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JAZZIMPROV.COM OCTOBER 2006

The Ultimate Directory of NY Area Jazz Club, Concert & Event Listings Interviews with: Performance Reviews: Ravi Coltrane Grassella Oliphant, Ralph Towner, Jack Kleinsinger Hilary Kole and others Chris McNulty Pat Metheny Don Sickler on Jazz Icons DVD Release Elise Wood

Ira Gitler’s Apple Chorus

Jazz Club Profile: THE RIVER ROOM

Plenty of Reviews of Cool CDs Including: Thelonious Monk & John Coltrane, Oliver Lake, Lew Tabackin, Mark Elf, Bruce Williams and others!

RAVI PAT ELISE KEVIN COLTRANE METHENY WOOD MAHOGANY

with at OSPAC Carnegie Alice Coltrane Remembering Jazz Fest Hall NJPAC John Hicks October 21 Photo Gallery October 22 Inside Live Performance Reviews Live Performan

voices of Gras’ quintet were audible and defined. Chertkoff and Simmons was palpable, if only by Grassella Oliphant Quintet The group rendered interpretations of a host of the smiles they shot at each other throughout the Live at Johnny’s On The Green standards and jazz tunes. Norman Simmons on evening. Among the other compositions that I at The Short Hills, NJ Golf Course piano, Takashi Otsuka on bass, and Oliphant on enjoyed tremendously this evening were the August 25, 2006 drums provided the rock solid foundation and ballad interpretations of “Old Folks” and “Easy accompaniment for the interpretation of the Living”, the swinging version of “I Remember By Winthrop Bedford straight-ahead swinging music, Bossas, and bal- You,” “All Blues” (in 3/4 time) and others. lads that comprised the music for three foot- Meanwhile, 40 years after recording his own In the 1960s among the many activities that tapping sets. The group opened the second set albums on Atlantic, Grassella Oliphant is as occupied the busy schedule of drummer Gras- with a medium groove rendition of “Bye Bye energetic as ever. His burning swing groove, his sella Oliphant, was his recording of a couple of Blackbird.” Saxophonist Abraham Burton ex- facility in getting around the “cans,” and his firy, albums Grass Roots (1965) and Grass Is pressed the well-known melody with aplomb, syncopated solos defined the kind of youth and Greener (recorded 1967) for Atlantic Records— and delivered a magnificently-crafted solo. The energy that we are probably all blessed with—if long out of print—and now re-issued on Collect- aforementioned description aptly described the only we can maintain the drive, enthusiasm for ables as a double CD. A quick look at the per- absolutely consistent and relaxed intensity life, and have the sensitivity to tap into these. In sonnel will give you a bird’s eye-view of the throughout the group’s music-making all eve- these areas of understanding, talent and ability, Grassella Oliphant is a monster—and one of the youthful “elders” you must hear.

Reuben Hoch-Chassidic Jazz Project Live at Makor July 20, 2006

By Dan Adler

Reuben Hoch formed the Chassidic Jazz Project (www.chassidicjazz.com) in 1998 with the goal of bringing traditional Jewish music to a larger audience and to use it as a basis for im- provisational musical expression. While there have been many attempts to fuse Klezmer music with Jazz, Hoch’s group concentrates more on traditional Jewish prayer themes and some melo- dies by the famous Rabbi Shlomo Carlebach based on liturgical texts. The Chassidic Jazz Project show at Makor (www.makor.org) featured the distinguished Jazz Dignitary (as Hoch respectfully called him): Dave Liebman. Hoch’s collaboration with Lieb- man dates back to the 1980’s, a period when Grassella Oliphant Liebman frequently visited Israel and influenced an entire generation of local players there includ- kind of company he kept (and still does), and the ning long. Burton’s influence by such tenor ing Hoch who played with him back then, and kind of quality musician he is. His albums fea- saxophonists as John Coltrane and Hank they continued to collaborate over the years. tured Grant Green on guitar, Harold Ousley on Mobley—the cornerstone hornmen in the classic The evening opened with an imaginative solo tenor saxophone, Clark Terry on trumpet, John Miles Davis groups of the 1950s and early guitar intro by the group’s musical director Tom Patton on organ, Bobby Hutcherson on vibra- 1960s—was evident. Up-tempo versions of Lippincott (tomlippincott.com). Lippincott is a phone, Major Holley, and others. “Cherokee” and an original on “I Got Rhythm” master musician and guitarist with a dazzling Now you can hear “Gras,” as friends call changes featured beautifully-articulated solos by command of his custom-built 8-string electric him, with his quintet, a couple of times a month, pianist Norman Simmons and guitarist Matt guitar, which he played finger-style, and often at Johnny’s On The Green, in Short Hills, New Chertkoff. Takashi Otsuka has a big sound on embellished by using electronically enhanced Jersey. It is about a 20-minute drive from Man- bass, and created the powerful underpinning for sounds. As the group gradually joined in and hattan and well worth the trip. For one thing, the solo excursions and musical dialogues that Liebman played the melody along with the viola parking is free and the parking lot on premises is ensued. While the presence of two chord instru- and cello, the audience immediately recognized spacious. The upscale venue, is elegantly de- ments—piano and guitar—have the potential for the song as “Avinu Malkenu”—one of the most signed, and graciously hosted by Johnny Mar- getting in each other’s way, and in the way of famous Jewish prayer melodies. The minor to- rone. The menu offers tempting continental and the soloist—Chertkoff and Simmons “danced” nality of the song soon turned into a Coltrane- Italian entrees. My associate had the rack of magnificently together. The simpatico between style minor modal vamp, which was perfect for lamb, salad and calamari, which I had a chance Dave Liebman to develop an incredibly expres- to taste and savor. The breads and salads are all Ad vertis e sive solo, with Hoch providing a robust Elvin- fresh and hand prepared . Menu items and reci- style rhythmic wall of sound, and Lippincott pes are extraordinary in taste, and very reasona- Jazz Improv’s® New York Jazz Guide, comping with much energy and excitement. bly priced. Jazz Improv® Magazine Liebman’s depth of expression was brought Listening to music at Johnny’s On The Deadline: 15th of the month into the spotlight with an abstract wooden-flute Green is a joy. The acoustics are warm in this CALL: Jamie Cos, 212-889-0853 intro to one of the songs, and of course the range carpeted environ. Each of the instrumental of sounds he gets from the soprano saxophone is ® 8 October 2006  Jazz Improv Magazine’s New York Jazz Guide  www.jazzimprov.com To Advertise CALL: 212-889-0853 unparalleled. In this context, Liebman added a bowed bass playing from Paul Gill. Kole’s dic- Mahavishnu Project lot of Jewish elements to his usual improvisa- tion, enunciation, breath support and control are The Music of Jan Hammer tional language, making frequent use of har- simply astounding. Light and breezy bossa nova monic minor modes and evoking Klezmer-style rhythms swam underneath Kole during the per- Live at The Cutting Room clarinet effects at times. formance of “So In Love.” Paul Meyer’s guitar July 13, 2006 Another crowd-pleaser was “Adon Olam”, received greater emphasis on this tune and which Hoch strung together from two different Broadbent’s subtle trills added the perfect musi- By Dan Adler versions: a modern Israeli version by the late cal nuances to the song. great Israeli composer Uzi Chitman, and the One of the strongest performances of the Gregg Bendian formed the Mahavishnu more traditional Russian version from the early evening was Kole’s rendition of Irving Berlin’s Project (www.mahavishnuproject.com) in 2001 1900’s. “What’ll I Do”. The song opened with voice and and began performing the entire repertoire of The violin and viola added a great dimen- piano, and Kole’s delivery was strong, sorrowful John McLaughlin’s original Mahavishnu Or- sion to the music, with Lippincott’s arrange- and sincere. The brief guitar solo from Meyer chestra. These extraordinary musicians have ments making great use of all the sonorities that was over a slight waltz feel, but the ensemble transcribed and performed complete renditions such a great instrumental combination has to still maintained the solemn air that this song of classic Mahavishnu albums like “Birds of offer. Zhurbin demonstrated some great solo deserves. Fire”, “Inner Mounting Flame”, “Visions of the chops on the viola as well, though Liebman and “You Are There,” “Love Me or Leave Me,” Emerald Beyond” and others. Their renditions Lippincott handled most of the solos. World- and “I’ll Be Around” made up the perfect trio of are true to the spirit and style of the original renowned bassist Ed Schuller demonstrated his songs to show three different facets of Kole’s albums, but they are all great improvisers in their full command of the instrument and high level of style. She took her voice down to a whisper for own right, and when they take solos the music musicianship both in propelling the group for- portions of “You Are There” and then cranked takes on a whole new dimension. ward as well as in his solo features. up the intensity during “Love Me or Leave Me.” This particular show at the Cutting Room Leader Reuben Hoch took it upon himself Clayton Cameron, who is by far one of the finest (www.thecuttingroomnyc.com) was part of an to give some background on each song, he ex- vocal accompanists on drums, gave this song the annual three-day “Vishnu Fest” where the group plained the source of the liturgy and the melo- propulsion and strong sense of swing that it plays a completely different repertoire selection dies and when these songs are usually sung in needed. Kole demonstrated her stronger side each night. I attended the show celebrating the Jewish tradition. This was very educational and with her slightly raspy delivery and strong, if music of Jan Hammer, which included some his made the Jewish aspect more accessible to those somewhat short, demonstration of her scatting classic Mahavishnu Orchestra compositions as who just came to hear some great jazz. Of skills. “I’ll Be Around” featured a much rounder well as some of his later work like “Oh, Yeah.” course, it also helps that he is a great jazz musi- and broader sound from Kole, whose voice man- Jan Hammer himself was in the audience this cian himself and can instantly switch gears from aged to gently disappear at the word “gone.” evening and that made it an even more festive the boom-chick-boom straight rhythm of tradi- Kole introduced almost every tune from the occasion. Hammer had actually played with the tional Jewish song forms to the swinging, synco- evening with a slight history and background Mahavishnu project a few weeks earlier at pated rhythms of jazz. which helped the audience to put things in con- Moogfest at BB King’s club, and the group Overall, this was a very enjoyable evening text and attach the songs to a specific era, singer wanted to showcase Hammer’s amazingly ex- both for lovers of Jewish music and for die-hard and/or composer. “I’m A Fool to Want You” pressive and melodic songbook, as well as give jazz fans. With Dave Liebman at the front line, began with Alan Broadbent’s light block chords their own take on the compositions. The evening there was no chance of disappointment on the and then opened up when the rest of the ensem- opened with a recorded version of Hammer him- jazz side, and indeed Liebman played even better ble joined in. Kole’s utterance of the word self playing his own “Intro: Light/Sun.” than the many times I heard him with his own “devil” sent Broadbent on a quick descent into Even though the music was very loud and group. He was clearly feeling some elation at the lower depths of the piano and, once again played at rock-concert volume, the audience was playing these particular arrangements of these demonstrated how lyrically attuned a fine piano not your typical young rock-concert crowd. Most songs and his solos were very inspired. Lippin- player can be. Tom Waits seems to have become people were in their 40’s and 50’s, some even cott, though not Jewish himself, managed to the king of modern torch songs and Kole’s take bringing their teenage kids along as if to show capture the essence of the music and find their on “Old Boyfriends” joins the pantheon of fine them that hip music existed way back in the 70’s jazzy side, through imaginative harmonies and jazz takes on the Waits songbook. Kole took and that loud music was not invented yesterday. interesting orchestration. Liebman was clearly over piano duties and was spellbinding during The musicians in the Mahavishnu Project are all impressed with Lippincott’s fantastic solo chops her performance of “Haunted Heart”. first-class players. Glenn Alexander on guitar as well, seeking out opportunities to trade fours “Blackberry Winter” followed and the idealism was able to reproduce all of McLaughlin’s intri- and create a musical dialog. Check out Reuben in Kole’s performance made this song the high cate lines and complex rhythms without ever Hoch’s web site for future performances and point of the show for this particular listener. missing a beat. When it came time to solo, Alex- CD’s. Broadbent returned to the piano for his arrange- ander made no attempt to emulate McLaughlin’s ment of “You and the Night and the Music”, and style. Instead, he developed thoughtful and excit- Kole introduced “Two for the Road” as her cur- ing solos of his own—demonstrating a strong Hilary Kole rent favorite song in an ever-changing and grow- command of rock, jazz and everything in be- July 21, 2006 ing list. The guitar was the sole accompaniment tween. on this tune and Meyer’s solo was gorgeous. “I Keyboard player Adam Holzman was By Dan Bilawsky Only Have Eyes for You,” which schizophreni- clearly in the spotlight, recreating Jan Hammer’s cally moved back and forth between an Afro- complex compositions and multi-keyboard parts Hilary Kole’s sultry singing was on display dur- Cuban-influenced groove and a strong swing with the maestro himself sitting and listening ing her recent stint. Kole, who received strong pulse, closed out the set. intently a few feet away. Holzman proved that acclaim for her performances in “Our Sinatra” Kole, returning to the piano for one encore, he was more than up to the challenge. Alternat- and “Singing Astaire”, came armed and ready performed a Jeremy Lubbock composition that ing between a Wurlitzer electric piano and an with a strong arsenal of love songs and top-notch was written one week prior to the show. authentic Moog Voyager synthesizer, Holzman musicians. “Nothing’s Left To Do But Put My Heart Away” played the compositions impeccably and soloed “Close Your Eyes”, which began with Alan was the title as introduced by Kole, and it per- with great facility, using Hammer’s style and Broadbent’s slow and seductive piano playing, fectly captured the mood of the whole evening’s general approach, but bringing his own personal- opened up the program. Kole followed this up music. What a fine ending to an impressive per- ity and musicianship into his solos. At the end of with a stunning rendition of Cole Porter’s “In formance! the performance, Jan Hammer warmly congratu- The Still Of The Night”. This particular song lated him on his great playing, though he did featured Broadbent’s piano and some nice manage to point out a few glitches here and

® To Advertise CALL: 212-889-0853 Jazz Improv Magazine’s New York Jazz Guide  www.jazzimprov.com  October 2006 9 there, which surely no one other than himself catalog. McClure’s bent notes seemed to land could hear. and evaporate while Minasian glided over the Violinist Rob Thomas dazzled the audience piano. Israel, who spent most of the tune in a with his solos. He stayed quite close to the origi- minimalistic supporting role, used his brushes on nal style of Jerry Goodman in the Mahavishnu the snare drum and ride cymbal to create a ten- Orchestra, and kept stringing together exciting sion-drenched sonic cloud over a small portion and inventive pentatonic lines that have become of the music. The trio burned through their per- the hallmark of that style to the audience’s de- formance of “But Beautiful.” Israel, who began light. Bassist Dave Johnsen provided a powerful the piece playing some fragmented patterns and substrate for the entire band and took some won- switched to a strong swing pulse, stole the show derfully inventive solos. when he traded fours with Minasian. Minasian Leader Gregg Bendian demonstrated his spoke warmly of the late James Williams before incredible chops at the drums through all the launching into a performance of “Alter Ego.” complex rhythms and played electric piano on Minasian’s introductory piano statement and his one of the compositions. He also introduced the subsequent performance during the tune were the musicians and gave some background on the highlight of the show. The trio closed out the set compositions and the albums from which they with a performance of “On Green Dolphin came, helping the audience follow along. Street.” The Richie Beirach/Ron McClure ver- For those of us who grew up listening to sion, as Minasian referred to it, hinged on the McLaughlin, Hammer, Goodman, Laird, Cob- simple introductory-ostinato from McClure and ham and other incarnations of the Mahavishnu the harmonic movement around this small de- Orchestra—it’s nice to see that music brought gree of musical stasis. Minasian’s light trill fig- back to life by a group of contemporary musi- ures provided the right amount of ornamentation cians who recreate it faithfully and respectfully, when employed. The energetic interplay, when yet bring their own interpretation and conception Minasian traded eights with Israel, was a terrific to the music. As violinist Rob Thomas elo- end to a great set of music. Alex Minasian is a quently said of this music: “It’s the horse we name to remember and Gino Moratti, the artistic rode in on.” Check out the Mahavishnu Project director at Kitano, should be commended for the website for future performances, and check out variety of music being booked at this gem of a the individual websites of the Mahavishnu Pro- performance venue. ject musicians linked from the Band Bio section. A Jazz “Love-In” for Alex Minasian Richard M. Sudhalter Live at Kitano St. Peter’s Church August 30, 2006 September 10, 2006

By Dan Bilawsky By Michael Steinman

The instrumentation of a piano trio, with the The benefit for Richard M. Sudhalter held clear sonic distinctions of the piano, bass and on September 10, 2006, at St. Peter’s Church, drums, lends a strong degree of intimacy to the should have been a melancholy affair. A degen- music created in this format. This quality was erative illness currently without a cure and op- continuously evident during a recent perform- pressive medical bills that result are hardly ance by the Alex Minasian trio, featuring Yoron cheerful subjects. If you didn’t know, Sudhalter, Israel and Ron McClure, at Kitano. Minasian, 67, is a Renaissance man of hot jazz. First, he is opening the set with some tension-filled runs an extraordinary trumpeter and cornet player over the piano, settled in for a comfortable ride whose lyricism summons up Bobby Hackett. as soon as McClure and Israel joined in. “It The bands he’s led (The New California Ram- Could Happen To You” was the first tune in the blers, the Anglo-American Alliance) and been a set and Israel’s brushwork on the snare drum part of (Classic Jazz Quartet) have been memo- gave the piece a nice bouncing quality. The rable here and overseas for four decades. He is drummer seemed to lock in with Minasian’s also one of jazz’s finest scholars, responsible for right hand figures while McClure was rock solid the definitive biographies of biographies of with his time. Minasian’s mix of soft staccato Hoagy Carmichael and Bix Beiderbecke, as well jabs and lightly sustained chords was the perfect as Lost Chords , a beautifully-documented study background for McClure’s fine solo work. The that stirred up controversy by delineating the strong groove established by these three musi- invaluable contributions white players have cians was most evident during their performance made to jazz. His WBAI broadcasts have gener- of “Dat Dere” by Bobby Timmons. Israel’s trip- ously made rare music and even rarer insights let figures perfectly melded with Minasian. available to all, and his reviews in the New York McClure’s solo on this tune was his strongest of Post told the truth with wit and grace. the set. The greatest attribute of this trio per- But his playing career has been sidelined by formance was their ability to make all of the illness—several strokes in 2003 followed by songs feel good. Too many performances today Multiple System Atrophy (MSA). are built on technique at the expense of a strong However, the tribute to Sudhalter was a group dynamic. These three musicians did a fine night of joyous music, even when the tempos job of balancing these two areas. were languorous. Even the band names coined Minasian, citing McClure’s role in the late- for the occasion were lively: Dan Levinson’s

1960’s Charles Lloyd quartet, lead the trio in a Lost Chord Seekers, Healey’s th Happy Harmo- song from the legendary saxophone guru’s vast nists, Ed Polcer’s Gang from 54 Street, and The

® 10 October 2006  Jazz Improv Magazine’s New York Jazz Guide  www.jazzimprov.com To Advertise CALL: 212-889-0853