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NOVEMBER 2013 - ISSUE 139 YOUR FREE GUIDE TO THE NYC SCENE NYCJAZZRECORD.COM

COOL LOVER

MICHEL • DAVE • GEORGE • RELATIVE • EVENT CAMILO KING FREEMAN PITCH CALENDAR “BEST JAZZ CLUBS OF THE YEAR 2012” JAZZ & SUPPER CLUB • HARLEM, FEATURED ARTISTS / 7:00, 9:00 & 10:30pm ONE NIGHT ONLY / 7:00, 9:00 & 10:30pm RESIDENCIES / 7:00, 9:00 & 10:30pm

Fri & Sat, Nov 1 & 2 Wed, Nov 6 Sundays, Nov 3 & 17 PLUS MICHAEL RODRIGUEZ Michael Rodriguez (tp) ● Chris Cheek (ts) SaRon Crenshaw Band SPECIAL GUEST Jeb Patton (p) ● Kiyoshi Kitagawa (b) Sundays, Nov 10 & 24 Gary Bartz (as) ● Vincent Herring (as) Obed Calvaire (d) Vivian Sessoms Sullivan Fortner (p) ● James King (b) ● Greg Bandy (d) Wed, Nov 13 Mondays, Nov 4 & 18 Fri & Sat, Nov 8 & 9 QUINTET Jason Marshall QUARTET Jack Walrath (tp) ● Alex Foster (ts) Mondays, Nov 11 & 25 Chris Cheek (ts) ● (p) George Burton (p) ● tba (b) ● Donald Edwards (d) Captain Black Big Band Doug Weiss (b) ● Bill Stewart (d) Wed, Nov 20 Tuesdays, Nov 5, 12, 19, & 26 Fri & Sat, Nov 15 & 16 BOB SANDS QUARTET Mike LeDonne’s Groover Quartet “OUT AND ABOUT” CD RELEASE LOUIS HAYES Bob Sands (ts) ● Joel Weiskopf (p) Thursdays, Nov 7, 14, 21 & 28 & THE JAZZ COMMUNICATORS Gregg August (b) ● Donald Edwards (d) Gregory Generet Abraham Burton (ts) ● Steve Nelson (vibes) Kris Bowers (p) ● Dezron Douglas (b) ● Louis Hayes (d) Wed, Nov 27 MARCHICA QUARTET RESIDENCIES / 11:30 - Fri & Sat, Nov 22 & 23 FEATURING RODNEY JONES Mon The Smoke Chase Baird (ts) ● Rodney Jones () TRIO Tue Cyrus Chestnut (p) ● (b) ● (d) Mike LeDonne (organ) ● Ray Marchica (d) Milton Suggs Quartet Wed Brianna Thomas Quartet Fri & Sat, Nov 29 & 30 SEXTET JAZZ BRUNCH / 11:30am, 1:00 & 2:30pm Thu Nickel and Dime OPS “THE OF J.J. JOHNSON” Sundays Fri Quartet Eddie Henderson (tp) ● Eric Alexander (ts) Brunch Sat Johnny O’Neal & Friends Steve Davis (tb) ● (p) John Webber (b) ● Joe Farnsworth (d) Annette St. John and Trio Sun Roxy Coss Quartet 212-864-6662 • 2751 Broadway NYC (Between 105th & 106th streets) • www.smokejazz.com SMOKE Part of what has made jazz continually vibrant - and staved off each decade’s accusations of its irrelevance - has been the eclectic nature of its performers. For New York@Night every player who wants to keep jazz ‘pure’, there is counterbalance in a musician 4 who feels jazz’ bloodline is actually stronger for mixing it with other genres. Interview: Trombonist Roswell Rudd (On The Cover) has been doing it for longer than most. Coming out of a strict background in the ‘50s, Rudd soon embraced by Sam Spokony 6 the nascent avant garde movement, working with , and the Artist Feature: Dave King (which has been honor by the recent monumental Call It Art by Brad Farberman boxed set). This month, Rudd turns 78 and releases a new , Trombone for 7 Lovers, two reasons to party at Le Poisson Rouge with an allstar cast. Pianist Michel On The Cover: Roswell Rudd Camilo (Interview) has spent the last few decades mixing straightahead jazz with 9 by Kurt Gottschalk the traditions of his native Dominican Republic. This month, Camilo brings his big band to the Blue Note for a week. As part of The Bad Plus, drummer Dave King Encore: Lest We Forget: has helped open up the jazz repertoire to songs from the rock and pop world, but 10 George Freeman Jeri Southern he is also a compelling leader and will release a new Dave King Trucking Company album with three nights at ShapeShifter Lab. by Ken Waxman by Andrew Vélez In other features this month, we have an Encore on Chicago guitarist George Megaphone VOXNews Freeman; a Lest We Forget on vocalist Jeri Southern, whose complete Decca 11 by Jamie Baum by Katie Bull recordings have just been released as a boxed set by Records; a Label Spotlight on the newish avant garde imprint Relative Pitch; Megaphone from Label Spotlight: Listen Up!: flutist Jamie Baum, who celebrates her latest album at , and festival reports from , and Poland. Our usual packed house of CD reviews 12 Relative Pitch Tadataka Unno & Milton Suggs this month includes with release events (check out our Event Calendar) by by Ken Waxman /, , Marco Cappelli, Amir ElSaffar, Festival Reports: Preservation Hall and René Marie, all artists who fit right into the theme 13 Meeting • Crak Festival • Krakow Jazz Autumn of expanding the scope and aesthetic sensibilities of jazz today and into the future. We’ll see you out there... CD Reviews: Gary Bartz, Mario Pavone, , Ingebrigt 14 Håker Flaten, Cyrus Chestnut, Preservation Hall Jazz Band and more Laurence Donohue-Greene, Managing Editor Andrey Henkin, Editorial Director 38 Event Calendar On The cover: Roswell Rudd (photo by Alex Troesch/courtesy of Verna Gillis) Club Directory 45 Corrections: In last month’s CD reviews of The Red Microphone, the Hanns Eisler was German, not Austrian. 46 Miscellany: In Memoriam • Birthdays • On This Day Submit Letters to the Editor by emailing [email protected] US Subscription rates: 12 issues, $30 (International: 12 issues, $40) For subscription assistance, send check, cash or money order to the address below or email [email protected].

The New York City Jazz Record www.nycjazzrecord.com / twitter: @nycjazzrecord Managing Editor: Laurence Donohue-Greene To Contact: Editorial Director & Production Manager: Andrey Henkin The New York City Jazz Record Staff Writers 116 Pinehurst Avenue, Ste. J41 David R. Adler, Clifford Allen, Fred Bouchard, Stuart Broomer, Katie Bull, New York, NY 10033 Tom Conrad, Ken Dryden, Donald Elfman, Brad Farberman, Sean Fitzell, Kurt Gottschalk, Tom Greenland, Alex Henderson, Marcia Hillman, Terrell Holmes, Robert Iannapollo, Wilbur MacKenzie, Marc Medwin, Sharon Mizrahi, Russ Musto, Sean J. O’Connell, Laurence Donohue-Greene: Joel Roberts, John Sharpe, Elliott Simon, Jeff Stockton, Andrew Vélez, Ken Waxman [email protected] Andrey Henkin: [email protected] Contributing Writers Adam Everett, Jamie Baum, George Kanzler, Suzanne Lorge, Robert Milburn, Sam Spokony General Inquiries: [email protected] Contributing Photographers Advertising: [email protected] Jim Anness, George Council, Nicolas Fontaine, Scott Friedlander, Editorial: [email protected] Ingrid Hertfelder, Joe Johnson, Susan O’Connor, Krzysztof Penarski, Alex Troesch Calendar: [email protected]

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

THE NEW YORK CITY JAZZ RECORD | NOVEMBER 2013 3 NEW YORK @ NIGHT

Celebrating the release of Ängsudden Song Cycle (482 New York affords uncommon opportunities - like Music) at Roulette (Oct. 13th), multi-reedist Mike getting to hear the Swiss pianist Jacques Demierre McGinnis could barely be seen during the concert’s manipulating a Fender Rhodes in a small room without first half. He was up in the balcony playing “Ängsudden a in the Prospect Heights section of . It A Abstracts” for solo soprano while dancer may not have been a planned component of his first Davalois Fearon performed onstage below. In a way, duo performance with local sound sculptor Andrea McGinnis danced as well: the intense reverberant Parkins, but at SEEDS (Oct. 2nd) it proved an obstacle sound of his changed as he paced the floor, that led to exciting results. With the Rhodes’ metal bars moving closer and farther, setting the scene for the that stand in for strings exposed, Demierre set about octet showcase of the second half. The stage was strewn exploring and exploiting the instrument’s potential with dry leaves and branches - an autumnal flourish, while Parkins crafted a percussion track, looping the perhaps a nod to the Swedish locale of Ängsudden, the sounds of paper crumpling and packing tape subject of a series of paintings and poems by McGinnis’ unspooling. She had two other evocative keyboards in collaborator MuKha. Her projections appeared tow - an and melodica - and spent most of onscreen above the band; her stark black-and-white the set kneeling before her laptop, creating ever- tapestries hung down from the balcony; her words shifting foundations. The sustained keyboard and were sung with warmth and precision by vocalist processed accordion got surprisingly loud and thick Kyoko Kitamura. There’s no shortage of ‘’ surprisingly fast, but Demierre held the iconic sound today, but McGinnis brought forth an ensemble sound of the keyboard at bay for a good quarter-hour, playing all his own, playing and bass clarinet and dense clusters and forcing distortion by working the blending beautifully with Sara Schoenbeck’s , pitch and volume knobs. When he finally let loose the pinpoint of drummer Harris Eisenstadt, familiar tonality made famous by and pliant of Jason Kao Hwang and deep-toned bass , Parkins responded with a loop from what of Dan Fabricatore. Sean Moran’s nylon-string guitar might have been a music box mechanism and the music and Khabu Doug Young’s cavaquinho were paired was quite placid for a few moments, although then and brilliantly, not least on “You Are Morning”, a ray of always the pair didn’t stay anywhere long - from the Brazilian-tinged sunshine and pure melodic inspiration forest to the pond to moths around a light bulb that ought to be remembered many years from now. complemented by a room that looked like half parlor - David R. Adler and half holiday cabin. - Kurt Gottschalk P h o t b y S c F r i e d l a n P h o t b y K u r G s c a l k Mike McGuiness @ Roulette Jacques Demierre/Andrea Parkins @ SEEDS

If one thing came across during tenor saxophonist Jason William Parker introduced Refugee Songs, a new Rigby’s first set at Cornelia Street Café (Oct. 5th), it was project dedicated to disenfranchised communities at experience. Pianist Russ Lossing, bassist Cameron The Stone (Oct. 8th), as part of his week-long residency. Brown and drummer , Rigby’s quartet intended to be a trio with trumpeter Roy mates, played with a lucidity that comes from years and Campbell and pianist Kris Davis, the bassist explained, years on the bandstand. Rigby, pushing 40, is a bit it became a quartet when he envisioned adding younger but just as seasoned and assured in his trombone and called in with a day’s notice. approach. “Noire”, the first piece, began with a lustrous The uncommon ensemble - neither reeds nor drums - and complex rubato melody and evolved over many included two of the most on-point horn players in minutes, returning to a cued unison figure to keep the downtown jazz with one of its most vital bandleaders. exploration grounded. Without pause the band moved The odd man out was a woman who laid confident into ’s “Bye-Ya”, embracing a more configurations behind them, working in fast near- straightahead vibe with a round of burning solos and repetitions, starting resolutely in the middle third of trading, still just as adventurous. “New Tune”, by the keyboard before reaching out as the room opened drummer George Schuller, brought back a lyrical rubato up. Swell was enormously articulate; his first solo of feel and allowed for inspired duo exchanges - first the night was like an enumeration of points along an between tenor and drums, then tenor and bass. Brown’s arc, jumping back and forth until the whole of the powerful solo courted silence and stillness, but Lossing’s curve was covered. The ensemble dropped out for entrance, informed by a deep and fluid even at a Campbell’s first solo, which was no less punctuated. free , sent the music spinning again. In a dreamy The laurel on his head was, and always has been, the and abstract way, the pianist segued into his own “Brain capacity to land on every note, never faking a bluesy Wave”, the finale, marked by a bass-driven vamp that blur to hit the target. Parker took an arco solo, playing propelled the tune straight through to Rainey’s climactic in between the notes like a Qawwali singer. The drum feature. At the music’s most intense peaks, Rigby ensemble followed the long “Dadaab” with “Light maintained a velvety warmth and restraint. His is not a Over Still Water Paints a Portrait of God”, which language of high-register wails; there’s a sense of calm Parker said was meant to express the notion that even within the storm, captured so well on his album titles in the midst of a battlefield one could look up and see Translucent Space and The Sage, which makes his music a beautiful sky. The same might be experienced, at unique and endlessly inviting. (DA) times, like this was, inside and with eyes closed. (KG)

4 NOVEMBER 2013 | THE NEW YORK CITY JAZZ RECORD Two years away from its 50th anniversary, in its tenth In a moving program honoring their fallen comrade, year under the direction of bassist Ike Sturm, Saint several of the most celebrated soloists in jazz today WHAT’S NEWS Peter’s annual All Nite Soul (Oct. 13th) honored two joined the Juilliard Jazz Artist Diploma Ensemble at veterans: vocalist and pianist Barry Paul Hall for A Tribute to (Oct. 2nd). Harris. After the seven- boom-bast of Howard The young quintet featuring saxophonist Lukas Gabric The winners of the 2013 Kennedy Center Johnson’s Gravity, the concert showcased Jordan in an and guitarist Greg Duncan with Reuben Allen, Paolo Honors have been announced and will be intimate duo with bassist , with a Benedettini and Jordan Young on piano, bass and celebrated at an event Dec. 8th. Among the five quartet and a final duet with pianist Steve Kuhn, all drums, respectively, opened the concert with winners are Herbie Hancock and Carlos Santana. demonstrating her continuing versatility and vitality. of Miller’s Latin-tinged “Leilani’s Leap” For more information, visit kennedy-center.org. Harris was next, with solo musings, a trio outing and a and soulful “All ” variant “Hand In Hand”. 24-voice choir delivering his fine originals “If I Had Vibraphonist Steve Nelson and alto saxophonist Steve But One Dream”, “Like This”, “We Are One”, Wilson, two longtime members of Miller’s Wingspan The recipients of the 2013 MacArthur “Paradise”, plus an instrumental waltz, “ With group, joined the ensemble for a powerful rendition of Fellowship have been named. Among the 13 Love”. Jordan joined Harris for an impromptu blues- “Grew’s Tune”. Pianist , one of Miller’s individuals who will receive an unrestricted rap about their early days in , ending with an oldest friends, humorously told of first meeting Miller award of $625,000 is pianist Vijay Iyer. Previous excerpt from a vocalese by Skeeter Spight. The eight- in college before taking the piano seat to perform his jazz musicians to have received the award hour-plus event comprised 24 short sets interspersed own “Waltz For Monk” (a staple of the Wingspan include drummer (1988), composer with videos of featured performers discussing the repertoire). He was joined by Miller’s co-director of and pianist Cecil Taylor (1991), impact of the Jazz Ministry and former pastor John the jazz studies program at William Paterson College, saxophonists and Anthony Gensel. Concert high points included bass clarinetist tenor saxophonist David Dempsey, to conclude the Braxton (1994), saxophonist ’s solo on Tommy Dorsey’s “When I’ve Sung first half of the show with Miller’s “Soul-Leo”. Surprise (1999), trombonist George Lewis (2002), My Last Song”; Jay Clayton and Peter Eldridge’s guest, pianist opened the second set with a traded scats over “It Could Happen to You”; Gene stirring reading of the spiritual “Blessed Assurance” saxophonist and violinist Regina Bertoncini and ’s solos on “East of the and Miller’s “Song For Darnell”. Saxophonist Javon Carter (2006), pianist (2010) and Sun” (with string quartet); a trio of young hoofers; Jackson joined the band on “Second Thoughts”, a drummer (2011). For more pianist Connie Crothers’ dramatic soliloquy; organist Miller piece from their days with and the information, visit macfound.org. Sarah McLawler’s “In a Sentimental Mood” and tenor Jazz Messengers, and remained for Miller’s “Farewell saxophonist John Ellis’ smoky “Emily”. To Dogma” before all the guests returned to join the Nominees for the 14th Annual Latin Grammys - Tom Greenland ensemble to close with “Promethean”. - Russ Musto have been named, winners to be announced during a ceremony in Las Vegas Nov. 21st. Nominees for relevant categories include: Record of the Year: “La Nave Del Olvido” - Buika (Warner Music Spain); Best Traditional Tropical Album: Un Siglo De Pasión - Arturo Sandoval (E35); Best Instrumental Album: Dances From The New World - Paquito D’Rivera y Sergio & Odair Assad (GHA Records); Best Tango Album: Meets New Tango - & , (ZOHO); Best Album: What’s Up? - Michel Camilo (OKeh/Redondo Music/Sony Music); ¡Ritmo! - g e C o u n c i l / p t m a h s . A n e s The Latin Jazz Big Band (Clavo Records); On The Way - Negroni’s Trio (AA Records); Live In - And His Latin Jazz Band (Concord Picante); P h o t b y G e r P h o t b y J i m Sheila Jordan & Cameron Brown @ Saint Peter’s Steve Nelson @ Paul Hall Border-Free - Chucho Valdés & The Afro-Cuban Messengers (Jazz Village/Comanche Music); For a dozen years and now seven albums, The Claudia Bringing together members from six separate editions Grand Piano Live - Chuchito Valdés (Music Quintet has been an expressive outlet for drummer/ of one of the most famed groups in jazz history, Roots Records). For more information, visit composer John Hollenbeck’s distinctive musical vision. The Messenger Legacy held forth for four nights at latingrammy.com. Its latest release, September (Cuneiform), was duly Jazz Standard (Oct 3rd-6th) for a program celebrating celebrated at Le Poisson Rouge (Oct. 3rd), following a Art Blakey. Organized by drummer Ralph Peterson, November 29th is annual Record Store Day. typically raucous warm-up set by Claudian Matt second chair in the Jazz Messenger Big Band, the Coming on what is traditionally called “Black Moran’s Slavic Soul Party. The quintet kicked off with group, with trumpeter , alto saxophonist Friday”, the first official shopping day for the “12th Coping Song”, a minimalist meditation on the , tenor saxophonist Billy Pierce, holiday season, a number of labels are lingering effects of the World Trade Center terrorist pianist Donald Brown and bassist , attacks, its looping unison melodies slowly falling out recalled the powerful sound of the popular hardbop scheduling special releases for that day, of phase to produce denser textures, topped by Moran’s group (active from the ‘50s-80s), performing a wide hopefully driving consumers to their local theremin-like vibe trills. They then moved to “24th selection of the band’s classic repertoire. The sextet independent record stores. For more information, Interval Dig”, another looping figure - this time in 15 opened their final set of the week with a fiery rendition visit recordstoreday.com. beats - featuring ’s hoarse but cool tenor of “One By One”, which featured all hands soloing saxophone tone over the tessellated chords of Moran energetically on the lyrical line, An open-house event will be held at Jazz at and new accordionist Red Wierenga, followed by “18th propelled by the incendiary drumming of Peterson, Kitano Nov. 19th promoting the Meets Lemons”, one of Hollenbeck’s most compelling which recalled Blakey in its dynamic strength and Jazz Workshops. The week-long immersion compositions, a hypnotic experiment of overlain lines thorough knowledge of the Messenger-In-Chief’s program takes place in Rio de Janeiro Feb. of varying lengths, syncing and de-syncing like an extensive percussive vocabulary. The group opened 15th-22nd and focuses on Brazilian, Latin and acoustic rave soundtrack over bassist Chris Tordini’s “Along Came Betty” softly, blowing the well-known styles, taught by a faculty led by steady pulse. “29th, 1936 Me Warn You” juxtaposed melody before opening the floor up to triggered samples of an FDR speech against a backdrop solos by Lynch, Harrison, Pierce and Brown that bassist Nilson Matta. Matta and his fellow faculty of roving diagonal lights, unpredictable ensemble displayed the original sounds honed during their days members Harry Allen, Claudio Roditi, Matt King accents and quirky harmonized melodies. The light, under Blakey. Peterson began Shorter’s “On The and Fernando Saci will perform and answer floating “25th Somber Blanket” had an equally Ginza” with an explosive solo, setting the tone for questions about the program. For more compelling light show of rotating stars and the closing another round of intense soloing buoyed by inspired information, visit sambameetsjazz.com. “9th Wayne Phases” (for Shorter and Gretsky) built horn riffing. Brown was heard beautifully on the ballad from a chorale to parade , with fine vibe work by “Misty” before the band ended with requisite Submit news to [email protected] Moran. (TG) performances of “Moanin’” and “The Theme”. (RM)

THE NEW YORK CITY JAZZ RECORD | NOVEMBER 2013 5 INTERVIEW

work, you’re going to hit the stage with your big band this month at the Blue Note.

MC: Right, it’s quite a contrast [laughs], but it’s going Michel to be great. I’ve brought all kinds of groups to the Blue Note over the years, including various trios and sextets, but never the big band. So when I was talking to Steven Bensusan [President of Blue Note Entertainment], who’s been a good friend of mine for many years, he asked me, “Well, what haven’t you Camilo done here yet?” And I said that the one thing I haven’t brought yet is my Rolls Royce [laughs], which is the nickname I have for my big band. (CONTINUED ON PAGE 37) Billy Lester

P h o t b y I n g r i d H e f l / C u s R M c by Sam Spokony is accepting new students, offering an original approach to jazz Michel Camilo, 59, is a pianist from the Dominican MC: And because Brubeck used to play it with two creativity, technique, theory and ear Republic who first made his name performing alongside top hands [laughs]. Then on top of that, I had to work on training to students of all levels. Latin instrumentalists like saxophonist Paquito D’Rivera kind of having two brains in order to be able to while also going on to lead elite groups like his longtime trio improvise on it and to have the rhythmic flexibility to Re: Storytime - Billy’s solo piano CD: with bassist Anthony Jackson and drummer Horacio “El isolate one side from the other while also making them Negro” Hernandez. Camilo’s latest album, What’s Up?, a work together. “Connoisseur jazz...at an ever higher level solo project released on the OKeh label, was recently honored But the listeners might also notice that my version of daring and mastery.” with a 2013 Latin Grammy Award nomination for Best is also partially inspired by [drummer] ’s -Howard Mandel, President, Latin Jazz Album. He has already won two Latin Grammys original solo. Later in the tune, when I break the Jazz Journalists Association in the past. This month is a particularly exciting one for rhythm apart and I start making those runs down in “You won’t get any better than this.” Camilo, as the pianist will lead a big band in New York for the low register, I’m thinking like a drummer who’s the first time in more than a decade. using the whole kit. You know, da-da-dum-dum. -Rotcod Zzaj, rotcodzzaj.com “Solo jazz piano at its best” The New York City Jazz Record: After already having TNYCJR: The fourth tune on the album, “Sandra’s - Scott Albin, Jazz Times won a couple of Latin Grammys, does it feel any Serenade”, is also very moving. That was a piece www.billylester.com different to be nominated for a solo project? written for your wife? studio in Yonkers, NY Michel Camilo: The difference is that solo albums are MC: Yes. We’ve been married since 1974 and she’s not always a particular challenge and they’re also so only part of my dream, but she’s also my manager. So personally special. So definitely, yes, to be nominated our careers are together, we travel together and she’s for a solo project feels great. And What’s Up? was an my muse. I’ve written many tunes for her over the album where I really took my time honing it before I years, but this one was particularly special because it went into the studio and I really took a lot of time to was my Valentine’s Day gift to her this year. pick the material. I was actually in the studio on February 14 and she was there as well, but I didn’t tell her the title of the TNYCJR: How did you go through that process of tune until after I recorded it. So when she heard it, she deciding on the tunes? said to me, “Wow, what’s that one called?” And I said, “It’s your song!” MC: My motivation was to continue the long tradition of solo piano styles in jazz and somehow to put all my TNYCJR: Jazz musicians always know how to influences together in one album. You know, these are improvise, even when it comes to romance. sounds that have marked me for life, since the beginning of my career. That’s why the album actually MC: Yeah, there you go [laughs]. It was a really special starts with a honky-tonk blues [the title track]. It recalls moment. the foundations of the jazz tradition and that’s where my roots are. TNYCJR: Thinking again about the idea of becoming And then throughout the album those roots are the rhythm section in your left hand - as a pianist extrapolated and brought all over the place. Later, known for his outstanding trio and small group work, there’s my tribute to and do you feel this kind of challenging solo work is [“”], which I chose because I knew Brubeck especially important to your personal development? for many years. I met him over 20 years ago at the Grande Parade du Jazz in Nice, France. I remember MC: Yes, it’s about always continuing to grow. Never that night - he was waiting on the side of the stage rest on your laurels, but instead always challenging while I was playing with my trio and as I was walking yourself and actually see how far you can actually take off after the set, he gave me a hug and said that he it. And I think this is just part of what the jazz tradition really enjoyed my playing. To be recognized like that means, so I hope that never ends. by one of my idols...that has stayed with me throughout While I was recording the album I remember my life. I really felt blessed in that moment. walking back into the sound booth after doing a take and I also said, “Wow…” while listening to myself TNYCJR: How did you feel while playing “Take Five” [laughs] and I think it’s important to have that feeling. for the recording session this year? It’s good to rediscover yourself sometimes by really risking it, putting yourself out there and not being MC: Let’s put it this way - it took me about a year to afraid of flying without a parachute. You see how far practice keeping that famous beat going [laughs] and you can go while making sure that it’s still something to make sure that it was swinging. It’s a pretty you can really feel good about. And that “Wow” challenging part to play with just one hand. moment is the great reminder that there’s always still room for us to grow. TNYCJR: Right, because you really need to become the rhythm section. TNYCJR: And now, after being honored for your solo

6 NOVEMBER 2013 | THE NEW YORK CITY JAZZ RECORD ARTIST FEATURE

For more information, visit daveking.net [As of press time, King’s three-night November CD release celebration at ShapeShifter Lab has been postponed until next year.]

Dave Recommended Listening: • Happy Apple - Body Popping, Moon Walking, Top Rocking (Tinderbox Music/No Alternative, 1999) • The Bad Plus - Eponymous (Fresh Sound-New Talent, 2000) • Dave King - Indelicate (Sunnyside, 2009)) King • Craig Green/Dave King - Moontower (Long Song, 2010) • Dave King - I’ve Been Ringing You (Sunnyside, 2012) • Dave King Trucking Company - Adopted Highway (Sunnyside, 2013)

P h o t b y J e n s / c u r f D a v K i g by Brad Faberman

The Kickstarter video for Adopted Highway, the new music he’s ingested and it’s what’s just so nice about it, album from drummer Dave King’s Trucking Company again, ’cause it’s just sort of, like, there is no prescription quintet, is laugh-out-loud funny. In it, King, who rose for what it is, it’s just the music we’re making.” to prominence as a member of both Happy Apple and Another King-led group doing its own thing is the The Bad Plus, lifts weights; brandishes a knife he acoustic Minneapolis trio of King, pianist Bill claims to have fashioned from a water buffalo horn Carrothers and bassist Billy Peterson, which (he’ll skin an animal for you as a reward, he kids); concentrates on standards. First assembled for the 2012 explains that one can purchase a “pretty decent-fitting” recording of King’s third album as a leader, I’ve Been blazer from Target and reveals that he won’t play piano Ringing You, the band conjures up askew but if he’s not wearing gloves. But the fast-cutting clip approachable performances of tunes like Cole Porter’s could also be described as brimming with ideas, a trait “So in Love” and Ornette Coleman’s “Lonely Woman”. it has in common with Adopted Highway. Influenced by The arrangements feel connected to the jazz tradition, a broad but connected swath of styles - blues, swing, but not in a hackneyed way. “I absolutely wanted this funk, rock, minimalism - Adopted Highway is gleefully idea that we’re not forcing any issue to be outside of eclectic, bringing together elements from different what’s happened before, or just playing some tunes,” corners of the music world. In the video, King earnestly says King. “But at the same time, I wanted those kind JSnycjr1113 10/14/13 2:06 PM Page 1 refers to the Trucking Company’s music as “an of elastic thinkers to put their brains on it. So everyone Americana-tinged kind of avant garde jazz”, but had the responsibility to not force anything to happen there’s more to it than that. Unique music cannot be but to be yourself at the same time. Not try to fulfill contained by a single phrase. any jazz prompts.” Birthed at Minneapolis’ Walker Art Center in 2010 But King has never worried about expectations. during “King for Two Days” a two-day, six-band look Growing up in Minneapolis in the ’70-80s, King studied at King’s present and future work, the basically with jazz drummers Joe Pulice and Eric Gravatt. But “Best Jazz Venue of the Year” NYC JAZZ RECORD#“Best ” NY MAGAZINE+CITYSEARCH FRI-SUN-NOV 1-3 Minneapolis-based Trucking Company - bassist Adam the young percussionist went on to spend the first half Linz, guitarist Erik Fratzke, tenor saxophonists Chris of his 20s in , diving into diverse musical VIJAYHARISH RAGHAVAN IYER - MARCUS GILMORETRIO Speed and Brandon Wozniak and King - was originally situations, including recording beats for hip-hop artists TUE NOV 5 CLOSED FOR PRIVATE EVENT conceived as an opportunity for King to collaborate like Eazy-E and Biz Markie. And, save for those five WED NOV 6 NEW CUBAN with Happy Apple bassist Fratzke on guitar. It seems years in LA and a six-month New York City stint in MANUEL VALERA & EXPRESS natural, then, that the most compelling passage on the 1989, King has chosen to infiltrate the jazz world from YOSVANY TERRY - TOM GUARNA - JOHN BENITEZ - LUDWIG AFONSO - MAURICIO HERRERA album is a showcase for the six-stringer. After the afar: Minnesota. Especially unorthodox was King’s THU-SUN NOV 7-10H7:30PM & 9:30PM ONLY darkly wistful head in the epic “This Is a Non-Lecture”, decision to make his debut recording as a leader a true STEVE KUHN TRIO all that’s left is a single, repeated note from Linz and a solo affair. Indelicate, released in 2010, is a strong, vivid - tribal cymbal pattern from King. Then, on top, Fratzke collection of drums-and-piano duets and solo piano. TUE-WED NOV 12-13 slices, feeds back, crunches and drops bright, steel- King plays every note on the album. The drums were MELISSA ALDANA QUARTET GLENN ZALESKI - PABLO MENARES - JOCHEN RUECKERT pans-like prepared-guitar riffs, leaving lots of space overdubbed. “I remembered seeing Flaming Lips play THU-SUN NOV 14-17 between thoughts. The sparse, hypnotic section lasts live once where the drummer was playing all the nearly seven minutes. The music is arresting. “Every keyboards and there was a film of him playing drums DAVEJON IRABAGON - MATT DOUGLAS MITCHELL - (NOV 14)QUINTET - LINDA OH - RUDY ROYSTON time we do that tune, you strap in and [Fratzke] takes while they were playing,” relates King about one of the TUE NOV 19 it,” says King. “Live, sometimes it’s been 15 minutes inspirations for Indelicate. “Playing to the pre-recorded JAMIE BAUM SEPTET+ long. I mean, it’s incredible vibes being in, like a stuff, of the drums and there he is on the film behind AMIR ELSAFFAR - DOUGLAS YATES - CHRIS KOMER - BRAD SHEPIK JOHN ESCREET - ZACK LOBER - packed, kind of like jazz club and he’s using two to them and there he was onstage playing all the keyboard WED NOV 20 three minutes sometimes in between stanzas of the parts, that stuck with me. I loved that. That was, like, CONDUCTS THE JOHN BEASLEY solo. And you’re just onstage going, ‘Dang. Dang.’” in the late ’90s or whatever.” JUILLIARD JAZZ BIG BAND But that’s merely one piece of the Adopted Highway Another thing King likely identified with at that PLAYING THE MUSIC OF THELONIOUS MONK puzzle: “Dolly Jo and Ben Jay”, for instance, is Lips show was the Oklahoma band’s sense of humor. ARRANGEMENTS BY JOHN BEASLEY/MONK’ESTRA THU-SUN NOV 21-24 essentially a tune; “When in North Dakota” With song titles like “The Black Dial Tone of Night” rides a filthy funk rhythm; “Ice Princess” is coming out and the Adopted Highway Kickstarter video, for RENE MARIE “I WANNA BE EVIL”-WITH LOVE TO EARTHA KITT of riff-rock and the album-closing “Bronsonesque”, by example, King has shown himself to be a true TATUM GREENBLAT - PETE REARDON ANDERSON - ST. CLAIR SIMMONS Fratzke, spends part of its time in a bluesy, gutbucket funnyman. But the wisecracking comes from a pure KEVIN BALES - ELIAS BAILEY - QUENTIN BAXTER TUE-SUN NOV 26-DEC 1 groove. No genre is off-limits for the Trucking place; for one thing, King wants his listeners to know THU NOV 28 CLOSED FOR THANKSGIVING Company. Anything it passes on the side of the road is how happy he is to make music for them. up for grabs. “We want everyone to know that we feel like we’re MARIA SCHNEIDER “We love songs, we love the great traditions of the ones that owe you,” says King. “And so we’re not jazz, but we also love great and great gospel gonna be, like, doing you any favors with our ‘great HHHMINGUS MONDAYSHMINGUS MONDAYSHHH music and all these other things,” explains King. art’. We want you to have an amazing time when you MON NOV 4, 18 & 25 MON NOV 11 come to see us and be able to hear some deep music MINGUS ORCHESTRA “Fratzke, for instance, takes a few solos on this ####JAZZFORKIDSWITHTHEJAZZSTANDARDYOUTHORCHESTRAEVERYSUNDAYAT2PM -DIRECTEDBYDAVIDO’ROURKE#### Trucking record, on this new one, that would challenge and also laugh and also be able to relax and be able to any kind of shred-metal guitar player, you know? And enjoy the music on whatever level you’re able to he’s coming from such a deep space of all this different receive it.” v

THE NEW YORK CITY JAZZ RECORD | NOVEMBER 2013 7

ON THE COVER

e r n a G i l s ROSWELL RUDD o e s c h / u r t y f V r COOL TROMBONE LOVER

A l e x T by Kurt Gottschalk p h o t b y

There’s and then there’s cool jazz. There’s with singer Velma Middleton at the Paramount Theater. “I think it was a means to an end,” Rudd said of the West Coast cool and then there’s the jazz played by “They did this beautiful dialogue with ‘Baby, It’s Cold the Web campaign. “I wanted to record again and people who are just - cool. Players who are comfortable Outside’,” he recalled. “That experience of seeing specifically the program that I had in mind for these doing their own thing. Who are traditionalists with a in person and going up and shaking standards. And the opportunity was something we tap on the current. And probably wear sunglasses. his hand, he was such a lovely person. He said, ‘You’re would have to make for ourselves. But a lot of beautiful Case in point, Roswell Rudd and the cover of his pretty young to be in New York. You better watch out people have come into your lives as a result of that latest record, with the decidedly cool title Trombone for on the streets.’ He was a real fatherly/brotherly kind appeal. It’s wonderful to feel that support.” Lovers. Black turtleneck, black lenses, white frames, of guy. But the Louis Armstrong experience goes back Rudd gives the lion’s share of the credit for white hair, contemporary font in ‘50s throwback pink to when I came into the world because my father was managing the fundraising and pushing the project to and blue hues with his slide slicing diagonally across playing those 78s and playing along on a drumkit. It his longtime collaborator Gillis. Even the album’s title the tableaux. was a good jazz experience in the home.” came from her. “It was my nephew’s idea to raise the Jazz for lovers is usually songs, generally One of his father’s favorite Satchmo sides, money through Kickstarter and he and I worked hard recognizable standards, laid back but not lazy. “Struttin’ With Some Barbeque” (written by Lil for several months to raise it,” she said. “And Trombone for Lovers is all of that plus cool. Definition B Armstrong) also made it onto the new album, with Fay Sunnyside has been Roswell’s label for more than ten cool. Rudd’s set of standards includes Louis Armstrong, Victor handling the vocals. “That is a song that stuck years, They have released everything we have and Frank Loesser as well as the with me in the earliest days, it’s one of the tunes that I recorded. I thought Sunnyside would love this new CD Beatles, Booker T and the MGs and a ‘30s workers just kept on playing,” he said. “I think 95 percent of of course and would release it. Why not? It’s great. rights anthem sung by the NYC Labor Chorus. Four American music is on Armstrong’s shoulders.” There are always challenges - navigating personalities versions of it, in fact. “‘Jazz standards’ means popular Rudd also pays tribute to the memory of that duet and individual needs and schedules - but mostly it was material that’s been taken on by jazz players who leave with Middleton in his own take on the Loesser classic, a dream project. Look at the talent we had!” their own stamp on it,” Rudd explained. “In the replacing the vocals with his trombone and Steven Halfway through the album’s 17 tracks lies a category ‘standards’ there’s all kinds of standards and Bernstein’s . (Bernstein and Victor are just two perfect pinnacle in one of the coolest tunes of all time. I’ve been playing jazz standards for years but this of the esteemed guests appearing on the disc. Bob Booker T and the MGs’ 1962 instrumental hit “Green record is mainly about standards that I grew up on. It’s Dorough, Michael Doucet, , Billy Martin Onions” has earned a lasting place in the public just things that got into my body along the way from and also make appearances. Yeah, cool.) consciousness, having been featured in numerous what was on the radio.” Rudd, who has taught , talks about films, including American Graffiti, Chicken Run, Rudd, who celebrates his 78th birthday this month, the track and about playing music in general, using Quadrophenia and X-Men: First Class, as well as has heard a lot of radio and has played a lot of music. such terms as “dialogue” and “conversation”, reflecting television programs and advertising. It is, without Having initially studied the and French a basic belief that music is, at its core, a means of doubt, a landmark of 20th Century popular music. horn, he took up the trombone in his teens and as a communication. And it, perhaps, puts a handle on what makes Trombone student at played in a Dixieland band. “Music has all the intricacies of spoken language for Lovers so cool. “‘’ came along in the During the radical political and musical foment of the plus so much more that is sublingual,” he said. “I’m late ‘60s when I was living in New York City,” Rudd ‘60s, he was a part of the New York Art Quartet (the going to be 78 years old and I’m still exploring the said. “I’d been living there since 1957 and suddenly focus of the recent boxed set Call It Art) and played in incredible form that human beings have put together one day coming out on the streets in a shopping area bands led by Steve Lacy, Cecil Taylor, and for means of communication on all kinds of levels, this was ‘Green Onions’ and I made some inquiries and most notably , in whom he found a thing we learned from wildlife and still do because the found out it wasn’t somebody playing a jazz recording, kindred spirit, someone plugged into the wildlife are the experts, using the acoustics. I’m very it was coming out of the commercial radio. This was a explosion but unwilling to dismiss history. That fortunate to be living in the country right now here in feel I’d grown up with in the ‘50s. I’d call it a jazz feel partnership carries on more than 50 years later. Kerhonkson [upstate New York] and there’s a lot of and I’d never heard anything like that on commercial “That’s something that brought Archie and myself voices out there. This is something I grew up with too. radio. It was a breakthrough in that way and I thought together,” Rudd said. “I met him in a recording session There’s a lot of call/response out there.” ‘here’s the connection to the feeling I was trying to get that had to do with a revival of some Duke Ellington The Beatles also found their way onto the disc. “I in my 20s. It was a sound coming from the ‘40s and music in early 1961. From that time I was rehearsing never heard the Beatles in person but Revolver was a here it was in the street. You could call it some kind of with Archie every so often to explore standards. I think favorite of mine and ‘Here, There and Everywhere’ is mainstream bop or blues, I just call it ‘the groove’.” v that created a musical bond, learning from each other song that went deep with me and I’ve been carrying it that way. The language of the music puts us in touch with me ever since,” he said. “The Beatles were coming For more information, visit roswellrudd.com. Rudd and with each other and we develop a vocabulary and a to tour to promote that album and I was on my way up guests celebrate his 78th birthday and new album at Le sensitivity and an awareness that helps us grow.” to the Impulse! office to discuss a new album and they Poisson Rouge Nov. 24th. See Calendar. Ellingtonia found its way onto Trombone for Lovers were very visible on Sixth Avenue surrounded by in the form of “Come Sunday”, one of the Duke’s most crowds of young people.” “Here, There and Recommended Listening: lasting melodies and one of the more inventive Everywhere” is featured on the new record and, • Archie Shepp - (Impulse, 1964) arrangements on the disc. “I did get to be there for a coincidentally, the record he was planning when he • New York Art Quartet - Call It Art performance of the Sacred Concert at the Apollo Theater passed them on the street was titled Everywhere. (Triple Point, 1964-65) and it left such an impression on me because it just To put his own take on the standards down on • Steve Lacy/Roswell Rudd/Kent Carter/ expanded the content of ‘Come Sunday’, which was disc, Rudd and executive producer Verna Gillis turned - Trickles (Black Saint, 1976) huge already when Johnny Hodges recorded it. It gave to Kickstarter. It was Rudd’s first experience with • Roswell Rudd/Steve Lacy// me a whole new vision of ‘Come Sunday’ and that crowdsourced fundraising, but it wasn’t the first time Kent Carter/ - Regeneration resides with me today.” he had to look outside the traditional of (Soul Note, 1982) Rudd also had the opportunity to hear Louis having a record label foot the bills. His 1973 record • Steve Lacy/Roswell Rudd - Monk’s Dream Armstrong’s band live. It was 1951 and he was 16 and Numatik Swing Band was privately financed, although (Verve, 1999) came down from Connecticut to hear Satchmo’s band not through an online network. • Roswell Rudd - Trombone for Lovers (Sunnyside, 2012)

THE NEW YORK CITY JAZZ RECORD | NOVEMBER 2013 9 ENCORE

started playing bebop.” He had already picked up and make the drummer play a continuous backbeat. But George Freeman rudiments of the instrument from a neighbor and later I can keep up, know how to comp behind an organ was in Chicago’s DuSable High School band under player and make him feel good. I was raised with that by Ken Waxman legendary director Captain Walter Dyett. Other sound and I can play heavy.” influences that he heard on record were Charlie Proof of this came during the seven years in the Over the years he’s Christian with ’s band and Floyd Smith early ‘70s he spent with Ammons, especially when the played with Gene with Andy Kirk and when, as an adolescent peering frontline also featured the competitive . Ammons, Charlie through the open door of the Rhumboogie Club, he saw Although playing with Ammons and Stitt was Parker, blues singer T-Bone Walker, resplendent in a white suit, “sometimes like going against heavy artillery, I had and Richard “Groove” singing and playing the guitar. “The guitar fascinated volume that I could raise and I could play really hard,” Holmes, composed me,” he admits. he notes. One reason he stayed with Chicago-born funky jazz hits and still By the early ‘50s the Freeman brothers were some of Ammons was that his own composition “The Black Cat” gigs frequently. Yet if Chicago-based George Freeman, the most in-demand backing musicians in Chicago and became a major hit for the saxophonist. 86, is known, it’s as the last survivor of the hyper- were asked to accompany Parker when he played at the During that same period Freeman also recorded a talented jazz-playing Freeman brothers. Baby brother of Pershing Ballroom. “The first time I saw series of pioneering jazz-funk sessions like 1972’s drummer Bruz (1921-2006) and tenor saxophonist Von play live I was in tears,” Freeman recalls. “Later when Franticdiagnosis (Bam-Boo Records, featuring organist (1922-2012), he’s also uncle of tenor saxophonist Chico we played with and it was ), performing with electric , arp Freeman. Freeman says without boasting: “God gave the same thing. Every time Dizzy hit a high note Von , lots of percussion and, of course, many me an extremely different type of talent, but I don’t and I would let out a scream.” organists. But he returned to Chicago and mainstream think I’ve been properly heard.” After experiences like that, the guitarist tried his playing after Ammons’ death. Similarly, although Although he has led more than a dozen records, the luck back East again. “I just like the smell of New York,” AACMers trombonist Lester Lashley and multi-reedist most recent is Savant’s At Long Last George, from 2000. he jokes. But he ended up playing less-than-well-paying Kalaparusha Maurice McIntyre were on his 1969 Birth That may be because of his constant movement over the gigs with Holmes and others, almost ending up on Signs LP (“that was the producer’s idea” he explains) years back and forth from Chicago to NYC to . street with his gear in hock. Organist Wild Bill Davis and his nephew is an AACM member, Freeman stays Or as he jokes, “I’ve always been in the right place at the needed a guitarist, he gave Freeman money to reclaim away from avant garde improvising. wrong time.” his guitar and amp and they immediately went on the “At Von’s funeral when I played ‘I Remember You’ This goes back to his first NYC experience in the road. When the band arrived in Los Angeles, Freeman I went ‘out’, but then I came back in. That’s what I late ‘40s when tenor saxophonist Griffin and trumpeter tried for a record date at Pacific Jazz, but the producer always do. Listen to . He played ‘in’ before left ’s band and asked the wanted to record Holmes. Freeman contacted him and he played ‘out’ and he would always come back in. I guitarist to put together a group. He did, but no sooner when the organist arrived in California (“with his wife like blues and ballads and like to swing in a modern did he arrive in the Apple then his amplifier was stolen and four kids and a hearse that all organists drove those way. Charlie Parker blew my mind then and he still and the gig they were supposed to play never days”), the two made some highly praised LPs featuring does today.” v materialized. Instead they worked in cities such as the likes of tenor saxophonist and , where Freeman first met John Coltrane, trombonist Lawrence “Tricky” Lofton. However, the Recommended Listening: who declared: “I like the way you play guitar...you hit guitarist recalls ruefully that Holmes had returned back • Charlie Parker - One Night in Chicago (Savoy, 1950) all the low strings.” Then in 1947 the Morris-Griffin East without Freeman when the organist had a huge hit • Richard “Groove” Holmes - Groove (Les McCann group recorded a Freeman-conceived tune called “Low with “Misty”. Presents The Dynamic Jazz Organ of Richard “Groove” Groovin’”, which became one of first When Freeman left California, it was to join R&B Holmes) (Pacific Jazz, 1961) hits. singer Jackie Wilson’s band, fronted by tenor saxophonist • George Freeman - Birth Sign (featuring Von Freeman) It isn’t surprising that Trane liked his playing since Sil Austin. “But I’m really a player,” says (Delmark, 1969) Freeman “tried to play like a saxophone” after he first Freeman. So he quit to work with others, usually • - The Last Blues Album, Vol. 1 heard Charlie Parker. “Charlie Parker’s playing was so organists like Jimmy McGriff. “I like organ players,” (, 1974) strong, but I could hear what he was doing and could confirms Freeman, whose present working group • George Freeman - (Southport, 1995) transfer it to the guitar,” he recalls. “That’s when I includes that instrument. “They know how to fill a room • George Freeman - At Long Last George (Savant, 2000)

LEST WE FORGET

to cross over into jazz singing. As she later recalled, “I and a public that gave greater attention to Julie London, Jeri Southern (1926-91) tried...to sing in my speaking voice. ...I kept practicing and others of that era, Southern retired my low voice and in about two months I sang well from performing in 1962. She opened a studio in Los by Andrew Vélez enough not to sound ridiculous. ...It was like Angeles where she taught vocal and piano technique. manufacturing an entirely new voice.” A gifted songwriter, the depth of her musical “You better go now because I like you much too For a long time Southern considered herself only a knowledge is evident in her book Interpreting Popular much, you have a way with you...” is the alluring piano player until she learned she could get more work Music at the Keyboard. opening line of one of sultry-voiced Jeri Southern’s if she both played and sang. She began attracting On Aug. 4th, 1991 Southern passed away at a mere signature songs. Possessed of a honey purr, in the most attention as a vocalist when signed up for broadcasting 64. With all that talent and skill, one can’t help wishing tastefully intimate manner hers was really a siren call with Chicago jazz lover Dave Garroway,. By 1950 she she’d had the bigger career she deserved. Perhaps, as to STAY. Just how unique and spellbinding her pitch was singing intermissions at Birdland. During a gig at Marian McPartland sometimes opined of others, she perfect vocalizing was can be savored on The Warm Chicago’s Hi-Note, she was heard by Peggy Lee, who was “too hip for the room”. Like the great Carmen Singing Style of Jeri Southern (The Complete Decca Years was so impressed that she got her a contract with McRae, Jeri Southern played exquisite piano and sang 1951 - 1957) (Fresh Sound). Amply respected by fellow Decca in 1951. The aforementioned tenderly treated with a depth-charge directness that stirred listeners. musicians at the time, this singer-pianist numbered “You Better Go Now” was her first recording for the Hearing her now, that sound remains as simple and , , Tony Bennett, Ralph Burns label. After that she recorded quite often in New York musical as it is deep. v and Peggy Lee among her most ardent fans. Largely with the of Sy Oliver, and unknown today beyond cognoscenti of vocalists, her Salvatore “Tutti” Camarata, among others. Recommended Listening: singing still sounds totally au courant. With an orchestra or her own trio, Southern • Jeri Southern - The Warm Singing Style of Jeri Born Genevieve Lillian Hering on Aug. 5th, 1926 consistently chose quality songs and delivered them in Southern (The Complete Decca Years) in Royal, Nebraska, she began playing piano when she a straightforward manner, eschewing the novelty tunes (Decca-Fresh Sound, 1951-1957) was three. By five she had begun formal study in popular at the time, remarking, “I’ll sing songs I like. • Jeri Southern - Coffee, Cigarettes & Memories classical piano. Despite the family’s limited finances Songs that are good.” Her care with words was a (Roulette-Fresh Sound, 1957) during the Great Depression, her mother insisted on lyricist’s dream; she was equally at ease sultrily • Jeri Southern - Southern Breeze her going to Notre Dame Academy in Omaha for torching a blues like “That Old Devil Called Love”, (Roulette-Fresh Sound, 1958) advanced training in classical piano. It was while going uptempo and playfully seductive with “An • Jeri Southern - Meets Cole Porter (Capitol-EMI, 1958) working as an assistant to the principal piano teacher Occasional Man” or displaying a particular affinity for • Jeri Southern - Meets there that she discovered jazz and jazz singers. But romantic tunes like “”. (Forum-Roulette - Fresh Sound, 1958) Southern’s coloratura soprano made it difficult for her Finally weary of the vagaries of the music business • Jeri Southern - At the Crescendo (Capitol-EMI, 1959)

10 NOVEMBER 2013 | THE NEW YORK CITY JAZZ RECORD MEGAPHONE

meet, play and learn from many musicians while there come with venturing outside one’s (and others) Following Your Muse was a thrill and so when a second opportunity came in comfort zones, it is essential to one’s vitality and 2002 to tour for six weeks in South Asia, it was a dream growth as a musician to follow your muse. v by Jamie Baum come true! I’d been a fan of Indian music for a long time, loved the tabla and bansuri and had even For more information, visit jamiebaum.com. Baum is at Jazz When asked to write this column, I was flattered and recorded a tune by on my 2003 OmniTone Standard Nov. 19th. See Calendar. hesitant at the same time. Did I have something I had a release, Moving Forward, Standing Still. burning desire to talk about...at least in print anyway? The tour was an incredible opportunity in so many Jamie Baum is a New York City-based jazz flutist/composer. It was suggested to me that it would be a great ways. The two musicians I toured with, Jerome Harris She has toured 28 countries and performed with artists as opportunity to talk about what going to South Asia and Kenny Wessel, were not only great to play and diverse as George Russell, Mick Goodrick, meant for my musical journey as a player and composer hang with but were as excited to absorb everything and Donald Brown to , Ralph Alessi, Uri and how that translated into my new Sunnyside release about the music and culture as I was. We were a good Caine, and Ursel Schlicht. Her fifth CD In This Life. Of course, when it comes to that, there is fit and had multiple opportunities to perform and as leader, In This Life (Sunnyside), was released last month. plenty for me to say! The one question, however, that I work with local musicians. Two of the most memorable Baum has been nominated by the Jazz Journalists Association have been continually asked, or what has often been included a concert in Delhi with VM Bhatt, who plays for “Flutist of the Year“ several times and in DownBeat implied, has been to explain or perhaps even to qualify the Mohan Veena (slide guitar), and the tabla player Critics Polls annually since 1998. Her awards for composing my choice of working with the music of Nusrat Fateh Sandeep Das (who is in the Silk Road Ensemble) and a include the International Jazz Alliance and the Ali Khan, the late iconic Pakistani Qawwali vocalist concert in Chennai with Karaikudi R. Mani, master Doris Duke/CMA New Works: Creation and Presentation (particularly in light of not having studied the music mridangam player and his eight-piece ensemble. and she has toured as a Department of State/Kennedy Center through a formal or traditional approach). The short The time with Mani, who had been a teacher to Jazz Ambassador. Aside from her Septet, together since answer is really because that music touched me in the musicians like Jamey Haddad, Todd Isler and Marcie 1999, she’s involved in several projects including Yard same way that listening to Miles and Coltrane did Frishman-Sarangan, was priceless. Not only did he Byard: The Project. when I first heard them. compose a piece for us and his ensemble, which we Most people probably don’t know that I started spent a couple of days rehearsing before our nationally out at New England Conservatory as a televised concert, but we also spent a day with him major, although partway through my second year I during which he told us about his life and approach to switched to the jazz department. While at that time my music. On later trips back to , Nepal and reasons for switching was because I knew I wanted to Bangladesh, I had several similar experiences that not focus on the vast amount of information and skills I only informed and broadened my approach to would need for this journey, one of the things I got improvising and composing, but touched me from the Third Stream department, aside from some spiritually. It is true what they say about India and great ear-training tools, was the importance of other parts of South Asia - it can be life-changing. following your muse and finding your voice through Those experiences and being introduced to the discovering, being open to and synthesizing your music of Nusrat Fateh Ali Khan inspired me to want to influences. That has always stayed with me. find a way to incorporate some of the elements found Growing up, while jazz was always a passion, I in that music into my music. It was a challenge, as also listened to and played , rock, blues were my previous projects inspired by Western classical and later Latin and Brazilian music. I never really felt I composers, including and Béla Bartók. had to limit myself since I loved it all and so the As I wrote in the liner notes for In This Life, with great concept of Third Stream seemed to fit, as did traveling respect for their traditions and vast language and and my interest in other cultures. Offered the without immersing myself in study, my goal wasn’t to opportunity to tour as a State Department/Kennedy play or compose in those styles but to have them Center Jazz Ambassador in South America for five inspire new ways of writing and improvising. weeks in 1999, I jumped at it. Having the chance to And so, despite the oftentimes-thorny issues that

VOXNEWS

I Wanna Be Evil (Motéma) and experience this singular years, The Manhattan Transfer, at Blue Note (Nov. Sing It Like It Is performer’s Jazz Standard CD release (Nov. 21st-24th). 14th-17th) for what promises to be jazz vocalese at its She is the cream of the modern day jazz crop, sensually absolute five-star finest. by Katie Bull unearthing personal nuance as she honors Kitt’s terrain. Two remarkable young award-winning rising Fay Victor could be René Marie’s long-lost twin greats with French blood are in the house this month: Recently a jazz musician approached a singer to from an alternate side of the jazz looking glass. Take a the incomparable 2010 Thelonious Monk International suggest that “anyone” can scat in gibberish and invent trip with avant-take-you-off-guard Victor as she Jazz Competition winner Cécile McLorin Salvant will notes. If a singer could spontaneously invent fine lyrics, celebrates the CD release of Absinthe & Vermouth be performing as a guest with Jacky Terrasson at he said, that would be a sign of “real” skill. He then (Greene Avenue) at JACK (Nov. 13th). Like Dali’s Dizzy’s Club (Nov. 10th) and triple competition winner challenged the singer to recite the alphabet out of order, melting clock, Victor’s lyrics cascade in a melding of (, Thelonious Monk and on the spot. It so happens the singer is also a writer. the mundane, the natural and the fantastical. Words Awards) Cyrille Aimee will be at Birdland to celebrate (Admission: I am the singer.) Assumptions around the morph into pointillistically expressive wails and her self-released CD Live at Birdland, featuring primacy of lyrics for all singers reveal a constricted punctuating tones. It’s like the Mad Hatter invited Kurt saxophonist Joel Frahm (Nov. 19th-23rd). Aimee will view of vocal jazz. Vocal jazz is not solely lyric-driven, Weill and Arnold Schoenberg to tea and the caterpillar also play lead with Broadway singer/actor Bernadette in the same way that instrumental jazz it not all about scored it. You can also hear her in duo with Tyshawn Peters in the /Steven Sondheim the invention of notes. Sorey at Ibeam Brooklyn (Nov. 2nd) and as part of collaboration A Bed and A Chair at City Center (Nov. November highlights singers who sing with or Roswell Rudd’s 78th birthday celebration at Le Poisson 13th-17th). McLorin Salvant and Aimee are two next without lyrics as their relationship to the composition Rouge (Nov. 24th). generation vocalists rooted in tradition who are and their experience of the moment demands. These Speaking of birthdays, NEA Jazz Master Sheila masterfully contributing their fresh new verve to 21st singers can string events in whatever order or disorder Jordan, also a mentor to many (including yours truly), century jazz singing. their story inspires. Though some may be firmly rooted encourages her students to “sing the truth” and sing it Back downtown, the cozy 55Bar hosts vocalist in tradition, they can all reference non-jazz sources and from the heart. Jordan’s 85th birthday celebration with Kendra Shank (Nov. 29th), whose original folk roots move the listener with intimate truths or vigorous Steve Kuhn at the Blue Note (Nov. 18th) will most contribute to her direct and unguilded simplicity. imaginings. certainly be a night of graceful and honest stories from Shank always spaciously navigates jazz standards, In an epic tribute, René Marie channels the spirit of a jazz life lived out loud. delicately welding experimental jazz edges with beloved Eartha Kitt through her own brave and Another fierce jazz veteran will roar at Blue Note command and authenticity. uncompromising soul. Marie abandons herself to each (Nov. 13th) - hear the nine-time Grammy winning Janis There are as many ways to sing jazz as there are moment, delivering an instant classic that both respects Siegel as she celebrates the CD release of Nightsongs ways to experience “what is”. Great jazz musicians tell the source and stands on its own. Everyone must hear (Palmetto). Siegel will also join her collaborators of 38 their version of what is - like it is. v

THE NEW YORK CITY JAZZ RECORD | NOVEMBER 2013 11 LABEL SPOTLIGHT

a full-time job in addition to our other full-time day For instance, That Overt Desire of Object by saxophonist Relative Pitch jobs that pay the bills,” adds Panico. Although Mike Phillip Greenlief and Léandre or multi-reedist Vinny Sprigle does most of the label art and David Wight Golia’s Take Your Time with cornetist , by Ken Waxman helps with marketing, no one works exclusively for RP. bassist and drummer Alex Cline were “We’re part of a community in NYC and try to use the existing sessions looking for a home. Other projects are “We both feel that every release has been a success,” talents that are here,” notes Reilly. more “hands on” as Panico describes it. Two by alto says Kevin Reilly, co-owner with Mike Panico, of the “The thing that’s different about Relative Pitch saxophonist Jemeel Moondoc and pianist Connie New York area-based Relative Pitch (RP). “I want to and what makes it so special in my mind, is that the Crothers was organized in response to a request from stay away from categorizing our releases according to people that run the label are faces in the crowd of 90% the label. Another time, bassist contacted the parameters of late industrial capitalist consumerism.” of the shows you play in New York,” notes Wooley, them about making a CD. The result was Floating Ice Economic methodology aside, in the less than five who is on From The Discrete To The Particular with with pianist , with Panico in the studio years since it was founded, Relative Pitch has already guitarist Joe Morris and pianist Agustí Fernández. “It’s as co-producer, involved in every aspect of the session. put out 14 well-regarded CDs, featuring younger not an overt community-building exercise for them to “As producers, they aren’t trying to control anything; advanced players such as guitarist Mary Halvorson be at the shows and manage a label, it’s just simply a they’re simply documenting artists they care about and trumpeter Nate Wooley, plus veteran free natural part of who they are,” he adds. and allowing a vehicle for those artists to express the musicians such as bassist Joëlle Léandre and “What Kevin and Mike share is an unrelenting music they want to express, the way they want to saxophonist Urs Leimgruber. dedication to and passion for music, which is evident express it,” confirms Halvorson. Music fans from an early age, Reilly and Panico, from the sheer number of concerts they attend,” says One anomaly in the catalogue is that Just Listen, now both 47, gradually evolved from attending rock Halvorson, who recorded with saxophonist Jim Hobbs drummer Joey Baron’s disc featuring guitarist Bill shows to following traditional jazz to devoting their and player (collectively Frisell, is RPR 001 even though it was just released. time listening to . “Since 9/11 I known as AYCH) on As the Crow Flies and on Sifter with Baron had been promised that his would be the label’s listen almost exclusively to improvised music,” reveals drummer Matt Wilson and cornet player Kirk Knuffke. first CD, but unforeseen delays held up its release until Reilly. “I find Cecil Taylor calming and cathartic.” “What I really appreciate is the seriousness with which 2013. That sensitivity to the interests of musicians and Attending on average of 20 concerts a month each, the they went about starting the label and the sheer volume audiences is another quality that radiates from RP and two partners first met online, then forged a friendship of music that they put out. They certainly didn’t start its founders. “The label is an extension of their love of while volunteering at The Stone. Eventually they slow. It seems every time I see Kevin - which is fairly the people they see almost every night out at the decided that releasing improvised music CDs would often - there are another couple of new releases.” venues,” says Wooley. “They truly are missionary in spread appreciation for the sounds they loved. “This Explains Reilly: “The AYCH record came about their desire to get the music they think is transcendent label is another way to serve the music that we admire,” after I saw the Taylor Ho Bynum sextet and told Jim out to people that don’t have the chance or impetus to insists Panico. As for the name, as Reilly explains: and Mary they had great chemistry. Jim knew about the go to six or seven shows a week in Brooklyn.” “Most musicians have relative pitch, not perfect pitch.” label and handed me the final mixes six months later.” With mostly similar music tastes, which Reilly Taking care of a constantly active label like RP “is Practically each release has a different germination. (CONTINUED ON PAGE 37)

Just Listen Floating Ice From the Discrete to the Particular As the Crow Flies Sifter Joey Baron Michael Bisio/Matthew Shipp Morris/Férnandez/Wooley AYCH Halvorson/Knuffke/Wilson

LISTEN UP!

Pianist TADATAKA UNNO was born in Tokyo. He Dream Band: I would like to play with Ernestine Anderson. his own group regularly at , Smoke moved to NYC and started from scratch in 2008 after and Dizzy’s Club Coca-Cola. 10 years of performing professionally in Japan. In 2010, Did you know? Unno was selected to attend ’s Jazz Ahead I guess I have good hand for massages. Teachers: Willie Pickens, , Lyndia at Washington, DC’s Kennedy Center and Jazz Rising said, “I am jealous of your wife” to me when I gave Johnson and a lot of self-study. Stars Program of the Chicago’s Ravinia Festival. He him a massage at his home. has performed at the Village Vanguard, Smalls, Dizzy’s Influences: I take something from all the greats. Poet Club Coca-Cola, etc. The legendary For more information, visit facebook.com/tadatakaunnojazz. Kahlil Gibran, author James Baldwin, vocalist Luba mentored him, having the highest trust in his talents. Unno is at Blue Note Nov. 8th with Clifton Anderson, Nov. Rashiek, ‘70s . When Jones passed away in 2010 at age 91, Unno was 17th at Measure and Arturo’s Saturdays in Greenwich at his side and and is now one of several pianists who Village. See Calendar and Regular Engagements. Current Projects: My third album, Lyrical Vol. I hold the jazz piano baton left by Mr. Jones. (Skiptone), was released in 2012. I am currently preparing to record again while also developing some Teachers: Yuichi Otsuka, Kazuhide Motooka, Hank thematic concert material and educational projects. Jones, . By Day: Practice, write, read and teach sometimes. Influences: Art Blakey and , , , , , I knew I wanted to be a musician when... I read Q: The , , , Gene Harris, Autobiography of . . Dream Band: The musicians I work with now hold me Current Projects: Trio; Clifton Anderson Tadataka Unno Milton Suggs down! But I look forward to meeting and working with Quintet; and Jeli Posse. whomever I vibe with. A native of Chicago, MILTON SUGGS put down By Day: Relaxing with music. roots in New York a year ago and has made strides in Did you know? furthering his reputation as one of the premier rising My first very instrument was the upright bass, I’m I knew I wanted to be a musician when... I was nine, male vocalists on the New York scene. With three currently re-learning how to play it. my father took me to Blue Note in Tokyo to listen to albums as a leader (Lyrical, Vol. 1, Things to Come and Art Blakey and The Jazz Messengers. Before the show Just Like Me, with Willie Pickens), since moving he has For more information, visit miltonsuggs.com, Suggs is at started, Art came to me and patted me on the head, recorded and performed with trombonist Wycliffe Smoke Tuesdays and Cávo Sundays. See Regular then said “Nice Boy!” I think that’s the time. Gordon and trumpeter and performs with Engagements.

12 NOVEMBER 2013 | THE NEW YORK CITY JAZZ RECORD FESTIVAL REPORT Belgian Jazz Meeting Crak Festival Krakow Jazz Autumn by Laurence Donohue-Greene by Ken Waxman by Andrey Henkin d . c o m / . j a z w o r P h o t b y N i c l a s F n e ( c ) S u s a n O ’ C o r - w P h o t b y K r z s f e n a k i Peter Vandenberghe of Too Noisy Fish John Butcher, Xavier Charles, Axel Dörner

Jazz can teach quite a few non-musical lessons: from Completed in the mid-16th Century in the flamboyant Remember (assuming it wasn’t you) that really cool interpersonal relationships to politics. Too bad gothic style, the mammoth and solid Église St-Merry kid in high school, who seemed to know everyone and politicians aren’t more like jazz musicians, working characterizes the Beaubourg area on the right bank of whose table during lunch was the place to be? Now together on the bandstand for the common good. The as much as the nearby ornate 19th century Hôtel imagine that kid grew up to be a venom-spitting divisiveness between Belgium’s Dutch-speaking north de Ville and the brutalist, high-tech architecture of saxophonist and curated a festival in Europe? You’d and mainly French-speaking south is similar to our 1977’s Centre Georges Pompidou. During the second want to be there too, and with good reason. own Republicans and Democrats, who, at the time of annual Crak Festival (Sep. 26th-29th), however, the We’re talking about Swedish agitator Mats this writing are in the midst of a multi-week church’s musty arches, pulpits and 30-foot-high Gustafsson and the first half of the 8th annual Krakow government shutdown (something Belgium has itself ceilings served as an unexpected backdrop for sounds Jazz Autumn (Oct. 8th-12th). A joint venture between experienced). from the 20th and 21st centuries and beyond. Gustafsson, the seminal Polish record label Not Two Belgians have few factors uniting them beyond This year Crak, an onomatopoeic description of and Krakovian jazz club Alchemia, the event was a jazz and their national soccer team. Qualifying for the the continuous, evolutionary friction among musical reformation of Gustafsson’s Nu Ensemble, with an upcoming World Cup certainly gives the country cause genres, not only highlighted accomplished local almost entirely new cast. Joining the leader and for celebration as should the biennial Belgian Jazz improvisers, but a cross-section of players now based holdover tuba player Per Åke Holmlander were Peter Meeting (BJM) - née Flemish Jazz Meeting - admirably in Berlin. Featured were two large ensembles, Berlin’s Evans (trumpet), Joe McPhee (trumpet/saxophone), taking place in a different region of the country and Splitter Orchester and Paris’ L’Orchestre de Nouvelles Crister Bothén (bass clarinet/guimbri), Agustí financed by the otherwise divided government. This Créations, Expérimentations et d’Improvisations Férnandez (piano/organ), Kjell Nordeson year’s BJM (Sep. 6th-8th) was staged in the French- Musicales (ONCEIM), plus numerous smaller groups. (vibraphone/drums), Stine Motland (vocals), Dieb 13 speaking region, in the so-called “Fiery City” of Liège Two of the more stimulating bands were Pan- (turntables), Jon Rune Strøm and Ingebrigt Håker on the scenic Meuse River, not far from the Dutch and European trios that turned expected ensemble roles on Flaten (basses) and Paal Nilssen-Love (drums). For the German borders. Bands played at Caserne Fonck (a their proverbial heads: Trio Inédit, matching French first four nights at Alchemia, small formations drawn former military base) and audiences got a good cross- drummer Antonin Gerbal, Austrian bassist Werner from the larger ensemble were presented in scrumptious section of the country’s jazz present and potential, Dafeldecker and German inside-piano specialist bite-sized morsels, some first-time meetings, others particularly a plethora of trios: 7 of 12 acts were trios Andrea Neuman, and Trio Sowari, with French tenor groups of long-standing. All this frivolity culminated and of those 4 were piano trios. saxophonist Bertrand Denzler, German percussionist on the final evening at Manggha Centre, where a new Pianists Peter Vandenberghe and Burkhard Beins and British laptoppicist Phil Durrant. full-group piece was premiered. featured in the best of the BJM lineup, piano-led Elusively accented, but hardly effete, Inédit’s on-going Alchemia, located in the city’s Kazimierz (historic or otherwise. Too Noisy Fish - the dynamic narratives put cuffed hi-hat and intermittent bass Jewish quarter), is a café on its ground floor, with a Vandenberghe, bassist Kristof Roseeuw and drummer drum whaps upfront with the bassist’s individual perilous staircase leading to a brick-lined basement Teun Verbruggen - started their set as if going through string stretching and wood rubbing, eschewing rhythm performance space. There was a feeling of stumbling a soundcheck. Opener “Turkish Laundry” (from this but providing coloration. Meanwhile Neuman’s bow- into a WWII resistance meeting, amplified by the year’s Fight Eat Sleep on Rat Records) developed so sawing on the edge of her instrument’s frame produced strange and subversive sounds coming from the stage. quickly it caught listeners off-guard. Theirs was a ostinatos that gave the performance its shape. In The several early evening sets were amuse-bouches - “buckle your seat belts”-like set, with a sense of humor contrast, with rhythmic juddering from Durrant’s eight minutes of solo vocals or 30 minutes of a bass and adventure in both the music and the titles: “PTMA” computer in the bass role, Sowari hinted at jazz’ duet, for example - the proceedings closing with a in French stands for “Pour Toi Mon Amour (For You common sax-bass-drums groups, Denzler’s side-of- longer set by an active or revived group: Swedish Azz; My Love” and in English - according to the pianist - mouth, balanced and meticulous delivery suggesting a the trio of Evans/Férnandez/Gustafsson; Bothén’s “Pretty Thing My Ass”); “Curly Whurly, Napoleon” new century . However Beins’ cymbal resurrected Acoustic Ensemble; The Thing (Gustafsson/ featured prepared drums of various objects including scrubbing plus mallet smacks on horizontal floor tom Håker Flaten/Nilssen-Love) with Joe McPhee. kalimba thumb piano on snare while Vandenberghe and bass drums made no effort to swing on their own. Motland’s solo set on the first night was an repeated the tune name in a deep baritone voice, Another instance of interactive communication immediate highlight; in fact, the vocalist was the followed by “Who you gonna call?”, instigating regular was Contest of Pleasures with German slide trumpeter revelation of the festival, a measured, almost electronic audience laughter. Axel Dörner, French clarinetist Xavier Charles and approach to . On the same night Too Noisy Fish’s level of creativity was matched British soprano and tenor saxophonist John Butcher. was a probing first-time duet between Bothén (on bass by Defoort’s trio with electric bassist and Having developed a strategy dependent on protracted clarinet) and McPhee (tenor sax), full of lovely textures. perhaps the greatest revelation of BJM 2013 - mid-20s pauses and intuitive three-pronged harmony, the Swedish Azz - Gustafsson, Nordeson, Holmlander, drummer Lander Gyselinck, who looks like a pre-teen results could be as upsetting as a sudden pistol shot or Dieb 13 - featured a “Norwegian infusion”, to quote but sounds like a veteran. Defoort’s former student as calming as a lullaby. Interaction trumped Gustafsson, in the subbing Nilssen-Love. The group matched wits with his teacher and moved through individuality even though at points each explored the plays only historic jazz from , lovingly tempo shifts like quicksilver, from opener “Tokyo furthest reach of his instrument. Similarly the recreated and then twisted via Dieb 13’s modern Dreams” to The Police’s “Walking on the Moon” set rigorously self-created and applied experimental tuba additions (eg, avian sounds on a graphic score to closer. Gyselinck also supplied his restless rhythmic timbres of the UK’s Robin Hayward brushed up against Alfred Hitchcock’s The Birds). drive to the piano-less, Indian classical music-inspired the strategies of Norwegian Morten J. Olsen on a Bothén’s solo bass clarinet recital on the second Ragini Trio, his multi-rhythmic prowess and intuitive horizontal bass drum during another set. With the was only 10 minutes long but remarkable, with a (CONTINUED ON PAGE 46) (CONTINUED ON PAGE 46) (CONTINUED ON PAGE 46)

THE NEW YORK CITY JAZZ RECORD | NOVEMBER 2013 13 CD REVIEWS

work on both alto and soprano sax by Bartz and an four other musicians - bassist Avishai Cohen, impressive solo from McAll. Bartz’ own “BirdTrane” vibraphonist Dave Samuels, harpist Edmar Castaneda features some of his fiercest playing in a more and bandoneon player Juan Dargenton. The concept is straightahead vein while the whole band generates suggested by the CD’s double entrende title, which heat on the jubilant “Nita”. A couple of tracks feature refers to a traditional South American drink made from vocals, with longtime Bartz associate lending the yerba mate plant and drunk with friends in a his gorgeous pipes to the hymn-like “Dear Lord” while communal cup with a metal straw. a quartet of singers is heard chanting on Bartz’ The selections played are a combination of powerful, prayerful composition “The Song of Loving/ originals by Urcola, Castaneda and Samuels, traditional

Coltrane Rules: Tao Of A Music Warrior Kindness”, a nod to Coltrane’s mystical side. pieces, Latin American standards by Egberto Gismonti Gary Bartz (OYO) There are plenty of Coltrane tribute albums out and Carlos Gardel and one selection from the Great by Joel Roberts there but this is one of the best you’re likely to hear. American Songbook, Raye-de Paul’s “You Don’t Know What Love Is”. The opening “Elegia” is a traditional Veteran alto saxophonist Gary Bartz, now 73 and fast For more information, visit garybartz.com. This project is at folk song featuring lively conversation between Urcola becoming an elder statesman, came of age as an artist Smoke Nov. 1st-2nd. See Calendar. and Cohen. The haunting sound of Dargenton’s around the time Coltrane was hitting his peak in the bandoneon is heard on the next track, “Elm”, a minor early ‘60s and has been deeply inspired by the great key piece where Urcola plays muted . The saxophonist on both a musical and spiritual level. bandoneon is also featured on Urcola’s original The sessions that became Coltrane Rules have been “Milonga Para Paquito” (for Paquito D’Rivera, with sitting on the shelf for more than a decade. Bartz and a whom Urcola often performs). “You Don’t Know What quartet of pianist Barney McAll, bassist James King Love Is” also captures the ear with a simple reading by and drummer Greg Bandy recorded most of the album Urcola and Dargenton. in 2000, with the short opening and closing solo sax For Cohen’s original “Float”, Urcola’s trumpet versions of Coltrane’s “After the ” added in 2008, gently wafts above the composer’s intricate bass but the album has gone unissued until now. figures. Castaneda’s playing is fluid and musicality You can hear Coltrane’s influence in much of boundless on “Alfonsina Y El Mar” and “Columbian Alchemy Bartz’ playing, in his swirling, explosive solos and the Dixie” while Samuels’ vibraphone solo on “Preludio Amir ElSaffar (Pi) cascades of sound teetering between tonal and atonal. by Robert Iannapollo #3” and playing on “Samba Pa’ Dos” are But he seldom sounds imitative, bringing his own album highlights. But the track that will completely highly intense style to the fore. The rest of the band Originally from Chicago and of Iraqi extraction, enchant the listener is the rendition of Carlos Gardel’s also evokes the classic Coltrane Quartet at times, with trumpeter Amir ElSaffar has developed a unique strain classic “El Dia Que Me Quieras”, played with Cohen ferocious drumming, heavily chorded piano and deep, of jazz stemming from the John Coltrane/Ornette and clearly designed to melt listeners with its propulsive bass, but avoids the folly of mimicry and Coleman axis and informed by elements of Middle sensitivity. finds its own way of approaching Coltrane’s music. Eastern music, primarily maqam, a scalar/melodic The album’s centerpiece is a sprawling 14-minute system of music. But he adds unusual rhythmic For more information, visit sunnysiderecords.com. Urcola modal take on “I Concentrate on You”, with exquisite elements as well. For Alchemy, while the Middle is at Smalls Nov. 4th. See Calendar. Eastern element is still there, it seems slightly muted. ElSaffar seems to be exploring more straightforward jazz-based material. Although one can hear unusual RECOMMENDED modality, the opening suite wouldn’t have sounded out of place with the more adventurous Blue Notes of NEW RELEASES the ‘60s. The band is a quintet comprised of players ElSaffar • Amir ElSaffar - Alchemy (Pi) has worked with on the New York scene. Saxophonist • Dave King Trucking Company - Adopted Highway (Sunnyside) Ole Mathiesen was on ElSaffar’s last album (Inana) and • Ghost Train Orchestra - has developed into an excellent foil for the trumpeter. Book of Rhapsodies (Accurate) It’s good to see pianist John Escreet, already five • Mike McGinnis + 9 - Road*Trip (RKM) albums into his own career, working with ElSaffar and • Aaron Parks - Arborescence (ECM) providing some interesting avenues in tandem with • Michele Rosewoman - New Yor-Uba: 30 Years the trumpeter’s microtonal concepts (particularly - A Musical Celebration of Cuba in America “Miniature #1”). The rhythm section of bassist François (Advance Dance) Moutin and drummer Dan Weiss are integral to holding David Adler, New York@Night Columnist music’s rhythmic ideas together. “Selections From The Alchemy Suite” is the most • Amir ElSaffar - Alchemy (Pi) intriguing sequence of this set. Here ElSaffar’s ideas • Joe Fiedler’s Big Sackbut - Sackbut Stomp (featuring Steven Bernstein) regarding modes, microtones and unusual rhythms (Multiphonics Music) come together at their most assured. And the brief • Grzegorz Karnas Trio (feat. Miklos Lukacs) - unaccompanied muted trumpet coda at the end of the Audio Beads (Budapest Music Center) suite (“Five Phases”) is the perfect capper. • - Liquid Spirit (Blue Note) • Matana Roberts - COIN COIN Chapter Two: For more information, visit pirecordings.com. This project Mississippi Moonchile (Constellation) is at The Jazz Gallery Nov. 2nd. See Calendar. • Günter Baby Sommer - Dedications - Hörmusik IV (Intakt) Laurence Donohue-Greene Managing Editor, The New York City Jazz Record • Joachim Badenhorst/John Butcher/ - Nachtigall (Klein) • ’s Snakeoil - Shadow Man (ECM) • /Paul Dunmall/Paul Rogers/ Tony Bianco - Remembrance (NoBusiness) • Eastern Boundary Quartet - Live at (ARC) • /Roscoe Mitchell/ Mates /Douglas R. Ewart - Diego Urcola (Sunnyside) Voice Prints (Meta) by Marcia Hillman • Wacław Zimpel Quartet - Stone Fog (Fortune) Argentine trumpeter Diego Urcola has chosen an Andrey Henkin intimate approach for his current release: duets with Editorial Director, The New York City Jazz Record

14 NOVEMBER 2013 | THE NEW YORK CITY JAZZ RECORD

flutist Itai Kriss. Darriau’s feel for multiple subgenres is readily apparent and he adds an infusion UNEARTHED GEM of to “One for Frankie” and partners with Sharett’s unique timbre to free up Hermeto Pascoal’s “Dia #342”. “Real Dogcat” also has bassoon and clarinet up front but this time in a laid-back ska. With all these flavors already in the mix, “Mundau by Day” and “Mundau by Night”, despite pretty acoustic work from Sanna in the AM and seductive percussion and bass in

Back to the Woods the PM, disappoint as does a funked-up “Don Quixote”. Uri Sharlin and The Dogcat Ensemble Sharlin has a specific interest in Brazilian music and (Folk Dune-Naxos) closer “Baião” has a catchy melody, stellar solo by Elliott Simon and unique bassoon/accordion interchange. Eponymous Live Back to the Woods is at its best when it showcases Melodic Art-Tet The Group The influx of Balkan, Eastern European and South Sharlin’s ability to mix disparate influences with (NoBusiness) (NoBusiness) American music into NYC jazz circles has been uncommon instrumentation into cohesive world music. by Ken Waxman concurrent with an uptick in the number of NYC jazz accordionists. Uri Sharlin, originally from , has For more information, visit folkdune.com. Sharlin is at The Although, according to detractors, all free jazz had a presence in all of these world jazz scenes since Stone Nov. 5th, 6th, 7th and 10th with Roberto Rodriguez. sessions sound alike, these high-quality dates put a arriving in NYC. For this session, Sharlin and The See Calendar. lie to that supposition. Both also suggest why the DogCat Ensemble provide an entertaining, if somewhat music was never popular. Each CD shares trumpeter uneven, journey. and features allstars at all Sharlin’s core quartet is rounded out by guitarist positions: 1974’s Melodic Art-Tet included tenor and Kyle Sanna, bassist Jordan Scannella and percussionist soprano saxophonist/flutist , Rich Stein. Sanna’s interplay with Sharlin, whether bassist William Parker, drummer Roger Blank and comping accordion runs, adding Spanish or any percussionist Tony Waters (Ramadan Mumeen) number of other ethnic colorations to the mix or soloing while 1986’s The Group was filled out by alto over Sharlin’s chords is superb. CD opener “Night saxophonist , violinist , Swim” begins as a pseudo rocker and evolves into a bassists or and drummer very tight uptempo worldly offering using this core . quartet formula. The quartet then switches to Brackeen, who composed all but one of the Art- Arc Trio for “Monte Verde”, complete with Arthur Lyman- Tet’s pieces, enlivened many ‘70s sessions. A gritty Mario Pavone (Playscape) inspired animal noises. by David R. Adler soloist on tenor, with a tone reminiscent of Dewey On three of these eight tunes, Sharlin adds bass Redman, his flute and soprano work is surprisingly clarinetist Matt Darriau, bassoonist Gili Sharett and Recorded live at Cornelia Street Café in February refined. Meanwhile Abdullah manages to stay percussionist John Hadfield while two others feature 2013, Arc Trio finds veteran bassist Mario Pavone in passionate while blasting away. Former turbulent waters with pianist and Arkestra member Blank and future Downtown drummer Gerald Cleaver. These aren’t some random fixture Parker maintain a shifting beat tinted by USED sidemen: Taborn and Cleaver share a bond going back Waters’ hand patterning. Triumphant throughout, to the Detroit scene of the late ’80s. The freedom and the quartet forges an imaginative fusion. It mixes NEW focus they bring to these eight Pavone originals is often nimble heads with frenetic soloing and Africanized astounding. polyrhythmic drumming without neglecting tune As it happens, Arc Trio comes just five months structure. “Time and Money; YAMACA; Open; Pit after Taborn’s trio debut for ECM, Chants, also featuring Chena; In the Chapel; With Cheer” is a particularly Cleaver. While Chants richly deserves the accolades it illustrative sequence, a marvel of shading and has received, Pavone’s outing is just as vital and synthesis, violent screeds alternating with tempo- shouldn’t slip under the radar. It’s fueled by a similar changing sequences that pulsate with near- simpatico, though with a grittier aesthetic and hummable themes to moderate confrontational 236 West 26 Street, Room 804 compositional logic. Chants boasts that exalted, avant garde impulses. Unfortunately the fusion New York, NY 10001 polished ECM sound; Arc Trio captures a night in a preferred in the mid-‘70s was jazz-rock, propelled club with a piano that Taborn wouldn’t likely choose by amplified instruments. Too arty for the Monday-Saturday, 10:00-6:00 otherwise, but bends to his will nonetheless. mainstream and not electric enough for the groove In his liner notes, Pavone gets specific about his crowd, the band passed into history, Tel: 212-675-4480 obsessions and models: ’s The Floater, Andrew The Group suffered a similar fate 12 years later. Hill’s Smokestack, Steve Kuhn’s Three Waves and Keith Neobop had replaced fusion as the popular jazz Fax: 212-675-4504 Jarrett’s Life Between the Exit Signs, along with certain genre, but this quintet was too outside. This was works by Dick Twardzik and . despite Live’s track list, which included Charles Email: [email protected] One way or another, the rhythmic thrust and texture of Mingus’ “Goodbye Pork Pie Hat” plus Bang’s Web: jazzrecordcenter.com all this music gets filtered into Arc Trio, beginning with arrangement of a Miriam Makeba (!) composition. the frenetic double-stop bass riff and dense piano Clearly The Group aimed to excite a live audience. LP’s, CD, Videos (DVD/VHS), theme of “Andrew” (first heard on the 2008 quintet Take the aforementioned Mingus tune. Before the Books, Magazines, Posters, release Ancestors, featuring Cleaver). familiar melody appears, Brown interpolates quotes Postcards, T-shirts, Pavone’s writing is often spare and concise, with from “Wade in the Water” and “Honky Tonk”; Calendars, Ephemera tightly played heads but also room for open blowing subsequent theme variations are shaded by over solid . While there aren’t many prescribed Abdullah’s muted plunger tones plus Bang’s Buy, Sell, Trade chords, the pieces have distinct tonal personalities bottleneck guitar-like slashes. On Makeba’s conjured by the brilliance of the players involved. “Amanpondo”, Bang’s torque builds up the tension Collections bought “Eyto”, “Hotep” and the closing “Dialect” have a while Cyrille provides the tune’s climax with a solo jumpy, unpredictable flow while “Poles” and “Alban that defines a steady swing beat. and/or appraised Berg” usher in a slower swing vibe. Taborn is explosive Luck and circumstances determine what bands and virtuosic on “Not Five Kimono” and “Box in become famous. Despite overall excellence, destiny Also carrying specialist labels Orange”, both also found on previous Pavone outings was on neither band’s side here. Both were too far e.g. Fresh Sound, Criss Cross, but given new life. Cleaver is dynamic and funky behind or too far ahead for contemporary popularity. Ayler, Silkheart, AUM Fidelity, throughout, though sonically it is Pavone’s snappy Nagel Heyer, Eremite, Venus, bass that gets captured the best. For more information, visit nobusinessrecords.com. Clean Feed, Enja and many more Ahmed Abdullah is at Sistas’ Place Nov. 9th. See For more information, visit playscape-recordings.com. Calendar. Pavone is at ShapeShifter Lab Nov. 8th. See Calendar.

THE NEW YORK CITY JAZZ RECORD | NOVEMBER 2013 15

Braxton encourages people to think big and work big, GLOBE UNITY: Ho Bynum explained, and it’s clearly a lesson he’s taken to heart. His new release Navigation is so big it seems about to split at the seams. The four takes of a single, multi-part composition - clocking in at a solid three hours - are available in a small web of multiple formats: half on a double LP and the other half on a double CD or the entirety as a digital download. (Purchasers of either physical release also get a

Mystery download of the whole shebang.) What’s more, the Lucian Ban Elevation (Sunnyside) titles bear the Roman numerals X through XIV, by Jeff Stockton suggesting there might be at least nine other realizations of the score tucked away under the Romanian-born pianist Lucian Ban came to New York floorboards. Kula Kulluk Yakışır Mı in 1999 and since then has honestly and aggressively The score itself is broken into six sections, using Kayhan Kalhor/Erdal Erzincan (ECM) developed a career as one of the city’s most facile and traditional, graphic and cartographic notation while Dawning Saffron (Palmetto) creative working musicians. Never one to shy away still remaining open for a large amount of improvisation. Eponymous from working with talented partners, he first gained The rationale behind releasing four versions of the Choub (Lotus) notice in tandem with baritone saxophonist Alex piece - two recorded live by his sextet and two in the by Tom Greenland Harding and has collaborated with the likes of violist studio adding Chad Taylor on drums and vibraphone Iranian classical music is based on the radif, a and tuba player . In the alongside drummer Tomas Fujiwara - was to illustrate melodic repertoire with 12 dastgah-ha, modal Elevation quartet, Ban gives the floor to the under- the open nature of the piece. In Ho Bynum’s own systems for composition and improvisation. recorded tenor saxophonist Abraham Burton, a words (from the liner notes), “I want to ask listeners to Aesthetically and spiritually, the music also draws powerful, charismatic player, equally skilled at consider the composition as a set of possibilities rather on Persian poetry and mystic Sufism. In three whispering the wind song of ballads or blowing fire on than a fixed document, to encourage them to enjoy the projects described below, Iranian musicians bring free jazz workouts. Recorded live at Cornelia Street mutable nature of the music in multiple realizations these elements to multi-cultural collaborations. Cafe in early 2010, Mystery appears nearly four years rather than focusing on one particular performance.” Tehran-bred Kayhan Kalhor is a classically later, with bassist John Hébert and drummer Eric And indeed, the four versions are markedly trained (round-bodied bowed spike- McPherson rounding out the group. different, although still recognizable as parts of a lute) virtuoso known for innovative fusion projects Aside from a brief tenor-and-drum convocation whole, or different bakings of the same pie. The piece with other musicians from the ‘modal belt’. Kula (“Mystery Prelude”) and an equally brief-but-engaging manages to stay engaging though an entire 45 minutes Kulluk Yakışır Mı, a duet with Turkish bağlama bass solo (“Obsolete”), Ban composed all the tunes. His (the takes range from 43 to 54), or even for the full (long-necked lute) player Erdal Erzincan, is a piano playing has a dreamy, lyrical quality and his three hours. It’s upbeat and tuneful, distinguished by follow-up to 2006’s The Wind, also an hour-long melodies are usually pretty, with touches of the some nicely noisy guitar passages by Mary Halvorson continuous suite in one dastgah. The live concert European classical tradition as well as Romanian folk and occasional interjection from the horn section (Ho chain-links improvised sections to traditional song sprinkled throughout. In support, Hébert and Bynum, Jim Hobbs and Bill Lowe) that could pass in a melodies, all based on Ab (the ist, or home note), McPherson deliver capable, nuanced ideas that Fifth Dimension review. But most notably it is progressing through higher pitch centers and integrate beautifully with Ban’s harmonies on the eminently listenable. Ho Bynum swings with the exploring various avaz (sub-modes). Developing quirky tribute to Andrew Hill, “Serenade”. outcats and his music doesn’t often rely on traditional narrative tension in gradual swells that occasionally In this live setting, however, Burton comes across jazz modalities of theme development, but he’s not break over into inspired passages, notably during as a bit schizophrenic. On the one hand, on tracks like often given to noise or dissonance either. The music is “Improvisation II”, “Deli Derviş” and the title track, the uptempo “Rank and File” and the elegiac “Silence” expansive and well considered and while four takes Kalhor and Erzincan evoke spontaneous applause he is steady-going, mellifluous yet authoritative and might, in the end, be more than necessary, they don’t from rapt listeners. even a little avant garde, but sonically right in tune grow thin. The big bag of LP, CD and MP3 is worth Saffron, another cultural amalgam, joins Iranian with the band. On the other hand, longer cuts like “Of giving some attention. vocalist Katayoun Goudarzi with Indian classical Things to Come” and especially “Freeflow” give him The Convergence Quartet - of which Ho Bynum is musicians Shujaat Khan (sitar/vocals) and Abhiman the opportunity to take serious flight, à la late-period one-fourth - is a less grand affair but still a pleasantly Kaushal (tabla) and North American jazzmen Kevin Coltrane. It’s bracing and impressive and exciting, but challenging listen. While the liner notes to Slow and Hays (piano) and (reeds). The group’s also a little incongruous. Ban’s group is highly skilled Steady, penned by bassist Dominic Lash, offer a debut, Dawning, features recitations of ’s poetry with unimpeachable technique, but the satisfaction complex mathematical rationale for the name of the in Farsi to empathetic accompaniment loosely based you derive from Mystery might depend on your taste group, there is a much simpler read on it: the uniting of on raga. Most tracks begin with non-metered alap- for Burton’s extravagant performance. Either you two musicians from New York (Ho Bynum and like sections in which Khan and Hays respond to wonder what’s gotten into him, or he steals the show, drummer Harris Eisenstadt) with two from London Goudarzi’s dramatic incantations with flowing which could very likely leave you wanting more. (Lash and pianist Alexander Hawkins) into a cohesive obbligatos (Khan often sings wordlessly under the whole. The cornetist and drummer are likely familiar lyrics), then adding tabla and gat–like cyclic melodies For more information, visit sunnysiderecords.com. Ban is at to most New York jazz denizens and Lash has spent mid-track, leading into extended group Michiko Studios Nov. 8th. See Calendar. time in town, but what might make the disc most improvisations around a central ‘key’, in which Ries noteworthy is the pianist. Hawkins here is inventively often introduces chromatic embellishments. circuitous, finding small repetitions in which to lock. Choub is a Vienna-based quartet of Iranians During Lash’s “Oat Roe + Three by Three” it’s as Golnar Shahyar (vocals) and Mahan Mirarab (guitar) simple as one note repeated thrice and then dropped a and Austrians Martin Heinzle (bass) and Klemens step. His own “equals/understand (totem)” is Marktl (drums), which plays original compositions reminiscent of Braxton and Henry Threadgill and lyric adaptations of Persian poets like Omar experiments, beginning as a march and finding its way Khayyám and Hafez written with Iranian-influenced to medium hardbop and distilling into isolated melodies and Farsi lyrics over jazz-rock chord traipses, all in six minutes time. Hawkins has worked progressions and rhythms, including some in 5-, 7- with the likes of Joe McPhee, and Wadada or 13-beat patterns. Shahyar’s nuanced voice Leo Smith and is clearly versed in the inside/outside projects laid-back sensuality, from low growls, Navigation Slow and Steady of playing forward-thinking jazz. But the quartet isn’t Taylor Ho Bynum Convergence Quartet gentle cracks and conversational asides to melismas, all about him, of course. All four contribute (Firehouse 12) (NoBusiness) scats, yodels and throaty bursts while Mirarab’s compositions and play with a dedication of spirit. It restrained guitar (fretless on a few tracks) provides by Kurt Gottschalk might not be the most encompassing arena in which apposite coloration and improvised interludes. Just after conducting a large-ensemble composition at you might find Taylor Ho Bynum, but it’s a nicely Roulette in September as a part of the Tri-Centric harmonic convergence. For more information, visit ecmrecords.com, Orchestra Commissioning Series concerts, Taylor Ho palmetto-records.com and lotusrecords.at. Kalhor is at Bynum spoke of the influence of , his For more information, visit firehouse12.com and Asia Society Nov. 16th. See Calendar. former teacher and the Artistic Director of the Tri- nobusinessrecords.com. Bynum’s sextet is at The Jazz Centric Foundation, of which he is Executive Director. Gallery Nov. 9th. See Calendar.

16 NOVEMBER 2013 | THE NEW YORK CITY JAZZ RECORD visitors center: OPEN M-F 10 AM - 4 PM 104 E. 126th Street, #2C, New York, NY 10035 (Take the 2/3/4/5/6 train) WWW.JMIH.ORG

THE NATIONAL JAZZ MUSEUM IN HARLEM PRESENTS

Pawtucket Live at De Werf Bobby Naughton Trio Eastern Boundary (OTIC) Quartet (ARC) by Fred Bouchard Harlem Speaks - bassist, composer, collaborator, bandleader, A SERIES DEDICATED TO CAPTURING THE HISTORY AND LEGACY OF JAZZ etc. - has, since the ‘80s, been a hyperkinetic advocate and participant in myriad new-music collectives. His 9/20: Roy Eaton 9/27: George Gee web currently lists over 20 active collaborations in 11/21 Dayna Stephens Northern USA and Europe. His impressive body of Pianistsaxophonist/composer Bandleader work rambles among numerous modern pioneers (a few names: Anthony Braxton, Han Bennink, Bill Dixon, , , , Jon The NaTioNal Jazz MuseuM iN harleM 104 easT 126Th sTreeT, suiTe 2C DoNaTioN suggesTeD For More iNForMaTioN: 212-348-8300 Irabagon, Mark Whitecage.) Fonda contributes his thoughtful and variegated sounds here in two working groups: a piquant trio led by vibraphonist Bobby Naughton and Eastern Boundary, a half-Hungarian quartet of reeds and rhythm section with Fonda’s regular partner, pianist Michael Jefry Stevens. Naughton’s trio on Pawtucket features the leader’s nearly -less four-mallet skeins, parsing metric patterns and melodic kernels in mathematically precise ruminations. Here Fonda glues together the tricky angularities that spike between Naughton’s intricate mallets and Laurence Cook’s drumkit. Fonda’s only previous recording with Naughton Jazz for Curious Listeners was Zoar (1982) on the vibraphonist’s OTIC label (definition: pertaining to the ear) in a trio with Tuesdays 7:00 - 8:30 p.m. drummer Randy Kaye, though they’d all played around New Haven as members of Creative Musicians Free classes celebrating Harlem and its legacy Improvisers Forum, founded in 1976 by Naughton, suggested donation Wadada Leo Smith and . Fonda’s Tuning into Treme with Larry Blumenfeld dry bowing and clipped lines pepper eight tracks with The HBO fiction and the reality droll, clipped titles that smack of Steve Lacy. “I like Joe’s harmonic emphasis,” avers Naughton, “sort of a free swing-bass approach.” Fonda sing-along with his 11/5: Brass Bands and Mardi Gras Indians plucked solo on “Side Saddle” recalls less Slam Stewart than sitar player Ustad Vilayat Khan. Arco fancies 11/12: What is New Orleans Tradition? With guest pianist Courtney Bryan* imitate wildlife - crickety chirps (“Brrr”); high-end buzzing wails (“Lasso”); mammalian cries (“Bent 11/19: Taking it to the Streets Key”) - blending right in with Naughton’s organic, spidery zeitgeist. Score it on the Nature Channel. It’d 11/26:The “New” New Orleans with Treme producer Eric Overmyer be a treat to see this alliance again apply macroscopic observations onto detailed zoologic ideas. Fonda’s roles in the Eastern Boundary Quartet’s The National Jazz Museum in Harlem *Event At Maysles Cinema amiably evolving set Live at De Werf, a music theater in 104 E. 126th Street, #2C 343 Lenox Avenue between 127th and 128th , Belgium, tap into a more varied skill set. Once the band lays down a slinky Oriental trot on “Fogocska” he deconstructs and rebuilds it in a snaky duo with drummer Balazs Bagyi. On his own louche rumba “Belame” his energized solo employs strong plucking and tapping. To open “Rege” his long bowed NJMH At Stanford University tones underscore hypnotic lyrical lines for Jefry Echoes of Harlem: Classic Jazz Treasures ft. Jazz Saxophonist Loren Schoenberg Stevens and multi-reedist Mihaly Borbely. Fonda’s rock-solid 7/4 ostinato dances beneath swaying soprano and modal reaches of “Trinity”, links A Stanford Live Informance insinuating arpeggios with Bagyi’s tomtom triplets and leaps octaves to herald Borbely’s earthy solo on November 20th 7:00 PM tárogató, a sort of wooden soprano with mournful Community School of Music and Arts Finn center tone, then wreathes it in pianissimo ostinatos. Quite a ride! An album photo shows Fonda playing uncredited 230 San Antonio Circle clarinet with Borbely on pennywhistle. What can’t this guy do toward the furtherance of jazz enterprise? Mountain View, CA. 94040

For more information, visit bobbynaughton.com and artistsrecordingcollective.info. Joe Fonda is at ShapeShifter Lab Nov. 8th with Michael Musillami, The Loft of Thomas Rochon Nov. 17th with Michael Rabinowitz and Barbès Funded in part by Council Member Inez E. Dickens, 9th C.D., Speaker Christine Quinn and the New York City Council Nov. 20th. See Calendar.

THE NEW YORK CITY JAZZ RECORD | NOVEMBER 2013 17

now grown exponentially with this stunning recording lines that never stray too far from its changes. Miguel of exceptional orchestral writing. Ehrlich puts aside Prado’s “Time Was” was recorded by his playing for the most part and has decided, as he during the ‘50s, but has since languished in obscurity; puts it, “to listen and bring out certain things, to Perry’s conception puts the focus first on Anderson, maximize the creativity in the room.” Most of these the leader taking a whimsical route in his bop-infused players have worked extensively with Ehrlich through solo, followed by Danko’s intricate improvising. the years and are key in realizing the composer’s large- Leonard Bernstein’s “Lonely Town” was written ensemble vision. The pieces here are mostly from for his musical On The Town and was recorded by Ehrlich’s past and this recording is about highlighting singers like Frank Sinatra but Perry gives it a more

Illusionary Sea ways to unite them compositionally. roller coaster treatment, removing some of its Mary Halvorson Septet (Firehouse 12) In the center are three extended pieces that melancholy air by playing spirited bop lines over the by Wilbur MacKenzie showcase both writing and improvisation and do so loping rhythm section. ’ “Rouge” is another with drama, humor and Ehrlich’s usual sense of hidden gem, recorded by Miles Davis during the Guitarist Mary Halvorson’s newest album continues a knowing what to put where. The title work is from sessions compiled to produce the album Birth of the progression from her first trio record, followed by two 2004, a setting of a poem by Arthur Brown reflecting Cool. Perry’s peppy setting of this bop vehicle starts quintet records. Her concept as a composer, bandleader the leader’s own love of writing and reading. JD Parran with his soft vibrato floating over the rhythm section, and instrumentalist is more refined, more ambitious, narrates the text and the work is essentially a concerto then picking things up as he gives way to Danko and more edgy but still maintaining a strong connection to for him as he declaims both with his voice and soprano Anderson. Perry’s lush tone in the standard “Summer the core aesthetic ideals laid out on her first release. and bass . “Rundowns and Turnbacks” is a Night” recalls , also in the way he gradually With bassist John Hébert and drummer Ches seven-part suite that refracts life, both personal and develops his improvisation in masterful fashion, Smith again on hand in the rhythm section, Halvorson political, in these United States. The main melodic followed by Danko’s engaging solo. Gordon Jenkins’ has added () and source of the piece is stated in the opening by trumpeter “Goodbye” was long used by Benny Goodman as his Jacob Garchik (trombone) alongside Jonathan Ron Horton and Ehrlich in his only appearance on the closing theme in performances. Perry’s tenor perfectly Finlayson (trumpet) and (alto saxophone). album. The sections suggest a vast scope of influences fits this ballad’s hushed, bittersweet mood, With four distinctive bandleaders in the frontline, one - from blues to waltz to Irish jig to new music. complemented by thoughtful piano. To wrap the might expect a blowing session - but Halvorson’s There are two other large pieces that form the session, the quartet digs into Charlie Parker’s offbeat compositions are lush, narrative ventures characterized heart of this recording. “Blues for Peace” was originally “Segment”, with Perry detouring into avant garde throughout by very cohesive writing for the horns. commissioned for a high school orchestra and stretches territory for a part of his solo. After the opening track’s lengthy exposition, the form with funky solos by guitarist Jerome Harris, Garchik takes a colorful solo, followed by an trombonist , pianist , tenor For more information, visit steeplechase.dk. Perry is at Barbès unaccompanied drum solo, before the theme is saxophonist Jason Robinson and drummer Matt Nov. 13th with Peter Brendler, Dizzy’s Club Nov. 18th with restated. The following track, “Smiles of Great Men”, Wilson. It’s a great demonstration how important new Manhattan School of Music Jazz Orchestra, Smalls Nov. puts the aggressive side of Halvorson’s playing in the music can still be made from very traditional sources. 23rd with Richard Sussman, Jazz Standard Nov. 26th-27th fore from the outset. As her solo transitions into some “M Variations (Melody for Madeleine)” is the oldest and 29th through Dec. 1st with Maria Schneider and Village brand-new thematic material, signaling a new section piece in the collection, written and first recorded in Vanguard Mondays with the Vanguard Jazz Orchestra. See midway through the track, Halvorson’s intervallic 1989. It’s for Ehrlich’s daughter and has a concerto-like Calendar and Regular Engagements. debt to Thelonious Monk and Anthony Braxton are structure, featuring Caine, Horton, bassist apparent; ironically, at the same time, the singularity and multi-reedist Adam Kolker. of her style is all the more apparent. Opening and closing this album is the “Aghekor Hébert’s bass intro to “Red Sky Still Sea” perfectly Translations”, originally written for an orchestra sets up the cryptic harmonic and melodic vocabularies augmented by a West African drumming ensemble. It’s that ensue. “Four Pages of Robots” offers a bit more a kind of perpetuum mobile processional and, with room for blowing, with Laubrock’s solo and, later, a funky accents, takes us in and out of this superlative Garchik/Smith duo, both roaming around freely recording. through a variety of sonic areas. “Fourth Dimensional Confession” provides a meaningful platform for For more information, visit newworldrecords.org. Ehrlich is Finlayson, who expertly navigates the transition from at The Stone Nov. 12th-17th with several of his ensembles. the expressive peak of his solo back to the subdued See Calendar. ending (characterized by a delay-laden guitar solo over a drone of bowed bass, trombone and tenor saxophone). The ending takes advantage of a comparison that November 5th has been floating around for years now between the writing styles of Halvorson and British avant-prog Frank Perowsky Big Band pioneer . The inclusion of Wyatt’s “Nairam” is so fitting an addition to the overall sound November 12th of this band, one can hardly distinguish it as coming Charli Persip big band from a different composer. Chalk it up to Halvorson’s Super Sound skills as an arranger and bandleader.

Time Was For more information, visit firehouse12.com. Halvorson is at November 19th (SteepleChase) The Jazz Gallery Nov. 9th with Taylor Ho Bynum, SEEDS Nov. by Ken Dryden Vibraphonist Warren Chiasson 13th, Cornelia Street Café Nov. 15th and 16th and ShapeShifter Cole Porter tribute Lab Nov. 19th with The RicTer Scale. See Calendar. A first-call tenor saxophonist who has played in both the / Orchestra and its successor, November 26th the Vanguard Jazz Orchestra, Rich Perry has a large discography as a sideman and leader. He frequently Mike Longo and turns up on SteepleChase, having recorded for the Funk meets Jazz label extensively as a leader while also appearing on several of pianist ’s CDs. The latter, along with bassist and drummer Jeff New York Baha’i Center Hirshfield, make up the rhythm section featured on 53 E. 11th Street many of Perry’s CDs, this particular session mixing (between University Place and Broadway) standards and less frequently performed songs. The midtempo setting of the Cole Porter standard Shows: 8:00 & 9:30 PM A Trumpet in the Morning “Get Out of Town” should be considered a master class Gen Adm: $15 Students $10 Marty Ehrlich Large Ensemble () 212-222-5159 by Donald Elfman for young musicians who constantly feel the need to open a set with a barnburner. Perry’s approach is bahainyc.org/nyc-bahai-center/jazz-night The scope of Marty Ehrlich’s extraordinary output has gradually to increase its intensity, using long, spacious

18 NOVEMBER 2013 | THE NEW YORK CITY JAZZ RECORD

previously occupied by Geri Allen and Irène Schweizer a bass body and rapping fingers on a closed piano lid because of a shared interest in the diversity of jazz. while Parlato stands still in the center, singing solo Moran notably connects on tunes such as Cyrille’s while playing hand percussion without missing a beat. “AM 2½” and Workman’s “Summit Conference”. Both Her interaction and respect for her audience is shown tracks manage to suture insistent swing with echoes of during a very special rendition of her original roadhouse R&B, courtesy of Lake’s mercurial alto composition “Better Than”, in which a melody is playing and flowing tremolo lines from the pianist, taught beforehand and then conjured at the end. This with unexpected advanced sequences. Moran’s riffs opens a connection between performer and listener, and runs suggest during his extending the small stage to the entire room. Although

Night Songs breakthrough solo on the first tune while the the track listing is short, each song expands to full Janis Siegel (Palmetto) saxophonist insinuates quotes from “Focus on Sanity” capacity in the live setting. by Suzanne Lorge into his playing on the second. With “Listen”, Cyrille confirms his effortless For more information, visit obliqsound.com. Parlato is at Janis Siegel’s credits as a singer and arranger are command of all parts of his kit, underscored by Rockwood Music Hall Nov. 16th with TILLERY. See Calendar. legion: three decades with, arguably, the most Moran’s keyboard pumps, while Lake’s slippery successful vocal jazz group of modern vintage, The tongued, staccato squeals on “All Decks” demonstrate Manhattan Transfer; Grammy Awards; recordings, how a blues line can be thorny and experimental television performances, commercials and film without losing in roots simplicity. If the CD has a soundtracks to her name. Her latest solo CD gives fans weakness it’s Moran’s composition “Foot Under Foot”, Presents a quiet respite from all of this excitement. On the cover which is overly studied and sedate until Lake goads Siegel relaxes with a martini and a gentle smile. Night the pianist into unison spikiness. Eric Person Big Band Songs celebrates those end-of-the-day moments when The CD is bookended by two spoken-word pieces Monday, November 11th all is right with the world. that celebrate jazz’ past and continued growth. The 8:00 &10:30pm Siegel presents a dozen tunes - some standards, Lake-articulated title tune looks back on the resiliency some pop - each reflective, private and honest. The of his family striving to attain economic security. Tickets $10 /$15 avail. at www.bluenote.net tunes all wax romantic but there’s no mournful Meanwhile Cyrille’s “High Priest” is an unsentimental sentimentality here. Siegel’s performances are innately requiem for the late David S. Ware’s talents expressed Music to be played from energetic and full of joy. For instance, on Antonio through waspish reed slurs and joyous drum clatters. Eric’s spectacular CD Carlos Jobim’s “Inútil Paisagem”, retitled “If You This CD is so cohesive that the band could be “Thoughts on God” Never Come To Me”, Siegel and fellow singer Peter dubbed Trio 4 rather than Trio 3 +. Eldridge swap choruses and then share happy solos on Avail. at cdbaby & iTunes the extended final vamp. For Strayhorn’s “A Flower Is For more information, visit intaktrec.ch. Oliver Lake is at The "One of the finest modern jazz outings of 2012." A Lovesome Thing”, Siegel and her rhythm section Jazz Gallery Nov. 15th, The Stone Nov. 21st with YeYi Duet Glenn Astarita of All About Jazz.com transform the ballad into an infectious uptempo romp. and ShapeShifter Lab Nov. 22nd. Moran is at Paul Hall Nov. www.ericperson.com Pianist John di Martino is behind the CD’s 5th and Village Vanguard Nov. 26th-30th. See Calendar. innovative arrangements and drummer Joel Rosenblatt plays on all but one track, with either Christian McBride or Martin Wind on bass. Siegel draws on the considerable talents of saxophonist Joel Frahm and trumpeter Dominick Farinacci throughout, most notably on Janelle Monae’s “Say You’ll Go”, which SANDY SASSO segues into a gorgeous snippet of Claude Debussy’s “Claire De Lune” - just the two horns and piano as an outro on the CD’s final tune. The album “ends with a little bit of moonlight,” Siegel writes in the liner notes, adding, “And we all know what that can do.” This CD is about more than just moonlight, Live in NYC Gretchen Parlato (Obliqsound) though. It’s also about Siegel’s unerring way with a by Adam Everett vocal line; wealth of experience as a performer, arranger, lyricist and producer and innate likeability of Recorded live at Rockwood Music Hall in the Lower her vocal persona. East Side, this CD/DVD package marks a very successful decade since singer Gretchen Parlato moved For more information, visit palmetto-records.com. This from Los Angeles to New York City. The album presents project is at Blue Note Nov. 13th. See Calendar. nine songs (four of which are included on the DVD) and draws exclusively from her last two albums, In a

Dream and The Lost and Found. The 2004 winner of the Thelonious Monk Vocal Competition made no sacrifices in selecting her band: keyboardist Taylor Eigsti and rotating bassists Berniss Earl Travis II or Alan Hampton “Sasso has garnered a widespread and drummers Kendrick Scott or . reputation as a first rate vocalist.” With a strong rhythmic foundation in place, Parlato floats freely, taking her time and never rushing, —NJ JAZZ SOCIETY using her breath to articulate the beginning and ending “Her greatest gift is the manner in of phrases. On “Butterfly”, a vocal cover of the which she delivers a lyric. Smooth and Headhunters original, wordless vocals and handclaps Refraction - Breakin’ Glass seductive. You’re not talking about Trio 3 + Jason Moran (Intakt) fade carefully into a piano solo. On video, she sings by Ken Waxman with eyes closed, head nodding and turning with your average singer.” respect to the music. With suggested naivety, she sings —JAZZ INSIDE Trio 3 has been a band for 27 years, released eight each note and delivers every word as if for the first CDs, features its third pianist guest on Refraction and time. The band supports and inspires, creating a “Sasso is a masterful chanteuse, with with him has created a session almost 100% satisfying. backdrop that changes when needed. On the song “All an unerring sense of swing. Veterans of the jazz wars, saxophonist Oliver Lake that I Can Say”, Scott’s triplet shuffle drum groove “Hands On” highlights her sultry (70), bassist Reggie Workman (75) and drummer pauses for a moment, then restarts as a funky backbeat, voice and relaxed groove.” Andrew Cyrille (73) have been part of vital ensembles which lifts up Eigsti’s piano solo. —HOT HOUSE as disparate as John Coltrane, Cecil Taylor and the The DVD is a great addition to the live disc, World Saxophone Quartet. Jason Moran, a generation allowing the listener to understand better certain younger, MacArthur Fellow and artistic advisor for the compositions. For the song “Alô Alô”, the musicians SANDYSASSO.COM Kennedy Center, fits snugly onto the piano bench can be seen rolling mallets on drums, tapping hands on

THE NEW YORK CITY JAZZ RECORD | NOVEMBER 2013 19 certainly careful listening throughout. The longest track, the nearly 10-minute “Pent”, introduces a blues sensibility through Håker Flaten’s elephantine walk. In August 2011, Håker Flaten brought his Chicago Sextet to the Saalfelden Festival in Austria. Players like guitarist Jeff Parker, saxophonist , vibraphonist and drummer are all veterans of the modern Chicago avant jazz scene; fellow Norwegian, violinist Ole Kvernberg, is the interesting addition for these four Håker Flaten compositions. The textural mix of “Virgoan Ways” recalls gauzier moments of ‘70s fusion, à la Jean-Luc Ponty, with some occasional similarity to the writing, except for sparse, open sections colored by vibraphone Kampen declamations. “Rosewood Avenue” slips in via the Bobby Bradford//Ingebrigt Håker Flaten/ leader’s electronics and vamps on the simple theme that Paal Nilssen-Love (NoBusiness) pokes its head out amid the digitized brambles. “Wells”, Now Is another short piece, too has its foundation in electronics Ingebrigt Håker Flaten New York Quartet (Clean Feed) but sharply contrasts what preceded it by approximating ROSWELL RUDD Live at Jazz Festival Saalfelden 2011 FOR Ingebrigt Håker Flaten Chicago Sextet (Textite) the frenzy of an air raid. The closing “Irrational TROMBONE LOVERS Moments Form Ceremony” returns to the Ponty vibe of the first piece, Mars Williams/Ingebrigt Håker Flaten/Tim Daisy but now from his King Kong period (no surprise that (Idyllic Noise) both bands have very similar instrumentation). Håker by Andrey Henkin Flaten doesn’t indulge this side of his playing too often - the last time may have been 2005’s Quintet (also with Bassist Ingebrigt Håker Flaten has, since the mid ‘90s, Kvernberg) - which is a shame since he has a unique established himself as one of the bonafide stars on his take on what is otherwise a calcified genre. instrument. One need only look at two of his most The most recent disc is a live trio date from Austria, compelling collaborations - Scandinavian power trio recorded in March 2012, Håker Flaten one side of an The Thing and delicate Norwegian sax-bass duo with equilateral triangle with Chicagoans Mars Williams Håkon Kornstad - to realize he can do it all. In between (saxophones) and Tim Daisy (drums). Three improvised pieces of descending length make up Moments Form. SSC1369 / in stores November 19 those two poles are dozens of partnerships, either of long-standing or wonderfully ephemeral, which further Williams is a bit of an outlier in improvised circles, with demonstrate his range and musical vision. It has helped as many credits in avant rock as jazz but he is a forceful featuring immensely that his experience is bi-continental: after member of the Windy City saxophone lineage and the ROSWELL RUDD coming up in and then the larger European sound of this group is closest to some of The Thing’s JOHN MEDESKI scene, he moved to Chicago and immersed himself in earthier moments, buoyed by Håker Flaten’s thick that vibrant community and now lives in one of propulsiveness. Speaking of lineage, though a modern STEVEN BERNSTEIN America’s musical centers - Austin, TX. session, there are aesthetic allusions to earlier trio dates BOB DOROUGH Three of the four albums under review are live by the likes of Peter Brötzmann, and even FAY VICTOR recordings from 2010-12; three of the four are fully . The nuances of Håker Flaten’s bass are a improvised; Håker Flaten is matched with longtime bit hard to hear when the trio is going full blast, more of MICHAEL DOUCET partners and new associates under his own name twice a feeling, not unlike Tom Araya on Slayer’s Reign in ROLF STURM and as part of collective groups; Chicago, New York and Blood, but the ear becomes accustomed to filling in the GARY LUCAS Europe are represented. All are just slices of Håker details as the set progresses. Daisy, as was always HEATHER MASSE Flaten’s oeuvre. evident from his work with the Vandermark 5, is as Kampen is the oldest, a November 2010 concert flexible as his bandmates. The middle piece, “Galactic recording from Oslo. Joining Håker Flaten is cornet Ballet”, is a masterful example of slow, simmering It is amazing how hearing a song can bring player Bobby Bradford, saxophonist Frode Gjerstad and improvisation, which almost boils over before the heat you back to another time and place. A refrain or a fellow Thingee Paal Nilssen-Love on drums. The album is turned down at the end. melody sparks an image of the past as well as opens with a short duet between Bradford and Håker For more information, visit nobusinessrecords.com, emotions from that particular moment. Flaten before Gjerstad and Nilssen-Love skitter in alongside them. Gjerstad’s ear-piercing tone can be cleanfeed-records.com, tektite-records.com and muku.at. Håker Legendary trombonist Roswell Rudd has put trying but it’s leavened by the richer tones of his Flaten is at ShapeShifter Lab Nov. 18th as a leader and together a recording of pieces that have this effect bandmates. Despite the bassist and drummer’s Guggenheim Museum Nov. 20th with The Thing. See on him. The musical pieces chosen have become extensive familiarity with each other, this is a generally Calendar. standards of American song, most of the selec- balanced and probing improv session, squarely in the low-peaks-and-shallow-valleys school. Håker Flaten tions stemming from Rudd’s recollections of and Bradford, born nearly 40 years and 4,500 miles childhood when he would sing the songs in apart , are nicely paired. The proceedings vary whether school or in church. Trombone for Lovers an improvised moment derives its melodic content from brought together not only a collection of fantastic Gjerstad’s freneticism or Bradford’s prodding. Now Is continues and expands a partnership music but also a tremendous assortment of between Håker Flaten and saxophonist/trumpeter Joe musical talent, including John Medeski, Bob McPhee, heard to great effect on a pair of duo recordings Dorough, and Steven Bernstein. on Not Two and Clean Feed. Joining them are guitarist Joe Morris and trumpeter Nate Wooley for a July 2011 studio recording made right before the same quartet 78th Birthday Concert for Roswell Rudd played at The Stone. With the exception of “As If”, the Sunday, November 24, 3:00 pm eight NYC-related (in title at least, with nods to some of LE POISSON ROUGE, 156 Bleecker Street the metropolitan sports teams, “Rangers” perhaps expressing frustration in a team without a championship in almost 20 years) pieces are spontaneous creations and refreshingly short. There is a nice contrast between the warbly horns and the crisp snap of the strings, no one www.sunnysiderecords.com necessarily pushing to the forefront but no one tentative eOne Distribution either. And there are enough snatches of melody and form perhaps to imply some discussion beforehand but

20 NOVEMBER 2013 | THE NEW YORK CITY JAZZ RECORD beautifully propulsive in muted thrusts and obsessive, That’s due in large part to the compositional sensibilities woody patter and while this music has a lacy openness, of the horn players, both prolific composers as well as the underlying impetus is toward release of energy, seasoned improvisers, who are content to adopt either with insectile athletics or gradually layered complementary stances as the moment demands. Their complexity. conception also inspires Nilssen-Love, who moderates Ich Bin N!ntendo & Mats Gustafsson brings our hero his all-action style to produce effective single line together with the Norwegian free-rock trio of guitarist accompaniments, encompassing tolling cymbals, Christian Skår Winther, electric bassist Magnus skeletal tattoos or chattering hi-hat at various points. He Skavhaug Nergaard and drummer Joakim Heibø also recognizes when to sit out entirely, creating an Johansen on three pieces for power trio and baritone expansive and uncluttered feel, which benefits the saxophone. Leaving few stones unturned in its 28 wonderful interplay between the two horns. Baars’ cool minutes, Ich Bin N!ntendo grant a feedback-drenched clarinet lines prove likely to combust into spiraling cavalcade of drilling pyrotechnics and blown-out, yelps while on his richly-hued tenor saxophone, he clattering rhythm à la High Rise at their most fractured. ranges from a broad vibrato and fractured split-toned Gustafsson’s baritone is subsumed in a lo-fi squall that shrieks. Vandermark’s gruff baritone and muscular nevertheless sallies forth with garage-y kinetics and tenor act as a responsive foil, particularly when settling BOOT! the whole thing sounds like it’s being played through into repeated motifs, which supplement the sense of The Thing (The Thing/Trost) shot speakers. For some (this writer included), it is a structure. Both “Toreros” and “Omasum” comfortably Vi Är Alla Guds Slavar Mats Gustafsson/ (OTOroku) welcome slathering of dirty-needle distortion and breast the 20-minute marker, going through multiple Birds no-BS brevity among the overstuffed and precious. guises as a result, which allude to the bucolic and the Mats Gustafsson// (Den) It may come as something of a surprise to see fevered and everything in between in glorious consort. Eponymous Gustafsson billed alongside a tried-and-true piano The closing “Akabeko” forms a restful coda to an Ich Bin N!ntendo & Mats Gustafsson (Va Fongool) trio, but Shift is just that and an opportunity to exhilarating ride. Shift experience the work of the lesser-known Swedish trio The well-practiced pairing of Nilssen-Love and Correction (with Mats Gustafsson) (NoBusiness) Correction (Sebastian Bergström, piano; Joacim Vandermark also lies at the heart of Lean Left, a quartet by Clifford Allen Nyberg, bass; Emil Åstrand-Melin, drums). Correction completed by the dual of Terrie Ex and Andy Swedish saxophonist Mats Gustafsson is more than have two releases on Ayler Records from 2008 and Moor from Dutch post-punk veterans The Ex. Two just a hard-blowing improviser with a penchant for 2010, respectively, the second of which Gustafsson lengthy set-long cuts spread out the unit’s wares on Live seeking out bright and high-octane peers in a variety lavishly praised in the liners. While not exactly in the at Café Oto. Unsurprisingly they rank high in terms of of contexts. An ambassador for Scandinavian jazz, his same vein as Per-Henrik Wallin’s trio of the ‘80s-90s, energy, intensity and attitude. Nilssen-Love explodes impulse is to spotlight the largely forgotten work of the late Stockholm pianist was a crucial influence on from the off, flanked by gobbets of scrabbling percussive heroes like saxophonist Bengt “Frippe” Nordstrom the young Gustafsson and a similarly rollicking free guitar, in surges of unadulterated potency. Vandermark and bassist George Reidel and one is as likely to find traditionalism imbues Shift. The seven pieces on this fights hard to stay in touch, his R&B-inspired riffs and him quoting Lars Gullin as Lightning Bolt in his set, while completely improvised, balance crisp unfettered skronk adding another layer of complexity to fiercely nuanced blowing. chordal waves with stripped-down, shimmering fields the hard-driving juggernaut. Even when they group The Thing is Gustafsson’s most regular unit and into which Gustafsson’s neighing threads are woven. around a shared meter, that merely acts as a launchpad includes Norwegian bassist Ingebrigt Håker Flaten More pairings out of left field are certainly welcome in for yet another incendiary excursion, rather than any and drummer Paal Nilssen-Love; the cooperative trio the saxophonist’s broad discography. resolution. But it’s not all thunder and lightning. In a has been active since the close of the ‘90s. Often short postscript included as part of “Drevel”, the guitars appearing with guests, BOOT! presents the trio at their For more information, visit thethingjazz.com, percolate through a drifting ambient soundscape while core on a set of six pieces including Coltrane’s “India” otoroku.limitedrun.com, denrecords.eu, vafongool.no and earlier Ex picks up a reiterated figure from Vandermark, and Ellington’s “Heaven”, the former arranged for nobusinessrecords.com. Gustafsson is at Guggenheim which he maintains as everyone else falls away into and sludgy electric bass, Museum Nov. 20th with The Thing. See Calendar. atmospheric rumination and Nilssen-Love delves into aesthetically given over more to the Melvins than an everything-but-the-kitchen-sink clatter. One of the Indo-jazz unfurling. Sure, they are a punkish trio at strongest and most distinctive features of the band heart - split tones supported by electric fuzz and resides in the raucous exchanges between the effects- incredibly taut time - but Gustafsson brings particulate, laden guitars, which are fortunately separated well in gruff melodies to the proceedings that reinforce his the stereo soundstage. free music roots and BOOT! offers a raw slice of The The Windy City connection also looms large on Mi Thing at their most rocking. Casa Es En Fuego, the third release by power trio Ballister, Gustafsson and fellow obsessive record collector, captured in concert at Montreal’s Casa Del Popolo guitarist Thurston Moore, met at Harald during a 2012 North American tour. Alongside Nilssen- Hult’s Blue Tower (now Andra Jazz) Stockholm record Love, the collective comprises reedman Dave Rempis store in the mid ‘90s. It’s not too surprising that a social and cellist Fred Lonberg-Holm, both perhaps best and performing relationship grew out of that meeting, known for their inventive roles in the Vandermark 5. which has resulted in concerts and recordings with Together they generate an environment in which no one guitarist Jim O’Rourke (Diskaholics Anonymous Trio). Double Tandem: OX gives any quarter. Nilssen-Love’s relentless throbbing Vi Är Alla Guds Slavar was recorded at London’s Café Ab Baars/Ken Vandermark/Paal Nilssen Love (Den) drums evoke a pounding heart in the opening Live at Café OTO Lean Left (Unsounds) OTO in fall 2012 and features Gustafsson on live “Cockloft”, fuelling the adrenaline rush of keening Mi Casa Es En Fuego Ballister (s/r) electronics in addition to winds, pulsing and warping by John Sharpe falsetto alto saxophone and slashing . Appreciating in shrill asides to Moore’s battered, screwdriver-aided that all-out assault can only continue for so long, the Fender glitches. Across two sidelong chunks of Norwegian drum dynamo Paal Nilssen-Love can do it trio regroup as Nilssen-Love creates an uneasy tension sputtering, soaring and charged free play, the pair all. Ferocious multi-directional rhythms imparted with through overlaying disparate tempos, before Rempis engages pure ‘noise music’ as well as a guttural impeccable precision. Check. Rocky grooves spiced crowns the disquiet with his raw-edged skirling tenor. no-wave update on the guitar-saxophone duos of with imagination. Check. Nuanced tone color play with Both the remaining cuts provide more light and shade. and Evan Parker. untethered cymbals, gongs and assorted percussion. “Smolder” does just that, pitching baritone snorts, Birds joins the saxophonist with longtime Check. Perhaps that’s why he has been the drummer of electronic burbles and scraped cymbals against each collaborator/percussionist Raymond Strid (Gush, choice of the last decade or more for some of the most other in a gradually intensifying staccato swirl until Tarfala Trio) and British guitarist John Russell for a uncompromising free jazz leaders such as Peter Nilssen-Love ups the ante with delicate press rolls that pair of improvisations recorded live at the 2011 Hagen Brötzmann, Mats Gustafsson and Ken Vandermark, gain volume like a fast-approaching locomotive while Festen in Floda, Sweden. With Gustafsson on soprano featuring in outfits such as The Thing and Atomic. Three “Phantom Box System” posits a considered interchange as well as baritone, the scrapes and erased strums of recent live discs demonstrate both his consistency and containing the threat of imminent escalation, which acoustic guitar and Strid’s delicate, high-tuned accents his scope. eventually comes on the back of dancing cello pizzicato give the music a decidedly ‘English’ feel. It’s rare to Going under the moniker Double Tandem, Nilssen- and sinuously fluent tenor. hear the hard-charging Swedish saxophonist in such a Love and Vandermark join forces with Dutch reedman spare, flitting context, but Birds is proof that he’s able Ab Baars for OX, their second outing. Even though all For more information, visit denrecords.eu, unsounds.com to translate muscularity into a program of controlled three cuts are totally spontaneous, an air of premeditation and daverempis.com/ballister. Nilssen-Love is at Guggenheim microbursts and lateral conversation. Strid is and almost architectural intent pervades proceedings. Museum Nov. 20th with The Thing. See Calendar.

THE NEW YORK CITY JAZZ RECORD | NOVEMBER 2013 21

early ‘60s recordings like Herbie Hancock’s Maiden The three non-quartet pieces reveal more aspects Voyage and Wayne Shorter’s Speak No Evil instead of of Diehl’s musical personality. Ellington’s “Single Petal the gospel fervor Chestnut has displayed in the past. of A Rose” is a solo rendition of measured grandeur Hendrix proves to be a revelation in the small and majestic simplicity. Trio versions (sans Wolf) of setting. He digs into telepathic interaction with Ravel’s third movement of “Le tombeau de Couperin” Chestnut’s high-register right hand on several melodies and Gershwin’s “Bess, You Is My Woman Now” both and shines in the solo spotlight. “Piscean Thought” reveal how hypnotically Diehl can unfurl variations on features sputtering blasts over Chestnut’s vigorous themes beyond the usual pop song form. As for pop rumbling while “Intimacy” lets the trumpeter speak in songs, the quartet’s version of “Moonlight in Vermont”,

I Wanna Be Evil: With Love to Eartha Kitt long phrases amid the band’s spacious support. with its modernist shards of melody and blithe swing, René Marie (Motéma Music) The always thoughtful leader has put together an is a perfect example of reimagining a hoary standard. by Alex Henderson enjoyable enough set here, with conservative tune lengths and tempos that hover somewhere in the For more information, visit mackavenue.com. Diehl is at In the liner notes she wrote for I Wanna Be Evil: With middle. “The ” is a propulsive exception, Miller Theater Nov. 23rd. See Calendar. Love to Eartha Kitt, René Marie explains that she used to barreling in with a Messengers-esque urgency. Hendrix swear she would never record a tribute album. But it’s runs with it, reaching into the upper register for a good that the expressive vocalist reconsidered, since welcome shot of adrenaline. Chestnut keeps it going, she takes quite a few chances on this memorable tribute succinctly plucking his disjointed phrases from a to the late singer/actress Eartha Kitt (who died in 2008 similar range, building into an excitement reminiscent at 81). Kitt was not a jazz artist, per se, but gritty, big- of the fire that marked his early trio records. voiced Marie is a jazz improviser with R&B and blues Chestnut’s songwriting follows a logistical rubric influences and she captures Kitt’s fun, playful spirit that entertains without challenging listeners too much. without obscuring her own personality. No one will There are plenty of pleasantly engaging moments and accuse Marie of trying to sound exactly like Kitt on the band is in fine form but overall the proceedings “Santa Baby”, “Oh, John” or the title track, all of which feel a little too subdued. receive improvisatory postbop makeovers. And she isn’t shy about letting her sidemen enjoy some solo For more information, visit williejones3.com. Chestnut is at space, including trombonist , Smoke Nov. 22nd-23rd. See Calendar. trumpeter Etienne Charles, reedman/flutist Adrian

Cunningham and pianist Kevin Bales. Marie performs two Cole Porter standards - “Let’s Do It” and “My Heart Belongs to Daddy” - but manages to keep them sounding fresh. The former is a bluesy, funky, soul-tinged workout and she brings a strong bossa nova influence to the latter. Meanwhile, “C’est Si Bon” (sung in both English and French) becomes an intriguing blend of chanson and postbop. But Marie sticks to English on “Come On-a My House”, which Kitt liked to perform in Japanese. The Bespoke Man’s Narrative Most of the material comes from Kitt’s repertoire, Aaron Diehl (Mack Avenue) including “I’d Rather Be Burned as a Witch” and Dave by George Kanzler Frishberg’s sexy “Peel Me a Grape”. But the dusky DRUMMERS!You’re invited to join Sam Ulano’s “Weekend”, which has a softcore BDSM theme, is a While the prevalence of vibraphone-piano-and Marie original; this makes sense when one considers rhythm-section seems to be a validation of the that Kitt played the dominatrix-like Catwoman on the influence and importance of the “Drum Reader’s Club” ‘60s Batman TV series. However, the woman described (MJQ), that cynosure of 20th Century jazz combo in “Weekend” is submissive rather than dominant. accomplishment is rarely reflected in the music of For only $25 a year Marie’s albums have been full of surprises and her those groups, which seem more indebted to the legacy risk-taking spirit continues to serve her well here. of than of the MJQ itself. The rub, of you’ll get a new course, is that MJQ pianist-musical director John For more information, visit motema.com. This project is at Lewis’ fondness for austerity, forms like , 16-page reading book, Jazz Standard Nov. 21st-24th. See Calendar. penchant for European themes and delicate balance achieved among four instruments reflecting virtues of starting Dec. 2013- the classical string quartet is what made the MJQ so unique. Pianist Aaron Diehl reflects much of Lewis and April 2014-July 2014- his vision for the quartet in this CD, although Diehl is never simply mimicking Lewis. Rather, he draws from Oct. 2014 Lewis’ approach while adding his own creative vitality and personality. There’s Nothing Like It The quartet on seven of the ten tracks here - Diehl, vibraphonist , bassist David Wong and (you’ll see)! drummer Rodney Green - often recalls the MJQ, but “The Cylinder”, a Jackson piece that was a longtime Soul Brother Cool Cyrus Chestnut (WJ3) MJQ staple, offers a direct homage, right down to the To order, send a check or by Sean O’Connell Lewis-like arranged roundelay, counterpoint melodies and precise change-ups and stop-times. Wolf reflects money order for $25 to: 20 years ago pianist Cyrus Chestnut started his streak Jackson’s infectious fervor and Diehl comps and solos Sam Ulano of swinging albums for Atlantic Records and has in the spare, clipped manner of Lewis. Diehl’s steadily continued on that path, offering a deft touch “Generation Y” has a “Django” template; like that 127 W. 43rd St., Apt. 1026 and an ever-present melodic bent. Soul Brother Cool is Lewis piece, it begins with a slow, semi-rubato theme New York, NY 10036 an in-the-pocket traipse through ten originals aided by then falls into faster swing for the improvised solos. bassist Dezron Douglas, drummer/producer Willie It is actually refreshing that Diehl takes inspiration Call 212-977-5209 Jones III and trumpeter Freddie Hendrix. from Lewis, rather than the usual suspects reflected by for more information. There is a mellow sleepiness that pervades much so many of his contemporaries in their 20s and 30s. His of the album, opening with a light bounce on “Spicy “Blue Nude” may be inspired by the MJQ, but his Honey” and the title track, both kickstarted by Jones’ cubist assemblage of divergent parts, from spacey kit. This album focuses more on the “cool” than the piano and martial drum licks to spare, lyrical chords “soul brother”, more often veering into the realm of and rattling vibes-drums contrasts, is purely his own. Don’t Miss It, It’s A Hip Idea!

22 NOVEMBER 2013 | THE NEW YORK CITY JAZZ RECORD

more than stated, in snatches and fragments. “Autumn respectively, the mutually inspirational effect of their Leaves” also sustains a casual relationship to its form, excellent musicianship permeates this live recording. always there, but as an intermittent subtext to the new It is music steeped in a sense of adventurous immediacy songs that Sheppard and Kikoski and Carpenter come between two exceptional players who trust each other. upon. (Carpenter’s untimely death shortly after this Hersch’s gifts as a composer are widely session was a tragic loss for jazz.) Sheppard rides air acknowledged as well his status as one of the currents in a levitational opening cadenza, then swoops outstanding musicians of his generation. All but two of down into “My One and Only Love”. The design is the pieces included here are his own. The opener is ornate. The passion is genuine, although measured “Song Without Words #4: Duet”. It shifts from a Philip

From The Hip and dignified. Glass-like beginning to a melodious river-like David Kikoski/Dave Carpenter/ Sheppard is a new millennium version of a West outpouring from Hersch. When Lage slips in, it is with Gary Novak/Bob Sheppard (BFM Jazz) Coast tenor player. His light tone and subtlety place such a nearly imperceptible subtlety that at first it feels by Tom Conrad him in a lineage with Bill Perkins and . But as if he had emerged out of Hersch’s keyboard. Here his version of lyricism is too complicated, with too and throughout theirs is a conversation that revels in This perfectly recorded session happened in 2006, in many hard turns, to belong in the “Cool School”. melodic ideas and rhythmic play. producer/engineer George Klabin’s private studio in “Down Home” switches to a funkier barrelhouse Beverly Hills, in front of a live audience. In his liner For more information, visit bfmjazz.com. Kikoski is at mood with some hymn-like moments. Hersch’s playing notes, saxophonist Bob Sheppard describes it as a Smalls Nov. 25th-26th. See Calendar. has a strong sense of narrative; we are hearing a fully “bantering about in a deeply rich shared vocabulary... expressed story, which just doesn’t happen to have with no rehearsal or even a talk through.” Four , a words. When Lage joins in, it’s with a sound that band for one day, rethinking nine standards. Jazz is art Hersch has remarked is “both solid and transparent”. of the moment, but when everything works, it sounds The skillful delicacy of Lage’s partnering is especially foreordained. evident as he emerges and then recedes in “Beatrice”. David Kikoski may not have played more piano It’s distinct and yet complements Hersch’s jazzy blues. on record. His trio feature, “If You Could See Me Now”, The title tune, dedicated to Egberto Gismonti, is stunning in its diversity and comprehensiveness, could as easily be a tribute to Bach. It’s yet another evolving from lush to spare to deep in a groove to expression of the seemingly infinite variety of Hersch’s floating to fractured, all without losing the thread of virtuoso playing. Once again the interplay is

Tadd Dameron’s great song. Kikoski provides exceptional. Each player seems to be inspiring the Free Flying luminosity and buoyancy for this music. Bassist Dave Fred Hersch/Julian Lage (Palmetto) other with ebullient wordless suggestions of “What Carpenter and drummer Gary Novak provide its by Andrew Vélez about this?” and “Try that!”. Spirited, lyrical and counterpoise of relaxation and intensity. intimate, Free Flying is an occasion for hurrahs and But Sheppard is the primary reason every one of Radiant is the word that comes to mind to describe repeated listenings. these familiar songs sounds fresh. On “” he Free Flying, a duo between pianist Fred Hersch and hovers over the melody and descends to touch it barely guitarist Julian Lage. Once upon a time both were For more information, visit palmetto-records.com. This duo here and there. “How Deep Is the Ocean” is implied childhood prodigies. Now at nearly 57 and 25, is at Blue Note Nov. 25th-27th. See Calendar.

Absolutely Live & Stephen Cloud present 30TH ANNIVERSARY CONCERT

KEITH JARRETT JACK DEJOHNETTE DEC. 11 @ 8PM Stern Auditorium/Perelman Stage

Carnegie Hall Box Office / CarnegieCharge 212-247-7800 online at carnegiehall.org

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deeper into a musical coma. Upon addressing the audience, the pianist’s eyelids lazed in a sort of inebriation, surprisedly snapping to attention as if he had just realized the audience had entered the room. The lolling steadiness of “Elsewhere” was easily the highlight of the night. The tune is very economical, its space lending an atmospheric dreaminess. Parks bore into that silence an unfilled void of longing that seemed to ebb under his delicate caress. Parks is

Arborescence certainly a talented pianist yet that technical know- Aaron Parks (ECM) how never overshadows his passion. Instead, one feeds by Robert Milburn the other and vice versa.

After more than a decade on the scene, pianist Aaron For more information, visit ecmrecords.com Parks continues to live up to his initial promise. He began his career at 18 with and was acclaimed for his technical prowess. Since then, Parks has cemented his reputation with 2008’s Invisible Cinema and the character he’s imparted to the collective DIEGO URCOLA James Farm. Arborescence takes a radically different approach though, with the pianist unaccompanied, but MATES ultimately it’s characteristic Parks, his reserved coolness occasionally loosed in frothy eruptions. SSC 4112 - In Stores NOW Arborescence is an almost entirely improvised The friendly tradition of drinking mate served as inspiration collection of moody vignettes. The album’s ruminating Sketches of for Argentinean born, New York based trumpeter Diego nature was by design since Parks recorded the album Mulatu Astatke (Jazz Village) Urcola. For his playfully titled new recording Mates, Urcola with the lights down low so he could fall deeply into by Tom Greenland his own unconsciousness, as if he were practicing in wanted to mirror this give and take between friends (or his home. The result is intimate but accessible, apt in Father of Ethio-jazz, best known stateside for “mates”) with that of the musical duet. To achieve this, the comparison to works by or Paul Bley. The Éthiopiques, Vol. 4 and his collaborations with Russ trumpeter recorded a number of intimate meetings with a title suggests the treelike progression by which each Gershon’s Either/Orchestra, Mulatu Astatke (born 70 handful of his closest musical associates, including bassist song seems to blossom, from melancholy beginnings to years ago in , Ethiopia) is a seminal figure from Avishai Cohen, vibraphonist Dave Samuels, harpist Edmar fitful bursts of evocation, perhaps best exemplified by ’s vibrant ‘70s music scene, a conductor, Castañeda and bandoneón player Juan Dargenton. “Toward Awakening”. Here, Parks sprinkles question composer, arranger, vibraphonist, conguero and marks between the atmospheric riffing before keyboardist who defined and continues to refine his Performing November 4th, 10pm at climaxing in an anthem of fitful cries. The pianist finds highly unique approach to jazz-making. SMALLS JAZZ CLUB moments of reprieve amid all the thoughtfulness. Sketches of Ethiopia with the Steps Ahead Band is There’s the knotty “Squirrels”, where elusive an extension of earlier projects with the UK’s 183 West 10th Street, NYC playfulness keeps everything light and airy, and the Heliocentrics, several of whom - multi-reedist James unresolved trepidation of “Branchings”. “In Pursuit”, Arben and keyboardist Danny Keane - are featured meanwhile, is deceptively hopeful until suddenly the here, along with British futurist funkateers like pianist is snatched up in a frantic boom of doubt. The percussionist Richard Olatunde Baker, bassist John songs are chock full of themes, the listener caught in Edwards, pianist Alexander Hawkins, drummer Tom Parks’ unending sense of melodicism. Skinner, trumpeter Byron Wallen and vocalist Tesfaye, At The Jazz Gallery last month, the audience was all recorded in London. Traditional Ethiopian similarly intoxicated by Parks’ absorbing moodiness. musicians, recorded in Addis Ababa, are also part of As his hands struck the keys, notes seemed to pool the mix: Yohannes Afwork on washint (side-blown slowly until bubbling over with cascading intensity. At flute), Mesele Asmamaw on krar (bowl lyre) and Indris the concert, the songs melted into one another with Hassun on masinko (single-stringed bowed lute). even Parks pausing to muse over the microphone, Additional overdubs were added by French musicians, “What am I doing?” He was very absorbed, nodding including Malian vocalist Fatoumata Diawar and and moaning, at times clicking his tongue percussively, Mandinka kora player Kandia Kora, making the project as if unable to control his body amid all the lively a true melting pot of AfroEuropean culture. improvisation. He hinted at a subdued yet beautiful Included are two traditional songs (“Hager Fiker” “Homestead” and mashed in a lush “Past Presence”. and “Gumuz”) and a Gershon cover (“Azmari”), with Yet, these served as merely a vehicle for Parks to slip the rest originals, served up in Astatke’s slow-flow arrangements, mixing Middle Eastern melodies, STEPHAN CRUMP’S ROSETTA TRIO M pyramiding background vocals, call-and-response THWIRL sections, breakdowns, catchy horn lines and bubbling E counter-lines that recall Fela Kuti’s workouts SSC 1364 - In Stores NOW E or Chuck Brown’s go-go jams. There are soloistic When he first assembled the Rosetta Trio eight years ago, Crump T flourishes - Astake’s noodly vibes on “Azmari”; S realized that the unique ensemble featuring acoustic guitarist Arben’s spacey bass clarinet on “Assosa Derache”; Liberty Ellman and electric guitarist Jamie Fox had an immediate Afwork’s ethereal washint and Wallen’s waxing rapport. Dizzy’s Club Coca-Cola trumpet on “Motherland Abay” - but this music is @ Jazz At more about timing, texture and interaction, evident on The new recording Thwirl is the Trio’s beautiful third Columbus Circle, 5th Floor tracks like “Gamo”, with its ornate melodic lines recording, finding the band members in lockstep on 10 original Tuesday, November 26th framed by an intricate soundscape; “Motherland songs. Abay”, a pastiche of sonic surfaces, from lush horn Sets at 7:30 & 9:30 pm $30 pads to a stark kora-masinko duet; or “Surma”, where Performing jalc.org/dizzys memorable riffs are underpinned by muted guitars Friday, November 14, 8:00 pm and polyrhythmic commentary. The high-fidelity GREENWICH HOUSE, 46 Barrow Street QJOG: Josh Deutsch, Jon Irabagon, J. Walter Hawkes, recording separates and highlights the multi-layered Amanda Monaco, Mark Wade, Brian Woodruff parts, both acoustic and electric, rendering a BJU: Tammy Scheffer, Adam Kolker, David Smith, soundscape similar to a live show - where you’d bound Bruce Barth, Carlo De Rosa, Owen Howard, Rob Garcia to be moving some part of your body in response. www.sunnysiderecords.com eOne Distribution queensjazz.org / brooklynjazz.org For more information, visit jazzvillagemusic.com

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instrumentals, like the title track and “Sugar Plum”, by one of the premier improvising ensembles in jazz, a recalling the Crescent City modernism of the Dirty true meeting of the minds. But the best way to hear her Dozen or Rebirth Brass Bands, and vocal numbers like is with her own group. Absinthe & Vermouth, their third “Rattlin’ Bones”, which suggest the sly, dark humor of album is a follow up to 2009’s The Free Song Suite and Dr. John. Some of the tracks, like the good-time gospel the band this time around is a trio with guitarist of “Dear Lord (Give Me the Strength)”, sound like they Anders Nilsson and bassist Ken Filiano. were unearthed from a ‘20s time capsule while others, Victor’s voice operates on many levels: it can be like the high-energy funk of “Halfway Right, Halfway sweet and seductive, harsh and abrasive, one minute Wrong”, sound surprisingly contemporary. operating in the lower, quiet end of the spectrum

That’s It! The multigenerational ensemble, with members before abruptly swooping into the stratosphere. When Preservation Hall Jazz Band (Legacy) ranging in age from their 30s to their 70s, has found a improvising, she frequently jumps octaves in a manner by Joel Roberts way to survive by reinventing itself without losing its not dissimilar to ’s improvisations. She soul. This is an exuberant, unpretentious album that alternates between singing and reciting lyrics and The Preservation Hall Jazz Band may be the keepers captures the joy and spirit of jazz’ birthplace and one there’s great theatricality in her presentation. Her of the flame of traditional New Orleans jazz, but the of its most long-lived groups. lyrics are alternately wry, witty, profound and group is by no means stodgy or conservative or averse bittersweet, sometimes all in one song. Frequently they to trying new things. That’s clear on the band’s new For more information, visit legacyrecordings.com. This are vignettes about her life. album and the first in its more than 50-year history band is at Apollo Theater Nov. 16th. See Calendar. All that and more is evident on Absinthe & comprised entirely of original material. Vermouth. The communication level among the trio is

The album was produced by bassist/tuba player finely tuned and while Anders and Filiano are indeed Ben Jaffe, whose parents founded Preservation Hall in supporting Victor’s voice and lyrics, she allows them 1961, and Jim James from the rock group My Morning free range to express themselves as well. The epic (over Jacket. It features tunes written by several 15 minutes) “I’m On A Mission/Paper Cup” is a perfect bandmembers, as well as collaborations with an example: the first part is an almost rock-ish high energy eclectic group of composers including legendary pop blowout that contains a lengthy middle instrumental songsmith Paul Williams. Like recent projects that section before segueing into the lovely “Paper Cup”, paired the eight-piece band with performers from Nilsson’s full-bodied chords and Filiano’s deep other genres, like bluegrass legend Del McCoury and basslines surrounding Victor’s richly honeyed voice alt-country rocker Steve Earle, That’s It! is somewhat of cooing the lyrics. The program is sequenced with very Absinthe & Vermouth a departure for a group so steeped in tradition. But Fay Victor Ensemble (Green Avenue Music) little space between songs, which gives the entire everything retains an unmistakable and authentic New by Robert Iannapollo album a suite-like effect. Get drawn into the spell of Orleans feel, even if it strays a bit (but never too far) this music and you could easily take in the album’s 72 from the early jazz standards and swinging blues that For this reviewer’s money, the best album of 2011 was minutes in . remain the group’s bread and butter. the Fay Victor/Other Dimensions In Music The 11 tracks cover a wide spectrum of New collaboration Kaiso Stories (Silkheart). A recasting of For more information, visit greeneavemusic.com. This Orleans music, past and present. There are boisterous songs from Victor’s Caribbean roots, she was backed project is at JACK Nov. 13th. See Calendar.

Chesky recording artist vocalist Louise Rogers and pianist Mark Kross offer their jazz interpretations of art songs by French composer Gabriel Fauré.

The harmonic complexities, subtleties, and beauty of Fauré’s melodies combined with the romantic FAURÉ AT PLAY AT FAURÉ lyricism of poets Louise Rogers such as Victor Hugo voice and Paul Verlaine inspired these Mark Kross musical explorations. piano The results are at once pensive and playful, languid and Somethin’ Jazz Club lively, haunting and Saturday, Nov. 9 at 7pm heavenly. 212 E. 52nd St., NYC

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changing rhythmic figures. “Prelude” is a slow piece Lacy’s music with Ideal Bread, the given a bluesy treatment by Cassity on soprano sax and legacy with and Monk, Ellington and Mingus counterpoint between the vibes and bass. The last track, in duets with pianist Jesse Stacken. His sideman work ’s “Straight Up And Down”, gets a with Matt Wilson, Jon Irabagon and others is vigorous straightahead, uptempo drum-driven treatment. and surefooted. Chorale, Knuffke’s fourth outing as a de Souza has put together a tasty CD, proving he leader, finds him in a brilliant lineup with pianist Russ and his band can swing as well as they can samba. Lossing, bassist and drummer . It’s striking that the nine original pieces all have For more information, visit mauriciodesouzajazz.com. This one-word titles save for the closing “Good Good”,

Different Directions project is at Blue Note Nov. 16th. See Calendar. which playfully shifts from uptempo to half-time swing. Striving to balance the written and freely Bossa Brasil/Maurício de Souza Group (Pulsa Music) by Marcia Hillman improvised, Knuffke opens with the former, a plaintive rubato invention called “Wingy”. Hart’s drumming is Drummer Maurício de Souza dishes up a selection of identifiable within the first minute and its appeal only familiar songs and original songs in this new CD, a grows from there, giving more tempo-based pieces such mixture of Brazilian music and jazz. His bandmates as “Kettle”, “Standing” and “School” a sense of dynamic include saxophonist Sharel Cassity, trumpeter Greg flux and timbral oddity. “Madly” revives the hovering Gisbert, guitarist , vibraphonist Jerry Weir, feel of the opener but in a much freer context; it’s the pianists , Ben Winkelman or Miho longest piece of the set, moving through passages of near Nobuzane, acoustic bassist Gary Mazzaroppi and silence and ending with Lossing’s fiery unaccompanied electric bassist John Lee. de Souza provides the steady piano. The transition from there to “Match” is pretty Cathedrals pulse throughout the album, punctuating the other Ross Hammond Quartet (Prescott) magical: Lossing is out for the first two minutes while musicians’ statements, and is also responsible for all of by Elliott Simon Formanek states a steady bassline and Hart plays the arrangements, except for the lovely Cassity ballad hypnotic tom-toms, moving to more jazz-like sticks and “The Acceptance of Resolve”. Cathedrals is the second release from guitarist Ross cymbals the very moment the piano comes in. Brazilian favorites include Jobim’s “Viva Hammond’s quartet and is a not-so-slow trip down ‘70s The blend of cornet, bowed bass and piano on the Sonhando” (featuring smooth and swinging fusion memory lane. With a few gentle exceptions, title track does, in fact, suggest a chorale. This bit of performances by Stern and Winkelman), Edu Lobo’s Hammond has chosen to produce an incendiary in-your- lyrical and offbeat chamber-jazz, rather unlike the “Ponteio” (with Weir’s striking solo and a stellar face session highlighting relentless rhythms, searing album’s other material, yields to free rubato interplay contribution by Mazzaroppi) and Dizzy Gillespie’s solo work and precise in-tandem playing. Joining and yet somehow preserves the feeling and direction of “Con Alma” (which shows off Cassity’s inspired Hammond are saxophonist/flutist , bassist the opening statement. It’s the strongest evidence of the saxophone work and some interesting tempo changes). and drummer Alex Cline. band’s profound intuitive connection. The Webster-Kaper standard “Invitation” gets an Golia has created a contemporary musical blend attention-demanding treatment with fine piano work long on instrumental virtuosity, compositional For more information, visit steeplechase.dk. Knuffke is at from Winkelman and an engaging conversation between excellence and improvisational inventiveness. Paired Korzo Nov. 12th with Matt Pavolka and Cornelia Street Café Stern and Mazzaroppi, de Souza offering up ever- with the leader’s aggressive guitar, the band has an Nov. 20th with Ideal Bread. See Calendar. incredible frontline defined by a combination of power, creativity, speed and accuracy. Cline and Liebig work so cd release well together in laying down heavy pulsating rhythms Tzadik that they are a soloist’s dream. The result is an intense and at times overpowering listening experience. MARCO Session opener “A Song for Wizards” begins with a nod to psychedelic guitar sorcery, Cline, Liebig and CAPPELLI Golia’s soprano sax opening the way for Hammond to ACOUSTICguitar TRIO riff off the rhythm. “Hopped up on Adrenaline” rings doublebass true to its name, a showcase for Golia flute work with Marco Cappelli . percussion Ken Filiano . more than a passing nod to Jethro Tull’s Ian Anderson. Satoshi Takeishi . “Telescoping” is a free-formish respite evolving into the MANHATTAN release concertPM more anthemic “Run Run Ibex!” before Golia’s tenor TH 9:00 saxophone sets the course for an incredibly frenetic trilogy of “This Goes with your Leather”, “She Gets Her NUBLU NOVw ww.nublu.net/12 tuesday Wine from a Box” and “Tricycle. The title track is an 62 Avenue C overly long, out-of-place elegiac improv vehicle, which eventually builds to a tension-filled crescendo before the all-too-short “Goodnight Lola” uses an ethereally beautiful backdrop of singing bowls backdrop to grant PM BROOKLYN releaseST concert 9:30 Hammond a harmonically graceful exit. SHAPESHIFTER NOV 21 For more information, visit prescottrecordings.blogspot.com. thursday Hammond is at Spectrum Nov. 8th, Downtown Music Gallery 18 Whitwell Place Brooklyn, NY 11215 Nov. 10th and Ibeam Brooklyn Nov. 11th. See Calendar. www.shapeshifterlab.com ph. 646 820.9452

THE THING RECORDS AND TROST PRESENT JOIN US TO CELEBRATE THE NEW STUDIO ALBUM Le Stagioni #7644 del Commissario Ricciardi FROM THE THING tzadik MATS GUSTAFSSON INGEBRIGT HÅKER FLATEN PAAL NILSSEN-LOVE Chorale Kirk Knuffke (SteepleChase) by David R. Adler CD, DOWNLOAD, LP AND 7”EP ornet specialists aren’t in huge supply, but Kirk IN COLLABORATION WITH TROST RECORDS C WWW.THETHINGRECORDS.COM // WWW.TROST.AT Knuffke stands out among this unique lot for his WATCH OUT FOR REISSUES OF BACK CATALOGUE ON VINYL versatility and expressive depth. He’s explored Steve

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prowess and “Deputy Police Chief Garzo” explores an most of jazz history in his playing, with a vast array of extended, fractious melody to exhaustion, eventually songs in his active repertoire. 85 at the time of these finding within it a waltz. On other tracks subtle ‘60s recordings, made during a week at Jazz at Kitano in pop riffage or ‘70s prog complexities peek through early 2012, Hyman is joined by clarinetist/tenor while the closer “Pateterno Nun E’ Mercante Ca Pava saxophonist , a spry 54. Both are not ‘O Sabbato” employs bits of back-masking and a nice only alumni of the groups of Benny Goodman but both arco bass solo to create a richer depth of field. have keen minds and wide-ranging musical interests. While having read de Giovanni is not a They’ve performed numerous times together over the prerequisite, the package is an enticement, with years but this is only their second duo session.

Le Stagioni Del Commissario Ricciardi excerpted sentences tagging the tracks in the booklet They kick off with a whimsical take of Rodgers- Marco Cappelli Acoustic Trio (Tzadik) alongside lush drawings from the original books. Hart’s “Blue Room”, full of sudden twists and brilliant by Kurt Gottschalk Conveniently, the novels were translated into English duo improvised lines, anticipating each other’s moves. by Europa Editions for the first time earlier this year. Peplowski switches to tenor for “Gone With the Wind”, Marco Cappelli has been finding great inspiration in playing with a soft vibrato as Hyman adds shades of the written word at least since 2008, when In the Shadow For more information, visit tzadik.com. This project is at and to his elegant runs. “The of No Towers - a video collaboration with writer/ Nublu Nov. 12th and ShapeShifter Lab Nov. 21st. See World is Waiting For Sunrise” is a song that both men illustrator Art Spiegelman about the Sep. 11th attacks Calendar. played during their respective stints with Goodman, - premiered in Italy. The same year Cappelli‘s Acoustic the influence of Wilson prominent in Hyman’s playing

Trio released the CD Les en France, based on the and Peplowski swinging as hard as Goodman while mysteries of French novelist Fred Vargas. preserving his own style. The Acoustic Trio returns with a release based on The duo tackles two Monk works: a spirited take Italian mystery writer Maurizio de Giovanni. The of “I Mean You” in which Peplowski steals the show project grew out of a concert in Cappelli’s native with his humorous clarinet and “Ugly Beauty”, Naples, where he and his band (bassist Ken Filiano and Hyman’s subtle use of the sustain pedal and creative percussionist Satoshi Takeishi) performed while de use of dissonance unveiling new dimensions of this Giovanni read. The nine instrumental tracks on the timeless ballad. One twist is the inclusion of WC album stand alone, not requiring knowledge of the Handy’s “Yellow Dog Blues”, a tune more often heard source material. Cappelli plays his heavily modified on traditional dates; the audience thankfully doesn’t Thwirl nylon string guitar here, although unlike in his join them for the usual cheer in the midst of its refrain. Stephan Crump’s Rosetta Trio (Sunnyside) “Extreme Guitar Project”, the sympathetic strings and by Donald Elfman Peplowski is back on tenor for the medley of “Lover, other modifications are in the background. The tunes Come Back to Me” and “Quicksilver”, where both men are little slices of progressive pop, played with The Rosetta Trio continues to make exquisitely pull all the stops with breathtaking solos, sure to leave understated precision by the rhythm section, not intimate music that seems to encompass the whole their audience wanting more. simple in their construction but reassuring in their world, stories rich in jazz, classical, folk, blues and form and repetition. more in a rich palette of color and texture. Bassist For more information, visit victoriarecords.net. Hyman is at “Sergeant Maione” evinces Cappelli’s classical Stephan Crump, acoustic guitarist Liberty Ellman and Saint Peter’s Nov. 27th. See Calendar. electric guitarist Jamie Fox are all virtuosos but know how to urge each other to inspired heights. The set begins with “Ending”, Crump’s arco DRUMMERS, CAN YOU GET hauntingly pure. He switches to pizzicato but the chapel-like atmosphere continues, even as both guitarists enter. The three improvise with delicate and A LESSON FOR ONLY $2.50? pointed precision and while there are certainly solo passages these are just pointers to true spontaneous interaction. “Reclamation” is something of a gentle folk groove tune, the opening vamp repeated as SAM ULANO individual voices peer out to give the tune shape. “He Runs Circles” is another quiet groove, Crump propelling his mates throughout this wispy blues. The title tune is helped along by percussive accents tapped SAYS YOU CAN! on the instruments, creating somewhat of an island feel. Special note must be given to Ellman for his powerful yet subtle approach. He never gets lost in the Sam’s “Kwik” basic reading mix thanks to the terrific engineering (provided by the leader!) as well as the sure sense of his place in this lessons will amaze you! very special music. The Rosetta Trio continue to move gently ahead, bringing in the myriad influences the three players have absorbed during their careers and in the special 10 Lessons for only $75.00 experience of being in this extraordinary group. 20 Lessons for only $50.00 For more information, visit sunnysiderecords.com. This project is at Greenwich House Music School Nov. 14th. See Calendar. All levels of players! Give it a Shot! Send a check or money order to: Sam Ulano 127 W.43rd St., Apt. 1026 New York, NY 10036

Call 212-977-5209 for more information. Live at the Kitano Dick Hyman/Ken Peplowski (Victoria Company) A Great Gift for the Holidays! by Ken Dryden Dick Hyman is one of the rare pianists who covers

28 NOVEMBER 2013 | THE NEW YORK CITY JAZZ RECORD

Dresser’s bass and the leader’s drums. Likely So is a recent ensemble that Jackson brought Chamber jazz has gotten a bad rap over the years together for the Jazzwerkstatt Festival in Berne earlier since it is usually associated with bland programs in 2013. A woodwind septet, Likely So consists of replacing inventive muscularity with soothing Chicagoans Mars Williams and Dave Rempis alongside textures. In contrast, Eisenstadt’s sophisticated themes Poland’s Wacław Zimpel and Swiss reedplayers Marc ignore hierarchal roles to showcase unexpected Stucki (doubling on harmonium), Peter Schmid and instrumental blends, matching the rigor of so-called Thomas KJ Mejer. A Round Goal is the ensemble’s first classical music with the freedom of improvisation. recording and features 11 pieces, including two short Consider “Dogmatic in Any Case”; as the rhythm soli by Jackson and Rempis. It’s interesting and

The Angle Below section’s flexible movements ground the narrative, indicative of the challenges that Jackson places on Peter Brendler & John Abercrombie (SteepleChase) spry emotionalism is expressed by the horns, first himself to institute a reed septet, following on the by Suzanne Lorge blended, then individually. Mitchell’s whorls and heels of such lofty units as the World Saxophone and flutters are passionately articulated and this ROVA Saxophone Quartets. Likely So is a larger Bassist Peter Brendler is younger than veteran comfortable talent is subtly transferred so that the ensemble that brings together unfettered, squirrelly guitarist John Abercrombie by some 35 years. The bassoonist’s dyspeptic gutsiness continues to express swing with a penchant for puckered, droning differences in age and experience are no obstacles to real feeling. Without resorting to the faux jazziness dissonance, round-robin refraction and delicate the two players, though, who join forces for an album’s many double-reed players bring to non-so-called- minimalism. It’s a testament to the leader’s writing worth of duets. The pair approach the material as classical music, Schoenbeck animates “Especially that he can reign in the group’s size to feel like a trio or equals - equal time soloing and comping and their Preposterous Assertions”. She uses rapid tonguing and quartet as Williams tears through “Was Ist Kultur?” as performances equally weighted in the mix. True, her instrument’s natural grittiness to swing hard, her well as highlight nuanced orchestral mass. Brendler contributes more compositions - six, versus work is balanced by gutsy bass-string stops. It shouldn’t be too surprising that drummer Frank Abercrombie’s three - but the two share a similar While the compositions allow the frontline to Rosaly’s first ensemble recording as a leader, Cicada compositional aesthetic: a prominent groove line expose the improvisatory heart of their often stolid Music, also features Jackson as they’re regularly paired moving in and around a soaring, precisely articulated instruments, they also showcase Dresser’s talents. His up in Fast Citizens. Two solo percussion and electronics improvisation. During even the closest listen it’s hard arco facility is such that on “Sandy” his lyrical strokes 12-inchers later, as well as a Jackson-Rosaly duo 7-inch to tell who is leading whom and whose ideas are could come from a viola da gamba, extending the on Molk, Rosaly’s chopped and rearranged driving the performances. joyous baroque-like shadings that parallel what flute improvisational fragments bear fruit in a supple and The subtleties of the composing and the playing and bassoon already bring to the piece. versatile sextet disc. Rosaly composed the ten pieces are what make the disc: the understated Latin mood Always sympathetically constructive in his playing, here, which grew out of a soundtrack session for the that Brendler sets up during the extended bass intro of the leader propels these tracks without loudness or documentary Scrappers, and is joined by Chicago “Valdoviño”; Abercrombie’s unexpected departure forcing a beat. By letting the soloists and compositions stalwarts: vibraphonist Jason Adasiewicz, bass into dissonance or a blues lick on the otherwise be the primary focus, Eisenstadt suggests that his music clarinetist Jason Stein, clarinetist James Falzone and harmonically simple “Jazz Folk”; Brendler’s solo has the potential to be as transformative as other non- bassist Jason Roebke. Rosaly’s approach is a limber composition “Rockaway”, just under two and a half idiomatic composers like Anthony Braxton. and athletic blend of breaks, shimmering free time and minutes in length; Abercrombie’s improvisation on erudite clips that propel warm, measured and economic “Half Dozen of the Other”, featuring a rock guitar For more information, visit songlines.com. Eisenstadt is at clarinet lines (including Jackson’s sound in the first half of the tune and a hollowbody Brooklyn Museum Nov. 23rd-24th. See Calendar. wallops). Though Cicada Music is far from being among jazz guitar sound in the second. To catch these moments the ‘rockist’ pantheon of new Chicago avant garde the listener has to lean in close; there’s more going on jazz, Rosaly and company bring a hook-laden insistence behind these performances than one might expect. to a music that, like all good soundtrack composition, The duo plays only one standard, closing out the can stand firmly on its own. CD with Gordon Jenkins’ “Goodbye”, showing their Jackson’s bass clarinet is the preferred axe on skill with the familiar tune after impressing with their Duope, a double-duo that pits him alongside ingenuity on the originals. Their rendition is expertly Switzerland’s Christoph Erb (on bass clarinet and a conventional and a clever sign-off: when the pair flips Chicago fixture) and cellists Fred Lonberg-Holm and out of the new and into this more traditional sound, we . It’s not the first time that Jackson has realize that all along we’ve been eavesdropping on a appeared on Erb’s Veto Records-Exchange, as a fine private conversation, one filled with familiarity, tacit 2011 set of duos with pianist Hans-Peter Pfammatter understanding and friendly challenges. They do leave attests. There are four improvisations here and despite the final chord on the recording unresolved, however. the woody chromatic similarity of cello and bass Perhaps their conversation has not yet ended. clarinet, the quartet’s ranginess and diversity is what comes through. Erb and Jackson are quite different in For more information, visit steeplechase.dk. Brendler is at A Round Goal Keefe Jackson’s Likely So (Delmark) their approaches, with the latter’s buoyant, gruff Barbès Nov. 13th. Abercrombie is at Allen Room Nov. Cicada Music Frank Rosaly (Delmark) lyricism an interesting foil for the former’s warble 22nd-23rd with . See Calendar. Duope while Reid’s somber throatiness supplants Lonberg- Christoph Erb/Keefe Jackson/ Holm’s jarring electricity. The second piece of the set, Tomeka Reid/Fred Lonberg-Holm (Veto) “snuro”, is perhaps the strongest and represents well Circuitous Quintet (Driff) the quartet’s spry grit. by Clifford Allen pianist Pandelis Karayorgis has had a long Tenor saxophonist, bass and contrabass clarinetist relationship with Chicago musicians, going back to his Keefe Jackson might be one of Chicago’s most late ‘90s-early ‘00s work with Ken Vandermark and ambitious musicians to come along in years, though Guillermo Gregorio. With right-hand man bassist Nate he’s not entirely a household name. Jackson relocated McBride, who has split time between Boston and to the Windy City from Fayetteville, Arkansas and Chicago, he has expanded on the inventions and being an Arkansan has a special meaning in the dimensions of pianist-composers Herbie Nichols, instrument’s lineage, putting him alongside players , Sun Ra and Cecil Taylor, frequently in Golden State like Kalaparusha Maurice McIntyre and Pharoah the trio format. Circuitous adds Rosaly and the twined Harris Eisenstadt (Songlines) Sanders. In addition to a number of excellent sideman reeds of Jackson and Rempis to the mix on a program by Ken Waxman turns, Jackson has co-led the hard-charging quintet of nine Karayorgis originals. The leader’s playing is Over the past decade, Toronto-born, NYC-based Fast Citizens (with reedman , cornetist full of elbows and gracefully weird turnarounds and drummer Harris Eisenstadt has demonstrated Josh Berman, drummer Frank Rosaly, cellist Fred offers challenging support for Rempis’ excoriations effectiveness as composer, leader and sideman in a Lonberg-Holm and bassist Anton Hatwich) since 2003 and Jackson’s wry, steely playing. Decades removed variety of contexts, from experimental to roots-oriented and convened the orchestral Project Project in 2007. from what contemporary improvisation is ‘supposed’ while staying clearly within the jazz-improvising Jackson is a gruff and lyrical player whose bright to be, Circuitous is energetically far from anachronism. continuum. Golden State is a slight departure, fusing cadences easily stick in one’s craw, but only four discs the tones from two primarily orchestral instruments - have been released under his leadership - likely a sign For more information, visit delmark.com, veto-records.ch Nicole Mitchell’s flute and Sara Schoenbeck’s bassoon of his methodical nature rather than whether or not the and driffrecords.com. Jackson is at Ibeam Brooklyn Nov. 3rd - with the non-symmetrical yet explicit beat of Mark jazz market is beating down his door. with the Duope group. See Calendar.

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“This Is No Laughing Matter” has more than a standards “Cherokee” (with an imaginative 3-over-4 passing resemblance to the famed Frank Sinatra- feel) and “There Is No Greater Love” (as a bossa), plus Tommy Dorsey collaborations of the same period. “I David Bowie’s “Queen Bitch”, all laced with mercurial Don’t Care Who Knows It” especially has a Sinatra- tempo and textural shifts. Westfall’s two-mallet style esque boy-next-door appeal to it. But Allyn’s baritone leaves plenty of harmonic space, often filled in by was more akin to that of Dick Haymes, though he was Loomis’ chordal passages and both Westfall and never to attain the kind of bobby soxer adulation of Schonig play freely with the time. The rhythms are either of those crooners. A fruitful period Allyn spent rock-based, with heavy - if floating - backbeats and with the Boyd Raeburn Orchestra is recalled with although sections typically riff and repeat, the trio

Prism Harold Arlen-Johnny Mercer’s “Out of this World”, as never stays in one mood for long. Standout tracks Dave Holland (Dare2) solid rhythmically as it is dreamy. Another 1946 gem, include “White Trash Blues”, a Monk-like by George Kanzler “It Shouldn’t Happen to a Dream”, notably has Lucky deconstruction; aforementioned “Queen Bitch”, on Thompson on tenor saxophone and Dodo Marmarosa which Schonig balances the abandon of a garage-band Can’t avoid the terms “fusion” or “rock adrenaline” on piano. This is pitch perfect Big Band Era music at its slugger with the restrained finesse of an orchestral when hearing this atavistic supergroup that features best. percussionist, and “White Out”, with an exciting the guitar heroics of Kevin Eubanks. Dave Holland, Allyn’s life included lengthy bouts with drugs and Westfall solo and more signature rhythmic tension. sticking to his acoustic bass and often anchoring the run-ins with the law, which included prison time. All Hearing the trio live at the culminating gig of a maelstrom of his cohorts, is the only member of this this and much more is candidly documented in his two-week promotional tour, held at SubCulture in late quartet who doesn’t succumb to the indulgences and autobiography, There Ain’t No Such Word as Can’t. September, confirmed an initial hunch that Schonig excesses of rock-fusion, although as nominal leader he Devoted fans such as fellow entertainment stars plays with a smile on his face and that group interplay, does preside over them all. Creating a heady sturm Sammy Davis, Tony Bennett, Vic Damone and Tony not a string of solos, is what drives them. The setlist und drang throughout, drummer Eric Harland is more Curtis continued to be supportive during hard times. included many songs from the new album, plus a tempestuous here than in his more straightahead roles. After Allyn was paroled in 1957, his old friend Richard second Bowie cover, “The Man Who Sold the World” Splitting the difference between Holland’s Bock, then heading up World Pacific Records, an (part of a Bowie two-fer) and a new original, “RG3”. mathematically measured cool and Eubanks’ searing emerging West Coast label, teamed up with another Westfall provided much of the melodic interest, Loomis heat is Craig Taborn, funking things up on Fender buddy of Allyn’s, Johnny Mandel. Together they all proved to be the fulcrum of rhythmic see-sawing Rhodes but unpredictable, from postbop groove to produced a memorable album of Jerome Kern songs. It between vibes and drums and Schonig played like a avant garde abstract, on acoustic piano. included what became an Allyn signature song, “The bulldozer in a china shop, cracking the snare rim with Each member contributes two tracks, Eubanks Folks Who Live On The Hill”. ear-splitting pops, then abruptly switching to whisper- three, to the program. The guitarist’s blues riff “Watcher” “Here’s The Way It Is” with the Bob soft taps on the cymbal , punctuating each exciting opens the proceedings heavy on feedback and distortion Orchestra is a beguiling 1959 sample of how full- gesture - his or the others - with ecstatic groans. Most from composer and keyboardist, drums pounding in a bodied and enduring Allyn’s voice still remained later importantly, they were enjoying themselves, probably jazz-rock mode that’s even more pronounced on in his career. The B-side of the recording is “Pleasant because they obviously haven’t lost the ability to Eubanks’ faster and overindulgently long “Evolution”, Dreams”, a very sweet ballad written by another Allyn amuse and surprise each other. rising to onanistic heights in an Allman Brothers rave- admirer, TV personality and jazz fan Steve Allen. By up climax. Processional patterns à la early Weather contrast, “Where You At?” is a full charge 1963 swinger For more information, visit theweetrio.com Report inform Eubanks’ “The Color of Iris”, subtle by Prince. It’s an occasion for to sizzle on guitar effects taking the sound underwater. Holland’s alto saxophone and swinging on piano. pair include slinky “The Empty Chair (For Clare)” with As sweet and mellow as Allyn’s forte often was, this fuzzy wah-wah guitar and “A New Day”, bringing side is irrefutable affirmation of just how hard and familiar guitar and piano tones to a fusion meter. satisfyingly Allyn could swing big time when given Taborn’s pieces are intricate and multi-faceted: the opportunity. “Spirals” full of titular moves, interrupted by free- Allyn continued to perform into his 70s. His long floating atonalities, odd and even meters and limpid and difficult journey came to an end when he passed piano notes; “The True Meaning of Determination” away a year ago this month at 93. It’s good to have pushing convoluted cycles and solos over a pulsing these beautiful sides available again now to affirm just fusion 8/8. But compositional honors go to Harland’s how fine a singer he was. two tracks, also the shortest on the album. “Choir” goes to fusion church, with calliope-like guitar and jazzy For more information, visit hepjazz.com drum solo while closer “Breathe” opens with elegiac solo piano, joined halfway through by whispering brushes, billowy bass and sighing guitar behind slowly rising piano lines.

For more information, visit daveholland.com/dare2. This project is at Birdland Nov. 26th-30th. See Calendar.

Live at the Bistro The Wee Trio (Bionic) by Tom Greenland In trying to connect with ‘ordinary’ people, jazz musicians often cover currently popular songs with lots of repetition and beat, hoping to make the intellectual or experimental elements of the music Where You At? (‘41-’63) more listener-friendly, but The Wee Trio seems able to David Allyn (Hep) negotiate the high/low cultural divide in an by Andrew Vélez uncontrived way. On their recently released fourth Where You At? (‘41-‘63) is a welcome opportunity to album, they display edgy infectious energy, eliciting catch up with an undeservedly neglected crooner from the kinds of audience responses more prevalent at rock during and after the Big Band Era. It begins with three shows than comparatively staid jazz concerts. songs from a year David Allyn spent with the Jack Collectively, vibraphonist James Westfall, bassist Dan Teagarden Orchestra in 1941. Particularly of note is Loomis and drummer Jared Schonig are just that: a “Soft As Spring”, one of Allyn’s signature songs. His is more wholesome sum than each part, though Schonig classic crooner singing, easy and romantic, and there’s is clearly the fire in the seat of their pants. The album lovely low-key brass backing him up. contains originals by all members, plus covers of the

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“Roof of Clouds” is one of the most stunning and uplifting clarinet pieces this reviewer has ever heard. The lines are spiritually inspired and the instrument’s fullness is exposed in a single note. Bergmann’s cleaner playing initially stands in contrast but the two reach common ground as things develop. Bergmann is at his most sensitive on closer “Present Absent”. Here Atzmon maintains a plaintive Middle-Eastern cry on soprano as Bergmann delicately

Atzbe: Zone De Memoire spins phrases that add depth. “Beyond Boundaries” Gilad Atzmon/Hubert Bergmann (Mudoks) begins as a smoky alto excursion that Bergmann, by Elliott Simon through swinging figures, jolts into reality while the “Invisible Abyss” is an extended exercise of quickly So called “Memory Zones” exist as physical locations darting and inventive joint improvisation. Zone De to honor events and people that it is felt should not be Memoire is a powerful statement that presents Atzmon forgotten. The cover of this release, from pianist Hubert and Bergmann in a very personal musical context. Bergmann and saxophonist/clarinetist Gilad Atzmon, is an image of flowers, perhaps left at such a Zone De For more information, visit mudoks.org Memoire that has burst into flames. Both of these artists are extremely forthright in their support of the Palestinian people; Bergmann has produced a film with this same title centered in the Middle East and Atzmon has written extensively on this subject. The combination of beauty and anger so powerfully represented on the cover informs these seven joint improvisations. This is emotional music and Atzmon’s horns have never sounded so gorgeous or been laid so bare. Bergmann has released previous one-on-one encounters Carillon and he lends this session its structure, his chords Nate Radley (SteepleChase) providing the forum for Atzmon to showcase the rich by David R. Adler tone as well as the sharp thrust and parry of his clarinet, alto and soprano saxophones. Bergmann is at Guitarist Nate Radley doesn’t have the wide the mercy of the mechanics of his instrument but does recognition of some of his six-string peers, though he’s on occasion pluck its strings to add coloration while one of the tastiest and most consistent players on the Atzmon’s reeds allow him a wider range of expression. scene. He’s done enviable sideman work with Alan Ferber, Loren Stillman, Marc Mommaas, Andrew BILLY HARPER Rathbun and others. He debuted in 2012 with The Big Eyes (Fresh Sound-New Talent), using a lineup of OF THE BLUES guitar, alto sax and (sometimes) Fender Rhodes with SSC1369 in stores November 19 rhythm section. On the new album Carillon he omits keyboard but keeps the guitar/reed frontline, using tenor saxophonist Chris Cheek alongside bassist Matt Clohesy and drummer Ted Poor. Radley isn’t after wild and extravagant soundscapes in the studio. He plays semi-hollowbody guitar, straightforwardly and beautifully, with a round but slightly steely tone and just a bit of reverb. He has a buoyant rhythmic feel, a cohesive hookup with Cheek and a fluid harmonic approach that lets him fill plenty of space when the horn lays out. Radley’s writing has a lushness and intricacy, a JON DAVIS DUO FEAT. way with pacing and contrast, from the bright feel and GIANLUCA RENZI contrapuntal invention of the opening title track to the mellower glide of “Positive Train”, the finale. There’s Any recording made by the legendary pianist Randy The Jon Davis Duo featuring something logical and satisfying in the transition from Weston is cause for celebration. Gianluca Renzi on bass will be “Whiteout”, an evocative waltz for solo guitar, to Who better to record an inspired album of duets with “Fadeout”, with its slow rock feel and majestic minor- than the great tenor saxophonist Billy Harper? Harper celebrating the release of modal tonality. “No Kiddin’” on WideSound These are eclectic players who are nonetheless comes from an equally diverse musical background with Records at the Knickerbocker Bar rooted in jazz - something Radley stresses with his a musical journey spanning from his back- and Grill (December 20th and 21st) inclusion of Thelonious Monk’s “Hornin’ In”, Cole ground to the avant-garde sounds of New York of the and at Smalls (December 23rd). Porter’s “All Through the Night” and the Charlie 1970s, where the Brooklyn born Weston had already Parker-associated ballad “Laura” by David Raksin. been innovating and exploring the African inspirations of (There were no standards on Radley’s debut.) In a ...”These two gentlemen are not word, the quartet can swing. Radley has a rich and jazz for nearly twenty years. kidding when it comes to dealing in well-developed take on Monk’s aesthetic. He reads the The duo met for two sessions at Avatar Studios in the intimate duo setting and their Porter tune in a staggered uptempo swing feel and New York City on February 8th and 9th, 2013. The analog chemistry is clear on this superb cleverly opts to have Poor solo first. But the dark recording provides additional warmth to the sounds of outing.” – Bill Milkowski original ballad “Some More” works just as well as a their mutual admiration expressed through these emotive jazz showcase. The ending, an E-flat minor chord held tracks and elaborated for a quietly stunning 20 seconds, is probably the session’s single finest moment.

www.jondavismusic.com For more information, visit freshsoundrecords.com. Radley is at 55Bar Nov. 3rd with Tony Moreno, Cornelia Street Café www.sunnysiderecords.com www.gianlucarenzi.com Nov. 12th with Akiko Pavolka and Brooklyn Conservatory of eOne Distribution Music Nov. 16th with Loren Stillman. See Calendar.

THE NEW YORK CITY JAZZ RECORD | NOVEMBER 2013 31

“Preludes”, which test a pianist’s ability to deal sit in with McClure’s Jazz Ensemble at the university, simultaneously with technique and spirit. “Someone and also included two promising NYU graduate to Watch Over Me”, arranged by Keith Jarrett, and students, pianist Mike Eckroth and drummer Shareef “Nice Work if You Can Get It”, arranged by Dave Taher. McClure was very pleased with the results and Grusin, are both darkly beautiful takes full of new felt the group merited another recording. For this date colors and feelings while Tedeschi’s own coloring of McClure added a new voice, tenor saxophonist Chad “Summertime” and “I Loves You Porgy” honors Lefkowitz-Brown, who he had played with during a Gershwin’s legendary opera Porgy and Bess. Tedeschi New Year’s Eve gig just prior to the recording session. calls British composer Percy Grainger’s arrangements McClure was justified in his assessment, remarking

Gershwin & Me of “Love Walked In” and “The Man I Love” sumptuous in his liner notes that all four young men excel in sight- Simon Tedeschi (ABC Classics) and they are indeed - slow, elegant and gorgeous. And reading, interpreting and embellishing melodies on by Donald Elfman finally, there’s a full-blown version of the famous Grofé the spot. Most of the tracks are originals by the leader. arrangement of Gershwin’s most popular orchestral “The Gathering” is a brisk postbop opener with strong It’s a special ‘collaboration’ when an artist chooses the piece, “Rhapsody in Blue”. solos by the bassist and Lefkowitz-Brown. The loping work of a particular composer, taking on the challenge “Country Ride” shifts the mood with its laid-back of finding what’s most personal in the music and then For more information, visit shop.abc.net.au/t/brands/abc-classics attitude. “My Love For You” is a ballad McClure wrote a way to bring that connection out. long ago for his wife, blending robust, emotional tenor

George Gershwin’s music continues to resonate sax with rich harmony; it also features what the with audiences and performers, perhaps because, more bassist thought was an impossible counterline for than anyone, he successfully bridged the worlds of piano but Eckroth nailed it perfectly. McClure asked jazz, classics and popular art. More likely it is because Terracciano and Lefkowitz-Brown to solo his melodies are timeless and reflect the best in what simultaneously in the introduction to “Ten Or More”, might be called the American spirit. Pianist Simon which they do flawlessly while their ensemble work in Tedeschi presents those wonderful melodies in a sound the challenging tune was sight-read with equal environment that best displays their glories. Though precision. not a jazz album in the strictest sense, the feeling of Terracciano contributed the moving ballad jazz is ever-present and Tedeschi offers arrangements “Breaking Away”, a slow, spacious arrangement that Ready or Not by two giants of the jazz world as well as improvising evolved in the studio with lush interplay between the Ron McClure (SteepleChase) on two of Gershwin’s best-known tunes. by Ken Dryden composer and Lefkowitz-Brown. ’s “Liz- The album opens in a concert setting with the Anne” is a delightful piece, initially played as an lovely “Rialto Ripples”, a rag of what feel like classic Veteran bassist Ron McClure has widely recorded as a easygoing jazz waltz, tempo slowed a bit for McClure’s proportions. It is considered to be Gershwin’s first sideman with many jazz greats, in addition to over 20 intimate solo. Don’t be surprised if McClure has future instrumental piece, composed with Will Donaldson. albums as a leader, as well as being a noted jazz recording plans for these four talented young men. Tedeschi brings a youthful zest to the performance, educator at NYU. His previous SteepleChase CD, deftly negotiating the subtle rhythm and captivating Crunch Time, was the debut recording of Gabe For more information, visit steeplechase.dk. McClure is at melody. He continues by tackling the marvelous Terracciano, a 17-year-old violinist who had asked to McDonald’s Wednesday and Saturdays. See Regular Engagements.

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32 NOVEMBER 2013 | THE NEW YORK CITY JAZZ RECORD

JAZZ LEGENDS PERFORM NIGHTLY 8 – 11 PM

November 1 – 2, 8 – 9, 11 – 14 November 4-7 November 15 – 16, 18 - 23 November 25-30 ANTONIO CIACCA EMMET COHEN LUCIO FERRARA GREG CHEN Antonio Ciacca continues his At 23, jazz pianist Emmet Cohen, One of the best jazz guitarists of A native of San Jose, California, exciting residency with Measure was a finalist in the 2011 Thelonious the Belpaese will delight the Gregory Chen moved to New Lounge at Langham Place, Fifth Monk International Piano audience with his swinging York in 2009. Gregory has Avenue. He will delight your Competition. Emmet plays with the soulful playing. shared the stage with many of evening with the American and maturity and confidence of a the top artists in both New Italian American Song book. seasoned veteran. York and California.

PIANO SOLO SUNDAYS:

November 3, 10: JON DAVIS | November 17: TADADAKA UNNO | November 24: STEVE ASH

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another reversal, Ray delivers a legit interpretation of dog whistle-like and the other pressurized altissimo. the Broadway classic, “Somewhere” from Leonard Escaping studio confines, his timbre-exploration goes Bernstein’s . Ray’s classically trained, on for more than 10 minutes on some tracks, as bassist deeply resonant voice moves like second nature and drummer scramble to keep up. through these inspired and inspiring selections; very Ayler’s concluding, nearly 11-minute “Ghosts” few singers get to perform even one song they’ve lived confirms that he could still find nuances in his anthem. a lifetime with, much less an album’s worth. Mirthfully exaggerated as well as nephritically The CD contains some highly personal material powerful, he stops the tune with an applause-milking for Ray: on two songs (“Hold On” and the melody upturn and, after that arrives, recasts the

Vocal Sides aforementioned gospel tune) Ray sings with her familiar line as a sailor’s hornpipe. Who knows what Carline Ray (Carl Cat Records) daughter, Catherine Russell, an impressive jazz singer Ayler would have created had his mental state allowed by Suzanne Lorge in her own right and the album’s producer. Ray’s him to survive? husband and Russell’s father, Luis Russell, wrote Jazz pioneer Carline Ray graduated from Juilliard at “Lucille” for Louis Armstrong and named it after For more information, visit espdisk.com the end of World War II and soon thereafter was Armstrong’s wife. Armstrong never recorded the tune, working as a bass player, guitarist and singer with but Russell and Ray have included the tune’s demo groups like the International Sweethearts of Rhythm from 1961 as a bonus track. Ray’s voice on the first 10 IN PRINT and ’ big band. Later she would play tracks sounds remarkably unchanged and the 50-odd with Sy Oliver’s Orchestra at the Rainbow Room and years in between these recording sessions did nothing record with jazz pianist Mary Lou Williams. In 2005 to diminish Ray’s obvious joy in singing and her love she won the Mary Lou Williams Women in Jazz Award of the tunes themselves. and the International Women in Jazz Award in 2008. Carline Ray died this past July at 88, just a month Despite this long list of accomplishments, Vocal Sides, after the album’s release. While passing so soon after released this past June on Carl Cat Records, is Ray’s her debut makes us regret the recordings that might first solo CD, where she is featured as a vocalist. have been, it also makes us appreciate all the more The record draws selections from Ray’s lengthy Ray’s deeply moving final gift. career and features her husky contralto on a surprisingly wide range of tunes. She opens with the For more information, visit cdbaby.com/cd/carlineray. A pop chestnut “When I Grow Too Old To Dream”, an tribute to Carline Ray is at Saint Peter’s Nov. 18th. See Space, Interiors and Exteriors, 1972 Sun Ra + Ayé Aton (Corbett vs. Dempsey) understated ballad in trio with pianist Yuka Aikawa Calendar. by Russ Musto and bassist Atsundo Aikawa, her primary players for the recording. She follows with a vivacious rendering The artistry of Sun Ra long had a visual component, of “Donna Lee/Back Home Again In Indiana”, scatting most obviously in the attire that he and his Arkestra the Miles Davis melody over the “Indiana” changes in wore when performing. At first the costumes came tandem with Atsundo; Ray’s expert phrasing on this from an opera company’s discarded wardrobe, bebop classic is a highlight of the album. Next, in yet acquired by the ensemble’s manager, but soon Ra himself was designing the band’s stagewear to identify more closely with his unique world view, combining ancient Egyptology and futuristic space travel. He was color conscious - not only in his own Afrocentric philosophy - but to the point of inspecting Live on the Riviera the colors of hotel rooms in order to assign the proper Albert Ayler (ESP-Disk’) match for each musician’s character. by Ken Waxman Ra’s artistic vision was an inspiration to a young With a recording history almost as chaotic as his life, painter Robert Underwood, who would rename hitherto-unknown sessions by saxophone avatar Albert himself Aýe Aton and go on to service in the Arkestra Ayler (who died 43 years ago this month at age 34) both as a muralist (painting stunning backdrops for keep appearing. Ayler’s career was so brief (eight the group’s performances) and a percussionist/ years) and so groundbreaking, that every track - drummer (playing with the band at the 1972 Ann standards-reinterpretation, rock music flirtation or Arbor Blues & Jazz Festival documented on Life Is unprecedented free-form expression - has value. Splendid). Space, Interiors and Exteriors, 1972 combines Recorded four months before his suicide, Live on the long lost photographs of Ra from the set of the biopic Riviera is doubly important since most previous issues Space Is The Place and those of Aton’s many murals. of the saxophonist’s Fondation Maeght concerts have The dozen or so photos of Ra depict him been limited to quintet performances from Jul. 27th. resplendently attired in “weird and beautiful Recorded two days earlier, the CD is Ayler accompanied Egyptian costumes” on loan from a local Masonic only by bassist Steve Tintweiss, drummer Allen temple. Wearing a gargantuan headpiece topped Blairman and the vocals and soprano saxophone of with an enormous translucent orb flanked by two Mary Maria. golden horn like spires pointing spaceward, the While Ayler’s performances are usually as subtle photographs portray Sun Ra in various settings, both as blunt force trauma and as harmless as a car accident, extraordinary (a lush California botanical he genuinely seems to be enjoying himself here, environment) and pedestrian (the contrast between vocalizing with Maria, showcasing new arrangements his apparel and an old sedan and school bus is of his then-recent Impulse LPs and injecting his pet bizarrely striking). The images are arguably the most phrases into most of the tunes. The remastering allows dazzling of any taken of jazz’ most colorful character. his and Maria’s naïve peace-and-love sentiments to be The more than 40 snapshots of Aton’s murals, heard more clearly, along with the intricacies of his three from the Morton Street Ra house in improvisations. Surprisingly, tunes such as Maria’s Germantown, Philadelphia, the remainder painted lilting “Island Harvest”, backed with spare on or in Chicago homes are equally arresting - accompaniment from Ayler, could actually be calypso combining Egyptian and astral imagery in almost or Caribbean play-party songs. Elsewhere, moving explosive arrays of color. Glenn Ligon’s essay from mimicking a church congregation’s affirmation of “Sound and Vision” and ’s foreword Maria’s preaching on “Music is the Healing Force of give historical context to the volume, which ends the Universe” to his semi-lyrical, though flutter- fittingly with Ra’s poem “The Art Scene”. tongued staccato variants on “Birth of Mirth”, Ayler’s expected multiphonics reinforce the performances. For more information, visit corbettvsdempsey.com. A benefit When playing musette on “Masonic Inborn”, his for the Sun Ra Archives is at JACK Nov. 17th. See Calendar. screaming reed bites divide still further, with one line

34 NOVEMBER 2013 | THE NEW YORK CITY JAZZ RECORD

and , hard-swinging bebop melded with the in its bridge. The leader’s “Blues For McCoy” (a tribute fervor of gospel. to McCoy Tyner) is played at a ferocious tempo, This album, recorded at the Chicago’s Jazz incorporating blistering runs and thunderous chords, Showcase in 1973, four years before Hawes died, isn’t also showcasing Farnsworth’s powerful solo. The final nearly up to his best work for Contemporary. (His best track is an interpretation of the late ’s ‘70s LP was a duet with .) He is playing soulful “Bleeker Street Theme”, opening with Webber’s acoustic piano though and his trio consists of bassist hip solo before the leader brings out its bluesy side Cecil McBee and drummer . However, the while also adding a touch of humor. skewed mix favors bass way over drums and sometimes

Live at The Jazz Showcase in Chicago, Vol. 1 even over piano. The four tracks here include two For more information, visit cellarlive.com. LeDonne is at The Hampton Hawes (Enja) roughly quarter-hour excursions, including a Players Nov. 8th with George Coleman, Jr., Miller Theater by George Kanzler foundering attempt at a modal piece by Hawes, Nov. 21st with Michael Hashim, Smoke Nov. 27th with Ray “Spanish Moods”, less-than-hypnotically-repeating Marchika and Mondays with Joe Farnsworth and Tuesdays He played with Charlie Parker and considered him a simple note patterns, sometimes with a percussive as a leader. See Calendar and Regular Engagements. friend as well as an influence and in 1956, the year pounding from Hawes suggesting he’s trying to after Bird died, late pianist Hampton Hawes (born 85 approximate his Fender Rhodes. years ago this month) won the two major jazz magazine The other long track, “Stella by Starlight”, features ON DVD polls for new artist, at age 28. Two years later he was an extended, gauzy rubato solo piano intro and shorter sent to Federal prison for heroin possession, finally solo with trio, plus a bowed solo from McBee. Charlie pardoned after five years by President Kennedy. In late Parker’s “Blue Bird” strives for the verve of Hawes’ ‘60s Hawes enjoyed success in Europe and Japan as a bop youth while “St. Thomas” prances along on touring artist, based on the of his mid ‘50s Haynes’ calypso accents. recordings. In the ‘70s Hawes, like many hardbop There are intimations of Hawes’ mastery here, but musicians, floundered around seeking an approach this CD is for completists only. For Hawes at his best, with popular appeal. He embraced the Fender Rhodes seek out the Contemporary All Night Sessions with electric piano, experimented with -fusion guitarist Jim Hall, bassist - his frequent and even played with Joan Baez on tour and records. partner in the ‘50s - and drummer Eldridge Freeman. Unlike such contemporaries as Sonny Clark, Or Mingus Three on Jubilee, a trio session with Charles and Herbie Nichols, Hawes has never Mingus and drummer . Invitation to Illumination (Live at Montreux 2011) Santana & McLaughlin (Eagle Vision) been celebrated or taken up by younger generations of by Andrey Henkin jazz musicians for tribute bands or recordings. And as For more information, visit jazzrecords.com/enja a West Coast musician, whose best albums - trios and Without the benefit of hindsight, the 1972-73 quartets on the Contemporary label - from the ‘50s pairing of guitarists Carlos Santana and John were not part of the Blue Note quasi-official canon of McLaughlin for Love Devotion Surrender (LDS), the era, Hawes is little remembered today. But his best seems odd; the former came out of the acid-soaked work was a harbinger of the grittier side of hardbop rock scene of ‘60s California while the latter, several years older, was a veteran of Britain’s blues and jazz circles and then entered the world of Miles. But the early ‘70s were a time of porous genre borders. Of course, the two had a few things in common: a love of Coltrane; a shared mentor in Sri Chimnoy and staggering technical virtuosity wedded to extreme Speak spirituality. Fast-forward nearly 40 years and where Mike LeDonne Trio (Cellar Live) by Ken Dryden had the two ended up? McLaughlin is a legend who has never really surpassed his work with the Mike LeDonne is a solid pianist and organist who has Mahavishnu Orchestra and Santana gave up his recorded extensively as a leader while also drawing complexity and became a superstar as a result. praise from heavy hitters like Milt Jackson and Oscar Ironically, the pair actually became better suited to Peterson. This trio engagement from late 2012 features each other than they were all those years ago. LeDonne on piano, leading a trio with two fellow Invitation to Illumination is an over-two-hour set veterans who have frequently joined him on the from the 2011 . The band bandstand, bassist John Webber and drummer Joe behind the two six-stringers draws from their two Farnsworth. groups. Almost all of LDS is performed, albeit The first five tracks are movements of “Suite broken up, augmented by some fascinating choices: Mary”, dedicated to his nine-year-old daughter, who is a Coltrane/Bob Dylan/Led Zeppelin/Albert Ayler/ mute due to a rare disability. The individual sections Santana medley; nods to McLaughlin’s tenure in often represent his interaction with her while each ’ Lifetime; tunes by Miles, , piece easily stands on its own merits. The first part, /Leon Thomas, an acoustic/electric “Speak”, is a turbulent hardbop tune full of slashing duet on Coltrane’s “Naima” and a chords, showcasing Farnsworth in the midst of the tune to close. The sound and video are as impeccable maelstrom. The mood quickly shifts with “Listen”, a as one would expect from the Swiss; with so much glistening ballad that has a meditative, Far Eastern air. doubling, a muddy mix would have been tragic. “Play” has an infectious groove, an upbeat vehicle But more important than the setlist or with a Latin undercurrent powering it. “I Will Always reproduction is how Santana and McLaughlin, Love You” is a poignant ballad, almost whispered, guitar heroes long before the video game, sound, on with the soft background supplied by Webber and their own and together. Santana still has that classic Farnsworth providing the perfect support for tone harking all the way back to Woodstock but LeDonne’s piano, which alternates between lyricism thankfully McLaughlin mostly eschews the slick and elaborate right-hand runs. “Little M” is a sound of which he has become enamored over the rambunctious finale, blending hardbop with a touch of last decade. Both men sound gritty and positively Latin jazz with its share of twists. inspired, spurred on by the dual drummers (Dennis Following his suite, LeDonne tackles the late Chambers, formerly of McLaughlin’s band, joins James Williams’ “What You Say Dr. J”, a funky, fun- Cindy Blackman-Santana). We are left with one filled tribute to basketball great Julius Erving, which question: if Santana and McLaughlin can still play also spotlights Webber’s sublime solo. With George like this, why don’t they more often? Gershwin’s “I Loves You, Porgy”, LeDonne again shifts the mood by alternating between a loping, laidback For more information, visit eaglerockent.com setting in the body of the song and straightahead swing

THE NEW YORK CITY JAZZ RECORD | NOVEMBER 2013 35 the music, along with complementary video imagery. more futuristic in tone, a bit ominous in its elusive BOXED SET Disc One, Be Still, is by Douglas’ own admittance shifting rhythms, a sharp contrast to the stasis of his most personal work to date, comprised “Law Of Historical Memory”, on which the horns predominantly of the traditional Protestant hymns play long unison tones over a slow dark repetitive his late mother had requested he play at her piano ostinato. “Beware Of Doug” is a playful memorial. Originally performed by a brass ensemble, country-and-western-tinged outing recalling Oliver they are reorchestrated here by Douglas for his young Nelson’s “Hoe-Down”, fodder for inspired soloing new quintet of tenor saxophonist Jon Irabagon, by all. “Little Feet” utilizes “Hush Little Baby” as a pianist Matt Mitchell, bassist Linda Oh and drummer point of departure for a brooding excursion that Rudy Royston, augmented by the vocals and guitar moves outside for some of the date’s freest playing. of Aoife O’Donovan of the contemporary bluegrass “Garden State” is a hard-swinging burner in tribute group Crooked Still. Despite the orthodoxy of the to Douglas’ New Jersey roots. The concluding “The DD|50: 50th Birthday Recordings source material, the arrangements span a wide array Pigeon and the Pie” is a slowly building, spacious Dave Douglas (Greenleaf Music) of moods and grooves, recalling the Americana- outing that hearkens to the leader’s earlier Miles- by Russ Musto inspired music by Charlie Haden or . The inspired quintet days, with taut ensemble playing opening title track features O’Donovan delicately and thoughtful soloing by the members of the quintet. Arguably the most eclectic artist in jazz today, intoning the hymn’s lyric over the band’s serene Pathways again finds Douglas going outside of trumpeter Dave Douglas has drawn inspiration from accompaniment, recalling a children’s lullaby, with the jazz confines for inspiration, here back to Bach. a diverse assortment of sources, creating an engaging impassioned passages from Douglas marked by the The disc’s seven pieces, played by a sextet that brings body of work, the expansiveness of which of testifies restrained virtuosity characteristic of his work. together old bandmates saxophonist Greg Tardy, to his wide-ranging experience (from to “High On Mountain” is a foot-stomping bluegrass trombonist Josh Roseman, pianist Uri Caine and John Zorn) and tastes. DD|50: 50th Birthday Recordings tour de force with the band driving O’Donovan’s full drummer with Oh, are all variations finds the intrepid trumpeter exploring new territory throttled vocal. The mournful sound of “God Be With on the chorale Es Ist Genug, spotlighting each player, in a familiar, time-tested manner, eschewing the “I’m You”, “Barbara Allen” and closing “Whither Must I beginning with guest O’Donovan, who sings the so hip” attitude that plagues many other players’ Wander” are balanced by the optimistic tone of “This original melody and beautifully improvises her own contrived attempts to break down barriers without a Is My Father’s World” and Douglas originals ”Going lyric. Douglas is featured on “Dragonback”, which concept of what to do on the other side. Somewhere With You” and “Middle March” (a exhibits the influence of Booker Little. The other The attractively packaged boxed set brings dedication to ). soloists are featured individually on the succeeding together three separate, very different sounding discs Recorded at the same sessions that produced Be pieces, which go from freebopping intensity to recorded last year, which, while preceding Douglas’ Still, Time Travel is unadulterated jazz featuring the pastoral solemnity, ending with the Messenger-ish half-century mark heralded in the collection’s title, quintet playing seven Douglas pieces that fall, in his ode “Passing The Torch Song”, everyone swinging assuredly attests to his maturity as a young veteran words “between soloing and trading and playing like mad over Penn’s burning rhythms. refusing to rest on his well-earned laurels. The three together.” Beginning with “Bridge To Nowhere”, a CDs are augmented by a bonus DVD, affording quirky bop line reminiscent of Monk and Mingus, the For more information, visit greenleafmusic.com. Douglas’ viewers an inside look at the sessions that produced band swings hard in the tradition. The title track is quintet is at Jazz Standard Nov. 14th-17th. See Calendar. Cobi Narita Presents at Zeb’s EVERY FRIDAY - 6:30 TO 9:30 PM NOV 1–3 NOV 16–17 ted nash big band: chakra george cables songbook OPEN MIC/JAM SESSION featuring victor lewis NOV 4 Open Mic/Jam Session for Singers, Tap Dancers, Instrumentalists, manhattan school of music NOV 18 Poets - hosted by Frank Owens, one of the most gifted afro-cuban orchestra manhattan school of music pianists you will ever hear! jazz ensemble NOV 5–6 Our Open Mic is one of the best of the Open Mics happening in New York & elsewhere, with the incomparable Frank Owens playing for you. momentum NOV 19–20 lavay smith sings An unmatchable moment in your life! As a participant, or as an audience NOV 7–10 member, you will always have an amazing time, one you will never forget! jacky terrasson quartet NOV 21–24 bobby sanabria multiverse Don’t miss! Admission: $10. NOV 11 monday nights with wbgo big band jon cowherd: mercy NOV 25 NOV 12 the amigos band hosts the danny mixon quartet david amram ME (YOU)! THE DIVA PROJECT NOV 13 NOV 26 Two One-Of-A-Kind Talents: niels lan doky trio: brooklyn underground meets Ejaye Tracey and Frank Owens scandinavian standards queens overground present a Vocalist’s coaching session for professional, as well as beginners NOV 14–15 NOV 27 and actors, who sing, focusing on understanding/caressing/emoting the lyric; george cables trio featuring juilliard jazz ensemble crafting and interjecting your art into the lyric of a song. victor lewis: Ejaye Tracey and Frank Owens are gifted, seasoned artists, a birthday celebration NOV 28–DEC 1 seamless in artistic thought. wycliffe gordon & friends Sunday, November 10, 2013, 3:00-8:00PM

swing by tonight set times $35 Participant, $40 at Door; $25 Audit pm jalc.org / dizzys

Jazz at Lincoln Center’s Frederick P. Rose Hall Broadway at 60th Street, 5th Floor, nyc ZEB’S, 223 W. 28 Street (between 7th & 8th Avenues), 2nd floor walk-up cobinarita.com / zebulonsoundandlight.com / Info & Res: (516) 922-2010

36 NOVEMBER 2013 | THE NEW YORK CITY JAZZ RECORD (INTERVIEW CONTINUED FROM PAGE 6) MC: I think that’s true. And when we hit, the walls are gonna be shaking. These are players that really go all New World Records TNYCJR: You have a fantastic lineup of players. out and it’s going to be some very challenging music, but every part matters and the main thing is that this MC: Yeah, these are top players. And I’m very fortunate band is going to be extremely tight. And at the same to have basically a whole section of lead - time, it’s just a great feeling to work with so many of , Michael Mossman, Tanya Darby and John my colleagues to put this together. At the end of the Walsh - so they can alternate the lead parts and it helps day, that’s what it’s all about. Let’s enjoy the moment to keep everyone really fresh, since six nights of two and have a great time and if an audience shows up, sets per night is a lot of playing. It’s always great to then it’ll be even more special. v work so closely with all these colleagues of mine and there are outstanding players in all sections of the For more information, visit michelcamilo.com. Camilo is at band, like [saxophonist/flutist] , Blue Note Nov. 5th-10th. See Calendar. See Calendar. [trombonist] Luis Bonilla, [saxophonist] Chris Hunter, [saxophonist/flutist] , [baritone Recommended Listening: saxophonist] and, of course, there’s • Michel Camilo - Eponymous (Portrait, 1988) Anthony Jackson on bass and Cliff Almond on drums. • Michel Camilo - Rendezvous (Columbia, 1993) • Michel Camilo - One More Once (Sony-Columbia, 1994) TNYCJR: Will we also get to hear any new tunes? • - Hands of Rhythm (featuring Michel Camilo) (RMM, 1997) MC: Yeah, you might hear some new stuff. I’m working • Michel Camilo - Live at the Blue Note (Telarc, 2003) on a couple of new charts right now and I plan to • Michel Camilo - What’s Up? (OKeh, 2013) premiere them at the Blue Note. And as I’ve been working on those new charts, I’ve been motivated to Marty Ehrlich expand the language, or the concept, of a big band. It’s (LABEL CONTINUED FROM PAGE 12) not just normal material, since it goes in some other A Trumpet in the Morning different ways. There are backbeats and all kinds of describes as ranging from “minimalism to noise”, other rhythms and grooves that you don’t usually hear Reilly and Panico don’t often disagree on what should coming from a big band. And the players in the band be released. “Agreeing is usually not an issue,” notes Marty Ehrlich Large Ensemble: E.J. Allen, Ray Anderson, know that, which is why I think they love doing it, Reilly. “If we don’t, each of us gets to release what he Uri Caine, , Joseph Daley, Robert DeBellis, Michael since they love the challenge just like I do. believes in.” Dessen, Curtis Fowlkes, Drew Gress, Jerome Harris, Miki Hirose, Like all other smaller labels, what does hold them Ron Horton, Howard Johnson, , Adam Kolker, Andy TNYCJR: Big bands can be a great way to engage back is finances. “We put personal funds into the label Laster, Eric McPherson, J.D. Parran, Lisa Parrott, Jason Robinson, listeners who might not be as familiar with more each year with the goal that the income generated by Warren Smith, James Weidman, Matt Wilson, James Zollar; complicated aspects of the music, since the sound is so the catalogue will pay for future releases,” explains Marty Ehrlich, conductor big and joyful and it really hits you physically. Reilly. “Each project is based on our budget and what the situation requires. There have been projects we 80752-2 liked that we had to pass on because of our budget.” Besides CDs, most RP titles are also available as This is the most ambitious recording I downloads, although as Reilly points out, “some artists Academy Records have done to date as a composer. These aren’t eager to make their music available digitally. They spend a great deal of time getting things to sound compositions, written over a twenty-year & CDs a certain way and resist the music being distributed in period, receive wonderful performances from lesser quality formats.” As for LPs, Panico counters: these A-list musicians, many of whom I have “While LPs are hip again, manufacturing and shipping worked with for thirty years and more. Each them is very expensive.” piece approaches the jazz orchestra in different Cash for new and used Rather than spending their money that way, the ways. The music on this recording presents the two attend as many shows as they can in the NYC-area fullest range yet of my creative passions. and overseas and aim to release CDs by artists who compact discs,vinyl impress them. “We both first heard each of our releases —Marty Ehrlich records, blu-rays and alone, in our homes and felt privileged and excited to “ be hearing them. We want to get this art out into the This is the first program devoted entirely dvds. world since, this music deserves to be heard,” states Reilly. “I like the idea that you could look at our to the orchestral music of Marty Ehrlich. It catalogue and not know where the label is based. To displays the characteristics that have marked paraphrase [pianist] Thollem McDonas: ‘This music his success as an instrumentalist, composer, We buy and sell all v has no borders.’” and bandleader: strong melodic invention genres of music. For more information, visit relativepitchrecords.com. Artists and a keen ear for instrumental color, All sizes of collections performing this month include Taylor Ho Bynum at The Jazz creative curiosity embracing disciplines Gallery Nov. 9th and Clemente Soto Velez Cultural Center beyond music, extreme sensitivity to welcome. Nov. 22nd; Connie Crothers at The Firehouse Space Nov. 22nd with Adam Caine; Vinny Golia at The Firehouse Space Nov. those with whom he collaborates, formal 2nd with Adam Lane, Downtown Music Gallery Nov. 3rd and inventiveness that enhances rather Barbès Nov. 6th; Mary Halvorson at The Jazz Gallery Nov. 9th than obscures expressive intent, and an For large collections, with Taylor Ho Bynum, SEEDS Nov. 13th, Cornelia Street unblinking yet ultimately affirmative Café Nov. 15th and 16th and ShapeShifter Lab Nov. 19th with please call to set up an The RicTer Scale; Jim Hobbs at The Jazz Gallery Nov. 9th with insistence on connecting his music with appointment. Taylor Ho Bynum; Kirk Knuffke at Korzo Nov. 12th with Matt realities both historic and contemporary. Pavolka and Cornelia Street Café Nov. 20th with Ideal Bread; Matthew Shipp at Klavierhaus Nov. 6th; Matt Wilson at Smalls Nov. 1st-2nd with Ken Peplowski, Jazz at Kitano Nov. 2nd with John Menegon, 13th with Julian Shore and 22nd-23rd Open 7 days a week 11-7 with Jane Ira Bloom, 55Bar Nov. 14th with Amy Cervini and The Stone Nov. 16th with Ray Anderson/Marty Ehrlich; and @NewWorldDram 12 W. 18th Street NY, NY 10011 Nate Wooley at 61 Local and Ibeam Brooklyn Nov. 3rd, 61 212-242-3000 Local Nov. 7th with Jaap Blonk and ShapeShifter Lab Nov. 18th with Ingebrigt Håker Flaten. See Calendar. See Calendar. www.new worldrecords.org

THE NEW YORK CITY JAZZ RECORD | NOVEMBER 2013 37 CALENDAR

Friday, November 1 • Terry Waldo’s Gotham City Band; Fat Cat Big Band; Brandon Lewis/Renee Cruz Jam • Yvonnick Prene Quartet; Adam Larson Trio Fat Cat 6, 8:30 pm 12:30 am The Garage 6, 10:30 pm êGary Bartz Quintet with Vincent Herring, Sullivan Fortner, James King, Greg Bandy • Youngjoo Song Trio with Vicente Archer, Kendrick Scott • Audubon Lab Experiment Silvana 6 pm Smoke 7, 9, 10:30 pm $38 Cornelia Street Café 8:30 pm $10 êDave Liebman Expansions Group with Matt Vashlishan, Bobby Avey, Tony Marino, • Satin Doll Trio: Patrice Ferris, Ken Kilpatrick, Fred Ferris Wednesday, November 6 Alex Ritz Cornelia Street Café 9, 10:30 pm $15 Metropolitan Room 9:30 pm $20 • Sing Sing Swing: The New York Pops with guests Montego Glover, Dave Bennett • / Walker’s 8 pm êMatthew Shipp, William Parker, Jeff Cosgrove Stern Auditorium 8 pm $34-120 • Tony Moreno Quintet with Marc Mommaas, Nate Radley, Jean-Michel Pilc, Klavierhaus 7 pm êJoe Lovano Us Five with James Weidman, Peter Slavov, Otis Brown III, Francisco Mela Dean Johnson 55Bar 10, 11:30 pm • William Hooker Quartet with Matt Lavelle, Mark Hennen, Larry Roland; Welf Dorr Unit Village Vanguard 8:30, 10:30 pm $25 • From Hell: Jochem van Dijk/Tom Shad; K. Page Stuart solo; with Dave Ross, Dmitry Ishenko, Joe Hertenstein; On Ka’a Davis and The Famous • Nonet Birdland 8:30, 11 pm $40 Jeff Platz Trio with India Czajkowska, Jonas Tauber Original Djuke Music Players with Nick Gianna, Cavassa Nickens, Welf Dorr, Peter Barr êTed Nash Big Band with Ben Kono, Charles Pillow, Dan Willis, Anat Cohen, ABC No-Rio 7 pm $5 ShapeShifter Lab 7, 8:15, 9:30 pm $12 Paul Nedzela, Kenny Rampton, Alphonso Horne, Ron Horton, , Alan Ferber, • Forge the Bell: Joy Askew, T. Taylor, Daniel Mintseris; Philip Hamilton • Roberto Rodriguez Masada Project with Eddie Khaimovich, Ivan Barenboim, Mark Patterson, Charley Gordon, Jack Schatz, Christopher Ziemba, Martin Wind, ShapeShifter Lab 7, 8:15 pm $8-10 Meg Okura, Carmen Staff, Itai Kriss, Uri Sharlin Ulysses Owens Dizzy’s Club 7:30, 9:30 pm $40 • Matt Davis’ Aerial Photograph with Eugen Kim, Ben Sutin, Eric Lemmon, The Stone 8, 10 pm $15 êVijay Iyer Trio with Harish Raghavan, Marcus Gilmore Bronwyn Banerdt, Paul Jones, John Raymond, Jay Rattman, Leon Boykins, • Kevin Hays New Day Trio with Rob Jost, Greg Joseph Jazz Standard 7:30, 9:30, 11:30 pm $30 Justin Leigh; Tom Blatt Project with Raymond Todd, Michele Smith, Charles Ramsey, Jazz at Kitano 8, 10 pm $10 • Arturo Sandoval Blue Note 8, 10:30 pm $45 Andy O’Neil; Ece Goksu Quintet with Uri Gurvich, Can Cankaya, Scott Colberg, • Manuel Valera and New Cuban Express with Yosvany Terry, Tom Guarna, John Benitez, êCharlie Hunter solo Rockwood Music Hall 8 pm $15 Dan Pugach Somethin’ Jazz Club 5, 7, 9 pm $10-12 Ludwig Afonso, Mauricio Herrera Jazz Standard 7:30, 9:30 pm $20 êKen Peplowski Quartet with Ehud Asherie, Martin Wind, Matt Wilson • Jon Davis Measure 8 pm • Glenn Zaleski, Rick Rosato, Colin Stranahan; Roberto Gatto Group with Smalls 10:30 pm $20 • Shrine Big Band Shrine 8 pm Michael Blake, Nir Felder, Matt Clohesy • John Pizzarelli/Jessica Molaskey Café Carlyle 8:45 pm $55-100 • Elise Wood Duo; Red Sahara Collective Smalls 9:30 pm 12 am $20 êBen Allison Trio with Steve Cardenas, Steve Wilson Silvana 6, 8 pm • Raphael D’lugoff; Groover Trio; Ned Goold Jam Jazz at Kitano 8, 10 pm $25 êJoe Lovano Us Five with James Weidman, Peter Slavov, Otis Brown III, Francisco Mela Fat Cat 7, 9 pm 12:30 am • Eugene Chadbourne/Tatsuya Nakatani Village Vanguard 8:30, 10:30 pm $25 êRoy Nathanson Project with Tim Kiah, Sam Bardfeld; Sebastian Noelle KOAN 4tet with The Stone 8, 10 pm $15 êTed Nash Big Band with Ben Kono, Charles Pillow, Dan Willis, Anat Cohen, Loren Stillman, Thomson Kneeland, Ross Pederson • Bobby Sanabria Multiverse Big Band Paul Nedzela, Kenny Rampton, Alphonso Horne, Ron Horton, Tim Hagans, Alan Ferber, SEEDS 8:30, 10 pm Hostos Center 7:30 pm $25-35 Mark Patterson, Charley Gordon, Jack Schatz, Christopher Ziemba, Martin Wind, êMichael Rodriguez Quintet with Chris Cheek, Jeb Patton, Kiyoshi Kitagawa, • Osmany Paredes Trio with Yunior Terry, Ludwig Afonso Ulysses Owens Dizzy’s Club 7:30, 9:30 pm $35 Obed Calvaire Smoke 7, 9, 10:30 pm The Jazz Gallery 9, 11 pm $20 êVijay Iyer Trio with Harish Raghavan, Marcus Gilmore • “Our Father Who Art Blakey” Big Band êLuis Bonilla Duo Knickerbocker Bar and Grill 9:45 pm $5 Jazz Standard 7:30, 9:30 pm $25 Zinc Bar 8 pm • Jostein Gulbrandsen Trio with Mike McGuirk, Andrew Swift • Arturo Sandoval Blue Note 8, 10:30 pm $45 • Joe Farnsworth Quartet with Eric Alexander, Harold Mabern, Dwyane Burno Bar Next Door 7:30, 9:30, 11:30 pm $12 • Adam Lane, Vinny Golia, Vijay Anderson; James Brandon Lewis, Eri Yamamoto, An Beal Bocht Café 8, 9:30 pm $15 • David Scanlon, Sean Ali, Koh Ohtera; Sean Ali/Koh Ohtera; Coco Karol, Koh Ohtera Max Johnson, Juan Pablo Carletti Downtown Music Gallery 6, 7 pm êAdam Lane/Vinny Golia Barbès 8 pm $10 Ibeam Brooklyn 8 pm $10 êNate Wooley solo 61 Local 6 pm $10 • Kristin Slipp/Dov Manski Cornelia Street Café 8:30 pm $10 • Chris Massey’s Nue Jazz Project with Benny Benack III, Wilerm Delisfort, Chris Talio, • Ike Sturm and Evergreen Saint Peter’s 5 pm êAlt.Timers: Denman Maroney, Ratzo B. Harris, Bob Meyer Stacy Dillard ShapeShifter Lab 7 pm $10 • Tia Fuller Trio Abyssinian Baptist Church 4 pm $20 Spectrum 8 pm • Ray Gallon Trio; Jared Gold/Dave Gibson Band • Central Brooklyn Jazz Consortium 14th Anniversary: Lesedi Ntsane with • Christine Ebersole with Aaron Weinstein Trio Fat Cat 6, 10:30 pm Bakithi Kumalo, Morris Goldberg, Danny Bravo, Matciek Schejbal 54 Below 7 pm $50-65 • Kurtis Ensemble Elektra with India Czajkowska, Curtis Stewart, Brad Jones, Bedford Stuyvesant Restoration Corporation 4 pm • Steve March-Tormé Metropolitan Room 9:30 pm $20 Reggie Nicholson Kosciuszko Foundation 7 pm • Nicole Henry Blue Note 12:30, 2:30 pm $29.50 • QueensJazz OverGround Jazz Jam • Masami Ishikawa Cleopatra’s Needle 8 pm • Linda Ciofalo Trio with Mark Marino, Marcus McLaurine Flushing Town Hall 7 pm $10 • Rudi Mwongozi Quartet with Abdus Sabur, Chris Hall, Chris Almeida North Square Lounge 12:30, 2 pm • Wieland Möller Trio with Robert Boston, Nicolas Letman-Burtinovic University of the Streets 9 pm $10 • Adrian Mira Quartet; David Coss Quartet; Abe Ovadia Trio Bar Chord 9 pm • Antonio Ciacca Measure 8 pm The Garage 11:30 am 6:30, 11 pm • Circuit Des Yeux; Jason Lescaleet Silent Barn 8 pm • Audrey Silver; Somethin’ Vocal with Matt Baker Trio; Will Macirowski Trio with • The Stachel Quintet: Karen Stachel, Norbert Stachel, Bob Quaranta, Andy Eulau, Tucker Flythe, Victor Lewis Somethin’ Jazz Club 7, 9, 11 pm $12-15 Daniel Gonzalez; Nancy and Spencer Reed • Billy Carvion, Jr. Tomi Jazz 9 pm $10 Monday, November 4 Somethin’ Jazz Club 7, 9 pm $10 • Guy Mintus Trio; Hot House The Garage 6:15, 10:45 pm • Roger Davidson Caffe Vivaldi 7:15 pm êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 • Eric Platz Trio; Hee Hawk Silvana 6, 8 pm êJoanne Brackeen Blue Note 8, 10:30 pm $20 • Marc Devine Trio; Dmitry Baevsky Trio Saturday, November 2 êDavid Gilmore and Art of Ascension with Matthew Garrison, Gene Lake The Garage 6, 10:30 pm ShapeShifter Lab 8:15 pm êMichel Camilo Big Band with Anthony Jackson, Cliff Almond, Lew Soloff, • Trio with Drew Gress, • Manhattan School of Music Afro-Cuban Jazz Orchestra directed by Bobby Sanabria Michael Mossman, Tanya Darby, John Walsh, , , Greenwich House Music School 8 pm $15 Dizzy’s Club 9:30 pm $35 Luis Bonilla, David Taylor, Chris Hunter, Antonio Hart, Ralph Bowen, Lou Marini, êAmir ElSaffar Quintet with , John Escreet, François Moutin, Dan Weiss • Jill McCarron Trio with Greg Ryan, Joe Strasser; Diego Urcola Sextet with Gary Smulyan Blue Note 8, 10:30 pm $45 The Jazz Gallery 9, 11 pm $20 Dave Samuels, Edmar Casteneda, Luques Curtis; Spencer Murphy êMarc Ribot Trio with , Chad Taylor • John Menegon Quartet with Tineke Postma, Matt Wilson Smalls 7:30, 10 pm 12:30 am $20 Village Vanguard 8:30, 10:30 pm $25 Jazz at Kitano 8, 10 pm $25 • Chris Byars Quintet; Billy Kaye Jam êDjango Reinhardt NY Festival - Django Festival Allstars: Dorado, Amati and • Eugene Chadbourne solo The Stone 8, 10 pm $15 Fat Cat 9 pm 12:30 am Bronson Schmitt, Ludovic Beier, Pierre Blanchard, Francko Mehrstein, Brian Torff and • Warren Wolf Quartet with Alex Brown, Vicente Archer, Billy Williams • David Amram and Co. with Kevin Twigg, Rene Hart, Adam Amram guest Cyrille Aimee Birdland 8:30, 11 pm $40 Miller Theater 8 pm $25-35 Cornelia Street Café 8:30 pm $10 • Myron Walden Momentum with Darren Barrett, Eden Ladin, Yasushi Nakamura, êTim Price/Bill Goodwin Michiko Studios 8 pm $15 • Wieland Möller Trio with Robert Boston, Nicolas Letman-Burtinovic Mark Whitfield, Jr. Dizzy’s Club 7:30, 9:30 pm $35 êAdam Lane Trio with Vinny Golia, Vijay Anderson Spectrum 9 pm • Chris Pattishall Trio Dizzy’s Club 11:30 pm $5 The Firehouse Space 8, 9:30 pm $10 • Lil Howlin Wolf Silent Barn 8 pm • John Pizzarelli/Jessica Molaskey Café Carlyle 8:45 pm $55-100 êSugar Hill Quartet with Patience Higgins • Marianne Solivan; Jay Rodriguez/Victor Jones’ In The Spirit of Gil • Emmet Cohen Measure 8 pm Ginny’s Supper Club 7:30 pm $10 Zinc Bar 7, 9, 11 pm $8 • Kyle Athade Big Band Saint Peter’s 1 pm $10 • Brandon Sanders Group Sistas’ Place 9, 10:30 pm $20 • Laura Campisi Trio with Saul Rubin, Ameen Saleem • Barry Greene Trio with Marco Panascia, Kyle Poole Bar Next Door 8:30, 10:30 pm $12 Bar Next Door 7:30, 9:30, 11:30 pm $12 • /Steve Slagle Eats Restaurant 7 pm Thursday, November 7 • Doggie Woof: Super Natsuki Tamura, Ken Kobayashi, Jochem van Dijk; • Emmet Cohen Measure 8 pm Tyshawn Sorey/Fay Victor Ibeam Brooklyn 8:30, 9:30 pm $10 • Yoham Ortiz Concept with Itaiguara Brandao, Mauricio Zottarelli; êSteve Kuhn with Buster Williams, Billy Drummond • Luiz Simas Metropolitan Room 9:30 pm $20 AmmoCake: Dorian Wallace, Carl Limbacher, Max Maple Jazz Standard 7:30, 9:30 pm $25 • Billy Vera Big Band with Tamela D’Amico Somethin’ Jazz Club 7, 9 pm $5-10 êJacky Terrasson Quartet Dizzy’s Club 7:30, 9:30 pm $35 The Cutting Room 8 pm $25 • Daniel Bagutti; Tom Wilson Trio Silvana 6, 8 pm • Chris Pattishall Trio Dizzy’s Club 11:30 pm $10 • Michael Oien with Nick Videen, Jamie Reynolds, Eric Doob; • Howard Williams Jazz Orchestra; Austin Walker Trio êDarcy James Argue’s Secret Society with Erica von Kleist, Sharel Cassity, Brittany Anjou Portishead Tribute; One Tu and the Moon Bear: Rosa Tu, Anna Maria, The Garage 7, 10:30 pm Sam Sadigursky, John Ellis, Josh Sinton, Seneca Black, Tom Goehring, Andrea Tomasi, Matt Gold, Alex Khurgi Jonathan Powell, Nadje Noordhuis, Mike Rodriguez, Mike Fahie, Ryan Keberle, ShapeShifter Lab 7, 8, 10 pm $8-15 James Hirschfeld, Jennifer Wharton, Sebastian Noelle, Red Wierenga, Matt Clohesy, • Gaucho: Dave Ricketts, Michael Groh, Ari Munkres, Rob Reich, Ralph Carney, Tuesday, November 5 Eric Doob The Jazz Gallery 9, 11 pm $20 Beth Goodfellow Joe’s Pub 7:30 pm $20 êDave Liebman/Phil Markowitz Michiko Studios 7 pm $20 • Raphael D’lugoff Quintet Fat Cat 10 pm êMichel Camilo Big Band with Anthony Jackson, Cliff Almond, Lew Soloff, êMel Martin Quartet with , Daryl Johns, Steve Johns • Household Tales: William Lea, David Redbranch, Elyse Reynard, Sean Ali, Tim Shortle Michael Mossman, Tanya Darby, John Walsh, Dave Bargeron, Conrad Herwig, Jazz at Kitano 8, 10 pm $10 The Backroom 8 pm Luis Bonilla, David Taylor, Chris Hunter, Antonio Hart, Ralph Bowen, Lou Marini, • Jaap Blonk Improvisation Night with Kyoko Kitamura, Michael Evans, Susan Hefner, • Alex Levine with Caleb Curtis, Julian Smith, Jay Sawyer; Takeshi Asai Trio with Gary Smulyan Blue Note 8, 10:30 pm $45 Judy Dunaway, Nate Wooley, David Grollman, ExclusiveOr: Sam Pluta/Jeff Snyder Daniel Ori, Russ Meissner; Josh Levinson Sextet with Lucas Pino, David Gibson, êMarc Ribot Trio with Henry Grimes, Chad Taylor 61 Local 8 pm $10 Jeb Patton, Yoshi Waki, Kevin Kanner; JB Baretsky and Trio Village Vanguard 8:30, 10:30 pm $25 • Cuban Jewish All-Stars: Bernie Minoso, Ivan Barenboim, Meg Okura, Igor Arias Aaro, Somethin’ Jazz Club 5, 7, 9, 11 pm $10-15 êDjango Reinhardt NY Festival - Django Festival Allstars: Dorado, Amati and Itai Kriss, Uri Sharlin, Roberto Rodriguez • Yuko Ito; Jonathan Saranga Tomi Jazz 8, 11 pm $10 Bronson Schmitt, Ludovic Beier, Pierre Blanchard, Francko Mehrstein, Brian Torff and The Stone 8, 10 pm $15 • Armengot Quintet Cleopatra’s Needle 8 pm guest Cyrille Aimee Birdland 8:30, 11 pm $40 ê40Twenty: Vinnie Sperrazza, Jacob Sacks, Jacob Garchik, Dave Ambrosio; • Rebecka Larsdotter; Michael Veal and Aqua Ife • Myron Walden Momentum with Darren Barrett, Eden Ladin, Yasushi Nakamura, Jesse Stacken, Reuben Radding, Michaël Attias Shrine 6, 8 pm Mark Whitfield, Jr. Dizzy’s Club 7:30, 9:30 pm $35 Ibeam Brooklyn 8:30, 10 pm $10 • Moth to Flame; Nafsi Groove Silvana 6, 9 pm • Chris Pattishall Trio Dizzy’s Club 11:30 pm $5 • Patrick Cornelius Trio with Harish Raghaven, Paul Witgen êGary Bartz Quintet with Vincent Herring, Sullivan Fortner, James King, Greg Bandy • Andromeda Turre with JC Hopkins, Vito Dieterle, Joanna Sternberg, Dorota Piotrowska Bar Next Door 8:30, 10:30 pm $12 Smoke 7, 9, 10:30 pm $38 Iridium 8, 10 pm $25 • Saul Rubin Zebtet Fat Cat 10 pm êDave Liebman Expansions Group with Matt Vashlishan, Bobby Avey, Tony Marino, • Frank Perowsky Big Band NYC Baha’i Center 8, 9:30 pm $15 • Gregorio Uribe Big Band Zinc Bar 9, 10:30 pm Alex Ritz Cornelia Street Café 9, 10:30 pm $15 • Spike Wilner Trio with Yotam Silberstein, Paul Gill; Smalls Legacy Band: Stacy Dillard, • Eric Comstock/Barbara Fasano Neue Galerie 9 pm $110 êJoe Lovano Us Five with James Weidman, Peter Slavov, Otis Brown III, Francisco Mela Josh Evans, Theo Hill, Rashaan Carter, , Kush Abadey; • ’s Improvisers Orchestra; Seung-Hee Quintet with Toru Dodo, Village Vanguard 8:30, 10:30 pm $25 Kyle Poole and Friends Smalls 7:30, 10 pm 12:30 am $20 Thomson Kneeland, George Schuller • Ron Carter Nonet Birdland 8:30, 11 pm $40 • Saul Rubin; Nu D’Lux 6; Greg Glassman Jam ShapeShifter Lab 8, 9:30 pm $10-15 êTed Nash Big Band with Ben Kono, Charles Pillow, Dan Willis, Anat Cohen, Fat Cat 7, 9 pm 12:30 am • Sketches: Matt Holman, Jeremy Udden, Jarrett Cherner, Martin Nevin, Ziv Ravitz Paul Nedzela, Kenny Rampton, Alphonso Horne, Ron Horton, Tim Hagans, Alan Ferber, • Jack Jeffers and the New York Classics Cornelia Street Café 8:30 pm $10 Mark Patterson, Charley Gordon, Jack Schatz, Christopher Ziemba, Martin Wind, Zinc Bar 8, 10 pm • Koh Ohtera Spectrum 7 pm Ulysses Owens Dizzy’s Club 7:30, 9:30 pm $45 • Cuban Jewish All-Stars: Bernie Minoso, Ivan Barenboim, Meg Okura, Igor Arias Aaro, • Christine Ebersole with Aaron Weinstein Trio êVijay Iyer Trio with Harish Raghavan, Marcus Gilmore Itai Kriss, Uri Sharlin, Roberto Rodriguez 54 Below 7 pm $50-65 Jazz Standard 7:30, 9:30, 11:30 pm $30 The Stone 8, 10 pm $15 • Dave Wilson Quartet with Bobby Avey, Tony Marino, Alex Ritz; Dave Kardas Band • Arturo Sandoval Blue Note 8, 10:30 pm $45 • John Pizzarelli/Jessica Molaskey Café Carlyle 8:45 pm $55-100 Somethin’ Jazz Club 7, 9 pm $10-12 êChris Byars Quartet; Ken Peplowski Quartet with Ehud Asherie, Martin Wind, • Lucas Pino Trio with Ugonna Okegwo, Colin Stranahan • Kavita Shah Tomi Jazz 9 pm $10 Matt Wilson; Stacy Dillard, Diallo House, Ismail Lawal Bar Next Door 8:30, 10:30 pm $12 • Robert Haight; Radek Wosko Group; Mem Nahadr Smalls 7:30, 10:30 pm 1:30 am $20 • Anna Garano/Anaïs Tekerian; Clements Orth with Sam Minaie, Mark Ferber; Silvana 6, 8, 10 pm • John Pizzarelli/Jessica Molaskey Café Carlyle 8:45, 10:45 pm $65-110 Gingerbread: Carol Morgan, Brad Linde, Corin Stiggall, EJ Strickland • Dan Furman Trio Cleopatra’s Needle 7 pm êLuis Bonilla Duo Knickerbocker Bar and Grill 9:45 pm $5 ShapeShifter Lab 7, 8:15, 9:30 pm $10 • George Weldon Trio; Chris Carroll Trio • Antonio Ciacca Measure 8 pm • Juilliard Jazz Ensembles with guest Jason Moran The Garage 6, 10:30 pm • Larry Newcomb Quartet; Evgeny Sivtsov; Peter Valera Band Paul Hall 8 pm • Alex Hoffman Quartet; Glenn Zaleski, Rick Rosato, Colin Stranahan; The Garage 12, 6:15, 10:45 pm • CTMD Tantshoyz with Zev Feldman Carlos Abadie Quintet with Joe Sucato, Theo Hill, Clovis Nicolas, Luca Santaniello Stephen Wise Free Synagogue 7:30 pm $15 Smalls 6, 9:30 pm 12 am $20 • Julio Monterey 2’s and 4’s; Brad Henkel solo; Flin van Hemmen Trio with , êMichel Camilo Big Band with Anthony Jackson, Cliff Almond, Lew Soloff, Sunday, November 3 Todd Neufeld Spectrum 7:30 pm Michael Mossman, Tanya Darby, John Walsh, Dave Bargeron, Conrad Herwig, • Amy Cervini and Jazz Country with Jesse Lewis, Matt Aronoff Luis Bonilla, David Taylor, Chris Hunter, Antonio Hart, Ralph Bowen, Lou Marini, • New Directions in Appalachian Music: Eugene Chadbourne, Evan Gallagher, 2nd Floor at Clinton 7:30 pm Gary Smulyan Blue Note 8, 10:30 pm $45 Thomas Heberer, Tatsuya Nakatani, Leslie Ross • David Lantz solo Jazz at Kitano 8 pm êMarc Ribot Trio with Henry Grimes, Chad Taylor The Stone 8, 10 pm $15 • Yana Bibb/Alessandro Fadini; ’s Standard Orbit Quartet with Jeff Lederer, Village Vanguard 8:30, 10:30 pm $25 • Ben Gerstein, Owen Stewart Robertson, Carlo Costa; Keefe Jackson, Christoph Erb, Tom Hubbard, Warren Odze Somethin’ Jazz Club 7, 9 pm $10 êDjango Reinhardt NY Festival - Django Festival Allstars: Dorado, Amati and Tomeka Reid, Nate Wooley Ibeam Brooklyn 8:30 pm $10 • Peter Brendler Tomi Jazz 8 pm $10 Bronson Schmitt, Ludovic Beier, Pierre Blanchard, Francko Mehrstein, Brian Torff and • Freddie Bryant/Joris Teepe Eats Restaurant 7 pm • Liber 49 Shrine 9 pm guest Freddie Cole Birdland 8:30, 11 pm $40 • John Merrill Trio; Tine Bruhn/Anthony Wonsey; Johnny O’Neal • Emmet Cohen Measure 8 pm • John Pizzarelli/Jessica Molaskey Café Carlyle 8:45 pm $55-100 Smalls 4:30, 7:30, 10 pm $20 • Emmet Cohen Measure 8 pm

38 NOVEMBER 2013 | THE NEW YORK CITY JAZZ RECORD êMichel Camilo Big Band with Anthony Jackson, Cliff Almond, Lew Soloff, Friday, November 8 Michael Mossman, Tanya Darby, John Walsh, Dave Bargeron, Conrad Herwig, êLadies Sing The Blues: Catherine Russell, Brianna Thomas, with Luis Bonilla, David Taylor, Chris Hunter, Antonio Hart, Ralph Bowen, Lou Marini, Vince Giordano Allen Room 7, 9:30 pm $45-75 Gary Smulyan Blue Note 8, 10:30 pm $45 êValerie Capers/ Knickerbocker Bar and Grill 9:45 pm $5 êMarc Ribot Trio with Henry Grimes, Chad Taylor at KITANO ê Village Vanguard 8:30, 10:30 pm $25 JAZZ Bill Stewart Quartet with Chris Cheek, Kevin Hays, Doug Weiss Music • Restaurant • Bar êDjango Reinhardt NY Festival - Django Festival Allstars: Dorado, Amati and Smoke 7, 9, 10:30 pm $38 “ONE OF THE BEST JAZZ CLUBS IN NYC” ... NYC JAZZ RECORD êTony Malaby’s Paloma Recio with Ben Monder, Eivind Opsvik, Billy Mintz, Dan Weiss Bronson Schmitt, Ludovic Beier, Pierre Blanchard, Francko Mehrstein, Brian Torff and Cornelia Street Café 9, 10:30 pm $15 guest Edmar Castaneda Birdland 8:30, 11 pm $40 LIVE JAZZ EVERY • Garry Dial Trio; Walt Weiskopf Quartet with Peter Zak, Ugonna Okegwo, Jason Brown • John Pizzarelli/Jessica Molaskey Café Carlyle 8:45, 10:45 pm $65-110 Smalls 7:30, 10:30 pm $20 • Pravin Thompson Quintet Shrine 6 pm WEDNESDAY - SATURDAY • Avi Rothbard Quartet; The Flail Fat Cat 6, 10:30 pm • Jazz Meets Gospel: Damien SneedRose Hall 1, 3, pm $12 $10 WED./THUR + $15 Minimum/Set. êMichael Musillami Trio with Joe Fonda, George Schuller; • Carol Sudhalter Astoria Big Band Langston Hughes Public Library 2 pm Oleg Kireyev/James Weidman Quartet with Harvie S, Steve Williams; • Alex Layne Trio; Brooks Hartell Trio $25 FRI./SAT. + $15 Minimum/Set Mario Pavone’s ARC Quartet with Dave Ballou, Angelica Sanchez, Pheeroan akLaff The Garage 12, 6:15 pm 2 SETS 8:00 PM & 10:00 PM ShapeShifter Lab 7, 8:15, 9:30 pm $15 êJazz and Colors Festival: 2 Sisters, Inc Band; Andrew Lamb Trio; Arturo O’Farrill and • EK Drum Codes: Roberto Rodriguez, Susie Ibarra, Oz Noy, Elefterios Bournias The Afro-Latin Jazz Orchestra; Brian Charette Organ Sextette; Daseul Kim Quartet; JAZZ BRUNCH EVERY SUNDAY The Stone 8, 10 pm $15 Doug Wamble Quartet; ; ’s Klezmer Brass All Stars; TONY MIDDLETON TRIO êRed Baraat! Brooklyn Bowl 8 pm $15 Gregg August Quartet; Hot Future Five; Jason Kao Hwang; Jason Marshall Quintet; êDave Liebman/Phil Markowitz Miller Recital Hall 7:30 pm All-Stars with Russell Hall Quartet; Joe Alterman Trio; 11 AM - 2 PM • GREAT BUFFET - $35 êLucian Ban/Abraham Burton Michiko Studios 7 pm $15 Joel Harrison Quintet; John Raymond Quartet with ; Kahlil Kwame Bell; • George Coleman, Jr. Quartet with , Mike LeDonne, John Webber Kimberly Thompson Quartet; Lakecia Benjamin and Soul Squad; Marika Hughes and OPEN JAM SESSION MONDAY NIGHTS The Players 8 pm $20 Bottom Heavy; Mike Mohamed Quartet; Mitch Froman Latin Jazz Quartet; 8:00 PM - 11:30 PM • HOSTED BY IRIS ORNIG Steve Lehman Octet with Jonathan Finlayson, Mark Shim, Tim Albright, Chris Dingman, Outer Bridge Ensemble: Steve Hudson, Mark DeJong, David Freeman, Mike Noordzy, • Javier Diaz; Roy Campbell Jr.; Stephanie McKay; Vince Ector Quartet; SOLO PIANO EVERY TUESDAY IN JULY • 8:00 PM - 11:00 PM Jose Davila, Drew Gress, Tyshawn Sorey NOVENBER 5, 12, & 26 - DAVID LANTZ • $15 MINIMUM The Jazz Gallery 9, 11 pm $20 Walking Distance; Wayne Escoffery Quartet with Carolyn Leonhart; Yard Byard; • Hiromi Shimizu Quartet with Don Friedman, Phil Palombi, Shinnosuke Takahashi Yosvanny Terry Quartet; ELEW and Nature of the Next FRI. NOVEMBER 1 Jazz at Kitano 8, 10 pm $25 Central Park 12 pm êRoss Hammond with , BEN ALLISON TRIO Spectrum 8 pm $10 BEN ALLISON, STEVE CARDENAS • Etienne Charles with Jacques Schwarz-Bart, Victor Gould, Michael Olatuja, John Davis Sunday, November 10 STEVE WILSON SubCulture 7:30, 10 pm $20 $25 COVER + $15 MINIMUM • Trumpeters of Queens: Josh Deutsch Group; Miki Hirose Group êMostly Other People Do the Killing: , Jon Irabagon, Moppa Elliott, SAT. NOVEMBER 2 Flushing Town Hall 8 pm $15 Cornelia Street Café 8:30 pm $10 • Yotam Silberstein Trio Bar Next Door 7:30, 9:30, 11:30 pm $12 • Roberto Rodriguez Masada Project with Eddie Khaimovich, Ivan Barenboim, JOHN MENEGON QUARTET • Andrea Wolper Trio with Michael Howell, Thomson Kneeland Meg Okura, Carmen Staff, Itai Kriss, Uri Sharlin CD RELEASE EVENT “I REMEMBER YOU” Inkwell Café 8, 9:30 pm $5 The Stone 8, 10 pm $15 JOHN MENEGON , TINEKE POSTMA • Roger Davidson with Jed Levy, Chris Berger, Marivaldo dos Santos, Norbert Goldberg êMike McGinnis’ Road*Trip Barbès 7 pm $10 FRANK KIMBROUGH, MATT WILSON Zinc Bar 7 pm • /Carl Barry Eats Restaurant 7 pm $25 COVER + $15 MINIMUM • The Hot Sardines Joe’s Pub 9:30 pm $15 • Hartt School of Music Show; Barbara Rosene/Conal Fowkes; WED. NOVEMBER 6 • Antonio Ciacca Measure 8 pm The Flail: Dan Blankinship, Stephan Moutot, Brian Marsella, Reid Taylor, Matt Zebroski • Maria Guida with Mark Soskin, Essiet Essiet, Tony Moreno; Sabrina Lastman Quintet Smalls 4:30, 7:30, 10 pm 12 am $20 KEVIN HAYS “NEW DAY” TRIO with Emilio Solla, Edward Perez, David Silliman, Meg Okura • Terry Waldo’s Gotham City Band; Tineke Postma Quartet; KEVIN HAYS, ROB JOST, GREG JOSEPH Metropolitan Room 7, 9:30 pm $20 Brandon Lewis/Renee Cruz Jam Fat Cat 6, 8:30 pm 12:30 am $10 COVER + $15 MINIMUM • Wieland Möller Trio with Robert Boston, Nicolas Letman-Burtinovic • The Weekly Reeders: , Carlos Cuevas, Elizabeth Tomboulian, Goodbye Blue Monday 9 pm Lee Tomboulian, Cliff Schmitt; Ed Lucie with , Mike Connors, Tucker Antell THURS. NOVEMBER 7 • VR Smith The Drawing Room 7 pm $10 ShapeShifter Lab 7, 9:30 pm $10 MEL MARTIN QUARTET • Deborah Davis and A Few Good Men; Maya Nova Quartet with Tuomo Uusitalo; • Jeffrey Hayden Shurdut Band Spectrum 7 pm MEL MARTIN, DON FRIEDMAN Sibling: Halley Hiatt, Anika Trujillo, Jason Berman, Eldad Arad, Justin Carter • Vivienne Aerts/Florian Weber Metropolitan Room 9:30 pm $20 ê DARYL JOHNS, STEVE JOHNS Somethin’ Jazz Club 7, 9, 11 pm $10-12 Peter Leitch/Charles Davis Walker’s 8 pm $10 COVER + $15 MINIMUM • Rudi Mwongozi Trio Cleopatra’s Needle 8 pm • Broc Hempel, Sam Trapchak, Christian Coleman with guest Jason Rigby • Masami Ishikawa Trio; Kevin Dorn and the BIG 72 Dominie’s Astoria 9 pm FRI. NOVEMBER 8 The Garage 6:15, 10:45 pm • Jon Davis Measure 8 pm • François Grillot/Claire de Brunner; The BE Duet: Blaise Siwula/Evan Gallagher; HIROMI SHIMIZU QUARTET • Christine Ebersole with Aaron Weinstein Trio HIROMI SHIMIZU, DON FRIEDMAN 54 Below 8 pm $50-65 James Brandon Lewis/Dominic Fragman ABC No-Rio 7 pm $5 PHIL PALOMBI, SHINNOSUKE TAKAHASHI êSteve Kuhn with Buster Williams, Billy Drummond $25 COVER + $15 MINIMUM Jazz Standard 7:30, 9:30 pm $30 • Jason Yeager Trio with Danny Weller, Matt Rousseau; Taylor Watson and Friends with êJacky Terrasson Quartet Dizzy’s Club 7:30, 9:30 pm $40 Tim Sullivan, Josh Paris, Will Clark; Adam Everett Quintet with Ben Flood, Julian Hucq, SAT. NOVEMBER 9 • Chris Pattishall Trio Dizzy’s Club 11:30 pm $10 Javi Santiago, Alex da Silva Somethin’ Jazz Club 5, 7, 9 pm $10 ASSAF KEHATI QUARTET êMichel Camilo Big Band with Anthony Jackson, Cliff Almond, Lew Soloff, • Michael Bank Quartet Shrine 8 pm • Elise Wood Duo; Bobby Katz Quartet WITH SPECIAL GUEST ANAT COHEN Michael Mossman, Tanya Darby, John Walsh, Dave Bargeron, Conrad Herwig, ASSAF KEHATI, ANAT COHEN Luis Bonilla, David Taylor, Chris Hunter, Antonio Hart, Ralph Bowen, Lou Marini, Silvana 6, 8 pm êSteve Kuhn with Buster Williams, Billy Drummond EHUD ETTUN, RONEN ITZIK Gary Smulyan Blue Note 8, 10:30 pm $45 $25 COVER + $15 MINIMUM • Clifton Anderson with Eric Wyatt, Tadataka Unno, Essiet Essiet, Steve Williams, Jazz Standard 7:30, 9:30 pm $25 Victor See Yuen Blue Note 12:30 am $15 êJacky Terrasson Quartet with guest Cécile McLorin Salvant WED. NOVEMBER 13 êMarc Ribot Trio with Henry Grimes, Chad Taylor Dizzy’s Club 7:30, 9:30 pm $35 êMichel Camilo Big Band with Anthony Jackson, Cliff Almond, Lew Soloff, JULIAN SHORE QUARTET Village Vanguard 8:30, 10:30 pm $25 JULIAN SHORE, NOAH PREMINGER êDjango Reinhardt NY Festival - Django Festival Allstars: Dorado, Amati and Michael Mossman, Tanya Darby, John Walsh, Dave Bargeron, Conrad Herwig, Luis Bonilla, David Taylor, Chris Hunter, Antonio Hart, Ralph Bowen, Lou Marini, JOE MARTIN, MATT WILSON Bronson Schmitt, Ludovic Beier, Pierre Blanchard, Francko Mehrstein, Brian Torff and $10 COVER + $15 MINIMUM guest Edmar Castaneda Birdland 8:30, 11 pm $40 Gary Smulyan Blue Note 8, 10:30 pm $45 John Pizzarelli/Jessica Molaskey Café Carlyle 8:45 pm $55-100 êMarc Ribot Trio with Henry Grimes, Chad Taylor THURS. NOVEMBER 14 • Village Vanguard 8:30, 10:30 pm $25 êDjango Reinhardt NY Festival - Django Festival Allstars: Dorado, Amati and KIMBERLY HAWKEY QUARTET Bronson Schmitt, Ludovic Beier, Pierre Blanchard, Francko Mehrstein, Brian Torff and KIMBERLY HAWKEY, CARMEN STAAF Saturday, November 9 guest Birdland 8:30, 11 pm $40 MATT ARONOFF, NADAV SNIR-ZELNIKER $10 COVER + $15 MINIMUM êAhmed Abdulllah’s Sistas’ Place 9, 10:30 pm $20 • Ross Hammond/Ava Mendoza; Omar Tamez/Angelica Sanchez • Digital Sanctuaries: Roberto Rodriguez, Susie Ibarra, David Baron Downtown Music Gallery 6, 7 pm FRI. NOVEMBER 15 The Stone 8, 10 pm $15 • Gene Bertoncini Trio with Clay Jenkins MARTIN PIECUCH êKris Davis solo; Michaël Attias’ Spun Tree with Ralph Alessi, Sean Conly, Tom Rainey Saint Peter’s 5 pm and guest Kris Davis Greenwich House Music School 7:30 pm $15 • Nicole Henry Blue Note 12:30, 2:30 pm $29.50 JAZZICAL FUSION TRIO • Melissa Hamilton Trio with Steve Berger, Dan Loomis MARTIN PIECUCH, REGAN RYZUK, RIC CRANE • Jaap Blonk Improvisation Night with Andrew Drury/Jack Wright, $25 COVER + $15 MINIMUM Darkminster: Brad Henkel, Nathaniel Morgan, Peter Hanson, , North Square Lounge 12:30, 2 pm Dave Abramson, Sara Schoenbeck • Lou Caputo Quartet; David Coss Quartet; Tsutomu Naki Trio SAT. NOVEMBER 16 Launch Pad Gallery 8 pm The Garage 11:30 am 6:30, 11 pm MADELINE EASTMAN • Taylor Ho Bynum Sextet with Jim Hobbs, Bill Lowe, Mary Halvorson, Ken Filiano, WITH THE RANDY PORTER TRIO Tomas Fujiwara The Jazz Gallery 9, 11 pm $20 Monday, November 11 $25 COVER + $15 MINIMUM • JC Hopkins Biggish Band Lucille’s at BB King’s Blues Bar 7 pm $25 TUES. NOVEMBER 19 • Joris Teepe Fat Cat 10 pm êMingus Orchestra Jazz Standard 7:30, 9:30 pm $25 • Brandon Bernstein Trio with , Jeff Hirschfield êEric Person Big Band with Sly Scott, Craig Bailey, Paul Nedzela, Duane Eubanks, SAMBA MEETS JAZZ OPEN HOUSE Bar Next Door 7:30, 9:30, 11:30 pm $12 Mark Magowan, Mark Williams, Adam Klipple, Bryan Carrott, Adam Armstrong, CLAUDIO RODITI, MATT KING • Tim Horner/Ron Horton Tentet Zeb’s 8 pm Shinnosuke Takahashi Blue Note 8, 10:30 pm $15 NILSON MATTA, FERNANDO SACI • Assaf Kehati Quartet with Anat Cohen, Ehud Ettun, Ronen Itzik • Jon Cowherd’s Mercy Dizzy’s Club 7:30, 9:30 pm $25 $15 MINIMUM Jazz at Kitano 8, 10 pm $25 • Aimee Allen; Eddie Allen Aggregation Big Band with Joe Ford, Bruce Williams, WED. NOVEMBER 20 • Remembering : John Williams, Corey Wallace, Jahaan Sweet, Frank Fontaine, Keith Loftis, Carl Maraghi, Kevin Bryan, Duane Eubanks, Russel Carter, Jason Marshall, Jon Beshay Reggie Pittman, Vitaly Golovnev, Sam Burtis, Dion Tucker, Joe McDonough, DENISE DONATELLI/ Ginny’s Supper Club 7:30 pm $15 Aaron Johnson, Oscar Perez, Corcoran Holt, Jerome Jennings and guest Jeremy Pelt FRANK KIMBROUGH DUO • XBOP: Daniel Carter, Will Arvo, Jon Roberds, Brandon Miller Zinc Bar 7, 9 pm $8 $10 COVER + $15 MINIMUM Ibeam Brooklyn 8:30 pm $10 • Brazilian Romance: Paulo Braga and Friends THURS. NOVEMBER 21 • Mala Waldron Project with Roger Byam, Marcus McLaurine, Willie Martinez Paul Hall 8 pm BAMCafé 9 pm êRoss Hammond, Max Johnson, Catherine Sikora, Billy Mintz JOHN RAYMOND QUARTET • Nashaz: Brian Prunka, Kenny Warren, Nathan Herrera, Apostolos Sideris, George Mel, Ibeam Brooklyn 8 pm $10 JOHN RAYMOND, GILAD HEKSELMAN Vin Scialla Alwan for the Arts 8 pm • Sensorium Saxophone Orchestra Spectrum 7 pm AIDAN CARROLL, AUSTIN WALKER • Scott M. Rifkin and The Exploration Project • Non-Essential Personnel: Jacob Teichroew, Sebastien Ammann, Tyler Blanton, $10 COVER + $15 MINIMUM Spectrum 8 pm Michael Blanco, Paul Wiltgen; The Delegation: Gabriel Zucker, Adam O’Farrill, FRI. & SAT. NOVEMBER 22 & 23 • Brandon Bernstein Trio with Putter Smith, Jeff Hirshfield Bryan Qu, Jacob Teichroew, Eric Trudel, Mark Chung, Emily Bookwalter, JANE IRA BLOOM QUARTET Bar Next Door 7:30, 9:30, 11:30 pm $12 Bam Bam Rodriguez, Gabriel Globus-Hoenich CD RELEASE "ALL BALLADS" • MUSOH: Yutaka Uchida, Jostein Gulbrandsen, George Dulin, Trifon Dimitrov; Douglass Street Music Collective 7:30, 9 pm $10 JANE IRA BLOOM, DOMINIC FALLACARO • Eden Ladin Quartet; Ari Hoenig Trio with Jean-Michel Pilc, François Moutin; CAMERON BROWN, MATT WILSON Fauré at Play: Louise Rogers/Mark Kross; Noshir Mody Quintet with Tsuyoshi Niwa, $25 COVER + $15 MINIMUM Carmen Staaf, John Lenis, Yutaka Uchida; Brett Sandler Trio with Peter Longofono, Spencer Murphy Smalls 7:30, 10 pm 12:30 am $20 WED. NOVEMBER 27 Adam Pin Somethin’ Jazz Club 5, 7, 9, 11 pm $10-12 • Ned Goold Quartet; Billy Kaye Jam Fat Cat 9 pm 12:30 am JANN PARKER QUARTET • John Allen Watts; Chris Clark Tomi Jazz 8, 11 pm $10 JANN PARKER, JAMES WEIDMAN • Denton Darien Trio Cleopatra’s Needle 8 pm • Tom Dempsey/Tim Ferguson Eats Restaurant 7 pm Samuel Blakeslee Group with Chris Coles, Steve Kortyka, David Meder, Scott Colberg, MARCUS MCLAURINE, êLadies Sing The Blues: Catherine Russell, Brianna Thomas, Charenee Wade with • $10 COVER + $15 MINIMUM Vince Giordano Allen Room 7, 9:30 pm $45-75 Dan Pugach; Tineke Postma ShapeShifter Lab 8, 9:30 pm $8-10 êValerie Capers/John Robinson Knickerbocker Bar and Grill 9:45 pm $5 • Daniela Schächter Trio with , Jason Tieman THURS. NOVEMBER 28 êBill Stewart Quartet with Chris Cheek, Kevin Hays, Doug Weiss Bar Next Door 8:30, 10:30 pm $12 NO MUSIC - THANKSGIVING Smoke 7, 9, 10:30 pm $38 • Dimitrije Vasiljevic Quartet Metropolitan Room 9:30 pm $20 FRI. NOVEMBER 29 êTony Malaby’s Paloma Recio with Ben Monder, Eivind Opsvik, Billy Mintz, Dan Weiss • Tamio Shiraishi; Michael Foster/Leila Bordreuil; Sean Ali solo Cornelia Street Café 9, 10:30 pm $15 JACK 8 pm $10 & THE OUT FRONT TRIO • Shoko Amano with Toru Yamashita, Tony Ventura, Adriano Santos; RUFUS REID, STEVE ALLEE, DUDUKA DA FONSECA êMel Martin Quartet with , Ratzo Harris, Steve Johns; Walt Weiskopf Quartet with $25 COVER + $15 MINIMUM Peter Zak, Ugonna Okegwo, Jason Brown; Ian Hendrickson-Smith with Marcus Parsley, MeWooKa Trio: Stephan Kammerer, Will Woodard, George Mel Steve Einerson, Hans Glawischnig, Chris Beck Somethin’ Jazz Club 7, 9 pm $12 SAT. NOVEMBER 30 Smalls 7:30, 10:30 pm 1:30 am $20 • jKb Freedom; Michael Sarian Quintet SERGIO SALVATORE/ • Antonio Ciacca Measure 8 pm Shrine 6, 8 pm êSteve Kuhn with Buster Williams, Billy Drummond • Lou Caputo Not So Big Band; Afro Mantra CHRISTOS RAFALIDES DUO Jazz Standard 7:30, 9:30 pm $30 The Garage 7, 10:30 pm $25 COVER + $15 MINIMUM êJacky Terrasson Quartet Dizzy’s Club 7:30, 9:30 pm $45 • Antonio Ciacca Measure 8 pm RESERVATIONS - 212-885-7119 • Tom Wilson Trio Silvana 6 pm VISIT OUR TWEETS AT: http://twitter.com/kitanonewyork • Chris Pattishall Trio Dizzy’s Club 11:30 pm $20 www.kitano.com • email: [email protected] ò 66 Park Avenue @ 38th St.

THE NEW YORK CITY JAZZ RECORD | NOVEMBER 2013 39 Tuesday, November 12 Wednesday, November 13 Thursday, November 14 êPeter Bernstein, , Bill Stewart • A Bed and a Chair - A New York Love Story with Jazz at Lincoln Center Orchestra, êDave Douglas Quintet with Jon Irabagon, Matt Mitchell, Linda Oh, Rudy Royston Village Vanguard 8:30, 10:30 pm $25 Cyrille Aimée, Bernadette Peters City Center 7:30 pm $30 Jazz Standard 7:30, 9:30 pm $25 • Eric Harland and Friends Birthday Celebration with Chris Potter, Taylor Eigsti, êCedar Walton Memorial Saint Peter’s 7 pm êGeorge Cables Trio with Essiet Essiet, Victor Lewis Nir Felder, Matt Penman Blue Note 8, 10:30 pm $25 êNiels Lan Doky’s Scandinavian Standards Trio with Gary Peacock, Jeff “Tain” Watts Dizzy’s Club 7:30, 9:30 pm $35 • Charli Persip and the Super Sound Big Band with Angeleisha Rodgers, Lessie Vonner, Dizzy’s Club 7:30, 9:30 pm $30 • Joe Saylor Quartet Dizzy’s Club 11:30 pm $10 James Smith, Sharif Kales, Eric Hoffman, Thomas Dover, Daniel Reitz, Mike Guilford, • Joe Saylor Quartet Dizzy’s Club 11:30 pm $5 • Barbara Cook Town Hall 8 pm $55-85 Danille Randall, Irwin Snow, Austin Becker, Matt Berman, Isaac Rosser, Melissa Slocum, êJack Walrath Quintet with Alex Foster, George Burton, Donald Edwards êRites Quartet: Marty Ehrlich, Ron Horton, Michael Formanek, ; Marcus Persiani NYC Baha’i Center 8, 9:30 pm $15 Smoke 7, 9, 10:30 pm The Traveler’s Tales: Marty Ehrlich, Adam Kolker, Michael Formanek, Michael Sarin • Danny Mixon Quartet with James Stewart, Lisle Atkinson, George Gray • Nilson Matta Samba Jazz Ensemble with Harry Allen, Anne Drummond, , The Stone 8, 10 pm $15 Dizzy’s Club 7:30, 9:30 pm $30 Fernando Saci Birdland 8:30, 11 pm $30 • Stephan Crump’s Rosetta Trio with Liberty Ellman, Jamie Fox • Joe Saylor Quartet Dizzy’s Club 11:30 pm $5 êSecret Keeper: Stephan Crump/Mary Halvorson; Think Shadow: Michaël Attias/ Greenwich House Music School 8 pm $15 êMelissa Aldana Quartet with Glenn Zaleski, Pablo Menares, Jochen Rueckert Sean Conly SEEDS 8:30, 10 pm • tAkE’N sHaDoW Vol. II: Fung Chern Hwei, Jonathan Goldberger, Stomu Takeishi, Jazz Standard 7:30, 9:30 pm $20 êRoy Nathanson and Friends; Fay Victor’s Absinthe & Vermouth Ensemble with Shoko Nagai; Mack Goldsbury Quartet with Mark Minchello, Maciej Fortuna, Lou Grassi • Loston Harris Group with Ian Hendrickson-Smith, Mark Whitfield, Gianluca Renzi, Anders Nilsson, Ken Filiano; Morley Morley/Marika Hughes The Firehouse Space 8, 9:30 pm $10 Clarence Penn Birdland 8:30 pm $30 JACK 7:30, 9, 10:30 pm $15 • Camila Meza/Fabian Almazan Cornelia Street Café 8:30 pm $10 êMarco Cappelli Acoustic Trio with Ken Filiano, Satoshi Takeishi êPeter Brendler Quartet with Rich Perry, Peter Evans, Vinnie Sperrazza êBrandee Younger Quartet with Chelsea Baratz, Dezron Douglas, EJ Strickland Nublu 9 pm Barbès 8 pm $10 Brooklyn Public Library Central Branch 7 pm • Music for String Quartet and Alto Sax: Jennifer Choi, Cornelius Dufallo, Lev Zhurbin, êDayna Stephens Group with Aaron Parks, Charles Altura, Ben Street, Justin Brown; • Interpretations: Anne LeBaron with FLUX Quartet, Thomas Buckner, Ana Cervantes, Alex Waterman, Marty Ehrlich; Marty Ehrlich/Tyshawn Sorey Will Bernard Group with John Ellis, Gary Versace, Rudy Royston Ralph Samuelson Roulette 8 pm $15 The Stone 8, 10 pm $15 Smalls 9:30 pm 12 am $20 • Perry Smith Trio with Sam Minaie, Jordan Perlson • John Pizzarelli/Jessica Molaskey Café Carlyle 8:45 pm $55-100 • Raphael D’lugoff; Harold Mabern Trio; Ned Goold Jam Bar Next Door 8:30, 10:30 pm $12 • Spike Wilner Trio with Paul Gill; Lucas Pino No Net Nonet with Matthew Jodrell, Fat Cat 7, 9 pm 12:30 am • Greg Glassman Quintet Fat Cat 10 pm Alex LoRe, Rafal Sarnecki, Nick Finzer, Andrew Gutauskas, Glenn Zaleski, • Kevin Harris/Richie Barshay Cornelia Street Café 6 pm $10 • Sanda Weigl Neue Galerie 9 pm $110 Desmond White, Colin Stranahan; Kyle Poole and Friends • Jeff Davis Glass Hat with Jon Irabagon, Jon Goldberger, Eivind Opsvik • Laurent Coq The Jazz Gallery 9, 11 pm $15 Smalls 7:30, 10 pm 12:30 am $20 Cornelia Street Café 8:30 pm $10 • Kimberly Hawkey Quartet with Carmen Staaf, Matt Aronoff, Nadav Snir-Zelniker • Saul Rubin; Peter Brainin Latin Jazz Workshop; Greg Glassman Jam • In the beginning was the Word: Erica Hunt, Marty Ehrlich, Dave Lopato; Jazz at Kitano 8, 10 pm $10 Fat Cat 7, 9 pm 12:30 am Marty Ehrlich/Kate Gentile The Stone 8, 10 pm $15 • The Manhattan Transfer Blue Note 8, 10:30 pm $65 • Voice Box: Nancy Harms; Akiko Pavolka and House of Illusion with Loren Stillman, • Janis Siegel with John di Martino, Martin Wind, Ben Wittman, Paul Meyers, • PAK: Ron Anderson/Alex Cohen; Ava Mendoza, , Matt Nelson; Nate Radley, Matt Pavolka, Bill Campbell Dominick Farinacci and guests Peter Eldridge, Nanny Assis Insect Ark: Dana Schecter; Anthony Coleman Cornelia Street Café 8:30, 10 pm $10 Blue Note 8, 10:30 pm $35 JACK 8 pm $10 • Jacam Manricks Trio with Gianluca Renzi, Ross Pederson • New York Voices Birdland 8:30, 11 pm $40 • Amy Cervini, Hilary Gardner, Melissa Stylianou with Michael Cabe, Paul Sikivie, Bar Next Door 8:30, 10:30 pm $12 • Kevin Hays New Day Trio with Rob Jost, Greg Joseph Matt Wilson 55Bar 7 pm • Matt Pavolka Horns Band with Kirk Knuffke, Jacob Garchik; 55Bar 7 pm • Lathan Hardy/Carlo Costa Ange Noir Café 8 pm Delicatessen: Stephanie Richards, Stomu Takeishi, Kenny Wollesen • Julian Shore Quartet with Noah Preminger, Joe Martin, Matt Wilson • Scot Albertson/Dan Furman Klavierhaus 8 pm Korzo 9, 10:30 pm Jazz at Kitano 8, 10 pm $10 • Persons of Interest: Eric Wollman, Jim Donica, Peter Grant; Tim Lancaster Group • Ben Holmes Quartet with Curtis Hasselbring, Matt Pavolka, Vinnie Sperrazza • Katsuko Tanaka Quartet with Stacy Dillard, Dezron Douglas, Russell Carter Somethin’ Jazz Club 7, 9 pm $11 Barbès 7 pm $10 Zinc Bar 7 pm $10 • Senri Oe Tomi Jazz 9 pm $10 • Chris Pitsiokos, Tim Dahl, Mike Pride • Deborah Latz; Ricardo Grilli Quartet with Julian Shore, Edward Perez, Lee Fish • Renaud Penant Trio Cleopatra’s Needle 7 pm JACK 8, 9:30 pm $10 Somethin’ Jazz Club 7, 9 pm $11 • Brielle; The Verb Shrine 9, 10 pm • Stan Killian Quintet with Josh Evans, Brad Whitley, Corcoran Holt, McClenty Hunter • Junko Sakai Tomi Jazz 8 pm $10 • Champian Fulton Quartet; Gabe Valle Trio 55Bar 7 pm • Michael Reis Caffe Vivaldi 8:30 pm The Garage 6, 10:30 pm • Eleanor Reissa and Friends with Frank London • Tom Tallitsch Quartet; Joonsam Lee Trio • A Bed and a Chair - A New York Love Story with Jazz at Lincoln Center Orchestra, Stephen Wise Free Synagogue 7:30 pm $15 The Garage 6, 10:30 pm Cyrille Aimée, Bernadette Peters City Center 7 pm $500-10,000 • David Lantz solo Jazz at Kitano 8 pm êPeter Bernstein, Larry Goldings, Bill Stewart • Dwayne Clemons Quintet with Sacha Perry, Josh Benko, Murray Wall, • Jimmy O’Connell 5tet with Tim Basom, Christian Nourijanian, Leon Boykins, Village Vanguard 8:30, 10:30 pm $25 Jimmy Wormworth; Dayna Stephens Group with Aaron Parks, Charles Altura, Dustin Kaufman; Tomoyasu Ikuta Trio with John Glay êMelissa Aldana Quartet with Glenn Zaleski, Pablo Menares, Jochen Rueckert Ben Street, Justin Brown; Nick Hempton Band with Jeremy Manasia, George Delancy, Somethin’ Jazz Club 7, 9 pm $10 Jazz Standard 7:30, 9:30 pm $20 Dan Aran Smalls 6, 9:30 pm 12 am $20 • Aida Brandes, Emanuele Tozzi Tomi Jazz 8, 11 pm $10 • John Pizzarelli/Jessica Molaskey Café Carlyle 8:45 pm $55-100 • New York Voices Birdland 8:30, 11 pm $40 • Nick Grinder Group Silvana 9 pm • Antonio Ciacca Measure 8 pm êPeter Bernstein, Larry Goldings, Bill Stewart • Rob Edwards Quartet; Mayu Saeki Trio • Yuki Shibata Trio Shrine 6 pm Village Vanguard 8:30, 10:30 pm $25 The Garage 6, 10:30 pm • Jann Parker/James Weidman Saint Peter’s 1 pm $10 • John Pizzarelli/Jessica Molaskey Café Carlyle 8:45 pm $55-100 • Antonio Ciacca Measure 8 pm • Antonio Ciacca Measure 8 pm • Mat McDonald Silvana 6 pm

Join us for... Marty Ehrlich hOUSE The Stone Residency OpEN The Long View & JAM - NyC 12 sets, 10 different bands November 12 - 17, 2013 TUESdAy, The Stone NOV. 19 Avenue C and 2nd Street Sets at 8PM and 10PM - $15 Jazz at Kitano VOCAL & INSTRUMENTAL Featuring: Erik Friedlander, Drew Gress, Park Ave. & E. 38 St. Liberty Ellman, Ray Anderson, Matt Wilson, Faculty Concert: wORkShOpS Brad Jones, J.D. Parran, Jack Walrath, James Weidman, , Adam Kolker, Nilson Matta – Feb. 16–22, 2014 Michael Formanek, Michael Sarin, Ron Horton, Artistic Director, Week-long immersion in Kate Gentile, Erica Hunt, David Lopato, Claudio Roditi, Matt King, Brazilian Music and Jazz... Tyshawn Sorey, Jennifer Choi, Cornelius Dufallo, Fernando Saci, Harry Allen Culminating performance Lev Zhurbin & Alex Waterman in Rio Jazz Club! Open Jam: For a complete listing Bring your instruments! Ensembles | Clinics | Jams Jazz Improv | Brazilian Phrasing of ensembles visit: RSVP: Alice@ Brazilian Percussion www.martyehrlich.com SambaMeetsJazz.com Batucada & More! or www.thestonenyc.com Alice Schiller, Executive Director | [email protected] Look for Marty’s new CD Luisa Matta, Director of Production, | [email protected] “A Trumpet in the Morning” out on SambaMeetsJazz.com 888.435.4003 New World Records this month

40 NOVEMBER 2013 | THE NEW YORK CITY JAZZ RECORD Friday, November 15

êAACM Presents - The Music of George Lewis with Either/Or, Khari B. Community Church of New York 8 pm $15-30 êOliver Lake Big Band The Jazz Gallery 9, 11 pm $20 êLouis Hayes and The Jazz Communicators with Abraham Burton, Steve Nelson, Kris Bowers, Dezron Douglas Smoke 7, 9, 10:30 pm $38 êMarty Ehrlich Sextet with Jack Walrath, Ray Anderson, James Weidman, Brad Jones, Ben Perowsky and guest JD Parran The Stone 8, 10 pm $15 êMourning of a Star; Jeff “Tain” Watts Quartet with Harold O’Neal, Troy Roberts, Chris Smith ShapeShifter Lab 8:15, 9:30 pm $10-15 êReverse Blue: Mary Halvorson, Chris Speed, Eivind Opsvik, Tomas Fujiwara Cornelia Street Café 9, 10:30 pm $15 • Lonnie Youngblood Church of the Intercession 7:30 pm $20 • Clifford Barbaro Trio Cleopatra’s Needle 8 pm • Marianne Solivan Quartet with Xavier Davis, Matthew Parrish, McClenty Hunter; Saul Rubin Group Smalls 7:30, 10:30 pm $20 • Bruce Cox Sense; Jared Gold Fat Cat 10:30 pm 1:30 am • Martin Piecuch Jazzical Fusion Trio with Regan Ryzuk Jazz at Kitano 8, 10 pm $25 • JACKtronics; Jeff Snyder, Cenk Ergün, Federico Ughi; Radical 2; Nathan Davis solo; Steven Luffue JACK 8 pm $10 • The Music of Louis Armstrong: “Hot Lips” Joey Morant and Catfish Stew Lucille’s at BB King’s Blues Bar 8 pm $25 • Paul Bollenback Trio with Joseph Lepore, Rogério Boccato Bar Next Door 7:30, 9:30, 11:30 pm $12 • Victor Lin Duo Knickerbocker Bar and Grill 9:45 pm $5 • Lucio Ferrara Measure 8 pm • Laila and Smitty: Kenny Warren, Myk Freedman, Jeremiah Lockwood, Noah Garabedian, Carlo Costa Launch Pad Gallery 8 pm • Alan Leatherman; Hye-Jeung; Adam Rivas/Alex Ramsay Collective with Shawn Whitehorn, Jr., Lluis Capdevila Somethin’ Jazz Club 7, 9, 11 pm $10-12 • Fukushi Tainaka Trio; Hot House The Garage 6:15, 10:45 pm êDave Douglas Quintet with Jon Irabagon, Matt Mitchell, Linda Oh, Rudy Royston Jazz Standard 7:30, 9:30, 11:30 pm $30 êGeorge Cables Trio with Essiet Essiet, Victor Lewis Dizzy’s Club 7:30, 9:30 pm $40 • Joe Saylor Quartet Dizzy’s Club 11:30 pm $10 • The Manhattan Transfer Blue Note 8, 10:30 pm $65 • A Bed and a Chair - A New York Love Story with Jazz at Lincoln Center Orchestra, Cyrille Aimée, Bernadette Peters City Center 8 pm $30 • New York Voices Birdland 8:30, 11 pm $40 êPeter Bernstein, Larry Goldings, Bill Stewart Village Vanguard 8:30, 10:30 pm $25 • John Pizzarelli/Jessica Molaskey Café Carlyle 8:45 pm $55-100 • Roz Corral with Gilad Hekselman, Boris Kozlov, Steve Williams 55Bar 6 pm

Saturday, November 16

êRay Anderson/Marty Ehrlich Quartet with Brad Jones, Matt Wilson The Stone 8, 10 pm $15 êPreservation Hall Jazz Band Apollo Theater 8 pm $35-50 • Kayhan Kalhor/Ali Bahrami Fard Asia Society 8 pm $30 êTomas Fujiwara and The Hook Up with Michael Formanek, Mary Halvorson, Brian Settles, Jonathan Finlayson Cornelia Street Café 9, 10:30 pm $15 • Nioka Workman’s Fiery Strings with Mala Waldron Sistas’ Place 9, 10:30 pm $20 • TILLERY: Rebecca Martin, Gretchen Parlato, Becca Stevens Rockwood Music Hall 7 pm $15 • Brooklyn Jazz Wide Open: Michel Gentile Quintet with Chris Speed, Brian Drye, Chris Tordini, Satoshi Takeshi; Loren Stillman Quartet with Nate Radley, Matt Pavolka Brooklyn Conservatory of Music 8 pm $10 • Mick Rossi Spectrum 7:30 pm êMadeline Eastman with Randy Porter Trio Jazz at Kitano 8, 10 pm $25 • Sanda Weigl Barbès 8 pm $10 • Brooklyn Raga Massive: House of Waters: Max ZT, Luke Notary, Moto Fukushima; Neel Murgai Ensemble with Arun Ramamurthy, Basu, Marika Hughes, Ehren Hanson JACK 8, 9:30 pm $10 • Loop 2.4.3 / TommyTom’s Time Machine; Gyan Riley; Sub-verse Ibeam Brooklyn 8:30 pm $10 • Outer Bridge Ensemble: Steve Hudson, Soren Nissen, Jerome Jennings, David Freeman and guests Soapbox Gallery 8 pm $10 • Radam Schwartz Trio; George Burton Quintet Fat Cat 7, 10 pm • Mark Cocheo Trio with Mark Zaleski, Conor Meehan Bar Next Door 7:30, 9:30, 11:30 pm $12 • Mike Armando and In The Moment with Andy Golba, Gezim Sherifi; Righteous GIRLS: Gina Izzo/Erika Dohi; Nick Brust/Adam Horowitz Quintet with Matthew Sheens, James Quinlan, Dani Danor; Dave Pollack Quartet Somethin’ Jazz Club 5, 7, 9, 11 pm $10-12 • Misa Ogasawara; YooSun Num Tomi Jazz 8, 11 pm $10 • Justin Lees Trio Cleopatra’s Needle 8 pm • Fabio Morgera Quartet; Saul Rubin Group; Eric Wyatt with Shinnosuke Takahashi, Benito Gonzalez Smalls 7:30, 10:30 pm 1:30 am $20 êLouis Hayes and The Jazz Communicators with Abraham Burton, Steve Nelson, Kris Bowers, Dezron Douglas Smoke 7, 9, 10:30 pm $38 • Victor Lin Duo Knickerbocker Bar and Grill 9:45 pm $5 • Lucio Ferrara Measure 8 pm êDave Douglas Quintet with Jon Irabagon, Matt Mitchell, Linda Oh, Rudy Royston Jazz Standard 7:30, 9:30, 11:30 pm $30 êGeorge Cables Songbook with Steve Wilson, Sarah Elizabeth Charles, Essiet Essiet, Victor Lewis, Steve Kroon Dizzy’s Club 7:30, 9:30 pm $45 • Michael Mwenso with Joe Saylor Quartet Dizzy’s Club 11:30 pm $20 • The Manhattan Transfer Blue Note 8, 10:30 pm $65 • Maurício de Souza and Bossa Brasil with Dmitry Baevsky, Jerry Weir, Ben Winkelman, Gary Mazzaroppi Blue Note 12:30 am $15 • A Bed and a Chair - A New York Love Story with Jazz at Lincoln Center Orchestra, Cyrille Aimée, Bernadette Peters City Center 2, 8 pm $30 • New York Voices Birdland 8:30, 11 pm $40 êPeter Bernstein, Larry Goldings, Bill Stewart Village Vanguard 8:30, 10:30 pm $25 • John Pizzarelli/Jessica Molaskey Café Carlyle 8:45, 10:45 pm $65-110 • Joe Costanzo and Trio; Mark Marino Trio; Peter Valera Jump Blues Band The Garage 12, 6:15, 10:45 pm • Encuentro NYC Colombian Music Festival: M.A.K.U. SoundSystem; Laura Kalop; Juan Andres Ospina; Grupo Rebolú; Gregorio Uribe Big Band; Alejandro Flórez/ Ricardo Gallo; Pablo Mayor’s Folklore Urbano Orchestra; Diego Obregon’s Grupo Chonta; Sebastián Cruz Cheap Landscape Trio; Alejandro Zuleta Vallenato Collective; Chia’s Dance Party; Nilko Andreas Guarín; Fidel Cuellar with Luiz Ebert; Johanna Castañeda y su Grupo Llanero; Pajarillo Pinta’o Dance Company Le Poisson Rouge 4 pm $30

THE NEW YORK CITY JAZZ RECORD | NOVEMBER 2013 41 Sunday, November 17 • Javier Santiago Tomi Jazz 8 pm $10 • Michael Sarian Quintet Silvana 8 pm êThe Dark Woods Ensemble: Marty Ehrlich, Erik Friedlander, Drew Gress and guest • Randy Johnston Trio; Paul Francis Trio Liberty Ellman The Stone 8, 10 pm $15 The Garage 6, 10:30 pm êTadadaka Unno Measure 8 pm • Lucio Ferrara Measure 8 pm êJohn Merrill Trio; Bucky Pizzarelli/Ed Laub; Johnny O’Neal Smalls 4:30, 7:30, 10 pm $20 • Terry Waldo’s Gotham City Band; Rick Germanson Trio; Wednesday, November 20 Brandon Lewis/Renee Cruz Jam Fat Cat 6, 8:30 pm 12:30 am êGene Bertoncini The Drawing Room 7 pm $20 êNation Time: Richard Hell, , The Thing: Mats Gustafsson, • Sheryl Bailey/Joe Fitzgerald Eats Restaurant 7 pm Ingebrigt Håker Flaten, Paal Nilssen-Love with guest Joe McPhee • Broc Hempel, Sam Trapchak, Christian Coleman with guest Steve Kortyka Guggenheim Museum 7 pm $30 Dominie’s Astoria 9 pm • Roy Ayers S.O.B.’s 9 pm $25 • Euphoria: Nick Demopoulos, Paul Ramsey, Evan Schwam, Mayu Saeki, êYeYi Duet: Adam Rudolph/Ralph M. Jones and guests Jeremy Carlstedt Drom 7:15 pm $15 The Stone 8, 10 pm $15 • /Michelle Handelman’s Triangle of Resistance • Denise Donatelli/Frank Kimbrough Jazz at Kitano 8, 10 pm $10 Roulette 8 pm $20 êIdeal Bread: Josh Sinton, Kirk Knuffke, Adam Hopkins, Tomas Fujiwara êMichael Rabinowitz and Bassoon in the Wild with Joe Fonda, Grisha Alexiev, Cornelia Street Café 8:30 pm $10 november– Diana Herald The Loft of Thomas Rochon 7 pm $15 • Bob Sands Quartet with Joel Weiskopf, Gregg August, Donald Edwards • Clarice Assad/Joao Luiz Rezende Cornelia Street Café 8:30 pm $10 Smoke 7, 9, 10:30 pm • Itamar Borochov; Jonathan Greenstein; Camila Meza • Joe Fonda, Adam Kolker, George Schuller and guest Omar Tamez december ShapeShifter Lab 7, 8:15, 9:30 pm $10 Barbès 8 pm $10 • Yoshiki Miura Group; Bob Bennett Quartet with Erica Seguine, Jesse Breheney, êJeremy Pelt Show with Roxy Coss, David Bryant, Chris Smith, Dana Hawkins Gusten Rudolph; Alex Cummings Quartet with Julia Chen, Daniel Stein, Austin Vaughn 55Bar 9 pm Somethin’ Jazz Club 5, 7, 9 pm $10 • Eli Degibri Quartet with Aaron Goldberg, Omer Avital, Obed Calvaire; êDave Douglas Quintet with Jon Irabagon, Matt Mitchell, Linda Oh, Rudy Royston Aaron Kimmel Group with Adam Birnbaum, David Wong nov 8–9 • 7pm, 9:30pm Jazz Standard 7:30, 9:30 pm $25 Smalls 9:30 pm 12 am $20 êGeorge Cables Songbook with Steve Wilson, Sarah Elizabeth Charles, Essiet Essiet, • Raphael D’lugoff; Don Hahn; Ned Goold Jam Victor Lewis, Steve Kroon Dizzy’s Club 7:30, 9:30 pm $35 Fat Cat 7, 9 pm 12:30 am LADIES SING THE BLUES • The Manhattan Transfer Blue Note 8, 10:30 pm $65 • Dave Miller Trio with Shawn Conley, Shawn Baltazor; Ryan Keberle’s Catharsis with Vocalists Catherine Russell, • A Bed and a Chair - A New York Love Story with Jazz at Lincoln Center Orchestra, Mike Rodriguez, Jorge Roeder, Eric Doob and guest Camila Meza Cyrille Aimée, Bernadette Peters City Center 2, 7 pm $30 SEEDS 8:30, 10 pm Brianna Thomas, and êPeter Bernstein, Larry Goldings, Bill Stewart • Pamela Z/Christina McPhee’s Carbon Song Cycle with Dana Jessen, Village Vanguard 8:30, 10:30 pm $25 Charith Premawardhana, Marika Hughes, Russell Greenberg Charenee Wade • Cheryl Pyle, Daniel Carter, Claire Debrunner; Michael Foster/Michael Evans Roulette 8 pm $20 Downtown Music Gallery 6, 7 pm • Juilliard Jazz Big Band directed by John Beasley • Ben Hall solo 61 Local 6 pm $10 Jazz Standard 7:30, 9:30 pm $20 • Peter Eldridge Saint Peter’s 5 pm • Carmela Rappazzo Joe’s Pub 7:30 pm $25 nov 22–23 • 8pm êESP-Disk’ 50th Anniversary Concert - Benefit for the Sun Ra Music Archives: • Joe Alterman Caffe Vivaldi 9:30 pm Kali Z. Fasteau, , Alan Sondheim, Bruce Eisenbeil, Tiger Hatchery, • BOMB X Trio: Nicolas Letman-Burtinovic, Michaël Attias, Danny Sher Michael D. Anderson JACK 3 pm $10 Bar Chord 9 pm MUSIC FROM • Nicole Henry Blue Note 12:30, 2:30 pm $29.50 • Scot Albertson/Daryl Kojak Klavierhaus 8 pm • Roz Corral Trio with Gilad Hekselman, Orlando Le Fleming • Alex Wyatt with Kyle Wilson, Jon DeLucia, Greg Ruggiero, Danny Fox; East meets West in this musical and North Square Lounge 12:30, 2 pm Enrico Solano Quartet with Julien Hucq, Antonello Parisi, Yiorgos Kostopoulos; cultural exchange between the • Kyoko Oyobe Trio; David Coss Quartet; Adam Rongo Trio Elias Meister’s Miracle Box with Gordon Au, Craig Akin, Joe Hertenstein The Garage 11:30 am 6:30, 11 pm Somethin’ Jazz Club 7, 9, 11 pm $10 Jazz at Lincoln Center Orchestra • Kristen Lee Sergeant Tomi Jazz 8 pm $10 • Nick Moran Trio; Margaret Gianquinto and Trio; Rick Stone Trio with Wynton Marsalis and the Monday, November 18 The Garage 6, 10:30 pm • Quartet with , , Bill Stewart Sachal Jazz Ensemble of Pakistan êSheila Jordan’s 85th Birthday Celebration with Steve Kuhn Village Vanguard 8:30, 10:30 pm $25 Blue Note 8, 10:30 pm $25 • Jane Monheit; Shoshana Bush Blue Note 6, 8, 10:30 pm $35 êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 • Cyrille Aimee Birdland 8:30, 11 pm $40 êCarline Ray Tribute Saint Peter’s 7 pm êLavay Smith Sings Count Basie Dizzy’s Club 7:30, 9:30 pm $35 part of the ertegun jazz concert series • Cliff Hanes with Sasha Masakowski, G Maxwell Zemanovic, Max Moran; • Aaron Johnson Quartet Dizzy’s Club 11:30 pm $5 Ingebrigt Håker Flaten Trio with Nate Wooley, Chris Corsano; Desmond White’s • John Pizzarelli/Jessica Molaskey Café Carlyle 8:45 pm $55-100 nov 22 • 7pm; nov 23 • 9:30pm Short Stories with Fabian Almazan, Camila Meza, Leon Boykins • Lucio Ferrara Measure 8 pm ShapeShifter Lab 7, 8:15, 9:30 pm $10-15 • Mike Kaplan/Ben Williams Quintet Saint Peter’s 1 pm $10 • George Braith; Billy Kaye Jam Fat Cat 9 pm 12:30 am JIM HALL: MODERN • Manhattan School of Music Jazz Orchestra directed by Justin DiCioccio with guest Rich Perry Dizzy’s Club 7:30, 9:30 pm $25 Thursday, November 21 JAZZ GUITAR • Chris Pattishall Trio; Ari Hoenig Trio with Gilad Hekselman, Orlando Le Fleming; Spencer Murphy Smalls 7:30, 10 pm 12:30 am $20 êRené Marie with Tatum Greenblatt, Pete Reardon Anderson, St. Clair Simmons, Jim Hall with Peter Bernstein • Hendrik Meurkins/Misha Tsiganov Eats Restaurant 7 pm Kevin Bales, Elias Bailey, Quentin Baxter • Andrea Wolper Trio with Michael Howell, Ken Filiano Jazz Standard 7:30, 9:30 pm $25 and John Abercrombie Bar Next Door 8:30, 10:30 pm $12 • Bobby Sanabria Multiverse Big Band with Matthew Gonzalez, Orestes Abrantes, • Vicki Burns; Gary Morgan’s PanAmericana! with Seneca Black, Bryan Davis, Leo Traversa, Enrique Haneine, Hiram “EI Pavo” Remon, Charenee Wade, John Bailey, Andy Gravish, Mike Boscarino, Matt McDonald, Sam Burtis, Chris Olness, David Dejesus, John Beaty, Peter Brainin, Jeff Lederer, Danny Rivera, Chris Komer, Shelagh Abate, Norbert Stachel, Matt Hong, Ben Kono, Quinsin Nachoff, Cameron Johnson, Shareef Clayton, Max Darche, Andre Nesseley, David Miller, part of the ertegun jazz concert series Terry Goss, Bob Quaranta, Gustavo Amarante, Ray Marchica, Carlos Maldonado, Tim Sessions, Joe Beaty, Chris Washburne Memo Acevedo, Richard Boukas Zinc Bar 7, 9, 10:30 pm $8 Dizzy’s Club 7:30, 9:30 pm $40 nov 22 • 9:30pm; nov 23 • 7pm • Craig Yaremko Organ Trio with Matt King, Jonathon Peretz and guest Vic Juris; • Aaron Johnson Quartet Dizzy’s Club 11:30 pm $10 Yuhan Su Group Somethin’ Jazz Club 7, 9 pm $12 êGerry Hemingway solo and with Beth Warshafsky • Julio Botti Tomi Jazz 8 pm $10 Roulette 8 pm $20 CHRIS POTTER’S • Lucio Ferrara Measure 8 pm êAdam Kolker/ Quartet with Jay Anderson, Victor Lewis • Howard Williams Jazz Orchestra; Kenny Shanker Quartet Cornelia Street Café 8:30 pm $10 UNDERGROUND The Garage 7, 10:30 pm êLage Lund Trio with Orlando Le Fleming, Jochen Rueckert • Tom Wilson Trio Silvana 6 pm Bar Next Door 8:30, 10:30 pm $12 • Hit and Run Experience: Sonny Apollo and Tuxedo with guest Andrea Bonaparte; ORCHESTRA Mariano Gil Quintet with Pete Rende, RJ Miller; Marco Cappelli Acoustic Trio with Tuesday, November 19 Ken Filiano, Satoshi Takeishi ShapeShifter Lab 7, 8:15, 9:30 pm $10 Saxophonist Chris Potter and his • John Raymond Quartet with Gilad Hekselman, Aidan Carroll, Austin Walker êJamie Baum Septet + with Amir ElSaffar, Douglas Yates, Chris Komer, Brad Shepik, Jazz at Kitano 8, 10 pm $10 expanded Underground quartet John Escreet, Zack Lober, Jeff Hirshfield êThe Unknown : Michael Hashim Strayhorn Band with , Jazz Standard 7:30, 9:30 pm $20 Dave Gibson, Shawn Edmonds, Freddie Hendrix, Mike LeDonne, Ed Pazant, • Renee Rosnes Quartet with Jimmy Greene, Peter Washington, Bill Stewart Scott Robinson, Tad Shull, Kenny Washington • Village Vanguard 8:30, 10:30 pm $25 Miller Theater 7:30 pm dec 12–13 8pm • Jane Monheit Blue Note 8, 10:30 pm $35 êJazz Alumni Series: Jacob Garchik Trio with Jacob Sacks, Dan Weiss • Cyrille Aimee Birdland 8:30, 11 pm $40 Manhattan School of Music Comelli Studio 7:30 pm dec 14 • 2pm & 8pm êLavay Smith Sings Count Basie Dizzy’s Club 7:30, 9:30 pm $35 • Fat Cat 10 pm • Aaron Johnson Quartet Dizzy’s Club 11:30 pm $5 • Adam Larson Quintet with Nils Weinhold, Fabian Almazan, Harish Raghavan, BIG BAND HOLIDAYS • Adi Braun Iridium 8, 10 pm $25 Jimmy Macbride The Jazz Gallery 9, 11 pm $15 • Warren Chiasson Trio with Ed MacEachen, Ralph Hamperian • Theo Bleckmann Neue Galerie 9 pm $110 Jazz at Lincoln Center Orchestra NYC Baha’i Center 8, 9:30 pm $15 • Jake Hertzog Band with Harvie S, Victor Jones • The BRT: Samm Bennett, Ned Rothenberg, Stomu Takeishi with guest Shelley Hirsch 78 Below 8 pm with Wynton Marsalis and Cécile Roulette 8 pm $15 • Sharon Rae North Metropolitan Room 9:30 pm $20 • Samba Meets Jazz Open House: Claudio Roditi, Matt King, Nilson Matta, Fernando Saci • Frederika Krier’s Laghima Ibeam Brooklyn 8:30 pm $10 McLorin Salvant Jazz at Kitano 8, 10 pm $10 • The QC New Ensemble: Howard Brofsky, Julien Hucq, Jan Kus, Amadis Dunkel, êGene Bertoncini solo; Smalls Legacy Band: Stacy Dillard, Josh Evans, Theo Hill, Yasuno Katsuki, Antonello Parisi, Peng Ji, Enrico Solano; Emily Wolf Project; Rashaan Carter, Frank Lacy, Kush Abadey; Kyle Poole and Friends Walter Phishbacher Acoustic Trio with guest Elisabeth Lohninger Smalls 7:30, 10 pm 12:30 am $20 Somethin’ Jazz Club 7, 9, 11 pm $10-12 • Arnold Lee, Michael Mohamed, Niels Bantilan; Adam Rudolph/ • Ken Kobayashi Tomi Jazz 9 pm $10 The Stone 8, 10 pm $15 • Ray Parker Trio Cleopatra’s Needle 7 pm • John Pizzarelli/Jessica Molaskey Café Carlyle 8:45 pm $55-100 • Aaron Irwin Group; Ms Blue Silvana 6, 8 pm jalc.org Rick Stone Trio; Lafayette Harris Trio • The RicTer Scale: Terri Hron, Ricardo Gallo with guests Dan Blake, Mary Halvorson; • Joshua Shneider Love Speaks Orchestra with Saundra Williams, Dave Stryker, The Garage 6, 10:30 pm John O’Gallagher, Matthew Willis, Dan Pratt, Quinsin Nachoff, Frank Basile, • Tardo Hammer Trio; Eli Degibri Quartet with Gary Versace, Omer Avital, Obed Calvaire; Matthew McDonald, Noah Bless, John Yao, Jeff Wilfore, Alexander Pope Norris, Carlos Abadie Quintet with Joe Sucato, Theo Hill, Clovis Nicolas, Luca Santaniello jazz at lincoln center David Smith, Andy Gravish, Dave Ambrosio, Eric Halvorson, Bennett Paster, Smalls 6, 9:30 pm 12 am $20 Venue Frederick P. Rose Hall Joe Cardello; Mino Cinelu solo ShapeShifter Lab 7, 8:15, 9:30 pm $10 êYeYi Duet: Adam Rudolph/Ralph M. Jones and guest Oliver Lake êMara Rosenbloom Quartet with Darius Jones, Sean Conly, Tomas Fujiwara; The Stone 8, 10 pm $15 Box Office Broadway at 60th, Ground Fl. Menna Mulugeta, Julie Spencer, Gernot Blume • Renee Rosnes Quartet with Jimmy Greene, Peter Washington, Bill Stewart CenterCharge 212-721-6500 Korzo 9, 10:30 pm Village Vanguard 8:30, 10:30 pm $25 • Contagious Sounds: Matt Evans/Anne Lanzilotti; Travis LaPlante, Matt Nelson, • Jane Monheit Blue Note 8, 10:30 pm $35 Patrick Breiner, Jeremy Viner Cornelia Street Café 8:30, 10 pm $10 • Nancy Harms Birdland 6 pm $25 • Alex Lore Trio with Desmond White, Colin Stranahan • Cyrille Aimee Birdland 8:30, 11 pm $40 Preferred Card of use your mastercard Bar Next Door 8:30, 10:30 pm $12 • John Pizzarelli/Jessica Molaskey Café Carlyle 8:45 pm $55-100 Jazz at Lincoln Center and save 5%. • Sean Harkness 2nd Floor at Clinton 7:30 pm • Lucio Ferrara Measure 8 pm • Breslov Bar Band Stephen Wise Free Synagogue 7:30 pm $15 • Harlem Speaks: Dayna Stephens Jazz Museum in Harlem 6:30 pm • Gabriel Zucker Spectrum 7 pm • Racha Fora, Hiroaki Honshuku, Rika Ikeda, Mauricio Anrade, Rafael Russi; Dorian Wallace Big Band Somethin’ Jazz Club 7, 9 pm $10-12

42 NOVEMBER 2013 | THE NEW YORK CITY JAZZ RECORD Friday, November 22 Saturday, November 23 êJim Hall Trio with , and guests John Abercrombie, êCharles Tolliver Quartet Sistas’ Place 9, 10:30 pm $20 Peter Bernstein; Chris Potter’s Underground Orchestra êEarl McIntyre 60th Birthday Extravaganza with David Amram, Arturo O’Farrill, Allen Room 7, 9:30 pm $45-75 Renee Manning, Buddy Williams, Onaje Allen Gumbs, Victor See Yuen, Sam Burtis, • Music From Pakistan: Sachal Jazz Ensemble and Jazz at Lincoln Center Orchestra Patience Higgins, Tommy Campbell Rose Hall 8 pm $30-120 BAMCafé 9 pm êLatin Free Jazz: Angelica Sanchez/Omar Tamez; Abraham Gomez-Delgado/ êAaron Diehl Trio with David Wong, Rodney Green Taylor Ho Bynum; Michelle Rosewoman’s New Yor-Uba Miller Theater 8 pm $25-35 Clemente Soto Velez Cultural Center 8 pm $22 êChris Dingman’s The Subliminal and the Sublime with Loren Stillman, Fabian Almazan, • Ralph Lalama’s Bop-Juice with David Wong, Clifford Barbaro; Billy Drummond Group Ryan Ferreira, Linda Oh, Justin Brown with Jaleel Shaw, Adam Birnbaum, Dezron Douglas; Jeremy Manasia Trio with SubCulture 8, 10 pm $15 Barak Mori, Charles Ruggerio Smalls 7:30, 10:30 pm 1 am $20 • Joel Forrester Trio Cleopatra’s Needle 8 pm • Sheryl Bailey Trio with Harvie S, Joe Strasser êMike DiRubbo Fat Cat 10 pm Bar Next Door 7:30, 9:30, 11:30 pm $12 • Oscar Penas Trio with Moto Fukushima, George Mel • Theo Hill Trio; Fabio Morgera Fat Cat 6, 10:30 pm Bar Next Door 7:30, 9:30, 11:30 pm $12 êAdam Rudolph’s Moving Pictures Octet with Ralph M. Jones, Alex Marcelo, • Mitch Frohman and The Bronx Horns Kenny Wessel, , Brahim Fribgane, James Hurt, Matt Kilmer Ginny’s Supper Club 7:30 pm $15 and guests The Stone 8, 10 pm $15 • Leila Adu solo; Aaron Siegel solo; Peter Kerlin Octet with Taylor Bergren Chrisman, êCyrus Chestnut Trio with Curtis Lundy, Victor Lewis Charles Burst, Mike Pride, Jessica Pavone, Emily Manzo, Sam Sowyrda, Cesare Papetti Smoke 7, 9, 10:30 pm $38 Ibeam Brooklyn 8 pm $10 êJane Ira Bloom Quartet with Dominic Fallacaro, Cameron Brown, Matt Wilson • Anders Nilsson solo Barbès 7 pm $10 Jazz at Kitano 8, 10 pm $25 • Parc X Trio: Gabriel Vinuela-Pelletier, Alex Lefaivre, Alain Bourgeois êWorld Time Zone: Michael Blake, Frank Kimbrough, Ben Allison, Rudy Royston ShapeShifter Lab 9:30 pm $10 Cornelia Street Café 9, 10:30 pm $15 • Dong Cheol Won with Kevin Sanchez, Anthony Pocetti, Daseul Kim; Sinan Bakir Trio; Fri, Nov 1 EXPANSIONS: GROUP 9PM & 10:30PM • Hendrik Meurkens Samba Quartet Flushing Town Hall 8 pm $15 Dori Levine; Jeff Gardner Trio with Gary Wang, Anthony Pinciotti Sat, Nov 2 Matt Vashlishan, Bobby Avey, Tony Marino, Alex Ritz êMr. Ho’s Orchestrotica Drom 7:15 pm $20 Somethin’ Jazz Club 5, 7, 9, 11 pm $10-15 • Russ Kassoff Duo Knickerbocker Bar and Grill 9:45 pm $5 • Kathryn Allyn Tomi Jazz 8 pm $10 Sun, Nov 3 YOUNGJOO SONG TRIO 8:30PM êAdam Caine Quartet with Connie Crothers, Adam Lane, Federico Ughi • Red Sahara Collective Silvana 8 pm Vicente Archer, Kendrick Scott The Firehouse Space 8 pm $10 êChris Potter’s Underground Orchestra; Jim Hall Trio with Scott Colley, Lewis Nash • Scruffy Herberts: Kenji Herbert, Peter Herbert, Tommy Campbell, Adam Kolker, and guests John Abercrombie, Peter Bernstein Mon, Nov 4 AMRAM & CO 8:30PM Franz Hackl; Arthyr Blythe Tribute with Oliver Lake, T. Brooks Shepard Allen Room 7, 9:30 pm $45-75 ShapeShifter Lab 7, 8:30 pm $10-15 • Music From Pakistan: Sachal Jazz Ensemble and Jazz at Lincoln Center Orchestra David Amram, Kevin Twigg, Rene Hart, Adam Amram • Fester: Sean Ali/David Grollman Launch Pad Gallery 8 pm Rose Hall 8 pm $30-120 • They Say Its Spring!: Ken Greves/Frank Ponzio and guest Ben Cassara; êLatin Free Jazz: Juan Quinonez’ Prize of Freedom; Román Filiú Septet; Tue, Nov 5 BENJAMIN SCHEUER 8:30PM Doug White Quintet with Pat Casey, Chris Casey, Steve Porter, Tido Holtkamp; Francisco Mora-Catlett Sextet Clemente Soto Velez Cultural Center 8 pm $22 NATALIA ZUKERMAN 10PM Negroni’s Trio Somethin’ Jazz Club 7, 9, 11 pm $12 • Richard Sussman Group with Scott Wendholt, Rich Perry, Mike McGuirk, • Yaacov Mayman Organ Trio Cleopatra’s Needle 8 pm Anthony Pinciotti; Billy Drummond Group with Jaleel Shaw, Adam Birnbaum, Wed, Nov 6 KRISTIN SLIPP & DOV MANSKI DUO 8:30PM • Michika Fukumori Trio; Kevin Dorn and the BIG 72 Dezron Douglas; Stacy Dillard, Diallo House, Ismail Lawal The Garage 6:15, 10:45 pm Smalls 7:30, 10:30 pm 1:30 am $20 Thu, Nov 7 SKETCHES, VOLUME ONE CD RELEASE 8:30PM êRené Marie with Tatum Greenblatt, Pete Reardon Anderson, St. Clair Simmons, êAdam Rudolph’s Moving Pictures Octet with Ralph M. Jones, Alex Marcelo, Kevin Bales, Elias Bailey, Quentin Baxter Kenny Wessel, Shanir Ezra Blumenkranz, Brahim Fribgane, James Hurt, Matt Kilmer Matt Holman, Jeremy Udden, Jarrett Cherner, Jazz Standard 7:30, 9:30, 11:30 pm $30 and guests The Stone 8, 10 pm $15 Martin Nevin, Ziv Ravitz • Bobby Sanabria Multiverse Big Band with Matthew Gonzalez, Orestes Abrantes, êCyrus Chestnut Trio with Curtis Lundy, Victor Lewis Leo Traversa, Enrique Haneine, Hiram “EI Pavo” Remon, Charenee Wade, Smoke 7, 9, 10:30 pm $38 Fri, Nov 8 , PALOMA RECIO 9PM & 10:30PM David Dejesus, John Beaty, Peter Brainin, Jeff Lederer, Danny Rivera, êJane Ira Bloom Quartet with Dominic Fallacaro, Cameron Brown, Matt Wilson Sat, Nov 9 Ben Monder, Eivind Opsvik, Billy Mintz, Dan Weiss Cameron Johnson, Shareef Clayton, Max Darche, Andre Nesseley, David Miller, Jazz at Kitano 8, 10 pm $25 Tim Sessions, Joe Beaty, Chris Washburne • Russ Kassoff Duo Knickerbocker Bar and Grill 9:45 pm $5 Sun, Nov 10 MOSTLY OTHER PEOPLE DO THE KILLING 8:30PM Dizzy’s Club 7:30, 9:30 pm $40 êRené Marie with Tatum Greenblatt, Pete Reardon Anderson, St. Clair Simmons, Peter Evans, Jon Irabagon, Moppa Elliott, Kevin Shea • Aaron Johnson Quartet Dizzy’s Club 11:30 pm $20 Kevin Bales, Elias Bailey, Quentin Baxter • Renee Rosnes Quartet with Steve Wilson, Peter Washington, Bill Stewart Jazz Standard 7:30, 9:30, 11:30 pm $30 Village Vanguard 8:30, 10:30 pm $25 • Bobby Sanabria Multiverse Big Band with Matthew Gonzalez, Orestes Abrantes, Tue, Nov 12 VOICE BOX: NANCY HARMS 8:30PM • Jane Monheit Blue Note 8, 10:30 pm $35 Leo Traversa, Enrique Haneine, Hiram “EI Pavo” Remon, Charenee Wade, VOICE BOX: AKIKO PAVOLKA • Cyrille Aimee Birdland 8:30, 11 pm $40 David Dejesus, John Beaty, Peter Brainin, Jeff Lederer, Danny Rivera, & HOUSE OF ILLUSION 10PM • John Pizzarelli/Jessica Molaskey Café Carlyle 8:45 pm $55-100 Cameron Johnson, Shareef Clayton, Max Darche, Andre Nesseley, David Miller, Loren Stillman, Nate Radley, Matt Pavolka, Bill Campbell • Lucio Ferrara Measure 8 pm Tim Sessions, Joe Beaty, Chris Washburne Sara Serpa, Host • Harris Eisenstadt and the Brooklyn Conservatory Community Orchestra Dizzy’s Club 7:30, 9:30 pm $45 Brooklyn Museum of Art 4 pm $20 • Aaron Johnson Quartet Dizzy’s Club 11:30 pm $20 Wed, Nov 13 THE KEVIN HARRIS PROJECT PRESENTS 6PM • Renee Rosnes Quartet with Steve Wilson, Peter Washington, Bill Stewart Village Vanguard 8:30, 10:30 pm $25 Richie Barshay • Jane Monheit Blue Note 8, 10:30 pm $35 JEFF DAVIS GLASS HAT 8:30PM • Cyrille Aimee Birdland 8:30, 11 pm $40 Jon Irabagon, Jon Goldberger, Eivind Opsvik • John Pizzarelli/Jessica Molaskey Café Carlyle 8:45, 10:45 pm $65-110 ESP-Disk' 50th Anniversary Concert • Lucio Ferrara Measure 8 pm Thu, Nov 14 CAMILA MEZA/FABIAN ALMAZAN DUO 8:30PM • Rebeca Vallejo’s The Flame Cornelia Street Café 6 pm $10 • Harris Eisenstadt and the Brooklyn Conservatory Community Orchestra Fri, Nov 15 REVERSE BLUE 9PM & 10:30PM Brooklyn Museum of Art 3 pm $20 • Marsha Heydt and the Project of Love; Champian Fulton Quartet; Mary Halvorson, Chris Speed, Eivind Opsvik, Tomas Fujiwara Jason Prover Sneak Thievery Orchestra The Garage 12, 6:15, 10:45 pm Sat, Nov 16 TOMAS FUJIWARA & THE HOOK UP 9PM & 10:30PM Michael Formanek, Mary Halvorson, Brian Settles, Jonathan Finlayson Sunday, November 24 Sun, Nov 17 NEW BRAZILIAN PERSPECTIVES: êTrombone For Lovers: A 78th Birthday Concert for Roswell Rudd with John Medeski, CLARICE ASSAD 8:30PM Steven Bernstein, Bob Dorough, Gary Lucas, Richard Hammond, Aaron Comess, Fay Victor, Michael Doucet, Rolf Sturm, Heather Masse, Ivan Rubenstein-Gillis and the Joao Luiz Rezende; Billy Newman, Host NYC Labor Chorus with Reggie Bennet + Tue, Nov 19 CONTAGIOUS SOUNDS: S p e c i a l g u e s t s Le Poisson Rouge 3 pm $30 & J a m s e s s i o n êGo: Organic Orchestra : Zé Luis Oliveira, Ralph M. Jones, Kaoru Watanabe, MATT EVANS/ANNE LANZILOTTI 8:30PM Location: JACK, 505-1/2 Waverly Ave. Michel Gentile, Sylvain Leroux; Adam Rudolph’s Moving Pictures Octet plus BATTLE TRANCE 10PM at Fulton St. in Brooklyn Go: Organic Orchestra Flutes with Ralph M. Jones, Alex Marcelo, Kenny Wessel, Travis Laplante, Matt Nelson, Patrick Breiner, Jeremy Viner (Clinton-Washington C train stop) Shanir Blumenkranz, James Hurt, Matt Kilmer, Ralph M. Jones, Kaoru Watanabe, Vicky Chow, Host Michel Gentile, Sylvain Leroux The Stone 8, 10 pm $15 • Antonio Barbagallo Duo; Johnny O’Neal; Ehud Asherie Trio Sunday November 17, 3-9 PM Smalls 7:30, 10 pm 12 am $20 Wed, Nov 20 IDEAL BREAD 8:30PM • Terry Waldo’s Gotham City Band; Quintet; Josh Sinton, Kirk Knuffke, Adam Hopkins, Tomas Fujiwara R Brandon Lewis/Renee Cruz Jam Fat Cat 6, 8:30 pm 12:30 am • John Stowell/Tom Dempsey Eats Restaurant 7 pm Thu, Nov 21 SCOTT WENDHOLT/ADAM KOLKER QUARTET 8:30PM 5 E • John McQueeny’s Combat Jazz Barbès 7 pm $10 Jay Anderson, Victor Lewis 0 M • Sofija Knezevic Quintet with guests T A Metropolitan Room 9:30 pm $20 Fri, Nov 22 WORLD TIME ZONE 9PM & 10:30PM • Peter Leitch/ Walker’s 8 pm Michael Blake, Frank Kimbrough, Ben Allison, Rudy Royston H S • Steve Ash Measure 8 pm T • Mike Wilkens Quartet with Matt Panayides, Sam Trapchak, Christian Coleman; A Sarpay Ozcagatay Quartet with Jesse Taitt, Tyreek Jackson, Angelo Spampinato Tue, Nov 26 VOXIFY: NICKY SCHRIRE 8:30PM E Somethin’ Jazz Club 5, 7 pm $10 Desmond White, Nir Felder, Ross Pederson N R • Alan Leatherman Six Shrine 8 pm VOXIFY: MIKA HARY 10PM N E êRené Marie with Tatum Greenblatt, Pete Reardon Anderson, St. Clair Simmons, Nir Felder, Sam Minnai, Jordan Perlson I Kevin Bales, Elias Bailey, Quentin Baxter Nicky Schrire, Host D Jazz Standard 7:30, 9:30 pm $25 V • Bobby Sanabria Multiverse Big Band with Matthew Gonzalez, Orestes Abrantes, Leo Traversa, Enrique Haneine, Hiram “EI Pavo” Remon, Charenee Wade, Wed, Nov 27 DAN RUFOLO TRIO 8:30PM E E David Dejesus, John Beaty, Peter Brainin, Jeff Lederer, Danny Rivera, Marty Kenney, Billy Drummond R D Cameron Johnson, Shareef Clayton, Max Darche, Andre Nesseley, David Miller, S I Tim Sessions, Joe Beaty, Chris Washburne Fri, Nov 29 HUSH POINT 9PM & 10:30PM Dizzy’s Club 7:30, 9:30 pm $40 John McNeil, Jeremy Udden, Aryeh Kobrinsky, Vinnie Sperrazza A T • Renee Rosnes Quartet with Steve Wilson, Peter Washington, Bill Stewart R I Village Vanguard 8:30, 10:30 pm $25 Sat, Nov 30 KRIS DAVIS EXPERIMENTAL QUARTET 9PM & 10:30PM • Jane Monheit Blue Note 8, 10:30 pm $35 Sam Newsome, William Parker, Y O • Jeffrey Hayden Shurdut Free/Jazz Warriors with Nicolas Letman-Burtinovic, Kevin Shea N Downtown Music Gallery 6 pm • The Highliners: Melissa Fogarty, Debra Kreisberg, Steve Newman, Adam Kahan, Manufactured in the USA by Tommy Mattioli Cornelia Street Café 6 pm $8 • Melissa Stylianou Quartet Saint Peter’s 5 pm • Jazz Kids! with Amy Cervini 55Bar 2 pm $5 • Nicole Henry Blue Note 12:30, 2:30 pm $29.50 • Roz Corral Trio with Paul Meyers, Santi Debriano North Square Lounge 12:30, 2 pm www.espdisk.com • Iris Ornig Quartet; David Coss Quartet; Will Terrill Trio The artists alone decide... The Garage 11:30 am 6:30, 11 pm 584 Bergen St., Brooklyn NY 11238

THE NEW YORK CITY JAZZ RECORD | NOVEMBER 2013 43 Monday, November 25 êFred Hersch/Julian Lage Blue Note 8, 10:30 pm $30 REGULAR ENGAGEMENTS • Greg Chen Measure 8 pm MONDAYS • Life Without Lupus Gala 2013 with Wynton Marsalis êDick Hyman solo Saint Peter’s 1 pm $10 • Ray Abrams Big Band Swing 46 8:30 pm American Museum of Natural History 6:30 pm $1,200 • Ron Affif Trio Zinc Bar 9, 11pm, 12:30, 2 am êFred Hersch/Julian Lage Blue Note 8, 10:30 pm $30 • Woody Allen/Eddy Davis New Orleans Jazz Band Café Carlyle 8:45 pm $145 • The Amigos Band Hosts David Amram with Justin Poindexter, Sam Reider, Thursday, November 28 • Big Band Night; John Farnsworth Quintet Smoke 7, 9, 10:30 pm Eddie Barbash, Noah Garabedian, Will Clark • Tribute with Dan Barman The Counting Room 8 pm • Birthday Celebration Blue Note 8, 10:30 pm $45 • Sedric Choukroun and The Brasilieros Chez Lola 7:30 pm Dizzy’s Club 7:30, 9:30 pm $30 • Pete Davenport/Ed Schuller Jam Session Frank’s Cocktail Lounge 9 pm • Dave Kikoski Quartet with Seamus Blake, Matt Clohesy, Ari Hoenig; Spencer Murphy êWycliffe Gordon and Friends - The Music of Duke, Dizzy, and the Dorseys Dizzy’s Club 7 pm $110 • Emerging Artists Series Bar Next Door 6:30 pm (ALSO TUE-THU) Smalls 10 pm 12:30 am $20 • Joel Forrester solo Brandy Library 8 pm êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 • Richard Johnson Dizzy’s Club 11:30 pm $10 • George Gee Swing Orchestra Gospel Uptown 8 pm êDavid Chamberlain’s Band of Bones • Greg Skaff Trio with Pat Bianchi, Carmen Intorre • Vince Giordano’s Nighthawks Iguana 8 pm (ALSO TUE) Zinc Bar 9 pm Bar Next Door 8:30, 10:30 pm $12 • Grove Street Stompers Arthur’s Tavern 7 pm • Marta Sanchez Quintet with Román Filiú, Jerome Sabbagh, Sam Anning; • Emmet Cohen Trio with Russell Hall, Evan Sherman • Jam Session with Jim Pryor Cleopatra’s Needle 8 pm Conversations in Analog: James “Biscuit” Rouse, Reggie Young, Akie Bremiss, Smalls 12 am $20 • Minton’s House Band Minton’s Playhouse 5, 7:15, 9:30 pm (THRU SAT) David Deej DiGiantomasso, John Cave • Piotr Pawlak UStet with Benny Benack III, Jure Pukl, Tamir Shmerling • Ian Rapien’s Spectral Awakenings Jazz Groove Session Ave D 9 pm ShapeShifter Lab 8:15, 9:30 pm $10 Somethin’ Jazz Club 9 pm $10 • Stan Rubin All-Stars Charley O’s 8:30 pm • Dave Holland’s Prism with Kevin Eubanks, Craig Taborn, Eric Harland • Vanguard Jazz Orchestra Village Vanguard 9, 11 pm $30 • Ken Filiano/Anders Nilsson Cornelia Street Café 8:30 pm $10 • Diego Voglino Jam Session The Village Lantern 9:30 pm • Melissa Stylianou Trio with Orlando Le Fleming, Mark Ferber Birdland 8:30, 11 pm $40 êJason Moran and The Bandwagon with Tarus Mateen, Nasheet Waits • Jordan Young Group Bflat 8 pm (ALSO WED 8:30 pm) Bar Next Door 8:30, 10:30 pm $12 TUESDAYS • Jaron Eames/Emme Kemp Eats Restaurant 7 pm Village Vanguard 8:30, 10:30 pm $25 Steve Tyrell Café Carlyle 8:45 pm $55-100 • Daisuke Abe Trio Sprig 6 pm (ALSO WED-THU) • Greg Chen Measure 8 pm • • Rick Bogart Trio with Louisa Poster L’ybane 9 pm (ALSO FRI) • Carlos Cuevas Trio Somethin’ Jazz Club 9 pm $10 • Greg Chen Measure 8 pm • Evolution Series Jam Session Zinc Bar 11 pm • Roman Rafalski Tomi Jazz 8 pm $10 • Larry Newcomb Quartet; Champian Fulton Quartet; Justin Lees Trio • Irving Fields Nino’s Tuscany 7 pm (ALSO WED-SUN) • New York Youth Symphony Jazz Band; Tomas Janzon Trio The Garage 1, 6, 10:30 pm • George Gee Swing Orchestra Swing 46 8:30 pm $12 The Garage 7, 10:30 pm • Loston Harris Café Carlyle 9:30 pm $20 (ALSO WED-SAT) • Tom Wilson Trio Silvana 6 pm • Art Hirahara Trio Arturo’s 8 pm Friday, November 29 • Yuichi Hirakawa Trio Arthur’s Tavern 7, 8:30 pm • Sandy Jordan and Larry Luger Trio Notaro 8 pm êRufus Reid and The Out Front Trio with Steve Allee, Duduka Da Fonseca • Mike LeDonne Quartet; Milton Suggs Quartet Smoke 7, 9, 10:30, 11:30 pm Tuesday, November 26 Jazz at Kitano 8, 10 pm $25 • Ilya Lushtak Quartet Shell’s Bistro 7:30 pm êThe Music of JJ Johnson: Steve Davis Sextet with Eddie Henderson, Eric Alexander, • Mona’s Hot Four Jam Session Mona’s 11 pm • Dave Holland’s Prism with Kevin Eubanks, Craig Taborn, Eric Harland • Russ Nolan Jazz Organ Trio Cassa Hotel and Residences 6 pm Birdland 8:30, 11 pm $40 Harold Mabern, John Webber, Joe Farnsworth • Annie Ross The Metropolitan Room 9:30 pm $25 êJason Moran and The Bandwagon with Tarus Mateen, Nasheet Waits Smoke 7, 9, 10:30 pm $38 • Slavic Soul Party Barbès 9 pm $10 Village Vanguard 8:30, 10:30 pm $25 • Hush Point: John McNeil, Jeremy Udden, Aryeh Kobrinsky, Vinnie Sperrazza • Diego Voglino Jam Session The Fifth Estate 10 pm • Maria Schneider Orchestra with Tony Kadleck, , Garrett Schmidt, Cornelia Street Café 9, 10:30 pm $15 WEDNESDAYS Mike Rodriguez, Steve Wilson, , Rich Perry, Donny McCaslin, • Alan Ferber’s Extended Ensemble The Jazz Gallery 9, 11 pm $20 • Astoria Jazz Composers Workshop Waltz-Astoria 6 pm Scott Robinson, Keith O’Quinn, Ryan Keberle, Marshall Gilkes, George Flynn, êPete Malinverni Trio with Ugonna Okegwo, Steve Williams; Jay Collins and • Sedric Choukroun and the Eccentrics Chez Oskar 7 pm Gary Versace, Lage Lund, Frank Kimbrough, Jay Anderson, Clarence Penn The Kings County Band with Scott Sharrard, George Lax, Jeff Hanley, Diego Voglino; • Walter Fischbacher Trio Water Street Restaurant 8 pm Jazz Standard 7:30, 9:30 pm $35 Anthony Wonsey Trio with Dimitri Kolesnik, Brandon Lewis • Jeanne Gies with Howard Alden and Friends Joe G’s 6:30 pm êThe Brooklyn Jazz Underground Meets the Queens Jazz OverGround: Tammy Scheffer, Smalls 7:30, 10:30 pm 1 am $20 • Les Kurtz Trio; Joonsam Lee Trio Cleopatra’s Needle 7, 11:30 pm • Mozayik; Buyu Ambroise and The Blues In Red Band • Jonathan Kreisberg Trio Bar Next Door 8:30, 10:30 pm $12 Adam Kolker, David Smith, Carlo De Rosa, Owen Howard, Rob Garcia, David Cook; • Guillaume Laurent Trio Bar Tabac 7 pm Josh Deutsch, Jon lrabagon, J. Walter Hawkes, Amanda Monaco, Mark Wade, ShapeShifter Lab 8 pm $15 • Abraxas plays Masada: , , Shanir Ezra Blumenkranz, • Jake K. Leckie Trio Kif Bistro 8 pm Brian Woodruff Dizzy’s Club 7:30, 9:30 pm $30 • Jed Levy and Friends Vino di Vino Wine Bar 7:30 pm (ALSO FRI) • Richard Johnson Dizzy’s Club 11:30 pm $5 Kenny Grohowski The Stone 8, 10 pm $15 • Greg Lewis Organ Monk with Reggie Woods Sapphire NYC 8 pm • Mike Longo Funk Band NYC Baha’i Center 8, 9:30 pm $15 • Jack Wilkins Trio with Andy McKee, Mike Clark • Ron McClure solo piano McDonald’s 12 pm (ALSO SAT) êCooper-Moore/Pascal Niggenkemper Duo; William Parker/Patricia Nicholson Bar Next Door 7:30, 9:30, 11:30 pm $12 • Jacob Melchior Philip Marie 7 pm (ALSO SUN 12 PM) JACK 8 pm $10 • Paul Carlon’s La Rumba is a Lovesome Thing with Christelle Durandy, Ben Lapidus • Alex Obert’s Hollow Bones Via Della Pace 10 pm êGowanus Co.: Kyoko Kitamura, Han-Earl Park, Josh Sinton, Ingrid Laubrock, Fay Victor Drom 9:30 pm $15 • David Ostwald’s Louis Armstrong Centennial Band Birdland 5:30 pm $20 Douglass Street Music Collective 7 pm $10 • Carol Sudhalter Quartet Shell’s Bistro 7:30, 9:30 pm $15 • Saul Rubin Vocalist Series Zeb’s 8 pm $10 • POVO NOVO: Eyal Maoz, Shanir Ezra Blumenkranz, • Monika Brand and Jacob Melchior Trio; Somethin’ Vocal with Matt Baker Trio; • Stan Rubin Orchestra Swing 46 8:30 pm Sean Clapis Band with Nick Roseboro, Tim Norton, Jay Sawyer • Alex Terrier Trio Antibes Bistro 7:30 pm The Stone 8, 10 pm $15 • Brianna Thomas Quartet Smoke 11:30 pm • Steve Tyrell Café Carlyle 8:45 pm $55-100 Somethin’ Jazz Club 5, 7, 9 pm $10-12 • Yukari Watanabe Tomi Jazz 9 pm $10 • Group The Cell 8, 10 pm • Heavy Merge: Jeff Davis, Jason Rigby, Russ Lossing; Chris Speed, Kris Davis, • Bill Wurtzel/Mike Gari American Folk Art Museum Lincoln Square 2 pm Chris Tordini, Devin Gray Korzo 9, 10:30 pm • Ken Simon Quartet Cleopatra’s Needle 8 pm • Alex Hoffman Quartet; Dre Barnes Project THURSDAYS • VOXIFY: Nicky Schrire with with Desmond White, Nir Felder, Ross Pederson; • Michael Blake Bizarre Jazz and Blues Band Bizarre 9 pm Mika Harry with Nir Felder, Sam Minaie, Jordan Perlson The Garage 6:15, 10:45 pm • Jason Campbell Trio Perk’s 8 pm Cornelia Street Café 8:30, 10 pm $10 êWycliffe Gordon and Friends - The Music of Duke, Dizzy, and the Dorseys • Sedric Choukroun Brasserie Jullien 7:30 pm (ALSO FRI, SAT) • Saul Rubin; Itai Kriss and the Salsa All-Stars; Greg Glassman Jam Dizzy’s Club 7:30, 9:30 pm $40 • Eric DiVito The Flatiron Room 8 pm Fat Cat 7, 9 pm 12:30 am • Richard Johnson Dizzy’s Club 11:30 pm $10 • Gregory Generet Smoke 7, 9, 10:30 pm • Denis Beuret with Elliott Levin, Max Johnson, Marc Edwards • Dave Holland’s Prism with Kevin Eubanks, Craig Taborn, Eric Harland • Craig Harris and the Harlem Night Songs Big Band MIST 9, 10:30 pm $15 Ibeam Brooklyn 8:30 pm $10 Birdland 8:30, 11 pm $40 • Jazz Jam Session American Legion Post 7:30 pm • On The Way Out: Aaron Dugan solo; Gospel of Mars êJason Moran and The Bandwagon with Tarus Mateen, Nasheet Waits • Lapis Luna Quintet The Plaza Hotel Rose Club 9 pm The Backroom 8:30, 9:30 pm $10 Village Vanguard 8:30, 10:30 pm $25 • Curtis Lundy Jam Session Shell’s Bistro 9 pm • Maria Schneider Orchestra with Tony Kadleck, Greg Gisbert, Garrett Schmidt, • Metro Room Jazz Jam with guests Metropolitan Room 11 pm $10 • Peter Anderson Trio with Will Anderson, Alex Wintz • Eri Yamamoto Trio Arthur’s Tavern 7 pm (ALSO FRI-SAT) Bar Next Door 8:30, 10:30 pm $12 Mike Rodriguez, Steve Wilson, Dave Pietro, Rich Perry, Donny McCaslin, Scott Robinson, Keith O’Quinn, Ryan Keberle, Marshall Gilkes, George Flynn, FRIDAYS • Whirling Dervish: Simon Yu, Evan Marien, Iakov Kremenskiy, Tobias Ralph • Scot Albertson Parnell’s 8 pm (ALSO SAT) ShapeShifter Lab 8:15 pm $10 Gary Versace, Lage Lund, Frank Kimbrough, Jay Anderson, Clarence Penn Jazz Standard 7:30, 9:30, 11:30 pm $35 • The Crooked Trio: Oscar Noriega, Brian Drye, Ari Folman-Cohen Barbès 5 pm • Surface to Air Trio: Jonti Siman, Rohin Khemani, Jonathan Goldberger • Day One Trio Prime and Beyond Restaurant 9 pm (ALSO SAT) Barbès 7 pm $10 • Steve Tyrell Café Carlyle 8:45, 10:45 pm $75-135 • Lisa DeSpain solo Machiavelli’s 8 pm • Lorin Sklamberg Stephen Wise Free Synagogue 7:30 pm $15 • Greg Chen Measure 8 pm • Charles Downs’ Centipede The Complete Music Studio 7 pm • David Lantz solo Jazz at Kitano 8 pm • Kendra Shank, John Stowell, Rogério Boccato • Gerry Eastman’s Quartet Williamsburg Music Center 10 pm • Yongseok Lee Group with Dan Glaude, Myungwon Kim, Inyoung Kim, SeongKu Lee; 55Bar 6 pm • Finkel/Kasuga/Tanaka/Solow San Martin Restaurant 12 pm $10 Ark Ovrutski Quartet Somethin’ Jazz Club 7, 9 pm $10-12 • Yuki Shibata Silvana 6 pm • Patience Higgins & The Sugar Hill Quartet Smoke 11:45 pm • Claire Duncan; Tierney Ryan Tomi Jazz 8, 11 pm $10 • Tommy Igoe Birdland Big Band Birdland 5:15 pm $25 • Nue Jazz Project Silvana 8 pm • Sandy Jordan and Friends ABC Chinese Restaurant 8 pm Saturday, November 30 • Kengo Nakamura Trio Club A Steakhouse 11 pm • Jordan Young Trio; Nobuki Takamen Trio • Brian Newman Quartet Duane Park 10:30 pm The Garage 6, 10:30 pm êWayne Escoffery Quartet Fat Cat 10 pm • Frank Owens Open Mic Zeb’s 6:30 pm $10 êFred Hersch/Julian Lage Blue Note 8, 10:30 pm $30 • Albert Rivera Organ Trio B Smith’s 8:30 pm (ALSO SAT) • Spike Wilner Trio with Paul Gill; Dave Kikoski Quartet with Seamus Blake, Matt Clohesy, êKris Davis Experimental Quartet with Sam Newsome, William Parker, Ches Smith • Richard Russo Quartet Capital Grille 6:30 pm Ari Hoenig; Kyle Poole and Friends Cornelia Street Café 9, 10:30 pm $15 • Brandon Sanders Trio Londel’s 8, 9, 10 pm (ALSO SAT) Smalls 7:30, 10 pm 12:30 am $20 • Ben Monder Trio with Hans Glawischnig, Jeff Hirschfield • Bill Saxton and the Harlem Bebop Band Bill’s Place 9, 11 pm $15 (ALSO SAT) • Greg Chen Measure 8 pm Bar Next Door 7:30, 9:30, 11:30 pm $12 • UOTS Jam Session University of the Streets 11:30 pm $5 (ALSO SAT) • Sergio Salvatore/Christos Rafalides Duo SATURDAYS Wednesday, November 27 Jazz at Kitano 8, 10 pm $25 • Avalon Jazz Quartet Matisse 8 pm • John Zorn’s Metempsychomagia with Aram Bajakian, Eyal Maoz, Shanir Blumenkranz, • Candy Shop Boys Duane Park 8, 10:30 pm • Ray Marchika Quartet with Chase Baird, Rodney Jones, Mike LeDonne Kenny Grohowski The Stone 8, 10 pm $15 • Barbara Carroll/ Birdland 6 pm $35 Smoke 7, 9, 10:30 pm • Jeff Pearring with Adam Caine, Ken Filiano, Todd Capp • Jesse Elder/Greg RuggieroRothmann’s 6 pm Ibeam Brooklyn 8:30 pm $10 • Guillaume Laurent/Luke Franco Casaville 1 pm • Jann Parker Quartet with James Weidman, Marcus McLaurine • Curtis Lundy Trio with guests Shell’s Bistro 9 pm Jazz at Kitano 8, 10 pm $10 • Sunny Yang Group; Outerplay: Gabe Valle, Matt Tischio, Dave Zaks, Connor Koch, Joe Spinelli; Billy White Group Somethin’ Jazz Club 5, 7, 9 pm $10-12 • Johnny O’Neal Smoke 11:45 pm êMichael Blake’s Passion Compassion with Nir Felder, Marcus Rojas, Ben Perowsky • Skye Jazz Trio Jack 8:30 pm Barbès 8 pm $10 • Erika Matsuo Tomi Jazz 8, 11 pm $10 • Michelle Walker/Nick Russo Anyway Café 9 pm • Ben van Gelder Group with , Sam Harris, Ben Street, Nasheet Waits; • Aki Yamamoto Trio Cleopatra’s Needle 8 pm • Bill Wurtzel Duo Henry’s 12 pm Gilad Edelman with Joe Magnarelli, Tardo Hammer, Clovis Nicolas, Charles Goold • Alex Layne Trio; Joe Pino Quartet; Akiko Tsuruga Trio SUNDAYS Smalls 9:30 pm 12 am $20 The Garage 12, 6:15, 10:45 pm • Arturo O’Farrill Afro Latin Jazz Orchestra Birdland 9, 11 pm $30 • Juilliard Jazz Ensemble Dizzy’s Club 7:30, 9:30 pm $35 êThe Music of JJ Johnson: Steve Davis Sextet with Eddie Henderson, Eric Alexander, • Avalon Jazz Quartet The Lambs Club 11 am • Richard Johnson Dizzy’s Club 11:30 pm $5 Harold Mabern, John Webber, Joe Farnsworth • Birdland Jazz Party with Cyrille Aimée Birdland 6 pm $25 • Dan Rufolo Trio with Marty Kenney, Billy Drummond Smoke 7, 9, 10:30 pm $38 • Isaac Darch Group Basik Bar 7 pm Cornelia Street Café 8:30 pm $10 • Alan Ferber’s Extended Ensemble The Jazz Gallery 9, 11 pm $20 • Marc Devine Trio TGIFriday’s 6 pm • Tom Dempsey/Tim Ferguson Quartet with Joel Frahm, ; Jay Collins and • Ear Regulars with Jon-Erik Kellso The Ear Inn 8 pm • Felix Del Tredici/Kathryn Schulmeister • Marjorie Eliot/Rudell Drears/Sedric Choukroun Parlor Entertainment 4 pm ShapeShifter Lab 9:30 pm $10 The Kings County Band with Scott Sharrard, George Lax, Jeff Hanley, Diego Voglino; Ian Hendrickson-Smith with Marcus Parsley, Steve Einerson, Hans Glawischnig, • Sean Fitzpatrick and Friends Ra Café 1 pm • Tim Chernikoff Group Somethin’ Jazz Club 9 pm $10 • Ken Foley/Nick Hempton Quintet Smithfield 8:30 pm • Roger Davidson Caffe Vivaldi 7:15 pm Chris Beck Smalls 7:30, 10:30 pm 1:30 am $20 ê • Joel Forrester solo Grace Gospel Church 11 am • Andre Vasconcelos Trio; Joel Perry Trio Wycliffe Gordon and Friends - The Music of Duke, Dizzy, and the Dorseys • Nancy Goudinaki’s Trio Kellari Taverna 12 pm The Garage 6, 10:30 pm Dizzy’s Club 7:30, 9:30 pm $45 • Enrico Granafei solo Sora Lella 7 pm • Dave Holland’s Prism with Kevin Eubanks, Craig Taborn, Eric Harland • Richard Johnson Dizzy’s Club 11:30 pm $20 • Broc Hempel/Sam Trapchak/Christian Coleman Trio Dominie’s Astoria 9 pm Birdland 8:30, 11 pm $40 • Dave Holland’s Prism with Kevin Eubanks, Craig Taborn, Eric Harland • Annette St. John; Roxy Coss Smoke 11:30 am 11:30 pm êJason Moran and The Bandwagon with Tarus Mateen, Nasheet Waits Birdland 8:30, 11 pm $40 • Bob Kindred Group; Junior Mance Trio Café Loup 12:30, 6:30 pm Village Vanguard 8:30, 10:30 pm $25 êJason Moran and The Bandwagon with Tarus Mateen, Nasheet Waits • Ras Chemash Lamed Vocal Jam Session University of the Streets 6:45 pm $10 • Maria Schneider Orchestra with Tony Kadleck, Greg Gisbert, Garrett Schmidt, Village Vanguard 8:30, 10:30 pm $25 • Peter Leitch Duo Walker’s 8 pm • Maria Schneider Orchestra with Tony Kadleck, Greg Gisbert, Garrett Schmidt, • Alexander McCabe Trio CJ Cullens Tavern 5 pm Mike Rodriguez, Steve Wilson, Dave Pietro, Rich Perry, Donny McCaslin, • Peter Mazza Trio Bar Next Door 8, 10 pm $12 Scott Robinson, Keith O’Quinn, Ryan Keberle, Marshall Gilkes, George Flynn, Mike Rodriguez, Steve Wilson, Dave Pietro, Rich Perry, Donny McCaslin, Scott Robinson, Keith O’Quinn, Ryan Keberle, Marshall Gilkes, George Flynn, • Lu Reid Jam Session Shrine 4 pm Gary Versace, Lage Lund, Frank Kimbrough, Jay Anderson, Clarence Penn • Sara Serpa/André Matos Pão Restaurant 2 pm Jazz Standard 7:30, 9:30 pm $35 Gary Versace, Lage Lund, Frank Kimbrough, Jay Anderson, Clarence Penn • Gabrielle Stravelli Trio The Village Trattoria 12:30 pm • POVO NOVO: Eyal Maoz, Shanir Ezra Blumenkranz, Cyro Baptista Jazz Standard 7:30, 9:30, 11:30 pm $35 • Milton Suggs Cávo 7 pm The Stone 8, 10 pm $15 • Steve Tyrell Café Carlyle 8:45, 10:45 pm $75-135 • Jazz Jam hosted by Michael Vitali Comix Lounge 8 pm • Steve Tyrell Café Carlyle 8:45 pm $55-100 • Greg Chen Measure 8 pm • Brian Woodruff Jam Blackbird’s 9 pm

44 NOVEMBER 2013 | THE NEW YORK CITY JAZZ RECORD CLUB DIRECTORY

• 2nd Floor at Clinton 67 Clinton Street • The Cutting Room 44 E. 32nd Street • Minton’s Playhouse 206 West 118th Street (between St. Nicholas Avenue (212-529-6900) Subway: F to Second Avenue www.2ndflooronclinton.com (212-691-1900) Subway: 6 to 33rd Street www.thecuttingroomnyc.com and Adam Clayton Powell Jr. Blvd) (212-243-2222) • 54 Below 254 West 54th Street • Dizzy’s Club Broadway at 60th Street, 5th Floor (212-258-9800) Subway: B, C to 116th Street www.mintonsharlem.com (646-476-3551) Subway: N, Q, R to 57th Street; B, D, E to Seventh Avenue Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.jalc.org • MIST - My Image Studios 40 West 116th Street www.54below.com • Dominie’s Astoria 34-07 30th Avenue Subway: N, Q to 30th Avenue Subway: 2, 3 to 116th Street • 78 Below 380 Columbus Avenue • Douglass Street Music Collective 295 Douglass Street • Mona’s 224 Avenue B Subway: L to First Avenue (212-724-7800) Subway: B, C to 81st Street www.78below.com Subway: R to Union Street www.295douglass.org • NYC Baha’i Center 53 E. 11th Street (212-222-5159) • 55Bar 55 Christopher Street (212-929-9883) • Downtown Music Gallery 13 Monroe Street Subway: 4, 5, 6, N, R to 14th Street-Union Square www.bahainyc.org Subway: 1 to Christopher Street www.55bar.com (212-473-0043) Subway: F to East Broadway • Neue Galerie 1048 5th Avenue • 61 Local 61 Bergen Street www.downtownmusicgallery.com (212-628-6200) Subway: 4, 5, 6 to 86th www.neuegalerie.org (347-763-6624) Subway: F, G to Bergen Street www.61local.com • The Drawing Room 56 Willoughby Street #3 • Nino’s Tuscany 117 W. 58th Street (212-757-8630) • ABC Chinese Restaurant 34 Pell Street Subway: A, F, C to Jay Street/Metrotech www.drawingroommusic.com Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.ninostuscany.com (212-346-9890) Subway: J to Chambers Street • Drom 85 Avenue A (212-777-1157) • North Square Lounge 103 Waverly Place (212-254-1200) • ABC No-Rio 156 Rivington Street (212-254-3697) Subway: F to Second Avenue www.dromnyc.com Subway: A, B, C, E, F to West 4th Street www.northsquareny.com Subway: J,M,Z to Delancey Street www.abcnorio.org • Duane Park 157 Duane Street (212-732-5555) • Notaro Second Avenue between 34th & 35th Streets (212-686-3400) • Abyssinian Baptist Church 132 Odell Clark Place/W. 138th Street Subway: 1, 2, 3 to Chambers Street www.duaneparknyc.com Subway: 6 to 33rd Street (212-862-5959) Subway: 2, 3 to 135th Street www.abyssinian.org • The Ear Inn 326 Spring Street at Greenwich Street (212-246-5074) • Nublu 62 Avenue C between 4th and 5th Streets • Allen Room Broadway at 60th Street, 5th floor (212-258-9800) Subway: C, E to Spring Street www.earinn.com (212-979-9925) Subway: F, V to Second Avenue www.nublu.net Subway: 1, 2, 3, 9, A, C, E, B, D, F to Columbus Circle www.jalc.org • Eats Restaurant 1055 Lexington Avenue • Nuyorican Poets Café 236 E. 3rd Street between Avenues B and C • Alwan for the Arts 16 Beaver Street, 4th floor (212-396-3287) Subway: 6 to 77th Street www.eatsonlex.com (212-505-8183) Subway: F, V to Second Avenue www.nuyorican.org (646-732-3261) Subway: 4, 5 to Bowling Green www.alwanforthearts.org • Fat Cat 75 Christopher Street at 7th Avenue (212-675-6056) • Pão Restaurant 322 Spring Street • American Folk Art Museum 45 W 53rd Street (212-265-1040) Subway: 1 to Christopher Street/Sheridan Square www.fatcatmusic.org (212-334-5464) Subway: C, E to Spring Street www.paonewyork.com Subway: E to 53rd Street www.folkartmuseum.org • The Fifth Estate 506 5th Avenue, Brooklyn • Parlor Entertainment 555 Edgecombe Ave. #3F between 159th and • American Legion Post 248 West 132nd Street (718-840-0089) Subway: F to 4th Avenue www.fifthestatebar.com 160th Streets (212-781-6595) Subway: C to 155th Street (212-283-9701) Subway: 2, 3 to 135th Street www.legion.org • The Firehouse Space 246 Frost Street www.parlorentertainment.com • American Museum of Natural History Central Park West at 79th Street Subway: L to Graham Avenue www.thefirehousespace.org • Parnell’s 350 East 53rd Street #1(212-753-1761) (212-769-5100) Subway: B, C, to 81st Street www.amnh.org • The Flatiron Room 37 West 26th Street Subway: E, M to Lexington Avenue/53 Street www.parnellsny.com • An Beal Bocht Café 445 W. 238th Street (212-725-3860) Subway: N, R to 28th Street www.theflatironroom.com • Paul Hall 155 W. 65th Street Subway: 1 to 238th Street www.LindasJazzNights.com • Flushing Town Hall 137-35 Northern Boulevard, Flushing (212-769-7406) Subway: 1 to 66th Street www.juilliard.edu • Ange Noir Café 247 Varet Street (718-463-7700) Subway: 7 to Main Street www.flushingtownhall.org • The Players 16 Gramercy Park South (347-294-4759) Subway: L to Morgan Avenue • Frank’s Cocktail Lounge 660 Fulton St. at Lafayette, Brooklyn (212-475-6116) Subway: 6 to 23rd Street www.theplayersnyc.org • Antibes Bistro 112 Suffolk Street (212-533-6088) (718-625-9339) Subway: G to Fulton Street • The Plaza Hotel Rose Club Fifth Avenue at Central Park South Subway: J, Z to Essex Street www.antibesbistro.com • The Garage 99 Seventh Avenue South (212-645-0600) (212-759-3000) Subway: N, Q, R to Fifth Avenue www.fairmont.com • Anyway Café 34 E. 2nd Street (212-533-3412) Subway: 1 to Christopher Street www.garagerest.com • Prime and Beyond Restaurant 90 East 10th Street Subway: F to Second Avenue • Ginny’s Supper Club at Red Rooster Harlem 310 Malcolm X Boulevard (212-505-0033) Subway: 6 to Astor Place www.primeandbeyond.com • Apollo Theater & Music Café 253 W. 125th Street (212-792-9001) Subway: 2, 3 to 125th Street www.ginnyssupperclub.com • Rockwood Music Hall 196 Allen Street (212-477-4155) (212-531-5305) Subway: A, B, C, D, 2, 3 to 125th Street • Goodbye Blue Monday 1087 Broadway, Brooklyn Subway: F, V to Second Avenue www.rockwoodmusichall.com www.apollotheater.org (718-453-6343) Subway: J, M train to Myrtle Avenue • Rose Hall Broadway at 60th Street, 5th floor (212-258-9800) • Arthur’s Tavern 57 Grove Street (212-675-6879) www.goodbye-blue-monday.com Subway: 1, 2, 3, 9, A, C, E, B, D, F to Columbus Circle www.jalc.org Subway: 1 to Christopher Street www.arthurstavernnyc.com • Gospel Uptown 2110 Adam Clayton Powell Junior Boulevard • Roulette 509 Atlantic Avenue • Arturo’s 106 W. Houston Street (at Thompson Street) (212-280-2110) Subway: A, B, C, D to 125th Street www.gospeluptown.com (212-219-8242) Subway: 2, 3, 4, 5 to Atlantic Avenue www.roulette.org (212-677-3820) Subway: A, B, C, D, E, F, M to W. 4th Street • Grace Gospel Church 589 E. 164th Street • Rubin Museum 150 W. 17th Street (212-620-5000) • Asia Society 725 Park Avenue (718-328-0166) Subway: 2, 5 to Prospect Avenue Subway: A, C, E to 14th Street www.rmanyc.org (212-288-6400) Subway: 6 to 68th Street www.asiasociety.org • Greenwich House Music School 46 Barrow Street • S.O.B.’s 204 Varick Street • Ave D 673 Flatbush Avenue Subway: B, Q to Parkside Avenue (212-242-4770) Subway: 1 to Christopher Street www.greenwichhouse.org (212-243-4940) Subway: 1 to Varick Street www.sobs.com • BAMCafé 30 Lafayette Ave at Ashland Place • Guggenheim Museum 1071 Fifth Avenue at 89th Street • Saint Peter’s Church 619 Lexington Avenue at 54th Street (718-636-4139) Subway: M, N, R, W to Pacific Street; (212-423-3500) Subway: 4, 5, 6 to 86th Street www.guggenheim.org (212-935-2200) Subway: 6 to 51st Street www.saintpeters.org Q, 1, 2, 4, 5 to Atlantic Avenue www.bam.org • Henry’s 2745 Broadway (212-866-060) 1 to 103rd Street • San Martin Restaurant 143 E. 49 Street between Lexington and Park • BB King’s Blues Bar 237 W. 42nd Street (212-997-2144) • Hostos Center 450 Grand Concourse Avenues (212-832-0888) Subway: 6 to 51st Street Subway: 1, 2, 3, 7 to 42nd Street/Times Square www.bbkingblues.com (718-518-6700) Subway: 2, 4, 5 to 149th Street www.hostos.cuny.edu • Sapphire NYC 333 E. 60th Street (212-421-3600) • Bflat 277 Church Street (between Franklin and White Streets) • Ibeam Brooklyn 168 7th Street between Second and Third Avenues Subway: 4, 5, 6, N, Q, R to 59th Street www.nysapphire.com Subway: 1, 2 to Franklin Streets Subway: F to 4th Avenue www.ibeambrooklyn.com • SEEDS 617 Vanderbilt Avenue Subway: 2, 3, 4 to Grand Army Plaza • The Backroom 627 5th Avenue (718-768-0131) • Iguana 240 West 54th Street www.seedsbrooklyn.org Subway: D, N, R to Prospect Avenue www.freddysbar.com (212-765-5454) Subway: B, D, E, N, Q, R to Seventh Avenue • ShapeShifter Lab 18 Whitwell Place • Bar Chord 1008 Cortelyou Road www.iguananyc.com (646-820-9452) Subway: R to Union Street www.shapeshifterlab.com (347-240-6033) Subway: Q to Cortelyou Road www.barchordnyc.com • Inkwell Café 408 Rogers Avenue between Lefferts and Sterling • Shell’s Bistro 2150 5th Avenue • Bar Next Door 129 MacDougal Street (212-529-5945) Subway: 5 to Sterling Street www.plgarts.org (212) 234-5600 Subway: 2, 3 to 135th Street www.shellsbistro.com Subway: A, B, C, D, E, F, M to W. 4th Street www.lalanternacaffe.com • Iridium 1650 Broadway at 51st Street (212-582-2121) • Showman’s 375 W. 125th Street at Morningside) (212-864-8941) • Barbès 376 9th Street at 6th Avenue, Brooklyn (718-965-9177) Subway: 1,2 to 50th Street www.theiridium.com Subway: A, B, C, D to 125th Street www.showmansjazz.webs.com Subway: F to 7th Avenue www.barbesbrooklyn.com • Issue Project Room 22 Boerum Place (718-330-0313) • Shrine 2271 Adam Clayton Powell Boulevard (212-690-7807) • Bedford Stuyvesant Restoration Corporation 1360 Fulton Street Subway: 2, 3, 4, 5 to Borough Hall www.issueprojectroom.org Subway: B, 2, 3 to 135th Street www.shrinenyc.com Subway: A to Nostrand Avenue • Jack 80 University Place Subway: 4, 5, 6, N, R to 14th Street • Silent Barn 603 Bushwick Avenue • Bill’s Place 148 W. 133rd Street (between Lenox and 7th Avenues) • JACK 505 Waverly Avenue Subway: J, M, Z to Myrtle Avenue www.silentbarn.org (212-281-0777) Subway: 2, 3 to 125th Street (718-388-2251) Subway: C to Clinton-Washington Avenue www.jackny.org • Silvana 300 West 116th Street • Birdland 315 W. 44th Street (212-581-3080) • Jazz 966 966 Fulton Street (646-692-4935) Subway: B, C, to 116th Street Subway: A, C, E, to 42nd Street www.birdlandjazz.com (718-638-6910) Subway: C to Clinton Street www.jazz966.com • Sistas’ Place 456 Nostrand Avenue at Jefferson Avenue, Brooklyn • Bizarre 12 Jefferson Street Subway: J, M, Z to Myrtle Avenue • Jazz at Kitano 66 Park Avenue at 38th Street (212-885-7000) (718-398-1766) Subway: A to Nostrand Avenue www.sistasplace.org www.facebook.com/bizarrebushwick Subway: 4, 5, 6 to Grand Central www.kitano.com • Smalls 183 W 10th Street at Seventh Avenue (212-252-5091) • Blackbird’s 41-19 30th Avenue (718-943-6898) • The Jazz Gallery 1160 Broadway, 5th floor (212-242-1063) Subway: 1,2,3,9 to 14th Street www.smallsjazzclub.com Subway: R to Steinway Street www.blackbirdsbar.com Subway: N, R to 28th Street www.jazzgallery.org • Smithfield 215 West 28th Street • Blue Note 131 W. 3rd Street at 6th Avenue (212-475-8592) • Jazz Museum in Harlem 104 E.126th Street (212-348-8300) (212-564-2172) Subway: 1 to 28th Street www.smithfieldnyc.com Subway: A, B, C, D, E, F, M to W. 4th Street www.bluenotejazz.com Subway: 6 to 125th Street www.jazzmuseuminharlem.org • Soapbox Gallery 636 Dean Street • Brandy Library 25 N. Moore Street • Jazz Standard 116 E. 27th between Park and Lexington Avenue Subway: 2, 3 to Bergen Street www.soapboxgallery.org (212-226-5545) Subway: 1 to Franklin Street (212-576-2232) Subway: 6 to 28th Street www.jazzstandard.net • Smoke 2751 Broadway between 105th and 106th Streets • Brooklyn Bowl 61 Wythe Avenue • Joe G’s 244 W. 56th Street (212-765-3160) (212-864-6662) Subway: 1 to 103rd Street www.smokejazz.com (718-963-3369) Subway: L to Bedford Avenue www.brooklynbowl.com Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle • Somethin’ Jazz Club 212 E. , 3rd floor (212-371-7657) • Brooklyn Conservatory of Music 58 Seventh Avenue • Joe’s Pub 425 Lafayette Street (212-539-8770) Subway: 6 to 51st Street; E to Lexington Avenue-53rd Street Subway: F to Seventh Avenue, N, R to Union Street www.bqcm.org Subway: N, R to 8th Street-NYU; 6 to Astor Place www.joespub.com www.somethinjazz.com/ny • Brooklyn Museum of Art 200 Eastern Parkway (718-638-5000) • Kellari Taverna 19 W. 44th Street (212-221-0144) • Sora Lella 300 Spring Street (212-366-4749) Subway: 2, 3 to Eastern Parkway www.brooklynmuseum.org Subway: B, D, F, M, 7 to 42nd Street-Bryant Park www.kellari.us Subway: C, E to Spring Street www.soralellanyc.com • Brooklyn Public Library Central Branch • Klavierhaus 211 West 58th Street (212-245-4535) • Spectrum 121 Ludlow Street, 2nd floor Subway: F to Delancey Street Subway: 2, 3 to Grand Army Plaza; Q to 7th Avenue Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.klavierhaus.com www.spectrumnyc.com • CJ Cullens Tavern 4340 White Plains Road, Bronx • Knickerbocker Bar and Grill 33 University Place at 9th Street • Stephen Wise Free Synagogue 30 W. 68th Street Subway: 2 to Nereid Avenue/238th Street (212-228-8490) Subway: N, R to 8th Street-NYU (212-877-4050) Subway: 1 to 66th Street www.swfs.org • Café Carlyle 35 E. 76th Street (212-744-1600) www.knickerbockerbarandgrill.com • Stern Auditorium at Carnegie Hall 881 Seventh Avenue (212-247-7800) Subway: 6 to 77th Street www.thecarlyle.com • Korzo 667 5th Avenue, Brooklyn (718-285-9425) Subway: N, Q, R, W to 57th- Seventh Avenue www.carnegiehall.org • Café Loup 105 W. 13th Street between Sixth and Seventh Avenues Subway: R to Prospect Avenue www.korzorestaurant.com • The Stone Avenue C and 2nd Street (212-255-4746) Subway: F to 14th Street www.cafeloupnyc.com • Kosciuszko Foundation 15 East 65th Street Subway: F to Second Avenue www.thestonenyc.com • Caffe Vivaldi 32 Jones Street between Bleecker and W. 4th Streets (212-239-9190) Subway: 6 to 68th Street • SubCulture 45 Bleecker Street (212-533-5470) Subway: A, B, C, D, E, F, Q, V to W. 4th Street-Washington Square • The Lambs Club 132 W. 44th Street Subway: 6 to Bleecker Street www.subculturenewyork.com www.caffevivaldi.com 212-997-5262 Subway: A, C, E, to 42nd Street www.thelambsclub.com • Swing 46 349 W. 46th Street (646-322-4051) • Capital Grille 120 Broadway • Langston Hughes Public Library 100-01 Northern Boulevard, Queens Subway: A, C, E to 42nd Street www.swing46.com (212-374-1811) Subway: 2, 3, 4, 5 to Wall Street www.thecapitalgrille.com Subway: 7 to 103rd Street • Symphony Space Leonard Nimoy Thalia, Peter Jay Sharp Theatre • Casaville 633 Second Avenue • Launch Pad Gallery 721 Franklin Avenue, Brooklyn & Bar Thalia 2537 Broadway at 95th Street (212-864-5400) (212-685-8558) Subway: 6 to 33rd Street www.casavillenyc.com (718-928-7112) Subway: S to Park Place www.brooklynlaunchpad.org Subway: 1, 2, 3, 9 to 96th Street www.symphonyspace.org • Cassa Hotel and Residences 70 W. 45th Street, 10th Floor Terrace • Le Poisson Rouge 158 Bleecker Street • Tagine 537 9th Ave. between 39th and 40th Streets (212-302-87000 Subway: B, D, F, 7 to Fifth Avenue www.cassahotelny.com (212-228-4854) Subway: A, B, C, D, E, F, V to W. 4th Street (212-564-7292) Subway: A, C, E, 1, 2, N, R, 7 to 42nd Street • Cávo 42-18 31st Avenue, Astoria www.lepoissonrouge.com • Tea Lounge 837 Union Street, Brooklyn (718-789-2762) (718-721-1001) Subway: M, R, to Steinway Street www.cavoastoria.com • Littlefield 622 Degraw Street Subway: N, R to Union Street www.tealoungeNY.com • The Cell 338 West 23rd Street (718-855-3388) Subway: M, R to Union Street www.littlefieldnyc.com • Tomi Jazz 239 E. 53rd Street (646-861-2253) Subway: C, E to 23rd Street www.thecelltheatre.org • The Loft of Thomas Rochon 100 Grand Street, 6th Floor (646-497-1254) Subway: 6 to 51st Street www.tomijazz.com • Charley O’s 1611 Broadway at 49th Street Subway: 6, A, C, E, N, Q, R to Canal Street • Town Hall 123 W. 43rd Street (212-246-1960) Subway: N, R, W to 49th Street • Londel’s 2620 Frederick Douglas Boulevard (212-234-6114) (212-997-1003) Subway: 1, 2, 3, 7 to 42nd Street-Times Square • Chez Lola 387 Myrtle Avenue, Brooklyn Subway: 1 to 145th Street www.londelsrestaurant.com www.the-townhall-nyc.org (718-858-1484) Subway: C to Clinton-Washington Avenues • L’ybane 709 8th Avenue (212-582-2012) • University of the Streets 130 E. 7th Street www.bistrolola.com Subway: A, C, E to 42nd Street-Port Authority www.lybane.com (212-254-9300) Subway: 6 to Astor Place www.universityofthestreets.org • Chez Oskar 211 Dekalb Ave, Brooklyn (718-852-6250) • McDonald’s 160 Broadway between Maiden Lane and Liberty Street • Via Della Pace 48 E. 7th Street and Second Avenue Subway: C to Lafayette Avenue www.chezoskar.com (212-385-2063) Subway: 4, 5 to Fulton Street www.mcdonalds.com (212-253-5803) Subway: 6 to Astor Place • Church of the Intercession 550 W. 155th Street • Machiavelli’s 519 Columbus Avenue • The Village Lantern 167 Bleecker Street (212-283-6200) Subway: 1 to 157th Street www.intercessionnyc.org (212-724-2658) Subway: B, C to 86th Street www.machiavellinyc.com (212-260-7993) Subway: A, B, C, D, E, F, M to W. 4th Street • City Center 130 W 56th Street • Manhattan School of Music 120 Claremont Avenue • The Village Trattoria 135 W. 3rd Street (212-598-0011) (212-581-1212) Subway: F, N, Q, R to 57th Street www.nycitycenter.org (212-749-2802, ext. 4428) Subway: 1 to 116th Street www.msmnyc.edu Subway: A, B, C, D, E, F, M to W. 4th Street www.thevillagetrattoria.com • Clemente Soto Velez Cultural Center 107 Suffolk Street • Matisse 924 Second Avenue • Village Vanguard 178 Seventh Avenue South at 11th Street Subway: F, J, M, Z to Delancey Street www.csvcenter.com (212-546-9300) Subway: 6 to 51st Street www.matissenyc.com (212-255-4037) Subway: 1, 2, 3 to 14th Street www.villagevanguard.com • Cleopatra’s Needle 2485 Broadway (212-769-6969) • Measure 400 Fifth Avenue • Vino di Vino Wine Bar 29-21 Ditmars Boulevard, Queens Subway: 1, 2, 3 to 96th Street www.cleopatrasneedleny.com (212-695-4005) Subway: B, D, F, M to 34th Street (718-721-3010) Subway: N to Ditmars Blvd-Astoria • Club A Steakhouse 240 E. 58th Street (212-618-4190) www.langhamplacehotels.com • Walker’s 16 North Moore Street (212-941-0142) Subway: 4, 5, 6 to 59th Street www.clubasteak.com • Metropolitan Room 34 W. 22nd Street (212-206-0440) Subway: A, C, E to Canal Street • Comix Lounge 353 W. 14th Street Subway: L to 8th Avenue Subway: N, R to 23rd Street www.metropolitanroom.com • Waltz-Astoria 23-14 Ditmars Boulevard (718-95-MUSIC) • Community Church of New York 40 E. 35th Street • Michiko Studios 149 West 46th Street, 3rd Floor Subway: N, R to Ditmars Blvd-Astoria www.Waltz-Astoria.com (212-594-7149) Subway: 6 to 33rd Street (212-302-4011) Subway: B, D, F, M to 47-50 Streets • Water Street Restaurant 66 Water Street (718-625-9352) • The Complete Music Studio 227 Saint Marks Avenue, Brooklyn www.michikostudios.com Subway: F to York Street, A, C to High Street (718-857-3175) Subway: B, Q to Seventh Avenue www.completemusic.com • Miller Recital Hall 120 Claremont Avenue • Williamsburg Music Center 367 Bedford Avenue • Cornelia Street Café 29 Cornelia Street (212-749-2802) Subway: 1 to 116th Street www.msmnyc.edu (718-384-1654) Subway: L to Bedford Avenue (212-989-9319) Subway: A, B, C, D, E, F, M to W. 4th Street • Miller Theater 2960 Broadway and 116th Street • Zeb’s 223 W. 28th Street www.corneliastreetcafé.com (212-854-7799) Subway: 1 to 116th Street-Columbia University 212-695-8081 Subway: 1 to 28th Street www.zebulonsoundandlight.com • The Counting Room 44 Berry Street (718-599-1860) www.millertheater.com • Zinc Bar 82 W. 3rd Street (212-477-8337) Subway: L to Bedford Avenue www.thecountingroombk.com Subway: A, B, C, D, E, F, M to W. 4th Street www.zincbar.com

THE NEW YORK CITY JAZZ RECORD | NOVEMBER 2013 45 (BJM CONTINUED FROM PAGE 13) musical cultures ranging from rock and electronics to Nordeson’s vibes a bit of cream to mitigate the spice of folkloric and free jazz; Splitter also had a wider the others. Bothén fêted his former employer Don sensitive playing providing plenty of momentum; at dynamic range than its French counterpart. Hayward’s Cherry with an encore of “Mopti”. times he placed a towel over one drum head to recreate valve-twisting multiphonics shared space with The final night of small formations featured 15 a tabla timbre. unprecedented altissimo squeals from Chris Heenan’s minutes of solo turntables by Dieb 13, as thoughtful Like Gyselinck, drummers Verbruggen and Lionel contrabass clarinet; Dörner’s staccato slide trumpeting and multi-faceted as any acoustic instrument Beuvens also played in multiple groups. The former modified Liz Allbee’s pointillist tones on the standard improvisation, followed by a brief but prescient duo by lent his talents to Igor Gehenot’s piano trio, which trumpet and quasi-lyrical linkages were propelled by Evans and Holmlander and then a solo set by Nordeson alternated introspective ballads with aggressive the flute lines of Sabine Vogel and irregular sweeps on both expanded drumkit and vibraphone. This was uptempo numbers, while Beuvens’ quartet, which from Anthea Caddy’s cello. As the performance all a polite introduction to 65 minutes of The Thing recently released the impressive Trinité (Igloo), found reached a climax of intermingled timbres, it was with McPhee, a band that is the musical equivalent of a him much more in his element than behind further defined with a call-and-response section where Mariano Rivera cut fastball: you know what’s coming saxophonist/bass clarinetist Fabrice Alleman’s Beins’ abrasive rubs on the drum top were paralleled and yet you still can’t catch up with it. But the audience Obviously Quintet’s smooth, syrupy melodies. by Olsen’s reverberating mallet pressure. Even wasn’t daunted, demanding and receiving three Joachim Badenhorst, an intense reed specialist, electronic impulses were fully integrated into the encores after a set that included many of the group’s focused on song-like solo miniatures (nothing over piece: resonances from Boris Baltschun’s computer and Top-40 hits. five minutes), revealing a distinctive beauty at the core the overt gestures of Berlin-based Mario De Vega, who The goings-on could have ended there and no one of each piece’s tonal center and multiple technical set wire fires and snuffed them out with light-weight could have cause for complaint. But this was all simply approaches - from a hypnotic Phillip Glass multi- metal sheets. a prelude to the 75 minutes at Manggha. Gustafsson is textural attack on clarinet and Tuvan overtones on bass Amid the dour experimentation that characterized perhaps known more for his bombastic improvising clarinet to awesome circular breathing on tenor. this second edition of Crak, what was missing was a than his thoughtful conceptualizing but both were in The gifted, swinging trumpeter Jean-Paul sense of humor. Luckily that was supplied in abundance effect for his new composition. The Nu Ensemble Estiévenart sounded like a future FONT candidate on the final afternoon, with a tribute to the swing features two 28-year-olds (Motland and Strøm) with his lively trumpet/bass/drums trio. He utilized sextet of bassist John Kirby (1908-52), which in its alongside a pair of septuagenarians (Bothén and an effective electronic echo treatment, his bandmates heyday featured trumpeter and alto McPhee) and the piece was a timed graphic score interacting as much with him as with his reverberating saxophonist . Running through a dedicated to and drawing on the work of Little Richard. brass shadow. Another trio (the only drummer-less selection of the group’s repertoire, which included All those earlier smaller formations, enjoyed in a one) was ¾ Peace. Reminiscent of with originals like “Jumpin’ at the Pump Room” and “Blues vacuum, became significant to the arc of the piece, as Paul Bley and , alto saxophonist Ben Petite”, warhorses like “Royal Garden Blues” and some earlier collaborations were revisited and a whole Sluijs recalled in a set that especially stood swing versions of so-called classical themes like other festival’s worth of new pairings was introduced. out because of its unamplified nature. Pianist Christian “Bounce of the Sugar Plum Fairy”, each brief tune was The piece had an elliptical orbit around Motland’s Mendoza took the opportunity to fill the canvas of a gem of foot-tapping joy. With solos reduced to merry improvisations on Little Richard lyrics (“Send Me open acoustic space by effectively plucking the piano’s breaks, clear-toned trumpeter Louis Laurain and Some Lovin’; “Slippin’ And Slidin’”; “Ready Teddy”, strings on the moody ballad “From A Distance”, Sluijs flutter-tongued alto saxophonist Benjamin “Money Honey”). Evans blew a fanfare over the two featured on flute. Dousteyssier expressed themselves forthrightly, a bassists and drummers. Gustafsson played slide The only other all-acoustic set was by Mâäk, a rip- change from their subdued dissonance in the ONCEIM. saxophone in a trio with Evans and Nordeson’s roaring, risk-taking quintet starring tuba extraordinaire As much of a contradiction this performance glockenspiel. Bothén’s guimbri was matched against , whose unique approach to the might imply compared to Crak’s other sets, the Kirby McPhee’s muted trumpet for a township vibe. Evans instrument supported the three-horn frontline of salute was really part and parcel of the same idea. and Holmlander presented a doleful melody against trumpet and saxophones. Mâäk closed the first night Whether European and experimental or American and the scratching bows of Håker Flaten and Strøm, by leading a of audience members straight swinging, the raison d’être of the festival is group conjuring up an image of a funeral procession with an to the bar, a celebration of two of Belgium’s great past expression rather than individual flashiness. unwilling guest-of-honor. Gustafsson blasted off with times: jazz (after all it was Belgian who Maintaining a midpoint between the two and an alternate Thing of Strøm and Nordeson. Dieb 13 invented the saxophone) and beer! v lightening its entire tone will be the festival’s challenge looped Little Richard interview segments. Gustafsson in future editions. v cued electronics in a trio with Evans and Dieb 13, For more information, visit belgianjazzmeeting.be yielding to a quartet of guimbri, tuba, vocals and For more information, visit babbelproductions.com glockenspiel. All of these segments - and many others - were connected by jittery full ensemble improvisatory punctuations or terrifying flurries. The trumpet/tuba/ (CRAK CONTINUED FROM PAGE 13) basses theme then reappeared, buoyed by alternating (KRAKOW CONTINUED FROM PAGE 13) kick drum prods until Motland was left alone to and former constantly spinning his drum as he rapped whisper “Come back tomorrow night and try it again” on its top and sides with different sized mallets, the beautiful tone, hypnotic proto-blues lines and crunchy from Little Richard’s “Keep On Knockin’”. High school connection with Hayward’s blasts or breaths produced circular breathing, crafting an intense and deliberate was never like this. v an effect as portentous as it was balanced. narrative. The EFG trio played for 45 minutes, broken 17 Berlin-based improvisers and 23 Parisians on up into three long improvisations and a brief encore. For more information, visit kjj-festiwal.pl subsequent evenings demonstrated the opposing This group, documented on the 2009 release Kopros Gallic-Teutonic views of large ensemble improv. Lithos (Multi Kulti Project) doesn’t traffic in subtlety; Interpreting a composition by guitarist Jean-Sébastien when not crackling with spiky tension, the threesome Mariage - whose bow-sawing and string-pummeling are creating an unholy squall. What is most wondrous The New York City Jazz Record solos were one of the highlights of a set with five other is the level of communication despite almost NEW YORK’S ONLY HOMEGROWN JAZZ GAZETTE! computer, electronic and noise-makers the final impenetrable density. • EXCLUSIVE CONTENT ON JAZZ AND evening - the ONCEIM’s polyphonic group Férnandez, who had received a Spanish national IMPROVISED MUSIC IN NEW YORK CITY performance sounded completely notated. In truth cultural prize just prior to coming to Poland, • COMPETITIVE & EFFECTIVE ADVERTISING: each orchestra member interpreted written instructions demonstrated a very different side of his playing [email protected] that marked the duration and the clef within the person during his solo set of the third night, spending the was to play. Mariage used hand signals to select the entire 12 minutes alongside the piano, scraping and • SUBSCRIPTIONS AND GENERAL INFO: players in a final variation. Notable in its ability to tousling the strings, creating an arc somewhere [email protected] sustain unhurried tension over a protracted period, the between a solo acoustic bass piece and digital • FOLLOW US ON TWITTER @NYCJAZZRECORD effect of the performance was almost agonizing, since exploration. After a uniquely meteorological trio set & FACEBOOK.COM/NYCJAZZRECORD except for a couple of quasi-lyrical motifs from the from Motland, Dieb 13 and Nilssen-Love and a violinist, nothing else modified ONCEIM’s constant typically debilitating solo segment from Evans, sonic pressure. Bothén’s Acoustic Ensemble, active well over a decade Arrayed so that they faced every which way on earlier, with Gustafsson, Nordeson, Håker Flaten, stage, the Splitter Orchester’s performance consisted Holmlander and Nilssen-Love, played a short but of 30-minutes-plus of free-form improvisation. With excellent set of the leader’s originals. Gustafsson in similar instruments paired and sub-divided into particular was exultant and the vibe was reminiscent groups, the ensemble brought forward intimations of of the New Thing/Eric Dolphy axis of ‘60s jazz, www.nycjazzrecord.com

46 NOVEMBER 2013 | THE NEW YORK CITY JAZZ RECORD IN MEMORIAM by Andrey Henkin OSCAR CASTRO-NEVES - The Brazilian guitarist was a legend in the bossa BERNIE MCGANN - The saxophonist was not well known outside of his native nova movement but also integral in mixing that genre with jazz of the ‘60s Australia but there he was among the country’s most beloved performers, onward, either under his own name or composing for or playing with figures working locally with numerous groups since the ‘50s and sometimes touring such as , , Antonio Carlos Jobim, Flora Purim, Ella internationally and collaborating with fellow saxophonists like . Fitzgerald and long-time collaborator Paul Winter. Castro-Neves died Sep. 27th McGann died Sep. 17th at 76. at 73. DON NELSON - His brother, Ozzie, was the more famous one in the family, LINDSAY COOPER - The English horn player/bassoonist was a member of ubiquitous on ‘50s television and Don wrote many of the scripts for The numerous progressive European and English bands, most notably Henry Cow Adventures of Ozzie and Harriet but still found time to be a jazz saxophonist, even in the late ‘60s-late ‘70s and collaborated with Maarten Altena, Mike Westbrook releasing an album in 1957 and then again in 1986 and being a longtime member and numerous others while releasing a handful of albums under her own name of the Great Pacific Jazz Band in the ‘80s-90s. Nelson died Sep. 10th at 86. in the ‘80s. Multiple Sclerosis ended her performing career in the late ‘90s. Cooper died Sep. 18th at 62. - The Pittsburgh guitarist’s earliest credits came on a wide array of late ‘60s-early ‘70s funk-influenced jazz albums by the likes of Stanley PER GOLDSCHMIDT - The Danish saxophonist came up in ‘60s , Turrentine, Lou Donaldson, and Jimmy McGriff and continued in working with a wide array of his countrymen, as well as the ex-pats who had that vein through the ‘90s and ‘00s with numerous sideman credits and over a settled in , before progressing to a leadership role starting in the ‘70s, dozen albums as a leader, mostly on Muse and then HighNote. Ponder died Sep. both for his own projects and later the Almost Big Band. In 16th at 67. addition to a number of albums as a leader, he was also an accomplished film composer. Goldschmidt died Sep. 17th at 70. GIA MAIONE PRIMA - The vocalist replaced Keely Smith as both singer for and wife of bandleader Louis Prima in the early ‘60s and continued to perform FRED KATZ - The cellist was a crucial figure in bringing his instrument, an alongside him until his illness and eventual death in 1978. Maione Prima died outsider to jazz during its early history, into a more prominent role. Katz came Sep. 23rd at 72. from a classical background and used the cello, initially with drummer ’s ‘50s quintet and then later as a leader, in a frontline melodic role, JAROSLAW SMIETANA - The guitarist was a veteran jazz-rocker in his native which established it as a legitimate tool for . For many years, Poland but gained a more international reputation with work alongside Joe Katz taught world music in the California State University system. Katz died Zawinul, and a 2003 recording pairing him with John Abercrombie. Sep. 7th at 94. Smietana died Sep. 2nd at 62. BIRTHDAYS November 1 November 5 November 11 November 16 November 22 November 26 †Sabby Lewis 1914-94 Diego Urcola b.1965 †Ivy Benson 1913-93 †WC Handy 1873-1958 †Hoagy Carmichael 1899-1981 †Jack Perciful 1925-2008 †Sam Margolis 1923-96 Kenny Brooks b.1966 †Willie Cook 1923-2000 †Eddie Condon 1905-73 †Horace Henderson 1904-88 Kiane Zawadi b.1932 Lou Donaldson b.1926 Neil Cowley b.1972 Mose Allison b.1927 † 1927-83 †Ernie Caceres 1911-71 Art Themen b.1939 Roger Kellaway b.1939 Ben Markley b.1981 Ernestine Anderson b.1928 b.1964 Gunther Schuller b.1925 b.1952 †Raphe Malik 1948-2006 Mario Pavone b.1940 †Jimmy Knepper 1927-2003 b.1954 November 6 Hannibal Peterson b.1948 November 17 Ron McClure b.1941 November 27 Conrad Herwig b.1959 † 1929-2005 Kahil El’Zabar b.1953 David Amram b.1930 Tyrone Hill b.1948 †Eddie South 1904-62 Antonio Sanchez b.1971 Arturo Sandoval b.1949 Mark Shim b.1971 Roswell Rudd b.1935 Rogério Boccato b.1967 †Nesuhi Ertegun 1917-89 Tim Luntzel b.1972 Lisle Ellis b.1951 Michel Portal b.1935 November 7 November 12 Ben Allison b.1966 November 23 Randy Brecker b.1945 P e t r G a n u s h k i November 2 †Joe Bushkin 1916-2004 † 1911-91 †Tyree Glenn 1912-74 Lyle Mays b.1953 KAHIL EL’ZABAR †Bunny Berigan 1908-42 b.1917 †Lou Blackburn 1922-90 November 18 Johnny Mandel b.1925 Maria Schneider b.1960 November 11th, 1953 Rudy Van Gelder b.1924 †Al Hirt 1922-99 †Charlie Mariano 1923-2009 †Johnny Mercer 1909-76 †Pat Patrick 1929-1991 Joris Teepe b.1962 Chicago-born percussionist b.1928 †Ray Brown 1948-2002 †Sam Jones 1924-81 Claude Williamson b.1926 †Victor Gaskin 1934-2012 Wessell Anderson b.1964 Kahil El’Zabar is an eclectic Phil Woods b.1931 †David S. Ware 1949-2012 Wolfgang Schluter b.1933 b.1927 b.1935 Jacky Terrasson b.1966 musician typical of his home Phil Minton b.1940 René Marie b.1955 Koby Israelite b.1966 Sheila Jordan b.1928 Jiri Stivin b.1942 town. He grew up with jazz, b.1953 † 1936-95 Ray Drummond b.1946 November 28 blues and R&B, studied Frank Kimbrough b.1956 November 8 November 13 Bennie Wallace b.1946 Melton Mustafa b.1947 †Gigi Gryce 1927-83 African music in Ghana in Gebhard Ullmann b.1957 † 1927-2009 †Bennie Moten 1894-1935 Cindy Blackman-Santana b.1959 Gato Barbieri b.1934 the early ‘70s and was a b. 1967 Bertha Hope b.1936 †Eddie Calhoun 1921-93 November 24 Roy McCurdy b.1936 member of the Association Chris Byars b.1970 Don Byron b.1958 †Hampton Hawes 1928-77 November 19 † 1868-1917 Adelhard Roidinger b.1941 for the Advancement of Jerry Costanzo b.1959 b.1939 †Tommy Dorsey 1905-56 †Teddy Wilson 1912-86 Butch Thompson b.1943 Creative Musicians. Much of November 3 b.1963 Janet Lawson b.1940 Nobuo Hara b.1926 †Wild Bill Davis 1918-95 † 1951-2008 his output as a leader has †Joe Turner 1907-90 John O’Gallager b.1964 Ernst Reijseger b.1954 †André Persiany 1927-2004 † 1923-57 Charlie Kohlhase b.1956 come under the auspices of †Billy Mitchell 1926-2001 Vadim Neselovskyi b.1977 Ari Hoenig b.1973 Vincent Herring b.1964 † 1925-88 two groups - Ethnic Heritage Andy McGhee b.1927 Gary Boyle b.1941 November 29 Ensemble and Ritual Trio Henry Grimes b.1935 November 9 November 14 November 20 Brian Charette b.1972 †Billy Strayhorn 1915-67 (which has featured guests Joe McPhee b.1939 † 1899-1972 †Art Hodes 1904-93 †Skeeter Best 1914-85 †Nathan Gershman 1917-2008 like Pharoah Sanders and Azar Lawrence b.1953 †Pete Brown 1906-63 †Billy Bauer 1915-2005 †June Christy 1925-90 November 25 †Bobby Donaldson 1922-71 Archie Shepp) - as well as †Muggsy Spanier 1906-67 †Don Ewell 1916-83 b.1961 †Willie “The Lion” Smith Ed Bickert b.1932 duo collaborations with November 4 Ellis Marsalis b.1934 Don Braden b.1963 1897-1973 Tony Coe b.1934 David Murray and Billy †Joe Sullivan 1906-71 November 10 George Cables b.1944 b.1970 †Willie Smith 1910-67 Billy Hart b.1940 Bang. His discography †Joe Benjamin 1919-74 Paul Bley b.1932 Kim A. Clark b.1954 †Joe “Bebop” Carroll 1919-81 b.1955 includes sideman credits †Ralph Sutton 1922-2001 b.1934 November 21 †Paul Desmond 1924-77 Fredrik Ljungkvist b.1969 with Wadada Leo Smith, †Carlos “Patato” Valdes Andrew Cyrille b.1939 November 15 † 1904-69 †Matthew Gee 1925-79 Murray, Shepp, Bang and 1926-2007 Hubert Laws b.1939 †Gus Johnson 1913-2000 †Lloyd Glenn 1909-85 †Dick Wellstood 1927-87 November 30 and he has † 1928-2005 Stanton Davis b.1945 †Jerome Richardson 1920-2000 †Alvin Burroughs 1911-50 † 1928-2001 †Benny Moten 1916-77 worked with Dizzy Gillespie, † 1944-2010 John LaBarbera b.1945 Ali Haurand b.1943 †Sal Salvador 1925-99 †Rusty Bryant 1929-91 Jack Sheldon b.1931 , Stevie Eddie Gomez b.1944 Mark Turner b.1965 Kevin Eubanks b.1957 Peter Warren b.1935 † 1931-2000 †Johnny Dyani 1945-86 Wonder and , David Arner b.1951 Gustavo Casenave b.1971 Roland Guerin b.1968 Alphonse Mouzon b.1948 Steve Johns b.1960 Stan Sulzmann b.1948 among many others. -AH Jeremy Pelt b.1976 Warren Wolf b.1979 Susie Ibarra b.1970 Rainer Brüninghaus b.1949 Terell Stafford b.1966 Ted Rosenthal b.1959 ON THIS DAY by Andrey Henkin

Why Do I Love You Reincarnation Of A Love Bird The Black Cat! Star Eyes Live at Princeton Helen Carr (Bethlehem) (Candid) (Prestige) Lee Konitz & Martial Solal (hatART) (Music Masters) November 11th, 1957 November 11th, 1960 November 11th, 1970 November 11th, 1983 November 11th, 1990 The vocalist’s potential was cut short This is an interesting album in the Saxophonist Gene Ammons was far Continuing a partnership that began Benny Carter is one of the a few years after this recording with legendary bassist’s catalogue. more than just the son of pianist in 1968, the then-50-something duo of monumental figures in jazz, with a her death at 36. In addition to this Recorded at Nola’s Penthouse Sound Albert. After breaking in with Billy American alto saxophonist Lee Konitz prolific career as a player, composer, album, Carr fronting a group with Studios, it features only two originals: Eckstine in the mid ‘40s, the younger and French pianist Martial Solal arranger and bandleader since his Cappy Lewis (trumpet on several the title track and “Bugs”. The rest of Ammons debuted as a leader in 1947 convened in Hamburg for what first sessions back in the late ‘20s. By tracks), Howard Roberts (guitar) and the material is two standards - “Wrap at age 22. By the time of this session, would be their third full album. As the time of this live recording from Red Mitchell (bass) and playing Your Troubles in Dreams” and “Body when he was 45, the saxophonist had with the earlier duo albums, standards Princeton University, he was firmly in standards like the Hammerstein-Kern and Soul”. Joining the leader for this released a slew of albums under his make up the bulk of the program: the living legend territory and a NEA Jazz title track, “Be Careful, It’s My Heart“ session is an octet featuring Eric own name, mostly for Prestige. title track, “Just Friends”, “Body and Master to boot. His band is no slouch (Irving Berlin) and “You’re Getting to Dolphy, Charles McPherson and Paul Joining him here is an allstar band of Soul” and “Cherokee” as well as either: trumpeter , pianist Be a Habit with Me” (Dubin-Warren), Bley for the originals and a sextet with Harold Mabern (pianos), George Konitz’ tune “It’s You”, Solal’s , bassist Rufus Reid and Carr made an earlier album for Roy Eldridge, Jimmy Knepper, Freeman (guitar), Ron Carter (bass) composition “Fluctuat Nec Mergitur” drummer Kenny Washington, with Bethlehem and waxed a track with Dolphy and Tommy Flanagan for the and Idris Muhammad (drums) for a and the almost obligatory piece by Billy Hill guesting on vocals, for a Charles Mingus in 1946 and then standards, Dannie Richmond on session of standards, Freeman’s title Konitz’ mentor Lennie Tristano, program which mixes standards with some with King Curtis a decade later. drums throughout. track and the Beatles’ “Something”. “April”. Carter originals.

THE NEW YORK CITY JAZZ RECORD | NOVEMBER 2013 47 31 ALBUMS ON 34 NEWLY REMASTERED CDS

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