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MAY 2019—ISSUE 205 YOUR FREE GUIDE TO THE NYC SCENE NYCJAZZRECORD.COM

bARRE PHILLIPS end to BEGINNING

janis simon mulatu danny siegel nabatov astatke barker Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The City Jazz Record 66 Mt. Airy Road East MAY 2019—ISSUE 205 Croton-on-Hudson, NY 10520 Phone/Fax: 212-568-9628 New York@Night 4 Laurence Donohue-Greene: Interview : janis siegel 6 by jim motavalli [email protected] Andrey Henkin: Artist Feature : 7 by john sharpe [email protected] General Inquiries: On The Cover : barre phillips 8 by andrey henkin [email protected] Advertising: Encore : mulatu astatke 10 by mike cobb [email protected] Calendar: Lest We Forget : danny barker 10 by john pietaro [email protected] VOXNews: LAbel Spotlight : pfMENTUM 11 by robert bush [email protected] VOXNEWS by suzanne lorge US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or obituaries 12 by andrey henkin money order to the address above or email [email protected] CD Reviews 14 Staff Writers Duck Baker, Stuart Broomer, Robert Bush, Kevin Canfield, Miscellany 33 Marco Cangiano, Thomas Conrad, Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, Event Calendar Tom Greenland, George Grella, 34 Anders Griffen, Tyran Grillo, Alex Henderson, Robert Iannapollo, Matthew Kassel, Mark Keresman, Marilyn Lester, Suzanne Lorge, Marc Medwin, Jim Motavalli, Russ Musto, John Pietaro, Joel Roberts, John Sharpe, Elliott Simon, Andrew Vélez, Contributing Writers Mike Cobb, Pierre Crépon, George Kanzler, Steven Loewy, Franz Matzner, If jazz is inherently, wonderfully, about uncertainty, about where that next note is going to Annie Murnighan, Eric Wendell come from and how it will interact with all that happening around it, the same can be said for a career in jazz. To become part of this is to spend the rest of your inhabiting a Contributing Photographers Robert Frost poem, making choices both consciously and without realizing, following muses Enid Farber, Peter Gannushkin, down any number of roads, less traveled or otherwise. Runhild Heggem, Ayano Hisa, Maurice Robertson, Udo Salters Robert I. Sutherland-Cohen, Bassist Barre Phillips (On The Cover) didn’t set out to create the solo bass genre in 1968 yet Janis Wilkins, Ursula Zeidler he is rightly revered for that innovation by all those who have followed in his musical footsteps. Last year he released End To End (ECM), what he believes will be his final solo ; he Fact-checker celebrates it with an unaccompanied recital at Zürcher Gallery. A chance cab has led to a Nate Dorward 47-year membership in The Manhattan Transfer for Janis Siegel (Interview) and a fine solo career; Siegel continues her monthly “Vocal Mania” series at Birdland. And the jazz path of pianist Simon Nabatov (Artist Feature) traced a route from Moscow to New York to Cologne; he returns to one of his homes to play at 244 Rehearsal Space. nycjazzrecord.com

On The Cover: Barre Phillips (Peter Gannushkin/DOWNTOWNMUSIC.NET)

All rights reserved. Reproduction without permission strictly prohibited. All material copyrights property of the authors.

2 MAY 2019 | THE JAZZ RECORD ERIC KRASNO TRIO & FRIENDS FT & MACEO W/ SP GUESTS LISA FISCHER(5/16),

W/ SP GUEST MARVIN SEWELL (5/4-5) PARKER AFRO CUBAN ALL-STARS LEDISI (5/17 & 18) & MONONEON (5/19) MAY 2 - 5 MAY 7 - 12 MAY 13 - 15 MAY 16 - 19

ROBERTA BRANDEE YOUNGER CHRIS DAVE & FRIENDS W/ SP GUESTS GAMBARINI KENNY (5/21) & THE DRUMHEDZ

& (5/22) WITH SPECIAL GUEST QUARTET GARRETT MAY 21 & 22 MAY 23 - 26 MAY 28 & 29 MAY 30 - JUNE 2 SPECIAL SUNDAY JAZZ BRUNCH $39.50 INCLUDES BRUNCH, MUSIC & COCKTAIL

@bluenotenyc l3l WEST 3RD STREET NEW YORK CITY • 2l2.475.8592 • WWW.BLUENOTEJAZZ.COM TWO SHOWS NIGHTLY 8PM & l0:30PM • FRIDAY & SATURDAY LATE NIGHTS: l2:30AM TELECHARGE.COM WWW.BLUENOTEJAZZ.COM TERMS, CONDITIONS AND RESTRICTIONS APPLY NEW YORK @ NIGHT

To provide healthcare and disaster relief for needy Jazz these days can be found most anywhere, from musicians, Wendy Oxenhorn and the Jazz Foundation hallowed hall to basement dive bar screaming o f of America must repeatedly replenish the non-profit’s fire-code violations. But perhaps the best place to hear Freedom sound coffers. The 17th annual “A Great Night in Harlem” creative musicians is in the company of other creations, benefit, held at the on the anniversary like an art gallery or bookstore. There is an analogue of Martin Luther King’s 1968 assassination (Apr. 4th), between the notes and lines being generated by the could have been a somber occasion, but the mood was instruments and the colors and textures of a painting celebratory. (not present), Tony or sentences and themes of a novel. This synergy is Bennett and the late were honored for what drove local jazz journalist and all-around lifelong commitment to humanitarian causes, each an enthusiast Luigi Santosuosso to form a partnership agent for political change through music. Indeed, in with Rizzoli Books, one of the city’s most charming his remembrances of Belafonte and King, erstwhile purveyors of print. His series is in its ninth month and Civil Rights activist/ambassador Andrew Young fills a need for afternoon jazz appropriate for both quoted Paul Robeson: “Artists are the gatekeepers of aficionados and families striving to become so. On the truth.” The music, casual but passionate, scripted yet first gorgeous weekend of 2019, a large crowd came to freeform, reinforced the political spirit. Hoofer Savion hear saxophonist ’s Blake and Brass Glover’s opening duologue with tenor saxophonist (Apr. 7th), a quintet as reflective of the various horn- Patience Higgins set the bar high early on. The Count oriented ensembles throughout jazz history as of the Basie Orchestra performed playfully respectful leader’s own eclecticism. Joining him were trombonist versions of “April in ” and ’ (sitting , trumpeter Steven Bernstein, tuba player Percussion front row) “Li’l Ol’ Groovemaker”. Bennett glossed his (who should have a gig every day, so still supple voice over “Love Is Here to Stay” and “I important is he as an innovator) and drummer Rudy Left My Heart in ”. 13-year–old Royston in the literary role of the ingénu. “Anthem for wunderkind Lydian Nadhaswaram rollicked “Autumn No Country” recalled Stewart’s former boss , MAY 3 - 4 Leaves”; Patti Smith rocked “Pissing in the River”. “Henry’s Boogaloo”, for the departed Henry Butler, and trump(et)ed Masekela’s featured appealing polyphony over a break-beat, GLENFIELD MIDDLE SCHOOL “Grazing in the Grass”. Common rapped a few couplets Leadbelly’s “Take This Hammer” went from funereal ‘off the dome’. Even Oxenhorn took an effective to and Monk’s “Crepuscule with MONTCLAIR NJ harmonica turn on the final jam.—Tom Greenland Nellie”was stretched out like taffy. —Andrey Henkin

ANDREW CYRILLE duos: + BRANDON ROSS presents FRAGILITY: AN EXPLORATION OF POLYRHYTHMS (Claudia Acuna, , Jake Landau, Souleymane Badolo)

WARREN SMITH + SCOTT ROBINSON o g r a p h y YEYI (Adam Rudolph + Ralph M Jones) o g r a p h y TURNING JEWELS INTO WATER a r b e F o t + (Ravish Momin Val Jeanty) t e r s p h o PHEEROAN AKLAFF M.O.P. STRINGS

(Aska Kaneko, Hilliard Greene, u d o s a l © 2 0 1 9 E n i d F Tomoko Akaboshi, Matt Consul, Keyon Harrold & Wallace Roney @ The Apollo Michael Blake’s Blake and Brass @ Rizzoli Bookstore , Ralph M. Jones) In many fields, 65 is the age when one ponders “It took me 40 years to build up the courage to do DD JACKSON retirement. Not . If his inspired matinee this.” It seems incredible that bassist , SAMIR CHATTERJEE show with New Masada Quartet at Village Vanguard who, among other activities, has had long stints with (Apr. 14th) was any indication, the saxophonist/ and , would feel intimidated ABDOU M’BOUP composer has many miles (and gigs) to go before he in any musical situation yet at Zürcher Gallery (Apr. KALUN LEUNG + ADAM VIDIKSIS sleeps. Part of his enthusiasm was surely due to the 5th) he was without the benefit of those august AFROCUBA BAND presence of guitarist , who, at 31, brings personages in front of him, or or Dave a younger generation’s vim to Zorn’s well-seasoned Weckl behind him, presenting music from his first solo oeuvre and ethos, as well as considerable chops and release Soul of the Bass. Some 51 years after the first named Jazz Laureate sensitivity. Over the seven-song set, bassist Jorge shot fired, as it were, the solo bass album is no longer Roeder and drummer Kenny Wollesen provided firm unusual yet, like a writer tackling that first novel, each Tribute • Planetarium Concert but pliant rhythmic bedrock for Zorn’s vibrant alto person has to approach it in his own way. Patitucci’s Conductive-Paint Installation work. Like , he is adept at subtle/ way was marked by two characteristics. The first was soulful pitch manipulation: during “Idalah-Abal”, concision, both on record and in front of a packed Help us build The World’s the finale and high point of the afternoon, he seemed house of friends, fans and fellow bassists including to suggest an extended harmonic progression merely mentor , which spoke to a musician used to Largest Recyclable Drumkit ! by varying the tension of a single sliding pitch while working deep in the intersection between composition similarly expressive ‘microtonalisms’ were heard on and improvisation. The second was a feeling that in his “Hath-Arob” and then “Karaim”, which switched head Patitucci was hearing a band, or maybe just a between the modes (and moods) Ahava Rabbah (aka, drummer, thus anchoring the pieces and making them SEEDARTISTS.ORG the Phrygian dominant scale) and the blues scale. accessible to an audience that, one guesses, probably Lage’s clean-toned Telecaster style offered an agile foil hadn’t heard too many solo bass recitals. Patitucci (800) 838-3006 for and augmentation of Zorn’s leadership. He too hit played 11 pieces in just over 60 minutes, filling the his peak on “Idalah-Abal”, playing a compelling solo space between them with humble banter about a replete with dramatic range contrasts, iterated figures, piece’s origins or inspiration. Originals and tunes by seed legato flourishes and microtonal bends. Elsewhere he Bach and Fred McDowell from the album, artists proved remarkably chameleonic, blending into the an improvised duet with vocalist daughter Greisun immediate music environs even as he threatened to and a few jazz standards made for a genial evening expose himself with charismatic outbursts. (TG) and another milestone in Patitucci’s career. (AH)

4 MAY 2019 | THE NEW YORK CITY JAZZ RECORD Celebrating two of jazz’ most distinguished “We’re just going to do some standards tonight,” octogenarians, the Jazz at Lincoln Center with Wynton explained from his seat at Jazz at Marsalis fêted McCoy Tyner and Charles McPherson Kitano’s bar (Apr. 6th). “With this group, we’ll let it go WHAT’S NEWS at Rose Hall (Apr. 5th). Tyner, seated in the audience, where it goes. The less said,” he added with a sly grin, The 2019 Award in the Arts ceremony and 25th anniversary received a standing ovation when introduced by Music “the better.” The barely veiled promise of jazz classics celebration will take place in New York on May 13th where the $75,000 Director/alto saxophonist Sherman Irby. The music taken to parts unknown was most welcome. Of course, unrestricted prize will be given to five “risk-taking, mid-career artists”. For more information, visit herbalpertawards.org. began with orchestra pianist Dan Nimmer swinging the definition of “standard” itself becomes fluid in Tyner’s “Inception”, accompanied by the composer’s such hands. John Abercrombie’s “Vertigo” (dedicated The Jazz Gallery’s Annual Gala will take place May 13th and honor Jack regular rhythm section of bassist Gerald Cannon and to the composer by bandleader/drummer Michael DeJohnette and (Lifetime Achievement Award), Wendy Oxenhorn (Contribution to the Arts Award) and Savion Glover (Trailblazer drummer Joe Farnsworth. The full orchestra, with Stephans), a lilting piano melody against a soft double- Award). For more information and to purchase tickets, visit jazzgallery.org. members of the saxophone section doubling on time gallop, demonstrated the breadth of Quartette SEED Artists’ Freedom of Sound annual festival will take place at and , was heard to great effect on Chris Oblique. Bassist , as always, drove from Montclair’s arts-magnet middle school May 3rd-4th with a roster of Warren Crenshaw’s powerful of “Man From under, dropping accented octave-leaps that colored Smith, Andrew Cyrille, Billy Hart, Glen Velez, Susie Ibarra, , Tanganyika” and Ted Nash’s beautiful orchestration of Liebman’s soprano and the ringing -like DD Jackson, Adam Rudolph/Ralph Jones, Kalun Leung/Adam Vidiksis, Ravish Momin/Val Jeanty, Roopa Mahavedan and others plus a wide array “Ballad For Aisha”. Cannon and Farnsworth joined the harmonies of pianist . Later, the quartet of community activities. For more information, visit seedartists.org. band for Irby’s soulful take on “Blues On The Corner” utterly nailed “In a Sentimental Mood”, with Stephans’ Saxophonist Wayne Shorter will receive an honorary Doctor of Fine Arts before the first half of the show ended with Victor timpani mallets drawing out lush depth from his tom- degree as part of the 2019 commencement ceremony Goines’ tour de force scoring of “Fly with the Wind”. toms and cymbals and Liebman’s tenor forging a new May 22nd. The orchestra kicked off the McPherson section of the voice to the legendary Coltrane lead. But Ellington’s The 24th annual Essentially Ellington High School show slipping into classic mode, with Nash’s iconic riff was replaced with the pure atmosphere that Competition will take place at Jazz at Lincoln Center May 9th-11th. Local Ellington-ian arrangement of “Jumping Jacks”, the evening expected. Still, the center work was a participants are Newark Academy (Livingston, NJ) and William H. Hall High School (West Hartford, CT). For more information, visit jazz.org/ee. followed by guest arranger Papo Vazquez’ pulsating fascinating rendition of “Milestones” with Kurt Weill’s AfroCaribbean outing on “Marionette”. McPherson “Speak Low” as its B section. Pushed at a wonderfully Making the Jazz Gumbo: An International Conference on Repertoires joined the band for Goines’ arrangement of “Horizons”, fast tempo, a pulsating ultra-sensitive simmer that that Influenced and were Influenced by Early Jazz—Marking the 100th Anniversary of the death of James Reese Europe, presented by the he and Marsalis blowing potently. Orchestrations of built into a smoking climax, Stephans’ whipped ride Historic Brass Society, will take place at CUNY Graduate Center May 8th, “Nightfall’ and “7th Dimension” by Marcus Printup cymbal inspired Liebman to drop in unexpected strains with participants including Jimmy Owens, Bobby Sanabria, Jeff Nussbaum, John Graziano, Jason Moran, Ehud Asherie, Frederick Starr, Jack and Kenny Rampton, respectively, underscored of “Autumn Leaves”. “That’s why we named the band Stewart, Michael Dinwiddle, Ned Sublette, Krin Gabbard, Ralph Barrett, McPherson’s composing talent while closer “Bud Like” Oblique,” the drummer later explained. “We approach Graham Haynes, Paul Niemisto, Thomas Garcia, Laura Moore Pruett and showcased his bebopping alto. —Russ Musto every move from a side angle.” —John Pietaro others. For more information, visit historicbrass.org The Jazz Journalists Association has announced its 2019 Jazz Heroes. Local recipients are Marjorie Eliot of ParlorJazz and promoter/publisher/ booker Jim Harrison. For more information, visit jjajazzawards.org.

Guitarist Julian Lage was awarded the 2019 Paul Acket Award by the . Trumpeter was awarded the 2019 Ascona Jazz Award by the JazzAscona Festival.

The New School’s College of Performing Arts presents the ninth edition of (Un)Silent Film Night on May 10th at 7 pm, with students performing live to films. The program will be The Film Ensemble led by Angelica Sanchez, The NYC Composers Ensemble directed by and Nir Felder and Matt Wilson’s Student Ensemble. For more information, visit

t L i n c o l C e r . events.newschool.edu. a Last month saw the reopening of the famed Keystone Korner in , the third iteration of the club after San Francisco and Tokyo, in a collaboration between original founder Todd Barkan and Michelin-starred chef Robert Wiedmaier. For more information, visit keystonekornerbaltimore.com. f o r J a z

The Robert D. Bielecki Foundation has announced two 2019 grant recipients: $5,000 to The Kitchen in support of ’s Rosa Parks: Pure Love. An Oratorio of Seven Songs and $10,000 to the a n o H i s

y Vision Festival in support of Andrew Cyrille’s 2019 Lifetime Achievement R . I S u t h e r l a n d - C o / j z x p s i g A Celebration. For more information, visit rdbf.org. Charles McPherson & Jazz at Lincoln Center Orchestra @ Rose Hall Dave Liebman @ Jazz at Kitano Brooklyn’s Theatre will present A Walk Into Slavery: An Oral History of the Present, a collaboration of Hollis King, Carl Hancock Bronx native David Valentin frequently performed at “Caribbean Roots of Jazzin’ & Jammin’”, presented Rux and Indira Etwaroo marking the 400th anniversary of the first slaves Hostos Center, so it was no surprise to find it filled by the Bronx Music Heritage Center (Apr. 13th), was a brought to the colonies from Africa, Apr. 30th-May 4th. For more information, visit thebillieholiday.org. with fans of the late player for a tribute set by his visceral celebration of West Indian heart of jazz. The longtime pianist Bill O’Connell (Apr. 6th). Joined by three-hour presentation opened with duets by As part of the Hostos Center’s “Machito & the Impact of the Afro-Cubans at 80” event (May 2nd-4th), there will be several educational events: “Never fellow Valentin band members, bassist percussion master Andrew Cyrille and Bobby Sanabria, Before Heard Recordings” (May 2nd and 4th at 6 pm); a tour of the exhibition and drummer , along with flutist Andrea Latin drumming icon and Co-Artistic Director of the “Machito and Mario: of Afro-Cuban Jazz” (May 3rd at 6:30 pm); a Brachfeld and conguero Román Díaz, O’Connell space. The two sat at opposing drumsets, but this was screening of the film Machito: A Latin Jazz Legacy (May 3rd at 7 pm); a rhythm section workshop (May 4th at 1:30 pm); and the panel discussion rekindled the sound of Valentin’s popular Latin jazz no face-off. Pulses locked and both became embedded “Machito, Bauzá & Graciela: Creating a Genre that Endures” (May 4th at group with swinging of pieces from the in the engrossing communal cross-rhythms. Sanabria 3:30 pm). For more information, visit hostos.cuny.edu/culturearts/events/ band’s repertoire. Things began with driving takes on fired away like a machine gun, but Cyrille was a slower Year2019/May/Machito/Machito.shtml. Paul McCartney’s “Blackbird” and Wayne Shorter’s cooker, championing the rolling heartbeat over his Manhattan School of Music (MSM), ELMA Music Foundation and Hugh “Footprints” on which Brachfeld proved herself to be entire kit, demonstrating the sheer musicality that has Masekela Heritage Foundation have announced The Hugh Masekela Heritage Scholarship, providing full scholarships to six South African the rightful heir to Valentin’s esteemed place in the made him a legend. During a lengthy improvisation music students to pursue Bachelor of Music degrees at MSM, Masekela’s pantheon of flute players, soaring over the band’s based on the Cuban traditional “Babalu”, Sanabria alma mater. exhilarating rhythms, then digging deep down on a took the lead, adding Spanish vocals, playing congas Emmet Cohen has been named the winner of the 2019 American Pianists stirring rendition of “I Loves You, Porgy”. Ameen and with his left hand as the right danced over cowbells. Awards, receiving a cash prize and two years of career advancement and Díaz opened up “Afro Blue” with a raucous percussion Cyrille bored through the rollicking pulsations and support valued at over $100,000 and a recording contract with Mack Avenue Music Group. For more information, visit americanpianists.org. dialogue that powered the group through the piece. between the two, they summoned the war gods. A O’Connell’s compositional skills came to the fore on panel of Wilson Decembre PhD, Lois Wilcken PhD and has announced the musicians for the 2019 NYO Jazz, a four-week intensive summer program for American jazz instrumentalists set closer “Oasis” and throughout the , pianist Miguel Andres Tejada offered historic and (ages 16-19): saxophones: Sophia Kickhofel, Ian Muñoz, Evan which debuted his AfroCaribbean Ensemble, adding political context: the role played by Haitian musicians, Kappelman, Cole Palensky, Jason Arkins; trumpets: Ethan Avery, Summer the alto, tenor and baritone saxophones of Craig brutally enslaved, forcibly brought to Camargo, Janelle Finton, Ariel Mejia, Jack Towse; trombones: Jeremy Duke, Jett Lim, Leo Markel, Omeed Nyman; rhythm: Seth Finch, Miles Handy, Ralph Bowen and Gary Smulyan, along with during the Haitian Revolution, was vital to the Lennox, Emmanuel Michael, Nico Wohl, Jayla Chee, Will Hazlehurst, trumpeter Alex Sipiagin and trombonist Adam development of jazz. Music of Vodou culture was put Anton Kot. For more information, visit carnegiehall.org/NYOJazz. Machaskee, to the mix. Opening with “Wind Off The on powerful display by La Troupe Makandal, a As Told To G/D Thyself, a short film from saxophonist Kamasi Washington, Hudson” and “Gospel 6”, O’Connell confirmed he had freewheeling multicultural ensemble featuring the was released exclusively on Apple Music last month. For more information, much to add to the Latin jazz lexicon. He memorialized traditional three-drummer frontline augmented by visit kamasiwashington.com/astoldtogodthyself. Jerry Gonzalez with his “Jerry’s Blues”, then ended piano, bass and guitar/vocals. Messrs. Cyrille and Submit news to [email protected] with “Oye Como Va” and “C Jam Blues”. (RM) Sanabria joined in for the tumultuous finale. (JP)

THE NEW YORK CITY JAZZ RECORD | MAY 2019 5 INTERVIEW

TNYCJR: You eventually joined a group with Hendricks, but that was later. Let’s go back to 1972. Was Manhattan Transfer popular right out of the gate?

JS: Well, no. We couldn’t get a record deal, actually. We were playing all these great clubs in New York, some janis that don’t exist anymore, such as the Mercer Arts Center, Reno Sweeney’s, Trude Heller’s. We were playing bars and cruises. Record companies liked us a lot, but they didn’t think we could sell any records— until Ahmet Ertegun heard us. I don’t think he cared if we could sell records or not. We appealed to his personal taste. siegel (CONTINUED ON PAGE 42) LESLIE PINTCHIK TRIO J a n i s W l k by jim motavalli Thursday, May 16th anis Siegel joined vocal quartet The Manhattan Transfer Castaways uptown. We finished the show and we were J Sets at 8:00 PM and 10:00 PM in 1972, staying through two personnel changes, including going back to our hotel to have a party. Our conga the death of founder Tim Hauser in 2014, and has made a player got into the cab and found out that Tim was Jazz at Kitano dozen solo . What unites all her work is a love of looking for singers to record a demo on spec. So Tim 66 Park Avenue @ 38th Street, NYC (212) 885-7119 singing, especially four-part harmony, and that devotion is ended up at the party too. Tim was looking to get back “...a composer of emotional depth and eff ortless on display at Siegel and Lauren Kinhan’s monthly Vocal into the music business. I think he was kicked out of lyricism...” DownBeat Mania series. “The producer Charles Carlini approached us the old Transfer, actually. He was driving that cab to to curate,” Siegel said. “And together we came up with the make a living and meanwhile looking for singers. He Leslie Pintchik - piano concept, which showcases guest singers. We’ve had Kate parked the cab, came up to the party and that’s how Scott Hardy - bass McGarry, Alan Harris, Nellie McKay, Raul Midón, the I met him. He took our numbers and when we went to Michael Sarin - drums group Duchess. It’s not all jazz—we also draw from the his session we connected right away. Laurel Massé You Eat My Food, You Drink cabaret world, world music, opera and both Cuban and [who was in the group until 1979, when she was My Wine, You Steal My Girl! Brazilian music”. Vocal Mania is the logical extension of a replaced by Cheryl Bentyne] also got into Tim’s cab. ****—DownBeat lifetime of singing. She was waitressing, hailed him at 2 a.m. and they Available now at ended up going out for coffee. She was there at that Amazon and iTunes The New York City Jazz Record: You first recorded first session, too. www.lesliepintchik.com with a group called The Young Generation, circa 1965, for Red Bird Records? TNYCJR: I hear you were all on the same page when Tim brought out “Minnie the Moocher’s Wedding Janis Siegel: That’s correct. I was in eighth grade, at Day”. Were you into jazz from your earliest days as a age 12, and my aunt gave me a guitar and I learned musician? how to play it. So two of my girlfriends and I started a group called The Young Generation and stayed JS: Not the vocal music at first. I was into instrumental together all through high school. We recorded on Red jazz. I liked , , Monk Bird and Kapp. Aside from just being normal teenager and . I was listening to saxophone players girls, we had this whole other life going on while we mostly, but when I met Tim my world completely were in school. opened up because he was an encyclopedia of The music was very authentic to being a 12-year- knowledge about vocal groups and singers. We spent old girl. We did a lot of —songs like “The hours going through his record collection. Everything Cruel War” and “Lemon Tree”, some Dylan—and we from doo-wop to The Four Freshmen, The Hi-Los, The did pop too. Really, that’s my background. And we Merry Macs, The Modernaires. I became a complete started writing songs as well. We did these naïve, student of that history. poppy tunes with three-part harmony and played guitars. [Two singles were “The Hideaway” and “It’s TNYCJR: Obviously, Lambert, Hendricks and Ross Not Gonna Take Too Long”—both produced by Richard was a precursor to the Transfer’s music. Perry.] Young Generation morphed into a group called Laurel Canyon. This is after we all went to college and JS: They were a very big influence on us, especially Jon lived a bit. I was a nursing student and I left school to Hendricks—who we consider our mentor and my become a singer full time. musical father, really. I loved Annie [Ross], but Jon was Nobody in my family was very musical, though the lyricist and the scat singer. Annie did write a couple my father liked to sing. He had a nice voice and his of awesome lyrics—for “Twisted”, “Farmer’s Market” idol was . I would sing harmony with him, and “Jackie”. She wrote some good shit. But Jon was not knowing what it was. It was just kismet that I got writing all day and came up with some insanely into music really. I sang in glee club in school, but it awesome lyrics. wasn’t a passion yet. I grew up in Brooklyn and went My relationship with Jon deepened and got really to James Madison High School, which is where all the strong around the time of [the Transfer’s big hit, based cool politicians—including Ruth Bader Ginsburg and on a composition] “Birdland”. We had Bernie Sanders—came from. initially commissioned Eddie Jefferson to write the lyrics because we were hanging out with him. Eddie TNYCJR: Tim Hauser formed The Manhattan Transfer was a perfect choice, we thought, but then he was in 1969 and the first lineup made one very eclectic tragically murdered [in Detroit, at Baker’s Keyboard album for Capitol but then broke up. He was driving a Lounge in 1979]. So because Eddie hadn’t had time to cab when you met him in 1972, right? write anything, we contacted Jon and that’s when our friendship really began. He eventually lived in my JS: Yes, I met him through the cab and so did [former neighborhood and we would hang out together. We’d member] Laurel Massé. I was singing with Laurel have endless dinners and we’d also meet up on the Canyon and we were about to get a record deal. We road. Jon pushed me to improvise. He was a master were then backing up this wonderful singer from and just to be near people like him and watch them go Nashville named Dianne Davidson, playing at Kenny’s through their daily lives was an important lesson.

6 MAY 2019 | THE NEW YORK CITY JAZZ RECORD ARTIST FEATURE

For more information, visit nabatov.com. Nabatov is at 244 Rehearsal Studios May 23rd. See Calendar.

Recommended Listening: • /Ed Schuller/Arto Tuncboyaci/ Simon Nabatov—Circle The Line (GM, 1986) simon • Simon Nabatov Trio—Tough Customer (Enja, 1992) • Simon Nabatov/Nils Wogram Duo— As We Don’t Know It (Konnex, 1998) • Simon Nabatov/Han Bennink— Chat Room (Leo, 2001) • Simon Nabatov—Solo: Spinning Songs of (Leo, 2007) • Simon Nabatov String Trio—Situations (Leo, 2015)

Z e i d l r nabatov eric’s house of improv presents © U r s u l a by john sharpe may 23, 2019 It’s no surprise to learn that pianist Simon Nabatov acclaimed writings of Isaac Babel, an Odessa Jew who simon naBatov trio was a child prodigy. He brings breathtaking finesse to went as a correspondent to the 1920 Russian-Polish war. simon naBatov - piano everything he touches. And since leaving the Soviet They continue a sequence that began in 2001 with Nature John héBert - Bass Union in 1979 at 20, he has touched on a staggering Morte (Leo), composed around a poem by Joseph GeraLD cLeaver - Drums range, equally at home in modern jazz, free Brodsky. “After 40 years of being outside of Russia, its improvisation, the canons of and literature, its language, is one of the most precious may 26, 2019 Herbie Nichols and Brazilian music. That’s not to things that connect me with that. The authors I choose mention his own works, which defy easy classification. all seem to be sharing the fate of being suppressed by trio Even as a young man growing up behind the Iron the government. My grandfather was arrested and craiG taBorn - piano Curtain, Nabatov was bitten by the jazz bug, but it was killed in 1939 as part of Stalin’s political actions [as was speciaL Guest from Germany - saXophone only after his family immigrated to the U.S. that he Babel]. Things like that when you grow up hearing ches smith - Drums decided to follow his passion. He took the plunge in about it influenced my interest in terms of how artists 1984 after finishing classical studies at Juilliard. One of and writers were dealing with this kind of political 244 rehearsaL stuDios performances start at 8 pm | aDmission $20 his first major gigs, on and off for the next 15 years, suppression back then and feeling connected to that 244 w. 54th street, 10th fLoor even though I’ve never been subject to any suppressions... c, e trains to 50th street / n, q, r, q trains to 57th street was under clarinetist . Touring with faceBook.com/sLovenLyeric Robinson opened his eyes to the possibilities in Europe. Gileya is a suite, in terms that I carefully considered the instaGram.com/ericshouseofimprov “That’s one of the additional reasons why when the dramaturgical plot and chose the texts according to that eventBrite.com/o/house-of-improv-18679663705 situation arose I was so quick and ready to go to to allow a pretty wide range of contrasts, from free Germany and enjoy the European scene, where I was improvisation to some formulated forms but not written right away much more successful following my own out, all the way up to what I call ‘art songs’, contrasting music.” The growing attention also led to continuous song-like pieces with melodic material. For Red Cavalry work with trombonist and saxophonists it was different in that it has a lot more free improvising. Arthur Blythe and . But it’s following from poem to poem some A vibrant scene drew Nabatov to Cologne in 1989. dramaturgical plan. So I don’t know if it’s 100% free In 2015 he celebrated a quarter-century in the city with improvised music. It was very important to me in that a series entitled ...still crazy after all these years. State project to create the uncomfortable, scary, horrific support enabled him to present four new trios atmosphere that is encapsulated in the short stories.” showcasing different facets of his artistry. The outcomes After a long pause Nabatov is rekindling his of three have been issued, including most recently connection to the New York scene. “I never completely Luminous (NoBusiness), a thrilling freeform encounter lost touch, but I would like to reconnect more because with bassist and drummer , the current improvising and cutting edge jazz scene in and Situations (Leo) featuring a string trio completed by New York is more attractive to me than it was during cellist Ben Davis and violinist Gareth Lubbe expansively the ‘80s when I was there. It was unimaginable then blending concert music and improv. To date, the only that people like Tyshawn Sorey or Mary Halvorson do undocumented outfit is his Brazilian Trio, a style of a week in the Village Vanguard, all these modern music that has long captured Nabatov’s heart and has challenging musicians who now get writeups in the led to repeated visits. New York Times.” His previous visit in September 2018 Freely improvised dates are perhaps incorporated a recording session released on Clean disproportionately well-represented in Nabatov’s Feed as Last Minute Theory. The title references how discography. Why is that? “Well, there is a practical Nabatov composed the material shortly before the aspect to it. There is in Cologne a venue LOFT and I’m date. “I turned it into a challenge of a positive sort for in a perfect situation to invite musicians from all over myself to see how much composition I could come up and document it. LOFT is a great place to do that within a short period of time. I was pleased with the because it has a concert Steinway, it has a good results actually because a jazz tune can be a vehicle for recording studio and it has conditions very much improvisation, a short phrase or two and then off we formulated in the interest of the musicians. It costs one go. But my task was to come up with tunes that I would tenth of what a studio in New York costs so I have been consider full-blown jazz tunes with no compromise.” using it throughout my two decades again and again. He has great players on board too. “I was delighted And when everything is played and done, quite often that Brandon Seabrook could play as I’ve admired his we find it may be worthy of publication. is guitar playing and compositions for a long time and really supportive of what I do and that results in a high I knew I needed him as a contrast to the lyrical beautiful frequency of releases, which otherwise would hardly storytelling of [saxophonist] Tony Malaby and Brandon be possible in any other label.” would underpaint it with wonderful gestures. Grants have enabled Nabatov to realize two projects [Drummer] Gerald [Cleaver] I’ve been playing with close to his heart, aided by long-term collaborators every time that I come to New York recently...The scene Hemingway, extraordinary vocalist Phil Minton and has been changing. There are so many musicians, even reedplayer Frank Gratkowski, among others. Gileya though they are playing in Brooklyn for the door gig, Revisited sets texts by the pre-Revolution Russian but the music that they do is very attractive to me so Futurists to music while Red Cavalry is based on the I want to be a little bit more in touch with that.” v

THE NEW YORK CITY JAZZ RECORD | MAY 2019 7 ON THE COVER P e t r G a n u s h k i / D O W N T barre phillips end to BEGINNING O W N M U S I C . E T by andrey henkin

During the course of the recent interview with bassist the solo playing or any other kind of playing of making small group playing or even participation in large Barre Phillips for this article, this author mentioned a a career of I do my three albums a year and I hope to ensembles like fellow bassist Barry Guy’s Jazz website listing over “700 recordings of unaccompanied stay on the front line of the jazz consumer’s pocketbook. Composers Orchestra, Phillips has devoted himself to music”. While not all are technically solo I’ve never had that mentality going so there’s not that the theory, practice and application of improvisation, recordings, each in their way owes something to kind of recording history.” even establishing the European Center for Phillips, who initiated the genre in 1968 with Journal Making it for ECM, for whom he has been recording Improvisation in the small village in the south of Violone (Opus One). Phillips was incredulous about the off and on since 1971, was another bit of circular France where he has lived since the early ‘70s. He is list and when asked how he can sleep at night, knowing thinking. “I was at home and saying you’ve got all this quite encouraged by the state of that elusive art in the what he unleashed, he laughed heartily: “How can stuff, you should make another solo album and it young musicians he sees coming up around Europe, as I sleep at night? I sleep very well. You know, when probably, just looking at the past, will be your last one well as those working in seemingly unrelated you’re doing your natural thing and you’re not trying and I said wouldn’t it be great to do a full circle thing disciplines like engineering and design. “I think the to prove anything, you don’t have any weight on you. and have it on ECM,” says Phillips. “I hadn’t recorded state of improvisation, at least in Europe, is developing Because it’s rather weightless because the weight is on on ECM in a long time. And I called up Manfred in a very nice way,” Phillips says. “And I’ve often felt, what am I, who am I, how does it work in me? And I’ve [Eicher] and he actually answered the phone, he took well, not often but it’s been for quite some time, that in been having that relationship with the bass since I my call and was very warm and said, yes I’d love to do a hundred years’ time I can imagine people looking started with the thing when I was 13 so it’s very it, you want to do it tomorrow?...I don’t know if he felt back and saying, can you imagine that a hundred years natural, it doesn’t have a weight on it.” something for the age or not but I shared with him ago there used to be this thing called improvisation? Journal Violone was recorded after Phillips had left I think it will probably be the last one I’m going to do Oh yeah, what is that? And somebody explains, well, his hometown of San Francisco to pursue a jazz career and I would love to do it with you. And he was for it you just got up and did your thing. And that aspect in New York, playing with , , and between us I think we made a very representative would become so acceptable a part of the vocabulary Leonard Bernstein, , and album of where I am in the music, in the life, in the of how one lives that we wouldn’t need to do anything others, and then moved to England where he became sound. So I’m very happy with the record in those that was called improvisation anymore. Because to me an integral part of Europe’s burgeoning avant garde terms. It does what I was hoping it would do musically it’s not a question of improvisation is much better than and free jazz scenes. The album was edited down from and that’s a great accomplishment.” composition, it has to do with the expression of the a few hours of improvising done in Parish Church of The relationship with ECM goes back to 1971’s individual and it becomes much more in our world St. James, Norlands in London. At the time, Phillips Music From Two Basses with (another something that is accepted into the structure of how was unaware of what he birthed. “I’m not aware of the first, by the way). “Manfred Eicher came to see Dave we work, how we operate, what we are. historical setting or importance or lack of importance Holland and me, we were performing together in a “I’m hearing now musicians whose work, but just into the process of doing the thing and then recording project for the radio in Hamburg and homework, is not involved with first of all you have to later the outside world says this is a historical Manfred came, who I had met but we didn’t really learn how to play jazz or you have to learn how to play moment,” Phillips says. “I was surprised when I found know each other. I had met him in Berlin maybe in Bach, where you must pay dues to the history, you must out in a magazine interview that it was the first one... 1968 or ‘69 and when he was playing bass. He came pay dues to the tradition and your own personal thing, I mean if I had known that I probably would have said back and said I’ve got this small label and I’d love to well that’s just fine...I find that new and fresh that a no to the proposition of putting it out.” record you two guys, so the first one was his proposition young musician, wanted to be a musician, a performing Despite that potential reticence, the solo bass and Dave and I looked at each other and said, wow, musician, would start with his own thing, finding out recording has been a touchstone of Phillips’ nearly what a concept. Yeah, yeah, OK, very good. So that was what his own thing is rather than paying the dues so 60-year career. He has come back to the format the start to getting to know the man. And I guess that that he can play jazz or play .” intermittently, in between myriad projects generating he’s attracted, at least at that time, to the bass players Who knows, perhaps some of those younger a discography of over 200 sessions and counting. And that he liked to listen to or was fond of in the jazz musicians will go on to careers as rich and varied as in November 2018, he released End To End, a 50-year world and recorded a lot of bass players through the Phillips’. And, if the world is particularly lucky, one of bookend to Journal Violone and as intensely personal years.” The relationship continued through the decades them may come up with some entirely new format of and beautiful a statement as one will likely hear. with more albums as a leader as well as collaborative music and thus inspire their own hundreds of “The solo albums, they’re really a part of a recording projects in the new millennium. “I was quite aware of followers, with the results enshrined on a website. history,” says Phillips. “And to me it’s like [director] what I wanted to record with him,” says Phillips. “The Until then, we can exult in the final chapter of Phillips’ Robert Kramer told me one time at the end of his life, Call Me When You Get There record was his idea, it solo bass story, a half-century in the making. v one or two months before he died, what I’ve done is all wasn’t my proposition. It was after we had made Three one film, and I could dig that... For me it’s a notebook Day Moon and then he said now next I think it would For more information, visit ecmrecords.com/ and I’ve never been in a position of saying, oh it’s been be great if you made a solo record. And I said, wow, artists/1435045739/barre-phillips. Phillips plays solo at ten years, I should make a solo record. It’s because of OK. And it was forthcoming not too long after that. Zürcher Gallery May 20th and is also at Ibeam Brooklyn the materials that have come up that are bass stuff, not And through the years with Music By..., for example, May 25th. See Calendar. looking any further to translate into a group experience he was very supportive of what I was doing in that but definitely the bass music and it has to do with area and Three Day Moon, he was very supportive of Recommended Listening: having a certain amount, different periods, different that music and it’s a big aspect of my music, it wasn’t • Barre Phillips—Journal Violone (Opus One, 1968) amounts of solo to do so you keep the presence just into the wild stuff, the wild and woolies. Now • Barre Phillips/Dave Holland— of that.” Phillips, now 84, believes End To End will be I think, for example, my wild and woolies are in much Music From Two Basses (ECM, 1971) his final solo recording: “The previous solo album to better form than what they were 30 years ago. So I • Barre Phillips—Music By... (ECM, 1980) End To End was 15 years and I look at that and I say in don’t feel I have to tailor, like from End To End I didn’t • Barre Phillips/Motoharu Yoshizawa— ten years are you still going to be having a collection of have to tailor what I was bringing into the studio Oh My, Those Boys! (NoBusiness, 1994) materials, etcetera etcetera, that warrant a solo album because I knew Manfred would like it.” • //Barre Phillips— or warrant an attempt at a solo album like it has been Whether it be a solo recital, a bass duet with peers Sankt Gerold (ECM, 1996) for me in the past, which I’ve never been on a trail for like the late Motoharu Yoshizawa or , • Barre Phillips—End To End (ECM, 2017)

8 MAY 2019 | THE NEW YORK CITY JAZZ RECORD

ENCORE

realized no one had yet combined American jazz styles been incorporated into Jim Jarmusch’s 2005 film Broken with traditional Ethiopian musical forms. Instead, the Flowers, which gave him further exposure to more mulatu airwaves of his native country were dominated by the international audiences. His music has also been used sounds of Haile Selassie’s First National Theatre to support pieces on NPR and drum breaks from his Orchestra and police and army orchestras while most recordings have been sampled by Damian Marley, Nas, other musicians were playing melodies based on four Kanye West and many others. astatke Ethiopian modes using echoing melody lines. In 2006 he toured Europe, the U.S. and Canada “Tezeta” exemplifies common modes of traditional with the Either/Orchestra and in 2007-08 held the by mike cobb Ethiopian music and refers to a type of ballad called Radcliffe Institute Fellowship at Harvard University. qenet, particular to the Amhara people of the Ethiopian While lecturing there, he worked on modernizing This writer first heard Mulatu Astatke on Volume 4 highlands. Sometimes compared to the blues or the traditional Ethiopian instruments and released The (1969-1974) of Francis Falceto’s Éthiopiques series. Here Portuguese word Saudade, it loosely translates to longing Yared Opera, based on music from the Ethiopian Coptic was something at once familiar in its instrumentation or reminiscence. The four qenet are pentatonic and can church. After Harvard, Astatke won an Abrowsie Grant and yet otherworldly in terms of its modality and tone: be classified as Tizita, Bati, Ambassel and Anchihoye, at M.I.T. through which he sought to adapt the krar, an bass, guitar, -inflected Wurlitzer and warbling with additional major and minor modes. Astatke heard Ethiopian stringed instrument, to play Western 12-tone horns over gently swinging drums occasionally sonic parallels with American jazz, specifically how music. It was during this time that he met the founding punctuated by flourishes of psychedelic fuzz guitar. and the work of employed members of the Heliocentrics, with whom he reworked Though each cut seemed to employ similar minor-key diminishing scales and the music of Ethiopia’s Darasha his classic Ethio-jazz with more modern sounds from motifs, the startling newness of the sound and hypnotic tribespeople, who have used similar techniques for the band. Together they recorded Inspiration Information. quality of the compositions were captivating. Titles centuries. By using different harmonic structures and In 2012 he received an honorary doctorate in music like “Yèkèrmo Sèw”, written in both English and soloing to expand and explore modes, Astatke built from the . Amharic, a branch of Ethiopian Semitic, sparked musical connections with Western musical forms and in Astatke continues to compose, research, teach and further curiosity. “Tezeta” was translated as “Nostalgia” turn pioneered a new sound he called “Ethio-jazz”, tour. He has worked diligently on upgrading traditional and abandoned the minor key for a soothing, sprawling which he brought back to Ethiopia in the early ‘70s. Ethiopian instruments to be able to play 12 tones as major key composition evoking peace along the Later, living in New York, Astatke became opposed to the traditional five and perseveres as an rippling waters of the Awash River. interested in the connection between African and Latin ambassador for Ethiopian music. Recently appearing Astatke was born in the western Ethiopian city of music and recorded his first two albums Afro-Latin on Arise News, Astatke said, “It’s taken me nearly 40 Jemma in 1943 and sent by his parents to the prestigious Soul, Vols. 1-2, there in 1966. A career highlight he still years to get the sound I really want.” v Lindisfarne College (high school) in Wales to learn speaks fondly of was being assigned as a guide to Duke engineering in the late ‘50s. He did well in mathematics Ellington during his tour of Ethiopia in 1973. Astatke For more information, visit mulatuastatke.bandcamp.com. and science and still speaks of their connection to showed him traditional Ethiopian instruments, his Astatke is at Le Poisson Rouge May 17th-18th. See Calendar. music. In a 2009 interview with Filter Magazine he said, own compositions and recalls players from Ellington’s “Scientists usually mix different chemicals to cause a orchestra jamming with local musicians. Recommended Listening: reaction. Music is the same. They are all connected Astatke’s early recordings from the ‘70s were • Mulatu Astatke & His Ethiopian Quintet— whether they work with chemicals or work with released through Ahma Eshete’s Ahma Afro-Latin Soul, Vols. 1-2 (Worthy-Strut, 1966) sounds: artists work with colors. So we mix them up— based in Addis Ababa, which was shut down by the • Various Artists—Ethiopiques, Vol. 4: Ethio Jazz we come up with something else.” Derg military junta in 1975. By the ‘80s, Astatke had & Musique Instrumentale (Buda Musique, 1969-74) His teachers recognized his talent and encouraged largely faded into obscurity, but his early recordings • Mulatu Astatke—Mulatu of Ethiopia (Worthy-Strut, 1972) him to pursue music. He received a degree in music from were sought after by record collectors. Astatke was • Mulatu Astatke—Ethio Jazz (featuring Fekade Anse Trinity College in London and in 1958 went to Berklee rediscovered in the ‘90s thanks to Falceto’s Parisian Maskal) (Amha-L’Arome, 1974) College of Music to study vibraphone and percussion. label Buda Musique, returning him to recognition and • Either/Orchestra—Ethiopiques, Vol. 20: Live in Addis Astatke recalled his decision to pursue the unusual path essentially relaunching his career. (Buda Musique, 2004) of Ethiopian music. “I had a fantastic professor who The ambient quality of Astatke’s compositions • Mulatu Astatke/The Heliocentrics— always said ‘just be yourself’.” In the mid ‘60s, Astatke lend themselves well to other mediums. His music has Inspiration Information (Strut, 2008) LEST WE FORGET

Lorenzo Stall, ’s player, was a Beiderbecke and The Wolverines played some 40 years major influence, yet Barker couldn’t have avoided the before. Barker also appeared with Eubie Blake at the danny inspiration of Johnny St. Cyr, central to Oliver, 1960 and then, in 1965, returned Armstrong and ’s bands. Barker soon to his hometown as Assistant to the Curator of the began playing tenor banjo with several local ensembles . Barker led bands before following the giants to New York when he was throughout the city, mentoring children and emerging barker 21. As the music developed so did recording technology, musicians, generating a traditional resurgence. The allowing for softer, darker tonalities on record. As a influence extended as far as the Marsalis brothers. by john pietaro guitarist, Barker worked in the bands of , Barker was honored in 1991 as an NEA Jazz Master James P. Johnson and Lucky Millinder and in 1938 was and his ensemble won ‘Best Traditional Jazz Group’ six No jazz instrument stands as far in the shadows as the hired by . But the traditional jazz sound consecutive years in the Big Easy Entertainment Awards. banjo. Vital to the music’s roots, the four-string banjo remained at his core and during breaks he performed He died in 1994, a beloved son of the city honored with in either long- (plectrum) or short-necked (tenor) in Greenwich Village with Morton, drummer Baby a traditional New Orleans funeral. A decade later, the varieties, is often confused for its five-string cousin, a Dodds, clarinetist , trumpeter Wild Bill annual Danny Barker Banjo and Guitar Festival was core of folk and bluegrass music grown from African Davison, clarinetist and other founded to keep his cultural vision thriving. v origins. By the time the instrument was brought into proponents of early jazz. Back in his element, Barker early jazz, it had lost its short fifth string and, played most often played the six-string banjo, a fusion of the A tribute to Danny Barker is at The Appel Room May with a pick, claimed the sound space a rhythm guitar guitar’s neck and the banjo’s bite, the instrument 31st-Jun. 1st featuring Don Vappie. See Calendar. could never cut through on acoustic recordings. played by St. Cyr on the immortal Hot 5 sessions. Danny Barker, a New Orleanais born Jan. 13th, After departing Calloway in 1947, Barker Recommended Listening: 1909, watched the music develop from a most hallowed accompanied his wife, vocalist Blue Lu Barker, for • Blue Lu Barker—The Chronological (Classics, 1938-39) vantage point. He was the grandson of Isidore Barbarin, whom he composed novelty hits “Don’t You Feel My • Tony Parenti’s Ragtimers—The Band leader of the Onward , which spawned Leg” and “Save the Bones for Henry Jones”. His profile (Circle-Jazzology, 1947) legends King Oliver and . Barker’s as a sideman heightened through the ‘50s-60s, working • Danny Barker—New Orleans to New York (Lafitte, 1949-64) uncle, drumming pioneer , was often the in New York studios and clubs with Charlie Parker, • —Last Testament (Columbia-Delmark, 1947) pulse behind legends Freddie Keppard, , Billie Holiday, , Henry “Red” Allen, • Paul Barbarin—Paul Barbarin And His New Orleans Oliver and Armstrong. Barker learned drums from Wilbur de Paris and LaVern Baker, as well as Bechet, Jazz (Atlantic, 1955) Uncle Paul, then studied with Barney Bigard, Barbarin, Johnson and many more. Barker’s own band • Danny Barker—Save the Bones but settled on ukulele and guitar. He later noted that held residency at the Cinderella Ballroom, where Bix (Music Art Prod./Orleans, 1988)

10 MAY 2019 | THE NEW YORK CITY JAZZ RECORD LABEL SPOTLIGHT

The label adheres to a fairly Spartan economic with the large ensemble of allstar musicians turned out aesthetic. “We’re able to stay afloat because we keep really great. Jason worked really closely with [graphic pfMENTUM the costs down,” says Kaiser. “The artist covers the designer] Ted Killian on the cover. That was a really cost of the recording and we have a large database that wonderful project in every sense.” by robert bush they get access to, so they can send their music to Who would be some of pfMENTUM’s most critics and radio stations. I kind of view it as a curated representative artists? “Number one would be A cursory glance at the fulsome website of trumpet/ collective. We don’t go for every project that gets [trombonist] Michael Vlatkovich,” Kaiser says. electronics provocateur Jeff Kaiser’s pfMENTUM proposed, but when we do, it becomes a collective “Number two would be , Vinny and I go record label reveals the following mission statement: because everyone has responsibilities in getting the way back, we’ve been collaborating since the mid ‘90s “Dedicated to creative music—and the musicians who music released. On my end, it’s a labor of love. and we met ten years before that. Number three would make it.” I volunteer a lot of support in terms of the internet and be [flutist] Emily Hay and number four would be “The idea for the label came around 1995 or ‘96 shepherding most projects through the manufacturing [bassist] Steuart Liebig. Those are four that immediately with my buddy Keith McMullen,” remembers Kaiser. process. Because the financial costs are shared, it came to mind, but I usually recommend that people go “I was running a concert series in Ventura, CA and we becomes a sustainable venture. The burden is not on us to our website to the “Listen” page, where there’s a wanted to create a newsletter to go with it. Somehow to make money on music that doesn’t have a large playlist with at least one selection of everything that we came up with the name pfMENTUM. The newsletter commercial audience for it. But there is a devoted we’ve ever done and just scroll through it. There’s morphed into a record label in January of 1999, when audience that wants to hear this music.” some remarkable music we’ve put out.” Vinny Golia and I released a duo album [Ganz Andere], Kaiser believes another secret to his label’s success Kaiser built his label with one obvious role model which reminds me that we just had our 20-year is adaptability, rather than relying on fixed numbers. in mind. “I think Vinny’s Nine Winds label was the anniversary and I need to do something to celebrate “It varies from year to year as to how many CDs we most influential independent company on the West that.” put out. Over the last 20 years, we’ve put out 130 Coast. We’ve done a number of co-releases over the So what is the business model and how has the releases on pfMENTUM and if you count our other years that work because we have this streamlined label been able to survive for 20 years despite the label, Angry Vegan, it’s 150 albums. Some years we’ll process that makes it very easy for artists to put stuff collapse of the recording industry as we know it? do seven or eight records, other times it could be ten. through and I think he appreciates that.” “My lawyer once referred to it as a ‘non-business’ We don’t have specific target numbers.” Why start a secondary label? “Angry Vegan came business model,” cracked Kaiser. “The goal is to get One recent pfMENTUM release that really stands about because I wanted to put stuff out that music out there that wouldn’t get out any other way, out is Resonant Geographies, a stunning collection from wouldn’t necessarily fit in the pfMENTUM concept of so it’s all about creating a sustainable practice that saxophonist Jason Robinson’s Janus Ensemble, an improvised music. Stuff like electronica and more beat- gives us a platform to survive. Artists tend to find us 11-piece band of , J.D. Parran and Oscar oriented music. That way I could keep the distinct through word-of-mouth. In the beginning, it was Noriega (reeds), Michael Dessen (trombone), Bill Lowe identity of pfMENTUM and still work with people mostly friends—people who were close associates. (bass trombone, tuba), (tuba), Liberty I really admire, like Trevor Henthorn who has new Now that we’ve gained a reputation, we’ve put out Ellman (guitar), Drew Gress (bass) and synthesizer music coming out. Angry Vegan is slow, records by people all over the world. They find out and Ches Smith (drums). “Jason is incredible as a but constant.” about us and approach us.” performer, composer and improviser and that project (CONTINUED ON PAGE 42)

Music for Woodwinds, Strings, Piano... Vibrant Matters Resonant Geographies Reflejo Live at REDCAT Los Angeles Vinny Golia Kaiborg Jason Robinson Dewar/Hughes/Popple Vinny Golia New Music Orchestra VOXNEWS

perfectly (“Lover Man”) or twist a melody without One of Duchess’ favorite interviewees is singer thinking about it (“‘Round Midnight”). She’ll slip into John Dokes, with whom Gardner had worked fronting Lasting Songs a groove as easily as she would a comfortable chair the George Gee Swing Orchestra in 2015. (Scroll way (“Sugar”) or glide through a ballad breezily (“Give Me down to find the podcast interview with him.) Dokes, by suzanne lorge The Simple Life”). This kind of artistic discernment is a a warm, bluesy crooner with a soulful sound, will drop lifetime in the making. Stallings will sing from the new True Love (Rondette), his third album, at The Django at There’s a lot to learn from San Francisco-based vocalist disc at its New York launch at Smoke (May 16th-18th). The Roxy (May 3rd). One of Dokes’ smartest moves Mary Stallings. The nuanced phrasing. The unswerving Besides being consummate swing musicians, the was his choice of pianist Steve Einerson as arranger— feel. The emotional connection to the text. And that vocal trio Duchess—Amy Cervini, Hilary Gardner and his settings show off Dokes’ romantic vocalizing to voice—as buttery as ever, 60 years into her career. Melissa Stylianou—is an entertaining bunch. On their best advantage. Check out “Comes Love” as a seductive Three months shy of her 80th birthday, Stallings will 2017-18 podcast, Harmony & Hijinks, devoted to helping Latin tune, “Eleanor Rigby” in a spinning 6/8 and release Songs Were Made to Sing (Smoke Sessions), a folks find harmony in all walks of life, they offer up “You Don’t Know What Love Is” in a surprising baker’s dozen of time-polished standards. This record more than just engaging musical commentary and double-time feel. Superb. is Stallings’ 14th, cut an astonishing 58 years after her interviews with leading jazz musicians. Through their Just off of a tour of the Czech Republic, singer/ first release in 1961, Cal Tjader Plays, Mary Stallings handsome website they point listeners to must-hear songwriter Aimee Allen reenters the New York Sings (Fantasy). To the dismay of many, after this debut tracks (from singer Jessica Molaskey’s Portraits of Joni, limelight on the tailwind of a shiny new album, Wings Stallings didn’t record another solo album for almost for example), wacky videos (“VIRAL FUNNY cat Uncaged (Azuline Music). The versatile—and busy— 30 years. But Stallings remained active during that WALKING in pirate costume”) and miscellaneous stuff singer will play Gin Fizz Harlem (May 4th and 23rd), time: she sang with Billy Eckstine, Dizzy Gillespie and (recipes, fan updates, tidying tips, etc.). Such a great Bar Next Door (May 13th) and Bunna Café (May 30th). ; toured alongside , among idea. Another great idea: Duchess and band (pianist Afterwords: Each month The Manhattan Transfer’s others; ran her own business; and raised her daughter, Michael Cabe, guitarist Jesse Lewis, bassist Matt Janis Siegel and New York Voices’ Lauren Kinhan host R&B singer Adriana Evans. And when she returned to Aronoff and drummer Jared Schonig) will be recording Vocal Mania, showcasing rising star vocalists (Duchess the studio, it was in full force. She has recorded fairly live at (May 7th-8th), performing held the featured guest spot this past January). Formerly consistently since the early ‘90s, with four albums for selections from their two albums Duchess (2015) and at Zinc Bar, this month the event moves to the Birdland Concord, four for HighNote, two for Clarity and one- Laughing At Life (2017), along with new material; Anzic, Theater (May 28th). The late Marlene VerPlanck is the offs for MAXJAZZ and Half Note. More recently, she the label for those earlier efforts, will release the live honoree at Saint Peter’s (May 1st); singers Ben Cassara, served as Resident Artistic Director for SFJAZZ. The recording later this year. (The trio is crowdfunding the Carol Fredette, Carrie Jackson, Daryl Sherman and depth of Stallings’ experience shows up in subtle ways album through their website and all proceeds from the Sandy Stewart will take the stage in remembrance of on the new album. She’ll extend a straight tone Jazz Standard gig go toward album costs.) their friend and colleague. v

THE NEW YORK CITY JAZZ RECORD | MAY 2019 11 IN MEMORIAM

JEFF ANDREWS (Jan. 20th, 1960— Mar. 14th, 2019) The bassist was active lisle atkinson in the fusion, smooth and contemporary jazz scenes of the ‘80s-90s with Special by andrey henkin EFX, , , , Biréli Lagrène, , Joe Locke, , Steve Smith’s Vital Information, , Reuben Hoch’s The RH Factor and others and filled the titular role in the 1991 Novus tribute album I Remember Jaco. Andrews died Mar. 14th at 59.

JIM BEATTY (Jun. 9th, 1934—Mar. 12th, 2019) The clarinetist was a part of the American scene in the ‘60s-70s, made albums for G.H.B, JB and Northwestern and co-led dates with Wild Bill Davison for Tri-Ad and JB and was the inspiration for a character in the 2000 independent film Undertaker’s Paradise. Beatty died Mar. 12th at 84.

GEORGE “SAX” BENSON (Feb. 26th, Lisle Atkinson, a bassist who led a handful of dates 1929—Mar. 9th, 2019) The Motor City with small groups and his Neo-Bass Ensemble to go saxophonist led or co-led with J.C. along with many sideman credits, died Mar. 25th at 78. Heard, and Sammy MAY 15, 7PM • MAY 16, 7PM & 9PM • THE APPEL ROOM Atkinson was born Sep. 16th, 1940 in New York. Price records for local label Parkwood He studied as a small child, then switched to as well as Alembic, had pop and MICHAEL FEINSTEIN: bass at 12. He attended High School of Music & Art credits with The Temptations, Marvin GREAT AMERICAN CROONERS in Harlem and then Manhattan School of Music. At 22, Gaye, ADC Band, Eddie Russ and others and was a Michael Feinstein and the Tedd Firth Big Band perform classics made famous while still in school, he was in ’s band noted teacher, writing Jazz Etudes Over Classic Jazz by quintessential crooners , , and Bobby Darin when she played Carnegie Hall, documented on the Changes. Benson died Mar. 9th at 90. Colpix album At Carnegie Hall, continuing to work with the pianist/vocalist through 1965. Speaking to JAMES DAPOGNY (Sep. 3rd, 1940— MAY 17–18, 8PM • ROSE THEATER Philip Booth for Bass Player Magazine in 2006, Atkinson Mar. 6th, 2019) The pianist founded the BIG BAND B-3: JOEY DEFRANCESCO WITH recalls, “I have to give Nina credit for being aware that Jazz Band in the ‘70s and I could bow, and she utilized it a lot. She had me worked with Gene Mayl, Sippie THE JAZZ AT LINCOLN CENTER ORCHESTRA playing a lot of arco in performances.” Wallace, and Marty B-3 Hammond organist Joey DeFrancesco joins the Jazz at Lincoln Center Four years later, Atkinson participated in a group Grosz but is perhaps most significant Orchestra to perform ’s New Orleans Suite and ’s that would go on to have a long-term effect on his for his work as a musicologist, unique take on Peter & The Wolf career. In sessions recorded at the Music Inn in Lenox, specifically his writings on and recordings of the music MA and the Village Vanguard, Atkinson was one of of Jelly Roll Morton, particularly the 1976 Smithsonian MAY 31–JUN 1, 7PM & 9:30PM • THE APPEL ROOM seven bassists in Bill Lee’s The New York Bass Violin Collection album Piano Music of Ferdinand “Jelly Roll” Choir (NYBVC) along with Michael Fleming, Milt Morton. Dapogny died Mar. 6th at 78. DANNY BARKER: A NEW ORLEANS LIFE IN JAZZ Hinton, , and . The An elite group of musicians pays tribute to New Orleans legend fruits of those sessions made up part of the band’s sole JACQUES LOUSSIER (Oct. 26th, Danny Barker, featuring clarinetist and music director Dr. Michael White, album, eponymously released in 1980 on Strata-East. 1934—Mar. 5th, 2019) The French vocalist Catherine Russell, drummers Herlin Riley and , After that were dates with , David pianist made an unusual career of guitarist/banjoist Don Vappie, and more Amram, Albert Dailey, , Andrew interpreting the works of Bach in a jazz Cyrille, , Frank Strozier, Norman piano trio vein, recording over a dozen JUNE 5, 7PM • JUNE 6, 7PM & 9PM • THE APPEL ROOM Simmons, Howard McGhee and Richard Wyands volumes from 1959 into the new through the ‘70s. That decade also saw Atkinson’s millennium for Decca, London, Paddle MICHAEL FEINSTEIN: debut as a leader in 1978 with Bass Contra Bass Wheel and other labels to go along with a voluminous I COULD HAVE DANCED ALL NIGHT (Jazzcraft). During the ‘80s, Atkinson would record discography, which included interpretations of other with , , Danny Mixon, classical composers and jazz-fusion experiments. THE LERNER & LOEWE SONGBOOK Junko Milne and begin a stint with Benny Carter. More Loussier died Mar. 5th at 84. v Michael Feinstein, the Tedd Firth Trio, and special guest vocalists importantly, in 1988 Atkinson convened a band that Melissa Errico, John Lloyd Young, and Liz Callaway present a tribute to recalled his earlier work with NYBVC; with himself prolific Broadway duo Alan Jay Lerner and Frederick Loewe and four other bassists (including his bass-player wife THIS PERFORMANCE IS SUPPORTED BY THE FREDERICK LOEWE FOUNDATION Karen), plus piano, drums and guest vocalists, the Neo-Bass Ensemble was born, releasing its debut on JUNE 7–8, 8PM • ROSE THEATER Karlisle, a follow-up in 1995 on Inspire Productions and a third, self-released disc in 2005. In the new

PORTRAITS OF AMERICA: A JAZZ STORY PHOTO BY PIPER FERGUSON millennium, Atkinson worked with Roni Ben-Hur, Hilton Ruiz, , Joshua Breakstone and FEATURING THE JLCO WITH WYNTON MARSALIS others. In addition, Atkinson taught at Rutgers and The Jazz at Lincoln Center Orchestra with Wynton Marsalis Stony Brook Universities and spent 20 years as premieres a suite of orchestral works inspired by the Crystal Bridges instructor for Jazzmobile’s Saturday Jazz Workshop. Museum of American Art collection bridging visual art and jazz Speaking to reporter Joseph Leichman about the BLOOMBERG IS A LEAD SPONSOR OF THIS PERFORMANCE expanded role of the bass he has championed, Atkinson said, “At first, I was thinking that the bass only stands in the rhythm section. After The New York Bass Violin Choir, I was definitely convinced that being in the TICKETS ON SALE NOW JAZZ.ORG rhythm section is not enough. I’ve always felt that any bass player should be able to play what any horn CENTERCHARGE 212-721-6500 player or pianist could play. I don’t care what melody, BOX OFFICE BROADWAY AT 60TH ST. what concerto, what sonata; if it could be played on one instrument, it could be played on another.”

12 MAY 2019 | THE NEW YORK CITY JAZZ RECORD festival report

DENNY ZEITLIN create vossa jazz REMEMBERING MILES by franz matzner by andrey henkin SSC 1553 - IN STORES 5/10/19

he great pianist Denny Zeitlin has always been interested in surpris- Ting listeners (and himself!) with his improvisational explorations on his original pieces and those from other composers. For the past five years, Zeitlin has been focusing on a single composer to reinterpret on solo piano for his yearly residency at the Piedmont Piano Company in Oakland, . In December 2016, he decided on the singular trum- peter and musical iconoclast, . Zeitlin’s new Remembering Miles is a recording of this spellbinding performance. t s o n DENNY ZEITLIN @ MEZZROW May 1-2 solo piano May 3-4 trio with & Matt Wilson J a z / R u n h i l d H e g m M a u r i c e D . R o b V o s a Wadada Leo Smith Hedvig Mollestad ALEX HARDING & LUCIAN BAN In its third season, Wadada Leo Smith’s CREATE There is a tradition in Western just before festival (Apr. 6th-7th) at New Haven’s Firehouse 12 Christmas called Smalahove, the eating of a fully intact DARK BLUE continues to provide a rare overview of the intensity boiled sheep’s head. It is an experience not to be missed. SSC 1544 - IN STORES 5/17/19 and boundary-defying nature of Smith’s oeuvre. It also can be thought of as an analogue for Vossa Jazz, Spanning two evening concerts, an exhibition of Smith’s taking place in the village of Vossevangen, 100 Ankhrasmation scores (the visual compositions that are kilometers northeast of . Attendees of the 2019 ven though musicians may come from divergent places, it is amazing part of Smith’s musical language) and an afternoon edition (Apr. 12th-14th) could sup on the accessible, Eto find that many have the same proclivities when it comes to musi- discussion with Smith hosted by UCLA Professor Nina sweet cheek meat, push past the teeth for the thick and cal tendencies and taste. The relationship between Detroit born baritone Sun Eidsheim, the scope of this year’s festival complex tongue or be fully courageous by digging out saxophonist and bass clarinetist Alex Harding and Romanian pianist underscored three important aspects of Smith’s nearly the gelatinous eyeball. Vossa Jazz has it all. Lucian Ban is one example, in this case two musician from such differ- six decades of creative pursuit. It also takes place in one of the most charming ent places, coalesce around the power of the blues. Their new recording, First, Smith is not a jazz musician. While his music settings imaginable. Vossevangen is the Nordic Dark Blue, is a testament to their musical and brotherly bond. has various jazz facets, it is more accurate to view him equivalent of a Midwestern America small town, nestled as a conceptual artist whose primary medium is music, among the mountains alongside the Vangsvatnet lake, but whose stated pursuit of transformational truth and with winding roads, central stone church, 1864 DAN TEPFER creative expression incorporates too wide an array of Fleischer’s Hotel, statue of legendary local son Knute NATURAL MACHINES mediums and musical forms to fit traditional genre Rockne (sadly MIA while Fleischer’s builds a new definitions. The CREATE program combined music parking lot) and air so pure you could bottle it. The SSC 1559 - IN STORES 5/17/19 with visual arts, dance and the written word. This venues—rooms of varying size in the Park Hotel, Voss distinctly multi-medium experience conveyed Smith’s Kulturhus, Gamlekinoen movie house, recital room of expansive philosophy and ambitious pursuit of creative the Ole Bull Music Academy and Finnesloftet, Norway’s freedom, as well as his conviction that the act of creative oldest wooden non-ecclesiastical building—are within epfer’s newest album, Natural Machines, stands as one of his most exchange is a foundational element of human progress. walking distance of each other, making it easy to bounce Tingeniously forward-minded yet; available now as a video album on Second, part of Smith’s impact flows from the among the overlapping festival programming. YouTube and as an audio-only CD/download/stream via Sunnyside on ability to attract a diverse cast of artists through mutual The centerpiece of the festival is the Tingingsverket, May 17, 2019, this solo project five years in the making finds him explor- innovation. Brandon Ross, a guitar innovator, was one an annual commission awarded by the festival since ing in real time — via the Yamaha Disklavier — the intersection between of the creative partners featured this year. Ross explained 1978. Previous awardees have been such Norwegian science and art, between coding and improvisation, between digital algo- that Smith has been a mentor since the ’80s and an luminaries as Arild Andersen, Nils Petter Molvær, Terje rithms and the rhythms of the heart. influence even before they met in connection with Rypdal and . The 2019 recipient was guitarist Smith’s 1973 publication notes (8 pieces) source a new Hedvig Mollestad. Her main vehicle is her trio, a sort of world music: creative music. Ross described performing post-punk, jazz-rock amalgam but for the festival she MATT SLOCUM with Smith as “…an engagement with the highest presented a sextet with Portuguese trumpet phenom SANCTUARY aspects of discernment and organization within my Susana Santos Silva and countrypeople Marte Eberson musical experience. A positive creative opportunity to and (keyboards), Ole Mofjell (percussion) and SSC 1547 - IN STORES 5/31/19 discover and reveal.” Speaking specifically about the Torstein Lofthus (drums). The 70-minute set at the Park festival, Ross added that “CREATE is a living, real-time Hotel Vossasalen was loud and raucous, Hedvig’s ‘orchestration’ of the imagination’s thrall. There is aesthetic both thickened and elongated across five epic dimension and intensity, light and sound. Beauty, as an pieces. Resplendent in a red, sequined dress with floral n Sanctuary , the gifted drummer and composer Matt Slocum con- unadulterated experience of the present moment.” puff sleeves, Hedvig shredded magnificently over her Otinues his long-standing practice of documenting original music and Third, Smith’s work continuously evolves. The Tony Iommi-worthy riffs. The music recalled The arrangements, eight songlike pieces in total. It’s his fourth recorded festival featured both new and older compositions, such Eleventh House, with Mollestad as , Silva encounter with master pianist , a friend and musical part- as “Spirituals: The Language of Love” from 1978’s in the unusual role for her of and Mofjell ner for close to two decades, who stands out among a high-technical-bar Divine Love (ECM), an excerpt from this year’s Rosa and Lofthus combining into . The key generational peer group for applying his nuanced touch and precise Parks: Pure Love (TUM Records), as well as collaborations to band’s success was the dueling keyboards, articulation to telling stories that blend the dialects and syntaxes of the with the Harriet Tubman band and experimental particularly Eberson’s Fender Rhodes. For the first half, tradition and the here-and-now. It’s Slocum’s first recorded interaction Japanese dancer and choreographer Naoyuki Oguri. Mollestad left the soloing to her bandmates, marshaling with bass giant , a fixture on the international jazz scene Even Smith’s earlier material, however, was marked by her energy for a series of blowtorch leads in the last two for his 25-year association with Trio, as well as conse- substantial reengagement with substance and form. pieces. Later that evening Brits Iain Chambers and Dan quential engagements with , Paul Motian, Charles Lloyd, , and Mark Turner. Indeed, one of the festival’s most affecting pieces was Nicholls presented Recomposed at Park Pentagon, Smith’s solo performance of “Tastalun” from Divine taking samples drawn from Mollestad’s soundcheck Love. Originally recorded as a trumpet trio with Lester and creating a new work that had snatches of familiarity Bowie and , “Tastalun” is an Arabic within its industrial-grade slurry. Mollestad’s band www.sunnysiderecords.com word that Smith explained refers to the experience of came to listen and seemed to dig it. (CONTINUED ON PAGE 43) (CONTINUED ON PAGE 43)

THE NEW YORK CITY JAZZ RECORD | MAY 2019 13 CD REVIEWS

the joy of creation. The technical expertise required for the reharmonization of the opening track, “All of You”, is not separable from the exhilaration of its realization. Cole Porter’s melody keeps breaking out of Zeitlin’s free embellishments like a celebration that will not be denied. Jule Styne-Sammy Cahn’s “As Long as There’s Music” is another love song that was already happy when Zeitlin Imagine Meeting You Here got his hands on it. But he turns it loose as a throbbing Alister Spence and Satoko Fujii Orchestra Kobe (Alister Spence Music) For Centennial Reasons: 100 Year Salute to waltz and takes it to new levels of overt exuberance. Diary (2005-2015): John Pizzarelli Trio (Ghostlight) If a Zeitlin set is a celebration, what is Yuko Yamaoka Plays the Music of Satoko Fujii by Eric Wendell commemorated, besides life and creativity, is the vast Yuko Yamaoka (Libra) melodic, harmonic and rhythmic potential of his by John Sharpe Mar. 17th, 2019 would have been the 100th birthday instrument. He is the most pianistic of pianists. But the of Nat King Cole. In the years leading up to his extravagance of his rapid passagework, the outpouring In 2018, Japanese pianist Satoko Fujii turned 60. By centennial, there have been several albums (George of arpeggios, scales, flourishes and addenda, is not the way of celebration, she issued a new album every Benson’s 2013 release Inspiration: A Tribute to Nat King whole story. When the moment demands it, like on month of her birthday year. Even by her prolific Cole and Gregory Porter’s 2017 set Nat King Cole & Me) “Put Your Little Foot Right Out”, he plays single-note standards this was an amazing feat and all the more so that have paid tribute. For Centennial Reasons: 100 Year lines in delicate strands. The tune is best known in jazz as the quality of her output was consistently high, Salute to Nat King Cole is a worthy addition. for the reworking that Miles Davis called “Fran- taking in everything from a solo recital to sessions by This is not the first time John Pizzarelli has paid Dance”. Zeitlin’s version is more lilting, more innocent, two different orchestras. What the year established tribute to Cole (1994’s Dear Mr. Cole and 1999’s P.S. Mr. in keeping with the song’s origins as a nursery rhyme. beyond doubt is that she has become a strikingly Cole). While he doesn’t evoke much of the musicianship Zeitlin’s ideas about joy move through many innovative bandleader, composer and improviser, with of Cole, he evokes the charm and charisma Cole was moods. The title track is another demonstration of how an ever-widening circle of collaborators. able to exude, which is perhaps just as important. erudition and emotional affirmation can coexist. This One of those collaborators, who features on two of Pizzarelli immediately turns the charm on with original bossa nova is a treatise in sophisticated Fujii’s birthday dozen, is Australian keyboard player opener “Straighten Up and Fly Right”, a tune with an harmony and an euphoric reverie. Alister Spence. On Imagine Meeting You Here, he easy feel playing right into his wheelhouse. Pizzarelli Wishing on the Moon was recorded live at Dizzy’s conducts Fujii’s Orchestra Kobe through his five-part first recorded this song back in 1983 on his debut Club in 2009 by Zeitlin’s trio (now in its 18th year) titular work while Fujii occupies the piano stool. album I’m Hip (Please Don’t Tell My Father), a clear line with Buster Williams (bass) and Matt Wilson (drums). Spence takes the 14-piece group as his instrument, to how far back his love for Cole has stretched. While Wilson gets more press these days but Williams is deploying overlapping sections in myriad ways, often Pizzarelli’s vocals are timeless, it’s his guitar which Zeitlin’s secret weapon. His grooves are deep; his more direct than Fujii, mixing rocky rhythms and stands out. During his solo he mirrors the laid-back counterline commentary is spot-on; his solos are rapt. driving vamps with atmospheric passages and feel of his vocal before swiftly going to double time percolating backdrops. Among the high points are the then returning to the original tempo, creating a For more information, visit sunnysiderecords.com. Zeitlin simple ritual opening, where shakuhachi wavers over dynamic arc. Pizzarelli’s unflinching guitar dynamics is at Mezzrow May 1st-4th. See Calendar. a throbbing beat, before orchestral mass gradually are especially evident on “I Would Do Anything For accumulates, and the beginning of “Meeting” where You”, complete with his characteristic scat-singing/ • Eric Alexander—Leap of Faith Spence combines a funky drum figure with the voices guitar unison. “A Hundred Years From Now” is one of R (Giant Step Arts) of the orchestra members in a lurching hip-hop- two songs that Pizzarelli composed, co-written by his • Simon Barker/Scott Tinkler—Interweave inspired riff, which ignites as the orchestra take up wife and frequent collaborator Jessica Molaskey; the e (Kimnara) their instruments while continuing the riff. easy-on-the-ears tune doesn’t have a direct line to Cole • Simba Baumgartner—Les yeux noirs Individual expression is largely subsumed within but shows that Pizzarelli is equally adept at both c (Joue la Musique de ) the orchestra, although there is a combustible outing penning and interpreting . o (Water Is Life) for majestic trumpet flourishes and scrawling The finest song is a tune Pizzarelli wrote with the • —The Seven Rays (Savant) saxophone at the close of “Imagine” and a duet for most direct line to Cole. Entitled “Nat King Cool”, the m • Betty Carter—The Music Never Stops muttering trombones in “Meeting”. It’s not until track feels closest to something Cole’s trio would have (Blue Engine) “Here” that Fujii clearly stands out, laying down a performed and shows off Pizzarelli’s band of pianist m • Harold Danko/Kirk Knuffke— nagging pattern that provides the foundation for Konrad Paszkudzki and bassist Mike Karn. Of note is Play Date (SteepleChase) darting brass and reeds. Pizzarelli and Paszkudzki trading four-bar phrases, e • Bill Frisell/— Although she doesn’t play on Diary, another of the which are spirited and a highlight of the album. n Epistrophy (ECM) celebratory releases, the album shines the spotlight on While capturing the spirit of Cole was perhaps • Alex Harding/Lucian Ban— Fujii as composer. Each day she spends 15 minutes Pizzarelli’s intent, what he truly does is capture the d Dark Blue (Sunnyside) before practice composing at the piano. The double CD spirit of these timeless songs. In doing so, Pizzarelli • OGJB Quartet—Bamako (TUM) set collects together 118 of the resultant pieces, demonstrates the lessons he learned in what a trio can e • Rajna Swaminathan—Of Agency and performed by the classically trained pianist Yuko accomplish when each of them has a song in their heart. d Abstraction (Biophilia) Yamaoka, which reveal the DNA of Fujii’s work. As Laurence Donohue-Greene, Managing Editor Fujii usually names pieces upon recording, the titles For more information, visit ghostlightrecords.com. This project here are based on the date of creation and are is at Café Carlyle May 1st-4th and 7th-11th. See Calendar. n • Basement Research—Impromptus and Other programmed sequentially from 2005 through 2015. Short Works (WhyPlayJazz)

Most are fragments or sketches, like the series of e • Jean Derome—Sudoku pour Pygmées arpeggios in “061012”, but others sound fully formed, (Actuelle) like “021205” or “072714”, which appears virtually w • DKV Trio & Joe McPhee— unchanged as “Climb The Rapids” by her This Is It! The Fire Each Time (Not Two) Trio on 1538 (Libra, 2018). While there are recurring • —Dark Matter (s/r) elements, like cascading lines, sudden pauses, lilting r • Alex Harding/Lucian Ban— melodies and urgent ostinati, the sheer variety is e Dark Blue (Sunnyside) staggering. Fujii demonstrates time and again that she • Julian Lage—Love Hurts (Mack Avenue) possesses the knack of creating narrative and drama l • Quinsin Nachoff’s Flux— and many of the pieces cry out for further development, Wishing on the Moon (Live at Dizzy’s Club Coca-Cola) Path of Totality (Whirlwind) like stories where you want to know the ending. While e Denny Zeitlin (Sunnyside) • Paal Nilssen-Love—New Japanese Noise ultimately it will be the finished articles that draw by Thomas Conrad listeners back, for aficionados this set furnishes a a (PNL) fascinating insight into the creative process. If you ask yourself, “What would it sound like if a s • //Ches Smith— practicing psychiatrist and professor of clinical Sun of Goldfinger (ECM) For more information, visit alisterspence.com and psychology was also a badass piano player?”, the mind e • John Zorn—Salem 1692 (Tzadik) librarecords.com. Fujii is at The Stone at The New School goes blank. Then you hear Denny Zeitlin and get the Andrey Henkin, Editorial Director through May 4th. See Calendar. answer. It sounds like intellectual acuity infused with s

14 MAY 2019 | THE NEW YORK CITY JAZZ RECORD

back-beats and accents; and James Francies, whose That Dream” and Gene de Paul-Don Raye’s “You Don’t Fender Rhodes-based keyboard sound is colored with Know What Love Is” by playing them uptempo, various electronic enhancements to conjure up (among hinting at Ahmad Jamal in his interplay with Hall on other things) a virtual reality of video games and the former and not stating the melody of either song robots. Although he’s a sideman here, Francies’ except briefly on the latter. mercurial style—paradoxically relaxed and on-edge— Cohen plays some stride piano here and there in adds a distinctive stamp to the group, whether he’s the Waller songs, quoting “Smoke Gets In Your Eyes” floating over the bar lines, laying out briefly only to during “Jitterbug Waltz”, featuring Hall on “Squeeze jump back in emphatically or spinning out morphing Me”, cooking a bit on “Ain’t Misbehavin’” and tearing Live at Saint Peter’s Church washes of synth sounds. Bassist Linley Marthe only into “Handful Of Keys” in spectacular fashion to wrap Carol Sudhalter Quartet (Alfa Projects) plays on four (of nine) tracks, though (as with up the set. Dirty in Detroit is well worth exploring. by Ken Dryden Underground) the funk never fizzles for lack of bottom, and his busy but apropos accompaniment on For more information, visit emmetcohen.com. Cohen is at Baritone saxophonists were once heard almost “Exclamation” decisively spurs the drama. Birdland May 2nd-4th. See Calendar. exclusively with big bands in a supporting role with At the core is Potter’s impeccable rare solo features. That began to change with the playing: fluent, lyrical, logical, rhythmically supple, arrival of bop, where a number of small groups were extraverted without exaggeration. Eight new originals UNEARTHED GEM led by those wielding . Carol Sudhalter’s (plus one cover) provide compelling vehicles for his many decades on the instrument merit attention, as prog-bop approach, an outgrowth of Michael Brecker’s she has earned the respect of her peers in New York perhaps, but all his own. The tracks marry spontaneity City and spent significant time playing in Italy, where with compositional control—the former shown many of her recordings have been made. primarily in the flexible beats and in Potter and This midday concert at New York’s Saint Peter’s Francies’ solo spots, the latter in various precomposed Church has an informal air: there are times when or ‘textured’ sections, such as the overdubbed wind a musician is distant and one can also hear her giving choruses (saxophones, clarinets, flutes) heard on instructions to adjust the level in the midst of a piece. “Invocation” and “ of Brooklyn”; the bass- Sudhalter’s approach combines lyricism with gruffness clarinet counterlines and ‘sweetener’ parts heard on and her playing doesn’t seem heavily influenced by the “Koutomé”, the title track, “Green Pastures” and giants who preceded her. One of the nice surprises is “Queens of Brooklyn”; and in subtle remixes and Live in Bremen 1983 Quartet (Elemental Music) her choice of material, which includes many songs not electronic enhancements heard throughout. by Phil Freeman typically identified as features for baritone saxophonists. It seems as if Potter had a little extra studio time Her powerful sound dominates the jaunty on his hands and put it to good use crafting and Trumpeter Woody Shaw, who died tragically at 44 introduction of ’s “On A Misty Night”, sculpting the improvised raw materials. The result, 30 years ago this month, was a master of his well supported by her rhythm section of pianist Patrick akin to some of David Binney or Donny McCaslin’s instrument. But while his command of the horn and Poladian, bassist Kevin Hailey and drummer Mike projects, sounds both rooted and contemporary, his compositional skills were undisputed, he Campenni. Her elegant treatment of ’s progressive yet accessible. nevertheless remained a ‘musician’s musician’ “Park Avenue Petite” has a melancholy air, with lush because of his artistic and professional choices. held notes and creative use of space. She changes gears For more information, visit editionrecords.com. This project Although he explored jazz-rock a little on early completely for a poignant setting of Bill Evans’ ballad is at Jazz Standard May 2nd-5th. See Calendar. albums like Blackstone Legacy and Song of Songs, he “Time Remembered” by switching to flute (an was a traditional postbop player for the majority of instrument that Evans studied) with Poladian’s his career, sticking to a path laid out by players like economical solo avoiding comparisons to the Clifford Brown, Fats Navarro and early influences composer’s sound. With both ’s “Funk in Louis Armstrong and . And while the Deep Freeze” and ’ “Valse Hot”, common jazz critical narrative has it that the ‘70s Sudhalter has fun exploring pieces baritone players were all about fusion on one hand and avant garde have pretty much overlooked. The lyrical flute-piano experimentation on the other—Weather Report duet of Antônio Carlos Jobim’s “Luiza” is the perfect versus —several important finale for this masterful concert. musicians continued to make strong acoustic jazz during those years, including Sonny Rollins, Joe For more information, visit sudhalter.com. Sudhalter is at Henderson, McCoy Tyner and Shaw. By the early Dirty in Detroit (Live at the Dirty Dog Jazz Café) Flushing Town Hall May 1st, Sankofa Aban Bed & Breakfast ‘80s, the audience for this music had dwindled to Emmet Cohen Trio (s/r) May 4th and Sunnyside Reformed Church May 18th. See by Scott Yanow a coterie of diehards. Still, Shaw’s big, rich tone and Calendar. his ability to articulate and extrapolate on melodies n a career that has already been quite productive, at ferocious speed made him a thrilling listen. I pianist Emmet Cohen has shown that he is charting his This double CD is the second in a (hopefully) own path within classic jazz. While his previous continuing series of archival live releases on the recordings have found him welcoming such greats as Elemental Music label. The first, Tokyo 1981, Benny Golson, Ron Carter, Jimmy Cobb and Albert documented a relatively short-lived band of Shaw’s “Tootie” Heath, it is gratifying to hear him in the with trombonist Steve Turre, pianist Mulgrew spotlight with his own trio on Dirty in Detroit. Miller, bassist Stafford James and drummer Tony The CD features Cohen alongside bassist Russell Reedus. This one features the same band toward the Hall and drummer Kyle Poole performing fresh and end of its lifespan, with Turre absent, leaving Shaw creative interpretations of a variety of vintage material. as the only horn for the full two-hour concert. The music is wonderful, although one wonders why Those who listen to these nine extended Circuits Chris Potter (Edition) the songs have not been released in their original journeys (the shortest runs 9:36, the longest 15:49) by Tom Greenland sequence. Cohen apparently concluded the set with a will be richly rewarded. Shaw plays like a man lengthy tribute to Fats Waller, but the order of the doing backflips on a high wire; his solos take him At 48, saxophonist Chris Potter is already a veteran in tunes has been shuffled a bit. Otherwise one would not through every corner of the horn’s range, often at the jazz business, with an enviable track record of hear “Ain’t Misbehavin’” segueing into Monk’s full blast and with a thrillingly voice-like tone sideman stints (, Paul Motian, Dave “’Round Midnight” and then being followed by seeming to illuminate the trumpet from within. He Douglas, Dave Holland, among others) and 20 “Honeysuckle Rose”. sounds vibrantly alive and in the moment acclaimed albums as leader. Circuits, his 21st, is a Dirty in Detroit is filled with colorful and throughout. Miller, who gets almost as much time to revisiting and reenvisioning of his work with surprising moments. Cohen begins the set with one of stretch out as the leader, is equally masterful. And Underground, a bassless, groove-oriented fusion Monk’s most obscure songs, “Teo”, from the 1964 the simple two-track recording preserves the music project. The record’s sound is based around two Columbia album It’s Monk’s Time. Cohen brings back beautifully, ’70s rubber-band bass sound and all. Houstonites of different generations: drummer Eric Monk’s wit and percussive style but without directly Harland, who combines the tight-pocket playing of copying the innovative pianist. He completely For more information, visit elemental-music.com Underground’s Nate Smith with a looser handling of disguises -Eddie DeLange’s “Darn

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with trumpet concentrated in the lower to middle GLOBE UNITY registers. Heberer knows what he wants but he is in no rush to get there. The opening “The Ball is in Your Court” begins casually with Terrence McManus’ guitar mimicking deep electronics, segueing to an attractively relaxed rock-infused contribution from bassist Michael Bates and drummer Jeff Davis, before Heberer’s entrance. Modestly mixing strongly composed lines Parede with thoughtfully free excursions, the self-effacing Angles 3 (Clean Feed) Equal Time trumpeter excels in choice of notes and magisterial States of Minds Akiko Tsuruga/Jeff Hamilton/Graham Dechter (Capri) pitch. In addition to the compelling melodies, such as Møster (Hubro) angular “Night and Day Share the Clock”, and Heberer’s Elvesang by Elliott Simon Sigurd Hole (Elvesang) striking technique tempered by a laid-back pose that by Tom Greenland This egalitarian B3 trio is comprised of organ player makes it all look deceptively simple, is the fabulous Akiko Tsuruga, drummer Jeff Hamilton and guitarist rhythm section, building tension and pushing the In honor of Norway’s Constitution and Liberation Graham Dechter. Each member is given Equal Time on leader. What is particularly attractive is the way each Days (respectively May 17th and 8th) this column a program split between originals and covers. Tsuruga piece brandishes different strategies in subtle ways. reviews albums by artists from the western Nordic stands out among the current crop of youngish Heberer likes to open with rhythm and on “Bon kingdom: Angles 3, featuring bassist Ingebrigt B3 players in that she doesn’t slather her music with Ton”, acoustic guitar and bass lead frenetically, with Håker Flaten (from Oppdal); Kjetil Møster’s greasy substructures. Dechter and Hamilton have trumpet flutters and blats fitting in, well, if not hand- eponymous quintet (Nordmenn all), plus a solo set similar elegant touches and together they offer a in-glove, then at least in a way that makes perfect by Rendalen-born bassist Sigurd Hole. unique take on the genre. They swing at the start on sense, at least in retrospect. Heberer unhurriedly rises Flaten was part of Swedish tenor/soprano the leader’s “Mag’s Groove” and the entire set is an above the rhythm section, with splendid support saxophonist Martin Küchen’s first Angles project enjoyable, if somewhat lighthearted, exacting session. underneath. “Mongezi”, a homage to South African (2004) with Swedish drummer Kjell Nordeson. Parede, The self-penned compositions are the meatier fare trumpeter Mongezi Feza, picks up the pace to the point reuniting the original lineup, was recorded live at and Dechter’s “Orange Coals” is a countrified burner where you could even dance to the nifty melody. The SMUP, an avant-oriented venue west of Lisbon. Over with intense ride cymbal propelling the guitarist to his closing “Remscheid Reggae” confounds expectations the course of four tracks lasting an hour one is struck finest moments. “Osaka Samba’, a meld of the leader’s with simple and gentle acoustic guitar abetted by the by the cumulative power: energy of Delta blues; Japanese roots and Brazilian rhythms, is a lovely close embrace of bass and drums, with Heberer’s rich ’s sound-for-sound’s sake ethos; what creative approach maintaining a breezy feel while her sound ending abruptly to finish the piece and the might be called ‘grunge jazz’. Eschewing full-bore “Lion’s Gate” is an achingly beautiful bluesy panorama. album. It may not sound like any reggae you have skronk, the trio concentrates on steady beats propelled Dechter and Tsuruga are made for each other and here heard, but like most of the album, sinks in quietly. by nimbly melodic bass and no-nonsense rocking their repartée is exquisite. drums. Küchen meanwhile builds short motifs into The covers include a lilting version of Hank For more information, visit outnowrecordings.com. This sturdy (if unconventional) architecture, caressing or Mobley’s “A Baptist Beat”, with Dechter’s country- project is at Bushwick Public House May 6th and El Barrio choking his tone into now delicate, now bestial cries. blues technique impressive but missing the original’s Artspace May 19th. See Calendar. Buoyed by the rabid crowd, these middle-aged ragged gospel roots, and Steve Allen’s “This Could be jazzmenn exude an impressively youthful verve. the Start of Something Big”, which serves as both a fine States of Minds is the fourth album (a double) by showcase for Dechter’s skill and an overly campy multi-instrumentalist Kjetil Møster’s group, formed closer. Rounding out the set are John Coltrane’s in 2010 with bassist Nikolai Hængsle and drummer “Moment’s Notice” and Victor Schertzinger-Johnny Kenneth Kapstad, joined later by guitarist Hans Mercer’s nugget “I Remember You”. The former fares Magnus “Snah” Ryan and, guesting for this date, better than the latter and although the tune’s hard synthesist/lap steel guitarist Jørgen Træen, who edges are rounded, Hamilton pushes Dechter and also engineered the two sessions. Each disc opens Tsuruga into some interesting interplay. with a 20-plus-minute group improvisation, both When viewed in the context of the B3 canon based on steady (but morphing) rock rhythms under Tsuruga sacrifices some grit in favor of elegance. But a three-way wash of electr(on)ic timbres. Two that has been her contribution and over the past decade shorter improvs and six tunes round out the set. she has refined her approach, staked out this territory Træen’s -esque modular synth loops and made it her own. often function as a heartbeat, his high-sliding guitar barely distinguishable from Møster’s processed For more information, visit caprirecords.com. This project is tenor saxophone and Ryan’s similarly-toned guitar. at Dizzy’s Club May 5th-6th. See Calendar. Elsewhere, Møster favors a clean tone that seems to

loiter about the mix. The all-pervasive reverb fosters the illusion that one is hearing the music from the far side of a giant watery cave. Elvesang (“River Song”) is Sigurd Hole’s solo bass debut recorded in a church north of his AKIKO/HAMILTON/DECHTER birthplace. The ancient wooden building’s distinct acoustics and region’s rural ambiance greatly EQUAL TIME contribute to the impact of this holistic suite of 12 Among the top touring jAzz trios in the nAtion, short ruminative pieces. Interrupted—or rather Akiko tsurugA (orgAn), jeff hAmilton (drums), And grAhAm dechter (guitAr), never fAil to impress accompanied—only by Mother Nature herself, Hole X Marks The Spot with high energy, innovAtive ArrAngements blends with thunder claps (on “Torden” and Thomas Heberer (OutNow) And world-clAss musiciAnship, AlwAys leAving “Lysning”), light rain (at the start of “Regn”) and by Steven Loewy rAve reviews in their wAke. birdsong (“Fugler”), allowing these ambient ‘intrusions’ to coexist peacefully in the moody Trumpeter Thomas Heberer presents a refreshingly soundscape. A master of timbral manipulation, he innovative collection of original compositions coaxes schizophonic voices from a single string, performed by a tightly focused quartet on the genre- split notes that simultaneously ‘speak’ in open crushing X Marks The Spot. Heberer, known for his tones, upper partials and subharmonic ‘wolf notes’, work with the ICP Orchestra and as a sideman with poising these against open drones, tapping beats numerous groups in Europe and New York City, where and overtone melodies. he now resides, focuses here on his compositional MAY 5TH & 6TH skills, which reveal a deliberate and measured 7:30 PM & 9:30 PM $35 For more information, visit cleanfeed-records.com, approach, sometimes delicate and at others almost hubromusic.com and sigurdhole.no unbearably tense. Most of the pieces are taken at a leisurely pace, CAPRIRECORDS.COM

16 MAY 2019 | THE NEW YORK CITY JAZZ RECORD

completed, but planned for the 1889 Exposition Universelle in Paris to commemorate the 100th anniversary of the storming of the Bastille. The music has a marching-to-our-doom quality enhanced by bassist Vicente Archer’s low notes but it evolves with wah-wah trumpet, underlined by Ismel Wignall’s percussion. It’s Miles Davis-ish, but not funky at all, too atmospheric for that. “Dignity and Despair (Burghers of Calais)” (part Columbia Icefield The Casbah of Love two) commemorates one of Rodin’s best-known works, Nate Wooley (Northern Spy) Andrew Lamb Trio (Birdwatcher) celebrating a moment of self-sacrifice circa 1346 during by Stuart Broomer by Phil Freeman the Hundred Years’ War between France and England. With death hanging in the air, it’s somber and brief, With Columbia Icefield, trumpeter Nate Wooley Saxophonist Andrew Lamb has been a powerful if featuring Chien Chien Lu’s vibraphone. “Camille introduces a new quartet with guitarist Mary under-recognized figure on the New York free jazz Claudel” (part four) is a very peaceful take on its Halvorson, pedal steel guitarist Susan Alcorn and scene since the ‘70s. He studied with Kalaparusha subject, who was a very talented sculptor in her own drummer Ryan Sawyer. While the band’s scale may Maurice McIntyre and performed with , right, but neglected by the sexist assumptions of her seem modest, its subject is vast. The Columbia Icefield and Warren Smith, among others, and times. covers 125 square miles of Western Canada and is up to led numerous groups of his own. He’s a burly but The whole suite is somewhat somber, despite such 1,200 feet thick, actually spawning glaciers. Is it introspective and open-hearted guy and his music is modern touches as Fender Rhodes piano and what invoked to suggest the monolithic scale of the natural the same: a post-Coltrane, post-Ayler form of spiritual sounds like (but probably isn’t) an Echoplex. Pelt world, its vast consistency, or perhaps its transitory free jazz with an almost ceremonial aspect at times. himself isn’t in the background, but playing just what character? The Columbia Icefield has lost half its This trio features Lamb and his longtime creative needs to be played. He doesn’t really start blowing in volume in the past century. foil, bassist Tom Abbs (who co-founded the Northern earnest until “Feito”, a post-suite cut featuring a fine Three long pieces are at once immediately listenable Spy label and directed the free jazz documentary Fire open-horn workout. and slightly mysterious. Take the opening “Lionel Music), joined by drummer Ryan Jewell. The music Oh, and check out “Epilogue”, which opens with a Trilling”, for example, a work that has both stretches of sounds like of the Pentecostal type long bass introduction. Things get moving when Allan minimalist rhythmic pulsation and a trumpet solo of released on labels like AUM Fidelity, Boxholder, Mednard’s drums pick up the tempo. Pelt plays a great lyricism. The source of the rhythmic insistence No More, Eremite and others throughout the ‘90s-00s. delicate melody that seems out of character with the eludes identity: at times it’s clearly a trumpet being Pieces like the opening title track, closing “Embrace Of by-then incessant beat, but it works. “Ceramic” has played through an effects pedal, at other times it might The Twin Ponds” and “The Be In Be To Be” are near-Latin piano from Victor Gould, an MVP here. be percussion or even pedal steel guitar. churning, pummeling workouts on which Lamb’s Jeremy Pelt The Artist features Pelt the composer “Seven from the Woods” is pure elegy: glassy long, keening lines are supported by booming, Jimmy and it’s a lovely work. eliding tones from the two guitars support keening Garrison-esque bass. Jewell’s drumming is very Harmon-muted trumpet for the first half until Wooley interesting, in that while he’s certainly capable of For more information, visit jazzdepot.com. This project is at switches to a still-more-pensive open voice, with /Milford Graves-esque splatter, he often Jazz Standard May 9th-12th. See Calendar. Sawyer adding light cymbals and delicate rolls. avoids snare and bass, preferring to concentrate on Gradually the guitars come to the fore, both bending toms and cymbals. The result is a somewhat more pitches. Alcorn pushes the Nashville associations of meditative atmosphere than one would immediately her instrument to an icy, oscillator-like purity and sets anticipate, particularly on “Embrace Of The Twin off for the stars; Halvorson takes her electronics in Ponds”, when Lamb switches to flute. another direction, all fuzz and distortion. The Casbah of Love isn’t all trio blare, though. The concluding “With Condolences”, with lyrics “Wonders Of The Morning” and “The Third Shadow” sung by Sawyer, maintains the CD’s focused space and are fierce solo saxophone eruptions while “Song Of depth. Columbia Icefield is music of a reflective grace, as The Wind And The Leaf” is a duo for bass and consistently imaginative as it is spare. saxophone that feels like a false start that was An addendum: keeping in mind that Wooley is nonetheless put on the album. After one phrase, Lamb editor of the journal Sound American, a model of can be heard to say, “Uh-oh” and the piece peters out contemporary musical erudition, what does that first soon afterward, ending abruptly at the 85-second track have to do with Lionel Trilling? Is it a mere pun mark. On “New Moon On The Desert”, he switches to on ‘trilling’, which isn’t a dominant characteristic of . It’s also worth noting that the album is the music, or is it a significant homage, something in impeccably recorded. During his solo sections, Abbs’ May 7th its dense insistence and lapping ambiguities, its clarity breathing can sometimes be as loud as his bass and the Mike Longo’s NY State of amidst the unrecognizable, evoking a special quality of sound of the room is practically a fourth instrument. thought?? I can’t think of another composition devoted the Art Jazz Ensemble to a “man of letters”, in this case the dominant mid- For more information, visit birdwatcherrecords.bandcamp.com. with vocalist Ira Hawkins 20th century American critic who spent his career at This project is at Zürcher Gallery May 9th. See Calendar. Columbia University. Are the notions of a central critical literacy and the public intellectual as fragile, may 14th even doomed, as the icefield? Warren Chiasson group Or is yet another Columbia Icefield intended? Wooley’s restrained intensity and keen sense of shape tribute are strongly suggestive of Miles Davis’ special lyricism, though in a way far from merely imitative, whether or may 21st not there’s a Harmon mute involved. It suggests a Russ Kassoff Orchestra Columbia icefield that extends from Davis’ ’Round About Midnight, recorded in part in 1955 (the year with Catherine Dupuis Trilling published both The Opposing Self: Nine Essays Jeremy Pelt The Artist in Criticism and Freud and the Crisis of Our Culture) to Jeremy Pelt (HighNote) Get Up with It, the last of Davis’ Columbia recordings, by Jim Motavalli New York Baha’i Center including sessions with three guitars, among them the 53 E. 11th Street brilliant “He Loved Him Madly”, recorded in 1974 and Prolific trumpeter Jeremy Pelt strikes again, with an released in 1976, bracketing the year of Trilling’s death. ambitious suite dedicated to the French sculptor (between University Place and Broadway) Like those other Columbias, Wooley’s work is Auguste Rodin (1840-1917). The pieces are named after Shows: 8:00 & 9:30 PM made to resonate, hopefully to endure. Rodin works, as well as his muse and mistress, Camille Gen Adm: $15 Students $10 Claudel. 212-222-5159 For more information, visit northernspyrecs.com. Wooley is “The Gates of Hell”, part three of the suite, is bahainyc.org/nyc-bahai-center/jazz-night at Bushwick Public House May 6th. See Calendar. named for a monumental work that was never

THE NEW YORK CITY JAZZ RECORD | MAY 2019 17

Fortunately, Diane, a somewhat out-of-the-blue duo a weakness. What Cymerman does is truly out of the effort with the great pianist Paul Bley, is one of the ordinary, so when there’s a flurry of notes, the sheets- former and a fine example of the exquisite trumpet of-sound cliché so frequent in free music, it’s too work Baker was at least occasionally still capable of, familiar and within this context disappointing. even in the worst throes of his drug addiction. Extra-musically, the clarinetist acknowledges Like many of his late-in-life albums, Diane (now figures like Yukio Mishima (there’s a typical quote available on 180-gram vinyl), which was recorded in from him equating purity and violence), Eliane Denmark in 1985, is composed mainly of well-known Radigue, Salvatore Sciarrino, Alvin Lucier and Paul standards and ballads. But Baker’s warm, poignant, at Celan. One can equate all of them with a calm fierceness Tools of Imagination times achingly beautiful trumpet breathes fresh life and a cool, indomitable determination, something like Eddie Prévost/Evan Parker (Słuchaj Fundacja!) into familiar tunes like Irving Berlin’s “How Deep Is the sound of this record. by Kurt Gottschalk the Ocean”, Ralph Rainger-Leo Robin’s “If I Should Lose You” and a particularly gorgeous, melancholy For more information, visit 5049records.com. Cymerman is Saxophonist Evan Parker and percussionist Eddie reading of Cole Porter’s “Every Time We Say Goodbye”. atDMoCellTheaterAdV1.qxp_Layout Areté Gallery May 16th. See Calendar. 1 4/22/19 11:41 AM Page 1 Prévost may seem opposite sides of the spectrum, the This is an exceedingly low-key, quiet—and at former given to loud, rapid linearity, the latter to times glacially slow—album, but it’s a mood that suits spacious, amorphous environments. But they’re both of the artists well. The closest thing to an uptempo SEED ARTISTS AND THE CELL THEATER PRESENT opposite sides of the same spectrum, sharing an number is the loping take on Sonny Rollins’ bebop gem interest in spontaneous expression and exploration of “Pent-Up House”. The lone vocal selection is J. Fred the sonorities of their individual instruments. They Coots-Haven Gillespie’s “”, which “An Evening of Creative Music” also share a space on the timeline of British free Baker sings prettily enough, with his distinctive blend SATURDAY, MAY 11TH improvisation: Parker’s earliest recorded work was of romance and world-weariness, though you may 8:00 pm — Diane Moser's “Birdsong Trio” with guitarist and drummer John Stevens’ have to strain to hear his nearly whispered delivery. Diane Moser – piano Spontaneous Music Ensemble in the late ‘60s, at which Bley plays mostly a supporting role here, but does Anton Denner – flute/piccolo Ken Filiano – bass time Prévost was already exploring similar ideas of so nearly perfectly and with enormous sympathy, dianemosermusic.com/music/birdsongs non-idiomatic free improv with the group AMM. forgoing his more avant garde style for a mainstream 9:00 pm — Pheeroan akLaff M.O.P. Strings Their paths have crossed, of course, prior to the approach that matches up well with Baker’s ethereal Aska Kaneko & Tomoko Akaboshi – 2017 concert captured on Tools of Imagination, in various brand of bebop. The two had a relationship dating Stephanie Griffin & Matt Consul – arrangements and ensembles as well as on two back to the ‘50s and while their careers had veered in Hilliard Greene – bass Scott Robinson – woodwinds previous recordings, both issued on Prévost’s Matchless radically different directions, it’s heartening to hear Pheeroan akLaff – percussion Recordings. Here, at Warsaw’s Pardon, To Tu, they the easy rapport and receptivity they still shared. pheeroanaklaff.com continue the conversation, perhaps finding even more commonality than on past occasions. The amity is For more information, visit steeplechase.dk. A Chet Baker The Cell Theater seedcell.bpt.me 338 West 23rd Street NYC [email protected] generally found through Parker slowing down, finding tribute with Warren Chiasson is at New York City Baha’i Subway: C, F, 1, 2 ,& 3 Tel/Fax:646-861-2253 crevices within Prévost’s bright cymbal work through Center May 14th. See Calendar. TICKETS: $20 http://www.thecelltheatre.org/ which to crawl. On occasion, though, Prévost meets

Parker as well, with some rather surprising tuned drum work (presumably achieved by manually altering the tension of the head). Prévost initiates the single, hour-long track with Academy Records crying bowed cymbals punctuated by soft mallet in a suspenseful solo orchestration. Parker enters with a slow, low tone and round flutters. The harmonic & CDs integration is notable; the pair plays ‘in tune’, despite the less-manageable pitch control in the percussion. Prévost doesn’t quite make a out of his kit, but he Decay of the Angel certainly seems to try before dropping to the lower Jeremiah Cymerman (5049 Records) Cash for new and used register of a softly pounded gong, leading Parker to by George Grella the bottom of his tenor. Parker pushes back to the compact discs,vinyl surface and Prévost teases the tension, jumping This record from clarinetist Jeremiah Cymerman between tonal fields while increasing his attack. It is, needs to be taken in context, specifically that of the trio records, blu-rays and or at least seems to be, more than 10 minutes before he Bloodmist. That band is Cymerman, bassist Toby strikes a drumhead and then with mallets, like distant Driver and contemporary classical composer Mario dvds. thunder. The roux thickens but is rarely brought to Diaz de Leon handling guitar and electronics and their more than a simmer. There’s a beautiful restraint debut release, Sheen, was astonishing. The band throughout Tools of Imagination, a coolheaded improvises, but in the manner of doom metal and dark confidence born of playing without needing to prove. ambient, their structures are sparse in the extreme yet We buy and sell all they create an extraordinarily rich and compelling For more information, visit sluchaj.bandcamp.com. Parker atmosphere and make some of the most light-absorbing genres of music. is at Zürcher Gallery May 10th and The Jazz Gallery May music around. All sizes of collections 11th with John Escreet. See Calendar. Sheen is best heard through headphones or else at high volume and Cymerman recommends each welcome. technique “for maximum experience” with this new solo effort. More than just a composer and performing musician, Cymerman is a recording musician and the sound reproduction is excellent, going deep in each For large collections, dimension, clear and resonant. That sonic quality is integral to what Cymerman is please call to set up an doing. Like Sheen, Decay of the Angel is finely crafted appointment. dark ambience, but uncommon for the genre it comes straight from a musician playing an acoustic instrument. Cymerman uses electronic processing, Diane overdubbing and some percussion to extend the sound Chet Baker/Paul Bley (SteepleChase) Open 7 days a week 11-7 by Joel Roberts and add colors and he pushes his playing against itself, via delay and multi-tracking, to produce an exquisite Chet Baker made a lot of records in the last years of blue pain of dissonance. 12 W. 18th Street NY, NY 10011 his life before his tragic death in Amsterdam in 1988, That means this is denser music than Bloodmist 212-242-3000 some of them terrific and others decidedly mediocre. creates, which is mostly a strength but also at times

18 MAY 2019 | THE NEW YORK CITY JAZZ RECORD

which every voice has something integral to say. The and steady tempo. Meters and tempos shift within string quartet, led by violinist Fung Chern Hwei, is a tracks, rubato sections are common. The uptempo green thread throughout, ending in a richly arranged jounce of “The Fools of Venus”, an early track, is take on Bill Evans’ “Time Remembered”. The latter, seldom replicated as the suite progresses toward along with Charlie Parker’s “Au Privave” and the increasing discord and mayhem. Then, after a Chinese traditional “Song Yue Rao” (Moon in the distortion- and feedback-heavy “The Forlorn Mill”, the Pines), are the only non-original tunes. Oh’s writing suite ends with the drone ballad “Phowa”, a through- animates every other leaf like a blast of chlorophyll. composed theme from the horns and guitar. The title That feeling of regeneration abounds in the title suggests Carvalho eschewing Bosch for Vajrayana Songs Were Made to Sing track, which adheres its instrumental and vocal forces Buddhism as the title refers to a meditation “practice Mary Stallings (Smoke Sessions) by the glue of Oh’s bass. Whether rhapsodizing on of conscious dying”. by Alex Henderson electric in “Lilac Chaser” or bowing upright in the Bach-inspired “Cancrizan”, she carries the full weight For more information, visit outsideinmusic.com. Carvalho Mary Stallings’ recording career has spanned an of her ensemble with studied hands. She is just as adept is at The Owl Music Parlor May 19th. See Calendar. impressive 58 years: in 1961 she made her at unmooring herself, as in the exquisite “Kirigami”. recording debut on vibraphone master Cal Tjader’s Cal The mysterious diptych “Rest Your Weary Head”, Tjader Plays, Mary Stallings Sings on Fantasy. dedicated to one of her nieces, emits dreamlike energies Transforming Stylistically, the Bay Area-based vocalist, now 79, against the indigeneity of “Broome We Are Here”. continues to favor a bop-oriented approach with a Her band is vividly present. Ward’s soprano lives Through strong Carmen McRae influence. playing is especially moving in “Ebony” while Mitchell Songs Were Made to Sing finds her backed by a and Smith uncover hidden details in every melody jazz arTs solid quintet of trumpeter Eddie Henderson, alto they encounter. But it’s their fearless helmswoman educaTion saxophonist Vincent Herring, pianist David Hazeltine, who pushes ever onward, always keeping one oar in bassist David Williams and drummer Joe Farnsworth. the water. Albums like this come along only once in a inTergeneraTional jazz jam Henderson, among the top fusion trumpeters of the great while and the world is a better place for it. sunday, may 12 2-5 Pm ‘70s but more recently a postbopper, and Herring, one national jazz museum in harlem of the finest players to come out of the Young Lion For more information, visit biophiliarecords.com. This mother’s day celebration co-hosted by pianist movement in the ‘80s, are in particularly fine form and project is at National Sawdust May 16th. See Calendar. eli Yamin and special guests, Bob and curtis stewart Stallings gives her sidemen plenty of solo space. Bob stewart, tuba | curtis stewart, violin On Oliver Nelson’s modal standard “Stolen eli Yamin, piano | jennifer vincent, bass Moments”, Stallings embraces a rare set of lyrics that dwayne “cook” Broadnax, drums shouldn’t be confused with either Mark Murphy’s singers, musicians, dancers, spoken word artist and well-known words for the song or the “You Belong to audiences of all ages invited to listen and/or join in. Her” lyrics penned by Ann Fischer and performed by Intergenerational Jazz Jam is made possible in part with funding from the Upper Manhattan Empowerment Zone Development Corporation and administered by LMCC. McRae and Betty Carter as a duo in 1987. Stallings excels as a smoky balladress on Thelonious Monk’s for more information visit jazzpower.org “’Round Midnight” and Harold Arlen’s “Ill Wind” and moves into soul-jazz territory with a bluesy performance of ’s “Sugar”, easily The Garden of Earthly Delights the most R&B-minded track on this release. André Carvalho (Outside In Music) Stallings often surprises by embracing familiar by George Kanzler standards at unexpected tempos: Duke Ellington’s “Prelude to a Kiss”, usually performed as a dreamy Portuguese bassist André Carvalho has created a sonic ballad, is transformed into a fast, aggressive swinger; study in contrasts on this 11-part suite inspired by Ram Ramirez’ “Lover Man”, made famous by Billie Renaissance painter Hieronymus Bosch’s famous Holiday in 1944, receives an energetic Latin makeover surrealism-foreshadowing triptych The Garden of featuring Daniel Sadownick on percussion, becoming Earthly Delights. Carvalho writes that the suite surprisingly exuberant while maintaining the song’s “wanders between antagonistic dichotomies like melancholy outlook; Tadd Dameron’s “Lady Bird” softness and harshness, simplicity and complexity, becomes a laid-back, relaxed bossa nova; and Monk’s harmony and conflict, improvised vs. composed music, “Blue Monk” is slowed down to a crawl. exploring the exact same set of emotions, motivations Songs Were Made to Sing demonstrates that and desires that can be found in our most profound Stallings is still on top of her game after all these years. experience as Human Beings.” A tall order for any piece of music, let alone one For more information, visit smokesessionsrecords.com. This from a sextet. Yet Carvalho creates, at its best, an often project is at Smoke May 16th-18th. See Calendar. captivating, phantasmagoric suite, which careens through a sonic landscape gleefully mixing acoustic

instruments with heavy electric guitar and hyper- drum and percussion but, at its worst, sounds like dubious experiments in a sound lab. The band here is Oskar Stenmark (trumpet and flugelhorn), Eitan Gofman (tenor saxophone, flute and bass clarinet), Jeremy Powell (soprano and tenor saxophones, flute), André Matos (guitar) and Rodrigo Recabarren (drums and percussion). Co-producer Pete Rende also deserves credit for his clear, precise mixing. It is that which allows Carvalho’s acoustic bass an Aventurine often equal role with Matos’ heavy-metal-leaning Linda May Han Oh (Biophilia) by Tyran Grillo guitar. The pair can interact delicately, as on the spare “Dracaena Draco” or in the blare and swirl of Linda May Han Oh’s Aventurine is a master class in “The Towers of Eden” and “Evil Parade”, where the shaping a personal sound. The bassist, composer and rich, clear tones of bass assert themselves despite the arranger enhances her role in all three capacities in an Jimi Hendrix-like feedback from Matos. Meticulous iridescent ecosystem of ideas that thrives on repeat mixing also insures that the horns are heard with listening. Combining the signatures of Greg Ward (alto clarity, as they are often employed in weaving, tandem and soprano saxophones), Matt Mitchell (piano) and and overlapping lines, hardly ever in unison of simple Ches Smith (drums and vibraphone), along with a harmony. bevy of strings and singers, Oh delineates a space in Carvalho’s pieces rarely conform to song structure

20 MAY 2019 | THE NEW YORK CITY JAZZ RECORD

and relevant. And now, he has ascended closer to a virtually a suite, going from sultry, atmospheric bossa personal zenith in his development. nova to a panoramic, cinematic mood piece to wistfully Lovano has contributed to many dates on ECM as romantic, Meza’s voice convincing and effortlessly a sideman, but Trio Tapestry, a brooding document adapting to the emotional changes without ever with (piano) and long-time becoming melodramatic. associate Carmen Castaldi (drums), marks his debut as The musicianship is excellent. There aren’t any a leader for the venerable German record label, which lengthy improvisations as this album is the work of an celebrates its 50th anniversary later this year. ensemble devoted to serving the songs. There’s a The disc opens with the dark percussive textures dizzying variety of moods throughout, with the A Lousy Day in Harlem of Castaldi’s cymbals and gong work by the leader unifying factor being Meza’s enthralling vocals. For Ed Palermo Big Band (SkyCat) before Lovano begins to unwind with a hushed and the eclectics out there, this is a veritable treasure trove. by Marco Cangiano contemplative lament on tenor. Castaldi approaches the drums in much the same manner as Motian, an For more information, visit sonymasterworks.com. This project Ed Palermo is universally known as one of the most obvious influence; a premium placed on color and is at Rockwood Music Hall Stage 2 May 22nd. See Calendar. intelligent interpreters of ’s music. As texture and a minimum devoted to any obvious important as this role can be, it somewhat overlooks beatmaking. Crispell is nothing short of magnificent Palermo’s eclectic talent as composer, arranger, soloist on this session. From the very beginning she provides and entertainer—his big band’s shows are more akin to Lovano with a luxuriant and flexible harmonic tapestry, events than typical concerts thanks to his irreverent with which he is able to wind colorful threads of daring sense of humor. This CD is therefore a welcome melodic design. She’s a profound listener and when addition to his growing opus, showcasing his skills as she joins on “Seeds of Change”, each phrase becomes a composer more than in preceding recordings through a generator for a deeper conversation. a number of originals revealing deep knowledge and Lovano switches to tarogato for a shimmering duet love for the great jazz tradition. The band is in splendid with mallet-driven drums on “Mystic”, which unfolds form, confirming once again it is one of the very best with an architectural patience reminiscent of Wayne on the New York scene. The musicians share Palermo’s Shorter. Pinpoint ride cymbal articulations elevate and eclectic approach and interpret the material with gusto. inspire Lovano into a more animated conversation and Most of them, however, fall regrettably under the when Crispell enters at mid-point this trio begins to “underrated” musician category; this CD will hopefully galvanize. The album is at its best when the music provide the exposure they deserve. transcends the ruminative into a more agitative state— The music is passionate, most enjoyable and full like the penultimate “Spirit Lake”, which seems to of surprises. Half of the tunes are composed by Palermo imply a malevolent force beneath the surface, and “The himself. Overall, the music may not be as explosive as Smiling Dog”, where the simmer becomes a boil— in Palermo’s shows but more subdued and even yielding the album’s finest track. sophisticated, such as in “The One with the Balloon”, possibly dictated by deep respect for the tradition. For more information, visit ecmrecords.com. This project is “Affinity” is another good example of this along with at Village Vanguard May 21st-26th. See Calendar. the arrangements of compositions by Gigi Gryce

(“Minority”) and Duke Ellington (“Brasilliance”). Although none of the compositions are from the Zappa repertoire, that influence is still palpable in some pieces—like the interpretation of Egberto Gismonti’s “Sanfona” and Palermo’s “Next Year”. The arrangements are superb—Palermo has a particular knack for his reed section—and so are the soloists: from Palermo on to Phil Chester’s nimble soprano, Bill Straub and Ben Kono’s dueling tenors in “” and John Bailey’s very ámbar personal reading of “Like ”. Although not Camila Meza & The Nectar Orchestra featured in solo outings, the rhythmic duo of bassist ( Masterworks) Paul Adamy and drummer Ray Marchica is simply by Mark Keresman outstanding at driving the band through sudden shifts of moods and tempos while swinging infectiously. Singer/guitarist Camila Meza hails from Chile and attended the School of Jazz at The New School, where For more information, visit palermobigband.com. Palermo’s she studied with and Vic Juris, and later Big Band is at Iridium May 20th. See Calendar. worked with , Paquito D’Rivera, Ryan Keberle and Aaron Goldberg. ámbar is her first release for a major label and it is a wonder, a seamless fusion of assorted folkloric and popular traditions of South America, the adventurous side of Anglo-American alternative pop/rock and fusion. Meza has a truly lovely and expressive alto voice, lissome and clear, with formidable range and an unmistakable jazz influence in her phrasing. “Kalifu” begins this opus with cyclic/minimalist figures from strings and sparkling West African-style electric guitar and Meza’s voice soars to the skies—later there’s a Trio Tapestry glistening jazz-y guitar solo. There is no translation of (ECM) by Robert Bush the lyrics but her singing is exultant, conveying mystery, joy and hope. One of the few tracks sung in Tenor saxophone master Joe Lovano has been making English is the enigmatic /Pat Metheny great records for the better part of the last 40 years, collaboration “This is Not America”—given a near since he entered the jazz consciousness as a member of funereal tempo, Meza delivers the somewhat several key Paul Motian groups in the early ‘80s like ambiguous lyrics (the song was featured in the Cold Psalm with Motian and bassist Ed Schuller (ECM) and War/Reagan-era espionage drama The Falcon and with Schuller and saxophonist Jim Snowman) with what can best be described as passionate Pepper (Soul Note). With each passing year, Lovano’s ambivalence as it builds to a stormy, quasi-orchestral post-Coltrane aesthetic grows more confident, mature climax. Milton Nascimento’s “Milagre dos Peixes” is

THE NEW YORK CITY JAZZ RECORD | MAY 2019 21 original fashion. Klein’s electric piano is the beautifully Open at repetitive underscoring to the counter-rhythms of the orchestra and the lines of the sections. The keyboard crosses and weaves, leading to a lusciously dark tuba 7pm! solo by Jan Schreiner. The whole tune is a minimalist fanfare to kick off this collaboration. To change the pace, “Riqueza Abandonada” starts as a dusky ballad colored by tenor saxophonist Adrian Pflugshaupt and then picks up in tempo with a buoyant guitar solo by Visions Samuel Leipold. The writing is finely layered, engaging Melissa Aldana (Motéma Music) and different. by Russ Musto “Agua (Para Mantener)” changes its dynamics subtly and regularly with a deft bass section by Lorenz This Month! Visions, the fifth effort from Melissa Aldana, is the Beyeler and then a soulful tenor solo from Cédric most ambitious work to date by the 2013 Monk Gschwind. There is sinuous and poignant bass clarinet Live! Saxophone Competition winner, a further excursion from Jürg Bucher on “Manuel”, which Klein has WED LUCY YEGHIAZARYAN 7:30PM into Frida Kahlo-inspired compositions that began reworked from an earlier Sunnyside recording. 5/1 ROBERT EDWARDS BIG BAND 10:00PM with a residency commission from The Jazz Gallery. “Paredon” is a nutty, off-kilter romp, which frenetically THR THE BINKY GRIPTITE QUINTET 10:00PM Aldana’s band is a quintet of vibraphonist Joel Ross, shouts and stomps. “Machine & Emile” finds brass 5/2 pianist Sam Harris, bassist Pablo Menares and playing off woodwinds, some lovely ‘odd’ pianistics drummer Tommy Crane. The inclusion of chordal from Philip Henzi and a cinematic sensibility. FRI JOHN DOKES 7:30PM 5/3 FLEUR SEULE LATIN BIG BAND 10:30PM instruments in contrast to her previous pianoless trio This collaboration teems with ideas. Two linked outings serves Aldana’s distinctive compositional pieces celebrate a Bern prison turned clocktower: SAT NICK HEMPTON QUARTET 7:30PM voice, one marked by consummate harmonic acuity. “Inside Zytglogge” has a wacky, playful march and a 5/4 “KING” SOLOMON HICKS 10:30PM The opening title track is a freewheeling outing, baritone feature for Matthias Tschopp while its sequel, TUE YUNIEL JIMÉNEZ (EL GUAJIRO) 7:30PM an appealing line brimming with anticipatory “Zytglogge II”, is percussive with horns sharing lines. 5/7 ITAI KRISS AND GATO GORDO 10:00PM optimism, a propulsive point of departure for engaging The set closes with a brash and beautiful “Hymn” and WED RODNEY GREEN TRIO 7:30PM solos by Harris and Aldana—the former characterized one of Klein’s earliest tunes (from high school!), 5/8 THEO CROKER’S BIG BAND 10:00PM by idiosyncratic chordal and spatial choices, the latter “Lepo”, which rocks with the composer’s funky noteworthy for its wide-ranging tonality. Ross plays a electric piano and a fiery trumpet solo from Dave THR CHARLES TURNER 7:30PM 5/9 MARK WHITFIELD 10:00PM key harmonic role in the dramatic tone of “Acceptance” Blaser. The writing and playing are gorgeously textured with Menares and Crane driving the compelling and colored, Klein blending his approach to the FRI BRUCE HARRIS QUARTET 7:30PM narrative contour of the piece. Latin-tinged “La possibilities inherent in this extraordinary orchestra. 5/10 ITAI KRISS & TELAVANA 10:30PM Madrina” is an episodic excursion traversing a variety SAT DAVE STRYKER QUARTET 7:30PM of emotional terrains while “Perdon” glides along with For more information, visit sunnysiderecords.com. Klein is at 5/11 PROFESSOR CUNNINGHAM 10:30PM a lithely waltzing Wayne Shorter-esque feel. It’s Smalls May 27th and Bar Lunàtico May 28th. See Calendar. AND HIS followed by the dirge-like “Abre Tus Ojos”. TUE LATIN GROOVES 7:30PM Aldana’s “Elsewhere” is lyrical melody upon 5/14 WITH GERARDO CONTINO which she improvises with escalating intensity. Solo WED PASQUALE GRASSO TRIO 7:30PM vibraphone delicately introduces “Dos Casas Un 5/15 NEW ALCHEMY JAZZ ORCHESTRA 10:00PM Puente”, a bifurcated piece, on the first half of which tenor exudes bright sanguinity while the second part THR ERIC ALEXANDER 7:30PM 5/16 CHELSEA BARATZ 10:00PM introduces a darker mood via classically-tinged piano. Unaccompanied tenor opens the Jay Livingston-Ray FRI KEN FOWSER QUINTET 7:30PM Evans ballad “Never Let Me Go”, which Aldana invests 5/17 LEZLIE HARRISON 10:30PM with palpable emotional sensitivity worthy of the SAT DAN ARAN BAND 7:30PM classic’s romantic lyric. On “The Search” and 5/18 GOTHAM KINGS 10:30PM “Su Trajedia” her horn often takes on a decidedly TUE MARÍA RAQUEL QUARTET 7:30PM clarinet-like tone, blending nicely with vibraphone on 5/21 LOS HACHEROS 10:00PM the former and bass on the latter. The concluding “El Castillo de Velenje”, a final feature for Ross, is an WED ELIO COPELLA TRIO 7:30PM 5/22 EVAN SHERMAN BIG BAND 10:00PM extended episodic journey, which swings linearly through various tempos, again highlighting Aldana’s THR CLAFFY TRIO FT. STEVE WILSON 7:30PM individualistic compositional approach. 5/23 IAN HENDRICKSON-SMITH 10:00PM

FRI KEN FOWSER QUINTET 7:30PM For more information, visit motema.com. This project is at 5/24 TONY HEWITT AND FRIENDS 10:30PM Jazz Standard May 23rd-26th. See Calendar. SAT RICHIE VITALIE QUINTET 7:30PM 5/25 BRUCE HARRIS 10:30PM TUE TANGO AT DJANGO: 7:30PM 5/28 PEDRO GIRAUDO TANGO QUARTET WED DAN NICHOLAS TRIO 7:30PM 5/29 EVAN SHERMAN BIG BAND 10:00PM

THR TRIO 7:30PM 5/30 LUKE CARLOS O’REILLY QUINTET 10:00PM FRI KEN FOWSER QUINTET 7:30PM 5/31 MIKE SAILORS BIG BAND 10:30PM Eponymous Swiss Jazz Orchestra & Guillermo Klein (Sunnyside) The Roxy Hotel by Donald Elfman 2 AVE. OF THE Reservations Information AMERICAS It makes perfect sense that an ensemble dedicated to (212)519.6649 Cellar Level presenting new works would be drawn to a composer THEDJANGONYC com Tribeca who has expanded the jazz idiom. Guillermo Klein has been a regular guest in Bern for several years and his CRAFT COCKTAILS, SMALL PLATES & LIVE JAZZ! collaborations with the Swiss Jazz Orchestra have borne fruit with this striking new recording. LOCATED IN THE OF TRIBECA “Córdoba” opens the proceedings in a most

22 MAY 2019 | THE NEW YORK CITY JAZZ RECORD

downright merciless. Such a trio with varying palette sentimentalist, Lage’s penchant for sweetness is never and erudite arrangements has more in common with overbearing. The melancholic sway of David Lynch- a chamber ensemble than might normally be heard in Peter Ivers’ “In Heaven”—accented by hints of the a jazz context. But Thinking in Stitches’ set of blues and gentle country stylings—is a perfect intro to improvisational works based on lace-knitting patterns his talent for tracing poignant melodies across genre are more fire music than 12-tone, particularly with lines. Jimmy Giuffre’s “Trudgin’” helps balance the Sawyer rounding the edges in flurries and coordinated romanticism, emerging like a moody strut on uneven assaults. The rhythmic pulsations are communal as ground, Lage exploring a darker side of his playing. Parkins leans in intently on “Chevrons”, pulling at the The title track, Lage’s reimagining of The Everly Thinking in Stitches strings and conjuring minimalism of a whole other Brothers classic, narrowly avoids crossing the line into Green Dome (Case Study) sort. Here’s a sound journey into magical vistas. the overly saccharine, largely due to the consistently by John Pietaro evocative quality of Lage’s warm and nuanced tone. For more information, visit zeenaparkins.com. Zeena With “Lullaby”, one of two originals, Lage again takes If there’s a hidden soundscape between acoustic and Parkins and Ryan Sawyer are at Happylucky no.1 May on a crunchier tone to hold down the wandering theme electronic, live and tape or free and freer, Green Dome 24th-25th. See Calendar. over the bustling textural landscape created by bassist commands it. Rich in reverb, swathed in darkest colors, Jorge Roeder and drummer Dave King. subtly haunting and almost hinting at a reconstructed That pair provide crucial scaffolding to the sense score of A Clockwork Orange, harpist Zeena Parkins of animation and musical chemistry. The frantic energy returns to the with one of her boldest units. of ’s “The Windup” highlights their One-time Rhys Chatham drummer Ryan Sawyer revels rhythmic prowess; the speed increases and just as the in artful subtlety and this lineup allows him welcoming momentum seems to hover on the edge of collapse, the atmosphere. Brake drums and metals accentuate his kit, band drops out and Lage breaks into a sharp, cascading or is that the modular synth, electronics and live coding solo. “Encore (A)”’s tight and steady groove offers of Ryan Ross Smith? Probably both. Smith is a Lage the opportunity to prove his own rhythmic composer/sound designer, so his approach is focused prowess as no less exciting and nuanced than his and deeply alert to the macro experience. His prepared melodic work. Like the other selection from Jarrett, a Love Hurts piano is an ideal counterpart to the harp, whether Julian Lage (Mack Avenue) clear source of inspiration, “Encore (A)” exudes an colorfully trading phrases (“Hexagon’s Frame”) or by Annie Murnighan upbeat and infectious energy born from the players’ blending sonorities (“Cyprus Lace”). And with Smith’s enthusiasm and camaraderie. Roy Orbison’s “Crying” array of other-worldly echoes, Parkins is liberated from There’s a sense of backhanded compliment when music provides a triumphant conclusion and a final reminder the arsenal of electronics she usually affixes to her is called “pleasant”; an implied synonymousness with of Lage’s unique ability to blend sentimental pop with harps, going purely acoustic and the natural chiming, the toothless, mundane, nice, but ultimately forgettable. rock and jazz without losing the deft touch that makes singing resonance of the instrument is compelling. This is far from the case with guitarist Julian Lage’s Love his work so enthralling. But listen as well to the industrial-sounding Hurts, an entirely pleasant yet nonetheless electrifying escalation of “Margaret Lace”, with Sawyer’s cymbal collection of covers and originals. For more information, visit mackavenue.com. Lage is at Jazz shading almost bending pitch, his growing attack While the title suggests an unapologetic Standard May 29th with . See Calendar.

Chet Baker Complete catalogs: www.steeplechase.dk 180g Audiophile Vinyl

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G1142 Daybreak G1168 This Is Always G1180 Someday My Visit jazzpower.org for tickets Doug Raney, Ørsted Pedersen Doug Raney, Ørsted Pedersen Doug Raney, Ørsted Pedersen and sponsorship information. US distribution: www.statesidemusic.com - email: [email protected]

THE NEW YORK CITY JAZZ RECORD | MAY 2019 23

notably with François Tusques and Edja Kungali—and overblowing, to fashion a wall of sound. He switches Senegalese percussionist Cheikh Tidiane Fall. to sopranino for “Down”, where his corkscrewing lines The sound of this Parisian date, recorded 40 years expand into multiphonics, calling up . ago this month, is defined by Fall’s purposely soft touch The final cut, “Light From The Shadows”, seems almost on hand percussion and Maka’s economical approach. a song of celebration. Foghorn tenor brays against The rhythmical side of what Fall called “African pulsing drums, as the pair becomes more continuously contemporary music” dominates and carries the session. engaged, only to end with Cleaver’s unaccompanied The main word might be ‘bright’, with its multiple funky shuffle providing the closing moments of a meanings. Key to Few’s playing is his ability to sprawl singular, unlikely to be repeated, experience. Simple Life and occupy as much of the spectrum as possible while Paul Jost (PJ Music) maintaining just the right balance, something his work For more information, visit roguart.com. Cleaver is at Ibeam by Marilyn Lester in the dense Frank Wright Quartet may certainly have Brooklyn May 17th with Igor Lumpert, Soup & Sound May helped hone. Brightness also defines the session’s 22nd with Aruán Ortiz and 244 Rehearsal Studios May Paul Jost’s second album not only represents an overall mood. Fall is credited with two of the four 23rd with Simon Nabatov. See Calendar. evolution of his growth as a vocalist, but also his compositions; no liner notes confirm it, but the talents as an arranger. Jost actually refers to himself as extended section launching the title track might a vocal musician, clearly evident on the 13 tracks of showcase “corpo”, a technique Fall developed and this offering. He possesses a gravelly tenor, liberally taught, consisting in using the human body as a sound applied to an amazingly facile ability to scat, utilize production device in conjunction with percussion. parlando and sprinkle in straightahead vocalizing. His Probably more than a “Parisian answer to Black style, especially in phrasing, is percussive, no surprise Jazz and Strata-East”, as the label puts it, Diom Futa since he’s spent the greater part of his career behind a may be better heard as an example of the uniqueness of drumkit for a plethora of A-list jazz artists such as the era’s French scene. It had been cracked wide open Morgana King, Mark Murphy, Sylvia Syms, Ann by the strong impact of free jazz, both local and Hampton Callaway and Billy Eckstine. imported by ex-pats, and could integrate a lot of what Two of his originals, “Bela Tristeza” and “Livin’ ’s crossroad position made possible. the Wrong Time”, appear in the mix of standards and Few’s closing pieces add vocalist Anedra Shockley more modern material. Paul McCartney’s “Blackbird” and goes into territory closer to so-called ‘concert is given a fresh bebop treatment with scat threading music’, further confirming the music’s openness. A 2002 through instrumental turns, particularly by CD reissue titled Jom Futa added two newly recorded vibraphonist Joe Locke, who is featured on the first tracks. The Komos vinyl is remastered from the original four tracks. His work on Harold Arlen-Yip Harburg’s tapes. Jo Maka died in March 1981. His beautiful, “If I Only Had a Brain” fits perfectly into Jost’s brilliant, Coltrane-esque sound should be heard, as should Few wistful balladic arrangement. Locke is also front and and Fall’s playing in this interesting context. center on Juan Tizol’s “Caravan”, done bebop style, and a slow, dramatic arrangement of Fred Neil’s For more information, visit komosrecords.bandcamp.com “Everybody’s Talkin’”, an emotive Jost delivering the lyric in parlando. The traditional “Shenandoah” and especially ’s “Girl from the North Country”, Abby Whiteside Foundation presents: Jost adding harmonica playing to his vocalizing, are slowly and carefully delivered, with an intense longing and pathos that pops the lyric. JACOB SACKS Jost’s regular trio of Jim Ridl (piano), Dean & Friends Johnson (bass) and Tim Horner (drums) each have spotlight moments on a trippy arrangement of Sonny Rollins’ “No Moe”, with Jost scatting along through the rhythm changes. ’s “The Touch of Your Songs of the Wild Cave Lips” is transformed into a bebop wonder. Rube / Gerald Cleaver (Rogue Art) Bloom-Harry Ruby’s “Give Me the Simple Life” by John Sharpe anchors the conceptual through-line of the CD. Jost starts with a spoken quote of his father’s, a philosophy Songs of the Wild Cave does what it says on the tin. of life he expresses by singing the tune straightahead. Saxophonist Larry Ochs, one of the driving forces He ends it by whistling, including a riff of the theme behind the ROVA Saxophone Quartet, teams up with song from The Andy Griffith Show. It’s a nice touch. resourceful drummer Gerald Cleaver in an adventurous duet performed in the subterranean darkness of a cave For more information, visit pauljostmusic.com. Jost and his in the southwest of France in 2016. It was recorded the trio are at 55Bar May 29th. See Calendar. day after the pair was privileged to view Paleolithic paintings in another cave nearby and was clearly

imbued with the spirit of that encounter. Inevitably primal elements spring to the fore from the already primal instrumentation of drum and horn. YOON SUN CHOI “First Steps” begins with percussive rustling from Cleaver and annunciatory long tones from Ochs on MIRANDA SIELAFF tenor, as they interact in a call and response between both themselves and the cave and its past. Both their KRISTI HELBERG exchanges and the ambience are spacious and resonant. At times Cleaver creates plopping noises that evoke MIKE McGINNIS dripping stalactites. It’s about as far from the seminal Diom Futa Weill Recital Hall drum/saxophone template of John Coltrane’s Cheikh Tidiane Fall//Jo Maka (Komos) by Pierre Crépon Interstellar Space as you can get, both literally and @ figuratively. Over the course of seven off-the-wall duets The continued vinyl reissues trend often carries things the pair try out a variety of approaches, largely defined Carnegie Hall a bit far in terms of adjectival offerings. “Seminal” by Cleaver’s choice of attack, whether throbbing might be slightly overused in label blurbs, but the pulsation, free cavalcade or rattling atmospherics. Wednesday, May 29th - 8pm presence of the great Bobby Few is certainly a good Ochs becomes expansive and intense as the tracks enough reason to bring a record back in print. Heard progress. On “Deeper”, Cleaver’s pounding tattoo tickets available at: with the American pianist are Guinean saxophonist Jo invites Ochs into an answering stream, which combines www.carnegiehall.org www.abbywhiteside.org Maka—a noted member of the ‘70s French scene, almost lyrical turns of phrase with gruff abstract

24 MAY 2019 | THE NEW YORK CITY JAZZ RECORD

Movement)” has an exotic, Far Eastern flavor, buoyed the organ until he was already 22, but has clearly made by a bass vamp and overdubbed arco unison with up for lost time. The group recorded their debut set Drewes’ , augmented by Frank Close But No Cigar in 2016, releasing it themselves. Two Kimbrough’s harmonium and Anderson’s Tibetan years later the CD was rereleased by the Colemine singing bowl for additional seasoning. The leader’s label. The band has since also released a second album, understated, spacious solo interpretation of ’s Live at KEXP. “And So It Goes” recognizes the possibilities within an The trio is comprised of Lamarr, guitarist Jimmy overlooked pop song. The very fresh approach to the James and, at the time of the CD, drummer David Gus Arnheim-Charles N. Daniels-Harry Tobias standard McGraw, who has since been succeeded by Doug Octa Deepscape “Sweet And Lovely” blends a funky New Orleans flavor Port. The band considers themselves to be as much an (SteepleChase) with bass and drums, adding sassy cornet, then a touch instrumental soul group as they are a jazz unit with by Ken Dryden of Thelonious Monk in the final section. Anderson Booker T. and The M.G.’s being a strong influence. wraps his rewarding CD with a striking arrangement, a Their music always grooves, is quite danceable and is In a career spanning over 40 years, bassist Jay bass-harmonium duet of the sorrowful Pee Wee King- both funky and reasonably creative within the genre of Anderson has appeared on hundreds of record dates Redd Stewart country ballad “Tennessee Waltz”. . by well-known artists, with nearly a hundred alone Close But No Cigar consists of ten concise made for SteepleChase, though only a few as a leader. For more information, visit steeplechase.dk. Anderson is at 55Bar performances clocking in at an average of four minutes When producer Nils Winther invited Anderson to lead May 5th with Vic Juris, Jazz Standard May 16th-19th with the apiece. The grooves are always catchy and while his own session, including his choice of material and Project and Mezzrow May 30th. See Calendar. Lamarr is the main soloist, Jones gets in plenty of personnel, he was already in the midst of scoring some complementary statements too, with McGraw keeping favorite songs. Anderson not only recruited a diverse the groove going. group of musicians, but also chose to focus primarily Among the more memorable selections are the on less familiar selections or numbers not typically stretched-out blues “Concussion”, “Little Booker T”, heard in a jazz setting, varying the players from one bluesy title cut, soulful “Memphis” and a particularly track to the next and including unusual instruments. infectious “Can I Change My Mind?” But in reality the The title track is a fascinating original, a miniature ten numbers are less significant individually than they featuring Anderson playing four separate lines via are when listened to as a whole set. From the start of overdubbing, with a pizzicato lead, a droning this CD, the Delvon Lamarr proves to be background that adds an air of mystery, along with arco expert at setting up grooves, building on them and accents and squeaks that dart in and out of the work. then ending before the piece overstays its welcome. Close But No Cigar The spirited arrangement of Keith Jarrett’s “Shades Of Delvon Lamarr Organ Trio (Colemine) Close But No Cigar is equally satisfying when Jazz” hardly needs a piano, as the flights of Kirk by Scott Yanow utilized as high-quality background music, for dancing Knuffke’s energetic cornet and Billy Drewes’ twisting, or for a close listen by soulful organ fans. often whimsical alto saxophone are well fueled by The Delvon Lamarr Organ Trio, which is based in Anderson and drummer Matt Wilson. Classical Seattle, was founded in 2015. Organ player Lamarr For more information, visit coleminerecords.com. This project is composer Morton Feldman’s “Rothko Chapel (Fifth originally played drums and trumpet, not switching to at Rockwood Music Hall Stage 2 May 13th-14th. See Calendar.

CD - DownloaD - Streaming ® new 2019 releaSeS Complete catalogs: www.steeplechase.dk THREE-TIME GRAMMY FINALIST PETE MCGUINNESS

Adam Niewood Andy LaVerne , John Patitucci, Alex Sipiagin, Jerry Bergonzi, Jack DeJohnette , Jason Tiemann SCCD 31871 SCCD 31872 LIVE! Sunday, May 19th

John Hart Rob Scheps Dick Oatts, Bill Moring, Tim Horner Jamie Reynolds, , THE PETE MCGUINNESS BIRDLAND JAZZ CLUB SCCD 31865 Jesse Simpson SCCD 31866 JAZZ ORCHESTRA Sunday, 6:00 p.m. (one set) “Along For The Ride” 315 W 44th St. US distribution: CD Release Performance! New York, NY www.statesidemusic.com - email: [email protected]

THE NEW YORK CITY JAZZ RECORD | MAY 2019 25

fiery improvised sound that permeates the previous western feel that suits the trio selections, which include Strings albums. Perelman has previously reveled in the Jimmy Webb’s “Galveston”, Fleetwood Mac’s “Dust” exhilarating dissonance of the saxophone (and with (from their 1972 album Bare Trees), ’ “Long, Wooley on Strings 3 in trio) and and Strings 4 is Long, Long”, Bread’s “The Guitar Man” and Bob no different, except that Shipp is a compelling foil; the Dylan’s “Just Like A Woman”. The sedate atmosphere almost unbearable tension that builds on many of the is most sharply disrupted by a stomping, skronking tracks contrasts with Shipp’s cool demeanor holding version of John Barry’s “Goldfinger” that sounds like the group together. “Part 4” picks up the pace with the Hedvig Mollestad Trio. The album-closing title Wooley and Perelman all over their horns with piece is another solo outing, on which Monder Soulful Days delightfully aggressive twists. Maneri has evolved summons storm clouds of distortion recalling Japanese Soul Message Band (Delmark) dramatically through the years and he switches roles out-rock wizard . by Elliott Simon from collective player to soloist with ease. The entire album is one of the few truly successful For more information, visit sunnysiderecords.com. Monder is at Chris Foreman is a B3 organ player who should be, freely improvised outings, where the players listen 55Bar May 7th and The Jazz Gallery May 29th. See Calendar. but is not usually, listed among the instrument’s top closely to each other and shift, swerve, hide and players. Based in Chicago, his funky soulful style is explode like a John Zorn game piece. Contrast Part 4 to well known there and he is the kind of musician’s Part 6, where a laconic opening leads to Perelman and musician that Delmark is so good at highlighting. His Shipp in heartfelt unity, with Maneri and Wooley in the long association with drummer Greg Rockingham is wings. Maneri struts alone to open Part 8 and Shipp displayed on this initial release from the Soul Message and Perelman enter gingerly, joined by a deliberate Band, Soulful Days. Wooley, the quartet building in exemplary style, viola For this session, guitarist Lee Rothenberg is clashing with itself while Wooley adds one of his best welcomed into the fold and quite easily accomplishes moments, a thrilling counterpoint to rival the power of the difficult task of fitting in with this very established the viola, after which the piece fades away. rhythm section. His juicy lines combine with Greg The members of this electrifying quartet have Ward’s weighty alto saxophone on Rothenberg’s own mastered a difficult genre and done it in a way that “Sir Charles”, a paean to , to open the sucks in the listener—a remarkable achievement. set with funky pride. Tenor saxophonist Geof Bradfield Wooley greatly complements Perelman’s woozy guests on the title cut, which Foreman turns into a saxophone and, with Shipp and Maneri, the leader has chillingly delicious send up of Cal Massey’s “These Are created something timeless and complex, yet Soulful Days”. Ward’s own “Uncertainty” completes surprisingly accessible. the originals and he, Rothenberg and Foreman superbly articulate their individual melodic explorations. For more information, visit leorecords.com. Perelman and Shipp The remaining six tunes, with the exception of an are at The Stone at The New School May 8th. See Calendar. extended and lovely take on Richard Rodgers-Lorenz Hart’s “Little Girl Blue”, cover a stunning array of material from distinct jazz greats. Wayne Shorter’s “Hammer Head” becomes a wide-open joust between Ward and Bradfield and Jimmy Smith’s “J.O.S.” maintains its original groove while Foreman serves up NEW RELEASES FROM ESP-DISK' the melody and crescendos with a fresh punch. Ward soars above Foreman and Rockingham on Grant Green’s “Matador” but Rothenberg slyly uses the tune to develop a sweeter connection to Foreman. He similarly connects to Ward on ’s “Easy Day After Day Time” before Bradfield returns to reignite Freddie (Sunnyside) Hubbard’s “Thermo” to close things out. by Phil Freeman Together, Foreman and Rockingham cook up a delectably greasy rhythmical groove that underpins Guitarist Ben Monder has been a lot of artists’ secret this entire program and this debut from the Soul weapon for well over two decades: he appeared on Message Band is more a realization than an introduction. albums by Donny McCaslin, Bill McHenry and Tony Malaby; was a member of various Paul Motian bands For more information, visit delmark.com. Greg Ward is at and the Maria Schneider Orchestra; has a long-standing National Sawdust May 16th with Linda May Han Oh and creative partnership with vocalist Theo Bleckmann; Nublu 151 May 23rd. See Calendar. and played on David Bowie’s final album, Blackstar. His work as a leader has often been darker and weirder

than his contributions to others’ albums and while Day After Day is one of his mellower efforts, there are still a few jagged edges on which you can catch your ear. The two-disc set is entirely made up of other people’s compositions, but it is not a standards album. Most are ones rarely recorded by jazz artists, other than a version of Guy Wood-Robert Mellin’s “My One And Only Love”, which is one of the shortest tracks here. The first disc, seven tracks long, is solo guitar, recorded in April 2018. The pieces unfurl slowly, gently Strings 4 strummed chords and slowly pinging phrases swathed Ivo Perelman// Nate Wooley/ (Leo) in reverb. The expected ‘nakedness’ of solo electric by Steven Loewy guitar is subverted, though—the scrape of fingers on strings is mostly absent, making it seem as if the music With Strings 4, Brazilian tenor saxophonist Ivo is appearing unbidden. Perelman has produced another stunning recording in The second disc, recorded in October 2018, mostly his ever-growing discography. Trumpeter Nate Wooley includes bassist Matt Brewer, switching capably joins Perelman and mainstays Mat Maneri (viola) and between electric and upright, and drummer Ted Poor. Matthew Shipp (piano) to produce one of the Monder and Poor worked together for many years in saxophonist’s best groups. The leader, who splits his Jerome Sabbagh’s quartet and their creative bond time between New York and São Paulo, generally reasserts itself here. Poor’s crisp, minimal timekeeping www.espdisk.com slows down the pace, without diminishing the intense, swings, but also has a desolate, vaguely country and

26 MAY 2019 | THE NEW YORK CITY JAZZ RECORD

Dream Libretto Marilyn Crispell/Tanya Kalmanovitch/ In The Key of the Universe Richard Teitelbaum (Leo) Keter Joey DeFrancesco (Mack Avenue) Dreamstruck Sofía Rei and JC Maillard (Tzadik) by Jim Motavalli Harvey Sorgen/Joe Fonda/Marilyn Crispell (Not Two) by Tyran Grillo by George Grella Pharoah Sanders is 79 and his iconic Karma album John Zorn’s Masada songbook has yielded a wide (1969) is celebrating its 50th anniversary. What better These two albums offer a look into some of the array of interpretations, but none so electrifying as time to revisit jazz explored on that nuanced details that have defined pianist Marilyn Keter. As the crown of a forthcoming 11-CD boxed set, record—and with the man himself! Some reviewers are Crispell’s career. In the past she has been compared, it throws vocalist Sofía Rei (a member of the Tzadik talking about a Sanders comeback these days, but the both favorably and fairly, to Cecil Taylor. Her playing vocal quartet Mycale and participant in Zorn’s The saxophonist never really went away—he’s been on a can approach his in sheer power, but that is a less Song Project) and multi-instrumentalist JC Maillard dozen albums since 2000. substantial component to her voice than it was for headlong into eight tunes from The Book of Beri’ah, Sanders appears on three tracks on organ player Taylor. The special beauty of her sound comes from her Masada’s third and final songbook. Joey DeFrancesco’s In The Key of the Universe, with his limpid touch and ear for dark lyricism. She can play in Without so much as thinking about looking back, huge sound intact. “The Creator Has a Master Plan”, a way that is quiet but not delicate; there’s always even as they pull strings from a shared past that only his biggest ‘hit’, is revisited, with Sanders’ own vocal abundant weight there. heartfelt music such as this could activate, Rei and (quite good, with melisma instead of yodels) replacing That comes across in full on the opening track of Maillard compress every contradiction until it becomes that of . His tenor solo, while not a carbon Dream Libretto, “Memoria/For Pessa Malka”. This is a diamond of union. copy of what he played on Karma, is nonetheless ambient chamber improvisation, Crispell joined by The opening hit of “Ge’ulah” sets the stage for identical to its yearning, spiritual spirit. The title cut violinist Tanya Kalmanovitch and Richard Teitelbaum Rei’s extrasensory word craft (each song is adorned in opens with a gong and pleasantly evokes Alice handling electronic processing and production. In five the Spanish of her original lyrics), tattooing a supple Coltrane’s masterful Ptah, The El Daoud (1970), which seamless parts, the three produce a sound that is warm musical body in rainbows of experience. Maillard’s featured both Sanders and . And while and intriguingly recessed. Though musical events are SazBass, a Turkish-influenced instrument fitted with we’re evoking predecessors, the peaceful “And So It Is” sparse, the electronics hold together a pervasive, gauzy eight strings, positively scintillates throughout, has echoes of Sanders’ “Astral Traveling”, a turntable sound field, an affecting artifice that turns Crispell’s seeming to pluck its notes like fruit from tender hit on jazz radio back in the day (1971 to be exact), and sound into a sculptor’s object. “Memoria” was inspired branches. It adapts to every mood, rendering equal has a gorgeous, lengthy tenor solo. Like John Coltrane by a Robert Gibbons poem, “Sound of the Downward”, parts shadow to light in “Setumah” and “Kayam” with in the years they played together, he seems reluctant to which is printed in the booklet. The second of the two poetic abandon. put his horn down. And who wants him to? pieces, “The River”, comes from a line in the poem. “Rachamim” is the album’s zenith. Behind its Get past the cuts with Sanders and there’s a whole This textual unity emphasizes the record is about grungy exterior beats a heart of glass, pumping lot more album left. It’s all good, but not as tightly Crispell the composer. But “The River” is unimpressive. transparent blood throughout an ecosystem of rhythm focused on evoking the past. “Inner Being” is serene It has an ordinariness to its style and goals—a series of changes. It also encapsulates something central to this and features Troy Roberts’ soprano work. “Vibrations basic lines that sound like the act of composition was music: an abiding sense of love. Indeed, love has been in Blue” opens with what sounds like sitar (appropriate more important than the quality of the music—that are an emotional red thread throughout Masada’s for the period) but the instrument isn’t listed. With out of place in the artist’s aesthetic, both within this chameleonic evolution, bringing musicians together in Roberts on alto, it’s simple and swinging throughout, record and her overall career. Where “Memoria” is a spirit of communal unrest for over two decades. One with a touch of mystery. “Awake and Blissed” and mesmerizing, “The River” is banal. hears it breathing life into the ambient drift of “Penimi” “It Swung Wide Open” both have memorable themes Dreamstruck is back in her main bag, free jazz, very and the ASMR-inducing “Orot” alike. The album closes and strong playing from the entire cast. much jazz in flavor and concept and very much free in with a quasar of sorts in its pairing of “Tikkun” and It goes without saying that DeFrancesco himself is how the pianist, bassist Joe Fonda and drummer “Ketarim”. Where one seems to flee the body, the other supremely in command the whole album through. Harvey Sorgen relate to the material and to one implodes into it. On “A Path Through the Noise” he takes a more than another. Six of the ten tracks give each musician a There has always been something supernatural passable trumpet solo. You didn’t know he could play co-writing credit, indicating a substantial amount of about the Masada sound world and here those aspects that horn, did you? But you probably didn’t know collaboration without a single leader. It also implies a are drawn out in spades, made manifest by ways of Pharoah Sanders could sing, either. heavy amount of collective improvisation, but the fresh sonic portals. The first of many, let’s hope. balance seems to be a free group interplay sensitive to For more information, visit mackavenue.com. DeFrancesco discrete thematic and harmonic material. For more information, visit tzadik.com. This project is at is at Rose Theater May 17th-18th. See Calendar. There’s a broad variety of flavors on Dreamstruck, Nublu 151 May 17th. See Calendar. all within an aesthetic unity that has the experience of one track flowing directly into the next, even as the mood can shift from tender and contemplative on Fonda’s “My Song” and lyrical on the title track, credited to guitarist Bob Windbiel (he also contributes the mesostic poem printed in the jacket), to the near groove of “Read This” (also by Fonda) and Keith Jarrett-like country blues take on Paul Motian’s “Kalypso” to close. Even though there’s no stated leader, this is Crispell’s stylistic world. The idea of ALEXIS PARSONS TRIO pulse and rhythm in improvisation are turned inside- Alexis Parsons-voice out, with the pulse shifting back and forth, out and in, -piano | Dean Johnson-bass while the rhythms inside each slab of feeling are exact Wednesday, May 22, 2019, 8p & 10p and consistent. And the sense of beauty is Crispell’s too, fluid, substantial and shaded, like rain drops Jazz At Kitano 66 Park Avenue at 38th Street sitting on metal. Even the most gossamer moments feel www.kitano.com like branches of a mighty tree with roots that dig “This is one of the finest piano trio efforts I’ve heard so far $18 Cover / $20 min. Reservations: 212.885.7119 endlessly into the earth. this year! It doesn’t get any better than this!” - Bruce Lee Gallanter, Downtown Music Gallery “Alexis Parsons” (Best CDs of 2012) - DownBeat Magazine “This album demonstrates collaboration at its finest.” “Parsons’ breathy, desultory delivery reminds us For more information, visit leorecords.com and nottwo.com. - Don Phipps, allaboutjazz.com that love is not a game to be entered into lightly.” Crispell is at Village Vanguard May 21st-26th with Joe Not Two Records - nottwo.com - John Ephland, DownBeat Magazine Lovano. See Calendar. Available at Downtown Music Gallery - downtownmusicgallery.com

THE NEW YORK CITY JAZZ RECORD | MAY 2019 27 well as co-leading the band LSAT with baritone piano performance. saxophonist Lauren Sevian. Winds of Change is her “Changing” shows us the rapport between Harrell debut as a leader, firmly in the mold of theme-solos- and Capdevila, both sharing a melodic approach to theme postbop. Stylistically, she’s absorbed the surging improvising. There’s a slight bluesy lilt to the tune into but smooth, full-bodied swagger of , with which both add individual colors. The one tune that traces of the slightly dry cool of Paul Desmond and Capdevila did not write is “Adoro”, hymn-like and fluid, blues-soaked, judicious dissonance of Oliver with a classical feel of a European love ballad. “The Lake. Best part is, she’s melded these seemingly Wheel (of Life)” is another moving hymn to what disparate approaches into a style of her own. moves us forward in life and love. The album closes Rhyme and Reason “Face Value” is a snappy, hard swinger in which with “Smoothly”, a tender lovely waltz. Jason Palmer (Giant Step Arts) Tarantino’s wailing is bolstered by the gruff, punchy by George Kanzler trombone of Nick Finzer, who sneaks in nifty dissonant For more information, visit lluiscapdevila.com. This project asides. Tarantino’s solo is a model for many young is at Jazz at Kitano May 23rd. See Calendar. formidable talent as a trumpeter and composer, (and not so young) saxophonists—it’s an uptempo A Jason Palmer showcases his many facets on this piece and she scorches, but also modulates the tempo double-CD recorded live at The Jazz Gallery with a frequently, blazing at different temperatures but also quartet of tenor saxophonist Mark Turner, bassist Matt knowing when to pull back. Finzer swings in a rather Brewer and drummer Kendrick Scott. Palmer presents straightahead manner but with a rough, guttural tone eight originals, some referencing more and less familiar (somewhere the late is smiling). Pianist pieces by other jazz artists and each employing its own Christian Sands has a lyrical flow to his solo, with unique structure, meter and/or . muscularly heavy chord-age while the rhythm team of There’s a perfect balance between the encyclopedic Joe Martin (bass) and Rudy Royston (drums) crackle stylistic command of Palmer and his and Turner’s with durable, persuasive swing. “Seesaw” is a avoidance of standard tropes and clichés in building midtempo churner featuring Tarantino on soprano— Monorails & Satellites (Works for Solo Piano, Vol. 1, 2, 3) their solos and the differing demands of the varied her tone lithe, solo soulful and passionate but tempered Sun Ra (Cosmic Myth) frames of the tunes, from tempo and meter to harmonic with a dab of reflective melancholy; bass is nimble and by Annie Murnighan structure. The opener, “Herbs in a Glass”, illustrates this sinewy and piano keys shimmer like a soft summer balance, as well as Palmer’s creative wordplay. “Glass” rain. “Without” is Tarantino tipping her hepcat fedora The original artwork for Monorails & Satellites, solo references pianist ’s alternating nine beat to the classic ballad tradition: languid, almost piano works recorded in 1966 by Sun Ra (born 84 years (4-5,5-4) imposed over the chords of Herbie (“Herbs”) mournfully slow tempo; sparse piano chords that and dying 26 years ago this month), featured two large Hancock’s “Tell Me A Bedtime Story”. Scott’s momentum could be coming from the rehearsal space next door; hands floating in the cosmos; one, with its fingers on the beat never flags as the horns weave scintillating and the leader slowly letting the blues out of her soul pressed down on the keys of a piano and the other solos over it. He and Brewer prove up to the challenge with both sustained and fluttering notes. transfixed above, preparing to strike. Stars and planets of swinging out on a variety of time signatures and The program is a nice balance of swingers, mid- float in the background, evoking a characteristically rhythms throughout the album, including one of the and downtempo numbers, all very concise yet retaining extraterrestrial concern, one for which Sun Ra has most propulsive 7/4s in jazz so far on “The Hampton spontaneity. As debut discs go, Winds of Change is a become known since the late ‘30s after he was allegedly Inn (For Alan)”, a contrafact on bassist-cum guitarist- nice summary view of what Tarantino can do and a transported to Saturn via UFO. singer Alan Hampton’s folksy, 4/4 “Lie In It” with one peek at future glories. Now the original two volumes have been reissued of Palmer’s most engaging solos. They not only nail the by Cosmic Myth Records, joined by a third consisting 6/4 on “Mark’s Place”, but also step into the solo For more information, visit posi-tone.com. This project is at of nine songs (five originals, four standards) unearthed spotlight, Brewer with an introductory cadenza before Dizzy’s Club May 28th. See Calendar. from the Sun Ra Archive. Though the original artwork the horns’ theme and bass solo after it, Scott with a long, was certainly fitting, the updated cover is perhaps a rolling solo to preface Turner’s turn. more apt representation of the music herein. Textured The one foray into a straight time beat, albeit with a and colorful geometric shapes overlap to create a mixed meter, the title track, is a nod to the group fragmented image of the planet that has so defined Sun Palmer’s quartet format mirrors, Old and New Dreams, Ra’s creative journey, epitomizing the abstract, fecund as well as the one that band emulated: Ornette Coleman’s energy pervading the collection. early pianoless quartet. A solo trumpet opening ushers The bombast found in the pianist’s group releases in a very Ornette-ish, convoluted postbop melody and a translates into a vigorous and at times aggressive string of solos over a racing tempo. A similar feel playing style clearly influenced by the luminous work informs “Sadhana”, an odd tempo choice for a tune of Jelly Roll Morton. Although the material is largely described as “concerning meditation”. It’s a deadpan abstract and often atonal, moments of stilted beauty Cinematic Radio whimsy in contrast between title inspiration and music Lluis Capdevila (s/r) frequently emerge, such as on “Skylight”, a stumbling also present on the closer, “Kalispel Bay”, named for a by Donald Elfman yet delicate and romantic piece almost reminiscent of winter resort in Idaho but propelled by distinctly Erik Satie’s oneiric works. “The Alter Destiny”, much tropical, Caribbean rhythmic accents. The compositions on pianist Lluis Capdevila’s new like Disc Two’s “Perspective Prisms of Is” and recording are gloriously of a piece—elegant, sensual, “Calundronious”, is oddly, jarringly beautiful, as For more information, visit giantsteparts.org. Palmer is at soulful and smart. Accompanied by just bassist Petros melancholic and sentimental melodies, played almost InterContinental New York Barclay’s Penthouse Suite May Klampanis (also on percussion), with on abrasively, lend the atmosphere a curious and unsettled 23rd-24th. See Calendar. flugelhorn on one track, Capdevila plays quietly and romanticism. Listening without pause also highlights simply with a ‘cinematic’ sense of line and space. Think the fluidity of the pieces, as the line between each often

of the recently departed Michel Legrand and the way blurs. “Soundscapes” flows into “The Eternal he blended popular, jazz, classical and film music Tomorrow”, a glittering, pensive piece of rare delicacy. elements and you’ll get a sense of how Capdevila Disc Three provides a welcome addition to the approaches composition and improvisation here. already captivating original release. Like the preceding The album opens with one of those Legrand-like discs, this collection is most fascinating in the way it melodies, “Malaga”, with the composer playing oscillates dramatically between disparate moods intimately over perfectly blended bass accompaniment, without warning. On “Today is Not Yesterday”, a improvising sweet single notes with gentle chordal frantic showdown between harmonic ideas moves into rhythms in the left hand. It’s to the point and evanescent, a quiet repetition in the upper register—in what would over before we know it. The next two tunes, “Alone” be a fitting soundtrack to The Twilight Zone—before Winds of Change and “Misery”, share the bittersweet qualities implicit in a stuttered, abstract array of chord work miraculously Alexa Tarantino (Posi-Tone) by Mark Keresman their titles, but never so demanding of pity that we transforms into a beautifully simple melody. Following can’t take in their gorgeous melodic essence. Even the the artist’s ideas can feel like a scavenger hunt, full of Alexa Tarantino is a NYC-based 20-something tunes that have a bit of a bounce, like “Haven’t We Met striking non-sequiturs that nonetheless make sense saxophonist (alto but also soprano, plus flute) who has Before” or “Seasonal Blues”, brilliantly settle into within Sun Ra’s incomparable soundworld. been working The Big Apple scene with Wynton serene romantic grooves. Both have percussion fills, Marsalis, DIVA Jazz Orchestra and Arturo O’Farrill as the latter even with a funky line suggesting classic jazz For more information, visit sunramusic.bandcamp.com

28 MAY 2019 | THE NEW YORK CITY JAZZ RECORD

precision and power, the pair construct a towering under the more prosaically extended name Requiem for mass of intense sound. Even in a musical context, a New York . But what the two works do have in sound remains a physical phenomenon: the hardly common is a response to death through the medium of understandable, relentless interplay builds up such an music. In this case it was the sudden demise of Mike amount of pressure the sound mass actually seems to Panico, co-founder of Relative Pitch Records, which bend, where less complete musicians would have been provides the focus for this session convened by his left with shattered fragments of broken noise long ago. friend bassist three days later. The slice Something in the cover’s white background, in the title refers to Panico’s perennial search for the framing a picture of Abe as a child in postwar Japan, best pizza in town, a quest that Bisio often shared. Mannyoka brings to mind the great Improvising Beings label. It is Alongside Bisio are the volatile stylings of cellist Kaoru Abe/ (NoBusiness) therefore no surprise to discover that the deep liner Fred Lonberg-Holm and lyricism of cornet by Pierre Crépon notes have been penned by Julien Palomo, founder of player Kirk Knuffke. They unite in an outpouring of that label. Mannyoka manages to add to the sprawling feeling transmuted into peerless chamber-inflected After years of delicate polishing and marketing, some Abe discography and makes sense, pointing toward yet music. Although collectively conceived, Bisio plays an discographies resemble the bronze statues enshrining something else to hear in the late saxophonist’s music. anchoring role, imparting movement and mood historical figures in the urban landscape. Japanese free In the mastered creation lies the answer to the question through his choice of steady resonant pizzicato or jazz saxophonist Kaoru Abe’s discography would be of why Abe left such a mark on those who heard him. keening bow work. “Sanctus” shows how such masters more akin to an untamed mythical beast. Nearly can invent form on the fly as it progresses through entirely posthumous and insular, it includes a ten-disc For more information, visit nobusinessrecords.com three distinct sections: at first serene and funereal with solo set, an extensive CD-R series recorded in overlapping drones; then with lightening atmosphere

Fukushima and one of its most heralded releases, as the strings braid and cornet whinnies joyfully; Winter 1972, existing only as a 500-copy bootleg. before a final more abstract conclusion with rattling Mannyoka is two previously unreleased sets recorded percussive noises supplementing the bowing and in 1978, the year Abe died of an overdose of sleeping fragmented cornet phrases.

pills at 29 (he would have turned 70 this month). Both On the longest cut, “Pie Jesu”, they create a shifting

which Rosnes was a charter member. Com- member. charter a was Rosnes which

and life itself. life and radically fact, in ways, some feeling—in in was an environmentalist ahead of her time, time, her of ahead environmentalist an was

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being a Baptist preacher. The fascinating thing about about thing fascinating The preacher. Baptist a being moments of sadness, insecurity, and uncertainty in in uncertainty and insecurity, sadness, of moments

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commissioned for the SFJAZZ Collective, in in Collective, SFJAZZ the for commissioned

music ripples and fl ows like water currents— water like ows fl and ripples music “She says. Rosnes me,” in response tional in their own time and utterly contemporary contemporary utterly and time own their in

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regardless of one’s station in life, we all experience experience all we life, in station one’s of regardless

feature “Overhang Party”, Abe’s duo of the final year tableau from parallel streams,father my parents, withChristian adevout by particular raised was I beauty

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for others. We need to be cognizant of the fact that, that, fact the of cognizant be to need We others. for “Mirror Image” is a new take on a composition composition a on take new a is Image” “Mirror familiar territory, and evoke a strong emo- strong a evoke and territory, familiar ing and Rosnes’ music are keenly steeping steeping keenly are music Rosnes’ and ing her favorite themes, the natural world. The The world. natural the themes, favorite her

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without improvisation, bidding farewell to the present present the to farewell bidding improvisation, without dead Although mind. to came immediately Powell

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jazz music. At the same time, both the paint- the both time, same the At music. jazz are woods deep and landscapes coastal ing, in tempo, on another aspect of one of of one of aspect another on tempo, in ing,

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mentals of swing. It’s the perfect set closer, with or or with closer, set perfect the It’s swing. of mentals game-changing musical pioneer Earl Rudolph “Bud” “Bud” Rudolph Earl pioneer musical game-changing

with drummer Sabu Toyozumi. The two sets, recorded in the continual convergence the garner to jazz”, “binary or andmusic” divergence“interview as of

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or inspiration. Like the villagers in Emily Carr’s Carr’s Emily in villagers the Like inspiration. or

YESTERDAY / YESTERDAYS / YESTERDAY

. So many of us do a wretched job of of job wretched a do us of many So . erence indiff is ribusa nobissum acipsa culpa anducim porendae re re porendae anducim culpa acipsa nobissum ribusa simil bearundae odio nobit estibus, venderum invelis

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and nature’s resilience and resourcefulness. and resilience nature’s and

for Rosnes, the deep and complex legacy of of legacy complex and deep the Rosnes, for Canadian of canvases “Carr’s area. the of “Rhythm of the River” fi nds Rosnes ruminat- Rosnes nds fi River” the of “Rhythm

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AUTHOR

presence in New York City. York New in presence

, , blues a is Williams James late the by ode this spirit, In

to recoil from the soul and joy of jazz music’s inherent inherent music’s jazz of joy and soul the from recoil to the horror of mankind’s insensitivity to nature nature to insensitivity mankind’s of horror the

the original people of the Pacifi c Northwest; Northwest; c Pacifi the of people original the majesty natural the to connection deep Carr’s

by an audience member, showcase very different sides. sweeping arco cello, melancholy-tinged cornet and sperum dolupta beria pliti necae ipsam lab quidunt quid Imolupt atibea sim sa con rem ex eosandit adis adis et et adis adis eosandit ex rem con sa sim atibea Imolupt Millect atibus. Evenihi llaborum vellupicto odi dit aut pro pro aut dit odi vellupicto llaborum Evenihi atibus. Millect

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large degree.) Somewhere along the way, artists began began artists way, the along Somewhere degree.) large EVERYBODY GETS THE BLUES THE GETS EVERYBODY quatia voluptam quam que nonsed moluptas moditata moditata moluptas nonsed que quam voluptam quatia

thematic heart of the album, a study in both both in study a album, the of heart thematic “It is a meditation warmed by the blues.” blues.” the by warmed meditation a is “It of life of way the case, Carr’s in tradition: rich shares she and northwest, Canadian the

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and pianist—the most important quality is, in in is, quality important most pianist—the and

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for intellectuals that jazz had become (and still is, to a a to is, still (and become had jazz that intellectuals for

www.smokesessionsrecords.com

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sensitivity and sly intelligence. As she explains, explains, she As intelligence. sly and sensitivity of native a was, Carr as is, Rosnes Renee composer and pianist. It honors a long and and long a honors It pianist. and composer

that it battles within itself; the bright moments lasting lasting moments bright the itself; within battles it that www.smokesessionsrecords.com www.smokesessionsrecords.com

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“Song for Mithue Toyozumi” probes the realm of subtly modulated basssycophants. notes. Another highlight is the

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harmonically, but keeping the melody in tact. I never never I tact. in melody the keeping but harmonically,

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only the way you see it. Artists need supporters, not not supporters, need Artists it. see you way the only

spare lyricism, reminds us of Renee’s great great Renee’s of us reminds lyricism, spare for me, all that Renee Rosnes achieves as a a as achieves Rosnes Renee that all me, for

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ing each morning refreshed and renewed, prepared prepared renewed, and refreshed morning each ing his in worship and joy, gratefulness, of sound the and

music on this album—and the rest of Rosnes’ Rosnes’ of rest the album—and this on music the complete Smoke Sessions catalog at at catalog Sessions Smoke complete the

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you dare to attempt to elevate your station in life. The The life. in station your elevate to attempt to dare you the complete Smoke Sessions catalog at at catalog Sessions Smoke complete the the complete Smoke Sessions catalog at at catalog Sessions Smoke complete the

endeavors without trying to force them to see things things see to them force to trying without endeavors

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group a few years ago, and decided to put it in my my in it put to decided and ago, years few a group

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quiet intensity, without ever resorting to the usual closing “In Paradisum”, focus, whereformidable and onceintense with againemerged Coltrane Bisio steers

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to close out the album roaring. In all the the all In roaring. album the out close to

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Jamison Ross. I had the pleasure of playing it with his his with it playing of pleasure the had I Ross. Jamison dust.” The track, fi ttingly, is one formulated formulated one is ttingly, fi track, The dust.”

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sentient beings, we are obligated to improve ourselves, ourselves, improve to obligated are we beings, sentient divorce—John heart-wrenching a and abuse, stance

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Find more information on this release and and release this on information more Find Requiem for a New York Slice

the psychological torment of trying to survive in a world world a in survive to trying of torment psychological the Find more information on this release and and release this on information more Find Find more information on this release and and release this on information more Find

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This arrangement is inspired by an arrangement by by arrangement an by inspired is arrangement This

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. Rosnes Rosnes . Are Things Wild the Where book,

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The most striking example of life transition is when one one when is transition life of example striking most The Dizzy with apprenticeships child), only an was (John

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“Train up a child in the way he should go: and and go: should he way the in child a up “Train states,

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terated truth: a comprehensive awareness of one’s one’s of awareness comprehensive a truth: terated

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culpa mea poignant Coltrane’s John structure, chord

the familiar bible verse found in Proverbs 22:6 that that 22:6 Proverbs in found verse bible familiar the

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with no one singing a word. a singing one no with

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When my mind and spirit are heavily burdened, I I burdened, heavily are spirit and mind my When

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Because of the simplicity of the melody and original original and melody the of simplicity the of Because preparing the listener to expect nothing less less nothing expect to listener the preparing others, one adult and a child. Nine tall totem totem tall Nine child. a and adult one others, tree—reed-thin surviving stalwart a is stumps,

(AME) preachers, I’ve no doubt that Trane had heard heard had Trane that doubt no I’ve preachers, (AME)

NEVER be forgotten, and cannot be diminished or or diminished be cannot and forgotten, be NEVER

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of music. But, far and above, the most important important most the above, and far But, music. of bring out the profound unease in the song song the in unease profound the out bring

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Being the grandson of African Methodist Episcopal Episcopal Methodist African of grandson the Being DEAR BUD DEAR

Black people, what you did for American music will will music American for did you what people, Black

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opens the album with an explosive statement, statement, explosive an with album the opens appears to be a white headdress; and two two and headdress; white a be to appears the by surrounded canvas, the of center the In in the pauses.” pauses.” the in

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NAIMA

toward near silence. It is not easy music, but points in lthough their titles mirror Gustav Fauré’s Requiem, world the in undercurrent healthy and positive more

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Rosnes, Chris Potter, and the rhythm section section rhythm the and Potter, Chris Rosnes, A

unkind to you. What you did for art, what you did for for did you what art, for did you What you. to unkind

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Rosnes’ musical sensibility. “Elephant Dust” Dust” “Elephant sensibility. musical Rosnes’ in the sweetness of the melody, especially especially melody, the of sweetness the in what wearing red, in dressed one ground: timber. for slaughtered forests the to elegies

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Egendorf came up with the perfect one. perfect the with up came Egendorf know you suff ered; I know people and life were often often were life and people know I ered; suff you know

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the direction of an untrodden, mysterious path. there is nothing either liturgical or premeditated about For more information, visit ilusorecords.com. This project is occum exero magnate at voluptatas ni nobis dis tem est,

many titles, my good friends Judith Lorick and Artie Artie and Lorick Judith friends good my titles, many

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University Graduate School of Journalism of School Graduate University

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Beloved of the Sky Sky the of Beloved in selections varied The

village of First Nation longhouses along a a along longhouses Nation First of village of ‘Rosie’ and sat down to play it,” recalls recalls it,” play to down sat and ‘Rosie’ of bering. We see rows of rotting tree stumps, stumps, tree rotting of rows see We bering.

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individual. His infl uence on me is undeniable, and and undeniable, is me on uence infl His individual. ; in other words—what occurs occurs words—what other in ; worship of mosphere appealing to me. We need to survive, create from a a from create survive, to need We me. to appealing

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In “Song for Sakamoto Kikuyo”, it that you tell to throughhas someone that speed,notion the mix: the the five spontaneously composed pieces included here at Michiko Studios May 25th. See Calendar. Lisci tenient quam eos et ad quam fugitio nsectatatur, nsectatatur, fugitio quam ad et eos quam tenient Lisci

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arranger, producer, bandleader, sideman, and clever clever and sideman, bandleader, producer, arranger, at- an into released being emotionally, received and The faux romanticism of starving artists is in no way way no in is artists starving of romanticism faux The David Hajdu is the music critic for critic music the is Hajdu David

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Lord Walton, who was a skilled pianist, composer, composer, pianist, skilled a was who Walton, Lord interpreted is music the way the of manifestation a ERIC REED ERIC

The scheme of things is wrong, is things of scheme The

ssinctent.

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time on it. Needless to say, I was honored, thrilled, thrilled, honored, was I say, to Needless it. on time

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toward the future through the force of her her of force the through future the toward nal name for a part of British Columbia that that Columbia British of part a for name nal a depicts canvas titular the powers, creative August, 2017. “On the same day Rosemary Rosemary day same the “On 2017. August,

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edly, I confess a profound fondness and respect for for respect and fondness profound a confess I edly, is there Gurrola, Mike of abilities formidable the with

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back in 2006, and he told me he would take some some take would he me told he and 2006, in back

of mental and emotional pain and how it can hurt with with hurt can it how and pain emotional and mental of & everyone at Yamaha Artist Services Inc. Services Artist Yamaha at everyone & of music music of industry the by sidetracked become artists

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master of a tradition that she carries forward forward carries she that tradition a of master The world is full of dissonance, of full is world The in died who Rosemary, wife his of honor in origi- the , Gitwangak Titled Impressionists. her of peak the at and 65 was Carr when

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tune, “Sweet ’n’ Sour.” I wrote it for Cedar Walton Walton Cedar for it wrote I Sour.” ’n’ “Sweet tune,

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“Naima,” and the fi rst recording of “Up Jumped Spring” Spring” Jumped “Up of recording rst fi the and “Naima,” and sound the bring we church, in raised Being jazz. to

a composer and musician of the rarest kind, a a kind, rarest the of musician and composer a whom Rosnes played for more than 20 years, years, 20 than more for played Rosnes whom and Fauvists the discovered and Colarossi 1935, in Painted . Sky the of Beloved Timber, inspired and inspiring to hear. to inspiring and inspired

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elements of Wayne Shorter’s clever Jazz Messengers Messengers Jazz clever Shorter’s Wayne of elements

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, has proven to be be to proven has , Sky the of Beloved in nating making of this album. The music is no less less no is music The album. this of making topical: unsettlingly lyrics the found she 2017, with Hutcherson, by composition a is “Rosie” Académie the at studied had she where as Scorned called Carr that landscape tic

If this song sounds familiar, it’s because I borrowed borrowed I because it’s familiar, sounds song this If

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Giant Giant rst fi the both on pianist original the was he that and Tim Green, I’ve been able to reach a plateau in a a in plateau a reach to able been I’ve Green, Tim and

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and original. Rosnes, in all her music culmi- music her all in Rosnes, original. and canvas that inspired Renee Rosnes in the the in Rosnes Renee inspired that canvas in album this Recording . Mutual Is Feeling expressionis- an works, best-known Carr’s she returned to Canada from a visit to Paris, Paris, to visit a from Canada to returned she

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composition I dedicated to him, it should be noted noted be should it him, to dedicated I composition DON’T YOU WORRY ‘BOUT A THING THING A ‘BOUT WORRY YOU DON’T With the empathetic interaction of McClenty Hunter Hunter McClenty of interaction empathetic the With

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and everyone at Sear Sound; Paul Stache, Damon Damon Stache, Paul Sound; Sear at everyone and that compound stigmatized; still is abuse substance emitting my energy solely from a place of purity and and purity of place a from solely energy my emitting “Elephant Dust,” her work is fearlessly daring daring fearlessly is work her Dust,” “Elephant Together with Dick Katz: The The Katz: Dick with Together Merrill Helen LP of one to homage in title the selected She tions of refl ections of refl ections. refl of ections refl of tions Carr painted another canvas in 1912, after after 1912, in canvas another painted Carr sky”—as an image of transcendence in the the in transcendence of image an sky”—as

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Jimmy Katz & team; Chris Allen, Owen Mulholland, Mulholland, Owen Allen, Chris team; & Katz Jimmy and trivialized, still is health mental States, United been should’ve I along, all that me told one No time. presence of some of the material heard in this album. album. this in heard material the of some of presence

makes clear with the fi rst piece on this album, album, this on piece rst fi the with clear makes builds steadily, not unlike a series of refl ec- refl of series a unlike not steadily, builds album. this named she when mind in had embraced by the heavens—“beloved of the the of heavens—“beloved the by embraced the on teenager, a as it, heard rst fi Rosnes mi, ut eveliquamet offi cias si verempe riasped molorion molorion riasped verempe si cias offi eveliquamet ut mi, tectur sum dias et quas ratureh entempor sunt. entempor ratureh quas et dias sum tectur moluptas eatur simi, exerferuptus a si tem. Ut est aditis aditis est Ut tem. si a exerferuptus simi, eatur moluptas onsedioratio remperi non qui reprem duciendae ra eos ex

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Green; Eric Gurrola; Virginia Gurrola; Kevin Olson; Olson; Kevin Gurrola; Virginia Gurrola; Eric Green; them. gets everybody but blues, my be not may blues the at doing was I what was it that aware wasn’t I order to revisit and revamp, which should explain the the explain should which revamp, and revisit to order to solve ancient mysteries about the brain, yet in the the in yet brain, the about mysteries ancient solve to

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Hunter, Tim Green, Mike Gurrola; Tatiana Hunter; Anoa Anoa Hunter; Tatiana Gurrola; Mike Green, Tim Hunter, Your life. of walk every across balanced more become except , careerism to means a as music used I pursuits, in past my into look to had I’ve Moreover, projects. given shock treatments. Medical science continues continues science Medical treatments. shock given

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transcendental; Jacqueline Reed & Family; McClenty McClenty Family; & Reed Jacqueline transcendental; can humanity emotions, human common and normal professional my in Earlier commercial. not and cultural creating and arranging, composing, to approach alized hospitalized, and even at various points in his life— his in points various at even and hospitalized,

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is boldly boldly is Gitwangak of style visual The so. music in the presence of something mysteri- something of presence the in music with dealt that paintings several created and evokes that Carr Emily by painting a There’s “The Winter of My Discontent” is among the the among is Discontent” My of Winter “The posed as a feature for the late vibraphonist vibraphonist late the for feature a as posed

SPECIAL THANKS: God – ever omnipresent and and omnipresent ever – God THANKS: SPECIAL abuse, physical of victim the been having brilliant, so perfectly are these that understand we Once lives. our is nascency its that is church black the of music the person- highly a cultivate to continue I more, and More UP JUMPED SPRING JUMPED UP Pudipie nimodit plit, consequiae voluptus im ellaborerit, ellaborerit, im voluptus consequiae plit, nimodit Pudipie nus accumquam idit vercips unditis coreicaborro offi cimin cimin offi coreicaborro unditis vercips idit accumquam nus sit as nes am int eum es maximin spiendit volupta optae dolorum turepudia Xerfera endendae. aut simpor Ur berio. volo Et fuga. am ommos conserae ipicia volo que Itassitis NEW RELEASES FROM SMOKE SESSSIONS RECORDS modigente essitas omnisit re et audae Nem eleniae. Rest Steve Davis Eric Reed Eric Reed STEVE DAVIS & THE CORRELATIONS SEXTET Mary Stallings Mary Stallings THE ERIC REED QUARTET MARY STALLINGS vocals STEVE DAVIS trombone ERIC REED piano & Fender Rhodes TIM GREEN alto & soprano saxophones EDDIE HENDERSON trumpet VINCENT HERRING alto & tenor saxophones JOSHUA BRUNEAU trumpet WAYNE ESCOFFERY tenor saxophone MIKE GURROLA bass McCLENTY HUNTER drums DAVID HAZELTINE piano DAVID WILLIAMS bass JOE FARNSWORTH drums XAVIER DAVIS piano DEZRON DOUGLAS bass JONATHAN BARBER drums with special guest DANIEL SADOWNICK percussion (2 & 7) with special guest CYRO BAPTISTA on “Bautista’s Revenge” all arangements by DAVID HAZELTINE 1 Everybody Gets the Blues Eric Reed 1 Embarcadero (Steve Davis) 5:59 Correlations Correlations Everybody Gets the Blues Everybody Gets the Blues Songs Were Made to Sing Songs Were Made to Sing 2 Cedar Waltzin’ ~ Don’t You Worry ‘bout a Thing 1 Stolen Moments 5:07 8 Prelude to a Kiss 3:59 Eric Reed ~ Stevie Wonder 2 Subtlety (Steve Davis) 8:53 Oliver Nelson / Peggy Stern Duke Ellington / Irving Gordon & 3 Bautista’s Revenge (Steve Davis) 6:00 3 Naima 2 Lover Man 4:28 9 Third Time Is the Charm 3:32 John Coltrane Jimmy Davis, Ram Ramirez, and Jimmy Sherman Charles Metcalf / K. Lawrence Dunham 4 Song for My Love (Steve Davis) 7:05 4 Martha’s Prize 3 Blue Monk 6:25 10 ’Round Midnight 5:12 Cedar Walton 5 Newbie (Steve Davis) 5:27 Thelonious Monk / Thelonious Monk & Cootie Williams / Bernie Hanighen 5 Yesterday~Yesterdays 4 Ill Wind 7:14 11 Soul Mates 5:34 6 Peace () 7:16 / Paul McCartney ~ Jerome Kern / Otto Harbach Harold Arlen / Ted Kohler Horace Silver 7 Can’t Complain (Steve Davis) 5:50 6 Up Jumped Spring 5 While We’re Young 4:41 12 Give Me the Simple Life 4:13 Alec Wilder & Morty Politz / Bill Engvick Rube Bloom / Harry Ruby 8 () 7:01 Think on Me Recorded on November 6, 2018 7 Dear Bud 6 Lady Bird 6:08 13 Sugar 5:14 Eric Reed at Sear Sound Studio C, NYC Recorded Live on September 10, 2018 9 Blues for Owen (Steve Davis) 5:40 Tadd Dameron / Stanley Cornfi eld Stanley Turrentine / at Sear Sound Studio C, NYC 10 A Child Is Born () 6:18 8 New Morning Recorded on December 6, 2018 7 When I Close My Eyes 3:36 Produced by Paul Stache & Eric Reed at Sear Sound Studio C, NYC Recorded, Mixed and Mastered by Christopher Allen Produced by Paul Stache STEVE DAVIS Carrol Robbins / K. Lawrence Dunham ERIC REED MARY STALLINGS JOSHUA WAYNE XAVIER DEZRON JONATHAN Studio Assistant: OwenEDDIE Mulholland VINCENT DAVID DAVID JOE Associate Producer: Damon Smith 11 Inner Glimpse (McCoy Tyner) 8:01 9 Road Life C Recorded, Mixed and Mastered by Christopher Allen BRUNEAU ESCOFFERY DAVISProducedDOUGLAS by Paul Stache andBARBER Damon Smith TIM GREEN MIKE GURROLA M CLENTY HUNTER PhotographyHENDERSON by Jimmy and DenaHERRING Katz HAZELTINE WILLIAMS FARNSWORTH SSR-1901 SSR-1901 SSR-1902 SSR-1902 James Williams SSR-1903 SSR-1903 Studio Assistant: Owen Mulholland Recorded, Mixed and Mastered by Christopher Allen All songs by Steve Davis except Design by Damon Smith and Paul Stache Photography by Jimmy and Dena Katz Studio Assistant: Owen Mulholland Peace (Horace Silver) Design by Damon Smith and Paul Stache Photography by Jimmy and Dena Katz Think on My (George Cables Eric Reed plays Yamaha and keyboards ℗ © 2019 SMOKE SESSIONS RECORDS 2751 BROADWAY, NEW YORK, NEW YORK 10025 ℗ © 2019 SMOKE SESSIONS RECORDS 2751 BROADWAY, NEW YORK, NEW YORKDesign 10025 by Damon Smith and Paul Stache ℗ © 2019 SMOKE SESSIONS RECORDS 2751 BROADWAY, NEW YORK, NEW YORK 10025 McClenty Hunter Songsplays Sabian cymbals with Were Vic Firth sticks Made to Sing WARNING ALL RIGHTS RESERVED. UNAUTHORIZED DUPLICATION IS A VIOLATION OF A ChildEverybody Is Born (Thad Jones) Gets the Blues WARNING ALL RIGHTS RESERVED. UNAUTHORIZED DUPLICATIONCorrelations IS A VIOLATION OF WARNING ALL RIGHTS RESERVED. UNAUTHORIZED DUPLICATION IS A VIOLATION OF Tim Green plays Conn-Selmer and Yanigasawa Wind Executive Producers: Frank Christopher & Paul Stache APPLICABLE LAWS. PRINTED IN THE USA. WWW.SMOKESESSIONSRECORDS.COM APPLICABLE LAWS. PRINTED IN THE USA. WWW.SMOKESESSIONSRECORDS.COM Inner GlimpseAPPLICABLE (McCoy LAWS. Tyner) PRINTED IN THE USA. WWW.SMOKESESSIONSRECORDS.COM Executive Producer: Paul Stache Instruments, and D’Addario Woodwinds Reeds

STEVE DAVIS trombone ERIC REED piano MARY STALLINGS vocals JOSHUA BRUNEAU trumpet TIM GREEN saxophones EDDIE HENDERSON trumpet WAYNE ESCOFFERY tenor saxophone MIKE GURROLA bass VINCENT HERRING saxophones XAVIER DAVIS piano McCLENTY HUNTER drums DAVID HAZELTINE piano DEZRON DOUGLAS bass DAVID WILLIAMS bass JONATHAN BARBER drums JOE FARNSWORTH drums CYRO BAPTISTA percussion DANIEL SADOWNICK percussion

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THE NEW YORK CITY JAZZ RECORD | MAY 2019 29

he plays with soul and the feeling of the blues. While music? Yes! Lowe proves it on guitar with “Jewtown one can trace a few historic predecessors in his playing, Shuffle” from 2006. As a guitarist, Lowe is spiky, his bright and bluesy sound is very much his own, reminiscent of the great twisted country lost light whether as a leader since the ‘90s or work with Sonny . Rollins, Art Blakey’s Jazz Messengers, , Disc Six is another cross-genre work, pairing Lowe , David Murray and even Charles with both Shipp on piano and the redoubtable Ken Earland. In recent times he has been leading what he Peplowski on clarinet. Great work from both of them calls the Organi-Sation. and there isn’t a standard in sight. Peplowski gets to The core trio matches Broom with organ player play off fellow clarinetist Aaron Johnson—they get on Hidden Treasures Monday Nights, Volume One Ben Paterson and drummer . While the famously. There’s too much here to cover adequately Gil Evans Orchestra (Bopper Spock Suns Music) latter has been part of Broom’s keyboardless trio on but the set never gets stale. by Ken Dryden records since 2005, this is the first recording of the former with the guitarist. Although other musicians For more information, visit constantsorrow.net. Lowe is at There have been numerous ghost bands playing the make appearances (including a horn section, Matt Bushwick Public House May 20th. See Calendar. music of long-dead leaders. All too often the track Jones as a and a pair of acoustic record of such groups is erratic, with the results guitarists), none affect the group sound, which is very sounding like a collection of museum pieces played much centered on the lead guitar and organ. IN PRINT with accuracy to the written page but lacking the flavor While not all of the material is that inspiring, of the original recordings. Broom and his group come up with worthwhile Gil Evans was a prolific composer and arranger, statements on most of the pieces, particularly “Come who expanded into many different styles over his Together”, “Ode To Billie Joe”, “Summer Breeze”, a 30-plus years as a leader, producing a sizable slow rendition of “A Whiter Shade Of Pale” and discography between the late ‘50s and his death in relatively mellow “The Guitar Man”. While Broom is 1988. This reconstituted orchestra pays homage mostly the dominant voice, Paterson fares well (both as a to his jazz-fusion period from late in his career, soloist and accompanying the guitarist) and Watkins involving his two sons, Miles (who plays trumpet) and proves to be both subtle and versatile. Soul Fingers is a Noah (who produced the CD), with some new charts as tasteful effort for listeners who do not mind hearing well, the first of at least three volumes. songs that come from other musical worlds. Miles, who played extensively with his father’s Jazz, Genius, and Jail: Adventures of Anita O’Day D.E. Poole (Emily Prod.) band, is joined by nine fellow alumni in the core group: For more information, visit bobbybroom.com. Broom is at by Kurt Gottschalk John Clark on French horn, percussionist , Zinc Bar May 18th. See Calendar. drummer , electric bassist Mark By all accounts, Anita O’Day’s 1981 autobiography Egan, tenor and soprano saxophonist Alex Foster, alto High Times, Hard Times is an enormously entertaining saxophonist/flutist Chris Hunter, keyboard player read. But of course, an autobio is only one side of the , trumpeter Shunzo Ohno and bass story. Jazz, Genius and Jail attempts to provide a trombonist David Taylor. There are also many guests broader picture of the singer through interviews, who are either veterans of his groups or fit the sounds recollections and published reviews. The book takes needed for the music. the form of an oral history (unusual for a work on an Levin’s “Subway” has an ominous air at first with individual) with lengthy quotes and transcriptions, dramatic bursts from the reeds and brass, the mood often coming from recordings O’Day’s drummer (and brightening as the orchestra backs ’s the author’s late husband) John Poole seemed to spirited trombone. “I Surrender”, co-written by Foster make compulsively with a portable tape deck. An Avant-Garde of Our Own: and synthesizer player Delmar Brown, is a potent One would need to have an interest in O’Day, Jews & Roots: Disconnected Works extended feature for the tenor saxophonist, who is Allen Lowe (ESP-Disk’-Constant Sorrow) celebrating her centennial this year, sharper than an enveloped in waves of sound by the keyboards. by Jim Motavalli obsidian knife to wade through the 641 pages of this Less memorable are Miles Evans’ “LL Funk” and unedited tome. In fact, one might reasonably ask if Clark’s “Groove From The Louvre”, two rather run-of- Something of a polymath, Allen Lowe is a lecturer and Poole just paid someone to transcribe the tape the mill jazz funk tunes, though trumpeter Alex author on musical history, country guitarist and recordings. Names (Redd Foxx, Mundell Lowe, Bob Sipiagin gives his all on the latter piece. A driving sometime avant garde tenor saxophonist who played Thiele) are misspelled throughout and other terms rendition of “Eleven” (written and arranged by Evans) with everyone from Doc Cheatham to (Chablis, Hong Kong, valium) subject to guesswork. wraps the session with a flourish. In spite of the at the in the early ‘90s. While living in Still, that’s easier to take than the phonetic misfires, this CD is a promising start. It will be New Haven, Connecticut, he organized that city’s transcriptions of the that O’Day seems interesting to see if future volumes delve into Evans’ summer jazz festival. This boxed set is Lowe’s magnum to break into with ease. Further calling oversight earlier periods. opus and then some, with eight CDs and a descriptive into question are the occasional reactions of surprise book. It’s far ranging, as might be expected, outside when people discover they’re being taped or, in one For more information, visit gilevans.com. This band is at and decidedly in. Roswell Rudd is here and so are Nels instance, someone specifically asking that the story The Cutting Room May 25th. See Calendar. Cline and Matthew Shipp. they just told not be included in the book. (It is.) “March of the Vipers” captures Lowe and Hemphill O’Day’s humor and hard-edged personality come

funky and in sync at the Knitting Factory in 1991 with through with such commentary as going to concerts great bass work from Lowe compadre Jeff Fuller. by , Ella Fitzgerald and Billie Holiday in ”Strollin’ With Helen”, previously unreleased, is a her formative Chicago years: “I heard their work on lovely, loping original ballad for Lowe’s wife. Listen to the south side of town and sold it in clubs on the north Cheatham sounding decidedly non-traditional—and side.” But a blatant disregard for the function of modal—on “Prelude” from Lowe’s New Haven living commas and quotation marks makes finding those room, also circa 1991. “Dicky Dreamed”, from 1980, nuggets tough going. And more often, we find O’Day really swings. complaining about menus and discussing driving There’s a lot of variety and many unreleased directions, along with frank talk about drug addiction tracks. Disc Three is a suite celebrating American and other musicians. It makes one realize what boring Soul Fingers music, recorded in trio format with James Brandon work it must be to be a Peeping Tom. O’Day was an Bobby Broom & The Organi-Sation (MRI Entertainment) by Scott Yanow Lewis on tenor (Lowe plays alto) and Ray Suhy on uncompromising woman who fought her way through guitar. Discs Seven and Eight dip into the folk, old- the male-dominated world of swing and seemingly When one is faced with a repertoire of songs by time country and blues that Lowe was increasingly apologized to no one along a road that brought her Lennon & McCartney, , Smokey favoring (a precursor of Bill Frisell!). more than her share of turmoil. She’d be a great figure Robinson and Stevie Wonder, plus “Ode To Billie Joe”, I’ve always loved the string playing of for a biography and Jazz, Genius and Jail would be an the word ‘jazz’ does not come immediately to mind. Connecticut’s Stacey Phillips and here he is in duet asset to anyone setting out to write one. However since the late ‘60s, it has not been unusual for with Lowe on “Blue Moon Parts 1 and 2”, an Elvis organ trios to transform pop songs into soul jazz. tribute. If you know anything about the great Dock For more information, visit emilyprod.com Guitarist Bobby Broom always infuses every note Boggs, “Oi Death” is hilarious. Can Jews play country

30 MAY 2019 | THE NEW YORK CITY JAZZ RECORD

with bassist Harvie S and drummer Billy Mintz, who, Jimmy Van Heusen-Johnny Mercer’s “I Thought About like Broadbent, are seasoned veterans who add much You” is also taken a bit slow and is often out-of-tempo, to every recording session. with the singer making one believe that she really is Bop is the focus of this outing, intimately recorded thinking about the listener. by the bassist in the pianist’s home studio on his The final selection, María Grever-Stanley Adams’ personal Steinway. There is a relaxed air about the “What A Difference A Day Makes”, is the most music, which doesn’t overwhelm with rocket tempos swinging performance of the mini-set. Scatting like and tricky time signatures, just great melodies that Fitzgerald, Koller was clearly having a great time on stick in one’s mind. Another deliberate decision was to this rendition, which finds her trading off effectively Tribute to James Reese Europe make the instruments equals, rather than piano with Douglas. The results are a bit loose but fun. Spirit of Chicago Orchestra (Fremeaux & Associes) prominent with drums and bass in the background. by George Grella On Broadbent’s “Clifford Notes”, an obvious For more information, visit kristinakoller.net. Koller is at tribute to trumpet great Clifford Brown, the easygoing Gin Fizz Harlem May 21st and City Winery May 30th. The enduring and fascinating mystery about jazz is rhythm supports his intricate, yet unhurried choruses, See Calendar. when and how the mix of blues, dance music, rags, giving the feeling of sitting tableside alone with the popular songs and more coalesced into what can be band. Gigi Gryce’s “Minority” has long been a staple identified as a new, discrete style. That the Original of boppers and although there are no surprises in this ON SCREEN Dixieland Jass Band recorded their tunes in 1918 points interpretation, Broadbent takes his time exploring it to the fact that the music was already in the air. with one creative chorus after another in an extended Bandleader and composer James Reese Europe has performance. Broadbent’s “Continuity” features long been associated with jazz, although his Harlem delicate interplay among the trio, suggesting the Hellfighters regimental band can only be heard playing influence of Bill Evans’ landmark group with Scott cakewalks, show tunes and W.C. Handy-style parlor LaFaro and Paul Motian, as intimate piano weaves blues. The music is essential proto-jazz, perhaps a last together with intuitive bass and sterling brushes. Tadd stepping stone toward the real thing and is immensely Dameron’s “On A Misty Night” is ample proof that important as a stylistic record of what “hot” music was bop composers mastered the art of writing ballads and like just prior to jazz. And as this record testifies, Broadbent’s lush treatment makes it easy to imagine Europe was also indispensable because the US Army a guest vocalist asking to join the trio for a chorus or brought his band and music to Europe when America two. Broadbent’s “Waltz Prelude” is a reworking of a Bolden (Where the Music Began) Directed by Dan Pritzker joined in WWI. Chopin prelude, with the spotlight quickly turned to a by Kevin Canfield Produced by the Hot Club Jazz Iroise, the record moving bass solo. Broadbent offers some dazzling runs celebrates the centennial of Europe’s arrival. That it in his midtempo setting of Lennie Tristano’s “317 East A title card at the beginning of Dan Pritzker’s new was made is an important tribute, even though 32nd Street”. Even the most familiar pieces sound fresh film notes that relatively little is known about its musically it maintains too much of a polite reverence in this trio’s hands. subject, the groundbreaking jazz musician Buddy towards the source, as if Europe’s legacy as a progenitor Bolden. Over the years, this dearth of facts has of a vital, ever-changing, creative music itself must be For more information, visit jazzdepot.com. This project is at inspired many storytellers. The mercurial cornet sheltered from any kind of vitality and critical thinking. Birdland Theater May 29th-Jun. 1st. See Calendar. player makes a brief but important appearance in The record takes a didactic form that pairs old Geoff Dyer’s thematically linked story collection originals, like “Castle House Rag” and Handy’s But Beautiful and he is the central character of “Memphis Blues’’—played in period style by the Spirit Michael Ondaatje’s novel Coming Through Slaughter. of Chicago Orchestra—with modern arrangements of As it happens, the harrowing title of Ondaatje’s the same songs by Stan Laferrière, delivered by book is a fair summary of what goes on in Bolden. In Formation Jazz (the French musicians are all new to a little more than 100 minutes of screen time, this reviewer). The recreations have and bite Pritzker’s protagonist endures a string of hardships of the originals, something of the uncanny quality that rob him of his freedom and his life. ancient acoustic recordings have of being too fast. The film begins with Bolden (a charismatic Gary But the modern big band arrangements have a Carr) at his lowest ebb. It’s 1931, months before his smooth, generic quality. They take the tunes and craft death, and he’s a patient at a Louisiana psychiatric At The Poli Club them into post-Louis Armstrong vocal-type lines, add hospital. Down the hall from his room, a nurse tunes Kristina Koller (s/r) swing and a rote complexity to the harmonies. The by Scott Yanow her radio to a live broadcast from a local jazz club, extended melodic shape is more familiar to the ear, but where Louis Armstrong (Reno Wilson), a homegrown the ‘originals’ are more interesting. Except for a blurb Kristina Koller, who released her debut album star, is performing for a passionate audience. The on the back the booklet notes are in French. Perception a year ago, recently came out with a four- implicit message is that Bolden deserved similar song EP only available digitally on Spotify. It was success, a point Pritzker makes through a series of For more information, visit fremeaux.com. Tributes to James recorded live at the Poli Club in Waterbury, Connecticut evocative flashbacks. In scenes that blend Reese Europe are at CUNY Graduate Center May 8th and by Mike Gow, Artistic Director of the establishment. documented facts and apocrypha, the horn player Jazz Museum in Harlem May 14th. See Calendar. The music is a bit raw with no overdubbing or fearlessly courts new fans; one scene finds him corrections, but quite listenable. parachuting from a hot-air balloon, charging across

Koller grew up outside of New York City, gained a field and outclassing the lethargic, rule-bound experience as a singer-songwriter and a singer in alt- band hired for a garden party. rock bands and discovered jazz through the recordings The music itself is appropriately foregrounded of Ella Fitzgerald, Anita O’Day and throughout Pritzker’s film. Written, arranged and while in high school. She studied at the Hartt School’s performed by trumpeter/Jazz at Lincoln Center Jackie McLean Institute of Jazz and City College and Artistic Director Wynton Marsalis, these are wry, has been working in the New York area ever since. sexy and rousing tunes. Pritzker’s uniformly strong For At The Poli Club, Koller is joined by pianist cast includes several standouts, among them Erik Fima Chupakhin, bassist Ben Rubens and drummer LaRay Harvey as Bolden’s ambitious manager and Darrian Douglas for four well-known standards. Yaya DaCosta as his resilient wife. Carr ably depicts New York Notes Trio (Savant) Buddy Johnson’s “” starts off Bolden’s increasingly unpredictable mental state. by Ken Dryden with her emulating Nancy Wilson closely, living each But when a racist white judge (Ian McShane) word and putting a lot of feeling into the lyrics. By the condemns the musician to live out his days in a A native of , Alan Broadbent is end of the tune, she is stretching out words like Etta squalid institution, it’s clear that Bolden’s greatest recognized as a brilliant arranger (’s Jones (a strong influence on this set) with the lyrics challenge is simply existing as a black man in the Quartet West, , Marian McPartland taking precedence over the melody. Jim Crow South. and Abbey Lincoln, plus winning Grammies for the Richard Rodgers-Lorenz Hart’s “Falling In Love scoring he did for CDs by Shirley Horn and Natalie With Love” is taken slower than usual and kept as a For more information, visit boldenmovie.com. This film Cole). Not to be overlooked are Broadbent’s skills as a jazz waltz throughout. Here, as on the other selections, opens May 3rd at theaters near you. pianist and composer, both featured in his new trio CD Chupakhin has a concise but lightly swinging solo.

THE NEW YORK CITY JAZZ RECORD | MAY 2019 31 piano/organ (Donald Smith or Art Matthews), bass BOXED SET (Fred Williams), drums ()—plus vocalists and David Peaston, The Great Pretender and All the Magic, and two from his Brass Fantasy brass and drums nonet: and Avant Pop. All the Magic includes, as a second CD, The One and Only, an adventurous and WALL TO WALL wittily entertaining, completely solo, program of 12 short pieces on which Bowie explores the full tonal and timbral range of the trumpet, orthodox and JOHN decidedly unorthodox. He occasionally appends other sounds, like those of the Yuletide season on and associated ensembles “Almost Christmas” and cartoon sounds on the COLTRANE The (ECM) perfectly descriptive “Miles Davis Meets Donald SUN, JUNE 09 | 3–11PM by George Kanzler Duck”. On his other albums, Bowie pays tribute to heroes like Louis Armstrong and indulges in his The Art Ensemble of Chicago (AEC) and ECM fascination with , ranging from country Records both celebrate their 50th anniversaries this (Willie Nelson’s “Crazy”) and soul (“Saving All My FREE! year. The AEC was a decade old when Manfred Love for You”) to early R&B (Fats Domino’s Eicher first recorded them for his ECM label, “Blueberry Hill”) and doo-wop (“The Great beginning what was to be a fortuitous and rewarding Pretender”). Brass Fantasy, which featured such collaboration over the next 40 years. For Eicher, it players as Vincent Chancey, Craig Harris, Steve was a way of expanding beyond and shedding the Turre, , Bruce Purse, , infelicitous nickname associated with his label: , Stanton Davis and Bob Stewart, was to European Caucasian Music. For the AEC and its become a pioneering harbinger for other all brass larger umbrella organization, the Association for the units, including Turre’s own Shell Choir. Advancement of Creative Musicians (AACM), an Mitchell, often cited as the AEC’s chief theorist African-American collective based in Chicago, it was and conceptualist, is heard on five albums a chance to expose their music to discerning listeners representing different projects, including two from who valued the quality sound of ECM Records and his The Note Factory, which he notes on the earlier, to avail themselves of Eicher’s already famous 1997 Nine to Get Ready, “is the coming together of a meticulous attention to every sonic detail of the dream I had many years ago of putting together an music the label was releasing. ensemble of improvising musicians with an During the decade before Nice Guys, their first orchestral range.” The nonet heard on that abum and ECM album, the AEC had become legendary in the octet on 2007’s Far Side each feature two pianists, America and Europe for concerts, mostly in Paris, bassists and drummers. The music ranges from that established not only the authenticity of their dense and riotous free jazz to surprisingly catchy, imprimatur, “Great Black Music: ancient to the dance rhythms-based sections. 2015’s Bells for the future”, but also the ongoing rituals of their South Side captures, on two CDs, a concert at performances, which included a stage filled with all Chicago’s Museum of Contemporary Art featuring manner of wind and percussion instruments, as well four different Mitchell trios, alone, mixed and as theatrical rituals and embellishments like matched and all together, each featuring a different costumes and face paint. With Nice Guys ECM drummer-percussionist. brought all the detail and clarity implicit in an AEC Mitchell is also heard, confining himself to performance to life on record. It still remains one of soprano and/or alto saxophone, on two albums from the absolute highlights of AEC’s discography and a project, The Transatlantic Art Ensemble (TAE), put contains one of the very few pieces that found its together by Eicher for ECM-recorded concerts in Symphony Space’s signature way onto radio airwaves: “Dreaming Germany in 2004: Composition/Improvisation Nos. 1, 2 music marathon celebrates of the Master”. & 3 under his name and Boustrophedon (In Six The full complement of the five members of Furrows), with British saxophonist Evan Parker as the life and legacy of jazz great AEC— (1941-99, trumpet, flugelhorn, leader. The TAE consisted of musicians from Europe John Coltrane, exploring the bass drum, percussion), (1937-2019, and America of various generations, including a reeds and woodwinds, hand percussion, sirens and string trio (violin, viola, cello), clarinet, flute, alto wide span of his career through horns), (b. 1940, reeds and saxophone, piano, two basses, two drummer- music, dance, fi lm, conversation, woodwinds, percussion, whistles, glockenspiel, bike percussionists and the alternating leaders on horns), Maghostut (1927-2004, bass, soprano, alto and tenor saxophones. Mitchell’s work and more! electric bass, percussion, melodica) and Famoudou is dry and rigorous, in contrast to Parker’s more (b. 1946, “sun” percussion, drum trap set, lyrical, romantic take. FEATURING conch shells, horns, balafon)—is represented here in Jack DeJohnette, the drummer and pianist who Brooklyn Raga Massive three other albums: 1980’s studio date Full Force, the was an early member of AACM, is the leader who live concert double-CD Urban Bushmen and 1984’s closes out this boxed set, with three albums. Two are Wallace Roney studio set . A pared-down AEC— from his often folk- and blues-influenced New Mitchell, Favors and Moye—appear on the 2001 Directions quartet, its 1978 eponymous debut and memorial , remarkable for Mitchell’s 1979’s In Europe. Both feature Bowie’s trumpet, in a Soul Science Lab intensely moving, lyrical “Suite for Lester”. much more song- and chords-based format than Lakecia Benjamin The first of the “associated ensembles” that AEC, as well as guitarist John Abercrombie and make up the bulk of this boxed set is Divine Love, an bassist Eddie Gomez. An all-star quintet of AACM Jaleel Shaw Trio album by AACM member/trumpeter Leo Smith, players, captured live at the 35th annual Chicago Ben Williams who has been experiencing a renewed resurgence in Jazz Festival in 2013, nominally led by DeJohnette, recent years as Wadada Leo Smith. The basic trio of closes out the set in raucously celebratory fashion. Brandee Younger Smith, reed and woodwind player Dwight Andrews Joining the drummer are AACM founder/pianist and more... and mallet player Bobby Naughton is joined on one Muhal Richard Abrams; bassist-cellist Larry Gray; of the three tracks by bassist Charlie Haden and on Mitchell and alto saxophonist/bass flutist Henry SYMPHONYSPACE.ORG another by trumpeters Bowie and Kenny Wheeler. Threadgill. 95TH & BROADWAY | 212.864.5400 Next up are four of Bowie’s very accessible albums as a leader from 1981-86, two with a quintet— For more information, visit ecmrecords.com. A tribute to Artwork by Chris Raschka, commissioned by Symphony Space trumpet, saxophone ( or ), Joseph Jarman is at Roulette May 25th. See Calendar.

32 MAY 2019 | THE NEW YORK CITY JAZZ RECORD MISCELLANY ON THIS DAY by Andrey Henkin

The Prophetic Herbie Nichols Vol. 1 Spellbinder Push Pull Three Cushion Birdman Herbie Nichols (Blue Note) Gabor Szabo (Impulse) Jimmy Lyons (hatHUT) Isao Suzuki (Paddle Wheel) Mujician (Cuneiform) May 6th, 1955 May 6th, 1966 May 6th, 1978 May 6th, 1981 May 6th, 1995 Despite being on the Blue Note roster Though almost a decade younger The 20th release for hatHUT was a After a stint with Sadao Watanabe, Sporting two pairs of players from from 1955-57, pianist Herbie Nichols than fellow Hungarian guitarist Attila three-LP set documenting a concert bassist Isao Suzuki came to the U.S. to two generations of , was underappreciated in his lifetime, Zoller, Gabor Szabo made his U.S. from New York’s Collective for Living be in Art Blakey’s Jazz Messengers in Mujician was comprised of pianist tragically shortened when he died at inroads first, recording with Chico Cinema by the Jimmy Lyons Quintet: the early ‘70s (not to be confused with Keith Tippett (whose 1981 solo SAJ 44 in 1963 from leukemia. Nowadays Hamilton and Charles Lloyd. It was Lyons (alto saxophone), Karen Borca mid ‘70s Blakey bassist Chin Suzuki). album was the first use of the name), he is considered a highly important during his tenure with both that he (bassoon), Hayes Burnett (bassist for After that, he returned to Japan to saxophonist Paul Dunmall, bassist tunesmith with his best-known song debuted as a leader, first with Gypsy Sun Ra), Munner Bernard Fennell establish himself as a leader for Three Paul Rogers and late drummer Tony being “Lady Sings The Blues” (Billie ‘66 (Impulse), then this follow-up, a (cello) and Roger Blank (drummer for Blind Mice, East Wind and then Levin. The quartet made eight albums Holiday adding lyrics to “Serenade”). quintet session with Hamilton, bassist Sun Ra). For the leader, who died in Paddle Wheel, this the last session of from 1990-2005, almost exclusively That tune doesn’t appear here but six Ron Carter and percussionists Willie 1986 and is best known for work with seven, with the title original and five for U.S.-based label Cuneiform. This other Nichols originals do, performed Bobo and Victor Pantoja and twice as Cecil Taylor, this was a follow-up to jazz standards. The men joining him session was waxed in Bath, UK and, by a trio completed with bassist Al many originals as the earlier set (four his 1969 BYG-Actuel debut Other on this hilarious cover are not his like the group’s other albums, is made McKibbon and drummer Art Blakey. of nine tracks), including “Gypsy Afternoons and one of only a handful bandmates Akira Miyazawa, Tadanori up of long free improvisations: the A second volume was made a week Queen”, recorded four years later by of albums under his own name, Konakawa, Ichiro Doi, Yoshiaki title track, “Shubunkins” and “The later with a different set of six tunes. on Abraxas. comprised of five lengthy originals. Miyanoue and Motohiko Hino. Hands Are Just Shadows”. BIRTHDAYS May 1 May 6 May 11 May 16 May 22 May 27 b.1931 †Freddy Randall 1921-99 †King Oliver 1885-1938 †Woody Herman 1913-87 †Sun Ra 1914-93 †Albert Nicholas 1900-73 †Shirley Horn 1934-2005 †Denny Wright 1924-92 †JC Higginbotham 1906-73 † 1922-2012 † 1926-1993 †Earl “Jock” Carruthers 1910-71 Carlos Ward b.1940 Isla Eckinger b.1939 †Oscar Valdambrini 1924-97 †Betty Carter 1930-98 Giuseppi Logan b.1935 † 1926-2009 James Newton b.1953 Paul Dunmall b.1953 †John Coppola 1929-2015 b.1944 †Dick Berk 1939-2014 Ramsey Lewis b.1935 Kevin Hays b.1968 Rob Silverman b.1954 Dick Garcia b.1931 †Rufus Jones 1936-90 b.1982 †Freddie Roach 1931-80 May 17 May 23 †Niels-Henning Ørsted May 7 Carla Bley b.1938 †Paul Quinichette 1916-83 † 1910-2004 Pedersen 1946-2005 May 2 †Pete Jacobs 1899-1952 Ralph Humphrey b.1944 † 1931-2006 † 1928-2002 Gonzalo Rubalcaba b.1963 †Pat Smyth 1923-83 †Leon Abbey 1900-75 Mikkel Ploug b.1978 †David Izenzon 1932-79 †Les Spann 1932-89 †Richard “Groove” Holmes †Edward Inge 1906-88 †Jackie McLean 1932-2006 b.1938 May 28 1931-91 †Herbie Steward 1926-2003 May 12 b.1951 Marvin Stamm b.1939 † 1898-1992 larry ochs † 1941-2015 †Arthur Blythe 1940-2017 †Marshal Royal 1912-95 b.1964 Don Moye b.1946 †Al Tinney 1921-2002 May 3rd, 1949 b.1943 b.1955 †Don DeMichael 1928-82 Richie Beirach b.1947 †Russ Freeman 1926-2002 Keith Ganz b.1972 b.1958 b.1935 May 18 Ken Peplowski b.1959 Alfred Patterson b.1937 The “O” in ROVA, Larry b.1936 †Joe Turner 1911-85 Darcy James Argue b.1975 Claudio Roditi b.1946 Ochs is a founding member May 3 May 8 Trevor Tompkins b.1941 † 1922-83 of that esteemed saxophone † 1920-2001 †Red Nichols 1905-65 Jim McNeely b.1949 May 24 May 29 quartet, still going strong †Jimmy Cleveland 1926-2008 †Mary Lou Williams 1910-81 May 13 b.1972 †Frank Signorelli 1901-75 Freddie Redd b.1927 after 42 years and almost as b.1926 †Jerry Rusch 1943-2003 †Maxine Sullivan 1911-87 †Herbie Fields 1919-58 †Hilton Ruiz 1952-2006 many albums for such labels Johnny Fischer b.1930 Keith Jarrett b.1945 †Gil Evans 1912-88 May 19 † 1928-2018 Jim Snidero b.1958 as Metalanguage, Incus, John Alexander b.1948 Jon-Erik Kellso b.1964 †Red Garland 1923-84 Cecil McBee b.1935 †Gianni Basso 1931-2009 Lafayette Harris, Jr. b.1963 Moers, Black Saint, hatART, Larry Ochs b.1949 Meinrad Kneer b.1970 b.1929 † 1939-2018 †Michael White 1933-2016 Wycliffe Gordon b.1967 Sound Aspects, New Albion, Guillermo E. Brown b.1974 †Erick Moseholm 1930-2012 †Henry Butler 1949-2018 Archie Shepp b.1937 Sean Jones b.1978 Leo, Victo, Rastascan, Not Matt Bauder b.1976 May 9 John Engels b.1935 Michael Blake b.1964 †Charles Earland 1941-99 Two, Jazzwerkstatt, New Alexander Hawkins b.1981 †George Simon 1912-2001 May 30 World and Clean Feed. Ochs †Dick Morrissey 1940-2000 May 14 May 20 May 25 †Sidney DeParis 1905-67 also has his own extensive May 4 b.1959 †Sidney Bechet 1897-1959 †Tommy Gumina 1931-2013 b.1924 † 1909-86 discography for Black Saint, †Sonny Payne 1926-79 Ricardo Gallo b.1978 †Zutty Singleton 1898-1975 † 1931-2016 †Miles Davis 1926-91 †Pee Wee Erwin 1913-81 DIW, Intakt, Atavistic, Not † † 1916-76 †Bob Florence 1932-2008 †Piet Noordijk 1932-2011 †Shake Keane 1927-97 Two, Aerophonic, Tzadik, 1928-2006 May 10 †Al Porcino 1925-2013 †Charles Davis 1933-2016 Gary Foster b.1936 †Harry Beckett 1935-2010 RogueArt, Clean Feed and † 1935-2016 †Pee Wee Hunt 1907-79 Warren Smith b.1932 †Rufus Harley 1936-2006 b.1953 Ann Hampton Callaway b.1959 NoBusiness and credits with Ron Carter b.1937 †Al Hendrickson 1920-2007 † 1943-2014 b.1950 Wallace Roney b.1960 Juan Pablo Carletti b.1973 Glenn Spearman, , Chuck Folds b.1938 † 1929-90 Virginia Mayhew b.1959 Ralph Peterson b.1962 Frank Rosaly b.1974 , John Lindberg, b.1971 †Julius Wechter 1935-99 Frank Basile b.1978 Sheryl Bailey b.1966 May 26 Scott Fields, , Jeremiah Cymerman b.1980 †Mike Melvoin 1937-2012 Benjamin Duboc b.1969 †Ady Rosner 1910-76 May 31 , and †Jimmy Ponder 1946-2013 May 15 †Shorty Baker 1914-66 †Red Holloway 1927-2012 a fruitful recent partnership May 5 Ahmed Abdullah b.1947 †Ellis Larkins 1923-2002 May 21 †Ziggy Elman 1914-68 Albert “Tootie ”Heath b.1935 with drummer Gerald Kidd Jordan b.1935 †Hans Reichel 1949-2011 Karin Krog b.1937 †Fats Waller 1904-43 †Calvin Jackson 1919-85 b.1937 Cleaver, including the b.1941 Alex Foster b.1953 Oscar Castro-Neves b.1940 †Tommy Bryant 1930-82 Frank Grant b.1931 Marty Ehrlich b.1955 recently released duo session b.1946 Philip Harper b.1965 Omer Klein b.1982 b.1954 †Neil Ardley 1937-2004 Eric Revis b.1967 Songs of the Wild Cave. -AH Pablo Aslan b.1962 Jasper Hoiby b.1977 Grace Kelly b.1992 Lewis “Flip” Barnes b.1955 David Torn b.1953 Christian McBride b.1972 CROSSWORD

1 2 3 4 5 6 7 8 9 ACROSS DOWN

1. Moshe Naïm subsidiary 1. 1958 Blue Note album 10 11 5. Saxophonist George or Pepper Somethin’ ____ 10. Nice, easy tempo 2. 1970 Wayne Shorter Blue Note album ____ Grosso Feio 11. Patrick Brennan band ____ Openings Under Pressure 3. How debut recordings are often released 12 13 14 12. In 1969, Jean-François Jenny-Clark and 4. Boston sch. whose jazz program was founded by recorded with this contemporary classical composer 15. 1974 Richie Beirach ECM album 5. 1990 Warner Bros. album ____ to ____ 15 16 17 16. ACT Records trio of Nesrine Belmokh/ 6. Like Lee Morgan and Eddie Jefferson (abbr.) Matthieu Saglio/David Gadea 7. Randy Weston wrote a song for this ancient 17. 1991 Phil Markowitz Ken Music album ____ Peas Mesopotamian deity 18 19 20 18. French trombonist Robert who has worked with 8. This beauty competition used to include a jazz Sylvain Kassap, Louis Sclavis and Joëlle Léandre dance portion 20. Cellist Mevel or saxophonist Horellou 9. 1983 album ____ In The City 21 22 23 21. Flutist Baum or keyboard player Saft 13. 1973 Richard Davis Flying Dutchman album 23. Saxophonist Richard Raux’ longtime band Song For Wounded ____ 24. Paul McCandless and Giuseppi Logan play this 14. The Big Easy 24 25 instrument 19. “La ____ En Rose”, covered by Ella Fitzgerald and 25. Blind Spanish pianist Montoliu Louis Armstrong 26. compilation label Deutscher 20. Guitarist Yonatan 26 27 28 29 30 Schallplattenclub catalogue prefixes 21. Baritone saxophonist/bass clarinetist Sinton 27. Where jazz is often played 22. Guitarist Rez 28. Pianist Rick who worked with Rodney Whitaker and 23. Saxophonist Geller or bassist Bushler 31 32 33 Marcus Belgrave 25. 1955 Decca album The Hawk ____ 31. Trombonist/guitarist Curtis 27. Jazz musicians in 27 Across often play for this 34 35 34. Like many a smooth-jazz record 29. 1975 Leroy Jenkins JCOA album For Players ____ 35. In 1965, played music written for the 30. 20th century Christian McBride tune expressing Montery Jazz Festival at this univ. 18th century surprise 36 37 36. Pianist Vijay and violinist Shiram 32. Semi-ironic 1969 Prestige album To Hear Is 37. Fletcher Henderson tune “My Sweet Tooth ____ To ____ I Wanna” 33. Simon Nabatov ctry. By Andrey Henkin visit nycjazzrecord.com for answers THE NEW YORK CITY JAZZ RECORD | MAY 2019 33 CALENDAR

Wednesday, May 1 Friday, May 3 • Jon Gordon Quartet with Bryn Roberts, Matt Clohesy, Quincy Davis Jazz at Kitano 8, 10 pm $34 êRick Germanson Trio with Gerald Cannon, Jason Tiemann and guest Wayne Escoffery • Jinjoo Yoo/Anna Kolchina 1986 Est. Wine Bar & Lounge 9 pm • Kalia Vandever’s In Bloom with Theo Walentiny, Lee Meadvin, Nick Dunston, An Beal Bocht Café 8, 9:30 pm $20 • Emily Braden 55Bar 10 pm $10 Connor Parks The Jazz Gallery 7:30, 9:30 pm $20 • Adam Kolker Quartet Bar Bayeux 8 pm • Joe Magnarelli Quartet The 75 Club at Bogardus Mansion 8, 9:30 pm $25 êChris Potter Circuits Trio with James Francies, êTrio S: Doug Wieselman, , Kenny Wollesen • Moses Patrou Bar Lunàtico 8:30, 10 pm $10 Jazz Standard 7:30, 9:30 pm $30 Bar Lunàtico 8:30, 10 pm $10 • Paul Bollenback Trio with Noriko Ueda, Rogério Boccato • Joseph Camarado/Justin Fink Knickerbocker Bar & Grill 9, 10:15 pm $3.50 • Juan Munguia Trio with Trevor Brown, Josh Bailey Bar Next Door 7:30, 9:30, 11:30 pm $12 êDenny Zeitlin Trio with Buster Williams, Matt Wilson Bar Next Door 6:30 pm êEmmet Cohen Trio Birdland 8:30, 11 pm $40 Mezzrow 7:30 pm $20 êFrank Catalano Quartet with Randy Ingram, Julian Smith, Mike Clark • Stephan Crump’s Rosetta Trio with Liberty Ellman, Jamie Fox êEllington through the Ages: Wynton Marsalis, Rodney Whitaker, Wycliffe Gordon, Birdland 8:30, 11 pm $40 Birdland Theater 9:45 pm $30 Dan Block and guests Rose Theater 8 pm $45-150 • Fleurine and Boys from Brazil with Ian Faquini, Vitor Gonçalves, Eduardo Belo, êBill Frisell Trio with Tony Scherr, Kenny Wollesen êAnteloper: /Jason Nazary and guest Kim Alpert; Rogério Boccato and guest Brad Mehldau Blue Note 8, 10:30 pm $35 Fly or Die: Jaimie Branch, Lester St. Louis, Jason Ajemian, Chad Taylor Birdland Theater 9:45 pm $30 • Ochion Jewell/Cat Toren; Johnna Wu/Simon Kanzler; Santiago Leibson, Roulette 8 pm $25 • Karriem Riggins Blue Note 8, 10:30 pm $25 Jeong Lim Yang, Jesse Simpson Brooklyn Conservatory of Music 6 pm $15 • Carol Sudhalter Quartet with Patrick Poladian, Eric Lemon, Mike Campenni • John Pizzarelli Café Carlyle 8:45 pm $105-160 • John Pizzarelli Café Carlyle 8:45 pm $140-195 Sankofa Aban Bed & Breakfast 8:30 pm • Palermo Sketches: Blaise Siwula, Rocco John Iacovone, Giancarlo Mazzù, • Denton Darien Trio Cleopatra’s Needle 8 pm • Rachyl Duffy and The Elevate Ensemble; Jake Chapman and Chappy Milkshake; Luciano Troja Casa Italiana Zerilli - Marimò 8 pm • Moth to Flame Club Bonafide 8 pm $15 Marlon Martinez and The Jazz Marlonius Quintet • U.S.-Japan”Miracle Door” Charity Concert: Eiko Solaris Quartet with Michael Kanan, êHouston Person Quartet with Lafayette Harris, Matthew Parrish, Vincent Ector ShapeShifter Lab 7, 8:15, 9:30 pm $10 Neal Miner, Fukushi Tainaka and guest Toshiki Solaris Dizzy’s Club 7:30, 9:30 pm $45 êCentral Brooklyn Jazz Festival: Frank Lacy Sextet with Stacy Dillard, Josh Evans, Club Bonafide 8, 10 pm $20 • The Vocal Works of Duke: Ruben Fox with James Zollar, Brendan Lanighan, Theo Hill, Radu Ben Judah, Taru Alexander • Willerm Delisfort Project with Alexa Barchini, Philip Dizack, Brent Birckhead, Joel Wenhardt, Russell Hall, Evan Sherman, Kyle Poole, Joy Brown, Vuyo Sotashe, Sistas’ Place 9, 10:30 pm $20 Luke Carlos O’Reilly, Jonathan Michel, Jonathan Barber, Cedric Easton Samara Joy Dizzy’s Club 11:15 pm $10 • Jason Marshall Quintet with Wayne Tucker, Willerm Delisfort, Jonathan Michel, Dizzy’s Club 7:30, 9:30 pm $30 • John Dokes with Julius Tolentino, Steve Einerson, Neal Miner, Joe Farnsworth; Anwar Marshall; Joe Farnsworth Quartet with Jeremy Pelt, Gerald Cannon, • The Vocal Works of Duke: Ruben Fox with James Zollar, Brendan Lanighan, Fleur Seule Latin Big Band The Django at Roxy Hotel 7:30, 10:30 pm Anthony Wonsey Smalls 7:30, 10:30 pm $20 Joel Wenhardt, Russell Hall, Evan Sherman, Kyle Poole, Joy Brown, Vuyo Sotashe, • Ryan Berg; Jared Gold/Dave Gibson; Ray Parker • Quartet with Victor Gould, Curtis Lundy, Victor Jones Samara Joy Dizzy’s Club 11:15 pm $5 Fat Cat 6, 10:30 pm 1:30 am $10 Smoke 7, 9, 10:30 pm $38 • Lucy Yeghiazaryan; Robert Edwards Big Band • Antoinette Montague Gin Fizz Harlem 7, 8:30 pm $30 êKira Kira: Kappa Maki, Al Martin, Satoko Fujii, Andrew Drury The Django at Roxy Hotel 7:30, 10 pm • Allan Harris Ginny’s Supper Club 7:30, 9:30 pm $15 The Stone at The New School 8:30 pm $20 • Bruce Jackson; Groover Trio; Ned Goold Jam • Charles Davis Hansborough Recreation Center 6:30 pm • Corina Bartra Symphony Space Bar Thalia 9 pm Fat Cat 7, 9 pm 12:30 am $10 êTomas Fujiwara, Nick Dunston, Mary Halvorson, Patricia Brennan êFandango at the Wall—A Soundtrack for the United States, Mexico, and Beyond: • Louis Armstrong Legacy Jazz Jam with Carol Sudhalter Happylucky no.1 8 pm $20 Arturo O’Farrill and The Afro Latin Jazz Orchestra Flushing Town Hall 7 pm $10 êCentral Brooklyn Jazz Festival: Sharp Radway Symphony Space Peter Jay Sharpe Theatre 7 pm êTuck & Patti Iridium 8:30 pm $30-45 Jazz 966 8 pm êGilad Hekselman Quartet with Mark Turner, Rick Rosato, Obed Calvaire • Roy Meriwether solo Jackie Robinson Park 1 pm • Jon Gordon Quartet with Bryn Roberts, Matt Clohesy, Quincy Davis Village Vanguard 8:30, 10:30 pm $35 • Native Soul: Noah Haidu, Peter Brainin, Marcus McLaurine, Steve Johns Jazz at Kitano 8, 10 pm $34 êEthan Iverson Trio with Ron Carter, Jazz at Kitano 8, 10 pm $18 êAngelica Sanchez Nonet with , Michaël Attias, Ben Goldberg, Omar Tamez, Zinc Bar 7:30, 9 pm $30 êHarish Raghavan Quartet with Logan Richardson, Charles Altura, Justin Brown Kenny Warren, Sam Ospovat, Thomas Heberer, John Hébert The Jazz Gallery 7:30, 9:30 pm $25 The Jazz Gallery 7:30, 9:30 pm $20 • Joe Locke Group with Jim Ridl, Lorin Cohen, Samvel Sarkisyan and guest Raul Midón êChris Potter Circuits Trio with James Francies, Marcus Gilmore Sunday, May 5 Jazz Standard 7:30, 9:30 pm $30 Jazz Standard 7:30, 9:30 pm $30 ê ê ê Vic Juris Trio with Jay Anderson; Tim Miller Denny Zeitlin solo Mezzrow 7:30 pm $20 Tribute: Matt Ray and Kat Edmonson 55Bar 6, 10 pm • New School Studio Orchestra directed by Douglas Purviance and Nick Marchione Joe’s Pub 9:30 pm $20 New School Tishman Auditorium 7 pm Joseph Camarado/Justin Fink Knickerbocker Bar & Grill 9, 10:15 pm $3.50 • Loadbang; Darius Jones/Amirtha Kidambi; Majel Connery/Jeff Dolven • Areté Gallery 8 pm êJames Brandon Lewis Quartet Public Records 8, 9:30 pm êDenny Zeitlin Trio with Buster Williams, Matt Wilson • Remembering Marlene VerPlanck: Ben Cassara, Carol Fredette, Carrie Jackson, Mezzrow 7:30 pm $20 êMigiwa Miyajima and Miggy Augmented Orchestra with Dan Urness, David Smith, Daryl Sherman, Sandy Stewart, Boots Maleson, Jay Leonhart, Ron Vincent, Tedd Firth, • Marcello Pellitteri 3 with Helio Alvez, Martin Wind Matt Holman, Nadje Noordhuis, John Mosca, Jason Jackson, Jennifer Wharton, Russ Kassoff, Tomoko Ohno, Ronny Whyte Room 623 at B2 Harlem 10 pm $20 Douglas Purviance, Ben Kono, Alejandro Aviles, Sam Dillon, Quinsin Nachoff, Saint Peter’s Church 1 pm $10 êEllington through the Ages: Wynton Marsalis, Rodney Whitaker, Wycliffe Gordon, Carl Maraghi, Pete McCann, Evan Gregor, Jared Schonig • Dan Blake and The Digging with Carmen Staaf, Dmitry Ishenko, Jeff Williams; Dan Block and guests Rose Theater 8 pm $45 Birdland 6 pm $30 Matt Dwonszyk Dwonztet with Shenel Johns, Steve Davis, Josh Bruneau, êUniversal Consciousness: Jeff “Tain” Watts and Jay Gandhi with Yunior Terry and • Luiz Simas/Wesley Amorim with guests Jovan Alexandre, Taber Gable, Jonathan Barber guests Rubin Museum 7 pm $30 Birdland Theater 7:30 pm $30 Smalls 7:30, 10:30 pm $20 • Central Brooklyn Jazz Festival: Boncella Lewis with BSJAZZ Ensemble • NYU Wayne Shorter Ensemble êSatoko Fujii/Joe Fonda The Stone at The New School 8:30 pm $20 Sankofa Aban Bed & Breakfast 9 pm Blue Note 11:30 am 1:30 pm $39.50 êGilad Hekselman Quartet with Mark Turner, Rick Rosato, Obed Calvaire • Quartet Quartet: Ben Rolston, David Leon, Lex Korten, Jongkuk Kim; êBill Frisell Trio with Tony Scherr, Kenny Wollesen and guest Marvin Sewell Village Vanguard 8:30, 10:30 pm $35 JOY Trio: María Grand, Ganavya Doraiswamy, Rajna Swaminathan Blue Note 8, 10:30 pm $35 • Vando Jam Randy Weston Tribute: Alex Blake, Vince Ector, Sharp Radway, T.K. Blue Scholes Street Studio 8 pm $10 • Underground Horns Brooklyn Bowl 9 pm $8 Zinc Bar 8 pm • Noah Rott Quartet with Ambrose Getz, Almog Sharvit, Jake Shandling; • Jane Monheit City Winery 8 pm $28-38 Aaron Bahr Septet; Brass Monkeys NYC êAkiko Tsuruga, Jeff Hamilton, Graham Dechter Thursday, May 2 ShapeShifter Lab 7, 8:15, 9:30 pm $10-15 Dizzy’s Club 7:30, 9:30 pm $35 • Jason Marshall Quintet with Wayne Tucker, Willerm Delisfort, Jonathan Michel, • Stuart Popejoy/Chris Pitsiokos; Zach Swanson, Ayako Kanda, Dalius Naujo, • Jinjoo Yoo/Robin Grasso 1986 Est. Wine Bar & Lounge 8 pm Anwar Marshall; Joe Farnsworth Quartet with Jeremy Pelt, Gerald Cannon, Rocco John Iacovone; Jesse Dulman Trio with David Sewelson, Leonid Galaganov • Amy Cervini 55Bar 6 pm Anthony Wonsey Smalls 7:30, 10:30 pm $20 Downtown Music Gallery 6 pm • Itamar Borochov Quartet with Rob Clearfield, Sam Weber, Jay Sawyer • Bobby Watson Quartet with Victor Gould, Curtis Lundy, Victor Jones • Chizuru Tanaka, Nick Gianni, Chris Forbes; Lior Milliger, Santiago Leibson, Adam Lane, Bar Lunàtico 8:30, 10 pm $10 Smoke 7, 9, 10:30 pm $38 Joe Hertenstein; NY Free Quartet: Michael Moss, Steve Cohn, Larry Roland, • Andrew Pereira Trio with Alex Tremblay, Evan Hyde; Patrick Trio with êSatoko Fujii, Chris Tordini, Devin Gray Chuck Fertel El Barrio Artspace 7 pm $10 Orlando le Fleming, Alan Mednard Bar Next Door 6:30, 8:30, 10:30 pm $12 The Stone at The New School 8:30 pm $20 • Terry Waldo’s Gotham City Band; Jade Synstelien’s Fat Cat Big Band êEmmet Cohen Trio Birdland 8:30, 11 pm $40 êFandango at the Wall—A Soundtrack for the United States, Mexico, and Beyond: Fat Cat 6, 8:30 pm $10 • Fleurine and Boys from Brazil with Ian Faquini, Vitor Gonçalves, Eduardo Belo, Arturo O’Farrill and The Afro Latin Jazz Orchestra • William Hooker’s Let Music Be Your Brunch Rogério Boccato Birdland Theater 9:45 pm $30 Symphony Space Peter Jay Sharpe Theatre 7 pm Studios 11 am êBill Frisell Trio with Tony Scherr, Kenny Wollesen êGilad Hekselman Quartet with Mark Turner, Rick Rosato, Obed Calvaire êChris Potter Circuits Trio with James Francies, Marcus Gilmore Blue Note 8, 10:30 pm $35 Village Vanguard 8:30, 10:30 pm $35 Jazz Standard 7:30, 9:30 pm $30 • John Pizzarelli Café Carlyle 8:45 pm $105-160 • Sandy Ewen/Samuel Weinberg; Henry Fraser solo; John McCowen solo • Behn Gillece, Adam Birnbaum, Paul Gill • Noriko Kamo Duo Cleopatra’s Needle 7 pm Windjammer 8 pm Mezzrow 7:30 pm $20 • Bruce Forman Trio with Rufus Reid, Matt Wilson êEthan Iverson Trio with Ron Carter, Al Foster • Ma*JiD’s The Rite of Strings National Sawdust 4 pm $20 Dizzy’s Club 7:30, 9:30 pm $40 Zinc Bar 7:30, 9 pm $30 • Roz Corral Trio with Paul Meyers, Santi Debriano • The Vocal Works of Duke: Ruben Fox with James Zollar, Brendan Lanighan, North Square Lounge 12:30, 2 pm Joel Wenhardt, Russell Hall, Evan Sherman, Kyle Poole, Joy Brown, Vuyo Sotashe, Saturday, May 4 • Matt Mottel; Jessica Pavone; Bob Bellerue Samara Joy Dizzy’s Club 11:15 pm $10 Outskirts 7 pm êBinky Griptite Quintet The Django at Roxy Hotel 10 pm • Ayana Lowe 55Bar 6 pm • Gabriela Martina Band with Kyle Miles, Maxim Lubarsky, Jharis Yokley, Jussi Reijonen, • TNT Quartet; Saul Rubin Zebtet; Paul Nowinski • Richie Vitale Group with Frank Basile The 75 Club at Bogardus Mansion 8, 9:30 pm $25 Ben Rosenblum Pianos 8 pm Fat Cat 7, 10 pm 1:30 am $10 • Edward Perez and Festejation Bar Lunàtico 8:30, 10 pm $10 êEd Cherry Trio with Mike LeDonne, Gary Wang • Elisabeth Lohninger Gin Fizz Harlem 7, 8:30 pm $30 • Tom Dempsey Trio with Ron Oswanski, David Gibson The Roxy Lounge at Roxy Hotel 12 pm • and Jeli Posse Ginny’s Supper Club 7:30, 9:30 pm $15 Bar Next Door 7:30, 9:30, 11:30 pm $12 • John Wilmeth, Steph Walker, Takaaki Otomo, Ratzo Harris êMachito and the Impact of the Afro-Cubans at 80: Carlos Henriquez Ensemble with • Anders Nilsson Trio with Dave Ambrosio, Satoshi Takeishi Russian Samovar 3 pm guest Cita Rodríguez Hostos Center 7:30 pm $20-25 Barbès 6 pm $10 • Godwin Louis Saint Peter’s Church 6 pm • Robert Miller’s Project Grand Slam with Ziarra Washington, Tristan Clark, Mario Castro, êJay Leonhart Birdland 5:30 pm $30 • Jeff Pearring Sound Double Trio with Nick Lyons, Ken Filiano, Ratzo Harris, Todd Capp, Baden Goyo, Guillermo Barron Rios, Joel E. Mateo êEmmet Cohen Trio Birdland 8:30, 11 pm $40 Billy Mintz Scholes Street Studio 7 pm $10 Iridium 8:30 pm $25 • Stephan Crump’s Rosetta Trio with Liberty Ellman, Jamie Fox • Ehud Asherie Trio with Mike Karn, Rodney Green; Richie Vitale Quintet with • Pam Brennan Quintet with Ron Affif, Richie Iacona, Tom Kirchmer, Tony Tedesco Birdland Theater 9:45 pm $30 Frank Basile, Lou Rainone, Paul Gill, Clifford Barbaro; Hillel Salem and Alon Jazz at Kitano 8, 10 pm $18 êBill Frisell Trio with Tony Scherr, Kenny Wollesen and guest Marvin Sewell Smalls 7:30, 10:30 pm 1 am $20 • Almanac: Variant 6: Rebecca Myers, Molly Netter, Elisa Sutherland, Steven Bradshaw, Blue Note 8, 10:30 pm $35 • Bill Stevens Songbook with Corey Larson, Paul Pricer James Reese, Daniel Schwartz; Warp Trio: Josh Henderson, Ju-Young Lee, • Arooj Aftab Brooklyn Museum of Art 5 pm Tomi Jazz 7 pm Mikael Darmanie; Kevin Sun Quartet with Tree Palmedo, Walter Stinson, Matt Honor • John Pizzarelli Café Carlyle 8:45 pm $140-195 êGilad Hekselman Quartet with Mark Turner, Rick Rosato, Obed Calvaire The Jazz Gallery 7:30, 9:30 pm $15 • Joanna Kucharczyk with Marcelo Woloski; Vadim Neselovskyi with Tomoko Omura, Village Vanguard 8:30, 10:30 pm $35 êChris Potter Circuits Trio with James Francies, Marcus Gilmore Leonor Falcón, Trevor New, Julia Henderson, Eddy Khaimovich Jazz Standard 7:30, 9:30 pm $30 The Cell 8, 9 pm $15 êHoagy Carmichael Tribute: Matt Ray and Kat Edmonson • Jiyoun Lee Club Bonafide 10 pm $20 Monday, May 6 Joe’s Pub 7 pm $20 Special EFX: Chieli Minucci, Joel Rosenblatt, Jay Rowe, Jerry Brooks, David Mann, • • Ryan Hernandez Trio with Matt De Leon, Gideon Forbes; Alma Micic Trio with êDenny Zeitlin solo Mezzrow 7:30 pm $20 Emedin Rivera The Cutting Room 7:30 pm $30-35 Rale Micic, Corcoran Holt Bar Next Door 6:30, 8:30, 10:30 pm $12 Cecil Morgan Pelham Fritz Recreation Center 6:30 pm êHouston Person Quartet with Lafayette Harris, Matthew Parrish, Vincent Ector • êThomas Heberer, Terrence McManus, Michael Bates, Jeff Davis; Hot Club Of Flatbush Radegast Hall 9 pm Dizzy’s Club 7:30, 9:30 pm $45 • Stephen Gauci/Adam Lane; Omar Tamez/Milo Tamez; Adam Caine, Adam Lane, • Interpretations: Annie Gosfield with Pauline Kim Harris, Vicky Chow; • The Vocal Works of Duke: Ruben Fox with James Zollar, Brendan Lanighan, Edmund Campion with Claudia Hart, Russel Greenberg, Bill Solomon, Marilyn Nonken, Joel Wenhardt, Russell Hall, Evan Sherman, Kyle Poole, Joy Brown, Vuyo Sotashe, Billy Mintz, Roberta Piket; Aaron Rubinstein, Nate Wooley, Michael Larocca; Manuel Laufer Roulette 8 pm $20 Samara Joy Dizzy’s Club 11:15 pm $20 Santiago Leibson, Juanma Trujillo, Colin Avery Hinton • Palermo Sketches: Blaise Siwula, Rocco John Iacovone, Giancarlo Mazzù, • Nick Hempton Quartet; “King” Solomon Hicks Bushwick Public House 7 pm $10 Luciano Troja Scholes Street Studio 8 pm The Django at Roxy Hotel 7:30, 10:30 pm êAkiko Tsuruga, Jeff Hamilton, Graham Dechter êTony Moreno Quintet with Marc Mommaas, Ron Horton, Aruán Ortiz, Ugonna Okegwo; • Roberto Quintero Quintet; Raphael D’lugoff Quintet; Greg Glassman Jam Dizzy’s Club 7:30, 9:30 pm $35 Carlos Abadie Quintet with Sam Dillon, Peter Zak, Kiyoshi Kitagawa, Luca Santaniello; Fat Cat 7, 10 pm 1:30 am $10 • Harold O’Neal; Lafayette Harris; Billy Kaye Jam Malick Koly Smalls 7:30, 10:30 pm 1 am $20 • Bernard Linnette Group with Aimee Allen Fat Cat 6, 9 pm 12:30 am $10 • Bobby Watson Quartet with Victor Gould, Curtis Lundy, Victor Jones Gin Fizz Harlem 9 pm • Jazz Foundation of America Smoke 7, 9, 10:30 pm $38 • Avery Sharpe’s 400—An African American Musical Portrait Local 802 7 pm êKappa Maki, Satoko Fujii, , Chris Corsano Ginny’s Supper Club 7:30, 9:30 pm $15 • Larry Ham, Lee Hudson, Tom Melito The Stone at The New School 8:30 pm $20 êTomas Fujiwara solo Happylucky no.1 8 pm $20 Mezzrow 7:30 pm $20 • Due Bassi: Lorenzo Kim Sandi/Justin Lee êMachito and the Impact of the Afro-Cubans at 80: Bobby Sanabria and Ascensión • Ari Hoenig/Edmar Castañeda; John Escreet Quartet with Logan Richardson, Uke Hut 8 pm $20 Hostos Center 11 am Harish Raghavan, ; Sean Mason Trio êGilad Hekselman Quartet with Mark Turner, Rick Rosato, Obed Calvaire êMachito and the Impact of the Afro-Cubans at 80: The Machito Orchestra directed by Smalls 7:30, 10:30 pm 1 am $20 Village Vanguard 8:30, 10:30 pm $35 Mario Grillo with guest Herman Olivera êMark Elf Trio with Johnny Ray, Jason Tiemann • Luis Apollon Trio Williamsburg Music Center 9 pm $10 Hostos Center 7:30 pm $25-35 Zinc Bar 7:30, 9 pm $20

34 MAY 2019 | THE NEW YORK CITY JAZZ RECORD

Tuesday, May 7 • Charles Turner; Mark Whitfield The Django at Roxy Hotel 7:30, 10 pm • John Pizzarelli Café Carlyle 8:45 pm $140-195 • Nina Simopoulos with Dave Liebman, Caryn Heilman, Mary Ann McSweeney, Todd Isler êDiane Moser’s Birdsongs Trio with Anton Denner, Ken Filiano; • Theo Bleckmann, Ben Monder, Satoshi Takeishi Drom 8 pm $20 Pheeroan akLaff M.O.P. Strings with Aska Kaneko, Tomoko Akaboshi, Stephanie Griffin, 55Bar 7 pm • Anthony Ware; Greg Glassman Quintet; Todd Herbert Matt Consul, Hilliard Greene, Scott Robinson • Saul Cosme/Haeun Joo Quartet 5C Café 8 pm Fat Cat 7, 10 pm 1:30 am $10 The Cell 8, 9 pm $20 • Dan Lippel/Alejandro Flórez Areté Gallery 7 pm $15 • Frank Valdes Latin Orchestra Gin Fizz Harlem 7, 8:30 pm $30 • Herb Alpert/Lani Hall City Winery 8 pm $50-65 • Alec Aldred Trio with Bob Bruya, Jake Richter; Yuval Amihai Trio with Eric Wheeler, • Pedrito Martinez Ginny’s Supper Club 7:30, 9:30 pm $15 • Walter Williams Trio Cleopatra’s Needle 8 pm Jonathan Barber Bar Next Door 6:30, 8:30, 10:30 pm $12 êDaniel Freedman, Peter Bernstein, Omer Avital êThe Music of Duke Ellington: Juilliard Jazz Orchestra directed by Jerome Jennings êDavid Murray Quintet with Saul Williams, David Bryant, Rashaan Carter, Nasheet Waits InterContinental New York Barclay’s Penthouse Suite 7 pm $30 Dizzy’s Club 7:30, 9:30 pm $45 Birdland 8:30, 11 pm $40 • Ottmar Liebert Duo Iridium 8:30 pm $30-55 • Nate Sparks Big Band Dizzy’s Club 11:15 pm $20 • Like Love—The Popular Songs of : Karen Oberlin • Nerissa Campbell Jamaica Center for Arts and Learning 8 pm $10 • Dave Stryker Quartet with Jared Gold, Joseph Doubleday, McClenty Hunter; Birdland Theater 7 pm $30 • Micah Thomas Trio with Dean Torrey, Kyle Benford Professor Cunningham and His Old School êMaceo Parker Blue Note 8, 10:30 pm $45 Jazz at Kitano 8, 10 pm $18 The Django at Roxy Hotel 7:30, 10:30 pm • John Pizzarelli Café Carlyle 8:45 pm $105-160 • Caroline Davis’ Alula with Matt Mitchell, Dan Weiss • Roman Skakun Quintet; Stafford Hunter and Continuum; Greg Glassman Jam • Sax & Taps: DeWitt Fleming, Jr. and Erica von Kleist with Mark G. Meadows, The Jazz Gallery 7:30, 9:30 pm $15 Fat Cat 7, 10 pm 1:30 am $10 Endea Owens, Carroll Dashiell III Dizzy’s Club 7:30, 9:30 pm $35 • Jeremy Pelt’s Jeremy Pelt, The Artist with Victor Gould, Corcoran Holt, Allan Mednard, • Laura Campisi Trio; Mario Abney Effect • Nate Sparks Big Band Dizzy’s Club 11:15 pm $5 Alex Wintz, Ismel Wignall, Chien Chien Lu Gin Fizz Harlem 7, 8:30 pm $30 • Yuniel Jiménez; Itai Kriss and Gato Gordo Jazz Standard 7:30, 9:30 pm $30 • Jonathan Michel’s A Tribute To Billy Paul The Django at Roxy Hotel 7:30, 10 pm êTadataka Unno, Danton Boller, Jason Brown Mezzrow 7:30 pm $20 Ginny’s Supper Club 7:30, 9:30 pm $15 • Bill Warfield’s Hell’s Kitchen Funk Orchestra with Jane Stuart, John Eckert, • Underground Horns Groove Bar & Grill 7:30 pm Andrew Gould, Dave Riekenberg, Matt Hong, Matt Chertkoff, Cecilia Coleman, • Jackie Williams Pelham Fritz Recreation Center 6:30 pm Joey “Hot Lips” Morant Pier 84 7 pm êBanquet of the Spirits: Cyro Baptista, Shanir Blumenkranz, Tim Keiper, Brian Marsella Steve Count, Scott Neumann Drom 8 pm $20 • and guest Happylucky no.1 8 pm $20 • Saul Rubin Zebtet; Willie Martinez y la Familia; Alexi David • , Ikue Mori, YoshimiO Roulette 8 pm $25 • Jure Pukl Group with Charles Altura, Joel Ross, Matt Brewer, Kweku Sumbry; • Sam Ospovat’s Ride Angles with Kim Cass, Matt Mitchell, Brandon Seabrook, Fat Cat 7, 9 pm 12:30 am $10 Nick Lyons, Lorin Benedict Ibeam Brooklyn 8:30 pm $15 • Devin Gray with Jermey Viner, Simon Jermyn Benny Benack Band with Michael Stephenson, Raviv Markovitz, Joe Peri; Halyard’s 8 pm $10 Jonathan Thomas Trio Smalls 7:30, 10:30 pm 1 am $20 • Ottmar Liebert Duo Iridium 8:30, 10:30 pm $30-55 • Jeff Lorber Iridium 8:30 pm $35 • Dayna Stephens Quartet with Yotam Silverstein, Sam Yahel, Billy Hart • Tom Pappas Quintet with Bob Magnuson, Takaaki Otomo, Murray Wall, Tim Horner Alicia Rau Quartet Jazz at Kitano 8 pm Smoke 7, 9, 10:30 pm $38 Jazz at Kitano 8, 10 pm $34 • ê êDuchess: Amy Cervini, Hilary Gardner and Melissa Stylianou with Michael Cabe, • Matthew Shipp Quartet with Rob Brown, William Parker, and guest John Escreet with Evan Parker, Ches Smith and guests Jesse Lewis, Matt Aronoff, Jared Schonig Steve Dalachinsky The Stone at The New School 8:30 pm $20 The Jazz Gallery 7:30, 9:30 pm $25 Jazz Standard 7:30, 9:30 pm $30 • Michelle Zangara Trio with Jerry Weinstein, Nobu Yamasaki • Jeremy Pelt’s Jeremy Pelt, The Artist with Victor Gould, Corcoran Holt, Allan Mednard, • Libby York, Michael Kanan, Neal Miner Uke Hut 8 pm $20 Alex Wintz, Ismel Wignall, Chien Chien Lu Mezzrow 7:30 pm $20 êAntonio Sanchez Special Project with Chris Potter, Donny McCaslin, Jazz Standard 7:30, 9:30 pm $30 • Mike Longo’s NY State of the Art Jazz Ensemble with Ira Hawkins Village Vanguard 8:30, 10:30 pm $35 • Matthew Fries/Steve LaSpina Knickerbocker Bar & Grill 9, 10:15 pm $3.50 New York City Baha’i Center 8, 9:30 pm $15 • Ryan Slatko Trio with Ben Eunson, Ari Hoenig • Harry Allen, Spike Wilner, Pat O’Leary • Hot Club of Baltimore Radegast Hall 8 pm Williamsburg Music Center 9 pm $10 Mezzrow 7:30 pm $20 • Stefan Sirbu Trio with Ben Rubens, Ben Zweig êAndrew Lamb Trio with Tom Abbs, Ryan Jewel êJC Hopkins Biggish Band Minton’s 7:30, 9:30 pm $20 Scholes Street Studio 7 pm $10 Zürcher Gallery 8 pm $15 • Take Off Collective: Matthew Garrison, , Marko Djordjevic • Justin Robinson Quartet with Tadataka Unno, Santi Debriano, Taru Alexander; ShapeShifter Lab 7 pm $10 Jon Beshay Quartet with Davis Whitfield, George DeLancey, Curtis Nowosad; Friday, May 10 êCentral Brooklyn Jazz Festival: Randy Weston Tribute with Rodney Kendrick Malik McLaurine Trio Smalls 7:30, 10:30 pm 1 am $20 Sistas’ Place 9, 10:30 pm $20 êMatthew Shipp Trio with Michael Bisio, Newman Taylor Baker • Jinjoo Yoo/Anna Kolchina 1986 Est. Wine Bar & Lounge 9 pm • Greg Glassman Quintet with Stacy Dillard, Jeremy Manasia, Joseph Lepore, The Stone at The New School 8:30 pm $20 êTessa Souter 55Bar 6 pm Jason Brown; Quincy Davis Sextet with Philip Dizack, Melissa Aldana, Myron Walden, êAntonio Sanchez Special Project with Chris Potter, Donny McCaslin, Scott Colley • Jerry Weldon Quartet The 75 Club at Bogardus Mansion 8, 9:30 pm $25 Aaron Goldberg Smalls 7:30, 10:30 pm $20 Village Vanguard 8:30, 10:30 pm $35 • Anant Pradham Bar Lunàtico 8:30, 10 pm $10 • Dayna Stephens Quartet with Yotam Silverstein, Sam Yahel, Billy Hart • Freddie Bryant Trio with Chris Beck Bar Next Door 7:30, 9:30, 11:30 pm $12 Smoke 7, 9, 10:30 pm $38 Wednesday, May 8 • Jenny Scheinman/Allison Miller Parlour Game with Carmen Staaf, Tony Scherr êMatthew Shipp Trio with Michael Bisio, Newman Taylor Baker Barbès 8 pm $10 The Stone at The New School 8:30 pm $20 • Oz Noy 55Bar 10 pm êDavid Murray Quintet with Saul Williams, David Bryant, Rashaan Carter, Nasheet Waits • Symphony Space Peter Jay Sharpe Theatre 8 pm $45-65 êJerome Harris Group with Jeremy Udden, Dave Baron, Tommy Campbell Birdland 8:30, 11 pm $40 êAntonio Sanchez Special Project with Chris Potter, Donny McCaslin, Scott Colley Bar Bayeux 8 pm êMaceo Parker Blue Note 8, 10:30 pm $45 Village Vanguard 8:30, 10:30 pm $35 • Arthur Kell Quartet with Brad Shepik, Nate Radley, Mark Ferber • John Pizzarelli Café Carlyle 8:45 pm $140-195 • Central Brooklyn Jazz Festival: Simona Minns Bar Lunàtico 8:30, 10 pm $10 • Herb Alpert/Lani Hall City Winery 8 pm $50-65 Williamsburg Music Center 10 pm $10 • Jocelyn Gould Trio with Louie Leager, Evan Hyde; Dave Stryker Quartet with • Bruce Gregori Trio Cleopatra’s Needle 8 pm Jared Gold, Joseph Doubleday, McClenty Hunter êThe Music of Duke Ellington: Juilliard Jazz Orchestra directed by Jerome Jennings Bar Next Door 6:30, 8:30, 10:30 pm $12 Dizzy’s Club 7:30, 9:30 pm $45 Sunday, May 12 ê • Nate Sparks Big Band Dizzy’s Club 11:15 pm $10 David Murray Quintet with Saul Williams, David Bryant, Rashaan Carter, Nasheet Waits êSheryl Bailey 3 with Ron Oswanski, Ian Froman Birdland 8:30, 11 pm $40 • Bruce Harris Quartet; Itai Kriss and Telavana The Django at Roxy Hotel 7:30, 10:30 pm 55Bar 9:30 pm $10 • Ehud Asherie Birdland Theater 9:45 pm $30 êKen Peplowski Quartet with guest Nicole Zuraitis êMaceo Parker Blue Note 8, 10:30 pm $45 • Ai Murakami Quintet; ; Nick Hempton Fat Cat 6, 10:30 pm 1:30 am $10 Birdland 6 pm $30 • John Pizzarelli Café Carlyle 8:45 pm $105-160 Joey “Hot Lips” Morant Blue Note 11:30 am 1:30 pm $39.50 • Essentially Ellington Alumni Band Dizzy’s Club 7:30, 9:30 pm $35 • Pamela Cornelius Gin Fizz Harlem 7, 8:30 pm $30 • • Nate Sparks Big Band Dizzy’s Club 11:15 pm $5 êTribute to Howard Johnson: Jason Marshall Big Band êMaceo Parker Blue Note 8, 10:30 pm $45 êRodney Green Trio; Theo Croker Big Band Greater Calvary Baptist Church 7 pm • The Music of Duke Ellington: Juilliard Jazz Orchestra directed by Jerome Jennings The Django at Roxy Hotel 7:30, 10 pm êBanquet of the Spirits: Cyro Baptista, Shanir Blumenkranz, Tim Keiper, Brian Marsella Dizzy’s Club 7:30, 9:30 pm $40 êTribute to James Reese Europe and the Harlem Hellfighters: Carl Bethel solo; and guest Nels Cline Happylucky no.1 8 pm $20 êGuillermo Gregorio Ensemble Downtown Music Gallery 6 pm Jimmy Owens, Paquito D’Rivera, Jason Moran, Marcus Rojas, Bobby Sanabria; êCarol Liebowitz solo; Robert Dick/Adam Caine • Asaf Yuria Fat Cat 9 pm $10 Ehud Asherie solo; Jason Moran solo; ; Paquito D’Rivera, , Bobby Sanabria, Ibeam Brooklyn 8 pm $15 êFrank Catalano Band with Vic Juris, Julian Smith, Mike Clark Thomas Garcia, Marcus Rojas, Scott Robinson; Jimmy Owens, Lorenzo Greenwich, • Ottmar Liebert Duo Iridium 8:30, 10:30 pm $30-55 Iridium 8:30 pm $25 Nabaté Isles, Frank Hosticka, Shawn Edmonds; Ron Wilkins, Bruce Eidem, Issac Poole; • Central Brooklyn Jazz Festival: James Fleet êIntergenerational Jazz Jam: Bob Stewart, Curtis Stewart, Eli Yamin, Jennifer Vincent, Dave Pearso solo; Marcus Rojas solo; Scott Robinson solo; Becca Patterson solo; Jazz 966 8 pm Dwayne “Cook” Broadnax Jazz Museum in Harlem 2 pm $10 Dale Turk solo; Henry Meredith solo; Chris Rogers solo; JD Parran solo; • Tom Pappas Quintet with Bob Magnuson, Takaaki Otomo, Murray Wall, Tim Horner • Jeremy Pelt’s Jeremy Pelt, The Artist with Victor Gould, Corcoran Holt, Allan Mednard, Dan Block solo; Paquito D’Rivera solo; Don Byron solo; Paul Cohen solo; Jazz at Kitano 8, 10 pm $34 Alex Wintz, Ismel Wignall, Chien Chien Lu Oliver Santana-Rivera solo; Bobby Sanabria solo; Thomas Garcia solo • Flathead Ellington Project led by Erica von Kleist Jazz Standard 7:30, 9:30 pm $30 Elebash Recital Hall at CUNY Graduate Center 7:30 pm Jazz Museum in Harlem 7 pm • Simona Premazzi, Joe Martin, Eric McPherson • Raphael D’lugoff Trio +1; Harold Mabern Trio; Ned Goold Jam • Jeremy Pelt’s Jeremy Pelt, The Artist with Victor Gould, Corcoran Holt, Allan Mednard, Mezzrow 7:30 pm $20 Fat Cat 7, 9 pm 12:30 am $10 Alex Wintz, Ismel Wignall, Chien Chien Lu • Melissa Stylianou Trio with Gene Bertoncini, Ike Sturm • Jeff Lorber Iridium 8:30 pm $35 Jazz Standard 7:30, 9:30 pm $30 North Square Lounge 12:30, 2 pm • SAICOBAB: YoshimiO, Yoshida Daikiti, Akita Goldman, Motoyuki Hamamoto • Matthew Fries/Steve LaSpina Knickerbocker Bar & Grill 9, 10:15 pm $3.50 • Marco Di Gennaro Trio with Joy Brown, Daniel Duke Issue Project Room 8 pm $15 • Harry Allen, Spike Wilner, Pat O’Leary Russian Samovar 3 pm • Takaaki Otomo Trio with Noriko Ueda Mezzrow 7:30 pm $20 • Nadje Noordhuis Quintet Saint Peter’s Church 6 pm Jazz at Kitano 8, 10 pm $18 êThe (Un)Silent Film Night: The Film Ensemble led by Angelica Sanchez; • Matt Carroll Quartet Scholes Street Studio 8 pm $10 êDuchess: Amy Cervini, Hilary Gardner and Melissa Stylianou with Michael Cabe, NYC Composers Ensemble directed by Mary Halvorson and Nir Felder; • Alex Hoffman Quintet with Emanuele Basentini, Gregory Chen, Neal Miner, Jesse Lewis, Matt Aronoff, Jared Schonig Matt Wilson Student Ensemble New School Tishman Auditorium 7 pm Scott Lowrie; Alex Norris Quintet with Ari Ambrose, Jeremy Manasia, Paul Gill, Jazz Standard 7:30, 9:30 pm $30 êRay Mantilla Pier 84 7 pm Brian Floody; Hillel Salem and Alon • Myron Walden and Strings with Jon Cowherd • Marcello Pellitteri Trio Room 623 at B2 Harlem 10 pm $20 Smalls 7:30, 10:30 pm 1 am $20 Mezzrow 7:30 pm $20 • Central Brooklyn Jazz Festival: Marion Cowings with BSJAZZ Ensemble • Linda Presgrave Quartet with Stan Chovnick, Dimitri Moderbacher, Seiji Ochiai • Fumi Tomita’s The Elephant Vanishes with Jason Rigby, Mike Baggetta, Art Hirahara, Sankofa Aban Bed & Breakfast 9 pm Tomi Jazz 7 pm Elsa Nilsson’s South by North East with Bam Rodriquez, Rodrigo Reccabarren; Mark Micklethwaite Nublu 8:30 pm $10 • êAntonio Sanchez Special Project with Chris Potter, Donny McCaslin, Scott Colley • Collider: Leon Gruenbaum/Gintas Janusonis; Helio Parallax: Josh Werner, Bill Cole, Ras Moshe Burnett, Lee Odom, Larry Roland, Tiffany Chang; Lindsey Wilson’s Human Hearts with Michael Eaton, Reggie Sylvester, Village Vanguard 8:30, 10:30 pm $35 Takuya Nakamura, Gintas Janusonis • Daniele Germani Band Williamsburg Music Center 9 pm $10 Nublu 151 9, 11 pm $10 Michael Trotman; Music Now:Cousins: Adam Power, Ras Moshe Burnett, Matt Lavelle, êLiberty Ellman’s Valve Dynamic Public Records 8, 9:30 pm Sean Conly, Leonid Galaganov Scholes Street Studio 8 pm $10 • Alvin Flythe Roy Wilkins Recreation Center 2 pm • Greg Glassman Quintet with Stacy Dillard, Jeremy Manasia, Joseph Lepore, Monday, May 13 Jason Brown; Quincy Davis Sextet with Philip Dizack, Melissa Aldana, Myron Walden, • Jon Davis/Gianluca Renzi Saint Peter’s Church 1 pm $10 êVinnie Sperrazza with Ethan Iverson, Michael Formanek • Jure Pukl Group with Charles Altura, Joel Ross, Matt Brewer, Kweku Sumbry; Aaron Goldberg Smalls 7:30, 10:30 pm $20 Dan Aran’s New York Family with Peter Bernstein, Adam Birnbaum, Luke Sellick, • Dayna Stephens Quartet with Yotam Silverstein, Sam Yahel, Billy Hart Bar Lunàtico 8:30, 10 pm $10 Itai Kriss, Marcos Lopez, Jainardo Batista Smoke 7, 9, 10:30 pm $38 • Aimee Allen Trio with Tony Romano, Gianluca Renzi Smalls 7:30, 10:30 pm $20 • Gabriele Tranchina Quartet The Sound Bite 7, 9 pm Bar Next Door 8:30, 10:30 pm $12 • Matthew Shipp/Ivo Perelman The Stone at The New School 8:30 pm $20 • Sam Ospovat, Kim Cass, Lorin Benedict êDizzy Gillespie Afro Cuban All-Stars êAntonio Sanchez Special Project with Chris Potter, Donny McCaslin, Scott Colley Spectrum 7 pm $15 Blue Note 8, 10:30 pm $35 Village Vanguard 8:30, 10:30 pm $35 êMatthew Shipp/Darius Jones The Stone at The New School 8:30 pm $20 • Kenneth Jimenez, Simon Jermyn, Santiago Leibson, Raf Vertessen; Stephen Gauci, êAntonio Sanchez Special Project with Chris Potter, Donny McCaslin, Scott Colley Sandy Ewen, Adam Lane, Kevin Shea; Tom Chess, Zach Swanson, Noel Brennan; Thursday, May 9 Village Vanguard 8:30, 10:30 pm $35 Welf Dorr Quartet with Keisuke Matsuno, Dmitry Ishenko; Briggan Krauss, êIngrid Jensen Quartet with Gary Versace, Ed Howard, Jon Wikan Keisuke Matsuno, Eli Rojas; Lauren Lee, Jochem Van Dijk, Ken Kobayashi • Jinjoo Yoo/Robin Grasso 1986 Est. Wine Bar & Lounge 8 pm Zinc Bar 7:30, 9 pm $30 Bushwick Public House 7 pm $10 • Joanna Pascale 54 Below 9:30 pm $25-35 êEvan Parker/Ned Rothenberg Zürcher Gallery 8 pm $20 êFrank Vignola Trio with Vinny Raniolo, Gary Mazzaroppi • Nicole Zuraitis 55Bar 7 pm City Winery 8 pm $18-30 • Nick Semenykhin Trio with Solomon Gottfried, Jerome Gillespie; Luke Schwartz Trio Saturday, May 11 • Terraza Big Band led by Edward Perez and Michael Thomas with Kells Nollenberger, Rodrigo Recabarren Dizzy’s Club 7:30, 9:30 pm $35 Bar Next Door 6:30, 8:30, 10:30 pm $12 • Michelle Walker 55Bar 6 pm • Ned Goold Quartet; Billy Kaye Jam êJenny Scheinman/Allison Miller Parlour Game with Carmen Staaf, Tony Scherr • Grant Stewart Quartet The 75 Club at Bogardus Mansion 8, 9:30 pm $25 Fat Cat 9 pm 12:30 am $10 Barbès 8 pm $10 • Alvaro Benavides Group Bar Lunàtico 8:30, 10 pm $10 • Samuel Weinberg, Henry Fraser, Weasel Walter • Ronny Whyte with Cecilia Coleman, Boots Maleson, Ray Marchica • Pasquale Grasso Trio with Ari Roland, Keith Balla Max Fish 10 pm Birdland 5:30 pm $30 Bar Next Door 7:30, 9:30, 11:30 pm $12 • Danny Fox, Chris van Voorst van Beest, Max Goldman êDavid Murray Quintet with Saul Williams, David Bryant, Rashaan Carter, Nasheet Waits • Anders Nilsson’s Fackpamp with Sarah Bernstein, Hampus Öhman-Frölund Mezzrow 7:30 pm $20 Birdland 8:30, 11 pm $40 Barbès 6 pm $10 • Chris Pitsiokos/Chris Corsano Public Records 8, 9:30 pm êMaceo Parker Blue Note 8, 10:30 pm $45 êWest Harlem Jazz Festival: Ed Cherry Trio with Kyle Koehler, Anwar Marshall; • Delvon Lamarr Organ Trio Rockwood Music Hall Stage 2 10 pm $15 • John Pizzarelli Café Carlyle 8:45 pm $105-160 Sam Taylor Quartet; Bruce Harris Quartet; Eric Alexander/Grant Stewart Quartet; • Scott Reeves/Jay Brandford Tentet with Brian Pareschi, Jim O’Connor, Dan Block, êLouise Rogers Band Cleopatra’s Needle 7 pm Lucy Yeghiazaryan Quartet Bierstrasse 2 pm Roger Rosenberg, Mark Patterson, Roberta Piket, Todd Coolman, Andy Watson • ’s Oblivion Express; Frank Gambale êDavid Murray Quintet with Saul Williams, David Bryant, Rashaan Carter, Nasheet Waits The Slope Lounge 8 pm The Cutting Room 7:30 pm $30-35 Birdland 8:30, 11 pm $40 • Lucas Pino Nonet with Tony Lustig, Philip Dizack, Nick Finzer, Alex LoRe, êThe Music of Duke Ellington: Juilliard Jazz Orchestra directed by Jerome Jennings êMaceo Parker Blue Note 8, 10:30 pm $45 Alex Goodman, Glenn Zaleski, Desmond White, Colin Stranahan; Joe Farnsworth Trio; Dizzy’s Club 7:30, 9:30 pm $40 êErik Friedlander solo and with WORKS: Michel Gentile, Daniel Kelly, Rob Garcia Jon Elbaz Trio Smalls 7:30, 10:30 pm 1 am $20 • Nate Sparks Big Band Dizzy’s Club 11:15 pm $10 Brooklyn Conservatory of Music 7:30 pm $15

36 MAY 2019 | THE NEW YORK CITY JAZZ RECORD Latin America’s wildest jazz event.

2020 Havana Jazz Festival

JazzCuba.com Tuesday, May 14 • Leslie Pintchik Trio with Scott Hardy, Michael Sarin • Frank London and Deep Singh’s Bagels & Bhangra; Paul Shapiro’s Ribs & Brisket Revue Jazz at Kitano 8, 10 pm $18 City Winery 9 pm $20 • Stan Killian Quartet with Bruce Barth, Corcoran Holt, McClenty Hunter • Arta Jēkabsone’s My Suite Reflections with Theo Walentiny, Lucas Kadish, • Alan Rosenthal Trio Cleopatra’s Needle 8 pm 55Bar 7 pm Hwansu Kang, Connor Parks, Zosha Warpeha, Uta Habbig, Kate Barmotina, Julie Kim • Aziza Miller and Friends Club Bonafide 8 pm $20 • ASM Drinks Alone: Gordon Beeferman; Sarah Bernstein; Ty Citerman; Pat Muchmore; The Jazz Gallery 7:30, 9:30 pm $15 êBill Charlap Trio with , Kenny Washington Barry Seroff Areté Gallery 7:30 pm $15 êGil Evans Project directed by Ryan Truesdell with Steve Wilson, Dave Pietro, Dizzy’s Club 7:30, 9:30 pm $45 • Alex DeLazzari Trio with Griffin Fink, Hank Allen Barfield; Trio with Donny McCaslin, Tom Christensen, Alden Banta, Steve Kenyon, Adam Unsworth, • Simon Moullier Dizzy’s Club 11:15 pm $20 Peter Brendler, Mark Ferber Bar Next Door 6:30, 8:30, 10:30 pm $12 David Peel, Augie Haas, Scott Wendholt, Mike Rodriguez, Riley Mulherkar, • Dan Aran Band; Gotham Kings The Django at Roxy Hotel 7:30, 10:30 pm • Curtis Stigers with Birdland Big Band directed by David DeJesus Ryan Keberle, Marshall Gilkes, George Flynn, James Chirillo, Frank Kimbrough, êJoe Bataan El Museo del Barrio 4 pm Birdland 8:30, 11 pm $40 Jay Anderson, Lewis Nash, Wendy Gilles, Tomas Cruz, Nathaniel Adams, • Mary Halvorson with Gabriel Seymour, Henry Mermer • Roxy Coss Quintet with Alex Wintz, Miki Yamanaka, Rick Rosato, Jimmy Macbride Dominic Inferrera Jazz Standard 7:30, 9:30 pm $35 Happylucky no.1 8 pm $20 Birdland Theater 9:45 pm $30 êLaszlo Gardony, John Lockwood, Yoron Israel • Joe Pina Quartet Gin Fizz Harlem 7, 8:30 pm $30 êDizzy Gillespie Afro Cuban All-Stars Mezzrow 7:30 pm $20 • Moshulu: Oz Noy, , Jeff Berlin, Dennis Chambers Blue Note 8, 10:30 pm $35 êLinda May Han Oh’s Aventurine with Greg Ward, Matt Mitchell, Ches Smith, Iridium 8:30, 10:30 pm $35-45 êBill Charlap Trio with Peter Washington, Kenny Washington Curtis Stewart, Sara Caswell, Benni von Gutzeit, Malcolm Parson • Bill O’Connell Trio with Santi Debriano, Francisco Mela Dizzy’s Club 7:30, 9:30 pm $40 National Sawdust 7 pm $25 Jazz at Kitano 8, 10 pm $34 • Simon Moullier Dizzy’s Club 11:15 pm $5 • Oskar Stenmark Quartet Nublu 9 pm • Godwin Louis’ Global with Etienne Charles, Joel Ross, Jonathan Michel, • Gerardo Contino The Django at Roxy Hotel 7:30 pm • Brawlik: Diallo House, Christian Coleman, Ismail Lawal, TW Sample, Charles Haynes The Jazz Gallery 7:30, 9:30 pm $25 • Saul Rubin Zebtet; Peter Brainin Latin Jazz Workshop Michael Louis-Smith, Pat McGuire, Stacy Dillard, Martin Kelley, Joey Johnson êGil Evans Project directed by Ryan Truesdell with Steve Wilson, Dave Pietro, Fat Cat 7, 9 pm $10 Nublu 151 11 pm $15-20 Donny McCaslin, Tom Christensen, Alden Banta, Steve Kenyon, Jesse Han, • Adam Kolker Quartet with Billy Hart Halyard’s 10 pm $10 • Annette St. John Pelham Fritz Recreation Center 6:30 pm Jessica Taskov, Adam Unsworth, David Peel, Augie Haas, Scott Wendholt, • Eugenia Choe Quartet Jazz at Kitano 8 pm • Glenn Crytzer Quintet Radegast Hall 9 pm Mike Rodriguez, Ryan Keberle, Marshall Gilkes, George Flynn, Marcus Rojas, êTribute to James Reese Europe: Immanuel Wilkins Trio with Joel Ross, Nazir Ebo • Bob Lanzetti Rockwood Music Hall Stage 3 10:15 pm $10 James Chirillo, Frank Kimbrough, Jay Anderson, Lewis Nash, Wendy Gilles Jazz Museum in Harlem 7 pm $10 • Earl McIntyre with Renee Manning, Jim Seeley, Ivan Renta, Patience Higgins, Jazz Standard 7:30, 9:30 pm $35 êMichael Leonhart Orchestra with Philip Dizack, Jordan McLean, Billy Aukstik, Ron Jackson, Jerome Harris, Carlos “Carly” Maldonado, Buddy Williams êManuel Valera Knickerbocker Bar & Grill 9, 10:15 pm $3.50 Carter Yasutake, Frank Cohen, Reggie Chapman, Dave Pietro, Jason Marshall, ShapeShifter Lab 7 pm $15 êMulatu Astatke Le Poisson Rouge 8 pm $50 Sara Schoenbeck, Pauline Kim, Emily Hope Price, Robbie Mangano, Ron Oswanski, • Mike Karn Quartet with Harry Allen, Tadataka Unno, Mark Taylor; Greg Murphy Trio with • , John Ellis, Alexis Cuadrado, Leo Sidran Kevin Raczka, Elizabeth Pupo-Walker, Daniel Freedman and guest Nels Cline Eric Wheeler, Tommy Campbell; Malick Koly Mezzrow 7:30 pm $20 Jazz Standard 7:30, 9:30 pm $30 Smalls 7:30, 10:30 pm 1 am $20 • Andrea Wolper/Claire de Brunner; Ras Moshe Burnett Quartet with Kyoko Kitamura, êVeronica Swift, Dan Nimmer, Carlos Henriquez, Aaron Kimmel êMary Stallings’ Songs Were Made to Sing with David Hazeltine, David Williams, Anders Nilsson, Dan Kurfirst; Jeff Pearring Sound Quartet with Adam Caine, Mezzrow 7:30 pm $20 Joe Farnsworth Smoke 7, 9, 10:30 pm $38 Ratzo Harris, Billy Mintz Mirror Tea House 8 pm $15 • Chet Baker Tribute: Warren Chiasson Group with Bob Mover, Benny Marmur, • Jean Cook, Marika Hughes, Nicole Mitchell • Matt Panayides’ Field Theory with Matt Vashlishan, Robert Sabin, Mark Ferber Alex Gressel, Jimmy Madison New York City Baha’i Center 8, 9:30 pm $15 The Stone at The New School 8:30 pm $20 Nublu 9 pm • Arthur Green Picnic House in Prospect Park 11 am • Linda Presgrave Quartet with Stan Chovnick, Dimitri Moderbacher, Seiji Ochiai • Joey DeFrancesco with Jazz at Lincoln Center Orchestra • Delvon Lamarr Organ Trio Rockwood Music Hall Stage 2 10 pm $15 Tomi Jazz 7 pm Rose Theater 8 pm $40-130 • Hot Date: Chris Welcome/Shayna Dulberger; Warrior of Light: Djassi DaCosta Johnson/ êHighlights in Jazz—Salute to Randy Brecker: Peter and Will Anderson, Veronica Swift, • Jaimeo Brown Transcendence Saint Peter’s Church 6 pm Shayna Dulberger; Dromedaries: Keir Neuringer, Shayna Dulberger, Julius Masri George Cables, Buster Williams, Kenny Washington and guest • Central Brooklyn Jazz Festival: Napoleon Revels-Bey’s Nu Mo Swing with Roulette 8 pm $25 Tribeca Performing Arts Center 8 pm $50 Bryan Carrott, Paul Ramsey, Earl Brooks, Misha Tsiganov, Rahimah Karim êChampian Fulton Quartet with Steve Fulton, Hide Tanaka, Fukushi Tainaka; • Rie Yamaguchi-Borden Trio with Reid Taylor, Lamy Istrefi Sistas’ Place 9, 10:30 pm $20 Abraham Burton Quartet with David Bryant, Dezron Douglas, Eric McPherson; Uke Hut 8 pm $20 • Gerry Gibbs and Thrasher People; Rich Perry Quartet with Gary Versace, Malik McLaurine Trio Smalls 7:30, 10:30 pm 1 am $20 • Ben Wendel Seasons Band with Gilad Hekselman, , Matthew Brewer, Ugonna Okegwo, John Riley Smalls 7:30, 10:30 pm $20 • Val Jeanty, Chad Taylor, Nicole Mitchell Village Vanguard 8:30, 10:30 pm $35 êMary Stallings’ Songs Were Made to Sing with David Hazeltine, David Williams, The Stone at The New School 8:30 pm $20 • Alex Cummings Quartet with Christian Li, Jack Hill, Pete Manhiem Joe Farnsworth Smoke 7, 9, 10:30 pm $38 • Central Brooklyn Jazz Festival: Stanley Banks and Friends Williamsburg Music Center 9 pm $10 • Charlie Apicella and Iron City with Madame Pat Tandy Sugar Hill Supper Club 7 pm The Sound Bite 7, 9 pm • Ben Wendel Seasons Band with Gilad Hekselman, Aaron Parks, Matthew Brewer, Friday, May 17 • Funkish: André ‘Dré Gló’ Lassalle, Jared Nickerson, Calvin Gantt, Nicole Mitchell Eric Harland Village Vanguard 8:30, 10:30 pm $35 The Stone at The New School 8:30 pm $20 • Yarn/Wire/Currents with Olivia Block, Sarah Hennies • Jinjoo Yoo/Anna Kolchina 1986 Est. Wine Bar & Lounge 9 pm • Carol Sudhalter Astoria Big Band Sunnyside Reformed Church 7 pm Zürcher Gallery 8 pm $20 êDick Griffin The 75 Club at Bogardus Mansion 8, 9:30 pm $25 • Made in Competition 6th Annual Jazz Gala: Al Foster, , • Petros Klampanis Trio with Yotam Silberstein, Obed Calvaire Bobby Sanabria, Alex Sipiagin NYU Jazz Ensemble, Yaacov Mayman, Alex Norris Wednesday, May 15 Bar Next Door 7:30, 9:30, 11:30 pm $12 Tribeca Performing Arts Center 7:30 pm $45-55 • Curtis Stigers with Birdland Big Band directed by David DeJesus • Ben Wendel Seasons Band with Gilad Hekselman, Aaron Parks, Matthew Brewer, • Melissa Stylianou 55Bar 7 pm Birdland 8:30, 11 pm $40 Eric Harland Village Vanguard 8:30, 10:30 pm $35 êWill Sellenraad with Rene Hart, Victor Lewis êMonty Alexander solo Birdland Theater 7, 9:45 pm $30 êAhmed Abdullah Williamsburg Music Center 10 pm $10 Bar Bayeux 8 pm • Jesse Crawford Trio Cleopatra’s Needle 8 pm êBobby Broom/Peter Bernstein Quartet with George DeLancey, Billy Drummond • Jay Rodriguez Bar Lunàtico 8:30, 10 pm $10 • Fuse Patrol: Eckersid Silapaswang, Roy Suter, Chris Pott, Jason Reddish Zinc Bar 7:30, 9 pm $30 • Artur Akhmetov Trio with Nathan Garrett, Samvel Sarkisyan Club Bonafide 10 pm $10 Bar Next Door 6:30 pm êBill Charlap Trio with Peter Washington, Kenny Washington Sunday, May 19 • Curtis Stigers with Birdland Big Band directed by David DeJesus Dizzy’s Club 7:30, 9:30 pm $45 Birdland 8:30, 11 pm $40 • Simon Moullier Dizzy’s Club 11:15 pm $10 êMichel Gentile solo 440Gallery 4:40 pm $10 • Allegra Levy Birdland Theater 7 pm $30 • Ken Fowser Quintet; Lezlie Harrison êPete McGuinness Jazz Orchestra with Dave Pietro, Mark Phaneuf, Tom Christensen, • Konrad Paszkudzki/Pasquale Grasso The Django at Roxy Hotel 7:30, 10:30 pm Rob Middleton, Dave Riekenberg, Jon Owens, Tony Kadleck, Bill Mobley, Chris Rogers, Birdland Theater 9:45 pm $30 • Tina Fabrique Gin Fizz Harlem 7, 8:30 pm $30 Bruce Eidem, Mark Patterson, Matt Haviland, Jeff Nelson, Mike Holober, Andy Eulau, êDizzy Gillespie Afro Cuban All-Stars • Mary Halvorson with Gabriel Seymour, Henry Mermer Scott Neumann Birdland 6 pm $30 Blue Note 8, 10:30 pm $35 Happylucky no.1 8 pm $20 • Piaf at 100—The Solo Sparrow: Myriam Phiro with Hyuna Park, Elias Bailey êBill Charlap Trio with Peter Washington, Kenny Washington êIgor Lumpert Trio with Aruán Ortiz, Gerald Cleaver Birdland Theater 7:30 pm $30 Dizzy’s Club 7:30, 9:30 pm $40 Ibeam Brooklyn 8:30 pm $15 êBill Charlap Trio with Peter Washington, Kenny Washington • Simon Moullier Dizzy’s Club 11:15 pm $5 • Moshulu: Oz Noy, David Sancious, Jeff Berlin, Dennis Chambers Dizzy’s Club 7:30, 9:30 pm $40 • New Alchemy Jazz Orchestra The Django at Roxy Hotel 10 pm Iridium 8:30, 10:30 pm $35-45 êMichael Blake and Strings with Erik Friedlander, Skye Steel, Guillerme Monteiro, • Raphael D’lugoff Trio +1; Don Hahn/Mike Camacho Band; Ned Goold Jam • Michael Morreale Quintet with Jon Gordon, Tony Regusis, Bill Moring, Tim Horner Michael Bates, Da Yeon Seok Dupuy’s Landing 3 pm Fat Cat 7, 9 pm 12:30 am $10 Jazz at Kitano 8, 10 pm $34 êStephen Gauci/Cooper Moore; Thomas Heberer, Terrence McManus, Michael Bates, • Stacy Haughton Gin Fizz Harlem 7, 8:30 pm $30 • Ethan Iverson Quartet with Dayna Stephens, Ben Street, Eric McPherson Jeff Davis El Barrio Artspace 7 pm $10 • Lee Tomboulian Trio with Ratzo Harris, Brian Woodruff The Jazz Gallery 7:30, 9:30 pm $25 • Terry Waldo’s Gotham City Band Fat Cat 6 pm $10 Jazz at Kitano 8, 10 pm $18 êGil Evans Project directed by Ryan Truesdell with Steve Wilson, Dave Pietro, êGil Evans Project directed by Ryan Truesdell with Steve Wilson, Dave Pietro, • Keith Witty’s Thieves The Jazz Gallery 7:30, 9:30 pm $15 Donny McCaslin, Tom Christensen, Alden Banta, Steve Kenyon, Jesse Han, Donny McCaslin, Tom Christensen, Alden Banta, Steve Kenyon, Jesse Han, • Smithsonian Jazz Masterworks Orchestra conducted by Charlie Young with Jessica Taskov, Adam Unsworth, David Peel, Augie Haas, Scott Wendholt, Jessica Taskov, Adam Unsworth, David Peel, Augie Haas, Scott Wendholt, Ken Kimery, Steve Williams, Bill Mulligan, Scott Silbert, Luis Hernandez, Leigh Pilzer, Mike Rodriguez, Ryan Keberle, Marshall Gilkes, George Flynn, Marcus Rojas, Mike Rodriguez, Ryan Keberle, Marshall Gilkes, George Flynn, Marcus Rojas, Liesl Whitaker, Tom Williams, Brian Macdonald, Kenny Rittenhouse, Jennifer Krupa, James Chirillo, Frank Kimbrough, Jay Anderson, Lewis Nash, Wendy Gilles James Chirillo, Frank Kimbrough, Jay Anderson, Lewis Nash, Wendy Gilles Bill Holmes, Ben Polk, Tony Nalker, James King and guest Jazz Standard 7:30, 9:30 pm $35 Jazz Standard 7:30, 9:30 pm $35 Jazz Standard 7:30, 9:30 pm $30 • Oleg Butman and Natalia Smirnova Trio êLew Tabackin, Yasushi Nakamura, Mark Taylor, Natalia Sheptalova • Martin Bejerano/Roxana Amed Mezzrow 7:30 pm $20 Kingsborough Community College 7 pm $42 Mezzrow 7:30 pm $20 êJohn Carlson’s Buzz Public Records 8, 9:30 pm êManuel Valera Knickerbocker Bar & Grill 9, 10:15 pm $3.50 • Guy Mintus Trio National Sawdust 7 pm $20 • Kendra Shank, Frank Kimbrough, Dean Johnson êMulatu Astatke Le Poisson Rouge 8 pm $50 • Roz Corral Trio with Eddie Monteiro, Nanny Assis Saint Peter’s Church 1 pm $10 • Ben Sidran, John Ellis, Alexis Cuadrado, Leo Sidran North Square Lounge 12:30, 2 pm • George Papageorge Trio with Matt Chertkoff, Brian Floody; Harold Mabern Trio Mezzrow 7:30 pm $20 • André Carvalho The Owl Music Parlor 7:30 pm $10 Smalls 7:30, 10:30 pm $20 • Sofia Rei/JC Maillard Nublu 151 9 pm $15 • Howard Fishman/Russel Farhang Rizzoli Bookstore 5 pm $20 êMatthew Shipp Trio with Michael Bisio, Newman Taylor Baker and guest Nicole Mitchell • Ginetta’s Vendetta Room 623 at B2 Harlem 10 pm $20 • Petros Klampanis Rockwood Music Hall Stage 3 5 pm $15 The Stone at The New School 8:30 pm $20 • Joey DeFrancesco with Jazz at Lincoln Center Orchestra • Nabuko Kiryu with James Zollar, Mferghu, Nobuyuki Yamasaki • Ben Wendel Seasons Band with Gilad Hekselman, Aaron Parks, Matthew Brewer, Rose Theater 8 pm $40-130 Russian Samovar 3 pm Eric Harland Village Vanguard 8:30, 10:30 pm $35 • Gerry Gibbs and Thrasher People; Rich Perry Quartet with Gary Versace, • Charles Owens Trio with Andrew Randazzo, Devonne Harris; JC Stylles Group; Ugonna Okegwo, John Riley Smalls 7:30, 10:30 pm $20 Hillel Salem and Alon Smalls 7:30, 10:30 pm 1 am $20 Thursday, May 16 êMary Stallings’ Songs Were Made to Sing with David Hazeltine, David Williams, • Ben Wendel Seasons Band with Gilad Hekselman, Aaron Parks, Matthew Brewer, Joe Farnsworth Smoke 7, 9, 10:30 pm $38 Eric Harland Village Vanguard 8:30, 10:30 pm $35 • Jinjoo Yoo/Robin Grasso 1986 Est. Wine Bar & Lounge 8 pm • Duke Jones Quartet The Sound Bite 7, 9 pm êCarl Testa/Jeremiah Cymerman; /Michael Bisio êTomas Fujiwara, Patricia Brennan, Nicole Mitchell Monday, May 20 Areté Gallery 7, 9 pm $15 The Stone at The New School 8:30 pm $20 êMichaël Attias, Aruàn Ortiz, Nasheet Waits • Danny Walsh Tony Dapolito Recreation Center 6:30 pm • Chris Parker Trio with Peter DiCarlo, Jonathan Gardner; Valerie Farber Trio with Bar Lunàtico 8:30, 10 pm $10 • Ben Wendel Seasons Band with Gilad Hekselman, Aaron Parks, Matthew Brewer, Cat Toren, Michael Bates Bar Next Door 6:30, 8:30, 10:30 pm $12 • Adam Cordero Trio with Gabriel Seymour, Chris Garriga; The “IN” Trio: Tim Armacost, Eric Harland Village Vanguard 8:30, 10:30 pm $35 • Andy Farber Birdland Theater 8:30 pm $30 Harvie S, Christian Finger Bar Next Door 6:30, 8:30, 10:30 pm $12 • Craig Handy Quartet with , Barry Stephenson, Donald Edwards • Aron Namenwirth, Zach Swanson, Michael Larocca, Rodney Chapman; • Alex Frondelli/Haeun Joo Birdland 5:30 pm $30 Zinc Bar 7:30, 9 pm $30 Stephen Gauci/Adam Lane; Noa Fort, Vinnie Sperrazza, Michaël Attias, • Curtis Stigers with Birdland Big Band directed by David DeJesus Kenneth Jimenez; Allen Lowe, Brian Simontacchi, Lewis Porter, Matt Dwonszyk, Birdland 8:30, 11 pm $40 Saturday, May 18 Robert Landis; Michael Larocca, David Tamura, Matt Gannon; Eli Wallace, • Konrad Paszkudzki/Pasquale Grasso Andrew Smiley, Carlo Costa Bushwick Public House 7 pm $10 Birdland Theater 9:45 pm $30 êDick Griffin The 75 Club at Bogardus Mansion 8, 9:30 pm $25 • Berklee Masters on the Road with guest Melissa Aldana êEd Cherry Trio with Michi Fuji, George DeLancey êItai Kriss’ Telavana Bar Lunàtico 8:30, 10 pm $10 Dizzy’s Club 7:30, 9:30 pm $35 Bistro Jules 7:30 pm • Jostein Gulbrandsen Trio with Dave Ambrosio, Dayeon Seok • George Braith; Billy Kaye Jam Fat Cat 9 pm 12:30 am $10 • Light House All-Stars Cleopatra’s Needle 7 pm Bar Next Door 7:30, 9:30, 11:30 pm $12 êEd Palermo Big Band Iridium 8:30 pm $25 • Lou Caputo Not So Big Band Club Bonafide 8 pm $15 • Anders Nilsson’s The Why with Ava Mendoza, Jeremy Carlstedt • Peperoncino Festival—Tribute to Frank Sinatra: Gianluca Guidi Quartet êBill Charlap Trio with Peter Washington, Kenny Washington Barbès 6 pm $10 Italian Cultural Institute 6:30 pm Dizzy’s Club 7:30, 9:30 pm $40 êJay Leonhart Birdland 5:30 pm $30 • Kaufman Center Youth Orchestra The Jazz Gallery 7:30 pm $15 • Simon Moullier Dizzy’s Club 11:15 pm $10 • Curtis Stigers with Birdland Big Band directed by David DeJesus • Jazz Foundation of America Jam Session • Eric Alexander; Chelsea Baratz The Django at Roxy Hotel 7:30, 10 pm Birdland 8:30, 11 pm $40 Local 802 7 pm • Maria Pulgarin Quintet Gin Fizz Harlem 7, 8:30 pm $30 êMonty Alexander solo Birdland Theater 7, 9:45 pm $30 • Shai Maestro/Chris Potter Mezzrow 7:30 pm $20 êTia Fuller Harlem Stage Gatehouse 7:30 pm êBenefit for The East Cultural Center: Reggie Workman, Danny Mixon, , êPeter Brötzmann/Heather Leigh Duo and Trio with William Parker êJessica Pavone solo; James Brandon Lewis’ Unruly Notes; Wendy Eisenberg solo Taru Alexander, Ricardo Strobert Brooklyn Masonic Temple 2 pm $25 Pioneer Works 8 pm $20 Hart Bar 9 pm $10 êTessa Souter with Luis Perdomo, Gary Wang, Clarence Penn • Jonathan Barber Quartet with Godwin Louis, Taber Gable, Matt Dwonszyk; • Moshulu: Oz Noy, David Sancious, Jeff Berlin, Dennis Chambers The Cell 7:30 pm $20 Sean Mason Trio Smalls 10:30 pm 1 am $20 Iridium 8:30 pm $35-45 êBarre Phillips solo Zürcher Gallery 8 pm $20

38 MAY 2019 | THE NEW YORK CITY JAZZ RECORD Tuesday, May 21 • Bernard Linnette Group with Aimee Allen • Brazilian Connection Band: Nilson Matta, John Snauwaert, George Dulin, Gin Fizz Harlem 7:30 pm Marcello Pellitteri Jazz at Kitano 8, 10 pm $34 • Saul Cosme/Haeun Joo Quartet 5C Café 8 pm êLakecia Benjamin Ginny’s Supper Club 7:30, 9:30 pm $15 • Joe Martin The Jazz Gallery 7:30, 9:30 pm $25 • Andrew Cheng Trio with Marcelo Maccagnan, Juan Chiavassa; Justin Wert Trio with êJason Palmer Quintet with Mark Turner, Joel Ross, Edward Perez, Kendrick Scott êMelissa Aldana Quartet with Sam Harris, Pablo Menares, Kush Abadey Pablo Menares, Rodrigo Recabarren InterContinental New York Barclay’s Penthouse Suite 7 pm $30 Jazz Standard 7:30, 9:30 pm $30 Bar Next Door 6:30, 8:30, 10:30 pm $12 • Lluis Capdevila/Petros Klampanis Jazz at Kitano 8, 10 pm $18 êValerie Capers/John Robinson Knickerbocker Bar & Grill 9, 10:15 pm $3.50 êDr. Lonnie Smith with The Jazz Orchestra of the Concertgebouw êKassa Overall Time Capsule with Craig Taborn • Billy Drummond Mezzrow 7:30 pm $20 Birdland 8:30, 11 pm $40 The Jazz Gallery 7:30, 9:30 pm $25 êMichael Bisio, Kirk Knuffke, Fred Lonberg-Holm êBrandee Younger and Friends with guest Ravi Coltrane êMelissa Aldana Quartet with Sam Harris, Pablo Menares, Kush Abadey Michiko Studios 8 pm Blue Note 8, 10:30 pm $25 Jazz Standard 7:30, 9:30 pm $30 êJC Hopkins Biggish Band Minton’s 7:30, 9:30 pm $20 • Peperoncino Festival: New York Italian All-Stars with Benny Benack III êUri Caine, , Clarence Penn • Michael Sarian and The Chabones National Sawdust 10 pm $15 Casa Italiana Zerilli - Marimò 6 pm Mezzrow 7:30 pm $20 • Tito Matos Poe Park 4 pm • Bill Charlap Trio with Peter Washington, Kenny Washington êJames Brandon Lewis/Val Jeanty; Greg Ward’s Rogue Parade with Dave Miller, êJoseph Jarman Memorial Celebration Dizzy’s Club 7:30, 9:30 pm $40 Matt Gold, Matt Ulery, Quin Kirchner Roulette 2 pm • María Raquel Quartet; Los Hacheros Nublu 151 8:30 pm $10-15 êCentral Brooklyn Jazz Festival: Hamiet Bluiett Tribute with The Django at Roxy Hotel 7:30, 10 pm êWayne Horvitz/Sara Schoenbeck; Hank Roberts Sistas’ Place 9, 10:30 pm $20 • Saul Rubin Zebtet Fat Cat 7 pm $10 The Owl Music Parlor 7:30 pm $10 êMike Rodriguez Quintet with John Ellis, Adam Birnbaum, Reuben Rogers, • Kristina Koller Gin Fizz Harlem 7:30 pm • Marjorie Eliot Pelham Fritz Recreation Center 6:30 pm Jonathan Barber; Jack Walrath Quintet with Abraham Burton, George Burton, • Jim Whitney Dodecahedron with Nate Radley, Bennett Paster, Rob Garcia • Ways To Freedom: Kyra Gaunt, Bob Gluck, Christopher Dean Sullivan, Tani Tabbal Boris Kozlov, Donald Edwards Smalls 7:30, 10:30 pm $20 Halyard’s 8 pm $10 ShapeShifter Lab 7 pm $15 êMiles Davis Birthday Celebration: Nicholas Payton, Vincent Herring, Larry Willis, • Pureum Jin Quartet Jazz at Kitano 8 pm • Adam Larson Quartet with Henry Hey, Matt Clohesy, Jochen Rueckert; David Williams, Al Foster Smoke 7, 9, 10:30 pm $45 • Kevin Sun’s The Middle of Tensions with Dana Saul, Walter Stinson, Matt Honor George DeLancey Band with Rose Ellis, Alex Raderman, Mike Sailor, Josh Lawrence, • Willie Martinez Quartet The Sound Bite 7, 9 pm The Jazz Gallery 7:30, 9:30 pm $15 Robert Edwards, Joe McDonough, Caleb Curtis, Jon Beshay, Tony Lustig, êJoe Lovano Trio Tapestry with Marilyn Crispell, Carmen Castaldi • Gil Gutiérrez Trio with Robert Stern, David Rodriguez Tadataka Unno Smalls 7:30, 10:30 pm $20 Village Vanguard 8:30, 10:30 pm $35 Jazz Standard 7:30, 9:30 pm $30 êMiles Davis Birthday Celebration: Nicholas Payton, Vincent Herring, Larry Willis, • Emanuele Filippi Quartet Williamsburg Music Center 10 pm $10 êGiacomo Gates, John DiMartino, Ed Howard Ron Carter, Al Foster Smoke 7, 9, 10:30 pm $45 Mezzrow 7:30 pm $20 • Caroline Miller, David Aguila, Annie Lemieux, Alexandria Smith, Kalun Leung, Sunday, May 26 • Russ Kassoff Orchestra with Catherine Dupuis Dave Taylor, Felix Del Tredici The Stone at The New School 8:30 pm $20 New York City Baha’i Center 8, 9:30 pm $15 • Rhythmic Provocateurs: Daniel Carter, Damon Banks, Dave Miller and guests êCraig Taborn/Ches Smith and guest • Warren Benbow’s Harmolodic Adventure Band with Al MacDowell, Graham Haynes, Troost 8 pm 244 Rehearsal Studios 8 pm $20 Brandon Ross Nublu 151 8 pm $15-20 • Gary Pierce Trio with Jon B. Roche, Rie Yamaguchi-Borden • Remy Le Boeuf’s Light as a Word with Charles Altura, Glenn Zaleski, Rick Rosato, • Travis Laplante/Yarn/Wire: Laura Barger, Ning Yu, Ian Antonio, Russell Greenberg Uke Hut 8 pm $20 Peter Kronreif 55Bar 9:30 pm $10 Roulette 8 pm $25 êJoe Lovano Trio Tapestry with Marilyn Crispell, Carmen Castaldi • Lior Milliger Quartet with Santiago Leibson, Rodrigo Recabarren êSteve Nelson Quartet with Rick Germanson, Kiyoshi Kitagawa, Charles Goold; Village Vanguard 8:30, 10:30 pm $35 Areté Gallery 6 pm $15 Theo Hill Group; Malik McLaurine Trio • Greg Ruvolo Big Band Collective Birdland 6 pm $30 Smalls 7:30, 10:30 pm 1 am $20 Friday, May 24 • The Anderson Brothers: Peter and Will Anderson, Steve Ash, Neal Miner, Phil Stewart, • Kathryn Schulmeister, Wilfrido Terrazas, Alexandria Smith, Wendy Eisenberg Molly Ryan Birdland Theater 7:30 pm $30 The Stone at The New School 8:30 pm $20 • Jinjoo Yoo/Anna Kolchina 1986 Est. Wine Bar & Lounge 9 pm • Charlie Apicella and Iron City with Gene Ghee, Freddie Hendrix, Radam Schwartz, êJoe Lovano Trio Tapestry with Marilyn Crispell, Carmen Castaldi êHarry Allen Quartet The 75 Club at Bogardus Mansion 8, 9:30 pm $25 Alan Korzin Blue Note 11:30 am 1:30 pm $39.50 Village Vanguard 8:30, 10:30 pm $35 êThe Jazz Passengers’ Stuck On Subway Moon • Chris Dave and The Drumhedz with guest Abrons Arts Center 7 pm $11 Blue Note 8, 10:30 pm $35 Wednesday, May 22 • Alex Wintz Trio with Dave Baron, Jimmy Macbride êBill Charlap Trio with Peter Washington, Kenny Washington Bar Next Door 7:30, 9:30, 11:30 pm $12 Dizzy’s Club 7:30, 9:30 pm $40 êDan Tepfer with Jorge Roeder, Jochen Rueckert êDr. Lonnie Smith with The Jazz Orchestra of the Concertgebouw • Jon Irabagon/Alvaro Domene Downtown Music Gallery 6 pm Bar Bayeux 8 pm Birdland 8:30, 11 pm $40 • Terry Waldo’s Gotham City Band Fat Cat 6 pm $10 • Elijah Shiffer Trio with Ben Rolston, Claudio Rojas êPeperoncino Festival: John Patitucci Remembrance Trio with Chris Potter, Brian Blade • Brian and The Aardvarks The Jazz Gallery 7:30, 9:30 pm $15 Bar Next Door 6:30 pm Birdland Theater 7, 9:45 pm $40 êMelissa Aldana Quartet with Sam Harris, Pablo Menares, Kush Abadey êDr. Lonnie Smith with The Jazz Orchestra of the Concertgebouw • Chris Dave and The Drumhedz with guest Jazz Standard 7:30, 9:30 pm $30 Birdland 8:30, 11 pm $40 Blue Note 8, 10:30 pm $35 êThe Hot Sardines Joe’s Pub 9:30 pm $30 • Peperoncino Festival: John Patitucci Italian Trio with Danilo Rea, • Hearing Things: Matt Bauder, J.P. Schlegelmilch, Vinnie Sperrazza; Shilpa Ray • Henry Hey/David Cook Mezzrow 7:30 pm $20 Birdland Theater 7, 9:45 pm $40 C’mon Everybody 8 pm $13 • Lena Bloch, , Jeonglim Young, Billy Mintz êBrandee Younger and Friends with guest Nicholas Payton • Ken Simon Trio Cleopatra’s Needle 8 pm Mirror Tea House 7 pm $15 Blue Note 8, 10:30 pm $25 • Richard Bona’s Mandekan Cubano with Eli Menesez, Ludwig Afonso, Rey Alejandre, • Kelsey Jillette North Square Lounge 12:30, 2 pm êBill Charlap Trio with Peter Washington, Kenny Washington Dennis Hernandez, Osmany Paredes, Roberto Quintero • Peperoncino Festival: Elio Coppola NY Trio with Jerry Weldon Dizzy’s Club 7:30, 9:30 pm $40 Club Bonafide 8, 10 pm $30 Rizzoli Bookstore 5 pm $20 • Elio Copella Trio; Evan Sherman Big Band êBill Charlap Trio with Peter Washington, Kenny Washington • Sirintip/María Grand Rockwood Music Hall Stage 3 5 pm $15 The Django at Roxy Hotel 7:30, 10 pm Dizzy’s Club 7:30, 9:30 pm $45 • Teri Wade Trio with Takaaki Otomo, Mark Wade • Hevreh Ensemble: Jeff Adler, Naren Budkhar, Shane Shanahan, George Rush • Ken Fowser Quintet; Tony Hewitt and Friends Russian Samovar 3 pm Drom 7 pm $15 The Django at Roxy Hotel 7:30, 10:30 pm • Jaimeo Brown Transcendence Saint Peter’s Church 6 pm • La Banda Ramirez: Carolyn Steinberg Ramirez, Chacho Ramirez, Jack Glottman, • Lady Cantrese Gin Fizz Harlem 7, 8:30 pm $30 • Chris Byars Original Sextet with Zaid Nasser, John Mosca, Stefano Doglioni, Ari Roland, Randy Sosa, Michael O’Brien Drom 9 pm $15 êLakecia Benjamin Ginny’s Supper Club 7:30, 9:30 pm $15 Andy Watson; Nick Hempton Band; Hillel Salem and Alon • Raphael D’lugoff Trio +1; Ned Goold Jam êSam Newsome Quartet with Angelica Sanchez, Hilliard Greene, Reggie Nicholson Smalls 7:30, 10:30 pm 1 am $20 Fat Cat 7 pm 12:30 am $10 Greater Calvary Baptist Church 7 pm • Barbara King and Spirit of Jazz The Sound Bite 7, 9 pm • Dennis Hernadez Orchestra Gin Fizz Harlem 7, 8:30 pm $30 êZeena Parkins with Ryan Sawyer and guest êJoe Lovano Trio Tapestry with Marilyn Crispell, Carmen Castaldi • Felix Pastorius Hipster Assassins Iridium 8:30 pm $25 Happylucky no.1 8 pm $20 Village Vanguard 8:30, 10:30 pm $35 • Alexis Parsons Trio with Frank Kimbrough, Dean Johnson êJason Palmer Quintet with Mark Turner, Joel Ross, Edward Perez, Kendrick Scott • Marlon Martinez; Baba Shanto and Friends Jazz at Kitano 8, 10 pm $18 InterContinental New York Barclay’s Penthouse Suite 7 pm $30 Williamsburg Music Center 9, 10:30 pm $10 • Gil Gutiérrez Trio with Robert Stern, David Rodriguez • Joaquin Pozo J. Hood Wright Park 6 pm Jazz Standard 7:30, 9:30 pm $30 • Brazilian Connection Band: Nilson Matta, John Snauwaert, Helio Alves, Monday, May 27 • Dan Cray, Joe Martin, Mark Ferber Mezzrow 7:30 pm $20 Marcello Pellitteri Jazz at Kitano 8, 10 pm $34 • Gene Lake and NuCleus with Federico Gonzalez Pena, , Fima Ephron êMiles Okazaki’s Trickster with Matt Mitchell, Anthony Tidd, Sean Rickman • Anders Nilsson with Dave Ambrosio, Satoshi Takeishi Nublu 151 8 pm $10-15 The Jazz Gallery 7:30, 9:30 pm $25 Bar Lunàtico 8:30, 10 pm $10 êStephen Haynes Song Cycle with Dana Jessen, Wendy Eisenberg, Hank Roberts êMelissa Aldana Quartet with Sam Harris, Pablo Menares, Kush Abadey • Andrew Kushnir Trio with Panayiotis Athanatos, Elam Friedlander; Public Records 8, 9:30 pm Jazz Standard 7:30, 9:30 pm $30 Melissa Stylianou Trio with Gene Bertoncini, Ike Sturm • Camila Meza’s ámbar Rockwood Music Hall Stage 2 7 pm $15 • Ashley Keiko Band Keiko Studios Music Academy 7 pm $10 Bar Next Door 6:30, 8:30, 10:30 pm $12 êJoel Ross Quartet with Sergio Tabanico, Kanoa Mendenhall, Jeremy Dutton; êValerie Capers/John Robinson Knickerbocker Bar & Grill 9, 10:15 pm $3.50 • Arianna Neikrug and Laurence Hobgood Trio with Matt Clohesy, Jared Schonig Parables: Joel Ross, Immanuel Wilkins, María Grand, Adam O’Farrill, Kalia Vandever, • Billy Drummond Mezzrow 7:30 pm $20 Birdland 7 pm $30 Micah Thomas, Rick Rosato, Craig Weinrib • Peter Brainin Room 623 at B2 Harlem 10 pm $20 • Marcus Strickland’s Twi-Life Blue Note 8, 10:30 pm $25 Roulette 8 pm $25 • Lucas Kando and Friends; Charley Gerard Obamalogue with Jenny Hill, Justin Flynn, • Tribute: Lisa Maxwell Jazz Orchestra • Cecilia Coleman Big Band Saint Peter’s Church 1 pm $10 Dimitri Moderbacher, Todd Isler, Wade Ridenhour, Gino Sitson; The Cutting Room 7:30 pm $25-30 • The Collective: Lara Downes, Ted Levine, Kelley Hart-Jenkins, Steve Moran, Broken Reed Saxophone Quartet ShapeShifter Lab 7, 8:15, 9:30 pm $10 êMatthew Whitaker Quartet with Marcos Robinson, Karim Hutton, Isaiah Johnson Danny Meyer, Brad Hubbard, Gareth Flowers, Wayne du Maine, , êMike Rodriguez Quintet with John Ellis, Adam Birnbaum, Reuben Rogers, Dizzy’s Club 7:30, 9:30 pm $35 Chris Washburne, Jim Messbauer, Ben Herrington, Steve Gehring, Dave Fabris, Jonathan Barber; Jack Walrath Quintet with Abraham Burton, George Burton, • Michael Kanan, Greg Ruggierio, Neal Miner Dave Phillips, Geoff Burleson, John Ferrari, Theo Moore, David Sanford; Jon Snell Trio Boris Kozlov, Donald Edwards Smalls 7:30, 10:30 pm $20 Mezzrow 7:30 pm $20 with David Ambrosio, Jeff Hirshfield ShapeShifter Lab 7, 9:30 pm $10-12 êMiles Davis Birthday Celebration: Nicholas Payton, Vincent Herring, Larry Willis, • Gene Lake and NuCleus with Federico Gonzalez Pena, David Gilmore, Fima Ephron • Jimmy Macbride Quartet with Ron Blake, Kevin Hays, Desmond White; David Williams, Al Foster Smoke 7, 9, 10:30 pm $45 Nublu 151 8 pm $10-15 Will Bernard Quartet with John Ellis, Matt Pavolka, Mark Ferber • Matt Leece, Billy Martin, Evan Strauss, Alexandria Smith, Caroline Miller • Guillermo Klein Sextet with Chris Cheek, Leo Genovese, Tirman Deus, Matt Pavolka, Smalls 7:30, 10:30 pm $20 The Stone at The New School 8:30 pm $20 Rodrigo Recabarren; Joe Farnsworth Trio; Jon Elbaz Trio êAruán Ortiz Trio with , Gerald Cleaver • Carlos Dias Symphony Space Bar Thalia 9 pm Smalls 7:30, 10:30 pm 1 am $20 Soup & Sound 8 pm $20 êJoe Lovano Trio Tapestry with Marilyn Crispell, Carmen Castaldi • Kathryn Schulmeister, Nina Rosalind Dante, Madison Greenstone, Felix Del Tredici, Village Vanguard 8:30, 10:30 pm $35 Tuesday, May 28 Alexandria Smith The Stone at The New School 8:30 pm $20 • David Zheng Sextet with Niklas Lukassen, Phil McNeal, Joy Elysse, Peter Enriquez, êJoe Lovano Trio Tapestry with Marilyn Crispell, Carmen Castaldi Alfredo Colon Williamsburg Music Center 8:30 pm $10 êGuillermo Klein Quintet with Leo Genovese, Martin Sued, Matt Pavolka, Village Vanguard 8:30, 10:30 pm $35 • Eric Alexander Quartet with Mike LeDonne, John Webber, Joe Farnsworth Rodrigo Recabarren Bar Lunàtico 8:30, 10 pm $10 Zinc Bar 7:30, 9 pm $30 • Yuma Uesaka Trio with Perrin Grace, Evan Hyde; Mike Bono Trio with Jared Henderson, Thursday, May 23 Lee Fish Bar Next Door 6:30, 8:30, 10:30 pm $12 Saturday, May 25 êThe Jazz Masters Play Ornette Coleman: Tom Harrell, Donny McCaslin, , • Wen-ting Wu Duo 1986 Est. Wine Bar & Lounge 8 pm Steve Smith Birdland 8:30, 11 pm $40 êSimon Nabatov, John Hébert, Gerald Cleaver • Ray Gallon Group with Steve Williams êVocal Mania: Janis Siegel and Lauren Kinhan with John DiMartino, Luques Curtis, 244 Rehearsal Studios 8 pm $20 The 75 Club at Bogardus Mansion 8, 9:30 pm $25 Vince Cherico and guest Charles Turner êThe Jazz Passengers’ Stuck On Subway Moon • Tyler Blanton/Helio Alves Group Bar Lunàtico 8:30, 10 pm $10 Birdland Theater 7, 9:45 pm $30 Abrons Arts Center 7 pm $11 • Joe Giglio Trio with Thomson Kneeland, Eric Peters êRoberta Gambarini Quartet Blue Note 8, 10:30 pm $35 • Jeremy Carlstedt, Rodney Chapman, Stephen Gauci, Eric Plaks, Zack Swanson, Bar Next Door 7:30, 9:30, 11:30 pm $12 • Alexa Tarantino Quartet with Christian Sands, Joe Martin, Ulysses Owens, Jr.; John Loggia, Aron Namenwirth, Bonnie Kane, Adam Lane • Anders Nilsson’s Outer Space Caravan with Stephanie Griffin, Michaël Attias, Jeffery Miller Dizzy’s Club 7:30, 9:30 pm $35 Aron’s Place 8 pm Ken Filiano Barbès 6 pm $10 • Pedro Giraudo Tango Quartet The Django at Roxy Hotel 7:30 pm • Grant Green Tribute: Scott Sharrard êDr. Lonnie Smith with The Jazz Orchestra of the Concertgebouw • Saul Rubin Zebtet; Itai Kriss and Gato Gordo; John Benitez Latin Bop Bar Lunàtico 8:30, 10 pm $10 Birdland 8:30, 11 pm $40 Fat Cat 7, 9 pm 12:30 am $10 • Niklas Lukassen Trio with Patrick Bailey, JK Kim; Nick Biello Trio with Alex Tremblay, êPeperoncino Festival: John Patitucci Remembrance Trio with Chris Potter, Brian Blade • Vinnie Sperazza with Angelica Sanchez, Matt Pavolka Jason Tiemann Bar Next Door 6:30, 8:30, 10:30 pm $12 Birdland Theater 7, 9:45 pm $40 Halyard’s 8 pm $10 • Alex Smith Trio with Jesse Lewis, Tony Jefferson • Chris Dave and The Drumhedz with guest • Ken Kengchakaj Quartet Jazz at Kitano 8 pm Birdland 5:30 pm $30 Blue Note 8, 10:30 pm $35 êHarlem Speaks: Jazz Museum in Harlem 7 pm êDr. Lonnie Smith with The Jazz Orchestra of the Concertgebouw • Fuku and Shihiro Band Cleopatra’s Needle 8 pm êFred Hersch/Kenny Barron Jazz Standard 7:30, 9:30 pm $35 Birdland 8:30, 11 pm $40 • Jiyoun Lee Club Bonafide 6 pm $20 • Deanna Kirk, Yaniv Taubenhouse, Matt Clohesy êPeperoncino Festival: John Patitucci Italian Trio with Danilo Rea, Roberto Gatto êGil Evans Orchestra: Kenwood Dennard, Mino Cinelu, , Pete Levin, Mezzrow 7:30 pm $20 Birdland Theater 7, 9:45 pm $40 Miles Evans, Shunzo Ohno, Mike Mossman, Conrad Herwig, David Taylor, • María Grand Ghost Ensemble with Amani Fela, Kanoa Mendenhall, Savannah Harris • Chris Dave and The Drumhedz with guest Charles Blenzig, Rob Schep, Alex Foster, Alden Banta, Gabby Abularach Roulette 8 pm $25 Blue Note 8, 10:30 pm $35 The Cutting Room 7 pm $20-25 êFrank Lacy’s Tromboniverse; Malik McLaurine Trio • Welf Dorr/Hilliard Green Brooklyn Cider House 7 pm êBill Charlap Trio with Peter Washington, Kenny Washington Smalls 10:30 pm 1 am $20 êKevin Drumm; Hoffman Estates: Loren Connors, Alan Licht, Ken Vandermark, Dizzy’s Club 7:30, 9:30 pm $45 êWalter Thompson Orchestra Soundpainting with Michaël Attias, Rob Henke, , Chad Taylor Brooklyn Music School 8 pm $20 • Richie Vitalie Quintet; Bruce Harris The Django at Roxy Hotel 7:30, 10:30 pm Jennifer Rahfeldt, Chris Washburne, Sam Harmet, Steve Rust, Andrea Pryor, • Jon Weiss Duo Cleopatra’s Needle 7 pm êJohnny O’Neal Ginny’s Supper Club 7:30, 9:30 pm $15 Gil Selinger, Hollis Headrick Soup & Sound 8 pm $20 êBill Charlap Trio with Peter Washington, Kenny Washington êZeena Parkins with Ryan Sawyer and guest êUri Caine Quartet with Drew Gress, , Jon Irabagon Dizzy’s Club 7:30, 9:30 pm $40 Happylucky no.1 8 pm $20 The Stone at The New School 8:30 pm $20 • Claffy Trio with Steve Wilson; Ian Hendrickson-Smith êBarre Phillips, Emilie Lesbros, Mat Maneri; Hank Roberts Sextet • Mark Guiliana Quartet with Jason Rigby, Shai Maestro, Chris Morrissey The Django at Roxy Hotel 7:30, 10 pm Ibeam Brooklyn 8 pm $15 Village Vanguard 8:30, 10:30 pm $35

THE NEW YORK CITY JAZZ RECORD | MAY 2019 39 Wednesday, May 29 êUrs Leimgruber/Hans Tammen Ibeam Brooklyn 8:30 pm $15 êBob DeVos Quartet with Andy LaVerne, Steve LaSpina, • Paul Jost with Jim Ridl, Dean Johnson, Tim Horner Jazz at Kitano 8, 10 pm $34 REGULAR ENGAGEMENTS 55Bar 7 pm êFred Hersch, Drew Gress, Billy Hart • Jerome Sabbagh with Mark Turner, Joe Martin, Johnathan Blake Jazz Standard 7:30, 9:30 pm $35 MONDAY Bar Bayeux 8 pm êJoanne Brackeen Mezzrow 7:30 pm $20 • Juan Munguia Trio with Trevor Brown, Josh Bailey • Annie Chen Quintet with Alex LoRe, Marius Duboule, Mat Muntz, Deric Dickens • Richard Clements/Murray Wall Band Nublu 9 pm 11th Street Bar 8 pm Bar Next Door 6:30 pm • Grove Street Stompers Arthur’s Tavern 7 pm êThe Jazz Masters Play Ornette Coleman: Tom Harrell, Donny McCaslin, Ben Allison, • Pat Firth Organ Trio Room 623 at B2 Harlem 10 pm $20 ê • Earl Rose Bemelmans Bar 5:30, 9 pm Steve Smith Birdland 8:30, 11 pm $40 Pete Malinverni’s Invisible Cities Band with Bruce Harris, Rich Perry, Ugonna Okegwo; • Woody Allen and The Eddy Davis New Orleans Jazz Band êAlan Broadbent Trio Birdland Theater 7, 9:45 pm $30 Winard Harper and Jeli Posse Smalls 7:30, 10:30 pm $20 Café Carlyle 8:45 pm$120-215 êRoberta Gambarini Quartet Blue Note 8, 10:30 pm $35 • Nicholas Payton Trio with Peter Washington, Kenny Washington • Svetlana & The Delancey 5 Freddy’s Backroom 8:30 pm • Aimee Allen Bunna Café 8 pm Smoke 7, 9, 10:30 pm $38 • Vince Giordano and The Nighthawks êJazz Power Initiative Benefit Celebrating Kenny Barron with Camille Thurman, • Peter Brainin and Talking Drum The Sound Bite 7, 9 pm Iguana 8 pm êUri Caine, , Agustin Uriburu, Julien Labro, Pablo Aslan • Iris Ornig Jam Session Jazz at Kitano 8 pm Endea Owens, Eli Yamin, Zah! Jazz Power Youth • Mingus Big Band Jazz Standard 7:30, 9:30 pm $25 The DiMenna Center 7 pm $150 The Stone at The New School 8:30 pm $20 Mark Guiliana Quartet with Jason Rigby, Shai Maestro, Chris Morrissey • Joe Cohn Trio Le Rivage 6:30 pm • Nicole Henry’s Where Love Is with Shedrick Mitchell, David Rosenthal, Richie Goods, • • Pasquale Grasso Mezzrow 11 pm $20 Kendrick Scott Dizzy’s Club 7:30, 9:30 pm $35 Village Vanguard 8:30, 10:30 pm $35 • Stan Killian and Friends Queens Brewery 8 pm • Dan Nicholas Trio; Evan Sherman Big Band êLew Tabackin Quartet with Bruce Barth, Yasushi Nakamura, Mark Taylor • Gil Defay Red Rooster 8 pm The Django at Roxy Hotel 7:30, 10 pm Zinc Bar 7:30, 9 pm $30 • Misha Tsiganov Russian Vodka Room 7 pm • Raphael D’lugoff Trio +1; Ned Goold Jam • Vincent Herring Quartet and Smoke Jam Session Smoke 7, 9, 10:30 pm Fat Cat 7 pm 12:30 am $10 • Swingadelic Swing 46 8:30 pm • Kyoko Oyobe Trio with Michael O’Brien, Andrew Atkinson • John Benitez Jam Terraza 7 9:30 pm $7 Jazz at Kitano 8, 10 pm $18 • Vanguard Jazz Orchestra Village Vanguard 8:30, 10:30 pm $30 • Ben Monder Trio with Tony Malaby, Nasheet Waits The Jazz Gallery 7:30, 9:30 pm $15 TUESDAY êFred Hersch/Julian Lage Jazz Standard 7:30, 9:30 pm $35 • Randy Ingram, Drew Gress, Jochen Rueckert • Gabriele Donati Trio The 75 Club at Bogardus Mansion 7 pm Mezzrow 7:30 pm $20 • Yuichi Hirakawa Trio Arthur’s Tavern 7 pm • Art Hirahara Trio Arturo’s 8 pm êThe Stone Commissions: Ingrid Laubrock, Marc Hannaford, Sam Pluta, Josh Modney • David Budway Trio Bemelmans Bar 9:30 pm National Sawdust 7 pm $25 • Marc Devine Trio Cleopatra’s Needle 8 pm êBrandon Ross Phantom Station Public Records 8, 9:30 pm • Diego Voglino Jam Session Halyard’s 10 pm • Bill Mays/Martin Wind Saint Peter’s Church 1 pm $10 • Vince Giordano and The Nighthawks • Jim Funnell Trio with Steve Whipple, Peter Traunmueller; AfuriKo: Akiko Horii, Iguana 8 pm Jim Funnell and guests ShapeShifter Lab 7, 8:15 pm $15 • Joe Graziosi Legacy Jam Minton’s 6 pm • Mike Moreno Quartet with Burniss Travis, Jonathan Barber; Jovan Alexandre Quartet • Mona’s Hot Four Mona’s 11 pm • Misha Tsiganov Russian Vodka Room 7 pm with Davis Whitfield, Otto Gardner, Franklin Kiermyer • Mike LeDonne Quartet Smoke 7, 9, 10:30 pm Smalls 7:30, 10:30 pm $20 • Hayes Greenfield Soapbox 7:30 pm êUri Caine Trio with Mark Helias, Clarence Penn • George Gee Orchestra Swing 46 8:30 pm The Stone at The New School 8:30 pm $20 • Mark Guiliana Quartet with Jason Rigby, Shai Maestro, Chris Morrissey WEDNESDAY Village Vanguard 8:30, 10:30 pm $35 êJacob Sacks and Friends with Yoon Sun Choi, Miranda Sielaff, Kristi Helberg, • Tardo Hammer Jam Session The 75 Club at Bogardus Mansion 7 pm Mike McGinnis Weill Recital Hall at Carnegie Hall 8 pm $35 • Bill Wurtzel/Jay Leonhart American Folk Art Museum 2 pm • Jason Marshall Trio American Legion Post 398 7 pm • Eve Silber Arthur’s Tavern 7 pm Thursday, May 30 • Jonathan Kreisberg Trio Bar Next Door 8:30, 10:30 pm $12 • David Budway Trio Bemelmans Bar 9:30 pm • Jinjoo Yoo/Robin Grasso 1986 Est. Wine Bar & Lounge 8 pm • David Ostwald’s Louis Armstrong Centennial Band • Fay Victor 55Bar 7 pm Birdland 5:30 pm $20 • Richard Gallo solo Areté Gallery 9 pm $15 • Joel Forrester solo Bistro Jules 5:30 pm • Nick Marziani Trio with Cole Davis, Varun Das; Jeff Miles Trio with Or Bareket, • Les Kurtz Trio Cleopatra’s Needle 7 pm • Pasquale Grasso; Django Jam Session Jochen Rueckert Bar Next Door 6:30, 8:30, 10:30 pm $12 The Django 8:30, 11 pm êThe Jazz Masters Play Ornette Coleman: Tom Harrell, Donny McCaslin, Ben Allison, • WaHi Jazz Jam Le Chéile 8 pm Steve Smith Birdland 8:30, 11 pm $40 • Noah Garabedian Jam The Nest 9 pm êAlan Broadbent Trio Birdland Theater 7, 9:45 pm $30 • Les Goodson Band Paris Blues 9 pm êKenny Garrett Blue Note 8, 10:30 pm $35 • Lezlie Harrison Smoke 7, 9, 10:30 • Kristina Koller City Winery 9 pm • Stan Rubin Orchestra Swing 46 8:30 pm • Equilibrium Cleopatra’s Needle 7 pm • Nicole Henry’s Where Love Is with Shedrick Mitchell, David Rosenthal, Richie Goods, THURSDAY Kendrick Scott Dizzy’s Club 7:30, 9:30 pm $35 • Andy Bey solo The 75 Club at Bogardus Mansion 8, 9:30 pm $25 êHarold Mabern Trio; Luke Carlos O’Reilly Quintet • Ray Blue Organ Quartet American Legion Post 398 7 pm The Django at Roxy Hotel 7:30, 10 pm • Eri Yamamoto Trio Arthur’s Tavern 7 pm • Yuka Mito Quartet with Allen Farnham, Dean Johnson, Tim Horner • David Budway Trio Bemelmans Bar 9:30 pm Jazz at Kitano 8, 10 pm $18 • John McNeil/Mike Fahie The Douglass 9 pm • Shawn Lovato The Jazz Gallery 7:30, 9:30 pm $15 • Joel Forrester George’s 6:30 pm • Fred Hersch/Kurt Elling Jazz Standard 7:30, 9:30 pm $35 • Steve Wirts/Joe Cohn Quartet Han Dynasty 6 pm ê • Kyle Colina and Friends Le Rivage 7 pm Frank Kimbrough, Jay Anderson, Jeff Hirshfield • Spike Wilner/Pascal Grasso Mezzrow 11 pm $20 Mezzrow 7:30 pm $20 • Les Goodson Band Paris Blues 9 pm • Arthur Green Pelham Fritz Recreation Center 6:30 pm • Gene Bertoncini Ryan’s Daughter 8:30, 10:30 pm • Moses Patrou Band Radegast Hall 9 pm • Rob Duguay Low Key Trio Turnmill NYC 11 pm • Mike Moreno Quartet with Burniss Travis, Jonathan Barber; John Hébert Quintet with • Ms. Marie Special Showcase Uke Hut 8 pm Jay Rodriguez, Joel Ross, Lawrence Fields, Damion Reid; Malick Koly Smalls 7:30, 10:30 pm 1 am $20 FRIDAY

• Nicholas Payton Trio with Peter Washington, Kenny Washington • Jostein Gulbrandsen Aretsky’s Patroon 6 pm Smoke 7, 9, 10:30 pm $38 • Eri Yamamoto Trio Arthur’s Tavern 7 pm êJohn Zorn’s Book of Angels: solo • Joel Forrester Baker’s Pizza 7 pm The Stone at The New School 8:30 pm $20 • The Crooked Trio Barbès 5 pm êBurnt Sugar Arkestra Town Hall 8 pm $35 • David Budway Trio Bemelmans Bar 9:30 pm • Agustin Grasso Trio with Jon B. Roche, Ryo Sasaki • Birdland Big Band Birdland 5:15 pm $25 Uke Hut 8 pm $20 • Gerry Eastman Quartet Williamsburg Music Center 10 pm • Mark Guiliana Quartet with Jason Rigby, Shai Maestro, Chris Morrissey Village Vanguard 8:30, 10:30 pm $35 SATURDAY • Steve Bilodeau Williamsburg Music Center 9 pm $10 • Eri Yamamoto Trio Arthur’s Tavern 7 pm êJosh Evans Quartet with David Bryant, Alex Claffy, Kush Abadey • Bill Saxton Bill’s Place 8, 10 pm $20 Zinc Bar 7:30, 9 pm $30 • Joel Forrester solo Bistro Jules 6 pm • Stan Rubin Orchestra Carnegie Club 8:30, 10:30 pm Friday, May 31 • Bassey & The Heathens The Heath 12:30 am • Yvonnick Prené Henry’s 12:30 pm • Assaf Kehati Duo Il Gattopardo 11:30 am • Kihong Jang Duo 1986 Est. Wine Bar & Lounge 9 pm • Marc Cary’s Harlem Session Smoke 11:30 pm 12:45 am • Kendra Shank 55Bar 6 pm • Zaid Nasser Quartet The 75 Club at Bogardus Mansion 8, 9:30 pm $25 SUNDAY êDanny Barker—A New Orleans Life in Jazz: Dr. Michael White, Catherine Russell, , Gregg Stafford, Shannon Powell, Herlin Riley, Leroy Jones, • Creole Cooking Jazz Band; Stew Cutler and Friends Don Vappie, Philip Norris The Appel Room 7, 9:30 pm $60-80 Arthur’s Tavern 7, 10 pm • Ginetta’s Vendetta Asser Levy Recreation Center 5:30 pm • Matt La Von Jam Session Bā’sik 7 pm êSheryl Bailey Trio with Ron Oswanski, Joe Strasser • Peter Mazza Trio Bar Next Door 8, 10 pm $12 • Stephane Wrembel Barbès 9 pm $10 Bar Next Door 7:30, 9:30, 11:30 pm $12 • Arturo O’Farrill Afro Latin Jazz Orchestra êThe Jazz Masters Play Ornette Coleman: Tom Harrell, Donny McCaslin, Ben Allison, Birdland 9, 11 pm $30 Steve Smith Birdland 8:30, 11 pm $40 • Joel Forrester solo Bistro Jules 4 pm êAlan Broadbent Trio Birdland Theater 7, 9:45 pm $30 • Renaud Penant Trio Bistro Jules 7:30 pm êKenny Garrett Blue Note 8, 10:30 pm $35 • Steve LaSpina Trio Café Loup 12:30 pm • Alan Chaubert Trio Cleopatra’s Needle 8 pm • Marc Devine/Hide Tanaka Café Loup 6:30 pm • Aaron Rimbui Quatre Club Bonafide 8 pm $20 • Enrico Granafei solo Capri Ristorante 1 pm • Keith Ingham Cleopatra’s Needle 4 pm • Georgia Horns: Chris Crenshaw, Marcus Printup, Stantawn Kendrick, Kenny Banks, Jr., • Trampelman Dominie’s Astoria 9 pm Kevin Smith, Brandon McCrae Dizzy’s Club 7:30, 9:30 pm $45 • The EarRegulars The Ear Inn 8 pm • Ken Fowser Quintet; Mike Sailors Big Band • Joel Forrester solo Grace Gospel Church 11 am The Django at Roxy Hotel 7:30, 10 pm • Grassroots Jazz Effort Grassroots Tavern 9 pm êDavid Weiss Point of Departure Fat Cat 10:30 pm $10 • Tony Middleton Trio Jazz at Kitano 12 pm $40 • Seydurah Avecmoi Gin Fizz Harlem 7, 8:30 pm $30 • Christopher McBride Minton’s 7:30 pm $10 êDezron Douglas Black Lion Quartet • Marjorie Eliot Parlor Entertainment 4 pm Ginny’s Supper Club 7:30, 9:30 pm $15 • Lu Reid Jam Session Shrine 4 pm • Cynthia Scott Smoke 5 pm • Tredici Bacci Happylucky no.1 8 pm $20 • John Benitez Jazz Jam Terraza 7 9:30 pm $7 • Kendrick Scott Oracle and The Attacca Quartet • Sean Smith and guest Walker’s 8 pm Harlem Stage Gatehouse 7:30 pm

40 MAY 2019 | THE NEW YORK CITY JAZZ RECORD CLUB DIRECTORY

• 5C Café 68 Avenue C • El Museo Del Barrio 1230 Fifth Avenue at 104th Street • The Owl Music Parlor 497 Rogers Avenue, Brooklyn (212-477-5993) Subway: F, V to Second Avenue www.5cculturalcenter.org (212-831-7272) Subway: 6 to 103rd Street www.elmuseo.org (718-774-0042) Subway: 2, to to Sterling Street www.theowl.nyc • 11th Street Bar 510 E. 11th Street • Elebash Recital Hall at CUNY Graduate Center 365 Fifth Avenue • Pangea 178 Second Avenue (212-982-3929) Subway: L to 1st Avenue www.11thstbar.com (212-817-7000) Subway: 6 to 33rd Street www.gc.cuny.edu (212-995-0900) Subway: L to First Avenue www.pangeanyc.com • 54 Below 254 W. 54th Street • Fat Cat 75 Christopher Street at 7th Avenue (212-675-6056) • Parlor Entertainment 555 Edgecombe Ave. #3F (646-476-3551) Subway: N, Q, R to 57th Street; B, D, E to Seventh Avenue Subway: 1 to Christopher Street/Sheridan Square www.fatcatmusic.org (212-781-6595) Subway: C to 155th Street www.54below.com • Flushing Town Hall 137-35 Northern Boulevard, Flushing • Pelham Fritz Recreation Center 18 Mt Morris Park West • 55Bar 55 Christopher Street (212-929-9883) (718-463-7700) Subway: 7 to www.flushingtownhall.org (212-860-1380) Subway: 2, 3 to 125th Street Subway: 1 to Christopher Street www.55bar.com • Freddy’s Backroom 627 5th Avenue, Brooklyn • The Penrose 1590 2nd Avenue • The 75 Club at Bogardus Mansion 75 Murray Street (718-768-0131) Subway: R to Prospect Avenue www.freddysbar.com (212-203-2751) Subway: 4, 5, 6 to 86th Street www.penrosebar.com (212-268-1746) Subway: 1, 2, 3 to Chambers Street www.the75clubnyc.com • Funkadelic Studios 209 W. 40th Street • Pianos 158 Ludlow Street • 244 Rehearsal Studios 244 W. 54th Street (212-696-2513) Subway: 1, 2, 3, 7, A, C, E, N, Q, R to 42nd Street-Times Square (212-505-3733) Subway: F, V to Second Avenue www.pianosnyc.com (212-586-9056) Subway: C, E to 54th Street www.funkadelicstudios.com • Picnic House in Prospect Park 40 West Drive www.244rehearsalstudiosny.com • Gin Fizz Harlem 308 Boulevard (646-393-9031) Subway: F, G to Seventh Avenue www.prospectpark.org • 440Gallery 440 Sixth Avenue, Brooklyn (212-289-2220) Subway: 2, 3 to 125th Street www.ginfizzharlem.com • Pier 84 W. 44th Street and Hudson River (718-499-3844) Subway: F, G to Seventh Avenue www.440gallery.com • Ginny’s Supper Club at Red Rooster Harlem 310 Malcolm X Boulevard Subway: A, C, E, F, V to 42nd Street-Port Authority • 1986 Est. Wine Bar & Lounge 43 W. 32nd Street (212-792-9001) Subway: 2, 3 to 125th Street www.redroosterharlem.com • Pioneer Works 159 Pioneer Street (212-563-1500) Subway: B, D, F, Q, R to 34th Street-Herald Square • Grace Gospel Church 589 East 164th Street (718-596-3001) Bus: B61 www.pioneerworks.org www.hotelstanford.com (718-328-0166) Subway: 2, 5 to Prospect Avenue • Poe Park 2640 Grand Concourse • Abrons Arts Center 466 Grand Street • Grassroots Tavern 20 Saint Marks Place (718-365-5516) Subway: B, D to Kingsbridge Road www.nycgovparks.org (212-598-0400) Subway: F to Grand Street www.abronsartscenter.org (212-475 9443) Subway: 6 to Astor Place, N,R to 8th Street • Public Records 233 Butler Street • American Folk Art Museum 65th Street at Columbis Avenue • Greater Calvary Baptist Church 55 W. 124th Street Subway: 2, 3, 4, 5, B, D, N, Q, R to Atlantic Avenue www.publicrecords.nyc (212-595-9533) Subway: 1 to 66th Street www.folkartmuseum.org (404-227-3748) Subway: 2, 3 to 125th Street • Queens Brewery 1539 Covert Street, Ridgewood • American Legion Post 398 248 W. 132nd Street • Greenwich House Music School 46 Barrow Street Subway: L to Halsey Street www.queensbrewery.com (212-283-9701) Subway: 2, 3 to 135th Street www.legion.org (212-242-4770) Subway: 1 to Christopher Street www.greenwichhouse.org • Radegast Hall 113 N. 3rd Street • An Beal Bocht Café 445 W. 238th Street • Groove Bar & Grill 125 MacDougal Street (718-963-3973) Subway: L to Bedford Avenue www.radegasthall.com Subway: 1 to 238th Street www.LindasJazzNights.com (212-254-9393) Subway: A, B, C, D, E, F, V to W. 4th Street • Rizzoli Bookstore 1133 Broadway • The Appel Room Broadway at 60th Street, 5th floor www.clubgroovenyc.com (212-759-2424) Subway: R, W to 28th Street www.rizzolibookstore.com (212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle • Halyard’s 406 3rd Avenue, Brooklyn • Rockwood Music Hall 196 Allen Street (212-477-4155) www.jazz.org (718-532-8787) Subway: R to 9th Street www.barhalyards.com Subway: F, V to Second Avenue www.rockwoodmusichall.com • Areté Gallery 67 West Street, Brooklyn • Han Dynasty 215 W. 85th Street • Room 623 at B2 Harlem 271 W. 119th Street (929-397-0025) Subway: G to Greenpoint Avenue www.aretevenue.com (212-858-9060) Subway: 1 to 86th Street www.handynasty.net (212-280-2248) Subway: B, C to 116th Street www.b2harlem.com • Aretsky’s Patroon 160 E. 46th Street • Hansborough Recreation Center 35. W. 134th Street • Rose Theater Broadway at 60th Street, 5th floor (212-883-7373) Subway: 4, 5, 6, 7, S to Grand Central-42nd Street (212-234-9603) Subway: 2, 3 to 135th Street www.nycgovparks.org (212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.aretskyspatroon.com • Happylucky no.1 734 Nostrand Avenue www.jazz.org • Aron’s Place 166 N. 12th Street Subway: L to Bedford Avenue (347-295-0961) Subway: 2, 3, 4, 5 to Franklin Avenue • The Roxy Lounge at Roxy Hotel 2 Sixth Avenue • Arthur’s Tavern 57 Grove Street (212-675-6879) www.happyluckyno1.com (212-519-6600) Subway: A, C, E to Canal Street; 1 to Franklin Street Subway: 1 to Christopher Street www.arthurstavernnyc.com • Hari NYC 140 W. 30th Street, 3rd floor Subway: 1 to 28th Street www.roxyhotelnyc.com • Arturo’s 106 W. Houston Street (at Thompson Street) • Harlem Stage Gatehouse 150 Convent Avenue at W. 135th Street • Roulette 509 Atlantic Avenue (212-677-3820) Subway: A, B, C, D, E, F, M to W. 4th Street (212-650-7100) Subway: 1 to 137th Street www.harlemstage.org (212-219-8242) Subway: 2, 3, 4, 5 to Atlantic Avenue www.roulette.org • Asser Levy Recreation Center 392 Asser Levy Place • Hart Bar 538 Hart Street • Roy Wilkins Recreation Center 17701 Baisley Blvd, Jamaica (212-447-2023) Subway: 6 to 23rd Street www.nycgovparks.org (929-433-7368) Subway: J, M, Z to Myrtle Avenue www.hartbarnyc.com (718-276-8686) Bus: Q85 Bus to Merrick Boulevard/Baisley Boulevard • Baker’s Pizza 201 Avenue A • Henry’s 2745 Broadway (212-866-0600) Subway: 1 to 103rd Street www.nycgovparks.org (212-777-7477) Subway: L to First Avenue www.bakerspizzanyc.com • Hostos Center 450 Grand Concourse • Rubin Museum 150 W. 17th Street • Bar Bayeux 1066 Nostrand Avenue (718-518-6700) Subway: 2, 4, 5 to 149th Street www.hostos.cuny.edu (212-620-5000) Subway: A, C, E to 14th Street www.rmanyc.org (347-533-7845) Subway: 2, 5 to Sterling Street • Ibeam Brooklyn 168 7th Street between Second and Third Avenues • Russ & Daughters Café 127 Orchard Street • Bar Lunàtico 486 Halsey Street Subway: F to 4th Avenue www.ibeambrooklyn.com (212-475-4881) Subway: F to Delancey Street (917-495-9473) Subway: C to Kingston-Throop Avenues www.barlunatico.com • Iguana 240 West 54th Street (212-765-5454) www.russanddaughterscafe.com • Bar Next Door 129 MacDougal Street (212-529-5945) Subway: B, D, E, N, Q, R to Seventh Avenue www.iguananyc.com • Russian Samovar 256 W. 52nd Street Subway: A, B, C, D, E, F, M to W. 4th Street www.lalanternacaffe.com • Il Gattopardo 13-15 W. 54th Street (212-757-0168) Subway: C, E to 50th Street www.russiansamovar.com • Barbès 376 9th Street at 6th Avenue, Brooklyn (718-965-9177) (212-246-0412) Subway: E, M to Fifth Avenue/53rd Street • Russian Vodka Room 265 W. 52nd Street Subway: F to 7th Avenue www.barbesbrooklyn.com www.ilgattopardonyc.com (212-307-5835) Subway: C, E to 50th Street www.russianvodkaroom.com • Bā’sik 323 Graham Avenue, Brooklyn • InterContinental New York Barclay’s Penthouse Suite 111 E. 48th Street • Ryan’s Daughter 350 E. 85th Street (347-889-7597) Subway: L to Graham Avenue www.basikbrooklyn.com (212-755-5900) Subway: 6 to 51st Street www.ihg.com (212-628-2613) Subway: 4, 5, 6 to 86th Street www.ryansdaughternyc.com • Bemelmans Bar 35 E. 76th Street (212-744-1600) • Iridium 1650 Broadway at 51st Street (212-582-2121) • Saint Peter’s Church 619 Lexington Avenue at 54th Street Subway: 6 to 77th Street www.thecarlyle.com Subway: 1,2 to 50th Street www.theiridium.com (212-935-2200) Subway: 6 to 51st Street www.saintpeters.org • Bierstrasse 2346 12th Avenue at 133rd Street Subway: 1 to 137th Street • Issue Project Room 22 Boerum Place • Sankofa Aban Bed & Breakfast 107 Macon Street (917-704-9237) www.bierstrassenyc.com (718-330-0313) Subway: 2, 3, 4, 5 to Borough Hall Subway: A, C to Nostrand Avenue www.sankofaaban.com • Bill’s Place 148 W. 133rd Street (between Lenox and 7th Avenues) www.issueprojectroom.org • Scholes Street Studio 375 Lorimer Street (212-281-0777) Subway: 2, 3 to 135th Street • Italian Cultural Institute 686 Park Avenue Subway: 6 to 68th Street (718-964-8763) Subway: L to Lorimer Street • Birdland and Birdland Theater 315 W. 44th Street (212-581-3080) • J. Hood Wright Park W. 173rd Street and Haven Avenue www.scholesstreetstudio.com Subway: A, C, E, to 42nd Street www.birdlandjazz.com (212-927-1563) Subway: A to 175th Street www.nycgovparks.org • ShapeShifter Lab 18 Whitwell Place • Bistro Jules 60 St Marks Place • Jackie Robinson Park Bradhurst & Edgecombe Avenues, West 145th to (646-820-9452) Subway: R to Union Street www.shapeshifterlab.com (212-477-5560) Subway: 6 to Astor Place www.julesbistro.com West 155th Streets Subway: D to 145th Street • Showman’s 375 W. 125th Street at Morningside • Blue Note 131 W. 3rd Street at 6th Avenue (212-475-8592) • Jamaica Center for Arts and Learning 161-04 Jamaica Avenue, Queens (212-864-8941) Subway: 1 to 125th Street Subway: A, B, C, D, E, F, M to W. 4th Street www.bluenotejazz.com (718-658-7400 ext. 152) Subway: E to Jamaica Center www.jcal.org • Shrine 2271 Adam Clayton Powell Boulevard (212-690-7807) • Brooklyn Bowl 61 Wythe Avenue • Jazz 966 966 Fulton Street Subway: B, 2, 3 to 135th Street www.shrinenyc.com (718-963-3369) Subway: L to Bedford Avenue www.brooklynbowl.com (718-638-6910) Subway: C to Clinton Street www.jazz966.com • Silvana 300 West 116th Street • Brooklyn Cider House 1100 Flushing Avenue • Jazz at Kitano 66 Park Avenue at 38th Street (212-885-7000) (646-692-4935) Subway: B, C, to 116th Street www.silvana-nyc.com (347-295-0308) Subway: L to Jefferson Street www.brooklynciderhouse.com Subway: 4, 5, 6, 7, S to Grand Central www.kitano.com • Sistas’ Place 456 Nostrand Avenue at Jefferson Avenue, Brooklyn • Brooklyn Conservatory of Music 58 Seventh Avenue, Brooklyn • The Jazz Gallery 1160 Broadway, 5th floor (212-242-1063) (718-398-1766) Subway: A to Nostrand Avenue www.sistasplace.org Subway: F to Seventh Avenue, N, R to Union Street www.bkcm.org Subway: N, R to 28th Street www.jazzgallery.org • The Slope Lounge 837 Union Street, Brooklyn • Brooklyn Masonic Temple 317 Clermont Avenue • Jazz Museum in Harlem 58 W. 129th Street between Madison and Lenox (347-889-5005) Subway: M, R to Union Street www.theslopelounge.com (718-638-1256) Subway: G to Clinton-Washington Avenues Avenues (212-348-8300) Subway: 6 to 125th Street • Smalls 183 W 10th Street at Seventh Avenue (212-252-5091) • Brooklyn Museum of Art 200 Eastern Parkway www.jazzmuseuminharlem.org Subway: 1 to Christopher Street www.smallsjazzclub.com (718-638-5000) Subway: 2, 3 to Eastern Parkway www.brooklynmuseum.org • Jazz Standard 116 E. 27th between Park and Lexington Avenue • Smoke 2751 Broadway between 105th and 106th Streets • Brooklyn Music School 126 Saint Felix Street (212-576-2232) Subway: 6 to 28th Street www.jazzstandard.com (212-864-6662) Subway: 1 to 103rd Street www.smokejazz.com (718-907-0878) Subway: 4 to Atlantic Avenue-Pacific Street • Joe’s Pub at the Public Theater 425 Lafayette Street • Soapbox 636 Dean Street Subway: 2, 3 to Bergen Street • Bunna Café 1084 Flushing Avenue (212-539-8770) Subway: N, R to 8th Street-NYU; 6 to Astor Place • The Sound Bite 737 9th Avenue (347-295-2227) Subway: L to Morgan Avenue www.bunnaethiopia.net www.publictheater.org/Joes-Pub-at-The-Public (917-409-5868) Subway: C, E to 50th Street www.thesoundbiterestaurant.com • Bushwick Public House 1288 Myrtle Avenue • Keiko Studios Music Academy 212-26 Jamaica Avenue • Soup & Sound 292 Lefferts Avenue (between Nostrand and Rogers Avenues) (917-966-8500) Subway: G to Myrtle - Willoughby Avenue then B54 (718-465-3456) Bus: Q110 Bus www.keikostudios.com Subway: 2 to Sterling Street www.bushwickpublichouse.com • Kingsborough Community College 2001 Oriental Boulevard • Spectrum 70 Flushing Avenue • Café Carlyle 35 E. 76th Street (212-744-1600) (718-368-6686) Subway:Q to Brighton Beach www.onstageatkingsborough.org Subway: B, D, Q to DeKalb Avenue www.spectrumnyc.com Subway: 6 to 77th Street www.thecarlyle.com • Knickerbocker Bar & Grill 33 University Place at 9th Street • The Stone at The New School 55 West 13th Street • Café Loup 105 W. 13th Street between Sixth and Seventh Avenues (212-228-8490) Subway: N, R to 8th Street-NYU (212-229-5600) Subway: F, V to 14th Street www.thestonenyc.com (212-255-4746) Subway: F to 14th Street www.cafeloupnyc.com www.knickerbockerbarandgrill.com • Sugar Hill Supper Club 615 DeKalb Avenue • Capri Ristorante 145 Mulberry Street • Le Chéile 839 W. 181st Street (718-237-1246) Subway: G to Bedford-Nostrand Avenues (212-625-2626) Subway: J, Z to Bowery www.caprinewyork.com (212-740-3111) Subway: A to 181st Street www.lecheilenyc.com • Sunnyside Reformed Church 48-03 Skillman Avenue • Carnegie Club 156 W. 56th Street • Le Poisson Rouge 158 Bleecker Street (718-426-5997) Subway: 7 to 52nd Street (212-957-9676) Subway: N, Q, R, W to 57th-Seventh Avenue (212-228-4854) Subway: A, B, C, D, E, F, V to W. 4th Street www.sunnysidenyc.rcachurches.org • Casa Italiana Zerilli - Marimò 24 W. 12th Strreet www.lepoissonrouge.com • Swing 46 349 W. 46th Street (646-322-4051) (212-998-8739) Subway: 4, 5, 6, L, N, Q, R www.casaitaliananyu.org • Le Rivage 340 W. 46th Street Subway: A, C, E to 42nd Street www.swing46.com • The Cell 338 W. 23rd Street (212-765-7374) Subway: C, E to 50th Street www.lerivagenyc.com • Symphony Space Leonard Nimoy Thalia, Peter Jay Sharpe Theatre and (646-861-2253) Subway: C, E to 23rd Street www.thecelltheatre.org • Local 802 322 W. 48th Street between Eighth and Ninth Avenues Bar Thalia 2537 Broadway at 95th Street • Chelsea Music Hall 407 W. 15th Street (212-245-4802) Subway: C to 50th Street www.jazzfoundation.org (212-864-5400) Subway: 1, 2, 3 to 96th Street www.symphonyspace.org (646-609-1344) Subway: A, C, E, L to 14th Street www.chelseamusichall.com • Max Fish 120 Orchard Street • Terraza 7 40-19 Gleane Street • City Winery 155 Varick Street (212-529-3959) Subway: B, D to Grand Street www.maxfish.com (718-803-9602) Subway: 7 to 82nd Street www.terrazacafe.com (212-608-0555) Subway: 1 to Houston Street www.citywinery.com • Mezzrow 163 W. 10th Street • Tomi Jazz 239 E. 53rd Street • Cleopatra’s Needle 2485 Broadway (212-769-6969) (646-476-4346) Subway: 1 to Christopher Street www.mezzrow.com (646-497-1254) Subway: 6 to 51st Street www.tomijazz.com Subway: 1, 2, 3 to 96th Street www.cleopatrasneedleny.com • Michiko Studios 149 W. 46th Street, 3rd Floor • Tony Dapolito Recreation Center 4330, 1 Clarkson Street • Club Bonafide 212 E. 52nd Street (646-918-6189) Subway: 6 to 51st Street; (212-302-4011) Subway: B, D, F, M to 47-50 Streets (646-300-2271) Subway: 1 to Houston Street www.nycgovparks.org E, V to 53rd Street www.clubbonafide.com www.michikostudios.com • Town Hall 123 W. 43rd Street • C’mon Everybody 325 Franklin Avenue • Minton’s 206 W. 118th Street (between St. Nicholas Avenue and (212-997-1003) Subway: 7, B, D, F, M to 42nd Street-Bryant Park Subway: G to Classon Avenue www.cmoneverybody.com Adam Clayton Powell Jr. Blvd) (212-243-2222) Subway: B, C to 116th Street www.thetownhall.org • The Cutting Room 44 E. 32nd Street www.mintonsharlem.com • Tribeca Performing Arts Center 199 Chambers Street (212-691-1900) Subway: 6 to 33rd Street www.thecuttingroomnyc.com • Mirror Tea House 575 Union Street, #A (212-220-1460) Subway: A, 1, 2, 3 to Chambers Street www.tribecapac.org • The DiMenna Center 450 W. 37th Street (917-909-0577) Subway: R to Union Street www.mirrorinthewoods.com • Troost 1011 Manhattan Avenue (212-594-6100) Subway: A, C, E to 34th Street-Penn Station • MIST 40 W. 116th Street Subway: 2, 3 to 116th Street www.mistharlem.com (347-889-6761) Subway: G to Greenpoint Avenue www.troostny.com www.dimennacenter.org • Mona’s 224 Avenue B Subway: L to First Avenue • Turnmill NYC 119 East 27th Street • Dizzy’s Club Broadway at 60th Street, 5th Floor (212-258-9800) • National Sawdust 80 N. 6th Street (646-524-6060) Subway: 6 to 27th Street www.turnmillnyc.com Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.jazz.org (646-779-8455) Subway: L to Bedford Avenue www.nationalsawdust.org • Uke Hut 36-01 36th Avenue • The Django at The Roxy Hotel 2 Sixth Avenue (212-519-6600) • The Nest 504 Flatbush Avenue (347-458-3031) Subway: N, W to 36th Avenue www.ukehut.com Subway: A, C, E to Canal Street; 1 to Franklin Street (718-484-9494) Subway: B, S, Q to Prospect Park www.thenestbrooklyn.com • Village Vanguard 178 Seventh Avenue South (212-255-4037) www.thedjangonyc.com • New School Tishman Auditorium 63 Fifth Avenue Subway: 1, 2, 3 to 14th Street www.villagevanguard.com • Dominie’s Astoria 34-07 30th Avenue Subway: N, Q to 30th Avenue (212-229-5488) Subway: 4, 5, 6, L, N, Q, R to Union Square www.newschool.edu • Walker’s 16 North Moore Street • The Douglass 149 4th Avenue • New York City Baha’i Center 53 E. 11th Street (212-222-5159) (212-941-0142) Subway: A, C, E to Canal Street (718-857-4337) Subway: R to Union Street www.thedouglass.com Subway: 4, 5, 6, N, R to 14th Street-Union Square www.bahainyc.org • Weill Recital Hall (at Carnegie Hall) 154 W. 57th Street at Seventh Avenue • Downtown Music Gallery 13 Monroe Street (212-473-0043) • Nhà Minh 485 Morgan Avenue (212-247-7800) Subway: N, R to 57th Street www.carnegiehall.org Subway: F to East Broadway www.downtownmusicgallery.com (718-387-7848) Subway: L to Graham Avenue • Williamsburg Music Center 367 Bedford Avenue, Brooklyn, NY • Drom 85 Avenue A • North Square Lounge 103 Waverly Place (212-254-1200) (718-384-1654) Subway: L to Bedford Avenue (212-777-1157) Subway: F to Second Avenue www.dromnyc.com Subway: A, B, C, E, F to West 4th Street www.northsquareny.com • Windjammer 552 Grandview Avenue, Ridgewood • Dupuy’s Landing 433 W. 22nd Street • Nublu 62 Avenue C between 4th and 5th Streets (718-456-5267) Bus: Q39 Bus to Forest Avenue/Bleecker Street (646-770-0433) Subway: 1 to 23rd Street www.dupuyslanding.com (212-979-9925) Subway: F, V to Second Avenue www.nublu.net • Zinc Bar 82 W. 3rd Street (212-477-8337) • The Ear Inn 326 Spring Street at Greenwich Street (212-246-5074) • Nublu 151 151 Avenue C Subway: A, B, C, D, E, F, M to W. 4th Street www.zincjazz.com Subway: C, E to Spring Street www.earinn.com (212-979-9925) Subway: 6 to Astor Place www.nublu.net • Zürcher Gallery 33 Bleecker Street • El Barrio Artspace 215 E. 99th Street • Outskirts 254 Schenck Avenue (212-777-0790) Subway: 6 to Bleeker Street; B, D, F to Broadway-Lafayette Subway: 6 to 96th Street www.artspaceps109.org (931-625-9833) Subway: C, J, Z to Van Siclen Avenue www.galeriezurcher.com

THE NEW YORK CITY JAZZ RECORD | MAY 2019 41 (INTERVIEW CONTINUED FROM PAGE 6) TNYCJR: Let’s talk about your solo career. You made your first record in 1981. It seems to me your solo TNYCJR: Maybe the success of The Pointer Sisters records are more jazz-oriented than the Transfer itself. [who first recorded for Atlantic and had their first hit, “Yes We Can Can” in 1973] may have been an indication JS: I’ve made 12 solo albums and that doesn’t count that there was gold in the old music. collaborations with other people. Solo, I can do whatever I want. In the group I’m part of the collective JS: We were all mining the same musical lode in a way. sound and collective decisions. Solo, I follow my Dan Hicks and The Hot Licks, The Pointers, Bette passions without having to ask anyone. That work is Midler. We were all going back to the great music of more jazz oriented, yes. the ‘30s and ‘40s. TNYCJR: What has kept The Manhattan Transfer TNYCJR: Would you say, at the core, The Manhattan together since 1972 [the band appears in June as part of SWING BY TONIGHT Transfer is a jazz group? the Blue Note Jazz Festival]? 7:30PM & 9:30PM JS: I wouldn’t. We’re equal parts pop and jazz. And JS: I think it’s the desire to make harmony. It’s realizing MAY 1 then you have all these subsets, such as vocalese, what we do together is so special and the world needs willerm delisfort project swing, doo-wop, R&B, straight pop. And then we got this kind of thing. You have to love to sing harmony into Brazilian music for a minute there. But that was and I think we all do. MAY 2 bruce forman trio pop, too. We went for the contemporary Brazilian songwriters who were influenced by American music, TNYCJR: Obviously, the public appreciates what you like Milton Nascimento, Djavan, . It was do. You’ve won ten Grammys. That’s a lot. MAY 3-4 houston person quartet exhilarating. The appeal of The Manhattan Transfer is really in the eclecticism and the joy in that. JS: It’s a lot and you have to polish them. It’s your peers recognizing your work, but I don’t keep them MAY 5-6 akiko / hamilton / dechter TNYCJR: When Atlantic picked you up, did that out because I don’t want to dwell in the past. I don’t immediately improve the fortunes of the group? want to rest on my laurels. v MAY 7 sax & taps with dewitt fleming, jr. JS: Absolutely. We made that first record and Ahmet For more information, visit manhattantransfer.net/janis-siegel. & erica von kleist was involved and [producer/arranger] Arif Mardin. Siegel is at Birdland Theater May 28th. See Calendar. We recorded at the old Atlantic studios on 60th Street. MAY 8 And then in 1975 we got a summer replacement TV Recommended Listening: essentially ellington alumni band show on CBS. We replaced Cher. We had on people like • The Manhattan Transfer—Live (Wounded Bird, 1978) Bob Marley and The Wailers. We had comedians like • The Manhattan Transfer—Vocalese (Atlantic, 1985) MAY 9-12 Robert Klein. It was mainly music and we also had • Janis Siegel—The Tender Trap (Escape Is The Last juilliard jazz orchestra: a whole troupe of dancers who also acted to bring the Thing On Your Mind) (Monarch, 1999) music of duke ellington music to life. Sadly, though, CBS heavily censored us. • The Manhattan Transfer—The Spirit of St. Louis They assigned us a couple of writers we didn’t (Atlantic, 2000) MAY 13 • MONDAY NIGHTS WITH WBGO particularly dig. They were making us do all this • Janis Siegel—Friday Night Special (Telarc, 2002) terraza big band square stuff. It was a mind-blower, really, because we • Janis Siegel—Nightsongs (A Late Night Interlude) went from playing these dives in New York City to (Victor/Palmetto, 2012) MAY 14-19 bill charlap trio being on national television. [There’s a YouTube channel with material from the show.] MAY 20 We went to Los Angeles and started playing at (label CONTINUED FROM PAGE 11) berklee masters on the road clubs like the Roxy regularly and a lot of Hollywood with special guest melissa aldana royalty came to see us. It was heady. And we had hits, How many people make up the pfMENTUM not only “Birdland” but also “Boy from New York organization? “In addition to Ted Killian, Louis Lopez MAY 21-26 City”, which made the Top Ten. And “Operator” is the third member of our current team. He’s a fantastic bill charlap trio charted, plus we had hits in Europe. We’ve now made trumpeter and composer. He’s a key player in our something like 25 albums. Our latest is The Junction sustainability model. If I do it all myself, I couldn’t MAY 27 with our new member, Trist Curless, because Tim keep up but with Louis and Ted and before that there matthew whitaker passed away four years ago. was Maxwell Gualtieri, it becomes manageable.” What about Kaiser’s own work as a musician, MAY 28 • 7:30PM ONLY alexa tarantino quartet TNYCJR: I reviewed it for this gazette. It’s a fine including a long-rumored solo trumpet album? “Well, cd release celebration record, quite varied and very much in the Transfer’s my professorship out here [Kaiser teaches at the wheelhouse. University of Central ] takes up a lot of my MAY 28 • 9:30PM ONLY time and being on the job market for three years before jeffery miller JS: Yes, we wanted to keep that familiarity, especially that meant that my own personal recordings had to because it was the first record without Tim. take a back seat. Now that I’ve settled into this position MAY 29-30 I hope to release my solo trumpet recording in the fall nicole henry: where love is TNYCJR: When he died, was there talk of disbanding? of this year. “Another thing I get asked about a lot is the MAY 31 georgia horns JS: Yes, we were shell-shocked, because he died on the Ockodektet (huge improvising orchestra). We recorded road. We had gigs and we had to make a living. There at UC-SD for my 50th birthday celebration. Wayne Peet wasn’t a lot of time to mourn. And there was the feeling has sent me the mixes. So hopefully soon there will be of being rudderless, because Tim was totally the leader a bunch of recordings under my name coming out— and founder of the group. We had similar issues when including a metal/glitch recording I made under the Laurel left. We thought about whether to go on then persona of Corpseboy.” and decided we should. We held auditions for some women in Los Angeles and Cheryl showed up and we For more information, visit pfmentum.com. Artists knew immediately that she was the one. And then we performing this month include Larry Roland at El Barrio recorded Extensions, with “Birdland” and “Twilight Artspace May 5th and Scholes Street Studio May 10th; Zone”, and became madly popular in Japan. Dave Sewelson at Downtown Music Gallery May 5th with JAZZ.ORG / DIZZYS Jesse Dulman; Mike Baggetta at Nublu May 8th with Fumi 212-258-9595 TNYCJR: Is there a leader now? Tomita; and Gerald Cleaver at Ibeam Brooklyn May 17th jazz at lincoln center with Igor Lumpert, Soup & Sound May 22nd with Aruán broadway at 60th st., 5th fl. JS: I would say no. We’re a democracy, which has its Ortiz and 244 Rehearsal Studios May 23rd with Simon drawbacks and advantages. Nabatov. See Calendar.

42 MAY 2019 | THE NEW YORK CITY JAZZ RECORD (create CONTINUED FROM PAGE 13) mix, to be sure. The opening concert was a funky, danceable music of vocalist Salif Keita’s tentet truth “as it is”. (Smith also pointed out that the original featuring kora player Mamadou Diabate at Vossasalen, recording constitutes the only extant composition for followed later in the evening by the endearing three muted trumpets.) For this performance, Smith indie-pop of Thea Hjelmeland. At Gamlekinoen was the played a solo trumpet line overtop playback of the fjord-jazz of ’s Nunatak, which blended original recording, thus creating a memorial to Bowie acoustic and electric instruments, featured the leader on and Wheeler by entering into an unusual musical saxophone, vocals and bukkehorn (Norwegian shofar) exchange with the deceased musicians, as well as with and begged to be signed by ECM for its intersection of his younger self. and Nik Bärtsch. In the same venue was MAY EVENTS Other distinctive moments that emerged included a the keyboard duo of Ståle Storløkken and John Erik collaboration with Harriet Tubman that closed the first Kaada plus drummer Tor Haugerud, which had an night. Just before playing, Smith warned the audience to apocalyptic sheen, was first built up with small gestures prepare for “thunder”. And that is what two combined then violent lurches and was augmented by a trippy THURS MAY 2ND • 7:00PM & 9:00PM trios delivered in the form of a volcanic, hypnotic surge lighting and visuals show. The End of the evening was of sound built from JT Lewis’ subtle and driving The End, a recent project from Swedish saxophonist WINARD HARPER drumming, ’ precisely controlled feedback released last year on RareNoise & JELI POSSEE layers, Ross and Lamar Smith’s effects-laden guitar and Recordings. It is a band of odd juxtapositions, such as Smith’s eruptive trumpet. the paired brutality of Gustafsson and Norwegian tenor Equally potent were the two performances featuring saxophonist Kjetil Møster, tortured whispered FRI MAY 3RD • 7:00PM & 9:00PM Oguri, the first a duet with cellist Ashley Walters, vocalizing of Swede Sofia Jernberg and the garage rock- followed by a trio with vocalist and pipa player Min rhythms of Norwegian Anders Hana (baritone guitar) Xiao-Fen and Smith. In both cases, Oguri, whose dance and American (drummer for Deerhoof). ALLAN HARRIS form is a highly individualized merging of traditional What started out as a nearly empty room at Park Butoh, modern dance, mime, Noh and more, presented Pentagon turned into a full-on moshpit by its finish. physical depictions of the musicians’ interlaced vocals Apart from Mollestad and Recomposed, on Day 2 SAT MAY 4TH • 9:00PM and improvisations. Bending and twisting his face and there was a varied range of modern Nordic jazz. Danish body via micro-gestures as he moved through the guitarist ’s quartet at Park Festsalen with Dane AVERY SHARPE: audience, Oguri’s motions reacted to and informed the Palle Mikkelborg (trumpet), American Thomas Morgan 400 AN AFRICAN AMERICAN MUSICAL musical lines to sculpt a profound meditation on breath (bass) and Spaniard Jorge Rossy (drums) is heir to the PORTRAIT and body. This meditation evolved into an exploration more recent music of labelmate Bill Frisell, translating of the existential struggle, passing through fear, doubt, his Americana for the small towns in Minnesota where joy, humor and confusion, before resolving into serenity. Norwegians settled in the 19th century. Mikkelborg, as THURS MAY 9TH • 7:00PM & 9:00PM Finally, a heartwarming aspect of the festival was the elder statesman of the group, folded his reverb- the participation of Smith’s entire family. Produced by laden lines beautifully into the waves of guitar and bass. his daughters Sarhanna K. Smith and Kashala Smith- The Finnish sextet Gourmet, also at Festsalen, featured PEDRITO MARTINEZ Tavaris, each night’s concert began with performances the funniest man in after Kimi Räikkönen, by Smith’s grandchildren, including the Lamar Smith saxophonist Mikko Innanen, plus his and guitarist Ensemble and a piano recital by the eight-year old Jaya Esa Onttonen’s tunes, which ranged from manic to SAT MAY 11TH • 7:00PM & 9:00PM Smith-Tavaris. Lamar’s set, which seethed with energy manic-depressive, with titles like “Finnish Secret and confidence, was a musical adventure. Service”, “From Mekong to Mississippi” and JONATHAN MICHEL This unusual aspect of the festival reflected Smith’s “Bazookas”, blown apart and stuck back together by PRESENTS conviction that family is a core element of human Ilmari Pohjola (trombone and vocals), Veli Kujala A TRIBUTE TO BILLY PAUL expression and evolution. And even the youngest (accordion), Petri Keskitalo (tuba) and Mika Kallio member of Smith’s family was engaged with this (drums). The closing set of the evening was Danish THURS MAY 23RD • 7:00PM & 9:00PM philosophy of art, as his six-year old granddaughter drummer Kresten Osgood’s “quintet”, which had only Belle instructed participants in the Sunday afternoon four people when pianist Jeppe Zeeberg couldn’t make exhibit that all music is truly “composed of love”. v the trip. Thus Osgood moved back and forth from the LAKECIA BENJAMIN drums to the keyboards. This correspondent walked in For more information, visit wadadaleosmith.com/create-festival while the band was belting out ’s take on the traditional Xhosa song “Magwaza” and the material just got deeper with tunes by Frank Lowe, Hal Singer FRI MAY 24TH • 7:00PM & 9:00PM (vossa jazz CONTINUED FROM PAGE 13) and Ed Bruce’s country paean “”Mammas Don’t Let Your Babies Grow Up to Be Cowboys”, the latter with Those shows happened on the middle day of the Osgood on vocals. The drummer is the best combo of LAKECIA BENJAMIN festival. The first day’s programming was an eclectic Han Bennink’s energy and humor and Mats Gustafsson’s deep respect for the rich recorded legacy of jazz. The final day of the festival fell on Palm Sunday SAT MAY 25TH • 7:00PM & 9:00PM FREE CONCERTS and was appropriately sanctified. The trio of Marthe www.jazzfoundation.org Lea (winds), Ayumi Tanaka (piano) and Thomas Strønen THE LEGENDARY (drums) meandered through a long improvisation at NYC PARKS (cont’d) Poe Park 4pm Ole Bull Academy’s Osasalen, at times ripe with tension JOHNNY O'NEAL Pelham Fritz Rec. Ctr 6:30pm 5/25: Tito Matos and release, at other times as delicate as a flower 5/2: Cecil Morgan Asser Levy Rec Center 5:30pm 5/9: Jackie Williams 5/31: Ginetta’s Vendetta blooming, yet marred by Lea constantly switching THURS MAY 31ST • 7:00PM & 9:00PM 5/16: Annette St. John J. Hood Wright Park 6pm among saxophone, clarinet, flute, percussion and vocals, 5/24: Joaquin Pozo 5/23: Marjorie Eliot upending the momentum. Norwegian saxophonist 5/30: Arthur Green presented Helsinki Songs at Gamlekinoen Hansborough Rec. Center 6:30pm DEZRON DOUGLAS JAZZ AT PIER 84 - 7pm with (trumpet), Jon Balke (keyboards), BLACK LION QUARTET 5/3: Charles Davis 5/9: Joey Morant Roy Wilkins Rec Ctr. 2pm 5/10: Ray Mantilla (bass) and Markku Ounaskari (drums), 5/8: Alvin Flythe a placid, elegiac set that made up for in beauty what it Jackie Robinson Park 5/11: Roy Meriwether Solo (1pm) SOCRATES SCULPTURE PARK lacked in variety, though the tone of the instruments 6/13: Danny Mixon 6/1: Eddie Allen Quintet (5pm) was as crisp as the Norwegian air. The same could be Prospect Pk. Picnic House 11am This project is supported in part by an award said for Espen Eriksen Trio with guest saxophonist 212.792.9001 5/14: Arthur Green from the National Endowment for the Arts, the New York State Council on the Arts with the at the same venue. It took four songs Tony Dapolito Rec Center 6:30pm support of Governor Andrew M. Cuomo and the 310 LENOX AVE, HARLEM New York State Legislature and by public funds 5/17: Danny Walsh from the New York City Department of Cultural for the group to break out of its pleasant lethargy with Marcus Garvey Park 6:30pm Affairs in partnership with the City Council. energetic solos from Sheppard and the leader. v GINNYSSUPPERCLUB.COM 6/6: Winard Harper @GINNYSHARLEM For more information, visit .no

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