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Home , 2016 in jazz, American Tunes, Angela McCluskey, A Portrait of Ray, Bloomdido, Bradford Reed

NOVEMBER 2016—ISSUE 175 YOUR FREE GUIDE TO THE NYC SCENE NYCJAZZRECORD.COM

JOHN BRIAN FINN GIL CLARK CHARETTE VON EYBEN EVANS Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The City Jazz Record 66 Mt. Airy Road East NOVEMBER 2016—ISSUE 175 Croton-on-Hudson, NY 10520 Phone/Fax: 212-568-9628 New York@Night 4 Laurence Donohue-Greene: Interview : 6 by anders griffen [email protected] Andrey Henkin: [email protected] Artist Feature : Brian Charette 7 by ken dryden General Inquiries: [email protected] On The Cover : Maria Schneider 8 by john pietaro Advertising: [email protected] Encore : Finn Von Eyben by clifford allen Calendar: 10 [email protected] VOXNews: Lest We Forget : 10 by eric wendell [email protected] LAbel Spotlight : Setola di Maiale by ken waxman US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or VOXNEWS 11 by suzanne lorge money order to the address above or email [email protected] Festival Report Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Fred Bouchard, CD Reviews Stuart Broomer, Thomas Conrad, 14 Ken Dryden, Donald Elfman, Philip Freeman, Kurt Gottschalk, Tom Greenland, Anders Griffen, Miscellany 33 Alex Henderson, Marcia Hillman, Terrell Holmes, Robert Iannapollo, Suzanne Lorge, Marc Medwin, Event Calendar 34 Ken Micallef, Russ Musto, John Pietaro, Joel Roberts, John Sharpe, Elliott Simon, Andrew Vélez, Ken Waxman Contributing Writers Robert Bush, Laurel Gross, George Kanzler, Matthew Kassel, Mark Keresman It is fascinating that two disparate American events both take place in November with Election Contributing Photographers Day and Thanksgiving. One brings people together while the other divides them. And while Peter Gannushkin, Alan Nahigian, both involve turkeys, only one set volunteers for the job. Susan O’Connor, Bruce Phillips, John Rogers, Jack Vartoogian No matter if you are Democrat, Republican or third partier, carnivore, pescatarian or vegan, if you are reading this you would vote for a ballot proposal for more jazz everywhere. You Fact-checker Nate Dorward could run for city council or simply go out any night of the week and take in one of the myriad shows happening throughout the city. There is bandleader/ Maria Schneider (On The Cover), doing annual Thanksgiving run at , veteran player John Clark (Interview) celebrating the release of his new at Rockwood Music Hall and organ player Brian Charette (Artist Feature) leading bands at 55Bar and Smalls. Not full yet? Check out our CD Reviews for more tasty platters on offer and our Event Calendar for side dishes galore.

Seriously though, jazz has always been in the forefront of political and social consciousness since its inception so we encourage you to make your voice heard on Nov. 8th. nycjazzrecord.com

On The Cover: Maria Schneider (photo © Jack Vartoogian/FrontRowPhotos) Corrections: In last month’s NY@Night, Tim Berne and John Hébert both previously recorded with . All rights reserved. Reproduction without permission strictly prohibited. All material copyrights property of the authors.

2 NOVEMBER 2016 | THE JAZZ RECORD NOVEMBER 2016 WWW.BLUENOTEJAZZ.COM 75TH Birthday Celebration November 2 - 3 November 11 - 13 November 20 Three Quartets Flamenco Heart Chick Corea Ft. Steve Gadd, Eddie Gomez, Ben Solomon November 16 - 17 & Gonzalo Rubalcaba November 4 - 6 Chick Corea Big November 22 - 23 The Leprechaun Band Ft. Jazz Orchestra Ft. Steve Gadd, Eddie Gomez, Chick Corea Gayle Moran Corea, Steve Wilson, November 18 Michael Rodriguez, & Chick Corea & Ft. Harlem String Quartet November 9 - 10 Experiments November 19 November 25 - 27 in Electronica Chick Corea Origin II Ft. Marcus Gilmore Taylor McFerrin & Ft. ,Steve Wilson, Steve Davis & Yosvany Terry Carlitos Del Puerto, Marcus Gilmore ™ ALL STARS NOVEMBER 1, 7 & 8 • MCCOY TYNER QUARTET NOVEMBER 14 & 15 FT , ,LENNY WHITE, & FRIENDS NOVEMBER 21 JACQUI NAYLOR NOVEMBER 24 • QUARTET NOVEMBER 28 & 29 SPECIAL SUNDAY JAZZ BRUNCH $35 INCLUDES BRUNCH, MUSIC & COCKTAIL @bluenotenyc l3l WEST 3RD STREET NEW YORK CITY • 2l2.475.8592 • WWW.BLUENOTEJAZZ.COM TWO SHOWS NIGHTLY 8PM & l0:30PM • FRIDAY & SATURDAY LATE NIGHTS: l2:30AM TELECHARGE.COM TERMS, CONDITIONS AND RESTRICTIONS APPLY NEW YORK @ NIGHT

For the 51st year of Chicago-birthed Association for Back for a second year, Brooklyn’s BRIC JazzFest is, Open at the Advancement of Creative Musicians (with a New like the San Francisco bluegrass festival, “Hardly York Chapter active since the relocation of several key Strictly” for genre purists, but that’s an asset. Judging members in the ‘70s), a month-long series of concerts from the turnout on the first of three “Marathon 7pm! was held at the Community Church of New York on Nights” (Oct. 13th), the bill drew both veteran jazz Friday nights. A rare performance from the trio of people and a younger, more adventurously dressed trumpeter , reed player Dwight bunch—though the free admission may have been Andrews and vibraphonist Bobby Naughton (Oct. a factor. Staged in the open, sloping Stoop; dark, 14th) started by reaching back towards a primal, intimate Artist Studio; and capacious Ballroom; the massed openness in the vaulted Midtown East space. event featured nine dissimilar groups in overlapping This particular trio was formed in the mid ‘70s when sets. Bria Skonberg’s trad-jazz outfit showcased her Smith was living and teaching in New Haven and fine playing and sultry singing. In a more recorded for ECM, Moers, Nessa and Black mainstream vein were trumpeter Kenyatta Beasley’s Saint. The title cut from their ECM LP Divine Love was hardbop-tinged and saxophonist Jason This Month! first on the bill and bridged unaccompanied flickers Marshall’s (which covered Babyface). Bassist and darts with resolute, pastoral ensemble sections, ’s quartet with trumpeter Jeremy Pelt was Live! Smith often brash and crackling with an explosive, sparked by Steve Cardenas’ cagey . Taylor TUE HABIBI KINGS 8:00PM dug-deep phraseology. Written as a solo piece for McFerrin and Marcus Gilmore ad-libbed a series of 11/1 ALL NIGHT! Naughton, “Changes” moved from undamped clangs keyboard/drum duets laden with off-kilter beats and to chords, an appeal to empiricism and discovering an rave-style soundscapes. In the hardly-strictly category WED CONAL FOWKES TRIO 7:30PM instrument’s possibilities through tinkering and were the enigmatic and melismatic singer/ 11/2 BEN PATERSON 10PM caressing. The vibraphonist recalled Monk and Paul Krystle Warren and Inyang Bassey, a superbly gifted Bley—pianistic without being pianistic—and Smith, and soulful vocalist backed by lean/clean guitarist THU DAVID GIBSON QUINTET 7:30PM 11/3 IAN HENDRICKSON-SMITH 10PM afterwards, opined, “the vibraphone is a beautiful Binky Griptite. Michael Leonhart’s giant orchestra put instrument because you have to slow down and hear on the best party, mashing-up Spinal Tap’s “Big FRI KEN FOWSER QUINTET 7:30PM it.” As a closer the trio performed “Truth”, corkscrewed Bottom” with ’s “Lonely Woman”. 11/4 CHRIS NORTON 10:30PM brassy fanfare leading to collective tart brays from Tenor saxophonist David Murray’s quartet provided a unit sounding much larger than its three parts, the rousing finale, which included an extended avant- SAT JOEL WENHARDT TRIO 7:30PM —Clifford Allen jazz reading of “Body and Soul”. —Tom Greenland 11/5 EVAN SHERMAN 10:30PM

TUES JON REGEN & 8PM 11/8 THE IMPOSTERS TIL LATE!

WED JON REGEN & 8PM 11/9 THE IMPOSTERS TIL LATE!

THU WAYNE TUCKER 7:30PM 11/10 CHRIS NORTON 10PM

FRI KEN FOWSER QUINTET 7:30PM 11/11 FLOR DE TOLOACHE 10:30PM

SAT CARLOS ABADIE QUINTET 7:30PM 11/12 CHINO PONS 10:30PM a l n h i g j o h n r g e s / y c . m Wadada Leo Smith @ Community Church of New York Bria Skonberg @ BRIC JazzFest WED PHILIP DIZACK 7:30PM 11/16 MARK WHITFIELD 10PM At heart, and as diverse as the contexts that surround Darcy James Argue’s release party at National him might be, drummer Ches Smith is a rock drummer. Sawdust (Oct. 2nd) for Real Enemies, his new Secret THU ANTOINE DRYE 7:30PM There’s nothing wrong with that—in fact, a drummer Society album addressing the prevalence of 11/17 CLAFFY 10PM who can focus on the beat while able to sight-read conspiratorial thinking in current society, couldn’t FRI KEN FOWSER QUINTET 7:30PM complex notation is rara avis indeed. As he wrapped up have been more topical. At a time when people’s trust 11/18 CARTE BLANCHE 10:30PM a week at The Stone, which included electro-acoustic in government/big business is at an all-time low, music and a Haitian drumming ensemble, Smith Argue’s music speaks—with a 18-piece musical bang— SAT NICK HEMPTON 7:30PM convened an expanded These for two sets (Oct. to our darkest fears of the organized powers-that-be. 11/19 PAT VAN DYKE 10:30PM 1st). In this guise, the band featured regular conscripts Argue lurked over his ‘co-conspirators’ like a well- in guitarist , electric bassist Devin tailored undertaker, beating out the motley odd- Hoff and accordion player-electronic artist Andrea metered themes with deft flicks of his wrist, the Parkins, along with alto saxophonist Tim Berne and musicians stretched across the stage in two broad rows FRI KEN FOWSER 7:30PM trumpeter Steven Bernstein. From the visual arrest of (woodwinds and brass in front, 11/25 QUINTET the drummer’s red anodized gong, Hoff’s similarly behind). The first piece, “You Are Here”, featured the SAT DAN ARAN 7:30PM colored axe and Parkins’ card table of sonic delights to recurrent motif of five muted huddled 11/26 QUARTET the sheer push of Smith’s back-line rhythms mated to around the , blowing echoing tones into the box walloping, occasionally fuzzy bass, These Arches cut over a low bass-note drone. The (with a figure of relentless motion across original titles like “The Enemy Within”, “Dark Alliance”, compositions. With this martial focus and the acrid, “Silent Weapons for Quiet Wars”) typically modulated curly wheeze of Berne’s alto, a structured shimmy through several meters and grooves, moving from The Roxy Hotel emerged that sometimes recalled , sparse textures to grand, full-ensemble sections almost 2 AVE. OF THE Reservations AMERICAS carving out the closing tune from an ornately metallic apocalyptic in their intensity. Soloists came to the mic Information procession wherein the lanky Smith found resonance in singles and pairs, almost everyone taking a turn (212)519.6649 THEDJANGONYC Cellar Level com in cymbal stands, gongs and piled-on shimmer. The while the rest of the orchestra played written or Tribeca second and central piece was a multi-part work improvised background figures. Throughout the suite accentuating the band’s power-trio core with motorik Argue cued voiceovers by former presidents and other CRAFT COCKTAILS, SMALL PLATES & LIVE JAZZ! drive, Neu!-like relentless beats limned by gritty politicos discussing some of the more notorious inflection and leading to a lengthy unaccompanied conspiracy theories, one even pronouncing: “History is LOCATED IN THE OF TRIBECA section for Smith to stretch his legs. (CA) a conspiracy!” (TG)

4 NOVEMBER 2016 | THE NEW YORK CITY JAZZ RECORD The Winter Garden is an oasis in our metropolis, As a young boy growing up in Cuba, Elio Villafranca a man-made attempt to bring nature into the glass and would exchange letters with his father, then on steel confines of the Brookfield Place complex in assignment in Africa, prompting an interest in the WHAT’S NEWS Battery Park City. Violinist Sarah Neufeld and reed continent that has persisted to this day. In an ambitious player , who performed there (Oct. 13th) program of pieces fêting the land that had intrigued The National Jazz Museum in Harlem has partnered as part of Live series, attempt a similar him since childhood in ’s The with Apple Music to curate The Savory Collection, an feat: using man-made instruments to recreate the Appel Room (Oct. 15th) the pianist led an exciting “extraordinary and unique historical archive featuring cyclical sounds of nature. The duo were, in fact, an ensemble featuring a powerful two-tenor frontline of Swing Era jazz artists in...extended performances of occasional trio as Song of the Human, a sound installation and David Murray blowing over the never-before-heard material.” Volume One, Body and utilizing field recordings of bird song by Pete M. Wyer polyrhythmic underpinnings laid down by bassist Soul: and Friends, with performances commisioned by Arts Brookfield, bubbled up during Dezron Douglas, drummer and African by Hawkins, , Fats Waller, Lionel the quieter moments (and depending on where one percussionist Abdou Mboup. Beginning with his own Hampton, Carl Kress and Emilio Caceres, was released was seated). Neufeld began the evening solo, “Ngola”, ’s “King of the Zulus”, last month and is available at AppleMusic.com/ performing “Dirt” from her first album Hero Brother, ’s “” and Harper’s “Somalia”, SavoryCollection. variations on variations on a pastoral theme. Stetson Villafranca and company embarked on a hard-swinging then joined her to perform several pieces, some journey through 90 years of Afrocentric pieces culled Saxophonist Ted Nash has gone oenophile, partnering from their 2015 release Never Were the Way She Was. from the jazz canon. Vuyo Sotashe joined the band with vocalist Kristen Lee Sergeant to produce Two “With the Dark Hug of Time”, with Stetson on paperclip singing Langston Hughes’ lyrics to ’s Notes Wine, a Cabernet/Cabernet Franc blend from contrabass , was primordial and keening. “The “African Lady” and vocalizing wordlessly on Duke Happy Canyon, Santa Barbara. For more information Sun Roars Into View”, Stetson now on tenor , Ellington’s “Afrique”. Mboup was featured on kora and to order, visit twonoteswine.com. had a rising choral effect from bowed violin ostinati and vocals in a duet with Villafranca on the pianist’s backed by a repeated saxophone figure. For “The “Nomad Land” and then on talking drum with the and Blue Note Jazz Club (no Bridge”, Neufeld added vocals as an airy complement ensemble for ’s “Haina”. Villafranca’s relation) have entered into a partnership with to Stetson’s contrabass clarinet drones. The closing beautiful ballad “Nefertari“ included a stirring Entertainment Cruise Productions to produce Blue title track from the duo album had an epilogue-type recitation by Ayesha Jordan of the Jacqueline Amos Note at Sea in a five-year contract. For more quality, Stetson felt rather than heard and Neufeld poem ”I Rise In The Name Of A Nubian Queen” prior information, visit bluenoteatsea.com. bowing with minimal ornament. By the end of the to a pair of climactic blowouts, ’s hour, this unusual tonal pairing became as natural as “Cunga Black” and Dr. Lonnie Smith’s “Zimbabwe”. They Died Before 40, a film written, directed and birds singing on the wind. —Andrey Henkin —Russ Musto produced by Howard E. Fischer, which focuses on jazz musicians who died tragically young, such as , , Bunny Berigan, Chick Webb, Fats Waller, Charlie Christian, Jimmy Blanton, and Chu Berry, will be shown Nov. 1st at o s Village East Theaters at 6:45 pm as part of the Big Apple Film Festival. The Jazz Foundation of America has announced a O W N M U S I C . E T $1 million fund to aid musicians in need of assistance following the flooding in Louisiana. For more information, visit jazzfoundation.org. o g i a n / F r t R w P h

t Jazz author Stanley Crouch presented the Louis

a r Armstrong Educational Foundation’s Satchmo Award to saxophonist in a ceremony at the Alhambra Ballroom last month. For more information, visit louisarmstrongfoundation.org. P e t r G a n u s h k i / D O W N T © 2 0 1 6 J a c k V Colin Stetson & Sarah Neufeld @ Winter Garden Elio Villafranca @ The Appel Room The Philadelphia Music Alliance inducted an all-jazz class to its Music Walk of Fame, with Joey DeFrancesco, Any honest free improviser would admit that the One of the busiest sidemen in jazz, saxophonist Steve , Christian McBride, and process is a bit like panning for gold; there is quite a bit Wilson stepped out front to lead his own group, Bob Perkins joining previous inductees , of sediment one sifts through before finding those Wilsonian’s Grain, at Jazz Standard (Oct. 1st). The Dizzy Gillespie, , , , dazzling nuggets. So it was with the three “instant quartet with (piano), and Grover Washington, Jr. For more compositions” played by Swiss trombonist Samuel (bass) and Nate Smith (drums) got their Saturday night information, visit pmawalk.org. Blaser (based in Berlin) and American drummer Gerry started with Wilson’s “Perry Street”, Hemingway (now living in Switzerland) at the Zürcher a tribute to the Village Vanguard (where the band IPO Recordings has launched its own radio station on Gallery (Oct. 6th). Both men, separated by over two recorded their debut release) and saxophonist Rich its website where all of its releases can be streamed. decades, are sensitive players with a wealth of textural Perry, with whom the composer often shares the stage For more information, visit iporecordings.com. options at their disposal. Nearly at the end of the third as a member of the Vanguard Jazz Orchestra. The piece, 22 minutes in total, Blaser found the lowest clarion tone of Wilson’s lyrical alto identified him as The Tribeca Performing Arts Center “Scenes Through frequencies of his instrument, almost felt rather than an artist steeped in the tradition of his horn. Okegwo’s the Cinema Lens” film retrospective will present rare heard, while Hemingway methodically bowed a ride brief interlude set the trio’s easy-grooving tempo over concert footage of as well as the cymbal to create ringing . It was one of those which the saxophonist laid down his bluesy melody, 1981 film Stations of the Elevated, in which Mingus’ perfect moments born of the moment, remarkable for his sound alternately clean and strident as the band music appears. The event will take place Nov. 15th at the concentration of the players and the attention to settled into a swinging straightahead mode. A second 7:30 pm. For more information, visit tribecapac.org. detail required by the listeners. When they came out of piece from the group’s Vanguard date, this segment with an unholy blast, the catharsis was “Spheresophically”, began with Evans’ slow ominous As part of its fall programming, the Jazz Museum in extraordinary. The second improvisation, 12 minutes, left hand chords prior to Wilson’s recitation of his Harlem will host a book release for John Wriggle’s began with Blaser in Albert Mangelsdorff mode while Monkish theme, giving way to a boppish outing Blue Rhythm Fantasy: Big Band Jazz Arranging in the Hemingway blew into a metal cup pressed against featuring Smith. Switching to soprano, Wilson led the Swing Era (Nov. 3rd at 7 pm), jazz critic Larry a drum head, creating a post-industrial metallic chorus. band through a medley of Okegwo’s pensive “For Blumenfeld in conversation with Arturo O’Farrill (Nov. Then the latter proffered a tribal rhythm to which the You” and Hermeto Pascoal’s poignant “Santa 7th at 7 pm) and Michele Rosewoman (Nov. 15th at 7 former responded with narrow-band long tones, Catarina”, highlighting the beautiful sound of his pm) and Considering Genius: The Life and Times of intensity rising in a sawtooth bell curve. Unfortunately, straight horn, further on display in the group’s Stanley Crouch hosted by Loren Schoenberg (Nov. during the opening 20-minute piece, Hemingway was rendition of Ellington’s “La Plus Belle Africaine”. The 19th at 12 pm). For more information, visit jmih.org. too enamored of his many sticks to let any section set ended with Wilson and guest Jordan Pettay expand fully or move organically into the next, man- engaging in a fiery alto dialogue on Monk’s “Stuffy Submit news to [email protected] made rather than natural peaks and valleys. (AH) Turkey”. (RM)

THE NEW YORK CITY JAZZ RECORD | NOVEMBER 2016 5 INTERVIEW

back in the ‘70s and ‘80s it was very unusual to have a gig that was only one night and bands were together, even big bands, you’d have a week here you’d maybe have two weeks there, you’d maybe go on the road for six weeks. So, that way, well, you might have one rehearsal at the beginning of the thing but then every JOHN night the music develops and changes you get really deep inside it more, the way you don’t now. You just can’t. So, I don’t know how much the internet has to do with that, but I feel like it’s a bad thing.

TNYCJR: Is a bunch of one-nighters that much different than being at a place Tuesday through Sunday? You CLARK (CONTINUED ON PAGE 42)

B r u c e P h i l p s by anders griffen French horn player John Clark is an award-winning TNYCJR: So what were some of those early influences? composer known for his work with Gil Evans, The Mingus Orchestra, Jaco Pastorius, McCoy Tyner, , Miles JC: Interestingly, it wasn’t , David Davis, Wayne Shorter and numerous artists in jazz, pop, Amram and , although I have the utmost classical as well as the studio and Broadway arenas. He respect for all of them—in fact, they’re going to appear studied horn with Verne Reynolds, James Stagliano, Thomas in the jazz horn blog that Vincent Chancey and I are Newell and Paul Ingraham and composition and putting together called “Crosstalk in the Crosswalk” to improvisation with , and George raise awareness of the French horn in jazz; we’re going Russell, earning a M.Mus. with honors from New England to launch it very soon—but really it was Conservatory in 1973. His newest album, Sonus and John Coltrane and that era of jazz. At New England Inenarrabilis: Nine Live Plays the Music of John Clark, Conservatory in 1970 I started focusing on Coltrane. is now out on Mulatta Records. Actually, as soon as A Love Supreme came out, I was on the turntable transcribing it and trying to play all that The New York City Jazz Record: Did you play your stuff on the horn, which, you know… horn today? TNYCJR: Kept you busy. John Clark: Absolutely. I pretty much play every day. I have a regular routine that takes 30-40 minutes and JC: [laughs] Really kept me way, way busy, but looking I always do that. But, if I have something coming up, back on it, that was really kind of a really roundabout I do a lot more practicing. way to finding where I wanted to go. I didn’t know exactly where I wanted to go, but I knew that was the TNYCJR: Is there a reason that you practice every day? way to get there.

JC: That’s a really interesting question. I don’t know. TNYCJR: Do you talk to your students about the music I do know that if I didn’t do that and all of a sudden business and how to make a living? I had a gig, it might be a problem. But, part of the reason is I enjoy it. There’s just something really basic JC: Sometimes. Any student that wants to know about buzzing into a long tube of metal and getting something that I know about the music business, I’ll a sound out of the end that I really . So, it might be tell them, but I’ll give you an example from an just as simple as that, you know? interview I saw the other day. You know this concert they had in Central Park, Global Citizen? Metallica TNYCJR: As a student, I assume that you didn’t really was one of the big acts. So, I happened to see the study jazz in school. drummer, Lars Ulrich, being interviewed and they asked him, “what’s the music business like today? JC: Not really. My instrument wasn’t really included in Where’s it going?” and he just flat-out said, “nobody any jazz studies of those days. I studied knows”. And I found that really refreshing. I mean, if but, from the time I decided to be a musician, I was anybody tries to tell you that they know, they’re lying always aiming toward being a jazz musician. or they’re fooling themselves, because nobody knows.

TNYCJR: When was that? TNYCJR: Maybe it’s easier to say, instead of where the business is going, where it came from. What has JC: Kind of late, like in my twenties. I didn’t really changed over the last 30 or 40 years besides the decide to specialize in the horn until I was in the internet? What changed in the ‘80s or ‘90s before we military. In the Coast Guard band, that’s where I kind were all online? of discovered that thing about buzzing into the long cylindrical tube of metal. I really enjoyed playing the JC: I don’t know how much the internet affected this, horn. So, okay, this is what I’m going to do, but I’m but the really big difference to me is that nowadays it’s going to be a jazz musician too. really rare to have a gig that’s more than one night. That did not used to be the case and this is bad for the TNYCJR: Did that inspiration come from the stuff that music, I think, because very often the way a you were listening to? performance happens now is somebody emails you a bunch of mp3s and pdfs and you’re supposed to do all JC: Absolutely and the fact that I always loved to of your rehearsing at home and show up for the one improvise, from the time I ever started playing any rehearsal prepared to play it. Most people ignore the instrument. Reading music is cool and everything, but pdfs and mp3s and don’t practice at all. They show up I kind of preferred to play by ear or just fool around and sight-read the gig or sight-read the first rehearsal and try different things and that’s how I got thrown and then sort of bluff their way through the concert out of the band and the orchestra when I was in junior and that’s not good, I don’t think. I mean, it shows that high. everybody’s capable, good musicians and so on, but

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

For more information, visit briancharette.com. Charette is at 55Bar Nov. 15th and Smalls Nov. 30th, both with his trio with Henry Hey and Jochen Rueckert, and at Smalls Nov. 18th-19th with Mike DiRubbo. See Calendar.

Recommended Listening: BRIAN • Brian Charette—Missing Floor (s/r, 2008) • Brian Charette—Music for Organ Sextette

T I S (SteepleChase, 2010)

A R • Vic Juris—Listen Here (SteepleChase, 2010) • Brian Charette—Borderline (SteepleChase, 2011) • Will Bernard—Just Like Downtown O F T H E (Posi-Tone, 2013) T E S Y CHARETTE • Brian Charette—Once & Future (Posi-Tone, 2015) O C U R

P H O T by ken dryden REVOLUTIONARY There has been a wave of emerging jazz organ players by the keyboard works of Bach, especially The Well SNAKE ENSEMBLE in recent years and Brian Charette is among the top Tempered Klavier, and also the String Quartet of Ravel. players of his generation, drawing from a wide range of In the past few years, especially with my Organ Sextette, @ Barbes • 376 9th St • Brooklyn genres to create a unique sound. Charette’s prolific I’ve also experimented in writing in some of Olivier recorded output as a leader is matched by his numerous Messiaen’s harmony. On the organ, I’m actually most “I Want That Sound!” – CD release appearances as a sideman, as he is among the first-call influenced by rock organ players Jon Lord and Keith organ players in New York. Emerson [of Deep Purple and Emerson, Lake & Palmer, Saturday Nov 5, 8-9:30 pm Born in Meriden, Connecticut in 1972, he began respectively].” classical piano lessons at five. Jazz enticed him early Charette’s prolific output of new compositions is KEN FIELD/alto, leader and by 17 Charette was already playing with jazz due to his ability to focus on writing. He explains: MATT DARRIAU/tenor • DAVE HARRIS/tbn & helicon saxophone greats like Lou Donaldson and “I actually sit down and just write a tune. The process PHIL NEIGHBORS/drums • BLAKE NEWMAN/bass Person. He explained, “When I was just starting to get is very quick for me and I usually don’t rework my JERRY SABATINI/tpt into jazz, my favorite record was Soul Station by Hank ideas once I put them down. I often write music in “New Orleans meets and Ornette Mobley. I would put it on continuous repeat for days a scientific way, exploring some or rhythmic Coleman - fiery yet booty-shaking music - it’s a stone when I was in college. I loved hardbop and many of my concept I’m working on. I usually write with a flute and cold killer diller!” first lines are very influenced by all of the solos a computer, which is pretty weird.” - OffBeat (New Orleans) on this album. I was also into ’ Waltz for Charette’s diverse musical listening habits Debby, Live at Town Hall and Conversations with Myself, influence both his writing and playing. A great example which totally changed the way I looked at the piano.” is his 2011 SteepleChase CD Borderline, a session Charette entered the music program at The featuring him unaccompanied on the Hammond B3, University of Connecticut, where he benefited from his equally at home interpreting standards, vintage pop mentors. Charette noted, “My teacher in songs and timeless jazz works with a fresh approach. college was Ellen Rowe, who is an excellent pianist and He also occasionally returns to piano when playing for educator. She taught me so much about the harmony of other leaders. His most recent release for Posi-Tone, the piano and how to voice chords. I also studied with Once and Future, covers a lot of ground, including the Boston guru Charlie Banacos and the brilliant New compositions by organ players from several eras and York City pianist Kenny Werner.” Charette graduated songs not typically heard on organ, such as Bud with honors, earning a B.A. in Music Composition in Powell’s “Dance of the Infidels”. 1994. But that only represents a portion of his repertoire, Right after college, Charette spent several months as he has toured with various pop stars like , touring Europe as a part of both jazz and rock bands. Chaka Khan and Cyndi Lauper. Charette explained, He then relocated to New York, though it was initially “I’m actually interested in many different types of a huge challenge. “I was about 21 years old and music; usually very weird electronica or heavy metal starving. I had a temp job entering license plate like Black Sabbath. I work all of these sounds into my numbers. At the time I was doing some touring with jazz compositions.” artists who worked for a record company He avoids falling into a rut by varying both called J.S.P. The groups would mostly need organ, so instrumentation and approach, especially in his Organ I went into a little debt to get a nice Hammond XB2 Sextette, which incorporates flute, alto and tenor touring rig with a 302 Leslie and road cases. I remember , and drums. Both the unpacking all the gear in my East Village apartment compositions and choice of instruments for a project and right at the moment I looked inside, I got a phone are developed simultaneously. Charette said, “When call from a great drummer named Frank ‘Bam Bam’ I have a musical idea, I hear it in whatever sound I end Bambara to play an organ gig at the old St. Mark’s Bar up using. I’ve developed a fondness in the last few on First Avenue and St. Mark’s Place. It went great and years for circuit-bent instruments. These are usually I ended up playing there three nights a week. After toy instruments that have been opened up and have a little while I started to get lots of organ gigs around had solder burned onto the circuit board to make the New York City. On the real B3, I got the most experience instrument misfire.” He also uses circuit-bent at the Harlem club Showman’s.” circuit boards, as heard on his recent Posi- Charette kept busy, playing on both blues and jazz Tone CD Alphabet City. dates. By 2000, he started recording as a leader, a series In addition to his New York bands, Charette has of CDs for SteepleChase and Posi-Tone attracting groups he has put together to play on the West Coast attention from jazz critics. He was voted as the and in Europe. He’s particularly enthusiastic about #1 Rising Star on organ in the 2014 DownBeat Critics’ a new project. “I have a brand new group with Poll, along with rising to #4 in the main organ category keyboardist Henry Hey and drummer Jochen Rueckert in this year’s edition. that I would like to record. This band combines the A number of musicians and in different Hammond organ with modern synth treatments and fields have helped mold Charette’s wide-ranging style. circuit-bent sounds.” Whatever paths Brian Charette “In jazz, pianist Lennie Tristano’s concept of playing explores in the future, new discoveries will delight his bebop lines really influenced me. I’m very influenced growing fan base. v

THE NEW YORK CITY JAZZ RECORD | NOVEMBER 2016 7 ON THE COVER o s

mariaFROM WIND schneiderOM TO THE WORLD o g i a n / F r t R w P h t by john pietaro a r © J a c k V

Maria Schneider’s music envelops the listener like watch a master orchestrator at work. “My frustration works this way. It speaks.” And it spoke to the Grammy a planetarium ceiling draped in living constellation; during college was how to find my own voice in voting body as well, winning Best Classical Album that colors rush out of shimmering darkness, flowing writing for a big band. Later, working with Gil, I saw year. through a kind of timelessness. But hers isn’t so much how unique some of his choices were; he rarely sought 2015 was another banner year with the release of an organic form of composition. It’s the partnership of the common path,” she offered. The expansive view of , Schneider’s most autobiographical pathos and ethos, player and composer. The Schneider Evans allowed Schneider to grow as a composer and statement to date, drawn from a visit back home and band breathes as a unit, drawing on the edges of arranger. He remained such an important influence, time spent with childhood friend David Thompson orchestral , Gil Evans, Charles Mingus she would name her first album for him. Concurrently, and the eponymous prairie lands. The disc comes and sounds yet unidentified. Leading this regular Schneider had tutelage by noted arranger Bob within a book of lush photos and other artwork ensemble, the members of which largely date back to through whom she acquired a mastery of celebrating the land and bird life of the area. Schneider the early ‘90s, Schneider composes with specific long-form development. “In writing for others’ honors the farms of Windom beautifully in both instrumental voices in mind. Furthermore, she has ensembles Bob was also very devoted to his own packaging and composition. The music’s openness is a visceral awareness of her musicians as interpreters voice,” she said. This led Schneider to look within as evocative, compelling. and improvisers, encouraging their individualism. she embarked beyond. Through Brookmeyer she also And in direct contrast, Schneider’s collaboration “You can’t help but write for those people who have had the opportunity to pen some works for the Thad with resulted in the caustic, wonderfully such a unique voice,” she explained. The Orchestra Jones-Mel Lewis Orchestra at the crest of its exalted dark colors of “Sue (or “In a Season of Crime)”, the one boasts its own length of history and contained within Village Vanguard residency. Still, she longed for the new work on Bowie’s recent hits compilation. its book one can find the leader’s own story. opportunity to cast a compositional vehicle of her own. Reflecting back on the late rock icon, the composer Hailing from small-town America—Windom, One can look for signs of fate to lead to next steps explained: “David saw us playing at the Jazz Standard Minnesota (population 3,691)—Schneider was exposed and in the case of Schneider, the sign may be traced to a few years back and then contacted me in 2014. It was to music as a young child. Encouraged by her mother, the early ‘90s when, “Gil asked me to work with him a very powerful experience working with him. In the five-year-old Maria became the student of “an on a big transcription project and realizing it would end, the lyrics he came up with were very pained: the exceptional musician transplanted from Chicago. She take months, I had to turn it down. At that point story of a man who murders his woman for cheating taught me both classical and stride piano, but as early I recognized the need to start my own band.” After on him. The band spent the day recording and when as the first lesson, she spoke of the feelings within the a failed co-led band project, the Maria Schneider the time came for David to lay down his scratch vocal music and also taught theory and composition. This Orchestra was founded. “I wasn’t seeking to recreate as a reference for the soloists, we were amazed at the stayed with me.” As she developed musically, the standard big band; I wanted something more power of his one single take—so powerful that it Schneider broadened her palette and reveled in orchestral. So I took the traditional and universal and became the version that they used for the album.” analyzing the harmonic structure of everything she made it something not traditional and universal.” The 2016 Grammys saw both “Sue” and The played. “I love sight-reading because it exposed me to Drawing on a coffer saved from her copyist gigs, Thompson Fields garner awards, but there’s no rest in new sounds, new concepts. I never really became Schneider bankrolled the first recording, Evanescence, the works. This month, the Orchestra makes its 12th a really good pianist though they thought I was good which would be released by Enja. The band scored annual pilgrimage to Jazz Standard for a Thanksgiving in Windom,” she laughed. a regular Monday night gig at Visiones, which lasted week stay. “I never get tired of this gig. We have a ball Drawing on influences beyond her weekly lessons till the beloved nightclub’s shuttering five years later. so every member tries to be available for this each year. (which lasted until college), Schneider developed an “The band didn’t have a very big book at first so we And some audience members are always there too. For appreciation of the music of the day, such as Simon & had to find a new way to approach this limited me it’s like going home.” Garfunkel “and the songs of Jimmy Webb. Things he collection. A weekly gig made us realize how far we Schneider, moving in leaps and bounds from small wrote for The 5th Dimension, and could go. The musicians worked so hard, pushing town life, seeks out family of one sort or another. She many others. These songs had harmony, modulation, ” and this only drove the composer finds this, profoundly it would seem, within the band. melody, rhythm, great arrangements. I was listening to to create further-reaching pieces. “Sometimes musicians can feel they’re just playing music so much when I was developing—BOTH sides With orchestra in tow, Schneider toured the world someone’s score, but the Orchestra is integral to my of a record, reading the liner notes, eventually learning and released a series of albums, receiving a long list of compositions. My music wouldn’t be my music who the producers were. The studio musicians who accolades including multiple Grammy Awards. She without them. The music belongs to all of us.” v played on these records were brilliant. This was a very has also drawn distinction for her independence in rich world,” Schneider recalled excitedly. Through her recordings, not only as composer-leader, but executive For more information, visit mariaschneider.com. Schneider’s teen years and beyond, the young composer analyzed producer. More so, since 2004 her albums have been orchestra is at Jazz Standard Nov. 22nd-23rd and 25th-27th. works of Bach, Ravel, Chopin and especially Hindemith funded via ArtistShare. The release that year, Concert in See Calendar. and other moderns while delving into the records and the Garden, inspired by a poem of Octavio Paz, is scores of jazz’ own modernists: Bill Evans, celebrated as the first fan-funded Grammy winner. Recommended Listening: and particularly the aforementioned Evans, Mingus Another milestone release was 2013’s Winter • Maria Schneider Jazz Orchestra—Evanescence and Ellington. “I’ve never tried to consciously merge Morning Walks, a collaboration with noted classical (Enja, 1992) genres,” she clarified. “For me it’s more absorption. vocalist Dawn Upshaw, select members of the • Maria Schneider Jazz Orchestra—Coming About But all of the music inside of you comes out.” Schneider Orchestra and the Australian Chamber and (Enja, 1995) Schneider left Windom to pursue music in college, St. Paul’s Chamber orchestras. Text was from a • Maria Schneider Orchestra—Days of Wine and Roses first at the University of Minnesota and then Eastman, collection by Ted Kooser, whose poetry Schneider (Live at the Jazz Standard) (ArtistShare, 2000) graduating in 1985 with a Masters of Music. In this described as, “simple, but deep and profound. During • Maria Schneider Orchestra— period she was exposed to a still wider range of sounds, recovery from cancer Ted took early morning walks (ArtistShare, 2004) delving into Brazilian and flamenco traditions. “And and then would write when he’d return home. It’s very • Maria Schneider Orchestra—Sky Blue I had one lesson with Dave Liebman, which opened up hard to find poetry that works well in music: I wanted (ArtistShare, 2007) my world.” By the mid ‘80s she was working alongside poetry where the listener didn’t have to stop to analyze, • Maria Schneider Orchestra—The Thompson Fields Gil Evans as a copyist and had the opportunity to but would simply be drawn in and moved. His poetry (ArtistShare, 2014)

8 NOVEMBER 2016 | THE NEW YORK CITY JAZZ RECORD Symphony Space JAZZ 2537 Broadway at 95th Street FOR AMERICA’S New York, NY 10025

FUTURE 2016 A Benefit for the HIllary Clinton Campaign

7:00pm Cecile McLorin Salvant WEDNESDAY Kurt Rosenwinkel Henry Butler Nicholas Payton Somi Jeff “Tain” Watts Tickets and more details: jazzforamericasfuture.com Gary Bartz

All proceeds to benefit the Bob Hurst Hillary for America Campaign Claudia Acuña Aaron Goldberg

+ Very Special Guests ENCORE

and pianist Bent Axen. As von Eyben put it in an email for a year I spent time transferring his concepts of conversation, “from 1962 Montmartre became the minimalism into . Later I expanded FINN VON EYBEN leading place in the world with the presentation of into using melodic aspects of musical communication; ’s trio. Later came Ayler’s group and Radiojazzgruppen recording I directed uses by clifford allen New York Contemporary Five with Tchicai, [trumpeter] principles combining written parts with limited but Don Cherry and [tenor saxophonist] . We , as heard in the work of Polish For years, Danish bassist Finn von Eyben was a rather would go there to be part of the future and the new composer Witołd Lutosławski.” mysterious character in the world of free music. Until freedom of expression. Erik Moseholm established the Von Eyben’s workshop band was mostly captured recently, his name appeared only on a bootleg LP of the Radiojazzgruppen as a for Danish Radio that at Vingaarden—emphasizing ‘new music’, the Jazz 1965 Hilversum Radio concert by the New York Art played compositions in a more conventional style of Quintet ’60 was the house band early on, and this was Quartet (NYAQ), issued in the early ‘70s on the French modern jazz. They were real professionals. Each week also the place where Dolphy performed while in label America under trombonist ’s name. they recorded 30 minutes of jazz music from a four- . Owing to the fact that Danish trumpeter For that European tour, NYAQ drummer Milford hour session and you definitely had to have skill to fit Hugh Steinmetz taped this music it can finally be heard, Graves opted to remain in the U.S. (the band had a with their demands.” though there are more sessions where these came rotating cast of bassists during its brief lifespan), so Von Eyben met Tchicai as part of this close-knit from—including unheard dates with pianist , Rudd and Danish-born alto saxophonist group of Danish players. “I became part of a sextet reed player Jesper Thilo and guitarist Pierre Dørge. soldiered on with effective support from South African- called Boptetten in 1959; the trombonist, Willy Jaegert, Von Eyben left music as a profession in the late ‘60s born drummer Louis Moholo and von Eyben formed a quintet with Tchicai in 1960. We performed for a successful career in medicine. “I had arranged for (mistakenly referred to as Dutch in the LP’s liner regularly on the Sunday sessions at a restaurant called the trip of Cadentia Nova Danica in England but I was notes). Due to the recording quality, one sometimes has Vingaarden and I recall one day where we played not there myself. For many years I worked as a to strain to hear von Eyben’s inventive pizzicato and Dizzy Gillespie’s ‘’ and John physician. I was in Sweden in the late ‘70s and became direct arco glissandi, but the careful ear is rewarded. improvised all kinds of funny and creative alterations a specialist in oncology and I worked in , the That was it until a few more archival recordings, of the themes. Those Sunday afternoons were very United Arab Emirates, Greenland and . I did a all in much better sound, cropped up in the last popular. lot of academic writing and I invented a tumor marker decade—first, more from the NYAQ European tour on “In 1962 the quintet took part in the [World Youth for testicular cancer that is recognized as a standard the Cuneiform release Old Stuff and in 2016 an Festival] in Helsinki, . One sunny afternoon we worldwide. My present research brings meaning to my appearance on Cadentia Nova Danica’s August 1966 went to hear a band playing close to a lake—that band life, as many good people appreciate what I am doing. Jazzhus Montmartre as well as an intriguing collection had Archie Shepp and [trumpeter] Bill Dixon and they I still play and we had a concert in of workshop recordings directed by von Eyben himself inspired him [Tchicai] to go to the New York scene and Copenhagen featuring the release of these two CDs in and titled Finn von Eyben Plays Finn von Eyben (both play with other musicians with the same feeling for the Museumsbygningen. It was instant music—no talk, Storyville releases). innovation.” Tchicai returned to Copenhagen in 1965 to just the joy of making music together feeling connected, Von Eyben was born on Jul. 27th, 1944 in occupied direct Cadentia Nova Danica, which released LPs on strong and relevant.” v Denmark; starting on cello, in high school he soon Polydor and MPS. Meanwhile, von Eyben stayed in switched to the bass and played . Copenhagen and worked with the Radiojazzgruppen For more information, visit researchgate.net/profile/ Copenhagen was then a fertile place to take in the and formed his own ensembles, improvising with Finn_Von_Eyben burgeoning postwar jazz scene and the famed Café poets Poul Borum and Inger Christensen, Fluxus artist Montmartre was a center for jazz activity, hosting jam Henning Christiansen and the systemic painter Poul Recommended Listening: sessions for young local musicians. Visiting Americans Gernes—as art-musical happenings were in the air • Roswell Rudd—Eponymous (America, 1965) like tenor saxophonist Stan Getz, reed player Eric throughout Europe and the United States. • —Old Stuff (Cuneiform, 1965) Dolphy, bassist/cellist , pianist Cecil Though unheard by most until this year, von • Cadentia Nova Danica—August 1966 Jazzhus Taylor and saxophonist Albert Ayler all played in Eyben’s compositions began to flower in the mid ‘60s. Montmartre (Storyville, 1966) Copenhagen. “In 1964 I took part in performing a composition of • Finn von Eyben—Plays Finn von Eyben/Finn von Also part of this scene were Danish locals including Michael von Biel, who created new unheard sounds by Eyben Workshop & Radiojazzgruppen (1966-1967) bassist Erik Moseholm, drummer William Schiöpffe giving simple verbal instructions to the musicians. So (Storyville, 1966-67) LEST WE FORGET

new ideas. Those that participated included Gerry Chopin. Three years later, Evans contributed Mulligan, Miles Davis, Charlie Parker and others. By arrangements to Davis’ album and went on GIL EVANS 1948, a nonet formed out of these workshops with a tour of Japan with his orchestra and Davis’ group. In Davis as its leader. The group was short-lived, only 1983, Evans’ orchestra began a Monday night residency by eric wendell performing live during a stint at the and at the New York club Sweet Basil, an engagement that recording 12 pieces. Those were compiled into Davis’ brought new acknowledgement to his music. Gil Evans’ impact on jazz is uncanny, his arrangements The , a landmark album showcasing Evans’ accolades included a Guggenheim synthesizing the melodic and rhythmic language of a new sound in the jazz idiom. Evans’ association with Fellowship, an honorary doctorate from New England bebop with the lyrical style of classical arranging. The Davis would continue to grow as he collaborated with Conservatory of Music and a Jazz Master Fellowship result redefined what modern jazz within mid- to the trumpeter on several classics including , by the National Endowment for the Arts before he large-scale instrumentation was capable of achieving. and . succumbed to peritonitis on Mar. 20th, 1988 in Evans was born Ian Ernest Gilmore Green on May In concert with his work as an arranger, Evans Cuernavaca, Mexico, leaving behind a body of work 13th, 1912 in , . He was raised by his began to make a name for himself as a bandleader, that continues to influence the jazz community. v mother and stepfather (taking his surname), a miner releasing his debut Gil Evans & Ten in 1957. This was who often had to relocate his family to different towns followed by New Bottle Old Wine, For more information, visit gilevans.free.fr. Evans tributes by the in North America, eventually settling in Northern and , among others. He continued to Manhattan School of Music Jazz Orchestra are at MSM Neidorff- . Evans was first exposed to jazz via radio collaborate with other jazz artists, contributing Karpati Hall Nov. 11th and Dizzy’s Club Nov. 21st. See Calendar. broadcasts, where he discovered Louis Armstrong, arrangements to ’s and Duke Ellington and others, and was largely self-taught, ’s Look to the Rainbow. By the late ‘60s, Recommended Listening: learning how to arrange and compose by transcribing Evans began to experiment with electric instruments, • Gil Evans—Gil Evans & Ten (Prestige-Fantasy, 1957) records. By 1933, he started his first group playing with his first foray being 1969’s . In 1970, • Miles Davis—Sketches of Spain (Columbia-Legacy, 1959) transcriptions by Don Redman, Evans was to record with just before the • Gil Evans Orchestra—Out of the Cool and others. While working on ’s radio show, latter’s untimely death. In 1974, he participated in a (Impulse-GRP, 1960) Evans became acquainted with arranger Claude concert at dedicated to Hendrix’ music • Gil Evans—The Individualism of Gil Evans Thornhill, who became a longstanding mentor. and recorded the album Gil Evans Orchestra Plays the (Pacific Jazz-Verve, 1964) After completing an army stint during World War Music of Jimi Hendrix. • Gil Evans Orchestra—Plays the Music of Jimi Hendrix II, Evans relocated to New York City and settled into In 1980, Evans recorded the album Heroes and Anti- (RCA-Bluebird, 1974) a room on 55th Street, where different musicians, Heroes, a series of duets with saxophonist • Gil Evans Orchestra—Farewell (Live at Sweet Basil) composers and arrangers of the time would workshop on pieces by everyone from Wayne Shorter to Frédéric (Bellaphon-ProJazz, 1983/1986)

10 NOVEMBER 2016 | THE NEW YORK CITY JAZZ SPOTLIGHT

than a CD. You can print the number you need and the label’s website and promotion.” reprinting is also simple. An initial SdM pressing, Peripatetic American keyboardist Thollem Setola di Maiale on average, is 150 copies, depending on the artist.” McDonas, who has recorded three SdM CDs, says, Deciding on the finished artwork and graphic design is “I’ve only had good experiences with SdM. The first by ken waxman up to the musician. But here too there are savings, album was The View from Up, recorded at Stefano since Giust, who trained and worked as a graphic Scodanibbio’s festival in Macerata. Stefano Giust was “When things become negative, it’s time to invent designer, can create an adept package. “At the enthusiastic to release this and it’s best to go with the other stuff,” declares drummer Stefano Giust, explaining beginning I adopted ‘a corporate identity’ but after most enthusiastic option. This was also true for Trio why and how Setola di Maiale (SdM), his Bologna, Italy- few years I didn’t want to be boring with similar Music Minus One with [drummer] Gino Robair. Stefano based label, was founded in 1993 and is still going graphics and bore myself.” said something like, ‘I’d love to release this album on strong 322 releases later. He elaborates: “In the beginning Unless asked to record by Giust, who pays for the SdM,’ and Gino and I said, ‘great!’ Stefano has a possibilities for all the talented musicians weren’t first printing, all SdM artists finance their sessions. wonderful discography, so there’s a lot of good available, for obvious reasons, including economic “I don’t have contributions from private or public company we share. Stefano is exceptionally positive. strategies. How many people love free improvisation, institutions and I’m not a rich person,” he states. He’s profoundly dedicated to music and his fellow and anyways?” he asks. “There’s no other way to survive in a market.” He musicians, very much cares about community and The idea for SdM came from the DIY cassette declares: “Year after year, more and more labels are quality. And he always follows through with what he culture Giust had been involved with, which forced to ask for help from musicians for their says he’s going to do.” disseminated non-mainstream products. Other production. This happens in every kind of music, Milan-based saxophonist Massimo Falascone, with inspiration came from earlier independent labels such including classical. Why does this happen? It concerns a nine SdM sessions, adds, “I’m pleased to collaborate as ESP and Ictus. “My choice was to be free, to avoid political intention in addition to an economy completely with Stefano. I met him eight years ago and soon took the music market. Maybe I’m Utopian but my only out of control that destroys everything that’s not two of my projects to SdM: my solo album Works 05-007- interest is to work for musicians as a contribution to an globalized. Anything different is out of the market.” 2008 and the improvisational trio restart. We established international community of artists.” Setola di Maiale About 500 artists have recorded for SdM, with the a good relationship and I have a special feeling with means pig bristle in English, he explains. “In Italian majority from Italy, United Kingdom, , him as a person, as a musician as well as a label owner. ‘pig’ isn’t a nice word, so this sounded interesting. Belgium, U.S. and Japan. “It’s a collective work,” Over the years SdM has built up a respected catalogue Good taste is an enemy of the arts.” More seriously, suggests Giust. “Musicians send me files or e-mail and I recognize myself in its ‘editorial’ line. I’ll gladly a pig bristle was also the earliest device used like links to listen to their proposal and if the music makes take him my recent projects. At an affordable price you a phonograph needle to record and play back sound. sense for the catalogue and the musicians agree with have a very nice product in all details, particularly SdM’s first releases were one LP and two cassettes, the label’s guidelines, I work as executive producer. graphics. You have maximum artistic freedom and but the CD-R was soon adopted as its preferred format. I need a final master: recording, mixing and mastering without obligation of any kind you can reprint your “It would have been impossible to print so many titles are under the control of the musician. The graphic CDs even in a limited number of copies.” if I had opted for only vinyl or CDs. It would have design and organization behind the final package are Artists don’t sign contracts with SdM and even been too expensive. The CD-R of today is perfect and included in the cost. The majority of the discs are then Giust has recorded for other labels. “Musicians can when printed professionally it looks like nothing less sent to the artist. At my own expense, I add a few for (CONTINUED ON PAGE 42)

Una Clamide Per Due Trio Music Minus One (For Dennis Palmer) Corindilindoli Neu Musik Projekt - DEcomposition - Duo Klang Thollem McDonas / Gino Robair Andrea Massaria / Giancarlo Schiaffini Mazzon / Sacchi / Giust Laboratorio Musicale Suono C + Brötzmann VOXNEWS

and an homage to the many Blue Note artists who have Picture. Singer Tierney Sutton and her band joined inspired the recent college grad. In addition to her director Clint Eastwood to write the soundtrack for the JAZZ SINGER ZEITGEIST positive, laid-back version of “Peace”, Allgood film starring Tom Hanks. Sutton is at her best on these interprets songs by , John Coltrane, Wayne short tracks, which present a strong case for the use of by suzanne lorge Shorter, Sam Rivers, , Lee Morgan, vocalese to create mood and meaning in a visual and Joe Chambers, contributing medium. Sutton will perform selections from the album Bebop pianist first released “Peace” on original lyrics for instrumental compositions. Allgood at Birdland (Nov. 8-12th). his 1959 Blue Note record Blowin’ the Blues Away. The is an astonishingly mature singer for her years; her Resonance Records often produces short videos to lyrics of the beloved standard go like this: “When you comfort with scatting and bebop phrasing, generous accompany its audio releases; for their recent release find peace of mind / Life’s true meaning comes to you world view in her words and skillful arrangements all Shirley Horn: Live at the 4 Queens, however, the label and freedom is won / Peace is for everyone.” Two speak to an emerging talent of considerable strength. deemed the subject of the video worthy of a longer prodigious young singers—one already famous and the , a force in her own right, challenged treatment. Each minute of the half-hour documentary other on her way—released albums on Oct. 7th that the status quo more with her presence than with her Shirley Horn: Reflecting and Reminiscing is packed with include this tune, along with other standards and some words, vocal as she was about the injustice that she warm remembrances and the luscious sounds of the thoughtful, well-crafted originals. The message of the experienced during her life. In performance, however, singer/pianist’s music. Horn’s mastery didn’t receive tune holds relevance for all times, but perhaps she was so commanding, so electric with feeling, that national attention until the ‘90s, when she was in her especially so when social conflict fills the headlines. words seem almost secondary to the will behind that 60s, so jazz listeners only had a few precious years in added the tune to , her distinctive voice, that defiant stare. In September Eagle which to hear the singer live. Resonance Records’ CD sixth CD for Blue Note, as a reprise to an earlier version; Rock Entertainment launched a DVD/CD package of and video provide some much-needed documentation her very first recording for the label, a 2001 six-track EP the Oscar-nominated documentary about Simone’s life on the life of this extraordinary jazz musician. called First Sessions. 15 years ago Jones heard the tune and work, What Happened, Miss Simone? The film Another Oct. 7th milestone: ENNARecords, whose as a traditional, sweet-tempered ballad, but today she contains footage of Simone both on- and off-stage and stated mission is “to offer music that shares our human sees it as a sophisticated, introspective piece of reveals many of the disappointments and abuses the experience, generating community and trust”, released commentary. The current version benefits from the singer/pianist endured in her mission to raise its first CD, Tell A Star, on this date. The album features firepower of some major players: saxophonist Wayne awareness of civil rights. The CD portion of the package nine gorgeous, impressionistic tunes by singer/ Shorter, bassist John Patitucci and drummer Brian includes some tracks that don’t appear in the film, composer/poet Maryanne de Prophetis and her band Blade, for example. Jones will present the new CD at among them Simone’s iconic “Ne Me Quitte Pas”. of trumpeter Ron Horton, pianist the Beacon Theatre (Nov. 29). The self-produced CD Also on Oct. 7th, Varese-Sarabande officially and percussionist Satoshi Takeishi. The quartet from Out of the Blue is singer Alyssa Allgood’s debut album launched Sully: Music From and Inspired by the Motion the CD performs at Michiko Studios (Nov. 18th). v

THE NEW YORK CITY JAZZ RECORD | NOVEMBER 2016 11 FESTIVAL REPORT

bumpy enough to accentuate the trio’s subtle communication. In the next set, playing solo then BRDA FEST joined first by alto saxophonist Jure Borsič and then guitarist Aleš Valentinčič-Brdonč, Lasič’s hard smacks CUNEIFORM by ken waxman allowed him to highlight single accents as well as flowing rhythms. The night’s closing was the duet of Polish RECORDS trumpeter Artur Majewski and acoustic bass guitarist www.cuneiformrecords.com Rafal Mazur. The former would sound a phrase then process it to suggest a second trumpet line. These terse yet judicious interludes were like waves agitating the otherwise placid waters of his exposition. Mazur’s instrument had two functions: strummed horizontally it provided a percussive buttress for Majewski’s upwards forays; played vertically, strings stropped by a bow or finger-wrenched, the resulting timbres contrapuntally challenged those instances when the trumpet tonguing became too delicate. Delicacy is not an adjective associated with American expatriate cellist Tristan Honsinger. During two Jazz Podium afternoons, he oversaw a creative WADADA LEO SMITH orchestra workshop and on the festival’s final night America’s National Parks ( c ) S u s a n O ’ C o r j z w d . m Tristan Honsinger & Matjaž Bajc participants demonstrated what had been created. The program was like watching a regular movie remade in Good things come in small packages and when it 3-D since with 17 instrumentalists and four vocalists, comes to a setting for a creative music festival, it’s it was in some fashion Honsinger’s regular shtick writ difficult to find smaller than Šmartno, a fortified large. Expected comedy routines and verbal interludes, hamlet of 30 souls in Slovenia, which hosted the sixth combining gibberish chants and sloganeering, were edition of the Brda Contemporary Music Festival divided among the singers with other players (BCMF) Sep. 15th-17th. The camp-type fortress dates occasionally miming and interjecting vocal sounds. back to the 15th century and was declared a cultural Also prominent were the cellist’s familiar tropes: monument in 1985. Šmartno is just one of the miniscule cut-and-pasted slapstick interludes; sharpened homesteads clinging to the steep hills and curving individual improvisation; close harmonies from roads of the Goriška Brda area (total population 5,000), different ensemble sections; and a recurring defining located about midway between Trieste, Italy and brass band-like vamp, part stirring martial music and SÃO PAULO UNDERGROUND Slovenia’s capital Ljubljana. BCMF itself takes place in part jolly tango. Honsinger’s skill with hair-trigger featuring ROB MAZUREK and around Šmartno’s Hiše Kulture, consisting of three interactions was better showcased the next set. Cantos Invisíveis older dwellings joined together, with three floors now Workshop participants Lasič, Bajc and Italian cornet housing a bar, art gallery and the Jazz Podium, player Gabriele Cancelli joined the cellist to develop a basement performance space with a raised stage a non-hierarchal and non-linear interlude, which at topped with green, pool-table-felt-like material. one point found Bajc rhythmically banging on his bass’ In an early-evening entrée to the sumptuous meal wooden finish and Cancelli tootling a kazoo shoved that was BCMF, bassist Žiga Golob played an within a horn mute in response to the cellist’s slick unassuming solo set taking full advantage of version of Albert Ayler’s “Ghosts”. More humor and resonations from the art gallery’s whitewashed walls less cohesion followed as others joined the original and varnished floors, combining folksy melodies with four to turn the climax into a free-jazz-for-all with below-the-bridge scratching and string tapping. the saxophonists wallowing in Ayler-ian outer space- A similar utilization of a building’s acoustics was part like wails. of the festival’s first official concert that evening by The festival’s finale was an object lesson in how to Danish saxophonist Lotte Anker in Šmartno’s historic construct a balanced improvisation. Begun by Anker RICHARD PINHAS St. Martin baroque church. Moving among soprano, dueting with drummer Zlatko Kaučič, BCMF’s Artistic BARRY CLEVELAND alto and tenor saxophones, Anker propelled circular- Director, the interaction became more intense when featuring , CELSO ALBERTI breathed multiphonics that bounced back in flurries. they were joined by Majewski and Mazur. Kaučič Mu Notes hitting Corinthian columns and a peaked ceiling matched Anker’s saxophone collection by extending continued to resonate long after being sounded. his kit with an electrified zither, which produced The first day’s concluding concert in the Jazz vibraphone-like shimmer. He also cemented a proper Podium was the epitome of extroverted free jazz from rhythm from his kit with bass-drum pops and stick veteran Italian saxophonists Flavio Brumat (tenor) and work to meet Anker’s Coltrane-influenced tenor honks. Mimo Cogliandro (soprano) setting the pace alongside When watery tones surfaced via her bottle-in-bell a young Slovenian rhythm team of drummer Marko muting, he countered with absorptive cadences Lasič and bassist Matjaž Bajc. The saxophonists, produced by slapping field grass on his snares and coming across like two halves of late-period Coltrane, toms. While superficially more jazz-like when joined commingled their timbres to reach higher and sharper by the Poles, since Majewski’s wistful muted horn had textures, shearing tones and spearing notes with equal Don Cherry antecedents, the music was still distinct facility. Bajc and Lasič, countering the unceasing 21st Century improv. The dramatic parameters onslaught, were minimalist and inventive. encompassed Mazur’s downcast, classically-tinged RICHARD PINHAS Before Lasič demonstrated his versatility as part of bowing, Majewski’s sometimes folkloric tone and TATSUYA YOSHIDA a trio midway through the second night’s performances, Anker’s squeezed grace notes. When the four combined the evening began with a trio of Japanese violist Reiko for a raucous, but balanced energy-music-like coda, MASAMI AKITA Process and Reality Okuda, Finnish bassist Antti Virtaranta and Slovenian Kaučič smashed his cymbals so powerfully and quickly percussionist Jaka Berger. Sometimes substituting that he cut his face with a sharpened edge on the knitting needles for drumsticks and slapping a floor rebound. Before you buy, listen at conga with one hand as he rubbed drum tops, Berger With such attention to both musical detail and cuneiformrecords.bandcamp.com joined the bassist’s irregular strokes and string- shading expressed throughout BCMF, is it any wonder gripping actions to set up a continuous groove. that musicians and audience members swell Šmartno’s Buy these and thousands of other Amplified by feedback triggered by string finger taps population for three days every year? v interesting releases at our online store: and plucks via a contact mic attached to her viola, waysidemusic.com Okuda’s drone was solid enough to mesmerize but For more information, visit bcmf.si

12 NOVEMBER 2016 | THE NEW YORK CITY JAZZ RECORD intakt records 2016 www.intaktrec.ch Distributed by Naxos America · Mailorder: www.naxosdirect.com Amazon.com · iTunes Store. Available in NYC: Downtown Music Gallery. [email protected] | Digital-Download-Shop: intaktrec.bandcamp.com Intakt CD273/2016 Intakt CD274/2016 Intakt CD271/2016 Intakt CD270/2015 Intakt CD268/2015 Intakt CD275/2016 Intakt CD272/2016 Intakt CD269/2015 D M T i Barry Guy: Bass|:Piano|Paul Lytton: Drums B Stefan Aeby: Piano|André Pousaz: Bass|MichiStulz:Drums ste T Supported by the Robert D. Bielecki Foundation Bielecki D. Robert the by Supported CD-Release Concert: December15,8pm,Roulette,509AtlanticAvenue, Brooklyn Sam Pluta:Electronics |DanPeck: |Peter Evans: Trumpets |: Drums Ingrid Laubrock: Saxophones|: Koto, Electronics |: Piano c :Electronics |: Soprano & :Piano|MarkFeldman: Violin s Jim Black:Drums,Composition|EliasStemeseder:PianoThomas Morgan: Bass J Alexander vonSchlippenbach:Piano|Evan Parker: Tenor Saxophone |Paul Lovens: Drums W sc in Recorded liveatJazzfestivalWillisau 1980 Léon Francioli: Bass|Pierre Favre: Drums Don Cherry: Trumpet |JohnTchicai:AltoSaxophone,Voice |Irène Schweizer: Piano cH Raffaele Bossard: Bass|MichiStulz:Drums Christoph Irniger:Tenor Saxophone|Dave Gisler:Guitar|Stefan Aeby: Piano B M k O T h IG W i EEP MEMORY EEP YLV H arr ILLER’S TALE USICAL MONSTERS USICAL ARSAW CONCERT ARSAW M B U G E HL r e C e r F h rr isto a M id i i O E L h Y G e P L n NSTANT Y EEL

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Orchestra (LMO). He is doing it still, though he died in 2” (a piece in six sections cut up and spread throughout 2014. Time/Life, the posthumous sixth LMO album, is the disc), the trio shifts into “Impulse Purchase”, with like the first five: the integrity of its mission and the tightly controlled tenor pillows crisply suspended in passion of its music are one. a midair cadenza before the ensemble locks into Earlier LMO recordings were outcries against war thumping progressions and drizzled minuets, Mitchell and injustice. The new one protests abuses of the toying with concrete funk and splayed, ambiguous environment. It contains two live tracks from the distance as Hollenbeck glances and chugs in ornate, Middelheim Jazz Festival in , Belgium in 2011, socking rhythms. Each journey through sections of Haden’s last recorded performances with LMO. “Blue sparseness and flesh results in greater complexity—

Rotterdam 1969 in Green”, the Miles Davis classic, is richly reimagined additive filigree, glancing pops and retraced, sinewy Duke Ellington & His Orchestra (Storyville) for large ensemble. Its connection to the theme is not steps lead into gospelized, pounding dissonance as by George Kanzler obvious, but it fits the album’s pensive atmosphere. Mitchell channels the anthemic churn of players like Haden’s “Song for the Whales” opens and closes with Mal Waldron and while Webber’s tenor During the years after his band’s commercial and his arco bass portraying poignant whale sounds. Tony phrasing becomes increasingly tart and harried. Here, popular revitalization at the 1956 Newport Jazz Malaby’s wild tenor saxophone solo also sometimes the focus often seems to be on the interaction of piano Festival, Duke Ellington (1899-1974) was very prolific suggests whales keening in pain. and tenor, bony vocal crags goading rhapsodic outlay as a composer, with and without Billy Strayhorn, who Haden had planned to rerecord these pieces in and refereed by dry metric churn. died in 1967. He produced multiple LP-length suites a studio and add more material to make a new LMO Glancing harmonics and a continual rhythmic ebb and Sacred Concerts, yet an Ellington concert, like this album. Because of declining health, he never got the and flow are the root of “Rectangles 3a”, a brief exercise one from a 1969 European tour, rarely featured much chance. But on Jan. 13th, 2015, the day after a memorial recalling similar play from Chicago groups Cheer- of the new music. It was more of a journey through the service for Haden at Town Hall in New York, the Accident and Shellac while “1b” pits reedy gurgles highlights of Ellingtonia. But there was a lot of ground orchestra recorded three tracks at Avatar Studio to against xylophone patter and dampened tom to cover and always surprises along the way. So this complete Time/Life. took the bass chair. impulsions. Webber’s flute is on display in “Tug o’ recording of a single concert in Rotterdam, the second , who has arranged every LMO album, War”, introduced by piercing closely-valued repetition of the night, on Nov. 7th, is both typical and singular. creates many dark orchestral colors and dramatic, of a knotted phrase for flute and piano, which soon The band Ellington led on that European tour was sweeping narratives. The ensemble beautifully renders adds breathy inflections to the core cycle before the partly cobbled together. The trumpet section was Bley’s complete forms. Soloists (trumpeter Michael three stretch into poised, airy improvisation in a supplemented by expatriates and Nelson Rodriguez, tenor saxophonists Malaby and Chris mixture of warped twitter, keyboard flecks and Williams and the section was a small one, so Cheek, trombonist Curtis Fowlkes, guitarist Steve glistening metal accents. Webber’s precision and a sixth saxophonist, , played the third Cardenas, alto saxophonist Loren Stillman) unleash vocalese certainly put her on par with such instrumental parts of the trombone charts. However, the band still the raw emotions those forms hold. innovators as Nicole Mitchell, Severino Gazzelloni and boasted some of its most famous stars, going all the Bley composed the three studio tracks. James Newton, but it is the copacetic nature of this trio way back to Cotton Club stalwarts “Útviklingssang” was prompted by an environmentally and her writing that allows for such liftoff. (), (baritone), Cootie harmful Norwegian dam project. It appeared on her Williams (trumpet) and Lawrence Brown (trombone) 1981 LP Social Studies. Like everything on Time/Life, it For more information, visit skirlrecords.com. This project is as well as the hero of that Newport concert, tenor is sad but not passive, its testimony forcefully at Greenwich House Music School Nov. 3rd. See Calendar. saxophonist . Also doing a guest stint proclaimed. Stillman’s solo is a vast streaming. Behind with the band (I saw them with him in New York at the him, the orchestra marches in a solemn processional. • Bushman’s Revenge—Jazz, Fritt Etter time) was Hammond B3 organ player Wild Bill Davis, “Silent Spring” is from the ‘60s. Haunting, isolated R Hukommelsen () who had penned ’s hit chart of “April In guitar notes are overtaken by the looming orchestra. • Don Cherry/John Tchicai/Irène Schweizer/ ”. He plays a similar of “” Cheek and Rodriguez burn. Bley often uses the e Léon Francioli/Pierre Favre— here, as well as his own blues “R.T.M.”, featuring six orchestra like a Greek chorus, murmuring portents. Musical Monsters (Intakt) soulful choruses from Hodges. Bley’s majestic new title track is a eulogy for c • Free Nelson MandoomJazz— Ellington gives over portions of the concert to star Haden. Over its 14 minutes, all 12 players, in turn, The Organ Grinder (RareNoise) soloists like Hodges, surprisingly pulling out the ‘30s remember a special artist and deep, caring soul. At the o • Liberation Music Orchestra— “Black Butterfly” to go along with Hodges’ usual album’s end, we hear Haden’s voice, addressing the m Time/Life (Song For The Whales and Other features “Things Ain’t What They Used To Be” and audience in Belgium. He says, “It’s so important to Beings) (Impulse!) • Hans Koller—Big Sound Koller (Live in “Don’t Get Around Much Anymore”. There is no remember how precious this life is.” m Hamburg 1961) (Sonorama) “Diminuendo and Crescendo In Blue” with Gonsalves’ e • Dave Liebman Group—Expansions Live long interlude, although the tenor saxophonist gets For more information, visit impulse-label.com. This project (Whaling City Sound) two uptempo features, the latter also highlighting the is at Jazz Standard Nov. 3rd-6th. See Calendar. n • Michel Pilz/Jean-Nöel Cognard— tenors of Harold Ashby and Turney. Carney is featured (JazzHausMusik) Ressuage on both baritone (“Sophisticated Lady” as part of a hits d • Michel Portal—Radar (Live at Theater medley) and clarinet (“Rockin’ in Rhythm”). The Gütersloh) (Intuition) centerpiece of the concert, and longest track, is the “La e • Mara Rosenbloom Trio—Prairie Burn Plus Belle Africaine”, a unique piece sui generis to d (Fresh Sound-New Talent) everything that is Ellingtonia. • SAKA with Maja S.K. Ratkje— Rasaka (KBA) For more information, visit storyvillerecords.com. An n Laurence Donohue-Greene, Managing Editor Ellington tribute by the Juilliard Jazz Ensembles is at • BBRS (Denis Beuret/Dominik Burger/ Paul Hall Nov. 1st. See Calendar. e Jerry Rojas/Ekkehard Sassenhausen)— Binary w Improvising in the Consulting Room (Leo) Anna Webber Simple Trio (Skirl) • Betty Davis—The Columbia Years 1968-1969 by Clifford Allen (Light in the Attic) • The DKV Thing Trio—Collider (Not Two) Canadian-rooted tenor saxophonist/flutist Anna r • Barry Guy/Marilyn Crispell/Paul Lytton— Webber has, in a rather short time living and working Deep Memory (Intakt) in New York, made quite a name for herself. Blending e • Mary Halvorson Octet— rigorous compositional strategies often hinging on l Away With You (Firehouse 12) rhythmic minimalism, she squares that rigor with fluid • Jerome Jennings—The Beast (Iola) technique and a remarkable tone. While there are a few e • Franklin Kiermyer—Closer to the Sun (Mobility Music) Time/Life (Song For The Whales and Other Beings) different vehicles for her work, including Percussive a • Michael Musillami/Rich Syracuse— Liberation Music Orchestra (Impulse/Verve) Mechanics and the bi-national Third Floor People, trios Of The Night (Playscape) by Thomas Conrad are perhaps given a slight edge. The Simple Trio with s • Quinsin Nachoff—Flux (Mythology) pianist Matt Mitchell and drummer John Hollenbeck is • São Paulo Underground— It is difficult to combine art and politics. Charlie one of the most rewarding and Binary is their second e Cantos Invisiveis (Cuneiform) Haden has done it, powerfully, since 1970, when he disc on Skirl, 12 originals spread out over an hour. Andrey Henkin, Editorial Director released the first recording by his Liberation Music Following the punchy opening salvo of “Rectangles s

14 NOVEMBER 2016 | THE NEW YORK CITY JAZZ RECORD

The laid-back “Amethyst” is a sublime change in direction, highlighted by Radley’s bluesy playing. UNEARTHED GEM Harris returns on open horn for the soulful “Drought’s End”, worthy of becoming a staple of modern hardbop repertoire. Gillece’s thoughtful interpretation of recently departed vibraphonist ’s “Same Shame” conveys his respect for the jazz master’s pioneering work. Latin-flavored “Live It” is an upbeat vehicle showcasing engaging solos by the leader and

Dare To Be Harris. The vibraphonist wraps the session with a gorgeous, deliberate exploration of Johnny Mandel’s Behn Gillece (Posi-Tone) Birth of a Being by Ken Dryden well-known standard “A Time For Love”, which almost David S. Ware/Apogee (hatHUT-AUM Fidelity) whispers its message to allow one to focus on the Live in Sant’Anna Arresi, 2004 Behn Gillece has been a rising star on the vibraphone intimate mood of the quartet. David S. Ware/Matthew Shipp Duo (AUM Fidelity) over the past decade, a player with a light touch and Behn Gillece’s reputation as one of his generation’s by Clifford Allen the versatility of a virtuoso like Gary Burton. Before most promising vibraphonists will continue to grow as going out on his own, Gillece co-led a band with more fans discover CDs like Dare To Be. Tenor saxophonist David S. Ware, who passed in saxophonist Ken Fowser, recording four albums for 2012 at age 62 (he was born 67 years ago on Nov. 7th Posi-Tone, in addition to appearing on a number of his For more information, visit posi-tone.com. Gillece is at in Plainfield, New Jersey), was at the time of his labelmates’ CDs and working in the band of vocalist Smalls Nov. 4th. See Calendar. departure one of the few saxophonists remaining Melody Gardot. from a period where the innovations of bebop and

Dare To Be marks his second release as a leader for the post-Coltrane, post-Albert Ayler milieu were Posi-Tone and Gillece has put together a first-rate still relatively fresh, compatible approaches. Ware’s quartet of guitarist Nate Radley, bassist Ugonna path through the ensembles of bandleaders like Okegwo (known for his long tenure with trumpeter pianist Cecil Taylor and drummer ), drummer Jason Tiemann and guest enabled him to further methods of orchestration and trumpeter Bruce Harris on several tracks. small-group improvisation. While the ‘80s-90s are Gillece primarily showcases his tantalizing often viewed as a period of fallowness and originals, beginning with “Camera Eyes”, which opens conservatism, Ware continued to craft music of with dreamy interplay between the leader and Radley relentless power and sublime beauty, leading his before taking off into a playful midtempo setting own ensembles toward an era of greater appreciation I Want That Sound! making ample use of space. Breezy “From Your Revolutionary Snake Ensemble (Innova) for the free music vanguard in the new millennium. Perspective” has a recurring samba flavor in the brief by Joel Roberts The environment in Boston in the late ‘60s when interludes between solos. Harris’ muted horn is a Ware attended Berklee was rich and Ware met welcome addition playing in unison with the leader in Revolutionary Snake Ensemble (RSE) has been putting pianist and instrument builder Cooper-Moore (then the ensembles and both add potent solos. its unique and somewhat twisted twist on the New known by his birth name, Gene Ashton) and Orleans brass band tradition for more than 25 years. drummer Marc Edwards during his studies; all three The Boston-based sextet, which takes the stage in full musicians were serious and exploratory, though it Upcoming concerts at the Mardi Gras regalia, melds the time-honored Crescent wouldn’t be until 1970 that they formed Apogee, Austrian Cultural Forum NY City second-line sound and instrumentation with which worked mostly as a trio with the occasional a host of disparate influences, from the no-holds- addition of bassist Chris Amberger. Coupled to barred funk of the horns to the free jazz Cooper-Moore’s cellular stomp, strident multi-part intensity of Sun Ra. objects and coming-home rejoinders, along with All the tunes but one on the group’s new album— Edwards’ rolling, crystalline economy, Apogee cut a return to Innova, which released the band’s debut a lean force in Boston and New York, where they Year of the Snake in 2003, after discs on Cuneiform resettled in 1972-3. Unfortunately, their music went (Forked Tongue, 2008) and Accurate (Live Snakes, 2014)— unrecorded at the time and the only document came are originals credited to RSE’s leader, alto saxophonist after they’d parted—1977’s Birth of a Being (hatHUT), Nov 03, 07:30 PM and chief provocateur Ken Field. Opener “Slippery which reconvened the trio for just this occasion. Out Schmieds Puls When Wet” begins with a classic New Orleans shuffle of print since the ‘80s, this reissue presents the Singer-songwriter, Jazz, Pop and from drummer Phil Neighbors and bassist Blake original four cuts as recorded with the addition of Newman, but when the horns kick in, the tune takes on five extra tracks including Cooper-Moore on an Nov 10, 07:30 PM an edgy, infectious World Saxophone Quartet feel. ashimba solo (a homemade portable marimba), all Month of Sundays Other tracks like “Discoveries” and “Roohane” lean in crisp sound derived from the original tapes. Electroacoustic, more in the direction of hard-partying avant-funk, In 1990, pianist Matthew Shipp and Ware began Post-Rock and Jazz with boisterous soloing from Field, tenor saxophonist working together in a quartet with Edwards and Tom Hall, trumpeter Jerry Sabatini and trombonist bassist William Parker. The David S. Ware Quartet Dave Harris. was a vehicle for structured improvisation and Still, other tunes hew closer to Big Easy traditions, harmonic exploration that knew few peers at the like “Nature”, with its catchy, irrepressible calypso time. In 2004, Ware and Shipp performed a rare set beat, and “Just Walk Closer”, a reconfiguring of the of duos in Sardinia—Live in Sant’Anna Arresi, 2004 Dec 06, 07:30 PM familiar hymn “Just a Closer Walk with Thee”. The title consists of the entire program of a pair of 20-minute track, meanwhile, takes a decidedly more avant garde duets and a gravelly encore loosely based on “Wade Miklin Trio approach, combining snippets of studio conversation in the Water”. It’s a valuable lesson in improvisation jazz legends , and swirling free improvisation. to hear Ware’s saxophone unaccompanied or in duo Ron McClure, One thing missing here is the out-of-left-field with the tessellated flecks of Shipp’s piano. In the Karlheinz Miklin covers the group has done in the past, which highlight relatively sparse setting of “Tao Flow” and its two the group’s eclecticism and tongue-in-cheek humor: halves, metallic taffy-like pulls and resonant blats unlikely choices from the likes of ‘80s rocker Billy Idol hunker down in gospel-like, throaty digs before or even Doris Day, alongside, say, an Ornette Coleman being stretched into circular-breathed cries and tune. Still, I Want That Sound! is a strong example of panned sawtooth arrays, nudged by harmonically at the Austrian Cultural Forum New York how Ken Field and the Revolutionary Snake Ensemble dense swaths and the buzz of Shipp’s string plucks. continue to push the brass band tradition forward in There’s both love and aggression here, as the pianist 11 East 52nd Street (btw. 5th and Madison) an entirely original way, all the while making music and saxophonist build a pugilistic dance from NY 10022 that’s a heck of a lot of fun. fragility and swells.

get your free tickets at www.acfny.org For more information, visit innova.mu. This band is at For more information, visit aumfidelity.com Barbès Nov. 5th. See Calendar.

THE NEW YORK CITY JAZZ RECORD | NOVEMBER 2016 15

from Stuttgart, Germany, sought out GLOBE UNITY: IRELAND musicians and music from Cuba, Argentina and Brazil and used his virtuosity to unite them in one large-scale expression of passion, dedicated to the memory of a friend and musical partner, pianist Octavio Brunetti. Huebner invokes the romance of music from each country. Jobim’s “Águas de Março” (‘Waters of March”) is brilliantly realized as singer Maucha Adnet intones the hypnotic melody and lyrics, backed by a simple, Belle Époque Christy Doran’s Sound Fountain (Between the Lines) Shipwreck 4 small group where violin is the tender linchpin and All Change Aaron Bennett/Darren Johnston/ a trio of pianist Klaus Mueller, bassist Lincoln Goines Tom Chant/John Edwards/Eddie Prévost and drummer Portinho are heartbreakingly delicate. (Matchless) Lisa Mezzacappa/ (NoBusiness) Ensam by Stuart Broomer With Argentinian music, the tango can never be far Kevin Brady (LRP) away. Astor Piazzolla’s “Fracanapa” invokes the power by Tom Greenland Shipwreck 4 documents a 2015 Bay Area visit by of the dance but is harmonically and rhythmically rich Chicago drummer Frank Rosaly. It’s a studio session thanks to Raul Jaurena’s pulsing bandoneon, Emilio With the intensification of cultural exchanges that was quickly arranged after a concert with tenor Solla’s sweet piano and the ever-present longing of made possible through global travel and digital saxophonist Aaron Bennett, trumpeter Darren Johnston Huebner’s violin. Cuba is represented by wonderful media, it’s increasingly difficult to isolate, say, and bassist Lisa Mezzacappa. It’s easy to hear why: the pieces by Oriente Lopez: “La Canafistula”, with the ‘Irishness’ in jazz, though we can comment on what quartet sounds like it has developed its easy familiarity sinuous yet heart-reaching flute of Karen Joseph and some innovative Irish improvisers are up to. over years of shared experiences. lightly oscillating rhythm augmented by timbales Guitarist Christy Doran was born in Greystones, It’s free jazz in the great tradition, Mezzacappa master Johnny Almendra; and “El Frio y la Oscuridad”, on the coast south of Dublin, but grew up in Lucerne, and Rosaly adept at a relaxed bounce responsive to which utilizes a riff out of (“Teen Town’) where he founded the freethinking groups OM and and supportive of the horns. Johnston and Bennett and speech-like cadences from vocalist Amparo Baron. New Bag. At an age when many have retired, he share a spare lyricism marked by rhythmic incisiveness. But it is in Huebner’s tunes that his enthusiasm continues to play with youthful vigor, a quality The ‘heads’ may be the most remarkable thing; they’re and care for tradition truly burst forth. There is readily evident on Belle Époque, the debut of Sound really spontaneously composed, proceeding like Basie a gorgeous tribute to Brunetti on “For Octavio” while Fountain, his trio with Argentinian bassist Franco band riffs, one horn establishing a phrase, the other “Fantasia” is a soft ballad wafted by Mueller’s piano Fontanarrosa and Swiss drummer Lukas Mantel, chiming in with a complementary or contrasting part. and the loving vocal of Yumaria. The album closes both more than 30 years younger than Doran. The result is a high degree of patterning that gives each with “New York Tango Impressions”, where city Despite the age gap, the musicians are highly of the six pieces its own identity. sounds inform and color a kind of street-corner violin simpatico, favoring clean, terse tones delivered in Bennett is a revelation. It’s a rare saxophonist who playing. It is the end and beginning of a grand journey. rapid-fire interlocked passages with loose precision. makes every note count, but Bennett is one of them, Doran is a shredding soloist, but his lines always whether building tension with a punching low-register For more information, visit glm.de. Huebner is at retain their continuity and architectural integrity. figure (“The Storm We See, the Sea We Saw”) or Greenwich House Music School Nov. 6th with Richard The trio dazzles in its ability to navigate continual climaxing a pensive exchange with a long multiphonic Sussman. See Calendar. new developments. It might seem that they have blast (“When Not Night”). His sound is highly flexible, spent years together in the woodshed, but more too, ranging from gruffly metallic to airily sweet. likely achieved a collectively improvised style so Johnston moves from a dark, reflective sound to cohesive that it comes off as well rehearsed. exploring traditional mutes as well as strange whistling Academy Records Dublin-born saxophonist Tom Chant now and whispering tones. At one point, he takes up the resides in London, where he commingles with the dialogue principle alone, alternating open and likes of bassist John Edwards and drummer Eddie Harmon-muted phrases in a conversation of one. That & CDs Prévost, the latter, like Doran, an ever-youthful sense of dialogue isn’t restricted to the horns. When senior too restless for the rocking chair. All Change, bass comes to the fore in a bowed mirroring of the their collective improvisation, recorded live, is tenor, the instruments are almost indistinguishable. divided into two epic tracks. Chant uses his tenor Rosaly particularly shines on “Everything’s Coming most of the time, calling up a hodgepodge of sounds, up Rosaly”, largely a drum solo in which his sonic and Cash for new and used from raspy two-stroke motorcycle engine revs to rhythmic inventiveness are featured, ending with bird calls and high pinched squeaks; later in the set, a rambunctiously cheerful collective explosion. There’s compact discs,vinyl his soprano evokes everything from stuttered chirps more of the same in the extended “Bloom”, with the records, blu-rays and and slurred screams to whimpering dogs and band achieving a chaos of ecstasy. The final “The Face sustained rattles. But these never sound like trick Consented, at Last” is a slow elegiac piece cementing dvds. effects, for there’s a method to the sonic madness, one’s impression of this band, the horns trailing one a sense that each instrument is finding without another in the spontaneous, dirge-like melody before necessarily seeking, arriving without ever leaving. Mezzacappa’s bowed harmonics and Rosaly’s random Prévost, so subtle as often to go virtually unnoticed, tom-tom taps bring it to a close. We buy and sell all is at the center of it all, leading from behind. Dublin-born drummer Kevin Brady lives on the For more information, visit nobusinessrecords.com. Mezzacappa genres of music. Emerald Isle, studying in Cork and working with is at Ibeam Brooklyn Nov. 4th, New Revolution Arts Nov. 5th All sizes of collections bassist Dave Redmond. Ensam documents his and Downtown Music Gallery Nov. 6th. See Calendar. decade-old trio with American pianist Bill welcome. Carrothers, showcasing his compositions and a trio of covers featuring British vocalist Norma Winstone. Brady is a less-is-better drummer in the tradition of Paul Motian, though his timekeeping is more For large collections, obvious. Carrothers is a fantastic if underappreciated stylist who mixes hard-swinging straightahead please call to set up an ideas with a delicate rhythmic touch. The album’s appointment. prevailing mood is polite, thoughtful and accessible, with just a hint of quirkiness here and there. Some of the best moments occur during Winstone’s cool but slightly eccentric readings of the Gershwins’ “But El Violin Latino, Vol. 2 Gregor Huebner (GLM Music) Open 7 days a week 11-7 Not for Me” and ’s “Southern Smiles”. by Donald Elfman For more information, visit betweenthelines.de, Gregor Huebner’s violin brings a yearning passion to 12 W. 18th Street NY, NY 10011 matchlessrecordings.com and kevinbrady.ie both the music of Eastern Europe and the sounds of 212-242-3000 Latin America explored on this recording. Huebner,

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their popularity in the ‘60s and composed attractive Lovell-Smith’s tone can be unexpectedly clarinet- melodies lending themselves easily to jazz expression. like while that of Sinton can be surprisingly string-like. Espinosa offers a bilingual vocal tribute. Singer Their distinctive blend defines the deeply emotional Tierney Sutton is in fine form on introspective “Swan Song”; clarinet and saxophone build tension performances of five Bacharach favorites, “The Look of until the quintet crumbles and then finds each other Love”, “Alfie”, “Raindrops Keep Falling on My Head”, again for a pared-down version of the tune’s motif. “What the World Needs Now” and “(They Long to Be) Album closer “Song for May” has Lovell-Smith at her Close to You”, while Espinosa sings in Spanish on five most vocal as she speaks directly to the song’s muse. of Manzanero’s boleros, “Esta Tarde Vi Llover”, Yellow Red Blue is much more than a statement of

The Evolution Suite “Cuando Estoy Contigo”, “Adoro”, “Como Yo Te Amé” primary color, with Lovell-Smith at her best when she Richard Sussman (ZOHO) and “Somos Novios”. In Bill Milkowski’s informative paints with the full tonal palette. by Laurel Gross liner notes, Espinosa tells the veteran jazz critic that he does not consider himself to be a vocalist on Sutton’s For more information, visit jasminelovellsmith.bandcamp.com. Richard Sussman’s The Evolution Suite (for jazz quintet, level. Nonetheless, Espinosa is a likable singer who This project is at Korzo Nov. 8th. See Calendar. string quartet and electronics) is an immensely pleasing brings out the warmth in Manzanero’s melodies. and effective genre-crossing work, leaping beyond the A Latin mood prevails throughout this album with labels of jazz, classical and other. Recorded live at New an AfroCuban vibe on “Esta Tarde Vi Llover”, “Cuando York’s Symphony Space, it seamlessly incorporates Estoy Contigo” and “Adoro” while more bossa nova- elements of surprising electronics that never seem ish on “The Look of Love”, “Somos Novios”, “What anything but essential to the whole. The old arguments the World Needs Now” and “Raindrops Keep Falling about “what is jazz?” don’t matter here because on My Head”. The soloists that Espinosa features, Sussman is eminently capable in his bold but nuanced including trumpeter Jim Seeley and lyrical, Toots explorations, succeeding in erasing those distinctions. Thielemans-influenced player Hendrik Enlisted for this endeavor is a terrific group of Meurkens, all do their part to maintain the Latin jazz collaborators, each meriting high praise: Scott ambiance. Wendholt (trumpet and ), Rich Perry (tenor Songs of Bacharach and Manzanero is a thoughtful saxophone), (acoustic and electric album that manages to find the parallels between basses), Anthony Pinciotti (drums) and the Sirius Bacharach and Manzanero and should easily appeal to Quartet: violinists Gregor Huebner and Fung Chern admirers of Latin-flavored . Hwei, violist Ron Lawrence and cellist Jeremy Harman, plus guest Zach Brock on electric violin. For more information, visit zohomusic.com. Tierney Sutton What Sussman has created is no patchwork quilt is at Birdland Nov. 8th-12th. See Calendar. of sound but a cohesive work displaying his mastery of composition and knowledge of real-time, free-feeling improvisation. Unfolding in seven movements with creatively tasty if enigmatic titles like “Into the Cosmic Kitchen” (Movement I), “Relaxin’ at Olympus” (II) and “Prevolution” (VII), its running time of more than an hour is filled with diverse rhythms and themes, splendid dynamics and also very beautiful moments, often supplied by Sussman himself on piano. Invention is evident throughout. Aptly named “Nexus” (III) ties together themes of Movements I and Yellow Red Blue II, building up to a palpable excitement and injecting Jasmine Lovell-Smith’s Towering Poppies (Paintbox) a fascinating electronic element with what sounds like by Elliott Simon some kind of liquid pouring over the other musical voices. The effect of this, wafting through the pulsating The title track on Yellow Red Blue, from soprano punctuation of violins and backed by a spectacular saxophonist Jasmine Lovell-Smith’s Towering Poppies, rhythm section, is thrilling. begins with a plaintive duet between pianist Cat Toren and cellist Jesús Gutiérrez. A lovely melody then For more information, visit zohomusic.com. This project is develops, opening the door to a surprisingly vibrant at Greenwich House Music School Nov. 6th. See Calendar. experience as elegantly combines November 8th with the Cuarteto la Matraca string quartet. Such

superb composing and arranging are present Santi Debriano Group throughout the session. Strings appear on two additional cuts: “Familia”, a warmly engaging paean to family life boasting pizzicato percussion with November 15th counterpoint between saxophone and Josh Sinton’s bass clarinet, and the gritty, broadly rhythmic excursion Steve Johns and “Moving Mountains”. Native Soul Lovell-Smith’s saxophone is sweet, never brash and blends well with Sinton’s clarinet. Session opener “The Pillow Book” is a Japanese-informed tune Songs of Bacharach and Manzanero (with Tierney Sutton) showcasing the band’s sound with a nod to Coltrane November 29th Gabriel Espinosa (ZOHO) by Alex Henderson spirituality. Parallel harmonies give way to solos Antoinette Montague before the melody returns. As the track ends, clarinet Gabriel Espinosa is not the first jazz musician who and saxophone dovetail with engaging and rewarding and Group has paid tribute to but is the first counterpoint. Lovell-Smith’s rounded tone, Sinton’s musician—jazz or otherwise—who has made a jazz chops, Kate Gentile’s graceful drums, Adam combined tribute to Bacharach and Mexican composer Hopkins’ emotive bass and Toren’s clarity of touch Armando Manzanero, whose respective songbooks define the quintet’s voice, which is capable of New York Baha’i Center prove to be an appealing combination. wonderful shading. The intentionally mistitled 53 E. 11th Street Bacharach and Manzanero, now in their 80s, have “Wonter Winderland” uses a sprightly feel, staccato (between University Place and Broadway) operated in different areas of popular music. The piano runs and striking saxophone/clarinet Shows: 8:00 & 9:30 PM former’s songs are closely identified with artists like combinations and contrasts to engender a festive mood Gen Adm: $15 Students $10 Dionne Warwick, and Dusty Springfield while ’s pensive ode to breaking up, 212-222-5159 while the latter is known for boleros catering to the “I Had a King”, is reimagined to find the jazz that was bahainyc.org/nyc-bahai-center/jazz-night Spanish-language market. Both were at the height of always there.

18 NOVEMBER 2016 | THE NEW YORK CITY JAZZ RECORD

BACK BY POPULAR DEMAND VOCALIST

An Open Letter To Thelonious (Platinum Edition) JOAN An 80th Birthday Celebration! Out & About Ellis Marsalis ( Entertainment) Will Bernard (Posi-Tone) by Terrell Holmes by Tom Greenland BELGRAVE t’s either ironic or fitting that an elder statesman of WIDOW Of JAzz LEGEND MARCUS BELGRAVE I BRINGS hER SOULfUL Originally from the Bay Area, Will Bernard is one of jazz should help move it into the 21st century. Such is SWINGIN JAzz STYLE TO NY! those journeyman guitarists who can play in a lot of the case for renowned pianist, educator and NEA Jazz different bags, particularly straightahead jazz and Master Ellis Marsalis. As part of an extended WITh groove-oriented genres such as funk, reggae and celebration of his 80th birthday, which was in 2014, TK BLUE (ALTO) various “world beat” styles. Known for his work with two of his albums have been rereleased in formats GREG GLASSMAN (TRUMPET) Peter Apfelbaum’s Hieroglyphics Ensemble, Charlie embracing the classic and the contemporary. ShARP RADWAY (PIANO) ENDEA OWENS (BASS), Hunter’s T.J. Kirk quartet, New Orleans drummer iTunes has issued its first traditional jazz release SANAh KADOURA (DRUMS) Stanton Moore and participation on Don Cherry’s in the digital iTunes LP format, An Open Letter to Multikulti album, Bernard has also released eight Thelonious (Platinum Edition). This album, originally albums as a leader, most recently Out & About, his released on Marsalis’ Elm Records in 2011, has been SUNDAY, NOVEMBER 6Th - 7 PM second disc for Posi-Tone. enhanced with alternate takes, videos, photographs fRIDAY, DECEMBER 9Th - 9:30 PM Like the previous release, this one features tenor and audio liner notes. saxophonist John Ellis and organ player Brian Charette, Marsalis and his quartet took an elemental ***METROPOLITAN ROOM*** but adds bassist Ben Allison and switches in drummer approach, combining Monk standards with some lesser 34 W. 22ND STREET Allison Miller. There is an ironic tension in Bernard’s known tunes and remaining generally faithful to the TICKETS: 212-206-0440 music, a love for repetitive riffs, crucial to all dance originals. The goal seems to have been not to improve METROPOLITANROOM.COM music, contrasted with the restless need to change it on Monk with cleverness but simply play his music up, to improvise. So there is sameness and difference well. And by that measure, the album succeeds. This “BELGRAVE’S VOICE IS SO SOOThING here: a willingness to hunker down over a groove isn’t surprising, given the fortitude of Monk’s AND SExY, ShE COULD GIVE A along with a penchant for ‘taking it out’. songbook and Marsalis’ talented quartet, with his PIT BULL GOOSE BUMPS” - DETROIT METRO TIMES Bernard’s songwriting is terse and economical, youngest son Jason on drums, saxophonist Derek based on simple ideas with unusual twists. The quintet Douget and bassist Jason Stewart. “VERSATILE JAzz VOCALIST sound is lean and clean, something like the classic New The quartet deftly navigates the familiar and JOAN BELGRAVE KNOWS hER WAY Orleans Meters but with a more cosmic sensibility. It challenging harmonies of “Crepuscule with Nellie”, AROUND A LOT STYLES, AND ShE’S also recalls the music of Frank Zappa in the sense that “Straight No Chaser”, “Ruby My Dear”, “Rhythm-A- A LIVELY ENTERTAINER TO BOOT” it assembles roots styles together in uncanny pastiches, Ning” and “Evidence”. The arrangement of “Monk’s - MARK STRYKER DETROIT fREE PRESS as on “Habenera” [sic], where the Carmen-inspired Mood” has a subtle Latin feeling and there’s a striking motif morphs through shimmering Hawaiian-like passage on “Epistrophy” involving the “(ShE) REAChES fOR UPPER slides to a sort of sci-fi reggae, complete with muted Marsalises recalling a similar moment on Dave OCTAVE LEVELS WITh hER skanking and a “bubble” keyboard part. Brubeck’s “Take Five”. Among the lesser known works fLExIBLE VOICE ThAT RECALLS GREATS MAhALIA JACKSON, DINAh Bernard has a beautiful way with chord melodies, are the playful military march of “Jackie-ing”, where WAShINGTON, AND ETTA JONES” heard to great effect on “Pan Seared” and especially the quartet folds into Monk’s angularity; - hOT hOUSE “Not Too Fancy”, a duet with Allison, which, though reflective and lovely “Light Blue” in the style of subdued, is one of the album’s high points. He is also “Pannonica”; and “Teo”, another fine example of a versatile, highly interactive accompanist, coaxing Monk’s penchant for stop-time swinging. The track JOANBELGRAVE.COM a range of tones from his wah-wah pedal or exchanging that defines this album, though, is Marsalis’ solo piano ideas with Ellis. Although he’s not a hit-you-over-the- version of “‘Round Midnight”, a spare, heartfelt head guitarist, Bernard’s playing nonetheless exerts a statement bringing out the richness of Monk’s music, relaxed, spontaneous charm that leaves a unique and an elegant expression of the talent that has made both lasting impression. Marsalis and Monk such revered and enduring figures. In 2014 Marsalis took his quartet to Dizzy’s Club For more information, visit posi-tone.com. Bernard is at and the set was recorded as An 80th Birthday Celebration! Smalls Nov. 10th. It’s now being rereleased as a limited edition vinyl double album whose music and spirit embodies Marsalis’ pride at being a native son of New Orleans and its musical tradition. Douget and Stewart join him Luke Hendon here with Herlin Riley on drums. A blistering version of “Teo” gets it started, with Douget’s circular riffs on with tenor recalling Coltrane and “Like Sonny”. But Zach Brock Marsalis tips his hat to other jazz greats besides Monk. Josh Kaye The arrangement of Duke Ellington’s “Creole Love Ben Rubens Call” emphasizes the stride piano style and Douget’s soprano echoes the song’s willowy vocals. The band grooves hard on Herbie Hancock’s hardbop blueprint “Dolphin Dance” (Marsalis manages to embroider some Monk-like chords into the fabric) and swings like madmen on Charlie Parker’s “Bloomdido”. The album ends with a joyful and raucous rendition of “Happy Birthday—” in full Dixieland mode for this ever-youthful octogenarian. Given his consistently excellent playing and vivacity, Ellis Marsalis sounds like 80 years is only the beginning. The Culture Center - Nov. 12th, 7 p.m. www.LukeHendonMusic.com/Events For more information, visit nujazzentertainment.com. Marsalis is at Dizzy’s Club Nov. 10th-13th. See Calendar.

THE NEW YORK CITY JAZZ RECORD | NOVEMBER 2016 19

swing. Drawing from a similar instrumental palette to related to the Manouche. The style is the same— that of —acoustic , bass, violin—with virtuoso guitar and/or violin lead and solos played the additional spice of a reed player (clarinet, against a strong background of rhythm guitars and saxophone) and concentrating on a program of mostly bass. Both Dorado and Amati possess remarkable skill, original songs, Hendon does the tradition proud. He able to execute dazzling, breakneck-speed runs plays in a picked, crisp, clean, very articulate style; one interspersed with melodic statements (with no can almost see the vibrations of his strings in the information on the CD as to which Schmitt is soloing, mind’s eye. He evokes Reinhardt’s sparkle without it is hard to tell which one is which). overtly trying to emulate him—in fact, there is a strong As a composer, Dorado’s melodies are lyrical and

Wrong is Right influence of American folk music picking to be airy. “For Francko” is a minor key ballad and “Ballade Omri Ziegele Noisy Minority discerned. Romanez” is also slow. “Waltz For Esben”—where (featuring Anderson) (Intakt) Opener “Dinner with Paulus” is virtually the Dorado performs just as skillfully on violin—is an by Ken Waxman definition of elegance, with its rich, sultry, romantic, interesting piece with a tempo change from waltz to slightly tango- and waltz-flavored theme and 4/4 and a lovely flow of melody. Alto saxophonist Omri Ziegele, electric bassist Jan immaculately picked guitar and sinuous, pensive The standards are mostly recognizable: Art Schlegel and drummer Dieter Ulrich rarely record as violin swirling in unison. It’s easy to imagine couples Hickman-Harry Williams’ “Rose Room”; a swinging Noisy Minority, although the trio has been together dancing to this in a Parisian club (in the ‘20s or even rendition of Edgar Sampson’s “Stompin’ At The since 1995. The Swiss-Israeli reed player and Swiss recently) into the wee hours. “Nothin’ But A Groove” Savoy”; a humorous version of Turner Layton-Henry rhythm team confound expectations on Wrong is Right is just the opposite, a hard-driving swinger featuring Creamer’s “After You’ve Gone” filled with musical by welcoming American trombonist . such forcefully strummed rhythm guitar you won’t quotes; Walter Donaldson-George A. Whiting’s “My Unlike the proverbial third wheel, the voluble brass notice Hendon’s band has no drummer. It’s got Blue Heaven”; and a Latin-esque version of Morgan player’s contributions are like adding a fourth wheel a jumping “Stompin’ At the Savoy”-like theme (with Lewis-Nancy Hamilton’s “How High The Moon”. to a European mini car. Connected as if he was part of an odd, -style twist to it) and the There is also an interesting song called “Gloria the chassis from the beginning, Anderson helps create frontline is joined by the jaunty saxophone of Adrian Forever” by Mayo Herbert given a bossa nova feel, a smooth ride without negating Noisy Minority’s Cunningham. The latter’s solo brims over with gutsy bringing into the next century. sports car-like freedom. swagger and a slightly acidic tone, sneaking in a few Recorded in February 2015 in Fredericia, Denmark Case in point is “Tolck”, whose throbbing narrative bebop licks and hints of Ornette Coleman-esque after a concert and after the audience had gone home, boomerangs from an exploration of the trombone’s dissonance too. It’s invigorating to both the probing this album (according to the liner notes) presents the husky bottom timbres intercut with high-pitched listener and the sophisticated dancer. artistry of these virtuoso players making music mocking saxophone lines to a relaxed interface “Too Much Tequila” introduces a strong blues without any digital technology—the same way they arbitrated by bass sputters, which snaps back into influence in both the lanky, laconic melody and the would at parties, weddings and other celebrations. energy-music-like cadences by the finale. Schlegel’s sustained, worried tone of Hendon’s solos. Pooquette’s Consider the goal achieved. stinging parts are as solid as James Jamerson’s were for dark-toned violin solo is rich as anything by Sugarcane Motown, aptly demonstrated on the title tune. He’s Harris or . “Paquito” is a slice of Latin- For more information, visit sundance.dk. The Schmitts are able to rein in enough though so that Anderson can hinted bebop, Hendon inserting Wes Montgomery- at Birdland Nov. 15th-20th as part of the Django Reinhardt slip in clenched throat growls before the swinging line style phrasings, albeit in a very forceful manner; the NY Festival. See Calendar. resumes. The quartet also handles a modified West bouncy rhythm of the tune, however, is very much in Coast jazz-like march (“Finally Your Own Voice”) and that heavily (almost leadenly) strummed acoustic a high-energy boppish refrain (“Late Cats’ Rushing guitar style of Reinhardt’s quintet. Hour”) with the same dexterity, each benefitting from When some hepcats go the Django route, they’re Ulrich’s wriggling off-center accents. Like a ‘50s beret- too literal or polite. Hendon’s take on the style is to wearing hipster’s finger snaps, Anderson’s dyspeptic inject some very modern energy along with judiciously near-vocal intermezzos are perfect accompaniment to placed non-jazz undertones. That’s the crucial Ziegele’s pseudo-beatnik poetry reading on “Where difference between maintaining and enriching a legacy. I’m Going To”. When Anderson’s buzzing plunger leaps coincide with the saxophonist’s sharp reed bites For more information, visit lukehendonmusic.com. This without words, the tune reaches a gutty climax, project is at The Culture Center Nov. 12th. See Calendar. extended with a crying coda on the following track.

“Decimal System” is the most characteristic instance of the quartet’s concrete cooperation. A stop- time exposition where the musicians creep along like cape-wearing cartoon villains, the sonic journey is characterized by regular road-marker-like pops from Ulrich and sluicing flutter tones from both horns, with Anderson digging beneath the asphalt for subterranean timbres and Ziegele motoring along to maintain the groove. Neither too noisy or much of a minority where jazz is concerned, this quartet and CD actually have Sinti du Monde majority appeal. Dorado & Amati Schmitt (Stunt) by Marcia Hillman For more information, visit intaktrec.ch. Ray Anderson is at The Stone Nov. 12th. See Calendar. This current release by guitarists Dorado and Amati Schmitt is a prime example of Gypsy jazz. The French

father (Dorado) and son (Amati) team are carrying on the tradition, which has become a family business (Dorado’s cousin Tchavolo Schmitt is also a Gypsy jazz guitarist as are his other sons Samson and Bronson). They are joined here by bandmates Xavier Nicq (bass) and Franco Rehstein and Esben Strandvig (rhythm guitar) in a collection of standard songs from the ‘30s and three originals by Dorado. Gypsy jazz (also known as Jazz Manouche after the French Romani people) was a style started and Silk & Steel popularized by the legendary guitarist Django Luke Hendon (s/r) by Mark Keresman Reinhardt and violinist Stéphane Grappelli, primarily through the Quintette du Hot Club de France (active Luke Hendon is a NYC-area guitarist of the Django from the mid ‘30s to mid ‘40s). The Sinti people are Reinhardt school of Gypsy/Roma-infused small-group also Romanis from Central Europe and are closely

20 NOVEMBER 2016 | THE NEW YORK CITY JAZZ RECORD

release exudes this quality on multiple levels, resulting (he refused), Ella Fitzgerald did her best to swing in one of his most accessible albums without sacrificing “Can’t Buy Me Love” and guitarist Joe Pass recorded one iota of the uncompromising ferocity for which he a full album of tunes, a record not quite is known. Sedimental You features a hand-picked septet as bad as one would expect. The problem for the jazz of top-drawer improvisers: longtime associates musicians was that they had not grown up hearing that Michael Dessen (trombone), Jim Black (drums) and music and had no real feel for the pop of the era. (reeds) with newer connections Nicole But most of today’s jazz musicians did grow up Mitchell (flute), White (piano) and 21-year-old hearing pop and rock early in their lives, so a CD such violin prodigy David Morales Boroff. as Eight Track II is not a lame attempt to make money

#knowingishalfthebattle This might be the general public’s first exposure to off of others’ hits but is instead a sort of roots revival. Orrin Evans ( Sessions) Boroff and White, but it is unlikely to be the last. The Guitarist Dave Stryker leads an organ quartet, by Philip Freeman latter, especially, has been amazing audiences lately as substituting Steve Nelson’s vibraphone for the usual a member of Rudresh Mahanthappa’s Bird Calls tenor saxophone, on songs by The Isley Brothers, Pianist Orrin Evans pumps out albums at a furious quintet and Sedimental You serves him well as a calling Marvin Gaye, John Barry, , , The clip, at least one and sometimes two a year. But he card into the international scene. Temptations, The Zombies, James Ingram and Cream; justifies his output by making sure that each is unique, Opener “Hobby Lobby Horse” lurches forward on most of the tunes date from the ‘70s, gracefully turned both in terms of personnel and approach to the staggered beats of 13 and 15, offering brief glimpses of into . material. His third release for the Smoke Sessions label each musician before setting into a series of vignettes Stryker, Nelson, organ player Jared Gold and in as many years features him on piano and Fender challenging all soloists to navigate metric modulation drummer McClenty Hunter display affection for the Rhodes, Luques Curtis (on 2010’s Faith in Action and and ‘surprise’ interruptions. Everyone employs pop melodies while finding ways to swing the music. 2014’s Liberation Blues) on bass and Mark Whitfield, Jr. extended techniques on the title track, which abstracts To give a few examples: “Trouble Man” is taken as on drums. They’re accompanied by an array of guests, the ‘30s standard “I’m Getting Sentimental Over You”, a menacing strut; “I Can’t Get Next To You” is played including saxophonist/flutist Caleb Curtis, guitarists especially White, who attacks each opportunity, and as a funky vamp; “What’s Going On” becomes a tender Kurt Rosenwinkel and (mostly heard the leader, whose shapeshifting solo includes two- ballad; and “Sunshine Of Your Love” is given the most separately, though they play together on “Heavy handed tapping and hammered bi-tones. swinging treatment it has ever received. Stryker in this Hangs the Head That Wears the Crown”) and vocalist All hell breaks loose on “TrumpenPutinStoopin”, setting hints at Wes Montgomery while Gold recalls M’Balia Singley, who sings David Bowie’s “Kooks” where Dessen’s cartoonish intro ignites serious sparks in his ‘70s recordings. Hunter keeps and the Alan Brandt-Bob Haymes standard “That’s in the form of brutal clusters from White and Black the music grooving while Nelson gives the ensembles All”. (Evans produced and played on Singley’s debut and, amid the swirling individual voices, a hair-raising a slightly offbeat sound. Halfway There.) The pianist’s teenage son remixes his novella from Morales Boroff, who demonstrates an It all works rather well, making Eight Track II father on minute-long intro and outro tracks. uncanny affinity for dissonance. easily recommended to those who enjoy soul jazz The core trio is in fierce form. Whitfield’s But it is Dresser’s keen sense of balance that makes organ groups and are curious as to how Dave Stryker drumming is a model of precise aggression and Curtis Sedimental You such an invigorating disc. All of the and his group treat these vintage songs. matches his energy level at all times; the two are a multiple time signatures and braying cacophony are superb team. Evans himself is a difficult player to put even more memorable because they blend with such For more information, visit davestryker.com. This project is a finger on, because his keyboard mastery spans organic collusion with incredible stretches of at Smalls Nov. 23rd. See Calendar. multiple idioms, permitting him to fit seamlessly into breathtaking melody, such as the unbearably intimate any group. He never relies on stock phrases or a style pairing of alto flute with reeds on “Will Well”, which so overbearing others need reshape themselves around also leans heavily on a stunning violin contribution. him. He serves the music at all times. That said, this is Provocatively titled “I Can Smell You Listening” is one of his more extroverted discs as a player. Perhaps a winding, layered theme inspiring a series of profound the presence of guitar brings this out of him. moments from Mitchell, Ehrlich and White before And speaking of the guitarists: their musical Dresser ties it all together to take the tune out. Ehrlich personalities couldn’t be more different. Eubanks tears begins “Newtown Char” alone, with a gorgeous bass it up, refusing to yield any ground to Evans or the rest clarinet soliloquy, opening the door for a round-robin of the band on a stinging “You Don’t Need a License to series of solos from all of the principals, concluding Drive”. Rosenwinkel is mellower and disturbingly with a beautifully delicate, undulating cadenza from fond of a particular pedal that makes his guitar sound the composer, who dedicated the piece to the victims like an EWI (Electronic ). He deploys of the shooting massacres in Newtown, Connecticut it most egregiously on “Chiara” and “Heavy…”, and Charleston, South Carolina. Sedimental You closes emitting whistling, MIDI-like solos recalling players with the shortest tune of the session, another gorgeous still holding on to fusion deep into the ’80s. dedication, this one to the late San Diego saxophone Curtis is a slightly squeaky but generally clean master Daniel Jackson: “Two Handfuls of Peace”. alto player who does fine on three tracks without ever It all comes back to balance. Serious, challenging really achieving memorability. (On “Zeni Bea”, he music doesn’t need to be strident or constrictive and in plays flute and the electronics that dominate the track the hands of a master like , emotion and bury him somewhat.) And while jazz vocals can be intellect are not diametrically opposed. something merely endured, Singley’s idiosyncratic enunciation renders her two contributions intriguing. For more information, visit cleanfeed-records.com. Dresser is at Miller Theatre Nov. 17th with . See Calendar. For more information, visit smokesessionsrecords.com. This project is at Jazz Standard Nov. 17th-20th. See Calendar.

Eight Track II Dave Stryker (Strikezone) Sedimental You by Mark Dresser Seven (Clean Feed) by Robert Bush Back in the mid ‘60s when rock started to become a lucrative business, many of the record labels pressured Balance. It’s often the key to great music as well as the some of their jazz artists to record pop tunes of the day. secret to happy living. Bassist Mark Dresser’s new While we were spared Monk recording Beatles songs

22 NOVEMBER 2016 | THE NEW YORK CITY JAZZ RECORD and cries as he stretches out, Coltrane-style, on his own compositions such as “Big Ben” and “Bird’s Eye View”. Mostly, though, you get to hear four musicians who are completely at ease together. If Classic! Live at Newport captures Lovano in relatively steady form, The Mezzo Sax Encounter, his new record with the Danish saxophonist Benjamin Koppel, adds a bit of unpredictability. Another live Classic! Live at Newport recording, this time from 2015, it features Lovano and Joe Lovano Quartet (Blue Note) The Mezzo Sax Encounter Koppel on the mezzo-soprano saxophone, tuned in G Benjamin Koppel/Joe Lovano (Cowbell-ArtistShare) and invented in 2007 by a Danish woodwind tinkerer OLDEST C ONTINUOUSLY R UNNING J AZZ C LUB by Matthew Kassel named Peter Jessen. Sounding like a cross between the alto and soprano, the mezzo-soprano saxophone suits IN THE C OUNTRY Live albums from the carry their Lovano’s more fluttery soloistic impulses, giving his NOVEMBER SCHEDULE own special aura, gravitas and tradition. Louis phrases a smoother quality than on tenor. Still, the

Armstrong, Count Basie, Duke Ellington and Ella band—Kenny Werner (piano), Scott Colley (bass) and EVERY THURSDAY JAZZ JAM – NO COVER Fitzgerald produced some of their most memorable Johnathan Blake (drums)—manages to shake things up: 11/4 – The Deer Head Quartet performances on the those hallowed grounds. Tenor “Disgrace to Brooklyn”, for instance, is ragged and 11/5 – Katie Thiroux Quartet saxophonist Joe Lovano makes a valuable contribution wild; “Go There and Roam” sounds almost ancient; and 11/6 – Dave Lantz III Quartet to the canon with Classic! Live at Newport, a compendium “The Unanswered Question” is tense and mysterious. 11/11 – Co-­‐op Bop of straightahead tunes emanating a loose, casual energy. Recorded in 2005, the session features Lovano’s For more information, visit bluenote.com and .com. 11/12 – Warren Vache Trio working quartet (at the time anyway) of reliable bassist Lovano is at Birdland Nov. 22nd-27th. See Calendar. 11/13 – Bill Crow & Bill Goodwin Zoot Fest , hard-driving drummer Lewis Nash and 2016 the great Hank Jones on piano. The latter’s presence is 11/18 – La Tanya Hall & Andy Milne bittersweet. He died in 2010 and the album is dedicated 11/19 – Carrie Jackson & Her Jazzin’ All Stars to him (along with Bruce Lundvall, the former president of Blue Note, who died last year). 11/20 – Ron Bogart Quartet According to the liner notes, the quartet was 11/25 – Go Trio with Viktorija Gecyte coming off a three-week European tour when it arrived 11/26 – Vic Juris with special guest Kate Baker in Newport, primed to put on a good show. You can 11/27 – Billy Test & Jay Rattman hear how sensitive the musicians are to one another’s playing, particularly Jones and Nash, whose close 11/28 – Delaware Water Gap Jazz Orchestra – 18 chemistry somewhat recalls that of Ahmad Jamal and piece ensemble of -­‐ COTA All Stars The Beast drummer Vernel Fournier. Recorded with aplomb, you Jerome Jennings (Iola) get a textured look at Lovano’s glottal smears, growls by Andrey Henkin JAZZ P ACKAGES A VAILABLE In an era of anodyne jazz album titles, there is a — includes music, lodging, , dinner breakfast charming machismo to calling your record—and debut as a leader, no less—The Beast. The title track has a story behind it but, as a title, shows that drummer Jerome Jennings doesn’t lack for pluck. You can hear that in his Serving breakfast & lunch at T HE M ORNING C URE drumming: ’s pile-driving swing married to on Saturdays and Sundays ’s octopus limbs. It shows in his choice of bandmates: Sean Jones (trumpet, flugelhorn), Howard DEER H EAD I NN • 5 MAIN S TREET • DELAWARE W ATER Wiley (tenor saxophone), Dion Tucker (trombone) Christian Sands (piano) and, alongside Jennings in the GAP • PA • 18327 • 570-­‐424-­‐2000 rhythm section, bassist Christian McBride (recalling WWW.DEERHEADINN.COM those ‘90s Vikings when a young Randy Moss lined up with the veteran Chris Carter). And it is confirmed with his choice of material: classics by and Freddie Hubbard, a breezy reworking of a New Edition tune, several fine originals and a slightly morbid take on Don Raye-Gene De Paul’s “You Don’t Know What Love Is” featuring vocalist Jazzmeia Horn. Hubbard’s “The Core” is, well, the core of the album, coming in the center and topping ten minutes. This anthemic tune from Blakey’s Jazz Messengers classic Free For All (Blue Note, 1964) is both the best showcase for and template of Jennings’ band. The leader’s intelligence is heard with the second and third tunes: New Edition’s “Cool It Now” wins the 2016 “LIVE AT D THE EER H EAD I NN” RECORDINGS award for most unlikely jazz cover while the original “Ice Cream Dreams” begins with the sound of children • Quintet as a cheeky lead-in to an appropriation of the Mister Five Play Softee theme. The album closes strongly with three • originals: gentle ballad “Cammy’s Smile”, wafting in • Nancy Reed & John Coates, Jr. on Sands’ unaccompanied musings (Sands and Jennings • Guitar Trio: , Ed Laub, are two-thirds of McBride’s trio); the aforementioned Walt Bibinger title track, written with unfortunate topicality about an encounter with police and ferocious hardbop with • Quartet: Joe Locke, Bill Goodwin, Jim Tucker even approximating a siren’s wail; and elegiac- Ridl, Tony Marino yet-hopeful “New Beginnings”, which has a delicate “Sweet” Sue Terry & Friends soul-jazz strut and includes a portion of Jesse Williams’ • lauded 2016 BET Awards speech. • Clarice Assad & Friends WWW.DEERHEADRECORDS.COM For more information, visit jeromejennings.com. This project is at Dizzy’s Club Nov. 22nd. See Calendar.

THE NEW YORK CITY JAZZ RECORD | NOVEMBER 2016 23

performance. Klucevsek opened with a pair of Paul Simon’s “American Tune” is the only song melancholy accordion solos before introducing the Toussaint sings and would seem out of place next to exceptional Todd Reynolds for a bit of a polka and the rest of the set, but the two had collaborated before a mournful lament for accordion and violin, followed and were supposed to perform together at a December by “Hymnopedie No. 2”, dedicated to Erik Satie and 2015 concert celebration for the 30th anniversary of one of the high points of the night. Pianist Phillip Bush New Orleans Artists Against Hunger and played a couple of solo pieces—including the knotty Homelessness, an organization that was co-founded by “Haywire Rag (A Waltz)” which, written in 5/4 time, Toussaint. is neither quite rag nor waltz—and then a duet with While this set is made up of classic American

Day Breaks Klucevsek before the first ensemble piece, the tunes, this music has never been heard like this. Norah Jones (Blue Note) hauntingly beautiful “Fallen Shadows” (a song about Everything is rearranged and reimagined—nostalgic by Andrew Vélez a home for retired opera singers), delivered beautifully and sometimes pensive, other times jubilant. by Bush, Reynolds and soprano Kamala Sankaram. Nine of the songs on Day Breaks are penned by the The concert ended with something not on the CD, For more information, visit nonesuch.com nine-time Grammy-winning songstress Norah Jones, a striking composition Klucevsek wrote in 1999 for several co-written with either Sarah Oda or Pete a theater piece about Pennsylvania coal workers, Remm. Jones is surrounded by first-rank jazz players providing an opportunity for all four to play. with whom she weaves her unique blend of country, The accordion is an instrument capable of folk, rock, soul, jazz and gospel. expressing great emotion and Klucevsek doesn’t shy The opener is “Burn”, on which the undulating away from sentimentality. On the CD, he places glee beat of John Patitucci’s acoustic bass and Jones’ and lament alongside one another in “Bob Flath straightahead piano are soon joined by the gentle Waltzes With the Angels” and then angles straight into eloquence of Wayne Shorter’s soprano saxophone. The the circus parade of “Little Big Top”. But much of the melancholy lyrics are rendered in a hushed voice time the mood is somber, the upbeat moments laced reminiscent of Nina Simone, whom Jones has with reminiscence. With a career spanning 45 years, acknowledged as one of her influences. For contrast Klucevsek has seen artists and patrons come and leave there is “Flipside”, a rocking and shouting declaration just as public tastes have swayed in the breeze. In of independence. Dr. Lonnie Smith’s Hammond B3 looking back, however, he has crafted a collection of organ provides some haunting backup, with Jones and tunes that feel timeless. drummer building the beat to a powerhouse climax. Another beauty is “And Then There Was You”; For more information, visit starkland.com Chris Thomas’ acoustic bass and Kate Kresek and Max

Moston on shimmering violins, together with Jones’ ever-so-gentle vocalizing, make for an eloquent statement of love tossed away. A treat from the ‘70s is Neil Young’s “Don’t Be Denied” on which Jones adds and Peter Ericson Stakee, Sara Oda, Sasha Dobson and Catherine Popper form a soaring chorus. While on much of this set Jones sings softly, here she demonstrates a rousing anthem-like sound. And then she can also be just plain fun when she knocks out “Once I Had a Laugh” in American Tunes a hand-on-hip honkytonk style. This set closes with the (Nonesuch) Ellington gem “Fleurette Africaine”, Jones humming by Anders Griffen along with her piano and the wail of Shorter’s soprano saxophone, together cooking some simmering blues. American Tunes by Allen Toussaint, who died one year ago on Nov. 10th, was released posthumously this past For more information, visit bluenote.com. This project is at June. Solo piano was recorded at Toussaint’s home in Beacon Theatre Nov. 29th. See Calendar. 2013 and group sessions in Los Angeles in October 2015, just a month before his death. Most of his career

was focused on R&B, but this and 2009’s The Bright Mississippi (also produced by ), focuses on jazz, but with very personal and reflective interpretations of classic material. This album sounds distinctly American and very much from New Orleans. Professor Longhair’s influence is often present here. A suite of modulations are inserted into his classic “Mardi Gras in New Orleans”; it is reharmonized and given a reflective, sentimental treatment. “Hey Little Girl”, a similar tune also attributed to ‘Fess, is played Teetering on the Verge of Normalcy (Starkland) a bit more straight, if slowed down, while inserted into by Kurt Gottschalk a short “Big Chief” are interludes that even take on a baroque flavor. The connection between and It was an unexpected confluence of good fortune that rock ’n’ roll piano is perceptible on Fats Waller’s resulted in Guy Klucevsek’s new CD of solo and small “Viper’s Drag”, and even with the brushes there’s group compositions being set for release on Sep. 30th, a punch to it. Charles Lloyd (tenor saxophone) and Bill the day before an already scheduled concert at Frisell (guitar) lend a dreamy and wistful air to “Lotus Spectrum and all the more so that some of the musicians Blossom”. Those qualities are normally attributed to on the disc were available once the decision was made “Southern Nights” (the title track of arguably the best to change the program and perform the CD in full. album under Toussaint’s own name), which is actually The concert was then, like the CD (of course), an more driving in this solo piano rendition. Besides the eclectic mix of upbeat tunes and more formal piano melody, “Waltz for Debby” is nothing like Bill compositions with a fair number of dedications in the Evans’ original, a kind of pop instrumental here. mix, including pieces for William Duckworth, Nino Strings arranged by Van Dyke Parks accompany the Rota, and a couple of kindred romantic “Danza”. ’ spectacular instrumentalists: accordion player Lars Hollmer and vocals integrate the classic singers while showcasing bandoneon player Astor Piazzolla. singular expression on Duke Ellington’s “Come The playlist, however, was shuffled for the live Sunday” and the 12/8 blues of “Rocks in My Bed”.

24 NOVEMBER 2016 | THE NEW YORK CITY JAZZ RECORD

“Emmanuel the Redeemer”; Peterson’s title tune, an insistent, slow, Monk-like piece with a penetrating Iyer solo; and also the leader’s “Queen Tiye”, which projects solo voices over a forceful, repeating pattern from the ensemble as the tempo decelerates. The band assumes a different personality when Thomas plays tenor, especially on the two tracks where Whitfield employs guitar effects. Thomas original “Who’s In Control” has saxophone and wah-wah guitar

Dream Deferred careening through an asymmetrical melody over Ralph Peterson Aggregate Prime (Onyx) clattering drums leavened by slower-paced bass and by George Kanzler piano. Peterson’s “Strongest Sword/Hottest Fire” finds Thomas intoning the melody over a stuttering, lurching Aggregate Prime is a bit of a departure for drummer beat and soloing over wah-wah guitar obbligati and Ralph Peterson. Many of his previous groups—quartets off-kilter rhythms before Iyer contributes a spiky solo. or usually called Fo’tets—featured tonally Each track develops in an idiosyncratic way, as unusual frontlines, with such instruments as vibraphone Aggregate Prime refuses to conform to the head-solos- and clarinet, but not piano. This quintet is completed head format, showing myriad ways to change up the by piano, tenor saxophone or flute, guitar and bass. familiar ensemble formulas and keep things surprising. However, Peterson has fashioned a band with as unique a sound, anchored in his peripatetic yet urgently For more information, visit ralphpetersonmusic.com. This empathetic drumming. The voice of this quintet is the project is at Dizzy’s Club Nov. 4th-6th. See Calendar. result of the personal sounds of its members. Pianist

Vijay Iyer brings a brittle, sharp touch and jagged lines pervade his solos. Guitarist Mark Whitfield can blend with the others using a clean, polished tone or, as on two tracks, distort with wah wah effects. And Gary Thomas is heard almost as often on flute as on tenor, creating contrasting sonic worlds in the ensemble. ’s “Iron Man”, the only track not written by Aggregate Prime members, kicks off the album in a contrapuntally delivered theme and contesting tandem solos from flute, guitar and piano as each seems to battle Triology for supremacy over a skittering, brisk tempo from Dean Johnson (s/r) brushes and Kenny Davis’ bass. Flute is also part of the by Ken Dryden ensemble and solos on Whitfield’s swirling swinger Bassist Dean Johnson is well known for his work as a sideman. Arriving in New York in 1980, Johnson spent over a decade touring and recording with Gerry Mulligan and accompanied vocalists (, Kendra Shank and Carla White), in addition to concerts and recordings with , Bill Mays and Kenny Werner. Triology is his leader debut, where he gathered friends to make up four separate trios. While Johnson’s role is a bit more prominent in these trio settings, he makes sure that there is an interactive atmosphere for each band. The CD gets underway with pianist Jim Ridl and drummer Rogério Boccato in a lively samba treatment of the standard “I Wished On the Moon”, full of surprising twists. “Beija-Flor” is a lush samba penned by Brazilian composer Nelson Cavaquinho, which is infrequently heard in a jazz setting; the haunting melody inspires adventurous improvisations by pianist and bassist while constantly shifting percussion adds depth. The chemistry is especially strong in the revamped approach to Joe Henderson’s signature song “Black Narcissus”, highlighted by creative solos and inventive percussion. Johnson’s session with trumpeter Dave Ballou and drummer Matt Wilson also produced some gems, including an abstract, off-center exploration of Victor Young’s “Beautiful Love” and Ballou’s free-spirited “#5”. The meeting with pianist Art Lande and drummer Tony Moreno is a bit more straightahead, featuring a samba-fied “It Might As Well Be Spring” and gently swinging “Body and Soul” with conversational interplay between piano and bass, backed by nimble brushwork. Johnson and Moreno are joined by pianist Frank Kimbrough in the fourth trio. The engaging exploration of “For Heaven’s Sake” recalls the intuitive playing of Bill Evans’ trios. The group builds an elaborate disguise to Charlie Parker’s “”, waiting for the final chorus to reveal its theme.

For more information, visit deanjohnsonbassist.com. Johnson is at The Stone Nov. 10th, Jazz at Kitano Nov. 16th with Paul Jost and 55Bar Nov. 25th with Kendra Shank/John Stowell. See Calendar.

THE NEW YORK CITY JAZZ RECORD | NOVEMBER 2016 25

the history of jazz piano is also a history of the merger playing as three-in-one. Rodgers-Hart’s “My Romance” of jazz and specifically ‘classical’ elements, whether it is perfect in this setting as Capdevila and his cohorts is Tatum’s adventures in the repertoire (Chopin, find mystery and magic going from inward to Dvořák, Massenet), Powell’s variations (“Bud on expansive. Klampanis solos with a great sense of the Bach”) or Bill Evans’ importation of Eastern European melody and its possibilities. modernist harmony. Stabinsky continues what has Enchanting moments appear throughout—in the become a long line: he has touch, technique and syncopated rhythms of “Another Day”; beautifully harmonic breadth contributing to a genuinely personal relaxed swing of “Workshop”, which features electric synthesis, contrasting polyrhythmic and polytonal piano and some fine brush work; and very danceable

Monk Restrung complexities with intense single-note lines, spare, “Cabana Leo”, which, like much of this wonderful Freddie Bryant (s/r) moody harmonies and occasional punchy trebles. recording, celebrates both old and new worlds. by Joel Roberts Each piece is a probe into both the impulses of the moment and an extended investigation. The opening For more information, visit lluiscapdevila.com. This project Freddie Bryant has made a name for himself over the “...After It’s Over” floats between Scriabin and blues, is at Cleopatra’s Needle Nov. 18th. See Calendar. past two decades as a highly skilled and versatile individual phrases alternating consonant sunlight and guitarist who can play equally well in a variety of jazz dissonant knots at once emotional and harmonic; and non-jazz contexts: classical, AfroCaribbean, world the brief “31” and “For Reel” are very different music, you name it, often combining several genres at explosions, the former bright, the latter contrasting A Lennie Tristano Retrospective once, as he does with his international-flavored group spinning repetition with pointillism. The increasingly BY BILL STEVENS Kaleidoscope. spacious runs of “Viral Inflection” link the cutting- This new release finds Bryant in an unusually (for edge precision of Sonny Clark and that of early Cecil FEATURING him) straightahead setting, covering the music of Taylor, suggesting rare attention to the occult history NICK GREEN-ALTO SAX, . Recorded in 2005 and inexplicably of great jazz piano. “Gone Song” is a somber meditation BRADEN SMITH-TENOR unreleased until now, the album grew out of Bryant’s moving toward flickering light. In the lengthy “Not COREY LARSON-GUITAR, role in former Monk drummer ’s Monk Long Now / Long Now”, Stabinsky manages both BEN ROSENBLUM-PIANO, Legacy Septet and includes a dozen classic Monk titles, frequent shifts in density and continuously patterned along with a pair of Monk-inspired Bryant originals. development in a piece that at times suggest a kind of PAUL PRICER-BASS Most tracks feature the guitarist in a finely honed, high modernist, atonal stride, at others rumination. BRIAN WOODRUFF- hard-hitting bebop trio with bassist Greg Ryan and The final “Once, But Again” is a luminous, welling DRUMS drummer Willard Dyson. ballad. BROOKLYN CONSERVATORY OF MUSIC Bryant’s virtuosity is on display throughout, Stabinsky shows a continuous creative engagement 58 7TH AVENUE BROOKLYN, NY FRIDAY, NOVEMBER 18, 2016 whether romping through the fast-paced tropical notes with his materials, alive to the possibilities of sonority, 7:00PM of his own “Samba Para Monk” or digging into the inflection and the instrument’s fresh suggestions. Free $15.00 ADULTS deep blues of “Misterioso”. The trio is particularly For One is a remarkable debut. $10.00 STUDENTS & SENIORS successful at navigating the thorny lines of “Brilliant Corners”, one of Monk’s most difficult tunes. While For more information, visit hotcuprecords.com. This project the songs are familiar, Bryant, playing electric, nylon is at Roulette Nov. 15th. See Calendar. and 12-string guitars, finds fresh avenues to explore in

Monk’s quirky, often unpredictable compositions. Dorado Schmitt is considered a leading figure on the international gypsy jazz scene. He is a unique In addition to the trio selections, the album pairs musical ambassador, whose name fills gypsy jazz Bryant in duos with some of his esteemed guitar aficionados with enthusiasm. brethren. He’s matched with swing titan Howard Alden for an exquisite take on the ballad “Pannonica” STUCD 15162, Stunt Records/Sundance Music and with New York stalwart Peter Bernstein for an Dorado & Amati Schmitt equally gorgeous reading of “’Round Midnight” on Xavier Nikq, Francko Mehrstein, Esben Strandvig which Bryant shows off some of his impressive classical Tracklisting technique. joins Bryant for dazzling Rose Room / Stompin’ At The Savoy / For Francko Brazilian excursions on “Monk’s Mood” and “Just You, Diaspora Ballade Romanez / Gloria Forever / Waltz For Esben Just Me”. Lluis Capdevila (s/r) After You’ve Gone / Je Suis Seul Ce Soir / How High The Moon Though reaching the public more than a decade by Donald Elfman Hayo Cue Cae / My Blue Heaven late, Monk Restrung is sure to be welcomed as a treat by Monk fans and guitar fans alike. Pianist Lluis Capdevila moved to New York from his Even there you hear a strong technic and you can enjoy native Spain in 2007 and was inspired to create this his beautiful improvisations. Supremely Attractive. For more information, visit freddiebryant.com. This project new album based on what he felt about that transition Doctor Jazz Magazine is at Dizzy’s Club Nov. 28th. See Calendar. and what had become of his generation. The moods are LIVE AT BIRDLAND NOVEMBER 15 - 20 nostalgic and melancholy yet hopeful, sad yet also AIR FRANCE PRESENTS: THE DJANGO REINHARDT playful. It’s an absolutely lovely display of the glories NY FESTIVAL- DJANGO FESTIVAL ALLSTARS of a piano trio as Capdevila joins forces with bassist + SPECIAL GUESTS Petros Klampanis and drummer Luca Santaniello for a set of the pianist’s originals and a delightful version of a -Lorenz Hart gem. Gentle repeated chords introduce “Long Time No See”, a bittersweet hymn about the act of missing. Capdevila is a smart and sensitive composer and those qualities inform his playing as well. After the captivating theme, he takes a solo that both pushes Free For One Ron Stabinsky (Hot Cup) him forward into a new world but also continues to by Stuart Broomer celebrate the emotion inherent in the title and main theme. The tune is brought to its close with Capdevila Pianist Ron Stabinsky has been first an adjunct and playing those chords accompanied by some gently now a regular member of Moppa Elliott’s Mostly Other propulsive drum fills, then back to that main theme. People Do the Killing, in the process demonstrating Some of the same longing is back in “Leaving Spain”. the ability to simulate Jelly Roll Morton (Red Hot), The melodic line is smart modern jazz tinged by replicate Bill Evans and Wynton Kelly (Blue) as well as a touch of home. Klampanis plays the theme with cover a broad contemporary stylistic range (Mauch Capdevila on the second go-round and he and Chunk). Stabinsky’s debut as a leader, however, is Santaniello grace all that happens in the tune—another distinctly personal, a series of solo improvisations. intimate and intriguing solo by the pianist and then It’s in the nature of the instrument’s lineage that trio improvisation reminding us that these artists are

26 NOVEMBER 2016 | THE NEW YORK CITY JAZZ RECORD

‘70s. Those songs were previously recorded as frowns on flash serving as a safe sanctuary from stress instrumentals, but they work well here and demonstrate and strain. Blotnick’s ambient and harmonically astute that Charles is a singer to watch. approach combines with saxophonist ’s The album’s five instrumentals, meanwhile, range anthropomorphic sound to glide and drift within from the energetic “Baby Steps” (based on John heady environs created by bassist Scott Colberg and Coltrane’s “”) and contemplative “AKA drummer RJ Miller. But all is not as it seems. Reggie” to the Thelonious Monk-influenced The session is a travelogue of sorts. Squeaks and “Melodious Funk”. On the latter, Cables acknowledges squawks open the title track, which morphs into a Monk’s knack for quirky melodies and angular pianism leisurely voyage yet dissonance wonderfully haunts

The Songbook without obscuring his own musical personality while the band throughout. And despite the overall laid-back George Cables (HighNote) the reflective “AKA Reggie” has a melody that brings vibe there is tension and grounding. This is again by Alex Henderson to mind parts of The O’Jays’ 1975 soul classic “I Love largely due to Miller and Colberg’s sensitivity but also Music” (written by Kenny Gamble & Leon Huff). catchy melodies and ethnic rhythms, which, as on the George Cables, who turns 72 on Nov. 14th, is well Cables has many accomplishments in the jazz extended party piece “DX7”, explode and turn the known for his acoustic postbop pianism and the world and The George Cables Songbook paints an musings visceral. Blotnick’s touch is exquisitely heavyweights who have employed him, from Sonny attractive picture of his skills as a composer. delicate and he incorporates a variety of styles to Rollins, and to Bobby outline boundaries. Hutcherson and . But he is also a talented For more information, visit jazzdepot.com. Cables is at A stop in “Lunenburg” portrays a serene setting composer and that side of him is celebrated on this Village Vanguard Nov. 15th-20th. See Calendar. with a sweet melody and elegant harmonics featuring new release, the veteran accompanied by a talented pedal steel guitarist Steve Lam. However, Blake cast: Sarah Elizabeth Charles (vocals), provides an undercurrent of saxual tension and pathos (bass), (drums), Craig Handy (saxophones running through the town. “May Day” is painted in and flute) and Steve Kroon (percussion). a rich Afroblue while “Churchy” has Blotnick and The songs Cables chose come from different Blake deftly exploring the spirituality of their periods of his career. “Think on Me” and “Face the instruments. A soft bluesy layover in “Delaware” gives Consequences” go back to the ‘60s while “Honey way to the more cerebral “And Bright Snow”, Lulu”, in tribute to a sister of his late partner Helen highlighting Blake’s tenor before “Spring” closes out Wray, was first recorded unaccompanied in 2008. the voyage as an ode to Strayhorn/Ellington . Charles, a promising young vocalist and lyricist, Blotnick is clearly on to something here and his plays a vital role. She is featured on more than half of ambient approach rooted in jazz, blues, Afro/Latin Kush the CD’s 11 selections and wrote lyrics for five of and even psychedelia—liner notes from Henry Finch Ryan Blotnick (Songlines) Cables’ melodies: “Face the Consequences”, “Looking by Elliott Simon would be an apt companion to any ‘60s head-trip— for the Light”, “Sweet Rita Suite, Part 2 (Her Soul)”, works very well. the insistent “Dark Side, Light Side” and Asian-tinged Many of the cuts on guitarist Ryan Blotnick’s Kush “Honey Lulu”. Charles is also featured on “Think on create a free-floating exotic realm washing over the For more information, visit songlines.com. This project is at Me”, which singer Janice Jarrett wrote lyrics for in the listener. On the surface, and as the name implies, Kush Rockwood Music Hall Nov. 14th. See Calendar.

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THE NEW YORK CITY JAZZ RECORD | NOVEMBER 2016 27

single identifier can be transmogrified into a notable body (of work) is still up in the air. Aiming to mix African drumming and myth- making with American punk-rock sensibility, Noonan constructed a backstory for the CD’s seven tracks involving the power of miners’ pick axes—represented by his drum sticks—uncovering unspecified treasure hidden in a salt mine. Liberating it along with a female apparition, the pair travel to South Africa to greet and

Imaginist praise the Zulu king. This melodramatic faux-epic is Le Boeuf Brothers + JACK Quartet recounted by Noonan’s talk-sung vocalizing, which (Panoramic/New Focus) vies for the forefront with his drumming, most lyrics by Tom Greenland ranging from portentous to puerile. Take “Hidden Treasures”, for instance, where the singer jack-knifes In the space of three recordings, the Le Boeuf Brothers from demanding “Where are my treasures” to warbling (reed player Remy and pianist Pascal) have established “Olly olly oxen free”. When romantic sentiments are themselves as young artists on the move in the field of voiced, as on “Żabka”, the refrain is “I don’t care if it new improvised music; Imaginist, their fourth project, rains or shines/As long as you’re with me.” a collaboration with JACK Quartet, should keep that When Noonan eschews the shtick for his sticks, momentum going. The album’s title refers to the he’s a pretty good drummer, able to suggest shadings Freddie Bryant Russian poetry movement in the early 1900s, its and percussion extensions, even if he prefers to bash Cd CeleBration! influence manifest in the record’s striking tonal a rhythm when he could merely broach it. Bassist Peter imagery, pliant use of improvisation within each form, Bitenc stays out of Noonan’s way but keeps the bottom two exquisite corpse (assembled from independent ambulatory and focused. In a purely instrumental MonK reStrUnG ideas) pieces and the central suite based on Franz fashion, however, keyboardist Alex Marcelo is the id to Kafka’s short story “A Dream”, wherein the author’s Noonan’s ego. He slides syncopated slurs among the at narrated text is set to music. Africanized drum beats on “Shaka” and adds tough diZZy’S ClUB The tracks, all composed by either of the identical blues-based chords to the aforementioned “Żabka”. JaZZ at linColn Center twin brothers, run in programmatic fashion, from Noonan has created his own persona as a fabulist “Prologue” to “Epilogue”, the jazz quintet (completed and is obviously comfortable with musical theatrics. In Monday, noveMBer 28 by tenor saxophonist Ben Wendel, bassist Ben Street or terms of jazz, those tracks in which his exuberance is SetS at 7:30 and 9:30 Martin Nevin and drummer Justin Brown or Peter subordinated to Marcelo’s instrumental finesse Kronreif) well balanced with the string quartet produce more satisfying music. (violinists Christopher Otto and Ari Streisfeld, violist FeatUrinG: John Pickford Richards and cellist Kevin McFarland). For more information, visit for-tune.pl. This project is at Howard alden - GUitar One of the most interesting aspects of this music, Barbès Nov. 11th. See Calendar. Peter BernStein - GUitar besides the folksy melodies, extroverted minimalist textures and tangled counterpoint, are those moments roMero lUBaMBo - GUitar of freedom found within each arrangement—chaos Freddie Bryant - GUitar under control—which lend a bit of breath and GreGory ryan - BaSS imagination to the otherwise refined and chamber-like willard dySon - drUMS ambiance, a tribute to both the improvising prowess of the string players and tasteful restraint of the ‘jazz’ players. MaKe yoUr reServation Good examples can be found throughout the Kafka now: (212) 258-9595 suite, where the group improvises responses suggested by the text: when narrator Paul Whitworth says, www.JaZZ.orG/diZZyS “…and he let the pencil drop”, for example, the strings answer with a plunging glissando. Remy’s romantic, cool-toned alto saxophone works well in juxtaposition FreddieBryant.CoM to Wendel’s tougher tenor while Pascal’s varied piano textures provide interesting connective tissue across the morphing sections. The album is a strong ‘writerly’ CHUCK REDD effort, but with enough musical spontaneity to bring the writing to life. MIKE LEDONNE

For more information, visit newfocusrecordings.com. This project is at National Sawdust Nov. 18th. See Calendar. NOVEMBER 9 JAZZ AT KITANO 8, 10 PM $17 66 Park Avenue at 38th Street kitano.com

Chuck Redd: “Best Vibist” HotHouse Jazz Magazine Fans Decision Award Memorable Sticks Sean Noonan (ForTune) Latest CD: The Common Thread (Arbors) by Ken Waxman Located in a rarely explored realm where J.R.R. Mike LeDonne: Tolkien-like fable-spinning is accompanied by music “Rising Star - Organ” veering between African-rooted groove jazz and DownBeat Magazine extended psychedelic-era freak outs, percussionist Sean Noonan’s concept is as individual as a fingerprint. Latest CD: That Feelin’ (Savant) But, on the evidence of Memorable Sticks, whether this

28 NOVEMBER 2016 | THE NEW YORK CITY JAZZ RECORD

touches. Bartz’ solo is downright poetic and mournful. “Pisces Daddy Blue” has Bartz presenting exhilarating variations on several blues themes, giving full rein to the rougher side of his tone. Mims’ solo sparkles while bassist Curtis Robertson and drummer Howard King lay down a light yet firm swinging groove. 1977’s Love Song retains little of what made Ju Ju Man great, cutting back on postbop content and including lots more commercial leanings. “Prelude/

Ju Ju Man/Love Song Lonely Girl” is a mostly by-the-numbers take on the Gary Bartz (Catalyst/VeeJay - Fresh Sound) 1970 Eddie Holman hit “Hey There Lonely Girl”, Bartz’ by Mark Keresman sweetly singing soprano sticking close to the original’s pretty, sentimental melody. The lightly chugging, Before establishing himself as a leader, alto generic funk of “Interlude/Don’t Stop Now” could be saxophonist Gary Bartz made his rep playing with Max from a ‘70s Blaxploitation soundtrack, unremarkable Roach, McCoy Tyner and Miles Davis. This CD until Bartz solos. There’s lots of light funk, breezy yet compiles two somewhat rare Bartz albums from the soulful female choruses and not a great deal of mid ‘70s, Ju Ju Man (originally on the Catalyst label) substantive soloing. What there is of it is good and Love Song (VeeJay). These albums continue on the (especially that of pianist George Cables), but this set path Bartz set for himself in the early ‘70s: a synthesis was tailored to get airplay on non-jazz radio stations. of hardbop, avant garde, R&B and funky side of fusion This reissue set is very much a mixed bag—Ju Ju NOV 11–12, 7PM & 9:30PM

while easing closer to a more commercial approach. Man has Bartz near and at his peak while Love Song is PHOTO BY COURTESY OF THE ARTIST 1976’s Ju Ju Man begins with the title tune, a tribute good proto-smooth jazz but not a great Bartz album. BATTLE OF THE of sorts to John Coltrane’s A Love Supreme, the band chanting in (rather flat) unison, “a love supreme”, then For more information, visit freshsoundrecords.com. Bartz is BIG BANDS Bartz testifying as only he can with his fluid, slightly at Symphony Space Peter Jay Sharp Theatre Nov. 2nd as tart tone. This is a dandy piece of , riveting part of Jazz For America’s Future Hillary Clinton Benefit, Drummers and bandleaders Sammy and full of passionate soloing and churning ensemble Blue Note Nov. 14th-15th with McCoy Tyner and 21st with Miller and Evan Sherman present the playing. Pianist Charles Mims’ style is a cross between Wallace Roney. See Calendar. ultimate big band bash Tyner’s lyricism and Monk’s use of space; instead of a torrent of notes, Mims builds a solo judiciously, THE APPEL ROOM sidestepping the obvious in a way that leaves the listener wanting more. Motown singer Syreeta (ex-wife of Stevie Wonder) lends her rich, somewhat husky NOV 17–19, 8PM voice to an elegant take on the standard “My Funny Valentine”, subtly injecting some R&B and gospel THE SWING ERA: REVOLUTION IN RHYTHM The Jazz at Lincoln Center Orchestra with and music director LOVE AND MUSIC: That Feelin’ Marcus Printup CELEBRATING Mike LeDonne Groover Quartet (Savant) ROSE THEATER by Marcia Hillman DEC 9–10, 8PM The big sound of the B3 organ is featured on this new CONNIE release by the Mike LeDonne Groover Quartet, STEVE MILLER & JIMMIE a Tuesday night staple at Smoke Jazz Club. The band VAUGHAN: T-BONE WALKER consists of Eric Alexander (tenor saxophone), Vincent A BRIDGE FROM BLUES TO JAZZ CROTHERS Herring (alto saxophone on three tracks), Peter Bernstein (guitar) and Joe Farnsworth (drums), all Rock & Roll Hall of Fame guitarist Steve straightahead veterans of New York City’s traditional Miller returns for an evening of the blues jazz scene, and presents a collection of pop, musical ROSE THEATER theater and jazz standards to go along with three LeDonne originals. DEC 9–10, 7PM & 9:30PM Although the B3 can be an overwhelming presence, LeDonne has tamed the instrument, playing melodies ROSA PASSOS WITH SPECIAL that can swing or be slow and bluesy or finding its GUEST KENNY BARRON sensitive side on the classic Mack Gordon-Harry Brazilian vocalist Rosa Passos with NEA Jazz Warren ballad “At Last”. As a composer, LeDonne Master and pianist Kenny Barron comes up with rousing uptempo tunes such as opener THE APPEL ROOM “I’d Never Change A Thing About You”, “Sweet Papa Lou”, which features his fast-paced solo, and the DEC 14–17, 8PM • DEC 18, 2PM May 2, 1941 – August 13, 2016 bluesy title track. “Gravy Blues” features a wailing Herring while BIG BAND HOLIDAYS Bernstein (whose soft flow contrasts beautifully with Jazz at Lincoln Center Orchestra with the more prominent sound of the organ) shows off his Wynton Marsalis and special guest vocalist flexible fingers on ’s “Fly Little Bird Fly”. Catherine Russell ROULETTE Farnsworth demonstrates a fine melodic sense on SUNDAY, NOV. 13, 2016 “I’d Never Change A Thing About You” and closer ROSE THEATER 4:30–9:30 pm (doors open at 4 pm) “A Lot Of Livin’ To Do”. Alexander, whose authoritative 509 Atlantic Avenue, Brooklyn sound is magical on all the tracks on which he appears, roulette.org really shines with his solo on the title track. venue This is a most enjoyable listen and whatever frederick p. rose hall LeDonne’s definition of “That Feelin’” may be, it box office 60+ musicians, poets, dancers, artists, broadway at 60th st., and speakers gather for a special certainly is one that celebrates feelin’ good. ground fl. performance in celebration of the life and centercharge JAZZ.ORG music of the influential and beloved pianist. For more information, visit jazzdepot.com. LeDonne is at 212-721-6500 @jazzdotorg Jazz at Kitano Nov. 9th, Mezzrow Nov. 25th-26th and photo by Richards Smoke Tuesdays. See Calendar and Regular Engagements.

THE NEW YORK CITY JAZZ RECORD | NOVEMBER 2016 29

with an expressive Marcus Printup trumpet solo. Nash is particularly inventive in interpreting Franklin Delano Roosevelt’s “Four Freedoms” by featuring soloists in different settings and in his witty take on Lyndon Baines Johnson’s “The American Promise” (which echoes Martin Luther King Jr.’s line “We shall overcome”) with a Country & Western introductory riff referencing LBJ’s upbringing, suggestions of Ornette Coleman (another Texan) in the

Eponymous Presidential Suite: Eight Variations on Freedom chordless theme and an incisive guest solo from AZIZA (Dare2) Ted Nash Big Band (Motéma Music) trumpeter Wynton Marsalis. by Philip Freeman by George Kanzler For more information, visit motema.com. This project is at AZIZA is a quartet of saxophonist Chris Potter, On his last major ensemble suite, Portrait in Seven Jazz Standard Nov. 8th-9th. See Calendar. guitarist/vocalist , bassist Shades, for the Jazz at Lincoln Center Orchestra, and drummer . Potter and Holland have a saxophonist Ted Nash took inspiration from modernist relationship going back to the latter’s 1999’s Prime artists whose work was displayed on a screen behind IN PRINT Directive and Harland played on the bassist’s Pass It On the orchestra in concerts. On Presidential Suite, Nash and Prism albums in 2008 and 2013, respectively. takes his inspiration from the words of eight world Loueke is the new element and frequently a dominant leaders (only four of them American presidents, one—his compositions open and close the album and despite the title), often shaping his music to fit the even when he’s not the writer (emphasizing the group’s cadences of the speeches and/or referencing the music collaborative nature, each member contributes two of the speakers’ homelands. It all makes for quite pieces), the other three seem to play to his strengths. diverse and constantly engaging music. It is presented Opener “Aziza Dance” is strutting funk. Harland on both discs here, with the first disc also including the has a fierce clatter and Loueke starts out low, in an relevant speeches (one piece was derived from a almost -esque bass register, before Holland written essay by Aung San Suu Kyi) delivered by joins in and allows Loueke to pursue a stinging, celebrity guests. electrified tone. The next track, Potter’s “Summer 15”, Nash manages to introduce multiple elements of Duke Ellington: An American Composer and Icon Mercedes Ellington and Steven Brower though, has a lilting West African groove; the what will transpire in the suite in the brief “Overture”, (Rizzoli International Publications) saxophonist switches from tenor to soprano and the ranging from a fanfare to flutes, low brass and swinging by Kurt Gottschalk band undertakes an intricate and graceful interaction. solos from trumpet and alto saxophone. The swing is Potter’s solos take big bites out of the air; he pronounced, as a down-home backbeat shuffle in “Ask It’s hard to imagine that we don’t know Ellington. frequently grabs onto a phrase and shakes it back and Not”, referencing John Fitzgerald Kennedy’s inaugural His music is never far away. His persona—suave, forth like a dog holding a knotted clothesline in its jaws. address, with fervent tenor from Walter Blanding and gracious, debonair—is so inviting that we want to Loueke dips in and out of the blues; his tone is frequently Greg Gisbert’s trumpet navigating between ensemble know him. But apart from those who actually did clean, occasionally drifting into a hazy -on- passages echoing the speech patterns. (decreasing with the march of the clock), we are kept the-prairie zone, but sprouts thorns of static and Four of the eight parts of the suite are inspired by at arm’s length. It’s not impossible to learn about distortion when it feels right. On the closing “Sleepless words of world leaders, including three from Asia or the Duke. There are books and documentaries Night”, he gets genuinely ferocious (as does Potter). Africa. India’s Jawaharlal Nehru is honored with (although even his autobiography stays close to the Holland booms and throbs, filling the entire middle of “Spoken at Midnight”, which invokes classical Indian surface), but the stories don’t attach themselves to the mix and providing crucial support, like Fix-A-Flat music with its 7/4 time and tonal centers featuring the myth the way they do with so many other artists. injected into a tire. When he gets the spotlight to himself, flutes, as well as Nash’s exotic soprano solo. Burmese About Charlie Parker and Billie Holiday, we have as on Potter’s “Blue Sufi” or his own “Walkin’ the music is referenced in “Water in Cupped Hands”, stories. With Ellington, we have melodies. Walk”, his extraordinarily precise technique make his based on Suu Kyi’s essay, again with prominent flutes The lavishly illustrated Duke Ellington: An lines almost trance-inducing in the way of Moroccan and somber Dan Nimmer piano solo. Then there’s the American Composer and Icon does little to change this music. Harland is forceful throughout; even when he’s rollicking “The Time for the Healing of Wounds”, state of affairs beyond acknowledging it as such. In slapping the snare with brushes, there’s rigorous a Nelson Mandela speech talk-sung and played by one of the 10 memorial essays leading off the book, discipline, though he spaces the rhythm out in a way trombonist Chris Crenshaw over a South African-style Mercedes Ellington writes that in the library of that lets everyone, including the listener, breathe. reggae beat and horns riffing in pure South African books about her grandfather, he “comes off as a very Touring in 2015 allowed this quartet’s music to Township jazz mode. impersonal guy, when he wasn’t.” She goes on to evolve before they entered the studio. The result is a Winston Churchill’s “This Deliverance” wartime describe a workaholic whose family bent around his meditative, but vibrant collective journey worth taking. (WWII) speech is a through-composed piece featuring schedule to the point that holidays were sometimes augmented saxophones (the late Joe Temperley’s observed months late, once he was off his tireless For more information, visit daveholland.com/dare2. Holland baritone) and rhythm while Ronald Reagan’s “Tear tour schedule—which might help to explain why it’s and Potter are at Birdland Nov. 29th-Dec. 4th. See Calendar. Down This Wall” is, in contrast, just brass and rhythm, primarily his work that we remember. The remembrances are affectionate and sentimental. There is an exhaustive timeline of his life, written flatly and in small print. But nobody is LESLIE PINTCHIK TRIO likely to drop the money for this coffee-table book (actually modestly priced for its bulk) thinking Thursday, December 1st they’re getting a tell-all. This is a tome of photos and Sets at 8:00 PM and 10:00 PM mementos, laid out in a bit of a scrapbook fashion Jazz at Kitano and it’s wonderful fun to flip through the pages. 66 Park Avenue @ 38th Street, NYC (212) 885-7119 There are, of course, photos, cartoons and newspaper articles. There’s a hand-drawn birthday card and his “...Getting lost in this music is simply a joy...” All About Jazz notes for a speech at the White House, at a concert for President Richard Nixon. Terry Teachout’s Duke: Celebrating Latin Jazz, Leslie Pintchik - piano A Life of Duke Ellington is likely the best real biography Scott Hardy - bass we’ll get on the jazz master and an old documentary Gospel and R&B grooves Michael Sarin - drums in the PBS American Masters series did a worthy job. But for purviewing while listening to your 24-CD Latest CD TRUE NORTH Centennial boxed set, this book can’t be beat. available now at Amazon and iTunes For more information, visit rizzoliusa.com. An Ellington tribute by the Juilliard Jazz Ensembles is at Juilliard www.lesliepintchik.com School Paul Hall Nov. 1st. See Calendar. available on Amazon and iTunes

30 NOVEMBER 2016 | THE NEW YORK CITY JAZZ RECORD

On “Roll it Away”, Kimbrough, de Prophetis and influence is never at the expense of either jazz Takeishi create a bluesy, soulful atmosphere in what improvisation or Brazilian influences, which range feels like a whisper despite the forcefulness of the from choro and samba to bossa nova. Silveira, an lyrics. “Two Folk Songs” starts with the air of a chant expressive, skillful guitarist born in Rio de Janeiro, and maintains that feeling despite the mixes of color sports a variety of influences, from Kenny Burrell and (even in the very free vocal towards the end) provided Wes Montgomery to Villa-Lobos and João Gilberto. by…well…everyone. And the closing “Plainsong” Trying to pigeonhole Laws is an exercise in futility again suggests, somehow, the ancient as it textures and and listening to Suite for Flute and Jazz Piano and shapes the present and the new. That’s the brilliance of Cosmos, it is good to see that after all these years, he

Tell a Star this whole recording. still excels in a variety of musical environments. Maryanne de Prophetis (ENNArecords) by Donald Elfman For more information, visit ennarecords.com. This project is For more information, visit stevebartamusic.com and at Michiko Studios Nov. 18th. See Calendar. ricardosilveira.com. Laws is at Blue Note Nov. 30th-Dec. Tell a Star is an extraordinarily imaginative set of 4th with Chick Corea. See Calendar. music. Though nominally under the leadership of vocalist Maryanne de Prophetis (she also composed all the music), the scope of the work allows vital and ON SCREEN equal invention from each player. These are acclaimed and gifted musicians whose talents shape the pieces, which breathe with the air of primal creation. The album opens with the Spanish-flavored “Ombra”. The vocal is wordless, at first accompanied by Frank Kimbrough’s shimmering piano. Satoshi Claude Bolling: Symphonic Arrangement Takeishi adds a delicate drum complement, soon ‘Suite for Flute and Jazz Piano Trio’ /Jeffrey Biegel/Steve Barta followed by poignant flugelhorn phrases from Ron (SteveBarta Music) Horton. The pianist finds his Spanish soul while being Cosmos (featuring Hubert Laws & Kiko Freitas) open enough to allow the others, including Ricardo Silveira/John Leftwich (Adventure Music) de Prophetis (who turns her line into a kind of chant), by Alex Henderson to contribute expressively. It’s a glorious performance They Died Before 40 (A Film by Howard E. Fischer) and points the way for what is to come. ubert Laws, who will celebrate his 77th birthday on H by Clifford Allen The title song is a beautiful open portrait of human Nov. 10th, has been recording as a leader since 1964 need; longing and natural, it begins as intimate and, along the way, the veteran flutist has embraced The business of art can be a rather morbid one, at dialogue between voice and piano, de Prophetis everything from postbop to European classical music least in the U.S.. With lack of financial stability for making the words both simple and complex in a way to electric jazz-funk. Laws’ versatility is among his artists, health care challenges and institutionalized that draws the listener into the exchange. Horton strong points. Playing arranger Steve Barta’s Suite for racism and our American Experiment can be an flutters on trumpet to stay in the conversation. Flute and Jazz Piano Trio and Ricardo Silveira/John extremely difficult environment for creativity, despite Leftwich’s Cosmos, one is reminded that the flutist’s the sheer fact that art in itself is mostly unrepressed. musical tastes have not grown any less eclectic in Musicians in general—and especially in jazz— recent years. get the brunt of most discussions surrounding French pianist Claude Bolling recorded the original artists’ early demise. Howard E. Fischer is an version of his seven-movement “Suite for Flute and historian, founding director of the New York Jazz Jazz Piano Trio” in 1975, featuring himself in an Museum (1972-77), a musicians’ attorney and now intimate quartet with flutist Jean-Pierre Rampal, filmmaker. They Died Before 40, a self-produced bassist Max Hédiguer and drummer Marcel Sabiani. documentary, discusses in depth the lives and Laws performed with Bolling at concerts of the suite in unfortunate departures of eight prewar and modern New York City and San Francisco in the ‘70s and jazz musicians. We often hear about the ravages of revisits the suite on Steve Barta’s ambitious departure: heroin and alcohol but clean-living players in the he employs a large orchestra as well as a string quartet first half of the last century encountered illness and and a jazz quartet of Laws, pianist Jeffery Biegel, accidents, something which the public often glosses bassist Mike Valerie and drummer Michael Shapiro. over in favor of the romantic brilliance of an addicted Blending jazz and Euro-classical elements, Barta’s artist unable to kick. CD is heavily arranged but nonetheless gives Laws Fischer presents interviews with scholars who and Biegel room to improvise. And while it is best to give detailed accounts of the true genius behind the sit down and listen to the disc from start to finish, all work of such players as pianist Fats Waller, bassist the movements work well as individual tracks— Jimmy Blanton, guitarist Charlie Christian, including the reflective “Sentimentale”, lively “Veloce” trumpeters Clifford Brown and Bunny Berigan, and Latin-tinged “Javanaise”. The melodies on saxophonists Chu Berry and Herschel Evans and “Fugace” and “Baroque in Blue” sound like they could drummer Chick Webb, only two of whom likely died have been written during the 19th Century, but when due to personal excesses. Brown’s story is probably the improvisation begins, a strong connection to the the best known—he died at 25 in a car accident on the jazz tradition is evident. Like much of the Pennsylvania Turnpike, along with pianist Richie of the ‘50s-60s, Suite for Flute and Jazz Piano Trio is not Powell—and, a rising star in the ensemble of meant to be pure jazz or pure classical, but a hybrid. drummer , Brown was remarkable for his Those who will get the most out of Laws’ contributions drug-free lifestyle. The interviews are interspersed will be those who hold his jazz and classical playing in with photographic documentation (often, equally high regard. unfortunately, somewhat blurred) and audio Cosmos is firmly planted in . The examples and in discussion of Christian’s innovations, quartet recording unites co-leaders Ricardo Silveira guitarist Paul Bollenback shows the differences (guitar) and John Leftwich (bass) with Laws and between chordal acoustic playing and amplified, drummer Kiko Freitas. Laws fits right in on lyrical, linear and horn-like playing in a jazz context. melodic offerings such as “Reflections”, “Outro Rio” Whether dying before 40 or living until 80, what and “Sempre Assim” by Silveira and “9 to 1”, “Get one takes away from this film is that there are a host Together” and “Stars” by Leftwich. The quartet also of artistic innovators who, in some cases nearly a turns its attention to familiar Brazilian pieces, including century later, have yet to become household names. Moacir Santos’ “Kathy”, Pixinguinha’s “Carinhoso” and Heitor Villa-Lobos’ “Bachianas Brasileiras #5”. A screening of this film will take place Nov. 1st at Village East The latter was influenced by Bach so Laws brings his Cinemas. For more information, visit bigapplefilmfestival.com classical training to bear. However, any classical

THE NEW YORK CITY JAZZ RECORD | NOVEMBER 2016 31 Peter Evans’ rapid-fire snorts and screeches. Evans’ pitches rappelled from skyscraper height to sub- BOXED SET aural jujitsu is aptly matched with Norwegian basement are heard and finally blended. Tuba huffs Torben Snekkestad’s reed trumpet and soprano out a gradually shifting but solid bottom on which saxophone on “PE/TS”, counterpoint evident reed timbres are stacked, creating more pitch and alongside stamina and dissonance. No matter how tempo freedom. The Guy-Niesemann meetings allow many mouthpiece pops or reed slaps are heard, the alto saxophonist to work up to frenetic, abstract a sensitive strategy allows each to play both multiphonics while the bassist figuratively steps background and foreground roles. Disc 1’s other back to output a sprawling series of measured string notable track joins Guy, Spanish drummer Ramón cascades, which eventually cushion Niesemann’s López and German saxophonist Julius Gabriel as split tones to complement bass chording. guitar-like arpeggios and time-keeping shuffles Disc 4 connects with Disc 1 via three tracks push the reed player back to the responsive narrative featuring Fernández. If his meeting with Evans was Tensegrity each time he attempts animalistic-like cries. sophisticated concordance, then his duo with Barry Guy Blue Shroud Band Small Formations Disc 2 proves how pure improvisation transcends Snekkestad explodes with the raw power of a (Not Two) instrumental conventions: the pristine tones from prizefight. After the pianist challenges him with by Ken Waxman Swede Per Texas Johansson’s clarinet and caustic kinetic punches, the saxophonist’s circular breathing trills from German Michael Niesemann’s create narrows to anorexic spews evolving into a flat-line Tensegrity preserves small-group sets taking place the same searing connection as if they used theme. Initially featuring the timbral sumo wrestler- in the evenings following rehearsals of Barry Guy’s saxophones. Similarly, two tracks featuring tuba like duo of Godard and Guy, “MG/BG/FP/PTJ/JG/ Blue Shroud orchestral project during Krakow’s Jazz ancestor the serpent, played by France’s Michel TS/LN”, nearly 19 minutes, evolves into an extended Autumn in November 2014. The four CDs consist of Godard, joining Swiss percussionist Lucas Niggli exposition adding viola, three saxophones and 26 performances confirming the adaptability of the and French violist Fanny Paccoud, avoid any drums. Eventually a weightiness-weightlessness band’s 14 members. With the exception of two tracks associations with early music to highlight jazz- contrast evolves with spiccato strings and shrill horn featuring violinist Maya Homburger, sounds are all associated sounds. This doesn’t prevent Paccoud lines balancing brass snorts and low-pitched strings. improvised. The skill and sophistication of players from appending Roma-like smears or Godard The final track shows how the established trio of from Greece, Spain, Norway, Ireland, Sweden, ornamenting his gusts with airy whirls at points. Fernández, Guy and López adapts to incursions by Germany, France, U.S. and the UK demonstrate that When Niggli’s backbeat kicks in, the result is unique, Evans’ bugle-call-like trumpeting and acrobatic cross-border musical interchange works more slightly atonal swing. syllable shattering of Greek vocalist Savina Yannatou. successfully than political alliances. Godard’s low-pitched additions to a saxophone Backing both in turn, the trio blends key glissandi, Although Catalan pianist Agustí Fernández uses quartet of Snekkestad, Niesemann, Johansson and string slaps and percussion accents to moor the wood blocks and preparations to dig into the Gabriel and Guy’s showdowns with Niesemann are trumpeter’s showy tongue sluices while sympathetic subterranean bowels of his instrument on Disc 1’s the highlights of Disc 3. The sophisticated reed instrumental echoes push the vocalist’s speaking-in- first track, his co-operative reflexes are more quartet moves the narrative forward incrementally tongues into an organized narrative. noticeable on “AF/PE” when ratcheting string with the patience of a feline stalking a cunning resonations answer and echo American trumpeter mouse, as ghost whistles, harsh split tones and For more information, visit nottwo.com

NOV 1 NOV 14 lou donaldson quartet: tim green quartet lou at 90 NOV 15 –16 NOV 2 peter martin trio chris pattishall’s fictions: borges in tango NOV 21 msm jazz orchestra NOV 3 papo vazquez mighty pirates NOV 22 troubadours jerome jennings

NOV 4–6 NOV 23 –27* ralph peterson & aggregate wycliffe gordon & the prime international all-stars *nov 24 is thanksgiving; special NOV 7 menu and pricing applies

the berklee all-star quintet NOV 28 MONDAY NIGHTS WITH WBGO NOV 8 freddie bryant: monk restrung elio degibri quartet album release

NOV 9 NOV 29 luis bonilla’s i talking too! jazz felix peikle & joe doubleday’s orchestra showtime band: presenting benny goodman NOV 10–13 ellis marsalis quintet NOV 30 – DEC 1 the swing collective

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

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

32 NOVEMBER 2016 | THE NEW YORK CITY JAZZ RECORD MISCELLANY ON THIS DAY by Andrey Henkin

Quiet Kenny Happiness In Concert Hamburg Episode - Live at Fabrik Always Coming from the Love Side (New Jazz) Russian Jazz Quartet (Impulse) Masabumi Kichuchi (Philips) Sauer/Van’t Hof (Art of Groove) TEST (Eremite) November 13th, 1959 November 13th, 1964 November 13th, 1970 November 13th, 1983 November 13th, 1999 Trumpeter Kenny Dorham’s leader The band name is a tad misleading as Before settling in the U.S. in the mid Two European improvisers meet for With this 2016 release, the discography is mostly split between only two of its members, saxophonist/ ‘70s, pianist had the only time at the 8th New Jazz discography of TEST increases by Blue Note and Riverside, two of the clarinetist Boris Midney and bassist an eclectic career in his native Japan, Festival at Fabrik in Hamburg, 20%. The quartet of reed players pillars of ‘50s-60s jazz. But he did Igor Berukshtis, were Russian, the rest establishing himself as a leader with Germany. German saxophonist Heinz Daniel Carter and Sabir Mateen (who venture out for other labels like this of the band American ringers in his sextet, which made several albums Sauer (b. 1932), perhaps best known between them play all manner of one-off quartet session for New Jazz, pianist Roger Kellaway and drummer in 1970. This particular one was for his work with Albert Mangelsdorff saxophones, and flutes), a subsidiary of Prestige. While not a Grady Tate (cellist George Ricci recorded live at Tokyo’s Sankei Hall and the Jazz Ensemble of Hessischer bassist Matthew Heyner and late ballad album as the title may imply, it appearing on three of six tracks). and featured two side-long Kikuchi Rundfunk, and Dutch keyboard drummer Tom Bruno was a NYC is a subdued release with mostly Midney and Berukshtis were Soviet compositions: “Dancing Mist” and player Jasper Van’t Hof (b. 1947), staple in the ‘90s but this newly midtempo tunes—three written by defectors during the height of the “Yellow Carcass in the Blue”. Joining veteran fusioneer, both contribute discovered concert recording was Dorham, the rest standards like Cold War, neither of whom did much him are Kousuke Mine (soprano three originals apiece (Sauer’s “A made at Chicago’s now-defunct “Alone Together” and “My Ideal”— jazz work after this one album, saxophone, percussion), Yoshio Ikeda Classical Preacher” also appearing on Velvet Lounge. The two-disc set and a tasteful rhythm section of a collection of four Midney originals (bass), Hiroshi Murakami and Keiji his 1982 L+R album Blues After contains five untitled improvisations, pianist , bassist Paul plus the standards “Remember” and Kishida (drums) plus his younger Sunrise) to the 47-minute program, the shortest at just over 11 minutes, Chambers and drummer . “Secret Love”. brother Masahiro Kikuchi on organ. released 32 years after it was recorded. the longest cresting 41. BIRTHDAYS November 1 November 5 November 11 November 16 November 22 November 26 †Sabby Lewis 1914-94 Diego Urcola b.1965 †Ivy Benson 1913-93 †WC Handy 1873-1958 †Hoagy Carmichael 1899-1981 †Jack Perciful 1925-2008 †Sam Margolis 1923-96 Kenny Brooks b.1966 † 1923-2000 †Eddie Condon 1905-73 †Horace Henderson 1904-88 Kiane Zawadi b.1932 Lou Donaldson b.1926 Neil Cowley b.1972 b.1927 †Dolo Coker 1927-83 †Ernie Caceres 1911-71 Art Themen b.1939 Roger Kellaway b.1939 Ben Markley b.1981 †Ernestine Anderson 1928-2016 b.1964 † 192-2015 Mark Dresser b.1952 †Raphe Malik 1948-2006 b.1940 † 1927-2003 b.1954 November 6 Hannibal Peterson b.1948 November 17 Ron McClure b.1941 November 27 Conrad Herwig b.1959 †Francy Boland 1929-2005 Kahil El’Zabar b.1953 David Amram b.1930 †Tyrone Hill 1948-2007 †Eddie South 1904-62 Antonio Sanchez b.1971 b.1949 Mark Shim b.1971 Roswell Rudd b.1935 Rogério Boccato b.1967 †Nesuhi Ertegun 1917-89 b.1951 Michel Portal b.1935 November 2 November 7 November 12 Ben Allison b.1966 November 23 b.1945 †Bunny Berigan 1908-42 †Joe Bushkin 1916-2004 † 1911-91 †Tyree Glenn 1912-74 Lyle Mays b.1953 BEN ALLISON † 1924-2016 †Howard Rumsey 1917-2015 †Lou Blackburn 1922-90 November 18 Johnny Mandel b.1925 Maria Schneider b.1960 November 17th, 1966 †Herb Geller 1928-2013 †Al Hirt 1922-99 †Charlie Mariano 1923-2009 †Johnny Mercer 1909-76 †Pat Patrick 1929-1991 Joris Teepe b.1962 †Phil Woods 1931-2015 † 1948-2002 † 1924-81 †Claude Williamson 1926-2016 †Victor Gaskin 1934-2012 Wessell Anderson b.1964 Though the New Haven-born Phil Minton b.1940 †David S. Ware 1949-2012 Wolfgang Schluter b.1933 b.1927 Alvin Fielder b.1935 Jacky Terrasson b.1966 bassist turns 50 this year, he Rudy Walker b.1947 René Marie b.1955 Koby Israelite b.1966 Sheila Jordan b.1928 Jiří Stivín b.1942 doesn’t look too different from Ernest Dawkins b.1953 †Don Cherry 1936-95 b.1946 November 28 1991, when he founded the Frank Kimbrough b.1956 November 8 November 13 Bennie Wallace b.1946 Melton Mustafa b.1947 †Gigi Gryce 1927-83 Jazz Composers Collective, b.1957 †Chris Connor 1927-2009 †Bennie Moten 1894-1935 Cindy Blackman-Santana b.1959 † 1934-2016 a non-profit organization that b. 1967 Bertha Hope b.1936 †Eddie Calhoun 1921-93 November 24 Roy McCurdy b.1936 had a profound effect on New Chris Byars b.1970 b.1958 † 1928-77 November 19 †Scott Joplin 1868-1917 Adelhard Roidinger b.1941 York City jazz on either side of Jerry Costanzo b.1959 † 1939-2014 †Tommy Dorsey 1905-56 †Teddy Wilson 1912-86 Butch Thompson b.1943 the new millennium, both November 3 b.1963 Janet Lawson b.1940 Nobuo Hara b.1926 †Wild Bill Davis 1918-95 † 1951-2008 through its members’ own †Joe Turner 1907-90 John O’Gallager b.1964 Ernst Reijseger b.1954 †André Persiany 1927-2004 † 1923-57 Charlie Kohlhase b.1956 work and projects devoted to †Billy Mitchell 1926-2001 Vadim Neselovskyi b.1977 Ari Hoenig b.1973 b.1964 † 1925-88 Herbie Nichols and Lucky Andy McGhee b.1927 Gary Boyle b.1941 November 29 Thompson. Allison is also b.1935 November 9 November 14 November 20 Brian Charette b.1972 †Billy Strayhorn 1915-67 active as an educator at The Joe McPhee b.1939 †Mezz Mezzrow 1899-1972 †Art Hodes 1904-93 †Skeeter Best 1914-85 †Nathan Gershman 1917-2008 New School and works as a Azar Lawrence b.1953 †Pete Brown 1906-63 †Billy Bauer 1915-2005 †June Christy 1925-90 November 25 †Bobby Donaldson 1922-71 jazz advocate through his role †Muggsy Spanier 1906-67 †Don Ewell 1916-83 Jay Rosen b.1961 †Willie “The Lion” Smith Ed Bickert b.1932 as President of the Board of November 4 Ellis Marsalis b.1934 b.1963 1897-1973 Tony Coe b.1934 the New York chapter of the †Joe Sullivan 1906-71 November 10 George Cables b.1944 b.1970 †Willie Smith 1910-67 Billy Hart b.1940 Recording Academy and his †Joe Benjamin 1919-74 †Paul Bley 1932-2016 Kim A. Clarke b.1954 †Joe “Bebop” Carroll 1919-81 b.1955 consultation with the †Ralph Sutton 1922-2001 Houston Person b.1934 November 21 †Paul Desmond 1924-77 Fredrik Ljungkvist b.1969 Chamber Music America’s †Carlos “Patato” Valdes Andrew Cyrille b.1939 November 15 †Coleman Hawkins 1904-69 †Matthew Gee 1925-79 New Works program. And 1926-2007 Hubert Laws b.1939 †Gus Johnson 1913-2000 †Lloyd Glenn 1909-85 †Dick Wellstood 1927-87 November 30 let’s not forget his own playing †Larry Bunker 1928-2005 Stanton Davis b.1945 †Jerome Richardson 1920-2000 †Alvin Burroughs 1911-50 †Etta Jones 1928-2001 †Benny Moten 1916-77 and strong composing, †Willem Breuker 1944-2010 John LaBarbera b.1945 Ali Haurand b.1943 †Sal Salvador 1925-99 †Rusty Bryant 1929-91 Jack Sheldon b.1931 available on nearly a dozen Eddie Gomez b.1944 Mark Turner b.1965 Kevin Eubanks b.1957 Peter Warren b.1935 † 1931-2000 † 1945-86 albums since 1996, mostly for David Arner b.1951 Gustavo Casenave b.1971 Roland Guerin b.1968 b.1948 Steve Johns b.1960 Stan Sulzmann b.1948 Palmetto. (AH) Jeremy Pelt b.1976 Warren Wolf b.1979 b.1970 Rainer Brüninghaus b.1949 Terell Stafford b.1966 b.1959 CROSSWORD

1 2 3 4 5 6 7 8 ACROSS DOWN 1. Miles’ favorite salad in the ‘50s? 1. Dizzy’s Club ____-Cola 9 10 11 5. Dutch pianist Janssen who replaced Misha 2. Clarinetist Etkin Mengelberg in the ICP Orchestra 3. You can tip Thai king and noted jazz saxophonist 9. Griots are part of this kind of tradition Bhumibol Adulyadej in this currency 12 13 10. He had a club on the turnpike 4. World Saxophone Quartet baritone 12. French saxophonist Serge who worked 5. ____ De Couleur Libres, first chapter in with Eddy Louiss Matana Roberts’ Coin Coin 14 15 16 13. Not sped up or slowed down 6. Home of the One O’Clock Lab Band (abbr.) 14. French festival where A Love Supreme was 7. Playing same note in the same key performed live in its entirety for the only time 8. Little Miss Blue? 17 18 16. Senegalese jazz orchestra of the ‘40s 10. Nickname of ‘70s Miles saxophonist 17. Swiss avant saxophonist Christoph 11. Finnish saxophonist ____ Koivistoinen 18. 1987 Pharoah Sanders Doctor Jazz album 15. Original release label of For Adolphe Sax and 19 20 21 Oh Lord, Let Me ____ Wrong Machine Gun 19. Label run by 17 Across 18. Bob Koester runs this label 21. Dutch violinist van Geel who works 19. ____ > Johnson > Pastorius 22 23 with 5 Across 20. This is a given at concerts these days 22. “____ Misbehavin’” 21. Cornet playing father of rapper Nas 23. fourth track “____ Blues” 22. Simple song form 24 25 26 27 28 24. 1985 Blue Note catalogue prefixes 23. 1980 String Trio Of New York Black Saint 25. Snare, tom, kick, etc. album ____ Code 212 29. Piano style ____ Woogie 25. Neneh Cherry and The Thing covered this 29 30 31 31. Flutist Drummond Stooges song on their album The Cherry Thing 32. Colorado birthplace of Tia Fuller 26. 1973 Flying Dutchman album 32 33 33. Pianist who wrote music to accompany Song For Wounded ____ Jack Gelber play The Connection 27. This 1959 Wes Montgomery concert was 34. Most important part of 25 Across? released by Resonance in 2016 as 34 35 35. A#, Bb and D, eg. One Night in ____ 28. Jazz writers Panken and Gioia 30. Indian state home to many jazz musicians By Andrey Henkin visit nycjazzrecord.com for answers THE NEW YORK CITY JAZZ RECORD | NOVEMBER 2016 33 CALENDAR

Tuesday, November 1 • Anthony Smith Quartet with Syberen Van Munster, Marcos Varela, Jay Sawyer and • Samir Zarif Trio with Fima Ephron, Bob Edinger guest Laura Angyal Cornelia Street Café 8, 9:30 pm $10 Bar Next Door 7:30, 9:30, 11:30 pm $12 êLou Donaldson at 90: Lou Donaldson Quartet with Akiko Tsuruga, Eric Johnson, • Lathan Hardy solo; Audrey Chen/Carlo Costa • Boris Netsvetaev/Lena Bloch The Drawing Room 7:30 pm $15 Fukushi Tainaka Dizzy’s Club 7:30, 9:30 pm $30 Manhattan Inn 10 pm $10 • Camille Yarborough Sistas’ Place 9, 10:30 pm $20 • Mark Meadows Dizzy’s Club 11:30 pm $5 • Terraza Big Band Terraza 7 9 pm $10 • Dan Greenblatt Group with Dave Marck, Ed Fuqua, Jeff Brillinger êDizzy Gillespie All Stars Blue Note 8, 10:30 pm $35 • Bobby Katz Trio with Ryan Slatko, Shareef Taher; Caleb Curtis Trio with Matt Clohesy, Club Bonafide 7:30 pm $10 êRenee Rosnes Quartet with Steve Nelson, , Lenny White Vinnie Sperazza Bar Next Door 6:30, 8:30, 10:30 pm $12 • Timothy Bloom Ginny’s Supper Club 7:30, 9:30 pm $15 Village Vanguard 8:30, 10:30 pm $30 • Miro Sprague Trio with Marty Jaffe, Adam Cruz • Falkner Evans Trio with Belden Bullock, Tony Jefferson • Birdland 8:30, 11 pm $40 Club Bonafide 7:30 pm $10 Minton’s 7, 9:30 pm • Trio with Romero Lubambo, Cyro Baptista • Scot Albertson Duo Tomi Jazz 9 pm $10 • Ron Dabney and Barry Levitt Quartet Jazz Standard 7:30, 9:30 pm $30 • Ray Parker Duo Cleopatra’s Needle 7 pm Metropolitan Room 9:30 pm $25 • Pedrito Martinez Group Alhambra Ballroom 7:30 pm $25 • Amy London Le Chéile 8 pm $15 • Ryan Berg; Raphael D’lugoff Quintet; Greg Glassman Jam êMephista: Sylvie Courvoisier, Ikue Mori, Susie Ibarra and guest • Dave Baron Quartet Cavatappo Grill 9, 11 pm $8 Fat Cat 7, 10 pm 1:30 am The Stone 8, 10 pm $20 • Raina Sokolov Gonzalez; earthTone • Katini Yamaoka Metropolis 7 pm • Matt Pavolka’s The Horns Band with Loren Stillman, Scott Wenholdt, Jacob Garchik, Williamsburg Music Center 9, 10:15 pm $10 • Danny Flam’s ConSoul Williamsburg Music Center 10 pm $10 Mark Ferber; Knuckleball: Daniel Levine, Marc Hannaford, Devin Gray • Katini Yamaoka Neuehouse 7 pm • Matt Gordeuk Trio Tomi Jazz 8 pm $10 Korzo 9, 10:30 pm • Huntertones Rockwood Music Hall Stage 1 10 pm • Richard Clements Trio Cleopatra’s Needle 8 pm • VoxEcstatic: Kaylé Brecher with Frank Butrey, Benjamin Sutin, David Dzubinski, • Jason Prover Radegast Hall 9 pm • Nick Di Maria Shrine 7 pm Ratzo Harris, Grant Calvin Weston; Song Yi Jeon Quintet with Vitor Gonçalves, êChick Corea’s Three Quartets with Ben Solomon, Eddie Gomez, Steve Gadd • Chick Corea’s Leprechaun Band with Gayle Moran Corea, Steve Wilson, Kenji Herbert, Yoni Marianer, Cory Cox Blue Note 8, 10:30 pm $85 Michael Rodriguez, Steve Davis, Eddie Gomez, Steve Gadd Cornelia Street Café 8, 9:30 pm $10 êReuben Wilson Trio with John DeFrancesco, Glenn Ferricone Blue Note 8, 10:30 pm $85 • Bryn Roberts/Lage Lund Mezzrow 8 pm $20 Smoke 7, 9, 10:30 pm $15 êRalph Peterson and Aggregate Prime with Gary Thomas, , Kenny Davis, • The Flail: Dan Blankinship, Stephan Moutot, Brian Marsella, Reid Taylor, Charles Goold; êRenee Rosnes Quartet with Steve Nelson, Peter Washington, Lenny White Mark Whitfield Dizzy’s Club 7:30, 9:30 pm $45 Jovan Alexander Smalls 7:30 pm 1 am $20 Village Vanguard 8:30, 10:30 pm $30 • Mark Meadows Dizzy’s Club 11:30 pm $20 • Oscar Williams Trio; Gerardo Contino Los Habeneros; Yoshi Waki • Robert Silverman Quartet with James Halliday, Andy Bassford, Scott Hamilton • The Brazilian Trio: Helio Alves, , Fat Cat 7, 9 pm 12:30 am Birdland 6 pm $25 Jazz at Kitano 8, 10 pm $32 • Tony Tixier Trio with Karl McComas-Reichl, Tommy Crane • Ann Hampton Callaway Birdland 8:30, 11 pm $40 êJeremy Pelt Quintet with Victor Gould, Vicente Archer, Jonathan Barber, The Jazz Gallery 7:30, 9:30 pm $15 êJoe Fiedler Silvana 6 pm Jacqueline Acevedo Smoke 7, 9, 10:30 pm $38 • Drama Section: Nate Mendelsohn, Stephen Becker, Cory Todd, Duncan Standish; êJaleel Shaw Quartet with James Francies, Linda Oh, Justin Brown Dan Pugach Big Band with Sam Hoyt, David Smith, Justin Mullens, Jon Crowley, The Jazz Gallery 7:30, 9:30 pm $25 Sam Blakeslee, Mike Fahie, Darius C. Jones, Jen Hinkle, Andrew Gould, Friday, November 4 • with Adam Birnbaum, Dezron Douglas Alejandro Aviles, Jeremy Powell, Lucas Pino, Andrew Gutauskas, Yotam Silberstein, Mezzrow 8 pm $20 Jorn Swart, Tamir Shmerling, Nicole Zuraitis êWarren Smith Ensemble with James Stewart, Rod Williams, Ratzo Harris • Tim Ferguson/Tom Dempsey Quartet with Joel Frahm, Eliot Zigmund; ShapeShifter Lab 7, 8 pm $10 South Oxford Space 8 pm $15 Scott Wendholt/Adam Kolker Quartet with Ed Howard, Victor Lewis; Brooklyn Circle • The Duke Ellington Small Groups: Juilliard Jazz Ensembles êPat Martino Trio with Pat Bianchi, Carmen Intorre, Jr. and guests Adam Niewood, Smalls 7:30, 10:30 pm 1 am $20 Juilliard School Paul Hall 7:30 pm Alex Norris Zankel Hall 9 pm $45-53 • /Theo Bleckmann Cornelia Street Café 9, 10:30 pm $10 • Kyle Moffatt Trio with Max Marshall, Josh Roberts; Alex Goodman Trio with • Chick Corea’s Leprechaun Band with Gayle Moran Corea, Steve Wilson, • Jill McCarron/Chris Haney Knickerbocker Bar and Grill 9:45 pm $3.50 Orlando Le Fleming, Adam Arruda Bar Next Door 6:30, 8:30, 10:30 pm $12 Michael Rodriguez, Steve Davis, Eddie Gomez, Steve Gadd êCharlie Haden’s Liberation Music Orchestra conducted by Carla Bley with Tony Malaby, • Chad Lefkowitz-Brown Quintet The Roxy Hotel Upstairs 7 pm Blue Note 8, 10:30 pm $85 Chet Doxas, Loren Stillman, Dave Smith, Seneca Black, Curtis Fowlkes, • Hiroko Kanna Trio Tomi Jazz 8 pm êRalph Peterson and Aggregate Prime with Gary Thomas, Vijay Iyer, Kenny Davis, Vincent Chancey, Joseph Daley, Steve Cardenas, Scott Colley, Matt Wilson • Nick Myers Quartet Cavatappo Grill 8, 10 pm $8 Mark Whitfield Dizzy’s Club 7:30, 9:30 pm $45 Jazz Standard 7:30, 9:30 pm $35 • Ken Ychicawa Shrine 7 pm • Mark Meadows Dizzy’s Club 11:30 pm $10 êRenee Rosnes Quartet with Steve Nelson, Peter Washington, Lenny White êJ.D. Parran Rendall Memorial Presbyterian Church 12 pm $15 êBob Stewart Rendall Memorial Presbyterian Church 7 pm $15 Village Vanguard 8:30, 10:30 pm $30 êJack Wilkins Trio with Andy McKee, Mike Clark • Ann Hampton Callaway Birdland 8:30, 11 pm $40 Bar Next Door 7:30, 9:30, 11:30 pm $12 • B.J. Jansen Group Silvana 6 pm Wednesday, November 2 • The Brazilian Trio: Helio Alves, Nilson Matta, Duduka Da Fonseca • Rocco John Quartet Caffe Vivaldi 6 pm Jazz at Kitano 8, 10 pm $32 êSlavic Soul Party! Brooklyn Museum of Art 5 pm êJazz For America’s Future Hillary Clinton Benefit: Gary Bartz, Joe Lovano, êJeremy Pelt Quintet with Victor Gould, Vicente Archer, Jonathan Barber, • Family Concert—Who is Count Basie?: Jazz at Lincoln Center Orchestra with Cécile McLorin Salvant, Kurt Rosenwinkel, Kenny Barron, Terri Lyne Carrington, Jacqueline Acevedo Smoke 7, 9, 10:30 pm $38 Wynton Marsalis Rose Theater 1, 3 pm $20-35 Henry Butler, Nicholas Payton, Somi, Jeff “Tain” Watts, Bob Hurst, Claudia Acuña, • Jaleel Shaw Quartet with James Francies, Linda Oh, Justin Brown • Ai Murakami Quartet Blank Café & Bistro 1 pm Aaron Goldberg Symphony Space Peter Jay Sharp Theatre 7 pm $100 The Jazz Gallery 7:30, 9:30 pm $25 êChick Corea’s Three Quartets with Ben Solomon, Eddie Gomez, Steve Gadd • Billy Drummond with Adam Birnbaum, Dezron Douglas Blue Note 8, 10:30 pm $85 Mezzrow 8 pm $20 Sunday, November 6 êReuben Wilson Trio with John DeFrancesco, Glenn Ferricone • Behn Gillece Group; Scott Wendholt/Adam Kolker Quartet with Ed Howard, Smoke 7, 9, 10:30 pm $15 Victor Lewis; Corey Wallace Smalls 7:30, 10:30 pm 1 am $20 • Richard Sussman’s The Evolution Suite with Scott Wendholt, Rich Perry, • Chris Pattishall’s Fictions—Borges in Tango with Alphonso Horne, Patrick Bartley, • La Descarga; Jared Gold/Dave Gibson; Ken Fowser Mike Richmond, Anthony Pinciotti, Sirius String Quartet: Fung Chern Hwei, Benjamin Sutin, David Moss, Sam Reider, Alex Wintz, Marty Jaffe Fat Cat 6, 10:30 pm 1:30 am Gregor Huebner, Ron Lawrence, Jeremy Harman and guest Zach Brock Dizzy’s Club 7:30, 9:30 pm $35 êYuka C. Honda, Susie Ibarra and guest Greenwich House Music School 8 pm $20 • Mark Meadows Dizzy’s Club 11:30 pm $5 The Stone 8, 10 pm $20 • Joan Belgrave Group with T.K. Blue, Greg Glassman Sharp Radway, Endea Owens, • DreamTime Ensemble: Jennifer Choi, Jake Landau, Jean-Luc Sinclair, Susie Ibarra êTomas Fujiwara, Tomeka Reid, Lisa Mezzacappa Sanah Kadourah Metropolitan Room 7 pm $24 The Stone 8, 10 pm $20 Ibeam Brooklyn 8:30 pm $15 • Larry Carlton B.B. King’s Blues Bar 8 pm $45 • Nancy Marano Quartet with Joel Frahm, John di Martino, Steve LaSpina • Ben Monder/Theo Bleckmann Cornelia Street Café 9, 10:30 pm $10 êWilliam Hooker solo Zürcher Gallery 6:30 pm $15 Jazz at Kitano 8, 10 pm $17 • Carlos Henríquez Bronx Pyramid Sextet êLisa Mezzacappa/; Jack Wright solo • /Russ Lossing Mezzrow 8 pm $20 Bronx Museum of the Arts 7:30 pm Downtown Music Gallery 6, 7 pm • Hailey Niswanger Quartet with Victor Gould, Joshua Crumbly, Jonathan Pinson; êOded Lev-Ari Group with Jeremy Udden, Nadje Noordhuis, Rubin Kodheli, • Tad Shull with Rob Schneiderman, Paul Gill Sanah Kadoura Smalls 10:30 pm 1 am $20 James Shipp, Jesse Lewis, Matt Aronoff, Anthony Pinciotti Mezzrow 8 pm $20 • Will Terrill Quintet; Groover Trio; Ned Goold Jam Greenwich House Music School 8 pm $18 • Ai Murakami Trio with Sacha Perry; Saul Rubin Zebtet with Josh Evans, Fat Cat 7, 9 pm 12:30 am • Jill McCarron/Chris Haney Knickerbocker Bar and Grill 9:45 pm $3.50 Lummie Spann, Stacy Dillard, , Jonathan Michel, Brandon Lewis; • The Delegation: Gabriel Zucker, Adam O’Farrill, Eric Trudel, Anna Webber, • Alan Ferber Group Neighborhood Church of 8, 9:30 pm Bruce Harris Group; Hillel Salem Smalls 4:30, 7:30, 10:30 pm 1 am $20 Artemisz Polonyi, Bam Bam Rodriguez, Gabriel Globus-Hoenich; Tony Malaby, • Los Aliens: Ricardo Gallo, Sebastian Cruz, Andrés Jiménez, Victor Murillo • Terry Waldo’s Gotham City Band; Jade Synstelien’s Fat Cat Big Band; Ben Gerstein, Billy Mintz ShapeShifter Lab 8:15, 9:30 pm $10 Nublu 10 pm $10 Brandon Lewis/Renee Cruz Jam Fat Cat 6, 8:30 pm 1:30 am • Cynthia Soriano Quartet An Beal Bocht Café 8, 9:30 pm $15 • Kenji Herbert The Way The Light Falls with Maeve Gilchrist, Alex Hargreaves and • Anouman: Peter Sparacino, Koran Agan, Josh Kaye, Eduardo Belo • Dave Ambrosio Trio with Loren Stillman, ; Christof Knoche/Karl Berger; guests ShapeShifter Lab 7 pm $15 Cornelia Street Café 8:30, 10 pm $10 Charlie Waters Action Trio with François Grillot, Jeremy Carlstedt • Ken Fowser Quartet; Chris Norton The Django at The Roxy Hotel 7:30, 10:30 pm • Dor Heled/Micha Gilad The Drawing Room 7 pm $15 Threes Brewing 8 pm • Maria Guida with Ray Gallon, Essiet Essiet, Tony Moreno • Giuseppe De Gregorio and the NYC Gospel Jazz Syndicate • Caili Doughery/Caroline Davis Quartet with Cory Cox; Marko Churnchetz Trio with Metropolitan Room 7 pm $20 Club Bonafide 7 pm $10 Ricky Rodriguez, Justin Brown Cornelia Street Café 8, 9:30 pm $10 • Kosi Rockwood Music Hall Stage 3 7 pm $10 • Luke Marantz Trio; Carmen Staaf/Michael Mayo • Liz Menezes Band Club Bonafide 7:30 pm $10 • Bright Red Dog: Joe Pignato, Palemen, MC Cully, Zak Westbrook, Mike Kemmlein, The Owl Music Parlor 7:30 pm • Conal Fowkes Trio The Django at The Roxy Hotel 10 pm Anthony Berman Spectrum 9 pm $10 • Tulio Araujo Williamsburg Music Center 9 pm $10 • Setsuko Kida Trio Tomi Jazz 8 pm • Gregorio Uribe Big Band Ginny’s Supper Club 7:30, 9:30 pm $20 • Alan Fogelsanger The Firehouse Space 8 pm $10 êRenee Rosnes Quartet with Steve Nelson, Peter Washington, Lenny White • King Solomon Hicks Minton’s 7, 9:30 pm • Sein Oh Trio Tomi Jazz 8 pm Village Vanguard 8:30, 10:30 pm $30 • Manhattan School of Music Afro-Cuban Jazz Orchestra directed by Bobby Sanabria • Shrine Big Band Shrine 8 pm • Ann Hampton Callaway Birdland 8:30, 11 pm $40 MSM Neidorff-Karpati Hall 7:30 pm • Chick Corea’s Leprechaun Band with Gayle Moran Corea, Steve Wilson, • Luciana Souza Trio with Romero Lubambo, Cyro Baptista • Craig Brann Trio Tomi Jazz 9 pm $10 Michael Rodriguez, Steve Davis, Eddie Gomez, Steve Gadd Jazz Standard 7:30, 9:30 pm $30 • Michika Fukumori Trio Cleopatra’s Needle 8 pm Blue Note 8, 10:30 pm $85 • Alix Paul Silvana 6 pm êCharlie Haden’s Liberation Music Orchestra conducted by Carla Bley with Tony Malaby, êRalph Peterson and Aggregate Prime with Gary Thomas, Vijay Iyer, Kenny Davis, • Rodrigo Bonelli Shrine 6 pm Chet Doxas, Loren Stillman, Dave Smith, Seneca Black, Curtis Fowlkes, Mark Whitfield Dizzy’s Club 7:30, 9:30 pm $35 • Howard Williams Orchestra Saint Peter’s 1 pm $10 Vincent Chancey, Joseph Daley, Steve Cardenas, Scott Colley, Matt Wilson êJeremy Pelt Quintet with Victor Gould, Vicente Archer, Jonathan Barber, Jazz Standard 7:30, 9:30 pm $35 Jacqueline Acevedo Smoke 7, 9, 10:30 pm $38 êRenee Rosnes Quartet with Steve Nelson, Peter Washington, Lenny White êCharlie Haden’s Liberation Music Orchestra conducted by Carla Bley with Tony Malaby, Thursday, November 3 Village Vanguard 8:30, 10:30 pm $30 Chet Doxas, Loren Stillman, Dave Smith, Seneca Black, Curtis Fowlkes, • Ann Hampton Callaway Birdland 8:30, 11 pm $40 Vincent Chancey, Joseph Daley, Steve Cardenas, Scott Colley, Matt Wilson êCharlie Haden’s Liberation Music Orchestra conducted by Carla Bley with Tony Malaby, • Diana Wayburn Trio with Edith Lettner, Spencer Hale Jazz Standard 7:30, 9:30 pm $35 Chet Doxas, Loren Stillman, Michael Rodriguez, Seneca Black, Curtis Fowlkes, Parkside Lounge 6 pm êRenee Rosnes Quartet with Steve Nelson, Peter Washington, Lenny White Vincent Chancey, Joseph Daley, Steve Cardenas, Scott Colley, Matt Wilson • Eric Francis Quinn Octet Shrine 6 pm Village Vanguard 8:30, 10:30 pm $30 Jazz Standard 7:30, 9:30 pm $35 • Katie Thiroux Quartet with , Justin Kauflin, Matt Witek êPapo Vazquez Mighty Pirates Troubadours with Willie Williams, Rick Germanson, Birdland 6 pm $25 Dezron Douglas, Alvester Garnett, Carlos Maldonado, Gabo Lugo Saturday, November 5 • Ike Sturm + Evergreen Saint Peter’s 5 pm Dizzy’s Club 7:30, 9:30 pm $35 êMichel Gentile solo 440Gallery 4:40 pm $10 • Mark Meadows Dizzy’s Club 11:30 pm $10 êCreative Music Studio 2.0 Presents In the Spirit of Don Cherry: CMS Improvisers Octet • Dave Pietro NYU Ensemble Blue Note 11:30 am 1:30 pm $35 • with Ben Wolfe, Donald Edwards led by Karl Berger with , Steven Bernstein, Peter Apfelbaum, Ingrid Sertso, Mezzrow 8 pm $20 Graham Haynes, Adam Lane, Tani Tabbal êHenry Butler Bar Lunàtico 8:30, 10 pm $10 Greenwich House Music School 8:30 pm $20 Monday, November 7 êLean: Simon Jermyn, Allison Miller, Jerome Sabbagh; Foreign Hues êThe Jazz Passengers Bar Lunàtico 8:30, 10 pm $10 ShapeShifter Lab 8:15, 9:30 pm $10 êBirdman Live with Antonio Sanchez êDizzy Gillespie All Stars Blue Note 8, 10:30 pm $35 êWe Float: Mirah/Susie Ibarra; Brian Chase/Susie Ibarra National Sawdust 7, 10 pm $55 êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 The Stone 8, 10 pm $20 • Madeleine Peyroux with Jon Herington, Barak Mori • The Berklee All-Star Quintet Dizzy’s Club 7:30, 9:30 pm $35 • Michika Fukumori Trio with Aidan O’Donnell, Rodney Green Zankel Hall 10 pm • Glenn Zaleski/Yotam Silberstein Mezzrow 8 pm $20 Jazz at Kitano 8, 10 pm $17 êPaolo Javier/Susie Ibarra; Susie Ibarra solo • Andrew Gould Quartet with Steven Feifke, Marco Panascia, Jake Goldbas; êAnna Webber’s Simple Trio with Matt Mitchell, John Hollenbeck The Stone 8, 10 pm $20 Ari Hoenig Octet with Noam Wiesenberg, Glenn Zaleski, Joel Frahm, Dave Pietro, Greenwich House Music School 8 pm $15 • Nate Wooley/; Dre Hocevar Surface of Inscription with Michael Foster, , Tim Gallagher, Darren Barrett; Jeremy Dutton • Theo Bleckmann’s All Souls in the Dark with Shai Maestro Weston Olencki, Charmaine Lee, Elias Stemeseder, Bernardo Barros Smalls 7:30, 10:30 pm 1 am $20 National Sawdust 7 pm $45-65 Ibeam Brooklyn 8 pm $15 • Amit Chaterjee; Sextet; Billy Kaye Jam • Dayna Stephens/Patrick Bartley Group with Gadi Lehavi, Ben Street, Johnathan Blake êRevolutionary Snake Ensemble: Ken Field, Matt Darriau, Dave Harris, Phil Neighbors, Fat Cat 6, 9 pm 12:30 am SEEDS 8 pm $15 Blake Newman, Jerry Sabatini Barbès 8 pm $10 • Tyler Blanton’s Horny Electric Band with Chet Doxas, Jay Jennings, Massimo Biolcati, • David Gibson Quintet; Ian Hendrickson-Smith êLisa Mezzacappa Quartet with Jonathan Moritz, Chris Welcome, Jeff Davis; Corey Rawls Bar Lunàtico 8:30, 10 pm $10 The Django at The Roxy Hotel 7:30, 10 pm Daniel Carter, Anders Nilsson, Jochem Van Dijk, Jeremy Carlstedt; Colin Fisher Group • Paul Jubong Lee Trio with Daniel Durst, Zan Tetickovic; Valentina Marino Trio with • Nick Hempton Band; Sarah Slonim with Jaimie Branch, Carl Testa, Nitzan Gavrieli, Cameron Brown Bar Next Door 6:30, 8:30, 10:30 pm $12 Smalls 10:30 pm 1 am $20 New Revolution Arts 8 pm • Stacey Haughton and Trio with Danny Daleilo, Hilliard Greene, Willie Martinez • Matt Parker Trio; Saul Rubin Zebtet; Paul Nowinski • Charles Blenzig Fmlytre Orkistra with Le’Asha Julius, Caleb Eberhardt, Zack Berns, For My Sweet Restaurant 8, 10 pm $10 Fat Cat 7, 10 pm 1:30 am Dom Missana, Juno Arreglado, Andrew LaRoche, Stu Pender, Kenny Warren, • Yako Eicher Trio Tomi Jazz 8 pm • Desmond White Quartet with Nir Felder, Glenn Zaleski, Guilhem Flouzat and guests Keefe Martin, Natty Ranson, Mike Troy, Jaedon Alvira, Ben Chapoteau-Katkz and guests • Lara Vizuete; Daniel Juárez Quintet The Jazz Gallery 7:30, 9:30 pm $15 Stacey Dillard, Nicole Davis, Rich Boomzer Silvana 6, 8 pm ShapeShifter Lab 8 pm $15 • Jon Menges Quartet Shrine 6 pm

34 NOVEMBER 2016 | THE NEW YORK CITY JAZZ RECORD Tuesday, November 8 • Month of Sundays: Alexander Kranabetter, Philipp Harnisch, Ivo Fina, • Charenee Wade Ginny’s Supper Club 7:30, 9:30 pm $15 Johannes Wakolbinger Austrian Cultural Forum 7:30 pm êFay Victor’s In Praise of Ornette with Darius Jones, Kenny Wessel, Sean Conly êHarold Mabern Trio with John Webber, Joe Farnsworth • Magos Herrera with Sam Minaie, Alex Kautz and guests Chico Pinheiro, Greenwich House Music School 8 pm $15 Village Vanguard 8:30, 10:30 pm $30 Melyssa Stylianou Joe’s Pub 7:30 pm $20 • Luke Hendon Quartet with Zach Brock, Ben Rubens, Josh Kaye êTed Nash Big Band’s The Presidential Suite with Sherman Irby, Charles Pillow, • Group; Jaimie Branch Group; Marc Evans/Colin Fischer Duo The Culture Center 7 pm Dan Block, Ben Kono, Paul Nedzela, Greg Gisbert, Kenny Rampton, Marcus Printup, Manhattan Inn 10 pm $10 • Matt Kane Trio with Steve Cardenas, Ben Allison Alphonso Horn, Vincent Gardner, Elliot Mason, Chris Crenshaw, Dan Nimmer, • Flavio Silva Trio with Alex Apolo Ayala, Jonathan Pinson; Kevin Clark Trio with Bar Next Door 7:30, 9:30, 11:30 pm $12 Carlos Henriquez, Ali Jackson and guests Jeff Reed, Sylvia Cuenca Bar Next Door 6:30, 8:30, 10:30 pm $12 • Seiki Yukimoto Sextet with Andrew Lam, Gerry Eastman, Michael Raye, Jazz Standard 7:30, 9:30 pm $30 • John McLean Quartet with Alex Coke, Paul Bollenback, Ed Howard Craig Holiday Haynes Williamsburg Music Center 8 pm $10 • Tierney Sutton Band with Christian Jacob, Trey Henry, Kevin Axt, Ray Brinker Cornelia Street Café 8, 9:30 pm $10 • Carlos Abadie Quintet; Chino Pons Birdland 8:30, 11 pm $40 • Patrick Bartley Sextet with Xavier Del Castillo, Gabe Schnider, Mathis Picard, The Django at The Roxy Hotel 7:30, 10:30 pm • Quartet with Tom Oren, Tamir Shmerling, Eviatar Slivn Marty Jaffe, Even Sherman The Jazz Gallery 7:30, 9:30 pm $15 • Project Grand Slam Groove 8 pm Dizzy’s Club 7:30, 9:30 pm $30 • Bruce Cox Williamsburg Music Center 9 pm $10 • Katini Yamaoka Metropolis 7 pm • Jonathan Beshay Dizzy’s Club 11:30 pm $5 • Hashem Assadullahi’s Safety Buffalo • Standard Procedures; Candice Reyes êMarty Ehrlich solo The Stone 8, 10 pm $20 Rockwood Music Hall Stage 3 10 pm $10 Tomi Jazz 8, 11 pm $10 • Santi Debriano Group NYC Baha’i Center 8 pm $15 • Dayeon Seok Group with Christian Li, Keisuke Matsuno, Lim Yang • Chick Corea’s Flamenco Heart with Jorge Pardo, Niño Josele, Carles Benevant, • Pedrito Martinez Group Subrosa 7, 9 pm $15 ShapeShifter Lab 7 pm $10 Tom Brechtlein, Luisito Quintero Blue Note 8, 10:30 pm $85 êJames Carney Quartet with Ravi Coltrane, Dezron Douglas, Mark Ferber; • Josh Levinson Septet with Kevin Kanner, Dustin Kiselbach, Jeb Patton, Sam Dillon, êMarcus Gilmore The Jazz Gallery 7:30, 9:30 pm $22 The Towering Poppies: Jasmine Lovell-Smith, Josh Sinton, Cat Toren, Adam Hopkins, Caleb Curtis, David Gibson Club Bonafide 9:30 pm $10 • Aaron Goldberg with Yasushi Nakamura, Kate Gentile Korzo 9, 10:30 pm • Tish Rabe and Friends Metropolitan Room 7 pm $10 Mezzrow 8 pm $20 • Michael Sarian and The Big Chabones with Jim Piela, Ethan Helm, Evan Francis, • Minerals: Zach Layton, Ian Riggs, Bradford Reed • Andy Farber Sextet; Walt Weiskopf Quartet with Peter Zak, Ugonna Okegwo, Ricky Alexander, Owen Broder, Jon Challoner, Paul Tafoya, Andy Warren, The Firehouse Space 8 pm $10 Jason Tiemann; Philip Harper Quintet Jesus Viramontes, Elad Cohen, David Banker, Alix Tucou, Michael Verselli, • Chris Norton The Django at The Roxy Hotel 10 pm Smalls 7:30, 10:30 pm 1 am $20 Trevor Brown, Josh Bailey; Vuyo Sotashe Band • Ittetsu Nasuda Trio Tomi Jazz 9 pm $10 • Battle of the Big Bands: Sammy Miller and the Congregation Big Band and Club Bonafide 7:30, 9:30 pm $10 • Alan Rosenthal Duo Cleopatra’s Needle 7 pm Evan Sherman Big Band The Appel Room 7, 9:30 pm $70-90 • Evan Christopher/Ehud Asherie Mezzrow 8 pm $20 êChick Corea’s Experiments In Electronica with Marcus Gilmore, Taylor McFerrin, • Victor Goines Quartet with Jo Ann Daugherty, Emma Dayhuff, Greg Artry • Spike Wilner Trio; Jon Beshay Smalls 7:30 pm 1 am $20 Yosvany Terry Blue Note 8, 10:30 pm $85 Smoke 7, 9, 10:30 pm $38 • Saul Rubin Zebtet; Peter Brainin Latin Jazz Workshop; Pablo Bencid • Chris Washburne SYOTOS with John Walsh, , Leo Traversa, • Alexis Cole/David Finck Knickerbocker Bar and Grill 9:45 pm $3.50 Fat Cat 7, 9 pm 12:30 am Vince Cherico, Oreste Abrantes Smoke 7, 9, 10:30 pm $15 êEllis Marsalis Quintet with Derek Douget, Ashlin Parker, Jason Stewart, • David Kuhn Trio with Daniel Durst, Mario Irigoyen; Rotem Sivan Trio with êHarold Mabern Trio with John Webber, Joe Farnsworth Stephen Gordon Dizzy’s Club 7:30, 9:30 pm $45 Haggai Cohen-Milo, Colin Stranahan Village Vanguard 8:30, 10:30 pm $30 • Jonathan Beshay Dizzy’s Club 11:30 pm $20 Bar Next Door 6:30, 8:30, 10:30 pm $12 • Diaz Mussalimov Quartet with Onaje Allan Gumbs, Lou Volpe, Amanda Holley êHouston Person Quartet with John di Martino, Matthew Parris, Chip White • Chad Lefkowitz-Brown Quintet The Roxy Hotel Upstairs 7 pm Birdland 6 pm $25 Jazz Standard 7:30, 9:30 pm $30 • Kokichi Yanagisawa Duo; Nicholas Brust Duo • Tierney Sutton Band with Christian Jacob, Trey Henry, Kevin Axt, Ray Brinker êHarold Mabern Trio with John Webber, Joe Farnsworth Tomi Jazz 8, 11 pm Birdland 8:30, 11 pm $40 Village Vanguard 8:30, 10:30 pm $30 êDizzy Gillespie All Stars Blue Note 8, 10:30 pm $35 • Scott Reeves/Jay Brandford TentetSilvana 6 pm • Tierney Sutton Band with Christian Jacob, Trey Henry, Kevin Axt, Ray Brinker • Hilary Lankford Silvana 6 pm • Karlijn Roex/Jamir Diaz Shrine 6 pm Birdland 8:30, 11 pm $40 • Bruce Williams Rendall Memorial Presbyterian Church 12 pm $15 • Underground Horns Radegast Hall 3 pm Friday, November 11 Wednesday, November 9 Sunday, November 13 • Chick Corea’s Flamenco Heart with Jorge Pardo, Niño Josele, Carles Benevant, êLouis Armstrong House Museum 2016 Gala with Catherine Russell Septet Tom Brechtlein, Luisito Quintero Blue Note 8, 10:30 pm $85 êConnie Crothers Memorial: Michael Bisio, Daniel Carter, Jay Clayton, Capitale 6:30 pm êDuende Winds: Marty Ehrlich, Nicole Mitchell, Sara Schoenbeck, Tomeka Reid; , Virg Dzurinko, Ken Filiano, Kazzrie Jaxen, Carol Liebowitz, êChick Corea’s Experiments In Electronica with Marcus Gilmore, Taylor McFerrin, Trio Exaltation: Marty Ehrlich, , Tomas Fujiwara and guest Deborah Masters, Nick Lyons, Kevin Norton, Yuko Otomo, Patricia Nicholson Parker, Yosvany Terry Blue Note 8, 10:30 pm $85 The Stone 8, 10 pm $20 Cheryl Richards, Jeff Schlanger, Warren Smith, , Richard Tabnik, êMarty Ehrlich/Matan Rubenstein; Duende Strings: Marty Ehrlich, Mark Feldman, êMario Pavone Mixed Quintet with Tony Malaby, Dave Ballou, Oscar Noriega, Mark Weber, Andrea Wolper Roulette 4:30 pm , The Stone 8, 10 pm $20 Peter McEachern, Michael Sarin Cornelia Street Café 9, 10:30 pm $10 êMEV 50th Anniversary: Richard Teitelbaum, Frederic Rzewksi, Alvin Curran • Peter Bernstein/Doug Weiss Mezzrow 8 pm $20 • Winard Harper Ginny’s Supper Club 7:30, 9:30 pm $15 National Sawdust 6 pm $40 • Dan Blake’s The Digging with Dave Liebman, Dmitry Ishenko, Pheeroan akLaff; êMarcus Gilmore The Jazz Gallery 7:30, 9:30 pm $22 êShards And Splinters: Marty Ehrlich, Fay Victor, Angelica Sanchez, Kate Gentile; Aaron Seeber Smalls 7:30 pm 1 am $20 • Aaron Goldberg with Yasushi Nakamura, Leon Parker ’s Bagatelles: Marty Ehrlich, Michael Formanek, Ben Perowsky • Raphael D’lugoff Trio +1; Harold Mabern Trio; Ned Goold Jam Mezzrow 8 pm $20 The Stone 8, 10 pm $20 Fat Cat 7, 9 pm 12:30 am • Walt Weiskopf Quartet with Peter Zak, Ugonna Okegwo, Jason Tiemann • Patrick Cornelius Octet with Philip Dizack, Lucas Pino, Nick Vayenas, Perry Smith, • Zeena Parkins solo and Green Dome with Ryan Ross Smith, Ryan Sawyer Smalls 10:30 pm $20 Glenn Zaleski, Peter Slavov, Paul Wiltgen Roulette 8 pm $20 • Richard Padron Sextet; Ray GallonFat Cat 10:30 pm 1:30 am Cornelia Street Café 8:30, 10 pm $10 êLuis Bonilla’s I Talking, Too! Jazz Orchestra with Nick Marcionne, John Walsh, • Battle of the Big Bands: Sammy Miller and the Congregation Big Band and • Dromedaries: Keir Neuringer, Shayna Dulberger, Julius Masri; Colin Fisher, Oskar Stenmark, Michael Rodriguez, Jason Jackson, Luke Malwicz, John Yao, Evan Sherman Big Band The Appel Room 7, 9:30 pm $70-90 Daniel Carter, Brandon Lopez, Marc Edwards Frank Cohen, Billy Drewes, Steve Wilson, Ivan Renta, Dick Oatts, Lauren Sevian, • Nicole Henry with David Cook, Rob Jost, Paul Wells, Grace Kelly, Jean Caze Legion 8 pm $15 Bruce Barth, Andy McKee, John Riley, Roberto Quintero and guests Terell Stafford, Joe’s Pub 9:30 pm $30 • Santiago Leibson Trio; Zack O’Farrill Group Steven Bernstein Dizzy’s Club 7:30, 9:30 pm $35 • Lucas Pino Trio with Or Bareket, Aaron Kimmel Williamsburg Music Center 9, 10:15 pm $10 • Jonathan Beshay Dizzy’s Club 11:30 pm $5 Bar Next Door 7:30, 9:30, 11:30 pm $12 • Ai Murakami Trio with Sacha Perry; Hillel Salem • Chuck Redd/Mike LeDonne Jazz at Kitano 8, 10 pm $17 • Sean Noonan’s Memorable Sticks with Alex Marcelo, Peter Bitenc Smalls 4:30 pm 1 am $20 • Danny Fox Trio with Chris van Voorst van Beest, Max Goldman; Barbès 8 pm $10 • Terry Waldo’s Gotham City Band; Ark Ovrutski; Brandon Lewis/Renee Cruz Jam Vinnie Sperrazza Group; Moppa Elliott’s Advancing on a Wild Pitch with • Jorge Sylvester Rendall Memorial Presbyterian Church 7 pm $15 Fat Cat 6, 8:30 pm 1:30 am Charles Evans, Sam Kulik, Danny Fox, Christian Coleman • Victor Goines Quartet with Jo Ann Daugherty, Emma Dayhuff, Greg Artry • Alex Simon’s Gypsy Swing Ensemble ShapeShifter Lab 7:30, 8:30, 9:30 pm $10 Smoke 7, 9, 10:30 pm $38 Radegast Hall 7 pm • Chris Washburne SYOTOS with John Walsh, Ole Mathisen, Leo Traversa, • Jesse Lewis/Ike Sturm Duo; The Awakening Orchestra: Kyle Saulnier, Andrew Gould, • The Highliners Tomi Jazz 8 pm Vince Cherico, Oreste Abrantes Smoke 7, 9, 10:30 pm $15 Vito Chiavuzzo, Samuel Ryder, Andrew Gutauskas, Carl Maraghi, Daniel Urness, • Chick Corea’s Flamenco Heart with Jorge Pardo, Niño Josele, Carles Benevant, • Ken Thomson’s Restless Le Poisson Rouge 7 pm $20-30 Seneca Black, Nadje Noordhuis, Jonathan Powell, Michael Boscarino, Tom Brechtlein, Luisito Quintero Blue Note 8, 10:30 pm $85 • Lena Bloch’s Feathery with Russ Lossing, Cameron Brown, Billy Mintz Matthew Musselman, Nick Finzer, Max Siegel, Julie Hardy, Seth Fruiterman, • Victor Goines Quartet with Jo Ann Daugherty, Emma Dayhuff, Greg Artry Ibeam Brooklyn 8:30 pm $10 Michael MacAllister, Adam Kotler, Nick Dunston, Jared Schonig, James Shipp; Smoke 7, 9, 10:30 pm $38 • Duke Ellington & Billy Strayhorn—A Spoken Word-Musical Tribute: Kirpal Gordon, Makrokosmos Orchestra: Christine Correa, Michel Gentile, Adam Kolker, Tim O’Dell, êEllis Marsalis Quintet with Derek Douget, Ashlin Parker, Jason Stewart, Amanda Monaco and The Speak-Spake-Spoke Band with Claire Daly, Arthur Kell, Alan Brady, Marshall Sealy, John Carlson, Jacob Varmus, David Chamberlain, Stephen Gordon Dizzy’s Club 7:30, 9:30 pm $35 Warren Smith Cornelia Street Café 6 pm $20 Dale Turk, John Deley, Richard Nelson, Ken Filiano, Rex Benincasa, Eric Halvorson êHouston Person Quartet with John di Martino, Matthew Parris, Chip White • Or Bareket Quartet with Shachar Elnatan, Gadi Lehavi, Jeremy Dutton ShapeShifter Lab 7, 8, 9:30 pm $10 Jazz Standard 7:30, 9:30 pm $30 Cornelia Street Café 8, 9:30 pm $10 • Assaf Kehati Quartet with Rich Perry, Myles Sloniker, Peter Traunmueller êHarold Mabern Trio with John Webber, Joe Farnsworth • Stacey and Alan Schulman; Anthony Joseph/Zane Rodulfo Caribbean Roots Project Jazz at Kitano 8, 10 pm $32 Village Vanguard 8:30, 10:30 pm $30 Club Bonafide 7:30, 9:30 pm $10 • Alexis Cole/David Finck Knickerbocker Bar and Grill 9:45 pm $3.50 • David Aaron/Dave Gould Downtown Music Gallery 6, 7 pm • Tsuyoshi Yamamoto Trio Tomi Jazz 8 pm êMiles Ahead—Arrangements by Gil Evans: Manhattan School of Music Jazz Orchestra • Aaron Goldberg/Terrell Stafford All Souls Church 5 pm êHarold Mabern Trio with John Webber, Joe Farnsworth with guest Dave Liebman MSM Neidorff-Karpati Hall 7:30 pm • Melissa Stylianou Saint Peter’s 5 pm Village Vanguard 8:30, 10:30 pm $30 • Dave Soldier/Jonathan Kane The Firehouse Space 8 pm $10 êJohn Zorn, Christian McBride, êTed Nash Big Band’s The Presidential Suite with Sherman Irby, Charles Pillow, • Ken Fowser Quartet The Django at The Roxy Hotel 7:30 pm Village Vanguard 3 pm $30 Dan Block, Ben Kono, Paul Nedzela, Greg Gisbert, Kenny Rampton, Marcus Printup, • Devin Bing and the Secret Service; Enoch Smith, Jr • Erika Matsuo Sextet with Jorge Continentino, Helio Alves, Juancho Herrera, Alphonso Horn, Vincent Gardner, Elliot Mason, Chris Crenshaw, Dan Nimmer, Club Bonafide 7:30, 9:30 pm $10 Ben Zwerin, Franco Pinna Blue Note 11:30 am 1:30 pm $35 Carlos Henriquez, Ali Jackson and guests • Vuyo Sotashe and Bonomo The Cave at St. George’s 7:30, 9:30 pm $15 • Melissa Stylianou Trio North Square Lounge 12:30, 2 pm Jazz Standard 7:30, 9:30 pm $30 • Rale Micic Duo Symphony Space Bar Thalia 9 pm • Tierney Sutton Band with Christian Jacob, Trey Henry, Kevin Axt, Ray Brinker • Takenori Nishiuchi Tomi Jazz 9 pm $10 Birdland 8:30, 11 pm $40 • Rudi Mwongozi Trio Cleopatra’s Needle 8 pm Monday, November 14 • Alan Kwan Silvana 6 pm • Dana Reedy Silvana 7 pm • Joyce Breach/Jon Weber Saint Peter’s 1 pm $10 êEllis Marsalis Quintet with Derek Douget, Ashlin Parker, Jason Stewart, êMcCoy Tyner Quartet with Gary Bartz, Gerald Cannon, Joe Farnsworth Stephen Gordon Dizzy’s Club 7:30, 9:30 pm $45 Blue Note 8, 10:30 pm $45 • Jonathan Beshay Dizzy’s Club 11:30 pm $10 • Mick Barr and Judith Berkson Roulette 8 pm $20 Thursday, November 10 êHouston Person Quartet with John di Martino, Matthew Parris, Chip White • A Portrait of Ray with Dwayne Clark, Don Braden Jazz Standard 7:30, 9:30 pm $30 Symphony Space Leonard Nimoy Thalia 7 pm $35 êEllis Marsalis Quintet with Derek Douget, Ashlin Parker, Jason Stewart, êHarold Mabern Trio with John Webber, Joe Farnsworth • Tim Green Quartet with Allyn Johnson, Matt Clohesy, Billy Williams Stephen Gordon Dizzy’s Club 7:30, 9:30 pm $40 Village Vanguard 8:30, 10:30 pm $30 Dizzy’s Club 7:30, 9:30 pm $35 • Jonathan Beshay Dizzy’s Club 11:30 pm $10 • Tierney Sutton Band with Christian Jacob, Trey Henry, Kevin Axt, Ray Brinker êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 êHouston Person Quartet with John di Martino, Matthew Parris, Chip White Birdland 8:30, 11 pm $40 • Robby Ameen Days in The Night Band with Bob Franceschini, Manuel Valera, Jazz Standard 7:30, 9:30 pm $30 • Clifford Cameron Shrine 6 pm Yunior Terry Subrosa 8, 10 pm $15 êThe Music Of The Andrew Hill Sextet: Marty Ehrlich, Ron Horton, Mark Mommaas, êRyan Blotnick’s KUSH with Michael Blake, Jonny Lam, Scott Colberg, RJ Miller Frank Kimbrough, Dean Johnson, Tim Horner Rockwood Music Hall Stage 1 10 pm $10 The Stone 8, 10 pm $20 Saturday, November 12 • Adam Nussbaum’s Lead Belly Project with Steve Cardenas, Nate Radley, Ohad Talmor êPlucky Strum: /Sheryl Bailey Bar Lunàtico 8:30, 10 pm $10 Mezzrow 8 pm $20 êRemembering : Frank Kimbrough, Jay Anderson, Andrew Wangemann • Fleurine Mezzrow 7 pm $20 • Will Bernard Quartet with Kenny Brooks, Matt Pavolka, Mark Ferber; JC Stylles Quartet; and guests Harvie S, Martin Wind, Phil Palombi • Russ Nolan Quartet with Mike Eckroth, Daniel Foose, Brian Fishler; Ari Hoenig Trio with Joel Ross Smalls 7:30, 10:30 pm 1 am $20 Jazz at Kitano 8, 10 pm $32 Eduardo Belo, Chico Pinheiro; Jonathan Michel • Greg Glassman Quintet; Avi Rothbard êMarty Ehrlich Sextet with , Ray Anderson, James Weidman, Smalls 7:30, 10:30 pm 1 am $20 Fat Cat 7 pm 1:30 am Mike Formanek, Ben Perowsky; duO dUo Duo: Marty Ehrlich, , • Ned Goold Quartet; Billy Kaye JamFat Cat 9 pm 12:30 am • Harlem Speaks: Terri Lyne Carrington Michael Formanek, Ray Anderson The Stone 8, 10 pm $20 • Dave Kain Trio with Peter Brendler, Ronan Itzik; Dan Arcamone Trio with Jazz Museum in Harlem 7 pm êSonelius Smith Trio Cleopatra’s Needle 8 pm Rich Zurkowski, Kenny Grohowski ShapeShifter Lab 7, 8:15 pm $10 • Jeff Cosgrove, Matthew Shipp, Mat Maneri • Dave Schnitter Quintet; Bruce Williams Sextet; Greg Glassman Jam • Mark Phillips Trio with Syberen Van Munster, Sam Zerna; Tammy Scheffer Trio with ShapeShifter Lab 8:15 pm $10 Fat Cat 7, 10 pm 1:30 am Max ZT, Joshua Davis Bar Next Door 6:30, 8:30, 10:30 pm $12 • Joel Forrester Spectrum 7 pm $10 êDuane Eubanks Quartet with Zaccai Curtis, Corcoran Holt, Chris • Magaly and Band For My Sweet Restaurant 8, 10 pm $10 • Vicki Burns Quartet with Michael Kanan, Sam Bevan, Brian Woodruff Cornelia Street Café 9, 10:30 pm $10 • Laraine Alison Duo Tomi Jazz 8 pm Jazz at Kitano 8, 10 pm $17 • Alicia Olatuja Sextet with Rasul A-Salaam, Jon Cowherd, David Rosenthal, • Joe Breidenstine Quintet Silvana 6 pm • Mike DiRubbo Trio with Essiet Essiet, Jason Tiemann Eric Wheeler, John Davis Miller Theatre 8 pm $20-35 • Katini Yamaoka Rockwood Music Hall Stage 1 6 pm Cavatappo Grill 9, 11 pm $8 êAnthony Wonsey Band Sistas’ Place 9, 10:30 pm $20

THE NEW YORK CITY JAZZ RECORD | NOVEMBER 2016 35 Tuesday, November 15 • David Amram and Co. with Kevin Twigg, Rene Hart, Elliot Peper Cornelia Street Café 8:30 pm $10 êGeorge Cables Trio with Essiet Essiet, Victor Lewis • Lei Liang with Mark Dresser, loadbang, JACK Quartet, Steven Schick Village Vanguard 8:30, 10:30 pm $30 Miller Theatre 8 pm $20-30 êSonny Fortune Quartet with Michael Cochrane, Lisle Atkinson, Steve Johns • Kim Nalley with Greg Skaff, Tammy Hall, Michael Zisman, Alvin Atkinson, Jr. Jazz Standard 7:30, 9:30 pm $25 Dizzy’s Club 7:30, 9:30 pm $40 êBrian Charette Trio with Henry Hey, Jochen Rueckert • Bruce Harris Dizzy’s Club 11:30 pm $10 55Bar 10 pm êHenry Butler Bar Lunàtico 8:30, 10 pm $10 • Fred Hersch/Kate McGarry Mezzrow 8 pm $20 • Acoustic Alchemy Iridium 8:30, 10:30 pm $35 êRon Stabinsky solo; Tom Blancarte solo • Adam Birnbaum/Dayna Stephens Mezzrow 8 pm $20 Roulette 8 pm $20 • Steve Kroon Sextet with Craig Rivers, Bryan Carrott, Igor Atalita, Waldo Chavez, • Rosetta Trio: Stephan Crump, , Jamie Fox Joel Mateo Smoke 7, 9, 10:30 pm $15 Bar Lunàtico 8:30, 10 pm $10 • Dominick Farinacci Quintet with Julien Labro, Dan Kaufman, Jon Michel, êPeter Martin Trio with Robert Hurst, Gregory Hutchinson Lawrence Leathers Jazz at Kitano 8, 10 pm $17 Dizzy’s Club 7:30, 9:30 pm $35 • Antoine Drye; Alex Claffy The Django at The Roxy Hotel 7:30, 10 pm • Bruce Harris Dizzy’s Club 11:30 pm $5 • Peter Amos Trio with Dave Hassell, Tim Talavera; Pat Carroll Trio with êThe Django Reinhardt NY Festival: Dorado Schmitt, Amati Schmitt, Ludovic Beier, Noah Garabedian, Mark Ferber Bar Next Door 6:30, 8:30, 10:30 pm $12 Pierre Blanchard, Francko Mehrstein, Xavier Nikq • Senri Oe Tomi Jazz 9 pm $10 Birdland 8:30, 11 pm $50 • Joel Forrester Duo Cleopatra’s Needle 7 pm • Andrew Shillito Trio with Lucine Yeghiazaryan, Marty Kenney; Gene Bertoncini solo • Rajna Swaminathan Quintet with Miles Okazaki, Stephan Crump, Anjna Swaminathan, Bar Next Door 6:30, 8:30, 10:30 pm $12 Maria Grand The Jazz Gallery 7:30, 9:30 pm $15 • Matt Pavolka’s Horns Band with Scott Wenholdt, Loren Stillman, Jacob Garchik, • Pedro Giraudo Tango Trio with Rodolfo Zanetti, Emilio Teubal Mark Ferber; Steve Nelson Quintet with Rick Germanson, Peter Washington, Terraza 7 9 pm $10 Charles Goold, Angela Roberts; Jovan Alexander • Blivet: , Brian Marsella, Shanir Blumenkranz, Mathias Künzli Tue, Nov 1 VOXECSTATIC: KAYLÉ BRECHER - Smalls 7:30, 10:30 pm 1 am $20 The Stone 8, 10 pm $20 THIS IS LIFE CD RELEASE 8PM • Jazz Composers Workshop Vol. 7 curated by with Ben Kono, • The Liberté Big Band with Zack and Adam O’Farrill, Mercedes Beckman, Corey Wallace, Frank Butrey, Benjamin Sutin, David Dzubinski, Michael Thomas, Jeremy Powell, John Lowery, Andrew Gutauskas, Sam Hoyt, Livio Almeida Williamsburg Music Center 8, 9:30 pm $10 Ratzo Harris, Grant Calvin Weston Jonathan Powell, Matt Holman, Dave Smith, Matthew McDonald, Nick Finzer, • Huntertones Rockwood Music Hall Stage 1 10 pm VOXECSTATIC: SONG YI JEON QUINTET 9:30PM Nick Grinder, Max Seigel, Joel Harrison, Martha Kato, Even Gregor, Jared Schonig • Alex LoRe Quartet with Glenn Zaleski, Desmond White, Jochen Rueckert Vitor Gonçalves, Kenji Herbert, Yoni Marianer, Cory Cox The Jazz Gallery 7:30, 9:30 pm $15 St. John’s Lutheran Church 7:30 pm $10 Deborah Latz, curator • Pasquale Grasso Trio Cavatappo Grill 9, 11 pm $8 • Saul Rubin Zebtet; John Benitez Fat Cat 7, 9 pm • Jon Madof, Jessica Lurie, , Yonadav Halevy; Jon Madof, Ty Citerman, • Patrick Andy Band with Eli Menezes, Harry Vaughn, Ivory McDonald Wed, Nov 2 CAROLINE DAVIS & CALI O’DOHERTY QUARTET 8PM Club Bonafide 9:30 pm $10 Cory Cox Yoshie Fruchter, Yonadav Halevy The Stone 8, 10 pm $20 MARKO CHURNCHETZ TRIO 9:30PM • Steve Johns and Native Soul with Peter Brainin, Noah Haidu, Marcus McLaurine • Jessica Ackerley, Ellen O, Eleanor Eichenbaum, Ralph Salazar Ricky Rodriguez, Justin Brown NYC Baha’i Center 8 pm $15 St. Lydia’s 7:45 pm • Deborah Latz Cornelia Street Café 8, 9:30 pm $10 • Caleb Mason and Tarwater Shrine 7 pm Thu, Nov 3 ANTHONY SMITH QUARTET 8 & 9:30PM êDezron Douglas Quartet with Lummie Spann, David Bryant; Dana Saul Quartet with êChick Corea and Syberen Van Munster, Marcos Varela, Jay Sawyer, Laura Angyal Philip Dizack, Kevin Sun, Patricia Brennan, Walter Stinson, Paolo Cantarella Blue Note 8, 10:30 pm $85 Korzo 9, 10:30 pm • Nir Felder Quartet with , Matt Penman, Jimmy Macbride Fri, Nov 4 BEN MONDER, THEO BLECKMANN DUO 9 & 10:30PM • Pedrito Martinez Group Subrosa 7, 9 pm $15 Smalls 7:30 pm $20 Sat, Nov 5 • Martina DaSilva Trio Cavatappo Grill 8, 10 pm $8 êGeorge Cables Trio with Essiet Essiet, Victor Lewis • Chad Lefkowitz-Brown Quintet The Roxy Hotel Upstairs 7 pm Village Vanguard 8:30, 10:30 pm $30 Sun, Nov 6 DJANGO AT CORNELIA STREET, ANOUMAN 8:30 & 10PM • Tracy Yang Duo; Jaana Narspar Trio êTobias Meinhart’s Natural Perception with Ingrid Jensen, Yago Vazquez, Peter Sparacino, Koran Agan, Josh Kaye, Eduardo Belo Tomi Jazz 8, 11 pm Orlando Le Fleming, Jesse Simpson Koran Agan, host êMcCoy Tyner Quartet with Gary Bartz, Gerald Cannon, Joe Farnsworth Birdland 6 pm $25 êThe Django Reinhardt NY Festival: Dorado Schmitt, Amati Schmitt, Ludovic Beier, Wed, Nov 9 OR BAREKET QUARTET 8 & 9:30PM Blue Note 8, 10:30 pm $45 êEli Fountain Rendall Memorial Presbyterian Church 12 pm $15 Pierre Blanchard, Francko Mehrstein, Xavier Nikq Shachar Elnatan, Gadi Lehavi, Jeremy Dutton Birdland 8:30, 11 pm $50

Thu, Nov 10 JOHN MCLEAN QUARTET 8PM • Meg Okura Silvana 6 pm Alex Coke, Paul Bollenback, Ed Howard Wednesday, November 16 • Eighth Annual Johnny Pacheco Latin Music and Jazz Festival The Studio Theater at Lehman College 10 am 7:30 pm Fri, Nov 11 MARIO PAVONE/MIXED QUINTET 9 & 10:30PM êChick Corea and Trondheim Jazz Orchestra Tony Malaby, Dave Ballou, Oscar Noriega, Peter McEachern, Michael Sarin Blue Note 8, 10:30 pm $85 • Jaimoe’s Jasssz Band Iridium 8:30 pm $25-35 Friday, November 18 Sat, Nov 12 DUANE EUBANKS QUARTET 9 & 10:30PM • Richard Elliot B.B. King’s Blues Bar 8 pm $40 Zaccai Curtis, Corcoran Holt, Chris Beck • Greg Murphy Mezzrow 8 pm $20 êNEA Jazz Masters Summit Concert: Jimmy Heath, , , • Nir Felder Quartet with Kevin Hays, Matt Penman, Jimmy Macbride; Sanah Kadoura George Coleman and with David Wong Sun, Nov 13 PATRICK CORNELIUS OCTET 8:30PM Smalls 7:30 pm 1 am $20 Flushing Town Hall 8 pm $42 Philip Dizack, Lucas Pino, Nick Vayenas, Perry Smith, • The Flame Festival: Rebeca Vallejo Trio with George Dulin, David Silliman; êCandido: The Last Legendary Music Journey with Bobby Sanabria Multiverse Glenn Zaleski, Peter Slavov, Paul Wiltgen Chano Dominguez/Alexis Cuadrado Big Band, David Oquendo, (U)nity, Xiomara Laugart, Benjamin Lapidus Jazz Standard 7:30, 9:30 pm $25-30 Aaron Davis Hall 7:30 pm $25 Tue, Nov 15 DeboraH Latz 8 & 9:30PM êChick Corea/Brad Mehldau Blue Note 8, 10:30 pm $85 • Paul Jost Quartet with Jim Ridl, Dean Johnson, Tim Horner Jazz at Kitano 8, 10 pm $17 êAaron Goldberg/Emmet Cohen Blue Note 12:30 am $10 Wed, Nov 16 MITCH MARCUS QUARTET 8 & 9:30PM êGeorge Coleman Quartet with Harold Mabern, John Webber, Joe Farnsworth Tom Chang, Leon Boykins, Ches Smith • KJ Denhert Quartet with Adam Klipple, Adam Armstrong, Joe Strasser Smoke 7, 9, 10:30 pm $15 Smoke 7, 9, 10:30 pm $40 Thu, Nov 17 AMRAM & CO 8:30PM • Mitch Marcus Quartet with Tom Chang, Leon Boykins, Ches Smith • Le Boeuf Brothers + JACK Quartet David Amram, Kevin Twigg, Rene Hart, Elliot Peper Cornelia Street Café 8, 9:30 pm $10 National Sawdust 7 pm $29 • Jon Madof, Eden Pearlstein, Shanir Blumenkranz, Yonadav Halevy; êMark Soskin Trio with Doug Weiss, Fri, Nov 18 NEW BRAZILIAN PERSPECTIVES: Jon Madof/Eden Pearlstein Band with Brian Marsella, Yonadav Halevy, Yoshie Fruchter Jazz at Kitano 8, 10 pm $32 HELIO ALVES QUARTET 9 & 10:30PM The Stone 8, 10 pm $20 • / Mezzrow 8 pm $20 Romero Lubambo, Edward Perez, Edu Ribeiro • Dayna Stephens/Patrick Bartley Group with Gadi Lehavi, Ben Street; • Mike DiRubbo Quintet with Josh Evans, Ugonna Okegwo, Brian Charette Billy Newman, host Leon Foster Thomas Group; Peter Lenz/Billy Test Large Ensemble with Songyi Jeon, Smalls 10:30 pm $20 Matt Woroshyl, Jay Rattman, Anna Webber, Brian Krock, Owen Broder, John Lake, • Helio Alves Quartet with Romero Lubambo, Edward Perez, Edu Ribeiro Sat, Nov 19 AUBREY JOHNSON GROUP 9 & 10:30PM Adam O’Farrill, Danny Jonokuchi, Oskar Stenmark, Eric Miller, Brian Drye, Seth Weaver, Cornelia Street Café 9, 10:30 pm $10 Tomoko Omura, Michael Sachs, Chris Ziemba, Matt Aronoff, Jeremy Noller Nick Grinder, Keisuke Matsuno, Arcoiris Sandoval, Yoshi Waki • Román Filiú Quarteria with Maria Grand, David Bryant, , Yusnier Sanchez ShapeShifter Lab 7, 8:15, 9:30 pm $10-15 The Jazz Gallery 7:30, 9:30 pm $22 Sun, Nov 20 ANDREAS ARNOLD DUO 8:30PM • Maryanne de Prophetis with Ron Horton, Frank Kimbrough, Satoshi Takeishi Mario Rincon • Steve Sandberg Alaya Group with Zach Brock, Michael O’Brien, Mauricio Zottarelli; Scot Albertson Quintet with Dan Furman, Ron Jackson, Dave Silliman, Dave Pietro Michiko Studios 8 pm $15 MARIA MANOUSAKI QUARTET 10PM Mike Rood Trio with Sam Minaie, Jerad Lippi Guy Mintus, Panayiotis Andreou, Ziv Ravitz Symphony Space Leonard Nimoy Thalia 8 pm $25 • • Philip Dizak Quintet; Mark Whitfield Bar Next Door 7:30, 9:30, 11:30 pm $12 Tue, Nov 22 BALKAN PEPPERS 8PM The Django at The Roxy Hotel 7:30, 10 pm • Ken Fowser Quartet; Carte Blanche Brad Shepik, Kenny Warren, Ethan Helm, Mike Verselli, Seido Salifoski • Raphael D’lugoff Trio +1; Don Hahn/Mike Camacho Band; Ned Goold Jam The Django at The Roxy Hotel 7:30, 10:30 pm JOHN HADFIELD QUARTET 9:30PM Fat Cat 7, 9 pm 12:30 am • Eric Plaks Trio Tomi Jazz 9 pm $10 Kinan Azmeh, Brad Shepik, Or Bareket • Shota12 Big Band with Jonathan Powell, Takuya Kuroda, Tokunori Kajiwara, John Yao, • Lluis Capdevila Trio Cleopatra’s Needle 8 pm Andrew Gould, Sam Dillon, Jeremy Powell, Carl Maraghi, Rafal Sarnecki, • Erik Deutsch’s Creatures Ibeam Brooklyn 8:30 pm $15 Fri, Nov 25 HUSH POINT 9 & 10:30PM Hajime Teshima, Dennis Mackrel Terraza 7 8 pm • Underground Horns Radegast Hall 9 pm Sat, Nov 26 Jeremy Udden, John McNeil, Aryeh Kobrinsky, Anthony Pinciotti • Julio Botti and The South American Jazz Project with Andrew Baird, • Tulivu Cumberbatch Rendall Memorial Presbyterian Church 7 pm $15 Eduardo Withrington, Tiago Michelin; Joey Williams Project • plays John Zorn’s Masada Book B’riah: Jon Madof, Yoshie Fruchter, Sun, Nov 27 ISRAELI JAZZ SPOTLIGHT: Club Bonafide 7:30, 9:30 pm $10 Matt Darriau, Greg Wall, , Jessica Lurie, Zach Mayer, YOTAM SILBERSTEIN QUARTET 8:30PM • Kenny Brooks Duo; Kana Miyamoto , Brian Marsella, Marlon Sobol, Yuval Lion Vitor Gonçalves, Or Bareket, Daniel Dor Tomi Jazz 8, 11 pm The Stone 9 pm $20 TAL MASHIACH STREET BAND 10PM • Equilibrium: Elliot Honig, Brad Baker, Richard Russo, Pam Belluck, Dan Silverstone, • Russ Kassoff/Jay Anderson Knickerbocker Bar and Grill 9:45 pm $3.50 Victor Pablo, Yotam Ben-Or, Jonathan Peled, David Jimenez • Akiko Pavolka Quartet with Guillermo Klein, Matt Pavolka, Nate Wood Or Bareket, host Terry Schwadron Caffe Vivaldi 8:30 pm êGeorge Cables Trio with Essiet Essiet, Victor Lewis Rockwood Music Hall Stage 3 7 pm êLennie Tristano Retrospective: Bill Stevens, Nick Green, Braden Smith, Corey Larson, Tue, Nov 29 STEVE SANDBERG QUARTET 8 & 9:30PM Village Vanguard 8:30, 10:30 pm $30 Zach Brock, Michael O’Brien, Mauricio Zottarelli êPeter Martin Trio with Robert Hurst, Gregory Hutchinson Ben Rosenblum, Paul Pricer, Brian Woodruff Dizzy’s Club 7:30, 9:30 pm $35 Brooklyn Conservatory of Music 7 pm $15 Wed, Nov 30 “ALL AT ONCENESS” 8PM • Bruce Harris Dizzy’s Club 11:30 pm $5 • Morwenna Lasko/Jay Pun Quartet with Devonne Harris, Dhara Goradia; Ada Pasternak Randal Despommier, Jason Yeager, Aubrey Johnson êThe Django Reinhardt NY Festival: Dorado Schmitt, Amati Schmitt, Ludovic Beier, Club Bonafide 7:30, 9:30 pm $10 CYRUS VON H AND THE HAT MUSIC 9:30PM Pierre Blanchard, Francko Mehrstein, Xavier Nikq êThe Swing Era—Revolution in Rhythm: Jazz at Lincoln Center Orchestra with Cyrus von Hochstetter, Jay Rattman, Austin Becker, Jim Fryer, Daan Kleijn Birdland 8:30, 11 pm $50 Wynton Marsalis Rose Theater 8 pm $45-140 • Craig Brann Silvana 6 pm êOrrin Evans Trio with Luques Curtis, Mark Whitfield, Jr. and guest Kurt Rosenwinkel • Alan Kwan Shrine 6 pm Jazz Standard 7:30, 9:30 pm $30 • Frank Perowsky Band Saint Peter’s 1 pm $10 • Kim Nalley with Greg Skaff, Tammy Hall, Michael Zisman, Alvin Atkinson, Jr. • Eighth Annual Johnny Pacheco Latin Music and Jazz Festival Dizzy’s Club 7:30, 9:30 pm $45 The Studio Theater at Lehman College 10 am • Bruce Harris Dizzy’s Club 11:30 pm $10 • Acoustic Alchemy Iridium 8:30, 10:30 pm $35 êGeorge Cables Trio with Essiet Essiet, Victor Lewis Thursday, November 17 Village Vanguard 8:30, 10:30 pm $30 êThe Django Reinhardt NY Festival: Dorado Schmitt, Amati Schmitt, Ludovic Beier, êThe Swing Era—Revolution in Rhythm: Jazz at Lincoln Center Orchestra with Pierre Blanchard, Francko Mehrstein, Xavier Nikq Wynton Marsalis Rose Theater 8 pm $45-140 Birdland 8:30, 11 pm $50 êOrrin Evans Trio with Luques Curtis, Mark Whitfield, Jr. and guest Kurt Rosenwinkel • Eighth Annual Johnny Pacheco Latin Music and Jazz Festival Jazz Standard 7:30, 9:30 pm $30 The Studio Theater at Lehman College 10 am 7:30 pm êInterpretations: Erik Friedlander’s Black Phebe with Shoko Nagai, Satoshi Takeishi; Juho Laitinen Roulette 8 pm $20

36 NOVEMBER 2016 | THE NEW YORK CITY JAZZ RECORD JEROME“...dRuMMER Of INGENIOuS aNd wItty a CCOMJENNINGSplISHMENt...” -tHE plaIN dEalER (ClEvElaNd) “tHE CRISp aNd EffECtIvE JEROME JENNINGS...” -alyN SHIptON (lONdON tIMES) “a lISt pERfORMER...tHE ElECtRIC JEROME JENNINGS... ” -davId wIEGaNd (Sf CHRONIClE)

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Cd RElEaSE CElEbRatION dIzzy’S Club NOv. 22Nd 7:30 & 9:30pM wItH dION tuCkER - tROMbONE HOwaRd wIlEy - Sax kENyatta bEaSlEy - tRuMpEt CHRIStIaN SaNdS - pIaNO ElIaS baIlEy - baSS JazzMEIa HORN- vOCalS JEROMEJENNINGS.COM Saturday, November 19 • Project Grand Slam Iridium 8, 10 pm $25 • Tommaso Gambini Trio with Dean Torrey, Dan Nedau; Ricardo Grilli Trio with • Dayna Stephens/Patrick Bartley Group with Gadi Lehavi, Ben Street, Johnathan Blake Ugonna Okegwo, Allan Mednard Bar Next Door 6:30, 8:30, 10:30 pm $12 êChick Corea/Herbie Hancock Blue Note 8, 10:30 pm $85 Jazz Museum in Harlem 7 pm $15 • Wycliffe Gordon and The International All-Stars with Ehud Asherie, Corcoran Holt, êKarl Berger’s CMS Improvising Orchestra • Yuri Juarez Guitar Sapiens with Renato Diz, Moto Fukushima, Shirazette Tinnin, Alvin Atkinson, Jr., Adrian Cunningham El Taller LatinoAmerican 8:30 pm Hector Morales and guests Sofia Tosello, Melissa Aldana, Victer Prieto Dizzy’s Club 7 pm $150 • American Brazilian Songbook: Alexis Cole, Helio Alves, David Finck, Subrosa 8, 10 pm $15 • Alex Claffy Dizzy’s Club 11:30 pm $10 Duduka Da Fonseca Jazz at Kitano 8, 10 pm $32 • Mike Moreno/Jon Cowherd Mezzrow 8 pm $20 • Jonathan Kreisberg Quartet with Dave Kikoski, Matt Clohesy, Colin Stranahan • Glenn Zaleski Trio with Rick Rosato, Craig Weinrib • Ari Hoenig Trio with Nitai Hershkovits, Or Bareket; Jeremy Dutton Smalls 7:30 pm $20 The Jazz Gallery 7:30, 9:30 pm $22 Smalls 10:30 pm 1 am $20 êChucho Valdés/Joe Lovano Quintet with Gaston Joya, Yaroldy Abreu, êDayna Stephens Trio with Zach Brown, Adam Arruda • George Braith; Billy Kaye Jam Fat Cat 9 pm 12:30 am Birdland 8:30, 11 pm $50 Bar Next Door 7:30, 9:30, 11:30 pm $12 • Hot & Cool— and Dave Brubeck: Juilliard Jazz Ensembles êJason Moran and The Bandwagon with , • George Gray Group Sistas’ Place 9, 10:30 pm $20 Juilliard School Paul Hall 7:30 pm Village Vanguard 8:30, 10:30 pm $30 • Ivan Renta; George Burton; Greg Glassman Jam • Napoleon Revels-Bey with Bryan Carrott, Misha Tsiganov, Paul Ramsey Fat Cat 7, 10 pm 1:30 am For My Sweet Restaurant 8, 10 pm $10 • Aubrey Johnson Group with Tomoko Omura, Michael Sachs, Chris Ziemba, • NanJo Lee Trio with Rick Rosato, Colin Stranahan; Nora McCarthy Trio with Friday, November 25 Matt Aronoff, Jeremy Noller Cornelia Street Café 9, 10:30 pm $10 Marvin Sewell, Donald Nicks Bar Next Door 6:30, 8:30, 10:30 pm $12 • Natalie Dietz; Grupo Los Santos: Pete Smith, David Ambrosio, • David Love Duo Tomi Jazz 8 pm êJoe Chambers Landscapes with Rick Germanson, Ugonna Okegwo, Emilio Valdez William “Beaver” Bausch, Max Pollack Smoke 7, 9, 10:30 pm $40 Club Bonafide 7:30, 9:30 pm $10 êChick Corea’s Origin II with Ravi Coltrane, Steve Wilson, Steve Davis, • Abo Bortnick Bar Lunàtico 8:30, 10 pm $10 Tuesday, November 22 Carlitos Del Puerto, Marcus Gilmore • Nick Hempton; Pat Van Dyke The Django at The Roxy Hotel 7:30, 10:30 pm Blue Note 8, 10:30 pm $85 • Gridlock Christmas: Eric Stilwell, Tree Palmedo, Andres Abenante, Eladio Rojas; êMaria Schneider Orchestra with Steve Wilson, Dave Pietro, Rich Perry, Donny McCaslin, • Henry Grimes Rendall Memorial Presbyterian Church 7 pm $15 Chris Hoffman Trio with Adam Hopkins, Tommy Crane; Scott Robinson, Tony Kadleck, Greg Gisbert, Augie Haas, Mike Rodriguez, êLinda Oh Double Quartet with Greg Ward, Matt Mitchell, Ches Smith, Sara Caswell, Allison Philips/Mike Deicont Collective with Louis Cohen, Alex Kirkpatrick, Keith O’Quinn, Ryan Keberle, Marshall Gilkes, George Flynn, Gary Versace, Fung Chern Hwei, Benni Von Gutzeit, Jeremy Harman Connor Parks The Firehouse Space 8, 9, 10 pm $10 Ben Monder, Frank Kimbrough, Jay Anderson, Johnathan Blake, Rogério Boccato The Jazz Gallery 7:30, 9:30 pm $22 • Josiah Boornazian Quartet with Alessandro Fadini, Jakob Dreyer, Luke Markham Jazz Standard 7:30, 9:30 pm $40 êKen Peplowski/Bruce Barth Jazz at Kitano 8, 10 pm $32 Caffe Vivaldi 9 pm êSonus Inenarrabilis—Nine Live Plays the Music of John Clark: John Clark, Dan Cooper, • Jazz by 5: , Randy Brecker, Joanne Brackeen, Eddie Gomez, • Yotam Ben-Or; Dana Herz Williamsburg Music Center 10, 11:15 pm $10 Lynn Bechtold, Patricia Billings, Michael Rabinowitz, Cesare Papetti, Carlton Holmes, Jimmy Cobb Iridium 8:30 pm $35-45 • Katini Yamaoka Metropolis 7 pm Jennifer DeVore, Earl Maneein Rockwood Music Hall Stage 3 7 pm $10 • Hush Point: Jeremy Udden, John McNeil, Aryeh Kobrinsky, Anthony Pinciotti • Daniel Bennet Group; Sharp Tree Trio êChick Corea and Gary Burton with The Harlem String Quartet: Ilmar Gavilán, Cornelia Street Café 9, 10:30 pm $10 Tomi Jazz 8, 11 pm $10 Melissa White, Jaime Amador, Felix Umansky • Mike LeDonne/John Webber Mezzrow 8 pm $20 • Walter Williams Trio Cleopatra’s Needle 8 pm Blue Note 8, 10:30 pm $85 • Ralph Lalama Bop-Juice with David Wong, Clifford Barbaro; Winard Harper; êGeorge Coleman Quartet with Harold Mabern, John Webber, Joe Farnsworth êChucho Valdés/Joe Lovano Quintet with Gaston Joya, Yaroldy Abreu, Francisco Mela Corey Wallace DUBtet Smalls 7:30, 10:30 pm 1 am $20 Smoke 7, 9, 10:30 pm $40 Birdland 8:30, 11 pm $50 êGabriel Alegria Afro-Peruvian Sextet • Joanne Brackeen/Lonnie Plaxico Mezzrow 8 pm $20 êJason Moran and The Bandwagon with Tarus Mateen, Nasheet Waits Zinc Bar 8, 10 pm • Sylvia Cuenca Quintet with Josh Evans, Troy Roberts, Paul Bollenback, Jared Gold; Village Vanguard 8:30, 10:30 pm $30 • Sean Smith/ Knickerbocker Bar and Grill 9:45 pm $3.50 Mike DiRubbo Quintet with Josh Evans, Ugonna Okegwo, Brian Charette • John Pizzarelli/Jessica Molaskey Café Carlyle 8:45 pm $120-175 • Or Bareket Trio with Shachar Elnatan, Keita Ogawa Smalls 7:30, 10:30 pm $20 êEthan Iverson, Ben Street, Eric McPherson; Tim Berne, Shahzad Ismaily, Ches Smith Bar Next Door 7:30, 9:30, 11:30 pm $12 • Zion80: Jon Madof, Yoshie Fruchter, Matt Darriau, Greg Wall, Frank London, Korzo 9, 10:30 pm • Chris Pitsiokos solo The Stone 8 pm $20 Jessica Lurie, Zach Mayer, Shanir Ezra Blumenkranz, Brian Marsella, Marlon Sobol, êJerome Jennings The Beast with Kenyatta Beasley, Howard Wiley, Elias Bailey, êKendra Shank/John Stowell Project with Dean Johnson, Rogério Boccato Yuval Lion The Stone 9 pm $20 Christian Sands, Elias Bailey Dizzy’s Club 7:30, 9:30 pm $35 55Bar 6, 7:45 pm • Russ Kassoff/Jay Anderson Knickerbocker Bar and Grill 9:45 pm $3.50 • Alex Claffy Dizzy’s Club 11:30 pm $5 • Ken Fowser Quartet The Django at The Roxy Hotel 7:30 pm êThe Swing Era—Revolution in Rhythm: Jazz at Lincoln Center Orchestra with • Oleg Frish Swinging into the Holidays • Takenori Nishiuchi Tomi Jazz 9 pm $10 Wynton Marsalis Rose Theater 8 pm $45-140 Iridium 8:30 pm $25-35 • Chris Johansen Trio Cleopatra’s Needle 8 pm êOrrin Evans Trio with Luques Curtis, Mark Whitfield, Jr. and guests Kurt Rosenwinkel, • Cutout Lover: Paige Johnson-Brown, Chris Pitsiokos, Andrew Smiley, Henry Fraser, êWycliffe Gordon and The International All-Stars with Ehud Asherie, Corcoran Holt, Gene Jackson Jazz Standard 7:30, 9:30 pm $30 Connor Baker The Stone 8 pm $20 Alvin Atkinson, Jr., Adrian Cunningham • Kim Nalley with Greg Skaff, Tammy Hall, Michael Zisman, Alvin Atkinson, Jr. • Pedrito Martinez Group Subrosa 7, 9 pm $15 Dizzy’s Club 7:30, 9:30 pm $45 Dizzy’s Club 7:30, 9:30 pm $45 • Balkan Peppers: Brad Shepik, Kenny Warren, Ethan Helm, Mike Verselli, • Alex Claffy Dizzy’s Club 11:30 pm $10 • Bruce Harris Dizzy’s Club 11:30 pm $20 Seido Salifoski; John Hadfield Quartet with Kinan Azmeh, Brad Shepik, Or Bareket êMaria Schneider Orchestra with Steve Wilson, Dave Pietro, Rich Perry, Donny McCaslin, êGeorge Cables Trio with Essiet Essiet, Victor Lewis Cornelia Street Café 8, 9:30 pm $10 Scott Robinson, Tony Kadleck, Greg Gisbert, Augie Haas, Mike Rodriguez, Village Vanguard 8:30, 10:30 pm $30 • Milton Suggs Mezzrow 8 pm $20 Keith O’Quinn, Ryan Keberle, Marshall Gilkes, George Flynn, Gary Versace, Lage Lund, êThe Django Reinhardt NY Festival: Dorado Schmitt, Amati Schmitt, Ludovic Beier, • Spike Wilner Trio; Ralph Lalama Bop-Juice with David Wong, Clifford Barbaro; Frank Kimbrough, Jay Anderson, Johnathan Blake, Rogério Boccato Pierre Blanchard, Francko Mehrstein, Xavier Nikq Jon Beshay Smalls 7:30, 10:30 pm 1 am $20 Jazz Standard 7:30, 9:30 pm $40 Birdland 8:30, 11 pm $50 • Saul Rubin Zebtet Fat Cat 7 pm êChucho Valdés/Joe Lovano Quintet with Gaston Joya, Yaroldy Abreu, Francisco Mela • Noshir Mody Sextet Shrine 6 pm • Daniel Foose Of Water and Ghosts with Sebastian Noelle, Tomoko Omura, Maria Im, Birdland 8:30, 11 pm $50 • Eighth Annual Johnny Pacheco Latin Music and Jazz Festival Allyson Clare, Jennifer Devore, Keita Ogawa êJason Moran and The Bandwagon with Tarus Mateen, Nasheet Waits The Studio Theater at Lehman College 10 am Rockwood Music Hall Stage 3 8:30 pm Village Vanguard 8:30, 10:30 pm $30 • Perez’ My Way with Art Hirahara, Jed Levy • John Pizzarelli/Jessica Molaskey Café Carlyle 8:45 pm $120-175 Metropolitan Room 7 pm $20 Sunday, November 20 • Tommy Holladay Trio with Sharik Hassan, JK Kim; Syberen Van Munster Trio with Rick Rosato, Jochen Rueckert Bar Next Door 6:30, 8:30, 10:30 pm $12 Saturday, November 26 êChick Corea/Gonzalo Rubalcaba Blue Note 8, 10:30 pm $85 • Matthew Fries Quartet Cavatappo Grill 8, 10 pm $8 • Bronx Jam II: Ted Rosenthal, Sarah Cion, Tamuz Nissim, Chris Byars, Mike Fahn, • Chad Lefkowitz-Brown Quintet The Roxy Hotel Upstairs 7 pm • Jon Gordon Quartet with Bryn Roberts, Matt Clohesy, Quincy Davis Harvie S, Phil Palombi, Mary Ann McSweeney, Tony Jefferson • Caolos Casado Project Tomi Jazz 8 pm Jazz at Kitano 8, 10 pm $32 Riverdale Y 7 pm $15-35 • Gonçalo Leonardo Group Silvana 6 pm • Ben Monder Trio with , Mark Ferber êDavid Virelles solo; Frank Kimbrough solo • Franz Hackl Rendall Memorial Presbyterian Church 12 pm $15 Bar Next Door 7:30, 9:30, 11:30 pm $12 The Owl Music Parlor 7:30 pm • Chris Pitsiokos Unit with Brandon Seabrook, Tim Dahl, Weasel Walter; Chris Pitsiokos, • Hailey Niswanger’s Mae-Sun Williamsburg Music Center 9 pm $10 Joe Morris, Tyshawn Sorey The Stone 8, 10 pm $20 • JD Walter with Miles Griffith, Jim Ridl, Alex Claffy Wednesday, November 23 êBrooklyn Jazz Wide Open: Michel Gentile FLOW with Marty Erhlich, Brian Drye, Mezzrow 8 pm $20 Matt Pavolka, Tom Rainey; The Chopin Project: Noah Preminger, Rob Garcia, • Ai Murakami Trio with Sacha Perry; David Gibson Quintet with Freddie Hendrix, êWycliffe Gordon and The International All-Stars with Ehud Asherie, Corcoran Holt, Nate Radley, Kim Cass Brooklyn Conservatory of Music 7:30 pm $15 Luke Carlos O’Reiley, Alexander Claffy, Anwar Marshall; Hillel Salem Alvin Atkinson, Jr., Adrian Cunningham • Dan Aran Quartet The Django at The Roxy Hotel 7:30 pm Smalls 4:30, 10:30 pm 1 am $20 Dizzy’s Club 7:30, 9:30 pm $40 • Manuel Valera; Greg Glassman Jam • Terry Waldo’s Gotham City Band; Brandon Lewis/Renee Cruz Jam • Alex Claffy Dizzy’s Club 11:30 pm $5 Fat Cat 10 pm 1:30 am Fat Cat 6 pm 1:30 am • Chip White Dedications Ensemble with Patience Higgins, Eli Asner, Sam Burtis, • Katini Yamaoka Metropolis 7 pm • Andreas Arnold/Mario Rincon; Maria Manousaki Quartet with Guy Mintus, Mike Cochrane, Matt Parrish Jazz at Kitano 8, 10 pm $17 • Yusuke Seki Tomi Jazz 11 pm $10 Panayiotis Andreou, Ziv Ravitz Cornelia Street Café 8:30, 10 pm $10 • Lezlie Harrison with Saul Rubin, Ben Paterson, Vince Ector • Mike Lattimore Trio Cleopatra’s Needle 8 pm • Fabio Rojas Quartet with Kevin Harris, Victor Murillo, Samuel Batista Smoke 7, 9, 10:30 pm $15 êJoe Chambers Landscapes with Rick Germanson, Ugonna Okegwo, Emilio Valdez Rockwood Music Hall Stage 3 10 pm $10 • Samuel Torres Group with Alex Norris, Tom Guarna, Luis Perdomo, Ricky Rodriguez, Smoke 7, 9, 10:30 pm $40 • Blaise Siwula, Stan Nishimura, Anthony DiGregorio, Aron Namenwirth, Eric Plaks, Pablo Bencid Club Bonafide 7:30 pm $10 êChick Corea’s Origin II with Ravi Coltrane, Steve Wilson, Steve Davis, John Loggia The Firehouse Space 8 pm $10 • Joel Frahm with Spike Wilner, Neal Miner Carlitos Del Puerto, Marcus Gilmore • Columbia University Jazz Enesembles with guest Marc Mommaas Mezzrow 8 pm $20 Blue Note 8, 10:30 pm $85 Symphony Space Leonard Nimoy Thalia 8 pm • Jonathan Kreisberg Quartet with Dave Kikoski, Matt Clohesy, Colin Stranahan; êLinda Oh Double Quartet with Greg Ward, Matt Mitchell, Ches Smith, Sara Caswell, • Yuko Ito Trio Tomi Jazz 8 pm Dave Stryker Quartet with Steve Nelson, Jared Gold, McClenty Hunter; Aaron Seeber Fung Chern Hwei, Benni Von Gutzeit, Jeremy Harman êGeorge Coleman Quartet with Harold Mabern, John Webber, Joe Farnsworth Smalls 7:30, 10:30 pm 1 am $20 The Jazz Gallery 7:30, 9:30 pm $22 Smoke 7, 9, 10:30 pm $40 • Raphael D’lugoff Trio +1; Ned Goold Jam • Jazz by 5: Javon Jackson, Randy Brecker, Joanne Brackeen, Eddie Gomez, • Zion80: Jon Madof, Yoshie Fruchter, Matt Darriau, Greg Wall, Frank London, Fat Cat 7 pm 12:30 am Jimmy Cobb Iridium 8:30 pm $35-45 Jessica Lurie, Zach Mayer, Shanir Ezra Blumenkranz, Brian Marsella, Marlon Sobol, • Chris Pitsiokos, Philip White, Weasel Walter êHush Point: Jeremy Udden, John McNeil, Aryeh Kobrinsky, Anthony Pinciotti Yuval Lion The Stone 9 pm $20 The Stone 8 pm $20 Cornelia Street Café 9, 10:30 pm $10 êOrrin Evans Trio with Luques Curtis, Mark Whitfield, Jr. and guest Kurt Rosenwinkel • Eco-Music Big Band’s Jazz Stravinsky • Mike LeDonne/John Webber Mezzrow 8 pm $20 Jazz Standard 7:30, 9:30 pm $30 Joe’s Pub 7 pm $16 • Tommy Campbell and Vocal-Eyes with Carolyn Leonhart, Marcelino Feliciano, • Kim Nalley with Greg Skaff, Tammy Hall, Michael Zisman, Alvin Atkinson, Jr. • Take Off Collective: Ole Mathisen, Matthew Garrison, Marko Djordjevic; Helio Alves, Ben Sher, Shin Sakaino; Winard Harper; Brooklyn Circle Dizzy’s Club 7:30, 9:30 pm $35 TheGeneMachine: Ben Seacrist, Nicole Glover, Oscar Williams, Gene Perla, Smalls 7:30, 10:30 pm 1 am $20 êGeorge Cables Trio with Essiet Essiet, Victor Lewis Nic Cacioppo ShapeShifter Lab 7, 8:15 pm $15 • Sean Smith/David Hazeltine Knickerbocker Bar and Grill 9:45 pm $3.50 Village Vanguard 8:30, 10:30 pm $30 • Monika Ryan/David O’Rourke Metropolitan Room 7 pm $24 • The Chardavoine Band; Gashford Guillaume Creole Fusion Ensemble • Adam Larson Quartet Birdland 6 pm $25 êMaria Schneider Orchestra with Steve Wilson, Dave Pietro, Rich Perry, Donny McCaslin, ShapeShifter Lab 8 pm $25 êThe Django Reinhardt NY Festival: Dorado Schmitt, Amati Schmitt, Ludovic Beier, Scott Robinson, Tony Kadleck, Greg Gisbert, Augie Haas, Mike Rodriguez, • Wycliffe Gordon and The International All-Stars with Ehud Asherie, Corcoran Holt, Pierre Blanchard, Francko Mehrstein, Xavier Nikq Keith O’Quinn, Ryan Keberle, Marshall Gilkes, George Flynn, Gary Versace, Alvin Atkinson, Jr., Adrian Cunningham Birdland 8:30, 11 pm $50 Ben Monder, Frank Kimbrough, Jay Anderson, Johnathan Blake, Rogério Boccato Dizzy’s Club 7:30, 9:30 pm $45 • Josiah Boornazian Quartet with Alessandro Fadini, Jakob Dreyer, Luke Markham Jazz Standard 7:30, 9:30 pm $40 • Alex Claffy Dizzy’s Club 11:30 pm $20 Silvana 6 pm êChick Corea and Gary Burton with The Harlem String Quartet: Ilmar Gavilán, êMaria Schneider Orchestra with Steve Wilson, Dave Pietro, Rich Perry, Donny McCaslin, • Yayoi Ikawa The Drawing Room 5 pm $15 Melissa White, Jaime Amador, Felix Umansky Scott Robinson, Tony Kadleck, Greg Gisbert, Augie Haas, Mike Rodriguez, • Julie Eigenberg, Yaron Gershovsky, Alex Blake, Tommy Campbell Blue Note 8, 10:30 pm $85 Keith O’Quinn, Ryan Keberle, Marshall Gilkes, George Flynn, Gary Versace, Lage Lund, Highline Ballroom 12:30 pm $22-30 êChucho Valdés/Joe Lovano Quintet with Gaston Joya, Yaroldy Abreu, Francisco Mela Frank Kimbrough, Jay Anderson, Johnathan Blake, Rogério Boccato • Scott Morgan Quartet with Billy Test, Matt Aronoff, Mark Ferber and guests Joel Frahm, Birdland 8:30, 11 pm $50 Jazz Standard 7:30, 9:30 pm $40 Nanny Assis Blue Note 11:30 am 1:30 pm $35 êJason Moran and The Bandwagon with Tarus Mateen, Nasheet Waits êChucho Valdés/Joe Lovano Quintet with Gaston Joya, Yaroldy Abreu, Francisco Mela • Roz Corral Trio with Josh Richman, Village Vanguard 8:30, 10:30 pm $30 Birdland 8:30, 11 pm $50 North Square Lounge 12:30, 2 pm • John Pizzarelli/Jessica Molaskey Café Carlyle 8:45 pm $120-175 êJason Moran and The Bandwagon with Tarus Mateen, Nasheet Waits • Takaaki Otomo Silvana 6 pm Village Vanguard 8:30, 10:30 pm $30 • Josiah Boornazian Quartet with Alessandro Fadini, Jakob Dreyer, Luke Markham • John Pizzarelli/Jessica Molaskey Café Carlyle 8:45, 10:45 pm $120-200 Monday, November 21 Shrine 6 pm • Afri-Garifuna Jazz Ensemble: James Lovell, Mario Sprouse, Hilliard Greene, • Beegie Adair/Monica Ramey Saint Peter’s 1 pm $10 Julian Meyers, Lucy Blanco, Mariano Martinez êWallace Roney Quintet with Gary Bartz, Patrice Rushen, Buster Williams, Lenny White Bronx Music Heritage Center 1 pm Blue Note 8, 10:30 pm $35 êManhattan School of Music Jazz Orchestra: Miles Ahead, Arrangements by Gil Evans Thursday, November 24 with guest Dave Liebman Dizzy’s Club 7:30, 9:30 pm $35 êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 • Jacqui Naylor Blue Note 8, 10:30 pm $35

38 NOVEMBER 2016 | THE NEW YORK CITY JAZZ RECORD The brightest stars in jazz come to NJPAC this November!

Dave Grusin, Lee Ritenour, , FELA! The Concert: Phil Perry, Party The Wednesday, November 16 at 7:30pm and more A 10-piece Afrobeat band and cast GRP Jazz Revisited: from the original Tony-winning Honoring Larry Rosen Broadway show! Thursday, November 17 at 8pm A reunion performance by many of the jazz greats of GRP Records

Lee Ritenour

Get On Up: A James Brown Celebration! Christian McBride, Celebration Sharon Jones, Bettye LaVette, The Christian McBride Trio, Lee Fields and James Brown , Lisa Fischer Band alumni Pee Wee Ellis, and Shelia Jordan Danny “Capeman” Ray, Saturday, November 19 at 7:30pm Robert “Mousey” Thompson, Celebrating the legacy of Newark’s Fred Wesley, Ryan Shaw and “Divine One” in an all star jazz Terrace Martin concert Friday, November 18 at 8pm Dianne Reeves

More Moody Jazz to love this November!

The Brubeck Songbook Dorthaan’s Place Jazz Brunch FREE AT NJPAC! The Brubeck Brothers Band, Hilary Kole NJPAC Day of Swing and Michael Bourne of WBGO Sunday, November 20 at 11am & 1pm Saturday, November 19 • 11am-3pm Sunday, November 6 at 3 & 7pm Premier jazz pianist and composer NJPAC Center for Arts Education Sons of Dave Brubeck in concert with An exciting day of jazz exploration and learning singer-pianist Hilary Kole Sarah Vaughan International Jazz Vocal Competition—SASSY Awards for children and families. Cole Porter from A to Z: with judges Christian McBride, Celebrating 125 Years with Judy Kaye Dianne Reeves, Sheila Jordan, and Robert Kimball Sheila Anderson and Mark Ruffin Sunday, November 13 at 3pm Sunday, November 20 at 3pm Two-time Tony winner Judy Kaye sings all the great Cole Porter numbers.

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

NYC Jazz Record November Ad_9.5x12.indd 1 10/13/16 3:24 PM Sunday, November 27 Wednesday, November 30 • Gene Bertoncini The Drawing Room 7 pm $20 êMusic of Acoustic: Chick Corea, Ravi Coltrane, Hubert Laws, REGULAR ENGAGEMENTS êTom Rainey/Ingrid Laubrock The Owl Music Parlor 7:30 pm Avishai Cohen, Lenny White Blue Note 8, 10:30 pm $85 • Yotam Silberstein Quartet with Vitor Gonçalves, Or Bareket, Daniel Dor; • Will Vinson Quintet with , Mike Rodriguez, Rick Rosato, Jochen Rueckert; MONDAY Tal Mashiach Street Band with Victor Pablo, Yotam Ben-Or, Jonathan Peled, Brian Charette Trio with Henry Hey, Jochen Rueckert; Sanah Kadoura David Jimenez Cornelia Street Café 8:30, 10 pm $10 Smalls 7:30, 10:30 pm 1 am $20 • Richard Clements and guests 11th Street Bar 9 pm • Glenn Crytzer Orchestra Slate 7:30 pm Grant Stewart with David Hazeltine, Paul Sikivie êMarc Ribot solo; /Zeena Parkins • • Orrin Evans Captain Black Band; Smoke Jam Session Smoke 7, 9, 10:30 pm Mezzrow 8 pm $20 The Stone 8, 10 pm $20 • Vince Giordano’s Nighthawks Iguana 8 pm (ALSO TUE) • Chris Pitsiokos Quartet with Andrew Smiley, Henry Fraser, Connor Baker • David Berkman Trio with Ugonna Okegwo, Kenneth Salters • Grove Street Stompers Arthur’s Tavern 7 pm The Stone 8, 10 pm $20 Jazz at Kitano 8, 10 pm $17 • Patience Higgins Band with Lady Cantrese Nabe Harlem 7 pm • Jeff Davis Catchfoot with Anna Webber, Oscar Noriega, ; êSwing Collective: Melissa Aldana, Etienne Charles, Elio Villafranca, Yasushi Nakamura, • Jazz Foundation of American Jam Session Local 802 7 pm Michael Foster solo; Damon Smith, Yoni Kretzmer, Joe Hertenstein Ulysses Owens, Jr. Dizzy’s Club 7:30, 9:30 pm $35 • Arthur Kell and Friends Bar Lunatico 8:30 pm and guest Jeb Bishop Legion 8 pm $15 • Jovan Alexandre Dizzy’s Club 11:30 pm $5 • Roger Lent solo Cavatappo Grill 7 pm • Albert Marques Trio Rockwood Music Hall Stage 3 8:30 pm $10 êTomas Fujiwara Double Trio with , Taylor Ho Bynum, Mary Halvorson, • Renaud Penant Trio Analogue 7:30 pm • Terry Waldo’s Gotham City Band; Brandon Lewis/Renee Cruz Jam Brandon Seabrook, Gerald Cleaver • Earl Rose solo; Earl Rose Trio Bemelmans Bar 5:30, 9 pm • Stan Rubin All-Stars Charley O’s 8:30 pm Fat Cat 8:30 pm 1:30 am The Jazz Gallery 7:30, 9:30 pm $22 • Svetlana and the Delancey 5 The Back Room 8:30 pm • Christian Finger Band with Sebastian Noelle, Adam Armstrong êMike Baggetta Trio with , Billy Mintz; Anders Nilsson Trio with • Swingadelic Swing 46 8:30 pm Club Bonafide 7:30 pm $15 Michaël Attias, Ken Filiano Greenwich House Music School 7:30 pm $18 • Gracie Terzian Bar Hugo 6 pm • Julio Botti; Marcos Toledo Williamsburg Music Center 9, 10:15 pm $10 • Rachel Therrien Latin Jazz Quartet; E.J. Strickland’s Transient Beings with • Vanguard Jazz Orchestra Village Vanguard 8:30, 10:30 pm $30 • Kengo Yamada Tomi Jazz 8 pm Sarah Elizabeth Charles, Mark Whitfield, Tom Guarna, Richie Goods • James Zeller Duo Spasso 7 pm (ALSO SUN) • The New York Jazzharmonic Trio: Jay Rattman, Chris Ziemba, Ron Wasserman and Club Bonafide 7:30, 9:30 pm $10 guests Jim Saporito, Harrison Hollingsworth • Al Strong Quintet with Stacy Dillard, Willerm Delisfort, Ameen Saleem, TUESDAY Symphony Space Bar Thalia 7 pm Jeremy “Bean” Clemons Smoke 7, 9, 10:30 pm $15 êJoe Chambers Landscapes with Rick Germanson, Ugonna Okegwo, Emilio Valdez • Dred Scott with Ben Rubin, Diego Voglino • Orrin Evans Evolution Series Jam Session Zinc Bar 11 pm • Ronnie Burrage and The Robu Trio The Five Spot Brooklyn 11 pm $10 Smoke 7, 9, 10:30 pm $40 Mezzrow 8 pm $20 • Joel Forrester solo Stop Time 7 pm êChick Corea’s Origin II with Ravi Coltrane, Steve Wilson, Steve Davis, • David Weiss Sextet; Ned Goold Jam • George Gee Orchestra Swing 46 8:30 pm Carlitos Del Puerto, Marcus Gilmore Fat Cat 9 pm 12:30 am • Chris Gillespie; Loston Harris Bemelmans Bar 5:30, 9:30 pm (ALSO WED-SAT) Blue Note 8, 10:30 pm $85 • Angela Morris’ Rallidae with Dustin Carlson, Scott Colberg; Adam Hopkins Sextet with • Jerome Harris/Dave Baron Barawine 7 pm (ALSO SUN 6 PM) • Jazz by 5: Javon Jackson, Randy Brecker, Joanne Brackeen, Eddie Gomez, Anna Webber, Ed Rosenberg III, Josh Sinton, Jonathan Goldberger, Devin Gray • Loston Harris Café Carlyle 9:30 pm $20 (ALSO WED-SAT) Jimmy Cobb Iridium 8:30 pm $35-45 Rye 9 pm • Art Hirahara Trio Arturo’s 8 pm êWycliffe Gordon and The International All-Stars with Ehud Asherie, Corcoran Holt, • Zeena Parkins/Brian Chase; Sofia Rei Trio with JC Maillard, Franco PInna • Yuichi Hirakawa Trio Arthur’s Tavern 7, 8:30 pm Alvin Atkinson, Jr., Adrian Cunningham Happylucky no.1 7, 9 pm • Mike LeDonne Quartet; Emmet Cohen Band Smoke 7, 9, 10:30, 11:30 pm Dizzy’s Club 7:30, 9:30 pm $35 • All At Onceness: Randal Despommier, Jason Yeager, Aubrey Johnson; • Mona’s Hot Four Jam Session Mona’s 11 pm ê • Annie Ross The Metropolitan Room 9:30 pm $25 Maria Schneider Orchestra with Steve Wilson, Dave Pietro, Rich Perry, Donny McCaslin, Cyrus Von Hochstetter and The Hat Music with Jay Rattman, Austin Becker, Jim Fryer, • Bill Todd Open Jam Club Bonafide 9 pm $10 Scott Robinson, Tony Kadleck, Greg Gisbert, Augie Haas, Mike Rodriguez, Daan Kleijn Cornelia Street Café 8, 9:30 pm $10 • Diego Voglino Jam Session The Fifth Estate 10 pm Keith O’Quinn, Ryan Keberle, Marshall Gilkes, George Flynn, Gary Versace, Lage Lund, • Angela McCluskey The Django at The Roxy Hotel 9 pm • The Westet Analogue 7:30 pm Frank Kimbrough, Jay Anderson, Johnathan Blake, Rogério Boccato • Hot Club of Flatbush Radegast Hall 9 pm Jazz Standard 7:30, 9:30 pm $40 • Hiroaki Honshuku Trio Tomi Jazz 8 pm WEDNESDAY êChucho Valdés/Joe Lovano Quintet with Gaston Joya, Yaroldy Abreu, Francisco Mela • Dave Holland, Kevin Eubanks, Chris Potter, Obed Calvaire Birdland 8:30, 11 pm $50 Birdland 8:30, 11 pm $40 • Astoria Jazz Composers Workshop Waltz-Astoria 6 pm êJason Moran and The Bandwagon with Tarus Mateen, Nasheet Waits • Donny McCaslin Quartet with Jason Lindner, Nate Wood, Mark Guiliana • Rick Bogart Trio L’ybane 9:30 pm (ALSO FRI) Village Vanguard 8:30, 10:30 pm $30 Village Vanguard 8:30, 10:30 pm $30 • Django Big Band and Jam Session The Django 8 pm ê • Rob Duguay’s Low Key Trio Turnmill NYC 11 pm • Lauren Kinhan Quartet Saint Peter’s 5 pm Duchess Variety Hour: Amy Cervini, Hilary Gardner and Melissa Stylianou with • Jeanne Gies with Howard Alden and Friends Joe G’s 6:30 pm • NY Jazz Flutet with guests Jessica Valiente, Jay Rodriguez Michael Cabe, Matt Aronoff, Jared Schonig and guest Kat Edmonson • Martin Kelley’s Affinity John Brown Smoke House 5:30 pm Nuyorican Poets Café 4 pm $10 Jazz Standard 7:30, 9:30 pm $30 • Mark Kross and Louise Rogers WaHi Jazz Jam Le Chéile 8 pm • Svetlana and Delancey Five with guest James Williams • John Pizzarelli/Jessica Molaskey Café Carlyle 8:45 pm $120-75 • Les Kurtz Trio Cleopatra’s Needle 7 pm Blue Note 11:30 am 1:30 pm $35 • Bill Stevens, Rich Russo, Gary Fogel • Jonathan Kreisberg Trio Bar Next Door 8:30, 10:30 pm $12 • Roz Corral Trio with Freddie Bryant, Santi Debriano Silvana 6 pm • Ron McClure solo piano McDonald’s 12 pm (ALSO SAT) North Square Lounge 12:30, 2 pm • Jazz Arts Combo Festival Manhattan School of Music Carla Bossi-Comelli Studio 3 pm • David Ostwald’s Louis Armstrong Centennial Band Birdland 5:30 pm $20 • Carol Fredette Saint Peter’s 1 pm $10 • Nathan Peck Funky Electrical Unit Smoke 11:30 pm • Breath and Hammer: /Kathleen Tagg • Stan Rubin Orchestra Swing 46 8:30 pm • Eve Silber Arthur’s Tavern 7 pm Monday, November 28 92nd Street Y 9:45, 11:15 am • Donald Smith and Friends Cassandra’s Jazz and Gallery 8, 10 pm $10 • Bill Wurtzel/Jay Leonhart American Folk Art Museum 2 pm • Ron Carter Quartet with Renee Rosnes, Payton Crossley, Rolando Morales-Matos Blue Note 8, 10:30 pm $45 THURSDAY êFreddie Bryant Monk Restrung with Peter Bernstein, Howard Alden, Romero Lubambo, Gregory Ryan, Willard Dyson Dizzy’s Club 7:30, 9:30 pm $30 “Simply the hippest journal about jazz in New York • Marc Cary’s The Harlem Sessions Ginny’s Supper Club 10:30 pm $10 • Iridium 8:30 pm $25 • Gene Bertoncini Ryan’s Daughter 8:30, 10:30 pm êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 that has ever been published” - Joe Lovano • Dr. Dwight Dickerson Cassandra’s Jazz and Gallery 8 pm $5 • David Hazeltine/Neal Miner Mezzrow 8 pm $20 • Harlem Renaissance Orchestra Swing 46 8:30 pm • Jazz Jam Session American Legion Post 7:30 pm • John Raymond Quartet with Glenn Zaleski, Rick Rosato, Jay Sawyer; • Kazu Trio Cleopatra’s Needle 11:30 pm Ari Hoenig Trio with Nitai Hershkovits, Or Bareket; Jonathan Michel • Martin Kelley’s Affinity Domaine Wine Bar 8:30 pm Smalls 7:30, 10:30 pm 1 am $20 • Jon Lang’s First Name Basis Jam Session Symphony Space Bar Thalia 9 pm • Dan Pugach Nonet Rockwood Music Hall Stage 2 11:30 pm $10 ity • Lapis Luna Quintet The Plaza Hotel Rose Club 8:30 pm • Ayman Boujilda Group with Taulant Mehmeti, Gabriel Chakarji, Jill McKenna k C • Curtis Lundy Jam Session Shell’s Bistro 9 pm Bar Lunàtico 8:30, 10 pm $10 or • Sol Yaged Grata 8 pm • Sagi Kaufman Trio with Yoav Eshed, Noam Israeli; Chiara Izzi Trio with Vitor Gonçalves, w Y • Eri Yamamoto Trio Arthur’s Tavern 7 pm (ALSO FRI-SAT) Petros Klampanis Bar Next Door 6:30, 8:30, 10:30 pm $12 Ne • Chad Lefkowitz-Brown Quintet The Roxy Hotel Upstairs 7 pm he FRIDAY Wishing on Stars Trio Tomi Jazz 8 pm T • • Scot Albertson Parnell’s 8 pm (ALSO SAT) • Jazz Arts Combo Festival Manhattan School of Music Carla Bossi-Comelli Studio 3 pm d r • Birdland Big Band Birdland 5:15 pm $25 co • Rick Bogart Trio New York Yankees Steakhouse 5 pm Re • Day One Trio Prime and Beyond Restaurant 9 pm (ALSO SAT) • Gerry Eastman Quartet Williamsburg Music Center 10 pm Tuesday, November 29 z z • Finkel/Kasuga/Tanaka/Solow San Martin Restaurant 12 pm $10 a • Patience Higgins Sugar Hill Quartet Smoke 11:45 pm 12:45 am • Norah Jones Beacon Theatre 8 pm $45-73 J • Dave Holland, Kevin Eubanks, Chris Potter, Obed Calvaire • Sandy Jordan and Friends ABC Chinese Restaurant 8 pm Birdland 8:30, 11 pm $40 • Michael Kanan Trio Arturo’s 8 pm • Richard Russo Quartet Capital Grille 6:30 pm • Donny McCaslin Quartet with Jason Lindner, Nate Wood, Mark Guiliana • Bill Saxton and the Harlem Bebop Band Bill’s Place 9, 11 pm $15 (ALSO SAT) Village Vanguard 8:30, 10:30 pm $30 êDuchess Variety Hour: Amy Cervini, Hilary Gardner and Melissa Stylianou with SATURDAY Michael Cabe, Matt Aronoff, Jared Schonig and guest Christian McBride Jazz Standard 7:30, 9:30 pm $30 • Rob Anderson Jam Session University of the Streets 10 pm • Felix Peikli/Joe Doubleday’s Showtime Band with Rossano Sportiello, Russell Hall, • Rick Bogart Trio Broadway Thai 7:30 pm (ALSO SUN) Ralph Peterson Dizzy’s Club 7:30, 9:30 pm $30 • The Candy Shop Boys Duane Park 8, 10:30 pm • Jovan Alexandre Dizzy’s Club 11:30 pm $5 • Barbara Carroll Birdland 6 pm $30 • John Pizzarelli/Jessica Molaskey Café Carlyle 8:45 pm $120-75 • Agustin Grasso Quartet Duet 8 pm (ALSO SUN 11 am) ê • Assaf Kehati Duo Il Gattopardo 11:30 am Marc Ribot solo; Marc Ribot/Doug Weiselman • Curtis Lundy Trio with guests Shell’s Bistro 9 pm The Stone 8, 10 pm $20 • Jonathan Moritz/Chris Welcome/Shayna Dulberger The Graham 1 pm • Antoinette Montague Group NYC Baha’i Center 8 pm $15 CALL FOR WRITERS • Ruben Steijn/Sharik Hasan/Andrea Veneziani Farafina Café & Lounge 8:30 pm êTheo Hill Trio; Marquis Hill Quintet The Django at The Roxy Hotel 7:30, 10 pm • Nabuko and Friends Nabe Harlem 12 pm • Jeff Miles Trio with Noam Wiesenberg, Allan Mednard; Tim Armacost Trio with • Johnny O’Neal and Friends Smoke 11:45 pm 12:45 am Dave Berkman, Joseph Lepore Bar Next Door 6:30, 8:30, 10:30 pm $12 • James Zeller Trio Spasso 1pm • Tamar Korn Mezzrow 8 pm $20 ARE YOU A GREAT WRITER WHO • Spike Wilner Trio; Steve Nelson Quintet with Rick Germanson, Charles Goold, SUNDAY , Angela Roberts; Jovan Alexander WANTS TO CONTRIBUTE REVIEWS • Avalon Jazz Quartet The Lambs Club 11 am Smalls 7:30, 10:30 pm 1 am $20 • Rick Bogart Trio New York Yankees Steakhouse 12 pm • Itai Kriss and Gato Gordo; John Benitez Latin Bop • Emily Braden; Davi Vieira Club Bonafide 7, 9 pm $10 Fat Cat 7 pm 12:30 am AND FEATURES TO NEW YORK’S • The Candy Shop Boys The Rum House 9:30 pm • Pedrito Martinez Group Subrosa 7, 9 pm $15 • Creole Cooking Jazz Band; Stew Cutler and Friends Arthur’s Tavern 7, 10 pm • Steve Sandberg Quartet with Zach Brock, Michael O’Brien, Mauricio Zottarelli ONLY HOMEGROWN JAZZ GAZETTE? • Glenn Crytzer Group Pegu Club 6:30 pm Cornelia Street Café 8, 9:30 pm $10 • Stefano Doglioni Trio Analogue 7:30 pm • Margaret Gianquinto with Michael Kanan • JaRon Eames/Emme Kemp The Downtown Club 2 pm $20 The Drawing Room 8 pm $15 • The EarRegulars with Jon-Erik Kellso The Ear Inn 8 pm Julian Shore Quartet with Gilad Hekselman, Colin Stranahan, William Tatge Trio with • Marjorie Eliot/Rudell Drears/Sedric Choukroun Parlor Entertainment 4 pm • PLEASE SEND CLIPS TO: • Joel Forrester solo Grace Gospel Church 11 am Pablo Menares, Nick Anderson Korzo 10:30 pm • Broc Hempel/Sam Trapchak/Christian Coleman Trio Dominie’s Astoria 9 pm • Chiara Izzi Trio Cavatappo Grill 9, 11 pm $8 • Ian Hendrickson-Smith The Strand Smokehouse 7 pm • Michael Gallant Trio Tomi Jazz 8 pm [email protected] • Jazz Brunch Harlem Besame Latino Soul Lounge 1:30 pm • Ron Carter Quartet with Renee Rosnes, Payton Crossley, Rolando Morales-Matos • Peter Mazza Trio Bar Next Door 8, 10 pm $12 Blue Note 8, 10:30 pm $45 • Tony Middleton Trio Jazz at Kitano 11 am $35 • Karlijn Roex/Jamir Diaz Silvana 6 pm • Arturo O’Farrill Afro Latin Jazz Orchestra Birdland 9, 11 pm $30 êMilton Suggs Rendall Memorial Presbyterian Church 12 pm $15 • Earl Rose solo; Champian Fulton Bemelmans Bar 5:30, 9 pm • Jazz Arts Combo Festival Manhattan School of Music Carla Bossi-Comelli Studio 3 pm • Lu Reid Jam Session Shrine 4 pm • Breath and Hammer: David Krakauer/Kathleen Tagg • Brandee Younger; Jackie Gage Minton’s 11 am 6 pm 92nd Street Y 9:45, 11:15 am nycjazzrecord.com • Annette St. John; Wilerm Delisfort Quartet Smoke 11:30 am 11:45 pm

40 NOVEMBER 2016 | THE NEW YORK CITY JAZZ RECORD CLUB DIRECTORY

• 11th Street Bar 510 E. 11th Street • El Taller LatinoAmericano 225 W. 99th Street • New Revolution Arts 7 Stanhope Street Subway: J to Kosciuszko Street (212-982-3929) Subway: L to 1st Avenue www.11thstbar.com (212-665-9460) Subway: 1, 2, 3 to 96th Street www.jazzrightnow.com/new-revolution-arts-series • 440Gallery 440 Sixth Avenue, Brooklyn • Farafina Café & Lounge Harlem 1813 Amsterdam Avenue (212-281-2445) • New York Yankees Steakhouse 7 W. 51st Street (646-307-7910) (718-499-3844) Subway: F, G to Seventh Avenue www.440gallery.com Subway: 1 to 145th Street www.farafinacafeloungeharlem.com Subway: E, M to Fifth Avenue/53rd Street www.nyysteak.com • 5C Café 68 Avenue C • Fat Cat 75 Christopher Street at 7th Avenue (212-675-6056) • North Square Lounge 103 Waverly Place (212-254-1200) (212-477-5993) Subway: F, V to Second Avenue www.5ccc.com Subway: 1 to Christopher Street/Sheridan Square www.fatcatmusic.org Subway: A, B, C, E, F to West 4th Street www.northsquareny.com • 55Bar 55 Christopher Street (212-929-9883) • The Fifth Estate 506 5th Avenue, Brooklyn • Nublu 62 Avenue C between 4th and 5th Streets Subway: 1 to Christopher Street www.55bar.com (718-840-0089) Subway: F to 4th Avenue www.fifthestatebar.com (212-979-9925) Subway: F, V to Second Avenue www.nublu.net • 92nd Street Y Lexington Avenue at 92nd Street • The Firehouse Space 246 Frost Street • Nuyorican Poets Café 236 E. 3rd Street between Avenues B and C (212-415-5500) Subway: 6 to 96th Street www.92y.org Subway: L to Graham Avenue www.thefirehousespace.org (212-505-8183) Subway: F, V to Second Avenue www.nuyorican.org • Aaron Davis Hall 133rd Street and Convent Avenue • The Five Spot 459 Myrtle Avenue, Brooklyn • Opia 130 E. 57th Street (212-650-7100) Subway: 1 to 137th Street/City College www.adhatccny.org (718-852-0202) Subway: G to Clinton/Washington (212-688-3939) Subway: 4, 5, 6 to 59th Street www.opiarestaurant.com • ABC Chinese Restaurant 34 Pell Street www.fivespotsoulfood.com • The Owl Music Parlor 497 Rogers Avenue, Brooklyn (212-346-9890) Subway: J to Chambers Street • Flushing Town Hall 137-35 Northern Boulevard, Flushing (718-774-0042) Subway: 2, to to Sterling Street www.theowl.nyc • Alhambra Ballroom 2116 Adam Clayton Powell Boulevard (718-463-7700) Subway: 7 to Main Street www.flushingtownhall.org • Parkside Lounge 317 Houston Street between Avenues B and C (212-222-6940) Subway: 2, 3 to 125th Street www.alhambraballroom.net • For My Sweet Restaurant 1103 Fulton Street at Claver Place (212-673-6270) Subway: F, V to Second Avenue • All Souls Unitarian Church 1157 Lexington Avenue (at 80th Street) (917-757-0170) Subway: C to Franklin Avenue • Parlor Entertainment 555 Edgecombe Ave. #3F (212-535-5530) Subway: 6 to 77th Street • Ginny’s Supper Club at Red Rooster Harlem 310 Malcolm X Boulevard (212-781-6595) Subway: C to 155th Street www.parlorentertainment.com • American Folk Art Museum 65th Street at Columbis Avenue (212-792-9001) Subway: 2, 3 to 125th Street www.ginnyssupperclub.com • Parnell’s 350 East 53rd Street #1(212-753-1761) (212-595-9533) Subway: 1 to 66th Street www.folkartmuseum.org • Grace Gospel Church 589 East 164th Street Subway: E, M to Lexington Avenue/53 Street www.parnellsny.com • American Legion Post 248 West 132nd Street (718-328-0166) Subway: 2, 5 to Prospect Avenue • Pegu Club 77 W. Houston Street (212-473-7348) (212-283-9701) Subway: 2, 3 to 135th Street www.legion.org • The Graham 190 Graham Ave (718-388-4682) Subway: B, D, F, M to Broadway-Lafayette www.peguclub.com • An Beal Bocht Café 445 W. 238th Street Subway: L to Montrose Avenue www.thegrahambrooklyn.com • 158 Ludlow Street Subway: 1 to 238th Street www.LindasJazzNights.com • Grassroots Tavern 20 Saint Marks Place (212-505-3733) Subway: F, V to Second Avenue www.pianosnyc.com • Analogue 19 West 8th Street (212-432-0200) (212-475 9443) Subway: 6 to Astor Place, N,R to 8th Street • The Plaza Hotel Rose Club Fifth Avenue at Central Park South Subway: A, B, C, D, E, F, M to W. 4th Street www.analoguenyc.com • Grata 1076 1st Avenue (212-842-0007) (212-759-3000) Subway: N, Q, R to Fifth Avenue www.fairmont.com • The Appel Room Broadway at 60th Street, 5th floor (212-258-9800) Subway: 4, 5, 6, N, Q, R to 59th Street www.gratanyc.com • Prime and Beyond Restaurant 90 East 10th Street Subway: 1, 2, 3, 9, A, C, E, B, D, F to Columbus Circle www.jalc.org • Greenwich House Music School 46 Barrow Street (212-505-0033) Subway: 6 to Astor Place www.primeandbeyond.com • Arthur’s Tavern 57 Grove Street (212-675-6879) (212-242-4770) Subway: 1 to Christopher Street www.greenwichhouse.org • Radegast Hall 113 North 3rd Street Subway: 1 to Christopher Street www.arthurstavernnyc.com • Groove Bar & Grill 125 MacDougal Street (718-963-3973) Subway: L to Bedford Avenue www.radegasthall.com • Austrian Cultural Forum 11 East 52nd Street at Madison Avenue (212-254-9393) Subway: A, B, C, D, E, F, V to W. 4th Street • Rendall Memorial Presbyterian Church 59 W. 137th Street #61 (212-319-5300) Subway: 6 to 51st Street www.acfny.org www.clubgroovenyc.com (212-283-2928) Subway: 2, 3 to 135th Street • Arturo’s 106 W. Houston Street (at Thompson Street) • Happylucky no.1 734 Nostrand Avenue • Riverdale YM-YWHA 5625 Arlington Avenue (212-677-3820) Subway: A, B, C, D, E, F, M to W. 4th Street (347-295-0961) Subway: 2, 3, 4, 5 to Franklin Avenue (718-548-8200) Subway: 1 to 242 Street - Van Cortlandt Park • B.B. King’s Blues Bar 237 W. 42nd Street • Harlem Besame Latino Soul Lounge 2070 Adam Clayton Powell, Jr. Blvd. www.riverdaley.org (212-997-2144) Subway: 1, 2, 3, 7 to 42nd Street/Times Square Subway: 2, 3 to 125th Street www.harlembesame.com • Rockwood Music Hall 196 Allen Street (212-477-4155) www.bbkingblues.com • Highline Ballroom 431 W. 16th Street Subway: F, V to Second Avenue www.rockwoodmusichall.com • The Back Room 102 Norfolk Street (212-228-5098) (212-414-5994) Subway: A, C, E to 14th Street www.highlineballroom.com • Rose Theater Broadway at 60th Street, 5th floor (212-258-9800) Subway: F to Delancey Street www.backroomnyc.com • Ibeam Brooklyn 168 7th Street between Second and Third Avenues Subway: 1, 2, 3, 9, A, C, E, B, D, F to Columbus Circle www.jalc.org • Bar Chord 1008 Cortelyou Road Subway: F to 4th Avenue www.ibeambrooklyn.com • Roulette 509 Atlantic Avenue (347-240-6033) Subway: Q to Cortelyou Road www.barchordnyc.com • Iguana 240 West 54th Street (212-765-5454) (212-219-8242) Subway: 2, 3, 4, 5 to Atlantic Avenue www.roulette.org • Bar Hugo 525 Greenwich Street Subway: B, D, E, N, Q, R to Seventh Avenue www.iguananyc.com • The Roxy Hotel 2 Sixth Avenue (212-519-6600) (212-608-4848) Subway: C, E to Spring Street www.hotelhugony.com • Il Gattopardo 13-15 W. 54th Street Subway: A, C, E to Canal Street; 1 to Franklin Street www.roxyhotelnyc.com • Bar Lunàtico 486 Halsey Street (212-246-0412) Subway: E, M to Fifth Avenue/53rd Street • Rubin Museum 150 West 17th Street (917-495-9473) Subway: C to Kingston-Throop Avenues www.ilgattopardonyc.com (212-620-5000) Subway: A, C, E to 14th Street www.rmanyc.org • Bar Next Door 129 MacDougal Street (212-529-5945) • Iridium 1650 Broadway at 51st Street (212-582-2121) • Rue B 188 Avenue B Subway: A, B, C, D, E, F, M to W. 4th Street www.lalanternacaffe.com Subway: 1,2 to 50th Street www.theiridium.com (212-358-1700) Subway: L to First Avenue www.ruebnyc188.com • Barawine 200 Lenox Avenue at W. 120th Street • Jazz at Kitano 66 Park Avenue at 38th Street (212-885-7000) • The Rum House 228 W. 47th Street (646-756-4154) Subway: 2, 3 to 116th Street Subway: 4, 5, 6, 7, S to Grand Central www.kitano.com (646-490-6924) Subway: N, Q, R to 49th Street www.edisonrumhouse.com • Barbès 376 9th Street at 6th Avenue, Brooklyn (718-965-9177) • The Jazz Gallery 1160 Broadway, 5th floor (212-242-1063) • Ryan’s Daughter 350 E 85th Street Subway: F to 7th Avenue www.barbesbrooklyn.com Subway: N, R to 28th Street www.jazzgallery.org (212-628-2613) Subway: 4, 5, 6 to 86th Street www.ryansdaughternyc.com • Beacon Theatre 2124 Broadway at 74th Street • Jazz Museum in Harlem 58 W. 129th Street between Madison and Lenox • Rye 247 S. 1st Street (718-218-8047) Subway: G to Metropolitan Avenue (212-496-7070) Subway: 1, 2, 3 to 72nd Street www.beacontheatre.com Avenues (212-348-8300) Subway: 6 to 125th Street • St. John Lutheran Church 81 Christopher Street • Bemelmans Bar 35 E. 76th Street (212-744-1600) www.jazzmuseuminharlem.org (212-242-5737) Subway: 1 to Christopher Street www.stjohnsnyc.org Subway: 6 to 77th Street www.thecarlyle.com • Jazz Standard 116 E. 27th between Park and Lexington Avenue • St. Lydia’s 304 Bond Street, Brooklyn • Bill’s Place 148 W. 133rd Street (between Lenox and 7th Avenues) (212-576-2232) Subway: 6 to 28th Street www.jazzstandard.net (646-580-1247) Subway: F, G to Carroll Street www.stlydias.org (212-281-0777) Subway: 2, 3 to 125th Street • Joe G’s 244 W. 56th Street (212-765-3160) • Saint Peter’s Church 619 Lexington Avenue at 54th Street • Birdland 315 W. 44th Street (212-581-3080) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle (212-935-2200) Subway: 6 to 51st Street www.saintpeters.org Subway: A, C, E, to 42nd Street www.birdlandjazz.com • Joe’s Pub at the Public Theater 425 Lafayette Street (212-539-8770) • San Martin Restaurant 143 E. 49 Street between Lexington and Park • Blank Café & Bistro 25 Broadway, Brooklyn Subway: N, R to 8th Street-NYU; 6 to Astor Place www.joespub.com Avenues (212-832-0888) Subway: 6 to 51st Street Subway: J, M, Z to Marcy Avenue www.blankbrooklyn.com • John Brown Smokehouse 10-43 44th Drive, Queens (347-617-1120) • SEEDS 617 Vanderbilt Avenue • Blue Note 131 W. 3rd Street at 6th Avenue (212-475-8592) Subway: 7, E, M to Court Square www.johnbrownseriousbbq.com Subway: 2, 3, 4 to Grand Army Plaza www.seedsbrooklyn.org Subway: A, B, C, D, E, F, M to W. 4th Street www.bluenotejazz.com • Juilliard School Peter Jay Sharp Theater and Paul Hall 155 W. 65th Street • Settepani 196 Lenox Avenue at 120th Street • Broadway Thai 241 West 51st Street (212-769-7406) Subway: 1 to 66th Street www.juilliard.edu (917-492-4806) Subway: 2, 3 to 116th Street www.settepani.com (212-226-4565) Subway: 1, C, E to 50th Street www.tomandtoon.com • Knickerbocker Bar & Grill 33 University Place at 9th Street (212-228-8490) • ShapeShifter Lab 18 Whitwell Place • Bronx Museum of the Arts 1040 Grand Concourse (at 165th Street) Subway: N, R to 8th Street-NYU www.knickerbockerbarandgrill.com (646-820-9452) Subway: R to Union Street www.shapeshifterlab.com (718-681-6000) Subway: 4 to 161st Street • Korzo 667 5th Avenue Brooklyn (718-285-9425) Subway: R to Prospect Avenue • Showman’s 375 W. 125th Street at Morningside) (212-864-8941) • Bronx Music Heritage Center 1303 Louis Nine Boulevard www.facebook.com/konceptions Subway: A, B, C, D to 125th Street www.showmansjazz.webs.com Subway: 2, 5 to Freeman • The Lambs Club 132 W. 44th Street • Shrine 2271 Adam Clayton Powell Boulevard (212-690-7807) • Brooklyn Conservatory of Music 58 Seventh Avenue, Brooklyn 212-997-5262 Subway: A, C, E, to 42nd Street www.thelambsclub.com Subway: B, 2, 3 to 135th Street www.shrinenyc.com Subway: F to Seventh Avenue, N, R to Union Street www.bkcm.org • Le Chéile 839 W. 181st Street • Silvana 300 West 116th Street • Brooklyn Museum of Art 200 Eastern Parkway (718-638-5000) (212-740-3111) Subway: A to 181st Street www.lecheilenyc.com (646-692-4935) Subway: B, C, to 116th Street www.silvana-nyc.com Subway: 2, 3 to Eastern Parkway www.brooklynmuseum.org • Le Poisson Rouge 158 Bleecker Street (212-228-4854) • Sistas’ Place 456 Nostrand Avenue at Jefferson Avenue, Brooklyn • Café Carlyle 35 E. 76th Street (212-744-1600) Subway: A, B, C, D, E, F, V to W. 4th Street www.lepoissonrouge.com (718-398-1766) Subway: A to Nostrand Avenue www.sistasplace.org Subway: 6 to 77th Street www.thecarlyle.com • Legion Bar 790 Metropolitan Avenue • Slate 54 W. 21st Street • Café Loup 105 W. 13th Street between Sixth and Seventh Avenues (718-387-3797) Subway: L to Graham Avenue www.legionbrooklyn.com (212-989-0096) Subway: F, M, N, R to 23rd Street www.slate-ny.com (212-255-4746) Subway: F to 14th Street www.cafeloupnyc.com • Lehman College 250 Bedford Park Boulevard West, Bronx (718-960-8833) • Smalls 183 W 10th Street at Seventh Avenue (212-252-5091) • Café Noctambulo at Pangea 178 Second Avenue Subway: 4, D train to Bedford Park Blvd. www.lehmancenter.org Subway: 1 to Christopher Street www.smallsjazzclub.com (212-995-0900) Subway: L to First Avenue www.pangeanyc.com • Local 802 322 W. 48th Street between Eighth and Ninth Avenues • Smoke 2751 Broadway between 105th and 106th Streets • Caffe Vivaldi 32 Jones Street Subway: A, B, C, D, E, F, Q, V (212-245-4802) Subway: C to 50th Street www.jazzfoundation.org (212-864-6662) Subway: 1 to 103rd Street www.smokejazz.com to W. 4th Street-Washington Square www.caffevivaldi.com • L’ybane 709 8th Avenue (212-582-2012) • South Oxford Space 138 South Oxford Street, Brooklyn • Capital Grille 120 Broadway Subway: A, C, E to 42nd Street-Port Authority www.lybane.com (718) 398-3078 Subway: C to Lafayette Street (212-374-1811) Subway: 2, 3, 4, 5 to Wall Street www.thecapitalgrille.com • McDonald’s 160 Broadway between Maiden Lane and Liberty Street • Spectrum 121 Ludlow Street, 2nd floor • Capitale 130 Bowery (212-385-2063) Subway: 4, 5 to Fulton Street www.mcdonalds.com Subway: F to Delancey Street www.spectrumnyc.com (212-334-5500) Subway: B, D to Grand Street www.capitaleny.com • Manhattan Inn 632 Manhattan Avenue • The Stone Avenue C and 2nd Street • Cassandra’s Jazz and Gallery 2256 Adam Clayton Powell, Jr. Boulevard (718-383-0885) Subway: G to Nassau Avenue www.themanhattaninn.com Subway: F to Second Avenue www.thestonenyc.com (917-435-2250) Subway: 2, 3 to 135th Street www.cassandrasjazz.com • Manhattan School of Music Neidorff-Karpati Hall, Miller Recital Hall, • Stop Time 1223 Bedford Avenue Subway: A, C to Nostrand Avenue • Cavatappo Grill 1712 First Avenue Ades Performance Space, Carla Bossi-Comelli Studio Broadway and • The Strand Smokehouse 25-27 Broadway, Queens (718-440-3231) (212-987-9260) Subway: 4, 5, 6 to 86th Street www.cavatappo.com 122nd Street (212-749-2802 ext. 4428) Subway: 1 to 116th Street Subway: N, Q to Broadway www.thestrandsmokehouse.com • The Cave at St. George’s Episcopal Church 4 Rutherford Place www.msmnyc.edu • Subrosa 63 Gansevoort Street (212-997-4555) (646-723-4178) Subway: L to Third Avenue www.calvarystgeorges.org • Metropolis Oyster Room and Cocktail Bar 31 Union Square West Subway: 1, 2, 3 to 14th Street; L to Eighth Avenue www.subrosanyc.com • Charley O’s 1611 Broadway at 49th Street (212-533-2500) Subway: 4, 5, 6, L. N, Q, R to 14th Street-Union Square • Swing 46 349 W. 46th Street (646-322-4051) (212-246-1960) Subway: N, R, W to 49th Street www.metropolisnewyork.com Subway: A, C, E to 42nd Street www.swing46.com • Cleopatra’s Needle 2485 Broadway (212-769-6969) • Metropolitan Room 34 W. 22nd Street (212-206-0440) • Symphony Space Leonard Nimoy Thalia, Peter Jay Sharpe Theatre Subway: 1, 2, 3 to 96th Street www.cleopatrasneedleny.com Subway: N, R to 23rd Street www.metropolitanroom.com and Bar Thalia 2537 Broadway at 95th Street (212-864-5400) • Club Bonafide 212 E. 52nd Street (646-918-6189) Subway: 6 to 51st Street; • Mezzrow 163 W. 10th Street Subway: 1, 2, 3 to 96th Street www.symphonyspace.org E, V to 53rd Street www.clubbonafide.com (646-476-4346) Subway: 1 to Christopher Street www.mezzrow.com • Threes Brewing 333 Douglass Street • Cornelia Street Café 29 Cornelia Street (212-989-9319) • Michiko Studios 149 West 46th Street, 3rd Floor (718-522-2110) Subway: R to Union Street www.threesbrewing.com Subway: A, B, C, D, E, F, M to W. 4th Street www.corneliastreetcafé.com (212-302-4011) Subway: B, D, F, M to 47-50 Streets • Tomi Jazz 239 E. 53rd Street • The Culture Center 410 Columbus Avenue www.michikostudios.com (646-497-1254) Subway: 6 to 51st Street www.tomijazz.com (212-769-1600) Subway: B, C to 81st Street www.culturecenterny.org • Miller Theatre 2960 Broadway and 116th Street (212-854-7799) • Troost 1011 Manhattan Avenue • Dizzy’s Club Broadway at 60th Street, 5th Floor (212-258-9800) Subway: 1 to 116th Street-Columbia University www.millertheater.com (347-889-6761) Subway: G to Greenpoint Avenue www.troostny.com Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.jalc.org • Minton’s 206 West 118th Street (between St. Nicholas Avenue and Adam • Turnmill NYC 119 East 27th Street • Domaine Wine Bar 50-04 Vernon Boulevard (718-784-2350) Clayton Powell Jr. Blvd) (212-243-2222) Subway: B, C to 116th Street (646-524-6060) Subway: 6 to 27th Street www.turnmillnyc.com Subway: 7 to Vernon Boulevard-Jackson Avenue www.domainewinebar.com www.mintonsharlem.com • University of the Streets 2381 Belmont Avenue, 2nd Floor (212-254-9300) • Dominie’s Astoria 34-07 30th Avenue Subway: N, Q to 30th Avenue • MIST - My Image Studios 40 West 116th Street Subway: B, D to 182-183 Streets www.universityofthestreets.org • The Downtown Club 240 E. 123rd Street Subway: 2, 3 to 116th Street www.mistharlem.com • Village Vanguard 178 Seventh Avenue South (212-255-4037) (212-868-4444) Subway: 4, 5, 6 to 125th Street • Mona’s 224 Avenue B Subway: L to First Avenue Subway: 1, 2, 3 to 14th Street www.villagevanguard.com • Downtown Music Gallery 13 Monroe Street (212-473-0043) • NYC Baha’i Center 53 E. 11th Street (212-222-5159) • Walker’s 16 North Moore Street (212-941-0142) Subway: A, C, E to Canal Street Subway: F to East Broadway www.downtownmusicgallery.com Subway: 4, 5, 6, N, R to 14th Street-Union Square www.bahainyc.org • Waltz-Astoria 23-14 Ditmars Boulevard (718-95-MUSIC) • The Drawing Room 56 Willoughby Street #3 (917-648-1847) • National Sawdust 80 N. 6th Street Subway: N, R to Ditmars Blvd-Astoria www.Waltz-Astoria.com Subway: A, C, F to Jay Street/Metrotech www.drawingroommusic.com (646-779-8455) Subway: L to Bedford Avenue www.nationalsawdust.org • Williamsburg Music Center 367 Bedford Avenue, Brooklyn, NY • Drom 85 Avenue A (212-777-1157) • Neighborhood Church of Greenwich Village 269 Bleecker Street (718-384-1654) Subway: L to Bedford Avenue Subway: F to Second Avenue www.dromnyc.com (212-691-1770) Subway: A, B, C, D, E, F, V to W. 4th Street • Zinc Bar 82 W. 3rd Street (212-477-8337) • Duet 37 Barrow Street (212-255-5416) • NeueHouse 110 E 25th Street Subway: A, B, C, D, E, F, M to W. 4th Street www.zincbar.com Subway: 1 to Christopher Street www.duetny.com (212-273-0440) Subway: 6 to 23rd Street www.neuehouse.com • Zürcher Gallery 33 Bleecker Street • The Ear Inn 326 Spring Street at Greenwich Street (212-246-5074) • New School Arnhold Hall 55 West 13th Street (212-777-0790) Subway: 6 to Bleeker Street; B, D, F to Broadway-Lafayette Subway: C, E to Spring Street www.earinn.com (212-229-5600) Subway: F, V to 14th Street www.newschool.edu www.galeriezurcher.com

THE NEW YORK CITY JAZZ RECORD | NOVEMBER 2016 41 (INTERVIEW CONTINUED FROM PAGE 6) in Brooklyn with a group of nine players; everyone in Recommended Listening: the group contributed a composition. Mine was • Carla Bley— (WATT, 1977) can still develop the music even if you’re traveling “Outage”, which was inspired by Hurricane Sandy • —Mixed Quintet (Black Saint, 1979) every day or whatever. and refers harmonically to Schönberg’s “Verklärte • John Clark—Faces (ECM, 1980) Nacht”. The concert was just a few weeks after the • Gerry Mulligan—Re-Birth of the Cool (GRP, 1992) JC: Sure. Last year after [the Odd Couple Quintet] hurricane. David Soldier played violin on that concert • John Clark—I Will (Postcards, 1996) album came out, I had a little tour that was three gigs. and asked if I had any other material for the same size • John Clark—Sonus Inenarrabilis: Nine Live Plays the I felt like that was a tour. The first gig was good, the ensemble. The recording grew out of that. The Music of John Clark (Mulatta, 2014) second one it changed a little bit and it was a little compositions are all mine from different periods. different and, you know, that’s what I really like and I would just love to have a week or two somewhere. TNYCJR: What’s coming up? (LABEL CONTINUED FROM PAGE 11)

TNYCJR: Did you do that with Gil Evans? JC: Nine Live is going to play at Rockwood Music Hall. record for other labels. They can sell the discs at the Hopefully we’ll confirm more dates. I just heard from price they want, on their website or at concerts. Plus JC: When I first played with Gil’s band we did Monday about a performance of the music from they’re free to reprint the disc on other labels, put the nights at the Vanguard and then occasionally we would [his album] Quiet around May of next year. Another music onto free or paid downloads and give their do a whole week. But when we went on tour we would gig I have this November is with Rubens Salles, albums to distributors,” he explains. “This way of do four, five or six weeks and that was really different. a fantastic Brazilian pianist. We’re going to play The doing business makes money for the musician, Jazz Loft in Stony Brook. It’s all of his original music... especially if he or she plays concerts or has many TNYCJR: Is there a new Gil Evans record coming out? very challenging, but a lot of fun. contacts. Plus we have complete control of the numbers to print.” JC: Noah Evans and Miles Evans organized it; they TNYCJR: Do these groups get to rehearse much? Although SdM has no distributors, CDs can be asked us all to think of tunes that play a lot purchased from its website. “I’m happy to be out of the live that were never recorded. So we did and I was JC: With Rubens, we usually have one rehearsal before major record industry. Their rules have no effect on really surprised. I mean, I thought back and could only a gig. Alexi’s band, we don’t have to. The personnel me; I don’t need contracts to live and play what I like,” think of one and then another and we all came up with isn’t exactly the same, but most of the cats kind of Giust adds. Some sessions are put out on vinyl. But quite a few tunes. So, we went and recorded them in know the music. It’s very loose. He runs it kind of like due to the expense only three have appeared that way. June and I think it’s going to be a really great album. the way Gil used to run his band. All of a sudden in the It’s the same with SdM’s seven DVDs. “I have no middle of everything he’ll go, “play ‘When the Saints problem to print DVrs if the project is interesting,” he TNYCJR: What else has been going on lately? Go Marching In’ in G. 1, 2, 3, 4!” And I love that, the explains, “but this stuff doesn’t sell well.” However, unexpected. Last time I was there he called “Black and Giust isn’t a fan of downloads. “I have nothing against JC: I just had a gig with Alexi David, a great bass Blue”. You know “Black and Blue”? those who put music for download on their websites or player who’s done transcriptions of Mingus’ brass on Bandcamp. What I don’t like are things like Spotify octet. I don’t think it’s ever been released on record; TNYCJR: “What did I do to be so black and blue”? or iTunes and their policies, But this is the logic of the it’s three trumpets, horn, tuba, alto, bass and drums. contemporary market. Corporation means inequality.” JC: Yeah. And we started into it. It took me a minute, SdM projects are available via Bandcamp, Soundcloud, TNYCJR: With The Odd Couple Quintet you took “what is this tune? I know this tune”, and then YouTube and iTunes. classical themes as source material for improvisation. gradually I did figure it out and, oh, I love doing that. SdM has a clutch of new discs ready for release. So, no, he doesn’t rehearse. The Mingus Orchestra They include Classified with Michele Anelli, Dominik JC: Other than The Odd Couple theme and another doesn’t rehearse either. Very rarely. Gawara and Giust; Luftschifffeiertagserinnerungfotoalbum original tune that I wrote, it’s two Mozart horn by Grosse Abfahrt; and Bellezza Fiammeggiante featuring concertos, numbers three and four, kind of TNYCJR: T-Bone Burnett made a speech at Edoardo Ricci and Edoardo Marraffa. reharmonized and rearranged in jazz form. [When] we AmericanaFest talking about the state of the music Giust sums up his philosophy thusly: “Things that were putting it all together I kind of wound up playing business and advocating for art over technology. are true, genuine and honest can be found only by the horn part from the concertos and Michael I think his concern is about would-be artists focusing digging deeply in the ground: the mainstream is desert [Rabinowitz, bassoon] did [most of] the improvising. on technology and marketing more than music. death, regarding both culture and information. It’s Although, I kind of twisted things around quite a bit. a well-oiled machine to make people have the same The more we played it live, the more I started taking JC: Yeah, putting together their thing with Apple loops point of view to make the perfect consumer. I have no more and more liberties and making it, not and samples and stuff. Those things are great for interest in growing the label, because I like it small. It unrecognizable, but changing it more and more. experimentation and making demos, but to really means more freedom and fewer problems. I don’t care make that your end product? about distributors or, worse, to be competitive with TNYCJR: Did The Odd Couple Quintet somehow other labels. Béla Bartók said it well: ‘Only horses have morph into Nine Live? TNYCJR: Sometimes I think there are two music to compete with each other when they have to run, worlds, the one that is more earthy, organic and humans need joy.’” v JC: The OCQ didn’t morph into Nine Live. Composers surprising and the one that’s like a TV show, American Concordance presented a concert at ShapeShifter Lab Idol or something; there’s a different focus. For more information, visit setoladimaiale.net

JC: Let me just say then, something I really love about music is being surprised. And that applies to what I said about Alexi David and Gil Evans and the way they tommy campbell November 7-8 ran their thing. A lot of other bands that I’ve played in THE BLUE NOTE NYC, 8 & 10 pm have been really great and had great players and great DizzY GiLLEspiE ALL-sTArs rEsiDENCY arrangements, but if I always knew exactly what was November 20 going to happen next, I’d get really tired of it, you HiGHLiNE BALLrOOm, 12:30 pm JULiE EiGENBErG (vOCALs) know? It’s great to swing, I love that, but it’s limited YArON GErsHOvskY (piANO) ALEx BLAkE (ACOUsTiC BAss) unless it’s fluid and can have a life of its own. Gil, TOmmY CAmpBELL (DrUms) whenever he was asked what he looks for in music and November 26 what he likes in music: “living spirit” is what he would smALLs JAzz CLUB, 7:30 pm look for and when you hear something that’s all full of TOMMY CAMPBELL’S “VOCAL-EYES” clichés and you know what’s going to happen next, CArOLYN LEONHArT (vOCALs) that’s not living spirit, that’s craft. That’s something mArCELiNO FELiCiANO (vOCALs) HELiO ALvEs (piANO) that’s really well done and that’s great and I respect it, BEN sHEr (GUiTAr) sHiN sAkAiNO ( BAssEs) but, if I’m going to play, or if I’m going to sit down and TOmmY CAmpBELL (DrUms) spend an hour listening to something, I want to be surprised. I want it to do something different. v

For more information, visit hmmusic.com. Clark and Nine Live are at Rockwood Music Hall Nov. 22nd. See Calendar.

42 NOVEMBER 2016 | THE NEW YORK CITY JAZZ RECORD

Tuesday November 8 Marty Ehrlich – sax, clarinet, flute 10PM Ron Horton – trumpet duO dUo Duo 8PM Mark Mommaas – tenor sax Marty Ehrlich – reeds with BELLS I and II Frank Kimbrough – piano Ned Rothenberg – reeds A solo woodwind performance in Dean Johnson – bass Michael Formanek – bass dialogue with a soundscape of hanging Tim Horner – drums Ray Anderson – trombone metal sounds made by Julius Hemphill in a lumber industry junkyard. Friday November 11 Sunday November 13 ( 1 0 P M – no show ) 8PM 8PM SHARDS AND SPLINTERS Wednesday November 9 FIRST MEETING: DUENDE WINDS Marty Ehrlich – clarinets Marty Ehrlich – sax, clarinet, flute 8PM Nicole Mitchell – flutes Fay Victor – voice FABLES, PARABLES, AND PARADOXES Sara Schoenbeck – bassoon Angelica Sanchez – piano Music in the Jewish Diaspora Tomeka Reid – cello Kate Gentile – drums Marty Ehrlich – sax, clarinet, flute Matan Rubenstein – piano 10PM 10PM TRIO EXALTATION JOHN ZORN’S BAGATELLES 10PM Marty Ehrlich – sax, clarinet, flute Marty Ehrlich – reeds FIRST MEETING: DUENDE STRINGS Michael Formanek – bass Michael Formanek – bass Marty Ehrlich – sax, clarinet, flute Tomas Fujiwara – drums Ben Perowsky – drums Mark Feldman – violin with a special guest Mat Maneri – viola Erik Friedlander – cello Saturday November 12 The Stone Thursday November 10 8PM THE MARTY EHRICH SEXTET Corner of Avenue C and 2nd Street 8PM/10PM Marty Ehrlich – sax, clarinet, flute New York City THE MUSIC OF THE ANDREW HILL Jack Walrath – trumpet thestonenyc.om SEXTET / ‘POINT OF DEPARTURE Ray Anderson – trombone and more’ James Weidman – piano Michael Formanek – bass Ben Perowsky – drums

Marty Ehrlich at the Stone

MARTY EHRLICH STONE RESIDENCY / NOVEMBER 8TH – 13TH, 2016

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