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JUNE 2018—ISSUE 194 YOUR FREE GUIDE TO THE NYC SCENE NYCJAZZRECORD.COM

CHARLES

TOLLIVER IN MEMORIAM CECIL LAST MAN TAYLOR STANDING

DAVID PAAL PETER JOHANNES FIUCZYNSKI NILSSEN-LOVE KUHN BAUER Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The City Jazz Record 66 Mt. Airy Road East JUNE 2018—ISSUE 194 Croton-on-Hudson, 10520 Phone/Fax: 212-568-9628 ew YoRK@Night 4 Laurence Donohue-Greene: I nterview : DAVID FIUCZYNSKI 6 by george grella [email protected] Andrey Henkin: [email protected] A rTIST Feature : PAAL NILSSEN-LOVE 7 by john sharpe General Inquiries: [email protected] Oe n CoVER : 8 by thomas conrad Advertising: [email protected] nCORE : PETER KUHN by robert bush Calendar: 10 [email protected] VOXNews: eST We Forget : JOHANNES BAUER 10 by mark keresman [email protected] LA bEL SpOTLIGHT : double moon by marilyn lester US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or VOXNEWS 11 by suzanne lorge money order to the address above or email [email protected] obituaries by andrey henkin Staff Writers 12 David . Adler, Clifford Allen, Duck Baker, Stuart Broomer, FESTIVAL REPORT Robert Bush, Thomas Conrad, 13 Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, Tom Greenland, Anders Griffen, in memoriam : 14 Tyran Grillo, Alex Henderson, Robert Iannapollo, Matthew Kassel, Mark Keresman, Marilyn Lester, CD Reviews 16 Suzanne Lorge, Marc Medwin, Russ Musto, John Pietaro, Joel Roberts, John Sharpe, Elliott Simon, iSCELLANY 42 Andrew Vélez, Contributing Writers E CvENT aLENDAR Marco Cangiano, Brian Charette, 44 George Grella, Jim Motavalli, Anna Steegmann, Eric Wendell Contributing Photographers Scott Friedlander, Peter Gannushkin, It’ easy, from the outside, to think of the musician’s life as one of glamour. But spend five Jimmy Katz, Radosław Kaźmierczak minutes talking to one and you’ learn why playing jazz is as real a job as you can have. Our Robert I. Sutherland-Cohen, Big Three features this month all demonstrate the effort involved in this career choice. Adrien . Tillmann, Trumpeter Charles Tolliver (On The Cover) is a legend to those in the know but still not a Jack Vartoogian, Simon Wu household name despite decades of performing and recording; he is among those musicians who spearheaded the artist-owned model so today. Tolliver is at Smoke Fact-checker for a weekend engagement. Guitarist David Fiuczynski (Interview) probably made more work Nate Dorward for himself by devoting his time as a performer and educator at to exploring micro-tonality. You can see the results when he performs this month as part of the Alternative Summit. And Norwegian drummer Paal Nilssen-Love (Artist Feature), who relentlessly tours and records all over the world, takes on the musical and logistical challenge of leading a , appearing in a rare stateside visit at Pioneer Works.

We also take the time to celebrate the life’s work of the recently departed master Cecil nycjazzrecord.com Taylor with a two-page In Memoriam spread full of remembrances from his colleagues. On The Cover: Charles Tolliver (photo by Jimmy Katz)

Corrections: In last month’s CD Reviews, Brandon Seabrook is of the same generation as Daniel Levin; in the Brad Mehldau, the correct name of the commissioned piece was “Three Pieces After Bach”; in the Jim McNeely, the was recorded with the Frankfurt Radio Big Band; and in the Marc Ribot, Briggan Krauss played alto saxophone.

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

2 JUNE 2018 | THE JAZZ RECORD JAZZ FESTIVAL JAZZ FESTIVALPRESENTED BY JUNE 2018PRESENTED BY WWW.BLUENOTEJAZZFEST.COM

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Curated by trombonist Chris McIntyre, the Syncretics It felt a bit like ‘30s , the brief respite between Open at Series at Issue Project Room aims to present parallel or wars when jazz manouche flowered in the capable complementary universes in music and sound, the hands of Django Reinhardt and Stéphane Grappelli. connections between not always obvious. For the third “Forever Django: Passing the Family Torch”, held at 7pm! installation (May 5th), improvising percussionist ’s Stern Auditorium (May 1st), starred Pheeroan akLaff and new music pianist Isabelle guitarist/violinist Dorado Schmitt, his guitarist sons ’Connell were presented opposite each other, the Samson and Amati, accordionist Ludovic Beier, latter on a program of four post-millennial works for violinist Pierre Blanchard and guitarist/vocalist piano. AkLaff, since the ‘70s a frequent collaborator of Doudou Cuillerier, plus guest spots by clarinetist Ken trumpeter and reedplayers Oliver Peplowski and vocalists Melody Gardot and Veronica Lake and , was featured in a Swift. Too often, stagings of the Reinhardt/Grappelli kaleidoscopic solo recital spanning African and Asian repertoire degenerate into note-fests of flashy runs and percussion traditions rooted in spirituality and fast strum patterns and certainly these were present, This Month! corporeal movement. His drums, tom-heavy and with but what separated this event was a sense of romance, Live! an array of cymbals, , cowbell and a balafon, an emotional awareness that bordered but never FRI KEN FOWSER QUINTET 7:30PM took up the center of the room as he entered and did a crossed over into sentimentality. Each of the principal 6/1 TONY HEWITT & slow, deliberate dance around the instruments, tapping soloists, especially Beier and the three Schmitts, were THE JOHN COLIANNI GROUP 10:30PM gongs and delicately eking out dry melodies on the firebrands, capable of dazzling feats of finger-play, yet balafon. Moving to the kit, he built snapping, sinewy each embraced an ethos of tasteful restraint, most SAT RAY GALLON TRIO 7:30PM 6/2 EYAL VILNER BIG BAND 10:30PM rock rhythms in a ceremony of economical integration notable in the patriarch’s subtle touches behind the towards a ritual of body, instrument and tradition. of Gardot and Swift and in Samson’s jazz- TUE DOM SALVADOR 7:30PM Occasionally doling out missives, including on his tinged playing over his well-wrought originals. The 6 /5 studies with Fela Kuti, akLaff stitched together second half featured the patriarch playing his own Ghanian highlife, nods to and , a tunes, first on guitar, then ; two trio numbers WED PASQUALE GRASSO SOLO GUITAR 7:30PM resonant exploration of cymbal tunings and bright displaying Amati’s impeccable fretwork; “Hymne à 6/6 DJANGO JAM 10:00PM processionals translating hand drumming into fancy l’Amour” sung by teenaged Stefi Schmitt, stadium- THR STAFFORD HUNTER & CONTINUUM 7:30PM kit-work. This exploration filled the Beaux-Arts stone sized tone belying her awkward shyness; two covers 6/7 “RITA” FT. BRENDAN SKIDMORE theater and turned it into, as the title of aklaff’s debut by sultry chanteuse Swift; then a brisk finale with 13 & BRUCE HARRIS 10:00PM LP reads, a House of Spirit and Mirth.—Clifford Allen pairs of hands onstage, all swinging. —Tom Greenland

FRI KEN FOWSER QUINTET 7:30PM 6/8 LEZLIE HARRISON 10:30PM

TUE JAINARDO SU KUMBATRIO 7:30PM 6/12 LOS HACHEROS 10:00PM o s

WED PASQUALE GRASSO SOLO GUITAR 7:30PM 6/13 DJANGO JAM 10:00PM

THR FREDDY DEBOE BAND 7:30PM 6/14 IAN HENDRICKSON-SMITH 10:00PM

FRI KEN FOWSER QUINTET 7:30PM 6/15 DANNY JONOKUCHI & THE o i a n / r R P h REVISONISTS FT. ALEXA BARCHINI 10:30PM t a r SAT DONALD VEGA 7:30PM 6/16 MIKE SAILORS BIG BAND 10:30PM

WED PASQUALE GRASSO SOLO GUITAR 7:30PM 6/20 STEVEN FEIFKE BIG BAND 10:00PM R . I S u t h e r l a n d - o / p s i g © 2 0 1 8 J a c Pheeroan akLaff @ Issue Project Room Melody Gardot & Dorado Schmitt @ Stern Auditorium THR BRANDON BAIN 7:30PM 6/21 MARK WHITFIELD 10:00PM Trumpeter has been Musical Although most rivers are unidirectional, the idea Director of Bedford-Stuyvesant community center behind Zakir Hussain and ’s FRI KEN FOWSER QUINTET 7:30PM 6/22 HUDSON HORNS 10:30PM Sistas’ Place since 1998, so it’s fitting that the storefront Crosscurrents is that musical cultures, whether borne jazz room on Nostrand Avenue would fête him for his along the Ganges or the Hudson, can flow both ways. SAT DWAYNE CLEMONS QUINTET 7:30PM 71st birthday (May 12th), where his group Diaspora More specifically, as Hussain explained before the 6/23 PROFESSOR CUNNINGHAM & (Dispersions of the Spirit of Ra) performed two sets concert at Rose Theater (May 5th), he wanted to show HIS OLD SCHOOL 10:30PM separated by a rousing champagne toast and delicious what Indian music might offer jazz. With Holland TUE GROOVES strawberry shortcake for all comers. Diaspora in this (bass) and saxophonist Chris Potter representing the 6/26 WITH GERARDO CONTINO 7:30PM iteration comprised fellow Arkestra alum Radu Hudson; Hussain (tablas), singer Shankar Mahadevan, Ben Judah on basses (electric and contrabass), guitarist guitarist Sanjay Divecha, keyboardist Louis Banks and WED PASQUALE GRASSO SOLO GUITAR 7:30PM Kelvyn Bell, drummer , tenor his son, drummer Gino Banks, representing the Ganges; 6/27 NEW ALCHEMY JAZZ ORCHESTRA 10:00PM saxophonist Don Chapman and vocalist-poet Monique the stage was set for a confluence of waterways. After Ngozi Nri. Most of the program featured compositions Holland established a deep, bowed tonic drone, Potter THR DAVID GIBSON QUINTET 7:30PM 6/28 CHRIS TURNER 10:00PM from the Sun Ra songbook—jubilantly rendered with slowly explored the tones of the opening raga in D ensemble vocals, warped guitar chords often minor, answered by Mahadevan, entwining their FRI KEN FOWSER QUINTET 7:30PM approximating Ra’s electric keyboard fascination—in phrases in a beautiful jugalbandi (duet), tablas entering 6/29 ANDROMEDA TURRE 10:30PM addition to Abdullah originals, a rousing cover of after ten minutes, to end in an exciting triple cadence. saxophonist ’s AfroCaribbean gem “La Segueing to a funky calypso with earthy rubbings on SAT DIDA PELLED 7:30PM 6/30 “KING” SOLOMON HICKS 10:30PM Placita” and standards like “Iko Iko”. Abdullah’s the low tabla, the band next moved to a curlier theme phrasing is crackling and compact, with a fullness and with solos all around, followed by a Carnatic raga led The Roxy Hotel surety of force that projects confident, stirring lines, by Mahadevan, whose short ornamented vocal passages 2 AVE. OF THE spurred by the explosive linkages of Radu, Burrage were elegantly answered by Holland, climaxing, after a Reservations Information AMERICAS and Bell. Chapman projected a softer insularity, but his series of solos, with Mahadevan’s similarly inspired (212)519.6649 Cellar Level multiphonic stir was often goaded into bright embers exchanges with Hussain. Banks gave a masterful solo THEDJANGONYC com Tribeca by the rhythm section’s sparring. Yet for all the intense drum-kit demonstration of modulating dance-beats creative interplay, Diaspora presents a view of music before a Bollywood boogie, a workout in tintal (16-beat CRAFT COCKTAILS, SMALL PLATES & LIVE JAZZ! that is all-encompassing, rooted in community and meter) and Mahadevan’s rapid-fire singing on participation—there was ample room for hand claps “Breathless” ended the set. The encore sounded like LOCATED IN THE OF TRIBECA and vocal call and response with the audience. (CA) a Nashville ballad—but with lyrics in Tamil. (TG)

4 JUNE 2018 | THE NEW YORK CITY JAZZ RECORD It is easy to forget, given the reputation accorded to This year’s long-running Lost Jazz Shrines series at Anthony Braxton’s 1969 solo album For Alto, that a few BMCC Tribeca Performing Arts Center celebrated the months earlier an equally groundbreaking album by legacies of the jazz venue Fat Tuesday’s and vocalist WHAT’S NE WS an unaccompanied musician was made: Barre , who performed there regularly, with a The latest inductees into Jazz at Lincoln Center’s Ertegun Jazz Hall Phillips’ Journal Violone. And as the former spawned program under the musical direction of former Carter Of Fame have been announced: Jimmie Blanton, Nat “King” Cole and many followers so too did the latter inspire dozens of pianist Marc Cary. The evening (May 5th) got started . The newest members will be celebrated in curated sets to try their hand(s) at this most demanding of with a talk by Cary, who described making his New at Dizzy’s Club Jul. 17th-19th. For more information, visit academy. formats. These have ranged from fairly straightforward York Carter debut at the club and the lessons learned jazz.org/hall-of-fame. readings of standards to wild explorations of extended during his time with her. The musical portion of the As part of the annual Alternative Guitar Summit taking place this techniques in free settings. Somewhere in the middle show began with graduates of the Kennedy Center’s month, there will a workshop with at The Jazz Gallery Jun. of those two mountains, cut a Betty Carter Jazz Ahead residency mentored by Cary— 23rd at 1:30 pm. And the Alternative Guitar Summit Camp will take place Jun. 11th-15th at Full Moon Resort in Big Indian, NY. For more pastoral valley in his own take on solo performance at vocalist Charles Turner III, pianist Arcolris Sandoval, information, visit alternativeguitarsummit.com. 440 Gallery (May 6th). The bassist was there under the guitarist Andrew Renfroe, bassist Barry Stephenson auspices of flutist Michel Gentile’s monthly Me, Myself and drummer Diego Ramirez—delivering an exciting Sony Corporation is Official Title Sponsor and INGLOT Cosmetics of Poland is Presenting Sponsor of the Annual Blue Note Jazz Festival. and Eye solo series and played two sets to a full crowd set of originals and standards, which included the late As part of the festival, a new venue, Sony Hall, will be inaugurated with and confused pedestrians walking by the space’s bay ’s quirky arrangement of “Sometimes I’m concerts by Gregory Porter, Eddie Palmieri, The Transfer windows facing ’s Sixth Avenue. For his first Happy” and Turner’s original scat feature “Manhattan”. and Chris Botti. For more information, visit bluenotejazzfestival.com. set, Formanek improvised four pieces, the 15+-minute Cary then led a quintet of Carter band alumni with Issue Project Room has announced “Jon Hassell: Riffs on Hyperopia first and last pieces bookended a pair of 6-minute trumpeter Kenyatta Beasley, saxophonist JD Allen, and Music”, a discussion with the famed trumpeter to take place at the forays. Anyone familiar with Formanek’s recent work bassist and drummer Clarence Penn plus venue Jun. 2nd at 8 pm. For more information and to purchase tickets, as a leader knows him as a melodic conceptualist and guest vocalist Jackie Gage through a medley of Cary visit issueprojectroom.org. it was this methodology at play even when he had no originals into which the band wove Carter’s episodic It has been announced that ’s Delmark Records, established one to lead or support but himself. Generally his sound “Sounds” as an interlude between pieces: Cary’s intro in 1953, is under new ownership. Chicago musicians/composers/ was pure, occasionally frosted with majestic double of “Chalabati” set things up for Gage’s singing of the educators Julia A. Miller and Elbio Barilari have acquired the label and all of its subsidiaries, catalogue of masters, inventory of CDs and LPs stops or inhabiting a trot-like groove. Certain kernels melody, serving as an interlude between Lundy’s and Riverside Studio. For more information, visit delmark.com. were developed, possibly for use in some later group soulful “Here’s The Thing” and “Better Days” and project. But he also indulged in bold arco, a moody Cary’s dramatic “Running Out Of Time”. The Jazz Saxophonist/clarinetist Paquito D’Rivera received an Honorary sawing, dirgey and deep, or apocalyptic strums, born Ahead band joined the alumni for the grand finale, Doctorate from the Manhattan School of Music as part of the institution’s commencement ceremonies last month. of rhythmic motifs. —Andrey Henkin Carter’s “Tight”. —Russ Musto Winners of Jazz at Lincoln Center’s 23rd Annual Essentially Ellington High School Jazz Band Competition have been named: first-place winner is Dillard Center for the Arts from Ft. Lauderdale, FL; second-place winner is Newark Academy from Livingston, ; and third-place winner is Tucson Jazz Institute from Tucson, AZ. Honorable Mention is Beloit Memorial High School from Beloit, WI and Roosevelt High School from Seattle, WA. For more information and the complete list of awards, visit academy.jazz.org/ee.

Entries are now being accepted for the Seventh Annual Sarah

. a h t 1 9 8 5 c o m Vaughan International Jazz Vocal Competition from vocalists over 16 not currently signed to a major label. The contest will take place as part of the TD James Moody Jazz Festival in November 2018. For more information and to submit entries, visit sarahvaughancompetition.com.

The 21st Century Band Jazz Institute at Snow Pond Center for the Arts in Sidney, ME will take place Jun. 19th-26th and provide college, graduate-level, and beyond jazz instrumentalists an intensive program of study led by Ron Blake and members of Dion Parson’s 21st Century Band. For more information, visit snowpondmusicfestival.com/ programs/21st-century-band-jazz-institute-snow-pond.

© s c o t f r i e d l a n A d r i e n H . T l m a - w The Summer Jazz Arts Institute in cooperation with the Lehman Michael Formanek @ 440Gallery Marc Cary @ Tribeca Performing Arts Center College Department of Music, Multimedia, Theatre and Dance will take place Jul. 11th-13th. For more information, visit jazzpower.org.

In 1960, a young man named Herbert Jeffrey Hancock The Jazz Gallery Honors Gala at The Players Club The winners of the 2018 Jazz Journalists Association Jazz Awards moved from his native Chicago to New York and, (May 7th) recognized the contributions to the music by have been announced and will be presented Jun. 12th at The New within a couple of years, had established himself as NEA Jazz Master pianists and Eddie School’s Arnhold Hall. For the complete list and to purchase tickets for the event, visit jjajazzawards.org/p/2018.html. both a pianist of choice for a wide array of musicians Palmieri, drummer/activist Terri Lyne Carrington and and as a leader and composer. Though it is far too soon impresario Bruce Gordon with inspired music, moving The SFJAZZ Collective has announced changes in membership. to see if the story will have the same legendary ending, testimonials and much deserved awards. From the Etienne Charles will replace Sean Jones on and Matt Brewer takes over for Matt Penman on bass. For more information, visit New York has had another recent Chicagoan transplant opening processional of the Roman Díaz Agolona Afro sfjazz.org. of about the same age make his own deep ripples in the Cuban Ensemble, a festive spirit filled the room that city’s jazz ocean: vibraphonist Joel Ross. His name would continue through the night. Gallery cofounder/ Registration is now open for the Tenth Annual Jazz Education Network Conference, taking place in Reno, NV Jan. 9th-12th, 2019. seems to be everywhere these days, in as disparate trumpeter led an imposing ensemble of For more information, visit jazzednet.org/conference/conference- band settings as that of Peter Evans and Aaron Parks, vibraphonist Joel Ross, alto saxophonist Immanuel registration. and María Grand. And while he hasn’t Wilkins, pianist David Virelles, bassist Luques Curtis waxed his leader debut yet, he is increasingly gigging and drummer Kendrick Scott through a rousing With a performance last month by , Brooklyn venue The Drawing Room ceased operations after five years. around under his own name and in varied projects. arrangement of Carrington’s “Fire”, after which One such group appeared at Mezzrow (May 8th), a vocalist introduced the composer with The Manhattan Transfer has been named an Honorary Lifetime with the fascinating frontline of Ross’ a touching remembrance of their enduring friendship. Member of the Barbershop Harmony Society. vibraphone paired with Kalia Vandever’s , Claudia Acuña joined Hargrove’s band to sing Victor As part of the ’s “What A Wonderful World” 50th ably supported by bassist Harish Raghavan and Jara’s “El Derecho de Vivir en Paz” as a prelude Anniversary Celebration, an initiative of Queens Library, Louis drummer Craig Weinrib. The band’s first set was four to George Wein’s presentation of the Contributor To Armstrong House Museum and Kupferberg Center for the Arts, there pieces, all hovering around the 15-minute mark, three The Arts Award to Gordon. The Agolona Ensemble and will be a lecture, “The Life & Times of Louis Armstrong” taking place at Forest Hills Library June 25th, Jackson Heights Library Jun. 2nd and of which were originals paired with the standard Gnawan percussionist Maalim Hassan Ben Jaafar Astoria Library Jun. 4th, the latter two events presented in Spanish. “Alone Together”. Though hype is the modern jazz teamed up with Hargrove’s sextet for an incredible For more information, visit queenslibrary.org. currency, Ross is well deserving of his rarified air. His extended outing on Randy Weston’s “Cookbook” prior The Mayor’s Office of New York City has announced the return of New composing is unique and soloing pianistic, the latter to Weston’s acceptance of his award, presented by York Music Month for June. As part of the initiative, there will be free somehow bridging the virtuosic gap between Oscar author Yaa-Lengi Ngemi. Following musicologist rehearsal space offered to musicians, a Music and Nightlife Peterson and Cecil Taylor. While Vandever and Weinrib Renee Lopez’ presentation to Palmieri of his award, all Conference, free concerts and free walking tours of iconic music sites. were solid, it was the match-up with monster Raghavan of the night’s players plus tenor saxophonist Melissa For more information, visit NYMusicMonth.nyc. that was most fruitful. The pair should work as a duo, Aldana threw down on “Vamonos Pa’l Monte”, with Submit news to [email protected] à la Walt Dickerson and . (AH) even Palmieri taking a turn on his song. (RM)

THE NEW YORK CITY JAZZ RECORD | JUNE 2018 5 INTERVIEW

Western point of view, when you think about the first person to do something. I love Middle Eastern and Chinese calligraphy and in Chinese painting, the high art of that was to take yourself out of it and to make sure that the viewer does not know who the artist was. When I found that out, I was kind of shocked. And also DAVID if you look at African music—this is gross generalization but when orchestras are playing, they’re often in a circle, it’s not about an individual. I just hope that down the line people will think that my ideas are worthy of consideration. But by default I guess I am. The only reason I know Interlibrary Loan exists was because I couldn’t FIUCZYNSKI (CONTINUED ON PAGE 43)

s i m o n w u by george grella Guitarist David Fiuczynski has been pushing at the margins player Giorgi Mikadze from Georgia, give me McCoy where jazz meets , rock and punk for decades, both as but with 24 notes per octave. a sideman with the likes of Bernie Worrell, and So again, I use stuff that’s totally in tune, or I have Ronald Shannon Jackson and as the leader of Screaming microtonal stuff pushing against normal chords, or Headless Torsos and KiF. A 2011 Guggenheim Fellow, he is I have 12-note-per-octave soloing against microtonal also one of the minuscule number of musicians who have chords. And if that’s not enough for you and you want moved away from equal temperament in jazz and popular more abuse, I do both, microtonal lines over microtonal music—in Fiuczynski’s case, playing microtonal jazz, funk chords. Kind of like that old Jolt Cola, twice the caffeine CARL MICHEL GROUP and rock across a recent series of and teaching the and sugar you always wanted, this is all the microtones MUSIC IN MOTIAN Microtonal Grooves Lab at Berklee College of Music, where you always wanted! (THE COMPOSITIONS OF ) That’s where I can see Gann say equal temperament he is on the faculty of the guitar department. “REALLy A dATE LOAdEd wITH HEART ANd SOUL”-MIdwEST RECORd is grey. Steven James Taylor—he’s an unbelievable The New York City Jazz Record: When and why did microtonal composer—says there are more tuning AvAILAbLE NOw! AT bANdCAMP, CdbAby, you start playing microtonally? systems than there are composers right now. Here’s an AMAzON, ITUNES, GOOGLE PLAy & SPOTIFy opportunity where you can really be Captain Kirk. David Fiuczynski: This was at New That’s what I tell my students, you can do something Conservatory, late ‘80s, and I was exposed to Joe that’s never been done before, before you leave school. CARLMICHEL.COM Maneri, the late great microtonal pioneer. And to be I think that’s exciting. perfectly honest, the first time I heard that stuff, I thought it was horrible. I actually went up to one of TNYCJR: Do you use existing tuning systems, do you the players and asked, what are you doing? Can you craft your own, or is it a mix of the two? stop? Will you please stop? But as somebody said, music only comes in two forms, good and bad, and DF: I started off with pretty simple stuff, just quarter- I heard this smokin’ 72-note-per-octave piece for flute tones, that’s nothing new. But I think I’ve been able to and and I was like there’s something there. add new ideas, certainly to the so-called jazz and I also was starting to get into so-called non- popular music canon. I’ve had people like Jack Western music and I heard an Arabic call to prayer and DeJohnette say, “I’ve never heard that before”—that’s I got my guitar out and was, oh, let me cop this, and one of the best compliments I ever got. Then I also I was sitting there with my stupid 12-note-per-octave work in 72 notes per, sometimes I go to 96—it’s not that scale and nothing worked! So I realized there’s a whole I’m using all those notes but I’m clearly hearing universe out there to be discovered. And that’s how something outside so I have to adapt and for Mikrojazz, I got started. Philipp wrote stuff in 128 notes per octave, that’s the direction I’m going to go, because there’s some really TNYCJR: What do you think about what [professor/ amazing stuff you can do. composer] Kyle Gann has said about equal There’s an Arabic maqam, it’s not a scale, it’s so temperament, that it’s grey? much more; it’s like an Indian raga so it has all these rules. It’s a minor mode where the 2nd and the 6th DF: I don’t know if I totally agree with that because degree are neutral, I like that mode with a quarter- major art works were written with 12 notes per octave: sharp 4th. I like it so much that it became kind of a joke Beethoven, Wagner’s Tristan und Isolde, Messiaen. between myself and my students, where we started to I love Messiaen. call it “Fuzeany”, because I got tired of saying let’s On the other hand, I agree in a way, that [equal play this minor 7 neutral 6 neutral 2 mode. temperament], the language is exhausted. People are going to still write great stuff, but you’re going to see TNYCJR: It sounds like a scale. more and more [intellectual property] lawsuits. The mathematical possibilities of putting 12 notes together DF: You know, the way I first got attracted to Middle in different ways, decades after decades…you listen to Eastern music and the various non-Western musics the radio and say, I’ve heard this before. that I like—Turkish, Indian, Chinese, Vietnamese; I use more of a continuum. I still use 12 notes per there’s a Silk Road continuum there that I can see octave and I use that in certain situations and then connects them—is that these notes that are outside our there’s the blues, where you play microtonal notes system hit me in the same way the blues hits me, against 12 notes. I experiment with other modes in that straight to my heart. My approach is an unorthodox way. And I have a reverse blues concept where someone Eastern blue note approach. That’s how I inflect those is soloing and I push against them microtonally. Let’s notes and get them to speak. say McCoy Tyner pushing against a Coltrane with more and more chromaticism and colors. I have a tune TNYCJR: Do you consider yourself an avant-gardist? on Mikrojazz’ Neue Expressionistische Musik [with saxophonist Philipp Gerschlauer] called “MicCroy DF: I used to really like the idea of here I am, doing Tyner”, where I had the piano player, this incredible something nobody else has done before. It’s a very

6 JUNE 2018 | THE NEW YORK CITY JAZZ RECORD ARTIST FEATURE

For more information, visit paalnilssen-love.com. Nilssen- Love’s Large Unit is at Pioneer Works Jun. 18th. See Calendar.

Recommended Listening: • Paal Nilssen-Love—Sticks and Stones (Sofa, 2001) PAAL • Paal Nilssen-Love/— Dual Pleasure 1/2 (Smalltown Superjazz, 2002/03)

O W N M U S I C . E T • Atomic—The Bikini Tapes (Jazzland-NoBusiness, 2004) • Frode Gjerstad Trio—Nothing is Forever (Circulasione Totale, 2007) • Large Unit—Fluku (PNL, 2016) NILSSEN-LOVE • The Thing—Again (Trost/The Thing, 2017) peter kuhn music P e t r G a n u s h k i / D O W N T by john sharpe new releases: nobusiness (No ComiNg, No goiNg & The oTher Shore) pfmentum (our earTh/our World) Paal Nilssen-Love has drums in his blood. He’s on the Nilssen-Love has very definite ideas about where he fmr (iNTeNTioN & depeNdeNT origiNaTioN) record as saying that he played drums before he could wants the music to go. “For the time being I’ll continue available at walk. Is that true? He laughs, “I was going to say to write because I find that extremely fascinating and peterkuhnmusic.com/store before I was born! They say that when you are in the challenging, to find new ideas, different ways of dealing mother’s womb you hear sounds and my dad played with music and improvisation. Also, I’m still the bandleader and I prefer to judge and possibly scrap my Peter Kuhn controls his forces drums before me and he did for quite a few years after with an unfailing sense of the I was born.” If he was hard-wired for the drums, then own compositions rather than tunes written by the other right emphasis on the right jazz was not too far behind. His parents ran a jazz club members. On the recent record Fluku [PNL], there are moment to deliver performances of affecting power and simplicity. in , where Nilssen-Love grew up. elements of game pieces that relate to what –Raul da Gama “Art Blakey came home to our place. I was in bed by was doing. I want it to be as democratic as possible but that time, but we heard him twice. He gave me his within some kind of structure. What do they say? drumsticks. Basically I grew up at the jazz club hearing Freedom with responsibility. I make the map and then the likes of , Steve McCall, the musicians decide where to go. I want the musicians and not least Tony Oxley. This upbringing shaped me to feel the strength and power of their initiative. When as a human being and my musicianship.” putting a set together for a concert I’ll be shuffling parts Although steeped in jazz lore, Nilssen-Love’s style from all different pieces and change soloists every night. is all his own. While the predominant impression is a I’ll use the second part of one together with the third focused whirlwind of energy and passion, he tempers part of another and so on and then maybe go back again. the power with passages of measured timbral I want the music to feel fresh every night and the exploration. He showcases his talents on hundreds of musicians to be alert and on top of things and never fall recordings and in a fearsome schedule, which includes into routine. One piece has ‘X’ and a written phrase as tours with long-standing trio The Thing and duos with the starting point followed by an open solo before reedplayers Ken Vandermark, Peter Brötzmann, Joe another ‘X’ solo with written backgrounds and melody. McPhee and Frode Gjerstad, the latter one of his This means anyone can and should be allowed to start earliest employers. One of the projects dearest to his the piece and solo. Whoever’s first is first.” heart is the Large Unit, which brings together a wealth There can be few large groups that have toured so of rising stars from across the Scandinavian scene. It’s extensively, including Ethiopia, Brazil, Japan and now a band that began as the result of a suggestion from the a second tour of North America. How does he manage Molde Jazz Festival to put his own group together for the economics and logistics for such a large group? the festival’s 2013 edition. “I undertake all administration of the band, booking, “They were not thinking it was going to be 10 or applying for support and all. One is extremely lucky in 11, but basically it just snowballed. The fall of 2012, Norway with government support...Thankfully, people when I was 35, I began playing with bass player Jon in the band are willing to play for quite a lot less in this Rune Strøm [in Gjerstad’s Trio] and I realized that was group than a trio or quartet. If it wasn’t for the support the first group where I was not the youngest. In we’d be close to zero or in the red.” connection with the festival’s initiative, I thought now Since inception in 2013 the Large Unit has never is the time to put together a large group with some stood still, and already has seven albums to its credit. younger guys. Now it’s changed a little bit so it’s 13 For the latest release, More Fun Please, Nilssen-Love guys. A mix of age and geography as well. One from adds 20 classical and jazz students from the Music , two from , one from , the rest High School in , including three accordions and are Norwegians.” three . “I love the sound of accordion so here Where did the impetus come from to put together was my chance. As with the pieces for the regular a large group? “Frode Gjerstad had an eight- to nine- group, I wanted to divide the group up into two, three person group, Circulasione Totale Orchestra, which or even four and I even had two guys conducting each was running before I moved out of Stavanger. Then part of the group with cues and drawn signs. The fast forward to 2002 when I joined Ken Vandermark’s instruments and players were pushed to the extreme.” Territory Band and 2004 I joined the Peter Brötzmann Extending the Large Unit is nothing new for the Chicago Tentet. So I already had some experience of drummer. He recruited two Brazilian percussionists to dealing with larger ensembles, which I enjoyed a lot. record Ana (PNL, 2016), who also hooked up with the When I put the group together I was out scouting for band when they toured Brazil. But that’s not the end of younger musicians and was checking them out. It was it. “This summer is going to be pretty intense. We will also the first time in my life that I really had to sit down be performing at a huge called Roskilde and write music in a more serious way and with a just outside with the two Brazilians, plus deadline. They were all very excited about the fact that at Molde Jazz Festival where we had our first gigs five we were going to play together and they were willing years ago, we’ll then have six guys from Ethiopia plus to try out any idea that I had. The energy was feeding the Brazilians, 21 people on stage. In a way that gig back and forth. We had some amazing days together will sum up what we’ve done over the last five years before the first concert and I was sure this was a band with the different trips to Brazil and Ethiopia and be a and not just another project.” celebration of what is possible.” v

THE NEW YORK CITY JAZZ RECORD | JUNE 2018 7 ON THE COVER CHARLES TOLLIVER LAST MAN STANDING t z by thomas conrad k a j i m y

Charles Tolliver is the last man standing from the dramatic; incandescent ideas that pushed against the played in the trumpet section, says, “There was so much great trumpet generation that produced Freddie boundaries of established form. (He retains these going on, the material was so hard, you couldn’t really Hubbard, , Booker Little, , assets in 2018.) But for all the cult mystique surrounding play it. You could get close.” When told of Weiss’ Carmell Jones and . He is also a Strata-East, the label never made anybody famous. remark, Tolliver laughs: “I left it open, to get that edge groundbreaking composer, arranger and big band Tolliver says that he “stepped away” from operating I wanted.” Even “‘Round Midnight” is turbulent. leader. This story is about why Tolliver should be more Strata-East in the early ‘80s and it is around that time Tolliver takes three separate, far-reaching, revelatory famous. It is also about why he is not. that a question began to be heard on the jazz street, one solos. Of the great trumpet players of the hardbop It begins in Jacksonville, , where Tolliver that persists to this day: “Whatever happened to generation, he is the most avant garde. He says, was given a cornet by his grandmother when he was Charles Tolliver?” (Apparently even was “I learned from Andrew Hill how to incorporate free eight. Two years later his family moved to New York. prone to the syndrome. Tolliver once encountered him elements into a straightahead setting.” He matriculated at Howard University in Washington on a New York sidewalk. Davis, peering out from the Tolliver’s orchestra got work and made two D.C. as a pharmacy major but never stopped playing turned-up collar of his trench coat, croaked [Tolliver European tours in 2007. With Love was nominated for a trumpet, on which he is self-taught. He says, “Music imitates that famous hoarse whisper] “Charles Tolliver! Grammy in 2008. In 2009 a second big band album was part of my being since I was five.” He left Howard That you? Where the fuck you been?”) appeared on , Emperor March, recorded live at after three years, returned to New York and was hired When you talk with Tolliver today, you discover the Blue Note in Greenwich Village. Most of the tunes by Jackie McLean, whose 1964 Blue Note album It’s that his life of creativity has continued unabated: (“On the Nile,” “Toughin’,” “In the Trenches”) are Time became Tolliver’s recording debut. “In the ‘80s I began spending a lot of time in Europe. Tolliver originals composed long ago for the small In astonishingly short order, Tolliver played with I wrote for large ensembles and did the European radio group version of Music Inc. Expanded for large Art Blakey’s Jazz Messengers (where he replaced orchestra circuit. I toured with my small group from ensemble, they have all the unleashed fury of anything Morgan), the big bands of and Oliver Scandinavia to . Then in 1992 on With Love and more majesty. “On the Nile” contains Nelson (on the West Coast), Max Roach (where he recruited me to teach at the New School. I’ve been one of the great solos of the new replaced Hubbard) and . In the second there 25 years straight.” He has also taken on large, millennium, an outbreak of sublime ravings by Tolliver’s half of the ’60s he recorded (mostly on Blue Note but ambitious projects. In 1998 he transcribed John former student Marcus Strickland. There are vivid also on Atlantic, Pacific Jazz and Milestone) with all of Coltrane’s Africa/Brass for performances (with a choir) individual moments from many others including these leaders except Blakey and also with Andrew Hill, at several European festivals. In 2009, for the 50th Tolliver himself. But solos are functions of the fullness , and . anniversary of Monk’s legendary , of the whole: the seething, ceaseless ensemble, a living In normal times, Tolliver would have taken the he transcribed the music (“from the Riverside album, organism. It is one thing to be self-taught on trumpet. It next step forward to make his own records for Blue exactly as recorded it”) for a is another to be a self-taught arranger capable of creating Note. But it was not normal times. Fellow trumpeter performance at Town Hall. In 2017, for the Monk a new concept of big band jazz: rougher, wilder, freer. explains it this way: “Just as it got to be Centennial, he took that project to Europe. He was By 2010, it had become challenging to keep enough Charles’ turn, the jazz record industry tanked. Blue even asked to “reduce” an opera (Jack Beeson’s Lizzie heavy hitters together and the gigs were drying up. Note got sold. The major labels scaled way back on Borden) for chamber ensemble, for the 2013-14 season Tolliver jokes, “I never wanted to do it anyway. So jazz. The Blue Note/Prestige support system wasn’t of the Lyric Opera. And he continues to lead his I said, ‘That’s it.’ I went back to where I came from, there for guys like Charles.” small group, which he now calls New Music Inc. which is the small group format.” Tolliver had met pianist in Roach’s There can be only one explanation for the fact that Once again, the question is getting asked, “Whatever band and they became, in Tolliver’s words, “blood a major figure of jazz, based in New York, still active happened to Charles Tolliver?” The answer has not brothers for life.” They formed a quartet called Music and in full command of his creative powers at 76, changed: he is still sustaining projects small, like New Inc. and made an album in 1969, The Ringer, for the remains under the radar: the relative scarcity of Music Inc., and large, like what will happen as part of British Polydor label. They recorded their second recordings, especially recent ones. His discography is the Jazz Festival on Aug. 24th. The 50th album themselves. At Cowell’s suggestion, they thin (and mostly out of print). Yet the story gets more anniversary of Paper Man, Tolliver’s debut as a leader, embedded their quartet in a large ensemble. When complicated, because in the new millennium there will be celebrated. Bartz, who played on it, will be there. they shopped the tapes, no label was interested. So have in fact been two high-profile releases so strong and Jack DeJohnette will take the chairs they formed their own, Strata-East, and released Music they should have put Tolliver on the map for good. occupied by and . Inc. & Big Band in 1971. Strata-East became the stuff of In 2003 Weiss approached him about reforming his Tolliver has not put out a record in nine years. He legend. It was the first jazz label controlled by two big band. Tolliver was reluctant but Weiss is a persuasive says that he is sitting on lots of unreleased music and young African-American musicians. The catalogue man. Tolliver says, “I dug out those old charts that were occasionally thinks about “doing something with it.” eventually grew to 65 titles. Besides the co-founders, gathering dust. We put a band together and played a Let’s hope he does. Whether he does or not, he will be there were releases by leading-edge players like weekend at the . It snowed the first night the last man standing. v and . but the place was packed. We said, ‘Really? Let’s see Tolliver and Cowell recorded a second large what we can do with this.’ But I only wanted to have a For more information, visit charlestolliver.com. Tolliver’s ensemble recording, Impact, in 1975. Weiss has said of big band again if I could load it up with heavy hitters. New Music Inc. is at Smoke Jun. 29th-Jul. 1st. See Calendar. their two Strata-East big band albums, “They were came to one of our gigs and stepped in Blue Note on steroids. The power was incredible. and a deal got put together with Blue Note.” With Love Recommended Listening: Nobody arranges like that, then or now.” These albums was recorded in 2006. Tolliver found his heavy hitters. • Jackie McLean—It’s Time (Blue Note, 1964) should have broken down doors. They reimagined Craig Handy, , Robert Glasper and Victor • Charles Tolliver—Paper Man (Polydor, 1968) what was possible in the orchestral jazz format. And Lewis are on board. So are Cowell, Howard Johnson and • Charles Tolliver—Mosaic Select 20 the small-group Music Inc. recordings should have Cecil McBee, who played on the original Music Inc. big (Strata-East - Mosaic, 1970/73) made Tolliver a star (and Cowell too). They include band albums. The opening track, “Rejoicin’”, proves • Charles Tolliver—Live in At The Quasimodo Live at Slugs’ and Live in Tokyo. It is startling to go back that Tolliver is still an arranger like no other. Sections of (Strata-East, 1988) to them today. Tolliver had it all: a searing, brassy tone; the orchestra collide and grind together. The ensemble • Andrew Hill— (Blue Note, 2005) spit-fire velocity; naked aggression; a flair for the always sounds on the verge of flying apart. Weiss, who • Charles Tolliver Big Band—With Love (Blue Note, 2006)

8 JUNE 2018 | THE NEW YORK CITY JAZZ RECORD intakt records 2018 www.intaktrec. Distributed by Naxos America · Mailorder: arkivjazz.com Available in NYC: Downtown Music Gallery [email protected] | Digital-Download-Shop: intaktrec.bandcamp.com Intakt CD298 Intakt CD304 Intakt CD305 Intakt CD308 Intakt CD306 Intakt CD311 Intakt CD301 Intakt CD307 GLOBE UNITY – 50 YEARS YEARS –50 GLOBE UNITY RABBITS TRANSMIGRATION MAX AT THE SOLAR Alexander vonSchlippenbach | |Paul Lytton Ryan Carniaux|ChristofThewes | |Gerhard Gschlössl|CarlLudwigHübsch Rudi Mahall|AxelDörnerManfred Schoof|Jean-Luc Cappozzo |Tomasz Stan’ko Henrik Walsdorff |Ernst-Ludwig Petrowsky |DanieleD’Agaro |Gerd Dudek | a Dave Gisler:Guitar|Raffaele Bossard: Bass|LionelFriedli: Drums da THE BERLIN CONCERT DECOY an Vojko Huter:Guitar, Synths/Electronics |Paul Amereller: Drums Xaver Rüegg:DoubleBass|Tapiwa Svosve: AltoSaxophone,Synths/Electronics district Simone Keller: Piano|LukasRickli: Philip Bartels:Piano|DuriCollenberg: Piano INTERPRETATIONS PIANO JULIUS EASTMAN k : ElectricHarp|Bobby Previte: Drums :8-String Guitarbass,Soprano Sax,Electronics, Samples&Textures e Aruán Ortiz:Piano|Brad Jones:Bass|ChadTaylor: Drums,Mbira ar Robyn Schulkowsky: Drums,Percussion : Drums,Percussion J Angelika Niescier:Saxophone|ChristopherTordini: Bass|: Drums INLIVE ZURICH NOW YOU HEAR MENOW YOU HEAR LL oe U L e V UÁ k G iott X V Y Baron e U e G L r n ika UZ QU on

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aegis of Dependent Origination combining Kuhn with narcotics. What I’m playing is an expression of joy and saxophonist Dave Sewelson, cornet player Dan Clucas, well-being without being fueled by despair and need. PETER bassist Scott Walton and drummer Alex Cline. These Before there was an extra-musical grasping in my discs follow the spectacular No Coming, No Going (an playing. Now I think there is more clarity in my archival double album of Kuhn’s ironically titled Livin’ phrasing and I think that my sound is reflecting Right and a previously unissued duet concert with a deeper, more integrated person. I’m still getting my KUHN drummer ) coupled with The Other Shore, chops up but what I’ve learned from living a spiritually- which showcases Motl and Hubbard, both on the based life is that we work with what we have. The by robert bush Lithuanian label NoBusiness. Also released in 2016 was limitations of my technique are really reflections of my Our Earth/Our World on pfMENTUM, an incendiary, limitations as a human. I’m always going to be fallible, In the late ‘70s, woodwind virtuoso Peter Kuhn’s lo-fi collaboration with longtime associate Sewelson, I’m always going to be have character defects. But my career was in clear ascendance. The L.A. native had bassist Larry Roland and drummer Gerald Cleaver. limitations and unskillfulness no longer define me, moved to the Bay Area where he met reedplayer Kuhn is circumspect about looking back on his they are an invitation to grow more skillful.” Humility Anthony Braxton, who was touring the West Coast. previous work. “In the early years before recovery, aside, these recent documents reveal Kuhn as a major Braxton was impressed enough to encourage him to music was a central part of my life, but I really didn’t voice in the woodwind continuum. The duet with come to New York, even offering him a place to stay. know who I was. While I enjoyed a fair amount of Charles ranks among the finest drum/reed In The Big Apple, Kuhn quickly established musical ‘success’, playing with amazing musicians, collaborations in recorded history, in a class with the important associations, playing with violinist Billy record deals and gigs, I was what Buddhists call a Anthony Braxton/Max Roach duo (One In Two, Two In Bang, bassist William Parker, tenor saxophonist Frank ‘hungry ghost’—a being filled with insatiable need One, hatART, 1979) and even Interstellar Space, the iconic Lowe and drummers Denis Charles and Phillip Wilson. who can never get enough. I was dependent on external 1967 Impulse pairing of and . Kuhn was also drafted into ’s huge Sho’ validation for my well-being, with both drugs and the Kuhn is even more enthusiastic about his latest Nuff Orchestra in 1979. “Lester was always making a other trap of fame, recognition and prestige. I felt that work. “I feel like my concept and music has started to musical statement and the Sho’ Nuff Orchestra was one my value as a person was contingent on getting work, mature in a new and beautiful way recently. Perhaps more,” Kuhn says. “I know he had music he wanted getting records, tours and good reviews. But I try not due to the chaos, insanity and uncertainty of these played but think he also wanted to show how large and to judge it. I think Livin’ Right [with trumpeters times. As a creative artist I hope my music reflects the strong the creative music community was.” Toshinori Kondo and Arthur Williams, bassist William anger, outrage and cry of injustice as well as shining Like many of his generation, Kuhn’s track derailed Parker and Charles] is an incredible document because a light on the love and beauty that exists…this requires from drug abuse and he dropped off the scene entirely, of their playing and my chops were pretty up at that a shift and is the language of the heart. The potential ultimately regaining his life for good in 1985, although time because of rehearsing with Lester Bowie every for liberation is here and now. I hope my music helps he didn’t feel the tug of music for almost 25 years. day. When I first heard the duo with Denis I didn’t like point the way to harmonizing with life exactly as it is “I had been playing a little bit,” Kuhn recalls, “just at it because it’s so raw and intimate and I felt threatened to more effectively manifest the action of compassion the house, but the music wasn’t calling me. I didn’t by it and had some trepidation about releasing it. Then in all our affairs, great and small.” v know the players and I didn’t know what I wanted to I realized how inspired and beautiful Denis’ playing is say musically. After I got clean I had to learn how to and had to let it go because there cannot be enough For more information, visit peterkuhnmusic.com hold a job and become a responsible citizen. Coming Denis Charles music in our world. It’s an amazing out of recovery and Zen Buddhism I was torn between document and I’m grateful to [jazz writer] Ed Hazell Recommended Listening: wanting to lead a life of peace and harmony and for coming up with the recording. A lot of my life is just • Peter Kuhn—No Coming, No Going playing what my heart was informing me to play that getting over myself (laughs).” (NoBusiness, 1978-79) was energetic and often atonal or multi-tonal.” Five years of woodshedding and more than three • Arthur Williams—Forgiveness Suite (NoBusiness, 1979) Today there is a veritable Peter Kuhn renaissance decades of sobriety make Kuhn much more sanguine • Peter Kuhn—Ghost of a Trance (hatHUT, 1979-80) happening with the simultaneous release of Intention about the state of his music now and what makes it • Peter Kuhn Quartet—The Kill (Soul Note, 1981) (FMR, 2017), a new studio date with his trio with different and improved. “For one thing, I’m much more • Peter Kuhn Trio—The Other Shore (NoBusiness, 2015) bassist Kyle Motl and drummer Nathan Hubbard, focused on the group aspect rather than just thinking • Peter Kuhn/Dave Sewelson/Gerald Cleaver/ alongside a cooperative group operating under the about me. Also I’m playing without being diluted by Larry Roland—Our Earth/Our World (pfMENTUM, 2015) LEST WE FORGET

Kowald. It was to these strange, new and unfettered a small or a large ensemble: Doppelmoppel, a quartet sounds that Johannes gravitated. While Conny with Conny and two guitarists; Cecil Taylor’s European JOHANNES embraced the jazz tradition directly, Johannes did not. Orchestra; ’s Company; Alexander von He admitted to writer Declan O’Driscoll in a 2001 Schlippenbach’s ; Ken interview for Cadence Magazine, “I never played jazz— Vandermark’s Territory Band; Tony Oxley’s Orchestra; bebop, hardbop—and I jumped into ’s New Orchestra; a duo with Fred van Hove; BAUER straightaway.” and a trio with Isabelle Duthoit and Luc Ex. His total Johannes was less melodic than his brother, discography is large and quite varied. Johannes Bauer by mark keresman exploring new means and modes of expression, going left a legacy that deserves thorough investigation by beyond notes and phrases and into pure sound. Jazz fans of free music. v In the history of jazz there have been numerous scribe Bob Pomeroy said, “Johannes Bauer is a siblings who made an impact. One such set were the trombonist unlike any I’ve seen before. A good deal of A tribute to Bauer with fellow trombonists Jim Staley, Steve German Bauer brothers: Konrad “Conny” (born 1943) what Bauer played were vocalizations and breath Swell and Masahiko Kono is at The Stone at The New School and Johannes (July 1954-May 2016). Conny ventured sounds projected through his . When he did play Jun. 28th. See Calendar. first into jazz and then the trombone and, like many notes, they could be almost too soft to hear or so loud younger siblings, Johannes followed. that they splatter against the back wall and bounce Recommended Listening: In 1971, Johannes began music studies in East back.” • Manfred Schultze Bläser Quintett—Nummer 12 Berlin. Aside from Conny’s influence, Johannes had Furthermore, Johannes put his energy towards (FMP, 1985) the benefits of a classical grounding—he played in a group interaction and collective playing. “By playing • Conrad Bauer/Johannes Bauer— posaunenchor, a brass choir that performs medieval, with other people, you often become more aware of Bauer Bauer (Intakt, 1993) baroque and Renaissance music. He also got the basics your own approach,” said Bauer to Bert Noglik in Jazz • Johannes Bauer/Luc Houtkamp/ playing in big bands and soul/R&B bands. Despite Forum Magazine in 1987. Live performance was very Dieter Manderscheid/Martin Blume— governmental restrictions, jazz was still everywhere. crucial to Bauer, more about the very essence of jazz, Stelen: FOURinONE (Random Acoustics, 1999) And while Dixieland, swing and bebop were the and while his music never panders, communication • Tony Levin/Paul Dunmall/Johannes Bauer/ prevalent schools of playing, the ‘60s brought the was paramount: “It’s a matter of wanting to say Paul Rogers—Bold Times (Rare Music, 2005) changes wrought by the American free jazz sphere something with your instrument, playing to the people • Rudi Mahall—Quartett (Jazzwerkstatt, 2006) spearheaded by , John Coltrane and and avoid playing for yourself.” • Johannes Bauer/Paal Nilssen-Love/Thomas Lehn/ Cecil Taylor and its West European adherents, Bauer applied his talent and concepts to many Ken Vandermark—Artifact: iTi Live In St. Johann including , Derek Bailey and Peter groups and was a valued collaborator, whether in (Okkadisk, 2008)

10 JUNE 2018 | THE NEW YORK CITY JAZZ RECORD LABEL SPOTLIGHT

music and the other kind). The goal was any kind of relationship between the two companies, but also with jazz, from mainstream to avant garde and from acoustic the confidence of a long-standing personal relationship double moon to electronic, as long as it was improvised. As the label that had developed as well. “The founder of Challenge, gathered steam, Dueck built a roster of major artists, Anne de Jong, is a close friend,” says Dueck. What by marilyn lester including Chico Freeman, Jean-Paul Bourelly, Enrico drove the sale to the larger company was both the Rava, , Roy Hargrove and . At artistic success of Double Moon coupled with modern For anyone looking for an example of what jazz is all the same time, Dueck was committed to nurturing new economic realities. Dueck notes that with MP3s hitting about, the German Double Moon label is a good place talent. Partnering with German magazine Jazz thing the market, the sales of CDs began to break down over to start. In its history is contained the essence of the (itself a product of the ‘90s), Double Moon began the last couple of decades. Now, he says, downloads collaborative nature of jazz and dedication of musicians presenting next generation young artists deserving of are shrinking because of the success of streaming. “All and jazz lovers who work to keep the genre alive. wider recognition. independent labels will struggle,” Dueck says. “The Double Moon is also a case in point that jazz is more Meanwhile, as Double Moon was finding its majors secured their part of income by investing into prized in Europe than in its birth country. Double foothold in Germany, in the Challenge streaming companies, which we cannot do.” Moon’s trajectory is tied up with that of Challenge Records International was born in 1994. It is a Looking back over Double Moon’s Records International, a label, distribution and booking producing and marketing company with a broad scope accomplishments, Dueck is quite proud of the series company located in the Netherlands. Both countries aimed at primarily classical and jazz, but with forays “Jazz thing Next Generation” in partnership with Jazz have produced populations who support jazz music into world music, blues, soul and pop. Jazz artists on thing, begun in 2004. “We released five debut CDs each and play a great role internationally in keeping this the label include , Harry Allen, Enrico year of young and promising artists,” he says, “And music vital and strong. Pieranunzi, Bert van den Brink and others. Challenge now we’re up to Volume 73.” That release is just now Double Moon was founded in 1998 by Volker Jazz was spun out from the parent and has been owned available, the Simon Below Quartet’s Wailing Wind’s Dueck in Freiburg, Germany (to which it returned after since 2005 by Hein van de Geyn. Challenge also offers Story. Below is a 22-year old pianist, who originally a 13-year interlude in Cologne from 2000-13). There a booking arm, New Arts Agency, which focuses on began playing drums, but was inspired to explore the was an immediate predecessor to the label, a music bringing label artists to venues and festivals in the eighty-eights, especially moved by the playing of Bill distribution company also founded by Dueck and a Benelux region of Europe Evans and Keith Jarrett. About the series, Dueck plans partner in 1995. Dueck, a tenor saxophonist, established From the beginning, the destinies of these two to reach Volume 100. the latter as SunnyMoon Distribution GmbH. companies were intertwined. “Challenge Records was Another feather in Dueck’s cap was the acquisition “Sunnymoon was inspired by the one of the first labels SunnyMoon Distribution handled of the label Between the Lines in 2004, which expanded standard ‘Sonnymoon for Two’, the first song I learned in Germany,” Dueck relates. “Three years later, Double Moon’s catalogue. In 2006, Double Moon on the tenor many years ago,” Dueck says. In naming Challenge distributed all Double Moon records and produced a recording session in New York City with Double Moon he adds, “I simply tried to keep the name CDs internationally, outside of Germany.” In January Chico Freeman, , Eddie Henderson, Fred of the label close to the name of the distribution.” 2017, Dueck sold the Double Moon label to Challenge. Harris, Cecil McBee and . Other standouts From the outset, Double Moon’s motto has been The agreement called for Dueck to stay on to oversee include recording over the last several “Just Good Music” (a reminder that and transition Double Moon into its new home. This years and the current “European Jazz Legends” series, considered there were two kinds of music—good was a deal not only based on the long business (CONTINUED ON PAGE 43)

Elsewhere Keep It Dark Olden Times - Live at Birdland Neuburg Birds Wailing Wind’s Story ’s New Bag Joe Haider Jazz Orchestra / Quartet Laia Genc Simon Below Quartet VOXNEWS

Martial Solal). Her skilled jazz phrasing and clear, Hilary Gardner and Melissa Stylianou. deep voice distinguish her among new singers on the Singer Barbara Dane, whose music influenced Bob JAZZ ENCOUNTERS ascent—what a way she has with a tune, be it a Dylan and , certainly deserves more songbook favorite or a wordless vocalese. Jordan puts recognition as a blues, jazz and folk artist than she’s by suzanne lorge in a guest appearance, reprising her own classic, received. To remedy the situation, Smithsonian “Falling In Love With Love”, the opening track from Folkways Recordings has pulled together an audio , musical descendent of icon Charlie her 1963 debut album, Portrait of Sheila (Blue Note). On chronicle of her life through song. Barbara Dane: Hot Parker and ever-burning flame among jazz singers, Shah’s version, the singers trade choruses and 4s, Jazz, Cool Blues and Hard-Hitting Songs culls the best of pioneered the bass-voice duo in 1977 with the sometimes on the lyrics, sometimes scatting, each in her work with artists such as Doc Watson, Pete Seeger SteepleChase album Sheila in collaboration with Arild her own vocal style—related, but not imitative. With and Memphis Slim, among others. The two-CD set Andersen. She went on to solidify the exchange as her this album Shah is firmly planted as a jazz singer at the contains 38 tracks, 14 of them never released, in-depth signature sound, most notably with and center of many cultural influences. liner notes and a gallery of photos. Dane will kick off , producing multiple recordings and Amy Cervini, founding member of sensational the album with a show at Joe’s Pub (Jun. 21st). scores of performances throughout the ensuing vocal trio Duchess, adds to her impressive lineup of In 2008, pianist first met poet (and decades. Today, the heir apparent of these musical duo releases with No One Ever Tells You, her third album for former chairman of the National Endowment for the explorations is singer Kavita Shah. In February Shah Anzic Records and her fifth as a solo artist. Cervini Arts) Dana Gioia when they were seated next to each released her second album, Interplay (Dot Time), offers up a simmering pot of blues tunes, with some other at a White House-sponsored state dinner. a gracious, informed nod to Jordan’s legacy. Jordan heartfelt gospel and a moody ballad or two thrown in A creative collaboration ensued, resulting in Sung With had become a mentor to Shah after a chance meeting for good measure. The blues seem to come naturally to Words, Gioia’s poetry set to Sung’s music. Sung and on the subway during a time when Shah was Cervini: the growling melodies in tunes like her original Gioia will perform the arresting piece at St. Paul’s considering her career options. The subsequent opener “I Don’t Know” and the title cut sit easily in her German Evangelical Church as part of the Chelsea friendship between the women seems to have tipped seductive alto register and invite the listener to lean in. (Jun. 16th) with vocalists Christie Shah toward a life in song—good news for the music Jesse Lewis on steel string guitar and Gary Versace on Dashiell and Alina Engibaryan. world. (In addition to performing, Shah researches and Hammond organ enhance Cervini’s spot-on vocals. The June gig alerts: You can catch Gregory Porter at writes about musical traditions the world over.) CD release concert at SubCulture (Jun. 15th) will Central Park SummerStage (Jun. 3rd) and Sony Hall (Jun. On the record Shah partners with bassist François reconvene several of the album’s players—Cervini, 3rd-4th); at Birdland (Jun. 5th-9th); The Moutin on a mix of 11 standards (“You Go To My Lewis and pianist Michael Cabe—and include some of Manhattan Transfer at Sony Hall (Jun. 20th); Cassandra Head” and “La Vie En Rose”) and originals (“Aigue Cervini’s other musical compatriots—bassist Ike Sturm, Wilson at Blue Note (Jun. 29th-Jul. 2nd; and Jazzmeia Marine” and “Coming Yesterday”, both with pianist drummer Mark McLean and Duchess co-founders Horn at Central Park SummerStage (Jun. 30th). v

THE NEW YORK CITY JAZZ RECORD | JUNE 2018 11 IN MEMORIAM

NATHAN DAVIS (Feb. 15th, 1937— (Feb. 5th, 1926—Apr. Apr. 8th, 2018) The saxophonist, known 23rd, 2018) The pianist settled in Paris bob dorough in his later years as a respected educator after his service during World War II, at the University of after recording for various European labels by andrey henkin returning to the States from a long under the leadership of James Moody, sojourn in Europe, released several , , Nelson albums on SABA, MPS, SFP, Polydor, Williams, Eddie Barclay and others Segué and other labels to go along with sideman work while releasing his own albums as a leader and in with , Larry Young, Jef Gilson, George partnership with French fellow pianist Jack Diéval.

o s Gruntz, Dusko Goykovich, , Slide Simmons died Apr. 23rd at 92. Hampton and membership in the Paris Reunion Band. Davis died Apr. 8th at 81. CECIL TAYLOR (Mar. 15th, 1929—Apr. 5th, 2018) The pianist, though born in BOB FELDMAN (Nov. 28th, 1938— Queens and dying in Brooklyn, had Apr. 8th, 2018) The saxophonist unparalleled influence worldwide for anonymously appeared as himself in his music advances, as evidenced by Francis Ford Coppola’s 1974 film The dozens of albums on Candid, Transition, Conversation after having worked in Contemporary, United Artists, Debut, o g i a n / F r t R w P h t New York with a wide array of bands, Blue Note, Shandar, Trio, Freedom, Enja, FMP, New a r eventually releasing a pair of albums, of World, MPS, hatHUT, Soul Note, Leo, Triple Point and which 2005’s Triplicity (One Soul) featured drummer other labels, work with numerous fellow pioneers of Walter Perkins. Feldman died Apr. 8th at 79. the avant garde, including dancers and poets, and © J a c k V influence on generations of musicians, drawn to his Bob Dorough, the pianist/vocalist most known in the MARCIA HILLMAN (~1933—Apr. inimitable style and groundbreaking concepts, whether popular consciousness for the Schoolhouse Rock! TV 11th, 2018) The composer, who co-wrote solo, in long-standing small ensembles and later his series and as a significant influence on several “Now” with pianist Jon Mayer, later to big band. Taylor died Apr. 5th at 89. [See In Memoriam generations of jazz singers, died Apr. 23rd at 94. be recorded by Nancy Wilson, also tribute spread on pgs. 14-15] Dorough was born Dec. 12th, 1923 in Arkansas wrote liner notes for many albums and and raised in the rural Texas town of Plainview. It was was a contributor to this gazette from HOWARD WILLIAMS (~1929—Apr. Robert Coleman Davidson, conductor of the Plainview 2005-17. Hillman died Apr. 11th at 85. 24th, 2018) The pianist recorded High School band, who set the young Dorough on his alongside John Coltrane on Wilbur eventual career path with clarinet lessons. He would LEE JESKE (Sep. 15th, 1955—Apr. 8th, Harden’s Tanganyika Strut (Savoy, 1958) also experiment on the family piano. Dorough would 2018) The journalist and jazz critic had but had a more lasting influence as continue on saxophone during his time at Texas Tech nearly 75 credits as a liner notes writer the leader of his jazz orchestra, in and then during his time in the army. After the war, for Soul Note, Black Saint, Timeless, residence at the now-defunct Garage having returned to Texas, Dorough was exposed to— Fantasy, Palo Alto, Red, Uptown, Blue for almost 20 years. Williams died Apr. 24th at 88. v and eventually transformed by—the nascent bebop Note, Sunnyside, CBS, hatART, movement. Soon Dorough was focusing exclusively on Mercury, Columbia, DIW, Milestone USED the piano. As he told our own Marilyn Lester in 2017, and CAM Jazz. Jeske died Apr. 8th at 62. “when I decided to sing and write songs I felt the NEW keyboard was the right thing exclusively. But I wish I’d BROOKS KERR (Dec. 26th, 1951—Apr. gotten more grounding on the piano. I had really quite 28th, 2018) The pianist was a devoted a sketchy education at the keyboard.” student of Ellingtonia (as well as Fats In 1949, Dorough moved to New York, attending Waller and Irving Berlin), whose Columbia University and hosting jam sessions at his encyclopedic knowledge of Ellington’s apartment: “Cats would come and play. That’s what music led to a friendship with his idol the scene was about,” he recalled to Lester. He would and whose own albums for Famous spend the early ‘50s touring with various acts, then Door, Chiaroscuro and Blue Wail often featured former worked towards applying his singing to a mix of bebop Ellington sidemen. Kerr died Apr. 28th at 66. 236 West 26 Street, Room 804 and swing. “I sometimes feel that my vocal dichotomy, New York, NY 10001 the way I lay out the phrases of music, has the impetus (Jun. 29th, 1929— that Miles put through his trumpet,” he told Lester. Apr. 27th, 2018) Though the pianist Monday-Saturday, 10:00-6:00 His debut as a leader came out in 1956, Devil May Care didn’t record often as a leader (two (Bethlehem) and he would continue to release albums mid ‘60s Prestige dates and then a pair Tel: 212-675-4480 over the decades for Audiophile, Blue Note, Arbors, in 1990 and 2006 for Interplay and Pony Enja and other labels. Canyon, respectively), he was part of Fax: 212-675-4504 Two breakout moments in his career couldn’t have Les Jazz Modes and worked under been more disparate. In 1962 Dorough recorded with , Lambert, Hendricks & Ross (and Jon Email: [email protected] Davis, one tune of which came out on the Columbia Hendricks separately), Ted Curson, , Web: jazzrecordcenter.com sampler Jingle Bell Jazz and the other added five years Booker Ervin, , later to the trumpeter’s Sorcerer album. And from 1973- and a number of others. Mahones died Apr. 27th at 88. LP’s, CD, Videos (DVD/VHS), 85 for five years in the ‘90s, Dorough Books, Magazines, Posters, taught generations of children about math, grammar, JOHN MILES (~1943—Apr. 8th, 2018) Postcards, T-shirts, government and other subjects through the TV series The British former Formula 1 driver Calendars, Ephemera Schoolhouse Rock!. “I have literally hundreds or went on to found Miles Music, releasing thousands of fans and I meet a lot of them, grown-up over a dozen albums by English jazz Buy, Sell, Trade kids who appreciate me,” he told Lester with musicians like Peter King, Alan understandable pride. Skidmore, Guy Barker, Mick Pyne and Collections bought Dorough’s influence in jazz can be felt through his Dick Morrissey as well as an archival many compositions—most notably “I’m Hip” set. Miles died Apr. 8th at 75. and/or appraised co-written with David Frishberg—covered by hundreds of artists from Nellie McKay and Sérgio Mendes to Mel STAN REYNOLDS (January 16, 1926— Also carrying specialist labels Tormé and Blossom Dearie and in the generations of April 14, 2018) The British trumpeter e.g. Fresh Sound, Criss Cross, singers who followed his example, such as Mose had credits with Ted Heath, Kenny Ayler, Silkheart, AUM Fidelity, Allison, Mark Murphy and Kurt Elling. When asked Baker, Johnny King and to Nagel Heyer, Eremite, Venus, about his legacy, Dorough described himself as a go along with a handful of albums on Clean Feed, Enja and many more troubadour, stating simply that, “I play for people, Philips, Saga and Marble Arch. wherever I can find them.” Reynolds died Apr. 14th at 92.

12 JUNE 2018 | THE NEW YORK CITY JAZZ RECORD FESTIVAL REPORT

Thing, but without the Nordic social safety net. The middle day of JazzArt was devoted more to jazzart the Art than to the Jazz. Purists may scoff but packed audiences are more important than sneering geezers. by andrey henkin At the Art Deco Kinoteatr Rialto, a pair of Faroese pop vocalists were featured: Konni Kass, singing in English to complement her keyboards and saxophone, and Eivør, resplendent in native garb and language, fronting an ethereal quartet of , bass and electronics. Closing the night at Hipnoza was the AfroBeat group KutiMangoes of Denmark, who unabashedly ply their trade as a party band. Though one may snigger at a Danish band playing West African music for Poles, you better be doing it while dancing. Day Four was the most diverse: Polish piano trio Stryjo at Hipnoza; Canadian drummer Jeremy Gara’s solo electronics at KMO; Indian-Polish collaboration between vocalist Ganavya Doraiswamy and pianist Piotr Orzechowski at Hipnoza; and French- w K a ź m i e r c z k Luxemburgish art-jazz project Rimbaud #4 at Rondo Sztuki, a modern gallery space. Stryjo (pianist Nikola Kołodziejczyk, bassist Maciej Szczyciński and drummer R a d o s ł BNNT + Michał Bryndal) is placid, occasionally skewed by laptoppery and extended techniques. The group’s European festivals with dedicated venues such as concept is total free improvisation and, as such, would Tampere or Moers build their diversity through have worked better without Szczyciński who too often programming order. Others taking over their home grounded the proceedings when his mates wanted to cities like Copenhagen or Oslo benefit from a wide soar. Gara’s short set took place in a dark, oppressively range of performance spaces. JazzArt in Katowice, hot room and took on an apocalyptic sheen as a result. Poland has the benefit of both. Its seventh edition (Apr. Ganavya had a lovely earthy quality to her singing of 26th-30th) presented 14 concerts whose impact came as traditional Hindu poetry, with little ornamentation or much from their location as their music. JazzArt is a pretense; her whispers were as powerful as her shouts. program of Katowice Miasto Ogrodów (KMO), the city’s But often it felt as if Orzechowski was playing near her, cultural organization. Its homebase is the former home not with her, overwhelming the music with out-of-place of the National Radio Symphony Orchestra and within virtuosic flourishes. Percussionist Rajna Swaminathan its walls are concert halls, small performance spaces, art added sparse, architectural accompaniment. Rimbaud gallery and JazzClub Hipnoza. All of these figured into #4 set the poetry of the French master to avant garde the programming, as did nearby off-site spaces. jazz. Placed in the wide open space of an art gallery, the The festival began with a collaboration with Italy’s dramatic quality of vocalist Elodie Brochier was Auand Records, whose history was featured in an especially appealing, as was the vocalic of exhibition curated by Auand head Marco Valente, Michel Pilz in tandem with the hyperactive conversing kicked off by a short, mobile solo saxophone performance of pianist Georg Ruby and drummer Daniel Weber. by Piero Bittolo Bon. He would also figure in the official The final day of the festival, strong on paper, was opening concert, A.L.T.E.R.C.O., a first-time trio put even better in execution. The cerebral duo of trumpeter together by Valente with guitarist Manlio Maresca and Amir ElSaffar and saxophonist Hafez Modirzadeh drummer Stefano Tamborrino at KMO’s Sala Kameralna. tantalized at KMO’s Sala Kameralna, mixing bebop with The band played a sort of meth-addled avant jazz with their heritage (Iraq and Iran, respectively), achieving much of the heterogeneity coming from Maresca’s grandeur and fragility simultaneously. They were two varied approach to his guitar and the layers he added streams running over and through each other on long via processing and electronics. Even though Tamborrino pieces requiring deep listening, a futuristic take on Dizzy played the straight man, it was often Bittolo Bon setting Gillespie and Charlie Parker. Saxophonist Mats the rhythmic foundation. That evening the festival Gustafsson’s mighty Fire! Orchestra transcended at moved to the center of the city and Klub Katafonia for KMO’s Sala Koncertowa, one-time site of Communist Wojciech Brzoska (poetry), Łukasz Marciniak (guitar) Party Meetings. The 15-piece band presented the leader’s and Marcin Markiewicz (trumpet). This was an Eastern “Arrival”, featuring paired vocalists Mariam Wallentin European take on Beatnik jazz, subverted through and Sofia Jernberg, over an hour of a lyrical, almost guitar preparations and processed trumpet. elegiac side of Gustafsson not heard elsewhere. The core Day Two demonstrated the power potential of band of Gustafsson, bassist Johan Berthling and drummer saxophones in starkly different contexts. Quatuor Andreas Werliin (Fire!) set up the almost-grooving Machaut, a saxophone quartet of Quentin Biardeau, foundations over which reeds and strings tumbled, Simon Couratier, Francis Lecointe and Gabriel Lemaire, wailed or exulted. “Arrival” recalled ‘70s art rock but sermonized at the Kościół Mariacki, a 19th century - with more power and less pretension. And then the gothic church. Having the ensemble play in an indefatigable Gustafsson joined the Polish duo BNNT for acoustically resonant church was masterful. When they a late-night set in the former machine shop of Katowice’s stood alongside one another, it was like an early central coal mine, now the site of the Silesian Museum. polyphonal chorus. Then they split up, positioned in If you are looking to book a band for your funeral, this is the corners of the church or arrayed on the ground level a good choice. Konrad Smoleński, playing a sort of and balcony, it was like angels in the firmament. That electronics-sampler keyboard embedded in a missile peaceful sonority was quickly bulldozed at Hipnoza, casing, and drummer Daniel Szwed set up a massive, where Zu—baritone saxophonist Luca Mai, electric terrifying tribal beat that literally shook paint from the bassist Massimo Pupillo and drummer Tomas Järmyr— walls while Gustafsson frosted the maelstrom with took the concept of ‘in your face’ and made it more like electronics or added his inimitable bellow on baritone. If ‘through your face’. The band threw thick gobs of you need an image appropriate to the venue, picture sound at the tightly packed audience—the density of BNNT as some sort of huge machine with massive gears the music was enhanced by the lack of air in the club— and Gustafsson a worker falling in by accident and and any moments of quiet were the reddest of herrings. screaming while being torn to pieces. v Power was derived from the brutal ostinati of Mai and the precision of an abattoir in full swing. Zu is like The For more information, visit jazzartfestival.eu

THE NEW YORK CITY JAZZ RECORD | JUNE 2018 13 IN MEMORIAM

I spent 11 years straight (1965-76) having a lot of fun working and playing music with Cecil Taylor. It was a wonderful musical journey! It was a blast!!! CECIL TAYLOR —, drums Cecil Taylor’s early recording of Rodgers and Hammerstein’s “This Nearly Was Mine” opened up a new, uncharted approach to exploring 1929-2018 conventional music. My father, who often sang in off-Broadway productions of South Pacific, would walk around our house vocalizing this song. Cecil’s interpretation took me way out of familiar nooks and crannies and brought me into spaces where only dreams could have taken me before. He laid down long sweeps of sounds that seemed to never end and then, through the magic of improvisation, brought it all back home. As a young student I could hardly wait to get my technique perfected and start to stretch into unexplored terrains. To this day, one of my greatest pleasures as a performing artist is to find that certain magic and search for my own conclusions. A mutual friend brought Cecil and me together much later in life. This was a period of serious reflection for Cecil. My wife Moni, when he had her ear for any long stretch of time, would sit down and listen to him. I feel fortunate to have been present at some of those baring moments of remarkable recollection. Cecil Taylor, who created extraordinary composition and improvisation, will endure as one of the greatest contributors to our Great African-American Music.

—, piano

Thank you for the music. Thank you for changing lives. Thank you for inspiring the world. Thank you for igniting a generation of musicians to be themselves. To use... All the colors... All the sounds. Thank you, Cecil Taylor, for not interfering with the holy spirit that flowed through you and for accepting the mystery and beauty of music as manifest as sound and going all the way all the time. Thank you for acknowledging the poetry in dance and the dance in poetry. Thank you for tipping your hat to the mountains and never forgetting about the trees or the children who live on reservations. Some say Cecil had a difficult personality. Cecil’s heart and soul were not difficult. He loved life and love is the center of cosmic improvisational music. In his last days Cecil was glowing. He had risen above all the ups and downs of the past. He was filled with compassion. All the family issues had vanished and he was really “looking ahead” to a new future to transformation and transition. Going to a realm we can only imagine. o s If you never heard Cecil live, it is too late now. But you can hear him on recordings and the Music Lives On.

—william parker, bass

With a fierce depth that confounded many, and lion’s roar of sound. So many guttural guffaws sidelining the wicked or contrived. o g i a n / F r t R w P h

t A wit I will truly miss. A life lined with doubters

a r and devotees. Maestro knew that music rewarded us with its own last laugh.

—pheeroan aklaff, drums © 2 0 8 J a c k V

14 JUNE 2018 | THE NEW YORK CITY JAZZ RECORD Cecil will be always remembered for his evolutionary Hearing the Cecil Taylor Trio with I joined Cecil Taylor’s band back in 1986 through concept of piano as an orchestra. When I first heard and in the summer of 1962 at a a recommendation from Steve McCall. I played Cecil I was hearing an entire orchestra. My place place on Bleecker Street called Take 3 was probably marimba and all sorts of percussion. That gig playing the bass made us all improve upon our the final crucial push I needed to take the plunge with the band was a residency in Berlin, Germany. skills and discover new things on our instruments. into a life in music. I was 18 years old and had We rehearsed for a week at his home in Brooklyn been listening to the records as they became for six to seven hours a day. In addition to learning —, bass available in England—this had not prepared me his music, I also learned what a great host he was. for the music I heard that night. The intensity, the He always offered many different kinds of teas, A very sad occasion, this. To learn of Cecil Taylor’s freedom took me to a place where I wanted to juice or wine. And every day during rehearsal he death was and is a devastating phenomenon that spend more time. Many years later I was fortunate was always cooking something. He always made cannot be changed. It was inevitable. Though, for enough to play with the man we called Cher sure that we were comfortable. As time marched myself, I somehow thought it could not happen. Maître. An unforgettable, fully realized individual on I found out why. If the musicians were happy But it has happened. And while things are not the who changed music and lives forever. and comfortable, that would be one way to get same as before, for me they remain the same as through the difficult music he wrote for us. From before. What I find is a great loss and energy, —evan parker, saxophone the beginning to 1995, I found Cecil to be a hope—for answers and situations that could conscious about the band and our needs. We were have been possible—disappear. Surprising that I Cecil Taylor was possibly the greatest philosopher/ in awe of him and on his part I got the feeling that can say he never let me down. He always waited shaman dancer/poet/psychic warrior who ever he was happy and having a lot of fun playing for me to pack my instruments no matter how played the piano. with us. It was such an honor to be in the company long it took. When we traveled and played Despite being provided with a long list of the of an artist of his caliber. Every performance was together, we were prepared for any situation most prestigious tenor players in NYC by George unique and magical. No performance was the where anything can happen. And we were never Wein’s New York Jazz Repertory, he chose me (an same. As I reflect on Cecil Taylor, I feel he was bored and that’s after 30 years. unknown 20-year-old musician) to be in his sent here to shake things up and he did. Thank There were always answers and always the tenor section for his Carnegie Hall “Tribes” you Cecil for the experience. opportunity for finding a solution to all problems; Orchestra, back in 1974 (my first gig in NYC). I playing with Cecil was an unbelievable experience was blessed to remain a friend and collaborator —THURMAN BARKER, DRUMS and surprise. The last concert I did with him was for the next 45 years, up through joining him on a at the Whitney Museum in New York in April recent performance at The Whitney retrospective, Cecil Taylor meant so much to the jazz 2016. I was able to listen to and respect the greatest his last public full-band performance to my community—the arts community for so many phenomena in contemporary music—Cecil Taylor. knowledge, and sharing his last all-night hang on different reasons . It really took courage to do Earth with a handful of close friends. what he did when he did it and his example of —tony oxley, DRUMS He was the guide and inspiration for sticking to it through thick or thin is an inspiration discovering how to compose and improvise to to all of us. What I find most striking is his The first time I met Cecil was at the Creative your most personal inner-beat, above and beyond obvious love of the jazz tradition in his work but Music Studio in Woodstock, NY in the early ‘80s. the restrictions of conventional chordal or metric also the artistic intelligence not to get trapped He was doing a week-long teaching residency structures. Rehearsals were always rigorous Zen, within any of the clichés of what it is to be a jazz there with his quartet. I had experienced the Sufi-like sessions of demanding concentration musician if, in fact, that phrase has any meaning. revelation of hearing his music several years and discipline, leading the way to long extended Also what a brilliant synthesizer in bringing his before that and felt like I had discovered my bursts of spontaneous explosive energy and joy in love and understanding of gesture derived from absolute musical soulmate. In the main building performances. His interpersonal lifestyles and modern dance, his love of poetry (I’ve always was a room with a and a pool table, bordered communications were no less intense. You could thought his prose/poem on the back of Unit by several practice rooms. Cecil and poet Thulani ask the most direct question, to receive the most Structures is the best explanation of what he is Davis were hanging out at the pool table. I was seemingly cryptic or tangentially distracting about) and his general understanding of the too shy to speak with Cecil, but was overcome response, only to eventually receive your reply modern world into his grand synthesis. He talked with the desire to play for him, to express the (perhaps) minutes, hours, even days later, the talk and walked the walk. Despite the austere musical bond I felt with him and acknowledge following a thread of most amazingly fascinating nature of some of his work and the obvious the huge effect his music had had on me. I knew I and complex trains of thought and flights of influence at times of 20th century classical sources would be heard and understood by him and felt spirit...much like his soloing on piano. his work at all times is an outgrowth of life/ an almost desperate need for that to happen. I One time I heard someone ask Cecil if he cosmos and life within the urban mindspace of must have played for about half an hour, pouring “believed in God”. He replied, “I believe in the time period he occupied—it is never involved my heart out, and when I came out of the room he Nature.” Thank you Mother Nature for the in arid and detached concert hallways. What he was there waiting for me. He had stayed and phenomenon of Cecil Taylor. did was always an honest and heartfelt expression listened to the whole thing. He said nothing, but of the pulse of life. In other words Cecil was a real took my hand and kissed it. It was the most —ELLIOTT LEVIN, REEDS artist to the core. He was one of the people who supreme moment of acknowledgement I have revivified jazz at a time when it needed a jolt and ever felt. He still inspires awe in me—his genius, I was first introduced to Cecil’s music in the mid he added a lot to the language and to this art sheer courage and embrace of vulnerability, ‘60s. I bought Conquistador because form. He lives on. unwavering commitment to the truth of his own was my favorite bass player. Listening to the vision, uncompromising to the end. I feel his Maestro for the first time, I was transported to —, piano strong spirit is still here with us in the gift of the another musical dimension. In 2004 I was given music he left behind and all the musicians he’s Cecil’s phone number. The Maestro invited me to I entered Cecil Taylor’s orbit when he was teaching inspired and influenced. He was one of the truly his house to play and three days later we did our at the U. of Wisconsin in 1970 where I realized he great, unique masters. first gig at Castle Clinton. I was elated when Cecil was playing music at the highest level. It would be welcomed me into his trio and big band. It was the close to 25 years before I found myself playing —, piano beginning of a treasured friendship. Getting to drums in his group...well worth the wait. Cecil know him beyond his music was a gift from the Taylor didn’t do gigs, he did events, each one When you’re playing with Cecil you’re in a multi-verse. We formed a very special bond, a special in its own mysterious and magical way. It Lamborghini—but it’s not your Lamborghini! With kinship exchanging thoughts about life, politics, was thrillingly terrifying to sit at a drum set at the Cecil you had to go A through Z, because his dance, architecture, poetry, literature, boxing, end of a concert grand with him coming at you full writing was A through Z. And when it was time for basketball and most of all music. We talked about tilt, like a locomotive. Mentally and physically you to do it yourself, you had the advantage off all the magic that happens when we open the door to exhausting. The high lasted for days. He was a God those different looks. He increased your creative access deeper dimensions of consciousness to many of us for decades. He built a community of ability and made you feel like things could go through spontaneous and collective creative followers and devotees that fiercely defend his anywhere. I wouldn’t have seen the whole world if pathways; the space where musical intentions are conceptual brilliance. As a person who also wanted it weren’t for Cecil. It was great, and I will always expressed without limitation. It is a spiritual gift to play music at the highest level, because of Cecil be thankful for that. to call him my friend. Taylor, I’ve been to the mountain top.

—charles downs, drums —ALBEY BALGOCHIAN, BASS —JACKSON KRALL, DRUMS

THE NEW YORK CITY JAZZ RECORD | JUNE 2018 15 CD REVIEWS

the music and how to make an album. In jazz, like arrangement comes together to create a feeling of every other genre, there’s substantial value in how far purity. The album’s showstopper, “Love Was King”, artists can extend those formulas. That’s what guitarist displays the largest spectrum of Porter’s voice, which Craig Brann does on his new album, with results that starts in a hush and slowly grows to a sonorous billow. are intimately mixed, i.e. the album’s strengths are, The song hits you hard and solidifies Porter’s seen from a different stance, also its weaknesses. dedication to what the words Cole once sang mean to Brann’s previous album, A Conversation Between both men. Brothers, was a fine trio date that focused on the quality Nat “King” Cole & Me is a brilliant addition to of his thinking and musicianship. The title of the new Porter’s discography and a clear example that Cole

Trio Exaltation one shows his intent; an artist responding to his continues to influence and have an impact. (Clean Feed) influences and musical forebears and also leaning by John Pietaro heavily on his skills as a composer/bandleader. Lineage For more information, visit bluenote.com. Porter is at is one of those records where the formula is to present Central Park Summerstage Jun. 2nd and Sony Hall Jun. Marty Ehrlich has enjoyed an eclectic career as a stylistic versatility as a CV: jazz, rock, funk, touches of 3rd-4th, both as part of Blue Note Jazz Festival. See Calendar. performer as well as composer of large-scale works. calypso and classical are packed inside. The results are With Trio Exaltation the alto saxophonist returns to uneven, the band is not equally strong in all styles while familiar ground in a trio, contrasting his more the variety does as much to distract as it does to impress. orchestrated settings of late. Yet while this recording Satisfying tracks like the fluid “Basso Continuo”, PRISM QUARTET speaks to the avant tradition, the discussion between polyphonic acoustic guitar solo “Für Beccah (Prelude)” Ehrlich, bassist John Hébert and drummer Nasheet and inventive “Verdict” (a rewrite of Monk’s wITh Waits is utterly of the moment. This is vital music, ten “Evidence”) are mixed with the formally jumbled brief, fully realized tales, the aural equivalent of the “Dilla Daze”, the not-quite- there harmonic rhythm of TYShAwN SOREY short story collection you simply cannot put down. “Good Intentions” and the too-loose arrangement of The album opens with Andrew Hill’s intriguing, “Reinventing Something Round”. The latter has the pensive “Dusk”, which begins as a duo with drums. band playing comfortably and there are stretches Waits’ rolling, fluid command recalls , but where everyone sounds so at ease, especially trumpeter with a defined sense of technical skill. His unique, John Raymond, that there’s little commitment. wORLD PREMIERE: contrapuntal drum lines encompass rhythms created Brann’s own voice comes through most clearly by/for traditional instruments such as the djembe and and strongly on “Copy”, “Empty” and “Dozen The COLOR ThEORY 2.0 congas into the flawlessly swinging. When Hébert Swan’s Hound (Lie Kiss Coat Hewn)”, the first two enters, the three create an atmospheric depth that’s tributes to Mark Turner, the last to . Here, JUNE 3RD, 3 PM $17-25 absolutely gripping. Expect none of the usual trio Brann is full of energy and linear clarity and he leads ChRIST & ST. STEPhEN’S ChURCh trappings here; while the saxophonist is the leader (he the band forward by example. 122 w. 69Th STREET BETwEEN BROADwAY & COLUMBUS composed the other selections), his is but one voice in three. Hébert’s lines stealthily transition through For more information, visit steeplechase.dk. This project is at counterpoint, harmony and rhythm, the earthy, guttural Tomi Jazz Jun. 2nd and Bar Next Door Jun. 23rd. See Calendar. PRISMQUARTET.COM and mournful. His talents are well displayed on “Senhor

PC”, an allusion to John Coltrane’s piece for bassist Paul • Abiah—Sings Simone (Madoh Music Group) Chambers (Senhor is Portuguese for Mister; the album R • Quintet—Concentric Circles was recorded in Lisbon), which fragments the celebrated (Blue Note) head, barked by alto. Waits’ boiling thunder and e • Django Festival Allstars—Attitude Ehrlich’s thematic flight only add to the urgency. Listen Manouche (Resilience Music Alliance) for the short but stirring bass-alto unison that develops c • Bill Frisell—Music IS (OKeh) into the coda. And then listen to it once again. • Tyler Higgins—Blue Mood (Clean Feed) Another standout is “June 11, 2015-In Memorium o • Dave Holland—Uncharted Territories [sic]: Ornette Coleman”, a touching lamentation for the m (Dare2) master. Waits’ brushes are akin to the hushed breath in • Martin Küchen & Landæus Trio— Nat “King” Cole & Me Vinyl (Moserobie) Hébert’s thoughtful instrumental commentary. The Gregory Porter (Blue Note) m • —Stamps three ride the work into some stunning improvisation, by Eric Wendell e (hatHUT-Corbett vs. Dempsey) which celebrates Ornette but mercifully avoids the sins • Kathrin Pechlof Trio—Toward the Unknown of many tribute pieces. Furthering the sonic expanse, In turbulent times, the voices of yesterday often n (Pirouet) Ehrlich doubles on and wood flutes on several contain the wisdom required to get through the day. • Esmond Selwyn—The Way I Play (The Solo selections, including “Yes Yes”, a slow, modal bass One voice of particular note is the legendary Nat d Jazz Guitar Artistry of Esmond Selwyn) clarinet hymn, and “Spirit of JAH No.2”, where the “King” Cole, whose calming and paternal timbre e (SLAM) listener is treated to a pair of wooden flutes. reassures as much as it entertains. On Nat “King” Cole Laurence Donohue-Greene, Managing Editor Trio Exaltation sings with divergent voices, a & Me, singer Gregory Porter beautifully captures his d dramatic palette of color that celebrates the sounds, the timeless legacy. creativity of the here and now. Porter is more than adept at channeling Cole and • Ab Baars/Meinrad Kneer/— delivers this 12-song set with the warmth of a hug, just n Live at Konfrontationen Nickelsdorff 2012 For more information, visit cleanfeed-records.com. Ehrlich is as Cole did. Both men share a similar tone and (Evil Rabbit) • Giant Dwarf—Kicking Bones at The Stone through Jun. 2nd, Greenwich House Music resonance; deep, warm and precise. Porter clearly e (Carlsteady Music) School Jun. 13th and Soup & Sound Jun. 22nd. See Calendar. understands the effect of his voice, with each syllable • Mats Gustafsson/Jason Adasiewicz— deliberate and kind, resulting in a feeling of w Timeless (Corbett vs. Dempsey) heartwarming delight. • Jazz Rock Experience—Let Yourself Go The album’s opener, Cole staple “Mona Lisa”, is a (Sonorama) stunning statement, Porter’s exactness cozy, beautiful r • Kjetil Mulelid Trio—Not Nearly Enough To and full of life, evoking the dedicatee’s spirit. However, Buy A House (Rune Grammofon) while the similarity is hardly avoidable, Porter’s e • Le Oignons—Tap.That’Jazz performance is less lip service and more of a tip of the l (Fremeaux & Associes) hat to one of his idols. Porter’s take on “Quizás, quizás, • The Rempis/Daisy Duo & Guests— e Dodecahedron (Aerophonic) quizás”, written by Osvaldo Farres and recorded by • Sonar (with )—Vortex (RareNoise) Cole on his 1958 album Cole Español, matches the vocal • Alexander von Schlippenbach/ inflection of the original version. a Lineage Dag Magnus Narvesen—Interweaving What can’t be imitated is how both men create a Craig Brann (SteepleChase) s (Not Two) by George Grella sense of enchantment, an atmosphere where cares and • John Zorn—The Garden of Earthly Delights concerns evaporate and all is left is the music. “Pick e (Tzadik) Jazz is a genre and genres are in part defined by their Yourself Up” exemplifies this feeling, Porter’s upbeat Andrey Henkin, Editorial Director own formulas. There are formulas for how to perform delivery mixed with Vince Mendoza’s lush orchestral s

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There are many opportunities for other first-rank musicians to shine on this set. On Antônio Carlos UNEARTHED GEM Jobim-Gene Lees’ classic bossa “Double Rainbow”, pianist Graham Harvey and guitarist John Paricelli clear a path for Tomlinson and the orchestra to sweep in before Kent eloquently evokes images of rain and roses and robins hopping among the puddles. Goldmacher-Tomlinson’s “I Know I Dream” is a masterpiece of nostalgia and melancholy without

I Know I Dream (The Orchestral Sessions) tears. Tomlinson’s saxophone echoes Kent as she Stacey Kent (OKeh-Sony) murmurs, “the dream is still inside me”. Funk in France: From Paris to Antibes (1969-1970) by Andrew Vélez A singer is like an actor, believable or not. When Slick! (Live at Oil Can Harry’s) Kent sings of “your head against my shoulder” and (Resonance) The special intimacy that has been the hallmark of encountering a school friend from childhood on “Bullet by Scott Yanow vocalist Stacey Kent and Jim Tomlinson (saxophone, Train”, the truth of every word is unmistakable. Once flute, percussion, composing) together has renewed again her chirping soprano is the voice of a wise child Grant Green (1935-79) was Blue Note’s house life with her latest album. I Know I Dream was recorded telling a complete story. What Kent shares is her special guitarist during 1960-64. He switched to Verve for a in London with an orchestra of nearly 60 musicians on gift for intimacy, one to be savored again and again. short time but during 1967-68 made only one record a mix of music from The Great American Songbook, date. Green struggled with both a drug habit and his Brazilian and French chanson and originals from For more information, visit okeh-records.com. Kent is at musical identity. At least on records, he stuck almost Tomlinson with his latest songwriting partner, Cliff Birdland Jun. 5th-9th. See Calendar. exclusively to funk and R&B. His output for Blue Goldmacher from Nashville. There is a sense of Note during 1969-72 found him in commercial harmony and further depth to this collection. It exudes settings, sounding as funky as any of the R&B greats a sense of fine storytelling, which has characterized and making the most of fairly simple structures. Kent’s vocalizing for more than two decades. Unfortunately his career change backfired. Green’s The clarity of Kent’s style reflects how much she albums did not sell well. He made just two albums gained in childhood by listening to and after 1973. The guitarist gained appreciation long Nat “King” Cole, among others. Her care with lyrics is after his passing; music from his later period has impeccable. Her exquisite reading of - often been sampled and he has remained an influence Tomlinson’s “” typifies her ability on modern guitarists. to communicate the memory of something passed Resonance has released two sets of intriguing surfacing in life unexpectedly. Singing in an evocative music from Green’s second period. Funk in France is Eclipse near-whisper, Kent has a nuanced and minimal approach really two records in one. The first disc was one of Joey Alexander (Motéma Music) that is heart-stopping. Her measured tones and by Ken Dryden Green’s last straightahead recordings. In 1969 he Tomlinson’s discreetly full-bodied saxophone provide went on a European tour with fellow guitarists masterful brushstrokes, creating a complete story. A number of jazz prodigies showed promise in their and Barney Kessel, bassist Larry teens, got contracts with prominent labels, then all but Ridley and drummer . Green is heard vanished from the jazz scene like a child movie star in Paris performing ’s “I Don’t Want who suddenly loses the ability to draw at the box office Nobody To Give Me Nothing” (a one-chord vamp) upon reaching adulthood. Indonesian native Joey and then a boppish set of jazz standards. Disc Two is Alexander isn’t the youngest jazz pianist to attract taken from July 1970 sets at the Antibes Jazz Festival, MARCO CAPPELLI attention and record on his own, but the young long jams with the guitarist at the head of a quartet Indonesian seemed to come out of nowhere to gain of tenor saxophonist Claude Bartee, organ player JUNE RESIDENCY instant stardom. Yet he seems less likely to lose steam Clarence Palmer and drummer Billy Wilson. While than many of his predecessors, as he has several things Bartee displays plenty of energy and Palmer grooves AT BARBES, working in his favor: an engaging personality on stage; throughout, the guitarist is on a much higher level. hard work at expanding his repertoire; and skill as an There are two versions of the stretched-out blues improviser, gaining the respect of veteran musicians. “Upshot” alongside “Hurt So Bad” and “Hi-Heel BROOKLYN Alexander’s fourth CD pairs him with bassist Sneakers”. While one may wish that the repertoire Reuben Rogers and drummer plus guest was more memorable and that the sidemen’s solos All Sundays in June at 5pm saxophonist Joshua Redman on three selections. Much were more interesting (or at least briefer), these are 376 9th St. (corner of 6th Ave) Park Slope, Brooklyn of the new album is devoted to Alexander’s originals, fine examples of Green during this overlooked http://barbesbrooklyn.com/ highlighted by opener “Bali”, a breezy ballad bringing period. The 48-page booklet is a major plus. to mind images of the beach on a perfect day. Slick! is a previously unreleased live set from SUNDAY June 3rd - 5pm SUNDAY June 24th - 5pm Alexander’s self-confidence allows him to turn over Sep. 5th, 1975. Green heads a group consisting of ROSITA KESS TRIO MARCO CAPPELLI ACOUSTIC the solo spotlight to Rogers after introducing the song, electric pianist Emmanuel Riggins, bassist Ronnie Rosita Kess TRIO + OSCAR NORIEGA unlike hearing the leader first on nearly every track on Ware, drummer Greg Williams and percussionist (guitar, piano, vocals) Marco Cappelli (guit) CDs by up-and-coming artists. Gerald Izzard. The band performs a straightforward Marco Cappelli (guitar) Ken Filiano (bass) Yet it is his choice of covers that provide the most version of Charlie Parker’s “Now’s The Time”. A Brad Jones (bass) Satoshi Takeishi (perc) + special guest Oscar Noriega (clarinets) memorable moments. The pianist throws his first curve 26-minute rendition of Jobim’s “How Insensitive” is songs by Rosita Kess The Nesbø Project: with a soulful treatment of the old hymn “Draw Me tasteful but does get to be a bit endless before music by Marco Cappelli Nearer”, which would have had the late James Williams becoming a one-chord vamp near the end. Riggins SUNDAY June 10th - 5pm beaming. The next twist finds him switching gears to contributes some decent electric keyboard solos over 3 CARDS TRICK SUNDAY July 1st - 5pm offer a rollicking setting of John Coltrane’s “Moment’s the grooving (and apparently tireless) rhythm Marco Cappelli (guitar) MARCO CAPPELLI Notice”, showcasing Rogers before his own explosive section. The set concludes with a nearly 32-minute Brandon Seabrook (guitar) plays Bach & Monk solo. Alexander is not the first jazz musician to play medley of R&B songs (“Vulcan Princess”, “Skin Stomu Takeishi (bass) Marco Cappelli (guitar) ’ “Blackbird”, but it adds ample proof that Tight”, “Woman’s Gotta Have It”, “Boogie On improvising around songs + special guest Lewis Porter from all over and all times (piano) he has an open mind when looking for music to Reggae Woman” and “For The Love Of Money”) that music by J.S. Bach explore; his lyrical, unaccompanied interpretation mostly holds one’s interest despite its great length. SUNDAY June 17th - 5pm and T. Monk makes him sound wise beyond his years. Alexander This CD also has a 48-page booklet, highlighted by TEARS OF JOY hits many peaks in this recording, but his thoughtful, an interview with Green from September 1975. (sax) harmonically inventive solo arrangement of ’ While these sets are not as essential as Green’s Marco Cappelli (guitar) poignant ballad “Time Remembered” is one for the best Blue Note albums, fans will want both releases. Damon Banks (bass) ages. It’s a safe bet that Alexander will continue to Joe Hertenstein (drums) surprise with his future projects. For more information, visit resonancerecords.org. A groovy music by Avram Fefer tribute to Green with his son Grant Green, Jr. is at Jazz For more information, visit motema.com. This project is at Standard Jun. 28th-Jul. 1st. See Calendar. Jazz Standard Jun. 5th. See Calendar.

THE NEW YORK CITY JAZZ RECORD | JUNE 2018 17

trumpeters remain unplugged, as do the drummers— GLOBE UNITY Jonathan Barber and, on one track, Lucianna Padmore— but the rhythms stretch to encompass hip-hop, soul and rock, with suggestions of electronica in the two pop covers: ’ “New Day” with vocalist Christie Dashiell and Björk’s “All is Full of Love”. Those covers are integral to the album’s overarching message (stated in the “Be The Change Intro” by Dashiell) that “unarmed truth and Frogs/Toads Henrik Pultz Melbye (Insula Jazz) Relativity (Music of Dave Lisik) unconditional love will have the final” say, but the Live at Café Amores (Skydeck) most impressive and engaging tracks, all Cassity Kang Tae Hwan (NoBusiness) originals, are buoyed by expressive solo and ensemble Broken Silence by Brian Charette (Creative Works) work from the core musicians. Twangy, chattering by Tom Greenland Russian trumpeter Alex Sipiagin’s new recording guitar and backbeats animate the title track, a features music written by Canadian Dr. David Lisik barnburner with the rhythm and electric strings Ever since Anthony Braxton’s 1969 For Alto, an inspired by Albert Einstein’s Theory of Relativity. Alto kicking up momentum behind caustic-toned alto and album of solo free improvisation that still remains a saxophonist Will Vinson plays very sweetly, breaking keening trumpet (Ingrid Jensen) solos. Dashiell closely paragon of technical, aesthetic and emotional up his high-minded modern harmony with just a hint shadows the Keys version of “New Day”, but it breaks excellence, saxophonists have continued to strive for of Bird and even a bar-walking shout here and there out into a spirited debate in 4s and 2s from Cassity’s similar excellence in this most challenging of milieus. while tenor saxophonist Chris Potter plays gorgeous alto and Marcus Printup’s trumpet. The two also Half a century later, we can hear their progress. phrases he quadruple times effortlessly while dropping provide sparkling solo turns and a loose tandem coda Henrik Pultz Melbye’s Frogs/Toads is the mind-boggling false-fingered tenor tricks. on “Be the Change”. The leader’s “Echoes of Home” Copenhagen-based tenor saxophonist’s second The opening title track starts with a legato fugue echoes phrases from The Beatles’ “She’s Leaving album, his first as a soloist. Recorded in variously in the horns, slowly developing the main theme. Piano Home” courtesy of Cassity’s tenor and Freddie sized and shaped rooms with a mute and other and bass answer in unison as the horns take a breath. Hendrix’ ; Oh also steps forward here for preparations for the horn, it contains ten succinct The meandering horns come together in a powerful her only ‘real’ solo. A funky R&B vibe propels “The improvisations, each named for a in the title. unison at the bridge as one reed defects to the rhythm Here, the Now”, Jensen, Whitfield and Cassity trading “F”, “O” (track #3) and “G” employ dense metallic section for a twisty counter melody with triplet hits solos and riffs to frame a drum solo. Closer “Outlier” is tones, clangy and cloistered, with squelched burbles and quartal harmony. Electronics played by Lisik slyly evocative of Ornette Coleman’s Prime Time, alto riding and Spartan ‘melodies’ derived from abrupt range flirt with the piano of John Escreet, almost suggesting over reverb guitar, electric bass, synth and kinetic shifts. “R” apes a teakettle’s whining overtones. cosmic movement deep in space. On “Space and Time”, drum patterns, synth and guitar trading 4s before “G”, “A” and “D” sound as if they were recorded in a pretty melody sung by Alina Engibaryan is doubled Cassity rides it out on alto, overdubbing a tandem bigger, boomier spaces: the first warm-toned, almost by saxophones while Sipiagin riffs looping chromatic tenor to rev up the finale. breathless; the second a study in morphing timbres; phrases, clipped low notes à la Miles Davis and even a the last far thinner in contrast. “S” (track #10), an quote of countryman Igor Stravinsky. For more information, visit sharelcassity.com. This project incessant stream of bumblebee notes, stops suddenly Escreet can hit a blazing , break into two- is at Dizzy’s Club Jun. 6th. See Calendar. as if at the turn of a tap; “O” (track #7) trills and fisted bebop lines and even make the piano sound like coils around the middle register like helicopter sleigh bells, all while continuing a thread of motivic rotors cutting through thicker and thicker fog. development. On “Clocks in Motion”, he starts digging In Orson Scott Card’s short story in as Sipiagin’s solo builds. Eric Harland’s drums stir “Unaccompanied Sonata”, state officials forcefully at the instigation of Boris Kozlov’s relentlessly buoyant shield a prodigy from tainting influences like J.S. bass as the pianist continues with a Brazilian comping Bach so his music will remain utterly original. One pattern that turns into pedaled McCoy Tyner-inspired can imagine similar isolation for South Korean alto voicings for Potter’s solo. Listen to Harland’s unusual saxophonist Kang Tae Hwan, if only because he take on drum and bass grooves on “Addition of doesn’t sound quite like anyone else. On Live at Café Velocity”; in a great duet with Vinson, the pair go in Amores, recorded in 1995 in Hōfu, Japan, he and out of afro triplets then back to jazz swing. At 2:49 improvises five extended pieces replete with circular Vinson hits a great multiphonic upon which the hungry breathing and multiphonic techniques, similar to band pounces. The camaraderie of the band is palpable. those used by more exuberant players in the free Relativity is advanced music delivered with joy milieu, but appearing here with singular austerity. and a wink. The ensemble writing is artful without Often based on five- or six-note F minor scales, being ostentatious and the solos are spacious and executed with a calm yet relentless airstream, each memorable. Einstein would approve. track is a deep meditation on changing timbres: gravelly burrs; overblown chords; hiccupping or For more information, visit skydeckmusic.com. This project galloping figures; low open tones set against high is at Dizzy’s Club Jun. 5th. See Calendar. polyphonic blushes.

Lucerne-born saxophonist Urs Leimgruber has been developing his solo improv skills for almost 40 years. Broken Silence is a demanding album of layered sounds, the most diverse of the three reviewed here. Close-mic’d in the studio to pick up every nuance, the effect is like watching a movie composed entirely of tightly framed close-ups, each pore of the actors’ faces shown in stark relief. Even in the brief silences, as Leimgrumber pauses for breath, his audible inhalations marking beats in the musical script, Evolve a grainy quality can be detected in the background. Sharel Cassity & Elektra (Relsha Music) Two tracks are overdubbed (with tenor), the rest by George Kanzler performed on soprano, though many seem overdubbed because of Leimgruber’s preternatural Saxophonist Sharel Cassity has given this project’s ability to generate simultaneous voices, including ensemble a forthright name in Elektra. Best known for multiphonic blasts or drones, clacking keypads, her work in the neobop modern mainstream of mostly yodeling overtones and bullroarer whoops. acoustic jazz, Cassity here features quintet and sextet formats prominently spotlighting electric instruments: For more information, visit henrikpultzmelbye.com, Mark Whitfield’s guitar boasts multiple effects; Miki nobusinessrecords.com and creativeworks.ch Hayama plays mostly electric keyboards; and Linda Oh is exclusively on electric bass. Cassity and three different

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explore. He’s covered ground from rearranging the music of Machaut and Monteverdi with a modernist’s viewpoint to engaging in a series of improvised duets with Swiss free jazz legend as well membership in his big band. He’s even played in the horn section for Lee Scratch Perry. Blaser’s own groups run the gamut from duos to quintets. Oostum is a series of trombone and drum duets with recorded in 2015. He and

Stained Glass and Technicolor Grooves Blaser have been working in a number of configurations Misha Piatigorsky Trio (Natural Drummer) since the turn of the decade. For Oostum, recorded in a by Alex Henderson church in the Netherlands, free improvisation is the order of the day. Their rapport is obvious from the While on previous releases, Misha Piatigorsky has opening moments of this disc. “Mettle” seemingly demonstrated mastery of electric keyboards, the begins with dynamic marking of “ppp”, slowly Moscow-born improviser (who has lived in the U.S. increasing in volume with Blaser blowing long since he was eight) sticks to an acoustic setting on extended tones and Hemingway bowing his cymbals, Stained Glass and Technicolor Grooves, recorded live at sounding like an electronic counterpart. “Rogue” finds the Glen Rock Jewish Center in New Jersey. Blaser building the piece through deft use of harmonics Most of the concert finds him leading an intimate and mute work; Hemingway’s role consists of subtle piano trio of bassist Charlie Dougherty and drummer but effective . “Kerkk” is probably the Sam Fishman, a format that gives him plenty of room most straightforward piece once Hemingway sets up a to stretch out whether tackling Bernice Petkere’s steady pulse, Blaser blowing melodic phrases over the “Close Your Eyes”, Bennie Moten’s “Moten Swing” top to great effect. Oostum is available in a vinyl-only and Leslie Bricusse-Anthony Newley’s “Pure edition of 300. It comes with a digital download that Imagination” or performing original pieces that contains an extra track, “Moons”. include the Middle Eastern-minded “Nachlaot” and Blaser has put together several small groups that exuberant, AfroCuban-flavored “Superhero”. explore various areas of composition-based During his improvisations, he quotes everything improvisation. Guitarist Marc Ducret was featured in from Jerry Bock’s “If I Were a Rich Man” (from Fiddler the quartet on the last two Blaser hatOLOGY releases on the Roof) on “Nachlaot” to ’s “As” on and he returns on Taktlos Zürich 2017. His brittle, “Superhero”. The pianist favors a churchy, gospel-ish exploratory work is always a benefit to a group while approach on Billy Taylor’s “I Wish I Knew How It Feels drummer Peter Bruun, who has worked with Ducret to Be Free” and the unaccompanied solo piano selection on the guitarist’s Tower recordings, rounds out the “Misha’s Mood”, then has no problem finding the group. Ducret has the bulk of compositional chores postbop possibilities in “Moten Swing” or “Pure (three out of five) alongside Blaser’s “Jukebox”. Most Imagination”. The latter, written for the 1971 musical fascinating is an arrangement of an obscure Stravinsky film Willie Wonka & the Chocolate Factory, is an unlikely composition “Fanfare For A New Theatre”, a miniature choice but Piatigorsky’s memorable arrangement is stemming from his 12-tone period. Ducret and Blaser right out of the /Kenny Barron playbook. playfully state the tricky theme (originally composed Alto saxophonist Jeremy Fishman (Sam’s brother) for two ), then proceed to dissect the rhythmic is added on “I Wish I Knew How It Feels to Be Free”, structure. Midway through, the piece segues Mongo Santamaria’s “Afro Blue” and Cannonball effortlessly into Ducret’s “Useless Knowledge”, a slow Adderley’s “Inside Straight”. “Afro Blue” becomes, in ballad Blaser invests with a somber beauty. It’s the effect, a tribute to Coltrane’s early ‘60s quartet, the contrast in both mood and thematic material that saxophonist’s improvisations overtly Coltrane-ish and makes this track work. Throughout, Bruun provides Piatigorsky referencing McCoy Tyner when he quotes perfect accompaniment. He’s a very subtle player in “My Favorite Things” in a way that recalls Coltrane’s this context, frequently investing the rhythmic drive classic 1960 recording of the Richards Rodgers-Oscar with just brushes and cymbal splashes. Hammerstein standard. “Inside Straight” and “I Wish I With these two discs, Blaser starts out 2018 on a Knew How It Feels to Be Free” are straight-up soul- high note and it makes one look forward to what else jazz, with Fishman making some Adderley-ish moves he has in store in the future. and Piatigorsky recalling pianist . Fans of Piatigorsky’s keyboard playing might be For more information, visit nobusinessrecords.com and disappointed that he sticks to piano but it doesn’t hathut.com. Blaser is at Zürcher Gallery Jun. 7th and Roulette make him any less funky when he wants to be. Stained Jun. 18th, the latter with the Taktlos Trio. See Calendar. Glass and Technicolor Grooves is consistently engaging.

For more information, visit mishamusic.com. Piatigorsky is FRI., june 29th, 2018 $20 at Smoke Jun. 7th. See Calendar. 7pm musIc now! Ras moshe BuRnett / matt LaveLLe / Lee odom devIn BRahja waLdman / jean caRLa Rodea / chRIs FoRBes LaRRy RoLand / LeonId GaLaGanov 8pm LauRen Lee / daRIan thomas

9pm - ImpRovIsatIonaL composeRs ensemBLe Rocco john Iacovone / sana naGano / mIchaeL LytLe Ras moshe BuRnett / phIL sIRoIs / john pIetaRo RIch RosenthaL / tom caBReRa

10pm - the accIdentaL oRchestRa OOSTUM mIchaeL moss / mIchaeL LytLe / RIchaRd Keene Gerry Hemingway/ Samuel Blaser (NoBusiness) eLLIot LevIn / Ras moshe BuRnett / BRIan GRodeR Taktlos Zürich 2017 LaRRy RoLand / meLanIe dyeR / caRoL BucK / GeoRGe cRotty Samuel Blaser (with Marc Ducret, Peter Bruun) Lenny mIms / steve cohn / RIcK Iannacone dom mInasI / waRRen smIth / chucK FeRtaL (hatOLOGY) by Robert Iannapollo schoLes stReet studIos Swiss trombonist Samuel Blaser has released 15 albums 375 LoRImeR stReet (coRneR oF schoLes stReet) j, L, m, Z tRaIns to LoRImeR stReet / G tRaIns to BRoadway over the last ten years and all have shown a probing ReFReshments and LIGht snacKs avaILaBLe player who allows himself a wide range of options to schoLesstReetstudIo.com

20 JUNE 2018 | THE NEW YORK CITY JAZZ RECORD well as tenor, the leader is heard on a compact valve trombone at one time owned by Thornton. Though both the lengthy title suite and brief encore are improvised, there is a dusky hue laying atop speaking to Thornton’s elegiac sense of arrangement. Occasionally shot through XThe Willisau Concert with fibrous analogue electronics in bursting arrays and Joe McPhee (hatHUT - Corbett vs. Dempsey) palimpsests, the focus is on the horns, with Lazro’s Plan B: From Outer Space husky baritone splatter a fine counterpoint to McPhee’s Joe McPhee/James Keepnews/David Berger weighted velvet. Opening with an unaccompanied (Roaratorio) kwela-like trombone fragment (cueing the dedicatee’s Sweet Oranges work with saxophonist Joe Malinga), the foursome gel Clifford Thornton Memorial Quartet (Not Two) in sparse, burred hymnals and alien surge. by Clifford Allen For more information, visit corbettvsdempsey.com, If one were to look for a symbol of the fountain of roaratorio.com and nottwo.com. McPhee is at Issue Project youth in this music, one would likely find it in Joe Room Jun. 7th and The Stone at The New School Jun. 28th. McPhee. Born in 1939, the multi-instrumentalist has See Calendar. been a fixture in free improvisation since 1967, when he first recorded as a guest on trombonist/trumpeter MATT PENMAN Clifford Thornton’s debut LP, Freedom & Unity. In the ensuing decades, McPhee’s bright demeanor and GOOD QUESTION willingness to play with improvisers of nearly any stripe has earned him favored spots at festivals and SSC 1513 - AVAILABLE 6/8/18 door gigs worldwide, often putting players decades his junior through their paces. Perhaps part of his he ensemble that Penman assembled features not youthfulness comes from living just outside the city in Tonly the top musicians in jazz but also his regular Poughkeepsie—in fact, as opposed to making the collaborators and friends, including saxophonist Mark rounds in New York’s loft and club scenes, McPhee Unbroken Turner, pianist Aaron Parks and drummer Obed spent the first two decades of his performing career Tiffany Austin (Con Alma Music) Calvaire. There are also guest appearances by guitarist mostly overseas, launching European tours on vacation by Scott Yanow from his factory job in the Hudson Valley. Nir Felder, saxophonist Will Vinson and percussionist In 1975, McPhee cut The Willisau Concert, his sixth Tiffany Austin, a very skilled jazz singer based in the Rogerio Boccato. Penman’s compositions are meant to record as a leader, and second for the fledgling hatHUT Bay area, recorded her debut CD Nothing Records, in the creative music mecca of Willisau, But Soul in 2015. Her new release joins her with an stimulate the ensemble into reactions and conversa- . McPhee was then working in a duo with allstar rhythm section (pianist Cyrus Chestnut, bassist tions within their framework. the analogue synthesizer wizard John Snyder (they’d and drummer Carl Allen) and APPEARING @ JAZZ STANDARD already released a year earlier) and they occasionally trombonist Mitch Butler (who also joined up with a powerhouse drummer from South provides the arrangements), tenor saxophonist TUESDAY, JULY 10TH (7:30 PM & 9:30 PM) Africa, Makaya Ntshoko, on a program of four originals Teodross Avery and trumpeter Ashlin Parker. and a cover of “God Bless The Child”. The recording From the first note of opener “Blues Creole” and starts with a virile duet of strangled tenor multiphonics throughout nearly all of the CD, Austin’s singing is and limber, rolling tides, McPhee occasionally granting impressive in tone, range and expressive quality. She a melodic aside before being overcome with pulpit- wrote lyrics for two modern jazz classics and pounding emotion. The following “Voices” is for tenor contributed four originals, including the first two harmonics, deep from the vocal well, interleaved with numbers: “Blues Creole” and “Greenwood” are, processed wails and bubbling distortion from Snyder’s respectively, about the murder of a Creole accordion ARP and occasional taps on Ntshoko’s toms while player for interacting with a white woman at a dance “Bahamian Folksong” takes a moment to find its odd and a remembrance of the destruction in 1921 of Tulsa’s groove in synthesized belches, pans and delicate black Wall Street. Despite the subject matter, the cymbal work. The latter is one of the most arrestingly treatments of these two songs are far from somber and intriguing performances in a one-of-a-kind set. often sound strangely celebratory. The former has Plan B: From Outer Space doesn’t exactly refer to Ed inventive scatting while the latter is a happy bop tune. Wood’s rickety DIY film fantasia but a dedication to Spiritual “Ain’t No Grave (Can Hold My Body Sun Ra in a sidelong exploration does underscore the Down)” features plenty of energy and has the horns fêted composer’s penchant for astro-camp amid the jamming together before the tempo really gets cooking most poignant trans-dimensional blues. The record during the second vocal. The only relatively quiet joins McPhee with two fellow Hudson Valley confrères, number of the set is “You Must Believe In Spring”, a SHAMIE ROYSTON percussionist David Berger and James Keepnews on duet with Chestnut with some passionate moments. guitar, laptop and samples. Keepnews also organizes Austin’s lyrics to Ornette Coleman’s “The BEAUTIFUL LIAR improvised music concerts in the Beacon-Newburgh Blessing” and a rambunctious version of Charles area and going by McPhee’s early recordings, the multi- Mingus’ “Better Git It In Your Soul” fit the music well. SSC 1510 - AVAILABLE 6/15/18 instrumentalist is no stranger to assembling bands with Dizzy Gillespie’s “Con Alma” is given a Caribbean- a local focus. Other than the five-part “Shadow of the flavored rhythm and plenty of fire. “King Of Pleasure” n Beautiful Liar, the core sound is that of the piano Sun Suite”, most of the cuts are somewhat short and is a saucy with a fine trumpet solo, Otrio, embellished by one or two horns, Jaleel Shaw yoke throaty pillows to a dry roil and dustily tangled “Someday We’ll All Be Free” is a and Josh Evans. Drummer Rudy Royston provides a six-string, piano and digital shading. McPhee, on song successfully transformed into jazz, “Music’s strong rhythmic foundation and centric fire when saxophone and pocket trumpet, is fluid and packs a Gonna Meet Me There” gives the singer an opportunity harried wallop, but Berger and Keepnews are deep to swing a blues over a big band-type arrangement and paired up with bassist Yasushi Nakamura, whose strong listeners and with airy patter and jarring, otherworldly John Coltrane’s “Resolution” has her singing his solo bass presence is essential to the leader’s compositions. interference, they keep McPhee on his toes. from a movement of . Teodross Avery Sweet Oranges is a dedication to Thornton, McPhee’s takes one of his finest solos on the latter piece. mentor and friend from their 1967 meeting until The program concludes with an inspirational APPEARING @ DIZZY’S CLUB COCA-COLA Thornton’s untimely departure in 1989 at 53. As with version of “Keep Your Eyes On The Prize”, in duo with WEDNESDAY, JUNE 20TH (7:30 PM & 9:30 PM) the other reviewed recordings, McPhee is joined by an Whitaker. Austin has staked her claim as one of the electronic musician, in this case the French synthesizer most significant of the up-and-coming jazz singers. player and instrument builder Jean-Marc Foussat, in iTunes.com/MattPenman addition to longtime collaborator Daunik Lazro For more information, visit tiffanyaustin.com. This project iTunes.com/ShamieRoyston (saxophones) and Japanese drummer Makoto Sato. As is at Birdland Jun. 7th. See Calendar. www.sunnysiderecords.com

THE NEW YORK CITY JAZZ RECORD | JUNE 2018 21

education programs—a noble goal. But collected, the out and tricky. Pianist ’s intro is live recordings—16 in total—somehow feel as though reminiscent of Stanley Cowell’s “Waiting for the they cheapen the broader mission of the orchestra, Moment”, that same sense of anticipation. Then Wilson which seems to fancy itself as a kind of sonic lays out the theme over bowed bass, Colligan solos in embodiment of jazz. Not here. The suggestion of this mainstream bop mode and Wilson takes it out with an record is that jazz can’t survive without the crutch that urgent, searching solo scraping the upper registers. is a marquee name. “Where Giants Dwell” is a barnburning nod to the Not that you won’t enjoy listening to guitarist jazz masters. Wilson has the solo time, but check out John Mayer backed by a fabulous octet—including how Williams supports him with a tight wire of fierce

Northbound (featuring ) Marsalis, Wessell Anderson (alto saxophone), Victor playing. Drummer (a frequent Williams Tuomo Uusitalo/Olavi Louhivuori/Myles Sloniker Goines (tenor saxophone) and Wycliffe Gordon collaborator), sounds good too, but is too far down in (CAM Jazz) (trombone)—and singing “I’m Gonna Find Another the mix. Two Williams compositions, “Briana” and by Tyran Grillo You”. But that’s not what you go to Jazz at Lincoln “Ariana Anai”, are about his granddaughters, tender Center for, is it? Maybe so. Marsalis, the self-appointed reveries evoking Coltrane’s “”, yet with an air of Despite what its title would have you believe, ambassador of jazz, might say yes. “The differing playfulness; the doting granddad is wise to the little Northbound hits every cardinal direction. At its core are styles of these iconic musicians required our rhythm rascals. “Song to the Outcasts”, inspired by the Tuomo Uusitalo (piano), Myles Sloniker (bass) and section to play with authenticity and feeling in an peripatetic lifestyle of Eastern European Roma, adds Olavi Louhivuori (drums), who together form an unprecedented diversity of grooves,” he writes in the a touch of mystery to the proceedings. Colligan opens indivisible unit of expression. Unlike some other liner notes. And it is impressive to hear how adaptable with some exotica and Williams’ persistent pulse simpatico ensembles, their rapport isn’t so much one Marsalis and his bandmates are, whether they’re introduces Wilson in haunted mode. Colligan comes of interlocking as hybridization, as evidenced by the accompanying John Legend, who sings a lovely bossa back and brightens the mood and Wilson takes it free improvisations peppering the set. In these, the nova-inflected “Please Baby Don’t”, or Lyle Lovett, higher still. We’re brought back to earth by the leader, voice of each musician breathes through the same singing “My Baby Don’t Tolerate”. (Marsalis did most who steps out very thoughtfully. Every bassist should body. From the microscopic cartography of “Focus” to of the arrangements.) hear this solo and the more than a half-century of groove-seeking insights of “Awakening”, the music But the best moments come when the orchestra experience contained therein. gels organically and with clarity of purpose. isn’t contorting to fit behind some pop or rock A generous leader, Williams recorded a Similar intuitions fortify the meat surrounding musician. The late , for instance, seems at composition by each of his sidemen: White’s these bones, into which guest Seamus Blake blends the home as he takes on a gospel-tinged “I’m Gonna Move “Stumblin’” is a standout, featuring a neat little theme protein of his tenor saxophone throughout six originals. to the Outskirts of Town” and unfurls a satisfying solo. and a short, energetic burst of Wilson (backed by great Each lends insight into its originator’s talents. Carrie Smith, who died in 2012, works her way through Colligan comping), while Wilson’s uptempo “Sisko” is Sloniker’s “Counterparts” and “Gomez Palacio”, like an excellent rendition of J.C. Johnson’s “Empty Bed another showcase for his always incisive playing. the bassist’s playing, balance arcs and angles, Blues”, most famously interpreted by Bessie Smith, to Let’s hope we don’t have to wait a further decade- unraveling two knots for every one tied. Louhivuori whom all jazz singing can be traced. If this sounds like plus for another Buster Williams album. offers a diptych of his own with “Forgotten” and “Song purism, it’s only an attempt to hold the Jazz at Lincoln For Mr. Moorhead”, building in each a patient reach Center Orchestra to the standard it has set for itself. For more information, visit smokesessionsrecords.com. This for consummation. The drummer bridges these with project is at Smoke Jun. 8th-10th See Calendar. the free solo “Rumble”, evoking a distant storm, before For more information, visit blueenginerecords.org. Marsalis Uusitalo rounds everything out with the album’s is at Rose Theater Jun. 8th-9th with the Jazz at Lincoln strongest compositions. “Pablo’s Insomnia” is a Center Orchestra. See Calendar. highlight for its composer’s right-handed solo and command of space while “The Aisle” builds to anthemic parting. June nYC PeRfoRmanCes Regardless of the complexities of the mazes put before him, Blake navigates with his eyes closed and Ted RosenThal TRio heart on autopilot. He emotes with boldness yet manages to be sensitive to his environment. Neither mezzRow - 163 w. 10Th sT. overpowering nor overpowered, he knows exactly fRi - saT, June 8 & 9, 8:00 - 10:30Pm when to unhinge himself with a screech of color and Ted RosenThal - Piano, noRiko ueda - Bass, when to sing in monotone, thus embodying the rarest Tim hoRneR - dRums aspect of Northbound: namely, its gracious handling of Audacity every melody. There’s something sacred to be found Buster Williams (Smoke Sessions) Ted RosenThal aT dizzY’s CluB: here and respecting it demands full attention. by Jim Motavalli 10 ColumBus CiRCle / Jazz.oRg/dizzYs For more information, visit camjazz.com. This band is at For his first album since 2004, 75-year-old master June 21-24 Scandinavia House Jun. 7th and Shrine Jun. 8th. See Calendar. bassist Buster Williams presents nearly an hour of wiTh QuaRTeT music—including a bumper crop of his own

compositions. There’s your proof that this veteran of June 28-30 hundreds of sessions retains the audacious stamina of wiTh adRian Cunningham QuinTeT a much younger man. adRian Cunningham - sax/ClaRineT Heard on alto and soprano, Steve Wilson is doug weiss - Bass, BRuCe haRRis - TRumPeT dominant and first-time listeners could be forgiven for BRianna Thomas - VoCals thinking it’s the saxophonist’s date. But while Wilson is a forceful presence, he doesn’t grandstand and everything he plays is in service to Williams’ concepts. TedRosenThal.Com If you want to hear Wilson in good form on an acoustic postbop date, this is it. United We Swing: Best of the Jazz at Lincoln Center Galas Septet (Blue Engine) Williams was profiled in DownBeat circa 1970 and by Matthew Kassel said, “I strive to do everything that can be done musically and to learn and grow more aware, know There’s a certain glibness to the new album United We myself better. The only direction I can go is forward.” Swing: Best of the Jazz at Lincoln Center Galas, a collection And what does he say now? From the press releases to of tunes culled from five years of benefit shows. this new album: “I’m always looking for something Between 2003-07, trumpeter Wynton Marsalis and beyond what I know, what I can comprehend and what other members of the Jazz at Lincoln Center Orchestra I understand.” That’s the same guy, right? performed with such eminences as guitarist Eric Williams’ tunes should be heard more. The Clapton and singer-songwriters James Taylor, Jimmy standout here is “Triumph”, by far the most complex. Buffett, Lenny Kravitz and Willie Nelson. The intention Some of the music has a ‘blowing date’ feel (which was to raise money for Jazz at Lincoln Center’s explains the long forms) but this one is fully worked

22 JUNE 2018 | THE NEW YORK CITY JAZZ RECORD

Ran Do Dr. Quixotic’s Traveling Exotics Kjetil Møster/// Jon Irabagon Quartet (with Tim Hagans) John Herndon (Clean Feed) (Irrabagast) Wrecks In Formation Network Third Coast Ensemble (Rogue Art) Jon Irabagon/Joe Fiedler/Todd Neufeld (Nuscope) by Tom Greenland by John Sharpe

In the early 90s, guitarist Jeff Parker set up shop in the Jon Irabagon has come a long way since winning the vibrant Chicago creative music scene, exploring post- Monk Saxophone Competition in 2008, an in-demand rock with Tortoise and avant-improvisation with the sideman as well as helming his own sessions. Chicago Underground collective and Isotope 217 (both Dr. Quixotic’s Traveling Exotics is the sophomore with ). In 2013, he relocated to Los effort from his quartet of pianist , bassist Angeles, where he continues to innovate. Two releases Yasushi Nakamura and drummer Rudy Royston, indicate some of the recent turns he’s taken. supplemented by trumpeter Tim Hagans on five of the Ran Do was recorded in in 2015 after a U.S. six numbers. Irabagon conveys an irrepressible sense of tour of Norwegian tenor saxophonist Kjetil Møster’s adventure to the date, recorded live on tour in Argentina, quartet with Chicagoans Parker, bassist Joshua Abrams manifest through tunes full of breathless twists, turns and drummer John Herndon (Parker’s bandmate in and welcome reprises, all obvious from the opening Tortoise). Certainly the leader’s warm, full-throated “The Demon Barber Of Fleet Week” onwards. Irabagon’s horn features prominently, but this is really a collective introductory tenor soliloquy launches into a propulsive effort, both in terms of ad-hoc compositions and overall vamp, accented by crashing chords and interlocking sound. Abrams and Herndon ensure that the pulse is melodies. Perdomo, who adopts a variety of guises, indeed propulsive, whether loping along in a free- displays all his trickery here, starting with dissonant swing mindset or, in the more impressionistic sections, cross-currents, then phrasing determinedly against the undulating together in a less regular ebb and flow. time before culminating in a sequence of bravura Møster is an ideas man, formulating then permutating clusters and glissandos. Hagans, who features from the his thoughts, except when circumstances call for less second cut on, meshes particularly well, braiding his rigor. Parker wears many musical hats: on “Orko” he’s forceful soloing with Irabagon’s corkscrewing lines. a subtle colorist, fading in chords, then a spasmodic Royston gets down and dirty on “The Bo’Ness Monster”, fencer, stabbing short sharp phrases; on “Dig Me Out” where his urgent rat-a-tat gooses Perdomo’s thickly he sounds over-compressed, about to explode, later coiled undulations. Irabagon programs a change of pace adopting a clean tone to finagle small melodic cells. For with the achingly poignant piano lead into “Pretty Like “Island Life” he’s thin and metallic; for “Anicca” he’s a North Dakota”, but it doesn’t last too long as Hagans mad scientist, poring over odd instruments in a waxes celebratory and Irabagon positively exuberant futuristic lab, popping the wah-wah pedal for some before the end. The lurching beat of the final punning scratchy strums, later switching to a sweet open tone “Taipei Personality” presages an oblique written line for a duet with Møster. Finally, on the bluesy “Pajama and then out-of-focus horn interchanges, which suggests Jazz”, he plunks out reverberant chords, answering jazz filtered through a hall of distorting mirrors. Møster’s exuberance with fading, slightly ‘out’ sounds. A first meeting convened by Nuscope label boss Wrecks is an intercontinental project drawing on Russell Summers, In Formation Network presents the talents of Brest, France’s Ensemble Nautilis and Irabagon in more stripped-back style. He’s joined by the (mostly) Chicago-based North Americans. Led by nuanced acrobatics and multiphonics of trombonist Joe cornet player/conductor Mazurek, who wrote all the Fiedler and subtle light and shade generated by guitarist pieces, the project’s theme is shipwrecks, referring Todd Neufeld. Each man brings charts to the party, specifically to those in Lake Michigan, with narrated along with off-the-beaten-track covers of , texts written by Alexandre Pierrepont. Besides Albert Mangelsdorff and Samuel Blaser. Irabagon’s Mazurek and Parker, the 16-piece group is violinist serpentine runs often embellished by overblowing slide Mazz Swift, cellist Tomeka Reid, flutist Nicole Mitchell, between pitches as he demonstrates a spellbinding clarinetist Christophe Rocher, saxophonists Nicolas command of microtonality. How much spontaneity they Peoc’h (alto/soprano) and Irvin Pierce (tenor), bring to bear is indicated by two radically different trumpeter Steve Philippe Champion, trombonist Steve readings of Swiss trombonist Blaser’s “Pieces Of Old Berry, pianist Christofer Bjurström, bassist Frédéric B. Sky”. The first kicks off like a woozy mournful hymn, Briet, drummers Avreeayl Ra and Nicolas Pointard and before taking flight in wonderful interplay between electronics-purveyors Lou Mallozzi (who doubles on Irabagon and Fiedler, evoking two hounds howling at voice) and Vincent Raude. The pieces are a blend of the moon. The second, which closes the disc in decidedly conventional doubled melodies, riffs and background low-key fashion, hardly announces the theme and figures, rampaging free-form tutti sections with proceeds with much silence amid murmuring horns and multiple soloing, plus all manner of thinner, quieter desolately tolling guitar. Before that point, Irabagon chamber-esque textures. Parker is happy to be flaunts his fluency on Fiedler’s “I’m In”, spinning immersed in the maelstrom, but has occasion to step insistent figures with a rhythmic verve that belies the out in several places. His solo on “The Saying Ship” is skeletal guitar framework, while on his own clean, cool and collected, even when some of the more “Wai’anapanapa” he curates an improv palette of raucous accompanying parts start barking at his heels; strangulated noises, metallic shards and sudden he employs a similarly clean, Grant Green-inspired plosives, riven by abrupt unison interjections, contrasted tone for his more extroverted solo on “The Game with a centerpiece of almost lyrical exchanges. Circle”, a 6/8 swinger, climaxing with tremolo-picked single-note lines and chord melodies. For more information, visit jonirabagon.com and nuscope.org. Irabagon is at Bushwick Public House Jun. 11th, Bar Next For more information, visit cleanfeed-records.com and Door Jun. 14th, Dizzy’s Club Jun. 18th, Ibeam Brooklyn Jun. roguart.com. Parker is at National Sawdust Jun. 8th as part 21st with William Hooker and 25th with Ryan Meagher and of an International Anthem Showcase. See Calendar. National Sawdust Jun. 27th. See Calendar.

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a wonderful version. The occasional addition of instruments, ranging from the harp in the introduction G E S T A R T of “Festival in Bahia” to mallets and keyboards in the B I G I S S T S trio’s original compositions (one each from the Z ’ Z A principals), broadens the palette but takes the whole J mood farther away from Tyner’s spirit. Gibbs is tasteful and creative as always—listen how he underlines the bass walk in “Blues on the Corner”—while Essiet provides a solid anchor throughout the proceedings.

Passion Reverence Transcendence: This album is a thoughtful, loving yet excessively The Music of McCoy Tyner respectful tribute to a living giant, in which reverence Benito Gonzalez/Gerry Gibbs/Essiet Okon Essiet seems to take the lead over passion and transcendence. (Whaling City Sound) by Marco Cangiano For more information, visit whalingcitysound.com. McCoy Tyner is at Blue Note Jun. 11th. See Calendar. ributes to legends, whether living or long gone, are T never easy, a challenge between competent interpretation of the past and daring transposition of the artist’s legacy into the future: the former risks being overly respectful, the latter at times fails to reinterpret that legacy in the spirit of today’s sound. The music presented in this album falls somewhat in S U between these two extremes. While delivering a solid M S M H T performance of pianist McCoy Tyner’s material, the E R I G ’ S H T N original compositions do not succeed in transposing O T T E S his legacy into modernity. One Day It Will With the exception of “Blues on the Corner” (1967) Danny Green Trio Plus Strings (OA2) and “Just Feelin’” (1991), the choice of Tyner material by Robert Bush bill charlap concentrates on the mid to late ‘70s, a transition period ARTISTIC DIRECTOR between the early explosive yet deeply spiritual Southern California piano virtuoso Danny Green has Milestone albums to more subdued and varied moods. really come into his own lately, shedding some obvious The selection of “Rotunda” and “Festival in Bahia” debt to and, most importantly, learning Dick Hyman from the album is quite telling in this how to infuse a sense of space into his music. This new respect: these compositions receive a more essential maturity culminates with the release of his latest disc, and energetic treatment by pianist Benito Gonzalez, a marriage between his remarkably simpatico trio of drummer Gerry Gibbs and bassist Essiet Okon Essiet bassist Justin Grinnell and drummer Julien Cantelm Mary Stallings than the originals’ overly abundant arrangements— and a string quartet of Kate Hatmaker and Igor inclusive of voices. Tyner’s style has influenced one Pandurski (violin), Travis Maril () and Erica way or the other most of, if not all, the pianists that Erenyi (cello). Aaron Diehl followed but his pearly touch remains inimitable. The album begins strongly with the super-melodic Gonzalez is no exception. From the attack of the pedal “Time Lapse To Fall”. Right away the strings prove to and theme of “” his performance be on equal footing with the trio, sharing the harmonic suffers from the excess of respect mentioned at the soundstage with rich results. “As The Parrot Flies” outset, somewhat restrained compared to his earlier balances pizzicato strings in support of Green’s solo efforts, critical contributions to the effusive work at the keyboard. This combination works Quartet and his live performances. best when there is a strong current of dissonance and “Blues on the Corner” is a case in point if one healthy rhythmic counter-narrative—something the compares the rather subdued version presented here quietly inventive Cantelm illustrates well. Green has with the sparkling energy of Tyner’s original version. obviously studied the music of Wagner and Mahler, With the notable exception of “”, the other even though those influences come up in a pretty interpretations also lack the spirituality of most of organic fashion. Melba Joyce Tyner’s music, as illustrated by the version of Rolling over Grinnell’s throbbing whole “Atlantis”. Although quite different from Tyner’s notes characterize the title track as the pianist’s fingers many interpretations of “Naima”—the one from the fly across the keys but it’s the bassist whose woody Ken Peplowski album Echoes of a Friend still stands out—Gonzalez’ exposition takes the tune to a higher level with a solo solo treatment frees him of any timidity, thus giving us right out of the Gary Peacock/ tradition. There is a deep and pensive beauty throughout much of this record, alongside an attractive tunefulness Melissa Aldana that seems to express the optimistic side of melodic development. On “Lemon Avenue”, Green’s sense of a ‘’ comes to the forefront and sets up a Houston Person wonderfully ebullient solo showcasing his deft touch and attention to detail. Grinnell follows with a and many others! breathtaking contribution—it is hard to imagine this album without him. Green even explores the blues in his own way on the album-closing “Down And Out”, getting the strings out of the chamber vibe and into a JULY 17-26 funky, gutbucket sensibility. Sometimes, Green’s string charts stray too close to an overt sense of the saccharine—a little more tension get tickets! through a more daring sense of harmony would perhaps serve the music better, but this could also be 92Y.ORG/JAZZ • 212.415.5500 nitpicking. It’s a fine line to walk and Green’s trio continues to evolve and develop its own voice—as

a unit and in combination with strings. 92Y Jazz in July is partially endowed by a generous gift from Simona and Jerome A. Chazen. Additional support is generously For more information, visit originarts.com. This project is provided by the Wechsler Foundation and an anonymous donor. at Rockwood Music Hall Stage 3 Jun. 13th. See Calendar.

THE NEW YORK CITY JAZZ RECORD | JUNE 2018 25

those studio albums might have been overly glossy, the sleights-of-hand come naturally to Courvoisier and Davis bands of that era brought it in concert. And like her partners in a fresh approach to a traditional format. those bands, the E-Collective is decidedly not a jazz Each piece here is a dedication. Opener “Imprint group, blending funk, rock and electronics into a Double”, for the father who introduced her to boogie heady, beat-driven swirl, alternating between and swing piano styles, begins with an almost thumping vamps and gentle ballads, Altura every bit bombastic, percussive bass figure gradually lightened as much a lead voice as Blanchard, whose horn is often with contrasting rhythmic materials while maintaining absent, or fed through electronics (it’s difficult to tell a percussive emphasis. “Bourgeois’ Spiders”, dedicated whether the echo-laden solo on “Can Anyone Hear to sculptor Louise Bourgeois, continues an emphasis on

Live Me” is a trumpet or synth). Keyboards are a spacey metallic percussion, highlighted by detailed string (featuring the E Collective) (Blue Note) shimmer while piano is delicate and introspective, plucking and wild keyboard flourishes with Wollesen’s by Phil Freeman bass plumbs Bill Laswell-ian depths and drums have steady groove. The title track, dedicated to late pianist the sharp crack of hip-hop. This is a loud, simmering Geri Allen, emphasizes expressive depth rather than Trumpeter Terence Blanchard’s E-Collective debuted on and occasionally raging record not recommended for contrast, a stately minor theme against rattling, random 2015’s Breathless, titled in remembrance of Eric Garner, bop nostalgics or those seeking dinner music. sounds—like chains and glass—until lyrical, yearning choked to death by NYC police. This album’s title can be bass assumes the lead, eventually handed back to pronounced like “live in concert” or like “live and let For more information, visit bluenote.com. This band is at Courvoisier for the CD’s most deeply-felt moments. live”. It was recorded at venues in three communities Jazz Standard Jun. 14th-17th. See Calendar. Shorter pieces are often closer to sketches, but each marked by conflict between law enforcement and black plays with a new identity. “Éclat for Ornette” reaches to citizens: The Dakota, in Minneapolis, near the site of Coleman’s early work, suggesting the tense, single- Philando Castile’s traffic-stop execution; The Bop Stop note runs of his early collaborator . “Simone”, in Cleveland, close to where 12-year-old Tamir Rice was for Holocaust survivor and politician Simone Veil, has shot by police; and The Wyly Theatre in Dallas, where a concentrated intensity with stark atonal flurries. multiple police officers were shot by snipers while This is a group with a developed sense of conversation observing a Black Lives Matter protest. and leader whose precise restraint is as impressive as her The band is largely the same: Charles Altura most creative flights. These come together on “Fly (guitar), Fabian Almazan (piano and synth) and Oscar Whisk”, for , a duet with Wollesen Seaton (drums), David “DJ” Ginyard replacing original commemorating Courvoisier’s fellow Swiss pianist’s bassist Donald Ramsey. Blanchard composed new celebrated meetings with drummers. Similar qualities D’Agala music for the tour—of the seven tracks, five are mark closer “South Side Rules”, dedicated to guitarist Sylvie Courvoisier Trio (Intakt) previously unheard and one is a version of “Hannibal”, by Stuart Broomer John Abercrombie, who died while the recording was from Miles Davis’ 1989 album Amandla. The only being made. It’s a brooding, angular piece—highlighted Breathless track performed is “Soldiers” and it’s almost This is the second CD by pianist Sylvie Courvoisier’s by Gress’ solo flight—ending with startling suddenness. three minutes longer than the studio version. trio with bassist and drummer Kenny It’s appropriate that Live kicks off with “Hannibal”, Wollesen. That earlier CD came with references to For more information, visit intaktrec.ch. Courvoisier is at because the music is close kin to ’80s Miles and while knots and card tricks and a sense that knotting and Ibeam Brooklyn Jun. 15th with . See Calendar.

Dance Clarinets: The Music of and Marty Ehrlich

Featuring guest clarinetist Marty Ehrlich and GHMS Dance Clarinets.

JD Parran, Director

Wednesday, June 13, 2018, 8:00 p.m. Tickets: $10 at the door

Greenwich House Music School 46 Barrow Street, NYC greenwichhousemusicschool.org

26 JUNE 2018 | THE NEW YORK CITY JAZZ RECORD

stints with , , John Scofield, brings empathy and energy to their play. , Regina Carter and many others. Levin’s Meinhart is well on his way to making a name for latest could be seen as an informal homage to a seminal himself in the New York jazz scene. He plays around time in jazz history, an era where barriers were broken town regularly and last month at Jazz at Kitano led and musical cross-pollination occurred, where jazz’ a quintet on wholly new material. Jensen, who plays postbop and avant garde spheres welcomed rock, funk trumpet on six of the nine tracks on Silent Dreamer, was and assorted permutations thereof, a vital, malleable the only holdover. She has been Meinhart’s mentor and thing reviled by some and embraced by others. friend for 13 years and her lyrically tender trumpet “Another Time Another Place” has a gently and his slow melodic saxophone, both in separate soli

Blues for Memo undulating groove and plaintive melody featuring and playing alongside one other, created an exceptional David Murray (feat. Saul Williams) (Motéma Music) Levin’s glistening electric piano, Alex Foster’s surging, sweet sound much-appreciated by all lucky enough to by Joel Roberts Coltrane-descended tenor saxophone and Lenny have attended the concert. White’s powerful drumming. “I Mean You” is a Powerhouse tenor saxophonist David Murray has chestnut given an early ‘70s Steve For more information, visit enjarecords.com recorded a dizzying number of albums since he burst on Wonder-style treatment, adapted into a chunk of the scene in the mid ‘70s as a fiery avant-gardist and swaggering funk that changes modes, sudden yet founding member of the World Saxophone Quartet. smooth into heartfelt bop soloing over Latin-flavored He’s fronted groundbreaking , octets and big swing then a soul-jazz groove. “Fade to Blue” is BRIAN CHARETTE bands and collaborated with everyone from jazz elders a lovely ballad with limpid guitar from Jeff Ciampa like McCoy Tyner and Randy Weston to Guadeloupian and a bittersweet muted trumpet solo by Chris Passin. folk musicians and The Grateful Dead. He’s made The title piece leads off with sinuous, wiry bass lines albums in Argentina, Cuba, Senegal and now, a new from Levin’s brother Tony (of King Crimson fame) release recorded in Turkey that’s one of his best in years. leading into a pointed, weaving theme and funky but Blues for Memo is another adventurous partnership fractured rhythm, out of which springs a searing, for Murray, this time with the poet/actor Saul Williams. slightly distorted, controlled-frenzy guitar solo. Murray and Williams met in 2014 at the funeral of the The spirit of ‘70s editions of Evans’ orchestras is great , with whom Murray felt throughout the performances, infused into a small worked back in the ‘80s. The new album grew out of a but full-sounding band, harmonious tunes with-some- series of poems by Williams that Murray set to music. edges-showing and profoundly earnest (and catchy!) Joined by Murray’s high-octane band (pianist ‘70s-descended rhythms. If you seek stylistic Brian Charette Piano Trio Orrin Evans, bassist Jaribu Shahid, drummer Nasheet consistency you won’t find it here—if you can groove June 15-16 7:30pm-10pm @ Smalls Waits and trombonist Craig Harris), the resulting to Curtis Mayfield as well as Medeski Martin & Wood, WITH Jochen Rueckert (dr) and Pablo Menares (bs) songs interweave Murray’s energetic, inventive solos , Traffic, Monk and (and switch The Charettes with Ari Hoenig Electro Trio with Williams’ passionate words on pressing social gears/ears in mid-song) pick up on this ASAP. June 29 8:30pm @ Rockwood 3 WITH Melanie Scholtz (v) and Ari Hoenig (dr) and political themes. “Cycles and Seasons”, for example, delves into everything from dietary traditions For more information, visit petelevin.com. This band is at to capitalism and slavery while “Citizens” mixes free- Iridium Jun. 19th. See Calendar. form funk with an argument in favor of matriarchy.

“Obe”, with Williams riffing on societal ills while Murray and Harris lay down blazing improvisations behind him, provides a brilliant example of how well jazz and poetry can work together. Though he reportedly never performed in a jazz setting before, Williams fits right in with Murray and his band, displaying a seasoned jazz musician’s sense of timing. Several equally resonant instrumental numbers round out the session, notably the title track, a solemn tribute to Istanbul jazz legend Mehmet “Memo” Uluğ, Silent Dreamer which integrates elements of Turkish music with the Tobias Meinhart (Enja Yellowbird) blues. “Red Summer”, a gospel-tinged ballad about the by Anna Steegmann racist killings of black congregants in a South Carolina church, with words by another eminent writer, Ishmael Silent Dreamer, 35-year-old saxophonist Tobias Reed and vocals by Pervis Evans, is one more powerful Meinhart’s fifth album, follows his highly acclaimed highlight. Natural Perception from 2016. His work, much-admired While many poetry-meets-jazz convergences come in Europe, won him the Best Soloist and Best Band off as forced and heavy-handed, or as transparent awards at the Getxo Festival in Spain. He has been attempts to cash in on hip-hop trends, Murray and called one of Germany’s biggest up-and-coming talents Williams are aiming for something higher here and on the saxophone. they achieve it. His collaborators here are pianist Yago Vazquez, trumpeter Ingrid Jensen, guitarist Charles Altura, For more information, visit motema.com. Murray is at Zinc Bar Justin Carroll on synthesizer, either Phil Donkin or Jun. 14th and Jun. 19th-24th. See Calendar. Orlando LeFleming on bass and drummer Jesse Simpson. Seven out of the nine tunes are Meinhart

originals, with Vazquez and Simpson each contributing a composition. He defines his music as modern, melodic jazz with a lot of heart. His compositions bring to life all sorts of emotions: anger, fear and longing. The overall tone is frequently dark and melancholy. Writing for and responding to guitar was a new experience for him, yet his melodic unhurried tenor improvisations merge beautifully with pulsing guitar. The musicians create a rich tonal palette and their interaction is skillful; the tunes fade out in a deliberate Möbius way and the listener gets to savor every note. The best Pete Levin (IYOUWE) by Mark Keresman piece is “Mariana’s Dream”, featuring easy-going interplay between piano, bass and saxophone, a give- Keyboard-whiz Pete Levin has got a ton of history on and-take that resembles lovemaking. Meinhart has his side: a 15-year association with , plus known his bandmates for years. This close relationship

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Globe Unity: 50 Years Alexander von Schlippenbach Globe Unity Orchestra (Intakt) So Far Pech Onderweg Rudi Mahall/Alexander von Schlippenbach (BVHaast-ICP) (Relative Pitch) by Duck Baker Interweaving Alexander von Schlippenbach/ here is no doubt that Misha Mengelberg was an Dag Magnus Narvesen (Not Two) SWING BY TONIGHT T by Andrey Henkin excellent, even a great, jazz pianist. He was already 7:30PM & 9:30PM close to that when he recorded with Eric Dolphy at the German pianist Alexander von Schlippenbach adores end of the latter’s career and he certainly was there by Thelonious Monk, regularly playing his music and even the mid ‘60s, when he was leading a quartet with alto devoting entire projects to it. Yet it can be argued that JUN 1–3 saxophonist Piet Noordijk and drummer . Schlippenbach now inhabits the same firmament as his trio

But Mengelberg, like Bennink, was a musical maverick idol, especially since, in his 80th year, his career is already JUN 4 rarely content as a performer to play ‘just’ jazz and this 20 years longer and with far more varied collaborations. jazz at lincoln center youth orchestra is reflected on the solo record Pech Onderweg, recorded One of the reasons for Schlippenbach’s fame is his 40 years ago and recently reissued on vinyl. He mixes Globe Unity Orchestra (GUO), among the first free JUN 5 in elements of almost every piano style you can name: improvising large ensembles with a membership of most alex sipiagin sextet classical music, boogie-woogie, ragtime, schmaltzy of the continent’s most significant players. The band was pop music and occasional percussive banging and formed for the 1966 Berliner Jazztagen and, 50 years JUN 6 vocalizing that sounds drunken, if not deranged. later, almost to the day, Schlippenbach brought the group sharel cassity elektra The first of the “Pech Onderweg” pieces is a back to Jazzfest Berlin to celebrate its gold anniversary montage during which the pianist evokes many of the with a single 44-minute piece. Two original members in JUN 7 elements cited above, in stream-of-consciousness trumpeter and saxophonist Gerd Dudek felix peikli & joe doubleday's showtime fashion (the title translates along the lines of “troubles are still on board, as are longtime participants Evan band coming on the road”). During “Pech Onderweg 2”, Parker (tenor saxophone) and Paul Lovens (drums). As Mengelberg introduces passages of boogie-woogie that befits the group’s name, the 18-piece group is filled out JUN 8–10 transmogrify into insistent banging discords repeated by musicians from various generations and seven dion parson & 21st century band long enough to be nearly annoying, then in a flash he’s countries (England, France, Germany, Italy, Netherlands, JUN 11 back playing the insistent boogie figures. This may Poland and the U.S., with such names as Tomasz Stanko, tarek yamani trio sound like a merely clever device, but Mengelberg Paul Lytton and Wolter Wierbos). What makes the GUO brings it off so well it succeeds in being much more. so significant—and as is evident from this remarkably JUN 12–13 Listening to “Banana Suite”, which takes up much detailed recording—is how the individual players’ paul nedzela quartet of Side B, one wonders whether Charles Ives would voices are maintained while contributing to the whole, have sounded like Mengelberg had he been born 60 myriad small-group outcroppings providing variety and JUN 14–17 years later and been Dutch. Yes, Mengelberg is edgier, creating marvelous textural moments. There are full- victor goines quartet as was the world he lived in, but, like Ives, found many band squalls a-plenty to be sure yet also focus born of a things he could revere, even as he lampooned a lot of concept a half-century (and counting) in the making. JUN 18 • MONDAY NIGHTS WITH WBGO them. We hear something a bit different on “Wie Jeuk One of Schlippenbach’s more recent partners of uptown jazz tentet Heeft, Als Moet Men” though; this is an early version of note in the new millennium has been bass clarinetist a song the ICP Orchestra would perform many times in Rudi Mahall (a member of GUO). And while the latter JUN 19 later years, called, “De Sprong, O Romantiek der has recorded his own duets with the former’s wife Aki jazztopad festival presents: maciej obara Hazen”, but the solo version involves a gentler Takase, So Far is their first recorded foray as a duo. The quartet approach, similar to that employed by Monk on pop album is 11 improvisations, totaling 50 minutes of presented in partnership with the polish songs like “There’s Danger in Your Eyes, Cherie”. This relaxed interplay and constructive dialogue. Mahall cultural institute of new york is sentimentality that is wise to the world, evincing a has always been an impish player and he draws out the JUN 20 vulnerability that’s the more open for not being naïve sprightliness in Schlippenbach. And despite some shamie royston trio with special guests and it may be the high point of this rewarding recital. moments of bleating atonality, So Far is as jaleel shaw and lee hogans straightforward a jazz date as one will get from these album release party For more information, visit icporchestra.com two, pithiness paired with melodicism, as on the closing deconstruction of Monk: “Apostrophy”. JUN 21–24 Schlippenbach continues to form new partnerships. ann hampton callaway Interweaving pairs him with Norwegian drummer Dag Magnus Narvesen, whose is 45 years his junior. The JUN 25 two first worked together when Schlippenbach was band director academy faculty band a guest of Norway’s Kitchen Ensemble (one of many descendants of GUO) in 2013 and the precedent for this JUN 26–27 project is Schlippenbach’s longtime duo with Swedish christian sands trio drummer Sven-Åke Johansson. This is a highly percussive Schlippenbach in tandem with Narvesen’s JUN 28–30 skittering accompaniment, or ethereal and sparse over adrian cunningham quintet with special mysterious clangs and pings. Either way, the pianist guest vocalist brianna thomas Jon Irabagon | Joe Fiedler | Todd Neufeld still crafts cohesive statements, melodic cells from my fair lady to camelot IN FORMATION NETWORK connecting firmly to each other while the drummer is tightly restrained in his responses, whether via density This is music that contains multitudes, or dynamics. Monk makes another appearance to close both serially and simultaneously. the album with “Evidence”. They say love is the Bill Meyer / Dusted Magazine international language; Schlippenbach and Narvesen JAZZ.ORG / DIZZYS prove it is actually free improvisation. 212-258-9595 P.O. Box 822105 jazz at lincoln center Fort Worth TX 76182-2105 broadway at 60th st., 5th fl. nuscope.org For more information, visit intaktrec.ch, relativepitchrecords.com and nottwo.com

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tracks, then sent them to guitarist Mika Pontecorvo, negotiates expertly and features adventurous soloing who then led his band, Cartoon Justice, in an ex post by the co-composers. Hymns are occasionally explored facto, single-take improvised dialogue with Weston. in jazz and Brachfeld’s extended interpretation of This makes for an uncommon listening experience. “Amazing Grace” touches many bases, including soul Even though you press play to get it started, it feels jazz and a bit of R&B. Darting, adventurous flute and like you just came in through the door of a club in the angular, stirring piano keep the performance from middle of the band’s set. It is immediately fascinating, losing steam. but can take some time to get a purchase on what is With this rewarding release, Andrea Brachfeld has going on. Both those qualities are enhanced, or made a strong statement as a flutist, bandleader,

The Urmuz Epigrams aggravated, by the long-form nature of the album, the collaborator and composer, so she is destined to gain John Zorn (Tzadik) tracks coming together into an almost seamless whole. greater attention in the near future. by John Pietaro Most compelling is the ebb and flow of Weston’s pulse, to which Pontecorvo responds with what he For more information, visit jazzheads.com. This project is at The Urmuz Epigrams may be John Zorn’s most compelling evocatively calls “skronk-tronic” guitar. Despite the Triad Jun. 18th. See Calendar. conceptual album. His saxophone, keyboards and wealth literal and temporal distance, guitarist and drummer of other instruments are paired with the drums, mallets make an excellent harmolodic pair, agile and and percussion of Ches Smith. Though the eight spontaneous. Working by himself, Weston’s compositions are the saxophonist’s own, the vision imagination and the stamina of his focus are impressive propelling the music and the album’s packaging is the and Pontecorvo at times threatens to break into “Third work of the rather mythic Hungarian writer Urmuz. Stone From the Sun”. Born in Bucharest in 1883, his death came some 40 years The duo would have made a strong record, but the later by suicide. Urmuz foresaw the Dada movement, album is hampered by the variable Cartoon Justice. ushering middle Europe (and the rest of us) into the Daughter Adriane Pontecorvo’s cello scratches out an avant garde of . The writer had a prominent engaged running commentary while son Elijah plays career in law, yet his continued activity among an able harmolodic bass, but seems to be on his own, underground creatives—a leading radical, he opposed separated from the core of the music. Saxophonist the wealthy hierarchy and conservative academia—saw Kersti Abrams maintains a monotonous search for the the need for him to live a secret double existence. tonic and has a weak sound and it’s impossible to Designed as a faux ‘20s collection, The Urmuz discern percussionist Mark Pino in the dense, Epigrams is visually stunning in both its simplicity and horizontal mix. Terra Lingua is something of a technical grandeur. And while released on Zorn’s Tzadik label, step forward for harmolodics, but doesn’t reach any an insignia akin to EMI’s Parlophone imprint is particular destination. evident, modified to Pahuciphone for the writer’s rebel group The Pahuci Brotherhood. Within, Zorn creates a For more information, visit mikapontecorvo.edgebuzz.tv. score to a Theatre of the Absurd drama that never was. This project is at Muchmore’s Jun. 2nd, Bushwick Public His use of game calls, Cage-ian chance arrangements House Jun. 4th, Trans Pecos Jun. 10th and Downtown and the recording studio as an instrument signal a Music Gallery Jun. 11th. See Calendar. resurgence of Zorn’s own youth as much as the concept is an homage to his target’s. The brief opening cut, NYC’S MOST INTIMATE LIVE MUSIC VENUE “Disgusted with Life”, can only be described as slow- CLUB BONAFIDE • 212 East 52nd St. NYC moving rapid fire, with sounds both acoustic and electronic dropping in and out as one motive seeps into the next. However, on “This Piano Lid Serves as a Wall”, the modal waltz music of Erik Satie (godfather of modernist, absurdist musicians) is implied through piano and a touching vibraphone melody. Throughout, the musical offerings captivate and surprise and one rarely knows where composition ends and improv If Not Now, When? FOR MORE SHOWS VISIT starts. In fleeting bursts, powerful instrumental Andrea Brachfeld (Jazzheads) WWW.CLUBBONAFIDE.COM juxtapositions are heard; a thunderous solo on by Ken Dryden “A Rain of Threats and Screams” is but one example. In recreating the lost legend of Urmuz, Zorn’s For a great part of jazz history, flute was often a second JUNE 2 notable false ending is the full replay of his “surrealistic or third instrument primarily played by saxophonists. suite”, heard in its ‘original’ as opposed to But since the beginning of the 21st century, a number Mariposa ‘reconstructed’ form, complete with simple analogue of exclusive flutists have come to prominence, though AN ALL-FEMALE mixes and 78 rpm hissing and pops. If this is parody, they still have to deal with critics who routinely focus INTERNATIONAL Zorn has achieved a parody for all time, one built on on seasoned reed players for whom flute is only an JAZZ BAND respect for an avant pioneer born far ahead of his time. occasional choice. Andrea Brachfeld is a veteran player who didn’t Tuesday, June 5 • Big Band Night For more information, visit tzadik.com. Zorn is at The Stone focus primarily on jazz during the early part of her at The New School Jun. 8th. See Calendar. career and she is still not as widely known as she ought LOU CAPUTO’S NOT SO BIG BAND to be. She has drawn critical acclaim for several recent

recordings and for this session, she recruited old June 16 • Juliana Areias friends pianist Bill O’Connell and bassist Harvie S Bossa Nova Baby along with the young drummer Jason Tiemann, a rising talent both men recommended. The music mixes the leader’s originals and works JUNE 16 • TY STEPHENS & (THE) SOULJAAZZ composed with O’Connell. “The Listening Song” has a deceptive title, vivacious postbop marked by June 24 • Miles Jaye Davis explosive piano and spirited flute. “Creating Space” (co-written with O’Connell) is tense, brooding balladry set up by a droning bass vamp, Brachfeld conveying Terra Lingua (Sketches) JUNE 29 • Circular Time–Blues, Funk & Jazz both wistfulness and hope with her emotional flute. Mika Pontecorvo/G.Calvin Weston (with Cartoon Justice) (s/r) “Anima Mea” (another collaborative work) is JUNE 29 by George Grella punctuated by inspired flute, recalling Eric Dolphy, Maria Alejandra Rodriguez with the ample fuel of bass and drums for its flight. BOLEROS, BRAZILIAN This album was made in a quasi-Exquisite Corpse, Brachfeld and O’Connell’s “Moving Forward” is a & synthetic manner; G. Calvin Weston recorded the drum brisk vehicle whose many sudden twists the band

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Bernstein’s “Maria” is a nod to his role in West Side Music Conservatory, where he’d just begun teaching in Story, singing it in a middle school production. The 2005. First conceived as an improvisation outfit, his Gershwins’ “Soon” is based on a Belovèd trio grew to encompass the formative influence recording. Ellington’s “Pyramid” is a bow to the music of Charlie Parker as a springboard for Bates’ own that first steered Finzer to jazz and a memorable writing. Parker’s spirited “Passport” is, in fact, one of version of a neglected tune with a fetching trombone- only two non-originals on the program. The other, bass clarinet blend. Strayhorn’s “A Flower Is A “This World” by Iain Ballamy, harks to the saxophonist’s Lovesome Thing” gives him an opportunity to revive All Men Amen (B&W, 1995), on which Bates appeared. the Ellington-ian tradition of wah-wah trombone with Significantly enough, on Ballamy’s album this tune’s

No Arrival a plunger and pixie mute. And ’s “The Greatest title was followed by four ellipses, whereas here those Nick Finzer (Posi-Tone) Romance Ever Sold” is transformed into the distinctive ellipses are gone, implying expressive surety. This by George Kanzler rolling 6/8 feel of the classic John Coltrane Quartet. symbolic change speaks to something vital about Bates’ artistry, by which each gesture feels as inevitable Nick Finzer creates a variety of settings for his assured, For more information, visit posi-tone.com. This project is at as the mind-melded contributions of his rhythm full-bodied trombone sound on six appealing originals Smalls Jun. 20th. See Calendar. section. It’s there in the topsy-turvy feel of “We Are and four covers ranging from Prince and Leonard Not Lost, We Are Simply Finding Our Way” and

Bernstein to Duke Ellington and . Finzer underlying blues of “Senza Bitterness”. Such balance makes maximum use of the tonal colors and ensemble of slip and grip can only come from many hours of potentials of Lucas Pino (tenor saxophone and bass playing together without a roadmap. clarinet), Alex Wintz (guitar), Victor Gould (piano), Despite the many personal associations on which Dave Baron (bass) and Jimmy Macbride (drums). the tunes are founded, if not also because of them, Finzer’s originals mix tempos and instrumental listeners can’t help but merge at any given moment combinations: trombone, tenor and guitar engage in onto the band’s ever-changing fast lane of thought. braided interplay over a Latin-tinged beat on “Rinse Between the reflective “Little Petherick” and meatier and Repeat”; “Never Enough” begins with trombone “Slippage Street”, tessellated “Giorgiantics” and lushly over just bass and brushed drums, adding guitar before colored “Peonies As Promised”, one encounters the The Study of Touch a piano trio ushers in a bass clarinet solo, Macbride clarity of anatomical drawing. The title track, along ’ Belovèd (ECM) switching to sticks and a more aggressive tempo for the by Tyran Grillo with and closer, underscore this impression, concluding trombone solo. Finzer says the title track sowing a sound defined by that which it refuses to invokes the “cyclical nature of life’s path” and the piece British pianist Django Bates makes his ECM leader define. Hence the prescience of touch as a theme for pits guitar and piano against the horns as the tempo debut with The Study Of Touch and by its release gives music rendered in that most asymptotic of contact accelerates and theme circles into a vamp. His most hope to fatalists who see the piano trio as a dying zones between time and space, leaving us with one of conventional tune is “Tomorrow, Last Year”, driving genre. Bates himself was only convinced of throwing the finest trio records of this millennium so far. hardbop with muscular solos from trombone and tenor. his own hat into that congested upon hearing his The standards give Finzer a chance to explore his future bandmates—bassist Petter Eldh and drummer For more information, visit ecmrecords.com. This project is musical and influences. His romantic limning of Peter Bruun—in the halls of Copenhagen’s Rhythmic at Jazz Standard Jun. 19th-20th. See Calendar.

32 JUNE 2018 | THE NEW YORK CITY JAZZ RECORD

stated, they don’t make bad albums. player’s kumbengo part while Grdina’s chattering runs “Paradise Within (Paradise Found)” was a great provide a looser birimintingo counterpart, with Houle’s idea, with Paul adding lyrics to a bit of exotica from the tongue- and key-slaps providing additional layering great Les Baxter, the result an ultra-smooth bit of over Loewen’s rattled pulse. tropicalia. Jimmy Buffett couldn’t zonk you out better Inroads, performed with a trio of New Yorkers— than this and the harmonies are perfection. Also reedplayer Oscar Noriega, pianist and grooving is “Swing Balboa (Down on Riverside)”, which drummer Satoshi Takeishi—is another affair altogether, revives and electrifies a popular ‘20s dance craze. It’s though it starts with the wide-open space of irenic solo going to get feet moving, shades of Rednex bringing piano. By “Not Sure”, the second track, however, things

The Junction “Cotton-Eyed Joe” to the modern dance floor. That are moving at a more frenetic pace, guitar and alto The Manhattan Transfer (BMG) should have been the single, but instead it’s a jazzy saxophone in paired flight along jagged contours, by Jim Motavalli version of British rock group XTC’s “The Man Who sparring, trading, in congress or opposition. “P.B.S.”, an Sailed around His Soul”, the result like something on avant-rock ballad, finds Lossing in conversation with Formed in 1969 by the late Tim Hauser, The Manhattan a record. Also from rock is a fairly successful himself, alternating phrases between Rhodes and Transfer started out as a somewhat jokey revivalist take on ’ “Ugly Man”. acoustic pianos, joining saxophone and guitar for a busy outfit, but quickly mutated into something much “Blues for Harry Bosch” gets the obligatory film but empathetic three-way tug-of-war, similar to the push smoother. By the time Alan Paul, Janis Siegel and noir intro, with Bentyne’s lyrics: “Another dawn crept and pull heard later on “Fragments” and “Kite Flight”. Laurel Massé were aboard in 1972, the group was over the city like it was crawling out of the grave”. Grdina’s distinctive approach to the oud, a mix of mainstreamed with the hippest vocal harmony blend Atmospheric, but hardly essential. The Transfer also traditional Arab and other influences, comes to the around. Hits followed, undeterred by personnel work some changes on the big US3 hip-hop/jazz hit fore on “Fragments”, in timbral contrast to the open changes (Cheryl Bentyne replaced Massé in 1979). “Cantaloop (Flip Fantasia)” in a not-as-innovative and prepared piano and the bass clarinet. Throughout, A peak was the band’s rich vocalese adaptation of Joe adaptation of ’s “Cantaloupe Island”. Grdina is the clear leader, Noriega his supple foil Zawinul’s “Birdland”. They recorded a fair amount of So, Manhattan Transfer 2018. The Junction is not a (occasionally performing bass chores in the clarinet’s novelty tunes, but didn’t make bad albums and carried bad place to be. Don’t expect a masterpiece, but here’s low register), leaving the rest to subtle, at times on the tradition of people like King Pleasure and Jon proof that the band is still alive and well. subliminal keyboard and drums, the latter featured on Hendricks writing lyrics for great jazz instrumentals. “Apocalympics”, the strongest track. Like Ghost Lights, Does it swing? Not all of it, no, but enough of it. For more information, visit bmg.com. This band is at Sony the album is notable for dynamic transitions and So this reviewer approaches The Junction (the Hall Jun. 20th as part of Blue Note Jazz Festival. See Calendar. movements between sections that sound fresh yet band’s first studio album in a decade) with goodwill inevitable, but on the whole its music feels more and curiosity to hear new member Trist Curless, who constrained by Grdina’s melodic scripts—and in more replaced Hauser in 2015. The good news is that the of a hurry to get where it’s going. Transfer’s blend is gloriously intact. As is the band’s writing talent. You won’t want to hear everything on For more information, visit songlines.com. Grdina is at this album more than once—disco-meets-Star Wars Happylucky no.1 Jun. 14th, Greenwich House Music School “Shake Your Booty (Galactic Vocal Version)” and Jun. 16th and Bushwick Public House Jun. 18th, the latter lightweight “Tequila/The Way of the Booze”—but as two with the Inroads project. See Calendar.

Ghost Lights Gordon Grdina/François Houle/Kenton Loewen/ Benoît Delbecq (Songlines) Inroads Gordon Grdina Quartet (Songlines) by Tom Greenland Canadian guitarist/oud player Gordon Grdina is a chameleonic improviser/composer whose work maintains a distinctive shape and tone, even when his sonic palette—his ‘colors’—morph and blend with the features of his musical environment. Ghost Lights and Inroads, two recent quartet outings, encompass panoramic changes in timbre, texture and temperament, a mark of Grdina’s resilient adaptability and originality. Ghost Lights assembles a well-acquainted trio of Vancouver progressives—Grdina, clarinetist François Houle and drummer Kenton Loewen—with a highly simpatico Parisian, pianist Benoît Delbecq, for an unhurriedly open-ended exploration of collectively composed/improvised pieces. Foremost are the fluid transitions between ‘solo’ and ‘accompaniment’, between acoustic/organic and electric/processed sounds, between climax and resolution. There’s a Northwest coast ethos at play here, a roominess allowing for leisurely development along with a collective willingness to follow an individual’s inspired detour. Electric guitar is clean and traditionally ‘jazzy’ on tracks like “Soro” and “Ley Land”, merging with lyrical acoustic piano and more-felt-than-heard analogue synth-bass, plangent clarinet (often looped for polyphonic effect) and cymbal- and tom-heavy percussion. On the title track and “Waraba”, lengthy cuts showcasing discreet handling of slow-building, long-range dynamic transformations, Grdina employs a doubling device but on “Soft Shadows” he favors a synthesized organ patch, matching the electronic rumble and murmur of Delbecq’s bass station electric keyboard and now clean, now processed clarinet. “Waraba” also reveals West African influences: Delbecq’s revolving ostinato pattern, played on a piano prepared to mimic a balafon, functions like a kora

THE NEW YORK CITY JAZZ RECORD | JUNE 2018 33 something hinted at earlier in the piece, where he the richness of “La Bronca”, in which Mozart’s requiem wields his bow to enjoy a wheezy liaison with searching conflates with the blues form. It is a greatly rewarding tenor. Although Nelson’s circular breathing, overblown music executed by the WDR musicians with expected lines and skittering squeals imply a persona steeped in gusto and precision but also, somewhat unexpectedly, advanced saxophone technique, his breathy tenor deep passion. musings on “Yet” retain distant echoes of Ben Webster, Vigor Tanguero is Giraudo’s first explicitly tango- even when set among Nicodemou’s percussive inspired recording, although he has been directing a shimmer and Lopez’ scratchy sawing. Lopez steps out tango ensemble for the last few years. The cuarteto—in Octagon in his unaccompanied introduction to “Again”, its typical piano (Emilio Teubal), bandoneón (Rodolfo Ivo Perelman (Leo) The Industry of Entropy careening between woody thwacks and plush Zanetti), violin (Nick Danielson) and bass formation— Brandon Lopez/Matt Nelson/ resonance until, after a drum roll from Cleaver, both delivers a very emotional performance in trying to Andria Nicodemou/Gerald Cleaver slip into loosely felt time. Nelson’s dissonance curdles combine the tango tradition with its future. (Relative Pitch) into near lyricism once more and the album ends in As such, the music covers a whole range of by John Sharpe much more familiar territory than would have been emotions, although an overarching melancholy seems anticipated at the outset. With such flexibility at his to dominate the mood, much in the tango tradition of It’s a truism in free jazz that gifted bassists feature on fingertips, Lopez’ schedule seems likely to be full for Carlos Gardel and later Astor Piazzolla. The sound of everyone’s speed dial list. If that’s the case then it’s no some time to come. the bandoneón characterizes the overall sound of the surprise that Brandon Lopez is one of the most well-integrated band, carrying most of the tunes while in-demand practitioners on the scene. Born and raised For more information, visit leorecords.com and leaving ample space to the other instruments to weave in rural New Jersey, he’s staked out a claim at the relativepitchrecords.com. Lopez is at Roulette Jun. 21st. See in and out of the melodic lines. “Con un Nudo en la adventurous end of the spectrum since moving to Calendar. Garganta”, the third movement of the “Desconsuelo New York City in 2013. In addition to recording solo Suite”, “Chicharrita” and “Lapidario”—all present in and with his trio Mess, his creative approach has found the live album—here get a much more intimate, fertile soil in the company of Peter Evans, Ingrid essential and yet dramatic treatment by the cuarteto, Laubrock and and has been recognized revealing fully the beauty of these melodies. While by his 2018 tenure as Artist-in-Residence at Issue finding all the compositions quite exquisite, the best Project Room. are the dramatic dedication to Octavio Brunetti, Brazilian saxophonist Ivo Perelman has also called delicate tango waltz “Desavenancias” and closing, on Lopez’ talents. Although the former has waxed an suspenseful “A Campo Abierto”. The music portrayed unfathomable volume of discs in recent years, they’ve in this album is a very moving, passionate, even daring tended to focus on a small coterie of collaborators. But An Argentinian In New York statement, building a bridge between tango’s glorious Octagon uncharacteristically pairs him with a second Pedro Giraudo & The WDR Big Band (ZOHO) past and its even brighter future. horn, trumpeter Nate Wooley, in whose quartet Lopez Vigor Tanguero Pedro Giraudo (ZOHO) For more information, visit zohomusic.com. Giraudo is at also appears, as well as more regular drummer Gerald by Marco Cangiano Cleaver. Joe’s Pub Jun. 29th with the Vigor Tanguero project. See The novel environment created by the Wooley/ Pedro Giraudo must be one of the busiest musicians in Calendar. Lopez axis tugs Perelman further from his customary the NYC area. He leads a sextet, orchestra, tango -inspired melodicism and more towards ensemble and, lately, a tango quartet. Besides being a improv sonorities and the disc is all the better for the much sought after bassist, he conducts, composes and ensuing tension. Nowhere is that more obvious than arranges for all of these bands. In his rapidly growing on “Part 4” where, after the garrulous dialogue list of recordings, his compositional skills stand out. between the horns subsides, Lopez redirects the His heart is deep into his native country and Còrdoba trajectory with abrasive ticking and groaning sound in particular, with its unique geography in between the generation. He’s quickly matched by Wooley, enticing sierras and las pampas. His music has been pigeonholed Perelman into an edgy textural exchange. However, by some under Latin jazz—and as such has received Lopez also demonstrates an affinity for Perelman’s important awards—but this is a rather limiting label as freewheeling expressionism. On “Part 1”, which these recordings clearly show. His impassioned comprises an explosive tenor/bass duet, Lopez first Argentinian roots combine tango and its many blends wavering bow work with Perelman’s lyrical rhythmic variations, such as milongas, valses and upper register falsetto and then forges a contrast by zambas, with the American jazz tradition, thus plummeting down to a deep legato. With his providing an unusually wide palette of colors. These unconventional timbres and phrasing Wooley similarly albums also provide a singular parallel as quite a few proves a challenging foil, offering unexpected gambits of Giraudo’s compositions are executed in completely against which Perelman must react. Such challenges different settings. drive the close listening prevalent throughout this An Argentinian In New York is a live recording with session. “Part 6” provides perhaps the most the Cologne-based WDR Big Band. It continues conventional episode, proposing a four-way jazzy Giraudo’s explorations with his orchestra begun on his stroll with Lopez almost walking against Cleaver’s very first recordings Desconsuelo and El Viaje. Giraudo’s shuffle. Here Wooley reinforces rather than contradicts, style of composing and arranging for his orchestras are extrapolating conversationally on a honeyed phrase clearly influenced by Gil Evans by way of Maria from Perelman. The overall result is one of Perelman’s Schneider. most rounded and satisfying dates. The arrangements are sumptuous, with various Again in the company of Cleaver, Lopez shares sections supporting and playing off each other. The The Industry of Entropy with saxophonist Matt Nelson impression is that soloists are largely directed while and vibraphonist Andria Nicodemou. The four check still leaving room to their individual creativity; as a egos at the door in favor of keen group interplay across result they all seem to excel against the background of four pieces, which oscillate around the porous improv/ such complex yet eminently musical arrangements. As free jazz border. a further testimony of his musical growth and ongoing Although the initial combination of saxophone explorations, Giraudo does not shy away from drone, plinking bass and percussive tinkling on “Not” reinterpreting quite a number of the compositions he conjures a processional image, Lopez becomes an has already recorded with different bands over the almost subliminal presence among the dense churning years. Most tunes take the form of self-contained activity that follows. At this point you might suspect suites, even if only “Desconsuelo” is formally built on that abstraction holds the upper hand, but as the four distinct movements: listen for instance to the 23-minute plus “Now” proceeds in choppy pulses, recurring yet changing theme of “Mentiras Piadodas”; Lopez fashions a rough-hewn lurching momentum in the two apparently contrasting themes of “Lapidario”; tandem with Cleaver, which suggests many moods of “Desconsuelo”, dramatically a form-seeking improviser at work. That confirms introduced by the “Preludio de Bombo Legüero”; and

34 JUNE 2018 | THE NEW YORK CITY JAZZ RECORD Contact Steve: 630-865-6849 | email: [email protected]

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that she’s got fantastic rhythm. The opening track, against Shipp and Parker’s network of ideas. “Sunday Nostalgia”, is a modal-ish piece on which her From Shipp’s opening, descending chords and their theme statements, locked in with Nakamura, strongly Monk-ish flavor, there’s something very special afoot recall the classic sound of ‘70s acoustic jazz. Her timing here, an almost uninterrupted flow of music, at once is impeccable, allowing just enough decay at the end of dense and song-like. The long clarinet solo that ends the a phrase before the next phrase begins and providing second segment has a Gershwin-esque quality while a soft cushion for subdued work Carter’s soaring, bittersweet lines at the beginning of and murmuring trumpet. But Royston’s piano is the the third segment have a Jimmy Lyons-like cry. heartbeat that allows the track, with its repeated rises Musicians don’t get much more seraphic than Monk

Lucus and falls, to come alive. And her solo, which unfurls and Lyons and such spirits are apparent throughout Thomas Strønen/Time Is A Blind Guide (ECM) like a flag in a gentle breeze, is the perfect capper. here, a rich tapestry woven of past and present voices. by Robert Bush The title piece is the longest. It begins almost cautiously, but when Rudy Royston begins to drive the For more information, visit aumfidelity.com. Carter and Parker In many ways, Lucus is an archetypal ECM release. beat with his usual assertiveness and sharp snare, the are at The Stone at The New School Jun. 27th. See Calendar. There is a heavy chamber feel to it, the music can be intensity level rises by degrees. Evans and Shaw toss almost oppressively austere and the state of ideas back and forth, opting for conversation rather than FREE PUBLIC CONCERTS improvisational simmer rarely rises to a boil. This may showboating solos. When the leader takes the spotlight, all be by design—but one can always hope for a her solo is deliberately fragmented and pointillistic at www.jazzfoundation.org breakout moment—in which these players attempt first; she leaps across the keyboard with precise but their version of ‘swing’, whatever that might be. That unexpected strikes. But she brings it all home, winding BROOKLYN WATERFRONT NYC PARKS moment does not happen on this document. down to a minimalist pulse, allowing the horns back in ARTISTS COALITION J Hood Wright Park, 6pm 499 Van Brunt St, 2pm 6/9: Ray Mantilla Thomas Strønen is a drummer, although he rarely and letting drums solo the piece out. 6/17: Roy Meriwether comes to the forefront. The opening piece, “La Bella”, Nine of Beautiful Liar’s tracks are originals. The Jackie Robinson Park, 6pm begins with soft ponticello bowing from violinist exception is Bill Withers’ “Lovely Day”, which manages 6/14: John Cooksey Sponta- JAZZ AT PIER 84 neous Combustion Quintet Håkon Aase and cellist Lucy Railton over mallet- the trick of being both strutting and romantic. And like Hudson River Park driven kitwork; it’s an intriguing set-up that never her own tunes, the arrangement combines the ‘70s and 555 12th Ave, 7pm Marcus Garvey Park, 6pm really moves or develops. The piano of Ayumi Tanaka the present day gracefully, with strength in reserve. 5/31: Ray Mantilla 6/30: The Phil Young 6/21: Alvin Flythe Quartet is consistently rewarding though and one of the real Experience highlights of this session. A few of the stronger pieces For more information, visit sunnysiderecords.com. This This project is supported in part by an JAZZ AT SOCRATES award from the National Endowment for bear a more than passing reflection of Keith Jarrett’s project is at Dizzy’s Club Jun. 20th. See Calendar. the Arts, the New York State Council on Socrates Sculpture Park, work with his American Quartet, both on ECM and the Arts with the support of Governor 32-01 Vernon Blvd, 7pm Andrew M. Cuomo and the New York Impulse. She can ornament the pensive melodies like State Legislature and by public funds 6/14: Clifton Anderson from the New York City Department of “Friday” with an appropriate melodic swirl and her 7/12: Eric Wyatt Cultural Affairs in partnership with the introduction to the title track is nothing short of 8/9: "Hot Lips" Joey Morant City Council. breathtaking. Strønen’s ride cymbal pings on that same tune are also praiseworthy, providing some much appreciated rhythmic excitement. Another highlight moment occurs on “Baka”, where the drums lead off and continue to illuminate a path for the group— everyone gets involved and the listener reaps the sonic benefit. “Wednesday” has a definite Jarrett feel and the drums come alive, bringing out the best of the Seraphic Light (Live at Tufts University) /William Parker/Matthew Shipp ensemble, although Tanaka is the only one really to run (AUM Fidelity) with it. Ole Morton Vågan’s muscular by Stuart Broomer opens “Tension” in fine fashion, with lines reminiscent of the late great Charlie Haden, but the piece itself Seraphic alludes to the Seraphim, the ninth or highest doesn’t really rise to the meaning of its title. degree of angels in the Celestial Hierarchy as Tanaka also shines on the closing “Weekend”, with established in the Fifth century by Pseudo-Dionysius a very fine piano exploration, making one wish that the Areopagite. Light associated with these beings is there were more moments like that on this session. blissful, beatific, sublime, ecstatic. Such light is definitely apparent in this spirit-music episode, a For more information, visit ecmrecords.com. This project is 55-minute improvisation recorded in April 2017 at Scandinavia House Jun. 28th. See Calendar. defining its own wondrous territory, from invocations of ancestors to shifting concepts and layers of time.

Many things distinguish this trio, most immediately bassist William Parker and Matthew Shipp’s close interaction, dating from their long-standing partnership with David S. Ware. Each is capable of staggering drive and invention and they’re heard here in a relatively unusual context, a trio without drums in which multi-instrumentalist Daniel Carter switches winds, covering flute, clarinet, trumpet and soprano, alto and tenor saxophones. The absence of drums helps give this music its identity, a flowing sense of time. Beautiful Liar Shamie Royston (Sunnyside) Carter’s multiple horns and absolute lyric focus by Phil Freeman combine with that lack of drums to give the music tremendous historical and stylistic breadth. His Pianist Shamie Royston has been under-recorded for playing is essentially tonal, his lines spare while Shipp years. This is only her second album as a leader, though masses complex harmonies, rhythms and unpredictable she’s an excellent player who’s recorded with drummer runs and Parker creates fluid, pulsing lines, adding Ginger Baker—no, really; it’s a Colorado thing—and counter-melodies and dimension. There’s something saxophonist Tia Fuller (who’s also her sister). Here, richly historical in Carter’s collection of timbres, she’s joined by bassist Yasushi Nakamura and her evident from the opening as he switches from the husband, drummer Rudy Royston, plus two horn silvery clarity of his flute to Miles-like Harmon-muted players: alto and soprano saxophonist Jaleel Shaw and trumpet. His tenor playing is particularly rich, rooted trumpeter Josh Evans. The 10 tracks prove that she’s at times in a cool jazz sweetness that can suggest Lester got a lot to say, both as a composer and a player. Young as well as mutating to the gentler side of John The first thing a listener notices about Royston is Coltrane. There’s some wonderful brooding tenor

36 JUNE 2018 | THE NEW YORK CITY JAZZ RECORD

wind-up/finish” moments. The highlights of Disc 2 include “Grids and Patterns”, which adapts aspects of minimalism to a big band jazz concept, different sections of the WDR essaying cascading, repeating, cyclical melodic patterns, some overlapping, then letting fly with a ruminative yet punchy improvised piano solo from Omer Klein. The closing title track is almost symphonic in scope, incorporating aspects of minimalism, free

Channels of Energy jazz and fusion; it simmers and storms, ebbs and flows, Antonio Sanchez (CAM Jazz) with Sanchez often at the forefront. Johan Hörlen by Mark Keresman (saxophone) and Shannon Barnett (trombone) get some bristling, torrid moments herein. Before establishing himself as a leader, drummer Sanchez’ big band binge is the best of several Antonio Sanchez kept the beat moving for , possible worlds, creative and immediate. This album and . These experiences actually lives up to its name—Channels is both verb gave him some big ideas and Sanchez, with the and noun and there’s Energy aplenty. assistance of ace arranger Vince Mendoza, realized them: an album of his compositions with the WDR Big For more information, visit camjazz.com. Sanchez is at The Dianne Band. While of the tradition of mainstream big bands— Jazz Gallery Jun. 20th with Will Vinson. See Calendar. Reeves /, Gil Evans, Toshiko Akiyoshi and Maria Schneider—Sanchez’ magnum opus (this is a two-CD set) easily stands WITH them. Opener “Minotauro” is something of a prelude but there’s nothing tentative or sketch-like about it, surging with swing, expansive horn voicings and curt but expressive solos. The arrangements, while precise, have a trimness that leaves room for the urgency of the solo. It has a dramatic sweep, somewhat evoking the soundtracks to ‘70s crime dramas. “Night Story” is a lovely, blues-hued ballad until the guitar solo, wherein Paul Shigihara gently peels out some bittersweet Modes and Blues (8th February 1964): sustain, then Paul Heller gets a clarion-call tenor Live at Ronnie Scott’s Tubby Hayes Quintet (Gearbox) saxophone solo. Ellington-ish “The Real McDaddy” by Duck Baker has a wry, stop/start quiet/crescendo structure, teasing the ear with several “OK, THAT was the big The Gearbox label has made a specialty of releasing previously unheard material from British musicians recorded during the ‘60s or late ‘50s. The mercurial Tubby Hayes, who died 45 years ago this month at the Friday, July 27 at 8 PM tragic age of 38, is among the best-represented of these Stern Auditorium / Perelman Stage musicians, having featured on four previous releases, all of them excellent. Modes and Blues continues the NYO Jazz string with an early 1964 recording made at Ronnie Scott’s in Soho. Hayes’ quintet at this point had Sean Jones, Bandleader and Trumpet been playing a weekly residency at Scott’s club for with Special Guests about two years and would continue to do so for Dianne Reeves, Vocals another six months. They certainly sound comfortable Wycliffe Gordon, Trombone with one another here and with the single 33-minute tune that takes up both sides of this LP. The style is NYO Jazz performs its inaugural concert modal, with long improvisations based on the changes at Carnegie Hall. This new program puts that underpinned “So What” and “Impressions”. It would have been strange had Hayes not been the next generation of American jazz responding to what John Coltrane was doing at this players on stage alongside trumpeter time; in fact, he had been reacting to Coltrane’s Sean Jones, trombonist Wycliffe Gordon, innovations in his own way for several years and we and Grammy Award–winning jazz vocalist may as well admit that the results had been mixed. Dianne Reeves. Hayes, like a good few of his contemporaries, did just sometimes play too many notes as they attempted to Tickets start at $20.

chase the Trane. This, however, is definitely not a Lead Donors: Hope and Robert F. Smith; Marina Kellen French problem on Modes and Blues. and the Anna-Maria and Stephen Kellen Foundation; and Beatrice Santo Domingo. After an interesting introduction that includes a short solo bass bit and a moderato interlude featuring Major support has been provided by the Doris Duke Charitable Foundation. Hayes on flute, the group blows the head, a short, hardboppish fanfare, before settling in for the long Additional support has been provided by the Arison Arts Foundation and Bank of America. improvs, starting with a Hayes tenor solo that’s a real pleasure, unhurried and perhaps closer in feeling to Sonny Rollins than Coltrane. Next up is trumpeter Jimmy Deuchar, whose playing reflects the Miles Davis style but only in a general way. Deuchar was probably the best British trumpeter of his day and a highly effective soloist, as he shows here. The one demerit of carnegiehall.org/NYOJazz this very desirable disc is the recording balance. Pianist Artists, programs, dates, and ticket prices subject to change. © 2018 CHC. Photo by Jerris Madison. Terry Shannon is way off-mic and that does distract. But Tubby Hayes fans should not be put off. In terms of his own playing, this record really stands out, even in a discography that covers hundreds of dates. Proud Season Sponsor For more information, visit gearboxrecords.com

THE NEW YORK CITY JAZZ RECORD | JUNE 2018 37

Prieto is responsible for all the writing and as a leader, mostly for SteepleChase. This session arranging on the disc and the compositions are never features Juris with two other seasoned musicians, less than satisfying and tracks like “The Sooner the bassist Jay Anderson and drummer , Better” and “Song for Chico” (the Coleman feature) are playing a diverse mix of standards, jazz classics and stellar. The lyrical shape of the former is evocative of his intriguing originals. Sketches of Spain while being expressive in its right Juris’ inventive lines and rich harmonic gifts are while the rhythmic profile of the latter incorporates apparent from the beginning, as is the familiarity of compositional minimalism, polyrhythms and metrical the trio with one another. Juris’ stripped-down setting modulations in a sophisticated way. of ’s “United” enables the piece to

Back to the Sunset Back to the Sunset is indeed sophisticated, but simmer without boiling over. “Ruby” is a hidden gem, Dafnis Prieto Big Band (DPBB) wears that quality lightly. The extroverted polish and written for the long forgotten film Ruby Gentry. There’s by George Grella smooth flow are integral to a style that is meant for the no explanation of how Juris ran across it, but his hips, but the subtle grip the album exerts delivers an lyricism in this rendition makes it worthy of further Drummer—and MacArthur Fellow—Dafnis Prieto unexpectedly deep experience. exploration. The band keeps the whimsical air of premiered his big band last August at Jazz Standard Thelonious Monk’s “We See” intact and they have no and followed that immediately with a two-day For more information, visit dafnisonmusic.com. This project shortage of ideas in their extended workout, with recording session. The fruit of that is this confident, is at Jazz Standard Jun. 7th-10th. See Calendar. inventive bass taking center stage. Juris switches to pleasurable record. From the instant of the rumba and steel-string guitar for his composition “Sim”, played as chords stacked note by note of the opener “Una Vez a duet with Anderson, a magical, intimate conversation. Mars”, the band shows a classic AfroCaribbean sound, Nussbaum’s whispering brushwork sets the tone for brassy and sensual. The marvelous warm, full Gus Arnheim-Charles N. Daniels-Harry Tobias’ “Sweet trombone sound, essential to this style, comes from a And Lovely”, Juris’ delightful twists, with nods to section with some of the best in New York: Tim Monk in places, making it a highlight. The leader’s Albright, Alan Ferber and Jacob Garchik. “Domo’s Delight”, named in honor of Nussbaum, is an Prieto has, in fact, roped together an allstar electrifying duet with the drummer. Bill Evans’ “Time ensemble, which includes saxophonists Román Filiú Remembered” is one of the late pianist’s most poignant and Chris Cheek, pianist Manuel Valera and trumpeter ballads and is introduced by Anderson’s superb Alex Sipiagin. To this embarrassment of riches, the unaccompanied improvisation. The trio, like the Eye Contact album adds guests soloists trumpeter and Vic Juris (SteepleChase) pianist’s groups, is truly interactive in their stunning saxophonists and . by Ken Dryden interpretation. It’s hard to describe a jazz artist in his Threadgill’s groups were an important stepping 60s as a “talent deserving of wider recognition”, but stone for Prieto. This album is right in the mainstream Guitarist Vic Juris has more than paid his dues, with CDs like this, Vic Juris has made an ample case. to which Threadgill stands at a tangent, but the though he might be like Rodney Dangerfield when it poignant bite of his alto stretches the experience of the comes to critics’ polls. A versatile performer, Juris has For more information, visit steeplechase.dk. Juris is at North title track and the horn arrangements and rhythms are recorded extensively with and Richie Square Lounge Jun. 3rd with Kate Baker and Zinc Bar Jun. deeply sympathetic companions to the soloist’s voice. Cole, in addition to his own impressive discography 18th with Strings Attached. See Calendar.

dan pugach nonet plus one alBum aVaIlaBle noW

“pugach Is an ace composer and arranger. It Is pretty IncredIBle to realIzed that nonet plus one Is the drummer’s deBut recordIng. It sounds Fully Formed and completely eVolVed... thIs Is solId musIc, duraBle and progressIVe. IF thIs Is pugach Just gettIng started, It WIll Be most Fun and enJoyaBle to see hIm get Where he Is goIng.” - c. mIchael BaIley, all aBout Jazz

“I can’t gush enough “hIs mastery oF the musIc aBout the JoyFul energy From the suBtle Inner that dan and hIs nonet WorkIngs oF hIs horn express In the most open orchestratIons to hIs oF Ways. dan’s musIc Is command oVer shapIng thoughtFul, excItIng larger musIcal statements and Immensely engagIng.” puts dan In a league oF —IngrId Jensen hIs oWn.” —alan FerBer

June 1 - pIedmont pIano company, oakland, ca august 9 - BIrd’s eye, Basel, sWItzerland august 16 - harBor Jazz FestIVal, stonyBrook, ny august 17 - the palace theater, WaterBury, ct august 30 - smalls Jazz cluB - oFFIcIal cd release septemBer 7,8 - stoWe Jazz FestIVal, stoWe, Vt octoBer 28 - Blue note Jazz cluB, nyc danpugach.com 38 JUNE 2018 | THE NEW YORK CITY JAZZ RECORD

to contain them. Case in point is the album’s opener, from Cameron Graves, backed by Miles Mosley’s R&B “Ula”. It introduces a tangible sound ideally suited to bass. Then the massed vocals come in and take us to ECM’s visually-minded ethos. Remarkable about a higher place, made even higher by questing work Obara is the gesso-like way in which he listens before from trombone and saxophone. applying his own strokes to any given canvas. Like any A word or two about the choir: the vocal albums skilled oil painter, he knows that certain layers must that come to mind listening to this one are Donald dry before others can be added with clarity. In that Byrd’s A New Perspective and Max Roach’s Lift Every vein, pianist Dominik Wania provides the broadest Voice and Sing, both treasures. But neither one is a textural palette, giving just the right amount of uplift double (or triple) album and the choir—though

Scandal for the bandleader’s reed. Wania’s intros are especially excellent—could have been used more sparingly. Joe Lovano/ Sound Prints well blended and draw from a variety of reference “Fists of Fury”, the theme from the 1972 Bruce Lee (Greenleaf Music) points. He brings shades of ’s In a landscape film, was an inspired choice. It’s given a lush treatment, by George Kanzler to the album’s title track by Krzysztof Komeda (the retaining the original’s pulse and lyrics: “When I face only one here not penned by Obara) and in his extended an unjust injury / Then I’ll change my hands to fists of This is the second album and first studio recording setup of “Echoes” polishes a mirror without an inkling fury”. Like many of the album’s tracks, this one is (the debut was “live”), by Sound Prints, the quintet of vanity to show for it. lengthy (9:42), with Graves and (especially) Washington co-led by saxophonist Joe Lovano and trumpeter Dave Bassist Ole Morten Vågan and drummer Gard soloing at length. The ending loses focus and gets Douglas. The name is a play on Wayne Shorter’s Nilssen are purveyors of a mature subtlety by which somewhat grandiose, with too much going on. “Can “Footprints”, as Shorter, in his current flexibly free- give and take are rendered synonymous. In “One For”, you Hear Him” makes an impression with an electric form quartet, is an inspiration and model. But there is they understand the lyrical potential of negative space. keyboard solo out of the Jan Hammer school and some another, not overtly acknowledged, model for this Whether interlocking in the freely-flowing “Joli Bord” particularly impassioned playing from Washington. group: the quintet Douglas led with saxophonist Jon or the concluding “Storyteller”, they sharpen serious And ’s “Hub-Tones” benefits from Irabagon and a rhythm section that included the solid arrows in preparation for whimsical targets. In terms two building solos by Winslow (hitting high notes low-end of acoustic bassist Linda May Han Oh, who is of airtime, the piano trio is this record’s core, but previously explored only by Maynard Ferguson and also the pulsing linchpin here. Obara, in being so often backgrounded, unfolds his Hannibal Marvin Peterson) and Washington. Like that earlier Douglas quintet, this one revels in solos with an intensity made even more remarkable for The other disc, Heaven, is not the mellowing-out the interplay of trumpet and saxophone, but the their selectiveness. His sound is unpretentious yet experience you might expect, though there are elements interwoven skeins of Douglas and Lovano are even stands tall, fulfilling melodic promises with feeling of that. “The Space Travelers Lullaby” sets its controls more intricate and complementary. Some of the most rather than technique. It’s a surreal yet somehow for the heart of the sun and could be a bonus track on exciting and rewarding moments on Scandal are the organic form of communication that sticks as many an or Lonnie Liston Smith album. empathetic interactions between the two horns. feathers to each thematic bone until flight becomes A huge orchestra is present to cushion tinkling piano Darting, zig-zagging lines from Douglas intersect with achievable. The result is humility made musically and their swirling strings also complement Washington gritty, keening spirals and swoops from Lovano, as the incarnate and ready to fly. and the singers. The result is not unlike the opening pair react to each other with quicksilver speed. And theme of Star Trek (first TV version). It’s nice enough, while the rhythm section can and does exhibit much of For more information, visit ecmrecords.com. This project is but goes on too long and gets muddled. Washington’s the elastic time and timbral flexibility of Shorter’s, it is at Dizzy’s Club Jun. 19th. See Calendar. unaccompanied playing at the end is a nice touch. also more firmly grounded in core rhythms, due to “Vi Lua Vi Sol” has nice momentum, a lovely both rock-solid bass and Lawrence Fields’ surprisingly melody and a cool vocorder vocal from Coleman. mellow, lyrical piano. Veteran drummer Joey Baron Mosley sounds particularly good on dancing bass here can be as free or tightly rhythmic as needed. and there’s Porter again. The track would make a great Douglas contributes five originals and Lovano single, if trimmed from 11:08! “Street Fightin Mas” four, with each arranging a Shorter tune from his early doesn’t make much of an impression, but “Song for the hardbop period: “Fee Fi-Fo Fum” from the trumpeter Fallen” is ear-catching, thanks to a pretty piano intro, takes off from brief theme statement to tandem and nervously edgy Thundercat bass and a stately, elegiac individual solos; on “Juju” Lovano avoids the theme theme. “Journey” is a beautiful song, with a strong almost completely in a series of dialogues (horns, vocal by Patrice Quinn (who also wrote the lyrics). Is piano and bass) and solos over ensemble riffs. Douglas’ the line about “joy spring” a reference to Clifford Heaven and Earth title tune, with the composer tightly muted, is haunting; Brown’s masterpiece? (Young Turks) his “Ups and Downs” a ballad that sticks in the by Jim Motavalli Washington is hugely talented and prolific as a memory like a hit tune. Lovano’s “The Corner Tavern” player, composer and thinker and Heaven and Earth is a percolating (thanks to Baron’s catchy tattoo Saxophonist Kamasi Washington’s The Epic lived up to confirms that. He has bright prospects and, one hopes, pattern), funky bebop winner; his “Full Moon” another its name and was a very welcome cornucopia of will release some great and varied non-epics in the memorable ballad. Other, often uptempo, originals are spiritual, impassioned jazz when it was released in future. sturdy vehicles for the band’s always engaging 2015. Now, three years later, Washington’s second epic, improvisatory interactions. Heaven and Earth, is out. If you loved the first one, For more information, visit theyoungturks.co.uk. Washington you’ll love this one too, but maybe not quite as much. is at Forest Hills Stadium Jun. 15th. See Calendar. For more information, visit greenleafmusic.com. This The formula hasn’t greatly changed. Washington’s project is at Village Vanguard Jun. 12th-17th. See Calendar. Pharoah Sanders-inspired tenor and original, mostly midtempo compositions (he wrote all but three tunes)

are still up front and still combined with multiple voices (solo and choir). Many of the musicians (oh, there’s Stephen “Thundercat” Bruner playing electric bass) on The Epic are on board for this one, too. There’s nothing inherently wrong with that, but in this case the two records do indeed sound quite similar. The issue is somewhat compounded by the length of both projects. More variety would definitely help for sustained engagement with this more than two-and-a-half-hour record. That said, there’s plenty to like on Heaven and Unloved Earth. All the soloists, including Washington, are at the Maciej Obara Quartet (ECM) by Tyran Grillo top of their game and Ryan Porter’s trombone, Brandon Coleman’s organ/keyboards and Dontae Winslow’s In keeping with its commitment to fresh artistry, ECM trumpet deserve special mention. presents the studio debut of Polish alto saxophonist Let’s start with Earth. Porter’s “The Psalmnist” Maciej Obara and his young quartet. As an improviser, [sic] offers a nice, tight bop head and segues into the Obara understands the fleeting nature of spontaneous composer’s simmering trombone. Washington’s creation, accordingly emoting with the soul of a poet— playing is funkier than normal, aided by a bit of a which is to say, wasting neither sentiments nor space backbeat. “Will You Sing” kicks off with moody piano

THE NEW YORK CITY JAZZ RECORD | JUNE 2018 39

between polish and looseness, the assurance in the many Evans concerts was his masterful interpretation material and the musicians’ interplay keeping every of Miles Davis’ modal gem “Nardis”, but he throws the rhythmic and harmonic exploration tethered to within audience a curve by briefly stating the theme, then a safe and successful distance. There’s also a clear immediately turning over the spotlight to feature definition of roles, with Pelt and pianist Victor Gould Gomez first before briefly soloing then showcasing leading the way, the rhythm section of bassist Vicente DeJohnette in an extended solo, producing one of the Archer and drummer Jonathan Barber paving a firm most fascinating versions that has been released. Evans road—percussionist Jacqueline Acevedo fits in was obviously enjoying himself as his playful miniature impressively well, contributing without being sign-off theme “Five” ends up including numerous

Universal Music Orchestra redundant and shining in her brief solo moments. song quotes as the trio wraps the evening with a Itiberê Zwarg & UMO (feat. Hermeto Pascoal) (Sarapui) Playing almost all original material, Pelt sounds flourish. The extensive liner notes, interviews and by Tom Greenland very much at ease and at times maybe a little too photos make this CD essential for fans of Bill Evans. casual; he listens to himself with a sense of curiosity as São Paulo-born multi-instrumentalist/composer/ he tries out different phrases, but not always building For more information, visit resonancerecords.org arranger Itiberê Zwarg held the bass chair for 30 years a solo that makes sense over its entire stretch. His in the group of Brazilian legend Hermeto Pascoal (who spoken introduction to the final track, “Château turns 82 this month), where he absorbed and now d’”, is an amusing but rambling tale of finding IN PRINT endorses the maestro’s concept of “Universal Music”: a place to get a haircut in Paris and it elicits some a vision of big-eared, open-ended, polyrhythmic, pan- impatience. cultural vibrations. Enter Helsinki’s UMO Jazz But these—and the boxy, two-dimensional audio Orchestra, a 40-year-old big band with a revolving that has the drums in front of every instrument save roster of some of Finland’s most accomplished players; the leader—are minor quibbles against what is mainly with 50-plus albums in their catalogue, covering an album about going to the club and listening to fine everything from Thad Jones to , jazz musicians simply play. Gould is consistently full Lenny Pickett to Raoul Björkenheim, the crack outfit of surprises, starting solos against the type of music can adeptly interpret just about anything placed on going on around him and ultimately bringing it all their music stands. home impressively well. And Pelt’s gorgeous sound Universal Music Orchestra is a summit meeting of and generous ideas on the ballad “I Will Wait for You” Jazz in the 1970s: Diverging Streams these two titan forces: Zwarg’s Rio de Janeiro-based will surely be a highlight of 2018 jazz releases. Bill Shoemaker (Rowman & Littlefield) crew (comprised of Pascoal, vocalists Aline Morena by Stuart Broomer and Maria Teresa Maldonado, piccolo player Mariana For more information, visit jazzdepot.com. Pelt is at Tribeca Zwarg) and UMO (comprised of four trumpets, four Performing Arts Center Jun. 21st as part of Highlights in Bill Shoemaker has been writing about jazz since the , five reeds, piano, bass, drums and Jazz. See Calendar. late ‘70s and, since 2005, published the online journal percussion). Zwarg’s charts, dense but danceable, are Point of Departure. A superficial view of jazz in the the limber scaffolding for his levitating melodies, ‘70s might begin with Bitches Brew’s sales records, polyphonic fibers pitting trumpets against trombones follow its sidemen into fusion, celebrate the tradition against reeds in crowded counterpoint over intricate with ’s return from Europe, reaching rhythmic nets. The muscular, energetic style of UMO a crescendo with the rise of Wynton Marsalis. negotiates the various hairpin turns and other musical Fortunately, this book is nothing like that: it treats obstacles with confident finesse, creating an illusion of jazz as an art form interacting with society and its effortlessness. The solos are routinely competent, institutions. Shoemaker’s work has two great strengths: concise and to the point, with the exception of drummer rapid response and sense of detail befitting a journalist, Markus Ketola’s extended soliloquy in the middle of coupled with a historian’s sense of scale and the long “Pimenta Da Braba”, where his rubbed drumheads view. He’s also an ardent follower of developments Another Time (The Hilversum Concert) mimic animal mating calls. Zwarg cameos a vocal/ outside the U.S, making him an ideal chronicler for a Bill Evans (Resonance) bass solo on an unconventional arrangement of by Ken Dryden period when new things could happen anywhere. “Autumn Leaves”. Pascoal’s melodica, prone to unruly Each chapter presents the work of a significant deluges of fast tumbling sequences, is featured on the The influence of Bill Evans on modern jazz is artist in the context of a year, but Shoemaker’s ‘70s stampeding “Galopada”, rock-samba “De Lá Pra Cá”, considerable. His groundbreaking use of the rhythm don’t just begin and end there. His introduction brassy “Comichão” and frevo “Muriqui”. On “No section as interactive partners rather than just focuses on the crucial significance of Sonny Rollins’ Melhor da Festa”, a hijacked jazz waltz, he filters accompanists was a break from typical piano trios. earlier Freedom Suite and Max Roach’s We Insist! loose-lipped scats through a water glass. “Pastel e Evans had several different trio lineups in the 20 or so Freedom Now, cutting-edge music that is both socially Caldo de Cana”, the closer, contains some of Zwarg’s years that he was a leader and one of the most conscious and activist. That consciousness will thorniest part-writing, with fine piccolo work, an underrepresented in his discography was the band eventually lead to chapters on Julius Hemphill exuberant, slightly naughty alto saxophone solo by with longtime bassist Eddie Gomez (who worked over (1972), with a focus on his theater work, and Archie Jouni Järvelä and Pascoal’s turn on prepared piano. a decade with him) and the powerful drummer Jack Shepp (1975), explicating his exploration of the DeJohnette (who studied piano before switching to tradition following the headline-fueled urgency of For more information, visit biscoitofino.com.br drums), which lasted only six months and produced a later Impulse albums like Attica Blues. single live LP during Evans’ lifetime. Chapters on signal American creators like the

But ’ Zev Feldman used his Art Ensemble of Chicago, Anthony Braxton and Sam legendary detective skills to track down hidden music Rivers appear side by side with developments in by this lineup, first an unissued studio session made Europe, from the remarkable impact of South for MPS released in 2016 and now this live concert for African musicians like Chris McGregor in England Netherlands Radio Union, taped just a week after to the singular fury of Peter Brötzmann and the Evans’ outstanding At The Verve German avant garde and the spontaneous album. From the opening note, the brilliance of the configurations of Derek Bailey’s Company Week. audio recorded 50 years ago jumps out at the listener Among the most engaging events is Jimmy Carter’s and the trio plays at a high level throughout. enthusiastic response to Cecil Taylor’s performance The pianist’s setlist has no surprises, though at a White House picnic. Shoemaker has a knack for Noir En Rouge (Live in Paris) several of the performances deserve to rank among the piling up facts and observations that squirm around Jeremy Pelt (HighNote) by George Grella best interpretations of these songs. A strolling treatment the page, creating unexpected connections and new of “You’re Gonna Hear From Me” is very upbeat, with insights. Eventually all the threads come together in The title is almost Stendhal and the music was made Gomez alternating between darting lines and walking. a coda about the early ‘80s, from fresh explorations in France, but there’s no sense of dramatic turmoil or “Very Early”, one of Evans’ earliest compositions, is of Herbie Nichols to Bailey presenting a Company even narrative. This is meat and potatoes, a strong a bit more subdued than usual, a delightful, brisk jazz week series with John Zorn in New York. working ensemble caught live over two nights at the waltz accented by an inspired bassline. The lush Sunrise/Sunset Jazz Club in Paris. interpretation of “Alfie” sings without a vocalist as For more information, visit rowman.com Trumpeter Jeremy Pelt’s band hits that sweet spot whispering brushwork sets the mood. The highlight of

40 JUNE 2018 | THE NEW YORK CITY JAZZ RECORD

tracks), taken at a faster tempo that brightens the for one, opens from Randalu’s crystalline intro into the song’s mood. Changing a tempo can substantially alter album’s first and longest tune. But the brightest stars a song’s emotional atmosphere, as Cervini and Lewis in the mix are “Sisu” and “Escapism”, both of which do on “The Surrey with the Fringe on Top” by radically render some of the most achingly cinematic vistas to be slowing it down. The guitar becomes a wash of sonic developed out of the ECM camera in a long time. effects as the vocal hovers in a state between parlando Working slowly and surely and with promises of and singing. A honky-tonking 6/8 refreshes the old nothing other than their own honest reflections, both Bessie Smith blues, “A Good Man Is Hard to Find” and are deeply moving works of art. The same holds true of Lyle Lovett’s sardonic “God Will” (forgive you but I the concluding title track, a lyrical vehicle for Monder’s

No One Ever Tells You won’t) gets a rolling gospel treatment with the help of balladry that ends with a tender kiss. An appropriate Amy Cervini (Anzic) organ. The album opens with Cervini’s only original, way to finish, to be sure: rewarding love with love in by George Kanzler “I Don’t Know”, an apology/explanation song with kind, in the hopes of birthing more of the same. a wry twist and closes with a rolling sing-along (by the With the aid of a backup band that brings a bluesy band) on “Hit the Road Jack”. For more information, visit ecmrecords.com jazz-rock edge to the proceedings, singer Amy Cervini puts a new spin on breakup and torch songs on this For more information, visit anzicrecords.com. This project captivating and thematically focused program of ten is at SubCulture Jun. 15th. See Calendar. ON SCREEN songs. They prove that heartbreak, loneliness and pathos don’t have to be the dominant note of torch songs, the way they invariably were in the mid 20th century. The title song is a perfect example of Cervini’s “hash tag me too” approach. The Frank Sinatra- associated song begins at, or slightly faster than, the heartbeat tempo Sinatra sang it, but with the addition of a rocking backbeat. And a note of skepticism creeps in on the last title refrain, as she stretches the “ever” out before Jesse Lewis cranks things up with a highly electric guitar solo to cue Cervini’s return as drummer Absence Women in Jazz Jared Schonig bears down on the beat, her Kristjan Randalu (ECM) A Film by Gil Corre (s/r) emotionally righteous way beyond the Sinatra version. by Tyran Grillo by Kurt Gottschalk Two other songs associated with Sinatra’s “saloon singer” Capitol Records years are also here: “Please Be In the past decade, ECM Records has welcomed Much has changed regarding gender equality in Kind” is given an easy swing treatment in line with the a range of new artists into its fold, but perhaps none so jazz over the last 20 years—or, at least, one would Sinatra template, but “One for My Baby (And One unassuming as Kristjan Randalu. Equally versed in hope it has. The DVD release of the 2000 documentary More for the Road)” reveals new facets in a vocal-B3 classical and jazz performance, the Estonian pianist Women in Jazz suggests that even if conditions organ duet with Gary Versace (who appears on four offers a debut that forgoes breaking ground in favor of haven’t changed, the questions we ask have. the tectonic shifts beneath it. The title of Absence The film opens with drummer Susie Ibarra in therefore accurately describes the music’s lack of 1999 talking about curating a festival of female allegiance to ear-catching grooves and sly hooks. performers at the since-closed Tonic and includes Randalu and his bandmates—guitarist Ben Monder interviews and performance clips of about two and drummer Markku Ounaskari—explore new dozen women based (at least at the time) in New territory without mapping it, per se, as the latter would York City with about as many takes on the titular imply a sense of colonial control in which they are premise of the film. Trumpeter Ingrid Jensen clearly uninterested. discusses expectations of femininity while harpist The album’s topography is nevertheless trail- Elizabeth Panzer flatly states that “men don’t want marked by four of its briefer artistic statements. “Lumi women around.” Pianist and singer I” and “Lumi II” are the most revealing in terms of Ellen Christi discuss choosing to forego family for process. Monder’s painterly sensibilities are free to career, an issue more often treated as a particularly roam here, as also in counterparts “Adaptation I” and female concern 20 years ago than it is today. Melford “Adaptation II”. Together, these tracks illustrate the also talks about the city that she once called home, band’s core principles. Whether grounded in occasional saying, “there’s something really vital about being June 12th arpeggios or expanding like lungs filling with air, they in New York that I don’t think I could give up yet.” show a contemplative, physical awareness achieving While her presence is missed, a clip of a remarkably Ray Blue Ensemble greatest symmetry in “Partly Clouded”. fiery solo helps to make up for her absence in town. Although the album for the most part treads an Late poet —long associated with even atmospheric keel, there are standouts. “Forecast”, the city’s jazz scene—considers the dual struggle of June 19th being a woman and an African-American in the arts while cellist Akua Dixon praises the New York City Corina Bartra school system (of which she’s a product) for the The New York City Jazz Record confidence and music education it instilled in her. Afro Peruvian And saxophonist Jane Ira Bloom talks about seeing Jazz Ensemble young girls in her audiences and says proudly, “You CALL FOR WRITERS bet I feel good about being a role model!” ARE YOU A GREAT WRITER WHO WANTS TO Along the way, we get glimpses of musicians June 26th CONTRIBUTE REVIEWS AND FEATURES TO who are no longer here. An interview with Jeanne NEW YORK’S ONLY HOMEGROWN JAZZ GAZETTE? Lee, performance clips featuring and Lou Volpe Group Nix and a closing pan of the Manhattan skyline PLEASE SEND CLIPS TO: settling on the twin towers of the World Trade Center [email protected] freeze the film in amber, reminding us that we’re watching a movie made in the late ‘90s. The rather New York Baha’i Center polite manner in which the subject is treated likewise 53 E. 11th Street dates the film, failing to build either consensus or (between University Place and Broadway) “Simply the hippest journal about jazz momentum, which might have been fine two decades Shows: 8:00 & 9:30 PM in New York that has ever been published” ago but in the days of #metoo we’ve come to expect a Gen Adm: $15 Students $10 - Joe Lovano more direct discussion of gender roles and privilege. 212-222-5159 bahainyc.org/nyc-bahai-center/jazz-night nycjazzrecord.com For more information, visit gil-corre.com

THE NEW YORK CITY JAZZ RECORD | JUNE 2018 41 MISCELLANY ON THIS DAY by Andrey Henkin

Looking Ahead! Aquariana Omerta Bon Voyage Lament For Love Cecil Taylor (Contemporary) Burton Greene (BYG-Actuel) Richie Beirach/David Liebman (Trio) McCoy Tyner (Timeless) (DIW) June 9th, 1958 June 9th, 1969 June 9th, 1978 June 9th, 1987 June 9th, 1992 When the definitive biography of the In a Venn diagram of albums released Though pianist Richie Beirach and After a career compartmentalized Even if he is not as celebrated as some very recently departed Cecil Taylor is on mid ‘60s New York imprint ESP- saxophonist David Liebman didn’t among his Impulse (1962-64), Blue of his peers, pianist Ronnie Mathews written, it could share a title with this Disk’ and late ‘60s Paris label Actuel, meet each other at quite the young Note (1967-70) and Milestone (1972- was a jazz stalwart for five decades, album, as it sums up the pianist’s the intersection contains Paul Bley, age of the children on this cover, 80) periods, pianist McCoy Tyner amassing over 200 credits as a entire career. This was Taylor’s second Jacques Coursil, Steve Lacy, Sunny they’ve been one of jazz’ enduring became quite peripatetic from the ‘80s sideman and a dozen as a leader. Half album, after 1956’s Murray, Frank Wright and pianist partnerships, recording together as onwards, working with over a dozen of the latter came after he turned 50 (Transition), and with almost the Burton Greene. After two ESP albums early as 1973 and continuing well into imprints, including returns to his and most were trio dates, such as this, same group of bassist and one for Columbia, Greene made the new millennium. This session, original three. This was a one-off for one of a pair made for Japan’s DIW. (himself dying within a month of his this sole album for the BYG sub-label recorded in Tokyo, is one of over a Holland’s Timeless, a trio date with Drummer appeared on former boss) and drummer Denis with a varying group of Coursil, alto half-dozen albums they have made in bassist Avery Sharpe and drummer Mathews’ unissued Savoy effort Charles, with obscure vibraphonist saxophonist , bassists duo format. Beirach contributes two (the same band would nearly 31 years earlier while this is Earl Griffith completing the band in Beb Guérin and Dieter Gewissler and pieces, Liebman one, the pair another, back a session earlier bassist David Williams’ only recorded lieu of Steve Lacy. Taylor penned all drummer Claude Delcloo (plus flutist plus the standards “On Green in the year). Three of the five tunes are appearance with the pianist. Only one six of the pieces here, “African Didier Malherbe for one track) on Dolphin Street”, “Spring Is Here” and Tyner originals, the rest Great of the nine wide-ranging tunes was Violets” co-written with Griffith. three Greene originals. “In A Sentimental Mood”. American Songbook standards. written by the leader. BIRTHDAYS June 1 June 6 June 11 June 15 June 21 June 26 †Nelson Riddle 1921-85 †Jimmie Lunceford 1902-47 †Clarence “Pine Top” Smith †Allan Reuss 1915-1988 †Dewey Jackson 1900-94 †Teddy Grace 1905-92 † 1924-2009 †Raymond Burke 1904-86 1904-29 † 1921-77 † 1932-2010 †Don Lanphere 1928-2003 †Hal McKusick 1924-2012 †Gil Cuppini 1924-96 † 1920-84 † 1922-99 Lalo Schifrin b.1932 †Jimmy Deuchar 1930-93 b.1929 †Grant Green 1931-79 †Hazel Scott 1920-81 Mel Moore b.1923 Jon Hiseman b.1944 Dave Grusin b.1934 Rossano Sportiello b.1974 Monty Alexander b.1944 †Bob Gordon 1928-55 Tony Oxley b.1938 Chuck Anderson b.1947 Reggie Workman b.1937 † 1946-79 Nils Lindberg b.1933 b.1970 Joey Baron b.1955 June 2 Paul Lovens b.1949 Bernard “Pretty” Purdie b.1939 June 16 Bill Cunliffe b.1956 †Ernie Hood 1923-91 G. Calvin Weston b.1959 b.1956 †”Lucky” Thompson 1924-2005 June 22 Mathias Eick b.1979 †Gildo Mahones 1929-2018 Alex Sipiagin b.1967 †Clarence Shaw 1926-73 Ray Mantilla b.1934 John Pisano b.1931 June 7 b.1969 †Joe Thomas 1933-2017 Hermeto Pascoal b.1936 June 27 Pierre Favre b.1937 †Gene Porter 1910-1993 Tom Harrell b.1946 Heikki Sarmanto b.1939 † 1923-67 Irène Schweizer b.1941 † 1921-98 June 12 b.1948 Eddie Prevost b.1942 George Braith b.1939 June 30th, 1951 Matthew Garrison b.1970 †Tina Brooks 1932-74 †Marcus Belgrave 1936-2015 Mike Baggetta b.1979 Ed “Milko” Wilson b.1944 Todd Herbert b.1970 Noah Preminger b.1986 Norberto Tamburrino b.1964 Kent Carter b.1939 Ryan Keberle b.1980 Bassist Stanley Clarke is the Devin Gray b.1983 Chick Corea b.1941 June 23 June 28 definition of a wunderkind. June 3 Jesper Lundgaard b.1954 June 17 †Eli Robinson 1908-72 †Jimmy Mundy 1907-83 He wasn’t even 20 when he †Carl Pruitt 1918-1977 June 8 †Geri Allen 1957-2017 †Lorenzo Holden 1924-87 †Milt Hinton 1910-2000 †Arnold Shaw 1909-89 made his first album, Joe †Al Harewood 1923-2014 †Billie Pierce 1907-74 Oscar Feldman b.1961 †Frank E. Jackson, Sr. 1924-2013 †Eddie Miller 1911-91 Gene Traxler b.1913 Henderson’s In Pursuit of Phil Nimmons b.1923 †Erwin Lehn 1919-2010 Christian Munthe b.1962 b.1940 †Helen Humes 1913-81 †Pete Candoli 1923-2008 Blackness. This was followed †Dakota Staton 1932-2007 †Kenny Clare 1929-85 Peter Beets b.1971 b.1957 †Lance Harrison 1920-2000 Bobby White b.1926 by sessions with Pharoah †Bob Wallis 1934-91 Bill Watrous b.1939 †George Russell 1923-2009 b.1952 Sanders, , Leon †Ted Curson 1935-2012 Julie Tippetts b.1947 June 13 June 18 † 1925-89 Tierney Sutton b.1963 Thomas, Dexter Gordon, Grachan Moncur III b.1937 Uri Caine b.1956 †Charlie Elgar 1885-1973 †Sammy Cahn 1913-93 †Hank Shaw 1926-2006 Aaron Alexander b.1966 , Norman Connors, Corey Wilkes b.1979 †Doc Cheatham 1905-97 William Hooker b.1946 b.1960 Jesse Stacken b.1978 Dom Um Romao, Luis June 9 †Eddie Beal 1910-84 Gasca, , Robin June 4 †Les Paul 1915-2009 †Phil Bodner 1919-2008 June 19 June 24 June 29 Kenyatta and Stanley †Teddy Kotick 1928-86 †Jimmy Gourley 1926-2008 † 1927-98 †Joe Thomas 1909-86 †Charlie Margulis 1903-67 †Mousey Alexander 1922-88 Cowell, all just in 1972. This †Oliver Nelson 1932-75 †Eje Thelin 1938-90 †Buddy Catlett 1933-2014 †Jerry Jerome 1912-2001 †Manny Albam 1922-2001 †Ralph Burns 1922-2001 was the same year he joined †Alan Branscombe 1936-86 Kenny Barron b.1943 b.1937 †Al Kiger 1932-2013 †George Gruntz 1932-2013 †Ove Lind 1926-1991 Chick Corea’s Return to b.1937 Mick Goodrick b.1945 Harold Danko b.1947 Chuck Berghofer b.1937 † 1943-2003 b.1935 Forever (RTF). Hundreds of Ted Daniel b.1943 Mike Khoury b.1969 Paul Nieman b.1950 † 1946-2000 Ike Sturm b.1978 credits would follow, as Anthony Braxton b.1945 June 10 b.1959 Greg Burk b.1969 would his eponymous 1973 Paquito D’Rivera b.1948 †Chink Martin 1886-1981 June 14 John Hollenbeck b.1968 †Bernardo Sassetti 1970-2012 June 30 leader debut, the first of Winard Harper b.1962 †Willie Lewis 1905-71 † 1918-79 †Harry Shields 1899-1971 over 50 releases, whether †Dicky Wells 1907-85 Burton Greene b.1937 June 20 June 25 †Grady Watts 1908-86 under his own name, as part June 5 †Guy Pedersen 1930-2005 Pete Lemer b.1942 †Doc Evans 1907-77 †Jean Roberts 1908-81 † 1917-2010 of RTF or with , †Kurt Edelhagen 1920-82 †John Stevens 1940-94 b.1959 †Lamar Wright 1907-73 †Johnny Smith 1922-2013 †Andrew Hill 1937-2007 with the most recent, The † 1922-2007 b.1961 b.1960 †Thomas Jefferson 1920-86 †Bill Russo 1928-2003 b.1938 Message (Mack Avenue), due †Pete Jolly 1932-2004 b.1967 Diallo House b.1977 †Eric Dolphy 1928-64 Joe Chambers b.1942 Jasper Van’t Hof b.1947 to be released at the end of †Misha Mengelberg 1935-2017 Jonathan Kreisberg b.1972 Loren Stillman b.1980 Joe Venuto b.1929 Marian Petrescu b.1970 Stanley Clarke b.1951 this month. -AH Jerry Gonzalez b.1949 Ben Holmes b.1979 Ben Syversen b.1983 Anders Nilsson b.1974 John Yao b.1977 Ken Fowser b.1982 CROSSWORD

1 2 3 4 ACROSS 3. 1971 Lifetime Polydor album 4. Type of whistle used in Township Jive

5 6 7 8 1. Amiri Baraka or 5. Like Herbie, Ron and Tony 5. and Fred Van Hove 6. 2009 CJ Boyd Joyful Noise album ____ Roots 9. Instrument crucial to tango jazz 7. Like most free jazz? 9 10. Saxophonist Domnérus if he didn’t play the third note 8. ’s TV home in a C Major scale 9. This Southern California jazz festival is affiliated with 10 11 11. Israeli jazz-fusion band Project ____ 88.1FM of Cal State 12. Drummer Chuck and pianist Freddie 10. Corea/Holland/Altschul 12 13 14 15 15. Willie Jones and Walter Smith can certainly count 13. This Robert owned a Montréal jazz club in the to this number 2001 film The Score 16. Guest spot 14. 2014 Gearbox album ____ Califa, a release of a 1967 16 17 18 19 17. 1979 Gabor Szabo Swedisc album 24 ____ Dexter Gordon gig 20. Artie Shaw standard “____ Old Time” 15. Third album by Fuse One, founded by 20 21 21. Like many a ballad but not on 22 Across 22. Creed Taylor imprint 18. Sly Stone’s “Thank You Falletin Me Be Mice Elf ____”, 22 23 23. Guitarist Felder covered by , Eddie Jefferson and others 24. Trumpeter Steven or guitarist Peter 19. 2013 Andreas Schaerer/Lucas Niggli Jazzwerkstatt

24 25 26 27 28 29. Late ‘60s Norwegian quartet ____ Circle album ____-Gly-Gly-Phe-Met 30. 1970 Deram album Once ____ A Time 22. Three of four notes in a CMaj7 chord 25. Gary Bartz’ ____ Troop 29 DOWN 26. John Coltrane birthday mo. 27. Traditional bowed instrument of Cambodia 30 1. To compose 28. 1977 Peter Brötzmann/Han Bennink FMP album 2. ____ and New Dreams ____ Halber Hund Kann Nicht Pinkeln By Andrey Henkin visit nycjazzrecord.com for answers 42 JUNE 2018 | THE NEW YORK CITY JAZZ RECORD (INTERVIEW CONTINUED FROM PAGE 6) will be us!—but it’s inevitable. People are always (LABEL CONTINUED FROM PAGE 11) looking for something new. It’s a really exciting field to find the music I was looking for at Berklee and be in, it’s an exciting time to do stuff, it seems like it’s which includes titles from Swiss drummer Daniel somebody said you should try Interlibrary Loan. So just waiting to happen. Humair, Italian pianist Pieranunzi, Norwegian bassist I ordered this quarter-tone string quartet by Julian Arild Andersen, French reedplayers Michel Portal and Carrillo—I’ve had to do a lot of work and a lot of TNYCJR: When you’re teaching your students, how , German drummer Günter Baby Sommer, research. I’d love to go to a music store and pick up EZ quickly do they adapt to microtonality? Czech bassist Miroslav Vitous, German pianist Quarter-Tone Jazz Voicings for Guitar, instead of trying Alexander von Schlippenbach and others, all recorded to figure out how they notated it, rewriting it for myself, DF: It’s very different. One of my star students, Utar live at Theater Gütersloh, a new venue opened in 2010 then attempting to play it. A lot of people don’t want to Artun, he’s the main keyboard player on Flam!, which in North Rhine-Westphalia, Germany. The series is do this because they’re either not as crazy or as stupid is based on Messiaen and J Dilla—halfway through the distributed under the Intuition Records label. as I am, to try and market out-of-tune music. It’s hard. semester, I thought, wow, this isn’t going to happen. At about a year and a half into the takeover by In some ways I’m an avant-gardist, I’m kind of like a But what happens with students is they surprise you. It Challenge, Dueck is happy with the deal and the future Black German Expressionist. That’s my background: can take them awhile, but then they really excel. Some of Double Moon. He still maintains a hand in the my dad was German, my mom was black and at some people come in and it’s like a duck taking to water. business, but without the pressure of economic point I just like it really jagged and really colorful. Other people, like me, like I said when I first heard this, sustainability solely on his shoulders. The team at I didn’t want anything to do with it! Turn this shit off! Challenge is a very good one, he notes. “With owner TNYCJR: You also like to get down, playing jazz and I’m very lucky that Berklee supports it. They said, Anne de Jong, Managing Director Marcel Landman funk and rock, just you happen to be doing it microtonally. “Man, I honestly don’t know what you’re trying to do, and Label Manager Boudewijn Hagemans, the but let’s give it a shot.” So now I have a job teaching cooperation is just perfect,” Dueck reports. “They work DF: To be honest, I’ve used a lot of styles because I’ve kids how to play out of tune. It’s a dream job. v on graphics, manufacturing, promotion and marketing loved them but there’s also a frustration of not having and I am still the Artistic Advisor,” he adds. This come up with my own rhythmic language. I feel that’s For more information, visit planetmicrojam.com. Fiuczynski means Dueck remains responsible for musical content. still kind of lacking. I was a little frustrated with the is at Nublu 151 Jun. 22nd as part of Alternative Guitar “The best part of the business,” he says. “So I feel that lack of response to Planet Microjam and Flam! Blam!, so Summit. See Calendar. Double Moon Records has a good perspective.” when this opportunity came along to record with And as to the future of jazz in general, Dueck says Philipp, I wanted it to be a microtonal jazz record. Recommended Listening: he sees more internationality in jazz. “With no doubt I didn’t want to give people the opportunity to ignore • and the Masters of Suspense— about the origin of jazz in North America, Europe is it because it was stylistically all over the place. Serious Hang (Muse, 1992) playing a bigger and bigger role,” he notes. With I wanted people to really hear the microtonality in a • Hasidic New Wave—The Complete Recordings ongoing commitment and the success of Double context they already were aware of. There’s no way (, Not Two—Tzadik, 1996-2001) Moon/Challenge in the market, America’s contribution you can say it’s not jazz. You can say, “I hate it, it • —Gamak (ACT Music, 2012) to the world in music continues to be in good hands. v sounds terrible”, that’s perfectly fine. • David Fiuczynski—Planet Microjam (RareNoise, 2011) It kind of makes sense for microtonality to break • David Fiuczynski—Flam! Blam! (RareNoise, 2014-15) For more information, visit doublemoon.de. Artists through now. King Gizzard & the Lizard Wizard, Jacob • Mikrojazz—Neue Expressionistische Musik performing this month include Lee Konitz at Jazz at Kitano Collier, somebody big in the mainstream—hopefully it (RareNoise, 2016) Jun. 1st-2nd. See Calendar.

Randy african Weston’s rhythms

Randy Weston • piano T K Blue • woodwinds Alex Blake • bass Neil Clarke • African percussion

SAT JULY 7 • 7 PM Jamaica Performing Arts Center 153-10 Jamaica Ave • Jamaica NY

$20 General Admission/$15 Students with ID Tickets & Info: jcal.org • (718) 658-7400

When Randy Weston plays a combination of strength and gentleness virility and velvet emerges from the keys in an ebb and flow of sound seemingly as natural as the waves of the sea - Langston Hughes

seed artists

THE NEW YORK CITY JAZZ RECORD | JUNE 2018 43 CALENDAR

Friday, June 1 êMelissa Aldana Visions for Frida Kahlo with Phillip Dizack, Jure Pukl, Joel Ross, • Hendrik Meurkens, David Berkman, Chris Berger Micah Thomas, Rick Rosato, Jeremy Dutton Mezzrow 8 pm $20 êEhud Asherie Quartet with Scott Robinson The Jazz Gallery 7:30, 9:30 pm $25 • Jim Campilongo Quartet with Grey McMurray, Chris Morrissey, Josh Dion The 75 Club at Bogardus Mansion 8, 10, pm $20 • David Durrah Jam Session Jazz Museum in Harlem 2 pm Rockwood Music Hall Stage 2 10 pm êEddie Daniels/Ted Nash with Helen Sung, , Mauricio Zottarelli and • Joey DeFrancesco Trio with Mark Whitfield, Lenny White • Matterhorn Rockwood Music Hall Stage 2 11:30 pm $10 Harlem String Quartet The Appel Room 7, 9:30 pm $60-80 Jazz Standard 7:30, 9:30 pm $35 • Erli Perez Shrine 6 pm • Perry Smith Trio with , Donald Edwards • Luis Bonilla Trio Knickerbocker Bar & Grill 9, 10:15 pm $3.50 • Aidan O’Connell Trio Silvana 6 pm Bar Next Door 7:30, 9:30, 11:30 pm $12 • David Bryant’s Trismic; Theo Hill Mezzrow 8, 11 pm $20 • Ari Hoenig Trio; Joe Farnsworth Group • El Violin Latino: Gregor Huebner, Klaus Mueller, Veit Huebner, Jerome Goldschmidt • G. Calvin Weston/Mika Pontecorvo and Cartoon Justice Smalls 7:30, 10:30 pm $20 Bargemusic 8 pm $40 Muchmore’s 9 pm êBlue Note Jazz Festival: Gregory Porter • Bossa Brasil: Marcos Valle with Patricia Alves, Roni Ben-Hur, Jesse Sadoc, • Zach Swansom, Amanda Bloom, Juanma Trujillo, Tom Swafford Sony Hall 8 pm $85-125 Itaiguara Brandao, Renata Massa and guests Paula Morelenbaum, Pete’s Candy Store 9 pm • Miyoko Yamakawa; Nicholas Brust Jaques Morelenbaum Birdland 8:30, 11 pm $40 • Brooklyn Raga Massive 6th Anniversary Celebration: House of Waters: Max ZT, Tomi Jazz 8, 11 pm • A Jazz Tribute to : Zach Lapidus, Peter Brendler, Aaron Seeber Moto Fukushima, Ignacio Rivas Bixio; Samarth Nagarkar with Rohan Prabhudesai, Bloomingdale School of Music 7 pm Amod Dandawate; Women’s Raga Massive: Camila Celin, Trina Basu, Roshni Samlal, êThe Bad Plus: Orrin Evans, Reid Anderson, Dave King Priya Darshini, Amali Premawardhana, Lauren Crump Tuesday, June 5 Blue Note 8, 10:30 pm $35 Pioneer Works 8 pm $30 • Mwenso And The Shakes Blue Note 12:30 am $15 • Reggie Young Band; Hadrien Feraud ShapeShifter Lab 8 pm $20 • Keith Ganz Group with Gary Versace • Sue Maskaleris Bryant Park 12:30 pm 55Bar 6 pm êCharlie Hunter Trio City Winery 8:30 pm $20 • Grand Maujern Silvana 6 pm êJerome Jennings Band Sistas’ Place 9, 10:30 pm $20 • Nick Dunston Group Bar Lunàtico 8:30, 10 pm $10 • Libby Richman Trio Cleopatra’s Needle 8 pm • Cole Davis Trio with Clay Lyons, James Gillespie; Olli Hirvonen Trio with Marty Kenney, • Maria Alejandra Rodriguez; Meredith Dean Augustin • Jimmy O’Connell Sextet with Andrew Gould, Josh Bruneau, Tuomo Uusitalo, Peter Slavov, Aaron Kimmel; Neal Smith New Breed Sextet with Nathan See, Mark Ferber Bar Next Door 6:30, 8:30, 10:30 pm $12 Club Bonafide 6, 10 pm $20 êStacey Kent Birdland 8:30, 11 pm $50 • Francisco Mela Quintet with Ingrid Laubrock, Michaël Attias, Hery Paz, Drew Gress Milena Casado, Dabin Ryu, Rina Yamazaki, Timothy Johnson, Youngchae Jeong; Michael Weiss Quartet with Steve Wilson, Ugonna Okegwo, Adam Cruz; • Keyon Harrold and Friends Blue Note 8, 10:30 pm $35 Cornelia Street Underground 8:30, 10 pm $10 Todd Robbins Bryant Park 12:30 pm ê Philip Harper Quintet Smalls 4:30, 7:30, 10:30 pm 1 am $20 • Gil Evans Birthday Celebration: Gil Evans Orchestra led by Miles Evans with Lou Caputo’s Not So Big Band Club Bonafide 8 pm $15 Gil Goldstein, Pete Levin, Mark Egan, Jeff “Tain” Watts, Shunzo Ohno, Alex Sipiagin, êRenee Rosnes Quartet with Steve Nelson, , Carl Allen • Eve Packer, Daniel Carter, M.L. Liebler Rob Scheps, Chris Hunter, Alex Foster, Alden Banta, David Bargeron, John Clark Smoke 7, 9, 10:30 pm $40 • and guests The Cutting Room 9:30 pm $20-25 • Alyson Williams with , Jr. Trio Cornelia Street Underground 6 pm $10 Beekman: Kyle Nasser, Yago Vasquez, Pablo Menares, Rodrigo Rebecarren; • Benny Green Trio Dizzy’s Club 7:30, 9:30 pm $40 The Sound Bite 7, 9 pm • • Mathis Picard Dizzy’s Club 11:15 pm $10 êMarty Ehrlich Welcome Quartet with Ron Horton, Michael Bates, Gerald Cleaver Zach Lapidus Disquiet with Caroline Davis, Jeff Miles, Peter Brendler, Vinnie Sperrazza • Ken Fowser Quintet Tony Hewitt and The John Colianni Group The Stone at The New School 8:30 pm $20 Cornelia Street Underground 8, 9:30 pm $10 The Django at Roxy Hotel 7:30, 10:30 pm • Ken Kobayashi; The Highliners; Craig Brann Trio with Nick Morrison, Sanah Kadoura • Alex Sipiagin Sextet with Chris Potter, Will Vinson, John Escreet, Donald Edwards • Maniacs of the Fourth Dimension; Jared Gold/Dave Gibson; Yoshi Waki Tomi Jazz 6, 8, 11 pm $10 and guest Alina Engibaryan Dizzy’s Club 7:30, 9:30 pm $30 Fat Cat 6, 10:30 pm 1:30 am $10 êBilly Hart Quartet with Chris Potter, Ethan Iverson, Ben Street êDom Salvador The Django at Roxy Hotel 7:30 pm êEd Neumeister Quartet with , Drew Gress, Tom Rainey Village Vanguard 8:30, 10:30 pm $35 • Joel Ross Parables with Immanuel Wilkins, María Grand, Adam O’Farrill, Eric Miller, Ibeam Brooklyn 8:30 pm $15 Rick Rosato, Craig Weinrib, Vuyo Sotashe êLee Konitz Quartet with Frank Kimbrough, Jeremy Stratton, George Schuller Dizzy’s Club 11:15 pm $5 Jazz at Kitano 8, 10 pm $34 Sunday, June 3 • Corin Stiggall; Cocomama; Craig Wuepper êMelissa Aldana Visions for Frida Kahlo with Phillip Dizack, Jure Pukl, Joel Ross, Fat Cat 7, 9 pm 12:30 am $10 Micah Thomas, Rick Rosato, Jeremy Dutton • Billy Mintz solo 440Gallery 4:40 pm $10 • Paul Shinn solo Jazz at Kitano 8 pm The Jazz Gallery 7:30, 9:30 pm $25 • Rosita Kess Trio with Marco Cappelli, Brad Jones and guest êReal Feels + Endless Fields: John Raymond, Chris Dingman, Jesse Lewis, • Joey DeFrancesco Trio with Mark Whitfield, Lenny White Barbès 5 pm $10 Fabian Almazan, Ike Sturm, Colin Stranahan Jazz Standard 7:30, 9:30 pm $35 êAndy Biskin’s Reed Basket with Mike McGinnis, Sam Sadigursky, Peter Hess The Jazz Gallery 7:30, 9:30 pm $15 • Luis Bonilla Trio Knickerbocker Bar & Grill 9, 10:15 pm $3.50 Barbès 7 pm $10 • Joey Alexander Trio with Ruben Rogers, Kendrick Scott • David Bryant’s Trismic; Steve Ash Mezzrow 8, 11 pm $20 • Danny Bacher Birdland 6 pm $30 Jazz Standard 7:30, 9:30 pm $35 • Oscar Feldman Minton’s 7:30, 9:30 pm $15 • Nikolett Pankovits Sextet and Adam Boncz êDezron Douglas Black Lion Trinity with Darius Jones, Curtis Torian; Dave Lazar, • Caroline Davis Heart Tonic with Julian Shore, Tamir Shmerling, Jay Sawyer Blue Note 11:30 am 1:30 pm $39.50 Matt Mitchell, Kate Gentile Korzo 9, 10:30 pm Neighborhood Church of Greenwich Village 8, 9:30 pm êThe Bad Plus: Orrin Evans, Reid Anderson, Dave King • Nitai Hershkovits, Or Bareket, Rodney Green • Molly Tigre: Mitch Marcus, Ezra Gale, Chris Hiatt, Joe Abba, Kolipe Camara Blue Note 8, 10:30 pm $35 Mezzrow 8 pm $20 ê Nublu 151 7 pm PRISM Quartet with Susie Ibarra, Tyshawn Sorey • Resist x Improvise—An Evening for : Human Time Machine: • Sarah Manning, Simon Jermyn, Allison Miller; The Need: Briggan Krauss with Christ and St. Stephen’s Church 3 pm $22 Brian Adler, Jeremy Smith, Elizabeth Pupo-Walker, Ned Haweeli, Anna Wray and guests , Shahzad Ismaily and guest Tony Scherr • Michael Blanco Quartet with John Ellis, , Clarence Penn Jesse Neuman, Michael Lofton, Crockett Doob, Red Wierenga Cornelia Street Underground 8, 9:30 pm $10 The Owl Music Parlor 8 pm $10 Roulette 8 pm $20 • Benny Green Trio Dizzy’s Club 7:30, 9:30 pm $35 • Marginal Consort: Kazuo Imai, Kei Shii, Masami Tada, Tomonao Koshikawa • Ayman Fanous Ensemble with Jason Kao Hwang, William Parker, Tatsuya Nakatani; Pioneer Works 8 pm $20 • David Aaron, Rob Ritchie, Dave Gould; Sam Newsome solo Downtown Music Gallery 6, 7 pm Fumi Tomita Group with Jason Rigby, Jacob Varmus, Mike Baggetta, • Triple Tea: Tommaso Taddonio, Martin Tamisier, Carlo De Baggio; Fany de la Chica, Mark Micklethwaite ShapeShifter Lab 7, 8:15 pm $10 Jake Chapman, Eli Alienikoff, Robert Fernandez • Louis Rosen and Friends The Duplex 6:30 pm $25 • Terry Waldo’s Gotham City Band; Jade Synstelien Fat Cat Big Band • Gil Schwartz Shrine 6 pm ShapeShifter Lab 7, 8:15 pm $10 • Lucas Pino Nonet with Alex LoRe, Nick Finzer, Rafal Sarnecki, , • Neal Smith New Breed Sextet with Nathan See, Milena Casado, Dabin Ryu, Fat Cat 6, 8:30 pm $10 • Emmet Cohen Quartet with Ruben Fox, Benny Bennack III, Joe Saylor Desmond White, Jimmy Macbride Smalls 7:30 pm $20 Rina Yamazaki, Timothy Johnson, Youngchae Jeong; Michael Weiss Quartet with • Dorian Devins; Alex Humburger Tomi Jazz 8, 11 pm Steve Wilson, Ugonna Okegwo, Adam Cruz; JD Allen Jazz Standard 12 pm $10-35 • Joey DeFrancesco Trio with Mark Whitfield, Lenny White êScott Colley Trio with Mark Turner, Kenny Wollesen Smalls 7:30, 10:30 pm 1 am $20 Village Vanguard 8:30, 10:30 pm $35 ê Jazz Standard 7:30, 9:30 pm $30 Renee Rosnes Quartet with Steve Nelson, Peter Washington, Carl Allen • Emily Braden All Star Jazz Band Zinc Bar 7, 8:30 pm Smoke 7, 9, 10:30 pm $40 êCraig Harris and Friends Manna House 4 pm • Cammack Project with Paul Bollenback • Nancy Harms/Aaron Goldberg Mezzrow 8 pm $20 The Sound Bite 7, 9 pm • Swamp Donkeys: James Williams, Ricardo Pascal, Jeffery Miller, êPascAli: Pascal Niggenkemper/Sean Ali Joseph Faison, Joshua Marotta, Benjamin Fox Wednesday, June 6 Spectrum 7 pm Minton’s 7:30, 9:30 pm $10

êMarty Ehrlich Shards with Angelica Sanchez, John Lindberg, Kate Gentile • Kate Baker Trio with Vic Juris, • Oz Noy Quartet with David Kikoski, , Clarence Penn The Stone at The New School 8:30 pm $20 North Square Lounge 12:30, 2 pm 55Bar 10 pm • Sharp Tree Trio Tomi Jazz 9 pm $10 • Eli Wallace, Sean Ali, Carlo Costa Outskirts 7 pm • Joe Farnsworth Quartet An Beal Bocht Café 8, 9:30 pm $20 êBilly Hart Quartet with Chris Potter, Ethan Iverson, Ben Street • Marcus Persiani Band Russian Samovar 3 pm • Vitor Gonçalves Bar Lunàtico 8:30, 10 pm $10 Village Vanguard 8:30, 10:30 pm $35 • Chris Dingman Quartet with Miriam Elhajli, Ike Sturm, Zaneta Sykes • Jonah Udall Trio with Steve Williams, Noah Becker • Jeff Pearring, Adam Lane, Tim Ford Saint Peter’s Church 5 pm Bar Next Door 6:30 pm The Well 12 am • Shrine Big Band Shrine 8 pm êStacey Kent Birdland 8:30, 11 pm $50 • Carlo Costa/John McCowen; Vessel: Nathaniel Morgan, Angela Morris, Dustin Carlson, • Sacha Perry Trio with Paul Gill, Ai Murakami; Deborah Davis and A Few Good Men with • Keyon Harrold and Friends Blue Note 8, 10:30 pm $35 Ellen O’Meara Wonders of Nature 8 pm Ben Rosenblum, , Ben Zweig; Bruce Harris Group; Jon Beshay • Todd Robbins Bryant Park 12:30 pm Smalls 4:30, 7:30, 10:30 pm 1 am $20 • Allan Mednard Trio Cornelia Street Underground 8:30 pm $10 êRenee Rosnes Quartet with Steve Nelson, Peter Washington, Carl Allen • Andrew D’Angelo, Carmen Rothwell, Allan Mednard; Scree: Ryan Beckley, Saturday, June 2 Smoke 7, 9, 10:30 pm $40 Carmen Rothwell, Jason Burger Cornelia Street Underground 8, 9:30 pm $10 êBlue Note Jazz Festival: Gregory Porter • Sharel Cassity’s Elektra with Christie Dashiell, Mark Whitfield, Miki Hayama, Jon Michel, • Ehud Asherie Quartet with Scott Robinson Sony Hall 8 pm $85-125 Jonathan Barber Dizzy’s Club 7:30, 9:30 pm $30 The 75 Club at Bogardus Mansion 8, 10, pm $20 • Jonathan Elbaz The Sound Bite 1 pm • Joel Ross Parables with Immanuel Wilkins, María Grand, Adam O’Farrill, Eric Miller, êEddie Daniels/Ted Nash with Helen Sung, Scott Colley, Mauricio Zottarelli and • Jocelyn Medina Trio with Pete McCann, Evan Gregor Rick Rosato, Craig Weinrib, Vuyo Sotashe Harlem String Quartet The Appel Room 7, 9:30 pm $60-80 Spoonfed New York Country 7 pm Dizzy’s Club 11:15 pm $5 • Wayne Horvitz and Friends with Curtis Fowlkes, Kenny Wollesen • Bill Stevens Songbook with Corey Larson, Paul Pricer • Raphael D’lugoff Trio +1; Groover Trio; Ned Goold Jam Bar Lunàtico 8:30, 10 pm $10 Tomi Jazz 8, 9:40 pm Fat Cat 7, 9 pm 12:30 am $10 êEd Cherry Trio Bar Next Door 7:30, 9:30, 11:30 pm $12 êBilly Hart Quartet with Chris Potter, Ethan Iverson, Ben Street • Carol Sudhalter Jazz Jam Flushing Town Hall 7 pm $10 • Bossa Brasil: Marcos Valle with Patricia Alves, Roni Ben-Hur, Jesse Sadoc, Village Vanguard 8:30, 10:30 pm $35 • Ken Kobayashi Trio with Yusuke Kono, Bob Gingery Itaiguara Brandao, Renata Massa and guests Paula Morelenbaum, Jazz at Kitano 8, 10 pm $18 Jaques Morelenbaum Birdland 8:30, 11 pm $40 • Alina Engibaryan with Chris Potter, Taylor Eigisti, Michael League, Kendrick Scott • Asen Doykin Band Blue Note 11:30 am 1:30 pm $39.50 Monday, June 4 Jazz Standard 7:30, 9:30 pm $25 êThe Bad Plus: Orrin Evans, Reid Anderson, Dave King Gary Versace, Keith Ganz, Sean Smith • Corina Bartra Afro Peruvian Band Bar Lunàtico 8:30, 10 pm $10 • Blue Note 8, 10:30 pm $35 Mezzrow 8 pm $20 êBlue Note Jazz Festival: Gregory Porter • Alan Kwan Trio with Evan Gregor, Curtis Graham Nowosad; Melissa Stylianou Trio with Jesse Lewis, Ike Sturm Bar Next Door 6:30, 8:30, 10:30 pm $12 • Greg Skaff Soulmation Project with , Pat Bianchi, Tom Rainey Central Park Summerstage, Rumsey Playfield 7 pm Minton’s 7:30, 9:30 pm $10 • Phil Briggs Band Cleopatra’s Needle 8 pm • The Music Of Billie Holiday: Southside Johnny Blue Note 8, 10:30 pm $35 • Cynthia Sayer, Adrian Cunningham, Mike Weatherly • Andres Laprida; Mariposa: Hyuna Park, Myriam Phiro, Leonor Falcón, Tina Lama, Saint Peter’s Church 1 pm $10 Mariana Ramirez Club Bonafide 6, 8 pm $20 • Todd Robbins Bryant Park 12:30 pm • Eric Plaks, Evan Crane, Leonid Galaganov; Stephen Gauci, Sandy Ewen, Adam Lane; • Andrew Schwardt, Nate Andersen, Sean Broadbelt, Sergei Terentev • Mike Moreno Quartet with Nitai Hershkovitz, Doug Weiss, Jonathan Barber ShapeShifter Lab 7 pm $15 Cornelia Street Underground 8:30, 10 pm $10 Mika Pontecorvo, Kersti Abrams, Adriane Pontecorvo, Mark Pino, Elijah Pontecorvo, G. Calvin Weston; Igor Lumpert, Sean Conly, Jason Nazary; Dave Sewelson, • Takeshi Otani Band Silvana 6 pm • Sean Ali/Azumi Oe; Jamara Wakefield; Nate Wooley/Carlo Costa • Lage Lund Quartet with Sullivan Fortner, Matt Brewer, Justin Faulkner; De Construkt 8 pm Dan Clucas; Anders Nilsson, Jon Goldberger Bushwick Public House 7 pm $10 Fukushi Tainaka Quintet with Chris Johansen, Nat Harris, Marc Devine, Hide Tanaka; • Benny Green Trio Dizzy’s Club 7:30, 9:30 pm $45 Jovan Alexandre Smalls 7:30, 10:30 pm 1 am $20 • Mathis Picard Dizzy’s Club 11:15 pm $20 • and Co. with Kevin Twigg, Rene Hart, Elliot Peper êThomas Heberer, Marc Hannaford, Michael Vatcher, N. Hein • Ray Gallon Trio; Eyal Vilner Big Band Cornelia Street Underground 8:30 pm $10 The Django at Roxy Hotel 7:30, 10:30 pm • Jazz at Lincoln Center Youth Orchestra Spectrum 7 pm • Louis Rosen and Friends The Duplex 6:30 pm $25 Dizzy’s Club 7:30, 9:30 pm $35 • Michael Gallant; Paul Lee Tomi Jazz 8, 11 pm • Roberto Quintero Latin Jazz Quintet; Raphael D’lugoff; Greg Glassman Jam • Abhik Mukerjee; Behn Gillece; Billy Kaye Jam êScott Colley Trio with Mark Turner, Kenny Wollesen Fat Cat 7, 10 pm 1:30 am $10 Fat Cat 6, 9 pm 12:30 am $10 Village Vanguard 8:30, 10:30 pm $35 • Ty Citerman/Judith Berkson Ibeam Brooklyn 8:30 pm $15 • Frank Vignola Guitar Night with Lou Pallo, Gary Mazzaroppi, Vinny Raniolo, Olli Soikkeli, • Janis Siegel and Lauren Kinhan with John Di Martino, Boris Kozlov, Steve Williams êLee Konitz Quartet with Frank Kimbrough, Jeremy Stratton, George Schuller Jason Anick and guests Iridium 8:30 pm $30 and guest Jo Lawry Zinc Bar 8, 10 pm $25 Jazz at Kitano 8, 10 pm $34

44 JUNE 2018 | THE NEW YORK CITY JAZZ RECORD Thursday, June 7 Friday, June 8 Sunday, June 10 • Amy Cervini, Lauren Kinhan, Jamie Leonhart, Nicole Zuraitis, Vuyo Sotashe • Tessa Souter, Paul Bollenback, Yasushi Nakamura • Jim Campilongo Quartet with Grey McMurray, Chris Morrissey, Jason Burger 55Bar 7 pm 55Bar 6 pm 55Bar 6 pm • Kevin B Clark Trio with Jeff Reed, Chris Smith êBill Easley and The Trio with Tardo Hammer, John Webber, Steve Williams • 3 Cards Trick: Marco Cappelli, Brandon Seabrook, Stomu Takeishi Bar Next Door 8:30, 10:30 pm $12 The 75 Club at Bogardus Mansion 8, 10, pm $20 Barbès 5 pm $10 êFragility—An Exploration of Polyrhythms: Susie Ibarra Ensemble with guest • Tiffany Austin Septet with Ashlin Parker, Teodross Avery, Mitch Butler, Cyrus Chestnut, Souleymane Badolo Asia Society 7:30 pm $30 • Bruce Harris Birdland 6 pm $30 Yasushi Nakamura, Carl Allen Birdland 6 pm $30 êMike Baggetta Trio with Stephan Crump, Michael Sarin • Luba Mason’s Triangle Blue Note 11:30 am 1:30 pm $39.50 êStacey Kent Birdland 8:30, 11 pm $50 Bar Next Door 7:30, 9:30, 11:30 pm $12 • Keyon Harrold and Friends Blue Note 8, 10:30 pm $35 • Keyon Harrold and Friends Blue Note 8, 10:30 pm $35 êStacey Kent Birdland 8:30, 11 pm $50 • Dion Parson 21st Century Band with Ron Blake, Melvin Jones, Kenny Davis, • Todd Robbins Bryant Park 12:30 pm • Keyon Harrold and Friends Blue Note 8, 10:30 pm $35 Carlton Holmes, Victor Provost, Alioune Faye êSonelius Smith Duo Cleopatra’s Needle 7 pm • Mwenso And The Shakes Blue Note 12:30 am $15 Dizzy’s Club 7:30, 9:30 pm $30 • Stream Trio: Yago Vazquez, Scott Lee, Jeff Hirschfield and guest Billy Drewes • Todd Robbins Bryant Park 12:30 pm • Carlo Costa, Christian Meaas Svedsen, Sam Kulik; Jonathan Moritz, Sean Ali, Cornelia Street Underground 8, 9:30 pm $10 • Chip Shelton Trio Cleopatra’s Needle 8 pm Carlo Costa Downtown Music Gallery 6, 7 pm • Felix Peikli/Joe Doubleday Showtime Band • Jochen Reuckert Quartet with Melissa Aldana, Lage Lund, Matt Penman • Terry Waldo’s Gotham City Band; Willie Applewhite Dizzy’s Club 9:30 pm $40 Cornelia Street Underground 8:30, 10 pm $10 Fat Cat 6, 8:30 pm $10 • Joel Ross Parables with Immanuel Wilkins, María Grand, Adam O’Farrill, Eric Miller, • Dion Parson 21st Century Band with Ron Blake, Melvin Jones, Kenny Davis, ê Carlton Holmes, Victor Provost, Alioune Faye Dafnis Prieto Big Band with Alex Norris, Nathan Eklund, Alex Sipiagin, Josh Deutsch, Rick Rosato, Craig Weinrib, Vuyo Sotashe Román Filiú, Michael Thomas, Peter Apfelbaum, Joel Frahm, Chris Cheek, Nick Finzer, Dizzy’s Club 11:15 pm $10 Dizzy’s Club 7:30, 9:30 pm $45 • Joel Ross Parables with Immanuel Wilkins, María Grand, Adam O’Farrill, Eric Miller, Alan Ferber, Jacob Garchik, Jeff Nelson, Alex Brown, Ricky Rodríguez, • Stafford Hunter and Continuum; Rita with Brendan Skidmore, Bruce Harris Rick Rosato, Craig Weinrib, Vuyo Sotashe Roberto Quintero Jazz Standard 7:30, 9:30 pm $30 The Django at Roxy Hotel 7:30, 10 pm Dizzy’s Club 11:15 pm $10 êThomas Heberer, Yoni Kretzmer, Ken Filiano; Todd Neufeld, Josh Sinton, • Adi Meyerson Quintet; Saul Rubin Zebtet; Paul Nowinski • Ken Fowser Quintet; Lezlie Harrison Giacomo Merega Legion Bar 9 pm $10 Fat Cat 7, 10 pm 1:30 am $10 The Django at Roxy Hotel 7:30, 10:30 pm êNew York Hot Brass Festival: Slavic Soul Party; ’s Klezmer Brass All-Stars; êBill Orcutt, Tashi Dorji, Joe McPhee Issue Project Room 8 pm $15 • La Descarga; Troy Roberts’ NuJive 6; Will Terrill Hungry March Band; Drumadics Beat-n-Brass Band; Sugartone Brass Band; êMakoto Ozone solo Japan Society 7:30 pm $38 Fat Cat 6, 10:30 pm 1:30 am $10 Louis Armstrong Eternity Band; Gato Loco; Mariel Bildsten Band; • Ben Cassara Sextet with Takaaki Otomo, Boots Maleson, Tim Horner êRed Baraat Flushing Town Hall 8 pm Trans-global Fanfare All-Star Jam With Matt Moran Jazz at Kitano 8, 10 pm $18 • Ronny Whyte Quartet with Takaaki Otomo, Boots Maleson, Ray Marchica Manderley Bar at the McKittrick Hotel 2 pm êBen Goldberg Quintet with , Mary Halvorson, Michael Formanek, Jazz at Kitano 8, 10 pm $34 êBOP: Johnathan Blake, Linda Oh, Chris Potter • Damien Sneed/Shenel Johns; Marianne Solivan Quartet Tomas Fujiwara The Jazz Gallery 7:30, 9:30 pm $15 Mezzrow 4:30, 8 pm $20 êDafnis Prieto Big Band with Alex Norris, Nathan Eklund, Alex Sipiagin, Josh Deutsch, The Jazz Gallery 7:30, 9:30 pm $25 êDafnis Prieto Big Band with Alex Norris, Nathan Eklund, Alex Sipiagin, Josh Deutsch, • Christopher McBride Band with Mimi Jones, Jonathan Edward Thomas, Román Filiú, Michael Thomas, Peter Apfelbaum, Joel Frahm, Chris Cheek, Nick Finzer, Curtis Nowosad Minton’s 7:30, 9:30 pm $10 Alan Ferber, Jacob Garchik, Jeff Nelson, Alex Brown, Ricky Rodríguez, Román Filiú, Michael Thomas, Peter Apfelbaum, Joel Frahm, Chris Cheek, Nick Finzer, Alan Ferber, Jacob Garchik, Jeff Nelson, Alex Brown, Ricky Rodríguez, • Roz Corral Trio with Jim Ridl, Paul Gill Roberto Quintero Jazz Standard 7:30, 9:30 pm $30 Roberto Quintero Jazz Standard 7:30, 9:30 pm $30 North Square Lounge 12:30, 2 pm • Samora Abayomi Pinderhughes Joe’s Pub 9:30 pm $15 • Matthew Fries Duo Knickerbocker Bar & Grill 9, 10:15 pm $3.50 • Or Baraket Quartet with Joel Ross, Eden Ladin, Kush Abadey; Caleb Wheeler Curtis, êBernard Purdie’s All-Star Shuffle with guests , Quiana Lynell • LPR X: Krishna Bhatt/Gyan Riley Le Poisson Rouge 8 pm $25-30 Noah Garabedian, Vinnie Sperrazza Metrotech Commons 12 pm êTed Rosenthal, Noriko Ueda, Tim Horner; Greg Murphy The Owl Music Parlor 7:30 pm $10 Hot Club of Flatbush Radegast Hall 9 pm • Mezzrow 8, 11 pm $20 • Gabriela Martina with Jussi Reijonen, Maxim Lubarsky, Kyle Miles • Dafne Vicente-Sandoval solo San Damiano Mission 8 pm $20 êInternational Anthem Showcase: Irreversible Entanglements: Camae Ayewa, Rockwood Music Hall Stage 1 7 pm • Northbound: Tuomo Uusitalo, Olavi Louhivuori, Myles Sloniker and guest Rich Perry Keir Neuringer, Aquile Navarro, Luke Stewart, Tcheser Holmes; Jeff Parker and Scandinavia House 7 pm $15 The New Breed with Josh Johnson, Paul Bryan, Makaya McCraven; • Tommy Morimoto Band with Mel Davis, Marvin Horne, Donald Nicks, Annie Lee Moffett Russian Samovar 3 pm • Duke Guillaume and The Metropolitan Gospel Big Band Makaya McCraven Band with Luke Stewart, Joel Ross, Marquis Hill ShapeShifter Lab 7:30 pm National Sawdust 8 pm $22 • Chris Dingman Choral Works Saint Peter’s Church 5 pm • Max Logue Shrine 6 pm • Wynton Marsalis’ (the ever-funky lowdown): Jazz at Lincoln Center Orchestra with • Sacha Perry Trio with Paul Gill, Ai Murakami; Hillel Salem • Josh Levinson Septet Silvana 6 pm guests Doug Wamble, Jazzmeia Horn, Brianna Thomas, Camille Thurman, Smalls 4:30 pm 1 am $20 Lage Lund Quartet with Sullivan Fortner, Matt Brewer, Justin Faulkner; Wendell Pierce Rose Theater 8 pm $35-125 êBuster Williams and Something More with Steve Wilson, George Colligan, Lenny White • Nick Di Maria; Northbound Trio Shrine 6, 7 pm Jure Pukl Quartet with Sullivan Fortner, Harish Raghavan, ; Charles Goold • Smoke 7, 9, 10:30 pm $40 • Erli Perez Silvana 6 pm • Lou Volpe The Sound Bite 1 pm Smalls 7:30, 10:30 pm 1 am $20 • Venture: Mark Sherman, Chase Baird, Kenny Davis, Mike Clark; Mike Rodriguez Group; • Misha Piatigorsky Quintet with Jonathan Powell, Tivon Pennicott, Danton Boller, • Yoshiki Miura Tomi Jazz 8 pm Corey Wallace DUBtet Smalls 7:30, 10:30 pm 1 am $20 • Welf Dorr Unit with Dave Ross, Dmitry Ishenko, Joe Hertenstein; Ari Hoenig Smoke 7, 9, 10:30 pm $15 êBuster Williams and Something More with Steve Wilson, George Colligan, Lenny White • Jasper Dutz; Greg Merritt Tomi Jazz 7, 9 pm Smoke 7, 9, 10:30 pm $40 G. Calvin Weston/Mika Pontecorvo and Cartoon Justice; Matt Lavelle Quartet with êScott Colley Trio with Mark Turner, Kenny Wollesen êPatience Higgins Quartet The Sound Bite 7, 9 pm Jack DeSalvo, Dmitry Ishenko, Jeremy Carlstedt; Sandy Ewen Trio Village Vanguard 8:30, 10:30 pm $35 • Stone Improv Night: Jad Atoui, John Zorn, Simon Hanes, Tomas Fujiwara, Trans Pecos 1 pm • Corey Wilcox and Friends Williamsburg Music Center 9, 10:30 pm $10 Jeremiah Cymerman, Sam Kulik, Chuck Bettis, Joanna Mattrey, Aaron Rubinstein êScott Colley Trio with Mark Turner, Kenny Wollesen êSamuel Blaser/Billy Mintz Zürcher Gallery 8 pm $15 The Stone at The New School 8:30 pm $20 Village Vanguard 8:30, 10:30 pm $35 • James Reese Europe WWI Centennial: New York Jazzharmonic Trad-Jazz Sextet Symphony Space Peter Jay Sharpe Theatre 8 pm $30 • Takenori Nishiuchi Tomi Jazz 9 pm $10 êScott Colley Trio with Mark Turner, Kenny Wollesen Village Vanguard 8:30, 10:30 pm $35 Saturday, June 9 êBill Easley and The Trio with Tardo Hammer, John Webber, Steve Williams The 75 Club at Bogardus Mansion 8, 10, pm $20 êFragility—An Exploration of Polyrhythms: Susie Ibarra Ensemble with guest Souleymane Badolo Asia Society 7:30 pm $30 êGreg Lewis Organ Monk Bar Lunàtico 8:30, 10 pm $10 • Pasquale Grasso Trio with Ari Roland, Keith Balla Bar Next Door 7:30, 9:30, 11:30 pm $12 êStacey Kent Birdland 8:30, 11 pm $50 • Jorn Swart’s Malnoia Blue Note 11:30 am 1:30 pm $39.50 • Keyon Harrold and Friends Blue Note 8, 10:30 pm $35 • LPR X—Bowie Symphonic: Ensemble LPR with Evan Ziporyn; Donny McCaslin Group Central Park Summerstage, Rumsey Playfield 7 pm • Denton Darien Trio Cleopatra’s Needle 8 pm • Andres Laprida Club Bonafide 6 pm $20 êDan Weiss Trio with Jacob Sacks, Chris Tordini Cornelia Street Underground 8:30, 10 pm $10 • Dion Parson 21st Century Band with Ron Blake, Melvin Jones, Kenny Davis, Carlton Holmes, Victor Provost, Alioune Faye Dizzy’s Club 7:30, 9:30 pm $45 • Joel Ross Parables with Immanuel Wilkins, María Grand, Adam O’Farrill, Eric Miller, Rick Rosato, Craig Weinrib, Vuyo Sotashe Dizzy’s Club 11:15 pm $20 • Jainardo Y Su Kumbatrio; Los Hacheros The Django at Roxy Hotel 7:30, 10:30 pm • Steve Blum Trio; Camille Gainer Jones; Greg Glassman Jam Fat Cat 7, 10 pm 1:30 am $10 êRay Mantilla J. Hood Wright Park 6 pm • Akoko Nante Ensemble Jackson Heights Library 3 pm êJamie Baum and Short Stories with , Joe Martin, Jeff Hirshfield Jazz at Kitano 8, 10 pm $34 êDafnis Prieto Big Band with Alex Norris, Nathan Eklund, Alex Sipiagin, Josh Deutsch, Makoto Ozone: Román Filiú, Michael Thomas, Peter Apfelbaum, Joel Frahm, Chris Cheek, Nick Finzer, Alan Ferber, Jacob Garchik, Jeff Nelson, Alex Brown, Ricky Rodríguez, Roberto Quintero Jazz Standard 7:30, 9:30 pm $30 • Matthew Fries Duo Knickerbocker Bar & Grill 9, 10:15 pm $3.50 êTed Rosenthal, Noriko Ueda, Tim Horner; Jon Davis Jazz Virtuoso Mezzrow 8, 11 pm $20 • Roger Mancuso Quintet with Thomas Thorndike, Nick Lyons, Will Jhun, Ken Filiano Michiko Studios 8 pm $20 Thurs. June 7 at 7:30 pm • Sebastien Ammann’s Color Wheel Rockwood Music Hall Stage 3 8:30 pm $10 • Wynton Marsalis’ (the ever-funky lowdown): Jazz at Lincoln Center Orchestra with guests Doug Wamble, Jazzmeia Horn, Brianna Thomas, Camille Thurman, Wendell Pierce Rose Theater 8 pm $35-125 êCraig Harris Group Sistas’ Place 9, 10:30 pm $20 • Buzz Donald Trio with Chris McCarthy, Jake Leckie; Michael Cochrane Lines of Reason with Joe Ford, Marcus McLaurine, Alan Nelson; Mike Rodriguez Group; Philip Harper Quintet Smalls 4:30, 7:30, 10:30 pm 1 am $20 êBuster Williams and Something More with Steve Wilson, George Colligan, Lenny White Smoke 7, 9, 10:30 pm $40 • Alyson Williams with Nat Adderley, Jr. Trio The Sound Bite 7, 9 pm 333 East 47th Street | New York, NY 10017 • Carol Sudhalter Astoria Big Band Sunnyside Reformed Church 7 pm • Rocco John; Daniel Bennett; Candice Reyes Tomi Jazz 6, 8, 11 pm $10 TICKETS: (212) 715-1258 | japansociety.org êScott Colley Trio with Mark Turner, Kenny Wollesen Village Vanguard 8:30, 10:30 pm $35 • Ra Le Bu Williamsburg Music Center 10, 11:30 pm $10

THE NEW YORK CITY JAZZ RECORD | JUNE 2018 45 Monday, June 11 • Tommy Morimoto Quartet with Mel Davis, Marvin Horne, Earl Grice • Ken Fowser Quintet; Danny Jonokuchi and The Revisonists with Alexa Barchini Minton’s 7:30, 9:30 pm $10 The Django at Roxy Hotel 7:30, 10:30 pm • Phil Robson Trio with James Genus, Clarence Penn • Cait and The Critters Radegast Hall 9 pm • Stafford Hunter and Continuum Fat Cat 10:30 pm $10 55Bar 10 pm • Danny Green Trio Plus Strings with Justin Grinnell, Julien Cantelm, Marina Kifferstein, • Corina Bartra Afro Peruvian Band Flushing Town Hall 8 pm $16 • Andrew D’Angelo, Carmen Rothwell, Allan Mednard Leah Asher, Clara Kennedy Rockwood Music Hall Stage 3 7 pm $15 • Kamasi Washington Forest Hills Stadium 7:30 pm $56.50-69 Bar Lunàtico 8:30, 10 pm $10 • Stephen Richman Harmonie Ensemble NY êSongs for Connie—Celebrating the Life of Connie Crothers: Sheila Jordan, Jay Clayton, • Ryan Hernandez Trio with Paul Cuffari, Nick Dekens; Deborah Latz Trio with Saint Peter’s Church 1 pm $10 Dori Levine, Linda Satin, Andrea Wolper, Cheryl Richards, Alexis Parsons, Freddie Bryant, Ray Parker Bar Next Door 6:30, 8:30, 10:30 pm $12 • Jacob Varmus’s Drift-Steer with Danny Fox, Jason Rigby, Michael Blanco; Lynnie Bongiorno Greenwich House Music School 7:30 pm $20 êMcCoy Tyner Blue Note 8, 10:30 pm $45 Killick Hinds/Charlie Rauh ShapeShifter Lab 7, 8:15 pm $10 • Ben Perowsky Trio with Sylvie Courvoisier, • Dona Carter Bryant Park 12:30 pm • Carlo De Rosa Group; Kennci 4: Kenneth Salters, Tivon Pennicott, Eden Ladin, Ibeam Brooklyn 8:30 pm $15 • Stan Zenkoff, Zach Swanson, Aaron Novik, Guillermo Gregorio; Stephen Gauci, Rick Rosato; Isaiah Thompson Smalls 7:30, 10:30 pm 1 am $20 • Marilyn Maye and Trio with Tedd Firth, Tom Hubbard, Daniel Glass Sandy Ewen, Adam Lane; N. Hein, Jon Irabagon, Joe Hertenstein; Thomas Heberer, • James Ilgenfritz and The Anagram Ensemble with Kathleen Supové, Jenny Choi, Iridium 8:30 pm $35-60 Yoni Kretzmer, Ken Filiano; Sam Weinberg, Henry Fraser, Mike Pride; James Moore, Sara Schoenbeck The Stone at The New School 8:30 pm $20 • John McCowen solo; Lester St. Louis solo Jonah Udall Quartet Bushwick Public House 7 pm $10 • David Love; Yuto Kanazawa Tomi Jazz 8, 11 pm JACK 7, 9 pm $15 • Lainie Cooke with Miki Yamanaka, Luques Curtis êJoe Lovano/Dave Douglas Sound Prints with Lawrence Fields, Linda May Han Oh, • Jason Ennis Quintet with Michael Zsoldos, Mike Eckroth, Michael O’Brien, Cornelia Street Underground 8:30 pm $10 Joey Baron Village Vanguard 8:30, 10:30 pm $35 Conor Meehan Jazz at Kitano 8, 10 pm $34 • Tarek Yamani Trio Dizzy’s Club 7:30, 9:30 pm $30 êLew Tabackin Trio with Boris Kozlov, Mark Taylor êJason Palmer Quartet with Mark Turner, Matt Brewer, Kendrick Scott • G. Calvin Weston/Mika Pontecorvo and Cartoon Justice Zinc Bar 8, 10 pm $25 The Jazz Gallery 7:30, 9:30 pm $25 Downtown Music Gallery 6 pm • Terence Blanchard and The E–Collective with Charles Altura, Fabian Almazan, • Ned Goold Quartet; Billy Kaye JamFat Cat 9 pm 12:30 am $10 Donald Ramsey, Oscar Seaton Jazz Standard 7:30, 9:30 pm $35 êJohn Coltrane’s A Love Supreme: The Campbell Brothers Thursday, June 14 • Russ Kassoff/Boots Maleson Knickerbocker Bar & Grill 9, 10:15 pm $3.50 Joe’s Pub 7 pm $30 êEthan Iverson/Ron Carter; Edin Ladin êFred Hersch/Dayna Stephens Mezzrow 8 pm $20 • Nicole Zuraitis/Dan Pugach 55Bar 7 pm Mezzrow 8, 11 pm $20 • Lonnie Holley with Dave Nelson, Marion Patton êAruán Ortiz Bar Lunàtico 8:30, 10 pm $10 • Emily Braden Minton’s 7:30, 9:30 pm $15 National Sawdust 7 pm $25 • Andrew Pereira Trio with Dan Pappalardo, Jonkuk Kim; Jon Irabagon Trio with • Yosvany Terry/Baptiste Trotignon Ancestral Memories Quartet with Yunior Terry, • Nicole Mitchell/Christina Wheeler; Turning Jewels Into Water: Ravish Momin/Val Jeanty Matt Aronoff, Alan Mednard Bar Next Door 6:30, 8:30, 10:30 pm $12 E.J. Strickland National Sawdust 7 pm $29 Nublu 151 8 pm $15 êMaria Schneider Orchestra with Steve Wilson, Dave Pietro, Rich Perry, Donny McCaslin, • Tonewheel: Leo Sherman, Paul Jones, Eric Burns, Ben Winkleman, Dan Pugach • Aaron Comess Rockwood Music Hall Stage 1 10 pm Scott Robinson, Greg Gisbert, Tony Kadleck, Nadje Noordhuis, Mike Rodriguez, Scholes Street Studio 7 pm $12 • Jim Campilongo/Luca Benedetti Rockwood Music Hall Stage 2 10 pm Keith O’Quinn, Ryan Keberle, Marshall Gilkes, Ben Monder, Gary Versace, êJack DeJohnette, Ravi Coltrane, Matthew Garrison • Stan Killian Quartet with Yukako Yamano, Will Slater, JK Kim Frank Kimbrough, Jay Anderson, Johnathan Blake ShapeShifter Lab 7:30, 9 pm $35 Shrine 6 pm Birdland 8:30, 11 pm $50 • David Stern Shrine 6 pm • Rajiv Jayaweera Silvana 6 pm êPaquito D’Rivera Ensemble Blue Note 8, 10:30 pm $35 • Brian Charette Trio with Pablo Menares, Jochen Rueckert; Spike Wilner Group; JD Allen • Joel Frahm Trio; Jonathan Barber Group • Dona Carter Bryant Park 12:30 pm Smalls 7:30, 10:30 pm 1 am $20 Smalls 7:30, 10:30 pm $20 • Matt Baker Duo Cleopatra’s Needle 7 pm êPeter Bernstein Quartet with , Doug Weiss, • Wishing On Star; Tomoko Yanagita • Steve Sandberg Quartet with Zach Brock, Michael O’Brien, Mauricio Zottarelli and Smoke 7, 9, 10:30 pm $40 Tomi Jazz 8, 11 pm guest Sandro Albert The DiMenna Center 8 pm $20 • Taeko The Sound Bite 7, 9 pm • Victor Goines Quartet with Jo Ann Daugherty, John Simms, Marion Felder êAaron Diehl Quartet with Warren Wolf, David Wong, Pete Van Nostrand Dizzy’s Club 7:30, 9:30 pm $40 St. Paul’s German Lutheran Church 7:30 pm $55 Tuesday, June 12 • Sam Chess Dizzy’s Club 11:15 pm $10 • Hypercolor and New Thread Quartet: Lukas Ligeti, James Ilgenfritz, Eyal Maoz, • Freddy Deboe Band; Ian Hendrickson-Smith Geoffrey Landman, Kristen McKeon, Erin Rogers, Zach Herchen • Stan Killian Quartet with Paul Bollenback, Corcoran Holt, McClenty Hunter The Django at Roxy Hotel 7:30, 10 pm The Stone at The New School 8:30 pm $20 55Bar 7 pm • Patrick Brennan’s Transparency Kestra with Carter Bales, Brian Groder, Lloyd Haber, • Amy Cervini’s No One Ever Tells You with Jesse Lewis, Michael Cabe, Ike Sturm, • Stephen Ulrich’s Big Lazy Bar Lunàtico 8:30, 10 pm $10 Thomas Heberer, Jason Kao Hwang, Westbrook Johnson, Jason Mears, Warren Smith, Mark McLean and guests SubCulture 8 pm • Joey Lamb Trio with Perrin Grace, Josh Roberts; Prawit Siriwat Trio with Daniel Durst, Annemarie Wiesner El Taller LatinoAmericano 7 pm êJoe Lovano/Dave Douglas Sound Prints with Lawrence Fields, Linda May Han Oh, Dayeon Seok Bar Next Door 6:30, 8:30, 10:30 pm $12 • Greg Glassman Quintet Fat Cat 10 pm $10 Joey Baron Village Vanguard 8:30, 10:30 pm $35 êMaria Schneider Orchestra with Steve Wilson, Dave Pietro, Rich Perry, Donny McCaslin, • David Ostwald’s Louis Armstrong Eternity Band • Peter Beets Zinc Bar 7, 8:30 pm $25 Scott Robinson, Greg Gisbert, Tony Kadleck, Nadje Noordhuis, Mike Rodriguez, Flushing Library 6:30 pm Keith O’Quinn, Ryan Keberle, Marshall Gilkes, Ben Monder, Gary Versace, êThe Marrow: Gordon Grdina, , Hank Roberts, Hamin Honari Frank Kimbrough, Jay Anderson, Johnathan Blake Happylucky no.1 8 pm Saturday, June 16 Birdland 8:30, 11 pm $50 • Marc Hannaford, Elias Stemeseder, Raf Vertessen, N. Hein êPaquito D’Rivera Ensemble Blue Note 8, 10:30 pm $35 Ibeam Brooklyn 8 pm $15 êHarry Allen Quartet The 75 Club at Bogardus Mansion 8, 10, pm $20 • Dona Carter Bryant Park 12:30 pm • Marilyn Maye and Trio with Tedd Firth, Tom Hubbard, Daniel Glass • Michael Vitali Trio with Justin Wert, Yuka Tadano • Dennis Hernandez Club Bonafide 8 pm $15 Iridium 8:30 pm $35-60 Bar Next Door 7:30, 9:30, 11:30 pm $12 • Rajiv Jayaweera Quintet with Dayna Stephens, Can Olgun, Hugh Stuckey, • John Cooksey Spontaneous Combustion Quintet êMaria Schneider Orchestra with Steve Wilson, Dave Pietro, Rich Perry, Donny McCaslin, ; Patrick Cornelius Quartet with Fabian Almazan, Rick Rosato, Jackie Robinson Park 6 pm Scott Robinson, Greg Gisbert, Tony Kadleck, Nadje Noordhuis, Mike Rodriguez, Clarence Penn Cornelia Street Underground 8, 9:30 pm $10 • Roopa Mahadevan, Anjna Swaminathan, Abhinav Seetharaman Keith O’Quinn, Ryan Keberle, Marshall Gilkes, Ben Monder, Ron Oswanski, • Paul Nedzela Quartet with Dan Nimmer, , Rodney Green Jamaica Center for Arts and Learning 8 pm $10 Frank Kimbrough, Jay Anderson, Johnathan Blake Dizzy’s Club 7:30, 9:30 pm $35 • Carl Bartlett, Jr. Quartet with Carlton Holmes, Steve Wood, Hiroyuki Matsuura Birdland 8:30, 11 pm $50 • Sam Chess Dizzy’s Club 11:15 pm $5 Jazz at Kitano 8, 10 pm $18 • Alexis Cuadrado Trio of Words Blue Note 11:30 am 1:30 pm $39.50 • Saul Rubin Zebtet; Peter Brainin Latin Jazz Workshop • Theo Walentiny The Jazz Gallery 7:30, 9:30 pm $15 êPaquito D’Rivera Ensemble Blue Note 8, 10:30 pm $35 Fat Cat 7, 9 pm $10 • Terence Blanchard and The E–Collective with Charles Altura, Fabian Almazan, êJason Stein and Friends Blue Note 12:30 am $15 • Paul Shinn solo Jazz at Kitano 8 pm Donald Ramsey, Oscar Seaton Jazz Standard 7:30, 9:30 pm $35 • Wade Barnes Tribute Band led by Roy Meriwether êPeter Evans/Cory Smythe The Jazz Gallery 7:30, 9:30 pm $15 êSavion Glover/ Metrotech Commons 12 pm Brownsville Heritage House 3 pm êHonoring Geri Allen: Ralph Peterson Triangular with Orrin Evans, Luques Curtis • Bill Goodwin, Jon Ballantyne, Evan Gregor • Carol Sudhalter Quartet with Patrick Poladian Jazz Standard 7:30, 9:30 pm $30 Mezzrow 8 pm $20 Cleopatra’s Needle 8 pm êNational Jazz Museum in Harlem 2018 Gala Concert Honoring Bertha Hope: • Rogério Boccato Quartet Norwood Club 7:30 pm • Andres Laprida; Juliana Areias’ Bossa Nova Baby; Ty Stephens and (the) Souljaazz Arturo O’Farrill Afro Latin Jazz Ensemble; Sheila E.; Jon Batiste • Helle Henning Quartet with Simon Linnert, Tony Scherr, Kenny Wollesen Club Bonafide 6, 8, 10 pm $20 Kaye Playhouse, 7:30 pm $25-47 Scandinavia House 7 pm $15 • Ari Hoenig Trio with Edin Ladin, Or Bareket êThis Against That: , Ravi Coltrane, Andy Milne, Drew Gress, Mark Ferber; • Susan Wagner H.S. Jazz Band; Arturo O’Farrill Afro Latin Jazz Orchestra Cornelia Street Underground 8:30, 10 pm $10 Dirigo Rataplan: Ellery Eskelin, Dave Ballou, Michael Formanek, Devin Gray ShapeShifter Lab 7 pm $15 • Victor Goines Quartet with Jo Ann Daugherty, John Simms, Marion Felder Korzo 9, 10:30 pm • Julian Velasco/James Labrosse Shrine 6 pm Dizzy’s Club 7:30, 9:30 pm $45 • Daryl Sherman/Warren Vaché Mezzrow 8 pm $20 • Clark Gayton Silvana 6 pm • Sam Chess Dizzy’s Club 11:15 pm $20 • Ray Blue Ensemble New York City Baha’i Center 8, 9:30 pm $15 • Harish Raghavan Quintet with Jeremy Dutton, Joel Ross, Immanuel Wilkins, • Donald Vega; Mike Sailors Big Band • Eishin Nose Scholes Street Studio 8 pm $10 Micah Thomas; Hailey Niswanger Group; Davis Whitfield The Django at Roxy Hotel 7:30, 10:30 pm • Evan Ryan Group with Marius van den Brink, Clint Mobley and guests; Smalls 7:30, 10:30 pm 1 am $20 • Johnny Colon El Museo del Barrio 4 pm Trifecta: Tom Guarna, Nitzan Gavrieli, Daryl Chen, Kenny Grohowski êAlbert “Tootie” Heath Trio with Emmet Cohen, Russell Hall • Vanderlei Pereira Brazilian Jazz Quartet; Bruce Williams; Greg Glassman Jam ShapeShifter Lab 7, 8:15 pm $10 Smoke 7, 9, 10:30 pm $38 Fat Cat 7, 10 pm 1:30 am $10 • Rebecca Chubay Shrine 6 pm • Clifton Anderson Socrates Sculpture Park 7 pm • Akoko Nante Ensemble Glen Oaks Library 3 pm • Kevin McNeal BluesWing Silvana 7 pm êBlue Note Jazz Festival: Eddie Palmieri Salsa Orchestra êGordon Grdina Quartet with Oscar Noriega, Russ Lossing, Satoshi Takeishi; • Charles Blenzig Group; Abraham Burton Quartet Sony Hall 8 pm $45-79.50 Oscar Noriega’s Crooked Trio with Marta Sanchez, Lim Yang Smalls 7:30, 10:30 pm $20 • Adam Birnbaum Trio with Matt Clohesy, Keita Ogawa Greenwich House Music School 7:30 pm $20 • James Ilgenfritz/Momenta Quartet: Emilie-Anne Gendron, Alex Shiozaki, St. Paul’s German Lutheran Church 9:30 pm $33 • Marilyn Maye and Trio with Tedd Firth, Tom Hubbard, Daniel Glass Stephanie Griffin, Michael Haas The Stone at The New School 8:30 pm $20 • James Ilgenfritz solo and Trio with Robbie Lee, Brian Chase Iridium 8:30 pm $35-60 • Abel Mireles; Yukiyo Masuda Tomi Jazz 8, 11 pm The Stone at The New School 8:30 pm $20 • Leila Bordreuil solo; Madison Greenstone/Bryan Jacobs êJoe Lovano/Dave Douglas Sound Prints with Lawrence Fields, Linda May Han Oh, • Mike Holober and Balancing Act with Jo Lawry, Marvin Stamm, Dick Oatts, Jason Rigby, JACK 7, 9 pm $15 Joey Baron Village Vanguard 8:30, 10:30 pm $35 Mark Patterson, John Hébert, Gerald Cleaver • Nancy Marano Quartet with John Di Martino, Joel Frahm, Steve La Spina Symphony Space Leonard Nimoy Thalia 8 pm $20 Jazz at Kitano 8, 10 pm $34 • Miho Sasaki; Atsushi Ouchi Tomi Jazz 7, 9 pm êJason Palmer Quartet with Mark Turner, Matt Brewer, Kendrick Scott Wednesday, June 13 êJoe Lovano/Dave Douglas Sound Prints with Lawrence Fields, Linda May Han Oh, The Jazz Gallery 7:30, 9:30 pm $25 Joey Baron Village Vanguard 8:30, 10:30 pm $35 • Terence Blanchard and The E–Collective with Charles Altura, Fabian Almazan, • Mazz Swift Bar Lunàtico 8:30, 10 pm $10 • Corey Wilcox and Friends Williamsburg Music Center 9, 10:30 pm $10 Donald Ramsey, Oscar Seaton Jazz Standard 7:30, 9:30 pm $35 • Julphan Tilapornputt Trio with Trevor Brown, Josh Roberts • Xiomara Laugart Zinc Bar 7, 8:30 pm $25 • Russ Kassoff/Boots Maleson Knickerbocker Bar & Grill 9, 10:15 pm $3.50 Bar Next Door 6:30 pm êKahil El’Zabar/David Murray Zinc Bar 10 pm $25 êLPR X: Trio with Stephan Crump, Marcus Gilmore; Matana Roberts êMaria Schneider Orchestra with Steve Wilson, Dave Pietro, Rich Perry, Donny McCaslin, Le Poisson Rouge 7:30 pm $30 Scott Robinson, Greg Gisbert, Tony Kadleck, Nadje Noordhuis, Mike Rodriguez, êEthan Iverson/Ron Carter Mezzrow 8 pm $20 Keith O’Quinn, Ryan Keberle, Marshall Gilkes, Ben Monder, Gary Versace, Friday, June 15 • Jon Roche and Friends with Saul Rubin, Jon Davis, Anthony Pinciotti, Carol Morgan; Frank Kimbrough, Jay Anderson, Johnathan Blake Brian Charette Trio with Pablo Menares, Jochen Rueckert; Spike Wilner Group; Birdland 8:30, 11 pm $50 êHarry Allen Quartet The 75 Club at Bogardus Mansion 8, 10, pm $20 Brooklyn Circle Smalls 4:30, 7:30, 10:30 pm 1 am $20 êPaquito D’Rivera Ensemble Blue Note 8, 10:30 pm $35 • Aki Onda’s Cassette Memories; Demi Broxa: Jakob Schneidewind/Agnes Hvizdalek êPeter Bernstein Quartet with Kevin Hays, Doug Weiss, Bill Stewart • Dona Carter Bryant Park 12:30 pm Austrian Cultural Forum 7:30 pm Smoke 7, 9, 10:30 pm $40 • Paul Nedzela Quartet with Dan Nimmer, Dezron Douglas, Rodney Green • Sebastian Noelle Trio with Rick Rosato, Raj Jayaweera êGeorge Coleman and The Rivington Project with Mike DiRubbo Dizzy’s Club 7:30, 9:30 pm $30 Bar Next Door 7:30, 9:30, 11:30 pm $12 The Sound Bite 7, 9 pm • Sam Chess Dizzy’s Club 11:15 pm $5 êMaria Schneider Orchestra with Steve Wilson, Dave Pietro, Rich Perry, Donny McCaslin, êHelen Sung’s Sung With Words with Dana Gioia, Marquis Hill, John Ellis, Boris Kozlov, • Raphael D’lugoff Trio +1; Trio; Ned Goold Jam Scott Robinson, Greg Gisbert, Tony Kadleck, Nadje Noordhuis, Mike Rodriguez, Donald Edwards, Christie Dashiell, Alina Engibaryan Fat Cat 7, 9 pm 12:30 am $10 Keith O’Quinn, Ryan Keberle, Marshall Gilkes, Ben Monder, Gary Versace, St. Paul’s German Lutheran Church 8 pm $75 êThe Music of Julius Hemphill: Dance Clarinets Ensemble led by J.D. Parran with Frank Kimbrough, Jay Anderson, Johnathan Blake • James Ilgenfritz New Quartet with Thomas Heberer, Sara Schoenbeck, Andrew Drury guest Marty Ehrlich Greenwich House Music School 8 pm $10 Birdland 8:30, 11 pm $50 The Stone at The New School 8:30 pm $20 • Judimarie Canterino Quartet with Conal Fowkes, Steve Lamatina, Jerry Bruno êPaquito D’Rivera Ensemble Blue Note 8, 10:30 pm $35 • Akihiro Yamamoto; Standard Procedure; Sharp Tree Trio Jazz at Kitano 8, 10 pm $18 • Dona Carter Bryant Park 12:30 pm Tomi Jazz 6, 8, 11 pm $10 êHonoring Geri Allen: Ralph Peterson Triangular with Orrin Evans, Luques Curtis • Dante James Trio Cleopatra’s Needle 8 pm êJoe Lovano/Dave Douglas Sound Prints with Lawrence Fields, Linda May Han Oh, Jazz Standard 7:30, 9:30 pm $30 • Victor Goines Quartet with Jo Ann Daugherty, John Simms, Marion Felder Joey Baron Village Vanguard 8:30, 10:30 pm $35 • Brenda Earle Stokes, Graig Earle, Ross Pederson Dizzy’s Club 7:30, 9:30 pm $40 • Bill Warfield and The Hell’s Kitchen Funk Orchestra Mezzrow 8 pm $20 • Sam Chess Dizzy’s Club 11:15 pm $10 Zinc Bar 8 pm $20

46 JUNE 2018 | THE NEW YORK CITY JAZZ RECORD »SATURdAY JUNE 16 VIJAY IYER TRIO wITH MATANA ROBERTS CELEBRATING LE POISSON ROUGE’S »SUNdAY JUNE 17 10TH ANNIVERSARY MARC RIBOT Y LOS CUBANOS POSTIZOS FULL SCHEd ULE AT LPR.COM/X »THURSdAY JUNE 21 - 2 SHOwS BILL FRISELL’S GUITAR INVITATIONAL wITH , MARVIN SEwELL, BRANdON ROSS & MATT MUNISTERI (FEATURING TONY SCHERR & KENNY wOLLESEN)

»MONdAY JUNE 25 - LPR PRESENTS AT MURMRR THEATRE TEN wITH TERRI LYNE CARRINGTON ESPERANZA SPALdING & NICHOLAS PAYTON Sunday, June 17 • Takeshi Otani Band Shrine 6 pm Friday, June 22 • Robert Edwards Group; Frank Lacy Group • Ricardo Grilli Trio with Joe Martin, Kush Abadey Smalls 7:30, 10:30 pm $20 êGary Smulyan and The Trio with Tardo Hammer, John Webber, Steve Williams Bar Next Door 8, 10 pm $12 êBrian Marsella solo The Stone at The New School 8:30 pm $20 The 75 Club at Bogardus Mansion 8, 10, pm $20 • Tears of Joy: Avram Fefer, Marco Cappelli, Damon Banks, Joe Hertenstein • Kanacept; Miyoko Yamakawa Tomi Jazz 8, 11 pm êSheryl Bailey Trio with Ron Oswanski, Ian Froman Barbès 5 pm $10 êDavid Murray and Class Struggle with Craig Harris, Mingus Murray, Lafayette Gilchrist, Rashaan Carter, Russell Carter Village Vanguard 8:30, 10:30 pm $35 Bar Next Door 7:30, 9:30, 11:30 pm $12 • Manhattan Bridges Orchestra with Memo and Jacquelene Acevedo • Freddy Cole Quartet with Kris Kaiser, Elias Bailey, Jay Sawyer and guest Joel Frahm Birdland 6 pm $30 êMin Xiao-Fen’s Blue Pipa with Dean Johnson, Steve Salerno Windsor Park Library 4:30 pm Birdland 8:30, 11 pm $40 êPaquito D’Rivera Ensemble Blue Note 8, 10:30 pm $35 Trio with Bob Franceschini, Dennis Chambers • Chip Shelton Peacetime EnsembleClub Bonafide 7 pm $15 • • Victor Goines Quartet with Jo Ann Daugherty, John Simms, Marion Felder Blue Note 8, 10:30 pm $35 Dizzy’s Club 7:30, 9:30 pm $35 Wednesday, June 20 • Luiz Simas Bryant Park 12:30 pm êPractitioner: Ben Goldberg/Michael Coleman; Nicola Hain, Ingrid Laubrock, • Julie Bluestone Trio Cleopatra’s Needle 8 pm Briggan Krauss Downtown Music Gallery 6, 7 pm êPeter Evans Ensemble with Mazz Swift, Ron Stabinsky, Shayna Dunkelman • Moth to Flame Jazz: Tyson Harvey, Ivo Lorenz, Steve Golub, John Krtil, Andy Weintraub • Terry Waldo’s Gotham City Band Fat Cat 6 pm $10 Areté Gallery 8 pm $20 Club Bonafide 8 pm $15 • Ultra Soft: Weston Olencki, Michelle Lou, Dominic Coles; Jaimie Branch/Nate Wooley • Paul Jubong Lee Trio with Daniel Durst, Diego Maldonato • Vicki Burns Trio with Art Hirahara, Sam Bevan JACK 7, 9 pm $15 Bar Next Door 6:30 pm Cornelia Street Underground 6 pm $10 • Allegra Levy with Carmen Staaf, Alex Goodman, Tim Norton, Jeff Davis • Freddy Cole Quartet with Kris Kaiser, Elias Bailey, Jay Sawyer and guest Joel Frahm • Ann Hampton Callaway Group with Ted Rosenthal Jazz Standard 12 pm $10-35 Birdland 8:30, 11 pm $40 Dizzy’s Club 7:30, 9:30 pm $45 • Terence Blanchard and The E–Collective with Charles Altura, Fabian Almazan, • Victor Wooten Trio with Bob Franceschini, Dennis Chambers • Charles Turner III Dizzy’s Club 11:15 pm $10 Donald Ramsey, Oscar Seaton Jazz Standard 7:30, 9:30 pm $35 Blue Note 8, 10:30 pm $35 • Ken Fowser Quintet; Hudson Horns êLPR X: Marc Ribot y Los Cubanos Postizos with Anthony Coleman, EJ Rodriguez, • Luiz Simas Bryant Park 12:30 pm The Django at Roxy Hotel 7:30, 10:30 pm Brad Jones, Roberto Rodriguez; Sephardic Tinge • Or Bareket Cornelia Street Underground 8:30 pm $10 • Tyrone Birkett Flushing Town Hall 7 pm Le Poisson Rouge 8 pm $30 • Darren Lyons Group with Chris Biesterfeldt, Chris Clark, Michael O’Brien The Cutting Room 7:30 pm $20 êEddie Henderson Quartet with Peter Zak, Kenny Davis, Mike Clark êEthan Iverson/Ron Carter Mezzrow 8 pm $20 Jazz at Kitano 8, 10 pm $34 ê • Shamie Royston Trio with Gregg August, Mark Whitfield, Jr. and guests Jaleel Shaw, Steve Cromity Quintet with Richard Clements, Gene Ghee, , Ricky Rodriguez Group with Miguel Zenón, Dayna Stephens, Luis Perdomo, Dwayne “Cook” Broadnax Milk River Café 6 pm $10 Lee Hogans Dizzy’s Club 7:30, 9:30 pm $35 • • Christopher McBride Band with Kate Kelsey-Sugg, Jonathan Edward Thomas, • Charles Turner III Dizzy’s Club 11:15 pm $5 Rudy Royston The Jazz Gallery 7:30, 9:30 pm $25 Curtis Nowosad Minton’s 7:30, 9:30 pm $10 • Steven Feifke Big Band The Django at Roxy Hotel 10 pm • Vinicius Cantuária with Helio Alves, Paul Sokolow, Adriano Santos, Dende • Vicki Burns Trio with Paul Bollenback, Sam Bevan • Raphael D’lugoff Trio +1; Don Hahn/Mike Camacho Band; Ned Goold Jam Jazz Standard 7:30, 9:30 pm $30 North Square Lounge 12:30, 2 pm Fat Cat 7, 9 pm 12:30 am $10 • Joseph Camardo/Justin Fink Knickerbocker Bar & Grill 9, 10:15 pm $3.50 • Amirtha Kidambi Vocal Quintet with Jean Carla Rodea, Anaïs Maviel, Emilie Lesbros, • Jaimoe’s Jasssz Band Iridium 8:30 pm $25-35 êJoanne Brackeen/Richie Goods; Jeremy Manasia Charmaine Lee; Amirtha Kidambi/Lea Bertucci • Toku/John Di Martino Quartet with Dezron Douglas, Mark Taylor Mezzrow 8, 11 pm $20 Roulette 8 pm $20 Jazz at Kitano 8, 10 pm $18 êAlternative Guitar Summit 2018—Jazz-Rock-Funk Throwdown: • LeeOlive Tucker Russian Samovar 3 pm • Will Vinson Trio with Gilad Hekselman, Antonio Sanchez Harriet Tubman: Brandon Ross, J.T. Lewis, Melvin Gibbs; DICE with • Chris Dingman Trio with Ike Sturm, Allan Mednard The Jazz Gallery 7:30, 9:30 pm $20 Nate Smith, Fima Ephron; David Fiuczynski Micro KiF Jamz Saint Peter’s Church 5 pm êDjango Bates Belovèd Trio with Petter Eldh, Peter Bruun Nublu 151 7 pm $30 • Jeff Pearring, Nick Lyons, Ken Filiano, François Grillot, Billy Mintz, Todd Capp Jazz Standard 7:30, 9:30 pm $30 • BRIC Celebrate Brooklyn! Festival: R+R=NOW: Robert Glasper, Terrace Martin, Scholes Street Studio 8 pm $10 • Gene Bertoncini/ Mezzrow 8 pm $20 Christian Scott aTunde Adjuah, Derrick Hodge, Justin Tyson, Taylor McFerrin • Sacha Perry Trio with Paul Gill, Ai Murakami; Ehud Asherie Trio with David Wong, • Eric Comstock/Barbara Fasano Saint Peter’s Church 1 pm $10 Prospect Park Bandshell 7:30 pm Rodney Green; Richie Vitale Quintet with Frank Basile, Lou Rainone, Paul Gill, • James Wengrow Scholes Street Studio 8:30 pm $10 Andy Bianco Quintet with Glenn White, George Burton, Nathan Peck, Wayne Smith, Jr. • Matt Lavelle Scholes Street Studio 8 pm $10 Clifford Barbaro; Jon Beshay Smalls 7:30, 10:30 pm 1 am $20 • • ShoutHouse: Julia Anrather, Quilan Arnold, Nuri Hazzard, Connell Thompson êPeter Bernstein Quartet with Kevin Hays, Doug Weiss, Bill Stewart ShapeShifter Lab 7 pm $10 • Nick Finzer Sextet with Lucas Pino, Alex Wintz, Glenn Zaleski, Dave Baron, ShapeShifter Lab 9 pm $15 Smoke 7, 9, 10:30 pm $40 Shavit Prince Silvana 6 pm êDavid Oquendo Trio The Sound Bite 2 pm Jimmy Macbride; Harold Mabern Trio; Aaron Seeber • • Adam Kahan Tomi Jazz 8 pm Smalls 7:30, 10:30 pm 1 am $20 • John Bailey Quintet with Stacy Dillard, John Hart, Cameron Brown, ; êJoe Lovano/Dave Douglas Sound Prints with Lawrence Fields, Linda May Han Oh, • Blue Note Jazz Festival: The Manhattan Transfer Ken Fowser Quintet with Josh Bruneau, Paul Gill, Joe Strasser; Corey Wallace DUBtet Joey Baron Village Vanguard 8:30, 10:30 pm $35 Sony Hall 8 pm $57.50-95 Smalls 7:30, 10:30 pm 1 am $20 • Christian Artmann/Yago Vazquez Spectrum 7:30 pm • One for All: Jim Rotondi, Eric Alexander, , David Hazeltine, John Webber, • iMAGiNARiUM: Brian Marsella, John Lee, Dan Blankinship, Meg Okura, Jason Fraticelli, Joe Farnsworth Smoke 7, 9, 10:30 pm $40 Monday, June 18 Rich Stein, Kenny Wollesen The Stone at The New School 8:30 pm $20 • Gabriele Tranchina Quartet The Sound Bite 7, 9 pm • Kazuya Araki; Richard Thai Tomi Jazz 8, 11 pm • Marty Ehrlich Bells I & II; Mike Faloon; Asa Horvitz/Anna Webber Trio • Matt Moran Organ Trio with Gary Versace, Tom Rainey êDavid Murray and Class Struggle with Craig Harris, Mingus Murray, Lafayette Gilchrist, Soup & Sound 8 pm $20 Bar Lunàtico 8:30, 10 pm $10 Rashaan Carter, Russell Carter Village Vanguard 8:30, 10:30 pm $35 • Brian Marsella, Jason Fraticelli, Kenny Wollesen • Luke Schwartz Trio with Kells Nollenberger, Kyle McCarter; Gabrielle Stravelli Trio with The Stone at The New School 8:30 pm $20 Joshua Richmond, Pat O’Leary Bar Next Door 6:30, 8:30, 10:30 pm $12 • Takenori Nishiuchi Tomi Jazz 9 pm $10 • Sarah McKenzie Blue Note 8, 10:30 pm $35 Thursday, June 21 êDavid Murray and Class Struggle with Craig Harris, Mingus Murray, Lafayette Gilchrist, • Luiz Simas Bryant Park 12:30 pm Rashaan Carter, Russell Carter Village Vanguard 8:30, 10:30 pm $35 • Jesse Dulman, Dave Sewelson, Ras Moshe, Leonid Galaganov; Stephen Gauci, • Peter Traunmueller’s Care to Share with Dennis Brandner, Hyuna Park, Myles Sloniker Austrian Cultural Forum 2:30 pm • Silvano Monasterios Trio with Joseph Lepore, Jimmy Macbride Sandy Ewen, Adam Lane, Kevin Shea; Gordon Grdina, Oscar Noriega, Russ Lossing, Zinc Bar 7, 8:30 pm $25 Satoshi Takeishi; Myk Freedman Trio with Kenny Warren, Carlo Costa; êThe Jazz Passengers Bar Lunàtico 8:30, 10 pm $10 Dave Treut Quartet; Hans Tammen, N. Hein, Briggan Krauss • Sun Kim Trio with Hwansu Kang, JK Kim; Kyle Nasser Trio with Rick Rosato, Bushwick Public House 7 pm $10 Colin Stranahan Bar Next Door 6:30, 8:30, 10:30 pm $12 • Uptown Jazz Tentet: Tatum Greenblatt, Andy Gutauskas, Jon Irabagon, Carl Maraghi, • Kenny Warren’s Laila and Smitty with Jeremiah Lockwood, Myk Freedman, Adam Birnbaum, Clovis Nicolas, Aaron Kimmel Adam Hopkins, Danny Gouker Barbès 8 pm $10 Dizzy’s Club 7:30, 9:30 pm $35 • Freddy Cole Quartet with Kris Kaiser, Elias Bailey, Jay Sawyer and guest Joel Frahm • George Braith; Billy Kaye Jam Fat Cat 9 pm 12:30 am $10 Birdland 8:30, 11 pm $40 Academy Records êEd Palermo Big Band Iridium 8:30 pm $25 • Victor Wooten Trio with Bob Franceschini, Dennis Chambers • Mike Lipskin, Dan Levinson, Dinah Lee Blue Note 8, 10:30 pm $35 Mezzrow 8 pm $20 • Luiz Simas Bryant Park 12:30 pm êPaal Nilssen-Love Large Unit with Thomas Johansson, Mats Äleklint, Kristoffer Alberts, • David Peal Duo Cleopatra’s Needle 7 pm Julie Kjær, Klaus Holm, Per Åke Holmlander, Kalle Moberg, Ketil Gutvik, • Francis Hon Quartet with David Ullmann, Tim Norton, Daisuke Konno & CDs Tommi Keranen, Jon Rune Strøm, Christian Meaas Svendsen, Andreas Wildhagen, Club Bonafide 9:15 pm $15 Christian Obermayer; Anteloper: Jaimie Branch/Jason Nazary êMichaël Attias Quintet with Ralph Alessi, Aruán Ortiz, John Hébert, Francisco Mela Pioneer Works 8 pm Cornelia Street Underground 8, 9:30 pm $10 • Jim Campilongo, Chris Morrissey, Kenny Wollesen • Ann Hampton Callaway Group with Ted Rosenthal Rockwood Music Hall Stage 2 10 pm Dizzy’s Club 7:30, 9:30 pm $45 • Santiago Leibson/Noa Fort Rockwood Music Hall Stage 3 10:30 pm $10 • Charles Turner III Dizzy’s Club 11:15 pm $10 êSamuel Blaser Taktlos Trio with Marc Ducret, Peter Bruun • Brandon Bain; Mark Whitfield The Django at Roxy Hotel 7:30, 10 pm Cash for new and used Roulette 8 pm $20 • Underground Horns Drom 9:30 pm • Dry Hands: Sergej Ananesov, Kevin B. Clark, Tyler Luppi, Samvel Sarkisyan; êWilliam Hooker Quartet Moon with Jon Irabagon, Mara Rosenbloom, Adam Lane Unified Field Orchestra: Nayem Cardenas-Lopez, Aline Mayagoitia, Tyler Clibbon, and guest Bob Holman Ibeam Brooklyn 8 pm $15 compact discs,vinyl Tyler Luppi, Janna Graham ShapeShifter Lab 7, 8:15 pm $10 • Dayramir Gonzalez’ The Grand Concourse • Claudia Tebar Shrine 6 pm Ideal Glass 7:30 pm $30 • Ari Hoenig Trio; Joe Farnsworth Group • Mayu Saeki Quartet with Ayako Shirasaki, Noriko Ueda, Jeremy Carlstedt records, blu-rays and Smalls 7:30, 10:30 pm $20 Jazz at Kitano 8, 10 pm $18 • Andrew Licata; Juan Carlos Polo Tomi Jazz 8, 11 pm • Lex Korten Quartet with Ben Tiberio, Joel Ross, Morgan Guerin • Andrea Brachfeld Quartet with Bill O’ Connell, Harvie S, Jason Tiemann The Jazz Gallery 7:30, 9:30 pm $15 dvds. Triad Theater 9:30 pm • Vinicius Cantuária with Helio Alves, Paul Sokolow, Adriano Santos, Dende êStrings Attached: Jack Wilkins, Vic Juris, Ron Affif, Mark Whitfield with Essiet Essiet, Jazz Standard 7:30, 9:30 pm $30 David F. Gibson and guest Chico Pinheiro êBarbara Dane and Tammy Hall Trio Joe’s Pub 8 pm $40 Zinc Bar 8, 10 pm $25 êAlternative Guitar Summit 2018—Bill Frisell Invitational: Bill Frisell Trio with guests Julian Lage, Brandon Ross, Matt Munisteri, Marvin Sewell Le Poisson Rouge 7, 10 pm $45 We buy and sell all Tuesday, June 19 • Louis Armstrong House Band Louis Armstrong House 2 pm • Michael Wolff Mezzrow 8 pm $20 êChris Lightcap’s Superette Bar Lunàtico 8:30, 10 pm $10 • Alvin Flythe Quartet Pier 84 7 pm genres of music. • David Leon Trio with Sam Weber, Stephen Boegehold; Nanjo Lee Trio with Rick Rosato, • Gordon’s Grand Street Stompers Radegast Hall 9 pm Adam Arruda Bar Next Door 6:30, 8:30, 10:30 pm $12 • The Lamentations: Brandon Lopez/Sam Yulsman; Nate Wooley, Michael Foster, • Freddy Cole Quartet with Kris Kaiser, Elias Bailey, Jay Sawyer and guest Joel Frahm Ben Bennett, Brandon Lopez Roulette 8 pm $20 All sizes of collections Birdland 8:30, 11 pm $40 • Kaisa’s Machine with Billy Test, Joel Peri • Benefit to Support Gun Control: Bill Stevens/Gary Fogel Quintet with Jordan Young, Scandinavia House 7 pm $15 Harry Miller, Luca Rosenfeld The Bitter End 7 pm $25 • Bill Stevens Songbook with Corey Larson, Paul Pricer welcome. • Victor Wooten Trio with Bob Franceschini, Dennis Chambers The Shadmoor 7 pm Blue Note 8, 10:30 pm $35 • Mateusz Smoczynski Quintet with Rafal Sarnecki, Kuba Cichocki, Matthias Pichler, • Luiz Simas Bryant Park 12:30 pm Sebastian Kuchczynski ShapeShifter Lab 9:30 pm $10 • Jazzheads Festival: Dave Frank; Randy Klein • Shawn Maxwell’s New Tomorrow Band Club Bonafide 7:30 pm $20 Shrine 6 pm • John Raymond’s Kind Folk with Alex LoRe, Noam Wiesenberg, Colin Stranahan • Brandon Lee + 9 Silvana 6 pm For large collections, Cornelia Street Underground 8, 9:30 pm $10 • Frank Perowsky Group; Bruce Williams Quartet with Brad Williams, Chris Berger, êJazztopad Festival Presents: Maciej Obara Quartet with Dominik Wania, Vince Ector; Asaf Yuria Smalls 7:30, 10:30 pm 1 am $20 Ole Morten Vågan, Dizzy’s Club 7:30, 9:30 pm $35 • Spike Wilner Trio with Buster Williams, Joe Farnsworth please call to set up an • Charles Turner III Dizzy’s Club 11:15 pm $5 Smoke 7, 9, 10:30 pm $15 • Saul Rubin Zebtet Fat Cat 7 pm $10 • Eliot Cardinaux American Thicket with , , Flin van Hemmen êPete Levin Möbius with Lenny White, Alex Foster, Ira Coleman, Jeff Ciampa, Spectrum 7 pm appointment. Chris Pasin, Nanny Assis Iridium 8:30 pm $25 • Omotara James; Sean Ali/Azumi Oe; Softshell: Angela Morris, Ellen O’Meara, • Paul Shinn solo Jazz at Kitano 8 pm Sam Sowyrda St. Lydia’s 8 pm êDjango Bates Belovèd Trio with Petter Eldh, Peter Bruun • The Flail: Brian Marsella, Dan Blankinship, Stephan Moutot, Reid Taylor, Charles Goold Jazz Standard 7:30, 9:30 pm $30 The Stone at The New School 8:30 pm $20 êJeff Davis Catchfoot with Anna Webber, Oscar Noriega, Russ Lossing, Adam Hopkins; • Marjorie Eliot Sugar Hill Children’s Museum of Art and Storytelling 11 am Kris Davis, Stephan Crump, Eric McPherson • Yuko Togami; Linda Presgrave Quartet with Stan Chovnick, Dimitri Moderbacher, Korzo 9, 10:30 pm Seiji Ochiai Tomi Jazz 7, 9 pm Open 7 days a week 11-7 • Roseanna Vitro/ Mezzrow 8 pm $20 • Slavic Soul Party! Tompkins Square Park 6 pm • Corina Bartra Afro Peruvian Jazz Ensemble • Highlights in Jazz—Salute to Russell Malone: , , Jeremy Pelt, New York City Baha’i Center 8, 9:30 pm $15 Willie Jones III, Houston Pearson, Gene Bertoncini, Steve Nelson, Luke Sellick • Carte Blanche Radegast Hall 8 pm Tribeca Performing Arts Center 8 pm $50 12 W. 18th Street NY, NY 10011 • Gaya Feldheim Schorr Septet with Davy Lazar, Blake Opper, Tal Yahalom, Micha Gilad, êDavid Murray and Class Struggle with Craig Harris, Mingus Murray, Lafayette Gilchrist, Eva Lawitts, Mareike Weining; Mareike Wiening Quintet with Rich Perry, Glenn Zaleski, Rashaan Carter, Russell Carter Village Vanguard 8:30, 10:30 pm $35 212-242-3000 Alex Goodman, Johannes Felscher ShapeShifter Lab 7, 8:15 pm $8-15 • Corey Wilcox and Friends Williamsburg Music Center 9, 10:30 pm $10

48 JUNE 2018 | THE NEW YORK CITY JAZZ RECORD Saturday, June 23 • Todd Capp’s Mystery Train; Daniel Carter News Network with Eli Wallace, Ben Cohen, êThe Stone Commissions: Jon Irabagon Dan Kurfirst Downtown Music Gallery 6, 7 pm National Sawdust 7 pm $25 êGary Smulyan and The Trio with Tardo Hammer, John Webber, Steve Williams • Terry Waldo’s Gotham City Band Fat Cat 6 pm $10 • David Chamberlain’s Band of Bones The 75 Club at Bogardus Mansion 8, 10, pm $20 • Chris Pattishall Trio with Marty Jaffe, Kyle Poole Saint Peter’s Church 1 pm $10 • Craig Brann Trio with Nick Morrison, Sanah Kadoura Jazz Standard 12 pm $10-35 • Emanuele Cisi Group; George Papageorge Group; Mike Troy Bar Next Door 7:30, 9:30, 11:30 pm $12 • Vinicius Cantuária with Helio Alves, Paul Sokolow, Adriano Santos, Dende Smalls 7:30, 10:30 pm 1 am $20 • Krzysztof Zawadzki’s Walk Away Blue Note 11:30 am 1:30 pm $39.50 Jazz Standard 7:30, 9:30 pm $30 • The Blinking of the Ear: AnneMarie-Sandy, Eri Yamamoto, Leonid Galaganov, • Freddy Cole Quartet with Kris Kaiser, Elias Bailey, Jay Sawyer and guest Joel Frahm êBloodbath Trio: Yoni Kretzmer, John Hébert, Billy Mintz William Parker, Daniel Carter, Birdland 8:30, 11 pm $40 Legion Bar 8 pm $10 The Stone at The New School 8:30 pm $20 • Victor Wooten Trio with Bob Franceschini, Dennis Chambers • Christopher McBride Band with Marcelino Feliciano, Jonathan Edward Thomas, • Maricio Garcia Tomi Jazz 11 pm Blue Note 8, 10:30 pm $35 Curtis Nowosad Minton’s 7:30, 9:30 pm $10 êTom Harrell Quintet with Mark Turner, Charles Altura, Ugonna Okegwo, • Walter William and Gitesha Trio Cleopatra’s Needle 8 pm • Roz Corral Trio with Gilad Hekselman, Evan McGregor Johnathan Blake Village Vanguard 8:30, 10:30 pm $35 • Salute to Vinicius De Moraes and Baden Powell: The Afro Sambas Ensemble and North Square Lounge 12:30, 2 pm • White Out: Lin Culbertson/Tom Surgal; Bloor: Sam Weinberg, Andrew Smiley, Andres Laprida Club Bonafide 6 pm $20 • Jonathan Finlayson Quintet with Andre Solomon Glover, David Bryant, Chris Tordini, Jason Nazary; Ted Reichman solo Wonders of Nature 8 pm $10 • Audrey Silver Band with Marcus Printup, Bruce Barth, Paul Beaudry, Gene Lewin Craig Weinrib Roulette 8 pm $20 Cornelia Street Underground 6 pm $10 • Michael Young Russian Samovar 3 pm • Ann Hampton Callaway Group with Ted Rosenthal • Chris Dingman solo Saint Peter’s Church 5 pm Thursday, June 28 Dizzy’s Club 7:30, 9:30 pm $45 êAlexis Cole with Roxy Coss, Jack Redsecker, Marco Panascia, Allan Mednard • Charles Turner III Dizzy’s Club 11:15 pm $20 Smoke 7, 9, 10:30 pm $15 • Vaughn Stoffey Trio with Evan Gregor, Alex Ritz; Paul Jones Trio with Peter Slavov, • Dwayne Clemons Quintet; Professor Cunningham and His Old School • Blue Note Jazz Festival: Chris Botti Francisco Mela Bar Next Door 6:30, 8:30, 10:30 pm $12 The Django at Roxy Hotel 7:30, 10:30 pm Sony Hall 8 pm $85-125 êRavi Coltrane Birdland 8:30, 11 pm $40 êSean Conly Trio with Michaël Attias, Satoshi Takeishi; Santiago Leibson Trio with • Greg Skaff The Sound Bite 1 pm êJoel Forrester Bryant Park 12:30 pm Drew Gress, Devin Gray Greenwich House Music School 7:30 pm $20 • Ethan Iverson/Judith Berkson Spectrum 7 pm • David Durrah Duo Cleopatra’s Needle 7 pm êEddie Henderson Quartet with Peter Zak, Kenny Davis, Mike Clark • Kengo Yamada Tomi Jazz 8 pm • From My Fair Lady to Camelot—Music by Frederick Loewe and Lyrics by Jazz at Kitano 8, 10 pm $34 êDavid Murray and Class Struggle with Craig Harris, Mingus Murray, Lafayette Gilchrist, Alan Jay Lerner: Adrian Cunningham Quintet with Bruce Harris, Ted Rosenthal, êAlternative Guitar Summit 2018—Across the Generations: Rez Abbasi/Jeff Miles; Rashaan Carter, Russell Carter Village Vanguard 8:30, 10:30 pm $35 Doug Weiss, Brianna Thomas Dizzy’s Club 7:30, 9:30 pm $40 Peter Bernstein/Gilad Hekselman; /Matteo Liberatore; • Melanie Charles Dizzy’s Club 11:15 pm $10 Joel Harrison/Anthony Pirog The Jazz Gallery 8 pm $25 • David Gibson Quintet; Chris Turner The Django at Roxy Hotel 7:30, 10 pm • Vinicius Cantuária with Helio Alves, Paul Sokolow, Adriano Santos, Dende Monday, June 25 êTuck & Patti Iridium 8:30 pm $35-45 Jazz Standard 7:30, 9:30 pm $30 • MJ Territo Ladies Day Quartet with Linda Presgrave, Iris Ornig, Roberta Merjan • Joseph Camardo/Justin Fink Knickerbocker Bar & Grill 9, 10:15 pm $3.50 êMike Stern 55Bar 10 pm Jazz at Kitano 8, 10 pm $18 êJoanne Brackeen/Ugonna Okegwo; Joe Davidian êMario Pavone Trio with Angelica Sanchez, Pheeroan akLaff êJure Pukl/Darius Jones MEAT with John Escreet, Carlo De Rosa, Eric McPherson Mezzrow 8, 11 pm $20 Bar Lunàtico 8:30, 10 pm $10 The Jazz Gallery 7:30, 9:30 pm $15 • Jade Synstelien Trio Greg Glassman, Alexi David; John Bailey with Stacy Dillard, • Elijah Shiffer Trio with Joanna Sternberg, Vincente Hansen; Beat Kaestli Trio with êGrant Green—Evolution of Funk: Grant Green, Jr., Donald Harrison, Marc Cary, John Hart, Cameron Brown, Victor Lewis; Ken Fowser with Josh Bruneau, Paul Gill, Jesse Lewis, Vitor Gonçalves Bar Next Door 6:30, 8:30, 10:30 pm $12 Khari Simmons, Mike Clark Jazz Standard 7:30, 9:30 pm $30 Joe Strasser; Philip Harper Quintet Smalls 4:30, 7:30, 10:30 pm 1 am $20 • Monty Alexander Blue Note 8, 10:30 pm $35 • Nona Hendryx’s Parallel Lives: Billie Holiday and Edith Piaf • One for All: Jim Rotondi, Eric Alexander, Steve Davis, David Hazeltine, John Webber, êJoel Forrester Bryant Park 12:30 pm Joe’s Pub 7 pm $45 Joe Farnsworth Smoke 7, 9, 10:30 pm $40 • Brian Groder Quartet; Stephen Gauci, Sandy Ewen, Adam Lane; John Loggia Quartet; • Noah Haidu/Marcus McLaurine Mezzrow 8 pm $20 • Alex Minasian Trio The Sound Bite 7, 9 pm Aaron Rubenstein, Sarah Hughes, Nick Dunston, Michael Larocca; • Jason Prover Sneak Thievery Orchestra • Gatos do Sul: Brian Marsella, Itai Kriss, Pablo Aslan, Gil Oliveira, Cyro Baptista Alexis Marcello Quartet; Sandy Ewen/Andrew Neumann Radegast Hall 9 pm The Stone at The New School 8:30 pm $20 Bushwick Public House 7 pm $10 êAnthony Coleman Russ & Daughters Café 8 pm • Ken Kobayashi Tomi Jazz 6 pm • Band Director Academy Faculty Band • Thomas Strønen’s Time is a Blind Guide with Ayumi Tanaka, Håkon Aase, êDavid Murray and Class Struggle with Craig Harris, Mingus Murray, Lafayette Gilchrist, Dizzy’s Club 7:30, 9:30 pm $35 Leo Svensson Sander, Rashaan Carter, Russell Carter Village Vanguard 8:30, 10:30 pm $35 • Ryan Meagher Quartet with Jon Irabagon, Moppa Elliot, Vinnie Sperrazza Scandinavia House 7 pm $15 • Blake Shaw Williamsburg Music Center 10, 11:30 pm $10 Ibeam Brooklyn 8:30 pm $15 • Last Minute Sextet Silvana 6 pm êMatt Wilson Quartet with Jeff Lederer, Kirk Knuffke, Chris Lightcap • Larry Fuller, Graham Dechter, Alex Frank • Darrell Green Quartet with Keith Brown, Jr., Devin Starks; Zinc Bar 8 pm $25 Mezzrow 8 pm $20 Keith Brown Group; Jonathan Thomas êLPR X: Terri Lyne Carrington, Esperanza Spalding, Nicholas Payton Smalls 7:30, 10:30 pm 1 am $20 Murmrr 8 pm $37.50 êChampian Fulton Quartet with Stephen Fulton, Hide Tanaka, Fukushi Tainaka Sunday, June 24 • Jim Campilongo Quartet with Grey McMurray, Chris Morrissey, Josh Dion Smoke 7, 9, 10:30 pm $15 Rockwood Music Hall Stage 2 10 pm • Whitney Marchelle, Edsel Gomez, Carlo De Rosa, Gerry Gibbs, Frank Lacy, • Kate McGarry, Keith Ganz, Gary Versace • Jon Snell Trio with Wayne Batchelor, Jason Tiemann Sweet Lee Odom Solomon & Kuff 10 pm 55Bar 6 pm ShapeShifter Lab 7 pm $10 êWhite Wine Positions—Dedicated to Johannes Bauer: Jim Staley, Steve Swell, • Marco Cappelli Acoustic Trio with Ken Filiano, Satoshi Takeishi and guest • Ari Hoenig Trio; Jonathan Michel Group Masahiko Kono, Joe McPhee, Jeff Schlanger, Walter Stinson, William Parker, Oscar Noriega Barbès 5 pm $10 Smalls 7:30, 10:30 pm $20 Peter Dennis The Stone at The New School 8:30 pm $20 • Monty Alexander Blue Note 8, 10:30 pm $35 • Blue Note Jazz Festival: Chris Botti • Alex Conde Symphony Space Peter Jay Sharpe Theatre 7:30 pm $35-85 • Miles Jaye Davis Club Bonafide 7, 9 pm $40 Sony Hall 8 pm $85-125 • Tsuyoshi Yamamoto; Senri Oe Tomi Jazz 7, 9 pm • Band with Cathy Rich, Gregg Potter and guest Max Weinberg • Andrew Kushnir Tomi Jazz 8 pm êTom Harrell Quintet with Mark Turner, Charles Altura, Ugonna Okegwo, The Cutting Room 1 pm $30-40 Johnathan Blake Village Vanguard 8:30, 10:30 pm $35 • Ann Hampton Callaway Group with Ted Rosenthal • Corey Wilcox and Friends Williamsburg Music Center 9, 10:30 pm $10 Dizzy’s Club 7:30, 9:30 pm $30 Tuesday, June 26 êCurtis Brothers Quartet Zinc Bar 7, 8:30 pm $25 • David Stern Trio with Dean Torrey, Adam Arruda; Tom Finn Trio with Jonathan Michel, Jonathan Barber Bar Next Door 6:30, 8:30, 10:30 pm $12 êRavi Coltrane Birdland 8:30, 11 pm $40 • Monty Alexander Blue Note 8, 10:30 pm $35 êJoel Forrester Bryant Park 12:30 pm • Ross Kratter Jazz Orchestra Club Bonafide 8 pm $15 • Matthew Sheens Cornelia Street Underground 8:30 pm $10 êBria Skonberg’s Sisterhood of Swing with Regina Carter, Anat Cohen, , Sharel Cassity, Chloe Feoranzo, Camille Thurman, Emily Asher, Linda Briceño, Jami Dauber, Champian Fulton, Endea Owens, Savannah Harris, Michela Lerman Damrosch Park at Lincoln Center 7:30 pm • Christian Sands Trio with Yasushi Nakamura, Jerome Jennings and guests Dizzy’s Club 7:30, 9:30 pm $35 • Melanie Charles Dizzy’s Club 11:15 pm $5 • Gerardo Contino Latin Grooves The Django at Roxy Hotel 7:30 pm • Saul Rubin Zebtet; Itai Kriss and Gato Gordo John Benitez Latin Bop Fat Cat 7, 9 pm 12:30 am $10 • Blue Note Jazz Festival: Pablo Ziegler Trio; Chano Domínguez Trio Highline Ballroom 8 pm $45-65 • Paul Shinn solo Jazz at Kitano 8 pm • Julian Siegel Quartet with Liam Noble, Oli Hayhurst, Gene Calderazzo Jazz Standard 7:30, 9:30 pm $25 êJames Carney Quartet with Chris Lightcap, Mark Ferber; Ethan Iverson Trio Korzo 9, 10:30 pm êTeri Roiger, Frank Kimbrough, John Menegon, Steve Williams Mezzrow 8 pm $20 • LPR X: Murmrr 8 pm $35-45 • Lou Volpe Group New York City Baha’i Center 8, 9:30 pm $15 • Glenn Crytzer Trio Radegast Hall 8 pm êFranklin Kiermyer’s Scatter The Atoms That Remain with Jovan Alexandre, Davis Whitfield, Otto Gardner Rockwood Music Hall Stage 2 7 pm $10 êSteve Nelson Quartet; Frank Lacy Group Smalls 7:30, 10:30 pm 1 am $20 • Fundamental Evolution (Back Street Shuffle): Anne Humanfeld, Leonid Galaganov, Jeff Schlanger, William Parker, Peter Dennis, Walter Stinson The Stone at The New School 8:30 pm $20 • Joe Spinelli; Tomoko Yanagita Tomi Jazz 8, 11 pm êTom Harrell Quintet with Mark Turner, Charles Altura, Ugonna Okegwo, Johnathan Blake Village Vanguard 8:30, 10:30 pm $35 Wednesday, June 27 êMike Stern 55Bar 10 pm • Jonah Udall Trio with Brian Krock, Jake Shandling Bar Next Door 6:30 pm êRavi Coltrane Birdland 8:30, 11 pm $40 êJoel Forrester Bryant Park 12:30 pm • Andy Biskin’s 16 Tons with Dave Smith, Matt Holman, Kenny Warren, Rob Garcia Cornelia Street Underground 8:30 pm $10 • Joe Quijano y Su Conjunto Cachana Damrosch Park at Lincoln Center 7:30 pm êChristian Sands Trio with Yasushi Nakamura, Jerome Jennings and guests Dizzy’s Club 7:30, 9:30 pm $35 • Melanie Charles Dizzy’s Club 11:15 pm $5 • New Alchemy Jazz Orchestra The Django at Roxy Hotel 10 pm • Raphael D’lugoff Trio +1; Ned Goold Jam Fat Cat 7 pm 12:30 am $10 • Lucia Cadotsch’s Speak Low with Otis Sandsjö, Petter Eldh Greenwich House Music School 8 pm $15 êTuck & Patti Iridium 8:30 pm $35-45 • Jonathan Saraga Quartet with Eden Ladin, Martin Nevin, Jimmy Macbride Jazz at Kitano 8, 10 pm $18 êDuchess: Amy Cervini, Hilary Gardner, Melissa Stylianou with Michael Cabe, Matt Aronoff, Jared Schonig Jazz Standard 7:30, 9:30 pm $30 • Ben Paterson, Chris Flory, George DeLancey Mezzrow 8 pm $20

THE NEW YORK CITY JAZZ RECORD | JUNE 2018 49 Friday, June 29 êPatience Higgins and The Trio with Tardo Hammer, John Webber, Steve Williams REGULAR ENGAGEMENTS The 75 Club at Bogardus Mansion 8, 10, pm $20 • Randy Villars Trio with Matt Wiles, Jeff Mellot MONDAY Bar Next Door 7:30, 9:30, 11:30 pm $12 êRavi Coltrane Birdland 8:30, 11 pm $40 • Richard Clements/Murray Wall Band êJoel Forrester Bryant Park 12:30 pm 11th Street Bar 8 pm • Grove Street Stompers Arthur’s Tavern 7 pm • Art Lillard Trio Cleopatra’s Needle 8 pm • Earl Rose Bemelmans Bar 5:30, 9 pm • Maria Alejandra Rodriguez; Circular Time • Woody Allen and The Eddy Davis New Orleans Jazz Band Club Bonafide 6, 8 pm $15-20 Café Carlyle 8:45 pm$120-215 • Gerard Carelli and His Orchestra Damrosch Park at Lincoln Center 7:30 pm • Jon Weiss Duo Cleopatra’s Needle 8 pm • From My Fair Lady to Camelot—Music by Frederick Loewe and Lyrics by • Svetlana & The Delancey 5 Freddy’s Backroom 8:30 pm Alan Jay Lerner: Adrian Cunningham Quintet with Bruce Harris, Ted Rosenthal, • Vince Giordano and The Nighthawks Doug Weiss, Brianna Thomas Dizzy’s Club 7:30, 9:30 pm $45 Iguana 8 pm • Melanie Charles Dizzy’s Club 11:15 pm $10 • Iris Ornig Jam Session Jazz at Kitano 8 pm Ken Fowser Quintet; Andromeda Turre • Jazz Standard 7:30, 9:30 pm $25 • • JFA Jam Session Local 802 7 pm The Django at Roxy Hotel 7:30, 10:30 pm • Pasquale Grasso Mezzrow 11 pm $20 êQueens Jazz Orchestra directed by Jimmy Heath • Melvin Vines Paris Blues 9 pm Flushing Town Hall 8 pm $42 • Jazz Jam Session Radegast Hall 8 pm • Alan Broadbent/Georgia Mancio Quartet with David Falzone, Dave Ohm • Vincent Herring Quartet and Smoke Jam Session Jazz at Kitano 8, 10 pm $34 Smoke 7, 9, 10:30 pm êJoel Ross Good Vibes with Immanuel Wilkins, Fabian Almazan, Harish Raghavan • Swingadelic Swing 46 8:30 pm The Jazz Gallery 7:30, 9:30 pm $25 • Vanguard Jazz Orchestra Village Vanguard 8:30, 10:30 pm $30 êGrant Green—Evolution of Funk: Grant Green, Jr., Donald Harrison, Marc Cary, Khari Simmons, Mike Clark Jazz Standard 7:30, 9:30 pm $30 TUESDAY • Pedro Giraudo Vigor Tanguero with Emlio Teubal, Rodolfo Zanetti, Nick Danielson • Tardo Hammer/John Webber 75 Club at Bogardus Mansion 8, 10 pm Joe’s Pub 7 pm $25 • Nick West’s Westet Analogue 7 pm • Joel Forrester/ Knickerbocker Bar & Grill 9, 10:15 pm $3.50 • Yuichi Hirakawa Trio Arthur’s Tavern 7 pm • Melissa Aldana/Spike Wilner Mezzrow 8 pm $20 • Art Hirahara Trio Arturo’s 8 pm • David Ostwald’s Louis Armstrong Eternity Band • Loston Harris Trio Bemelmans Bar 9:30 pm Peninsula Library 6 pm • Marc Devine Trio Cleopatra’s Needle 8 pm êBranford Marsalis Quartet Prospect Park Bandshell 7:30 pm • Battle Of The Horns Farafina Jazz Café and Lounge 8 pm • Brian Charette/Ari Hoenig with guest Melanie Scholtz • Diego Voglino Jam Session Halyard’s 10 pm • Vince Giordano and The Nighthawks Rockwood Music Hall Stage 3 8:30 pm $15 Iguana 8 pm • Music Now!: Ras Moshe Burnett, Matt Lavelle, Lee Odom, Devin Brahja Waldman, • Miki Yamanaka & Adi Meyerson Polite Jam Session Jean Carla Rodea, Chris Forbes, Larry Roland, Leonid Galaganov; Lauren Lee, Mezzrow 11 pm $20 Darian Thomas; Improvisational Composers Ensemble: Rocco John Iacovone, • Mona’s Hot Four Mona’s 11 pm Sana Nagano, Michael Lytle, Ras Moshe Burnett, Phil Sirois, John Pietaro, • John Cooksey Paris Blues 9 pm Rich Rosenthal, Tom Cabrera; The Accidental Orchestra: Michael Moss, Michael Lytle, • Mike LeDonne Quartet; Emmet Cohen Band Richard Keene, Elliot Levin, Ras Moshe Burnett, Brian Groder, Larry Roland, Smoke 7, 9, 10:30, 11:30 pm Melanie Dyer, Carol Buck, George Crotty, Lenny Mims, Steve Cohn, Rick Iannacone, • George Gee Orchestra Swing 46 8:30 pm Dom Minasi, Warren Smith, Chuck Fertal Scholes Street Studio 7 pm $20 WEDNESDAY • Dom Palombi Project Silvana 6 pm • Tardo Hammer/John Webber 75 Club at Bogardus Mansion 8, 10 pm • Andy Fusco Quintet with Joe Magnarelli, James Navan, Bill Moring, Rudy Petschauer; • Bill Wurtzel/Jay Leonhart American Folk Art Museum 2 pm Dmitry Baevsky Quartet with Jeb Patton, David Wong, Joe Strasser; JD Allen • Monika Oliveira Analogue 7 pm Smalls 7:30, 10:30 pm 1 am $20 • Eve Silber Arthur’s Tavern 7 pm êCharles Tolliver New Music Inc. with Bruce Edwards, Theo Hill, Essiet Essiet, • Jonathan Kreisberg Trio Bar Next Door 8:30, 10:30 pm $12 Darrell Green Smoke 7, 9, 10:30 pm $40 • Loston Harris Trio Bemelmans Bar 9:30 pm • Deborah Davis and A Few Good Men • David Ostwald’s Louis Armstrong Centennial Band The Sound Bite 7, 9 pm Birdland 5:30 pm $20 ê • Les Kurtz Trio Cleopatra’s Needle 7 pm Music For Cosmic Octet—“Eventual” (for Sunny Murray): Steve Swell, Jaimie Branch, • Pasquale Grasso; Django Jam Session , Darius Jones, James Brandon Lewis, Cooper Moore, William Parker, The Django 8:30, 11 pm William Hooker The Stone at The New School 8:30 pm $20 • WaHi Jazz Jam Le Chéile 8 pm • Kuni Mikami Tomi Jazz 9 pm $10 • Pete Malinverni Mezzrow 11 pm $20 êTom Harrell Quintet with Mark Turner, Charles Altura, Ugonna Okegwo, • Les Goodson Band Paris Blues 9 pm Johnathan Blake Village Vanguard 8:30, 10:30 pm $35 • Lezlie Harrison; Mel Davis B3 Trio and Organ Jam Smoke 7, 9, 10:30, 11:30 pm • Stan Rubin Orchestra Swing 46 8:30 pm Saturday, June 30 THURSDAY êPatience Higgins and The Trio with Tardo Hammer, John Webber, Steve Williams • Richard Wyands Trio 75 Club at Bogardus Mansion 8, 10 pm The 75 Club at Bogardus Mansion 8, 10, pm $20 • Ray Blue Organ Quartet American Legion Post 398 7 pm • Brandon Coleman Trio with Matt Wiles, Jeff Mellot • Eri Yamamoto Trio Arthur’s Tavern 7 pm Bar Next Door 7:30, 9:30, 11:30 pm $12 • Loston Harris Trio Bemelmans Bar 9:30 pm êRavi Coltrane Birdland 8:30, 11 pm $40 • John McNeil/Mike Fahie The Douglass 9 pm êJazzmeia Horn Central Park Summerstage, Rumsey Playfield 7 pm • Steve Wirts Han Dynasty 6 pm • Clifford Barbaro Trio Cleopatra’s Needle 8 pm • Spike Wilner Mezzrow 11 pm $20 Andres Laprida; The Dominican Jazz Project: Sandy Gabriel, Guillo Carias, Carlos Luís, • Les Goodson Band Paris Blues 9 pm • • Gene Bertoncini Ryan’s Daughter 8:30, 10:30 pm Stephen Anderson, Jeffry Eckels, Guy Frómeta, David Almengod • Rob Duguay Low Key Trio Turnmill NYC 11 pm Club Bonafide 6, 8 pm $20 • Cocomama The Cutting Room 9 pm $20-25 FRIDAY • Glenn Crytzer Orchestra Damrosch Park at Lincoln Center 7:30 pm • From My Fair Lady to Camelot—Music by Frederick Loewe and Lyrics by • Eri Yamamoto Trio Arthur’s Tavern 7 pm Alan Jay Lerner: Adrian Cunningham Quintet with Bruce Harris, Ted Rosenthal, • The Crooked Trio Barbès 5 pm Doug Weiss, Brianna Thomas Dizzy’s Club 7:30, 9:30 pm $45 • Loston Harris Trio Bemelmans Bar 9:30 pm • Melanie Charles Dizzy’s Club 11:15 pm $20 • Birdland Big Band Birdland 5:15 pm $25 Dida Pelled; King Solomon Hicks The Django at Roxy Hotel 7:30, 10:30 pm • Melvin Vines Paris Blues 9 pm • • Gerry Eastman Quartet Williamsburg Music Center 10 pm êPrasanna Flushing Library 4 pm • Evan Harris Group with Will Vinson, Sean Wayland, Des White, Jochen Rueckert Greenwich House Music School 7:30 pm SATURDAY êThe Royal Bopsters: Amy London, Holli Ross, Pete McGuinness, Dylan Pramuk with • Eri Yamamoto Trio Arthur’s Tavern 7 pm Steve Schmidt, Cameron Brown, Steve Williams • Bill Saxton and the Harlem Bebop Band Jazz at Kitano 8, 10 pm $34 Bill’s Place 8, 10 pm $20 êJoel Ross Good Vibes with Immanuel Wilkins, Fabian Almazan, Harish Raghavan • Stan Rubin Orchestra Carnegie Club 8:30, 10:30 pm The Jazz Gallery 7:30, 9:30 pm $25 • Bassey & The Heathens The Heath 12:30 am êGrant Green—Evolution of Funk: Grant Green, Jr., Donald Harrison, Marc Cary, • Yvonnick Prené Henry’s 12:30 pm • Assaf Kehati Duo Il Gattopardo 11:30 am Khari Simmons, Mike Clark Jazz Standard 7:30, 9:30 pm $30 • Melvin Vines Paris Blues 9 pm • Joel Forrester/David Hofstra Knickerbocker Bar & Grill 9, 10:15 pm $3.50 • Johnny O’Neal Smoke 11:45 pm 12:45 am • Phil Young Experience Marcus Garvey Park 6 pm êMelissa Aldana/Aaron Diehl; Jon Davis SUNDAY Mezzrow 8, 11 pm $20 • Marco Cappelli solo; FIDOqrtet: Maryanne de Prophetis, Shoko Nagai, Ron Horton, • Creole Cooking Jazz Band; Stew Cutler and Friends Satoshi Takeishi Scholes Street Studio 7 pm $10 Arthur’s Tavern 7, 10 pm • David Stern Silvana 6 pm • Peter Mazza Trio Bar Next Door 8, 10 pm $12 Ben Barnett; Quartet with Craig Handy, Bill O’Connell, • Arturo O’Farrill Afro Latin Jazz Orchestra • Birdland 9, 11 pm $30 Tommy Campbell; Dmitry Baevsky Quartet with Jeb Patton, David Wong, Joe Strasser; • Renaud Penant Trio Bistro Jules 7:30 pm Eric Wyatt Quartet with Benito Gonzalez, Eric Wheeler, Chris • Steve LaSpina Trio Café Loup 12:30 pm Smalls 4:30, 7:30, 10:30 pm 1 am $20 • Marc Devine/Hide Tanaka Café Loup 6:30 pm êCharles Tolliver New Music Inc. with Bruce Edwards, Theo Hill, Essiet Essiet, • Keith Ingham Cleopatra’s Needle 4 pm Darrell Green Smoke 7, 9, 10:30 pm $40 • Trampelman Dominie’s Astoria 9 pm • Barbara King and The Spirit of Jazz • The EarRegulars The Ear Inn 8 pm The Sound Bite 7, 9 pm • Glenn Crytzer All Stars The Flatiron Room 6:30 pm êAllen Lowe, Matthew Shipp, Kevin Ray, Gerald Cleaver • Joel Forrester solo Grace Gospel Church 11 am Soup & Sound 8 pm $20 • Grassroots Jazz Effort Grassroots Tavern 9 pm • Tony Middleton Trio Jazz at Kitano 12 pm $40 • A Word is A Sound—A Remembrance of David Budbill: Berne Groden, • John Merrill and Friends Mezzrow 11 pm $20 Leonid Galaganov, William Parker, , Kyoko Kitamura, Andrea Wolper, • Avalon Jazz Band Minton’s 12 pm Amirtha Kidambi, Morley Kamen The Stone at The New School 8:30 pm $20 • Melvin Vines Paris Blues 9 pm • Richard Thai; Kathryn Allyn; Sharp Tree Trio • Marjorie Eliot/Rudell Drears/Sedric Choukroun Tomi Jazz 6, 8, 11 pm $10 Parlor Entertainment 4 pm • Blue Note Jazz Festival: Al Di Meola • Koran Agan Radegast Hall 1:30 pm Town Hall 8 pm $49.50-99 • Lu Reid Jam Session Shrine 4 pm êTom Harrell Quintet with Mark Turner, Charles Altura, Ugonna Okegwo, • Annette St. John; Wilerm Delisfort Quartet Smoke 11:30 am 11:45 pm Johnathan Blake Village Vanguard 8:30, 10:30 pm $35 • Sean Smith and guest Walker’s 8 pm • Haven Williamsburg Music Center 10, 11:30 pm $10

50 JUNE 2018 | THE NEW YORK CITY JAZZ RECORD CLUB DIRECTORY

• 11th Street Bar 510 E. 11th Street • Glen Oaks Library 256-04 Union Turnpike • Paris Blues Harlem 2021 Adam Clayton Powell, Jr., Boulevard (212-982-3929) Subway: L to 1st Avenue www.11thstbar.com (718-831-8636) Bus: Q46 Bus www.queenslibrary.org (212-222-9878) Subway: 2, 3 to 125th Street www.parisbluesharlem.com • 440Gallery 440 Sixth Avenue, Brooklyn • Grace Gospel Church 589 East 164th Street • Parlor Entertainment 555 Edgecombe Ave. #3F (718-499-3844) Subway: F, G to Seventh Avenue www.440gallery.com (718-328-0166) Subway: 2, 5 to Prospect Avenue (212-781-6595) Subway: C to 155th Street • 55Bar 55 Christopher Street (212-929-9883) • Grassroots Tavern 20 Saint Marks Place • Peninsula Library 92-25 Rockaway Beach Boulevard Subway: 1 to Christopher Street www.55bar.com (212-475 9443) Subway: 6 to Astor Place, N,R to 8th Street (718-634-1110) Subway: A, S to Beach 90th Street www.queenslibrary.org • 75 Club at Bogardus Mansion 75 Murray Street • Greenwich House Music School 46 Barrow Street • The Penrose 1590 2nd Avenue (212-268-1746) Subway: 1, 2, 3 to Chambers Street (212-242-4770) Subway: 1 to Christopher Street www.greenwichhouse.org (212-203-2751) Subway: 4, 5, 6 to 86th Street www.penrosebar.com www.bogardusmansion.com www.clubgroovenyc.com • Pete’s Candy Store 709 Lorimer Street • American Folk Art Museum 65th Street at Columbis Avenue • Halyard’s 406 3rd Avenue, Brooklyn (718-302-3770) Subway: L to Lorimer Street (212-595-9533) Subway: 1 to 66th Street www.folkartmuseum.org (718-532-8787) Subway: R to 9th Street www.barhalyards.com • Pier 84 W. 44th Street and Hudson River • American Legion Post 398 248 W. 132nd Street • Han Dynasty 215 W. 85th Street Subway: A, C, E, F, V to 42nd Street-Port Authority (212-283-9701) Subway: 2, 3 to 135th Street www.legion.org (212-858-9060) Subway: 1 to 86th Street www.handynasty.net • Pioneer Works 159 Pioneer Street, Brooklyn • An Beal Bocht Café 445 W. 238th Street • Happylucky no.1 734 Nostrand Avenue (718-596-3001) Bus: B61 www.pioneerworks.org Subway: 1 to 238th Street www.LindasJazzNights.com (347-295-0961) Subway: 2, 3, 4, 5 to Franklin Avenue • Prospect Park Bandshell Subway: F to Prospect Park • Analogue 19 West 8th Street (212-432-0200) • Hari NYC 140 W 30th Street, 3rd floor Subway: 1 to 28th Street • Radegast Hall 113 N. 3rd Street Subway: A, B, C, D, E, F, M to W. 4th Street www.analoguenyc.com • The Heath at McKittrick Hotel 530 W. 27th Street (718-963-3973) Subway: L to Bedford Avenue www.radegasthall.com • The Appel Room Broadway at 60th Street, 5th floor (212-904-1883) Subway: C, E to 23rd Street www.mckittrickhotel.com • Rockwood Music Hall 196 Allen Street (212-477-4155) (212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle • Henry’s 2745 Broadway (212-866-0600) Subway: 1 to 103rd Street Subway: F, V to Second Avenue www.rockwoodmusichall.com www.jazz.org • Highline Ballroom 431 W. 16th Street • Rose Theater Broadway at 60th Street, 5th floor • Areté Gallery 67 West Street, Brooklyn (212-414-5994) Subway: A, C, E to 14th Street www.highlineballroom.com (212-258-9800) Subway: 1, 2, 3, 9, A, C, E, B, D, F to Columbus Circle (929-397-0025) Subway: G to Greenpoint Avenue www.aretevenue.com • Ibeam Brooklyn 168 7th Street between Second and Third Avenues www.jalc.org • Arthur’s Tavern 57 Grove Street (212-675-6879) Subway: F to 4th Avenue www.ibeambrooklyn.com • Roulette 509 Atlantic Avenue Subway: 1 to Christopher Street www.arthurstavernnyc.com • Ideal Glass 22 E. 2nd Street (917-267-0363) Subway: 2, 3, 4, 5 to Atlantic Avenue www.roulette.org • Arturo’s 106 W. Houston Street (at Thompson Street) Subway: F, M to 2nd Avenue www.idealglass.org • Russ & Daughters Café 127 Orchard Street (212-677-3820) Subway: A, B, C, D, E, F, M to W. 4th Street • Iguana 240 West 54th Street (212-765-5454) (212-475-4881) Subway: F to Delancey Street www.russanddaughterscafe.com • Asia Society 725 Park Avenue Subway: B, D, E, N, , R to Seventh Avenue www.iguananyc.com • Russian Samovar 256 W. 52nd Street (212-288-6400) Subway: 6 to 68th Street www.asiasociety.org • Il Gattopardo 13-15 W. 54th Street (212-757-0168) Subway: C, E to 50th Street www.russiansamovar.com • Austrian Cultural Forum 11 E. 52nd Street at Madison Avenue (212-246-0412) Subway: E, M to Fifth Avenue/53rd Street • Ryan’s Daughter 350 E. 85th Street (212-319-5300) Subway: 6 to 51st Street www.acfny.org www.ilgattopardonyc.com (212-628-2613) Subway: 4, 5, 6 to 86th Street www.ryansdaughternyc.com • Bar Lunàtico 486 Halsey Street • Intrepid Sea, Air & Space Museum Pier 86, W. 46th Street and 12th Avenue • St. Lydia’s 304 Bond Street, Brooklyn (917-495-9473) Subway: C to Kingston-Throop Avenues (212-245-0072) Subway: E to 50th Street www.intrepidmuseum.org (646-580-1247) Subway: F, G to Carroll Street www.stlydias.org • Bar Next Door 129 MacDougal Street (212-529-5945) • Iridium 1650 Broadway at 51st Street (212-582-2121) • St. Paul’s German Lutheran Church 315 W. 22nd Street Subway: A, B, C, D, E, F, M to W. 4th Street www.lalanternacaffe.com Subway: 1,2 to 50th Street www.theiridium.com (212-929-1695) Subway: A, C, E to 23rd Street www.stpaulny.org • Barbès 376 9th Street at 6th Avenue, Brooklyn (718-965-9177) • Issue Project Room 22 Boerum Place • Saint Peter’s Church 619 Lexington Avenue at 54th Street Subway: F to 7th Avenue www.barbesbrooklyn.com (718-330-0313) Subway: 2, 3, 4, 5 to Borough Hall (212-935-2200) Subway: 6 to 51st Street www.saintpeters.org • Bargemusic Fulton Ferry Landing www.issueprojectroom.org • San Damiano Mission 85 N. 15th Street (718-624-4061) Subway: F to York Street, A, C to High Street • J. Hood Wright Park W. 173rd Street and Haven Avenue Subway: G to Nassau Avenue www.missionbklyn.org www.bargemusic.org (212-927-1563) Subway: A to 175th Street www.nycgovparks.org • Scandinavia House 58 Park Avenue at 37th Street • Bemelmans Bar 35 E. 76th Street (212-744-1600) • JACK 505 Waverly Avenue (212-879-9779) Subway: 4, 5, 6 to 42nd Street-Grand Central Subway: 6 to 77th Street www.thecarlyle.com (718-388-2251) Subway: C to Clinton-Washington Avenue www.jackny.org www.scandinaviahouse.org • Bill’s Place 148 W. 133rd Street (between Lenox and 7th Avenues) • Jackie Robinson Park Bradhurst & Edgecombe Avenues, • Scholes Street Studio 375 Lorimer Street (212-281-0777) Subway: 2, 3 to 135th Street West 145th to West 155th Streets Subway: D to 145th Street (718-964-8763) Subway: L to Lorimer Street; G to Broadway • Birdland 315 W. 44th Street (212-581-3080) • Jackson Heights Library 3551 81st Street www.scholesstreetstudio.com Subway: A, C, E, to 42nd Street www.birdlandjazz.com (718-899-2500) Subway: 7 to 82nd Street www.queenslibrary.org • Settepani 196 Lenox Avenue at 120th Street • Bistro Jules 60 St Marks Place • Jalopy 315 Columbia Street, Brooklyn (917-492-4806) Subway: 2, 3 to 116th Street www.settepani.com (212-477-5560) Subway: 6 to Astor Place www.julesbistro.com (718-395-3214) Subway: F to Smith Street www.jalopy.biz • The Shadmoor 1066 2nd Avenue • The Bitter End 147 Bleecker Street between Thompson and LaGuardia • Jamaica Center for Arts and Learning 161-04 Jamaica Avenue, Queens (212-385-9195) Subway: N, R, W to Lexington Avenue/59th Street Subway: A, B, C, D, E, F, V to W. 4th Street (718-658-7400 ext. 152) Subway: E to Jamaica Center www.jcal.org www.shadmoornyc.com • Bloomingdale School of Music 323 W. 108th Street • Japan Society 333 E. 47th Street • ShapeShifter Lab 18 Whitwell Place (212-663-6021) Subway: 1 to Cathedral Parkway www.bsmny.org (212-832-1155) Subway: 4, 5, 6 to 42nd Street www.japansociety.org (646-820-9452) Subway: R to Union Street www.shapeshifterlab.com • Blue Note 131 W. 3rd Street at 6th Avenue (212-475-8592) • Jazz 966 966 Fulton Street • Shrine 2271 Adam Clayton Powell Boulevard (212-690-7807) Subway: A, B, C, D, E, F, M to W. 4th Street www.bluenotejazz.com (718-638-6910) Subway: C to Clinton Street www.jazz966.com Subway: B, 2, 3 to 135th Street www.shrinenyc.com • Brooklyn Conservatory of Music 58 Seventh Avenue, Brooklyn • Jazz at Kitano 66 Park Avenue at 38th Street (212-885-7000) • Silvana 300 West 116th Street Subway: F to Seventh Avenue, N, R to Union Street www.bkcm.org Subway: 4, 5, 6, 7, S to Grand Central www.kitano.com (646-692-4935) Subway: B, C, to 116th Street www.silvana-nyc.com • Brooklyn Music School 126 Saint Felix Street • The Jazz Gallery 1160 Broadway, 5th floor (212-242-1063) • Sistas’ Place 456 Nostrand Avenue at Jefferson Avenue, Brooklyn (718-907-0878) Subway: 4 to Atlantic Avenue-Pacific Street Subway: N, R to 28th Street www.jazzgallery.org (718-398-1766) Subway: A to Nostrand Avenue www.sistasplace.org • Brownsville Heritage House 581 Mother Gaston Boulevard • Jazz Museum in Harlem 58 W. 129th Street between Madison and Lenox • Smalls 183 W 10th Street at Seventh Avenue (212-252-5091) (718-385-1111) Subway: L to New Lots Avenue Avenues (212-348-8300) Subway: 6 to 125th Street Subway: 1 to Christopher Street www.smallsjazzclub.com • Bryant Park 5th and 6th Avenues between 40th and 42nd Streets www.jazzmuseuminharlem.org • Smoke 2751 Broadway between 105th and 106th Streets Subway: 4, 5, 6 to 42nd Street www.bryantpark.org • Jazz Standard 116 E. 27th between Park and Lexington Avenue (212-864-6662) Subway: 1 to 103rd Street www.smokejazz.com • Bushwick Public House 1288 Myrtle Avenue (212-576-2232) Subway: 6 to 28th Street www.jazzstandard.net • Socrates Sculpture Park 32-01 Vernon Boulevard, Long Island City (917-966-8500) Subway: G to Myrtle - Willoughby Avenue then B54 • Joe’s Pub at the Public Theater 425 Lafayette Street (718-956-1819) Subway: 7 to Vernon Boulevard-Jackson Avenue; www.bushwickpublichouse.com (212-539-8770) Subway: N, R to 8th Street-NYU; 6 to Astor Place M to Broadway www.socratessculpturepark.org • Café Carlyle 35 E. 76th Street (212-744-1600) www.publictheater.org/Joes-Pub-at-The-Public • Solomon & Kuff 2331 12th Avenue Subway: 6 to 77th Street www.thecarlyle.com • Kaye Playhouse 695 Park Avenue at 68th Street (212-939-9443) Subway: 1 to 137th Street www.solomonandkuff.com • Café Loup 105 W. 13th Street between Sixth and Seventh Avenues (212-772-5207) Subway: 6 to 68th Street • Sony Hall 235 W. 46th Street (212-255-4746) Subway: F to 14th Street www.cafeloupnyc.com www.kayeplayhouse.hunter.cuny.edu (212-997-5123) Subway: N, R, W to 49th Street www.sonyhall.com • Caffe Vivaldi 32 Jones Street Subway: A, B, C, D, E, F, Q, V • Knickerbocker Bar & Grill 33 University Place at 9th Street • The Sound Bite 737 9th Avenue to W. 4th Street-Washington Square www.caffevivaldi.com (212-228-8490) Subway: N, R to 8th Street (917-409-5868) Subway: C, E to 50th Street www.thesoundbiterestaurant.com • Carnegie Club 156 W. 56th Street www.knickerbockerbarandgrill.com • Soup & Sound 292 Lefferts Avenue (between Nostrand and Rogers Avenues) (212-957-9676) Subway: N, Q, R, W to 57th-Seventh Avenue • Korzo 667 5th Avenue Brooklyn (718-285-9425) Subway: R to Prospect Avenue Subway: 2 to Sterling Street • Central Park Summerstage, Rumsey Playfield 72nd Street and Fifth Avenue www.facebook.com/konceptions • Spectrum 70 Flushing Avenue (212-360-2777) Subway: B, D to 72nd Street www.summerstage.org • Le Chéile 839 W. 181st Street Subway: B, D, Q to DeKalb Avenue www.spectrumnyc.com • Christ and St. Stephen’s Church 120 W. 69th Street (212-740-3111) Subway: A to 181st Street www.lecheilenyc.com • Spoonfed New York Country 331 W. 51st Street Subway: 1, 2, 3 to 72nd Street • Le Poisson Rouge 158 Bleecker Street (646-368-1854) Subway: C, E to 50th Street www.spoonfednyc.com • City Winery 155 Varick Street (212-228-4854) Subway: A, B, C, D, E, F, V to W. 4th Street • Stern Auditorium at Carnegie Hall 881 Seventh Avenue (212-608-0555) Subway: 1 to Houston Street www.citywinery.com www.lepoissonrouge.com (212-247-7800) Subway: N, Q, R, W to 57th- Seventh Avenue • Cleopatra’s Needle 2485 Broadway (212-769-6969) • Legion Bar 790 Metropolitan Avenue www.carnegiehall.org Subway: 1, 2, 3 to 96th Street www.cleopatrasneedleny.com (718-387-3797) Subway: L to Graham Avenue www.legionbrooklyn.com • The Stone at The New School 55 West 13th Street • Club Bonafide 212 E. 52nd Street (646-918-6189) Subway: 6 to 51st Street; • Local 802 322 W. 48th Street between Eighth and Ninth Avenues (212-229-5600) Subway: F, V to 14th Street www.thestonenyc.com E, V to 53rd Street www.clubbonafide.com (212-245-4802) Subway: C to 50th Street www.jazzfoundation.org • SubCulture 45 Bleecker Street • Cornelia Street Underground 29 Cornelia Street (212-989-9319) • Louis Armstrong House 34-56 107th Street, Queens (212-533-5470) Subway: 6 to Bleecker Street www.subculturenewyork.com Subway: A, B, C, D, E, F, M to W. 4th Street www.corneliastreetcafé.com (718-478-8274) Subway: 7 to 11th Street www.satchmo.net • Sugar Hill Children’s Museum of Art and Storytelling • The Cutting Room 44 E. 32nd Street • Manderley Bar at the McKittrick Hotel 530 W. 27th Street 898 St. Nicholas Avenue (212-335-0004) (212-691-1900) Subway: 6 to 33rd Street www.thecuttingroomnyc.com (212-904-1883) Subway: C, E to 23rd Street www.sleepnomorenyc.com Subway: C to 155th Street www.sugarhillmuseum.org • Damrosch Park at Lincoln Center Broadway and 62nd Street • Manna House 338 E. 106th Street between First and Second Avenues • Sunnyside Reformed Church 48-03 Skillman Avenue Subway: 1 to 66th Street (212-722-8223) Subway: 6 to 103rd Street (718-426-5997) Subway: 7 to 52nd Street • De Construkt 41 Seabring Street, 3rd Floor • Marcus Garvey Park 120th Street between Mt. Morris Park and Madison www.sunnysidenyc.rcachurches.org (617-417-3899) Subway: F, G to Carroll Street www.de-construkt.com (212-201-PARK) Subway: 2, 3, 4, 5, 6 to 125th Street • Swing 46 349 W. 46th Street (646-322-4051) • The DiMenna Center 450 W. 37th Street • Metrotech Commons corner of Flatbush and Myrtle Avenues Subway: A, C, E to 42nd Street www.swing46.com (212-594-6100) Subway: A, C, E to 34h Street-Penn Station (718-488-8200) Subway: A, C, F to Jay Street/Borough Hall • Symphony Space Bar Thalia, Leonard Nimoy Thalia, www.dimennacenter.org • Mezzrow 163 W. 10th Street Peter Jay Sharpe Theatre 2537 Broadway at 95th Street • Dizzy’s Club Broadway at 60th Street, 5th Floor (212-258-9800) (646-476-4346) Subway: 1 to Christopher Street www.mezzrow.com (212-864-5400) Subway: 1, 2, 3 to 96th Street www.symphonyspace.org Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.jazz.org • Michiko Studios 149 W. 46th Street, 3rd Floor • Tomi Jazz 239 E. 53rd Street • The Django at The Roxy Hotel 2 Sixth Avenue (212-519-6600) (212-302-4011) Subway: B, D, F, M to 47-50 Streets (646-497-1254) Subway: 6 to 51st Street www.tomijazz.com Subway: A, C, E to Canal Street; 1 to Franklin Street www.michikostudios.com • Tompkins Square Park 7th to 10th Streets between Avenues A and B www.thedjangonyc.com • Milk River Café 960 Atlantic Avenue (212-387-7685) Subway: F, V to Second Avenue; 6 to Astor Place • Dominie’s Astoria 34-07 30th Avenue Subway: N, Q to 30th Avenue (718-636-8600) Subway: C, S to Franklin Avenue • Town Hall 123 W. 43rd Street • The Douglass 149 4th Avenue www.milkriverbrooklyn.com (212-997-1003) Subway: 7, B, D, F, M to 42nd Street-Bryant Park (718-857-4337) Subway: R to Union Street www.thedouglass.com • Minton’s 206 W. 118th Street (between St. Nicholas Avenue and www.thetownhall.org • Downtown Music Gallery 13 Monroe Street (212-473-0043) Adam Clayton Powell Jr. Blvd) (212-243-2222) Subway: B, C to 116th Street • Trans Pecos 915 Wyckoff Avenue, Ridgewood Subway: F to East Broadway www.downtownmusicgallery.com www.mintonsharlem.com Subway: L to Myrtle/Wyckoff Avenue www.thetranspecos.com • Drom 85 Avenue A • MIST 40 W. 116th Street Subway: 2, 3 to 116th Street www.mistharlem.com • Triad Theater 158 W. 72nd Street, 2nd floor (212-777-1157) Subway: F to Second Avenue www.dromnyc.com • Mona’s 224 Avenue B Subway: L to First Avenue (212-362-2590) Subway: 1, 2, 3 to 72nd Street www.triadnyc.com • The Duplex 61 Christopher Street • Muchmore’s 2 Havemeyer Street • Tribeca Performing Arts Center 199 Chambers Street (212-255-5438) Subway: 1 to Christopher Street www.theduplex.com (718-576-3222) Subway: L to Bedford Avenue (212-220-1460) Subway: A, 1, 2, 3 to Chambers Street www.tribecapac.org • The Ear Inn 326 Spring Street at Greenwich Street (212-246-5074) • Murmrr 17 Eastern Parkway • Troost 1011 Manhattan Avenue Subway: C, E to Spring Street www.earinn.com (516-510-1477) Subway: 2, 3 to Eastern Parkway www.murmrr.com (347-889-6761) Subway: G to Greenpoint Avenue www.troostny.com • El Museo Del Barrio 1230 Fifth Avenue at 104th Street • National Sawdust 80 N. 6th Street • Turnmill NYC 119 East 27th Street (212-831-7272) Subway: 6 to 103rd Street www.elmuseo.org (646-779-8455) Subway: L to Bedford Avenue www.nationalsawdust.org (646-524-6060) Subway: 6 to 27th Street www.turnmillnyc.com • El Taller LatinoAmericano 225 W. 99th Street • Neighborhood Church of Greenwich Village 269 Bleecker Street • Village Vanguard 178 Seventh Avenue South (212-255-4037) (212-665-9460) Subway: 1, 2, 3 to 96th Street (212-691-1770) Subway: A, B, C, D, E, F, V to W. 4th Street www.ncgv.net Subway: 1, 2, 3 to 14th Street www.villagevanguard.com • Fat Cat 75 Christopher Street at 7th Avenue (212-675-6056) • New York City Baha’i Center 53 E. 11th Street (212-222-5159) • Walker’s 16 North Moore Street (212-941-0142) Subway: A, C, E to Canal Street Subway: 1 to Christopher Street/Sheridan Square www.fatcatmusic.org Subway: 4, 5, 6, N, R to 14th Street-Union Square www.bahainyc.org • The Well 272 Meserole Street • The Flatiron Room 37 W. 26th Street • Nhà Minh 485 Morgan Avenue (347-338-3612) Subway: L to Montrose Avenue www.thewellbrooklyn.com (212-725-3860) Subway: N, R to 28th Street www.theflatironroom.com (718-387-7848) Subway: L to Graham Avenue • Williamsburg Music Center 367 Bedford Avenue, Brooklyn, NY • Flushing Library 41-17 Main Street • North Square Lounge 103 Waverly Place (212-254-1200) (718-384-1654) Subway: L to Bedford Avenue (718-661-1200) Subway: 7 to Main Street-Flushing www.queenslibrary.org Subway: A, B, C, E, F to West 4th Street www.northsquareny.com • Windsor Park Library 79-50 Bell Boulevard • Flushing Town Hall 137-35 Northern Boulevard, Flushing • Norwood Club 241 W. 14th Street (718-468-8300) Bus: Q46 Bus www.queenslibrary.org (718-463-7700) Subway: 7 to Main Street www.flushingtownhall.org (212-255-9300) Subway: A, C, E, L to 14th Street • Wonders of Nature 131 Grand Street • Forest Hills Stadium 1 Tennis Place • Nublu 151 151 Avenue C Subway: L to Bedford Avenue www.wondersofnaturebk.com (888-929-7849) Subway: E, F, M, R to Forest Hills-71st Avenue (212-979-9925) Subway: 6 to Astor Place www.nublu.net • Zinc Bar 82 W. 3rd Street www foresthillsstadium.com • Outskirts 254 Schenck Avenue (212-477-8337) Subway: A, B, C, D, E, F, M to W. 4th Street • Freddy’s Backroom 627 5th Avenue, Brooklyn (931-625-9833) Subway: C, J, Z to Van Siclen Avenue www.zincbar.com (718-768-0131) Subway: R to Prospect Avenue www.freddysbar.com www.eschatologyrecords.com/outskirts • Zürcher Gallery 33 Bleecker Street • Ginny’s Supper Club at Red Rooster Harlem 310 Malcolm X Boulevard • The Owl Music Parlor 497 Rogers Avenue, Brooklyn (212-777-0790) Subway: 6 to Bleeker Street; B, D, F to Broadway-Lafayette (212-792-9001) Subway: 2, 3 to 125th Street www.ginnyssupperclub.com (718-774-0042) Subway: 2, to to Sterling Street www.theowl.nyc www.galeriezurcher.com

THE NEW YORK CITY JAZZ RECORD | JUNE 2018 51 CHRIS BOTTI • ART GARFUNKEL GREGORY PORTER • AL DI MEOLA GORDON LIGHTFOOT • LETTUCE THE MANHATTAN TRANSFER EDDIE PALMIERI • TAB BENOIT SERGIO MENDES • ROBERT CRAY

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