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AUGUST 2016—ISSUE 172 YOUR FREE GUIDE TO THE NYC SCENE NYCJAZZRECORD.COM

STEVE SWALLOW focused ahead

KENNY FRODE FRANK BUTCH WERNER GANT MORRIS Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The City Jazz Record 66 Mt. Airy Road East AUGUST 2016—ISSUE 172 Croton-on-Hudson, NY 10520 Phone/Fax: 212-568-9628 New York@Night 4 Laurence Donohue-Greene: Interview : 6 by ken dryden [email protected] Andrey Henkin: [email protected] Artist Feature : Frode Gjerstad 7 by ken waxman General Inquiries: [email protected] On The Cover : 8 by john pietaro Advertising: [email protected] Encore : Frank Gant by john pietaro Calendar: 10 [email protected] VOXNews: Lest We Forget : 10 by eric wendell [email protected] LAbel Spotlight : Yolk by ken waxman US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or VOXNEWS 11 by suzanne lorge money order to the address above or email [email protected] In Memoriam by andrey henkin Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Fred Bouchard, Festival Report Stuart Broomer, Thomas Conrad, 13 Ken Dryden, Donald Elfman, Philip Freeman, Kurt Gottschalk, Tom Greenland, Anders Griffen, CD Reviews 14 Alex Henderson, Marcia Hillman, Terrell Holmes, Robert Iannapollo, Suzanne Lorge, Marc Medwin, Miscellany 31 Ken Micallef, Russ Musto, John Pietaro, Joel Roberts, John Sharpe, Elliott Simon, Event Calendar 32 Andrew Vélez, Ken Waxman Contributing Writers Mathieu Bélanger, Matthew Kassel, Eric Wendell Contributing Photographers The term “voice” is thrown around a lot in jazz, and not just in terms of singers. One must Denis Alix, Scott Friedlander, absorb the voices that constructed the history of this music in order to create one’s own voice Peter Gannushkin, Pierre Langlois, and then speak through it as an oeuvre develops over time and various scenarios. But that Alan Nahigian, Susan O’Connor, voice cannot simply speak ; it has to communicate with other voices, creating a unified Claire Stefani, Katia Sukhotskaya, chorus of individuality, the hallmark of the best jazz. Robert I. Sutherland-Cohen Steve Swallow (On The Cover) had a strong voice on the upright bass for nearly a decade, then Fact-checker made the courageous permanent move to electric bass guitar and has become even more of a Nate Dorward voice. He performs twice this month, both times at Birdland, a week with pianist ’s trio and as part of The Jazz Masters Play Monk project. Pianist Kenny Werner (Interview) has established his voice not only as a player but also as a composer and educator. His longtime trio plays Dizzy’s Club for two nights this month. And saxophonist Frode Gjerstad is one of the voices of an entire nation as an elder statesman of the Norwegian free jazz scene. His co-led trio TiPPLE performs three times this month in three of the four outer boroughs. To have and use one’s voice is key. To listen to the voices of others is just as important—in music as well as in all dealings with our fellow human beings. nycjazzrecord.com On The Cover: Steve Swallow (photo by Alan Nahigian) In Correction: In last month’s CD reviews, Edmar Castañeda’s harp has 36 strings and his singer was Andrea Tierra. In the Willam Parker Boxed Set, the third disc was recorded in Wrocław. And in NY@Night, the saxophonist playing with Tomas Fujiwara was Brian Settles.

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2 AUGUST 2016 | THE JAZZ RECORD WWW.BLUENOTEJAZZ.COM AUGUST 2016

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TUE AUG 16 STRANAHAN/ZALESKI/ROSATO WITH SPECIAL GUEST MIKE moreno- GLENN ZALESKI - RICK ROSATO - COLIN STRANAHAN WED AUG 17 “TOP 10 VENUES IMPACTING NY MUSIC SCENE TODAY” [2015]-NEW YORK MAGAZINE BLACK ART JAZZ COLLECTIVE TUE AUG 2 WAYNE ESCOFFERY - - JAMES BURTON III - VICTOR GOULD VICENTE ARCHER - JOHNATHAN BLAKE ULYSSES OWENS JR. & THU-SUN AUG 18-21 NEW CENTURY JAZZ QUINTET BENNY BENNACK III - TIM GREEN - TAKESHI OHBAYASHI - CORCORAN HOLT JOHN BEASLEY big band WED AUG 3 plays MONK’ESTRA BOBBY BROOM TRIO SPECIAL GUEST VOCALISTtba[18] - [19-20] DEZRON DOUGLAS - JEROME JENNINGS TUE-WED AUG 23-24 THU-SUN AUG 4-7 SACHAL VASANDANI TAYLOR EIGSTI - JOSHUA CRUMBLY - TIERNEY SUTTON’S THU-SUN AUG 25-28 AFTER BLUE: quartet THE JONI MITCHELL PROJECT - JOHN WEBBER - JOE FARNSWORTH MARK SUMMER - SERGE MERLAUD - RALPH HUMPHREY TUE AUG 30 TUE-WED AUG 9-10 JAMES FRANCIES’ kinetic CINDY BLACKMAN SANTANA GROUP MIKE MORENO - BEN WILLIAMS - JEREMY DUTTON ZACCAI CURTIS - AURELIEN BUDYNEK - FELIX PASTORIUS WED AUG 31 THU-SUN AUG 11-14 EDWARD SIMON TRIO JOE MARTIN - ADAM CRUZ JEFF “TAIN” WATTS HMINGUS MONDAYSHMINGUS MONDAYSHMINGUS MONDAYSH QUARTET MON AUG 1, 8, 15, 22 & 29 TROY ROBERTS - DAVID KIKOSKI (11,12 & 14) - BENITO GONZALEZ (13) YUNIOR TERRY CABRERA (11-12) - ORLANDO LE FLEMING (13-14) MINGUS BIG BAND NEW YORK @ NIGHT

Unlike painting, photography, film or literature, Too often, the forced confluence of disparate musical sound does not easily lend itself to representation. Jazz traditions results in an artificial pairing, but Amir and improvised music, when performed without lyric ElSaffar’s Two Rivers Ensemble is something more. specificity, generates an abstract sense of feeling—as When the Iraqi-American trumpeter (who sings and trumpeter Bill Dixon has said, “[abstraction] strips plays santur) brought his decade-old group to The Jazz away the filigree and [goes] to the center.” That said, Gallery (Jul. 14th) to perform the entire title suite from when Israeli pianist Anat Fort brought her augmented his latest Pi album Crisis, the packed house was treated trio with Italian alto clarinetist Gianluigi Trovesi (in a to a truly bilingual and bicultural concert, where rare stateside appearance), bassist Gary Wang and elements of Iraqi maqam and North American jazz drummer Roland Schneider (her very longtime rhythm melded into an organic whole. Filling in for Nasheet section who appeared on her previous ECM CD And If) Waits, drummer Tomas Fujiwara set the scene with into the Rubin Museum (Jul. 8th), sculpted visions of sustained rolls, soon joined by ElSaffar on and mythic birds and notions of flight were a major part of Ole Mathisen on tenor saxophone, with Tareq Abboushi the music. The foursome was celebrating their new on buzuq and Zafer Tawil on oud (both Arabic lutes) ECM release Birdwatching and this was Fort’s first trilling behind them and Carlo DeRosa holding down performance at the Rubin Museum since 2008—which the bass. Several times, ElSaffar moved over to the was highly anticipated, judging from the crowd’s santur (hammered dulcimer), singing Ottoman and jovial burble. Among the 11 tunes the group played Sufi poetry in a subdued, soulfully melismatic baritone. were two - duets, ranging from drolly- Though his warm, brash trumpet tone and Mathisen’s FREE PERFORMING ARTS halting folk to hushed, filmic reverie while Trovesi sat aggressively chromatic solos, buoyed by a firm bass- out for “Melafefon”, as rumblingly alliterative as its and-drum hook-up, may have suggested classic IN ALL 5 BOROUGHS title. The bassless “Murmuration” set piano swirling hardbop, there were simultaneous suggestions of the and wheeling against a reed-drum tide; in fact, while maqam (modal) tradition: half-flatted intervals; quick MAY – SEPTEMBER Fort’s compositions often feature poppy, groovy modulations to related modes; and a highly ornamental rejoinders, the improvisations are a layered affront to and sequenced approach to melody and improvisation. This season SummerStage celebrates a their moorings, Fort carving out a mixture of dissonant Each artist played a vital part, but the overall distinctly New York musical form—Jazz. chunks and spiky elegance as Trovesi presented effectiveness of the music can be attributed to ElSaffar’s Join us in parks across New York City as somewhere between gentle demarcation and vibrant compositional hand, which has inscribed a space where cries on his rangy horn. —Clifford Allen two rivers flow as one. —Tom Greenland we honor an art form that has spread around the world and forever changed our cultural landscape. 08.05 featuring the E-Collective 7PM FRIDAY | Clove Lakes Park, SI 08.07 Igmar Thomas & The Revive Big Band present: 7PM A Journey Through the Legacy of Black Culture SUNDAY | Central Park, MN 08.10 “We Play For You, Butch Morris” featuring 7PM Nublu Orchestra / DarkMatterHalo with Wadada Leo Smith / Screening: Black February WEDNESDAY | East River Park, MN 08.10 Tamar-kali with ASE Dance Theatre Collective / 7PM nathantrice/RITUALS dance theater

WEDNESDAY | Central Park, MN s c o t f r i e d l a n a l n h i g Anat Fort @ Rubin Museum Amir ElSaffar @ The Jazz Gallery 08.19 nathantrice/RITUALS dance theater / 7PM Harlem School of the Arts Young Dance The long basement listening room of the Cornelia When tenor saxophonist Chris Potter brought his Alliance / Master Class: Calvin Wiley Street Café has been a regular spot to catch the various electric ensemble Underground to the Jazz Standard FRIDAY | Marcus Garvey Park, MN ensembles led by or featuring drummer , (Jul. 16), the stage was neck-deep in first-call musicians: saxophonist Ingrid Laubrock and guitarist Mary pianist Craig Taborn, guitarist , electric 08.26 Jason Lindner: Breeding Ground / DJ Greg Caz Halvorson over the years. If not a house band, the Tom bassist Fima Ephron and drummer . All that 6PM FRIDAY | Marcus Garvey Park, MN Rainey Trio has returned for a number of New Year’s firepower seemed to promote a bit of friendly Eve concerts and, on Jul. 1st, added two sets of competition and the notes flew throughout the early African Rhythms Sextet / 08.27 pre-Independence Day improvisation to the holiday set, which featured some of Potter’s recent 3PM Cory Henry & The Funk Apostles / The Artistry plate. The concert came a day after Laubrock and compositions. The opener, “Flight to ”, modeled of Jazzmeia Horn / Charles Turner III / Rainey played in duo at the nearby Zürcher Gallery in on John Coltrane’s “Impressions” (in turn modeled on Master Class: Samuel Coleman support of their latest Relative Pitch disc Buoyancy. ’ “So What”) had hints of ’s SATURDAY | Marcus Garvey Park, MN Across two sets of three long-form compositions each, “Footprints”, with a blustery tenor solo, reggae-style DeJohnette - Holland - Moran / Allan Harris / Rainey, Laubrock and Halvorson teetered between skanking by Taborn and uncanny accenting by Weiss. 08.28 wiry interplay and velvety, heel-digging waves, the “Bemsha Steps”, a mashup of ’s 3PM Donny McCaslin Group / Grace Kelly guitarist occasionally adding twanging loops “Bemsha Swing” and Coltrane’s “Giant Steps”, SUNDAY | Tompkins Square Park, MN underneath saxophone, drums and her own spiral sounded more like the former, set to a Latin-rock beat, 08.31 Chicago The Musical: stairs. What’s clear from watching the trio in Potter reworking the Monk theme in several variations 8PM 20th Anniversary Concert performance is that, amid the sheets of varied during his solo and Rogers, at first tentative, concluding WEDNESDAY | Central Park, MN information pouring out, their improvising hinges on a his solo with an exclamation mark. On the moody hard-boiled intensity recordings aren’t usually able to untitled ballad that followed Taborn attacked the piano View the full schedule, including more than a capture—Laubrock’s eyes popping out as she digs in with delicate abandon, bringing a smile to Potter’s face dozen jazz events, at www.SummerStage.org. with blistering, jouncy ululations against the cellular, with each audacious, accelerating phrase, the fastest of craggy splay of Halvorson’s unspooled jabs. Rainey is, which still retained precision and clarity. “Inner as ever, the fulcrum on which these pieces—drawn Kingdom”, a brisk piece quickly escalating to epic from the group’s releases on Clean Feed and Intakt— proportions, found Taborn tapping at the keys like a #SUMMERSTAGE16 and players turn, but as a drummer-leader he is lithe woodpecker on hardened bark while Weiss slammed @SummerStage @SummerStageNYC @SummerStage and centered, a dry colorist whose snappy floes and skins like a metal drummer. Potter and Co. wrapped resonant backbeats encourage and support his with “Tweet”, another burner in 7/4, which seemed to bandmates as much as they stoke fires. (CA) get louder and rowdier as it unfolded. (TG)

4 AUGUST 2016 | THE NEW YORK CITY JAZZ RECORD The appeal of vocalist Cyrille Aimée is obvious. She Widely celebrated for her work with a long list of jazz has a sassy, curly-haired charm, equal parts French and masters, from and James Moody to Dominican upbringing filtered through an adopted J.J. Johnson and , pianist Renee WHAT’S NEWS home of . Her band of Adrien Moignard Rosnes consistently displays the commanding (acoustic guitar), Michael Valeanu (electric guitar), musicality that has made her a favorite of so many The Windows on the Bowery project celebrates Shawn Conley (bass) and Dani Danor (drums) are no when leading her own band, as she did at Dizzy’s Club the cultural history of the avenue with 64 historic slouches either. They could be content simply to be a (Jul. 2nd). Opening the evening’s second set, Rosnes signage pieces, including the former locations of pleasant diversion but their early set at Joe’s Pub (Jul. launched into Ron Carter’s “Einbahnstrasse” in a the Five Spot and Tin Palace jazz clubs. In 5th) instead presented a cohesive band willing and rhythmic tête-à-tête with bassist , addition, the entire exhibition will be on display at able to take chances, not overshadowing the singer but before being joined by vibraphonist Steve Nelson and inspiring her. Dressed for the city heat in a one-piece drummer Lenny White for a swinging straightahead the Cooper Union Foundation Building and inside tangerine short set, Aimée stuck mostly to material escapade, which concluded in a series of exciting eight the 58 Bowery HSBC Bank through the summer. from her most recent Mack Avenue album Let’s Get Lost bar exchanges between White and the others. Rosnes’ For more information, visit boweryalliance.org/ but had fun with the tunes, whether letting Moignard rhapsodically rumbling piano introduced “Galapagos”, windows-on-the-bowery. take a Larry Coryell-esque solo on the opening Stephen the titular piece of the suite comprising the bulk of her Sondheim piece “Live Alone and Like It”, bringing latest album, Written In The Rocks ( Sessions). Alto saxophonist has Thelonious Monk’s “Well You Needn’t” into the realm Following the fiery outing, which had Rosnes pulling been named the Director of Jazz at Princeton of the backbeat or stepping aside as her quartet got all out all the stops on an impressive improvisation University’s Department of Music. on Juan Luis Guerra’s “Estrellitas y leading into an explosive drum solo, was a bluesy Duendes”. It may be a dated reference but Aimée’s rendition of the date’s title track, buoyed by the Pianist Billy Childs has been named President of group is reminiscent of Edie Brickell and The New drummer’s delicate brushwork. The band burned hot the Board of Directors of Chamber Music America, Bohemians, from the musicianship to the breadth of on Joe Henderson’s “Isotope”, with Nelson’s metallic material. Most important, Aimée is not trafficking in notes ringing out, then played it cool on Rosnes’ the first jazz musician to hold the post. the lazy nostalgia of so many other singers. Towards “Mirror Image”, their subtle interaction recalling the the end of the set, she dismissed the band for a solo sound of the Modern Jazz Quartet. Antonio Carlos Bassist Barry Guy has been awarded an take on her “Nuit Blanche”, done in tandem with a Jobim’s “Double Rainbow (Chovendo Na Roseira)” Honorary Degree by Middlesex University. loop station. Beatboxing, scatting and soaring over a had the group basking in Brazilian lyricism before chorus of herself, Aimée created a ready-for-the-club ending the set swinging hard and fast on Monk’s Saxophonist/clarinetist Dan Block was the winner dance hit perfect for summer. —Andrey Henkin “Green Chimneys”. —Russ Musto of the BMI Jazz Composers Workshop’s 17th annual Charlie Parker Jazz Composition Prize, which includes the $3,000 Manny Albam commission, to be premiered at next year’s showcase concert. In related news, applications are now being accepted for the 28th annual BMI Jazz Composers Workshop. The deadline is Aug. 8th. For more information, visit bmi.com.

The fall edition of the Creative Music Studio (CMS) Workshop will take place Sep. 19th-23rd at a

y Full Moon Resort in Big Indian, NY and will feature instructors like Milford Graves, Fabian Almazan and Steven Bernstein alongside CMS co-founders Karl Berger and Ingrid Sertso. For more information and S u k h o t s a registration, visit creativemusicfoundation.org. t i a © R . I S u t h e r l a n d - C o / j z x p s i g K a Cyrille Aimée @ Joe’s Pub Renee Rosnes & Steve Nelson @ Dizzy’s Club Amsterdam jazz club Bimhuis has debuted Bimhuis Radio, a streaming station broadcasting Let’s hope Donald Trump doesn’t start fixating on Fresh off a flight from , where he performed concerts from the venue. For more information, building a wall to keep out Norwegian bass players. If the night before as a member of the SFJAZZ Collective, visit bimhuis.nl/bimhuisradio. so, we may lose the chance to see a legend like Arild vibraphonist Warren Wolf showed no sign of lagging Andersen in action, performing at Le Poisson Rouge energy as he took to the bandstand at Joe’s Pub Allegro Media Group, a well-known distributor (Jul. 2nd) as part of a U.S./Canadian tour. Andersen, (Jul. 2nd) to celebrate the release of his new album for independent jazz labels, is shutting down its ECM stalwart, was leading a European Economic Area Convergence (Mack Avenue). Fronting a quartet of operations in response to a rapidly changing trio with Scottish saxophonist Tommy Smith and Christian Sands (piano), Vicente Archer (bass) and Lee dynamic of music consumption. Italian drummer Paolo Vinaccia, the group featured on Pearson (drums)—all subbing for the album the releases Mira and Live at Belleville. The group personnel—Wolf opened with his “Soul Sister”, a played music from the former, including the title track, spirited outing that lived up to its title, with Pearson’s The annual Jazz Connect Conference will return which began mystically with Smith on shakuhachi backbeat buoying rhythmically intense vibraphone to Saint Peter’s Church Jan. 5th-6th, 2017. For before becoming an insistent ballad, as well as the title and piano solos. Wolf’s “Four Stars From Heaven” was more information and registration, visit jazz- track from 1997’s Hyperborean and closing with Burt marked by thoughtful romanticism while his “King Of connect.com. Bacharach’s “Alfie”. Those lulled into a pleasant Two Fives”, an exercise in harmony utilizing several dream-state by opener “Hyperborean”, introduced by variations of the common ii – V – I chord progression, Proving that people never learn, actor Idris Elba, Andersen duetting with himself via a delay pedal, embodied a classic sense of swing. His of known for his portrayal of Nelson Mandela in were startled by the following “Blue Sea”, opening ’s popular “Knocks Me Off My Feet” Mandela: Long Walk to Freedom, has expressed with a lengthy drum solo and featuring Smith’s faithfully recreated the classic melody, then playfully great interest in playing Thelonious Monk in some strident tenor in cathartic wails over his percolating extemporized upon it, subdividing the time in repeated sort of feature film; clearly he didn’t see the recent bandmates. This opposition in material was the melodic phrases before dissolving in a quiet fade. attempts on Miles Davis, Chet Baker or Nina template for the 90-minute set, interrupted in the “In The Heat Of The Night”, a new Wolf composition quietest moments by raucous bingoneers in the next slated for his next release, was a slow groover with Simone or he would know better. room. The aforementioned “Mira” preceded “Science”, dramatic rests, evincing the spirit of southern comfort. a loose swinger with a nice tag, which approached free An impressionistic four-mallet solo prelude Just Jazz Guitar ceased operations as of its May jazz at points and had an epic Andersen solo deftly introducing Bobby Hutcherson’s “Montara” was 2016 issue. mixing rhythmic and melodic elements. Ballads and complemented by atmospheric piano chords, Sands burners alternated in lengthy versions, Smith getting a using his hand to tamp the strings for an ethereal chance to demonstrate the widest and deepest effect. The band closed with a lively reading of Wolf’s Submit news to [email protected] saxophone tone this side of . (AH) “Havoc”. (RM)

THE NEW YORK CITY JAZZ RECORD | AUGUST 2016 5 INTERVIEW

that time. Eventually, I think what you just said, which I appreciate, is that you realize that I was evolving and doing something different all the time. I saw it more in the later reviews in the last 10 or 15 years that there would be a line in there about ‘not knowing what he might do’ and that’s good, in other words, expecting KENNY the unexpected, then you got more kindly received or less misunderstood. I thought that would be a selling

t i s point, but that guy was absolutely right. It took longer

a r because some people expect music that is relatively similar to the last thing you did. I don’t even know that it is true any more, but certainly in the environment I o f t h e came up in. t e s y WERNER (CONTINUED ON PAGE 38) o c u r

p h o t by ken dryden Quartet In a career spanning several decades, Kenny Werner has tradition, that was the last thing I came to appreciate. made an impact as a pianist, bandleader, composer, educator The first thing was the philosophers of the time like LIVE!!! and author. The Brooklyn native refuses to be put into a , Miles Davis, Wayne Shorter, George Wednesday, August 3 particular stylistic category, preferring to go where his Duke and . They weren’t just great Jazz at Kitano creativity takes him. While he is best known for his trio and musicians in the way they played, sometimes the 66 Park Avenue solo recordings, one of his great achievements was his suite philosophy was articulated in the album cover or some New York, NY composed in memory of his daughter, No Beginning, No writing. The late ‘60s and early ‘70s was a very mystical End, which earned him a Guggenheim Fellowship Award. time and I thought that jazz musicians captured my 212-885-7119 His landmark music text, Effortless Mastery, Liberating imagination in the way they expressed that mysticism, 8 & 10pm the Master Musician Within, was published in 1996 and of course, in the form of rhythm, harmony and melody. recently updated with a new edition. He is currently Artistic I had some aspirations before that. I had checked out Director of the Effortless Mastery Institute at Berklee some gurus and unsuccessfully tried to meditate, but College of Music. I never really connected it with music. It was something that I just did that was fun, easy to do. She connected The New York City Jazz Record: What drew you to the two, the idea of being a spirit and letting that come music, then to jazz? out in your playing. That was life-changing for me. "a superior jazz trombonist" - Los Angeles Times Kenny Werner: At seven, a friend’s father played TNYCJR: Your music has continued to evolve. piano for us at his birthday party. I was mesmerized. I ran home and asked my parents to get me a piano and KW: The first record of my own music was the Enja LP fairly quickly it looked like I had a gift for it, so by nine [Beyond The Forest of Mirkwood]. The producer came to I was already trying to play a few gigs. I wasn’t really see me in Munich, where their offices are. I did classically trained until later. I went to something weird every night. One night I brought toys School of Music as a concert piano major, but I didn’t and played with them... What I did was so varied that really have any love for it. I thought that’s what he said, ‘You’re going to have a lot of trouble in your I should do. Once I got there I realized I had no interest. career. You do something different every time.’ I said, Then I started to hear about Berklee, which wasn’t so ‘That’s trouble? Wouldn’t it be more interesting than a much about jazz. I was always an improviser. I heard guy who’s got a sound and plays the same type of that they improvised there, so I decided to go there. tunes every time?’ I guess not, he was right. From a My jazz attraction grew from the friends I made and media point of view, it was always a problem. I’m more the stuff I started to hear. I listened to a limited amount of a movie guy than a music guy. A director might do a of jazz before, but it really captured my imagination at western, then an urban comedy, then a horror film, that point. then a film about heaven. That’s the way I approached it, though it wasn’t the typical way. I took my processes TNYCJR: Who were some of your friends at Berklee? from movies, not musical examples. The problem was when you got reviewed, it was KW: The ones you know were Joe Lovano, John the wrong reviewer. Let’s say I did a trio record playing Scofield, and . Some guys you in a very bizarre way but there is a thing I like to do wouldn’t, like Ray Santisi, who was teaching me. We which is to really play abstractly but not accentuate it would sit around all night listening to music and with bombastic dynamics. It might sound like the Bill I suddenly appreciated it on a new level. My natural Evans Trio but then if you listen a little harder, it inclination in that environment was to learn to play it. sounds like the Trio on mushrooms. I like I didn’t grow up listening to jazz or have a lot of heroes, that, it was more subtle. The music guys thought that if then I started hearing a lot of things that I wasn’t you didn’t hit the piano with a stick, it was traditional interested in before. because they couldn’t hear the newness in the manipulation of harmony, rhythm, melody and TNYCJR: How did your teacher Madame Chaloff [baritone dynamics... You might get a reviewer who likes saxophonist ’s mother] inspire you? traditional then the next record has synthesizers and samples, like the record I did for Blue Note, Lawn Chair KW: She had a large influence on me because she Society. If you take a sampling of three or four different worked on touch in sort of a spiritual way. She talked records, they sound like three or four different about learning to let the fingers touch with the arms universes. So if they gave the guy who liked my trio defying gravity, which was something so abstract that and was a big Bill Evans fan that record, he might say, I’m not even sure I got it. But it changed the way ‘I don’t know what happened to Kenny Werner, he I played, resulting in something that became very went off his rocker.’ So that’s a problem with doing much my sound. She talked a lot about the spirit and different things in a society that indexes everything. embodying the spirit; she was very mystical. She was a You even have reviewers who are indexed and have a walking light. I think that I was more attracted to light bias toward one thing or another and you have no than music. What brought me into jazz wasn’t the control over the right guy getting the stuff you’ve done

6 AUGUST 2016 | THE NEW YORK CITY JAZZ RECORD ARTIST FEATURE

For more information, visit frodegjerstad.com. Gjerstad is at Everything Goes Café Aug. 26th, Soup & Sound Aug. 27th, Troost Aug. 29th and TransPecos Aug. 31st. See Calendar.

Recommended Listening: • Detail—Backwards and Forwards (Impetus, 1982/85) FRODE • Frode Gjerstad//— Hello, Goodbye (Emanem, 1992)

O W N M U S I C . E T • Frode Gjerstad Trio—Ultima (Cadence Jazz, 1997) • Circulasione Totale Orchestra—Bandwidth (Rune Grammofon, 2008) • Bobby Bradford/Frode Gjerstad/ Paal Nilssen-Love—Dragon (PNL, 2010) GJERSTAD • TiPPLE—No Sugar on Anything (Circulasione Totale, 2013)

P e t r G a n u s h k i / D O W N T by ken waxman TJD Online The Jazz Discography Online After more than three decades on the cutting edge of sessions from Detail’s beginnings). “I met a lot of free music, Norwegian saxophonist Frode Gjerstad is people through John. When we played in London, he Everything you need to more modest than he should be. “I realized very early put together groups with different people so I met and know about virtually any that I couldn’t make a living playing the music played with , Barry Guy, Nick Stephens, jazz record ever released I was interested in,” relates the -based etc. Here, I had only one choice: import people or Gjerstad. “So I got an education and became a teacher forget about it. Then a flight to Oslo cost about the while still playing.” Before Gjerstad made the transition same as flying to London so it was easy to get people So much more than just a jazz discography to full-time playing about 10 years ago, he worked here who were into the free playing.” Through Stevens, steadily with some of the music’s heaviest hitters like Gjerstad met Bradford, with whom he’s been playing Updated daily drummer John Stevens, pianist and for 30 years. “I called him up in L.A. in 1984, but it took · New/Reissues listed by date for 31 days cornet player Bobby Bradford. “I’m happy that I didn’t two years to get the money together to buy his ticket to · Search and sort leaders, musicians, become a full-time musician at an early age. With kids London. I found some support to cover his ticket, my tunes, record labels, etc. and a wife I stayed at home and could concentrate on ticket, Johnny [Dyani]’s ticket from Stockholm, plus · Catalogue your record collection easily the music I like. I’m not a big spender plus my wife has money to rent a van. I had to drive and I’d never driven always been very helpful. She owns a kindergarten on the left side of the road before,” Gjerstad recalls. · and I help her with that. She has been my biggest “Bobby struck me as a real gentleman, always asking if www.lordisco.com supporter all these years. I was happy with the way the music developed. When “My first exposure to jazz was when my father we played and I was on my way to getting lost, he bought a second-hand gramophone with lots of steered the music in a nice way.” records, including two Benny Goodman EPs. I asked In Time Was, a recording of that quartet, led to the my father what it was. He called it jazz. I said, ‘what’s launch of Gjerstad’s Circulasione Totale label and later jazz?’ He said that they have jam sessions where they his Circulasione Totale Orchestra (CTO). “I always play what they like. I thought jazz was free because thought that if I ever become good enough to play with I never heard of and chords. I just real musicians, I’ll start a band for younger guys and thought the musicians were extremely talented. Then tell them what I’ve found out,” he reveals. Although when I was 16 I saw Ornette on TV. I was shocked most CTO members began and continued as rock because I was trying to play guitar in a Beatles/Stones- players, the sound was different. “By letting them play band. Right after that I started listening to Voice of the way they felt comfortable, I could set up funny America.” Soon he was playing saxophone as well. rhythms and melodies across the sections and set up “I bought Coleman records along with Albert Ayler’s situations that didn’t sound like the usual jazz-rock stuff, which just blew my mind,” Gjerstad continues. band, but something else.” Around 2011 the group “I’m self-taught. I tried to get a piano player to teach disbanded and today Gjerstad sticks to small groups. me a few things but he refused, said he had to struggle Surprised to be voted Norwegian Jazz Musician of the to find out and that’s what I did.” Year in 1997, Gjerstad was able to use the prize to Gjerstad’s emphasis on free jazz was unusual organize a “dream band” with bassist William Parker among musicians of his generation. “People around and drummer . “I thought it was too bad Stavanger didn’t like my playing,” he remembers. if they came to just for one gig, so I managed “There were fights a few times. I was very much looked to set up 10,” he recollects. “I was still teaching and I down at by most of the local musicians.” By 1975, had to travel very early in the morning to get back to however, he and a few friends, including late pianist my school and then get a plane and go to the next gig. Eivin One Pedersen, organized a popular jazz-fusion But it was fine because the music was so nice.” Today band. But the group kept losing its bassists and Gjerstad does two major tours a year with his European drummers to rock bands and Pedersen moved to Oslo. trio of bassist Jon Rune Strøm and drummer Paal “I was drawn to more daring music,” explains Gjerstad. Nilssen-Love. This month’s NYC gigs feature his five- “But no one wanted to do it. I felt very much alone and year-old American trio TiPPLE with percussionist was very close to giving it all up.” and guitarist David Watson. “Kevin is Thankfully, Gjerstad and Pedersen decided to play great on drums and I love his vibraphone, which gives with what the saxophonist calls “a real drummer”. the group a different sound, so I play in a very different That was Stevens, whom Gjerstad had met at a London way.” In October Gjerstad is back in the U.S. with concert. “I called him. He said he wanted to go to cellist Fred Lonberg-Holm and Strøm. Norway because he loved [painter] Edvard Munch. We Now 68, Gjerstad has attained a life/career played and it was so easy. He said he wanted to balance. “If you’re going to play this music and continue, but wanted a bass. When I said, ‘who would survive, you have to travel, which makes it impossible that be?’ He said: ‘the best: .’ A few to have a family. For me to have a family was more months later, the four of us played a tour of Norway. It important than playing all the time,” he states. “If you was the most exciting thing I had ever been involved play and travel, you become tired and that’s not good in.” Pedersen quit the band soon afterwards, but as for the music. Every time I play though, it’s a special Detail the trio toured until Stevens’ death (Gjerstad is occasion and I love it. I don´t want to give the listeners compiling a retrospective boxed set including unheard a feeling of tiredness. I would like them to smile.” v

THE NEW YORK CITY JAZZ RECORD | AUGUST 2016 7 ON THE COVER

STEVE SWALLOW focused ahead by john pietaro C l a i r e S t f a n i

Bassist Steve Swallow has lived out his career by nights gigging in the traditional jazz venues and also clubs where people wore suits,” but this quartet wore rarely reflecting back. “I try not to pause and look playing avant works with and George pop culture’s fringe jackets and long hair and offered backward. Every now and then my thoughts wander to Russell. These composers forced Swallow to rethink arrangements of hits like ’s “I Want You.” the past, but I’m focused ahead.” In his pursuit to the the role of the bass. “I was 20 years old and working In 1970, in what became a life-altering moment, front line, however, Swallow made detailed hard, but what an amazing time. I had a loft on 6th Swallow stumbled upon the electric bass guitar. “The investigations into the music’s heritage, if only to Avenue near 24th Street for $40 a month,” the bassist decision was purely based on the physical essence of ratify a foray into newer ground. His place on the cusp remembered. “Every coffee house had live music and the instrument. I picked it up and fell in love with it: of fusion and development of the electric bass within they paid each musician $5 and all of the coffee you the length of the fingerboard, the feel of it, the presence jazz have each left an indelible mark on the past half- can drink. I was finally free of the white middle class of the frets. I didn’t want to sound like James Jamerson century and then some. life I’d lived till that point.” In this fledgling period, or Duck Dunn. I still wanted to be Percy Heath but I Born in 1940 and raised in suburbia, the bassist also listened to modern composers and just wasn’t able to put the electric down. I thought ‘Oh Swallow’s teen years were faced with “an immense contemporary as well: “I was introduced shit!’ and was faced with having to explain using this pressure to conform” socially and within familial to Erik Satie’s music by Carla; he was in the air, instrument to others when it had been seen as anathema expectations: “These were the Eisenhower years,” he a presence in much of what we were doing. Carla was to the jazz community.” Swallow began touring and explained. “Institutions like home, camp, school and seldom performing then but writing music every day, recording with a wide array of artists in the decades to church were concerned with producing a human all day. I’d never seen a composer up close before and follow, including , , Joe product of a very certain kind.” Within music he found she had a very strong influence on me.” Lovano and and also began leading a degree of escape from the ‘home, God and country’ True to his stand against nostalgia, Swallow laces ensembles. And while teaching at the Berklee College ethic, but his immersion into the sounds didn’t really his memories with metaphor. In speaking of personal of Music he began a lasting relationship with John germinate until commencing studies at Yale in 1959. growth, he drew conclusions about wider shifts in Scofield, which bore fruit in the ‘80s and continues on. The bassist cut his musical baby teeth lugging an society. “Change is a process that involves destruction Likewise, Swallow can trace back his annual upright around Boston, entrenched in the traditional but also regeneration and rebirth. This impulse repeats August performance with Steve Kuhn and Joey Baron. jazz scene then experiencing a wave of popularity itself in each generation of artists. Those coffee houses “Our reunion is really just old friends shooting the among the cognoscenti. He found himself in some were supporting jazz musicians but in a very few years breeze,” he remarked. And this month he’ll also be heavy company, primarily legendary clarinetist Pee rock ‘n’ roll and folk music descended upon that street performing with a new quartet, The Jazz Masters. The Wee Russell. “Pee Wee was a unique voice but and wiped out the jazz gigs.” band, playing reconstructions of Monk, is an remarkably adaptive—this is something I’ve always In the jazz universe the matter of radical change experiment for all involved. “I’m curious to see how it aspired to. What came out of his horn was always played itself out in a small club on the Lower East Side, turns out,” he said, smiling. And while Swallow claims unexpected but very firmly grounded in solid theory where a certain artist’s residency had the industry in a to struggle through each piece he composes (“I’m and the jazz idiom.” That sense of adventure in one so tumult. “I practically lived at The Five Spot when glacial”), his writing too has grown with the years. He rooted in tradition stayed with the young bassist. Ornette Coleman was there. His sound was very warm is now plotting a new quintet album for ECM. Swallow also worked with the woefully under- and inviting, though more than other musicians Surely the most visceral of Swallow’s collaborations recognized drummer George Wettling. “George caught Ornette was testing boundaries. The infusion of folk is that with , the bassist’s life-partner of me at a point in my evolution and taught me things sources were perceived as an assault, a challenge to many years. “There’s something that happens when only drummers can know,” he attested. everything known and played, but in retrospect his you spend 56 years in someone’s music. This is As enamored as Swallow was with some of the was a gentle music. something you have to wait a lifetime to experience. stars of the early style, he is wont to focus on the “At the Five Spot one night Ornette and Coltrane The wonders of it and of living with her are equally music’s primary attribute. “Too often we look at the sat at a table together. There was an aura of common astonishing. Carla gets up every morning and asks famous soloists but early jazz is really an ensemble purpose that belied the controversy going on around herself, ‘what if?’.” Bley has often used the stage as a music. I immediately heard echoes of this in the them. I’ll never forget it: a unified glow radiating from platform of protest against right-wing oppression. Of so-called free jazz idiom, so later it wasn’t strange for the table. They were deep in discussion for a long time, this Swallow commented with pride: “We both feel me to abandon the expected role of the bassist and which the entire room was aware of but dared not compelled to address what’s going on in this nation, enter an ensemble approach. As you get older you’re disturb.” Coleman and Coltrane’s reimagining of the this election cycle. Carla’s immediate response has privileged to have an overview of the cycles. There milieu had a dramatic effect on the young bassist, as been ‘National Anthem’, a drastic reworking of ‘The have been innovators who’ve carried the music into did the advances of Eric Dolphy, whom he played with Star Spangled Banner’.” v distinct paths, but on the other hand nothing has in George Russell’s aggregation. changed. is as relevant today as he In the mid ‘60s, after touring with , For more information, visit wattxtrawatt.com. Swallow is was in the ‘20s. This is the way of art.” Swallow got the call to join ’ band, then at the at Birdland Aug. 9th-13th with Steve Kuhn and 23rd-27th As a living testament to this thesis, Swallow’s height of its popularity. “The sound of Stan’s horn with The Jazz Masters. See Calendar. involvement in new realms began in tandem to his made me focus on how important the primacy of sound Dixieland gigs. In 1960 he played a concert with the is. Hearing his sound in a room, as opposed to on Recommended Listening: forward-looking pianist-composer that was records, was earth shattering.” The gig also paired him • Jimmy Giuffre Trio—Fusion/Thesis (Verve-ECM, 1961) produced by the like-minded Ran Blake. And then with the legendary drummer for the first • —Country Roads & Other Places nothing was the same. “I left school and presented time as well as vibraphonist Gary Burton. (RCA Victor—Koch, 1968) myself at Paul and Carla Bley’s doorstep in Manhattan; In 1968, Swallow departed Getz’ band to join • Steve Kuhn—Trance (ECM, 1974) you know: ‘Your bass player is here.’ Paul saw Burton’s newly-formed combo, which included Haynes • Jimmy Giuffre/Paul Bley/Steve Swallow— in my playing that must’ve been quite and firebrand guitarist Larry Coryell. The band became The Life of a Trio: Saturday/Sunday subtle at the time. I was a novice bassist and had no a feature in jazz festivals as well as major rock hubs (Owl-Sunnyside, 1989) business going to New York then. Luckily Paul took where they opened for the likes of Cream and The • Steve Swallow—Damaged in Transit me seriously.” Electric Flag. “I found it fascinating that jazz could (XtraWATT-ECM, 2001) Engrossed in rehearsals with Paul Bley, he spent move in circles so vastly different. I had been playing • Carla Bley— (ECM, 2015)

8 AUGUST 2016 | THE NEW YORK CITY JAZZ RECORD Mary Halvorson at tHe stone august 2nd tHrougH 7tH, 2016 avenue C @ 2nd street, nyC www.tHestonenyC.CoM

tuesday, august 2 friday, august 5 8pM: 8pM & 10pM: tHuMBsCrew Mary Halvorson (guitar) Mary Halvorson (guitar) Joe Morris (guitar) MiCHael forManek (Bass) 10pM: toMas fuJiwara (druMs) Mary Halvorson (guitar) nels Cline (guitar) saturday, august 6 8pM & 10pM: Mary Halvorson oCtet -- wednesday, august 3 prerelease for tHe deBut alBuM 8pM: “away witH you” on fireHouse 12 reCords Mary Halvorson (guitar) JonatHan finlayson (truMpet) Brandon seaBrook (guitar) (alto saxopHone) 10pM: ingrid lauBroCk (tenor saxopHone) roBBie lee (Baroque and roMantiC , JaCoB garCHik () soprillo saxopHone, CHaluMeau, Mary Halvorson (guitar) MelodiCa, Bells) Mary Halvorson susan alCorn (pedal steel guitar) (guitar, Harp guitar, six-string BanJo) JoHn HéBert (Bass) CHes sMitH (druMs)

tHursday, august 4 sunday, august 7 8pM: seCret keeper 8pM: stepHan CruMp (Bass) Mary Halvorson (guitar) Mary Halvorson (guitar) susan alCorn (pedal steel guitar) 10pM: sifter 10pM: kirk knuffke (Cornet) Mary Halvorson Mary Halvorson (guitar) (guitar) Matt wilson (druMs) weasel walter (druMs) ENCORE

honoring Haynes. “Bebop. That’s what I played. I don’t into the space in front of him, seeking a means to care who I played with, but I played bebop.” ground himself. Beyond his chair was a small drumkit, FRANK GANT Decisive moments in Gant’s career included spare pieces really. A mini bass drum, snare drum, several gigs with Miles Davis. “I met Miles in mismatched tom-tom, conga and tabla stood beckoning. by john pietaro and played in his band with [pianist] and Gant ambled awkwardly over, his body threatening to [bassist] .” He also performed with misdirect each step. But once seated behind his When celebrated drummer Frank Gant first moved Lester Young and came to drive many ensembles at instrument, spastic movements became swinging into his Lower East Side apartment, the community home or on tour. Recording dates with drumstick dances over cymbals and skins. His eyes had been battered by decades of neglect. These days, in (Byrd Jazz, Transition, 1956), (The Dreamer remained unmoved, but a certain burning essence the midst of arduous gentrification, the area stands and The Fabric Of Jazz, Savoy, 1959) and J.J. Johnson fought to surface from deep within. v among the most sought-after in a city notorious for (Proof Positive, Impulse!, 1964) followed. displacing its poor. And for an octogenarian stricken “In 1960 I came to New York to play a gig at the Cards, letters or donations for Gant can be sent to him care with Huntington’s disease and battling his landlord, Apollo—and stayed.” Every club had music then and of the Jazz Foundation of America at jazzfoundation.org. downtown has become a bitterly cold place. Gant rarely refused work as he was raising a young Gant was raised in Detroit, first exposed to the family. The drummer picked up a regular spot uptown Recommended Listening: drums in a school band where he quickly came to the with organ player Bobby Foster and also performed • Yusef Lateef—Cry!—Tender attention of pianists and Hugh Lawson. with vocalist , saxophonist George (Prestige New Jazz, 1959) “The band director told me I would never be able to Coleman and pianist , gigging often • J.J. Johnson—Proof Positive (Impulse!, 1964) play professionally,” he said with a restrained laugh. at the Village Vanguard and the Village Gate. • —The Awakening (Impulse, 1970) “But I practiced. Played in my basement every day and Concurrently, Gant joined pianist Ahmad Jamal’s band, • Monty Alexander—In Tokyo (Pablo, 1979) I took lessons.” the leader with whom he is most closely associated. • Red Garland—Misty Red (Baystate-Timeless, 1982) The drummer’s words were labored, but intent on His first recording with Jamal was 1966’s Heat Wave • —Lament for Love (DIW, 1992) being heard. His voice, broken with coarse spastic (Cadet) through to 1976’s Live at Oil Can Harry’s utterances, channeled lasting memories. “Barry, Hugh (Catalyst). The band was also captured in concert to and I played together, but my first record date wasn’t great effect on several releases. Publicity photos of the until 1954 with the Billy Mitchell Band. It was a seven- day feature the dashing drummer behind a glimmering piece.” As he searched his memory, Gant’s eyes became Sonor kit, indicating the level of esteem he carried. riveted, indicating an excitement stifled, perhaps In the ‘70s, ‘80s and ‘90s—and into the early 2000s, manacled, by illness. “Right after, I recorded with Gant’s touring and recording schedule rarely, if ever, .” This was the event that put him into the let up. In addition to the fulltime gig with Jamal, he category of top-flight sidemen. Among the gigs that played in bands led by bebop pianist and was came along were several revered nights accompanying called back into service for major label record dates . with Garland (Misty Red, Timeless, 1982), Anderson Gant served as house drummer at Club 12, (Never Make Your Move Too Soon, Concord, 1980) and a Detroit space hosting giants including Thelonious others. This steady pulse, bridging so many decades Monk. He quickly moved beyond local status and and genres, only wavered when Gant’s own hands began touring with a wide array of musicians. During came to betray him. one of these road trips he crossed paths with Charlie Huntington’s Disease was once known as Parker. “Bird was the man. That’s all there’s to say,” Huntington’s Chorea, named for its discoverer, Gant affirmed. “I asked him which drummer he liked American physician George Huntington (Apr. 9th, best, or Roy Haynes,” he reminisced, citing 1850—Mar. 3rd, 1916), due to the dysrhythmia that Parker’s groundbreaking partners. “Bird said it was causes arms to flail, legs to wander, becoming most Max.” Gant, too, viewed Roach as the master, the notable in one’s 30s-40s. As he emoted, Gant architect of modern jazz drumming, while also demonstrated its manifestations, reaching repeatedly LEST WE FORGET

War, Morris participated in L.A.’s jazz scene, where his He supplemented his endeavors in many ways. brother introduced him to several noted luminaries Morris directed the jazz ensemble for director Robert BUTCH MORRIS including alto saxophonist , cornet Altman’s film Kansas City, which included saxophonist player Bobby Bradford and others. While living in San and trumpeter , to by eric wendell Francisco, through drummer , Morris name a few and, from 1998-2001, taught at Bilgi was introduced to the concept of “conducted University in Istanbul. Throughout his career he Improvisation is an important part of any jazz improvisation”, an experience where a conductor uses composed music for dance and theater companies as musician’s toolbox. Free improvisation extends the a series of instructions to shape the melodic and well as television productions. possibilities by breaking down the walls between form harmonic form of a group of improvising musicians. Morris succumbed to lung cancer on Jan. 29th, and function. However, once all of the walls have been Morris eventually made his way to New York City 2013 at the age of 65, not before leaving a 10-CD set of broken down, where does an improviser go from there? and by the early ‘80s was honing his conduction his Conductions entitled Testament and a slew of Multi-hyphenate Butch Morris dedicated his life to techniques in his own group as well as with saxophonist musicians and audiences in awe of what a man and a finding new creative frontiers beyond improvisation, David Murray’s big band. Morris’ early experiments group of musicians without music in front of them eventually developing and trademarking a system of included using Conduction techniques on already could accomplish. v group improvisation called “Conduction”. written material as a way of expanding concepts, forms Lawrence Douglas Morris was born on Feb. 10th, and structures. Many of his early experiments were For more information, visit conduction.us. A tribute to Morris 1947 in Long Beach, CA and grew up in a musical met with apprehension from the participating with the Nublu Orchestra is at East River Park Amphitheater family, his brother noted bassist Wilber Morris. By 14, musicians. Aug. 10th as part of SummerStage. See Calendar. Morris had settled on the trumpet and would later find Morris’ first official Conduction of note was in his voice on cornet. During this time, Morris 1985 at The Kitchen. Entitled “Current Trends in Recommended Listening: participated in his school’s marching band and Racism in Modern America”, the piece featured the • David Murray—The London Concert (Cadillac, 1978) orchestra as well as teaching himself baritone horn, talents of saxophonist John Zorn and artist Christian • —Exotic Heartbreak (Soul Note, 1981) , French horn, piano and trombone. Marclay. With this groundbreaking form at his • Butch Morris—Homeing (Sound Aspects, 1987) Upon graduating from high school, Morris fingertips, Morris retired his horn and dedicated his • Lawrence “Butch” Morris—Testament: attended jam sessions where he sat in with bassist musical output to Conduction. From 1985-2011, Morris A Conduction Collection (New World, 1992-95) George Morrow and saxophonist J.R. Monterose. produced and led over 200 conductions all over the • Lawrence “Butch” Morris/Le Quan Ninh/ In addition to performing, Morris sharpened his talents world. Whether leading a group of poets, drummers or J.A. Deane—Burning Cloud (FMP, 1993) by working for a music studio, transcribing big band traditional Japanese instruments, Morris used • Lawrence “Butch” Morris—Conduction®/Induction arrangements. After returning home from the Vietnam Conduction to capture one-of-a-kind moments. (Rai Trade, 2003/2006)

10 AUGUST 2016 | THE NEW YORK CITY JAZZ RECORD LABEL SPOTLIGHT

an office, CD stockroom, rehearsal room and employs Decisions on whom to record depend on unanimity two people part-time to do billing and office work. among the artistic directors. “Yolk is a musician’s YOLK Although Darche has been featured on 23 Yolk house,” Boisseau reiterates. “So the focus is on high CDs, Boisseau on 19 and Pommier on 15, the label is by quality and durable music. Yolk releases bands’ or by ken waxman no means a vanity imprint. Included in its catalogue artists’ productions. The artists have been the are about 200 different musicians, including French, producers since the beginning. Plus we three don’t Tucked away in Nantes in western France, the Yolk Belgian, Swiss and even Americans such as Ellery participate in the recording process if we’re not playing label has managed to release more than 70 CDs since Eskelin and John Hollenbeck. “We’re very active on the session.” 1999. A non-profit organization giving artists complete musicians first,” explains Boisseau. “So everything Expenditures associated with CD production are control of their releases, from production to financing, happens through our activities as a musician. You play split 50-50. The featured artist pays for studio time. Yolk was founded by three musicians who remain its in a band, you meet a guy, you keep in touch because Yolk is responsible for costs related to design, post- artistic directors: saxophonist Alban Darche, bassist of musical affinities and one day he’s involved in a production, media relations, distribution monitoring Sébastien Boisseau, both of whom live in Nantes, and Yolk release. No passport required here. Because of our and other non-musical functions. Any profit is shared trombonist Jean-Louis Pommier, from nearby Le Mans. personal connections, there are more non-French half-and-half between the artist, who is also the sole Former journalist Thierry Mallevaës is Yolk’s president players included. Bo Van der Werf’s Octurn, for owner of the CD and its master tapes, and the label. while Jean Depagne is label designer. The name, like instance, or Jozef Dumoulin’s Red Hill Orchestra are Disc downloads in different formats are available the yellow cover color of the imprint’s initial CDs, is two releases led by Belgian musicians. I played for from the Yolk website, but since the label hardly earns meant to reflect the nutritious qualities of an egg and many years in a Brussels collective and Dumoulin was anything from downloads, that may be discontinued. the hatching of brand-new music. also a member. It’s exciting to build artistic bridges “Yolk fans still prefer physical items,” notes Boisseau. This organized productivity is a far cry from the between countries. Jon Irabagon, [Swiss trombonist] “And we love to present a new cover and artwork each label’s founding, remembers Boisseau. `”When we Samuel Blaser, Hollenbeck, Eskelin, Dumoulin…We’ll time.” That’s also why a series of Yolk boxes are started it was at home, gluing the card sleeves, go further that way in the future.” available. Limited to 300 copies, these white boxes managing everything by ourselves.” The three had met -based keyboardist Dumoulin, featured on contain a variety of objects chosen by the artist gigging in the early ‘90s and soon decided that a five Yolk CDs, says “I can only speak in the most alongside the disc. “This is a way for us to add some counterweight to France’s Paris-centric jazz scene was positive terms about my experience with Yolk.” value to the release. We’re not a file generator, we’re needed. “We saved a lot of energy living outside of A couple of years ago, his Trust CD with Eskelin and coming from hard copies and are looking for good Paris, which is a very expensive city with no economy drummer Dan Weiss, whose release was to coincide balance,” insists the bassist. for jazz except a few big festivals,” recalls the bassist. with a tour, was orphaned when the imprint for which This balance also means that no Yolk artist— “Also, jazz music arrived in Europe through the west it was planned went bankrupt. “I asked Sébastien and including the artistic directors—records exclusively coast and step by step Nantes has become a real jazz Alban and things were sorted out very quickly,” he for the label. “Yolk is our base, an artisanal tool, which scene, with a lot of musicians.” Faith in the area has recalls. “I went through all the phases with Sébastien we use mostly for our releases as leaders,” Boisseau paid off. Since 2010 the city of Nantes has given Yolk and it was a huge relief to be dealing with someone explains. “But Yolk doesn’t yet have the capacity to an annual subvention, which accounts for like him, since he’s a musician himself and also an release all of our works. Still, it’s interesting to work approximately 35 percent of its budget. Yolk now has extremely well organized and practical one.” (CONTINUED ON PAGE 38)

JASS Trust Crooked House Papier Jungle Mots croisés/Crosswords Hollenbeck/Darche/Boisseau/Blaser Jozef Dumoulin Red Hill Orchestra Alban Darche Hyprcub Matthieu Donarier Trio Qüntêt featuring Desdamona VOXNEWS

forms less known in the U.S.; she seeks to build bridges album, After Blue (BFM Jazz), a sensitive, reflective across cultures, she explains. A danger with multi- reinterpretation of 12 of Mitchell’s most played tunes. EXPLORING THE BEYOND stream experimental works like this (and with bridge- Sutton will present selections from this Grammy- building in general), however, is that the well- nominated album at Jazz Standard (Aug. 4th-7th). The by suzanne lorge intentioned project can descend into cacophony or recorded setting for these remakes is intimate and meaninglessness, where everyone is expressing and no simple and the gig promises to be the same. Jen Shyu ranked second in the Rising Female Vocalist one is listening. In her work, though, Shyu carefully Swiss-born, New York-based singer Beat Kaestli category of the DownBeat Critics Poll this year and her sidesteps this problem. Her presence is sufficiently charms the ear on his sixth CD and first non-studio 2015 release Sounds and Cries of the World (Pi) placed commanding that all the elements of her performances album, Live In Europe (B+B Productions). Kaestli 13th in the Beyond Album category, reserved for artists fall into place respectfully around her. recorded the nine tunes while touring Germany, whose work owes a musical debt to jazz or blues but Shyu will be at The Stone (Aug. 9th-14th), Austria, Slovakia and the Czech Republic last year; doesn’t fit neatly into either of these buckets. To be presenting six shows called “Rituals”, one Ritual piece most are standards framed by neat, swinging sure, any bucket big enough to hold Shyu’s work per day, with instrumentalists such as drummer arrangements expertly rendered by his dexterous trio. would have to be very big indeed. , violist Mat Maneri, guitarist Ben Kaestli will launch the album at Birdland (Aug. 18th). Shyu’s experimental jazz compositions traverse Monder, bassist Mark Dresser and soribuk player Each summer, around the time of Charlie Parker’s musical, cultural and emotional boundaries; with her Hong Jin-wook. On Ritual Days 1-5 Shyu will play birthday (Aug. 29th), the City Parks Foundation classically trained voice, her movements and her either solo or in a small group, but on Ritual Day 6 she sponsors the Charlie Parker Jazz Festival, a series of instruments, she investigates how elemental things fit will recreate portions of her musical drama Song of free outdoor jazz concerts in two of the city’s parks. together—earth/water, animals/humans, percussion/ Silver Geese, which debuted at Roulette in March of this This year the concerts feature some accomplished strings, spirit/body. Many of the sounds she uses year and features her eight-person band Jade Tongue. NY-area jazz singers: Etta Jones protégé Antoinette (those of the moon lute, trumpet, viola, bass, gayageum, Serious and thought provoking, the piece exemplifies Montague in Marcus Garvey Park (Aug. 26th); lakadou, drums, various objects, multiple languages) Shyu’s ability to rally multifarious forces into a single, Thelonious Monk competition winner Jazzmeia Horn don’t often have the chance to meet up in your compelling vision. and competition winner Charles everyday concert world, so her compositions by their Singer/songwriter Joni Mitchell also moved Turner III will take to the bandstand (Aug. 27th), also very existence beg the question, why not? The answer effortlessly through many musical environments, often in Marcus Garvey Park; and the sultry-voiced Allan could be a simple one: most composers stick with the challenging the established order of the music industry Harris will be in Tompkins Square Park (Aug. 28th). music of their own culture. Shyu has very consciously in doing so. Singer Tierney Sutton (#9 in the Female These concerts, packed with audiences of both old and stepped outside the Western classical arts of her Vocalist category in the DownBeat poll) took Mitchell’s new jazz listeners, are a fitting tribute to Bird from his youthful training to gain expertise in music and dance innovative songwriting one step further with her 2013 adoptive hometown. v

THE NEW YORK CITY JAZZ RECORD | AUGUST 2016 11 IN MEMORIAM

ALOISIO AGUIAR (July. 23rd, 1943— Jul 8th, 2016) The Brazilian pianist’s DON FRIEDMAN own albums from the ‘90s featured countrymen like Claudio Roditi, by andrey henkin Nilsson Matta, Portinho and Sergio Brandão and he recorded with Gal Costa, , Ron Carter and Airto Moreira. Aguiar died Jul. 8th at 72.

DETLEV BEIER (Aug. 30th, 1957—Jun. OLDEST C ONTINUOUSLY R UNNING J AZZ C LUB 18th, 2016) The German bassist’s discography includes credits with Joe IN THE C OUNTRY Viera, , Rolf and Joachim AUGUST SCHEDULE Kühn, Uli Beckerhoff, Mihaly Pocs, David Torn and the recent collaborative

EVERY THURSDAY JAZZ JAM – NO COVER Quartet Köcomabe with Rudi Mahall. 8/5 – Spencer Reed Quartet Beier died Jun. 18th at 58. 8/6 – Kate Baker & 8/7 – Mitchell Cheng Quartet JACK COKER (1929—Jun. 5th, 2016) 8/12 – Group The pianist (and brother to saxophonist/ fellow educator Jerry) toured in the ‘60s 8/13 – Nancy Reed Trio bands of , Nelson 8/14 – Russ Kassoff & Catherine Dupuis a l n h i g Riddle and Tex Beneke, later became a 8/19 – Carolyn & Jay Leonhart Don Friedman, a tastefully exploratory pianist whose music professor at University of North 8/20 – Eric Mintel Quartet first recordings were made in his native California and Carolina and was recently featured on In The Beginning, a compilation of early Wes 8/21 – Su Terry & Peggy Stern who, after moving to New York, worked with Buddy DeFranco, John Handy, Booker Little, Herbie Mann, Montgomery recordings from 1949-58 in Indiana. 8/26 – Behn Gillece Trio Charles Lloyd, Jimmy Giuffre, Dave Pike, , Coker died Jun. 5th at 87. 8/27 – Patrick McGee Quintet Joe Henderson, and others to go along with 8/28 – Rich Jenkins Quartet with special guest Jon dozens of albums as a leader from 1961-2014, many MORRIS “MOE” JENNINGS (1939— Weber done with his longtime musical partner, guitarist Attila Jun. 3rd, 2016) The drummer is known Zoller, died Jun. 30th at 81 from pancreatic cancer. more for his work with bluesmen 8/29 – Phil Woods’ COTA Orchestra – an 18 piece Friedman was born in San Francisco on May 4th, and Howlin’ Wolf but jazz ensemble 1935. As a 20-something, he recorded with Jack had jazz credits from the late ‘60s-early Millman, Hank Demano and Buddy Collette. Soon he ‘80s with Jack McDuff, Woody Herman, made the move eastwards, where his career took off John Klemmer, Phil Upchurch, Sonny JAZZ P ACKAGES A VAILABLE quite quickly, both in the bands of DeFranco and Stitt, Charles Earland and numerous dates with — includes music, lodging, dinner, breakfast Handy and as a leader. In a 2005 interview with this from 1970-82 for Cadet and Columbia. author, Friedman described the move: “I realized...that Jennings died Jun. 3rd at 77. Serving breakfast & lunch at T HE M ORNING C URE the greatest jazz music, the greatest players, when they on Saturdays and Sundays would come out to California to play, they were all RANDY JONES (Jan. 23rd, 1944—Jun. from New York. So I wanted to be here too... Within a 13th, 2016) The British drummer was couple of years I started recording for Riverside...I was part of Dave Brubeck’s last quartet friends with [bassist] Chuck Israels and [drummer] Joe (1978-2012) and had early credits with DEER H EAD I NN • 5 MAIN S TREET • DELAWARE W ATER Hunt; both were on my first record. Joe Hunt had done Mike Taylor (back in England), Maynard GAP • PA • 18327 • 570-­‐424-­‐2000 a record for [label head] Orrin Keepnews with George Ferguson and Buddy DeFranco. Jones Russell [Ezz-thetics, 1961] and Joe Hunt knew Orrin. died Jun. 13th at 72. WWW.DEERHEADINN.COM Joe and I and Chuck used to get together and play. He suggested to Orrin maybe recording me and Orrin was SHELLEY MOORE (Mar. 10th, 1932— looking for someone who had a lot of original music.” Jun. 23rd, 2016) The British singer had a That June 1961 album A Day In The City led to other 1962 album for Argo, backed by a group dates for Riverside, such as 1962’s Circle Waltz, 1963’s including Ramsey Lewis, Flashback and 1964’s Dreams and Explorations. The latter and Plas Johnson, and left music for was the first of many collaborations with Zoller, with years but returned to local performance whom Friedman had played in Mann’s band. Between in her adopted home of California. 1964-66, the pair made a trio of fabulous albums for Moore died Jun. 23rd at 84. Riverside, EmArcy and Prestige, each featuring a different rhythm section and tunes by both men. SIR CHARLES THOMPSON (Mar. Speaking of Zoller, Friedman said, “Attila and I had a 21st, 1918—Jun. 16th, 2016) The pianist sort of a chemistry as people. We really loved each worked with , Lucky other basically as human beings; we really cared for Millinder, Coleman Hawkins, Illinois “LIVE AT D THE EER H EAD I NN” RECORDINGS each other. And besides that we had musical chemistry Jacquet, Charlie Parker, Buck Clayton, also. We could really hear each other’s music.” Jimmy Rushing, , Vic Friedman would continue working with Zoller Dickenson and others from 1940 until the latter’s death in 1998 and recording his songs onwards to go with over two dozen albums as a leader • Phil Woods Quintet after that. He was also active as a leader for East Wind, from 1945-2001 for Apollo, Vanguard, Columbia and • Five Play Progressive, Baystate, Ego, Owl, Stash, Jazz Road, Black And Blue. Thompson died Jun. 16th at 98. Concord, Soul Note, SteepleChase, Alfa, Abeat, 441, • Nancy Reed & Coates, John Jr. Chiaroscuro, ACT, Enja and, most recently, Edition BERNIE WORRELL (Apr. 19th, 1944— • Guitar Trio: Bucky Pizzarelli, Ed Laub, Longplay as well as making sideman appearances with Jun. 24th, 2016) The keyboard player, Walt Bibinger Henderson, Terry, Ruby Braff, Lew Tabackin, Harold recipient of an honorary doctorate from Ashby, John Shaw, Urs Leimgruber and others. the New England Conservatory of • Quartet: Joe Locke, Bill Goodwin, Jim Despite being a player with such a rich past, Music in May, was a founding member Ridl, Tony Marino Friedman’s desire always to look forward marked him of Parliament- and later • “Sweet” Sue Terry & Friends as a musician. Speaking of his career, Friedman opined: worked with Bill Laswell’s Material, “I kind of feel that my fondest musical experience is Praxis and Method of Defiance, Masabumi Kikuchi, WWW.DEERHEADRECORDS.COM always the most recent one. The thing that I did last Jack Bruce, , Jonas Hellborg and night stands out in my mind.” others. Worrell died Jun. 24th at 72. v

12 AUGUST 2016 | THE NEW YORK CITY JAZZ RECORD FESTIVAL REPORT SUONI PER IL POPOLO JAZZ FEST LJUBLJANA MONTRÉAL JAZZ FEST by mathieu bélanger by ken waxman by donald elfman a l i x p i e r l a n g o s ( c ) S u s a n O ’ C o r j z w d . m d e n i s James “Blood” Ulmer Günter “Baby” Sommer Oliver Jones

The 2016 Suoni Per Il Popolo (Jun. 2nd-19th) in Located on both banks of the picturesque Ljubljanica A diverse collection of people and music filled the Montréal followed the path of the previous one in that River, the capital of Slovenia is a pleasant city streets of downtown Montréal to create a joyous it featured more song-based forms of music. containing unique historical edifices mostly designed universal atmosphere for the 37th edition of the annual Fortunately, anyone interested in adventurous music by the city’s early 20th century starchitect Jože Plečnik. festival (Jun. 29th-Jul. 9th). Artistic Director and was likely to find something to their taste with concerts In modern times, Ljubljana has been part of the Austro- co-founder André Ménard spoke about how the festival by Wadada Leo Smith Golden Quartet; Myra Melford Hungarian Empire, under Italian or French control, has grown, expanding the notion of jazz as well as and François Bourassa in solo and duo; a world- ruled by native dictators and kings and a member of being informed by it. No matter how thorny or strange premiere performance by Yoshi Wada, Tashi Wada and the Socialist Federal Republic of Yugoslavia. After or new the music, venues were full of eager, enthusiastic Julia Holter; or the return of the discovery of the 2015 declaring independence in 1991, Slovenia joined the and attentive listeners. edition, Mette Rasmussen, this time with guitarist European Union in 2004. Always supportive of Pianist is a grand master of this Tashi Dorji. Some concerts stood out, either because of improvised music, the Ljubljana Jazz Festival music and his energy and sense of invention make the the outstanding quality of the music or because of the celebrated its 57th anniversary (Jun. 29th-Jul. 2nd) this music fresh and in the present. His trio with Kiyoshi food for thought they served up. year. Performances were presented in different indoor Kitagawa (bass) and Johnathan Blake (drums) in the For a third year in a row, Quatuor Bozzini spaces and the back garden of the multi-level Cankarjev church basement space Gesù ranged from the Brazilian organized a series devoted to a composer. Having Dom cultural center, one of Europe’s largest. music of Gal Costa, his own “New York Attitude” (an focused on the Wandelweiser collective and Alvin Proceedings started in the open air with a literal aggressive, spirited boppish affair) and standards like Lucier in 2014 and 2015 respectively, this year’s series bang when German drummer Günter “Baby” Sommer “How Deep is the Ocean”, where Kitagawa and Blake proposed a retrospective of James Tenney. The third played his first-ever Ljubljana concert. Sommer found intimate, communicative roles in the trio as well and final concert offered an interesting overview of outlined jazz’ percussion history, starting with the as making personal solo statements. Tenney’s work. The program included pieces for targeted tom-tom beat of his namesake Baby Dodds, A high point came on the next night in the same strings (“Koan for String Quartet” and “Quintext I-V: moving through the authoritative brushwork of Philly space with a celebration of Paul Bley, the Montréal- Five Textures”), mechanical piano (“Music for Piano Joe Jones, shouting “we insist!” while shaking a large born pianist who passed away in January. Beginning Player” and “Harmonium No. 3”), harps (“For Ann gong in tribute to Max Roach and bouncing his sticks the evening was a stunning piano duet by Montréalers [rising]”) and electronics (“Spectral Canon for Conlon during “Art Goes Art”, saluting Blakey while blowing Marianne Trudel and Jean Beaudet, taking on the Nancarrow”) as well as the projection of Carolee a hydra-headed upright alphorn. Sommer recognized works of Bley’s ex-wives Carla Bley (“Ictus”) and Schneemann’s 1967 short film Collage No. 2, Viet Flakes, his own free-form achievements in a concluding tune Annette Peacock (“Nothing Ever Was Anyway”) as which included a Tenney sound collage. On one hand, where he whacked mallets on a wooden box, well as Ornette Coleman (“Free”). Trudel and Beaudet the pieces illustrated the diversity of compositional rhythmically rattled maracas, patted the skins of three repeatedly brought visible joy to one another by strategies employed by Tenney but, on the other, specially tuned drums and squalled on harmonica. particular turns of phrase and in the way that each highlighted how some of pieces are more anecdotal Sommer was entertaining without creating a entered the inventions of the other. In the second part and how the pieces for strings have aged better than spectacle, but spectacle was the aim of the collaboration of the concert, the François Bourassa Trio with bassist others, especially the ones for electronics. between Surnatural Orchestra and In Extremiste, on Guy Boisvert and drummer Philippe Melanson One intellectually stimulating concert took place stage in the Dom’s mid-sized Linhart Hall later that explored a freer approach to Bley’s model and found a at La Vitrola and brought together Thomas Lehn evening. Balance with most bands involves textures, way to move between intimate dialogue and powerful (analog synthesizer), Martin Tétreault (turntables) and but here it consisted of ensuring horn section members individual expression. Dominic Lash (). The music was quite good didn’t fall off a plank revolving on top of a single milk Before he played a note at the Maison Symphonique, but, being a first meeting, it changed direction quite can. Coming across like a combination of a college pianist Oliver Jones garnered a huge standing ovation. often and ideas were sometimes discarded before they stage band and Cirque du Soleil, the enthusiastic He had, after all, announced his retirement from had been completely developed as the musicians musicians pulled off some interesting sounds while performing and is, quite possibly, Canada’s most worked out the contours of this trio. However, being being buffeted by a giant fan or sharing a see-saw with famous and popular jazz musician. So, Jones celebrated able to witness this process is precisely what made this an acrobat. Considering the evening’s focus involved his long career with a full evening of music, first in trio concert so interesting. Indeed, by the end of the set, audience volunteers pulling firmly on the stout rope format and then alongside the Orchestre National de Lehn, Tétreault and Lash had not really found the holding upright the apparatus on which tightrope Jazz de Montréal (ONJM). The evening was in many sound this trio would have—should it have a life walker Tatiana Mosio-Bongonga balanced, music was ways a tribute to , fellow Canadian beyond this concert—but they had figured out how mostly reduced to accompaniment. pianist and a longtime hero to Jones. The opening tune, they would interact with one another. A pair of groups featuring horns split a Linhart Peterson’s “Cakewalk”, set the perfect tone. Bassist Saxophonist/composer Jean Derome turned 60 in Hall show to open the next day. From the U.S. was alto Éric Lagacé and drummer Jim Doxas provided perfect 2015 and, to mark the event, he organized a year-long saxophonist Darius Jones with drummer Nasheet complement to a sparkling Jones. As it turns out, series of concerts, the last of which took place during Waits’ Equality, also including bassist Mark Helias and Peterson’s widow and daughter were in the audience. the festival at La Sala Rossa. While the other concerts pianist Abel Calderon. Jones’ blues base and loose The trio played standards like “Georgia on My Mind” of “L’année Jean Derome” presented various singsong exposition suggested Cannonball Adderley, (with calypso beats), a glowing Gershwin medley and, compositions, this one focused exclusively on maintaining modernity with foghorn honks becoming of course, Peterson’s crowd-pleaser “Hymn to improvisation. The evening was divided into four looser and more romantic as he seconded Waits’ Freedom”. ONJM was led by saxophonist Christine (CONTINUED ON PAGE 39) (CONTINUED ON PAGE 39) (CONTINUED ON PAGE 39)

THE NEW YORK CITY JAZZ RECORD | AUGUST 2016 13 CD REVIEWS

agile rhythm section of bassist Dmitry Ishenko and Malaby also lends his horn to A Life in a Day by drummer , the music is razor sharp. Australia-based English alto saxophonist David Ades. On five of these seven tunes, the trio explores, or They first met at Wangaratta Jazz Festival in 2000, literally digs, beneath the rhythmical structure. Blake when Ades guested with bassist Mark Helias’ sextet, responds to their supple open rhythms with a which also included drummer Gerald Cleaver, the straightforward riff and then exploits the roomy nature other participant here. Ades’ regular visits to New of the setting to excavate the groove deeply and the riff York bolstered the relationship and the foursome with improvisatory swiftness. Opener “The Bite” waxed an album together in 2011. There’s a poignant establishes the methodology as Blake touches on back-story to this disc: it was recorded in 2013, when

Clockwork Eastern and Western themes for a worldly excursion. Ades already knew he was seriously ill. In fact, he died Victor Gould (-New Talent) “Back to Lackritz” acknowledges the approach’s debt less than four weeks later. But in the can was a by Philip Freeman to saxophonist Steven Lackritz (aka ) with a mellifluous encounter featuring five of Ades’ appealing combination of precise technique in a freely swinging compositions, along with two by Helias, two co-written There’s very little left to say within the context of a environment. “The Louvre” varies the approach with by the pair and a final brace of free improvisation. piano trio so, fortunately, Victor Gould has chosen to Harland reacting to Blake’s opening tenor groove Ades’ style is one of natural conversational inflections make his debut as a leader with a larger ensemble. while “When I Saw You Dance” sets aside time for articulated through clean phrasing with a singing He’s joined throughout by bassist Ben Williams and everyone to take a breather with its flowing innocence. quality. That attitude also rubs off on Malaby, who drummer E.J. Strickland and/but on 8 of the album’s Two pieces, “The Incomparable Field” and eschews some of his characteristic envelope pushing. 11 tracks, there are horns present as well: trumpeter “Without Walls”, stray from the pattern by adding a Helias proves a wonderful foil for both, probing and Jeremy Pelt, alto saxophonist Godwin Louis and tenor deeply resonant chorus of winds (Brian Landrus, Josh pressing and meshing with Cleaver’s restrained saxophonist contribute fleet, technically Sinton, Sam Sadigursky, Mariano Gil) to the trio with propulsion to create a varied rhythmic carpet. Helias impressive and emotionally potent solos. And, even excellent, though sonically divergent, results. The and Ades enjoy a particular bond, manifest in their more surprisingly, a string trio (violinist Yoojin Park, former, a session highlight, flaunts angelic harmonies dialogue on expansive opener “Slow Song”, loping violist Heejin Chang and cellist Veronica Parrales) while the latter is equally hedonistic. Taken together “Going Left”, where Helias’ muscular counterpoint shows up on three tracks. With the addition of Anne they define a dialectic that Blake unearthed. Providing comes to the fore, and somber chamber exposition of Drummond’s flute and ’ percussion, stylistic hindsight, closer “The Lonely Liar” brings the “Arco and Alto”. Ades’ interplay with Malaby forms the ensemble can grow—as it does on epic centerpiece trio back to the surface as Blake’s tenor delivers a another of the highlights on “Bark”, where the “Apostle John”—to an impressive 11 members, all coolly swinging take on bop. interwoven theme sets the template for some attractive working together on a blend of jazz and modern give and take between airy alto and breathy tenor. chamber music. When the strings swirl and zing For more information, visit sunnysiderecords.com. Blake is around rippling, McCoy Tyner-esque piano and later at Threes Brewing Aug. 3rd. See Calendar. For more information, visit cleanfeed-records.com and surge behind Walden’s surprisingly fierce solo, the lionsharecords.bandcamp.com. Malaby is at Rye Aug. 4th with pulse quickens and the heart begins to soar. But “The RENKU, Ibeam Brooklyn Aug. 12th with Nick Fraser, The Return”, on which Louis is the only horn, is equally Stone Aug. 20th and Downtown Music Gallery Aug. 21st, exciting, a postbop excursion with twitchy energy. Ibeam Brooklyn Aug. 26th, Smalls Aug. 27th and ShapeShifter The Tyner influence is extremely strong. The music Lab Aug. 28th, the latter four with Billy Mintz. See Calendar. seems to recall albums the pianist made after leaving John Coltrane’s band, like 1967’s The Real McCoy and • Duck Baker—Outside (Emanem) Tender Moments. (Walden also sounds influenced by Joe • —Bluefly (Tzadik) Henderson’s work on the former.) But Gould’s own R • Fresh Cut Orchestra— voice comes through with equal clarity in the Incantations Tony Malaby Paloma Recio (Clean Feed) e compositions and orchestrations. Even when he adapts Mind Behind Closed Eyes (Ropeadope) A Life in a Day someone else’s material, as on Wayne Shorter’s c • Peter Knight—Way Out West (Jazzhead) David Ades (lionsharecords) • Peter Kuhn Trio—The Other Shore “Nefertiti”, it’s still possible to hear a unique musical by John Sharpe mind pondering the thoughts of another. The horns are o (NoBusiness) absent; Gould explores the mantra-like melody with just Since coming to New York in 1995, saxophonist Tony m • Rudi Mahall/Jürgen Wuchner/Jörg Fischer— Williams and Strickland for support and spins it out Malaby, with a big tone and versatile imagination, has In Memoriam Buschi Niebergall (Sporeprint) into complex but never meandering extrapolations. become a fixture, helming an increasing number of his m • Ray McMorrin— When the bassist takes a forcefully plucked solo, that own projects, as well as gracing many dates as a RayMack (Truth Revolution) famously keening melody returns, soft, in the sideman. As a composer, Malaby has also matured, e • —MD66 (Savant) background, as the drummer dances on the cymbals. developing an approach in which the notated elements n • ZAKS (Jesper Zeuthen/Jacob Anderskov/ not only permeate the improvisation but also emerge Rune Kielsgaard/Jeppe Skovbakke)— For more information, visit freshsoundrecords.com. Gould from it in unexpected ways to keep the listener alert. d Live at 5e (ILK Music) is at Dizzy’s Club Aug. 2nd-6th. See Calendar. An overall arc of tension builds gradually through • Denny Zeitlin—Early Wayne (Solo Wayne) Incantations, four loosely connected pieces finding e (Sunnyside) common ground in reiterated motifs and punchy d Laurence Donohue-Greene, Managing Editor closure. Malaby demonstrates his mastery of split tones and timbre throughout, but especially in the unaccompanied intro to “Hive”. ’s n • ’s Sound Fountain— elegantly chiming guitar and filigree impart color and Belle Epoque (Between The Lines) atmosphere to the program. After a boppish airy start, e • Fire! Orchestra—Ritual (Rune Grammofon) “Artifact” pivots on a busy drum solo, • Erik Friedlander—Rings (Skipstone) after which it switches to drifting textures where guitar w • Tubby Hayes Quartet—The Syndicate: effects hang like mist for a doomy conclusion. Live at the Hopbine 1968, Vol. 1 (Gearbox) Statements that may be improvised become • Dawda Jobarteh/Stefan Pasborg— The Digging purposefully doubled up by guitar/saxophone, r DUO (ILK Music) Dan Blake (Sunnyside) by Elliott Simon suggesting somewhat more forethought. Fueling the e • Emile Parisien Quartet— interaction, chattering drums shift between pummeling Spezial Snack (ACT Music) A product of the creativity that Brooklyn’s jazz scene emphasis and rumbling backdrop while bassist Eivind l • Red Trio/John Butcher— fosters, saxophonist Dan Blake’s The Digging is a Opsvik alternates diaphanous bowing and trenchant Summer Skyshift (Clean Feed) session with a fierce sense of independence in the commentary. His querulous arco and Monder’s e • Vladimir Tarasov/Eugenijus Kanevičius/ context of his many musical and spiritual influences. droplets outline the fragile melody of “Glass”, which a Liudas Mockūnas—Intuitus (NoBusiness) Loosely following his suites on early jazz (The Party develops slowly until keening soprano expands into • Lucky Thompson— Suite, s/r, 2003) and bop (The Aquarian Suite, Brooklyn an insistent growl, digging into the reiterations that s Bop & Ballads (Sonorama) Jazz Underground Records, 2011), The Digging applies close the piece. Malaby spins variations with spell-like • John Zorn—The Painted Bird (Tzadik) the same intricate chordless approach to a more intensity, becoming most emotionally expressive on e progressive postbop ethos to liberating results. Blake “Procedure”, cutting loose while Monder’s repeated Andrey Henkin, Editorial Director leans most on his nimble soprano and, with an equally phrase coolly underpins his exhortations. s

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since the late ‘90s and now up the ante to an octet with Monk’s “Epistrophy”), he forms an exceptionally John Clark (French horn), Billy Drewes (tenor locked-in rhythm section, allowing Jackson to take saxophone and bass clarinet), Clark Gayton (trombone flight and truly soar. and tuba), Bill O’Connell (piano and Fender Rhodes), This highly satisfying album is also notable for its Gerald Cannon (bass) and McClenty Hunter (drums). superb sound. Released as part of Chesky’s “Binaural Slagle’s breezy “City of Angels” is a dandy opener +” series, it was recorded using a ‘dummy’ human for summertime listening, saxophone and guitar head with microphones placed where the ears would playing a lightly swinging theme. Slagle swaggers be to capture the sense of sitting right in front of the down Fifth Avenue with his lithely muscular tone, band. The result is a lush, spacious aural experience,

Koan Stryker takes a puckish midtempo solo, mixing notes which is especially rewarding when listening with Spike Wilner (Posi-Tone) both somber and jovial, and O’Connell peels off some headphones. by Matthew Kassel genial hardbop runs in subdued, lyrical fashion. Stryker’s “Nothin’ Wrong With It” shifts gears with a For more information, visit chesky.com. This project is at Jazz fans in New York are likely familiar with Spike slightly ominous intro from electric piano and bass Iridium Aug. 10th-12th. See Calendar. Wilner: owner of West Village jazz club Smalls and clarinet until a subtly cheery theme comes in, giving founder of its counterpart label smallsLIVE. He way to some snapping solos from Drewes and Slagle. recently opened another Village club, Mezzrow, Underneath, Stryker plays slightly-discordant riffs as UNEARTHED GEM featuring intimate piano duos. He has also published a punctuation, then takes an obliquely invigorating solo. collection of transcriptions of the great Harlem stride The nod to ‘70s-era fusion continues with Slagle’s “Ft. pianist Willie “The Lion” Smith. Oh, and he’s a fine Greene Scene”, with a bit of a Latin lilt, recalling the pianist himself. pre-guitar edition of ’s Return To Forever, Koan finds Wilner leading a piano trio. He is O’Connell’s electric keys ringing out of the speakers, perhaps strongest in a solo setting; his style is a little Slagle and Stryker playing piquant unison lines. more ragged there and it’s refreshing to hear him work Stryker’s closing “Lickety Split Lounge” finds the out the songs in his head, like Earl Hines playing Duke co-leaders tipping their fedoras to the legacies of Ellington covers in the ‘70s. But supported by bassist McDuff and Turrentine in a smoldering soul-jazz gem Tyler Mitchell and drummer Anthony Pinciotti, Wilner with fervent groove and rollicking solos. is freed up to do more with his dexterous right hand, Routes brings together two vectors of the his solos light and epigrammatic (koan-like?). He’s a co-leaders’ paths—soulful grooves and thoughtful, Blue Note, Chicago, March 1956 Jeri Southern (Uptown) living encyclopedia of jazz arcana and his song choices inspired arranging for medium- and large-sized by George Kanzler reflect a deep knowledge of the Great American ensembles, combining aspects of soul jazz, hardbop, Songbook. So you’ll find a mixed bag of mostly fusion for results both creative and immediate. Jeri Southern, born 90 and died 25 years ago this medium-swing numbers: Noël Coward’s lovely waltz month, is often grouped as a jazz-pop singer with “I’ll See You Again”; a couple of Duke Ellington tunes; For more information, visit davestryker.com. Stryker is at Peggy Lee, Julie London and June Christy but it may Ornette Coleman’s mysterious “Lonely Woman”; Fat Cat Aug. 5th and Smalls Aug. 24th, both with Jared be just as appropriate to hear her as an earlier Johnny Richards-Carolyn Leigh’s “Young at Heart”; Gold. See Calendar. version of singers like , and Tadd Dameron’s “Hot House”; and a few Wilner Dena DeRose. For like the latter, Southern was also originals, including “Blues for the Common Man” and an accomplished pianist, accompanying herself in a “Three Ring Circus”. trio with bass and drums in the jazz and supper Wilner plays with vigor throughout. There’s a bit clubs where she made most of her appearances. of Vince Guaraldi in his left-hand stabs, some Ahmad However, until this album, recorded Mar. Jamal in his upper-register phrases, maybe a little 4th-8th, 1956 at Chicago’s Blue Note club with Erroll Garner in his stride-like interjections. His bassist Al Bruno and drummer Dominic “Mickey” playing is more than pastiche, but it is hard not to Simonetta, practically the exact middle of her lone reference other players because he is so devoted to the recording decade, almost all of Southern’s history. Most of all, he is playing in the tradition of discography had been studio recordings with bebop stalwarts like Barry Harris and Tommy Flanagan, orchestral or big band backing. W3’ll B3 Tog3ther Again with basic song structures—head-solo-head—and a Here Southern, not a bandleader or conductor, Thr33’s Company (Chesky) strong devotion to melody. If at times the pieces sound by Joel Roberts is fully in charge, her piano as important to the a bit dutiful, there are some that contain surprises. songs as her voice. For while her vocals are often Original “Monkey Mind”, for instance, has a rubato Aside from its rather lame name, the trio comprised of understated, conspiratorially intimate, her piano rhythm and dissonant chords. Ever the scholar, it is, veteran mainstreamers (tenor emphasizes the dramatic message. Examples include one supposes, Wilner’s homage to Thelonious Monk. saxophone), Ron Carter (bass) and her emphatic chords under sotto voce singing on (drums) delivers an inspired effort on its debut release. Johnny Mercer-Richard A. Whiting’s “Too Marvelous For more information, visit posi-tone.com. Wilner is at Though the three apparently hadn’t played For Words”; rhapsodic piano solo after a tender Smalls Aug. 2nd, 9th, 16th, 23rd and 30th and Mezzrow Aug. together since a single gig 15 years ago, there’s a strong limning of Victor Young-Edward Heyman’s “When I 3rd, 4th, 6th, 13th, 18th, 20th, 25th and 27th. See Calendar. chemistry on display right from the start. While billed Fall In Love”; and ominous piano and toms finale of as a collective ensemble, the trio has Jackson as Richard Rodgers-Lorenz Hart’s “He Was Too Good protagonist, leading his esteemed partners though a To Me”. set split among standards and some of his originals, Like Horn, Southern could slow down a song to along with a few from Carter. This is a laid-back album a glacial pace without losing the melodic thread; the of mostly midtempo and slower numbers recalling, in Gershwins’ “I’ve Got A Crush On You” is one of the its understated mood and in Jackson’s hushed, languid slowest on record, the rubato verse oozing into a tone, some of Joe Henderson’s terrific trio outings from leisurely ballad tempo. Although her voice was the early ‘80s. Though he has flown somewhat under small, as was her range, Southern used it to the radar over the years, Jackson, now 50, has maximum advantage, even subduing audience developed an improvisational confidence and control chatter and tinkling by dropping, not raising, her few of his contemporaries can match. He is especially volume. There is a palpable silence when she Routes effective on the many ballads, presenting sublime, delivers Evelyn Danzig-’s “Scarlet The Stryker/Slagle Band Expanded (Strikezone) nuanced readings of “But Beautiful”, “Dark Eyes”, Ribbons” completely a cappella. Noel Coward’s by Mark Keresman Carter’s “Candlelight” and the bittersweet evergreen “Mad About the Boy” verges on the parlando of Guitarist Dave Stryker and saxophonist Steve Slagle title tune. Mabel Mercer with just piano and voice, but have each figured in a notable chunk of jazz history Carter shines throughout, whether simply Southern proves adept at swinging with both on and had overlapping credits in one area: both played walking, soloing (his virtuoso intro to “Danny Boy” is Ray Noble’s “I Hadn’t Anyone Till You” and Cole with Jack McDuff. Otherwise, Stryker racked up years particularly memorable) or filling in the gaps where Porter’s “I Get A Kick Out of You”. with and Kevin Mahogany and one might expect to hear a chordal instrument. Along Slagle in the big bands of (posthumous), with the ever-reliable Drummond (who turns in For more information, visit uptownrecords.net Carla Bley and Lionel Hampton. They’ve had a quartet forceful solos on Carter’s “For Toddlers Only” and

THE NEW YORK CITY JAZZ RECORD | AUGUST 2016 15 example, is not a player known for certain signature GLOBE UNITY: FRANCE riffs; instead, he can effortlessly take any idea that pops into his head (or was popped there by an accompanying musician) and then transmogrify it into something larger, working it, warping it, without Criss Cross compromising its essence—inventing form, without a /Donny McCaslin/Dan Weiss (Enja) formula. You can hear this happening on “The Poet’s Are You OK? Tale” or “The Consul’s Tale”, where his arsenal of Traces Luca Nostro Quintet (Jando Music) trills, bends, slides and other ornaments never occludes Claude Tchamitchian Sextet (Emouvance) City of Poets broader logic. Palmer, a sunny player with a warm, Tournesol Jason Palmer/Cedric Hanriot (Whirlwind) expressive tone given to vocal effects, and Hanriot, Julien Desprez/Benjamin Duboc/Julien Loutelier by Tom Greenland a swinging stylist who can keep several ideas afloat at (Dark Tree) Inspired once, make notable contributions as well, moving the Yves Robert Trio (BMC Records) Note to jazz artists: if you’re going to invite tenor hardbop ethos into present times. by Tom Greenland saxophonist Donny McCaslin to your recording session, get ready for a sideman who plays like a For more information, visit jazzrecords.com/enja, France once provided a new home for expatriate leader. Three recent projects show how his charismatic jandomusic.com and whirlwindrecordings.com. Donny American musicians seeking refuge from racism, presence manifests across a variety of settings. McCaslin is at Prospect Park Bandshell Aug. 10th as part of later spawning many fine artists of its own. Today, Florian Weber has a unique approach to keyboard, BRIC Celebrate Brooklyn and Tompkins Square Park Aug. jazz is no longer a foreign ‘tongue’ there, as many often splitting his hands between acoustic and electric 28th as part of SummerStage/Charlie Parker Jazz Festival. French musicians ‘speak’ it with indigenous authority. , playing at times as if possessed by multiple See Calendar. Armenian-French bassist Claude Tchamitchian sonic personalities. For Criss Cross, a trio release fêting

was first inspired to embrace his cultural roots when the music of Thelonious Monk and Bill Evans, he he studied under André Jaume at the Avignon reenlists drummer Dan Weiss (from an earlier trio) and conservatory. Traces, a sextet offering with vocalist McCaslin, a bassless format heightening possibilities Geraldine Keller, saxophonists Daniel Erdmann and for spontaneous inventions, or what Weber refers to as François Corneloup, guitarist Philippe Deschepper “polyphonic intuition”. McCaslin has ample room here and drummer Christophe Marguet, was inspired by to expound and expand while Weber is a forceful yet Seuils, Lebanese-Armenian novelist Krikor empathetic counterweight, especially on “Time Beledian’s memoir of the aftermath of the Armenian Remembered”, “Four in One” and “Spring Is Here”, Genocide. Like the rediscovered family photos where multilateral exchanges abound. On hard- described in his book, each composition is organized grooving tunes like “T.T.T.T.” (aka “Twelve-tone Tune Trip Mode around an image of a fictional character or place, Two”) and “Evidence”, McCaslin cogently displays his Joey DeFrancesco (HighNote) fleshed out by vivid spoken word/sung creative mettle: effortlessly pushing and pulling by Alex Henderson interpretations of Beledian’s prose (translated into against the funky 23-beat rhythm on the former; French). Much of the music has a low tonal center, spinning out long-arcing serpentine phrases laced with Like many of the retro-minded Young Lions of anchored by Corneloup’s baritone horn and bowed side-slipping ornaments and snappy endings ranging Generation X who emerged in the ‘80s, organ player bass, the melodies reminiscent of Anatolian folk from low burbles to high hoarse cries on the latter. And Joey DeFrancesco is a throwback to the hard-swinging sources, the rhythms, often in odd meters, full- though he has many tasteful, understated moments, East Coast jazz of the ‘50s and ‘60s, closely identified throttle rock. most of his solos, no matter how slowly they begin, with the /Jack McDuff/Charles Earland Tournesol, a short trio set recorded in Paris, eventually ramp up to a level of adventure and tradition. DeFrancesco, whose father is fellow organ takes avant minimalism to an extreme, blending the ebullience that never ceases to amaze and satisfy. player Papa John DeFrancesco, is quite capable of tones of guitarist Julien Desprez, bassist Benjamin Guitarist Luca Nostro, a high-concept composer/ venturing beyond that tradition, however, and Trip Duboc and percussionist Julien Loutelier into an improviser from Rome, recorded his fourth album, Are Mode demonstrates that it is a mistake to pigeonhole opaque electro-acoustic soundscape. Like a stagnant You OK?, in Brooklyn with McCaslin, keyboard player the 45-year-old Philadelphian. pond, the calm surface of the music belies the John Escreet, bassist Joe Sanders and drummer DeFrancesco’s tunes dominate Trip Mode, which teeming organic life contained beneath. None of the Tyshawn Sorey. His music combines quirky melodies finds him joined by bassist Mike Boone, guitarist Dan instruments are recognizable by their signature and rhythmic structures with a rock attitude to produce Wilson and drummer Jason Brown. The only songs sounds; rubbed pots and metallophones; digital a style at once challenging and accessible. McCaslin’s DeFrancesco didn’t write are Wilson’s energetic “Who loopers; bowed percussion; subdued attacks; dynamic playing, often spurred by Escreet’s comping Shot John” and the Ray Noble standard “The Touch of swelling overtones; and heavy reverberation all add on Fender Rhodes and Sorey’s formidable beats and Your Lips”. On the latter, DeFrancesco provides some to the thick veil of sound. The result is like watching creative accent patterns, is a powerful asset to this romantic and pleasant enough vocals, featuring the a movie blindfolded: the soundtrack is there, but the project. On “…No” he slowly but steadily builds a riff heavy Sinatra influence he has shown in the past. listener is forced to imagine the plot, characters and into a solo of epic proportions; on “Trematoda” he Compositionally, DeFrancesco is far from mise-en-scène. achieves a similar effect, accelerating and decelerating predictable. Gritty, infectious soul-jazz grooves like On Inspired, trombonist Yves Robert leads a trio his rhythmic momentum within a single line or phrase. “Traffic Jam” and slow blues “Cuz U No” are very with bassist Bruno Chevillon (like Tchamitchian, a He soars without a safety net over the blues-inflected much in the Smith/McDuff vein, but the title track is former student of André Jaume) and drummer Cyril groove of “My Dear Fears” and sculpts majestic an angular postbop number that would not have been Atef, recorded live at Budapest’s Opus Jazz Club. musical figures on “I Had to Hurt You for No Reason”, out of place on one of Larry Young’s late ‘60s Blue Note Robert and Chevillon bring impeccable tone, touch which acquire sharp details within their broader albums. DeFrancesco also plays acoustic piano and technique while Atef adds world-beat bounce gestures, expansive contours often landing on sharp (“Arizona Sunrise”, “On Georgian Bay” and “The and exuberant vocals, resulting in intelligent, pinpoints. Nostro and Escreet have much of their own Touch of Your Lips”), electric keyboards and even adventurous music with a danceable groove. to add, making this album a balanced team effort. features his trumpet on four selections: “The Touch of Chevillon’s incisive plucks, slaps and harmonics, For their joint project, City of Poets, U.S. trumpeter Your Lips”, funky “What’s Your Organ Player’s together with Atef’s lively feel on assorted Jason Palmer and French pianist Cédric Hanriot drew Name?”, pensive “On Georgian Bay” and ballad percussion instruments (hand drums, cuíca, inspiration from two sources: Dan Simmons’ Hyperion “Arizona Sunrise”. shakers), often looped electronically, provide the Cantos science fiction novels (themselves based on Wilson, Boone and Brown all deserve credit for rhythmic bedrock for Robert’s expressive tone, Chaucer’s The Canterbury Tales) and Olivier Messiaen’s their flexibility; DeFrancesco gives his sidemen a which might ring high like a trumpet, slur across a seven “modes of limited transposition”, a series of variety of material to work with and they rise to the fast passage, yowl like a cat or chatter through a scales/modes, which, by nature of their inherent occasion. The fact that he moves from instrument to mute. Especially compelling moments occur on symmetry, lack a definitive tonic or ‘home’ pitch. instrument (often on the same song) as much as he “Bien dans sa Peau”, “Ideas through Running” and Recorded live at Pizza Express Jazz Club in London does no doubt kept the sidemen on their toes in the “Cahutchuca”, when the trio collectively accelerates with McCaslin, bassist Michael Janisch and drummer studio. DeFrancesco is excellent no matter what he is and decelerates over prolonged passages. Clarence Penn, the quintet’s sound harkens back to the playing and his willingness to try different things heyday of hardbop, with bluesy, swinging beats and yields unpredictable results on Trip Mode. For more information, visit emouvance.com, ebullient solos—only these guys demonstrate just how darktree-records.com and bmcrecords.hu high the bar for improvisational vocabulary has been For more information, visit jazzdepot.com. DeFrancesco is raised over the intervening years. McCaslin, for at Dizzy’s Club Aug. 11th-14th. See Calendar.

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place and, in a sense, breaking off into space-altering finds the bassist coupling his shrill, pulsating but sound-shapes does require working through the range descriptive string shakes with staccato pianism. of their axes’ possibilities. In Laplante’s case, he often Nabatov mines the piano’s darker regions while builds from voluminous micro-cells to a flinty, raging advancing the theme with tremolo jumps; his swagger recalling Joe McPhee’s performance of “Knox” percussive clunks provide the levee-cresting moment (from 1976’s hatHUT album Tenor). Evans and Laplante as the piece achieves boundless animation. are both very physical players whose music is as much Being Playing is a confab between youth and about the body and occupying/altering space, experience, Americans and Europeans. Two of perceiving bio-spatial considerations as equally Denmark’s most accomplished younger improvisers,

Secret Meeting instrumental (to this point, in February they played in Kresten Osgood (drums) and Jesper Løvdal (alto flute, Travis Laplante/Peter Evans (NNA Tapes) the vaulted space of the Paula Cooper Gallery in tenor saxophone and contrabass clarinet), make up the by Clifford Allen Chelsea). There are four cuts here, ranging from the junior contingent while Dresser’s countryman is 17-minute “After the End” to the closing 8-and-a-half pianist Butch Lacy, a colleague from 35 years ago in There was a time when horns without a rhythm minute “Sand”, where reedy gurgles and pursed, sine- San Diego. After performing with the likes of Sarah section seemed like a novelty, no matter the orchestral like warble build into half-valved sway and raucous Vaughan and Art Pepper, Lacy moved to Denmark in roles that each musician may play. Since the ‘70s and blocks before gathering into narrow traces and 1982, teaching at conservatories and composing for big ‘80s opened up the playing field and the structure of sawtooth leaps. Evans and Laplante are practitioners bands. Løvdal’s multifold instrumental skill sutures ensembles making this music, from the World of a rigorous form of interplay that isn’t without Dresser and Osgood’s contributions to those of Lacy, Saxophone Quartet to Clive Bell and Sylvia Hallett, opportunities to let teasing invention fly. who has been playing in a duo with Løvdal for a horn-based units have become nearly commonplace, decade. Popping flute lines doubled by thickening especially in the contemporary American avant garde. For more information, visit nnatapes.com. Evans is at bass pumps on “Playing”, for instance, give Lacy space Among them are groups like Premature Burial, Battle Village Vanguard Aug. 12th and Issue Project Room Aug. for a subtle swinging interlude, key strokes cutting Trance, Nate Wooley and Ken Vandermark’s trumpet- 13th. See Calendar. through the chunky narrative. “Lacy Dresser” meshes clarinet duo (taking a page from the Bobby Bradford- bass and piano strings to the extent that the pianist’s John Carter book), as well as numerous ad hoc crinkling, discursive patterning builds up to a modal- performing and recording combinations. Tenor styled accompaniment to the bassist’s chromatic saxophonist Travis Laplante, Battle Trance ringleader, progressions. “Wizard of Os” is the defining track, as is a reed player of extraordinary harmonic Osgood’s paddling continuum and Lacy’s dense resourcefulness and physical control (he’s also a tremolos allow each player to vanish down the rabbit qigong practitioner) and his latest salvo Secret Meeting, hole of free expression at points, only to rush off again. released on both cassette and CD, presents four duets The Moscow Improvisations Continuous twangs from Dresser combining banjo and with trumpeter Peter Evans, a player whose technical Jones Jones (Not Two) guzheng-like timbres shove each soloist back to a range and focused clarity are an expansive foil for the Equal Poise clattering, but connective conclusion. Simon Nabatov/Mark Dresser/Dominik Mahnig (Leo) saxophonist’s gravelly masses. Being Playing (featuring Mark Dresser) Both Evans and Laplante are improvisers with a Butch Lacy/Jesper Løvdal/Kresten Osgood For more information, visit nottwo.com, leorecords.com and firm grasp on the history of this music and of their (ILK Music) ilkmusic.com. Dresser is at The Stone Aug. 12th. See Calendar. by Ken Waxman

Putting a lie to the canard that “those who can’t, Academy Records teach”, bassist Mark Dresser hasn’t let his job in the music faculty at University of California-San Diego stop him from playing and innovating. These three & CDs CDs find the bassist in Europe, displaying the precipitous soloing and substantial rhythmic reinforcement for which he’s been known since Anthony Braxton’s fabled ‘80s quartet. The Moscow Improvisations is from a 2009 concert. Cash for new and used The enigmatically named cooperative trio Jones Jones compact discs,vinyl is completed by Bay area tenor and sopranino saxophonist Larry Ochs and Russian percussionist records, blu-rays and Vladimir Tarasov and operates during five selections as if participating in Soviet-U.S. trade talks during the August 2nd dvds. Glasnost era. Tarasov smacks his drums with the power and productivity of Alexey Stakhanov, who Judy Marie Canterino reputedly set ‘30s USSR coal-mining productivity records. Ochs’ altissimo reed-biting and crusty asides We buy and sell all are taken to the limit on “Perpetuo Mojo Jones” and August 9th evolve via theme variation to sturdy distinctiveness on Jeff Siegel Quintet genres of music. the concluding “Dialectical Jones”. Dresser’s string All sizes of collections augmentation goes through more twists and turns than pre-Second World War Soviet foreign policy; one August 16th welcome. dazzling display is on the extended “Jones Tolstoyevich Jones”, where cantering string stroking produces a Sean King spray of snapping tones by the end. Those exploratory slaps and strums are put to For large collections, good use on Equal Poise, recorded in Cologne’s Loft, August 23 where Dresser’s partners are Swiss drummer Dominik Cynthia Hilts please call to set up an Mahnig and Russian-American pianist Simon Nabatov. appointment. From “Full Circles”, the first track, the three explore an oceanic expanse where Oscar Peterson’s power, Paul Bley’s diffidence and Cecil Taylor’s dynamics are ports New York Baha’i Center of call. The pianist bolsters the melody so it becomes 53 E. 11th Street bulkier yet brisker as it evolves, whispering cymbal (between University Place and Broadway) Open 7 days a week 11-7 strokes prod without pushing and Dresser’s sharpened Shows: 8:00 & 9:30 PM accents uniquely bend the theme. With Nabatov able to Gen Adm: $15 Students $10 12 W. 18th Street NY, NY 10011 let lose a kinetic waterfall of notes with the speed of an 212-222-5159 212-242-3000 espresso brewing, the others’ rejoinders are equally bahainyc.org/nyc-bahai-center/jazz-night caffeinated. “Minor Force”, the most expansive track,

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then a steelier, moodier one to “Iceland”. Though each piece sounds in essence like an art piece, the guttural noises, ‘speaking’ and even screams of the pianist keep the feel from becoming overly weighty. A surprise here is a sketch on ’s “Night and Day”. The melody seems to emerge from somewhere inside of the artist’s being and takes shape, paying homage to its composer but also to elements of music that float around in the unconscious. It’s a

Anspruchsvoll beautiful and smart inquiry. Steve Cohn (Unseen Rain) The recording closes with the quizzically named by Donald Elfman “Can’t Get Back”, suggesting that there is no ordinary sense of past and present here. It is a dazzlingly Anspruchsvoll—the word means sophisticated or amorphous vision of the ‘un-finished’ nature of a work discerning or challenging or assertive and more in of imagination. German—is demanding yet engaging improvisation. Tue, Aug 2 VOXFEST: THE FLYING TOMBOULIANS 8PM Elizabeth Tomboulian, Lee Tomboulian There’s so much in this recording, yet in an odd way so For more information, visit unseenrainrecords.com. Cohn is NORA MCCARTHY PEOPLE OF PEACE QUINTET 9:30PM little due to the ‘miniature’ nature of the pieces. One at El Taller LatinoAmericano Aug. 13th as part of the Jorge Sylvester, Pablo Vergara, Gene Torres, Kenny Grohowski Deborah Latz, curator could say that there’s a jazz sensibility but many other Dissident Arts Festival and ShapeShifter Lab Aug. 26th. Wed, Aug 3 VOXFEST: ANIMALS IN MY EAR 8PM things arise—new music, vocalization, humor—that See Calendar. Adam Fisher, Albert Marques, Petros Klampanis, Franco Pinna A BROAD SPECTRUM - the perspectives are always changing and the music WOMEN WHO SET THE STANDARD 9:30PM Mary Foster Conklin, Deanna Witkowski, TBD; Deborah Latz, curator becomes compellingly magnetic and more than the sum of its parts. Thu, Aug 4 VOXFEST: THE SONGS THAT MAKE US SING 8PM Marianne Solivan, Bruce Barth The set opens with a “Prayer” and there are three VOXFEST: MELISSA HAMILTON TRIO 9:30PM Lee Tomboulian, Rusty Holloway; Deborah Latz, curator of them during the course of the album. All feature Fri, Aug. 5 ISRAELI JAZZ FESTIVAL: AMOS HOFFMAN TRIO 9PM clanging and dinging bells and some percussive Eric Wheeler, Eric McPherson complement. It’s hard to tell whether the sounds are OR BAREKET QUINTET 10:30PM Yotam Silberstein, Nitai Hershkovits, Keita Ogawa, Ziv Ravitz actually made by the piano but are certainly suggestive Or Bareket, host of it. That’s it, brief and haunting, and introductory to Sat, Aug 6 ISRAELI JAZZ FESTIVAL: EDEN BAREKET TRIO 9PM Or Bareket, Felix Lecaros the title track, a long-for-this-album excursion of SHAI MAESTRO 10:30PM rhythmic and richly harmonic character, which also Or Bareket, host Rings includes some noises from the throat and further Sun, Aug 7 ISRAELI JAZZ FESTIVAL: YOTAM BEN-OR SEXTET 8:30PM Erik Friedlander (Skipstone) Erez Feuer, Itamar Shaz, Gabriel Chakarji, Alon Near, David Jimenez down. Seemingly disparate fragments join to make a NITAI HERSHKOVITS TRIO 10PM by Eric Wendell Or Bareket, Ari Hoenig; Or Bareket, host most vibrant journey. Tue, Aug 9 MATTHEW WARD TRIO 8:00 & 9:30PM There are many such trips in this collection, Cellist Erik Friedlander’s latest release Rings Michaël Attias, Satoshi Takeishi including a jaunty, propulsive one to “Ireland” and showcases the work of Black Phebe, his new trio of Wed, Aug 10 SOFIA RIBEIRO & JUAN ANDRÉS OSPINA DUO 8:00 & 9:30PM

Shoko Nagai (piano and accordion) and Satoshi Thu, Aug 11 LAGE LUND 4 8:00 & 9:30PM Sullivan Fortner, Matt Brewer, Tyshawn Sorey Takeishi (percussion). Rings displays Friedlander’s Fri, Aug 12 LAGE LUND 4 9PM & 10:30PM consummate musicianship and journeyman tendencies Sat, Aug 13 Sullivan Fortner, Matt Brewer LAINIE as he seamlessly blends folk, jazz and world music Sun, Aug 14 DAVID AMBROSIO AND RUSS MEISSNER, CD RELEASE: structures into an alluring concoction. MOMENTS IN TIME 8:30 & 10PM Loren Stillman, Matt Renzi, Leonard Thompson, Nate Radley Friedlander succeeds in grabbing hold of the Mon, Aug 15 MICHAEL BLANCO 8:30 & 10:PM COOKE: harmonic character of each song and bringing out the John Ellis, Aaron Goldberg, Clarence Penn

best qualities of the trio. From the upbeat, near Tue, Aug 16 SONICFEST: BOGNA KICINSKA 8PM Benjamin von Gutzeit, Kuba Cichocki, Edward Perez, Jimmy Macbride whimsical folk leanings of opener “The Seducer” to the STAN’S HAT FLAPPING IN THE WIND 9:30PM Lisa Sokolov, Cooper Moore; Deborah Latz, curator Celebrating melancholic world music pastiche of “Tremors”, Friedlander and Co. create an environment hanging on Wed, Aug 17 SONICFEST: AIMUA EGHOBAMIEN 8PM Ben Zwerin, Scott Neumann the somber and rejoicing in the jubilant, all while SONICMUSES 9:30PM Deborah Latz, Helen Yee, Claudia Rahardjanoto clenching your heart and never letting go. Deborah Latz, curator The And it is the ease in which the songs grab you that Thu, Aug 18 SONICFEST: CAROLYN LEONHART 8PM makes Rings such a rewarding endeavor. MICHELLE WALKER & OPIUS BLISS 9:30PM Jason Ennis, Michael O’Brien, Sean Dixon; Deborah Latz, curator Aforementioned “The Seducer” lives up to its name songs Fri, Aug 19 AUBREY JOHNSON GROUP 9PM & 10:30PM with a tango-like feel. This is juxtaposed with the Tomoko Omura, Michael Sachs, Glenn Zaleski, Matt Aronoff, Jimmy MacBride

subsequent track “Black Phebe”, its more introspective Sat, Aug 20 SYLVIE COURVOISIER, MARK FELDMAN, INGRID LAUBROCK AND TOM RAINEY 9PM & 10:30PM feel further refined by Nagai’s nimble piano and Of Friedlander’s pizzicato. Wed, Aug 24 SEBASTIAN NOELLE’S SHELTER 8:00 & 9:30PM Marc Mommaas, Matt Mitchell, Matt Clohesy, Dan Weiss

The added doubling of Nagai on accordion truly Thu, Aug 25 BRAZIL FEST: SUSAN PEREIRA AND SABOR BRASIL 8PM expands the qualities of the trio. This is especially Noah Bless, Deanna Witkowski, Eduardo Belo, Vanderlei Pereira LIVIO ALMEIDA GROUP 9:30PM Benny evident on “Risky Business”, with its highly percussive Adam O’Farrill, Eduardo Belo, Zack O’Farrill

and ferocious beat. “Small Things” shows the emotional Fri, Aug 26 BRAZIL FEST: BILLY NEWMAN QUINTET 9PM Eric Schugren, Evan Francis, Leco Reis, Kenny Grohowski brevity that the accordion can exude with a beautifully BOM RITMOS - KEITI 10 10:30PM:30PM elegant timbre. Andrew Scott Potter, Steve Sandberg, Tony Cimorosi, Edi Machado, Joao Machado Carter Billy Newman, host The heart of the album is the trio of songs: “Solve Sat, Aug 27 BRAZIL FEST.: ALEX KAUTZ GROUP 9PM Me”, “Canoe” and “Waterwheel”, a suite incorporating Edward Perez, Jon Cowherd RUBENS SALLES GROUP 10:30PM looping, a compositional technique where Friedlander Leco Reis, Kenny Grohowski, John Clark Sat. August 6, 2016 | 4:30PM adds different cello parts on top of each other while Mon, Aug 29 PERCUSSION FEST.: Nagai and Takeishi improvise with and around him. LENNY PICKETT AND JOHN HADFIELD 9:30PM

The results run the spectrum of emotion, with Wed, Aug 31 BARRY ALTSCHUL, 3DOM FACTOR 8:30 & 10PM “Waterwheel” being especially reflective and Joe Fonda, Jon Irabagon thoughtful. If one were to file a complaint with Rings, it’s that

Lt. Joseph P. Kennedy Center it sounds overly similar to previous tracks later in the record. Nevertheless, when you have a set of songs this 34 West 134th Street, New York, NY crisp, fine and constructed, you won’t mind going back TICKETS: FREE // Book online at Eventbrite.com for more. Creative Engagement Creative For further information, please call NET Kathleen Saunders, Jr. at 212 926 2550 . For more information, visit skipstonerecords.com. LMCC Friedlander is at Village Vanguard Aug. 13th. See Calendar.

THE NEW YORK CITY JAZZ RECORD | AUGUST 2016 19

Hersch is one of the major living jazz pianists, but has never quite become a star. Perhaps because he is so technically refined, so comprehensive in his coverage IVO PERELMAN of the mainstream piano universe, he evades categorization. If there is one thing he is known for it is lyrical elegance, both as an improviser and composer. This album has five strong originals. “The Optimum Thing” pops like champagne bubbles. “Serpentine” is appropriately sinuous. A solo encore, “Valentine”, is

Setembro (A Brazilian Under the Jazz Influence) quiet, lovely, fervent impressionism. (Sunnyside) But when you hear Hersch do a standard, you by Ken Dryden wish, at least for a moment, that he would only play songs you know. His versions are both fresh and One of the top Brazilian guitarists for several decades, quintessential. He floods “We See”, a droll little Monk Romero Lubambo has excelled in many settings as a ditty, with extravagant, distantly related content. leader, with collaborative group Trio Da Paz and Beatles tunes are the new Tin Pan Alley. Hersch’s “For accompanying vocalists and instrumentalists. Having No One” is an adult meditation on a story of young lived in New York for several decades, Lubambo love lost. The familiar arc of the song, its rise and fall, blends jazz with his native roots. is slowed and lingered over. Hearing him in an unaccompanied context enables Sometimes Hersch and Hébert occupy opposite “PERELMAN ANd ShIPP ARE twO Of thE MOSt the listener to hear how talented he is when left to his extremes of the emotion, Hersch up high, chiming on EMPAthEtIc MuSIcAL PARtNERS Out thERE” own devices. Setembro (A Brazilian Under the Jazz the far right reaches of the keyboard, Hébert dark and dOwNbEAt MAgAzINE, juNE 2016 Influence) is a solo showcase, featuring Lubambo on low. There is a new depth of poignancy, but also a both acoustic and electric guitars, playing favorites by certain grace, a formality of wisdom and acceptance. Brazilian composers, American standards and his The melody of Jimmy Rowles‘ “The Peacocks” is a impressive originals. hovering tremolo so perfectly mysterious most Kicking off with a virtuoso acoustic interpretation musicians are content to let it stand alone. Hersch of Carlos Lyra’s “Influência do Jazz”, Lubambo comes at it again and again for over 10 minutes, demonstrates how he has earned his well-deserved arraying a vast tapestry around it, within which “The reputation. Switching to electric guitar for the standard Peacocks” is implicit, a subliminal refrain. “Darn That Dream”, Lubambo weaves intricate lines In a perfect world, where you were king, you worthy of while infusing the piece with would sit down and make him play every Brazilian rhythm. His acoustic arrangement of Chico song you ever loved. Buarque’s ballad “Joana Francesa” is intimate and lyrical, as if serenading a true love in private. For more information, visit palmetto-records.com. Hersch is A percussive approach to “All The Things You Are” at Village Vanguard Aug. 16th-21st. See Calendar. transforms this time-tested standard into a breath- taking bossa nova filled with its share of twists. Two other standards are features for electric guitar: Victor Young’s “Love Letters” is the musical equivalent of “PERELMAN IS thE LAttERdAy cOLtRANE, If whispering, a delicate, spacious ballad, while the ANyONE IS. hE’S tORRENtIALLy PROductIVE, Henry Mancini masterpiece “Days of Wine and Roses” POSSESSEd Of AN IRON-hARd tONE, dEPthLESS is brisk and lively, far removed from the somber nature LuNgS, ANd A tOtALIzINg PhILOSOPhy thAt of its namesake film. bRINgS tOgEthER AdVANcEd hARMONIc The guitarist’s compositions also stand out. His thINkINg, RhythMIc SOPhIStIcAtION engaging acoustic “Muriqui” has remarkable counter (hE’S bRAzILIAN AftER ALL) ANd AN OftEN lines within its fast-paced setting while “Nira” is a uNREcOgNIzEd gIft fOR MELOdy.” lush ballad played on electric guitar. While Lubambo thE wIRE, juLy 2016 will continue to be sought after for groups of various makeups, this CD reinforces the need for him to record unaccompanied on a regular basis.

For more information, visit sunnysiderecords.com. Lubambo is at Dizzy’s Club Aug. 16th-21st and 23rd-28th, all with Trio da Paz. See Calendar.

Sunday Night at the Vanguard Fred Hersch Trio (Palmetto) by Thomas Conrad Other than Bill Evans, no pianist has made more albums at the Village Vanguard than Fred Hersch. Sunday Night at the Vanguard is his fourth after releases of trio and solo concert excerpts from 2012, 2010 and 2002. Hersch has led trios with more famous partners, but his current one, with bassist John Hébert and drummer Eric McPherson, is his best. Now together seven years, they are an intuitive, creatively interdependent ensemble.

20 AUGUST 2016 | THE NEW YORK CITY JAZZ RECORD FEATURING JOHN MCLAUGHLIN, , GARY BURTON, C HICK DAVE WECKL, , , , EDDIE GOMEZ, VICTOR WOOTEN, , STEVE GADD ERIC MARIENTHAL,, C R FRANK GAMBALE, , O EA LENNY WHITE, , Birthday , AVISHAI COHEN, Celebration TRONDHEIM JAZZ ORCHESTRA, HARLEM STRING QUARTET, Oct 19 - Dec 11 & MORE 80 shows • 60 musicians • 15 lineups • 8 weeks 131 w. 3rd st. new york city 212. 475. 8592 www.bluenotejazz.com

He’s available now! Call Steve’s cell at 630-865-6849.

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problems that surround us, yet he entertains with his wicked sense of compositional humor. Garcia, a fine drummer of swinging ingenuity and not a little resourcefulness, tackles the big questions. Just take a look at the song titles: “Terror: Fear and Media”, “Guns Make Killing Easy” and “The Journey Is the Destination”. But Garcia’s good intentions are anything but wallowing in pity. Joined by saxophonist Noah Preminger, pianist Gary Versace and bassist

MONK’estra, Vol. 1 Masa Kamaguchi, with guest spots by saxophonist Joe John Beasley (Mack Avenue) Lovano, vocalist Kate McGarry and narrator Brendan by Scott Yanow Burke, Garcia attacks global calamity with swinging, topsy-turvy arrangements as his guide. John Beasley has been keeping busy. He was the A curious, queasy “Beautiful Dreamer” kicks the musical director of the White House concert for record off. The melodramatic “People Are Everything” , performed for both the Kennedy implores us to “see people as people whose lives are Center Honors and Monk Institute Vocal Competition, equal.” “Terror: Fear and Media” is where things really BLACK ART JAZZ COLLECTIVE was involved in the tribute to called jump off, a Monkish melody spring-boarded by a Jaco’s World and has recently worked in groups led by particularly galvanic Preminger. “Precious Lives” PRESENTED BY THE SIDE DOOR JAZZ CLUB , Grégoire Maret, Carmen Bradford, Lee intimates a ballad perhaps too soon, but it’s a welcome Ritenour and . turn as Lovano swings sweetly over rustling SSC 1441 - IN STORES NOW It was a dream of Beasley’s to write for a big band brushwork. Straight out of the Tom Waits playbook, and he has always loved the music of Thelonious “Mac n Cheese” is a -worthy discourse AJC is a collaborative ensemble com- Monk, so he combined the two worlds. The project was propelling Burke’s sly vocal recital: “Bank fees, dead Bprised of Jazz's finest rising stars. Each one of the hits of the recent Playboy Jazz Festival, bees, killing trees, shooting sprees, war thieves, SEC member is a leader in his own right and has emphasizing wild ensembles and fresh renditions of jokes, but more fees puts the joke on us folks.” Brilliant! Monk’s melodies. This studio album is not quite as The title track is a requiem, of sorts, but also a call to also been an integral part of groups led by pio- relentlessly uninhibited but it is a great deal of fun and action, its upward spiraling rhythm and pensive neers of the music including , contains plenty of stirring moments. While Beasley’s melody the sound of incoming mayhem. Bobby Hutcherson, Wayne Shorter, Ron Carter, arrangements generally keep the timeless melodies This album proves that great music always close by, the performances are never predictable. With addresses topical concerns and social issues—or at Louis Hayes, Al Foster, and its dense ensembles, heated horn riffs and mood least it should. many, many others. changes, MONK’estra shows off the inspirations of both Charles Mingus and . For more information, visit bjurecords.com. Garcia is at The big band begins the opening “Epistrophy” Smalls Aug. 17th and ShapeShifter Lab Aug. 18th, both as he founding members Wayne Escoffery, with complex polyrhythms, which are soon joined by part of the Brooklyn Jazz Underground Festival. See Calendar. TJeremy Pelt, Johnathan Blake and the late horns floating over the top. Guest vibraphonist Gary Burton weaves in and out of the ensemble. Monk’s bassist decided to form a col- knotty theme “Skippy” travels through several mood lective of likeminded musicians from the and tempo changes, with Bob Sheppard taking blazing same generation dedicated to celebrating solos on both alto and soprano saxophones, preceding a trumpet battle between Brian Swartz and Bijon African American cultural and political icons, Watson. “Oska T” has bassist Reggie Hamilton bringing as well as preserving the historical signifi- in the melody and getting funky before trumpeter cance of African Americans in Jazz. Most of Gabriel Johnson plays a very expressive solo. “Monk’s Processional” has multiple horn riffs that the compositions on this recording are build à la Mingus. “’Round Midnight” is given a inspired by one of these many icons. moody treatment by Beasley in a trio. Guest harmonica player Maret is in the lead during much of “Ask Me Now”, alternating with the adventurous ensembles. Though its name suggests a link to Complex but likable “Gallop’s Gallop”, rollicking the Black Arts Movement, spearhead- “Little Rootie Tootie” and a comparatively introspective version of “Coming On The Hudson” conclude this set. “ed by the poet Amiri Baraka, this ensemble is bound by less contentious aims. For more information, visit mackavenue.com. This project is The group upholds a vision of jazz derived at Jazz Standard Aug. 18th-21st. See Calendar. partly from the racial heritage of its all–star Tenor saxophonist roster [including] the trumpeter Jeremy Pelt, the tenor saxophonist Wayne Escoffery, the Scott Hamilton and trombonist James Burton and the drummer drummer Jeff Hamilton Johnathan Blake.” together for the first time! —The New York Times Recorded live at Marian’s Jazzroom in Bern, Appearing at Finding Love in an Oligarchy on a Dying Planet Rob Garcia (BJU Records) JAZZ STANDARD by Ken Micallef An all-round amazing performance from a phenomenal quartet that one August 17 @ 7:30 & 9:30 PM Often musicians use grants or commissions both to fund their music and make its appeal broader. would hope will see the light of day for Sometimes this leads to great music, other times to more gigs and recordings to come.” - contrived music seemingly aimed at fellow musicians Edward Blanco – AllAboutJazz.com and navel-gazing academics. New York drummer Rob Garcia follows a different, more globally oriented trajectory on his latest release. Finding Love in an iTunes.com/BlackArtJazzCollective Oligarchy on a Dying Planet offers no answers to the WWW.CAPRIRECORDS.COM

22 AUGUST 2016 | THE NEW YORK CITY JAZZ RECORD

Landgren’s trombone is featured on most of the tracks, with inspired solos on “One Hand, One Heart” and “A Simple Song” (done as an instrumental with a gospel feel). Also notable is his work on the Overture, one chorus of the song “America” from West Side Story, his trombone sounding like a trumpet fanfare. The Symphoniker is featured on an unusual swinging, uptempo version of “Maria” from West Side Story. Landgren, Siegel, Mendoza and the Symphoniker

Some Other Time (A Tribute to Leonard Bernstein) have succeeded in creating a fitting tribute to Bernstein with Janis Siegel (ACT Music) and the richness and depth of his music. It would have by Marcia Hillman pleased Maestro Lenny.

Swedish trombonist/vocalist Nils Landgren turns to For more information, visit actmusic.com. Janis Siegel is at the field of American musical theater to pay tribute to Mezzrow Aug. 23rd. See Calendar. the legendary Leonard Bernstein, choosing six songs from West Side Story, three from Wonderful Town, two from On The Town and “A Simple Song” from Bernstein’s Mass. Landgren is joined in this project by vocalist Janis Siegel, Jan Lundgren (piano), Dieter Ilg (bass), Wolfgang Haffner (drums) and Germany’s Bochumer Symphoniker. Arranger (who also conducts the orchestra) treats each song as a little vignette, instrumental accompaniment befitting the material, i.e. some songs are done only with a quartet and some In Movement with the orchestra. Some are completely instrumental Jack DeJohnette/Ravi Coltrane/Matthew Garrison (ECM) while others have vocals—either by Landgren and by David R. Adler Siegel separately or as a duo, where the former’s soft quality and the latter’s clear, multi-textured voice One needn’t look far for evidence of Jack DeJohnette’s blend well (as in West Side Story’s “Something’s multifaceted artistry, which continues to grow and Coming” and On The Town’s “Some Other Time”). surprise: last year’s AACM-themed Made in Chicago; Appropriately, Landgren’s gentle tone fits “A Quiet new solo piano LP Return; 2012 ECM boxed set reissue Girl” perfectly and Siegel does an inspired and Special Edition. To this list we can add In Movement, a touching rendition of the seldom done “The Story Of trio outing with saxophonist Ravi Coltrane and electric My Life” from Wonderful Town. bassist Matthew Garrison. DeJohnette plays drums and also piano, his first instrument. The historical resonance is deep: Garrison’s father, Jimmy Garrison, played bass with John Coltrane and died at 42 (after which DeJohnette helped raise Matthew, his godson). Ravi Coltrane, son of John and Alice Coltrane, lost his hugely influential father when he was just two. Both heirs of creative giants, Coltrane and Garrison live in a different time and have done the work of finding their own identities. They’re now among the most compelling voices of their generation. The rapport they find with DeJohnette is at once powerful and seemingly effortless. Nick Fraser - sTarer Leading off with “Alabama”, not simply a John Nick Fraser (drums, compositions) Tony Malaby (saxophones) Coltrane tune but a near-sacred Civil Rights lament, is chris Hoffman (cello) eivind Opsvik (bass) a bold step that with this trio feels instantly right. The tone is contemplative and the trio returns to that mode cD/LP reLease cONcerT: of conversation frequently through the session. It’s august 12, iBeam Brooklyn, 8:30 and 10pm satisfying that these players, who could unleash deadly 168 7th street, Brooklyn, NY chops at any time, instead give us an album so free of $15 suggested donation will include flash or pretension. Subtlety prevails, even when freely a cD copy of starer. improvised passages are at full-tilt or when Garrison $20 will include an LP. activates fuzz-tone and those enveloping, overtone- nickfraserthedrummer.com rich rock bass chords interact with DeJohnette’s hip, nickfraserthedrummer.bandcamp.com flexible groove. ibeambrooklyn.com Coltrane plays three horns with uncommon force and control: tenor on “Alabama” and “Two Jimmys” (for Garrison and Jimi Hendrix); soprano on DeJohnette’s classic “Lydia” and a piano-centric “”; and sopranino on Earth, Wind & Fire’s “Serpentine Fire” (which is fiery indeed) and the collectively composed title track. The latter’s extreme high register captures the spirit of and Steve Grossman with Miles Davis, though Garrison’s guitaristic chordal approach on the bass, warm in tone and intricately voice-led, gives the music an atmosphere all its own. At the heart of it is DeJohnette, articulating every detail, every eighth note on the cymbal, with clarity and intention.

For more information, visit ecmrecords.com. DeJohnette is at Tompkins Square Park Aug. 28th as part of SummerStage/ Charlie Parker Jazz Festival. See Calendar.

THE NEW YORK CITY JAZZ RECORD | AUGUST 2016 23

and their placement. Parker gains greater prominence in duets with each of the other participants, his emphatic reunion with Courvoisier compelling in particular. Parker wears his prowess lightly, as his streams of circular breathed notes, such as the spiraling soprano rollercoaster on “Up from Paradise”, might pass unremarked, were it not for their rightness. In that he’s well matched; Courvoisier works her entire instrument, rattling, rippling and responsive.

Ananda: The World Is Bliss What rhythm there is comes when she digs into Presented by The Side Door Jazz Club Christian Finger (Strikezone) insistent patterns, as on the extended “The American Black Art Jazz Collective (Sunnyside) by Elliott Simon Dream”. In such interactions the accomplished by Joel Roberts transitions between episodes are especially noteworthy. Ananda: The World is Bliss from drummer Christian Just listen to how Feldman steps into the breach for an This collective sextet brings together an allstar lineup Finger begins with “African Skies, Linear Lives”, tight aching soliloquy when the ensemble drops away later of rising postbop stars (saxophonist Wayne Escoffery, jazz/rock underscored by Pete McCann’s searing guitar in the same track. Feldman brings a classical purity of trumpeter Jeremy Pelt, trombonist James Burton III, and a calming piano solo from Vadim Neselovskyi. tone, which slices straight through the tensely dashing pianist , bassist Vicente Archer and Finger then adds guitarist Dave Stryker to the mix for “Death of a Salesman”. By contrast, Mori’s insectoid drummer Johnathan Blake) in a group with a political, “Truth Waltzed In”, a laid-back bluesy foray. A changing hums swirl around the edges, lending an air of mystery, as well as a musical purpose. It’s a generational landscape motivates this session and while it detracts most noticeable on both her fragmented exchange with statement of sorts, as the band is composed of from cohesion, each tune is a complete package. Feldman on “Riding on a Smile and a Shoeshine” but likeminded artists of a similar age, mostly in their Violinist Zach Brock is integral and his command also her valedictory encounter with Courvoisier on the early 40s, who graduated from major Northeast music and touch enables him to soothe or spit fire. The Mivos final “A Fountain Pen”. programs and jumped into the New York scene at String Quartet is also sprinkled throughout and approximately the same time. All are established performs without added instrumentation on the Eastern For more information, visit intaktrec.ch. Courvoisier and leaders in their own right and have played key sideman European-informed “Interlude” and classically-driven Feldman are at Village Vanguard Aug. 12th and Cornelia roles with the likes of Tom Harrell, Bobby Hutcherson, “Not Gone, Not Forgotten”. The gorgeous title cut has Street Café Aug. 20th. See Calendar. Wayne Shorter and Ron Carter, among many others. Brock in the lead while “Nights Beyond India” is an Recorded at Connecticut’s Side Door Jazz Club, exquisite symphonic study in difference, McCann the album features all original compositions, many of returning to the opener’s fusion. Vocalist Bobby Harden which were inspired by black cultural and political tries too hard to find the pathos in “Two Faces” but “For heroes. The opener, Escoffery’s spirited “Double Now” skillfully tours through tight spritely bop with Consciousness”, for example, was inspired by Civil trading guitars and quick-stepping violin. Rights pioneer W.E.B. Dubois and features some This doesn’t prepare for the expansiveness of the furious back-and-forth solos from Pelt and Escoffery, two-part “Secret Procession”. Its imagery and powerful easily two of the most explosive players around. Two textural, melodic and harmonic aesthetic make it the different tunes were inspired by Barack Obama, session’s masterwork. An overly extended drumming highlighting, perhaps, two sides of the nation’s first duet with cleanses the palate, making the black president. Escoffery’s “Awaiting Change” has a Calibrated Thickness two-part “In’s Weltenall” all the more delightful. (816Music) hard-charging urgency and sense of hopefulness while A commanding and full sounding trio exploration, by Mark Keresman Davis’ “No Small Change” is more plaintive and “Part 1: Into the Sky” sets the course and describes the introspective. Burton’s “Going Somewhere”, journey while the string quartet realizes the outcome Pianist Uri Caine’s resumé of excellent eclecticism meanwhile, is a powerful, reverential tribute to the on “Part 2: Endless Stars”. Given the project’s ambitious rivals that of his peers/collaborators abolitionist Sojourner Truth, with some brilliant work nature it is not surprising that there is a lot to digest on and John Zorn: solos; duos; trios; orchestral work; from the trombonist. Ananda: The World is Bliss. straightahead jazz based in Tin Pan Alley; klezmer; The album is dedicated to the late bassist and and interpretations of classical composers like Mahler, group co-founder Dwayne Burno, who is also For more information, visit christianfinger.com. Finger is at Mozart and Wagner. Calibrated Thickness is a trio set remembered with a fiery take on his tune “Devil Eyes”, Ryan’s Daughter Aug. 25th with and Club with bassist Mark Helias and drummer Clarence Penn, a vigorous workout for Davis and Blake. The closing Bonafide Aug. 28th. See Calendar and Regular Engagements. joined on a few tracks by cornet player Kirk Knuffke. number, Blake’s “The Shadower”, the album’s longest It’s a bracing assemblage in the nominally straightahead at more than 12 minutes, is a swirling, serpentine category (if categories you must have), albeit with homage to saxophone icon Joe Henderson, with still plenty of variety and curve balls. more exhilarating solos from the dynamic duo of Pelt Opener “Manahatta” tears out of the gate, Caine and Escoffery. playing in slightly percussive, brisk batch-of-clusters manner, Helias and Penn kicking up a swirling, joyous For more information, visit sunnysiderecords.com. This onslaught of swing. “Icicles” leans toward free jazz to project is at Jazz Standard Aug. 17th. See Calendar. a degree; there is no theme in the traditional sense yet plenty of slightly abstract lyricism, plus drama and forward motion. Without being overt about it, “Night Wrestler” and Miller’s Tale “Scatterbrain Suite” recall the soul/R&B-accented Sylvie Courvoisier/Mark Feldman/ styles of Les McCann and Gene Harris, not so much Ikue Mori/Evan Parker (Intakt) by John Sharpe with the rhythmic context but rather with Caine placing funky notes just so amid his hardbop A series of residencies at The Stone has headlined extrapolations and punchy modern clusters. The iconoclastic English saxophonist Evan Parker with a forceful, weaving “Hidden Glances” features bristling galaxy of NYC-based improvisers. One of Parker’s cornet and inside/outside dynamics. Rhapsodic and finest discs (Either Or And, Relative Pitch, 2013) melancholy “He Said She” finds Caine letting the documented his duo with one such player, pianist European classical side of his palette color the picture. Sylvie Courvoisier, and for Miller’s Tale the pair are While there are indeed many fine piano trio albums joined by the violin of Mark Feldman and the electronics in the marketplace, Calibrated Thickness has the selling of Ikue Mori. With such an experienced crew, it’s no points of concision, gripping sense of urgency and surprise that the unscripted interplay is both surefooted variety of engaging moods, sometimes within the same and focused, yet also unpredictable. Four group pieces piece. While Caine is indeed an eclectic sort, all the precede five duets exploring every combination, assorted influences are well-woven into his approach. excepting Courvoisier and husband Feldman. To chart the dialogue of the quartet cuts would be For more information, visit uricaine.com. This project is at impossible, due to both the sheer variety of sounds Smalls Aug. 29th. See Calendar.

24 AUGUST 2016 | THE NEW YORK CITY JAZZ RECORD KENNY WERNER LIVE KENNY WERNER SOLO 07/29/16 SPARKILL, NY unions arts center

KENNY WERNER TRIO with ari hoenig and johannes weidenmueller 08/09/16 NEW YORK CITY, NY dizzy’s club coca-cola 08/10/16 NEW YORK CITY, NY dizzy’s club coca-cola PIT3083 PIT3087 KENNY WERNER TRIO JOYCE MORENO & KENNY WERNER THE MELODY POESIA KENNY WERNER piano JOYCE MORENO vocals JOHANNES WEIDENMUELLER bass KENNY WERNER piano ARI HOENIG drums www.pirouet.com

Warren’s “September in the Rain”, ’s geography of the musicians, two of whom almost “Key Largo” or Cole Porter’s “All Through the Night”, never play stateside, but instead to the taut, fluid enjoying a strong rapport throughout the album. Both melding of tune and free play, improvisation and Hamiltons sound like they are enjoying one another’s African folk forms within a cohesive whole. Both company immensely and Hendelman shows his Hawkins and Eisenstadt have studied African and flexibility as a pianist, offering excellent support AfroCaribbean musics extensively—the pianist in part whether the tenor saxophonist is playing at a fast through work with South African drummer Louis tempo or displaying his masterful ballad style. Moholo-Moholo and Ethiopian vibraphonist Mulatu In a perfect world, this meeting would have Astatke and with Eisenstadt’s time experiencing the

Live in Bern happened decades ago but Burns never gave up and music of The Gambia and Senegal in overseas sojourns. Scott Hamilton & Jeff Hamilton Trio (Capri) his persistence yielded fine results. For Owl Jacket, the drummer arranged Gambian by Alex Henderson traditional “Mamady Wo Murado Sa” and Ghanian For more information, visit caprirecords.com. Jeff Hamilton is at tune “Dogbe Na Wo Lo”, which opens the album. On In the liner notes for Live in Bern, Capri Records Blue Note Aug. 25th-26th with Monty Alexander. See Calendar. the latter, Hawkins generates rhythmic cells in rubato President Thomas Burns explains that although he has ‘unit structures’ (the sound of early Cecil Taylor known tenor saxophonist Scott Hamilton and drummer echoes), slightly behind the fractured curls of Bynum’s Jeff Hamilton (no relation) for more than 30 years, it horn and Eisenstadt’s mallet work until the quartet wasn’t until this album that he finally brought them congeals into anthemic slink, halting gulps and muted together to record. The former had contractual screams cresting the rhythm section’s consonance. obligations for many years and both have such busy Bynum’s “Coyote” is a darting, clambering call-and- schedules. The two finally managed to unite in May response overlay growing naturally out of the bassist’s 2014 at Marians Jazzroom in Switzerland. choppy “Jacket” and his papery, diffuse howls on This doesn’t sound like a live recording. There are “Mamady” call to mind Bill Dixon and Lester Bowie no traces of a live audience on any of the performances, across the dialogic tumble of snare and floor tom. An which range from Michel Legrand’s “Watch What airy pulse emerges, Hawkins spinning out effusive, Owl Jacket Happens” and Arthur Schwartz’ “You and the Night bright melody in glinting repetition and chewy The Convergence Quartet (NoBusiness) and the Music” to Billy Strayhorn’s “Ballad for Very by Clifford Allen breakdowns as he and Bynum feed one another delicate Tired and Very Sad Lotus Eaters”. Scott Hamilton (59 reworkings of form. If the six pieces aren’t exactly a when Live at Bern was recorded) has not changed much An appropriate name for a group consisting of North suite, they utilize similar interlocking cells and hew to since the late ‘70s, still favoring a breathy style drawing American (drummer Harris Eisenstadt and cornet simple, additive elaboration or, as this writer’s partner on the influence of Ben Webster and Coleman Hawkins player Taylor Ho Bynum) and English (pianist calls it, “nursery rhyme music”. The Convergence as well as , Don Byas and Al Cohn. He is Alexander Hawkins and bassist Dominic Lash) Quartet would probably not make too many bones quite compatible with Jeff Hamilton’s acoustic trio of musicians, The Convergence Quartet has been active about such a comparison with their rickety cycle. pianist Tamir Hendelman and bassist Christof Luty, since 2007, releasing four discs on independent labels whether the four are turning their attention to Harry NoBusiness, Clean Feed and FMR. But the convergence For more information, visit nobusinessrecords.com. Taylor “Sweets” Edison’s “Centerpiece”, Al Dubin-Harry in their name is not merely attributable to the far-flung Ho Bynum is at The Stone Aug. 18th and 24th. See Calendar.

Two special nights of music with The Dena DeRose Trio featuring Martin Wind and Matt Wilson Katie Thiroux Mezzrow - August 19 & 20, 2016 Jazz at Kitano Performing songs from their newest CD United (HighNote) and more…!! with Justin Kauflin LAST NYC PeRfoRMANCeS THiS YeAR!! and Matt Witek “Dena has grown into one of the most acclaimed pianist/vocalists in jazz…” August 17 (Ken Dryden - The New York City Jazz Record) 8pm and 10pm “Uniformly Exquisite…becalmed majesty escalating to vibrant exaltation.” Call for reservations (Christopher Louden - Jazz Times) 212-885-7119 66 Park Avenue

“Thiroux is an assured and relaxed vocalist, excellent bassist and talented composer” -The New York City Jazz Record

©Antonio Porcaro katiethiroux.com

26 AUGUST 2016 | THE NEW YORK CITY JAZZ RECORD

romanticism and lavish lyricism. “Hairpin & Hatbox” Albanese’s latest release pairs him with the has delicate background horn and woodwind lines extraordinary bassist Eddie Gomez and seasoned slinking their way through his guitar part. “The Bed drummer Willard Dyson. Though the primary focus is We Made” displays a beautiful solo intro before gently on the pianist’s original compositions, the three jazz segueing into the verse with ease and melodic clarity. masterpieces he tackles are exceptional performances. While Cline’s choices as a composer and interpreter The delightful interpretation of Bill Evans’ title track is of song are strong and gorgeous, Lovers would not something Gomez knows well from appearing on its have the emotional brevity if not for the fortitude of debut recording with the composer and his long tenure arranger/conductor Michel Leonhart, who brings out with the late pianist. Albanese’s approach takes a very

Lovers the musical character of each piece. The only misstep is different direction, replacing its pensive air with a Nels Cline (Blue Note) a take on Sonic Youth’s “Snare Girl”, which, feels out tense interactive trio improvisation and unresolved by Eric Wendell of place with its jangly guitar heroics and crunchy ending. Billy Strayhorn’s “Isfahan” is drenched in arrangement. playfulness, with lots of surprising twists and a potent Experimental is an all-too-easy catch-all to describe While Lovers seems like a detour, its sincerity and left hand ranging from stride to swing to bop, accented guitarist Nels Cline. Lovers, his Blue Note debut, is unique aural appeal never feel slight or superficial. by occasional soft mouth popping. A solo rendition of to his career thus far: playing the part of a traditional jazz Clare Fischer’s “Pensativa” is just as impressive, guitarist and even taking stabs at the Great American For more information, visit bluenote.com. Cline is at The continuing to surprise as it evolves through many Songbook. The result is a gorgeous double album that Stone Aug. 2nd and 23rd-28th. See Calendar. different facets. constantly has your ear doing double takes. The pianist’s originals merit equal attention. The

What is noteworthy is the restraint Cline exhibits, engaging AfroCuban piece “El Raton” puts Gomez out forgoing the more effects-laden sound that has made front with his adept bass work and soft scatting in him a star among modern guitarists. Cline’s dedication unison, Dyson’s strong rhythmic drive fueling the fire. to creating a timeless album is apparent from the Hard-charging “Herbie Lix” was inspired by an muted guitar tones, lush string arrangements, and improvised motif played by Herbie Hancock with pitch-perfect horn accompaniment (among the many Miles Davis at the Plugged Nickel. Albanese develops participants are trumpeter Steven Bernstein, clarinetist the snippet into a full-fledged postbop vehicle far Ben Goldberg, guitarist Julian Lage and cellist Erik unlike a typical Hancock performance of the ‘60s. The Friedlander). This rings especially true on the covers, humorous original “Changes” is a satirical takeoff on such as Richard Rodgers-Lorenz Hart’s “Glad To Be music theory, which Albanese sings in a scratchy voice Time Remembered Unhappy”, which includes rich horn lines and while playing its twisted melody, inviting comparison Bob Albanese (Mayimba Jazz) whimsical woodwinds. Cline does employ effects, but by Ken Dryden to similar songs penned and performed by Red uses them sparingly to great success. Jerome Kern- Mitchell. This is a solid effort by Albanese, who is Oscar Hammerstein’s “Why Was I Born?” is a great Bob Albanese has covered so much stylistic ground that worthy of greater recognition. example where Cline cleverly employs delay, bringing jazz fans can be forgiven if they haven’t heard his work. a slightly menacing feel to the song. The pianist’s versatility in theater, Latin music and pop For more information, visit mayimbamusic.com. Albanese is Cline’s compositional efforts show resounding has paid dividends in his approach to improvising. at Cleopatra’s Needle Aug. 19th. See Calendar.

THE NEW YORK CITY JAZZ RECORD | AUGUST 2016 27

IN PRINT

Perihelion Dave Rempis/Joshua Abrams/Avreeayl Ra + Jim Baker (Aerophonic) Corpo Polynya Ivo Perelman/ (Leo) Gunwale (Aerophonic) by Clifford Allen by John Sharpe The Boston Creative Jazz Scene 1970-1983 Tenor saxophonist Ivo Perelman and pianist Matthew (Cultures of Soul) Given reed player Dave Rempis’ track record as an Shipp have appeared together on 18 releases in 19 by Clifford Allen activist organizer in Chicago, it should be of little years, starting with the duet record Bendito of Santa surprise that he also runs his own label. That work Cruz (Cadence Jazz Records, 1996). Their language has While New York lays claim to being the center of the ethic may have rubbed off from erstwhile employer scaled outward into tough ensembles but it is in duet jazz universe, a number of cities along the Eastern Ken Vandermark, whose flagship outfit Rempis joined that their conversations are most keenly heard, Seaboard boast original, self-contained musical at 23. Straight away, Rempis served notice of his talent, reaching for craggy harmonic light and, with breath development and closely-knit communities. Boston is unleashing fluent solos complementing Vandermark’s and fingers, spreading wide the partials of a given probably among those with the most significant charts. At the same time he developed further outlets tone. Corpo (“corpse”) is their latest and fourth duo stamp in postwar jazz and improvised music, partly such as Triage, Rempis Percussion Quartet, Engines disc (after 2015, 2012 and 1996 sessions on Leo and because of jazz-centric institutions like New England and Ballister. But not resting on laurels, his latest batch Homestead), and features 12 relatively brief untitled Conservatory of Music and of releases features two further groups. improvisations, recorded in stunning detail. as well as short-lived education programs like the On the double disc Perihelion, Rempis reignites his It’s important to consider the fact that while none Lenox School of Jazz. The city has been home to a working unit with bassist Joshua Abrams and drummer of the pieces is much over six minutes and are all laundry list of the world’s most accomplished Avreeayl Ra that debuted on Aphelion in 2014. They spontaneous realizations, the dialogue between piano improvisers, such as guitarist Joe Morris, pianist Ran ransack the free jazz milieu, casting aside compositional and tenor saxophone is honed to such a degree that the Blake, saxophonist , and integral to frameworks in favor of unfettered collectivism. entire program folds into an overarching suite-like the development of saxophonists Sam Rivers and Abrams’ angular sawing introduces the first disc and structure. Thus, even when freer paths emerge—lithe David S. Ware, pianist Jaki Byard and drummer Tony the interplay with searing alto alerts the listener to the and somewhat gravelly brush-strokes swiping Williams. But the book hasn’t really been written on quality in store. And it’s not a false dawn. Rempis’ methodically against tousled cells before chasing Boston’s creative music history. There is a step in the acerbic wail graces three prolonged extemporizations, rivulets in a quavering bounce—the results have an right direction with The Boston Creative Jazz Scene moving from quicksilver lyricism via multiphonic ordained weight. 1970-1983, a boxed set containing two LPs or CDs of screeches to impassioned speaking in tongues. While The dance between muscular tension and the carefully-chosen pieces from underground avant conversational three-way exchange often bursts into process of release is held throughout these pieces and garde jazz classics of the period, as well as a 77-page skronk, then subsides, there is also an inclination resonates with Perelman’s own thinking—alongside booklet comprised of a multi-part essay and towards grooves, particularly with Abrams’ guimbri- intense rigor, he experiences the world with “open additional liner notes written by Mark Harvey, a evoking patterns. Everyone knows not only when to Chakras” and has an almost childlike fervor for trumpeter, minister and jazz lecturer at MIT. play but perhaps more importantly when to stop— painting, music and literature. At the core of his Interspersed with rare archival photographs and witness how Ra drops out towards the end of playing is “the physicality of how to extract the facsimiles of gig flyers, Harvey’s text makes a “Enceladus”, changing the mood from anarchic to sounds” (I interviewed Perelman in 2013) and he’s profound case for a rich environment of meditative, with gently lapping tenor flanked by spent years working through the infinitesimal nuggets experimentation and distillation in the period after Abrams’ clarinet and Ra’s wooden flute. On the second of harmonic series. These are very small areas, or the deaths of John Coltrane and Albert Ayler. Building disc, Rempis adds Jim Baker’s keyboards, which span tolerances, within sound production, yet breaking on connections made through Blake, pianist Lowell fractious commentary to pastoral melodicism. On the them apart and investigating their nuances results in a Davidson and bassist John Voigt (all associated with final “Pan and Daphnis”, Baker’s electronic buzzes, massive array of directional, closely-valued hues. That the colleges in some way) and early stamps made by burbles and hums combine with bass flurries and isn’t to say the music he and Shipp make is completely Cecil Taylor and reed player Ken McIntyre, a coterie breathy staccato tenor saxophone to create a drifting abstract, for the pianist can eke out deliciously Monk- of young musicians sought to blend strains of jazz, atmospheric piece, demonstrating the band’s reach. ish song fragments and gospel references, which offer free music, electrified rock and modern compositional More edgy is Polynya by Gunwale, which matches a robust pillow for Perelman’s velvety scrapes and devices with dance, poetry, spirituality, clean living Rempis with upcoming members of the next generation keens. and DIY performance spaces. Most of these are of Chicago improvisers in the bass of Albert Wildeman In concert at The Stone (Jul. 12th), kicking off a relatively unknown to the larger jazz public and and percussion and electronics of Ryan Packard. While six-day stand of Shipp-curated concerts at the (when they exist) the recordings produced are at times also plowing the fire music furrow, Gunwale venerable Lower East Side space, the pair set off into incredibly scarce (including ensembles like Worlds’ also explores more extreme soundscapes, like early on an uninterrupted hour-long improvisation without a and saxophonist Arni Cheatham’s Thing). in the lengthy “Wire”, when Rempis’ raw shrieks rub word. In person, Perelman’s tenor feels warmer and Harvey, whether through interviews or quoted shoulders with creaking arco abrasions and percussive less crystalline than on record, yet still he is able to fill texts from reviews and other (mostly online) sources, outbursts. Any rhythm and time tend to come from the room completely with yowls, staccato drips and gives life to experiences that are otherwise ephemeral. Rempis while bass and drums are more concerned brittle, heaving outpours. His tone is massive yet with There are a few gaffes needing correction—notably, with sound manufacture and noise-based surges. an ability to recede immediately into ghostly scrawl, late reed player-pianist Michael Cosmic and New Disjunct episodes add to the uneasy ambience, as in pulsing in waves against and inside the room’s brick York folkie Cosmic Michael are not the same person— the middle of the same number when a high reed and wood architecture. In addition to the spatial but Harvey deftly wraps characters into the whistle blends with electronic pitches and drum clatter. aspects of their playing together, both he and Shipp scenography and traces a lineage of both popular and At times Rempis takes a back seat, as on “Bevel”, where engage in a sonic push-pull, wherein the tenor may barely-discussed musicians in an intricate, parallel he lays down long tones to provide a backdrop for the sound lilting and brittle as the piano’s pedal-actuated dance. There are moments when it appears he’s timbral adventure. In doing so, a new paradigm for blocky swirls take hold, or Shipp may detail in taking himself out of the story, which is surprising improv is proposed, distant from the back-and-forth of concentrated filigree behind swells of gritty breath. For since he was quite involved from 1968 onward, but much of the practice, as low-key propulsion holds the most part, they danced together, although for the most part a healthy balance of objectivity and sway while saxophone oscillates in minimalist fashion. occasionally each player would take a few minutes to nuanced biography is integral to the story. With a “Liner” signals a return to the barnstorming style of expound unaccompanied while the other sat and number of healthy audio examples excerpted from a the opener, with a loose boogaloo periodically erupting listened. After both stopped and the concert was over, variety of privately-pressed independent LPs, the from the droney and fragmented approach. lived time felt like far less than an hour—after all, a excavation of Beantown’s sonic history is one step prolonged gaze at the ineffable generally removes closer to completion. For more information, visit daverempis.com. Rempis is at one’s experience from the clock. The Stone Aug. 24th and 27th, Manhattan Inn Aug. 25th For more information, visit culturesofsoul.com and New Revolution Arts Aug. 26th. See Calendar. For more information, visit leorecords.com

28 AUGUST 2016 | THE NEW YORK CITY JAZZ RECORD

rendition of “Fifty-Fifty” showcasing Mike Boschen’s ’s “Dayride” or “Topa-Topa Woman”, gritty trombone, a boisterous chorus by long-time the music sounds quite dated. Only a concise version baritone saxophonist Barbara Cifelli, along with the of “” rises above the innocuous dance music. spirited playing of alto saxophonist Cliff Lyons and After a few more increasingly dismal efforts for pianist Bob Quaranta, before returning to a brief Columbia and a couple of albums from his 1987-88 reprise of “The Grand Wazoo”. funk group High Voltage, Ferguson performed Ex-Zappa sideman Napoleon Murphy Brock is a straightahead jazz with his ten-piece group Big Bop delightful guest on “Pygmy Twylyte”, “Andy” and the Nouveau. He never lost his ability to amaze audiences loopy “Po-Jama People”. One misfire is multi-tracked with his playing and was a cheerleader for and role

One Child Left Behind vocals in “Village of the Sun”. One of the twists is a model to a new generation of young trumpeters who Ed Palermo Big Band (Cuneiform) lounge-like treatment of Neil Young’s “Harvest Moon” marveled at his effortless high notes, allowing one to by Ken Dryden with a sincere vocal by Bruce McDaniel and thoughtful forgive the excesses of Conquistador and Hot. scoring by Palermo. The leader’s own writing can’t be In college Ed Palermo was immersed in the rock music overlooked, especially his swinging “Vengeance” and For more information, visit bgo-records.com he grew up with in addition to playing jazz. Frank tense, multi-faceted “The Goat Patrol”. Zappa was one of his favorites and following the rocker’s death in 1993, Palermo put together some big For more information, visit cuneiformrecords.com. Palermo’s ON SCREEN band arrangements for a tribute concert. He recorded Big Band is at Iridium Aug. 19th-20th. See Calendar. the first of several Zappa-themed CDs in 1996 and has developed a large book, constantly tinkering with charts and adding new material, with dedicated musicians (many of whom have been playing with him for most or all of the past two-plus decades) and a strong fan base. While One Child Left Behind is humorously packaged, it is filled with potent musicianship and inventive charts. The Zappa selections come from the early to mid ‘70s, beginning with a straightahead interpretation of “Cleetus Awreetus Awrightus”, first recorded by the Virtual Tour: A Reduced Carbon Chameleon/Conquistador/Hot Footprint Concert Series (pfMENTUM) short-lived Grand Wazoo big band. Ted Kooshian adds Maynard Ferguson (BGO) by Ken Waxman a fun touch with his campy piano solo while Bill by Scott Yanow Straub’s quick chorus on tenor saxophone provides Ever notice that people are never shown watching icing on the cake. Palermo’s arranging gifts are Maynard Ferguson, who died 10 years ago this month TV images on television programs? That’s because displayed in his thoughtful setting of the lesser-known at 78, was a phenomenon when it came to hitting high the concept of a viewer watching a screen showing “Spider of Destiny”. Palermo’s miniature setting of notes on the trumpet, doing much of his finest jazz someone watching another screen moves into the “The Grand Wazoo” segues into an in-your-face, funky work for the Roulette label during 1958-64 at the head surrealistic realm of a René Magritte painting. This of his hard-swinging and boppish big band. After is one drawback of Virtual Tour, wherein four breaking up his orchestra, he led a sextet, spent time California-based musicians—pianist Myra Melford, living in India and England, signed with the Columbia bassist Mark Dresser, trombonist Michael Dessen label and recorded his M.F. Horn series, which found and flutist Nicole Mitchell—play in real time via him opening his music to rock and funk while still high-speed uncompressed audio and high definition performing some straightahead jazz. video connections alongside separately linked SHUNZO OHNO Three of Ferguson’s albums from the ‘70s are ensembles in Amherst, MA, Stony Brook, NY and reissued in full on this two-CD set. The most intriguing Zürich, Switzerland. Oversized video screens are on set is 1974’s Chameleon, which has Ferguson leading a stage with each, at points providing some arresting 13-piece orchestra consisting of five , two close-ups of intricate solo explorations or intense , three reeds and a rhythm section. The responses to one other’s playing. This is especially music is high-powered and filled with Ferguson’s obvious during lick trading from Dessen and fellow stratospheric blasts. While often funky, particularly trombonist Ray Anderson in Stony Brook, but during one of the best versions of Herbie Hancock’s throughout the 193[!]-minute program there are title track, the latter part of “La Fiesta” and “Living For many shots of one group or another waiting to play The City”, there is a good mixture of the artistic with following solos taken elsewhere. That is, visuals of the commercial. Ferguson takes a rare vocal on “I Can’t people watching other people on TV. Get Started” while the uptempo straightahead minor With a total of 26 technicians on hand compared blues “Superbone Meets The Bad Man” gives him a to 15 musicians, the performances are about as close chance to switch to trombone in a battle with baritone to a relaxed jam session as a NASA rocket is to a saxophonist Bruce Johnstone. bicycle. In interviews included as extras, Dresser By the time of 1977’s Conquistador, Ferguson was and Dessen admit to the fragility of working with seen by the Columbia label as a commercial artist, one brand-new technology that could crash at any time. who could sell quite a few records. That set begins “The bandwidth is our instrument in a way,” says with the biggest hit of the trumpeter’s career, his the bassist. But he admits that one reason these surprisingly successful version of “Gonna Fly Now” combinations work is the long history most of the (the “Theme From Rocky”). During most of the other players have with one another. Dessen affirms that numbers on this album, Ferguson’s own group is such experiments teach everyone involved about buried beneath a huge ensemble of guest musicians contemporary music. “Tele-presence has the SaT -August 13 - 7:00PM that include 13 brass, two saxophonists, a large rhythm opportunity to reshape musical traditions and create The Public Theater, 425 Lafayette St, New York, NY 10003 section, up to eight background singers and 17 strings. new ones.” The rhythms are often inspired by disco and the music Some of the happenings may be a little too is quite a mixed bag of attempts at other pop hits reminiscent of Frederick Banting going through FEATURING: including the “Theme From Star Trek”, “Mister painstakingly controlled experiments before PAUL BOLLENBACK Mellow” (a light funky workout for ) producing insulin. There are passages that don’t and “Soar Like An Eagle”. While the album sold well, connect. Don’t try to watch the entire video all at David Berkman it helped lead to the jazz world finding it difficult to once either. Best appreciation comes by isolating Darryl Johns take Ferguson’s music too seriously. individual sets. Hot from 1978 is of even less interest. Whether it is Jerome Jennings the “Rocky II. Disco Theme” (which features grunts For more information, visit pfmentum.com. Mark from Sylvester Stallone), a remake of the Star Trek Dresser is at The Stone Aug. 12th. See Calendar. LYDIA LIEBMAN PROMOTIONS theme or such forgettable disco romps as “Gabriel”,

THE NEW YORK CITY JAZZ RECORD | AUGUST 2016 29 eight days, with local improvisers appearing at each traditions, the third disc’s trio of violinist Alison BOXED SET event as well. There’s nothing ‘catch-as-catch-can’, Blunt, violist Benedict Taylor and bassist David however, about the presentation. Each CD is devoted Leahy have deep roots in European classical music, to one of the groups, with tracks from different favoring spiky, edgy dialogues suggesting the venues, and each testifies to the creativity, range and abstract precision of a Webern score. It’s exhilarating coherence of free improvisation, heightened by the music, played on strings that couldn’t be wound any focus provided by a concentrated tour. tighter. Their breadth is apparent when they change The first CD, entitled Chasing the Peripanjandra, tack to become a kind of percussion ensemble, is devoted to a series of pieces by the trio of everything rendered with drum-like pizzicato. saxophonist Evan Parker, bassist John Edwards and There’s something spectacular about the John Russell. It’s a regular trio of musicians recording concluding CD by singer Kay Grant and clarinetist together since London Air Lift (FMP) in 1996. Given Alex Ward, whose work often reveals the closest Mopomoso Tour 2013: Making Rooms that, the range of ways in which they interact can interaction, a detailed mirroring of parts. Ward is a Various Artists (Weekertoft) still surprise. They sometimes use a conversational master of multiphonics, at times generating a maze by Stuart Broomer style in which one seems to begin a line, another of sounds in the traditions of Parker and John continues it and the third provides a tentative Butcher, while Grant belongs to that rarer company Mopomoso is a significant institution in European conclusion or shift in perspective; or two may who have extended some of the same sound free improvisation. It was founded as a presenting provide a supporting hive of sounds or alternative production techniques to the human voice. At times, institution in 1991 by English guitarist John Russell punctuations to the discourse of a third; there are the two can explode into a celebration of sound, their and composer/pianist Chris Burn and began by moments as well when all three will weave a wall of individual parts barely distinguishable in the buzz launching monthly concerts at the Red Rose Club in dizzying harmonics. A sudden slow-down can suggesting birds, insects and industrial noise. The London, a relationship that continued for 17 years suggest that that was always the internal tempo and piece named “Oxford” for its performance site moves until circumstances dictated a move. Without it’s all done with the fluency and precision of from the quietest of lyric performances to an missing a performance, the series moved to The dervishes. exploding convergence in which each part seems to Vortex, where it continues to this day, each Pat Thomas presents a set of solo piano that is become the other. performance presenting several ensembles. Among consistently engaging and resourceful, whether his As with any genre, a few celebrated performers Mopomoso’s services to free improvisation is a hands are at the keyboard or delving under the lid. inevitably get the most attention. However, while remarkable collection of performance videotapes, There is occasionally a certain ruminative this set may provide in Parker the most immediately many made by Helen Petts, available through resemblance to the solo playing of Thelonious Monk recognizable figure, the other performances YouTube. This four-CD boxed set commemorates the or Andrew Hill, but Thomas can suddenly explode consistently testify to the inherent value of free organization’s 25th anniversary and launches a new into percussive life, rapidly hammering clusters or improvisation, a musical methodology as rich in label, Weekertoft, a compound of words from spinning clouds of sound from the lowest to the substantive content as it is in means of sound Russell’s Kent dialect meaning “ear farm”. highest registers, only suddenly to revert to the production. The set documents a 2013 tour that took four tinkle of a music box. different improvising units to seven English cities in If the foregoing musicians have clear ties to jazz For more information, visit mopomoso.com

AUG 1 AUG 15 taking off: julian lee and monday nights with wbgo: friends claudia acuña

AUG 2 AUG 16–21 jon irabagon quartet trio da paz & friends play the music of jobim, getz, and other AUG 3 brazilian classics john ellis and double-wide AUG 22

AUG 4–7 marcus strickland quartet ben wolfe quintet featuring nicholas payton AUG 23–28 trio da paz & friends play the AUG 8 music of jobim, getz, and other jazz house kids with host brazilian classics christian mcbride AUG 29

AUG 9–10 fresh cut orchestra: mind kenny werner trio behind closed eyes release party

AUG 11–14 joey defrancesco trio AUG 30–31 tito puente jr. band

swing by tonight set times 7:30pm & 9:30pm jazz.org / dizzys

Jazz at Lincoln Center’s Frederick P. Rose Hall Broadway at 60th Street, 5th Floor, nyc

30 AUGUST 2016 | THE NEW YORK CITY JAZZ RECORD MISCELLANY ON THIS DAY by Andrey Henkin

On View at the Five Spot Café Main Stem Purple Foolin’ Myself People Music (Blue Note) Oliver Nelson (Prestige) Miroslav Vitous (Sony Japan) Jaki Byard (Soul Note) James Weidman (TCB) August 25th, 1959 August 25th, 1961 August 25th, 1970 August 25th, 1988 August 25th, 1996 Guitarist Kenny Burrell and drummer Oliver Nelson is perhaps better known Prior to his tenure in the first lineup of Pianist Jaki Byard will always be best Nowadays pianist James Weidman is first recorded together in as a composer and arranger for his Weather Report, bassist Miroslav known for his work with bassist a veteran of the bands of Joe Lovano February 1957 as part of the Jimmy larger ensembles and other musicians Vitous was a veteran of the bands of Charles Mingus but that overlooks his but at the time of this session he was Smith Trio. 15 months later Blakey was but he was also a prolific leader of Chick Corea, Herbie Mann, Roy Ayers own compelling leader discography known as an accompanist for vocalists part of Burrell’s septet, followed, small groups featuring his saxophone and Wayne Shorter. He also released for Candid, Prestige and, many years and another 15 months later, by this live playing. Trumpeter Joe Newman of his first albums as a leader at this time: later, Italy’s Soul Note. This was one of and member of ’s date from the East Village club, culled fame gets co-billing for 1969’s Infinite Search (aka Mountain in his last for the label, a trio date with M-Base Collective. This is his debut as from the evening’s three sets. Burrell this sextet with (piano), the Clouds) and Purple, bringing back Ralph Hamperian (bass) and Richard a leader (one of only a handful under and Blakey are joined by saxophonist George Duvivier (bass), Charli Persip guitarist John McLaughlin for a quartet Allen (drums), both of whom worked his own name), a trio date with Belden Tina Brooks, bassist Ben Tucker and (drums) and Ray Barretto (congas). completed by drummer Billy Cobham with Byard in the ‘80s. Hamperian Bullock (bass) and Marvin “Smitty” either Roland Hanna or Bobby The program is four Nelson originals and future Weather Report bandmate contributes “Breath” and the title track, Smith (drums) for the Swiss TCB label. Timmons on piano for tunes by Burrell, (“J & B”, “Ho!”, “Latino” and “Tipsy”) Joe Zawinul. Apart from Shorter’s a Billie Holiday staple, is by Jack Weidman wrote six of the nine tunes, , Vincent Youmans, the to go along with Victor Schertzinger’s “Dolores” and fellow bassist Ron Lawrence-Peter Tinturin. The other filling out the program with Gershwins and Jimmy Davis-Roger “Tangerine” and Duke Ellington’s title Carter’s “Mood”, Vitous composed five pieces are originals, including “Limehouse Blues”, Duke Pearson’s Ramirez-James Sherman. track. the other three tracks. “Oslo to Kristiansund to Malmo”. “Jeannine” and Lincoln’s “Bird Alone”. BIRTHDAYS August 1 August 6 August 11 August 17 August 22 August 27 †Luckey Roberts 1887-1968 †Norman Granz 1918-2001 Peter King b.1940 †Ike Quebec 1918-63 †Malachi Favors 1937-2004 †Lester Young 1909-59 †Elmer Crumbley 1908-93 †Buddy Collette 1921-2010 Steve Nelson b.1954 †George Duvivier 1920-85 Warren Daly b.1943 †Tony Crombie 1925-99 †Dorothy Ashby 1932-86 Russ Gershon b.1959 Derek Smith b.1931 Vernon Reid b.1958 †Rudolf Dašek 1933-2013 August 2 Joe Diorio b.1936 Donny McCaslin b.1966 †Duke Pearson 1932-80 Aruán Ortiz b.1973 †Alice Coltrane 1937-2007 †Big Nick Nicholas 1922-97 † 1937-2014 Peter Martin b. 1970 †Sonny Sharrock 1940-94 †Albert Stinson 1944-69 †Baden Powell 1937-2000 August 12 Jeb Patton b.1974 August 23 Edward Perez b.1978 †Naná Vasconcelos 1944-2016 †Byard Lancaster 1942-2012 †Bent Axen 1925-2010 Martial Solal b.1927 b.1961 Joseph Daley b.1949 Dave Lee b.1930 August 18 †Gil Coggins 1928-2004 August 28 b.1962 Victor Goines b.1961 Pat Metheny b.1954 †Eddie Durham 1906-87 †Danny Barcelona 1929-2007 †Phil Seaman 1926-72 Zach Brock b.1974 Ramón López b.1961 Phil Palombi b.1970 †Don Lamond 1920-2003 Terje Rypdal b.1947 † 1928-93 JEMEEL MOONDOC Ravi Coltrane b.1965 †Chuck Connors 1930-94 Bobby Watson b.1953 John Marshall b.1941 August 3 Andrew Bemkey b.1974 August 13 Adam Makowicz b.1940 b.1970 Stephen Gauci b.1966 August 5th, 1951 †Charlie Shavers 1917-71 †Stuff Smith 1909-67 John Escreet b.1984 Christoph Pepe Auer b.1981 Born in Chicago, saxophonist †Eddie Jefferson 1918-79 August 7 †George Shearing 1919-2011 August 24 Robin Verheyen b.1983 Jemeel Moondoc was first †Dom Um Romao 1925-2005 †Idrees Sulieman 1923-2002 †Benny Bailey 1925-2005 August 19 †Al Philburn 1902-72 exposed to avant garde jazz Tony Bennett b.1926 †Rahsaan Roland Kirk 1936-77 †Joe Puma 1927-2000 †Jimmy Rowles 1918-96 †Buster Smith 1904-91 August 29 while studying at Antioch †Ray Draper 1940-82 Howard Johnson b.1941 † 1955-2013 Danny Mixon b.1949 †Alphonso Trent 1905-59 †Charlie Parker 1920-55 College under Cecil Taylor in Roscoe Mitchell b.1940 Marcus Roberts b.1963 b.1954 Chris Tarry b.1970 †Dinah Washington 1924-63 the early ‘70s. By the end of the Hamid Drake b.1955 August 14 Marc Ducret b.1957 Jerry Dodgion b.1932 decade Moondoc was leading Tom Zlabinger b.1971 August 8 †Eddie Costa 1930-62 August 25 Bennie Maupin b.1940 his Muntu Ensemble at †Lucky Millinder 1900-66 Jimmy Wormworth b.1937 August 20 †Bob Crosby 1913-93 Florian Hoefner b.1982 various NYC lofts and self- August 4 †Benny Carter 1907-2003 Tony Monaco b.1959 †Jack Teagarden 1905-64 †Leonard Gaskin 1920-2009 releasing the group’s first †Louis Armstrong 1901-71 † 1923-97 Walter Blanding b.1971 †Frank Rosolino 1926-78 †Rune Gustafsson 1933-2012 August 30 albums. His trio, sextet and quintet, respectively, recorded †Bill Coleman 1904-81 Urbie Green b.1926 † 1927-95 Wayne Shorter b.1933 † 1924-72 three albums for Soul Note †Herb Ellis 1921-2010 Don Burrows b.1928 August 15 b.1939 †Carrie Smith 1941-2012 John Surman b.1944 between 1981-85 and his Jus b.1933 †Vinnie Dean 1929-2010 †Oscar Peterson 1925-2007 Milford Graves b.1941 Pat Martino b.1944 Bronislaw Suchanek b.1948 Grew Orchestra was a NYC Bobo Stenson b.1944 Stix Hooper b.1938 Jiggs Whigham b.1943 Keith Tippett b.1947 Anthony Coleman b.1955 staple. The mid ‘80s-mid ‘90s b.1965 August 9 Günter “Baby” Sommer b.1943 Terry Clarke b.1944 Michael Marcus b.1952 b.1956 were a fallow period, at least Eric Alexander b.1968 Jack DeJohnette b.1942 Art Lillard b.1950 John Clayton b.1952 Karriem Riggins b.1975 on record, followed by a flurry Michäel Attias b.1968 Dennis Gonzalez b.1954 Reto Weber b.1953 Michael Dease b.1982 August 31 of releases on Eremite August 10 Stefan Zeniuk b.1980 †Edgar Sampson 1907-73 from 1995-2003 (as well as August 5 †Arnett Cobb 1918-89 August 21 August 26 †Herman Riley 1933-2007 sideman dates with Denis †Don Albert 1908-80 Chuck Israels b.1936 August 16 †Count Basie 1904-84 †Jimmy Rushing 1903-72 Gunter Hampel b.1937 Charles and Khan Jamal), Sigi Schwab b.1940 Denny Zeitlin b.1938 †Mal Waldron 1926-2002 †Art Farmer 1928-99 †Francis Wayne 1924-78 †Wilton Felder 1940-2015 followed more recently with a †Lenny Breau 1941-84 spate of CDs on Relative Pitch: Mike Mantler b.1943 †Bill Evans 1929-80 †Malachi Thompson 1949-2006 †Peter Appleyard 1928-2013 Bengt Berger b. 1942 duos with Connie Crothers Airto Moreira b.1941 †Fred Ho 1957-2014 Alvin Queen b.1950 Peter Apfelbaum b.1960 †Clifford Jarvis 1941-99 Stefano Battaglia b.1965 and Hilliard Greene and a Phil Wachsmann b.1944 Akiko Pavolka b.1965 Cecil Brooks III b.1959 Oscar Perez b.1974 Andrew Lamb b.1958 Evan Christopher b.1969 small-group date. (AH) Jemeel Moondoc b.1951 Cyrille Aimée b.1984 Ellery Eskelin b.1959 Chris Dingman b.1980 Branford Marsalis b.1960 Tineka Postma b.1978 CROSSWORD

1 2 3 4 5 6 ACROSS 28. “The ___ Degree”, from 1991 University Of North One O’Clock Lab Band 1. Vancouver-based Boathouse Records album Lab 91 7 8 9 10 catalogue prefix 4. Quartet co-led by bassist Ray Soul and DOWN pianist Art Hirahara 11 7. Cuban-born pianist who records for Intakt 1. This Bob was an alumnus of and arranger for 11. Reed players David or Ned the /Mel Lewis Orchestra 12. French avant garde of Jérémie Ternoy, 2. Bobby with good vibes? 12 13 Peter Orins and Ivann Cruz 3. 1961 Mark Murphy Riverside album 13. Jamie Cullum included this hip-hop duo on 4. Opening track of Miles Smiles a 2007 compilation alongside tracks by 5. 1963 Harold Vick Blue Note album 14 15 16 Charles Mingus and The Bad Plus 6. Warne Marsh tune “At ___” 14. This sch. has a collaboration with the 7. ___ Ensemble of Chicago Moers Festival 8. Sch. of Gunther Schuller 17 18 16. Instr. of 4 Down 9. This French classical ens. performed with 17. “___ Culpa”, song from 1998 Marcus Miller at Jazz à Vienne 2015 Milestone album With A Song In My Heart 10. Catalogue prefix of General Music, which 19 20 21 22 23 18. ___ Langis, 1981 Berlin Jazz Workshop released albums by Material, Philippe Sarde Orchestra FMP album and Ennio Morricone 19. Barcelona ___, 1999 Sven-Åke Johansson, 15. 2009 Sony Music Django Reinhardt compilation 24 25 Axel Dörner, Andrea Neumann hatOLOGY CD Le ___ Du Jazz Manouche 22. Contact this org. if you are looking to hear out- 19. Savoy Records catalogue prefix of-print recordings by the Red Onion Jazz Band 20. Danish vocalist Sinne 26 24. Weather Report-type of traveller? 21. Mid ‘60s EmArcy catalogue prefix 26. George Russell, Cecil Taylor and Gerald Wilson 23. Straightahead English saxophonist/ were named NEA Jazz Masters in this clarinetist Vic 27 28 president’s administration 25. Pianist Hasaan ___ Ali, 27. “Jazz Selection” ran from 1958-65 on this né William Henry Langford, Jr. Spanish radio station By Andrey Henkin visit nycjazzrecord.com for answers THE NEW YORK CITY JAZZ RECORD | AUGUST 2016 31 CALENDAR

Monday, August 1 • Tim Hegarty Quintet with Jeb Patton, Charlie Sigler, Vince Dupont, Winard Harper; • Tierney Sutton’s After Blue—The Joni Mitchell Project with Mark Summer, Ken Fowser Quintet; Tyler Clibbon Smalls 7:30, 10:30 pm 1 am $20 Serge Merlaud, Ralph Humphrey Jazz Standard 7:30, 9:30 pm $35 • Kind of New: Jason Miles, Theo Croker, Jay Rodriguez, Buster Hemphill, Richie Morales • Carlos Cuevas; ; Ilya Lushtak êGeri Allen Quintet with Ravi Coltrane, Wallace Roney, Jr., Kenny Davis, Blue Note 8, 10:30 pm $15 Fat Cat 7, 10 pm 1:30 am Village Vanguard 8:30, 10:30 pm $30 êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 • Voxfest: The Songs That Make Us Sing with Bruce Barth; êRoy Hargrove Dream Team with Justin Robinson, George Cables, Ameen Saleem, • Julian Lee and Friends Dizzy’s Club 9:30 pm $30 Melissa Hamilton Trio with Lee Tomboulian, Rusty Holloway Jimmy Cobb Blue Note 8, 10:30 pm $35 • Sara Gazarek with Miro Sprague, Matt Aronoff, Zach Harmon Cornelia Street Café 8, 9:30 pm $10 êDjango Reinhardt NY Festival: Samson Schmitt, Ludovic Beier, Pierre Blanchard, Birdland 7 pm $30 • Ark Trio: Carlos Homs, Karl McComas-Reichl, Colin Stranahan DouDou Cuillerier, Antonio Licusati and guests Jorge Continentino, Itaiguara Brandao • John Merrill and guests; Jim Ridl/Lorin Cohen The Jazz Gallery 7:30, 9:30 pm $15 Birdland 8:30, 11 pm $50 Mezzrow 8, 9 pm $20 • The New York Jazz Exchange: Sean Nowell, Fredrik Olsson, Leo Lindberg, Lars Ekman, • The Songs of Benny Carter: Lainie Cooke with Myron Walden, Zaccai Curtis, • Randy Johnston 3 with Jonah Kane, Fukushi Tainaka; Helen Sung’s Sung with Words Joe Abba; Carlos Averhoff, Jr and iRESI with Manuel Valera, Edward Perez, Fabio Rojas Luques Curtis, Ralph Peterson Lt. Joseph P. Kennedy Community Center 4:30 pm with John Ellis, , , Kendrick Scott, Samuel Torres, Club Bonafide 7:30, 9:30 pm $10 • York College Summer Jazz Program Christie Dashiell, Carolyn Leonhart, Jean Baylor; Jonathan Michel • Sam Zerna Trio with Matt Marantz, Adam Arruda; Dan Rochlis Trio with Sean Smith, Louis Armstrong House 2 pm Smalls 7:30, 10:30 pm 1 am $20 Diego Voglino Bar Next Door 6:30, 8:30, 10:30 pm $12 • Bruce Harris; Billy Kaye Jam Fat Cat 9 pm 12:30 am • Greg Merritt Trio Tomi Jazz 9 pm $10 Sunday, August 7 • Dave Scott Quintet with Rich Perry, Gary Versace, John Hébert, Satoshi Takeishi • Steve Elmer Duo Cleopatra’s Needle 7 pm 55Bar 10:30 pm • Peter Maness and The Artisanals Cavatappo Grill 9 pm $8 • SummerStage: Igmar Thomas and the Revive Big Band • YATTA; Proyecto IMUDA: Pablo Diaz/Paula Shocron; Anaïs Maviel/Larkin Grimm • Jason Prover Sneak Thievery Orchestra Central Park SummerStage 6 pm Delroy’s Cafe and Wine Bar 9, 9:30, 10 pm Radegast Hall 9 pm êMary Halvorson/Susan Alcorn; Mary Halvorson/Weasel Walter • Vitor Gonçalves/Yotam Silberstein Bar Lunàtico 8:30, 10 pm $10 • Jim Piela Project Shrine 7 pm The Stone 8, 10 pm $20 • Mark Phillips Trio with Syberen Van Munster, Sam Zerna; Christine Tobin Trio with • Judi Jackson with Shariff Clayton, Mike King, Eric Wheeler, Darrian Douglas • Israeli Jazz Fest: Yotam Ben-Or Sextet with Erez Feuer, Itamar Shaz, Gabriel Chakarji, Phil Robson, Harvie S Bar Next Door 6:30, 8:30, 10:30 pm $12 Smoke 7, 9, 10:30 pm $12 Alon Near, David Jimenez; Nitai Hershkovits Trio with Or Bareket, Ari Hoenig • Jon Sheckler Trio with Tyler Luppi, Fima Chupakhin êGeri Allen Quintet with Ravi Coltrane, Wallace Roney, Jr., Kenny Davis, Victor Lewis Cornelia Street Café 8:30, 10:30 pm $10 ShapeShifter Lab 8:15 pm $8 Village Vanguard 8:30, 10:30 pm $30 • Nicolas Letman-Burtinovic/Kyoko Kitamura; Nico Letman-Burtinovic’s Split Cycle with • Mike Sailors and The Pocket Sized Swing Orchestra êRoy Hargrove Dream Team with Justin Robinson, George Cables, Ameen Saleem, Samuel Blais, Aki Ishiguro, Chris Carroll; Sean Ali Trio Radegast Hall 8 pm Jimmy Cobb Blue Note 8, 10:30 pm $35 Downtown Music Gallery 6, 7, 8 pm • Dan Manjovi Bryant Park 12:30 pm êDjango Reinhardt NY Festival: Samson Schmitt, Ludovic Beier, Pierre Blanchard, êJamie Baum/Yago Vazquez Symphony Space Bar Thalia 7 pm DouDou Cuillerier, Antonio Licusati and guest Peter Beets • Gregory Generet Minton’s 7 pm Tuesday, August 2 Birdland 8:30, 11 pm $50 • Amos Hoffman Mezzrow 9 pm $20 • Madame T and The Star Lights with Julie Delano, Miz Stephanie, Kevin Vertrees, • Tad Shull Quartet with Steve Ash, Neal Miner, Joe Strasser; Hillel Salem êGeri Allen Quintet with Ravi Coltrane, Wallace Roney, Jr., Kenny Davis, Victor Lewis Jim Wildman, Curtis Brewer, Gary Wang, Mark Farnsworth Smalls 10:30 pm 1 am $20 Village Vanguard 8:30, 10:30 pm $30 The Archway 6 pm • Terry Waldo’s Gotham City Band; Jade Synstelien’s Fat Cat Big Band; êRoy Hargrove Dream Team with Justin Robinson, George Cables, Ameen Saleem, • Chris Bacas Silvana 6 pm Brandon Lewis/Renee Cruz Jam Fat Cat 6, 8:30 pm 1 am Jimmy Cobb Blue Note 8, 10:30 pm $35 • Ensemble Citigroup Center Plaza 12:30 pm • Alex Simon’s Gypsy Swing Ensemble êDjango Reinhardt NY Festival: Samson Schmitt, Ludovic Beier, Pierre Blanchard, • Dan Manjovi Bryant Park 12:30 pm Radegast Hall 7 pm DouDou Cuillerier, Antonio Licusati and guest Anat Cohen êDee Dee Bridgewater with Theo Croker • Shoko Igarashi Tomi Jazz 8 pm Birdland 8:30, 11 pm $50 Metrotech Commons 12 pm • Shrine Big Band Shrine 8 pm êJon Irabagon Quartet with , Yasushi Nakamura, Rudy Royston êHeads of State: Gary Bartz, , George Mraz, Lewis Nash Dizzy’s Club 7:30, 9:30 pm $35 Friday, August 5 Smoke 7, 9, 10:30 pm $40 êVictor Gould Dizzy’s Club 11:30 pm $5 • Ben Wolfe Quintet with Nicholas Payton, Stacy Dillard, , Donald Edwards êUlysses Owens, Jr. New Century Jazz Quintet with Benny Bennack III, Braxton Cook, êHeads of State: Gary Bartz, Larry Willis, George Mraz, Lewis Nash Dizzy’s Club 7:30, 9:30 pm $35 Takeshi Ohbayashi, Corcoran Holt Jazz Standard 7:30, 9:30 pm $25 Smoke 7, 9, 10:30 pm $40 • Tierney Sutton’s After Blue—The Joni Mitchell Project with Mark Summer, • Mary Halvorson/Joe Morris; Mary Halvorson/Nels Cline • Jazzmobile: Barry Harris and Voices Serge Merlaud, Ralph Humphrey Jazz Standard 7:30, 9:30 pm $30 The Stone 8, 10 pm $20 Marcus Garvey Park 7 pm êGeri Allen Quintet with Ravi Coltrane, Wallace Roney, Jr., Kenny Davis, Victor Lewis • Judy Marie Cantereno NYC Baha’i Center 8, 9:30 pm $15 • SummerStage: Terence Blanchard E-Collective Village Vanguard 8:30, 10:30 pm $30 • Mezzrow 8 pm $20 Clove Lakes Park 7 pm êRoy Hargrove Dream Team with Justin Robinson, George Cables, Ameen Saleem, • Spike Wilner Trio with Tyler Mitchell, Anthony Pinciotti; Kyle Poole êThumbscrew: Mary Halvorson, Michael Formanek, Tomas Fujiwara Jimmy Cobb Blue Note 8, 10:30 pm $35 Smalls 7:30 pm 1 am $20 The Stone 8, 10 pm $20 êDjango Reinhardt NY Festival: Samson Schmitt, Ludovic Beier, Pierre Blanchard, • Kate Cosco; John Benitez; Ray Parker êTed Rosenthal Trio with Noriko Ueda, Willie Jones III DouDou Cuillerier, Antonio Licusati and guest Jazzmeia Horn Fat Cat 7, 9 pm 12:30 am Jazz at Kitano 8, 10 pm $32 Birdland 8:30, 11 pm $50 • Pedrito Martinez Group Subrosa 8, 10 pm $15 • Sacha Perry solo; with Ehud Asherie, Martin Wind; Johnny O’Neal • Deanna Witkowski Quartet Saint Peter’s 5 pm • Voxfest: The Flying Tomboulians: Elizabeth and Lee Tomboulian; Nora McCarthy Mezzrow 8, 9:30 pm 12:30 am $20 • Mary Alouette; Pre-War Ponies Gantry Plaza State Park 5 pm People Of Peace Quintet with Jorge Sylvester, Pablo Vergara, Gene Torres, • Joe Farnsworth Quartet with Abraham Burton, Harold Mabern, Alexander Claffy êPete McGuinness Jazz Orchestra with Dave Pietro, Marc Phaneuf, Rob Middleton, Kenny Grohowski Cornelia Street Café 8, 9:30 pm $10 Smalls 10:30 pm $20 Dave Reikenberg, Jay Branford, Jon Owens, Seneca Black, Bud Burridge, • Jeff Davis Trio with Russ Lossing, Eivind Opsvik; Danny Fox, Chris Van Voorst, • Sarah Slonim Trio; Jared Gold Quartet with Dave Gibson, Dave Stryker; Reid Taylor Chris Rogers, Bruce Eidem, Mark Patterson, Matt Haviland, Jeff Nelson, Ted Kooshian, Max Goldman Korzo 9, 10:30 pm Fat Cat 6, 10:30 pm 1:30 am Mark Wade, Scott Neumann Blue Note 11:30 am 1:30 pm $35 • Killiam Shakespeare: Corey Bernhard, Steve McKie, Dre Pinckney, Anthony DeCarlo, • Nir Felder 4 with , Orlando Le Fleming, Jimmy Macbride • Camila Meza/Caleb Van Gelder North Square Lounge 12:30, 2 pm Simon Martinez, Chris Stevens, Louis Fouche; The Bridge Trio: Joe Dyson, Max Moran, The Jazz Gallery 7:30, 9:30 pm $22 Conun Pappas; Michael Malis Trio with Ben Rolston, Stephen Boegehold • Patience Higgins Sugar Hill Quartet Medgar Evers College 7 pm Monday, August 8 ShapeShifter Lab 7, 8:15, 9:30 pm $8-10 • Gregorio Uribe Big Band Ginny’s Supper Club 7:30, 9:30 pm $20 • Michael Malis Trio Club Bonafide 7:30 pm $15 • Moonjune Presents: Beledo with Guest; XADU: Xavi Reija/Dusan Jevtovic êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 • Tommy Holladay Trio with Takeishi Ohbayashi, Kush Abadey; Nick Brust Trio with ShapeShifter Lab 7, 8:15 pm $12 • Jazz House Kids with host Christian McBride Ben Eunson, Matt Clohesy Bar Next Door 6:30, 8:30, 10:30 pm $12 • Israeli Jazz Fest: Amos Hoffman Trio with Eric Wheeler, Eric McPherson; Dizzy’s Club 7:30, 9:30 pm $35 • Addison Frei solo Jazz at Kitano 8 pm Or Bareket Quintet with Yotam Silberstein, Nitai Hershkovits, Keita Ogawa, Ziv Ravitz • and The Days in Night Band with Brian Lynch, Manuel Valera, • Riley Mulherkar Quartet The Shops at Columbus Circle 6 pm Cornelia Street Café 9, 10:30 pm $10 Yunior Terry Subrosa 8, 10 pm $10 • Joe Abba Project Shrine 6 pm • Karl Latham Group with Oz Noy, Alex Echardt; Dermel • John Merrill and guests; • Lou Caputo’s Not So Big Band 345 Park Avenue 12:30 pm Club Bonafide 9:30, 11 pm $10 Mezzrow 8, 9 pm $20 • Dan Manjovi Bryant Park 12:30 pm • Nelson Riveros Trio with Ricky Rodriquez, Pablo Bencid • Matt Brewer Quartet with Lage Lund, Aaron Parks, Justin Faulkner; Ari Hoenig Trio with êAhmed Abdullah Rendall Memorial Presbyterian Church 12, 1 pm $15 Bar Next Door 7:30, 9:30, 11:30 pm $12 Gilad Hekselman, Orlando Le Fleming; Jonathan Barber • John Iannuzzi Quartet The Roxy Hotel 7 pm Smalls 7:30, 10:30 pm 1 am $20 Wednesday, August 3 • Steven Feifke Trio Live The Django at The Roxy Hotel 8 pm êNed Goold Quartet; Billy Kaye Jam • Henrique Eisenmann Trio Neighborhood Church of Greenwich Village 8, 9:30 pm Fat Cat 9 pm 12:30 am êJohn Ellis and Double-Wide with Ibanda Ruhumbika, Gary Versace, Eric Miller, • Professor Cunningham and His Old School • Jim Ridl Group with Steve Varner, Michael Stephans Kendrick Scott Dizzy’s Club 7:30, 9:30 pm $35 Seaglass Carousel at The Battery 8 pm 55Bar 7 pm êVictor Gould Dizzy’s Club 11:30 pm $5 • Craig Brann Trio Tomi Jazz 9 pm $10 • Andrew Smiley solo; Colin Fisher Trio with Marc Edwards, Kids Millions êBobby Broom Trio with Dezron Douglas, Jerome Jennings • Masami Ishikawa Trio Cleopatra’s Needle 8 pm Delroy’s Cafe and Wine Bar 9, 9:30, 10 pm Jazz Standard 7:30, 9:30 pm $25 • Rachel Linkovsky Quintet; Jacob Varmus Trio • Peter Amos Trio with Michael Brownell, Sebastian Chriboga; Michelle Walker Trio with êMary Halvorson/Brandon Seabrook; Robbie Lee/Mary Halvorson Shrine 6, 7 pm Toru Dodo, Michael O’Brien Bar Next Door 6:30, 8:30, 10:30 pm $12 The Stone 8, 10 pm $20 • Ben Wolfe Quintet with Nicholas Payton, Stacy Dillard, Orrin Evans, Donald Edwards • Atsushi Shinoda Tomi Jazz 8 pm • John Fedchock Quartet with Allen Farnham, David Finck, Eric Halvorson Dizzy’s Club 7:30, 9:30 pm $45 • Susan Alcorn/Toto Alvarez Downtown Music Gallery 6 pm Jazz at Kitano 8, 10 pm $17 êVictor Gould Dizzy’s Club 11:30 pm $10 • Ayako Shirasaki Bryant Park 12:30 pm êJazzmobile: Jeremy Pelt Grant’s Tomb 7 pm • Tierney Sutton’s After Blue—The Joni Mitchell Project with Mark Summer, êCharlie Kohlhase/Eric Hofbauer; Guillermo Gregorio Group with Josh Sinton, Serge Merlaud, Ralph Humphrey Jazz Standard 7:30, 9:30 pm $35 Tuesday, August 9 Art Bailey, Brandon Lopez; The Sopranos: Dan Blake, Ingrid Laubrock, Jon Irabagon êGeri Allen Quintet with Ravi Coltrane, Wallace Roney, Jr., Kenny Davis, Victor Lewis Threes Brewing 8, 9, 10 pm $15 Village Vanguard 8:30, 10:30 pm $30 êKenny Werner Trio with Johannes Weidenmueller, Ari Hoenig • Judi Jackson with Shariff Clayton, Mike King, Eric Wheeler, Darrian Douglas êRoy Hargrove Dream Team with Justin Robinson, George Cables, Ameen Saleem, Dizzy’s Club 7:30, 9:30 pm $35 Smoke 7, 9, 10:30 pm $12 Jimmy Cobb Blue Note 8, 10:30 pm $35 • Jordan Pettay Dizzy’s Club 11:30 pm $5 • Voxfest: Animals In My Ear: Adam Fisher, Albert Marques, Petros Klampanis, êDjango Reinhardt NY Festival: Samson Schmitt, Ludovic Beier, Pierre Blanchard, êSteve Kuhn Trio with Steve Swallow, Joey Baron Franco Pinna; A Broad Spectrum: Mary Foster Conklin, Deanna Witkowski DouDou Cuillerier, Antonio Licusati and guests Jorge Continentino, Itaiguara Brandao Birdland 8:30, 11 pm $40 Cornelia Street Café 8, 9:30 pm $10 Birdland 8:30, 11 pm $50 êThe Bad Plus: Ethan Iverson, Reid Anderson, David King • Sergio Krakowski Talking Drums Joe’s Pub 9:30 pm $15 • Sasquatch Silvana 6 pm Blue Note 8, 10:30 pm $35 • Yves Brouqui/Spike Wilner Mezzrow 8 pm $20 • Dan Manjovi Bryant Park 12:30 pm êCindy Blackman-Santana Group with Zaccai Curtis, Aurelien Budynek, Felix Pastorius • Alex Lore Quartet with Glenn Zaleski, Desmond White, Colin Stranahan; Jazz Standard 7:30, 9:30 pm $30 The Swing Machine: Brandon Sanders, David Hazeltine, David Wong, Grant Stewart; Saturday, August 6 êJohn Zorn’s Bagatelles: Uri Caine Duos with John Medeski and Jon Irabagon; Aaron Seeber Smalls 7:30, 10:30 pm 1 am $20 Asmodeus: Marc Ribot, Trevor Dunn, Tyshawn Sorey • Corin Stiggall Quintet; Groover Trio; Ned Goold Jam êMary Halvorson Octet with Jonathan Finlayson, Jon Irabagon, Ingrid Laubrock, Village Vanguard 8:30, 10:30 pm $30 Fat Cat 7, 9 pm 12:30 am Jacob Garchik, Susan Alcorn, John Hébert, Ches Smith êSong of Silver Geese: Jen Shyu solo; Jen Shyu/Hong Jinwook • Smooth Cruise: Down to the Bone Pier 40 6:30, 9:30 pm $45 The Stone 8, 10 pm $20 The Stone 8, 10 pm $20 • Shoko Igarashi Trio Tomi Jazz 8 pm êTony Hewitt Birthday Bash Quartet with David Hazeltine, Ed Howard, Willie Jones • Jeff “Siege” Siegel Quartet with Kevin McNeal, Nick Hetko, Rich Syracuse • Split Cycle: Nicolas Letman-Burtinovic, Samuel Blais, Akira Ishiguro Jazz at Kitano 8, 10 pm $32 NYC Baha’i Center 8, 9:30 pm $15 Bar Chord 9 pm • Roberta Piket Minton’s 7, 9:30 pm • Pedrito Martinez Group Subrosa 8, 10 pm $15 êGeri Allen Quintet with Ravi Coltrane, Wallace Roney, Jr., Kenny Davis, Victor Lewis • Michael Mwenso and the Shakes Ginny’s Supper Club 7:30, 9:30 pm $15-20 • Hilary Gardner Mezzrow 8 pm $20 Village Vanguard 8:30, 10:30 pm $30 • Asaf Yuria Quintet; Raphael D’lugoff Quintet; Greg Glassman Jam • Spike Wilner Trio with Tyler Mitchell, Anthony Pinciotti; The Smalls Legacy Band: êRoy Hargrove Dream Team with Justin Robinson, George Cables, Ameen Saleem, Fat Cat 7, 10 pm 1:30 am Frank Lacy, Josh Evans, Stacy Dillard, Theo Hill, Rashaan Carter, Kush Abadey; Jimmy Cobb Blue Note 8, 10:30 pm $35 êIsraeli Jazz Fest: Eden Bareket Trio with Or Bareket, Felix Lecaros; Shai Maestro Jovan Alexander Smalls 7:30, 10:30 pm 1 am $20 êDjango Reinhardt NY Festival: Samson Schmitt, Ludovic Beier, Pierre Blanchard, Cornelia Street Café 9, 10:30 pm $10 • Saul Rubin Zebtet; Peter Brainin Latin Jazz Workshop DouDou Cuillerier, Antonio Licusati and guest Peter Beets • Michael Sarian and the Big Chabones; Ty Stephens and (the) Souljaazz with Fat Cat 7, 9 pm Birdland 8:30, 11 pm $50 Richard Cummings, Jr., Ron “Rondew” Monroe, Tony Lewis, Robert “R.T.” Taylor; êJames Carney Quartet with Loren Stillman, John Hébert, Gerald Cleaver; êBucky Pizzarelli/Ed Laub Saint Peter’s 1 pm $10 Nick Finzer’s Hear & Now Club Bonafide 7:30, 9:30, 11 pm $10-20 Tim Berne/Hank Roberts Korzo 9, 10:30 pm • Dan Manjovi Bryant Park 12:30 pm • Mike Rood Trio with Sam Minaie, Jerad Lippi • Matthew Ward Trio with Michaël Attias, Satoshi Takeishi • SummerStage Kids: Winard Harper and Jeli Posse Bar Next Door 7:30, 9:30, 11:30 pm $12 Cornelia Street Café 8, 9:30 pm $10 Sunset Park 10:30 am • Jonathan Dely; Kate Kelsey-Sugg The Django at The Roxy Hotel 8, 10:30 pm • Anything Mose with Richard Julian, John Chin • The Highliners; Sein Oh Trio Tomi Jazz 8, 11 pm $10 Bar Lunàtico 8:30, 10 pm $10 Thursday, August 4 • Denton Darien Trio Cleopatra’s Needle 8 pm • Stan Killian Quartet with Benito Gonzalez, Corcoran Holt, Will Tyrell • Rogièrs Williamsburg Music Center 9, 11 pm $10 55Bar 7 pm • Ben Wolfe Quintet with Nicholas Payton, Stacy Dillard, Orrin Evans, Donald Edwards • Elsa Nilsson/Jon Cowherd Duo Caffe Vivaldi 9:30 pm • Nadje Noordhuis; 9 Horses: Joe Brent, Sara Caswell, Emily Hope Price, Ike Sturm Dizzy’s Club 7:30, 9:30 pm $40 • Nick Di Maria Silvana 7 pm ShapeShifter Lab 7, 8:15 pm $15 êVictor Gould Dizzy’s Club 11:30 pm $10 • B.J. Jansen Shrine 7 pm • Kyle Moffatt Trio with Brad Whitely, Peter Tranmueller; Caroline Davis Trio with • Tierney Sutton’s After Blue—The Joni Mitchell Project with Mark Summer, êHeads of State: Gary Bartz, Larry Willis, George Mraz, Lewis Nash Will Slater, Jay Sawyer Bar Next Door 6:30, 8:30, 10:30 pm $12 Serge Merlaud, Ralph Humphrey Jazz Standard 7:30, 9:30 pm $30 Smoke 7, 9, 10:30 pm $40 • Ryan Carraher Group Club Bonafide 7:30 pm $10 êHenry Butler Bar Lunàtico 8:30, 10 pm $10 • Spike Wilner; Ken Peplowski with Ehud Asherie, Martin Wind; Jon Davis • York College Summer Jazz Program êRENKU: Michaël Attias, John Hébert, Satøshi Takeishi and guest Tony Małaby Mezzrow 8, 9:30 pm 12:30 am $20 Milton G. Bassin Performing Arts Center 7 pm Rye 10:30 pm • Juini Booth Quartet with Josh Evans, Benito Gonzalez; Joe Farnsworth Quartet with • Abel Mireles Tomi Jazz 8 pm êSecret Keeper: Stephan Crump/Mary Halvorson; Sifter: Kirk Knuffke, Mary Halvorson, Abraham Burton, Harold Mabern, Alexander Claffy; Philip Harper Quintet with • Addison Frei solo Jazz at Kitano 8 pm Matt Wilson The Stone 8, 10 pm $20 Jon Beshay, Miki Yamanaka, George Delancey, Curtis Nowosad • Jazz for Young People The Shops at Columbus Circle 6 pm • Alexis Parsons Trio with Frank Kimbrough, Smalls 7:30, 10:30 pm 1 am $20 • Joe Breidenstine Quintet Silvana 6 pm Jazz at Kitano 8, 10 pm $17 • Ben Wolfe Quintet with Nicholas Payton, Stacy Dillard, Luis Perdomo, Donald Edwards • Ayako Shirasaki Bryant Park 12:30 pm • Jamie Reynolds; Spike Wilner JamMezzrow 8, 11 pm $20 Dizzy’s Club 7:30, 9:30 pm $40 êJason Marshall Rendall Memorial Presbyterian Church 12, 1 pm $15 êVictor Gould Dizzy’s Club 11:30 pm $20

32 AUGUST 2016 | THE NEW YORK CITY JAZZ RECORD Wednesday, August 10 • Mark Whitfield and Sons Medgar Evers College 7 pm êThe Bad Plus: Ethan Iverson, Reid Anderson, David King • Yuhan Su Quintet Flushing Town Hall 8 pm $16 Blue Note 8, 10:30 pm $35 êSummerStage—We Play For You, Butch Morris: Nublu Orchestra; • Michael Olatuja and Lagos Pepper Soup with Samir Zarif, Manuel Valera, Terreon Gully, êSong of Silver Geese: Jen Shyu and Jade Tongue with Chris Dingman, Mat Maneri, DarkMatterHalo: Wadada Leo Smith, Hardedge, Brandon Ross, Doug Wieselman Samir Zarif, Camille Thurman Club Bonafide 7:30, 9:30 pm $15 , , Dan Weiss and Mivos Quartet: Olivia De Prato, East River Park Amphitheater 7 pm • Sheryl Bailey Trio with Ron Oswanski, Ian Froman Erica Dicker, Victor Lowrie, Mariel Roberts • BRIC Celebrate Brooklyn: Donny McCaslin Group with Jason Lindner, Tim Lefebvre, Bar Next Door 7:30, 9:30, 11:30 pm $12 The Stone 8, 10 pm $20 Nate Wood, Ben Monder Prospect Park Bandshell 7:30 pm • Nick Fraser Starer with Tony Malaby, Chris Hoffman, Eivind Opsvik êJohn Zorn’s Bagatelles: Chris Speed Trio with Chris Tordini, Dave King êJohn Zorn’s Bagatelles: Craig Taborn solo; Jon Irabagon Quartet with Ibeam Brooklyn 8:30 pm $15 Village Vanguard 3 pm $30 Matt Mitchell, Drew Gress, Tom Rainey • Dandy Wellington The Roxy Hotel 7 pm • Noah Haidu Birdland 6 pm $30 Village Vanguard 8:30, 10:30 pm $30 • John Iannuzzi Quartet; Brian Newman • Paulo Siqueira Quartet Silvana 6 pm • Javon Jackson, Ron Carter, Billy Drummond The Django at The Roxy Hotel 8, 10:30 pm • Andy Ezrin Trio Saint Peter’s 5 pm Iridium 8, 10 pm $30 • Jeff Richardi and The Move Trio with Drew Cooper, Jason C. Smith, Mike Gordon • Emmet Cohen Trio Blue Note 11:30 am 1:30 pm $35 • Jazzmobile: Winard Harper and Jeli Posse ShapeShifter Lab 8:15 pm $10 • Roz Corral Trio with Yotam Silberstein, Jay Leonhart Grant’s Tomb 7 pm • Big Lazy Seaglass Carousel at The Battery 8 pm North Square Lounge 12:30, 2 pm êReuben Wilson Quartet with Ray Blue, John DeFrancesco, Glenn Ferricone • Takenori Nishiuchi Tomi Jazz 9 pm $10 Smoke 7, 9, 10:30 pm $12 • Dan Furman Trio Cleopatra’s Needle 8 pm Monday, August 15 • Marco Cappelli Bar Lunàtico 8:30, 10 pm $10 • Jon Sheckler Trio; Benjamin Furman Project • Deanna Witkowski Trio with Daniel Foose, Scott Latzky Silvana 6, 7 pm êMcCoy Tyner Blue Note 8, 10:30 pm $45 Jazz at Kitano 8, 10 pm $17 • Matt Snow Group; Gloria Isaiah Shrine 7, 8 pm êTuck & Patti Iridium 8 pm $35 • Emmet Cohen Trio Mezzrow 8 pm $20 êJeff “Tain” Watts Quartet with Troy Roberts, David Kikoski, Yunior Terry • Claudia Acuña with Pablo Vergara, John Benitez, Juancho Herrera, Yayo Serka • Chet Doxas Quintet with Matt Stevens, John Escreet, Vicente Archer, Allan Mednard; Jazz Standard 7:30, 9:30 pm $30 Dizzy’s Club 7:30, 9:30 pm $35 Philip Dizack Quintet with Mike King, Gilad Hekselman, Joe Dyson; Sanah Kadoura • Joey DeFrancesco Trio with Dan Wilson, Jason Brown êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 Smalls 7:30, 10:30 pm 1 am $20 Dizzy’s Club 7:30, 9:30 pm $40 • John Merrill and guests; Bill Cunliffe • Raphael D’lugoff Trio +1; Harold Mabern Trio; Ned Goold Jam • Jordan Pettay Dizzy’s Club 11:30 pm $10 Mezzrow 8, 9 pm $20 Fat Cat 7, 9 pm 12:30 am êLage Lund 4 with Sullivan Fortner, Matt Brewer • Ray Parker Quartet with Jon Davis, Yotam Silberstein, George Schuller; êGuillermo Gregorio Group with Josh Sinton, Art Bailey Cornelia Street Café 9, 10:30 pm $10 Ari Hoenig Group with Nitai Hershkovits, Or Bareket; Jonathan Michel Rye 10 pm • Javon Jackson, Ron Carter, Billy Drummond Smalls 7:30, 10:30 pm 1 am $20 • Sofia Ribeiro/Juan Andrés Ospina Cornelia Street Café 8, 9:30 pm $10 Iridium 8, 10 pm $30 • George Braith; Billy Kaye Jam Fat Cat 9 pm 12:30 am • Samarth Nagarkar, Dan Weiss, Rohan Prabhudesai; Drone Ghost: Kane Mathis, êSteve Kuhn Trio with Steve Swallow, Joey Baron • Michael Blanco with John Ellis, Aaron Goldberg, Clarence Penn Joshua Geisler, Max Zt, Rich Stein The Jazz Gallery 7:30, 9:30 pm $15 Birdland 8:30, 11 pm $40 Cornelia Street Café 8:30, 10 pm $10 • Smooth Cruise: Rachelle Ferrell and Rahsaan Patterson êThe Bad Plus: Ethan Iverson, Reid Anderson, David King • Mitch Froman Quartet with Zaccai Curtis, Luques Curtis, Joel Mateo Pier 40 6:30, 9:30 pm $45 Blue Note 8, 10:30 pm $35 Subrosa 8, 10 pm $12 • Tia Brazda; Ignacio Rivas Bixio Plasticity êSong of Silver Geese: Jen Shyu solo; Mark Dresser/Jen Shyu • Ricardo Grilli with , Rogério Boccato Club Bonafide 7:30, 9:30 pm $10 The Stone 8, 10 pm $20 Bar Lunàtico 8:30, 10 pm $10 • Tsuyoshi Yamamoto Tomi Jazz 8 pm • Ayako Shirasaki Bryant Park 12:30 pm • Flandrew Fleisenberg/Audrey Chen • Nicolas Letman-Burtinovic, Aki Ishiguro, Carter Bales Delroy’s Cafe and Wine Bar 9, 9:30, 10 pm Bar Chord 9 pm Saturday, August 13 • Dave Juarez Trio with Marty Isenberg, Eric Reeves; Dana Reedy Trio with Ed Cherry, êKenny Werner Trio with Johannes Weidenmueller, Ari Hoenig James Robbins Bar Next Door 6:30, 8:30, 10:30 pm $12 Dizzy’s Club 7:30, 9:30 pm $35 êPeter Evans/Joe McPhee Issue Project Room 8 pm $15 • Erena Terakubo Tomi Jazz 8 pm • Jordan Pettay Dizzy’s Club 11:30 pm $5 êDissident Arts Festival: The Literary Warriors: John Pietaro, Ras Moshe Burnett, • Victor Lin Bryant Park 12:30 pm êSteve Kuhn Trio with Steve Swallow, Joey Baron Rocco John Iacovone, Laurie Towers and guest Amina Baraka; Bernardo Palombo; Birdland 8:30, 11 pm $40 UpSurge! NYC: Raymond Nat Turner, Zigi Lowenberg, Ken Filiano, Lou Grassi, Tuesday, August 16 êThe Bad Plus: Ethan Iverson, Reid Anderson, David King Lee Odom; The New York Free Quartet: Steve Cohn, Michael Moss, Larry Roland, Blue Note 8, 10:30 pm $35 Chuck Fertal; Song of the United Front êRenee Rosnes Phantom Band with , Jimmy Greene, George Mraz, êCindy Blackman-Santana Group with Zaccai Curtis, Aurelien Budynek, Felix Pastorius El Taller LatinoAmericano 7 pm Al Foster Birdland 8:30, 11 pm $40 Jazz Standard 7:30, 9:30 pm $30 êJohn Zorn’s Bagatelles: Erik Friedlander/Michael Nicolas Duo; Jim Black Trio with êFred Hersch Trio with John Hébert, Eric McPherson êSong of Silver Geese: Jen Shyu solo; Jen Shyu with Gadon Elias Stemeseder, Chris Tordini; Jim Black Guitar Quartet with Keisuke Matsuno, Village Vanguard 8:30, 10:30 pm $30 The Stone 8, 10 pm $20 Jonathan Goldberger, Simon Jermyn êJazzmobile: Jay Hoggard; Central Brooklyn All-Star Band • David White Jazz Orchestra Saint Peter’s 1 pm $10 Village Vanguard 7, 8:30, 10:30 pm $30 Brooklyn Bridge Park 7 pm • Ayako Shirasaki Bryant Park 12:30 pm • David Kikoski Trio Jazz at Kitano 8, 10 pm $32 • Lee Ritenour Blue Note 8, 10:30 pm $35 • SummerStage Kids: Winard Harper and Jeli Posse êShunzo Ohno with Paul Bollenback, David Berkman, Daryl Johns, Jerome Jennings • Trio da Paz and Friends: Romero Lubambo, Nilson Matta, , Dr. Martin Luther King Jr. Park 10:30 am Joe’s Pub 7 pm $20 Harry Allen, Maucha Adnet Dizzy’s Club 7:30, 9:30 pm $45 • Bruce Cox Williamsburg Music Center 9, 11 pm • Evan Sherman Dizzy’s Club 11:30 pm $5 Thursday, August 11 • Chad Lefkowitz-Brown The Roxy Hotel 7 pm • Glenn Zaleski, Rick Rosato, Colin Stranahan and guest Mike Moreno êJon Irabagon The Django at The Roxy Hotel 10:30 pm Jazz Standard 7:30, 9:30 pm $25 êBenefit Concert: Herbie Hancock with James Genus, Trevor Lawrence, Jr., • Pete McCann Trio with Matt Clohesy, Mark Ferber êEloping with the Sun: Joe Morris, William Parker, Hamid Drake; Altitude: Joe Morris, , Terrace Martin; Experiment; BADBADNOTGOOD Bar Next Door 7:30, 9:30, 11:30 pm $12 William Parker, Gerald Cleaver The Stone 8, 10 pm $20 Prospect Park Bandshell 7 pm $49.50 • Fred Ho Celebration: Afro Yaqui Music Collective • Faust: Hardedge, Graham Haynes, Brandon Ross êJeff “Tain” Watts Quartet with Troy Roberts, David Kikoski, Yunior Terry Ginny’s Supper Club 7:30, 9:30 pm $15 Czech Center 7 pm $25 Jazz Standard 7:30, 9:30 pm $30 • Steve Carrington; Greg Glassman Jam • Sean King Group NYC Baha’i Center 8, 9:30 pm $15 • Joey DeFrancesco Trio with Dan Wilson, Jason Brown Fat Cat 10 pm 1:30 am • Pedrito Martinez Group Subrosa 8, 10 pm $15 Dizzy’s Club 7:30, 9:30 pm $40 • Daniel Bennett Group; Paul Lee Trio • Harvey Diamond Mezzrow 8 pm $20 • Jordan Pettay Dizzy’s Club 11:30 pm $10 Tomi Jazz 8, 11 pm $10 • Spike Wilner Trio with Tyler Mitchell, Anthony Pinciotti; Kyle Poole • John Zorn’s Bagatelles: Brian Marsella Trio with Trevor Dunn, Kenny Wollesen; • Walter William Trio Cleopatra’s Needle 8 pm Smalls 7:30 pm 1 am $20 Gyan Riley/Julian Lage Village Vanguard 8:30, 10:30 pm $30 êMulgrew Miller Birthday Celebration: Steve Nelson, , Danny Grissett, • Saul Rubin Zebtet Fat Cat 7 pm êLage Lund 4 with Sullivan Fortner, Matt Brewer, Tyshawn Sorey Peter Washington, Lewis Nash Smoke 7, 9, 10:30 pm $40 • Sonicfest: Bogna Kicinska with Benjamin Von Gutzeit, Kuba Cichocki, Edward Perez, Cornelia Street Café 9, 10:30 pm $10 • Spike Wilner; Pete Malinverni/Steve Wilson; Anthony Wonsey Jimmy Macbride; Stan’s Hat Flapping In The Wind: Lisa Sokolov/Cooper-Moore êTSSS: , Josh Sinton, Ryan Sawyer, Satoshi Takeishi Mezzrow 8, 9:30 pm 12:30 am $20 Cornelia Street Café 8, 9:30 pm $10 Manhattan Inn 10 pm $10 • Andy Fusco/Rudy Petschauer Quartet; Quartet with Peter Zak, Ben Wolfe, • Curtis Hasselbring, Petr Cancura, Matt Wilson; The Longest Day Of The Year: • The New York Jazz Exchange: Sean Nowell, Fredrik Olsson, Leo Lindberg, Lars Ekman, Joe Strasser; Brooklyn Circle Smalls 7:30, 10:30 pm 1 am $20 Douglas Bradford, Patrick Breiner, Christopher Hoffman, Nick Anderson Joe Abba; Nick Hempton Quartet; Tony Hewitt • Michael Olatuja and Lagos Pepper Soup with Samir Zarif, Manuel Valera, Terreon Gully, Korzo 9, 10:30 pm Smalls 7:30, 10:30 pm 1 am $20 Samir Zarif, Camille Thurman; Noël Simoné Band of Friends with Tommy Holladay, • Real Talk Collective: Justin Copeland, Roy McGrath, Hans Luchs, Joaquin Garcia, • Greg Glassman Quintet Fat Cat 10 pm Graham Doby, Clinton Greenlee, Keenyn Omari Moore, Peter DelGrosso, John Lander Kitt Lyles, Gustavo Cortiñas ShapeShifter Lab 8:15 pm $10 • Denise Jannah and Amina Figarova Trio Club Bonafide 7:30, 9:30, 11:30 pm $10-15 • Flavio Silva Trio with Alex Apolo Ayala, Jonathan Pinson; Sebastian Noelle Trio with Metropolitan Room 9 pm $24 êJeff “Tain” Watts Quartet with Troy Roberts, Benito Gonzalez, Orlando Le Fleming Matt Clohesy, Jochen Rueckert Bar Next Door 6:30, 8:30, 10:30 pm $12 • Caroline Davis Quintet with Marquis Hill, Julian Shore, Tamir Shmerling, Jay Sawyer Jazz Standard 7:30, 9:30 pm $30 • Stephen Fuller Tomi Jazz 8 pm The Jazz Gallery 7:30, 9:30 pm $15 • Joey DeFrancesco Trio with Dan Wilson, Jason Brown • Addison Frei solo Jazz at Kitano 8 pm • Chris Ziemba Quartet Jazz at Kitano 8, 10 pm $17 Dizzy’s Club 7:30, 9:30 pm $45 êTuck & Patti Iridium 8 pm $35 • Tommaso Gambini Trio with Pablo Menares, Alan Mednard; Sandro Albert Trio with • Jordan Pettay Dizzy’s Club 11:30 pm $20 • Christie Dashiell Quartet The Shops at Columbus Circle 6 pm Freddie Bryant, Michael O’Brien Bar Next Door 6:30, 8:30, 10:30 pm $12 êLage Lund 4 with Sullivan Fortner, Matt Brewer • Victor Lin Bryant Park 12:30 pm • Greg Lamy Trio with Gautier Laurent, Jean-Marc Robin and guests Ernie Hammes, Cornelia Street Café 9, 10:30 pm $10 • Eric Person Rendall Memorial Presbyterian Church 12, 1 pm $15 Jerome Goldschmidt Club Bonafide 7:30, 9:30 pm $20 êSteve Kuhn Trio with Steve Swallow, Joey Baron • Sumie Kaneko Duo Tomi Jazz 9 pm $10 Birdland 8:30, 11 pm $40 Wednesday, August 17 • Julia Banholzer Duo Cleopatra’s Needle 7 pm êThe Bad Plus: Ethan Iverson, Reid Anderson, David King • Jason Tiemann Trio Cavatappo Grill 9 pm $8 Blue Note 8, 10:30 pm $35 êBlack Art Jazz Collective: Wayne Escoffery, Jeremy Pelt, James Burton III, Victor Gould, • Javon Jackson, Ron Carter, Billy Drummond êSong of Silver Geese: Jen Shyu solo; Tyshawn Sorey/Jen Shyu Vicente Archer, Johnathan Blake Jazz Standard 7:30, 9:30 pm $25 Iridium 8, 10 pm $30 The Stone 8, 10 pm $20 • Jason Hwang, Joe Morris, William Parker, Hamid Drake, Petr Cancura; Gerald Cleaver, êReuben Wilson Quartet with Ray Blue, John DeFrancesco, Glenn Ferricone êJazzmobile: Jimmy Heath Big Band Fay Victor, Jean Carle Rodea, Joe Morris, William Parker, Hamid Drake, Petr Cancura Smoke 7, 9, 10:30 pm $12 Central Park Great Hill 4 pm The Stone 8, 10 pm $20 êSteve Kuhn Trio with Steve Swallow, Joey Baron • Louis and Ella Anniversary Tribute: Jane Monheit • Camila Meza Subrosa 8, 10 pm $20 Birdland 8:30, 11 pm $40 Louis Armstrong House 2 pm $18 • Willerm Delisfort Quintet Smoke 7, 9, 10:30 pm $12 êThe Bad Plus: Ethan Iverson, Reid Anderson, David King • Sara Gazarek Mezzrow 8 pm $20 Blue Note 8, 10:30 pm $35 Sunday, August 14 • Brooklyn Jazz Underground 10th Anniversary Festival: Owen Howard Trio with êSong of Silver Geese: Jen Shyu solo; Ben Monder/Jen Shyu Jason Rigby, Matt Clohesy; Adam Kolker; David Smith Quartet with David Cook, The Stone 8, 10 pm $20 • Dissident Arts Festival: Dissident Arts Orchestra: Cheryl Pyle, Ras Moshe Burnett, Gary Wang, Anthony Pinciotti; Brooklyn Jazz Underground: Tammy Scheffer, • Harlem Swing Dance Society The Archway 6 pm Matt Lavelle, Cameron Orr, Chris Forbes, Javier Miyares-Hernandez, Laurie Towers, David Smith, Adam Kolker, David Cook, Owen Howard, Rob Garcia; Aaron Seeber êDan Block Silvana 6 pm John Pietaro Frost Theatre of the Arts 8 pm Smalls 7:30 pm 1 am $20 • Elise Wood Duo Shrine 6 pm êJohn Zorn’s Bagatelles: Kris Davis Quartet with Mary Halvorson, Drew Gress, • Raphael D’lugoff Trio +1; Don Hahn/Mike Camacho Band; Ned Goold Jam êTed Nash Trio Citigroup Center Plaza 12:30 pm Tyshawn Sorey; Mary Halvorson Quartet with Miles Okazaki, Drew Gress, Fat Cat 7, 9 pm 12:30 am • Linda Ipanema/Stan Edwards 345 Park Avenue 12:30 pm Tomas Fujiwara Village Vanguard 8:30, 10:30 pm $30 • Katie Thiroux Trio with Justin Kauflin, Matt Witek • Ayako Shirasaki Bryant Park 12:30 pm • Gene Bertoncini The Drawing Room 7 pm $20 Jazz at Kitano 8, 10 pm $17 • York College Summer Jazz Program • David Ambrosio/Russ Meissner Group with Loren Stillman, Matt Renzi, • Sonicfest: Aimua Eghobamien with Ben Zwerin, Scott Neumann; York College Atrium 9 am Leonard Thompson, Nate Radley Cornelia Street Café 8:30, 10 pm $10 Sonicmuses: Deborah Latz, Helen Yee, Claudia Rahardjanoto • Grant Stewart Mezzrow 9 pm $20 Cornelia Street Café 8, 9:30 pm $10 Friday, August 12 • Yves Brouqui Quartet with Dmitry Baevsky, Paul Gill, Joe Strasser; Hillel Salem • Supermambo: Felipe Fournier, Rey David Alejandre, Joel Mateo, Camilo Molina, Smalls 10:30 pm 1 am $20 Dan Martínez; Patrick Andy Band with Eli Menezes, Harry Vaughn, Ivory McDonald • Dissident Arts Festival: Trudy Silver’s Where’s the Outrage? with Newman Taylor Baker, • Terry Waldo’s Gotham City Band; Brandon Lewis/Renee Cruz Jam Club Bonafide 7:30, 9:30 pm $15 Sanae Buck, Kentucky Parkis, Shoshke-Rayzl; Ras Moshe Music Now! with Fat Cat 6 pm 1 am • Smooth Cruise: Najee and Alex Bugnon Matt Lavelle, John Pietaro; Luis Toto Alvarez Chango Project; Song of the United Front • Kirk Knuffke; Projection: Zero: Blaise Siwula/Carsten Radtke Pier 40 6:30, 9:30 pm $45 5C Café 8 pm Downtown Music Gallery 6, 7 pm • Olson/Pingrey Quartet: Kathy Olson, Randy Pingrey, Kendall Eddy, Austin McMahon êMulgrew Miller Birthday Celebration: Steve Nelson, Terell Stafford, Danny Grissett, • The Lintet: Peter Lin, Benjamin Kovacs, Tadataka Unno, Noel Sagerman, Alex Tremblay ShapeShifter Lab 8:15 pm $10 Peter Washington, Lewis Nash Smoke 7, 9, 10:30 pm $40 Club Bonafide 7 pm $15 • Yoshiki Miura Trio Tomi Jazz 8 pm êLiberty Ellman Sextet with , Jonathan Finlayson, Stephan Crump, • Judi Jackson Minton’s 7 pm êRenee Rosnes Phantom Band with Randy Brecker, Jimmy Greene, George Mraz, Jose Davila, Damion Reid The Jazz Gallery 7:30, 9:30 pm $22 • Ittetsu Nasuda Tomi Jazz 8 pm Al Foster Birdland 8:30, 11 pm $40 • Ehud Asherie solo; Pete Malinverni/Steve Wilson; Johnny O’Neal • The New York Jazzharmonic Trio: Jay Rattman, Chris Ziemba, Ron Wasserman and êFred Hersch Trio with John Hébert, Eric McPherson Mezzrow 8, 9:30 pm 12:30 am $20 guests Jim Saporito, Harrison Hollingsworth Village Vanguard 8:30, 10:30 pm $30 • Jamale Davis Quintet with Stefano Doglioni, Pasquale Grasso, Bruce Jackson; Symphony Space Bar Thalia 7 pm • Lee Ritenour Blue Note 8, 10:30 pm $35 Ryan Kisor Quartet with Peter Zak, Ben Wolfe, Joe Strasser; Joe Farnsworth êMulgrew Miller Birthday Celebration: Steve Nelson, Terell Stafford, Danny Grissett, • Trio da Paz and Friends: Romero Lubambo, Nilson Matta, Duduka Da Fonseca, Smalls 7:30, 10:30 pm 1 am $20 Peter Washington, Lewis Nash Smoke 7, 9, 10:30 pm $40 Harry Allen, Maucha Adnet Dizzy’s Club 7:30, 9:30 pm $45 êNoah Preminger/Frank KimbroughJazz at Kitano 8, 10 pm $32 êJeff “Tain” Watts Quartet with Troy Roberts, David Kikoski, Orlando Le Fleming • Evan Sherman Dizzy’s Club 11:30 pm $5 êJohn Zorn’s Bagatelles: Matt Mitchell Trio with Kim Cass, Dan Weiss; Mark Feldman Jazz Standard 7:30, 9:30 pm $30 êBrian Charette Sextette with Jochen Rueckert, Brandon Wright, Mike DiRubbo, Duos with Sylvie Courvoisier and Chris Otto; Peter Evans Quartet with Jon Irabagon, • Joey DeFrancesco Trio with Dan Wilson, Jason Brown Kenny Brooks, Frank Perowsky Saint Peter’s 1 pm $10 John Hébert, Tyshawn Sorey Village Vanguard 7, 8:30, 10:30 pm $30 Dizzy’s Club 7:30, 9:30 pm $35 • Victor Lin Bryant Park 12:30 pm êJazzmobile: Will Calhoun Marcus Garvey Park 7 pm

THE NEW YORK CITY JAZZ RECORD | AUGUST 2016 33 Thursday, August 18 • Spike Wilner; Dena DeRose with Martin Wind, Matt Wilson; Jon Davis • Smooth Cruise: Roy Ayers and Nick Colionne Mezzrow 8, 9:30 pm 12:30 am $20 Pier 40 6:30, 9:30 pm $45 êGerald Cleaver, Joe McPhee, Josh Abrams, Joe Morris, William Parker, Hamid Drake; • John Marshall Quintet with Grant Stewart, Jeb Patton, David Wong, Phil Stewart; • Skull Kids: Charlie Dougherty, Will Dougherty, Josh Marcus, Abel Tabares, Gerald Cleaver, Taylor Ho Bynum, Josh Abrams, Joe Morris, William Parker, Philip Harper Quintet with Jon Beshay, Miki Yamanaka, George Delancey, Pravin Thompson; Matt Malanowski Trio with Dion Kerr, Connor Parks; David Zakarian, Hamid Drake The Stone 8, 10 pm $20 Curtis Nowosad Smalls 10:30 pm 1 am $20 Diane Moser, Patrick McGee, Quincy Chimich, Alex Louloudis êJohn Beasley Big Band with Bob Sheppard, Oliver Santana, Bob Malach, Adam Kolker, êJohn Beasley Big Band with Bob Sheppard, Oliver Santana, Bob Malach, Adam Kolker, ShapeShifter Lab 7, 8:15, 9:30 pm $10 Dave Rickenberg, Bijon Watson, Shawn Edmonds, , Brian Lynch, Dave Rickenberg , Bijon Watson, Shawn Edmonds, Scott Wendholt, Brian Lynch, • Katherine “Kool Kat” Farnham Club Bonafide 7:30 pm $15 , Frank Lacy, Ryan Dragon, James Genus, Terreon Gulley and guest Conrad Herwig, Frank Lacy, Ryan Dragon, James Genus, Terreon Gulley and guest • Hiroaki Honshuku Tomi Jazz 8 pm Jazz Standard 7:30, 9:30 pm $35 Regina Carter Jazz Standard 7:30, 9:30 pm $35 • Al Di Meola B.B. King’s Blues Bar 8 pm $55 êHenry Butler Bar Lunàtico 8:30, 10 pm $10 êRenee Rosnes Phantom Band with Randy Brecker, Jimmy Greene, George Mraz, êThe Jazz Masters Play Monk: John Abercrombie, , Steve Swallow, • Brooklyn Jazz Underground 10th Anniversary Festival: David Cook Quintet with Al Foster Birdland 8:30, 11 pm $40 Joey Baron Birdland 8:30, 11 pm $40 Dave Smith, John Ellis, Matt Clohesy, Mark Ferber; Rob Garcia Trio with êFred Hersch Trio with John Hébert, Eric McPherson êRemembering Milt Jackson and Ray Brown: Monty Alexander with Warren Wolf, Steve Cardenas, Matt Pavolka; Tammy Scheffer Sextet + Voices with Uri Gurvich, Village Vanguard 8:30, 10:30 pm $30 Ron Blake, Hassan Shakur, Dan Pratt, Billy Test, Daniel Foose, Mark Ferber, Aubrey Johnson, Katie Seiler, • Lee Ritenour Blue Note 8, 10:30 pm $35 Blue Note 8, 10:30 pm $35 Tomas Cruz ShapeShifter Lab 7, 8:15, 9:30 pm $15 • Trio da Paz and Friends: Romero Lubambo, Nilson Matta, Duduka Da Fonseca, êGerald Clayton, Lionel Loueke, Eric Harland • Peter Eldridge with Jesse Lewis, Matt Aronoff, Ben Wittman, Jo Lawry, Lauren Kinhan, Harry Allen, Maucha Adnet Dizzy’s Club 7:30, 9:30 pm $45 Village Vanguard 8:30, 10:30 pm $30 Janis Siegel Rockwood Music Hall Stage 2 8 pm • Evan Sherman Dizzy’s Club 11:30 pm $20 • Trio da Paz and Friends: Romero Lubambo, Nilson Matta, Duduka Da Fonseca, • Deanna Kirk Quartet with John di Martino, Ed Howard, Mark Taylor Harry Allen, Maucha Adnet Dizzy’s Club 7:30, 9:30 pm $45 Jazz at Kitano 8, 10 pm $17 Sunday, August 21 • Noah Garabedian Dizzy’s Club 11:30 pm $5 • Aimée Allen; SPOKE: Andy Hunter, Justin Wood, Dan Loomis, Danny Fischer • Sachal Vasandani with Taylor Eigsti, Joshua Crumbly, Kendrick Scott Club Bonafide 7:30, 9:30 pm $10 • Joe Morris Quartet with Mat Maneri, Chris Lightcap, Gerald Cleaver Jazz Standard 7:30, 9:30 pm $25 • George Burton; Spike Wilner Jam Mezzrow 8, 11 pm $20 The Stone 8, 10 pm $20 êSheila Jordan/Cameron Brown Saint Peter’s 1 pm $10 • Willy Rodriguez Quintet with Godwin Louis, Jason Palmer, Zaccai Curtis, êThe NY Jazz Flutet: Chip Shelton, Dotti Anita Taylor, Jan Leder, Elise Wood, Art Lillard • Russ Kassoff Bryant Park 12:30 pm Luques Curtis; JC Stylles Quartet; Tyler Clibbon Club Bonafide 7:30 pm $15 Smalls 7:30, 10:30 pm 1 am $20 • Chris Flory Trio Mezzrow 9 pm $20 Thursday, August 25 • Sonicfest: Carolyn Leonhart; Michelle Walker and Opius Bliss with Jason Ennis, • George Gee Jazz Orchestra; Bruce Harris Group with Dmitry Baevsky, Frank Basile, Michael O’Brien, Sean Dixon Cornelia Street Café 8, 9:30 pm $10 Michael Weiss, Clovis Nicolas, Peter Van Nostrand; Hillel Salem êGeorge Coleman Quartet with Harold Mabern, John Webber, Joe Farnsworth • Bobby Katz Trio with Jeff Dingler, Tim Rachbach; Marvin Dolly Trio with Smalls 4:30, 10:30 pm 1 am $20 Jazz Standard 7:30, 9:30 pm $35 Jonathan Michel, Jaimeo Brown Bar Next Door 6:30, 8:30, 10:30 pm $12 • Terry Waldo’s Gotham City Band; Ark Ovrutski Quintet; êJulian Lage/Nels Cline Duo; Julian Lage/Nels Cline Quartet with , • Liberté Big Band Williamsburg Music Center 8, 10 pm Brandon Lewis/Renee Cruz Jam Fat Cat 6, 8:30 pm 1 am Tom Rainey The Stone 8, 10 pm $20 • Scot Albertson Tomi Jazz 9 pm $10 • Sari Kessler Minton’s 7 pm • Peggy Stern Quartet with Su Terry, Harvie S, Tony Moreno • Matt Baker Duo Cleopatra’s Needle 7 pm • Drama Section: Nate Mendelsohn, Stephen Becker, Cory Todd, Duncan Standish; Jazz at Kitano 8, 10 pm $17 • Hot Club of Flatbush Radegast Hall 9 pm Unsolvable Problems: Evan Salvacion Levine, Lex Korten, Paolo Cantarella; êBurnt Sugar Arkestra David Rubenstein Atrium 7:30 pm • Willerm Delisfort Quintet Smoke 7, 9, 10:30 pm $12 Alan Ferber, Lucas Pino, Anna Webber, Jay Rattman, Sita Chay, Meg Okura, êNate Wooley/Dave Rempis Quartet with Brandon Lopez, Chris Corsano; Joe Morris, • Beat Kaestli with Walter Fischbacher, Gary Wang, Fred Kennedy Eric Lemmon, Manuel Schmiedel, Rick Rosato, Colin Stranahan, Jeff Taylor, Jerome Dupree, Will Greene Manhattan Inn 10 pm $10 Birdland 6 pm $25 Alan Hampton ShapeShifter Lab 7, 8:15, 9:30 pm $8 ê40Twenty: , Jacob Garchik, Dave Ambrosio, Vinnie Sperrazza êRenee Rosnes Phantom Band with Randy Brecker, Jimmy Greene, George Mraz, • Yuko Ito Tomi Jazz 8 pm The Drawing Room 7 pm Al Foster Birdland 8:30, 11 pm $40 • Berta Moreno Quintet with Troy Roberts • Stanley Jordan Iridium 8, 10 pm $25-35 êFred Hersch Trio with John Hébert, Eric McPherson Silvana 7 pm • Samuel Torres Group with Alex Norris, Tom Guarna, Luis Perdomo, Ricky Rodriguez, Village Vanguard 8:30, 10:30 pm $30 êPeter Bernstein Let Loose Quartet with Gerald Clayton, Doug Weiss, Pablo Bencid Club Bonafide 7:30 pm $15 • Lee Ritenour Blue Note 8, 10:30 pm $35 Smoke 7, 9, 10:30 pm $38 • OWL Trio; Spike Wilner Jam Mezzrow 8, 11 pm $20 • Trio da Paz and Friends: Romero Lubambo, Nilson Matta, Duduka Da Fonseca, êJohn Beasley Big Band with Bob Sheppard, Oliver Santana, Bob Malach, Adam Kolker, • Carlos Abadie Quintet with Mike Troy, Peter Zak, Clovis Nicolas, Luca Santaniello; Harry Allen, Maucha Adnet Dizzy’s Club 7:30, 9:30 pm $45 Dave Rickenberg , Bijon Watson, Shawn Edmonds, Scott Wendholt, Brian Lynch, Tony Hewitt Smalls 7:30 pm 1 am $20 • Evan Sherman Dizzy’s Club 11:30 pm $10 Conrad Herwig, Frank Lacy, Ryan Dragon, James Genus, Terreon Gulley • Jazzmobile: Steve Kroon Louis Armstrong House 7 pm • Marshall Gilkes Silvana 6 pm Jazz Standard 7:30, 9:30 pm $30 êBilly Mintz Quintet with John Gross, Tony Malaby, Roberta Piket, Hilliard Greene êDave Chamberlain Band of Bones Citigroup Center Plaza 12:30 pm êFred Hersch Trio with John Hébert, Eric McPherson Ibeam Brooklyn 8:30 pm $15 • Victor Lin Bryant Park 12:30 pm Village Vanguard 8:30, 10:30 pm $30 • Brazil Fest: Susan Pereira and Sabor Brasil with Noah Bless, Deanna Witkowski, • Lee Ritenour Blue Note 8, 10:30 pm $35 Eduardo Belo, Vanderlei Pereira; Livio Almeida Group with Adam O’Farrill, Friday, August 19 • Trio da Paz and Friends: Romero Lubambo, Nilson Matta, Duduka Da Fonseca, Eduardo Belo, Zack O’Farrill Cornelia Street Café 8, 9:30 pm $10 Harry Allen, Maucha Adnet Dizzy’s Club 7:30, 9:30 pm $35 • David Kuhn Trio with Jasper Dutz, Max Bezanson; Aleksi Glick Trio with Jeff Koch, êPeter Bernstein Let Loose Quartet with Gerald Clayton, Doug Weiss, Bill Stewart êBilly Mintz Quartet with Tony Malaby, Roberta Piket, Hilliard Greene Andy Martinek Bar Next Door 6:30, 8:30, 10:30 pm $12 Smoke 7, 9, 10:30 pm $38 Downtown Music Gallery 6 pm • Lee Tomboulian solo DiMenna Center 8 pm $20 êHideo Yamaki/Bill Laswell with guest Dave Douglas • J.J. Wright Trio Saint Peter’s 5 pm • Tom McDermott Bar Lunàtico 8:30, 10 pm $10 The Drawing Center 7:30 pm • Deborah Davis and A Few Good Men • Steven Feifke Quartet The Roxy Hotel 7 pm • The Jazz Gallery 21st Birthday Celebration: Ben Williams And Sound Effect with Blue Note 11:30 am 1:30 pm $35 • Senri Oe Tomi Jazz 9 pm $10 Marcus Strickland, Alex Wintz, Christian Sands, John Davis and guest • Roz Corral Trio with Jim Ridl, Rusty Holloway • JiSung Kim Duo Cleopatra’s Needle 7 pm The Jazz Gallery 7:30, 9:30 pm $25 North Square Lounge 12:30, 2 pm • Vanessa Parea and Company Cavatappo Grill 9 pm $8 êEd Palermo Big Band Iridium 8, 10 pm $40 êDezron Douglas Black Lion Quartet êNed Rothenberg, Josh Abrams, Joe Morris, William Parker, Hamid Drake; Monday, August 22 Smoke 7, 9, 10:30 pm $12 Jim Hobbs, Josh Abrams, Joe Morris, William Parker, Hamid Drake êThe Jazz Masters Play Monk: John Abercrombie, Dave Liebman, Steve Swallow, The Stone 8, 10 pm $20 • Marcus Strickland Quartet with David Bryant, Ben Williams, E.J. Strickland Joey Baron Birdland 8:30, 11 pm $40 • Sacha Perry solo; Dena DeRose with Martin Wind, Matt Wilson; Johnny O’Neal Dizzy’s Club 7:30, 9:30 pm $30 êMonty Alexander Trio with John Clayton, Jeff Hamilton Mezzrow 8, 9:30 pm 12:30 am $20 êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 Blue Note 8, 10:30 pm $35 • Quartet; John Marshall Quintet with Grant Stewart, Jeb Patton, • Jesse Fischer and guests Blue Note 8, 10:30 pm $15 êGerald Clayton, Lionel Loueke, Eric Harland David Wong, Phil Stewart; Joe Farnsworth • John Merrill and guests; Michael Valeanu with Eden Ladin, Or Bareket Village Vanguard 8:30, 10:30 pm $30 Smalls 7:30, 10:30 pm 1 am $20 Mezzrow 8, 9 pm $20 • Trio da Paz and Friends: Romero Lubambo, Nilson Matta, Duduka Da Fonseca, • Point of Departure Fat Cat 10:30 pm • Rafal Sarnecki Quintet with Lucas Pino, Glenn Zaleski, Rick Rosato, Colin Stranahan; Harry Allen, Maucha Adnet Dizzy’s Club 7:30, 9:30 pm $45 • Roberta Piket Quartet with Virginia Mayhew, Harvie S, Billy Mintz Bob Sheppard Quartet with Steve Cardenas, Jay Anderson, Mark Ferber; • Noah Garabedian Dizzy’s Club 11:30 pm $10 Jazz at Kitano 8, 10 pm $32 Jonathan Barber Smalls 7:30, 10:30 pm 1 am $20 • John Eckert Silvana 6 pm • TK Blue Medgar Evers College 7 pm • Prawit Siriwat Trio with Cody Rowlands, Daniel Durst; Gabrielle Stravelli Trio with • Benito Gonzalez Trio Citigroup Center Plaza 12:30 pm • Erik Deutsch Outlaw Jazz Bar Lunàtico 8:30, 10 pm $10 Saul Rubin, Pat O’Leary Bar Next Door 6:30, 8:30, 10:30 pm $12 • Russ Kassoff Bryant Park 12:30 pm • Aubrey Johnson Group with Tomoko Omura, Michael Sachs, Glenn Zaleski, • Gypsy Jazz Caravan Radegast Hall 8 pm Matt Aronoff, Jimmy Macbride Cornelia Street Café 9, 10:30 pm $10 • Eric Plaks Tomi Jazz 8 pm Friday, August 26 • Svetlana Shmulyian and Seth Weaver Big Band; Ark Ovrutski Quintet • Russ Kassoff Bryant Park 12:30 pm Zinc Bar 8, 10 pm êSummerStage/Charlie Parker Jazz Festival: Jason Lindner Breeding Ground; • Petr Cancura’s Down Home Seaglass Carousel at The Battery 8 pm Tuesday, August 23 Antoinette Montague and Jazzmobile Friends; DJ Greg Caz • 1in2: Blanca Cecilia González/Jesse Elder; Camille Gainer Jones and The Immortals Marcus Garvey Park 7 pm with Dave Jones, Jonathan Thomas, Chris Hemingway, Igmar Thomas, DJ Jazzy Jay, • Al Di Meola B.B. King’s Blues Bar 8 pm $55 êTiPPLE: Frode Gjerstad, Kevin Norton, David Watson Eclectic EmCee Delrey Club Bonafide 7:30, 9:30, 11:30 pm $15 êThe Jazz Masters Play Monk: John Abercrombie, Dave Liebman, Steve Swallow, Everything Goes Café 7:30 pm • Michael Valeanu Trio with Rick Rosato, Jake Goldbas Joey Baron Birdland 8:30, 11 pm $40 êTribute to Charlie Parker: Al Foster Quintet with Jeremy Pelt, Mike DiRubbo, Bar Next Door 7:30, 9:30, 11:30 pm $12 êRemembering Milt Jackson and Ray Brown: Monty Alexander with Warren Wolf, Adam Birnbaum, Doug Weiss Smoke 7, 9, 10:30 pm $40 • Kuni Mikami Tomi Jazz 9 pm $10 Ron Blake, Hassan Shakur, Carl Allen • Ehud Asherie solo; /Renee Rosnes; Johnny O’Neal • Bob Albanese Trio Cleopatra’s Needle 8 pm Blue Note 8, 10:30 pm $35 Mezzrow 8, 9:30 pm 12:30 am $20 • John Iannuzzi Quartet The Roxy Hotel 7 pm êGerald Clayton, Lionel Loueke, Eric Harland • Tardo Hammer Trio with Lee Hudson, Jimmy Wormworth; Group with • Chad Lefkowitz-Brown; Brian Newman Village Vanguard 8:30, 10:30 pm $30 Myron Walden, Luques Curtis, E.J. Strickland; Joe Farnsworth The Django at The Roxy Hotel 8, 10:30 pm • Trio da Paz and Friends: Romero Lubambo, Nilson Matta, Duduka Da Fonseca, Smalls 7:30, 10:30 pm 1 am $20 • Alen Han Trio Minton’s 7, 9:30 pm Harry Allen, Maucha Adnet Dizzy’s Club 7:30, 9:30 pm $45 êFIG: Yuka C Honda/Nels Cline; Radical Empathy Trio: Thollem McDonas, • Kristin Callahan Silvana 7 pm • Noah Garabedian Dizzy’s Club 11:30 pm $5 Michael Wimberly, Nels Cline The Stone 8, 10 pm $20 êJohn Beasley Big Band with Bob Sheppard, Oliver Santana, Bob Malach, Adam Kolker, • Sachal Vasandani with Taylor Eigsti, Joshua Crumbly, Kendrick Scott êNate Wooley/Dave Rempis Quartet with Brandon Lopez, Chris Corsano; Dave Rickenberg , Bijon Watson, Shawn Edmonds, Scott Wendholt, Brian Lynch, Jazz Standard 7:30, 9:30 pm $25 Stephanie Richards Sounds and Scents Opera with Stomu Takeishi, Kenny Wollesen Conrad Herwig, Frank Lacy, Ryan Dragon, James Genus, Terreon Gulley and guest êBB&C: Tim Berne, Jim Black, Nels Cline; Blue Turf: Jim Campilongo, Nels Cline, and guests; Mike Pride solo New Revolution Arts 8, 9 pm Regina Carter Jazz Standard 7:30, 9:30 pm $35 Jerome Harris, Jim Black The Stone 8, 10 pm $20 • New York Free Quartet: Michael Moss, Steve Cohn, Larry Roland, Chuck Fertal êRenee Rosnes Phantom Band with Randy Brecker, Jimmy Greene, George Mraz, • Cynthia Hilts NYC Baha’i Center 8, 9:30 pm $15 ShapeShifter Lab 8:15 pm $12 Al Foster Birdland 8:30, 11 pm $40 • Janis Siegel Trio Mezzrow 8 pm $20 • Joyce Breach Trio with Mike Renzi, Jay Leonhart êFred Hersch Trio with John Hébert, Eric McPherson • Spike Wilner Trio with Tyler Mitchell, Anthony Pinciotti; Jovan Alexander Jazz at Kitano 8, 10 pm $32 Village Vanguard 8:30, 10:30 pm $30 Smalls 7:30 pm 1 am $20 • AfroBop Alliance: Joe McCarthy, Luis Hernandez, Tim Stanley, Vince Norman, • Lee Ritenour Blue Note 8, 10:30 pm $35 • Saul Rubin Zebtet Fat Cat 7 pm Victor Provost, Harry Appelman, Tom Baldwin, Roberto Quintero; Zem Audu • Trio da Paz and Friends: Romero Lubambo, Nilson Matta, Duduka Da Fonseca, • Pedrito Martinez Group Subrosa 8, 10 pm $15 Club Bonafide 7:30, 9:30 pm $15 Harry Allen, Maucha Adnet Dizzy’s Club 7:30, 9:30 pm $45 • Dave Juarez Trio with Marty Isenberg, Eric Reeves; Larry Newcomb Trio with • Brazil Fest: Billy Newman Quintet with Eric Schugren, Evan Francis, Leco Reis, • Evan Sherman Dizzy’s Club 11:30 pm $10 Mike Gamoia, Dmitri Kolesnik Bar Next Door 6:30, 8:30, 10:30 pm $12 Kenny Grohowski; Bom Ritmos—Keiti: Andrew Scott Potter, Steve Sandberg, • Victor Lin Bryant Park 12:30 pm • Sharp Tree Trio Tomi Jazz 8 pm Tony Cimorosi, Edi Machado, Joao Machado • Addison Frei solo Jazz at Kitano 8 pm Cornelia Street Café 9, 10:30 pm $10 Saturday, August 20 êCurtis Brothers Quartet The Shops at Columbus Circle 6 pm • Nick Moran Trio with Brad Whiteley, Diego Voglino • Russ Kassoff Bryant Park 12:30 pm Bar Next Door 7:30, 9:30, 11:30 pm $12 êLew Tabackin Trio with Ray Drummond, Mark Taylor • Camille Thurman Rendall Memorial Presbyterian Church 12, 1 pm $15 • Alex Clough; Brian Newman The Django at The Roxy Hotel 8, 10:30 pm Jazz at Kitano 8, 10 pm $32 • Takenori Nishiuchi Tomi Jazz 9 pm $10 êSylvie Courvoisier, Mark Feldman, Ingrid Laubrock, Tom Rainey Wednesday, August 24 • Chris Johanson Trio Cleopatra’s Needle 8 pm Cornelia Street Café 9, 10:30 pm $10 êGeorge Coleman Quartet with Harold Mabern, John Webber, Joe Farnsworth êTony Malaby, Joe Morris, William Parker, Hamid Drake; Gerald Cleaver, Craig Taborn, êMarc Ribot/Nels Cline; The Ring Nebula Project: Taylor Ho Bynum, Dave Rempis, Jazz Standard 7:30, 9:30 pm $35 Joe Morris, William Parker The Stone 8, 10 pm $20 Michael TA Thompson, Nels Cline The Stone 8, 10 pm $20 ê40Twenty: Jacob Sacks, Jacob Garchik, Dave Ambrosio, Vinnie Sperrazza êGabriel Alegría Afro-Peruvian Sextet with Laura Andrea Leguía, • Jazzmobile: Bobby Sanabria Multi-Diverse Big Band The Drawing Room 7 pm Freddy “Huevito” Lobatón, Yuri Juárez, John Benitez, Franco Pinna; Ada Pasternak Grant’s Tomb 7 pm • Stanley Jordan Iridium 8, 10 pm $25-35 Club Bonafide 7:30, 9:30, 11:30 pm $10-25 • Sebastian Noelle’s Shelter with Marc Mommaas, Matt Mitchell, Matt Clohesy, Dan Weiss êThe Jazz Masters Play Monk: John Abercrombie, Dave Liebman, Steve Swallow, • Nir Felder Trio with Orlando Le Fleming, Jimmy Macbride Cornelia Street Café 8, 9:30 pm $10 Joey Baron Birdland 8:30, 11 pm $40 Bar Next Door 7:30, 9:30, 11:30 pm $12 êDezron Douglas Black Lion Quartet êMonty Alexander Trio with John Clayton, Jeff Hamilton • Emmet Cohen Trio Minton’s 7, 9:30 pm Smoke 7, 9, 10:30 pm $12 Blue Note 8, 10:30 pm $35 • Myriam Phiro Quartet The Roxy Hotel 7 pm • Ropeadope Showcase: Tacuma Bradley’s Unity Band; The Flowdown; Lex Sadler; êGerald Clayton, Lionel Loueke, Eric Harland • Jonathan Dely; Los Hacheros The Django at The Roxy Hotel 8, 10:30 pm ‘Nuf Said Rockwood Music Hall Stage 2 9 pm Village Vanguard 8:30, 10:30 pm $30 • The Standard Procedure Tomi Jazz 8 pm $10 • Asako Tamura/Senri Oe Jazz at Kitano 8, 10 pm $17 • Trio da Paz and Friends: Romero Lubambo, Nilson Matta, Duduka Da Fonseca, • Richard Benetar Trio Cleopatra’s Needle 8 pm • Bruce Harris Mezzrow 8 pm $20 Harry Allen, Maucha Adnet Dizzy’s Club 7:30, 9:30 pm $45 êPeter Bernstein Let Loose Quartet with Gerald Clayton, Doug Weiss, Bill Stewart • Akiko Tsuruga Quartet with , Myron Walden, Joe Strasser; • Noah Garabedian Dizzy’s Club 11:30 pm $10 Smoke 7, 9, 10:30 pm $38 Jared Gold Trio with Dave Stryker, Kush Abadey; Sanah Kadoura • IN/TER\SECT: Inbal Segev; Bridget Kibbey with Kristin Lee, John Hadfield; • The Jazz Gallery 21st Birthday Celebration: Ben Williams And Sound Effect with Smalls 7:30, 10:30 pm 1 am $20 Patrick Zimmerli Quintet; Kenari Quartet; Dan Tepfer Trio with Strings Marcus Strickland, Alex Wintz, Christian Sands, John Davis and guest • Raphael D’lugoff Trio +1; Ned Goold Jam Bryant Park 5 pm The Jazz Gallery 7:30, 9:30 pm $25 Fat Cat 7 pm 12:30 am • Russ Kassoff Bryant Park 12:30 pm êEd Palermo Big Band Iridium 8, 10 pm $40

34 AUGUST 2016 | THE NEW YORK CITY JAZZ RECORD Improvisational. Sensational. That’s jazz at NJPAC. Listen to the finest musicians in the jazz universe as they play with their friends! Oct 15—Nov 20!

From the Buena Vista Social Club™ Jazz in the Key of Ellison FELA! The Concert: Omara Portuondo “85 Tour” , Catherine Russell, Afro Beat Party special guests Roberto Fonseca, and Patti Austin Wednesday, November 16 at 7:30pm Anat Cohen and Regina Carter with Andy Farber and His Orchestra Saturday, October 15 at 8pm Tuesday, November 1 at 7:30pm

GRP Jazz Revisited: Get On Up: Sarah Vaughan Celebration Honoring Larry Rosen A James Brown Celebration! The Christian McBride Trio, , Lee Ritenour, Christian McBride, Sharon Jones, Bettye Dianne Reeves, Lisa Fischer , Phil Perry, LaVette, Lee Fields and James Brown Band and Shelia Jordan The Yellowjackets and more alumni Pee Wee Ellis, Danny “Capeman” Ray, Saturday, November 19 at 7:30pm Thursday, November 17 at 8pm Robert “Mousey” Thompson and Friday, November 18 at 8pm More Moody Jazz to love this November!

The Brubeck Songbook Dorthaan’s Place Jazz Brunches FREE JAZZ AT NJPAC! The Brubeck Brothers Band, Hilary Kole Renee Rosnes Jazz Jam Sessions and Michael Bourne Sunday, November 20 at 11am & 1pm Clement’s Place Sunday, November 6 at 3 & 7pm Sarah Vaughan International Jazz Vocal 6:30-8pm • 15 Washington Street Cole Porter from A to Z: Competition—SASSY Awards August 18, September 22, October 20, December 15 Celebrating 125 Years with Judy Kaye with judges Christian McBride, Dianne Reeves, NJPAC Day of Swing and Robert Kimball , Sheila Anderson and Mark Ruffin Saturday, November 19 • 11am-3pm Sunday, November 13 at 3pm Sunday, November 20 at 3pm NJPAC Center for Arts Education An exciting day of jazz exploration and learning for children and families.

For tickets & full schedule visit njpac.org or call 1.888.GO.NJPAC • Groups 973.297.5804 • One Center Street, Newark, NJ

9.5x12_NYCJazzRecord_july_njpac_2016.indd 1 7/20/16 10:19 AM Saturday, August 27 • Julian Lee Dizzy’s Club 11:30 pm $5 • James Francies’ Kinetic with Mike Moreno, Ben Williams, Jeremy Dutton êSummerStage/Charlie Parker Jazz Festival: Randy Weston African Rhythms Sextet; Jazz Standard 7:30, 9:30 pm $25 REGULAR ENGAGEMENTS Cory Henry and The Funk Apostles; Jazzmeia Horn; Charles Turner III • Michael Kanan/Gabrielle Stravelli Mezzrow 8 pm $20 Spike Wilner Trio with Tyler Mitchell, Anthony Pinciotti; Kyle Poole Marcus Garvey Park 2 pm • MONDAY êSteve Swell/Frode Gjerstad Soup & Sound 7 pm $20 Smalls 7:30, 10:30 pm 1 am $20 • Joe Bataan S.O.B.’s 8, 10 pm $25 • Saul Rubin Zebtet; Itai Kriss Gato Gordo; John Benitez Latin Bop • Richard Clements and guests 11th Street Bar 9 pm êCrusher Collective: Dave Rempis, Chris Corsano, Teddy Jefferson, Nels Cline; Fat Cat 7, 9 pm 12:30 am • Orrin Evans Captain Black Band Smoke 7, 9 pm $9 Stained Radiance: Chris Corsano, Nels Cline, Susan Alcorn • Pedrito Martinez Group Subrosa 8, 10 pm $15 • Vince Giordano’s Nighthawks Iguana 8 pm (ALSO TUE) • Sagi Kaufman Trio with Tal Yahalom, Roy Ben Yosef; Daniel Weiss Trio with • Grove Street Stompers Arthur’s Tavern 7 pm The Stone 8, 10 pm $20 • Patience Higgins Band with Lady Cantrese Nabe Harlem 7 pm • Tim Armacost Quartet Jazz at Kitano 8, 10 pm $32 Timothy Norton, Aaron Seeber Bar Next Door 6:30, 8:30, 10:30 pm $12 Taeko Ota Tomi Jazz 8 pm • Jazz Foundation of American Jam Session Local 802 7 pm • Nicole Henry Ginny’s Supper Club 7:30, 9:30 pm $25 • • Arthur Kell and Friends Bar Lunatico 8:30 pm • The Chardavoine Band with Kim Plainfield, Michael O’Brien, Johnny Mercier, • Angelo Di Loreto solo Jazz at Kitano 8 pm • Roger Lent solo Cavatappo Grill 7 pm Peter Brainin Club Bonafide 9:30, 11:30 pm $20 • Fleur Seule The Shops at Columbus Circle 6 pm • Renaud Penant Trio Analogue 7:30 pm êLinda Oh Minton’s 7, 9:30 pm • Frank Owens Bryant Park 12:30 pm • Earl Rose solo; Earl Rose Trio Bemelmans Bar 5:30, 9 pm • Dandy Wellington The Roxy Hotel 7 pm êBertha Hope Rendall Memorial Presbyterian Church 12, 1 pm $15 • Stan Rubin All-Stars Charley O’s 8:30 pm • John Iannuzzi Trio; Joe Saylor The Django at The Roxy Hotel 8, 10:30 pm • Smoke Jam Session Smoke 10:30 pm • Matt Criscuolo Quintet with Tony Purrone, Barry Ries, Gerry Eastman, Taru Alexander Wednesday, August 31 • Svetlana and the Delancey 5 The Back Room 8:30 pm Williamsburg Music Center 9, 11 pm • Swingadelic Swing 46 8:30 pm • Brazil Fest: Alex Kautz Group with Edward Perez, Jon Cowherd; Rubens Salles Group êTiPPLE: Frode Gjerstad, Kevin Norton, David Watson; • Gracie Terzian Bar Hugo 6 pm with John Clark, Leco Reis, Kenny Grohowski Mark Edwards Slipstream Time Travel • Vanguard Jazz Orchestra Village Vanguard 8:30, 10:30 pm $30 Cornelia Street Café 9, 10:30 pm $10 TransPecos 8 pm • James Zeller Duo Spasso 7 pm (ALSO SUN) • Jeff Barone Trio with Pat Bianchi, Tommy Campbell êBarry Altschul 3dom Factor with Jon Irabagon, Joe Fonda Bar Next Door 7:30, 9:30, 11:30 pm $12 Cornelia Street Café 8:30, 10 pm $10 TUESDAY • Emi Takada; Yusuke Seki Tomi Jazz 8, 11 pm $10 • Edward Simon Trio with Joe Martin, Adam Cruz • Orrin Evans Evolution Series Jam Session Zinc Bar 11 pm • Justin Lees Trio Cleopatra’s Needle 8 pm Jazz Standard 7:30, 9:30 pm $25 • Irving Fields Nino’s Tuscany 7 pm (ALSO WED-SUN) êTribute to Charlie Parker: Al Foster Quintet with Jeremy Pelt, Mike DiRubbo, • /Michael Wolff Mezzrow 8 pm $20 • George Gee Orchestra Swing 46 8:30 pm Adam Birnbaum, Doug Weiss Smoke 7, 9, 10:30 pm $40 • Tim Hagans Quintet with Steve Wilson, Luis Perdomo, Jay Anderson, Joe Hertenstein; • Chris Gillespie; Loston Harris Bemelmans Bar 5:30, 9:30 pm (ALSO WED-SAT) • Spike Wilner; Buster Williams/Renee Rosnes; Anthony Wonsey Luke Sellick Group with Adam Birnbaum, Andrew Renfroe; Aaron Seeber • Joel Forrester solo Stop Time 7 pm Mezzrow 8, 9:30 pm 12:30 am $20 Smalls 7:30, 10:30 pm 1 am $20 • Loston Harris Café Carlyle 9:30 pm $20 (ALSO WED-SAT) • Billy Mintz Quintet with John Gross, Tony Malaby, Roberta Piket, Hilliard Greene; • Raphael D’lugoff Trio +1; Ned Goold Jam • Art Hirahara Trio Arturo’s 8 pm David Weiss Group with Myron Walden, Luques Curtis, E.J. Strickland; Brooklyn Circle Fat Cat 7 pm 12:30 am • Yuichi Hirakawa Trio Arthur’s Tavern 7, 8:30 pm Smalls 7:30, 10:30 pm 1 am $20 • Freddie Bryant with Vanessa Falabella, Itaiguara Brandao, Portinho • Mike LeDonne Quartet; Emmet Cohen Band Smoke 7, 9, 10:30, 11:30 pm Smoke 7, 9, 10:30 pm $12 • Mona’s Hot Four Jam Session Mona’s 11 pm êGeorge Coleman Quartet with Harold Mabern, John Webber, Joe Farnsworth • Annie Ross The Metropolitan Room 9:30 pm $25 Jazz Standard 7:30, 9:30 pm $35 • Patrick Cornelius Quartet Jazz at Kitano 8, 10 pm $17 • Bill Todd Open Jam Club Bonafide 9 pm $10 ê40Twenty: Jacob Sacks, Jacob Garchik, Dave Ambrosio, Vinnie Sperrazza • Mala Waldron Project; Beledo with Tony Steele, Doron Lev • Diego Voglino Jam Session The Fifth Estate 10 pm The Drawing Room 7 pm Club Bonafide 7:30, 9:30 pm $15 • The Westet Analogue 7:30 pm • Stanley Jordan Iridium 8, 10 pm $25-35 • John Chin Trio Bar Lunàtico 8:30, 10 pm $10 êThe Jazz Masters Play Monk: John Abercrombie, Dave Liebman, Steve Swallow, • Nate Hook Double Drum Band with Billy Test, Marty Kenney, Jon Defiore, WEDNESDAY Joey Baron Birdland 8:30, 11 pm $40 Paolo Cantarella; Test Subjects: Billy Test, Marty Kenney, Curtis Nowosad; êMonty Alexander: Harlem Kingston Express Alan Bjorklund, Jeremy Viner, Travis Reuter, Chris Tordini, Sam Ospovat • Astoria Jazz Composers Workshop Waltz-Astoria 6 pm Blue Note 8, 10:30 pm $45 ShapeShifter Lab 7, 8:15, 9:30 pm $10 • Rick Bogart Trio L’ybane 9:30 pm (ALSO FRI) êGerald Clayton, Lionel Loueke, Eric Harland • Smooth Cruise: Freddie Jackson and Eric Darius • Django Big Band and Jam Session The Django 8 pm Pier 40 6:30, 9:30 pm $45 • Rob Duguay’s Low Key Trio Turnmill NYC 11 pm Village Vanguard 8:30, 10:30 pm $30 • Jeanne Gies with Howard Alden and Friends Joe G’s 6:30 pm • Trio da Paz and Friends: Romero Lubambo, Nilson Matta, Duduka Da Fonseca, • Raquel Rivera Tomi Jazz 8 pm ê • Martin Kelley’s Affinity John Brown Smoke House 5:30 pm Harry Allen, Maucha Adnet Dizzy’s Club 7:30, 9:30 pm $45 Steve Coleman 60th Birthday Celebration • Mark Kross and Louise Rogers WaHi Jazz Jam Le Chéile 8 pm • Noah Garabedian Dizzy’s Club 11:30 pm $20 The Stone 8, 10 pm $20 • Les Kurtz Trio Cleopatra’s Needle 7 pm êCharlie Parker Birthday Celebration: , , Eric Alexander, • Jonathan Kreisberg Trio Bar Next Door 8:30, 10:30 pm $12 Sunday, August 28 Helen Sung, Lonnie Plaxico, Billy Drummond • Ron McClure solo piano McDonald’s 12 pm (ALSO SAT) Birdland 8:30, 11 pm $40 • David Ostwald’s Louis Armstrong Centennial Band Birdland 5:30 pm $20 êSummerStage/Charlie Parker Jazz Festival: Jack DeJohnette, , • Trio with Dario Deidda, Lawrence Leathers • Stan Rubin Orchestra Swing 46 8:30 pm ; Allan Harris; Donny McCaslin Quartet with Jason Lindner, , Village Vanguard 8:30, 10:30 pm $30 • Eve Silber Arthur’s Tavern 7 pm Nate Wood; Grace Kelly Quartet with Julian Pollack, Julia Pederson, Ross Pederson • Tito Puente, Jr. Band Dizzy’s Club 7:30, 9:30 pm $45 • Donald Smith and Friends Cassandra’s Jazz and Gallery 8, 10 pm $10 Tompkins Square Park 3 pm • Julian Lee Dizzy’s Club 11:30 pm $5 • Bill Wurtzel/Jay Leonhart American Folk Art Museum 2 pm êKen Peplowski with Ehud Asherie, Martin Wind, Matt Wilson • David Hazeltine/Sean Smith Saint Peter’s 1 pm $10 Birdland 9, 11 pm $30 • Frank Owens Bryant Park 12:30 pm THURSDAY • Nels Cline + White Out: Lin Culbertson/Tom Surgal; Including Words: Ryland Angel, • ’s The Harlem Sessions Ginny’s Supper Club 10:30 pm $10 Zeena Parkins, Jorge Roeder, Nels Cline • Dr. Dwight Dickerson Cassandra’s Jazz and Gallery 8 pm $5 The Stone 8, 10 pm $20 • Harlem Renaissance Orchestra Swing 46 8:30 pm • Dominick Farinacci Mezzrow 9 pm $20 • Jazz Jam Session American Legion Post 7:30 pm • Falkner Evans Quintet with Marc Mommaas, James Zollar, Belden Bullock, Matt Wilson; • Kazu Trio Cleopatra’s Needle 11:30 pm Hillel Salem Smalls 7:30 1 am $20 • Martin Kelley’s Affinity Domaine Wine Bar 8:30 pm • Terry Waldo’s Gotham City Band; Brandon Lewis/Renee Cruz Jam • Jon Lang’s First Name Basis Jam Session Symphony Space Bar Thalia 9 pm Fat Cat 6 pm 1 am • Lapis Luna Quintet The Plaza Hotel Rose Club 8:30 pm Dana Saul Sextet with Adam O’Farrill, Kevin Sun, Patricia Brennan, Walter Stinson, • Curtis Lundy Jam Session Shell’s Bistro 9 pm • • Sol Yaged Grata 8 pm Paolo Cantarella; Billy Mintz Quintet with John Gross, Tony Malaby, Roberta Piket, • Eri Yamamoto Trio Arthur’s Tavern 7 pm (ALSO FRI-SAT) Hilliard Greene; Annie Chen Octet with Tomoko Omura, David Smith, Alex LoRe, Rafal Sarnecki, Glenn Zaleski, Desmond White, Jerad Lippi FRIDAY ShapeShifter Lab 7, 8:15, 9:30 pm $10-12 • Christian Finger Band with Vadim Neselovskyi, Adam Armstrong • Scot Albertson Parnell’s 8 pm (ALSO SAT) Club Bonafide 7 pm $10 • Gene Bertoncini Ryan’s Daughter 8 pm • Tracy Yang Quintet Minton’s 7 pm • Birdland Big Band Birdland 5:15 pm $25 • Kengo Yamada Tomi Jazz 8 pm • Rick Bogart Trio New York Yankees Steakhouse 5 pm êTribute to Charlie Parker: Al Foster Quintet with Jeremy Pelt, Mike DiRubbo, • Day One Trio Prime and Beyond Restaurant 9 pm (ALSO SAT) Adam Birnbaum, Doug Weiss Smoke 7, 9, 10:30 pm $40 • Gerry Eastman Quartet Williamsburg Music Center 10 pm êGeorge Coleman Quartet with Harold Mabern, John Webber, Joe Farnsworth • John Farnsworth Quartet Smoke 11:45 pm 12:45 am • Finkel/Kasuga/Tanaka/Solow San Martin Restaurant 12 pm $10 Jazz Standard 7:30, 9:30 pm $35 • Sandy Jordan and Friends ABC Chinese Restaurant 8 pm êMonty Alexander: Harlem Kingston Express • Michael Kanan Trio Arturo’s 8 pm Blue Note 8, 10:30 pm $45 • Richard Russo Quartet Capital Grille 6:30 pm êGerald Clayton, Lionel Loueke, Eric Harland • Bill Saxton and the Harlem Bebop Band Bill’s Place 9, 11 pm $15 (ALSO SAT) Village Vanguard 8:30, 10:30 pm $30 • Joanna Sternberg Trio Cleopatra’s Needle 12:30 am • Trio da Paz and Friends: Romero Lubambo, Nilson Matta, Duduka Da Fonseca, Harry Allen, Maucha Adnet Dizzy’s Club 7:30, 9:30 pm $35 SATURDAY • Tyler Blanton Quartet Saint Peter’s 5 pm • Nanny Assis and Friends Blue Note 11:30 am 1:30 pm $35 • Rob Anderson Jam Session University of the Streets 10 pm • Aimee Allen Trio with Billy Test, Gary Wang • Rick Bogart Trio Broadway Thai 7:30 pm (ALSO SUN) North Square Lounge 12:30, 2 pm • The Candy Shop Boys Duane Park 8, 10:30 pm • Eric Comstock/Jay Leonhart Birdland 6 pm $30 • Agustin Grasso Quartet Duet 8 pm (ALSO SUN 11 am) Monday, August 29 • Assaf Kehati Duo Il Gattopardo 11:30 am • Curtis Lundy Trio with guests Shell’s Bistro 9 pm êTiPPLE: Frode Gjerstad, Kevin Norton, David Watson • Jonathan Moritz/Chris Welcome/Shayna Dulberger The Graham 1 pm Troost 9 pm • Ruben Steijn/Sharik Hasan/Andrea Veneziani Farafina Café & Lounge 8:30 pm • Trio with Todd Nicholson, Dave Miller • Nabuko and Friends Nabe Harlem 12 pm Bar Lunàtico 8:30, 10 pm $10 • Johnny O’Neal and Friends Smoke 11:45 pm 12:45 am êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 êFresh Cut Orchestra Dizzy’s Club 7:30, 9:30 pm $30 SUNDAY • Uri Caine Trio with Mark Helias, Clarence Penn; Ari Hoenig Group with Nitai Hershkovits, Or Bareket; Jonathan Michel • James Zeller Trio Spasso 1pm Smalls 7:30, 10:30 pm 1 am $20 • Avalon Jazz Quartet The Lambs Club 11 am • Rick Bogart Trio New York Yankees Steakhouse 12 pm • Caroline Davis, Curtis Macdonald, Caleb Curtis, Charlotte Greve; Jon Crompton Trio • Emily Braden; Davi Vieira Club Bonafide 7, 9 pm $10 with James Wengrow, Mike Alfieri Delroy’s Cafe and Wine Bar 9, 9:30, 10 pm • The Candy Shop Boys The Rum House 9:30 pm • Santiago Leibson’s Out of Orden Trio with Javier Moreno Sanchez, Brian Adler • Creole Cooking Jazz Band; Cutler and Friends Arthur’s Tavern 7, 10 pm ShapeShifter Lab 8:15 pm $10 • Glenn Crytzer Group Pegu Club 6:30 pm • NanJo Lee Trio with Rick Rosato, Colin Stranahan; Lainie Cook Trio with Saul Rubin, • Stefano Doglioni Trio Analogue 7:30 pm Ugonna Okegwo Bar Next Door 6:30, 8:30, 10:30 pm $12 • JaRon Eames/Emme Kemp The Downtown Club 2 pm $20 • Yako Eicher Tomi Jazz 8 pm • The EarRegulars with Jon-Erik Kellso The Ear Inn 8 pm • Frank Owens Bryant Park 12:30 pm • Marjorie Eliot/Rudell Drears/Sedric Choukroun Parlor Entertainment 4 pm • Joel Forrester solo Grace Gospel Church 11 am • Broc Hempel/Sam Trapchak/Christian Coleman Trio Dominie’s Astoria 9 pm Tuesday, August 30 • Ian Hendrickson-Smith The Strand Smokehouse 7 pm ê • Jazz Brunch Harlem Besame Latino Soul Lounge 1:30 pm Steve Coleman 60th Birthday Celebration • Matt Lavelle’s 12 House Orchestra Nublu 9:30 pm The Stone 8, 10 pm $20 • Peter Mazza Trio Bar Next Door 8, 10 pm $12 êCharlie Parker Birthday Celebration: Vincent Herring, Greg Osby, Eric Alexander, • Tony Middleton Trio Jazz at Kitano 11 am $35 Helen Sung, Lonnie Plaxico, Billy Drummond • Arturo O’Farrill Afro Latin Jazz Orchestra Birdland 9, 11 pm $30 Birdland 8:30, 11 pm $40 • Earl Rose solo; Champian Fulton Bemelmans Bar 5:30, 9 pm • Kurt Rosenwinkel Trio with Dario Deidda, Lawrence Leathers • Lu Reid Jam Session Shrine 4 pm Village Vanguard 8:30, 10:30 pm $30 • Brandee Younger; Jackie Gage Minton’s 11 am 6 pm • Tito Puente, Jr. Band Dizzy’s Club 7:30, 9:30 pm $45 • Annette St. John; Wilerm Delisfort Quartet Smoke 11:30 am 11:45 pm

36 AUGUST 2016 | THE NEW YORK CITY JAZZ RECORD CLUB DIRECTORY

• 345 Park Avenue Subway: 6 to 51st Street; E to Lexington Avenue • Drom 85 Avenue A (212-777-1157) • Neighborhood Church of Greenwich Village 269 Bleecker Street • 5C Café 68 Avenue C Subway: F to Second Avenue www.dromnyc.com (212-691-1770) Subway: A, B, C, D, E, F, V to W. 4th Street (212-477-5993) Subway: F, V to Second Avenue www.5ccc.com • Duet 37 Barrow Street (212-255-5416) • New Revolution Arts 7 Stanhope Street Subway: J to Kosciuszko Street • 11th Street Bar 510 E. 11th Street Subway: 1 to Christopher Street www.duetny.com www.jazzrightnow.com/new-revolution-arts-series (212-982-3929) Subway: L to 1st Avenue www.11thstbar.com • The Ear Inn 326 Spring Street at Greenwich Street (212-246-5074) • New York Yankees Steakhouse 7 W. 51st Street (646-307-7910) • 55Bar 55 Christopher Street (212-929-9883) Subway: C, E to Spring Street www.earinn.com Subway: E, M to Fifth Avenue/53rd Street www.nyysteak.com Subway: 1 to Christopher Street www.55bar.com • East River Park Amphitheater East River Promenade • Nino’s Tuscany 117 W. 58th Street (212-757-8630) • ABC Chinese Restaurant 34 Pell Street (Grand Street and FDR Drive) (212-639-9675) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.ninostuscany.com (212-346-9890) Subway: J to Chambers Street Subway: F, to Delancey Street, J, M to Essex Street www.nycgovparks.org • North Square Lounge 103 Waverly Place (212-254-1200) • American Folk Art Museum 65th Street at Columbis Avenue • El Taller LatinoAmericano 225 West 99th Street Subway: A, B, C, E, F to West 4th Street www.northsquareny.com (212-595-9533) Subway: 1 to 66th Street www.folkartmuseum.org (212-665-9460) Subway: 1, 2, 3 to 96th Street • Nublu 62 Avenue C between 4th and 5th Streets • American Legion Post 248 West 132nd Street • Everything Goes Café 208 Bay Street, Staten Island (212-979-9925) Subway: F, V to Second Avenue www.nublu.net (212-283-9701) Subway: 2, 3 to 135th Street www.legion.org (718-447-8256) Bus: S51 • Opia 130 E. 57th Street • An Beal Bocht Café 445 W. 238th Street • Farafina Café & Lounge Harlem 1813 Amsterdam Avenue (212-281-2445) (212-688-3939) Subway: 4, 5, 6 to 59th Street www.opiarestaurant.com Subway: 1 to 238th Street www.LindasJazzNights.com Subway: 1 to 145th Street www.farafinacafeloungeharlem.com • Parlor Entertainment 555 Edgecombe Ave. #3F • Analogue 19 West 8th Street (212-432-0200) • Fat Cat 75 Christopher Street at 7th Avenue (212-675-6056) (212-781-6595) Subway: C to 155th Street www.parlorentertainment.com Subway: A, B, C, D, E, F, M to W. 4th Street www.analoguenyc.com Subway: 1 to Christopher Street/Sheridan Square www.fatcatmusic.org • Parnell’s 350 East 53rd Street #1(212-753-1761) • The Archway Water Street Brooklyn Subway: F to York Street • The Fifth Estate 506 5th Avenue, Brooklyn Subway: E, M to Lexington Avenue/53 Street www.parnellsny.com www.dumbo.is (718-840-0089) Subway: F to 4th Avenue www.fifthestatebar.com • Pegu Club 77 W. Houston Street (212-473-7348) • Arthur’s Tavern 57 Grove Street (212-675-6879) • Flushing Town Hall 137-35 Northern Boulevard, Flushing Subway: B, D, F, M to Broadway-Lafayette www.peguclub.com Subway: 1 to Christopher Street www.arthurstavernnyc.com (718-463-7700) Subway: 7 to Main Street www.flushingtownhall.org • Pier 40 353 West Street (212-627-2020) Subway: 1 to Houston Street • Arturo’s 106 W. Houston Street (at Thompson Street) • Frost Theatre of the Arts 17 Frost Street • The Plaza Hotel Rose Club Fifth Avenue at Central Park South (212-677-3820) Subway: A, B, C, D, E, F, M to W. 4th Street (646-389-2017) Subway: L to Bedford Avenue www.17frost.com (212-759-3000) Subway: N, Q, R to Fifth Avenue www.fairmont.com • B.B. King’s Blues Bar 237 W. 42nd Street • Gantry Plaza State Park 49th Avenue and Center Boulevard • Prime and Beyond Restaurant 90 East 10th Street (212-997-2144) Subway: 1, 2, 3, 7 to 42nd Street/Times Square Subway: 7 to Vernon-Jackson Boulevard www.liveatthegantries.com (212-505-0033) Subway: 6 to Astor Place www.primeandbeyond.com www.bbkingblues.com • Ginny’s Supper Club at Red Rooster Harlem 310 Malcolm X Boulevard • Prospect Park Bandshell Subway: F to Prospect Park • The Back Room 102 Norfolk Street (212-792-9001) Subway: 2, 3 to 125th Street www.ginnyssupperclub.com • Radegast Hall 113 North 3rd Street (212-228-5098) Subway: F to Delancey Street; J, M, Z to Essex Street • Grace Gospel Church 589 East 164th Street (718-963-3973) Subway: L to Bedford Avenue www.radegasthall.com www.backroomnyc.com (718-328-0166) Subway: 2, 5 to Prospect Avenue • Rendall Memorial Presbyterian Church 59 W. 137th Street #61 • Bar Chord 1008 Cortelyou Road • The Graham 190 Graham Ave (718-388-4682) (212-283-2928) Subway: 2, 3 to 135th Street (347-240-6033) Subway: Q to Cortelyou Road www.barchordnyc.com Subway: L to Montrose Avenue www.thegrahambrooklyn.com • Rockwood Music Hall 196 Allen Street (212-477-4155) • Bar Hugo 525 Greenwich Street • Grant’s Tomb 122nd Street and Riverside Drive Subway: 1 to 125th Street Subway: F, V to Second Avenue www.rockwoodmusichall.com (212-608-4848) Subway: C, E to Spring Street www.hotelhugony.com • Grassroots Tavern 20 Saint Marks Place • The Roxy Hotel 2 Sixth Avenue (212-519-6600) • Bar Lunàtico 486 Halsey Street (212-475 9443) Subway: 6 to Astor Place, N,R to 8th Street Subway: A, C, E to Canal Street; 1 to Franklin Street www.roxyhotelnyc.com (917-495-9473) Subway: C to Kingston-Throop Avenues • Grata 1076 1st Avenue (212-842-0007) • Rue B 188 Avenue B • Bar Next Door 129 MacDougal Street (212-529-5945) Subway: 4, 5, 6, N, Q, R to 59th Street www.gratanyc.com (212-358-1700) Subway: L to First Avenue www.ruebnyc188.com Subway: A, B, C, D, E, F, M to W. 4th Street www.lalanternacaffe.com • Harlem Besame Latino Soul Lounge 2070 Adam Clayton Powell, Jr. Blvd. • The Rum House 228 W. 47th Street • Barbès 376 9th Street at 6th Avenue, Brooklyn (718-965-9177) Subway: 2, 3 to 125th Street www.harlembesame.com (646-490-6924) Subway: N, Q, R to 49th Street www.edisonrumhouse.com Subway: F to 7th Avenue www.barbesbrooklyn.com • Highline Ballroom 431 W. 16th Street • Ryan’s Daughter 350 E 85th Street • Bemelmans Bar 35 E. 76th Street (212-744-1600) (212-414-5994) Subway: A, C, E to 14th Street www.highlineballroom.com (212-628-2613) Subway: 4, 5, 6 to 86th Street www.ryansdaughternyc.com Subway: 6 to 77th Street www.thecarlyle.com • Ibeam Brooklyn 168 7th Street between Second and Third Avenues • Rye 247 S. 1st Street (718-218-8047) Subway: G to Metropolitan Avenue • Bill’s Place 148 W. 133rd Street (between Lenox and 7th Avenues) Subway: F to 4th Avenue www.ibeambrooklyn.com www.ryerestaurant.com (212-281-0777) Subway: 2, 3 to 125th Street • Iguana 240 West 54th Street (212-765-5454) • S.O.B.’s 204 Varick Street • Birdland 315 W. 44th Street (212-581-3080) Subway: B, D, E, N, Q, R to Seventh Avenue www.iguananyc.com (212-243-4940) Subway: 1 to Varick Street www.sobs.com Subway: A, C, E, to 42nd Street www.birdlandjazz.com • Il Gattopardo 13-15 W. 54th Street • Saint Peter’s Church 619 Lexington Avenue at 54th Street • Blue Note 131 W. 3rd Street at 6th Avenue (212-475-8592) (212-246-0412) Subway: E, M to Fifth Avenue/53rd Street (212-935-2200) Subway: 6 to 51st Street www.saintpeters.org Subway: A, B, C, D, E, F, M to W. 4th Street www.bluenotejazz.com www.ilgattopardonyc.com • San Martin Restaurant 143 E. 49 Street between Lexington and Park • Boudoir 135 Atlantic Avenue • Iridium 1650 Broadway at 51st Street (212-582-2121) Avenues (212-832-0888) Subway: 6 to 51st Street Subway: 4, 5 to Borough Hall www.boudoirbk.com Subway: 1,2 to 50th Street www.theiridium.com • Seaglass Carousel at The Battery State Street and Water Street • Broadway Thai 241 West 51st Street • Issue Project Room 22 Boerum Place (212-344-3491) Subway: 1 to South Ferry www.seaglasscarousel.nyc (212-226-4565) Subway: 1, C, E to 50th Street www.tomandtoon.com (718-330-0313) Subway: 2, 3, 4, 5 to Borough Hall • ShapeShifter Lab 18 Whitwell Place • Brooklyn Bridge Park Furman Street and Atlantic Avenue www.issueprojectroom.org (646-820-9452) Subway: R to Union Street www.shapeshifterlab.com Subway: A, C to High Street; 2, 3 to Clark Street • Jazz at Kitano 66 Park Avenue at 38th Street (212-885-7000) • The Shops at Columbus Circle • Bryant Park 5th and 6th Avenues between 40th and 42nd Streets Subway: 4, 5, 6, 7, S to Grand Central www.kitano.com Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle Subway: 4, 5, 6 to 42nd Street www.bryantpark.org • The Jazz Gallery 1160 Broadway, 5th floor (212-242-1063) • Showman’s 375 W. 125th Street at Morningside) (212-864-8941) • Café Carlyle 35 E. 76th Street (212-744-1600) Subway: N, R to 28th Street www.jazzgallery.org Subway: A, B, C, D to 125th Street www.showmansjazz.webs.com Subway: 6 to 77th Street www.thecarlyle.com • Jazz Museum in Harlem 104 E.126th Street • Shrine 2271 Adam Clayton Powell Boulevard (212-690-7807) • Café Noctambulo at Pangea 178 Second Avenue (212-348-8300) Subway: 6 to 125th Street www.jazzmuseuminharlem.org Subway: B, 2, 3 to 135th Street www.shrinenyc.com (212-995-0900) Subway: L to First Avenue www.pangeanyc.com • Jazz Standard 116 E. 27th between Park and Lexington Avenue • Silvana 300 West 116th Street • Caffe Vivaldi 32 Jones Street Subway: A, B, C, D, E, F, Q, V (212-576-2232) Subway: 6 to 28th Street www.jazzstandard.net (646-692-4935) Subway: B, C, to 116th Street www.silvana-nyc.com to W. 4th Street-Washington Square www.caffevivaldi.com • Joe G’s 244 W. 56th Street (212-765-3160) • Smalls 183 W 10th Street at Seventh Avenue (212-252-5091) • Capital Grille 120 Broadway Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle Subway: 1,2,3 to 14th Street www.smallsjazzclub.com (212-374-1811) Subway: 2, 3, 4, 5 to Wall Street www.thecapitalgrille.com • Joe’s Pub at the Public Theater 425 Lafayette Street (212-539-8770) • Smoke 2751 Broadway between 105th and 106th Streets • Cassandra’s Jazz and Gallery 2256 Adam Clayton Powell, Jr. Boulevard Subway: N, R to 8th Street-NYU; 6 to Astor Place www.joespub.com (212-864-6662) Subway: 1 to 103rd Street www.smokejazz.com (917-435-2250) Subway: 2, 3 to 135th Street www.cassandrasjazz.com • John Brown Smokehouse 10-43 44th Drive, Queens (347-617-1120) • Soup & Sound 292 Lefferts Avenue (between Nostrand and Rogers • Cavatappo Grill 1712 First Avenue Subway: 7, E, M to Court Square www.johnbrownseriousbbq.com Avenues) Subway: 2 to Sterling Street (212-987-9260) Subway: 4, 5, 6 to 86th Street www.cavatappo.com • Korzo 667 5th Avenue Brooklyn (718-285-9425) Subway: R to Prospect Avenue • The Stone Avenue C and 2nd Street • Central Park Great Hill 105th Street Subway: B, C to 103rd Street www.facebook.com/konceptions Subway: F to Second Avenue www.thestonenyc.com • Central Park SummerStage, Rumsey Playfield 72nd Street and Fifth Avenue • Lt. Joseph P. Kennedy Jr. Community Center 34 W. 134th Street • Stop Time 1223 Bedford Avenue Subway: A, C to Nostrand Avenue (212-36O-2777) Subway: B, D to 72nd Street www.summerstage.org (212-862-6401) Subway: 2, 3 to 135th Street • The Strand Smokehouse 25-27 Broadway, Queens (718-440-3231) • Charley O’s 1611 Broadway at 49th Street • The Lambs Club 132 W. 44th Street Subway: N, Q to Broadway www.thestrandsmokehouse.com (212-246-1960) Subway: N, R, W to 49th Street 212-997-5262 Subway: A, C, E, to 42nd Street www.thelambsclub.com • Subrosa 63 Gansevoort Street (212-997-4555) • Citigroup Center Plaza 53rd Street and Lexington Avenue • Le Chéile 839 W. 181st Street Subway: 1, 2, 3 to 14th Street; L to Eighth Avenue www.subrosanyc.com Subway: 6 to 51st Street (212-740-3111) Subway: A to 181st Street www.lecheilenyc.com • Sunset Park 41 Street to 44 Street between Fifth and Seventh Avenues, • Cleopatra’s Needle 2485 Broadway (212-769-6969) • Le Poisson Rouge 158 Bleecker Street (212-228-4854) Brooklyn Subway: N, R to 45th Street Subway: 1, 2, 3 to 96th Street www.cleopatrasneedleny.com Subway: A, B, C, D, E, F, V to W. 4th Street www.lepoissonrouge.com • Swing 46 349 W. 46th Street (646-322-4051) • Clove Lakes Park 1150 Clove Road, Staten Island Bus: X12 • Local 802 322 W. 48th Street between Eighth and Ninth Avenues Subway: A, C, E to 42nd Street www.swing46.com • Club Bonafide 212 E. 52nd Street (646-918-6189) Subway: 6 to 51st Street; (212-245-4802) Subway: C to 50th Street www.jazzfoundation.org • Symphony Space Leonard Nimoy Thalia, Peter Jay Sharpe Theatre E, V to 53rd Street www.clubbonafide.com • Louis Armstrong House 34-56 107th Street, Queens and Bar Thalia 2537 Broadway at 95th Street (212-864-5400) • Cornelia Street Café 29 Cornelia Street (212-989-9319) (718-478-8274) Subway: 7 to 11th Street www.satchmo.net Subway: 1, 2, 3 to 96th Street www.symphonyspace.org Subway: A, B, C, D, E, F, M to W. 4th Street www.corneliastreetcafé.com • L’ybane 709 8th Avenue (212-582-2012) • Threes Brewing 333 Douglass Street • Czech Center New York 321 East 73rd Street Subway: A, C, E to 42nd Street-Port Authority www.lybane.com (718-522-2110) Subway: R to Union Street www.threesbrewing.com Subway: 6 to 68th Street www.bohemiannationalhall.com • McDonald’s 160 Broadway between Maiden Lane and Liberty Street • Tomi Jazz 239 E. 53rd Street • Dr. Martin Luther King Jr. Park Dumont Avenue, Brooklyn (212-385-2063) Subway: 4, 5 to Fulton Street www.mcdonalds.com (646-497-1254) Subway: 6 to 51st Street www.tomijazz.com Subway: 2, 3, 4, 5 to Van Siclen Avenue • Manhattan Inn 632 Manhattan Avenue • Tompkins Square Park 7th to 10th Streets between Avenue A and Avenue B • David Rubenstein Atrium Broadway at 60th Street (718-383-0885) Subway: G to Nassau Avenue www.themanhattaninn.com (212-387-7685) Subway: L to 1st Avenue; F, V to Second Avenue; (212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle • Marcus Garvey Park 120th Street between Mt. Morris Park and Madison 6 to Astor Place www.new.lincolncenter.org/live/index.php/atrium Avenue (212-201-PARK) Subway: 2, 3, 4, 5, 6 to 125th Street • Trans Pecos 915 Wyckoff Avenue, Ridgewood • Delroy’s Café and Wine Bar 65 Fenimore Street • Medgar Evers College 1638 Bedford Avenue, Brooklyn Subway: L to Myrtle/Wyckoff Avenue www.thetranspecos.com Subway: Q to Parkside Avenue www.facebook.com/65fenmusicseries Subway: 2, 3, 4, 5 to Franklin Avenue • Troost 1011 Manhattan Avenue • DiMenna Center 450 West 37th Street • Metropolitan Room 34 W. 22nd Street (212-206-0440) (347-889-6761) Subway: G to Greenpoint Avenue www.troostny.com (212-594-6100) Subway: A, C, E to 34h Street-Penn Station Subway: N, R to 23rd Street www.metropolitanroom.com • Turnmill NYC 119 East 27th Street www.dimennacenter.org • Metrotech Commons corner of Flatbush and Myrtle Avenues (646-524-6060) Subway: 6 to 27th Street www.turnmillnyc.com • Dizzy’s Club Broadway at 60th Street, 5th Floor (212-258-9800) (718-488-8200) Subway: A, C, F to Jay Street/Borough Hall • University of the Streets 2381 Belmont Avenue, 2nd Floor (212-254-9300) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.jalc.org • Mezzrow 163 W. 10th Street Subway: B, D to 182-183 Streets www.universityofthestreets.org • Domaine Wine Bar 50-04 Vernon Boulevard (718-784-2350) (646-476-4346) Subway: 1 to Christopher Street www.mezzrow.com • Village Vanguard 178 Seventh Avenue South (212-255-4037) Subway: 7 to Vernon Boulevard-Jackson Avenue www.domainewinebar.com • Milton G. Bassin Performing Arts Center 94-45 Guy R. Brewer Blvd., Subway: 1, 2, 3 to 14th Street www.villagevanguard.com • Dominie’s Astoria 34-07 30th Avenue Subway: N, Q to 30th Avenue Queens Subway: E to Jamaica Center www.york.cuny.edu • Walker’s 16 North Moore Street (212-941-0142) Subway: A, C, E to Canal Street • The Downtown Club 240 E. 123rd Street • Minton’s 206 West 118th Street (between St. Nicholas Avenue and Adam • Waltz-Astoria 23-14 Ditmars Boulevard (718-95-MUSIC) (212-868-4444) Subway: 4, 5, 6 to 125th Street Clayton Powell Jr. Blvd) (212-243-2222) Subway: B, C to 116th Street Subway: N, R to Ditmars Blvd-Astoria www.Waltz-Astoria.com • Downtown Music Gallery 13 Monroe Street (212-473-0043) www.mintonsharlem.com • Williamsburg Music Center 367 Bedford Avenue, Brooklyn, NY Subway: F to East Broadway www.downtownmusicgallery.com • Mona’s 224 Avenue B Subway: L to First Avenue (718-384-1654) Subway: L to Bedford Avenue • The Drawing Center 35 Wooster Street (212-219-2166) • NYC Baha’i Center 53 E. 11th Street (212-222-5159) • York College (CUNY) 94-20 Guy R. Brewer Blvd., Queens Subway: 1, 2, N, Q, R to Canal Street www.drawingcenter.org Subway: 4, 5, 6, N, R to 14th Street-Union Square www.bahainyc.org Subway: E to Jamaica Center www.york.cuny.edu • The Drawing Room 56 Willoughby Street #3 (917-648-1847) • National Sawdust 80 N. 6th Street • Zinc Bar 82 W. 3rd Street (212-477-8337) Subway: A, C, F to Jay Street/Metrotech www.drawingroommusic.com (646-779-8455 Subway: L to Bedford Avenue www.nationalsawdust.org Subway: A, B, C, D, E, F, M to W. 4th Street www.zincbar.com

THE NEW YORK CITY JAZZ RECORD | AUGUST 2016 37 (INTERVIEW CONTINUED FROM PAGE 6) plays rhythm with the ease that other people play the (LABEL CONTINUED FROM PAGE 11) whole note. I became attracted to the detachment in his TNYCJR: Which musicians have influenced your playing, maybe taking the philosophy of Buddhism with different producers in different countries. Each approach to performing, composing and arranging? and applying it to the music. He and Wayne Shorter serious label is an adventure itself, an artistic path. are brothers in this; they’d just as soon not play Working with Budapest Music Center, for example, KW: As an arranger, Claus Ogerman, Thad Jones, Bob something as play it. They can play something, let it go means to be part of their vision for classical, contemporary Brookmeyer and Michel Colombier, who wasn’t so and wait for the next idea to come. I told Herbie, and jazz music. It opens new perspectives.” much in jazz. He was a movie soundtrack writer. He ‘Listening to you play solo piano is like watching the One abandoned perspective took place from 2006- did some jazz with Herbie, , that’s leaves fall in the wind.’ There’s just no desire or 09 when Yolk helped set up a cross-border network of how I met him, doing a record with Toots. Colombier intention, the wind comes and the fingers move. As musicians’ collectives and organized festivals in Paris did a record called Wings that was very influential on I got older, Herbie emerged as a guru for me. My and Nantes. Matthieu Donarier, who lives in Pré-en- me because the landscape is changing constantly, like a influences before I got to Berklee were the ones I saw Pail, and trombonist Daniel Casimir were part of the trip; it was a trippy time, 1970. This was like an acid on television: Victor Borge, , Roger Williams— team during that period. Donarier, featured on 12 Yolk trip for musicians, the way he took this music and ran my father had a lot of his records—and Jimmy Durante. releases, remembers the time as “very intense and through different things. Thad Jones just killed me Jimmy would play piano on stage but he would get so exciting. And we still continue to harvest the fruits of and, by extension, . I like what frustrated that he would just destroy the piano. This what we sowed: visibility, network, friendship, all over Ogerman did with Jobim and the Bill Evans Trio with was long before rock groups destroyed their Europe,” he affirms. The initiative was financed by a Symphony Orchestra record. The other side of me is the instruments. Another big influence was Chico , French government grant. Without the subsidy Yolk heart side, the harmony, the emotional feeling that Bill the way his fingers could dance on the keys was so couldn’t carry on, although Boisseau says the festival Evans and Ogerman got. I have to listen to it over and effortless. may return. “Yolk Records is a label created by over again. As a pianist, Bill Evans was the first guy I musicians, for musicians,” elaborates Donarier. keyed into when I got to Berklee. The funny thing is TNYCJR: Which bandleaders were mentors? “Sending music files to Yolk, you know that really the other guy I went to see the most was Cecil Taylor. I accurate musicians will listen to everything and will can’t exactly tell you why. I never made it to the end of KW: My first steady gig was with Archie Shepp for vote for releasing it or not. If they’re up for it, they a concert because he played so long, but three years. He didn’t mind if I adopted who I was into won’t ask you to change or remove anything from the I always went back. There was something in that what he was doing. He didn’t tell me that this music album. The Yolk catalogue consists of really different absolute anarchy of choices of notes that stimulated takes playing like Alice Coltrane or McCoy Tyner. He kinds of music.” me. I like opposites, music when it is ugly and it took what I had. Archie could walk into a hostile Among CDs scheduled for upcoming release are surrenders into angelic beauty, that holds my attention. situation and be completely unaware of it. He’d put Mots croisés/Crosswords, with Pommier, Darche and When they keep morphing back into each other, they the horn in his mouth and that first phrase, that American spoken word artist Desdamona; Mix of Sun form a vibration. Right after that became looseness, was really a lesson. I played with Mel Lewis and Cloud by JASS (Hollenbeck, Darche, Boisseau and my ideal. I think he can weave harmony and melody, for ten years and I was attracted to his study in Zen as Blaser); and Le Tombeau de Poulenc, featuring Darche which was what I was missing from most pianists who I watched him play. I was on Joe Lovano’s first record with pianist Jean-Christophe Cholet and former Vienna played Bach-like and modally... Later in life I continued and he was on my first one with horns. Joe is a purebred Art Orchestra leader Mathias Rüegg. v to go towards Herbie Hancock; he’s like , jazz saxophone player... What I learned from Joe is that the older I get, the more I like him. I like to say Herbie you can’t assume that people can’t handle your music. For more information, visit yolkrecords.com You’re going to play it from the inside and I was always surprised at how many people loved it. Toots USED Thielemans is the last major leader I worked for. NEW TNYCJR: How does a song evolve for you from initial idea to a finished work?

KW: My more natural tunes come melody first. Sometimes I take them the way they came, because when I try to edit them, they have less light. “Shower Song” came to me while I was in the shower. The water felt so good on my back that this melody emerged, nothing clever about it, very harmonic. I started to 236 West 26 Street, Room 804 think of ways to do something hip with it, then it lost New York, NY 10001 some of that light. So I made the shower hotter, the melody would come back. “Ballad For Trane” came Monday-Saturday, 10:00-6:00 after staying up all night with Frank Tiberi listening to Coltrane club recordings. When I laid down, instead of Tel: 212-675-4480 going to sleep, I heard this melody in . A lot of times I sit at the computer and put some notes Fax: 212-675-4504 down and I start playing them with detachment, not caring where they go, and a piece starts to emerge Email: [email protected] before my eyes. That’s the way I like to do larger Web: jazzrecordcenter.com compositions. A third way is sitting at the piano, starting with something and keep rewriting it until it LP’s, CD, Videos (DVD/VHS), doesn’t bore me in any place or the complicated part Books, Magazines, Posters, doesn’t get in the way of the flow of it. v Postcards, T-shirts, Calendars, Ephemera For more information, visit kennywerner.com. Werner is at Dizzy’s Club Aug. 9th-10th. See Calendar. Buy, Sell, Trade Recommended Listening: Collections bought • Kenny Werner—Beyond The Forest of Mirkwood (Enja, 1980) and/or appraised • Joe Lovano Quartet—Tones, Shapes & Colors (Soul Note, 1985) Also carrying specialist labels • Lee Konitz/Kenny Werner—Unleemited e.g. Fresh Sound, Criss Cross, (Owl-Sunnyside, 1992) Ayler, Silkheart, AUM Fidelity, • Kenny Werner Trio—Standards—Live at Visiones Nagel Heyer, Eremite, Venus, (Concord, 1995) Clean Feed, Enja and many more • Kenny Werner—Lawn Chair Society (Blue Note, 2007) • Kenny Werner—The Melody (Pirouet, 2014)

38 AUGUST 2016 | THE NEW YORK CITY JAZZ RECORD (SUONI CONTINUED FROM PAGE 13) sound and its manner of interacting, emerged, at which Hargrove’s working band of Sullivan Fortner (piano), point Ulmer became the guest. v Ameen Saleem (bass), Quincy Phillips (drums) and 25-minute sets. The first set was Nous perçons les Justin Robinson (alto saxophone). She offered a rich, oreilles, the long-running duo of Derome and For more information, visit suoniperilpopolo.org clear voice and impressive improvisatory skills in a saxophonist/vocalist Joane Hétu. Their improvisation playlist dedicated to the late Montréal radio personality was marvelously crafted with a succession of well- Len Dobbin. Her “Where is Love” started a cappella developed and integrated ideas, no downtime and a (LJUBLJANA CONTINUED FROM PAGE 13) and then, with the band, deeply communicated the clear arc. Next up was the trio of Derome, bassist heartbreaking lyrics. Her bold scatting was put to Nicolas Caloia and drummer Isaiah Ceccarelli. Their elastic backbeat. Slovenian guitarist Samo Šalamon’s humorous use on “That Old Black Magic”, à la Louis set opened with a fantastic 20-minute improvisation sextet featured Italian bass clarinetist Achille Succi and Prima. Gambarini took stock of music by Dave Brubeck, best described as fire music and easily ranking among British tenor/soprano saxophonist Julian Argüelles as Antonio Carlos Jobim, Astor Piazzolla, Bill Evans, the best of contemporary free jazz. The third and fourth well as French-German bassist Pascal Niggenkemper Leon Russell and more and she made each song sets, which featured respectively Derome with violinist and drummers Christian Lillinger from Germany and personal and unique. Malcolm Goldstein and guitarist Rainer Wiens and trio Roberto Dani from Italy. Most of Šalamon’s tunes were The last night of the festival included two very Klaxon Gueule, were certainly enjoyable, but did not like chocolate-covered ginger: smooth on the surface, different but wonderfully expressive shows. The measure up to the first two. piquant underneath. Preservation Hall Jazz Band at Théâtre Maisonneuve Closing the 2016 edition of the Suoni Per Il Popolo At CD Club that evening was Supersonic. The promised an evening about dancing and did they ever was The Thing with James “Blood” Ulmer in a generous band is led by Thomas de Pourquery, who rasped on deliver! Leader Ben Jaffe took this animated group 90-minute set followed by a 10-minute encore. It was alto saxophone and saluted Sun Ra’s legacy via songs through a motion-packed trip on everything from only the third time that the Scandinavian trio of ranging from “Discipline” to “Space is the Place”. Professor Longhair to “Bourbon Street Blues”. Every saxophonist , bassist Ingebrigt Håker Building on the four-square rhythm of electric bassist soloist was top notch—seven ranging in age from 40 to Flaten and drummer Paal Nilssen-Love was joined by Frederick Galiay, patterns from drummer Edward 84 (reed player/vocalist Charlie Gabriel, whose Jul. the American guitarist and, as a result, the audience Perraud and spacey synthesizer interludes from pianist 11th birthday was celebrated). The crowd joined in was able to witness the musicians working out this Arnaud Roulin, de Pourquery, trumpeter Fabrice Longhair’s “Go to the Mardi Gras”. The last concert of collaboration. The first third of the main set sounded Martinez and tenor/baritone saxophonist Laurent the festival was pianist Aaron Parks at Gesù. This more like a trio of Ulmer, Håker Flaten and Nilssen- Bardainne propelled road-house styled funk during former prodigy has matured into a sensitive and Love with Gustafsson as guest, Ulmer giving the music solo spots. thoughtful artist as his work with Terence Blanchard its impetus while Håker Flaten and Nilssen-Love At the same venue the next evening, Brooklyn’s and now, on ECM, makes clear. Bassist Ben Street and behaved as a rhythm section. Furthermore, after the Ned Rothenberg showcased his dexterity on alto veteran drummer helped Parks realize quiet opening segment, Gustafsson did not play at all for 10 saxophone, clarinet and shakuhachi during a premiere yet swinging visions of “Bye, Bye Blackbird”, George minutes, though it is impossible to say whether he meeting with Chicagoan percussionist Hamid Drake Shearing’s “Conception”, original “Alice” dedicated to thought anything he would have done would have and Slovenian pianist Kaja Draksler. The three paced Alice Coltrane and a gorgeous hymn-like “Find the been superfluous or whether he struggled to find his themselves so subtly that it took a while to realize that Way”, which Parks learned from a Rosemary Clooney way in. The group then progressively morphed into a significant textural changes evolved as tongue slaps, album. v quartet of improvisers. It was only in the last third of pile-driver piano chording and cymbal clangs became the concert that The Thing, with its characteristic evident. Each time one of the players seemed in danger For more information, visit montrealjazzfest.com of losing sonic footing, abrupt stops and starts quickly straightened the interface. This was followed by Attack, dedicated to the compositions and hectoring shrills of alto saxophonist Anna Högberg, additional pressure asserted by tenor saxophonists Malin Wättring and Elin Larsson. Harsh and incendiary from the first, Attack, influenced by metal, punk and free jazz, is one part screech, one part smash. Drummers dominated the festival’s last day. A solo outdoor concert found Drake sustaining effortless swing, tapping bells, cymbals and various drums for maximum effect. The emphatic finale found him on Hosted by trombonist/composer , hand-patted frame drum accompanying a hypnotic, a major figure in jazz for over thirty years. multi-lingual chant. Simon Phillips, drummer in Japanese pianist Hiromi’s The Trio Project at the ornate Rendall Memorial Presbyterian Church th Gallus Hall, played as aggressively as if he was in a 59 W. 137 Street sports arena, splashing exaggerated backbeats. And (between Lenox and Fifth Aves.) st nd Norwegian drummer Paal Nilssen-Love’s 12-piece all- 1 set 12 – 12:45pm ~ 2 se t 1 – 1:45pm Scandinavian Large Unit overwhelmed the CD Club’s Admission is just $15! stage for the festival’s final show. Prodded by two (discount for students, seniorsand groups) drummers, two electric bassists, an electric guitarist Call 212-662-7779 or purchase at the door and Tommi Keränen’s electronic loops, the unit played harlemjazzboxx.com or welcometoharlem.com with the stamina of a rock band and finesse of the best- TOUR COM PANIES ARE WELCOM E drilled jazz ensemble. v

For more information, visit ljubljanajazz.si August 2nd Ahmed Abdullah

(MONTRÉAL CONTINUED FROM PAGE 13) August 9th Jason Marshall Jensen and played a brassy and compelling “The Way You Look Tonight” before being joined by Jones to th close out this two-and-a-half hour show. Later that August 16 Eric Person night at Gesù, trumpeter Wadada Leo Smith and pianist Vijay Iyer played a special evening of delicate rd open-ended improvisations that felt as if the two were August 23 Camille Thurman breathing together. Smith put his personal vocabulary of cries, smears and runs to use in long, hypnotic th textures while Iyer, on electric piano and laptop, stood August 30 Bertha Hope with Smith or sometimes broke free. Vocalist Roberta Gambarini did a gorgeous set at Upstairs Jazz Bar & Grill to a full house with Roy

THE NEW YORK CITY JAZZ RECORD | AUGUST 2016 39 OCTOBER 26–29

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