NEW YORK October 2005 | No. 42 Your FREE Monthly Guide to the New York Jazz Scene newyork.allaboutjazz.com

A Bowl full of Don Cherry

George Lewis • Taso Music • Saint Peter’s • Benoît Delbecq • Event Calendar piano by

WORLD’S FINEST JAZZ CLUB & RESTAURANT • 131 W 3RD ST NYC • 212 475-8592 • WWW.BLUENOTEJAZZ.COM

SUNDAY JAZZ BRUNCH • 12:30&2:30PM MASTER CLASS • SAT OCT 8 2PM • DAFNIS PRIETO MONDAY NIGHTS • 8 & 10:30PM COMBO NUVO Oct 2 LATE NIGHT GROOVE SERIES • 12:30AM JOHN ELLIS Oct 3 SAYURI GOTO TRIO FEAT: LONNIE PLAXICO & GENE JACKSON Oct 9 CATÉ Fri Sept 30 BIG BROOKLYN RED Sat Oct 15 NEW SOUND OF SOUL JAZZ SERIES JEREMIAH Oct 10 AVI BORTNICK & CORNPONE Sat Oct 1 BRIAN HAAS OF JFJO Fri Oct 21 JUN MIYAKE QUARTET FEAT: REGGIE WORKMAN Oct 16 DEBORAH DAVIS SINGS STEVIE WONDER Fri Oct 7 w/BENEVENTO/RUSSO DUO & FRIENDS JJ SANSEVERINO Oct 17 RE-IMAGINING TOM WAITS Sat Oct 8 ED CHERRY Sat Oct 22 MIKI HAYAMA QUARTET Oct 23 FEAT: CARLTON J. SMITH RUDRESH MAHANTHAPPA Oct 24 BEATBOX JAZZ feat: BABA ISRAEL,Fri Oct 14 ADAM DEITCH PROJECT Fri Oct 28 HIRONOBU SAITO W/DOMINICK FARINACCI Oct 30 KID LUCKY,JASON LINDNER & MORE JIM PAYNE BAND Sat Oct 29 NEW SOUND OF SOUL JAZZ SERIES SELAN Oct 31 NEW YORK MILAN TOKYO OSAKA NAGOYA NEW YORK

New York@Night Recent tragic events in the Gulf Coast region of the United States have 4 demonstrated both the good and bad sides of jazz. Good because of the numerous Interview: George Lewis benefits held throughout the city in September, continuing into the coming months no doubt, to provide relief to the residents of the stricken area. Jazz is a 6 by Brian Lonergan music with a long history and everyone knows New Orleans’ place in that Artist Feature: Benoît Delbecq lineage. It is heartening to see musicians of every stripe and genre take time to assist in what ways they can. by Ethan Iverson 7 However, on a national scale, the downside to the tragedy, and this is a Label Spotlight: Taso Music quibbling argument in this time of real human suffering, is what it takes for jazz 8 by Elliott Simon as an art form and part of American history to come into the forefront of this country’s consciousness. When submerged under water is when people finally Club Profile: Saint Peter’s begin speaking of the legacy of New Orleans as the birthplace of jazz and the by Andrew Veléz shame it is to have it be seemingly destroyed. How long will this love affair with jazz last? Not too long one imagines. Will it translate into a higher awareness and On The Cover: Don Cherry appreciation of this unique American contribution to world culture? Whether 9 by Clifford Allen New Orleans ends up rebuilt and revitalized or possibly is never the same again, jazz will remain submerged under the weight of public indifference. A few Megaphone VOX News specials on mainstream television with dixieland soundtracks will hardly change 10 by Mark Samuels by Tessa Souter the situation. Even Wynton Marsalis, New Orleans’ most famous son, must find it bittersweet that he was approached to discuss his city’s rich heritage by Encore: Noah Howard primetime TV news programs only after it was nearly obliterated. 11 by Andrey Henkin But we should think of this only briefly as we continue to help. There will be many more opportunities to go to a benefit concert and we should all consider Lest We Forget: Ted Dunbar ourselves lucky we can have the double pleasure of seeing great music and by Donald Elfman helping those less fortunate than ourselves. New Yorkers know about survival. Let’s take time to return the favor the rest of the country did for us when we were 12 Listen Up! Matt Brewer & Jason Rigby the focus of national attention. Festival Charlie Parker • Tanglewood • Williamsburg 13 Report: Laurence Donohue-Greene, Managing Editor Andrey Henkin, Editorial Director CD Reviews: Pharoah Sanders, Charlie Haden, Charles Tolliver, On the cover: DON CHERRY at Symphony Space, 06-08-1991. Photograph © 1991 Linda Vartoogian/FrontRowPhotos. 14 Vinny Golia, Either/Orchestra, Roswell Rudd, Tim Berne & more Correction: In the Jacques Coursil article, Mr. Coursil wishes to retract statements Event Calendar made about ESP Records and Marion Brown regarding an unissued session. The 36 opinion, thought at the time, may have been erroneously misconstrued as fact by readers of the article and could hurt two fine gentlemen and old friends. In the Agrazing Maze CD review last issue, drummer/leader Allison Miller was not fully Club Directory identified by name; In the Andrea Wolper CD review, Victor Lewis is not properly 41 credited as drummer on several tracks; In the Dave Liebman CD review, the PM website should have been www.pmrecords.org. Miscellany In Memoriam • Birthdays • On This Day 43 Submit Letters to the Editor at newyork.allaboutjazz.com U.S. Subscription rates: 12 issues, $25. (International: 12 issues, $35) For subscription assistance, send check, cash or money order to the address below. AllAboutJazz-New York A Publication of AllAboutJazz.com Managing Editor Laurence Donohue-Greene Mailing Address AllAboutJazz-New York Editorial Director & Production Andrey Henkin 116 Pinehurst Avenue J41 Publisher Michael Ricci New York, NY 10033 Staff Writers David Adler, Clifford Allen, Rico Cleffi, Ty Cumbie, P. Christopher Dowd, Donald Elfman, Sean Fitzell, Ken Franckling, Advertising Sales Laurence Donohue-Greene Kurt Gottschalk, Mike Holman, Terrell Holmes, [email protected] Riel Lazarus, Francis Lo Kee, Brian Lonergan, Russ Musto, Javier Antonio Quiñones Ortiz, Event Listings Andrey Henkin Brandt Reiter, Joel Roberts, Andrew Rowan, Elliott Simon, Tessa Souter, Jeff Stockton, [email protected] Celeste Sunderland, Andrew Veléz, Flo Wetzel Contributing Writers Ernest Barteldes, Chris DiGirolamo, Printed by Expedi Printing, Brooklyn, NY Thomas Greenland, Marcia Hillman, Ethan Iverson, George Kanzler, Mark Samuels

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

ALLABOUTJAZZ-NEW YORK | October 2005 3 NEW YORK @ NIGHT

The Brian Blade Fellowship has a way of reminding Trombonist Steve Swell and Berlin multi-reed one why music (not just jazz) matters. Gigging and specialist Gebhard Ullmann took to the new recording infrequently, the group has nonetheless impressive Brecht Forum space (Sep. 16th) by bringing moved many with its cathartic mini-symphonies, so in the quartet from their recent CD (Desert Songs & Through Oct. 2: FREDDIE HUBBARD AND this Village Vanguard engagement was hotly Other Landscapes, CIMP) with drummer Barry Altschul THE NEW JAZZ COMPOSERS OCTET anticipated. With saxophonist Chris Cheek standing in and 3-stringed (one broke) upright bassist William for Melvin Butler, Blade’s lineup was otherwise close Parker (replacing Hilliard Greene). The comfortable Oct. 5-9: PHAROAH SANDERS QUARTET to that of the 2000 classic Perceptual: Myron Walden on first floor, though open loft-like, space naturally alto, Kurt Rosenwinkel on guitar, Christopher Thomas reverberated the acoustic performance, the double Oct. 12-16: ROY HAYNES on double bass and Jon Cowherd, who has composed horn frontline forcefully lambasting echoed runs one a good deal of the band’s book, on piano. (Alas, there moment, delicately and dynamically whispering notes Oct. 19-23: DAVE WECKL BAND was no pedal steel player.) The first Thursday set (Sep. off the floors and walls the next. Forthright in their Oct. 26-30: KENNY GARRETT QUARTET 1st) opened with a majestic piano intro, paving the solos, uptempo and ballad alike - Ullmann and Swell’s way for involved alto/tenor/guitar orchestration and thick, dynamic harmonies melded seamlessly, gripping solos by Walden and Rosenwinkel. showing why trombone and tenor have had such a Accompanying these flights, as well as Cheek’s finely lucrative relationship in jazz. For this group, Ullmann calibrated statement on the next number, Blade consciously and impressively showcases his flexibility EVERY WEDNESDAY: ED PALERMO BIG BAND seemed to read every mind on the bandstand, and expertise on tenor over his other “first” THE MUSIC OF FRANK ZAPPA accenting micro and macro gestures with controlled instrument - the bass clarinet, which he interestingly fire. But “Evinrude-Fifty (Trembling)” and “Variations plays very tenor-like, focusing primarily and uniquely EVERY SUNDAY: of a Bloodline”, both from Perceptual, were the on the mid-range and altissimo register. He did, Gospel Jazz Brunch with centerpieces. “Variations” began with a bass clarinet/ however, commonly switch between them, creating BISHOP NATHANIEL TOWNSLEY, JR. AND THE GOSPEL JUBILEE harmonium intro, identified by Ben Ratliff in the Times suite-like multi-movement compositions. Reminiscent as “Alpha and Omega” - although it closely paralleled of the NY Art Quartet (particularly Swell’s brassy “The Sunday Boys”, an interlude that preceded Roswell Rudd roots and Altschul’s Milford Graves- “Variations” on the album. Blade changed the scenery like multi-rhythmic expertise), this quartet’s tight with subtle hand-drumming and though one could heads and arrangements, intertwining improvisations hear a pin drop, the music could not have grooved around highly structured pieces, demanded harder. - David Adler undivided attention. - Laurence Donohue-Greene ht ySotFriedlander Scott by Photo Photo by Jacob Blickenstaff Brian Blade at the Village Vanguard, Sep. 1st Gebhard Ullmann and Steve Swell at Brecht Forum, Sep. 16th

For five years running, the Jazz Gallery has presented With a proliferation of weekly jazz vocal series “The Trumpet Shall Sound”, a series pairing Roy throughout the city since Chez Suzette’s demise a few Hargrove with a different fellow trumpeter each years back, Sweet Rhythm’s Tuesday series curated by night. This September marked the Gallery’s 10th year our very own Tessa Souter is second to none (with as a live music venue, a circumstance heralded by Fred Hersch’s Mondays at Jazz Standard close several marquee names. Darren Barrett, Claudio behind). On Sep. 6th , Kingston, NY-based vocalist Roditi, Tom Harrell, Nicholas Payton and Marcus Teri Roiger brought in her rhythm section of vocal- Belgrave all joined Hargrove and a house rhythm accompanying veterans (pianist Frank Kimbrough, section - pianist Danny Grissett, bassist Reuben bassist/husband John Menegon and drummer Matt Rogers and drummer Greg Hutchinson. Being a New Wilson) to the Greenwich Village club to perform Orleanian, Payton almost had to cancel, so his selections from her newly released CD (Still Life, appearance (Sep. 10th) had a certain post-Katrina Moki). Roiger’s selection of such material by Mingus, resonance. Hargrove nudged the band into a Dewey Redman and Abbey Lincoln is precipitous “Alone Together”, took the first solo and commendable and her treatment of each syllable is provoked alert responses from the drums. Payton performed like an instrumental note progression. Case followed, displaying a bit more presence and agility; and point was Roiger’s rendition of Lincoln’s “Throw his angular approach to the form’s two extra bars It Away”, which remained in my head long thereafter drew cries of delight from the musicians in the house; her performance. Her smoky, human voice of His lines were no less adventurous on “Stablemates”. experience versus the more common schooled - Payton chose for a quartet feature Donald Byrd’s though cold - approach is a relief to hear. I dare say upbeat “Fly Little Bird Fly”, packed with chord Roiger is to Abbey Lincoln what Carol Sloane is to the changes that flattered the Mulgrew-esque Grissett. inherited legacy of Carmen McRae and not in the Hargrove’s feature, on fluegelhorn, was “I Fall in Love imitative sense of the niche Madeleine Peyroux has Too Easily”, played with a glowing, understated tone. created in recreating Billie Holiday’s delivery and The finale, a modified minor-blues original, began style, but in a more genuine and even inspirational with stormy rubato swells and soon launched into a sense. Teri Roiger’s the real item. And could a singer blistering 4/4 swing. In one of the set’s most ask for a stronger, more empathetic, flexible and engrossing turns, Hargrove took his first few choruses creative rhythm section than the one she has in with nothing but the bass behind him. (DA) Kimbrough, Menegon and Wilson?! I think not. (LDG)

4 October 2005 | ALLABOUTJAZZ-NEW YORK When Quest - saxophonist Dave Liebman, pianist Jazz at Lincoln Center hosted a gala benefit concert at Richie Beirach, bassist Ron McClure and drummer Rose Hall Sep. 17th to raise funds for Higher Ground Billy Hart - reunited at Birdland (Sep. 15th, playing to aid the New Orleans music community devastated their first show since 1991), they were under the by Hurricane Katrina. Crescent City favorite son watchful eye of the President of Portugal and his Wynton Marsalis initiated the program with his septet contingent of security guards (in town for the UN coming to the stage clapping their hands and Summit). Despite such heady audience members, the stomping their feet on his “Ain’ No”. Renee Fleming quartet showed very quickly why they were such a and Mark O’Connor opened with “Amazing Grace”, New York favorite a couple of decades ago. Liebman followed by Shirley Ceasar’s spirituals medley, and Beirach, conspirators since the ‘70s, have a special providing a reverent tone before Aaron and Art connection, Liebman’s bravado tempered by Beirach’s Neville rocked the house with Professor Longhair’s delicacy. Liebman spent much of the evening on tenor “Go To The Mardi Gras”. Herbie Hancock relevantly surprisingly, making the proceedings particularly performed his “Eye of Hurricane”. energetic. “Softly as in a Morning Sunrise” featured Vocalists Diana Krall, Norah Jones and Peter tasty punctuations to Liebman’s leads by Hart. “For Cincotti represented the pop side of jazz while Abbey All We Know” was one of a few opportunities to hear Lincoln, Jon Hendricks, McCoy Tyner, Marcus Roberts Beirach, who makes very few stateside appearances, and Joe Lovano with Idris Muhammed held forth for play unaccompanied. “Elm”, a tribute to Beirach’s late the mainstream. New Orleans trumpeters Irvin collaborator, Polish violinist Zbigniew Seifert, Mayfield, Terence Blanchard, Marlon Jordan (plus featured a classical-inspired melody and an intriguing siblings Kent, Rachel and Stephanie) and Wynton shift into a faster tempo. The final piece of the evening (with the Marsalis Family Band) demonstrated the was also its highlight. Wayne Shorter’s “Footprints” wide range of music that emanates from their has been almost done to death as a melancholy ballad. hometown. Paquito D’Rivera performed “Havana Quest subverted its somberness by switching the Blues” with Arturo O’Farrill and the AfroLatin tempo throughout, creating an angular tension to the Orchestra, pointing to New Orleans’ Caribbean roots. piece, often playing it in double time. It was here that Cassandra Wilson hauntingly sang “Come Sunday” Hart had an opportunity to demonstrate his with the LCJO before Marsalis returned to close with incomparable technique, both solo and in duet with his band leading the exuberant parading audience Liebman. - Andrey Henkin dancing through the hall. - Russ Musto ht yFakStewart Frank by Photo Photo by Andrey Henkin Quest at Birdland, Sep. 15th Jazz at Lincoln Center Hurricane Katrina Benefit, Sep. 17th

As a precursor to the season of Jewish High Holidays, Artists associated with the Vision Festival came Michael Dorf organized his second annual New York together for a benefit for the artists of New Orleans at Jewish Music & Heritage Festival. The theme of the the Angel Orensanz Center Sep. 20th. The first half of opening night concert was “Great Jewish Artists the marathon concert included performances by the perform Great Jewish Composers”. Seven acts were Little Huey Creative Music Orchestra, John Zorn’s each given about 15 minutes at the 92nd Street Y (Sep. Masada Quartet, Matthew Shipp’s trio plus dancer 13th) to fête a Jewish composer of their choice. The Patricia Nicholson, Bill Dixon playing solo trumpet Klezmatics on Randy Newman in a klez-meets- and the ensemble of Oliver Lake, Ahmed Abdullah, country affair was unconvincing as the tunes had Ted Daniel and Cooper-Moore with guest poet Amiri klezmer sections perfunctorily added. Uri Caine Baraka. Muhal Richard Abrams addressed the packed played a solo version of “Fanfare for the Common house (but declined to play the out-of-tune piano). Man” by Aaron Copland that was rollicking and New Orleans avant garde godfather Kidd Jordan gorgeous. Marc Ribot was supposed to focus on Billy was joined by Kali Z Fasteau, Clyde Kerr, Henry Joel but he began his segment saying he would add Grimes and Hamid Drake for a set that moved from Mozart since new scholarship indicates that the Aylerish interplay to eastern-influenced microtonal composer might have been Jewish. The following intensity. Tri Factor (Kahil El’Zabar, Hamiet Bluiett medley of “I Love You Just the Way You Are” and and Billy Bang) accompanied Quincy Troupe’s “Don Giovanni” was fractured and almost farcical, cadenced poetry reading and then played a powerful Ribot improvising lyrics over the operatic theme. The instrumental set. Jordan returned for a set with Roy melodies were barely recognizable but the crowd Campbell, Charles Gayle, Dick Griffin and William seemed to appreciate Ribot’s tongue-in-cheek Parker with Hamid Drake and Andrew Cyrille approach. Of the performers relevant to this (sharing the drum kit) that prompted a standing publication, the most successful of the evening was ovation. Deborah Harry joined the Jazz Passengers for Pharoah’s Daughter, led by Basya Schecter, playing an entertaining set and the pairing of indie rockers Yo Carly Simon. “Haven’t Got Time for the Pain”, “You’re La Tengo with Other Dimensions in Music (Roy So Vain” and “Let the River Run” were transformed Campbell, Daniel Carter, Sabir Mateen, William into middle eastern jaunts, a new sound for Parker and Rashid Bakr) was surprisingly successful. hippiedom. Perhaps 20 years from now, these The evening ended with the Passengers playing an We buy collections of Jazz, Modern performers will be celebrated in a similar way. (AH) encore with Elvis Costello. (RM) Classical, Avant-Garde - CDs &LPs !!!

ALLABOUTJAZZ-NEW YORK | October 2005 5 INTERVIEW

improvise along with the musicians. It’s simple in concept, there’s not much to it, but it’s not simple to create. To have the computer operate more or less in the same space as the musicians, exchanging George information… The idea is that improvisation in music, or in any domain, is a matter of exchange - exchange of sound, exchange of personal and cultural narrative, exchange of histories and so on… Music gets exciting to me when I can empathize with people who are doing it. That’s why I like improvisation so much, because there’s a sense of empathy and you can place yourself inside the other person’s consciousness and Lewis you can be part of them and try to plumb their motivations. Otherwise it just becomes a lot of cool sounds and that doesn’t interest me. And so as a composer and computer-music programmer, my job is by Brian Lonergan to create environments where the computer makes

Photo by Peter Gannushkin/DOWNTOWNMUSIC.NET mostly decisions that seem plausible and try to reduce the number of bonehead moves that it makes. After a nearly 20-year absence, trombonist George Lewis “George, you just don’t know”, which may be true, but has recently returned to New York City to live and work as it appears to me that I see more different kinds of AAJ-NY: It’s interesting you speak of empathy, the Edwin H. Case Professor of Music at Columbia people. I see more women, I see more people whose because I think we tend to think about computers as University. An active composer and improviser with a deep first language is not English. I don’t see the black- impersonal and cold. interest and vast experience in computer music, Lewis has white binary being as important as it was in the ‘70s… been a member of the Association for the Advancement of On the other hand, I don’t think we’ve reached the GL: Well, I don’t know about “we” but I don’t think Creative Musicians (AACM) for more than three decades state of nirvana yet in that regard. about them that way, but maybe there is a “we” that and in 2002 was named a MacArthur Fellow. He is thinks that way [laughter]. currently finishing a book on the history of the AACM and AAJ-NY: Returning to your being a MacArthur AAJ-NY caught up with Lewis recently in his office at “genius”, how did that recognition affect your career - AAJ-NY: I’ll be more careful about my pronouns. Columbia. did it allow you to focus on something you hadn’t been able to previously? GL: No, please, it’s great to hear the “we”! AllAboutJazz-New York: First of all, welcome back to New York - a little belated. GL: I think it really changed my consciousness, more AAJ-NY: Well, when I picture a few musicians playing than anything else. I mean there were certain projects together and a laptop across from them, I think of the George Lewis: Oh no, not at all. I snuck in anyway. I that it made easier, certain ideas that it made easier to humans as having more personality, warmth, was here a year before anyone noticed. think about. The main things were the mental empathy. (continued on page 42) resources. That is to say, I kind of felt much freer AAJ-NY: How does it feel to be back, compared to San suddenly and I’m not quite sure why. It was as if I Diego? were freed from a lot of things that had really been occupying me in unhealthy ways. GL: Well, I love San Diego. I kept my house there. I’m kind of a self-starter, I don’t need a lot of outside AAJ-NY: Doubts? stimulation. And to be frank, I was afraid of coming here because of the phenomenon of “killing the golden GL: Doubts? Well, what do I say - doubts are healthy I goose”. So many good things happened to me in San think… Suddenly, I wasn’t very worried about what Diego, like the MacArthur thing… people thought about my work; I just felt more empowered to go with what I was interested in. And I AAJ-NY: Congrats on being recognized as a “genius”. guess that’s a terrible thing to say, one should go with what one is interested in, in any event, but in the end GL: Yes, whatever that means [laughter]. it made it possible for me to feel much more open to change than I had been before. And I guess at this AAJ-NY: You were the music curator at The Kitchen moment I am, as the guy from Pulp Fiction says, “in a from 1980 to 1982. How has the creative and transitional period.” [laughter]. A lot of the things that improvised music scene changed in 25 years? I was doing before the award, I don’t want to do any more. There’s always an issue, when you become well GL: I don’t know if I want to comment on that. I mean, known for doing something, that you feel you have to I don’t know if there is a single creative and keep reproducing that… And at a certain point, you improvised music scene. It was certainly much less might want to be able to transform that “you” into a diverse then than it seems to be now… Although, if I totally different you. But that’s much more scary and had to comment on this one, my main observation much more difficult. The idea of computers and music, would be that, then as now, it’s a really serious of course, I retained that. struggle for survival. AAJ-NY: So when did your attention first turn to AAJ-NY: Economic survival? computers - in the ‘70s?

GL: Economically, but also just to get some attention. GL: Yes. Computers in the ‘70s were either It’s much more difficult now to get attention. Major mainframes in large institutions or people making organs of the press are far more corporate-controlled them on their own, putting them together out of spare than they used to be, much more aligned with large parts and I was part of the latter group. You taught institutions than they used to be… On the other hand, yourself how to do circuits and programming and all there’s the Internet, which didn’t exist then, there’s that. There were not Apples or PCs! various blogs that didn’t exist, there are a lot of independent publications, independent record and AAJ-NY: And so you’ve grown to use computers in DVD companies and online distribution of music. live performances? Another thing I find interesting - my impression of “the scene” is that it’s much less racially stratified than GL: Probably for close to 30 years now… I’ve been it was back then. This could be my total illusion - working for a long time basically trying to do someone will probably tell me when they read this, something very simple, which is to have the computer

6 October 2005 | ALLABOUTJAZZ-NEW YORK ARTIST FEATURE

and check out a different point of view. D

For more information, visit www.delbecq.net/bd/bd.html. Benoît Delbecq is at Jazz Gallery Oct. 4th-5th. See calendar. Recommended Listening: • François Houle/Benoît Delbecq - Nancali (Songlines, 1996-’97) • Jorrit Dykstra/Benoît Delbecq - European Echoes (BVHaast, 1995-’97) Delbecq • Benoît Delbecq - Pursuit (Songlines, 1999) • Benoît Delbecq/François Houle - Dice Thrown (Songlines, 2001) • Benoît Delbecq - Nu Turn (Songlines, 2001) • Benoît Delbecq - Phonetics (Songlines, 2003) by Ethan Iverson SteepleChase, Timeless, Stunt and Cope Photo by Sebastian Smith Classic and new recordings from Dexter Gordon (new box set!), Luminous harmony, intellectual rigor, and modernist never forget the acoustical thrust he radiated from the Pierre Dørge & New Jungle Orch. piano technique will be on display when French piano. He was a discreet and very funny man, and a (Live at Birdland), pianist Benoît Delbecq performs two nights early this master chess player.” Johnny Dyani, Peter Zak, month at Jazz Gallery. Although he has played Of course influences are there to be transcended Rich Perry, Harold Danko, improvised music festivals all over the world, these and Delbecq has worked hard to find his own voice. Ari Ambrose, Dick Oatts, will be his first New York solo performances. “What I think I may have understood from those Delbecq dramatically sets himself apart from giants is maybe 1% of their philosophy of freedom, Dave Ballou, Von Freeman, other jazz pianists by preparing the piano with objects especially in the way to organize rhythm. To obtain a Matt Wilson and Lee Konitz. in the John Cage tradition. “I use mostly curved bits of dialect of my own, I spent quite some time dried wood and erasers from all kinds of geographical improvising from sentences from both English and 1500 titles on CD origins. It started when I was a kid with a set of French literature. It gave me something to improvise Available from: mallets I built myself. Later, after I listened to and with on forms that don’t indicate a time division. So Stateside Distributors performed Cage’s “Sonatas and Interludes”, it felt like while my melodic statements - especially the starting 1-8888-7776-00436 a door opened to research new directions at the or ending points - appear to be randomly placed, [email protected] piano.” His solo recital Nu-Turn (Songlines) is full of they’re not. They are language. This is what you find and amazing prepared and unprepared sounds that marry in traditional musics from different regions of the J&R Records 23 Park Row NYC contemporary harmony with repetitive rhythm. planet - especially in Africa.” “I write tunes that include this idea of improvised Nu-Turn is one of three recent and exciting polymetrics, where combinations of rhythms and Delbecq releases on Songlines. Both Pursuit (1999) and melodic fragments are expressed in different layers. Phonetics (2003) are virtuosic ensemble records Playing this kind of language is like sewing within a featuring interesting mixes of talented improvisers. precise pattern. It can get somewhat trance-like: in a Pursuit has the dual horns of Michael Moore and way, I’m looking for some kind of imaginary folklore.” François Houle and another frequent Delbecq When it was suggested to Delbecq that there is collaborator Steve Arguelles on drums and electronics something African in his compositions, his immediate (Arguelles and Delbecq have a duo called PianoBook response was “It is definitely African-inspired, since I where the piano is constantly processed.) It also has avoid a time division hierarchy. I let the fabric some of the finest recorded work of the great bassist develop itself and change pivots of time or and longtime Steve Lacy musical associate Jean- articulation…the fabrics of ‘In Lilac’ [the first track on Jacques Avenel. Nu-Turn] is centered on a 42/8 pattern, but I might The most recent disc, Phonetics, is even stronger, divide it along different options of time division - say with Mark Turner (sax), Mark Helias (bass), Oene Van a triplet feel or a 5/8 feel, etc. which extends the cycles Geel (viola) and Emile Biayenda (drums). The consequently. Sometimes, I suddenly shift from one to complicated yet charismatic compositions are played another division and this might happen in the middle very well, even though the band had only a couple of of a melodic phrase…in the end, it is quite free.” days to rehearse, perform and then record. “It was a Remarkably, there was no over-dubbing and challenge to anticipate the musical directions, since we virtually no editing on Nu-Turn. five have very different stories to tell. I intuited that Delbecq is always eager to talk about his there were more than merely promising connections influences. From the classical world (in addition to, between our approaches. I tried to fish those out and obviously, Cage) there is Gyorgy Ligeti. “When I hide them at the same time. This set of 9 or 10 tunes decided to go back to written piano music studies in took me the longest time to write…probably 18 ‘88, my main reason was a desire to play Ligeti’s months or so. I could imagine the blend of tenor sax marvelous piano etudes, which are influenced by and viola pretty well and I could bet with no risk on traditional Pygmy music. I then improvised off the how Mark Helias would anchor the sound and the ideas of each etude and no doubt you can still hear it breath of the band. Emile on drums was a key-point: I in my playing. Ligeti is also one of the rare have toured with him and Jazz Mic Mac the whole contemporary music giants to express enthusiasm for Central African region in ‘94. As a child, he learned to jazz or Afro-Cuban music.” play drums in Brazzaville, Congo, learning some of Ed And from jazz he cites Thelonious Monk, Mal Blackwell’s or Max Roach’s playing from records at Waldron, Ornette Coleman, Cecil Taylor and Steve the same time as he was becoming a master drummer Lacy. “Monk first, because my dad had many records of his wonderful folklore. Prior to the recording, Emile of his and I’ve always heard Monk’s music at home. I and I rehearsed quite some time to find a nice remember the day he died: there was a special about rhythmic feel for some key ideas - no doubt it made him on the French TV news. It was the first time I had the whole project more comfortable!” seen him play - such an earthquake! Later I studied It is still far more difficult for a French musician quite a lot with Mal Waldron in Paris. His playing in to play in New York than vice versa and Benoît the late years was more and more trance-like, just like Delbecq is a forward thinking musician who deserves he had placed all the undesired elements of his this city’s attention. Let’s hope that connoisseurs and playing in a locked box. His feel was so personal. I can the curious-minded alike come out to hear him live

ALLABOUTJAZZ-NEW YORK | October 2005 7 LABEL SPOTLIGHT

Rek is comfortable pumping out a danceable musicians who respect me as a musical partner thus rhythm or matching improvisational skills with the providing a platform for understanding on the stage Taso Music likes of world class reedmen John Tchicai and Charlie and in the studio.” Berger, a seminal avant gardist Mariano. He adds to this a magic bow that expresses who co-founded the Creative Music School with by Elliott Simon delicate nuance or sets up wild harmonics. Tchicai is Ornette Coleman, is stunning in combination with very much aware of Rek’s special qualities: “Vitold Rek. Their mastery of time and tone is evident on the The globalization of jazz has long been a reality and Rek and I have a telephatic connection when we play unhurried classically driven “Gabissimo” and the fun its subsequent contact with ethnically diverse folk and he is my preferred doublebassist. Compared to up-tempo “Imaginary Drums”. Berger greatly enjoyed idioms has often produced exciting and creative other bassists that I know, his abilities are hard to the duet format: “I love playing duets because of the music. This special synergy is no better showcased match in terms of his musicality, his tone and the pitch conversational situation: responding to one impulse at than on recent offerings from Taso Music. A Germany- accuracy he maintains. His bowing is superb... I like a time, a real give and take, just like a great based label, Taso has at the heart of its releases Polish his compositions and his roots in the Polish folklore conversation on a theme that leads to some results, born bassist Vitold Rek’s desire for artistic freedom and I think that concerning the lyricism in his music something new.” and compositional innovation. In keeping with the and in my music we are very similar.” While seeking out musicians who respect him as a current trend of artist-owned labels, Taso has allowed Somewhat ironically, at the same time that many colleague, Rek also appreciates their uniqueness, “The Rek to join with musicians of his own choosing to baby-boomer musicians in this country rediscovered artists must have their own musical personality and present his compositions in unique and artistically their Eastern European musical roots, a move to language... For me Tchicai has an unorthodox way of inventive settings. Rek feels that this trend is a result Germany from his native Poland cultivated Rek’s playing and composing which is always very fresh and of the major labels disinterest in creativity: “...the big appreciation for his own Polish musical heritage. With inspiring. Mariano always interprets my music labels are only looking for profit, squeezing out The Polish Folk Explosion that features the folk perfectly without any explanations and brings the artistic innovation. Producing your own music is a ensemble Kapela Resoviana with Mariano, Tchicai, the music to a higher level on his depth of experience. I way of keeping it alive.” Through his combination of late trombonist Albert Mangelsdorff and drummer admire Berger’s open and free interpretation of deep intercultural richness, classical precision and jazz Gilbert Matthews, Rek effectively melds the musical written music and his going into unexplored musical style, Taso’s ventures have turned into soulfully diversity of Southeastern Poland with world jazz. regions.” Rek’s bass and sense of folkloric satisfying sessions. It also doesn’t hurt that Rek is, Duets are the order of the day on 2 X 2 as Rek is compositional style can also be a powerful quartet quite frankly, an incredible bassist who, no matter paired with Tchicai or Karl Berger. Portrayed as a centerpiece as evidenced by Opus Absolutum. Charlie what the format, amazes with his instrumental series of conversations, Rek alternately chats with Mariano’s alto and flute are combined with Martin virtuosity. In the words of pianist/vibist Karl Berger, Tchicai’s bass clarinet and tenor sax or Karl Berger’s France’s drums and Vladislav’s Sendetzki’s piano to “Vitold could be a classical virtuoso if he wanted to piano and vibraphone. Rek has chosen his musical produce a structured and commanding sound. be.” cohorts carefully and in his words “They are all To truly experience Taso in the purest sense, Rek’s Bassfiddle alla Polacca is required listening. A reflection of polyglot southeast Poland and its music, it brings together Polish, Romany and Yiddish influences into a single instrumental triumph. Through varied tempo and touch while alternating plucking and bowing Rek is able to be true to both the ethnic base of his writing and at the same time produce modern jazz. (continued on page 42) 2x2 Tchicai/Rek/Berger The Polish Folk Explosion Vitold Rek Bassfiddle alla polacca Vitold Rek

CLUB PROFILE

commissioned works of sacred music. Clark Terry, Payton. The entire proceeds of that evening will Saint Peter’s now 84, who led the first “All Nite Soul” with his big benefit musicians in New Orleans. band in 1970, will be returning this year to do it again. Over the years another tradition which has by Andrew Veléz Having a week-long celebration of jazz vespers evolved at Saint Peter’s is to conduct musicians’ was the idea of Reverend Dale Lind, Assistant Pastor memorial services. Among those celebrated have been If some of his parishioners may have considered jazz to the Jazz Community, who is co-chair of the event many great sidemen who died in obscurity as well as to be “the devil’s music”, the late Reverend John with producer, musicians’ manager and CUNY John Coltrane, Miles Davis, Phyllis Hyman, Billy Garcia Gensel, a fervent jazz lover and then-pastor of professor Andrew Rowan. Lind, a soft-spoken Strayhorn, Tommy Flanagan, Mary Lou Williams and Advent Lutheran Church at 93rd Street and Broadway, Maryland County native, sometime bartender and a Gerry Mulligan. For Mulligan, Lind recalls that thought otherwise. “Well then, why let the devil have former partner in the legendary club The Bitter End, ironically, the man who had a famous piano-less all the good music?” was his response. It was at has been associated with Saint Peter’s since he was quartet was celebrated by “three of the greatest Advent, more than 40 years ago, that he held the first fresh out of seminary in 1964. Lind helped Gensel to pianists ever, George Shearing, John Lewis and Dave jazz vespers. It is that occasion which will be start the Jazz Ministry, which Lind says “...was really Brubeck.” commemorated there with the opening of the first-ever based on John’s personal relationship with jazz It’s always a busy schedule at Saint Peter’s. For week-long “All Nite Soul Jazz Festival”. musicians and their being able to call on him any hour the past 22 years on every Wednesday there’s been The service that first evening will also be a special of the night or day. They gradually seemed to regard midday jazz in the church’s “living room”. Cabaret tribute to the late Ruth Ellington, sister of Duke him as their minister.” star Ronny Whyte co-ordinates this series. That season Ellington. Through her, Gensel and her brother A jazz vespers worship service is conducted every was recently kicked off by Barbara Carroll, (with Jay developed a close friendship that grew to Ellington Sunday at 5 pm. The music is jazz, sometimes original Leonhart), as she has done for many years. It’s also consulting with him about sacred music. She also music and sometimes standards on a theme of the day (continued on page 42) played a major role in helping Gensel to establish jazz connected to the lessons, with different musicians vespers as well as in supporting his efforts when he playing each week. “Musicians seem to love to play brought The Jazz Ministry downtown to Saint Peter’s here,” says Lind. “They’re delighted to have their Lutheran Church at 54th Street and Lexington Avenue, music being played in a church.” He doesn’t make a in the Citicorp Building. There it continues to thrive 35 distinction between secular and religious music, years later. saying simply, “Some vocalists think they have to sing In a gala fundraising week, set for October 2nd- ‘Come Sunday’. To me, ‘Stormy Monday’ is just as 9th, to support the church’s many jazz programs, Saint religious as ‘Come Sunday’.” Peter’s “All Night Soul Jazz Festival 2005” is The Assistant Music Director for Jazz Ministry, celebrating the first 40 years of its Jazz Ministry with Ike Sturm, himself a composer and bassist, is always live performances by jazz greats, documentary films looking for younger musicians and fresh faces to bring including Shepherd of the Night Flock (which is about “an array of different music” for the vesper services. Rev. Gensel), artwork and photography by jazz Among the notables he mentions as performing at the musicians such as Jeremy Steig and Joe Wilder, October 4th concert of sacred music and spirituals he’s tributes to women jazz legends and newly producing are John Patitucci and possibly Nicholas Francina Connors, Vocalist, Ike Sturm, Bass 8 October 2005 | ALLABOUTJAZZ-NEW YORK ON THE COVER

Born November 18th, 1936 near Oklahoma City, Don brought drummer Aldo Romano and Argentina-born high-pitched metallic tone that characterizes their Cherry began playing the trumpet at age 14 while tenorman Leandro “Gato” Barbieri with him from sound on Eternal Rhythm is more greatly a result of living in the Watts neighborhood of Los Angeles and Rome. “making do” than sonic intent. In the hands of listening intently to Fats Navarro’s work. In fact, Berger paints a picture of Cherry as one who another ensemble, one has to wonder whether it Cherry is quoted in the liner notes to Ornette functioned on a level completely beyond most other would have come off at all. Coleman’s Tomorrow is the Question (Contemporary, musicians; he carried a pocket-sized transistor radio For sure, Cherry’s integration of Indian, Arabic, 1959) as saying Navarro was “the only trumpet player with him wherever he went, listening to music from Chinese, European and African musics into a whole of I cared to copy my phrases from” (considering the world over, practicing tunes from Turkish folk which jazz was only a small fraction could have come Navarro’s penchant for fast smeared soundmasses, at no more proper a time - the interest among that is a logical comparison). Cherry worked regularly Photograph © 1990 Jack Vartoogian/FrontRowPhotos. American and European audiences in non-Western with revered Los Angeles tenorman George Newman music was fairly high and consequently Cherry’s during the mid ‘50s and also played piano in a group music gained great recognition. In the ‘70s, he with bassist Charlie Haden and drummer Lennie recorded for Atlantic and A&M and had a minor hit McBrowne (unfortunately, this group is not known to with “Brown Rice” as well as worked in small and have recorded). Cherry and drummer Billy Higgins large groups with South African pianist-composer were rehearsing with altoist Ornette Coleman (as were Abdullah Ibrahim, often featuring altoist Carlos Ward. Haden and drummer Ed Blackwell) who had been Nu, though not recorded to advantage, was one of trying unsuccessfully to get gigs in the area - in Cherry’s most fully integrated projects of the ‘80s, one Ornette’s experience “Don was the only trumpeter at that featured Ward, bassist Mark Helias and the time able to play [this] music.” Ornette, Cherry, percussionist Nana Vasconcelos as an extension of Haden and Higgins worked in Los Angeles at the both jazz and non-Western improvisational principles Hillcrest Club with Paul Bley, the tapes of which along folk lines, swinging decidedly to the left of became The Fabulous Paul Bley Quintet (America, 1972) either Old and New Dreams (the cooperative band and Coleman Classics (IAI, 1974). Shortly thereafter, the with tenorman Dewey Redman, Haden and Blackwell quartet attended the Lenox School of Jazz in that revisited the Ornette songbook) or his various Massachusetts under the direction of Gunther traditional music projects often heralded under the Schuller, where they came to the attention of Atlantic ‘multi-kulti’ banner, rather than as investigation of Records producers Nesuhi and Ahmet Ertegun - a improvisational art along worldwide folk principles, relationship which lasted through enough material for often set simultaneously. nine and a half records. Recording The Shape of Jazz to Cherry often spoke of the idea of "selflessness" Come in 1959, in fact, paid for the quartet’s trip east and of being "aboriginal", a concept which and a subsequent three-month engagement at the Five percussionist Adam Rudolph, curator of this month’s Spot somewhat fulfilled that promise. series of Don Cherry performances at The Stone and a By 1961, however, the quartet had disbanded, longtime collaborator of Cherry from 1978 until his with Cherry and Higgins going to work briefly in death in 1995, has taken to heart and mind. Cherry, of Sonny Rollins’ quartet. In the few years that followed course, never stayed in one place completely, the dissolution of the Coleman group, Cherry A B o w l f u l l o f spending time principally in Sweden, New York and underwent the difficulties that face a sideman in a California during the last two decades of his life, but noted, working ensemble striking out on his own as a musically his practice took him everywhere. leader - namely, keeping a group together as well as D o n C h e r r y Percussionist Bengt Berger, who played with Cherry trying to find one’s creative way. After an abortive by Clifford Allen frequently in Sweden, noted how Cherry’s curiosity session as a leader for Savoy, Cherry joined the New led him to teach Turkish drummer Okay Temiz and York Contemporary Five in Fall 1963, replacing music to the Beatles constantly and incorporating trumpeter Maffay Falay the fundamental principles of trumpeter Bill Dixon (suffering from embouchure them into his suites. Often, Cherry would show up to Turkish folk music by asking them to teach him their difficulties, Dixon remained the group’s chief concerts and rehearsals playing his wood flutes and musical culture (something that they had subsumed in arranger). This group, with reedmen Tchicai and with a slew of newly-found songs committed to their jazz studies, perhaps). But rather than learning to Archie Shepp, bassist Don Moore and drummer JC memory, leading the affably game ensemble through play the music of another region or culture by rote was Moses, had a successful run in Copenhagen, recording an hour-long suite, the themes of which may or may certainly far from Cherry’s mind; part of this two sessions for Sonet and two for Fontana (one sans not have been known beforehand. “aboriginalness” was an effort to gain a clearer Cherry) and featuring a number of compositions from While Berger and Barbieri eventually became window into oneself and one’s own creative Ornette’s book as well as Cherry’s own “Cisum” and ensconced in the New York scene, the former going on possibilities, that one can become more fully attuned “Consequences”. to form the Creative Music Studio at Woodstock in to one’s artistic personality by incorporating aspects of The Five disbanded in early 1964, with Shepp and 1968, Cherry split his time between Scandinavia (he other musics into the palette. In some ways, it reflects Moses staying on in Scandinavia for a few months kept a home in Sweden with his wife Mocqui and two the age-old adage that one has to get as far away from while Cherry returned to New York, where he began children, Lanoo and Neneh) and the United States, oneself as possible in order to fully understand where to work off and on with tenorman Albert Ayler and convening orchestras and small groups, including one lies creatively and humanistically - an aesthetic drummer Sunny Murray in their respective (and those at the Baden-Baden New Jazz Meeting of 1968 walkabout, in other words. Don Cherry’s walkabout combined) groups. In a way this was perhaps more (Eternal Rhythm, MPS) and in 1971 at the Berlin Jazz took him to Brooklyn, Scandinavia, Turkey, Los fruitful than the New York Contemporary Five had Days (“Humus”, with the New Eternal Rhythm Angeles, Paris, India and places in-between, but as an been, for not only was Ayler’s music as rooted in the Orchestra, on Actions, Philips), and a trio he led with artist, it brought him home. D folk tradition as Ornette’s had been, Ayler was bassist Johnny Dyani and Turkish drummer Okay drawing his thematic references from traditional songs Temiz. Cherry’s music, while it had incorporated For a more in-depth profile, visit www.allaboutjazz.com. A he heard while living in Scandinavia, bringing them non-Western scales, began now to incorporate drones Don Cherry Celebration (DCC) featuring Adam Rudolph, into a free improvisational context and as he has said, more regularly - seemingly static rhythms and making Bob Stewart, Dewey Redman, Henry Grimes, Bill Dixon, “we play folk from all over the world” (quoted in the explicit use of instruments like the tamboura. Cherry, Mark Helias, Karl Berger and others is being held at The liner notes to Love Cry, Impulse!, 1967). This sounds a a collector of various wooden and metal flutes from Stone Oct. 1st-23rd. See calendar. lot like what Don Cherry’s approach was soon to Asia, also began using the doussn’gouni, a Turkish become - these perfect bedfellows probably influenced stringed instrument he was given while in Recommended Listening: one another a great deal more than their few Scandinavia. Ironically, some of the most interesting • Ornette Coleman - The Shape of Jazz to Come recordings together attest to. and effective uses of non-Western instruments were (Atlantic, 1959) When Cherry left the US for Paris in 1965, it did purely by kismet - MPS Producer Joachim E. Berendt • Don Cherry - Complete Communion (Blue Note, 1965) not take long for him to assemble a new working had gamelans brought to Baden-Baden without telling • Don Cherry - Symphony for Improvisers group, one that joined five itinerant musicians Cherry and insisted that they be used in the recording. (Blue Note, 1966) together for over a year (though the group’s only Berger, Cherry and Swiss drummer Jaques Thollot • Don Cherry - Eternal Rhythm (MPS, 1968) recordings as a unit have appeared as bootlegs since were thus given the task of figuring out a way to • Don Cherry (with Ed Blackwell) - its disbanding). In Paris, he met Heidelberg-born incorporate them musically without proper “Mu” First Part/Second Part (BYG-Actuel, 1969) vibraphonist and pianist Karl Berger and the young understanding of how they are played or even • Don Cherry - Brown Rice (A&M, 1975) French bassist Jean-Francois Jenny-Clarke; Cherry had without proper mallets with which to play them. The

ALLABOUTJAZZ-NEW YORK | October 2005 9 MEGAPHONE Musicians on music... welcomed everywhere they are, as I feel we have been ever before, please continue to support these artists by here. booking them for your festivals or in your clubs, Basin Street In and Out of New Orleans Over the past few weeks, our artists and I have buying their music and covering their stories. They given interviews to everyone from People Magazine to have always deserved it, but now they need it more by Mark Samuels, Pres., Basin Street Records the New York Times and from Good Morning America to than ever. D (from New Orleans in spirit, but temporarily physically in Larry King Live. They have been invited to participate Austin, TX) in tremendous benefit concerts: Dr. Michael White at For more information, visit www.basinstreetrecords.com the Higher Ground Benefit at Jazz at Lincoln Center; When I was invited to have one of our many artists Theresa Andersson and Dr. White at “6th Street for write for AAJ-NY’s Megaphone column, I envisioned Bourbon Street” here in Austin; Kermit Ruffins at sitting down on the phone with one of them and Madison Square Garden’s “Big Apple to the Big Easy” typing as they talked. What has happened in the two on a live pay per view event available to 80 million THANK YOU FOR YOUR or three weeks since has been amazing and has kept us people; and to Irvin Mayfield performing “America SUPPORT from having the time to do such a thing. So I write this the Beautiful” on Monday Night Football. with the hope that although I have not asked any one Our artists have continued to perform at their DURING OUR artist to write it, that it will do a service to them and to scheduled gigs also: Jon Cleary the weekend after the this column. hurricane at Bumpershoot in Washington, Los DIFFICULT TIMES If you don’t know, our label is located on Canal Hombres Calientes at North Carolina State University, Street in the mid-city section of New Orleans. We had Henry Butler at Telluride’s Blues and Brews Festival about two feet of water in our offices and lost a and Kermit Ruffins at Austin City Limits Festival. Theresa Andersson significant amount of inventory and computer New opportunities have popped up such as a “regu- Henry Butler equipment that was stored there. However, our lar” gig for Kermit Ruffins at Sammy’s in Houston on Jon Cleary product is distributed by RED and is in warehouse Thursday nights and “regular” performances by our Los Hombres Calientes locations around the country, so we weren’t artists in Austin at Cedar Street Courtyard. completely devastated. What we did lose was our staff Last night, I witnessed first hand the power of the Irvin Mayfield being able to sit in one office. We are scattered around. music and the amazing feelings that our artists and Jason Marsalis Our artists: singer/songwriter/vocalist Theresa other musicians create for people. About a third of the Kermit Ruffins Andersson, Los Hombres Calientes: Irvin Mayfield audience at the “6th Street for Bourbon Street” event and Bill Summers, trumpeter/vocalist Kermit Ruffins, here in Austin was from New Orleans. Both Theresa Dr. Michael White clarinetist Dr. Michael White, drummer Jason Marsalis Andersson and Dr. Michael White performed there the Headhunters and pianist/vocalists Henry Butler and Jon Cleary along with Cyril Neville, Marcia Ball, Delbert the Staff at Basin Street Records have all been scattered around too and many of us McClinton, Jerry Jeff Walker and others. A 60+ person have lost our homes. “second line” parade wove through the crowd and a Irvin Mayfield and Ronald Markham (CEO of the sense of “all things are good right now” was prevalent. New Orleans Jazz Orchestra) have relocated to Baton Musicians who hadn’t seen each other since their Mark Samuels Rouge with their families; Andersson and her homes were destroyed had an opportunity to see one President drummer-husband Arthur Mintz (World Leader other, play with one another and make their audience Basin Street Records Pretend) have relocated to Austin; Cleary is on the feel like they were at home. New Orleans, LA (in spirit) road with Bonnie Raitt; Bill Summers, Leon Brown, We have received literally hundreds of emails per www.BasinStreetRecords.com Steve Walker and David Pulphus from Los Hombres day from well-wishers around the world and we feel Calientes are all in Atlanta; Victor Atkins from Los fortunate that our business can still run from Hombres is in Birmingham and Jamal Batiste is in anywhere we need to be. People can still buy our Download some of our music online at Baton Rouge. Ruffins and his band are calling Houston music from their favorite retailer, from their favorite their temporary home and so is Dr. Michael White. website or from several digital downloading sites. http://music.msn.com/give Butler has been touring, but looks like he will set up Although we have been slowed down a bit, we can and help Hurricane Katrina victims at temporarily in Austin and Jason Marsalis has been in continue to book our bands, manufacture product, the same time. Japan recording with pianist Marcus Roberts. promote our artists and do the things a label needs to My three children, my parents and I are in Austin do. Not everyone in business is so lucky. and my children have made friends and quickly Over the next years while we rebuild New www.BasinStreetRecords.com adapted to this city. I am sure that our artists are being Orleans and create what will be a greater city than

VOX NEWS by Tessa Souter celebration of her latest CD, the aptly entitled In My SHORT CUTS … Catch the last night of Mark Prime (Rhiannonmusic). Bobby McFerrin guests on Murphy’s four-night run at Birdland (Oct. 1st) … The past month has been a hard one for many - not two a cappella vocal duets with Rhiannon, but the real Afro-soul singer Somi will be at Joe’s Pub (Oct. 3rd) … least Shirley Horn, who at the time of writing was in gems are the compositions that have evolved out of Jazz Standard’s “Voices and Songs” series continues a nursing home instead of touring in support of her past on-the-spot improvisations. Rhiannon is the every Monday with Cheryl Bentyne of Manhattan new CD But Beautiful: The Best of Shirley Horn (Verve). embodiment of what Charlie Parker once said: “Music Transfer (Oct. 3rd), Paulette McWilliams (Oct. 10th), It truly delivers all the title promises - the “best” - is your own experience, your own thoughts, your Julia Dollison (Oct. 17th), Chiara Civello (Oct. 24th) including three recent live recordings from the now wisdom. If you don’t live it, it won’t come out of your and Rhiannon (Oct. 31st) … At the Sweet Rhythm defunct Au Bar - “Jelly, Jelly”, “Loads of Love” and horn.” If you missed her last time she was here, I Vocal Series this month Marilyn (Oct. 4th), Sofia Laiti her miraculous rendition of “Here”s to Life”. If you highly recommend you don’t let it happen again. Even (Oct. 11th), Amy London (Oct. 18th) and Lil Phillips want to make your own personal tribute, flowers and if she weren’t also an incredible teacher (doing her (Oct. 25th) … San Francisco-based jazz singer Paula cards may be sent to Shirley Horn, Gladys Spellman workshop is like being let out of a cage), hearing her West returns to the Algonquin for a five week run Specialty Hospital and Nursing Center, 2900 Mercy sing is an education in itself. with a rotating roster of musicians: The Eric Reed Trio Lane, Cheverly, MD 20785. This month my hero, the Brazilian singer and (Oct. 11th - 15th), The Xavier Davis Trio (Oct. 18th to Honoring another of the great jazz singers of our composer Milton Nascimento, whose CD Native 22nd) and The Bruce Barth Trio (Oct. 25th - November era, Kendra Shank (whose first CD was actually Dancer (Columbia) with Wayne Shorter was my 5th) ... Melody Breyer-Grell will be doing the early set produced by Shirley Horn) has just finished mixing introduction to vocal jazz, appears at the Blue Note at Iridium (Oct. 8th). D her new project, a very personal interpretation of (Oct. 25th- 28th). This will be the first time I’ve seen Abbey Lincoln compositions. “It’s 11 of my favorite him in a small space...wild horses won’t keep me out Tessa Souter is a vocalist, journalist and author and songs by Abbey, who is one of my favorite songwriters of that room on the first night. See you there! produces the weekly Tuesday vocal series at Sweet Rhythm. of all time,” says Kendra. “Her songs speak to me in I can’t finish this column without referring to the Souter is at 55Bar Oct. 14th. Her debut CD, Listen Love such a personal way...” recent disaster in New Orleans, the birthplace of jazz. (Nara Music), is available at CDBaby.com and at Tower One of my very favorite singers, Rhiannon, will Check out www.jazzfoundation.org/new_orleans.php Records, Lincoln Center. For more information visit be performing at Jazz Standard (Oct. 31st) in for specific ways to help New Orleans jazz musicians. www.tessasouter.com

10 October 2005 | ALLABOUTJAZZ-NEW YORK ENCORE Back in the spotlight... actually living and working and based in Paris. There just one of the most unique places on the planet and was this colony of Americans that were working in a it’s always great to play in New York.” D Noah Howard foreign country in France. It was kind of a spontaneous thing. I don’t think anybody planned it.” For more information, visit www.noahhoward.com. Howard by Andrey Henkin The early time spent in Europe, though intensely is at Cornelia Street Café Oct. 10th. See calendar. A move to Europe can creative, did provide some lessons that would serve often take a successful Howard well in the future in regard to working with Recommended Listening: musician out of the some rather shady record companies: “I think all of us • Noah Howard - At Judson Hall (ESP, 1966) tight focus of American who recorded during that period have the same • Noah Howard - The Black Ark (Polydor, 1969) listeners. Though the feeling… [But] had we not did those recordings they • Frank Wright - Uhuru Na Umoja cross-pollination of wouldn’t be around for history as they are now. And (America-Universal Music, 1970) Europe and America is the artists wouldn’t have been able to assemble the • Noah Howard - Berlin Concert (FMP, 1975) 1968 2003 now well established, musicians they did assemble to help them create the • Noah Howard - Patterns/Message to South Africa ex-pat Americans often give up their native renown kind of music and the kind of compositions that they (Eremite, 1971/1979) for the increased work and appreciation to be found assembled at that time. So it’s a mixed bag.” Howard • Noah Howard/Bobby Kapp - across the pond. is especially qualified to discuss this topic having been Between Two Eternities (Cadence Jazz, 1999) Though Noah Howard, once one of the young the receiving end of similar treatment by the most darlings of the new music scene in ‘60s New York, famous, or notorious, of avant garde record labels: plays the city quite rarely, he has maintained a ESP. “…ESP is the monster of deception... I am aware successful tridential career as a saxophonist, record of ESP’s adventures...they continue to make money off label executive and, most recently, jazz club proprietor the artists and they refuse to pay any royalties.” in the seat of the European Union: Brussels, Belgium. These kind of experiences led Howard to found A resident of that city since 1982, the alto saxophonist one of the first musician-run labels, his own Altsax has carved out a comfortable niche for himself within Records, going strong since 1968. It has released his the region he was first exposed to during the Golden own work over the years as well as albums by some of Era of avant garde ex patriotism. “When I first came to Howard’s colleagues. “I could have more control over Europe it was 1969 and I came to play in a big festival what I recorded and produced and put into the and after that we had a lot of concerts,” recalls marketplace and it was an alternative to going to these Howard. “Then we left and we came back to the type of companies that were not treating these artists States, I was based in New York at that time. About six fairly or me personally fairly enough,” he explains. months later, we had some more concerts, we came New projects for Altsax will include tasty treats back and this went on for years, going back and forth from Howard’s own archives including historical and back and forth and back and forth... I decided that recordings of arguably one of Howard’s, and jazz’, instead of going back and forth all the time, it was most exciting groups: the Frank Wright/Noah more advantageous for me to stay over here and live Howard Quartet. “It was a very powerful group, and and work.” Howard made the official move to Paris in very dynamic and very creative musicians,” recollects 1972 after having spent much time there with Howard. “It was unusual because we didn’t have a musicians like Anthony Braxton and groups like the bass player in the original group. It was just two Art Ensemble of Chicago. saxophones, alto and tenor saxophone, the great Having moved to Europe and then Brussels in the pianist Bobby Few and Muhammed Ali, Rashied Ali’s last quarter of the 20th century, Howard has been able brother, on drums. In fact, at that time in Europe, for to benefit from the rise of the European Economic the American groups, there was only two groups that Community, today’s European Union. “It’s totally were really outstanding and that was that group and changed the landscape of the city [Brussels]. The city is the Art Ensemble.” very very international and because you have all of When Howard comes to New York this month, he these young people, young professionals working in will be appearing with frequent collaborator spoken the city in governmental positions.” word artist Eve Packer. Howard feels a special affinity The pull of Europe has always been strong for towards this format: “You say spoken word but Americans of all generations (from Dexter Gordon and anytime you say a verse in poetry, it’s melody Steve Lacy to the whole Chicago contingent). Howard, anyway. When somebody is talking, when you’re a who was part of the nascent New Music movement in musician, just normally talking, we all sing. We don’t New York, found a lot of similarities. “I think the know that we’re singing maybe but to a musician’s dynamism was very similar,” he theorizes. “It was a ear, it’s melody. So if it’s melody with meaning, I can very strange thing though we knew what was going take that and work with it and bring something to it.” on. We were not as acutely aware of it as I am today Though quite comfortable in Europe, where his looking back in retrospect. But here I was in Paris and new jazz club has just started, trips backs to New I would say at least 55-60% of the people that were in York, his first musical home, elicit special feelings the new music or improvisational music or avant from the 62-year old. “I love New York. New York is garde jazz music or whatever you want to call it were my adopted city in the United States... New York is

LEST WE FORGET

Gone but not forgotten...

Ted Dunbar 1937-1998 while getting a pharmacy degree! (He kept his students included Kevin Eubanks and Rodney Jones. pharmacy license until his death.) While in Texas he In the ‘70s, another significant job he acquired was by Donald Elfman worked with some of that state’s jazz legends, playing in Tony Williams’ Lifetime with whom the including saxophonists Arnett Cobb and Don guitarist did several recordings. Dunbar made scores This time out in our remembrances of important Wilkerson and with Joe Turner. In the ‘60s he studied of recordings in the ‘70s and ‘80s in an amazing departed jazz musicians, we go to a more recent past with David Baker in Indiana where he met and variety of settings, working with McCoy Tyner, to discover - or re-discover as the case may be - sometimes filled in for Wes Montgomery, who in ways Charles Mingus, Sam Rivers, Kenny Barron, Gil Evans a player who was on scores of recordings, played with - with his unique chording and beautiful melodic lines and with singers Janis Siegel, Susannah McCorkle and many contemporary greats and jazz masters and is - was Dunbar’s primary influence. Joe Williams. He played in the jazz tradition with a unfortunately little known except by cognoscenti Moving to NYC in the ‘60s, Dunbar landed gigs solid footing in blues and melody and was and/or by his students: Ted Dunbar. with Gil Evans and came to record with the accomplished as both a soloist and ensemble player Dunbar was born in 1937. An essentially self- composer/arranger and bandleader. In ‘72, he had and was an influential and beloved teacher during his taught musician, he played trumpet and guitar at joined the faculty of Livingston College becoming the career, having written several books on jazz harmony. Texas Southern University in the mid and late ‘50s first jazz professor at Rutgers University, where his Dunbar passed away in 1998 at age 61. D

ALLABOUTJAZZ-NEW YORK | October 2005 11 LISTEN UP!

Matt Brewer Jason Rigby bass saxophone, reeds

Brewer’s music can be heard as a Jason Rigby’s soon-to-be-released cross between certain aspects of recording Translucent Space (Fresh jazz, along with clasical music and Sound) will be his first as a leader a bit of traditional West African and features Cameron Brown, music. Born in 1983 in Oklahoma Mike Holober and Mark Ferber. City, he spent most of his youth in The project is a documentation of the Southwest (Albuquerque, original music with the priority on NM). Both his father and grandfather were jazz improvisation and group interplay. Originally from musicians as he grew up. He started gigging Cleveland, OH Rigby has worked with the Village professionally by the age of 12 and soon would be Vanguard Jazz Orchestra and Aretha Franklin, as well winning awards from top university jazz festivals, as with a number of improvisation-based small twice winning the Outstanding Jazz Performer award groups. He has recorded with David Liebman, Tony which had never before previously been awarded to a Malaby, Russ Johnson and Tim Horner and has middle school student. Brewer later attended the first appeared on records for the Fresh Sound, Soul Note, ever Juilliard Jazz Program. He has since worked with Koch Jazz and NuJazz City labels. such artists as Greg Osby, Greg Tardy, Chris Cheek, Jeff “Tain” Watts and many others, extensively touring TEACHERS: My first teacher’s name was Tom the US, Europe, Canada and Japan. Tweedle - cool name for a saxophonist - and I studied a bit with Cleveland saxophonist Ernie Krivda during TEACHERS: Since my father is a musician, I grew up high school. I went to Youngstown State University listening to music. Even before I was born my parents and had some amazing teachers - the late Tony would put headphones on my mother’s stomach and Leonardi was an incredible jazz mentor; James Umble play albums like A Love Supreme, Kind of Blue and also was an incredible saxophone mentor and I studied many classical pieces. I attribute this experience as my improvisation and clarinet with Kent Engelhardt. One first real education and have both of my parents to of my most impacting teachers was Dick Oatts - such thank for it. I have studied classical bass with an amazing person, musician, improviser. I’ve also Lawrence Hurst and Winston Budrow and jazz from studied with Mike Abene and Rich Perry. Rodney Whitaker and Ben Wolfe. I also studied for a week with John Clayton. He really turned my whole INFLUENCES: I’ve always been deeply into Joe thing around and gave me invaluble information. Henderson, John Coltrane, Joe Lovano and Sonny Rollins; also Ornette Coleman, Elvin Jones, Mel Lewis, INFLUENCES: John Coltrane, J.S. Bach, Igor Monk, Billie Holiday, Miles Davis, Joe Farrell, Donald Stravinsky, traditional Cameroon pygmy music, Toru Byrd, Wayne Shorter and Charlie Parker. Other big Takemitsu, Paul Chambers and a great young sources of inspiration have been the Beatles, Alban composer named Ayaka Nishina. Nature and the great Berg, the Police, Joni Mitchell, Led Zeppelin, Mahler, outdoors is also a big inspiration. Also great food! Shostakovich, Frank Lloyd Wright and Hemingway.

CURRENT PROJECTS: For about the past two-and-a- CURRENT PROJECTS: I just finished recording my half years, I’ve been playing with Greg Osby. I’m now first leader project for Fresh Sound. I hope to have it trying to start leading my own ensembles and write released in a few months. I’ve also been doing some more music as well. very rewarding sideman duties with Cameron Brown, guitarist Scott Dubois, pianist/composer Kris Davis BY DAY: I feel very fortunate that I don’t have a day and with composer Anita Brown’s Jazz Orchestra. I job. Mostly I just practice, read, watch movies, hang co-lead a trio with bassist Eivind Opsvik and drummer with people, study Japanese, eat tamales. Jeff Davis called Trio Colossus and am involved in sort of a collective group, Sidecar, with drummer Brian I KNEW I WANTED TO BE A MUSICIAN WHEN... Griffin, guitarist Aaron Jennings and Eivind Opsvik. I can’t even remember. I was two when I picked up my first instrument (the drums). I guess while I was in BY DAY: Lots of practicing and writing and thinking. G. MORATTI middle school I realized that I wanted to do this One of the great things about NY is that so many great ARTIST MANAGEMENT professionally. I must have been about 14 or so. players are into playing sessions, of which I do a fair amount. I very much enjoy teaching music, which I do Personal Management for: DREAM BAND: Of guys that are still around I’d have a few days a week. Have subbed on Broadway shows, Don Friedman - Piano to say the Keith Jarrett Trio, with me. I’ve learned so though it’s been awhile. much listening to those guys I would love to be able to Benny Powell - Trombone play with them. Also the group that I assembled for a I KNEW I WANTED TO BE A MUSICIAN WHEN... Steve Swell - Trombone recent gig at Fat Cat: Mark Turner (tenor), Rodney I heard the famous recording of Coleman Hawkins Randy Johnston - Guitar Green (drums) and Frank Locrasto (piano). Of past playing “Body and Soul” on the radio one night in Harvie S - Bass generations, I would have loved playing with Lester Cleveland - I guess I must have been about 9 years old. Karolina Strassmayer - Alto/Sop Sax Young, Chick Webb and Art Tatum. (Klaro) DREAM BAND: To have played trio with Elvin Jones Drori Mondlak - Drums DID YOU KNOW? I was one of six musicians who and Reggie Workman; or to have played duo with Mel (Straight Circle) were the first to play on the Grammy Awards without Lewis, Ed Blackwell and/or Billy Higgins. Mike DiRubbo - Alto Sax being nominated for a Grammy. I’m also related to Daniela Schächter - Piano/Vocals Pocahontas. DID YOU KNOW? My grandmother went to grade Sayuri Goto - Piano school with Shirley Temple and my grandfather was a FOLLOW UP WITH: WWII submarine vet. For bookings of any of the above [email protected] musicians contact: www.mattbrewerbass.com FOLLOW UP WITH: www.jasonrigby.net Gino Moratti Brewer is at Niagra Oct. 18th with Jackson Moore and 86-220 Park Lane South Cleopatra’s Needle Oct. 28th with Daisuke Abe. See Rigby is at 55Bar Oct. 2nd with Scott Dubois and The Woodhaven, N.Y. 11421 calendar. Stone Oct. 13th with Cameron Brown. See calendar. Phone 718 805-11078 e-mmail [email protected] Each month, AAJ-NY spotlights two musicians that we think you ought to know about. www.ginomoratti.com To suggest someone who deserves a listen, email some information to [email protected]

12 October 2005 | ALLABOUTJAZZ-NEW YORK FESTIVAL REPORT

Newman’s clear, inspired playing. The band’s strong guitarist Gray Sargent. Latin-inspired percussive element was surely a plus, Marian McPartland recorded another installment and was audibly appreciated by the crowd. of her award-winning public radio show, “Piano Jazz” The evening closed with pianist Geri Allen, with singer-guitarist Madeleine Peyroux, trading solo charming everyone with her sensual, cool style. tunes and mixing it up on songs stretching in Though the sky was overcast most of the afternoon, chronology from the Bessie Smith to Peyroux the clouds broke, giving way to sunshine as soon as songbooks. her set started. One of her highlights was “Lover Particularly interesting were their versions of Man”, a song popularized by Billie Holiday. In her “Careless Love” and Leonard Cohen’s “Dance Me To hands, the song was taken away from its usual jaded, The End of Love”. Tragedy made “Do You Know What depressed mode and taken to a more pleasant, It Means to Miss New Orleans?” even more poignant. comfortable place. Allen delivered a magical set and Tanglewood Jazz reserves its Friday night opener for a was given a cheerful ovation. D Latin program, which provides the perfect energy and

Photo by Ernest Barteldes a spirit that can carry through the weekend. The Odean Pope at Tompkins Square Park For more information, visit www.cityparksfoundation.org Caribbean Jazz Project with singer Diane Schuur opened. Hot Latinized versions of Oliver Nelson’s Charlie Parker Festival “Stolen Moments” and “Poinciana” were highlights. It seemed it would be a relatively screech-free evening, by Ernest Barteldes but Schuur made up for it on their finale “So In Love”. Many of those who came to hear Schuur missed A sunny day welcomed the audience to Harlem’s out on some great music if they left before the quartet Marcus Garvey Park and the first of the two day that followed: Toots Thielemans, Kenny Werner, annual Charlie Parker Festival (Aug. 27th-28th). Oscar Castro-Neves and Airto Moreira. There was Young pianist Hiromi took to the stage first with her nothing more intimate that weekend than the Werner- trio and, despite the fact that she’d just flown in from Thielemans duo version on Michel LeGrand’s “The a performance in Israel, she delivered an impressive, Windmills of Your Mind”. Werner’s sparing yet energetic set. On “If”, bassist Tony Grey showcased an exquisite synthesizer playing was a splendid addition echo-drenched solo, while Hiromi seemed to put to his acoustic piano, particularly on “All The Way”. everything she had into the tune - seemingly feeding The set ended with an unusual arrangement of “God from the audience response. Bless America”, with Werner doubling on the opening

Hiromi was followed by Brit hiphop bebop man Photo by Ken Franckling melody and refrain by whistling. “What a Wonderful Sonny Rollins at Tanglewood Soweto Kinch, who came to the stage with an World” capped the evening as the encore. D innovative approach towards blending the hard- driven jazz style with the oft-controversial urban beat. Tanglewood Festival For more information, visit www.bso.org Unfortunately, due to “lip problems”, the saxophone was “off-limits”. He compensated by showcasing his by Ken Franckling piano skills in “Adrian” and rapping about an utopian reality in which jazz was the dominant musical style The Berkshire Hills come alive with the sound of jazz on TV and radio, driving pop artists and DJs to “sit over Labor Day weekend, as the Tanglewood Jazz and complain”. Festival has become a summer’s end arts and culture Odean Pope’s Sax Choir - the only band to play fixture for western Massachusetts. on both days - featured Louis Taylor (on alto) and While it doesn’t fit the format of what many of us Elliott Levin (tenor) and was comprised in total of 3 consider a jazz festival, along the lines of Newport or altos, 4 tenors and baritone sax, along with piano, bass Saratoga, with hours and hours of music on one and drums. Blending original compositions with tunes day-long program, it has a formula that works: A full by John Coltrane and others, he opened with weekend of separate admission concerts featuring one “Epitome” featuring a long acapella solo later joined or two acts. Producer Fred Taylor fleshed it out a bit by the rest of the group. “Iris”, taken at a slow tempo, this year with an interesting yet under-attended series was an original tune dedicated to the bandleader’s of Jazz Cafe pre-concerts each afternoon and evening Photo by Ernest Barteldes wife and featured subtle-sounding drums and a featuring younger emerging acts, including bands led Chris Tarry at Laila Lounge heartfelt solo by the leader. The Sax Choir closed with by bassist Esparanza Spalding, pianist Andy Ezrin, a beat-driven bari solo soon joined by the group as the vocalist/cuatro player Marta Topferova and tune progressed. The tempo shifted to a Latin beat, the trumpeter Dominick Farinacci. Williamsburg Festival saxophonists getting up and walking into the audience Sonny Rollins, three days shy of his 75th (only done in Harlem - the stage in The East Village birthday, proved to be the weekend highlight. His by Ernest Barteldes did not allow for that kind of stunt), Sunday matinee performance featured Rollins’ individually improvising as they went along, then customary quintet plus one added member, Chicago For the third time, listeners took the hipster (and returning to the stage for the band’s grand finale. guitarist Bobby Broom. Rollins was at his best with a rapidly gentrifying) neighborhood by storm with a Alto saxophonist Bobby Watson closed the start-to-finish solo, with spare accompaniment on selection of jazz artists mostly culled from the local evening with more moody selections: “In A “Falling in Love With Love” - including a few brief, sly New York City scene. It was a casual atmosphere that Sentimental Mood” was quickly recognized and quotes from other pop love songs that enhanced his reigned at this four-day event (Aug. 8th-11th) that applauded, and “Limoncello” was a funky, easy going 20-minutes-plus journey. showcased some up-and-coming jazz talent at the cozy song about the cocktail made from “a little bit of lime He ended his planned show with “Without a Laila Lounge and at the larger, hipper Galapagos. At and about a gallon of moonshine”. Song” after urging the audience members to find Laila, the audience seemed relaxed but more focused The following day took the Charlie Parker happiness “in some way every day” in their individual on the music. At Galapagos, on the other hand, there Festival to the Lower East Side’s Tompkins Square lives. But it wasn’t the end. A foot-stomping, clapping, were a few people actually paying attention to the Park (the acoustics at the Marcus Garvey Park demand for an encore brought Rollins and Co. back to music, while the crowd seated at the tables and at the amphitheater contributed for a better overall listening the Ozawa Hall stage for “In a Sentimental Mood” - an bar were more interested in nursing their cold beers experience). Jazz fans, ignoring the forecast of rain, encore that captured everyone’s. and chatting up with friends. crowded the downtown locale. Cindy Blackman’s Tony Bennett was the Saturday night headliner in The festival’s lineup this year ranged from quartet opened, blending hardbop jazz tendencies a program that featured the Count Basie Orchestra as traditional to experimental with everything else in with influences culled from heavy metal rock. The the opener and as Bennett’s backing band, above and between, such as Travis Sullivan’s Björkestra, which band was well received, and the energetic Blackman beyond his normal quartet. Many were expecting dedicates new arrangements for orchestra and vocals demonstrated a lot of musicality on the drums. musical fireworks with that combined band, but were to the often strange catalogue of Icelandic The John Hicks Trio, joined by saxophonist David disappointed when Bennett rarely acknowledged the singer/songwriter Björk or innovative downtown “Fathead” Newman, followed with a more traditional orchestra and only had it play on a couple of tunes trumpeter Dave Douglas. set. Starting with a Latin/bossa groove, they moved during his set. A golden opportunity missed. (continued on page 42) on to more moody and hardbop turf featuring However, he did give tremendous solo space to his

ALLABOUTJAZZ-NEW YORK | October 2005 13 CD REVIEWS

is decidedly into something uniquely his even at this Improvisers, the first sentence of which begins “The early stage. Getz and Foster sound noticeably more at New Music is no longer new” and goes on to point out home here and Patillo and Bennett seem comfortable the developments over the preceding 10 years. Free easing up. Nevertheless, this would be the last time for jazz is still a powerful draw for musicians and still a number of years that Pharoah would utilize a more inspires indifference at best from most listeners. “mainstream” band for his work. Perhaps this newly remastered CD from a high point of the genre’s history will reel in a few new converts. For more information, visit www.espdisk.com. Sanders is at The recording quality is, as you’d expect, Iridium Oct. 5th-9th. See calendar. impeccable and in addtiion to Spellman’s original notes we have further enlightenment from Rudy Van Pharoah’s First Gelder, who provides valuable insight into the music Pharoah Sanders (ESP) itself. The title is a bit misleading, suggesting much by Clifford Allen more intricate music played by a much larger group Saxophonist Pharoah Sanders came to New York from than is the case. It’s really a small (though top notch) San Francisco in 1962 and spent much of this early band mostly blowing free over rudimentary forms. period scuffling, often homeless and barely working The biggest marvel about it, aside from some of the as a musician. His first break came as part of an early inspired playing, is its seamless movement from one Don Cherry band in 1963, a quintet that recorded piece to the next and how lightly, yet sometimes several pieces for Savoy that have never been issued, a emphatically, the composed music coexists with the band that also featured pianist Joe Scianni and improvised. Dreams (A Humble Tribute to Steve Lacy) stalwart Ornette bassist David Izenzon. By 1964, Gilles Laheurte (Self-Gratifying Prod.) Cherry’s writing here is still redolent of the Pharoah was working in a cooperative group with by Florence Wetzel influence of Ornette Coleman, but otherwise he pianist-composer Carla Bley and percussionist Charles stepped out of the big man’s shadow and assumed the Moffett, as well as in various Cherry aggregations and, Gilles Laheurte is one of the more unusual members mantle of leader with confidence and strength, in September of that year, brought a quintet into Jerry of the New York City jazz scene. Almost 60, he spent assembling a strong group that includes Pharoah Newman’s studio to record ESP 1003, Pharaoh (later most of his life working as an architect and planner, Sanders, Gato Barbieri, Henry Grimes, Karl Berger, retitled Pharoah’s First - his name taking on the altered but was always devoted to music, his own as well as Jean-François Jenny-Clark, and the titanic Ed spelling somewhere in this period). Joining the others’. He calls himself an amateur jazz musician, but Blackwell, who gives the sometimes raucous music the tenorman on two side-long blowing numbers were there’s nothing amateurish about his release Dreams, rhythmic underpinnings found in all great jazz. drummer Marvin Patillo, who would record with which is full of beautifully evocative music. Cherry’s trumpet playing is also at it’s best - loose, Sonny Simmons (Staying on the Watch, ESP), pianist The CD is a tribute to the late Steve Lacy, who lyrical and hair-raising at times. Jane Getz (a Mingus alum who would later record folk was a friend of Laheurte’s. 10 of the CD’s 12 cuts blues for Verve-Forecast), trumpeter Stan Foster and feature Laheurte on soprano sax, an instrument he For more information, visit www.bluenote.com. A Don bassist William Bennett. One might half expect plays with deep passion. The highlights are two long Cherry Tribute Festival is at The Stone Oct. 1st-23rd. See Pharoah to have brought with him some of his regular suites where Laheurte improvises over drums. The calendar for performers. associates at the time - Moffett, Henry Grimes, altoist first, “The Sparrow’s Reverie”, features Laheurte with Byron Allen - but in many ways, his compatriots here Mark Sanders. The suite showcases the many sides of are a blessing, if a mainstream hardbop ensemble. Laheurte’s playing, sometimes spare and elegant, Recommended “Seven By Seven” would not have sounded out of sometimes middle eastern in flavor and sometimes place on Giant Steps, even the opening chorus of cooking. Sanders provides a creative, always shifting New Releases Pharoah’s lilting tenor, which sounds for all the world background, perfect for Laheurte’s flights of sound. like one of Trane’s earlier workouts until it is “Koyasan Forest Walk” teams Laheurte with Masahiko • Michaël Attias - Renku (Playscape) summarily given a tug of war between those keening Togashi, with Laheurte’s sax running the gamut from • Ray Barretto - Time Was-Time Is (O Plus Music) hallmark Trane phrases and grotesque honks and fat and bluesy to sweet and flute-like. • Billy Childs - Lyric (Lunacy) multiphonics that, if not the bandsaw-on-sheet metal One of the surprises is two cuts where Laheurte • Gerry Hemingway - Double Blues Crossing that would be a hallmark of solos on “Om”, for solos on percussion and cymbals. It’s a different side (Between the Lines) example, certainly belie an allegiance to another world of his talent and explains why he solos so well over • Jenny Scheinman - 12 Songs of sound that is as much the “Holy Ghost” as it is the drums - he understands both sides of the equation. His (Cryptogramophone) “Father”. Pharoah’s heel-digging buzzes and screams percussion work is inventive and multi-faceted, • Bebo Valdés - Bebo de Cuba (Calle 54) are made ever more stark in their presence by the particularly on “Kyoto on My Mind”, a spacious song -David Adler rhythm section, Getz’ piano comping seemingly that evokes the majesty of the ancient Japanese city. It NY@Night Columnist, AllAboutJazz.com unsure of its job and summarily distracted while would be great to hear a Laheurte CD composed Bennett’s rock and Patillo’s Philly Joe licks seem to be purely of percussion solos. • Either/Orchestra - Ethiopiques 20: Live in Addis the most respondent (and, in a way, unwavering) with Experiencing Laheurte is a pleasure: his sound (Buda Musique) Pharoah’s whims. Foster contributes a pinched, nasal evokes masters Lacy and Coltrane, but he imbues the • Prince Lasha/Odean Pope Trio - trumpet solo that, while certainly not exactly hardbop, instrument with his own distinctive intelligence and The Mystery of Prince Lasha (CIMP) is unsure of exactly how to follow the tenor, even as heart. Dreams is a warm tribute and it’s also a coming • Jean-Michel Pilc - Live at Iridium, New York Patillo builds a rising tide of percussion thermals to out celebration of a hidden talent who surely has (Dreyfus) spur on the proceedings. Getz takes a thoughtful, much more to share. • Bebo Valdés - Bebo de Cuba (Calle 54) well-constructed Tyner/Evans-esque solo that is • James Jabbo Ware/The Me We & Them surreally out of place with its preceding context, For more information, visit www.gilleslaheurte.com. A Orchestra - Vignettes in the Spirit of Ellington before Pharoah, Foster and the pianist enter into a Steve Lacy Tribute is at Merkin Hall Oct. 6th. See calendar. (Y’All) collective improvisation to take the piece out. • Gerald Wilson Orchestra - “Bethera” has a head that might have been In My Time (Mack Avenue) copped from an earlier Trane blues, its theme even less -Laurence Donohue-Greene a springboard for free improvisation, but Pharoah Managing Editor, AllAboutJazz-New York somehow finds a slight descending chord on which to • Claudia Quintet - Semi-Formal (Cuneiform) harp his guttural yelps, even as much of this lengthy • Satoko Fujii Four - Live in Japan 2004 (Natsat) solo takes on a tonal aesthetic that is decidedly • Paal Nilssen-Love - Atlantic-era Trane. Despite these tonal affinities, and it Townorchestrahouse (Clean Feed) is something that is more noticeable in a “‘straighter” • Evan Parker Electro-Acoustic Ensemble - number such as this, Pharoah seems to be utilizing The Eleventh Hour (ECM) phrase-based free association (á la Newk or Cherry), Symphony for Improvisers • Herb Robertson NY Downtown Allstars - rather than necessarily moving through and wringing Don Cherry (Blue Note-RVG) Elaboration (Clean Feed) out chords and modes as Trane had. This is a crucial by Ty Cumbie • The Vandermark 5 - difference between these two reedmen, and as much as The Color of Memory (Atavistic) young Pharoah was beholden to Trane - of course, it It is gratifying to read A.B. Spelling’s original liner -Bruce Gallanter would not be long before he joined Trane’s quintet - he notes for Don Cherry’s 1966 recording Symphony for Proprietor, Downtown Mu\sic Gallery

14 October 2005 | ALLABOUTJAZZ-NEW YORK Carla Bley formed the first edition of Haden’s next track, features a tasty Vignola solo. Jane Liberation Music Orchestra at the height of the Monheit’s straightforwardly pleasant vocal on Vietnam War. This edition launched an international Rodgers & Hart’s “Manhattan” is done to a Latin beat, tour in 2004 that began with a stunning performance at starting off with voice and Ascione’s drums, Vignola the Montreal International Jazz Festival and was coming in on the bridge and another solo, then recorded in Rome three weeks later during the Monheit returning for the last verse. The Latin classic European tour leg. “Quizas” finds Vignola sliding from single melodic Haden explained the project’s purpose in his brief lines into chords and back again with ease. And liner notes: “We want the world to know that the “Sway” is done as a merengue at breakneck speed - devastation that this administration is wreaking is not lightning quick solos by Vignola and Ascione. Tells Untold Fragments in our name. It’s not in the name of many people in “Hungarian Dance No. 5” finds the guys following Cooper-Moore/ New York Underground Assif Tsahar (Hopscotch) Orchestra (Hopscotch) this country… Our opposition to the inhumane each other easily through changing time by Jeff Stockton treatment of this universe remains.” signatures and complicated chord progressions. While there are brief, cohesive solos scattered The three originals on this CD are consecutive: Cooper-Moore doesn’t limit himself to the usual throughout the work by most if not all of the members, starting with “After Hours” - a driving blues by range of instruments. When he hears a sound in his it is the ensemble nature of the work that makes it Vignola; the raga-like melody of “Let It Happen” head, he invents a device to reproduce it, surrounding special. While not every tune is an “anthem” per se, prettily interpreted by Vignola’s solo; and the himself with a mysterious aura, a shamanistic each of them gets a sweeping anthemic treatment and sophisticated and smooth “City Samba” (written by charisma that creates the sense that he’s tapped into a feel. Haden and Bley each wrote one tune (the title Vignola and Ascione). The time sensitive “Do You separate world of undiscovered sound. Who can tell track and “Blue Anthem” respectively) and drew the Know What It Means To Miss New Orleans?” is done what he’s playing at any given moment? He’s a one other material from composers ranging from Samuel simply and with sensitivity. Bach’s “Partita No. 2” man band. But the music on Tells Untold is made by Barber and Antonin Dvorák to Bill Frisell, Ornette combined with Mozart’s “Rondo”, recorded live, is two men: Cooper-Moore’s involving rhythms from an Coleman (“Skies of America”), Gary McFarland and played very fast by Vignola with drum punctuation by assortment of homemade stringed instruments and Pat Metheny, among others. Ascione. “That’s All” is done as a ballad with Vignola percussion and Assif Tsahar’s lovely melodies from The title track’s chanson allusions and the way in just playing the song. And the last track, “Glow bass clarinet, tenor and guitar. The last time these two which the Americana-referenced and musically visual Worm”, features Janis Siegel’s swinging vocal with got together (America, 2003), the music had a sense of Pat Metheny-Lyle Mays-David Bowie composition some nifty multi-tracking to become a vocal group. urgency and tension that’s been massaged away for “This Is Not America” segues right into reggae beat Frank Vignola and Joe Ascione, a pair of talented much of this session. They use the studio’s tools to bring an international feel to a musical/political musicians, work well and happily with each other to layer the instrumentation with overdubs so that two statement that indeed is international. “Blue Anthem” invent interesting approaches to a wonderfully eclectic players sound like six and add electronic effects that begins as a soulful dirge, a feeling that Haden collection of material. This offering follows in the best expands the tonal palette, most startlingly on enriches with his mid-point bass solo leading into tradition of making an audience feel good. “Deviations”, a track that could be the work of a uplifting guitar, brass and piano counterpoint. Spanish-guitar playing turntablist. The centerpiece is an “America the Beautiful” For more information, visit www.hyenarecords.com. Assif Tsahar explores an entirely different side of medley that begins with a spirited reinterpretation of Ascione is at The Lighthouse Oct. 26th with Derek Smith. his art on Fragments, the second recording by his self- the Samuel Ward original, segues into McFarland’s See calendar. conducted, string-dominated Underground Orchestra. reworking of the same tune, while the African- Tsahar’s previous large band projects have come from American spiritual “Lift Every Voice and Sing” ends the brass/reeds-centric Brass Reeds Ensemble and it. “Skies of America” - opening with a strong drum Zoanthropic Orchestra and, in this case, the leader’s solo and propelled by the always-creative Matt Wilson tenor is missed. Not just fragments but fragmentary, - and the traditional “Amazing Grace” are also natural the relatively short 16 pieces of this whole sound like fits here, as is the elegiac chamber arrangement of incomplete ideas, with long middles and no ends. “Adagio” from Samuel Barber’s “Adagio for Strings” Paranoid violin scratching, slow string pulls, repeated which ends the CD. motifs and sustained notes that build in intensity then Whether you agree or disagree with the politics of recede are occasionally interrupted by violent Bley and Haden, it is hard not to appreciate the depth Sat, Oct 1 LOUIS HAYES TRIO cacophonous orchestral blasts, which all add up to an and breadth of their musicality, and how the LMO Javon Jackson (ts) unnerving emotional and psychological experience, as brings it all to life. If there were six stars in the ratings, Reuben Rogers (b) if Schoenberg were to score Hitchcock. Only on this would get it. Fri & Sat, Oct 7 - 8 “Sixth”, a brief Charles Waters clarinet feature and JOE FARNSWORTH’S “Seventh”, with its gypsy fiddle and cello flourishes, For more information, visit www.vervemusicgroup.com. WORLD RHYTHM OCTET does Fragments approach the inviting organic warmth Haden is at Blue Note Oct. 4th-9th. See calendar. Thu - Sat, Oct 13 - 15 of Tsahar’s collaborations with Cooper-Moore. DR. LONNIE SMITH TRIO Peter Bernstein (g) For more information, visit www.hopscotchrecords.com. Allison Miller (ds) Tsahar and Cooper-Moore are at Zebulon Oct. 17th and Tea Wed, Oct 20 JUDY BARNETT Lounge Oct. 20th. Tsahar is at Tonic Oct. 11th. Cooper- Fri & Sat, Oct 21 & 22 Moore is at Tonic Oct. 3rd. See calendar. RAY BARRETTO SEXTET Joe Magnarelli (tr), Myron Walden (as) Ricardo Rodriguez (b), Robert Rodriguez (p) Vince Cherico (ds)

Frank & Joe Show: 66 2/3 Wed, Oct 27 SPIKE WILNER QUARTET Frank Vignola/Joe Ascione (Hyena) by Marcia Hillman Fri & Sat, Oct 28 & 29 TBA The Frank & Joe Show’s second CD finds the group please expanded to a sextet, as lead guitarist Frank Vignola call and percussionist Joe Ascione add rhythm guitarist club Not in Our Name Ken Smith, bassist Gary Mazzaroppi and Charlie Haden/Liberation Music Orchestra (Verve) percussionists Chuck Ferruggia and Rich Zukor to the by Ken Franckling roster (the CD also includes one vocal apiece by Jane Sundays: Latin Jazz w/ Syotos Band assist Charlie Haden and pianist Carla Bley, two of Monheit and Janis Siegel). Mondays: Jam Session w/ B John Farnsworth Quintet the more eclectic and versatile people in jazz, make a The “show” opens with Rodgers & Tuesdays: B3 Organ Grooves w/ great team as musical conceptualists as a they draw on Hammerstein’s standard “It Might As Well Be Spring” Eric Alexander, Mike LeDonne, a shared vision and Bley’s knack for sometimes done with a samba-like beat. Vignola plays the Peter Bernstein off-kilter large ensemble arranging. melody, then goes off into a gentle guitar solo, as Tuesday & Wednesdays: Vocalist Series 6:30- 9 pm It has been 37 years since Charlie Haden and Ascione provides the rhythmic sway. “My Prayer”, the Thursdays: Early Jam 6:30- 9 pm

ALLABOUTJAZZ-NEW YORK | September 2005 15 the vibist and co-leader of the Modern Jazz Quartet, in which setting his rich and warm sense of the blues, his solid swing and his mastery of technique on his instrument provided a somewhat more animated complement to the slightly more delicate and ethereal and playing of pianist John Lewis (though it must be said that Lewis could swing and dig into the blues with the best of them!). These qualities enabled Jackson to work in many different settings and two of his most present successful recorded outings (for Riverside) have now LIVE JAZZ EVERY Sandbox and Sanctum been re-issued in Fantasy’s great 20-Bit series. Gene Ess (SIMP) WEDNESDAY - SATURDAY Blues is certainly the foundation on both of these by Thomas Greenland NO COVER - $10 minimum/set recordings, as can be heard immediately on Things Are unless indicated Gene Ess’ third effort as a leader is a noteworthy Getting Better. Bags’ “Blues Oriental” is a 5-minute 2 sets – 8pm and 9:45pm departure from his sophomore release (Sunrise Falling, blues with colors suggested by its name. Jackson is FRIDAY, SEPTEMBER 30 & Amp Records 2003) in significant ways: while the first up and delivers a short and sweet lesson in the SATURDAY, OCTOBER 1 earlier work straddled rock and fusion-jazz elegance and eloquence of the form. And what a INGRID JENSEN QUINTET sensibilities, Sandbox and Sanctum is leaner, cleaner rhythm section - with the tasteful and swinging Ingrid Jensen, George Garzone, Danny Grissett, and fully straight ahead, underscoring the guitarist’s Wynton Kelly (with whom Cannonball Adderley was Matt Clohsey, Jon Wilkan $15 cover + $10 minimum impeccable tone and taste; more importantly, it to play in the Miles Davis Prestige group), MJQ bassist represents Ess, for the first time, in complete control Percy Heath and the ubiquitous Art Blakey who could WEDNESDAY, OCTOBER 5 (compositions, arrangements, recording, mixing/ brighten any session. Cannonball and Bags, though ASSEN DOYKIN TRIO mastering and production) - with admirable results. both strong and individual leaders, never step on each Complemented by Donny McCaslin (tenor and other’s toes. And as a bonus, Orrin Keepnews THURSDAY, OCTOBER 6 soprano saxes), Harvie S (bass) and Gene Jackson (producer of the original LP and subsequent re-issues) HARUKO NARA TRIO (drums), the album is a programmatic song cycle has included several alternate takes. Haruko Nara, Paul Beaudry based on the mythic quest of a hero. Following a brief Bags’ pairing with Wes Montgomery is another FRIDAY & SATURDAY, OCTOBER 7 & 8 sampled soundwash and sparse snare drum chatter, match made in heaven. Wes essentially recreated the MILT JACKSON TRIBUTE BAND featuring Ess’ guitar commences with a note of hesitancy, as if jazz guitar with his unique lines and chording. And JOE LOCKE Joe Locke, Mike LeDonne, Bob Cranshaw, Mickey Roker our hero were pondering the magnitude of his epic again, when you have Milt Jackson what you get is $20 cover + $10 minimum task. Soon it’s down to business as guitar and tenor that wonderful no nonsense sound, steeped in the probe the harmonic contours of “Free 2 Fast” with blues and all about simple uncluttered expression. WEDNESDAY, OCTOBER 12 angular abandon. “Ryo”, a gentle bossa featuring Here is Wynton Kelly again showing why he was the VINCENT GARDNER QUINTET McCaslin’s lyricism and Ess’ woody mid-range, is pianist of choice for so many. Sam Jones (bass) and Vincent Gardner, Walter Blanding, Marc Cary, Greg Williams, Quincy Davis followed by “Baptisma Pyros”, a bop-tism by fire Philly Joe Jones (drums) complete what was THURSDAY, OCTOBER 13 showcasing a series of spontaneous combustions from essentially the Riverside house rhythm section. ADAM BIRNBAUM TRIO guitar, tenor and bass. “Ballad for a Swordsman” Jackson and Montgomery contributed originals reveals the somber reality of a warrior’s life through and the band also tackles Benny Golson’s celebrated FRIDAY & SATURDAY, OCTOBER 14 & 15 sensitive classical guitar sonorities and thoughtful, “Stablemates” and the standards “Delilah” (by Victor DON FRIEDMAN TRIO melancholic solos, until the group amps up for “Ask Young) and “Stairway to the Stars”. Both of the Don Friedman the Guru”, a composition with trim unison lines, leaders/soloists are beautifully communicative on the Martin Wind Don Friedman VIP Trio call-and-response sectioning and featuring McCaslin’s sensitive, slow ballads and then also on the more Tony Jefferson Timeless FFO-29 swelling chromatic contours and Ess’ refreshingly uptempo numbers. “Delilah” is altogether as alluring $20 cover + $10 minimum non-guitaristic melodic conception. “Noh Country”, and beautiful as she was in the famous Clifford an allusion to the traditional theater of Japan - and Brown-Max Roach version, brought into the light here WEDNESDAY, OCTOBER 19 perhaps the rootlessness of a heroic wayfarer? - recalls by the exquisite string bass work of Sam Jones. TOMMY CAMPBELL TRIO the melodies of Gagaku royal court music, rendered Again there are alternate take bonus tracks, THURSDAY, OCTOBER 20 here in pentatonic quintuplets over a loping jazz offering fascinating glimpses into the recording BEN WALTZER TRIO waltz. “Sun Matsuri” is even more adventurous, the process and the role of the producer. And note must be Ben Waltzer, Matt Penman, Gerald Cleaver rhythm section comping 5/4 time under the tenor’s made on both of these incredible recordings of the FRIDAY, OCTOBER 21 seven-beat phrasing, everyone eventually synching up incredible re-mastering. Never have these instruments EARLY SHOW -- 6 pm - 8:30 pm at the 4/4 outro figure. The mythical journey sounded so clean and beautiful, allowing even further DAISUKE ABE QUINTET dénouements with “Kerama Processional”, kicked off testament to the artists’ expressive capabilities. Daisuke Abe, Rodney Green, Matt Brewer, Aaron Parks by Harvey S’ Jaco-esque latin-calypso vamp, FRIDAY & SATURDAY, OCTOBER 21 & 22 punctuated by stop-and-go phrasing from guitar and For more information, visit www.fantasyjazz.com. A Milt CECIL PAYNE SEXTET soprano as the combo marches off towards the horizon Jackson Tribute Band led by Joe Locke is at The Kitano Oct. Cecil Payne, Harold Mabern, John Farnsworth (10/21 only), line, ambiguously overshadowed by a brief reprise of 7th-8th. See calendar. Steve Davis (10/22 only), Jim Rotondi, John Webber, the opening industrial montage. Joe Farnsworth $20 cover + $10 minimum For more information, visit www.jazzgenemusic.com. Ess is composed by bill mccormick performed by jon damian ken hatfield WEDNESDAY, OCTOBER 26 at Europa Club Oct. 10th and Kavehaz Oct. 21st. See pete smith craig wagner special guest percussionist steven kroon EDMAR CASTANEDA QUARTET calendar. THURSDAY, OCTOBER 27 music for guitar JOHN DIMARTINO TRIO FRIDAY & SATURDAY, OCTOBER 28 & 29 RYAN KISOR QUINTET Ryan Kisor, Grant Stewart, Peter Zak, John Webber, Jason Brown $20 cover + $10 minimum FRIDAY & SATURDAY, NOVEMBER 4 & 5 JOE CHAMBERS TRIO Joe Chambers, Dwayne Burno, Misha Tysyganoff $15 cover + $10 minimum Things Are Getting Better Bags Meets Wes Inquiry – 212-885-7119 Adderley/Jackson Jackson/Montgomery www.Kitano.com (Riverside-Fantasy) (Riverside-Fantasy) To order: See us at cdbaby.com or send check or money order for $15.00 to mPub-AJ P.O. Box 1234 Stamford, CT 06904-1234 USA - All checks/money orders in U.S. dollars email: [email protected] by Donald Elfman CT residents add 6% sales tax - Foreign orders add $5.00 shipping/handling 66 Park Avenue @ 38th St. CD distributed by North Country Distributors - [email protected] Milt “Bags” Jackson gained international notoriety as

16 September 2005 | ALLABOUTJAZZ-NEW YORK after it, this date proves it to be one of the most 7KH*UDQGGXFK\RI/X[HPERXUJ satisfying groupings, fully evoking the toe tapping DWLQ\FRXQWU\QHVWOHGLQ(XURSHDQG joyous simplicity of its predecessor on Timmons’ “Dat \HWQRWVRVPDOOWRLQQRYDWHLQ$UW Dere” and Bill Hardman’s “Politely”, while forecasting the sophistication and inventiveness of the next incarnation of the group with Shorter’s “Lester $QD,VDEHO2UGRQH] )UDQoRLV2OLYLHUL Left Town” and “The Chess Players”. That next incarnation, arguably the greatest )UDQoRLV 2OLYLHUL LV D -RXUQDOLVW ZULWHU SKRWRJUDSKHU MD]] DQG ILOP DPDWHXU group of Jazz Messengers, is heard on Caravan. The %XWKHLVDOVRWKHFRUHRILGHDVDQGFRQFHSWVEHKLQGDP\ULDGRIFXOWXUDOHYHQWV band featuring Shorter, Freddie Hubbard and Curtis LQ/X[HPERXUJ+HLVLQFKDUJHRIWKH3XEOLF5HODWLRQVDQG&XOWXUDODVSHFWVRI Fuller in the frontline with Cedar Walton and Reggie WKH7RZQ+DOORI'XGHODQJH DOLWWOHWRZQORFDWHGDWWKH6RXWKRI/X[HPERXUJQHDU Workman joining Blakey in the rhythm section would WRWKH)UHQFKERUGHU +HKDVDZLOGVHQVLELOLW\RULHQWHGWRZDUGV´EODFNPRYLHVµ Drum Suite (Columbia-Legacy) produce some of the finest original jazz in the music’s DQG NQRZQ IRU KLV JUHDW NQRZOHGJH DERXW FLQHPD JUDSKLF QDUUDWLRQ DOEXPV DQG The Big Beat (Blue Note-RVG) history. The date features Shorter’s sadly overlooked ILOPVPXVLFDVZHOODVIRUKLVKXPRXUDQGDWWUDFWLRQIRUWKHDEVXUG+LVGLDORJXHLV Caravan (Riverside-Fantasy) gem “This Is For Albert” and two takes each of the GLUHFWRULHQWHGWRZDUGQLJKWPDULVKPHGLWDWLRQVRQVRFLDOOLIHDQGIXOORISV\FKHGHOLF Art Blakey saxophonist’s eastern tinged “Sweet and Sour” and by Russ Musto IXJXHVDQGWUDYHORJXHVIURPHYHU\GD\KHOO,QWKHWLQ\DQGULFKFRXQWU\ Hubbard’s incendiary “Thermo”, as well as creatively RI/X[HPERXUJZLOOEHWKH&XOWXUDO&DSLWDORI(XURSH)UDQoRLVLVFRPLQJRXWZLWK Together these three reissues demonstrate that crafted arrangements of the Ellington-Tizol title track DQHZDQGXQLTXH)HVWLYDOWKDWZLOOFUHDWHWKHPDUULDJHRI´EODFNPRYLHVµDQG´MD]] although each of Blakey’s bands maintained a similar and the standards “Wee Small Hours” and “Skylark”. FRPSRVLWLRQµ2WKHUWKDQWKHJHQLXVRI0LOHV'DYLV·PXVLFRQ/RXLV0DOOH·V´/LIWWR sound they also possessed their own individual On all three discs Blakey’s drumming, both as an 6FDIIROGµ $VFHQVHXUSRXUO·(FKDIDXG 4XLQF\-RQHV·EHDXWLIXOMD]]VFRUHWR6LGQH\ identities. Drum Suite is a unique entry in the Blakey accompanist and soloist is simply stunning. /XPHW·V´7KH3DZQEURNHUµ'RQ(OOLV·DZDUGZLQQLQJVFRUHRI:LOOLDP)ULHGNLQ·V´7KH discography. Originally comprised of two sessions - )UHQFK&RQQHFWLRQµDQG0DUN'UHVVHU·VFRPSRVLWLRQLPSURYLVDWLRQVRQWKHIDPRXV one debuting Blakey’s first percussion ensemble, the For more information, visit www.sony.com, H[SUHVVLRQLVW5REHUW:LHQH·V /H&DELQHWGX'U&DOLJDUL MD]]PXVLFLDQVKDYH other with the unit featuring Bill Hardman, Jackie www.bluenote.com and www.fantasyjazz.com. VKRZQOLWWOHDWWUDFWLRQWRFRPSRVHRQILOP)UDQoRLV2OLYLHULSURSRVHVWRWKHZRUOGD McLean, Sam Dockery and Spanky DeBrest - this XQLTXHRSSRUWXQLW\IRUMD]]FRPSRVHUVWREULQJWKHLUWDOHQWVLQWRWKHVHUYLFHRIWKH reissue appends a third date including two rare tracks ´EODFNPRYLHFXOWXUHµDQRULJLQDOLGHDIXOORIQXDQFHVDVLV2OLYLHULWKHDZDNHQHG and a previously unissued alternate take by the short- GUHDPHU$QD,VDEHO6XPPHU lived group with Donald Byrd, Ira Sullivan, Kenny Drew and Wilbur Ware. Although both of the quintets offer some typically swinging Messenger material, it is the percussion ensemble that makes this disc worth 'HVSLWHLWVJULPEODFNDQGZKLWHSKRWRJUDSK\:LOOLDP$VKHU·V©-RKQQ\&RROªLV picking up. Papa Jo Jones, Specs Wright, Sabu QRWUHDOO\DFLQHPDWLFPDVWHUSLHFH7KHUHLVDEULOOLDQWVHTXHQFHZKHQWKHKLUHG Martinez, Candido, Ray Bryant and Oscar Pettiford NLOOHUWDNHVDZLQGRZZDVKHU·VHOHYDWRUXSWRKLVYLFWLP·VRIILFHDQGVDYDJHO\QDLOV join Blakey for three loosely interwoven pieces. The KLPWRWKHIORRUZLWKKLVDQWLTXDWHGPDFKLQHJXQ,PDJHVDUHQRWYHU\LPSUHVVLYHDV work begins with the leader’s “The Sacrifice”, which WRWKHLUVXVSHQVHIXOTXDOLW\EXWLWLV%LOO\0D\·VKHDY\ELJEDQGVFRUHZKLFKPRUH Knives opens with Wright’s tympani and Sabu’s Swahili chant WKDQVLPSO\DFFRPSDQ\LQJWKHULVHRIWKHNLOOHUEXLOGVDQH[FLWLQJFOLPD[FRQYH\LQJD Achim Kaufmann (Leo) and progresses into a rumba that includes a by David Adler VHQVHRIUHOHQWOHVVQHVVDQGLQHVFDSDEOHIDWHXQWLOWKHSLHUFLQJVRXQGRIDKLJKSLWFKHG previously excised Ray Bryant piano solo. Bryant’s WUXPSHWHFKRHVDVFUHDPRIKRUURUDWWKHGUHDGIXOGHHG “Cubano Chant” is dramatized by a group vocal and a Achim Kaufmann’s first solo piano disc is a study in &ULPHDQGSDVVLRQDVHQVHRIIDWDOLW\GRRPHGFKDUDFWHUVJORRP\VHWWLQJVDQGD series of exciting percussion solos and Pettiford’s atonal expressionism and sonic adventurism, draped VHQVHRIGHVSDLUDUHWKHXQDYRLGDEOHIHDWXUHVZKLFKEULQJWKHHVVHQWLDOHOHPHQWVLQ “Oscalypso” features the composer on cello for one of in dark mysteries. Recorded mainly at the Bimhuis, in MXVWWKHULJKWDUWLVWLFZD\LQWRHYHU\ILOPQRLUGHVHUYLQJRIWKLVODEHO:KDWZRXOG the finest solo outings in all of jazz on that instrument. the pianist’s home city of Amsterdam, Knives consists KDYHEHHQDQDVVHPEODJHRIWKHZRUVWFOLFKpVLQRWKHUVPRYLHVLVDQHVVHQWLDOTXDOLW\ The Big Beat was the first Messenger date of 18 fairly short pieces that showcase Kaufmann’s IRUHYHU\ILOPQRLU+RZHYHU´ILOPQRLUVµDUHQRW´FRSPRYLHVµRU´GHWHFWLYHVWRULHVµ featuring Wayne Shorter to be issued on Blue Note and technical excellence, his aptitude for instant 7KH EHVW DUH PRVWO\ DERXW RUGLQDU\ PHQ DQG ZRPHQ FDXJKWDQGFUXVKHG LQ WKH it paradoxically illustrates both how the band orchestration, his imaginative use of “mixed PDFKLQHULHVRIGHVWLQ\,QWURGXFLQJMD]]LQPRYLHVLVYHU\VDWLVIDFWRU\QRWRQO\IRU maintained its signature sound while changing with techniques” (i.e. prepared piano) and his firm yet WKHVDNHRIPRRGDWPRVSKHUHRUIODYRXUEXWDOVRIRUGUDPDWLFSXUSRVHWRVD\WKH the inauguration of each talented new member. idiosyncratic grasp of jazz piano tradition. One cannot OHDVWLQVXFKILOPVDV´7KH0DQZLWKWKH*ROGHQ$UPµ (OPHU%HUQVWHLQ ´%XOOLWWµ Shorter succeeded Benny Golson in the classic Moanin’ but admire the discipline of his left-hand bass lines on /DOR6FKLIULQ ´,Q&ROG%ORRGµ 4XLQF\-RQHV ´$QDWRP\RID0XUGHUµ 'XNH quintet that also featured Lee Morgan, Bobby “a dreg of red” and “marche b2” or his elliptical use of (OOLQJWRQ ´7RXFKRI(YLOµ +HQU\0DQFLQL ´$VFHQVHXUSRXUO·(FKDIDXGµ 0LOHV Timmons and Jymie Merritt and his harder edged, tonality on “more than a simple shoreline” and the 'DYLV  Trane influenced tone and burgeoning harmonically closing 30 seconds of “sheets surfacing like an ocean”. 6WUDQJHO\ HQRXJK QRW DOO RIWKHVH DUH SXUH ILOP QRLUV WKH\ RQO\ XVH YHU\IHZ daring approach to the tenor gave the group a more Only six of the pieces entail mixed techniques, but HOHPHQWVZLWKRXWFRPELQLQJDOO0RVWRIWKHTXLQWHVVHQWLDOEODFNPRYLHVOLNH´2XW fiery and modern temperament. Yet, the soulfulness of their aural and emotive range is broad - from the RIWKH3DVWµ´/DXUDµ´'RXEOH,QGHPQLW\µ´'DUN3DVVDJHµ´7KH.LOOHUVµ´7KH Morgan and Timmons still dominated the group’s muted percussivism of “dips and proclivities” to the $VSKDOW-XQJOHµDUHQRWVXSSRUWHGVROHO\E\EUDVVGUXPVDQGEDVVEXWDUHKHDYLO\ character, even on the saxophonist’s own whooshing and scraping of “heavy lace”, the Zen-like RUFKHVWUDWHGZLWKOXVKV\PSKRQLFVWULQJVPDMHVWLFKRUQVDQGSRXQGLQJWLPSDQL7KH tunes. While this edition of the Messengers is often calm of “space usually given over to knives” and the SRLQWLVWKDWLWDOOFRXOGKDYHEHHQGLIIHUHQW$QGLQWKHFRXUVHRIWLPHLWPD\ overlooked in favor of the ones that came before and pinging, Eastern-tinged high notes of “sand melody”. YHU\ZHOOKDSSHQWKDWZHFRXOGVZHDUHYHU\QRLULPDJHRIWKHVHFODVVLFFXOWILOPVZDV In his liner notes, Greg Buium lists some of VRDNHGZLWKMD]]QRWHV Kaufmann’s tools: a plastic ruler, fingers, a sander and (YHQZKHQMD]]LVWKHIHDWXUHLWGRHVQRWDSSHDULQLWVSXUHIRUPDQGVSHFLILFPXVLFDO JAZZ IMPROVISATION a piano-tuning wedge, among other things. ODQJXDJH:KDWZHOLVWHQWRIRULQVWDQFHLQ4XLQF\-RQHV·PDJQLILFHQWPDLQWLWOHIRU There is a rich contrast and a good deal of ´,Q&ROG%ORRGµDQGWKHK\VWHULFDOZKLUOLQJWKHPHIRU´7KH0DQZLWKWKH*ROGHQ CONNIE CROTHERS overlap between Kaufmann’s abstract sound art and $UPµDUHWKHVRXQGVRIMD]]FRPSOHWHO\UHDUUDQJHGE\WKHGUDPDWLFDELOLWLHVRIWKH FRPSRVHUDFWLQJDOPRVWOLNHDVHFRQGGLUHFWRUDGGLQJQRWJHQUHVSHFLILFRUFKHVWUDO his more “traditional” pieces. One hears it in the jump FRORXUV from “her hair a dark river…”, with its crescendoing All instruments, singers—all levels -D]]DQGPRYLHVFDQZRUNIRUHDFKRWKHUZKHQWKH\FRPHWRJHWKHULQWKHULJKW (Except for pianists, all musicians must know their instruments) knocks and groans, to the stately yet obscure PDJLFUHODWLRQVKLS$QGZKHQWKHDOFKHP\ZRUNVEHWZHHQVRXQGVDQGLPDJHVLWQRW harmonies of “no trace of food, or grief” and “four RQO\EHFRPHVDQH[FLWLQJDQGUHZDUGLQJH[SHULHQFHIRUWKHPRYLHJRHUEXWDOVRIRUWKH small rooms”. But the most striking departure is a Individual approach enables the musician MD]]ORYHU7KXVMD]]VFRUHV MXVWOLNHRWKHUJUHDWILOPVRXQGWUDFNV KDYHTXLWHD seven-minute reading of “2300 Skidoo” by Herbie to create the music spontaneously, FDSDFLW\WRVWDQGRQWKHLURZQDSDUWIURPWKHPRYLHV)UDQoRLV6XPPHU based on hearing and feeling. Nichols. Beginning with staccato jabs and harsh Integrated study includes ear-training, clusters, Kaufmann eases into the swinging melody harmony, melody, rhythm, form, gradually, using tempo as one dramatic device among instrumental expressive ability, many. His right-hand tremolos and neo-stride 0RUHLQIRUPDWLRQDERXW©-D]] 1RLU0RYLHV)HVWLYDOª history of the music’s evolution. reference points make clear that this “out” player can  access “in” at any moment. EORVVRPOLQN#LQWHUQHWOX Studio located in the Williamsburg section of Brooklyn IUDQFRLVROLYLHUL#GXGHODQJHOX For more information, visit www.leorecords.com. Telephone: (718) 302-4377 ZZZUXE\IORZHUUHFRUGVFRP e-mail: [email protected] Kaufmann is at the Don Cherry Tribute at The Stone Oct. 6th with Harris Eisenstadt. See calendar.

ALLABOUTJAZZ-NEW YORK | October 2005 17 Thelonious Monk Quartet with John Coltrane. During everyone, Eisenstadt does get his musical points intermission, Monk took up a position next to me, across. bourbon in one hand, a rum and coke in the other, The opening piece, “The Evidence of Absence is staring straight ahead. Not Necessarily the Absence of Evidence”, is an Coltrane came up to him and, rather nervously, introduction of what is to come. With a Sun Ra-like said: “Monk, I’m trying, I’m trying, but that tune is reminder and clearly a brilliant new composer at the really hard.” helm, we have one of the most interesting recordings Hardly turning toward Trane, Monk declared: to come in some time. Jason Mears, on alto saxophone “F-k the trying; do it, do it.” and b-flat clarinet, takes the listener to a higher place Judging from the indelible music on At Carnegie with a style and approach that reminds one of the Mosaic Select 20 Hall, recorded that Nov. 29th, Coltrane did indeed great Sam Rivers. Guitarist Jeff Parker takes on and Charles Tolliver (Mosaic) take Monk’s advice. The (courtesy of Voice of America masters the roll of playing the six-string in a very by Javier Antonio Quiñones Ortiz archives) recording, of two short sets during a disjointed compositional style, though at times even As a musician, Charles Tolliver almost has it all. He multi-jazz star, 2-show event, is the definitive aural he seems to get lost in the structure of the style itself. has gained international respect from critics and peers, document of this classic quartet at its most together Jeb Bishop (trombone), known for his work with Ken as well as a grateful and patient sliver of the market moment, after over four months of work together at Vandermark, along with Jason Adasiewicz (vibes) and that purchases his scant recordings as a leader and the Five Spot. Jason Roebke (acoustic bass) round out the 6-member attends his infrequent presentations. Thus Tolliver, Except for the 9-and-a-half minute “Sweet and ensemble. because of his unprolific discography and absence Lovely” (the only non-Monk tune on the Carnegie Hall “Posauno Y Schlagwerk > Between a Rock” from the market as a performer, is a minor CD) the other tracks are all in the 4 to 8 minute range thrives and without a doubt represents a jazz transitional figure in the history of jazz trumpet - shorter than was the norm at the Five Spot. But the composition that is not too often sought. “Kola” and playing, notwithstanding his actual or eventual legacy group had a scant half-hour on stage each time and the follow-up “Seed (for Gorecki)” paint a picture that as a label owner, musician, composer and teacher. A Monk was obviously making the most of it. So he is borderline free jazz meets uncertainty. The figure, however, by any other name is, well, a figure didn’t dance and, obviously reveling in having a musicianship is here, though at points you ask what nonetheless! Therefore, Tolliver is now the subject of a concert Steinway at his disposal, he played a whole lot they are trying to put across to the listener. The Mosaic Select three-disc set in what might be, more piano than what he usually did at the Five Spot. session’s strengths are in its first four (of seven) according to Michael Cuscuna, “the first in a line of So what we have is an almost effusive Monk, plus a selections and the closing piece - “And a Hard Place” - co-ventures between Mosaic and [Tolliver and pianist Coltrane completely versed in the intricacies of the where once again Eisenstadt is spotlighted both as a Stanley Cowell’s] Strata-East” label. Monk repertoire and, to top it off, a rhythm section fantastic drummer and composer. You may have a Previously released material that has seen various (bassist Ahmed Abdul-Malik and drummer Shadow hard time understanding what he and his associates editions encompasses most of these live early ‘70s Wilson) completely attuned to Monk’s demanding are striving to achieve, but warranted repeated listens dates. The first disc, recorded in 1970, is Live at Slugs, regimen of tempo and time - hence, a perfect Monk may serve enlightening. the second, from 1973, is Live in Tokyo and the third, Quartet. perhaps the most important one, features six Across Manhattan, in the far West Village, eight For more information, visit www.482music.com. Eisenstadt previously unreleased performances from the years later in the Spring of 1965, another iconic is at the Don Cherry Tribute at The Stone Oct. 4th with Ira aforementioned, three from each. quartet, Coltrane’s, was captured by another radio Cohen and leading his own group Oct. 6th. See calendar. Tolliver’s two versions of Music Inc. featured here broadcast, issued on One Down, One Up, at a time perform superior hardcore hardbop material with when it was way beyond together; in fact it was sympathies toward structured-yet-freer jazz stylistic starting to unravel. That was when a Coltrane Quartet tendencies. Indeed, plenty of gritted heart set (sets were 40-45 minutes in those days) could characterizes the writing and performing of this consist of one tune. The album’s title tune comes close, musical link between the last gasps of bop glory in the clocking in at almost 25 minutes. ‘60s and the Young Lions period. “Felicite” and On the title tune, the highlight of the album if you “Truth”, for example, are forcefully melodic and don’t mind hearing Trane repeat and elaborate on endowed with just the right touch from all concerned. phrases over and over again like a painter adding Swinging changes, as well as ethnic seasonings, frame layers and layers on a canvas, Tyner and Garrison sit the leader’s fast runs and precise flutters in out much of the time, making it a duet between tenor “Orientale”. The latter’s sinuously mysterious arched sax and drums. “Song of Praise”, on the second CD, is bass solo is met on brighter musical terms on “Effi”. the best quartet performance, but on the title tune and “‘Round Midnight” is all about deeply gutted feeling the two (incomplete) tracks featuring soprano sax, you and it sounds good. A previously unreleased 20+ can hear Coltrane chomping at the bit, trying to break minute version of “Our Second Father (Dedicated to free of the quartet conventions. As he soon would do. the Memory of John Coltrane)”, from the Tokyo date, is now available. It’s rewarding to compare the For more information, visit www.bluenote.com and respective hefty chops displayed by both editions of www.vervemusicgroup.com Music Inc. as they interpret it, as well as “Drought”.

For more information, visit www.mosaicrecords.com. Tolliver is at Jazz Standard Oct. 19th-22nd. See calendar.

The Soul and Gone Harris Eisenstadt (482 Music) by Chris DiGirolamo Jazz is a conversation between musicians and, when it At Carnegie Hall One Down, One Up: comes down to it, there is its inherent structure. Thelonious Monk Live at the Half Note Musicians should have something to say and (with John Coltrane) John Coltrane (Blue Note) (Verve) drummer/composer/leader Harris Eisenstadt without a doubt does. This new release by Eisenstadt is by George Kanzler indubitably about expression of composition. With the It was late July 1957 and I was at the end of the bar at dynamics of a five o’clock traffic jam, the music still the original Five Spot, on Bowery, during the first makes sense and takes in even the veteran week of what would be a extended run by the new listener. Though its compositional style may not be for

18 October 2005 | ALLABOUTJAZZ-NEW YORK

integrated with the musicians in the band; her improv Sabbath than Eric Dolphy but are still firmly based in scats throughout are like an additional instrument - a the new music tradition. result of a 12-year relationship she has had with the The rest of the album is filled out by covers - musicians with whom she performs. “The band is very Sabbath, Sepultura, Spinal Tap - which somewhat cohesive and everyone has strung their lot whenever diffuse the seriousness of what preceded them. On we play,” Sutton says. “The album’s title is a statement album, they come at the end as a respite. In I wanted to make about our unity and it also is a funny performance, they came first, acting as an initiation pun.” before the more difficult works. And difficult they are. At the CD release show at Birdland, she pretty Never before has the instrument been written for so much reproduced the songs on the CD, adding songs well and most listeners might not be prepared for so Manhattan Dialogues such as Willie Nelson’s “Crazy” and others. Her much of this sound. And with a remarkable recording, Dave Liebman/Phil Markowitz (Zoho) confidence on stage went through into the audience, no detail is missed. A stunning document. by Andrew Veléz which got her sense of humor as she joked between The opener on Manhattan Dialogues, most of which is songs, pushing them to purchase the CD. The band, as For more information, visit www.edmundwelles.com composed by David Liebman, is his own “Teacher of she described, is indeed completely integrated in its Our Child”. It’s a comfortably melancholy rumination, sound. yet more suggestive of the early hours of a morning On her own Live At Birdland album, vocalist after than of a kindergarten. By contrast, “7” only Kelley Johnson relies on standards but gives them a fleetingly lands on traditional melodic structure. Here certain personal touch. She practically owns the Liebman (soprano and tenor saxophone) and Phil Carmichael/Washington tune “The Nearness of You” Markowitz (piano), who have been collaborating in (which was included on her performance at Jazz various settings since the early ‘90s, trade musical Standard Sep. 12th) and the oft-recorded “What A fragments. Markowitz jumps around on the keys, Little Moonlight Can Do For You” (which Sutton also occasionally giving out with cheerfully melodic covered in her album) sounds fresh and energetic. outbursts that are punctuated by droll tweaks and Although Johnson does not exude the same sqeaks and lowdown moans from Liebman. sexiness that Sutton does on stage, she has an “Sno Peas”, a 1979 Liebman tune, may previously engaging stage presence and a charming personality be best remembered from Bill Evans and Toots that is quickly captivating. She also has a very Thieleman’s Affinity. Here it’s an opportunity for confident voice and takes on a cacophony of sounds in Markowitz’ lengthy and lush phrases suddenly to turn her arrangement to the Bacharach/David composition meditative. It’s in those darker moments that “What The World Needs Now” with extreme ease. The Liebman’s warm sax lends sympathetic partnering. same thing goes for Ornette Coleman’s “Turnaround” Two classics, “The Night Has a Thousand Eyes” on the CD, where she scats Ella-like, trading jabs with and “‘Round Midnight”, close the set with renditions trumpeter Ingrid Jensen throughout the song’s almost that explore a complete harmonic range. Most notable 10 minute duration, which also features great work by is a solo with which Liebman opens the latter. As an pianist John Hansen. intro to Dizzy Gillespie’s melody, it’s of a beauty whole and complete unto itself. For more information, visit www.telarc.com and Recorded in a live session at New York’s www.jazzconnect.com Manhattan School of Music, this duo plays outside of traditional categories such as jazz or classical. As Markowitz has observed, what they’re up for is music “...with no esthetic or restrictive barriers.”

For more information, visit www.zohomusic.com. Liebman is at Merkin Hall Oct. 6th at the Steve Lacy Tribute and at 55Bar Oct. 14th-15th. See calendar.

Agrippa’s 3 Books Edmund Welles (s/r) by Andrey Henkin After having been rescued from the back rows of the orchestra by ‘60s jazz, the bass clarinet has found many homes. Today it is no longer rare but has become the province almost solely of the less composed spheres of the genre. This is a shame really I’m With the Band Live at Birdland because the bass clarinet can be one of the most Tierney Sutton Kelley Johnson (Telarc) (Jazz Connect) expressive instruments around, pleasing yet subversive with a remarkable tonal range in the right by Ernest Barteldes hands. Edmund Welles, a San Francisco-based bass “There’s something in our live set that doesn’t come clarinet quartet, has created a symphonic repertoire through on a studio recording,” Sutton said during a that mixes the best elements of chamber music, jazz, phone interview about her recently released album Í’m heavy metal and “religious” music. With The Band, which was captured live at Birdland The group, led by composer Cornelius Boots, last spring, “so we decided, ‘why not do a live must have quite a following, evidenced by the record?’” remarkable turnout at a late August performance at The album contains several classic tunes from the The Stone. There the group played material from American songbook - some of which were specially Agrippa’s 3 Books as well as some older original selected and arranged for the album, such as Ted material and covers. The album is a four-part suite Koehler/Harold Arlen’s “Between The Devil and The (not including pre- and postlude) inspired by the 16th Deep Blue Sea”, Cole Porter’s “I Get A Kick Out Of century philosophical treatises of the German You” and Henry Mancini’s “Two For The Road”. intellectual. The music is simply remarkable. Boots has “Those were songs that we played that people always the ability to write compelling melodies and mix them asked about,” she said, “but that we had never with fascinating counterpoints, all while fully utilizing committed to a record.” every black laquered inch of the instrument. Sutton’s crystal-clear voice sounds completely Stylistically, the pieces owe more to the realm of Black

20 October 2005 | ALLABOUTJAZZ-NEW YORK of lines separating jazz and classical performance. arranged for horns and flute with an elegiac, almost Donelian is intimately familiar with the subtle nuances funereal mood and the traditional “Bati”, a minor-key, of his gorgeously warm 19th Century reconditioned atmospheric ballad plaintively sung by Tsèdènia Steinway and it serves as the vehicle for his Gèbrè-Marqos. extemporaneous expositions. If there’s one shortcoming to Live in Addis, it’s the The lovely flowing lines of the introductory slightly sub-par recording quality - one would love to “Preamble” that beautifully segue into “A Call to the hear the album’s arrangements and soloists as crisply Spirits” hook you in until you are slightly jarred by the as possible. But it’s a minor quibble in the face of two somewhat discordant “Witch’s Cauldron”. Each piece, CDs full of such exciting music. save for the eclectic yet compelling excursion “On the Vignettes in the Spirit of Ellington Dark Side of the Moon” with its rag-like middle and For more information, visit www.budamusique.com. The James Jabbo Ware/The Me We & Them Orch. (Y’All) the multi-hued “Blues Montage”, is a brief mood piece Either/Orchestra with Mulatu Astatké is at Joe’s Pub Oct. by Francis Lo Kee that reflects Donelian’s inner-self expressed through 13th. See calendar. This is a sonically gorgeous recording. James Jabbo his flawless touch. “Nostalgia” evokes the requisite Ware beautifully orchestrates, exploiting the colors of longing without being too schmaltzy while “Beer the various instruments to their fullest and he frames Drinker’s Anthem” is a comical paean to the amber the great soloists in different ways from solo spot to liquid. “Springtime in the Rose Garden” is quickly solo spot. moving and uncovers the bustling behind the beauty There is a narrative element to much of the music as opposed to evoking pastoral scenes just as “Young here. “Strange Land” starts with a mallets on Asses at Play” literally gallops through a spirited tom-toms groove but soon breaks down into string pianistic romp. tremolos that might suggest visual images of the Where Donelian truly excels is in his use of strange land. Then a totally different groove begins subtlety, be it through time or sustain, to involve the after the tremolos fade to silence…perhaps the visitor listener in his own musings. I found myself listening to the strange land begins to get his or her bearings to a piece and letting the music take my mind where it and starts exploring the land again. Listen and you would and then checking the title to ascertain if our will come up with your own images. journeys matched. At times they did and at times they On “And Here We Go Again”, JD Parran is didn’t, but either way this is the type of album that is featured with an amazing orchestration behind him. best experienced by closing your eyes with no other JD has a great sound and great chops on the clarinet; distractions and allowing the music to lead the way. the solo here stands out with excitement. Eddie Allen follows on trumpet: a perfectly balanced solo with For more information, visit www.sunnysidezone.com. shades of fleet bebop lines, growls from the Bubber Donelian is at InHouse Oct. 14th. See calendar. Miley vocabulary and everything in between. Eddie Allen is accomplished; Indeed, he’s obviously done a lot of homework and yet he is very much in possession of his own voice. “Saint Louis Train” is a blast. Eventually using the “Night Train” riff, this piece really integrates the strings, the marimba, the grooving rhythm section and the piano with great orchestral skill, but perhaps more striking is the overall effect is one of fun, missing from a lot of modern jazz. BASS-ICALLY SPEAKING It should be noted that Warren Smith’s great Ethiopiques 20: Live in Addis drumming drives and swings the orchestra and really Either/Orchestra (Buda Musique) “Rogers sings in her own skin, dropping the fetters of evokes the spirit of Ellington’s drummer Sam by Brian Lonergan Woodyard on tracks like “In the Spirit Of”. Bassists mere interpretation to tap a wellspring of emotion.”

Leon Dorsey and David Moore, pianist Hilton Ruiz A horn lover’s paradise exists and it is Addis Ababa. — All About Jazz and percussionist Thurman Barker also make very At least, the Ethiopian capital was for one night in strong contributions to the entire feel and sound of January 2004, when the American Either/Orchestra this wonderful CD as supporting players. (E/O), a proponent of “Ethio-jazz”, played a rousing This CD was recorded live at the New York concert at the city’s third annual music festival. Society for Ethical Culture on July 14th, 2001 and the The fortunate result of that night, the two-CD Live sound quality again is excellent. in Addis, is the 20th volume of Éthiopiques, a series of albums dedicated to preserving and promoting For more information, visit www.yallnewyork.org. Ware’s Ethiopia’s rich musical heritage. The music on Live in Me We & Them Orchestra is at Saint Peter’s Oct. 21st. See Addis is so energizing and beautiful that by the end of calendar. the second disc, one only wants to hear more. Tenor and soprano saxophonist Russ Gershon, E/O’s leader, writes in his articulate and entertaining liner notes, “hovering over [the visit] was the question of how Ethiopians would respond to a group of Americans taking extreme liberties with their inheritance.” The answer can only be exuberantly. The 10-piece E/O (saxes, trombone, trumpets, flute and rhythm section) interprets Ethiopian numbers with colorful, winding horn arrangements and driving percussion, to which the audience responds with immense Grand Ideas, Vol.3: Full Moon Music enthusiasm. Elder statesmen of Ethiopian music join Armen Donelian (Sunnyside) by Elliott Simon in, including Mulatu Astatké (whose classic compositions anchored the soundtrack of Jim CD Available at CD Baby.com The third chapter in pianist Armen Donelian’s Grand Jarmusch’s Broken Flowers this summer), saxophonist Ideas trilogy, Full Moon Music stands alone in its Gétatchèw Mèkurya and singer Bahta Gèbrè-Heywèt, For Booking Information ability to allow the listener to bond with the artist on a whose vocals guide the sinuous Middle-Eastern visit most personal level. Consisting of 14 freely melody of “Antchim endèléla”, one of the set’s most improvised solo piano portraits, the program appealing numbers. www.louiserogers.org masterfully tip-toes, walks and runs along the thinnest Other highlights include “Eyèyè”, a folk tune

ALLABOUTJAZZ-NEW YORK | October 2005 21 work. In short, Golia’s important and absolutely worth LIVE PERFORMANCES paying attention to; if you don’t know him - and far too many New Yorkers do not - you should. However, as Giddins infers, there can be too much of a good AT thing and these three albums are it. A Gift for the Unusual (Music for Contrabass Saxophone) runs over 64 minutes; Music For Like Instruments; the Flutes runs more than 67; and the live One, Three, Two - a double CD set - a whopping 144 or so. Of the three releases, the live album is the most Raising the Standard: Live at Jazz Standard Vol. 2 consistently interesting. Recorded at three Belgian Frank Morgan (HighNote) gigs in 2001 on the heels of September 11th, One, Three, by Joel Roberts Two finds Golia switching off between eight different Frank Morgan was almost one of the cautionary tales horns while headlining a first-rate quintet of longtime of jazz history; instead he’s become one of its most SoCal associates. (Very longtime, in fact: the remarkable survivor stories. A promising L.A. alto remarkable brothers Cline have been playing with saxophonist in the ‘50s, he disappeared from the scene Golia since ‘76, Michael Vlatkovich since ‘81.) It’s a for 30 years as he battled a heroin addiction and good picture of what Golia does in a small-group served a series of jail terms. Morgan conquered his context - investigative free improv, both delicate and habit and returned to recording in 1985, turning out a rambunctious, based around quicksilver original stream of consistently excellent albums in the Charlie compositions which concern themselves more with Parker-inspired bebop style he’d begun exploring texture and chaos than swing or groove. (The insistent, three decades earlier. Alex Cline-fueled “Drum in the Circle of Stone” and Despite a stroke seven years ago, Morgan shows the Nels Cline-highjacked “The Happy”, which no signs of slowing down. His latest is the second respectively open and close the disc’s second volume, volume culled from a three-night stand at the Jazz are notable exceptions.) As so often with Golia, the Standard in 2003. It charts little new ground but serves pieces are lengthy, rarely falling short of 10 minutes up some of the best, most authentic modern bebop and more often than not approaching 20, which partly you’re likely to hear anywhere. The tunes are mostly explains the disc’s length; still, the double disc is Some of our performances this month include: familiar ones by Wayne Shorter, John Coltrane, Duke simply too long for its own good. Judiciously culled to Sat Oct 1 RORY STUART/GLENN WILSON QUARTET Ellington and Miles Davis, along with chestnuts like one, it might be indispensable. John Lockwood, John Riley “Polka Dots & Moonbeams” and “Old Folks”. While Similarly, A Gift for the Unusual (Music for Sun Oct 2 ROGER ROSENBERG QUARTET some fresher material would be nice, Morgan, with his Contrabass Saxophone) and Music For Like Instruments; Mark Soskin, Chip Jackson, Jeff Brillinger clear tone and fluid improvisations and his superb The Flutes each have their moments, but eventually sag Tue Oct 4 ARTURO O’FARRILL Y RIZA NEGRA Rafi Torn, Rafi Malakiel, Peter Brainin, Emilio Valdez, Harvie S rhythm section (veterans George Cables on piano, under their own weight. The former showcases Golia Wed Oct 5 KIM BOCK QUARTET Curtis Lundy on bass and Billy Hart on drums) have on the tubax, a dazzlingly flexible (at least in Golia’s David Smith, Adam Armstrong, Peter Retzlaff little trouble breathing new life into these old hands) variant of the unwieldy contrabass saxophone. Thu Oct 6 ANAT FORT TRIO warhorses. It’s startling to hear a horn this deep be so fluid and Gary Wang, Roland Schneider Raising the Standard is another fine effort by one of expressive and again, Golia surrounds himself with Fri Oct 7 JOHN HEBERT’S BYZANTINE MONKEY QUARTET Ralph Alessi, Mat Maneri, Nasheet Waits jazz’ most inspiring artists. some of the best players in the business (his witty duet with the keyboardist Wayne Peet, “Eye My”, is Sat Oct 8 JOHN MCNEIL’S INSOMNIA BAND Mike Fahie, Mike McGuirk, John Reuckert For more information, visit www.jazzdepot.com particularly choice - and truth be told, worth Sun Oct 9 LOUISE ROGERS/RICK STRONG purchasing the disc for in and of itself). But again, as Mon Oct 10 POETRY & SAX: EVE PACKER/NOAH HOWARD 6 PM good as the music is, there’s simply too much of it; COMPOSERS COLLABORATIVE INC. 8:30 PM even the novelty of the tubax grows thin by the hour Wed Oct 12 ALEX HARDING AND BLUTOPIA Lucian Ban, Hill Greene, Bruce Cox mark. Likewise, the all-flute-all-the-time lineup of the Thu Oct 13 GNU VOX: JULIE HARDY; DAVID DEVOE latter record is guaranteed to perk up the listener’s Fri Oct 14 JEREMY STEIG QUARTET ears, yet long before the disc’s 15th and final Sat Oct 15 TONY MALABY’S PALOMA RECIO QUINTET composition, fascinating or not, it’s all started to run Michael Rodriguez, Ben Monder, Eivind Opsvik, Rodney Green together. Sun Oct 16 GEORGE DULIN Danny Zanker, Take Toriyama, special guest: Sal Rosselli For more information, visit www.jazzhalo.com and Mon Oct 17 BIG BANG: Robert Dick; Kali Z www.ninewinds.com. Golia is at The Stone Oct. 6th with Tue Oct 18 HILARY NOBLE/REBECCA CLINE; RICHIE HART TRIO Harris Eisenstadt. See calendar. Thu Oct 20 PO’JAZZ HOSTED BY GOLDA SOLOMON 6 PM GEORGE GARZONE/RASMUS EHLERS QNT. 8:30 PM One, Three, Two (Jazz Halo) Fri Oct 21 MARC MOMMAAS’ GLOBAL MOTION A Gift for the Unusual (Nine Winds) Nikolaj Hess, John Hebert, Tony Moreno Music for Like Instruments; The Flutes Tue Oct 25 THE FLAIL: Dan Blankinship, Stephan Moutot, Brian Marsella, Reid Taylor, Matt Zebroski (Nine Winds) Thu Oct 27 GNU VOX: GRETCHEN PARLATO; SOFIA KOUTSOVITIS Vinny Golia Nikolaj Hess, John Hebert, Tony Moreno by Brandt Reiter Fri Oct 28 ALLISON MILLER¹S AGRAZING MAZE Ingrid Jensen, Enrique Haneine, Carlo deRosa Several years ago, the esteemed jazz critic Gary Sun Oct 30 JESSICA JONES QUARTET + FRIENDS Giddins named Sonny Rollins’ This is What I Do his Doors open at 8:30 pm No. 1 album of the year. Among its many other merits, Giddins celebrated what he referred to as the record’s “LP-ballpark length”. “You can actually take it in in one sitting,” Giddins wrote, adding, “How many 75- For our full schedule check out our website minute epics, excellent in sections, become wallpaper www.corneliastreetcafe.com by the eighth nine-minute track?” How many, indeed. My answer: most. Cases in point: three albums by the very gifted pan-reedist Vinny Golia. Based in California, Golia has been a CORNELIA STREET CAFE major force on the West Coast avant garde scene for 29 Cornelia Street more than 30 years. He’s a fantastically talented New York, NY 10014 player, uncompromising in his music and a true (212) 989-9319 visionary; with Nine Winds, the label he founded in Between West 4th and Bleecker 1977, he’s given voice to many players outside the West of 6th Avenue New York-centric jazz world and helped archive their

22 October 2005 | ALLABOUTJAZZ-NEW YORK Rogue Art so far seems to be doing everything right: striking, uniform packaging, hometown recordings and overall excellent sequencing, making all three albums flow beautifully despite the length of the pieces. Unfortunately - as is so often the case with French labels - distribution is shaky in the States. Each is worth a quick grab if stumbled upon.

For more information, visit www.roguart.com. Roscoe Mitchell is at the AACM series Oct. 7th. See calendar.

Turn Roscoe Mitchell (Rogue Art) Bindu Hamid Drake (Rogue Art) Radiant Pools Rob Brown (Rogue Art) by Kurt Gottschalk The best American jazz artists have often had to look overseas for support. European labels have long Persephone proved to be reliable homes for adventurous music. Ezra Weiss (Umoja) From the looks of its first three releases, the French by Celeste Sunderland label Rogue Art might become another safe house. The most exciting of the label’s inaugural issues is In Greek myth, when Hades abducted Demeter’s a new title from Art Ensemble of Chicago founder daughter, the heartbroken harvest deity plunged the Roscoe Mitchell. In itself that is always a notable Earth into icy cold. But the Gods were able to work out event, but this new group (with Mitchell’s longtime a deal. During part of the year Persephone would rhythm section Jaribu Shahid and Tani Tabal on bass reside with her husband in the underworld and winter and drums along with new Art Ensemble trumpeter would descend. When the beautiful being once again Corey Wilkes and the excellent young pianist Craig emerged to be with her mother, spring’s ripe buds Taborn) stands among his greatest bands. They have would penetrate the soil, engulfing the planet in all the role and bluster of Mitchell’s Note Factory, but summer blooms. Named for this ethereal figure, Ezra stripped down to an economic quintet. Across 14 quick Weiss’ second studio album shifts with as much light tracks (five break the five-minute mark), they cover and color as an autumn landscape shrouded by the much of Mitchell’s best improv settings, from jazz rays of a harvest moon. heads to percussion structures to horn drives and Breezy saxophone lines kick off the first track funky rhythms. The most striking thing here - as with “Lord Give Me Wings” and a panic that this might be recent Art Ensemble performances - is hearing another jazz record with wide spanning horns, gentle Mitchell share the front line with a trumpeter so ready piano comping and splashy drums seizes. But the to deliver. The young man’s gig filling Lester Bowie’s fantastic musicianship is quickly ascertained. The horn shoes was a shock and in no way does he try to players - Michael Phillip Mossman (trumpet, emulate the departed master, but he is clearly flugelhorn), Antonio Hart (alto saxophone, flute) and confident in the partnership. As a whole, the group is Kelly Roberge (tenor saxophone, clarinets) - glide over comfortable together, ready to let the compositions their instruments with comfort; Leon Lee Dorsey stand and while Shahid and Tabal haven’t been the creates an underlying darkness on bass; Billy Hart and most exciting parts of Mitchell’s groups, here they Jason Brown concoct chilling scenes with shattering sound better than ever. drums passages; and Weiss tethers the group with Drummer Hamid Drake has been a major voice in subtle piano chords. the generation of Chicagoans following the explosion Giving thoughtful consideration to each of Mitchell and the Association for the Advancement instrument, Weiss composes well for this group. With of Creative Musicians. He’s most known for a long an abundance of horns, the melodic options are association with saxophonist Fred Anderson and here countless and he takes advantage, commanding makes his recording debut as a bandleader. He called willowy lines that intersect then reconvene in together for the session a quartet of New York and counterpoint or in harmony on the slow tempo track Chicago saxophonists (Daniel Carter, Ernest Dawkins, “Rise And Fall”. A villainous trumpet solo by Sabir Mateen and Greg Ward) and added the great Mossman on “Winter Machine” creates a portrait of a young flutist Nicole Mitchell. The tracks vary from fertile planet becoming a barren wasteland. Hart’s alto Drake solo (with Afro-esque vocals) to charted vamps saxophone sways gracefully across a calm surface on and free blows with the horns. The standout, though, “The Dancer” that slowly evolves with the emergence is a 14-minute duet with Mitchell, the rare flute player of Dorsey’s contemplative bass solo. inventive enough to carry such an extended As a group the sextet sets varying moods. percussion piece. Drake excels especially on the frame Everyone contributes a classy essence to “Family drum, as is well evidenced here. Song” which begins with a sumptuous swagger from New York saxophonist Rob Brown’s strongest the rhythm section. Weiss seduces on keys making work has been as a sideman (he’s on heavy rotation in them glisten ever so softly. When the horns come in William Parker’s bands) and in the group he co-led they blend into an irresistible undulation. with Joe Morris. But if he’s been slower to come into The title track bursts with harmonious exchanges his own as a leader, Radiant Pools shows a promise for between ringing piano chords and flowing flute. more. With Morris on bass, Steve Swell on trombone Weiss’ solo piano flowers with clarinet lines that curl and Luther Gray behind the drums, the group wisely up like fiddleheads. The tune stays demure takes its time, letting the pieces unfold, often for close throughout the six minutes and forty seconds, to 10 minutes. Swell is as always a phenom and while continuing along the same even plain, reminding that Morris’ bass playing continues to be second fiddle to mother and daughter have much to cover as the last of his great, innovative guitar work, he comes off as more March’s snow melts away. relaxed and on target here. Gray - who has been playing with Morris in recent years - is slow yet For more information, visit www.umojaproductions.com. strong, a perfect backing for the group. Weiss is at Dizzy’s Club Oct. 18th-22nd. See calendar.

ALLABOUTJAZZ-NEW YORK | October 2005 23 case ably during his solo and pianist Doug Carn riffs display during the instrumental segments flags a bit like McCoy Tyner. The quaint “Girl Talk” finds Fuller when the singing starts. in great form as he bookends the tune with his misty Frazier’s vocal effort, of course, has a long, statements of the melody, letting bandmates Carn and distinguished lineage in jazz, but here it does not bassist Rodney Jordan shine on their solos. elevate the proceedings. “It’s All Love” features “Lover Man” begins with a dolorous bowed solo another lush Pelt solo, this time muted, but the vocals, by Jordan, with Fuller blowing the melody, then in a Leon Thomas-like aura, never take hold. On Jackson picking it up at the bridge. The two men “Nobody Knows Me” however, band and vocalists exchange solos, with Jackson’s second turn being strike a strutting, polyphonic New Orleans groove that appropriately slow and bluesy, with a clear, solid tone. is so appropriate to remember at this time of Up Jumped Spring Keep it Simple Curtis Fuller Curtis Fuller The rhythm section takes a turn, sans Fuller and devastation in this proud city’s history. (Delmark) (Savant) Jackson, on Carn’s “Western Sunrise” making the by Terrell Holmes listener wonder what this trio would sound like on its For more information, visit www.ericfraziermusic.com. own disc. Frazier is at Triad Oct. 14th and at JRG Fashion Café The timeless Curtis Fuller has been a brand name “Arabia” is another Fuller original plucked from Wednesdays. See calendar. trombone player for about 50 years now and he’s his days as a Jazz Messenger and it dances and jives never sounded better than he does on his two new under the able chops of the leader and Jackson. Fuller releases, Up Jumped Spring and Keep It Simple, which lays out on “Diane”, Jackson’s original ballad, which will enhance his standing as one of the bright and he and the rhythm section play with warmth, enduring stars in the jazz firmament. These discs tenderness and a bit of dramatic tension. The disc prove that not only does he still have strong chops but concludes with with “It’s You or No One”. Carn takes he can bring a fresh perspective to classics and the first solo, followed by Jackson. Fritz Wise on originals. This was evident during a recent gig at drums and Jordan keep it all pinned down and the Sweet Rhythm, where he led a dynamic sextet that band sprints to the finish line in style. included three members of the Louis Hayes group, including the venerable drummer himself, the rhythm For more information, visit www.delmark.com and section sounding like they had been playing together www.jazzdepot.com for years. Fuller opens Up Jumped Spring with his take on Herbie Hancock’s jazz classic and hip-hop/acid jazz standard “Cantaloupe Island” with excellent accompaniment by his young charges, particularly trumpeter Brad Goode, whose soaring play provides some of that old-time Blue Note religion. The title cut finds Fuller playing as mellow and spry as ever and Goode channels Miles on the trumpet with a splendid muted solo. Pianist Karl Montzka, Larry Gray on bass and Tim Davis on drums drive the rhythm. The group swings on Duke Ellington’s “In A Find Yourself (Then Find Me) New Y’All CD Eric Frazier (s/r) Mellow Tone”, Goode continuing his splendid muted by Andrew Rowan trumpeting. Montzka again displays facility and dexterity on the piano, Gray again making a bowed Eric Frazier has assembled a large cast for this funk- solo statement on bass. During the echoing that occurs filled, self-produced recording. With him at the helm during the statement of the theme between Fuller and are two jazz stalwarts: bassist Reggie Workman and Goode, the leader prefers to follow the pianist Danny Mixon. Also present are rising stars, (comparatively) young lion, giving him room to create including trumpeter Jeremy Pelt, tenor saxophonist and showing a respect and musical generosity of Wayne Escoffery and pianist Anthony Wonsey. spirit Fuller seems to have inherited from Art Blakey. Things kick off with the funky “Walk That Walk”, On “God Bless the Child”, a duet between Fuller defined by Mixon’s breathtaking solo and high-octane and Montzka, the venerable trombonist practically comping. Although its beat is insistent and infectious sings the words of one of jazz’ most enduring (try to sit still), the ensemble’s reading of the theme is cautionary tales through his horn. “Bags’ Groove” breezy. Guitarist Wayne Jeffery’s, lean, single-note jumps out of the box with Fuller once again putting solo unfolds beautifully. together a masterful solo. Goode removes the mute “Talking Silly” could have easily been born in the Release Concert: and we hear him unbridled for the first time and it’s a Shaft-era. Its call-and-response pattern defines the Saint Peter’s Church treat. On Coltrane’s “Equinox” Goode also plays sans epitome of instrumental funk. Not content to rely on October 21st 8:30 pm $20 mute and solos with a resonant, confident tone. The clichés, the soloists stretch out, bringing depth and 619 Lexington Avenue at 54th Street small Coltrane tribute continues with “I’m Old adventure to their offerings. Tickets: $20; $10 for seniors and students Fashioned”, a tune featured on the classic Blue Train, “The Sun Will Shine Again” has a theme that an album on which Fuller appeared. Ironically, on this leans more towards traditional jazz than funk, with an Vignettes in the Spirit of Ellington version he pretty much lays out, allowing the rhythm especially appealing release. Then alto saxophonist section to do its thing. The leader returns in full force David Lee Jones throws a curve in the first lead, by James Jabbo Ware on “Alone Together”, on which Goode does his most offering an agitated, angular solo, followed by Pelt in The Me We & Them Orchestra powerful blowing on the date. The disc ends with a lyrical, reflective turn. Mixon shines again and it is + Strings & Horns “Star Eyes”, which according to Fuller was one of all set against an unrelenting, but never ponderous, This new CD is yet another extension of Mr. Ware’s uniquely focused concepts of composition and improvisation. It is scored for The Me We & Them Orchestra Miles Davis’ favorites. Montzka can swing with any bass ostinato. with string ensemble. pianist around and his sound and articulation on this On this contemporary jazz production, replete J. D. PARRAN - alto sax, clarinet PAAVO CAREY- tenor sax, flute cut reaffirms his talent. Goode goes back to the with funk, soul and jazz rhythms and motifs, the band SALIM WASHINGTON - tenor sax PATIENCE HIGGINS - baritone sax, bass clarinet Harmon mute and plays yet another impressive solo to plays with seriousness of purpose, soloing with verve EDDIE ALLEN, CECIL BRIDGEWATER, CHRIS ALBERT - trumpets CLIFTON ANDERSON, RICHARD HARPER - trombones complement Fuller’s own spirited turn. and imagination. And it’s all such fun dance music. BILL LOWE - bass trombone, tuba MARSHALL SEALY, MARK TAYLOR - horns GWENDOLYN LASTER, CAROLOS BAPTISTE - violins According to the liner notes, Keep It Simple was The Latin-themed “Bueno Gente” offers a welcome CRYSTAL GARNER, MELANIE DYER - violas the jazz equivalent of a pickup basketball game, with change of pace without relinquishing any of the drive CLARISSA HOWELL, NIOKA WORKMAN - cellos LEON DORSEY, DAVID MOORE - double bass the band members just hooking up for the session. On of the previous tracks. HILTON RUIZ - piano WARREN SMITH - drums the opener, “The Court”, saxophonist Javon Jackson The level of invention drops when the vocals THURMAN BARKER - percussion JAMES JABBO WARE - conductor solos over Fuller’s statement of the melody. After enter however, but not enough to devastate this Cost of CD: $18.00 Fuller and Jackson state the melody on “The Maze”, worthy project. Although Frazier and the other lead Mail orders: Check made payable to Y’All of New York, Inc. Y’All of New York, Inc. 101 W. 23rd Street, Suite 2449 Jackson plays a strongly Trane-ish solo that invokes vocalists sing with sincerity, the words are not on par New York, New York 10011 “Softly As In A Morning Sunrise”. Fuller states his with the excellent songs. The joie de vivre so on Online orders at www.yallnewyork.org

24 October 2005 | ALLABOUTJAZZ-NEW YORK IN STORES NOW!

JC HOPKINS BIGGISH BAND UNDERNEATH A BROOKLYN MOON

Original Songs rooted in Big Band jazz, Be-Bop and the classic American Songbook.

“A gem of Americana jazz” —Indystar

“Top-level talent” —All About Jazz “A highlight is One Never Knows, co-written with Norah Jones.” —NY Press

www.jchopkins.com www.tigerlilyrecords.us repeated listens and remain accessible enough to appeal to a wide audience without pandering. Earning notice in high profile gigs with guitarist Bill Frisell and singer Norah Jones, Scheinman has emerged as an intriguing young composer with a string of strong CDs. 12 Songs continues the positive trend, with Scheinman crafting memorable tunes that subsume her varied influences and history to sound natural and unforced when translated through performance. Of course it helps to be surrounded by The Gap Mal Waldron with... Steve Lacy Steve Lacy these consummate musicians: Frisell, clarinetist Doug (America-Universal) (America-Universal) Wieselman, cornetist Ron Miles, piano/accordionist by Laurence Donohue-Greene Rachelle Garniez, bassist Tim Luntzel and drummer Dan Rieser. Never showy or self-aggrandizing, the Over a year ago we lost a pioneering musician who musicians deftly interpret Scheinman’s compositions, singlehandedly created a language for the punctuating them with taut solos and supporting the soprano saxophone. Two overdue reissues from this soloists with snippets of the written themes. year (both recorded in 1972) and a belated NYC tribute This supporting role was accentuated at the this month help us to commemorate his genius. recent CD-release celebration at Tonic, where The Gap’s title track, initiated with polyphonic Scheinman employed a string orchestra of some dozen quintet blasts followed by momentary silence, players under the direction of Eyvind Kang. On “Moe pronounces the tune and album’s title, its harmonic Hawk”, the string section doubled the infectiously nooks and crannies intentionally and randomly left for bouncy melody, before supporting Wieselman’s group exploration. With Steve Lacy are alto/soprano crowd-pleasing bass clarinet feature and a note- saxophonist Steve Potts, drummer Noel McGhie, twisting turn by Frisell. Kang had them fluctuating the cellist Irene Aebi - sans vocals - and bassist Kent dynamics while providing harmonic material, as Carter. From upper register overlapping flute-like bassist Todd Sickafoose and drummer Mark Ferber (in saxophone parts to Carter and Aebi’s dirge arco work, for the gig) churned out the marching rhythm “Esteem” quickly becomes a harmonic well for accenting the dominant beats. intertwining reeds and polyrhythmic brushwork and The expanded strings heightened the drama of drumming. The near-20 minute session centerpiece compositions like “She Couldn’t Believe it was True”, “The Thing” is where contemporary classical and which unfolds from a sparse lyrical clarinet chamber music meets free improv and jazz. The introduction, shifts to almost Celtic balladry from reissue’s liners state, “Lacy is hardly lockable inside Scheinman’s violin, then builds to a dramatic flourish any stylistic drawer other than his own.” There is no of repeated staccato phrases punched up by the better example than here - subtle pitch variations orchestra. On “The Buoy Song” the strings mimicked between the two string players and two horns create a the sounds of seagulls, enhancing the song’s maritime multitude of possibilities, exploiting the gaps as a atmospheric textures. The sauntering Americana of springboard into a unique musical universe. “The Frog Threw His Head…” found Scheinman An ideal companion piece, the juxtaposition of plucking her violin like a mandolin, before stepping ensemble interaction, sailing and contrasting solos and aside for Miles’ cornet to alter the tonal colors and even-if momentary pauses allows Mal Waldron with the invert the lines. As on the CD, despite the Steve Lacy Quintet (basically add Lacy’s longtime participation of strong, idiosyncratic musicians, the collaborator Waldron to the above mix) to continue the songs are what leave the deepest impression. “gap” concept naturally. The undeniably individual pianist adds a particular depth with resonant For more information, visit www.cryptogramophone.com. multi-textural playing of single notes and colorful yet Scheinman is at Barbés Tuesdays in October and at 55Bar dramatic chords, a perfect tonal foil at times to Lacy’s Oct. 23rd. See calendar. atonal proclivities. Waldron once said, appropriately enough, “If there’s no silence, the sound doesn’t mean anything.” Starting where “The Thing” left off, the 18+ minute Waldron suite “Vio” is followed by two of Lacy’s originals: “Jump For Victor” and a Monk-ish “Blue Wee”, with two newly found precious alternate takes of the first two pieces.

For more information, visit www.free-america.net. A Steve Lacy tribute is at Merkin Hall Oct. 6th. See calendar. Celebrating Our First 10 Years: CIMP Records

CIMP • Recorded for artistry, produced for excellence, engineered for reality, and played with conviction. • 235 releases of excellent artistry.

12 Songs • Send $1.00 in stamps and we’ll send you Jenny Scheinman (Cryptogramophone) a FREE sampler: by Sean Fitzell The beguiling melodies draw listeners in. The lush CIMP Records instrumentation, evoking the parts of an orchestra and Cadence Building vibrant ensemble playing hold their attention. Redwood, NY 13679 USA ph: 315-287-2852 f: 315-287-2860 Beautiful tunes with hints of humor and dedicated, cimp@cadencebuilding.com Creative Improvised Music Projects Improvised Creative unselfish performances coalesce on violinist Jenny music in audiophile sound adventuresome www.cadencebuilding.com Scheinman’s 12 Songs. The results satisfy deep,

26 October 2005 | ALLABOUTJAZZ-NEW YORK Earth People stands as a shining example of the beauty and harmony human beings are capable of creating.

For more information, visit www.earthpeople.tv. Earth People is at Henry Gregg Gallery Oct. 14th. See calendar.

Now is Rising Earth People (Undivided Vision) by Florence Wetzel It’s time to welcome another offering from Earth People, one of the most innovative and exciting groups on today’s avant garde scene. The group excels once again with the absolutely fresh Now is Rising, a soulful Evolving Silence Vol.1 amalgam of sound that showcases the group’s Drake/Beger/Parker (Earsay) versatility and formidable gifts. This incarnation of the by Jeff Stockton group includes Andre Martinez on drums and percussion, Jason Candler on alto sax and guitar, Doug The Wyman and Watts of jazz, bassist William Parker Principato on guitar, vocals and keyboards, Francois and percussionist Hamid Drake, traveled to Israel to Grillot on contrabass, Mark Hennen on piano, Sabir perform with Roy Campbell in the Pyramid Trio in Mateen on alto, tenor and alto clarinet, Elliott Levin on February 2005. The next day, after having sat in with flute, tenor sax and vocals, Firehorse on electronics, the band, saxophonist Albert Beger recorded his own Ricardo Solis on congas and M on vocals. trio session with Parker and Drake in the studio. The Earth People is renowned for its beautifully resulting Evolving Silence Vol. 1 is just a taste: four intense jams, but on Now is Rising the songs are tracks across 42 minutes. But each composition stands shorter, allowing the group to display an amazing individually to represent a different aspect of Beger’s range. The CD starts out with “Red Clay”, a funky blend of free jazz and Middle Eastern lyricism (along melodic outpouring with a mesmerizing groove by with the unquestionable spiritual authority of his Grillot, Levin’s boiling sax and M’s impassioned bandmates) and the recording is vivid, crackling with vocals. Then “Small Distraction Mass Confusion” immediacy and brimming with soul. brings in an entirely different spirit, a free jazz jam “Naked Truth” opens with a serene invocation where Mateen’s fluid sax builds into a fiery solo from Beger on tenor, then transforms into an without brakes. The next tune, “Now is Rising”, is a improvised burner as Beger overblows with rising joyfully wild spoken word by Principato and Levin, as intensity. After Parker and Drake play furiously, the well as chanting by the entire band. Then the group tenor comes screaming back, concluding decisively shifts to “M Train Samba”, a delightful short piece before a tranquil coda. Two duets occupy the CD’s bursting with Solis’ congas and Hennen’s high energy midsection. The first, for alto flute and bass, is the piano. Next is “Time to Vote!”, another spoken word session’s most visceral performance, with Beger by M. The song features electronics, a vampy piano drawing audible breaths and Parker’s repeated and Levin cooking on sax, creating an absolutely plucked motif in support. The bass responds quickly contemporary protest against the current to slight changes in tempo before answering Beger’s out-of-control political climate. The sixth tune, “Sweet percussive flute pops with a bouncing bow. The Peas”, invokes Monk as well as the Blue Note sound, second, for tenor and drums, is in the style of with Grillot setting up a rock solid groove and Mateen Coltrane’s “Countdown” as Drake’s loose-limbed swinging light and loose. The CD closes with the double-timing seems to inspire torrential sheets of unabashedly hard rocking “Draft Dodger”. The song sound from Beger as he runs up and down his horn. gets wild and woolly, mixing in electronic squiggles For the final track, “Rain Is Coming”, Parker switches and rollicking solos. to the doussn’gouni to evoke the eternal flow of the What a CD! The listener never knows where the Nile and Drake handles his shaker as if he were music is going next, which is part of the enjoyment. running his fingers through wooden wind chimes. Yet Now is Rising is not the least bit incohesive - what Atop Drake’s high-hat shimmer and stick taps as light holds the CD together is the group’s open-hearted as brushes, Beger blows a gorgeously meditative spirit and courage, as well as its intention to create melody before finishing with a soft chant of “shanti, honest, passionate music. In this era of war and strife, shanti”. Peace out. We already know what Parker and Drake are capable of, whether leading their own groups, as sidemen or simply supporting each other. With any the dynamic duo luck, Albert Beger’s capabilities will become even rashid ali more apparent and impressive on Volume Two. arthur rhames For more information, visit www.earsayrecords.com. Parker remember is at Location One Oct. 9th. See calendar.

trane and bird (aylcd-050/051)

www.ayler.com live music with spirit Distribution: Verge (CA), NorthCountry(US)

ALLABOUTJAZZ-NEW YORK | October 2005 27 version of Ellington’s “Mood Indigo”. In addition to night slot at Fat Cat - Lindner has had plenty of Abbey Lincoln and Mal Waldron’s “Straight Ahead”, opportunity to hone his bandstand chops. Along the rendered moodily as befits the lyrics, Jordan put way, he’s formed lasting musical friendships with together three different medleys. The first, a blues bassist Omer Avital and saxophonist Jimmy Greene, medley for Miles Davis, consists of “Blue Skies”, “All both featured on Premonition (Concord, 2000), his Blues” and “Freddie the Freeloader”, the latter sung in previous release. vocalese as well as scat. The Fred Astaire/Ginger Live/UK, a pared down “blowing” date with Rogers medley is comprised of the swinging and Marion Browder on drums, reveals the creative familiar “Let’s Face the Music and Dance”, “Cheek to cohesion made possible by all of this shared Cheek”, “I Won’t Dance”, “I Could Have Danced All experience - tight as a wet drum head, the quartet Something Like Now Night” and “Pick Yourself Up”. And the last medley, negotiates complex time signatures and phrase Moutin Reunion Quartet (Nocturne-Lightyear) titled “Fats Meets Bird” and including “Honeysuckle structures with a seamless fluidity that makes it sound by Ken Franckling Rose”, “Ain’t Misbehavin’” and “Scrapple From The easy, stretching out on lengthy jams without losing the France’s twin brother jazz combination, bassist Apple”, is handled lightly with alternating vocal and listener. The date has a strong Latin flavor, peppered Francois and drummer Louis Moutin, are just out with bass solos. As a special guest, singer Jay Clayton with punchy montunos and unusual rolling accent their third Moutin Reunion Quartet recording in six joined the two on stage for a patterns that prolong the rhythmic excitement. years since the unit was formed as a showcase for their rendition of Gillespie’s “Birk’s Works”, scatted by Lindner’s comping is sterling, now prompting, now swinging, original compositions. It’s another both singers who solo and playfully sing together. The reacting, he engages his compadres with active yet bop-rooted contemporary odyssey that is delightful in memorable evening closed with two Jordan originals: sympathetic counterpoint and his muted string intro its scope and focus. The band is rounded out by “Sheila’s Blues” and “The Crossing”. Jordan’s small on “Suheir” is a funky tour de force. pianist Pierre de Bethmann and the immensely gifted and quirky voice covers a lot of ground and she and The soloing is strong throughout: Greene plays saxophonist Rick Margitza. Brown read each other like a book, working hand in percolating flute on “The Five Elements & the Natural Part 2 of the “Something Like Now” title track is hand with a sense of humor and joy. Trinity” and a shredful tenor on “Seven Ways”, while a splendid example of rhythm section supporting Annie Ross is, indeed, a diva. The voice is now Avital lays down some spunky soul jazz on “Take It To soloist, as Margitza embarks on a strong, cohesive and smoky and husky and low in range, but the feeling Church”. Lindner’s solo on “Meditation on Two crafty solo. Rich with nuance and variation from bar to and interpretation are strong as ever. Accompanied by Chords” starts with a slow left hand, continues bar, it never gets repetitively boring. piano (Tardo Hammer), bass (Neal Miner) and drums ambidextrously in doubled octaves, climaxes with The brothers Moutin depart from their even split (Jimmy Wormworth), she adds Bucky Pizzarelli’s high-register tremolos and Tyner-ish filigree and of original compositions on Francois’ arrangement of magical guitar and Warren Vaché’s punctuating solos finally winds down to sparse bluesy phrasing. “Bird’s Medley” - consisting of several themes from and fills on trumpet. The group evidently all got Browder, meantime, manages to keep it all in the compositions by Charlie Parker. This is a bass and together over a period of two nights to put this pocket, never missing an accent. drums duet from start to finish with Louis trading offering together using only head arrangements, much Lindner’s an up-and-comer. Catch him before the sticks for bare hands throughout, plus an occasional of the material being featured weekly at Danny’s big clubs get him - the latest buzz in bebop. hi-hat accent. Skylight Room through the end of the year. Of particular interest is the tune “Take It Easy” - a The standards Ross selected are some of the best: For more information, visit www.sunnysidezone.com. wild ride despite its perhaps tongue-in-cheek title. It’s two Gershwin songs, “Embraceable You” and “Isn’t It Lindner is at Jazz Gallery with Claudia Acuña and as a full of energy and fire, with the rhythm section uniting A Pity” are sung with their respective verses, as is leader at Blue Note, both on Oct. 14th. See calendar. as a cushion to propel Margitza’s intense soloing. De Mercer/Arlen’s “Accentuate The Positive”. She pairs Bethmann opens the ballad “Surrendering” with an Victor Herbert’s “Kiss Me Again” with “Indian USED extended solo that leads into the more poignant side of Summer” (on which Vaché delivers a sensitive solo) Margitza’s playing. Francois’ “Echoing” is an acoustic and Rodgers & Hart’s “Nobody’s Heart” - sung a NEW bass showcase with minimal support. The other three capella - with Dietz/Schwartz’ “By Myself”. “Fun To players tiptoe in one by one to let its full feeling build Be Fooled”, “Day In Day Out”, “I’ve Told Every Little gradually. “Touch and Go” is a funky choice for the Star”, “Just Friends” and “I Thought About You” are closer, adding more dollops of the band’s Weather all swinging finger snappers and the last track, Billy Report acoustic and electronic influences as de Strayhorn’s “Lush Life” (sung out of tempo), is just Bethmann shifts to Fender Rhodes. Ross and Pizzarelli. The lady is a spellbinder. The quartet has reinforced the feeling from last 236 West 26 Street, Room 804 year’s release Red Moon - that this is one serious unit For more information, visit www.jazzdepot.com and New York, NY 10001 with much to offer the straight ahead jazz listener. www.jazzbeat.com. Cameron Brown is at The Stone Oct. 13th and Cornelia Street Café Oct. 14th with Jeremy Steig. Monday-Saturday, 10:00-6:00 For more information, visit www.nocturne.fr. The Moutins Ross is at Danny’s Skylight Room Saturdays. See calendar. (June, July, August-closed Saturdays) are at Jazz Standard Oct. 4th. See calendar. Tel: 212-675-4480 Fax: 212-675-4504 Email: [email protected] Web: jazzrecordcenter.com LP’s, CD, Videos (DVD/VHS), Books, Magazines, Posters, Live/UK Postcards, T-shirts, Celebration: Live at... Let Me Sing Jason Lindner (Sunnyside) Calendars, Ephemera Sheila Jordan Annie Ross by Thomas Greenland (HighNote) (CAP) Buy, Sell, Trade sed to be you could grab a quick six-pack and duck by Marcia Hillman U into Smalls, a Greenwich Village venue run by Mitch Vocalists Sheila Jordan and Annie Ross, veteran Borden that literally hummed with world class talent- Collections bought contemporaries separated in age by just over a year, deserving-of-wider-recognition. Amidst this beehive and/or appraised are masters of vocalese with new CDs to prove it. of activity Jason Lindner was always a contender and Jordan celebrated her 76th birthday last New Yorkers in-the-know knew it was only a matter of Also carrying specialist labels November by recording a performance at New York’s time before others caught on. Lindner’s latest release, e.g. Fresh Sound, Criss Cross, upper West Side club, The Triad. Accompanied Live/UK, gives out-of-towners a chance to hear what Ayler, Silkheart, AUM Fidelity, solely by Cameron Brown’s solid bass lines, Jordan the local buzz is all about. Nagel Heyer, Eremite, Venus, successfully swoops and flits around the melodies of a A veteran of almost 10 years of Monday nights at Clean Feed, Enja and many more diverse collection of material, starting off with Oscar Smalls, playing three sets that would often stretch into Brown Jr.’s “Humdrum Blues” and an uptempo the wee hours - later also moving to the Thursday

28 October 2005 | ALLABOUTJAZZ-NEW YORK Cuts Town Hall, New York... Dizzy: The Music of... Free Music Ensemble (Okkadisk) Gillespie/Parker Dizzy Gillespie by Andrey Henkin (Uptown) (Verve) by Ernest Barteldes Ken Vandermark is not one to limit himself to easy, comfortable situations. As successful as his On a new release on Uptown Records, we hear a Vandermark 5 is, it presents only one side to his long-lost recording made at the Manhattan music hall composing and playing. With the Free Music 60 years ago. Ensemble, a cooperative trio with bassist Nate The digital transfer is mostly untouched, so as a McBride and drummer Paal Nilssen-Love, listeners, result some of the crack and hiss of the acetate whether on their second disc Cuts or live at Tonic mid recording is still there, as are the initial soundcheck September, can hear a more visceral, looser mishaps that still happen today. Apart from that, we Vandermark, happy to be swept up by the have a historic encounter of two music giants improvisational thrusts of his fellow musicians. performing tunes such as “Bebop” and “A Night In The band began in 2001, only releasing one Tunisia” among five others. limited edition CD in 2002 and then following that up In one of several great moments, drummer Max with 2004’s Underground. The disc that preceded Cuts Roach steps aside while Sidney Catlett fills the laid the groundwork for the group’s mission: drummer’s seat for “Salt Peanuts” and “Hot House” Vandermark compositions (of a very different ilk than (pay attention to the lengthy drum solo during the his Vandermark 5 pieces) fleshed out to have long latter track). The backing band doesn’t sound improvised segments and segues. The leaderless intimidated by Gillespie and Parker - pianist Al Haig nature of the bandname represents how effectively holds his own in “Bebop” and other tracks as does any of the three can grasp the music, manipulate it for bassist Curley Russell (The credits also include Don themselves and then throw the results back at the Byas on tenor sax on one song). others for similar processes. And while Underground It is too bad that history did not preserve the was a fine record full of compelling moments, Cuts hows and whys of the recording. We’ll probably never advances the concept further and introduces more know who the recording engineer was who suite-like thinking. Instead of single tunes, themes are masterfully recorded the concert on two separate strung together, creating tapestries of more varied acetate machines, which kept every song intact or who texture. At Tonic last month, with an album’s worth of ordered the recording to be made. Also, we know unrecorded material, this approach was done even nothing about the origins of the recording itself, for more expertly. the efforts in tracking down the information went Since this is a saxophone trio, a format that has a nowhere. long history in jazz, the musical scholarship of On The Music of John Birks Gillespie, the Verve Vandermark is better utilized. And since he had long label selects tracks from Dizzy’s 1950-63 career, standing relationship with the “rhythm section”, including two recordings with Charlie Parker, particularly Nilssen-Love on two amazing duo “Bloomdido” and “Leap Frog”. records, the two volumes of Dual Pleasure, the shared This release serves as an introduction to the music responsibility is a joyous rather than a weighty one. of the great trumpeter and is intended as a Because the group tours with some regularity and companion to a new biography by Donald L. Maggin plays a fine, raucous concert when they do, further (see In Print, pg. 34). The album also ends up being a albums should continue the group’s artistic rise. For way for new audiences to get to know his work. now, Cuts is a fascinating snapshot of a hypercreative One of the best moments of the CD is “Exactly band in the midst of discovering themselves and what Like You”, which features Stan Getz and Oscar can be done when new thinking is applied to Peterson (a track from Diz and Getz), in which Gillespie established forms. and a pre-bossa nova Getz trade jabs, also providing space for the pianist’s improvisations. For more information, visit www.okkadisk.com Another treat is “Cool Breeze”, a Gillespie/ Dameron/Billy Eckstine composition that features Diz vocalist at work with a big band that has among its vocalist Yoon Sun Choi participants legendary producer Quincy Jones on pianist Jacob Sacks trumpet. The classic “Blue Moon” is also present, providing listeners with an opportunity to hear the presents: man performing with yet another great name: Roy Eldridge. Eldridge was, by the way, also recorded on that THE RESTLESS SPIRIT same 1945 evening at Town Hall, but unfortunately (as SERIES the first album’s liner notes state) his estate’s administrators did not allow the recording to be made the first Friday of every month w/ special guests: public - something that saddens fans. Here’s hoping Oct 7 Mat Maneri viola that this changes soon. Nov 4 Andrew Bishop sax/clarinet Dec 2 Ben Monder guitar For more information, visit www.uptownjazz.net and www.vervemusicgroup.com. Tributes to Dizzy Gillespie are 5C Cultural Center & Café at the NYC Baha’i Center Oct. 18th and Blue Note Oct. 68 Avenue C (at SE corner of 5th street) 18th-23rd. See calendar. 7 pm-9 pm $8 admission

www.yoonsunchoi.com www.jacobsacks.com www.5CCC.com

ALLABOUTJAZZ-NEW YORK | October 2005 29 recorded in the fall of 2004, it’s mainly the latter quality that is most prominent. Live at Iridium is the first recording featuring Pilc’s new trio, with Thomas Bramerie on bass and the thundering Mark Mondesir on drums. The first half of the record is largely a showcase for a suite of Thelonious Monk pieces, substantially deconstructed by Pilc. The essential, identifiable elements of “Jackie-ing” and “Green Chimneys” are present (along with a quote of “Straight, No Chaser”) and are joined Blue Mongol together by a galumphing “Misterioso” that finds its Roswell Rudd/Mongolian Buryat Band (Soundscape-Sunnyside) stride in nice, slow swing. Pilc’s solos include by Elliott Simon relatively long periods of space interrupted by jagged, darting phrases. It’s interesting music, but a little too Blue Mongol acquaints trombonist Roswell Rudd’s much for the mind and not body or soul. unmatched tonal mastery and the musical tradition of Pilc’s thoughtful and passionate interpretation of Mongolia with each other, the result the most Coltrane’s “Spiritual”, which builds to a ferocious culturally respectful, spiritually uplifting and climax, is a standout on the record. But the real musically interesting release of the year. While the highlight is the penultimate, nearly classical Mongolian Buryat Band’s combined instrumental composition “Voices”. An unaccompanied minor-key performances on bamboo flute, horse head bass and melody in the piano, resolving in major-key cadences, fiddle, dulcimer, lute and zither are comparable to the becomes a dialogue with Bramerie’s bass and evolves best classically trained chamber ensemble, Battuvshin into a full-on march when Mondesir’s snare drum Baldantseren’s throat singing and Badma Khanda’s joins in. beautifully expressive vocals defy comparison. Who knew that Jean-Michel Pilc, in addition to his Although the band has aptly dubbed the music considerable keyboard talents, was a virtuoso whistler “trombolian”, Blue Mongol consists primarily of as well? Those who turned out at Iridium in traditional Mongolian pieces and music that Rudd September learned this when, toward the end of the composed specifically for this project and is set, Pilc delivered a stunning solo, accompanying his essentially a forum for the Buryat Band and Rudd to lips with a knife and fork borrowed from a front-row meet, explore each other, strut chops and in the dinner table. The set was largely a recapitulation of the process create new music that builds on the strength record; fortunately the whistle solo led into and uniqueness of the participants. Beginning with an “Landscape”, an upbeat, Caribbean-flavored unworldly demonstration of deep throat singing and danceable tune that, live as well as on Live at Iridium, ending with Rudd’s own instrumental growl, “Camel” was a warm, welcome coda to the evening’s music. changes from a gorgeously soulful beast courtesy of Mitry Ayurov’s elegant fiddle to an exciting gallop as For more information, visit www.dreyfusrecords.com Rudd punctuates the full band’s jam with his own trombonal blasts. Rudd’s “Gathering Light” is a wonderful blend of Eastern melody and bluesy jazz tellingly portrayed by Baldantseren’s flute, Rudd’s horn and Khanda’s voice as she easily navigates both worlds. The swinging “Buryat Boogie” has all parties doing just that and includes some hot Rudd vocal scat. Khanda is a powerfully passionate vocalist who matches Rudd’s potent horn on “Behind the Mountains”, the quickly moving “Bridle Ringing”, the solo vocal/t-bone trade off of “Ulirenge” and the free formish wailing title cut. “Four Mountains” pairs Rudd with Baldantseren’s throat singing, one on one, with incredible sonic results and “American Round” has flute and trombone interpreting “Swing Low Sweet Chariot”, “Coming in on a Wing and a Prayer” and “Amazing Grace” against an Eastern musical backdrop. The world would be a better place if more people listened and took heed from the cultural lessons inherent in the delight that is Blue Mongol.

For more information, visit www.sunnysidezone.com. Rudd is at the Steve Lacy Tribute at Merkin Hall Oct. 6th. See calendar.

Live at Iridium, New York Jean-Michel Pilc (Dreyfus) by Brian Lonergan French pianist Jean-Michel Pilc has composed some attractive music in his decade in New York and he is a dynamic improviser. On Live at Iridium, New York,

30 October 2005 | ALLABOUTJAZZ-NEW YORK playing of the piece. The most inventive tune of the four is the scattershot “An Insane Scheme” (originally from the trio’s sixth record, 2004’s Illusion Suite) interrupts itself almost manically, with excellent off- kilter playing by Black. At under seven minutes it’s the shortest piece on the disc, but it became the centerpiece of a long suite of old and new compositions at Tonic last month. As an undivided whole, the set gave room for segments of deep improv along with familiar themes and some romantic Live in Japan 2004 melodicism á la Fujii’s former teacher Paul Bley. The Satoko Fujii (NATSAT-Polystar) record and the Tonic set showed Fujii to be less by Kurt Gottschalk delineable than in past years. She has messed things Japanese pianist Satoko Fujii has been one of the most up for the better of late by expanding her role as a exciting arrangers, as well as a compelling composer bandleader, finding more unusual settings (for and performer, in outside jazz in recent years. example her work with Ruins drummer Tatsuya Unusually with the company she keeps, improvisation Yoshihida and her synthesizer work in Tamura-led beyond soloing has never been a part of her work. But groups). The various motifs she’s farmed over the a recent record shows a new leaning toward improv, years are now beginning to happily coexist. to varying results. Live in Japan adds to her longstanding trio of For more information, visit www2s.biglobe.ne.jp/~Libra bassist Mark Dresser and drummer Jim Black her husband and increasingly frequent collaborator Natsuki Tamura. The trio had evolved in recent years from a head-oriented postboppy project to be more stretched out. As a quartet they find even more room to move, with Tamura (an excellent trumpeter who works in blasts and smeared breaths) filling out the band without taking on a front-line melodic role. The growth of the group (in its size and lexicon) is apparent especially because the four pieces in the set - recorded live at Egg Farm in Japan in July of 2004 - Tales of the Stuttering Mime have all been recorded previously by Fujii (a rarity for Eric Revis (11:11 Records) the prolific leader). The oldest, “Looking Out the by Celeste Sunderland Window”, comes from the trio’s 1998 CD of the same name. Here, however, the theme is subsumed by the Best known as Branford Marsalis’ bassist, Eric Revis’ first solo project mixes straight ahead jazz with intense funk fusion and employs a gaggle of special guests. The vast array of sounds and ensembles showcases the bass as an incredibly multi-faceted instrument that easily finds its place among a diverse smattering of situations. The album is a collage of unique moments. Revis creates a reverent universe around his instrument on “Miles Sebastian”. The track opens with a hard-to- discern voice mail message, followed by the breathy strains of the Echo String Quartet. An encounter with metal occurs on “11:11” as Oz Noy’s raunchy electric guitar erupts and JD Allen on tenor sax, Yosvany Terry on alto sax and Duane Eubanks on trumpet create a horn trellis that hovers above the rhythm section. A country twang creeps in with “Lulu’s Back In Town”, featuring “Dirty Red” Ricky Gordon, Doug Wamble and Noy getting down and dirty on washboard, banjo and guitar respectively. Many of the album’s tracks bounce along a vibrant beat pierced by digital sounding clips. Bass and drums clench solidly on “Isitis” aided by percussionist Khalil Kwame Bell, while horns set off on fluttery travails. Jeff “Tain” Watts goes ballistic on drums on “Black Elk Speaks”, forming an energetic force field from which pianist Orrin Evans, Eubanks, Allen and Revis launch their solos. There’s a truckload of ideas sifting through Revis’ head, but he might benefit from a little simplicity. The 18 musicians on Tales Of The Stuttering Mime are exceptional, but slightly overwhelming. Even the slow tunes simmer with a sudden energy. Allen’s saxophone and Eubank’s trumpet seethe through “Ayanna” as Evans lends a gentle touch on piano. Toned down to a trio, piano, bass and drums form an elegant ensemble for “Phi”. Evans’ notes glisten off Revis’ paunchy lines while cymbals splash around for a revealing moment where we realize less is more.

For more information, visit www.ericrevis.com. Revis is at Jazz Gallery Oct. 1st with Jeff “Tain” Watts and Dizzy’s Club Oct. 18th-23rd with George Cables. See calendar.

ALLABOUTJAZZ-NEW YORK | October 2005 31 diverge their improvisations, they are always The former, an intimate vocal-guitar duet with connected, intersecting with composed passages and Andre Bush, enables Freelon to question aloud enveloped in the swimming rhythms of drummer Tom whether she should imitate Holiday’s style or Rainey. Feign further explores the acoustic sensibility approach the project’s material in a different manner. tested on half of last year’s Hard Cell Live, with Taborn Holiday’s answer in this imagined vocal dialogue was: exclusively playing piano. The acoustic instrument’s “Sing until you know who you are and why you clarity highlights the synchronization between pianist came… You may sing a Lady song, sweet drawl soft and saxophonist, sometimes lost in the maelstrom of and low/but only if the song is you and only you will electric keyboard effects. know.” Like the CD, a recent show at Tonic opened with The third is “Balm in Gilead” - a traditional Sonic Tonic the brisk “I Do It”, with its slightly out-of-phase African-American affirmation of faith, hope and Ron Blake (Mack Avenue) by Terrell Holmes piano-sax theme that eventually constricts, whipped optimism that enriches all of the other material. This along by Rainey’s fractured groove before devolving duo version on which Freelon is accompanied by Sax man Ron Blake tapped various sources and into a linear melodic unison. Unlike the recording, the pianist McCune, leads into an uplifting and vibrant influences for his new disc Sonic Tonic, most three musicians played freely with the quieter theme, version of “Them There Eyes”. prominent of which involve his Caribbean roots. This in time abandoning it completely, furiously spinning Doug Lawrence’s tenor sax offers a sublime album, expertly produced by Me’Shell NdegéOcello, around each other until resolving to another workout conversational response to Freelon’s vocals on also explores various other genres and few beats are of “Van Gundy’s Retreat”, fast becoming a Berne “You’ve Changed” and takes a different role on “Now missed in the execution. standard. Masked at first, this segue illustrated that, Or Never” by reinforcing and at times echoing her The opening tune, “Invocation”, a tune in the underlying the far-flung passages, there is always voice. Dave Ellis takes a more out-in-front finest tradition of John Coltrane’s most spiritual works purpose in Berne’s music. Inextricably linked, the complementary tenor role on the bluesy and soulful is not as overwhelming or guttural but certainly no improvisations are informed by the compositions and version of “Lover Man” that follows. Julian Lage’s less passionate. It begins with Christian McBride’s in turn propel them unexpectedly. guitar artistry sparkles throughout “Don’t Explain” hypnotic bass line and marches on with Blake’s strong On “Time Laugh” Taborn plays with phenomenal and on several other tracks. but not overstated tenor. Michael Cain’s piano solo is independence: one hand plays a clipped ostinato, the “Left Alone” presents a Holiday work she never later complemented by Blake on soprano, Christian other a longer unison figure with Berne, who recorded. Lady Day wrote it with the late Mal McBride anchoring the groove on bass. “Chasing the eventually drops out. As the drums and piano explore Waldron. Abbey Lincoln was the first vocalist to Sun” is a light, uptempo tune with a restless melody. sparser terrain, the sax bleats dissonantly before a record the tune - in 1961. Freelon’s vocals plus quartet As Blake explores the harmony, Cain does double duty spiraling solo. Taborn rebuilds with an ominous bass version unearths the positives buried beneath on keyboards, drummer Terreon Gully percolating line that returns to the original figure, pulling Berne Holiday’s words about loneliness. beneath David Gilmore’s spitfire electric guitar solo. back for a tight finish. During the spacious “All of Me” concludes this fine session with “Dance of Passion”, a Johnny Griffin tune, has a introduction of “Brokelyn”, Rainey scrapes sound another twist - a sultry reggae arrangement of the Middle Eastern melody that seems heavily influenced from his drums, Taborn plays inside the piano and a classic ballad. by “Caravan”. The core group is augmented here by sense of momentum pervades, sweeping towards the two not terribly common instruments in jazz: Vincent climatic melody, disjointed yet catchy. The staggering For more information, visit www.concordrecords.com Chancey’s French horn and Marcus Rojas’ tuba. Josh piano that opens “My First Phone” returns later, taut Roseman’s New Orleans growling on the trombone with Berne hanging on some notes, fashioning a gives the tune a nice brass gumbo. focused unison phrase, even as Taborn continues to Blake plays his most seductive tenor on “The extrapolate around it. Windmills of Your Mind”, with Gully’s cymbal work In performance, these tricky passages were K AT I E BU L L providing a dramatic backdrop. On “Shades of executed with precision, including the kinetic “I Brown” he expertly economizes where other sax Thought You Had It”, which brought the show to a players might have used honking, screeching or rousing conclusion. Taborn’s independence allowed wailing to belabor their points. The title cut, as well as one hand to hammer away with Rainey’s accents, “Tom Blake (revisited)”, are Caribbean-influenced, the while the other played a repeating 3-note phrase with former featuring a low down electric bass groove by Berne, eventually converging to reveal the broader Reuben Rogers, Cain’s brewing organ and soaring pattern. trumpet by Sean Jones. Blake, making his tenor almost as tender as a For more information, visit www.screwgunrecords.com soprano, does a fine job with Cain on “Pure Imagination”, a tune that in recent years has evolved into a jazz standard. The disc comes full circle with a variation on the opening song, “Invocation”, with Pedro Martinez on congas. This is one of the more spirited tunes on the disc and it improves considerably on the original. (There’s a 2CD limited edition of Sonic Tonic that includes hip-hop inflected remixes of several of the "cutting edge" JAZZ WEEK songs on the primary disc.) Blueprint of a Lady (Sketches of Billie Holiday) For more information, visit www.mackaverecords.com. Nnenna Freelon (Concord) Blake is at Jazz Standard Oct. 5th. See calendar. by Ken Franckling THURSDAY OCT 27 7pm Nnenna Freelon’s latest project pays tribute to singer Katie Bull, vocals Billie Holiday in the best possible way - without Frank Kimbrough, piano imitation and putting her own interpretations on material written by or associated with Lady Day. Martin Wind, bass Her band, adjusted to fit the mood of each song, skillfully complements her at every turn. Freelon’s Harvey Sorgen, drums phrasing and vocal clarity contribute to an overall feeling that is more positive than Holiday’s often dark music from the and plaintive renditions of the same material. Interspersed within this tribute are three natural LOVE SPOOK album Feign and new originals Hardcell (Screwgun) fits that don’t come directly from the Holiday by Sean Fitzell Songbook. “Only You Will Know” and “Interlude- 55 BAR Little Brown Bird” are original collaborations by NYC A double-helix of alto saxophone and piano: no Freelon and Brandon McCune that pay homage to www.55bar.com matter how far Tim Berne and Craig Taborn twist and Lady Day.

32 October 2005 | ALLABOUTJAZZ-NEW YORK previous two have fueled in the jazz community. And rhythm section whispers its condolences. though the approach here is not a radical departure “Persephone” is midtempo with another appearance from that on These Are the Vistas or Give, the music by Brecker, who wittily works in a quote from an Irish does advance the trio’s adventurous conceptions of jig during his soaring, fluttering solo. “Serpents of form and rhythmic variation. Hera” features Brecker on flugelhorn supplementing “The Empire Strikes Backwards”, a rollicking Gibson’s introspective playing. The group fires on all composition by drummer David King, is a standout cylinders again on “The Oracle Within” and not only on the album but also amid the trio’s entire “Prometheus’ Peace” is a fitting, serene conclusion to repertoire. Its jagged, jumping chord progression, an excellent work of boundless depth and richness. dramatic shifts in tempo and tempestuous crescendo Gibson shows that a personal quest, on whatever level, Neuph (1978-80) Iskra3 Paul Rutherford Paul Rutherford typify the trio’s compositions. can be shared, inclusive and enriching for everyone. (SFA-Emanem) (Psi) Bassist Reid Anderson’s “Knows the Difference” by Andrey Henkin shows the trio’s impressive ability to spin lengthy For more information, visit www.qualiton.com. Gibson is at improvisations out of a small germ of melody and Kavehaz Oct. 19th and at Swing 46 Wednesdays with the With the passing of Albert Mangelsdorff, the mantle rhythm, while King’s catchy “Anthem for the Earnest” Hot Pants Funk Sextet. See calendar. of elder improvising trombonist has passed to Paul presents the group in full-on rock mode, recalling ‘80s Rutherford. Though relative contemporaries and Brit-pop. peers, their approach to the trombone, particularly in The Bad Plus has enjoyed weeklong runs at the a solo context, came from distinct directions, if Village Vanguard for a couple years now, its most ultimately sharing certain techniques. Mangelsdorff recent being in late September. If confounding on was always concerned with form and melody; record, something good happens to its music live - it’s Rutherford is more interested in sound. Two albums, less flat, arising like a poem off the page when read one a reissue, the other newly recorded, demonstrate aloud. this curiosity but also provide insight into the In its opening set, the trio showcased the better technological tools available to the improviser over the tracks from Suspicious Activity? along with older gems last few decades. like the exuberant “1972 Bronze Medalist”. It showed Neuph, recorded in its original LP form in January a mastery of irregular, tricky forms, with King 1978 and now augmented with the live tracks from especially displaying an agile, deft touch that doesn’t 1980, made use of an old recording standard - over- quite come across on record. dubbing - but in a such a way as to create a discussion That the trio didn’t play Suspicious Activity?’s about the role of a solo improviser. Rutherford plays “(Theme from) Chariots of Fire”, which the adulating various extemporaneous tunes on as few as one Vanguard crowd would have eaten up - its grandiose euphonium or as much as four overlayed trombones. chords that would make Vangelis proud riding a The musicianship and experimentation is excellent but looping, funky bass line - is evidence that The Bad what is confounding is that Rutherford is reacting to Plus is not as interested in facile crowd-pleasing as it himself, not in real time, but in a studio, even is its own quirky conceptions of improvisation. speeding up certain tracks, to create a soundscape far different than the two live solo trombone tracks that For more information, visit www.columbiajazz.com open and close the disc. Some might call it impersonal, but it offers fascinating answers to the questions of how to play solo and how to use available technology to expand the role of a musician. Iskra3 is a different beast as Rutherford has a more traditional function than on Neuph but utilizes a modern innovation - computer processing - to update what an acoustic instrument, albeit one played in expert hands, can accomplish when its musical counterpart is a machine, though one manipulated by its own duo of improvisors (Robert Jarvis and Lawrence Casserly). Both discs are less about music Path to Delphi David Gibson (Nagel Heyer) and more about aural exploration, a dichotomy that by Terrell Holmes Rutherford has embraced his whole career. The Path to Delphi, trombonist David Gibson’s latest For more information, visit www.emanemdisc.com work, is a walk along the path of spirituality in the tradition of John Coltrane. The Hellenic-themed opus kicks off with Dwayne Burno’s bass statement on the title cut, a tightly arranged, reed-driven tune. Rick Germanson’s deft and inventive piano solo sparkles, building the tension before Gibson steps in with a solo whose ideas fit nicely into the groove, with Wayne Escoffery wailing on soprano in his wake. Rich horn arrangements highlight “Icarian Sea”, the centerpiece of which is splendid Middle Eastern-laced soprano from Escoffery and measured blowing by Gibson. “Son of Alcumus” is a slice of cool bop. Escoffery has Suspicious Activity? The Bad Plus (Columbia) another fine solo and the rhythm section switches by Brian Lonergan things up behind the horns. Germanson solos here with the same adventurism, rhythmic inventiveness The Bad Plus is nothing if not confounding. The trio and intonation as a sax player. “Eidolon” is an exalts in ambiguity, delights in dodging definition. Its uptempo burner that marks the CD’s first appearance music at once conveys affected irony and honest of the great Randy Brecker on trumpet. Joe Strasser’s intelligence, melodrama and real poignancy. It resists opening drum salvo takes the group to the groove, interpretation. Gibson blows a hot solo and Brecker sprints along One thing is for certain: The Bad Plus has created behind him, his rhythmic drive and ideas clear and one of the most original and unmistakable sounds in formidable as usual. contemporary music. The beautiful “Hestia’s Egress” opens with The trio’s third major-label album, Suspicious Gibson brooding on his horn. Escoffery sympathizes Activity?, will do little to quell the arguments the with him and the two exchange lamentations as the

ALLABOUTJAZZ-NEW YORK | October 2005 33 IN PRINT Dizzy: the Life and Times of John Birks Gillespie ON DVD Faust: A Silent Movie (1926) - F.W. Murnau Donald L. Maggin (Harper Collins) Willem Breuker (BVHaast) by Joel Roberts by Andrey Henkin

With the exception of Louis Armstrong, there’s probably F.W Murnau was one of the giants of the Silent Film Era. been no major artist in jazz as beloved as Dizzy Gillespie. A His most famous work is 1922’s Nosferatu but his brilliant musician and innovator who helped launch two of interpretation of the Faust legend was his most expansive the music’s key movements - bebop and Afro-Cuban jazz - work, also his last before leaving his native Germany. Gillespie was also one of the great showmen in jazz and one That Willem Breuker would choose to write new music of its true global ambassadors. for this film should surprise no one. Breuker has never He’s also a rarity among the legends of his era in that he backed away from a challenge and he is cinematic enough in lived what appears to have been a remarkably happy life scope to be successful. And up to a point he is. The question free of the usual jazz clichés - he wasn’t a junkie (though he drank and smoked is what he was trying to do. plenty of marijuana), he had a long marriage (though he frequently cheated on The function of music in silent films is much different than into what wife Lorraine) and he didn’t die obscure and penniless (he earned at least $1 modern day soundtracks have evolved. With a choppier flow of action (due million a year at the end of his life and resided comfortably in suburban New both to that lack of dialogue and the limitations of filmmaking at the time), the Jersey). He also brought a cheeky sense of humor (often getting him into music had to keep things moving forward and only occasionally sync up with trouble in his youth) to an art form that often takes itself far too seriously. the action on the screen. The original print had an orchestral score Donald Maggin’s sympathetic new biography traces Dizzy’s extraordinary unsurprisingly Wagnerian, but the new edition is in many ways jarring, the journey from a boyhood in deeply racist ‘20s South Carolina through music often clashing in feel with the action onscreen. At first this is because of apprenticeships in the big bands of Cab Calloway, Earl Hines and Billy the disparity between modern recording techniques and “ancient” filmmaking Eckstine to his emergence in the late ‘30s and early ‘40s as one of the primary ones. After that contrast is absorbed, the music is often too upbeat for the film, creators (along with Bird, Monk, Kenny Clarke and Charlie Christian) of the making what is arguably a creepy moralistic film campy. then-revolutionary bebop sound. Gillespie didn’t stop there, of course, leading Of course Breuker has been accused of campiness before and one wonders a series of important big bands and small groups, while becoming one of the whether he is being misinterpreted. The Kollektief is a wonderfully funny most recognizable faces in jazz over the next 50 years. group, almost slapstick, but still one of the tightest ensembles around playing Maggin, a writer/businessman/concert promoter and former presidential extremely complicated music. That same dynamic is here and makes for an adviser who knew Gillespie over many years, brings both a scholar’s interesting dichotomy between sight and sound. This viewer’s interpretation is knowledge and a fan’s enthusiasm to this nearly definitive biography of one of that Breuker sees in this movie all the excesses and kitsch of a previous era but jazz’ truly towering figures. It’s a life worth celebrating and a book worth also understands how seriously it was taken upon release and tried to write reading. music to reconcile the two.

For more information, visit www.harpercollins.com. Tributes to Dizzy Gillespie are at For more information, visit www.xs4all.nl/~wbk/BVHAAST.html. Breuker’s the NYC Baha’i Center Oct. 18th and Blue Note Oct. 18th-23rd. See calendar. Kollektief is at Merkin Hall Oct. 27th. See calendar.

34 October 2005 | ALLABOUTJAZZ-NEW YORK Photography donated by Brian Wilder. Musician photos: © photography by Bradley Smith.

Years ago, they pioneered the art of jazz / But many signed unfair contracts and got taken for everything they were worth / They are our elderly jazz musicians / Today, many of them live in shelters or are homeless because they can’t afford to pay rent / We help these talented people find affordable housing, and work to help pay for it / But we need you to help us do it / After all they’ve given us, it’s time to give them something back: their dignity / To learn more or to make a donation, call 1-800-JFA-JAMS or visit www.jazzfoundation.org CALENDAR

To be listed, please contact Andrey Henkin at [email protected] no later than the third Saturday of the preceding month. • Ron Anderson Downtown Music Gallery 6 pm ÌCelebrating Elvin Jones: Delfeayo Marsalis Quintet with ALL LISTINGS SUBJECT TO CHANGE. • Sharif Sehnaoui; Christine Sehnaoui; Dadajam Donald Harrison, Mulgrew Miller, Jason Marsalis ABC No Rio 8 pm $3 Dizzy’s Club 7:30, 9:30 pm $30 Ì= Recommended shows • Jon Davis Trio Puppet’s Jazz Bar 9 pm $5 • Akiko Grace Trio Dizzy’s Club 11:30 pm $10 • Hayes Greenfield’s Jazz-A-Ma-Tazz • Bill Charlap Trio with Peter Washington, Kenny Washington Bowery Poetry Club 11 am 1 pm $8 Village Vanguard 9, 11 pm $30 • Joni Paladin The Garage 12 pm • Stacey Kent Birdland 9, 11 pm $40 • Roz Corral Trio with Paul Meyers, Harvie S ÌVision Fugitive Orchestra: JD Allen, Abraham Burton, North Square Lounge 12:30, 2:30 pm Stacy Dillard, Bruce Williams, Frank Logan, Jason Marshall, October • Combo Nuvo: Dave Schroeder, Jamie Fox, Rich Shemaria, Issac Smith, Duane Eubanks, Jonathan Finlayson, Leron Thomas, Mike Richmond, John Hadfield Ameen Saleem, Jeremy “Bean” Clemons, Damion Reid Blue Note 12:30, 2:30 pm $19.50 Mo Pitkins 11 pm $10 Saturday, October 1 ÌRon Blake with Gilmar Gomes, Michael Cain, Reuben Rogers, ÌDon Cherry Celebration (DCC): Karl Berger with Graham Haynes, Monday, October 3 Dion Parson Jazz Standard 7:30, 9:30 pm $20 Peter Apfelbaum, Mark Helias, Tani Tabbal, Ingrid Sertso ÌJoan Stiles Quintet with Jeremy Pelt, Joel Frahm, Ali M. Jackson, The Stone 8, 10 pm $10 ÌAll Night Soul Jazz Festival: Photo exhibit and music by Kimberly Marshall, Joong-Hwa Jung ÌShelter from the Storm Benefit: Toni Morrison, Cecil Taylor, Peter Leitch, Jeremy Steig, Joe Wilder, Carmen Lundy and others New School 8 pm $10 Yusef Komunyakaa, Dael Orlandersmith, Anne Waldman, Saint Peter’s 7 pm • Assen Doykin Trio The Kitano 8, 9:45 pm Denize Lauture, Suheir Hammad, Roger Kamenetz, Steve Cannon, ÌTriptych Myth: Cooper-Moore, Chad Taylor, Tom Abbs ÌRoulette: Nicole Zaray; Daniel Levin with Nate Wooley, Bill Martin, Eddie Bobé, Moira Crone, Hal Sirowitz, Tonic 8 pm $10 Matt Moran, Joe Morris Location One 8:30 pm $12 Patricia Spears Jones and others ÌRoulette: Jim Staley/Zeena Parkins ÌBob Mover Trio Lima’s Taste 8 pm St. Mark’s Church 1 pm Location One 8:30 pm $12 • Bujo Kevin Jones Sweet Rhythm 8, 10 pm $15 • Jazz con Salsa: Arturo O’Farrill’s Afro-Latin Jazz Orchestra and • Amram & Co. Cornelia Street Café 8:30 pm • Kim Bock Quartet with David Smith, Adam Armstrong, guest Joe Lovano, Lew Soloff, Greg Osby ÌDave Schnitter Trio Lima’s Taste 8 pm Peter Retzlaff Cornelia Street Café 8:30 pm $8 Rose Theater 8 pm $30-130 • John Ellis Blue Note 8, 10:30 pm $10 • Van Davis: Jake Ezra, Jon Price, Patrick Carmichael ÌCedar Walton Trio Brooklyn Cons. of Music 8 pm $25 • Voices & Songs: Cheryl Bentyne with Corey Allen, and guest Ted Baker 55Bar 7 pm • Cheo Feliciano, Ismael Miranda, Spanish Harlem Orchestra led by Klaus Suonsaari, Christian Fabian • Mike Stern 55Bar 10 pm Oscar Hernandez and guest Nelson González Jazz Standard 7:30, 9:30 pm $15 • Jackson Moore Group with Mike Pinto, Eivind Opsvik, Lehman Center 8 pm $30-45 • Goran Ivanovic Group with Doug Rosenberg, Matthew Ulery, Tommy Crane Kavehaz 8 pm • Earl May Trio with Richard Wyands, Vinnie Johnson and guests Michael Caskey Satalla 9:30 pm $12 • Ryan Meagher Group; Allen Bjorkland Collective Ray Bryant, TK Blue, LaVerne Butler, Allan Harris, Junior Mance, • Laurent Medelgi Group with Uli Geissendoerfer, Trifon Dimitrov, The Pourhouse 9, 10:30 pm Houston Person, Benny Powell, Ron Sunshine, Paul Tillotson Andrea Valentini 55Bar 10 pm • Manhattan Vibes with Christos Rafalides Yehoodi 8 pm $35 • Carolyn Leonhart Trio Bar Next Door 8 pm $5 The Garage 9 pm • John Pizzarelli Quartet with Martin Pizzarelli, Ray Kennedy, • Keith Witty Trio with Stacy Dillard, Jeremy Clemons Tony Tedesco and guest Bucky Pizzarelli Niagra 9, 10:30 pm $5 Thursday, October 6 Feinstein’s 8:30, 11 pm $60 • Frank LoCrasto Trio Detour 9:30 pm • Marcus Miller with Guests Take 6 • Jaime Aff Organ Trio with William Ash ÌDCC: Marty Ehrlich Trio with Jerome Harris, Billy Martin; B.B. King’s 8, 10:30 pm $45 Puppet’s Jazz Bar 9 pm $5 Harris Eisenstadt’s Where Is Brooklyn? with Vinny Golia, ÌMATA Micro-Orchestra Festival: Mick Rossi, Andrew Sterman, • New School Presents Sweet Rhythm 8, 10 pm $10 Achim Kaufmann The Stone 8, 10 pm $10 ÌTribute to Steve Lacy with Irene Aebi, Roswell Rudd, Joe Lovano, Andy Laster, Russ Johnson, Curtis Hasselbring, Hiroko Taguchi, Tuesday, October 4 David Liebman, Jean-Jacques Avenel, John Betsch, Bobby Few, Mary Wooten, Peter Herbert, Theo Bleckmann George Lewis, Richard Teitelbaum, David Wessel, Jeremy Udden, St. Peter’s Church 8 pm $20 Ì ÌAhmed Abdullah’s Diaspora with Billy Bang, Salim Washington, DCC: Cyro Baptista with Tim Keiper, Brian Marsella, Don Byron, Gary Lucas, Thomas Buckner, Judi Silvano, Alex Harding, D.D Jackson, Radu, Andrei Strobert, Masujaa, Peter Apfelbaum; Ira Cohen and Friends with Brahim Fribgane, Daniel Tepfer Merkin Hall 8 pm $10 Harris Eisenstadt, Graham Haynes, Matt Waugh ÌAll Night Soul Jazz Festival: Tribute to Cobi Narita with Louis Reyes Rivera, Monique Ngozi Nri and Miles Griffith The Stone 8, 10 pm $10 Golda Solomon, Christopher Dean Sullivan, Eri Yamamoto, Sistas’ Place 9, 10:30 pm $20 Ì ÌDiet Coke Women in Jazz Festival: Barbara Carroll Trio with All Night Soul Jazz Festival: New Orleans Benefit Concert with JD Parran; Gloria Cooper Trio; Antoinette Montague Trio guests Dizzy’s Club 7:30, 9:30, 11:30 pm $30 Nicholas Payton, John Patitucci and others Saint Peter’s 6:30 pm $15 • Ayako Shirasaki Dizzy’s Club 12:45 am $10 Saint Peter’s 7:30 pm $15 ÌSex Mob does James Bond with guest John Medeski ÌLouis Hayes Trio with Javon Jackson, Reuben Rogers • Savion Glover B.B. King’s 8 pm $45 Tonic 8, 10 pm Smoke 9, 11 pm 12:30 am $25 ÌBenoît Delbecq solo Jazz Gallery 9, 10:30 pm $12 • WBGO Jazz 88’s Gala 2005 ÌRalph Peterson’s Fo’tet with Don Byron, Bryan Carrott, • John Pizzarelli Quartet with Martin Pizzarelli, Ray Kennedy, Ritz Carlton at Battery Park 8 pm Belden Bullock Sweet Rhythm 8, 10 pm 12 am $20 Tony Tedesco and guest Bucky Pizzarelli ÌHarlem Speaks: Roy Haynes ÌIngrid Jensen Quintet with George Garzone, Danny Grissett, Feinstein’s 8:30 pm $60 Jazz Museum of Harlem 6:30 pm ÌCharlie Haden’s Liberation Music Orchestra with Carla Bley, ÌKeely Smith with Earl Gardner, Jerry Vivino, Chip Jackson, Matt Clohsey, Jon Wilkan The Kitano 8, 9:45 pm $15 Seneca Black, Steve Cardenas, Chris Cheek, Curtis Fowlkes, Joe Cocuzzo, Ken Ascher and guests ÌJeff “Tain” Watts Group with Yosvany Terry, Larry Fields, Joe Daley, Ahnee Sharon Freeman, Tony Malaby, Tribeca Perf. Arts Ctr. 8 pm $30 Eric Revis and guests Jazz Gallery 9, 10:30 pm $15 Ì ÌGarage A Trois: Charlie Hunter, Skerik, Stanton Moore, Michael Rodriguez, Matt Wilson, Miguel Zenon Melvin Sparks Group; Reuben Wilson Group Mike Dillon Tonic 10:30 pm 12 am $20 Blue Note 8, 10:30 pm $35 Sweet Rhythm 8, 10 pm $15 • Freddie Hubbard and the New Jazz Composers Octet with ÌCelebrating Elvin Jones: Delfeayo Marsalis Quintet with • Text of Light: William Hooker, Ulrich Krieger, Alan Licht, Joe Chambers, Craig Handy, Myron Walden, David Weiss, Donald Harrison, Mulgrew Miller, Jason Marsalis Christian Marclay, Lee Ranaldo Chris Karlic, Steve Davis, Xavier Davis, Dwayne Burno Dizzy’s Club 7:30, 9:30 pm $30 The Kitchen 8:30 pm $10 Iridium 8, 10, 11:30 pm $30 • Akiko Grace Trio Dizzy’s Club 11:30 pm $10 • Jazz Gallery 10th Anniversary Heartsong Series: Gretchen Parlato ÌMark Murphy Birdland 9, 11 pm $30 • Bill Charlap Trio with Peter Washington, Kenny Washington Group with Lionel Loueke, Aaron Parks, Kendrick Scott ÌJason Moran Bandwagon with Marvin Sewell, Tarus Mateen, Village Vanguard 9, 11 pm $30 Jazz Gallery 9, 10:30 pm $12 Nasheet Waits Village Vanguard 9, 11 pm 12:30 am $35 • Stacey Kent Birdland 9, 11 pm $40 ÌGeorge Garzone, Garth Stevenson, Ziv Ravitz • Regina Carter Group Jazz Standard 7:30, 9:30, 11:30 pm $30 ÌMoutin Reunion Quartet with Francois and Louis Moutin, Bar 4 8:30 pm • Bebel Gilberto Blue Note 8, 10:30 pm $40 Pierre de Bethmann, Rick Margitza ÌPharoah Sanders Quartet with William Henderson, Adam Cruz • Avi Bortnick and Cornpone with Andy Hess, Tony Mason Jazz Standard 7:30, 9:30 pm $20 Ugonna Okegwo Iridium 8, 10 pm $27.50 Blue Note 12:30 am $8 • Freedom Art Quartet: Omar Kabir, Norbert Stachel, Lloyd Haber • John Pizzarelli Quartet with Martin Pizzarelli, Ray Kennedy, • Rory Stuart/Glenn Wilson Quartet with John Lockwood, Jaribu Shahid NYC Baha’i Center 8, 10 pm $15 Tony Tedesco and guest Bucky Pizzarelli John Riley Cornelia Street Café 9, 10:30 pm $12 • Arturo O’Farrill y Riza Negra with Rafi Torn, Rafi Malakiel, Feinstein’s 8:30 pm $60 • Valerie Capers/John Robinson Peter Brainin, Emilio Valdez, Harvie S ÌCharlie Haden’s Liberation Music Orchestra with Carla Bley, Knickerbocker Bar and Grill 9:45 pm $5 Cornelia Street Café 8:30 pm $10 Seneca Black, Steve Cardenas, Chris Cheek, Curtis Fowlkes, • Randy Johnston Trio Puppet’s Jazz Bar 9 pm $5 • Skuli Sverrisson/Anthony Burr Joe Daley, Ahnee Sharon Freeman, Tony Malaby, • David Bond Group with Francesca Tanksley, Ed and Tonic 8 pm Michael Rodriguez, Matt Wilson, Miguel Zenon George Schuller Kavehaz 6 pm ÌClub D’Elf Tonic 10 pm $10 Blue Note 8, 10:30 pm $35 • Chip White Quartet with Patience Higgins, Keith Sanders, ÌLoren Stillman with Ben Monder, Eivind Opsvik, Ted Poor ÌCelebrating Elvin Jones: Delfeayo Marsalis Quintet with Per-Ola Gadd Kavehaz 9:30 pm Bowery Poetry Club 10 pm Donald Harrison, Mulgrew Miller, Jason Marsalis • Rudy Lawless Group with Keisha St. Jones ÌStephen Gauci Trio with Todd Nicholson, Jeremy Carlstedt Dizzy’s Club 7:30, 9:30 pm $30 Lenox Lounge 9, 10:30 pm 12 am $20 55Bar 7 pm • Akiko Grace Trio Dizzy’s Club 11:30 pm $10 ÌJason Lindner Smalls 10 pm • Bill Mobley with Danny Walsh, Gary Fisher, Ed Schuller, • Bill Charlap Trio with Peter Washington, Kenny Washington ÌGreg Tardy Fat Cat 10 pm Peter Davenport 55Bar 10 pm Village Vanguard 9, 11 pm $30 • John Ellis Trio Bar Next Door 9, 11:15 pm $8 • Roulette: Walter Thompson Orchestra, Soundpainting • Stacey Kent Birdland 9, 11 pm $40 • Will Sellenraad and Rootdown String Quartet and The New York Soundpainting Orchestra ÌAaron Goldberg Trio with Reuben Rogers, Eric Harland Detour 10 pm $5 Location One 8:30 pm $12 Jazz Standard 7:30, 9:30 pm $20 ÌAyana Lowe, Sayuri Goto, Ben Dixon • Nora McCarthy, Jorge Sylvester, Pablo Vergara and guests • Avishai Cohen Group with Yotam Silberstein, Omer Avital 55Bar 6 pm Via Della Pace 8 pm Tea Lounge 9, 10:30 pm • Bonga Jean-Baptiste Satalla 10 pm $15 • Marilyn Sweet Rhythm 8, 10 pm $15 ÌReggie Nicholson Brass Concept with Eddie Allen, Mark Taylor, • River Alexander and his Mad Jazz Hatters • Todd Sickafoose Group with Josh Roseman, Shane Endsley, Steve Swell, Jose Davila; Monika Heidemann with Matt Moran, Barbès 10 pm Ches Smith Koze Lounge 9, 10:30 pm $7 Khabu Doug-Young, Mike Savino, Take Toriyama • Mamiko Watanabe QuartetCleopatra’s Needle 8 pm • Ben Holmes Quartet with Brian Drye, Reuben Radding, Location One 8:30 pm $12 • Frank Catalano, Yan Pevzner, Arthur Kell, Rob D’Addario Take Toriyama Barbès 7 pm • Haruko Nara Trio with Paul Beaudry Lexington United Meth. Church 2 pm $7 ÌFay Victor Trio with Anders Nilsson, Hill Greene The Kitano 8, 9:45 pm Kavehaz 7 pm ÌAnat Fort Trio with Gary Wang, Roland Schneider • Champion Fulton Trio The Garage 12 pm • Evans Thompson 5C Café 5 pm Cornelia Street Café 8:30 pm $10 • Hide Tanaka Trio The Garage 6:15 pm • Daniel Kelly The Backroom 9 pm • Todd Londagin with Jon Dryden, Pete Smith, Jennifer Vincent, ÌVirginia Mayhew Quartet The Garage 10:45 pm • Howling Makams Satalla 9:30 pm $10 David Berger Barbès 9 pm • Justin Mullens Quartet Detour 9:30 pm • Bill Ware Puppet’s Jazz Bar 9 pm $5 Sunday, October 2 • Russ Spiegel Big Band The Garage 8 pm • junk”KAT”: Yael Acher, Art Baron, Nad Russell, Jr., Dave Treut, ÌDCC: Joseph Jarman/Adam Rudolph; Mark Helias/Graham Haynes • Dred Scott Trio Rockwood Music Hall 12 am Hagar Ben-Ari and guest Rashad Dobbins The Stone 8, 10 pm $10 Zebulon 10 pm ÌAll Night Soul Jazz Festival: Duke Ellington Orchestra Tribute Wednesday, October 5 • Katja Endemann Quartet with Daniela Schaecter, Oleg Ossenkov, to Ruth Ellington Advent Lutheran Church 8 pm Jordan Perlson Kavehaz 6 pm • Marcus Miller with Guests Take 6 ÌDCC: Ned Rothenberg Quartet with Ray Anderson, • Erik Torrente Quartet with Vicente Archer, Jamier Williams B.B. King’s 8, 10:30 pm $45 Lindsay Horner, Reggie Nicholson; Avram Fefer/Bobby Few Kavehaz 9:30 pm ÌMATA Micro-Orchestra Festival: Mick Rossi, Andrew Sterman, The Stone 8, 10 pm $10 • Arthur Sterling 5C Café 5 pm Andy Laster, Russ Johnson, Curtis Hasselbring, Hiroko Taguchi, ÌAll Night Soul Jazz Festival: Jazz Ministry • Danielle Gasparro with Ryan Scott, Thomas Bramerie, Mary Wooten, Peter Herbert, Theo Bleckmann 40th Anniversary Concert Saint Peter’s 1 pm $5 Bill Campbell 55Bar 7 pm St. Peter’s Church 8 pm $20 ÌPharoah Sanders Quartet with William Henderson, Adam Cruz • Dmitri Kolesnik Cleopatra’s Needle 8 pm • Diet Coke Women in Jazz Festival: Akiko Grace Trio; Ugonna Okegwo, Iridium 8, 10 pm $27.50 • Yardena The Garage 9 pm LeeAnn Ledgerwood Trio Dizzy’s Club 7:30, 9:30 pm $30 • Marc Ribot’s Ceramic Dog with Shahzad Ismaily, Ches Smith ÌRalph Peterson’s Fo’tet with Don Byron Tonic 8, 10 pm $12 Sweet Rhythm 8, 10 pm 12 am $20 • Kali. Z. Fasteau with Michael Ray, Michael T.A. Thompson • Freddie Hubbard and the New Jazz Composers Octet with Via Della Pace 8 pm Joe Chambers, Craig Handy, Myron Walden, David Weiss, ÌNight of the Ravished Limbs: Renku: Michaël Attias, John Hebert, Chris Karlic, Steve Davis, Xavier Davis, Dwayne Burno Satoshi Takeishi; Mario Pavone Quintet with Mike DiRubbo, Iridium 8, 10 pm $25 Jimmy Greene, Peter Madsen, Gerald Cleaver ÌJason Moran Bandwagon with Marvin Sewell, Tarus Mateen, Barbès 8, 10 pm $8 Nasheet Waits Village Vanguard 9, 11 pm $30 ÌMatana Roberts Quartet Zebulon 10 pm • Regina Carter Group Jazz Standard 7:30, 9:30 pm $25 ÌBenoît Delbecq solo Jazz Gallery 9, 10:30 pm $12 • Bebel Gilberto Blue Note 8, 10:30 pm $40 • John Pizzarelli Quartet with Martin Pizzarelli, Ray Kennedy, • Edmar Castaneda Sweet Rhythm 8, 10 pm $15 Tony Tedesco and guest Bucky Pizzarelli ÌScott DuBois with Loren Stillman, Jason Rigby, Thomas Morgan, Feinstein’s 8:30 pm $60 Ted Poor 55Bar 9:30 pm ÌCharlie Haden’s Liberation Music Orchestra with Carla Bley, • Roger Rosenberg Quartet with Mark Soskin, Chip Jackson, Seneca Black, Steve Cardenas, Chris Cheek, Curtis Fowlkes, Jeff Brillinger Cornelia Street Café 8:30 pm Joe Daley, Ahnee Sharon Freeman, Tony Malaby, ÌSteve Lantner, Reuben Radding, Dee Pop Michael Rodriguez, Matt Wilson, Miguel Zenon 5C Café 7 pm Blue Note 8, 10:30 pm $35

36 October 2005 | ALLABOUTJAZZ-NEW YORK ÌCelebrating Elvin Jones: Delfeayo Marsalis Quintet with • Paula West with the Eric Reed Trio Friday, October 7 Donald Harrison, Mulgrew Miller, Jason Marsalis Algonquin Oak Room 9 pm $50 ÌDCC: Bob Stewart with Jerome Harris, Abdou Mboup, Dizzy’s Club 7:30, 9:30, 11:30 pm $30 ÌMatthew Shipp/Steve Dalachinsky; J.A.M Trio: Jim Black, James Zollar, Carlton Holmes, Buddy Williams; Dewey Redman • Akiko Grace Trio Dizzy’s Club 12:30 am $10 Mat Maneri, Assif Tsahar Tonic 8 pm $12 and Friends The Stone 8, 10 pm $20 • Bill Charlap Trio with Peter Washington, Kenny Washington ÌAri Hoenig/Chris Potter 55Bar 7 pm • All Night Soul Jazz Festival: Chico O’Farrill Afro-Cuban Village Vanguard 9, 11 pm 12:30 am $35 • Leni Stern 55Bar 10 pm Jazz Orchestra; Mayte Vicens’ Mambo Dancers • Stacey Kent Birdland 9, 11 pm $40 • Joel Harrison’s Starfish Parade with Taylor Ho Bynum, Saint Peter’s 7:30 pm $15 • Michael Weiss, Gerald Cannon, Danny Sadownick Sam Bardfeld, Dave Ambrosio, Will Holshouser, George Schuller ÌChico Freeman Quartet with Hilton Ruiz Knickerbocker Bar and Grill 9:45 pm $5 Koze Lounge 9, 10:30 pm $7 Creole 8, 10:30 pm 12:30 am $15 • Adam Kendall with guest Anthony Coleman • MSM Chamber Jazz Ensemble ÌGold Sounds: James Carter, Cyrus Chestnut, Ali Jackson Issue Project Room 8 pm $10 Manhattan School of Music 8 pm Joe’s Pub 9:30 pm $20 • Eric Nauman/Douglas Cohen; David Means/Steve Goldstein • Judy Bady Quartet with Misha Piatigorsky, Max Vater, • Houston Person Quartet Jazz 966 10:15 pm $15 Location One 8:30 pm $12 Greg Searvance Sugar Bar 8:30 pm $10 ÌBobby Few/Chris ChalfantFaust Harrison Pianos 7 pm $15 ÌJoe Fiedler/Tanya Kalmanovitch Quartet with Dave Ambrosio, • Sofia Laiti with Carlton Holmes, Essiet Essiet, Vincent Ector ÌBilly Martin/Dave Burrell Tonic 8 pm Owen Howard Kavehaz 6 pm Sweet Rhythm 8, 10 pm $15 ÌAACM: Reggie Nicholson Percussion Trio with Eli Fountain, • Lucian Ban/Sam Newsome Quartet with Carlo DeRosa • Jim DeSalvo Trio with Chris Lough, Eliot Zigmund D.D. Jackson; Roscoe Mitchell Trio with Jaribu Shahid, Kavehaz 9:30 pm Detour 9:30 pm Tani Tabbal Comm. Church of New York 8 pm $20 ÌEric Rasmussen’s Tristano Band with Matt Wilson • NYU Big Band The Garage 8 pm ÌLouis Hayes/John Hicks Quartet with Abraham Burton, Detour 10 pm $5 • Jaime Aff Trio Puppet’s Jazz Bar 9 pm $5 Gerald Cannon Sweet Rhythm 8, 10 pm 12 am $20 • Bill Warfield Quartet Blue Mountain Gallery 5:30 pm • Dred Scott Trio Rockwood Music Hall 12 am ÌMilt Jackson Tribute: Joe Locke, Mike LeDonne, Bob Cranshaw, • Jon Gordon Trio Bar Next Door 9, 11:15 pm $8 Mickey Roker The Kitano 8, 9:45 pm $20 • Stephanie Clark with Murray Wall, Clifford Barbaro, Saul Rubin, Wednesday, October 12 • Joe Farnsworth’s World Rhythm Octet Mike Hashim 55Bar 6 pm Smoke 9, 11 pm 12:30 am $25 • Ty Stephens ParlorJazz 9, 10:30 $20 ÌDCC: Full Moon: Badal Roy, Steve Gorn, Kenny Wessel, ÌWycliffe Gordon Quintet Rose Center 6, 7:30 pm • Marcelo Cardozo Trio Bistro Jules 9:30, 11 pm Daniel Moreno; Jai Uttal and Friends with Steve Gorn, ÌMichael Wolff/Steve Wilson • Larry Newcomb Quartet Cleopatra’s Needle 8 pm Charlie Burnham, Daniel Paul Friends Seminary 7:30 pm $20 • Larry Newcomb Trio The Garage 12 pm The Stone 8, 10 pm $10 ÌMario Pavone Septet with Joe Magnarelli, Mike DiRubbo, • Nick Moran The Garage 6:15 pm ÌRoy Haynes Band Iridium 8, 10 pm $30 Lauren Sevian, Peter McEachern, Peter Madsen, Gerald Cleaver • Daniel Kelly The Garage 10:45 pm ÌT.S. Monk Sextet Birdland 9, 11 pm $30 55Bar 10 pm ÌNight of the Ravished Limbs: Chris Lightcap Quintet with • Valerie Capers and Trio Lenox Lounge 9, 10:30 pm 12 am $20 Sunday, October 9 Tony Malaby, Craig Taborn, Mark Turner, Gerald Cleaver; • Text of Light: William Hooker, Ulrich Krieger, Alan Licht, Tony Malaby’s Paloma Recio with Michael Rodriguez, Christian Marclay, Lee Ranaldo and guests Zeena Parkins, ÌDCC: Graham Haynes/Adam Rudolph; Bern Nix/Joe Morris Ben Monder, Eivind Opsvik, Rodney Green Marina Rosenfeld The Kitchen 8:30 pm $10 The Stone 8, 10 pm $10 Barbès 8, 10 pm $8 • I Wish You Love: The Musical Memoir of a Jazz Diva: ÌAll Night Soul Jazz Festival: All Night Soul 35th Anniversary ÌLucian Ban/Alex Harding’s Blutopia with Hill Greene, Bruce Cox Gloria Lynne with Ray Chew and The Crew, guest Roy Meriwether with Clark Terry Big BandSaint Peter’s 5 pm $20 Cornelia Street Café 8:30 pm $10 and Ethel Beatty Barnes, Shelley Thomas, Darryl JoVan Williams ÌFirst Annual Haitian Jazz Festival: Boulo Valcourt; Moyazik; ÌJim Hobbs and the Fully Celebrated Orchestra with Tribeca Perf. Arts Ctr. 8 pm $25-55 Eddy Prophete; Buyu Ambroise; Beethova Obas; Taylor Ho Bynum, Timo Shanko, Django Carranza • Jazz Gallery 10th Anniversary Heartsong Series: Gretchen Parlato Reginald Policard with guests Joel Widmaiier, Richard Barbot; Zebulon 10 pm Group with Lionel Loueke, Aaron Parks, Kendrick Scott Jowee Omicil, Emeline Michel, Eddy Brisseaux ÌBilly Hart Quartet with Mark Turner, Ethan Iverson, Ben Street Jazz Gallery 9, 10:30 pm $12 SOB’s 8 pm Jazz Standard 7:30, 9:30 pm $20 ÌBill Warfield Big Band Marie’s 6 pm ÌJerome Cooper/William Parker ÌFieldwork: Steve Lehman, Vijay Iyer, Tyshawn Sorey ÌPharoah Sanders Quartet with William Henderson, Adam Cruz Location One 8:30 pm $12 Jazz Gallery 9, 10:30 pm $12 Ugonna Okegwo Iridium 8, 10, 11:30 pm $30 ÌPatrick Zimmerli’s “Emergence” with Yoon Kwon, Patrick Jee, • Manhattan Trinity: Cyrus Chestnut, George Mraz, Lewis Nash • John Pizzarelli Quartet with Martin Pizzarelli, Ray Kennedy, Stomu and Satoshi Takeishi, Steve Gosling, Harold Bott Jr. Dizzy’s Club 7:30, 9:30 pm $30 Tony Tedesco and guest Bucky Pizzarelli and guests Anthony Burr, Skuli Sverrison ÌGiacomo Gates/Larry Ham Feinstein’s 8:30, 11 pm $60 The Triad 7 pm $8 Dizzy’s Club 11:30 pm $10 ÌCharlie Haden’s Liberation Music Orchestra with Carla Bley, ÌDave Stryker/Steve Slagle Band with Ed Howard, Victor Lewis • Bill Charlap Trio with Peter Washington, Kenny Washington Seneca Black, Steve Cardenas, Chris Cheek, Curtis Fowlkes, Jazz Standard 7:30, 9:30 pm $20 Village Vanguard 9, 11 pm $30 Joe Daley, Ahnee Sharon Freeman, Tony Malaby, • Jazz Gallery 10th Anniversary Heartsong Series: • Eldar Djangirov Blue Note 8, 10:30 pm $25 Michael Rodriguez, Matt Wilson, Miguel Zenon Lezlie Harrison Quartet Jazz Gallery 9, 10:30 pm $15 • Paula West with the Eric Reed Trio Blue Note 8, 10:30 pm $35 ÌPharoah Sanders Quartet with William Henderson, Adam Cruz, Algonquin Oak Room 9 pm $50 • Deborah Davis Blue Note 12:30 am $8 Ugonna Okegwo Iridium 8, 10 pm $32.50 • Tom Guarna Band Sweet Rhythm 8, 10 pm $15 ÌCelebrating Elvin Jones: Delfeayo Marsalis Quintet with ÌCharlie Haden’s Liberation Music Orchestra with Carla Bley, • Vana Gierig Trio with Sean Conly, Gene Jackson Donald Harrison, Mulgrew Miller, Jason Marsalis Seneca Black, Steve Cardenas, Chris Cheek, Curtis Fowlkes, AC Pianocraft Workshop 8 pm $20 Dizzy’s Club 7:30, 9:30, 11:30 pm $30 Joe Daley, Ahnee Sharon Freeman, Tony Malaby, • Sheryl Bailey with Brian Charette, Ian Froman • Akiko Grace Trio Dizzy’s Club 12:30 am $10 Michael Rodriguez, Matt Wilson, Miguel Zenon 55Bar 7 pm • Bill Charlap Trio with Peter Washington, Kenny Washington Blue Note 8, 10:30 pm $35 ÌGeorge Schuller’s Circle Wide with Donny McCaslin, Brad Shepik, Village Vanguard 9, 11 pm $35 ÌCelebrating Elvin Jones: Delfeayo Marsalis Quintet with Tom Beckham, Dave Ambrosio • Stacey Kent Birdland 9, 11 pm $40 Donald Harrison, Mulgrew Miller, Jason Marsalis 55Bar 10 pm • Michael Weiss, Gerald Cannon, Danny Sadownick Dizzy’s Club 7:30, 9:30 pm $30 • The Eternal Now; Sunny Jain Collective with Rez Abbasi, Knickerbocker Bar and Grill 9:45 pm $5 • Bill Charlap Trio with Peter Washington, Kenny Washington Steve Welsh, Gary Wang, Samita Sinha; Chris Berry and Panjea ÌJohn Hebert’s Byzantine Monkey Quartet with Ralph Alessi, Village Vanguard 9, 11 pm $30 Galapagos 8 pm $10 Mat Maneri, Nasheet Waits • Jason Marshall Sweet Rhythm 8, 10 pm $15 • Shakers n’ Bakers: Mary LaRose, Jeff Lederer, Steven LaRosa, Cornelia Street Café 9 pm $10 ÌRoy Nathanson Quartet with Sam Bardfeld, Tim Kaya, Chris Lightcap, Allison Miller ÌJoe Giglio/Peter Bernstein Gerald Cleaver with guests Napoleon Maddox, Ross Gay, Tea Lounge 9, 10:30 pm 107West 10 pm Curtis Fowlkes Barbès 6 pm • Vincent Gardner Quintet The Kitano 8, 9:45 pm ÌOscar Noriega, Chris Speed, Anthony Burr • Kris Davis, Reuben Radding, Dee Pop • Clifford Barbaro The Garage 9 pm Barbès 7 pm 5C Café 7 pm • Adam Niewood Group; Jay Foote Group ÌYale Strom and Hot Pstromi with guest Tanya Kalmanovich • Jim Campilongo’s Electric Band with Tim Luntzel, Dan Rieser The Pourhouse 9, 10:30 pm Barbès 8 pm 55Bar 9:30 pm • Christiana Drapkin/Stephanie Grieg • Pete Robbins, Sam Sadigursky, Jacob Sacks, Thomas Morgan, • Gene Ess Group with Harvie S The Backroom 9 pm Tyshawn Sorey Tea Lounge 9, 10:30 pm Europa Club 8 pm $10 ÌPete Malinverni Saint Peter’s 1 pm $5 • Yoon Choi, Jacob Sacks and guest Mat Maneri ÌLouise Rogers/Rick Strong 5C Café 7 pm Cornelia Street Café 8:30 pm $7 Thursday, October 13 • Phil Fried; Corey Dargel with César Alvarez, Sheila Donovan ÌTyshawn Sorey Unit Downtown Music Gallery 6 pm Location One 8:30 pm $12 • Brady Sharp/Gino Robair; Blaise Siwula, Chris Welcome, ÌDCC: Oliver Lake/Adam Rudolph; Cameron Brown’s “Don in ÌRick Germanson Trio with Gerald Cannon, Neal Smith John McLellan ABC No Rio 8 pm $3 Copenhagen, March ‘66” with Dave Ballou, Jason Rigby, Kavehaz 6 pm • Frédérique/Hill Greene Seppi’s 8 pm Tony Jefferson The Stone 8, 10 pm $10 ÌAlex Harding and Blutopia with Lucian Ban, Carlo DeRosa, • Courtney Bennett Trio Creole 8, 10:30 pm 12:30 am $15 ÌDr. Lonnie Smith Trio with Peter Bernstein, Allison Miller Gene Jackson Kavehaz 9:30 pm • Jon Davis Trio Puppet’s Jazz Bar 9 pm $5 Smoke 9, 11 pm 12:30 am $25 • La Buya Zebulon 10 pm • Joel Forrester and People Like Us ÌFluid Trio: George Garzone, Christopher Crocco, Francisco Mela • Bryn Roberts Trio Bar Next Door 9, 11:15 pm $8 Bowery Poetry Club 11 am $8 Kavehaz 6 pm • Benjamin Lapidus/Sonido Isleño with Harvie S., Paul Carlon, • Joni Paladin The Garage 12 pm • Pan Asian Jazz Chamber Ensemble: Meg Okura, Yukari, Pedro Martínez Clemente Soto Velez 9:30 pm • Sachal Vasandani Trio North Square Lounge 12:30, 2:30 pm Megumi Yonesawa, Jennifer Vincent, Satoshi Takeishi and guest • Todd Herbert Quartet Cleopatra’s Needle 8 pm • Sayuri Goto Trio with Nat Reeves, Gene Jackson Sam Newsome Kavehaz 9:30 pm Blue Note 12:30, 2:30 pm $19.50 ÌMulatu Astatké with Either/Orchestra • Jaime Aff Trio Puppet’s Jazz Bar 9 pm $5 Joe’s Pub 7 pm $25 • Jun Miyake Quartet The Garage 6:15 pm Monday, October 10 • Jenny Lin with guest Jim Pugliese • Groove Aparatus The Garage 10:45 pm Symphony Space 7:30 pm $21 ÌEllery Eskelin/Andrea Parkins/Jim Black ÌRoy Haynes Band Iridium 8, 10 pm $30 Saturday, October 8 55Bar 10 pm ÌT.S. Monk Sextet Birdland 9, 11 pm $30 ÌDCC: Billy Bang Quintet with James Zollar, Andrew Bemkey, ÌNoah Howard/Eve Packer Cornelia Street Café 6 pm $6 ÌBilly Hart Quartet with Mark Turner, Ethan Iverson, Ben Street Todd Nicholson, Newman Taylor Baker; Peter Apfelbaum with ÌMichael Attias’ Clinamen Orchestra with Tony Malaby, Jazz Standard 7:30, 9:30 pm $20 Jessica Jones, Tony Jones, David Phelps, Patrice Blanchard, Mark Taylor, Matt Moran, John Hebert, Satoshi Takeishi, • Manhattan Trinity: Cyrus Chestnut, George Mraz, Lewis Nash Dafnis Prieto The Stone 8, 10 pm $20 Tyshawn Sorey Zebulon 10 pm Dizzy’s Club 7:30, 9:30 pm $30 ÌJazz Gallery 10th Anniversary Heartsong Series: Andy Bey Duo • Steve Coleman Presents Jazz Gallery 9 pm $15 ÌGiacomo Gates/Larry Ham Jazz Gallery 9, 10:30 pm $15 ÌFay Victor Ensemble with Anders Nilsson, Ken Filiano Dizzy’s Club 11:30 pm $10 ÌHamiet Bluiett Sistas’ Place 9, 10:30 pm $20 and guest Wolter WeirbosThe Backroom 9 pm • Bill Charlap Trio with Peter Washington, Kenny Washington ÌJohn McNeil’s Insomnia Band with Mike Fahey, Mike McGuirk, • Voices & Songs: Paulette McWilliams Band with Myron Walden, Village Vanguard 9, 11 pm $30 John Reuckert Cornelia Street Café 9 pm $8 Nat Adderly Jr., Matt Clohesy, Greg Hutchinson • Eldar Djangirov Blue Note 8, 10:30 pm $25 ÌDave Stryker/Steve Slagle Band with Ed Howard, Victor Lewis Jazz Standard 7:30, 9:30 pm $15 • Jazz Gallery 10th Anniversary Heartsong Series: Renee Neufville Jazz Standard 7:30, 9:30, 11:30 pm $25 • Sachal Vasandani with Jeb Patton, David Wong, Quincy Davis Group with Roy Hargrove Jazz Gallery 9, 10:30 pm $12 ÌLouis Hayes/John Hicks Quartet with Abraham Burton, Zinc Bar 7:15 pm $5 • Paula West with the Eric Reed Trio Gerald Cannon Sweet Rhythm 8, 10 pm 12 am $20 • Alexis Cole Trio Bar Next Door 8 pm $5 Algonquin Oak Room 9 pm $50 ÌMilt Jackson Tribute: Joe Locke, Mike LeDonne, Bob Cranshaw, • FUS: Jowee Omicil, Johnny Mercer, Deedgra, Kona Khasu, • Gnu Vox: Julie Hardy; Dave Devoe Mickey Roker The Kitano 8, 9:45 pm $20 Manny Laine Niagra 9, 10:30 pm $5 Cornelia Street Café 8:30 pm $10 • Joe Farnsworth’s World Rhythm Octet • Jaime Aff Trio with William Ash • Aaron Alexander Trio Yom Kippur Break-Fast Smoke 9, 11 pm 12:30 am $25 Puppet’s Jazz Bar 9 pm $5 Makor 8 pm $40 • Valerie Capers and Trio Lenox Lounge 9, 10:30 pm 12 am $20 • New School Presents Sweet Rhythm 8, 10 pm $10 • Ben Monder Barbès 10 pm • I Wish You Love: Gloria Lynne with Ray Chew and The Crew, • The Flail: Dan Blankinship, Stephan Moutot, Brian Marsella, guest Roy Meriwether, Ethel Beatty Barnes, Shelley Thomas, Tuesday, October 11 Reid Taylor, Matt Zebroski Darryl JoVan Williams Tribeca Perf. Arts Ctr. 8 pm $25-55 Sweet Rhythm 8, 10 pm $15 • Juni Booth/Ladell McLin Zebulon 10 pm • DCC: Berber Bahia Blues: Brahim Fribgane, Dende, • Adam Birnbaum Trio The Kitano 8, 9:45 pm • Arturo O’Farrill Trio Puppet’s Jazz Bar 9 pm $5 Adam Rudolph; Mopti: Bai Koro Kouyate, Bala Koro Kouyate, • Bill Ware Puppet’s Jazz Bar 9 pm $5 ÌMelody Breyer-Grell with Gloria Cooper Group Yakouba Sissoko, Daniel Moreno ÌAndrea Wolper with Michael Howell, Ken Filiano Iridium 7 pm $20 The Stone 8, 10 pm $10 55Bar 7 pm ÌPharoah Sanders Quartet with William Henderson, Adam Cruz, ÌBilly Hart Quartet with Mark Turner, Ethan Iverson, Ben Street ÌDave Berkman Quartet with Dick Oatts Ugonna Okegwo Iridium 8, 10, 11:30 pm $32.50 Jazz Standard 7:30, 9:30 pm $20 Detour 9:30 pm • Dafnis Prieto Master Class ÌFieldwork: Steve Lehman, Vijay Iyer, Tyshawn Sorey • Jay Vilnai’s Vampire Suit with Skye Steele, Gry Pickard, Blue Note 2 pm $10 Jazz Gallery 9, 10:30 pm $12 Mike Savino, Kevin Garcia • John Pizzarelli Quartet with Martin Pizzarelli, Ray Kennedy, • Manhattan Trinity: Cyrus Chestnut, George Mraz, Lewis Nash Tea Lounge 9, 10:30 pm Tony Tedesco and guest Bucky Pizzarelli Dizzy’s Club 7:30, 9:30 pm $30 • Dan Brantigan, Garth Stevenson, Matt Kilmer Feinstein’s 8:30, 11 pm $60 ÌGiacomo Gates/Larry Ham Bar 4 8:30 pm ÌCharlie Haden’s Liberation Music Orchestra with Carla Bley, Dizzy’s Club 11:30 pm $10 • Geoffrey Loomis 5C Café 5 pm Seneca Black, Steve Cardenas, Chris Cheek, Curtis Fowlkes, • Bill Charlap Trio with Peter Washington, Kenny Washington • Billy Newman’s Brooklyn Brazil Bop Joe Daley, Ahnee Sharon Freeman, Tony Malaby, Village Vanguard 9, 11 pm $30 Satalla 7:30 pm $12 Michael Rodriguez, Matt Wilson, Miguel Zenon • Eldar Djangirov Blue Note 8, 10:30 pm $25 • Marcus Persian Trio Cleopatra’s Needle 8 pm Blue Note 8, 10:30 pm $35 ÌJohn Clark Group NYC Baha’i Center 8, 10 pm $15 • John Chin The Garage 9 pm

ALLABOUTJAZZ-NEW YORK | October 2005 37 ÌCharles Tolliver Big Band with Todd Bashore, Billy Harper, Friday, October 14 Sunday, October 16 Craig Handy, Bill Saxton, Howard Johnson, Chris Albert, ÌDCC: Hassan Hakmoun’s Gift of the Gnawa with Brahim Fribgane, ÌDCC: Henry Grimes; Bill Dixon David Guy, David Weiss, Keyon Harrold, Clark Gayton, Adam Rudolph and guests Graham Haynes, Vishal Vaid The Stone 8, 10 pm $20 Joe Fielder, Aaron Johnson, John Hicks, Cecil McBee, The Stone 8, 10 pm $20 • Olu Dara Blue Note 8, 10:30 pm $30 Ralph Peterson Jazz Standard 7:30, 9:30 pm $25 ÌJimmy Cobb’s Mob with Craig Handy, George Colligan • Trio Da Paz: Romero Lubambo, Nilson Matta, Duduka da Fonseca ÌDizzy Gillespie Alumni AllStars: James Moody, Slide Hampton, Sweet Rhythm 8, 10 pm 12 am $20 Jazz Standard 7:30, 9:30 pm $20 Roy Hargrove, Mulgrew Miller, John Lee, Dennis Mackrel and ÌHouston Person Quartet Lenox Lounge 9, 10:30 pm 12 am $20 ÌRoy Haynes Band Iridium 8, 10 pm $35 guest Paquito D`Rivera Blue Note 8, 10:30 pm $35 ÌDon Friedman Trio with Martin Wind, Tony Jefferson • Manhattan Trinity: Cyrus Chestnut, George Mraz, Lewis Nash ÌGeorge Cables Project with Gary Bartz, Eric Revis, The Kitano 8, 9:45 pm $20 Dizzy’s Club 7:30, 9:30 pm $30 Jeff “Tain” Watts Dizzy’s Club 7:30, 9:30 pm $30 ÌJoanne Brackeen/Cecil McBee • Bill Charlap Trio with Peter Washington, Kenny Washington ÌEzra Weiss with Antonio Hart, Kelly Roberge, Leon Dorsey, Knickerbocker Bar and Grill 9:45 pm $5 Village Vanguard 9, 11 pm $30 Jason Brown Dizzy’s Club 11:30 pm $10 • Jazz Gallery 10th Anniversary Heartsong Series: Claudia Acuña ÌEvind Opsvik Overseas with Tony Malaby, Jacob Sacks, ÌGeoff Keezer Trio with Mike Pope, Terreon Gully Quartet with Jason Lindner, Omer Avital, Tony Escapa Jeff Davis Zebulon 10 pm Village Vanguard 9, 11 pm $30 Jazz Gallery 9, 10:30 pm $15 • Linda Lee Baker with Dick Katz, Boots Maleson, Jimmy Madison • Paula West with the Xavier Davis Trio • Trio Da Paz: Romero Lubambo, Nilson Matta, Duduka da Fonseca Cobi’s Place 6, 8 pm $20 Algonquin Oak Room 9 pm $50 Jazz Standard 7:30, 9:30, 11:30 pm $25 ÌUrsel Schlicht, Reuben Radding, Dee Pop • Dave Weckl Band Iridium 8, 10 pm $27.50 ÌDr. Lonnie Smith Trio with Peter Bernstein, Allison Miller 5C Café 7 pm • Pauline Oliveros/Ione Mercantile Library 6:30 pm $15 Smoke 9, 11 pm 12:30 am $25 • Will Vinson 55Bar 9:30 pm ÌNight of the Ravished Limbs: JD Allen Trio; Ken Filiano Quartet ÌEarth People Henry Gregg Gallery 7 pm • Edmar Casteneda Sweet Rhythm 8, 10 pm $15 with Michaël Attias, Tony Malaby, Michael T. A. Thompson • Pablo Mayor’s Folklorico SOB’s 8, 10 pm $15 • George Dulin with Danny Zanker, Take Toriyama and Barbès 8, 10 pm $8 ÌTessa Souter 55Bar 6 pm guest Sal Rosselli Cornelia Street Café 8:30 pm $10 • Tony Malaby Master ClassNYU Frederick Loewe Theatre 8 pm ÌDave Liebman Quartet with Vic Juris, Tony Marino, • Uli Geissendoerfer Trio Europa Club 8 pm $10 • Dave Gibson Quartet with Rick Germanson, Dwayne Burno, Marko Marcinko 55Bar 10 pm • Rachel Thompson, Jonathan Zorn, Bryan Eubanks, Joe Strasser Kavehaz 8 pm ÌJeremy Steig Quartet with Vic Juris, Cameron Brown, Andrew Lafkas; Julianne Carney, Duane Pitre, John McLellen • Lawrence Clark Sweet Rhythm 8, 10 pm $15 Anthony Pinciotti Cornelia Street Café 9 pm $12 ABC No Rio 8 pm $3 • Havana Carbo with Dario Eskenazi, Nilson Matta ÌRoy Haynes Band Iridium 8, 10, 11:30 pm $30 • Yoon Sun Choi/Judith Berkson 55Bar 7 pm ÌT.S. Monk Sextet Birdland 9, 11 pm $30 Downtown Music Gallery 6 pm • Mike Stern 55Bar 10 pm • Manhattan Trinity: Cyrus Chestnut, George Mraz, Lewis Nash • Lee Torchia Group Saint Peter’s 5 pm • Tommy Campbell Trio The Kitano 8, 9:45 pm Dizzy’s Club 7:30, 9:30, 11:30 pm $30 • Frédérique/Hilliard Greene • Hanuman Sextet CBGB’s 7 pm ÌGiacomo Gates/Larry Ham Seppi’s 8 pm • The Derividactory; Curious Citizens Dizzy’s Club 12:30 am $10 • Jon Davis Trio with Tommy Campbell The Pourhouse 9, 10:30 pm • Bill Charlap Trio with Peter Washington, Kenny Washington Puppet’s Jazz Bar 9 pm $5 • Manhattan Vibes with Christos Rafalides Village Vanguard 9, 11 pm $35 • John Wriggle Quartet with Charles Lee, Nick Russo, Rober Sabin The Garage 9 pm • Eldar Djangirov Blue Note 8, 10:30 pm $25 Stain Bar 9 pm • Harry Allen, Joe Cohn, Joel Forbes, Chuck Riggs • Beatbox Jazz: Baba Israel, Kid Lucky, D-Cross, Yako, • Kit McClure Band Central Park Bandshell 11 am Saint Peter’s 1 pm $5 Chesney Snow, Taylor McFerrin, Jason Lindner, Dana Leong, • Hayes Greenfield’s Jazz-A-Ma-Tazz Tony Escapa Blue Note 12:30 am $8 Makor 1 pm $12 Thursday, October 20 • Paula West with the Eric Reed Trio • Jan Findlay The Garage 12 pm Algonquin Oak Room 9, 11:30 pm $50 • Barbara Sfraga Trio with Ron Affif, Christopher Dean Sullivan ÌDCC: Min Xiao-Fen, Okkyung Lee, Susie Ibarra; Susie Ibarra/ ÌBurnt Sugar: Matana Roberts, Rene Akan, Thom Loubet, North Square Lounge 12:30, 2:30 pm Adam Rudolph The Stone 8, 10 pm $10 Jared Nickerson, Jason Di Matteo, Chris Eddleton, Trevor Holder, • Jun Miyake Quartet with Reggie Workman, Pheeroan AkLaff, ÌBlue Note Live: Joe Lovano Julia Kent, Bruce Mack, Justice Dilla-x, Lisala Beatty Jeremiah, Satoshi Inoue Blue Note 12:30, 2:30 pm $19.50 Symphony Space 7:30 pm $21 Greg Tate Tonic 12 am $10 ÌHenry Threadgill’s Zooid with Liberty Ellman, Dana Leong, • Armen Donelian with Marc Mommaas, John Hebert Monday, October 17 Rubin Kodheli, Jose Davila, Elliot Humberto Kavee InHouse 8 pm $12 Jazz Gallery 9, 10:30 pm $20 • Synergy: Saco Yasuma with Sabir Mateen, Ras Moshe, ÌTobias Delius Quartet with Tristan Honsinger, Valdi Kolli, ÌJoanne Brackeen Quartet with Lakecia Benjamin, E.J. Strickland Francois Grillot, Jackson Krall Han Bennink Tonic 8 pm Ugonna Okegwo New School 8 pm $10 Bowery Poetry Club 8 pm $12 • Bobby Sanabria and Quarteto Aché ÌClaire Daly Sweet Rhythm 8, 10 pm $15 • Gary Lucas’ Gods and Monsters Baruch College 6 pm ÌAssif Tsahar/Cooper-Moore Bowery Poetry Club 10 pm $15 ÌAssif Tsahar/Cooper-Moore Tea Lounge 9, 10:30 pm • Marguerita Mariama Quartet; Steve Cromity Quartet Zebulon 10 pm • Singers Over Manhattan: Eric Reed Trio and Carla Cook, Jazz 966 10:15 pm $15 • Steve Coleman Presents Jazz Gallery 9 pm $15 Sachal Vasandani, Jennifer Sanon • Brian Willson, Yuko Fujiyama, Dominic Duval • Sadhana: Vincent Chancey, Warren Smith, Keith Witty, Allen Room 7:30 pm $40-130 Issue Project Room 8 pm $10 Jeremy Carlstedt, Will Connell Jr. • Pat Martino Quartet Birdland 9, 11 pm $30 • Edom: Eyal Mayoz, Shanir Blumenkranz, Yuval Lion Niagra 9, 10:30 pm $5 ÌCharles Tolliver Big Band with Todd Bashore, Billy Harper, Tea Lounge 9, 10:30 pm • Voices & Songs: Julia Dollison with Ben Monder, Matt Clohesy, Craig Handy, Bill Saxton, Howard Johnson, Chris Albert, • Joe Giglio/Bob DeVos 107West 10 pm Ted Poor Jazz Standard 7:30, 9:30 pm $15 David Guy, David Weiss, Keyon Harrold, Clark Gayton, • Jon De Lucia Quartet with Nir Felder, Garth Stevenson, • Mary Ann McSweeney 55Bar 7 pm Joe Fielder, Aaron Johnson, John Hicks, Cecil McBee, Tommy Crane Kavehaz 6 pm • Shane Endsley Group 55Bar 10 pm Ralph Peterson Jazz Standard 7:30, 9:30 pm $25 • Dave Allen Quartet with Donny McCaslin, Carlo DeRosa, • JJ Sanseverino Blue Note 8, 10:30 pm $10 ÌDizzy Gillespie Alumni AllStars: James Moody, Slide Hampton, Take Toriyama Kavehaz 9:30 pm ÌRobert Dick; Kali Z. Fasteau with Carletta Joy Walker, Ron McBee Roy Hargrove, Mulgrew Miller, John Lee, Dennis Mackrel and • Dave Hillyard Detour 10 pm and guest Michael Ray Cornelia Street Café 8:30 pm $10 guest Paquito D`Rivera Blue Note 8, 10:30 pm $35 • Tommy Campbell Band Puppet’s Jazz Bar 9 pm $5 • Sachal Vasandani Trio Bar Next Door 8 pm $5 ÌGeorge Cables Project with Gary Bartz, Eric Revis, • Stacy Dillard Quartet Cleopatra’s Needle 8 pm • Dan Weiss Trio Detour 9:30 pm Jeff “Tain” Watts Dizzy’s Club 7:30, 9:30 pm $30 • Eric Frazier Quintet The Triad 8, 10 pm $15 • Jaime Aff Organ Trio with William Ash ÌEzra Weiss with Antonio Hart, Kelly Roberge, Leon Dorsey, • Grant Stewart Trio Bar Next Door 9, 11:15 pm $8 Puppet’s Jazz Bar 9 pm $5 Jason Brown Dizzy’s Club 11:30 pm $10 ÌGeoff Keezer Trio with Mike Pope, Terreon Gully • Bruce McKinnon Trio The Garage 6:15 pm • New School Presents Sweet Rhythm 8, 10 pm $10 Village Vanguard 9, 11 pm $30 • Paula West with the Xavier Davis Trio Saturday, October 15 Tuesday, October 18 Algonquin Oak Room 9 pm $50 ÌDCC: Adam Rudolph’s Moving Pictures with Graham Haynes; ÌDCC: Ravish Momin Trio with Shanir Blumenkrantz, • Dave Weckl Band Iridium 8, 10 pm $27.50 Stephen Gorn, Shanir Blumenkrantz, Brahim Fribgane, Jason Kao Hwang; Jason Kao Hwang/Sang Won Park Duo • Ben Waltzer Trio with Matt Penman, Gerald Cleaver Tani Tabbal, Jerome Harris, Ned Rothenberg The Stone 8, 10 pm $10 The Kitano 8, 9:45 pm The Stone 8, 10 pm $20 ÌDizzy Gillespie’s 88th Birthday Celebration with ÌBurnt Sugar Zebulon 10 pm ÌSonny Fortune/Rashied Ali Mike Longo’s NY State of the Art Jazz Ensemble with • Judy Barnett Smoke 9, 11 pm Sistas’ Place 9, 10:30 pm $20 Antoinette Montague and guest Jimmy Owens • Peter Eldridge Joe’s Pub 7:30 pm $15 • Olu Dara Blue Note 8, 10:30 pm $30 NYC Baha’i Center 8, 10 pm $15 • Po’Jazz: Pyeng Threadgill Group; The John Brazile Trio; hosted ÌTony Malaby’s Paloma Recio with Michael Rodriguez, ÌDizzy Gillespie Alumni AllStars: James Moody, Slide Hampton, by Golda Solomon Cornelia Street Café 6 pm $13 Ben Monder, Eivind Opsvik, Rodney Green Roy Hargrove, Mulgrew Miller, John Lee, Dennis Mackrel and ÌGeorge Garzone/Rasmus Ehlers Quartet Cornelia Street Café 8:30 pm $10 guest Paquito D`Rivera Blue Note 8, 10:30 pm $35 Cornelia Street Café 8:30 pm $10 ÌJimmy Cobb’s Mob with Craig Handy, George Colligan ÌGeorge Cables Project with Gary Bartz, Eric Revis, • Gregg August Sextet with EJ Strickland, John Hart, Greg Tardy, Sweet Rhythm 8, 10 pm 12 am $20 Jeff “Tain” Watts Dizzy’s Club 7:30, 9:30 pm $30 Logan Richardson, John Bailey ÌHouston Person Quartet Lenox Lounge 9, 10:30 pm 12 am $20 ÌEzra Weiss with Antonio Hart, Kelly Roberge, Leon Dorsey, Smalls 9:30 pm $10 ÌDon Friedman Trio with Martin Wind, Tony Jefferson Billy Hart Dizzy’s Club 11:30 pm $10 • Charlotte Hug/Jane RiglerIssue Project Room 8 pm $10 The Kitano 8, 9:45 pm $20 ÌGeoff Keezer Trio with Mike Pope, Terreon Gully • Judith Berkson Barbès 8 pm ÌJoanne Brackeen/Cecil McBee Village Vanguard 9, 11 pm $30 • Leo Genovese, Garth Stevenson, Ferenc Nemeth Knickerbocker Bar and Grill 9:45 pm $5 • Paula West with the Xavier Davis Trio Bar 4 8:30 pm • Jazz Gallery 10th Anniversary Heartsong Series: Claudia Acuña Algonquin Oak Room 9 pm $50 • Annette A. Aguilar and StringBeans with Freddie Bryant, Quartet with Jason Lindner, Omer Avital, Tony Escapa ÌCurtis Hasselbring’s Decoupage with Mat Maneri, Javier Diaz, Lewis Kahn, Ellen Uryevick-Adams, Jazz Gallery 9, 10:30 pm $15 Mary Halvorson, Satoshi Takeishi Pablo Vergara, Victor Rendon • Trio Da Paz: Romero Lubambo, Nilson Matta, Duduka da Fonseca Issue Project Room 8 pm $10 Satalla 7:30 pm $12 Jazz Standard 7:30, 9:30, 11:30 pm $25 • Moodswing Orchestra: Ben Perowsky, Raz Mesinai, Markus Miller, • Russell Branca Quartet with Tom Beckham, Heather Bennett, ÌDr. Lonnie Smith Trio with Peter Bernstein, Allison Miller Pamelia Kurstin Tonic 10 pm $10 Anthony Pinciotti Kavehaz 6 pm Smoke 9, 11 pm 12:30 am $25 • Chris Bergson Band with Jay Collins, Chris Berger, Tony Leone • Carlos Jiminez with Patrick Grady, Anna Milat-Meyer, Manu, ÌDave Liebman Quartet with Vic Juris, Tony Marino, Jazz Standard 7:30, 9:30 pm $20 Guillermo Jiminez Kavehaz 9:30 pm Marko Marcinko 55Bar 10 pm • Nora McCarthy, Jorge Sylvester, Pablo Vergara and guests • JD Walter 55Bar 7 pm ÌRoy Haynes Band Iridium 8, 10, 11:30 pm $30 Via Della Pace 8 pm ÌBill Ware Puppet’s Jazz Bar 9 pm $5 ÌT.S. Monk Sextet Birdland 9, 11 pm $30 • Jerome Sabbagh Quartet with Ben Monder, Gary Wang, Ted Poor • Eric Person Group Night of the Cookers 8 pm • Manhattan Trinity: Cyrus Chestnut, George Mraz, Lewis Nash Koze Lounge 9, 10:30 pm $7 • Abigail Payne Band Detour 9:30 pm Dizzy’s Club 7:30, 9:30, 11:30 pm $30 ÌPeter Van Huffel Group with Jesse Stacken, Scott Dubois, • Joseph Lapore Trio Cleopatra’s Needle 8 pm ÌGiacomo Gates/Larry Ham Michael Bates, Jeff Davis 55Bar 7 pm • Arthur Sterling 5C Café 5 pm Dizzy’s Club 12:30 am $10 • Dave Binney’s Balance with Craig Taborn, Thomas Morgan, • Kerry Linder Brooklyn Public Library Main Branch 7 pm • Bill Charlap Trio with Peter Washington, Kenny Washington Dan Weiss 55Bar 10 pm • Yardena The Garage 9 pm Village Vanguard 9, 11 pm 12:30 am $35 • Hilary Noble, Rebecca Cline, Fernando Huergo, Steve Langone; • Paula West with the Eric Reed Trio Richie Hart Trio with Rick Petrone, Joe Corsello and guest Algonquin Oak Room 9, 11:30 pm $50 Cornelia Street Café 8:30 pm $10 • Gino Sitson 4 with Helio Alves, Lonnie Plaxico, Willard Dyson • Amy London Trio with Roni Ben-Hur Universal Temple of the Arts 8 pm Sweet Rhythm 8, 10 pm $15 • Alan Palmer Creole 8, 10:30 pm 12:30 am $15 • Will Vinson The Backroom 9 pm ÌDominique Eade/Brad Shepik • Nate Birkey Quartet with Steve Rudolph, Tony Marino, InHouse 8 pm $12 Marko Marcinko The Encore NYC 9:30 pm • Robert Walter with Johnny Vidacovich, James Singleton, • Evans Thompson 5C Café 5 pm Tim Green B.B. King’s 12 am $15 • Jeff Peretz’ Abu Gara Satalla 9:30 pm $12 • Jeff Silverbush Trio with Ed Fuqua, Rob Garcia • Randy Johnston Trio Puppet’s Jazz Bar 9 pm $5 Kavehaz 6 pm • Galen Lima’s Taste 8 pm • Francisco Mora with JD Allen, Xavier Davis, Chris Lightcap • Combo Nuvo The Garage 8 pm Kavehaz 9:30 pm • Lew Soloff Master Class Manhattan School of Music 3 pm • Brian Horton Trio Bar Next Door 9, 11:15 pm $8 • Dred Scott Trio Rockwood Music Hall 12 am • Eric Person Group Night of the Cookers 10 pm • Tommy Campbell Band Puppet’s Jazz Bar 9 pm $5 Wednesday, October 19 • Joel Forrester Quartet Cleopatra’s Needle 8 pm • Adam Kolker 5C Café 7 pm ÌDCC: Sylvie Courvoisier/Adam Rudolph; • Joel Forrester and People Like Us Speak in Tones: Bamako Bai Koro Kouyate, Yakouba Sissoko, Bowery Poetry Club 11 am $8 Bala Koro Kouyate, Daniel Moreno and others • Mark Capon Trio The Garage 12 pm The Stone 8, 10 pm $10 • Vinson Vallega Trio The Garage 6:15 pm • Fred Hersch Zankel Hall 8:30 pm $42 • Carlos Jimenez Quartet The Garage 10:45 pm • Pat Martino Quartet Birdland 9, 11 pm $30

38 October 2005 | ALLABOUTJAZZ-NEW YORK • Marcelo Cardozo Trio Bistro Jules 9:30, 11 pm • Submerged, Kain The Stone 8, 10 pm $10 Friday, October 21 • Jaime Aff Trio Puppet’s Jazz Bar 9 pm $5 ÌNight of the Ravished Limbs: Loren Stillman Quartet with ÌDCC: Joseph Jarman/Adam Rudolph; Flutists of Fula Flute with • William Spaulding Cleopatra’s Needle 8 pm Jacob Sacks, Scott Lee, Jeff Hirshfield; Tyshawn Sorey’s Oblique Bailo Bah and Sylvan Leroux • Joni Paladin The Garage 12 pm with Russ Lossing, Loren Stillman, Carlo DeRosa The Stone 8, 10 pm $10 • Frank Basile Quartet The Garage 6:15 pm Barbès 8, 10 pm $8 ÌJon Hendricks Flushing Town Hall 8 pm $35 ÌVirginia Mayhew The Garage 10:45 pm • Helio Alves Quartet with Vic Juris, Santi Debriano, ÌJames Spaulding Jazz 966 10:15 pm $15 Marcello Pellitteri Zinc Bar 9, 11 pm 12:30 am $5 ÌEddie Gale Group Sistas’ Place 9, 10:30 pm $20 Sunday, October 23 • Lynn Skinner with Bob Schleslinger ÌCecil Payne Sextet with Harold Mabern, John Farnsworth, 55Bar 7 pm Jim Rotondi, John Webber, Joe Farnsworth • DCC: Basya Schecter’s Queens Dominon; Steve Gorn/ • Mike Stern 55Bar 10 pm The Kitano 8, 9:45 pm $20 Adam Rudolph The Stone 8, 10 pm $10 • Joel Frahm Trio Arthur’s IP 6 pm ÌRay Barretto Sextet with Joe Magnarelli, Myron Walden, ÌPatrick Zimmerli’s “Emergence” with Yoon Kwon, Patrick Jee, • Edmar Castaneda The Kitano 8, 9:45 pm Ricardo Rodriguez, Robert Rodriguez, Vince Cherico Stomu and Satoshi Takeishi, Steve Gosling, Harold Bott Jr. • Amoury Acosta Quartet Lima’s Taste 8 pm Smoke 9, 11 pm 12:30 am $25 and guests The Triad 7 pm $8 • Sharel Cassity Trio with Ryan Berg, Jeremy Clemons ÌJames Jabbo Ware and The Me We & Them Orchestra with ÌCharles Tolliver Big Band with Todd Bashore, Billy Harper, Kavehaz 8 pm JD Parran, Paavo Carey, Salim Washington, Patience Higgins, Craig Handy, Bill Saxton, Howard Johnson, Chris Albert, • Alex Hills and Balachka The Pourhouse 9, 10:30 pm Eddie Allen, Cecil Bridgewater, Antonio Dangerfield, David Guy, David Weiss, Keyon Harrold, Clark Gayton, • Jim Malloy and Trio The Garage 9 pm Clifton Anderson, Richard Harper, Bill Lowe, Hilton Ruiz, Joe Fielder, Aaron Johnson, John Hicks, Cecil McBee, • Kendra Shank/Frank Kimbrough Leon Dorsey, Warren Smith and guest George Coleman Ralph Peterson Jazz Standard 7:30, 9:30 pm $25 Saint Peter’s 1 pm $5 Saint Peter’s 8:30 pm $20 ÌDizzy Gillespie Alumni AllStars: James Moody, Slide Hampton, • Jeff Arnal’s Transparent Paths with Estelle Woodward, Roy Hargrove, Mulgrew Miller, John Lee, Dennis Mackrel Thursday, October 27 Gordon Beeferman, Donald O’Finn, Clyde Forth, Iain Machell, Blue Note 8, 10:30 pm $35 Jonathan Vincent, Elizabeth Ward, Clyde Forth, Michael Evans, ÌGeorge Cables Project with Gary Bartz, Eric Revis, ÌWillem Breuker Kollektief with Andy Altenfelder, Andy Bruce, Anders Nilsson, Jane Rigler, Tomas Ulrich Jeff “Tain” Watts Dizzy’s Club 7:30, 9:30 pm $30 Henk de Jonge, Hermine Deurloo, Arjen Gorter, Chocolate Factory 8 pm $15 ÌGeoff Keezer Trio with Mike Pope, Terreon Gully Bernard Hunnekink, Boy Raaymakers, Maarten van Norden, • Cliff Korman BAMCafé 9 pm Village Vanguard 9, 11 pm $30 Rob Verdurmen Merkin Hall 8 pm $25 • Romero Lubambo/Nilson Matta • Dave Weckl Band Iridium 8, 10 pm $30 ÌSteve Swallow/Ohad Talmor Sextet with Greg Tardy, Meg Okura, Creole 8, 10:30 pm 12:30 am $15 • Gabriela Anders 55Bar 7 pm Russ Johnson, Jacob Garchik • The Leonharts: Jay, Michael, Carolyn, Donna, Ted Rosenthal ÌJenny Scheinman 55Bar 9:30 pm Jazz Standard 7:30, 9:30 pm $20 Knickerbocker Bar and Grill 9:45 pm $5 • Jason Marshall and Negratude ÌSteve Coleman and Five Elements with Jonathan Finlayson, • Roy Meriwether Trio Lenox Lounge 9, 10:30 pm 12 am $20 Sweet Rhythm 8, 10 pm $15 Tim Albright, Thomas Morgan, Tyshawn Sorey, Jen Shyu • Rhonda Ross with Rodney Kendrick Band ÌRoy Nathanson Quartet with Sam Bardfeld, Tim Kaya, Jazz Gallery 9, 10:30 pm $15 Sweet Rhythm 8, 10 pm 12 am $20 Gerald Cleaver with guests Napoleon Maddox, Ross Gay, ÌCharles Gayle Zebulon 10 pm ÌHenry Threadgill’s Zooid with Liberty Ellman, Dana Leong, Curtis Fowlkes Barbès 6 pm ÌKenny Garrett Quartet with Ronald Brunner, Vicente Archer, Rubin Kodheli, Jose Davila, Elliot Humberto Kavee ÌDan Dechellis, Reuben Radding, Dee Pop Vernell Brown Iridium 8, 10 pm $27.50 Jazz Gallery 9, 10:30 pm $20 5C Café 7 pm ÌNicholas Payton Quartet Birdland 9, 11 pm $30 • Singers Over Manhattan: Eric Reed Trio and Carla Cook, • Daniel Freedman Group Zebulon 10 pm ÌRandy Weston and African Spirits with TK Blue Sachal Vasandani, Jennifer Sanon • Pyeng Threadgill Group Europa Club 8 pm $10 Dizzy’s Club 7:30, 9:30 pm $30 Allen Room 7:30 pm $40-130 • Anders Nilsson/Evan Gallagher; Jozef Van Wissem • Ernesto Simpson Trio Dizzy’s Club 11:30 pm $10 • Pat Martino Quartet Birdland 9, 11 pm $30 Downtown Music Gallery 6 pm ÌTom Harrell Quintet with Jimmy Greene, Michael Cochrane, ÌCharles Tolliver Big Band with Todd Bashore, Billy Harper, • Catherine Dupuis Group Saint Peter’s 5 pm Ugonna Okegwo, Neal Smith Craig Handy, Bill Saxton, Howard Johnson, Chris Albert, • Talibam; Matana Roberts; John McDonough Village Vanguard 9, 11 pm $30 David Guy, David Weiss, Keyon Harrold, Clark Gayton, ABC No Rio 8 pm $3 • Milton Nascimento Blue Note 8, 10:30 pm $47.50 Joe Fielder, Aaron Johnson, John Hicks, Cecil McBee, • Ras Moshe, Matt Heyner, Jackson Krall • Paula West with the Bruce Barth Trio Ralph Peterson Jazz Standard 7:30, 9:30, 11:30 pm $30 The Tank 8 pm $5 Algonquin Oak Room 9 pm $50 ÌDizzy Gillespie Alumni AllStars: James Moody, Slide Hampton, • Jon Davis Trio Puppet’s Jazz Bar 9 pm $5 • Corrupt Souls and Submerged Roy Hargrove, Mulgrew Miller, John Lee, Dennis Mackrel and • Jan Findlay The Garage 12 pm The Stone 8, 10 pm $10 guest Claudio Roditi Blue Note 8, 10:30 pm $35 • Roz Corral/Eddie MonteiroNorth Square Lounge 12:30, 2:30 pm ÌKatie Bull with Frank Kimbrough, Joe Fonda, Harvey Sorgen ÌGeorge Cables Project with Gary Bartz, Eric Revis, • Miki Hayama Quartet Blue Note 12:30, 2:30 pm $19.50 55Bar 7 pm Jeff “Tain” Watts Dizzy’s Club 7:30, 9:30, 11:30 pm $30 • Spike Wilner Quartet Smoke 9, 11 pm ÌEzra Weiss with Antonio Hart, Kelly Roberge, Leon Dorsey, Monday, October 24 • Helio Alves Quartet with Vic Juris, Santi Debriano, Jason Brown Dizzy’s Club 12:30 am $10 Marcello Pellitteri Zinc Bar 9, 11 pm 12:30 am $5 ÌGeoff Keezer Trio with Mike Pope, Terreon Gully ÌRudresh Mahanthappa with Vijay Iyer, François Moutin, • John DiMartino Trio The Kitano 8, 9:45 pm Village Vanguard 9, 11 pm $35 Elliot Humberto Kavee Blue Note 8, 10:30 pm $10 • Oscar Noriega Trio with Trevor Dunn, Tom Rainey • Paula West with the Xavier Davis Trio • Steve Coleman Presents Jazz Gallery 9 pm $15 Barbès 8 pm Algonquin Oak Room 9, 11:30 pm $50 • Voices & Songs: Chiara Civello • Aranami with Michelle and Kenta Nagai; Jane Rigler, • Dave Weckl Band Iridium 8, 10, 11:30 pm $27.50 Jazz Standard 7:30, 9:30 pm $15 Reuben Radding, Andrew Drury • Marc Mommaas’ Global Motion with Nikolaj Hess, John Hebert, • Katrina Benefit: Jambalaya Brass Band The Backroom 9 pm $5 Tony Moreno Cornelia Street Café 9 pm $10 Zebulon 10 pm • Gnu Vox: Gretchen Parlato; Sofia Koutsovitis • MSM Jazz Philharmonic Orchestra with Marc Copland • Sachal Vasandani with Jeb Patton, David Wong, Quincy Davis Cornelia Street Café 8:30 pm $10 Manhattan School of Music 8 pm Zinc Bar 7:15 pm $5 • Bill Ware Puppet’s Jazz Bar 9 pm $5 • Joe Giglio/Joe Cohn 107West 10 pm ÌAlexander McCabe Group with Joe Barbato, Ugonna Okegwo, • Gregg August Sextet with EJ Strickland, John Hart, Greg Tardy, • David White with Matt Garrison, Michael Jake, Scott Fragala, Steve Johns 55Bar 7 pm Logan Richardson, John Bailey Ryan Cavan Kavehaz 6 pm • Mike Stern 55Bar 10 pm Smalls 9:30 pm $10 • Gene Ess Quartet with Donny McCaslin, Harvie S, Take Toriyama • Vinny Sperazza Quartet Lima’s Taste 8 pm • Jesse Elder Group with Jeremy Viner, Christopher Tordini, Kavehaz 9:30 pm • Dave Devoe Trio Bar Next Door 8 pm $5 Adam Jackson Kavehaz 6 pm • Wu Li Masters Tea Lounge 9, 10:30 pm • Jackson Moore Quartet with Mike Pinto, Matt Brewer, • Justin Finn Group Kavehaz 9:30 pm • Dan Pratt Trio Bar Next Door 9, 11:15 pm $8 Tommy Crane Niagra 9, 10:30 pm $5 • Naked Brunch: David Crowell, Ed Rosenberg, Greg McMurray, • Linda Ciofalo/John Hart 55Bar 6 pm • Jasmine Ilya Detour 9:30 pm Mike Chiavaro, Ted Poor Tea Lounge 9, 10:30 pm • Jaime Aff Trio Puppet’s Jazz Bar 9 pm $5 • Jaime Aff Organ Trio with William Ash • John Shannon, Garth Stevenson, Martin Valihora • Steve Carrington Quartet Cleopatra’s Needle 8 pm Puppet’s Jazz Bar 9 pm $5 Bar 4 8:30 pm • Larry Newcomb Trio The Garage 6:15 pm • New School Presents Sweet Rhythm 8, 10 pm $10 • Geoffrey Loomis 5C Café 5 pm • Chris Bergson Trio The Garage 10:45 pm Tuesday, October 25 • John Chin The Garage 9 pm • Andy Middleton Quartet 92nd Street Y 2 pm Friday, October 28 ÌRandy Weston and African Spirits with TK Blue Saturday, October 22 Dizzy’s Club 7:30, 9:30 pm $30 • Tappin’ Into Monk with Savion Glover ÌDCC: John Zorn Improv Party with guests • Ernesto Simpson Trio Dizzy’s Club 11:30 pm $10 Rose Theater 8 pm $30-130 The Stone 8, 10 pm $10 ÌTom Harrell Quintet with Jimmy Greene, Michael Cochrane, ÌSonny Fortune with Xavier Davis, Chip Jackson, Steve Johns • Chico Hamilton/Marcus Gilmore Ugonna Okegwo, Neal Smith Sweet Rhythm 8, 10 pm 12 am $20 Jazz Gallery 9, 10:30 pm $15 Village Vanguard 9, 11 pm $30 • Hilton Ruiz/Leon Dorsey Knickerbocker Bar and Grill 9:45 pm $5 ÌMulgrew Miller and Wingspan with Antonio Hart, Duane Eubanks, ÌCharli Persip and Super Sound Big Band • Danny Mixon Trio Lenox Lounge 9, 10:30 pm 12 am $20 Richie Goods, Karriem Riggins, Steve Nelson NYC Baha’i Center 8, 10 pm $15 • Ryan Kisor Quintet with Peter Zak, John Webber, Jason Brown Miller Theater 8 pm $25 • Miguel Zenon Quartet with Luis Perdomo, Hans Glawischnig, The Kitano 8, 9:45 pm $20 ÌRebirth Brass Band B.B. King’s 12 am $20 Henry Cole Jazz Standard 7:30, 9:30 pm $20 ÌAllison Miller’s Agrazing Maze with Shane Endsley, ÌCecil Payne Sextet with Harold Mabern, Steve Davis, Jim Rotondi, • Milton Nascimento Blue Note 8, 10:30 pm $47.50 Enrique Haneine, Carlo DeRosa John Webber, Joe Farnsworth • Paula West with the Bruce Barth Trio Cornelia Street Café 9 pm $10 The Kitano 8, 9:45 pm $20 Algonquin Oak Room 9 pm $50 ÌSteve Swallow/Ohad Talmor Sextet with Greg Tardy, Meg Okura, ÌRay Barretto Sextet with Joe Magnarelli, Myron Walden, • Submerged, Bill Laswell and Guy Licata Russ Johnson, Jacob Garchik Ricardo Rodriguez, Robert Rodriguez, Vince Cherico The Stone 8, 10 pm $10 Jazz Standard 7:30, 9:30, 11:30 pm $25 Smoke 9, 11 pm 12:30 am $25 • Helio Alves Quartet with Vic Juris, Santi Debriano, ÌSteve Coleman and Five Elements with Jonathan Finlayson, • Jeff Arnal’s Transparent Paths with Estelle Woodward, Marcello Pellitteri Zinc Bar 9, 11 pm 12:30 am $5 Tim Albright, Thomas Morgan, Tyshawn Sorey, Jen Shyu Gordon Beeferman, Donald O’Finn, Clyde Forth, Iain Machell, • Matt Pavolka Group Koze Lounge 9, 10:30 pm $7 Jazz Gallery 9, 10:30 pm $15 Jonathan Vincent, Elizabeth Ward, Clyde Forth, Michael Evans, ÌVirginia Mayhew Group 55Bar 7 pm ÌKenny Garrett Quartet with Ronald Brunner, Vicente Archer, Anders Nilsson, Jane Rigler, Tomas Ulrich • Leni Stern 55Bar 10 pm Vernell Brown Iridium 8, 10, 11:30 pm $30 Chocolate Factory 8 pm $15 • Lil Phillips with Howard Johnson, Cleave Guyton, Jr., ÌNicholas Payton Quartet Birdland 9, 11 pm $30 • The Leonharts: Jay, Michael, Carolyn, Donna, Ted Rosenthal Gerald Cannon, Steve Berrios and guest ÌRandy Weston and African Spirits with TK Blue Knickerbocker Bar and Grill 9:45 pm $5 Sweet Rhythm 8, 10 pm $15 Dizzy’s Club 7:30, 9:30, 11:30 pm $30 • Roy Meriwether Trio Lenox Lounge 9, 10:30 pm 12 am $20 • Howling Makams Satalla 9:30 pm $10 • Ernesto Simpson Trio Dizzy’s Club 12:30 am $10 • Singers Over Manhattan: Eric Reed Trio and Carla Cook, • John Licata Quartet Lima’s Taste 8 pm ÌTom Harrell Quintet with Jimmy Greene, Michael Cochrane, Sachal Vasandani, Jennifer Sanon • The Flail: Dan Blankinship, Stephan Moutot, Brian Marsella, Ugonna Okegwo, Neal Smith Allen Room 7:30 pm $40-130 Reid Taylor, Matt Zebroski Village Vanguard 9, 11 pm $35 • Pat Martino Quartet Birdland 9, 11 pm $30 Cornelia Street Café 8:30 pm $8 • Milton Nascimento Blue Note 8, 10:30 pm $47.50 ÌCharles Tolliver Big Band with Todd Bashore, Billy Harper, • NYU Big Band The Garage 8 pm • Paula West with the Bruce Barth Trio Craig Handy, Bill Saxton, Howard Johnson, Chris Albert, • Dred Scott Trio Rockwood Music Hall 12 am Algonquin Oak Room 9, 11:30 pm $50 David Guy, David Weiss, Keyon Harrold, Clark Gayton, • End.user and Submerged The Stone 8, 10 pm $10 Joe Fielder, Aaron Johnson, John Hicks, Cecil McBee, Wednesday, October 26 • Brooks Qawwali Party: Tony Barba, John Savage, Jesse Neuman, Ralph Peterson Jazz Standard 7:30, 9:30, 11:30 pm $30 Ryan Keberle, Robert Jost, Noah Jarrett, Mike Gamble, ÌDizzy Gillespie Alumni AllStars: James Moody, Slide Hampton, ÌHoward Johnson and Gravity Tony Kieraldo, Robert DiPietro, Brook Martinez Roy Hargrove, Mulgrew Miller, John Lee, Dennis Mackrel and Sweet Rhythm 8, 10 pm $15 Tea Lounge 9, 10:30 pm guest Claudio Roditi Blue Note 8, 10:30 pm $35 ÌKenny Garrett Quartet with Ronald Brunner, Vicente Archer, • Chauncey Upson Quartet Kavehaz 6 pm • Ed Cherry Blue Note 12:30 am $8 Vernell Brown Iridium 8, 10 pm $27.50 ÌManuel Valera Quartet with Ricky Rodriguez, Ernesto Simpson, ÌGeorge Cables Project with Gary Bartz, Eric Revis, • Nicholas Payton Quartet Birdland 9, 11 pm $30 Donny McCaslin Kavehaz 9:30 pm Jeff “Tain” Watts Dizzy’s Club 7:30, 9:30, 11:30 pm $30 ÌDerek Smith All-Stars with Joe Ascione, Joe Helleny, • Freddie Bryant Trio Bar Next Door 9, 11:15 pm $8 ÌEzra Weiss with Antonio Hart, Kelly Roberge, Leon Dorsey, Nicki Parrott, Ken Peplowski, Warren Vaché Jr. • Kendra Shank 55Bar 6 pm Jason Brown Dizzy’s Club 12:30 am $10 The Lighthouse 8:15 pm $30 • Sean Pelton/Brian Mitchell’s House of Diablo ÌGeoff Keezer Trio with Mike Pope, Terreon Gully ÌJames Finn with Jaribu Shahid, Warren Smith 55Bar 10 pm Village Vanguard 9, 11 pm 12:30 am $35 Zebulon 10 pm • Joe Giglio/John Basile 107West 10 pm • Paula West with the Xavier Davis Trio ÌRandy Weston and African Spirits with TK Blue ÌBill Ware Puppet’s Jazz Bar 9 pm $5 Algonquin Oak Room 9, 11:30 pm $50 Dizzy’s Club 7:30, 9:30 pm $30 • Yoni Halevy’s Sienna Quartet with Jonathan Voltzok, Rene Hart • Dave Weckl Band Iridium 8, 10, 11:30 pm $30 • Ernesto Simpson Trio Dizzy’s Club 11:30 pm $10 and guest Louis 649 9 pm • Donny McCaslin Trio Bar Next Door 9, 11:15 pm $8 ÌTom Harrell Quintet with Jimmy Greene, Michael Cochrane, • Daisuke Abe Quartet with Matt Brewer • Alan Palmer Creole 8, 10:30 pm 12:30 am $15 Ugonna Okegwo, Neal Smith Cleopatra’s Needle 8 pm • Dave Ullman Quartet Detour 10 pm $5 Village Vanguard 9, 11 pm $30 • Mark Capon Trio The Garage 6:15 pm • Phil Yoon Group with Dave Smith, Greg Murphy, Dmitry Kolesnik • Miguel Zenon Quartet with Luis Perdomo, Hans Glawischnig, Kavehaz 6 pm Henry Cole Jazz Standard 7:30, 9:30 pm $20 • Jorge Sylvester Trio with Jeff Carney • Milton Nascimento Blue Note 8, 10:30 pm $47.50 Kavehaz 9:30 pm • Paula West with the Bruce Barth Trio • Ellen Starr 55Bar 6 pm Algonquin Oak Room 9 pm $50

ALLABOUTJAZZ-NEW YORK | October 2005 39 Saturday, October 29 Sunday, October 30 Regular Engagements MONDAYS ÌJazz Piano Summit: Hank Jones, Barry Harris with ÌSteve Swallow/Ohad Talmor Sextet with Greg Tardy, Meg Okura, • Ron Affif Trio Zinc Bar 9, 11pm, 12:30, 2 am Ray Drummond, Lewis Nash Russ Johnson, Jacob Garchik • Dave Allen Group Push Café 8 pm Allen Room 7:30, 9:30 pm Jazz Standard 7:30, 9:30 pm $20 • Gene Bertoncini La Madeleine 7:30 pm (ALSO SUNDAYS) • Slavic Soul Party; Rob Curto’s Forro For All ÌKenny Garrett Quartet with Ronald Brunner, Vicente Archer, • Jim Campilongo The Living Room 11 pm Joe’s Pub 9:30 pm $14 Vernell Brown Iridium 8, 10 pm $32.50 • Joe Cohn/Harry Allen Quartet Zuni 8 pm free • Mike Mellia Trio with Jansen Cinco, Ari Serkagucci ÌRandy Weston and African Spirits with TK Blue • Patrick Cornelius/Lou Garrett Quartet Mona Lounge 9 pm Kavehaz 6 pm Dizzy’s Club 7:30, 9:30 pm $30 • Eddy Davis New Orleans Jazz Band Café Carlyle 8:45 pm $75 ÌBob Stewart First Line Band with Jerome Harris, Isiah Cook, ÌTom Harrell Quintet with Jimmy Greene, Michael Cochrane, • Kevin Dorn Collective The Cajun 8 pm David Guy, Clark Gayton Kavehaz 9:30 pm Ugonna Okegwo, Neal Smith • Jam Session with NAMA Band NAMA 7:30 pm • New Cookers with Keith Loftis, Kenyatta Beasley Village Vanguard 9, 11 pm $30 • JJA Jazz Jam Local 802 7 pm Sistas’ Place 9, 10:30 pm $20 • Submerged, Bill Laswell and Guy Licata • John Farnsworth Jazz Jam Smoke 9:30 pm • Tappin’ Into Monk with Savion Glover The Stone 8, 10 pm $10 • Jeanne Geis Carnegie Club 9 pm • Patience Higgins Lenox Lounge 9:30 pm $5 Rose Theater 8 pm $30-130 • Drori Mondlak and Straight Circle with Cary DeNigris, • Ari Hoenig Trio Small’s 10 pm $10 ÌIvo Papasov/Yuri YunakovSymphony Space 8 pm $26 Gary Versace Europa Club 8 pm $10 • Jason Lindner Big Band Fat Cat 10 pm $10 ÌSonny Fortune with Xavier Davis, Chp Jackson, Steve Johns ÌJessica Jones Quartet and Friends • Les Paul Iridium 8:30, 10:30 pm Sweet Rhythm 8, 10 pm 12 am $20 Cornelia Street Café 8:30 pm • Vanguard Jazz Orchestra Village Vanguard 9:30, 11:30 pm • Hilton Ruiz/Leon Dorsey Knickerbocker Bar and Grill 9:45 pm $5 ÌStephen Gauci/Mike Bisio Downtown Music Gallery 6 pm • Melvin Vines Kortet with Kay Mori St. Nick’s Pub 10 pm • Danny Mixon Trio Lenox Lounge 9, 10:30 pm 12 am $20 • Jason Marshall and Negratude • Howard Williams Orchestra The Garage 8 pm • Ryan Kisor Quintet with Peter Zak, John Webber, Jason Brown Sweet Rhythm 8, 10 pm $15 • Scott Whitfield Jazz Orchestra Birdland 5:30 pm The Kitano 8, 9:45 pm $20 • Judith Berkson, Reuben Radding, Dee Pop • Bill Wurtzel Trio Roth’s Steakhouse 6 - 10 pm ÌSteve Swallow/Ohad Talmor Sextet with Greg Tardy, Meg Okura, 5C Café 7 pm TUESDAYS Russ Johnson, Jacob Garchik • Paul Knopf’s Reformation Celebration • Duke Ellington Orchestra Birdland 9, 11 pm Jazz Standard 7:30, 9:30, 11:30 pm $25 Saint Peter’s 5 pm • Dekel Bor Trio CharleyO’s 8 pm $7 ÌSteve Coleman and Five Elements with Jonathan Finlayson, • Ryan Sawyer’s Eye Contact • Anat Cohen and Friends Bistro Jules 8:30 pm Thomas Morgan, Tyshawn Sorey, Jen Shyu Zebulon 10 pm • Espriens Cafe Charbon 10 pm - 1 am free Jazz Gallery 9, 10:30 pm $15 • John Wriggle Quartet with Charles Lee, Nick Russo, Rober Sabin • Joel Frahm Bar Next Door 8 pm $5 ÌKenny Garrett Quartet with Ronald Brunner, Vicente Archer, Stain Bar 7 pm • Greg Glassman Quartet Niagra 12 am Vernell Brown Iridium 8, 10, 11:30 pm $32.50 • Jacquelyn Messina with Vladimir Katz, Tal Ronen • Hammond B3 Organ Grooves Smoke 9, 11 pm, 12:30 am ÌNicholas Payton Quartet Birdland 9, 11 pm $30 55Bar 6 pm • Ken Hatfield Duo Fetch 9 pm ÌRandy Weston and African Spirits with TK Blue • Pini Shavit Group with Joel Frahm, Chris Higgins • Laurent Medelgi/Stefan Held Duo Ara Wine Bar 8:30 pm Dizzy’s Club 7:30, 9:30, 11:30 pm $30 55Bar 9:30 pm • Mingus Big Band Iridium 8, 10:30 pm $25 • Ernesto Simpson Trio Dizzy’s Club 12:30 am $10 • Jon Davis Trio Puppet’s Jazz Bar 9 pm $5 • Karin Okada Anyway Café Brooklyn 9 pm Ì • Iris Ornig Duo La Locanda 6 pm Tom Harrell Quintet with Jimmy Greene, Michael Cochrane, • Vishnu Wood/Joel L. Martin • David Ostwald’s Centennial Band Birdland 5:30 pm Ugonna Okegwo, Neal Smith Wave Hill 2 pm $18 • Rich Siegel Stonewall Bistro 7:30 pm Village Vanguard 9, 11 pm 12:30 am $35 • Gino Sitson/Helio Alves Brooklyn Botanic Garden 1 pm • Slavic Soul Party Barbès 7 pm • Milton Nascimento Blue Note 8, 10:30 pm $47.50 • Roz Corral Trio with Art Hirahara, Chris Berger • Grant Stewart/Joe Cohn Quintet Small’s 10 pm $10 • Paula West with the Bruce Barth Trio North Square Lounge 12:30, 2:30 pm • Julius Tolentino Jam Cleopatra’s Needle 8 pm Algonquin Oak Room 9, 11:30 pm $50 • Hironobu Saito with Dominick Farinacci • Jimmy Vass University of the Streets 8 pm • Jim Payne Band Blue Note 12:30 am $8 Blue Note 12:30, 2:30 pm $19.50 • Melvin Vines Kortet with Kay Mori St. Nick’s Pub 10 pm • Submerged, Bill Laswell and guests • Bill Wurtzel Trio Roth’s Steakhouse 6 - 10 pm The Stone 8, 10 pm $10 Monday, October 31 WEDNESDAYS • Mike Mellia Trio with Jansen Cinco, Ari Serkagucci • Francina Connors, Michael Howell and guests Penang 8 pm Kavehaz 6 pm ÌIllinois Jacquet 81st Birthday Celebration • Hui Cox Group Creole 9 pm ÌBob Stewart First Line Band with Jerome Harris, Isiah Cook, Dizzy’s Club 7:30, 9:30 pm $30 • Eddie Davis and his New Orleans Jazz Band The Cajun 8 pm David Guy, Clark Gayton Kavehaz 9:30 pm • Steve Coleman Presents Jazz Gallery 9 pm $15 • Stacy Dillard cPhyve No Malice Palace 9 pm • Gary Versace Trio Bar Next Door 9, 11:15 pm $8 • Voices & Songs: Rhiannon with Tim Ray, John Lockwood, • Irving Fields East River Café 7 pm • Nueus Kabarett 8th Anniversary: Gina Leishman and others Pedro Ito Jazz Standard 7:30, 9:30 pm $15 • Eric Frazier Trio JRG Fashion Café 6 pm Brecht Forum 8:30 pm $10 • Gino Sitson/Helio Alves Makor 8 pm $15 • Rick Germanson Duo Ruth’s Chris Steakhouse 6 - 9 pm • Sandy Sasso with Carlton Holmes, Desi Norman, Rick Crane • Jaime Aff Organ Trio with William Ash • Aaron Goldberg Small’s 10 pm $10 55Bar 6 pm Puppet’s Jazz Bar 9 pm $5 • Hot Pants Funk Sextet Swing 46 8:30 pm • Bill Ware Puppet’s Jazz Bar 9 pm $5 • Jonathan Kreisberg Bar Next Door 8 pm $5 • Michelle Marie Cleopatra’s Needle 8 pm • Nathan & Max Lucas Organ Trio Lenox Lounge 6 pm • Ryan Meagher Jam Marc’s Lounge 10 pm $5 • Hide Tanaka The Garage 12 pm • Laurent Medelgi Due Amici 8pm • Jacob Melchior Philip Marie 7 pm • New School New Faces in Jazz Le Figaro Café 8 - 11 pm free • Arturo O’Farrill Sextet Birdland 9, 11 pm • Valery Ponomarev Big Band Swing 46 8 pm • Annie Ross Danny’s Skylight Room 9:15 pm • Ray Vega Kavehaz 8:30 pm • Myron Walden/Darren Barrett Group Fat Cat 10, 11:30 pm $10 • Open Mic with Jon Weiss Duo Giovanni’s Atrium 6 pm • Jerry Weldon Trio Showman’s 8:30, 10, 11:30 pm • Bill Wurtzel Trio Roth’s Steakhouse 6 - 10 pm THURSDAYS • Sedric Choukroun Brasserie Jullien 7:30 pm • Alexis Cole Vocal Jam Creole 5 pm • Irving Fields East River Café 7 pm • Erik Frazier Band Club 243 7 pm $10 • Rick Germanson Duo Ruth’s Chris Steakhouse 6 - 9 pm • Justin Lees Guitar Duo Mr. Babbington’s 7 pm • Wayne Krantz 55Bar 9:30 pm • Manhattan Ragtime Orchestra The Cajun 8 pm • Eddie Martinez Big Band Fat Cat 10, 11:30 pm $10 • Jacob Melchior Trio Roth’s Steakhouse 7 - 10 pm • Sebastien Noelle Trio Louis 649 7 pm • Karin Okada Quartet Ciao Stella 7:30, 10pm • Barbara Rosene Times Square Brewery 8 pm • Lorenzo Sanguedolce’s Sweetblood Trio I.C.U. Bar 9 pm • Thos Shipley New Leaf Café 7: 30, 9:30 pm free • Tammy Shoji Open Jam Cleopatra’s Needle 12 am • Andy Statman Greenwich Village Synagogue 8 pm $10 • Will Vinson Bar Next Door 8 pm $5 • Eri Yamamoto Trio Arthur’s Tavern 7 pm (ALSO FRI & SAT) • Lonnie Youngblood Frank’s Cocktail Lounge FRIDAYS • Lew Anderson’s All-American Big Band Birdland 5:30 pm • Andy Brown/Petra Jensen Osterua Del Sole 1 pm • Joshua Brown Louis 649 7:30 pm • Canal Street Dixieland Jazz and Blues Band The Cajun 8:30 pm • Sedric Choukroun Brasserie Jullien 8:30 pm Visit The Web’s • Mike Davis Quintet St. Nick’s Pub 10 pm • Kelly Friesen Quartet Shelly’s 8:30 pm • Ginetta’s Vendetta Oro Blu 8:30 pm • Jan Leder Trio La Prima Donna 8:30 pm (ALSO SAT) Ultimate Guide to • Jacob Melchior Trio Roth’s Steakhouse 7 - 10 pm • Poma-Swank Io Lounge 7 pm • Donald Smith St. Nick’s Pub 10 pm • Society Giants MOTO 8 pm Jazz News • Terry Waldo La Belle Epoque 5:30 pm SATURDAYS • Andy Brown/Petra Jensen Osterua Del Sole 1 pm Interviews • Sedric Choukroun Brasserie Jullien 8:30 pm • Alex Donner Big Band Café Carlyle 5:30 pm $45 • Jazz Jam with Michael Vitali Group C-Note 4 pm • Jacob Melchior Trio Roth’s Steakhouse 7 - 10 pm Reviews • Whitney Moulton/Brian Cashwell Perk’s Restaurant 7 pm • Annie Ross Danny’s Skylight Room 7 pm $25 • Red Onion Jazz Band The Cajun 8 pm SUNDAYS Videos • William Ash Bao 7:30 pm • David Coss and Trio The Garage 7 pm • Toru Dodo Jam Cleopatra’s Needle 4 pm Radio • Choro Ensemble Bistro Jules • Charles Davis The Zipper Theater 9 pm • Marjorie Eliot, Rudell Drears, Sedric Choukroun ParlorJazz 4 pm • Irving Fields East River Café 12 pm & • Lafayette Harris Trio Lenox Lounge 7 pm • Michael Howell/Andy McCloud Village Restaurant 12:30 pm • Satoshi Inoue Duo Philip Marie 12 pm • Jazz Standard Youth Orchestra Jazz Standard 2 pm $5 More • Bob Kindred, John Hart, Steve LaSpina Cafe Loup 12:30 pm • Peter Leitch Walker’s 8 pm • The Jazz Spot with Mike Magilligan Detour 9:30 pm • Peter Mazza Bar Next Door 8 pm $5 • Chico O’Farrill Afro-Cuban Jazz Big Band Birdland 9, 11 pm • Iris Ornig Trio Cafe Del Mar 6 pm • Carol Sudhalter The Cajun 12 pm • Bob Ward/Kelly Friesen One91 12 pm www.allaboutjazz.com • Chris Washburne’s SYOTOS Band Smoke 9, 11 pm, 12:30 am

40 October 2005 | ALLABOUTJAZZ-NEW YORK CLUB DIRECTORY

• 107West 2787 Broadway • Faust Harrison Pianos 205 W. 58th Street • NYU Frederick Loewe Theatre 35 W. 4th. Street (212-864-1555) Subway: 1, 9 to 110th Street • 5C Café 68 Avenue C (212-477-5993) • Niagra 112 Avenue A • 92nd Street Y Lexington Avenue at 92nd Street Subway: F, V to Second Avenue www.5ccc.com (212-420-9517) Subway: F, V to Second Avenue (212-415-5500) Subway: 6 to 96th Street www.92ndstreety.com • Feinstein’s 540 Park Avenue (212-339-4095) • Night of the Cookers 767 Fulton Street, Brooklyn • ABC - No Rio 156 Rivington Street Subway: 6 to 77th Street www.feinsteinsattheregency.com (718-797-1197) Subway: C to Lafayette Avenue (212-254-3697) Subway: F to Second Avenue, J,M,Z to • Fetch 1649 Third Avenue between 92nd and 93rd Streets • North Square Lounge 103 Waverly Place at McDougal Delancey Street www.abcnorio.org (212-289-2700) Subway: 6 to 96th Street Street (212-254-1200) Subway: A, B, C, E, F, V to West • AC Pianocraft Workshop 333 West 52nd Street (bet. 8th and 9th • 55Bar 55 Christopher Street between Waverly Place 4th Street www.northsquarejazz.com Avenues) Subway: C, E to 50th Street and Seventh Avenue South (212-929-9883) Subway: 1, 2 • Nublu 62 Avenue C between 4th and 5th Streets • Advent Lutheran Church 2504 Broadway at 93rd Street to Christopher Street www.55bar.com (212-979-9925) Subway: F, V to Second Avenue www.nublu.net • Algonquin Oak Room 59 W. 44th Street between 5th and • Frank’s Cocktail Lounge 660 Fulton St. at Lafayette, • Orbit 2257 1st Avenue at 116th Street (212-348-7818) 6th Avenues (212-840-6800) Subway: B, D, F, V to 42nd Street Brooklyn (718-625-9339) Subway: G to Fulton Street Subway: 6 to 116th Street www.orbiteastharlem.com • Allen Room 33 West 60th Street, 11th floor • Friends Seminary 15 Rutherford Place (15th Street between • ParlorJazz 119 Vanderbilt Avenue, Brooklyn (718-855-1981) (212-258-9800) Subway: 1, 2, 3, 9, A, C, E, B, D, F to Second and Third Avenues) Subway: 4, 5, 6, N, R, L to Subway: G to Clinton-Washington www.parlorjazz.com Columbus Circle www.jalc.org 14th Street/Union Square • Parlor Entertainment 555 Edgecombe Ave. #3F • Alice Tully Hall (at Lincoln Center) 1941 Broadway at 65th Street • Galapagos 70 North 6th Street, Brooklyn between 159th and 160th Streets (212-781-6595) (212-875-5050) Subway: 1, 2 to 66th Street- Lincoln Center (718-782-5188) Subway: L to Bedford Avenue Subway: C to 155th Street www.parlorentertainment.com www.lincolncenter.org www.galapagosartspace.com • Penang 240 Columbus Avenue at 71st Street (212-769 -3988) • Anyway Café Brooklyn 1602 Gravesend Neck Road • The Garage 99 7th Avenue South Subway: 1, 2, 3 to 72nd Street (718-934-5988) Subway: Q to Neck Road (212-645-0600) Subway: 1, 9 to Christopher Street • Perk’s Restaurant 553 Manhattan Avenue (at 123rd Street) • Arthur’s IP 13 East 13th Street (bet. 5th Avenue & University) • Greenwich Village Bistro 13 Carmine Street • Pourhouse Metropolitan Avenue at Humboldt Street, (212-807-6502) Subway: 6, N, R to 14th Street-Union Square (212-206-9777) Subway: A,C,E,F,V to W. 4th Street Brooklyn (917-776-6950) Subway: L to Graham Avenue • Arthur’s Tavern 57 Grove Street • Greenwich Village Synagogue 53 Charles Street at www.thepourhouse.com (212-675-6879) Subway: 1, 9 to Christopher Street W. 4th Street (212-242-6425) Subway: 1, 9 train to • Primi dell Classe 228 W. 72nd Street (212-875-0115) www.arthurstavernnyc.com Christopher Street-Sheridan Square Subway: 1, 2, 3, 9 to 72nd Street • The Backroom 485 Dean Street at Sixth Avenue, • Harlem Tea Room 1793A Madison Avenue at 118th • Puppets Jazz Bar 294 5th Avenue, Brooklyn Brooklyn (718-622-7035) www.freddysbackroom.com (212-348-3471) Subway: 4, 5, 6 to 125th Street (718-499-2627) www.puppetsjazz.com • BAMCafé 30 Lafayette Ave at Ashland Place, Brooklyn • I.C.U. Bar 765 Washington Street at W. 12th Street • Push 294 Third Avenue between 22nd and 23rd Streets (718-636-4139) Subway: M, N, R, W to Pacific Street; Q, 1, 2, 4, • InHouse 474 Greenwich Street, 5th floor (212-925-8534) • Ritz Carlton Hotel 2 West Street (212-344-0800) 5 to Atlantic Avenue www.bam.org Subway: A, C, E to Canal Street www.davidlopato.com Subway: 4, 5 to Bowling Green • Bao 111 Avenue C (between 7th and 8th Streets) • Il Campanello Restaurant 136 West 31st Street • Rockwood Music Hall 96 Allen Street • B.B. King’s Blues Bar 237 W. 42nd Street (212-695-6111) Subway: A, C, E to 34th Street (212-477-4155) Subway: F, V to Second Avenue (212-997-2144) Subway: 1, 2, 3, 7 to 42nd Street/ • Iridium 1650 Broadway at 51st Street www.rockwoodmusichall.com Times Square www.bbkingblues.com (212-582-2121) Subway: 1,2 to 50th Street • Rose Center (at the American Museum of Natural • Bar 4 15th Street and 7th Avenue, Brooklyn www.iridiumjazzclub.com History) 81st Street between Central Park West and (718-832-9800) Subway: F to 7th Avenue, N, M, R, D • Issue Project Room 400 Carroll Street, Brooklyn Columbus Avenue (212-769-5100) Subway: B, C to 81st to Prospect Avenue Subway: F, G to Carroll Street www.issueprojectroom.org Street-MNH www.amnh.org/rose • Bar Next Door 129 MacDougal Street • JRG Fashion Café 177 Flatbush Avenue, Brooklyn (718-399-7079) • Rose Theater 33 West 60th Street, 11th floor (212-529-5945) Subway: A, C, E, F, V to W. 4th Street • Jazz 966 966 Fulton Street (718-638-6910) (212-258-9800) Subway: 1, 2, 3, 9, A, C, E, B, D, F to • Barbès 376 9th Street at 6th Avenue, Brooklyn www.illbrew.com/Jazz966.htm Columbus Circle www.jalc.org (718-965-9177) Subway: F to 7th Avenue • Jazz Gallery 290 Hudson Street between Dominick • Ruth’s Chris Steakhouse 148 W. 51st Street www.barbesbrooklyn.com and Spring Streets (212-242-1063) Subway: C, E, to • St. Marks Church 2nd Avenue and 10th Street (212- 674-6377) • Baruch College 17 Lexington Avenue at 23rd Street Spring Street; 1, 2 to Houston Street Subway: 6 to Astor Place (646-312-3924) Subway: 6 to 23rd Street www.jazzgallery.org • S.O.B.’s 204 Varick Street • Birdland 315 W. 44th Street between 8th and 9th • Jazz Museum in Harlem 104 E.126th Street between (212-243-4940) Subway: 1, 9 to Varick Street www.sobs.com Avenues (212-581-3080) Subway: A, C, E, F, V to 42nd Park & Lexington Avenues (212-348-8300) Subway: 6 to • St. Nick’s Pub 773 St. Nicholas Avenue at 149th Street Street-Port Authority www.birdlandjazz.com 125th Street www.jazzmuseuminharlem.org (212-283-9728) Subway: A, C, B, D to 145th Street • Bistro Jules 60 St Marks Place • The Jazz Spot 375 Kosciuszko Street (718-453-7825) • St. Peter’s Church 346 West 20th Street (212-563-5124) (212-477-5560) Subway: 6 to Astor Place Subway: J to Kosciuszko Street thejazz.8m.com Subway: A, C, E to 23rd Street www.matafestival.org • Blue Mountain Gallery 530 W. 25 Street, 4th floor (646-486-4730) • Jazz Standard 116 E. 27th between Park and Lexington • Saint Peter’s Church 619 Lexington Avenue at 54th Subway: C, E to 23rd Street Avenue (212-576-2232) Subway: 6 to 28th Street Street (212-935-2200) Subway: 6 to 51st Street • Blue Note 131 W. 3rd Street at 6th Avenue www.jazzstandard.net www.saintpeters.org (212-475-8592) Subway: A, B, C, D, E, F, V to W. 4th Street • Joe’s Pub at the Public Theater 425 Lafayette Street • Satalla 37 West 26th Steet between Broadway and Sixth www.bluenotejazz.com (212-539-8770) Subway: N, R to 8th Street-NYU; 6 to Avenue (212-343-0612) Subway: 1, 9 to 23rd Street • Blue Water Grill 31 Union Square West Astor Place www.joespub.com www.satalla.com (212-675-9500) Subway: 4, 5, 6, N, R, L to 14th Street • Kavehaz 37 West 26th Steet between Broadway and • Schomburg Center 515 Macolm X Boulevard • Bowery Poetry Club 308 Bowery (between 1st and Sixth Avenue (212-343-0612) Subway: 1, 9 to 23rd (212-491-2200) Subway: 2, 3 to 135th Street Bleeker Streets) (212-614-0505) Subway: F to Second Street www.kavehaz.com www.nypl.org/research/sc/sc.html Avenue; 6 to Bleecker Street www.bowerypoetry.com • The Kitano 66 Park Avenue at 38th Street • Seppi’s 123 W. 56th Street (212-708-7444) • Brecht Forum 451 West Street (between Bank & Bethune) (212-885-7000) Subway: 6 to 33rd Street • Shelly’s 104 W. 57th Street at 6th Avenue (212-242-4201) Subway: A, C, E, L, 1, 2, 3, 9 to 14th Street • The Kitchen 512 W. 19th Street (212-245-2422) Subway: E,V to Fifth Avenue www.brechtforum.org (212-255-5793) Subway: A, C, E to 23rd Street • Showman’s 375 West 125th Street at Morningside) • Brooklyn Botanic Garden 900 Washington Avenue www.thekitchen.org (212-864-8941) Subway: 1, 9 to 125th Street (718-623-7333) www.bbg.org • Knickerbocker Bar & Grill 33 University Place at 9th • Sistas’ Place 456 Nostrand Avenue at Jefferson Avenue, • Brooklyn Conservatory of Music 58 Seventh Avenue, Brooklyn Street (212-228-8490) Subway: N, R to 8th Street-NYU Brooklyn (718-398-1766) Subway: A to Nostrand Subway: Q, B to 7th Avenue www.brooklynconservatory.com www.knickerbockerbarandgrill.com Avenue www.sistasplace.org • CBGB’s Downstairs Lounge 313 Bowery at Bleecker Street • Knitting Factory; Knitting Factory Tap Bar; Old Office • Smalls 183 W 10th Street at Seventh Avenue (212-677-0455) Subway: F, V, Grand Street Shuttle to Broadway- 74 Leonard Street between Broadway and Church (212-219-3055) (212-929-7565) Subway: 1,2,3,9 to 14th Street Lafayette Street; 6 to Bleecker Street www.cbgb.com Subway: 1,2 to Franklin Street www.knittingfactory.com www.smallsjazz.com • Café Bar 247 Eldridge Street • Koze Lounge 676 5th avenue at 20th street, Brooklyn • Smoke 2751 Broadway between 105th and 106th (212-607-7835) Subway: F to Second Avenue (718-832-8282) Subway: R to Prospect Avenue Streets (212-864-6662) Subway: 1 to 103rd Street • Café Carlyle 35 E. 76th Street • La Belle Epoque 827 Broadway at 12th Street www.smokejazz.com (212-570-7189) Subway: 6 to 77th Street (212-254-6436) Subway: 4, 5, 6, N, R, L to 14th • Stain Bar 766 Grand Street, Brooklyn • Café Charbon 168 Orchard Street Street/Union Square (718-387-7840) Subway: L to Grand Street www.stainbar.com Subway: F train to 2nd Avenue • La Locanda 737 Ninth Ave between 49th and 50th Streets • The Stone Avenue C and 2nd Street • Café del Mar 89 MacDougal (212-258-2900) Subway: 1 to 50th Street, C, E to 50th Street Subway: F, V to Second Avenue www.thestonenyc.com (212-777-7521) Subway: A, B, C, D, E, F, V to W. 4th Street • La Prima Donna 163 W. 47th Street (between 6th & 7th Avenues) • Sugar Bar 254 W. 72 St between Broadway and West End Avenue • Café St. Bart’s 50th Street and Park Avenue (212-398-3400) Subway: B, D, N, R, W train to W 47th Street (212-579-0222) Subway: 1, 2, 3 to 72nd Street (212-888-2664) Subway: 6 to 51st Street www.laprimadonnany.com • Sweet Rhythm 88 Seventh Avenue South between • Cajun Restaurant 129 8th Avenue • Laila Lounge 113 N. 7th Street (between Wythe and Berry) Bleecker and Grove Streets (212-255-3626) Subway: 1, 9 (212-691-6174) Subway: A, C, E to 14th Street (718-486-6791) Subway: L to Bedford Avenue to Christopher Street/Sheridan Square • Carnegie Club 156 W. 56th Street (212-957-9676) www.lailalounge.com www.sweetrhythmny.com Subway: N, Q, R, W to 57th-Seventh Avenue • Le Madeleine 403 W. 43rd Street (212-346-2993) • Swing 46 349 W. 46th Street • Central Park Bandshell 72nd Street and Fifth Avenue Subway: A, C, E, 1, 2, 3, 9 to 42nd Street-Times Square (646-322-4051) Subway: A, C, E to 42nd Street Subway: B, D to 72nd Street • Le Figaro Café 184 Bleecker Street www.swing46.com • CharleyO’s 713 Eighth Avenue at 45th Street (212-677-1100) Subway: 6 to Bleecker Street • Symphony Space 2537 Broadway at 95th Street (212-864-5400) (212-977-0025) Subway: A, C, E, F, V to 42nd Street • Lehman Center 250 Bedford Park Boulevard West, Bronx Subway: 1, 2, 3, 9 to 96th Street www.symphonyspace.org • Chocolate Factory 5-49 49th Avenue, Queens (718-960-8833) Subway: 4, D train to Bedford Park Blvd. • Tagine 537 9th Ave. between 39th and 40th Streets Subway: 7 to Vernon/Jackson Avenue • Lenox Lounge 288 Lenox Avenue between 124th and (212-564-7292) Subway: A, C, E, 1, 2 to 42nd Street • Ciao Stella 206 Sullivan Street 125th Streets (212-427-0253) Subway: 2, 3 to 125th • The Tank 142 West 42nd Street between Ninth and Tenth (212-505-8530) Subway: A,B,C,D,E,F,V to West 4th Street Street www.lenoxlounge.com Avenues Subway: A, C, E, F, V to 42nd Street-Port Authority • Clemente Soto Velez Cultural Center 107 Suffolk Street • Lexington United Methodist Church 150 East 62nd Street • Tea Lounge 837 Union Street, Brooklyn (212-353-3707) Subway: F, J, M, Z to Delancey Street Subway: 6 to 59th Street (718-789-2762) Subway: M, R to Union Street • Cleopatra’s Needle 2485 Broadway between 92nd and • Lima’s Taste 122 Christopher Street (Between Bleeker and Hudson) www.tealoungeNY.com 93rd (212-769-6969) Subway: 1, 2, 3, 9 to 96th Street (212-242-0010) Subway: 1 to Christopher Street • Tonic 107 Norfolk Street between Delancey and www.cleopatrasneedleny.com • The Living Room 154 Ludlow Street Rivington Streets (212-358-7503) Subway: F to • C-Note 157 Avenue C at 10th Street (212-677-8142) (between Stanton and Rivington) (212-533-7237) Delancey Street; J, M, Z to Delancey-Essex Streets Subway: F, V to Second Avenue; L to 1st Avenue Subway: F, V to Second Avenue www.tonicnyc.com • Cobi’s Place 158 West 48th Street between 6th and 7th www.livingroomny.com • Triad 158 West 72nd Street, 2nd floor (212-787-7921) Avenues (516-922-2010) Subway: 1,2 to 50th Street • Local 802 322 W. 48th Street between Eighth and Ninth Subway: B, C to 72nd Street www.triadnyc.com • Community Church of New York 40 E. 35th Street Avenues (212-245-4802) Subway: C to 50th Street • Tribeca PAC 199 Chambers Street (212-346-8510) (212-594-7149) Subway: 6 to 33rd Street • Location One 20-26 Greene Street (212-334-3347) Subway: A, 1, 2, 3, 9 to Chambers Street www.tribecapac.org • Cornelia Street Café 29 Cornelia Street Subway: A, C, E to Canal Street www.location1.org • Tribes Gallery 285 E. 3rd Street (212-989-9319) Subway: A, B, E, B, D, F, Q to W. 4th • Louis 649 649 9th Street at Avenue C (212-673-1190) (212-674-8262) Subway: F, V to Second Avenue Street www.corneliastreetcafe.com Subway: L to 1st Avenue www.tribes.org • Creole 2167 3rd Avenue at 118th Street • Makor 35. W. 67th Street at Columbus Avenue • Universal Temple of the Arts 425 Jersey Street, Staten Island (212-876-8838) Subway: 6 th 116th Street www.creolenyc.com (212-601-1000) Subway: 1, 2 to 66th Street-Lincoln (718-273-5610) • Danny’s Skylight Room 346-348 West 46th Street Center www.makor.org • Velvet Lounge 223 Mulberry Street between Prince and (212-265-8130) Subway: A, C, E, N, R to 42nd Street • Manhattan School of Music 120 Claremont Avenue Spring Streets (212-965-0439) Subway: 6 to Prince Street www.dannysgrandseapalace.com (212-749-2802) Subway: 1, 9 to 116th Street www.msmnyc.edu • Via Della Pace 48 East 7th Street and Second Avenue • Detour 349 E. 13th Street at First Avenue • Marie’s 51 West 46th Street between 5th and 6th Avenues (212-253-5803) Subway: 6 to Astor Place (212-533-6212) Subway: L to First Avenue www.jazzatdetour.com (212-944-7005) Subway: B, D, F, V, 7 to 42nd Street • Village Vanguard 178 Seventh Avenue South at 11th • Dizzy’s Club Coca Cola Broadway at 60th Street, • Mercantile Library 17 East 47th Street Street (212-255-4037) Subway: 1, 2, 3 to 14th Street 5th Floor (212-258-9800) Subway: 1, 2, 3, 9, A, C, E, B, (212-755-6710) Subway: B, D, F, V to 47th-50th Sts www.villagevanguard.com D, F to Columbus Circle www.jalc.org Rockefeller Center www.mercantilelibrary.org • Walkers 16 North Moore Street (212-941-0142) • Dorian’s 226 West 79th Street between Broadway and • Merkin Concert Hall 129 W. 67th Street between Broadway and • Wave Hill West 249th Street and Independence Avenue, Bronx Amsterdam (212-864-1829) Subway: 1, 9 to 79th Street Amsterdam (212-501-3330) Subway: 1, 9 to 66th Street-Lincoln • Yehoodi 502 W 41st Street at 10th Avenue www.yehoodi.com • Downtown Music Gallery 342 Bowery Center www.kaufman-center.org • York College (CUNY) 94-20 Guy R. Brewer Blvd., Queens (212-473-0043) Subway: 6 to Astor Place; F, V to Second • Miller Theater 2960 Broadway and 116th Street (212-854-7799) Subway: E train to last stop www.york.cuny.edu Avenue www.downtownmusicgallery.com Subway: 1, 9 to 116th Street-Columbia University • Zankel Hall 881 Seventh Avenue at 57th Street • The Encore NYC 266 W 47th Street www.millertheater.com (212-247-7800) Subway: N, Q, R, W to 57th Street (212-221-3960) Subway: A, C, E, F, V to 42nd • Mo Pitkins 34 Avenue A (bet. 2nd and 3rd Streets) www.carnegiehall.org Street-Port Authority www.theencorenyc.com (212-777-5660) Subway: F to Second Avenue www.mopitkins.com • Zebulon 258 Wythe Avenue between Metropolitan and • Europa Club 98-104 Meserole Avenue, Brooklyn • New School 55 West 13th St., 5th floor North 3rd Street (718-218-6934) Subway: L to Bedford (646) 322-4051 Subway: G Train to Nassau Avenue (212-229-5896) Subway: F, V to 14th Street Avenue www.zebuloncafeconcert.com www.europaclub.com www.jazz.newschool.edu • Zinc Bar 90 West Houston Street (212-477-8337) • Fat Cat 75 Christopher Street at 7th Avenue • NYC Baha’i Center Gillespie Auditorium Subway: A, C, E, F, V, to W. 4th Street www.zincbar.com (212-675-7369) Subway: 1, 9 to Christopher 53 E.11th Street (212-222-5159) Subway: 4, 5, 6 • The Zipper Theater 336 W. 37th Street Street/Sheridan Square www.fatcatjazz.com to 14th Street-Union Square www.bahainyc.org (212-563-0480) www.zippertheater.com

ALLABOUTJAZZ-NEW YORK | October 2005 41 (LEWIS continued from page 6) The Chair of Jazz Commission which guides the course of the Jazz Ministry, is Lynne Mueller, a soft- GL: That’s interesting. I guess over the years, I’ve had spoken, no-nonsense jazz fan who first turned up at to give up that idea. I mean I did believe in it at one Saint Peter’s years ago to attend the service for time, but then I wanted to see how far it could go. And Ellington’s drummer Sonny Greer. A former president you know it can go pretty far. Over the past 25 or so of the Duke Ellington Society, she speaks with a quiet years that I’ve been doing this, I’ve seen the computers intensity of the church’s goal of “missing no and programming that I’ve made evolve along with opportunities to reach out to musicians and music my thinking about what music is. Computers have lovers. ...To become more widely known and to be a helped me to think about music and helped me to foundation for jazz in the church across the country understand improvisation more thoroughly than I and around the world,” mentioning delightedly the used to. And one of the things I’ve discovered for visits from enthusiastic fans from Europe and Japan myself is that a person can be very warm and nice and who have read about the church. a pretty bad improviser! [laughter] So at a certain Those who work at Saint Peter’s according to point you have to listen to the music and say, well, it’s Sturm “...just consider themselves to be servants of the great to have all that warmth and everything, but what community.” Of the Jazz Ministry, Rev. Lind observes: about the music. And to me, I’m looking more these “This has become a mecca for jazz musicians, their days at who the good players are - there’s no reason spiritual home for many... They and the people who for me to exclude anyone, human or whatever. If I love the music will always be welcome here.” And think they’re doing a good job, let’s see how far they with anticipatory relish about the final evening of the go. Festival, he promises “We’re going to be making great food here all day on Saturday for that ‘Sunday All Nite AAJ-NY: So your experience is that the computers Soul’.” you’ve programmed are just as responsive as humans? Clearly it is a feast that’s not to be missed. D

GL: No, no, that would be overdoing it. But who For more information, visit www.saintpeters.org. For knows how far they can go? I think they’ve gone very the complete lineup of the All Night Soul Jazz Festival 2005 far already. But you know, the whole man/machine running from Oct. 2nd-9th, see calendar. competition thing is pretty cliché at this point… Basically my major task now is to explore music and not machines and man. I think that ultimately my (WILLIAMSBURG continued from page 13) work in computers is mainly about exploring what we do as human beings. D On Friday, Williamsburg’s own Gerry Eastman Quartet opened with a very light, moody piece which For more information, visit www.music.columbia.edu/ slowly evolved into a more complex mode later on faculty/lewis.html. Lewis is at the Steve Lacy Tribute at thanks to Joe Ford’s saxophone riffs. They quickly Merkin Hall Oct. 6th. See calendar. moved onto a funk-bop groove that showcased the entire band, which featured Namiko Guatanabe Recommended Listening: (keys), Ford (soprano), Newman Baker (drums) and • George Lewis - Solo Trombone Album Jamira on vocals. (Storyville, 1976) They also played more traditional-sounding • Anthony Braxton - Quartet (Dortmund) 1976 tunes, such as the original walking-bass rich “Can’t Be (hatART, 1976) Without It” and explored more experimental stuff on • George Lewis - Homage to Charlie Parker the following song, which had a lot of broken bass (Black Saint, 1979) lines coupled by complicated keyboard sequences that • Steve Lacy Seven - Cliches (hatHUT, 1982) served as backing for a Coltrane-inspired sax solo. • John Zorn/George Lewis/Bill Frisell - Cuban-born pianist Manny Valera followed with News for Lulu/More News for Lulu Latin-inspired hard-bopping jazz met by an (hatART, 1987/1989) ambiguous audience response - some were familiar • George Lewis/Bertram Turetzky - with the sound, while others were apparently trying Conversations (Incus, 1998) hard to follow the band, which featured Ben Street (bass), Seamus Blake (sax) and Ernesto Simpson (dms). It was hard to understand what Mike McGinnis (TASO continued from page 8) and OK OK were doing as they opened proceedings at Laila on Saturday - Kyoko Kitamura screamed Taso’s next project, Cathedral Vol. 1, again pairs Rek extraneous vocals as she extracted other weird sounds with Mariano and features Peter Reiter on pipe organ. off her laptop. Khabu Young followed that with weird This music has an organic depth borne out of the guitar riffs, while McGinnis played reeds. artist’s sense of self. “The music is very personal and After, electric bass player Chris Tarry began with honest: I recorded the music I had in my body and a funky, Return To Forever-inspired tune which the being and it came out formed exactly as I had trumpet player took to a more Dizzy-esque direction. envisaged,” Vitold comments. Guitar player Ben Monder showed incredible speed With releases such as these, Taso is fast becoming and technique, while Tarry kept things simple with his an acknowledged meeting ground for creative effective bass lines, which Dan Weiss followed by expression in the context of ethnically rich playing as subtly as possible. compositions that demand expert musicianship. D During a break between sets at Laila on Saturday, I walked to the impossibly crowded Galapagos, where For more information, visit www.polishjazz.com. Karl The Rick Parker Collective played a more Berger is at the Don Cherry Tribute at The Stone Oct. 1st. sophisticated East Coast cool jazz. The band had a See calendar. very new-bossa groove as they went along their set. It is just a pity that we can’t be in two places at the same time, so I could only catch glimpses of what was (SAINT PETER’S continued from page 8) going at the separate stages. But what was seen and heard was satisfying. Here’s hoping that next year’s home to the Duke Ellington Society. A seminar series event turns out to be even better. D will begin shortly to address relevant subjects for musicians such as life on the road, health insurance For more information, visit www.wjazzfestival.com and finances.

42 October 2005 | ALLABOUTJAZZ-NEW YORK In Memoriam by Celeste Sunderland Clarence “Gatemouth” Brown Ted Greene Teddy Harris Jr. Lyle “Spud” Murphy After T-Bone Walker got sick at a Houston gig, Referred to by a student as “a living The founder of Detroit’s New Breed Bebop His method of composition “The Equal Interval Brown took over on guitar and wowed the encyclopedia of the guitar”, Greene released Society and Supremes musical director for 16 System” allowed the Berlin-born, Utah-bred crowd. He drew from jazz, country, Cajun and only one record, Ted Greene Solo Guitar, in 1977. years was inspired by Duke Ellington to play arranger to produce a dizzying number of blues to create what he called “American music, One of the most influential teachers in L.A. and music at age 7. The house pianist for many years charts for Benny Goodman, The Three Stooges Texas-style”. The guitarist/violinist/composer author of four instructional books, Greene was at Detroit’s Dummy George’s was 70 when he and Fred Astaire. Murphy passed away Aug. was 81 when he died Sep. 10th. 58 when he died Jul. 25th. died Aug. 15th. 5th at age 96.

Al Casey Joe Harnell Paul Hoeffler Dom Um Romao Listed as a leading jazz musician in Esquire’s Before writing the score for The Incredible Hulk, His photos of Billie Holiday, Duke Ellington With Joao Gilberto, the Brazilian percussionist 1944 readers poll, the guitarist played with Fats the composer toured with the Glenn Miller Air and Oscar Peterson helped define an era. Ken played on Elizeth Cardoso’s “Cancao do Amor Waller in the ‘30s and after going electric, joined Force Band, studied with Nadia Boulanger and Burns’ Jazz comprised hundreds of the Toronto Demais”. He joined Weather Report in 1971 King Curtis. A member of the Harlem Blues and arranged for Frank Sinatra, Marlene Dietrich photographer’s shots and many Blue Note and after stints with Radio Tupi, Sergio Mendes and Jazz Band, Casey died Sep. 11th. He was 90 and Judy Garland. Harnell passed away Jul. Verve records bear his images. Hoeffler died Jul. projects with his own groups. Romao died Jul. years old. 14th at age 80. 30th. He was 67. 27th. He was 79. BIRTHDAYS October 1 October 6 October 11 October 17 October 22 October 28 Andre Paquinet b.1926 †Sammy Price 1908-92 †Curtis Amy 1919-2002 †Jimmy Harrison 1900-31 Clare Fischer b.1928 †Chico O’Farrill Dave Holland b.1946 †Carmen Mastren 1913-81 †Art Blakey 1919-90 †Lee Collins 1901-60 Giorgio Gaslini b.1929 1921-2001 Tony Dumas b.1955 Norman Simmons b.1929 †Billy Higgins 1936-2001 †Leslie Thompson Tyrone Hill b.1948 Cleo Laine b.1927 †Lester Bowie 1941-99 1901-87 Jane Bunnett b.1955 Andy Bey b.1939 October 2 October 7 †Cozy Cole 1906-81 Glen Moore b.1941 †Wally Rose 1913-97 †Papa Jo Jones 1911-85 October 12 †Luiz Bonfá 1922-2001 October 23 Jay Clayton b.1941 Phil Urso b.1925 Alvin Stoller b.1925 †Tubby Hall 1895-46 †Barney Kessel 1923-2004 †Bernard Peiffer 1922-76 Elton Dean b.1945 †Howard Roberts 1929-92 Amiri Baraka b.1934 †Jimmy Archey 1902-67 Sathima Bea Benjamin †Sonny Criss 1927-77 Michel Pilz b.1945 PALLE DANIELSSON †Ronnie Ross 1933-91 †Larry Young 1940-78 Ed Cherry b.1957 b.1936 Fats Sadi b.1927 October 15, 1946 Django Bates b.1960 Michael Mossman b.1959 Joseph Bowie b.1953 †Gary McFarland 1933-71 October 29 As a five-year-old, the October 8 Howard Alden b.1958 Ernie Watts b.1945 †Hadda Brooks 1916-2002 Swedish tyke played October 3 †Clarence Williams October 13 Neil Hefti b.1922 “Mocking Bird Hill” on †Edgard Battle 1907-77 1893-65 †Art Tatum 1909-56 October 18 October 24 †Zoot Sims 1925-85 †Booker Pitman 1909-69 †J.C. Heard 1917-88 Terry Gibbs b.1924 †Stump Evans 1904-28 †Joe Watkins 1900-69 †Pim Jacobs 1934-96 harmonica. He later took †Buddy Banks 1909-91 †Pepper Adams 1930-86 †Ray Brown 1926-2002 †Conrad Lanoue 1908-72 †Louis Barbarin 1902-97 Siggy Busch b.1943 up the bass and got a gig Von Freeman b.1922 John Betsch b.1945 Tommy Whittle b.1926 †J.C. Moses 1936-77 †Jimmie Powell b.1914 with Bill Evans at George Wein b.1925 Steven Bernstein b.1961 Lee Konitz b.1927 Anita O’Day b.1919 Odean Pope b.1938 October 30 Stockholm’s The Golden Rashid Bakr b.1943 †Johnny Lytle 1932-95 †Bent Jaedig 1935-2004 Teo Macero b.1925 Circle. The ‘70s were spent Mike Clark b.1946 October 9 Pharoah Sanders b.1940 October 25 †Bobby Jones 1928-80 playing mostly with Keith Michael Bowie b.1961 †Elmer Snowden 1900-73 October 19 †Eddie Lang 1902-33 †Clifford Brown 1930-56 Jarrett, Jan Garbarek and Carsten Dahl b.1967 †Lee Wiley 1915-75 October 14 †Sylvester Lewis 1908-74 †Don Banks 1923-80 Trilok Gurtu b.1951 Bobo Stenson. He still Yusef Lateef b.1920 †Spencer Williams †Spike Hughes 1908-87 Jimmy Heath b.1926 Tom Browne b.1954 tours and records with an October 4 Abdullah Ibrahim b.1934 1889-1965 Howard Smith b.1910 Terumasa Hino b.1942 international melee of †Greely Walton 1904-93 Chucho Valdes b.1941 †Red McKenzie 1899-48 Red Richards b.1912 Robin Eubanks b.1955 October 31 musicians and leads his †Noel Chiboust 1909-94 Kenny Garrett b.1960 †John Graas 1924-1962 Eddie Daniels b.1941 †Ethel Waters 1896-77 own group Contra Post. †Marvin Ash 1914-74 Dusko Goykovich b.1931 October 26 †Julia Lee 1902-58 -CS †Stan Hasselgard 1922-48 October 10 Fritz Pauer b.1943 October 20 †Charlie Barnet 1913-91 Chris Griffin b.1915 †Walter Bishop 1927-98 †Milt Larkin 1910-96 †Jelly Roll Morton †Warne Marsh 1927-87 Toshiyuki Miyama b.1921 †Leon Thomas 1937-99 †Harry “Sweets” Edison October 15 1890-41 Eddie Henderson b.1940 †Illinois Jacquet Separated at Birth? Mark Levine b.1938 1915-99 †Thore Jederby 1913-84 John Best b.1913 1922-2004 Saxophonist Pepper Adams (l.) Steve Swallow b.1940 †Thelonious Monk Paul Tanner b.1917 †Ray Linn 1920-96 October 27 Ted Nash b.1922 Cinema’s George McFly (r.) Eddie Gomez b.1944 1917-82 †Joe Roccisano 1939-97 Willie Jones b.1929 †Babs Gonzales 1919-80 Bob Graettinger b.1923 Robert Hurst b.1964 †Julius Watkins 1921-77 Palle Danielsson b.1946 †Eddie Harris 1934-96 †George Wallington †Ray Crane 1930-94 †Monk Montgomery Bill Charlap b.1966 1924-1993 †Booker Ervin 1930-70 October 5 1921-82 October 21 †Elmon Wright 1929-84 Les Tomkins b.1930 †Frank Guarente 1893-42 †Oscar Brown Jr. October 16 †Don Byas 1912-72 Sonny Dallas b.1931 Johnny Williams b.1936 †Jimmy Blanton 1918-42 1926-2005 †Buck Washington †Dizzy Gillespie 1917-93 Barre Phillips b.1934 †John Guerin 1939-2004 †Fred Norman 1910-33 †Ed Blackwell 1929-92 1903-55 †Don Elliott 1926-84 Philip Catherine b.1942 Reimer Von Essen b.1940 Bill Dixon b.1925 Junior Mance b.1928 Ray Anderson b.1952 Jerry Bergonzi b.1947 Arild Andersen b.1945 Sherman Ferguson b.1944 Donald Ayler b.1942 Cecil Bridgewater b.1942 Roy Hargrove b.1969 Marc Johnson b.1953 Ken Filiano b.1952 David Parlato b.1945 ON THIS DAY by Andrey Henkin

Coltrane Time Resurgence One Year-Afternoon & Evening Jim And I Live At Quasimodo Five Frozen Eggs John Coltrane (Blue Note) Dexter Gordon (Jazzland-OJC) Oki/Pilz/Hübner (FMP) Zoller/Raney (L + R) Scott Fields (Music and Arts) October 13, 1958 October 13, 1960 October 13, 1978 October 13, 1980 October 13, 1996 One of the more interesting items in Though saxophonist Gordon’s most Itaru Oki is a well known Japanese This album is the companion to Jim Another in the long line of Coltrane’s discography, this matches famous resurgence was his return to trumpeter who may be most familiar and I Live in Frankfurt recorded three progressively minded Chicago the disparate talents of Trane, the U.S. after years in Europe as an to American audiences through his days earlier. Like that album, the two musicians, guitarist Scott Fields has trumpeter Kenny Dorham, pianist ex-pat, the resurgence referred to in work with Alan Silva. However, Oki guitarists, Attila Zoller and Jimmy led an Ensemble (named in honor of Cecil Taylor, bassist Chuck Isreals the title of this album is in a has been actively recording since the Raney (born two months apart in the Art Ensemble) of rotating and drummer Louis Hayes. Coltrane document sense, Gordon having not late ‘60s, often with European 1927), improvise four pieces in participants since 1995. This edition contributes no material, instead recorded for five years prior to this musicians like the ones with whom he concert, in this case at Berlin’s features the leader with pianist playing an original each by Dorham disc. He would never take such a is featured here. Michel Pilz was the Quasimodo Club. Only “Scherz”, Marilyn Crispell, bassist Hans Sturm and Isreals plus two standards. Given hiatus again so this album, featuring bass clarinetist for the Globe Unity meaning “joke” in German, appears and drummer Hamid Drake. the multiple styles present here and Gordon with obscure players Martin Orchestra and Ralf Hübner manned on both albums but all, including the Irreverent yet focused, with some Coltrane only beginning to find his Banks, Richard Boone, Dolo Coker the drum chair in Albert other tunes “Autumn in Berlin”, strange thing for eggs, Fields wrote voice, somewhere in between the (who wrote two-thirds of the album’s Mangelsdorff’s group for most of the “Ku-Damm” and “Out in all the material for this session traditions of Dorham and Taylor, tunes), Charles Green and Larance ‘60s. A typical freeish jazz record of Quasimodo”, are wonderful features including a tunes called “The Coltrane Time is a fascinating bridge in Marable, really resparked Gordon’s the label, the most notable thing here for two highly creative if somewhat Archaeopteryx and the Manatees” the saxophonist’s development. legendary career. is the instrumentation. overlooked players. and “Teaching Rats Hope”. Subscribe to AllAboutJazz-New York for exclusive content on jazz and improvised music in New York City. $25 national; $35 international Write to: 116 Pinehurst Avenue, # J41 New York, NY 10033

ALLABOUTJAZZ-NEW YORK | October 2005 43