edition LP, comes from the 2013 Edgefest in Ann Arbor, saxophone cries unite with tart brass grace notes for Michigan. It’s an improvising trio in the linear free jazz tones so piercing they surmount altissimo. Still, the tradition, each piece an emerging design with strong concordance is so obdurate—and accompaniment so collective input. If the instrumentation is conventionally spot-on—that the horn players probe unexpected sonic referred to as a “piano trio”, this group feels more like avenues with no sense of strain or sweat, but rather a trio with a piano in it, taking nothing away from with a reassuring sense of gratified discovery. Lerner’s central contribution but recognizing the equal Having worked out centrifugal musical flow over contributions of Filiano and Grassi. the years, Bradford and Gjerstad have become like the The performance is consistently engaging, each of proverbial wine whose quality improves with age.

Checkpoint the four pieces enscribing a dramatic arc of its own. Spicing from younger players makes this blend even David Krakauer’s Ancestral Groove (Table Pounding) “Rising on an Infrared Wave” begins with all the trio’s more palatable. by Kurt Gottschalk potential energy held in abeyance, Lerner etching shimmering, isolated atonal figures that gradually For more information, visit nobusinessrecords.com. Gjerstad Klezmer has always been an odd mix of separatist and turn to music box melodies as the drums and bass is at Delroy’s Cafe and Wine Bar Apr. 11th. See Calendar. assimilationist. While the stars of the mid 20th Century begin to gather force. While the three musicians playing the Catskills were well aware of what side exchange the lead—Filiano’s bowed double-stops are their Challah was buttered on, they often would particularly striking—the music describes long, rework popular songs of the day to fit the style and arching tension curves, a rhapsodic emotional humor of their audience. The various forms of Klezmer explosion. There’s similar movement in “Event fusion to come out of New York and elsewhere over the Horizon”, a piece that begins with Grassi lightly last couple of decades, then, has been in keeping with tinkling on bells but soon gives way to waves of a tradition of bending tradition. churning energy reminiscent of Cecil Taylor or Marilyn One of the stalwarts of the Klezmer revival is Crispell. Much of the trio’s power comes from its David Krakauer, a first-rate clarinetist and generally members’ ability to counter one another’s impulses, as interesting bandleader. Although in many ways a in the push-pull movement of “A Point of Infinite keeper of the Klezmer flame, Krakauer can pull out a Destiny”, in which every densely insistent, dissonant surprise or two. In recent years he has been employing chord that Lerner plays resists the hurtling momentum ideas borrowed from hip-hop to results better than of the drums. they might sound. After a few records with sampler It’s a group dialogue in which each member can and human beatboxer Socalled, he has more recently suddenly come to the fore, but those strong identities hired on the equally enigmatically named Keepalive to are sublimated in a collective and traditional musicality, provide the samples. Both Keepalive and his part free jazz and part pure Romanticism. predecessor are tasteful bandmembers and Krakauer knows how to use them, adding to the mix the way any For more information, visit nobusinessrecords.com. This instrumentalist should rather than trying to project is at The Firehouse Space Apr. 8th. See Calendar. recontextualize or provide commentary on the music.

The rest of the band is plenty solid as well. Guitarist Sheryl Bailey mirrors Krakauer’s clarinet wonderfully at times and adds some tasteful, blues- Abby Whiteside Foundation presents: tinged leads when off on her own. Bassist Jerome Harris and drummer Michael Sarin are solid yet flexible. Ultimately, Checkpoint is all about the playing. Jacob Sacks With the exception of Keepalive, the members of the group have been playing with Krakauer for a good Yoon Sun Choi while and know how to work his music. The tunes are all penned by Krakauer (with one by John Zorn) and The Delaware River with keyboard player John Medeski and guitarist Marc Dan Weiss Bobby Bradford/Frode Gjerstad Quartet (NoBusiness) Ribot guesting, the band clearly has fun occupying by Ken Waxman them. But as a whole the album comes off as a bit Thomas Morgan scattered, incomplete—or a bit jammy anyway. There may be 5,251 miles separating Los Angeles and Krakauer has some great records in his catalog, Stavanger, but cornet player Bobby Bradford, 81, and including last year’s The Big Picture—albums that work Norwegian alto saxophonist/clarinetist Frode Eivind Opsvik from a unifying theme without letting the concept drag Gjerstad, 67, are so attuned in their playing they sound them down. If this isn’t quite one of them, he still like next-door neighbors. On this, their fourth quartet deserves a chance to kick back and have some fun. disc, the collaborative inspiration is as high as usual, expanding upon a relationship that goes back to the For more information, visit davidkrakauer.com. This project ‘70s-80s when each played separately, then together is at National Sawdust Apr. 7th-8th. with the late British drummer John Stevens. Bradford is the iconoclast who was a member of

Ornette Coleman’s little-recorded second quartet while Gjerstad is a Scandinavian version of Coleman, with a singular free jazz vision at variance with the prevailing cold Nordic sound. He has encouraged and employed younger Norwegian improvisers such as bassist Ingebrigt Håker Flaten, featured on this disc, and the nearly ubiquitous Paal Nilssen-Love, whose place in this quartet is now taken by Chicago drummer Frank Rosaly. It’s Rosaly’s minimal rim clanks that usually set Live at Edgefest @ the scene for the four improvisations here. Håker Marilyn Lerner/Ken Filiano/Lou Grassi (NoBusiness) by Stuart Broomer Flaten rarely draws attention to himself, instead fluidly Carnegie Hall maneuvering others’ timbres in sync like a sheep dog Weill Recital Hall The trio of Canadian pianist Marilyn Lerner and New with a flock. “River In”, balanced on a double bass York bassist Ken Filiano and drummer Lou Grassi is a ostinato, sounds like a page from the Coleman book long-standing unit, first recording the studio session with Bradford seemingly quoting “Lonely Woman”. Wednesday, April 20th - 8pm Arms Spread Wide (NoBusiness) in 2008. Since then But Gjerstad’s stop-start clarinet slurs move the tickets available at: they’ve released the concert recording Live in Madrid narrative into the contemporary realm. More www.carnegiehall.org www.abbywhitesidefoundation.org (Cadence Jazz Records) while their latest, a limited characteristic is “Sailing Up The”, where stringent alto

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