulrich MitzIaff and bassist Basque percussion instrument, the Txalaparta. Striking Miguel Leiria Pereira - diligently followed Zíngaro’s tuned planks with mallets, they surrounded Kornstad The next day, at the Harbor Stage, Mahanthappa clear leads, creating pieces of striking coherence. with ringing, chiming clouds of sound. Kornstad is an led his band, Samdhi, comprised of guitarist David At the opposite pole of sound, the Leeds, England original thinker and a poet of the first order. Gilmore, electric bassist Rich Brown and drummer band Trio VD worked at of chaos with does not so much play songs as Rudy Royston. They started with the appropriately telepathic organization, using minimal cueing to create generate huge looming sonic events. His sound on titled “Killer”, a pulsating, funky raga. Mahanthappa an ever-shifting montage of sharp-edged fragments. is his own: seagull cries over oceans of overdubbed himself on alto, with a computer assist, on Saxophonist Christophe de Bézenac and guitarist Chris the night, waves crashing into rocks. Jazzaldia put the funky and whimsical “Enhanced Performance”. Sharkey constantly shifted between articulating Rypdal and three kindred spirits (Ståle Storløkken, “Breakfastlunchanddinner”, which had a dance groove acoustic bits then sampling, processing, combining keyboards; Nikolai Eilertsen, bass; Paolo Vinaccia, with a bop border, underscored Mahanthappa’s and recombining them, all of this matched to the drums) in the Sala Club beneath the Teatro Victoria wonderful sense of humor. Mahanthappa ended his precision drumming of Chris Bussey to oscillate Eugenia, at one in the morning. In the small space it outstanding set, sweat-soaked and beaming, with the violently between playground and psychodrama. was scary-loud, the antithesis of bedtime music. ballad “For All the Ladies” where even his stridency The third band to appear at the Teatro do Bairro Some of the most intriguing music came from and harmonics had structural balance and coherence. was the trio Das Kapital. Guitarist Hasse Poulsen, Basques. Cantus Caterva, led by drummer Hasier Following Mahanthappa was the string/vocal trio tenor saxophonist Daniel Erdmann and drummer Oleaga, was a quintet that snuck up on you, because of Gretchen Parlato, Lionel Loueke and Becca Stevens. Edward Pérraud performed Hanns Eisler compositions their intelligent version of new millennium jazz was so Loueke was on guitar and vocals while Stevens and from Bertolt Brecht plays and Hollywood movies, even subtle. All the fresh, clear melodies were Oleaga’s. Two Parlato played various stringed instruments between the East German national anthem. The trio created a notable players were Iñaki Salvador, a sinuous, them. They opened with Loueke’s “Farfina” and their free jazz cabaret in the festival’s most entertaining set, seductive pianist, and alto saxophonist Mikel Andueza, collective vocalizing was sharp and colorful. Parlato mining Eisler’s plaintive melodies and hard-edged whose solos were flowing and serene (even on “Mamu then sung lead and played ukulele on her arrangement rhythms for maximum effect, then exploding them Sumoak”, which means something like “expecting the of the Jacksons’ “Push Me Away”. Loueke sung one of with expressionist bursts. The evening was capped by monster”). On the last night, under the high dome of his songs, “Akwe”, whose theme was, as he stated DJ Sniff, whose turntable and sampler exploration of the San Telmo, Gonzalo Tejada on bass and Olivier Ker succinctly, “Just don’t waste water!” Parlato’s phrasing free jazz began as collage but developed into a kind of Ourio on harmonica played a recital as rapt as a séance. on another song, “I Can’t Help It”, sustained dream state. The harmonica is a niche instrument in jazz, but its seemed self-conscious, as if she was vocalizing from The theatre’s emphasis on deconstructed melody sonorities can be uniquely affecting, especially in an memory and not emotion. The last song of the set was was matched by the younger bands on the main stage acoustic environment that extends every yearning note the best, Parlato on charango (a small stringed at the Gulbenkian. The British quintet Led Bib plays a with long decays. “Both Sides Now” and “” instrument made from the back of an armadillo). The form of latter-day fusion, emphatic funk rhythms were piercing in their poignance. song, “Magnus”, was based on a melody that the titular underscoring the two-alto frontline in which Pete Nils Petter Molvær played long after midnight on child invented to sing to his future sibling, who was in Grogan seems to shadow Chris Williams’ rapid, roller- the last night, under the stars in the “claustro” his mother’s belly. coaster lines. (cloisters) of San Telmo. His trio with guitarist Stian The Maria Schneider Orchestra, a virtual all-star The final concert in the garden was also one of the Westerhus and drummer Erland Dahlen is one of the team, was at the Fort Stage. Accordionist Gary Versace best, with bassist Ingebrigt Håker Flaten’s Chicago most revolutionary and important projects in current duked it out with guitarist Ben Monder on “Green Sextet achieving rare levels of drive and invention, jazz. Molvær plays trumpet with spare, cryptic Piece”, until Frank Kimbrough stepped in wonderfully with fellow Norwegian channeling the lyricism, but his horn is just one design element in a on piano. Schneider’s lovely tribute to Gil Evans, ghosts of jazz-rock violin and an assemblage of the gigantic symphony of sound and light created by his “Evanescence”, featured excellent solos by altoist Midwest’s finest. Guitarist Jeff Parker and drummer band’s daring, aggressive use of electronics and video Charles Pillow and trombonist Marshall Gilkes. The Frank Rosaly were as adept at overdriven rock as free imagery. A simple figure from Westerhus or Molvær driving “Gumba Blue” was highlighted by Ryan jazz. Vibraphonist Jason Adasiewicz and saxophonist can be digitally exploded into seething sonic oceans. Keberle’s quicksilver trombone and Greg Gisbert’s were brilliant, the latter’s unaccompanied No one in jazz uses technology more creatively than soaring trumpet. The orchestra then performed the exploration of baritone multiphonics lingering long Molvær. He makes his own world with it. He makes premiere of Schneider’s “Home”, a commissioned after the festival’s final note. v music of dark beauty with haunting melodies within suite for Newport, which was dedicated to George the maelstrom, music that touches secrets of the Wein. It was a lovely, lilting, soaring piece highlighted For more information, visit musica.gulbenkian.pt/jazz by more of Versace’s accordion and stellar baritone sax by Scott Robinson. Schneider closed out with the uplifting “Hang Gliding in Rio”, again featuring lovely The New York City Jazz Record tenor work by Donny McCaslin. NEW YORK’S ONLY HOMEGROWN JAZZ GAZETTE! One constant remains at the Newport Jazz Festival: • EXCLUSIVE CONTENT ON JAZZ AND Wein is still on the scene. One of the great sights of the IMPROVISED MUSIC IN NEW YORK CITY weekend was seeing the convivial 86-year-old icon • COMPETITIVE & EFFECTIVE ADVERTISING: being driven around in a golf cart that was rechristened [email protected] the “Wein Machine” in his honor. v • SUBSCRIPTIONS AND GENERAL INFO: For more information, visit newportjazzfest.net [email protected] • FOLLOW US ON TWITTER: @NYCJAZZRECORD (JAZZ EM AGOSTO CONTINUED FROM PAGE 13)

The outdoor concerts take place on the first two weekends of August. This year the intervening weekdays included three nights at the Teatro do Bairro in the narrow winding streets of Lisbon’s Bairro Alto, trading the perfumed woods of the Gulbenkian Park www.nycjazzrecord.com for a cigarette-scented black box theatre.

50 September 2012 | THE NEW YORK CITY JAZZ RECORD IN MEMORIAM By Andrey Henkin BUCKY ADAMS - As an 11-year-old trumpeter, Adams played for Queen Elizabeth’s visit to EDWIN DUFF - The Scottish popular singer started his career on the other side of the world in Canada. Later he picked up his father’s tenor saxophone and eventually played alongside Louis Australia, winning a vocal contest as a ten-year-old on the ship journey down under. He became a Armstrong, Dizzy Gillespie, , and BB King. A fixture on his hometown national star there, working often on the radio and with many of that country’s big bands as well Halifax jazz scene, Adams died Jul. 13th at 75. as with visiting Americans like Dizzy Gillespie, , Carmen McRae, and Art Tatum. Duff died Jul. 9th at 84. DON BAGLEY - The saxophonist composed the score to the 1975 slasher flick The Swinging Barmaids but actually did some real swinging himself as a member of ’s band as well BEN KYNARD - While part of ’s band in the ‘40s, the baritone saxophonist wrote as with his own groups in the ‘50s. An active session and touring musician with people like Dexter the future jazz standard “Red Top”, though he never got the accolades that later covers of the tune Gordon, Åke Persson, , Phil Woods and , Bagley died Jul. 26th at 85. received. Kynard also played with Willis Jackson briefly but spent his post-Hamp days working for the US Postal Service while jamming in his native Kansas City at night. Kynard died Jul. 5th at LIONEL BATISTE - A mentor to many younger jazz and blues musicians in his native New 92. Orleans, the singer and bass drummer, known as Uncle Lionel, was assistant leader of the Treme Brass Band since 1995, led Norway’s Molde Jazz parade since 2000 and frequently appeared in the LARANCE MARABLE - A mainstay in bassist Charlie Haden’s late ‘80s-present Quartet West, the HBO show Treme. Batiste died Jul. 8th at 81. stalwart Los Angeles drummer came up in that city’s jazz scene in the ‘50s, playing with visiting boppers like Wardell Gray, Charlie Parker and as well as up-and-coming locals like JOSE ROBERTO BERTRAMI - The Brazilian keyboardist was a tri-founder of the jazz-funk group Chet Baker and Frank Morgan while touring in the ‘70s with and . Azymuth in 1972, which released a number of albums on Milestone in the ‘80s and Far Out in the Marable died Jul. 4th at 83. ‘90s-00s. Prior to and during his time with Azymuth, Bertrami released albums as a leader and worked with Latin jazzers and vocalists like Sarah Vaughan, Mark Murphy and . ILHAN MIMAROGLU - Known primarily for the acoustic and groundbreaking electronic music Bertrami died Jul. 8th at 66. he wrote from the ‘50s on, the composer was also a producer at Atlantic (and later his own Finnadar) Records, where he worked with and Charles Mingus in the ‘70s as MARIA HAWKINS COLE - Though as a vocalist she is overshadowed by her husband Nat King well as John Cage and Karlheinz Stockhausen. Mimaroglu died Jul. 17th at 86. Cole (and later, daughter Natalie), prior to her marriage Hawkins was a big band vocalist with Duke Ellington and Count Basie in the mid ‘40s. Hawkins Cole died Jul. 10th at 89. ROB PRONK - An arranger for Holland’s Metropole Orchestra for 30 years, Pronk also played trumpet with and arranged for Kurt Edelhagen in the ‘50s and then appeared occasionally as a LOL COXHILL - While other British saxophonists of his generation were splitting off into genre pianist with such players as Dexter Gordon, and as well as teaching factions, Coxhill could and did play everything, mixing a love of traditional jazz with a keen arranging and composition at Rotterdam Conservatory. Pronk died Jul. 6th at 84. improvisatory intellect. Early in his career he worked in the bands of Kevin Ayers and participated in ’s Companys all while playing with visiting blues musicians. Later he became more JODY SANDHAUS - The vocalist’s first album Winter Moon featured her husband, pianist Pete closely aligned with English school of improvising and focused on soprano saxophone, both as a Malinverni. Since the ‘80s, after a piano education founded on , she performed in solo performer and with Trevor Watts, , AMM and more recently the London many New York City venues and released three more albums that included both well-known Improvisers Orchestra. Coxhill died Jul. 9th at 79. standards and unusual vocal fare. Sandhaus died Jul. 17th at 47. BIRTHDAYS September 1 September 7 September 12 September 16 September 21 September 26 † 1925-82 †Max Kaminsky 1908-94 †Cat Anderson 1916-81 †Joe Venuti 1903-78 †Slam Stewart 1914-87 †George Gershwin 1898-1937 Willie Ruff b.1931 †Graeme Bell 1914-2012 †Joe Shulman 1923-57 Jon Hendricks b.1921 Chico Hamilton b.1921 †Dick Heckstall-Smith †Gene Harris 1933-2000 Sonny Rollins b.1930 †Earl Coleman 1925-95 †Charlie Byrd 1925-99 †Fred Hunt 1923-86 1934-2005 b.1955 †Makanda Ken McIntyre Steve Turre b.1948 † 1938-2011 Sunny Murray b.1937 b.1940 Essiet Essiet b.1956 1931-2001 Joëlle Léandre b.1951 Lisle Atkinson b.1940 John Clark b.1944 Vic Juris b.1953 Wolter Wierbos b.1957 Ron Blake b.1956 Scott Hamilton b.1954 b.1940 Nicholas Payton b.1973 Bruce Barth b.1958 Adam Rudolph b.1955 b.1951 September 22 Mamiko Watanabe b.1980 September 2 Irvin Mayfield b.1978 Brian Lynch b.1956 Graham Haynes b.1960 †Fletcher Smith 1913-93 Horace Silver b.1928 Marc Mommaas b.1969 Chris Cheek b.1968 Bill Smith b.1926 September 27 †Clifford Jordan 1931-93 September 8 Champian Fulton b.1985 Ken Vandermark b.1964 †Bud Powell 1924-66 S c o t F r i e d l a n †Walter Davis Jr. 1932-90 †Wilbur Ware 1923-79 September 17 Alex Kontorovich b.1980 †Hank Levy 1927-2001 GEORGE GARZONE John Zorn b.1953 †Specs Wright 1927-63 September 13 †Jack McDuff 1926-2001 †Red Rodney 1927-94 September 23rd, 1950 Jonas Kullhammar b.1978 †Marion Brown 1935-2010 †”Chu” Berry 1908-41 †Earl May 1927-2008 September 23 Mike Nock b.1940 The tenor saxist’s technique † 1935-95 †Leonard Feather 1914-94 Theo Loevendie b.1930 †Albert Ammons 1907-49 Matt Wilson b.1964 September 3 Butch Warren b.1939 †Dick Haymes 1916-80 David Williams b.1946 †John Coltrane 1926-67 and musical imagination was Mickey Roker b.1932 †Charles Brown 1922-99 Jeff Ballard b.1963 †Frank Foster 1928-2011 September 28 honed during weekly gigs in Larry Ridley b.1937 September 9 †Mel Torme 1925-99 Craig Haynes b.1965 † 1928-2005 †John Gilmore 1931-95 his native Boston with the Onaje Allan Gumbs b.1949 †Elvin Jones 1927-2004 Alex Riel b.1940 †Ray Charles 1930-2004 Gerd Dudek b.1938 freeish trio The Fringe (the Veryan Weston b.1950 †Walter Benton 1930-2000 b.1955 September 18 Norma Winstone b.1941 Ray Warleigh b.1938 first two albums are essential) Peter Bernstein b.1967 Zbigniew Namyslowski b.1939 Moppa Elliott b.1978 †Steve Marcus 1939-2005 Jeremy Steig b.1943 Rod Mason b.1940 starting in 1972. Since then he David Sanchez b.1968 George Mraz b.1944 Jovino Santos Neto b.1954 George Garzone b.1950 † 1940-2009 has applied his Coltrane- September 14 John Fedchock b.1957 †Mike Osborne 1941-2007 influenced style to a number September 4 September 10 †Cachao 1918-2008 † 1957-90 September 24 † 1955-98 of albums as leader as well as b.1918 †Frank Coughlan 1904-79 †Jay Cameron 1928-2011 Pete Zimmer b.1977 †”Fats” Navarro 1923-50 appearances with a wide- David Liebman b.1946 †Rod Rodriguez 1906-92 †Bill Berry 1930-2002 †John Carter 1929-91 September 29 ranging selection of artists like Lonnie Plaxico b.1960 †Raymond Scott 1908-94 Joseph Jarman b.1937 September 19 Wayne Henderson b.1939 Rolf Kühn b.1929 George Russell, Gunther Kenny Davis b.1961 †Joe Deniz 1913-1994 Eddie Moore b.1940 Muhal Richard Abrams b.1930 Bill Connors b.1949 Malcolm Griffiths b.1941 Schuller, Joe Lovano and Bireli Lagréne b.1966 †Cliff Leeman 1913-86 Oliver Lake b.1942 †Lol Coxhill 1932-2012 Jay Hoggard b.1954 Jean-Luc Ponty b.1942 Danilo Perez. His influence, Patrick Cornelius b.1978 †Ken Rattenbury 1920-2001 Jerome Sabbagh b.1973 Tatsu Aoki b.1957 Ingrid Laubrock b.1970 Roy Campbell b.1952 † Lasha 1929-2008 Aram Shelton b.1976 Bruce Cox b.1959 Walter Smith III b.1980 Dave Kikoski b.1961 instrumentally at least, may be September 5 Roy Ayers b.1940 Brian Landrus b.1978 Cuong Vu b.1969 Alex Skolnick b.1968 felt more in the students he †Albert Mangelsdorff Dave Burrell b.1940 Diederik Rijpstra b.1982 September 25 has taught (including Joshua 1928-2005 Craig Harris b.1954 September 20 †Alex Bigard 1899-1978 September 30 Redman and Branford †Eddie Preston 1928-2009 Steve Davis b.1958 September 15 †Jackie Paris 1926-2004 †Charlie Allen 1908-72 †Buddy Rich 1917-87 Marsalis) - many of whom †Richie Powell 1931-56 †Al Casey 1915-2005 † 1927-2010 † 1923-2011 † 1922-60 pack whatever club in which Charles “Bobo” Shaw b.1947 September 11 †Gene Roland 1921-82 † 1927-92 †Roland Alexander 1935-2006 †Carmen Leggio 1927-2009 he is playing - as a longtime †Charles Moffett 1929-97 †Arvell Shaw 1923-2002 Joe Temperley b.1929 Horacee Arnold b.1937 †Jon Eardley 1928-91 educator at such institutions September 6 †Baby Face Willette 1933-1971 †Julian “Cannonball” Adderley Eddie Gale b.1938 Mike Gibbs b.1937 †Steve McCall 1933-89 as Berklee College of Music, †Buddy Bolden 1877-1931 Oliver Jones b.1934 1928-75 † 1947-2011 John Taylor b.1942 Antonio Hart b.1968 New England Conservatory † 1936-89 †Hiram Bullock 1955-2008 †Seldon Powell 1928-97 Steve Coleman b.1956 Craig Handy b.1962 Melissa Stylianou b.1976 and The New School. -AH Peter Van Huffel b.1978 Dan Aran b.1977 Ned Rothenberg b.1956 Ben Kono b.1967 b.1964 Marshall Gilkes b.1978 ON THIS DAY by Andrey Henkin

Live In Hollywood Bad! Bossa Nova Live at the Lighthouse To a Finland Station 9.9.99 Wardell Gray (Xanadu) (Prestige) Elvin Jones (Blue Note) Gillespie/Sandoval (Pablo) Per Henrik Wallin (Stunt) September 9th, 1952 September 9th, 1962 September 9th, 1972 September 9th, 1982 September 9th, 1999 The Haig, where this album was Gene Ammons, son of pianist Albert Despite fame from his association Trumpeter owes Swedish pianist Per Henrik Wallin is recorded, was an important club in Ammons, was one of the fathers of the with Coltrane, drummer Elvin Jones much to Dizzy Gillespie. Not only one of those musicians who worked the careers of many West Coast jazz Chicago tenor tradition. After work always was his own man, waxing his was the elder musician a formative under the surface of general jazz musicians. Tenor saxophonist Gray with and his father, debut as a leader in the early ‘60s. influence but it was during a 1990 consciousness, appreciated by those settled in Los Angeles in the mid ‘40s Ammons worked mostly as a leader, After Coltrane’s death, Jones became tour with Gillespie that Sandoval who discovered him. His discography after time with Earl Hines and was an including a partnership with Sonny more active fronting groups and defected from his native Cuba. This is broken up into two periods, the active player until his mysterious Stitt. His recording rate was consistent mentoring younger musicians. Three album, recorded five years after early period recording for indigenous death in 1955 at age 34. Joining Gray until this date, which was done before of those are here: the twin saxophones Sandoval finally met his idol, was labels Dragon and Caprice, halted for this program of mostly standards a seven-year incarceration for drugs of Steve Grossman and Dave Liebman documented in the Finnish capital of due to a 1988 accident, then starting is (trumpet), Hampton (his second). Ammons only wrote (the former a Miles alum, the latter Helsinki, the trumpeters working again in the late ‘90s, often working Hawes (piano, also writing “Jackie”), “Moito Mato Grosso” of the album’s just starting with the trumpeter) and with a local rhythm section (including with younger Swedish musicians. (guitar on three six tunes, supported by the dual bassist Gene Perla. Liebman and Perla the bassist brother of pianist Heikki This date includes bassist Peter Janson tunes), Joe Mondragon (bass) and of and Bucky penned half the tracks from this Sarmanto) for a five-tune program of and drummer Leif Wennerstrôm for a Shelly Manne (drums), Amos Trice Pizzarelli, with pianist Hank Jones in Hermosa Beach concert, the last of Gillespie pieces, including the 10-song set highlighting Wallin’s replacing Hawes for a pair of songs. the rhythm section. many jazz albums made there. humorously titled “Dizzy the Duck”. inside-out sensibilities.

THE NEW YORK CITY JAZZ RECORD | September 2012 51