NEW YORK May 2008 | No. 73 Your FREE Monthly Guide to the New York Jazz Scene newyork.allaboutjazz.com

AHMAD JAMAL IT'S MAGIC

Vince Giordano • George Garzone • Les Disques Victo • Dizzy’s Club • Event Calendar

NEW YORK

May is significant in the history of Miles Davis. Not only is the 26th the late trumpeter’s birthday but many of his most enduring works were New York@Night recorded during this month, including the Charlie Parker All-Stars (1948); the 4 Miles Davis-Tadd Dameron Quintet’s run in Paris (1949), most of the Workin’, Steamin’ and Relaxin’ triumvirate by the quintet with John Coltrane (1956), Miles Interview: Vince Giordano Ahead and At Carnegie Hall, both with the Gil Evans Orchestra (1957 and 1961 6 by Michael Hittman respectively); and the bulk of Miles in the Sky (1968). Now in May 2008, another chapter to the Miles Legacy will be written with an ambitious concert at Town Artist Feature: George Garzone Hall May 9th, “Miles From India”. A companion concert to a just-released album 7 by Matthew Miller of the same name, the concert brings together musicians who played with the legend throughout his career as well as a number of classical Indian musicians for Label Spotlight: Les Disques Victo what is billed as a “cross-cultural summit meeting”. Our Encore this month, 8 by Kurt Gottschalk guitarist Pete Cosey, is participating in what is sure to be a monumental event. But, as is typical for New York, the happenings don’t stop happening there. Club Profile: Dizzy’s Club Pianist Ahmad Jamal (Cover) brings his trio to Blue Note in a pre-release by Laurel Gross celebration of his first new album in three years, It’s Magic (Birdology-Dreyfus), due out in June. Saxophonist Vince Giordano (Interview) makes the new old and On The Cover: Ahmad Jamal the old new Mondays at Sofia’s with his Nighthawks Orchestra. Saxophonist 9 by Andrew Vélez George Garzone (Artist Feature) appears both with his seminal trio The Fringe Encore: Lest We Forget: and in ensembles all over town. There are also spotlights on the Canadian avant garde label Victo, just in time for the annual Festival International de Musique 10 Pete Cosey Sahib Shihab Actuelle de Victoriaville in the middle of the month, and a long-overdue profile by Martin Longley by Donald Elfman on the jewel in the crown of Jazz at Lincoln Center, Dizzy’s Club. Spring cleaning is upon us and we have a particularly large number of CD Megaphone VOXNews reviews to get off our shelves and onto yours and the Event Calendar is packed, 11 by Ben Wolfe by Suzanne Lorge befitting the warmer weather and everyone emerging from winter hibernation. The song says “Spring Can Really Hang You Up The Most” but not at 12 Listen Up!: Jason Stein & Josh Sinton AllAboutJazz-New York... Laurence Donohue-Greene, Managing Editor Andrey Henkin, Editorial Director CD Reviews: David Murray, Conrad Herwig, Muhal Richard 14 Abrams, Chet Baker, Pete Robbins, Biréli Lagrène and more On the cover: Ahmad Jamal (Photography by Steve Sussman) 40 Event Calendar 45 Club Directory 47 Miscellany In Memoriam • Birthdays • On This Day Submit Letters to the Editor at newyork.allaboutjazz.com U.S. Subscription rates: 12 issues, $30 (International: 12 issues, $40) For subscription assistance, send check, cash or money order to the address below.

AllAboutJazz-New York A Publication of AllAboutJazz.com Managing Editor Laurence Donohue-Greene Mailing Address AllAboutJazz-New York Editorial Director & Production Andrey Henkin 116 Pinehurst Avenue, Ste. J41 Publisher Michael Ricci New York, NY 10033 Staff Writers Clifford Allen, Ernest Barteldes, Ken Dryden, Donald Elfman, Sean Fitzell, Kurt Gottschalk, Tom Greenland, Laurel Gross, Marcia Hillman, Advertising Sales Laurence Donohue-Greene Terrell Holmes, Francis Lo Kee, Suzanne Lorge, [email protected] Marc Medwin, Matthew Miller, Russ Musto, Ivana Ng, Joel Roberts, Jim Santella, Event Calendar Andrey Henkin Elliott Simon, Jeff Stockton, Celeste Sunderland, Andrew Vélez Listings [email protected] Contributing Writers Stuart Broomer, Fred Bouchard, Karla Cornejo, P. Christopher Dowd, Graham Flanagan, Printed by Expedi Printing, Brooklyn, NY Michael Hittman, Karen Hogg, Robert Iannapollo, George Kanzler, Martin Longley, Wilbur MacKenzie, Brandt Reiter, Ben Wolfe All rights reserved. Reproduction without permission strictly prohibited. All material copyrights property of the authors.

ALLABOUTJAZZ-NEW YORK | May 2008 3 NEW YORK @ NIGHT

Kathy Hendrickson’s play Lock 10 is the story of a Brooklyn’s Masonic Temple was crammed with white guitarist in the ‘30s seeking to leave the family bouncy youngsters and their parents when the Baby business to go on tour with an integrated band. Staged Loves Jazz Band came to play Apr. 7th. Comprised of as a period radio play, with actors playing actors Babi Floyd and Sharon Jones (vocals), Steven Bernstein voicing roles, it makes for an odd telling. The actors (slide trumpet), John Ellis (tenor), Matt Jones (bass) aren’t tethered to microphones as they would be in an and Ben Perowsky (drums), BLJB revisited tunes from actual radio production, but they don’t quite inhabit their eponymous album, including the sing-along their meta-roles either. Strange as well was the score, kinder classics “If You’re Happy and You Know It”, performed alongside the actors by Ken Vandermark, “The ABC Song” and “The Wheels on the Bus (Go Christof Kurzmann and Tortoise drummer John ‘Round and ‘Round)”. It was a little like a live version Herndon at Joe’s Pub (Apr. 7th). The band was of Sesame Street, where kids learn through active unabashedly anachronistic, playing loose, modern participation: “Old MacDonald” - who, in this version, sounds while the actors name-checked Ellington, had a band, not a farm - showcased each instrument in Beiderbecke and Robert Johnson. While at times the turn; another number used Ray Charles’ “Busted” lick juxtapositions were distracting, some worked to great as a platform for teaching simple arithmetic; “Ten dramatic effect: When a black actor pantomimed a Little Monkeys” was a countdown (children were life-affirming guitar solo in slow motion for the asked to name the number of notes Ellis played on his amazed white characters, Kurzmann played a naked, tenor); two songs praised the colors green and purple warbling drone on laptop; it wasn’t the sound of the respectively and “Go Baby Go” was an eight-to-the- guitar but of racist assumptions being challenged, then bar rocker variant of “The Hokey Pokey”, calling for holding ground. Later, as the characters proceeded to assorted acts of bodily commitment. Floyd, Jones and get drunk in the nightclub, Kurzmann and Herndon Bernstein were effective cheerleaders, engaging their filled their party with a malleable tension, punctuated present and future fans in hepcat hijinx and by Vandermark’s wailing tenor. If a little uneven, it spontaneous tomfoolery. Underpinning it all were the was still a bold mixing of music and theater and may hip-wiggling beats rooted in New Orleans rhythm and mark a new partnership for the tireless Vandermark: blues, second-line funk and jump swing. The Sunday The trio played The Stone the prior week and afternoon romp was a reminder to the young and Vandermark and Kurzmann have plans to work young-at-heart alike that jazz began as dance music, together again later in the year. - Kurt Gottschalk something to have fun to. - Tom Greenland ht ySotFriedlander Scott by Photo Photo by Peter Gannushkin/DOWNTOWNMUSIC.NET Lock 10 with Ken Vandermark, Joe’s Pub Sharon Jones, Steven Bernstein, John Ellis, Brooklyn Masonic Temple

Tristan Perich’s compositions are a challenge to the The International Women in Jazz held their second usual conceptions of electroacoustic music and even to annual jazz festival Apr. 4th-6th at Saint Peter’s the qualities of electronic music. His concert at Issue Church, presenting concerts, workshops, jam sessions, Project Room Apr. 3rd was set in the midst of sound exhibits, panels and a Jazz Mass on the final Sunday. and visual art installations and the pieces were This year’s honorees/performers included three living separated by long breaks, encouraging listeners to legends: Carline Ray, Marian McPartland and Sarah experience the interactive works that were on display. McLawler. Friday night began with a convivial Perich’s oeuvre combines low-fidelity electronic tones reception and Jazzberry Jam, featuring young lioness with live instruments scored in tight counterpoint. He Lakecia Benjamin (alto) and her older “sisters”. Dona presented a piece scored for two percussionists Carter’s trio played a short swinging set capped by a playing small cymbals, one for two baritone sax and jam session with many IWJ staff taking part, including two bass clarinets and a final piece he played on piano strong performances from Antoinette Montague and and electric keyboard. All three worked against Arlee Leonard (vocals) and Dotti Anita Taylor (flute). constellations of simple tones, delivered in what Saturday included a panel with Ray and McLawler Perich calls “1 bit” technology, with overlapping reminiscing about playing with Duke Ellington and sound sources creating a trompe l’oreille of shifting, the International Sweethearts of Rhythm and relating Reich-ian patterns. In “Telescope”, the four horns personal anecdotes about Billie Holiday and Dinah entered against an electronic drone, playing slippery Washington. The evening concert began with vocalist harmonies before dropping out, revealing a similar Mary Foster Conklin, followed by a special treat: Ms. harmonic structure in the electronic track that couldn’t Ray performing with her daughter, Catherine Russell, be discerned below the acoustic instruments. His solo in a set that included spirituals, three-part vocal piece used long silences and low, grating keyboard arrangements of early girl-group ‘jive’, solos and drones which resonated nicely from the upright piano duets. It was especially moving to see 82-year-old Ray the keyboard sat upon. It built to a repeated three-note haul her standup bass onstage and accompany Russell keyboard riff and high-pitched interruptions while and her soulful rendition of “Come Sunday” made the piano chords strained to be heard. Perich played it like moment. Percussionist Mayra Casales’ band closed the a madman, drawing approving smiles and impatient evening with Latin jazz served muy caliente. And yes ear-pluggings from the audience before the piece - I almost forgot - the men played pretty well too. broke apart into a frantic, midrange cluster. (KG) (TG)

4 May 2008 | ALLABOUTJAZZ-NEW YORK Jimmy Heath has been leading big bands off and on Adam Rogers made an auspicious debut in his first since his 1960 album Really Big!. But the band has not appearance as a leader at the Village Vanguard, had an opportunity to have an extended run in the city fronting a new quintet that performed his admittedly WHAWHAT’ST’S NEWSNEWS for several years, making the engagement at Iridium “difficult” original music with a subtle intensity that last month particularly special. For the second set of highlighted the guitarist’s considerable skills as both a IAJE the opening night (Apr. 3rd), Heath seemed in high composer and improviser. From the very first note of As of press time, the International Association spirits, directing the band as much with his hips as the second set on Apr. 9th, the band - featuring tenor for Jazz Education Board has voted to file for with his hands. Those coming to see Heath the saxophonist Mark Turner and pianist Edward Simon bankruptcy. The 2009 conference has been instrumentalist quickly realized that the 16-piece with Scott Colley and Jeff “Tain” Watts on bass and cancelled and the future of the 40-year-old ensemble was more a vehicle for Heath the composer drums - displayed an amazing confluence that belied organization is very uncertain. For more and arranger…no bad thing. He did have a couple of the fact that this week was just the first time they had information, visit iaje.org. features for tenor, which looked and almost sounded played together live as a unit. The pairing of Rogers like baritone against his small frame, but mostly was and Turner was particularly impressive, with the two JAZZ SCORE content to revel in the fine work of his experienced executing labyrinthine unison lines with breathtaking The Museum of Modern Art (MoMA) is having a section players, a mix of young and old that had precision that underscored their shared virtuosity. celebration of the best original jazz scores from Antonio Hart rubbing elbows with Charles Davis. Simon and Colley worked similarly well together, the ‘50s to the present. The retrospective goes With most of the tunes, Heath introduced them by way shading melodic progressions with sophisticated through Sep. 15th at the Roy and Niuta Titus 1 of anecdote: “Gemini” successfully (and lucratively harmonies in an ebb and flow that emphasized the and 2 Lobbies and Theaters at MoMA. Movies in for Heath) recorded by Cannonball Adderley; Heath’s narrative nature of the music. Watts, in typically the program include scores by such composers “Project S”, done by Herbie Mann in the ‘60s and the effusive fashion, was a force unto himself, driving the as John Lewis, Miles Davis, Fred Katz, Freddie set closer Kenny Dorham’s “Una Mas”, described as band with an arsenal of polyrhythmic devices that Redd, Krzysztof Komeda, Don Ellis, Herbie “bebop, where I came from”. Hearing Heath talk about offered constantly shifting contexts to the individual Hancock, Bill Lee and Yosuke Yamashita. Also history makes one realize just how much of it he has soloist’s stories, particularly Rogers, who, whether on view are sheet music, LP covers, seen and been a part. The perspective is what makes playing delicately understated soundscapes or storyboards. and trailers. In conjunction with the his band seem to surpass the decades: sharp like the fastidiously articulated swing, maintained a exhibition, there will also be performances by ‘40s, then rounded and slinky like the ‘60s, moving constantly appealing lyricism. From the pretty Tomasz Stanko’s Quartet (in tribute to Komeda) into the ‘70s with intricate voicings like a three-flute “Amphora” opener to the intricate closing and Martial Solal. There will also be a melody line yet always remaining timeless, very much “Continuance”, the entire group played with a taut symposium on jazz scoring and a companion a reflection of its leader. - Andrey Henkin looseness that was truly inspired. - Russ Musto CD available. For more information, visit moma.org.

htgah©20 akVartoogian/FrontRowPhotos. Jack 2008 © Photograph SHEILA JORDAN Vocalist Sheila Jordan will receive the Mary Lou Williams award for Women in Jazz this month as part of the opening ceremonies of the Women’s Festival at the Kennedy Center. HERMAN LEONARD An exhibition of the iconic photographer’s jazz images will be on display at the Morrison Hotel Gallery through Jun. 15th. For more information, visit morrisonhotelgallery.com. HARRY CONNICK JR. The popular crooner’s recent performance in Shanghai went awry when the country’s Communist authorities insisted that he play the Photo by Olympiad Ioffe Jimmy Heath, Iridium Adam Rogers, Village Vanguard setlist he submitted when initially applying for the performance permit. The band did not have The old adage in show business is leave the crowd The late night sets at Dizzy’s have become an the music for the older setlist and Connick spent wanting more. Trumpeter Ted Curson certainly did increasingly popular forum for rising young jazz stars, the evening playing solo piano. that at the New York City Baha’i Center (Apr. 15th) many of who are just beginning to earn some notoriety with a 40-minute first set. However, it was unclear as sidemen, to display their burgeoning talents as JAZGRA exactly what the audience would want more of. For leaders before larger audiences - with many listeners, Jazz artist Takao Fujioka’s works are on display four tunes, Curson put on two parallel performances held over from the room’s early shows or wandering at the Jazz Gallery through Aug. 31st. For more that either demonstrated breadth or a lack of focus. in following concerts in one of Jazz at Lincoln Center’s information, visit myspace.com/jazgra. Curson, as was laid out in the concert’s introduction, larger venues, filling the club. Such was the case with has a pedigree that goes back to work with Charles Gerald Clayton’s Saturday night (Apr. 11th) MOTEL 6 Mingus in the early ‘60s. But the intervening years performance, capping off the young pianist’s first The ubiquitous motel chain, in partnership with have found him exploring subsequent realms of jazz. weeklong New York engagement at the helm of his percussionist Kahil El’Zabar, has launched its At the gig, Curson’s septet demonstrated both sides of own trio. In a packed house charged with energy, Motel 6 Jazz Journey, an opportunity to travel its leader. When playing his original “Quicksand” Clayton had the rare opportunity to display his vast the US by tracing the roots of jazz. For more (from his mighty co-led quartet with the late talent before a crowd that was for the most part information, visit Goin6.com. saxophonist Bill Barron) or a slinky version of unaware of his outstanding performances as a leader Ellington-Mills-Tizol’s “Caravan”, Curson showed his at Jazz Gallery or his stellar work with Roy Hargrove NANCY WILSON high-stepping postbop chops were still in fine form, and Roberta Gambarini. While he had already The vocalist, winner of a Grammy last year for whether on trumpet, flugelhorn or the bright tone of impressed many at Dizzy’s earlier in the year while Best Jazz Vocal Album, was reported to have his pocket trumpet. But for the other two pieces - playing in the Clayton Brothers band co-led by his suffered a collapsed lung. “Marjo”, a piece written for his wife, and a standard famous father and uncle, John and Jeff Clayton, the blues in B flat - Curson put his horns down and played pianist’s work with his own group, featuring the solid MILES DAVIS the crooner. While one cannot fault a man for singing Joe Sanders on bass and an electrifying Justin Brown Production has begun on a documentary of the a love song to his wife, perhaps singing through the on drums, displayed a compositional sophistication life of Miles Davis to be financed by HBO/ flugelhorn he kept fingering would have been more that was not heretofore evident. In a superb set of Picturehouse. Also in the works are a feature appropriate. And his band - electric piano, guitar, mostly originals that revealed a deep grounding in film about the trumpeter, played by Don harmonica (courtesy of guest Enrico Granafei), bass, European classical music, as well as the jazz and Cheadle, who will also direct. drums and percussion - kept the proceedings squarely AfroCuban traditions, the young Clayton in the ‘70s, an odd choice for someone who made his demonstrated a command of space and time that was Submit news to [email protected] name a decade earlier. (AH) remarkable for his youth. (RM)

ALLABOUTJAZZ-NEW YORK | May 2008 5 INTERVIEW

AAJ-NY: How about the birth of your - can we call it - “version” of the Nighthawks?

VG: That was in 1976. Credit Rich O’Connerty, Vince though. He broadcast this wonderful music for 33 years over the Fordham University station - WFUV, 89.7 FM. I was in Europe and when I heard Rich wanted to start a repertory band of Paul Whiteman’s music, I hurried home. Whiteman, you know, had 26 players and since that was costly, and I already had arrangements for ten guys, we eventually agreed to cut down the size and to use veterans of the old Swing Giordano Era. Our goal was to establish a Preservation Hall of the North. by Michael Hittman AAJ-NY: Let’s talk about your band book.

Photo by Roger Robles VG: I call it my telephone book. It’s got 2,000 charts in it. …You never know what people are going to In 30 years as a bandleader, Vince Giordano has become the “escaped” - as people used to say - to Long Island and request. authority on recreating the sounds of ‘20s and ‘30s jazz. He had the good sense to return in 1979 to South worked with Dick Hyman’s Orchestra on a number of Midwood, where I live today in Brooklyn, the greatest AAJ-NY: Tell us your famous collection story? Woody Allen soundtracks and his music has been featured place in the world! As for my musical bio, it should in several motion pictures. He is also a big band historian start on Dahill Road, Brooklyn, in my grandparents’ VG: I was reading the Classifieds one day and saw with a collection of over 30,000 scores. house. They were married in 1923 and got a windup that some gentleman had purchased a theater and Victrola as their wedding gift. And it was their wanted to sell off some of its music, in St. Louis, the AllAboutJazz-New York: Let’s talk about your band. collection of 78s - well, really, many of those 3,000 old Ambassador Theater. Well, he was kind enough to records left after wild parties. All sorts of 78s: from the invite me to come out and see it. And I went. There Vince Giordano: Which one? The big band, or the Grand Ol’ Opry to Yiddish music - since some of my were 900 boxes of music including some of Scott small group I also lead - with Marty Grosz on guitar? family are Jewish. So, long story short, there’s where I Joplin’s original published music. I wound up staying learned to love King Oliver, Louis Armstrong, Paul three weeks and buying one hundred boxes! AAJ-NY: The Nighthawks…A name with deep Whiteman, Bix Beiderbecke - by age five. cultural resonance. Tell us about your inspiration. AAJ-NY: Talk about musical preservation. What do AAJ-NY: And of early music lessons and first you do about the literal preservation of these original VG: The Coon-Saunders band. Ever read the book instruments? manuscripts? about them, The Band That Made Radio Famous? Formed (CONTINUED ON PAGE 46) by Carleton Coon, its drummer, and Joe Saunders who VG: Started out on the violin, but had a terrible was the pianist. teacher who made me cry. Where is she now? Then in high school, I wanted to learn the cornet and clarinet. AAJ-NY: As we know from jazz history, Nick LaRocca, But there were too many players, so thought I was a white guy, claimed he and the Original Dixieland getting stuck with the tuba. Which, of course, was one Jazz Band invented jazz. Your band is essentially of original rhythm instruments used in early jazz, and white, and you perform jazz written by blacks, as well which got replaced by the bass which I also picked up as whites. Might I ask about racial scars along the and use in the early music I play today. How’s that? way? AAJ-NY: How about your third instrument? The bass VG: Wynton Marsalis hired us several times, so things saxophone? can’t be that bad. The Nighthawks were invited to open Jazz at Lincoln Center; we played Rose Hall and VG: Learned it from other high school students. worked as part of “The Young People Series”. And we even were part of its opening parade at Columbus AAJ-NY: Three hefty instruments. No wonder you’ve Circle. called yourself the original schlepper. How do you transport them? AAJ-NY: Back to the Coon-Saunders Orchestra; how did they obtain their name? VG: Not easily. With a van, which I bought because I also transport mic stands, tympani drums, auditory VG: They were from Kansas City, and then performed systems. I even used to transport a 66-key acoustic in Chicago, popularizing jazz on radio, which was also piano - before the advent of electric pianos. new. Well, late one night, during a broadcast, some farmer supposedly called and said, “Don’t you guys AAJ-NY: You also have had interesting adventures know that nobody’s awake to listen but the night playing Dixieland as a kid or, may I say, being an hawks!” Along with their name, and some of their underaged kid performing what the average jazz fan music, we’ve also recreated something else they used would call “overaged” music? to do: take “live” requests from the bandstand. VG: To me, it’s great music, which is timeless. But I AAJ-NY: How does that work - then and now? was a big kid interested in getting close to that older music I loved since the age of five and was able to get VG: Well, then, The Nighthawks used a Western my union card at 13. With it, I played in local Union tickertape, as well as a phone system wired on Dixieland bands and what was popular in Long Island, stage. We, instead, do it with a computer: “Hi, this is banjo bands, as well as professionally. Joe from Thailand. Would you play [request] for us?” Great idea, don’t you think? Creates a wider listening AAJ-NY: Which Dixieland pros did you play with? base. Then, and now! VG: [Trumpeter/cornetist/vocalist/leader] Max AAJ-NY: Now a question or two of your musical bio in Kaminsky. I was also privileged to tour with Clyde a nutshell... McCoy. He was one of the last of the big band leaders. I worked for Clyde for four months and learned lots. VG: More like a nut’s shell! Born in Brooklyn in 1952; Finally quit, though, because there was little money.

6 May 2008 | ALLABOUTJAZZ-NEW YORK ARTIST FEATURE

For more information, visit georgegarzone.com. Garzone is at Cornelia Street Café May 1st with The Fringe and May 2nd with Rory Stuart, at Dizzy’s Club May 6th-11th with Joe Lovano and at Smalls May 21st with Chris Crocco and George May 23rd with Pete Zimmer. See calendar.

Recommended Listening: • The Fringe - Eponymous (Ap-Gu-Ga, 1978) • The Fringe - Raging Bulls (Ap-Gu-Ga, 1986) • The Fringe - It’s Time for the Fringe (Soul Note, 1992) • George Garzone - Four’s and Two’s (NYC, 1996) • George Garzone - The Fringe in New York Garzone (NYC, 2000) • George Garzone - One Two Three Four (Stunt, 2006) by Matthew Miller FRANK CARLBERG QUINTET - 2007 Photo by Scott Friedlander

An esoteric system and guru status among musicians and sideman. He is a member of the Joe Lovano Nonet, makes for an easy target in today’s niche-driven has performed with Kenny Werner, Rachel Z and market. Terms like musician’s musician and classicist Jamaaladeen Tacuma. “I try to balance the outside start getting thrown around as a way to commodify with the inside; It’s a yin and yang,” explained and explain away public indifference. This, luckily, is Garzone. As arresting as his free playing can be, a non-issue for George Garzone. The veteran Garzone is equally brilliant inside the changes. On saxophonist has avoided pigeonholing his entire Alone, his 1995 tribute to Stan Getz, his glowing SCOTT FRIEDLANDER career, letting his emotionally resonant music speak renditions of standards are as inspired and heartfelt as Photography and Design for itself. “We never put in any boundaries on the the definitive tracks recorded by his idol. [email protected] music,” said the saxophonist of his longstanding Around the time he was forming The Fringe, group The Fringe on a break between classes at the Garzone began teaching at his alma mater in 1975. “I New School, “Fuck it, we just go for it.” never wanted to teach,” recalled Garzone, but a Born in Boston into a family of saxophonists, diminished jazz scene and increasing responsibilities Garzone spent his formative years studying with his led to his taking the position in Berklee’s woodwind uncle Rocco Spada, who introduced his precocious department. The decision was a fateful one for the nephew to legendary woodwind instructor Joe Viola. saxophonist. He has gone on to teach and give clinics Under Viola’s mentorship, Garzone continued to around the world and mentor a generation of FIELDWORK - 2007 advance and gradually get involved in the vibrant musicians, including Joshua Redman, Danilo Perez, Boston music scene. “I was able to start gigging when Branford Marsalis, Luciana Souza and Seamus Blake, I was 12,” recalled Garzone. After high school, he among many others. Gaining fame in academic circles made the natural move to Berklee, where he continued also helped Garzone as a performer, as devoted to study with Viola - the woodwind Chair - and protégés typically dominate his audiences. develop enduring musical relationships. “I met [Joe] Unlike other musicians who reluctantly enter Lovano and Kenny Werner at Berklee. [John] Scofield academia, Garzone has embraced the mentor role and was there too, but was a couple years younger.” has been one of the field’s true innovators. Starting in After graduation, Garzone toured the world with the late ‘70s, he conceived the chromatic triadic Woody Herman and the singer Tom Jones before approach, a harmonic template designed to give an settling in Boston and co-founding The Fringe, an improviser harmonic freedom through a strict improvising trio that has been the preferred setting for adherence to rules designed to force the player out of hearing Garzone’s galvanic improvisations for over 30 familiar harmonic territory. Think of it as a kind of 12- years. With drummer Bob Gullotti and bassist Richard tone method for improvisers. “I tell these kids that if Appleman (replaced in 1985 by John Lockwood) you can figure out two or three notes that run a little Garzone drew heavily from John Coltrane’s different than everyone else’s, you’ll be working your groundbreaking later work along with rock and world ass off. I figured out how to veer away from what influences to inform the group’s free associative ethic. everyone else was doing,” he explained. The concept Unlike much of the free music of the ‘60s - often involves connecting triads in all manner of inversions overshadowed by political messages and outright by half steps, thus forcing the improviser to abandon anger - The Fringe steered clear of ideology. Making the traditional bebop orthodoxy taught in schools and music was the group’s first and only concern. approach something closer to true harmonic freedom. “The cult-like following over more than a quarter “At this point, coming up on 2010, you need to be century for The Fringe is based on their ability to playing something else. Lennie [Tristano] and Lee present the totality of the jazz experience in each of [Konitz] were blowing this shit in the ‘50s. their performances,” explains Milan Simich in the liner Controversy is a good thing and that’s what my notes to the group’s 2000 album The Fringe in New concept creates.” York. All this while possessing the Zen-like quality of, Garzone’s controversial concept is due out in print in Simich’s words, “seeking deeper and deeper truths this year from JodyJazz publishing. The Chromatic from within itself.” This agenda-free approach and the Triadic Approach features an instructional book and inexhaustible wealth of ideas that each member brings DVD of Garzone demonstrating his concepts and is to the group’s performances has allowed The Fringe to geared toward musicians who can’t learn the concept stay fresh, bringing to the blues and the wildest avant directly from its creator. “I put together this process garde playing the same focus and detached, on the blackboard and bandstand. It doesn’t look good meditative quality. “It keeps getting better and on paper; it needs to be demonstrated,” remarked better,” explained Garzone. “We’re all maturing. Garzone and the printed method attempts to do both. There’s no band, other than The Stones or The Grateful If it’s successful, it could introduce a whole new group Dead, that’s been together for so long.” Summing it up of creative musicians to the saxophonist’s concept to writer Ed Hazell, Garzone explained, “I love doing toward achieving harmonic freedom and would be a the free thing because that will never reach the end.” double boon. “The hardest crowd to convince is the Like his concept, Garzone balances his free students. That’s your most critical audience. If they excursions with more traditional efforts as a leader like it, you’re in; if not: you’re out.” K

ALLABOUTJAZZ-NEW YORK | May 2008 7 LABEL SPOTLIGHT

the first festival was held: 13 acts including sets by Running a record label, however, isn’t the Les Disques Victo Skeleton Crew (the duo of Tom Cora and former retirement plan it once was. Sales are down from an Henry Cow member Fred Frith) and Québécois average of 1,300 per title five years ago to 1,100 now by Kurt Gottschalk guitarist René Lussier. In 1986, Frith and Lussier and the number of new titles per year isn’t enough to played together at the festival (with guests including constitute a second career or a pension. “We average Victoriaville is a small prairie city 100 miles northeast Henry Cow percussionist Chris Cutler); that set five to six CDs a year,” Levasseur said. “People who of Montréal in Quebec. Its name - or the diminutive became the first Victo release. are living off their labels have to do 20-25 a year. I “Victo” - has become synonymous among a legion of “We certainly didn’t see the label as a part of the work full time on the fest and part-time on the label. faithful with the diverse music festival that happens whole thing when we started the festival,” Levasseur It’s kind of a hobby, really.” there every May. It might not be the biggest festival said. “We were really not sure what musique actuelle Declining sales aren’t the only challenge facing the town of 40,000 sees every year - the summer was going to be, but we knew we didn’t want it to be the label. Until 2004, the Canadian Broadcasting “Retro” ‘50s fest probably pumps more money into the a jazz festival, a rock festival or a classical festival. Corporation was taping 10 to 15 concerts at the festival town - but Victoriaville native Michel Levasseur has After three or four years we started to think of the each year for radio broadcast and those tapes were built a small empire there. The festival and associated label as a way to extend our work. With the label we made available to the label for possible release. Now record label, Les Disques Victo, rival any North could send a CD to the USA, England, France and the label must shoulder the costs of making releasable American festival for diversity and professionalism. people would begin to know about the festival.” recordings. While all concerts are recorded from the Levasseur isn’t one to trumpet anniversaries, but Although still strongly identified with the soundboard, only four to eight are taped for CD nevertheless this year’s fest (May 15th-19th) marks the festival, Victo the label is no longer a part of release. The upside is that the concerts which are 25th Festival Internationale de Musique Actuelle de Productions Platforme, the nonprofit organization that recorded for release are now multi-tracked, as Victoriaville and the 22nd of the Victo label. Taken runs it. Hoping to secure a part of his work that could opposed to the two-channel CBC recordings. together, they make a strong argument against take him into retirement, Levasseur bought the label The CBC was also less interested in rock and classification: jazz, rock, noise and electronic music all from the parent organization in 1997. electronic concerts, so without them the label has come together under the banner musique actuelle - “I was running the label, making all the decisions broadened its scope. The last couple of years have seen literally “music of the now”. about content and promotion,” he said. “It was more releases by the New York sound tribe No Neck Blues If that disregard for divisions is more of a my responsibility and the festival is the work of a lot Band, a pairing of noise pioneers Borbetomagus and European programming model than North American, of people. I found out that when I left the festival I Hiokaidan and a turntable duo by Canadians Kid it makes sense to say that Levasseur imported it, would have nothing.” Koala and Martin Tetrault alongside more jazz-leaning carrying the concept with him from the UK. He lived (CONTINUED ON PAGE 46) in Scotland for most of the ‘70s, where he saw performances by Derek Bailey, Evan Parker and the seminal improv-rock band Henry Cow. He also encountered the German Moers and FMP festivals and record labels and discovered Incus, the label founded by Bailey and Parker. With the inspirations of both artists and business models, he returned to Canada to start building something at home. In December of 1983 Duo (Victoriaville) 2005 Anthony Braxton/Fred Frith Downpour Cline/Parkins/Rainey For Percy William Parker

CLUB PROFILE

Center and Dizzy’s make sure that we give it sort of a Seamus Blake and Stacy Dillard. There was Willie down-home feeling... The clubs in the past and Jones III on drums and Dezron Douglas on bass. So Dizzy’s Club present, well, everybody sort of wants that going- there were about three generations of players on stage. down-in-the-basement feeling of a jazz club, which is The next week Marian McPartland celebrated her 90th by Laurel Gross fine also, but we are trying to elevate the perception of birthday with Norah Jones and Bill Charlap and jazz clubs. We’re a jazz club in the sky. It’s Karrin Allyson and Wynton Marsalis and a whole Love may be in the eye of the beholder but this self- comfortable, the food is good [by Executive Chef Nina phalanx of great people,” he continues. “Then we had described “club in the sky” has got it all or as Billie Khansari], we have the view obviously but of course Phil Woods. And Cyrus Chestnut with Carla Cook. Holiday has been known to sing, “more and more and what counts is the music.” More recently, Ernestine Anderson with Houston then some.” No problem there. If you are a sightseer and can Person.” This is not an easy accomplishment. Navigating take your eyes off the terrific view of Columbus Circle, In addition to these main shows (at 7:30 and 9:30 the imposing marble, glass and steel interior of the Central Park and the night lights of the city beyond, pm with a later third set on Friday and Saturday, most Time Warner Center that houses Jazz at Lincoln Center there’s lots to hear. Artistic Manager Todd Barkan, nights $30, sometimes $35, with $10 minimum at can seem a bit daunting even for a seasoned jazz-goer. who masterminds the music and sees that it all swings, tables, $5 at the bar), Dizzy’s also offers “After Hours” Whether you enter from Broadway fronting Columbus makes excellent and diverse choices. A proven jazz shows following the main sets ($10). Those same Circle into the shopping mall or from W. 60th Street, concert and record producer of long standing, Barkan weeks included pianist Spike Wilner Quintet with it’s hard to believe that there’s a cozy, inviting spot on was the former owner and artistic manager of the well trumpeter Ryan Kisor (a superb player who is also a the fifth floor; the elevators look so corporate and known San Francisco jazz club Keystone Korner, site member of the Lincoln Center Jazz Orchestra) and off-putting. But what a wonderful world it is once of many famous live recordings and where Art Blakey singer/pianist Champian Fulton’s trio. you’ve made it through those big wooden doors and and the Jazz Messengers showed up with a young (CONTINUED ON PAGE 46) into this gorgeous house of sound, one of three venues trumpeter named Wynton Marsalis. (including Frederick P. Rose Hall and The Allen When he was putting together Jazz at Lincoln Room) envisioned and realized by JALC founder and Center, Marsalis told Barkan he’d like him to lend his jazz visionary, Wynton Marsalis, which officially talents to the venue. Anytime you go, you will find opened Oct. 18th, 2004. him there, announcing shows and looking over things. Still, at first it’s not easy to reconcile this inflexible Barkan stresses that running the club and creating its and somewhat monumental entrance with a music as singular atmosphere for music and other enjoyments fluid, inventive, laid-back and as much fun as jazz. is a team effort and cites Chassagne and assistant The proprietors of Dizzy’s know this. That’s why they manager Desmond Prass as essential partners in work like the devil to make a visitor happy once making it all happen. they’re inside. And, as everyone knows, the devil’s in As for programming the music, he explains that he the details. strives to create a certain “architecture” in booking, “Because of where we are physically, in the Time making a concerted effort to include not only jazz Warner Center, in a mall in essence, some people feel headliners but a mix of younger and older musicians, that we are going to take the same sort of atmosphere different styles of jazz to appeal to varied audiences. as the other places here,” says Dizzy’s Club Coca-Cola “For example, in the month of March, we had the manager Roland Chassagne. “So we at Jazz at Lincoln great pianist Eric Reed with two young tenor giants -

8 May 2008 | ALLABOUTJAZZ-NEW YORK ON THE COVER

When asked what he’s thinking about when he’s at heard Jamal at the Pershing, where he’d recorded in leading groups you don’t do that.” the piano, NEA Jazz Master and Kennedy Center Jazz 1958 what is still the biggest-selling album of his Jamaican-born pianist Monty Alexander says Legend Ahmad Jamal replies, “Those songs that come career (At the Pershing: But Not For Me). Mabern calls Jamal “defies description.” When he heard up on my recordings or my concerts, sometimes I pull him “one of the most unique pianists. The way he can “Poinciana” for the first time he felt is was “putting all some things that are very distant and written years play a ballad is just impeccable. And his compositions of it together. …When he played those rhythms with before I was here, things written by Mozart. That’s the are very, very unique.” He mentions Erroll Garner, the aid of his incredible trio, I heard a master of piano wonderful thing about music, the ability to interpret with whom Jamal’s style has been compared. “If you expression. I was attracted to piano players that made the good things beyond the wildest dreams of the want to see where Ahmad came from, listen to [the piano] an orchestra. [With Jamal] there’s so much composer. I’m doing what I do based on three anything by Erroll Garner. [Ahmad] was still able to delicacy and so much thunder there, coupled with the different eras of music. The first era was as a fan, as a formulate what he learned from being around Erroll incredible sense of dignity, integrity and elegance; kid listening to Benny Goodman, Count Basie and apply that to the character of a man with such purpose Jimmie Lunceford. Then I was also in my teenage Photograph by Steve Sussman and focus. I can think of only one other artist in jazz years, listening to the revolutionary works of Dizzy music I could mention in the same category of Gillespie and Charlie Parker. Then I’m still around in awesomeness, Duke Ellington, and he needed 16 the so-called electronic age. So I am drawing on a great people. Mr. Jamal does it with three guys.” body of work. The greater the body of work, the Jamal’s schedule continues to be a full one. Just broader the results.” back from a sold-out European tour, still with A soft-spoken man who’s almost courtly in his Muhammad and Cammack, he had an engagement manner and yet quite firm when expressing himself, with the Chicago Jazz Orchestra at Symphony Hall. he’s not careless with words. He continues, “Whether His forthcoming CD is It’s Magic (Birdology-Dreyfus), you’re a doctor or a musician you are projecting your where once again he takes the title pop tune and life’s experiences, whether you’re 27 or 77. If your transforms it. The CD is dedicated to producer Jean- experiences are positive as a musician, a painter, a Francois Deiber, whom he credits with “getting me writer, that’s what you’re going to project. I’m the sum back into Europe after an absence of 20 years” in 1983. total of my life.” As far as what his audience “gets”, he Even as Jamal observes regrettable changes in the laughs heartily and says, “I am not interested in them music world, he continues to lend support to his getting. How can I put it? Whatever happens is a result fellow musicians, as younger piano lion Eric Reed can of living on both sides. What I try to project in my life testify. First introduced to Jamal’s music through a is what my music is about. I’m looking to be satisfied fellow churchgoer at age 11, he recalls, “Prior to that I in what I’m doing. And maybe in doing that someone had been listening to very heavy-handed piano else will hear something or feel something.” players. Jamal came along with something, for lack of A native of Pittsburgh, Jamal credits that city as a better adjective, that seemed to me to be a lot having had a profound influence on his musical smoother. I met him when I was 20. The thrill for me development. “There are few parallels in the world. was discovering how down-to-earth he was and how New Orleans is one. I guess Paris would be another. much of an admirer of musicians he was. I’m so in awe But Pittsburgh. All Pittsburghers are distinctly of him because he’s been able to maintain a singular different. You’re talking about Kenny Clarke, Art reputation as an individual and as an artist. He has Blakey, Joe Harris, Roy Eldridge, George Benson, never compromised. He has always done interesting Dodo Marmarosa and Ray Brown. Billy Strayhorn’s projects. Those projects might not always be family I was selling papers to when I was a kid. He commercial successes or even artistic successes. But had left and gone, but how many ‘Lush Life’’s and the whole idea of being an artist is trying new things ‘Take the A Train’ are being written today? Come on! and experimenting. Who he is as an artist and who he This is Pittsburgh.” is as a person are not separate.” Playing piano for his uncle by age three, Jamal A spiritual man - he prays five times daily - and recalls that when he entered kindergarten at five, “the one who clearly relishes life, his music and even his teacher almost fainted because,” as he says chuckling, own elegant attire, Jamal cheers for jazz in a world “I was playing quite proficiently at that point.” Asked endangered by what he speaks of as “high tech, no about when he knew his life was going to be in music, manners. Civilization but no culture. Culture is being Jamal replies simply, “Well, music chose me. I didn’t able to say hello. Being able to take care of your choose it. Music chose me. And it’s the truth, because parents, your children.” when you’re that young, you don’t make decisions as About the music he loves he declares, “The best such. I had the right choice, let me put it that way.” IT'S MAGIC thing is that it’s still the only art form that developed The beginning of what became his profound in the United States besides American Indian art. And knowledge of the popular songbook is something he it’s still being heard despite the lack of proper credits to his Aunt Louise, an educator, who sent him by Andrew Vélez promotion and exposure. That speaks well of the “reams of sheet music” from North Carolina. “By the strength of this art form. The worst thing that could time I was 15, I knew the whole rep. She sent me the and put it into his own concept.” happen [for jazz] is the absence of camaraderie in our sheet music of all these guys and I learned all of the Jamal’s uniqueness includes an ability to field, which is very important. Very important for a songs and the lyrics as well. Because to me the depth transform what Mabern calls songs “on the corny side Ben Webster to be around and hand a kid like me a of an interpretation runs a little deeper if you know like ‘Music, Music, Music’ into something memorable. pair of his cufflinks. I admired him and he admired the lyrics.” ‘Poinciana’ wasn’t much better. What he did with that! me. Camaraderie is very, very important.” K From early on it was his association with others in He puts his mark on it and it becomes his! I always tell music that formed a solid anchor in his life. It’s a core my students, you listen to Ahmad Jamal, Phineas For more information, visit ahmadjamal.net. Jamal is at Blue that has endured to this day in his strong relationships Newborn, throw Chris Anderson in there and you’ll be Note May 6th-11th. See calendar. with his fellow players. An observation about the one of the greatest pianists in the world playing any subtle interaction with a smile or a nod of a head kind of music from any kind of style because between Recommended Listening: between he and longtime cohorts, Idris Muhammad them they’ve got the whole thing covered from boogie • Ahmad Jamal - Chamber Music of the New Jazz (drums) and James Cammack (bass) during a recent woogie to Mozart. When I go to see Ahmad nobody is (Argo-Cadet, 1955) Blue Note appearance, evokes chuckles from him. going to talk. Before he’s sitting down he’s played • Ahmad Jamal - At the Pershing: But Not For Me “Well, you have to have top top musicians to do that, three or four chords that are a masterpiece. We talk (Argo-Cadet/Chess, 1958) any group that’s going to be cohesive. I’ve had top when the music is over.” • Ahmad Jamal - The Awakening musicians all of my life, from Israel Crosby to Richard Another admirer and sometime New York City (Impulse!-MCA, 1970) Davis. [Richard] entered my group when he was neighbor of Jamal’s in the ‘60s was Miles Davis, who • Ahmad Jamal - Live at the Montreal Jazz Festival 1985 beginning to play American classical music. He was memorably recorded Jamal’s “New Rhumba”. Asked (Atlantic, 1985) trained as a European classicist.” how come they never played or recorded together, he • Ahmad Jamal - Chicago Revisited: Live at Joel Segal’s Fellow pianist Harold Mabern has known Jamal replies, “Miles was an American classicist and his Jazz Showcase (Telarc, 1992) since 1954, when as a 19-year-old he was new to the influence is far-reaching. I think it was a mutual • Ahmad Jamal - In Search of Momentum 1-10 Chicago music scene. He and trumpeter Booker Little influence. We were both leaders. When you’re [both] (Dreyfus, 2002)

ALLABOUTJAZZ-NEW YORK | May 2008 9 ENCORE Back in the spotlight...

now be built up by self-sampling techniques. Recommended Listening: Pete Cosey Cosey has an obviously fond regard for those • John Klemmer - Blowin’ Gold heady ‘70s road days. “Miles was pretty much into (Cadet/Concept - Chess, 1969) by Martin Longley everything,” he enthuses. “He was listening, but he • Miles Davis - Get Up With It (Columbia, 1973) would also have an understanding of other cultures. • Miles Davis - Dark Magus: Live at Carnegie Hall The aging process has He was very highly educated and he came from a (CBS-Sony, 1974) not compromised Pete family that was very highly educated. A lot of people • Miles Davis - Pangaea (CBS/Sony, 1975) Cosey’s approach to the don’t know that; they just saw someone that looked • Miles Davis - Agharta (Columbia - CBS/Sony, 1975) guitar. This veteran of cool, sitting there wearing a pair of shades and had no • (Various) - Miles From India: A Celebration of the the mid ‘70s Miles idea about the depth of his perception. Miles knew so Music of Miles Davis (Times Square, 2006-7) Davis band has much that was happening on this planet. When he ‘70s ‘00s resurfaced again on a approached stuff, it was not by happenstance. He new two-disc project created by saxophonist, arranger, knew what he was after. In ‘75, he had a ball socket producer and conceptualist Bob Belden. The Miles operation. He had been quite ill. At the time I came in, From India mission is to reinvent that brooding he was still on crutches. He had a car accident in ‘72 synthesist’s compositions as a meeting between jazz and I joined in ‘73. He was in a lot of pain and a lot of and Indian classical music. During the period when people don’t understand that. We toured for two years Cosey was with Miles, the trumpeter was no stranger and then he took off to have that operation.” to exotic global musics and was particularly open to It’s not that Cosey has been away, but his profile the Subcontinent’s sounds, as evidenced by his appears low due to a scarcity of recorded work over inclusion of tabla player Badal Roy in the lineup. Both the decades. He briefly played with Herbie Hancock Cosey and Roy will be appearing at the “Miles From (he’s on the crossover success Future Shock), replaced India” concert this month at Town Hall, along with Bill Frisell in Power Tools and started his own band Ron Carter, Lenny White, Wallace Roney and many The Children of Agharta, in 2001, dedicated to the others yet to be announced. Belden will be conducting. electro-funk repertoire of ‘70s Miles. Despite Even though much of the music is introverted and remaining a regular gigger in Chicago (and even meditational, there are other forces at work, occasionally here in New York), Cosey hasn’t been principally emanating from the set’s guitarists, very fortunate in the documentation of his evolution whether Cosey or Mike Stern. Cosey in particular over the last three decades. Recently, he’s recorded an emits great swathes of fuzzed distortion, beautifully album of Miles material with drummer JT Lewis for sculpted in contrast to the seductive shimmer of Ravi the Japanese market and he’s also preparing some Chary’s sitar strings. Actually, at its core, Cosey’s original material for a long-awaited solo album. Right sound is conscious of the many layers created by a now, Cosey leads a trio with bassist Kenny Wiggins sitar’s sympathetic strings and his dense blankets of (aka Caprice) and drummer Ken Frydrich. textured howling are just a noisier expression of Another facet of Cosey’s current work is the similar principles. leading of workshop sessions in schools around the Belden’s main approach was to have the Indian Chicago suburbs. Not limiting himself to jazz, he’s players initiate the tracks, subsequently lowering the also harking back to the electric work he did with jazzers down onto their patterns, via the use of both Muddy Waters and Howlin’ Wolf, from the pre-Miles digital shuffling and flashpoint improvisation. “It’s days when Cosey was a session employee of Chess almost like preparing a fine meal,” says Cosey, Records. “I utilize more of a concert format, with some speaking from his Chicago home. “You don’t wish to explanation, but with more of an emphasis on the have all the dishes taste the same. That’s what we were music. There’s less talk than in the usual lectures, able to achieve. I think we made a nice blend. We because I find you can lose their attention!” recorded in New York and it was the first time me and Cosey’s last gig in New York was with his Roy played together for many years. We’ve been in Children Of Agharta, in June of 2007, but he’s very contact by phone, but we haven’t had the chance to keen to bring his new trio to town and is even play.” contemplating the possibility of running two bases, The distinctive Cosey guitar quality developed oscillating between here and Chicago. Selfishly for practical reasons. “The wide open sound of my speaking, this sounds like a fine idea, for New Yorkers playing comes from the mountains, when I lived in at least. K Arizona. I used to go up to South Mountain, with a very small amplifier.” The natural echo began to shape Cosey is at Town Hall May 9th as part of the Miles From his fingering responses, arriving at a sound that would India Concert. See calendar.

LEST WE FORGET Gone but not forgotten...

Golson, Miles Davis, Tadd Dameron, Art Blakey, Shihab married a Danish woman and raised a Sahib Shihab (1925-1989) Kenny Dorham and is on Coltrane’s first recording as family in Europe but remained sensitive to racial a leader for Prestige. But it was during his stint with issues - on the evening of the death of Malcolm X he by Donald Elfman Dizzy Gillespie’s Big Band in the mid ‘50s that he played a gig in Cologne and for his solo, he fingered switched to baritone saxophone. the notes but produced no sound. In 1973 he returned Sahib Shihab was born Edmund Gregory on Jun. 23rd, Disturbed by racial tension and by the low esteem to the United States for three years, working as a 1925 in Savannah, Georgia. At the age of 13, he first of jazz in the United States, Shihab noted to Down Beat, session artist, backing rock artists and doing some played professionally - on alto saxophone - with the “I was getting tired of the atmosphere around New copywriting. For the rest of his life, he went back and Luther Henderson band. He studied at the Boston York. And I wanted to get away from some of the forth between Europe and the United States and Conservatory and soon joined up with Roy Eldridge prejudice.” So, in 1959, he toured Europe with the worked notably with Art Farmer. Sahib Shihab died in and then Fletcher Henderson, both in the mid ‘40s. In Quincy Jones band and then stayed on in Europe after Tennessee on Oct. 24th, 1989. 1947 Eddie Gregory, as he was known professionally, the tour ended. He decided to stay in Scandinavia and He was a powerful and original soloist, an became one of jazz’ first converts to Islam. lived between Sweden and Denmark for the next 12 intriguing composer and can be heard to great effect Shihab was taken by the changes of bebop and years. While there he wrote scores for movies and on recordings with the Clarke/Boland Big Band, the became a Bird-influenced alto player and appeared television. In 1961 he joined the Kenny Clarke/Francy Complete Blue Note Recordings of Monk, on Four Altos for with Monk on recordings from 1947 to 1951. In fact, he Boland Big Band and was often a favorite soloist with Prestige and under his own name - Sentiments is on the original recording of “‘Round Midnight” for his tough yet fluent sound. In that orchestra he also (Storyville) and the just released Sahib Shihab & The Blue Note in 1947. He also made albums with Benny got to play flute. Danish Radio Jazz Group from 1965 (Naxos). K

10 May 2008 | ALLABOUTJAZZ-NEW YORK MEGAPHONE Musicians in their own words...

different story. Since we weren’t legally living there For more information, visit benwolfe.com. Wolfe began his If I can make it here... we couldn’t call and get service. For a while we used musical career in Portland before moving to New York. He large Mason jars with small white candles for light. spent five years as musical director for Harry Connick Jr. by Ben Wolfe Since it was winter, we put our milk and eggs on the and also was part of the Wynton Marsalis Septet. His latest ledge outside of the window. Eventually, Alan rigged album No Strangers Here is due for release on MAXJAZZ In late October of 1985 I loaded my car with my string up the electricity by running a cord to a light in the this month. Wolfe currently teaches at Juilliard School. bass, electric bass, Polytone amp, record collection, hallway outside of the apartment. At one time this some cassettes a friend gave me for the drive, a apartment had been quite luxurious, but that time had boombox, my clothes, a thermos for the enormous long passed. The bathroom had a great shower amount of black coffee I would drink, a full-length separate from the bathtub, but the water was mostly down jacket which I would use for a blanket when draining into the apartment below. Soon the bathtub sleeping in my car at night and a pile of blankets that faucets stopped working so we ran water down a would be my bed in Brooklyn. With my belongings board from the sink to the bathtub. loaded I started my journey to New York City. I still But none of these crazy circumstances really remember the strange feeling of excitement I had bothered me; I was in New York to play jazz and that Wednesday, May 7th @ 8pm driving down a familiar 37th Avenue in Portland, was what I was doing. Six nights a week I was playing at The Iridium Oregon and having no idea of what lay ahead. New in the house band with Ted Curson for a late night jam 1650 Broadway 212.582.2121 York was a very romantic idea to me; it represented session at the Blue Note. Since I had no rent or utilities iridiumjazzclub.com jazz - you had to go there if you were serious, you had bills except for my phone service, the 20 dollars to go there if you really wanted to learn to play. I nightly was enough to get by on. I learned a lot with #24 on the Jazz Radio Charts moved to New York to play jazz and to learn how to Ted Curson. He never said what tune he was going to play jazz. That was it. It wasn’t for fame or fortune or play and never counted one off. It became a source of anything else. At that point in time, at 23 years old, pride to not get caught on a tune you didn’t know. nothing else seemed to matter to me. Jazz music was Also, I was able to hear the main act every week my life. The drive was basically five days. I arrived without paying a cover charge. through the Holland Tunnel Sunday morning Nov. At the session I met a lot of musicians, some of For Bookings Call: 3rd and immediately felt the energy of New York City. whom I would work with, some of whom have become I had been here before, having come for a month to close friends. I remember meeting Harry Connick Jr. 917.583.4164 study with Cecil McBee, but coming here to live was there and playing “Song For My Father”. I remember an entirely different feeling. I knew a friend of mine playing with Jeff “Tain” Watts for the first time, from Portland, drummer Alan Jones, had needed a playing tunes with Junior Mance, Gil Coggins and roommate and that solidified my decision to move. Chuck Mangione (who actually quoted “Feels So Our place in Brooklyn was unusual - a big Good”). I remember running into Benny Green, who I apartment in a huge building with elevators but no had not seen since my high school band played a doorman that was probably once a great place to live. concert with his, hearing and playing with Russell We paid the super our rent the first month, but within Malone for the first time, talking to Al Foster about a couple of days we were told that we had to move to Wilbur Ware, talking to Tommy Flanagan about how a different apartment. So in my first week in the city I cats used to play the bass. I remember coming off the was moving into my second apartment. Strangely bandstand sweaty and Art Blakey telling me “if you enough, the super never again asked us for rent. The catch cold and die, I’ll kill you.” I remember playing new apartment had electricity and phone service, piano on “Take The A Train” when Jaco Pastorius though not in our name. Somehow we figured out the played acoustic bass. Many nights after the gig, Ted phone number and thought we were set with no rent, and I would go to a diner around the corner and have free electricity and phone service. Of course within breakfast. I’ll never forget the night Art Taylor joined days we had no phone or electricity. Having no phone us and told stories of playing and hanging out with was not a big deal; there was a pay phone on the Monk and Miles. This was all happening in my first corner and I had a service that took my calls which year in New York City; my romantic thoughts of New were few and far between. The electricity was a York were being confirmed daily. K

VOXNEWS

regularly with vocalists of the caliber of Jane Monheit, such, but more explorations of words and breath and by Suzanne Lorge Luciana Souza and Katie Bull. Kimbrough also places fricatives and language and squeaks and wailing. a premium on the spontaneous exchange of ideas, no Despite all the talk here of inspired On Libby York’s self-released album Here With You matter what the musical setting. “You need to treat extemporization, there’s still room for singers who can there is a moment when York sings a lyric about a every gig like a throw-away, whether it’s in a concert knock out a well-crafted arrangement with accuracy sweet romance and Russell Malone counters with a hall or a dirty little bar and just allow yourself to be and aplomb. In this category is the talented Jack teasing, delicate riff on the guitar. This one little riff free to play. [In this way] you could be working with Donahue, who hails from the Kurt Elling School of tells us a lot about Malone as an accompanist - not someone who is inexperienced and it can be elevated. big, flexible, emotional voices that cover material from only does he hear the changes and extrapolate a A singer might only sing five notes, but know how to a variety of sources. In Donahue’s case that’s Suzanne melody from them, but at the same time he is listening sing them. If you’re in the moment and listening, then Vega, Cole Porter, Abbey Lincoln and himself - his closely enough to the lyrics to support York’s four people [a singer and a trio] become one thing - new CD, A Small Blue Thing (Two Maples Music), interpretation of the text with a musical equivalent. greater than the sum of the parts.” features expertly produced tunes by all of the above. An instrumentalist who plays at these three levels - You’ll find two fine examples of this The sweet-voiced Kate McGarry appears as both harmonically, melodically, textually - is a rare find synchronistic interplay between voice and players on backup singer and producer on this disc. indeed and precisely the instrumentalist that a singer Bennie Maupin’s new release, Early Reflections, where There’s also room for the simply hilarious: wants as an accompanist. opera and Tatras folk singer Hania Chowaniec-Rybka Lorraine Feather gives listeners some laugh-out-loud The key to working with singers, explains the expertly dispatches her first recorded vocal improvs moments with her clever lyrics on Language much sought-after accompanist/pianist Frank against the backdrop of the quartet’s haunting and (JazzedMedia). Tierney Sutton, Janis Siegel and Cheryl Kimbrough, is the same as for working with any other evocative sounds. Chowaniec-Rybka’s vocal Bentyne - not a vocal slouch among them - joins musician: “The main quality an accompanist needs is expression runs the gamut from howls to whispers on Feather in some tight, hip harmonies on this wholly an ability to play well with others. To do this you have these intriguing compositions. entertaining disc. to set your ego aside and be patient…and see each For more unadulterated vocal play, check out In homage: On May 16th during her concert at performance as a learning situation.” Kimbrough, also Italian vocalist Maria Pia De Vito on her CD So Right Washington, DC’s Kennedy Center Sheila Jordan will Maria Schneider’s mainstay on the keyboard, backs (CAMJazz), with its percussive spoken overdubs and receive the Mary Lou Williams Award for Women in this advice with years of solid experience: He works multi-textured scat lines; Not conventional songs as Jazz for her lifetime of service to the art form. K

ALLABOUTJAZZ-NEW YORK | May 2008 11 LISTEN UP!

Jason Stein Josh Sinton bass clarinet reeds

Jason Stein is originally from Josh Sinton was raised in Long Island. Upon completing an Cologne, New Jersey, lived in undergraduate degree in music Chicago for a while, followed by from the University of Michigan, Boston and moved to Brooklyn in Stein moved to Chicago in 2005 the summer of 2004. Since moving where he quickly found himself to New York he’s continued to working with some of the city’s most exciting play with his band holus-Bolus and Darcy James musicians. Stein can be heard on the Bridge 61 album, Argue’s Secret Society as well as starting up the band Journal (Atavistic, 2006) as well as on the second Ideal Bread (a Steve Lacy repertory group). He’s been release of Kyle Bruckmann’s Wrack (482 Music, 2006) fortunate enough to play with Andrew D’Angelo, and Keefe Jackson’s Project Project’s Just Like This Steve Lacy, Curtis Hasselbring, Matana Roberts, (Delmark, 2007). Stein’s first record as a leader, A Charlie Kohlhase, Greg Tate and Ari Brown among Thu May 1st THE FRINGE @8:30 PM Calculus of Loss with his trio Locksmith Isidore was others. He always looks forward to meeting and George Garzone, John Lockwood, Bob Gullotti released in March 2008 on Clean Feed. Stein has playing with new people. He and his wife Laura have performed with Jeff Parker, Jeb Bishop, Ingebrigt been enjoying episodes of Lost and when he can find Fri May 2nd RORY STUART QUARTET @9, 10:30 PM Håker Flaten, Pandelis Karayorgis, Wolter Wierbos, the extra time, he cooks up a pretty good dinner. featuring George Garzone, Ari Hoenig Rob Mazurek, Fred Lonberg-Holm, Frank Gratkowski, Sat May 3rd PETE ROBBINS & CENTRIC @9, 10:30 PM Peter Brötzmann and Fredrik Ljungkvist. TEACHERS: Right now my friends and bandmates. Sam Sadigursky, Ryan Blotnick, Eivind Opsvik, Dan Weiss My past teachers have included Steve Lacy, Ari TEACHERS: I think my most influential teacher was Brown, Ran Blake, Ken Vandermark, Dominique Eade, Sun May 4th PIANO TRIOS: SIMON MULLIGAN @8:30 PM Kelly Roberti, an amazing bass player and educator in Allan Chase, Jerry Bergonzi, Hankus Netsky, etc. Mon May 5th DAVID AMRAM & CO. @8:30 PM Bozeman, Montana. I learned a great deal from Charles Gayle during the short time I spent at INFLUENCES: My father. Harry Carney. Dana Wed May 7th HARRIS EISENSTADT QUINTET @8:30 PM Bennington College. But like most musicians I know, I Colley, Charlie Parker. Samuel Beckett. Sonny Rollins. Nate Wooley, Matt Bauder, Chris Dingman, Chris Lightcap learned more from listening to recordings than from John Cage. Thelonious Monk. Samuel Delaney. Thu May 8th BARRY WALLENSTEIN @6 PM any other source. JS Bach. Adam Birnbaum, Vincent Chancey, Steve Carlin, Daniel Carter and guests Claire Daly, Neil Haiduck INFLUENCES: Joe Maneri, Steve Lacy, Ben Webster, CURRENT PROJECTS: holus-Bolus, Ideal Bread, GNU VOX @8:30 PM Anthony Braxton, Ellery Eskelin, Monk, Ab Baars, Darcy James Argue’s Secret Society, Heather and the Amy Cervini with Michael Cabe, Mark Lau, Ernesto Cervini Axel Dörner, John Tchicai, Mats Gustafsson, Chet Barbarians, Burnt Sugar, Andrew D’Angelo/Curtis Melissa Stylianou with Keith Ganz, Gary Wang Baker, Ayler, Fred Hopkins, Julius Hemphill, Abdul Hasselbring Big Band, Blivton and Jeremiah Fri May 9th TONY MALABY TRIO Wadud, Jack Wright, Lee Konitz, Rollins, Giuffre, Cymerman’s Silence and Solitude. Angelica Sanchez, Tom Rainey Charlie Parker, Archie Shepp, Derek Bailey, Henry Threadgill, Neil Young, Dolphy, Misha Mengelberg, BY DAY: I work at a wine store in mid-town Sat May 10th GNU VOX SPECIAL John Cage, Johnny Hodges, Ellington, Andrew Manhattan. Thu May 15 PO’JAZZ HOSTED BY GOLDA SOLOMON @6PM D’Angelo, Paul Bley, Rudi Mahall, Evan Parker, Tim GNU VOX @ 8:30 PM: WENDY GILLES Berne, Anton Webern, Charles Gayle, Miles, Tobias I KNEW I WANTED TO BE A MUSICIAN WHEN... Petr Cancura, Jamie Reynolds, Bridget Kearney, Brian Adler Delius, Michael Moore, Coltrane, Arvo Pärt. Honestly, I can’t think of a time when I DIDN’T want to be a musician. Fri May 16th PAUL SHAPIRO’S RIBS AND BRISKET REVIEW CD RELEASE @9, 10:30 PM CURRENT PROJECTS: My trio, Locksmith Isidore will be on tour in the States and in Europe this spring DREAM BAND: Adrian Belew and D. Boone on Sat May 17th JOHN MCNEIL/BILL MCHENRY QUARTET and fall. I just recorded two new projects: Slow Cycle guitars, Bela Bartók and Thelonious Monk on pianos, CD RELEASE @9, 10:30 PM with Josh Berman, Nate McBride and Frank Rosaly Henry Threadgill and Steve Lacy on saxophones, Chris Lightcap, Jochen Rueckert and a quintet with Guillermo Gregorio, Jeff Parker, Lester Bowie on trumpet, Kent Carter on bass and Sun May 18th PIANO TRIOS: DANIELA SCHAECTER @8:30 PM Jason Adasiewicz and Jason Roebke. I am also Tony Falco and Mike Pride on drums. working on a solo bass clarinet recording with the Tue May 20th PIANO TRIOS: KRIS DAVIS TRIO support of a grant from the Chicago Department of DID YOU KNOW? I watched the Lawrence Welk Show, Lisa Mezzacappa, Ted Poor Cultural Affairs. Dr. Who and Sha-na-na regularly as a child. Go Thu May 22 PIANO TRIOS: figure… MATTEO SABATTINI GROUP BY DAY: I am in the fortunate position of being able FRANK LOCRASTO GROUP to teach lessons on woodwind instruments, as well as FOLLOW UP WITH: on guitar, which is to say I teach mostly guitar lessons. Email: [email protected] Fri May 23rd MARK HELIAS GROUP Web: joshsinton.com Sat May 24th PIANO TRIOS: CIRCLE DOWN TRIO I KNEW I WANTED TO BE A MUSICIAN WHEN… Angelica Sanchez, Chad Taylor, Chris Lightcap I first heard the Thelonious Monk Trio recording on Sinton is at Zebulon May 13th and Douglass Street Music Prestige. There was a whole world of sounds in the Collective May 30th, both with Ideal Bread. See calendar. Sun May 25 PIANO TRIOS way he played piano and I thought, “I wonder what it Tue May 27th MARC MOMMAAS TRIO would sound like if I spent an absurd amount of time Nate Radley, Tony Moreno playing my instrument.”

Thu May 29th TUCKSY DREAM BAND: This is too hard. Maybe the Johnny Dan McCarthy, Tuey Connell, Dan Loomis, Fred Kennedy Hodges, Derek Bailey, Fred Hopkins Trio; I’ve been Fri May 30th JASON RIGBY QUINTET pretty into Johnny Hodges lately. Mike Holober, Russ Johnson, Cameron Brown, Gerald Cleaver DID YOU KNOW? I hated jazz music when I was a kid. All of my friends were jazz band guys and I thought that the music they played was the most boring bunch of nonsense ever assembled. Now all my friends are doctors and lawyers and businessmen.

FOLLOW UP WITH: Email: [email protected] Web: myspace.com/jasonstein33

Stein is at Zebulon May 7th. See calendar.

12 May 2008 | ALLABOUTJAZZ-NEW YORK

CD REVIEWS

length, utterly mesmerizing. It falters only in its last engaging in disagreements along the way. Hino is track, “The Prophet of Doom”, a slow, lazy blues that’s more muted, allowing more room for the cultured just fine, but seems more afterthought than anything musings of Michael Attias’ alto (who also contributes else. The title opener, though, is a knockout, from the one piece). And Kikuchi forms part of a remarkably first anguished notes of Murray’s unmistakable tenor, porous rhythm section, Thomas Morgan’s Charlie straining toward harmony, which gives way to Haden-esque bass gently overlaying Paul Motian’s Wilson’s melancholic reading of Reed’s mournful drums, like a bullfrog jumping languidly from lily pad lyrics, a sparkling, typically off-center solo from to lily pad on a still pond. Though the instrumentation Gilchrist and a subsequent Murray ascent into the is typically modern, the feeling is not overly cerebral. 3D Family Sacred Ground ecstatic. Best, perhaps, are the sinuous “Pierce City”, Counter Current, like Edges, is an apt name for this David (feat. Cassandra Wilson) which finds Murray hanging in high register, beguiling document. Murray David Murray Black Saint bemoaning with searing confusion the Missouri town (hatOLOGY) Quartet (Justin Time) where, in 1901, a lynch mob murdered several blacks For more information, visit sony.co.jp. Kikuchi, Paul by Brandt Reiter and drove the rest of their community from their Motian, Michael Attias and Thomas Morgan are at Village homes, and “Family Reunion”, a funk-inflected, Vanguard May 27th-31st. See calendar. Cut in 1976 and released the following year, Flowers barrel-house celebration of resilience. But parsing out For Albert, David Murray’s thunderclap of a debut as a tracks on this unified masterwork seems simply leader, left little doubt that the next heavyweight superfluous; it’s a consummate artistic statement from champion of the tenor had arrived. Careening with a monumental (and monumentally under-appreciated) unsettling assurance between tight romantic swing artist who, thankfully, still has a lot to say. and screaming, shrieking free - Ben Webster one moment, Ayler the next - Murray, 21 at the time, For more information, visit hathut.com and justin-time.com. seemed to spring forth fully formed; here, Murray is at Birdland May 1st-3rd. See calendar. undoubtedly, was something new and, just as undoubtedly, something great. If 3D Family, a trio performance recorded two years later at the 1978 Jazz Festival Willisau in Switzerland, doesn’t retain quite the same astonishing power, the fault lies in its exceeding length. Originally a two-record set, this rerelease crams 70+ minutes onto one compact disc; the shortest of its five tunes, “In Memory of Yomo Kenyatta”, runs over 9 minutes; the longest, “Shout Song”, clocks in at almost 24. Still, with the pulsating rhythm section of the late expatriate South African Edges Counter Current bassist Johnny Mbizo Dyani and Coleman Hino-Masabumi Duo Hino-Kikuchi Quintet Hawkins/Cecil Taylor vet Andrew Cyrille on drums, (Sony Japan) (Sony Japan) the trio is a marvel, slipping into harmony here, by Andrey Henkin exploding into dissonance there, working intently toward common ground and then splintering into The similarities between two new releases by what seems like a thousand ideas at once. Ultimately Japanese legends Terumasa Hino and Masabumi RECOMMENDED exhausting as the disc may be, Dyani is richly Kikuchi are obvious. Both were recorded within the NEW RELEASES euphonious, Cyrille magnificent (his solo on the title same two weeks at the same studio. Both share cut is a three-and-a-half minute polyrhythmic wonder) broadly painted abstract covers on their appealing and, above all, there’s the powerhouse young Murray LP-style gatefold sleeves. Both are mostly originals by • Jon Balke - Book of Velocities (ECM) brilliantly staking out his territory, blustering, the pair, including two versions of two pieces • Rob Brown Ensemble - moaning, growling, swinging and skronking away. bookending each disc. Even the aesthetics, despite the Crown Trunk Root Funk (AUM Fidelity) Between 3D Family and Sacred Ground, recorded in first being a duet and the other a quintet, have • John Ellis & Double-Wide - 2006, lie 28 years and over 80 Murray discs; count in something in common. Palpably companion pieces, for Dance Like There’s No Tomorrow (Hyena) the World Saxophone Quartet (of which he is a all their similarities, these are distinct albums. But one • Fieldwork - Door (Pi Recordings) founder) and appearances as a sideman and the list of thing they both contain is possibly the most • Shot x Shot - Let Nature Square (High Two) recordings stretches out somewhere past 220. surprising. Though continuing a partnership begun • Will Vinson - Promises (19/8) (Someone once asked Murray why he puts out so decades ago, the albums don’t demonstrate an David Adler many albums. His deadpan reply: “I have a lot to expected easy comfort; that is their strength. AAJ-NY Columnist Emeritus say.”) So does the world really need yet another Edges is an uncommon duet between an unusual • JD Allen - I AM I AM (Sunnyside) Murray disc? In short: YES. Though Murray, at 53, pairing. Piano and trumpet inhabit a similar tonal • Faruq Z. Bey - Journey into the Valley may no longer be the earthshaker he once was - his range so any counterpoint is of a subtler breed. The (with Northwoods Improvisers) (Entropy) move to Paris a decade ago, refusal to sell out and eight pieces, including the two takes of the title track • Kris Davis - Rye Eclipse insistence on recording for small labels, have all that begin and end the album, are aural (Fresh Sound-New Talent) limited his visibility - he is, if anything, at the height representations of the album artwork: painted in bold • Russ Lossing/John Hebert - of his powers. Sacred Ground, in fact, may be as good as expressionistic strokes. What is fascinating though is Line Up (hatOLOGY) anything he’s ever recorded - which is to say, as good the tangible sense of tension. When one listens to a • Jessica Williams - as anything ever recorded. duet, breezy dialogue or spirited agreements are Songs for a New Century (Origin) Sacred Ground expands on Murray’s score for the usually the expectation. Hino and Kikuchi are • John Zorn’s Bar Kokhba - Lucifer: Book of Angels, 2007 Marco Williams documentary Banished, which obviously old friends but ones who seem to have little Vol. 10 (Masada Book Two) (Tzadik) deals with the forced expulsion of American blacks in common. When their careers began, they were Laurence Donohue-Greene from their homes - by the thousands - in the late 19th closer in spirit; the intervening years have separated Managing Editor, AllAboutJazz-New York and early 20th centuries. It’s a perfect subject for them. They are like adults who are friends because Murray, who’s been as overtly political (read ‘furious’) they grew up next to each other. This turns Edges into • Duke Ellington and His Orchestra - as any jazz artist during his career and has never shied a session whose appeal is in its agitation. Each author Live in Zurich, Switzerland 2.5.1950 (TCB) away from putting his finger on a sore. Enlisting a has his pieces dominated by the other musician and • Ideal Bread - The Ideal Bread (KMB Jazz) dream rhythm section - the indispensable Cyrille once the solo pieces are almost exhalations. “I Fall In Love • Russ Lossing/John Hebert - again, the sterling bassist Ray Drummond and Too Easily”, the album’s only standard, exemplifies Line Up (hatOLOGY) the fascinating young Baltimore pianist Lafayette this ironic relationship. • Eric McPherson - Continuum (Smalls) Gilchrist - and tapping the talents of poet Ishmael Counter Current brings the pair together with a • Pete Robbins - Do The Hate Laugh Shimmy (Fresh Sound-New Talent) Reed and singer Cassandra Wilson for its opening and multi-generational trio to explore another set of • Diana Wayburn - Ostinato And... (s/r) closing tracks, the disc is scathingly angry, originals, this time almost exclusively by Kikuchi. The Andrey Henkin profoundly sad, raucously unpredictable, joyously effect is that of strangers on a long train ride trying to Editorial Director, AllAboutJazz-New York swinging, desperately urgent and, for most of its find out what they have in common but amiably

14 May 2008 | ALLABOUTJAZZ-NEW YORK Orchestra - which he called “The Inner World Band” - Conversely, Nolan’s phrasing can also engage is full of boundless energy and reveals just how Werner in wonderfully charming conversation. Such is youthful Macero was as both composer and producer. the case as piano dances divinely with soprano on Macero penned all nine tracks, which alternate tempos what is only a somewhat “Disheveled Waltz”. Bassist between fast and (relatively) slow and focus between Johannes Weidenmueller and drummer Ari Hoenig rhythmic elements and solo features. provide some quirky rhythms that add authenticity to The album features a few heavyweights: guitarist the Monk tribute “Diatonicus”, spice up the opening Larry Coryell, saxophonists Lee Konitz, Dave Liebman “Kilson’s Groove” and interject bop and ballad story and George Garzone and trumpeter Alex Sipiagin. The lines into “Tales From the Head”. Karibu NYU Jazz Orchestra, which recorded another album of While second efforts can sometimes suffer from a Lionel Loueke (Blue Note) Macero tunes produced by their author in 2006, is a dearth of originality, Nolan effectively explores new by Joel Roberts wonderful backup band for the guests on this album; ground without sacrificing his strengths. they know when to back off as during Liebman’s Guitarist/singer Lionel Loueke’s remarkable odyssey extensive soloing in “Inner World” and “Break Out” For more information, visit russnolan.com. This group is at from the West African nation of Benin to the apex of and when to flare up as the energy mounts as with The Kitano May 2nd-3rd. See calendar. the jazz world is quickly becoming the stuff of legend. “Hell’s Comin’ and Hell’s Comin’ With Me”. After hearing a George Benson CD as a teenager, Sipiagin is one of the strongest guest players on Loueke became enamored with American jazz and the CD and is well-suited to Macero’s compositions. In UNEARTHED GEM began traversing the globe to further his musical the seductive “Slow and Easy” and the Latin jazz tune education, first in the neighboring Ivory Coast, then in “Wishy Washy Tadpole Blues”, he exudes the vitality Paris and Boston, studying at Berklee, and finally in and suavity that Macero wrote into each track. The Los Angeles, where his audition at the Thelonious latter tune also features the virtuosic pianist Yayoi Monk Institute had the likes of Herbie Hancock, Ikawa. Fellow bandmembers Gabriel Renta (congas) Wayne Shorter and Terence Blanchard standing and and Joe Beaty (trombone) are also prominently cheering. He’s since toured and recorded with both featured in “Wishy Washy”, arguably the album’s best Blanchard and Hancock (he’s featured on Hancock’s track. In “Break Out”, Liebman and Sipiagin perform Grammy-winning River: The Joni Letters), released two smoothly and aggressively in turn, giving the hardbop solo albums and now makes a knockout of a major tune an edgier, more sophisticated sound. label debut on Blue Note. As Dr. David Shroeder, who is Director of the A Grand Night for Swinging The 34-year-old Loueke’s sound reflects his NYU Steinhardt Jazz Studies program and plays the Mary Lou Williams (HighNote) globetrotting history; his exceptional guitar playing chromatic harmonica and the alto clarinet on this disc, by George Kanzler and gentle vocals seamlessly blend advanced jazz says in the liner notes: “This project signifies a passing technique with traditional African influences, the of the torch from true masters to inspired students.” If Mary Lou Williams had never resumed her career AfroPop of Fela Kuti and King Sunny Ade and a Study in Contrast represents not only Macero’s interest after she abandoned it for religious reasons in the healthy dose of Brazilian samba. It’s an intoxicating in the nuances of big band jazz but also his love of early ‘50s, her paramount place in jazz history mix that impresses for its originality, imagination and teaching and working with young people. The would still be secure. As a pianist, composer and beauty, as well as its imposing musicianship. On the students have become the masters and the contrast is arranger from the late ‘20s through the ‘40s, she was album’s title cut, for example, Loueke (ably backed by fascinating. the music’s premiere female musician, working his longtime trio mates Massimo Biolcati on bass and with the likes of Andy Kirk, Benny Goodman, Ferenc Nemeth on drums) lays down an intricate, For more information, visit steinhardt.nyu.edu. The NYU Tommy Dorsey and Duke Ellington during the oddly-metered guitar groove while singing in unison Jazz Orchestra is at Blue Note May 5th. See calendar. Swing Era. And when bebop came along, Williams (à la Benson) and providing rhythmic tongue clicks. embraced it and befriended the likes of Dizzy He also has no problem holding his own with Hancock Gillespie, Bud Powell and Thelonious Monk. and Shorter, who sit in for two tunes apiece and are But thanks to a Jesuit priest, Peter F. O’Brien featured together on the exploratory “Light Dark” (now the executive director of the Mary Lou (only the second time the two have appeared together Williams Foundation), who met her in the Catholic as sidemen for the label since the 1967 Lee Morgan Church and persuaded her that her art was a gift album The Procrastinator). Other highlights include a from God that she should not abandon for prayer breezy take on Hoagy Carmichael’s “Skylark” and a and religion, Williams resumed her career for the gorgeous version of Coltrane’s “Naima”, with a last two decades plus of her life (she died at 71 in soaring soprano sax contribution from Shorter. The May of 1981). That second career included concerts album closes on a festive note with the danceable (one a duo with Cecil Taylor), festivals, religious With You in Mind African melody “Nonvignon”, a spirited end to a pieces (most notably “Mary Lou’s Mass” featuring Russ Nolan (Rhinoceruss Music) memorable recording filled with promise. by Elliott Simon Gillespie, a band and singers) and many trio gigs like the one on this CD, recorded at the Statler Hotel For more information, visit bluenote.com. Loueke is at Blue Two Colors, the first release from saxophonist Russ in Buffalo in 1976, with bassist Ronnie Boykins and Note May 13th-15th. See calendar. Nolan as a leader, impressed both with an exquisite drummer Roy Haynes. partnership with pianist Sam Barsh and the leader’s Although she wrote over 400 compositions, convincing command of both tenor and soprano saxes. except for her takeoff of “Bags’ Groove” (“Bag’s The saxophonist’s sophomore effort, With You in Mind, Blues”), Williams here plays jazz tunes by others reprises his traditional approach in the context of and standards. Notable throughout is her left hand, pianist Kenny Werner’s superb piano trio. Nolan’s a decidedly strong, boppish update of the stride affinity for pianists is again readily apparent on a and boogie-woogie style she mastered in her varied musical program that includes paeans to Trane, younger days. An ostinato-like left hand figure is a Monk and drummer Billy Kilson. constant in her deep exploration of “My Funny Not your run of the mill tenor player, who leans Valentine”, while a rolling left hand dialogues with on speed or a big round tone to impress, Nolan’s or counterbalances her right on “I Can’t Get uniqueness lies in his facility for delicately presenting Started”. On “Bag’s Blues” she conjures up big band Study in Contrast the upper registers of his instrument, much in riffs and shout choruses from her Kansas City days, Teo Macero Presents The Inner World Band evidence on “With You in Mind”. It is a style that, save while “St. Louis Blues” is sheer, joyous swing. Her (Teo Prod) for cuts like an intriguing reworking of Trane’s modernist credentials surface on John Stubblefield’s by Ivana Ng “Naima” and a boppish take on the NYC subway “Baby Man”, while “Caravan” and Billy Taylor’s Teo Macero, who while at Columbia Records entitled “Stand Clear of the Closing Doors”, is more title track afford her ample jaunty finger-snapping produced many Miles Davis records from Kind of Blue akin to that of a vocalist who uses phrasing and moments, with the former also featuring a tightly to Bitches Brew as well as other seminal discs like Dave diction to achieve desired moods. This is most structured, vibrant Haynes solo. Brubeck’s Time Out and Ellington’s Blues in Orbit, apparent on songs where the trio provides a more passed away in February at age 82. Study in Contrast, open soundstage, like the pensive title cut and For more information, visit jazzdepot.com recorded last year with the NYU Steinhardt Jazz medium tempo closer “By The Way”.

ALLABOUTJAZZ-NEW YORK | May 2008 15 New Dreams). The connection is evident in the rapid bounce of “Thren” and the concluding “Dewey Square”, a loosened version of the Charlie Parker theme. Redman covers a good deal of terrain here, applying his distinctive sound - somehow at once round and hard-edged, a rare achievement in enveloping - to the deep funk of “Turn Over Baby”, the floating lyricism of “Love Is”, the very Trane-like lilt of “Joie de Vivre” Lapidation and the down-right Ayler-ish swirls of”Combinations” Anthony Coleman (New World) (resemblance is the easiest mode of description, but by Kurt Gottschalk Redman regularly shifts formal tactics while invoking fellow tenorists from Willis Jackson to Charles Lloyd). After a recording career given over in large part to The group is an ideal place for the younger Helias, shtick and nostalgia, the last few years have seen a who seems to fuse perfectly with Blackwell in the well-deserved spike for Anthony Coleman. His last playful yet surging rhythms, as well as adding fleetly two records for Tzadik showed him (on Pushy inventive solos to “Thren” and “Joie de Vivre”. Blueness) as a strong composer and (Shmutisige Trumpeter Dennis González’ NY Quartet also Magnaen: Coleman Plays Geburtig) a remarkable includes Ellery Eskelin on tenor and Michael TA interpreter. The new Lapidation continues the Thompson on percussion. Dance of the Soothsayer’s documentation of the pianist as a strong composer. Tongue is only in part recorded “At Tonic”, tape The five pieces included were written over the failures at a fine live performance requiring span of the last decade, ranging from a piano solo to supplementary studio recordings by the trumpeter horn-heavy tentet, but despite the span of time over and drummer to fill out the CD. which they were composed, they show a strong and The core of the disc is the extended, five-part coherent voice, coming together something like a suite “Afrikanu Suite”, which works through permutations rich with Schoenberg-ian swells and instrumental of the ensemble, from duos to full quartet to tensions. For the most part, Coleman appears only as a unaccompanied solo. It’s distinguished by its intensity conductor here, leaving much of the piano (including and the inventiveness of its detailing, particularly in the solo piece) to the more-than-capable Joseph the interactions between Eskelin and Helias. Helias is Kubera. The ensemble pieces are given stately especially adept at creating atmosphere, sometimes readings by a group including Downtown stalwarts forging compound textures with simultaneous bowing Marty Ehrlich, Ned Rothenberg and Doug Wieselman and plucking. The music from Tonic is framed by (reeds), Kevin Norton and Jim Pugliese (percussion) González/Thompson duets that are marked by and Ted Reichman (accordion), as well as some newer González’ intensely felt lyricism and his gorgeous, New Yorkers (guitarist Marco Cappelli and trombonist brassy sound, a resonant, elemental trumpeting that Christopher McIntyre). can suggest Louis Armstrong, a feat among Also worth noting for this presentation of trumpeters associated with free jazz. Coleman-as-composer are the excellent liner notes by Open Loose is Helias’ own group, a working unit composer Lee Hyla. A recording of such dense riches with drummer Tom Rainey and tenor saxophonist only benefits from intelligent mapping and Hyla does Tony Malaby that’s devoted to the bassist’s a commendable job escorting the listener through the compositions. As with the best tenor-bass-drum challenges and rewards Coleman has to offer. bands, the focus is on interaction rather than showcasing a saxophonist and the results on Strange For more information, visit newworldrecords.org. Coleman Unison are consistently inspired. is at Merkin Hall May 22nd. See calendar. The group’s forté is a taut, slightly boppish feel, but it’s striking how far back and how far forward it can work in the tradition. The gorgeous blues of “Blue Light Down the Line” has Helias’ rock-steady line anchoring the turbulent moan of Malaby’s horn and the shuffle of Rainey’s drums. When Helias solos, that startlingly articulate low register really comes to the fore, notes bending with a guitar-like expressive clarity in a zone you don’t expect to hear it. Beginning near the opposite pole from that traditional blues, the piece “Irrational” seems at times to be a series of disconnected sounds that seek their own order, with remarkable sonic similarity between Helias and The Struggle Continues Dewey Redman (ECM) Malaby. Dance of the Soothsayer’s Tongue (At Tonic) As different as the methodologies of individual Dennis González NY Quartet (Clean Feed) tracks are, there’s a consistent dynamic throughout, Strange Unison Open Loose (Radio Legs Music) by Stuart Broomer Helias’ bass a central, structural presence that seems to register both empathy and order in the midst of Mark Helias is a consummate bassist, a musician Malaby’s tumult and turmoil and Rainey’s vibrant whose abilities as both collaborator and soloist have beat and explosive dismantling of expected patterns. few peers. He’s covered terrain from the more Open Loose is one of the most consistent bands interactive branches of structured jazz to free, with currently active, reflecting Helias’ adroit balancing of special stops along the way that include a kind of free order and spontaneity. funk. These three recent releases represent Helias early in his career, as group member and as For more information, visit ecmrecords.com, composer/leader. cleanfeed-records.com and markhelias.com. Helias is at Helias was the youngest musician on hand in 1982 Barbès May 7th in duets with William Parker and Tim when tenor saxophonist Dewey Redman recorded the Berne; 14th with Open Loose; 21st in duo with Alex recently reissued The Struggle Continues with pianist Waterman and 28th solo and with Herb Robertson and Charles Eubanks and master drummer Ed Blackwell. Nasheet Waits. Open Loose is also at Tea Lounge May 19th The genre is free bop, with Redman and Blackwell and Cornelia Street Café May 23rd. See calendar. touching on their long association with Ornette Coleman (and in the Coleman alumni band Old and

16 May 2008 | ALLABOUTJAZZ-NEW YORK So Many Stars Young at Heart Jon Mayer Grant Stewart (Reservoir Music) (Sharp Nine) by Jim Santella

The small, acoustic jazz combo can make a night out as memorable as the paintings that hang on your living room wall, each with its own tale to tell. Even straightahead jazz, with its bebop origins and mainstream focus, can appear in different colors. Here are two veterans with history: one pushes hard with force while the other prefers a smoother approach. Pianist Jon Mayer grew up in New York, attending High School for the Arts in the ‘50s and winning a scholarship to study classical music at the Manhattan School of Music. He then immersed himself in the city’s bebop scene, having the chance to work with some of the best and to create at length; John Coltrane even recorded two of Mayer’s compositions in the late ‘50s. Then he dropped out, drug addiction taking its toll and costing Mayer 14 years before a reemergence in 1991 in Los Angeles, where he continues to wow local audiences with his propulsive technique. Two of Mayer’s originals on So Many Stars, “Bopzilla” and “Rip Van Winkle”, relate this unique history. From the mellow bossa of the session’s title track to the fiery glow of “Jeannine” and the exotic flavor of “Nica’s Dream”, Mayer’s trio expresses itself with alacrity. Bassist Rufus Reid solos with personal emotion and Mayer puts a lifetime of experience into each phrase, drummer Roy McCurdy underscoring the session with a logical foundation. Mayer’s piano swings but bop-laced conversations, with an edge to every bite, rule the day. Tenor saxophonist Grant Stewart gives his quartet plenty of room to stretch out during Young at Heart, his ninth album as leader. This session reaches back for classic pieces by Duke Ellington, Neal Hefti and Elmo Hope as well as fresh songs that introduce a few surprises. Stewart’s brand of straightahead jazz remains laid-back and somewhat cool as the quartet rolls through its paces with an even approach. Even the leader’s own “Shades of Jackie Mac”, driven at a brisk tempo, comes complete with seamless phrases that melt into each other. Stewart’s tenor speaks of silk and satin while pianist Tardo Hammer lends suitable harmonic language, bassist Peter Washington adding mainstream charm and drummer Joe Farnsworth coloring appropriately. On “Serenade to Sweden”, for example, walking bass, block chords and syncopated sticks back the leader’s tenor through a romp and glide; the foursome takes this one as if skating on the surface of a frozen pond where motion dovetails gracefully all day long. Peter Bernstein’s “Jet Stream”, like most of the session, drives with an uptempo spark that represents the forward push of traditional jazz. However, with the leader’s easy texture and the cohesiveness of his quartet, the music remains both gentle in nature and heartfelt.

For more information, visit reservoirmusic.com and sharpnine.com. Mayer and Stewart are at The Kitano May 8th. Stewart is also at Smoke May 9th-10th and Smalls May 20th and 27th. See calendar.

ALLABOUTJAZZ-NEW YORK | May 2008 17 Among the eight tracks, there’s “Funkorific”, this is a much larger group than four pieces. “Splash”, “Skip It”, “Blue Balls” and “Absinthe”; in Occasionally the spirit of Sun Ra seems to be looming Danish maybe all that spells p-a-r-t-y? over this band, especially on “Clouds Of Thunder” Who are these guys (if you don’t know already)? where Kane is playing flute and Siwula is on tenor. They’re all Danes: Niclas Knudsen on guitar, Stefan Pianist Nobu Stowe has been a frequent musical Pasborg on drums and Jeppe Tuxen on Hammond B3 partner of Siwula’s and they’ve collaborated on a pair organ. And, oh yeah, that American trombone... of Konnex releases (New York Moments and Brooklyn ‘Vocals’ are supplied by the screaming audience Moments). Siwula also appears on Stowe’s most recent members at the show in Copenhagen. They sound like release, Hommage an Klaus Kinski, a set co-led with The Latin Side of Wayne Shorter they didn’t spend much time in their seats. sound designer Lee Pembleton. It’s a shifting Conrad Herwig (Half Note) Throughout Anderson provides tireless, inventive personnel with a full quintet unit occupying two by Jeff Stockton solos, amiably supported by the large talents of these rather lengthy pieces. The music comes at the listener great Danes. While somewhat derivative in mood and in waves of sound, swirling around with varying Luis Perdomo is the regular pianist in Conrad inspiration - originals, but incorporating many degrees of intensity. Stowe cites Keith Jarrett as a Herwig’s septet. He delivers a sterling, elegant solo on reworked riffs and beats of the psychedelic era - all prime influence and, like Jarrett, Stowe is a melodicist “Ping Pong”, the opening cut on The Latin Side of eight pieces sound vibrant and energetic and just the at heart. But elsewhere his style is closer to Paul Bley’s Wayne Shorter, recorded live at the Blue Note in New thing for your next rent party. This is the kind of more harmonically open approach, especially in his York. He anchors the first five songs with such skill record where you don’t have to think too much. Think darting lines on “Duo II-E”. Pembleton’s role seems to that at the end of “This Is for Albert”, Herwig singles of it as a Copenhagen vacation, circa 1968. function as a wild card; he’s there to assure that the him out for the audience’s applause. Unfortunately, others (including clarinetist Perry Robinson) don’t fall it’s to say goodbye. When salsa legend Eddie Palmieri For more information, visit sundance.dk. Anderson is at Jazz back on their clichés as well as to sculpt the sound. At takes over on piano, the concert is sent into orbit. Standard May 9th-11th with Marty Ehrlich. See calendar. times, his sounds are identifiable: birdsong, water etc. Perdomo never stood a chance. But mostly his electronics consist of sweeping washes, “Adam’s Apple” may not be Shorter’s greatest harsh zaps and burbling whirlpools. The two lengthy composition, but Palmieri makes a convincing case quintet tracks have a tendency to meander between with syncopated montuno vamps that drive drummer some genuinely thrilling moments of intersection. At Robby Ameen’s funky backbeat and inspire baritone times, when the full group is playing the sound is saxophonist Ronnie Cuber’s sly comments and robust messy and cluttered. The smaller groupings are more soloing. Palmieri taps into “Masquelero”’s heart of successful, especially Stowe’s duos with Pembleton. darkness and Herwig’s tone on trombone is elusive Despite some flaws, Stowe and Pembleton are and introverted, before trumpeter Brian Lynch takes a attempting to come up with something unique. note-bending solo that slides itself into the piano’s rhythms like mortar. Herwig and Lynch’s simpatico For more information, visit konnex-records.de and playing is the highlight of “Footprints”, each of them blacksaint.com. Mambo Mantis is at Goodbye Blue Monday winding similarly smooth and uncluttered solos Projection: Zero May 23rd. Siwula is also at Downtown Music Gallery May around Pedro Martinez’ congas. Blaise Siwula/Carsten Radtke (Konnex) 4th and Stain Bar May 18th. See calendar. This is the third installment in Herwig’s Latin Side Transphonic Dimensions series (following interpretations of Coltrane and W.O.O. Presents Mambo Mantis (Konnex) Hommage an Klaus Kinski Miles) and features silky virtuosic musicianship Nobu Stowe/Lee Pembleton Project (Soul Note) applied to intricate, intelligent, original compositions. by Robert Iannapollo Shorter’s tunes are well known and highly regarded as being flexible enough to suit a variety of instrumental Saxophonist Blaise Siwula has been an active lineups. Since he’s gathered his own multi-horn participant in New York’s ‘underground’ jazz scene groups in the past, the sound of these arrangements for the past two decades. Although he released MAY SCHEDULE doesn’t stray too far from his initial conceptions. But if several recordings on independent labels, it wasn’t you know a person who thinks ‘jazz’ is difficult to get, until the millennium that he started garnering SHOWTIMES - 9, 10:30 pm, 12 am lacks melody, or you can’t dance to it, this is a CD that attention. Siwula is a committed free player and his WEEKEND COVER CHARGE - $20 will change their mind. highly unique sound couples a dry throaty wail with a WEEKDAY COVER CHARGE - $10 command of his instrument’s entire range and a For more information, visit halfnote.net. This project is at wavering vibrato that’s very effective. Blue Note May 27th-28th. See calendar. Projection: Zero is an all-improvised duet session Fri & Sat, May 2 & 3 between Siwula and German guitarist Carsten Radtke. BILLY KAY QUARTET Radtke not only plays improvised music, but is also an interpreter of 20th century guitar literature, having Fri & Sat, May 9 & 10 performed and recorded the works of Berio, Davidovsky, Brouwer and others. On this disc he JAMES SPAULDING QUARTET displays a clean, jazz-based tone with a rich harmonic sense. Occasionally, he’ll click on an effects box but Fri & Sat, May 16 & 17 that is not his dominant mode. He and Siwula are well T.K. BLUE QUARTET matched, engaging in a conversational dialogue and all of the give and take that implies. There are solo Fri & Sat, May 23 & 24 passages, moments where one takes lead and the other Meets Ray Anderson-Again GIACOMO GATES & TRIO comments and also some remarkable synchronous Ibrahim Electric (Stunt) by Laurel Gross interplay. Yes, Siwula occasionally reaches for the Fri & Sat, May 30 & 31 intensity for which he is known but this set is Ray Anderson can make a trombone sound like a hive remarkably relaxed. It’s a real joy to listen to and also ANTOINETTE MONTAGUE & TRIO of bees or just about anything else. That means he’s a presents a side to Siwula’s art that has heretofore only good match for this latest outing of Ibrahim Electric, been sporadically documented. Sun. Jazz vocalist Open Mic recorded live at Copenhagen’s JazzHouse and Mambo Mantis is a project of New York-based with Lafayette Harris Trio Pakhuset in Århus in February 2007, the second saxophonist Bonnie Kane in which Siwula is a Mon. Patience Higgins & Sugar Hill Quartet meeting between these two forces of nature. participant. Also aboard for Transphonic Dimensions Wed. Nathan & Max Lucas Organ Trio This group is all about fun, funk and a few other are drummer Ray Sage and guitarist Will Redmond. things: a popular ‘60s party groove meets jazz improv, While the orientation is still toward free improv, the 288 Lenox Avenue blues and rocking riffs with a jam band feel. They’ve music takes on more of a fusion cast. On certain tracks done this before and perhaps the idea is if it ain’t there’s almost a hardcore energy with Sage laying (Malcolm X Boulevard/124th & 125th) broke don’t fix it. These guys don’t take themselves down a fierce rhythm and Kane and Siwula wailing 212-427-0253 too seriously and that’s a good thing. over top. With judicious use of electronics (mostly by www.lenoxlounge.com Song titles give a clue to what this is all about. Kane but also coming from Redmond) it sounds like

18 May 2008 | ALLABOUTJAZZ-NEW YORK spirit as well as the notion of individual voices. And On “#3” Moritz’ skyscraping soprano mimics a flute he does so with a sense of the possibilities inherent in and Dulberger’s arco on “#8+15+6” moans somewhere a wide swath of American music. between an Indian raga and a Tibetan monk chant. The feeling hits you right out of the box as “Bright These moments of inventive mimicry widen the scope Lights” comes at us with a kind of pop/island feel. of the performances and raise the album above the The ever-appealing Loren Stillman plays the main level of plainness. theme on the soprano with a pure, clear tone that calls The atmosphere ranges from somber to lively to the listener both to dance and listen. Each of the almost forbidding. The songs are carefully crafted and players follows with concisely expressive solo played by a group of distinct and talented musicians Mare Nostrum statements - guitarist Brad Shepik wailing ‘fuzzily’, who manage to convey their unique and cohesive Paolo Fresu/Richard Galliano/Jan Lundgren the leader smartly getting down, Stillman once again message amidst the mysterious, stark landscapes. (ACT Music) displaying a funky intelligence in a lovely solo that by Fred Bouchard leads back to the opening theme. The compositions For more information, visit tigerasylum.com. Welcome is at have all the feel of a classic approach with some new Goodbye Blue Monday May 11th. See calendar. This magical debonair international trio reminds us avenues subtly explored. There are grooves galore once again of the porosity of walls between nations here, some beautiful abstraction and some good and fluidity of musical styles, as it flits through an old-fashioned Blue Note-like tunes. enticing shadow world that recaptures Paris in the The other leader/composer here is also a bassist. ‘50s. Swedish Jan Lundgren’s pointillist piano blends Anne Mette Iversen has a background in jazz and dreamily with Richard Galliano’s poignant classical composition and so the first part of her two- squeezebox and Sardinian Paolo Fresu’s acerbic, disc set Best of the West + Many Places is laid out like a haunted trumpet to raise the shades of Edith Piaf, classical work and the sound of the group - the leader Jacques Brel, Miles Davis, Charles Trenet, Maurice with John Ellis (tenor and soprano saxophones), Thu-Sat, May 1-3 Ravel and Josephine Baker. Danny Grissett (piano) and Otis Brown III (drums) - is Waltzes, of course, are numerous, swirling and augmented by a string quartet that adds color and MULGREW MILLER & FRIENDS dreamy affairs that evoke smoky cabarets, midnight some truly intriguing textures. The strings are never Fri & Sat, May 9 & 10 quais, Seine-side trysts. Unisons between Galliano and just there to play under the jazz group; it’s a vital voice GRANT STEWART QUINTET Fresu are mesmerizingly resonant, especially with on its own that never sounds out of place in a jazz Fri & Sat, May 16 & 17 flugelhorn or Harmon-muted trumpet (the eerie, context. The whole disc is a suite and thus there’s a soundtrack-destined “Sonia’s Nightmare”). Filling out progression of ideas. None of the eight players calls A TRIBUTE TO JACKIE MCLEAN the program’s sweeter side are tunes by Jobim attention to themselves yet each has an important role Fri & Sat, May 23 & 24 (echoing Harold Arlen’s “Over The Rainbow”), Trenet to play in the overall direction of the music. STEVE TURRE QUINTET (that ‘translates’ to “I Wish You Love”) and a The second disc in the set collects music written Fri & Sat, May 30 & 31 semi-classic spin on Ravel’s pristine “Mother Goose”. over the course of the three years in the Iversen Any improvising? Why, yes, a little. Lundgren group’s recording history. This is a more standard jazz MILES DAVIS CELEBRATION WITH nips a tasty solo on his “Years Ahead”. There’s a bit of quartet album with every player given a shot to burn WALLACE RONEY AND GUESTS stretch time for Fresu and Galliano often, too, more and shine. The first tune - “Cataldo One” - is a poignant for lasting just a chorus. The communal powerfully appealing example of the composer’s way warmth and understanding between these three with a tune and just how well her players absorb her expresses itself as earthy, organic and timeless. They lessons and make music that moves them forward. achieve - with apparent effortlessness and grace - a session with Greek proportions of heart, mind and For more information, visit bjurecords.com. Cuadrado is at spirit: rather pretty, pretty moving, moving right Bar Next Door May 15th and Jazz Gallery May 23rd. along. Their sea - warmly, reassuringly Mediterranean Iversen is at Jazz Gallery May 24th. See calendar. - absolutely improves on second dips.

For more information, visit actmusic.com. Fresu is at Joe’s Pub May 25th with Gianmaria Testa. See calendar.

Eponymous Chris Welcome Quartet (Tigerasylum) by Terrell Holmes The 11 tracks here seem to be painted as much as Puzzles Alexis Cuadrado played and the music is sometimes about effects as Best of the West + Many Places much as notes. The sequential numbering of these Anne Mette Iversen (Brooklyn Jazz Underground) spare compositions, all penned by the guitarist/ by Donald Elfman leader, recalls the method of numbering paintings in a series, thus underscoring the artistic parallel. Brooklyn continues to be a beautifully The songs revolve mostly around the sax work of complementary alternative to the New York scene. The Jonathan Moritz, whose brooding ruminations on music that comes out of this borough is bold and soprano and tenor unfold slowly while Welcome, audacious yet also eminently listenable and highly bassist Shayna Dulberger and drummer John McLellan engaging. The independent artist-run Brooklyn Jazz fill the spaces on the canvas behind him with spirited, Underground (BJU) label has as its stated goal the laconic riffs. For his part, Moritz sometimes breathes production of “creative and adventurous into his mouthpiece for effect before playing and his contemporary improvised music” on “quality clever use of harmonics, the upper register and recordings that define the shape of today’s jazz”. Here atonality serve as the album’s thematic foundation. are two fine examples of that aesthetic. There are a few moments, however, when the Alexis Cuadrado is a talented bassist and band falls into more conventional playing. “#4” has a composer who is the co-founder of the BJU label. He free jazz bent that recalls Ornette Coleman; Welcome shows himself on Puzzles to be a talented soloist who plays rapid-fire riffs like a man unshackled, his single also knows how to write music that calls forth a group note lines sounding sharp enough to break the strings.

ALLABOUTJAZZ-NEW YORK | May 2008 19 and the effect is mysterious and fun. Another vignette transpires over the course of the eight songs is a finds him manipulating overtone drones and document of a guitarist in his prime and of course, all achieving disconcerting stillness. The slide-drenched three pieces hitting on all cylinders. Watkins plays stream-of-consciousness encore is worth the price of with the ferocity needed to elevate the combo above admission, but the rest of the disc shows a master the din of apathy at the venue. The disc of standards improviser at work. presents a working trio that is locked in with one Octal is, in large part, a more percussive affair, another, readily apparent on “Strike Up the Band”, excepting the second track, which is another exercise “Fly Me to the Moon” and “Body and Soul”. Broom in multivalent Ebo-driven drone. For the manic even covers Rollins on “Airegin” with a confident Vision Towards Essence percussives that Sharp executes so well, just check out looseness; his intimacy with the material translates Muhal Richard Abrams (Pi) the astonishing “Antitop and Charm”; it roils and into a real showcase for the guitarist’s fretwork. by Martin Longley bubbles with precision and muscular grace. The pieces are fairly brief and it is as if Sharp’s imagination is on For more information, visit originarts.com. Broom is at This is a live solo piano set from 1998’s Guelph Jazz overdrive in each one, so many and disparate are the Rose Hall May 2nd-3rd as part of a Django Reinhardt and Festival, in Canada. The Chicagoan-cum-New Yorker ideas that pack each moment. Charlie Christian Celebration. See calendar. Abrams performs the album’s title piece, which is The concert disc, an inventive study in long-form around an hour long and is divided into three parts. expression, seems to unfold more easily, somehow Ultimately, there are only the tiniest breaks in this with a greater sense of organicism. The guitarbass THE improvisation and these demarcations only exist for Sharp plays on Octal gives him the chance to listening convenience. Once Abrams begins, he’s off demonstrate a quite different but equally diverse DIFFERENT on a journey that’s so organized that it appears to palette of sounds and techniques and there’s no DRUMMER possess the discipline of a premeditated composition. shortage of timbral interest. Either disc would make a He views this solo improvising setting as the peak of fine introduction to the work of this versatile artist. his own artistic expression, but Abrams also contributes in the visual zone, by painting the disc’s For more information, visit intaktrec.ch and ...IS ON OUR LABEL cover art. cleanfeed-records.com. Sharp is at The Stone May 7th and In the beginning, Abrams is in an exploratory Hudson View Gardens Lounge May 11th with Min frame, caressing the lowest bass keys and then Xiao-Fen. See calendar. swishing across to a Far Eastern opalescence, as if he’s hearing Indonesian gamelan tones in his head. These wanderings always return to a bassy punctuation and the runs become increasingly entangled, operating several lines simultaneously. He cuts back to clear space, partnering high and low note extremes in a field of minimalism. The piece has a mysteriously glowing quality, like an exotic invocation. Abrams releases a www.innova.mu continuous avalanche of notes, a cascade of chiming. It’s as if these are all threaded baubles, stretched taut with dramatic flourishes. About half-way through, a lurching gallop develops and the distant ghost of Folk Music The Way I Play Deep Blue Organ Trio Bobby Broom ragtime passes by, aggressive stabs becoming more (Origin) (Origin) frequent, then disintegrating into repeated bell- by P. Christopher Dowd clusters. For an entire hour, Abrams controls the development with an iron fist, in a perfectly measured One casualty of jazz’ precipitous decline in progression of styles that are nevertheless connected popularity since the ‘70s has been the ever- and undergoing a very gradual metamorphosis. diminishing number of organ trios, once a staple of African-American urban communities. On their third For more information, visit pirecordings.com. Abrams is at and latest release, Folk Music, Deep Blue Organ Trio Comm. Church of New York May 9th. See calendar. remain committed to continuing the thread of the organ trio as a vital part of the black community and on a larger scale, restoring jazz as an integral extension of the African-American experience. Following in the footsteps of Jimmy Smith, Dr. Lonnie Smith and Jimmy McGriff, Deep Blue Organ Grant Stewart Trio are out to put the groove and grittiness back in organ jazz, but often remain understated throughout. Quintet The opener, “A Deeper Blue”, is not only the most with Ryan Kisor, dynamic track, it is also the lone composition from David Hazeltine and Chris Foreman (Hammond B3 organ), Bobby Broom Joe Farnsworth (guitar) and Greg Rockingham (drums). Folk Music Concert in Dachau (Intakt) could’ve used a few more originals; nonetheless, it Octal: Book One (Clean Feed) remains a worthy study in cool. For the remaining Elliott Sharp eight pieces, the trio mines the modern pop and R&B by Marc Medwin songbooks with solid and sometimes unlikely May 9 & 10 Guitarist Elliott Sharp adds two more entries to his interpretations of Stephanie Mills’ “Never Knew Love Sets at 8:00, 10:00 & 11:30 lengthy and diverse discography with these solo discs. Like This Before” and funksters Ohio Players’ “Sweet 2751 Broadway (212) 864 6662 Both are chock full of his customary timbral Sticky Thing”, a gem to close out the disc. innovation and rhythmic multiplicity. On his album, The Way I Play, Bobby Broom Concert in Dachau is really magical, as much a explores the more traditional guitar-led trios in the process as a series of four long-form pieces. Sharp manner of Wes Montgomery and Kenny Burrell. New Sharp Nine Release moves, ever so gradually, from earthy blues-inflected Broom, now in his second stint as a sideman with drones into less traditional territory and back again. Sonny Rollins, made his Carnegie Hall debut with the “There's stability and depth The whole concert is in, or centered on, D minor, but sax legend at the tender age of 16. He has also played to his playing that sets him the encore jumps unceremoniously into a joyful blues with Burrell, Stanley Turrentine, Dr. John and Miles. apart. Stewart's style of romp in E flat. Sharp’s use of electronics is masterly, The Way I Play is the first live recording for his improvising is fresh, uncluttered, and cliché free.” never overly obtrusive and always birthing interesting band, which includes longtime bassist Dennis Carroll David Orthmann, AAJ timbres. At one point, he’s laying strange counterpoint and drummer Kobie Watkins, recorded at what has down over some backwards chatter of his own making been a weekly Chicago engagement since 1997. What

20 May 2008 | ALLABOUTJAZZ-NEW YORK

refreshing change from the typical offerings of other increase the dynamics of his drumming as acoustic CDs. Harry Carney’s robust baritone sax is heard in guitarist Romero Lubambo plays discreet chords in the obscurity “Paradise”, while Jimmy Hamilton’s between before taking over with his usual fluency. blistering clarinet shines in a romp through “Air Locke takes a break during “Pro Flavio” (“To Flavio”), Conditioned Jungle”, backed by the fluid a Lubambo composition that contains elements of accompaniment of bassist Wendell Marshall. Ray baião and côco, two Northeastern Brazilian genres Nance, nicknamed “Floorshow” for his ability to steal often explored by Hermeto Pascoal, an important the spotlight, takes his violin for a humorous rendition influence on the guitarist’s playing. The mood changes of the pop song “Frankie and Johnny”. Hodges, long completely for Locke’s mellow “Sword of Whispers”, Live in Zurich, Thank You Uncle Edward the star soloist in the band, is showcased in the lush which features a beautifully executed solo from Switzerland Duke Ellington Legacy “Violet Blue” and a swinging “The Jeep is Jumpin’”. Lubambo, bassist Nilson Matta and Fonseca keeping a Duke Ellington (TCB) Band (Renma) Composer Billy Strayhorn takes over for Duke in tight background for both the guitarist and Locke. by Ken Dryden “Take the A Train” and guest Don Byas (by now living Lubambo’s “Bachião” (the title is a blend of “Bach” in Europe) is featured in “How High the Moon”. The with “baião”) contains an inspired duet between the Duke Ellington’s half-century of commercial sound is excellent for the era, though the proofreading author and Locke that draws thunderous applause recordings provides a ready comparison for any jazz of the musicians’ names and song titles is haphazard. from the audience. Locke’s final appearance at the group that chooses to explore his music. A newly A few years ago, Edward Ellington asked Virginia concert is “All The Things You Are”, the discovered Ellington concert and a band led by tenor Mayhew to lead the Duke Ellington Legacy to keep his Hammerstein/Kern hit written for the 1939 musical saxophonist Virginia Mayhew with Ellington’s grandfather’s music present on the jazz scene. Rather Very Warm for May. The augmented trio takes the tune grandson, guitarist Edward Ellington II, both provide than dusting off the late bandleader’s arrangements, to Brazilian territory via an uptempo samba beat and their share of pleasing moments. pianist/chief arranger Norman Simmons and Mayhew some spirited improvisation. Numerous CDs of previously unissued live wrote new charts for an octet that includes the The music of Antonio Carlos Jobim has always recordings by Duke Ellington have turned up since his outstanding trombonist Wycliffe Gordon, baritone been present in Trio da Paz’ music (all having death in 1974. This 1950 Swiss concert shows the band saxophonist Joe Temperley (who replaced Harry performed or recorded with the late maestro at in transition; the era of the big band was over and Carney in the Mercer Ellington-led edition of Duke’s different times in their careers and including his Ellington was able to keep going by his willingness to Orchestra) and trumpeter Mark McGowan. compositions on their studio recordings) and they pay subsidize his tours with his still considerable royalty The song selection on Thank You Uncle Edward is a homage to him (without Locke) with two songs: a income, while others disbanded or cut down to small good mix of repertoire from several different decades. subtle rendition of “Wave”, with Matta and Lubambo groups. Drummer Sonny Greer was on his last legs so Mayhew devours the sauntering “Pretty Woman” and taking turns with the melody, and the bossa nova he shares the stage with Butch Ballard; likewise, alto wails in the deliberate AfroCuban treatment of “In a “Look To The Sky” (originally titled “Olha Pro Céu” in sax star Johnny Hodges would leave to lead his own Sentimental Mood”, the latter taken far from its lush Portuguese) that closes the concert. band the following year. ballad roots. Simmons’ subtle piano solo opens Although it isn’t clear how much music was “Isfahan” though it turns strident as McGowan takes For more information, visit maxjazz.com. Trio da Paz is at actually performed or recorded, the selections are a over. Vocalist Nancy Reed is a fine addition on Rose Hall May 23rd-24th. See calendar. several numbers, including an AfroCuban setting of “Caravan”, a breezy “Perdido” and a brisk, boppish “Cottontail” that features her adept handling of Jon Hendricks’ humorous vocalese. Gordon, though just one of several soloists in “Mainstem” (one of Ellington’s many train songs), easily sticks out with his raucous playing, as he does nearly every time he is featured. The one non-Ellington piece is Mayhew’s bluesy bop vehicle “Toe Tickler”. Ellington’s legacy is in good hands with this excellent tribute band.

For more information, visit tcb.ch and renmarecordings.com. The Essentially Ellington Concert is at Avery Fisher Hall May 17th. Gerald Wilson leads the Juilliard Jazz Orchestra in an Ellington Celebration at Dizzy’s Club May 13th-18th with Essentially Ellington Alumni All-Stars in the late night sets. See calendar.

Live at Jazzbaltica Trio da Paz/Joe Locke (MAXJAZZ) by Ernest Barteldes Jazz enthusiasts in Salzau, Germany were in for a great treat when New York-based Trio da Paz and vibraphonist Joe Locke had a memorable collaboration at Jazzbaltica in the summer of 2007. Locke fits in with the three longtime Brazilian musical partners quite well in a performance of material from the trio’s palette, with the exception of one Locke original and a handful of standards. The disc opens with “Dona Maria”, drummer Duduka da Fonseca’s composition that blends influences of more avant garde songwriters from his native Brazil with American jazz sensibilities. Locke gives his contribution early on, prompting Fonseca to

22 May 2008 | ALLABOUTJAZZ-NEW YORK Twardzik’s fills and inventions on all of the tracks. vignette. Jagged linearity and brushy, sparse And then there is Baker with his pure trumpet tone circularity seem to be the two areas of Adasiewicz’ and ability to ‘play’ the lyric. There are three Baker specialty and it will be very interesting to see how vocals: a very short version of “My Funny Valentine” they combine in years to come. where the tape ran out, “Imagination” and a sensitive Android Love Cry is the third record by Tigersmilk, reading of “Someone To Watch Over Me”. Eerily the cooperative trio of Roebke, Mazurek and touching is hearing Baker’s speaking voice as he Vancouver-based drummer Dylan Van der Schyff. introduces each song. Though these 13 improvisations are credited to the The Quintessence truly presents the essential Chet group as a whole, the titles (and the title of the album) Indian Summer The Quintessence Baker; a two-disc selection of tracks from Baker’s 1953- are reference points to Mazurek’s opera-in-progress, Chet Baker Chet Baker 1956 recordings featuring an assortment of different based on the life of imaginary science-fiction writer (Dutch Jazz Archive) (Fremeaux & Assoc.) players and group configurations. There is the quartet, Helder Velazquez Smith. In addition to a much-talked- by Marcia Hillman quintet, sextet, ensemble (with strings), the orchestra about recent orchestral collaboration between the two and the big band (where it seems as if he raided the trumpeters, Mazurek has been studying with Bill Hooray! Chet Baker, who died 20 years ago this reed and horn section of the Stan Kenton band). There Dixon. The directness and clarity of his wispy month, lives again like a breath of fresh springtime air is also the “Moonlight In Vermont” track recorded phraseology here is proof of that kinship. Delayed and on these newly released CDs. with the Gerry Mulligan Quartet and “Sonny Boy” reverberated brass strokes along with fat smears and Indian Summer was recorded in September 1955 on with the Art Pepper Sextet. There is not enough space screams make up a significant part of Mazurek’s two consecutive nights at two different venues in The here to mention all of the personnel but notable is Zoot language, assisted by laptop-generated sounds. As a Netherlands. The personnel consisted of Baker Sims’ appearance on “A Little Duet” and the group on trio, Tigersmilk flitter, fray and congeal, though the (trumpet and vocals), pianist Dick Twardzik (who the last two tracks of the second disc: Russ Freeman actions may blend more than the sound sources died of a drug overdose during the tour), Jimmy Bond (piano), Leroy Vinegar (bass) and Shelly Manne themselves. The lyrical call is sometimes very distant, (bass) and Peter Littman (drums). The first six tracks (drums), a tight cohesive unit. Freeman appears on at times foregrounded by electronic whirs or of this CD remained unreleased until now and were many of the tracks and, since he worked a lot with supported by padded thrums, but as gauzy as they recorded with one mic and not enough tape, but the Baker, has a special musical connection, including the might be, the trumpeter’s words come through quite magic is there. The last six tracks were air checks and same kind of sense of humor. These discs offer many clear. Van der Schyff doesn’t keep time, rather have been circulating around Europe over the years. Baker vocals including “My Funny Valentine”, the expanding and contrasting the density of his activity, The material is standards but also includes Johnny song with which he is most associated. a system of rattling angles and brushwork that accents Mandel’s “Tommyhawk”, a real rouser that appears in Baker’s talent lies in the simplicity and ease of his Mazurek’s melodic pulse. One thing is for sure, two takes. There are also two versions of the title song, playing and singing. For those who were in the Tigersmilk does not sound like anything else. which gives the advantage of comparison. And, since neighborhood over half a century ago when this music this is jazz, nothing is ever played the same way twice. was being made, these CDs are a must for a wonderful For more information, visit 482music.com and Notable here is Littman’s engine-like drumming on wallow in nostalgia. For those who weren’t, this is family-vineyard.com. Jason Roebke is at Zebulon May 7th “Tommyhawk”, Bond’s arco on “Imagination” and time travel at its best. with Jason Stein. See calendar.

For more information, visit jazzarchief.nl and fremeaux.com

Rolldown Android Love Cry Jason Adasiewicz Tigersmilk (482 Music) (Family Vineyard) by Clifford Allen It is sometimes said that what separates Chicago from other music towns is a wide-open expansiveness in the music’s sound, as compared to the condensed urbanity of New Yorkers. But something more poignant comes through when talking with some Chicago musicians - that no matter what the subset, there’s a feeling that the Chicago playing field is a lot more about a collective sense than individual soloists. Rolldown is vibraphonist Jason Adasiewicz’ first date as a leader. He has made appearances in Rob Mazurek’s Exploding Star Orchestra among other groups. He’s joined here by a quintet featuring cornetist Josh Berman, reedman Aram Shelton, bassist Jason Roebke and drummer Frank Rosaly on eight originals. On the uptempo numbers there is a glassy ethereality in Adasiewicz’ attack, which naturally feeds into his work with Mazurek. He and Roebke lay out on the clarion call of “Good Looking Android”, Berman’s fat swagger in dialogue with Rosaly’s loose surges and fills. When vibes and bass enter in bright cumulus and disappearing walks, the energy they provide takes the music into an entirely different area. “Small Potatoes” couples a bumpy walk with long tones, a tension held and expanded as Adasiewicz’ glass drops pelt the taut pull of bass and percussion. “Valerie” is a poem of high harmonics and distant clatter that grows into and out of a woody, filmic

ALLABOUTJAZZ-NEW YORK | May 2008 23 that celebrate a storied history of musical innovation. this kind of imposition harms the overall piece. The What felt like a gradual exploration of evolving threesome’s latest collaboration on Planet Safety alternatives in the 20th Century is now reaching a demonstrates that they can create music that is earthy level of refinement, where today’s innovators are and strong, made that much stronger by perfectly synthesizing the work of predecessors who had done orchestrated endings that are not mere conclusions, the same themselves. While this is clearly a jazz record but finales. through and through, this is a form of jazz that’s Tracks like “Alone Together” serve as tolerable created by someone who came up listening to popular buffer zones between more remarkable tracks; the music of his day - and at this point, that means effect is distracting and the album would be better Sonic Pressure Rediscovery guitar-based rock music from the ‘90s. Some of the without them. But the solid tracks are enjoyable and Bill McHenry Quintet John McNeil/Bill McHenry more contemporary influences that are listed on pleasurable to listen to in their entirety and their (Fresh Sound-New Talent) (Sunnyside) Robbins’ bio include glitch-based 500th-generation finales round off the pieces. by Tom Greenland sound artists like The Books or Autechre and art rock The musicianship is immaculate on all ends and like Deerhoof and Dirty Projectors. the notable pieces hold up the album with dignity and Bill McHenry’s eclectic sound, blending West Coast The record has a different lineup on every track, strength. The bassline on the title track, combined with cool with the restless interplay of New York’s but the album was recorded in one long session, with the teasingly saccharine piano notes, creates a bluesy, downtown practitioners, has matured into a uniquely folks dropping in and out, so the sense of unity is rocky vibe with an almost lyrical effect. Tracks seven personal voice over the past decade and a half. On palpable throughout. Besides leader Robbins, bassist through nine on this album are collectively described Sonic Pressure, the tenorist teams up with Duane Thomas Morgan is the other constant presence on all as a “Three Cycle Laundry Machine” and each piece is Eubanks (trumpet), Pete Rende (piano), Matt Penman tracks and his assured touch enables profoundly named after the “Agitate”, “Rinse” and “Spin” cycles, (bass) and Jeff Williams (drums); recorded live at Fat unique statements even in his most supportive and respectively. If that sounds gimmicky, it is. But it Cat, the disc gives an accurate portrait of five creative understated contributions. The presence of Craig works because each sounds precisely like each of the minds at work. One of the nice qualities of Sonic Taborn and Ben Monder is notable and the superb verbs for which it is named; the domesticity of the Pressure is that it avoids the urban hypertension so playing by all the musicians makes this record actual chore is quickly forgotten in lieu of an often associated with big city jazz, offering instead a explosive and touching throughout. Drummers Danny encapsulation of more universal things like speed, relatively relaxed and unhurried reading of modern Weiss and Tyshawn Sorey bring brilliance and nuance power and the quiet pauses that make them all the life as interpreted through the bell of a horn. On “The to the music both in feeling and in texture. Guitarists more notable. “Pinocchio” is an elegant composition Hit”, for example, McHenry begins with a breathy, Ryan Blotnick and Mike Gamble, keyboardist Eliot whose notes flow into and onto each other without any sibilant tone and, leisurely pacing himself, piles on Cardinaux, saxophonist Sam Sadigursky and rough edges. The piece begins to show a few ideas like kindling, finally reaching a smoldering trumpeter Jesse Neumann all work with Robbins in unraveled strings nearing the end of the track and as glow; the rhythm section meanwhile takes liberties other situations, having all recorded or toured with soon as you begin to suspect of sloppiness, you see with the time, creating push and pull, engaging the Robbins’ bands Centric and Silent Z. that what hinted of sloppiness is in fact an exciting alto in a ‘tri-alogue’. The session is noteworthy for the Many tracks are set up by wonderful ambient potpourri of sonic goodness that ends majestically. minimalist but well-conceived arrangements, guitar and keyboard textures, framing the music with alternation of free and composed sections and high mood and atmosphere. “Everyone Else Is For more information, visit blacksaint.com. Gullotti is at level of combo compatibility and interactivity. Disappointing” is a standout track: an epic work with Cornelia Street Café May 1st with The Fringe. See calendar. Rediscovery, which McHenry co-leads with his an arching structure, from the textural introduction former teacher and mentor John McNeil, is an and simply-stated theme for alto saxophone and USED extension of the latter’s previous release, East Coast contrabass to the wonderful unaccompanied solo by Cool, which also combined elements of free improv Morgan and anthemic concluding theme. Snaking NEW and cool. A pianoless quartet with Joe Martin (bass) polyphonic lines wind their way through “Glad to and Jochen Rueckert (drums), the group’s Ask” and canonic staggered entrances give “Assumpta configuration leaves plenty of elbow room in the mix, Est Maria” a delicate richness. an opportunity that McHenry and McNeil fully exploit Eclecticism is often used to create a sense of by lacing implied reharmonizations into their over-saturation, but here, the interaction of improvised lines, or by abandoning harmonic contrasting influences never gives the listener the constraints altogether. The set list exhumes and sense of dizziness that often results from more stark revitalizes a number of lesser-known gems, including juxtaposition. Robbins has created a music where his George Wallington’s “Godchild”, Russ Freeman’s instrumental virtuosity and that of his constituents 236 West 26 Street, Room 804 “Band Aid” and “Happy Little Sunbeam” (McNeil serves as a focal point and binding agent. This gives New York, NY 10001 sounds like he’s chuckling to himself as he plays over sustainability and depth to the music, creating a it), Leo Diamond’s “Off Shore” and Wilbur Harden’s unified beauty that seamlessly integrates a feeling of Monday-Saturday, 10:00-6:00 “Rhodomagnetics”. McHenry’s playing is subtle and familiarity with a wide array of unlikely stylistic mercurial, providing an excellent foil for McNeil’s inflections. Tel: 212-675-4480 masterfully concise and well-wrought solo statements. Fax: 212-675-4504 For more information, visit freshsoundrecords.com. For more information, visit freshsoundrecords.com and Robbins is at Cornelia Street Café May 3rd. See calendar. Email: [email protected] sunnysiderecords.com. McNeil and McHenry are at Cornelia Street Café May 17th. McHenry is also at Knitting Web: jazzrecordcenter.com Factory May 13th and Zebulon May 28th. See calendar. LP’s, CD, Videos (DVD/VHS), Books, Magazines, Posters, Postcards, T-shirts, Calendars, Ephemera Buy, Sell, Trade

Planet Safety Collections bought Bob Gullotti/Leo Genovese/Dave Zinno (Soul Note) and/or appraised by Karla Cornejo Do The Hate Laugh Shimmy Bob Gullotti, Leo Genovese and Dave Zinno really Also carrying specialist labels Pete Robbins (Fresh Sound-New Talent) e.g. Fresh Sound, Criss Cross, by Wilbur MacKenzie know how to end their pieces. This may seem incidental or, in any case, not a heavy matter. But it is, Ayler, Silkheart, AUM Fidelity, Pete Robbins’ new CD functions like a treatise on especially when you contrast it to the way many jazz Nagel Heyer, Eremite, Venus, synthesis, where disparate influences are not so much musicians end their pieces, if they do at all. Too often, Clean Feed, Enja and many more juxtaposed as woven together with style and grace. pieces are ended rather than left to proceed to an end This CD makes a clear statement that these are times and the abrupt - almost violently abrupt - nature of

24 May 2008 | ALLABOUTJAZZ-NEW YORK

harmonic context and floating over a sonic void. The relative peace is periodically intruded upon by brief, grating metallic sections and increasingly frantic bells that build to the conclusion of the 30-minute piece. Centazzo recorded the music that comprises Fragments 2 between 1976 and 1985 and his evolution is apparent in the juxtaposition of pieces. The epic opener from a mid ‘70s performance in Milan is followed by a brief, fascinating improvisation recorded in Brussels in 1985. Centazzo’s frantic, resonant drum beat pounds in the foreground for two minutes before a glinting, synthesized triad sounds and begins a painstaking ascent. As the notes creep upward to their surprisingly consonant conclusion, Centazzo’s beat is Drum Sketches Susie Ibarra (Innova) augmented by cymbal slashes as it morphs into a Jazz Kaleidoscope: Solo Drums Live at On The House glowing monolith. Jimmy Bennington (That Swan! Prod.) Andrew Drury’s solo work came about by sheer Fragments 2 Andrea Centazzo (Ictus) Renditions (Solos 2004-2007) necessity. Working with others, the drummer felt Andrew Drury (Creative Sources) compelled to explore techniques that would be by Matthew Miller overwhelmed by another musician. On Renditions, recorded between 2004 and 2007, Drury employs a The history of jazz is a study in extended technique. vast array of extended techniques, whispers, scratches, In the case of the drums, a gradual ascent from the finger slides and scrapes, that straddle the very earliest oom-pah bass drum to the syncopated snare of boarder of audibility. “Extraordinary Rendition” Krupa, the driving ride of Roach and Haynes, to the progresses from ethereal notes on a scratched cymbal white wash of Susie Ibarra’s brushes and Andrew to insistent metallic tapping, which dominates the Drury’s breath on a puckered snare. As otherworldly piece’s final minutes and evokes prisoners rapping on as these additions to the canon sound, they are vital pipes. Drury’s improvisational forays include a brief contributions to the jazz spirit of pure innovation. exploration of a spoon in a cereal bowl and a piece of Drum Sketches begins with “Binalig”, a traditional aluminum foil rubbed across his snare drum in this Philippine piece for kulintang - a mallet instrument loosely bound, impressionistic set. comprised of a series of non-tempered gongs - that introduces a lilting vibe that permeates the album’s 10 For more information, visit benningtonjazz.com, tracks. On drum set, kulintang and various percussion innova.mu, ictusrecords.com and creativesourcesrec.com. instruments, Susie Ibarra’s mostly improvised Drury is at The Stone May 13th and Roulette May 17th. performances evoke vast landscapes and bustling city See calendar. streets, moments of reflection and jubilant celebration. “Drum Sketch 2” begins with what sounds like muffled eighth notes on the strings of an electric guitar. The rhythm persists under the metallic swish of cymbals rubbing together and a series of slippery, jaunty rhythms on snare. Somehow, this ethereal improv leads perfectly into the middle of a Philippine street, bustling with cheering crowds, traffic and the insistent marching time of Ibarra’s snare and a chorus of bells and percussion. Field recordings in New York and the Philippines compliment Ibarra throughout the album and add to the sonic vastness that the listener senses while seemingly floating above it. Jimmy Bennington proved a sensitive, swinging foil to trombonist Julian Priester on 2007’s Portraits and Silhouettes and on Jazz Kaleidoscope he brings the same qualities to a set of solo improvisations. Solidly grounded in tradition, Bennnington is at his best when his pliant swing is a reference point from which to plumb the depths of a sound or concept. He does just that on “Churchbells of Willisau”, a piece that finds him exploring the sonic capabilities of tapped cymbals against a slow, simmering counterpoint of sizzling ride and high-hat punctuations. The performance builds, almost imperceptibly, and arcs to a whispered conclusion of scratched snare and ringing overtones. Bennington is deeply indebted to Max Roach and at times, the spirit seems to overwhelm the drummer. As dynamic and surprising as he can be - “Colors and Sounds” alludes to Roach’s galvanic approach, but as a conduit for Bennington’s unique approach - the drummer’s playing on the title track comes off as derivative and, at 11-plus minutes, detracts from the album’s moments of glowing invention. There’s something starkly brutal about the opening cymbal hits of Fragments 2, a collection of improvisations by Andrea Centazzo. The overtones ring out and jaggedly crash, forming a wall of naked dissonance that is as unrelenting as a Krzysztof Penderecki concerto. The sheer violence of this introduction gives way to dulcet, but ultimately hollow strains of electronic tones, stripped of

26 May 2008 | ALLABOUTJAZZ-NEW YORK Live at the Kennedy Center Vol. Two Mulgrew Miller (MAXJAZZ) Oasis Armen Donelian (Sunnyside) by Francis Lo Kee

The piano trio in jazz is possibly analogous to the string quartet in classical music. Both are established performing vehicles with long, important conventions and traditions but also with a history of innovation. Students of classical composition pour over the string quartets of Beethoven and Bartók; in jazz, the trios of Oscar Peterson, Bud Powell and Bill Evans inspire study, admiration and sometimes imitation in the service of continuing “the tradition”. While pianists Armen Donelian and Mulgrew Miller have clearly done their research, they have also moved beyond mere imitation and developed their own unique, artistic voices. Their trios feature original compositions, virtuoso piano playing and sympathetic drumming and bass playing, with one more thing in common between them - both are instructors in the jazz studies program at William Paterson University, less than an hour from NYC. “Song for Darnell” kicks off Miller’s Live at the Kennedy Center, Vol. Two in triple meter, driving drums and attractive harmonies reminiscent of Chick Corea’s “La Fiesta” though this piece leans towards the blues, inspiring extroverted soloing by both Miller and bassist Derrick Hodge. “Grew’s Tune” sounds like the kind of steady groove that would work well for Art Blakey’s Jazz Messengers and, indeed, Rodney Green’s wonderful drum solo is complete with piano and bass interjecting in shout chorus style. “Farewell to Dogma” starts with a lush piano introduction until bass and drums join with a soft and insistent bossa nova. Over its almost 12-minute duration, the track moves through various dynamics and densities, finally ending on a very intense tag. “Eleventh Hour” has an almost six-minute introduction, which could be a fantastic piece by itself. Yet after traveling during its 16 minutes from boogie-woogie through Art Tatum, it turns into a burning trio tune. There are five tracks on this CD with a total running time of 64 minutes, but it’s never about gratuitous soloing - it’s all grounded, vital music. Donelian’s Oasis begins with the title track and it’s a beautiful, floating piece with a rhythmic basis somewhere between a bossa nova and soft R&B. It might remind a listener of Chick Corea or Keith Jarrett, yet its originality is undeniable. Even the two non-Donelian pieces - “Sunrise, Sunset” and “Django” - are satisfyingly organic, compositionally and improvisationally seamless. On the latter, for instance, Donelian’s florid piano introduction melts into a softly singing bass solo - then his solo starts as a spare counterpoint texture that eventually gives way to a slightly more traditional linear right-hand, ending on John Lewis’ enthralling original melody. “Sans Souci” (‘carefree’ in French) closes this CD: its light mood is no less technically accomplished or sophisticated than the other tracks and like most of the CD, refreshingly free of stiffness or pretense. In a music market filled with choices, this recording is an oasis of honest, multifaceted, breathing music.

For more information, visit maxjazz.com and sunnysiderecords.com. Miller is at Smoke May 1st-3rd. Donelian is at Sweet Rhythm May 19th and The Kitano May 22nd. See calendar.

ALLABOUTJAZZ-NEW YORK | May 2008 27 eye of even the most-jaded McLean expert. definitely a Triple A if not fully Major League big These two reissues definitely honor the legend band. It is equally good at providing the lush that passed away almost two years ago and they’ll cushioning under Woods’ solo on Quincy Jones’ look great on either side of your collection of McLean’s “Quintessence”, fashioned by arranger Rob more ‘advanced’ recordings. McConnell, as it is negotiating the shoals, still waters and rapids of Jim McNeely’s “Rosenwind”, including For more information, visit concordmusicgroup.com and intricate interplay between Woods and the band. How testoftimerecords.com. McLean Tributes are at Smoke May good the band is becomes fully apparent on the last 16th-17th and Iridium May 22nd-25th. See calendar. three tracks, where the absence of Woods is hardly an 4, 5 and 6 (RVG) (Prestige-Concord) issue. New Wine in Old Bottles (East Wind-Test of Time) Jackie McLean For more information, visit kindofbluerecords.com and by Graham Flanagan jazzedmedia.com. Woods is at Apollo Theater May 29th as part of A Great Night in Harlem. See calendar. Although the late Jackie McLean might be best remembered for his more adventurous, improv-based recordings such as Destination Out!, Right Now!, Vertigo, etc., he made a major mark in the straightahead hardbop world with recordings that began in the early ‘50s and spanned his entire career. In fact, he made his debut as a sideman on the 1951 American Songbook II Swingchronicity Phil Woods Phil Woods/DePaul Prestige date Dig, led by Miles Davis. Five years later Quintet University Jazz he received his first opportunity to lead his own group (Kind of Blue) Ensemble (Jazzed Media) and his continuously-evolving sound simply by George Kanzler blossomed from there. This 1956 release, entitled 4, 5 and 6, recently received a reissue, along with another More than other surviving members of the jazz session that occurred more than two decades later: the generation that emerged during the primacy of bebop, long out-of-print New Wine in Old Bottles. alto saxophonist Phil Woods reflects the boppers’ love Both releases give us brilliant examples of the of melody. That side of Bird, who enjoyed Gershwin, McLean we’ve all grown to love over the years: an alto Porter and Kern as much as creating baroque façades sax giant constantly surrounded by jazz’ finest on “I Got Rhythm” changes, echoes in Woods’ players. Although they’re clearly from two different approach to the standards known as the Great eras, these two discs work together as bookends to a American Songbook. Woods honors the connection period of McLean’s career that began with the between bop and standards more than anyone else musician cutting his teeth on the bebop standards working today. made famous by Parker, Powell and Monk and led to “You have to honor the lyrics - not memorize McLean’s ‘out’ period chronicled on Blue Note. them, but know their intent,” says Woods to American As the title suggests, 4, 5 and 6 packs three Songbook II notes writer Ted Panken. “You must know different combos onto one disc that will certainly the harmony - not the bebop harmony or the Real Book become essential listening for even the novice McLean harmony, but the traditional lead sheet harmony, aficionado. Three of the selections feature McLean which is completely different and beautiful.” As that leading the rhythm section of Mal Waldron (piano), quote suggests, not only the harmonic structure but Doug Watkins (bass) and Art Taylor (drums) on a also the dramatic structure - the feeling or mood - of a handful of medium-tempo swingers and a ballad. song is important to how Woods and his quintet play Trumpeter Donald Byrd joins the proceedings for two it. Every one of the ten songs on the album is engaged original pieces, including the Kenny Drew-penned with distinctive specificity, so that you’re hearing the “Contour”. And the session reaches a fever pitch on a song as much as you’re hearing the jazz boisterous rendition of Parker’s classic improvisations on the song. And although this is a “Confirmation”, which brings in young tenor saxist completely instrumental album, there’s a definite Hank Mobley to expand the group to a sextet. vocal quality to Woods’ alto sax tone and approach - Where 4, 5 and 6 might serve as the perfect just note how he ‘sings’ the melody of “Last Night starting point for the uninitiated, New Wine in Old When We Were Young”. There’s also a lot of bebop in Bottles will definitely satisfy the palette of the the added ensemble shout choruses, underlining the more-seasoned McLean enthusiast. Those fans that bop/melody connection. might appreciate McLean’s ‘50s recordings but still Woods and trumpeter Brian Lynch, who wrote find them somewhat tame for their taste should look the four charts Woods didn’t, know how to craft and no further than this release. The songs themselves modulate the quintet’s sound to each song, from the might be straightahead, but take one look at the trumpet mutes used on “Careless”, “Yesterdays” and personnel and you’ll soon realize that this ain’t one of “Watch What Happens” to the frequent use of brushes grandpa’s Prestige CDs from the early ‘50s! Anchored by drummer Bill Goodwin. And bassist Steve Gilmore by Tony Williams on drums, New Wine in Old Bottles often contributes melodic counterpoint as well as pays tribute to McLean’s early days as a player of rhythm, while pianist Bill Charlap - a master of standards, but in a slightly modal mood on this standards with his own trio - exults in exploring the occasion. contours of songs, whether taking the lead role on “I’ll Ron Carter (bass) and Hank Jones (piano) round Take Romance” or offering a witty alternative to the out the quartet, which digs into three uptempo burly horn solos on “Night and Day”. numbers, including another fantastic version of Back in the middle of the last century, Woods was “Confirmation”, as well as two McLean originals. a formidable soloist on big band and orchestral Although hearing McLean propelled by Williams’ recordings (and even on a Billy Joel hit) and he still thunderous drumming on these tracks alone makes it knows how to soar over a big band chart, as he shows worth the purchase, New Wine in Old Bottles could on Swingchronicity. Woods is featured on the first stand solely on the strength of the leader’s sound on seven of ten tracks, most notably on “Stockholm the three ballads. McLean is absolutely heartbreaking Sweetnin’”, reprising his role on the original Quincy on “Bein’ Green”, which is what you might want to Jones version, “It’s You Or No One”, where he trades have on in the background if you ever feel compelled rapid-fire fluency with the DePaul band director Bob to screen your aforementioned grandpa’s Super-8 Lark’s flugelhorn, and Benny Golson’s “Along Came home-movies that you found while cleaning out the Betty”, new to Woods’ discography. The DePaul attic. It will bring a Clark Griswold-esque tear to the University Jazz Ensemble is impressive throughout,

28 May 2008 | ALLABOUTJAZZ-NEW YORK

Lehman and bassist Fernando Huergo impart subtle this session, broadening its image. Born from the coloration or maintain fiery rhythms while flutist familiar role of clarinet and soprano sax in early trad Jacam Manricks, trombonist Joel Yennior, violinist jazz and the Swing Era that came later, Franck Wolf Laura Arpiainen and pianist Nando Michelin can colors appropriately. Unfortunately, he also lends perfectly perform a classically motivated chamber-like immeasurably to the ‘wedding band’ impression that voicing and then immediately shift to any of myriad takes place through several tracks, where Lagrène and styles demanded by these compositions. his crew pour sappy emotion over “It’s Impossible”, Salles most impresses on tenor with a style that at “Just the Way You Are”, “Flamingo” and “Love Me times draws on Trane signifiers either to soar above Tender”. Wolf’s deep, baritone saxophone groove on Dance Like There’s No Tomorrow the fray or set a specific frame of reference. Perhaps “Cap’tain Ferber”, however, makes up for it. Here, John Ellis & Double-Wide (Hyena) more important though is the stated influence of Wolf and Lagrène come up with a winning formula by Joel Roberts Hermeto Pascoal. Refreshingly though, the real star of that cannot be considered a copy of anything else. this program is the suite itself with the arrangements, Sara Lazarus, winner of the 1994 Thelonious That’s the low roar of a sousaphone - courtesy of New flexibility of the octet and Salles’ broad musical vision Monk International Jazz Vocal Competition gives Orleans’ Matt Perrine - you hear on the opening notes taking center stage. Lagrène’s Gipsy Project a lucid interpreter of lyrics for of “All Up in the Aisles”, the first tune on Brooklyn- It’s All Right With Me, their program of Swing Era based saxophonist John Ellis’ soulful new album. A For more information, visit sallesjazz.com. Salles is at NYC staples. She sings with a comfortable feel that makes North Carolina preacher’s son who spent his Baha’i Center May 6th and Cachaça May 15th. See calendar. her seem at home while she crosses generations with formative musical years in the Crescent City before these oldies. Each selection features Lazarus with a moving up north, Ellis remains a devotee of the New Lagrène guitar interlude. They work with strings on Orleans sound, although he and his band Double- “Embraceable You”, “Jim” and “In the Wee Small Wide put a decidedly New York twist on it here. Hours of the Morning” and she interprets French With Perrine holding down the bottom on the lyrics on “Dans Mon Ile”, creating a lovely romantic unwieldy but powerful instrument, Gary Versace atmosphere in which Lagrène is at his best. Together, providing some deep church grooves on organ, Jason they push fast, as on “What a Little Moonlight Can Marsalis ably manning the drums, plus Ellis’ own Do” or slow down gracefully for emotional content expressive tenor sax, the group serves up an eclectic like with “Taking a Chance on Love”. The album’s title mix of modernist jazz that’s both danceable and track, a moderate two-step swinger, lets them challenging. “Zydeco Clowns on the Lam”, for celebrate the heritage of Django Reinhardt that has example, with Versace doubling on accordion, is a been passed on through several generations. lighthearted romp that deconstructs and reconfigures Djangology/To Bi or Not To Bi (Solo) Biréli Lagrène familiar bayou beats while “Trash Bash” offers an Just the Way You Are Biréli Lagrène Gipsy Project For more information, visit dreyfusrecords.com. Lagrène is updated take on the New Orleans brass band tradition. It’s All Right With Me at Rose Hall May 2nd-3rd as part of a Django Reinhardt Other highlights include the carnival-esque “Three- (with Biréli Lagrène Gipsy Project) Sara Lazarus and Charlie Christian celebration. See calendar. (Dreyfus) Legged Tango in Jackson Square” and the title cut, a by Jim Santella no-holds-barred soul-jazz workout in the tradition of great tenor sax-organ pairings like Jimmy Smith and Biréli Lagrène came under the influence of Django Stanley Turrentine. Reinhardt and impressed the world from age 13 as a While most of the music here has a boisterous prodigy who handled the guitar with a love for the edge (it’s inspired by the land of “Laissez le bon temps swing that it could muster. These four albums prove roulez”, after all) there are some poignant moments his heart lies with that distinctive era. too, like “I Miss You Molly”, Ellis’ heartfelt tribute to Featuring Lagrène with the WDR Big Band, the late Southern writer Molly Ivins and the Djangology was recorded in concert Sep. 15th, 2005 in evocatively titled ballad “Tattooed Teen Dances with Germany with dynamic guitar solos that give this Grandma”. 10-selection program a contemporary flavor. The guitarist and the band’s other soloists make the For more information, visit hyenarecords.com. This project session swell with excitement: tenor saxophonist is at Jazz Standard May 13th-14th. See calendar. Olivier Peters sends “Impromptu” off on a hard- swinging adventure; trumpeter John Marshall gives “Caravan” a generous uplifting; Jens Neufang stands out with exceptional solo work on baritone saxophone and bass clarinet and trombonist Dave Horler targets “Blues en Mineur” with a swinger’s delight. Also recorded in concert, To Bi or Not to Bi features Lagrène’s solo guitar in celebration of the classical French tradition: expressive, lyrical and filled with passion. Lagrène makes each cascade fall as if he were moving delicate holly leaves against a windowpane. His hands weave a natural pattern while his style South American Suite carries intense spirit. The inclusion of Freddy Felipe Salles (Curare) by Elliott Simon Mercury’s “We Are the Champions” and Brian May’s “We Will Rock You” leave no doubt about the Rapidly changing rhythms, crisp ensemble playing, a guitarist’s powerful persuasion. By closing this pop broad sonic feel and unique voicings define South medley with “It Was a Very Good Year”, he includes American Suite, an adventurously composed look at the personal feeling that adheres to his sessions Brazilian music from multireedist/flutist Felipe Salles. naturally. The album’s title track tells a story of one While he draws on Brazilian music, Salles eschews the who roams the countryside in his mind and expresses breezy bossa beats that are typically associated with each colorful aspect through song. The two-disc that country’s jazz intercourse. Instead, he utilizes packaging of this box set provides a comprehensive lesser-known styles such as choro, frevo and baião to picture of the virtuoso’s allure. inspire new extended compositions and advanced Just the Way You Are features Lagrène’s Gipsy arrangements for a distinctive take on Latin jazz. Project in a swinging instrumental program that In addition to Salles’ cadre of saxophones, brings out all the finer points from his eclectic arsenal. clarinets and flutes he has assembled an octet that is Along with songs by Reinhardt, included are several able to sustain the harmonic beauty of these pieces originals as well as songs by Billy Joel, George Benson while not sacrificing their complex rhythmic and Elvis Presley. Lagrène sings “All of Me” with underpinnings or the elegance of their form. passable authority and shows deep respect for its Percussionist Rogerio Boccato, drummer Bertram lyrical message. The band includes a saxophonist for

30 May 2008 | ALLABOUTJAZZ-NEW YORK

performance of his pianoless trio last month at Jazz the electric keyboard as if fully understanding the Standard to mark the release of the recording. feeling that the composer was seeking. Allen has picked his partners wisely. Bassist Shaw the bandleader is sensitive enough to Gregg August and drummer Rudy Royston are canny choose a little recorded tune, “If I’m Lucky”, that interpreters of the ten Allen originals on the CD and originally appeared on a Johnny Hartman album. It complement his tenor voice throughout. Like their shows Shaw’s gorgeous and intimate way with a leader, they know when to hang back and when to cut ballad. Glasper chooses the Fender Rhodes again and loose and they possess talents of their own. August is the performance stays simple, quiet and lovely. no run-of-the-mill bassist - at the first of two sets at Optimism is a jazz album whose mood, even in Miles From India: A Celebration of Jazz Standard he offered a wide range of sounds, uptempos, suggests thoughtful understanding and a the Music of Miles Davis soaring impressively in bowed and plucked solos that personal way to make a recording. And even when Various Artists (Times Square) could seem very personal and idiosyncratic but there are effects they work towards telling a story. by Jeff Stockton supported Allen’s overall vision. Royston also provided insightful rhythmic support with nuanced For more information, visit jaleelshaw.com. Shaw is at Jazz Miles Davis’ electric period is his most controversial cymbal work. Live, in addition to his own boundary- Gallery May 2nd-3rd. See calendar. among critics and most divisive among listeners. Since pushing compositions and improvisations, the Sony started reissuing complete session box sets (In a Detroit-born saxist put his stamp on the standard “The Silent Way, Bitches Brew, Jack Johnson), however, Nearness of You” with a soft and mellifluous reassessment and reconsideration have helped to reading that still maintained his edge (further proving broaden the respect and enjoyment of the originals. By that he is not easy, or willing, to be categorized). the time of 2007’s Complete On the Corner Sessions, the Allen’s originals hold up well over repeated Davis band’s character had become defined by hearings. Given the album’s title, a listener might Michael Henderson’s non-jazz, steady bottom-heavy assume that Allen is making a statement about who he bass and psychedelic Hendrix-influenced guitar from is and what he’s about. But aside from a listing of Dave Creamer, Reggie Lucas and ultimately, Pete somewhat enigmatic titles like “Titus”, “id” and Cosey. “Pagan”, there is no explanatory information offered Miles had used electric bass before and guitarist about either his biography or his music. But no matter. John McLaughlin had been a key collaborator for Allen, who played as a sideman with Betty Carter, years, but On the Corner introduced Indian tabla and Cindy Blackman, Orrin Evans and many others before sitar into the sound. This is the thread that is picked forming his own groups, doesn’t need to explain up by Miles From India, an ambitious, sprawling, himself. Just listen. intercontinental gathering (helped along by digital file sharing) of over 30 musicians, roughly equally For more information, visit sunnysiderecords.com. Allen’s comprised of major Davis alumni and Indian trio is at J&R Music May 24th. See calendar. classicists. The sessions are not only focused on Davis’ later period. Three songs off Kind of Blue supply the most startling departures. The familiar melody of “So What” is carried by voices, “Blue in Green” adds violin to its lead voices and “All Blues” substitutes sitar for trumpet. It’s all a bit unrecognizable and somewhat odd. Later, looser compositions work better. “Great Expectations” puts Marcus Miller’s bass clarinet over pulsating rhythm, accented by sitar and Wallace Roney’s trumpet. Henderson lays down a syrupy Optimism MAY 15, 7 PM bassline on a version of “Miles Runs the Voodoo Jaleel Shaw (Changu) Down” that presents a sharp solo from Cosey and by Donald Elfman Roney conversing with the tabla-like ghatam. A second version of “Ife” brings these players together Jaleel Shaw has been a member of the Roy Haynes with saxophonists Dave Liebman and Gary Bartz and Quartet since 2005 and his playing reflects the kind of tabla player Badal Roy in a successful On the Corner- smart professionalism and driving energy that has style reunion. The sessions close with John always been evident in the drummer’s work. Shaw McLaughlin performing his lovely, gentle title track recorded his first disc in 2004 and he’s back now with backed by electric mandolin, piano and vocals. Equal an album that suggests growth and mature diversity. parts elegy and homage, it serves as a testament to He’s fortunate enough to have an old colleague, Davis’ musical expansiveness and influence on pianist Robert Glasper, as well as a handful of bright musicians around the globe. lights in the modern jazz arena. Shaw is not your cookie-cutter postbopper - he For more information, visit timessquarerecords.net. This sounds like no one, really, but himself - and he writes project is at Town Hall May 9th. See calendar. tunes that show his compositional approach is also independent. The vocabulary of the tradition is familiar and yet this doesn’t sound like a rehash of a hundred other albums. The use of the Fender Rhodes on several tracks suggests the popular vernacular but the music on those tracks tells us that ‘popular’ is not necessarily bad. Particularly engaging, for example, is the waltz, “In 3”. Here it’s alto, guitar, bass and drums and the sound is quietly impressionistic with Lage Lund adding especially lovely colors on guitar. It’s a song about texture and emotion and the restraint of the I AM I AM players is particularly engaging. JD Allen (Sunnyside) by Laurel Gross The title track is a pulsing, driving number that somehow also evokes intelligent contemplation. The JD Allen can be a powerhouse, hard-driving tenor impressive thing about Shaw’s playing is that it never but he is also capable of great subtlety and versatility. seems to knock a listener out with volume or power. All three qualities are amply in evidence on his new So this tune pulls us along but not forcefully in any CD I AM I AM and were also front and center in a artificial way. And Glasper is especially sensitive on

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clamor for an album of duets. There are no missteps, who couldn’t be more unalike. however, on the excellent bass-guitar duet on Monk’s music is the dominant element of their “Welcome” between Schultz and bassist Dan eponymous CD, consisting of seven selections. “Four Berglund’s full-throated, relentless arco. in One” is typical of their efforts, with Dalvit and Su Roditi’s tone throughout Impressions is clear as a playing independent lines yet remaining in focus of bell and illuminates the energy of the samba rhythm one another in a brisk arrangement. The two on “Moment’s Notice”, “Giant Steps” and the title cut. saxophonists engage in a spacey duet that gradually There’s not a strident or wavering note played by takes shape as the familiar “Ask Me Now” as the Roditi; he blows with intelligence and clarity and is rhythm section makes its entrance. “Monk’s Point” Plays Coltrane Impressions always in control. The most curious moment on the began life as solo vehicle for the composer and was Max Schultz Claudio Roditi album, however, involves Roditi’s inclusion of “Bye later orchestrated by Oliver Nelson for a large (Touché Music) (Sunnyside) Bye Blackbird”. Trane performed his own blistering ensemble. This sprightly version features a single sax by Terrell Holmes live version of the tune but Roditi clearly references with drums, though the lack of liner notes leaves it the Miles Davis version done with Trane. In ascribing unclear as to who is playing. Two recent albums explore the music of John Coltrane this tune to Trane Roditi’s compass appears to be off The three Strayhorn songs are performed with from different angles, each one with its own level of slightly, especially since he plays the song in Miles’ fewer frills. Strüby’s unusual cadence behind the saxes fidelity to the canonical texts. Guitarist Max Schultz style, right down to the Harmon-muted trumpet. in “Blood Count” make the piece sound more like a applies his Santana-like chops to several Trane While there are no jaw-dropping moments here, funeral march than a rage against the pain of a killer standards on Plays Coltrane. On Impressions trumpeter no why-didn’t-someone-else-think-to-do-that-with- disease (this was Strayhorn’s final composition as he Claudio Roditi translates Coltrane into the samba Trane’s-music kind of inventiveness, both Impressions lay dying of esophageal cancer in a hospital). idiom. It’s a testament to the breadth and appeal of and Plays Coltrane are solid additions to the ever- “U.M.M.G.” (named for the Upper Manhattan Medical Coltrane’s body of work that the two albums have expanding list of tributes to John Coltrane. Group, home to Strayhorn’s physician) is the best only one song (“Naima”) in common. arrangement of the three Strayhorn pieces, an upbeat Schultz’ ambitious original “Song for John” could For more information, visit touchemusic.se and reworking of this well-known theme that conveys the serve as an overture for the album since it contains and sunnysiderecords.com. Roditi is at Dizzy’s Club May 1st- hustle and bustle of a busy metropolitan doctor’s suggests thematic and stylistic elements (eg, the 4th and Iridium May 28th-31st. See calendar. office. But “Isfahan” relies so much on the sax four-note bass figure from “Acknowledgement”) that interplay that it proves distracting at times. recall several Coltrane tunes. Plays Coltrane is One wonders whether this is a one-off project or generally a quartet album but there are a few that Strayhornmonk will continue to explore the departures from that format. The ballad “Central Park repertoire of both composers. While their debut effort West” is marred slightly because Schultz and pianist is not flawless, their arrangements never bore. Bobo Stenson initially can’t quite get out of each other’s way, like dancers stepping on each other’s toes. For more information, visit venusrecord.com and They overcome their missteps, however, and their unitrecords.com. Di Martino is at Metropolitan Room May flawless simpatico on “After the Rain” leads one to 9th and 10th with Barbara Fasano. See calendar.

Magical Mystery Eponymous John Di Martino Strayhornmonk (Venus) (Unit) by Ken Dryden The music of Thelonious Monk has long fascinated jazz musicians for its many challenges, including lines shows at 9:00 / 10:30 / midnight that are simultaneously dissonant yet accessible, plus Tuesday, Wednesday & Showcases at 7:30 PM the sudden changes thrust upon them. Pianist John Di $20 cover - stay all night, come and go as you please! Martino’s Romantic Jazz Trio has a conventional May 1 Ehud Asherie; Dave Gibson Group with Julius Tolentino, Jared Gold looking lineup, while the band Strayhornmonk is a May 2 Dwayne Clemons Quintet; Jay Collins’ Kings County Band with Dred Scott, pianoless group featuring two alto saxophonists Scott Sharrard, Jeff Hanley, Tony Leone; Ralph Lalama’s Bopjuice May 3 Yuko Kimura with Roberta Piket, Dwayne Burno, Jeff Hirshfield; Jay Collins’ sharing the lead. Both units find fresh areas to explore Kings County Band with Dred Scott, Scott Sharrard, Jeff Hanley, Tony Leone; within Monk’s repertoire. Harry Whitaker Di Martino is a Manhattan-based pianist who has May 5 Jeremy Manasia Trio; Jerome Sabbagh Group with Rodney Green, Ben Street May 6 Josh Richmond Trio with Chris Tordini, Garrett Brown; Andrew Beals Quartet had a lot of success recording for the Japanese label with George Colligan, Neal Smith, Dezron Douglas Venus. Magical Mystery has nothing at all to do with May 7 Josh Irving Group with George Dulin, Dan Zanker, Francisco Mela; Joe Magnarelli Group the Beatles; his latest incarnation of his Romantic Jazz May 8 Ehud Asherie; Deborah Davis Group with Orrin Evans, Essiet Essiet; Trio consists of veteran bassist Essiet Okon Essiet plus Ari Roland Group with Ned Goold, John Mosca May 9 Dwayne Clemons Quintet; Lew Tabackin Trio with Boris Kozlov, drummer Victor Jones. Anthony Pinciotti; Ralph Lalama’s Bopjuice Of the 70 published Monk compositions, two May 10 David Ashkenazy Group with Gilad Hekelsman, Joel Frahm, Gary Versace; dozen or so are performed more often than the rest. Lew Tabackin Trio with Boris Kozlov and Anthony Pinciotti; Harry Whitaker May 12 Ray Gallon Trio; Stephane Wrembel Group with Ari Folman Cohen, Julian Augier With that thought in mind, it is more difficult for a May 13 Steve Lyman Group with Frank LoCrasto; David Schnitter Quartet pianist to break new ground on a record date, though May 14 Eli Digibri Group with Gary Versace, Obed Calvaire; Joe Magnarelli Group Di Martino has a few twists in store. Monk’s May 15 Ehud Asherie; Anat Cohen Group; Ari Roland Group with Ned Goold, John Mosca May 16 Dwayne Clemons Quintet; Ryan Kisor Group with Sherman Irby; “Epistrophy” alternates between an intense staccato Ralph Lalama’s Bopjuice attack and a straightahead bop groove. “‘Round May 17 Stein Brothers; Ryan Kisor Group with Sherman Irby; Harry Whitaker Midnight” is easily Monk’s best-known work; May 19 Dred Scott Trio; Peter Zak/Tom Guarna Quartet with Paul Gill, Quincy Davis Di Martino doesn’t overly attempt to stretch the May 20 Stuart Isacoff Duo with Dave Ruffels; Grant Stewart Group with Joe Cohn May 21 Chris Crocco’s Fluid Trio with George Garzone; Joe Magnarelli Group boundaries of its theme, but improvises thoughtfully May 22 Ehud Asherie; Pete Zimmer Group with George Garzone; while maintaining the essence of its haunting melody. Ari Roland Group with Ned Goold, John Mosca The fun romp through “Well, You Needn’t” contrasts May 23 Dwayne Clemons Quintet; Rodney Green Group; Ralph Lalama’s Bopjuice May 24 Matt Geraghty Group; Rodney Green Group; Harry Whitaker with the relaxed setting of “Eronel”. Di Martino’s May 26 Steve Ash Trio; Ari Hoenig’s Punkbop with Will Vinson, lyrical title track is a tribute to Monk and Jonathan Kreisberg, Matt Penman (presumably) Japanese novelist Haruki Murakami, an May 27 Cynthia Sayer; Grant Stewart Group with Joe Cohn May 28 Aaron Parks Trio; Joe Magnarelli Group enjoyable piece that doesn’t attempt to mimic Monk’s May 29 Ehud Asherie; Rick Germanson Trio; writing style. Ari Roland Group with Ned Goold, John Mosca May 30 Dwayne Clemons Quintet; Jason Lindner’s Now vs. Now with Panagiotis Andreou, An occasional tribute band incorporates the name Mark Guiliana; Ralph Lalama’s Bopjuice of its inspiration, but the quartet Strayhornmonk, May 31 Tobias Gebb’s Trio West with guest Wayne Escoffrey; consisting of alto saxophonists Gabriel Dalvit and Nat Jason Lindner’s Now vs.Now with Panagiotis Andreou, Mark Guiliana; Harry Whitaker Su, bassist Andreas Zitz and drummer Claudio Strüby, honors both Monk and Billy Strayhorn, two composers www.smallsjazzclub.com

34 May 2008 | ALLABOUTJAZZ-NEW YORK tune with tasteful touches; the additive rhythms of “Seven Sisters Down” creates the effect of a limping ‘waltz’ and the title track, one of the best, has a catchy A-section and intermeshing horn lines in the B-section. Cleaver culled the talents of JD Allen (tenor), Andrew Bishop (soprano, tenor and bass clarinet), Jeremy Pelt (trumpet), Ben Waltzer (piano) and Chris Lightcap (bass) to interpret his work. Bishop’s deep clarinet and soprano fill out the tonal canvas; his Sucker Punch Requiem: soprano solo on “Step Three” is both exploratory and An Homage to Jean-Michel Basquiat cohesive. Pelt is consistently excellent, varying his Lisle Ellis (Henceforth) tone and mood to suit the aesthetic environment, at by Clifford Allen times modestly underplaying, at others gasping and whooping with dramatic flair. Allen and Waltzer, too, Painter, graffitist and collagist Jean-Michel Basquiat are versatile and empathetic to the needs of the song, was an unmistakable force in New York during the the former prone to extended fiery outbursts, the latter late ‘70s and into the ‘80s, certainly the latter decade’s typified by chromatically-embellished, thematically- first American art star and one of the art world’s first unified improvisations. Simultaneously mainstream black stars. Despite Basquiat’s frequent references to and forward-thinking, self-contained yet open-ended, jazz, bassist/painter Lisle Ellis is the first player in the Detroit embodies the currency and vitality of that jazz world to create an album-length homage to him. city’s hardbop legacy in today’s creative music scene. Joining Ellis are saxophonist Oliver Lake, trombonist George Lewis, drummer Susie Ibarra, For more information, visit freshsoundrecords.com. Cleaver pianist Mike Wofford, vocalist Pamela Z and flutist is at Roulette May 8th with Sylvie Courvoisier, The Stone Holly Hoffman. The suite is divided into 16 parts May 25th with Rob Brown and Cornelia Street Café May ranging from jazzical tone poems to electronic splatter 30th with Jason Rigby. See calendar. and bookended by two vocal pieces. The set is naturally programmatic and almost filmic or theatrical - some of it is incredibly dense and other parts are quite sparse. The point of the project is as a springboard, something to be revisited time and again as Ellis solidifies the relationship between the painter’s immense oeuvre and his own work. Basquiat’s art is best seen in an installation of a number of pieces - they are feisty and often compete with one another, but when done well, the effect is of a landscape more solemn and wistful than jagged Homework words and images might belie. Ellis’ suite is Richie Barshay Project (Ayva Music) atmospheric even at its most jaunty, the rhythm by Elliott Simon section keeping a distant flow as Lake’s tart liquidity scrapes and scumbles phrases. Arranged sections have There is a bit more than a hint of Indian drumming in a quality of ‘popping out’, much as a knife-wielding “Clouds - intro”, the somewhat airy invitational cut on stick figure on a canvas. Alternately, the electronic and Homework from percussionist Richie Barshay. It vocal pieces are slathered on, gestural but not doesn’t prepare for the sonic onslaught that follows. particularly colorful - signifiers of action rather than From the sound of this offering, Barshay has been content. Strangely, text is not obviously integrated studying Indian percussive forms and instruments into the proceedings, though it might be because the that are the foundation to this truly global session. vocal sections are almost overpowering and not Although the Indian feel is pronounced entirely convincing. throughout - Josh Feinberg’s sitar reemphasizes this on a heady “Return Voyage” that includes wonderful For more information, visit henceforthrecords.com. Ellis is cross-timbre harmony with Daniel Blake’s sax - this is at Zebulon May 4th. See calendar. not simple Indian/jazz fusion. Barshay brings a great deal more than his tabla to this international table that also serves up Latin, jazz and bop chops, klezmer as well as Herbie Hancock himself, who is most noteworthy on the extraordinary title cut that blends tabla with a catchy rhythm set up by Jorge Roeder’s bass. Hancock, on piano and keyboards, gloriously funkasizes the piece ‘70s-style in signature fashion. Blake, playing both tenor and soprano, along with Roeder take their cues from the repetitive rhythmical patterns set up by Barshay and congaist Reinaldo de Jesús. They mirror and improvise off of these patterns Gerald Cleaver’s Detroit that can reappear between or as part of other cuts. Gerald Cleaver (Fresh Sound-New Talent) Such is the case for the catchy “Peacock” - Blake using by Tom Greenland his soprano to coax the bird a bit ‘out’ without missing Detroit, Gerald Cleaver’s sophomore release, a tone the always present upfront beat - and the melodic portrait of the Motor City, further establishes the percussive/bass duet “No U Don’t”. Monk’s “Trinkle drummer, best known as a prolific and versatile Tinkle” becomes a tabla/sax duet while clarinetist sideman, as a leader and composer in his own right. A Michael Winograd, vocalist Aoife O’Donovan and brief photo essay in the liner notes displaying accordionist Carmen Staaf hop on board for a klezmer- dilapidated buildings and skid-row denizens strikes a meets-India sendup of the Jewish standard “Sim melancholy tone, but the music is anything but. Shalom - Prayer for Peace”. A live extended Cleaver’s tunes are vigorous and compelling: percussive solo that marries traditional jazz traps with “The Silly One” has through-composed accents that Indian percussion brings things to a fitting close. lend it effortless forward motion; “Henry” has slow moving harmonic pads and a canon-like structure with For more information, visit ayvamusica.com. Barshay is at interesting textures; “Step Three” is upbeat, a nice Jazz Standard May 20th-21st with Fred Hersch. See calendar.

ALLABOUTJAZZ-NEW YORK | May 2008 35 Bill Frisell’s earlier records and the samples mixed method to the madness runs through his excellent new with guest Andrea Parkins’ accordion create, at times, album Berlin Bright. The opener, “Fancy Pants”, a vaguely Mediterranean feel. exemplifies how Burk solos and writes with mild But those are all qualities that drift by in the mix. chaos in mind. After the theme the tune fractures The only thing that often leaps out of the sound bed schizophrenically, with Ignaz Dinne soaring here is Geoff Hearn’s saxophone and even then it’s not melodically up front on alto while Burk plays a roiling because he’s forcing his way through so much as that counterpoint behind him. This startling, clever effect his is the only acoustic melody voice. Hearn does step sounds like two open music sites on the Internet into the occasional solo, but he’s also adept at hiding playing different kinds of music simultaneously; Burk I hope you never love anything as much as I love you in the mix, as is Harris, whose strong, often sparse drives the band by creating tension and complexity Steve Harris/ZAUM (with Andrea Parkins) (Amazon) drumming nicely frames the group sound without behind the soloists. On “Ugly Butterfly” and “Zoo for by Kurt Gottschalk pushing or counteracting. His website has been made Two”, for example, he restlessly explores and works into an online memorial with tributes from those who off the melody with his left field chord progressions. With a background in jazz, improv, funk, rock and knew him. He may be gone, but his was a sound world Throughout the album he runs the same race as his rhythm and blues it makes sense that Steve Harris’ worth investigating. bandmates, but does so along a slightly different track. music didn’t come off sounding like any one thing. Whether through a spry, pocket-sized waltz like The drummer, who died in January at the age of 59, For more information, visit steve-harris.info “Tiny Tune” or the Coltrane-influenced “The Invisible may have been as known for his efforts close to home Child”, Burk and his quartet display an ability to play as his recordings - he worked as Music Development straightahead jazz with texture, cohesiveness and Officer for the Dorset County Council in Southwestern versatility. The driving rhythm of “Without Annette” England and was an active organizer of workshops has a Bad Plus kind of energy; the Delta blues and musical projects, often with children. But he did highlights every pulse of Jonathan Robinson’s live to see the beginning of a series of reissues of his splendid pizzicato on “Back Home” and his overall recordings under the bandname ZAUM, as well as the skills as a bassist are the foundation of his richly release of his most recent ZAUM album, the octet disc layered composition “Auslanderlied”, which has the I hope you never love anything as much as I love you. earmarks of a standard in the making. Berlin Bright As a composer, bandleader and percussionist, shows that the Greg Burk Quartet isn’t afraid to Harris had a wealth of styles from which to draw. But challenge the audience, or itself, with music that, Music for a Green Planet one would be hard pressed to find overt elements of although sometimes unpredictable, is never Hayes Greenfield (s/r) any identifiable genres on the new record, recorded by Jim Santella inaccessible and always stimulating. live in Dorset in 2006. It’s not fusion so much as a purposeful eclipsing of style. Parallels can be made: Celebrating Earth Day all year round, saxophonist For more information, visit blacksaint.com. Burk is at with processed chanted vocals under layers of sound, Hayes Greenfield combines tasteful jazz with an Dizzy’s Club May 6th-10th. See calendar. parts can be reminiscent of Peter Gabriel’s less poppy environmental message through 15 original songs and work; the guitar effects occasionally ring of some of more than 40 cast members. It’s a welcome thought: save the world, recycle, car pool, conserve power, seek alternate energy sources and make responsible behavior a part of the daily routine. He delivers this bright message with alto, baritone, alto clarinet, C-melody sax, flute and soulful tenor and turns known children’s songs, such as “This Old Man”, “A-Tisket, A-Tasket” and “Twinkle Twinkle Little Star”, into lively jazz fantasies with improvised solo portions. Giving Greenfield’s long overdue project its emotion-filled message are numerous singers, including Joe Lee Wilson, Melissa Stylianou, Miles Griffith, Nina d’Alessandro, Capathia Jenkins, Michael McElroy, Shayna Steele and Dennis Stowe. Eight-year- old vocalist Carly Sonenclar interprets “The Things We Throw Away” with an exotic musical backdrop to emphasize the wasteful tossing of unused objects from take-out dinners, such as packets of sugar, salt, ketchup, plastic forks and knives, packets of honey and crackers. “This Little World of Ours” comes with a traditional New Orleans Dixieland celebration, while the album’s lone instrumental piece, “Brahms Green Lullaby”, closes the program with peaceful dreams. Greenfield’s combination of great jazz with creative lyrics makes his green project a winner.

For more information, visit musicforagreenplanet.com. Greenfield is at Highline Ballroom May 18th. See calendar.

Berlin Bright Greg Burk Quartet (Soul Note) by Terrell Holmes Pianist Greg Burk embraces deconstruction and counterpoint as a player and composer, so a playful

36 May 2008 | ALLABOUTJAZZ-NEW YORK

Dark Magus: The Jekyll and Hyde Life of Miles Davis Off the Road IN PRINT Gregory Davis (Backbeat Books) ON DVD Peter Kowald/Laurence Petit-Jouvet (Rogue Art) by Karen Hogg by Kurt Gottschalk

What separates the latest book on jazz legend Miles Davis Pretty much anyone who ever met the German is that it is written by Gregory Davis, his oldest son. More bassist Peter Kowald has a story to tell. Laurence of a set of observances and anecdotes than a chronological Petit-Jouvet’s 2001 documentary Off the Road doesn’t biography, the book presents a bittersweet, but get into the many stories told about Kowald - it isn’t inconsistent portrait of a genius. quite a biopic - but it does serve as a window into the Those looking for information on musical innovations persona that, along with a deep understanding of won’t find too much here. This book is more about a man communicating through music, made him the trying to come to terms with his father and a family life that embodiment of the creative spirit. could be described as less than ideal. The first half of the Petit-Jouvet followed Kowald on an unbooked book provides the reader with insight into Miles’ childhood and his early tour across the United States in 2000, two years before his untimely death at years in New York, chasing after Charlie Parker. The latter part of the book 58. The film - now available as part of a three-disc set from the French label deals with the death of Miles and all the family squabbling that came after it. Rogue Art - opens with Kowald buying a used car in New York and setting That’s where things get ugly. Various stories of drug runs, abuse towards out across the southern states, to the West Coast and then to Chicago, women and family feuds abound. Still, the love that Gregory has for his father meeting people and setting up ad hoc gigs en route. Needless to say there’s comes through; there is no way to be completely objective, but he tries. plenty of great music along the way, meetings with Kidd Jordan, George However, the book suffers from so many spelling and consistency mistakes Lewis, Rashied Ali, Pamela Z and many others. But the best parts of the film that it becomes distracting. On one page, we read about Miles’ last girlfriend, show Kowald without his bass: engaging a panhandler on the street, learning Jo Gelbard, testifying on Gregory’s behalf when his father’s will was about Martin Luther King and Native American culture, even seeming probated. In the next paragraph, we’re told, “All I know is that she did not bemusedly curious about why his old station wagon broke down. testify in my favor as far as probating the will was concerned.” Huh? On page The 72-minute film doesn’t include a lot of music, just passing scenes along 115 we’re told that Miles “didn’t want to be another Satchmo,” which could the journey. But it’s wisely packaged here with another Petite-Jouvet film be construed as an insult to Louis Armstrong. On the very next page, we learn from the same tour. Chicago Improvisations documents Kowald in the studio that “another performer that Miles especially loved was Louis Armstrong.” and at the Empty Bottle Festival. If the music is secondary in Off the Road, here He then goes on to praise Armstrong for three paragraphs. The book would the performances - trios with Fred Anderson and Hamid Drake or Floros have benefited from better proofreading and editing. That being said, Dark Floridis and Günter “Baby” Sömmer, nicely shot with multiple cameras and Magus, although uneven, presents a side of a musical giant that few were good quality sound, and in the studio playing solo and with Ken Vandermark privy to beyond his immediate family. - stand out against the brief interview segments. And those still seeking more sounds, the set comes with an audio CD, also recorded along the 2000 trail. For more information, visit backbeatbooks.com. The Miles From India Project is at Town Hall May 9th and a Miles Davis Celebration is at Smoke May 30th-31st. See calendar. For more information, visit web.roguart.com

38 May 2008 | ALLABOUTJAZZ-NEW YORK

CALENDAR

• Temple University Jazz Band conducted by Terell Stafford with Thursday, May 1 Saturday, May 3 guest Nicholas Payton Dizzy’s Club 7:30, 9:30 pm $15 ÌThe Fringe: George Garzone, John Lockwood, Bob Gullotti • Abraham, Inc.: David Krakauer, Fred Wesley, Socalled • Ben Sidran’s Talking Jazz with David “Fathead” Newman, Cornelia Street Café 8:30 pm $10 Apollo Theater 8 pm $35 Mike Richmond, Leo Sidran ÌFrederic Rzewski with Stephen Drury, Steve ben Israel • Hypnotic Brass Ensemble Joe’s Pub 11:30 pm $20 Jazz Standard 7:30, 9:30 pm $25 Zankel Hall 7:30 pm $26 • Taeko Sukao; Meddy Gerville with Matt Garrison, ÌResercho: Tony Malaby, Angelica Sanchez, Brian Questa, ÌFrank Wess Quintet with Terell Stafford, Ilya Lushtak, Rufus Reid, Horacio “El Negro” Hernandez, Jerome Calcine, Jim Celestin Juan Pablo Carletti Tea Lounge 8 pm $5 Winard Harper Village Vanguard 9, 11 pm $30 Cachaça 7, 9, 11:30 pm $15 ÌVince Giordano and the Nighthawks ÌBen Riley’s Monk Legacy Septet with Don Sickler, Bruce Williams, • Ghanniya Green Group Sistas’ Place 9, 10:30 pm $20 Sofia’s 8 pm $15 Wayne Escoffery, Jay Brandford, Freddie Bryant, Cameron Brown • Brown Wing Overdrive: Chuck Bettis, Mikey IQ Jones, • Dave Binney Big Band Cachaça 10, 11:30 pm $15 Jazz Standard 7:30, 9:30 pm $25 Derek Morton Roulette 8:30 pm $15 • Jeremy Manasia Trio; Jerome Sabbagh Group with Rodney Green, ÌDavid Murray Black Saint Quartet with Lafayette Gilchrist, • Pete Robbins’ Centric with Sam Sadigursky, Ryan Blotnick, Ben Street Smalls 7:30, 10:30 pm $20 Jaribu Shahid, Malik Washington Eivind Opsvik, Dan Weiss Cornelia Street Café 9, 10:30 pm $10 • Deborah Bowman and Her Big Love Band with Dean Fransen, Birdland 8:30, 11 pm $30 ÌBen Monder Trio Bar Next Door 9, 11:15 pm $10 Steve Jabas, Matt Geraghty, Ron Tierno, Alejandro Aviles, ÌMulgrew Miller Trio Smoke 8, 10, 11:30 pm $30 • Judith Berkson solo; Annie Gosfield/Roger Kleier Mike Fahn, Tom Bergeron Harlem Stage 8:30 pm $30 ÌBobby Previte’s The New Bump with Ellery Eskelin, Bill Ware, The Stone 8, 10 pm $10 • New School Presents: Gerry Hemingway Sound in Time Ensemble Brad Jones Tea Lounge 9, 10:30 pm $5 • Dana Leong Band BAMCafé 9 pm Sweet Rhythm 8, 10 pm $10 • Alan Holdsworth Trio with Ernest Tibbs, Chad Wackerman • Toru Dodo Trio with Yasushi Nakamura, Rodney Green • Emilio Teubal’s La Balteuband with Felipe Salles, Xavier Perez, Iridium 8:30, 10:30 pm $35 Brooklyn Museum 9 pm Moto Fukushima, Franco Pinna ÌDan Weiss Trio with Jacobs Sacks, Johnannes Weidenmuller • Banana Puddin’ Jazz Band: Mfergu, Paul Beaudry, 55Bar 10 pm $10 Jazz Gallery 9, 10:30 pm $12 Lucianna Padmore Nuyorican Poets Café 11 pm $10 ÌZ's; Stay Fucked: Joe Petrucelli/Hank Shteamer; Mark Edwards, ÌAntonio Sanchez with Donny McCaslin, Scott Colley ÌDjango Reinhardt and Charlie Christian - A Celebration: Weasel Walter, Andrew Barker, Charles Gayle, Ras Moshe, 55Bar 10 pm Bobby Broom, Biréli Lagrène, Russell Malone, Frank Vignola, Mario Rechtern Lit Lounge 9 pm • The Yellowjackets: Bob Mintzer, Russell Ferrante, Jimmy Haslip, Lewis Nash Trio Rose Hall 8 pm $30-120 • Sofia Koutsovitis Trio Bar Next Door 8 pm $10 Marcus Baylor Blue Note 8, 10:30 pm $30 ÌRuss Nolan Quartet with Kenny Werner, Johannes Weidenmueller, • Ilia Skibinsky; The Maztet Spike Hill 9 pm • Samba Jazz and the Music of Jobim: Helio Alves, Ronen Itzik The Kitano 8, 10 pm $25 • Howard Williams Jazz Orchestra; Ben Cliness Trio Duduka Da Fonseca, Claudio Roditi, Eddie Gomez, Maucha Adnet, • Mark Soskin Quartet with Tim Hagans, Jay Anderson, The Garage 7, 10:30 pm Chico Pinheiro Dizzy’s Club 7:30, 9:30 pm $30 Billy Drummond Sweet Rhythm 8, 10 pm 12 am $25 • Susan Pereira’s Sabor Brasil with Cliff Korman, Michael LaValle, • Billy Kay Quartet Lenox Lounge 8:30, 10, 11:30 pm $20 Tuesday, May 6 Vanderlei Pereira Dizzy’s Club 11 pm $10 • Yuko Kimura with Roberta Piket, Dwayne Burno, Jeff Hirshfield; ÌStephan Crump’s Rosetta Trio with Liberty Ellman, Jamie Fox Jay Collins’ Kings County Band with Dred Scott, Scott Sharrard, ÌAhmad Jamal Trio Blue Note 8, 10:30 pm $40 KB Gallery 7:30 pm $10 Jeff Hanley, Tony Leone; Harry Whitaker ÌJoe Lovano Nonet Dizzy’s Club 7:30, 9:30 pm $30 Ì • Maryanne DeProphetis Quartet with Ron Horton, Frank Kimbrough, Smalls 7:30, 10 pm 1 am $20 Greg Burk Trio Dizzy’s Club 11 pm $10 Dean Johnson The Kitano 8, 10 pm ÌJaleel Shaw with Lage Lund, Aaron Parks, Ben Street, ÌCharlie Haden, Ethan Iverson, Paul Motian • Weasel Walter, Mario Rechtern, Tom Zlabinger, Matt Lavelle Johnathan Blake and guest Avishai Cohen Village Vanguard 9, 11 pm $30 Douglass Street Music Collective 8 pm Jazz Gallery 9, 10:30 pm $15 ÌJim Staley and guest; Ha-Yang Kim/Miya Masaoka • Greg Murphy Quartet; Jay Rodriguez Quartet ÌFrank Wess Quintet with Terell Stafford, Ilya Lushtak, Rufus Reid, The Stone 8, 10 pm $10 Cachaça 7, 8:30, 10, 11:30 pm $15 Winard Harper Village Vanguard 9, 11 pm 12:30 am $35 • Fleurine with Chico Pinheiro, Freddie Bryant, Doug Weiss, Gilad • Victrola: Olivia De Prato, Eileen Mack, Lorna Krier, Missy Mazzoli, ÌBen Riley’s Monk Legacy Septet with Don Sickler, Bruce Williams, and guest Brad Mehldau Jazz Standard 7:30, 9:30 pm $20 Eleonore Oppenheim; The New York Miniaturist Ensemble: Wayne Escoffery, Jay Brandford, Freddie Bryant, Cameron Brown • Richard Boukas/Felipe Salles Quarteto Moderno Erik Carlson, Joshua Rubin, Katharine Dain, Chris Gross, Jazz Standard 7:30, 9:30, 11:30 pm $30 NYC Baha’i Center 8, 9:30 pm $15 Cory Smythe The Stone 8, 10 pm $10 ÌDavid Murray Black Saint Quartet with Lafayette Gilchrist, • Josh Richmond Trio with Chris Tordini, Garrett Brown; • Rob Schwimmer Bargemusic 8 pm $35 Jaribu Shahid, Malik Washington Andrew Beals Quartet with George Colligan, Neal Smith, • Ehud Asherie; David Gibson Group with Julius Tolentino, Birdland 8:30, 11 pm $30 Dezron Douglas Smalls 7:30, 10:30 pm $20 Jared Gold; Ari Roland Group with Ned Goold, John Mosca ÌMulgrew Miller Trio Smoke 8, 10, 11:30 pm $30 • Juan-Carlos Formell Zinc Bar 9:30, 11 pm 1 am $5 Smalls 7:30, 9:30 pm 12 am $20 • Alan Holdsworth Trio with Ernest Tibbs, Chad Wackerman • NY Improv Collective: Ray Vega, Rob Derke, Ted Rosenthal, • Mordy Ferber Trio Bar Next Door 8 pm $10 Iridium 8:30, 10:30 pm $35 Carlo DeRosa, Quincy Davis, Piers Lawrence Quartet • Eric Comstock/Barbara Fasano • The Yellowjackets: Bob Mintzer, Russell Ferrante, Jimmy Haslip, Knitting Factory Old Office 7:30 pm $12 Neue Galerie 9 pm $103 Marcus Baylor Blue Note 8, 10:30 pm $30 • Banana Puddin’ Jam: The Timelessness Project: Barbara Sfraga, • Jack Wilkins/Howard Alden • Sveti: Marko Djordjevic, Eli Digibri, Elliot Mason, Matt Pavolka Mala Waldron, Allen Won, Christopher Dean Sullivan, Bella Luna 8 pm Blue Note 12:30 am $10 Michael TA Thompson Nuyorican Poets Café 7 pm $15 • Shayna Steele PS 217 Auditorium 7 pm • Samba Jazz and the Music of Jobim: Helio Alves, • Sean Smith Quartet with John Ellis, Keith Ganz, Russell Meissner • Vea Williams Sister’s Uptown Bookstore 7:30 pm $15 Duduka Da Fonseca, Claudio Roditi, Eddie Gomez, Maucha Adnet, 55Bar 7 pm • The New Cookers Brooklyn College 5 pm Chico Pinheiro Dizzy’s Club 7:30, 9:30, 11:30 pm $30 • Ken Hatfield, Jon Burr, Ali Ryerson • David Berman Trio Cleopatra’s Needle 7 pm • Susan Pereira’s Sabor Brasil with Cliff Korman, Michael LaValle, Fetch 7:30 pm • Nick Moran Trio; Joe Sucato Quartet Vanderlei Pereira Dizzy’s Club 1 am $10 • Bill Wurtzel/Mike Gari Café du Soleil 7 pm The Garage 6, 10:30 pm • Tori Gee and Trio Jewel’s Lounge 8 pm • Jazz Band Classic; Bill Mobley Quartet • Luiz Sima with guest Sweet Sue Terry The Garage 7, 10:30 pm Friday, May 2 Shutters Café 8, 10 pm $20 ÌDjango Reinhardt and Charlie Christian - A Celebration: • Steve Carrington Quartet Cleopatra’s Needle 8 pm Bobby Broom, Biréli Lagrène, Russell Malone, Frank Vignola, • The Rhythm Road: AFAR: Marc Baldwin, “Jahah” Berry, Lewis Nash Trio Rose Hall 8 pm $30-120 Demonterious “Double D” Lawrence, Che “BlackFist” Marshalll ÌCecil Payne Tribute: Long Island University Jazz Ensemble led by Chris Byars Quartet with John Mosca, Ari Roland, Stefan Schatz Sam Newsome with guest Alex Harding Dizzy’s Club 1, 3 pm Kumble Theater 7 pm • Wayne Roberts/Vic Juris City Crab 12 pm ÌHouston Person Jazz 966 9 pm $20 • Larry Newcomb Trio; Fumi Tomita Trio; Joey Morant Trio • Frederic Rzewksi 70th Birthday Celebration with Newspeak The Garage 12, 6:15, 10:45 pm Ensemble Brooklyn Lyceum 8 pm $15 ÌRuss Nolan Quartet with Kenny Werner, Johannes Weidenmueller, Sunday, May 4 Ronen Itzik The Kitano 8, 10 pm $25 • Clay Jenkins and the 2 Trumpet Quartet with Dave Scott, • Mark Soskin Quartet with Tim Hagans, Jay Anderson, Lew Scott, Jeff Hirshfield; Dave Scott Quintet with Rich Perry, Billy Drummond Sweet Rhythm 8, 10 pm 12 am $25 Russ Lossing, Dave Ambrosio, Jeff Williams • Billy Kay Quartet Lenox Lounge 8:30, 10, 11:30 pm $20 Jimmy’s 7, 9 pm $10 • Rory Stuart Quartet with George Garzone, Ari Hoenig ÌSara Schoenbeck, Nate Wooley, Lisle Ellis, Walter Weasel Cornelia Street Café 9, 10:30 pm $12 Zebulon 9 pm • Dwayne Clemons Quintet; Jay Collins’ Kings County Band with • Garden Party!: Margaret Lancaster/Corey Dargel; Dither: Dred Scott, Scott Sharrard, Jeff Hanley, Tony Leone; Taylor Levine, Simon Kafka, Josh Lopes, James Moore Ralph Lalama’s Bopjuice Smalls 7:30, 10 pm 1 am $20 The Stone 8, 10 pm $10 • Ben Monder with Chris Lightcap, Jochen Rueckert • Lenore Von Stein with Andrew Bolotowsky, Beth Griffith, Bern Nix Cachaça 9, 11:30 pm $15 Roulette 8:30 pm $15 • Dave Pietro Trio Bar Next Door 9, 11:15 pm $10 • Respect Sextet Brooklyn Lyceum 9, 10:30 pm $10 • Omer Klein Trio with Omer Avital, Ziv Ravitz • Simon Mulligan Trio Cornelia Street Café 8:30 pm $10 Tea Lounge 9, 10:30 pm $5 • Meddy Gerville with Matt Garrison, Horacio “El Negro” Hernandez, ÌPaul Carlon Octet with David Smith, Ryan Keberle, Jose Davila, Jerome Calcine, Jim Celestin Anton Denner, John Stenger, Dave Ambrosio, Cachaça 8, 10 pm $20 May 13 William “Beaver” Bausch, Max Pollak, Christelle Durandy ÌFrank Wess Quintet with Terell Stafford, Ilya Lushtak, Rufus Reid, Cachaça 7 pm $10 Winard Harper Village Vanguard 9, 11 pm $30 Mike Longo’s 18-piece ÌReuben Radding String Quartet with Jennifer Choi, Karen Waltuch, ÌBen Riley’s Monk Legacy Septet with Don Sickler, Bruce Williams, Alex Waterman Roulette 8:30 pm $15 Wayne Escoffery, Jay Brandford, Freddie Bryant, Cameron Brown NY State of the Art Jazz Ensemble ÌJaleel Shaw with Lage Lund, Joe Martin, Johnathan Blake and Jazz Standard 7:30, 9:30 pm $25 guest Jeremy Pelt Jazz Gallery 9, 10:30 pm $15 • Alan Holdsworth Trio with Ernest Tibbs, Chad Wackerman with vocalist Hilary Gardner • Ben Perowsky/Sylvie Courvoisier; Ha-Yang Kim, Jim Pugliese Iridium 8:30, 10:30 pm $35 and guests The Stone 8, 10 pm $10 • The Yellowjackets: Bob Mintzer, Russell Ferrante, Jimmy Haslip, May 6 • Tony Purrone Trio with Dave Anderson, Thierry Arpino Marcus Baylor Blue Note 8, 10:30 pm $30 Flushing Town Hall 8 pm $20 • Samba Jazz and the Music of Jobim: Helio Alves, Richard Boukas • Catarina Racha’s Quizomba with Eduardo Nazarian, Leco Reis, Duduka Da Fonseca, Claudio Roditi, Eddie Gomez, Maucha Adnet, Hadar Noiberg, Café Enzo’s Jazz 8, 9:30 pm $15 Chico Pinheiro Dizzy’s Club 7:30, 9:30 pm $30 Brazilian Quarteto Moderno • Bill Easley Quartet with Antoinette Montague • Deadra Hart Quartet Saint Peter’s 5 pm Rose Center 6, 7:30 pm • George Lamboy Benefit Saint Peter’s 7 pm with Felipe Salles • Tunnel Trio: Abraham Gomez, Jessica Lurie, Chris Stromquist • Barry Seroff solo; Welf Dorr, Mike Williams, Barbès 7 pm $10 Nicolas Letman-Burtinovic, Gunter Gruner, Peter Kronreif • BOB Trio: Oscar Penas, Brian Landrus, Bridget Kearny ABC No Rio 9 pm $3 May 20 Tillie’s 8 pm $5 ÌLew Soloff with Jean-Michel Pilc, Boris Kozlov Mike Longo Trio • Joe Giglio 107West 9:30 pm Middle Collegiate Church 6 pm ÌFrank Wess Quintet with Terell Stafford, Ilya Lushtak, Rufus Reid, ÌBlaise and Robyn Siwula Downtown Music Gallery 7 pm Tribute to Oscar Peterson Winard Harper Village Vanguard 9, 11 pm $35 • Beat Kaestli Smoke 6, 7 pm ÌBen Riley’s Monk Legacy Septet with Don Sickler, Bruce Williams, • Bucky Pizzarelli: A Benefit Concert with and for the Bergen Youth Wayne Escoffery, Jay Brandford, Freddie Bryant, Cameron Brown Orchestra’s Symphony Symphony Space 4 pm $20-55 May 27 Jazz Standard 7:30, 9:30, 11:30 pm $30 • Kosa Music Party: David Amram, Memo Acevedo, Bernard Purdie, ÌDavid Murray Black Saint Quartet with Lafayette Gilchrist, Gordon Gottlieb, Michael Wimberley, Aldo Mazza, Bobby Sanabria, Lou Caputo Big Band Jaribu Shahid, Malik Washington Mike Mainieri, Mario DeCiutiis, Allan Molnar, Joe Bergamini, Birdland 8:30, 11 pm $30 Hector Martignon, Armando Gola and guests ÌMulgrew Miller Trio Smoke 8, 10, 11:30 pm $30 Drom 6 pm $10 • Alan Holdsworth Trio with Ernest Tibbs, Chad Wackerman • Frank Sinatra School of the Arts Jazz Ensemble; LaGuardia High Iridium 8:30, 10:30 pm $35 School Jazz Ensemble Cachaça 4, 5:30 pm $15 ÌAntonio Sanchez with Donny McCaslin, Scott Colley • Peter Bernstein and The NYU Faculty Quartet 55Bar 10 pm Blue Note 12, 2:30 pm $24.50 • The Yellowjackets: Bob Mintzer, Russell Ferrante, Jimmy Haslip, • Michelle Walker Trio North Square Lounge 12:30, 2 pm Marcus Baylor Blue Note 8, 10:30 pm $30 • Mark Mollica Group with Ben Wendel, Jesse Stacken, Ike Sturm, • Steve Jenkins, Vernon Reid, Tobias Ralph Ted Poor Bloomingdale School of Music 3 pm Blue Note 12:30 am $10 • Wayne Roberts/Vic Juris City Crab 12 pm • Samba Jazz and the Music of Jobim: Helio Alves, • Joe Giglio Trio Havana Central 1 pm Duduka Da Fonseca, Claudio Roditi, Eddie Gomez, Maucha Adnet, • John Colianni Quartet; David Coss and Trio; Ai Murakami Trio Chico Pinheiro Dizzy’s Club 7:30, 9:30, 11:30 pm $30 The Garage 12, 7, 11:30 pm • Susan Pereira’s Sabor Brasil with Cliff Korman, Michael LaValle, Vanderlei Pereira Dizzy’s Club 1 am $10 Monday, May 5 • Greg Glassman Quartet Cleopatra’s Needle 8 pm • NYU Jazz Orchestra with guest Randy Brecker • Hide Tanaka Trio; Ryan Anselmi Quartet The Garage 6:15, 10:45 pm Blue Note 8, 10:30 pm $10

40 May 2008 | ALLABOUTJAZZ-NEW YORK ÌGrant Stewart Quintet with Ryan Kisor, David Hazeltine, ÌJoe Lovano Nonet Dizzy’s Club 7:30, 9:30 pm $30 Wednesday, May 7 Joe Farnsworth Smoke 8, 10, 11:30 pm $28 ÌCharlie Haden, Ethan Iverson, Paul Motian • Herb Alpert and Lani Hall with Bill Cantos, Michael Shapiro, ÌBill Mays Inventions Trio with Marvin Stamm, Elisa Horn Village Vanguard 9, 11 pm $30 Hussain Jiffrey Joe’s Pub 7:30 pm $30 The Kitano 8, 10 pm $25 • Kirk Knuffke/Brian Drye; Ras Moshe, Dave Ross, Todd Nicholson, • Regina Carter Birdland 8:30, 11 pm $30 ÌTony Malaby Trio with Angelica Sanchez, Tom Rainey Tom Zlabinger ABC NO Rio 8 pm $3 ÌMark Helias/William Parker Duo; Tim Berne/Mark Helias Duo Cornelia Street Café 9, 10:30 pm $10 ÌChris Welcome Quartet Goodbye Blue Monday 11 pm Barbès 8, 10 pm $10 ÌAdam Rudolph/Graham Haynes • Jeanne O’Conner Smoke 6, 7 pm ÌPablo Aslan’s Tango Standards Quintet with Noah Bless, Rubin Museum 7 pm $20 • Tulivu-Donna Cumberbatch Oscar Feldman, Abel Rogantini, Raul Jaurena • Guillermo E. Brown BAMCafé 9:30 pm Saint Peter’s 5 pm Jazz Standard 7:30, 9:30 pm $20 • Assen Doykin; Anne Drummond with Klaus Muller, Nilson Matta, ÌLew Soloff with François Moutin ÌElliott Sharp solo; Conrad Harris Helio Schiavo Cachaça 7, 9, 11:30 pm $15 Middle Collegiate Church 6 pm The Stone 8, 10 pm $10 • Jessica Lurie Ensemble with Art Hirahara, Abraham Gomez, ÌMin Xiao-Fen/Elliott SharpHudson View Gardens Lounge 5 pm $12 • Frank London’s 50th Birthday Party: Scott Kettner’s Maracatu New Todd Sickafoose, Chris Stromquist and guests ÌVision Benefit: Joe McPhee and Friends with Rosi Hertlien, York; Frank London’s Klezmer Brass Allstars; Brian Mitchell Band; Tea Lounge 9, 10:30 pm $5 Roy Campbell, Dominic Duvall, Clifton Hyde Sizzle Ohtaka/Han’nya Teikoku ÌHa-Yang Kim Roulette 8:30 pm $15 Living Theatre 4 pm $10 Drom 8 pm $15 ÌVision Benefit: Bradley Farberman and Young Allstars • Amy London Brooklyn Public Library Ctr. Branch 4 pm ÌJason Stein’s Locksmith Isidore with Jason Roebke, Mike Pride Living Theatre 10:30 pm $10 • Corina Bartra’s Azu Project with Cliff Korman, Moto Fukushima, Zebulon 9 pm • Barbara Fasano/John Di Martino Michael Johnson, Perico Diaz, Willie Martinez, Julio Santillan ÌScott DuBois Quartet with Gebhard Ullmann, Eivind Opsvik, Metropolitan Room 7:30 pm $25 Flushing Library 2 pm Ted Poor 55Bar 10 pm $10 • String of Pearls: Sue Halloran, Jeanne O’Connor, Holli Ross, • Antoinette Montague Blue Note 12, 2:30 pm $24.50 ÌHarris Eisenstadt Quintet with Nate Wooley, Matt Bauder, Tony Regusis, Andy Eulau, Ron Vincent • Melissa Hamilton Trio North Square Lounge 12:30, 2 pm Chris Dingman, Chris Lightcap Enzo’s Jazz 8, 9:30 pm $15 • Bill Wurtzel Duo Havana Central 1 pm Cornelia Street Café 8:30 pm $10 • Edward Perez Trio Bar Next Door 9, 11:15 pm $10 • Wayne Roberts/Howard Alden • Kirk Knuffke Quartet with Brian Drye, Reuben Radding, Jeff Davis • Eyal Maoz Crazy Slavic Music Band with Ron Caswell, Ziv Ravitz; City Crab 12 pm Tea Lounge 9, 10:30 pm $5 Ray Sweeten The Stone 8, 10 pm $10 • Justin Lees Trio; Lou Caputo Quartet; David Coss and Trio; • Piers Lawrence Quartet Iridium 8:30, 10:30 pm $25 • Steve Scheller/Tyler Schwartz Ryan Anselmi Quartet The Garage 10 am, 12:30, 7, 11:30 pm • Tobias Gebb’s Trio West with Eldad Zvulun, Neal Miner and guests All Things Gallery 9, 10 pm Joel Frahm, Champian Fulton ÌJimmy Cobb So What Band with Wallace Roney, Eric Alexander, Monday, May 12 The Kitano 8, 10 pm Sonny Fortune, Larry Willis, Ray Drummond • Jeremy Pelt Quintet with Stacy Dillard, Danny Grissett, • Josh Irving Group with George Dulin, Dan Zanker, Francisco Mela; Iridium 8:30, 10:30 pm $35 Dwayne Burno, Darrell Green Joe Magnarelli Group Smalls 7:30, 10:30 pm $20 ÌAyelet Rose Gottlieb’s Mayim Rabim with Michael Gottlieb, Dizzy’s Club 7:30, 9:30 pm $15 • Freddie Bryant’s Kaleidoscope with John Benitez, Adam Cruz, Deanna Neil, Tammy Schefer, Michael Winograd, Anat Fort, Gilad Smoke 8, 10, 11:30 pm Ronen Itzik PS 122 8 pm • Ben Sidran’s Fathers and Sons Talking Jazz with Jay and • Richard Lanham with Keith Saunders, Lee Hudson, Taro Okamoto Mike Leonhart, Leo SidranJazz Standard 7:30, 9:30 pm $25 • Avishai Cohen’s Triveni with Joe Martin, Jeff Ballard ÌCarl Maguire’s Floriculture with Chris Mannigan, Trevor Dunn, Enzo’s Jazz 8, 9:30 pm $15 Jazz Gallery 9, 10:30 pm $12 Dan Weiss Roulette 8:30 pm $15 • Blue Prostitutes; Jooklo Duo with Andrew Barker; Peaking Lights • Herb Alpert and Lani Hall with Bill Cantos, Michael Shapiro, Union Pool 8 pm $5 Hussain Jiffrey Joe’s Pub 7:30 pm $30 ÌTony Malaby, Angelica Sanchez, Tom Rainey • Josh Schneider’s Easy Bake Orchestra Tea Lounge 8 pm $5 • Regina Carter Birdland 8:30, 11 pm $30 ÌJean-Michel Pilc Trio with François Moutin, Billy Hart; Brooklyn Lyceum 8, 9:30 pm $10 ÌAhmad Jamal Trio Blue Note 8, 10:30 pm $40 Claudia Quintet: John Hollenbeck. Matt Moran, Ted Reichman, ÌAhmad Jamal Trio Blue Note 8, 10:30 pm $40 ÌJoe Lovano Nonet Dizzy’s Club 7:30, 9:30, 11:30 pm $30 Chris Speed, Drew Gress Knitting Factory Tap Bar 8, 9:30 pm $13 ÌJoe Lovano Nonet Dizzy’s Club 7:30, 9:30 pm $30 Ì Greg Burk Trio Dizzy’s Club 1 am $10 • Gary Morgan’s Panamericana; Jim McNeely NYU Nonet ÌGreg Burk Trio Dizzy’s Club 11 pm $10 ÌCharlie Haden, Ethan Iverson, Paul Motian ÌCharlie Haden, Ethan Iverson, Paul Motian Cachaça 7, 8:30, 10, 11:30 pm $15 Village Vanguard 9, 11 pm $35 • Steve Dalachinsky/Daniel Carter Village Vanguard 9, 11 pm $30 • Mamiko Watanabe QuartetCleopatra’s Needle 8 pm • Juan-Carlos Formell Zinc Bar 9:30, 11 pm 1 am $5 Medicine Show Theater 7:30 pm • Tessa Souter Trio with Jason Ennis • Ray Gallon Trio; Stephane Wrembel Group with Ari Folman Cohen, • Nate Birkey Quartet with Jim Ridl, Bill Moring, Marko Marcinko; 55 Bar 6pm Tim Kuhl Cachaça 7, 8:30, 10, 11:30 pm $15 Julian Augier Smalls 7:30, 10:30 pm $20 • Dimitri Monderback Quartet; Kevin Dorn’s Dixieland Band • Jason Mears’ Stelpurnst with Jon Goldberger, Quentin Tolimieri, • Justin Lees Trio; Alan Chaubert Trio The Garage 6:15, 10:45 pm Harris Eisenstadt; Taku Yabuki Group The Garage 6, 10:30 pm ÌFLY: Mark Turner, Larry Grenadier, Jeff Ballard • Eric Comstock Saint Peter’s 1 pm $5 Spike Hill 8 pm Roberto’s Winds 4 pm $65 • Maya Azucena Blue Note 8, 10:30 pm $10 • Carol Sudhalter’s Astoria Jazz Band • Pamela Luss Birdland 7 pm $25 Thursday, May 8 Queens College 12 pm ÌVince Giordano and the Nighthawks ÌJimmy Cobb So What Band with Wallace Roney, Eric Alexander, Sofia’s 8 pm $15 Sonny Fortune, Larry Willis, Ray Drummond Saturday, May 10 • New School Presents: Joanne Brackeen’s Svatba Iridium 8:30, 10:30 pm $35 ÌVision Benefit: William Parker RUCMA Big Band with Sweet Rhythm 8, 10 pm $10 ÌMarty Ehrlich’s Rites Quartet with Erik Friedlander, James Zollar, Roy Campbell, Chris Dimeglio, Sabir Mateen, Dave Sewelson, • Shayna Steele Trio Bar Next Door 8 pm $10 Pheeroan akLaff Jazz Standard 7:30, 9:30 pm $25 Rob Brown, Lewis Barnes, Seth Meicht, Sizzle Otaka • Howard Williams Jazz Orchestra; Champian Fulton ÌJon Mayer Quartet with Grant Stewart, Joel Forbes, Phil Stewart Living Theatre 10:30 pm $10 The Garage 7, 10:30 pm The Kitano 8, 10 pm ÌErik Friedlander Roulette 8:30 pm $15 • Sylvie Courvoisier’s Lonelyville with Ikue Mori, Mark Feldman, ÌAhmed Abdullah’s Ebonic Tones Vincent Courtois, Gerald Cleaver Sistas’ Place 9, 10:30 pm $20 Roulette 8:30 pm $15 • Bronx Latin Allstars: Willie Rodriguez, Andy Gonzalez, • Jim Gailloreto/Fred Hersch Nicky Marrero, Roland Guerrero, Richie Mely Bargemusic 8 pm $35 Brooklyn Cons. of Music 8, 9:30 pm $25 ÌAyelet Rose Gottlieb’s Mayim Rabim with Michael Gottlieb, • Pedro Giraudo Jazz Orchestra with Alejandro Aviles, Jon Irabagon, Deanna Neil, Tammy Schefer, Michael Winograd, Anat Fort, Luke Batson, Carl Maraghi, Brian Pareschi, Tatum Greenblatt, Ronen Itzik PS 122 8 pm Ryan Keberle, Mike Fahie, Jess Jurkovic, Jeff Davis, Tony De Vivo • Harlem Speaks: Lee Konitz and guest Sofia Tosello Jazz Gallery 9, 10:30 pm $15 Harlem School for the Arts 6:30 pm • Jef Lee Johnson, Ronny Drayton, Marvin Sewell • Cliff Korman; Michael Pedecin with Mick Rossi, Johnnie Valentino, BAMCafé 9:30 pm Kermit Driscoll, Gerry Hemingway ÌMichael Lowenstern/Todd Reynolds Cachaça 7, 10:30 pm $15 The Stone 8, 10 pm $10 • Avishai Cohen’s Triveni with Joe Martin, Jeff Ballard • Hendrik Merkins Trio Bar Next Door 9, 11:15 pm $10 Jazz Gallery 9, 10:30 pm $12 • Alex Terrier Cachaça 7 pm $15 • Ehud Asherie; Deborah Davis Group with Orrin Evans, ÌJames Spaulding Quartet Lenox Lounge 8:30, 10, 11:30 pm $20 Essiet Essiet; Ari Roland Group with Ned Goold, John Mosca ÌMarty Ehrlich Sextet with James Zollar, Ray Anderson, Smalls 7:30, 9:30 pm 12 am $20 David Berkman, Greg Cohen, Matt Wilson • Theo Bleckmann/Fumio Yasuda Jazz Standard 7:30, 9:30, 11:30 pm $30 Neue Galerie 9 pm $103 ÌDavid Ashkenazy Group with Gilad Hekelsman, Joel Frahm, ÌInsight Nuyorican Poets Café 9 pm $7 Gary Versace; Lew Tabackin Trio with Boris Kozlov, • Stones Throw: Shane Endsley, Garth Stevenson, Ziv Ravitz Anthony Pinciotti; Harry Whitaker Tea Lounge 9, 10:30 pm $5 Smalls 7:30, 10 pm 1 am $20 • Nathan Davis/Doug Perkins; Platzmachen: Judith Berkson, ÌGrant Stewart Quintet with Ryan Kisor, David Hazeltine, Brandon Seabrook, Jacob Garchik, Vinnie Sperrazza Joe Farnsworth Smoke 8, 10, 11:30 pm $28 The Stone 8, 10 pm $10 ÌBill Mays Inventions Trio with Marvin Stamm, Elisa Horn • Shane Endsley’s Stones Throw with Garth Stevenson, Ziv Ravitz The Kitano 8, 10 pm $25 55Bar 7 pm • Barbara Fasano/John Di Martino • Sebastian Noelle Trio Bar Next Door 8 pm $10 Metropolitan Room 7:30 pm $25 • Michelle Walker Smoke 8, 10, 11:30 pm $20 ÌJimmy Cobb So What Band with Wallace Roney, Eric Alexander, • Marc Zegans/Gabrielle Senza; Ecstatic Quartet: MV Carbon, Sonny Fortune, Larry Willis, Ray Drummond Lucian Buscemi, Michael Evans, Anthony Ptak Iridium 8:30, 10:30 pm $35 (OA) Can Factory 8 pm $10 ÌAyelet Rose Gottlieb’s Mayim Rabim with Michael Gottlieb, ÌBarry Wallenstein’s Euphoria Ripens: Adam Birnbaum, Deanna Neil, Tammy Schefer, Michael Winograd, Anat Fort, Vincent Chancey, Steve Carlin, Daniel Carter and guests Ronen Itzik PS 122 8 pm Claire Daly, Neil Haiduck Cornelia Street Café 6 pm $12 • Herb Alpert and Lani Hall with Bill Cantos, Michael Shapiro, • Amy Cervini with Michael Cabe, Mark Lau, Ernesto Cervini; Hussain Jiffrey Joe’s Pub 7, 9:30 pm $30 Melissa Stylianou with Keith Ganz, Gary Wang • Regina Carter Birdland 8:30, 11 pm $30 Cornelia Street Café 8:30 pm $10 ÌAhmad Jamal Trio Blue Note 8, 10:30 pm $40 • Scot Albertson and Daryl Kojak Quintet with Sweet Sue Terry, • Greg Murphy with Lawrence Clark, Ivan Taylor, Noel Sagerman Dave Pietro, Tom Hubbard, Tony Jefferson Blue Note 12:30 am $8 West Bank Café 7 pm $20 ÌJoe Lovano Nonet Dizzy’s Club 7:30, 9:30, 11:30 pm $30 • Herb Alpert and Lani Hall with Bill Cantos, Michael Shapiro, ÌGreg Burk Trio Dizzy’s Club 1 am $10 Hussain Jiffrey Joe’s Pub 7:30 pm $30 ÌCharlie Haden, Ethan Iverson, Paul Motian • Regina Carter Birdland 8:30, 11 pm $30 Village Vanguard 9, 11 pm 12:30 am $35 ÌAhmad Jamal Trio Blue Note 8, 10:30 pm $40 • Robert Vogt/Leala Cyr Shutters Café 8, 10 pm $20 ÌJoe Lovano Nonet Dizzy’s Club 7:30, 9:30 pm $30 • Evan Schwam Quartet Cleopatra’s Needle 7 pm ÌGreg Burk Trio Dizzy’s Club 11 pm $10 • Wayne Roberts/Howard Alden ÌCharlie Haden, Ethan Iverson, Paul Motian City Crab 12 pm Village Vanguard 9, 11 pm $30 • Gypsy Jazz Caravan; David White Quintet; Virginia Mayhew • Justin Lees Trio Cleopatra’s Needle 7 pm The Garage 12, 6:15, 10:45 pm • Russ Spiegel Trio; Bryson Kern Trio The Garage 6, 10:30 pm Sunday, May 11 • John Zorn Improv Night with Ha-Yang Kim, Stefan Poetzsch Friday, May 9 and guests The Stone 8, 10 pm $20 ÌMiles From India: Ron Carter, Wallace Roney, Lenny White, • John Zorn, Bill Laswell, Martin Bisi, SUSU Pete Cosey, Badal Roy, Benny Reitveld, Louiz Banks, Gino Banks, Knitting Factory 7 pm $10 Rudresh Mahanthappa, Ravi Chary, Sridhar Parthasarathy, ÌLoren Stillman Quartet with Gary Versace, Nate Radley, Ted Poor; Kala Ramnath Town Hall 8 pm $40-45 Roland Heinz/Russ Lossing Group with Dave Scott, John Hebert, ÌThe Trio: Muhal Richard Abrams, George Lewis, Billy Mintz Jimmy’s 7, 9 pm $10 Wadada Leo Smith Comm. Church of New York 7 pm $25 • Jane Rigler Roulette 8:30 pm $15 ÌJames Spaulding Quartet Lenox Lounge 8:30, 10, 11:30 pm $20 • Joe Magnarelli Brooklyn Lyceum 9, 10:30 pm $10 ÌMarty Ehrlich Sextet with James Zollar, Ray Anderson, ÌMarty Ehrlich Sextet with James Zollar, Ray Anderson, David Berkman, Greg Cohen, Matt Wilson David Berkman, Greg Cohen, Matt Wilson Jazz Standard 7:30, 9:30, 11:30 pm $30 Jazz Standard 7:30, 9:30 pm $25 ÌDwayne Clemons Quintet; Lew Tabackin Trio with Boris Kozlov, ÌJimmy Cobb So What Band with Wallace Roney, Eric Alexander, Anthony Pinciotti; Ralph Lalama’s Bopjuice Sonny Fortune, Larry Willis, Ray Drummond Smalls 7:30, 10 pm 1 am $20 Iridium 8:30, 10:30 pm $35 ÌAhmad Jamal Trio Blue Note 8, 10:30 pm $40

ALLABOUTJAZZ-NEW YORK | May 2008 41 ÌPharoah Sanders Birdland 8:30, 11 pm $35 • Charles Pillow Brooklyn Lyceum 9, 10:30 pm $10 Tuesday, May 13 ÌCelebrating Ellington: Juilliard Jazz Orchestra conducted by • Jacam Manricks with Jacob Sacks, Chris Tordini, Tyshawn Sorey; Ì2nd Annual Harlem Rent Party Benefit: Hank Jones Trio with Gerald Wilson Dizzy’s Club 7:30, 9:30 pm $30 Buster Williams with Lenny White, Steve Wilson, Jeff Pittson Neil Swainson, Willie Jones III and guests Gerald Clayton, • Essentially Ellington Alumni All-Stars Cachaça 4, 8, 10 pm $15 Roy Hargrove Harlem Stage 7:30 pm $250+ Dizzy’s Club 11 pm $10 • David Bindman with Bill Lowe, Royal Hartigan, Art Hirahara, ÌPharoah Sanders Birdland 8:30, 11 pm $35 ÌTom Harrell, Wayne Escoffery, Danny Grissett, Ugonna Okegwo, Wes Brown, Nate Wooley Douglass Street Music Collective 7:30 pm ÌCelebrating Ellington: Juilliard Jazz Orchestra conducted by Johnathan Blake Village Vanguard 9, 11 pm $30 ÌSten Hosfalt/Blaise SiwulaThe Stain Bar 10:30 pm Gerald Wilson Dizzy’s Club 7:30, 9:30 pm $30 • Lionel Loueke Blue Note 8, 10:30 pm $25 • Gato Barbieri Blue Note 8, 10:30 pm $40 • Essentially Ellington Alumni All-Stars • Ray Parker Trio Cleopatra’s Needle 7 pm • Steve Smith’s Vital Info with Vinny Valentino, Tom Coster, Dizzy’s Club 11 pm $10 • Jacob Drazen; Rick Stone The Garage 6, 10:30 pm Baron Browne Iridium 8:30, 10:30 pm $35 ÌTom Harrell, Wayne Escoffery, Danny Grissett, Ugonna Okegwo, • Taylor Eigsti with Julian Lage, Reuben Rogers, Eric Harland and Johnathan Blake Village Vanguard 9, 11 pm $30 Friday, May 16 guests Dayna Stephens, Donny McCaslin • Lionel Loueke Blue Note 8, 10:30 pm $25 ÌLost Jazz Shrines - Remembering Jazz Forum and Woody Shaw: Jazz Standard 7:30, 9:30 pm $25 • John Ellis’ Doublewide with Matt Perrine, Gary Versace, Victor Lewis with Sean Jones, Ryan Kisor, Larry Willis, ÌCelebrating Ellington: Juilliard Jazz Orchestra conducted by Jason Marsalis Jazz Standard 7:30, 9:30 pm $20 David Williams Tribeca Perf. Arts Ctr. 8:30 pm $25 Gerald Wilson Dizzy’s Club 7:30, 9:30 pm $30 • Mike Longo’s NY State of the Art Ensemble with Hilary Gardner ÌTom Harrell, Wayne Escoffery, Danny Grissett, Ugonna Okegwo, NYC Baha’i Center 8, 9:30 pm $15 ÌSunny Murray Trio with Louie Belogenis, Michael Bisio Johnathan Blake Village Vanguard 9, 11 pm $30 ÌSteve Lyman Group with Frank LoCrasto; David Schnitter Quartet Middle Collegiate Church 8 pm $10 • Queens Jazz Orchestra: Jimmy Heath, Jeb Patton, • Andrea Wolper Saint Peter’s 5 pm Smalls 7:30, 10:30 pm $20 Michael Mossman, Tony Purrone, Antonio Hart and guests ÌLew Soloff with Joe Locke, François Moutin ÌBill McHenry Quartet with Duane Eubanks, Ben Street, RJ Miller; Flushing Town Hall 8 pm $40 Middle Collegiate Church 6 pm Todd Sickafoose’s Blood Orange with Shane Endsley, Alan Ferber, • Melissa Stylianou Quartet with Jamie Reynolds, Gary Wang, Brian Coogan, Mike Gamble, Simon Lott, Jenny Scheinman ÌBilly Bang Quintet Living Theatre 10:30 pm $10 Greg Ritchie Smoke 6, 7 pm Knitting Factory Tap Bar 8, 9:30 pm $13 • Gato Barbieri Blue Note 8, 10:30 pm $40 ÌA Tribute to Jackie McLean: Mike DiRubbo, Steve Nelson, • Carol Sudhalter’s Astoria Jazz Band ÌIdeal Bread: Josh Sinton, Kirk Knuffke, Reuben Radding, David Bryant, Dwayne Burno, Joe Farnsworth Steinway Reformed Church 5 pm Tomas Fujiwara Zebulon 10 pm • Haruko Nara Blue Note 12, 2:30 pm $24.50 • Elio Villafranca Quartet Zinc Bar 9:30, 11 pm 1 am $5 Smoke 8, 10, 11:30 pm $28 ÌWalt Weiskopf Quartet with David Hazeltine, Paul Gill, • Hayes Greenfield’s Jazz-a-ma-tazz Goes Green • Ralph Alessi NYU Group Jazz Gallery 8 pm $12 Highline Ballroom 12 pm $10 • Emilio Teuba with Felipe Salles, Xavier Perez, Moto Fukushima, Kendrick Scott The Kitano 8, 10 pm $25 • TK Blue Quartet with Essiet Okon Essiet, Willie Martinez, • Sachal Vasandani Trio North Square Lounge 12:30, 2 pm Chris Michael Cachaça 7, 8:30 pm $10 Kevin Jones and guests Onaje Allen Gumbs, Steve Turre • Bill Wurtzel Trio Havana Central 1 pm • Ha-Yang Kim/Stefan Poetzsch Duo with guests; CRUX: • Wayne Roberts/Freddie Bryant Marco Cappelli, Jessica Lurie, Danijel Zezelj, Chris Lightcap, Lenox Lounge 8:30, 10, 11:30 pm $20 • Dwayne Clemons Quintet; Ryan Kisor Group with Sherman Irby; City Crab 12 pm Andrew Drury The Stone 8, 10 pm $10 • John Colianni Quartet; David Coss and Trio; Ai Murakami Trio • Jack Wilkins, James Silberstein, Paul Meyers Ralph Lalama’s Bopjuice Smalls 7:30, 10 pm 1 am $20 ÌTodd Sickafoose with John Ellis, Alan Ferber, Brian Coogan, The Garage 12, 7, 11:30 pm Bella Luna 8 pm Mike Gamble, Simon Lott Tea Lounge 9, 10:30 pm $5 • Bill Wurtzel/Mark Marino Café du Soleil 7 pm Monday, May 19 • Stan Rubin Orchestra Carnegie Club 8:30 pm • Jen Shyu with Mat Maneri, Jennifer Choi, Thomas Morgan, Ì • Joris Teepe Lucille’s at BB Kings 8 pm Miles Okazaki, Rubin Kodheli, Satoshi Haga A Concert Tribute to Krzysztof Komeda: Tomasz Stanko Quartet • Ken Hatfield, Jon Burr, Ali Ryerson Roulette 8:30 pm $15 with guest Billy Harper MoMA 7:30 pm Fetch 7:30 pm • Edmar Castaneda Trio with Andrea Tierra, Dana Leong • Ben Sidran’s Talking Jazz with Mike Mainieri, Mike Richmond, • Valery Ponomarev Big Band; John David Simon Rubin Museum 7 pm $20 Leo Sidran Jazz Standard 7:30, 9:30 pm $25 The Garage 7, 10:30 pm ÌBobby Previte’s The New Bump with Ellery Eskelin, Bill Ware, ÌOpen Loose: Mark Helias, Tony Malaby, Tom Rainey • Dennis Irwin Memorial Riverside Church 1 pm Brad Jones Zebulon 9 pm Tea Lounge 8 pm $5 • Oscar Feldman; Buster Williams with Lenny White, Jeff Pittson, ÌEivind Opsvik’s Overseas Zebulon 9 pm Casey Benjamin Cachaça 7, 9, 11:30 pm $15 • Joel Harrison with Ben Wittman, Stephan Crump, Sam Bardfeld, Wednesday, May 14 • Victor Prieto Trio Bar Next Door 9, 11:15 pm $10 Henry Hey, Jen Chapin Joe’s Pub 9:30 pm $15 ÌOpen Loose: Mark Helias, Tony Malaby, Tom Rainey • Revolutionary Snake Ensemble • Dred Scott Trio; Peter Zak/Tom Guarna Quartet with Paul Gill, Barbès 8, 10 pm $10 Drom 8 pm $12 Quincy Davis Smalls 7:30, 10:30 pm $20 ÌBrad Shepik Trio with Drew Gress, Mark Ferber; Josh Roseman’s ÌBeat Circus Union Pool 9 pm $10 • Pete McGuinness Jazz Orchestra; Joe Lovano NYU Ensemble Constellations Knitting Factory Tap Bar 8, 9:30 pm $13 • Laurie Krauz and Daryl Kojak Group with Sean Conly, Gene Lewin, Cachaça 7, 8:30, 10, 11:30 pm $15 ÌFreedom Art Quartet: Avram Fefer, John Carlson, Jaribu Shahid, Sweet Sue Terry Enzo’s Jazz 8, 9:30 pm $15 ÌPeter Evans Quartet Zebulon 10 pm Lloyd Haber Cachaça 10, 11:30 pm $10 • Tyler Schwartz Group All Things Gallery 9, 10 pm ÌJames Ilgenfritz Trio with Michael Attias, Harris Eisenstadt • Roy Campbell Band Zebulon 10:30 pm ÌHenry Threadgill’s Zooid Jazz Gallery 9, 10:30 pm $20 Spike Hill 8 pm • Malika Zarra with Francis Jacob, Mamadou Ba, Brahim Fribgane • Steve Smith’s Vital Info with Vinny Valentino, Tom Coster, • Armen Donelian Trio with Dave Clark, George Schuller Smoke 8, 10, 11:30 pm Baron Browne Iridium 8:30, 10:30 pm $35 Sweet Rhythm 8, 10 pm $15 ÌSheryl Bailey with Gary Versace, Ian Froman • Taylor Eigsti Quartet with Julian Lage, Harish Raghavan, • Jazz Quebec Series: Samuel Blais with Nate Smith, Paul Shrofel, 55Bar 7 pm Greg Hutchinson Jazz Standard 7:30, 9:30, 11:30 pm $30 Morgan Moore Dizzy’s Club 7:30, 9:30 pm $15 • Emil de Eaal, Erik Sanko, Andy Green, Bruce Tovsky, Kato Hideki; ÌPharoah Sanders Birdland 8:30, 11 pm $35 • Berklee Jazz Ensemble Blue Note 8, 10:30 pm $10 Joe Morris with Alex Ward, Simon H. Fell ÌCelebrating Ellington: Juilliard Jazz Orchestra conducted by ÌVince Giordano and the Nighthawks (OA) Can Factory 8 pm $10 Gerald Wilson Dizzy’s Club 7:30, 9:30, 11:30 pm $30 Sofia’s 8 pm $15 • Pauline Jean Quartet with Sharp Radway, Corcoran Holt, • Essentially Ellington Alumni All-Stars • Elin Trio Bar Next Door 8 pm $10 Alvin Atkinson Enzo’s Jazz 8, 9:30 pm $15 Dizzy’s Club 1 am $10 • Howard Williams Jazz Orchestra; Kenny Shanker Quartet • Mercedes Hall and Trio with Glafkos Kontemeniotis, Kazi McCoy, ÌTom Harrell, Wayne Escoffery, Danny Grissett, Ugonna Okegwo, The Garage 7, 10:30 pm Gaku Takanashi The Kitano 8, 10 pm Johnathan Blake Village Vanguard 9, 11 pm $35 • Eli Digibri Group with Gary Versace, Obed Calvaire; • Irini Res Quartet Cleopatra’s Needle 8 pm Joe Magnarelli Group Smalls 7:30, 10:30 pm $20 • Candace DeBartolo; Andre Barnes Trio • Matt Renzi Trio Brooklyn Lyceum 8, 9:30 pm $10 The Garage 6:15, 10:45 pm • Knucklebean: Brad Farberman, Adam Minkoff, Nick Anderson, Matt Silberman, Matt Thomas, Ben Syversen, Kevin Moehringer; Saturday, May 17 Matt Lavelle’s Tenor Tree with Ras Moshe, Bob Feldman, Catherine Sikora Galapagos 8 pm $10 ÌTrio 3: Oliver Lake, Reggie Workman, Andrew Cyrille • Kimberly Marshall Cachaça 7, 8:30 pm $15 Sistas’ Place 9, 10:30 pm $20 ÌHarlem Stride: Hank Jones Trio with Neil Swainson, Willy Jones III ÌJohn McNeil/Bill McHenry Quartet with Chris Lightcap, and guests Gerald Clayton, Roy Hargrove Jochen Rueckert Cornelia Street Café 9, 10:30 pm $10 Harlem Stage 7:30 pm $40 • Andy McGraw/Shahzad Ismaily; Matthew Welch’s Blarvuster with ÌPharoah Sanders Birdland 8:30, 11 pm $35 Leah Paul, Karen Waltuch, Mary Halvorson, Ian Riggs, ÌCelebrating Ellington: Juilliard Jazz Orchestra conducted by Brian Chase (OA) Can Factory 8 pm $10 Gerald Wilson Dizzy’s Club 7:30, 9:30 pm $30 ÌTotem: Bruce Eisenbeil, Tom Blancarte, Andrew Drury • Essentially Ellington Alumni All-Stars Roulette 8:30 pm $15 Dizzy’s Club 11 pm $10 • Essentially Ellington Avery Fisher Hall 7:30 pm ÌTom Harrell, Wayne Escoffery, Danny Grissett, Ugonna Okegwo, ÌSteve Beresford, Peter Evans, Okkyung Lee Johnathan Blake Village Vanguard 9, 11 pm $30 The Stone 8 pm $10 Ì • Lionel Loueke Blue Note 8, 10:30 pm $25 Bobby Previte’s The New Bump with Ellery Eskelin, Bill Ware, • John Ellis’ Doublewide with Matt Perrine, Gary Versace, Brad Jones Banjo Jim’s 11 pm Jason Marsalis Jazz Standard 7:30, 9:30 pm $20 • Paul Meyers Trio Bar Next Door 9, 11:15 pm $10 • Elio Villafranca Quartet Zinc Bar 9:30, 11 pm 1 am $5 • Gato Barbieri Blue Note 8, 10:30 pm $40 Ì • Bob Devos Lucille’s at BB Kings 8 pm A Tribute to Jackie McLean: Mike DiRubbo, Steve Nelson, • The Invisible Trio with John Chin; Donald Malloy Quartet David Bryant, Dwayne Burno, Joe Farnsworth The Garage 6, 10:30 pm Smoke 8, 10, 11:30 pm $28 Ì • Sue Matsuki, Joan Crowe with Tedd Firth Walt Weiskopf Quartet with David Hazeltine, Paul Gill, Saint Peter’s 1 pm $5 Kendrick Scott The Kitano 8, 10 pm $25 • TK Blue Quartet with Essiet Okon Essiet, Willie Martinez, Kevin Jones and guests James Weidman, Benny Powell Thursday, May 15 Lenox Lounge 8:30, 10, 11:30 pm $20 ÌHighlights in Jazz: Dave Brubeck, Bobby Militello, Michael Moore, • Stein Brothers; Ryan Kisor Group with Sherman Irby; Randy Jones Tribeca Perf. Arts Ctr. 8 pm $30 Harry Whitaker Smalls 7:30, 10 pm 1 am $20 ÌJoe Hunt Trio with Don Friedman, Martin Wind • Sarina Suno; Buster Williams with Lenny White, Steve Wilson, The Kitano 8, 10 pm Jeff Pittson Cachaça 7, 9, 11:30 pm $15 ÌHenry Threadgill’s Zooid Jazz Gallery 9, 10:30 pm $20 • Andrea Tierra Quartet with Edmar Castaneda ÌKen Peplowski/Greg Cohen Casa Frela Gallery 8 pm Bargemusic 8 pm $35 ÌHenry Threadgill’s Zooid Jazz Gallery 9, 10:30 pm $20 • Steve Smith’s Vital Info with Vinny Valentino, Tom Coster, • Steve Smith’s Vital Info with Vinny Valentino, Tom Coster, Baron Browne Iridium 8:30, 10:30 pm $35 Baron Browne Iridium 8:30, 10:30 pm $35 • Taylor Eigsti with Julian Lage, Reuben Rogers, Eric Harland and • Taylor Eigsti with Julian Lage, Harish Raghavan, Greg Hutchinson guest Edmar Castaneda Jazz Standard 7:30, 9:30 pm $25 and guest Dayna Stephens • Ehud Asherie; Anat Cohen Group; Ari Roland Group with Jazz Standard 7:30, 9:30, 11:30 pm $30 Ned Goold, John Mosca Smalls 7:30, 9:30 pm 12 am $20 ÌPharoah Sanders Birdland 8:30, 11 pm $35 • Theo Bleckmann/Fumio Yasuda ÌCelebrating Ellington: Juilliard Jazz Orchestra conducted by Neue Galerie 9 pm $103 Gerald Wilson Dizzy’s Club 7:30, 9:30, 11:30 pm $30 • Felipe Salles with Jacam Manricks, Joel Yennior, Laura Arpiainen, • Essentially Ellington Alumni All-Stars Nando Michelin, Fernando Huergo, Bertram Lehman, Dizzy’s Club 1 am $10 Rogerio Boccato; Patrick Cornelius with Doug Wamble, ÌTom Harrell, Wayne Escoffery, Danny Grissett, Ugonna Okegwo, Gerald Clayton and guest Cachaça 7, 8:30, 10, 11:30 pm $15 Johnathan Blake Village Vanguard 9, 11 pm 12:30 am $35 ÌAlexis Cuadrado Trio Bar Next Door 8 pm $10 • Charenee Wade and Trio ParlorJazz 9, 10:30 pm $20 • Cornelius Dufallo, Daniel Goode, Kamala Sankaram, • Nanny Assis Shutters Café 8, 10 pm $20 Deborah Weisz; Tim Ziesmer’s Ampersand with Chris Speed, • Bruce Harris Quartet Cleopatra’s Needle 8 pm Nate Radley, Ted Poor The Stone 8, 10 pm $10 • Akua Dixon String QuartetHarlem Stage 2 pm • Eric Lewis’ U Groove Zinc Bar 9:30, 11 pm 1 am $5 • Wayne Roberts/Freddie Bryant • Gustavo Casenave Bosendorfer New York 7:30 pm City Crab 12 pm ÌKatie Bull with Frank Kimbrough, Joe Fonda, Harvey Sorgen, • Larry Newcomb Trio; Mark Marino Trio; Akiko Tsugura Trio Jeff Lederer 55Bar 7 pm The Garage 12, 6:15, 10:45 pm • Richard Lanham with Keith Saunders, Bim Strasberg, Taro Akamoto Smoke 8, 10, 11:30 pm $20 Sunday, May 18 • Po’Jazz hosted by Golda Solomon with Linda Ciofalo Cornelia Street Café 6 pm $15 • Dave Scott Band with Sarah Bernstein, Nate Radley, Jacob Sacks, • Wendy Gilles with Petr Cancura, Jamie Reynolds, Bridget Kearney, Dave Ambrosio, Ted Poor; John O’Gallagher Quintet with Brian Adler Cornelia Street Café 8:30 pm $10 Russ Lossing, Johannes Weidenmueller, Nate Radley, ÌInsight; Latin Hustle Spike Hill 8 pm Jeff Hirshfield Jimmy’s 7, 9 pm $10 • Jill McManus Duo Sofia’s 7 pm • Andrea Parkins solo and with David Watson, Alex Waterman • Etan Haziza Trio with Frank Hauch, Bryan Bisordi Roulette 8:30 pm $15 Tillie’s 8 pm $5 • Daniela Schaecter Trio Cornelia Street Café 8:30 pm $10 ÌHåkon Kornstad solo Zebulon 9 pm

42 May 2008 | ALLABOUTJAZZ-NEW YORK • Clare and the Reasons PS 217 Auditorium 7 pm • Roz Corral Trio with Roni Ben-Hur, Santi Debriano Tuesday, May 20 • Jason Marshall Quartet Cleopatra’s Needle 7 pm North Square Lounge 12:30, 2 pm ÌAl Foster Quartet with Eli Digibri, Gary Versace, Doug Weiss • Amy Crawford and Trio; Bruce Harris Quartet • Eve Silber; David Coss and Trio; Ryan Anselmi Quartet Village Vanguard 9, 11 pm $30 The Garage 6, 10:30 pm The Garage 12, 7, 11:30 pm ÌRoy Hargrove Big Band Jazz Gallery 9, 10:30 pm $25 • Wayne Roberts/Sheryl Bailey • Fred Hersch Pocket Orchestra with Ralph Alessi, Richie Barshay, Friday, May 23 City Crab 12 pm Jo Lawry Jazz Standard 7:30, 9:30 pm $25 ÌOpen Loose: Mark Helias, Tony Malaby, Tom Rainey • Marcin Wasilewski Trio with Slawomir Kurkiewicz, Monday, May 26 Michal Miskiewicz Birdland 8:30, 11 pm Cornelia Street Café 9, 10:30 pm $10 Ì Ì • Yosvany Terry Quintet Zinc Bar 9:30, 11 pm 1 am $5 Achim Kaufmann, Mark Dresser, Harris Eisenstadt John Hebert with Michael Attias, Satoshi Takeishi, Nasheet Waits • Bill Charlap Trio with Peter Washington, Kenny Washington Home of Carl & Jill 8 pm Tea Lounge 8 pm $5 Dizzy’s Club 7:30, 9:30 pm $30 • Ignacio Berroa Quartet with Xavier Perez, Robert Rodriguez, ÌJazz Quebec Series: François Richard Octet with Mark Feldman, • Jeb Patton Quartet with Jeremy Pelt Ricky Rodriguez Jazz Standard 7:30, 9:30, 11:30 pm $30 Alexandre Côté, Mélanie Bélair, Ligia Pauqin, Sheila Hannigan, Dizzy’s Club 11 pm $10 • Mike Clark Quartet with Craig Handy, Christian Scott, Jerry Z Geoff Lapp, Guy Boisvert, Michel Lambert • Mike Longo Trio NYC Baha’i Center 8, 9:30 pm $15 The Kitano 8, 10 pm $25 Dizzy’s Club 7:30, 9:30 pm $15 Ì Ì • Stuart Isacoff Duo with Dave Ruffels; Grant Stewart Group with Steve Turre Quintet Smoke 8, 10, 11:30 pm $28 Vince Giordano and the Nighthawks Joe Cohn Smalls 7:30, 10:30 pm $20 ÌGiacomo Gates and Trio Lenox Lounge 8:30, 10, 11:30 pm $20 Sofia’s 8 pm $15 ÌNat Janoff Trio with François Moutin, Tyshawn Sorey • Ivan Lins and Trio da Paz Rose Hall 8 pm $30-120 • Steve Ash Trio; Ari Hoenig with Will Vinson, Jonathan Kreisberg, 55Bar 7 pm • Rosa Passos Quartet Allen Room 7:30, 9:30 pm $60 Matt Penman Smalls 7:30, 10:30 pm $20 Ì • Kris Davis Trio with Lisa Mezzacappa, Ted Poor Alexis Cuadrado Puzzles Quartet with Loren Stillman, • Juan Carlos Formell Blue Note 8, 10:30 pm $10 Cornelia Street Café 8:30 pm $10 Brad Shepik, Mark Ferber Jazz Gallery 9, 10:30 pm $15 • Dave Binney Big Band Cachaça 10, 11:30 pm $15 • Vadim Neselovski Cachaça 7, 8:30 pm $15 • Dwayne Clemons Quintet; Rodney Green Group; • Steve Dalachinsky/Tom Chiu • Jack Wilkins/Bucky Pizzarelli Ralph Lalama’s Bopjuice Smalls 7:30, 10 pm 1 am $20 Alain Kirili Loft 7 pm Bella Luna 8 pm • Roseanna Vitro with Allen Farnham, Dean Johnson, Tim Horner • Michelle Walker Trio Bar Next Door 8 pm $10 • Hendrik Meurkens QuartetLucille’s at BB Kings 8 pm Enzo’s Jazz 8, 9:30 pm $15 • Howard Williams Jazz Orchestra; Akiko Tsugura Trio • Ken Hatfield, Jon Burr, Ali Ryerson • Sara Caswell Symphony Space 7:30 pm $30 The Garage 7, 10:30 pm Fetch 7:30 pm • Dan Pratt Trio Bar Next Door 9, 11:15 pm $10 • Lou Caputo; Alex HoffmanThe Garage 7, 10:30 pm • Transcendence Quintet: Ras Moshe, Dave Ross, Shayna Dulberger, Tuesday, May 27 Matt Lavelle, Rashid Bakr Living Theatre 10:30 pm $10 ÌPaul Motian Trio 2000 +2 with Loren Stillman, Michael Attias, • Mambo Mantis Goodbye Blue Monday 9 pm Masabumi Kikuchi, Thomas Morgan Wednesday, May 21 • Sam Sadigursky All Things Gallery 9, 10 pm • James Carter Septet with Dwight Adams, DD Jackson, Village Vanguard 9, 11 pm $30 • Sofia Koutsovitis Cachaça 7, 8:30 pm $15 ÌLatin Side of Wayne Shorter: Conrad Herwig, Mike Rodriguez, James Genus, Victor Lewis, Rodney Jones, Eli Fountain • Tuli Kupferberg; Brooke Sietinsons, Meara O’Reilly, Ruben Rodriguez, Pedro Martinez, Bill O’Connell, Robbie Amin Birdland 8:30, 11 pm $35 Eric Carbonara, Bill Nace The Stone 8, 10 pm $10 Blue Note 8, 10:30 pm $25 • Wildflower: Gilad, Lafteris Bournias, Pete McCann, Shai Bachar, Ì A Tribute To Jackie McLean: Rene McLean, Charles Tolliver, • Terence Blanchard Quintet with Brice Winston, Fabian Almazan, Omer Avital Smoke 8, 10, 11:30 pm Grachan Moncur III, Amiri Baraka, Cecil McBee, Alan Palmer, Derrick Hodge, Kendrick Scott • Shea Breaux Wells with Craig Handy, David Weiss, George Cables, Jack DeJohnette Iridium 8:30, 10:30 pm $35 Cecil McBee, Billy Hart Iridium 8:30, 10:30 pm $25 Jazz Standard 7:30, 9:30 pm $30 • James Carter Septet with Dwight Adams, DD Jackson, • Bill Charlap Trio with Peter Washington, Kenny Washington ÌMark Helias/Alex Waterman Duo; Michael Attias’ Twines of James Genus, Victor Lewis, Rodney Jones, Eli Fountain Colesion with Russ Lossing, John Hebert, Satoshi Takeishi Dizzy’s Club 7:30, 9:30 pm $30 Birdland 8:30, 11 pm $35 • Aaron Diehl/Dominick Farinacci Barbès 8, 10 pm $10 ÌAl Foster Quartet with Eli Digibri, Gary Versace, Doug Weiss Dizzy’s Club 11 pm $10 • Chris Crocco’s Fluid Trio with George Garzone; Village Vanguard 9, 11 pm $35 Joe Magnarelli Group Smalls 7:30, 10:30 pm $20 • Lou Caputo Big Band NYC Baha’i Center 8, 9:30 pm $15 • Bill Charlap Trio with Peter Washington, Kenny Washington • Cynthia Sayer; Grant Stewart Group with Joe Cohn • Donny McCaslin with Ben Monder, Boris Kozlov, Adam Cruz Dizzy’s Club 7:30, 9:30, 11:30 pm $30 55Bar 10 pm Smalls 7:30, 10:30 pm $20 • Jeb Patton Quartet with Jeremy Pelt • Marc Mommaas Trio with Nate Radley, Tony Moreno • Nick Vayenas’ Synesthesia with Kendrick Scott, Gerald Clayton, Dizzy’s Club 1 am $10 Cornelia Street Café 8:30 pm $10 Fabian Almazan, Matt Clohesy, Patrick Cornelius • Jennifer Hartswick Band with Joe Davidian, Nicholas Cassarino, Tribeca Perf. Arts Ctr. 8 pm $15 Dezron Douglas, Conor Elmes • Jerome Sabbagh Trio with Ben Street, Rodney Green ÌAchim Kaufmann, Carl Maguire, Harris Eisenstadt 55Bar 10 pm Blue Note 12:30 am $12 • Jay Sanders; Jim O’Rourke/Karen Waltuch Home of Carl & Jill 8 pm • Champian Fulton Quartet Cleopatra’s Needle 8 pm The Stone 8, 10 pm $10 • Abigail Riccards; Randy Johnston • Janice Friedman Trio; Jonathan Batiste and Friends Cachaça 7, 8:30, 10, 11:30 pm $15 The Garage 6:15, 10:45 pm • Robert Dick, Lukas Ligeti, Reuben Radding; Anders Nilsson • Hadar Noiberg, Scott Reeves, Joe Young, Mike Holober, and guests The Backroom 8:30 pm $5 Kyle Nix, Paolo Orlandi Brooklyn Lyceum 8, 9:30 pm $10 Saturday, May 24 • Osmany Paredes Quartet Zinc Bar 9:30, 11 pm 1 am $5 • Katie Thiroux Trio with Glenn Zaleski, Matt Witek • Stan Rubin Orchestra Carnegie Club 8:30 pm The Kitano 8, 10 pm ÌA Tribute To Jackie McLean: Rene McLean, Eddie Henderson, • Ken Hatfield, Hans Glawischnig, Ali Ryerson • Marilyn with Harry Whitaker, Noriko Ueda, Dan Aran Steve Davis, Steve Nelson, Nat Reeves, Alan Palmer, Amiri Baraka Fetch 7:30 pm Enzo’s Jazz 8, 9:30 pm $15 Eric McPherson Iridium 8:30, 10:30 pm $35 • Bill Wurtzel/Paul Meyers Café du Soleil 7 pm • Walter Thompson Bowery Poetry Club 10 pm $8 • Bhob Rainey/Jason Lescalleet; nmperign: Greg Kelley, • Jack Wilkins, Carl Barry, Joe Giglio • Corey King’s Cells with Kyle Wilson, John Escreet, Dave Robaire, Bhob Rainey and guest Sean Meehan; Jason Lescalleet/ Bella Luna 8 pm Hayden Hawkins Tea Lounge 9, 10:30 pm $5 Graham Lambkin (OA) Can Factory 8 pm $10 • Valery Ponomarev Big Band; Joseph Perez Quartet ÌAl Foster Quartet with Eli Digibri, Gary Versace, Doug Weiss ÌAnne Mette Iversen with John Ellis, Danny Grissett, Otis Brown III The Garage 7, 10:30 pm Village Vanguard 9, 11 pm $30 and guests 4Corners Jazz Gallery 9, 10:30 pm $15 Ì • Fred Hersch Pocket Orchestra with Ralph Alessi, Richie Barshay, Circle Down Trio: Angelica Sanchez, Chris Lightcap, Chad Taylor Jo Lawry Jazz Standard 7:30, 9:30 pm $25 Cornelia Street Café 9, 10:30 pm $10 • Yosvany Terry Quintet Zinc Bar 9:30, 11 pm 1 am $5 • Fusebox: Dafna Naphtali, Ras Moshe, Shayna Dulberger • Bill Charlap Trio with Peter Washington, Kenny Washington Brecht Forum 8, 9 pm $10 Dizzy’s Club 7:30, 9:30 pm $30 • Jeff Preiss/Zeena Parkins; Saul Levine/Katt Hernandez • Jeb Patton Quartet with Jeremy Pelt The Stone 8, 10 pm $10 Dizzy’s Club 11 pm $10 • John Chin Trio Bar Next Door 9, 11:15 pm $10 • Brooks Hartell Trio; Tucker Roundtree Trio • Guilherme Monteiro/Jorge Continento and guests The Garage 6, 10:30 pm Cachaça 7, 8:30 pm $15 • Mark Soskin Saint Peter’s 1 pm $5 • Ignacio Berroa Quartet with Xavier Perez, Robert Rodriguez, • Jazz Museum Allstars with guest Dominick Farinacci Ricky Rodriguez Jazz Standard 7:30, 9:30, 11:30 pm $30 • Mike Clark Quartet with Craig Handy, Christian Scott, Jerry Z Chase Manhattan Plaza 11 am The Kitano 8, 10 pm $25 ÌSteve Turre Quintet Smoke 8, 10, 11:30 pm $28 Thursday, May 22 ÌGiacomo Gates and Trio Lenox Lounge 8:30, 10, 11:30 pm $20 ÌA Tribute To Jackie McLean: Rene McLean, Charles Tolliver, • Ivan Lins and Trio da Paz Rose Hall 8 pm $30-120 Grachan Moncur III, Amiri Baraka, Cecil McBee, Alan Palmer, • Rosa Passos Quartet Allen Room 7:30, 9:30 pm $60 Carl Allen Iridium 8:30, 10:30 pm $35 • Matt Geraghty Group; Rodney Green Group; Harry Whitaker • The Brubeck Brothers Quartet with the Imani Winds: • James Carter Septet with Dwight Adams, DD Jackson, Mike DeMicco, Chuck Lamb, Chris Brubeck, Dan Brubeck, James Genus, Victor Lewis, Rodney Jones, Eli Fountain Valerie Coleman, Torin Spellman-Diaz, Mariam Adam, Birdland 8:30, 11 pm $35 Jeff Scott, Monica Ellis Jazz Standard 7:30, 9:30 pm $25 ÌAl Foster Quartet with Eli Digibri, Gary Versace, Doug Weiss ÌPianoply: Anthony Coleman/Stephen Gosling Village Vanguard 9, 11 pm 12:30 am $35 Merkin Hall 8 pm $35 • Bill Charlap Trio with Peter Washington, Kenny Washington ÌTyshawn Sorey with Ben Gerstein, Cory Smythe, Dizzy’s Club 7:30, 9:30, 11:30 pm $30 Christopher Tordini Roulette 8:30 pm $15 • Jeb Patton Quartet with Jeremy Pelt • Dayna Stephens with Dahveed Behroozi, Gary Wang, Tim Bulkley Dizzy’s Club 1 am $10 Bargemusic 8 pm $35 • Melvin Sparks Blue Note 12:30 am $10 • Dave Allen Quartet with Tony Malaby, Drew Gress, Tom Rainey • Kerry Linder Shutters Café 8, 10 pm $20 55Bar 10 pm • Melissa Stylianou Quartet with Jamie Reynolds • Armen Donelian Trio with Dave Clark, George Schuller 55Bar 6 pm The Kitano 8, 10 pm • Swing Set Quartet Cleopatra’s Needle 7 pm • George Colligan Trio Smoke 8, 10, 11:30 pm • Nick Moran Trio; Virginia Mayhew Quartet • Rodrigo Ursaia, Helio Alves, Itaiguara Brandão, Celso D’Almeida The Garage 6:15, 10:45 pm Zinc Bar 9:30, 11 pm 1 am $5 • JD Allen Trio with Gregg August, Rudy Royston • Paul Meyers with Donny McCaslin, Leo Traversa, J&R Music 4 pm Vanderlei Pereira; Samuel Torres with Michael Rodriguez, • Wayne Roberts/Sheryl Bailey Xavier Perez, Manuel Valera, Armando Gola, Ernesto Simpson City Crab 12 pm Cachaça 7, 8:30, 10, 11:30 pm $15 • Dave Allen with Drew Gress, Tom Rainey Sunday, May 25 55Bar 10 pm • Joe Deleault/Don Davis Medicine Show Theater 8 pm • Gianmaria Testa with Paolo Fresu ÌEhud Asherie; Pete Zimmer Group with George Garzone; Joe’s Pub 7:30 pm $20 Ari Roland Group with Ned Goold, John Mosca • Rob Brown Quartet: Rob Brown, Craig Taborn, Todd Nicholson, Smalls 7:30, 9:30 pm 12 am $20 Gerald Cleaver; Peter Stampfel with Eli Smith, Jeannie Scofield • Matteo Sabattini Group; Frank LoCrasto Group The Stone 8, 10 pm $10 Cornelia Street Café 8:30 pm $10 • Sarah Bernstein solo; Billy Mintz and the 2 Bass Band with ÌKate McGarry Trio with Keith Ganz, Clarence Penn Dave Scott, Clay Jenkins Jimmy’s 7, 9 pm $10 Jazz Gallery 9, 10:30 pm $12 • Michael Bates/Michael Winograd Quartet • NY VS NZ: Lin Culbertson, Tom Surgal, MV Carbon Douglass Street Music Collective 8 pm The Stone 8 pm $10 • Mark Mollica Brooklyn Lyceum 9, 10:30 pm $10 • Marshall Gilkes Trio Bar Next Door 8 pm $10 • Edmar Castaneda Trio with Andrea Tierra, Dana Leong • Eyal Maoz Trio with Fima Ephron, Yonatan Halevi 55Bar 9 pm Tea Lounge 9, 10:30 pm $5 ÌA Tribute To Jackie McLean: Rene McLean, Eddie Henderson, • Mike McGinnis Goodbye Blue Monday 8 pm Steve Davis, Steve Nelson, Nat Reeves, Alan Palmer, Amiri Baraka • Michael Howell Lenox Lounge 8, 10 pm 12 am Eric McPherson Iridium 8:30, 10:30 pm $35 Ì • James Carter Septet with Dwight Adams, DD Jackson, Al Foster Quartet with Eli Digibri, Gary Versace, Doug Weiss James Genus, Victor Lewis, Rodney Jones, Eli Fountain Village Vanguard 9, 11 pm $30 Birdland 8:30, 11 pm $35 • Bill Charlap Trio with Peter Washington, Kenny Washington ÌAl Foster Quartet with Eli Digibri, Gary Versace, Doug Weiss Dizzy’s Club 7:30, 9:30 pm $30 Village Vanguard 9, 11 pm $30 • Jeb Patton Quartet with Jeremy Pelt • Bill Charlap Trio with Peter Washington, Kenny Washington Dizzy’s Club 11 pm $10 Dizzy’s Club 7:30, 9:30 pm $30 • Trio East Saint Peter’s 5 pm Ì • Jeb Patton Quartet with Jeremy Pelt Lew Soloff with François Moutin Dizzy’s Club 11 pm $10 Middle Collegiate Church 6 pm • Roz Corral Quartet with Ron Affif, Boris Kozlov, Eric Halvorson • Marta Gomez with Emilio Teubal, Yulia Musayelyan, Franco Pinna, 55Bar 7 pm Fernando Huergo Blue Note 12, 2:30 pm $24.50 • Bill Wurtzel Duo Havana Central 1 pm

ALLABOUTJAZZ-NEW YORK | May 2008 43 • David Gilmore Quintet with Marcus Strickland, George Colligan, Wednesday, May 28 Brad Jones, Rudy Royston R E G U L A R EN G A G E M E N T S ÌThe Latin Jazz Allstars - For Hilton and Mario: Steve Turre, Jazz Gallery 9, 10:30 pm $15 Candido, Arturo O’Farrill, Ray Vega, Dave Valentin, Yunior Terry, • Antoinette Montague and Trio MONDAYS Claudio Roditi, Pete Escovedo, David Sanchez, Chembo Corniel, Lenox Lounge 8:30, 10, 11:30 pm $20 • Ron Affif Trio Zinc Bar 9, 11pm, 12:30, 2 am Phoenix Rivera, Jorge Castro, Jimmy Bosch • Dave Allen Group Push Café 8 pm • Jane Stuart with Ted Brancato, MaryAnn McSweeney, • Rick Bogart Trio Seppi’s 8:30 pm (ALSO WED-THURS SAT) Iridium 8:30, 10:30 pm $35 Rick De Kovessey Enzo’s Jazz 8, 9:30 pm $15 • Carter-Davis Ensemble Judi’s 8 pm ÌMark Helias solo; Mark Helias, Nasheet Waits, Herb Robertson • Tom Beckham Trio Bar Next Door 9, 11:15 pm $10 • Steve Coleman Presents Jazz Gallery 9 pm $15 Barbès 8, 10 pm $10 • Andrea Tierra Quartet with Edmar Castaneda; Gretchen Parlato • Eve Cornelious and the Chip Crawford Trio Smoke 6:30 pm ÌRebecca Parris Birdland 8:30, 11 pm $35 with Mike Moreno, Alan Hampton, Jamire Williams • Patrick Cornelius/Lou Garrett Quartet Mona Lounge 9 pm • Joshua Light Show with Ikue Mori, Zeena Parkins, Lee Ranaldo, Cachaça 7, 8:30, 10, 11:30 pm $15 • Eddy Davis New Orleans Jazz Band The Carlyle 8:45 pm $75-100 Marina Rosenfeld (OA) Can Factory 8 pm $20-30 • Jon Faddis Group with David Hazeltine, Dion Parson • Rachel Eckroth Trio Cornerstone Pub 5 pm • Whoopie Pie: Bill McHenry, Jamie Saft, Mike Pride Blue Note 8, 10:30 pm $30 • Jesse Elder Destino’s 7:30 pm Zebulon 9 pm ÌThe Latin Jazz Allstars - For Hilton and Mario: Steve Turre, • John Farnsworth Jam Smoke 9:30 pm • Holly Cole Joe’s Pub 7:30, 9:30 pm $25 Candido, Arturo O’Farrill, Ray Vega, Dave Valentin, Yunior Terry, • Jeanne Geis Carnegie Club 9 pm • Aaron Parks Trio; Joe Magnarelli Group Claudio Roditi, Pete Escovedo, David Sanchez, Chembo Corniel, • Harlem Renaissance Orchestra Swing 46 8:30 pm Smalls 7:30, 10:30 pm $20 • Patience Higgins Lenox Lounge 9:30 pm $5 Phoenix Rivera, Jorge Castro, Jimmy Bosch • JFA Jazz Jam Local 802 7 pm • Boogaloo Brasileiro: Freddie Bryant, Misha Piatigorsky, Iridium 8:30, 10:30 pm $35 • Nathan Lucas Trio Perk’s Restaurant 8 pm Sergio Brandao, Portinho Smoke 8, 10, 11:30 pm ÌRebecca Parris Birdland 8:30, 11 pm $35 • Jon Notar Buona Sera 7 pm (ALSO TUE, THU, SAT) • Magos Herrera Cachaça 7, 8:30 pm $15 ÌJoshua Light Show with Spiritual Unity: Roy Campbell, • Jack Jeffers Big Band Minton’s 9, 10:30 pm 12 am $10 • Osmany Paredes Quartet Zinc Bar 9:30, 11 pm 1 am $5 Henry Grimes, Marc Ribot, Chad Taylor • Vanguard Jazz Orchestra Village Vanguard 9, 11 pm • Trio Transcendence: Ras Moshe, Shayna Dulberger, Dave Ross (OA) Can Factory 8 pm $20-30 • Melvin Vines Kortet with Kay Mori St. Nick’s Pub 10 pm Brooklyn Lyceum 8, 9:30 pm $10 ÌPaul Motian Trio 2000 +2 with Loren Stillman, Michael Attias, • Voices & Rhythms of NY Trio Chez Lola 7:30 pm • Lisa Hearns with Kelly Friesen, Steve Einerson, Taro Okamoto Masabumi Kikuchi, Thomas Morgan Enzo’s Jazz 8, 9:30 pm $15 Village Vanguard 9, 11 pm $35 TUESDAYS • Steve Dalachinsky, Yuko Otomo, Stephanie Stone • Terence Blanchard Quintet with Brice Winston, Fabian Almazan, • Killer Ray Appleton Sextet Creole 7:30 pm The Stone 8 pm $10 Derrick Hodge, Kendrick Scott • Jordan Brooks The Park 8 pm • Marcus Goldhaber and Jon Davis Trio with Martin Wind, Jazz Standard 7:30, 9:30, 11:30 pm $35 • Richard Bennett/Gaku Takanashi Chanto NY 8 pm Marcello Pellitteri The Kitano 8, 10 pm • Bill Charlap Trio with Peter Washington, Kenny Washington • Sedric Choukroun Seppi’s 8:30 pm ÌPaul Motian Trio 2000 +2 with Loren Stillman, Michael Attias, • Seleno Clarke Trio Perk’s Restaurant 8 pm Dizzy’s Club 7:30, 9:30, 11:30 pm $30 • Chris Crocco Duo Mario’s Trattoria 8 pm Masabumi Kikuchi, Thomas Morgan • Aaron Diehl/Dominick Farinacci • Espriens Café Charbon 10 pm - 1 am free Village Vanguard 9, 11 pm $30 Dizzy’s Club 1 am $10 • Richie Fells Ethereal Jazz Quartet J. Maxson’s 7 pm ÌLatin Side of Wayne Shorter: Conrad Herwig, Mike Rodriguez, • Miles Griffith Quartet Cleopatra’s Needle 8 pm • Irving Fields Nino’s Tuscany 7 pm (ALSO WED-SAT) Ruben Rodriguez, Pedro Martinez, Bill O’Connell, Robbie Amin • Fukushi Tainaka Trio; Sharp Radway Trio • Joel Frahm Bar Next Door 8 pm $5 Blue Note 8, 10:30 pm $25 The Garage 6:15, 10:45 pm • George Gee Make Believe Ballroom Orchestra Swing 46 8:30 pm • Terence Blanchard Quintet with Brice Winston, Fabian Almazan, • Hammond B3 Organ Grooves Smoke 9, 11 pm, 12:30 am Derrick Hodge, Kendrick Scott Saturday, May 31 • Yuichi Hirakawa Trio Arthur’s Tavern 7, 8:30 pm Jazz Standard 7:30, 9:30 pm $30 • Loston Harris Café Carlyle 9:30 pm $20 (ALSO WED-SAT) Ì • Bill Charlap Trio with Peter Washington, Kenny Washington Fieldwork: Vijay Iyer, Steve Lehman, Tyshawn Sorey • Mingus Big Band Iridium 8, 10:30 pm $25 Dizzy’s Club 7:30, 9:30 pm $30 Joe’s Pub 7:30 pm $20 • Karin Okada Anyway Café Brooklyn 9 pm Ì • Aaron Diehl/Dominick Farinacci Matana Roberts’ Grace with Kevin Tkacz, Gabriel Guerrero • Lenny Pickett Cachaça 7 pm Dizzy’s Club 11 pm $10 Jazz Gallery 9, 10:30 pm $15 • Annie Ross The Metropolitan Room 7 pm $25 Ì • Dred Scott Trio Rockwood Music Hall 12 am • Glen White; The Invisible Trio with John Chin Zeena Parkins Roulette 8:30 pm $15 ÌKate McGarry with Keith Ganz, Johannes Weidenmueller, • Jenny Scheinman; Slavic Soul Party Barbès 7, 9 pm $10 The Garage 6, 10:30 pm Otis Brown III Brooklyn Lyceum 12 am $20 • Julius Tolentino Jam Cleopatra’s Needle 8 pm • Rich Siegel, Nancy Winston • Joe Traina and Quintet Sardi’s 9:30 pm Saint Peter’s 1 pm $5 • Helena Espvall; Wu Fei The Stone 8 pm $10 • Dominick Farinacci Trio Bar Next Door 9, 11:15 pm $10 • Miles Davis Celebration with Wallace Roney and guests WEDNESDAYS Thursday, May 29 Smoke 8, 10, 11:30 pm $30 • Astoria Jazz Composers Workshop Waltz-Astoria 6 pm ÌA Great Night in Harlem: Bill Cosby, Danny Glover, Randy Weston, • Greg Bandy Group St. Nick’s Pub 10 pm • Mike LeDonne Quartet with Eric Alexander, John Webber, • Stacy Dillard cPhyve No Malice Palace 9 pm Frank Foster and his Loud Minority Big Band, Jimmy Heath, Joe Farnsworth The Kitano 8, 10 pm $25 • Rick Germanson Duo Ruth’s Chris Steakhouse 6 pm (ALSO THU-SAT) Phil Woods, Sweet Georgia Brown, James “Blood” Ulmer, • Tobias Gebb’s Trio West with guest Wayne Escoffrey; • Patience Higgins Sugar Hill Quartet Minton’s 9, 10:30 pm 12 am $10 Nnenna Freelon, Gary Brown, Leon Hendrix, Frank Wess, Jason Lindner’s Now vs. Now with Panagiotis Andreou, • Jonathan Kreisberg Bar Next Door 8 pm $5 Cecil Bridgewater, Thais Clark with Dr. Michael White’s Original Mark Guiliana; Harry Whitaker • Jed Levy and Friends Vino di Vino Wine Bar 7:30 pm (ALO FRI) Liberty Jazz Band, Buster Williams, Hank Jones, Norah Jones, Smalls 7:30, 10 pm 1 am $20 • Nathan & Max Lucas Organ Trio Lenox Lounge 6 pm Dave Brubeck Apollo Theater 8 pm $50-500 • Douglass Street Music Collective Launch Fest: Frank Carlberg; • Ryan Meagher Jam Marc’s Lounge 10 pm $5 ÌEddie Palmieri SOB’s 8, 10 pm $25 Michael Bates’ Outside Sources with Russ Johnson, Tony Barba, • Laurent Medelgi Due Amici 8pm ÌCyro Baptista and The Banquet of the Spirits with Brian Marsella, Jeff Davis; Tanya Kalmanovitch’s Girlfight; Russ Johnson Quartet • Jacob Melchior Philip Marie 7 pm Shanir Blumenkranz, Tim Keiper Douglass Street Music Collective 8 pm • David Ostwald’s Louis Armstrong Centennial Band Birdland 5:30 pm Joe’s Pub 7:30, 9:30 pm $15 • Antoinette Montague and Trio • Adam Rafferty, Paul Beaudry, Sedric Choukroun Chez Oskar 7 pm • Jon Faddis Group with David Hazeltine, Dion Parson • Avi Rothbard Ethiopian Restaurant 7:30 pm Lenox Lounge 8:30, 10, 11:30 pm $20 • Mansoor Sabree Quartet with Ben Dixon Folukies 7 pm $5 Blue Note 8, 10:30 pm $30 • Tomiko Miyata with Romero Lubambo, Dario Eskenazi, • Open Mic with Jon Weiss Duo Giovanni’s Atrium 6 pm ÌTanya Kalmanovitch/Myra Melford Adriano Santos; Gretchen Parlato with Mike Moreno, • Jerry Weldon Trio Smoke 8:30, 10, 11:30 pm Roulette 8:30 pm $15 Alan Hampton, Jamire Williams • Douglass Street Music Collective Launch Fest: Art Bailey’s Cachaça 7, 8:30, 10, 11:30 pm $15 THURSDAYS Orkestra Popilar; Daniel Kelly Quartet; John Carlson; Matt Moran • Jon Faddis Group with David Hazeltine, Dion Parson • Steve Blanco Trio Domaine Wine Bar 9 pm Douglass Street Music Collective 8 pm Blue Note 8, 10:30 pm $30 • Chinwag Candela Restaurant 7 pm • Christian Howes Quartet The Kitano 8, 10 pm ÌThe Latin Jazz Allstars - For Hilton and Mario: Steve Turre, • Sedric Choukroun Brasserie Jullien 7:30 pm (ALSO FRI, SAT) ÌEhud Asherie; Rick Germanson Trio; Ari Roland Group with Candido, Arturo O’Farrill, Ray Vega, Dave Valentin, Yunior Terry, • Duane Eubanks Late Night Session Sweet Rhythm 11:30 pm $10 Ned Goold, John Mosca Smalls 7:30, 9:30 pm 12 am $20 Claudio Roditi, Pete Escovedo, David Sanchez, Chembo Corniel, • Anthony Ciacca Trio Roth’s Westside Steakhouse 8 pm • Jorge Amorim’s Tribo Zinc Bar 9:30, 11 pm 1 am $5 Phoenix Rivera, Jorge Castro, Jimmy Bosch • Avram Fefer Trio Le Pere Pinard 9 pm • Mike Moreno Cachaça 10, 11:30 pm $15 Iridium 8:30, 10:30 pm $35 • Gerald Hayes and the Qualified Gents Minton’s 9, 10:30 pm 12 am $10 • Harlem Speaks: Jimmy Cobb ÌRebecca Parris Birdland 8:30, 11 pm $35 • Joey Morant Tap Night with Radam Schwartz Showman’s 8:30 pm Harlem School for the Arts 6:30 pm • Barbara Rosene Times Square Brewery 8 pm • Joshua Light Show with Hisham Bharoocha, Justin Simon, • Thos Shipley New Leaf Café 7: 30, 9:30 pm free ÌWill Vinson Trio Bar Next Door 8 pm $10 Eric Tsai (OA) Can Factory 8 pm $20-30 • Andy Statman Greenwich Village Synagogue 8 pm $10 • Tucksy: Dan McCarthy, Tuey Connell, Dan Loomis, Fred Kennedy ÌPaul Motian Trio 2000 +2 with Loren Stillman, Michael Attias, • Straight Street Quartet Shutters Café 8 pm $5 Cornelia Street Café 8:30 pm $10 Masabumi Kikuchi, Thomas Morgan • Carol Sudhalter Trio McAnn's Restaurant and Bar 8 pm • Liz Magnus Bargemusic 8 pm $35 Village Vanguard 9, 11 pm 12:30 am $35 • Sugartones Brass Band Jacques-Imo’s 8 pm • Warren Wolf with Tim Green, Dan Kaufman, Vicente Archer, • Terence Blanchard Quintet with Brice Winston, Fabian Almazan, • Will Vinson Bar Next Door 8 pm $5 Quincy Davis Jazz Gallery 9, 10:30 pm $12 Derrick Hodge, Kendrick Scott • Eri Yamamoto Trio Arthur’s Tavern 7 pm (ALSO FRI & SAT) • Michael Howell Lenox Lounge 8, 10 pm 12 am Jazz Standard 7:30, 9:30, 11:30 pm $35 • Lonnie Youngblood Frank’s Cocktail Lounge • Emilio Teubal’s La Balteuband with Felipe Salles, Xavier Perez, • Bill Charlap Trio with Peter Washington, Kenny Washington Moto Fukushima, Franco Pinna Dizzy’s Club 7:30, 9:30, 11:30 pm $30 FRIDAYS El Taller Latinoamericano 9:30 pm $10 • Aaron Diehl/Dominick Farinacci • David Ashkenazy Trio CHINA1 7 pm (ALSO SAT, SUN) ÌThe Latin Jazz Allstars - For Hilton and Mario: Steve Turre, Dizzy’s Club 1 am $10 • George Braith Jam University of the Streets 10 pm (ALSO SAT) Candido, Arturo O’Farrill, Ray Vega, Dave Valentin, Yunior Terry, • Kathleen Grace Band The Living Room 8 pm • Andy Brown/Petra Jensen Osterua Del Sole 1 pm Claudio Roditi, Pete Escovedo, David Sanchez, Chembo Corniel, • Mike Davis Quintet St. Nick’s Pub 10 pm • Jason Ennis and Nós Daqui • Rob Duguay Trio Carino Bar & Lounge 8 pm Phoenix Rivera, Jorge Castro, Jimmy Bosch Shutters Café 8, 10 pm $20 • Kelly Friesen Quartet Shelly’s 8:30 pm Iridium 8:30, 10:30 pm $35 • Adam Caine Goodbye Blue Monday 9 pm • Don Hanson Quintet Minton’s 9, 10:30 pm 12 am $10 ÌRebecca Parris Birdland 8:30, 11 pm $35 • Marek’s Jazz Vision Cleopatra’s Needle 8 pm • Jazz at Noon National Arts Club 12 pm • Joshua Light Show with Pandit Samir Chatterjee/KV Mahabala • Wayne Roberts/Vic Juris City Crab 12 pm • Jan Leder Trio La Prima Donna 8:30 pm (ALSO SAT) (OA) Can Factory 8 pm $20-30 • Champian Fulton Trio; David White Quintet • Jeremy Manasia Trio Roth’s Westside Steakhouse 10 pm ÌPaul Motian Trio 2000 +2 with Loren Stillman, Michael Attias, The Garage 12, 6:15 pm • Lenore Raphael Strada 57 7 pm Masabumi Kikuchi, Thomas Morgan • Titus Ribas and The House Cats Cachaça 10:15 pm 1 am $20 Village Vanguard 9, 11 pm $30 • Bill Saxton and Friends Bill’s Place 10 pm $10 • Terence Blanchard Quintet with Brice Winston, Fabian Almazan, • Donald Smith St. Nick’s Pub 10 pm Derrick Hodge, Kendrick Scott Jazz Standard 7:30, 9:30 pm $30 SATURDAYS • Bill Charlap Trio with Peter Washington, Kenny Washington Sunday, May 11th 8 pm $5 • Andy Brown/Petra Jensen Osterua Del Sole 1 pm Dizzy’s Club 7:30, 9:30 pm $30 • Ted Hefko Quartet Antique Garage 1:30 pm (ALSO SUN) ABC No Rio, 156 Rivington Street • Whitney Moulton/Brian Cashwell Perk’s Restaurant 7 pm • Aaron Diehl/Dominick Farinacci Ras Moshe/Dave Ross/ • Iris Ornig/Chuck Jennings Duo Dodo 12 pm Dizzy’s Club 11 pm $10 • Skye Jazz Trio Jack 9:15, 11 pm • Roz Corral Trio with John Hart Todd Nicholson/Tom Zlabinger New Leaf Café 8 pm SUNDAYS • Craig Magnamo Trio Cleopatra’s Needle 7 pm • Mike Cassedy, Dylan Heaney, Ben Campbell Williamsburgh Café 7 pm • Micah Burgess Trio; Jamaal Sawyer Quartet Friday, May 23rd 10:30pm $10 • DuoMotief: Jane Blackstone/Steve Blum Joey Thai 8 pm $6 The Garage 6, 10:30 pm Living Theater - 21 Clinton Street • Rick Bogart Trio Seppi’s 3 pm • Toru Dodo Jam Cleopatra’s Needle 8 pm Friday, May 30 Transcendence Quintet: • Ear Regulars with Jon-Erik Kellso The Ear Inn 8 pm Ras Moshe/Dave Ross/ • Marjorie Eliot/Rudell Drears/Sedric Choukroun Parlor Entertainment 4 pm • Lost Jazz Shrines - Remembering Jazz Gallery, Betty Carter and Shayna Dulberger/ • Eli Fountain’s Organizers Minton’s 9, 10:30 pm 12 am $10 Joe Williams: Vanessa Rubin and Allan Harris with • The Grassroots Effort Grassroots Tavern 7:30 pm Norman Simmons Trio Tribeca Perf. Arts Ctr. 8:30 pm $25 Matt Lavelle/Rashid Bakr • Lafayette Harris Trio Lenox Lounge 7 pm • Slavic Soul Party; Main Squeeze Orchestra • Lezlie Harrison Jam with Saul Rubin Trio Frank’s Cocktail Lounge 8 pm Highline Ballroom 8 pm $15 • Michael Howell/Andy McCloud Village Restaurant 12:30 pm • Miles Davis Celebration with Wallace Roney and guests Saturday, May 24th 8, 9pm $10 • Satoshi Inoue Trio Sushi Samba 1 pm Smoke 8, 10, 11:30 pm $30 Brecht Forum - 451 West Street • Satoshi Inoue Duo Roth’s Steakhouse 6 pm • Mike LeDonne Quartet with Eric Alexander, John Webber, • Bob Kindred, John Hart, Steve LaSpina Café Loup 12:30 pm Joe Farnsworth The Kitano 8, 10 pm $25 Fusebox:Dafna Naphtali/ • Myrna Lake; Spike Wilner Group Smalls 7, 10:30 pm $20 Ras Moshe/Shayna Dulberger • Lapis Luna Trio Bocca 7 pm • Dwayne Clemons Quintet; Jason Lindner’s Now vs. Now with • John McNeil/Bill McHenry Quartet Biscuit BBQ 9 pm $5 Panagiotis Andreou, Mark Guiliana; Ralph Lalama’s Bopjuice • Peter Mazza Bar Next Door 8 pm $5 Smalls 7:30, 10 pm 1 am $20 • Jocelyn Medina Trio Stella Maris 1:30 pm ÌJason Rigby with Mike Holober, Russ Johnson, Cameron Brown, Wednesday, May 28th 8, 9pm $10 • Nick Moran/Kevin Thomas Gravy 11 am Gerald Cleaver Cornelia Street Café 9, 10:30 pm $10 Brooklyn Lyceum • Chico O’Farrill’s AfroCuban Jazz Big Band Birdland 9, 11 pm $25 • Zeljko McMullen; Doron Sadja • Iris Ornig Trio Caffe De Mare 6 pm Roulette 8:30 pm $15 227 4th Avenue, Brooklyn • SUNY Purchase Jam Session Smalls afterhours • Douglass Street Music Collective Launch Fest: Rob Garcia; Trio Transcendence • TC III St. Nick’s Pub 10:30 pm Alex Heitlinger Sextet; Ideal Bread: Josh Sinton, Kirk Knuffke, Ras Moshe/Dave Ross/ • Bob Ward/Kelly Friesen One91 12 pm Reuben Radding, Tomas Fujiwara; Tom Zlabinger Quartet Shayna Dulberger • Chris Washburne’s SYOTOS Band Smoke 9, 11 pm, 12:30 am Douglass Street Music Collective 8 pm

44 May 2008 | ALLABOUTJAZZ-NEW YORK CLUB DIRECTORY

• 107West 2787 Broadway (212-864-1555) Subway: 1 to 110th Street • Ethiopian Restaurant 1582 York Avenue Between 83rd • Nino’s Tuscany 117 W. 58th Street (212-757-8630) • 5C Café 68 Avenue C (212-477-5993) and 84th streets (212-717 7311) Subway: 4, 5, 6 to 86th Street Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle Subway: F, V to Second Avenue 5ccc.com • EZ’s Woodshed/BigAppleJazz 2236 Adam Clayton Powell Jr. ninostuscany.com • 55Bar 55 Christopher Street (212-929-9883) Blvd. between 131st &132nd Streets (212-283-JAZZ) • North Square Lounge 103 Waverly Place (212-254-1200) Subway: 1 to Christopher Street 55bar.com Subway: 2, 3 to 135th Street bigapplejazz.com Subway: A, B, C, E, F, V to West 4th Street northsquarejazz.com • ABC No Rio 156 Rivington Street (212-254-3697) Subway: F to • Fetch 1649 Third Avenue between 92nd and 93rd Streets • Nuyorican Poets Café 236 E. 3rd Street between Avenues B and C Second Avenue, J,M,Z to Delancey Street abcnorio.org (212-289-2700) Subway: 6 to 96th Street (212-505-8183) Subway: F, V to Second Avenue nuyorican.org • Alain Kirili 17 White Street (212-226-0343) Subway: 1 to Franklin • Flushing Library 41-17 Main Street (718-661-1200) • NYC Baha’i Center Gillespie Auditorium 53 E. 11th Street • All Things Gallery 269 Bleecker Street between 6th & 7th Avenues Subway: 7 to Main Street (212-222-5159) Subway: 4, 5, 6, N, R to 14th Street-Union Square Subway: A, B, C, D, E, F, V to W. 4th Street • Flushing Town Hall 137-35 Northern Boulevard, Flushing bahainyc.org • Allen Room Broadway at 60th Street, 5th floor (212-258-9800) (718-463-7700) Subway: 7 to Main Street flushingtownhall.org • (OA) Can Factory 232 Third Street (at the corner Third Avenue) Subway: 1, 2, 3, 9, A, C, E, B, D, F to Columbus Circle jalc.org • Flûte 40 E. 20th Street (212-529-7870) Subway: 6 to 23rd Street Subway: M to Union Street issueprojectroom.org • Antique Garage 41 Mercer Street • Folukies 1168 Bedford Avenue between Putnam Avenue and • PS 217 Auditorium 1100 Newkirk Ave at Coney Island Avenue (212-219-1019) Subway: N, Q, R, W to Canal Street Madison Street (718-623-3623) Subway: A to Franklin Avenue Subway: B, Q to Newkirk Avenue • Anyway Café Brooklyn 1602 Gravesend Neck Road • Frank’s Cocktail Lounge 660 Fulton St. at Lafayette, • The Park 118 10th Avenue (between 17th and 18th streets) (718-934-5988) Subway: Q to Neck Road Brooklyn (718-625-9339) Subway: G to Fulton Street (708-772 7343) Subway: 1 to 18th Street • Apollo Theater 253 W. 125th Street (212-531-5305) • Galapagos 70 N. 6th Street, Brooklyn (718-384-4586) • Parlor Entertainment 555 Edgecombe Ave. #3F between 159th and Subway: A, B, C, D, 2, 3 to 125th Street apollotheater.com Subway: L to Bedford Avenue galapagosartspace.com 160th Streets (212-781-6595) Subway: C to 155th Street • Arthur’s Tavern 57 Grove Street (212-675-6879) • The Garage 99 Seventh Avenue South (212-645-0600) parlorentertainment.com Subway: 1 to Christopher Street arthurstavernnyc.com Subway: 1 to Christopher Street garagerest.com • ParlorJazz 119 Vanderbilt Avenue, Brooklyn (718-855-1981) • BB King’s Blues Bar 237 W. 42nd Street (212-997-2144) • Goodbye Blue Monday 1087 Broadway, Brooklyn (718-453-6343) Subway: G to Clinton-Washington parlorjazz.com Subway: 1, 2, 3, 7 to Times Square bbkingblues.com Subway: J, M train to Myrtle Avenue goodbye-blue-monday.com • Perk’s Restaurant 553 Manhattan Avenue (at 123rd Street) • The Backroom 485 Dean Street, Brooklyn (718-622-7035) • Grassroots Tavern 20 Saint Marks Place (212-475 9443) Subway: A, C, D to 125th Street Subway: 1, 2 to Bergen Street freddysbackroom.com Subway: 6 to Astor Place, N,R to 8th Street • Push 294 Third Avenue Subway: 6 to 23rd Street • BAMCafé 30 Lafayette Avenue (718-636-4139) Subway: M, N, R, W • Gravy 102 Smith Street (718-935-1294) Subway: F, G to Bergen • Queens College 65-30 Kissena Boulevard, Flushing, Queens to Pacific Street; Q, 1, 2, 4, 5 to Atlantic Avenue bam.org • Greenwich Village Synagogue 53 Charles Street at W. 4th Street (718-997-5593) Subway: 7 to Main Street • Banjo Jim’s 9th Street and Avenue C Subway: L to 1st Avenue; (212-242-6425) Subway: 1 to Christopher Street • Riverside Church 122nd Street and Riverside Drive 6 to Astor Place banjojims.com • Harlem School of the Arts 645 St. Nicholas Avenue 145th Street Subway: 1 to 116th Street • Bar 4 15th Street and 7th Avenue, Brooklyn (718-832-9800) Subway: D to 145th Street • Roberto's Winds 149 West 46th Street Subway: F to 7th Avenue bar4.net • Harlem Stage 150 Convent Avenue at West 135th Street (212-391-1315) Subway: A, C, E, F, V to 42nd Street-Port Authority • Bar Next Door 129 MacDougal Street (212-529-5945) (212-650-7100) Subway: 1 to 137th Street harlemstage.org robertoswinds.com Subway: A, C, E, F, V to W. 4th Street lalanternacaffe.com • Havana Central 22 East 17th Street (Bewteen Broadway & 5th) • Rockwood Music Hall 196 Allen Street (212-477-4155) • Barbès 376 9th Street at 6th Avenue, Brooklyn (718-965-9177) (212-414-4999) Subway: 4, 5, 6, L, N, R, Q, W to Union Square Subway: F, V to Second Avenue rockwoodmusichall.com Subway: F to 7th Avenue barbesbrooklyn.com • Highline Ballroom 431 W 16th Street (212-414-5994) • Rose Center 81st Street between Central Park West and Columbus • Bargemusic Fulton Ferry Landing (718-624-4061) Subway: A, C, E to 14th Street highlineballroom.com Avenue (212-769-5100) Subway: B, C to 81st Street amnh.org/rose Subway: F to York Street bargemusic.org • Home of Carl and Jill 888 Lincoln Place, Crown Heights, Brooklyn • Rose Hall Broadway at 60th Street, 5th floor (212-258-9800) • Bella Luna 584 Columbus Avenue at West 88th Street Subway: 3 to Nostrand Avenue Subway: 1, 2, 3, 9, A, C, E, B, D, F to Columbus Circle jalc.org Subway: A to 86th Street • Hudson View Gardens Lounge 183rd and Pinehurst Avenue • Rose Live Music 345 Grand Street between Havemeyer and Marcy • Birdland 315 W. 44th Street between 8th and 9th Avenues Subway: A to 181st Street (718-599-0069) Subway: L to Lorimer Street liveatrose.com (212-581-3080) Subway: A, C, E, F, V to 42nd Street-Port Authority • Il Campanello Restaurant 136 West 31st Street (212-695-6111) • Rose Center 81st Street between CPWest and Columbus Avenue birdlandjazz.com Subway: A, C, E to 34th Street (212-769-5100) Subway: B, C to 81st Street-MNH amnh.org • Bloomingdale School of Music 323 West 108th Street • Iridium 1650 Broadway at 51st Street (212-582-2121) • Roth’s Westside Steakhouse 93rd Street at Columbus Avenue (212-663–6021) Subway: 1 to Cathedral Parkway bsmny.org Subway: 1,2 to 50th Street iridiumjazzclub.com Subway: B to 96th Street • Blue Note 131 W. 3rd Street at 6th Avenue (212-475-8592) • J&R Music World 23 Park Row (212-238-9000) • Roulette 20 Greene Street (between Canal and Grand Streets) Subway: A, B, C, D, E, F, V to W. 4th Street bluenotejazz.com Subway: 2, 3, 4, 5, 6 to Fulton Street jr.com (212-219-8242) Subway: 1 to Franklin Street roulette.org • Bocca 39 East 19th Street • J. Maxson’s 2576 Third Avenue at 139th Street, Bronx • Rubin Museum 150 West 17th Street (212-387-1200) Subway: 4, 5, 6, L, N, R, Q, W to Union Square Subway: 6 to 3rd Avenue (212-620-5000) Subway: A, C, E to 14th Street rmanyc.org • Bosendorfer New York 200 Lexington Avenue at 32nd Street, 9th fl. • Jack 80 University Place Subway: 4, 5, 6, N, R to 14th Street • St. Nick’s Pub 773 St. Nicholas Avenue at 149th Street Subway: 6 to 33rd Street BosendorferNewYork.com • Jacques-Imo’s 366 Columbus Avenue at 77th Street (212-799-0150) (212-283-9728) Subway: A, C, B, D to 145th Street • Bowery Poetry Club 308 Bowery (212-614-0505) Subway: Subway: C to 81st Street jacquesimosnyc.com • Saint Peter’s Church 619 Lexington Avenue at 54th Street F to Second Avenue; 6 to Bleecker Street bowerypoetry.com • Jazz 966 966 Fulton Street (718-638-6910) (212-935-2200) Subway: 6 to 51st Street saintpeters.org • Brecht Forum 451 West Street (between Bank and Bethune) Subway: C to Clinton Street illbrew.com/Jazz966.htm • Sardi’s 234 West 44th Street (212-221-8440) (212-242-4201) Subway: A, C, E, L, 1, 2, 3 to 14th Street • Jazz Gallery 290 Hudson Street between Dominick Subway: A, C, E, F, V to 42nd Street-Port Authority brechtforum.org and Spring Streets (212-242-1063) Subway: C, E, to • Schomburg Center 515 Macolm X Boulevard (212-491-2200) • Brooklyn College 2900 Bedford Avenue Spring Street; 1, 2 to Houston Street jazzgallery.org Subway: 2, 3 to 135th Street nypl.org/research/sc/sc.html (718-951-5655) Subway: 2 to Flatbush Avenue - Brooklyn College • The Jazz Spot 375 Kosciuszko Street (718-453-7825) • Seppi’s 123 W. 56th Street (212-708-7444) • Brooklyn Conservatory of Music 58 Seventh Avenue, Brooklyn Subway: J to Kosciuszko Street thejazz.8m.com Subway: F to 57th Street Subway: Q to 7th Avenue brooklynconservatory.com • Jazz Standard 116 E. 27th between Park and Lexington Avenue • Showman’s 375 West 125th Street (212-864-8941) • Brooklyn Lyceum 227 4th Avenue (718-857-4816) (212-576-2232) Subway: 6 to 28th Street jazzstandard.net Subway: 1 to 125th Street Subway: R to Union Street brooklynlyceum.com • Jewels Lounge Fifth Avenue at 138th Street • Shutter’s Café 433 W. 34th St. bet. Ninth & Tenth Avenues • Brooklyn Museum of Art 200 Eastern Parkway (718-638-5000) Subway: 2, 3 to 135th Street (212-279-3446) Subway: A, C, E to 34 Street Subway: 2, 3 to Eastern Parkway brooklynmuseum.org • Jimmy’s 43 E. 7th Street (basement) 212-982-3006 • Sistas’ Place 456 Nostrand Avenue at Jefferson Avenue, Brooklyn • Brooklyn Public Library Central Branch Subway: 6 to Astor Place freestylejazz.com (718-398-1766) Subway: A to Nostrand Avenue sistasplace.org Subway: 2, 3 to Grand Army Plaza; Q to 7th Avenue • Joe’s Pub at the Public Theater 425 Lafayette Street • Sister's Uptown Bookstore 1942 Amsterdam Avenue at 156th Street • Buona Sera 12th Street and University Place (212-539-8770) Subway: 6 to Astor Place joespub.com (212-862-3680) Subway: 1 to 157th Street Subway: 4, 5, 6, L, N, R, Q, W to Union Square • Judi’s 2308 Adam C. Powell Jr. Boulevard (212-690-0353) • Smalls 183 W 10th Street at Seventh Avenue (212-252-5091) • Cachaça 35 W.8th Street (at McDougal) (212-388-9099) Subway: 2, 3, B, C train to 135th Street Subway: 1,2,3,9 to 14th Street smallsjazzclub.com Subway: A, B, C, D, E, F, V to W. 4th Street cachacajazz.com • Jules Bistro 60 St Marks Place (212-477-5560) • Smoke 2751 Broadway between 105th and 106th Streets • Café Charbon 168 Orchard Street Subway: F to 2nd Avenue Subway: 6 to Astor Place julesbistro.com (212-864-6662) Subway: 1 to 103rd Street smokejazz.com • Café Loup 105 W. 13th Street between Sixth and Seventh Avenues • KB Gallery 875 W. 181st Street • SOB’s 204 Varick Street (212-243-4940) (212-255-4746) Subway: F to 14th Street (212-543-2393) Subway: A to 181st Street Subway: 1 to Varick Street sobs.com • Candela 116 E. 16th Street (212-254-1600) Subway: 4, 5, 6, N, R • The Kitano 66 Park Avenue at 38th Street (212-885-7000) • Sofia’s 146 W. 46th Street Subway: B, D, F, V to 42nd Street to Union Square candelarestaurant.com Subway: 4, 5, 6 to Grand Central kitano.com • Spike Hill 184 Bedford Avenue, Brooklyn Subway: L to Bedford • Café du Soleil 2723 Broadway at 104 Streets • The Kitchen 512 W. 19th Street (212-255-5793) spikehill.com (212-316-5000) Subway: 1 to 103rd Street Subway: A, C, E to 23rd Street thekitchen.org • Stain Bar 766 Grand Street, Brooklyn • Café Carlyle 35 East 76th Street (212-744-1600) • Knickerbocker Bar & Grill 33 University Place at 9th Street (718-387-7840) Subway: L to Grand Street stainbar.com Subway: 6 to 77th Street thecarlyle.com (212-228-8490) Subway: N, R to 8th Street-NYU • Stella Maris 213 Front Street between Beekman & Peck Slip Streets • Caffe Vivaldi 32 Jones Street between Bleecker and W. 4th Streets knickerbockerbarandgrill.com (212-233-2417) Subway 2, 3, 4, 5 to Fulton Street; Subway: A, B, C, D, E, F, Q, V to W. 4th Street-Washington Square • Knitting Factory; Knitting Factory Tap Bar; Old Office A to Broadway/Nassau stellamarisnyc.com • Carino Bar & Lounge 1710 2nd Avenue and 89th Street 74 Leonard Street between Broadway and Church Street • Steinway Reformed Church 21-65 41 Street at Ditmars Boulevard Subway: 4, 5, 6 to 86th Street (212-219-3055) Subway: 1,2 to Franklin Street Subway: N to Ditmars Blvd-Astoria • Carnegie Club 156 W. 56th Street (212-957-9676) knittingfactory.com • The Stone Avenue C and 2nd Street Subway: N, Q, R, W to 57th-Seventh Avenue • Kumble Theater I University Plaza (718-488-1051) Subway: F, V to Second Avenue thestonenyc.com • Casa Frela 47 W. 119th Street (212-722-8577) Subway: B, M, Q, R to Dekalb Avenue • Strada 57 335 West 57th Street (212-757-1620) Subway: 2, 3 to 116th Street casafrela.com brooklyn.liu.edu/kumbletheater Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle strada57.com • Chanto NY 133 7th Ave South (212-463-8686) • La Prima Donna 163 W. 47th Street (212-398-3400) • Sugar Bar 254 W. 72 Street between Broadway and West End Subway: 1 to Christopher Street chantonyc.com Subway: B, D, N, R, W to W 47th Street laprimadonnany.com Avenue (212-579-0222) Subway: 1, 2, 3 to 72nd Street • Charley O’s 1611 Broadway at 49th Street • Le Pere Pinard 175 Ludlow Street between Houston and Ludlow • Sweet Rhythm 88 Seventh Avenue South between Bleecker and (212-246-1960) Subway: A, C, E, F, V to 42nd Street (212-777-4917) Subway: F to Second Avenue Grove Streets (212-255-3626) Subway: 1 to Christopher Street • Chez Lola 387 Myrtle Avenue, Brooklyn (718-858-1484) • Lenox Lounge 288 Lenox Avenue between 124th and 125th Streets sweetrhythmny.com Subway: C to Clinton-Washington Avenues bistrolola.com (212-427-0253) Subway: 2, 3 to 125th Street lenoxlounge.com • Swing 46 349 W. 46th Street (646-322-4051) • Chez Oskar 211 Dekalb Ave, Brooklyn (718-852-6250) • Lit Lounge 93 2nd Avenue Subway: A, C, E to 42nd Street swing46.com Subway: C to Lafayette Avenue chezoskar.com (212-777-7987) Subway: F, V to Second Avenue litloungenyc.com • Symphony Space 2537 Broadway at 95th Street (212-864-5400) • CHINA1 50 Avenue B between 3rd and 4th Streets (212-375-0665) • The Living Theatre 21 Clinton Street below Houston Street Subway: 1, 2, 3 to 96th Street symphonyspace.org Subway: F train to Second Avenue china1nyc.com Subway: F to Second Avenue livingtheatre.org • The Tank 279 Church Street • City Crab Park Avenue South at 19th Street (212-529-3800) • Local 802 322 W. 48th Street between Eighth and Ninth Avenues Subway: 6 to Canal Street thetanknyc.org Subway: 6 to 23rd Street (212-245-4802) Subway: C to 50th Street jazzfoundation.org • Tea Lounge 837 Union Street, Brooklyn (718-789-2762) • Cleopatra’s Needle 2485 Broadway between 92nd and 93rd • Londel’s 2620 Frederick Douglas Boulevard (212-234-6114) Subway: M, R to Union Street tealoungeNY.com (212-769-6969) Subway: 1, 2, 3 to 96th Street Subway: 1 to 145th Street londelsrestaurant.com • Tillie’s 248 DeKalb Avenue (718-783-6140) cleopatrasneedleny.com • Louis 649 649 9th Street at Avenue C (212-673-1190) Subway: B, D, F, Q, N to DeKalb • Community Church of New York 40 E. 35th Street (212-594-7149) Subway: L to 1st Avenue louis649.com • Town Hall 123 W. 43rd Street (212-997-1003) Subway: 1, 2, 3, 7 to Subway: 6 to 33rd Street • McAnn’s Restaurant 948 First Ave at 52nd Street 42nd Street-Times Square the-townhall-nyc.org • Cornelia Street Café 29 Cornelia Street (212-989-9319) (212-813-1280) Subway: 6 to 51st Street • Tribeca Performing Arts Center 199 Chambers Street Subway: A, B, C, D, E, F, V to W. 4th Street • Manhattan School of Music 120 Claremont Avenue (212-220-1460 ) Subway: A, 1, 2, 3, 9 to Chambers Street corneliastreetcafé.com (212-749-2802) Subway: 1 to 116th Street msmnyc.edu tribecapac.org • The Cornerstone Pub 1502 Cortelyou Road & Marlborough Road • Mario’s Trattoria 493 Ninth Avenue • Union Pool 484 Union Avenue at Meeker (718-609-0484) (718-940-9037) Subway: Q to Cortelyou cornerstonepub.com Subway: A, C, E, F, V to 42nd Street Subway: L to Lorimer St. • Creole 2167 3rd Avenue at 118th Street • Medicine Show Theatre 549 W. 52nd Street, 3rd Floor • University of the Streets 130 East 7th Street (212-876-8838) Subway: 6 th 116th Street creolenyc.com (212-262-4216) Subway: C, E to 50th Street (212-254-9300) Subway: 6 to Astor Place • Destino 891 First Avenue at 50th Street medicineshowtheatre.org • Village Restaurant 62 W. 9th Street (212-505-3355) (212-751-0700) Subway: 6 to 50th Street destinony.com • Merkin Concert Hall 129 W. 67th Street (212-501-3330) Subway: 1 to Christopher Street villagerestaurant.com • Dizzy’s Club Coca Cola Broadway at 60th Street, 5th Floor Subway: 1 to 66th Street-Lincoln Center kaufman-center.org • Village Vanguard 178 Seventh Avenue South at 11th Street (212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to • Metropolitan Room 34 West 22nd Street (between 5th & 6th) (212-255-4037) Subway: 1, 2, 3 to 14th Street villagevanguard.com Columbus Circle jazzatlincolncenter.org (212-206-0440) Subway: N, R to 23rd Street • Vino di Vino Wine Bar 29-21 Ditmars Boulevard, Queens • Domain Wine Bar 50-04 Vernon Blvd • Middle Collegiate Church 50 E. 7th Street (212-477-0666) (718-721-3010) Subway: N to Ditmars Blvd-Astoria Subway: 7 to Vernon Boulevard-Jackson Avenue Subway: 6 to Astor Place middlechurch.org • Walker’s 16 North Moore Street (212-941-0142) • Douglass Street Music Collective 295 Douglass Street • Minton’s Playhouse 208 West 118th Street at St. Nicholas Avenue Subway: A, C, E to Canal Street (between 3rd and 4th Avenues), Brooklyn Subway: R to Union Street and Adam Clayton Powell Jr. Blvd-7th Avenue (212-864-8346) • Waltz-Astoria 23-14 Ditmars Boulevard (718-95-MUSIC) • Downtown Music Gallery 342 Bowery uptownatmintons.com Subway: N, R to Ditmars Blvd-Astoria Waltz-Astoria.com (212-473-0043) Subway: 6 to Astor Place; F, V to Second • MoMA 11 West 53rd Street (212-708-9400) • West Bank Café 407 W. 42nd Street (212-695-6909) Avenue downtownmusicgallery.com Subway: E, V train to Fifth Avenue/53rd Street moma.org Subway: A, C, E to 42nd Street westbankcafe.com • Drom NYC 85 Avenue A • National Arts Club 15 Gramercy Park South • Zankel Hall 881 Seventh Avenue at 57th Street (212-247-7800) (212-777-1157) Subway: F to Second Avenue dromnyc.com (212-475-3424) Subway: 6 to 23rd Street Subway: N, Q, R, W to 57th Street carnegiehall.org • The Ear Inn 326 Spring Street at Greenwich Street • Neue Galerie 1048 5th Avenue (212-628-6200) • Zebulon 258 Wythe Avenue, Brooklyn (718-218-6934) (212-246-5074) Subway: C, E to Spring Street Subway: 4, 5, 6 to 86th neuegalerie.org Subway: L to Bedford Avenue zebuloncafeconcert.com • El Taller LatinoAmericano 2710 Broadway (at 104th Street - • New Leaf Café 1 Margaret Corbin Drive [inside Ft. Tryon Park], • Zinc Bar 90 West Houston Street (212-477-8337) 3rd floor) (212-665-9460) Subway: 1 to 103rd Street Inwood (212-568-5323) nyrp.org/newleaf Subway: A, C, E, F, V, to W. 4th Street zincbar.com • Enzo’s Jazz 22 East 38th Street (212-802-0600) • New School 66 W. 12th Street (212-229-5896) Subway: 4, 5, 6, 7 to 42nd Street-Grand Central Subway: F, V to 14th Street jazz.newschool.edu

ALLABOUTJAZZ-NEW YORK | May 2008 45 (INTERVIEW CONTINUED FROM PAGE 6) “I like making bread,” he added. “I don’t want to eat bread out of pills. I want to eat real bread. If I make VG: Pray a lot. Since I’m a one-man operation, don’t I a CD, I want it to be real, not just in the air.” K wish I had funding. For acid-free paper, for example, to cover them. Oh, well, maybe after I go to that big For more information, visit victo.qc.ca. Artists playing this grandstand in the sky, someone else will be about to month include Lisle Ellis at Zebulon May 4th; William do that. K Parker at Barbès May 7th with Mark Helias and Elliott Sharp at The Stone May 7th and Hudson View Gardens For more information, visit myspace.com/ Lounge May 11th with Min Xiao-Fen. See calendar. vincegiordanothenighthawks. Giordano is at Sofia’s Mondays. See calendar.

Recommended Listening: (CLUB CONTINUED FROM PAGE 8) • Vince Giordano and The Nighthawks - New Orleans Nighthawks (GHB, 1979) Seating options appeal to various tastes. A long • Hotel Edison Orchestra - What a Day bar winds around the attractive wood paneled room (Wolverine, 1982) with its curvaceous undulating walls (which have • Vince Giordano and The Nighthawks - acoustic as well as aesthetic purpose). The Bill Challis’ The Goldkette Project (Circle, 1986) distinguished drummer Roy Haynes was recently • Vince Giordano and The Nighthawks - camped out at the bar with his grandson, the very able Quality Shout (Stomp Off, 1992-3) drummer Marcus Gilmore. There are also tables for • Dick Hyman/Tom Pletcher - those who seek more privacy. If Bix Played Gershwin (Arbors, 2003) Barkan’s love of jazz is lifelong and he feels that • Various Artists - The Aviator Soundtrack anyone can enjoy this music. “Jazz offers something (Columbia-Sony Music, 2004) that appeals to the heart and soul at the same time as it appeals to the mind. It’s music that lifts the spirits and the soul and your intellect. And it swings. And it’s fun. And it’s entertaining. It makes your soul dance. It (LABEL CONTINUED FROM PAGE 8) makes your heart dance. It’s not just an intellectual pursuit.” K records by Anthony Braxton, Satoko Fujii and William Parker. “I don’t think the label is representative of the For more information, visit jalc.org/dccc/index.asp. fest completely,” Levasseur said. “There’s a bit more Performers this month include Samba Jazz and the Music of jazz on the label.” Jobim, Joe Lovano’s Nonet, Juilliard Jazz Orchestra And while the festival can attract some of the conducted by Gerald Wilson and Bill Charlap’s Trio. See bigger names in the varying stripes of avant garde calendar. music, those shows aren’t always available to the label. “You can’t have the John Zorns and the Mike Pattons because they all have their own labels, so the label does not have all the big names,” Levasseur said. “I would like the label to be as wide as the festival, but it makes it very difficult with distribution. I have to target different markets all the time. But the mixing of the rock and jazz and improv scenes has rejuvenated the scene. It doesn’t bring more people to the festival or the label, but it brings new energy.” That overlapping of markets, however, is what keeps the festival and label exciting. A case in point came with Braxton’s return to Victoriaville three years ago. To date, Victo has released eight CDs by Braxton, more than any other artist on the label. Levasseur remembers his 1992 quartet concert as “one of the best concerts ever.” But Braxton wasn’t back at the festival for another 12 years, until the controversial 2005 festival partially curated by Thurston Moore. That year, Braxton did a duo with Frith, played with his sextet and made an unscheduled appearance with the noise group Wolf Eyes. Braxton appeared again in 2007, with his trio and 12tet. All five sets have been released. With the recent Braxton releases and a hot-off-the- presses duo between Keiji Haino and Masami Akita (better known as noise artist Merzbow), the label boasts 110 titles. This year will also see the release of a Michael Snow/Alan Licht/Aki Onda trio and a Matière Sonore concert incorporating field recordings made in Victoriaville, both from the 2007 festival. But that first release remains the best selling, at about 5,500 copies moved. All of the releases remain available, but as titles go out of stock, Levasseur is considering offering paid downloads rather than reprinting - an option he’s not embracing warmly. “For me it’s very important to have the human feeling of doing the music,” he said. “If there is no format, you don’t need a producer, the musician can just put it up on their website. When you do a concert you have memories of the concert. When you do a CD, you have something, a work of art.”

46 May 2008 | ALLABOUTJAZZ-NEW YORK IN MEMORIAM BY CELESTE SUNDERLAND GENE ALLEN PHIL BODNER CACHAO FRANK CHACE EARL MAY HENRI SALVADOR LEW SPENCE Dust off old Louis Prima A distinguished career By adding swing to A central figure of Playing with the likes of Many a Paris cabaret After starting a career as discs from the ‘40s and began for the Cuban dance music the Chicago jazz throughout Carmen McRae at clubs featured this singer and a pianist and singer, he you’ll hear some of multi-reedist in the ‘40s, influential bassist the last century, Chace like Minton’s Playhouse guitarist, who played published his first song Allen’s earliest baritone when he worked with invented mambo. At made his recording and the 845 Club was with Django Reinhardt, at age 30. Soon, stars like saxophone recordings. the Sauter-Finegan eight, he played bongos debut, on tenor how the bassist got his helped bring rock ‘n’ roll Frank Sinatra (“Nice ‘n’ Also known for his skill Orchestra, Benny in a Havana children’s saxophone, with the Bill start. He played with to France, inspired Easy”) and Fred Astaire on clarinet, he worked Goodman and others. In group, accompanied Challis Orchestra in Lester Young at the Antonio Carlos Jobim to (“That Face”) were with Gerry Mulligan, 1957 he recorded his silent films at nine and 1936. He played clarinet Audubon, with Nancy slow down samba and making hits of his tunes, Thelonious Monk and debut as a leader, joined the Havana on Wild Bill Davison Wilson at the Apollo, appeared on the Ed validating Spence as a Tommy Dorsey among Add-A-Part Jazz... And Philharmonic at 13. In records and joined with Gloria Lynne at the Sullivan Show twice. At full-time composer and others, leading the horn You! and went on to the ‘50s he joined pianist Butch Thompson Copacabana, joined Billy the age of 90, Salvador lyricist. Spence was 87 sections of many a big appear on over 330 AfroCuban rhythms, in the ‘80s. Chace was 83 Taylor’s trio in 1951 and passed away Feb. 13th. when he passed away band throughout his albums. At 90, Bodner Cuban songs and jazz at when he passed away later studied with Jan. 9th. four-decade career. At died Feb. 24th. now famous, late-night Dec. 28th. Mingus. May was 80 KEITH SMITH 79, Allen died Feb. 28th. Havana jam sessions. He when he died Jan. 4th. The British trumpeter PHIL URSO HARRY O. BRUNN died Mar. 22nd at age 89. TOMMY MCQUATER met his hero Louis Best known for his DERYCK “KANGA” While writing for With Louis Freeman’s CALVIN OWENS Armstrong at a concert collaborations with Chet BENTLEY technical publications OZZIE CADENA band, the English After high school, he in the ‘60s, then moved Baker, the tenor The trombonist hooked and advertising He worked at radio trumpeter played on joined a traveling to New Orleans, where saxophonist also worked up with the legendary companies, he led a stations, owned record transatlantic ocean liners vaudeville show, but he joined George Lewis. with Woody Herman, Australian bandleader Dixieland band. But stores and booked acts in the ‘30s and went on soon made his way back In 1966 he toured with Claude Thornhill and Graeme Bell in the ‘50s, Brunn is best known for for California clubs, but to record with Benny to Houston. Owens Keith Smith’s American Miles Davis, before played with pianist Dave penning The Story of the as a producer for Savoy Carter, Danny Polo, made a name for himself All Stars, joined Papa releasing his debut as a Dallwitz through the Original Dixieland Jazz Records from 1951-1959, Benny Goodman and the at the Eldorado Ballroom Bue’s Viking Jazz Band leader, The Philosophy of ‘80s and, in the last Band and becoming the Cadena made the biggest popular UK dance band, in the ‘50s, became BB in Denmark in the ‘70s Urso, in 1953 and A decade of his life, led official historian of that impact. There he waxed The Squadronaires. King’s bandleader and and led the Louis Salute to Chet Baker, with The Hot Foot Seven. On group, which was the everyone from McCoy McQuater passed away worked extensively for Armstrong All Stars on a Carl Saunders, in 2003. Jan. 22nd Bentley passed first band to record jazz Tyner to Little Jimmy Jan. 20th at the age of 93. the Peacock Recording tour through Europe in At 82, Urso died Apr. away. He was 82 years in 1917. Brunn was 89 Scott. At 83, Cadena died Co. At 78, the trumpet 1981. Smith died Jan. 4th 8th. old. when he died Jan. 7th. Apr. 9th. player died Feb. 21st. at age 67. BIRTHDAYS May 1 May 6 May 11 May 16 May 21 May 26 †Hayes Alvis 1907-72 †Vic Berton 1896-1951 †King Oliver 1885-1938 †Woody Herman 1913-87 †Fats Waller 1904-43 †Mamie Smith 1883-1943 †Jessie Price 1909-74 †Freddy Randall 1921-99 †J.C. Higginbotham Eddie Bert b.1922 †Bill Barber 1920-2007 †Ady Rosner 1910-76 Billy Byers b.1927 †Denny Wright 1924-92 1906-73 †Betty Carter 1930-98 †Tommy Bryant 1930-82 †Shorty Baker 1914-66 Jack Lidstrom b. 1931 Isla Eckinger b.1939 Oscar Valdambrini b.1924 Friedrich Gulda b.1930 †Ziggy Elman 1914-68 Ira Sullivan b.1931 Paul Dunmall b.1953 John Coppola b.1929 Billy Cobham b.1944 May 22 †Calvin Jackson 1919-85 †Shirley Horn 1934-2005 Dick Garcia b.1931 †Sun Ra 1914-93 †Neil Ardley 1937-2004 Carlos Ward b.1940 May 7 †Freddie Roach 1931-80 May 17 Elek Bacsik b.1926 James Newton b.1953 †Yank Porter 1895-1944 Carla Bley b.1938 †Paul Quinichette 1916-83 Giuseppi Logan b.1935 May 27 †Pete Jacobs 1899-1952 Ralph Humphrey b.1944 Joe Roland b.1920 Dick Berk b.1939 †Albert Nicholas 1900-73 May 2 †Leon Abbey 1900-75 Lee Katzman b.1928 †Jock Carruthers 1910-71 DON FRIEDMAN †Teddy Stauffer 1902-41 †Edward Inge 1906-88 May 12 †Dewey Redman May 23 †Rufus Jones 1936-90 May 4, 1935 †Pat Smyth 1923-83 Herbie Steward b.1926 †Jack Jenny 1910-45 1931-2006 †Fred Guy 1897-1971 Bud Shank b.1926 †Richard “Groove” Arthur Blythe b.1940 †Marshall Royal 1912-95 †David Izenzon 1932-79 †Artie Shaw 1910-2004 Ramsey Lewis b.1935 One night the pianist Holmes 1931-91 †Don DeMichael 1928-82 †Jackie McLean 1932-2006 †Rosemary Clooney †Niels-Henning Orsted- took a break from a set Eddie Louiss b.1941 May 8 Gary Peacock b.1935 †Peter Trunk 1936-1973 1928-2002 Pedersen 1946-2005 he was playing at Mickey Bass b.1943 †Red Nichols 1905-65 Klaus Doldinger b.1936 †Les Spann 1932-89 Junior’s and sat in with †Mary Lou Williams Trevor Tompkins b.1941 May 18 Daniel Humair b.1938 May 28 Herbie Mann around the May 3 1910-81 †Pops Foster 1892-1969 Marvin Stamm b.1939 †Andy Kirk 1898-1992 †John Lewis 1920-2001 †Jerry Rusch 1943-2003 May 13 †Lou Hooper 1894-1977 Don Moye b.1946 †Al Tinney 1921-2002 corner at Birdland. Jimmy Cleveland b.1926 Keith Jarrett b.1945 †Maxine Sullivan 1911-87 †Joe Turner 1911-85 Richie Beirach b.1947 †Russ Freeman 1926-2002 Friedman soon found Jymie Merritt b.1926 †Gil Evans 1912-88 †Kai Winding 1922-83 Ken Peplowski b.1959 Alfred Patterson b.1937 himself in the flutist’s Johnny Fischer b.1930 May 9 †Red Garland 1923-84 band. Moving from Los John Alexander b.1948 †George Simon 1912-2001 Erick Moseholm b.1930 May 19 May 24 May 29 Angeles to New York, he Larry Ochs b.1949 Dick Morrissey b.1940 John Engels b.1935 †Georgie Auld 1919-90 †Frank Signorelli 1901-75 Freddie Redd b.1927 formed a partnership Tania Maria b.1948 †Bobby Bryant 1934-98 †Herbie Fields 1919-58 †Hilton Ruiz 1952-2006 with guitarist Attila May 4 May 14 Cecil McBee b.1935 Max Bennett b.1928 Zoller, played often with †Sonny Payne 1926-79 May 10 †Sidney Bechet 1897-1959 Richard Teitelbaum Gianni Basso b.1931 May 30 Booker Little, Jimmy †Maynard Ferguson †Pee Wee Hunt 1907-79 †Zutty Singleton b.1939 Michael White b.1933 †Sidney DeParis 1905-67 Giuffre, Charles Lloyd, 1928-2006 Al Hendrickson b.1920 1898-1975 Sonny Fortune b.1939 Archie Shepp b.1937 †Benny Goodman 1909-86 Elvin Jones and others, Warren Smith b.1932 †Mel Lewis 1929-90 Skip Martin b.1916 †Charles Earland 1941-99 †Pee Wee Erwin 1913-81 recorded his first albums Don Friedman b.1935 †Julius Wechter 1935-99 May 20 †Shake Keane 1927-97 as a leader and began an Ron Carter b.1937 George Golla b.1935 May 15 Louis Smith b.1931 May 25 Harry Beckett b.1935 association with Clark Chuck Folds b.1938 Mike Melvoin b.1937 †Edmond Hall 1901-67 Tommy Gumina b.1931 Marshall Allen b.1924 Terry that continues Jimmy Ponder b.1946 †Gus Viseur 1915-74 Bob Florence b.1932 †Miles Davis 1926-91 May 31 today. This month he May 5 Ahmed Abdullah b.1947 †Ellis Larkins 1923-2002 Charles Davis b.1933 Piet Noordijk b.1932 Red Holloway b.1927 plays The Kitano with †Paul Barbarin 1901-69 Hans Reichel b.1949 Karin Krog b.1937 †Rufus Harley 1936-2006 Gary Foster b.1936 Albert “Tootie”Heath Joe Hunt, 11 days after Stanley Cowell b.1941 Alex Foster b.1953 Oscar Castro-Neves Victor Lewis b.1950 Christof Lauer b.1953 b.1935 Jack Walrath b.1946 Philip Harper b.1965 b.1940 Ralph Peterson b.1962 Wallace Roney b.1960 Louis Hayes b.1937 turning 73. - CS ON THIS DAY by Andrey Henkin

Trio, Vol. 2 Turkish Women at the Bath Bass Is Combine + Laminates + Treatise ‘84 Duet for Eric Dolphy George Wallington (Prestige) Pete La Roca (Douglas) Peter Warren (Enja) AMM (Pogus-Matchless) Aki Takase/Rudi Mahall (Enja) May 25th, 1953 May 25th, 1967 May 25th, 1970 May 25th, 1984 May 25th, 1997 Pianist George Wallington was an Drummer Pete La Roca’s career Apparently this was just an informal AMM have been peddling their These two iconoclasts - pianist Aki accomplished bebop pianist in the began auspiciously with his Blue jam session that ended up being particular brand of minimalist free Takase and bass clarinetist Rudi early ‘50s but is generally unknown Note debut Basra as well as lots of recorded. Bass Is is bass, as in four improvisation since the ‘60s. The Mahall - are very qualified to because of a close-to-30-year layoff sideman work. This album - with the bassists: Peter Warren, Dave Holland, lineup has fluctuated over that interpret the music of another and the only four obscure discs he remarkable lineup of saxophonist Glen Moore (of Oregon fame) and period, with this album coming in the adventurer in Eric Dolphy. Both also then made in ‘80s. But in the day, he John Gilmore away from Sun Ra, Jamie Faunt. Also joining the fun are middle of what could be called the have experience in playing the works was making albums like this one, a pianist Chick Corea and bassist pianist Chick Corea, saxophonist second era. Original members Eddie of earlier jazz composers like Jelly trio session with bassist Curly Russell Walter Booker - came almost exactly John Surman and drummers Stu Prévost (percussion) and Keith Rowe Roll Morton and Monk. On this 14- and drummer Max Roach. Originally two years later. Unlike his debut, Martin, Steve Hauss and Barry (guitar) are here, along with new track album, all but three pieces are issued separately but later bundled Turkish Women at the Bath, which was Altschul. Only Warren appears on the member pianist John Tilbury. The Dolphy tunes from all periods, together as Our Delight with other trio later unfairly reissued as a Chick entire album: one solo piece, two bass title of the album refers to the two including “Hat and Beard”, “The sessions, this date features five of his Corea record, is all La Roca originals. quartets with one adding tabla and pieces - lengthy at almost 45 and 32 Prophet”, “Miss Ann” and “245”. Of originals as well as Leonard Feather’s La Roca would leave music shortly two group pieces. An interesting minutes respectively - played live at the many tributes paid to the late “Ours” and the Rodgers & Hart thereafter but still occasionally document of a particularly open the Arts Club in Chicago. The first reedman, this may be perhaps most in standard “I Married an Angel”. surfaces when not practicing law. period in New York’s jazz scene. track was previously issued. his mischievous spirit.

ALLABOUTJAZZ-NEW YORK | May 2008 47