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JULY 2014 - ISSUE 147 YOUR FREE GUIDE TO THE NYC SCENE NYCJAZZRECORD.COM BILL CHARLAP MUSICAL DESTINY

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, so I heard it all the time. My father—he wasn’t wasn’t father—he My time. the all it heard I so , Pershing

in his ability to assimilate with Corcoran and McClenty McClenty and Corcoran with assimilate to ability his in

question a genius, in my opinion, a genius of the drums drums the of genius a opinion, my in genius, a question learned so many solos. Anyway, after I got an opportunity opportunity an got I after Anyway, solos. many so learned . Love the is Where

Live at the the at Live to house the clean to morning the in up get

with Orrin. I really enjoyed his playing. He was very fast fast very was He playing. his enjoyed really I Orrin. with

life changing; another musical highlight. He was without without was He highlight. musical another changing; life a little bit stronger on that than I really was because I’d I’d because was really I than that on stronger bit little a and then the great ’70s classic, classic, ’70s great the then and Taylor Mr. by followed is

were avid listeners. We’d wash dishes to or or Davis Miles to dishes wash We’d listeners. avid were

Right, this was the first time in my life I had ever played played ever had I life my in time first the was this Right,

opportunity to play in his band. So, that was obviously obviously was that So, band. his in play to opportunity father’s urging, so, in some ways, I probably could sound sound could probably I ways, some in so, urging, father’s , , Me on Think first, The identity. band a establish definitely

hearing the music in my house all the time. My parents parents My time. the all house my in music the hearing

the chance to know him a little bit; then, I was offered the the offered was I then, bit; little a him know to chance the learned quite a few solos on “rhythm changes” through my my through changes” “rhythm on solos few a quite learned

they weren’t recorded in this order, of course, but they they but course, of order, this in recorded weren’t they

Maybe it’s kind of like playing with a new band. new a with playing like of kind it’s Maybe

your own choices but, again, I feel most happy that I was was I that happy most feel I again, but, choices own your

DAMON SMITH DAMON -

him but I get the chance to have him on the recording; recording; the on him have to chance the get I but him chord progression from Gershwin’s “I Got Rhythm”) I had had I Rhythm”) Got “I Gershwin’s from progression chord the band feeling, is very strong. These middle three tunes, tunes, three middle These strong. very is feeling, band the

got to hear it and internalize it. From there, you can make make can you there, From it. internalize and it hear to got

my musical perspective. musical my calling about nervous of kind was I it. on playing about him

( changes.” “rhythm was which song, break a be Right, so, now by the middle of the album, the band sound, sound, band the album, the of middle the by now so, Right, NOTE:

the defining artists of our time, Javon Jackson. Jackson. Javon time, our of artists defining the

Yeah, the big thing is that music is an aural art so you’ve you’ve so art aural an is music that is thing big the Yeah,

a leader, James Williams encouraged me to reach out to to out reach to me encouraged Williams James leader, a that these different experiences would enhance my music, music, my enhance would experiences different these that

anymore. Anyway, at the end of the night, there would would there night, the of end the at Anyway, anymore.

meaning. It’s an important artistic message from one of of one from message artistic important an It’s meaning.

and I just love the melody. the love just I and

of performing with these other giants and, for me, I feel feel I me, for and, giants other these with performing of Elvin and his wife Keiko. When I got my first recording as as recording first my got I When Keiko. wife his and Elvin

you simply have to figure out for yourself? for out figure to have simply you occurred at Mikell’s in New York City, which isn’t there there isn’t which City, York New in Mikell’s at occurred

be relaxed and natural but also full of depth, integrity and and integrity depth, of full also but natural and relaxed be

Cole recordings. I’ve always liked those performances performances those liked always I’ve recordings. Cole

you’d love to try to embrace it on a deeper level in terms terms in level deeper a on it embrace to try to love you’d known had I so appearances, guest of couple a made he

It seems, too, like there’s a certain part of this music that that music this of part certain a there’s like too, seems, It go down and play one particular number with Art. This This Art. with number particular one play and down go

proves again that great music can can music great that again proves Expression enjoyable.

and I’m in awe of the Miles Davis and Nat Nat and Davis Miles the of awe in I’m and Love, in Fall I

Jones. I’d met Elvin during my time with when when Blakey Art with time my during Elvin met I’d Jones. . I guess just listening to all this different music, music, different this all to listening just guess I Prince.

later, after Donald Brown rejoined Art, I got the chance to to chance the got I Art, rejoined Brown Donald after later,

it’s difficult to connect to music that is so unaffected and and unaffected so is that music to connect to difficult it’s

was plenty going on. going plenty was

When When music, of piece this with love in much very am I Well.

perience, and then from there I began to work with Elvin Elvin with work to began I there from then and perience, love to play with B.B. King…I’d love to do something with with something do to love King…I’d B.B. with play to love

Harrison. That was the first time. Then, a couple of years years of couple a Then, time. first the was That Harrison. in a different way to this well-balanced record, not that that not record, well-balanced this to way different a in

taking some private lessons, things like that, so there there so that, like things lessons, private some taking

with Aretha Franklin, I’d love to play with Bob Dylan, I’d I’d Dylan, Bob with play to love I’d Franklin, Aretha with - ex great very a was which Orchestra Music Liberation

that particular group with Terrence Blanchard and Donald Donald and Blanchard Terrence with group particular that personal history. Hopefully, it will help to connect listeners listeners connect to help will it Hopefully, history. personal ? Love in Fall I When about add you can What

of activity going on. I would go out and sit in and I was was I and in sit and out go would I on. going activity of

maybe not strange in general, but I would love to play play to love would I but general, in strange not maybe things at once. I started working with Charlie Haden’s Haden’s Charlie with working started I once. at things

him and the music. I got to meet so it was was it so Miller Mulgrew meet to got I music. the and him

Thank you, Javon, for sharing that insight and some of your your of some and insight that sharing for Javon, you, Thank

Dizzy when I was about maybe 15, and there was a lot lot a was there and 15, maybe about was I when Dizzy

I finally wanted to write something for him as a dedication. a as him for something write to wanted finally I me grow differently. I’m kind of strange, though…I mean mean though…I strange, of kind I’m differently. grow me different three or two on working started I passed, Art After

went up to hear Art. I was quite obviously impressed with with impressed obviously quite was I Art. hear to up went

through Denver at a venue called El Chapultepec. I met met I Chapultepec. El called venue a at Denver through

such depth and integrity. and depth such supported me all the way through. So, after all these years, years, these all after So, through. way the all me supported

that I would love to collaborate with, that would help help would that with, collaborate to love would I that

Boston, so a lot of us—a few of us anyway—from Berklee Berklee anyway—from us of few us—a of lot a so Boston,

diately after your time with Art? with time your after diately

town in my teenage years. I first met Eddie Harris coming coming Harris Eddie met first I years. teenage my in town

When you hear him play, everything has such meaning, meaning, such has everything play, him hear you When They music. the in interest my in me supported and out me

Well, there are obviously many, many artists out there there out artists many many, obviously are there Well,

Well, the first time I met him, they came through town, to to town, through came they him, met I time first the Well,

- imme that Was Jones. Elvin with worked you then And

were there, and a lot of musicians would come through through come would musicians of lot a and there, were am fortunate to have him and my mother who really took took really who mother my and him have to fortunate am “BEST JAZZ CLUBS OF musician. a as genius THEhis and McCoy for appreciation YEARmy 2012”

are some of the people you’d like to work with in the future? the in with work to like you’d people the of some are

there. You would be surprised that a lot of musicians musicians of lot a that surprised be would You there. When did you first meet Art? meet first you did When

, I wrote for my father. As I mentioned earlier, I really really I earlier, mentioned I As father. my for wrote I , T.J. is written for McCoy Tyner. It’s written to show show to written It’s Tyner. McCoy for written is Strong 88

fifty. Again, he’s the reason why we’re talking right now. right talking we’re why reason the he’s Again, fifty.

You’ve worked with so many people over the years. Who Who years. the over people many so with worked You’ve

Orleans…Kansas City or Memphis, but there was a scene scene a was there but Memphis, or City Orleans…Kansas

that particular organization that he helped to spearhead. spearhead. to helped he that organization particular that

for anything like that. If I got one thing from him, I got got I him, from thing one got I If that. like anything for

Art, so I owe him quite a bit in terms of that opportunity. that of terms in bit a quite him owe I so Art,

It is definitely a hip arrangement. Next is your original T.J. original your is Next arrangement. hip a definitely is It

Well, I can’t say it was a Philadelphia, Detroit or New New or Detroit Philadelphia, a was it say can’t I Well,

concerts together, so I wrote something for Richard and and Richard for something wrote I so together, concerts

he said that Freddie played the trumpet like it was a toy. a was it like trumpet the played Freddie that said he pay can’t You group. the in musicians other the and him really the person that got me the opportunity to sit in with with in sit to opportunity the me got that person the really

teaches that explores race issues. We’ve done several several done We’ve issues. race explores that teaches

involvement and his freshness at the beginning. the at freshness his and involvement actually got this from a conversation with McCoy, but but McCoy, with conversation a from this got actually through things experiencing world, the over all touring What was the scene like then in Denver, Colorado? Denver, in then like scene the was What of time with him, and he was with Art then. Donald was was Donald then. Art with was he and him, with time of

tion at the University of Wisconsin in Madison where he he where Madison in Wisconsin of University the at tion the melody here and I felt really good about Orrin and his his and Orrin about good really felt I and here melody the

many that can. He played the trumpet at times, well, I I well, times, at trumpet the played He can. that many and traveling things of lot a learned I band. his in up grew

SMOKE JAZZ & SUPPER CLUB • HARLEM, NEW YORK CITY lot a spending was and time, that at Brown Donald met

speak with them briefly and get their encouragement. their get and briefly them with speak

- organiza an has He Davis. Richard for is R.A.P Richard’s

before. We do more of a modal introduction into into introduction modal a of more do We before. Thing a himself with his playing, in a manner that I haven’t heard heard haven’t I that manner a in playing, his with himself Absolutely. Remember, I was 21 at that time, so I kind of of kind I so time, that at 21 was I Remember, Absolutely.

with Billy Pierce who was a former Jazz Messenger. I also also I Messenger. Jazz former a was who Pierce Billy with

inspiring to see the music in person, see the musicians, musicians, the see person, in music the see to inspiring

Don’t You Worry ’bout ’bout Worry You Don’t recorded actually I’ve fan. real a

easily done. He was able to get to his audience, express express audience, his to get to able was He done. easily

play with Art Blakey. I was attending Berklee and studying studying and Berklee attending was I Blakey. Art with play

. Strong 88 and R.A.P. Richard’s originals your

ing you to be a professional, a jazz artist on the highest level. highest the on artist jazz a professional, a be to you ing

like the Modern Jazz Quartet and Ray Brown. It was very very was It Brown. Ray and Quartet Jazz Modern the like

Stevie, he is one of my favorite composers and I’m just just I’m and composers favorite my of one is he Stevie,

out to the audience. That is not always something that is is that something always not is That audience. the to out

21. It was always my goal from the time I was about 15 to to 15 about was I time the from goal my always was It 21.

It is beautiful. Finally, what can you add about the last two, two, last the about add you can what Finally, beautiful. is It

- teach in instrumental was Art that before said also You’ve

I went to see and other artists of that ilk ilk that of artists other and Gordon Dexter see to went I

occasion we would perform it when I was with Art. As for for As Art. with was I when it perform would we occasion kind of way. He had the ability to really get his emotions emotions his get really to ability the had He way. of kind

Right, I think I joined Art in December of ’86. I was about about was I ’86. of December in Art joined I think I Right,

attempt to be what he was. During that same time frame, frame, time same that During was. he what be to attempt

kind of individual that she was. she that individual of kind Cedar, and Reggie Workman. I feel very close to it and on on and it to close very feel I Workman. Reggie and Cedar,

FEATURED ARTISTS / 7:00, 9:00 & 10:30pm ONE NIGHT ONLY / 7:00, 9:00 & 10:30pm organic an such in and well very so played he that sense I’ve never forgotten. never I’ve

I wanted to do what he was doing. I knew I wanted to to wanted I knew I doing. was he what do to wanted I work with Art Blakey, right, and at a fairly young age? young fairly a at and right, Blakey, Art with work

loved her very much and this is a tribute to her and the the and her to tribute a is this and much very her loved that Art had in the 1960s with Freddie, Curtis, Wayne, Wayne, Curtis, Freddie, with 1960s the in had Art that incredible, demanding opportunity. Demanding in the the in Demanding opportunity. demanding incredible,

way when you are going on stage and that is something something is that and stage on going are you when way

It was kind of a turning point in my life because I knew knew I because life my in point turning a of kind was It It was at music school that you got the opportunity to to opportunity the got you that school music at was It

my first cousin who we lost to cancer recently. My family family My recently. cancer to lost we who cousin first my sextet the with favorites my of one was It . Birdland at finally got the chance to play with him. That was another another was That him. with play to chance the got finally

he said to me that night that you have to look a certain certain a look to have you that night that me to said he

took me to see was Sonny Stitt, when I was about 13. 13. about was I when Stitt, Sonny was see to me took

“LEE-Lee-Ah.”) It was written for for written was It “LEE-Lee-Ah.”) ( Lelia It’s Live Messengers, Jazz the and Blakey Art by recorded

PRONOUNCED PRONOUNCED former Messenger. I would call him and stay in touch and and touch in stay and him call would I Messenger. former

going to try to explain all that. So, that was the first thing thing first the was that So, that. all explain to try to going on for me at home. at me for on

in my early teenage years. I think the first person my father father my person first the think I years. teenage early my in

is a piece of music that originally was was originally that music of piece a is One by One Right,

band, and he came in a couple of different times as a a as times different of couple a in came he and band,

it. All my clothes were in Boston, but I was definitely not not definitely was I but Boston, in were clothes my All it.

upon going to music school, but there was a lot going going lot a was there but school, music to going upon

Next is your beautiful ballad. How do you pronounce it? pronounce you do How ballad. beautiful your is Next

Yes, they did. They would take me to hear music in Denver Denver in music hear to me take would They did. they Yes,

artists would do special guest opportunities with the the with opportunities guest special do would artists musician?” Well, I thought I was but he kind of let me have have me let of kind he but was I thought I Well, musician?”

That was his favorite saxophonist. So, I did get better better get did I So, saxophonist. favorite his was That

. Thing a ’bout Worry You Don’t Wonder’s Steve and years,

by Roberta Flack and Donny Hathaway. Donny and Flack Roberta by

was again through Art. I met Freddie because a lot of of lot a because Freddie met I Art. through again was

said, “I’m sorry. I don’t have it.” “Are you a professional professional a you “Are it.” have don’t I sorry. “I’m said,

contribute? Did they take you to hear a lot of music? of lot a hear to you take they Did contribute? can you play some of this?” and it was . Ammons. Gene was it and this?” of some play you can

, which you probably listened to a lot over the the over lot a to listened probably you which ,

Fri & Sat, July 4 & 5 Wed, July 2 One by One

and the rendition performed performed rendition the and Love the is Where enjoyed Well, then I started working with , which which Hubbard, Freddie with working started I then Well, he said, “Where’s your sport coat and your tie?” and I I and tie?” your and coat sport your “Where’s said, he

a key part of your musical development. How did they they did How development. musical your of part key a just practicing and he came up and said, “Hey, you think think you “Hey, said, and up came he and practicing just

. You open with Wayne Shorter’s Shorter’s Wayne with open You . Expression on music the

that I wrote for a great friend of mine and I have always always have I and mine of friend great a for wrote I that

with James Williams. When I came back the next night, night, next the back came I When Williams. James with

Javon, you’ve said in the past that your parents were were parents your that past the in said you’ve Javon, a teacher but it started with him. One day, I was upstairs upstairs was I day, One him. with started it but teacher a

It really sounds like a band, too. Let’s talk a little about about little a talk Let’s too. band, a like sounds really It

greatest drummers of all time. Where do you go from there? from go you do Where time. all of drummers greatest

is a piece of music music of piece a is Taylor Mr. interpretation. guys’ the

there and I didn’t even have anywhere to stay so I stayed stayed I so stay to anywhere have even didn’t I and there

So, in just a few years, you’ve worked with two of the the of two with worked you’ve years, few a just in So,

everything really came together quickly. together came really everything and I just love this composition. I also really enjoyed enjoyed really also I composition. this love just I and Midnight Melodies Midnight QUARTET CHAMPIAN FULTON Chestnut Cyrus slacks, a shirt, and a sweater. I had taken a plane down down plane a taken had I sweater. a and shirt, a slacks,

all that music. Anyway, the energy was great and, I felt felt I and, great was energy the Anyway, music. that all Cables. I have a lot of respect and admiration for him him for admiration and respect of lot a have I Cables. next night but all I had were clothes on my back, a pair pair a back, my on clothes were had I all but night next a very brilliant man. brilliant very a

who’ve been playing with me for a little time now but not not but now time little a for me with playing been who’ve was written by my good friend George George friend good my by written was Me on Think So, and a brilliant mind. He was just a very in-depth individual, individual, in-depth very a just was He mind. brilliant a and featuring & the back come to me asked Art set, last that on in sit to Gary Bartz (as) • Eric Reed (p) Wed, July 9 JULY NEW RELEASE Gerald Cannon (b)• Joe Farnsworth (d) Cyrus Chestnut MARKCYRUS CHESTNUT WHITFIELD piano EXTENDED * bass Fri & Sat, July 11 & 12 Wed,VICTOR July LEWIS 16drums Midnight Melodies SONNY FORTUNE QUARTET CYNTHIA HOLIDAY Midnight Melodies Sonny Fortune (as) • Michael Cochrane (p) David Williams (b) • Steve Johns (d) Wed, July 23 CYNTHIA HOLIDAY Fri & Sat, July 18 & 19 1. Two Heartbeats 4:58 7. U.M.M.G. 8:02 Billy Strayhorn RECORD RELEASE WEEKEND Wed, 2.July Pocketful 30 of Blues 6:14 8. I Wanted to Say 7:43 Sonny Clark Recorded Live November 22 & 23, 2014 CYRUS CHESTNUT at Jazz Club, New York City BRIANNA3. To Be Determined THOMAS 5:10 9. Giant Steps 8:45 Cyrus Chestnut John Coltrane The Original Mob Cyrus Chestnut (p) Recorded & Produced by Paul Stache 4. Bag’s Groove 6:23 10. Medley 17:04 Production Assistance by Roman Klun & Frank Christopher Milt Jackson • Sweet Hour of Prayer William W. Walford Mixing by Roman Klun & Paul Stache • For All We Know J. Fred Coots / Sam M. Lewis Curtis Lundy (b) • Victor Lewis (d) 5. Hey, It’s Me You’re Talking To 8:30 CYRUS CHESTNUT Mastering by Roman Klun Victor Lewis • ’s Love Song John Hicks Photography by Jimmy Katz CURTIS LUNDY / VICTOR LEWIS SSR-1408 Product Management & Design by Damon Smith SSR-1408 6. Chelsea Bridge 9:12 11. The Theme 3:34 Miles Davis Piano provided by Steinway & Sons Music Billy7 Strayhorn Nights a Week + Sunday Brunch ℗ © 2014 SMOKE SESSIONS RECORDS 2751 BROADWAY, NEW YORK, NEW YORK 10025 Fri & Sat, July 25 & 26Executive Producers: Frank Christopher & Paul Stache WARNING ALL RIGHTS RESERVED. UNAUTHORIZED DUPLICATION IS A VIOLATION OF xxxxxxx NoAPPLICABLE Music LAWS. PRINTED Charge IN THE USA. WWW.SMOKESESSIONSRECORDS.COM (Sunday to Thursday) Midnight Melodies JAVON JACKSON QUARTET Visit www.smokejazz.com Javon Jackson (ts) • Jeremy Manasia (p) For Complete Music Schedule AVAILABLE ON COMPACT DISC & AS DIGITAL DOWNLOAD David Williams (b) • Willie Jones III (d) WWW.SMOKESESSIONSRECORDS.COM

212-864-6662 • 2751 Broadway NYC (Between 105th & 106th streets) • www.smokejazz.com SMOKE A year ago we had our first Piano Issue. But let’s be honest, folks, given the history of jazz and its myriad pianists, every issue could be a piano issue. Whether New York@Night it be the cerebral intimacy of , abstract melodicism of , 4 minimalism of , percussivism of or pastoralism of Abdullah Interview: Henry Butler Ibrahim, the fabric of jazz has been woven behind the eighty-eight keys (and three pedals). So, with a run up the entire keyboard, we present you with another issue by Alex Henderson 6 devoted to that most dynamic of instruments. Artist Feature: Matt Mitchell Bill Charlap (On The Cover) has continued the sterling romanticism of Bill by Ken Waxman Evans, celebrating the Great American Songbook in his trio of long standing and 7 duo with his wife and fellow pianist . He is also celebrating 10 years On The Cover: Bill Charlap as Artistic Director of the 92nd Street Y’s annual Jazz in July concert series and will 9 by Ken Dryden perform throughout during the festivities. Henry Butler (Interview) has kept the flame of New Orleans alive for many years and he adds a new chapter Encore: Lest We Forget: to its history with a band co-led with trumpeter Steven Bernstein and a new album 10 Art Lande on the recently relaunched Impulse Records, which will be celebrated this month at The Cutting Room. Matt Mitchell (Artist Feature) has made significant by Suzanne Lorge by Russ Musto contributions to the bands of Tim Berne and Dave Douglas as well as his own Megaphone VOXNews projects, which include a piano-drum duo. This month he presents the wide array 11 by Jon Weber by Katie Bull of his music at a three-night residency at Ibeam Brooklyn. Art Lande (Encore) has been a sideman to many jazz greats over the years as well as a leader for ECM and Label Spotlight: Listen Up!: Windham Hill. He makes a rare East Coast appearance this month at Jazz at Kitano. And few pianists single-handedly encompassed the full piano tradition 12 Int’l Phonograph Christian Sands like the late Jaki Byard (Lest We Forget). To complete our piano theme, our CD & Carolina Calvache by Marc Medwin Reviews are front-loaded with a number of compelling piano-led albums from the earliest days of jazz right up until five minutes ago. So no matter your tastes— 13 Festival Reports: FIMAV • Moers • Musketer inside/outside; Steinway/Bosendorfer—there’s something here for you. We’ll see you out there... CD Reviews: Orrin Evans, Fred Hersch, , Ahmad Jamal, 14 Alexander von Schlippenbach, Art Tatum, Stefano Bollani and more Laurence Donohue-Greene, Managing Editor Andrey Henkin, Editorial Director 34 Event Calendar On The Cover: Bill Charlap (photo by Richard Termine) Club Directory 41 In Correction: In last month’s Norma Winstone Encore, the song “Bein’ Green” is from Sesame Street. 43 Miscellany: In Memoriam • Birthdays • On This Day Submit Letters to the Editor by emailing [email protected] US Subscription rates: 12 issues, $35 (International: 12 issues, $45) For subscription assistance, send check, cash or money order to the address below or email [email protected].

The New York City Jazz Record www.nycjazzrecord.com - twitter: @nycjazzrecord - facebook.com/nycjazzrecord Managing Editor: Laurence Donohue-Greene To Contact: Editorial Director & Production Manager: Andrey Henkin The New York City Jazz Record Staff Writers 116 Pinehurst Avenue, Ste. J41 David R. Adler, Clifford Allen, Fred Bouchard, Stuart Broomer, Katie Bull, Tom Conrad, New York, NY 10033 Ken Dryden, Donald Elfman, Brad Farberman, Sean Fitzell, Kurt Gottschalk, Tom Greenland, United States Alex Henderson, Marcia Hillman, Terrell Holmes, Robert Iannapollo, Suzanne Lorge, Marc Medwin, Robert Milburn, Russ Musto, Sean J. O’Connell, Joel Roberts, Laurence Donohue-Greene: John Sharpe, Elliott Simon, Jeff Stockton, Andrew Vélez, Ken Waxman [email protected] Andrey Henkin: [email protected] Contributing Writers Brad Cohan, Irwin Block, Brian Charette, George Kanzler, General Inquiries: [email protected] Ken Micallef, Michael Steinman, Jon Weber Advertising: [email protected] Contributing Photographers Editorial: [email protected] Laurence Donohue-Greene, Patrick and Elisa Essex, Scott Friedlander, Calendar: [email protected] Peter Gannushkin, Martin Morissette, Ryan Muir, Alan Nahigian, Dino Perrucci, Robert I. Sutherland-Cohen, Richard Termine VOXNews: [email protected]

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

Merely printing a list of names of musicians from the There’s only one person doing what Bobby McFerrin worlds of jazz and rock who played at the Celebrate does, flying nightly by the seat of his pants onstage WEDNESDAY, JULY 2ND Ornette concert at the Prospect Park Bandshell (Jun. with only his voice and body percussion for support, 12th) would be enough to put into the record the engaging audiences so completely in the creative SMALLS JAZZ CLUB sphere of influence of the man of the hour. But simply process that they leave with beaming faces. McFerrin 183 W. 10TH STREET AT SEVENTH AVENUE listing names might suggest that this was your typical worked his improvisational alchemy on Town Hall fans walk-on, walk-off tribute. Many who took the stage (Jun. 13th), accompanied by The Roots’ drummer/DJ TWO SHOWS STARTING AT 9:30 PM stuck around for the unhurried concert, not the least of Questlove (aka Ahmir-Khalib Thompson), who, after whom being the honoree himself. And so the audience warming up the pre-show crowd with funky beats, witnessed Coleman sharing the stage with , David humbly introduced himself as McFerrin’s “sidekick: Murray and Henry Threadgill backed by Denardo random-guy”. Not quite true—it was McFerrin’s show, Coleman’s Vibe, listening with a broad grin more often yes, but Questlove proved more than an apt match for than playing. They watched Patti Smith dedicate a the singer’s musical hijinks. McFerrin wisely drew on poem to Coleman as he sat at her side, cradling his popular repertoire, referencing tunes well familiar to white plastic sax. They heard Bachir Achtar, Nels Cline, many listeners: Bob Marley’s “I Shot the Sheriff”; , Savion Glover, Bruce Hornsby, Joe Buddy Miles’ “Them Changes”; Cole Porter’s “I Love Lovano, Branford Marsalis, Thurston Moore and James Paris”; the Gershwins’ “Summertime”; Paul “Blood” Ulmer all take on familiar Coleman tunes. McCartney’s “Blackbird” and “Rocky Raccoon”; They witnessed two renditions of “Lonely Woman”. Prince’s “Kiss”; Led Zeppelin’s “Rock & Roll”; For the first, Bill Laswell carried the familiar theme on “Supercalifragilisticexpialidocious” from Mary Poppins; electric bass while surrounded him with ’s “Bennie & the Jets”; Bacharach-David’s saxophone textures and Laurie Anderson played “Close to You”; The Isley Brothers’ “It’s Your Thing”; glistening arpeggios against soft waves of controlled James Brown’s “Make It Funky”; Whitfield-Strong’s “I feedback emanating from a row of guitars belonging to Heard It Through the Grapevine”, even “Twinkle, the late . The second was initiated by Geri Twinkle, Little Star” and “The Star-Spangled Banner”. Allen at the piano, soon joined by a quartet of McFerrin didn’t just reinterpret these tunes, he played saxophones and then, like a slow parade, most of the with them. “Do you always have this much fun on your rest of the cast who’d crossed the stage. gigs?” wondered Questlove, asking for all of us. - Kurt Gottschalk - Tom Greenland

JEFF WILLIAMS QUARTET +2 DUANE EUBANKS JOHN O’GALLAGHER JOHN HÉBERT u c i SPECIAL GUESTS: LEO GENOVESE & PHIL ROBSON A l a n N h i g

“Jeff Williams is one of the great jazz drummers P h o t b y P h o t b y D i n e r Ornette Coleman & Henry Threadgill Questlove & Bobby McFerrin @ Town Hall working today. Although he is a veteran, I think he is Talent Deserving Wider Recognition.” The student and professional musicians who convened PRISM Quartet presented the third and final - GEORGE COLLIGAN, JAZZTRUTH at over the first weekend in June for installment of its Heritage/Evolution series at the annual International Society for Improvised Music Symphony Space Leonard Nimoy Thalia (Jun. 12th), Festival Conference spent much of their time— this one featuring the compositions and performances David Liebman Greg LATEST WHIRLWIND RECORDINGS/ according to Jin Hi Kim, who introduced the culminating of saxophonists (soprano) and concert at the Alvin Johnson/J.M. Kaplan Hall Osby (alto). Setting the mood for a two-part evening, WILLFUL ARCHIVES ALBUMS auditorium (Jun. 7th)—talking about the use of time the quartet opened alone with four movements from and space in performance. Complex notions of time Jennifer Higdon’s Short Series. The sheer beauty of the were on clear display from the outset, with drummers saxophones’ collective sound, sweet and virtually Samir Chatterjee and Bobby Previte meshing counter- without vibrato, is incredible, demonstrating an rhythms, then adding students—trombone, flute, aesthetic in many ways closer to that of a classical clarinet—each entering in a slow circle, each given string quartet than that of a jazz sax section. After generous space. A trio of drummer Bobby Previte, navigating the complex harmonies, counterpoint and saxophonist and trumpeter Wadada Leo hypnotic chorales of Higdon’s opus, Liebman and Osby JEFF ALSO APPEARS ON THESE NEW Smith was unsurprisingly on point from the get go. came onstage for director/tenor saxophonist Matthew WHIRLWIND RECORDINGS CDS: Previte—who announced before their piece that playing Levy’s “Serial Mood: Reflection”, Liebman loosing with the two was “a dream of his”—seemed to revel in breathy flurries over lush chords, Osby later dueting shifting settings every few minutes, steering a series of with baritone saxophonist Taimur Sullivan in a concise, blistering solos. A sextet played John Coltrane’s Phrygian mode. The first set concluded with the world “India”, led off by Chatterjee with Liebman setting the premiere of Osby’s “Covenant of Voices”, written for theme on a small, straight flute before switching to PRISM and inspired by the Bulgarian Women’s Choir. soprano saxophone. But it was when Michael Jefry Demonstrating admirable control over his dynamic Stevens came in on piano, playing full two-hand chords, range, Osby began with a low-pitched motif, soon that they found not just the Indian but the Coltrane joined by soprano saxophonist Timothy McAllister— vibe. A final improvisation brought nine players to the whose beautiful high register rivaled that of a coloratura stage, including Kim on komungo and drum, and vocalist—leading the quartet through a gorgeous WILLFULMUSIC.COM seemed a continuation of the Coltrane feeling, reaching chorale, which also showcased alto saxophonist WHIRLWINDRECORDINGS.COM back through time perhaps to the early days of free Zachary Shemon’s dulcet tone and Liebman’s ever improvisation. (KG) boisterous soprano. (TG)

4 JULY 2014 | THE NEW YORK CITY JAZZ RECORD Adam Rudolph has been ‘playing the band’, to Vision Festival 19, Celebrating Charles Gayle Lifetime paraphrase the Ellington-ian ideal, as conductor of of Achievement, kicked off at Roulette (Jun. 11th) with WHAT’S NEWS various iterations of his Go:Organic Orchestra for well a night of music showcasing the versatile artistry of this over a decade. But he never had the band he did at year’s honoree in three different settings. The evening Roulette (Jun. 4th), the premiere of his Go:Organic began with Gayle, costumed as his alter ego Streets, Pianist Jason Moran has had his contract as Guitars, comprised of Rez Abbasi, Damon Banks, playing bass on a series of duets with drummer Michael the Kennedy Center’s Artistic Director for Jazz Marco Cappelli, Nels Cline, Tomas Doncker, Liberty T. A. Thompson, then moving to piano, soon to be Ellman, David Gilmore, Joel Harrison, Jerome Harris, joined by Daniel Carter, first on muted trumpet, then extended for three years. Moran replaced the Michael Gregory Jackson, Miles Okazaki, Brandon various reeds, blowing atmospherically as Miriam and late Dr. in 2010. For more Ross, Marvin Sewell and Kenny Wessel, a convincing Patricia Nicholson Parker danced expressionistically to information, visit kennedy-center.org. cross-section of trendsetters. But it was to Rudolph’s the music. The concert’s middle set featured Gayle credit (and experience with various instrumentation) playing tenor saxophone, the instrument on which he is Drummer Billy Cobham has launched his Art that the resulting music was far more wash—as best known, leading a commanding quartet featuring of the Rhythm Section Retreat, an intensive opposed to wall—of sound. The currency was simple pianist Dave Burrell, bassist William Parker and workshop program, taking place Aug. 4th-10th melodic fragments in the opening 18-minute drummer Michael Wimberly. Wasting no time, the conduction, fleshed out by eerie slides and wails, foursome jumped right into a collective improvisation, in the Czech Republic, for experienced fusion leavened by avant garde filigrees. Harrison’s which found Gayle blowing gritty speechlike cries that instrumentalists. Participants will work with acoustic opened the second eight-minute piece, joined at times recalled both and , Cobham and notable faculty on teamwork by Wessel’s banjo and Abbasi twittering in the but remained steadfastly in his own distinctive voice. and collaboration within ensembles. For more background, oozing forward slowly, with an emphasis As Burrell hammered out percussive Monk-ish chords information, visit billycobhamsretreat.com. on pick attack. The third 12-minute piece featured the over Parker’s whirlwind bass and Wimberly’s most aggressive ‘guitary’ opening and more tremolo sprawling rhythms the music moved from raging free picking than you could shake a Vibrolux at, rising in jazz through boppish and bluesy intervals and then The 2014 Echo Jazz Awards, given by the intensity on a variation of the opening piece’s funk back. A short encore began with a drum solo leading German Recording Academy have been groove as Rudolph pulled out soloists. The final into a breakneck unison line before ending abruptly. announced. Notable winners include Heinz 10-minue exposition functioned as “Green Sleeves”, a The night ended with Gayle at the piano with the Vision Sauer/Michael Wollny, Rudresh spacey, pastoral foundation for exploring string Artist Orchestra in an “Ascension”-like piece, which Mahanthappa, Gregory Porter, Joachim harmonics. This kind of non-ego-driven guitar expo featured individual solos between group motifs. Kühn, Enrico Pieranunzi, Joshua Redman couldn’t have happened 30 years ago. - Andrey Henkin - Russ Musto and Dusko Goykovich. For the complete list, visit echojazz.de/jazz-preistraeger-2014.

g was recently arrested and made a court appearance stemming from a drug possession charge in April. The multiple e s i o n . r Grammy Award-winning trumpeter was sentenced in New York City court to two days . j a z e x p r of community service in exchange for a guilty plea that will not appear on his record. The widow of bassist Ben Tucker, who died in a golf cart accident last June at the age of 82, is suing the city of Savannah, Georgia, county of Chatham and the hotel, part of the

P h o t b y S c F r i e d l a n R . I S u t h e r l a n d - C o / w Starwoods chain, for damages in relation to Adam Rudolph GO: Go:Organic Guitars @ ShapeShifter Lab Charles Gayle @ Vision Festival her husband’s death. Anyone coming to The Stone (Jun. 15th) for the duo of Elio Villafranca and the Jass Syncopators celebrated Actor Don Cheadle, who we previously saxophonist Briggan Krauss and drummer Kenny the release of their latest album Caribbean Tinge: Live at Wollesen expecting something remotely Sex Mob-like Dizzy’s Club Coca-Cola (Motéma) with a return reported is producing a biopic on trumpeter would have been quite confused for the duration of the engagement at the Jazz at Lincoln Center club. The Miles Davis, has begun a crowdfunding 48-minute set. And the other obvious demographic— group featured the leader at the piano heading a campaign to assist in its completion. Interested the Interstellar Space crowd—got only about 5 minutes hardbopping sextet with a frontline of alto saxophonist parties may contribute until Jul. 10th at of a ‘typical’ energy sax-drum pairing 15 minutes in. , tenor saxophonist Greg Tardy, indiegogo.com/projects/join-miles-ahead-a- The rest of the time the audience was actually trombonist and the rhythm team of bassist don-cheadle-film. witnessing a trio, the third member a preprogrammed Carlos Henriquez and drummer , plus electronics track. The set began with that track, two percussionists Jonathan Troncoso and Nelson Mateo minutes of loud, harsh buzzing, which just reached the Gonzales. They kicked off their Saturday night (Jun. C Major Music and vocalist Janet Lawson are point of being overwhelming when it dropped into 14th) second set playing the disc’s title track, an offering two-week jazz music classes for muffled spacey noise. Krauss’ alto sax lines when he uptempo flagwaver by Villafranca in the tradition of children ages 5-10, consisting of ten four-hour entered were the merest puffed flecks, enabled by Gillespie’s “Things To Come”, which featured burning workshops. Participants are not required to Wollesen and a spring attached to his . solos from the horn players and pianist with rousing have previously played an instrument. The When the electronics moved into a bit-like pattern, drum and percussion interludes alternating between program has three sessions in July and August. Krauss’ baritone answered with trills and Wollesen fiery swing and AfroCuban rhythms. The leader’s added his own apiary-like electronics and radio static. “Blues For Paula” proved the Cuban pianist to be a For more information, visit jazzclassesnyc. After the aforementioned Coltrane-Ali tribute, the fine purveyor of the distinctively AfroAmerican song com/registration-jazz-journey.php electronics track reasserted itself and Krauss switched form, as he slowly built an engaging melodic line that to electric guitar, playing it through processing and recalled Monk’s “Misterioso”. Tardy was especially Last month, E. 112th Street at Park Avenue with a whisk, which resulted in a surprisingly pretty engaging, blowing old school tenor on Pat Martino’s was renamed Charlie Palmieri Way in honor section. A brief flurry of alto gusts yielded to guitar “El Hombre”. The group swung ferociously on of the salsa big band leader (and older brother once more, this time heavily overdriven and manic in Villafranca’s “Sunday Stomp at Congo Square”, a pacing, then back to yowling sax, punctuated by reminder of the Crescent City’s AfroCaribbean of pianist Eddie), who passed away in 1988. Wollesen. Insectile weirdness on guitar gave way to heritage, while the closing “Comparsa” paid tribute to circular-breathed baritone/brushed drums/droning the leader’s Cuban roots. Throughout the evening the electronics before Krauss closed on alto, accompanying sounds of the music were offered a compelling visual Submit news to [email protected] the return of the opening buzz. (AH) element in the dancing of Julia Gutierrez-Rivera. (RM)

THE NEW YORK CITY JAZZ RECORD | JULY 2014 5 INTERVIEW

knowledgeable than he could show on any record he did. He had the gift of gab. Of course, he was pimping— you had to have the gift of gab to do that. Jelly Roll was a hustler. Black people in those days, especially in the d s Henry South, thought they needed to hustle to survive. So as much of a pianist as Jelly Roll was, he was doing a lot of stuff on the side to make money. Understand that Jelly Roll didn’t get any money from ASCAP because ASCAP, at that time, wasn’t paying black people. Eventually, they were forced to start paying black Butler people royalties, but by that time, Jelly Roll was dead. TNYCJR: On “Buddy Bolden’s Blues”, you’re singing (CONTINUED ON PAGE 33) y a n M u i r / C o t e s f I m p l R c

P h o t b y R by Alex Henderson

Pianist/singer Henry Butler has not been an easy artist to listening to this album, but there’s also the influence of categorize. Often compared to McCoy Tyner in the ‘80s, the the funk, soul and blues that were so important to New New Orleans native (who left that city after flooding from Orleans. And you also acknowledge some artists who Hurricane Katrina destroyed his home in 2005 and now lives weren’t from New Orleans such as Fats Waller on the in Brooklyn) emphasized modal postbop on his first two title track and Bessie Smith with “Gimme a Pigfoot albums: 1986’s Fivin’ Around and 1987’s The Village, (And a Bottle of Beer)”. both released by Impulse Records. But Butler moved in many Lenore Raphael different directions after the ‘80s and Viper’s Drag, his new HB: If we were going to have a subtitle, we would call Love Notes - album with New York City-based trumpeter/arranger Steven it New Orleans and Beyond because all of the guys on A Tribute to Oscar Peterson Bernstein, is heavily influenced by the New Orleans jazz of this album have done a lot of different things and can ‘20s-30s yet also draws on blues, funk and soul. During a play a lot of different styles. They’ve played all over “Like Peterson, Raphael is a swinger with impressive chops recent interview, the 64-year-old Butler (who has been blind the place. Some have played with , and aspects of Peterson’s genius since infancy) had a lot to say about his past and his present. some have played with Levon Helm, some have played are evident in these tracks” -Joe Lang, with Lou Reed—who just died—and they’re having a Jazz Magazine The New York City Jazz Record: You started out your lot of fun with this New Orleans-ish repertoire. recording career on Impulse Records 28 years ago [email protected] www.lenoreraphael.com when the label was reactivated by MCA Records and TNYCJR: Viper’s Drag is credited to Henry Butler/ now that Impulse is being reactivated again, you’re Steven Bernstein and the Hot 9. How did you end up back on the label. calling the group on this album the Hot 9?

Henry Butler: Yes, it’s the second time around for me HB: (laughs) Well, there’s actually ten people in the on Impulse and we’re hoping they will do some good group. But I think the producer, Joshua Feigenbaum, things on the business side. We’ve done as much as we was caught up in Louis Armstrong’s Hot 5 and Hot 7 can do musically. So the next thing to see is what they and he thought this would be a great name for the do on the business side. group.

TNYCJR: Viper’s Drag is the first release from the new TNYCJR: The name Hot 9 certainly has a strong ‘20s, incarnation of Impulse, which has an interesting Prohibition-era connotation. setup. This time, Impulse has distribution via in the United States but is being HB: Yeah, and I think that’s what Joshua was thinking. reactivated by Universal Music Group France. That’s an intriguing combination. TNYCJR: One thing you and Steven Bernstein have in common is your very eclectic tastes. HB: It’s a little different from the last time I was on Impulse. Of course, in those days, both my records— HB: This is a dream for me. I’ve always wanted an Fivin’ Around and The Village—were on CD, vinyl and album with an arranger who was as eclectic as Steven cassette. And I think those were the last records I did Bernstein. I was a student of Alvin Batiste, who was that came out on cassette. sort of like that. Steven is sort of like Alvin in that sense and I’m having fun working with him. TNYCJR: You have a wide variety of influences on the Sometimes, it’s a blessing to play in so many different new Viper’s Drag album. styles and sometimes, it’s a curse—and when you collaborate with a guy who has great arranging skills, HB: We have Fats Waller. We have Jelly Roll Morton. that’s a beautiful thing. But when you play it live, it We have a little bit of a New Orleans street parade still goes to a different place every time you play it. thing—not totally catering to the New Orleans style, but there’s enough of it so you know that there’s some TNYCJR: You have three songs from Jelly Roll Morton New Orleans stuff going on there. on Viper’s Drag.

TNYCJR: Steven Bernstein is a fixture in New York HB: Oh, boy, that’s right. We have “Wolverine Blues”, City and really brings out the New York element. “King Porter Stomp” and “Buddy Bolden’s Blues”. I suggested all three. And it’s fun because Steven HB: Definitely in his horn arrangements. We have Bernstein, with his arranging style, takes them to different things in our repertoire. Some of them come different places. from New Orleans, some of them come from just the blues style. But we always take it somewhere else. We TNYCJR: Jelly Roll Morton died in 1941 and the fact believe that everything we do has to have our creative that you’re performing three of his songs on a 2014 stamp on it. release really underscores the longevity of his work.

TNYCJR: One can learn a lot about New Orleans jazz HB: Jelly Roll Morton was probably more

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

For more information, visit mattmitchell.us. Mitchell is at Cornelia Street Café Jul. 2nd with Michaël Attias’ Spun Tree, Ibeam Brooklyn Jul. 18th-20th as a leader and The Matt Stone Jul. 30th with . See Calendar. Recommended Listening: • Darius Jones Quartet - Book of Mae’bul (Another Kind of Sunrise) (AUM Fidelity, 2011) • Claudia Quintet + 1 - What is the Beautiful?

O W N M U S I C . E T (Cuneiform, 2011) Mitchell • Michaël Attias - Spun Tree (Clean Feed, 2012) • Dave Douglas Quintet - Time Travel (Greenleaf, 2012) • Matt Mitchell/Ches Smith - Fiction (Pi, 2012) • Tim Berne Snakeoil - Shadow Man (ECM, 2013)

P e t r G a n u s h k i / D O W N T by Ken Waxman

After a year’s unhappy experience in the late ‘90s approaches,” he explains. But I keep getting hired to trying to establish himself in New York City, pianist play piano so it’s hard to find enough time to do Matt Mitchell, 38, escaped, as he terms it, to his everything justice.” hometown of Philadelphia and got a day job at the Hiring Mitchell to play piano may cut into his own

University of the Arts’ library. “I swore I’d never again musical explorations, but it’s proven to be a boon to LOUIS MOHOLO-MOHOLO UNIT CHRIS McGREGOR’S play one music gig I didn’t want to play and I haven’t.” others’ bands. Most of his gigs, he explains, come about “For the Blue Notes” BROTHERHOOD OF BREATH OGCD 042 “Procession - Live at Toulouse” He’s certainly lived up to that pledge. Mitchell is in “the typical ‘jazz way’. One leader sees me play with Electrifying live performance from the 2012 Aperitivo OGCD 040 in concerto series in Milan, with pianist Alexander Anglo/South African big band in explosive form. still in Philly but he now divides his time working in someone and hires me, or I got recommended by Hawkins, saxophonists Jason Yarde & Ntshuks Bonga, Painstakingly remastered and with an extra 23 trumpeter Henry Lowther, trombonist Alan Tomlinson, minutes of music. Voted one of the best reissues of such high-profile ensembles as Dave Douglas’ Quintet, someone for something else. John Hollenbeck, Rez bassist John Edwards, and singer Francine Luce. 2013 by The New York City Jazz Record. Rudresh Mahanthappa’s Bird Project, Tim Berne’s Abbasi, Rudresh Mahanthappa...that was a chain that 2014 MARKS 40 YEARS OF OGUN MUSIC Snakeoil, Darius Jones’ Quartet, John Hollenbeck’s happened for me one year, which was nice to experience. Large Ensemble, Rez Abbasi’s Invocation, plus his own I think Dave [Douglas] was tracking me for a little band with bassist Chris Tordini, drummer Dan Weiss while from afar before hitting me up for his group.” and tenor saxophonist/clarinetist Chris Speed. The affiliation with Berne actually has a longer Mitchell has also been widely praised for Fiction, his Pi genesis. “I corresponded with Tim in 1996 when I was Recordings debut, which is a series of duets with at Eastman; I wrote him and asked him for some scores. JSnycjr0714 6/10/14 12:59 PM Page 1 Snakeoil drummer Ches Smith. But I didn’t start playing with him until 2008 when we At the turn of the century Mitchell wanted to free both taught at SIM one summer. We had a rehearsal himself from having to play jobs that were devoted to with just the two of us. He hired me at the end of it and what he calls “utilitarian” rather than creative music, we’ve played together ever since.” since he had spent the previous few years dedicated to By coincidence, the origins of Fiction grew out of studying his craft. Growing up in Exton, PA, he started his gigs with Snakeoil. “The concept began as a series playing the familiar so-called classical repertoire at of études intended to maximally stretch my abilities as “Best Jazz Venue of the Year” NYC JAZZ RECORD#“Best Jazz Club” NY MAGAZINE+CITYSEARCH TUE JULY 1 five (“although I remember ‘improvising’ at the piano a pianist and improviser and also to focus my thoughts JACK WILKINS 70TH B’DAY CELEBRATION ANDY MCKEE (7:30PM) - (9:30PM) - before taking lessons,” he says), but wasn’t exposed to as a composer. I wanted to compose free of any WITH SPECIAL GUEST JOHN ABERCROMBIE - HOWARD ALDEN - GENE BERTONCINI jazz until his early teens when his father brought home concerns involving practice time for anyone other than GUITARISTS JIMMY BRUNO - LARRY CORYELL - JOE DIORIO - VIC JURIS two tapes: The Best of Thelonious Monk and Wynton myself,” he recalls. “Ches became involved as a result WED-SUN JULY 2-6H7:30PM & 9:30PMHCLOSED FRI JULY 4 Marsalis’ J Mood. “I was attracted to the music because of his playfully joining in with me on Snakeoil tours JAMES COTTON BLUES BAND it sounded crazy and new to me,” he recalls. “Also I while I’d practice the pieces during soundchecks. We TUE JULY 8 SECRET was looking to get into playing ‘other things’.” The played once or twice prior to Snakeoil but Snakeoil is DARCY JAMES ARGUE’S SOCIETY other things soon escalated into playing house sessions where it really took off.” WED JULY 9 with the likes of bassist Reid Anderson and drummer The Smith-Mitchell duo is one focus of the pianist’s NIR FELDER SHAI MAESTRO - MATT PENMAN - NATE SMITH Ari Hoenig and eventually an undergraduate degree in three-day residency this month at Ibeam Brooklyn. THU-SUN JULY 10-13 music from Indiana University (IU) and a masters from Featured will be three duo sets with Smith plus three CHARLES McPHERSON QUINTET The Eastman School of Music (ESM). With one of the sets by an extended ensemble called Normal - JEB PATTON - KIYOSHI KITAGAWA - JUSTIN BROWN oldest university jazz departments, IU was an easy Remarkable Persons. Performing all Mitchell TUE-WED JULY 15-16 choice while “Eastman initially came about because I compositions, the other bandmembers are Berne, JULIAN LAGE TRIO - frankly had no idea what to do after IU and I was also trumpeter Shane Endsley, tenor saxophonist Travis THU-SUN JULY 17-20 interested in other things such as the music history and Laplante, Tyshawn Sorey on drums, trombone and SEAN JONES QUARTET composition and orchestration classes.” Serendipitously melodica plus Smith on drums, vibes and percussion. ORRIN EVANS - LUQUES CURTIS - OBED CALVAIRE trumpeter Ralph Alessi was one of his teachers and the “The sextet was a quintet until I decided to add Ches TUE JULY 22 trumpeter subsequently became a friend and “vital as a member,” Mitchell elucidates. “We’ve done a LENNY PICKETT TUFFUS ZIMBABWE - JAMES GENUS - WAYNE KRANTZ - STEVEN WOLF figure” with whom Mitchell continues to play regularly. couple of gigs before, but this will be the first WED JULY 23 The pianist also teaches for a week each year at Alessi’s concentrated run we’ve done. I’ll be writing a new MIGUEL ZENÓN PASCAL’S TRIANGLE FEATURING DONNY MCCASLIN Brooklyn-based School for Improvisational Music piece for it, since with that band I like to explore longer, PASCAL LE BOEUF - CHARLES ALTURA - LINDA OH - JUSTIN BROWN THU-SUN JULY 24-27 WITH (SIM), his busy schedule permitting. more sprawling forms.” Mitchell would also like to SPECIAL GUEST Mitchell admits that another reason for attending find time to record Normal Remarkable Persons. QUINTET STEVE ZACCAI CURTIS - MAX MORAN - JOE DYSON TURRE ESM was “not feeling ready to plunge into any scene at However he expects that his next CD release will TUE-WED JULY 29-30 the time. I’m not sure I ever felt ready in a way. Maybe feature the quartet with Speed, Weiss and Tordini, all CHRIS BERGSON BAND I sort of gradually materialized into the scene instead of whom, with the exception of Mitchell, live in ELLIS HOOKS - STEVEN BERNSTEIN - DAVID LUTHER - IAN HENDRICKSON-SMITH once it finally happened.” So after his disappointing Brooklyn. CRAIG DREYER - MATT CLOHESY - ETHAN EUBANKS NYC experience, he continued to hone his skills in As for his overall concept for the future, the pianist THU-SUN JULY 31-AUG 3 Philadelphia, where in the late ‘90s, he and a group of states: “I definitely will continue exploring the areas of QUARTET FEATURING - KIYOSHI KITIGAWA - JOHNATHAN BLAKE friends started Scrapple Records to document their music that I documented on Fiction as I feel there’s a lot HHHMINGUS MONDAYSHMINGUS MONDAYSHHH playing in various configurations. Vapor Squint, more to be discovered. But by no means will it be my MON JUNE 7, 14, 21 & 28 Antique Chromatic is an electro-acoustic CD released in only focus. Basically I like to try and follow ideas to 2007 on which he played, then processed, edited and what seems like some sort of logical fruition and how MINGUS BIG BAND reassembled the tracks. “I’m definitely proud of that this happens usually depends on the groups I play disc and I have continued working on similar types of with.” v

THE NEW YORK CITY JAZZ RECORD | JULY 2014 7 Chucho Valdés invites you to visit Cuba for the Havana International Jazz Festival Tour December 14-22, 2014. Legal Cuba travel. JazzCuba.com + 1-888-965-5647 toll free ON THE COVER P h o t b y R i c a r d T e r m i n BILL CHARLAP MUSICAL DESTINY by Ken Dryden

It’s hard for Bill Charlap to imagine becoming anything Gerry’s ‘Ontet’, featuring his tentet with Gerry playing you can’t make it happen, it does or doesn’t. It’s the other than a jazz pianist. The son of the late Broadway the shout figure from ‘Godchild’ at the piano, but ability to listen and not clutter the palette. You composer Moose Charlap and vocalist Sandy Stewart slower, so you could hear the inner voicings. I knew naturally orchestrate with each other. Renee has is recognized as one of the top interpreters of the Great then I was really hearing a different kind of pianist. exquisite taste, style and command, but her ear is American Songbook. Charlap credits his parents with When I played with Gerry, I asked him to show me unlike anyone’s I’ve ever encountered. If you drop the giving him strong musical roots, explaining, “I don’t some of the things that he was doing and he even wrote needle on any record, she instantaneously knows every ever remember a time when I didn’t play piano. I tried out ‘Godchild’ for me. That was a great break for me.” note she’s hearing. It sounds impossible, but it’s not. to imitate what my father was doing; he had great Charlap was friends with saxophonist Jon Gordon She’s almost incapable of playing something that’s energy and was very dynamic. He wasn’t a pianist or in high school. He recalled, “We both idolized Phil going to clash. We have ways of continuing each singer, he was a songwriter and a great theater writer. Woods, because he was such a virtuoso when he other’s thoughts.” His playing was so infectious that other composers played. We’d go hear him.” Not long after leaving When asked about which jazz musicians influenced asked him to do backer auditions of their songs for Mulligan, Charlap joined ’ quintet and him, Charlap immediately joked, “This is going to be a them.” The pianist is influenced by his mother, too. stayed 15 years. “I was younger than the other guys in very long list and not comprehensive: Dick Hyman, “Sandy is a great singer. I’ve always heard her turn a Phil’s group, so it was a trial by fire. Phil would just eat , Tommy Flanagan, , Sonny phrase in my inner ear; I hear certain things that she up the music; I didn’t know what he was going to call Clark, Bill Evans, Oscar Peterson, George Shearing, does musically. She sang with Benny Goodman in the from night to night. You need different sets of tools to Wynton Kelly and Red Garland. It’s our peers too, the ‘60s. We’ve made records for Ghostlight and Blue Note. play that music, we weren’t getting a second chance. people we grow up hearing play also influence us. Not We performed together for years at the Algonquin and With Phil in the studio, it’s one take; he has the highest just pianists. I’ve learned a lot from Kenny Feinstein’s; she’ll join us at the Y. A child hears his work ethic. The guys in the band [Brian Lynch, Steve Washington and over the years, also mother’s voice and it must do something psychically. Gilmore and Bill Goodwin] were so unpretentious— from Renee, naturally. Everything from Armstrong to But neither parent was a jazz musician, so a kid has to they were serious about the music but having some Bird to Coltrane, Wayne Shorter, Dizzy, , find his own way.” laughs when we weren’t playing.” Miles, Monk, the arranging of Johnny Mandel, Gil His early musical education included studies with Charlap has enjoyed the opportunity to play a few Evans and . Jimmie Lunceford, Earl Dick Hyman, who has remained an important mentor. solo concerts. Yet he has almost as much freedom Hines and James P. Johnson. I listen to classical music, “Dick is a distant cousin on my father’s side. My playing in his longtime trio with the unrelated too. The biggest challenge for me was getting good. mother sent me to his home when I was in my early Washingtons. “We’ve been together for 18 years and My first gig was in my teens, playing at The First teens. He knew my mom when she was very young have so much music that the sets change from what we Amendment Improvisation Company in New York. It and accompanied her at her high school graduation. planned. It’s nice to have that chemistry.” He had was a comedy troupe that would take suggestions Dick and I just played together in Chicago. We shared recorded several CDs for , but wanted from the audience and invent skits on them. I would the bill. Dick played solo and I joined him, then my trio to make a change. “I wanted to get a rhythm section play solo piano as people filed in and out. I could play played and Dick joined me on one piano with the trio.” that felt the way that Peter Washington and Kenny anything I wanted, from Scott Joplin to Cecil Taylor. The Jazz in July series at the 92nd Street Y has been Washington sounded together, because I already knew Working with the troupe was like being a pianist in a a high point of the pianist’s schedule for the past their playing individually and together. I loved the silent movie. I would underscore whatever was going decade. “It was hosted and curated by Dick Hyman for way they sounded on their many records as a rhythm on onstage.” 20 years. When he decided to give it up, he recommended section. I thought, ‘Why not get them?’ They were Charlap had other ways to expand his knowledge. me. I love the venue. It was Gerry [Mulligan]’s favorite available and there was chemistry right away. It was “I would take any gig and do it as well as I could. If I concert hall in New York and the first place I played one of those magical moments when you’re listening to was working with a singer who had many tunes I didn’t with him.” This year’s series includes tributes to Hoagy and playing with someone that we looked at each other know, I tried to find original sheet music and listen to Carmichael, , Miles Davis, Sarah and thought, ‘This is really nice.’ I asked them a few as many recordings as possible to be over-prepared for Vaughan and Fred Astaire, plus a three piano concert days later if they would like to do some gigs. I wasn’t anything. Now I don’t have time to do anything but with Dick Hyman and Christian Sands, in honor of playing at the Vanguard or the 92nd St. Y then. I was prepare just enough. I know how to get where I need to Marian McPartland. playing places that weren’t on the same tier. Peter and quickly just from experience. I wondered what records Charlap’s introduction to led to Kenny were already working with Dizzy, Milt Jackson of ‘Body and Soul’ Coleman Hawkins and Benny his first appearance on a recording, the saxophonist’s and Tommy Flanagan. One thing led to another after Goodman heard and try to find out their reference Lonesome Boulevard. “I had admired Bill Mays for some we started working together. We got some good notices points. I think it’s a key in deepening your craft. You time. We became friends when I was in my 20s. I’d and ended up recording quite a few more.” see the branches of the tree.” v gone to hear him a lot and he’d heard me play. He was In recent years, Bill has played numerous duo leaving Gerry Mulligan and recommended me. I concerts with his wife Renee Rosnes. Recently they For more information, visit billcharlap.com. Charlap is at played with Gerry and he hired me. I was so young; I played in Phoenix, San Diego and at the Healdsburg 92nd Street Y Jul. 22nd-24th and 29th-31st as part of Jazz wish I could play with him now. There were so many Festival, where guested with them. in July. See Calendar. things going on that were musically over my head, but Their duo CD Double Portrait (Blue Note) drew critical it was seeping in, too. The way that Gerry would play acclaim and a followup will eventually take place. Recommended Listening: a melody, just sing the song like a singer. Brubeck said Charlap explained that piano duos take some work, • Gerry Mulligan - Lonesome Boulevard something fantastic about Gerry: ‘He sounds like he’s noting, “Two pianos can be difficult if you don’t have (A&M-Verve, 1989) playing the past, the present and the future, all at the simpatico. The idea to me is not to be competitive, it’s • Bill Charlap Trio - Souvenir (Criss Cross, 1995) same time.’ Gerry had a very unique melodic gift. His about making the whole greater than its parts. Whether • Phil Woods - Chasin’ The Bird (Venus, 1997) improvisations were informed by Lester Young, some it’s a pianist, horn player, bass and drums, it should be • New York Trio - Blues in the Night (Venus, 2001) harmony and plenty of Gerry’s own something that you communicate together. It doesn’t • Bill Charlap Trio - Live at the Village Vanguard stamp on it, too. The baritone sax never sounded like have to be one person’s concept that everyone else (Blue Note, 2003) that. Two things that caught my ear was Gerry’s comes along with. It should be a combination. There’s • Bill Charlap/Renee Rosnes - Double Portrait arrangement of ‘Godchild’ for Miles, followed by always been a natural chemistry with me and Renee; (Blue Note, 2009)

THE NEW YORK CITY JAZZ RECORD | JULY 2014 9 ENCORE

become less imposing, more relaxed and more receptive of the young ones” to help them bring clarity, Art Lande physically and emotionally, so that the audience and receptiveness and honesty to their musical expression. musicians’ “responses are more authentic. Deeper. In young musicians today he sees similarities to by Suzanne Lorge More spacious. Everybody has their say and contributes himself as an up-and-coming instrumentalist in the to the whole.” Because the music arises organically out ‘60s. “They’re communal—they want to participate,” Soft-spoken pianist of an immediate collective need, every performance is he observes. Lande does, too. When he plays, “it feels Art Lande’s approach a success, whether it’s in a living room or a studio or a like we’re all doing something together,” he says. And to just about concert space. “Every time I play…I say that was the no matter what happens, it’s as it should be. There’s a everything—music, best music I ever played in my life,” Lande avows. beauty to that. v cooking, teaching, Lande’s approach to performance is not without coaching ball games—is process. He writes structured pieces for specific For more information, visit artlande.com. Lande is at Jazz to improvise with the performances and he typically performs with highly at Kitano Jul. 30th. See Calendar. sounds, words, ideas and actions in the moment. “I skilled players whose styles he knows well. To prepare like creating environments where things can happen for a gig the band will rehearse, but not too much. “We Recommended Listening: that are unpredictable, that involve everybody’s real need to know enough to be able to create something, • Ted Curson - Jazz Meeting (Four Leaf Clover, 1973) energy,” he explains. but not so much that we become glib,” he says. “It’s • Art Lande - Rubisa Control (ECM, 1976) To the jazz world, inspired playing and expansive about knowing just enough to get into trouble.” And if • - Shift in the Wind (ECM, 1980) compositions are Lande’s tour de force. But to Lande one of the players shows up with a new idea or • Fred Hess - You Know I Care (Capri, 1994) himself, music is just one of the many mediums that he something happens in real time to change the course of • Paul McCandless/Art Lande/ Peter Barshay/ uses to interact with others. “Music is more of a the gig, that’s fine, too. Lande can’t predict what he Alan Hall - Shapeshifter (Synergy, 2003) language for me,” he explains. “I’m not so intrigued himself might do. He will carry a book of poems with • Gebhard Ullmann/Chris Dahlgren/Art Lande - with music on its own, but as a means of sharing, him on stage and open to a random page during a Die Blaue Nixe (Between The Lines, 2003-04) communicating, [and] creating energy.” Even so, performance, for instance, and “by magic” he’ll find a Lande’s music credentials are impressive: He’s got poem to read that exactly matches the aesthetic of the more than 45 albums to his name as a soloist, ensemble music. Or perhaps the band will pause in the middle of Billy Lester player, composer, producer, or any combination of a tune and wait—one, two, three minutes—before is accepting new jazz piano students, these. He’s worked with a multitude of allstar resuming the performance. Lande doesn’t leave the offering an original approach to jazz instrumentalists and headlining singers. And in 1987 audience out of the musical collaboration, however. he received a Grammy nomination for his solo album, From the stage he’ll actively invite them to participate creativity, technique, theory and ear Hardball (Great American Music Hall Records). in creating the shared experience. It’s okay, he says, if training to students of all levels. The same year he received the Grammy nomination, the resultant sounds are weird or boring. The point is Re: Storytime - Billy’s solo piano CD: Lande settled in Boulder, Colorado, after almost 20 to leave space for the exceptional to happen. People years of playing and teaching. Musicians don’t “yearn for this kind of interaction,” Lande asserts. “Connoisseur jazz...at an ever higher level gravitate to Boulder the way they do to Los Angeles or “They’re ready to meet something fresh and authentic.” of daring and mastery.” New York but Lande isn’t looking for the mainstream. Lande’s ability to create safe spaces for -Howard Mandel, President, He knew early on that he wasn’t the performer type. collaboration factors prominently in his work with Jazz Journalists Association “I’m not out touring all the time with strangers for students. He first began teaching almost 40 years ago money and recognition,” he reveals. “That’s not the and since then he’s been affiliated with several learning “You won’t get any better than this.” way my life works.” What does work is trusting institutions such as the Cornish Institute in Seattle, -Rotcod Zzaj, rotcodzzaj.com himself, the musicians and the audience—wherever he Jazz School of Migros Klubschule in St. Gallen, “Solo jazz piano at its best” is—to create the music that needs to be played in that Switzerland, Naropa Institute in Boulder and - Scott Albin, Jazz Times time and that space on that day. This kind of music- presently the University of Colorado, Boulder, to name www.billylester.com making requires more than just spontaneity and solid only a few. Aside from coaching students in the chops; Lande says that over time he’s learned to technical aspects of jazz, Lande “sponsor[s] the energy studio in Yonkers, NY

LEST WE FORGET

Ellis. In 1962 he began his tenure with , players in New York and students from his New Jaki Byard (1922-1999) where his wide-ranging pianistic style flourished. England Conservatory classes in Boston. Byard’s own recordings as a leader, beginning Byard’s legacy as an educator is perhaps as by Russ Musto with 1961’s Here’s Jaki, revealed him to be a more than important as his work as a pianist, having nurtured a capable frontman and composer, heading a trio of large number of today’s finest players. Flutist Jamie In a music that values, but doesn’t always reward, bassist and drummer Roy Haynes on a Baum, who leads the group Yard Byard, a Byard individualism, Jaki Byard stood out as one of a kind—a program of five diverse originals and reinventions of repertory group made up of the pianist’s former singular, yet relatively unheralded artist. Arguably the Coltrane’s “Giant Steps” and the Gershwins’ “It Ain’t students notes, “Jaki never put different styles of music most versatile pianist of his or any generation, Byard’s Necessarily So”. Subsequent dates as a sideman with into categorical boxes. He had a deep understanding of playing embodied the full history of jazz—often within Rivers, and showed the jazz tradition as well as of classical music (and any one performance. Born in Worcester, Massachusetts on that his eclectic stylings could enhance the music in a other style that he found interesting) and could Jun. 15th, 1922, he came up in the Swing Era and began variety of settings—from Texas tenor blues to modal incorporate them into his solos and compositions in a his professional career playing locally before going on freebop. His own series of recordings as a bandleader way that was personal, convincing and authentic.” the road with Earl Bostic. Embracing the new music and multi-instrumentalist (doubling on saxophones, Byard’s work as a composer continues to gain attention, bebop, he formed a quintet with trumpeter Joe Gordon vibes and drums), featuring the likes of Kirk, Joe having been recorded by Jason Moran, Fred Hersch, and tenor saxophonist . Later he worked in Farrell and Elvin Jones, received broad critical acclaim, Matt Wilson and Ethan Iverson. Byard died Feb. 11th, and around Boston in a quartet with alto saxophonist but did little to gain him bookings for the groups. 1999 in an unsolved homicide. v and as a member of ’s Beginning in the ‘70s Byard worked primarily as a legendary big band, before leaving for a three-year soloist, either alone or with bassist Major Holley, with Recommended Listening: stint with trumpeter ’s aggregation. whom he regularly held forth every Sunday at • Quintet - Outward Bound (New Jazz, 1960) Upon moving to New York in 1960 Byard garnered Bradley’s for most of 1974-75. The recently released • Charles Mingus - (OJC) national attention recording with Eric Dolphy on the three volumes of solo piano dates on High Note, (Jazz Workshop, 1964) saxophonist’s landmark Outward Bound album. recorded at the during the decade, • Rahsaan Roland Kirk - Rip, Rig and Panic Unfortunately, his own debut date, , show off the pianist’s far reaching style to great effect, (Limelight, 1965) produced by Nat Hentoff for that as does the superb 1982 duo date with Tommy • Jaki Byard - (OJC) (Prestige, 1967) same year, remained unreleased for nearly three Flanagan, The Magic of 2: Live at Keystone Korner • Jaki Byard - The Late Show (An Evening with Jaki Byard): decades, although his already fully formed style (Resonance). During the ‘80s, the pianist also led his Live at the Keystone Korner, Vol. 3 (HighNote, 1979) gained considerable exposure on a series of forward- own big band, The Apollo Stompers, basically a pair of • Jaki Byard - Live at Maybeck Recital Hall, Vol. 17 looking recordings by both Dolphy and trumpeter Don rehearsal groups comprised of first-call journeymen (Concord, 1991)

10 JULY 2014 | THE NEW YORK CITY JAZZ RECORD MEGAPHONE

Europeans were beginning to imitate us. creativity for creativity’s sake often ruled the day over The Make Believe Rag Where did this enormously popular and extremely the past 11 decades. Whom do I specifically thank? I am radical sound come from? By 1899, Africans had lived grateful to the millions of people who found Africanized by Jon Weber on this continent for three centuries. Why did it take so European music irresistible 115 years ago and even long for their music to surface? Simple answer: they more grateful to the adventurous geniuses who created So, I’m playing “The Maple Leaf Rag” on this ancient were slaves, deprived of freedom and any chance to something seemingly out of nowhere. Their impact piano at a Minsk, Belarus coffee house, valiantly express themselves artistically and/or actively upon American culture is incalculable, I couldn’t repay focusing upon every note, every riveting pulse participate in mainstream American culture. In 1899 them in 100 lifetimes and even in Belarus, their staying deserving my laser-like concentration. I revere “The few white Americans had any clue what African- power is anything but make-believe. v Maple Leaf Rag” and consider it the most important American music sounded like. There was simply no American composition of all time because it paved the exposure to it and no commercial mechanism in place For more information, visit jonwebermusic.com. Weber’s way for so much music that I love. Scott Joplin’s two- to provide it for mass consumption. “The Maple Leaf “Joplin to Jarrett” is at Metropolitan Room Jul. 2nd and minute masterpiece was the first instrumental Rag” launched us into the uncharted artistic waters of 8th. See Calendar. composition to sell one million copies of sheet music. genuine American music. An older Belorussian guy recognizes it, smiles and Occasional glimpses of African-American music Jazz pianist Jon Weber has recorded and toured all over the barks out, “The Make Believe Rag!” Close enough. awareness would emerge for a white audience but world, winning numerous honors for performance and Seriously, how many 1899 compositions survive that would quickly disappear. In 1842, Charles Dickens composition—scoring extensively for television since 1987. fickle journey from the year 1899 all the way into our attended a performance by Juba at the Bowery Gary Burton, Roy Hargrove, Niels-Henning Ørsted collective musical consciousness in the year 2014? Amphitheatre. Juba is generally regarded as the Pedersen and Avishai Cohen have all recorded his music and Quoting Stephen Sondheim, “Damn few”. pioneering figure for American tap dance and his his newest release, Simple Complex, rose to #1. Weber If you consider what American popular music accompanying trio consisted of a trumpeter, violinist hosts NPR’s Piano Jazz with Jon Weber after frequently sounded like at the turn of the 20th Century, “The and drummer. One reviewer wrote: “The drummer serving as guest host for Marian McPartland. Maple Leaf Rag” truly represented a new era, artistically sweats profusely and plays contrary to all laws of and socially. American original music sounded a lot rhythm.” Wow! I want to hear that. “The corpulent like Scottish and German folk songs—Europe Jr. until trumpeter plays red-hot needles of sound.” I definitely Scott Joplin’s great American wake-up call blindsided want to hear that! Eight decades later, Louis Armstrong the music industry of its day. In 1899, this ever-so- would lead his groundbreaking jazz ensembles the “Hot slightly Africanized treatment of familiar European Five” and “Hot Seven”. Perhaps he read Juba’s reviews. lured millions of consumers to sheet music Clearly, in 1842, white mainstream Americans still NEW RELEASES: stores, where people of modest means forked over their considered African-American music threatening and hard-earned cash in exchange for a chance to navigate indecipherable but, by 1899, African influence finally ProtestMusic Joplin’s ragged, syncopated creations. found a welcome entry via ragtime. Maybe a general Yoni Kretzmer - Tenor Sax I am astonished that any piece as technically optimism drove everyday Americans toward reaching Pascal Niggenkemper - Double Bass challenging as “The Maple Leaf Rag”, and the thousands for something better, smarter, more enlightened…at the that would follow, would become blockbuster sellers. dawn of the 20th Century. Weasel Walter - Drums Conventional wisdom would suggest that “simpler is Joplin’s millions-selling compositions probably more sellable”, yet pianists at all skill levels sought out attracted a lot of folks into the music business who may the more intricate rags, apparently having outgrown not have otherwise paid attention to the fledgling Gordon Beeferman Trio the ordinary. They must’ve been so eager to raise the industry. Enormous amounts of cash quickly seduced OUT IN HERE bar and perform the new, magical parlor trick—over cold, steely business sharks who didn’t care as much Gordon Beeferman - Piano and over. The ragtime craze achieved the early 1900s about the art as they did about the profitability of the James Ilgenfritz - Double Bass equivalent of viral. American creativity began taking a hot sellers. There’s a joker in every deck, isn’t there? Michael Evans - Drums more respected place on the world stage. Even Claude For better or worse, thanks to alliances holy and unholy, Debussy started composing Joplin-esque works. the money flowed, the floodgates rushed open and www.outnowrecordings.com

VOXNEWS

Middleton. These live recordings defy the phenomenon Bill Charlap (Jul. 30th). Also at Jazz in July (and to add What on Unearthed?! that separates us from the departed, bringing the mid to this month’s piano theme) don’t miss veteran elder 20th century into your 21st century living room. You’re Sandy Stewart commanding consummate synergy with by Katie Bull there. Charlap, who is also her son. The two will join for a If you love Louis, you may already know about the Hoagy Carmichael tribute (Jul. 22nd). The critically With a new archival release Mosaic Records has younger pioneer bebop master, trumpet player Howard acclaimed Sachal Vasandani will top the series off with created a sonic time machine and you have just entered McGhee. Thanks to McGhee’s work with singers, the his relaxed simplicity and ease to honor Fred Astaire, the jazz past through your listening ears. It’s May 17th, unearthed gem Howard McGhee West Coast 1945-47 again with Charlap and also with pianist Renee Rosnes 1947. Sitting on the edge of a front-row seat in New (Uptown), though mostly instrumental, includes in a tribute titled “I Won’t Dance” (Jul. 31st). York City’s Town Hall, you are part of the expectant several entirely sublime vocal tracks by the solidly And “dig” two new albums containing music from crowd’s electric energy. What you are about to hear on hearty Monette Moore and crooning drummer Dan a new ground of fusion between jazz vocal genres. On Disc 1/Track 1 will go down in jazz history as the birth Grissom, McGhee’s sideman. Their voices, re-etched the French-born singer/composer Christine Python’s of Louis Armstrong’s All Stars. The elegantly buoyant into the present air, are priceless. organic album Meme Si (Unit), her trio weaves tradition and adoring announcer’s voice of radio host Fred German vocalist Inge Brandenburg has also roots, driving electric guitar lines and electronics. Like Robbins fades in: “…We give you the greatest singer in ‘returned’ via ten unreleased, restored and remastered a flock of birds, Python’s band swoops and gathers as American jazz!” It is a sizzling turning point night in concert recordings and two live recording sessions on the singer intones the mellifluous French words of poet Armstrong’s career. Bow down to Mosaic for The Don’t Blame Me (Sonorama). Voted “Europe’s best Joël Bastard. Meme Si’s rigorous contrasts of melodic, Columbia and RCA Victor Live Recordings of Louis female jazz singer” at the festival of Juan-Le-Pins in gritty, bluesy and raucous sounds require listeners to Armstrong’s All Stars, a stunning boxed set of 8 discs 1960, Brandenburg’s uninhibited and velvety alto release expectation and go for the flight. And speaking spanning 12 years of time travel to the roots of the voice on jazz standards reveals masterful instrumental of sonic aviation, the self-produced Paper Birds, by the tradition. Culled from archival vaults and other phrasing, effortless melodic invention and rhythmically Brooklyn-based group Ralliade—Angela Morris on sources, including the famed George Avakian’s daring scat. The vibrant mix is in perfect balance with voice and tenor, Scott Colberg on acoustic bass and basement, the unedited, full-length restored a buzzing crowd ambiance as backdrop. vocalist Alex Samaras—is exciting and should be a performances on this boxed set are a windfall. From Present day gems playing homage to greats of the breakthrough album for this exquisite collective. Town Hall to Accra (go to Ghana on Disc IV!), past can be heard at the 92nd Street Y’s Jazz in July and Morris’ original poems (and one by Johanna Skibsrud) Armstrong throws down his signature sound, shifting include Grammy-nominated, First Place winner of the manifest in a high-caliber alchemical exchange between between trumpet and his sweet and gritty voice on Thelonious Monk competition Cécile McLorin Salvant, the threesome. nearly every cut! Armstrong also welcomes the rich a shatteringly beautiful singer. The 25-year-old wise- Unearthed from the past, living in the present and and meaty singing of his regular vocalist, Velma old-soul will offer a tribute with pianist flying into the future, jazz is here—for the record. v

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

until I was just about to go to college that the epiphany he began IPI in 1981 with engineering maverick Dean International Phonograph came.” His sister brought him a copy of ’s Roumanis. As both Hardy and Roumanis are deceased, now-ubiquitous At The Village Gate album and he was Horwich has kept the home fires burning. “When I by Marc Medwin thunderstruck. “What’s this, what have I been came back to Chicago after 40 years out in California missing!” His voice rises, the words quickening with and Michael Cuscuna asked me to mix, master and “Would you please call me on my landline? I hate the anticipation, as he describes hearing Charles Mingus’ produce the Bradford/Carter set, I started looking sound of the voice on cell phones!” Jonathan Horwich, Tijuana Moods and then ’s Flute Fever, around for other music that I felt should be given a the man behind International Phonograph Inc. (IPI), released on Columbia in 1963 and which Horwich has second chance. That’s why I reactivated IPI. It seemed makes no bones about his likes or dislikes. Directness just reissued. “Then I really started to get it; what an to be a way for me to get back into the music.” seems integral to his character and the strength of his absolutely burnin’ record!” He began with Bill Dixon’s 1967 album Intents and opinions serves as a foil for the boundless enthusiasm One of those lucky situations that can determine Purposes, which had never been available on CD, and with which he approaches every aspect of his life’s life’s entire aftercourse occurred for Horwich at was in production at the time of Dixon’s 2010 passing. passion, which is music. Upon reconsideration, music Occidental College, where, pursuing an English “I told him that I was going to reissue the album just as is only a part of what motivates Horwich to such Literature degree, he met John William Hardy, it was, complete with original artwork and liners, but heights of excitement. The way the music sounds is ornithologist, DownBeat columnist and, Horwich with improved sound,” Horwich reminisces, “and he absolutely paramount in his vision of how it should be maintains, one of the finest liner notes writers the was thrilled! That was just how he wanted it.” Even for understood and the sonic fidelity of his reissues is just music has ever had. “He started mentoring me. I’d go those of us who had long treasured the excellently as much a part of the whole experience as the visual to his house and he’d be showing me how to listen to recorded RCA LP, IPI’s transfer proved revelatory, presentation; the combination sets IPI apart from the this music. ‘Listen to that moment, how that group is boasting what might be described as a fuller, more countless labels of varying repute, devoted to interacting, how the rhythm section is playing as a open but incredibly detailed and still highly visceral reintroducing neglected or long-unavailable items into single unit; hear how they’re avoiding clichés?’” After sound. Julius Hemphill’s Dogon A.D., IPI’s second the catalogue and, hopefully, to a larger public. a year or so, the two founded Revelation Records to project, garnered similar praise and its popularity “It was very simple,” Horwich smiles when asked record underserved musicians in the L.A. area. Their necessitated multiple printings. “We go back to the about the name of his label. “I started it back in 1981, in most readily available work constitutes the Bobby masters,” Horwich explains, “and we transfer direct to the days when we were issuing everything on vinyl.” Bradford and John Carter collaborations reissued by digital, nothing in between. We’ve also developed a The label released one title at that time, Rendezvous by Mosaic in their Select series, but the catalogue became proprietary method of making the digital copy sound pianist Richie Beirach and bassist , but the fairly large, reaching to about 50 records. Piano studies as full as possible.” The level of reproduction is readily story leading to that pivotal moment is as rich with with Clare Fischer and alto lessons with Gary Foster apparent on Clare Fischer’s Extension, an album for discovery as is the music the label preserves. “I augmented Horwich’s knowledge and experience with which Horwich clearly maintains a special affection. remember listening to lots of Elvis and rhythm and the music and he learned the fundamentals of recording “It’s his masterpiece,” he states emphatically. “Listen blues on the radio in the ‘50s, just after my family and mastering on the job. to the disc with no distractions and you’ll hear things moved to Chicago,” muses Horwich. “But it wasn’t While Revelation is still under Horwich’s control, (CONTINUED ON PAGE 33)

Intents and Purposes Dogon A.D. Extension Flight for Four Flute Fever Bill Dixon Julius Hemphill Clare Fischer Orchestra John Carter & Bobby Bradford Jeremy Steig

LISTEN UP!

CHRISTIAN SANDS is a multi-nominated Grammy Dream Band: Charles Mingus, Art Blakey and John Teachers: Stefan Karlsson, , Dan Harle, jazz and Steinway artist whose mission is to expand Coltrane. Manfred Gerhardt. and teach the music of jazz through performances and teachings. He says, “My music is about teaching the Did you know? I can play piano backward and upside Influences: Bach, Beethoven, Brahms, Wynton Kelly, Bill way of jazz and keeping it alive. It’s unfortunate that down. Evans, Keith Jarrett, Fred Hersch, Mulgrew Miller, Chick the older styles, like stride, are starting to drift away.” Corea, Dave Kikoski, Maria Schneider, Bob Brookmeyer. True to his word, Sands develops the past while For more information, visit christiansandsjazz.com. Sands is providing unusual and stimulating vehicles for the at 92nd Street Y Jul. 29th as part of Jazz in July’s Three Current Projects: Last April I released my debut album present...and for the future. Musicality, sensitivity, taste Generations of Piano Jazz. See Calendar. Sotareño on Sunnyside, songs and original compositions and swing—hallmarks for as long as he has been representing a mix of traditional rhythms from playing. Colombia and contemporary jazz. I am currently in the process of musicalizing some of the writings by the Teachers: Dr. Billy Taylor, Jason Moran, Phillip Kawin, great Gabriel Garcia Marquez, who just passed away. Vijay Iyer, Sonny Bravo, Rex Cadwallader, , Bobby Sanabria and Dave Liebman. By Day: Practicing, teaching, listening, writing.

Influences: Jason Moran, Art Tatum, Oscar Peterson, I knew I wanted to be a musician when... I always Sun Ra, Salvador Dalí, Pablo Picasso, Dr. Billy Taylor, knew I wanted to play piano, but I reaffirmed my Herbie Hancock, Maurice Ravel and Erik Satie. passion for composition and creativity when I was 13 Christian Sands Carolina Calvache and played my first composition for flute, piano and Current Projects: Jazz Mobile 50th Anniversary at cello. That same year I heard a recording of Chick Marcus Garvey Park; APA Cole Porter Fellowship Pianist CAROLINA CALVACHE was born in 1985 in Corea’s electric band. After that I knew I wanted to finalist; GRAMMY nomination for Christian McBride Colombia. She obtained her Bachelor’s degree from the play, improvise and create music for the rest of my life. Trio album Out Here; Music Producer for international Universidad del Valle and in 2007 started a Master’s artists; producing and writing for my new recording. degree in Jazz Performance and Composition at the Dream Band: Jeff “Tain” Watts and Hans Glawischnig University of North Texas. In 2011, Calvache moved to By Day: Philanthropy and educator for jazz music. New York and was part of the Mary Lou Williams Jazz Did you know? I love dancing salsa and profoundly Festival at the Kennedy Center. She has worked with admire artistic roller-skating. I knew I wanted to be a musician when... I saw Antonio Sanchez, Jaleel Shaw, Michael Rodriguez, trumpeter perform at age seven. I thought Samuel Torres, Ludwig Afonso, John Ellis and Hans For more information, visit carolinacalvache.com. Calvache he was phenomenal. He inspired me. Glawischnig, among others. is at Somethin’ Jazz Club Jul. 23rd. See Calendar.

12 JULY 2014 | THE NEW YORK CITY JAZZ RECORD FESTIVAL REPORT FIMAV Moers Musketer by Irwin Block by Andrey Henkin by Laurence Donohue-Greene e n e n c D o h u - G r V 2 0 1 4 © M a r t i n o s e F I M A P h o t b y a r i c k E s e x / l P h o t b y L a u r Evan Parker & Fred Frith Ideal Bread Famoudou

Nestled among the hills and dairy farms of central The tent is dead. Long live the tent! For the first time While New York was enjoying the Vision Festival last Quebec, the good news is that the off-the-beaten-track since 1987, the Moers Festival, held in the bucolic city 40 month, the Danish capital of Copenhagen was having a town of Victoriaville remains a prime showcase for a kilometers north of Düsseldorf, did not take place in memorable improvisational music extravaganza of its broad selection of improvised and experimental music. what had been claimed to be the largest circus tent in all own. The annual Musketer Festival (Jun. 12th-14th)— It once produced furniture and hockey sticks, but once of Europe. A long-term investment in the festival was the independent, DIY counterpart to the grandiose again fans gathered for the 30th edition of the Festival made in the form of repurposing an old tennis hall and Copenhagen Jazz Festival—couldn’t wait to celebrate International de Musique Actuelle de Victoriaville if some of the sense of spectacle was missing, the sound its first decade since its 2005 inception. This year’s (FIMAV). The 20 concerts (May 15th-18th) constituted and sightlines were better and actual bathroom facilities edition was unquestionably the festival’s most ambitious a cross-section, with nothing terribly extreme or must have been a welcome change from years past. to date. Spearheaded by Danish drummer/sometimes outlandish, of what makes this a happening scene. It What didn’t change was an eclectic program of 20 pocket trumpeter/organist/MC Kresten Osgood, the reflects the scope and ambiguity of the French word concerts plus late-night performers across the festival’s festival’s unique concept is threefold: to present as “actuelle”—coined at the first group of concerts, held four days (Jun. 6th-9th), full of ambitious projects of many improvisers as possible; have first-time ensembles in an automobile showroom in 1983, to mean new, varying degrees of success and full audiences whose create 15-minute mini-sets; and, perhaps most immediate and spontaneous. With almost 5,000 tickets attention spans were remarkable across widely disparate significantly, invite and feature at least one overseas sold over four days and an estimated 10,000 visitors to ensembles. One surprisingly enjoyable portion were the guest. This year’s had noticeably more non-Danish eight free outdoor musical installations, Artistic morning sessions, taking place at the Musikschule instrumentalists present, including a plethora of Director Michel Levasseur said he was satisfied with Moers. Improvising groups, with personnel drawn from American percussionists in Famoudou Don Moye, matching last year’s gate, especially lacking the star festival acts and some musicians brought in specifically Jerome Cooper, Cooper-Moore and Adam Rudolph plus power of that edition’s Zorn @ 60 marathon. for the sessions, played thoughtful and committed short pianist Aaron Parks, trumpeter Herb Robertson and This year’s lineup amounted to something of a sets to eager audiences, the antithesis of the typically bassist Alex Blake performing with an impressive array retrospective in that its highest profile performers, dreaded late-night jams put on by most festivals. of local talent. It’s an entirely unique music marathon: saxophonist Evan Parker and electric guitarist Fred Guitarist ’s solo acoustic set on Friday, eight+-hour nights for three days (the exception being Frith, have had everything to do with opening new dubbed “Protest Songs” was less folksy sit-in and more the final day, which got off to an early afternoon start, vistas for improvised music over the past 30 years. lo-fi punk show. The songs were pithy, mostly originals, making the festival finale a 14+-hour event) with only a Parker, 70 and Frith, 65, playing together as a duo for about topics like security in airports, the physical few minutes break/set-up time between groups of only the third time, did what great improvisers do so breakdown of aging, a diatribe against Santa Claus, musicians being shuttled on and off Huset’s first floor well—they created something from nothing but their minor-key reworking of the traditional song “The Dying stage. This reviewer caught nearly 100 sets of music, instinct, experience and the vibe from an expectant Cowboy” and a pairing of Dylan’s “Masters of War” missing only a handful! crowd sitting around tables in the town Coliseum, its and Ribot’s original “Masters of the Internet”. Ribot’s The most memorable were the cross-cultural walls draped in black and decorated by new abstract charm and intellect, subsumed in larger groups, was on exchanges, starting with festival opener Pierre Dørge art. Parker roamed and explored mainly on tenor sax, full display. Another highlight of the evening was the (five-string South Indian mandolin), his longtime New crafting long complex lines, enabled by his remarkable March-November Dutch pairing of pianist Oscar Jan Jungle Orchestra keyboardist Irene Becker (playing circular breathing and curiosity. Frith sounded more Hoogland and drummer Han Bennink. The latter has piano inside and out) and Aaron Parks (Wurlitzer adventurous and dramatic, using his guitar as a lots of experience in this format and could have easily keyboard). The latter is enjoying a JazzDanmark DIVA rhythmic and percussive device, with his instrument dominated the proceedings with his signature (Danish International Visiting Artists Programme) sitting on his knees as often as on his hip. histrionics. But Hoogland countered with both strong residency in Copenhagen and one could sense his Parker and Frith reappeared Sunday, each leading unfettered playing and his own hijinks, which included playing has grown exponentially with new larger ensembles. The former’s electro-acoustic septet toy megaphones placed on Bennink’s various drumtops collaborations. His piano trio featured one of the festival —Peter Evans (trumpet), Okkyung Lee (cello), Ned and a homemade electrified clavichord. At 72 one can revelations, and perhaps the youngest: 20-something Rothenberg (clarinets) and Ikue Mori, Sam Pluta, marvel at Bennink’s energy but the focus should instead drummer Matias Wolf Andreasen, who seamlessly George Lewis (electronics)—kicked off the 50-minute be that no matter what he is doing, even dropping shifted jazz and rock tempos. Though straightahead opener with jungle-like sounds and silences, building sticks, he does so with perfect swing. piano trios were in the minority, Thomas Clausen, one into a big orchestral creation. Lee in particular The indefatigable Paal Nilssen-Love opened the of Denmark’s most valued in the Bill Evans tradition, impressed with her passionate and idea-rich bursts, at second day with his Large Unit. It was fascinating to see made up for it with an exquisite rendition of “Bye Bye times injecting drama and passion when it was needed. the drummer both as one of the oldest members of his Blackbird” with Osgood (who played in 19 groups total) Frith’s 11-member Gravity Band—a mix of former ensemble and as de facto conductor of the zealous hour- and a rarely subdued, highly melodic Blake. Elsewhere students such as crackerjack guitarist Ava Mendoza long set. The 11-piece band, which had a five-man horn the bassist literally shook the stage with his inimitable and Bay area musicians Aaron Novik (clarinet) and line (including the tuba of Børre Mølstad), electronics rhythmic force and synced wordless vocals. He William Winant (percussion)—reprised Frith’s 1980 courtesy of Lasse Marhaug and two basses and a second performed solo; fronted a group with five Danish dance album, with its joyful Celtic, Slavic and “Dancing drummer played three pieces, which were themselves bassists and played in trumpeter Herb Robertson’s in the Streets” sections, an antidote to the then- made up of several compositions. Like a mathematician, stirring first-time ensemble with Danish percussionist dominant disco craze. What emerged was a passionate Nilssen-Love charted almost every musical sub- Marilyn Mazur, Moye and Rudolph. This latter group and swinging avant package—a blast from the past combination possible, interspersing them with moments effectively splintered off into a pair of comfortable and laced with fresh and original elements. of full-band clatter for the wildest ride of the festival. complementary percussive duos, the lines and colorful (CONTINUED ON PAGE 42) (CONTINUED ON PAGE 42) (CONTINUED ON PAGE 42)

THE NEW YORK CITY JAZZ RECORD | JULY 2014 13 CD REVIEWS

Orchestra piece. Strickland is effusively lyrical and Gospel is his anchor but one can hear the echoes of soars over stabbing horns. On “Dita (For Karyn Monk to Waller to Wonder. He can play at a rocking Warren)”, bass clarinets, muted brass and flutes color chair tempo or with an agility and invention that make the edges of alto saxophonist Todd Bashore’s tearful you feel like you’re on the back of a Harley, clutching meandering and Evans’ exceedingly delicate twinkling. his waist for dear life. Joining him on Midnight Melodies Two choice covers add to the album’s dynamism. are fellow U. grad Curtis Lundy on bass The elusive, wriggling lines of drummer Donald and the vivacious drummer Victor Lewis. Edwards’ “Tickle” seems playful at first, until riled up Things get started with the light-stepping, by Dillard and Evans’ steely riffing, turning into a elemental swing of “Two Heartbeats” and dazzling

Mother’s Touch show of blazing brass. Bassist Eric Revis’ “Maestra” Bud Powell-inflected “Pocket Full of Blues”. And Orrin Evans Captain Black Big Band (Posi-Tone) gets a nice workout too, the band building around a Chestnut knows the blues thoroughly; he plays them by Robert Milburn hip bass ostinato while horns inject swelling question on “Bags’ Groove” like he owns them. He brings a marks. Evans’ closing “Prayer For Columbine” is a similar ‘lived-it’ emotion to ballads, imbuing “To Be Pianist Orrin Evans has an attitude in his playing, tough tune to pin down. Its power is largely derived Determined” and “I Wanted to Say” with compassion whether hammering dense two-fisted chords or from drummer Anwar Marshall, whose subtle and lyricism. The feelings deepen on a scintillating stroking a delicate ballad. It seems fitting, therefore, dynamism controls the purposeful shift between dense version of “Chelsea Bridge”. Chestnut immediately that he would choose to record with a 20-something confusion, hopefulness and assuring authority. doubles down on Strayhorn with “U.M.M.G.”, which piece big band when almost no one else can afford to begins as a lullaby and accelerates into one of his do it. In 2010, Evans’ Captain Black Big Band (CBBB), For more information, visit posi-tone.com. This group is at typically joyous and nimble romps. This sets up the named after his father’s choice of tobacco, recorded a Smoke Jul. 7th and 21st. See Calendar. album’s defining moment, a blistering version of series of live tracks selected from the tail end of a tour “Giant Steps”, which segues ingeniously, with at Chris’ Jazz Cafe in Philadelphia and New York orchestral flourishes and drama, into another Coltrane City’s The Jazz Gallery, released as a self-titled album. classic, “Central Park West”. Lewis is a rhythmic Though the audio fidelity was a bit underwhelming, it whirlwind on uptempo tunes and wistfully soft-voiced captured Evans’ vision—seesawing intensity between on ballads. Lundy, who likely absorbed some of the peaks of aggression and valleys of soulfulness. same enduring lessons (and tongue lashings) from On their first studio recording, CBBB picks up Carter that Chestnut did, keeps a steady pulse. right where it left off, recruiting New York City staples In paraphrasing one of the many valuable lessons like saxophonists Marcus Strickland and Stacy Dillard Betty Carter taught him, Chestnut once said “If I’m along with trombonist David Gibson and trumpeter gonna win people over, I gotta do it with skill.” Her Tatum Greenblatt, and the leader penning six of the advice has served him well. He’s currently on a 20+- Midnight Melodies nine songs, with arrangement credits to other artists. year winning streak that shows no signs of ending. Cyrus Chestnut (Smoke Sessions) The album opens with the aptly titled “In My Soul”, by Terrell Holmes never straying far from its rhapsodic melody, which For more information, visit smokesessionsrecords.com. Chestnut swells and twists between brass and wind sections, Ever since Revelation, his 1993 debut as a leader, Cyrus is at Blue Note Jul. 8th-13th with Dizzy Gillespie All Star Big reminiscent of a great Thad Jones/ Jazz Chestnut has been recognized as an elite pianist. Band and Smoke Jul. 18th-19th with this trio. See Calendar.

Get the Truth! The debut recording of Joel Forrester and The Truth

Joel Forrester: piano Rio, Choro, Jazz... Claire Daly: baritone saxophone CD Release Celebration Vito Dieterle: tenor saxophone July 2nd - 7 pm $25 David Hofstra: bass Michiko Studios Matt Garrity: drums 149 W. 46th Street 2nd Fl. Antonio Adolfo Quartet 11 new Forrester originals! with Laura Dreyer (fl, ss, ts) Paul Nowinski (b) Rafael Barata (d) July August

Sundays July 6, 13, 20 Wednesdays July 9, 16 Sundays August 17, 24, 31 Wednesdays August 13, 20, 27 Joel Forrester plays service Joel Forester, solo piano Joel Forrester plays service Joel Forester, solo piano Grace Gospel Church Manhattan Inn Grace Gospel Church Manhattan Inn 589 E.164th St. 632 Manhattan Ave. 589 E.164th St. 632 Manhattan Ave. 11 am – 1 pm 7 to 10. No cover. 11 am – 1 pm 7 to 10. No cover. Antonio Adolfo Brazilian Music Workshops Mondays July 7, 14, 21 Wednesdays July 9, 16 Mondays August 11, 18, 25 Wednesdays August 13, 27 Michiko Studios - 149 W. 46th Street, 2nd Floor Joel Forrester, solo piano Joel Forester, solo piano Joel Forrester, solo piano Joel Forester, solo piano June 30th - July 12th Brandy Library accompanies silent films Brandy Library accompanies silent films 25 N.Moore St. Manhattan Inn 25 N.Moore St. Manhattan Inn Piano • Guitar • Bass • Drums • Bass • Percussion • Vocals 8 – midnight. No cover. 632 Manhattan Ave. 8 – midnight. No cover. 632 Manhattan Ave. Ensemble • Brazilian Phrasing • Harmony • Songwriting 8pm. No cover 8pm. No cover • Rafael Barata Master Class: • Antonio Adolfo Master Class: Brazilian Jazz Conceptions - Phrasing in Brazilian Music - July 2nd, 5 pm July 12th, 11:30 am www.joelforrester.com More information at www.antonioadolfo.net or by phone: 786-566-1527

14 JULY 2014 | THE NEW YORK CITY JAZZ RECORD

which note shapes take the place of information and the production is Command’s usual high standard usually found in key signatures, simplifying sight- of cleanliness combined with plenty of punch and reading and harmony for congregational singing. Five dynamics. The balance that Hyman maintains with a of the pieces heard here are drawn from shape-note full orchestra behind him is outstanding. The cover art, songbooks, like The Sacred Harp, Ye Olde New-England fantastic original mid-century deconstructions Psalm-Tunes and The Southern Harmony and Musical capturing a hip jazz ethos, are maintained as are certain Companion collections still in use today; the other five liner notes. The omission of Hyman’s original are compositions by Douglas in the same spirit. descriptions and a lack of any updating or behind-the- Along with the frequent simplicity of the diatonic scenes information on these sessions is, however,

Floating melodies and triadic harmonies, there comes a clear disappointing. That aside, Provocative Piano Volumes I Fred Hersch Trio (Palmetto) evocation of mood, from the determination evident in & II is a pleasing early portrait of this prolific pianist. by Ken Micallef A. M. Cagle’s “Soar Away” or Floyd M. Frederick’s “Supplication”. The former’s “Present Joys” is For more information, visit sepiarecords.com. Hyman is at Fred Hersch is a jazz pianist. But to qualify him as a absolutely celebratory, its declarative major scale 92ndDMoNYCJR12thPageAd0614_Layout Street Y Jul. 29th as part of Jazz 1 in 6/18/14 July. See 12:57 Calendar. PM Page 1 “jazz pianist” is to reduce his large and profound skill melody taking on suggestions of Albert Ayler’s set. More than simply a musician, Hersch uses his life “Ghosts” in Douglas and Caine’s handling of it. Oliver as material for his music, thus giving his albums and Holden’s “Confidence” is more pensive while Douglas’ New from Planet Arts Recordings concerts the feeling of some great project. He’s a special own compositions extend the materials further: “Seven musician. In a totally unselfish way, Hersch lives life as Seas” takes an exploratory bent; “End to End” is a ”Music for The a theater piece, as an act of performance art. So even as comic series of climaxes; and “Old Putt”, played solo Last Flower” his music can be categorized as jazz—he covers by Caine, develops a special floating beauty through Featuring: standards and uses swing and AfroCuban rhythms in subtle harmonies. It’s all played beautifully, Douglas Diane Moser–piano/composer original material with the occasional ballad—he bares and Caine improvising with a hand-in-glove familiarity. Mark Dresser–bass Gerry Hemingway–drums himself so generously in his music (typically composing Reminiscent of earlier forays into folk music by Marty Ehrlich–alto sax/clarinet for multiple idioms and formats beyond jazz) that it’s musicians like Jimmy Giuffre, John Benson Brooks and Ben Williams–trombone sophisticated, orchestral, emotional and ultimately, Bill Smith, Present Joys is also akin to the recent Shakers “This music is powerful, uncompromising, and brilliantly conceived.” pristine. Hersch plays with a beautiful touch and a rare ‘n’ Bakers band and their exploration of Shaker hymns. — Robert Bush, All About Jazz broad-ranging gift for melody, but also a unique Like those projects, Douglas and Caine create vital “...Highly recommend[ed]; it will warm your soul as easily as it will forward motion. Hersch’s 2011 theater piece, My Coma music in part by constructing jazz on alternative break your heart.” — Steve Dalachinsky, The Brooklyn Rail Dreams, documented his months lost to a coma foundations. (wherein, among other things, he dreamt of being in a Available at Downtown Music Gallery NYC and at CDBaby.com contest with a laughing Thelonious Monk), swung like For more information, visit greenleafmusic.com. Caine is at More info at planetarts.org and dianemosermusic.com mad and featured the pianist and his trio onstage as Smalls Jul. 21st. See Calendar. the action occurred around them. Floating is pure The Diane Moser Quintet performs Music for The Last Flower music, but the sense of theater is just as deep. July 25th, 6PM as part of the New Music in Bryant Park Series, Opening with “You and the Night and the Music”, 40th & 42nd St, 5th & 6th Ave, NYC Hersch improvises on the standard in an incredible, practically through-composed solo touching on Monk, Brahms and perhaps a little James P. Johnson. He continually changes focus, finding new ways to express the melody. Drummer Eric McPherson has never sounded so creative and bassist John Hébert remains the pianist’s long-standing anchor. The title track begins as a nocturnal, almost nightmarish vision then, Provocative Piano I & II as depicted in the CD artwork, darts as lightly as Dick Hyman And His Orchestra (Sepia) fireflies over a star-lit lake. There is a song written for by Elliott Simon Esperanza Spalding (“Arcata”), for Hébert (“Home Fries”), for pianist Kevin Hays (“Autumn Waltz”), a Sepia records has remastered the great Command teasing cover of Monk’s “Let’s Cool One” and a stately Records catalogue and begun to release them on CD cover of “If Ever I Would Leave You” from Camelot. for the first time. With producer Enoch Light at the Each bar of that last song is a jewel, filled with light. helm, Command Records set the audiophile standard Floating is a gift. during the earliest days of stereophonic sound. His LPs took advantage of 35mm film recording techniques For more information, visit palmetto-records.com. This to produce the best sounding music of the ‘50s and project is at Village Vanguard Jul. 15th-20th. See Calendar. early ‘60s. Alliterative titles like Persuasive Percussion (1959) and Tempestuous Trumpet (1960-61) featured

Light and his stable of musicians, arrangers, engineers and art director Charles Murphy. These releases were the quintessential upscale mid-century modern listening experience—artistic covers, clean production and a mix of jazz and pop that was light on improvisation and heavy on creative arrangements. Pianist Dick Hyman’s uncanny ability to play any genre in any format and sound great was a flawless fit for Command. Provocative Piano Volumes I & II is a picture-perfect pianistic production of orchestrations, Present Joys artwork, engineering, arrangements and musicality. Dave Douglas/Uri Caine (Greenleaf Music) by Stuart Broomer Originally released as two separate LPs in 1960 and 1961, Hyman and a full orchestra take the listener Trumpeter Dave Douglas has always had a gift for through thrilling and fun renditions of an encyclopedia clarity, his ideas thoughtfully and directly expressed of piano chestnuts from the worlds of pop and light without fuss and extra notes. That clarity achieves new classical music. Hyman flies across the keys on opener dimension here, in part because it’s a duo with a long- “Cumana”, which features stereophonically highlighted time collaborator, pianist Uri Caine, the two forming a Latin rhythms, while the string section gives one chills bare-bones ensemble of very precise musicians. Further on powerful versions of Chopin’s “Polonaise” and though, it’s an exploration of the shape-note singing Tchaikovsky’s “Piano Concerto No. 1”. tradition embodied in various collections of American The percussion, string, brass and woodwind hymns. Shape-note notation is a reductive system in sections of the orchestra are isolated exceptionally well

THE NEW YORK CITY JAZZ RECORD | JULY 2014 15

calls for bellicose emphasis. Moser’s sophisticated 11 pieces, 7 of which are Jamal originals, the pianist composing includes space to reflect violence with joined by bassist , drummer Herlin Riley sequences of tremolo emphasis but tranquility is and percussionist Manolo Badrena. expressed with the same facility. Tracks such as Opening track “Back To The Future” was mostly “…when love is no longer…” and “…she finds a written by Jamal in the studio. With a strong uptempo flower…” are the most moving, Moser’s richly textured rhythm, the spare melody is expressed by lots of block syncopation almost making one feel the child-like chords and fleet bass against both drummers. The title despondency with the first and subsequent joy in track (another original) features Riley imitating the germinating floral discovery in the second. ticking of a clock with sticks against the drum rim and

Music for the Last Flower (A Suite for Jazz Quintet) “…a hope for peace…” connects earlier narrative a simple melody conjuring the feeling of its titular time Diane Moser Quintet (Planet Arts) variations with harmonized horn parts, presaging of the week. Jamal’s “Silver”, a tribute to the fellow by Ken Waxman Moser’s cunning note placement and Dresser’s piano legend Horace, is bluesy, with Badrena’s conga moderated plucks to create a sense of normalcy. This prominent, while his “Firefly” features a call-and- Music for the Last Flower is program music, composed cheerful concept is reinforced with a subtle coda of response section and dialogues between piano and in 2003, which receives its long overdue documentation. interlocking string voicings. Music for the Last Flower bass and piano and percussion. “Edith’s Cake”— An eight-part suite inspired by James Thurber’s 1939 begs the question why its composer’s talent isn’t better written for the lady who faithfully brings Jamal a cake book, the nuanced performance highlights the writing recognized. every time she comes to his concerts in France—has a and playing of pianist Diane Moser. lazy kind of feel and a bass figure against which Jamal Structuring her anti-war musical fable so that the For more information, visit planetarts.org. This project is at carries on a whimsical piano conversation. One of the brutal noises of combat and bucolic intimations of Bryant Park Jul. 25th. See Calendar. longer originals, “The Line”, also has a dominant bass love, peace and flowers are present, Moser never figure introduced by Veal and passed on to Jamal. The overplays the programmatic concept, ensuring that the pianist covers all the registers on this one with block suite makes its point through hearty helpings of chords and dazzling runs, both drummers showing off advanced yet swinging jazz. Following a cacophonous their expertise. A shorter version of the title track free-for-all introduction, the dynamic theme is first closes out the album. exposed, reappearing in diverse guises throughout the A few standards are included (as well as a suite. The invigorating work of fleet trombonist Ben rendition of bassist Welton Gite’s “One”): Dorothy Williams is impressive; on the moving “…love is Fields-Jimmy McHugh’s “I’m In The Mood For Love” reborn…”, for instance, when a polyphonic theme is a showcase for Jamal’s mastery of his instrument variation arrives, his balanced tongue flutters incite a and Duke Ellington-Francis Webster’s “I Got It Bad staccato response, which soon includes sharp boppish And That Ain’t Good” is a straight reading with quotes Saturday Morning lines from Marty Ehrlich’s alto saxophone while from other Ellington tunes. Ahmad Jamal (Jazz Village) rhythmic connections bubble underneath via Moser, by Marcia Hillman There is much to savor on this album as Jamal bassist Mark Dresser and drummer Gerry Hemingway. continues his nearly 60-year journey of music-making. Strummed bass percussiveness and measured As the title suggests, Ahmad Jamal’s latest release is a drum clip-clops are put to good use when the writing laid-back affair. The CD exults in a relaxed feeling for For more information, visit jazzvillagemusic.com

Cyrus Chestnut trio CéCile MClorin salvant Band the Gospel aCCordinG to Jazz with kirk whaluM the litChfield Jazz festival orChestra dJanGo reinhardt proJeCt Jane Bunnett and Maqueque quartet Mario pavone oCtet proJeCt anthony stronG Claudio roditi Brazilian Jazz sextet CarMen staaf sextet and Many More! *line-up subject to change

Just 2 Hours from NYC! AN EAsY DAY trip or WEEkEND GEtAWAY! tent & Lawn seats food, Wine & Beer, Arts & Crafts Artist talks, kids Activities & more...

16 JULY 2014 | THE NEW YORK CITY JAZZ RECORD Galactic Alignment Burns Longer Payan With Alexander von I Remember Bessie The Art Tatum Solo Shih-Yang Lee/ Fred Van Hove/Damon Alexander Schlippenbach Art Hodes Masterpieces, Vol. 1 (OJC) Fred Van Hove Smith/Peter Jacquemyn von Schlippenbach Kitchen Orchestra (Euphonic-Delmark) Art Tatum (Pablo-Concord) (Jazzhus Disk-Kandala) (Balance Point Acoustics) (Enja) (Whats Cooking) by Stuart Broomer by Clifford Allen by Kurt Gottschalk Arts Hodes and Tatum were both born in the first Free music is often described as music of It’s remarkable that solo performance—which has decade of the 20th century. Though Hodes was born in communication and interaction, rather than a study in become such a significant part of Alexander von the Ukraine and Tatum in Toledo, , both came of contrasts and combativeness. That being said, some of Schlippenbach’s work over the last decade—had barely age in the Midwest in the ‘20s. Despite those the most engaging improvised music has presented been a part of his repertoire for decades before. In 1972, similarities, these two solo reissues might represent images of the latter approaches. For instance, the Peter having released two large ensemble albums, the pianist the poles of jazz piano, from Hodes’ deceptively simple Brötzmann Trio with drummer Han Bennink and recorded the tracks that would be released by Enja as approach focused on emotional depth to Tatum’s pianist Fred Van Hove. Through cultivating a language Payan later that year. Five years later he issued the flamboyant invention and jaw-dropping technique. of discursive, layered introspection and elemental simply-titled Piano Solo on FMP. Neither album Growing up in Chicago, Art Hodes was saturated concision, Van Hove occupied a space opposite both garnered the attention paid to his powerful Global in blues and New Orleans jazz and soon became a vital the brusque expressionism of Brötzmann and the Unity Orchestra (GUO) and both fell to the wayside. part of the swiftly evolving Chicago school. Despite subversive aggression of Bennink. Spanning 45 years The latter did see a reissue on FMP in 2009, after he’d Hodes’ prominence as a spokesperson for traditional and numerous albums as a soloist and collaborator, begun releasing solo recordings again, and now the jazz in the ‘40s, his playing is vigorous and artful in a Van Hove’s work is not discussed nearly as much as former itself is seeing itself on CD by its original label. way that will confuse anybody expecting a primitive. those of his fellow European architects. Payan is something of a tour de force, recorded He’s an inventive, two-handed improviser, but his Perhaps it is the kinship of geographical obscurity when the pianist was 33 years old. The ten tracks on technique has a special focus, using a legato phrasing that unites Van Hove and Taiwanese pianist Shih-Yang the album (some of which would later be arranged for that can blur one note into the next, creating an almost Lee, one of Taiwan’s most celebrated instrumentalists, GUO) read a bit like a CV. Opening with a brief track vocal effect, akin to the best blues pianists. On on the CD/DVD set Galactic Alignment, recorded at that isn’t only in name a fugue, the program goes on to I Remember Bessie, recorded in 1976, he pays tribute to Zhongshan Hall in Taipei City in December 2012. After include some fantastically full stride playing, some all- Bessie Smith, the greatest of the ‘20s blues singers and all, neither Belgium nor Taiwan are discussed as out free exploration, bits of double-tracked drums and one whose repertoire and influence extended beyond hotbeds of creative music. The set features two solos, some wonderfully lyrical passages. It almost tries too blues to include popular tunes, ragtime and jazz each of about 15 minutes and whetting the appetite for hard, but only almost. It ends up a bit disjointed but is novelties. Divested of their lyrics, in Hodes’ hands nearly 40 minutes of duo improvisation. Lids off, the saved by the sheer excellence of the performance. these pieces achieve a kind of timelessness, whether pianists begin arranging their implements, itself a It may be von Schlippenbach’s work with GUO it’s W.C. Handy’s “St. Louis Blues” (a blues with a musical act, for the terse and snaky game of ping-pong that brought him to the attention of Norway’s 15-piece tango in the middle) or Irving Berlin’s “Alexander’s “Games Inside Wooden Frames”. Sonically they blend Kitchen Orchestra. The freewheeling orchestra has Ragtime Band”, here heard as ragtime restored with massive latticework, yet on film the piece is clearly an worked with Lotte Anker, Steve Beresford, Evan pristine clarity. Though it lacks Smith’s own moving inspired balancing act of co-creation. At times the pair Parker, Keith Tippett and Franz Hautzinger as well as account of a flood, her own “Back Water Blues” retains reflect one another, spinning pointillist rivulets against presenting a live soundtrack for the classic silent its force through Hodes’ consistent rhythmic drive, a gutsy, metallic pulse or fabricating a resonant field of vampire film Nosferatu, providing musical changing dynamics and percussive accents while color and sinew. The romanticism and chunky accompaniment to volleyball games and giving annual Clarence Williams’ “Cake Walkin’ Babies from Home” boppishness Lee exhibits in his soli are subsumed to a Christmas concerts. The ensemble is neither inflexible has all its original strutting energy. degree in the duets, though in “Counterpoint” a bit of nor humorless. The orchestra has been working under In his notes to the Hodes disc, Bill Mitchell lists gradually-paced off minor rhythm emerges and Van von Schlippenbach’s baton on and off since 2010, a Hodes’ favorite artists (Smith, Ma Rainey and Louis Hove offers Monk-ish gymnopedies in return. While relationship that has resulted in the orchestra’s first Armstrong), mentions Art Tatum as someone Hodes the number of improvised piano duos isn’t exactly release. And, in fact, the second track on Kitchen listened to, then quotes Hodes’ remark, “Sometimes huge, Galactic Alignment is a beautiful edition to the Orchestra with Alexander von Schlippenbach is titled [Tatum] goes into a few bars of swinging Fats Waller pantheon. “Globe Unity 40”, so there’s no confusion about where stuff, but then he suddenly goes into his act.” That Burns Longer is an altogether different and rougher they’re coming from, but that hardly sums it up. With “act” is precisely what distinguishes the two: where beast. Recorded in 2008 at L’Archiduc in Brussels, the electric guitar, electronics, a Fender Rhodes and the Hodes clarifies and embellishes a tune, Tatum tickles, three improvisations feature Van Hove on piano and talented vocalist Stine Janvin Motland, the disc covers dissects, reharmonizes, interrupts and overwhelms it. accordion in a trio with Belgian bassist Peter Jacquemyn an awful lot of ground. The disc opens with a bit of The Solo Masterpieces, which run to eight CDs, were and American bassist Damon Smith, on whose Balance ceremony but quickly launches headlong into the GUO recorded in four sessions between 1953 and 1955, a Point Acoustics label this digital album was released. A tribute, which swings between free energy and year before Tatum’s death, with Volume 1 drawn from rush of bullish arco fiddling, bridge grinding and spiky composed sections sounding a bit like a Swingle Singer all four sessions. It’s immediately apparent why Tatum pizzicato begins the first lengthy piece and it’s as lost in the forest. has always been treated as a titan of the keyboard, though Van Hove is the harmonic referee, responding They reshape that formula in any number of ways awing jazz and classical pianists alike. He combined to and guiding their rosined force with glassine across the nine tracks, jiggering between and the Harlem stride style of James P. Johnson and Waller arpeggios and a bony minefield of chords. It’s odd to overlaying structure and spontaneity in surprising and the trumpet-like leads of with an think about, but apart from the heady early years of ways, with plenty of Schlippenbach’s piano, both unbridled technical brilliance and insouciant creativity, European free music, the pianist hasn’t worked with muscular and sublime. A Rhodes solo by Øyvind Dale which extended to cascading runs, sudden digressions that many bassists. In this sense, Burns Longer looks to seems broken and laid over a nonmatching horns and and counterpoint, all of it delivered with a carefree lilt. Van Hove’s early outfits, albeit the way this music drums. Other sections sound like film scores or brassy He influenced both the best and worst pianists in jazz coagulates and refracts is certainly not only a reflection funk, but generally get the rug pulled out from under and his harmonic and rhythmic imagination were of the ‘60s and its lean and hungry trademarks. The them before too long. And if that’s not enough, the disc central to the development of bop, with Charlie Parker closing “Archiduc 3”, beginning with manhandled ramps up with a fairly massive take on Eric Dolphy’s profoundly inspired by his chordal extensions. Any of accordion and a bulwark of churning glissandi and “Hat and Beard” and quickly morphing rendition of the 16 tunes here will reveal Tatum’s genius, but Cole ropy staccato, is controlled enough not to be bogged by Monk’s “Let’s Cool One”. With this enjoyable set of Porter’s usually poignant “Love for Sale” might stand absurdity and once Van Hove switches to piano the German/Norwegian unity, von Schlippenbach shows out for its welter of mood shifts, sudden eruptions of trio engenders a sprightly sense of forward motion. that—at 74—he’s still not beholden to any borders. stride, pin-wheeling runs and playful dissonance.

For more information, visit downtownmusicgallery.com For more information, visit jazzrecords.com/enja and For more information, visit delmark.com and and balancepointacoustics.com kitchenorchestra.com concordmusicgroup.com

THE NEW YORK CITY JAZZ RECORD | JULY 2014 17

indulgent sentimental playing. Many of them probably Mike Osborne and Dudu Pukwana’s freebop stylings wouldn’t have been released if Evans had had a say. that predominate. Their pliant yet mercurial attack This album, from the first recording sessions (mid- makes tracks like “You Ain’t Gonna Know Me ‘Cos You 1962) by the new trio Evans formed after the death of Think You Know Me” and “Kwhalo” sway relentlessly. bassist Scott LaFaro, again featured drummer Paul The latter is a particular standout as pianist, drummer Motian (on brushes throughout) from that seminal and bassists Johnny Dyani and Harry Miller—South earlier trio, along with bassist Chuck Israels, whose Africans all—effortlessly induce and maintain the playing brought new emphasis on a swinging pulse to captivating beat. the band. The two Riverside sessions alternated ballads This fissureless melding of Africa, Europe and the

O Que Sera and faster tempos, but the two LPs it produced divided cosmos is probably the key to what made BOB such a Stefano Bollani/Hamilton de Holanda (ECM) them into a ballads album, Moonbeams, and How My breath-taking experience in its day and why Procession by Fred Bouchard Heart Sings, featuring faster tempos of what Evans calls, (Live at Toulouse) is such a valuable document now. in his original liner notes: “a more moving kind, though Exuberant and passionate international virtuosi there is in the trio’s approach to all material a desire to For more information, contact [email protected] around 40, Italian pianist Stefano Bollani and Brazilian present a singing sound.” bandolinist Hamilton de Holanda were fated to meet: Those who cherish the Evans of George Russell’s NEW CD RELEASE from PINTCH HARD RECORDS they did at Bolzano (South Tyrol, Italy, 2009), one of “All About Rosie” or his work on Oliver Nelson’s Blues many small festivals now sprouting seasonally in and the Abstract Truth will thoroughly enjoy this album, LESLIE PINTCHIK Northern Europe like brilliant alpine flowers. And once which abounds in keen, penetrating, even humorously IN THE NATURE OF THINGS they met and fell in musical love, they were bound to clever, creative moments, from a “Summertime” record: Bollani’s lyrically majestic Italian piano begs to abandoning its lullaby roots for a buoyant shuffle; an “I LESLIE PINTCHIK PIANO entwine itself in quasi-unisons with de Holanda’s Should Care” displaying the impressionistic harmonies STEVE WILSON SAX RON HORTON TRUMPET spine-tingling altissimo picking of his enhanced Evans pioneered, at a more scintillating than usual SCOTT HARDY BASS MICHAEL SARIN DRUMS (10-string) mandolin. This scintillating set—recorded at tempo; a title tune that “sings” in alternating 3/4 and SATOSHI TAKEISHI PERCUSSION another such festival, Jazz Middleheim (Antwerp, 4/4; and an original, “Show-Type Tune”, gently Belgium, 2012)—is devoted with singular focus to tweaking and parodying the histrionic conventions of AVAILABLE NOW AT AMAZON AND ITUNES sumptuous melodies from , with an original or Broadway musicals. Evans seemed to like Earl Zindars’ two. They open with a dreamy Chico Buarque ballad title track so much that one of his originals, “34 Skidoo”, WWW.LESLIEPINTCHIK.COM named for a woman (“Beatriz”) and gaze back upon although more of a riff-swing piece, also features 3/4 meltingly gorgeous homages to female beauty twice time with a 4/4 bridge. That tune and two others are more: Tom Jobim’s “Luiza” and Pixinguinha’s “Rosa”. heard twice with the inclusion of previously unreleased But mostly they forge full-steam ahead with good- alternate takes. The best one (both versions) is Dave “ ....one of the more captivating recordings to come out so humored fellowship and reckless dovetailing of Brubeck’s “In Your Own Sweet Way”, played with far this year...” — THE NEW YORKER thought and line. Merrily chasing but rarely tripping percussive yet singing verve at a fast heartbeat tempo, “ ...achingly beautiful.” — JAZZWAX.COM over each other’s overlapping arpeggios, rococo Evans adding his own acerbic, dissonant touches to the “ ...a gorgeous display of the trio...” — WBGO filigrees and titillating tremolos, Bollani and de bridge to make it the most distinctive tune on this Holanda wheel and soar to giddy heights and don’t let superlative set. chops-happy glee deflect them from their purposeful d A o course of collective melodizing and stylistic cross- For more information, visit concordmusicgroup.com L ! n W pollination. Occasionally vocalizing, Bollani limns do & NOW single-note solos on the title track and Piazzolla’s cd T LP, u “Oblivion” with lyric passion and mimics with buffo O “Jacob Anderskov has done the aesthetics- jocularity and affection on “Guarda che Luna” (Look At challenged world of so-called chamber That Moon!) by pseudo-Mafioso ‘50s crooner Fred jazz a huge favor with Buscaglione. Sprinklings of technical wizardry may his latest album. His role as composer and bedew the audience, as is the wont of improvising ensemble architect is paramount here. virtuosi, yet (this is, after all, a crystalline ECM date) The results are impressive and gently don’t inundate the music or damp listeners’ spirits. groundbreaking.” Indeed, the duo’s percussive street-beat chorus climaxing Baden Powell’s classic jam anthem “Canto de H H H H Procession (Live at Toulouse) Ossanha” elicits a clap-along from happy attendees. – Josef Woodard, Chris McGregor’s Brotherhood of Breath (Ogun) DOWN BEAT, April 2014. These comrades are well on their way to ringing rafters by Ken Waxman in arenas worldwide. JACOB ANDERSKOV The best jazz is often created through the synthesis of For more information, visit ecmrecords.com conflicting, sometime clashing musical impulses. So it _STringS, PercuSSion & PiAno was with the work of South African pianist Chris O LP & McGregor (1936-90), whose allstar Blue Notes band of u do T W n the ‘60s combined hardbop and (South) African musical L NOW o A influences. McGregor’s references multiplied during d his European expatriate years when he created the ! “Simon Toldam … Brotherhood of Breath (BOB) big band. On these one of the most exciting musicians reissued late ‘70s performances, sinuous kwela and individual voices melodies and bop’s breakneck speed are part of the of his generation.” band’s disciplined Basie-like swing, yet sound Marek Lubner, SoundsGreen. extensions introduced by the European free players “Simon Toldam … have become more apparent in the writing and playing. a musician who How My Heart Sings (OJC) deserves to be heard McGregor’s final “Andromeda” includes enough STORK Bill Evans Trio (Riverside-Concord) on the European stage” Bells of Sunday reed bites and shrilling peeps to express the 2 by George Kanzler Stuart Nicholson, disconnections and deconstructions that characterized Jazzwise. Bill Evans has been the victim of his own mystique. period free music. “Sunrise on the Sun”’s title and Too often portrayed as the brooding, romantic pianist, jerky, slip-sliding exposition, featuring chicken cackling NEW ALBUM RELEASE (LP) his talents for swing and incisive, sharply creative, vamps from the four saxes and jujitsu tongue fluttering acutely lyrical playing have been overshadowed by the from the brass section spurred on by Louis Moholo- Simon ToLdAm orkeSTer memory of the tragic junkie who, according to Gene Moholo’s straightforward drumming, lacks only STORK – BeLLS of SundAy Lees, committed the “longest suicide in history”. It electronically processed wiggles to conjure up Sun Ra. hasn’t helped that his discography is littered with Still, with avant garde avatars such as saxophonist JacobAnderskov.dk mainly posthumously released live dates, many made Evan Parker and trombonist Radu Malfatti keeping SimonToldam.com during times when his addictions produced self- their freer impulses in check, it’s alto saxophonists

18 JULY 2014 | THE NEW YORK CITY JAZZ RECORD

“Novemberdoodle”, his lonely melodic lines assuming tracks, like Turrentine’s “Minor Chant”, have a more new shapes as the band fills out the unraveling modern jazz feel while others, such as Ivory Joe harmony and subtle counterpoint. Rainey doubles on Hunter’s “I Almost Lost My Mind”, are firmly rooted xylophone—at times it sounds more like marimba— in traditional New Orleans jazz. The Smith-meets- and adds still more textural elements. Halvorson’s solo second-line vibe reaches into the stratosphere on feature comes at the beginning of “Chant”, which goes “Organ Grinder Swing”, with Handy, Koehler and on to highlight Gress and Davis in startling bowed Chertkoff all turning in blazing solos, while a rowdy unison passages. The abstract lyrical interplay of piano reworking of Muddy Waters’ “Mojo Workin’” may and cello toward the end is a highlight of the set. sum up the album’s spirit the best, mixing together

No Sad Songs For Me It’s on “Chant” that Laubrock steps forward modern jazz, down-home blues and even a touch of Carol Fredette (Soundbrush) decisively on tenor sax and she remains very present Zydeco into a tasty roux. by Alex Henderson on “Matrix”, inviting spirited dialogue with Arthurs’ breathy and unsettled trumpet. Reichman and For more information, visit okeh-records.com. This project Dark or melancholy songs have played a prominent Halvorson have their own deep duo moment as well is at Dizzy’s Club Jul. 2nd-3rd. See Calendar. role in vocal jazz, exciting everyone from toward the conclusion. But if there’s a centerpiece of to . Carol Fredette, a veteran whose first Zürich Concert it’s the nearly 20-minute-long album was released in 1984, has performed her share “Nightbus”. It starts with solo piano, rubato Mingus- over the years. But on No Sad Songs For Me, the Bronx ian discords from the band, a brief taste of the native goes out of her way to avoid unhappy lyrics and fascinating Laubrock-Rainey duo, beautifully maintain an optimistic mood. And she does so with a conceived sectional counterpoint emerging in layer heavy emphasis on Tin Pan Alley, bringing her warm, after layer and then a tightly grooving Rainey solo that subtle phrasing to familiar standards such as Jerome opens another new section. Soon Noble is off with a Kern’s “Long Ago and Far Away”, Irving Berlin’s “The fiercely burning trio interlude with Gress and Rainey. Best Thing for You” and Harry Warren’s “This Is Laubrock’s unison writing in this section is astonishing: Always”. Whether she is turning her attention to Hugh Tim Berne-like in its difficulty and angular motion but Martin-Timothy Gray’s “You’d Better Love Me” or distinctively hers, down to the last lightning chamber Sammy Cahn-Jimmy Van Heusen’s “To Love and Be figure that surges up to end the piece. Loved”, Fredette is careful to avoid anything that would detract from her stated theme. For more information, visit intaktrec.ch. Laubrock is at Barbès Brazilian music has long been a part of Fredette’s Jul. 2nd, 23rd with Max Johnson and 30th, WhyNot Jazz Room repertoire and she moves away from the album’s Great Jul. 6th with Andrew Drury, The Jazz Gallery Jul. 25th and American Songbook orientation with Antonio Carlos Clemente Soto Velez Cultural Center Jul. 28th. See Calendar. Jobim’s “Double Rainbow”, aka “Chovendo na

Roseira”, which finds her singing in Portuguese. The Howard Dietz-Arthur Schwartz standard “Dancing in the Dark” works well with a bossa nova beat. Fredette is joined by a supportive team of musicians who help her deliver a consistent album that is relaxed but still swings (including, among others, bassist David Finck, RECOMMENDED saxophonist David Mann, pianist Andy Ezrin, trumpeter Tony Kadleck, trombonist Michael Davis NEW RELEASES and drummer Kevin Winard). Finck, who also produced the album, has been working with Fredette Eponymous • Oran Etkin - Gathering Light (Motéma) since appearing on her debut 30 years ago. Craig Handy & 2nd Line Smith (OKeh) • Rob Garcia 4 - The Passion of Color (BJU) Although Fredette is a fixture on the New York by Joel Roberts City jazz scene, she has a relatively small discography • Frank Lacy & The Smalls Legacy Band - so it’s good to see her adding to her catalogue. She is in Veteran postbop tenor saxophonist Craig Handy’s Live at Smalls (smallsLIVE) fine form on the thoughtful No Sad Songs For Me. career has included stints in the bands of Herbie • Mark Alban Lotz - Solo Flutes (LopLop) Hancock and Wynton Marsalis, as well as in one of the • Ulf Wakenius - Momento Magico (ACT) For more information, visit soundbrush.com. Fredette is at last editions of Art Blakey and the Jazz Messengers. He • Mark Weinstein - Latin Jazz Underground Iridium Jul. 1st. See Calendar. also played the role of Coleman Hawkins in Robert (ZoHo) Altman’s jazz-themed 1996 film Kansas City and David R. Adler, New York@Night Columnist

performed music on The Cosby Show. But he hasn’t had an album as a leader in 14 years, until this, his new • Patrick Bebelaar/Herbert Joos/Günter Lenz release on the revived OKeh label. - Book of Family Affairs (HGBS) The name of the band states Handy’s intentions • Jacques Coursil (with ) - quite clearly. The Smith referred to is organ master FreeJazzArt (Sessions for Bill Dixon) Jimmy and the second line is the traditional brass-band (Rogue Art) parade music of New Orleans. Having observed that • Azar Lawrence - The Seeker (Sunnyside) some of Smith’s most well-known tunes used updated • Saxophone Summit - Visitation (ArtistShare) second-line rhythms, Handy decided to explore the idea of setting Smith’s music to a Crescent City beat, • Signal Problems - Eponymous (pfMentum) Zürich Concert albeit one with a decidedly modern twist. • Jessica Williams - With Love (Origin) Ingrid Laubrock Octet (Intakt) Laurence Donohue-Greene by David R. Adler Along with Handy’s poised, but hard-hitting tenor saxophone (he’s also heard on soprano and alto), Managing Editor, The New York City Jazz Record This is an expanded ensemble effort from saxophonist his stellar group includes Kyle Koehler on Hammond Ingrid Laubrock, but the players from her Sleepthief B-3 and Matt Chertkoff on guitar, who together hold • Rodrigo Amado Motion Trio/Peter Evans - trio (pianist Liam Noble and drummer Tom Rainey) down the soul-jazz side of the proceedings, while Live in Lisbon (NoBusiness) are tucked away inside the octet. The date starts on a ’s sousaphone and a trio of New Orleans • Jean Louis - Uranus (Coax Records) high ethereal plane with the brief “Glasses” but then drummers (Herlin Riley, Jason Marsalis and Ali • Azar Lawrence - The Seeker (Sunnyside) forges ahead with a set of longer and far more detailed Jackson) provide the second-line element. Vocalist Dee • Period - 2 (Publc Eyesore) pieces, alive with the timbral possibilities provided by Dee Bridgewater, blues guitarist Clarence Spady and • Connections - Mind the Gap guitarist Mary Halvorson, trumpeter Tom Arthurs, trumpeter Wynton Marsalis also make guest (Sunnyside) accordionist Ted Reichman, cellist Ben Davis and appearances. • Various Artists - Creative Music Studio: bassist Drew Gress. The result is a rollicking, boisterous set of 10 tunes Archive Selections Vol. 1 (Innova) Laubrock aims to balance complex written written by or associated with Smith (“High Heel material with flowing and volatile improvisation and Sneakers”, “Mellow Mood”), as well as contemporaries Andrey Henkin the result is impeccable. Reichman is prominent on like Stanley Turrentine and Wes Montgomery. Some Editorial Director, The New York City Jazz Record

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like Ralph Peterson, Renee Rosnes and . worrying the neck as bedrock to Mitchell’s eliding Since then he has worked with , Hank flights before erupting in bluesy arco surges and Jones, Kenny Barron, Jon Faddis and the Maria hymnal vocal exhortations, supporting transverse Schneider Jazz Orchestra, to name just a few. purrs and polyhedral accents. “Sisters on Saturn” is Standard Deviation is Bowen’s tenth CD as a leader unified through the beguiling color of complementary and fifth for Posi-tone. The saxophonist interprets harmonics, but it is the throaty, droning pulse that eight timeless standards, each with a fresh approach, Léandre metes out in graduated viciousness that ably supported by pianist Bill O’Connell, bassist Kenny moves their improvisation towards the stratosphere. Davis and drummer Donald Edwards. Recorded in a small, salon-like environment before a

Book of Three: Continuum (2012) His expressive detour from the usual paths makes live audience, Sisters Where is a raw and honest Taylor Ho Bynum/John Hébert/Gerald Cleaver up the centerpiece to his setting of “Isn’t It Romantic” document of six extraordinary conversations. (Relative Pitch) while O’Connell’s strident, intricate solo marks a by John Sharpe veteran soloist also worthy of greater recognition. Stan For more information, visit web.roguart.com. Mitchell is at Getz may have set the standard for tenor players who The Stone Jul. 3rd with Geri Allen. See Calendar. Trios figure large in the output of the New York City- tackle “Yesterdays”, but Bowen gets points for based imprint Relative Pitch, but few can be both as originality with his choppy rendition (arranged by enthralling yet, on the face of it, unassuming as Book O’Connell), which begins in the midst of the famous UNEARTHED GEM of Three. Comprising a triumvirate of seasoned theme. “You Don’t Know What Love Is” has always improvisers in cornet player Taylor Ho Bynum, bassist been an emotional ballad and everything comes John Hébert and drummer Gerald Cleaver, the band’s together perfectly in this brilliant scoring by the sophomore outing matches well up to the standard set pianist: Bowen’s almost vocal-like solo; O’Connell’s by their eponymous 2011 disc on RogueArt. While the thoughtful backing; and superb work by Davis and first featured a wholly original program, this time out Edwards in the background. “Spring is Here” is full of they offer a mix of covers, group improvisations and surprising moments, opening with a tense vamp, a one original in a 56-minute studio session. brief partial theme statement by the leader, then a However, it’s easy to miss the compositional sudden shift to feature both O’Connell and Davis at elements as they cunningly blend charts and length. No calculations are needed to determine that extemporization until it becomes impossible to Standard Deviation is a rewarding record date. separate them and it is so gloriously done that it Toronto 1947 Illinois Jacquet/Leo Parker (Uptown) doesn’t matter anyway. While Bynum usually carries For more information, visit posi-tone.com. Bowen is at by Ken Dryden the melody, imbued with a seen-it-all-before-but-still- Smalls Jul. 3rd as a leader and 18th with Bob DeVos. See hopeful lyricism, they remain nonetheless an Calendar. Illinois Jacquet became known for his rousing tenor egalitarian collective at heart. Hébert moves astutely saxophone solo in ’s signature between vamp and nuanced commentary, as evidenced version of “Flyin’ Home”, considered to be one of on Jim Hobbs’ eastern flavored “Aware of Vacuity” the earliest R&B sax solos, though he made many while Cleaver confirms himself a master in the art of equally valuable records under his own name. carving out a place for rhythmic detail amid open Jacquet, who died a decade ago this month, remained settings yet not shutting down options for exploration. a potent soloist throughout his career, serving a stint Close attention reveals Bynum reveling in liquid with Count Basie and becoming a part of the Jazz at flutters and whistles atop the loose-limbed swing of the Philharmonic touring allstars. His early years as fellow cornet player Bobby Bradford’s “Comin’ On”, a leader haven’t been widely documented on then later echoing erstwhile employer Bill Dixon’s recordings, so the discovery of this previously painterly smears in a breathy high register during the unissued concert of a 1947 show adds to his legacy. Sisters Where choppy group effort “Journal Square Complications”. His band at the time included his older brother Joëlle Léandre/Nicole Mitchell (RogueArt) Cohesion is a given, demonstrated nowhere better than by Clifford Allen Russell and Joe Newman on trumpets (the latter in the jostling interplay between bass and drums taking most of the solos), baritone saxophonist Leo introducing Cleaver’s “Henry”, a melancholy ballad While one might initially think the duet pairing of Parker (in his only known live recording), pianist Sir line, reprised in a low key exposition after the contrabass and flute an odd one, sounds find a natural Charles Thompson, bassist Al Lucas and drummer atmospheric sustain of closer “Precoda”. Like their balance between contrasts of wood and metal or breath Shadow Wilson. The music is a blend of swing, bop debut, this excellent set demands repeated listening, and body. The instrumentation on Sisters Where does and a foreshadowing of rhythm and blues. divulging more understated treasures on each pass. have a history—in 20th century performance the work An enthusiastic crowd is audible throughout of bassist Bertram Turetzky and his wife, flutist Nancy this concert and it seems likely that there was For more information, visit relativepitchrecords.com. Hébert is Turetzky, looms large. There are also the weighty dancing in the aisles as well. The sound is more than at Smalls Jul. 2nd with Jeff Williams, Village Vanguard Jul. improvised pairings of Polish bassist Jacek Bednarek acceptable for a vintage live recording and Bob 15th-20th with Fred Hersch and Clemente Soto Velez Cultural and flutist Krzysztof Zgraja. While contemporary Porter’s extensive liner notes provide plenty of Jul. 30th. Bynum is at The Stone Jul. 12th. Cleaver is at Cornelia literature might be a good place to start with this background. Jacquet wows the crowd from the very Street Café Jul. 10th-12th with Mario Pavone. See Calendar. captivating program of duets between French bassist start with a spirited take on his theme song, “Bottoms Joëlle Léandre and California-via-Chicago flutist Up”. The saxophonist’s jump tune “Music Hall Beat”

Nicole Mitchell, there’s a lot more to this set than features the leader, Newman’s swing-flavored categories. A formidable improviser, in addition to her trumpet, a rousing effort by Parker (in a rare bow and forearms, Léandre’s palette is abetted by her opportunity to hear him in an extended solo in front voice in alto cries and expressionist laments that grant of an audience) and then the very underrated (and harmonic minefields a poetically human quality. still active) Thompson. Jacquet has no problem She and Mitchell first worked together in 2009 in a making “Body and Soul” his own with a rhapsodic, trio with Canadian drummer Dylan van der Schyff, the hard-blowing interpretation, complete with an fruits of which were released as Before After (RogueArt). extended coda. The Jacquet brothers penned the However, no additional motor is needed on these six whimsical blues “Throw It Out of Your Mind Baby”, improvisations, wherein Mitchell’s expanded showcasing a rare vocal by Russell, with Newman’s Standard Deviation technique of hummed and blown, often circular- sassy muted trumpet backing him. Jacquet and Ralph Bowen (Posi-Tone) by Ken Dryden breathed, multiphonics sidestep and are intertwined Thompson’s “Robbins’ Nest” would become a jazz with Léandre’s flitting masses. By the time “Sisters on standard; this foot-patting version has the rhythmic Ralph Bowen was drawn to music early, studying Mercury” emerges at around 15 minutes, what was pacing of Basie while Thompson’s intricate solo is piano, clarinet and finally tenor saxophone in his initially a fascinating study in dialogue becomes a frequently interrupted by screaming. This CD is a youth and already playing professionally by the age of clearly shared language and, while stemming from valuable addition to Jacquet’s discography. 13. He began to make his mark in the late ‘80s with Out planetary fire, the pair tinder a slow shared burn before of the Blue, an all-star group of young lions, which popping and snapping with pizzicato thwacks and For more information, visit uptownrecords.net. A Jacquet made several recordings for Blue Note. After the group percussive, non-lyric vocal spatter. The following tribute is at Damrosch Park Jul. 12th. See Calendar. disbanded, he appeared on CDs by various bandmates “Sisters on Mars” enters with cracking lumber, Léandre

THE NEW YORK CITY JAZZ RECORD | JULY 2014 21

engagement with the Jazz Messengers, which ended GLOBE UNITY: CZECH REPUBLIC prematurely with the drummer’s death in 1990. That gave Davis his start and he has since backed up other luminaries like Freddie Hubbard and . The trombonist picks up a number of McLean’s protégés on his latest album, among them pianist , bassist Nat Reeves and tenor saxophonist Abraham Burton. Young drummer Billy Williams rounds out the group and adds much stylistic flare.

The Chase Davis is a standard-bearer of jazz history, a willful David White Jazz Orchestra (Mister Shepherd) student whose compositions swing unequivocally. For by Donald Elfman Real presents eight such compositions by Davis and one by Willis. The trombonist manages to cover a wide Orchestral color and the unexpected are the key notes range of the jazz lexicon, from the melodious subtlety European Jazz Trio of trombonist/bandleader David White’s new album. of the ballad “Days Gone By” to “Tactics”, a breakneck Jiri Stivin/Gerd Dudek/Ali Haurand (Konnex) The band bursts forth immediately with “Mister barnburner in which Williams serves as chief Through the Mirror Shepherd’s Misadventures”, saxophones wailing a provocateur and a fiery soloist. Here improvisation is Luboš Soukup Ensemble (Animal Music) theme over the brass section. Saxophonist Sam Dillon key and the blues-based vamping on the title track Reina De La Pileta digs in for a hot solo accompanied by the pointed jabs provides a nice canvas on which Burton and Willis Wanderlust Meets Simon Milman of the rhythm section and ‘sings’ on through several stroke impassioned layers of color. (Queen of the Swimming Pool) by Tom Greenland choruses, soon complemented by smart accents from As for compositions, Davis manages to extract the band. Those accents continue over a fiery solo by every ounce of harmonic richness from the trombone/ The Czech Republic has been fecund ground for the trumpeter Miki Hirose. The end of the tune comes as a tenor saxophone dynamic. On “I Found You”, Davis mixing and melding of folk and classical musical true surprise, the band disappearing and the rhythm and Burton beautifully weave in and out of one traditions, yielding a steady crop of highly trained section left to riff the basic rhythm to a simple but another’s lines, before joining in warm swells. and creative musicians. satisfying end. In one five-minute track, White has Midtempo numbers like “Angie’s Groove” are Jiri Stivin, born and still based in Prague, is utilized the power of the full band, the textures of the particularly pleasing. “Blues On Blues” finds the group astonishingly adept at a whole range of recorders, sections and that approach that never quite lets on settling into a dulcet simmering, Reeves providing flutes, clarinets, saxophones and even folk whistles. exactly where it’s going. deep tonal coziness, coloring the edges while Burton In the European Jazz Trio, an offshoot of German White gives himself only one solo feature, but it’s and Davis again contribute powerful solos. Davis’ slick bassist Ali Haurand’s long-standing European Jazz a beauty. “Persistence”, is, the composer has noted, compositions have a cool, lingering quality and with a Ensemble (EJE), he joins Haurand and German inspired by Steve Reich’s Music for 18 Musicians. It’s a group of this caliber For Real is an excellent listen. saxophonist Gerd Dudek, like Haurand an EJE repeated, rhythmic groove over which darkly pitched charter member. Cohesive interplay seems to be saxophones and then the whole band play apposite For more information, visit posi-tone.com. Davis is at Blue Note second nature to these three veterans. Their figures. White’s playing is forceful and insistent and as Jul. 8th-13th with Dizzy Gillespie All Star Big Band and Dizzy’s eponymous debut relies on the elegant it moves forward the orchestra comes back with more Club Jul. 31st-Aug. 3rd with Willie Jones III. See Calendar. improvisational architecture of its frontline. Most of of that rich palette just before and then during the the tunes are Stivin’s—folksy melodies over impassioned wailing of alto saxophonist Andrew standard changes. A consummate craftsman, his Gould, who is also featured on “The Shakedown”, a delivery is never forced while Dudek displays an funky, danceable 24-bar composition with a perpetuum equally tough but romantic aesthetic and Haurand mobile feeling. He’s joined by trombonist Dan Reitz lopes along in a parallel time zone. for another potent and to-the-point solo. There’s a Luboš Soukup is a Czech saxophonist and beautiful ode in White’s “Sally Draper Blues”, a moody, composer who’s been living in Copenhagen, 12-bar blues, dedicated to a character on the popular Denmark since 2010. Through the Mirror presents an TV show Mad Men, White’s favorite. The melody is expanded version of his quartet with German attractively sinuous and insinuating, with Rick Parker, pianist Christian Pabst, Swedish bassist Joel Illerhag yet another trombonist, taking the first solo. It’s burly and Danish drummer Morten Hæsum, now and raucous but perfectly in keeping with the color of augmented by four brass, two woodwinds and a this piece as a whole. Omar Daniels, on alto, follows string quartet. Soukup’s tenor or soprano sax and suit and takes us for a ride that leaves us breathless Pabst’s piano provide most of the improvisational and longing for more. There are two other White July 1st interest, the extra players serving primarily to originals here, both of which add to the sterling thicken the texture, achieving Gil Evans-like effects repertoire that White has created with a vital big Gary Morgan & Panamericana through widely spaced voicings and unusual orchestra. percussion. The mood shifts between rhythm-and- July 15th bluesy backbeats (some in odd meters), symphonic For more information, visit davidwhitejazz.com. This project is Mike Longo Trio honors episodes, Afrobeats in 6/8 time and even an intimate at Saint Peter’s Jul. 9th and Tea Lounge Jul. 28th. See Calendar. Miles Davis canon performed by the strings.

Trumpeter Miroslav Bukovsky, though born in Czechoslovakia, fled his country following the July 22nd Soviet invasion to arrive in Australia in 1968. Rosemary George and Group Wanderlust, the Sydney-based band he founded, has maintained an active and influential presence July 29th since 1991. On Reina De La Pileta they team up with Warren Smith and the bassist/composer Simon Milman (who also records hiphop under the alter ego Coolio Desgracias) for a Composer’s Workshop set of what might be called high-concept party Orchestra music. You’ve heard the grooves—, bossa, For Real AfroCuban, swing, flamenco palmas (clapping)— Steve Davis (Posi-Tone) but here they’re filtered through the twin trumpet by Robert Milburn New York Baha’i Center frontline of Bukovsky and James Greening (mainly 53 E. 11th Street heard on trombone), backed by Jeremy Sawkins’ Trombonist Steve Davis continues to bear the torch (between University Place and Broadway) not-so-predictable guitar, Alister Spence’s prepared left by bop saxophonist Jackie McLean. Davis is a piano and Fabian Hevia’s pliant percussion. faculty member at The Hartt School of the University Shows: 8:00 & 9:30 PM of Hartford, where McLean taught for many years and Gen Adm: $15 Students $10 For more information, visit konnex-records.de, helped foster the careers of Davis and many other 212-222-5159 animalmusic.cz and welargeproductions.bandcamp.com up-and-coming jazz musicians. It was McLean who bahainyc.org/nyc-bahai-center/jazz-night introduced Davis to Art Blakey, beginning a one-year

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a player in possession of a bevy of trailblazing sounds. The near ten-minute tour de force is simultaneously combustible in its swiftness as rapid-fire and polyrhythmic beats converge with spastic bebop gyrations yet poignant in its calmer moments when subtle violin slows down the pace, bringing it to exhilarating levels with striking, expressive tones. While Hooker is the group’s leader, piloting the trio with his trademark stockpile of ecstatic beat

Heart of the Sun intricacies and death-blow punctures, cymbal bangs, William Hooker (Engine) delicate strokes and rubs, majestic sweeps and brushes, by Brad Cohan Heart of the Sun is an anomalous jazz beast accentuated by the unique instrumentation of Campbell and Drummer William Hooker and dearly departed Soldier. The array exudes colorful flavors of bluegrass, trumpeter/flutist Roy Campbell skirt the fringes of folk, blues and country, not the normal sounds of a ‘out’ jazz by fusing it with the staunch ethos of Hooker release but one he organically delves into underground rock. Radiation, Hooker’s transcendental without a hitch. Standouts include the aforementioned record from 1994, was released via Homestead Records, “Reflector of Truth” and “Snowflakes”, where banjo an independent label that featured primarily rock acts. strumming and finger picking converge with gorgeous Meanwhile, Campbell was a crucial presence in the flute-driven musings, conjuring images of a back early days of AUM Fidelity Records, where owner porch-styled improv session. As Campbell and Soldier Steven Joerg took the sensibilities of Homestead (he bring star-worthy performances to eight marathon put out Radiation while working there) and made his tunes, Hooker steers the ship with fierce invention. passion for jazz and its outliers AUM’s focus. Years later, the paths of these two ever-prolific and For more information, visit engine-studios.com. Hooker is unfettered forces have crossed yet again, this time with at The Stone Jul. 10th. See Calendar. David Soldier and his trove of instruments (violin, banjo and guitar) in tow for the stunningly eclectic Heart of the Sun, recorded at Brooklyn’s Roulette. Alas, this recording would be Campbell’s last before his untimely death earlier this year. Longtime cohorts and kindred spirits, Hooker and Campbell are magical conversationalists of a singular hybrid of post-jazz, Americana and improvisational technique. Campbell’s soaring trumpet is the first epic salvo heard on opener “Reflector of Truth”, presenting

Street Songs Mario Pavone (Playscape) by Robert Iannapollo Bassist Mario Pavone got his start as a member of Paul Bley’s late ‘60s trio and Bill Dixon’s groups of the ‘70s- 80s, both very particular about the caliber of their bass players so that should give an indication of Pavone’s abilities. But it’s his own material, recorded for Alacra, Knitting Factory and Playscape, where one really gets to hear an exceptional bassist, forward-looking group leader and composer of great skill. Street Songs continues that tradition. Pavone has always gravitated toward unusual ensembles, preferring sextets and septets, which gives his music a greater expanse. But the big difference here is the accordion player Adam Matlock. The impetus was Pavone’s memories of growing up in Connecticut among Italian and Portuguese neighbors where that instrument was king. But the music here is anything but nostalgic. It’s bristling, intelligent modern jazz in the tradition of Pavone’s previous albums. Pavone is ably assisted by frequent collaborators familiar with his aesthetic: trumpeter Dave Ballou (who also arranged two tracks), pianist Peter Madsen, who adds his characteristic mainstream/modern approach, and drummer Steve Johns, deftly maneuvering his way through the complex rhythms. Pavone also adds second bassist Carl Testa to give the music even more texture in the lower end. The program consists of old and new. “Mythos” is repurposed for this ensemble, a slightly slower tempo and the presence of accordion giving the piece a completely different flavor. The newer material contains Pavone’s characteristic skewed rhythms, taut, lean lines and complex group interplay. One could pick up virtually any Pavone disc and be assured of an excellent listening experience. But this is one of the finest and most unique in his discography.

For more information, visit playscape-recordings.com. Pavone is at Cornelia Street Café Jul. 10th-12th. See Calendar.

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Moving on is an element of maturation that Jones them “punk jazz” (two shoes that never really fit them) acknowledges with “60th & Broadway”, a fond that how actually sophisticated the music was seemed remembrance of his days as a member of the Lincoln often to be overlooked. And even more often Center Jazz Orchestra. This song is representative of overlooked was the fact that the band’s leader had an the other supple workouts on the album like the unusual and very articulate saxophone style. Lurie mercurial “Interior Motive”, “New Journey” and maintained a cool in his playing, too. In jazz lingo that Evans’ “Don’t Fall Off the L.E.J.”. “I Don’t Give A means “West Coast” but his playing was very New Damn Blues” swaggers with an attitude that smirks at York in its wide and exploratory reach. It was just its circumstances and shoves them aside. As a balladeer never frenzied. It was, well, cool.

Outside The Line Jones is peerless, putting his honey smooth tonality The Invention of Animals (released on vinyl in Peter Brendler (Posi-Tone) and poignant phrasing on “Morning After”, smoky January and now available on CD and digital by Tom Conrad and sensual “We’ll Meet Under the Stars” and lovely download) pairs a track from the long out-of-print Men trumpet/piano duet “Not While I’m Around”. With Sticks and four recordings the trio did for Lurie’s Outside the Line is Peter Brendler’s debut as a leader. It The standard “How High the Moon” is given a TV series Fishing With John (also available on a 1998 reveals him to be an authoritative bassist and a non-standard reading. Playing muted, Jones and the soundtrack album) with two previously unreleased promising composer. But there is bigger news here. quartet deconstruct the song by using a minor key and tracks: “I Came to Visit for a While” was recorded at Brendler has assembled a most improbable quartet. stretching it beyond its usual chordal and melodic Thread Waxing Space in New York City in 1993 while The frontline is trumpeter Peter Evans and tenor boundaries. Jones’ version of Jackie McLean’s “Dr. the nearly 20-minute title track was recorded the saxophonist . The former is an eclectic avant Jekyll” is a perfect structural and stylistic tribute to following year in Greece. garde extremist known for lunacy and chops, the latter mid-to-late ‘60s Miles Davis, who played the tune on The live tracks aren’t merely tacked on; they a modern mainstream tenor player, given to his album Milestones. Jones comes in about a third of represent nearly two thirds of the playing time and the minimalism and subtlety. It works. This juxtaposition the way through, delivers jagged flurries of notes in fidelity makes them worthy of issue beyond mere of two intriguing dissimilar sensibilities benefits both. fits and starts and doesn’t state the theme until the archival purposes. And the music itself is not quite like In the presence of Evans, Perry floats free, his ideas end. anything else. It seems ritualistic, animalistic, maybe gliding across new open terrain, his sense of form “Dark Times” is a masterpiece, a passionate slightly savage but not exactly dangerous. It is certainly graceful as always but less symmetrical. In the presence Sunday morning sermon. The rhythm section provides evocative of something. Beyond Lurie’s talents as a of Perry, Evans is driven toward jagged, cathartic the sound of a congregation’s anticipatory murmuring saxophonist, composer and painter, the man has a way lyricism. before Jones testifies with anguished blasts of shrieking with words. The titles he gives his tracks do a good job On “Pharmacology”, Perry comes out of Brendler’s high notes tempered/alternated with penitent low of abstractly evoking the unusual music. Included twisting melody with a glancing solo. Like all Perry moaning. Evans picks up his thoughts and confirms here, for example, are both “Ignore the Beast” and solos, it dances on air, but it also sweeps and veers. their truth with exclamatory block chords, leading to “Ignore the Giant”, titles that seem like detached When Evans enters, his response to Perry sounds some good old call-and-response between trumpet and fantasies, like calm in the face of strangeness. Like, rational but quickly derails and plunges off the edge of piano. cool. the song. Some pieces start slow as dirges but develop Jones’ excellence speaks for itself but it’s the inner turmoil, like “The Darkness” and “Indelible rhythm section that takes this album to the next level. For more information, visit amuletrecords.com. Billy Martin Mark”. Within both, Evans spatters rarefied designs. Evans, Curtis and Calvaire don’t merely comp behind and Calvin Weston are at The Stone Jul. 22nd. See Calendar. Even on tunes that stay quiet and rapt, like “Blackout Jones to mark time before their own solos. They play Reunion”, there is an underlying tension. It comes with considerable freedom, making their own from the listener’s awareness that Evans might blow statements, which frequently stimulate Jones’ thinking the song to hell at any moment. and open up new harmonic avenues for him to explore. The common ground where these four minds meet “Groupthink” is usually a negative term but not where is wit. “Walk on the Wild Side” is deadpan. It is high this group is concerned, which is why this album will entertainment to hear Evans and Perry have their way find its way onto many best of the year lists. with Lou Reed’s obsessive little shuffle-step, busting it all up while Brendler and drummer Vinnie Sperrazza For more information, visit mackavenue.com. This project is hold the line. Like everything on the album, it is funny at Jazz Standard Jul. 17th-20th. See Calendar. and serious. The full potential of this ensemble emerges on “Una Muy Bonita”. Over Brendler’s dark, widely spaced prompts, Perry takes perhaps his most far- flung solo on record. Evans, lashed into double time by Brendler, fires wildly, volley after volley. It is like a new millennium sequel to the song, encompassing over a half-century of difficult human experience since Ornette Coleman wrote it.

For more information, visit posi-tone.com. This project is at ShapeShifter Lab Jul. 15th. See Calendar. The Invention of Animals National Orchestra (Amulet) by Kurt Gottschalk John Lurie’s three-piece National Orchestra wasn’t even intended to happen. The alto/soprano saxophonist and two percussionists from the ‘90s edition of his Lounge Lizards (Billy Martin and Calvin Weston) got together to work on new material and in short order discovered that they had a viable, unusual band on their hands.

What might have been most exciting about that im.pro.vise = never before seen Sean Jones (MACK Avenue) new band—evidenced at the time by their sole release, by Terrell Holmes 1993’s Men With Sticks—was that it made undeniable what a great saxophonist Lurie (who has since retired Sean Jones is celebrating a decade with Mack Avenue from music and now dedicates himself to painting) Records, a milestone defined by talent, consistency really was. was a cool band. Way and commitment. His new release displays a cool. They dressed sharp and played danceably challenging approach to harmony and a burgeoning eccentric music. In the band’s later years, their sophistication as a trumpeter and composer. His high- following grew as a result of Lurie being cast in movies. energy quartet has pianist Orrin Evans, bassist Luques Cool movies. But enough attention was given to their Curtis and drummer Obed Calvaire. image while lumping them in with No Wave or labeling

24 JULY 2014 | THE NEW YORK CITY JAZZ RECORD New Jersey Performing Arts Center

______Dorthaan’s Place Jazz and Soul with Jazz Brunches Fantasia, Philip Bailey, at NICO Kitchen + Bar • Brick City Jazz Orchestra José James and with special guest Stefon Harris the Christian Sun, Nov 9 at 11am & 1pm McBride Big Band • Vanessa Rubin & Her Trio Sun, Nov 16 at 11am & 1pm Thursday, November 13 at 8pm ______NJMEA All-State Jazz Ensemble Fri, Nov 14 at 7pm Michael Franks Chris Botti with special guest Raul Midón “Emanuel,” “When I Fall in Sat, Nov 15 at 5pm & 8pm Love” and more! Sarah Vaughan International Jazz Friday, November 14 at 8pm Vocal Competition – SASSY Awards Sun, Nov 16 at 3pm Visit sarahvaughancompetition.com for details

TD Moody Jazz Encores!

Béla Fleck Pat Metheny Unity Group Christian McBride Keith Jarrett, Gary Peacock Bruce Hornsby with Béla Fleck & Brooklyn Rider & Jack DeJohnette November 9–16 with Sonny Emory Sat, Nov 22 at 8pm Sun, Nov 30 at 8pm Campfire Tour 2014 Fri, Aug 8 at 8pm

For tickets and full schedule visit njpac.org or call 1-888-GO-NJPAC One Center Street, Newark, NJ

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roughly a year apart, when he was 81 and 82, respectively (he is now 86). While he cherishes the SUMMER 2014 freedom of the moment, Konitz confines his playing largely to standards and self-penned and appropriated contrafacts of standards he’s been playing since the SPECIAL SELECTIONS middle of the last century. His intimate familiarity with those tunes makes his improvisations less of a from tightrope act than they appear to be and yet mightily impressive in that he rarely repeats himself.

The Prisoner Standards Live, true to its title, consists of six Great NAXOS OF AMERICA Max Johnson (NoBusiness) American Songbook tunes while First Meeting mixes in by Ken Waxman jazz standards like “Billie’s Bounce” and “Giant Steps” as well as “Subconscious Lee”, Konitz’ intricate, This CD has a lot more going for it than appeal to ‘60s boppish contrafact of “What Is This Thing Called cult TV fans. Inspired by the British TV show starring Love?”. The only overlap is “Stella By Starlight”. Not Patrick McGoohan, the drama expressed by bassist only is the repertoire more expansive on First Meeting, JAZZMax Johnson, saxophonist Ingrid Laubrock, violist Mat it also finds Konitz on soprano sax on three of eight & Maneri and drummer Tomas Fujiwara relates to tracks and the trio of pianist Dan Tepfer, bassist musical not visual challenges—there’s no reason to Michael Janisch and drummer Jeff Williams is more NEW MUSIC PARTNERS know that McGoohan’s character was called No. 6, or unpredictable than the trio Minsarah (German pianist his nemesis No. 2, to appreciate the interpretations. Florian Weber, American bassist Jeff Denson and Israeli | What I Am Johnson’s scope in working out his musical ideas drummer Ziv Ravitz) on Standards Live. is demonstrated on tracks named for less prominent While Konitz’ tone and timbre sometimes falter on Red Mitchell is one of the most innovative bassists on the jazz scene. characters. “No. 12 Schizoid Man/Gemini” is the Vanguard date, his ideas remain creative, if at times The dis covery of his artistic versatility particularly commanding, its mercurial structure as a bit maundering. Minsarah is a subtle and empathetic may come as a surprise, especially unpredictable as a schizophrenic’s moods. Beginning trio, interacting fluidly with Konitz. But he at times for those that already think they know him. On this album, done in Red’s and ending with scrapping string abrasiveness and sounds frail, some notes bleating away and, except for very own personal way, he introduces Laubrock’s shrills in dog-whistle register, the middle a “Just Friends” surprisingly referencing Charlie himself as not just a bass virtuoso but also a pianist, composer, lyric-writer section is pastorally unthreatening as a violin, cello Parker, the standards here can all be found in more and singer. What I am is one of Red’s and flute chamber piece with measured drumbeats. fulfilling versions on other Konitz recordings. most personal albums, recorded 1978 The concluding viola/saxophone call-and-response The first thing that hits you on “Billie’s Bounce”, and now available for the first time in digital formats. fittingly arranges the stiletto sharpness of the two into the opening track of First Meeting, is the provocative CAPRICE proper context. “No. 48 Living in Harmony” relies on a nature of the trio, challenging Konitz with a fusillade CD: CAP21833 • 7391782218336 walking bassline to regularize what is initially a of rhythmic and chordal textures and clangor. Williams New Better Spring Band contrapuntal face-off between harsh viola spiccato and stirs up whirlwinds on his kit, coaxing Konitz into The New Better Spring Band is a altissimo sax squeals. With the bass part strengthened Ornette-like ravenous bluesy lines. “Stella by dynamic septet of young musicians by confident drum thumps, Maneri’s multi-string Starlight”, begun as an alto and bass duet on Standards from Helsinki, Finland. This all-acoustic band’s sound is big and full, they utilize emphasis and Laubrock’s shaking vibrations eventually Live, begins here with unaccompanied piano, alto rather adventurous backing vocals and join the others for a satisfying finale. entering with a piercing tone at the bridge, developing play bright, catchy melodies under- With a good director’s pacing, Johnson allows the a solo over busy piano and agitated, quasi-suspended neath touching lyrics. On this, their de- but album, all the songs were penned closing “No. 2 Once Upon a Time / No. 1 Fallout ” to rhythms, which morph into rolling drums before a by the band’s leader, Aili Järvelä. recapture some of the suite’s previous highlights ruminative alto slows things down and is joined by before building up to a climactic finale. After Laubrock bowed bass and tinkling piano in a rubato coda. and Maneri outline the theme in different tempos, Konitz’ lush-toned soprano work is a highlight of the SIBA Fujiwara, like a character actor hitherto content to album, featured on a suave “All the Things You Are” CD: SRCD-1013 • 6430037170157 remain in the background, moves to center stage with with just bass and drums, an interactive duet with Sibelius-Akatemian Folk Big Band | FBB a solo that’s swinging without being flashy. His martial Tepfer’s piano on “Body and Soul” and a long “Alone Sibelius Academy Folk Big Band is a percussion climax is the scene changer, leading to a Together” fluidly unfolding from opening bass cadenza 40-plus member big band of Finnish near Appalachian fiddle feature from Maneri and some through piano and sax to a supple coda from Konitz folk musicians. Every member of this unique band is a composer, arranger, strained reed textures from Laubrock. The entire and Williams’ brushes. Compared to Standards Live, multi-instrumentalist and soloist, not band’s multiphonic crescendo then subsides into a Konitz seems more energized and engaged on First to mention an integral part of the proper conclusion. Meeting and the ensemble more adventurous. band. The band performs without a director or sheet music, communicating Johnson has created a fitting salute with this disc. dynamically with one another in More importantly, he’s put the emphasis on first-rate For more information, visit jazzrecords.com/enja/ and each musical situation, with rhythm, music rather than the concept. whirlwindrecordings.com. Konitz is at The Jazz Gallery Jul. interpretation and improvisation. They perform traditional folk songs as well 31st. See Calendar. as original compositions, including For more information, visit nobusinessrecords.com. This many of their own. SIBA project is at Barbès Jul. 23rd. See Calendar. CD: SRCD-1012 • 6430037170133 Swing Era Girma Yifrashewa | Love and Peace Molly Ryan Songbird Unseen Worlds is proud to present critically lauded Ethiopian composer UPCOMING NYC Schedule and torchbearer of African pianism July 4th Liberty Belle Spectacular - Girma Yifrashewa’s international debut release, “Love and Peace.” Yifrashe- Empire Hotel wa’s highly personalized approach www.libertybelleextravaganza.com to the piano likens him to Ethiopian July 5th Midsummer Night Swing - composer Emahoy Tsege Mariam (b. Lincoln Center 1923), while his use of Ethiopian pen- www.midsummernightswing.org tatonic scale within the Western Art Music format places his compositions July 29th The Iridium in conversation with more academically Standards Live First Meeting live web broadcast & prize drawing minded work. Traditionally Ethiopian in www.iridium.com melody, cinematic in vision, and deep (At The Village Vanguard) Lee Konitz/Dan Tepfer/ in beauty, his compositions occupy a Lee Konitz Michael Janisch/Jeff lyrical middle ground between classical (Enja) Williams (Whirlwind) and jazz that is supremely listenable yet defies easy classification. by George Kanzler DISTRIBUTED BY UNSEEN WORLDS ee Konitz believes in spontaneity, preferring to CD: UW13CD • 728028332360 lp: UW13LP • 728028332377 L perform improvised sets with little or no rehearsal. for Performances, Bookings That’s how the octogenarian alto saxophonist is heard available at : fasdlfkjdaflshalsdkhfldaksnvl & Recordings, visit mollyryan.com on these two albums, recorded live at jazz clubs

26 JULY 2014 | THE NEW YORK CITY JAZZ RECORD

purportedly born in 1879, just two years after Buddy veteran of the early Oliver and Armstrong bands). CD Bolden, the legendary founder of jazz with whom he 5, another New Orleans session with the regular band, may have played. Johnson was touted as an exemplar minus Robinson, has Lewis in a particularly effusive of the ‘true’ jazz, becoming a point of contention mood, peppering tunes with elegant, florid runs. between modernists and ‘moldy figs’ in the first of the The one recording that falls outside the set’s jazz wars. The younger and more vigorous George otherwise narrow time frame is CD 6. Lewis is heard in Lewis was at Johnson’s side. Copenhagen in 1959 with Papa Bue’s Viking Jazzmen, When Johnson retired in 1948, Lewis assumed demonstrating the remarkable spread of the New leadership of the veteran band, becoming the Orleans revival. Led by trombonist Arne Bue Jensen,

Broadway Bongos and Mr. “B”/ Don’t Worry ‘Bout Me figurehead of the New Orleans revival and eventually the Danish musicians play the style with skill and Billy Eckstine (Sepia) touring the world. Today his memory is kept largely by excitement, tempering their enthusiasm with the same by Marcia Hillman a cult of musicians and fans devoted so exclusively to sense of reverence that marks Lewis’ own performance. the minutiae of early jazz that they resemble Civil War For the 100th anniversary of Billy Eckstine’s birthday reenactors. Insofar as it keeps Lewis from a larger For more information, visit storyvillerecords.com (Jul. 8th), Sepia Records has reissued Broadway, Bongos audience, that’s a shame, as anyone listening to him and Mr. “B”, an album recorded in March 1961, and a will soon notice. Beyond Lewis’ richly grained, woody collection of songs under the title of Don’t Worry ‘Bout sound, his flowing runs and soaring wail, his clarinet Me, recorded as 45rpm singles in 1961-62. sounds like a pure conduit for spirit and emotion, for Eckstine, with dozens of hit singles to his credit, joy, sorrow and devotion. His associate, trombonist Jim had one of the most distinctive sounds of his time: a Robinson, has an expressive power and nuanced bass-baritone vocal range, perfect diction and mastery of tone and pitch that is just as compelling. innovative phrasing; Eckstine was also proficient on It is jazz as it first grew out of the wedding of THE QUIET FIGHT trumpet and valve trombone. He started as the leader blues, gospel, ragtime and brass bands, music that in CD RELEASE CONCERT of his own band in 1944, which at different times had the ‘40s-50s must have sounded much like it had 30 personnel such as Dizzy Gillespie, Charlie Parker, years before, though it had acquired new pop tunes Miles Davis, Dexter Gordon, Art Blakey, Fats Navarro and was itself influenced by early jazz records. Jazz Tuesday, July 1st and Sarah Vaughan. But it is his solo career as a vocalist had changed by the time King Oliver, Louis Armstrong Cornelia St. Cafe for which he is most remembered. and Jelly Roll Morton first recorded, the music evolving 8:30 PM Broadway Bongos and Mr. “B” features Eckstine rapidly as it moved to the Northern metropolises and accompanied by Hal Mooney and his Orchestra in a found the new venues that made them stars. Lewis’ www.laurenfallsmusic.com 12-track collection of familiar songs from Broadway music is closer to the original community spirit—less www.corneliastreetcafe.com musicals. Things start off with a rousing interpretation virtuosic and less solo-oriented. His band picks up a of “From This Moment On”, in an arrangement that hymn or a rag and it becomes a pulsing contrapuntal has Eckstine’s sonorous tones sailing over a big band wail within moments, a kind of jazz ideal that resonates sound with blaring trumpets. The high energy does not to this day. diminish as he goes through his paces with songs in all This eight-CD set, collecting all of the Lewis different kinds of Latin rhythms, bongos prominent. recordings issued on the Danish Storyville label, is Don’t Worry ‘Bout Me contains Great American focused intensely on a brief period in his career, with Songbook goodies. Because of the focus on producing seven of the CDs recorded between October 45rpm singles in that era of the recording industry, 1953-December 1954. With just an occasional none of the tracks are longer than three minutes and substitution, the band is usually the one Lewis twenty-four seconds with most of them below the inherited from Johnson, with Robinson and other three-minute range. These include “It Isn’t Fair”, masters of the mature New Orleans idiom: pianist which was a big Eckstine single hit, a sensitive reading Alton Purnell, banjo player Lawrence Marrero, bassist of Mel Tormé’s original “Stranger In Town” and Alcide “Slow Drag” Pavageau and drummer Joe Eckstine’s composition “”. Watkins. Avery “Kid” Howard usually plays trumpet. Bobby Tucker and His Orchestra accompany him and The set is a window on Lewis’ expanding world, the arrangements sometimes contain a string section as he took his music to very different audiences. The and background singers. Two bonus tracks complete first two CDs present a complete concert at Ohio State this package: “I Apologize” and “My Foolish Heart”, University, with the band including the college’s both million sellers for Mr. “B”. anthem and an instructive funeral medley compressing Grab this CD if you want some of the best from the the journey to and from the cemetery. Discs 4, 7 and 8 Great American Songbook played by swinging big are all radio broadcasts from a long-running bands and sung by a legend whose voice still causes engagement at San Francisco’s Club Hangover, visceral meltdown after all of these decades. exuberant performances with guest appearances by blues singer Lizzie Miles, propelled by an enthusiastic For more information, visit sepiarecords.com announcer and a boisterous crowd. The hymns and blues are less apparent in this repertoire and there are

plenty of hoary pop tunes like “Alexander’s Ragtime Band” and “Darktown Strutters Ball” mixed with the masterpieces of early jazz composed by Oliver, Armstrong, Morton and Kid Ory. The best performances, though, come from shorter recording sessions, whether with or without an audience. CD 3 is divided between recordings from Bakersfield and New Orleans made just three weeks apart in Spring 1954. At the Bakersfield performance, “Tin Roof Blues” moves at a perfect medium-slow Keeper of the Flame tempo, with Howard’s trumpet alive with a burred and George Lewis (Storyville) by Stuart Broomer raucous insinuation while Lewis brings a kind of droll pleading and Robinson’s trombone slide seems to bend Not to be confused with George Lewis the eminent pitch towards dreamtime; as the blues get deeper, avant garde trombonist and composer, George Lewis Lawrence Marrero’s banjo tremolo becomes the lead the clarinetist is nestled at the opposite end of jazz voice, almost suggesting a zither. The New Orleans history, its New Orleans beginnings. Born 114 years session is particularly serene, with Lewis and Robinson ago this month, Lewis first achieved some measure of playing with a different band of Crescent City attention in the early ‘40s. Enthusiasts seeking the musicians that includes trumpeter Percy Humphrey, origins of jazz discovered trumpeter Bunk Johnson, drummer Paul Barbarin and guitarist Johnny St. Cyr (a

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(1959-62), became a Boston legend for his work teaching at New England Conservatory (NEC). Yard Byard, active participants in New York’s jazz scene, were steeped in Byard’s neo-Conservatorial glow: flutist Jamie Baum, guitarist Jerome Harris and drummer George Schuller studied and/or worked with Byard at NEC and schoolmate/multi-reed player Adam Kolker worked with Byard-anointed pianist Fred Hersch. They playfully gloss through Byard’s

Manhattan Moonrise neglected pantheon of pieces, teasing out elements of Microscopic Septet (Cuneiform) dry humor, free-wheeling eclecticism and startling by Tom Greenland lines. These congenial, intimate settings encompass the Byard model of combining good-natured wrangling If you were first exposed to The Microscopic Septet via with meticulous craftsmanship—the add-a-bar jostle NPR’s Fresh Air with Terry Gross radio theme song, you of “Twelve”, the jabbing staggered entries of may have been equally struck by the commercial “Dolphy”—all accomplished with élan and fresh potential of so-called serious music. On Manhattan voicings in a cozy chamber ambiance. Moonrise, the group’s seventh recording in their 35-year In genial waltzes to Byard’s daughter “Toni”, wife AZAR LAWRENCE career, third since a 2008 relaunch after an eight-year Louise (“Gaeta”) and mom (“Garr”), Yard Byard THE SEEKER hiatus, this same ability to deliver deep-content art reaches for the composer’s romantic expansiveness music with a strong sense of humor and swing has not without sentimentality, eliciting rich solos for flute, Featuring abated. Composers and co-leaders soprano saxophonist bass clarinet and Ugonna Okegwo’s bass. Strong trumpet Phillip Johnston and pianist Joel Forrester unearthed statements from tenor saxophone and drums, on the BENITO GONZALEZ piano previously unrecorded charts like “Hang It on a Line” title track and passim, remind us that it’s a team effort: ESSIET OKON ESSIET bass and “No Time”, as well as freshly penned or rearranged as Byard once remarked prefacing a Blindfold Test, JEFF “TAIN” WATTS drums material like “Occupy Your Life” and “Obeying the “Heck! We’re all stars!” Baum pens charts capturing SSC 1392 / in stores July 8 Chemicals”. Retaining five of the original crew, Jaki-esque dazzle (“St. Marks Place Among the including baritone saxophonist David Sewelson, Sewers”) and Kolker double-takes classics, going sassy Azar Lawrence stands apart from his peers with bassist David Hofstra, drummer Richard Dworkin, Latin on “Aluminum Baby” (spotlighting first the bass, his searing, passionate saxophone sound and along with two other well-seasoned members, alto then insinuating alto flute) and nailing a hot clarinet saxophonist Don Davis and tenor saxophonist Mike spot on “Strolling Along” before inserting a stop-time brilliant compositional style. His new live Hashim, the group plays with the familiarity and showstopper. Yard Byard explores sensuous currents recording, THE SEEKER, will stand as an impor- familiality once common to the heavily-touring big of counterpoint and fugal teapot-tempests that would tant milestone in the ever-fascinating musical bands of the Swing Era. Indeed, it is amazing how this have set Byard’s eyes a-bug and hair-tufts aflutter. journey that Lawrence has taken to create heal- four-saxophone section compiled of markedly ing music for the world. idiosyncratic soloists can blend together so seamlessly. For more information, visit gmrecordings.com Drawing on various roots styles, the program veers from the bouncy minor swing of “When You Get in Over Your Head”, cowboy lope of the title track, hard- funking “Obeying the Chemicals” and “Hang It On a Line” and gospel-inflected “Star Turn” to the cool- school “You Got That Right”. But the album is more than a retrospective of jazzified Americana: it is a revitalization of these roots in the spirit of discovery. Last month, the Micros hosted a two-set record release party at Smalls during which they played every chart on the CD, plus four arrangements of Thelonious Monk tunes (“We See”, “Pannonica”, “Brilliant Corners” and “Off Minor”) from their previous album Friday the 13th. Live, the group is even zanier and more rambunctious than their records might suggest, sparked by acting emcee Johnston’s waggish repartee, Forrester’s outlandish comping and a friendly rivalry among the horn players to impress each other with outrageous musical behavior. Johnston and Forrester made lively dialogue on “A Snapshot of the Soul”, STAIRWAY TO THE STARS everyone seemed inspired, but Davis seemed to be Featuring having a particularly great night, soloing with aplomb bass on “Star Turn” and “Let’s Coolerate One”, which also MATT WILSON drums featured a fine turn by Sewelson. SSC 1380 / in stores July 8 For more information, visit cuneiformrecords.com STAIRWAY TO THE STARS is a fantastic exam- ple of the melding of three talented individuals into an astoundingly effective ensemble. Denny Zeitlin, Buster Williams and Matt Wilson com- pose a true musical powerhouse, though their music presents its strength with subtlety and taste rather than bombast.

Inch by Inch Yard Byard: The Jaki Byard Project (GM) iTunes.com/AzarLawrence by Fred Bouchard iTunes.com/DennyZeitlin sunnysiderecords.com Jaki Byard, pianist in bands as diverse as those of Charles Mingus (1960-65) and Maynard Ferguson

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recording for A Charlie Brown Christmas, the perennial impassioned poetry on religious and secular matters hit cartoon that has introduced many new generations gels nicely within the scope of Lewis’ concept. to the cool, clean, happy lines of West Coast jazz. This The album’s centerpiece is “Wading Child in the year Concord released the first digitally mastered Motherless Water”, an 11-½ minute tour de force that version of Guaraldi’s 1964 album, renamed simply A melds two classic spirituals, “Wade in the Water” and Boy Named Charlie Brown and it’s as happy as ever “Sometimes I Feel Like a Motherless Child” into a (despite its namesake’s proclivities). powerful, original statement. Lewis makes less explicit The rerelease contains all of the tunes from the references to church music and melodies throughout original, the most recognizable being the bouncy, the album, but the power of his gospel roots is always

Explorations in Sound and Time danceable “Linus and Lucy” (sometimes mistakenly evident. His joining together of the sacred and the Jamey Haddad//Mark Sherman (Chesky) called “The Peanuts Theme”). What you hear on this cutting-edge is unique and compelling. by Ken Micallef newly mastered tune and what you might miss if you hear it only as background music for the Peanuts For more information, visit okeh-records.com. This project There’s something of the Saturday night high school characters’ antics, is the relentless bassline in Guaraldi’s is at Birdland Jul. 31st. See Calendar. band concert in these 11 tracks performed by left hand against the block harmonies in his right. percussionist Jamey Haddad, drummer Lenny White (Monty Budwig, bassist for the recording, doesn’t seem Available at CD Baby and iTunes and percussionist/vibraphonist Mark Sherman. to play on this track.) You might also miss Guaraldi’s Recorded to Chesky Records’ typically high standards delightfully concise improvisations, the driving tempo Anna Elizabeth Kendrick at the Hirsch Center for the Performing Arts (formerly of the shaker and the well-timed strike on the cowbell Debut Album: In Out of The Rain St. Elias Church) in Brooklyn, the music resonates with at the end (courtesy of drummer Colin Bailey). It’s a bold presence and immediacy not often heard on live sophisticated stuff for a children’s cartoon and therein recordings. Perhaps it’s that ‘you are there quality’ that lies its brilliance. summons dormant memories of childhood concerts The disc also contains two tunes not on the that fostered an early fascination of all things musical, original. An impressionistic version of “Fly Me To The and hence, magical. Moon” shows off Guaraldi’s chops as an interpreter of Performing completely improvised music, these both lyrical romantic melodies and bebop. And the three masters flow with an organized sense of space, alternate take of “Baseball Theme” is lighter, breezier rhythm and melody that is spectacular. Along with and almost a full minute and a half shorter than the White’s drums and cymbals, Haddad and Sherman version that made it onto the original recording. perform on djembe, Balinese nipple gongs, hadjira and Listening to these bonus tracks it’s hard for those of us kanjira, Arabic riq, three tympani, wind gong, tam- who first heard Guaraldi’s music in the Peanuts tam, Cooperman tar drums and a vacuum hose. But cartoons to accept that he might have experimented you never once during the proceedings think, “Oh my, with his compositions. The Peanuts characters—and listen to the dust flowing off that Moroccan Broom”. Guaraldi’s music—exist in that fantastical childhood The sound of the collective instruments is so integrated, world where at the flick of a switch dogs fly planes, annaelizabethkendrick.com so in-sync and so naturally melodic, it’s more like the adults don’t speak and the cheerful melodies never atmosphere one senses when sitting alone in a jungle change. It’s a nice place to revisit every once in awhile. or a forest, surrounded by the symphony of nature. And that’s no exaggeration. There’s a serene sense of For more information, visit concordmusicgroup.com pacing, of ebb and flow, of dynamic continuity as natural listening to a river. “Stank” opens the CD with a dancing second-line groove from White, over which Sherman bends melodic pitches on tympani and Haddad elicits a rhythmic call from some ratchet-producing instrument. It’s groove city. “Wood and Metal” retreats into the rain forest, gentle tapping, a yawning vocal sound and clicks and clacks creating a virtual nature panorama. “The Wind” floats gently from small bells, cooing crescendos and icebell-like harmonics. The trio creates fiery sounds on Divine Travels “Rhythm”, the assorted banging, clanging and driving James Brandon Lewis (OKeh) beats creating a windswept gallop reminiscent of by Joel Roberts Santana’s Abraxas as if performed by Gary Burton and a band of miniature Kodo drummers. Rising star tenor saxophonist James Brandon Lewis comes to the jazz avant garde via a different path than For more information, visit chesky.com most, having pursued a career in gospel music before settling in New York, where he’s since performed with

the likes of Charles Gayle, Marilyn Crispell and Jason Kao Hwang. His music, as the title of his new CD suggests, has a decidedly spiritual component while also drawing on free jazz and postbop. Divine Travels is Lewis’ second album as a leader and it has the feel of a major release. It’s a trio outing placing Lewis in the deep end of the avant garde pool with bassist William Parker and the drummer Gerald Cleaver, two of the music’s most formidable improvisers (and over 30 and 20 years older, A Boy Named Charlie Brown respectively, than the leader). But Lewis is undaunted Vince Guaraldi Trio (Fantasy-Concord) by Suzanne Lorge by his heavyweight company and immediately establishes that he’s in firm control of the proceedings Fantasy Records released the soundtrack album for on the opening “Divine”, a meditative modal tune that the TV documentary A Boy Named Charlie Brown 50 recalls spiritually oriented late-Coltrane. While much years ago this year. The documentary—a profile of of the album has a contemplative quality, Lewis proves artist Charles Schultz—never aired, but its soundtrack, that he can hold his own on more frantic numbers like Jazz Impressions of “A Boy Named Charlie Brown”, “A Gathering of Souls”. “Tradition” dials back some of established pianist Vince Guaraldi as a contemporary the free-jazz flourishes, moving closer to the sound of jazz composer with enormous popular appeal. The Sonny Rollins and the bebop tradition. Two tracks following year Guaraldi used some tracks from that feature the spoken word of Thomas Sayers Ellis, whose

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too long. The most effective performance is easily the stunning interpretation of Joe Zawinul’s “In a Silent Way”, with Liebman’s exotic wood flute soaring over the sitar cloud created by Delville, backed by Bianco’s intriguing polyrhythms. Vocalist Saba Tewelde is added for “The Secret Place”, which has an exotic air but is hampered by its weak lyric. Inti is an intense affair that bombards the listener throughout most of the session; it’s clear that Liebman enjoyed himself but it won’t

Chasing Tales have as wide an appeal as the other two releases. Stephen Gauci/Kirk Knuffke/Ken Filiano (Relative Pitch) Blue Rose For more information, visit originarts.com, info.bmc.hu and by John Sharpe John Stowell/Dave Liebman (Origin) moonjune.com. Liebman is at Smalls Jul. 6th with Michael Ungrund Stephans and Birdland Jul. 29th-Aug. 2nd. See Calendar. Although the unusual instrumentation on Chasing Gábor Gadó Quartet (with Dave Liebman) Tales arose almost by accident, it proved such a fertile (Budapest Music Center) combination that an album was inevitable. Saxophonist Inti IN PRINT Stephen Gauci and bassist Ken Filiano share a Machine Mass (feat. Dave Liebman) (Moonjune) by Ken Dryden productive history but the addition of busy cornet- player-about-town Kirk Knuffke completes a trio of In 2013 Dave Liebman became the youngest individual quick-witted improvisers, who demonstrate ever to be honored as an NEA Jazz Master. There are throughout five originals and eight collective pieces several reasons: his brilliant work on soprano and that you don’t need to go beyond conventional registers tenor saxophones and wood flute; formidable skills as to uncover untapped seams of invention. a composer and arranger; plus an incredible drive and By way of introduction, Gauci parades his diverse musical interests. easygoing burly tenor saxophone, blending emphatic Blue Rose is a reunion with nylon string guitarist motifs amid roller coaster lines in a limber double act John Stowell, with whom he made a guest appearance with Filiano’s nimble-fingered stylings, which fuse on the 2003 Origin CD The Banff Sessions. The chemistry melody with rhythmic attack on the opening “Epee”. is perfect, as they intuitively interact like they were old Softly, with Feeling: Joe Wilder and the Breaking of Barriers in American Music That’s followed by a similarly involved pairing of friends playing together on a regular basis. The title Edward Berger (Temple University Press) cornet and bass at the outset of “Ghosting”, before track is a forgotten gem penned by Duke Ellington for by Michael Steinman Gauci joins to inaugurate a spirited three-way his album with vocalist Rosemary Clooney and the interaction. It’s immediately obvious that as a group two men soar in their modern setting with Liebman on Trumpeter Joe Wilder (Feb. 22, 1922-May 9, 2014) they are fully formed, missing nothing, a feeling soprano. Stowell’s compelling solo introduction to was admired and loved as musician and man. The confirmed by charts extracting maximum impact from Billy Strayhorn’s “Isfahan” is well-disguised, new and aptly titled biography by Edward Berger the resources at hand. Gauci’s jauntily contrapuntal Liebman’s rich tenor saxophone inviting comparison embodies Wilder’s deep gentle spirit, unlike many “Boogaloo” constitutes one of the early highlights with to earlier masters like Ben Webster. Liebman throws in new biographies that document and magnify their its vibrant interlocking parts. a surprise by playing piano on Bill Evans’ haunting subject’s flaws. Berger and Wilder met in 1981 and But even within the tight arrangements there ballad “Time Remembered”, capturing the essence of they worked on this book for nearly a decade. exists ample space for individual expression. Knuffke its emotion, accompanied by spacious guitar. Liebman The biography has three intertwining stories. and Filiano enjoy a special rapport, as evinced by both returns to soprano for a sauntering, cheerful take of One is Wilder’s growth as a musician, from his their mercurial exchange of half-valve splutters and Antonio Carlos Jobim’s “Until Paisagem”, the perfect childhood in Pennsylvania to being one of the most plosives and creaky bow work on “Probing For Places” complement to Stowell’s inspired guitar. Effective use respected trumpet players in the world, working and subsequent reflective dialogue to close “Speaking of wood flute and tenor saxophone in Wayne Shorter’s with Lionel Hampton, Gunther Schuller, Louis Of You Gently”. However, Filiano’s title track is the “Black Eyes”, together with poignant guitar, make it a Armstrong, Count Basie, Duke Ellington, Billie standout piece, even among a consistently engaging memorable interpretation. The breadth of music Holiday, Benny Goodman, Alec Wilder, Benny set, and he excels throughout, whether in the dramatic explored by Stowell and Liebman is only exceeded by Carter, Ernie Kovacs and a hundred more. In his contrast between his startling arco unisons with their fresh takes of these mostly well-known works. recollections of six decades as a professional Gauci’s tenor and his full-toned pizzicato or his Hungarian guitarist Gábor Gadó added Liebman musician, we observe jazz changing from a popular concluding solo, which splices gravitas, and urgency. as a guest with only a single afternoon of rehearsal dance music played everywhere to a rarefied prior to recording Ungrund, full of the leader’s tricky phenomenon in clubs, parties and festivals. For more information, visit relativepitchrecords.com. Gauci compositions. This live session is more avant garde in The second strand is Wilder’s unheralded part is at Silvana Jul. 30th. Knuffke is at Cornelia Street Café nature with numerous twists, Liebman playing both in the long struggle to have racial equality in the Jul. 8th. Filiano is at The Commons Jul. 3rd, The Stone Jul. soprano and tenor saxophone, along with tenor United States. His stories (and Berger’s careful 9th with Ehran Elisha, 11th with BBMQ and WhyNot Jazz saxophonist Matthieu Donarier, bassist Sébastien research) of discrimination and legalized abuse— Room Jul. 13th with Fay Victor. See Calendar. Boisseau and drummer Joe Quitzke. Liebman dominates personal and institutional—are painful. When we the opening track, “Friends Play”, with his furious, reach 1980 in the book and it is evident that the darting soprano, though Donarier does his best to keep struggle is coming to a close, it is a relief. pace with his hard-charging tenor. Gadó’s reworking of And the third is a sweet chronicle of Wilder impressionist composer Maurice Ravel’s “Pavane pour himself, a delightful man: genuine, humble, witty, une infante défunte” (Pavane For a Dead Princess) compassionate, “Mr. Social”, as one of his daughters opens with his extended, abstract solo before Liebman calls him. He emerges as a remarkable person, who joins on soprano with Donarier’s superb harmonic would have been so if he had never played a note: backing. “Sanctus” has an ominous air with angular sensitive to injustice and ready to act against it, a interaction between guitar and saxophones. “Weltraum” gracious and kind individual. has the flavor of a Baroque piece transformed into 21st Berger’s writing is worthy of his subject. The Century jazz, though Gadó soon incorporates flamenco biography makes one feel as if Wilder is close at and postbop into his modern vision of this centuries- hand, fully realized. Berger’s research is superb but old style in his dazzling solo. never obtrusive; his prose is understated yet Machine Mass consists of guitarist Michel Delville effective. The book offers rare photographs (Wilder (who also plays Roland GR09 and incorporates was also a fine photographer, seen in later decades electronics) and drummer/percussionist Tony Bianco, with at least two cameras when not playing) and a who makes extensive use of loops. Liebman was game discography full of surprises. Joe Wilder has been to join the duo and had previously recorded with wonderfully captured in these pages, a loving, Bianco. The challenge of listening to this session after accurate portrait. hearing the other releases is that the music sometimes gets stuck in a rut, particularly when Liebman fades For more information, visit temple.edu/tempress from the foreground and the loops are held in place for

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underscores the minimalist mood. and turnarounds on the Gershwins’ “Our Love Is Here The approach to ballads here is interesting for the to Stay”. The TV show audio tantalizingly suggests the choice of songs used. In addition to Fidyk’s own lovely stage business and skits that we only hear, but vocally “T.T.J.”, he gives the upbeat and optimistic tunes features a full panoply of Stafford’s gifts in settings “Make Someone Happy” and “I Can See Clearly Now” ranging from duets with Weston and English singer more measured, almost somber readings. Stafford is Tommy Johnson to the orchestral extravaganza—with the central voice here and he plays his muted trumpet vocal chorus—version of “St. Louis Blues”. Highlights and flugelhorn with a flawless tonality, thoughtfulness include an insouciant “Old Devil Moon”, fast, perky and expert phrasing that gives each song poignancy “Tomorrow Mountain” (a Duke Ellington tune), a

Heads Up! without descending into sadness. multi-tempo “I’ll Remember April” and closing “I’ll Be Steve Fidyk (Posi-Tone) In the end, however, it’s the archetypes that guide Seeing You”, which is meltingly sentimental in the best by Terrell Holmes this album and its crown jewel is “The Bender”, a sense. burner whose richness and precision sounds like a Heads Up! is a robust mix of originals and popular treasure snatched from the Blue Note vaults. The For more information, visit sepiarecords.com tunes honed to a fine point by drummer and composer quintet’s perfect execution on this tune gives it an Steve Fidyk, whose first-call quintet is comprised of immediate feeling of timelessness. Fidyk reimagines tenor saxophonist Tim Warfield, trumpeter Terell “Love For Sale”, Cole Porter’s anthem to the ON SCREEN Stafford, guitarist Shawn Purcell and bassist Regan demimonde, as an edgy hybrid of hardbop and funk. Brough. Fidyk evinces a high reverence for the classic The band really stretches out on what is essentially a style of jazz throughout this album, but what makes it jam session and has a blast picking it apart all the way invigorating is that he does so without the slavish up to the last fading drumbeats. fidelity to its structures that sometimes leads to empty Fidyk has appeared on many recordings but this parroting. stellar Posi-Tone debut should solidify his spot as a The quintet soars on tunes like the pulsating bop top-tier jazzman. blueprint “Untimely” and strutting “Last Nerve”, which Purcell peppers with flurries of single notes For more information, visit posi-tone.com. Fidyk is at accented with octaves; he later throws down some Smalls Jul. 27th. See Calendar. bluesy, distorted rock-oriented lines on “The Flip-

Flopper”. Fidyk strips the band down to the essentials Live at Montreux 1972 Quartet (Eagle Eye) of a drums/guitar/bass rhythm section on “Might by Alex Henderson This Be-Bop”. And although the setup is reduced, the music loses none of its vigor. Brough’s propulsive bass The term “fusion” is seldom used in connection is more evident; he doesn’t pluck as much as he with tenor saxophonist Stan Getz, best remembered vocalizes, talks as he walks. Purcell, who wrote the for his contributions to cool jazz and ethereal, Lester song, supplies some understated but elegant guitar Young-influenced lyricism. But in the early ‘70s, while Fidyk’s soft playing with his hands and brushes Getz did, in fact, experiment with jazz-rock with help from members of two of the top fusion bands of the ‘70s. Filmed at the 1972 Montreux Jazz Festival Live in London, 1959 in Switzerland, this excellent DVD finds Getz Jo Stafford (Sepia) Academy Records by George Kanzler leading a fusion/postbop quartet that boasts Chick Corea (electric keyboards and acoustic piano), For much of her career, Jo Stafford, who died 6 years Stanley Clarke (acoustic bass) and & CDs ago this month at age 90, was a disembodied voice. By (drums), all of whom were on Getz’ 1972 Columbia 1955 she’d sold more recordings than any other female album Captain Marvel (recorded three months before singer, yet she rarely appeared in person, preferring this concert and providing five of the tunes played recording, radio and TV studios to live performances— here). Corea, Clarke and Williams were all vital almost all of them on theater stages, as she disliked contributors to fusion—Corea, both with Miles Cash for new and used nightclubs. Davis and later with Clarke in Return to Forever; compact discs,vinyl And most of her live performances were for the Williams with his own group Lifetime—and they troops at USO canteen shows, during and immediately bring plenty of rock muscle to “Captain Marvel”, records, blu-rays and after World War II—so much so that she earned the “La Fiesta”, “Time’s Lie” and “Day Waves” (all sobriquet “G.I. Jo”. So this CD, the majority of it culled Corea songs) while the approach is more dvds. from the audio portion of a British TV show, Val straightahead on inspired performances of Corea’s Parnell’s Saturday Spectacular: The Jo Stafford Show, is a “Windows”, Billy Strayhorn’s “Lush Life” and rare opportunity to hear Stafford performing in full- Benny Golson’s “I Remember Clifford”. And even blown stage shows. though Clarke doesn’t play any electric bass at We buy and sell all Although she was THE most popular female Montreux, his appreciation of rock and funk comes vocalist of the war years and following decade, Stafford through. genres of music. was also what today would be called a ‘singers’ singer’ All that rock and funk energy brings out a more All sizes of collections or ‘musicians’ musician’. Like , her aggressive side of Getz at times. Throughout much closest male peer during her heyday and with whom of his career, Getz was the essence of subtlety and welcome. she shared a lifelong love of the Great American understatement but on the flamenco-influenced “La Songbook, she was a consummate purveyor of ballads, Fiesta”, his playing takes on a harder edge. Latin singing with perfect intonation, fluid legato ease and influences, from Spanish to Brazilian to AfroCuban, an exquisite sense of melody and empathy for the, are plentiful on this DVD and that mutual For large collections, often sentimental, message of the songs. Her influence appreciation of Latin music is one of the reasons was vast, spanning jazz-pop singers from Rosemary why Getz and Corea got along so well musically please call to set up an Clooney to Jane Monheit, as well as country’s Patsy (Getz, of course, was one of the leaders of the early appointment. Cline and folk-pop’s Judy Collins. But her vocal ‘60s bossa nova explosion). fluidity extended to swing and Latin tempos too, as Live at Montreux 1972 is a gem not only because can be heard here. of the performances, but also because of the quality The first four songs come from a Palladium concert of the sound and the picture. Eagle Rock with The Skyrockets Orchestra and demonstrate her Entertainment obviously had a well-preserved print Open 7 days a week 11-7 command of varying tempos and moods. Husband to work with and this DVD is a fine document of Paul Weston’s arrangements, especially of “Anyplace I Getz’ brief but satisfying exploration of fusion. 12 W. 18th Street NY, NY 10011 Hang My Hat Is Home”, are the equal of Nelson 212-242-3000 Riddle’s charts for Sinatra and Stafford’s ability to For more information, visit eagle-rock.com suggest little jazz liberties is evident on her melismas

THE NEW YORK CITY JAZZ RECORD | JULY 2014 31 type. The set is also remastered in the original mono. edgy urgency that really locks the rhythm section BOXED SET Stereo recordings were not in fashion until the mid with the soloists. Also check out Davis’ piano playing ‘60s, so this is how a listener would have originally on the track “Sid’s Ahead”. There are a lot of rumors heard the music back when it first came out (without swirling around what happened at the session that the vinyl scratches, of course). day, but it seems there was some sort of beef between In comparing these remasters with the stereo Davis and Red Garland, which prompted the latter versions, the music has a more dry and direct sound. to sit the tune out and let the former play an The trumpet comes right out at you as if you were unaccompanied trumpet solo and unusual piano standing right there. The castanets of “Concierto De comping behind saxophonists Cannonball Adderley Aranjuez” on Sketches of Spain have a gentler, woody, and John Coltrane. Give a special listen to the single sound and drop away very dramatically to let the tonic note Davis keeps playing in the beginning of solo trumpet cry. The larger ensemble albums with his chord comping. It sounds like he’s trying to The Original Mono Recordings Gil Evans—Miles Ahead and Porgy and Bess—also figure out what key the tune is in. Miles Davis (Columbia-Legacy) sound much different from their younger stereo A fast stomp off begins the album Miles and by Brian Charette brothers. The horns are more homogenized because Monk at Newport. This session is a little unusual in nothing is panned left or right; low brass sounds the fact that the titular leaders don’t actually play Miles Davis had been lying low and without a darker and the high reeds more shrill. Because most together. It’s basically a ‘side’ of each of their groups working band in 1955 when he made a surprise of the compression used on the stereo versions has live (Miles’ portion comes from 1958). On “Ah-Leu- appearance with Thelonious Monk and at been removed, dynamics are more dramatic. The Cha”, the rhythm section sounds a little ragged at the . In the audience that night crescendos start from nothing, then explode. the top but is soon swinging hard. You can really was George Avakian, the head of jazz at Columbia The set begins with ‘Round Midnight, the album hear Davis count off the tunes, get mad when he Records. Blown away by Davis’ performance of that codified Miles’ sound in the mid-late 50’s: blows a riff and snap his fingers during the drumless “’Round Midnight”, Avakian immediately wanted to clipped, muted, lyrical lines replacing the bebop he bass solo on “Straight No Chaser”. We also get to sign Davis but was hesitant because of the played with Charlie Parker the decade before. The hear a young Bill Evans, still coming heavily from trumpeter’s reputation for drugs and missing gigs. tunes also have a dark, introspective vibe that seem Bud Powell at this point, turning in a beautifully After the two met again in New York, Avakian voiced to be the personification of Miles’ quiet intensity. On crafted bop solo. his concerns and Miles agreed to get a steady band the title track, Harmon mute is used to state the The great packaging and sound of this collection together and stay clean. The deal was sealed and so melody with a breathy tone and off-the-cuff riffs make it a must have for jazz aficionados. The began one of the greatest marriages of label and before surprise full trumpet blasts cue John individual CDs have a great retro look and the nifty artist in jazz history. Coltrane’s soulful entrance. program booklet has lots of great photos and little The first thing you will notice about this great One of the best albums in the set is Milestones. anecdotes about the sessions. Miles Lives! boxed set, which has the first nine albums Miles did Tony Williams is rumored to have said that this is for Columbia, is the sexiness of the packaging. The the only album you need to listen to if you want to For more information, visit legacyrecordings.com. Miles disc sleeves are made to look like small LPs with the play jazz drums. is killing for sure. tributes are at NYC Baha’i Center Jul. 15th and 92nd original liner notes on the back, albeit in smaller The relentless swing feel he perpetuates creates an Street Y Jul. 24th as part of Jazz in July. See Calendar. Cobi Narita Presents EVERY FRIDAY JUL 1 JUL 21 bucky pizzarelli quartet marion cowings string fever vocal master class 7:30 TO 10:30 PM with Ed Laub, Bernard Purdie, and JUL 22–23 OPEN MIC/JAM SESSION marcus belgrave quintet JUL 2–3 featuring joan belgrave nd Open Mic/Jam Session for Singers, Tap Dancers, Instrumentalists, craig handy 2 line slim with Marion Hayden, Gayelynn Poets - hosted by Frank Owens, one of the most gifted pianists with Kyle Khoeler, Matt Chertkoff, Mckinney, Ian Finkelstein, and Clark Gayton, and Jerome Jennings Marcus Elliott you will ever hear!

JUL 4–10 JUL 24–27 club closed for maintenance jon faddis quartet Our Open Mic is one of the best of the Open Mics happening in New York & elsewhere, with the incomparable Frank Owens JUL 11–12 JUL 28 playing for you. An unmatchable moment in your life! yotam silberstein As a participant, or as an audience member, you will always have JUL 13–16 JUL 29–30 an amazing time, one you will never forget! igor butman and the moscow tia fuller quartet jazz orchestra JUL 31–AUG 3 Don’t miss! Admission: $10 JUL 17–20 sextet joe locke featuring with Eddie Henderson, Eric Reed, kenny washington Stacy Dillard, Steve Davis, and Coming in August!... with Jim Ridl, , and Dezron Douglas Lorin Cohen August 30th at Zeb’s - 8pm $20 Karen Taborn and Baano 223 W 28 St (bet 7th & 8th Aves), 2nd Fl. Walk-Up

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

32 JULY 2014 | THE NEW YORK CITY JAZZ RECORD (INTERVIEW CONTINUED FROM PAGE 6) in Katrina. about one of the earliest figures in New Orleans jazz. TNYCJR: When Fivin’ Around and The Village came at KITANO JAZZMusic • Restaurant • Bar When Morton wrote it, he had first-hand knowledge of out, you were often described as postbop and compared “ONE OF THE BEST JAZZ CLUBS IN NYC” ... NYC JAZZ RECORD what cornetist Buddy Bolden sounded like. to McCoy Tyner or Cedar Walton. But when Windham LIVE JAZZ EVERY Hill released your Orleans Inspiration album in 1990, WEDNESDAY - SATURDAY HB: Not only that, but Jelly Roll was one of the first people heard a different side of you and saw what you $15 WED./THUR + $15 Minimum/Set. people in jazz to actually commit a lot of this stuff to could do with blues and soul. And you haven’t become $30 FRI./SAT. + $15 Minimum/Set paper. There were other pianists in that time who any less diverse since then. 2 SETS 8:00 PM & 10:00 PM didn’t. Some of them were supposedly a little more JAZZ BRUNCH EVERY SUNDAY TONY MIDDLETON TRIO creative, a little more spontaneous than he was. But HB: Everybody I knew back in the ‘80s, the ‘90s, the 11 AM - 2 PM • GREAT BUFFET - $35 they didn’t commit anything to paper. ‘70s was eclectic. I knew there were some people who OPEN JAM SESSION MONDAY NIGHTS • $15 MINIMUM were maybe a little narrower in their approaches, but 8:00 PM - 11:30 PM • HOSTED BY IRIS ORNIG SOLO TUESDAYS IN JULY TNYCJR: Now that you are recording for Impulse most of the people I met were buying a little bit of 8:00 PM - 11:00 PM • $15 MINIMUM again, does Impulse plan to reissue either Fivin’ Around everything. YOUNG PIANIST SHOWCASE JULY 1, 8, 15 & 22 - KEVIN HARRIS or The Village? JULY 29 - KYOKO OYOBE TNYCJR: You’ve lived in many different places other WED. JULY 2 HB: You know, I haven’t asked them about that. than New Orleans over the years—L.A., New York, SABRINA SILVER QUARTET SABRINA SILVER, BILLY TEST Illinois. Now you’re living in Brooklyn. But wherever YOSHI WAKI, CHARLES GOOLD TNYCJR: There’s still an enthusiastic audience for you are, the New Orleans influence in your music $15 COVER + $15 MINIMUM THURS. JULY 3 your ‘80s recordings. A copy of Fivin’ Around was remains. JOE ALTERMAN TRIO recently selling on Amazon.com for $78.85. JOE ALTERMAN, JAMES CAMMACK, MATT WILSON HB: Every time I reflect on New Orleans’ history, I $15 COVER + $15 MINIMUM FRI. JULY 4 HB: Several times, I’ve seen people selling The Village come away realizing how unique that town is. It’s QUARTET on vinyl for 80 or 90 bucks. probably one of the two or three most unique cities in HARRY ALLEN, ROSSANO SPORTIELLO JOEL FORBES, ALVIN ATKINSON this country. In some ways, it’s probably the most $30 COVER + $15 MINIMUM TNYCJR: Fivin’ Around and The Village were full of unique because it still has the flavors it started with— SAT. JULY 5 DEE DANIELS QUARTET horn players, but when you were living in Los Angeles the Caribbean influences, the African influences. And DEE DANIELS, CARLTON HOLMES back then, you performed a lot of gigs with small piano the music of New Orleans will always be with me. v PAUL BEAUDRY, DWAYNE “COOK” BROADNAX $30 COVER + $15 MINIMUM trios. And it was interesting to hear what “Swing It” or WED. JULY 9 “My Coloring Book” sounded like without horns. Is For more information, visit henrybutler.com. Henry Butler- JASON YEAGER QUARTET JASON YEAGER, DANNY WELLER there any chance that some recordings of those trio Steven Bernstein and the Hot 9 are at The Cutting Room MATT ROUSSEAU, SP. GUEST - AUBREY JOHNSON gigs in L.A. will ever become commercially available? Jul. 16th. See Calendar. $15 COVER + $15 MINIMUM THURS. JULY 10 HB: Recommended Listening: BRANDON WRIGHT QUARTET I had a lot of that stuff, but a lot of it I lost in BRANDON WRIGHT, DAVE KIKOSKI Hurricane Katrina. I’m realizing how much stuff I lost • Henry Butler - Fivin’ Around (Impulse-MCA, 1986) ED HOWARD, OTIS BROWN III $15 COVER + $15 MINIMUM • Henry Butler - The Village (Impulse-MCA, 1987) FRI. JULY 11 • Henry Butler - For All Seasons (Atlantic, 1995) RONI BEN-HUR TRIO • Claude “Fiddler” Williams - Swingin’ The Blues BIRTHDAY BASH RONI BEN-HUR, , LEROY WILLIAMS (Bullseye Blues/New Rounder, 1999) $30 COVER + $15 MINIMUM • Henry Butler - PiaNOLA Live SAT. JULY 12 RONI BEN-HUR TRIO (Basin Street, mid ‘80s-2007) BIRTHDAY BASH • Henry Butler/Steven Bernstein and The Hot 9 - RONI BEN-HUR, SANTI DEBRIANO, $30 COVER + $15 MINIMUM Viper’s Drag (Impulse, 2013) WED. JULY 16 LYNETTE WASHINGTON & DENNIS BELL JAZZ NY QUARTET LYNETTE WASHINGTON, DENNIS BELL DEZRON DOUGLAS, VICTOR JONES $15 COVER + $15 MINIMUM THURS. JULY 17 (LABEL CONTINUED FROM PAGE 12) ROB RODRIGUEZ QUARTET ROB RODRIGUEZ, CHAD LEFKOWITZ-BROWN JORGE ROEDER, LUDWIG AFONSO that nobody else was doing.” As Fischer and Gary $15 COVER + $15 MINIMUM Foster swap lines in the big band context and as Fischer FRI. & SAT. JULY 18 & 19 PHIL GRENADIER QUARTET deftly weaves Rite of Spring references into “Igor”’s PHIL GRENADIER, BILL MCHENRY LARRY GRENADIER, myriad complexities, the clarity of detail and depth of $30 COVER + $15 MINIMUM texture that define each IPI transfer allow each gesture WED. JULY 23 its own presence. LAINIE COOKE QUARTET BIRTHDAY BASH Up next is Horace Tapscott’s 1969 offering, The LAINIE COOKE, TEDD FIRTH LUQUES CURTIS, RALPH PETERSON Giant is Awakened, in production as of this writing. $15 COVER + $15 MINIMUM Horwich is unwilling to speculate on future projects, THURS. JULY 24 but he has plenty to keep him busy. As welcome as his DANIELA SCHAECHTER QUARTET DANIELA SCHAECHTER, JOEL FRAHM justly lauded album facsimiles have been, they RUFUS REID, DONALD EDWARDS $15 COVER + $15 MINIMUM constitute only a fraction of his contribution. Horwich FRI. JULY 25 also records, masters and sells high-end audio PAUL MEYERS/HELIO ALVES equipment, as well as having written some enlightening BRAZILIAN PROJECT PAUL MEYERS, HELIO ALVES articles on his Hyde Park Jazz site, which explain, LEO TRAVERSA, VANDERLEI PEREIRA $30 COVER + $15 MINIMUM accessibly and with relevant examples, the musical SAT. JULY 26 fundamentals of what makes a top-drawer jazz group ALEXIS COLE QUARTET ALEXIS COLE, JOHN DI MARTINO , sound the way it does. DAVID FINCK, KENNY HASSLER He has his hand in every aspect of the business, $30 COVER + $15 MINIMUM WED. JULY 30 guiding the music that has been so important to him ART LANDE QUARTET for over 50 years, fostering that excitement that imbues ART LANDE, BRUCE WILLIAMSON DEAN JOHNSON, TONY MORENO every moment he spends discussing it. “Oh yeah, this $15 COVER + $15 MINIMUM is what keeps me going, makes me want to get out of THURS. JULY 31 bed in the morning. I want everything I reissue to be of PEGGY KING & THE ALL-STAR TRIO PEGGY KING, ANDY KAHN the highest quality possible.” His listeners are the BRUCE KAMINSKY, BRUCE KLAUBER richer for his convictions. v $15 COVER + $15 MINIMUM RESERVATIONS - 212-885-7119 VISIT OUR TWEETS AT: http://twitter.com/kitanonewyork For more information, visit internationalphonographinc.com www.kitano.com • email: [email protected] ò 66 Park Avenue @ 38th St.

THE NEW YORK CITY JAZZ RECORD | JULY 2014 33 CALENDAR

Tuesday, July 1 êRenee Rosnes Quartet with Steve Nelson, Peter Washington, Bill Stewart • Camille Thurman Quartet Ginny’s Supper Club 7:30, 9:30 pm $15 Village Vanguard 8:30, 10:30 pm $25 • Quentin Angus Trio Bar Next Door 7:30, 9:30, 11:30 pm $12 êA Benefit For Dave Valentin: Eddie Palmieri, Nicky Marrero and guests • Arturo O’Farrill Auction Project with David Bixler, Victor Prieto • Ray Parker Quartet; Raphael D’lugoff Quintet Hostos Center 7:30 pm $25-175 Birdland 8:30, 11 pm $40 Fat Cat 7, 10 pm êBucky Pizzarelli Quartet with Ed Laub, Jay Leonhart, Bernard Purdie • Antonio Ciacca Measure 8 pm • Chad Lefkowitz-Brown Band Rockwood Music Hall Stage 1 1 am Dizzy’s Club 7:30, 9:30 pm $40 • Eric Plaks Trio Silvana 6 pm • Krom: Adam Kromelow, Raviv Markovitz, Jason Burger êJack Wilkins 70th Birthday Celebration with Andy McKee, Harvie S, Billy Drummond • Stephanie Nakasian, Hod O’Brien, Veronica Swift O’Brien Spectrum 7:30 pm and guests John Abercrombie, Howard Alden, Gene Bertoncini, Jimmy Bruno, Saint Peter’s 1 pm $10 • Yuko Ito Trio; Spencer Jones Trio Tomi Jazz 8, 11 pm $10 Larry Coryell, Joe Diorio, Vic Juris Jazz Standard 7:30, 9:30 pm $30 êJunior Mance solo Bryant Park 12:30 pm • Darrell Smith Trio Cleopatra’s Needle 8 pm êThe Heath Brothers Quintet Blue Note 8, 10:30 pm $35 • Mike Yaw Quartet; Alan Leatherman êTerri Lyne Carrington/Geri Allen The Stone 8, 10 pm $15 Silvana 6, 8 pm êRenee Rosnes Quartet with Steve Nelson, Peter Washington, Bill Stewart Thursday, July 3 • Jon De Lucia, Greg Ruggiero, Chris Tordini, Tommy Crane Village Vanguard 8:30, 10:30 pm $25 Caffe Vivaldi 7 pm • Arturo O’Farrill Auction Project with David Bixler, Victor Prieto êCharlie Hunter solo Rockwood Music Hall Stage 3 9 pm $15 êCameron Brown and The Hear and Now with Sheila Jordan, Don Byron, Tony Jefferson Birdland 8:30, 11 pm $40 êNicole Mitchell/Geri Allen The Stone 8, 10 pm $15 Cornelia Street Café 9, 10:30 pm $15 • Carol Fredette and Trio Iridium 8, 10 pm $25 êSheila Jordan/Cameron Brown Cornelia Street Café 8:30 pm $15 êJoe Farnsworth Quartet with Gary Bartz, Eric Reed, Gerald Cannon • Gary Morgan and Panamericana NYC Baha’i Center 8, 9:30 pm $15 • Mentoring Series: Miguel Zenón and Mario Castro with Ricky Rodriguez, Henry Cole Smoke 7, 9, 10:30 pm $38 • Jack Jeffers and the New York Classics The Jazz Gallery 9, 11 pm $15 • Nicole Henry Blue Note 8, 10:30 pm $25 Zinc Bar 8, 10 pm • Ralph Bowen with Jim Ridl, Kenny Davis, Donald Edwards; Carlos Abadie Quintet with • Joel Press Quartet; Neal Kirkwood Octet; Dezron Douglas Black Lion Quintet with • New Dimensions in Latin Jazz: Francisco Mora-Catlett and AfroHORN Joe Sucato, Peter Zak, Clovis Nicolas, Luca Santaniello Lummie Spann, Josh Evans, David Bryant, Chris Minton’s Playhouse 7 pm $10 Smalls 9:30 pm 12:30 am $20 Smalls 4:30, 7:30, 10:30 pm $20 • Ari Hoenig with Tivon Pennicott, Eden Ladin, Noam Wiesenburg • Asaf Yuria Grow Ahead Sextet; Saul Rubin Zebtet • James Cotton Blues Band Jazz Standard 7:30, 9:30 pm $35 Terraza 7 8 pm $7 Fat Cat 7, 10 pm êRenee Rosnes Quartet with Steve Nelson, Peter Washington, Bill Stewart • Trio with Mark Anderson, Andreas Benito • Richard Padron Quartet Iridium 8, 10:30 pm $25 Village Vanguard 8:30, 10:30 pm $25 Bar Next Door 8:30, 10:30 pm $12 • Marvin Sewell Group David Rubenstein Atrium 7:30 pm • Arturo O’Farrill Auction Project with David Bixler, Victor Prieto • Lauren Falls with , Nir Felder, Can Olgun, Jon Challoner, Caleigh Drane, • Joe Alterman Trio with James Cammack, Matt Wilson Birdland 8:30, 11 pm $40 Trevor Falls Cornelia Street Café 8:30 pm $10 Jazz at Kitano 8, 10 pm $15 • Antonio Ciacca Measure 8 pm • Spike Wilner Quartet with Melissa Aldana, Dezron Douglas, Anthony Pinciotti; • Clovis Nicholas Ginny’s Supper Club 8:30 pm $15 • Larry Newcomb Quartet; Evgeny Sivtsov Trio; Akiko Tsuruga Trio Smalls Legacy Band: Frank Lacy, Stacy Dillard, Josh Evans, Theo Hill, Ameen Saleem, • Gregorio Uribe Big Band Zinc Bar 9, 10:30 pm The Garage 12, 6:15, 10:45 pm Kush Abadey; Kyle Poole and Friends • Alex Brown Quartet Terraza 7 8 pm $7 Smalls 7:30, 10:30 pm 1 am $20 • Ehud Ettun Trio with Donny McCaslin, Yoni Halevy • Saul Rubin; Greg Glassman Jam Fat Cat 7 pm 12:30 am Bar Next Door 8:30, 10:30 pm $12 Sunday, July 6 • Antonio Ciacca Measure 8 pm • John O’Gallagher, Nicolas Letman-Burtonovic, Travis Reuter, Cody Brown; • FUGU and Downtown Avengers ShapeShifter Lab 7, 8:15 pm John O’Gallagher, Johannes Weidenmueller, Mark Ferber • Geri Allen/Laurie Anderson The Stone 8, 10 pm $15 • Ben Winkelman Trio with Sam Anning, Eric Doob Spectrum 7:30 pm • Jon Cowherd with Marvin Sewell, Tim Luntzel, Tony Mason WhyNot Jazz Room 8 pm • Amy Cervini with Anat Cohen, Gary Versace, Matt Wilson Rockwood Music Hall Stage 2 8:15 pm $10 • Ed Rosenberg’s Glue Gun Optimism with Justin Carroll, Simon Jermyn, Alex Wyatt and 55Bar 7 pm êAndrew Drury’s ContenTrio with Briggan Krauss, Ingrid Laubrock guest ; Hiroya Tsukamoto solo • Chembo Corniel Nuyorican Poets Café 9:30 pm $10 WhyNot Jazz Room 7:30, 9 pm $10 Spectrum 7, 8:15 pm • Macha Gharibian Quartet Ibeam Brooklyn 8:30 pm $10 • David Lopato Trio with Ratzo Harris, Harvey Sorgen • People: Mary Halvorson, Kyle Forester, Kevin Shea; Child Abuse: Oran Canfield, • Stringency: Ben Sutin, Nathan Kamal, Marta Bagratuni; Antonello Parisi Quartet with Cornelia Street Café 8:30 pm $10 Luke Calzonetti, Tim Dahl; Weasel Walter’s Cellular Chaos; Angel of Retribution Joe Porcelli, Livio Almeida, Jeremy Heuler, Piotr Pawlak êMichael Stephans Quartet with Dave Liebman, Uri Caine, Tony Marino; Death By Audio 8 pm Somethin’ Jazz Club 7, 9 pm $10 Johnny O’Neal with Paul Sikivie, Charles Goold; Joe Magnarelli Quartet with • Macha Gharibian Rockwood Music Hall Stage 2 7 pm • Marco Di Gennaro Trio Cleopatra’s Needle 7 pm Anthony Wonsey, Mike Karn, Joe Farnsworth • Kevin Harris solo Jazz at Kitano 8 pm • Ben Patterson Organ Trio; Dave Baron Trio Smalls 4:30, 10 pm 12 am $20 • Alignment: Andrew Pereira, George Maher, James Collins, Jeff Dingler, Kevin Daly The Garage 6, 10:30 pm • Terry Waldo’s Gotham City Band; Fat Cat Big Band; Brandon Lewis/Renee Cruz Jam Somethin’ Jazz Club 9 pm $12 • Craig Handy 2nd Line Smith with Kyle Khoeler, Matt Chertkoff, Clark Gayton, Fat Cat 6, 8:30 pm 12:30 am • Peter LaMalfa Trio Tomi Jazz 8 pm Jerome Jennings Dizzy’s Club 7:30, 9:30 pm $35 • Peter Leitch/Jed Levy Walker’s 8 pm • Steve Tarshis Trio; Outer Bodies Silvana 6, 8 pm • James Cotton Blues Band Jazz Standard 7:30, 9:30 pm $35 • Marco Di Gennaro Measure 8 pm • Gray Maps Shrine 8 pm êThe Heath Brothers Quintet Blue Note 8, 10:30 pm $35 • Broc Hempel, Sam Trapchak, Christian Coleman with guest Matt Vashlishan • Kyle Moffat Sextet; Afro Mantra The Garage 6, 10:30 pm • Renee Rosnes Quartet with Steve Nelson, Peter Washington, Bill Stewart Dominie’s Astoria 9 pm • Nightingale Jazz Band Caffe Vivaldi 9 pm Village Vanguard 8:30, 10:30 pm $25 • Patrick Derivaz/Cornelius Dufallo with guest Ken Butler êJunior Mance solo Bryant Park 12:30 pm • Arturo O’Farrill Auction Project with David Bixler, Victor Prieto Spectrum 7 pm Birdland 8:30, 11 pm $40 • Mika Samba Jazz Trio with Eduardo Belo, Rafael Barata; Emy Tseng with Q Morrow, • Antonio Ciacca Measure 8 pm Vanderlei Pereira Somethin’ Jazz Club 5, 7 pm $12 Wednesday, July 2 • Yukari Watanabe, Shoko Nagai, Pascal Niggenkemper; Ras Moshe, Dafna Naphtali, • Coyote Anderson Quartet; Shawn Patric Ferguson Band Andrew Drury; TranceFormation: Connie Crothers, Andrea Wolper, Ken Filiano Silvana 6, 9 pm êJon Weber Metropolitan Room 7 pm $20 The Commons 6 pm $11 • Shrine Big Band Shrine 8 pm • Romero Lubambo/Geri Allen The Stone 8, 10 pm $15 • Ben Drazen Silvana 6 pm • Nicole Henry Blue Note 8, 10:30 pm $25 • Craig Handy 2nd Line Smith with Kyle Khoeler, Matt Chertkoff, Clark Gayton, êJunior Mance solo Bryant Park 12:30 pm • James Cotton Blues Band Jazz Standard 7:30, 9:30 pm $35 Jerome Jennings Dizzy’s Club 7:30, 9:30 pm $35 • Renee Rosnes Quartet with Steve Nelson, Peter Washington, Bill Stewart êJamie Baum Septet with Russ Johnson, Douglas Yates, Chris Komer, Brad Shepik, Village Vanguard 8:30, 10:30 pm $25 John Escreet, Francois Moutin, Jeff Hirshfield; Leni Stern African Trio with Friday, July 4 • /Ike Sturm Saint Peter’s 5 pm Mamadou Ba, Alioune Faye SubCulture 8 pm $20 • Alex Brown Blue Note 11:30 am 1:30 pm $29.50 êJeff Williams Sextet with Duane Eubanks, John O’Gallagher, Phil Robson, êGeri Allen and Friends with Marcus Belgrave • Fay Victor Trio with Kenney Wessel, Ratzo Harris Leo Genovese, John Hébert; Bob DeMeo Trio The Stone 8, 10 pm $15 North Square Lounge 12:30, 2 pm Smalls 9:30 pm 12:30 am $20 êHarry Allen Quartet with Rossano Sportiello, Joel Forbes, Alvin Atkinson • Mayu Saeki Trio; David Coss Quartet; Tsutomu Naki Trio • Tardo Hammer Trio; Groover Trio; Ned Goold Jam Jazz at Kitano 8, 10 pm $30 The Garage 11:30 am 6:30, 11 pm Fat Cat 7, 9 pm 12:30 am êCameron Brown and Dannie’s Calypso with Russ Johnson, Lisa Parrott, Jason Rigby, êMichaël Attias Spun Tree with Ralph Alessi, Matt Mitchell, Sean Conly, Tom Rainey Tony Jefferson Cornelia Street Café 9, 10:30 pm $15 Cornelia Street Café 8:30 pm $10 • Joe Farnsworth Quartet with Gary Bartz, Eric Reed, Gerald Cannon Monday, July 7 êDavid Chamberlain’s Band of Bones with Sam Burtis, Charley Gordon, Nate Mayland, Smoke 7, 9, 10:30 pm $38 Matt McDonald, Chris Rinaman, Max Seigel, Dale Turk, Kenny Ascher, Jerry DeVore, • Nicole Henry Blue Note 8, 10:30 pm $25 êBill Cole’s Untempered Ensemble with Warren Smith, Joe Daley, Ras Moshe, Mike Campenni, Eddie Montalvo, Kat Gang • Dezron Douglas Black Lion Quintet with Lummie Spann, Josh Evans, David Bryant, Lisette Santiago, Gerald Veasley; Joe Rigby/Andrew Bemkey; Zinc Bar 9:30, 11:30 pm 12:30 am Chris Beck Smalls 10:30 pm $20 Ascension For Roy Campbell and Henry Warner: Will Connell, Andrew Lamb, • Antonio Adolfo Quartet with Laura Dreyer, Paul Nowinski, Rafael Barata • Jared Gold/Dave Gibson Band Fat Cat 10:30 pm Daniel Carter, Ras Moshe, Charles Downs Michiko Studios 7 pm $25 • Torben Waldorff Trio with Zach Lober, Greg Ritchie Clemente Soto Velez Cultural Center 7:30 pm $11-22 • Wayne Wilentz and Rio/DC with David Jernigan, Roberto Berimbau and guests Bar Next Door 7:30, 9:30, 11:30 pm $12 êAdam Rudolph’s Go: Organic Orchestra Nanny Assis, Lyle Link, Thomaz de Castro • Masami Ishikawa Organ Trio Cleopatra’s Needle 8 pm ShapeShifter Lab 8, 9:30 pm $15 Iridium 8, 10 pm $25 • Fukushi Tainaka Trio; Dre Barnes Project êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 • James Cotton Blues Band Jazz Standard 7:30, 9:30 pm $35 The Garage 6:15, 10:45 pm êCaptain Black Big Band Smoke 7, 9 pm êChampian Fulton Quintet Smoke 7, 9, 10:30 pm • Lucky Chops Brass Band Radegast Hall 9 pm • Youngjoo Song Trio with Yasushi Nakamura, John Davis and guest • Sabrina Silver Quartet with Billy Test, Yoshi Waki, Charles Goold êRenee Rosnes Quartet with Steve Nelson, Peter Washington, Bill Stewart Blue Note 8, 10:30 pm $25 Jazz at Kitano 8, 10 pm $15 Village Vanguard 8:30, 10:30 pm $25 • Jamie Reynolds Trio; Ari Hoenig Trio; Spencer Murphy • Jason Lindner’s Super Future Griot with Panagiotis Andreou, Justin Tyson • Arturo O’Farrill Auction Project with David Bixler, Victor Prieto Smalls 7:30, 10 pm 12:30 am $20 Rockwood Music Hall Stage 2 10 pm Birdland 8:30, 11 pm $40 • Davis Whitfield Quintet; Billy Kaye Jam êChristof Knoche, Thomas Heberer, Edward Johnson; Ingrid Laubrock, • Antonio Ciacca Measure 8 pm Fat Cat 9 pm 12:30 am Thomas Heberer, Max Johnson Barbès 7, 8 pm $10 • Kathleen Potton Silvana 6 pm • Alberto Pibiri Measure 8 pm • Queens Jazz OverGround Jazz Jam • Satchmo’s Birthday Celebration: Emily Asher’s Garden Party • Jon Irabagon Goodbye Blue Monday 8 pm Flushing Town Hall 7 pm $10 Louis Armstrong House 2 pm $18 • Satoshi Takeishi’s Brooklyn with Jonathan Goldberger and guest; • Bastille Brioche: Nicolas Letman-Burtinovic, Christof Knoche, Carter Bales êJunior Mance solo Bryant Park 12:30 pm Brian Adler’s Helium Music Project with Joe Ancowitz, Nick Kadajski, Sasha Brown, Bar Chord 9 pm Mariel Berger, Mark Lau LIC Bar 9, 10 pm • Nu D’Lux Dweck Center at Brooklyn Publ. Lib. Ctr. Branch 6:30 pm • John Malino Trio with Jim West, Melissa Slocum • Alec Goldfarb Group with Vuyo Sotashe, James Collins, Jeffrey Dingler, Saturday, July 5 Bar Next Door 8:30, 10:30 pm $12 Gusten Rudolph; Elijah Jamal Balbed Quintet with Samir Moulay, Alex Brown, • Laura Brunner Zinc Bar 7 pm Zach Brown, Jr.; Nicholas Biello 4 with Tim Basom, Leo Sherman, • Celebrate Brooklyn: Robert Glasper Experiment with Talib Kweli; Glenn Kotche; • Cecilia Coleman Big Band Tea Lounge 8:30, 10 pm John Suntken Somethin’ Jazz Club 7, 9, 11 pm $10 Aja Monet Free Prospect Park Bandshell 7 pm • Swingadelic Swing 46 8:30 pm • Yako Izumi Trio; Hiroshi Uenohara Tomi Jazz 8 pm êTia Fuller/Geri Allen The Stone 8, 10 pm $15 • Alex Clough Trio with Lars Ekman, Felix Lecaros • Nick Videen Shrine 8 pm êMidsummer Night Swing: Clarinet À La King - Tribute to Benny Goodman: Somethin’ Jazz Club 7 pm $10 • Yvonnick Prene Quartet; Joe Pino Quartet James Langton’s New York All-Star Big Band with Dan Levinson, Molly Ryan • Joe Alterman Le Cirque Café 7:30 pm The Garage 6, 10:30 pm Damrosch Park 7:30 pm $17 • Sam Torres; Paul Jones Silvana 6, 10 pm • Secret Architecture: Fraser Campbell, Wade Ridenhour, Zach Mangan, Julian Smith; êDee Daniels Quartet with Carlton Holmes, Paul Beaudry, Dwayne “Cook” Broadnax • Howard Williams Jazz Orchestra; Justin Lees Trio Euan Burton and Occurrences with Adam Jackson, Tom Gibbs, Ari Hoenig Jazz at Kitano 8, 10 pm $30 The Garage 7, 10:30 pm Caffe Vivaldi 9 pm • Misha Piatigorsky Trio Zinc Bar 8 pm • Russ Kassoff solo Bryant Park 12:30 pm êThe Heath Brothers Quintet Blue Note 8, 10:30 pm $35 • Rome Neal’s Banana Puddin’ Jazz Nuyorican Poets Café 9:30 pm $15 êBria Skonberg Late Night Lowdown Drom 11:30 pm $10

34 JULY 2014 | THE NEW YORK CITY JAZZ RECORD Tuesday, July 8 Wednesday, July 9 Thursday, July 10

êJon Weber Metropolitan Room 7 pm $20 êThe Cosmosamatics: Sonny Simmons and Michael Marcus êCharles McPherson Quintet with Brian Lynch, Jeb Patton, Kiyoshi Kitagawa, êDizzy Gillespie All Star Big Band with , Steve Wilson, Andres Boiarsky, Zinc Bar 9:30, 11:30 pm Justin Brown Jazz Standard 7:30, 9:30 pm $25 , Gary Smulyan, Claudio Roditi, Freddie Hendrix, , • Orlando Marin Ensemble Dweck Center at Brooklyn Publ. Lib. Ctr. Branch 6:30 pm êMario Pavone Arc Quartet with Dave Ballou, Ellery Eskelin, Gerald Cleaver Frank Greene, Steve Davis, Jason Jackson, James Burton, Douglas Purviance, • Mark Whitfield-Extended with Xavier Davis, Yasushi Nakamura, Mark Whitfield Jr. Cornelia Street Café 8:30 pm $10 Cyrus Chestnut, John Lee, Lewis Nash, Roberta Gambarini Smoke 7, 9, 10:30 pm • Christian Scott Robert F. Wagner Jr. Park 7 pm Blue Note 8, 10:30 pm $35 • Nir Felder with Shai Maestro, Matt Penman, Nate Smith êIN: Tim Armacost, Harvie S, Christian Finger êPeter Bernstein Quartet with Harold Mabern, John Webber, Jimmy Cobb Jazz Standard 7:30, 9:30 pm $20 Somethin’ Jazz Club 7 pm $15 Village Vanguard 8:30, 10:30 pm $25 • Will Vinson with Lage Lund, Glenn Zaleski, Jochen Rueckert, Rick Rosato; • Alan Palmer Trio; Emmet Cohen Trio with Russell Hall, Evan Sherman • Loston Harris Birdland 8:30, 11 pm $40 Jeb Patton Trio Smalls 9:30 pm 12:30 am $20 Smalls 7, 10 pm 12:30 am $20 • Darcy James Argue’s Secret Society with Erica von Kleist, Sharel Cassity, • Raphael D’lugoff; Harold Mabern Trio; Ned Goold Jam • Greg Glassman Quintet Fat Cat 10 pm Sam Sadigursky, John Ellis, Cark Maraghi, Seneca Black, Tom Goehring, Matt Holman, Fat Cat 7, 9 pm 12:30 am êA Tribute to Roy Campbell: Rob Brown 4tet with Kenny Warren, Peter Bitenc, David Smith, Jason Palmer, Mike Fahie, Marshall Gilkes, Jacob Garchik, êA Tribute to Roy Campbell: Ehran Elisha’s Kinetic Music with David Bindman, Juan P. Carletti; William Hooker/Ted Daniel Jennifer Wharton, Sebastian Noelle, Adam Birnbaum, Matt Clohesy, Jon Wikan Sam Bardfeld, Bill Lowe, Haim Elisha, Ken Filiano; Elegy for Roy: Will Connell, The Stone 8, 10 pm $15 Jazz Standard 7:30, 9:30 pm $20 , Max Johnson, Jeremy Carlstedt • Brandon Wright Quartet with Dave Kikoski, Ed Howard, Otis Brown III êMidsummer Night Swing: Boardwalk Empire - Vince Giordano and the Nighthawks with The Stone 8, 10 pm $15 Jazz at Kitano 8, 10 pm $15 guests Margot B., Stephen DeRosa • Pedro Giraudo Sextet with Alejandro Aviles, Jonathan Powell, Mike Fahie, êBrian Charette with Yotam Silberstein, Jochen Rueckert Damrosch Park 7:30 pm $17 Jess Jurkovic, Franco Pinna Terraza 7 8 pm $7 Classon Social Club 8 pm êA Tribute to Roy Campbell: Tazz Trio: Andy Bemkey, Chris Sullivan, Mike Thompson; • Jason Yeager Quartet with Danny Weller, Matt Rousseau and guest Aubrey Johnson • Shai Maestro Trio with Jorge Roeder, Ziv Ravitz Daniel Carter and Friends with Matt Lavelle, Andrew Lamb, Ras Moshe, William Parker, Jazz at Kitano 8, 10 pm $15 The Jazz Gallery 9, 11 pm $15 Charles Downs The Stone 8, 10 pm $15 • Big Eyed Rabbit: Ross Martin, Max Johnson, Jeff Davis • Perry Smith Trio with Sam Minaie, Ross Pederson êSifter: Kirk Knuffke, Matt Wilson, Mary Halvorson Barbès 7 pm $10 Bar Next Door 8:30, 10:30 pm $12 Cornelia Street Café 8:30 pm $10 • Rebekah Ruiz Metropolitan Room 7 pm $20 • Natalia Bernal Quintet Terraza 7 8 pm $7 êRyan Keberle and Catharsis with Mike Rodriguez, Jorge Roeder, Eric Doob • Keir Neuringer JACK 8 pm êBern Nix/Giacomo Merega Prospect Range 9 pm $10 Barbès 7 pm $10 • Quentin Angus New 4Tet with Camila Meza, Alon Tayar, Sam Anning, Kenneth Salters • KenYa Kawaguchi, Carole Leibowitz, Michiru Inoue, Andrea Wolper; Gene Ess Quintet • New Dimensions in Latin Jazz: Emilio Valdes Quartet with guest Mark Whitfield Cornelia Street Café 8:30 pm $10 with Thana Alexa, David Berkman, Thomson Kneeland, Satoshi Takeishi; Virg Dzurinko/ Minton’s Playhouse 7 pm $10 • Troy Roberts Quartet Somethin’ Jazz Club 9 pm $12 Adam Lane Ibeam Brooklyn 8, 9, 10 pm $15 • Spike Wilner Quartet with Melissa Aldana, Dezron Douglas, Anthony Pinciotti; • Yayoi Filipski Trio; The Highliners: Melissa Fogarty, Debra Kreisberg, Steve Newman, • Jesse Fischer Soul Cycle Ginny’s Supper Club 8:30 pm $15 Lucas Pino No Net Nonet with Alex Wintz, Matt Jodrell, Nick Finzer, Alex LoRe, Adam Kahan, Tommy Mattioli Tomi Jazz 8 pm • DODO Orchestra Drom 10 pm $15 Andrew Gutauskas, Glenn Zaleski, Desmond White, Colin Stranahan; • Anderson Brothers; Nicholas Brust Quartet • Scot Albertson Duo Tomi Jazz 9 pm $10 Kyle Poole and Friends Smalls 7:30, 10:30 pm 1 am $20 The Garage 6, 10:30 pm • Soils Puoane Trio Cleopatra’s Needle 7 pm • Saul Rubin; Peter Brainin Latin Jazz Workshop; Greg Glassman Jam • Jason Prover Sneak Thievery Orchestra • Marc Devine; Gabe Valle Quartet The Garage 6, 10:30 pm Fat Cat 7, 9 pm 12:30 am Radegast Hall 9 pm • Albert Marques, Walter Stinson, Zack O’Farrill • Rale Micic Trio with Joe Magnarelli, Steve LaSpina êDizzy Gillespie All Star Big Band with Jimmy Heath, Steve Wilson, Andres Boiarsky, Caffe Vivaldi 9 pm Bar Next Door 8:30, 10:30 pm $12 Mark Gross, Gary Smulyan, Claudio Roditi, Freddie Hendrix, Greg Gisbert, êDizzy Gillespie All Star Big Band with Jimmy Heath, Steve Wilson, Andres Boiarsky, • Kevin Harris solo Jazz at Kitano 8 pm Frank Greene, Steve Davis, Jason Jackson, James Burton, Douglas Purviance, Mark Gross, Gary Smulyan, Claudio Roditi, Freddie Hendrix, Greg Gisbert, • Michael Eckroth’s Piano Con Mona Quartet; Andy Winter/Walter Fischbacher Quartet Cyrus Chestnut, John Lee, Lewis Nash, Roberta Gambarini Frank Greene, Steve Davis, Jason Jackson, James Burton, Douglas Purviance, with Donny McCaslin, Marco Panascia; Will Mac Quartet with John Petrucelli, Blue Note 8, 10:30 pm $35 Cyrus Chestnut, John Lee, Lewis Nash, Roberta Gambarini Tucker Flythe, Victor Lewis Somethin’ Jazz Club 7, 9, 11 pm $10-12 êPeter Bernstein Quartet with Harold Mabern, John Webber, Jimmy Cobb Blue Note 8, 10:30 pm $35 • Tom Papadatos Trio Tomi Jazz 8 pm Village Vanguard 8:30, 10:30 pm $25 êPeter Bernstein Quartet with Harold Mabern, John Webber, Jimmy Cobb • Joe Breidenstine Quintet; Luke Schwartz Trio • Loston Harris Birdland 8:30, 11 pm $40 Village Vanguard 8:30, 10:30 pm $25 Silvana 6, 10 pm • Alberto Pibiri Measure 8 pm • David DeJesus Quintet Birdland 6 pm $25 • Recessionals Jazz Band; Paul Francis Trio • Nue Jazz Project Shrine 6 pm • Loston Harris Birdland 8:30, 11 pm $40 The Garage 6, 10:30 pm • David White Jazz Orchestra Saint Peter’s 1 pm $10 • Alberto Pibiri Measure 8 pm • Alberto Pibiri Measure 8 pm • Russ Kassoff solo Bryant Park 12:30 pm • Mark Patterson Silvana 6 pm • Paul Connors Shrine 6 pm • Laila Biali Band with Chris Cheek, Alan Ferber • Sam Torres Shrine 6 pm • Russ Kassoff solo Bryant Park 12:30 pm Citigroup Center Plaza 12:30 pm • Russ Kassoff solo Bryant Park 12:30 pm

THE NEW YORK CITY JAZZ RECORD | JULY 2014 35 Friday, July 11 êPeter Bernstein Quartet with Harold Mabern, John Webber, Jimmy Cobb êMike Longo Trio honors Miles Davis Village Vanguard 8:30, 10:30 pm $25 NYC Baha’i Center 8, 9:30 pm $15 êSonny Fortune Quartet with Michael Cochrane, David Williams, Steve Johns • Loston Harris Birdland 8:30, 11 pm $40 • Winard Harper and Jeli Posse Zürcher Studio 7 pm $10 Smoke 7, 9, 10:30 pm $38 • Alberto Pibiri Measure 8 pm • New Dimensions in Latin Jazz: Roman Diaz and El Gallo Mistico • Tardo Hammer Trio with Lee Hudson, Jimmy Wormworth; Seamus Blake with • Nick Grinder Group Silvana 6 pm Minton’s Playhouse 7 pm $10 Lage Lund, Dave Kikoski, Matt Penman, Bill Stewart • Jerry Costanzo and Trio; Avi Rothbard Trio; Virginia Mayhew Quartet êArk Ovrutski Quartet with Michael Thomas, Theo Hill, Jason Brown; Smalls 7:30, 10:30 pm $20 The Garage 12, 6:15, 10:45 pm Peter Brendler Quartet with Rich Perry, Peter Evans, Mark Ferber êBrian Charette with Brandon Lewis, Avi Rothbard ShapeShifter Lab 7, 8:15 pm $10 Fat Cat 10:30 pm • Eyal Maoz’ The X with Esther Noh, Melissa Tong, Stephanie Griffin, Jeremy Herman, • Russell Malone Dizzy’s Club 7:30, 9:30 pm $40 Sunday, July 13 Brian Marsella; Eyal Maoz’ Crazy Slavic Band with Jay Rozen, Chris Stromquist, • Roni Ben-Hur Trio Birthday Bash with Ray Drummond, Leroy Williams Frank London, Rob Henke, Briggan Krauss Jazz at Kitano 8, 10 pm $30 • John Zorn Improv Night The Stone 8 pm $25 The Stone 8, 10 pm $15 êA Tribute to Roy Campbell: BBMQ: Connie Crothers, Louie Belogenis, Ken Filiano, • Igor Butman and the Moscow Jazz Orchestra with Randy Brecker, Nick Levinovsky, • Spike Wilner Quartet with Melissa Aldana, Dezron Douglas, Anthony Pinciotti; Michael Wimberly The Stone 8, 10 pm $15 Konstantin Safyanov, Ilya Morozov, Dmitry Mospan, Alexander Dovgopoly, Pavel Zhulin, Smalls Legacy Band: Frank Lacy, Stacy Dillard, Josh Evans, Theo Hill, Ameen Saleem, êEdward Johnson Quintet with , Devin Gray, Josh Sinton, Willow McKeon; Denis Popov, Alexander Berenson, Alexander Sakharov, Alevtina Polyakova, Kush Abadey; Kyle Poole and Friends Michael Bates’ Northern Spy Douglass Street Music Collective 8 pm $10 Oleg Borodin, Pavel Ovchinnikov, Nikolay Shevnin, Vitaly Sololmonov, Eduard Zizak Smalls 7:30, 10:30 pm 1 am $20 • Bohemian Trio: Yosvany Terry, Yves Dharamraj, Orlando Alonso Dizzy’s Club 7:30, 9:30 pm $35 • Saul Rubin; Greg Glassman Jam Fat Cat 7 pm 12:30 am Bargemusic 7 pm $35 êGene Bertoncini The Drawing Room 7 pm $20 • David Bryant Quartet with Mark Shim, Dezron Douglas, Jonathan Barber; • Mike Moreno Quartet with Jon Cowherd, Matt Brewer êTomas Fujiwara Trio with Ralph Alessi, Brandon Seabrook Curtis Macdonald Korzo 9, 10:30 pm The Jazz Gallery 9, 11 pm $22 Barbès 7 pm $10 • Pete McCann Trio with Thomson Kneeland, Jordan Perlson • Jerome Sabbagh Trio with Joe Martin, EJ Strickland • Jonathan Ragonese Ensemble with Alex LoRe, Kyra Sims, Jay Rattman, Russell Hall, Bar Next Door 8:30, 10:30 pm $12 Bar Next Door 7:30, 9:30, 11:30 pm $12 Mark Whitfield, Jr., Dan Mitra MoMA Sculpture Garden 8 pm • Xibalba Terraza 7 8 pm $7 • The Core Trio with guest Matthew Shipp; Jonah Rosenberg Trio with James Ilgenfritz, • Manuel Valera/Samuel Torres Cornelia Street Café 8:30 pm $10 • Audrey Silver Metropolitan Room 7 pm $20 Kevin Shea ShapeShifter Lab 7, 8:15 pm $15 • Johnny O’Neal with Paul Sikivie, Charles Goold • Marcel Camargo with • Judith Berkson Barbès 8 pm $10 Smalls 10 pm $20 Rockwood Music Hall Stage 2 7 pm • Ark Ovrutski Quartet with Michael Thomas, Theo Hill, Jason Brown • Terry Waldo’s Gotham City Band; Brandon Lewis/Renee Cruz Jam • 1IN2: Blanca Cecilia González/Jesse Elder; Jesse Elder Trio with Chris Smith, WhyNot Jazz Room 11 pm Fat Cat 6 pm 12:30 am Andrew Atkinson Cornelia Street Café 8:30, 10 pm $10 • Tessa Souter/Dana Leong 55Bar 6:15, 8 pm êFay Victor Ensemble with Anders Nilsson, Ken Filiano • Sam Torres Quartet; The Tweedy Birds: Jacob Sunshine, Gabriel Zucker, • Nanny Assis Band Lucille’s at BB King’s Blues Bar 7, 9 pm $18 WhyNot Jazz Room 7:30, 9 pm $10 David Halpern, David Su; Joel Forrester solo • Ted Perry Trio with Gustavo Amarante, Vanderlei Pereira; Kathleen Potton; • Water Esc: Tal Gur, Haruka Yabuno, Ehud Ettun, Nathan Blankett Spectrum 7, 9 pm Linda Briceno with Antonio Mazzei Somethin’ Jazz Club 7, 9, 11 pm $12 ShapeShifter Lab 7, 8:15 pm • Kevin Harris solo Jazz at Kitano 8 pm • Ben Wood Trio Tomi Jazz 9 pm $10 êPeter Leitch/Ray Drummond Walker’s 8 pm • Hear the Beauty 5: Songyi Jeon, Sarpay Ozcagatay, Bo Ram Park, HyoYoung Kim, • Emily Asher’s Garden Party Radegast Hall 9 pm • Marco Di Gennaro Measure 8 pm Ekah Kim; Ian O’Beirne with Dave Bozenhard, Kurt Kotheimer, Matt Scarano; • Marina Makarova Trio Cleopatra’s Needle 8 pm • Stone Arabia: Robyn Siwula, Mike Irwin, Dmitry Ishenko Joe Pino Quartet with Tuomo Uusitalo, Alex Ayla, Harutaka Sakita • Nick Brust Quintet; Danny Jonokuchi ABC No-Rio 7 pm $5 Somethin’ Jazz Club 7, 9, 11 pm $10 Silvana 6, 8 pm • Lea Bertucci/Bhob Rainey JACK 8 pm • Michael Gallant Trio Tomi Jazz 8 pm • Nick Di Maria; Greg Banks Shrine 6, 10 pm • Kaz Araki Group with Anthony Pocetti, John Lenis, Jarrett Walser; • Carbon Mirage Shrine 8 pm • Masami Ishikawa Trio; Peter Valera Jump Blues Band Josh Levinson Sextet Somethin’ Jazz Club 5, 7 pm $10-12 • Mauricio de Souza Trio with Ben Winkelman, Joonsam Lee; Austin Walker Trio The Garage 6:15, 10:45 pm êCharles McPherson Quintet with Brian Lynch, Jeb Patton, Kiyoshi Kitagawa, The Garage 6, 10:30 pm • Pocket Band Inkwell Café 7 pm Justin Brown Jazz Standard 7:30, 9:30 pm $25 • Mike Karn Measure 8 pm êCharles McPherson Quintet with Brian Lynch, Jeb Patton, Kiyoshi Kitagawa, êDizzy Gillespie All Star Big Band with Jimmy Heath, Steve Wilson, Andres Boiarsky, • Igor Butman and the Moscow Jazz Orchestra with Randy Brecker, Nick Levinovsky, Justin Brown Jazz Standard 7:30, 9:30, 11:30 pm $30 Mark Gross, Gary Smulyan, Claudio Roditi, Freddie Hendrix, Greg Gisbert, Konstantin Safyanov, Ilya Morozov, Dmitry Mospan, Alexander Dovgopoly, Pavel Zhulin, • Jua Cornelia Street Café 6 pm $10 Frank Greene, Steve Davis, Jason Jackson, James Burton, Douglas Purviance, Denis Popov, Alexander Berenson, Alexander Sakharov, Alevtina Polyakova, êMario Pavone’s Street Songs with Adam Matlock, Julian Shore, Carl Testa, Cyrus Chestnut, John Lee, Lewis Nash, Roberta Gambarini Oleg Borodin, Pavel Ovchinnikov, Nikolay Shevnin, Vitaly Sololmonov, Eduard Zizak Gerald Cleaver, Dave Ballou, Leise Ballou, Peter McEachern, Gary Buttery Blue Note 8, 10:30 pm $35 Dizzy’s Club 7:30, 9:30 pm $35 Cornelia Street Café 9, 10:30 pm $15 êPeter Bernstein Quartet with Harold Mabern, John Webber, Jimmy Cobb • Gene Ess Silvana 6 pm êDizzy Gillespie All Star Big Band with Jimmy Heath, Steve Wilson, Andres Boiarsky, Village Vanguard 8:30, 10:30 pm $25 • Luiz Simas solo Bryant Park 12:30 pm Mark Gross, Gary Smulyan, Claudio Roditi, Freddie Hendrix, Greg Gisbert, • The Core Trio: Thomas Helton, Seth Paynter, Joe Hertenstein and guest Steve Swell Frank Greene, Steve Davis, Jason Jackson, James Burton, Douglas Purviance, Downtown Music Gallery 6 pm Cyrus Chestnut, John Lee, Lewis Nash, Roberta Gambarini • Thomas Bergeron Silvana 6 pm Wednesday, July 16 Blue Note 8, 10:30 pm $35 • Ken Simon Quartet with Carlton Holmes, Greg Maker, Warren Smith êPeter Bernstein Quartet with Harold Mabern, John Webber, Jimmy Cobb Saint Peter’s 5 pm êHenry Butler-Steven Bernstein and the Hot 9 Village Vanguard 8:30, 10:30 pm $25 • Miho Hazama and m_unit Blue Note 11:30 am 1:30 pm $29.50 The Cutting Room 7 pm $20 • Loston Harris Birdland 8:30, 11 pm $40 • Roz Corral Trio with David Berkman, Cameron Brown êJacky Terrasson Quartet Madison Square Park 7 pm • Alberto Pibiri Measure 8 pm North Square Lounge 12:30, 2 pm êHarold Mabern Trio with Essiet Essiet, Joe Farnsworth; Nick Finzer Quintet • World Time Zone; Sybarite5 Bryant Park 6 pm • Kyoko Oyobe Trio; David Coss Quartet; Dave Kain Group Smalls 9:30 pm 12:30 am $20 • Russ Kassoff solo Bryant Park 12:30 pm The Garage 11:30 am 6:30, 11 pm • Raphael D’lugoff; Don Hahn; Ned Goold Jam Fat Cat 7, 9 pm 12:30 am • Elliott Sharp’s SyndaKit Spectrum 7, 9 pm Saturday, July 12 Monday, July 14 • Lynette Washington/Dennis Bell Jazz NY Quartet with Alex Blake, Victor Jones Jazz at Kitano 8, 10 pm $15 êMidsummer Night Swing: Tribute to Illinois Jacquet - Harlem Renaissance Orchestra êMusic Now - Spring Changes: Ras Moshe, Tim Stocker, Kyoko Kitamura, • Queen Esther and the Hot 5 Dweck Center at Brooklyn Publ. Lib. Ctr. Branch 6:30 pm with guest Damrosch Park 7:30 pm $17 Anders Nilsson, John Pietaro, Lester St. Louis; Katie Bull Group Project with • Cynthia Holiday Smoke 7, 9, 10:30 pm • Natives in Jazz - Bertha Hope And Jazzberry Jam with Keisha St. Joan, Chuk Fowler, Landon Knoblock, Ratzo Harris, George Schuller, Jeff Lederer; Matt Lavelle’s 12 Houses • Eyal Maoz Dimyon with Tanya Kalmanovich, Shanir Blumenkranz, Mathias Kunzli, Coby Knight, Jack Rainmaker, Candese Tarpley, Sadanyah with Francois Grillot, Laura Ortman, Ryan Sawyer, John Pietaro, Anais Maivel, Satoshi Takeishi The Stone 8, 10 pm $15 Saint Peter’s 7 pm $20 Lee Odom, Claire de Brunner, Mary Cherney, Charles Waters, Ras Moshe, • Ditmas Quartet: Michaël Attias, Eva Novoa, Max Johnson, Jeff Davis êA Tribute to Roy Campbell: Taylor Ho Bynum/Tomas Fujiwara; Anders Nilsson, Chris Forbes Clemente Soto Velez Cultural Center 7:30 pm $11-22 Barbès 7 pm $10 Nu Band: Taylor Ho Bynum, Mark Whitecage, Joe Fonda, Lou Grassi êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 • Edward Perez Terraza 7 8 pm $7 The Stone 8, 10 pm $15 êJason Marshall Big Band Smoke 7, 9 pm • Yoosun Nam with Michael Rodriguez, Kevin Harris, Brad Shepik, Jesse Simpson êCharli Persip Ginny’s Supper Club 7:30, 9:30 pm $25 • Joe Gransden Big Band Blue Note 8, 10:30 pm $15 ShapeShifter Lab 7:30 pm • F33MS4: Fima Ephron, Adam Rogers, Kevin Hays, Ziv Ravitz • Mike Karn Measure 8 pm • The Yabuno Ettun Project: Haruka Yabuno/Ehud Ettun The Jazz Gallery 9, 11 pm $22 • John Chin Trio; Curtis Lundy Trio; Spencer Murphy Cornelia Street Café 8:30 pm $10 • Alan Palmer Trio; Stacy Dillard Sextet Smalls 7:30, 10 pm 12:30 am $20 • Devin Bing Metropolitan Room 7 pm $20 Fat Cat 7, 10 pm • Ned Goold Quartet; Billy Kaye Fat Cat 9 pm 12:30 am • The Hood Cats: Nicolas Letman-Burtinovic, Akira Ishiguro, Nick Anderson • Rotem Sivan Trio with Haggai Cohen-Milo, Mark McLean • Surface to Air Trio: Jonathan Goldberger, Jonti Siman, Rohin Khemani; Bar Chord 9 pm Bar Next Door 7:30, 9:30, 11:30 pm $12 Brian Adler’s Helium Music Project with Ben Holmes, Petr Cancura, Sean Moran, • Equilibrium: Brad Baker, Pam Belluck, Rich Russo, Elliot Honig, Terry Schwadron, • Misha Piatigorsky Trio Zinc Bar 8 pm Vitor Goncalves, Rene Hart LIC Bar 9, 10 pm Dan Silverstone Caffe Vivaldi 8:30 pm • Kneebody: Adam Benjamin, Shane Endsley, Kaveh Rastegar, Ben Wendel, Nate Wood êDeborah Latz Trio with Zach Brock, Ray Parker • Anna Elizabeth Kendrick Flute Midtown 7 pm SubCulture 8 pm $20 Bar Next Door 8:30, 10:30 pm $12 • Dave Smith; Tomoyasu Ikuta; Karen Kunkel; Patrick Bower • Cynthia Holiday Lucille’s at BB King’s Blues Bar 8 pm $15 • Perez/Allison Wedding; Ark Ovrutski Quartet with Chad Lefkowitz-Brown, Theo Hill, Goodbye Blue Monday 8 pm • Rema Hasumi Trio with Todd Neufeld, Billy Mintz Jason Brown Zinc Bar 7, 9, 11 pm • Nick Saia, Cole Davis, Corey Garcia; Victor Baker Band with Mitch Marcus, Ibeam Brooklyn 8:30 pm $10 • Kyle Saulnier’s The Awakening Orchestra Trifon Dimitrov, Brian Fishler Somethin’ Jazz Club 7, 9 pm $12 • Matt Malanowski Trio with Cole Davis, Ashwin Prasanna; Russ Wilcox Group with Tea Lounge 8:30, 10 pm • Kaz Araki Trio Tomi Jazz 8 pm Josh McDonald, Kevin Scollins, Jon Chapman, Russell Holzmann; Charles Sibirsky • Swingadelic Swing 46 8:30 pm • Eric DiVito Trio; Will Terrill Trio The Garage 6, 10:30 pm with Ken Bogan, Chuck Bentz, John DeCesare • Takenori Nishiuchi Tomi Jazz 8 pm êBen Allison Group with Ted Nash, Jeremy Pelt, Steve Cardenas, Rudy Royston Somethin’ Jazz Club 5, 7, 9 pm $10-12 • Matt Baker and Trio Le Cirque Café 7:30 pm Birdland 8:30, 11 pm $40 • Emilio Teubal Trio; Tak Iwasaki Tomi Jazz 8, 11 pm $10 • Cecilia Coleman Big Band; Dmitry Baevsky Trio êFred Hersch Trio with John Hébert, Eric McPherson • Ruslan Khain Trio Cleopatra’s Needle 8 pm The Garage 7, 10:30 pm Village Vanguard 8:30, 10:30 pm $25 êSonny Fortune Quartet with Michael Cochrane, David Williams, Steve Johns • Igor Butman and the Moscow Jazz Orchestra with Randy Brecker, Nick Levinovsky, êDirty Dozen Brass Band Blue Note 8, 10:30 pm $35 Smoke 7, 9, 10:30 pm $38 Konstantin Safyanov, Ilya Morozov, Dmitry Mospan, Alexander Dovgopoly, Pavel Zhulin, êJulian Lage Trio with Scott Colley, Kenny Wollesen • Joel Press Quartet; Jim Ridl Trio; Seamus Blake with Lage Lund, Dave Kikoski, Denis Popov, Alexander Berenson, Alexander Sakharov, Alevtina Polyakova, Jazz Standard 7:30, 9:30 pm $25 Matt Penman, Bill Stewart; Stacy Dillard, Diallo House, Ismail Lawal Oleg Borodin, Pavel Ovchinnikov, Nikolay Shevnin, Vitaly Sololmonov, Eduard Zizak • Mike Karn Measure 8 pm Smalls 4:30, 7:30, 10:30 pm 1 am $20 Dizzy’s Club 7:30, 9:30 pm $35 • Igor Butman and the Moscow Jazz Orchestra with Randy Brecker, Nick Levinovsky, • Russell Malone Dizzy’s Club 7:30, 9:30 pm $45 • Luiz Simas solo Bryant Park 12:30 pm Konstantin Safyanov, Ilya Morozov, Dmitry Mospan, Alexander Dovgopoly, Pavel Zhulin, • Roni Ben-Hur Trio Birthday Bash with Santi Debriano, Duduka Da Fonseca Denis Popov, Alexander Berenson, Alexander Sakharov, Alevtina Polyakova, Jazz at Kitano 8, 10 pm $30 Oleg Borodin, Pavel Ovchinnikov, Nikolay Shevnin, Vitaly Sololmonov, Eduard Zizak êCharles McPherson Quintet with Brian Lynch, Jeb Patton, Kiyoshi Kitagawa, Tuesday, July 15 Dizzy’s Club 7:30, 9:30 pm $35 Justin Brown Jazz Standard 7:30, 9:30, 11:30 pm $30 • David Shenton/Erin Shields Saint Peter’s 1 pm $10 êMario Pavone Pulse Quartet with Michael Pavone, Ellery Eskelin, Gerald Cleaver êBen Allison Group with Ted Nash, Jeremy Pelt, Steve Cardenas, Rudy Royston • Luiz Simas solo Bryant Park 12:30 pm Cornelia Street Café 9, 10:30 pm $15 Birdland 8:30, 11 pm $40 êDizzy Gillespie All Star Big Band with Jimmy Heath, Steve Wilson, Andres Boiarsky, êFred Hersch Trio with John Hébert, Eric McPherson Mark Gross, Gary Smulyan, Claudio Roditi, Freddie Hendrix, Greg Gisbert, Village Vanguard 8:30, 10:30 pm $25 Frank Greene, Steve Davis, Jason Jackson, James Burton, Douglas Purviance, êDirty Dozen Brass Band Blue Note 8, 10:30 pm $35 Cyrus Chestnut, John Lee, Lewis Nash, Roberta Gambarini êJulian Lage Trio with Scott Colley, Kenny Wollesen Blue Note 8, 10:30 pm $35 Jazz Standard 7:30, 9:30 pm $25

36 JULY 2014 | THE NEW YORK CITY JAZZ RECORD Thursday, July 17 • Cassatt Quartet; Greg Osby Group Bryant Park 6 pm • Smooth Cruise: Pier 40 6:30, 9:30 pm $45-65 • Spoke Silvana 6 pm êPoncho Sanchez with David Torres, Tony Banda, Francisco Torres, George Ortiz, • Luiz Simas solo Bryant Park 12:30 pm Ron Blake, Javier Vergara, Joey De Leon Blue Note 8, 10:30 pm $35 • Joe Locke Quartet with Jim Ridl, Lorin Cohen, Clarence Penn and guest Saturday, July 19 IN BATTERY PARK CITY'S PARKS Kenny Washington Dizzy’s Club 7:30, 9:30 pm $35 êSean Jones Quartet with Orrin Evans, Luques Curtis, Obed Calvaire êJeff “Tain” Watts and Friends with Troy Roberts, James Francies, James Genus Enjoy listening to great Blues music while the Jazz Standard 7:30, 9:30 pm $25 Iridium 8, 10 pm $25 sun sets over the Hudson River. Bring family êJamie Baum Trio with Brad Shepik, Hans Glawischnig • Joel Press Quartet; Tommy Campbell’s Vocal-Eyes with Miles Griffith, Lisa Gary, and friends to these free concerts on the lawn. Bar Next Door 8:30, 10:30 pm $12 Helio Alves, Ben Sher, Kenny Davis; Winard Harper Group; Philip Harper • The Collapse Guitar Quartet: Yoshie Fruchter, Ty Citerman, Jonathan Goldberger, Smalls 4:30, 7:30, 10:30 pm 1 am $20 Eyal Maoz; 9 Volt: Rick Parker, Eyal Maoz, Yoni Halevi and guest Tim Berne • Pete Rodriguez Quartet Ginny’s Supper Club 7:30, 9:30 pm $25 Thursdays, 7-8:30 pm, FREE! The Stone 8, 10 pm $15 • 1895: Kermit Driscoll, Shawn Baltazor, Eyal Maoz; Abraxas: Shanir Ezra Blumenkranz, • Mentoring Series: Miguel Zenón and Mario Castro with Ricky Rodriguez, Henry Cole Yoshie Fruchter, Kenny Grohowski, Eyal Maoz Robert F. Wagner, Jr. Park The Jazz Gallery 9, 11 pm $15 The Stone 8, 10 pm $15 • Rob Rodriguez Quartet with Chad Lefkowitz-Brown, Jorge Roeder, Ludwig Afonso • Theo Hill; Myron Walden Countryfied Jazz at Kitano 8, 10 pm $15 Fat Cat 7, 10 pm • Paul Carlon’s La Rumba is a Lovesome Thing with Justin Flynn, Alex Norris, • Joe Giglio Trio with Ratzo Harris, Eric Peters Ryan Keberle, Mike Fahie, John Stenger, Alex Ayala, William ‘Beaver’ Bausch, Bar Next Door 7:30, 9:30, 11:30 pm $12 Wilson “Chembo” Corniel, Benjamin Lapidus, Christelle Durandy • VINX ShapeShifter Lab 7 pm $20 Zinc Bar 9, 10:30 pm • Scot Albertson Trio with John Wilmeth, Gregory Maker • Victor Prieto Trio Terraza 7 8 pm $7 Klavierhaus 8 pm • Scott Feiner Pandeiro Jazz with Mike Moreno, Sam Yahel; Carlos Abadie Quintet with • Ben Rosenblum Group with Ben Ruben-Schnirman, Ben Zweig; Joe Sucato, Peter Zak, Clovis Nicolas, Luca Santaniello Nick Brust/Adam Horowitz Quintet with Matthew Sheens, James Quinlan, Dani Danor Smalls 9:30 pm 12:30 am $20 Somethin’ Jazz Club 7, 9 pm $10-12 • Josh Evans Septet Fat Cat 10 pm • Annie Chen Trio Tomi Jazz 11 pm $10 • Walking Distance: Caleb Curtis, Kenny Pexton, Adam Cote, Shawn Baltazor • Alan Rosenthal Trio Cleopatra’s Needle 8 pm Cornelia Street Café 8:30 pm $10 • Passero Shrine 8 pm • The Wiyos Robert F. Wagner Jr. Park 7 pm êMatt Mitchell/Ches Smith; Normal Remarkable Persons: Matt Mitchell, Tim Berne, • Erika Matsuo with Helio Alves, Leo Traversa, Keita Ogawa, Jorge Continentino; Shane Endsley, Travis Laplante, Tyshawn Sorey, Ches Smith July 10, Christian Scott Quintet Emilie Weibel ooMo ShapeShifter Lab 7:15, 8:30 pm $8-15 Ibeam Brooklyn 8:30, 10 pm $10 • Rocco John Iacovone/Christopher Forbes; Maryanne de Prophetis Trio with êCyrus Chestnut Trio with Curtis Lundy, Victor Lewis Ron Horton, Frank Kimbrough; Will Jhun/Connie Crothers Smoke 7, 9, 10:30 pm $38 Ibeam Brooklyn 8 pm $15 • Phil Grenadier Quartet with Bill McHenry, Larry Grenadier, Bill Stewart • Andy Statman Barbès 8 pm $10 Jazz at Kitano 8, 10 pm $30 • Alexander Claffy and Victor Gould Ginny’s Supper Club 8:30 pm $15 • Roman Filiu with Ralph Alessi, Dayna Stephens, David Virelles, Matt Brewer, • Myk Freedman Band with Jeremiah Lockwood, Adam Hopkins, Mariel Berger, Craig Weinrib, Yusnier Sanchez The Jazz Gallery 9, 11 pm $22 Carlo Costa Douglass Street Music Collective 8 pm êPoncho Sanchez with David Torres, Tony Banda, Francisco Torres, George Ortiz, • Gabrielle Stravelli Metropolitan Room 7 pm $20 Ron Blake, Javier Vergara, Joey De Leon • Project Grand Slam: Nathan Cepelinski, Ben Sher, Marcello Casagrande, Robert Miller, Blue Note 8, 10:30 pm $35 Gandhi Gonzalez; Darren Litzie Trio with Phil Palombi, Jeff “Siege” Siegel; Brothers of • Joe Locke Quartet with Jim Ridl, Lorin Cohen, Clarence Penn and guest Contrapuntal Swing: Jimmy Halperin, Larry Meyer, Dave Frank, Bill McCrossen, Kenny Washington Dizzy’s Club 7:30, 9:30 pm $45 George Hooks Somethin’ Jazz Club 7, 9, 11 pm $12 êSean Jones Quartet with Orrin Evans, Luques Curtis, Obed Calvaire • CJ Everett Trio Cleopatra’s Needle 7 pm Jazz Standard 7:30, 9:30, 11:30 pm $30 • Adam Moezinia Trio; Adam Larson Trio êBen Allison Group with Ted Nash, Jeremy Pelt, Steve Cardenas, Rudy Royston The Garage 6, 10:30 pm Birdland 8:30, 11 pm $40 • Howard Fishman and The Biting Fish Brass Band êFred Hersch Trio with John Hébert, Eric McPherson July 17, The Wiyos Radegast Hall 9 pm Village Vanguard 8:30, 10:30 pm $25 • Rolando Morales-Matos Septet Birdland 6 pm $25 • Mike Karn Measure 8 pm êBen Allison Group with Ted Nash, Jeremy Pelt, Steve Cardenas, Rudy Royston • Eileen Howard with Daniel Bennett, Ron Jackson, Eddy Khaimovich, Darrell Smith Birdland 8:30, 11 pm $40 The West End Lounge 4 pm êFred Hersch Trio with John Hébert, Eric McPherson êBria Skonberg Quartet Louis Armstrong House 2 pm $18 Village Vanguard 8:30, 10:30 pm $25 • Larry Newcomb Quartet; Al Marino Quintet • Mike Karn Measure 8 pm The Garage 12, 6:15 pm • Brian Pareschi Silvana 6 pm • Luiz Simas solo Bryant Park 12:30 pm • Eric Person and Meta Four Citigroup Center Plaza 12:30 pm Sunday, July 20

• Shoko Nagai, Lukas Ligeti, Eyal Maoz; Hypercolor: Lukas Ligeti, James Ilgenfritz, Friday, July 18 Eyal Maoz The Stone 8, 10 pm $15 • Jason Kao Hwang’s Amygdala with Rami Seo, KenYa Yamaguchi êMatt Mitchell/Ches Smith Ibeam Brooklyn 8:30 pm $10 WhyNot Jazz Room 7:30, 9 pm $10 êRed Baarat Brooklyn Bowl 9 pm $15 • Rubens Salles with John Clark, Leco Reis, Kenny Grohowski; Edsel Gomez July 24, Heritage Blues Quintet êCyrus Chestnut Trio with Curtis Lundy, Victor Lewis Cornelia Street Café 8:30, 10 pm $10 Smoke 7, 9, 10:30 pm $38 • Johnny O’Neal with Paul Sikivie, Charles Goold; Bruce Harris Quintet êPhil Grenadier Quartet with Bill McHenry, Larry Grenadier, Bill Stewart Smalls 10 pm 12 am $20 Jazz at Kitano 8, 10 pm $30 • Terry Waldo’s Gotham City Band; Brandon Lewis/Renee Cruz Jam • Roman Filiu with Ralph Alessi, Dayna Stephens, David Virelles, Matt Brewer, Fat Cat 6 pm 12:30 am Craig Weinrib, Yusnier Sanchez The Jazz Gallery 9, 11 pm $22 êPeter Leitch/Harvie S Walker’s 8 pm êTom Rainey Trio with Ingrid Laubrock, Mary Halvorson • Marco Di Gennaro Measure 8 pm Cornelia Street Café 9, 10:30 pm $15 • Broc Hempel, Sam Trapchak, Christian Coleman with guest Loren Stillman êLouie Belogenis, Roberta Piket, Billy Mintz Dominie’s Astoria 9 pm Rubin Museum 7 pm $20 • Shoko Amano Somethin’ Jazz Club 7 pm $20 • David Basse Quartet; Bob DeVos Band with Ralph Bowen, Dan Kostelnik, Steve Johns; • John Wriggle Orchestra Shrine 8 pm Winard Harper Group Smalls 4:30, 7:30, 10:30 pm $20 êJeff “Tain” Watts and Friends with Troy Roberts, James Francies, James Genus • Point of Departure Fat Cat 10:30 pm Iridium 8, 10 pm $25 • Eyal Maoz’ Edom with Brian Marsella, Shanir Blumenkranz, Yuval Lion êNormal Remarkable Persons: Matt Mitchell, Tim Berne, Shane Endsley, Travis Laplante, The Stone 8, 10 pm $15 Tyshawn Sorey, Ches Smith Ibeam Brooklyn 8:30, 10 pm $10 • Greg Skaff Trio with Pat Bianchi, Carmen Intorre êPoncho Sanchez with David Torres, Tony Banda, Francisco Torres, George Ortiz, July 31, Bettye LaVette Bar Next Door 7:30, 9:30, 11:30 pm $12 Ron Blake, Javier Vergara, Joey De Leon • Ladies Day: MJ Territo, Linda Presgrave, Iris Ornig, Barbara Merjan; Laura Angyal with Blue Note 8, 10:30 pm $35 Taulant Mehmeti, Billy Ruegger; John Morrison Quartet with Mike Bernabe, • Joe Locke Quartet with Jim Ridl, Lorin Cohen, Clarence Penn and guest Ross Garlow, Dan Silverstein Somethin’ Jazz Club 7, 9, 11 pm $10-12 Kenny Washington Dizzy’s Club 7:30, 9:30 pm $35 • Racha Fora Trio Tomi Jazz 9 pm $10 êSean Jones Quartet with Orrin Evans, Luques Curtis, Obed Calvaire • Dan Furman Trio Cleopatra’s Needle 8 pm Jazz Standard 7:30, 9:30 pm $25 • Out To Lunch Motown Project Shrine 8 pm êFred Hersch Trio with John Hébert, Eric McPherson • Alex Layne Trio; Kevin Dorn and the BIG 72 Village Vanguard 8:30, 10:30 pm $25 The Garage 6:15, 10:45 pm • Devin Brahja Waldman, Daniel Carter, Russell Baker, Will Glass • Rob Silverman Indian Road Café 8 pm Downtown Music Gallery 6 pm êPoncho Sanchez with David Torres, Tony Banda, Francisco Torres, George Ortiz, • Sabrina Silver Silvana 6 pm Ron Blake, Javier Vergara, Joey De Leon • Melissa Stylianou Trio with Jamie Reynolds, Orlando le Fleming Blue Note 8, 10:30 pm $35 Saint Peter’s 5 pm • Joe Locke Quartet with Jim Ridl, Lorin Cohen, Clarence Penn and guest • Summerstage - Queens Family Day: Jazz at Lincoln Center Orchestra; Kenny Washington Dizzy’s Club 7:30, 9:30 pm $40 Rashida Bumbray; Michael Mossman and Copland Jazz êSean Jones Quartet with Orrin Evans, Luques Curtis, Obed Calvaire Queensbridge Park 4 pm Aug 7, Sun Ra Arkestra Jazz Standard 7:30, 9:30, 11:30 pm $30 • Jane Irving Perez Jazz 2 pm $20 êBen Allison Group with Ted Nash, Jeremy Pelt, Steve Cardenas, Rudy Royston • Hendrik Meurkens Blue Note 11:30 am 1:30 pm $29.50 Battery Park City Parks Conservancy • Roz Corral Trio with Yotam Silberstein, Paul Gill Birdland 8:30, 11 pm $40 212-267-9700 êFred Hersch Trio with John Hébert, Eric McPherson North Square Lounge 12:30, 2 pm Village Vanguard 8:30, 10:30 pm $25 • Lou Caputo Quartet; David Coss Quartet; Abe Ovadia www.bpcparks.org • Mike Karn Measure 8 pm The Garage 11:30 am 6:30, 11 pm www.facebook.com/batteryparkcityparks

THE NEW YORK CITY JAZZ RECORD | JULY 2014 37 Monday, July 21 • Lainie Cooke Quartet Birthday Bash with Tedd Firth, Luques Curtis, Ralph Peterson • Carol Liebowitz Trio with Will Jhun, Adam Mellville; FIDO::qrtet: Shoko Nagai, Jazz at Kitano 8, 10 pm $15 Ron Horton, Satoshi Takeishi, Maryanne de Prophetis êUri Caine Trio with Mark Helias, Clarence Penn; Sharel Cassity Group; Spencer Murphy • Oscar Peñas with Leo Genovese, Moto Fukushima, Richie Barshay Scholes Street Studio 7:30, 9 pm Smalls 7:30, 10 pm 12:30 am $20 WhyNot Jazz Room 10 pm • Ms. Blu and Trio with Glenn Zaleski, Julian Smith, Chris Benham; Paula Jaakkola; • George Braith; Billy Kaye Jam Fat Cat 9 pm 12:30 am • Cynthia Holiday Smoke 7, 9, 10:30 pm Luz Pinos with Luis Miguel Gil, Antonio Mazzei • Chris Forbes Trio with Hill Greene, Michael TA Thompson; PERIOD: Charlie Looker, • Follow The Stick: Sam Sadigursky, Bobby Avey, Jordan Perlson Somethin’ Jazz Club 7, 9, 11 pm $10-12 Chuck Bettis, Mike Pride; Dave Ballou, Petr Cancura, Harris Eisenstadt, Cornelia Street Café 8:30 pm $10 • Luiz Ebert Trio Tomi Jazz 9 pm $10 Christopher Hoffman Clemente Soto Velez Cultural Center 7:30 pm $11-22 • Ben Winkelman Trio with Sam Anning, Eric Doob • Ben Paterson Trio Cleopatra’s Needle 8 pm êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 Terraza 7 8 pm $7 • Michika Fukumori Trio; Peter Valera Jump Blues Band êCaptain Black Big Band Smoke 7, 9 pm • David Bertrand Quartet; Carolina Calvache Quartet The Garage 6:15, 10:45 pm • Mike LeDonne Measure 8 pm Somethin’ Jazz Club 7, 9 pm $10-12 • Jon Faddis Quartet Dizzy’s Club 7:30, 9:30 pm $40 • Marion Cowings Vocal Master Class • Kazue Patton Trio; Richard Thai Duo • Donald Harrison, Jr. Quintet with Zaccai Curtis, Max Moran, Joe Dyson and guest Dizzy’s Club 7:30, 9:30 pm $25 Tomi Jazz 8 pm Steve Turre Jazz Standard 7:30, 9:30, 11:30 pm $30 • Daniel Carter, Ava Mendoza, Max Johnson, Chad Taylor • Remy Labbe; Alison Shearer Quintet • Wallace Roney Quartet with guest Blue Note 8, 10:30 pm $35 Manderley Bar at the McKittrick Hotel 11 pm Silvana 6, 10 pm • Mauricio Zottarelli with Oriente Lopez, Klaus Mueller, Itaiguara Brandão, • Nate Birkey Quartet with Jim Ridl, Bill Moring, Marko Marcinko • Stacy Dillard Quartet; Greg Diamond Trio Gustavo Assis Brasil Blue Note 12:30 am $10 55Bar 7 pm The Garage 6, 10:30 pm • John Pizzarelli and The Swing Seven • Christian Alpiar ShapeShifter Lab 7 pm êMarcus Belgrave Quintet with Marion Hayden, Gayelynn McKinney, Ian Finkelstein, Birdland 8:30, 11 pm $45 • Rogério Boccato’s Percussion Trio with Magos Herrera, Vitor Gonçalves; Marcus Elliott and guest Joan Belgrave • Rudy Royston 303 Sextet with Jon Irabagon, Nadje Noordhuis, Sam Harris, Nir Felder, Brian Adler’s Helium Music Project with Matt Holman, Sam Sadigursky, Mark Cocheo, Dizzy’s Club 7:30, 9:30 pm $35 Yasushi Nakamura Village Vanguard 8:30, 10:30 pm $25 Danny Fox, Rob Jost LIC Bar 9, 10 pm êPat Martino Organ Trio Blue Note 8, 10:30 pm $35 • Mike LeDonne Measure 8 pm • Melissa Stylianou Trio with Jamie Reynolds, Orlando le Fleming • John Pizzarelli and The Swing Seven • Diane Moser Quintet, Guidonian Hand Bar Next Door 8:30, 10:30 pm $12 Birdland 8:30, 11 pm $45 Bryant Park 6 pm • Mary Foster Conklin Zinc Bar 7 pm • Rudy Royston 303 Sextet with Jon Irabagon, Nadje Noordhuis, Sam Harris, Nir Felder, • Elad Cohen Silvana 6 pm • Neal Kirkwood Big Band Tea Lounge 8:30, 10 pm Yasushi Nakamura, Mimi Jones Village Vanguard 8:30, 10:30 pm $25 • Jocelyn Shannon Quartet Shrine 6 pm • Swingadelic Swing 46 8:30 pm • Mike LeDonne Measure 8 pm • Dona Carter solo Bryant Park 12:30 pm • Howard Williams Jazz Orchestra; Kenny Shanker Quartet • Mauricio de Souza and Bossa Brasil with Alan Chaubert, Joonsam Lee The Garage 7, 10:30 pm Saint Peter’s 1 pm $10 • Sam Torres Quartet Silvana 6 pm • Dona Carter solo Bryant Park 12:30 pm Saturday, July 26 • Dona Carter solo Bryant Park 12:30 pm êMatana Roberts Quartet with Liberty Ellman, Kevin Tkacz, Ches Smith Thursday, July 24 The Jazz Gallery 9, 11 pm $22 Tuesday, July 22 êRez Abbasi Trio with Thomson Kneeland, Russell Carter êJazz in July - The Music of Miles Davis: Jeremy Pelt, , Steve Wilson, Bar Next Door 7:30, 9:30, 11:30 pm $12 êJazz in July - Hoagy Carmichael Stardust: Jon-Eric Kellso, Harry Allen, James Chirillo, Renee Rosnes, Bill Charlap, Peter Washington, Lewis Nash • Takuya Kuroda’s Rising Son Glasslands 8 pm $10 Bill Charlap, , Sandy Stewart, Todd Coolman, 92nd Street Y 8 pm $60 • Joel Press Quartet; Quartet with Tardo Hammer, Joel Forbes, 92nd Street Y 8 pm $59 • Jon Faddis Quartet Dizzy’s Club 7:30, 9:30 pm $40 Phil Stewart; Mike Rodriguez Quintet; Eric Wyatt with Benito Gonzalez, Eric Wheeler, êMarcus Belgrave Quintet with Marion Hayden, Gayelynn McKinney, Ian Finkelstein, êWicked Knee: Steven Bernstein, Curtis Fowlkes, Marcus Rojas, Billy Martin Shinnosuke Takahashi Smalls 4:30, 7:30, 10:30 pm 1 am $20 Marcus Elliott and guest Joan Belgrave The Stone 8, 10 pm $15 • Doug Hammond with Anthony Tidd, Roman Filiu, Jonathan Finlayson Dizzy’s Club 7:30, 9:30 pm $35 • Gabriel Alegría Afro-Peruvian Big Band SEEDS 8 pm êPat Martino Organ Trio Blue Note 8, 10:30 pm $35 Zinc Bar 8:30, 10:30 pm • Sirius Quartet: Ronald Lawrence, Fung Chern Hwei, Jeremy Harman, Billy Martin; • John Pizzarelli and The Swing Seven • Miles Okazaki Quartet with Donny McCaslin, Francois Moutin, Dan Weiss Drop the Needle: Billy Martin The Stone 8, 10 pm $15 Birdland 8:30, 11 pm $45 The Jazz Gallery 9, 11 pm $22 êAlexis Cole Quartet with John di Martino, David Finck, Kenny Hassler • Lenny Pickett with Tuffus Zimbabwe, Wayne Krantz, James Genus, Steve Wolf • Donald Harrison, Jr. Quintet with Zaccai Curtis, Max Moran, Joe Dyson and guest Jazz at Kitano 8, 10 pm $30 Jazz Standard 7:30, 9:30 pm $25 Steve Turre Jazz Standard 7:30, 9:30 pm $25 • Misha Piatigorsky Trio Zinc Bar 8 pm • Rudy Royston 303 Sextet with Jon Irabagon, Nadje Noordhuis, Sam Harris, Nir Felder, • Wallace Roney Quartet with guest Blue Note 8, 10:30 pm $35 • Philip Harper; David Weiss Fat Cat 10 pm 1:30 am Yasushi Nakamura, Mimi Jones Village Vanguard 8:30, 10:30 pm $25 êDiasporic Dialogues: Miguel Zenón and Yosvany Terry • Jon De Lucia Group with Greg Ruggiero, Chris Tordini, Tommy Crane • Rosemary George and Group NYC Baha’i Center 8, 9:30 pm $15 David Rubenstein Atrium 7:30 pm Ibeam Brooklyn 8:30 pm $10 • with Paul Wilson, Melvin Gibbs, Kassa Overall • Daniela Schaechter Quartet with Joel Frahm, Rufus Reid, Donald Edwards • Allison Adams Tucker with Romain Collin, Luques Curtis, Mauricio Zottarelli, Le Poisson Rouge 8 pm $15 Jazz at Kitano 8, 10 pm $15 Steve Wilson SubCulture 8 pm $17 • New Dimensions in Latin Jazz: Brian Lynch and Spheres of Influence • Point of Departure Fat Cat 10 pm • Isaiah Barr’s Onyx Quintet with Keefe Martin, Joshua Benitez, Malik Mclaurine, Minton’s Playhouse 7 pm $10 • David Kain Trio with Thomson Kneeland, Joe Abba Austin Williamson; Dave Pollack Quartet; Paul Tafoya Group with Matt Chalk, êCalvin Weston/Billy Martin; Chris Cochrane, Calvin Weston, Billy Martin Bar Next Door 8:30, 10:30 pm $12 Alex Silver, Quincy Chimich, Devon Gillingham, Connor Parks The Stone 8, 10 pm $15 • Lindsey Wilson & The Big Guns with Reggie Sylvester, Ted Simmons, Michael Trotman Somethin’ Jazz Club 7, 9, 11 pm $10 • Kaleidoscope Trio: Freddie Bryant, Patrice Blanchard, Willard Dyson and guest Marcela R. Penalva ShapeShifter Lab 7 pm $10 • Yusuke Seki Tomi Jazz 11 pm $10 Bar Next Door 8:30, 10:30 pm $12 • David Cook Quintet Cornelia Street Café 8:30 pm $10 • Denton Darien Cleopatra’s Needle 8 pm êOhad Talmor, Thomas Morgan, Eric McPherson; Brian Drye Birthday Trio with • Eric Kurimski with Edward Perez, Josh Deutsch, Arturo Stable êTony Malaby Tamarindo with William Parker, Nasheet Waits Matt Pavolka, Korzo 9, 10:30 pm Terraza 7 8 pm $7 Cornelia Street Café 9, 10:30 pm $15 • Ted Poor Quartet with Bill McHenry, Josh Roseman, Ben Street • Smooth Cruise: Will Downing Pier 40 6:30, 9:30 pm $45-65 • Javon Jackson Quartet with Jeremy Manasia, David Williams, Willie Jones III The Jazz Gallery 9, 11 pm $15 • Telma Viale Group with David Cordeiro Smoke 7, 9, 10:30 pm $38 • Sam Trapchak Quartet with Fraser Campbell, Seth Trachy, Nick Anderson; Somethin’ Jazz Club 9 pm $10 • Jon Faddis Quartet Dizzy’s Club 7:30, 9:30 pm $45 Arthur Vint and Associates with Rich Perry, , Jon Cowherd, Ian Stapp • Walter Williams Trio Cleopatra’s Needle 7 pm • Donald Harrison, Jr. Quintet with Zaccai Curtis, Max Moran, Joe Dyson and guest Cornelia Street Café 8:30, 10 pm $10 • Johnny Butler Duo Shrine 9 pm Steve Turre Jazz Standard 7:30, 9:30, 11:30 pm $30 • Spike Wilner Quartet with Melissa Aldana, Dezron Douglas, Anthony Pinciotti; • Rick Stone Trio; Jason Yeager Trio The Garage 6, 10:30 pm • Wallace Roney Quartet with guest Blue Note 8, 10:30 pm $35 Josh Evans Big Band with Stacy Dillard, David Gibson, Josh Evans, Bruce Williams, • Albert Marques, Walter Stinson, Zack O’Farrill • John Pizzarelli and The Swing Seven Theo Hill, Max Seigel, Stafford Hunter, Vitaly Golovnev, Frank Lacy, Yunie Mojica, Caffe Vivaldi 9 pm Birdland 8:30, 11 pm $45 Lauren Sevian; Kyle Poole and Friends • Emily Asher’s Garden Party Radegast Hall 9 pm • Rudy Royston 303 Sextet with Donny McCaslin, Nadje Noordhuis, Sam Harris, Smalls 7:30, 10:30 pm 1 am $20 • Lage Lund 4 with Glenn Zaleski, Matt Brewer, Tyshawn Sorey; Nick Hempton Band with Nir Felder, Yasushi Nakamura Village Vanguard 8:30, 10:30 pm $25 • Saul Rubin; Nu D’Lux; Greg Glassman Jam Tadataka Unno, Barak Mori, Dan Aran • Mike LeDonne Measure 8 pm Fat Cat 7, 9 pm 12:30 am Smalls 9:30 pm 12:30 am $20 • Marsha Heydt Project of Love; Champian Fulton Quartet; Virginia Mayhew Quartet • Akiko Pavolka and House of Illusion with Loren Stillman, Nate Radley, Matt Pavolka, • John Pizzarelli and The Swing Seven The Garage 12, 6:15, 10:45 pm Bill Campbell Barbès 7 pm $10 Birdland 8:30, 11 pm $45 • On The Way Out: Matt Lavelle 6 Houses with Ras Moshe, Mary Cherney, Nick Gianni, • Rudy Royston 303 Sextet with Jon Irabagon, Nadje Noordhuis, Sam Harris, Nir Felder, Claire De Brunner, Lee Odom, Anders Nilsson, Francois Grillot, Anais Maviel Yasushi Nakamura, Mimi Jones Village Vanguard 8:30, 10:30 pm $25 Sunday, July 27 Freddy’s Backroom 8:30, 10 pm $10 • Mike LeDonne Measure 8 pm • Ajama: Itamar Shatz, Eran Sabo, Haggai Cohen-Milo, Rajiv Jayaweera • The Red Microphone: John Pietaro, Rocco John Iacovone, Ras Moshe, Philip Sirois êDrummingbirds: Rakalam Bob Moses, Cyro Baptista, Billy Martin ShapeShifter Lab 8 pm $10 The Commons 6 pm $11 The Stone 8, 10 pm $15 • Gabrielle Stravelli Metropolitan Room 7 pm $20 • JC4: JC Sanford, Mike Baggetta, Dave Ambrosio, Russ Meissner êHelen Sung Quintet with Seamus Blake, Chern Hwei Fung, Harish Raghavan, • Kevin Harris solo Jazz at Kitano 8 pm Silvana 6 pm Donald Edwards MoMA Sculpture Garden 8 pm • Bob Rodriguez Group Somethin’ Jazz Club 7 pm $12 • Dona Carter solo Bryant Park 12:30 pm • Steve Fidyk Group; Aaron Diehl; Johnny O’Neal with Paul Sikivie, Charles Goold; • Eva Lawitts Trio; Tal Blumstein Trio êBilly Hart Ensemble Citigroup Center Plaza 12:30 pm Ned Goold with Sacha Perry, Reid Taylor Tomi Jazz 8 pm Smalls 4:30, 7:30, 10 pm 12 am $20 • Scott Kulick Group; Klezmer Jazz Band • Terry Waldo’s Gotham City Band; Alex David; Brandon Lewis/Renee Cruz Jam Silvana 6, 8 pm Friday, July 25 Fat Cat 6, 8:30 pm 12:30 am • Michael Veal Aqua Ife Shrine 10 pm • Beyond Duo: Cheryl Pyle/Francois Grillot; Manna For Thought: Nora McCarthy, • Carl Bartlett Jr. Trio; Chris Carroll Trio êOmnispheres: Billy Martin solo and with Paul Ward Dom Minasi, Ras Moshe WhyNot Jazz Room 7:30, 9 pm $10 The Garage 6, 10:30 pm The Stone 8, 10 pm $15 • Quentin Angus Quartet with Youngjoo Song, Sam Anning, Ari Hoenig • Mike LeDonne Measure 8 pm êTony Malaby Tamarindo with William Parker, Nasheet Waits Metropolitan Room 9:30 pm $20 • Dona Carter solo Bryant Park 12:30 pm Cornelia Street Café 9, 10:30 pm $15 • Peter Leitch/Sean Smith Walker’s 8 pm êIngrid Laubrock Quintet with Tim Berne, Ben Gerstein, Dan Peck, Tom Rainey • Marco Di Gennaro Measure 8 pm The Jazz Gallery 9, 11 pm $22 • Bright Noise; Ayal Tsubery Silvana 6, 8 pm Wednesday, July 23 • Paul Meyers/Helio Alves Brazilian Project with Leo Traversa, Vanderlei Pereira • John Lander Trio Caffe Vivaldi 9 pm Jazz at Kitano 8, 10 pm $30 • Jon Faddis Quartet Dizzy’s Club 7:30, 9:30 pm $40 êJazz in July - Leonard Bernstein’s New York: Brian Lynch, Jimmy Greene, Jon Gordon, • Javon Jackson Quartet with Jeremy Manasia, David Williams, Willie Jones III • Donald Harrison, Jr. Quintet with Zaccai Curtis, Max Moran, Joe Dyson and guest Bill Charlap, Peter Washington, Kenny Washington, Daniel Sadownick Smoke 7, 9, 10:30 pm $38 Steve Turre Jazz Standard 7:30, 9:30 pm $25 92nd Street Y 8 pm $59 êScott Neumann Trio with , Mark Helias; Mike Rodriguez Quintet • Wallace Roney Quartet with guest Blue Note 8, 10:30 pm $35 • Pascal’s Triangle: Pascal Le Boeuf, Miguel Zenón, Donny McCaslin, Charles Altura, Smalls 7:30, 10:30 pm $20 • Rudy Royston 303 Sextet with Jon Irabagon, Nadje Noordhuis, Sam Harris, Nir Felder, Linda Oh, Justin Brown Jazz Standard 7:30, 9:30 pm $25 • Diallo House Fat Cat 10:30 pm Yasushi Nakamura, Mimi Jones Village Vanguard 8:30, 10:30 pm $25 • Fang Percussionists: David Freeman, Steve Honoshowsky, Ronald Stockwell, • Oscar Peñas Trio with Moto Fukushima, Rogério Boccato • Godwin Louis Quartet Saint Peter’s 5 pm Billy Martin, Phaedra Martin The Stone 8, 10 pm $15 Bar Next Door 7:30, 9:30, 11:30 pm $12 • NY Jazz Flutet: Dotti Anita Taylor, Jan Leder, Elise Wood, Chip Shelton, Art Lillard êMax Johnson’s The Prisoner with Ingrid Laubrock, Mat Maneri, Tomas Fujiwara êBilly Mintz Quintet with John O’Gallagher, Adam Kolker, Cameron Brown, Roberta Piket Somethin’ Jazz Club 5 pm $12 Barbès 7 pm $10 ShapeShifter Lab 8:15 pm $10 • Jo-Yu Chen Trio with Christopher Tordini, Tommy Crane • Lage Lund 4 with Glenn Zaleski, Matt Brewer, Tyshawn Sorey; John Saraga Quintet • The Hot Sardines Joe’s Pub 7 pm $20 Blue Note 11:30 am 1:30 pm $29.50 Smalls 9:30 pm 12:30 am $20 • Nathan Hook’s Mobiustrip with Travis Reuter, Paolo Cantarella; Grex: Karl Evangelista, • Melissa Hamilton Trio with Chris Bergson, Dan Loomis • Raphael D’lugoff; Michael Louis-Smith Quintet; Ned Goold Jam Rei Scampavia, Robert Lopez Spectrum 7:30, 9 pm North Square Lounge 12:30, 2 pm Fat Cat 7, 9 pm 12:30 am • Laila and Smitty: Kenny Warren, Jeremiah Lockwood, Myk Freedman, Adam Hopkins, • Iris Ornig Quartet; David Coss Quartet; Nobuki Takamen Trio Carlo Costa Barbès 10 pm $10 The Garage 11:30 am 6:30, 11 pm

38 JULY 2014 | THE NEW YORK CITY JAZZ RECORD LIVE MUSIC 7 NIGHTS BROADWAY AND 51ST • RESERVATIONS: 212-582-2121 • BUY TICKETS AT: WWW.THEIRIDIUM.COM JULY 2014 LIKE US FOLLOW US JULY 1 / 8:30PM & 10:30PM JULY 6-7 / 8:00PM & 10:00PM JULY 8-9 / 8:00PM & 10:00PM JULY 11-12 / 8:00PM & 10:00PM JULY 14 / 8:00PM & 10:00PM

CAROL FREDETTE ANDY TIMMONS MICHAEL LANDAU TOM WOPAT MARTY SCHWARTZ GROUP FEATURING SWINGS THE RAT PACK SPECIAL EVENT

JULY 15 / 8:00PM & 10:00PM JULY 17-18 / 8:30PM & 10:30PM JULY 25 / 8:00PM & 10:00PM JULY 26 & 30 / 7:30PM & 10:30PM JULY 20 / 8:00PM & 10:00PM

JAMES HUNTER SIX VIRGIL DONATI ALEXIS P. SUTER MIKE PETERS MOLLY RYAN OF THE ALARM

JULY 1 - CAROL FREDETTE JULY 16 - BEN WATERS AUG 6 - RACHEL Z AUG 11 - GARY PUCKET & THE UNION JULY 2 - WAYNE WILENTZ JULY 19-20 - JEFF “TAIN” WATTS AUG 9 - MIKE PETERS GAP BAND JULY 3 - RICHARD PADRON QUARTET JULY 21 - JIMMY THACKERY BAND AUG 10 - JEREMY DAVIS & THE AUG 16 - CATHERINE RUSSELL JULY 5 - SEAN RICKMAN TRIO JULY 24 - C.J. CHENIER FABULOUS EQUINOX ORCHESTRA AUG 17 - JOHN HAMMOND JULY 10 - ARIELLE VERINIS JULY 27 - ELIANE ST. GEORGE AUG 18 - NELS CLINE 1650 Broadway (51st) New York, NY 10019 Reservations: (212) 582.2121 • www.theiridium.com LIVE MUSIC 7 NIGHTS Monday, July 28 • Baby Soda Jazz Band Radegast Hall 9 pm REGULAR ENGAGEMENTS êHenry Threadgill ZOOID with Liberty Ellman, Christopher Hoffman, Jose Davila, MONDAYS • Harvey Mason Chameleon Blue Note 8, 10:30 pm $35 Stomu Takeishi, Elliot Humberto Kavee • Ron Affif Trio Zinc Bar 9, 11pm, 12:30, 2 am • John Hébert; Juan Pablo Carletti Trio with Tony Malaby, Christopher Hoffman; Village Vanguard 8:30, 10:30 pm $25 • Woody Allen/Eddy Davis New Orleans Jazz Band Café Carlyle 8:45 pm $145 êJazz Masters: Dave Liebman, Billy Childs, Buster Williams, Billy Hart • Rick Bogart Trio Broadway Thai 6:30 pm (ALSO SUN) Nate Wooley, Ingrid Laubrock, Chris Corsano • Tribute with Dan Barman The Counting Room 8 pm Clemente Soto Velez Cultural Center 7:30 pm $11-22 Birdland 8:30, 11 pm $40 • Sedric Choukroun and The Brasilieros Chez Lola 7:30 pm êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 • Tia Fuller Quartet Dizzy’s Club 7:30, 9:30 pm $30 • Pete Davenport/Ed Schuller Jam Session Frank’s Cocktail Lounge 9 pm êJason Marshall Big Band Smoke 7, 9 pm • Chris Bergson Band with Ellis Hooks, Steven Bernstein, David Luther, • Emerging Artists Series Bar Next Door 6:30 pm (ALSO TUE-THU) Ian Hendrickson–Smith, Craig Dreyer, Matt Clohesy, Ethan Eubanks • John Farnsworth Quintet Smoke 11:30 pm • Yotam Silberstein Dizzy’s Club 7:30, 9:30 pm $30 • Joel Forrester solo Brandy Library 8 pm • Carol Morgan and Retroactive with Joe Cohn, Corin Stiggall, E J Strickland; Jazz Standard 7:30, 9:30 pm $20 • Vince Giordano’s Nighthawks Iguana 8 pm (ALSO TUE) Ari Hoenig Trio; Spencer Murphy Smalls 7:30, 10 pm 12:30 am $20 • Harvey Mason Chameleon Blue Note 8, 10:30 pm $35 • Grove Street Stompers Arthur’s Tavern 7 pm • Jill McCarron Measure 8 pm • Jill McCarron Measure 8 pm • Jazz Foundation of American Jam Session Local 802 7 pm • : , Davi Vieira, Guilherme Monteiro, Jorge Continentino; • Earl Rose solo; Earl Rose Trio Bemelmans Bar 5:30, 9 pm • Firey Strings Company with Ayodele Maakeru • Stan Rubin All-Stars Charley O’s 8:30 pm Ibeam Brooklyn 8:30 pm $10 Debo Band: Bruck Tesfaye, Danny Mekonnen, Gabriel Birnbaum, Danilo Henriquez, • Swingadelic Swing 46 8:30 pm • Franco Pinna’s CHUÑO with Sofia Tosello; Brian Adler’s Helium Music Project with Jonah Rapino, Kaethe Hostetter, Marié Abe, Brendon Wood, Arik Grier, PJ Goodwin, • Vanguard Jazz Orchestra Village Vanguard 8:30, 10:30 pm $25 Jesse Neuman, Nick Videen, Bob Lanzetti, Dov Manski, Simon Jermyn Adam Clark Madison Square Park 6 pm • Diego Voglino Jam Session The Village Lantern 9:30 pm LIC Bar 9, 10 pm • Thunk Stephen Gauci, Kenny Wessel, Mike Bisio, Jeremy Carlstedt • Jordan Young Group Bflat 8 pm (ALSO WED 8:30 pm) • Eliane Amherd Trio with Gustavo Amarante, Willard Dyson Silvana 6 pm TUESDAYS Bar Next Door 8:30, 10:30 pm $12 • Liz Childs/Ed MacEachen Saint Peter’s 1 pm $10 • Daisuke Abe Trio Sprig 6 pm (ALSO WED-THU) • Rick Bogart Trio L’ybane 9:30 pm (ALSO FRI) • David White Jazz Orchestra Tea Lounge 8:30, 10 pm • Isaac ben Ayala solo Bryant Park 12:30 pm • Orrin Evans Evolution Series Jam Session Zinc Bar 11 pm • Swingadelic Swing 46 8:30 pm • Irving Fields Nino’s Tuscany 7 pm (ALSO WED-SUN) • Talking Strings; Jose Andres Cid de Leon Marquez • George Gee Swing Orchestra Swing 46 8:30 pm $12 Silvana 6, 8 pm Thursday, July 31 • Chris Gillespie; David Budway Bemelmans Bar 5:30, 9:30 pm (ALSO WED-SAT) • Loston Harris Café Carlyle 9:30 pm $20 (ALSO WED-SAT) • Lou Caputo and the Not So Big Band; Ryan Meagher Trio • Art Hirahara Trio Arturo’s 8 pm The Garage 7, 10:30 pm êJazz in July - The Fred Astaire Songbook: Sachal Vasandani, , • Yuichi Hirakawa Trio Arthur’s Tavern 7, 8:30 pm • Isaac ben Ayala solo Bryant Park 12:30 pm , Bucky Pizzarelli, Renee Rosnes, Bill Charlap, George Mraz, • Mike LeDonne Quartet; Charles Turner III Smoke 7, 9, 10:30, 11:30 pm 92nd Street Y 8 pm $63 • Ilya Lushtak Quartet Shell’s Bistro 7:30 pm êLee Konitz Quartet with Dan Tepfer, Jeremy Stratton, George Schuller • Mona’s Hot Four Jam Session Mona’s 11 pm • Russ Nolan Jazz Organ Trio Cassa Hotel and Residences 6 pm Tuesday, July 29 The Jazz Gallery 9, 11 pm $25 • Annie Ross The Metropolitan Room 9:30 pm $25 êKenny Barron Quartet with Stefon Harris, Kiyoshi Kitagawa, Johnathan Blake • Slavic Soul Party Barbès 9 pm $10 êJazz in July - Three Generations of Piano Jazz: Dick Hyman, Bill Charlap, Jazz Standard 7:30, 9:30 pm $30 • Diego Voglino Jam Session The Fifth Estate 10 pm Christian Sands, Sean Smith, Willie Jones III • Karen Mantler Trio with Kato Hideki, Doug Wieselman WEDNESDAYS 92nd Street Y 8 pm $55 SubCulture 8 pm $20 • Astoria Jazz Composers Workshop Waltz-Astoria 6 pm êWillie Jones III Sextet with Eddie Henderson, Stacy Dillard, Steve Davis, Eric Reed, • Sedric Choukroun and the Eccentrics Chez Oskar 7 pm êHenry Threadgill ZOOID with Liberty Ellman, Christopher Hoffman, Jose Davila, • Rob Duguay’s Low Key Trio Turnmill NYC 11 pm Stomu Takeishi, Elliot Humberto Kavee Dezron Douglas Dizzy’s Club 7:30, 9:30 pm $35 • Bruce Edwards/Leviticus Gory Fairway Market Café 7 pm Village Vanguard 8:30, 10:30 pm $25 • Peggy King and The All-Star Trio with Andy Kahn, Bruce Kaminsky, Bruce Klauber • Joel Forrester Manhattan Inn 7, 8 pm êJazz Masters: Dave Liebman, Billy Childs, Buster Williams, Billy Hart Jazz at Kitano 8, 10 pm $15 • Jeanne Gies with Howard Alden and Friends Joe G’s 6:30 pm êTyshawn Sorey Piano Trio The Stone 8, 10 pm $15 • Les Kurtz Trio; Joonsam Lee Trio Cleopatra’s Needle 7, 11:30 pm Birdland 8:30, 11 pm $40 • Jonathan Kreisberg Trio Bar Next Door 8:30, 10:30 pm $12 • Tia Fuller Quartet Dizzy’s Club 7:30, 9:30 pm $30 • Ricky Rodriguez Quintet with Manuel Valera, Tom Guarna, Andrew Gould, Pablo Bencid • Jed Levy and Friends Vino di Vino Wine Bar 7:30 pm (ALSO FRI) • Molly Ryan Iridium 8, 10 pm $25 Terraza 7 8 pm $7 • Ron McClure solo piano McDonald’s 12 pm (ALSO SAT) • Chris Bergson Band with Ellis Hooks, Steven Bernstein, David Luther, • New Cuban Express; Ray Parker Quartet • David Ostwald’s Louis Armstrong Centennial Band Birdland 5:30 pm $20 Ian Hendrickson–Smith, Craig Dreyer, Matt Clohesy, Ethan Eubanks Fat Cat 10 pm 1:30 am • Saul Rubin Vocalist Series Zeb’s 8 pm $10 • Stan Rubin Orchestra Swing 46 8:30 pm Jazz Standard 7:30, 9:30 pm $20 • Smooth Cruise: Love & Soul Tour: Jonathan Butler, Norman Brown, Alex Bugnon • Eve Silber Arthur’s Tavern 7 pm êWarren Smith Composer’s Workshop Orchestra with Jon Carlson, Cecil Bridgewater, Pier 40 6:30, 9:30 pm $45-65 • Camille Thurman Quartet Smoke 11:30 pm Vincent Chancey, Peter Lin, Jack Jeffers, Craig Rivers, Douglas Yates, Patience Higgins, • Willie Martinez y La Familia Sextet Nuyorican Poets Café 9:30 pm $10 • Reggie Woods with Greg Lewis Organ Monk Sapphire NYC 8 pm James Stewart, Howard Johnson, Yoham Chiqui Ortiz, Ratso Harris, Malik Washington • Dave Acker Trio with Leco Reis, Dan Pugach • Bill Wurtzel/Mike Gari American Folk Art Museum Lincoln Square 2 pm NYC Baha’i Center 8, 9:30 pm $15 Bar Next Door 8:30, 10:30 pm $12 THURSDAYS êTsyhawn Sorey The Stone 8, 10 pm $15 • The Rhythm Future Quartet: Jason Anick, Olli Soikkeli, Vinny Raniolo, Greg Loughman • Michael Blake Bizarre Jazz and Blues Band Bizarre 9 pm ShapeShifter Lab 8:15 pm $15 • Sedric Choukroun Brasserie Jullien 7:30 pm (ALSO FRI, SAT) • Peter Epstein Quartet with Stephanie Richards, Sam Minaie, Mark Ferber; • Lucy Galliher Singers Session Zinc Bar 6 pm $5 James Carney Quartet with Peter Epstein, Chris Lightcap, Mark Ferber • Anna Elizabeth Kendrick Tagine 8:30 pm • Craig Harris and the Harlem Night Songs Big Band MIST 9, 10:30 pm $15 Korzo 9, 10:30 pm • Gabrielle Stravelli Metropolitan Room 7 pm $20 • Bertha Hope Band Minton’s Playhouse 7 pm (THRU SAT) • Lage Lund Trio with Matt Brewer, Clarence Penn • Michael Eaton Quintet with Brad Whiteley, Daniel Ori, Shareef Taher • Jazz Jam Session American Legion Post 7:30 pm Somethin’ Jazz Club 9 pm $10 • Kazu Trio Cleopatra’s Needle 11:30 pm Bar Next Door 8:30, 10:30 pm $12 • Lapis Luna Quintet The Plaza Hotel Rose Club 8:30 pm • New Dimensions in Latin Jazz: Melvis Santa • Senri Oe Tomi Jazz 9 pm $10 • Curtis Lundy Jam Session Shell’s Bistro 9 pm Minton’s Playhouse 7 pm $10 • Steve Elmer Trio Cleopatra’s Needle 7 pm • Metro Room Jazz Jam with guests Metropolitan Room 11 pm $10 • Spike Wilner Quartet with Melissa Aldana, Dezron Douglas, Anthony Pinciotti; • Denver Jazz Club Youth Allstars; Adam Rongo Trio • Nickel and Dime OPS Smoke 7, 9, 10:30 pm • Eri Yamamoto Trio Arthur’s Tavern 7 pm (ALSO FRI-SAT) NYJazz 9: John Eckert, David Smith, Nick Grinder, Rick Parker, Bobby Porcelli, The Garage 6, 10:30 pm Terry Goss, Tim Harrison, Paul Gill, Andy Watson; Kyle Poole and Friends • Compactor; Pulcinella Spectrum 6:30 pm FRIDAYS • Dave Kikoski Trio Smalls 9:30 pm $20 • Scot Albertson Parnell’s 8 pm (ALSO SAT) Smalls 7:30, 10:30 pm 1 am $20 • The Crooked Trio: Oscar Noriega, Brian Drye, Ari Folman-Cohen Barbès 5 pm • Saul Rubin; Itai Kriss Gato Gordo; Greg Glassman Jam êHenry Threadgill ZOOID with Liberty Ellman, Christopher Hoffman, Jose Davila, • Day One Trio Prime and Beyond Restaurant 9 pm (ALSO SAT) Fat Cat 7, 9 pm 12:30 am Stomu Takeishi, Elliot Humberto Kavee • Lisa DeSpain solo Machiavelli’s 8 pm • Kyoko Oyobe solo Jazz at Kitano 8 pm Village Vanguard 8:30, 10:30 pm $25 • Gerry Eastman Quartet Williamsburg Music Center 10 pm êJames Brandon Lewis’ Divine Travels with William Parker, Dominic Fragman • Finkel/Kasuga/Tanaka/Solow San Martin Restaurant 12 pm $10 • Tony Jefferson and Friends; Stacy Dillard Birthday Bash • Grant Goldstein Trio 809 Bar & Grill 8:30 pm The Garage 6, 10:30 pm Birdland 6 pm $25 • Patience Higgins & The Sugar Hill Quartet Smoke 11:45 pm • Nightingale Jazz Band Caffe Vivaldi 8 pm êJazz Masters: Dave Liebman, Billy Childs, Buster Williams, Billy Hart • Tommy Igoe Birdland Big Band Birdland 5:15 pm $25 • Harvey Mason Chameleon Blue Note 8, 10:30 pm $35 Birdland 8:30, 11 pm $40 • Sandy Jordan and Friends ABC Chinese Restaurant 8 pm • Jill McCarron Measure 8 pm • Frank Owens Open Mic Pearl Studios 7:30 pm $10 • Jill McCarron Measure 8 pm • Richard Russo Quartet Capital Grille 6:30 pm • Sam Taylor Silvana 6 pm • Isaac ben Ayala solo Bryant Park 12:30 pm • Bill Saxton and the Harlem Bebop Band Bill’s Place 9, 11 pm $15 (ALSO SAT) • Isaac ben Ayala solo Bryant Park 12:30 pm • Susan Pereira and Sabor Brazil Citigroup Center Plaza 12:30 pm • Joanna Sternberg Trio Cleopatra’s Needle 12:30 am • UOTS Jam Session University of the Streets 11:30 pm $5 (ALSO SAT) SATURDAYS Wednesday, July 30 • Avalon Jazz Quartet Matisse 8 pm • The Candy Shop Boys Duane Park 8, 10:30 pm • Alvin Flythe Trio Fairway Market Café 7 pm êJazz in July - Celebrate Sarah Vaughan: Cécile McLorin Salvant, Jesse Davis, • Michika Fukumori Trio Cleopatra’s Needle 9 pm Bill Charlap Trio with Peter Washington, Kenny Washington • Joonsam Lee; Diego Voglino Jules Bistro 12, 8:30 pm 92nd Street Y 8 pm $52 • Curtis Lundy Trio with guests Shell’s Bistro 9 pm êArt Lande Quartet with Bruce Williamson, Dean Johnson, Tony Moreno • Johnny O’Neal Smoke 11:45 pm • Skye Jazz Trio Jack 8:30 pm Jazz at Kitano 8, 10 pm $15 SUNDAYS êJon Hendricks The Jazz Gallery 9 pm $30 • Avalon Jazz Quartet The Lambs Club 11 am • Dave Kikoski Trio; Sean Nowell Quartet • Satish Robertson; Renaud Penant Jules Bistro 12, 8:30 pm Smalls 9:30 pm 12:30 am $20 • The Candy Shop Boys The Rum House 9:30 pm • Raphael D’lugoff; Ryan Berg Quintet; Ned Goold Jam • Creole Cooking Jazz Band; Stew Cutler and Friends Arthur’s Tavern 7, 10 pm Fat Cat 7, 9 pm 12:30 am • Isaac Darch Group Basik Bar 7 pm • Marc Devine Trio TGIFriday’s 6 pm êBrass Quintet: Dave Ballou, Ben Gerstein, Tyshawn Sorey; • Ear Regulars with Jon-Erik Kellso The Ear Inn 8 pm Matt Mitchell/Tyshawn Sorey The Stone 8, 10 pm $15 • Marjorie Eliot/Rudell Drears/Sedric Choukroun Parlor Entertainment 4 pm êNate Wooley, Ingrid Laubrock, Tom Rainey • Ken Foley/Nick Hempton Quintet Smithfield 8:30 pm Barbès 8 pm $10 • Joel Forrester solo Grace Gospel Church 11 am • Nancy Goudinaki Trio Kellari Taverna 12 pm êBrianna Thomas Smoke 7, 9, 10:30 pm • Broc Hempel/Sam Trapchak/Christian Coleman Trio Dominie’s Astoria 9 pm • Ricky Rodriguez Quintet Cornelia Street Café 8:30 pm $10 • Bob Kindred Group; Trio Café Loup 12:30, 6:30 pm • Harlem Blues and Jazz Ensemble Dweck Center at Brooklyn Publ. Lib. Ctr. Branch 6:30 pm • Ras Chemash Lamed Vocal Jam Session University of the Streets 6:45 pm $10 • Oriente Lopez Quintet with Alejandro Florez, Roman Filiu, Itaiguara Brandao, • Peter Leitch Duo Walker’s 8 pm • Peter Mazza Trio Bar Next Door 8, 10 pm $12 Mauricio Zottarelli Terraza 7 8 pm $7 • Tony Middleton Trio Jazz at Kitano 11:30 am $35 • Carmen Staaf Sextet with Nicole Zuraitis, Dave Ballou, Kris Allen, Jonathan Michel, • Jane Monheit’s Jazz Party Birdland 6 pm $30 George Schuller; Jarrett Cherner; Alex Snydman’s Fortunate Action • Arturo O’Farrill Afro Latin Jazz Orchestra Birdland 9, 11 pm $30 ShapeShifter Lab 7, 8, 9:30 pm $15 • Earl Rose solo; Eric Yves Garcia Trio Bemelmans Bar 5:30, 9 pm David Bertrand Quartet Somethin’ Jazz Club 7 pm $10 • Lu Reid Jam Session Shrine 4 pm • • Annette St. John; Willerm Delisfort Quartet Smoke 11:30 am 11:30 pm • Kristen Lee Sergeant Trio Tomi Jazz 8 pm • Ryo Sasaki Trio Analogue 7 pm • Alex Foster Band Shrine 10 pm • Sara Serpa/André Matos Pão Restaurant 2 pm • Rob Edwards Quartet; Chris Beck Trio • Corin Stiggall and Associates Speedy Romeo 12 pm The Garage 6, 10:30 pm • Milton Suggs Cávo 7 pm

40 JULY 2014 | THE NEW YORK CITY JAZZ RECORD CLUB DIRECTORY

• 55Bar 55 Christopher Street (212-929-9883) • Drom 85 Avenue A (212-777-1157) • North Square Lounge 103 Waverly Place (212-254-1200) Subway: 1 to Christopher Street www.55bar.com Subway: F to Second Avenue www.dromnyc.com Subway: A, B, C, E, F to West 4th Street www.northsquareny.com • 809 Bar & Grill 112 Dyckman Street • Dweck Center at Brooklyn Public Library Central Branch • Nublu 62 Avenue C between 4th and 5th Streets (212-304-3800) Subway: 1 to Dyckman Street www.809restaurant.com Subway: 2, 3 to Grand Army Plaza; Q to 7th Avenue (212-979-9925) Subway: F, V to Second Avenue www.nublu.net • 92nd Street Y Lexington Avenue at 92nd Street • The Ear Inn 326 Spring Street at Greenwich Street (212-246-5074) • Nuyorican Poets Café 236 E. 3rd Street between Avenues B and C (212-415-5500) Subway: 6 to 96th Street www.92y.org Subway: C, E to Spring Street www.earinn.com (212-505-8183) Subway: F, V to Second Avenue www.nuyorican.org • ABC Chinese Restaurant 34 Pell Street • Fairway Market Café 2127 Broadway • Pão Restaurant 322 Spring Street (212-346-9890) Subway: J to Chambers Street (212-595-1888) Subway: 1, 2, 3 to 72nd Street www.fairwaymarket.com (212-334-5464) Subway: C, E to Spring Street www.paonewyork.com • ABC No-Rio 156 Rivington Street (212-254-3697) • Fat Cat 75 Christopher Street at 7th Avenue (212-675-6056) • Parlor Entertainment 555 Edgecombe Ave. #3F (212-781-6595) Subway: J,M,Z to Delancey Street www.abcnorio.org Subway: 1 to Christopher Street/Sheridan Square www.fatcatmusic.org Subway: C to 155th Street www.parlorentertainment.com • American Folk Art Museum 45 W 53rd Street (212-265-1040) • The Fifth Estate 506 5th Avenue, Brooklyn • Parnell’s 350 East 53rd Street #1(212-753-1761) Subway: E to 53rd Street www.folkartmuseum.org (718-840-0089) Subway: F to 4th Avenue www.fifthestatebar.com Subway: E, M to Lexington Avenue/53 Street www.parnellsny.com • American Legion Post 248 West 132nd Street • The Flatiron Room 37 West 26th Street • Pearl Studios 500 8th Avenue (212-283-9701) Subway: 2, 3 to 135th Street www.legion.org (212-725-3860) Subway: N, R to 28th Street www.theflatironroom.com (212-904-1850) Subway: A, C, E to 34th Street www.pearlstudiosnyc.com • Analogue 19 West 8th Street (212-432-0200) • Flushing Town Hall 137-35 Northern Boulevard, Flushing • Perez Jazz 71 Ocean Parkway Subway: F, G to Fort Hamilton Parkway Subway: A, B, C, D, E, F, M to W. 4th Street www.analoguenyc.com (718-463-7700) Subway: 7 to Main Street www.flushingtownhall.org • Pier 40 353 West Street (212-627-2020) Subway: 1 to Houston Street • Antibes Bistro 112 Suffolk Street • Flute Midtown 205 W. 54th St.between 7th and Broadway • The Plaza Hotel Rose Club Fifth Avenue at Central Park South (212-533-6088) Subway: J, Z to Essex Street www.antibesbistro.com (212-265-5169) Subway: B, D, E to 7th Avenue (212-759-3000) Subway: N, Q, R to Fifth Avenue www.fairmont.com • The Appel Room Broadway at 60th Street, 5th floor (212-258-9800) • Frank’s Cocktail Lounge 660 Fulton St. at Lafayette, Brooklyn • Prime and Beyond Restaurant 90 East 10th Street Subway: 1, 2, 3, 9, A, C, E, B, D, F to Columbus Circle www.jalc.org (718-625-9339) Subway: G to Fulton Street (212-505-0033) Subway: 6 to Astor Place www.primeandbeyond.com • Arthur’s Tavern 57 Grove Street (212-675-6879) • Freddy’s Backroom 627 5th Avenue, Brooklyn (718-768-0131) • Prospect Park Bandshell Subway: F to Prospect Park Subway: 1 to Christopher Street www.arthurstavernnyc.com Subway: R to Prospect Avenue www.freddysbar.com/events • Prospect Range 1226 Prospect Avenue • Arturo’s 106 W. Houston Street (at Thompson Street) • The Garage 99 Seventh Avenue South (212-645-0600) Subway: F to Fort Hamilton Parkway www.prospectrange.com (212-677-3820) Subway: A, B, C, D, E, F, M to W. 4th Street Subway: 1 to Christopher Street www.garagerest.com • Queensbridge Park 21st St., Bridge Plaza, Vernon Blvd. and East River • BB King’s Blues Bar 237 W. 42nd Street (212-997-2144) • Ginny’s Supper Club at Red Rooster Harlem 310 Malcolm X Boulevard Subway: 7 to Vernon/Jackson Blvds. Subway: 1, 2, 3, 7 to 42nd Street/Times Square www.bbkingblues.com (212-792-9001) Subway: 2, 3 to 125th Street www.ginnyssupperclub.com • Radegast Hall 113 North 3rd Street • Bflat 277 Church Street (between Franklin and White Streets) • Glasslands 289 Kent Avenue (718-963-3973) Subway: L to Bedford Avenue www.radegasthall.com Subway: 1, 2 to Franklin Streets Subway: L to Bedford Avenue theglasslands.com • Robert F. Wagner Park at Battery Park Subway: 4 or 5 to Bowling Green • Bar Chord 1008 Cortelyou Road • Goodbye Blue Monday 1087 Broadway, Brooklyn (718-453-6343) • Rockwood Music Hall 196 Allen Street (212-477-4155) (347-240-6033) Subway: Q to Cortelyou Road www.barchordnyc.com Subway: J, M train to Myrtle Avenue www.goodbye-blue-monday.com Subway: F, V to Second Avenue www.rockwoodmusichall.com • Bar Next Door 129 MacDougal Street (212-529-5945) • Grace Gospel Church 589 E. 164th Street • Roulette 509 Atlantic Avenue Subway: A, B, C, D, E, F, M to W. 4th Street www.lalanternacaffe.com (718-328-0166) Subway: 2, 5 to Prospect Avenue (212-219-8242) Subway: 2, 3, 4, 5 to Atlantic Avenue www.roulette.org • Barbès 376 9th Street at 6th Avenue, Brooklyn (718-965-9177) • Hostos Center 450 Grand Concourse • Rubin Museum 150 W. 17th Street (212-620-5000) Subway: F to 7th Avenue www.barbesbrooklyn.com (718-518-6700) Subway: 2, 4, 5 to 149th Street www.hostos.cuny.edu Subway: A, C, E to 14th Street www.rmanyc.org • Bargemusic Fulton Ferry Landing • Ibeam Brooklyn 168 7th Street between Second and Third Avenues • The Rum House 228 W. 47th Street (718-624-4061) Subway: F to York Street, A, C to High Street Subway: F to 4th Avenue www.ibeambrooklyn.com (646-490-6924) Subway: N, Q, R to 49th Street www.edisonrumhouse.com www.bargemusic.org • Iguana 240 West 54th Street (212-765-5454) • Saint Peter’s Church 619 Lexington Avenue at 54th Street • Bemelmans Bar 35 E. 76th Street (212-744-1600) Subway: B, D, E, N, Q, R to Seventh Avenue www.iguananyc.com (212-935-2200) Subway: 6 to 51st Street www.saintpeters.org Subway: 6 to 77th Street www.thecarlyle.com • Indian Road Café 600 West 218th Street @ Indian Road • San Martin Restaurant 143 E. 49 Street between Lexington and Park • Bill’s Place 148 W. 133rd Street (between Lenox and 7th Avenues) (212-942-7451) Subway: 1 to 215th Street www.indianroadcafe.com Avenues (212-832-0888) Subway: 6 to 51st Street (212-281-0777) Subway: 2, 3 to 125th Street • Inkwell Café 408 Rogers Avenue between Lefferts and Sterling • Sapphire NYC 333 E. 60th Street (212-421-3600) • Birdland 315 W. 44th Street (212-581-3080) Subway: 5 to Sterling Street www.plgarts.org Subway: 4, 5, 6, N, Q, R to 59th Street www.nysapphire.com Subway: A, C, E, to 42nd Street www.birdlandjazz.com • Iridium 1650 Broadway at 51st Street (212-582-2121) • Scholes Street Studio 375 Lorimer Street (718-964-8763) • Bizarre 12 Jefferson Street Subway: J, M, Z to Myrtle Avenue Subway: 1,2 to 50th Street www.theiridium.com Subway: L to Lorimer Street; G to Broadway www.scholesstreetstudio.com www.facebook.com/bizarrebushwick • JACK 505 Waverly Avenue (718-388-2251) • SEEDS 617 Vanderbilt Avenue Subway: 2, 3, 4 to Grand Army Plaza • Blue Note 131 W. 3rd Street at 6th Avenue (212-475-8592) Subway: C to Clinton-Washington Avenue www.jackny.org www.seedsbrooklyn.org Subway: A, B, C, D, E, F, M to W. 4th Street www.bluenotejazz.com • Jack 80 University Place Subway: 4, 5, 6, N, R to 14th Street • ShapeShifter Lab 18 Whitwell Place • Brandy Library 25 N. Moore Street • Jazz at Kitano 66 Park Avenue at 38th Street (212-885-7000) (646-820-9452) Subway: R to Union Street www.shapeshifterlab.com (212-226-5545) Subway: 1 to Franklin Street Subway: 4, 5, 6 to Grand Central www.kitano.com • Shell’s Bistro 2150 5th Avenue • Broadway Thai 241 West 51st Street • The Jazz Gallery 1160 Broadway, 5th floor (212-242-1063) (212) 234-5600 Subway: 2, 3 to 135th Street www.shellsbistro.com (212-226-4565) Subway: 1, C, E to 50th Street www.tomandtoon.com Subway: N, R to 28th Street www.jazzgallery.org • Showman’s 375 W. 125th Street at Morningside) (212-864-8941) • Brooklyn Bowl 61 Wythe Avenue • Jazz Standard 116 E. 27th between Park and Lexington Avenue Subway: A, B, C, D to 125th Street www.showmansjazz.webs.com (718-963-3369) Subway: L to Bedford Avenue www.brooklynbowl.com (212-576-2232) Subway: 6 to 28th Street www.jazzstandard.net • Shrine 2271 Adam Clayton Powell Boulevard (212-690-7807) • Bryant Park 5th and 6th Avenues between 40th and 42nd Streets • Joe G’s 244 W. 56th Street (212-765-3160) Subway: B, 2, 3 to 135th Street www.shrinenyc.com Subway: 4, 5, 6 to 42nd Street www.bryantpark.org Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle • Silvana 300 West 116th Street • Café Carlyle 35 E. 76th Street (212-744-1600) • Joe’s Pub 425 Lafayette Street (212-539-8770) (646-692-4935) Subway: B, C, to 116th Street Subway: 6 to 77th Street www.thecarlyle.com Subway: N, R to 8th Street-NYU; 6 to Astor Place www.joespub.com • Smalls 183 W 10th Street at Seventh Avenue (212-252-5091) • Café Loup 105 W. 13th Street between Sixth and Seventh Avenues • Jules Bistro 60 St Marks Place Subway: 1,2,3,9 to 14th Street www.smallsjazzclub.com (212-255-4746) Subway: F to 14th Street www.cafeloupnyc.com (212-477-5560) Subway: 6 to Astor Place www.julesbistro.com • Smithfield 215 West 28th Street • Café du Soleil 2723 Broadway at 104 Streets • Kellari Taverna 19 W. 44th Street (212-221-0144) (212-564-2172) Subway: 1 to 28th Street www.smithfieldnyc.com (212-316-5000) Subway: 1 to 103rd Street Subway: B, D, F, M, 7 to 42nd Street-Bryant Park www.kellari.us • Smoke 2751 Broadway between 105th and 106th Streets • Caffe Vivaldi 32 Jones Street between Bleecker and W. 4th Streets • Klavierhaus 549 W. 52nd Street, 7th Floor (212-245-4535) (212-864-6662) Subway: 1 to 103rd Street www.smokejazz.com Subway: A, B, C, D, E, F, Q, V to W. 4th Street-Washington Square Subway: C, E to 50th Street www.klavierhaus.com • Somethin’ Jazz Club 212 E. 52nd Street, 3rd floor (212-371-7657) www.caffevivaldi.com • Korzo 667 5th Avenue (between 19th and 20th streets), Brooklyn Subway: E to Lexington Avenue-53rd Street www.somethinjazz.com/ny • Capital Grille 120 Broadway (718-285-9425) Subway: R to Prospect Avenue • Spectrum 121 Ludlow Street, 2nd floor Subway: F to Delancey Street (212-374-1811) Subway: 2, 3, 4, 5 to Wall Street www.thecapitalgrille.com www.konceptionsmusicseries.wordpress.com www.spectrumnyc.com • Cassa Hotel and Residences 70 W. 45th Street, 10th Floor Terrace • LIC Bar 45-58 Vernon Boulevard • Speedy Romeo 376 Classon Ave (718-230-0061) (212-302-87000 Subway: B, D, F, 7 to Fifth Avenue www.cassahotelny.com (718-786-5400) Subway: 7 to Vernon-Jackson Boulevard Subway: G to Bedford-Nostrand Avenues www.speedyromeo.com • Cávo 42-18 31st Avenue, Astoria • The Lambs Club 132 W. 44th Street • The Stone Avenue C and 2nd Street (718-721-1001) Subway: M, R, to Steinway Street www.cavoastoria.com 212-997-5262 Subway: A, C, E, to 42nd Street www.thelambsclub.com Subway: F to Second Avenue www.thestonenyc.com • Charley O’s 1611 Broadway at 49th Street • Le Cirque Café One Beacon Court, 151 East 58th Street (212-644-0202) • SubCulture 45 Bleecker Street (212-533-5470) (212-246-1960) Subway: N, R, W to 49th Street Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.lecirque.com Subway: 6 to Bleecker Street www.subculturenewyork.com • Chez Lola 387 Myrtle Avenue, Brooklyn (718-858-1484) • Le Poisson Rouge 158 Bleecker Street (212-228-4854) • Swing 46 349 W. 46th Street (646-322-4051) Subway: C to Clinton-Washington Avenues www.bistrolola.com Subway: A, B, C, D, E, F, V to W. 4th Street www.lepoissonrouge.com Subway: A, C, E to 42nd Street www.swing46.com • Chez Oskar 211 Dekalb Ave, Brooklyn (718-852-6250) • Local 802 322 W. 48th Street between Eighth and Ninth Avenues • Tagine 537 9th Ave. between 39th and 40th Streets Subway: C to Lafayette Avenue www.chezoskar.com (212-245-4802) Subway: C to 50th Street www.jazzfoundation.org (212-564-7292) Subway: A, C, E, 1, 2, N, R, 7 to 42nd Street • Citigroup Center Plaza 53rd Street and Lexington Avenue • Louis Armstrong House 34-56 107th Street, Queens • Tea Lounge 837 Union Street, Brooklyn Subway: 6 to 51st Street (718-478-8274) Subway: 7 to 11th Street www.satchmo.net (718-789-2762) Subway: M, R to Union Street • Classon Social Club 807 Classon Avenue • L’ybane 709 8th Avenue (212-582-2012) • Terraza 7 40-19 Gleane Street (718-803-9602) (718-484-4475) Subway: 2, 3 to Eastern Parkway www.theclasson.com Subway: A, C, E to 42nd Street-Port Authority www.lybane.com Subway: 7 to 82nd Street/Jackson Heights www.terrazacafe.com • Clemente Soto Velez Cultural Center 107 Suffolk Street • MoMA Sculpture Garden 11 West 53rd Street • Tomi Jazz 239 E. 53rd Street Subway: F, J, M, Z to Delancey Street www.csvcenter.com (212-708-9400) Subway: E, V train to Fifth Avenue/53rd Street (646-497-1254) Subway: 6 to 51st Street www.tomijazz.com • Cleopatra’s Needle 2485 Broadway (212-769-6969) www.moma.org • Turnmill NYC 119 East 27th Street Subway: 1, 2, 3 to 96th Street www.cleopatrasneedleny.com • McDonald’s 160 Broadway between Maiden Lane and Liberty Street (646-524-6060) Subway: 6 to 27th Street www.turnmillnyc.com • The Commons 388 Atlantic Avenue (212-385-2063) Subway: 4, 5 to Fulton Street www.mcdonalds.com • University of the Streets 130 E. 7th Street Subway: A, C, G to Hoyt/Schermerhorn Streets • Machiavelli’s 519 Columbus Avenue (212-254-9300) Subway: 6 to Astor Place www.universityofthestreets.org • Cornelia Street Café 29 Cornelia Street (212-724-2658) Subway: B, C to 86th Street www.machiavellinyc.com • The Village Lantern 167 Bleecker Street (212-989-9319) Subway: A, B, C, D, E, F, M to W. 4th Street • Madison Square Park 5th Avenue and 23rd Street (212-260-7993) Subway: A, B, C, D, E, F, M to W. 4th Street www.corneliastreetcafé.com Subway: R, W to 23rd Street • Village Vanguard 178 Seventh Avenue South at 11th Street • The Counting Room 44 Berry Street (718-599-1860) • Manderley Bar at the McKittrick Hotel 530 W 27th Street (212-255-4037) Subway: 1, 2, 3 to 14th Street www.villagevanguard.com Subway: L to Bedford Avenue www.thecountingroombk.com (212-904-1883) Subway: C, E to 23rd Street www.sleepnomorenyc.com • Vino di Vino Wine Bar 29-21 Ditmars Boulevard, Queens • The Cutting Room 44 E. 32nd Street • Manhattan Inn 632 Manhattan Avenue (718-383-0885) (718-721-3010) Subway: N to Ditmars Blvd-Astoria (212-691-1900) Subway: 6 to 33rd Street www.thecuttingroomnyc.com Subway: G to Nassau Avenue www.themanhattaninn.com • Walker’s 16 North Moore Street (212-941-0142) • Damrosch Park at Lincoln Center Broadway and 62nd Street • Matisse 924 Second Avenue Subway: A, C, E to Canal Street Subway: 1 to 66th Street (212-546-9300) Subway: 6 to 51st Street www.matissenyc.com • Waltz-Astoria 23-14 Ditmars Boulevard (718-95-MUSIC) • David Rubenstein Atrium Broadway at 60th Street • Measure 400 Fifth Avenue (212-695-4005) Subway: B, D, F, M to 34th Street Subway: N, R to Ditmars Blvd-Astoria www.Waltz-Astoria.com (212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.langhamplacehotels.com • The West End Lounge 955 West End Avenue at West 107th Street www.new.lincolncenter.org/live/index.php/atrium • Metropolitan Room 34 W. 22nd Street (212-206-0440) (212-531-4759) Subway: 1 to 110th Street www.thewestendlounge.com • Death By Audio 49 S. 2nd St between Wythe and Kent Subway: N, R to 23rd Street www.metropolitanroom.com • WhyNot Jazz Room 14 Christopher Street Subway: L to Bedford www.myspace.com/deathbyaudioshows • Michiko Studios 149 West 46th Street, 3rd Floor (212-302-4011) (646-756-4145) Subway: 1 to Christopher Street • Dizzy’s Club Broadway at 60th Street, 5th Floor (212-258-9800) Subway: B, D, F, M to 47-50 Streets www.michikostudios.com • Williamsburg Music Center 367 Bedford Avenue Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.jalc.org • Minton’s Playhouse 206 West 118th Street (212-243-2222) (718-384-1654) Subway: L to Bedford Avenue • Dominie’s Astoria 34-07 30th Avenue Subway: N, Q to 30th Avenue Subway: B, C to 116th Street www.mintonsharlem.com • Zeb’s 223 W. 28th Street • Douglass Street Music Collective 295 Douglass Street • MIST Harlem 40 West 116th Street Subway: 2, 3 to 116th Street 212-695-8081 Subway: 1 to 28th Street www.zebulonsoundandlight.com Subway: R to Union Street www.295douglass.org • Mona’s 224 Avenue B Subway: L to First Avenue • Zinc Bar 82 W. 3rd Street (212-477-8337) • Downtown Music Gallery 13 Monroe Street (212-473-0043) • NYC Baha’i Center 53 E. 11th Street (212-222-5159) Subway: A, B, C, D, E, F, M to W. 4th Street www.zincbar.com Subway: F to East Broadway www.downtownmusicgallery.com Subway: 4, 5, 6, N, R to 14th Street-Union Square www.bahainyc.org • Zürcher Studio 33 Bleecker Street • The Drawing Room 56 Willoughby Street #3 (917-648-1847) • Nino’s Tuscany 117 W. 58th Street (212-757-8630) (212-777-0790) Subway: 6 to Bleeker Street; B, D, F to Broadway-Lafayette Subway: A, C, F to Jay Street/Metrotech www.drawingroommusic.com Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.ninostuscany.com www.galeriezurcher.com

THE NEW YORK CITY JAZZ RECORD | JULY 2014 41 (FIMAV CONTINUED FROM PAGE 13) bassist Joachim Florent was especially impressive, twistingly catholic in their tastes, that brought a new thickening the industrial stew, songs taken from their dimension to bassist/leader Moppa Elliott’s slapdash Four other larger ensembles spanned a wide latest album including a dedication to Kim Jong Il and tunes named after Pennsylvania towns. During one of stylistic spectrum. To mark the 100th anniversary of whose cover is a picture of the group attacked by one Stabinsky’s solos, he quoted Bruce Hornsby and Elton Sun Ra’s birth (May 22nd), Montreal’s 18-piece Ratchet of Ray Harryhausen’s claymation monsters. Perhaps John; this was matched by drummer Kevin Shea Orchestra led by bassist Nicolas Caloia invited alto not for the purists but it is refreshing to hear a young quoting U2 later in the set. Jazz Nazis have a special saxophonist Marshall Allen to join a commemorative group bringing new aesthetic influences to jazz. concentration camp just for bands like MOPDtK but celebration. After a first part based on Caloia’s charts, Another Francophone ensemble, Orchestra National you’d be hard-pressed to find a better act to finish up a with some serious sounding improv and spoken word, de Jazz Olivier Benoit, followed with a 48-minute suite festival of multi-faceted music that is just another four Allen leapt to center stage to take over the direction. that recalled some of the full symphonic outings of the days at the office for the Moers Festival. v With his unique sliding sax phrasing, Allen injected a Mahavishnu Orchestra, guitarist and leader Benoit’s sense of immediacy and enthusiasm to the ensemble as compositions jumping off the stage with rockish For more information, visit moers-festival.de he summoned individual and group improvs based on energy, instead of the mawkish and fluffy arrangements a ‘50s Sun Ra composition. It was challenging and fun. one usually associates with any large ensemble that GGRIL was supposed to be 12 but 15 young calls itself an orchestra. The compositions were far- (MUSKETER CONTINUED FROM PAGE 13) musicians from the even more remote Quebec town of ranging and compelling, the set nearing rock-opera Rimouski, 333 miles northeast of Montreal, performed status by its conclusion. splatters of Robertson cutting through and flying classic free jazz. What was missing in terms of an Sunday featured a German legend in drummer above the Mazur-Moye connection and Blake with ensemble sound was compensated by palpable Jaki Liebezeit. Perhaps best known as a founding Rudolph on congas and three-string Moroccan doson enthusiasm: at one point both bassist Éric Normand member of Can, there may have been some attendees n’goni. Rudolph, like Parks a DIVA Award recipient, and violinist Raphaël Arsenault took to directing the of the festival old enough to remember him playing hooked up with Blake and/or Moye on other occasions same section of musicians simultaneously. decades earlier in nearby Köln with Manfred Schoof’s as well, most memorably with the latter on three Haram, Arabic for forbidden, was anything but in Quintet. His duo set with laptopper Marcus Schmickler congas between them, injecting a surge of adrenaline an uplifting display of classical-sounding Arabic music was far closer to his later work, Shmickler setting up a into a improv set with vocalists Elena Setien (from by an 11-member group led by Vancouver guitarist/ series of slowly morphing electronic soundscapes Spain, now residing in Copenhagen) and Rully Shabara oud player Gordon Grdina. Combining traditional and underneath which Liebezeit played insistent, (from the Indonesian band Senyawa), whose vast vocal western instrumentation, it was a joyous experience— industrial-style rhythms without respite. Some people techniques were a cross between Inuit vocalist Tanya no mournful laments here—with some improvisations zoned out, others danced, still others got caught up in Tagaq and Mike Patton. from strings, violins and brass, but more a folk outing the club-like lightshow that accompanied the music. Moye, best known for his work with Art Ensemble than a free-jazz experience. Local boys (well, local to us) Ideal Bread played a of Chicago, played frequently with German Hartmut Chicago’s ever-productive saxophonist Ken magnificent set drawn from their latest album fêting Geerken. On the final day the two improvised as a duo, Vandermark brought his Audio One tentet for an the compositions of late soprano saxophonist Steve Geerken on kalimba, keyboard, wood flute and vocals engaging set of originals. The songs were well crafted Lacy. Leader/baritone saxophonist Josh Sinton told a along with Moye’s chants and hand- and stick-played for his multi-talented group, including the energetic touching story of first getting into progressive jazz and gongs and drums. Their history goes back decades and and inventive frontline of saxophonists Mars Williams, hearing albums recorded at early Moers festivals. That their set reflected two well-acquainted souls. Moye Dave Rempis, Nick Mazzarella and trombonist Jeb he was now playing at one was “a dream come true”. also graced ensembles with local boisterous trombonist Bishop. Occasional duos featuring violist Jen Paulson The band, who has been together for a decade, Hakan Strangberg and also bolstered the co-led group and vibraphonist Jason Adasiewicz contrasted nicely translated their unique take on Lacy’s music from the of Mauritz Tchicai (baritone horn) and Otto Andreasen with the dominant brassy sound. It was a blowout, usual tens of people in Brooklyn to 2,500 enthusiastic (one of many stylistically distinct, envelope-pushing though Vandermark can be encouraged to be more Moers-ites, Sinton and cornet player Kirk Knuffke Danish alto playing Musketers such as Laura Toxværd, adventurous. forming a cogent frontline buoyed by drummer Tomas Jesper Zeuthen and Christian Khyl). Other highlights and near the top at many fans’ Fujiwara and new bassist Adam Hopkins. Speaking of Jerome Cooper, sole surviving member of The “best of” lists was the opening concert by vocal acrobat Brooklyn, the reworking of Fred Frith’s seminal 1980 Revolutionary Ensemble, gave the most indelible and singer Meredith Monk, who, with her dramatic album Gravity performed at Roulette last fall fit the American/Danish collaborative effort in duo with hand gestures and honey-tinged clarity, presented a Moers aesthetic perfectly, art-rock flourishes mixing experimental vocalist Marie Laurette Friis. Head and collection of songs that recall the native music of the with circus music and a tongue-in-cheek version of body motionless, Cooper’s wrists rolled mesmerizing U.S. Southwest, spacey Americana. She clicked, “Dancing in the Streets”. This mammoth interpretation tom mallet figures, slowly developing intensity while hummed and ululated and accompanied herself on featured guitarist Ava Mendoza (more on her later) in Friis—crouched at the foot of Cooper’s — Jew’s harp and piano. Call-and-response duets with its most incendiary moments as well as William subtly threw colorful and dynamic sounds into her mic mezzo-soprano Katie Geissinger were so tight you Winant’s kitchen-sink percussion and the leader on through an effects box in a 15-minute masterpiece. couldn’t tell the two apart. And Norwegian singer both guitar and electric bass. The last set of the evening Earlier in the festival, Cooper and Cooper-Moore Maja Ratkje delighted with her expressive solo vocal was another welcome surprise. Letieres Leite’s wowed the Danish crowd in their solo sets, the former contortions, chants and electronic effects as she busily Orkestra Rumpilez was billed as a Brazilian big band on drums, balafon and keyboard, the latter on his worked a table of devices. but exceeded that label with avant garde flourishes in homemade, lap-played single-string diddley-bow. Noise as a genre was offered in two concerts the saxophone solos, complex rhythms from a thicket Of the various large-scale works of spontaneous featuring the death-rock musical attack of guitarist/ of percussionists centerstage and the leader’s buoyant group improvisations, the festival’s finale set was the vocalist Keiji Haino. With his mane of silvery hair flute. That the band wore matching cabana gear and most rewarding, beginning around 1:30 am and lasting hanging below his armpits and dressed in black, he cut sat on deckstools just added to the fun. well over an hour and a half. Starting out as a vast a dramatic figure as he screamed and pitched high- The festival closed on Monday with a one-two ensemble, including all the musicians still in volume riffs from his electric guitar in a gig with punch. Guitarist Ava Mendoza’s Wayside Wayfarer attendance, soloists were signaled in by Osgood: from French electric guitarist Richard Pinhas, ever- with electric bassist Tim Dahl and drummer Nick Shabara, American expatriate Bob Rockwell (tenor), TS propulsive drummer Tatsuya Yoshida and the wall-of- Podgurski was stunning in its brutality. Like Jean Hawk (dance/spoken word), Lars-Göran Ulander sound electronics of Masami Akita, known as Merzbow. Louis two days earlier, Mendoza’s group didn’t draw (veteran Swedish alto saxophonist) and Jesper Løvdal The Prince of Darkness was a keystone of the drone- on typical jazz guitar tropes but instead recalled the (stritch) to a collective choral section. Something like sound produced with Australian drummer Oren classic mid ‘80s Corrosion of Conformity trio lineup intriguing then happened—musicians randomly Ambarchi and American electric bassist Stephen (Podgurski even looks like Reed Mullin) and the East started leaving the stage, some returning, some not, all O’Malley, collectively known as Nazoranai. v Bay Ray-Klaus Fluoride-D.H. Peligro version of the while the music continued, thus altering the course Dead Kennedys. Mendoza takes the cheerfulness out with each new instrumental variation. It followed the For more information, visit fimav.qc.ca of surf-rock guitar and Dahl is like an alien punching same rule of thumb as the rest of the festival’s mini- through your chest. Mendoza’s anguished vocals on sets, the main difference that there wasn’t any pause “Dogsbodies” and “Feral Twin” added to the post- between the new groupings: with at least one musician (MOERS CONTINUED FROM PAGE 13) apocalyptic vibe. The closing set was a typically remaining a constant, the flow was always maintained. raucous one from Mostly Other People Do the Killing, This jam session-like atmosphere was a perfect send- The discovery for this reporter was French-Belgian- appearing as a sextet and a festival favorite. Peter off for those music warriors (players and listeners Italian trumpet-bass-drum trio Jean Louis later that Evans has been replaced by Steven Bernstein, bass alike) who remained to the end of what was an evening. Despite their instrumentation, the group’s trombone legend Dave Taylor has been added to the exhausting but certainly rewarding festival. v foundation was drawn from progressive rock bands mix but it was two other new members, pianist Ron like King Crimson or Meddle-era Pink Floyd. Upright Stabinsky and banjo player Brandon Seabrook, mind- For more information, visit locomusic.dk

42 JULY 2014 | THE NEW YORK CITY JAZZ RECORD IN MEMORIAM by Andrey Henkin HERB JEFFRIES - The vocalist, after working with Earl Hines and then becoming a movie star in Black westerns during the late ‘30s, scored a massive hit in 1941 with Duke Ellington and the song “Flamingo” and went on to intermittent recording over the subsequent decades as well as numerous television appearances. Jeffries died May 25th at 100. MILJENKO PROHASKA - The bassist with the Zagreb Jazz Quartet featured on the 1962 John Lewis album Animal Dance was also a stalwart of Croatian symphonies, initially as a player and then as a conductor, and later was noted as a composer in various genres, including film work. Prohaska died May 29th at 88. FRANK STRAZZERI - The pianist, though born in Rochester, NY, settled in Los Angeles in 1960 and made his mark both as a session musician and in the bands of Charlie Ventura, Les Brown and as part of The Lighthouse All-Stars, on albums by Herb Ellis, Harold Land, , Don Menza and Louis Bellson and his own nearly 20 sessions as a leader from 1969-2004. Strazzeri died May 9th at 84. JOE WILDER - The trumpeter was a mainstay in the big bands of Count Basie, Benny Goodman, Lionel Hampton and Jimmie Lunceford as well as recording with Neal Hefti, Hank Jones, , Jimmy Giuffre, , , Herbie Mann and dozens of others during an over-60-year career (but with just a handful of albums as a leader) and is also notable for being among the first to desegregate Broadway pit orchestras in the ‘50s. Wilder died May 9th at 92. GEORGE YOSHIDA - The author of Reminiscing in Swingtime: Japanese Americans in American Popular Music, 1920-1965, who suffered under the US Government’s internment of Japanese-Americans during World War II, went on to become a respected music educator in the Berkeley, California school system. Yoshida died May 13th at 92. BIRTHDAYS July 1 July 7 July 11 July 17 July 22 July 26 †Earle Warren 1914-95 †Tiny Grimes 1916-89 Henry Lowther b.1941 †Mary Osborne 1921-92 †Paul Moer 1916-2010 †Gus Aiken 1902-1973 †Rashied Ali 1935-2009 †Frank Rehak 1926-87 Tomasz Stanko b.1942 †Ray Copeland 1926-84 †Al Haig 1924-82 †Erskine Hawkins 1914-93 Ndugu (Chancler) b.1952 Doc Severinsen b.1927 Travis Sullivan b.1971 †Vince Guaraldi 1928-76 †Bill Perkins 1924-2003 †Louie Bellson 1924-2009 Erik Friedlander b.1960 †Hank Mobley 1930-86 Will Vinson b.1977 †Joe Morello 1928-2011 †Keter Betts 1928-2005 Charli Persip b.1929 Sameer Gupta b.1976 †Joe Zawinul 1932-2007 b.1933 †Junior Cook 1934-92 b.1938 Brandee Younger b.1983 Sue Evans b.1951 July 12 †Nick Brignola 1936-2002 Johannes Bauer b.1954 Natsuki Tamura b.1951 Michael Henderson b.1951 †Sam “The Man” Taylor Chico Freeman b.1949 Al DiMeola b.1954 July 2 JA Granelli b.1966 1916-90 July 27 †Charlie Kennedy 1927-2009 Orlando Le Fleming b.1976 †Paul Gonsalves 1920-74 July 18 July 23 †Charlie Queener 1923-97 Richard Wyands b.1928 †Conte Condoli 1927-2001 †Charlie LaVere 1910-83 †Emmett Berry 1915-93 Charlie Shoemake b.1937 Ahmad Jamal b.1930 July 8 †Big John Patton 1935-2002 †Ray McKinley 1910-95 †Johnny Hartman 1923-83 Carl Grubbs b.1944 MICHAEL WOLFF †William Fielder 1938-2009 †Bill Challis 1904-94 †Jean-Francois Jenny-Clark †Joe Comfort 1917-88 †Claude Luter 1923-2006 Joel Harrison b.1957 July 31st, 1952 Mike Abene b.1942 † 1908-75 1944-98 †Don Bagley 1927-2012 Bill Lee b.1928 Jean Toussaint b.1960 Gary Dial b.1954 †Johnny Mince 1912-97 Mark Soskin b.1953 †Carl Fontana 1928-2003 †Richie Kamuca 1930-77 The pianist was born in New †Billy Eckstine 1914-93 Ken Thompson b.1976 †Buschi Niebergall 1938-’80s †Steve Lacy 1934-2004 July 28 Orleans but grew up in July 3 †Ken Hanna 1921-82 Ron Caswell b.1977 †Dudu Pukwana 1938-90 Daoud-David Williams b.1943 †Corky Corcoran 1924-79 Memphis and Berkeley. His †Johnny Coles 1926-96 Roy Babbington b.1940 William Hooker b.1946 b.1946 Jim Galloway b.1936 first major work was with Ronnell Bright b.1930 Sakari Kukko b.1953 July 13 Theo Croker b.1985 Loren Schoenberg b.1958 Nnenna Freelon b.1954 vibraphonist Cal Tjader in †Ron Collier 1930-2003 Russ Johnson b.1965 †George Lewis (cl) 1900-68 Achille Succi b.1971 b.1965 the ‘70s and he then went on Pete Fountain b.1930 Kendrick Scott b.1980 Bengt-Arne Wallin b.1926 July 19 to work and record with Rhoda Scott b.1938 Tyshawn Sorey b.1980 †Leroy Vinnegar 1928-99 †Buster Bailey 1902-67 July 24 July 29 Cannonball Adderley. His Dr. Lonnie Smith b.1942 Matt Wigton b.1980 †Albert Ayler 1936-70 †Cliff Jackson 1902-70 †Joe Thomas 1909-84 †Don Redman 1900-64 other sideman recording John Klemmer b.1946 †Earl Grubbs 1942-89 †Charlie Teagarden 1913-84 †Billy Taylor 1921-2010 †Charlie Christian 1916-42 credits include Nancy July 9 George Lewis (tb) b.1952 Bobby Bradford b.1934 Ronnie Lang b.1927 † 1945-2008 Wilson, Sonny Rollins, Tom July 4 †Joe Darensbourg 1906-85 †Carmell Jones 1936-96 †Rudy Collins 1934-88 Harrell and . Aaron Sachs b.1923 †June Richmond 1915-62 July 14 Didier Levallet b.1944 Mike Mainieri b.1938 July 30 He began recording as a Conrad Bauer b.1943 †Duke Burrell 1920-93 †Billy Kyle 1914-66 Charles McPherson b.1939 †Hilton Jefferson 1903-68 leader in 1993 and has over Butch Miles b.1944 †Alex Welsh 1929-82 †Alan Dawson 1929-96 July 20 Jon Faddis b.1953 †Roy Porter 1923-98 15 albums to his credit, Fred Wesley b.1943 †Frank Wright 1935-90 Lauren Sevian b.1979 †Bill Dillard 1911-95 Barry Romberg b.1959 †Frank Smith 1927-74 including his latest project, Matt Steckler b.1974 †Joachim Ernst Berendt James Zollar b.1959 †Vernell Fournier 1928-2000 the Wolff & Clark Expedition July 10 July 15 1922-2000 Etienne Charles b.1983 James Spaulding b.1937 (Random Act) with fusion July 5 †Noble Sissle 1889-1975 †Philly Joe Jones 1923-85 †Ernie Wilkins 1922-99 Hal Smith b.1953 drum legend Mike Clark. †Ray Biondi 1905-81 †Ivie Anderson 1905-49 †Joe Harriott 1928-73 Peter Ind b.1928 July 25 b.1958 Wolff was Musical Director †Bruce Turner 1922-93 † 1910-85 †Henry P. Warner 1940-2014 †Charles Tyler 1941-82 †Darnell Howard 1895-1966 for the Arsenio Hall Show and Sha b.1983 †Milt Buckner 1915-77 Rodrigo Amado b.1964 Samuel Blaser b.1981 †Johnny Wiggs 1899-1977 July 31 has also done soundtrack †Dick Cary 1916-94 Petros Klampanis b.1981 †Johnny Hodges 1907-70 †Hank Jones 1918-2010 work as well as produced July 6 †Major Holley 1924-90 July 21 †Jef Gilson 1926-2012 †Ahmet Ertegun 1923-2006 the music for The Naked †Betty Smith 1929-2011 †Buddy Clark 1929-99 July 16 b.1930 † 1934-78 †Bjarne Nerem 1923-91 Brothers Band, a Nickelodeon Chris White b.1936 †Arnie Lawrence 1938-2005 †Teddy Buckner 1909-94 †Sonny Clark 1931-63 Günter Lenz b.1938 Kenny Burrell b.1931 series starring his two sons Klaus Kugel b.1959 †Lee Morgan 1938-72 †Cal Tjader 1925-82 Plas Johnson b.1931 Brian Blade b.1970 Michael Wolff b.1952 Nat and Alex. -AH Torben Waldorff b.1963 Brian Priestley b.1940 Bobby Previte b.1957 Scott Wendholt b.1965 Mike DiRubbo b.1970 Stanley Jordan b.1959 ON THIS DAY by Andrey Henkin

And The Metronome All Stars On The Riviera Frictions Blues for Coltrane Outside In Billy Eckstine (MGM) Wilbur De Paris (Atlantic) Free Jazz Group Wiesbaden (s/r) McCoy Tyner (Impulse) Paul Bley/Sonny Greenwich (Justin Time) July 9th, 1953 July 9th, 1960 July 9th, 1971 July 9th, 1987 July 9th, 1994 Billy Eckstine, who was among the Trombonist Wilbur De Paris was a Wiesbaden is a small German city This tribute to John Coltrane, recorded A fascinating duo album by two quite first black big band vocalists, working tireless worker on behalf of New about 40 kilometers west of Frankfurt. almost 20 years after his tragic different sons of Canada on one of its first with Earl Hines and then as leader Orleans-style jazz from the mid ‘20s Far from Berlin, it still managed to premature death, is ostensibly led by homegrown labels. Pianist Paul Bley of his own big band, fronts the through the early ‘70s. This live have musicians swept up by the free one of his former employees (pianist came up in the New Thing of New Metronome All Stars for this two-tune recording from the French Antibes Jazz music raging over the continent at the McCoy Tyner), features another York City and went on to a prolific EP. The backing band were musicians Festival was one of his last, coming time. The limited-edition, self-released (saxophonist ) and an career in avant garde jazz while voted in by the readers of Metronome near the end of a ten-year stint for LP is the only album by this quartet— infrequent partner (drummer Roy guitarist Sonny Greenwich had a more magazine (various lineups recorded 15 . The band—brother multi-reed player Dieter Scherf, Haynes) plus a bassist with whom traditional arc with Hank Mobley, John albums between 1939-56) and here was Sidney De Paris and Doc Cheatham guitarist/flutist Gerhard König, Coltrane never recorded (Cecil McBee) Handy and his own albums. The comprised of Kai Winding, John (trumpets), Garvin Bushell (clarinet), trumpeter Michael Sell and drummer and a stylistic heir (saxophonist David 12-tune program is closer to LaPorta, , Lester Young, Sonny White (piano), John Smith Wolfgang Schlick, the two-part title Murray). Apart from Tyner’s “Bluesin’ Greenwich’s aesthetic than Bley’s, Terry Gibbs, Teddy Wilson, Billy Bauer, (guitar), Hayes Alvis bass) and Wilbert track split across the two sides of the For John C.”, Murray’s “Last of the with songs like “Steeplechase”, “These Eddie Safranski and for Kirk (drums)—plays eight Crescent disc. Only Sell’s discography would Hipmen” and Billy Eckstine’s “I Want Foolish Things” and “Pent-Up House”, “How High The Moon” and “St. Louis City standards like “St. Louis Blues” grow much past this release in the to Talk About You”, the other three a nice opportunity to hear the pianist Blues”. and “Muskrat Ramble”. subsequent decades. tunes are Coltrane originals. in a less cerebral setting than usual.

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THE NEW YORK CITY JAZZ RECORD | JULY 2014 43 INTERNATIONAL TENNIS HALL OF FAME AT THE NEWPORT CASINO ALEX AND ANI STAGE / FRI, AUG 1 / Jazz at Lincoln Center Orchestra w. Wynton Marsalis fea. Theo Croker - To Billie With Love

FORT ADAMS STATE PARK FRI, AUG 1 / Jon Batiste 8 John Zorn’s Masada 8 Miguel Zenón 8 Snarky Puppy Darcy James Argue 8 Cécile McLorin Salvant 8 Rudresh Mahanthappa 8 Amir ElSaffar Vince Giordano & the Nighthawks 8 Mostly Other People Do The Killing 8 Berklee Global Jazz SAT, AUG 2/ Jazz at Lincoln Center Orchestra w. Wynton Marsalis 8 Trombone Shorty 8 Gregory Porter 8 Robert Glasper 8 SFJAZZ Collective w. Miguel Zenón, Avishai Cohen, David Sanchez, Robin Eubanks, Warren Wolf, , Matt Penman & Obed Calvaire Pedrito Martinez 8 Brian Blade 8 Kurt Rosenwinkel 8 Cécile McLorin Salvant Dick Hyman, Howard Alden & Jay Leonhart 8 Newport Now 60 w. Anat Cohen, Karrin Allyson, Randy Brecker, Mark Whitfield, Peter Martin, Larry Grenadier & Clarence Penn Stefano Bollani & Hamilton de Holanda SUN, AUG 3 / David Sanborn & Joey DeFrancesco Bobby McFerrin 8 Dr. John 8 Gary Burton Vijay Iyer 8 Ravi Coltrane 8 Ron Carter 8 The Cookers 8 Mingus Big Band Django Festival All-Stars 8 The Brubeck Bros Lee Konitz w. George Wein & the Newport All-Stars w. Anat Cohen, Howard Alden, Randy Brecker, , Jay Leonhart & Clarence Penn

Don’t miss out on... $40 GA Tickets for Friday at the Fort & $20 Student Tickets for all days at the Fort Need a ride? Take a Day-trip w. WBGO! Express buses from Jazz at Lincoln Center (Manhattan), BRIC House (Brooklyn), & New Jersey Performing Arts Center (Newark, NJ)

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Photos, left-right: Bobby McFerrin, Trombone Shorty, Dee Dee Bridgewater, John Zorn, Wynton Marsalis. Artists not in play order, and are subject to change. Original works to debut at the festival are made possible in part by the Doris Duke Charitable Foundation. The Friday afternoon program is made possible in part by The Rhode Island Foundation. The Newport Jazz Festival® is a production of Newport Festivals Foundation, Inc.™, a 501(c)(3) non-profit corporation, duly licensed. All rights reserved.

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