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Home , Aram Bajakian, Armando Peraza, At the Old Office, Azar Lawrence, A Little Bit of Miles, Billy Kilson

JANUARY 2015—ISSUE 153 YOUR FREE GUIDE TO THE NYC SCENE NYCJAZZRECORD.COM

special feature BEST 2014OF

ICP ORCHESTRA not clowning around

OMER ED RENÉ MICHAEL AVITAL PALERMO URTREGER BRECKER Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The City Jazz Record 116 Pinehurst Avenue, Ste. J41 JANUARY 2015—ISSUE 153 New York, NY 10033 New York@Night 4 Laurence Donohue-Greene: [email protected] Interview : by brian charette Andrey Henkin: 6 [email protected] General Inquiries: Artist Feature : Ed Palermo 7 by ken dryden [email protected] Advertising: On The Cover : ICP Orchestra 8 by clifford allen [email protected] Editorial: [email protected] Encore : René Urtreger 10 by ken waxman Calendar: [email protected] Lest We Forget : 10 by alex henderson VOXNews: [email protected] Letters to the Editor: LAbel Spotlight : Sessions 11 by marcia hillman [email protected] VOXNEWS 11 by katie bull US Subscription rates: 12 issues, $35 International Subscription rates: 12 issues, $45 For subscription assistance, send check, cash or money order to the address above In Memoriam 12 by andrey henkin or email [email protected] Festival Report Staff Writers 13 David R. Adler, Clifford Allen, Fred Bouchard, Stuart Broomer, CD Reviews 14 Katie Bull, Tom Conrad, Ken Dryden, Donald Elfman, Brad Farberman, Sean Fitzell, Special Feature: Best Of 2014 28 Kurt Gottschalk, Tom Greenland, Alex Henderson, Marcia Hillman, Miscellany Terrell Holmes, Robert Iannapollo, 43 Suzanne Lorge, Marc Medwin, Robert Milburn, Russ Musto, Event Calendar 44 Sean J. O’Connell, Joel Roberts, John Sharpe, Elliott Simon, Andrew Vélez, Ken Waxman As a society, we are obsessed with the notion of “Best”. Of course, others’ opinions are like Contributing Writers deer; we all try not to hit them when we are driving on the highway. But there is something to Duck Baker, Brian Charette, acknowledging hard work and the winter months often make one nostalgic. To that end, this Brad Cohan, Phil Freeman, first issue of 2015 includes our perennially popular feature: the “Best of the Year” in jazz. George Kanzler, Mark Keresman, Ken Micallef Peruse our center spread for TNYCJR’s top picks in an array of categories, plus 100 honorable mentions (visit our website for the top five original cover art entries). On a sadder note, Contributing Photographers we also include a list of all those lost from the jazz world in 2014 (pg. 12). Roberto Cifarelli, George Council, Peter Gannushkin, Lars Jönsson, But we linger only briefly on what has passed in lieu of what is new before us. January brings Alan Nahigian, Bert Saraco, Jack Vartoogian an always-welcome appearance of the ICP Orchestra (On The Cover) as part of the Winter Jazzfest; two nights apiece by Omer Avital (Interview) at Jazz Standard in support of his new Motéma Music release and big band leader Ed Palermo (Artist Feature) at Iridium; a rare stateside appearance by French pianist René Urtreger (Encore) at Dizzy’s Club; and a tribute to the late Michael Brecker (Lest We Forget) at The Appel Room. nycjazzrecord.com Best friends, best bets, best buys. We’re doing our best and that’s all anyone can do...

On The Cover: ICP Orchestra (Peter Gannushkin/DOWNTOWNMUSIC.NET) All rights reserved. Reproduction without permission strictly prohibited. All material copyrights property of the authors.

2 JANUARY 2015 | THE JAZZ RECORD 2751 Broadway NYC, NY (btw 105th & 106th Streets) www.smokejazz.com 212.864.6662 JANUARY 2015 JAN. WEEKENDS JAN. WEEKNIGHTS JAN. ’ROUND MIDNIGHT

1/2, 1/3 & 1/4 M 1/5 THE CAPTAIN BLACK BIG BAND F PATIENCE HIGGINS’ SUGAR HILL QUARTET JD ALLEN QUARTET JD Allen [ts] Victor Gould [p] Tu 1/6 MIKE LEDONNE’S GROOVER QUARTET Sa JOHNNY O’NEAL & FRIENDS Gregg August [b] Rudy Royston [d] W 1/7 FLEURINE 1/9 & 1/10 Th 1/8 ALLAN HARRIS JAM SESSION BARTZ, WILLIS, WILLIAMS & FOSTER M JAM SESSION HOSTED BY [alto sax] [p] M 1/12 THE CAPTAIN BLACK BIG BAND [b] [d] THE CAPTAIN BLACK BIG BAND Tu 1/13 MIKE LEDONNE’S GROOVER QUARTET 1/11 SMOKE SESSIONS RECORDS & MCKENNA GROUP PRODUCTIONS PRESENT W 1/14 GEORGE BURTON QUARTET SUNDAY JAZZ BRUNCH Th 1/15 ALEXIS COLE Su ANNETTE ST. JOHN & HER TRIO “Liberation ” Quintet (7pm), New Trio w/ Lil’ John Roberts (9pm) & the Captain Black Big Band (10:30pm) M 1/19 THE CAPTAIN BLACK BIG BAND 1/16, 1/17 & 1/18 Sets at 7, 9 & 10:30pm Tu 1/20 MIKE LEDONNE’S GROOVER QUARTET A TRIBUTE TO “THE MIGHTY BURNER” FRI & SAT ’ROUND MIDNIGHT SETS Freddie Hendrix [tp] Eric Alexander [ts] Bob DeVos [gtr] W 1/21 AKUA DIXON QUARTET - CD RELEASE Mike LeDonne [B-3] Greg Rockingham [dr] Th 1/22 CYNTHIA SCOTT also at 11:45PM & 12:45AM 1/23, 1/24 & 1/25 M 1/26 THE CAPTAIN BLACK BIG BAND MON at 7 & 9pm only BIRTHDAY CELEBRATION MON Jam Session starts at 10:30pm Peter Bernstein [g] Jimmy Cobb [d] + special guests Tu 1/27 MIKE LEDONNE’S GROOVER QUARTET 1/30, 1/31 & 2/1 W 1/28 SIMONA PRIMAZZI QUARTET SUN Brunch sets at 11:30am, TRIO Th 1/29 GREGORY GENERET 1:00pm & 2:30pm Bill Charlap [p] [b] Kenny Washington [d] NEW YORK @ NIGHT

Historic meetings can be happenstance. A late Mezzrow, barely three months old, is the latest hard- cancelation led James “Blood” Ulmer to invite Marc hitting jazz club to mushroom in ’s West Ribot to join him at City Winery (Dec. 9th). They only Village, a long narrow subterranean room with uneven shared the stage for a couple songs, but permutations brickwork and stucco, exposed plumbing, a 1923 of the blues (in cry if not form) were well displayed. Steinway M and a good-old-fashioned record Ribot opened acoustic, playing a stream-of- player spinning vintage vinyl platters between shows. consciousness medley of standards, eventually landing A perfectly appropriate venue for the likes of Peter on “Ghosts”, finding the gospel and the grunge in Bernstein, who opened his first of two solo guitar sets Albert Ayler’s tune. A Mississippi John Hurt song was (Dec. 9th) with Irving Berlin’s “They Say It’s followed by a couple of pieces from his Silent Movies Wonderful”, followed by ’s and a Frantz Casseus of Ludovic “Pannonica” and ’s theme “I’m Getting Lamothe’s “Sobo”. He and Ulmer joined together in Sentimental Over You”, before really hitting his stride ’s “Dearly Beloved”, Ribot carrying the on a masterfully arranged and executed version of theme on electric while Ulmer played thick washes on ’ “Django”. He maintained this momentum a hollow-body electric. Ulmer then kicked off his own over Noël Coward’s “Someday I’ll Find You”, a soulful “Street Bride” with a flangey ramble. They wandered stroll through Andy Razaf-Don Redman’s “Gee, Baby, for a while, eventually ceding to soloist/accompanist Ain’t I Good to You?”, a samba-fied version of the orthodoxy and finding a beautiful balance. Ulmer vehicle “Star Eyes” enhanced by tangy played a couple of obscure old tunes (introduced with idiosyncratic chord voicings and long-limbed single- reverence but without attribution) and his own “Dead note phrases, and then the 1928 standard “If I Had Presidents” and “Rock Me, Baby”, name-checking You”. After getting downer and dirtier on Gene B.B. King and , then one of his best-loved Ammons’ “Woofin’ and Tweetin’”, a blues with tasteful songs, “Are You Glad to Be in America?” He closed dynamic shifts and longer-than-usual pauses between with a nice laughing blues and encored with a new phrases, he wrapped with Osvaldo Farrés’ “Tres song about Ferguson, intoning, “You can’t kill a man Palabras”, moving from spacious open-string minor with his hand in the air.” During a week when protests chords to dense sound-clusters and back, segueing to a about police violence were building in the city, the “That’s all folks!” ditty that juxtaposed climbing song rang as true as the sustained notes from his big chromatic ‘calls’ with atonal ‘answers’. blonde guitar. —Kurt Gottschalk —Tom Greenland m o c . y h p a r g o t o h P e c n a g e l E c i t e o P / l i c n A L N H I G u

o C

e O B Y g r o e P H O T G & James “Blood” Ulmer @ City Winery Peter Bernstein @ Mezzrow

Saxophonist and sculptor Terry Adkins, who died last Wrapping up a 150-gig, 43-country tour with his February at the age of 60—just weeks before his work Unity Group at Blue Note (Dec. 2nd), guitarist Pat was shown in the Whitney Biennial—combined music, Metheny condensed his stadium-sized marathon show sculpture and other media into installations he called into an hour-long, club-friendly format. Beginning “recitals”. George Lewis’ memorial concert for Adkins alone on a double-necked harp-guitar, hammering left- similarly bridged acoustic and electronic music with hand bass notes while plucking arpeggios with his projected images and videos and the members of the right, Metheny was soon joined by tenor saxophonist Ensemble Pamplemousse moving throughout the St. Chris Potter, bassist Ben Williams and drummer Paul’s Chapel at Columbia University (Dec. 2nd). Like Antonio Sanchez for “Come and See” and “Roofdogs” much of Adkins work, the hour-long concert, under the (both from their eponymous debut CD on Nonesuch), name “A Recital for Terry Adkins”, was at once songs that quickly revealed the musicians’ collective performance, installation and ritual. The open-form chemistry and individual lyricism, the latter tune composition recalled the best of Lewis’ work over delivered on an outré-toned guitar synthesizer and recent years. Flute, gong and violin moved through the climaxing in a fusillade of notes. Metheny swiftly space and up to the gallery while cello, organ and switched to acoustic-electric guitar for 80/81’s “The drums remained stationed near the altar. Recordings of Bat”, a lushly chorded ballad with beautiful falling Adkins playing bells and bass drums panned across the bends, then ripped right into Song X’ “Police People”, room and were mirrored by drummer Andrew an uptempo Latin piece featuring a boisterous solo Greenwald. Piercing piccolo lines from Natacha Diels from Sanchez, punctuated by the combo’s stop-time flew around like a trapped bird. The huge pipe organ, accents. After a brief pause to catch his breath, Metheny played by David Broome, added atmosphere, sometimes introduced multi-instrumentalist Giulio Carmassi, the like the muffled bass of a downstairs dance club, other group’s newest member, before cueing two numbers times more like interference tones, not entirely noticed from their latest album, Kin (←→): the title track and but very present. Sampled voices drifted in and out of “On Day One”, the former a rather ponderous, the electronic mix: “Great black music”, “certain computer-mediated soundscape; the latter, initiated contrapuntal elements”, “resisted arrest”. Lewis’ work with a loose-limbed free-blow, boasting a masterful is very much about how space is filled and with a space melody and solo from Metheny. His obligatory encore as beautiful as the 1907 chapel, the gradual filling of it featured a medley of hits performed solo on acoustic was breathtaking. (KG) guitar. (TG)

4 JANUARY 2015 | THE NEW YORK CITY JAZZ RECORD If jazz is, along with football (soccer) and love (sex), “I’m pretty old school, ain’t I?” a smiling one of the international languages, then is a remarked ironically before scatting a fluidly swinging dialect, a way in which musicians of different countries, tag to his ever-so-hip reading of “Take The ‘A’ Train”, WHAT’S NEWS backgrounds and ages can communicate with common an appropriate coda to the Ellington medley that purpose. It’s touching, really. But it’s not all flowers opened his final set at the venerable revitalized Harlem The JazzConnect Conference will take place Jan. 8th-9th at Saint Peter’s Church, leading into the annual APAP (Association (fleurs) and kittens (kätzchen). Sometimes you get the nightspot Minton’s (Dec. 13th). Seated solitarily on of Performing Arts Presenters) Conference. The theme of this quartet that appeared at JACK (Dec. 15th): avant garde stage at the club’s gleaming baby grand piano, Bey year’s JazzConnect Conference is “Strength Through legends saxophonist/trumpeter Joe McPhee started the show (in his words) “just noodling a little Community” and will include 12 workshops and 5 plenary (Poughkeepsie via Miami, 75) and bassist William bit” at the keyboard, spinning out lyrical lines before sessions. For the complete schedule of events and to register, visit sites.google.com/site/jazzconnect2014. The APAP Parker (Brooklyn via The Bronx, 62) in partnership slowly intoning the words “I’m nobody’s fool, I’m Conference will include a number of jazz showcases. For the with tenor saxophonist John Dikeman (Amsterman via playing it cool” repeatedly, then launching into “Satin complete schedule and to become a member and register for the Wyoming, ~31) and drummer Onno Govaert (The Doll”, his full-bodied baritone, bared within his slow conference, which takes place Jan. 9th-13th at the New York , ~27), two-thirds of the Cactus Truck trio. spare piano accompaniment, investing deep meaning Hilton Midtown Manhattan Hotel, visit apap365.org. Over the course of a 50-minute set, Dikeman and into each phrase. He brightened the tempo a bit for The nominees for the 57th Annual Grammy Awards, to be Govaert provided the youthful vim, Parker the rhythmic “Sophisticated Lady” and then pulled out all the stops awarded in a ceremony next month, have been announced. vigor and McPhee (solely on alto ) the sage on his freewheeling take on “‘A’ Train”. A dreamy Nominees in relevant categories include Best Contemporary advice, listening intently, coming in with architectural rendition of “My Heart Stood Still”, which opened Instrumental Album: Wild Heart—Mindi Abair (Heads Up statements and then dropping back out. The first with the seldom-sung verse, was a commanding lesson International); Slam Dunk— (); Eponymous— (Yamaha quartet piece was 20 minutes of full-on squall, the in dynamic control, his lagging behind-the-beat-then- Entertainment Group); Jazz Soul—, Chuck foursome breathing fire together; the second (but third back recitation of the lyric both poignant and hopeful. Loeb, (Shanachie); Bass & Mandolin—Chris Thile tune) was its bombastic equal over 12 minutes. McPhee Two topical originals, “The Demons Are After You” & Edgar Meyer (Nonesuch). Best Improvised Jazz Solo: “The sat out the last number, a 12-minute long -style and “Being Part Of What’s Happening Now”, and the Eye Of The Hurricane”—, from: Gerry Gibbs saxophone trio (full of tomatoes, peppers and a pickle witty “Dog Eat Dog” elicited knowing approval from a Thrasher Dream Trio (Whaling City Sound); “Fingerprints”— , from Trilogy (Chick Corea Trio) (); in a poppyseed bun). The most interesting piece was crowd that included Mayor and Mrs. Bill de Blasio. An “You & The Night & The Music”—Fred Hersch, from Floating when Dikeman and Govaert deferred to their elders, apt “Autumn In New York”, followed by a burning (Fred Hersch Trio) (Palmetto Records); “Recorda Me”—Joe exulting in a five-minute masterclass as McPhee and “A Night In Tunisia”, fired up the crowd, which Lovano, from The Latin Side Of ( Parker played a palate-cleansing five-minute improv, refused to allow the singer to leave before a series of Featuring ) (); “Sleeping Giant”—, from Mehliana: Taming The Dragon (Brad Mehldau & less melodic than rhythmic, Parker’s rich bounce encores, which included a stirring “Someone To Watch ) (Nonesuch). Best Jazz Vocal Album: Map To The understandable to all. —Andrey Henkin Over Me”. —Russ Musto Treasure: Reimagining — (Masterworks); I Wanna Be Evil—René Marie (Motéma); Live In NYC— (Obliqsound); Beautiful Life— (Concord); Sessions—Tierney Sutton (BFM Jazz). Best Jazz Instrumental Album: Landmarks— & The o s Fellowship Band (Blue Note); Trilogy—Chick Corea Trio (Concord); Floating—Fred Hersch Trio (Palmetto); Enjoy The View—, , Joey DeFrancesco Featuring (Blue Note); All Rise: A Joyful Elegy For Fats Waller—Jason Moran (Blue Note). Best Large Jazz Ensemble

O W N M U S I C . E T Album: The L.A. Treasures Project—The Clayton-Hamilton Jazz Orchestra (Capri); Life In The Bubble—Gordon Goodwin's Big Phat Band (Telarc); Quiet Pride: The Elizabeth Catlett Project— (Motéma); Live: I Hear The Sound— Attica Blues Orchestra (ArchieBall); OverTime: Music Of Bob

o g i a n / F r t R w P h Brookmeyer—The Vanguard Jazz Orchestra (Planet Arts). Best t Latin Jazz Album: The Latin Side Of Joe Henderson—Conrad a r Herwig Featuring Joe Lovano (Half Note); Eponymous—Pedrito Martinez Group (Motéma); The Offense Of The Drum—Arturo O'Farrill & The Afro Latin Jazz Orchestra (Motéma); Second Half—Emilio Solla Y La Inestable De Brooklyn (Emilio Solla Music); New Throned King—Yosvany Terry (5Passion). Best © 2 0 1 4 J a c k V P e t r G a n u s h k i / D O W N T Instrumental Composition: “Last Train To Sanity”—Stanley John Dikeman/William Parker/Onno Govaert/Joe McPhee @ JACK Andy Bey @ Minton’s Clarke, from Up (Mack Avenue); “Life In The Bubble”—Gordon Goodwin, from Life In The Bubble (Telarc); “Recognition”—Rufus usion as a genre was maligned pretty much from the elestial harp tones enveloped the Abyssinian Baptist Reid, from Quiet Pride: The Elizabeth Catlett Project (Motéma); F C “Tarnation”—Edgar Meyer & Chris Thile, from Bass & Mandolin start—traditionalists didn’t like it and it was accused Church as harpist Brandee Younger opened the (Nonesuch). Best Arrangement, Instrumental: “Beautiful of outliving its usefulness only a few years after landmark Harlem cathedral’s jazz vespers concert Dreamer”—Pete McGuinness, from Strength In Numbers emerging from racks of keyboards and electric bass (Dec. 19th) with a solo recital of “The Lord’s Prayer” (); “Get Smart”—Gordon Goodwin, from Life In The cabinets. This meeting of jazz complexity and rock hymn, a fitting start to a powerfully spiritual program Bubble (Telarc); “Guantanamera”—Alfredo Rodríguez, from The Invasion Parade (Mack Avenue). Best Arrangement, Vocal: “All intensity has been known to bring out the worse in celebrating the music of Alice Coltrane, together with My Tomorrows”—Jeremy Fox, from With Love: some but Polish violinist Michał Urbaniak has spent the pioneering harpist’s son, saxophonist Ravi For Some Of My Favorite Singers (Jazzbill); “Goodnight some five decades refining and perfecting his particular Coltrane. Bassist Dezron Douglas’ measured ostinato America”—, from Songs From The Movie approach. His playing has an icy edge to it, and drummer Jeff “Tain” Watts flowing cymbals (Rounder); “New York Tendaberry”—Billy Childs, from Map To differentiating him from peers like Jean-Luc Ponty or announced the opening strains of Coltrane’s “Journey The Treasure: Reimagining Laura Nyro (Masterworks); “Party Rockers”—Gordon Goodwin, from Life In The Bubble (Telarc); Jerry Goodman, and his composing mixes tropes In Satchidananda”, with harp and soprano sax soon “What Are You Doing The Rest Of Your Life?”—Pete McGuinness, established by bands like the Mahavishnu Orchestra entering, combining in a lyrical etherealism, giving from Strength In Numbers (Summit). For more information, visit and with the lessons he learned way to dramatic solo expressions that segued grammy.com. under the tutelage of famed Polish composer Krzysztof seamlessly into a steadily intensifying “Blue Nile”. A lawsuit has been filed by the son of against the Komeda. At Drom (Dec. 14th), Urbaniak led a pickup Harp and bowed bass introduced “Jagadishwar” in production company planning a film about the late trumpeter/ band organized for him by Ornette Coleman bassist Al India-influenced cadences, with Watts’ toms vocalist. Paul Baker claims that Robert Budreau reneged on a MacDowell, who manned the stadium-ready rhythm underpinning deeply soulful tenor. “Gospel Trane”, planned collaboration with his mother as well as screenplay section with drummer Mike Flythe. There were two featuring bopping saxophone and harp solos, gave approval. The suit seeks $5 million in damages. keyboardists: Yayoi Ikawa as the melodicist, Pete way to a beautiful Younger-Douglas duet, Charlie As part of the new film Altman, which celebrates the life of the Drungle providing sounds from space. Guitarist Haden’s “For Turiya”. The quartet rendered moving late director Robert Altman, whose filmography includes the Abdule Zhuli spent most of his time comping while performances of John Coltrane’s “Dear Lord” and jazz-inspired City, keyboard player blues-jazz tenor saxophonist Roger Byam doubled Younger’s “He Has A Name (Awareness)”, harpist and recorded Altman’s song “Let’s Begin Again” with vocalist Rachael Urbaniak’s leads and offered the occasional solo. With saxophonist soloing with unrestrained passion on the Yamagata, bassist Jesse Murphy and drummer . that many people soloing, the pieces were long but the former and meditative introspection on the latter. The The World Music Institute has appointed Par Neiburger as mostly-Polish-speaking audience loved every ear- pair spelled Douglas and Watts to play duo on Stevie Artistic Director and named Cynthia McVay Acting Executive blurring moment. Fusion doesn’t prize subtlety—there Wonder’s “It’s Magic”. Then bass and drums were Director. For more information, visit worldmusicinstitute.org. was little on display and each tune did devolve into a featured with Younger on “Rama Rama”, the three similar groove in the middles—but the virtuosity that soloing mightily before Coltrane rejoined them to close Submit news to [email protected] has kept fusion going was there for the taking. (AH) with “The Creator Has A Master Plan”. (RM)

THE NEW YORK CITY JAZZ RECORD | JANUARY 2015 5 INTERVIEW

Mark Turner was around.... The people started to really respond. I started to write music for the group very organically and slowly. We had a great concept. I was in many other groups at Smalls too. I would play Tuesdays, Thursdays and late Fridays. Monday with Jason’s band. I was basically there all the time. My bass was there. It was a workshop for me... OMER Playing at a place like Smalls feels like exactly what I was meant to do. It’s the essence of the feeling and the people that go there know. It’s a free environment, a a r e l i great place. The soul of Smalls is still the same as it used to be in the beginning. In ‘96 we got a nice write o C i f t up in The Times and people started to talk about us. (CONTINUED ON PAGE 54) R o b e r AVITAL o b y

p h o t by brian charette Bassist Omer Avital was one of the first young jazz musicians play for the first time, it was magic. They phenoms to come to NYC from in the jazz renaissance seemed like people with a higher understanding. of the early ‘90s. He quickly became a central figure at then- When I went to my first jazz guitar teacher, I didn’t very-new NYC jazz club Smalls, where he led a popular know anything and he seemed a little bummed sextet for many years. He has worked with numerous jazz (laughs). Then I brought my bass and we started to luminaries, including , Brad Mehldau and play chord charts for songs like “Night and Day” and Joshua Redman. This month, he celebrates his new Motéma “Summertime”. After a while I started to study with Music release, New Song, at Jazz Standard. Carlos Ben-Ari. He was the main bass guy and had a bunch of students in my hometown [of Giv’atayim]. The New York City Jazz Record: How did you start to He asked me what I wanted to learn and I said I wanted play music? to study jazz. He got me into everything. He also had a guitar ensemble that needed a bassist. I got a folder of Omer Avital: My parents are musical. I started messing 40 standards that I had to prepare. I made up basslines around with friends, singing in some places. When I for each song and it wasn’t that hard. When I tried it was 10, I started playing classical guitar. My brother with the band, it was OK, but soloing was like jumping had a guitar that he had stopped playing and it was into a swamp. I remember it was the most terrible just hanging on the wall. My mom saw that I was feeling not knowing how to solo or thinking, “Where singing and that I liked the guitar and started asking am I?” To help me out, Carlos gave me cassettes of around where I could study. She took me to the Charlie Parker and that I started conservatory where we lived, which had a very good transcribing. It was really step by step. I wasn’t rushed program for classical music. Now they have a great into it. I learned a little here, a little there. I believe jazz program...everyone who plays jazz goes there. that’s how life works. Eventually I started doing Sonny, After three years I got accepted to Thelma Yellin High a little bit of Miles, maybe “Bags’ Groove” and I School for the Arts as a classical guitarist. realized they were all doing a lot of the same stuff.

TNYCJR: Do you still play guitar? TNYCJR: When did upright start for you?

OA: I still play some guitar. I can read well. When I OA: At some point, I took the upright. When you are came to the school I was with all these heavy guys who young you are loose and into trying things. I was were practicing all the time and it really brought my starting to get into the scene. I had my own band senior music to another level. I realized that I liked rock and year and I took the bass home because I played it on jazz more and I was getting into a rock band that one of the school recitals. I remember feeling it was needed a bassist so I bought a bass. I started collecting hard but it really resonated with me. It felt good and lots of instruments. I got a Casio keyboard. I was had a richer sound than the electric. I started to study interested in , punk, everything ‘80s. I with another great bass teacher, Emil Ram. He was in was playing in a few rock bands, surrounded with lots NYC and played with [pianist] Barry Harris. He knew of different music. When I was into punk I was wearing his system and was my big guru. We would have four- all black (laughs). I grew up in a mix. My dad is from a hour lessons. After a year of studying with Emil, I Moroccan family and my mom is Yemenite. started to get into Michael Brecker, and . I was playing a lot in Tel Aviv. I was TNYCJR: What was that like? Was it uncommon? transcribing and starting to get ...the logic of it. Big band into bebop was a big chunk of music for me. OA: For me to play classical European music with my For me it was all connected. background was uncommon. I’m not going to get into the more political or social aspects... TNYCJR: So how did you come to New York?

TNYCJR: Of course, but let’s just say you took some OA: I realized at a point I had to do the groundwork heat for it. and really learn bebop. I quit the army and came to New York to attend The New School. I ended up in the OA: Yeah. Back then it was more divided and I was a East Village for about ten years. I was gigging, getting bit confused. I got into everything. I was exposed to to know people. It was an amazing time. The scene was both cultures very much. I got a strong European very good. I was all about playing every night. foundation from my studies and I had an ear for the folk music. My dad liked all kinds of music. The TNYCJR: Tell me about the four-horn band you had at American sound was always there. My dad was a great Smalls. swing dancer so I started to hear a lot of the swing rhythm; early rock and big band, anything he could OA: My first gigs as a leader were at Smalls in 1995. dance to. Swing was always there for me. From my That was my first band. ’s big band father I got the love of music. When I saw jazz started a year before. There was a real community:

6 JANUARY 2015 | THE NEW YORK CITY JAZZ RECORD ARTIST FEATURE

Recommended Listening: • Ed Palermo—Eponymous (Vile Heifer, 1981) • —Ping Pong (ProJazz, 1988) • Ed Palmero Big Band—Plays the Music of (Astor Place, 1996) • Ed Palmero—Take Your Clothes Off When You Dance (Cuneiform, 2005) ED • Ed Palermo Big Band—Eddy Loves Frank (Cuneiform, 2008-09) O F C U N E I R M D S • Ed Palermo Big Band—Oh No! Not Jazz!! T E S Y PALERMO (Cuneiform, 2011-14) T S A R C O / U

B E R by ken dryden Mention Ed Palermo and the first thing that comes to cassette, then sit for hours listening, trying to figure mind is the music of Frank Zappa. Already a working out what was right and wrong, totally trial and error. I jazz professional during college in the mid ‘70s, started arranging big band stuff after a friend’s Palermo recorded or performed with a number of stars, suggestion. I was doing door gigs for a long time.” including , , When Frank Zappa died in 1993, Palermo decided and Mel Tormé, besides leading his own groups. But to do a concert of Zappa music. “I wrote some charts his career began to soar soon after Zappa’s death in over the next two months and we played The Bitter December 1993, when he started arranging and playing End. Usually unknown big bands outnumber the the music of Zappa for his big band. audience in New York City, but it got out on the internet Palermo was obsessed with music from an early and it was swamped when we played Zappa. We age. “It started with . I saw them on Ed moved to The Bottom Line and played there often over Sullivan and my two older brothers [Nick and John] the next nine months.” Palermo continues to arrange and I were enraptured. We checked into the British Zappa songs, with around 300 charts in his vast book. Invasion bands: Procol Harum, Traffic, John Mayall. There are a number of reasons for Palermo’s Nick started bringing different types of music into our success interpreting Zappa’s music. Many jazz fans of house. Frank Zappa’s humor piqued my interest at his generation are also devoted Zappa collectors who JSnycjr0115 12/10/14 3:38 PM Page 1 first, but as I listened to it more, I noticed some enjoyed Zappa’s writing and arranging for big bands incredibly beautiful music beneath the lyrics. When I in 1972 and 1988. The leader has had success fleshing was in ninth grade and saw Zappa live, that sealed the out brief Zappa themes like “Toads of the Short Forest” deal for me. Nick tried to get me into jazz, but that and “Twenty Small Cigars” while he also shares didn’t take until college.” Zappa’s affinity for sneaking in surprising song quotes Although Palermo played both into his arrangements. Palermo has emulated Zappa’s and guitar in high school, he admits that he wasn’t that playing of long medleys without stopping for a break “Best Jazz Venue of the Year” NYC JAZZ RECORD#“Best Jazz Club” NY MAGAZINE+CITYSEARCH CELEBRATE THE NEW YEAR WITH US! skilled since he didn’t take private lessons. Things in concert, though he covers songs in depth rather than THU-SUN JAN 1-4 changed when he entered DePaul University in just minute or two snippets in an Ellington-like “Let’s #A NEW YEAR’S WEEK GALA WITH# Chicago. He explained, “I knew that I’d have to start knock out a bunch of hits at once for the casual fan” : practicing and that I couldn’t make a living as a rock medley. A number of Zappa sidemen have guested MANDEKAN CUBANO DENNIS HERNANDEZ - REY DAVID - OSMANY PAREDES - LUISITO QUINTERO - ROBERTO QUINTERO ’n‘ roll saxophonist, I had to learn to play jazz. I with Palermo on recordings or gigs. The leader notes, TUE-WED JAN 6-7 immersed myself, listening to , “[keyboard player] said that, ‘Besides and Jackie McLean. My high school grades playing with Zappa, playing with you is the only thing HELENSEAMUS BLAKE - MIKE SUNG RODRIGUEZ - REUBEN QUINTET ROGERS - OBED CALVAIRE were bad, but DePaul accepted me because my brother that does it for me.’ [Saxophonist/vocalist] Napoleon THU-SAT JAN 8-10H7:30PM & 10PM ONLY went there the year before.” Palermo became a serious Murphy Brock said that my band is the dream that he’s student and did well at the university. had his whole life because he used to be a big Stan & While at DePaul, Palermo checked out local jam Kenton fan. Now he gets to do arrangements I’ve MS.LISA GRAND sessions in the city, eventually finding work for his specifically written for him. [Guitarist] Denny Walley small group. Palermo recalled, “By my junior year I guested with my band in Sweden and [vocalist] Ray FISCHER BATON SUN JAN 11 was pretty busy. I met Kenny Soderblom, a woodwind White has sung with us.” player who was established in the jingle world. He got Palermo has written a number of originals over the &SONIC CREED STEFONJAMES FRANCIES - JOSH CRUMBLY HARRIS - JONATHAN PINSON - ELENA PINDERHUGHES - me great gigs like live performances with Tony Bennett, years and devoted one-half of his recent two-CD set TUE-WED JAN 13-14 Perry Como and recording sessions. At this point I was On No! Not Jazz!! to them, yet he only sparingly plays a tenor player and really into jazz. I wanted to play his compositions on gigs. “I don’t have any burning JOEL FRAHM - MICHAELOMER RODRIGUEZ - YONATHANAVITAL AVISHAI - DANIEL FREEDMAN with or ’ band. I was playing desire to play my own material for audiences. Even THU-SUN JAN 15-18 in the style of , Michael Brecker and the with the Zappa charts, I’m doing shorter versions so I post-Coltrane guys. But when I got to New York, can go on to do the next new arrangement. I created a AARON GOLBERG TRIO REUBEN ROGERS - people like me were a lot closer to their dreams than I mash-up medley with a reharmonized swing version TUE-WED JAN 20-21HCLOSED was! I started jamming and it took me a year before I of ‘God Rest Ye, Merry Gentlemen’ that leads into THU-SUN JAN 22-25 got work with Tito Puente’s band, who I played with Zappa’s ‘Lumpy Gravy’, with the sax player soloing on for three years. During the day I would go to the library the changes to ‘What Is This Thing Called Love?’. Then NeTTwork and take out LPs to study classical scores. I was already we combine ’s ‘Things to Come’ and -- writing and composing in college, but I wanted to ‘Bebop’, with the melodies on top of one another. I TUE-SAT JAN 27-31 arrange for a large ensemble. Once I went to hear don’t like playing the melody then have someone at the Village Vanguard, where he had soloing over its changes, that’s been done to death.” CHRIS POTTER four horns and a rhythm section. I put together a nine- There’s no shortage of music for future releases, as UNDERGROUND ORCHESTRA piece band of young musicians. [Pianist] Dave Lalama Palermo notes, “I have two to three CDs of music ready HHHMINGUS MONDAYSHMINGUS MONDAYSHHH MON JAN 5, 19 & 26 MON JAN 12 was a mentor to me. I jammed with him a lot and we to go.” v MINGUS BIG BAND MINGUS ORCHESTRA became good friends. He was more into bebop and I JAZZ FOR KIDS WITH THE JAZZ STANDARD YOUTH ORCHESTRA EVERY SUNDAY AT 2PM - DIRECTED BY DAVID O’ROURKE wanted to do something modern like Liebman’s For more information, visit palermobigband.com. Palermo’s Lookout Farm. I started arranging then called Dave big band with guests and Rob with questions. I would record my rehearsals on Paparozzi is at Iridium Jan. 17th-18th. See Calendar.

THE NEW YORK CITY JAZZ RECORD | JANUARY 2015 7 ON THE COVER P e t r G a n u s h k i / D O W N T

icp orchestra O W N M U S I C . E T not clowning around by clifford allen

January 1, 2015 will mark the 48th anniversary of drawing, I turned around and played the drums!” progress’—it’s like a fluid.” Dutch improvised music collective Instant Composers Post-1974, the group continued to release records, All of the ICP members were chosen by Mengelberg Pool (ICP). It’s quite difficult to imagine playing including collaborations with Italian free improvisers and Bennink for their independent work and what partnerships lasting ten years, let alone just under 50. on Live: Soncino (AdLib/ICP, 1979) and a 1982 tour of possibilities they might bring to the table. As Moore Granted, with recent health developments keeping (Japan-Japon, ICP/DIW)—“with a chair always puts it, “we rarely talk about the music we play. We longtime pianist from playing, the left open for Breuker or Brötzmann,” as Bennink puts talk about anything else, including other music, but sole remaining constant from the beginning is drummer it. By the time the ICP issued a commemorative boxed there are no discussions after the gig. I am very glad to . ICP was founded in 1967 by Bennink, set in 2012 documenting 45 years of the collective, the work in a situation where there are no clear-cut taboos, Mengelberg and reedplayer to present catalogue numbered 50 releases and few stones were where the rules are made to be broken and where there recordings and concerts under the umbrella of left unturned—the end product includes 52 discs, two is no best way to perform a piece. This is very collective, creative improvisation that was as free to DVDs, a lavish book of photos by Peter Boersma, a traditional—jazz has always been about making stuff bring in Monk, Ellington and as it was diagram of Mengelberg’s “camel-chair” set piece and a up.” Delius characterizes the group’s nature even more avant garde performance and rugged group interplay. box designed by Bennink. simply, stating, “the band’s strength and charm comes In addition to Bennink, the current ensemble, ICP The current ICP ensemble lineup has remained from the differences in personalities. I think we all Orchestra, consists of reedplayers Tobias Delius, nearly unchanged for almost 20 years, which is an have diverging interests, aesthetics and methods and Michael Moore and Ab Baars, trumpeter Thomas extreme rarity; as Heberer relates, “According to enjoy bringing these into our performances…what I Heberer, trombonist , violinist/violist Misha, finding the right mix of personalities for the hope will always remain is that however arranged a , cellist and bassist Ernst ICP took decades. It’s true, we are all very distinct in piece may be, we are always open to it going somewhere Glerum. Not all of the ICP musicians are Dutch; Moore, the way we are and play; however, I consider it to be completely different. I think we all pay a lot of attention Oliver and Honsinger are expatriated Americans while like an utopian democracy—we are all very different, to detail. Timbre, phrasing, you name it. So every slight Heberer is from Germany and splits his time between nevertheless creating something together while all nuance has immediate consequences in how the music New York and Europe and Delius was born in England. participants have a ton of respect for each other.” proceeds. Trust is therefore very important.” This multinational ICP is certainly nothing new in the Heberer joined the group in 1993, after performing What is also extraordinarily rare in this music is group’s history—Honsinger first appeared with the Mengelberg’s music as part of the Berlin Contemporary that a large ensemble with this much history continues group in the late ‘70s and at various points the pool has Jazz Orchestra in 1987. Moore is another long-term to tour regularly. All of the musicians speak fondly of been drawn from German, English, Danish, South conscript, who has been with the group since 1981 and the group’s manager, Susanna von Canon, who African and Japanese musicians. Looking at a roster of first recorded on Japan-Japon. “I was already playing organizes international tours from behind the scenes contributors 30 or 40 years ago, one might encounter with Han and [cellist] and I think that and crosses hurdles, which, in her words, “are such free music luminaries as , , Han suggested to Misha that I might be compatible. becoming increasingly Sisyphean.” They have been Peter Brötzmann, , Toshinori Kondo, The first tour I was a part of was to Japan, with touring in the US since 1999 (and not just the major and Alan Silva. Brötzmann and Keshavan Maslak also playing cities—this writer saw them many times in Texas), Bennink is a tall, ruddy-complexioned and silver- saxophone. I learned some things real quick. Any long invariably with support from the Dutch government, haired character—he doesn’t mince words about the lasting and enjoyable musical relationship is a treasure. though subsidies are increasingly hard to come by. trials and tribulations of keeping the ICP relatively This one is a living organism of which I am a part and Though the international jazz scene has to fight its own intact over five decades and the combative fulcrum which I am committed to. I think that a large part of homogeneity continually, as Moore puts it, “as that was, in part, the juice of the ensemble during that what sustains the group is the amount of freedom we outsiders we do not have to conform to anyone’s idea time and was a real reflection of an uneasy (“terrible!”) have individually, along with the fact that there is no of ‘what jazz is’ or be commercial in any sense.” relationship between the drummer and Mengelberg. leader.” The lasting imprint of the ICP is clearly that of a The two began performing together in the early ‘60s, The ‘utopian’ democracy of the ICP is somewhat group that is outside any sort of mainstream (even the which eventually led to auspicious sideman work with unique. While Bennink might these days appear to be avant garde has one), yet easily accessible through a in 1964. The ICP was in part founded as a directing from the drumkit—his relentless swing, landscape of contrasting or complementary label; imprints like Artone, CBS, Philips-Fontana and openness and physically comedic (but always personalities and an environment of trust. After all, Relax had released documents of new , but structured) approach is that arresting—there is no true when Baars finishes one of his laconically tough tenor those situations dried up quickly. As Bennink notes, leader. The ICP is uniformly a collective where all the solos, the drum cue one expects might not be there. “the first person that made his own LPs [in European participants bring compositions and ideas to the table. What to do but figure something else out? v free music] was Peter Brötzmann. Breuker knew Peter As a unit they have a clear identity honed through and that’s how I got to know Peter. We had contact decades of playing, writing and improvising, with new For more information, visit icporchestra.com. ICP Orchestra with all of them, English, German, Belgian, French... ideas given life yet retaining an utmost respect for the is at Le Poisson Rouge and members take part in Round we were the first European Union avant la lettre!” collective’s history. Baars relates, “I was invited to join Robin Duets at Judson Church, both Jan. 9th as part of Between 1967 and Breuker’s 1974 departure, the ICP Orchestra in 1984. I knew and had heard the ICP Winter Jazzfest. See Calendar. ICP released 15 LPs documenting a variety of solo and many times before and I knew most of the musicians group activities, with covers often silkscreened or and had been working with some of them in different Recommended Listening: hand-stamped and usually based on Bennink’s designs. organizations. But the ICP was a dream orchestra for • — A couple of rather offbeat packages were part of this me and to be asked for that, wow! Misha is my biggest Groupcomposing (ICP, 1971) approach, including a double-LP of Breuker’s music inspiration up to this day. For me the most important • ICP Tentet—Tetterettet (FMP-ICP, 1977) housed in a replica chocolate box. Bennink studied ingredient is the ‘Misha Question Mark’. Misha never • ICP Orchestra—Two Programs: visual arts (also, Mengelberg was briefly associated took anything for granted and was open (or not) to all Performs Herbie Nichols and Thelonious Monk with the Fluxus movement and neo-Dada) and his sorts of (non-) material, (non-) suggestions, (non-) (ICP, 1984/86) intricate, gestural whimsy shows it: “For me ideas and chaos. On the other hand the specific group • ICP Orchestra—Jubilee Varia (hatOLOGY, 1997) improvising and visual art are the same—I had a sound is getting more unique and refined. Coloring • ICP Orchestra—Oh, My Dog! (ICP, 2001) drawing table at home and when I was tired of and blending, working on the sound is also a ‘work in • ICP Orchestra—East of the Sun (ICP, 2014)

8 JANUARY 2015 | THE NEW YORK CITY JAZZ RECORD 1939 – 2014

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at Le Club Saint-Germain every night for a long time Konitz and , as well as younger local and it was incredible experience to play every day with musicians such as tenor saxophonist Sylvain Beuf and RENÉ URTREGER Miles. The ’57 tour was rather smaller than ‘56’s, but bassist Yves Torchinsky. The latter has been part of the we took the time to record the soundtrack.” Although pianist’s groups for the past 20 years while drummer by ken waxman Urtreger and Davis would later meet frequently when Simon Goubert is a regular substitute for the drummer the trumpeter played Paris (“I remember a wonderful in Urtreger’s long-established trio. Both will Nearly 60 years on, French master René dinner in Paris with , , accompany him in New York. Urtreger is probably still best-known internationally as John Coltrane and Jimmy Cobb,” he reports), that was Ironically, while he often works in Europe, the only part of the quintet that recorded the the extent of what the pianist describes as “a very stateside performance Urtreger has given was in Los universally praised soundtrack and subsequent LP of important experience for me.” Angles in 2007. “I still believe in the American dream,” Louis Malle’s film Ascenseur pour l’échafaud in 1957. But Still, he hardly needed the Davis imprimatur for a he avers. “America is the birthplace of jazz music, even Urtreger, 80, who this month plays his first-ever New jazz career that was already blossoming. Urtreger if this music is now universal. And I’m still fascinated York gig as a leader, has had a celebrated and far- began studying classical music from when he was 5 by the country that invented the art [to which] I have ranging career in his home country. One of France’s until he was 18 and became a professional at 19, after devoted all my life.” Although he has never played in original modern jazzmen, who cut his first LP as leader winning a national jazz contest. During 1953 he also New York, he has visited the city often, one time at 21 (Joue Bud Powell, Barclay), Urtreger has over the became house pianist at Paris’ Blue Note club, backing catching up with the scene from jazz baroness years played with countless jazz stars, worked with a the likes of tenor saxophonist and trumpeter Pannonica de Koenigswarter, a Parisian acquaintance. variety of artists, composed film and theater music and . Although he initially worked with Today, as benefits an octogenarian, he says: “I play was honored as Chevalier de l’Ordre National de la musicians from the Swing Era, he insists “I never less than before. I play mostly now for pleasure. At a Legion d’Honneur in 2010. played although I admired musicians certain age, you want only to play for the best, only “The movie and the soundtrack became so famous from this era, from Lester Young to Art Tatum. I was a shows that I am sure I will enjoy. One of my most that I guess it’s rather normal for not-curious people to bebop kid playing and paying my dues with elders. My memorable memories of this last summer was playing not dig further,” says Urtreger of his international music and most important influence was Charlie four-handed piano with the great Chick Corea.” After near-obscurity. Urtreger, who now resides in Mortagne- Parker and of course Bud Powell. Later playing with almost 60 years as a professional jazz musician, au-Perche in Normandy (“I was born in Paris; I am a or Miles Davis was way more into my idiom Urtreger still insists, “jazz doesn’t have the place it 100% pure Parisian, but I don’t like what Paris has and language. Today, of course, although my music is deserves in the society. And I do think that people like become now,” he explains), isn’t bothered by this coming from bebop, it has evolved so much that I feel Parker, Monk, Miles made way better music than the ignorance after all these years. However he points out this expression is quite meaningless.” music that is played now everywhere.” Meanwhile his that what isn’t well known is that the soundtrack date Although the pianist’s talents were recognized by New York performance is part of his other desire. As he was just part of a two-year close association he had awards such as Prix de l’Académie says simply: “I want only to share my music.” v with Davis at the time. du Jazz in 1961, what he describes as “the up and down “I first met Miles Davis in ’56 when we played all life of a player” led him to take on other For more information, visit rene-urtreger.fr. Urtreger is at the major European cities as The Birdland Tour. We work during the ‘60s and ‘70s. He accompanied pop Dizzy’s Club Jan. 14th. See Calendar. started the night with my trio, with Christian Garros singers such as Claude François and Sacha Distel and on drums and on the bass, then we also composed soundtracks for films directed by Recommended Listening: played with [tenor saxophonist] Lester Young in Claude Berri and René Féret. Pop stars like François • René Urtreger—Joue Bud Powell (Plays Bud Powell) quartet and then with Miles in quartet and at the end, and Distel have since died and as for his experience (Barclay—EmArcy/Gitanes Jazz, 1955) they joined us for the last tune as a quintet. By the way, with film scoring, all Urtreger will say is “in France • Miles Davis—Ascenseur pour l’échafaud (Fontana, 1957) the second part of that show was Bud Powell playing most of the people working in movie industry don’t • René Urtreger/Pierre Michelot/Daniel Humair— solo piano and the Modern Jazz Quartet ended the understand anything about music.” Hum! (Carlyne/Vega, 1960) night. When [Davis] came back in ’57 to play with The pianist continued recording jazz with • René Urtreger Quartet—Masters [drummer] , promoter Marcel Romano contemporaries such as drummer and (Carlyne Music-Universal, 1987) put together this band adding the young [tenor guitarist , finally returning to jazz full • René Urtreger—Move (Black & Blue, 1995) saxophonist] [and Michelot]. We played time in 1977, eventually working with the likes of • René Urtreger—Onirica (Sketch, 2000) LEST WE FORGET

that was evident on the they recorded. Liebman and Joe Lovano to form Saxophone Summit, Michael’s appreciation of music other than jazz led to which released one album, Gathering of Spirits, on MICHAEL BRECKER sessions with a long list of non-jazz artists, including Telarc in 2004. He went on, in addition to all his , , , Steely activities as a sideman, to record ten more albums as a by alex henderson Dan, , George Clinton, and leader, the last of which was Pilgrimage (Heads Up, . Indeed, the fact that Brecker’s résumé 2006). Michael Brecker went down in history as one of the included everyone from Chet Baker and Chick Corea Although the quality of his playing didn’t suffer, most influential tenor saxophonists of the ‘70s, ‘80s to shows just how eclectic his musical tastes Brecker was quite ill when Pilgrimage was recorded. In and beyond. His big, distinctive tone influenced were. addition to leukemia, he had been suffering from a rare countless saxophonists in fusion and postbop, from the In July 2014, Randy was interviewed for the liner blood disorder called Myelodysplastic Syndrome “five Bobs” (, , Bob Malach, notes for reissues of some albums that The (MDS). He had received a partial stem cell transplant Bob Franceschini and the late Bob Berg) to Donny played on during the ‘80s. As he saw in 2005 and 2006 and his health seemed to be improving McCaslin, , Chris Potter and Joe Lovano. Yet it, the fact that The Brecker Brothers were capable of but Brecker took a turn for the worse and died Jan. 13, Brecker’s influence was not limited to jazz and he was playing instrumental jazz one minute and collaborating 2007 at the age of 57. v held in high regard by many R&B and rock musicians with an R&B/pop star like Ross the next reflected their as well. Philly upbringing. “Philly was a melting pot for For more information, visit michaelbrecker.com. A Brecker Born in on Mar. 29th, 1949, Brecker different styles of music,” he said, noting that many of tribute is at The Appel Room Jan. 20th. See Calendar. (who also played the soprano saxophone as a secondary the musicians at Kenny Gamble and Leon Huff’s soul- instrument) came from a city famous for its oriented Philadelphia International Records came from Recommended Listening: contributions to both jazz and R&B. One of his main jazz backgrounds. In his view, “jazz and R&B/soul • —Score (Solid State-Blue Note, 1969) influences on the tenor was a North Carolina native were coming out of the same fountain” in Philly back • Quintet—Children of the Night who had a strong Philly connection: John Coltrane. then. (Double-Time, 1978) Brecker’s recognizable tone also owed a lot to Joe In the ‘80s, Michael was a member of the allstar • —80/81 (ECM, 1980) Henderson and . Brecker was in his fusion band Steps Ahead (which also included, among • Michael Brecker—Eponymous early 20s when he played alongside his older brother, others, guitarist , keyboardist (MCA/Impulse!, 1986-87) trumpeter Randy Brecker (b. 1945, Cheltenham, PA), in and drummer ). However, the first album • Horace Silver—A Prescription for the Blues the fusion band Dreams; in 1975, they formed their under his own name didn’t come until 1987, when he (Impulse!, 1997) own band, The Brecker Brothers. recorded Michael Brecker for Impulse Records. In the • Saxophone Summit—Gathering of Spirits The Breckers never claimed to be jazz purists and late ‘90s he joined with fellow saxophone colossi Dave (Telarc, 2004)

10 JANUARY 2015 | THE NEW YORK CITY JAZZ SPOTLIGHT

Groovewise, Orrin Evans’ Liberation Blues, David operations has been favorable. Herring comments, “I Hazeltine’s For All We Know, Cyrus Chestnut’s Midnight loved the way Paul and Frank transformed the place SMOKE SESSIONS Melodies and ’s Right On Time; from Augie’s. It could not be better, not only physically drummers Jimmy Cobb’s The Original Mob and Louis but also in the way they treat musicians. So when they by marcia hillman Hayes’ Return of the Jazz Communicators; and asked me to record, I felt honored. I love the saxophonists ’s Expression and Vincent professionalism they display both in running the club It all began with the neighborhood watering hole, Herring’s The Uptown Shuffle. and on the recording end.” Augie’s Jazz Bar on Manhattan’s Upper West Side. “I’ve always had it in the back of my mind that the Trombonist (who has known Paul, When its owner Augusto Cuartas hit on hard times and club should have its own label,” reflects Stache. “And Frank and their partner since the had to close in 1998, current owners Paul Stache and I’ve wanted to capture the same good sound quality inception of Smoke Jazz Club—even before when it Frank Christopher took over but were unable to reopen we get in the club.” Retaining his preference for the was still Augie’s), remarks “We’ve been friends for the club under the old name. However, in the meantime, “old fashioned way”, Stache launched the label with a years, so it was an easy, logical fit for me to sign with screenwriter Paul Auster had written the screenplay 500-copy collector’s edition 200-gram vinyl LP that the label. There’s always been a great rapport between for the 1999 movie Smoke in which there was a character samples four selections from four initial label releases Paul and Frank, the entire staff at the club and the based on the former owner, so Stache and Christopher ( Quartet on “Elation”; David musicians. So doing a record date together was a chose that as the name for the new club, which opened Hazeltine Quartet on “”; Javon Jackson Band pleasure. Everything was first-class…they get a great in April of 1999. on “Think On Me”; and Harold Mabern on “To You”). sound in the studio as they do live at the club. Paul is a In the years that Smoke has been operating, there This unusual label launch item is one of the things terrific engineer and has great ears for the music. Also have been changes in the decorations, addition of a differentiates this label from others. All of the releases the label made it possible for me to hire a truly allstar state-of-the-art sound system and reputation as a are produced using vintage techniques and audio band for our J.J. Johnson Tribute. We had a blast…I feel supper club as well as doing a Sunday jazz brunch. But paths, which deliver an analog sound. Stache explains: great about the music and am really excited about this the room is still the same size, seats 50 people at tables, “There is a warmth that is gotten that you don’t achieve project.” has stools at the long bar and a wonderful feeling of with the digital approach, capturing the live sound Trombonist Steve Turre also adds his kudos: “I intimacy. The headliners that have appeared at Smoke that you would get in a club.” have worked with Paul Stache for many years while include , Wynton Marsalis, , In addition to this philosophy, Stache takes a performing at the club. He has applied the same Benny Golson, Dr. Lonnie Smith, Eric Alexander, Bill different approach regarding preparing for the integrity and regard for quality to the record label as Charlap, , Jane Monheit, and recording sessions. “I book the groups into the club for he has with the presentation and quality of ‘real jazz’ Christian McBride, among others. There is also a three nights even before going into the studio. It’s not in the club. It has been a pleasure to work with him on history of groups that have recorded albums live at the really a rehearsal, but it does give the artists the my own project Spiritman coming out in March.” club over the years. opportunity to work out the songs and arrangements The label has a small staff and according to Smith, Fastforward into 2014 with the logical evolvement while getting important feedback from a live who calls himself an associate producer and general of Smoke Sessions, the club’s own recording label. The audience.” manager, “Paul Stache is president and Frank first CD releases consisted of pianists Eric Reed’s So far, feedback from the label’s artists about label (CONTINUED ON PAGE 54)

The Original Mobb For All We Know Right On Time The Uptown Shuffle Liberation Blues Jimmy Cobb Harold Mabern Vincent Herring Orrin Evans VOXNEWS

everyday life she is an active advocate for the homeless. forges sharp personal images that rise and fall in a A Joyous Revolt on a Foggy Day Another VOXNews ‘regular’ is now a Grammy sonic flood of percussive onomatopoeia. nominee in the Best Arrangement: Instrumentals and “The true spirit of jazz is a joyous revolt from by katie bull Vocals categories; quadruple threat trombone-playing convention, custom, authority, boredom, even sorrow vocalist, arranger and bandleader Pete McGuinness – from everything that would confine the soul of man “That dance? The jazz dance? Ah, the dance! The will capture your heart with Strength In Numbers and hinder its riding free on the air.” (J.A. Rogers, dance of Life was ending,” wrote author John F. (Summit). Comparisons have been made to Chet Jamaican-American self-taught historian, author and Matheus in his beautiful 1925 award-winning short Baker’s sound, but McGuinness has a voice all his own. journalist). The list goes on with many beautiful story “Fog”. Matheus captured the life force impulse of Another wizard is exploratory Swiss vocalist, albums “riding free”: Orphéon Célesta’s Cuisine Au jazz, setting it on a train ride fraught with racial composer, bandleader and human beatboxer Andreas Jazz (Frémeaux & Associés), Dee Daniels’ Intimate prejudice in overt-tones. He took readers over a bridge Schaerer, whose album Hildegarde Lernt Fliegen: The Conversations (Origin), Cyrille Aimée’s It’s A Good Day that cracked as the train descended into a blindingly Fundamental Rhythm of Unpolished Brains (Enja/ (Mack Avenue) and Curtis Stigers’ Hooray for Love foggy river. The plunge, however, awakened all Yellowbird)—and Arcanum (Intakt), a duo with (Concord). Some of the best albums of 2014 can be survivors to their in-common humanity. The fog soon percussionist Lucas Niggli—embodies a pioneering heard live in January: Beat Kaestli’s Collage lifted on the evolved riders, in more ways than one. In earthy-yet-wild, unpredictable vocal vision. Schaerer (Francophone) at Bar Next Door (Jan. 19th) and the increasingly dehumanized 21st century the singers is keeping it unreal and has Perpetual Delirium just out Brianna Thomas’ You Must Believe In Love (Sound On highlighted here are some of the Best Of 2014; they are on BMC Records. Purpose) at Minton’s (Jan. 11th). awake to the jazz dance of life and their music is Spun of kindred cloth, fantastic Polish experimental Catherine Russell’s Bring It Back (Jazz Village), to evolved. singer Grzegorz Karnas offers a completely realized be featured at the Winter Jazzfest (Jan. 10th), is a Andy Bey’s album Pages From An Imaginary Life trio album, Vanga (BMC Records), a solidly grooving, do-not-miss event. Russell brings down the house. (Savant) is a deeply grounding instant classic. Bey’s fluidly swinging odyssey outside the box of tradition, Also check out fiery trumpet playing vocalist/ guiding torch of sonic truth is raw, unguilded and yet clearly rooted somewhere in ‘there’. Karnas’ composer Bria Skonberg (Jan. 10th) and hybrid-arts essential. His music is a tender antidote to the hype of remarkably wide resonant range and entirely original singer, actor, movement artist Jen Shyu (Jan. 9th), to our disjointed times. scat chops are nothing short of breathtaking. name only a few of the many vocalists appearing on Enter jazz goddess René Marie, parading as a And speaking of chops, veteran poet Steve the festival roster, which takes place at several West human. Her 2015 Grammy-nominated Eartha Kitt Dalachinsky must be mentioned for the incredible Village venues (Jan. 8th-10th). tribute I Wanna Be Evil (Motéma) is a blast of raw improvisational simpatico he displays with saxophone Get ready for a month of full, joyous, liberating energy. At 54Below last month Marie sang with great Dave Liebman on their album The Fallout of jazz emersion. Take the plunge; be changed as you incomparable depth of gut, grit and heart. In her Dreams (RogueArt). Dalachinsky’s poetic intensity enjoy the changes.v

THE NEW YORK CITY JAZZ RECORD | JANUARY 2015 11 IN MEMORIAM

ACKER BILK (January 28, 1929— IN MEMORIAM 2014 November 2, 2014) The British WILL CONNELL, JR. clarinetist came out of the trad scene, BILLY ADAIR JEAN KESTEMAN spent decades leading his own bands, FRANK E. ADAMS SR. BERND KÖPPEN released well over a hundred albums JOHNNY ALLEN SID KYLER by andrey henkin PAUL ASH GILLES LAHEURTE under his own name and was named an VIC ASH ROB LANGEREIS MBE in 2001. Bilk died Nov. 2nd at 85. GIL ASKEY BRIAN LEMON JEAN-JACQUES AVENEL JOHNNY LEWIS (April 20, 1948— JACKY AZÉMA NORMAN LEYDEN November 21, 2014) The postbop ALICE BABS LUKAS LINDENMAIER pianist’s career as a leader began in the STEVE BACKER GUY LONGNON mid ‘70s with albums on Muse and then AMIRI BARAKA MIMI LORENZINI a couple of decades with SteepleChase GARY BENSON PHIL MASON after earlier sideman work with Pharoah ALAN S. BERGMAN JACK MASSARIK Sanders, Richard Davis, , DICK BERK PETER MASSINK ACKER BILK JOHN MCCLURE Azar Lawrence, Billy Harper and Woody Shaw. Bonner JOHN BLAKE RICHARD MCDONNELL died Nov. 21st at 66. MIŠA BLAM LLOYD MICHELS a l n h i g

JOE BONNER DAVID MOODIE BUDDY CATLETT (May 13, 1933— CHARLIE BOURGEOIS JOE MUDELE November 12, 2014) The bassist and IOLA BRUBECK IDRIS MUHAMMAD o b y erstwhile saxophonist, while only CLIFF BRUNZELL ERIC OFFNER apparently having one album under his STU BUCHANAN JOHN ORE p h o t own name, was a steady recording and RIZ ORTOLANI JANO BUCHEM ill Connell, Jr., a reedplayer who came out of the touring artist since the late ‘50s, MIKE BURNEY ALAIN PALIZEUL W West Coast sphere of Horace Tapscott in the ‘60s and working with , Count YVONNE BUSCH ANDRÉ PAQUINET ANDRÉ BUSH ALLYSON PAUL went on to become a fixture in a number of NYC-based Basie and and more recently the Seattle SID CAESAR RALPH PENLAND ensembles, died Nov. 19th from complications from Repertory Jazz Orchestra. Catlett died Nov. 12th at 81. JACKIE CAIN ARMANDO PERAZA surgery, just weeks before he was to have a four-day ROY CAMPBELL ERNEST PETCH residency at The Stone. He was 75. CARLOS EMILIO MORALES MILTON CARDONA MILJENKO PROHASKA Connell was born November 1938 in . TABARES (November 6, 1939— BUDDY CATLETT ÉRIC PRUD’HOMME He attended Dorsey High School, preceded by Eric November 12, 2014) The Cuban guitarist PAT CHARTRAND DAVID REDFERN Dolphy and followed by Azar Lawrence, and entered was a founding member of the 18-piece SAM COENEGRACHTS LULU REINHARDT the U.S. Airforce upon graduation. It was there that he big band Orquesta Cubana de Musica EDDIE “GUAGUA” ANDRÉ CONDOUANT built upon an interest in music sparked by Moderna and the legendary AfroCuban WILL CONNELL RIVERA his father, an amateur violinist who took the young jazz-fusion group Irakere. Tabares died RUSS CONNOR GEORGE ROBERTS PIERRE CULLAZ ALFONSO ROGG Connell to jazz concerts during the ‘40s-50s. In an Nov. 12th at 75. OLAV DALE JOHNNY ROTELLA interview conducted by Ed Hazell for the NoBusiness SPANKY DAVIS PETE RUSSELL Records reissue of the complete recordings of PACO DE LUCIA AARON SACHS Commitment, Connell remarked that his desire to play VAL “EDDY” SIMO SALMINEN music stemmed, in part, from wanting “to aid human DECASTRIS evolution on some kind of broad scale.” ALAN DOUGLAS BOBBY SCHMIDT After returning to a racially polarized Los Angeles PETE DOUGLAS JIMMY SCOTT after the army, Connell began working with pianist ERIC SCRIVENS ARTHUR DOYLE Horace Tapscott’s Union of God’s Musicians and KENNY DREW JR. ROBY SEIDEL Artists Ascension musicians’ collective and Pan FRANKIE DUNLOP RENATO SELLANI BILLY EDWARDS GREG SERGO African People’s Arkestra Big Band. Connell’s time TEDDY EHRENREICH IGOR SHIROKOV with the band was documented on a CD included with FOXXY FATTS UPALAPPU SHRINIVAS Steven L. Isoardi’s The Dark Tree: Jazz And Community LIONEL FERBOS HORACE SILVER Arts In Los Angeles (University of California Press, ART FERGUSON LENNIE SOGOLOFF 2006). In addition to playing, Connell was the band’s KING FLEMING BUD SPANGLER copyist, which led to similar work for a wide array of MED FLORY MIKE STEWART artists, from to Simon & Garfunkel. ERIC FONTES KATHY STOBART In 1975 Connell relocated to New York towards the STEPHANIE STONE JEFF FRIEDMAN end of the Loft Jazz period and his recording career DÉSIRÉ GADEAU FRANK STRAZZERI began, first with the 1976 Blue Note album Chico GIORGIO GASLINI FRED STURM RICK GEE CARLOS EMILIO Hamilton And The Players. Two years later, Connell TOMMY GILL MORALES TABARES (playing alto saxophone, bass clarinet and flutes) was MARTHA GLASER MARY ELLEN TANNER part of the collective ensemble Commitment, alongside BOBBY GORDON JACQUES THOLLOT stringplayer Jason Kao Hwang, bassist William Parker JOHNNIE GRAY TREBOR TICHENOR and drummer Zen Matsuura. The band released one TIM GREEN SHEILA TRACY album on Flying Panda, featuring two of Connell’s CHARLIE HADEN IZUMI UCHIDA compositions; their discography would expand with SAM ULANO the 2010 NoBusiness reissue, which added a previously BERNIE UPSON TIM HAUSER unreleased 1983 concert from the Moers Festival. They PAUL HAWKINS FRANK VINCENT ceased to perform a year later but reunited in 2011 to WAYNE HENDERSON THILO VON FRED HO WESTERNHAGEN celebrate the NoBusiness release. The partnership with FRIGGI HOFFMANN GENE WALKER Parker had begun with Connell as part of the bassist’s PAUL HORN HENRY P. WARNER Little Huey Creative Music Orchestra from the ‘70s BRIAN INNES onwards. Connell later recorded with the groups of NAOHIRO IWAI CHRIS WHITE trombonist , bassist Alan Silva and DANIEL JACKSON TERRY WHITNEY saxophonist Kalaparush Maurice McIntyre and worked JAN JARCZYK PATTI WICKS as a copyist for Ornette Coleman, David Murray and HERB JEFFRIES JOE WILDER the World Saxophone Quartet. His most recent project ERNIE WILLIFORD DIONNE JEROUE was Sadhana, a quartet co-led with French horn player WARREN “PORGY” GERALD WILSON Vincent Chancey. He had no albums as a leader. JONES HERB WONG RONNY JORDAN GEORGE YOSHIDA Describing himself to Isoardi, Connell said: “I’m a LEIGH KAMMAN SAUL ZAENTZ weird combination of a very straight arrow young guy and an old salt.”

12 JANUARY 2015 | THE NEW YORK CITY JAZZ RECORD FESTIVAL REPORT

dawn of time. The young Julius Gabriel plays ferocious baritone while Per Texas Johansson doubles tenor and KRAKOW JAZZ AUTUMN clarinet. In addition to various duos and trios, they performed as a quintet, the fifth member Michel Godard, by stuart broomer a virtuoso of the tuba and the medieval serpent, sounding on the latter like a modern trombonist. The violist Fanny Paccoud, another ancient music specialist, played skittering free improvisations in assorted ensembles while another incongruous component of this assembly—the two contrasting drummers, Lopez, loose and unpredictably propulsive, and Lucas Niggli, a demon of precision—performed as a duo and in a quartet with Fernández and Evans. This unique collection of musicians and their compound skill sets were matched together for a special vision, one crisscrossing past and present, combining Fri, Jan 02 IRABAGON FEST: TRIO 9PM & 10:30PM seemingly contrary views, voices and methodologies to , create a new kind of composition, one that reached Sat, Jan 03 IRABAGON FEST: JON IRABAGON TRIO 9PM & 10:30PM , beyond collage to a polysemous musical discourse, born Sun, Jan 04 IRABAGON FEST: JON IRABAGON QUARTET 8:30PM at once in a score and the accelerated evolution of free , Yasushi Nakamura, Rudy Royston Tue, Jan 06 CHRISTIAN COLEMAN improvisation. CD RELEASE: COOPER RIDGE 8:30PM The debut of the 75-minute Blue Shroud brought Jon Irabagon , Broc Hempel, Sam Minaie L a r s J ö n o Wed, Jan 07 YOOSUN NAM QUINTET 8PM Barry Guy these contrasting virtuosities together. Inspired by Keisuke Matsuno, Carlo De Rosa, Kyumin Shim, Jesse Simpson Picasso’s Guernica, Guy named the piece for the blue NOAH GARABEDIAN 9:30PM oland’s Krakow Jazz Autumn (Sep. 28th-Nov. 23rd) shroud that was placed over a tapestry copy at the UN Curtis Macdonald, Kyle Wilson, P Anna Webber, Kenny Warren, Alex Ritz is a special event, a festival without compromise. Its building during Colin Powell’s 2003 declaration of war Thu, Jan 08 BEN FLOCKS TRIO 8:30PM long form is a performance series spreading through against Iraq. As vast as Picasso’s painting, Guy’s work Martin Nevin, Matt Wilson Fri, Jan 09 REVERSE BLUE 8PM the fall; its short form is a single, concentrated final is equally ambitious, a great musical meditation on the Mary Halvorson, , , Tomas Fujiwara week largely focused around a single ensemble and its horrors of war and the quest for compassion. TOMAS FUJIWARA TRIO 9:30PM , Brandon Seabrook permutations, this year Barry Guy’s Blue Shroud Constructing songs on poems by Irish poet Kerry MICHAEL BLANCO QUARTET 11PM Orchestra. All but the largest concerts take place at Hardie, Guy employed methods ranging from atonality John Ellis, Kevin Hays, Sat, Jan 10 TERRY VAKIRTZOGLOU 6 pm Alchemia, the basement club that has become a and Spanish flamenco to a gorgeous chorale of high- Glafkos Kontemeniotis, George Maniatis landmark for free jazz as a result of director Marek pitched reeds, contrasting lyrical passages with bursts PETROS KLAMPANIS, GREEK WHAT? 9PM & 10:30PM Gilad Hekselman, Jean-Michel Pilc, John Hadfield Winiarski’s visionary programming. of violent energy and lacing passages of free Maria Manousaki, Gokce Erem, Peter Kiral, Colin Stokes The ninth edition began raucously in September improvisation through and over both, with Yannatou Sun, Jan 11 PATRICK OCTET 8:30PM Jason Palmer, John Ellis, Michael Fahie, Miles Okazaki, with The Ex & Brass Unbound, the Dutch anarcho- singing text in four languages, blending formal Fabian Almazan, Peter Slavov, Clarence Penn punk band’s expansion including saxophonists Mats declaration with speaking in tongues. One uncanny Mon, Jan 12 CONTAGIOUS SOUNDS: Gustafsson and , who would appear component was the dramatic inclusion of pieces by the DEL SOL STRING QUARTET 8:30PM - Vicky Chow, host Kate Stenberg, Petr Masek, Charlton Lee, Kathryn Bates again in the double-trio of The Thing + DKV; their 17th century composer H.I.F. Biber and Bach, images of Tue, Jan 13 NEU3 8:30PM long-time mentor Peter Brötzmann played in another compassion and respite, beautifully realized and , Mark Helias, Scott Neumann Wed, Jan 14 ANDREW D’ANGELO TRIO 8:30PM intercontinental band with vibraphonist Jason continuous with Guy’s own lyrical episodes. It’s a major Ingebrigt Håken Flaten, Nasheet Waits Adasiewicz and British drummer Steve Noble. Along work, bridging musical chasms, and should be widely Thu, Jan 15 TOM CHANG QUARTET 8:30PM the way there were subtler touches as well, including heard. Quinsin Nachoff, Sam Minaie, Nate Wood Sat, Jan 17 GILAD HEKSELMAN + SZR 9PM & 10:30PM Japanese pianist Satoko Fujii’s Kaze, Dutch saxophonist The next night the festival’s two patterns, the Glenn Zaleski, Rick Roasto, Colin Stranahan Ab Baars in two different bands and a solo concert by extended and the concentrated, came together, with Sun, Jan 18 YARD BYARD: THE PROJECT 8:30PM Jamie Baum, Adam Kolker, Jerome Harris, French bassist Joëlle Léandre. Vandermark making his third festival appearance in Essiet Okon Essiet, George Schuller Barry Guy’s Blue Shroud Orchestra, the 14-piece two months and Guy making his fifth in as many days, Mon, Jan 19 THE HERRERA GONÇALVES BOCCATO TRIO 8:30PM band created to perform the English bassist’s Blue the two creating a joyous explosion of free energies in Magos Herrera, Vitor Gonçalves, Rogerio Boccato Special Guest, Edmar Castañeda Shroud, gathered for the final week from Ireland, which the latter cycled through tenor, clarinet and Tue, Jan 20 JOHN RAYMOND’S “ROOTS” TRIO 8PM Gilad Hekselman, Colin Stranahan Greece, Spain, France, Switzerland, Germany, baritone, employing circular breathing and multiphonics PABLO MASIS QUARTET 9:30PM Denmark, Sweden and America, some members in dialogue with the former’s rapidly shifting mix of Andrew Gould, Or Bareket, Austin Walker meeting for the first time, then spent the next three bowed, plucked and drummed flurries. Sounds and Wed, Jan 21 DAVID COOK QUINTET 8PM John Ellis, David Cook, Matt Clohesy, Ross Pederson days rehearsing the piece eight hours a day, only to moods ranged from the calm didgeridoo depths of GREG DIAMOND QUINTET 9:30PM spend each night in three sets of small ensemble baritone to the piping overlay of clarinet overtones, Stacy Dillard, Mike Eckroth, Peter Slavov, Henry Cole Thu, Jan 22 CHES SMITH QUARTET 8:30PM improvisations, getting to know one another’s musical from Guy’s forceful, laconic melodies to the Jonathan Finlayson, , Stephan Crump personalities at the granular level. The musicians were compounding, sliding lines of his prepared bass. Fri, Jan 23 COLIN STRANAHAN 9PM & 10:30PM drawn from Guy and partner/baroque violinist Maya That final week also included performances with Pete Rende, Joe Martin Sat, Jan 24 DAN WEISS TRIO 9PM & 10:30PM Homburger’s diverse worlds of jazz and contemporary outstanding Polish improvisers. The trio led by Dominik , classical, and period instrument Strycharski creates a certain bucolic anticipation by Wed, Jan 28 MOSTLY OTHER PEOPLE DO THE KILLING 8:30PM Jon Irabagon, Ron Stabinsky, Moppa Elliott, performance, all possessed of remarkable skills and a mere mention of his flutes, but they’re blown like Thu, Jan 29 BRAZIL EXPRESSIONS FEST: willingness to test and extend them in fresh contexts. (including a bass recorder that might be RUBENS SALLES GROUP 8:30PM - Billy Newman, host Over 20 different groupings would appear between fashioned of PVC pipe) and amplified like rock guitars. John Clark, Jeremy Viner, Leco Reis, Kenny Grotowski, Kavita Shah Fri, Jan 30 BRAZIL EXPRESSIONS FEST: Agustí Fernández creating a storm of original sound in The band could be called The Flute Thing, its microscopic MAURICIO ZOTTARELLI 9PM - Billy Newman, host Itaiguara Brandão, Oriente Lopez, Alex Brown, Jorge Continentino the piano’s interior to begin Tuesday’s program and themes squealing, roaring and exploding, all driven ROGÉRIO BOCCATO QUARTETO 10:30PM the final quintet on Thursday, which expanded the along by Ksawery Wójciński’s throbbing bass and Paweł Nando Michelin, Dan Blake, Aurora trio of Guy, Fernández and drummer Ramon Szpura’s roiling drums. Sat, Jan 31 BRAZIL EXPRESSIONS FEST: BILLY NEWMAN SEXTET 9PM Lopez with trumpeter and mercurial The very last night mixed ancient and modern, like Michael Attias, Ben Holmes, Eric Schugren, Leco Reis, Vanderlei Pereira Greek singer Savina Yannatou. In between one Guy’s Blue Shroud in miniature, as koto player Michiyo SANFONYA BRASILEIRA 10:30PM encountered a range of stunning musical voices, from Yagi, drummer Tamaya Honda and alto clarinetist Vitor Gonçalves, Eduardo Belo, Vanderlei Pereira the solo pieces by Homburger on baroque violin and Wacław Zimpel traversed a path from traditional Irish composer/classical guitarist Ben Dwyer to a Japanese music to hard-edged, John Coltrane-like forays remarkable group of saxophonists whose reputations into modal jazz, driven along by Honda’s mastery of are only beginning to reach beyond Europe: Michael Elvin Jones-like polyrhythms and Yagi’s raw-edged Niesemann has the formerly rare capacity to play both attacks on her traditional zither, all surmounted by fire-breathing free alto and virtuoso baroque oboe Zimpel’s own complex flights. It was a fitting end to a d’amore; Torben Snekkestad’s doubles are just as festival that insists on making new connections. v unusual: in addition to tenor and soprano, he plays a reed-trumpet hybrid that sounds like a roar from the For more information, visit en.kjj-festiwal.pl

THE NEW YORK CITY JAZZ RECORD | JANUARY 2015 13 CD REVIEWS

extraordinary composer and his strongest works are an easy swing and relaxed mood rare in improvised sonatas for electronics and acoustic instruments. He music, almost mainstream jazz that’s been drained of has composed for percussion, strings, guitar, toy any formal redundancy. Cleaver, possessing the rare , reeds and voice, set against his digital crickets, and ideal combination in a drummer of close listening creating complex webs of counterpoint between rich and subtle aggression, moves simultaneously with his acoustic voices and simple electronic ones. partners, as if his drums and cymbals are somehow Surface Image is one of Perich’s most successful linked to all the strings, triggering and triggered by projects to date. Scored for solo piano—played them. Rather than revisiting an earlier identity, the wonderfully by Vicky Chow—with 40 channels of quartet stakes out new and vital ground, making this a

Eponymous electronics, the hour-long piece goes through a recent highlight in improvised music. Dálava (Sanasar) surprising amount of dramatic shifts in dynamic. Piano by Brad Cohan and electronics alternately rise and recede, giving a For more information, visit cleanfeed-records.com. Morris is series of different shapes to the sound while for the at The Stone Jan. 2nd and Greenwich House Music School Packing serious heft in the guitar department is Aram most part keeping tempo. There are bits of Jan. 22nd. See Calendar. Bajakian, a wizard on the six-string who defies genres noise and silence and, more than that, a lot of sheer like Marc Ribot, shreds like the late, great D. Boon of beauty. Perich doesn’t just use the differences between punk legends Minutemen and exudes the deep the sound sources, he studies them and then, ultimately, Downtown jazz and experimental vibes of frequent sets them aside. The contrast is compelling but the collaborator . The hybrid of Bajakian’s piece could be played by piano and string orchestra influences was crystallized on 2014’s There Were Flowers (Tristan Perich unplugged?) without losing what Also in Hell, a boundary-hurdling sonic exploration of actually makes the music work. In the end, Surface Jewish music, blues, Armenian folk and . Image is a fine composition, the novelty of the For Bajakian’s second revelatory sprawl in one instrumentation just, as it were, on the surface. year, he’s once again navigating a left-field spectrum but going in the opposite direction. Pairing with wife/ For more information, visit newamrecords.com. Chow is at vocalist Julia Úlehla under the Dálava moniker and The Stone Jan. 2nd and Miller Theater Jan. 27th. See supplemented by violinists Skye Steele and Tom Calendar. Swafford and bassist Shanir Blumenkranz, the forward- thinking quintet produces an exquisitely constructed set of Moravian folk songs. Dálava undertakes a daunting mission, boldly taking Czech folk melodies transcribed by Ulehla’s great-grandfather and emerging with hauntingly sublime chamber-folk soundscapes spotlighted by Úlehla’s towering and subtle operatic voice and Bajakian’s protean sensibilities. From the inaugural refrain of Bajakian’s percolating glockenspiel, screeching strings and Úlehla’s arresting voice, impeccably delivered in Czech on “Ach, bože Balance • Akalé Wubé—Sost (Clapson) muj”, it is obvious that Dálava’s aesthetic is not rooted Quartet (Clean Feed) R • De Beren Gieren & Susana Santos Silva— in jazz but in traditional old world tales complete with by Stuart Broomer The Detour Fish (Live in Ljubljana) a modernist, experimentally-minded take. Nails-on- e (Clean Feed) chalkboard violins and thunderous feedback-drenched Guitarist Joe Morris has been leading a quartet since • EarRegulars—The EarRegulars (gen-ERIK) bursts courtesy of Bajakian ooze from ghostly avant- 1993, when the band first assumed form with violinist/ c • George Gee Swing Orchestra— metal salvo “Hory Hučá” and rustic barnburner violist Mat Maneri and the -area rhythm section Swing Makes You Happy (Rondette Jazz) “Mamičky”. While Úlehla’s electrifying vocalizations of bassist Nate McBride and drummer Curt Newton. By o • Keith Jarrett/Charlie Haden/— serve as the perfect counterpoint to the noise explosions 1999 the rhythm section consisted of bassist Chris m Hamburg ’72 (ECM) and rhythmic complexities, Dálava also aces sparse Lightcap and drummer Gerald Cleaver and the group • Mostly Other People Do the Killing— Hannover (Jazzwerkstatt) bluesy shuffles (“A Ty Moja Najmilejší”; “Ej, Lásko, produced two brilliant sessions, the studio CD m • /Paul Dunmall/Tony Bianco— Lásko”) and tender lullabies (“Milá Má”). In Dálava Underthru and live . After that the band e Extremes (Red Toucan) and as life partners, Bajakian and Úlehla are indeed went through a radical mutation, with saxophonist Jim • —The Complete kindred spirits. Hobbs as the second lead voice. For Balance, Morris has n Remastered Recordings on Black Saint returned to the original format with Maneri and the & Soul Note (CAMJazz) For more information, visit arambajakian.com. Aram final form of that quartet with Lightcap and Cleaver, a d • Ken Vandermark—Nine Ways To Read Bajakian is at The Stone Jan. 2nd. See Calendar. combination with a very special chemistry. a Bridge (Not Two) In his liner note, Morris identifies Balance as the e • Nate Wooley/Dave Rempis/

third of a series of CDs associated with the visual arts, d Pascal Niggenkemper/Chris Corsano— this one concerned particularly with sculpture, a subject From Wolves to Whales (Aerophonic) that includes for Morris, “expressing the experience of Laurence Donohue-Greene, Managing Editor encountering the energy of precariousness...which n [Richard] Serra called ‘the tendency to overturn.’” The • Erik Hove Chamber Ensemble— conjoined notions of reunion and balance might suggest e Saturated Color (s/r) a kind of musical high-wire act, but the members of the • Je Suis!—Ça va? (Umlaut) quartet handle the challenges of this densely woven, w • Rob Mazurek & Black Cube SP— vital music with aplomb. Morris mentions that he Return The Tides: Ascension Suite “brought particular melodic and phrasing ideas for and Holy Ghost (Cuneiform) Tristan Perich: Surface Image myself but didn’t give them to the other musicians.” r • /Scott Robinson— Vicky Chow (New ) Tone Ventures (ScienSonic) by Kurt Gottschalk The results testify to the guitarist’s organizing skills e • —The Straight Horn of Africa and the band’s ability to generate and respond to new - A Path To Liberation (The Art of the Tristan Perich is an exhaustive mapper of a very small material. l Soprano, Vol. 2) (Some New Music) world. The terrain he inhabits is 1-bit electronics and The quartet is, in an essential sense, a string band, • Paal Nilssen Love Large Unit—Erta Ale (PNL) compared to that the fashionable world of 8-bit chip a group in which three of the members are linked to a e • —Terminals (Cantaloupe Music) music is fertile soil. While the chip-musicians have degree by sonority and phrasing and where even the • Radius/Fred Lonberg-Holm— more or less the flexibility of an antique video game in differences between picking, plucking and bowing may a Just Outside the Door (Hazel Jazz) their tonal control, Perich reduces his electronic sources provide necessary friction and contrast or be s • Reto Suhner/Fabian M. Mueller— to 1-bit tones, essentially that of a digital alarm clock. undermined by invention and sheer technique. Often Schattenspiel (Between The Lines) He doesn’t even have variation in relative amplitude, rapid-fire, even-toned lines diverge, criss-cross, e • The Thing with — Live (Trost) only the density and succession of grouped tones. intersect and spiral together with a kind of telepathic Think of it as an orchestra of doorbells. Perich is also an precision. The medium-tempoed “Substance” achieves s Andrey Henkin, Editorial Director

14 JANUARY 2015 | THE NEW YORK CITY JAZZ RECORD outré 7/2 meter that they put on it. The tune skips over for example during the flute/harpsichord-dominated cracks in the sidewalk as much as it swings. Davis and “Fleur De Lis” and “My Tiny Butterfly”, one of several Renzi’s voices blend beautifully on ’s tracks where the ensemble is augmented by a children’s lively “Conception” and “I’ll Remember April”. “Isn’t school choir. The program ends on a lovely quiet note: She Lovely” is a standard of a different stripe and “Santa Fe”, a duet between Rifflet’s limpid clarinet and struts like a man showing off his fine woman in front Eve Risser’s piano. This is a unique tribute, which, of his buddies instead of a proud papa’s anthem to his while taking liberties with the source material, still newborn daughter. remains a respectful tribute to this venerated outsider. Live at the Bird’s Eye Jon Davis Trio (TCB) For more information, visit jondavismusic.com and tcb.ch. For more information, visit jazzwerkstatt.eu and No Kiddin’ Jon Davis Duo (featuring Gianluca Renzi) Davis and Renzi are at Knickerbocker Bar and Grill Jan. jazzvillagemusic.com. Irabagon is at Cornelia Street Café (Wide Sound Jazz Prod.) 2nd-3rd. See Calendar. Jan. 2nd-4th as a leader, Jan. 6th with Christian Coleman by Terrell Holmes and Jan. 28th with MOPDtK, Delroy’s Cafe and Wine Bar Jan. 5th and Bar Next Door Jan. 31st. See Calendar. Add the name Jon Davis to the short list of must-hear pianists. And use a pen, not a pencil, because based on the chops he displays on a couple of new albums, he’ll UNEARTHED GEM be on that list for a very long time. Davis showcases his expansive stylistic vocabulary and adroit improvisational skill on Live at the Bird’s Eye, recorded at the Basel, Switzerland jazz club in December 2013. A veteran Swiss rhythm section of Hannover bassist Isla Eckinger and drummer Peter Schmidlin Mostly Other People Do The Killing (Jazzwerkstatt) complete his excellent trio, igniting the pulse and Perpetual Motion: A Celebration of Sylvain Rifflet/Jon Irabagon (Jazz Village) underscoring Davis’ dynamic restlessness. Davis skims by Robert Iannapollo stones around melodies and uses muscular block chords, flowing arpeggios and brisk internal dialogue Mostly Other People Do the Killing (MOPDtK) was a to construct harmonically opulent solos on Herbie happy conflation of four individuals (leader/bassist Hancock’s “Driftin’” and “Just In Time”. Fats Waller’s Moppa Elliott, saxophonist Jon Irabagon, drummer BBC Jazz for Moderns Band (Gearbox) “Jitterbug Waltz” has a “My Favorite Things” feeling Kevin Shea and since-departed trumpeter Peter Evans) by Duck Baker and the version of Antonio Carlos Jobim’s lovely with similarly skewed musical outlooks. The band “Zingara” suggests its bossa nova pedigree without continues into its 11th year as a revamped septet, with As many readers know, Tubby Hayes was a brilliant being shackled to it. The trio’s ballad rendition of “My Hannover, its second live album (ninth overall), tenor saxophonist who was also adept on flute and Ideal” is a veritable blues-print and Davis’ irresistible released on the heels of the much-discussed Blue, a vibraphone, as well as a handy tunesmith and “Too Good for Words” has a sharp evergreen scent ‘re-reading’ of Miles Davis’ . While that arranger. He is one of maybe a dozen or so figures right down to its title. album definitely has its point to make, it’s Hannover listeners that assume of the ‘50s-60s was As if to underscore Davis’ reverence for standards, that is really what this band was all about. not worthy of serious attention need to hear and in the closing tune on Live at the Bird’s Eye, “When Lights Recorded at the Jazz Club in that German city, the terms of sheer instrumental brilliance he was Are Low”, also appears on No Kiddin’, a splendid band is in their element. It’s a typically brash, energetic probably the most impressive of the lot. studio duet with bassist Gianluca Renzi. From the first set, a trawl through some of their memorable tunes Unlike most of these players, Hayes did garner notes of ’ “Three and One”, Davis’ articulate with a couple of new ones thrown in, strung together in some attention in the U.S. during his lifetime (1935- narratives and Renzi’s take-no-prisoners pizzicato medleys, sometimes superimposed atop each other, to 73), owing to trips to New York in 1961 and 1962, have a hand-in-glove simpatico as they invigorate a great effect. Everything one expects from this iteration which produced two excellent records in the diverse roster of songs. Renzi conjures a funky sax-like of the band is here: the tricky themes; abrupt tempo company of top-flight American players (Clark tonality on ’s “Star-Crossed Lovers”, shifts; freewheeling collective improvisations; the Terry, Roland Kirk, James Moody, etc.). He made which contrasts nicely with Davis’ pensive, gospel- sneaky electronics that filter through (courtesy of Shea); some club appearances on those occasions that inflected musing at the top. Another contrast occurs in and tributes to towns by Elliott (at least received very positive reviews. His British the songwriting. Davis shows his composing prowess six). The set concludes with an exceptional, manic “A discography is extensive and includes many sessions again on the title cut and “This Joker Is a Smoker”, a Night In Tunisia”, marked by lengthy unaccompanied of him leading small groups or with the rewarding pair of exhilarating sprints that start at musing tempo interludes from Irabagon and Evans. It shows that this quintet he co-led with fellow tenor saxophonist and to breakneck speed with neither man missing band could teach an old standard new tricks. Too bad . He also managed to lead a few big a beat. Renzi, on the other hand, takes a more measured they didn’t use one “N” in the title; that would have band dates (such as the classic 100% Proof). Often approach with the waltz “A Song for Sabrina”, which been a seventh tribute to a Pennsylvania town. these were groups assembled specifically for BBC is enhanced by the exquisite vocal quality of his All members of MOPDtK are involved in various radio broadcasts, as was the case with the 1962 instrument. As many different ways as “Bemsha side projects, with Irabagon perhaps the most performance heard here. Swing” has been played, Monk would have dug the prodigious. In addition to 11 records as leader (or This record was first released by the then- co-leader), he’s an inveterate collaborator, a part of newly-fledged Gearbox label in a limited edition in Barry Altschul’s 3Dom Factor and Jon Lundbom’s Big 2009 and it is great to see it back in print, still on Five Chord, to name just two. On Perpetual Motion, he 180-gram vinyl, with excellent liners by Simon works with French reedplayer Sylvain Rifflet on a Spillett and absolutely stunning sound (Gearbox tribute to the music of American composer/street works hard for its reputation as an audiophile label). musician Moondog, performed with members of This was fairly early in Hayes’ career as a big band Rifflet’s band Alphabet at the 2013 Parisian Banlieues leader, but his arrangements are solid and feature Bleues Festival. daring, interesting touches (the way the harp and This is a liberal reworking of Moondog’s French horn are used or the muted-trumpet/flute compositions, allowing for extemporization on the lead on “Early Morning Afterthoughts”, for material, breathing new life into much of it. The group example). In addition to Hayes’ fine soloing on focuses on both familiar pieces (“Bird’s Lament”, tenor and, on “Down In The Village”, vibraphone, “Oasis”) and lesser-known works. Among the latter is we get to hear most of the bandmembers, at least “Black Hole”, a highly unusual orchestral work with a briefly, and the overall standard is quite high, with gong as its base. Here a prepared piano functions in trumpeter and pianist Gordon that role and the guitar and horns take the place of the deserving special mention. orchestra. The two saxophone players and Phil Highly recommended for Hayes fans and also Gordiani’s guitar add a visceral charge, which is not to such modern big band devotees as have an always evident in Moondog’s own interpretations. It’s appreciation for audiophile vinyl. also notable on “Oasis”, “From The Jazz Book No. 2” and Irabagon’s impassioned solo on “Maybe” . But this For more information, visit gearboxrecords.com is countered by moments of folkish beauty and whimsy,

THE NEW YORK CITY JAZZ RECORD | JANUARY 2015 15

excursions across whatever terrain takes their fancy. GLOBE UNITY:URUGUAY All pay keen attention to nuance and detail, distinguishing this program of five improvised pieces. On the opening “Slake”, Wooley starts with a display of extended trumpet techniques, in which whistles and rustling pops gradually give way to more fluid exclamation, before being goosed by Rempis’ muttering alto. That playful spirit also permeates the ensuing interaction, in which they swap roles as Between Loves Florencia Gonzalez (ZOHO) Ramshackle Serenade Wooley deploys some avant cavalry bugle, until Strange Ways /Peter Bernstein/ (Pirouet) shifting into indeterminate sounds, beeps and Diego Piñera (Challenge) by Mark Keresman susurrations. “Serpents Tooth” opens and closes with Octeto circular breathed drones; in between, Rempis explores Gonzalo Levin (Whatabout Music) Organist Larry Goldings may be the successor to the the alto’s overtones to create insistent variations, by Tom Greenland mantle of the late great organ icon Larry Young. Both before letting go to become mellifluous and verbose, Lying south of Brazil and east of , are drenched in jazz tradition but have inclusive styles while Wooley pursues his unbroken line accompanied Uruguay, the second smallest country in South that make them difficult to pigeonhole. Superficially, by Niggenkemper’s growling lower register. America, contains a vibrant musical culture rooted Ramshackle Serenade is full of the ingredients of classic On “Stand Up For Bastard”, a panoply of in tango, candombe, milonga and other indigenous organ jazz sessions but takes more chances with the abstraction prolongs tension, from saxophone stutters styles. A trio of young expat artists brings this form, extending it in subtle and satisfying ways. to whirring motors on drumheads. When grumbling heritage to their latest jazz projects. Opener “Roach” is a solid, simmering slow-burn— bass fashions a rolling gait, fuelled by roiling drum Tenor saxophonist Florencia Gonzalez, born and the form of the tune is a blues, Goldings wrenching a rolls, the horns percolate upwards into a resolution of raised in Montevideo, the nation’s capital, trained in seething tone of gospel-tinged waves from his animated shrieks. A similar feel of restraint saturates Boston at Berklee and New England Conservatory Hammond. Guitarist Peter Bernstein makes with some “Count Me Out”, where Wooley strikes anchor with a and now makes her home in New York. Between piquant -ish twang and drummer Bill repeated trumpet phrase while Rempis emotes. Loves, her ZOHO debut, is a collection of original Stewart thunders judiciously—imagine if Jimmy Smith “Swingin’ Apoplexy” might pass as a ballad in less compositions and arrangements for sextet, along were going for Cecil B. DeMille-like levels of grandeur. rowdy company; lines interweave like smoke trails, with a cover of Hugo Fattoruso’s “Hurry”. Inspired The bluesy vibe continues with Antonio Carlos Jobim’s leading to a pleasingly ruminative duet between by Uruguayan traditions, Gonzalez fuses her myriad “Luiza”—the wistfulness of its bossa nova origins borne resonant woody bass and lyrical muted trumpet. Those experiences into organic hybrids. “The One Who by Bernstein’s graceful, nearly crystalline plucking. The echoes of traditional forms are what elevate this set Never Was” is a candombe with a three-tonic guitarist’s “Simple As That” is an invigorating hardbop above the standard improv album. harmonic cycle à la John Coltrane’s “”; workout with Goldings’ sheets-of-sound (not so much a “Chacarera for Greg” is informed by country dances torrent of notes but in terms of massiveness) and the For more information, visit daverempis.com. Wooley is at like the malamba and features pianist Luis Perdomo author’s lithe questing. The title track evokes the The Stone Jan. 3rd, Judson Church Jan. 10th as part of skillfully negotiating tricky rhythmic shifts between spacious jamming Young did with guitarist John Winter Jazzfest, Ibeam Brooklyn Jan. 23-24th with Harris two- and three-feels; and “Woman Dreaming of McLaughlin, albeit without rockist overtones. Goldings Eisenstadt and Jan. 30th. See Calendar. Escape”, an homage to Juan Miró’s eponymous and company convey a very elastic mellow vibe, painting, is a tango with heterophonic horn chorales. gradually building, swinging all the while. Bernstein Gonzalez doesn’t solo often, but her deft liquescent peppers his cooking with deft thorny dissonances and touch is memorable on “Hurry” and the title track. Stewart crackles like a storm a-brewing. Academy Records Drummer Diego Piñera, also from Montevideo, This set is an exemplar of contrasts: relaxed while now resides in Berlin, where he recorded Strange not being truly mellow; soulful and earthy without Ways, Vol. 54 of Köln-based Jazz Thing magazine’s really being soul-jazz stylistically; cerebral without & CDs “Next Generation” series. Like Gonzalez, he trained any dryness or ponderousness. While these lads don’t at Berklee, as well as conservatories in Leipzig and strictly play the blues form, the blues is never far from Havana. The all-original album is a quartet effort their collective hearts. They are not merely keeping the (tenor saxophone, piano, bass and drums), the final organ jazz fires burning, they are starting their own track augmented by classical string quartet. Most of conflagration, one to warm our hearts and minds. Cash for new and used the tunes are based on straight eighth-note rhythms in odd meters, often modulating between—or even For more information, visit pirouet.com. Bernstein is at compact discs,vinyl within—sections. The title cut shifts among six- and Dizzy’s Club Jan. 2nd-4th, The Quaker’s Friends Meeting records, blu-rays and seven-beat groups, almost like a double-time version House Jan. 8th as part of Winter Jazzfest and Smoke Jan. of ’s “Maiden Voyage”, before 23rd-25th with Jimmy Cobb. See Calendar. dvds. settling into 4/4 swing. The group’s sound is enhanced by Peter Ehwald’s taut tenor work and a fine soprano solo on “More Work” and Tino Derado’s flexible piano. Generally restrained, they loosen up a We buy and sell all bit on “NY Session”, with positive results. Reedplayer Gonzalo Levin is, like Gonzalez genres of music. and Piñera, a Montevideano, now active on the All sizes of collections Barcelona scene. Octeto features his arrangements for a five-horn frontline (four saxophones and welcome. trumpet) with rhythm section. Levin’s arrangements make full use of the wind instruments, combining them in lush, complex chorales, swelling background From Wolves to Whales Nate Wooley/Dave Rempis/Pascal Niggenkemper/ pads and shouting tutti sections or else juxtaposing For large collections, Chris Corsano (Aerophonic) them in contrapuntal ‘back talk’, horn-against-horn. by John Sharpe All of this movement is in support of and an please call to set up an extension of compelling solos by individual Combining talent from the New York and Chicago appointment. musicians, as on “Añoranzas Montevideanas”, improvised music scenes, From Wolves to Whales offers where Miguel “Pintxo” Villar’s rough-hewn tenor a cutting-edge timbral exchange interspersed with tone climbs over quavering background horns, or on unreconstructed free jazz hollers. While that summary “Evolución”, where Levin and Villar stage a tenor- calls to mind the expected characteristics of main to-tenor tête-à-tête. protagonists trumpeter Nate Wooley and alto Open 7 days a week 11-7 saxophonist Dave Rempis, respectively, they each For more information, visit zohomusic.com, prove equally adept on the other’s supposed turf. Add 12 W. 18th Street NY, NY 10011 challengerecords.com and whatabout-music.com in bassist Pascal Niggenkemper and drummer Chris 212-242-3000 Corsano and you have a quartet equipped for

16 JANUARY 2015 | THE NEW YORK CITY JAZZ RECORD

Breaking Borders #1 Anders Koppel/Kenny Werner (Tiger) Szpilman Illuminations: Living Room Recordings #1 (Multikulti Project) Benjamin Koppel (with Jean-Michel Pilc) (Tiger) by Sean O’Connell by Ken Dryden

Władysław Szpilman is not a household name in the The Koppel family’s musical roots are deep, starting United States. Beyond the work of Chopin, very little with the Danish classical composer Herman D. Koppel. Polish music has made its way into the piano benches Keyboardist Anders Koppel co-founded the psychedelic of American homes. But Szpilman’s story is familiar rock group Savage Rose with his late brother Thomas; to many whether they realize it or not, as his struggle the band remains active and now includes his son to survive during the Holocaust in war-torn Poland Benjamin on saxophone. Anders has also written was the basis for the 2002 Roman Polanski film The classical music, chamber works, concerti and ballets. Pianist. Besides being an interpreter of classical music, Anders Koppel plays Hammond B-3 on Breaking Szpilman was also a composer, who wrote grand Borders #1, his duo meeting with pianist Kenny Werner, orchestral works, film music and children and pop which consists of 39 minutes of improvisations. Because songs. of the diverse interests of both musicians, their Pianist Uri Caine interpreted seven of Szpilman’s performances defy easy categorization, though there is photo by and marylene whit lane mey tunes at the Tzadik Poznań Festival last summer with plenty of the “sound of surprise”, as the late critic bassist Ksawery Wójciński and drummer Robert Rasz, Whitney Balliett coined. Opener “Wednesday Morning” two tasteful and sensitive accompanists. The waltzing draws from rock, classical, film music and jazz. “On “Nie Wierzę Piosence” opens the album with a bounce, Second Thought” blends brooding organ with darting, Rasz’ heavy sticks encouraging a pointed solo from often playful piano. “Movement” is a dissonant affair, Caine, who embraces the rhythm, pounding out a with a stairstep-like theme that continues to build bill clumpy but persistent left-handed lead. tension. “Blue” sounds like mood music from film noir frisell “Deszcz”, which translates to rain, features scored to a dramatic turning point in the movie. “Five succinct high-register notes from the piano dancing Haiku Poems” consists of distinctive improvisations with a faint Latin-ish drum backing. Midway through within a three-plus-minute timeframe, each standing birth of the the tune, Caine strings along a music box twinkle that on its own, though the abrasive, eerie fourth theme would fit nicely on Bill Evans’ mantle before the band stands out among the group. “All the Best” is a american orchestra returns to a spacious but meaty swing. “Do Widzenia, dramatic, bittersweet ballad, with Werner’s moody jan 9–10 • 8pm Teddy”, a tune about a jazz trumpeter, features a piano showing a classical influence. Orchestra wonderfully chaotic bass solo weaving in and out of Benjamin Koppel has already amassed a Caine’s boisterous accompaniment. considerable resumé of his own. He has recorded with Wynton Marsalis Squeaky toys and a prominent bow open the non- numerous CDs as a leader for Cowbell Music with Szpilman original “Szpilman Fantasy”, a nearly veterans like Phil Woods, , , 10-minute collective improvisation from the group and Kenny Werner, and many more. Illuminations: : when you departure from the more swinging earlier material, Living Room Recordings #1 was recorded in Koppel’s wish upon a star busying itself with a rhythm-less clattering. The ghost living room in duo with the formidable pianist Jean- music from film & television of Evans’ “Peri’s Scope” briefly surfaces and the band Michel Pilc. While the music at times has the feeling of wanders back into a goofy stride before a very concise being improvised, some of the compositions by the jan 16–17 • 7pm, 9:30pm ending covering all grounds. leader were inspired by the 19th century French poet With Bill Frisell, Eyvind Kang, Thomas Familiarity with Szpilman’s work is not a Arthur Rimbaud. Koppel adapts his distinctive sound Morgan, Rudy Royston, and requirement to enjoy this album. This is simply a great to the needs of each work while Pilc is an alchemist trio record from a pianist who consistently delivers. anticipating the perfect accompanying line. The lush, effusive ballad “Watching the Children Dream” is an duke, dizzy, ‘trane For more information, visit multikulti.com. Caine is at The early highlight. “La Nuit D’or”, penned by Anders Stone Jan. 3rd and SubCulture Jan. 9th as part of Winter Koppel, has a haunting air suggesting a sense of loss. & mingus: jazz titans Jazzfest. See Calendar. “School Strike” is whimsical with divergent lines by jan 29–31 • 8pm Koppel and Pilc. The captivating “Free Falling” incorporates Pilc’s whistling and tapping the piano Jazz at Lincoln Center Orchestra with strings to back Koppel at first, then takes shape as a Wynton Marsalis LISA HILTON powerful postbop performance. The centerpiece of the HORIZONS album is the eight-part “Suite For Rimbaud”: “Phrases” is a miniature dirge-like theme to introduce the suite; family concert: “After the Flood” is marked by staccato piano chords who is ? “One of the finest composers and emotional alto sax; “Seascape” is a lonely ballad ® working in jazz today.” with the cadence of the piano resembling the passage of feb 7 • 1pm, 3pm • jazz for young people -Ken Franckling/JazzNotes time without the presence of a loved one; “Morning of Aaron Diehl and Charenee Wade share Drunkenness” blends humor and a bit of discomfort the music and stories of Lady Day with with its combination of dissonance and unison lines, your family utilizing creative use of space and tempo changes. The sole standard is a stark, powerful interpretation of George Gershwin’s “Summertime”, which is anything jazz at lincoln center with J.D. Allen, Ingrid Jensen, Rudy Royston, Ben Street but sentimental or predictable. Venue Frederick P. Rose Hall Box Office Broadway at 60th Debuting new music: CenterCharge 212-721-6500 jazz.org 1/11/2015 Weill Hall@Carnegie Hall For more information, visit tiger-music.com. Kenny Werner is at carnegiehall.org/Box Office at 57th & 7th The Stone Jan. 6th-11th. Jean-Michel Pilc is at The Stone Jan. 9th, Cornelia Street Café Jan. 10th with Petros Klampanis, Somethin’ Lead Corporate Sponsor of Jazz for Young People® Horizons is available soon at: Amazon/iTunes/CDBaby & LisaHiltonMusic.com Distributed by SDCD. Jazz Club Jan. 11th, Dizzy’s Club Jan. 14th, ShapeShifter Lab Jan. The Jazz for Young People® Family Concert is funded through the generosity of Mica and Ahmet Ertegun. Photo: Steven Lippman 24th and Smalls Jan. 28th with Tony Moreno. See Calendar.

THE NEW YORK CITY JAZZ RECORD | JANUARY 2015 17

of this admittedly talented and creative duo. For this is just ’s seven-string electric guitar and Scott Amendola’s drum kit; their sound is fairly consistent across the stylistic boundaries and genres encompassed by their repertoire. The Cars represent rock to the duo, rock distilled but still propelled by rock ’n’ roll rhythms, from the get-down drums of “Bye Bye Love” (not The Everly Brothers song) and Bo Diddley beat of “Candy O” to

Imagine the loping shuffle of “Double Life” and triplets feel of Bill O’Connell And The Latin Jazz Allstars (Savant) “Good Times Roll”. Hunter plays with some reverb by Marcia Hillman and more than a bit of twang and the duo’s approach is basically spare, making no attempt to create a larger Here’s a Latin-flavored, relaxed, feel-good offering band sound. The twang is more pronounced on the from pianist Bill O’Connell and the Latin Jazz AllStars, Hank Williams songs, with Amendola often favoring consisting of Steve Slagle (alto and soprano brushes. The mood is often elegiac, especially on the saxophones), Conrad Herwig (trombone), Luques slow waltz “”I’m So Lonely I Could Cry” while “Cold Curtis (bass), Richie Barshay (drums) and Richie Flores Cold Heart” is fetchingly jaunty, crisp not frigid. “Your (with whom O’Connell has been working for over 20 Cheatin’ Heart” wrings out the sentiments with years) on percussion. sighing, twangy guitar. Jazz and Latin rhythms have been a natural The Duke Ellington tracks are less evocative of the combination for as long as anyone can remember. source, more about the duo than the songs. They miss O’Connell is well-versed as a pianist in both genres and the mystery of “The Mooche”, displaying the so, for his 11th album as leader, he has chosen to display limitations of the straightahead twangy guitar his talent as a writer with a selection of seven approach, and fall short of the mood in “Mood Indigo”, compositions plus two familiar pieces (John Lennon’s although “Rockin’ in Rhythm” is a clever reduction of “Imagine” and Ann Ronnell’s “Willow Weep For Me”) the band score. The Cole Porter section is the most all in Latin rhythms (e.g., mambo, cha cha, rumba, etc.). varied and a fitting tribute to that composer, from the O’Connell’s tunes are melodic in nature, always theatrical “Ace in the Hole” and early R&B vibe of featuring some very interesting chord changes and “Too Darn Hot” to a royally funereal “Ev’ry Time We always with a Latin beat. His songs come off positive Say Goodbye”; “Miss Otis Regrets”, featuring some in nature, the first track “Optimism” (title and all) rare guitar filigrees; and a languid, captivating setting the tone. Even the slow and bluesy “Missing “Anything Goes” finale. Mr. Berrios”, a goodbye to his close friend, percussionist , which includes soulful solos by Herwig For more information, visit charliehunter.com. Hunter is at and Slagle, is not a dolorous musical statement. There Rockwood Music Hall Jan. 8th-9th. See Calendar. are bop-oriented uptempo pieces like “Stepping Stones” (with rousing trades between piano and drums) and “Jigsaw” (with exciting conversations between drums and percussion). The track “25 Years” (an homage to O’Connell’s wife and inspired by their 25th wedding anniversary trip to Machu Picchu) has a beautiful lyrical melody and a moving alto solo. O’Connell’s treatment of “Imagine” is done with some fascinating chord reharmonization and is a standout display of his piano mastery. “Willow Weep For Me” turns up in a perfectly fitting cha cha rhythmm with Flores’ congas in the spotlight. There are lots of delightful moments on this CD. The mood is intimate and happy, the musicians have ample room to shine and the songs are melodic and easy on the ears. “Who could ask for anything more?” For more information, visit jazzdepot.com. O’Connell is at JON DAVIS DUO Birdland Jan. 6th and Somethin’ Jazz Club Jan. 9th. See Calendar. featuring Gianluca Renzi

celebrating new release No Kiddin’ January 2nd-3rd

9:45 pm-2:00 am The Cars, Hank Williams, Cole Porter, Duke Ellington Knickerbocker Charlie Hunter/Scott Amendola (s/r) by George Kanzler Bar & Grill Five tracks devoted to four artists apiece—The Cars, 33 University Place Hank Williams, Duke Ellington and Cole Porter—from a wide spectrum of American music, this album was originally conceived of and released as four separate EPs. Taken alone, they represent concise miniatures, musical snapshots of the featured artists. Together, they expose the limited nature of the musical approach JONDAVISMUSIC.COM

18 JANUARY 2015 | THE NEW YORK CITY JAZZ RECORD

alto saxophonist Oliver Lake, pianist Vijay Iyer, bassist a rousing polyphonic passage toward the end that sets Reggie Workman and drummer Andrew Cyrille—as this track apart. “Blind Tracery” features Engle “four great musicians trying to change your world”, prominently as well, arco all the way through, and the which is nice, but the positioning of jazz as ‘real music’ piece seems to calm the waters, with a beautifully in fundamental opposition to ‘entertainment’ has been executed drop in volume in the final minutes. “Almost precisely the problem since at least the ‘60s. As the joke Negotiable”, the closer, might be called the party goes, people don’t like jazz, they appreciate it. track—quicker, riffier, agitated, more staccato. A But there’s much to like here—indeed, the opening distant though discernible echo of klezmer? Possibly, cut, “The Prowl”, is pure entertainment, a kind of though Blacksberg plays doom metal too. The trio

Live at The Breeding Ground modal strut driven by Workman’s thunder-stick bass gives a strong sense of his musical breadth, even as it Brandee Younger 4Tet (s/r) work and Iyer’s bricklayer chords. In a similar vein, hews to a specific Loft-jazz aesthetic. by Russ Musto the quartet sway like dancing bears through pianist Curtis Clark’s “Chiara” and the disc’s closing track, For more information, visit nobusinessrecords.com. Rarely employed as a lead instrument in mainstream “Tribute to Bu”, begins as a drum solo, but Lake enters Blacksberg is at ShapeShifter Lab Jan. 9th. See Calendar. jazz, the harp has nonetheless proven to be an engaging two minutes in, briefly turning it into a ferocious duo. voice in the music via both and Alice Iyer contributes a lot to the album, most notably Coltrane. On her debut disc as a leader, Brandee the three-part, 18-minute “Suite for Trayvon (And Younger shows herself to be a most worthy successor Thousands More)”, which for much of its running time to those two artists with a program paying homage to has a mournful, marching cadence suited to its her predecessors, expanding upon their foundations to dedicatee, making its faster, harder-swinging section give the chordophone a distinctly modern sound. feel like an outburst of justified rage. Leading a versatile ensemble of Dezron Douglas The album falls short in its more abstract moments, (basses), E.J. Strickland (drums) and Chelsea Baratz as on “Synapse II” and “Willow Song”; the way Lake (tenor saxophone), Younger opens with two numbers chews through his lines on the latter track recalls from Ashby’s groundbreaking ‘60s catalogue. Richard David S. Ware’s ability to sledgehammer a ballad into Evans’ “Soul Vibrations” takes an exotic turn with the ground, but without the late tenor saxophonist’s Strickland laying down an East Indian-sounding beat airplane-hangar-sized tone. Ultimately, Wiring is at its and Douglas playing a dramatic electric bassline under best the closer it comes to embracing conventional Younger and Baratz’ harmonized lead melody. Ashby’s melody and being, yes, entertaining. “Wax and Wane” begins with the leader playing in the instrument’s lower register, sounding much like a For more information, visit intaktrec.ch. Trio 3 is at Minetta Delta blues guitar over galloping electric bass as Baratz Lane Theatre Jan. 9th as part of Winter Jazzfest. See Calendar. stretches out with a powerful guttural tone.

Younger proves herself to be a skilled composer with three original songs, beginning with “The Essence of Ruby”, an emotional piece that evinces romance and melancholy within a decidedly funky atmosphere, rousing an impassioned solo from Baratz. She is replaced by Stacy Dillard on soprano for “Hortense”, a rhythmic outing with stellar solos by both the saxophonist and leader. “Respected Destroyer” starts off powerfully with Baratz back on tenor, but soon softens into an appealing melody, which inspires Perilous Architecture moving statements from both the saxophonist and Daniel Blacksberg Trio (NoBusiness) composer. Ashby is again celebrated with a reading of by David R. Adler her “Games” and Alice Coltrane is fêted on her own “Blue Nile”. Younger’s “He Has A Name (Awareness)” Trombonist Daniel Blacksberg is one of Philadelphia’s also exhibits the powerful spiritual influence of the bright lights: an in-demand klezmer player, member of latter’s music, with Dillard on soprano, who remains Anthony Braxton’s Tri-Centric Orchestra and partner for the exciting closer, pianist ’s “Effi”. in the experimental projects Archer Spade and Electric Simcha, among others. Perilous Architecture is his For more information, visit brandeeyounger.com. Younger second outing in a trombone-bass-drums setting, is at The Bitter End Jan. 9th as part of Winter Jazzfest, following up the 2010 NoBusiness session Bit Heads. Town Hall Jan. 13 as part of a Charlie Haden tribute and There’s a balance of openness and coherence in Minton’s Jan. 25th. See Calendar. Blacksberg’s music with bassist Matt Engle and drummer Mike Szekely that is never less than striking.

Written themes emerge and still seem somehow off- the-cuff; later they return to close out the pieces in a way that could almost be called traditional. That’s the way with much ‘free’ music: there’s more structure than is obviously apparent and Blacksberg has a way of heightening that tension, prompting trio interplay that is elbow-jabbing yet subtly shaded. “Arc of Circling Bodies” starts the session with low multiphonic trombone growls that end up becoming a formal element, alternating with a more Wiring precise theme from the full trio. “Filament and Void” Trio 3 + Vijay Iyer (Intakt) by Phil Freeman takes wide leaping intervals as its starting point and seems to have a more defined harmonic plan, despite In these parlous times, the question of how to bring its blustery moments. “Roar of Mankind” is more new listeners to jazz keeps many musicians awake aggressive still, but it carries that thread of a theme, nights. The liner notes to this album, written by the that inescapable logic at the heart of Blacksberg’s work. late Amiri Baraka and published posthumously, begin In purely instrumental terms, “Scapegrace” is in a manner so hilariously unhelpful in this regard Blacksberg’s best trombone on Perilous Architecture and they can almost be seen as trolling from beyond the also Engle’s most satisfying bass feature. Is there the grave. “If you want to hear real music not some kind of slightest hint of Thelonious Monk’s “In Walked Bud” shallow ‘entertainment’ this is your number,” writes lurking in the main motive? In any event, there’s a Baraka. Admittedly, he then describes the players— sense of swing and groove, however camouflaged, and

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countermelodies and opening brush and basswork, is time spent in New York by Polish trumpeter Tomasz emblematic of how they develop a whole by tightly Dąbrowski, who hooked up with local drummer fitting together interlocking constructions. There are Andrew Drury and pianist . The result is a actually quite a few offerings like “Wu Wei” and the kaleidoscope of 14 tunes, mostly group compositions, uptempo “HDMB” that swing but not overtly. The title except for five by the trumpeter and one by Drury. cut presents variations and presumably improvisations Some are duos; at around one minute each, a few in fairly linear fashion on a repetitive theme. The merely express one thought. horns, despite trying, never seem able to shake the The track that allows the most extensive interaction refrain’s grip due to the rhythm section’s control while is Drury’s “Modules/Moduły”. With motifs developed

Blues and Reds “Petit Moineau” draws a European tinge from meaty at different speeds, the exposition depends on weighted Hush Point (Sunnyside) arco bass and dark waltzy time. As on last year’s self- equilibrium between Dąbrowski and Davis; the latter by Elliott Simon titled debut, the quartet remains true to the birthright moves from agitated triplets and single note puffs to of its cool but on numerous occasions raises its voice. plunger upturns, paced all the while by galloping Blues and Reds is the sophomore release from Hush swirls and key clinking. Drury limits himself to the Point, a quartet that eschews piano and its chordal For more information, visit sunnysiderecords.com. This odd swizzle cymbal scratch here and he’s similarly outspokenness for a ‘cool-er’ and quieter sound. The band is at ShapeShifter Lab Jan. 9th. See Calendar. self-effacing on the remainder of the session. In session is fronted by trumpeter John McNeil and alto contrast Dąbrowski is front-and-center throughout. He saxophonist Jeremy Udden, who, despite the hushed brings a sense of uncompromised swing to even muted approach, maintain a certain swagger anchored by solos and can push aside sophistication to snarl if Aryeh Kobrinsky’s bass and drummer Anthony needed. Pinciotti’s brushes. It is an evolution from East Coast Dąbrowski’s “Mattock Phrasemonger/ Cool (Omnitone, 2006), McNeil’s paean to saxophonist Przemądrzała Motyka” is a ballad, calmly built out of Gerry Mulligan and trumpeter Chet Baker, which placid notes, but with occasional pinched blasts mixed in riskier individual and joint improvisations. revealing a biting undercurrent. Davis’ low-frequency McNeil and Udden play off of and with one strums are almost soothing, but her tougher key thrusts another at an exceedingly high level and the keep the line animated. The leader’s “Ruddy Rudi/ improvisations are stellar, not in ways that will blow Rudy Rudi” is unabashedly swinging jazz, advanced you away with speed, cacophony or flash but with Vermillion Tree solidly by Drury’s pseudo-martial beat. tension and control. Functioning as a whole, the band 3 d: Tomasz Dąbrowski/Kris Davis/Andrew Drury Taut or touching, Vermilion Tree can appeal to the (ForTune) makes up for what it lacks in punch with its fetchingly musical tree hugger as well as the tree hacker. Since this by Ken Waxman cocky coolness. This is not easy to do in any context sapling was planted in 2012 though, a CD highlighting but with this instrumentation, which leaves no room Ad-hoc groups made up of players from many the trio’s subsequent growth would be welcomed. for error, it is even more difficult. countries are an accepted part of improvised music. Five of these tunes were composed by Udden, four What’s more significant is a CD like Vermilion Tree, For more information, visit for-tune.pl. Davis is at by McNeil and one by Kobrinsky. McNeil’s “Grounds where the disparate trio members create as if they’re in SubCulture Jan. 9th as part of Winter Jazzfest. Drury is at for Divorce”, with its joint horns that evolve into a long-time relationship. The session came about from Ibeam Brooklyn Jan. 31st with Ras Moshe. See Calendar. ICP ORCHESTRA WINTER JAZZFEST - JANUARY 9TH, 7:45 PM LE POISSON ROUGE

THE NEW YORK CITY JAZZ RECORD BEST OF 2014

ICPORCHESTRA.com

THE NEW YORK CITY JAZZ RECORD | JANUARY 2015 21 The Now does just that: its hummable tunes, dashing turnarounds and relaxed, canny pacing curled up in a MPS: REFOREST THE LEGEND cozy corner of my cerebellum. Its irresistibility manifests itself by nudging my zygomaticus major and longus capitis muscles to smile and nod. It’s easy listening, with admirable twists. Pianist and his trusty trio of very- long-time colleagues Reuben Rogers (bass) and Eric Kaleidoscope & Horizons Harland (drums) have carved another netsuke of koans Lisa Hilton (Ruby Slippers Prod.) for set perfection: limpid sambas mined from prime by Donald Elfman sources; spring-water ballads; sprinklings of piquant These recordings showcase the ever-evolving spice from Haiti and Goldberg’s “E-land”. The trio compositions and expressive playing of pianist Lisa parses the yin and yang of ‘50s bop with a tip-toe take Hilton. The tunes—Hilton’s own or the intelligently of Charlie Parker’s “Perhaps” (a touch of John Lewis adapted covers—all have melodic communication at counterpoint) and a lock-hand dash of ’s their core and are reflective of the artist’s feel for “Background Music”, bookending another breathe- CLASSIC RELEASES FROM THESE GREAT MPS ARTISTS people and the world. deep samba, Cascaso-Novelli’s “Triste Baía Da ARE NOW AVAILABLE IN AN EXQUISITE 25 TITLE Kaleidoscope seems to take in a whole realm of jazz Guanabara”. COLLECTOR’S EDITION CD RE-ISSUE SERIES writing, from traditional to modern, soulful to more Goldberg’s touch is gossamer, melodic invention minimalist and indistinct. “Bach/Basie/Bird Boogie unerring, lines endlessly speckled with rhythmic THE ELVIN JONES JAZZ MACHINE PATRICK WILLIAMS Blues Bop” is a seamless trio piece reflecting a firm variation: triplets or arching grouplets (Toninho AND HIS INTERGALACTIC RESEARCH ARKESTRA grounding in music history, inventive improvisation Horta’s “Francisca”) phrases in parallel versus contrary HANK JONES JOE HENDERSON AND HIS ORCHESTRA FREE ORBIT and creative writing. Hilton lays down a ‘simple’ blues motion and add-a-note stretchers (“One’s A Crowd”). THE SINGERS UNLIMITED ART VAN DAMME BILLY TAYLOR TRIO ROLAND KOVAC IRA KRIS DIETER REITH PEDRO ITURRALDE PACO DE LUCIA line à la Basie but is soon contrapuntally swinging Rogers and Harland go hand-in-glove for these MICHAEL NAURA QUARTETT JONNY TEUPEN CHICK COREA RON CARTER courtesy of bassist and drummer straightfaced sleights, swapping imaginatively looping GEORGE SHEARING ALBERT GOLOWIN FRIEDRICH GULDA Marcus Gilmore. Tenor saxophonist J.D. Allen adds a fours. All ends with a sweet paean to loved ones JIM HALL ROB MCCONNELL quiet heft to another Hilton original, “Simmer”, a tune departed; “One Life” briefly echoes “If I Fall In Love” STEPHANE GRAPPELLI & THE DIZ DISLEY TRIO that hearkens back to the best of the Blue Note days, then blossoms as a showcase for guest Kurt Allen playing with a gorgeous, soulful enthusiasm. Rosenwinkel’s ethereal guitar, unfurling graceful This music is understated in the very best sense; passes of the matador’s cape (or ‘hands’ here) making Once a Mecca for Oscar Peterson, , and Hilton’s playing and comping are definitive yet quietly elegant lines that sound (kinda) like the theremin and a host of talented young musical discoveries, MPS is and beautifully subtle. “When I Fall Love” is an whale song cadenzas. Goldberg’s wry Zen aphorisms today undergoing a spectacular revival. intriguingly romantic and syncopated amble—Bill serve as track haikus. Evans and then some—through the past while Hilton Though a number of MPS recordings have been released in CD format by Polygram/Universal, and brings the same sense of romance to the hymn-like For more information, visit sunnysiderecords.com. This more recently by Promising Music, MPS’s Villingen- cadences of Adele’s “One and Only”. project is at Jazz Standard Jan. 15th-18th. See Calendar. based tape machines ultimately went offline in Tradition, adventure, color, communication and 2004. Now, after ten years of resounding silence, simplicity continue to inform Hilton’s work on her son of MPS founder Brunner-Schwer, Matthias, and latest outing Horizons. Allen is on hand again, but so is long-time jazz-crazed colleague Friedhelm Schulz the lyrical on trumpet and flugelhorn. have revived this unique Black Forest institution Henry Mancini-Johnny Mercer’s “Moon River” with newly prepared masterings, many of them in their original analog presentation. retains its wonder but somehow the song has never sounded so spiritually inspired. Jones’ flugelhorn is With its extensive reissue projects, Edel Kultur is striking and complemented by an equally ravishing proud to once again make the treasure-trove of Allen and Hilton. From Ellington’s The Queen’s Suite, the MPS catalogue available on a wider basis. MPS Hilton has extracted “Sunset and the Mockingbird” Records’ 21st ALSO AVAILABLE NOW century and it is rich with Duke’s compositional luster: elegant VIA THE MPS REVIVAL: renaissance will and bluesy. Bassist Gregg August and drummer Rudy include recordings Royston invest this gem with their own colors. in the highest There are surprises here. Hilton has created a fidelity via smartly appropriate arrangement of “Gold on the premium LP and Ceiling” by The Black Keys. It’s hard as a rock but CD versions, lithely opened up by this sterling trio. Hilton is a and in selected cases, as analog dynamic soloist who understands form and tapes—and architecture; the music is artfully constructed but lest we forget delivers an affecting punch. All of the music comes that the entire from a palette full of basic elements that take on new catalogue dimensions when blended like this. will finally be available For more information, visit lisahiltonmusic.com. Hilton is digitally for the first time ever. at Weill Recital Hall Jan. 11th. See Calendar.

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and Allison Miller (drums). Even with this talented crew, it is Presgrave’s playing that predominates— forceful, steady, driving. The Asian Suite tunes (“Along the Path”, “Where East Meets West (Macau)”, “Harbor Lights (Hong Kong)” and “Asakusa View (Tokyo)”) are moderate uptempos featuring bright melodies and infectious rhythms, pushed forward by the unswerving pulse of Miller’s drumming. They’re similar in mood and feel

Guitar in the Space Age! and beg for a backstory: What is it about Asian Bill Frisell (OKeh) cityscapes that inspires Presgrave’s imaginative by Tom Conrad musical ideas? Maybe not required for enjoyment but inquiring minds want to know! Guitarist Bill Frisell’s formative years were the early By contrast, the tunes in The French Suite are more ‘60s. To participate fully in the euphoric nostalgia of diverse. The first two, “Colors of Collioure” and “Bird Guitar in the Space Age!, you must be of Frisell’s of Céret”, lay back and swing a bit, before the edgy, generation, or close. You must be able to remember confrontational “You Just Never Know”. The only hurtling down a two-lane highway while Duane blues tune on the disc, “Blues for a Rainy Night”, is a Eddy’s “Rebel Rouser” knifed into the summer air moody, noir-ish ballad, which precedes “Place from the dashboard speaker of your AM radio. Picasso”, a busy, optimistic uptempo that sounds like a Frisell plays a Fender Telecaster throughout. It busy metro stop. The French Suite ends with a vocal was the instrument most responsible for establishing tune, “Bird of Céret (The Story)”, with lyrics written (around 1957, give or take) the electric guitar’s and sung by singer MJ Territo. (Spoiler alert: The bird dominance over American popular culture. He does is actually a romantic interest in the south of France— songs that were once as important to him as songs can another intriguing backstory.) only be to an impressionable teenager. Surfer grooves Taken together, these two suites hint at the global (The Chantays’ “Pipeline”, The Astronauts’ “Baja”) are appeal of jazz: whether its Asian cityscapes or French embedded in his history. So are the urban blues (Junior mountains, jazz is the soundtrack. Understanding Wells’ “Messin’ with the Kid”) and country pickers Presgrave’s recording in this way, the final cut, “Our (Merle Travis‘ “Cannonball Rag”). Hope for the Future: Universal Freedom”, a jaunty Frisell transcends nostalgia by subjecting this tune in three, takes on a certain significance. Music like music to a freewheeling jazz sensibility. The ensemble Presgrave’s can span continents and bridge cultural here is his long-term base trio of bassist divides...perhaps. It’s a nice thought. and drummer , plus Greg Leisz, mostly on pedal steel. The original arrangements of the tunes For more information, visit metropolitanrecordsnyc.com. are reimagined, magnified and set free. “Tired of Presgrave is at Jazz at Kitano Jan. 22nd. See Calendar. Waiting for You”, as sung by The Kinks, was a simple, pretty ditty; Frisell and Leisz turn it into vast sonorous clouds and splashing rain, as Wollesen, deadpan, subdivides the beat. Pete Seeger’s “Turn, Turn, Turn” offers no improvisation, just an extravagant two-guitar inundation of the melody, in waves. And who knew that “Rebel Rouser”, born as a stark, belligerent, twanging riff, could be a thoughtful ballad and then glide into a gentle boogie? But the track to die for is “Surfer Girl”, the Brian Wilson ever wrote. It starts with its familiar dreamy, floating languidness. Gradually Frisell and Leisz transform The Beach Boys’ postpubescent fantasy into something oceanic and engulfing, all rapturous harmonies and brilliant lights. Additional versions of “Surfer Girl” have probably become unnecessary. January 13th For more information, visit okeh-records.com. Frisell is at Mike Longo’s NY State Town Hall Jan. 13th as part of a Charlie Haden tribute and of the Art Jazz Ensemble The Appel Room Jan. 16th-17th. See Calendar. with vocalist Ira Hawkins

January 20th Dave Chamberlain’s Band of Bones January 27th Lena Bloch and Group Along the Path Linda Presgrave (Metropolitan) by Suzanne Lorge New York Baha’i Center On her new release, pianist/composer Linda 53 E. 11th Street Presgrave presents two suites of compositions based (between University Place and Broadway) on geographic themes: The Asian Suite, with four tunes, and The French Suite, with six. Each tune begins with a Shows: 8:00 & 9:30 PM discrete musical idea and includes several long solos Gen Adm: $15 Students $10 by Presgrave or her skilled band of Harvie S (bass), 212-222-5159 Stan Chovnick (soprano saxophone), Todd Herbert bahainyc.org/nyc-bahai-center/jazz-night (tenor saxophone), Vincent Herring (alto saxophone)

24 JANUARY 2015 | THE NEW YORK CITY JAZZ RECORD

A Way A Land of Life Jason Ajemian// We Won’t Forget You (An Homage to ) Rob Mazurek/Chad Taylor (NoBusiness) Dena DeRose (HighNote) Scorpion Eater by Joel Roberts Tony Malaby TubaCello (Clean Feed) by Ken Micallef This is a tribute album that makes a lot of sense. Shirley Horn, who passed away in 2005, has clearly A few years ago, when Joe Lovano couldn’t make his been a major influence on Dena DeRose as a singer, regular gig with drummer Paul Motian at the Village pianist, bandleader and arranger. While no one sings Vanguard, club owner Lorraine Gordon approved of in as quiet and hushed a manner as Horn did, DeRose Tony Malaby and as Lovano’s has a reserved, gentle approach reminiscent of the replacements. What Gordon may have thought was elder vocalist. Like Horn, DeRose has also mastered that Tony Malaby is many saxophonists in one, a torrid the extremely difficult art of self-accompaniment and titan of a tenor player who plays as gritty as Coleman has led a successful and long-running trio. Hawkins one moment and as free as the wind the next. The repertoire on We Won’t Forget You is drawn Malaby displays his musical mettle on two recent from throughout Horn’s career, which started in the recordings, one his own, the other led by bassist Jason late ‘50s, was interrupted by a long sabbatical and Ajemian. reached its pinnacle with a series of well-received Ajemian is a frequent collaborator on the Chicago albums and long-overdue acclaim in the ‘90s. Mostly, scene; he’s released four albums but A Way A Land of these are ballads and standards, though many of them Life should bring him wider recognition. Ajemian’s are not particularly well known. Horn was famous for leadership and compositions enable and focus his playing ballads at a glacially slow pace, somewhat like musicians, inspiring them to tackle fully free sections, two of her musical heroes, and Miles duos and tightly-knit ensemble arrangements with Davis. While DeRose doesn’t imitate Horn, she’s gusto. A Way A Land of Life is that rare recording where certainly in no rush on tunes like Kermit Goell-Fred the musicians play as one, but also play with rare Spielman’s “You Won’t Forget Me” (featuring the communal flow. leader on B-3 organ and notable for being the first #1 Performed with longtime compatriots Rob album in Horn’s career) and Richard Rodgers-Lorenz Mazurek (cornet) and Chad Taylor (drums), the album Hart’s “You’re Nearer”. establishes its colorful identity on “White Light”, A handful of uptempo tracks are also featured, Malaby and Mazurek mutually contorting like including a surprisingly rousing version of Johnny argumentative birds. Ajemian and Taylor provide time- Mandel’s usually maudlin “A Time for Love”, teasing support throughout that is emphatically elastic. highlighted by guest Jeremy Pelt’s impressive trumpet Malaby plays both corrosively and contemplatively on solo. Along with the superb rhythm team of bassist “In The Imaginarium”. Ajemian’s solo in “Living the Martin Wind and drummer Matt Wilson, fixtures with Sky” provides a respite of calm, as does the closing DeRose for many years, there are also fine contributions track, “That When You Come, We Die”, performed with from a pair of saxophonists: Eric Alexander (tenor) and a sense of composure bordering on the celestial. (baritone). For her part—again like Malaby’s TubaCello quartet with tuba player Dan Horn—DeRose has the rare ability, as both a vocalist Peck, cellist Christopher Hoffman and drummer John and pianist, to swing gently, a much tougher feat than Hollenbeck improvises on broader material that is also swinging hard. more otherworldly in design. “This band has a different We Won’t Forget You serves as a valuable reminder type of gravity that playing with a bassist simply of Horn’s subtle and sophisticated artistry and, for doesn’t have. I just want to be embedded in that and be those who have yet to discover DeRose, a great in the middle,” Malaby has said. With a drummer/ introduction to one of Horn’s most important disciples. percussionist as strong as Hollenbeck, everyone’s game rises a notch, allowing the leader in particular to For more information, visit jazzdepot.com. DeRose is at go for musical broke. Birdland Jan. 22nd-24th. See Calendar. Hollenbeck plays trashcan percussion in the fluttering “Bearded Braid”, Malaby croaking like a disturbed morning dove as tuba utters dance-like Swing Era growling notes. “Buried” recalls old school Chicago Songbird swing set afire, Malaby repeating a bluesy phrase as Molly Ryan Hollenbeck swing/stalks and cello bobs; Malaby “...worldly wise beyond her years, wonderfully gentle and lyrical…” paints engrossing, historic imagery here, like David - Will Friedwald, Wall Street Journal Murray juking mad in a New Orleans brothel. “Trout UPCOMING Schedule Shot” takes yet another turn, Hollenbeck hitting his 1/10 Greenwich House Music School 7:30 p.m. floor tom in a sparse cadence as Malaby and Hoffman www.winterjazzfest.com trade interweaving scrawls, all giving way to 1/12 Rainbow Room 6:00 p.m. swashbuckling brushwork and scattershot inside jokes. www.rainbowroom.com The lovely title track closes the album, Malaby showing 1/21 The Rum House 9:30 p.m. www.edisonrumhouse.com his gentle side, practically mewing soft notes to 1/26 Rainbow Room 6:00 p.m. swooning cello. With Malaby you’re never sure what www.rainbowroom.com you’re going to get, but he is surely capable of delivering it all.

For more information, visit nobusinessrecords.com and cleanfeed-records.com. Malaby is at The Players Theater Jan. for Performances, Bookings 10th with Eivind Opsvik as part of Winter Jazzfest, JACK Jan. & Recordings, visit mollyryan.com 12th, Town Hall Jan. 13th as part of a Charlie Haden tribute, Barbès Jan. 15th and Ibeam Brooklyn Jan. 30th. See Calendar.

THE NEW YORK CITY JAZZ RECORD | JANUARY 2015 25

performances of material that ranges from Thelonious alterations are rhythmic; odd and unusual meters Monk’s “Nutty”, Kenny Barron’s “Sunshower” and abound, and in bassist Herwig Hammerl and drummer ’ “Hicks’ Time” to Cole Porter’s “You Do Alfred Vogel, Madsen has found a rhythm section that Something to Me” and David Raksin’s ballad “Laura”. is up to the demands he puts on them. Both are Raksin wrote the latter for the classic film noir starring members of the Austrian based Collective of Gene Tierney, Dana Andrews and Clifton Webb and, Improvising Artists; hence the name CIA Trio. coincidentally, the film was released the same year Things do seem a little cluttered at times, but Leitch was born: 1944. that’s a minor caveat, especially given the complexity Another highlight of Landscape is ’s of the charts. This writer listed it as the best tribute

Flying Over Rio “Book’s Bossa”, an appealing, Brazilian-flavored piece record of the year and is still smiling about the 7/8 Harry Allen’s All-Star Brazilian Band (Arbors) the late bassist brought to ’s 1967 Slow reimagining of “Heartbreak Hotel”. by Andrew Vélez Drag session for Blue Note. Drummond performs an inspired solo, acknowledging Booker’s contributions For more information, visit playscape-recordings.com Harry Allen is among the most gifted straightahead to the instrument. Leitch performs some of his own (CD REVIEWS CONTINUED ON PAGE 30) tenor saxophonists to emerge since Scott Hamilton. compositions as well, including the relaxed title track, Flying Over Rio, featuring Allen’s All-Star Brazilian contemplative “Penumbra” and bluesy “Tutwiler”, “Bill o’Connell’s Imagine is an improvisational gumbo Band, opens with Jobim’s “Double Rainbow”, a named for the Mississippi Delta town where W.C. of originals and standards, Killer!” - Brent Black. combination of jazz bossa nova and a waltz, Handy said he heard the blues for the first time. simultaneously totally modern and classily classical. Although 9 of the 13 selections are trio Introduced by Nilson Matta’s bass, vocalist Maucha performances with Leitch on electric, he switches to Adnet lends the dark sound of her appealingly acoustic and plays unaccompanied on the weathered voice to the lilting melody. Previously she aforementioned “Tutwiler” and introspective versions and Allen recorded the excellent set Eu Nao Quera of Richard A. Whiting’s “Louise” and the traditional Danca and their ease together is smoothly evident. It’s “Londonderry Air”, a.k.a. “Danny Boy”, typically followed by a masterful, light rendition of Richard heard in Irish/Celtic settings, but here transformed Rodgers-Lorenz Hart’s 1929 gem “A Ship Without a into a bop ballad. One hears traces of Joe Pass when Sail”. Allen eases in with a tenor sound as liquid as it is Leitch is playing electric, but the influence becomes lovely; in the upper register he can evoke especially strong on these tunes. This solid effort and in the lower Ben Webster, though he is no copycat. demonstrates that after many years Leitch is still on And accompanied by pianist Klaus Mueller and top of his game. drummer Duduka Da Fonseca on brushes, the swaying CD Release show rhythms are totally captivating. There is some lovely For more information, visit peterleitch.com. Leitch is at Bill o’Connell and The latin Jazz allstars interplay between Allen and Guilherme Monteiro’s Walker’s Sundays. See Calendar. Birdland, 315 w. 44th street guitar on “The Night Has a Thousand Eyes”. Once Tuesday, Jan. 6th, sets 8:30 & 11 pm upon a time John Coltrane and Sonny Rollins owned Bill o’Connell-piano, steve slagle-sax, Conrad herwig-trombone, this tune until it was taken over by the bossa luques Curtis-bass, adam Cruz-drums, Roman Diaz-congas community. On this instrumental Da Fonseca’s drums are an explosion of shooting stars in a rediscovery of the familiar work. Performing “The Girl From Ipanema” strictly as NEW RELEASE an instrumental lends a different feel to the familiar AVAILABLE JAN 20th. Jobim tune. Introduced gently by Monteiro’s inventive rhythms, Allen’s dreamy long lines are punctuated by the occasional boppish toot, Mueller again lending Elvis Never Left The Building shining support. The exquisite “Bonita” is another Peter Madsen’s CIA Trio (Playscape) opportunity to appreciate why Adnet is a singer of by Duck Baker choice for Jobim pieces. She is a less-is-more singer, peerlessly rhythmical even as she rests her sand- Given the strength of his resumé and his ability and sprinkled voice lightly on the melody. With Mueller originality, it seems surprising that pianist Peter and Allen subtly backing her, they make something Madsen isn’t better known. He has been at it for 30 blissful out of this lesser-known song. In music and in years and worked with an impressive list of jazz performance this is a totally refreshing flight over Rio. masters, from Stan Getz and to . His 2003 release, Sphere Essence: Another Side of For more information, visit arborsrecords.com. Allen is at Monk, stands as one of the best Monk tribute records Mezzrow Jan. 30th-31st. See Calendar. by a pianist. Could he make an equally strong impression with another homage to a very different Red Garland Trio sort of musical icon, who would have turned 80 this with Philly Joe Jones & month but died(?) at 42 in 1977. In fact, readers familiar with Sphere Essence will Swingin’ On The Korner note some similarities in approach immediately. Live at Keystone Korner Madsen likes to find unusual approaches that allow A collection of all previously unissued recordings of the great jazz pianist, Red Garland, recorded live in concert at ’s Keystone Korner. With virtuoso bassist, him to get different angles on the music, which include Leroy Vinnegar, and drum legend, Philly Joe Jones. Sixteen tracks and over 150 everything from playing inside the piano to long minutes of captivating piano trio recordings from one of jazz’s most important and introductory sections seemingly almost unrelated to unsung heroes in an exhaustive package built to celebrate Garland’s artistry.

the material at hand. With Monk, this made for a ALSO AVAILABLE FROM ELEMENTAL MUSIC: welcome freshness, but in the case of Presley it seems Landscape even more necessary; after all, the songs here were not ’S (Jazz House) 3 & 4 NEW YORK CONCERTS by Alex Henderson written by a jazz genius but by a near-random selection of rock and pop writers (though to be fair, Lieber & Selected as one of the “BEST UNEARTHED Born and raised in Canada but living in the city since Stoller and Doc Pomus were hardly chopped liver) and GEMS (2014)” according to The New York 1983, veteran guitarist Peter Leitch is a fixture on the straight versions would be impossibly straight. City Jazz Record. Manhattan jazz scene, an enjoyably consistent player Never fear: Madsen not only finds unpredictable Featuring , Richard Davis, Don Friedman & Barre Philipps. Recorded with a bop-oriented approach. He is in fine form on ways into the tunes, he completely reharmonizes them at Judson Hall & Wollman Auditorium, New Landscape, a June 2014 date recorded two months before and adds clever bassline tags and isorhythmic hooks York City, September 1965 / May 1965. his 70th birthday. The melodic but swinging Leitch that take them thousands of miles from Memphis or leads an intimate trio with bassist and Nashville (though his sly evocations of Floyd Kramer AVAILABLE AT ALL MAJOR ONLINE RETAILERS Distributed by: INgrooves / www.ingrooves.com drummer Steve Johns, partners of his since the ‘80s, on “Devil in Disguise” show that he’s not forgetting and the three enjoy a friendly rapport on warm where the music came from). But the most notable

26 JANUARY 2015 | THE NEW YORK CITY JAZZ RECORD Or.Anunci Garland+Guiffre 80x152.indd 1 19/12/14 10:25

BEST OF 2014 BEST OF 2014 BEST OF 2014 BEST OF 2014 BEST OF 2014 BEST OF 2014 THE NEW YORK CITY JAZZ RECORD ALBUMS OF THE YEAR BOXED SETS LARGE ENSEMBLE RELEASES DIEGO BARBER & —Tales (Sunnyside) AND THE ALL STARS— ANGLES 9—Injuries (Clean Feed) Columbia and RCA Victor Live Recordings SATOKO FUJII ORCHESTRA NEW YORK—Shiki (Libra) BILLY CHILDS—Map to the Treasure: (Mosaic-Columbia/RCA Victor) Reimagining Laura Nyro (Sony Masterworks) WAYNE HORVITZ— MILES DAVIS—Miles at the Fillmore (Miles Davis 1970: The Royal Room Collective Music Ensemble (Songlines) —TRIP (HighNote) The Bootleg Series Vol. 3) (Columbia-Legacy) ICP ORCHESTRA—East of the Sun (ICP) ANNE METTE IVERSEN’S DOUBLE LIFE— NU ENSEMBLE— So Many Roads (BJU Records) Hidros 6 - Knockin’ (Not Two) JC SANFORD ORCHESTRA— Views from the Inside (Whirlwind) STEVE LEHMAN OCTET—Mise en Abîme (Pi) PETER KOWALD—Discography (Jazzwerkstatt) RUFUS REID—Quiet Pride: The Elizabeth Catlett Project GEORGE LEWIS—Keeper of the Flame (Storyville) (Motéma Music) —The Great Lakes Suites (TUM) DEBUTS PETER BRENDLER—Outside The Line (Posi-Tone) WALTER SMITH III—Still Casual (s/r) REISSUES EARL MCINTYRE—Brass Carnival & Tribute! (s/r) YOSVANY TERRY—New Throned King (5Passion) JOHN CARTER/BOBBY BRADFORD QUARTET— BRANDON SEABROOK—Sylphid Vitalizers (New Atlantis) DAVID VIRELLES—Mbókò: Sacred Music for Piano, Flight for Four (Flying Dutchman-International Phonograph) Two Basses, Drum Set and Biankoméko Abakuá (ECM) Mestre Cupijó e Seu Ritmo—Siriá (Analog Africa) BRIANNA THOMAS—You Must Believe in Love (Sound on Purpose) —Contrasts (ECM) -David R. Adler J.J. WRIGHT—Inward Looking Outward (Ropeadope) HAL RUSSELL NRG ENSEMBLE + — Jason Adasiewicz’s Sun Rooms—From The Region Generation (Nessa) (Delmark) ALEXANDER VON SCHLIPPENBACH—Payan (Enja) TRIBUTES The Bad Plus—The Rite of Spring (Sony Music) THE BAD PLUS—The Rite of Spring (Sony Masterworks) ARAM BAJAKIAN—There Were Flowers Also in Hell (Sanasar) JACQUES COURSIL (WITH ALAN SILVA)— Jacques Coursil (with Alan Silva)— LATIN RELEASES FreeJazzArt (Sessions for Bill Dixon) (Rogue Art) FreeJazzArt (Sessions for Bill Dixon) (Rogue Art) ROBIN JONES’ LATIN UNDERGROUND— Seven Stops to Heaven (SLAM) CHARLIE HUNTER/SCOTT AMENDOLA— Sylvie Courvoisier Trio—Double Windsor (Tzadik) The Cars, Hank Williams, Cole Porter, Duke Ellington (s/r) ARTURO O’FARRILL & THE AFRO LATIN JAZZ Wayne Horvitz— ORCHESTRA—The Offense of the Drum (Motéma Music) RUSS JOHNSON—Still Out To Lunch! (Enja/Yellowbird) The Royal Room Collective Music Ensemble (Songlines) ALFREDO RODRIGUEZ— AKI TAKASE/ALEXANDER VON SCHLIPPENBACH— Orphéon Célesta—Cuisine au Jazz The Invasion Parade (Mack Avenue) So Long, Eric! (Homage to Eric Dolphy) (Intakt) (Fremeaux & Associes) & ENSEMBLE VENEZUELA— Gunter “Baby” Sommer/Michel Godard/ Venezuelan Suite (Sunnyside) Patrick Bebelaar—Three Seasons (HGBS) UNEARTHED GEMS MARK WEINSTEIN—Latin Jazz Underground (ZOHO) Steve Wilson/—Duologue (MCG Jazz) JIMMY GIUFFRE 3 & 4— New York Concerts (Elemental Music) Torbjörn Zetterberg— Och Den Stora Frågan (Moserobie) CHARLIE HADEN/JIM HALL—Eponymous (Impulse!) VOCAL RELEASES KEITH JARRETT/CHARLIE HADEN/PAUL MOTIAN— -Laurence Donohue-Greene Andy Bey—Pages From An Imaginary Life (Savant) Hamburg ‘72 (ECM) ARAM BAJAKIAN—There Were Flowers Also in Hell (Sanasar) Katja Cruz (feat. Oliver Lake)—Hexaphone CHARLES LLOYD—Manhattan Stories (Resonance) (The Cosmology of Improvised Music) (Rudi Records) /JULIAN LAGE—Room (Mack Avenue) ALEXANDER VON SCHLIPPENBACH TRIO— Darius Jones—The Oversoul Manual (AUM Fidelity) First Recordings (Trost) JON IRABAGON—It Takes All Kinds (Jazzwerkstatt) Andreas Schaerer’s Hildegard lernt Fliegen— JEAN LOUIS—Uranus (Coax) The Fundamental Rhythm of Unpolished Brains (Enja/Yellowbird) DARIUS JONES—The Oversoul Manual (AUM Fidelity) Brianna Thomas—You Must Believe in Love MEDESKI MARTIN & WOOD + NELS CLINE— (Sound on Purpose) Woodstock Sessions, Vol. 2 (Woodstock Sessions) SAM NEWSOME—The Straight Horn of Africa—A Path To Liberation (The Art of the Soprano, Vol. 2) (Some New Music) ORIGINAL ALBUM ARTWORK ERIC REVIS—In Memory Of Things Yet Seen (Clean Feed) Ibrahim Electric—Rumours From Outer Space (ILK) BRANDON SEABROOK—Sylphid Vitalizers (New Atlantis) David Krakauer—The Big Picture (Pounding Table) AKI TAKASE/ALEXANDER VON SCHLIPPENBACH— Michael Schiefel—Platypus Trio (BMC Records) So Long, Eric! (Homage to Eric Dolphy) (Intakt) BRANDON SEABROOK—Sylphid Vitalizers (New Atlantis) -Andrey Henkin Stéphane Spira—In Between (Jazzmax)

HONORABLE MENTIONS - NEW RELEASES Juhani Aaltonen—To Future Memories (TUM) • Jason Ajemian/Tony Malaby/Rob Mazurek/Chad Taylor—A Way A Land of Life (NoBusiness) • Matt Bauder and Day in Pictures—Nightshades (Clean Feed) • David Berkman—Live at Smalls (feat. Tom Harrell) (smallsLIVE) Piero Bittolo Bon’s Lacus Amoenus (feat. Peter Evans)—The Sauna Session (Long Song) • Black Top—#One (with special guest Steve Williamson) (Babel) • Daniel Blacksberg Trio—Perilous Architecture (NoBusiness) • Johnathan Blake—Gone, but not Forgotten () Michael Blake—Tiddy Boom (Sunnyside) • Paul Bley—Plays Blue (Oslo Concert) (ECM) • Itamar Borochov Quartet—Outset (Realbird) • James Brandon Lewis—Divine Travels (OKeh) • Oguz Büyükberber//—Live at the Bimhuis (TryTone) George Cables—Icons & Influences (HighNote) • Michael Carvin—Flash Forward (Motéma Music) • /Martin Wind—New Folks (ACT Music) • Jimmy Cobb—The Original Mob (Smoke Sessions) • Marco Colonna/Agustí Fernandez—Desmadre (Fonterossa/Jambona Lab) François Courneloup—Noir Lumière (Innacor) • Jeremiah Cymerman/Nate Wooley/Evan Parker—World of Objects (5049 Records) • Nils Davidsen—Noget at Glæde Sig Til (ILK Music) • Roger Davidson—Temple of the Soul (Soundbrush) • Kris Davis Trio—Waiting For You To Grow (Clean Feed) Double Trio De Clarinettes—Itinéraire Bis (Between The Lines) • East-West Collective—Humeurs (Rogue Art) • John Edwards/Mark Sanders/John Tilbury—A Field Perpetually At The Edge Of Disorder (Fataka) • Ensemble 5—The Summary of 4 (Leo) • —Sound, Space and Structures (Sunnyside) Farmers By Nature—Love and Ghosts (AUM Fidelity) • Agustí Fernández/Barry Guy/Ramón López—A Moment’s Liberty (Maya) • Free Nelson MandoomJazz—The Shape of Jazz to Come/Saxophone Giganticus (RareNoise) • Frontton—Alternating Flows (Unit) Tomas Fujiwara Trio—Variable Bets (Relative Pitch) • Georg Graewe—Stills & Stories (Random Acoustics) • Frank Gratkowski/Achim Kaufmann/Wilbert De Joode/Okkyung Lee—Skein (Leo) • Barry Guy New Orchestra—Amphi, Radio Rondo (Intakt) • Mary Halvorson—Reverse Blue (Relative Pitch) Mary Halvorson/Michael Formanek/Tomas Fujiwara—Thumbscrew (Cuneiform) • Billy Hart Quartet—One Is The Other (ECM) • Alexander Hawkins Ensemble—Step Wide, Step Deep (Babel) • John Hollenbeck/Alban Darche/Sebastien Boisseau/—JASS (YOLK Music) Ibrahim Electric—Rumours From Outer Space (ILK Music) • Ideal Bread—Beating The Teens: Songs of Steve Lacy (Cuneiform) • In Trio—Defining Moment (s/r) • Indigo Mist—That The Days Go By and Never Come Again (RareNoise) • Je Suis!—Ça va? (Umlaut) Achim Kaufmann/Robert Landfermann/Christian Lillinger—Grünen: Pith & Twig (Clean Feed) • Kirk Knuffke/Jesse Stacken—Five (SteepleChase) • David Krakauer—The Big Picture (Pounding Table) • Jonas Kulhammar/Espen Aalberg/Torbjörn Zetterberg—Basement Sessions, Vol. 2 (Clean Feed) John La Barbera Big Band—Caravan (Jazz Compass) • Octet—Zürich Concert (Intakt) • Azar Lawrence—The Seeker (Sunnyside) • Daunik Lazro/Benjamin Duboc/Didier Lasserre—Sens Radiants (Dark Tree) • Daunik Lazro/Joëlle Léandre—Hasparren (NoBusiness) Led Bib—The People In Your Neighbourhood (Cuneiform) • Wadada Leo Smith/—The Stone: Akashic Meditation (MOD Technologies/Incunabula) • Wadada Leo Smith—Red Hill (RareNoise) • Lukas Ligeti/Thollem McDonas—Imaginary Images (Leo) Harold Mabern—Right on Time (Smoke Sessions) • Made To Break—Cherchez La Femme (Trost) • Branford Marsalis—In My Solitude (Live at Grace Cathedral) (OKeh) • Roscoe Mitchell/Scott Robinson—Tone Ventures (ScienSonic) • Mostly Other People Do the Killing—Hannover (Jazzwerkstatt) Matt Nelson—Lower Bottoms (Tubapede) • Mario Pavone—Street Songs (Playscape) • Ralph Peterson Fo’tet Augmented—ALIVE at Firehouse 12, Vol. 2: Fo’ n Mo’ (Onyx) • Pharoah & The Underground—Spiral Mercury (Clean Feed) • Radius/Fred Lonberg-Holm—Just Outside the Door (Hazel Jazz) —Obbligato (Intakt) • Adrian Raso/Fanfare Ciocărlia—Devil’s Tale (Asphalt Tango) • Red Trio/Mattias Ståhl—North and The Red Stream (NoBusiness) • Joshua Redman—Trios Live (Nonesuch) • Mike Reed’s People, Places & Things—Second Cities: Volume 1 (482 Music) Dave Rempis/Joshua Abrams/Avreeayl Ra—Aphelion (Aerophonic) • Alex Riel/Stefan Pasborg—Drum Faces (Stunt) • Jason Roebke Octet—High/Red/Center (Delmark) • Joris Roelofs—Aliens Deliberating (Pirouet) • Ted Rosenthal Trio—Rhapsody in Gershwin (Playscape) Catherine Russell—Bring It Back (Jazz Village) • John Russell/Ståle Liavik Solberg—No Step (Hispid) • Akira Sakata/Giovanni di Domenico—Iruman (Mbari Musica) • Saxophone Summit—Visitation (ArtistShare) • Sekstons—Eponymous (Multikulti Project) Jim Self/Hollywood 12—‘Tis the Season Tuba Jolly! (Basset Hound Music) • Trio—Root of Things (Relative Pitch) • Matthew Shipp—I’ve Been To Many Places (Thirsty Ear) • Ches Smith and These Arches—International Hoohah (ForTune) Marianne Solivan—Spark (Hipnotic) • Sound & Fury—Pulsacion (Ektro) • Chris Speed Trio—Really OK (Skirl) • Vinnie Sperrazza—Apocryphal (Loyal Label) • Bob Stewart Connections—Mind the Gap (Sunnyside) • Aki Takase La Planète—Flying Soul (Intakt) Tarbaby (with Oliver Lake & Marc Ducret)—Fanon (Rogue Art) • Trio 3 + Vijay Iyer—Wiring (Intakt) • Mark Turner Quartet—Lathe of Heaven (ECM) • Anna Webber—Simple (Skirl) • Frank Wess—Magic 201 (IPO) • Sebastian Zawadzki/Mariusz Praśniewski/Radek Wośko—Tåge (Multikulti Project) THE NEW YORK CITY JAZZ RECORD BEST OF 2014 BEST OF 2014 BEST OF 2014 BEST OF 2014 BEST OF 2014 BEST OF 2014 LARGE ENSEMBLE RELEASES CONCERTS OF THE YEAR ANGLES 9—Injuries (Clean Feed) WAYNE ESCOFFERY QUARTET Marc Ribot solo MICHAËL ATTIAS QUARTET SATOKO FUJII ORCHESTRA NEW YORK—Shiki (Libra) , Gerald Cannon, Lewis Nash The Stone, February 1st Aruán Ortiz, John Hébert, Nasheet Waits WAYNE HORVITZ— Smoke, January 4th Remembering Marian McPartland Cornelia Street Café, January 5th The Royal Room Collective Music Ensemble (Songlines) HENRY THREADGILL ENSEMBLE Kenny Barron, Tony Bennett, Chris Brubeck, Barbara Carroll, JULIAN LAGE/NELS CLINE ICP ORCHESTRA—East of the Sun (ICP) Jason Moran, David Virelles, Curtis Macdonald, Roman Filiu, Bill Charlap, Bill Crow, Bill Dobbins, , , Rockwood Music Hall, January 8th Christopher Hoffman, Jose Davila, Craig Weinrib Michael Feinstein, Nneena Freelon, Eddie Gomez, Doug Kassel, TOM BLANCARTE SOLO JC SANFORD ORCHESTRA— Winter Jazzfest, Judson Church, January 11th Mike Kaupa, Grace Kelly, , Bria Skonberg, Views from the Inside (Whirlwind) “Snugs Series” at 61 Local, February 23rd VINCE GIORDANO & THE NIGHTHAWKS Helen Sung, Jon Weber 92nd Street Y, March 20th PETER EVANS TRIO Town Hall, February 12th Ron Stabinsky, Cory Smythe THE REAL AMBASSADORS Colin Stetson The Firehouse Space, March 9th DEBUTS with Dianne Berkun-Menaker, Brooklyn Youth Chorus, et. al. PETER BRENDLER—Outside The Line (Posi-Tone) Peter Martin, Yolande Bavan, Roberta Gambarini, BLADERUNNER Russell Graham, Robert Hurst, Brian Owens, Ulysses Owens, Jr. Ecstatic Music Festival, Merkin Concert Hall, March 22nd EARL MCINTYRE—Brass Carnival & Tribute! (s/r) John Zorn, Bill Laswell, Dave Lombardo Vivian Sessoms, Ty Stephens, James Zollar Wadada Leo Smith/Bill Laswell Le Poisson Rouge, May 4th BRANDON SEABROOK—Sylphid Vitalizers (New Atlantis) Festival, The Appel Room, April 12th The Stone, April 22nd TOMAS FUJIWARA TRIO BRIANNA THOMAS—You Must Believe in Love RYAN KEBERLE BIG BAND Living Legacy Project Andrew White Quartet (Sound on Purpose) Ralph Alessi, Brandon Seabrook Lang Recital Hall, Hunter College, May 19th Wade Beach, , Nasar Abadey Barbès, July 13th J.J. WRIGHT—Inward Looking Outward (Ropeadope) The Jazz Gallery, April 26th KRIS DAVIS CAPRICORN CLIMBER NELS CLINE/ Mat Maneri, Ingrid Laubrock, Eivind Opsvik, Tom Rainey HenRy Butler/Steven Bernstein and The Hot 9 The Stone, August 5th The Stone, June 29th Eric Lawrence, Michael Blake, Doug Wamble, Charles Burnham, TRIBUTES , Brad Jones, Donald Edwards YOUN SUN NAH/ULF WAKENIUS RALPH ALESSI BAIDA QUARTET Blue Note, September 16th THE BAD PLUS—The Rite of Spring (Sony Masterworks) Jason Moran, , Nasheet Waits The Cutting Room, July 16th JACQUES COURSIL (WITH ALAN SILVA)— Birdland, September 6th Masada Quartet ERIC MCPHERSON FreeJazzArt (Sessions for Bill Dixon) (Rogue Art) John Zorn, , , David Virelles, John Hébert, Trevor Todd QUARTET SEEDS, November 5th CHARLIE HUNTER/SCOTT AMENDOLA— Aaron Parks, Orlando Le Fleming, Allan Mednard Village Vanguard, September 6th The Cars, Hank Williams, Cole Porter, Duke Ellington (s/r) Village Vanguard, September 14th Kenny Barron/Dave Holland MICHAEL BLAKE’S TIDDY BOOM RUSS JOHNSON—Still Out To Lunch! (Enja/Yellowbird) Birdland, October 23rd , , Jeremy “Bean” Clemons MARK TURNER QUARTET Jazz at Kitano, November 12th AKI TAKASE/ALEXANDER VON SCHLIPPENBACH— , Joe Martin, Justin Brown Steve Wilson/Lewis Nash So Long, Eric! (Homage to Eric Dolphy) (Intakt) Jazz Standard, September 20th The Jazz Gallery, November 22nd —Andrey Henkin THE BAD PLUS PLAYS SCIENCE FICTION BRANDEE YOUNGER AND , Reid Anderson, Dave King, Dezron Douglas, Jeff “Tain” Watts UNEARTHED GEMS , Ron Miles, Sam Newsome Abyssinian Baptist Church, December 7th Skirball Center, October 23rd JIMMY GIUFFRE 3 & 4— —Laurence Donohue-Greene New York Concerts (Elemental Music) —David R. Adler CHARLIE HADEN/JIM HALL—Eponymous (Impulse!) KEITH JARRETT/CHARLIE HADEN/PAUL MOTIAN— Hamburg ‘72 (ECM) MUSICIANS OF THE YEAR LABELS OF THE YEAR VENUES OF THE YEAR CHARLES LLOYD—Manhattan Stories (Resonance) NELS CLINE (guitar) CLEAN FEED (cleanfeed-records.com) Cornelia Street Café (West Village) ALEXANDER VON SCHLIPPENBACH TRIO— BILL LASWEll (electric bass/producer) ECM (ecmrecords.com) Dizzy’s Club (Upper West Side) First Recordings (Trost) CHARLES LLOYD (saxophone/flute) INTAKT (intaktrec.ch) “Snugs Series” at 61 Local (Cobble Hill) MARK TURNER (saxophone) RELATIVE PITCH (relativepitchrecords.com) The Stone (Alphabet City) ALEXANDER VON SCHLIPPENBACH (piano) SUNNYSIDE (sunnysiderecords.com) Village Vanguard (West Village)

HONORABLE MENTIONS - NEW RELEASES Juhani Aaltonen—To Future Memories (TUM) • Jason Ajemian/Tony Malaby/Rob Mazurek/Chad Taylor—A Way A Land of Life (NoBusiness) • Matt Bauder and Day in Pictures—Nightshades (Clean Feed) • David Berkman—Live at Smalls (feat. Tom Harrell) (smallsLIVE) Piero Bittolo Bon’s Lacus Amoenus (feat. Peter Evans)—The Sauna Session (Long Song) • Black Top—#One (with special guest Steve Williamson) (Babel) • Daniel Blacksberg Trio—Perilous Architecture (NoBusiness) • Johnathan Blake—Gone, but not Forgotten (Criss Cross Jazz) Michael Blake—Tiddy Boom (Sunnyside) • Paul Bley—Plays Blue (Oslo Concert) (ECM) • Itamar Borochov Quartet—Outset (Realbird) • James Brandon Lewis—Divine Travels (OKeh) • Oguz Büyükberber/Simon Nabatov/Gerry Hemingway—Live at the Bimhuis (TryTone) George Cables—Icons & Influences (HighNote) • Michael Carvin—Flash Forward (Motéma Music) • Philip Catherine/Martin Wind—New Folks (ACT Music) • Jimmy Cobb—The Original Mob (Smoke Sessions) • Marco Colonna/Agustí Fernandez—Desmadre (Fonterossa/Jambona Lab) François Courneloup—Noir Lumière (Innacor) • Jeremiah Cymerman/Nate Wooley/Evan Parker—World of Objects (5049 Records) • Nils Davidsen—Noget at Glæde Sig Til (ILK Music) • Roger Davidson—Temple of the Soul (Soundbrush) • Kris Davis Trio—Waiting For You To Grow (Clean Feed) Double Trio De Clarinettes—Itinéraire Bis (Between The Lines) • East-West Collective—Humeurs (Rogue Art) • John Edwards/Mark Sanders/John Tilbury—A Field Perpetually At The Edge Of Disorder (Fataka) • Ensemble 5—The Summary of 4 (Leo) • John Escreet—Sound, Space and Structures (Sunnyside) Farmers By Nature—Love and Ghosts (AUM Fidelity) • Agustí Fernández/Barry Guy/Ramón López—A Moment’s Liberty (Maya) • Free Nelson MandoomJazz—The Shape of Jazz to Come/Saxophone Giganticus (RareNoise) • Frontton—Alternating Flows (Unit) Tomas Fujiwara Trio—Variable Bets (Relative Pitch) • Georg Graewe—Stills & Stories (Random Acoustics) • Frank Gratkowski/Achim Kaufmann/Wilbert De Joode/Okkyung Lee—Skein (Leo) • Barry Guy New Orchestra—Amphi, Radio Rondo (Intakt) • Mary Halvorson—Reverse Blue (Relative Pitch) Mary Halvorson/Michael Formanek/Tomas Fujiwara—Thumbscrew (Cuneiform) • Billy Hart Quartet—One Is The Other (ECM) • Alexander Hawkins Ensemble—Step Wide, Step Deep (Babel) • John Hollenbeck/Alban Darche/Sebastien Boisseau/Samuel Blaser—JASS (YOLK Music) Ibrahim Electric—Rumours From Outer Space (ILK Music) • Ideal Bread—Beating The Teens: Songs of Steve Lacy (Cuneiform) • In Trio—Defining Moment (s/r) • Indigo Mist—That The Days Go By and Never Come Again (RareNoise) • Je Suis!—Ça va? (Umlaut) Achim Kaufmann/Robert Landfermann/Christian Lillinger—Grünen: Pith & Twig (Clean Feed) • Kirk Knuffke/Jesse Stacken—Five (SteepleChase) • David Krakauer—The Big Picture (Pounding Table) • Jonas Kulhammar/Espen Aalberg/Torbjörn Zetterberg—Basement Sessions, Vol. 2 (Clean Feed) John La Barbera Big Band—Caravan (Jazz Compass) • Ingrid Laubrock Octet—Zürich Concert (Intakt) • Azar Lawrence—The Seeker (Sunnyside) • Daunik Lazro/Benjamin Duboc/Didier Lasserre—Sens Radiants (Dark Tree) • Daunik Lazro/Joëlle Léandre—Hasparren (NoBusiness) Led Bib—The People In Your Neighbourhood (Cuneiform) • Wadada Leo Smith/Bill Laswell—The Stone: Akashic Meditation (MOD Technologies/Incunabula) • Wadada Leo Smith—Red Hill (RareNoise) • Lukas Ligeti/Thollem McDonas—Imaginary Images (Leo) Harold Mabern—Right on Time (Smoke Sessions) • Made To Break—Cherchez La Femme (Trost) • Branford Marsalis—In My Solitude (Live at Grace Cathedral) (OKeh) • Roscoe Mitchell/Scott Robinson—Tone Ventures (ScienSonic) • Mostly Other People Do the Killing—Hannover (Jazzwerkstatt) Matt Nelson—Lower Bottoms (Tubapede) • Mario Pavone—Street Songs (Playscape) • Ralph Peterson Fo’tet Augmented—ALIVE at Firehouse 12, Vol. 2: Fo’ n Mo’ (Onyx) • Pharoah & The Underground—Spiral Mercury (Clean Feed) • Radius/Fred Lonberg-Holm—Just Outside the Door (Hazel Jazz) Tom Rainey—Obbligato (Intakt) • Adrian Raso/Fanfare Ciocărlia—Devil’s Tale (Asphalt Tango) • Red Trio/Mattias Ståhl—North and The Red Stream (NoBusiness) • Joshua Redman—Trios Live (Nonesuch) • Mike Reed’s People, Places & Things—Second Cities: Volume 1 (482 Music) Dave Rempis/Joshua Abrams/Avreeayl Ra—Aphelion (Aerophonic) • Alex Riel/Stefan Pasborg—Drum Faces (Stunt) • Jason Roebke Octet—High/Red/Center (Delmark) • Joris Roelofs—Aliens Deliberating (Pirouet) • Ted Rosenthal Trio—Rhapsody in Gershwin (Playscape) Catherine Russell—Bring It Back (Jazz Village) • John Russell/Ståle Liavik Solberg—No Step (Hispid) • Akira Sakata/Giovanni di Domenico—Iruman (Mbari Musica) • Saxophone Summit—Visitation (ArtistShare) • Sekstons—Eponymous (Multikulti Project) Jim Self/Hollywood 12—‘Tis the Season Tuba Jolly! (Basset Hound Music) • Matthew Shipp Trio—Root of Things (Relative Pitch) • Matthew Shipp—I’ve Been To Many Places (Thirsty Ear) • Ches Smith and These Arches—International Hoohah (ForTune) Marianne Solivan—Spark (Hipnotic) • Sound & Fury—Pulsacion (Ektro) • Chris Speed Trio—Really OK (Skirl) • Vinnie Sperrazza—Apocryphal (Loyal Label) • Bob Stewart Connections—Mind the Gap (Sunnyside) • Aki Takase La Planète—Flying Soul (Intakt) Tarbaby (with Oliver Lake & Marc Ducret)—Fanon (Rogue Art) • Trio 3 + Vijay Iyer—Wiring (Intakt) • Mark Turner Quartet—Lathe of Heaven (ECM) • Anna Webber—Simple (Skirl) • Frank Wess—Magic 201 (IPO) • Sebastian Zawadzki/Mariusz Praśniewski/Radek Wośko—Tåge (Multikulti Project) (CD REVIEWS CONTINUED FROM PAGE 26) Symbols of Humanity” and, conversely, the 15-minute- plus “Civilization of Barbarism” envision a nightmarish dystopia. As Smith unleashes a torrent of caustic high- note squeals and pensive mediations, Hardedge sculpts a grinding assault of fragmented belches, creaks and barks not easy on the ears but a revelatory The Great Lakes Suites amalgam of soundwaves. At 73 years young, Wadada Wadada Leo Smith (TUM) Leo Smith continues to confound minds and ears with Children of the Sun Red Hill this trifecta of very disparate releases. Joe Sample & NDR Big Band (PRA Records) Wadada Leo Smith (RareNoise) Eponymous The Nile For more information, visit tumrecords.com, Charlie Haden/Jim Hall (Impulse) Wadada Leo Smith/Hardedge (Hardedge) .com and facebook.com/Hardedge2. Smith by Brad Cohan Song for Quintet is at The Stone Jan. 25th. See Calendar. Kenny Wheeler (ECM) enegade trumpeter, composer and improvising by Tom Greenland R visionary Wadada Leo Smith’s journey has spanned a Annual obituaries always bring a twinge of sadness. jaw-dropping arc eclipsing four decades and bearing In jazz, an improvised artform created by unique creative fruit that barely can be touched upon in this musical personalities, the loss is especially deeply felt space. Smith’s trailblazing beginnings helped pave when these distinctive presences pass on. In 2014, three groundbreaking niches in avant garde jazz still important jazz-makers—keyboardist Joe Sample, reverberating to this day. 2012’s lavish civil rights- bassist Charlie Haden and trumpeter Kenny Wheeler— based testimonial Ten Freedom Summers was, arguably, left behind memories and legacies when the last notes his crucial touchstone. The conundrum is how does of their final performances faded away. Smith follow up a Pulitzer Prize finalist in music?

Joe Sample, best known for his work with The Jazz Never content, Smith has uncorked three(!) multifarious Evil Fingers Crusaders, recorded Children of the Sun in 2011 in recordings featuring two antithetical super-groups and HDRS (Gligg) Hamburg with the NDR Bigband, with on a minimalist, sound-deconstructing duo. by Kurt Gottschalk drums. His compositions were inspired by a 1995 gig On a similarly grand scale as Ten Freedom Summers on St. Croix, when he was struck by how Middle is Smith’s conceptual opus The Great Lakes Suites, a Improvised music generally gets its energy from the Passage slaves (referred to by the album’s title) suffered mammoth two-disc ode to each of the five Great Lakes tension of different personalities meeting for a common severe oppression in the midst of a Caribbean island and an honorary sixth (“Lake St. Clair”). Enlisting with purpose. They give and they take, each in his or her “paradise”. The tracks span a number of rhythmic Smith is a cast of heavyweights: multi-instrumentalist own way, but—generally (we hope and assume)— genres—funky shuffles, calypso, ballads, cha-cha, a Henry Threadgill, longtime bass cohort John Lindberg toward some shared, unspoken goal. Compatibility, in jazz waltz, rock, AfroCuban—with sophisticated and ace drummer Jack DeJohnette. The results are an other words, is important but commonality, not contrapuntal arrangements by Jörg Achim Keller, “I epiphany of spectacularly colorful and breathless necessarily. It’s rare, in fact, to hear a group as Wanna Go Home” and “Creole Eyes” being standout interaction. The 22-minute “Lake Michigan” is as epic likeminded as cellist Tristan Honsinger, trumpeter examples. Two distinct stylists emerge through the and vibrant as the body of water from which it takes its Axel Dörner, guitarist Olaf Rupp and percussionist Oli mix: trombonist Nils Landgren, a bluesy plunger- name, a tour de force pitting Smith’s fierce trumpet Steidle, who each contribute an initial to HDRS. muted growler, and raspy-toned tenor saxophonist against or partnering with Threadgill’s alto and flute Honsinger is likely the best-known member of the Sebastian Gilles. Sample’s loose phrasing and Gadd’s in bobbing, weaving and dancing solo duels and group. A member of the venerable ICP Orchestra, he laid-back timekeeping provide a foil for the highly magical back-and-forth dialect. As Smith and had a longstanding relationship with guitarist Derek disciplined NDR team. Threadgill effortlessly dig deep with mellifluous Bailey and has worked with , Dutch punk Jim Hall and Charlie Haden, who together inspired euphoria, in-the-pocket pros Lindberg and DeJohnette band The Ex and British post-punk band The Pop generations of outwardly-bound guitarists and direct the melodic, big band-esque pulsations with Group. Dörner, a remarkable and versatile musician, , are well represented on an unearthed gem aplomb. From hard-swinging bop (“Lake Huron”) to who has worked with the Fred Van Hove’s ‘T Nonet, documenting a duo bill at the 1990 Montréal funky thump downs (“Lake Superior”), this superb Globe Unity Orchestra and ’s New International Jazz Festival, when both were in the quartet lays down an off-the-cuff looseness with laser- Jazz Orchestra, has matched the volume of The Ex and prime of their musical health. The set begins tentatively, eyed focus. the considerably lesser volume of Keith Rowe. Lesser each man checking the other’s pulse over Thelonious While Smith is credited with all the compositions known is acoustic guitarist Olaf Rupp, although the Monk’s “Bemsha Swing”, finding common ground on on The Great Lakes Suites, Red Hill is a collaborative remarkable records he made with Joe Williamson and Haden’s “First Song”, going deeper on Ornette effort. Three-quarters of sludgy metal-blues outfit Tony Buck under the name Weird Weapons might be Coleman’s disjointed blues “Turnaround” and Slobber Pup— (piano; Fender Rhodes), Joe the strongest precedent for the particular groupthink especially the gradually recognizable “Body and Soul”, Morris (switching from guitar to upright bass duties at play here. Steidle, who keeps steady pulses and where Hall’s zigzagging phrases are balanced by here) and Bálazs Pándi (drums)—unite with de facto rattles throughout the proceedings, has worked with Haden’s terraced counterlines. Hall’s 6/8 calypso leader Smith to equal the intensity, urgency and Aki Takase, Alexander von Schlippenbach and Peter “Down From Antigua” and swinging “Big Blues” are majestic breadth of The Great Lakes Suites, but Brötzmann, to name only a few. also highlights, featuring sotto voce strumming and aesthetically, they explore the polar opposite. The The band came together in 2013, when this live forward-leaning harmonies, the latter notable for quartet—in a habitual state of deep conversational recording was laid down, but is playing dates in Haden’s elastic pedal tones. The set closes with give-and-take—journey into mystical, thought- Germany to support the record this month and Haden’s “In the Moment”, a more experimental outing provoking improvisational realms on six sonically whatever they do on stage, they’ll likely do it as a enhanced by extended techniques. sprawling tracks. But for these avant garde savants, united force. On record they play sustained, tonal Trumpeter Kenny Wheeler was equally it’s no noisy free-for-all. Instead, the foursome create passages and, more often, fast flurries of percussive comfortable in the milieux of muscular postbop and feathery vistas, Smith’s piercing wails and subtle attack, rarely letting the focus land on any one cosmic free-improv, his work preserved on a wealth of lyricism and Saft’s bluesy speed-fingering and abstract instrument. But if one were to focus one’s attention in seminal recordings as leader and collaborator. Songs for caresses and pangs taking center stage while the any particular direction, it might be toward Rupp. Quintet is his gentle swan song for ECM, a relaxed date rhythmic heartbeat of Morris’ beefy plucks and bow- While he’s technician enough to lay down the (although the track “1076” recalls a younger, more on-strings scrapes and Pándi’s metal-flavored frenetic occasional, jazzy comping, his big strokes and boisterous side of his playing) setting his compelling brushes, crashes and thuds huddle to form a mind- pointillistic plucking do much to propel the group’s original melodies against guitarist ’s numbingly organic resonance. music. That music is abstract but makes uniform sense. undulating accompaniment and tenor saxophonist The Nile—a partnership that brings Smith together The unaccustomed ear might not enjoy it but (unlike ’s rough-voiced lyricism. Group with the elusive “sound designer” Hardedge—probes some free meets) would likely still get that the players empathy and a shared ethos are exemplified on the ghostly, minimalist percolations that wouldn’t be out are working together. The part that doesn’t make sense bent tones and fractured melody of “The Long of place at a noise festival. Blood-raw and primal is the spoken non-sequiturs on Roman Polanski and Waiting”, martial tango “Sly Eyes”, shadowed blues- soundscapes are yielded (so much so the listener can missing objects. Which is just as well—one wouldn’t riffing of “Old Time”, trance-inducing “Pretty Liddle decipher Smith’s grunts and heavy breaths) on the want too much sense being made. Waltz” and through-composed “Nonetheless”. four-track, 53-minute undertaking, which finds Hardedge’s knob-twiddling electronics abuse For more information, visit gligg-records.com. Tristan For more information, visit prarecords.com, impulse-label.com mounting an ominous wall of jarring dissonance. Honsinger is at Le Poisson Rouge Jan. 9th with ICP and ecmrecords.com Despite its title, the 17-minute-and-change “Signs and Orchestra as part of Winter Jazzfest. See Calendar.

30 JANUARY 2015 | THE NEW YORK CITY JAZZ RECORD

Not that she sounds just like him—not at all. But Bloch has absorbed the approach of Konitz and fellow traveler and the man that helmed likely the first totally ‘free’ session, iconic pianist Lennie Tristano. Bloch has the cool, lithe, vibrato-less mode of Konitz down, but it’s what she does with it that counts. Feathery is not any sort of throwback to the oft- maligned West Coast Sound of the ‘50s. If anything, Strength Energy Imagination Bloch has another ‘50s icon providing inspiration: Dorothy Donegan (Storyville) Ornette Coleman. Like him, the feeling of the blues is Candlelight Lady (SteepleChase) infused in her playing along with a sense of dry by Terrell Holmes angularity—her solos don’t ‘go’ as some of the jaded of us might expect yet they are impeccably logical and A lustrum has passed since the jazz world lost always have that sense of forward impetus. drummer Ed Thigpen (1930-2010). Thigpen lived in The band of guitarist Dave Miller, bassist Cameron Copenhagen from 1974 until his death and in that time Brown and drummer Billy Mintz is perfect for her. he worked around that city with other jazz greats. They give her compositions plenty of room—concise In 1980 Thigpen and Danish bassist Mads Vinding and free of clutter or extraneous notes, that’s the backed pianist Dorothy Donegan at Jazzhus Slukefter ticket—and play well as a unit. Brown is spare and in Copenhagen, included on Strength Energy soulful, Mintz is crisp and Miller’s guitar has a peculiar Imagination, a reissue of two concerts. Donegan was an crackle to it, a spare way of playing that lets the strings ivory alchemist who fused styles from boogie-woogie truly resonate, almost making a listener feel inches to Beethoven to create her own exuberant alloy. Playing from the guitar. He doesn’t so much accompany Bloch with her was challenging because she had so much as is a voice alongside hers. energy and imagination. Donegan, through medleys, While most of this platter is somewhat pensive tries to squeeze as much of the Great American and ruminative in mood, “Featherbed” is a welcome Songbook into the set as possible. A benign contempt break, proving (for those needing it) that Bloch can for lyrics—she earnestly tramples “Pennies from roar straight-up bebop with the best of them, the band Heaven”, “You’re Nobody Till Somebody Loves You”— whipping up a merry storm behind her. While it is a and abrupt changes on changes are a by-product of this cliché to end reviews this way, it fits: Bloch is a talent compression. Thigpen isn’t sure when to come in at the to watch, building upon the innovations of Konitz, beginning of “Out of Nowhere/Sweet Lorraine/Send Brown and Tristano in a singular manner. In the Clowns”; his brushes whisper tentatively beneath Donegan’s hill and dale intro. But he navigates For more information, visit thirteenthnoterecords.com. these harmonic riddles to establish a perfect tempo Bloch is at Bar Chord Jan. 21st and NYC Baha’i Center Jan. and texture, and emphasizing coherence over 27th. See Calendar. pyrotechnics. On “Edmund Thigpen’s Gospel”, a contrafact of “Down by the Riverside”, he’s just USED starting to warm up as the song fades out. Six years earlier Thigpen joined fellow ex-pats, NEW saxophonist Dexter Gordon and pianist Kenny Drew, with Vinding once more, at the Montmartre Jazzhus in Copenhagen for a set released recently under Gordon’s name as Candlelight Lady. Long Tall Dexter always played it cool and straight. His phrases on chestnuts like “Old Folks” and “There Is No Greater Love” might have been long but he always ended them with a period, not an ellipsis or a semicolon. So all Thigpen needed to do here was, like a good quarterback, sit 236 West 26 Street, Room 804 comfortably in the pocket. The vibe is relaxed from New York, NY 10001 Vinding’s first notes on Gordon’s “The Rainbow People” and Thigpen is more sure-footed. He supports Monday-Saturday, 10:00-6:00 Gordon’s bluesy sax on “Sticky Vicket” with crisp cymbal and snare shots. “Montmartre” shows where Tel: 212-675-4480 he was headed on “Edmund Thigpen’s Gospel”. He’s aggressive right out of the box on this sprint with a Fax: 212-675-4504 fierce opening salvo and towards the end plays a vigorous solo as if to unleash all of the energy he had Email: [email protected] conserved throughout the set. Web: jazzrecordcenter.com

For more information, visit storyvillerecords.com and LP’s, CD, Videos (DVD/VHS), steeplechase.dk Books, Magazines, Posters, Postcards, T-shirts, Calendars, Ephemera Buy, Sell, Trade Collections bought and/or appraised Also carrying specialist labels e.g. Fresh Sound, Criss Cross, Feathery Lena Bloch (Thirteenth Note) Ayler, Silkheart, AUM Fidelity, by Mark Keresman Nagel Heyer, Eremite, Venus, Clean Feed, Enja and many more Tenor saxophonist Lena Bloch is a likely ‘heir’ to the throne of that still-thriving captain of cool, Lee Konitz.

32 JANUARY 2015 | THE NEW YORK CITY JAZZ RECORD

restraint, opening “Harp Ran Blond” with a conversational drum tattoo and taking a quietly potent THE NEW YORK CITY JAZZ RECORD outing on the anagrammatically titled “Lord Sumo”. Trumpeter Ralph Alessi achieves his impact not through in-your-face virtuosity, but through careful BEST OF attention to timbre and note placement. Although best 2014 known for his work in inside settings, he demonstrates an inspiring free sensibility. However far out the NEW RELEASES HONORABLE MENTIONS context, he retains a slippery lyrical streak, enjoying a MARY HALVORSON/MICHAEL FORMANEK/ Variable Bets minor key trumpet lament on “The Comb” before the TOMAS FUJIWARA Tomas Fujiwara Trio (Relative Pitch) cut builds in intensity and diverges into three-way “Thumbscrew” soloing. Guitarist Brandon Seabrook acts as the by John Sharpe IDEAL BREAD wildcard; his effects-strewn contributions nonetheless “Beating The Teens - Songs Of Steve Lacy” Tomas Fujiwara already helms one outfit, The promote ingenious musicality and perpetuate the inner Hookup—well-regarded among the pantheon of logic of each track. He also makes effective use of LED BIB contemporary drummer-led ensembles—but he looks silence, notably on “Insomniac’s Delight”, where he “The People In Your Neighbourhood” likely to add a second with the new trio unveiled on subjects a nagging riff to constant minor revision and Variable Bets. While the quintet hews closely to ornamentation. All three combine to deliver a great CUNEIFORM ARTISTS IN NYC THIS MONTH Fujiwara’s charts, he takes a different tack with the listen full of depth, understated power and cohesion. THE CELLAR AND POINT trio, linking compositions with passages of group January 8-10 - Winter Jazz Fest improvisation. Of course this approach boasts a long For more information, visit relativepitchrecords.com. This ANTHONY PIROG WITH MICHAEL FORMANEK pedigree stretching back to Don Cherry’s Complete band is at Cornelia Street Café Jan. 9th. See Calendar. AND CHES SMITH Communion, via Anthony Braxton and others, but in JJanuary 8-10 - Winter Jazz Fest Fujiwara’s hands the improvisations assume equal prominence with the thematic material. ED PALERMO BIG BAND January 17 and 18 - Iridium The trio creates an attractive organic feel to the proceedings, handling Fujiwara’s cryptic charts loosely so that they emerge from the flow as if by accident before returning without jarring transitions. What’s NEW RELEASES equally impressive is that all eight pieces were captured live in concert and in an unbroken stream at the 2015 Brooklyn club Barbès in September 2013. Fujiwara steers from behind the traps, balancing bristling Sonic Halo THE KANDINSKY EFFECT rumble and percussive coloration, which makes his Tineke Postma/Greg Osby (Challenge) Somnambulist excursions into precise meter all the more exciting by Ken Dryden when they arrive. Fujiwara wields his chops with Tineke Postma has been one of the rising stars among European saxophonists over the past decade, though recently she has been dividing her time between Amsterdam and New York City. She honed her skills at HENRY KAISER the Manhattan School of Music with David Liebman, & RAY RUSSELL Dick Oatts and Chris Potter. Since her debut recording The Celestial Squid she has had a steady output as a leader. Postma is equally skilled on both alto and soprano and this meeting with her former mentor Greg Osby, who also doubles on both instruments, is a dream come true for her. The rhythm section for this session is MIKE OSBORNE made up of (piano and Fender Rhodes), in-demand young bassist Linda Oh and drummer Dan Dawn Weiss. Both leaders contributed originals for the date and a challenge for listeners is trying to identify the respective saxophonists, made more difficult by the similarity of their approaches. Postma’s ominous “Sea Skies” is an infectious SOFT MACHINE pairing of two sopranos, with plenty of fireworks in Switzerland 1974 their overlapping lines. Osby’s jagged, constantly shifting “Facets” features alto and soprano. Postma’s “Source Code” casts a pensive spell with the two altos and an introspective piano solo. Osby’s “Where I’m From” is a gorgeous ballad combining nostalgia and a tinge of sorrow. The lush soprano with harmony by the SCHNELLERTOLLERMEIER alto creates a magical blend, complemented by sparse, deliberate piano. Postma’s turbulent “Nine Times a X Night” is marked by its tense rhythmic undercurrent and explosive solos. Osby’s loping “Bottom Forty” has a sauntering, funky flavor beneath its fiery sopranos. Postma’s angular “Melo” showcases the rhythm section in the introduction, with percussion accents cuneiformrecords.com keeping things deliberately off-kilter beneath the cuneiformrecords.bandcamp.com paired altos. The sole chestnut of this session is the alto Buy these and thousands of other saxophonists’ intriguing abstract reworking of “Body interesting releases at our online store: and Soul”, which remains on the periphery of its chord changes. This provocative outing demonstrates the waysidemusic.com tremendous growth of Postma and the continued mastery of veteran Osby.

For more information, visit challengerecords.com. This project is at The Jazz Gallery Jan. 9th. See Calendar.

THE NEW YORK CITY JAZZ RECORD | JANUARY 2015 33 Longo’s style is of the ‘less is more’ variety, but his mastery of the instrument is also a lesson in how to build a solo—a perfect example of which is on his rendition of “Always”. West plays a lyrical bass with outstanding work on “A Child Is Born” and “Yesterdays”. Mosca also stands out with a strong With a Song in my Heart connection to Longo via appropriate drum fills and Antonio Ciacca Trio (TwinsMusic) musical conversing I Remember Cedar Add to this threesome of trio albums the David Hazeltine (Sharp Nine) impossibly hard-to-define energy that all NYC-based The Mike Longo Trio Celebrates Oscar Peterson Live musicians seem to possess and you have a most Mike Longo (CAP) enjoyable package with which to treat your ears. by Marcia Hillman The jazz piano trio has been a staple in NYC nightclubs, For more information, visit twinsmusicny.com, sharpnine.com bars and lounges for the longest time. Anywhere there and jazzbeat.com. Ciacca is at Measure Jan. 1st-3rd, 12th-17th, is a venue with room for a piano wanting jazz along 24th and 26th-31st. Hazeltine is at Saint Peter’s Jan. 14th. DUANE EUBANKS with its eats and drinks, the piano trio has been on the Longo is at NYC Baha’i Center Jan. 13th. See Calendar. QUINTET menu. The beauty of the formation gives each musician plenty of room to shine in their solos and the THINGS OF THAT opportunity to listen carefully to each other’s PARTICULAR improvisations. Here are three of the best with new NATURE releases. SSC 1390 - IN STORES 1/20/2015 Pianist Antonio Ciacca, along with bassist Paul Gill and drummer Peter Van Nostrand, offers a ubanks had known and collaborated with drum- collection of six Great American Songbook favorites Emer, Eric McPherson, for a number of years. and three originals on With a Song in my Heart. It is McPherson helped forge a relationship with saxo- immediately obvious that the members of this trio

phonist, Abraham Burton. It wasn’t until Burton have that magical, musical connection, having worked together for the past seven years. As a player, Ciacca In Motion and New Cuban Express invited Eubanks to sit in on a gig that featured demonstrates a happy, light, swinging touch that will bassist, Dezron Douglas and pianist, Marc Cary (Criss Cross Jazz) bring a smile to the listener. As a composer, he writes by George Kanzler that the trumpeter truly felt at home with a group. melodically and bases his tunes on famous songs (i.e., Eubanks knew that he wanted to perform with these the melody of “It’s About Time” stems from the Cuban music and jazz have been intertwined at a musicians, as their energy and love for each other harmonics of “Just In Time”). When it comes to the complex level ever since the island gave us such was obvious, as McPherson, Burton, and Cary had familiar selections, two Cole Porter favorites stand out: musicians as Paquito D’Rivera and Arturo Sandoval “It’s All Right With Me” and “You Do Something To over three decades ago. Cubans have been in the been playing together for nearly 20 years, and it Me”. The former in uptempo displays Ciacca’s ability forefront of a new AfroLatin jazz that goes beyond came across to audiences. to swing alongside driving bass and an exciting drum montuno and simple, static harmony to one that statement. The latter features Ciacca playing the verse embraces bebop and postbop advances. At 34, Manuel out of tempo and then gliding into a medium groove Valera is part of the latest vanguard of Cuban expatriate for the chorus along with some drum tap-dancing. jazz musicians, a pianist as influenced by Bill Evans Another highlight is a hardly-ever-done fully arco solo and Chick Corea as Chucho Valdés. The core of his from Gill on the original “It’s About Time”. New Cuban Express may be fellow Cubans— With I Remember Cedar, pianist David Hazeltine saxophonist Yosvany Terry, drummer-percussionists has chosen to tribute one of his major influences, the Ludwig Afonso and Mauricio Herrera—but it also late . According to the liner notes, includes the American guitarist Tom Guarna and Hazeltine was “trying to incorporate aspects of Cedar’s expatriates (trumpet) from Russia and style since 1974.” Hazeltine and his bandmates, bassist Hans Glawischnig (bass) from Austria. David Williams and drummer , are Although infused with rich tropical polyrhythms, heard playing nine Walton compositions and the Valera’s program is surprisingly diverse in tempo and familiar “Over The Rainbow” (which Walton once time signatures. After an opening nod to traditional played at a club for Hazeltine and his wife, who were AfroCuban jam session protocols with a modern twist, celebrating their birthdays). Walton’s compositions are “Descargando”, it invokes everything from Cuban all melodic, reflecting the way he played piano and makuta and abakua rhythms and bolero to pieces Hazeltine interprets them here with the same solid pitting four against three and employing a reverse AARON GOLDBERG authority. The trio formula works well here with all image 9/8. The one cover, among eight originals, is a THE NOW players receiving fairly equal time for individual Cuban bolero, “No Puedo Ser Feliz”, with a tender, SSC 1402 - IN STORES 1/20/2015 interpretation. Farnsworth shows off his skill at beseeching melody (reminiscent of “Somewhere in the with playing melody on “Simple Pleasure”, dances Night”) achingly voiced by Terry’s evocative alto sax, ERIC HARLAND drums delightfully on “Martha’s Prize” and delivers a Latin- followed by a spare, lyric piano solo before a vampy, REUBEN ROGERS bass flavored highlight on “Fiesta Español”. Williams is descarga coda. Original highlights include a concerto- impressive throughout and in solo spots on “Martha’s like “Preamble”, a long solo piano intro morphing into n his new release The Now, Goldberg reunites Prize” and “Dear Ruth”. Other notable tracks are the a cascading ensemble theme and solos over a montuno Owith bassist Reuben Rogers and drummer Eric uptempo “Holy Land” and the bop-oriented “Cedar’s rhythm from piano and soprano sax; “Bantu” in a Harland, the virtuoso rhythm team going all the way Blues”. makuta rhythm with Valera’s Fender Rhodes evoking back to his 1998 debut . On their fifth The Mike Longo Trio’s offering is another tribute memories of Eumir Deodato’s CTI albums from the Turning Point album—this one to Oscar Peterson, with whom Longo ‘70s; and a bolero-like “Para Emiliano”, also with outing together, the trio foregrounds a central truth spent an intensive six months in private study in the Fender Rhodes, an undulating theme giving way to about the art of playing jazz: that no two perform- ‘60s. The songs played on this one are all Great guitar and piano solos before accelerating rhythms ances will be the same because the music is creat- American Songbook items associated with Peterson spark bright solo exchanges by trumpet and soprano ed, in Goldberg’s words, “in the dynamic plane of the from his albums. The recording by the trio (completed sax. There’s a rhythmic and creative flow to this album present.” by bassist Paul West and drummer Ray Mosca) was reflecting that this is a working band, easily united in done live at the John Birks Gillespie Auditorium of the combining the leader’s ensemble intentions with NYC Bahai Center; Longo’s liner notes state that there strong, individual solo moments. iTunes.com/AaronGoldberg “was no rehearsal so everything you ear is totally iTunes.com/DuaneEubanks improvised…I simply showed up with a list of songs For more information, visit crisscrossjazz.com. Valera is at www.sunnysiderecords.com and started blowing”, illustrating the connection Smalls Jan. 5th and Zinc Bar Jan. 9th with Dafnis Prieto as between the players and also their individual talents. part of Winter Jazzfest. See Calendar.

34 JANUARY 2015 | THE NEW YORK CITY JAZZ RECORD

and the overall sound of the group—recalls Woody in music from both sides of the river. The nod to Sam Shaw’s albums of the late ‘70s and early ‘80s: high- the Sham on “Tequila Death” is priceless and their level music with a muscular, contagious energy. execution as they quickly change tempos and meld Everyone he’s hired to back him is on his level: genres is flawless. Burton blows hard, but never goes all the way out into This is music to stir the slain, in a jazzy sort of honking and splattering; Cary’s touch on the piano is way, and the intensity that bassist Samo González, as deft as it is strong; Douglas and McPherson swing drummer Frankie Mares and turntablist DJ Zero create hard, but are just as capable of turning a ballad into a is the powerful core of most of these tunes. Trumpeter softly wafting mood piece. Things of that Particular Gilberto Cervantes and saxophonist Arturo Santillanes

Things of that Particular Nature Nature isn’t a revelation—nobody here’s trying to stray across lots of borders, dwelling on the Mexican Duane Eubanks Quintet (Sunnyside) reinvent the wheel. But with its focus on melody and traces just enough to add salsa ripples to an already by Phil Freeman its relative concision (6 of its 10 tracks are under five intense mix, while keyboardist Christian Jiménez can minutes long; three of them are under four), it offers create cheesy Farfisa or crushing Nine Inch Nails Trumpeter Duane Eubanks, younger brother of great pleasure to most any jazz fan. soundscapes. trombonist Robin and guitarist Kevin, hasn’t made an The band is well connected and can accelerate and album as a leader in well over a decade. For this one, For more information, visit sunnysiderecords.com. This brake hard without any ragged edges and because of he’s assembled an impressive band: tenor saxophonist project is at Smalls Jan. 29th. See Calendar. the horn/heavy metal contrast the songs do not Abraham Burton, keyboardist Marc Cary, bassist devolve into noise. Opener “Stranger” has the horns

Dezron Douglas and drummer Eric McPherson. riffing off an intense onslaught and “Príncipe Charro” Vibraphonist Steve Nelson guests on two tracks. uses similar contrasts to introduce the prince and his The compositions are all Eubanks originals, save a horse in style. All is not a raving onslaught, however, version of ’s “Holding Hands”; the and the session expertly employs complexity, modern trumpeter served in the pianist’s band for years, jazz soloing, electronica and even some quiet moments. beginning in the ‘80s. The first track, “Purple, Blue and This enables the band to create the intrigue inherent in Red”, was originally recorded on drummer Jeff deadly “Arsenic Lips”, beautiful and sexy engagement Williams’ 2001 album Another Time while the closing with a mysterious “Femme Fatal”, a varied trip through cut, “Slew Footed”, is a reworking of a piece from the “Underworld” and wonderful expression of the Eubanks’ last disc under his own name, 1999’s Second various shades inherent in “Claroscuro”. Somehow Crimen Sonoro Take. Nearly all the compositions are strongly focused Troker is able to create a disciplined and compact high- Troker (s/r) on melody and structured like songs rather than formal by Elliott Simon energy sound from a variety of influences that, until or technical exercises. The sole exception is the Crimen Sonoro, have not been very well acquainted stuttering, funky “Dance With Aleta”. It would be easy Crimen Sonoro puts punk, funk, metal, industrial, hip- with each other. for a singer to deliver lyrics on almost any track here. hop and Mariachi music as well as several jazz sub- This is an ideal setting for a player like Eubanks, whose genres into its musical cement mixer to produce one of For more information, visit en.troker.com.mx. This band is solos tend toward the lyrical and have a vibrant energy, the most intense fusion releases of last year. Troker at Bowery Electric Jan. 10th as part of Winter Jazzfest. See particularly on ballads. In some ways, his playing— hails from Mexico and this sextet is well versed Calendar.

36 JANUARY 2015 | THE NEW YORK CITY JAZZ RECORD

s/1 Event Horizon Luc Ex’ Assemblée (Red Note) Peter Evans/Sam Pluta (Carrier) by Ken Waxman by Fred Bouchard

Although many of Dutch bassist Luc Ex’ affiliations This album pairing electrified trumpet with laptoppery have been with rock-jazz oriented groups, Assemblée is sounded much clearer and present played in its $20 LP an unabashed jazz project, for which he composed a set format on a quality stereo system than the $5 download of distinctive originals, given added heft by featuring on a tinny MacBook Pro, even through a Beats headset. American drummer , the closest thing to a Improved channel separation and widened dynamic percussion insurance policy that exists. Fellow range helped distinguish between the sounds/roles of Netherlander Ab Baars and German Ingrid Laubrock Peter Evans’ trumpet and Sam Pluta’s programming, complete the lineup. Even though each mostly plays the latter probably not including trumpet manipulation tenor saxophone, there’s no emulation of the dueling and filtering. While the trumpet seldom sounded tenor tradition embedded in hardbop or free jazz. ‘trumpet-like’ (except for a rare Lester Bowie-like blat) Instead, Laubrock and Baars, both of whom have it still fairly consistently showed (what sounds to be) put in time as sidefolk and bandleaders in many wind-like plosive air attack and natural (frequently contexts, work out equitable responses to Ex’s lines avian) audio effects. With the LP, the question of that cunningly promote individual expression. Despite ‘Where does laptop end and horn begin?’ no longer verbose titles “The Unexpected Death of a Fortune nags the confused listener. These are nip-n-tuck Teller” and “When the Demiurge Looks in the Mirror”, duets. for instance, the creations are in reality relaxed lopes, On the title track, Pluta posits a bed of edgy where unison reed breaths are moved along nervous energy fields where Evans enters in a Conlon chromatically and almost effortlessly by Ex’ ringing Nancarrow-quick cadenza of leaps and echo effects. string strokes and Drake’s open backbeat. When, on Bird-like squawks and smooches battle high-frequency the other hand, the horns crack, shave and otherwise beeps and static and engagingly frenetic heron toots shatter their phrases into tiny pieces, as on “Expanding rise over marshy furze. Over loop patterns, horn for Aye” or the final “Mutated Square Dance”, sparse approximates ruffed grouse wing flutter, goose honks rhythmic undertones from bass-string motifs and and Wadada Leo Smith-esque slowdowns to sustain cymbal pops subtly ripen into straightforward grooves. and zero fadeout. Solid jazz time sense is still asserted on the almost “Dark Matter” opens a dead-slow yawp over a fully deconstructed “The Road” and when Baars brings void on which Evans inserts flutter-tongued whispers, out his shakuhachi and Laubrock her soprano remotely trumpet-like, which accelerate into super- saxophone on “Primates Travel by Train”. The rapid REM flashes. Pluta’s ice-crystal shower collides cornucopia of reed vibration on the first piece quickens with Evans’ humpback whale’s alert cries, which, in into a steady pulse; the wind whistles and sighs of the speedy solo cadenza, gradually approximate trumpet second are railroaded into a 21st Century variation of timbres. Towards the end, Evans ‘hits’ some serious classic locomotive-reflecting rhythmic swing when Ex blats reminiscent of Bowie and Pluta ends it with a few and Drake finally join the action. seconds of generator-like wobblies. Unfazed by labels and nationalities, Ex has The title “Gateway To Another Dimension” assembled an exemplary quartet whose free music conjures up Sun Ra and his Arkestra before you even variant of rhythmic swing deserves more exposure. hear a single note and again after hearing a few. There’s more dynamic variability, volume and texture than on For more information, visit lucex.nl/cms/rednote. Ingrid ‘Side A’. In two minutes, things speed up infinitely Laubrock is at Delroy’s Cafe and Wine Bar Jan. 5th and Ibeam into a grand pause (black hole?). Then the two voices Brooklyn Jan. 30th. Ab Baars is at Le Poisson Rouge Jan. 9th wrench into ‘another dimension’ with shrill brassy with ICP Orchestra as part of Winter Jazzfest. Hamid Drake sforzandi fading into insect-like tremolos and spacy is at Roulette Jan. 17th with William Parker. See Calendar. boo-bam hits. The central section ramps up with desultory sonic materials, including the following (randomly identified) elements: amplified valve bounces; old-fashioned squishes à la Russian electronic music composer Vladimir Ussachevsky; rail-like grunts (eventually accelerating into singularity); half- second delay chases; accelerating bee-buzzes fading into quietly chattering cicadas. The final third hits as near-normal trumpet repeats descending thirds and flutter-tongued sustains, surrounded by a flattening tire. A coda begins with ‘obligatory drum solo’ in the form of dry-conga hits, then trumpet jabs trading twos, ones, closing with a blubbering hurt. Over 3 tracks and 40 minutes, the main tempo marking would probably be allegro (quarter note = 120) and the sound generally acrid to acidic. I imagine the players had as much head-scratching joy executing these sounds as this reporter did trying to describe them. Long live experimentalism.

For more information, visit carrierrecords.com. Evans is at The Stone Jan. 18th as part of The Pleasures Of A Normal Man. Pluta is at Ibeam Brooklyn Jan. 30th. See Calendar.

THE NEW YORK CITY JAZZ RECORD | JANUARY 2015 37

including Miles Davis, and earn him a contract with sanitized, a quality that may point to Dolphy’s Blue Note Records during the label’s heyday. But after background in classical music but which has led some making a handful of well-received U.S. albums in the critics to charge it sounds unrehearsed. Indeed, late ‘50s-early ‘60s, he largely faded from public view, trumpeter Ed Armour had quit Dolphy’s band just save for a few brief reappearances in the ‘70s. Although before the recording (saying he didn’t like the music) he’s still living in New York in his 80s, little has been to be replaced by —no doubt a better heard from Reece for decades. fit for Dolphy’s unusual compositions—so maybe the A new multi-disc set offers fans a chance to delve band wasn’t quite ready when they went into the deeper into Reece’s fascinating story. The collection studio. Or maybe the album truly would have marked

Primavera features everything the trumpeter recorded as a leader, a new direction for Dolphy, even for jazz. Sara Serpa & André Matos (Inner Circle Music) on both sides of the pond, between 1954-62. The five Dolphy’s album runs hot and cold at the same by Suzanne Lorge discs include six albums made under Reece’s name, time. It doesn’t swing exactly but the potential of notably his three Blue Note releases, as well as a swing is in there. And it’s that potentiality that keeps it Primavera, from singer/pianist Sara Serpa and handful of EPs, sideman gigs and obscurities. from being heard as chamber music. The brilliant guitarist André Matos, is 14 tunes featuring shimmering The early discs, recorded in , feature fairly composer and noise-maker Otomo Yoshihide’s nine- vocals, austere guitar accompaniment and simple, straightahead bebop sessions, with solid turns by piece New Jazz Orchestra rerecorded the album in layered harmonies. The lean arrangements complement Reece and other top British artists such as saxophonists 2005, adding electronics and bringing out the tensions Serpa’s vocals perfectly, neither intruding nor , Ronnie Scott and Tubby Hayes, all well and dissonances in the original. Johnson focuses on the obscuring the singer’s delicate, fast-paced vocalese or played but with few surprises. But over the next few other side of the equation on Still Out to Lunch!. With a her carefully articulated lyrics. She sings in her native years, there’s a noted growth in Reece’s sound, more stellar band (alto saxophonist , pianist Portuguese and in English, using text drawn from command, more risk-taking and a growing interest in , bassist Brad Jones and drummer George poets like Alberto Caeiro (“O Guardador de Rebanhos” world music. By the time he makes his debut for Blue Schuller), Johnson brightens—one might argue he and “A Realidade das Coisas”) and e.e. cummings Note in 1958 with Blues in Trinity, a session recorded in lightens—the original, bringing out the jazziness of the (“Earth”) and by singer Jeanne Lee (“Vanguard”, London, he’s a fully-formed artist easily capable of tunes. The knotty complexities are still there; Johnson inspired by Fyodor Dostoyevsky’s short story “The holding his own with American stars like fellow just makes the colors more vivid. The fuller Dream of a Ridiculous Man”). The duo excels at trumpeter Donald Byrd and drummer . The arrangements and warmer playing give it, for better or combining pure sounds—vowels, strings, words, horn, album features mostly Reece’s evocative originals, as worse, a more palatable feel than the original, with keys, breath—and creating soothing, inspiring musical well as inventive readings of standards like Monk’s graceful piano playing standing in for Bobby sketches. “’Round About Midnight”. Hutcherson’s blocky, rhythmic vibraphone, nestling On the opening title cut, Serpa shows off her skill He followed that release with a move to New York the tunes cozily in the pocket. The high point comes as an imaginative melody-maker. She doubles her and two more Blue Note sessions: Star Bright, with the with the loping “Straight Up and Down”, a searing alto voice on a line that alternates between legato and peerless rhythm section of Wynton Kelly (piano), Paul intro seeming to inspire the band to dig its fingers deep percussive phrases, exploring both the higher and Chambers (bass) and Taylor, with label stalwart Hank into strong, unison statements of the theme. lower vocal registers, repeating phrases in some Mobley (tenor sax); and Soundin’ Off, a quartet date sections and leaping to surprising intervals in others. with Taylor, pianist Walter Bishop Jr. and bassist Doug For more information, visit enjarecords.com. This band is at By contrast, with “Se Me Va La Voz”, by Argentinian Watkins. Both albums are hard-swinging efforts Judson Church Jan. 9th as part of Winter Jazzfest. See Calendar. pianist Guillermo Klein, Serpa delivers a combining Reece originals with familiar fare like straightforward rendition of the folksy jazz tune and “Yesterdays” and “Our Love is Here to Stay” and fit on Ran Blake’s “Vanguard” she almost speaks the art- neatly within the well-honed Blue Note style of the era. song melody like a monologue. The shifts in color from Despite positive critical feedback, however, the albums tune to tune are subtle; you’ll want to listen several failed to sell and Reece’s tenure with the label ended. times to catch the many nuances. Reece pushed ahead though and recorded perhaps Matos is an emotive player who makes full use of his most personal, most forward-looking album, Asia space without losing the rhythmic center of the tune. Minor, for the New Jazz label in 1962. In the company His compositions (“Tempo”, “Rios” and “Garden”, for of and (saxophones), Hank example) are contemplative, musing and modern; Jones (piano), Ron Carter (bass) and Charli Persip when he joins with saxophonist Greg Osby—on (drums), Reece explored Eastern-tinged melodies and “Choro”, for example—the soloist is free to move into more experimental compositions as never before. dissonance but always returns to Matos’ clear harmonic What happened next? Why didn’t Reece achieve structure. It’s an amiable musical relationship that the success and notoriety of some of his no-more- hints at something deeper. Likewise with Serpa: the talented peers? It’s difficult to say, but this rewarding two musicians play off of each other symbiotically and set offers the best overview available of the important synergistically and the tunes on the CD, taken together, contributions he made to jazz during his peak years. offer a snapshot of where the duo are in their combined artistry. For more information, visit acrobatmusic.net

For more information, visit innercirclemusic.net. Serpa and Matos are at Greenwich House Music School Jan. 29th. See Calendar.

Still Out To Lunch! Russ Johnson (Enja/Yellowbird) by Kurt Gottschalk

The Complete Recordings 1954-62 2014 was a good year for Eric Dolphy. 50 years after Dizzy Reece (Acrobat Music) his death and the release of Out to Lunch!, his greatest by Joel Roberts record, a number of reinterpretations of his work (the process which keeps jazz’ blood coursing) made their Jamaica-born trumpeter Dizzy Reece, who turns 84 this way to the market, discs by pianists Aki Takase and month, is an enigmatic figure in jazz history. A fine Alexander von Schlippenbach, saxophonist Silke hardbop player who emerged on the British jazz scene Eberhard and, discussed here, trumpeter Russ in the late ‘40s-early ‘50s, his talents were strong enough Johnson‘s Still Out to Lunch!. to gain the attention of jazz fans and peers in America, Out to Lunch! is an oddly stark record, almost

38 JANUARY 2015 | THE NEW YORK CITY JAZZ RECORD BMC CD 214 BMC CD 212 BMC CD 210 Andreas Schaerer meets Béla Szakcsi Lakatos, Tim Viktor Tóth Arura Trio ARTE Quartett & Ries, Robert Hurst, Rudy The Present / Szemed Kincse Wolfgang Zwiauer Royston Perpetual Delirium Climate Change

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Distribution: THE HUNGARIAN JAZZ LABEL allegromediagroup.com

lyrical, with melodies that are memorable and singable. steam that encapsulate the largely fulfilled heroic The first track, Richard Rodgers-Oscar ambition of the suite. Hammerstein’s “Love Look Away”, leading off with a Potter’s plangent sound is more individual and drum fanfare, immediately signals a swinging personal than ever. Three final tracks solidify his approach. This is followed by the title track (a Webber prowess: “Firefly” and “Sky” both elaborate showcases original), which has a melody sounding deceptively for his tenor sax and the orchestra; “Shadow Self” a bass like a scale exercise, but far more interesting because of clarinet feature with Potter shadowed by the strings the chord changes. Webber starts this track when they are not creating riffs and rhythms behind unaccompanied and is then joined by the rest of the him. At first a bit overwhelming, Imaginary Cities makes

Walking on Water group. The ballad “This Love Of Mine” is also done an indelible impression, which should last long after Vic Juris Quartet (SteepleChase) with an up feeling even though it is a torch song, other “orchestral” jazz projects fade from memory. by Ken Dryden Webber delivering a quiet, thoughtful reading. Another original, “Minor March”, is also on the up side even For more information, visit ecmrecords.com. This project is A veteran of many decades on the jazz scene, guitarist though the minor notation seems to indicate otherwise. at Jazz Standard Jan. 27th-Feb. 1st. See Calendar. Vic Juris has a versatile sound touching on many styles. Because of the intimate nature of the guitar and This studio meeting includes trumpeter especially since it is the featured instrument, this (who has included Juris in his Norbotten Big Band for album sends out a wonderfully relaxed message. And IN PRINT a number of years), in-demand veteran bassist Jay since it has a live audience, that energy between Anderson and talented drummer Anthony Pinciotti. players and listeners adds to that relaxed feeling. Young aspiring guitarists should focus on Juris’ The small group format allows space for all the ability to put together an attention-grabbing set, players. Reeves, who hands in solid support blending brilliant originals with jazz songs infrequently throughout, provides a driving solo on “Minor March”. recorded and an intense workout of a standard. Mabern’s mastery shines on all tracks, especially on Opening this date is the guitarist’s “Mama Luke”, a . Farnsworth is not only a time keeper but is hip blues with a funky swagger. Fireworks occur one of the small community of drummers able to play throughout the quartet’s interpretation of Ornette a melody on his instrument and he is given a lot of Coleman’s “Law Years”, the leader achieving a brittle opportunity to show off his talent, featured on many of sound reminiscent of . The mood quickly the tracks in trades with both guitar and piano. shifts with Juris’ mellow, lyrical ballad “Walking On Records Ruin The Landscape David Grubbs (Duke University Press) Water” as Hagans’ thoughtful, vocal-like muted For more information, visit cellarlive.com. Webber is at by Kurt Gottschalk trumpet conveys the message without words. Juris Smoke Jan. 1st with Eric Alexander/Harold Mabern, The switches to acoustic guitar for his easygoing ballad Quaker’s Friends Meeting House Jan. 8th as part of Winter This short, enjoyable book by guitarist and Brooklyn “Newtown”, sans Hagans. While there is a folk nuance Jazzfest and Mezzrow Jan 7th-9th. See Calendar. College Associate Professor of Contemporary Music to the piece, his intricate guitar line infuses with a David Grubbs is an argument from the outset. The brilliant improvisation in the understated setting. Fats title, paraphrased from a lambasting of Navarro’s classic bop theme “Nostalgia” isn’t as recorded music, is loaded to say the least. Grubbs popular these days, but its infectious melody makes aligns himself with Cage’s claim that recording for sparkling interplay between Juris and Hagans’ music doesn’t just dilute it, it somehow destroys it, muted horn. In Juris’ capable hands, Sam Rivers’ but for better or worse doesn’t much stick to the “Cyclic Episode” still sounds very modern a half- battle plan through the book’s 165 pages. century after it was written. The quartet’s fresh look at The book begins and ends with poet/provocateur the oft-recorded warhorse “All the Things You Are” Kenneth Goldsmith and much of the middle is not only omits the frequently used introduction added consumed with Cage, so the scope is fairly narrow. by Dizzy Gillespie, but plays around the edges of its Goldsmith is the founder of the UbuWeb archive, Imaginary Cities theme in an intense workout, only hinting at its theme which hosts free avant garde music, film and poetry Chris Potter Underground Orchestra (ECM) as they are wrapping the performance. by George Kanzler without concern for permissions, making himself a willful scapegoat for download culture and a model For more information, visit steeplechase.dk. Juris is at Blue Saxophonist Chris Potter’s Underground Orchestra is for the need for better avenues of music distribution. Note Jan. 20th-25th with . See Calendar. modest in size, only 11 musicians, but produces a Cage famously said that he prefers the sounds of surprisingly full, panoramic sound. Potter has Manhattan traffic to recorded music, although he also

composed imposing pieces for it, reaching way beyond participated in the commercial recording of his music. the frames of standard jazz tune structures. The Grubbs seems to fall into traps laid by both of these centerpiece is the four-part title suite; a half-century divisive, charismatic figures. ago, it would have been categorized as Third Stream It’s a bit hard to find a thesis in the book. Grubbs music, but now such incorporations of classical and wants to argue against recordings making permanent other genres into jazz are common enough to have something created spontaneously. He gives the broadened the perception of jazz itself. example of learning an album by British guitarist The Underground Orchestra is built on a core of Derek Bailey, another famous naysayer of recordings. Potter’s Underground quartet but while that band Over repeat listens, improvisation is made concrete. featured Craig Taborn on Fender Rhodes, here he sticks He then quotes Jim O’Rourke (never identifying him Down For The Count to piano; other quartet members are guitarist Adam as a former bandmate), saying that the music is so John Webber Quartet (Cellar Live) by Marcia Hillman Rogers and drummer Nate Smith. Added to the complex it can’t be understood on a single listen, orchestra are mallet player Steve Nelson; electric bass that the art is only served by repeat listens. Down For The Count marks the debut recording of guitarist Fila Ephron; acoustic bassist , plus It all gets a bit muddy, but is a fun read. Grubbs bassist John Webber as a leader playing guitar and a string quartet. “Lament”, the opening track, serves as references a Buddhist parable included in a brochure there is definitely nothing down about it. Recorded a prelude to the central suite, a lush ballad introduced published by the British free improv group AMM in live at The Unity Center in New York City with a studio by the string quartet and tenor sax before the ensemble 1970. In it, a man complains about a tree on his audience, Webber is joined by Harold Mabern (piano), brings it to fruition under a lyrical Potter solo. property that isn’t good for fruit or lumber. A second Nat Reeves (bass) and Joe Farnsworth (drums), plus a “Imaginary Cities” develops material through four man asks why he is troubled by the tree having no guest appearance by tenor saxophonist George movements, a recognizable theme appearing in various use. The members of AMM—who at least in their Coleman on two tracks (including his own “Big G guises and shifting tonal colors and tempos throughout, early days were unhappy with the way they were Blues”), offering a collection of mostly original Webber as a motif for solos and in ensemble combinations. presented on record—used the story as an argument compositions combined with a couple of standards. Momentum builds not only within each movement, against people saying their music was pointless. Webber has stated that if he’s “leading the gig, I but also through the suite: “Dualities (Part 2)” Grubbs’ book, likewise, may not really have a use prefer to play guitar, but as a sideman, bass is my springing pizzicato strings in a much faster tempo but it can still be appreciated. thing.” His guitar playing is a single line flow of than the first part; “Rebuilding (Part 4)” following up melodic ideas with a tendency towards less is more— a rubato-dominated “Disintegration (Part 3)” with hip- For more information, visit dukeupress.edu though he can do flashy runs if desired. His writing is hop rhythms and a steadily building orchestral head of

40 JANUARY 2015 | THE NEW YORK CITY JAZZ RECORD heritage. Her dymaic vocals make heavy use of Inuit “anxious and dark” melody. The title tune features alto throat singing—similar in technique to the better- sax in a complex, concerto-like shifting aural canvas. known Tuvan throat singing, but used in storytelling The one cover, Ornette Coleman’s “Free”, is also the rather than spiritual practice. Tagaq becomes characters only uptempo piece, a tour de force for the saxes in a in her wordless performances and those characters fiendish unison line and tandem solo exchanges. more often than not are non-human animals. She sings Brewer has accomplished that rare feat of fashioning a in rhythmic grunts and pitched panting, groans and unique ensemble sound and vision while allowing screams. Animism (recorded with Martin and Zubot) ample space for individual voices. The Jazz City Workshop breaks the hourlong exploration into digestible chunks (Bethlehem-Verse Music Group) Four Horns and A Lush Life while advancing her as a songstress. Certain tracks For more information, visit crisscrossjazz.com. Brewer is at Various Artists (Bethlehem-Verse Music Group) seem intended to appeal to a more adventurous pop Somethin’ Jazz Club Jan. 13th with Hermon Mehari, Smalls by Fred Bouchard audience. Opener “Caribou” could easily win over Jan. 14th-15th with , The Jazz Gallery Jan. 17th Björk fans while anthemic “Fight” might invite the with Aaron Burnett and The Stone Jan. 23rd-24th with Marty Paich, who would have turned 90 this month Mike Patton crowd (both singers with whom Tagaq has Vijay Iyer. See Calendar. (he died at 70 in 1995), was a minor force in West Coast worked in the past). But the abstract cuts (which easily jazz in the ‘50s-60s. Here we find his edgy, decorative outnumber the songs) benefit from a more focused piano prominent in Bethlehem sessions from November approach as well. While in concert we can imagine the ON SCREEN 1955. Pacing is fast and furious, rough around the scenes of predators and ice that might be going through edges: think one-take wonders in three-minute (78 her head over an hour’s time, here we can see them RPM or 45 RPM) format. Tunes are all Tin Pan Alley or with her, in vignette form. Such titles as “Rabbit”, jazz standards, with one original each thrown in. “Howl” and “Damp Animal Spirits” spell out the The Jazz City Workshop is Paich’s lean, sextet blaring scenes while the music leaves plenty to the imagination. his charts with the grumpy trombone of Herbie Harper Even still, Tagaq’s stories are usually static scenes. as lone horn and Larry Bunker’s vibraphone as a lanky We get the storm and we get the chase but they’re just frontline mate. These charts today sound hokey, the settings for sound. It would be interesting to see Tagaq band often rushing the beat fueled by bongos and traps, cast in something larger than her own imagination, to with a touch of Les Baxter mai-tai Polynesian. Gritty see how someone else might use her talents. But at this notes by “Symphony” Sid echoing gumshoe Dashiell moment, she’s released a second record worthy of her Hammett and paste-up cover art complement earthy own unusual abilities. My Coma Dreams Fred Hersch (Palmetto) takes on “Autumn Leaves” and finger-poppin’ by Ken Dryden “Serenade in Blue” and “Them There Eyes”. For more information, visit sixshooterrecords.com. Tagaq is Four Horns and A Lush Life is arranger Russ Garcia’s at Joe’s Pub Jan. 12th. See Calendar. Fred Hersch has long been an activist educating the slightly more studied session—with Paich neatly public about the threat of AIDS. The pianist was plunking several peppy solos—offering a dozen hearty, HIV-positive for an extended period before the full- four-square meat-and-potatoes charts for a veteran blown disease developed, then a major health trombone section. Harper is back, joined by saucy episode caused him to be admitted to a hospital, stalwarts Frank Rosolino and Tommy Pederson, with where he was put into a medically induced coma for trumpeter fingering his valves. The two months as doctors worked to save him. After a richer recording resembles four warm fuzzy-bears grueling rehab of several months, Hersch told belting out standards (“Dancing on The Ceiling”, writer/director Herschel Garfein of dreams he “Lover Come Back To Me”) and earnestly schmaltzy recalled from his coma and his desire to create a ballads in vibrato-laden chorale style (“Lush Life”, work that incorporated music and theater. Coma “Boy Next Door”, “But Beautiful”). Bassist Red Dreams blends Garfein’s deft treatment of Hersch’s Mythology Mitchell adds bottom and drummer Stan Levey thrust. remarks, plus those of his partner Scott, adding Matt Brewer (Criss Cross Jazz) Fans of breezy California bop can thank Verse by George Kanzler spoken transitions, all deftly delivered by actor/ Music for exhaustive reissuing, documenting minor singer Michael Winther, who speaks in both roles sessions for tiny audiences. The preserved original Bassist Matt Brewer has assembled a sextet of strong, and as an impartial observer, in addition to his packages sport cheesy graphics and toss-off liners, individualistic voices for his leader debut. His seven moving vocals. but—like the music—ooze oodles of sunny personality. original pieces are atmospheric, creating impressionist Hersch wrote the music after the script was soundscapes ranging from a portrait of Georgia completed, even embracing comical variations of the For more information, visit bethlehemrecords.com O’Keefe’s small town in New Mexico to evocations of stereotypical movie where a physician discusses the the sea, islands and literary allusions. Favoring slower, patient’s chances, only to be interrupted by a phone

even languid, tempos and subtle, pastel colors, Brewer call. His score covers a lot of musical ground, ranging employs Lage Lund’s guitar and David Virelles’ piano from melodic ballads (especially the haunting as supple enhancements to the harmonies rather than recurring theme “The Knitters”) to edgy avant garde, hard-comping or rhythmic instruments. Mark Turner’s bop and classical, though its course seems as tenor saxophone is paired with Steve Lehman’s alto, unpredictable as Hersch’s medical battle. A superb, more often in contrast or tandem than in unison, and versatile pianist, Hersch is accompanied by a crack the beat is held down by the inventively freewheeling orchestra including bassist John Hébert and yet always rhythmic drummer Marcus Gilmore. drummer John Hollenbeck, trumpeter/flugelhornist There are hints of bossa nova in the soft chords Ralph Alessi, trombonist Bruce Christianson, and snaky, weaving saxes in the theme of “Abiquiú”, reedplayers Bruce Williamson and Adam Kolker, Animism about that New Mexico town, as well as a pattern—a plus a string quartet highlighted by violist Joyce Tanya Tagaq (Six Shooter) by Kurt Gottschalk long, engaging ensemble section of melody and Hammann’s engaging solo. embellishments giving way to solos and additional The musicians make Hersch’s dream come alive, Inuit singer Tanya Tagaq is clearly at a turning point ensemble choruses—that will repeat throughout the buoyed by Garfein’s deft staging (which includes with her new album—that being, a point at which she album. Here it is pizzicato bass that emerges first in a animation both on a backdrop and sometimes can either take a turn or keep doing the same thing. No spare solo, followed by a burbling, tangy alto sax over superimposed onto the video) and Winther’s doubt the biggest singer ever to come out of the rhythm eventually joined by tenor sax asides before immersion into his demanding roles. Videotaped in Nunavut Territory in northern Canada, her concerts— the theme returns. “Rose Hill” evokes the sea with front of a live audience, this engrossing work defies most often with violinist Jesse Zubot and drummer swelling harmonies over repeated, wave-like chords being categorized as either jazz or musical theater. Jean Martin—are prolonged improvisations, evocative from piano and guitar, which also create the feel of Bonus material includes interviews with Hersch and while rarely straying from form. That tack was gentle undulatation on “Moorings”. Darting and several of the principals. captured on her 2012 live album Anuraagtuq. What that weaving saxes enjoy a sustained prelude on “Fighting album, or the previous Auk / Blood, didn’t do, however, Windmills” before a straight eighth rhythm kicks in for For more information, visit palmetto-records.com. Hersch was define her unusual work, something the new a unison sax theme to usher in a piano solo, ensemble is at Village Vanguard Jan. 13th-18th and 20th-25th. See Animism seems very much intended to do. vamps and a short unison coda. “Joya”, a ballad feature Calendar. Tagaq’s performances are heavily rooted in her for Turner, is aptly described by Brewer as having an

THE NEW YORK CITY JAZZ RECORD | JANUARY 2015 41 journey toward a unique creation, music-making at they dial it back to free ballad tempo on “Chicago 3”. BOXED SET its purest and most demanding. The final two CDs are devoted to meetings with Pianist Agustí Fernández is among Europe’s sharply contrasting, long-standing duos. First up are most creative free improvisers, a magnificent drummer and trumpeter Nate Wooley, technician who has pushed the expressive potential who can create powerful music with a minimalist of the piano’s interior as far as it has yet been revealed. rattle of tom-tom and bleat of trumpet. A key passage Whether it’s strummed and scraped strings or here begins as a kind of round initiated by Wooley, dazzling end-to-end keyboard flurries, the Barcelona which Vandermark picks up and carries forward on pianist’s work here is virtually orchestral, surrounding baritone, generating tremendous heat in a formal way and pressing Vandermark’s lines in a remarkable that can suggest some of the counter-thematic display of duet playing that sometimes foregoes improvisations of Albert Ayler. The music’s freedom detailed interaction for the sheer sweeping passion of springs from constant shifts in direction, creating the Nine Ways To Read a Bridge their lines. sense of a large, shared canvas in which numerous Ken Vandermark (Not Two) If the piano is a traditional stand-in for an modes of production arise. by Stuart Broomer orchestra, Christof Kurzmann’s electronics might be a The final CD has Vandermark in concert with contemporary one. Kurzmann creates fields around percussionist Eddie Prévost and pianist John Tilbury, Ken Vandermark is one of the most prolific figures in Vandermark, sometimes picking up and matching his the duo version of AMM, the improvising ensemble contemporary music, leading multiple bands and sonorities. The two create new ground on “Krakow that the former has helmed for almost 50 years. An participating in even more. He’s explored the index point 2”, with Vandermark matching potent AMM performance is as beautifully still and abstract repertoire of the historical avant garde extensively— R&B tenor à la to the spacey backdrop. as the music of Morton Feldman, a particularly from Jimmy Giuffre to —and done a Two CDs follow in which Vandermark plays demanding form of collective improvisation that remarkable job of documenting his own music, from duets with crucial early influences and long-time seems to massage silence. Vandermark enters wholly the Vandermark 5 to the Territory Band. Over the past collaborators. The CD with Joe McPhee on pocket into the special sonic architecture in which AMM 20 years he has become a central figure in free jazz. trumpet and reeds produces the most traditional specializes, at one point matching his upper register Nine Ways To Read a Bridge is a celebration of music of the set, a deeply felt summoning of spirits. clarinet sounds to Prévost’s cymbals in the Vandermark’s 50th birthday. The set documents “ 4” has the air of a particularly intense transcendence of traditional sonic identities towards another dimension of his work: ad-hoc free spiritual while “5” and “6” match Vandermark’s raw which this music moves. improvisation outside the bounds of such regular baritone ostinatos with McPhee’s soulful blues What makes this set so remarkable is its bands as Double Tandem, the trio with drummer Paul exhortations on alto. consistency, both in its creativity and its empathy. Nilssen-Love and reedplayer Ab Baars. Vandermark Guitarist Joe Morris had a singular impact on Vandermark and his partners are wholly committed has been working in free improvisation with Vandermark’s musical development in Boston and to collective invention and the partnerships work increasing frequency, most often in Europe, and he they have a taste for high-speed freebop, so fast that whether their shared histories are long or short. covers a remarkable range of aesthetics and they create phantom tertiary lines between them on approaches in the six CDs that make up this collection, the long and often playful dialogue that opens their For more information, visit nottwo.com. Vandermark is at each devoted to a different duo or trio. Each is a meeting. The close interplay is just as effective when Judson Church Jan. 10th as part of Winter Jazzfest. See Calendar. Cobi Narita Presents OPEN MICS RESUME JANUARY 9TH, 2015 EVERY FRIDAY 7:30 TO 10:30 PM OPEN MIC/JAM SESSION Open Mic/Jam Session for Singers, Tap Dancers, Instrumentalists, Poets - hosted by Frank Owens, one of the most gifted pianists you will ever hear! Our Open Mic is one of the best of the Open Mics happening in New York & elsewhere, with the incomparable pianist Frank Owens playing for you. An unmatchable moment in your life! As a participant, or as an audience member, you will always have an amazing time, one you will never forget! Don’t miss! Admission: $10 Pearl Studios, 519 8th Ave, 12th Floor cobinarita.com

42 JANUARY 2015 | THE NEW YORK CITY JAZZ RECORD MISCELLANY ON THIS DAY by Andrey Henkin

Groove Blues Turning Point Blues for myself Reemergence Lightsey to Gladden Gene Ammons (Prestige) Lonnie Smith (Blue Note) Tete Montoliu (Ensayo) (Interplay) (Criss Cross) January 3rd, 1958 January 3rd, 1969 January 3rd, 1977 January 3rd, 1980 January 3rd, 1991 This album by tenor saxophonist Gene Before he became a doctor, Lonnie Blind pianist Tete Montoliu had a In a career that began in 1958 with Max This is an interesting album in that it is Ammons came at the end of a decade Smith was a blues-drenched organist steady career, recording albums as a Roach and included work with Dizzy a pianist (Kirk Lightsey) celebrating a when he had started strong, with a in the Blue Note fold. This was his leader in his native Spain in the late Gillespie, , Eric Dolphy, drummer (Eddie Gladden) born in the number of releases, and finished in second album for the label, after a 1966 ‘50s and work under the leadership of John Coltrane, Freddie Hubbard and same year (1937), his bandmate from prison for drug charges. This was one Columbia debut and 1968’s Think!. , , many others, the late bassist Art Davis saxophonist Dexter Gordon’s band of of only four sessions Ammons made in One of five tracks (“People Sure Act Archie Shepp and Dexter Gordon in could be excused for not having much 1980-82 (Gladden had been working 1958 and featured his “All-Stars”: Funny”) is a typical organ trio with the ‘60s. By the time of this session, he time to record as a leader. This is one of with Gordon since 1971). The old (flute) John Melvin Sparks (guitar) and Leo Morris was recording almost exclusively as a only a handful of albums under his friends are joined on this date by the Coltrane (on alto saxophone!), Paul (drums). The rest is horn-heavy sextet leader. This trio set was waxed in his name, a traditional piano trio with multi-generational band of Marcus Quinichette (tenor saxophone), Pepper with Lee Morgan (trumpet), Bennie hometown of Barcelona and features younger bandmates pianist Hilton Belgrave (trumpet), Craig Handy Adams (baritone saxophone), Mal Maupin (tenor saxophone) and Julian the leader’s tunes, ’s Ruiz (28 at the time) and drummer (tenor saxophone and flute) and David Waldron (piano), George Joyner (bass) Priester playing two tunes by the “Jimmy’s Tempo” and a couple of Greg Bandy. Davis wrote three of the Williams (bass) for a program of one and Art Taylor (drums). Waldron leader (“Slow High” and the title standards played with the pianist’s five tunes for the date, the others Lightsey original, one piece by Handy, wrote three tunes to go with “It Might track), soul song “See Saw” and The longtime rhythm section of Eric Peter Minnie Ripperton’s “Lovin’ You“ and two by drummer Lawrence Williams as Well Be Spring”. Beatles’ “Eleanor Rigby”. (bass) and Peer Wyboris (drums). “I Can’t Give You Anything But Love”. and some jazz standards. BIRTHDAYS January 1 January 6 January 11 January 16 January 22 January 26 †Al McKibbon 1919-2005 †Bobby Stark 1906-45 †Wilbur De Paris 1900-73 †Irving Mills 1884-1985 †Juan Tizol 1900-84 †Stephane Grappelli 1908-97 † 1923-99 †Keith Christie 1931-80 †Tab Smith 1909-71 b.1941 †Teddy McRae 1908-99 †Alice Babs 1924-2014 †Helmut Brandt 1931-2001 †Danny Moore 1941-2005 †Bob Enevoldsen 1920-2006 †JJ Johnson 1924-2001 Dick Nash b.1928 Sonny Greenwich b.1936 Barry Altschul b.1943 †Osie Johnson 1923-66 January 17 †Teddy Smith 1932-79 Benny Golson b.1929 †Susannah McCorkle 1946-2001 Adam Larson b.1990 †Cal Massey 1927-72 †Big Sid Catlett 1910-51 †Jean-Louis Viale 1933-84 Aki Takase b.1948 Chris Potter b.1970 †George Handy 1920-97 Alan Silva b.1939 James Shipp b.1980 January 7 January 12 †Cedar Walton 1934-2013 b.1940 January 27 †Henry “Red” Allen 1908-67 †Trummy Young 1912-84 †Ted Dunbar 1937-98 b.1943 †Oran “Hot Lips” Page 1908-54 January 2 † 1915-48 †Jay McShann 1916-2006 Billy Harper b.1943 Michal Urbaniak b.1943 Jimmie Smith b.1938 †Nick Fatool 1915-2000 †Keg Purnell 1915-65 † 1927-98 Pheeroan akLaff b.1955 Bobby Hutcherson b.1941 MIKE STERN †Arthur Prysock 1929-97 †Sam Woodyard 1925-88 †Ronald Shannon Jackson January 23 Noah Jarrett b.1978 †Kenny Davern 1935-2006 1940-2013 January 18 †Benny Waters 1902-98 January 28 January 10th, 1954 †Eldee Young 1936-2007 Ernst Bier b.1951 Don Thompson b.1940 †Django Reinhardt 1910-53 †Ronnie Scott 1927-96 January 3 Jane Ira Bloom b.1955 Al Foster b.1944 †Teddy Napoleon 1914-64 Buddy Terry b.1941 The only thing stern about this †Preston Jackson 1902-83 January 8 b.1961 Steve Grossman b.1951 †Scoops Carry 1915-70 Bob Moses b.1948 Boston-born, Washington-DC- †Herbie Nichols 1919-63 raised guitarist is the †Wendell Culley 1906-83 Ingrid Jensen b.1966 b.1963 †Ray Abrams 1920-92 b.1957 commitment to his craft, b.1921 †Bobby Tucker 1923-2007 Gene Lake b.1966 Dominic Lash b.1980 †Marty Paich 1925-95 Lorenzo Sanguedolce b.1975 supposedly practicing for †Geezil (Harolde) Minerve Bill Goodwin b.1942 † 1926-63 three hours every morning, no 1922-92 b.1948 January 13 January 19 Harold Ousley b.1929 January 29 matter what time he went to †John Jenkins 1931-93 Marilyn Mazur b.1955 †Quentin Butter Jackson †JR Monterose 1927-93 b.1943 †Arnold Ross 1921-2000 bed. An alumnus of the †Motohiko Hino 1946-1999 Dan Tepfer b.1982 1909-76 Horace Parlan b.1931 Andre Hayward b.1973 †Ed Shaughnessy 1929-2013 Berklee School of Music b.1969 †Otis Johnson 1910-94 Hod O’Brien b.1936 †Frank Assunto 1932-74 alongside such other guitar January 9 † 1926-99 Phil Wilson b.1937 January 24 †Derek Bailey 1932-2005 heroes as Pat Metheny and January 4 †Kenny Clarke 1914-85 †Joe Pass 1929-95 †Sam T. Brown 1939-77 †Avery Parrish 1917-59 †Jeff Clyne 1937-2010 John Scofield, Stern got his †Frankie Newton 1906-54 †Jimmy Maxwell 1917-2002 Bill Easley b.1946 b.1960 †Jimmy Forrest 1920-80 †Jeanne Lee 1939-2000 major exposure playing on †Joe Marsala 1907-78 †Betty Roche 1920-99 Eero Koivistoinen b.1946 †Joe Albany 1924-88 Miles Davis’ 1981 live album † 1916-91 †Roger Guerin 1926-2010 January 20 Lennie McBrowne b.1933 January 30 We Want Miles and then Man †Frank Wess 1922-2013 Bucky Pizzarelli b.1926 January 14 Jimmy Cobb b.1929 †Bobby Scott 1937-90 † 1911-89 with the Horn and Star People. Al Dreares b.1929 †Carson Smith 1931-97 †Jimmy Crawford 1910-80 Valery Ponomarev b.1943 †Julius Hemphill 1938-95 †Bernie Leighton 1921-94 His credits are vast, with such John McLaughlin b.1942 Malcolm Cecil b.1937 †Billy Butterfield 1917-88 †Chuck Domanico 1944-2002 Marcus Printup b.1967 †Ahmed Abdul Malik 1927-93 players as Jaco Pastorius, Eugene Chadbourne b.1954 †Joe Muranyi 1928-2012 b.1957 Duane Eubanks b.1969 †Tubby Hayes 1935-73 Michael Brecker, Jim Hall, Bob Alex Cline b.1956 January 10 †Kenny Wheeler 1930-2014 Jeff “Tain” Watts b.1960 † 1940-2011 Berg, Tom Harrell and others †Haywood Henry 1913-94 Grady Tate b.1932 Tatsuya Nakatani b.1970 January 25 Ralph Lalama b.1951 and his leader discography January 5 †Buddy Johnson 1915-77 †Wellman Braud 1891-1966 includes more than 15 entries †Wild Bill Davison 1906-89 † 1924-2007 January 15 January 21 †Truck Parham 1913-2002 January 31 for Atlantic during the ‘80s-90s †Lennie Hastings 1927-78 †Willie Dennis 1926-65 † 1909-73 Steve Potts b.1945 †Floyd Smith 1917-82 †Bobby Hackett 1915-76 and Heads Up International Dizzy Reece b.1931 †Allen Eager 1927-2003 †Artie Shapiro 1916-2003 Lou Grassi b.1947 Barbara Carroll b.1925 b.1936 since the middle of last decade. Chuck Flores b.1935 William Parker b.1952 †Bob Maize 1945-2004 Kevin Norton b.1956 †Antonio Carlos Jobim 1927-95 Frank Ricotti b.1949 Stern is married to fellow Myra Melford b.1957 Mike Stern b.1954 Baikida Carroll b.1947 Jason Moran b.1975 Alexis Cuadrado b.1971 Per Zanussi b.1977 guitarist Leni Stern. (AH) CROSSWORD 1 2 3 4 5 ACROSS DOWN

6 7 1. When we were young 2. Late Indonesian saxophonist Joop 6. String player C. Spencer 3. What kind of portrait Mingus

8 9 10 8. What most jazz musicians are painted in three colors 9. What , André 4. “Quick” song by Steve Lacy

11 12 Previn and George Shearing from 1975’s Esteem have in common 5. Drake who leads Bindu 11. Blue Note Records founder 7. It published Richard Cook 13 13. Jazz cat retort and Brian Morton’s Guide 14. Waller or Navarro to Jazz Recordings 14 15 16 17. He visited planets with 8. M in ECM? John Coltrane 10. NZ Jz. Fest. 17 18 19 20. This PA Univ. holds the 12. Keyboard player Jason Memorial Jazz Collection 15. College course prefix for classes 20 21 21. RCA affiliate that released where jazz is typically taught ‘70s albums by Mike Westbrook 16. Where Wes Montgomery’s

22 and Keith Tippett Full House was recorded 22. Pianist Yamamoto 18. Danish drummer Morten 23. Pat Martino’s doppelganger 19. Gilbert of Jazzcorner.com 23 on Baiyina

By Andrey Henkin visit nycjazzrecord.com for answers THE NEW YORK CITY JAZZ RECORD | JANUARY 2015 43 CALENDAR

Thursday, January 1 • Virgil Gadson and Friends with Jazzmeia Horn • David Zakarian Quintet Silvana 6 pm Ginny’s Supper Club 7:30, 9:30 pm $10 • Dmitry Strelianny Shrine 6 pm • John Zorn Improv Night—A Stone Benefit: Ikue Mori, Jim Pugliese, , • Jordan Klemons Trio with Jeff Dingler, Josh Bailey; Brothers of Contrapuntal Swing: Kenny Grohowski, Craig Taborn, Gyan Riley, and guests Jimmy Halperin, Larry Meyer, Dave Frank, Bill McCrossen, George Hooks Tuesday, January 6 The Stone 8 pm $25 Somethin’ Jazz Club 7, 9 pm $12 êDee Dee Bridgewater Iridium 8, 10 pm $45-60 • Richard Clement Trio Cleopatra’s Needle 8 pm êMonterey Jazz Fest On Tour: , Ravi Coltrane, êThe Bad Plus: Ethan Iverson, Reid Anderson, Dave King êPeter Bernstein Quartet with Brad Mehldau, Greg Hutchinson and guest Blue Note 8, 10:30 pm $35 Village Vanguard 8:30, 10:30 pm $25 Christian McBride Dizzy’s Club 7:30, 9:30 pm $45 êAnimal Crackers: Kenny Werner, Dan Blake, Jorge Roeder, Richie Barshay êJohn Coltrane Festival: Eric Alexander/Harold Mabern Sextet with Jeremy Pelt, êJon Irabagon Festival: Jon Irabagon Trio with Mary Halvorson, Nasheet Waits The Stone 8, 10 pm $15 Vincent Herring, John Webber, Joe Farnsworth Cornelia Street Café 9, 10:30 pm $10 • Kurt Rosenwinkel New Quartet with Aaron Parks, Eric Revis, Allan Mednard Smoke 7, 9, 10:30 pm $45 êJohn Coltrane Festival: JD Allen Quartet with Victor Gould, Gregg August, Village Vanguard 8:30, 10:30 pm $25 • Richard Bona’s Mandekan Cubano with Dennis Hernandez, Rey David, Rudy Royston Smoke 7, 9, 10:30 pm $40 êBill O’Connell and the Latin Jazz All-Stars with Conrad Herwig, Steve Slagle, Osmany Paredes, Luisito Quintero, Roberto Quintero • Larry Ham/Woody Witt; Quintet with , Tardo Hammer, Luques Curtis, Adam Cruz, Richie Flores Jazz Standard 7:30, 9:30 pm $35 David Wong, Phil Stewart Smalls 7:30, 10:30 pm $20 Birdland 8:30, 11 pm $30 • with , Richie Goods, Billy Kilson, Andy Ezrin, Ben Butler, êJon Davis/Gianluca Renzi Knickerbocker Bar and Grill 9:45 pm $5 êHelen Sung Quintet with , Mike Rodriguez, Reuben Rogers, Sy Smith, George Komsky, Caroline Campbell êJohn Zorn Improv Night—A Stone Benefit: Uri Caine, Ned Rothenberg, Obed Calvaire Jazz Standard 7:30, 9:30 pm $25 Blue Note 8, 10:30 pm $75 Kenny Wollesen, Charles Bernstein, Sofia Rei, Nate Wooley, Steve Swell, Ilhan Ersahin, êMatt Mitchell Quartet with Chris Speed, Chris Tordini, Dan Weiss • The Birdland Big Band Birdland 8:30, 11 pm $40 Ron Anderson and guests The Stone 8 pm $25 The Jazz Gallery 8, 10 pm $15 êTaylor Eigsti/Mark Turner Mezzrow 8:30 pm $20 êThe Bad Plus: Ethan Iverson, Reid Anderson, Dave King êMadeleine Peyroux City Winery 8 pm $45-60 • Joel Press Quartet with Michael Kanan, Neal Miner, Fukushi Tainaka; Village Vanguard 8:30, 10:30 pm $25 • Art Lillard’s Heavenly Big Band Iridium 8, 10 pm $25 Santi Debriano Quartet with Ralph Lalama, Roni Ben Hur, Tommy Campbell; • Richard Bona’s Mandekan Cubano with Dennis Hernandez, Rey David, êThe Minton’s Players Minton’s 7, 8:30, 10 pm $10-20 Nick Hempton Band with Tadataka Unno, Dave Baron, Dan Aran Osmany Paredes, Luisito Quintero, Roberto Quintero • Jazz at Lincoln Center Youth Orchestra with Herlin Riley Smalls 6, 9:30 pm 12 am $20 Jazz Standard 7:30, 9:30, 11:30 pm $35 Dizzy’s Club 7:30, 9:30 pm $20 • Pedrito Martinez Group SubRosa 7, 9 pm $20 • Chris Botti with Geoffrey Keezer, Richie Goods, Billy Kilson, Andy Ezrin, Ben Butler, • Riley Mulherkar’s Birth of the American Orchestra • Alex Brown Trio Terraza 7 8 pm $7 Sy Smith, George Komsky, Caroline Campbell Dizzy’s Club 11:30 pm $5 • Or Baraket Trio with Alon Albagli, Rajiv Jayaweera Blue Note 8, 10:30 pm $75 • Michael Bates Quartet with Donny McCaslin, , Jeremy “Bean” Clemons Bar Next Door 8:30, 10:30 pm $12 • The Birdland Big Band Birdland 8:30, 11 pm $40 Korzo 9, 10:30 pm • Antonio Ciacca Measure 8 pm • /Mike Moreno Mezzrow 8:30 pm $20 • Christian Coleman Quartet with Jon Irabagon, Broc Hempel, Sam Minaie • Saul Rubin Zebtet Fat Cat 10 pm • Pedrito Martinez Group SubRosa 7, 9 pm $20 Cornelia Street Café 8:30 pm $10 • Space Short Cut: Kyoko Kitamura, Daniel Carter, Nicolas Letman-Burtinovic; Art Bailey, • Antonio Ciacca Measure 8 pm • Spike Wilner Trio; Smalls Legacy Band: Frank Lacy, Stacy Dillard, Josh Evans, Kirk Knuffke, Rene Hart, George Schuller • Ioanna Isagari Silvana 6 pm Theo Hill, Ameen Saleem, Kush Abadey; Kyle Poole and Friends Spectrum 7:30, 8:30 pm • Larry Newcomb Quartet; Adam Rongo Trio; Akiko Tsuruga Trio Smalls 7:30, 10:30 pm 12:30 am $20 êBoss Tenor: Oscar Noriega, Chris Speed, Matt Pavolka The Garage 12, 6, 10:30 pm • Saul Rubin; John Benitez Fat Cat 7, 9 pm Barbès 10 pm $10 • Bryn Roberts/Lage Lund Mezzrow 8 pm $20 • Jason Prover Sneak Thievery Orchestra Sunday, January 4 • Kevin Wang Trio with Rick Rosato, Adam Arruda Radegast Hall 3 pm Bar Next Door 8:30, 10:30 pm $12 • New Orleans Jazz Brunch—The Music Of Louis Armstrong: “Hot Lips” Joey Morant • Johnny O’Neal Trio with Luke Sellick, Charles Goold; Joe Magnarelli • Lili Añel; Ansel Matthews ShapeShifter Lab 7, 8:15 pm $10 and Catfish Stew Lucille’s at B.B. King’s Blues Bar 1:30 pm $25 Smalls 7:30, 10:30 pm $20 • Billy Test solo Jazz at Kitano 8 pm • Fukushi Tainaka Trio; Champian Fulton Quartet • Jessica Jones/Tony Jones; The Low Strung Duet: Charlie Burnham/Marika Hughes • Nelson Salgado Trio with Kevin Suwandhi, Sandy Winarta; David Zakarian Quintet with The Garage 12, 7 pm WhyNot Bistro 7, 8:30 pm $10 Braden Smith, Gabriel Chakarji, Aron Caceres, Antoinne Pierre • Brandon Bain with Ben Paterson, Devin Starks, John Davis, Wayne Tucker, Somethin’ Jazz Club 7, 9 pm $12 Friday, January 2 Tivon Pennicott Minton’s 5:30, 7, 8:30 pm $10-20 • Akira Ishiguro Trio Tomi Jazz 8 pm êPeter Leitch/Jed Levy Walker’s 8 pm • Gypsy Jazz Caravan Radegast Hall 8 pm êPeter Bernstein Quartet with Brad Mehldau, Greg Hutchinson and guest • Terry Waldo’s Gotham City Band; Fat Cat Big Band; Brandon Lewis/Renee Cruz Jam • Joe Pino Quartet The Garage 7 pm Christian McBride Dizzy’s Club 7:30, 9:30 pm $45 Fat Cat 6, 8:30 pm 12 am • NanJo Lee Jazz Trio; Michael Veal/Bennett Paster êJon Irabagon Festival: Jon Irabagon, Mark Helias, Barry Altschul • Chris Flory Trio Mezzrow 9:30 pm $20 Silvana 6, 8 pm Cornelia Street Café 9, 10:30 pm $10 • Darwin Nogueira Measure 8 pm êJon Weber’s From Joplin to Jarrett Joplin êJohn Coltrane Festival: JD Allen Quartet with Victor Gould, Gregg August, • Duo Kodra: Coralie Lonfat/Sandra Weiss and guest Sean Ali; Constance Cooper/ Metropolitan Room 7 pm $20 Rudy Royston Smoke 7, 9, 10:30 pm $40 Blaise Siwula with guests ABC No-Rio 7 pm $5 • Hot Club De France Measure 8 pm êJack Wilkins Trio with Andy McKee, Mike Clark • Proof of the Pudding: Laura Garcia, Pratyusa Mukherjee, Hannah Worscheh, • Tom Blatt Project Shrine 6 pm Jazz at Kitano 8, 10 pm $30 Caitlin Kropp, Stephanie Addenbrooke, Eleanor Woodward, Michelle Yancich, • Tony Lewis Rendall Memorial Presbyterian Church 12, 1 pm $15 • Ai Murakami with Sacha Perry, Tyler Mitchell; Dmitry Baevsky Quintet with Helen Caldwell, Meredith Derecho, Kate Anstreicher, Victoria Marks, Helen Zhao, Joe Magnarelli, Jeb Patton, David Wong, Joe Strasser; John Marshall Quintet with Laurel Lehman, Sarah DiMagno, Erica Kocher Wednesday, January 7 Grant Stewart, Tardo Hammer, David Wong, Phil Stewart Somethin’ Jazz Club 7 pm $15 Smalls 4, 7:30, 10:30 pm $20 êPeter Bernstein Quartet with Brad Mehldau, Greg Hutchinson and guest êGeorge Cables/John Webber Mezzrow 9 pm $20 êJon Davis/Gianluca Renzi Knickerbocker Bar and Grill 9:45 pm $5 Dizzy’s Club 7:30, 9:30 pm $45 êMarcus Roberts’ Modern Jazz Generation with Jason Marsalis, Rodney Jordan, • Shai Maestro Trio with Jorge Roeder, Nate Wood êJon Irabagon Festival: Jon Irabagon Quartet with Luis Perdomo, Yasushi Nakamura, Ron Westray, Marcus Printup, Stephen Riley; Joey Alexander ShapeShifter Lab 8:15 pm $15 Rudy Royston Cornelia Street Café 9, 10:30 pm $10 Dizzy’s Club 7, 9:30 pm $35 • Bombay Rickey; Gato Loco Drom 7:30 pm $15 êJohn Coltrane Festival: JD Allen Quartet with Victor Gould, Gregg August, • Riley Mulherkar’s Birth of the American Orchestra • Sean Schulich’s Phunky Phloot and Alpha Mosaic Rudy Royston Smoke 7, 9, 10:30 pm $40 Dizzy’s Club 11:30 pm $5 BAMCafé 9 pm • John Zorn Improv Night—A Stone Benefit: Josh Rubin, , , êKen Peplowski Quartet with Ehud Asherie, Katie Thiroux, Matt Wilson • Jared Gold/Dave Gibson Band Fat Cat 10:30 pm Zeena Parkins, Ches Smith, , , Anthony Coleman, Eyal Maoz Birdland 8:30, 11 pm $30 • Zach Brock Quartet with Lage Lund, Matt Penman, Obed Calvaire and guests The Stone 8 pm $25 êChant: Kenny Werner, Billy Drewes, Gilad Hekselman, Johannes Weidenmueller, Neighborhood Church of Greenwich Village 8, 10 pm êThe Bad Plus: Ethan Iverson, Reid Anderson, Dave King John Hadfield The Stone 8, 10 pm $15 • Tom Dempsey Trio with Ron Oswanski, Dion Parson Village Vanguard 8:30, 10:30 pm $25 êFrancisco Mela Trio with Camila Meza, Linda Oh Bar Next Door 7:30, 9:30, 11:30 pm $12 • Richard Bona’s Mandekan Cubano with Dennis Hernandez, Rey David, An Beal Bocht Café 8, 9:30 pm $15 • The Hot Jazz Gang: Charlie Caranicas, Michael Hashim, Alex Goodman, Trifon Dimitrov Osmany Paredes, Luisito Quintero, Roberto Quintero êMichael Bates Trio with Michael Blake, Jeremy “Bean” Clemons Lucille’s at B.B. King’s Blues Bar 6:30, 9 pm $25 Jazz Standard 7:30, 9:30 pm $35 SEEDS 8:30 pm • Claire de Brunner, Carol Liebowitz, Maryanne de Prophetis; Phil Sirois, • Chris Botti with Geoffrey Keezer, Richie Goods, Billy Kilson, Andy Ezrin, Ben Butler, • Fleurine Smoke 7, 9, 10:30 pm $9 Maryanne de Prophetis, Mark Flynn Sy Smith, George Komsky, Caroline Campbell êAri Hoenig Trio Terraza 7 9 pm $7 Ibeam Brooklyn 8:30, 9:30 pm $10 Blue Note 8, 10:30 pm $75 • The Well Tempered Quartet: Brian Charette, Spike Wilner, Behn Gillece, • The Broken Robots: Jack Daniel, Stelios Michas, Francesco Marcocci, Mike Sutton, êKalabalik: Raoul Björkenheim, Anders Nilsson, Gerald Cleaver Anthony Pinciotti; Sam Anning Quintet with Nadje Noordhuis, Alex LoRe, Can Olgun, Leala Cyr, Hailey Niswanger, Dan Blake, Ambe Julia Downtown Music Gallery 6 pm Rajiv Jayaweera Smalls 9:30 pm 12 am $20 WhyNot Bistro 11 pm êDuchess: Amy Cervini, Hilary Gardner, Melissa Stylianou with Jeff Lederer • Raphael D’lugoff; Groover Trio; Ned Goold Jam • Masami Ishikawa Trio Cleopatra’s Needle 8 pm Birdland 6 pm $20 Fat Cat 7, 9 pm 12:30 am • Nick Moran Trio; Dre Barnes Project • Matthew Health Band Silvana 6 pm • Kenneth Salters’ Haven with Tivon Pennicott, Matt Holman, Aki Ishiguro, Brad Whiteley, The Garage 6, 10:30 pm êMatt Wilson’s Arts and Crafts Saint Peter’s 5 pm Spencer Murphy WhyNot Bistro 9 pm • John Zorn Improv Night—A Stone Benefit: Joe Morris, Marty Ehrlich, Vicky Chow, • Ben Monder solo Barbès 5 pm $10 • Ellynne Rey Quartet with Bennett Paster, Willard Dyson Tim Keiper, , Aram Bajakian, Shanir Blumenkranz, Annie Gosfield, • The Requinte Trio with Nanny Assis, John di Martino Jazz at Kitano 8, 10 pm $15 Francisco Mela and guests The Stone 8 pm $25 Blue Note 11:30 am 1:30 pm $35 • Yoosun Nam Quintet with Keisuke Matsuno, Carlo De Rosa, Kyumin Shim, êDee Dee Bridgewater Iridium 8, 10 pm $45-60 • Fay Victor Trio with Kenny Wessel, Ratzo Harris Jesse Simpson; Noah Garabedian with Curtis Macdonald, Kyle Wilson, Anna Webber, êThe Bad Plus: Ethan Iverson, Reid Anderson, Dave King North Square Lounge 12:30, 2 pm Kenny Warren, Alex Ritz Cornelia Street Café 8, 9:30 pm $10 Village Vanguard 8:30, 10:30 pm $25 • Michika Fukumori Trio; David Coss Quartet • Ruby My Dear; The Future Scares Me; oMoO • Richard Bona’s Mandekan Cubano with Dennis Hernandez, Rey David, The Garage 11:30 am 7 pm ShapeShifter Lab 7, 8, 9 pm $8 Osmany Paredes, Luisito Quintero, Roberto Quintero • Street Flow: Nicolas Letman-Burtinovic, Eric Trudel, Dre Hocevar Jazz Standard 7:30, 9:30, 11:30 pm $35 Monday, January 5 Bar Chord 9 pm • Chris Botti with Geoffrey Keezer, Richie Goods, Billy Kilson, Andy Ezrin, Ben Butler, • Queens Jazz OverGround Jazz Jam Sy Smith, George Komsky, Caroline Campbell • Deborah Davis Benefit For The Leukemia & Lymphoma Society Flushing Town Hall 7 pm $10 Blue Note 8, 10:30 pm $75 Blue Note 8, 10:30 pm $25 • Sam Blakelock with Dustin Kiselbach, Derek Swink; Waijazz: Fredy Guzman, • The Birdland Big Band Birdland 8:30, 11 pm $40 • Mid-Atlantic Collegiate Jazz Orchestra with Sean Jones Tammy Scheffer, Alejandro Zorrilla, Franco Pinna and guest Eric Kurismki • Pedrito Martinez Group SubRosa 7, 9 pm $20 Dizzy’s Club 7:30, 9:30 pm $45 Somethin’ Jazz Club 7, 9 pm $12 • Antonio Ciacca Measure 8 pm êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 • Setsuko Hata Duo; Matthew Heath Group • Aquiles Navarro Duo Tcheser Holmes êOrrin Evans Captain Black Big Band Tomi Jazz 8 pm Silvana 6 pm Smoke 7, 9 pm $9 • Stephane Wrembel Radegast Hall 9 pm • Jocelyn Shannon Jazz Quartet Shrine 6 pm êJon Weber’s From Joplin to Jarrett • Mayu Saeki Trio The Garage 7 pm Metropolitan Room 7 pm $20 • Monterey Jazz Fest On Tour: Terence Blanchard, Ravi Coltrane, Gerald Clayton Saturday, January 3 • Manuel Valera Trio with Hans Glawischnig, E.J. Strickland; Ari Hoenig Quartet with Blue Note 8, 10:30 pm $35 Gilad Hekselman, Orlando Le Fleming, Shai Maestro; Spencer Murphy with • Kurt Rosenwinkel New Quartet with Aaron Parks, Eric Revis, Allan Mednard • Eco-Music Big Band: David Taylor, Jay Rodriguez, Earl McIntyre, Zack O’Farrill, Tivon Pennicott, John Chin, Lawrence Leathers Village Vanguard 8:30, 10:30 pm $25 Adam O’Farrill Joe’s Pub 7 pm $16 Smalls 7:30, 10:30 pm 1 am $20 êHelen Sung Quintet with Seamus Blake, Mike Rodriguez, Reuben Rogers, • Alexis Cole Quartet with John di Martino, David Finck, Kenny Hassler êVincent Chancey, Ingrid Laubrock, Josh Sinton; Jeremiah Cymerman, Jon Irabagon, Obed Calvaire Jazz Standard 7:30, 9:30 pm $25 Jazz at Kitano 8, 10 pm $30 Joshua Rubin Delroy’s Cafe and Wine Bar 8:30, 9:45 pm $10 êMadeleine Peyroux City Winery 8 pm $45-60 • Victor Prieto Forro Project Terraza 7 10:30 pm $7 êDeborah Latz Trio with Zach Brock, Ray Parker • Hot Club De France Measure 8 pm • Rome Neal’s Banana Puddin’ Jazz Nuyorican Poets Café 9:30 pm $15 Bar Next Door 8:30, 10:30 pm $12 • Kyle Moffat Silvana 6 pm • Jeb Patton Trio; Raphael D’lugoff Quintet; Greg Glassman Jam • Hot Club De France Measure 8 pm • Alex Bryson Quartet Shrine 6 pm Fat Cat 7, 10 pm 1:30 am • Zack Foley Quartet with Jesse Elder, Chris Tordini, Shirazette Tinnin; • Jen Shyu Workshop SEEDS 1 pm $15 • Ben Eunson Trio with Matt Clohesy, Kush Abadey Michael Martin Trio; Will Mac Quartet • Karen Oberlin/Sean Harkness Saint Peter’s 1 pm $10 Bar Next Door 7:30, 9:30, 11:30 pm $12 Somethin’ Jazz Club 7, 9, 11 pm $12 • Judd Nielsen with Solomon Hicks, Austin Williamson • Marla Sampson Duo Tomi Jazz 8 pm BAMCafé 9 pm • Howard Williams Jazz Orchestra The Garage 7 pm

44 JANUARY 2015 | THE NEW YORK CITY JAZZ RECORD Thursday, January 8 êWinter Jazzfest: Quintet with Ben Solomon, Kevin Hays, Daryl Johns, Lenny White; The Jean and Marcus Baylor Project with Allyn Johnson, Corcoran Holt, êWinter Jazzfest—Blue Note Now!: Trio with Vicente Archer, Keith Loftis; Brandee Younger Dorothy Ashby Tribute with Dezron Douglas, Damion Reid; José James with Kris Bowers, Solomon Dorsey, Eric Harland; Dana Hawkins, Anne Drummond, Sharel Cassity, Mark Whitfield; Igmar Thomas and Derrick Hodge with Federico Pena, Michael Aaberg, Mark Colenburg; The Cypher with James Francis, Marcus Strickland, Louis Cato, Justin Brown; KENNY WERNER Oracle with Taylor Eigsti, Mike Moreno, John Ellis, Matt Penman Marcus Strickland’s Twi-Life with Keyon Harrold, James Francies, Kyle Miles, Le Poisson Rouge 8 pm $30 Charles Haynes, Jean Baylor, Christie Dashiell; Raymond Angry with êWinter Jazzfest—Jazz Legends play for Disability Pride NYC: Ron Carter, Nadia Washington, , Jeff “Tain” Watts; Nate Smith Kinfolk with AT THE STONE , , Brad Mehldau, George Coleman, Benny Golson, Samora Pinderhughes, Fima Ephron, Jaleel Shaw, Jeremy Most, Amma Whatt Jimmy Cobb, Peter Bernstein, Buster Williams, Mike LeDonne, Harold Mabern, The Bitter End 6:15 pm $35 John Webber, Joe Farnsworth, Bill Charlap, Kenny Washington êWinter Jazzfest: ’s Love Is A Pendulum with Robert Rodriguez, The Quaker’s Friends Meeting House 8 pm $100 Ricardo Rodriguez, Terreon Gully; Oran Etkin’s Reimagining with Tuesday, January 6th êKenny Werner/Joe Lovano Duo The Stone 8, 10 pm $20 Steve Nelson, Sullivan Fortner, Matt Wilson; ’s From Bacteria To Boys with êCharlie Hunter Rockwood Music Hall Stage 3 10 pm $15 Tim Berne, Alexis Marcelo, Peter Bitenc; Jen Shyu’s Solo Rites: Seven Breaths; 8 & 10 pm $10 • Dwayne Clemons Quintet with Sacha Perry, Josh Benko, Murray Wall, Marquis Hill Blacktet with Christopher McBride, Justin Thomas, Joshua Ramos, Jimmy Wormworth; Ben Allison Band with Steve Cardenas, Brandon Seabrook, Makaya McCraven; Michael Bates Northern Spy with Michael Blake, Animal Crackers Allison Miller; Carlos Abadie Quintet with Peter Zak, Clovis Nicolas, Luca Santaniello Jeremy “Bean” Clemons The Players Theater 7 pm $35 Smalls 6, 9:30 pm 12 am $20 êWinter Jazzfest: Kate Davis; Alicia Olatuja with Jon Cowherd, Samir Zarif, Kenny Werner (piano) • Rodney Green; Greg Glassman Quintet Davis Rosenthal, Michael Olatuja; Allan Harris with Emmet Cohen, Russell Hall, Richie Barshay (drums) Fat Cat 7, 10 pm Bryan Carter; Dafnis Prieto Sextet with Peter Apfelbaum, Felipe Lamoglia, • Dave Stryker Group with Steve Nelson, Jared Gold, McClenty Hunter Mike Rodriguez, Manuel Valera, Johannes Weidenmueller; Jorge Roeder (bass) Birdland 8:30, 11 pm $30 Allison Miller’s Boom Tic Boom with Myra Melford, Kirk Knuffke, ; Dan Blake (tenor sax) • Vincent Gardner Quartet with guest Johnny Summers Bria Skonberg with Evan Arntzen, Dalton Ridenhour, Sean Cronin, Darrian Douglas Ginny’s Supper Club 8 pm $10 Zinc Bar 6:30 pm $35 • Lisa Fischer And Grand Baton with JC Maillard, Aidan Carroll, Thierry Arpino êWinter Jazzfest: Todd Clouser’s A Love Electric with Aaron Cruz, Hernan Hecht; Jazz Standard 7:30, 9:30 pm $40 The MazzMuse Breakdown: Mazz Swift/LaFrae Sci; Jungle Funk: , Wednesday, January 7th • Cathy Rocco Quartet with Andy Lalasis, Vic Stevens Doug Wimbish, Vinx; Zongo Junction: Anant Pradhan, Charles Ferguson, Jazz at Kitano 8, 10 pm $15 Ross Edwards, Jordan Hyde, Matt Nelson, Aaron Rockers, Kevin Moehringer, 8 & 10 pm $10 • Amy Cervini and Jazz Country with Jesse Lewis, Matt Aronoff and guests Jonah Parzen-Johnson Bowery Electric 6:30 pm $35 Hilary Gardner, Melissa Stylianou; The Mighty Grinders: Brian Charette, Eric Kalb, êWinter Jazzfest: Jovan Alexandre and Collective Consciousness with Andrew Renfroe, Chant Will Bernard 55Bar 7, 10:30 pm $10 Taber Gable, Matt Dwonszyk, Jonathan Barber; Silver: Ilhan Ersahin, Eddie Henderson, • Mauricio Zotarelli Trio Terraza 7 8 pm $7 Juini Booth, Kenny Wollesen; Anthony Pirog Trio with Michael Formanek, Ches Smith Kenny Werner (piano) • Perry Smith Trio with Sam Minaie, Ross Pederson Carroll Place 6 pm $35 Billy Drewes (reeds) Bar Next Door 8:30, 10:30 pm $12 êWinter Jazzfest: Cynthia Sayer Joyride Band with Charlie Giordano, Vincent Gardner, • Jazz Composers’ Showcase curated by Miho Hazama Larry Eagle, Jared Engel; Jon Weber; Frank Vignola and Friends with Vinny Raniollo, Gilad Hekselman (guitar) The Jazz Gallery 8, 10 pm $22 Jason Anick; Gordon Webster Greenwich House Music School 6:15 pm $35 Johannes Weidenmueller (bass) • Ben Flocks Trio with Martin Nevin, Matt Wilson êJoe Lovano Village Rhythms Band with Judi Silvano, Tim Hagans, Liberty Ellman, Cornelia Street Café 8:30 pm $10 Michael Olutunja, Otis Brown III, Abdou Mboup John Hadfield (drums) • Joshua Davis Group with , Natalie John, Zach Harmon, Ronen Itzik; Birdland 8:30, 11 pm $40 Tim Miller Trio with Zach Harmon, Joshua Davis êGary Bartz, Larry Willis, Buster Williams, Al Foster ShapeShifter Lab 7, 8:30 pm $10 Smoke 7, 9, 10:30 pm $40 • E. J. Decker Quartet; Russell Kirk and The Path êKenny Werner/Jean-Michel Pilc The Stone 8, 10 pm $15 Thursday, January 8th Somethin’ Jazz Club 7, 9 pm $12 êBirth of the American Orchestra: Jazz at Lincoln Center Orchestra with • Yasuno Katsuki Trio Tomi Jazz 9 pm $10 Wynton Marsalis Rose Theater 8 pm $30-120 8 & 10 pm • Marcelo Toledo; Stelios Michas, Jack Daniel, Dan Blake, Francesco Marcocci, êReverse Blue: Mary Halvorson, Chris Speed, Eivind Opsvik, Tomas Fujiwara; Michael Sutton The Firehouse Space 8, 9 pm $10 Tomas Fujiwara Trio with Ralph Alessi, Brandon Seabrook; Michael Blanco Quartet with Kenny Werner/Joe Lovano • Kate Cosco Trio Cleopatra’s Needle 7 pm John Ellis, Kevin Hays, Clarence Penn • Howard Fishman and The Biting Fish Brass Band Cornelia Street Café 8, 9:30, 11 pm $10 TWENTY DOLLARS Radegast Hall 9 pm • Mike Battaglia, James Robbins, Sanah Kadoura; Frank Kimbrough Trio with • George Weldon Trio The Garage 7 pm Jay Anderson, Jeff Hirshfield; Steve Slagle Quartet with Dave Stryker, Peter Slavov, êGeorge Cables/John Webber Mezzrow 9 pm $20 Victor Lewis Smalls 4, 7:30, 10:30 pm $20 êMarcus Roberts’ Modern Jazz Generation with Jason Marsalis, Rodney Jordan, • Davis Whitfield Quintet Fat Cat 10:30 pm Friday, January 9th Ron Westray, Marcus Printup, Stephen Riley; Joey Alexander êTineke Postma/Greg Osby Sonic Halo with Simona Premazzi, Martin Nevin, Dizzy’s Club 7, 9:30 pm $35 Adam Arruda The Jazz Gallery 8, 10 pm $22 8 & 10 pm $10 • Riley Mulherkar’s Birth of the American Orchestra êCatherine Russell with Mark Shane, Tal Ronen, Mark McLean, Chris Flory Dizzy’s Club 11:30 pm $10 City Winery 8 pm $18-25 Kenny Werner/Jean-Michel Pilc êMonterey Jazz Fest On Tour: Terence Blanchard, Ravi Coltrane, Gerald Clayton êBill O’Connell Trio with Luques Curtis, Victor Lewis and guests; Blue Note 8, 10:30 pm $35 NY Jazz Flutet: Dotti Anita Taylor, Jan Leder, Elise Wood, Chip Shelton, Art Lillard; • Kurt Rosenwinkel New Quartet with Aaron Parks, Eric Revis, Allan Mednard with Yvonnick Prene, Pasquale Grasso, Clovis Nicolas Saturday, January 10th Village Vanguard 8:30, 10:30 pm $25 Somethin’ Jazz Club 6, 9, 11 pm $12-15 • Hot Club De France Measure 8 pm • Jason Yeager Duo Tomi Jazz 9 pm $10 Sunday, January 11th êJazz Resolutions for 2015: Ben Wendel Group with Taylor Eigsti, Harish Raghavan, • Red Baraat SubRosa 8, 10 pm $25 Eric Harland; Jamie Baum and Short Stories with Gilad Hekselman, Ben Wendel, êNicky Parrott/Rossano Sportiello Knickerbocker Bar and Grill 9:45 pm $5 8 & 10 pm $10 Fabian Almazan, Joe Martin, Jeff Hirshfield; Michael Blake Quartet with êDan Blacksberg Trio with Matt Engle, Mike Szekely; Hush Point: Jeremy Udden, Frank Kimbrough, Ben Allison, ; Joel Harrison 4 with Mark Soskin, John McNeil, Aryeh Kobrinsky, Anthony Pinciotti; Natalie John with Maya Kronfeld, Michael Bates, Jeremy Clemons Greenwich House Music School 6 pm $10 Jeff Miles, Joshua Davis, Zach Harmon Kenny Werner Trio • Spin Cycle Silvana 6 pm ShapeShifter Lab 7, 8:15, 9:30 pm $10 Kenny Werner (piano) • Sunfree Shrine 6 pm êMelissa Aldana and Crash Trio with Pablo Menares, Francisco Mela Minton’s 7:30, 9:30 pm $25-35 Johannes Weidenmueller (bass) Friday, January 9 • Roni Ben-Hur Quartet with Steve Wilson, Santi Debriano, Tommy Campbell and guest Amy London Jazz at Kitano 8, 10 pm $30 Ari Hoenig (drums) êWinter Jazzfest: Donald Byrd Acoustic Electric Sessions: , • Petr Cancura’s Down Home with Brian Drye, Jeremy Udden, Garth Stevenson, Donald Harrison, Nicholas Payton, Max Moran, Joe Dyson, Dominique Toney, Richie Barshay; Ghost Train Orchestra: Brian Carpenter, Andy Laster, Carl Burnette; ICP Orchestra: Ab Baars, Tobias Delius, Michael Moore, Thomas Heberer, Michael McGinnis, Petr Cancura, Mazz Swift, Curtis Hasselbring, Ron Caswell, Wolter Wierbos, Mary Oliver, Tristan Honsinger, Ernst Glerum, Han Bennink; Kneebody: Rob Garcia Barbès 8, 10 pm $10 Adam Benjamin, Shane Endsley, Kaveh Rastegar, Ben Wendel, Nate Wood and guest êRotem Sivan Trio with Hagga Cohen-Milo, Mark McClean Daedelus Le Poisson Rouge 6:30 pm $35 Bar Next Door 7:30, 9:30, 11:30 pm $12 êWinter Jazzfest: David Murray Clarinet Summit with Don Byron, David Krakauer, • Uri Gurvich Quartet with Asen Doykin, Edward Perez, Ronen Itzik Hamiet Bluiett; David Murray Trio with Geri Allen, Terri Lyne Carrington; WhyNot Bistro 9 pm TRIO 3: Oliver Lake, Reggie Workman, Andrew Cyrille and guest; Marc Ribot and • Jim Pryor Trio Cleopatra’s Needle 8 pm The Young Philadelphians with Jamaaladeen Tacuma, Calvin Weston, Mary Halvorson, • Dances of the World Project: Diana Wayburn, , John Murchison Christina Courtin, Christopher Hoffman; Strange and Beautiful—The Music of The Shed Space 8 pm $10 and : , Michael Blake, Steven Bernstein, • Masami Ishikawa Trio; Peter Valera Jump Blues Band , Doug Wieselman, , Tony Scherr, Calvin Weston The Garage 6, 10:30 pm Minetta Lane Theatre 6:15 pm $35 êCharlie Hunter Rockwood Music Hall Stage 3 10 pm $15 êWinter Jazzfest: /Ingrid Jensen’s Kind Of New with Jay Rodriguez, • Lisa Fischer And Grand Baton with JC Maillard, Aidan Carroll, Thierry Arpino Jerry Brooks, Mike Clark; Russ Johnson’s Still Out To Lunch with Myra Melford, Jazz Standard 7:30, 9:30 pm $40 Roy Nathanson, Brad Jones, George Schuller; Dave Douglas Quintet with Troy Roberts, êGeorge Cables/John Webber Mezzrow 9 pm $20 Matt Mitchell, Linda Oh, Rudy Royston; Travis Laplante’s Battle Trance with êMarcus Roberts’ Modern Jazz Generation with Jason Marsalis, Rodney Jordan, Matthew Nelson, Jeremy Viner, Patrick Breiner; So Percussion: Eric Cha-Beach, Ron Westray, Marcus Printup, Stephen Riley; Joey Alexander Josh Quillen, Adam Sliwinski, Jason Treuting, John Colpitts and guest Man Forever; Dizzy’s Club 7, 9:30 pm $40 Improvised Round Robin Duets Judson Church 6:45 pm $35 • Riley Mulherkar’s Birth of the American Orchestra êWinter Jazzfest: Arturo O’Farrill’s Boss Level Septet with Adam O’Farrill, Dizzy’s Club 11:30 pm $10 Carlos Maldonado, Livio Almeida, Shawn Conley, Travis Reuter, Zack O’Farrill; êMonterey Jazz Fest On Tour: Terence Blanchard, Ravi Coltrane, Gerald Clayton Linda Oh’s Sun Pictures with Ben Wendel, Matt Stevens, Rudy Royston; Blue Note 8, 10:30 pm $35 Taylor Eigsti’s Free Agency with Gerald Clayton, Gretchen Parlato, , • Kurt Rosenwinkel New Quartet with Aaron Parks, Eric Revis, Allan Mednard Eric Harland, Alan Hampton, Harish Raghavan; Tyshawn Sorey Trio with Cory Smythe, Village Vanguard 8:30, 10:30 pm $25 Christopher Tordini; Kris Davis Infrasound with Gary Versace, Nate Radley, Ches Smith, • Hot Club De France Measure 8 pm Ben Goldberg, Joachim Badenhorst, Oscar Noriega, Andrew Bishop; • Nadav Remez Quintet; Haggai Cohen Milo Quintet; Yotam Silberstein Trio Uri Caine/Han Bennink; Aaron Parks’ Little/Big with Adam Chilenski, Greg Tuohey, Caffe Vivaldi 6 pm Darren Beckett SubCulture 6 pm $35 • Tammy Scheffer Silvana 6 pm KENNYWERNER.COM • Marco Chelo Sextet Shrine 6 pm

THE NEW YORK CITY JAZZ RECORD | JANUARY 2015 45 Saturday, January 10 êNicky Parrott/Rossano Sportiello Knickerbocker Bar and Grill 9:45 pm $5 êMelissa Aldana and Crash Trio with Pablo Menares, Francisco Mela êWinter Jazzfest: Edmar Castañeda Trio with Marshall Gilkes, Dave Silliman and guest Minton’s 7:30, 9:30 pm $25-35 at KITANO Andrea Tierra; David Murray Infinity Quartet with Saul Williams, Orrin Evans, • Roni Ben-Hur Quartet with Steve Wilson, Santi Debriano, Tommy Campbell and guest JAZZMusic • Restaurant • Bar Jaribu Shahid, Nasheet Waits Le Poisson Rouge 6:30 pm $35 Amy London Jazz at Kitano 8, 10 pm $30 • Lisa Fischer And Grand Baton with JC Maillard, Aidan Carroll, Thierry Arpino “ONE OF THE BEST JAZZ CLUBS IN NYC” ... NYC JAZZ RECORD êWinter Jazzfest: Kavita Shah with Shai Maestro, Petros Klampanis, Clarence Penn; Amina Claudine Myers Trio with Jerome Harris, ; Jazz Standard 7:30, 9:30 pm $40 LIVE JAZZ EVERY The Cookers: Billy Harper, Eddie Henderson, David Weiss, Donald Harrison, êMarcus Roberts’ Modern Jazz Generation with Jason Marsalis, Rodney Jordan, WEDNESDAY - SATURDAY George Cables, Cecil McBee; Rudresh Mahanthappa’s Bird Calls with Adam O’Farrill, Ron Westray, Marcus Printup, Stephen Riley; Joey Alexander $15 WED./THUR + $15 Minimum/Set. Matt Mitchell, Chris Tordini, Rudy Royston; Nicholas Payton Trio with Vicente Archer, Dizzy’s Club 7, 9:30 pm $45 Joe Dyson Minetta Lane Theatre 6:15 pm $35 • Riley Mulherkar’s Birth of the American Orchestra $30 FRI./SAT. + $15 Minimum/Set Dizzy’s Club 11:30 pm $20 2 SETS 8:00 PM & 10:00 PM êWinter Jazzfest: Theo Bleckmann Quartet with Gary Versace, Chris Tordini, John Hollenbeck and guest Ambrose Akinmusire; Ken Vandermark/Nate Wooley Duo; êMonterey Jazz Fest On Tour: Terence Blanchard, Ravi Coltrane, Gerald Clayton JAZZ BRUNCH EVERY SUNDAY Ambrose Akinmusire Quartet with Sam Harris, Harish Raghavan, Justin Brown; Blue Note 8, 10:30 pm $35 TONY MIDDLETON TRIO • Kurt Rosenwinkel New Quartet with Aaron Parks, Eric Revis, Allan Mednard 11 AM - 2 PM • GREAT BUFFET - $35 The Campbell Brothers’ A Sacred Steel Love Supreme with Chuck, Darick, Phil and Carlton Campbell, Daric Bennett; Scott Bradlee and Postmodern Jukebox Village Vanguard 8:30, 10:30 pm $25 OPEN JAM SESSION MONDAY NIGHTS • $15 MINIMUM Judson Church 6:45 pm $35 • Hot Club De France Measure 8 pm 8:00 PM - 11:30 PM • HOSTED BY IRIS ORNIG • Uri Sharlin’s DogCat Barbès 6 pm $10 TUESDAYS - YOUNG PIANIST SHOWCASE êWinter Jazzfest: Ryan Keberle’s Catharsis with Mike Rodriguez, Jorge Roeder, 8:00 PM - 11:00 PM • $15 MINIMUM Kenny Wolleson, Camila Meza; Alfredo Rodríguez Trio with Peter Slavov, Henry Cole; • Daniela Schaechter Trio; Al Marino Quartet; Mayhew Quartet JAN. 6, 13, & 20 - BILLY TEST Trio with Massimo Biolcati, Ferenc Nemeth; The Garage 12, 6, 10:30 pm JAN 27 - ANGELO DI LORETO • $15 MINIMUM SFJAZZ Collective: David Sanchez, Miguel Zenón, Avishai Cohen, , THURS. JANUARY 1 Edward Simon, Matt Penman, Obed Calvaire; Harriet Tubman: Brandon Ross, Sunday, January 11 Melvin Gibbs, JT Lewis; JD Allen Trio with Gregg August, Rudy Royston; HOLIDAY NO MUSIC John Raymond Roots Trio SubCulture 6 pm $35 • Stefon Harris Sonic Creed with James Francies, Joshua Crumbly, Jonathan Pinson, FRI. JANUARY 2 êWinter Jazzfest: Oliver Lake Organ Quartet with Jared Gold, Josh Evans, Gene Lake; Elena Pinderhughes, Mike Moreno Jazz Standard 7:30, 9:30 pm $30 Matthew Stevens with Fabian Almazan, Vicente Archer, Nate Wood, Paul Stagnaro; êOrrin Evans Liberation Blues Quartet; Orrin Evans New Trio with Lil’ John Roberts; TRIO Soul Understated with Mavis Swan Poole, Jeremy “Bean” Clemons, Josh David, Captain Black Big Band Smoke 7, 9, 10:30 pm $40 JACK WILKINS, ANDY MCKEE, MIKE CLARK ê $30 COVER + $15 MINIMUM Samir Moulay, Kevin Theodore, Al Strong, Blu Thompson, Nicholas Ryan Gant, Brianna Thomas with Sullivan Fortner, Yasushi Nakamura, John Davis, Tivon Pennicott Minton’s 5:30, 7, 8:30 pm $10-20 SAT. JANUARY 3 Aaron Brocket; Mad Satta: Joanna Teters, Ben Carr, Ted Morcaldi, Kevin Theodore, Zane West, Jason Fitch, Colin Wade, Eric Zeiser; Butcher Brown: Corey Fonville, • Patrick Cornelius Octet with Jason Palmer, John Ellis, Michael Fahie, Miles Okazaki, ALEXIS COLE QUARTET Keith Askey, Devonne Harris, Andrew Randazzo; Taylor McFerrin/Marcus Gilmore; Fabian, Peter Slavov, Clarence Penn ALEXIS COLE, JOHN DI MARTINO Walter Smith III with Taylor Eigsti, Matt Stevens, Harish Raghavan, Kendrick Scott Cornelia Street Café 8:30 pm $10 DAVID FINCK, KENNY HASSLER The Bitter End 6:15 pm $35 êKenny Werner Trio with Johannes Weidenmueller, Ari Hoenig $30 COVER + $15 MINIMUM êWinter Jazzfest: Dan Weiss Large Ensemble with Jacob Sacks, Thomas Morgan, The Stone 8, 10 pm $15 WED. JANUARY 7 Miles Okazaki, Matt Mitchell, Dave Binney, Ohad Talmor, Ben Gerstein, Jacob Garchik, • Terry Waldo’s Gotham City Band; Alexi David; Brandon Lewis/Renee Cruz Jam Judith Berkson, Maria Neckam, Lana Is, Katie Andrews, Stephen Cellucci; Fat Cat 6, 8:30 pm 12 am ELLYNNE REY QUARTET • Jenna Mammina/Rolf Sturm; Charles Sibirsky; Jean-Michel Pilc solo ELLYNNE REY, BENNETT PASTER Darius Jones Quartet with Matt Mitchell, Sean Conly, Ches Smith; Tomas Fujiwara and CAMERON BROWN, WILLARD DYSON The Hookup with Jonathan Finlayson, Brian Settles, Mary Halvorson, Somethin’ Jazz Club 5, 7, 9 pm $12 $15 COVER + $15 MINIMUM Michael Formanek; Eivind Opsvik’s Overseas with Tony Malaby, Brandon Seabrook, • Johnny O’Neal Trio with Luke Sellick, Charles Goold; THURS. JANUARY 8 Jacob Sacks, Kenny Wollesen; The Cellar and Point: Joe Bergen, Christopher Otto, The Well Tempered Quartet: Brian Charette, Spike Wilner, Behn Gillece, Kevin McFarland, Terrence McManus, Christopher Botta, Greg Chudzik, Anthony Pinciotti Smalls 7:30, 10:30 pm $20 CATHY ROCCO QUARTET Joseph Branciforte The Players Theater 7 pm $35 • Emilio Solla and La Inestable de Brooklyn with John Ellis, , Alex Norris, CATHY ROCCO, JOHN DI MARTINO êWinter Jazzfest: Myra Melford’s Snowy Egret with Liberty Ellman, , Ryan Keberle, Julien Labro, , Jorge Roeder, David Silliman ANDY LALASIS, VIC STEVENS Zinc Bar 7 pm $15 COVER + $15 MINIMUM Tyshawn Sorey and guest Ben Goldberg; Mark Turner Quartet with Avishai Cohen, Joseph Martin, Marcus Gilmore; Hadar Noiberg Trio with Haggai Cohen Milo, • Velocity Duo: Lauren Lee/Charley Sabatino; Elena Camerin/Khabu Doug Young FRI. & SAT. JANUARY 9 & 10 Allison Miller; Kellylee Evans with , Carl Carter, Joe Alterman, Jamire Williams; WhyNot Bistro 7, 8:30 pm $10 RONI BEN-HUR QUARTET Mino Cinelu World Jazz Ensemble with Jamshied Sharifi, Mamadou Ba, Bob Stewart, • Darwin Nogueira Measure 8 pm WITH SPECIAL GUEST AMY LONDON Eddie Henderson; Nasheet Waits Equality Quartet with Darius Jones, Aruán Ortiz, • John Likides; Charles Pagano/Scott Bazar RONI BEN-HUR, STEVE WILSON Mark Helias; Loston Harris Trio with Gianluca Renzi, Ian Hendrickson-Smith ABC No-Rio 7 pm $5 SANTI DEBRIANO, TOMMY CAMPBELL, AMY LONDON Zinc Bar 6:30 pm $35 • Russell Malone/Peter Bernstein Mezzrow 8:30 pm $20 $30 COVER + $15 MINIMUM êWinter Jazzfest: Jaimeo Brown Transcendence with Chris Sholar, Jaleel Shaw, Falu; êMarcus Roberts’ Modern Jazz Generation with Jason Marsalis, Rodney Jordan, WED. JANUARY 14 Trio with Les Sadler, Val-Inc; Ilhan Ersahin’s Istanbul Sessions with Ron Westray, Marcus Printup, Stephen Riley; Joey Alexander Alp Ersonmez, Izzet Kizil, Turgut Alp Bekoglu; Troker: Frankie Mares, Samo Gonzalez, Dizzy’s Club 7, 9:30 pm $35 KAZUE PATTON QUARTET Christian Jimenez, Tiburon Santillanes, Gilberto Cervantes, DJ Zero êMonterey Jazz Fest On Tour: Terence Blanchard, Ravi Coltrane, Gerald Clayton KAZUE PATTON, JEB PATTON Blue Note 8, 10:30 pm $35 DAVID WONG, LUCA SANTANIELLO Bowery Electric 6:30 pm $35 êWinter Jazzfest: Frank Catalano with Jimmy Chamberlin, Theo Hill, Deen Anbar, • Kurt Rosenwinkel New Quartet with Aaron Parks, Eric Revis, Allan Mednard $15 COVER + $15 MINIMUM Village Vanguard 8:30, 10:30 pm $25 THURS. JANUARY 15 John Benitez; Jay Rodriguez Seven with Al Macdowell, Tony Falanga, Kim Thompson, Arturo Stables, Sonya Robinson, Adam Fisher; Chris Washburne SYOTOS with • Sandra Weiss/David Grollman Downtown Music Gallery 6 pm BRANDON WRIGHT QUARTET John Walsh, , Yeissonn Villamar, Leo Traversa, Vince Cherico, • Spoke Silvana 6 pm BRANDON WRIGHT, DAVE KIKOSKI Oreste Abrantes Carroll Place 6 pm $35 • Ike Sturm and Evergreen Saint Peter’s 5 pm , DONALD EDWARDS êWinter Jazzfest: Martina DaSilva’s Ladybugs with Kate Davis, Gabe Schneider, • Ben Monder solo Barbès 5 pm $10 $15 COVER + $15 MINIMUM Joe McDonough, Dylan Shamat; Dan Levinson’s Gotham SophistiCats with • Lisa Hilton Group with J.D. Allen, Ingrid Jensen, Ben Street, Rudy Royston FRI. & SAT. JANUARY 16 & 17 Molly Ryan, Mike Davis, Dalton Ridenhour, Rob Adkins, Joe Syalor, Josh Holcomb and Weill Recital Hall 2 pm $25 WILSON/ROSNES/ guest Blind Boy Paxton; Stephane Wrembel Band with Roy Williams, Nick Anderson, • Janis Siegel The Requinte Trio with Nanny Assis, John di Martino Kells Nollenberger; Catherine Russell with Mark Shane, Tal Ronen, Mark McLean, Blue Note 11:30 am 1:30 pm $35 WASHINGTON TRIO Chris Flory; David Ostwald’s Louis Armstrong Eternity Band with Adrian Cunningham, • Roz Corral Trio with Yotam Silberstein, Jay Leonhart STEVE WILSON, RENEE ROSNES North Square Lounge 12:30, 2 pm PETER WASHINGTON Bria Skonberg, Joe Saylor, Jared Engel, Dion Tucker Greenwich House Music School 6:15 pm $35 • Lou Caputo Quartet; David Coss Quartet $30 COVER + $15 MINIMUM The Garage 11:30 am 7 pm WED. JANUARY 21 êKenny Werner Trio with Johannes Weidenmueller, Ari Hoenig The Stone 8, 10 pm $15 JANIS SIEGEL/ êSonelius Smith Trio Cleopatra’s Needle 8 pm Monday, January 12 ADDISON FREI DUO • Russell Malone/Peter Bernstein Mezzrow 8:30 pm $20 $15 COVER + $15 MINIMUM • Aimee Allen with Toru Dodo, Jacob Melchior; Brenda Earle Stokes Trio with • Terence Blanchard Electric Band Blue Note 8, 10:30 pm $25 THURS. JANUARY 22 Pete McCann, Matt Aronoff; David Kikoski Trio with Ed Howard, Adam Cruz; êPascal Niggenkemper/Ingebrigt Håker Flaten; Daniel Levin/Ingebrigt Håker Flaten; Emilio Solla Bien Sur! Quintet with Chris Cheek, Victor Prieto, Jorge Roeder, Ziv Ravitz Tony Malaby, Gerald Clever, Ingebrigt Håker Flaten LINDA PRESGRAVE QUARTET JACK 8 pm $15 CD RELEASE EVENT “ALONG THE PATH” Somethin’ Jazz Club 5, 7, 9, 11 pm $12-20 • Daniel Bennet Group; Hironobu Saito Trio êTanya Tagaq and Sirius Quartet Joe’s Pub 7 pm $22 LINDA PRESGRAVE, STAN CHOVNICK Nir Felder Rockwood Music Hall Stage 2 10 pm $12 HARVIE S, SEIJI OCHIAI Tomi Jazz 8, 11 pm $10 • $15 COVER + $15 MINIMUM • Mike Moreno; Greg Glassman JamFat Cat 10 pm 1:30 am • For Our Jazz Heroes: Eli Yamin/Evan Christopher FRI. & SAT. JANUARY 23 & 24 • Dion Parson and 21st Century Band with , Rashawn Ross, Carlton Holmes, Dizzy’s Club 7:30, 9:30 pm $25 Victor Provost, Alioune Faye Ginny’s Supper Club 7:30, 9:30 pm $15 • Frédéric Yonnet Iridium 8, 10 pm $25 QUARTET êMingus Orchestra Jazz Standard 7:30, 9:30 pm $25 MARK SHERMAN, KENNY BARRON • Ingrid and Christine Jensen The Jazz Gallery 8, 10 pm $22 RAY DRUMMOND, • Dafna Naphtali/Gordon Beeferman; Terri Dame, Jessica Lurie, Chris Cochrane êOrrin Evans Captain Black Big Band $30 COVER + $15 MINIMUM The Firehouse Space 8, 9 pm $10 Smoke 7, 9 pm $9 WED. JANUARY 28 • Yotam Silberstein Trio with Barak Mori, Jochen Rueckert • French Quarter: Pierrick Pedron Trio; Marian Badoi Trio; Julien Alour Quintet; Bar Next Door 7:30, 9:30, 11:30 pm $12 Olivier Bogé Quartet; Yonathan Avishai Trio; Jonathan Michel MARCUS GOLDHABER QUARTET Smalls 8 pm 1 am $20 MARCUS GOLDHABER, JON DAVIS • Prasanna; Sofia Rei Terraza 7 8 , 10:30 pm $7 GREGORY M. JONES, WILLARD DYSON • Pedrito Martinez Group SubRosa 10 pm $20 êTeri Roiger Quartet with James Weidman, John Menegon, Steve Williams; $15 COVER + 15 MINIMUM • Terry Vakirtzoglou with Glafkos Kontemeniotis, George Maniatis; John Menegon Quartet with Tineke Postma, Frank Kimbrough, Matt Wilson; THURS. JANUARY 29 Petros Klampanis’ Greek What? with Gilad Hekselman, Jean-Michel Pilc, John Hadfield, Tony Tixier Quartet with Maria Manousaki, Gokce Erem, Peter Kiral, Colin Stokes Somethin’ Jazz Club 7, 9, 11 pm $12-15 ERIKA MATSUO QUINTET Akemi Yamada Trio Tomi Jazz 8 pm ERIKA MATSUO, HELIO ALVES Cornelia Street Café 6, 9, 10:30 pm $10 • JUANCHO HERRERA, DANA LEONG, KEITA OGAWA êPhillip Harper Sistas’ Place 9, 10:30 pm $20 • Ned Goold Quartet; Billy Kaye Jam $15 COVER + $15 MINIMUM • Kirk Knuffke Trio with Christof Knoche, RJ Miller; Schimscheimer Family Trio: Fat Cat 9 pm 12:30 am FRI. JANUARY 30 Michael Coleman, Kasey Knudsen, Jon Arkin and guest Ben Goldberg • Antonio Ciacca Measure 8 pm SCOTT ROBINSON QUARTET Ibeam Brooklyn 8:30, 9:30 pm $15 • Michelle Walker Trio with Toru Dodo, Michael O’Brien SCOTT ROBINSON, HELEN SUNG • Asako Takasaki; Valentina Marino Shrine 6, 8 pm Bar Next Door 8:30, 10:30 pm $12 MARTIN WIND, TIM HORNER êJoe Lovano Village Rhythms Band with Judi Silvano, Tim Hagans, Liberty Ellman, • Frantz Loriot solo; HAG: Brad Henkel, Sean Ali, David Grollman $30 COVER + $15 MINIMUM Michael Olutunja, Otis Brown III, Abdou Mboup Delroy’s Cafe and Wine Bar 8:30, 9:45 pm $10 SAT. JANUARY 31 Birdland 8:30, 11 pm $40 • NYC South American Music Festival 2015: Camila Meza; Aquiles Baez; Sofia Rei; êGary Bartz, Larry Willis, Buster Williams, Al Foster Gabriel Alegría Afro-Peruvian Sextet; Nation Beat MIKE DIRUBBO QUARTET Meridian 23 7 pm $25 MIKE DIRUBBO, ANTHONY WONSEY Smoke 7, 9, 10:30 pm $40 , RUDY ROYSTON êBirth of the American Orchestra: Jazz at Lincoln Center Orchestra with • Andrea Wolper Trio with Michael Howell, Ken Filiano $30 COVER + $15 MINIMUM Wynton Marsalis Rose Theater 8 pm $30-120 WhyNot Bistro 7 pm $10 RESERVATIONS - 212-885-7119 • Dwayne Clemons Quintet with Josh Benko, Sacha Perry, Murray Wall, • Eyal Vilner Big Band The Garage 7 pm VISIT OUR TWEETS AT: http://twitter.com/kitanonewyork • Alex Conroy Silvana 6 pm www.kitano.com • email: [email protected] ò 66 Park Avenue @ 38th St. Jimmy Wormworth; Steve Slagle Quartet with Dave Stryker, Peter Slavov, Victor Lewis Smalls 7:30, 10:30 pm $20 • Darrell Smith Trio Shrine 6 pm

46 JANUARY 2015 | THE NEW YORK CITY JAZZ RECORD Tuesday, January 13 Wednesday, January 14 Thursday, January 15

êCelebrating Charlie Haden: Geri Allen, Kenny Barron, Carla Bley, Jack DeJohnette, êRené Urtreger Trio with Yves Torchinsky, Simon Goubert; Jean-Michel Pilc êTony Malaby, Angelica Sanchez, Tom Rainey Denardo Coleman, Ravi Coltrane, Bill Frisell, Ethan Iverson, , Dizzy’s Club 7:30, 9:30 pm $30 Barbès 8 pm $10 , Ruth Cameron-Haden, Dr. Maurice Jackson, Lee Konitz, • Grandpa Musselman and His Syncopators • Aaron Goldberg Trio with Reuben Rogers, Eric Harland Pat Metheny, Joshua Redman, Gonzalo Rubalcaba, Brandee Younger, : Dizzy’s Club 11:30 pm $5 Jazz Standard 7:30, 9:30 pm $30 Alan Broadbent, , Rodney Green, Scott Colley, Liberation Music Orchestra: êDan Weiss Trio with Jacob Sacks, Eivind Opsvik • Clarice Assad’s Off The Cliff with Keita Ogawa, João Luiz Rezende and guests Carla Bley, Tony Malaby, Chris Cheek, Loren Stillman, Michael Rodriguez, SEEDS 9 pm Beat Kaestli, Shin Sakain Dizzy’s Club 7:30, 9:30 pm $35 Seneca Black, Curtis Fowlkes, Vincent Chancey, Joe Daley, Steve Cardenas, êChristian Sands/Ben Williams Mezzrow 9 pm $20 • Grandpa Musselman and His Syncopators Matt Wilson, Steve Swallow Town Hall 7 pm êAndrew D’Angelo Trio with Ingebrigt Håker Flaten, Nasheet Waits Dizzy’s Club 11:30 pm $10 • Ramsey Lewis In Crowd 50th Anniversary Cornelia Street Café 8:30 pm $10 êBrandon Wright Quartet with Dave Kikoski, Boris Kozlov, Donald Edwards Blue Note 8, 10:30 pm $45 • George Burton Quartet with Tim Warfield, Noah Jackson, Wayne Smith, Jr. Jazz at Kitano 8, 10 pm $15 êOmer Avital with Joel Frahm, Michael Rodriguez, Yonathan Avishai, Daniel Freedman Smoke 7, 9, 10:30 pm $9 • solo; Charlie Looker, Andrew Hock, Jamie Saft, Balázs Pándi Jazz Standard 7:30, 9:30 pm $25 • Lage Lund 4 with Sullivan Fortner, Matt Brewer, Tyshawn Sorey; The Stone 8, 10 pm $15 êFred Hersch Trio +2 with Mark Turner, Ralph Alessi, John Hébert, Eric McPherson Alex LoRe Quartet with Glenn Zaleski, Desmond White, Colin Stranahan • Jason Lindner NOW vs. NOW with Panagiotis Andreou, Justin Tyson and guest Village Vanguard 8:30, 10:30 pm $25 Smalls 9:30 pm 12 am $20 James Francies The Jazz Gallery 8, 10 pm $15 • Jane Monheit’s To the Men I Love with Joel Frahm, Billy Stritch, Neal Miner, • Raphael D’lugoff; Harold Mabern Trio; Ned Goold Jam • Chris Turner Ginny’s Supper Club 8 pm $10 Rick Montalbano Birdland 8:30, 11 pm $40 Fat Cat 7, 9 pm 12:30 am êAlexis Cole with Peter Brainin, John di Martino, David Finck, Kenny Hassler êChristian Sands Trio with Matthew Rybicki, Ulysses Owens, Jr. • Pedro Giraudo Sextet; Victor Prieto Duo Smoke 7, 9, 10:30 pm $9 Dizzy’s Club 7:30, 9:30 pm $30 Terraza 7 8 pm $7 • Tom Chang Quartet with Quinsin Nachoff, Sam Minaie, Nate Wood • Grandpa Musselman and His Syncopators • Charlie Looker/Mary Halvorson; Charlie Looker, Mary Halvorson, Mick Barr, Toby Driver Cornelia Street Café 8:30 pm $10 Dizzy’s Club 11:30 pm $5 The Stone 8, 10 pm $15 • Victor Prieto Trio Terraza 7 8 pm $7 • Mike Longo NY State of the Art Jazz Ensemble with Ira Hawkins • Kazue Patton Quartet with Jeb Patton, David Wong, Luca Santaniello • Corcoran Holt Fat Cat 10 pm NYC Baha’i Center 8, 9:30 pm $15 Jazz at Kitano 8, 10 pm $15 • Paul Shapiro Trio with Dave Hofstra • Johnny O’Neal Trio with Luke Sellick, Charles Goold • Surface to Air: Jonti Siman, Rohin Khemani, Jonathan Goldberger Russ & Daughters Café 8 pm Minton’s 7, 8:30, 10 pm $10-20 Barbès 8 pm $10 • Moth to Flame: Tyson Harvey, John Kritl, Ivo Lorenz, Ken Marino; Dan DeChellis Trio • Charlie Looker/Darius Jones; Charlie Looker, , • Ilhan Ersahin’s Istanbul Sessions Drom 9:30 pm $20 with Scott Hornick, Tom Papadatos; Antonia Light: Dave Nelson/Marlon Patton The Stone 8, 10 pm $15 • Jonathan Rowden Group with Ryan Pryor, James Yoshizawa, Chris Hon, ShapeShifter Lab 7, 8:15, 9:30 pm $10 êNeu3: Michael Blake, Mark Helias, Scott Neumann Remy Le Boeuf ShapeShifter Lab 7 pm $10 • Jeremy Hurewitz The Firehouse Space 8 pm $10 Cornelia Street Café 8:30 pm $10 • Matilda Mörk Trio with Nitzan Gavrielli, Lars Ekman • Kyle Moffatt; Paul Bedal Quartet with Caroline Davis, Dion Kerr, Harvel Hakundi • Jeff Davis Trio with , Eivind Opsvik; Jen Shyu/Ben Monder WhyNot Bistro 9 pm Somethin’ Jazz Club 7, 9 pm $12 Korzo 9, 10:30 pm • JP Jofre; Bayo Fayemi Group with Elisee Augustin, Alfredo Colon, Juan Bowers, • Scot Albertson Duo Tomi Jazz 9 pm $10 • Spike Wilner Trio; Lucas Pino No Net Nonet with Colin Stranahan, Glenn Zaleski, Malik McLaurine, Justin Henry Somethin’ Jazz Club 7, 9 pm $12 • Michael Vitali Trio Cleopatra’s Needle 7 pm Desmond White, Alex LoRe, Rafal Sarnecki, Nick Finzer, Andrew Gutauskas; • Akihiro Yamamoto Trio Tomi Jazz 8 pm • Rick Stone Trio The Garage 7 pm Kyle Poole and Friends Smalls 7:30, 10:30 pm 12:30 am $20 • Tsutomu Naki Trio The Garage 7 pm • Pete Muller Trio with Skip Ward, Kyle Rowland • Saul Rubin; Peter Brainin Latin Jazz Workshop • Equilibrium: Brad Baker, Pam Belluck, Rich Russo, Elliot Honig, Terry Schwadron, Caffe Vivaldi 7:30 pm Fat Cat 7, 9 pm Dan Silverstone Caffe Vivaldi 8:30 pm êDan Weiss Trio with Jacob Sacks, Eivind Opsvik • Daniel Weiss Trio with Alex Claffy, Charles Gould • Ramsey Lewis In Crowd 50th Anniversary SEEDS 9 pm Bar Next Door 8:30, 10:30 pm $12 Blue Note 8, 10:30 pm $45 êChristian Sands/Noah Jackson Mezzrow 9 pm $20 • Juan Felipe Mayorga Trio Terraza 7 8 pm $7 êOmer Avital with Joel Frahm, Michael Rodriguez, Yonathan Avishai, Daniel Freedman • Sacha Perry Quintet; Lage Lund 4 with Sullivan Fortner, Matt Brewer, Tyshawn Sorey; • Pedrito Martinez Group SubRosa 7, 9 pm $20 Jazz Standard 7:30, 9:30 pm $25 Nick Hempton Band with Tadataka Unno, Dave Baron, Dan Aran • Stan Killian Quartet with David Kikoski, Corcoran Holt, McClenty Hunter êFred Hersch Trio +2 with Mark Turner, Ralph Alessi, John Hébert, Eric McPherson Smalls 6, 9:30 pm 12 am $20 55Bar 7 pm Village Vanguard 8:30, 10:30 pm $25 • Ramsey Lewis In Crowd 50th Anniversary • Lola Regenthal/Daniel Marques ShapeShifter Lab 8:15 pm $10 • Jane Monheit’s To the Men I Love with Joel Frahm, Billy Stritch, Neal Miner, Blue Note 8, 10:30 pm $45 • Billy Test solo Jazz at Kitano 8 pm Rick Montalbano Birdland 8:30, 11 pm $40 êFred Hersch Trio +2 with Mark Turner, Ralph Alessi, John Hébert, Eric McPherson • Linus NYC: Gizem Gokoglu, Linus Wyrsch, Russell Kranes, Julian Smith, Karina Colis; • Pedrito Martinez Group SubRosa 7, 9 pm $20 Village Vanguard 8:30, 10:30 pm $25 Hermon Mehari Quartet with Matt Brewer; Addison Frei Trio with Perrin Grace, • Antonio Ciacca Measure 8 pm • Jane Monheit’s Hello Bluebird with Joel Frahm, Michael Kanan, Neal Miner, Matt Young Somethin’ Jazz Club 7, 9, 11 pm $12 • The Grautet Silvana 6 pm Rick Montalbano Birdland 8:30, 11 pm $40 • Tim Chernikoff Trio Tomi Jazz 8 pm • Allan Andre Trio Shrine 6 pm • Antonio Ciacca Measure 8 pm • Rob Edwards Quartet The Garage 7 pm • Sean Smith/David Hazeltine Saint Peter’s 1 pm $10 • Sebastian Noelle Trio with Sam Anning, Raj Jayaweera • Antonio Ciacca Measure 8 pm Silvana 6 pm êHamiet Bluiett Rendall Memorial Presbyterian Church 12, 1 pm $15 • The Stachel Quintet Shrine 6 pm

THE NEW YORK CITY JAZZ RECORD | JANUARY 2015 47 êYard Byard—The Jaki Byard Project: Jamie Baum, Adam Kolker, Jerome Harris, Friday, January 16 Essiet Okon Essiet, George Schuller • Bill Frisell’s When You Wish Upon A Star with Eyvind Kang, Thomas Morgan, Cornelia Street Café 8:30 pm $10 Rudy Royston, Petra Haden The Appel Room 7, 9:30 pm $45-55 • Johnny O’Neal Trio with Luke Sellick, Charles Goold; Behn Gillece êSteve Wilson, Renee Rosnes, Peter Washington Smalls 7:30, 10:30 pm $20 Jazz at Kitano 8, 10 pm $30 êChristian Sands Trio with Yasushi Nakamura, Rodney Green êWalter Blanding’s Tick Tock with Warren Wolf, Mark Whitfield, Bruce Harris, Minton’s 5:30, 7, 8:30 pm $10-20 Russell Hall, Dan Nimmer, Ulysses Owens, Jr. êConnie Crothers/Guillermo Gregorio; Connie Crothers, Guillermo Gregorio, Dizzy’s Club 7:30, 9:30 pm $40 Kevin Norton Ibeam Brooklyn 8, 10 pm $15 • Grandpa Musselman and His Syncopators êPeter Leitch/Harvie S Walker’s 8 pm Dizzy’s Club 11:30 pm $10 • Terry Waldo’s Gotham City Band; Brandon Lewis/Renee Cruz Jam • Mighty Burner Tribute: Freddie Hendrix, Eric Alexander, Bob DeVos, Mike LeDonne, Fat Cat 6 pm 12 am Greg Rockingham Smoke 7, 9, 10:30 pm $38 • New York Free Quartet: Mike Moss, Steve Cohn, Larry Roland, Chuck Fertal; êOrrin Evans/Vicente Archer Mezzrow 8:30 pm $20 Outside Within: Waldron Ricks, Lance Bryant, Larry Roland, Mamiko Watanabe, • Ai Murakami with Sacha Perry, Tyler Mitchell; Tardo Hammer Trio with Lee Hudson, Michael Wimberly, Terry Davis WhyNot Bistro 7 pm Jimmy Wormworth; Mark Soskin Quartet with Rich Perry, Jay Anderson, • Audrey Chen/Maria Chavez Roulette 8 pm $20 Anthony Pinciotti Smalls 4, 7:30, 10:30 pm $20 • Trample Man: Broc Hempel, Sam Trapchak, Christian Coleman with guest Jeremy Pelt • Peter Zak/Doug Weiss Knickerbocker Bar and Grill 9:45 pm $5 Dominie’s Astoria 9 pm • Charlie Looker, Caleb Burhans, Robbie Lee, Travis LaPlante; • Josh Richman Measure 8 pm Seaven Teares and Friends with Charlie Looker, Amirtha Kidambi, Robbie Lee, • John Lutz O(h)ms of Resistance Ensemble; Tom Shad/Jesse Kranzler Russell Greenberg The Stone 8, 10 pm $15 ABC No-Rio 7 pm $5 • Glenn Zaleski Trio with Dezron Douglas, Craig Weinrib êEd Palermo Big Band with guest Rob Paparozzi The Jazz Gallery 8, 10 pm $22 Iridium 8, 10 pm $30 êJeremiah Cymerman solo and duo with Giacomo Merega êWalter Blanding’s Tick Tock with Warren Wolf, Mark Whitfield, Bruce Harris, Prospect Range 9 pm $10 Russell Hall, Dan Nimmer, Ulysses Owens, Jr. • Chris Dingman Ibeam Brooklyn 8:30 pm $15 Dizzy’s Club 7:30, 9:30 pm $35 • Marko Djordjevic Trio with Julian Pollock, Carlo De Rosa • Mighty Burner Tribute: Eric Alexander, Bob DeVos, Mike LeDonne, Greg Rockingham Bar Next Door 7:30, 9:30, 11:30 pm $12 Smoke 7, 9, 10:30 pm $38 • Diego Obregon Trio with Ricky Rodriguez, Ari Hoenig • Aaron Goldberg Trio with Reuben Rogers, Eric Harland Terraza 7 9:30 pm $7 Jazz Standard 7:30, 9:30, 11:30 pm $30 • Emily Bear Iridium 7, 9 pm $30 • Ramsey Lewis In Crowd 50th Anniversary • Josh Evans Fat Cat 10:30 pm Blue Note 8, 10:30 pm $45 • Takenori Nishiuchi Tomi Jazz 9 pm $10 êFred Hersch Trio +2 with Mark Turner, Ralph Alessi, John Hébert, Eric McPherson • Matt Baker Trio Cleopatra’s Needle 8 pm Village Vanguard 8:30, 10:30 pm $25 • Rob Silverman Indian Road Café 8 pm • Phillipe Lemm Trio Silvana 6 pm • Tom Tallitsch Quartet; Kevin Dorn and the BIG 72 • Soundpainting Workshop The Firehouse Space 6 pm $10 The Garage 6, 10:30 pm êSteve Wilson/Lewis Nash Saint Peter’s 5 pm • Aaron Goldberg Trio with Reuben Rogers, Eric Harland • Ben Monder solo Barbès 5 pm $10 Jazz Standard 7:30, 9:30, 11:30 pm $30 • Monty Alexander Trio with Ulysses Owens, Jr. êDan Weiss Trio with Jacob Sacks, Eivind Opsvik Abyssinian Baptist Church 4 pm $20 SEEDS 9 pm • Akua Dixon with Patrisa Tomassini, Charisa Dowe Rouse, Ina Paris, Kenny Davis, • Ramsey Lewis In Crowd 50th Anniversary Andromeda Turre, Orion Turre Mount Morris Ascension Presbyterian Church 3 pm $10 Blue Note 8, 10:30 pm $45 • Janis Siegel The Requinte Trio with Nanny Assis, John di Martino êFred Hersch Trio +2 with Mark Turner, Ralph Alessi, John Hébert, Eric McPherson Blue Note 11:30 am 1:30 pm $35 Village Vanguard 8:30, 10:30 pm $25 • Roz Corral Trio with Paul Bollenback, Paul Gill • Jane Monheit’s Hello Bluebird with Joel Frahm, Michael Kanan, Neal Miner, North Square Lounge 12:30, 2 pm Rick Montalbano Birdland 8:30, 11 pm $40 • Kyoko Oyobe Trio; David Coss Quartet • Antonio Ciacca Measure 8 pm The Garage 11:30 am 7 pm • Chandry Abreu Silvana 6 pm • Joe Pino Quintet Shrine 6 pm Monday, January 19 Saturday, January 17 • The Music of Karl Jenkins Stern Auditorium 7 pm $20-100 • New Century Jazz Quintet: Takeshi Obayashi, Ulysses Owens, Jr’s, Tim Green, êEd Palermo Big Band with guest Napoleon Murphy Brock Yasushi Nakamura, Mike Dease Dizzy’s Club 7:30, 9:30 pm $30 Iridium 8, 10 pm $30 êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 êWilliam Parker and The Tone Motion Theatre with Keir Neuringer, Mike Watson, • George Braith; Billy Kaye Jam Fat Cat 9 pm 12:30 am Ryan Frazier, Larry Toft, Veronica Jurkiewicz, Thomas Kraines, Hamid Drake, • Magos Herrera, Vitor Gonçalves, Rogério Boccato and guest Edmar Castañeda Steve Swell, Joe McPhee, Daniel Carter, Cooper Moore, Fay Victor, Kyoko Kitamura, Cornelia Street Café 8:30 pm $10 Anais Maviel Roulette 8 pm $25 êOrrin Evans Captain Black Big Band • Pablo Mayor Folklore Urbano SubRosa 7, 9 pm $20 Smoke 7, 9 pm $9 • The Music of Lee Morgan: Robert Rutledge • Danny Fox Trio; Ari Hoenig Quartet with Gilad Hekselman, Orlando Le Fleming, Sistas’ Place 9, 10:30 pm $20 Shai Maestro; Spencer Murphy with Tivon Pennicott, John Chin, Lawrence Leathers • Andrew Hock solo; Charlie Looker solo; Psalm Zero Acoustic: Smalls 7:30, 10:30 pm 1 am $20 Charlie Looker/Andrew Hock The Stone 8, 10 pm $15 • Steve Ash Measure 8 pm êDevin Gray’s Dirigo Rataplan with , Dave Ballou, Michael Formanek • Beat Kaestli Trio with Jesse Lewis, Will Hollhouser Greenwich House Music School 8 pm $15 Bar Next Door 8:30, 10:30 pm $12 • Gilad Hekselman’s Szr with Glenn Zaleski, Rick Rosato, Colin Stranahan • Speaking Tube: Emilie Lesbros, Frantz Loriot, Pascal Niggenkemper; Cornelia Street Café 9, 10:30 pm $10 JANICE: Patrick Breiner, Sasha Brown, Chris Tordini, Jason Nazary • Sean Smith Trio with Nate Radley, Russ Meisner Delroy’s Cafe and Wine Bar 8:30, 9:45 pm $10 Bar Next Door 7:30, 9:30, 11:30 pm $12 • Kelley Suttenfield Zinc Bar 7 pm $8 • Aaron Burnett and the Big Machine with Jonathan Finlayson, Matt Brewer, • 10 o’clock Jazz with John “Satchmo” Mannan, Vinny Knight Carlos Homs, Mark Whitfield, Jr. The Jazz Gallery 8, 10 pm $22 Bier International 8 pm • Luisito Quintero/ Terraza 7 9:30 pm $7 • Carol Sudhalter Quartet with Patrick Poladian, Antonio Cervellino, Enzo Zirilli êBilly Mintz Two Bass Band with Masa Kamaguchi Somethin’ Jazz Club 9 pm $12 Ibeam Brooklyn 8:30 pm $10 • Sammy Miller Big Band The Garage 7 pm • The JT Project Ginny’s Supper Club 7:30, 9:30 pm $10 • For Trees & Birds Silvana 6 pm • Matthew Heath Quartet with Craig Cammell, Or Bareket, Dre Hocevar; Jason Yeager; David Kikoski solo Somethin’ Jazz Club 5, 7, 9 pm $12-15 Tuesday, January 20 • Kathryn Allyn Duo; Matt Panayides Trio Tomi Jazz 8, 11 pm $10 êThe Nearness of You—Michael Brecker Tribute/Benefit for Columbia University Medical • Alan Rosenthal Trio Cleopatra’s Needle 8 pm Center: Paul Simon, , Bobby McFerrin, Dianne Reeves, Branford Marsalis, • Bill Frisell’s When You Wish Upon A Star with Eyvind Kang, Thomas Morgan, Ravi Coltrane and guests The Appel Room 7:30 pm $500-1,000 Rudy Royston, Petra Haden The Appel Room 7, 9:30 pm $45-55 êPat Martino Organ Trio; Larry Coryell/Vic Juris Duo êSteve Wilson, Renee Rosnes, Peter Washington Blue Note 8, 10:30 pm $35 Jazz at Kitano 8, 10 pm $30 êFred Hersch solo Village Vanguard 8:30, 10:30 pm $25 êWalter Blanding’s Tick Tock with Warren Wolf, Mark Whitfield, Bruce Harris, • Vijay Iyer, Rajna Swaminathan, Anjna Swaminathan, Reggie Workman, Mat Maneri Russell Hall, Dan Nimmer, Ulysses Owens, Jr. The Stone 8, 10 pm $20 Dizzy’s Club 7:30, 9:30 pm $45 • Steve Davis Quintet with Abraham Burton, Larry Willis, Nat Reeves, Billy Williams • Grandpa Musselman and His Syncopators Dizzy’s Club 7:30, 9:30 pm $35 Dizzy’s Club 11:30 pm $20 • Sammy Miller and the Congregation • Mighty Burner Tribute: Freddie Hendrix, Eric Alexander, Bob DeVos, Mike LeDonne, Dizzy’s Club 11:30 pm $5 Greg Rockingham Smoke 7, 9, 10:30 pm $38 • Beegie Adair/Monica Ramey Birdland 8:30, 11 pm $40 êOrrin Evans/Vicente Archer Mezzrow 8:30 pm $20 êDave Chamberlain’s Band of Bones êEliot Zigmund Quartet with Chris Cheek, Michael Eckroth, David Kingsnorth; NYC Baha’i Center 8, 9:30 pm $15 Mark Soskin Quartet with Rich Perry, Jay Anderson, Anthony Pinciotti • Gerardo Contino y Los Habaneros SubRosa 7, 9 pm $20 Smalls 7:30, 10:30 pm $20 êLage Lund Trio Bar Next Door 8:30, 10:30 pm $12 • Peter Zak/Doug Weiss Knickerbocker Bar and Grill 9:45 pm $5 • Sarah McKenzie Quartet Minton’s 7, 8:30, 10 pm $10-20 • Aaron Goldberg Trio with Reuben Rogers, Eric Harland • John Raymond’s Roots Trio with Gilad Hekselman, Colin Stranahan; Jazz Standard 7:30, 9:30, 11:30 pm $30 Pablo Masis Quartet with Andrew Gould, Or Bareket, Austin Walker êDan Weiss Trio with Jacob Sacks, Eivind Opsvik Cornelia Street Café 8, 9:30 pm $10 SEEDS 9 pm êJames Carney Quartet with Ralph Alessi, Dezron Douglas, Jeff Davis • Ramsey Lewis In Crowd 50th Anniversary Korzo 9, 10:30 pm Blue Note 8, 10:30 pm $45 • Spike Wilner Trio; Smalls Legacy Band: Frank Lacy, Stacy Dillard, Josh Evans, êFred Hersch Trio +2 with Mark Turner, Ralph Alessi, John Hébert, Eric McPherson Theo Hill, Ameen Saleem, Kush Abadey; Kyle Poole and Friends Village Vanguard 8:30, 10:30 pm $25 Smalls 7:30, 10:30 pm 12:30 am $20 • Jane Monheit’s Hello Bluebird with Joel Frahm, Michael Kanan, Neal Miner, • Skye Steele; Nate Wood; Masu Littlefield 8:30 pm $10 Rick Montalbano Birdland 8:30, 11 pm $40 • Akiko Pavolka and House of Illusion with Loren Stillman, Nate Radley, Matt Pavolka, • Antonio Ciacca Measure 8 pm Nate Wood Barbès 7 pm $10 • Uri Sharlin’s DogCat Barbès 6 pm $10 • Nick Brust/Adam Horowitz Quintet with Matthew Sheens, James Quinlan, Dani Danor • Alison Shearer Quintet Silvana 6 pm ShapeShifter Lab 8:15 pm $10 • Larry Newcomb Quartet; Mark Marino Trio • Ashley Daneman Band Rockwood Music Hall Stage 1 7 pm The Garage 12, 6 pm • Michael Bank; Addison Frei Trio with Perrin Grace, Matt Young Somethin’ Jazz Club 7, 11 pm $12 Sunday, January 18 • Michael Gallant Trio Tomi Jazz 8 pm • Billy Test solo Jazz at Kitano 8 pm êThe Pleasures Of A Normal Man: Peter Evans, Gareth Flowers, Jacob Garchik, • Dwight Dickerson Trio The Garage 7 pm Andrew Hock, Mario Diaz de Leon, Mike Pride, Josh Modney, Caley Monahon-Ward, • Steve Ash Measure 8 pm Karen Waltuch, Mariel Roberts, Pascal Niggenkemper, Charlie Looker; • Tammy Scheffer Silvana 6 pm Period: Charlie Looker, Chuck Bettis, Mike Pride and guest Tim Berne • Michael Eaton Quartet Shrine 6 pm The Stone 8, 10 pm $15 • Kelvyn Bell Rendall Memorial Presbyterian Church 12, 1 pm $15 êBucky Pizzarelli/Ed Laub Mezzrow 9:30 pm $20 • Gene Bertoncini The Drawing Room 7 pm $20

48 JANUARY 2015 | THE NEW YORK CITY JAZZ RECORD Wednesday, January 21 êDena DeRose with Jeremy Pelt, Martin Wind, Matt Wilson • Trriioo: Vijay Iyer, Matt Brewer, Stephan Crump, Marcus Gilmore, Tyshawn Sorey; Birdland 8:30, 11 pm $40 Trriioo++: Vijay Iyer, Matthew Brewer, Stephan Crump, Marcus Gilmore, Tyshawn Sorey, êPapo Vazquez Mighty Pirates Troubadours with Willie Williams, Rick Germanson, • Alex Hoffman Group with Emanuele Basentini; Francisco Mela Quartet with Rafiq Bhatia, Graham Haynes, Mat Maneri Dezron Douglas, Alvester Garnett, Anthony Carrillo, Carlos Maldonado and guest George Garzone, Lionel Loueke, Drew Gress; Carlos Abadie Quintet with Peter Zak, The Stone 8, 10 pm $20 Sherman Irby Dizzy’s Club 7:30, 9:30 pm $30 Clovis Nicolas, Luca Santaniello Smalls 6, 9:30 pm 12 am $20 • Marc Cary’s Harlem Homecoming Ginny’s Supper Club 7:30, 9:30 pm $15 • Sammy Miller and the Congregation • Joe Morris Quartet with Mat Maneri, Chris Lightcap, Gerald Cleaver • /Dezron Douglas Mezzrow 8:30 pm $20 Dizzy’s Club 11:30 pm $5 Greenwich House Music School 8 pm $15 • Mike Battaglia, James Robbins, Sanah Kadoura; Ralph Lalama’s Bop-Juice; • Vijay Iyer, Imani Uzuri, Dj Val-Inc, Linda Oh; Vijay Iyer, Sunny Jain, Himanshu Suri • Ches Smith Quartet with Jonathan Finlayson, Mat Maneri, Stephan Crump Joel Frahm Trio with Ed Howard, Anthony Pinciotti The Stone 8, 10 pm $20 Cornelia Street Café 8:30 pm $10 Smalls 4, 7:30, 10:30 pm $20 êDavid Virelles SEEDS 9 pm êBria Skonberg Joe’s Pub 7 pm $16 • Carlos Henriquez Dizzy’s Club 7:30, 9:30 pm $40 êJoe Sanders Mezzrow 9 pm $20 • Linda Presgrave with Stan Chovnick, Harvie S, Seiji Ochiai • Sammy Miller and the Congregation • Akua Dixon Quartet with Sharp Radway, Hill Greene, Orion Turre Jazz at Kitano 8, 10 pm $15 Dizzy’s Club 11:30 pm $10 Smoke 7, 9, 10:30 pm $9 • Gregoire Maret Schomburg Center 7 pm • Mark Sherman Quartet with Kenny Barron, Ray Drummond, Carl Allen • John O’Gallagher Trio with Johannes Weidenmuller, Mark Ferber; • Eric Kurimski Quartet Terraza 7 8 pm $7 Jazz at Kitano 8, 10 pm $30 Craig Wuepper’s Earsight Smalls 9:30 pm 12 am $20 • Point of Departure Fat Cat 10 pm êHarris Eisenstadt Canada Day with Nate Wooley, Matt Bauder, Chris Dingman, • Edward Perez Trio Terraza 7 8 pm $7 êCarol Morgan Trio with Joe Cohen, Corrin Stigall Pascal Niggenkemper; Vinnie Sperrazza, Jacob Sacks, Masa Kamaguchi • Pedrito Martinez Group SubRosa 7, 9 pm $20 Bar Next Door 8:30, 10:30 pm $12 Ibeam Brooklyn 8, 9:30 pm $10 • Janis Siegel/Addison Frei Duo Jazz at Kitano 8, 10 pm $15 • Jeremy Dutton with Philip Dizack, Nir Felder, James Francies • Colin Stranahan Trio with Pete Rende, Joe Martin • David Cook Quintet with John Ellis, David Cook, Matt Clohesy, Ross Pederson; The Jazz Gallery 8, 10 pm $15 Cornelia Street Café 9, 10:30 pm $10 Greg Diamond Quintet with Stacy Dillard, Mike Eckroth, Peter Slavov, Henry Cole • FIDO::qrtet: Shoko Nagai, Ron Horton, Maryanne de Prophetis, Satoshi Takeishi • Erik Deutsch and the Jazz Outlaws Cornelia Street Café 8, 9:30 pm $10 Ibeam Brooklyn 8:30 pm $10 BAMCafé 10 pm • Juilliard Jazz Orchestra Peter Jay Sharp Theater 8 pm • Yoni Kretzmer’s New Dilemma with Franz Loriot, Leila Bordreuil, Daro Behroozi, • Alex Ferreira SubRosa 7, 9 pm $20 • Moon Sugar: Mike Yaw, Tim Basom, Campbell Charshee, Neil Johnson, Jeff Koch Pascal Niggenkemper, Flin Van Hemmen • Falkner Evans/Paul Gill Knickerbocker Bar and Grill 9:45 pm $5 ShapeShifter Lab 7 pm $10 The Firehouse Space 8:30 pm $12 • Arturo Stable Changui Project Terraza 7 9:30 pm $7 • Raphael D’lugoff; Don Hahn/Mike Camacho Band; Ned Goold Jam • Moira Lo Bianco Trio with Petros Klampanis, John Hadfield; Ruby Choi Group • Bombay Rickey Barbès 8 pm $10 Fat Cat 7, 9 pm 12:30 am ShapeShifter Lab 7, 8:15 pm $8 • Zak Smith with Gavi Grodsky, Keith Robinson, Bass, Dov Manski, Melanie Flannery, • B.U.T: Nicolas Letman-Burtinovic, Lena Bloch, Deric Dickens • Zach Mama Somethin’ Jazz Club 7 pm $12 Tania Jones, Lauren Geber; Grey McMurray; Cenk Ergun Bar Chord 9 pm • Ray Parker Trio Cleopatra’s Needle 7 pm ShapeShifter Lab 7, 8:15, 9:30 pm $8 • Alex Hanburger Duo; Jon Menges Trio • Baby Soda Jazz Band Radegast Hall 9 pm • Adam Smale Trio with Michael O’Brien, Brian Fischler Tomi Jazz 8 pm • Will Terrill Trio The Garage 7 pm Bar Next Door 7:30, 9:30, 11:30 pm $12 • Gordon’s Grand Street Stompers Radegast Hall 9 pm êPapo Vazquez Mighty Pirates Troubadours with Willie Williams, Rick Germanson, • Dennis Shafer solo The Firehouse Space 8 pm $10 • The Anderson Brothers The Garage 7 pm Dezron Douglas, Alvester Garnett, Anthony Carrillo, Carlos Maldonado and guest • Shoko Amano Somethin’ Jazz Club 7 pm $12 • Bjorn Ingelstam Silvana 8 pm Sherman Irby Dizzy’s Club 7:30, 9:30 pm $30 • Kuni Mikami Trio Tomi Jazz 9 pm $10 êPat Martino Organ Trio; Larry Coryell/Vic Juris Duo • Sammy Miller and the Congregation • Yaacov Mayman Trio Cleopatra’s Needle 8 pm Blue Note 8, 10:30 pm $35 Dizzy’s Club 11:30 pm $10 • Bossa Brasil: Maurício de Souza, Bob Rodriguez, Joonsam Lee; êFred Hersch solo Village Vanguard 8:30, 10:30 pm $25 êDavid Virelles SEEDS 9 pm Peter Valera Jump Blues Band The Garage 6, 10:30 pm • Beegie Adair/Monica Ramey Birdland 8:30, 11 pm $40 êJoe Sanders Mezzrow 9 pm $20 • NeTTwork: Charnett Moffett, Cyrus Chestnut, Victor Lewis • Steve Ash Measure 8 pm êPat Martino Organ Trio; Larry Coryell/Vic Juris Duo Jazz Standard 7:30, 9:30, 11:30 pm $35 • Eric Plaks Trio Shrine 6 pm Blue Note 8, 10:30 pm $35 êDena DeRose with Jeremy Pelt, Martin Wind, Matt Wilson • Mark Soskin/Roseanna Vitro Saint Peter’s 1 pm $10 êFred Hersch solo Village Vanguard 8:30, 10:30 pm $25 Birdland 8:30, 11 pm $40 • Steve Ash Measure 8 pm êDavid Virelles SEEDS 9 pm Thursday, January 22 • The Powell Brothers Silvana 6 pm êPat Martino Organ Trio; Larry Coryell/Vic Juris Duo • Marco Chelo Trio Shrine 6 pm Blue Note 8, 10:30 pm $35 êThe Intuitionists: Vijay Iyer, Reggie Workman, Tyshawn Sorey; Fieldwork: Vijay Iyer, • Matt Geraghty Project Blue Note 12:30 am $10 Steve Lehman, Tyshawn Sorey The Stone 8, 10 pm $20 Friday, January 23 • Fred Hersch solo Village Vanguard 8:30, 10:30 pm $25 êNeTTwork: Charnett Moffett, Cyrus Chestnut, Victor Lewis • Steve Ash Measure 8 pm Jazz Standard 7:30, 9:30 pm $30 êJimmy Cobb’s Birthday Celebration with Peter Bernstein and guests • Audiograph Project Silvana 6 pm

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THE NEW YORK CITY JAZZ RECORD | JANUARY 2015 49 Saturday, January 24 • Marika Hughes and Bottom Heavy Blue Note 8, 10:30 pm $15 Thursday, January 29 • Mingus Big Band Jazz Standard 7:30, 9:30 pm $25 êRenee Rosnes Quartet with Steve Nelson, Peter Washington, Bill Stewart êOrrin Evans Captain Black Big Band êPharoah Sanders Quartet Dizzy’s Club 7:30, 9:30 pm $45 Miller Theater 8 pm $20-30 Smoke 7, 9 pm $9 • Benny Benack III Dizzy’s Club 11:30 pm $10 êVijay Iyer Sextet with Matt Brewer, Marcus Gilmore, Mark Shim, Steve Lehman, • Stéphane Spira In Between Quartet with Sam Kulik, Steve Wood, Johnathan Blake; êDuke, Dizzy, Trane and Mingus—Jazz Titans: Jazz at Lincoln Center Orchestra with Graham Haynes; Open Cityscapes: Vijay Iyer, Matthew Brewer, Marcus Gilmore, Ari Hoenig Quartet with Gilad Hekselman, Orlando Le Fleming, Shai Maestro; Wynton Marsalis Rose Theater 8 pm $30-120 Mark Shim, Steve Lehman, Graham Haynes, Elena Pinderhughes, Patricia Franceschy, Jonathan Michel Smalls 7:30, 10:30 pm 1 am $20 • Christian Scott with Matthew Stevens, Lawrence Fields, Kriss Funn, Jamire Williams Rafiq Bhatia The Stone 8, 10 pm $20 • Benny Golson Festival: Antonio Ciacca and Friends Blue Note 8, 10:30 pm $35 • Jean-Michel Pilc, Gilad Hekselman, Petros Klampanis Measure 8 pm êJonathan Moritz Trio with Shayna Dulberger, Mike Pride; ShapeShifter Lab 7:30 pm $12 • Eliane Amherd Trio with Hagar Ben Ari, Willard Dyson Yoni Kretzmer’s Quartet with Reuben Radding, Sean Conly, Mike Pride êOnaje Allan Gumbs Sistas’ Place 9, 10:30 pm $20 Bar Next Door 8:30, 10:30 pm $12 Ibeam Brooklyn 8, 9 pm $15 êDan Weiss Trio with Jacob Sacks, Michael Formanek • Tree People: Ed Rosenberg, David Crowell, Andrew Smiley; • Sacha Perry Quintet; Duane Eubanks Quintet with Abraham Burton, Orrin Evans, Cornelia Street Café 9, 10:30 pm $10 Signal Problems: Danny Gouker, Eric Trudel, Adam Hopkins, Nathan Ellman-Bell Dezron Douglas, Eric McPherson; Nick Hempton Band with Tadataka Unno, • Tarus Mateen Quartet; Greg Glassman Jam Delroy’s Cafe and Wine Bar 8:30, 9:45 pm $10 Dave Baron, Dan Aran Smalls 6, 9:30 pm 12 am $20 Fat Cat 10 pm 1:30 am • Kathryn Christie Trio Tomi Jazz 8 pm êBill Saxton Quartet Fat Cat 10 pm • Jerome Sabbagh Trio with Joe Martin, • Cecilia Colemen Big Band The Garage 7 pm • Intepretations: Conrad Harris/Pauline Kim; Bozzini Quartet Bar Next Door 7:30, 9:30, 11:30 pm $12 Roulette 8 pm $20 • Drawn To Sound: Ben Gerstein, Gian Luigi Diana, Mike Pride, Morgon O’Hara Tuesday, January 27 • Rubens Salles Group with John Clark, Jeremy Viner, Leco Reis, Kenny Grotowski, The Firehouse Space 8 pm $10 Kavita Shah Cornelia Street Café 8:30 pm $10 • Mario Castro Quintet with Josh Shpak, KyuMin Shim, Tamir Shmerling, êChris Potter Undergound with , John Escreet, Scott Colley, Fima Ephron, • Pharoah’s Daughter: Basya Schechter, Daphna Mor, Meg Okura, Uri Sharlin, Jonathan Pinson and Kailey Shaffer, Leonor Falcón, Allyson Clare, Brian Sanders Steve Nelson, Nate Smith, Peter Sachon, Lois Martin, , Joyce Hammann Mathias Kunzli, Shanir Blumenkranz, Yuval Lion; The Darshan Project: The Jazz Gallery 8, 10 pm $22 Jazz Standard 7:30, 9:30 pm $30 Basya Schechter, Eden Perlstein, Tamer Pinarbasi, Shir Yaakov • Benny Golson Festival: Antonio Ciacca and Friends • Gato Barbieri Blue Note 8, 10:30 pm $45 The Stone 8, 10 pm $15 Measure 8 pm êVanguard Jazz Orchestra 49th Anniversary Celebration êAmanda Monaco Trio with Michael Bates, Joe Fiedler • Art Lillard’s Heavenly Band Spoke the Hub 10 pm Village Vanguard 8:30, 10:30 pm $25 Bar Next Door 8:30, 10:30 pm $12 • Thomas Galliano Quartet Somethin’ Jazz Club 9 pm $12 • Jackie McLean Institute Student Ensemble • Sara Serpa with André Matos, Thomas Morgan, Tyshawn Sorey • Standard Procedures; Dana Reedy Tomi Jazz 8, 11 pm $10 Dizzy’s Club 7:30, 9:30 pm $30 Greenwich House Music School 8 pm $15 • Emanuele Tozzi Cleopatra’s Needle 8 pm • Benny Benack III Dizzy’s Club 11:30 pm $5 • Frikative Quartet: Sarah Bernstein, Mat Maneri, Scott Tixier, Rubin Kodheli • Carbon Mirage Shrine 8 pm • Lena Bloch/Russ Lossing Quartet with Cameron Brown, Billy Mintz The Firehouse Space 8 pm $10 êJimmy Cobb’s Birthday Celebration with Peter Bernstein and guests NYC Baha’i Center 8, 9:30 pm $15 • Erika Matsuo Quintet with Helio Alves, Juancho Herrera, Dana Leong, Keita Ogawa Smoke 7, 9, 10:30 pm $40 • Johnny O’Neal Trio with Luke Sellick, Charles Goold Jazz at Kitano 8, 10 pm $15 • Marc Cary’s Harlem Homecoming Ginny’s Supper Club 7:30, 9:30 pm $15 Minton’s 7, 8:30, 10 pm $10-20 • Gregory Generet Smoke 7, 9, 10:30 pm $9 êDanny Grissett/Dezron Douglas Mezzrow 8:30 pm $20 êJacob Sacks, Masa Kamaguchi, Vinnie Sperrazza; Matt Mitchell/Ches Smith • Jon Blevins’ Matterhorn; The Wing Walker Music Orchestra • Tom Dempsey/Tim Ferguson Quartet with Joel Frahm, Eliot Zigmund; Korzo 9, 10:30 pm ShapeShifter Lab 7, 8:15 pm $10 Joel Frahm Trio with Ed Howard, Anthony Pinciotti • Spike Wilner Trio; Josh Evans Big Band with Stacy Dillard, David Gibson, • Laura Angyal Somethin’ Jazz Club 9 pm $12 Smalls 7:30, 10:30 pm $20 Bruce Williams, Theo Hill, Max Seigel, Stafford Hunter, Vitaly Golovnev, Frank Lacy, • Senri Oe Caroline Davis Tomi Jazz 9 pm $10 • Carlos Henriquez Dizzy’s Club 7:30, 9:30 pm $40 Yunie Mojica, Lauren Sevian; Kyle Poole and Friends • Flea Circus The Garage 7 pm • Sammy Miller and the Congregation Smalls 7:30, 10:30 pm 12:30 am $20 êPete Malinverni Mezzrow 9 pm $20 Dizzy’s Club 11:30 pm $20 • Saul Rubin; Itai Kriss and Gato Gordo êChris Potter Undergound with Adam Rogers, John Escreet, Scott Colley, Fima Ephron, • Mark Sherman Quartet with Kenny Barron, Ray Drummond, Carl Allen Fat Cat 7, 9 pm Steve Nelson, Nate Smith, Peter Sachon, Lois Martin, Mark Feldman, Joyce Hammann Jazz at Kitano 8, 10 pm $30 • Kevin McNeal Trio with Noriko Kayo, Tom Baker Jazz Standard 7:30, 9:30 pm $30 êHarris Eisenstadt Canada Day with Nate Wooley, Matt Bauder, Chris Dingman, Bar Next Door 8:30, 10:30 pm $12 êVanguard Jazz Orchestra 49th Anniversary Celebration Pascal Niggenkemper; Jeff Davis Group, with Jonathan Goldberger, Jason Rigby, • Abe Ovadia Quartet with Max Marshall, Michael Feinberg, Ari Hoenig Village Vanguard 8:30, 10:30 pm $25 Simon Jermyn Ibeam Brooklyn 8 pm $10 Iridium 8, 10 pm $25 • Benny Golson Festival: Antonio Ciacca and Friends • Falkner Evans/Paul Gill Knickerbocker Bar and Grill 9:45 pm $5 • The Heschel Project—Songs Of Wonder: Basya Schechter, Uri Sharlin, Megan Gould, Measure 8 pm • NeTTwork: Charnett Moffett, Cyrus Chestnut, Victor Lewis Noah Hoffeld; Itzik Manger—Chumesh Lider: Basya Schechter, Uri Sharlin, • Tammy Scheffer Silvana 6 pm Jazz Standard 7:30, 9:30, 11:30 pm $35 Megan Gould, Noah Hoffeld, Rich Stein êDena DeRose with Jeremy Pelt, Martin Wind, Matt Wilson The Stone 8, 10 pm $15 Birdland 8:30, 11 pm $40 • Daniel Levin/Juan Pablo Carletti; Sam Kulik êDavid Virelles SEEDS 9 pm Freddy’s Backroom 8:30, 10 pm $10 êPat Martino Organ Trio; Larry Coryell/Vic Juris Duo • Eva Novoa Ditmas Quartet with Michaël Attias, Max Johnson, Jeff Davis Blue Note 8, 10:30 pm $35 ShapeShifter Lab 8:15 pm $12 êFred Hersch solo Village Vanguard 8:30, 10:30 pm $25 • Angelo Di Loreto solo Jazz at Kitano 8 pm Lena Bloch • Uri Sharlin’s DogCat Barbès 6 pm $10 • Andre Carvalho; Addison Frei Trio with Perrin Grace, Matt Young “Feathery” available on CD Baby & Amazon • Rodrigo Bonelli Septet Silvana 6 pm Somethin’ Jazz Club 7, 11 pm $12 • Forever Moonlight Band Shrine 6 pm • Nick Dunton Tomi Jazz 8 pm “Debuts are rarely this assured. The band is first-rate, as spontaneous • Marsha Heydt Project of Love; Champian Fulton Quartet; Virginia Mayhew Quartet • Recessionals Jazz Band The Garage 7 pm and fresh as it could be, the leader has a clear vision, and the The Garage 12, 6, 10:30 pm • Benny Golson Festival: Antonio Ciacca and Friends compelling music shines a light on a fresh side of the Lennie Measure 8 pm Tristano side of jazz.” - Dan McClenaghan, All About Jazz Sunday, January 25 • Trios by Zorn: Vicky Chow, Jennifer Choi, Michael Nicolas Miller Theater 6 pm êWadada Leo Smith/Vijay Iyer; Wadada Leo Smith, Vijay Iyer, Nitin Mitta, • Ryo Tanaka Project Silvana 6 pm Patricia Franceschy, Reggie Workman • Art Baron Rendall Memorial Presbyterian Church 12, 1 pm $15 The Stone 8, 10 pm $20 êJeremy Pelt Mezzrow 9:30 pm $20 Wednesday, January 28 • Bern Nix/Cheryl Pyle Duo; Patrick Brennan’s Rōnin Phasing WhyNot Bistro 7, 8:30 pm $10 êMostly Other People Do the Killing: Jon Irabagon, Ron Stabinsky, Moppa Elliott, êBrandee Younger’s Jazz Harp Quartet with Chelsea Baratz, Rashaan Carter, Kevin Shea Cornelia Street Café 8:30 pm $10 E.J. Strickland Minton’s 5:30, 7, 8:30 pm $10-20 • Jacques Schwarz-Bart’s Jazz Racine Haiti with Darren Barrett, Rozna Zila, • Underground Brass: David Whitwell, Dave Taylor, Jay Rozen; Milan Milanović, Ben Williams, Ari Hoenig, Bonga Jean-Baptiste Jazzfakers: David Tamura, Raphael Zwyer, Robert Pepper, Matt Luczak; Dizzy’s Club 7:30, 9:30 pm $30 Ideosynchronic: Grady Gerbracht, John Loggia, Aron Namenwirth, Lawry Romani, • Benny Benack III Dizzy’s Club 11:30 pm $5 Blaise Siwula ShapeShifter Lab 7, 8:15, 9:30 pm $15 • Meg Okura; Meg Okura’s Pan Asian Jazz Chamber Ensemble with Brian Marsella, • Johnny O’Neal Trio with Luke Sellick, Charles Goold; Ned Goold Quartet Sean Kupisz and guests Satoshi Takeishi, Sam Newsome Smalls 7:30, 10:30 pm $20 The Stone 8, 10 pm $15 êPeter Leitch/Ray Drummond Walker’s 8 pm • MSM Jazz Orchestra with guest David Liebman • Terry Waldo’s Gotham City Band; Brandon Lewis/Renee Cruz Jam Borden Auditorium 7:30 pm Fat Cat 6 pm 12 am • Tony Moreno Quintet with Ron Horton, Marc Mommaas, Jean-Michel Pilc; • Trample Man: Broc Hempel, Sam Trapchak, Christian Coleman with guest Igor Lumpert Wayne Tucker Smalls 9:30 pm 12 am $20 Dominie’s Astoria 9 pm • Raphael D’lugoff; Bruce Williams; Ned Goold Jam • Josh Richman Measure 8 pm Fat Cat 7, 9 pm 12:30 am • Rocco John Iacovone Ensemble ABC No-Rio 7 pm $5 êPete Malinverni Mezzrow 9 pm $20 êJimmy Cobb’s Birthday Celebration with Peter Bernstein and guests • Simona Primazzi Smoke 7, 9, 10:30 pm $9 Smoke 7, 9, 10:30 pm $40 • Marcus Goldhaber Quartet with Jon Davis, Gregory M. Jones, Willard Dyson • Carlos Henriquez Dizzy’s Club 7:30, 9:30 pm $40 Jazz at Kitano 8, 10 pm $15 • NeTTwork: Charnett Moffett, Cyrus Chestnut, Victor Lewis • Big Eyed Rabbit: Ross Martin, Max Johnson, Jeff Davis Jazz Standard 7:30, 9:30 pm $30 Barbès 8 pm $10 êPat Martino Organ Trio; Larry Coryell/Vic Juris Duo • Manhattan Vibes Terraza 7 8 pm $7 Blue Note 8, 10:30 pm $35 • Yuki Shibata with Paul Jones, Tomoko Omura, Yoshiki Yamada êFred Hersch solo Village Vanguard 8:30, 10:30 pm $25 ShapeShifter Lab 8:15 pm $10 • Patrick Brennan/Daniel Carter Downtown Music Gallery 6 pm • Setsuko Kida/Mark Soskin Tomi Jazz 8 pm • Melissa Stylianou Saint Peter’s 5 pm • Marc Devine Trio The Garage 7 pm • Lilla Galambos/Zoi Florosz Metropolitan Room 3:30 pm $20 • Joe Alterman Caffe Vivaldi 8:15 pm • Alan Ferber NYU Jazz Ensemble Blue Note 11:30 am 1:30 pm $29.50 êChris Potter Undergound with Adam Rogers, John Escreet, Scott Colley, Fima Ephron, • Ed Laub/Gene Bertoncini North Square Lounge 12:30, 2 pm Steve Nelson, Nate Smith, Peter Sachon, Lois Martin, Mark Feldman, Joyce Hammann • Ben Holmes/Patrick Farrell City Winery 11 am $10 Jazz Standard 7:30, 9:30 pm $30 • Iris Ornig Quartet; Rob Edwards Quartet êVanguard Jazz Orchestra 49th Anniversary Celebration The Garage 11:30 am 7 pm Village Vanguard 8:30, 10:30 pm $25 • Benny Golson Festival: Antonio Ciacca and Friends Monday, January 26 Measure 8 pm Lena Bloch Quartet • Mikhail Martin Trio Silvana 6 pm January 27th, 2015 • OWL Trio: Orlando Le Fleming, Will Vinson, Lage Lund • Art Lillard’s Heavenly Big Band Saint Peter’s 1 pm $10 8, 9:30 pm $15 Dizzy’s Club 7:30, 9:30 pm $30 (Russ Lossing, Cameron BrownBaha’i CenterBilly Mintz) NYC

50 JANUARY 2015 | THE NEW YORK CITY JAZZ RECORD Tivon PennicoTT and Sound QuarTeT debuT album Lover of Nature available on iTunes amazon & CD baby

TivonpenniCoTT.Com

CD release show January 31sT, 2015 Ginny’s supper Club (125Th anD lenox) 7:30 & 10 pm $10

Tivon PennicoTT (Tenor sax) Mike BaTTaglia (Piano) sPencer MurPhy (Bass) kenneTh salTers (druMs) Friday, January 30 • Arturo O’Farrill and the Afro Latin Jazz Orchestra with guest Lionel Loueke REGULAR ENGAGEMENTS Symphony Space Peter Jay Sharp Theatre 8 pm $20-30 êScott Robinson Quartet with Helen Sung, Martin Wind MONDAY Jazz at Kitano 8, 10 pm $30 • Ron Affif Trio Zinc Bar 9, 11pm, 12:30, 2 am êBill Charlap Trio with Peter Washington, Kenny Washington • Woody Allen/Eddy Davis New Orleans Jazz Band Café Carlyle 8:45 pm $155 Smoke 7, 9, 10:30 pm $40 • Rick Bogart Trio Broadway Thai 6:30 pm (ALSO SUN) êHarry Allen/Rossano Sportiello Mezzrow 8:30 pm $20 • Richard Clements and guests 11th Street Bar 8 pm • Ai Murakami with Sacha Perry, Tyler Mitchell; David Schnitter Quartet; • Emerging Artists Series Bar Next Door 6:30 pm (ALSO TUE-THU) Victor Gould Sextet with Ben Williams, Rodney Green, Myron Walden, Godwin Louis, • Joel Forrester solo Brandy Library 8 pm Billy Buss Smalls 4, 7:30, 10:30 pm $20 • Vince Giordano’s Nighthawks Iguana 8 pm (ALSO TUE) • Grove Street Stompers Arthur’s Tavern 7 pm • Michael Weiss Quartet Fat Cat 10:30 pm • Jazz Foundation of American Jam Session Local 802 7 pm • Flowing Constancy: Jin Hi Kim, Oliver Lake, Samir Chatterjee • Arthur Kell and Friends Bar Lunatico 8:30 pm Roulette 8 pm $20 • Renaud Penant Trio Analogue 7:30 pm • Emilio Teubal Ensemble BAMCafé 9 pm • Earl Rose solo; Earl Rose Trio Bemelmans Bar 5:30, 9 pm êIngrid Laubrock, Nate Wooley, Sam Pluta; Tony Malaby’s Adobe Trio with John Hébert, • Stan Rubin All-Stars Charley O’s 8:30 pm Billy Mintz; Thomas Borgmann, Ken Filiano, Reggie Nicholson • Smoke Jam Session Smoke 11:30 pm • Swingadelic Swing 46 8:30 pm Ibeam Brooklyn 8, 9, 10 pm $15 • Vanguard Jazz Orchestra Village Vanguard 8:30, 10:30 pm $25 êPaul West/Richard Wyands Knickerbocker Bar and Grill 9:45 pm $5 • Diego Voglino Jam Session The Village Lantern 9:30 pm • /Mat Maneri Barbès 8 pm $10 • Jordan Young Group Bflat 8 pm (ALSO WED 8:30 pm) • Alan Palmer Quartet Somethin’ Jazz Club 9 pm $15 • Kaleidoscope: Freddie Bryant, Martin Jaffe, Willard Dyson TUESDAY Bar Next Door 7:30, 9:30, 11:30 pm $12 Caroline Davis Tomi Jazz 9 pm $10 • Daisuke Abe Trio Sprig 6 pm (ALSO WED-THU) • • Rick Bogart Trio L’ybane 9:30 pm (ALSO FRI) • Mauricio Zottarelli with Itaiguara Brandão, Oriente Lopez, Alex Brown, • Orrin Evans Evolution Series Jam Session Zinc Bar 11 pm Jorge Continentino; Rogério Boccato Quarteto with Nando Michelin, Dan Blake, • Irving Fields Nino’s Tuscany 7 pm (ALSO WED-SUN) Jay Anderson Cornelia Street Café 9, 10:30 pm $10 • George Gee Swing Orchestra Swing 46 8:30 pm $12 • Andy Clausen’s Wishbone Project with Riley Mulherkar, Mitch Lyon, Jason Burger; • Earl Rose; Chris Gillespie Bemelmans Bar 5:30, 9:30 pm (ALSO WED-SAT) Jarrett Cherner Trio with Jorge Roeder, Jason Burger; Song Yi Jeon with Kenji Herbert, • Loston Harris Café Carlyle 9:30 pm $20 (ALSO WED-SAT) Jaehun Kang, Dan Martinez, Joel E. Mateo, Mercedes Beckman • Art Hirahara Trio Arturo’s 8 pm • Yuichi Hirakawa Trio Arthur’s Tavern 7, 8:30 pm ShapeShifter Lab 7, 8:15, 9:30 pm $10 • Mike LeDonne Quartet; Emmet Cohen Band Smoke 7, 9, 10:30, 11:30 pm • Alex Layane Trio Cleopatra’s Needle 8 pm • Ilya Lushtak Quartet Shell’s Bistro 7:30 pm • Rob Silverman Indian Road Café 8 pm • Mona’s Hot Four Jam Session Mona’s 11 pm êPharoah Sanders Quartet Dizzy’s Club 7:30, 9:30 pm $45 • Annie Ross The Metropolitan Room 9:30 pm $25 • Benny Benack III Dizzy’s Club 11:30 pm $10 • Slavic Soul Party Barbès 9 pm $10 êDuke, Dizzy, Trane and Mingus—Jazz Titans: Jazz at Lincoln Center Orchestra with • Diego Voglino Jam Session The Fifth Estate 10 pm Wynton Marsalis Rose Theater 8 pm $30-120 WEDNESDAY • Christian Scott with Matthew Stevens, Lawrence Fields, Kriss Funn, Jamire Williams Blue Note 8, 10:30 pm $35 • Astoria Waltz-Astoria 6 pm • Jonathan Powell nu Sangha with Jeremy Powell, John Ellis, Luis Perdomo, • Sedric Choukroun and the Eccentrics Chez Oskar 7 pm Luques Curtis, Kenny Grohowski Blue Note 12:30 am $10 • Rob Duguay’s Low Key Trio Turnmill NYC 11 pm • Pharoah’s Daughter: Basya Schechter, Daphna Mor, Meg Okura, Uri Sharlin, • Joel Forrester Manhattan Inn 7, 8 pm Mathias Kunzli, Shanir Blumenkranz, Yuval Lion • Jeanne Gies with Howard Alden and Friends Joe G’s 6:30 pm • JC Hopkins Biggish Band Minton’s 7, 8:30, 10 pm The Stone 8, 10 pm $15 • Hilary Kole Café Noctambulo at Pangea 7 pm $20 êChris Potter Undergound with Adam Rogers, John Escreet, Scott Colley, Fima Ephron, • Les Kurtz Trio; Joonsam Lee Trio Cleopatra’s Needle 7, 11:30 pm Steve Nelson, Nate Smith, Peter Sachon, Lois Martin, Mark Feldman, Joyce Hammann • Jonathan Kreisberg Trio Bar Next Door 8:30, 10:30 pm $12 Jazz Standard 7:30, 9:30 pm $30 • Ron McClure solo piano McDonald’s 12 pm (ALSO SAT) êVanguard Jazz Orchestra 49th Anniversary Celebration • David Ostwald’s Louis Armstrong Centennial Band Birdland 5:30 pm $20 Village Vanguard 8:30, 10:30 pm $25 • Saul Rubin Vocalist Series Zeb’s 8 pm $10 • Stan Rubin Orchestra Swing 46 8:30 pm • Benny Golson Festival: Antonio Ciacca and Friends • Eve Silber Arthur’s Tavern 7 pm Measure 8 pm • Camille Thurman Quartet Smoke 11:30 pm • Joel Perry Trio The Garage 6 pm • Reggie Woods with Greg Lewis Organ Monk Sapphire NYC 8 pm • Dana Reed Silvana 6 pm • Bill Wurtzel/Mike Gari American Folk Art Museum Lincoln Square 2 pm Saturday, January 31 THURSDAY • Sedric Choukroun Brasserie Jullien 7:30 pm (ALSO FRI, SAT) êMonk in Motion—The Next Face of Jazz: Marquis Hill Group with Christopher McBride, • Richard Clements Piano Workshop University of the Streets 5 pm Justin Thomas, Joshua Ramos, Makaya McCraven • Craig Harris and the Harlem Night Songs Big Band MIST 9, 10:30 pm $15 Tribeca Performing Arts Center 7:30 pm $25 • Jazz Jam Session American Legion Post 7:30 pm • Jon Irabagon Trio with Yasushi Nakamura, Rudy Royston • Kazu Trio Cleopatra’s Needle 11:30 pm Bar Next Door 7:30, 9:30, 11:30 pm $12 • Lapis Luna Quintet The Plaza Hotel Rose Club 8:30 pm • Mike DiRubbo Quartet with Anthony Wonsey, Ugonna Okegwo, Rudy Royston • Curtis Lundy Jam Session Shell’s Bistro 9 pm • Renaud Penant Trio Cadaqués 7:30 pm Jazz at Kitano 8, 10 pm $30 • Sol Yaged Grata 8 pm êTivon Pennicott and Sound Quartet with Mike Battaglia, Spencer Murphy, • Eri Yamamoto Trio Arthur’s Tavern 7 pm (ALSO FRI-SAT) Kenneth Salters Ginny’s Supper Club 7:30, 9:30 pm $10 • Ed Stoute Sistas’ Place 9, 10:30 pm $20 FRIDAY êAnna Webber Quartet with Jonathan Goldberger, Michael Bates, Jeff Davis; Thomas Borgmann Trio with Max Johnson, Willi Kellers, Ras Moshe Trio with • Scot Albertson Parnell’s 8 pm (ALSO SAT) • Gene Bertoncini Ryan’s Daughter 8 pm Shayna Dulberger, Andrew Drury Ibeam Brooklyn 8, 9, 10 pm $15 • The Crooked Trio: Oscar Noriega, Brian Drye, Ari Folman-Cohen Barbès 5 pm • Billy Newman Sextet with Michaël Attias, Ben Holmes, Eric Schugren, Leco Reis, • Day One Trio Prime and Beyond Restaurant 9 pm (ALSO SAT) Vanderlei Pereira; Sanfonya Brasileira: Vitor Gonçalves, Eduardo Belo, • Gerry Eastman Quartet Williamsburg Music Center 10 pm Vanderlei Pereira Cornelia Street Café 9, 10:30 pm $10 • Finkel/Kasuga/Tanaka/Solow San Martin Restaurant 12 pm $10 • Shubh Saran Presentation with Max McKellar, Brian Plautz, Rohith Jayaraman, • Patience Higgins & The Sugar Hill Quartet Smoke 11:45 pm Arthur Kam; Amos Ang; Aquiles Navarro Duo • Tommy Igoe Birdland Big Band Birdland 5:15 pm $25 ShapeShifter Lab 7, 8:15, 9:30 pm $8-10 • Sandy Jordan and Friends ABC Chinese Restaurant 8 pm • Bernard Linnette Jam Session University of the Streets 11:30 pm • Yuko Ito Trio; Yusuke Seki Tomi Jazz 8, 11 pm $10 • The Minton’s Players; Wayne Tucker Quartet Minton’s 6 pm 12 am • Art Lillard Trio Cleopatra’s Needle 8 pm • Frank Owens Open Mic Pearl Studios 7:30 pm $10 • Arturo O’Farrill and the Afro Latin Jazz Orchestra with guest Lionel Loueke • Renaud Penant Quartet Cadaqués 8:30 pm Symphony Space Peter Jay Sharp Theatre 8 pm $20-30 • Richard Russo Quartet Capital Grille 6:30 pm êBill Charlap Trio with Peter Washington, Kenny Washington • Bill Saxton and the Harlem Bebop Band Bill’s Place 9, 11 pm $15 (ALSO SAT) Smoke 7, 9, 10:30 pm $40 • Joanna Sternberg Trio Cleopatra’s Needle 12:30 am êHarry Allen/Rossano Sportiello Mezzrow 8:30 pm $20 • Victor Gould Sextet with Ben Williams, Rodney Green, Myron Walden, Godwin Louis, SATURDAY Billy Buss Smalls 10:30 pm $20 • Rob Anderson Jam Session University of the Streets 10 pm êPaul West/Richard Wyands Knickerbocker Bar and Grill 9:45 pm $5 • Avalon Jazz Quartet Matisse 8 pm êPharoah Sanders Quartet Dizzy’s Club 7:30, 9:30 pm $45 • The Candy Shop Boys Duane Park 8, 10:30 pm • Benny Benack III Dizzy’s Club 11:30 pm $20 • Curtis Lundy Trio with guests Shell’s Bistro 9 pm ê • The Minton’s Players; Jam Session Minton’s 6 pm 12 am Duke, Dizzy, Trane and Mingus—Jazz Titans: Jazz at Lincoln Center Orchestra with • Jonathan Moritz/Chris Welcome/Shayna Dulberger The Graham 1 pm Wynton Marsalis Rose Theater 8 pm $30-120 • Johnny O’Neal and Friends Smoke 11:45 pm • Christian Scott with Matthew Stevens, Lawrence Fields, Kriss Funn, Jamire Williams • Skye Jazz Trio Jack 8:30 pm Blue Note 8, 10:30 pm $35 • Pharoah’s Daughter: Basya Schechter, Daphna Mor, Meg Okura, Uri Sharlin, SUNDAY Mathias Kunzli, Shanir Blumenkranz, Yuval Lion The Stone 8, 10 pm $15 • Avalon Jazz Quartet The Lambs Club 11 am • John Benitez Jam Session Terraza 7 9:30 pm êChris Potter Undergound with Adam Rogers, John Escreet, Scott Colley, Fima Ephron, • The Candy Shop Boys The Rum House 9:30 pm Steve Nelson, Nate Smith, Peter Sachon, Lois Martin, Mark Feldman, Joyce Hammann • Creole Cooking Jazz Band; Stew Cutler and Friends Arthur’s Tavern 7, 10 pm Jazz Standard 7:30, 9:30 pm $30 • Isaac Darch Group Basik Bar 7 pm êVanguard Jazz Orchestra 49th Anniversary Celebration • Ear Regulars with Jon-Erik Kellso The Ear Inn 8 pm Village Vanguard 8:30, 10:30 pm $25 • Marjorie Eliot/Rudell Drears/Sedric Choukroun Parlor Entertainment 4 pm • Benny Golson Festival: Antonio Ciacca and Friends • Joel Forrester solo Grace Gospel Church 11 am • Broc Hempel/Sam Trapchak/Christian Coleman Trio Dominie’s Astoria 9 pm Measure 8 pm • Bob Kindred Group; Junior Mance Trio Café Loup 12:30, 6:30 pm • Uri Sharlin’s Dog Cat Barbès 6 pm $10 • Peter Mazza Trio Bar Next Door 8, 10 pm $12 • Craig Yaremko Organ Trio Silvana 6 pm • Tony Middleton Trio Jazz at Kitano 11:30 am $35 • Liberty Big Band Shrine 6 pm • Jane Monheit’s Jazz Party Birdland 6 pm $30 • Gaia Petrelli Wilmer with Milena Jancuric, Songyi Jeon, Gustavo D Amico, • Arturo O’Farrill Afro Latin Jazz Orchestra Birdland 9, 11 pm $30 Jacob Matheus, Vitor Gonçalves, Arionas Gyftakis, Noam Israeli • Artemisz Polonyi and Trio Indigo BarSix Restaurant 8 pm Somethin’ Jazz Club 5 pm $12 • Earl Rose solo; Tony DeSare Bemelmans Bar 5:30, 9 pm • Lu Reid Jam Session Shrine 4 pm • Jerry Costanzo and Trio; Alex Layne Trio; King Solomon Hicks Trio • Annette St. John; Wilerm Delisfort Quartet Smoke 11:30 am 11:45 pm The Garage 12, 6, 10:30 pm • Ryo Sasaki Trio Analogue 7 pm • Milton Suggs Cávo 7 pm

52 JANUARY 2015 | THE NEW YORK CITY JAZZ RECORD CLUB DIRECTORY

• 5C Café 68 Avenue C • The Ear Inn 326 Spring Street at Greenwich Street (212-246-5074) • Parnell’s 350 East 53rd Street #1(212-753-1761) (212-477-5993) Subway: F, V to Second Avenue www.5ccc.com Subway: C, E to Spring Street www.earinn.com Subway: E, M to Lexington Avenue/53 Street www.parnellsny.com • 11th Street Bar 510 E. 11th Street • Fat Cat 75 Christopher Street at 7th Avenue (212-675-6056) • Pearl Studios 500 8th Avenue (212-982-3929) Subway: L to 1st Avenue www.11thstbar.com Subway: 1 to Christopher Street/Sheridan Square www.fatcatmusic.org (212-904-1850) Subway: A, C, E to 34th Street www.pearlstudiosnyc.com • 55Bar 55 Christopher Street (212-929-9883) • The Fifth Estate 506 5th Avenue, Brooklyn • The Players Theatre 115 MacDougal Street Subway: 1 to Christopher Street www.55bar.com (718-840-0089) Subway: F to 4th Avenue www.fifthestatebar.com Subway: A, B, C, D, E, F, V to W. 4th Street • ABC Chinese Restaurant 34 Pell Street • The Firehouse Space 246 Frost Street • The Plaza Hotel Rose Club Fifth Avenue at Central Park South (212-346-9890) Subway: J to Chambers Street Subway: L to Graham Avenue www.thefirehousespace.org (212-759-3000) Subway: N, Q, R to Fifth Avenue www.fairmont.com • ABC No-Rio 156 Rivington Street (212-254-3697) • The Flatiron Room 37 West 26th Street • Prime and Beyond Restaurant 90 East 10th Street Subway: J,M,Z to Delancey Street www.abcnorio.org (212-725-3860) Subway: N, R to 28th Street www.theflatironroom.com (212-505-0033) Subway: 6 to Astor Place www.primeandbeyond.com • Abyssinian Baptist Church 132 Odell Clark Place/W. 138th Street • Flushing Town Hall 137-35 Northern Boulevard, Flushing • Prospect Range 1226 Prospect Avenue (212-862-5959) Subway: 2, 3 to 135th Street www.abyssinian.org (718-463-7700) Subway: 7 to Main Street www.flushingtownhall.org Subway: F to Fort Hamilton Parkway www.prospectrange.com • American Folk Art Museum 45 W 53rd Street (212-265-1040) • Freddy’s Backroom 627 5th Avenue, Brooklyn (718-768-0131) • The Quaker’s Friends Meeting House 15 Rutherford Place Subway: E to 53rd Street www.folkartmuseum.org Subway: R to Prospect Avenue www.freddysbar.com/events (15th Street between Second and Third Avenues) • American Legion Post 248 West 132nd Street • The Garage 99 Seventh Avenue South (212-645-0600) Subway: 4, 5, 6, N, R, L to 14th Street/Union Square (212-283-9701) Subway: 2, 3 to 135th Street www.legion.org Subway: 1 to Christopher Street www.garagerest.com • Radegast Hall 113 North 3rd Street • An Beal Bocht Café 445 W. 238th Street • Ginny’s Supper Club at Red Rooster Harlem 310 Malcolm X Boulevard (718-963-3973) Subway: L to Bedford Avenue www.radegasthall.com Subway: 1 to 238th Street www.LindasJazzNights.com (212-792-9001) Subway: 2, 3 to 125th Street www.ginnyssupperclub.com • Rendall Memorial Presbyterian Church 59 W. 137th Street #61 • Analogue 19 West 8th Street (212-432-0200) • Grace Gospel Church 589 E. 164th Street (212-283-2928) Subway: 2, 3 to 135th Street Subway: A, B, C, D, E, F, M to W. 4th Street www.analoguenyc.com (718-328-0166) Subway: 2, 5 to Prospect Avenue • Rockwood Music Hall 196 Allen Street (212-477-4155) • Antibes Bistro 112 Suffolk Street • The Graham 190 Graham Ave (718-388-4682) Subway: F, V to Second Avenue www.rockwoodmusichall.com (212-533-6088) Subway: J, Z to Essex Street www.antibesbistro.com Subway: L to Montrose Avenue www.thegrahambrooklyn.com • Rose Theater Broadway at 60th Street, 5th floor • The Appel Room Broadway at 60th Street, 5th floor • Grata 1076 1st Avenue (212-842-0007) (212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle (212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle Subway: 4, 5, 6, N, Q, R to 59th Street www.gratanyc.com www.jalc.org www.jalc.org • Greenwich House Music School 46 Barrow Street • Roulette 509 Atlantic Avenue • Arthur’s Tavern 57 Grove Street (212-675-6879) (212-242-4770) Subway: 1 to Christopher Street www.greenwichhouse.org (212-219-8242) Subway: 2, 3, 4, 5 to Atlantic Avenue www.roulette.org Subway: 1 to Christopher Street www.arthurstavernnyc.com • Ibeam Brooklyn 168 7th Street between Second and Third Avenues • The Rum House 228 W. 47th Street • Arturo’s 106 W. Houston Street (at Thompson Street) Subway: F to 4th Avenue www.ibeambrooklyn.com (646-490-6924) Subway: N, Q, R to 49th Street www.edisonrumhouse.com (212-677-3820) Subway: A, B, C, D, E, F, M to W. 4th Street • Iguana 240 West 54th Street (212-765-5454) • Russ & Daughters Café 127 Orchard Street 127 Orchard Street • BAMCafé 30 Lafayette Ave at Ashland Pl, Fort Greene, Brooklyn Subway: B, D, E, N, Q, R to Seventh Avenue www.iguananyc.com (212-475-4881) Subway: F to Delancey Street (718-636-4139) Subway: M, N, R, W to Pacific Street; • Indian Road Café 600 West 218th Street @ Indian Road www.russanddaughterscafe.com Q, 1, 2, 4, 5 to Atlantic Avenue www.bam.org (212-942-7451) Subway: 1 to 215th Street www.indianroadcafe.com • Ryan’s Daughter 350 E 85th Street • B.B. King’s Blues Bar 237 W. 42nd Street (212-997-2144) • Iridium 1650 Broadway at 51st Street (212-582-2121) (212-628-2613) Subway: 4, 5, 6 to 86th Street www.ryansdaughternyc.com Subway: 1, 2, 3, 7 to 42nd Street/Times Square www.bbkingblues.com Subway: 1,2 to 50th Street www.theiridium.com • Saint Peter’s Church 619 Lexington Avenue at 54th Street • Bflat 277 Church Street (between Franklin and White Streets) • Issue Project Room 22 Boerum Place (718-330-0313) (212-935-2200) Subway: 6 to 51st Street www.saintpeters.org Subway: 1, 2 to Franklin Streets Subway: 2, 3, 4, 5 to Borough Hall www.issueprojectroom.org • San Martin Restaurant 143 E. 49 Street between Lexington and Park • Bar Chord 1008 Cortelyou Road • JACK 505 Waverly Avenue Avenues (212-832-0888) Subway: 6 to 51st Street (347-240-6033) Subway: Q to Cortelyou Road www.barchordnyc.com (718-388-2251) Subway: C to Clinton-Washington Avenue www.jackny.org • Sapphire NYC 333 E. 60th Street (212-421-3600) • Bar Lunatico 486 Halsey Street • Jack 80 University Place Subway: 4, 5, 6, N, R to 14th Street Subway: 4, 5, 6, N, Q, R to 59th Street www.nysapphire.com (917-495-9473) Subway: C to Kingston-Throop Avenues • Jalopy 315 Columbia Street, Brooklyn • The Schomburg Center 515 Macolm X Boulevard • Bar Next Door 129 MacDougal Street (212-529-5945) (718-395-3214) Subway: F to Smith Street www.jalopy.biz (212-491-2200) Subway: 2, 3 to 135th Street Subway: A, B, C, D, E, F, M to W. 4th Street www.lalanternacaffe.com • Jazz at Kitano 66 Park Avenue at 38th Street (212-885-7000) www.nypl.org/locations/schomburg • BarSix Restaurant 502 Sixth Avenue Subway: 4, 5, 6, 7, S to Grand Central www.kitano.com • SEEDS 617 Vanderbilt Avenue Subway: 2, 3, 4 to Grand Army Plaza (212-691-1363) Subway: 1, 2, 3, F, M to 14th Street www.barsixny.com • The Jazz Gallery 1160 Broadway, 5th floor (212-242-1063) www.seedsbrooklyn.org • Barbès 376 9th Street at 6th Avenue, Brooklyn (718-965-9177) Subway: N, R to 28th Street www.jazzgallery.org • ShapeShifter Lab 18 Whitwell Place Subway: F to 7th Avenue www.barbesbrooklyn.com • JazzHaus in Le Parker Meridien 119 West 56th Street (212-245-4535) (646-820-9452) Subway: R to Union Street www.shapeshifterlab.com • Bemelmans Bar 35 E. 76th Street (212-744-1600) Subway: F, N, Q, R to 57th Street www.klavierhaus.com/jazzhaus • The Shed Space 366 6th Street, Brooklyn Subway: R to Ninth Street Subway: 6 to 77th Street www.thecarlyle.com • Jazz Standard 116 E. 27th between Park and Lexington Avenue • Shell’s Bistro 2150 5th Avenue • Bier International 2099 Frederick Douglass Boulevard (212-576-2232) Subway: 6 to 28th Street www.jazzstandard.net (212) 234-5600 Subway: 2, 3 to 135th Street www.shellsbistro.com (212-280-0944) Subway: B, C to 110th Street www.bierinternational.com • Joe G’s 244 W. 56th Street (212-765-3160) • Showman’s 375 W. 125th Street at Morningside) • Bill’s Place 148 W. 133rd Street (between Lenox and 7th Avenues) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle (212-864-8941) Subway: A, B, C, D to 125th Street (212-281-0777) Subway: 2, 3 to 125th Street • Joe’s Pub at the Public Theater 425 Lafayette Street www.showmansjazz.webs.com • Birdland 315 W. 44th Street (212-581-3080) (212-539-8770) Subway: N, R to 8th Street-NYU; 6 to Astor Place • Shrine 2271 Adam Clayton Powell Boulevard (212-690-7807) Subway: A, C, E, to 42nd Street www.birdlandjazz.com www.joespub.com Subway: B, 2, 3 to 135th Street www.shrinenyc.com • The Bitter End 147 Bleecker Street between Thompson and LaGuardia • Judson Church 55 Washington Square South • Silvana 300 West 116th Street Subway: A, B, C, D, E, F, V to W. 4th Street Subway: A, B, C, D, E, F, V to W. 4th Street (646-692-4935) Subway: B, C, to 116th Street • Blue Note 131 W. 3rd Street at 6th Avenue (212-475-8592) • Juilliard School Peter Jay Sharp Theater 155 W. 65th Street • Sistas’ Place 456 Nostrand Avenue at Jefferson Avenue, Brooklyn Subway: A, B, C, D, E, F, M to W. 4th Street www.bluenotejazz.com (212-769-7406) Subway: 1 to 66th Street www.juilliard.edu (718-398-1766) Subway: A to Nostrand Avenue www.sistasplace.org • Borden Auditorium Broadway and 122nd Street • Knickerbocker Bar & Grill 33 University Place (212-228-8490) • Smalls 183 W 10th Street at Seventh Avenue (212-252-5091) (212-749-2802 ext. 4428) Subway: 1 to 116th Street www.msmnyc.edu Subway: N, R to 8th Street-NYU www.knickerbockerbarandgrill.com Subway: 1,2,3 to 14th Street www.smallsjazzclub.com • Bowery Electric 327 Bowery • Korzo 667 5th Avenue (between 19th and 20th streets), Brooklyn • Smoke 2751 Broadway between 105th and 106th Streets (212-228-0228) Subway: 6 to Bleecker Street www.theboweryelectric.com (718-285-9425) Subway: R to Prospect Avenue (212-864-6662) Subway: 1 to 103rd Street www.smokejazz.com • Branded Saloon 603 Vanderbilt Avenue (between St. Marks Avenue and www.konceptionsmusicseries..com • Somethin’ Jazz Club 212 E. 52nd Street, 3rd floor Bergen Street) Subway: 2, 3 to Bergen Street www.brandedsaloon.com • The Lambs Club 132 W. 44th Street (212-371-7657) Subway: E to Lexington Avenue-53rd Street • Brandy Library 25 N. Moore Street 212-997-5262 Subway: A, C, E, to 42nd Street www.thelambsclub.com www.somethinjazz.com/ny (212-226-5545) Subway: 1 to Franklin Street • Le Cirque Café One Beacon Court, 151 East 58th Street (212-644-0202) • Spectrum 121 Ludlow Street, 2nd floor Subway: F to Delancey Street • Broadway Thai 241 West 51st Street Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.lecirque.com www.spectrumnyc.com (212-226-4565) Subway: 1, C, E to 50th Street www.tomandtoon.com • Le Poisson Rouge 158 Bleecker Street (212-228-4854) • Spoke the Hub 295 Douglass Street (between 3rd and 4th Avenues), • Brooklyn Conservatory of Music 58 Seventh Avenue Subway: A, B, C, D, E, F, V to W. 4th Street www.lepoissonrouge.com Brooklyn Subway: R to Union Street Subway: F to Seventh Avenue, N, R to Union Street www.bqcm.org • Littlefield 622 Degraw Street • Stephen Wise Free Synagogue 30 W. 68th Street • Cadaqués 188 Grand Street, Brooklyn (718-855-3388) Subway: M, R to Union Street www.littlefieldnyc.com (212-877-4050) Subway: 1 to 66th Street www.swfs.org (718-218-7776) Subway: L to Bedford Avenue www.cadaquesny.com • Local 802 322 W. 48th Street between Eighth and Ninth Avenues • Stern Auditorium at 881 Seventh Avenue • Café Carlyle 35 E. 76th Street (212-744-1600) (212-245-4802) Subway: C to 50th Street www.jazzfoundation.org (212-247-7800) Subway: N, Q, R, W to 57th- Seventh Avenue Subway: 6 to 77th Street www.thecarlyle.com • L’ybane 709 8th Avenue (212-582-2012) www.carnegiehall.org • Café du Soleil 2723 Broadway at 104 Streets Subway: A, C, E to 42nd Street-Port Authority www.lybane.com • The Stone Avenue C and 2nd Street (212-316-5000) Subway: 1 to 103rd Street • McDonald’s 160 Broadway between Maiden Lane and Liberty Street Subway: F to Second Avenue www.thestonenyc.com • Café Loup 105 W. 13th Street between Sixth and Seventh Avenues (212-385-2063) Subway: 4, 5 to Fulton Street www.mcdonalds.com • Strand Bistro 33 West 37th Street (212-584-4000) (212-255-4746) Subway: F to 14th Street www.cafeloupnyc.com • Manhattan Inn 632 Manhattan Avenue (718-383-0885) Subway: 7, B, D, F, M to 42nd Street-Bryant Park www.thestrandbistro.com • Café Noctambulo at Pangea 178 Second Avenue Subway: G to Nassau Avenue www.themanhattaninn.com • SubCulture 45 Bleecker Street (212-533-5470) (212-995-0900) Subway: L to First Avenue www.pangeanyc.com • Matisse 924 Second Avenue Subway: 6 to Bleecker Street www.subculturenewyork.com • Caffe Vivaldi 32 Jones Street between Bleecker and W. 4th Streets (212-546-9300) Subway: 6 to 51st Street www.matissenyc.com • Subrosa 63 Gansevoort Street (212-997-4555) Subway: A, B, C, D, E, F, Q, V to W. 4th Street-Washington Square • Measure 400 Fifth Avenue (212-695-4005) Subway: B, D, F, M to 34th Street Subway: 1, 2, 3 to 14th Street; L to Eighth Avenue www.subrosanyc.com www.caffevivaldi.com www.langhamplacehotels.com • Swing 46 349 W. 46th Street (646-322-4051) • Capital Grille 120 Broadway • Meridian 23 161 West 23rd Street Subway: A, C, E to 42nd Street www.swing46.com (212-374-1811) Subway: 2, 3, 4, 5 to Wall Street www.thecapitalgrille.com (212-645-0649) Subway: 1 to 23rd Street www.meridian23.com • Tagine 537 9th Ave. between 39th and 40th Streets • Carroll Place 157 Bleecker Street • Metropolitan Room 34 W. 22nd Street (212-206-0440) (212-564-7292) Subway: A, C, E, 1, 2, N, R, 7 to 42nd Street (212-260-1700) Subway: Subway: A, B, C, D, E, F, M to W. 4th Street Subway: N, R to 23rd Street www.metropolitanroom.com • Terraza 7 40-19 Gleane Street (718-803-9602) www.carrollplacenyc.com • Mezzrow 163 W. 10th Street Subway: 7 to 82nd Street/Jackson Heights www.terrazacafe.com • Cávo 42-18 31st Avenue, Astoria Subway: 1,2,3 to 14th Street www.mezzrow.com • Tomi Jazz 239 E. 53rd Street (718-721-1001) Subway: M, R, to Steinway Street www.cavoastoria.com • Miller Theater 2960 Broadway and 116th Street (646-497-1254) Subway: 6 to 51st Street www.tomijazz.com • Charley O’s 1611 Broadway at 49th Street (212-854-7799) Subway: 1 to 116th Street-Columbia University • Town Hall 123 W. 43rd Street (212-246-1960) Subway: N, R, W to 49th Street www.millertheater.com (212-997-1003) Subway: 1, 2, 3, 7 to 42nd Street-Times Square • Chez Lola 387 Myrtle Avenue, Brooklyn (718-858-1484) • Minetta Lane Theatre 18-22 Minetta Lane www.the-townhall-nyc.org Subway: C to Clinton-Washington Avenues www.bistrolola.com (212-420-8214) Subway: Subway: A, B, C, D, E, F, M to W. 4th Street • Trash Bar 256 Grand Sreet. between Driggs and Roebling • Chez Oskar 211 Dekalb Ave, Brooklyn (718-852-6250) www.newyorkcitytheatre.com (718-599-1000) Subway: L to Bedford Avenue www.thetrashbar.com Subway: C to Lafayette Avenue www.chezoskar.com • Minton’s 206 West 118th Street (212-243-2222) • Tribeca Performing Arts Center 199 Chambers Street • City Winery 155 Varick Street Subway: B, C to 116th Street www.mintonsharlem.com (212-220-1460) Subway: A, 1, 2, 3 to Chambers Street www.tribecapac.org (212-608-0555) Subway: 1 to Houston Street www.citywinery.com • MIST Harlem 40 West 116th Street Subway: 2, 3 to 116th Street • Turnmill NYC 119 East 27th Street • Cleopatra’s Needle 2485 Broadway (212-769-6969) • Mona’s 224 Avenue B Subway: L to First Avenue (646-524-6060) Subway: 6 to 27th Street www.turnmillnyc.com Subway: 1, 2, 3 to 96th Street www.cleopatrasneedleny.com • Mount Morris Ascension Presbyterian Church 15 Mount Morris Park West • University of the Streets 130 East 7th Street • Cornelia Street Café 29 Cornelia Street (212-831-6800) Subway: 2, 3 to 125 Street (212-254-9300) Subway: 6 to Astor Place www.universityofthestreets.org (212-989-9319) Subway: A, B, C, D, E, F, M to W. 4th Street • NYC Baha’i Center 53 E. 11th Street (212-222-5159) • The Village Lantern 167 Bleecker Street www.corneliastreetcafé.com Subway: 4, 5, 6, N, R to 14th Street-Union Square www.bahainyc.org (212-260-7993) Subway: A, B, C, D, E, F, M to W. 4th Street • David Rubenstein Atrium Broadway at 60th Street • Neighborhood Church of Greenwich Village 269 Bleecker Street • Village Vanguard 178 Seventh Avenue South at 11th Street (212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle (212-691-1770) Subway: A, B, C, D, E, F, V to W. 4th Street (212-255-4037) Subway: 1, 2, 3 to 14th Street www.villagevanguard.com www.new.lincolncenter.org/live/index.php/atrium • Nino’s Tuscany 117 W. 58th Street (212-757-8630) • Walker’s 16 North Moore Street (212-941-0142) Subway: A, C, E to Canal Street • Delroy’s Cafe and Wine Bar 65 Fenimore Street Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.ninostuscany.com • Waltz-Astoria 23-14 Ditmars Boulevard (718-95-MUSIC) Subway: Q to Parkside Avenue www.facebook.com/65fenmusicseries • North Square Lounge 103 Waverly Place Subway: N, R to Ditmars Blvd-Astoria www.Waltz-Astoria.com • Dizzy’s Club Broadway at 60th Street, 5th Floor (212-258-9800) (212-254-1200) Subway: A, B, C, E, F to West 4th Street • Weill Recital Hall (at Carnegie Hall) 154 W. 57th Street at Seventh Avenue Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.jalc.org www.northsquareny.com (212-247-7800) Subway: N, R to 57th Street www.carnegiehall.org • Dominie’s Astoria 34-07 30th Avenue Subway: N, Q to 30th Avenue • Nublu 62 Avenue C between 4th and 5th Streets • WhyNot Bistro 14 Christopher Street • Downtown Music Gallery 13 Monroe Street (212-473-0043) (212-979-9925) Subway: F, V to Second Avenue www.nublu.net (646-756-4145) Subway: 1 to Christopher Street www.whynotjazzroom.com Subway: F to East Broadway www.downtownmusicgallery.com • Nuyorican Poets Café 236 E. 3rd Street between Avenues B and C • Zeb’s 223 W. 28th Street • The Drawing Room 56 Willoughby Street #3 (917-648-1847) (212-505-8183) Subway: F, V to Second Avenue www.nuyorican.org 212-695-8081 Subway: 1 to 28th Street www.zebulonsoundandlight.com Subway: A, C, F to Jay Street/Metrotech www.drawingroommusic.com www.parkavenuechristian.com • Zinc Bar 82 W. 3rd Street • Drom 85 Avenue A (212-777-1157) • Parlor Entertainment 555 Edgecombe Ave. #3F (212-477-8337) Subway: A, B, C, D, E, F, M to W. 4th Street Subway: F to Second Avenue www.dromnyc.com (212-781-6595) Subway: C to 155th Street www.parlorentertainment.com www.zincbar.com

THE NEW YORK CITY JAZZ RECORD | JANUARY 2015 53 (INTERVIEW CONTINUED FROM PAGE 6) (LABEL CONTINUED FROM PAGE 11)

From that time to 1999, that’s all I was doing. It was all Christopher vice-president.” Smith joined the about the music. We rehearsed a lot, trying to make organization full time in July of 2013 after “helping everything perfect. The horns would do all the bends Smoke out with writing and graphic design for the last together. Every week we would bring in something 10 years.” He continues, “The team is filled out by new and fix a section here and there. It was very engineering support, public relations and radio meticulous work and we were all available. That’s how promotion primarily. They are as important or more I learned to compose and how my style developed. important as our distribution network.” As far as distribution is concerned, the label is distributed in the TNYCJR: Did you write the music on piano? United States by Allegro with local distribution in different European countries and in Japan and is now OA: I had a small Casio. I didn’t have a piano until 1999. working on setting up distribution in South Africa. My wife finally told me I had to get a piano (laughs). Slated for 2015 are releases by trumpeter Eddie Henderson’s quintet, Turre’s quintet, Mabern’s sextet, TNYCJR: Let’s talk about the new album. What’s the Herring’s quintet, Evans’ trio, Davis’ sextet, the allstar idea behind this new music? quartet of saxophonist Gary Bartz, pianist Larry Willis, bassist Buster Williams and drummer Al Foster and OA: I had been playing in a quintet with mostly these two other CDs to be announced, all reflecting the fine- people since 2006 [trumpeter Avishai Cohen; tenor quality jazz Smoke has been presenting on its schedule saxophonist Joel Frahm; pianist Yonathan Avishai; since opening its doors over 15 years ago. v drummer Daniel Freedman]. We started touring mostly in Italy. From 2001-2005 I returned to Israel to get my For more information, visit smokesessionsrecords.com. BA in Classical Composition. I wrote a lot of music Artists performing this month include Harold Mabern at during this time, a bass concerto. I was also studying Smoke Jan. 1st, The Quaker’s Friends Meeting House Jan. Arabic folk music. I wanted to touch base with my 8th as part of Winter Jazzfest and Fat Cat Jan. 14th; Vincent roots. New Song has that sound. It’s a specific sound Herring at Smoke Jan. 1st with Eric Alexander/Harold that is a genre within my music; it’s hard to explain. Mabern; Jimmy Cobb at The Quaker’s Friends Meeting That vibe where it’s... House Jan. 8th as part of Winter Jazzfest and Smoke Jan. 23rd-25th; Orrin Evans at Le Poisson Rouge Jan. 10th with TNYCJR: ...very melismatic melodies. David Murray as part of Winter Jazzfest, Smoke Jan. 11th and Mondays, Mezzrow Jan. 16th-17th and Smalls Jan. OA: Yeah. It’s in between. People reacted really well to 29th with Duane Eubanks; David Hazeltine at Saint Peter’s it. The record was made in Paris. We had people from Jan. 14th; and Cyrus Chestnut at Jazz Standard Jan. Tunisia and Syria come to the shows. They were able to 22nd-25th. See Calendar. get the music on a few levels. For them these rhythms are their folk music, everything that’s important to them and their tradition. They are also into jazz, so the music touches them in a very special way. I’m Satoko Fujii on Libra Records essentially writing for myself too because I’m from a “Pianist Satoko Fujii and similar background. trumpeter Natsuki Tamura’s output is astonishing in scope and diversity.” TNYCJR: I was struck by the simplicity of the melody — Marc Medwin and harmony in the tunes. You guys are all capable of The New York City Jazz Record playing very complicated music. That’s my favorite thing about this album. It’s not just cerebral jazz. It Satoko Fujii New Trio sounds like a dance party. Spring Storm (203-034)

“Fujii continues to explore the OA: I like melodic music. I like Duke. I see no reason in connections between composition and improvisation with enthralling using overly complicated rhythms or melodies. It’s melodies that make room for fine if you want to do it but I don’t think it’s a step rounds of wild abandon.” ahead. It’s the feeling of it that matters. I kind of just –DownBeat went for it. Satoko Fujii - piano Todd Nicholson - bass Takashi Itani - drums TNYCJR: What’s the next thing you want to get to? Gato Libre OA: I wouldn’t say I’m satisfied, but more than I’ve DuDu (104-035) ever been. I’m very happy just mellowing and having a The musicians “play with both band. My goals are very simple: I want a steady unit of great restraint and total abandon in equally large measures.” people that like to play my music that I can pay well; I — Something Else Reviews would like some of my old records to be released; and Natsuki Tamura - trumpet would also like to have all my music in a book so Yasuko Kaneko - trombone people can listen to all of it and see it. I want to educate Kazuhiko Tsumura - guitar Satoko Fujii – accordion in the original sense of the word. I would love to hear my concert pieces played too, my bass concerto. I just Satoko Fujii Orchestra NY want to play music. v Shiki (215-036)

“Another grand gem!... For more information, visit omeravital.com. Avital is at tight, focused and powerful.” Jazz Standard Jan. 13th-14th. See Calendar. – Downtown Music Gallery Oscar Noriega, Briggan Klauss – as, Recommended Listening: Tony Malaby, Ellery Eskelin – ts, Andy Laster – bs, Herb Robertson, • Omer Avital—Asking No Permission (Smalls, 1996) Steven Bernstein, Natsuki Tamura, • Jason Lindner—Ab Aeterno: Since the Beginning Dave Ballou– tp, Joey Sellers, Curtis Hasselbring, Joe Fiedler – tb, of Time (Fresh Sound-World Jazz, 2004) Satoko Fujii – p, Tsutomu Takeishi – b, • —Notes From The Village (Anzic, 2008) Aaron Alexander – dr • Avishai Cohen—Triveni II (Anzic, 2009) • Omer Avital—Live at Smalls (smallsLIVE, 2010) • Omer Avital—New Song (Motéma Music, 2013) librarecords.com

54 JANUARY 2015 | THE NEW YORK CITY JAZZ RECORD