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July 2012 | No. 123 Your FREE Guide to the NYC Scene nycjazzrecord.com

KENNY BARRON FUN ADVENTURE

VERYAN • WEASEL • ERNIE • MATCHLESS • EVENT WESTON WALTER ANDREWS RECORDINGS CALENDAR

It was with great joy that the National Endowment for the Arts reversed a 2011 decision to end the Jazz Masters program after decades. Whatever brought them back to their senses (jazz needs more recognition, not less), all jazz fans should be @Night happy that legendary performers will still receive this accolade (and the 25,000 4 clams that goes with it). In 2010, alongside fellow pianists Muhal Richard Abrams and Cedar Walton, -born was elevated. We could Interview: Veryan Weston devote our entire gazette just to printing his massive discography, starting with 6 by Ken Waxman his first recording in 1960 with Yusef Lateef (part of the same Jazz Master class), Artist Feature: the many done with his older brother/saxophonist Bill, sessions with and almost everyone else in jazz as well as his over 40 as a leader. 7 by Martin Longley Barron brings a quintet to the Village Vanguard this month. On The Cover: Kenny Barron In the category of “And now for something completely different”, Interview (British pianist Veryan Weston) and Artist Feature (Chicagoan drummer Weasel by George Kanzler 9 Walter) subjects present two very different sides to modern improvising, the Encore: Lest We Forget: former often working in the insectile world of European free music with such chaps as Trevor Watts and , the latter leaving a trail of destruction in 10 Ernie Andrews Buster Bailey his wake with his defunct Flying Luttenbachers group or in any number of by Marcia Hillman by Donald Elfman aggressive local collaborations. Weston is at The Stone while Walter shows his Megaphone VOXNews range with nights at I-Beam. Other features to soothe your sweaty soul include Ernie Andrews (Encore), by Robin Hirsch by Katie Bull 11 who performs as part of 92nd Street Y’s Jazz in July, a label spotlight on Matchless Label Spotlight: Listen Up!: Recordings and a Megaphone celebrating the 35th anniversary of Cornelia Street Café. And we save you some plane fare and the need to buy those little travel- 12 Matchless Recordings Teriver Cheung sized bottles of shampoo and toothpaste with three more festival reports, this by Stuart Broomer & Max Johnson month from Austria (Ulrichsberger Kaleidophon), Canada (Festival International de Musique Actuelle de Victoriaville) and Germany (Moers Festival). 13 Festival Report: Ulrichsberg • FIMAV • Moers Stay cool and we’ll see you out there... CD Reviews: , , Bruce Barth, Laurence Donohue-Greene, Managing Editor Andrey Henkin, Editorial Director 14 , , The Thing, and more On the cover: Kenny Barron (Photograph © 2009 Jack Vartoogian/FrontRowPhotos) 32 Event Calendar Corrections: In last month’s NY@Night on BB&C at ShapeShifter Lab, the label of 37 Club Directory the group’s debut recording was incorrect; it is Cryptogramophone.

Miscellany: In Memoriam • Birthdays • On This Day Submit Letters to the Editor by emailing [email protected] 39 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 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, Sean Fitzell, Graham Flanagan, Kurt Gottschalk, Tom Greenland, Laurel Gross, Alex Henderson, Marcia Hillman, Terrell Holmes, Robert Iannapollo, Francis Lo Kee, Martin Longley, Wilbur MacKenzie, Laurence Donohue-Greene: Marc Medwin, Sharon Mizrahi, Russ Musto, Joel Roberts, John Sharpe, Elliott Simon, [email protected] Jeff Stockton, Andrew Vélez, Ken Waxman Andrey Henkin: [email protected] Contributing Writers General Inquiries: [email protected] Duck Baker, Robin Hirsch, George Kanzler, Matthew Kassel, Sean J. O’Connell Advertising: [email protected] Contributing Photographers Editorial: [email protected] Helmut Berns, Scott Friedlander, Peter Gannushkin, Martin Morissette, Calendar: [email protected] Alan Nahigian, Susan O’Connor, Jack Vartoogian

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

THE NEW YORK CITY JAZZ RECORD | July 2012 3 NEW YORK @ NIGHT

You might not think there’s room in the universe for The eclectic trio Iron Dog set a strange stage at The another tribute. But pianist Eric Local 269 (Jun. 10th), transplanting Tonight Let’s All Reed’s two most recent Savant discs, The Dancing Monk Make Love in onto to the Lower East Side. Waves and The Baddest Monk, aren’t retreads in any sense: and drones and only-implied-yet-shifting tempos were they’re consistently fresh and insightful, not to mention piloted by quick rhythms from Andrew Drury’s drums flat-out swinging. Leading a quintet in a late Saturday and grounded by Stuart Popejoy’s electric bass and set at Dizzy’s Club (Jun. 2nd), Reed found uncommon synthesizer, sounding at first like a game of “hide the routes through Monk’s already uncommon music. violin” until waves ebbed and Sarah Bernstein’s small Even the stage setup was odd: dead center, with but amplified bowing and scratches arose from the the horns (trumpeter Etienne Charles, tenor morass. As the sonic onslaught recessed, Popejoy saxophonist Seamus Blake) at stage right behind began to play delicate figures with his bass capoed at Reed’s back. This put the leader in closer quarters with about half-neck while Bernstein read a reverby and bassist Matt Clohesy and drummer Kevin Kanner and seemingly science-fictiony text. Their extended sonic the communication flowed. For the most part, Reed experimentalism brought to mind early Pink Floyd eschewed conventional solo order and split choruses psych-outs, mellowed a bit by the violin but still more up in different ways: Blake and Charles alternated just free-ranging than their 2010 self-released disc Field the bridges on “Rhythm-a-ning”, stayed mum until the Recordings 1. The disparate parts were delivered with trading with Kanner on “Pannonica” and reveled in intention and would perhaps have been received with continuous trading with the full band on the closing greater comprehension had the PA allowed for a little “Epistrophy”. After “Four In One”, featuring a vocal clarity. “Without a voice, how can you help but staggeringly inventive Reed solo, Blake and Charles not endure,” Bernstein tellingly said, or seemed to left the bandstand altogether. Reed eased into “’Round anyway, through the unaccommodating speakers. In Midnight”, modifying the coda into an extended vamp. any event, their efforts were largely lost on a gathering He segued directly into “Bright Mississippi”, taken at late-night crowd noisily arriving for the 11 pm rock set, breakneck speed and partially reharmonized. The at least until Marco Cappelli joined them for their final strategy was simple yet seemingly foolproof: every song. With the added guitar they pulled out a rollicking tune was a study in variation and every player got version of “Secret Agent Man” that caught the room’s right to the point. Surely that’s one mark of a fine attention but with just enough breakdown to keep bandleader. - David R. Adler them uncomfortable. - Kurt Gottschalk P h o t b y L e n a A d a s h e v A l a n N h i g P h o t b y Eric Reed @ Dizzy’s Club Iron Dog @ The Local 269

Guitarist Julian Lage normally leads a small ensemble Drummer Dan Weiss wears a curious lot of influences with cello and percussion, but the first of his two on his sleeve. Appearing with his trio at Cornelia Street appearances at The Stone (Jun. 10th) featured a pared- Café (Jun. 10th), those inspirations included Tin Pan down unit with just Jorge Roeder on upright bass and Alley, Swedish heavy metal and Polish piano music of Dan Blake on tenor and soprano saxes. Lage was the Romantic era. The set marked the first concert for lightly amplified with a dry and woody timbre - a the trio - with pianist Jacob Sacks and bassist Thomas modest sound that contrasted with the furious pace of Morgan - in over a year but they played with a his ideas. The set began in a folkish vein with the synchronicity that belied any passage of time. The set’s pastoral “Woodside ” and the brighter “Up From opener, “Ode to Messhugah”, set two interwoven the North”, both of which made clear that Blake and piano lines against an insistent single chord repetition, Roeder would be equally spotlighted and kept on their with the two motifs breaking apart and being variously toes by the jaw-dropping leader. There were two interspersed. The 4/4 chord phrase was about the only explicitly jazzy pieces, the dissonant “Raven” and the thing that suggested the metal god dedicatees, at least effortlessly melodic (and provisionally titled) “Fake until the tempo began to surge, a situation admirably Standard”, each introduced with snappy rhythm navigated by Sacks. The unlikely followup, “It’s guitar. There were also nods to country and bluegrass Alright With Me”, was like a strange change from with the Merle Travis-inspired “In and Around” and major to minor. The song allowed more melody from the scorching finale “Greylighting”. Whether caressing the piano and while Weiss switched to brushes he was a pure and simple line or taking on a treacherous just as busily precise. They pushed it beyond song unison passage, Blake and Lage phrased together as form but never lost the Cole Porter lilt. Weiss’ one and brought grit and edge to the most tuneful “Frédéric” nicely reimagined a Chopin prelude as a environments. It’s not new to hear chops on the guitar, jazzy interlude. Weiss offset his customary complexities but articulation as novel and dynamically varied as in his solos, the first making quick mathematics of the Lage’s is rare - his improvised counterpoint and cross- hi-hat while the second devoted a similarly unequivocal register leaps on “233 Butler”, the dark and intricate attention to the bass drum. His penchant for intertwined opener to his latest disc Gladwell (Emarcy), were almost piano and drum lines (nicely underscored by a Sacks too fast and complex to take in. It seemed well beyond contribution with strong unison melodies) was what he could do even a year ago. And yet music, not curiously reinforced by Morgan’s lofty yet steadfast mere flash, was the result. (DA) bass, like an anchor in mid-air. (KG)

4 July 2012 | THE NEW YORK CITY JAZZ RECORD Most often sets of free improvised music are thought The wildly creative drumming of Jeff Ballard took of as a single entity, with one narrative arc and peaks center stage at the innovative new venue WHAT’S NEWS and valleys born of varying momentum. This thinking ShapeShifter Lab (Jun. 4th) in a performance guided by is perhaps too narrow. On surface listen, the duo of his sweeping rhythmic and tonal prowess. Leading an saxist Mikko Innanen and drummer international trio of Beninese guitarist In celebration of the birthday of this at I-Beam (Jun. 2nd) had a difficult task ahead of them and Puerto Rican alto saxophonist Miguel Zenón, the September, the group Electric Ascension will be for their first live meeting. At this point, this format drummer steered the music through two sets of performing at this year’s Guelph Festival. In order to offers little inherent surprise. Would the pair opt for wide-ranging music reflecting his worldly experience. raise funds to have the concert filmed professionally full-on energy music, sparse ramblings or some Opening with a vibrating percussive introduction, its in high-definition for future release and promulgation, combination of both? The hour-long set began ambient atmospherics reinforced by Loueke’s a Kickstarter campaign has been initiated. For more tentatively, each player circling the other, Innanen reverberating tones, Ballard steered the music into information, visit rova.org. overtly melodic on alto sax. Then the proceedings earthier ground with his sprawling drumming as became denser, Cyrille echoing Innanen’s line while Zenón entered to engage in a rocking dialogue with In a surprising turnaround, the Grammy Awards, remaining primarily rhythmic. Later Innanen would Loueke on rock band Queens Of The Stone Age’s after vehement protests, have reinstated the Latin switch to baritone for a bit of balladry, then move into “Hanging Tree”. Ballard then sensitively navigated the Jazz category for the next edition in February 2013. furious overblowing. During the course of the nearly sounds through the more exotic terrain of Loueke’s For more information, visit grammy.com. hour-long set, Innanen would return to alto and “Virgin Forest” and Zenón’s lyrical reading of “The baritone, as well as playing Indian wood , an Man I Love”, before powerfully ending with a rousing Bassist Ben Allison, in his role as governor of the Irish Uilleann Chanter, ocarina and supplementary rendition of his own “Beat Street”. The second set New York chapter of the National Academy of percussion. Several missed natural stopping points found the group similarly exploring its one-world Recording Arts and Sciences, recently testified instead became solo features, necessitating a musical perspective, opening with a squawking before the US House of Representative’s Committee subsequent change in feel (and usually instrument for naturalist “Bird Melody” that flowed flawlessly into on Energy and Commerce on the subject of domestic Innanen), such that a rambling, disjointed aesthetic the Eric Dolphy Out To Lunch classic “Gazzelloni”, royalty payments to artists for commercial radio play. took hold. But then a new interpretation came to mind, followed by Loueke’s infectiously rhythmic “Vivi” and Currently, radio stations only pay music one not too farfetched with a thoughtful musician like the Spanish-tinged “Gaita”. Closing with Ballard and music publishers rather than performers and Innanen. This was not a single piece, but a series of swinging straightahead on Monk’s “We See” the record labels but a recent agreement between Clear spontaneous ones, linked by the solos, programmatic inventive super trio showed itself to be one the finest Channel and label Big Machine may change this by happenstance, if not specific design, appreciated for units in jazz today - preserving the music’s tradition policy across the industry going forward. its components, rather than overall. - Andrey Henkin while taking it to intriguing new places. - Russ Musto There are rumblings that the annual Moers Festival of Germany, which just completed its 41st edition at the end of May (see review on pg. 13), may lose its funding as part of a municipal austerity campaign. No decisions have been made but a position paper by the city government has identified a number of possible areas of cost-saving, including the over €500,000 the festival currently receives.

O W N M U S I C . E T The Apollo Theater of and Louis Armstrong P h o t b y S c F r i e d l a n House and Flushing Town Hall, both of Queens, all received $150,000 grants as part of the American Express Partners in Preservation Program, intended to support preservation of historic buildings in the five boroughs of New York City. For more information, visit partnersinpreservation.com.

P e t r G a n u s h k i / D O W N T Klezmer clarinetist Andy Statman was among the Mikko Innanen/Andrew Cyrille @ I-Beam Lionel Loueke/Jeff Ballard/Miguel Zenón @ ShapeShifter Lab class of 2012 NEA National Heritage Fellowship recipients, an award of $25,000 given to innovators There is something comforting about a ‘standard’ jazz A powerful multimedia project exploring the issues of within traditional forms. For more information, visit set. It’s good for the digestion, which must be why jazz race and gender in America, Slow Fade To Black, a nea.gov. clubs serve dinner. But there is a drawback. The collaborative effort wedding the music of monotony of form - head, horn solos, piano lead, and the visual imagery of Carrie Mae Weems, had its An agreement has tentatively been reached between maybe a bass and/or drum solo, brief group improv world premiere at the Prospect Park Bandshell (Jun. musicians supported by union Local 802 and into head out - can render a listener somewhat 14th). A Celebrate Brooklyn event involving over a University of the Streets, ending a long standoff unresponsive to the quality of the actual playing. This dozen musicians and singers under the direction of following an allegedly violent incident between an was the case with Charles McPherson’s quintet set at Allen, the program opened with a solemn a cappella employee and one of the performers last fall. In (Jun. 7th). The alto saxophonist worked reading of the Negro spiritual “Oh Freedom” by the exchange for changing various venue policies, the with that iconoclast of iconoclasts for Howard University Vocal Jazz Ensemble Afro Blue. A effective boycott of the club would be rescinded. Any over a decade yet little of that adventurous spirit was duo drum interlude by Kassa Overall and Rodney musicians who have performed at the club in the last audible, at least in the structure of the pieces. But that Green introduced the instrumental music, with DJ two years are encouraged to vote on the proposal by aesthetic quibble aside, McPherson is an exciting, Val’s sampled voices of Martin Luther King, Jr. and emailing [email protected]. unique player, with uncommon vocabulary and ability Angela Davis buttressing the building drama, bassist to move easily between delicacy, speedy articulation Kenny Davis joining Allen and the growing group for The winners of the 2012 Jazz Journalists and stridency. His band was no slouch either with a celebratory reprise of the opening song. Allen’s piano Association annual awards were announced at an bugle-y trumpeter Brian Lynch, pianist Jeb Patton took the spotlight on “Swamini”, her tribute to Alice event held at Blue Note Jazz Club last month. For a (whose internship with the Heath Brothers has served Coltrane, then Afro Blue joined the band for a medley complete list, visit jjajazzawards.org. him well) and the fervent rhythm section of non- ending with “Babe’s ”, a dedication to Betty brothers Ray and Billy Drummond. The set was a long Carter. The sampled voices and projected images of W-GBH, the public broadcasting radio station for one (80 minutes, so in that respect it varied from young black girls served as a backdrop for the tap Boston and the surrounding area, has announced a traditional jazz club fare) and included some blowing- dancing of Maurice Chestnut and drumming of Terri scaling-back of its jazz programming, moving “Jazz vehicle-type standards like Rodgers-Hart’s “Lover”, Lyne Carrington. The excitement grew with vocalist on WGBH With Eric Jackson” strictly to weekends Gus Arnheim’s “Sweet and Lovely” and, interestingly, Lizz Wright’s set, climaxing with ”Grandma’s Hand’s” and cancelling Steve Schwartz’s Friday show. For ’ “Tenor Madness”. But most of the and “Open Your Eyes”. The revolving cast, also more information, visit wgbh.org. excitement of the set came up front in the form of two including bassist Esperanza Spalding and guitarist McPherson originals: the Prestige-Golden-Era- Marvin Sewell, continued to celebrate the AfroAmerican Submit news to [email protected] sounding “The Journey” and vaguely Biblical (Old musical diaspora in the second act, ending joyously Testament) “Song of the Sphinx”. (AH) with “Dancing In The Streets”. (RM)

THE NEW YORK CITY JAZZ RECORD | July 2012 5 INTERVIEW

drummer Roger Turner and another with bass guitarist Luc Ex and drummer Michael Vatcher. Was the first more ‘free music’ and the other more ‘political’?

Veryan VW: I met Phil in a real substantial way when we were both playing in Trevor’s Moiré Music large band project for the [Austrian] Saalfelden Festival in 1985. We hung out together and got on and decided to work on the Ways project [recorded on ITM in 1987], singing

O W N M U S I C . E T and playing different kinds of songs that we liked a lot Weston and really wanted to record. The quartet with John and Roger used texts by James Joyce and was constructed to accommodate the experiences of Roger and John as (CONTINUED ON PAGE 31) P e t r G a n u s h k i / D O W N T by Ken Waxman …Jazz pianist London-based pianist Veryan Weston is a well-travelled been with Lol Coxhill. How did you get together? Hidé Tanaka…Bassist musician who regularly turns up in a variety of free music Michi Fuji...violinist situations in the United Kingdom and abroad. Best known VW: I first met Lol at the Little Theatre Club. He came at for his long associations with iconoclastic saxophonists in with a hat full of coins and managed to change this Café Loup Trevor Watts and Lol Coxhill and distinctive vocalist Phil at the bar for some more easily carryable notes... One EVERY SUNDAY Minton, Weston has also spent time in various ensembles of my first gigs with Lol was in Brighton at the 6:30 - 9:30 pm with, among others, drummer Eddie Prévost, saxophonist Polytechnic, as it was then called, and the band also and is sometimes a member of the London had bassist Harry Miller, Marc Charig on flugelhorn Improvisers Orchestra. and Alan Jackson on drums. It was good to learn to play jazz standards, show tunes and tunes in The New York City Jazz Record: Your New York order to then work on the occasional standards gig performance this month is a duo with Trevor Watts. with Lol. He has a vast repertoire of tunes he can just NO COVER, JUST AWARD How long have you been collaborating? pull out of his memory. But my first public recordings WINNING JAZZ AND FOOD were straight improvisations with him - The Joy of 105 West 13th Street 212-255-4746 Veryan Weston: I first met Trevor at the Little Theatre Paranoia [1977] and Digswell Duets [1978]. Club [in London] in the late ‘70s. I used to go and listen to the Spontaneous Music Ensemble, which sometimes TNYCJR: Looking at your educational background - a www.juniormance.com was just Trevor and drummer doing stuff fellowship with the Digswell Arts Trust in like Face to Face [a 1973 Emanem with Stevens Hertfordshire, a degree course in Performance Art at playing percussion and cornet and Watts soprano Middlesex Polytechnic and a Masters degree in Music ]. And then I would also hear him at the Composition from Goldsmith’s College - were you also Plough pub in Stockwell where John was part of a planning to become an academic? house rhythm section consisting of Lindsay Cooper, the bass player not the bassoonist, and pianist Stan VW: No. Basically I didn’t have enough work as a Tracey. I started to get to know Trevor and talked about performing musician and the dole [British music with him just before he left London to go and Unemployment] people were getting bored with seeing live in Hastings in the early ‘80s. He started Moiré me every week. I enrolled for a course because I could Music soon after that and so I was in right at the get a mature student grant, which also considered the beginning of this project that initially included four fact that I have two children. Those were the days. The saxophonists, two violinists, piano, bass guitar, drums Masters was just an extension of this. I thought that at and percussion. Working with Trevor is now a very least I would then be paid to study music, which I important strand in my activity as a musician. His very liked doing anyway and still do. Also it introduced me open interest in a lot of different kinds of music enables to a whole load of other people including students and our musical relationship to have a lot of dynamic. The teachers, so it enlarged my horizons, I suppose. But I music can go anywhere and so there is still an enormous don’t really like these kinds of institutions to be honest. amount of potential music to explore on gigs. I was invited back to teach for a while and found it quite painful. TNYCJR: Once you moved to London from Cornwall in 1972, you became a regular at the legendary Little TNYCJR: You were also revising your book on piano Theatre Club, which your older sister Armorel helped improvisation in the ‘70s. What was the reason for start in the ‘60s. Who did you play with at first? Had writing it? Did it reach a final form? you already been interested in so-called free music? VW: No, it was a way of developing methods and VW: There were other younger players at the Club correlating observations and research in a daily journal. who wanted to play together so I played with some of It was never published. The book contained various them. Before this though, I was only a teenager in aspects of theory, fingerings, hand-independence Cornwall so was mainly just trying to listen to as much exercises and structures that facilitate a more even and music as possible more generally. This consisted of not two-handed approach to contemporary piano only jazz recordings on Impulse, Atlantic and Blue improvisation. At Digswell I got some financial Note, but also the sounds from [world music labels] support to revise the material by restructuring it using Ocora and Nonesuch. I remember hearing John Cage musical syntax rather than it being just chronological. on BBC Radio3 in 1967 and being knocked out by the This enabled me to not only reassess the material in the way he responded to questions with more questions. original book, but also helped me to edit and revise all His questions often had lovely humor in them but the day-to-day jottings. could not be answered. I also had favorite pianists earlier in my mid-teens; they were Otis Spann and TNYCJR: In the mid ‘90s you started working with Mose Allison. I discovered Thelonious Monk a bit later. vocalist Phil Minton. How and why did this arrangement begin and is it still ongoing? It included TNYCJR: Your longest lasting musical relationship has bands like the one with saxophonist John Butcher and

6 July 2012 | THE NEW YORK CITY JAZZ RECORD ARTIST FEATURE

Walter is at I-Beam Jul. 5th, 12th, 19th and 26th. See Calendar.

Recommended Listening: • - Trauma 1-11 Weasel (ugEXPLODE, 2000) • /Weasel Walter - Opulence (ugEXPLODE, 2007) • Nate Wooley/Scott R. Looney// Weasel Walter - Scowl (ugEXPLODE, 2008)

O W N M U S I C . E T • /James Fei/Damon Smith/ Walter Weasel Walter - Eponymous (ugEXPLODE, 2008) • Weasel Walter Septet - Invasion (ugEXPLODE, 2009) • Weasel Walter/Mary Halvorson/Peter Evans - Electric Fruit (Thirsty Ear, 2010)

Nacht records - New Releases P e t r G a n u s h k i / D O W N T by Martin Longley

Weasel Walter has a certain reputation for tend to take it all, if I can... It’s the idea of keeping the Mike Noordzy - bass uncompromising fierceness. His approach to craft going on as many levels as I find I can engage improvisation customarily favors its violently with.” Walter’s reputation in Oakland and Weasel Walter - drums confrontational potentiality. His approach to rock ’n’ meant that he already had regular playing partners in Anthony Ware - alto sax roll also grabs hold of the form’s maximum momentum, NYC. He formed The Flying Luttenbachers in the T its full possible noise-evisceration qualities. When he’s windy city, way back in 1991, with multi-instrumentalist in improvising mode, the drumkit is the Weasel’s (who died the next year). The group Karl Berger - Dom Minasi chosen weapon, but he’s also likely to strap on a guitar remained together in various lineups until 2007. when fronting a rock combo such as Cellular Chaos. “It seemed a bit futile to be living on the other side Chris Welcome - electronic music This last outfit features Marc Edwards on drums, the of the country, at a certain point. I was always against pair also leading a regular quintet together. moving to NY. It didn’t want me and I didn’t need it. $3 downloads! Meanwhile, Walter’s trio with trumpeter Peter Evans This is not the New York of my boyhood fantasies.” and guitarist Mary Halvorson have another album in The Weasel’s heroes include fellow extremists James the can, awaiting release. Chance, and a whole host of loft-dwelling NACHT RECORds Walter moved to NYC from Oakland, California, free jazz players. “They were attracted to NY because it around two years back. He hit the local scene running was a place where misfits had a chance of defining experimental - weirdo - noise - free jazz and he hasn’t let up since, whether performing in themselves and of finding each other. I come out of a www.NACHTrecords.com spontaneously grouped jazz settings or the more generation with certain expectations. People who are regimented lineups of his rock outfits. Walter mostly younger than me, I don’t think they relate to NY on sticks to perimeter venues, DIY spaces such as Death that level, because they’re not wrapped up in the By Audio or alternative jazz haunts like Zebulon, both mythos that I was when I was growing up. I feel that of them in Williamsburg, Brooklyn. I’m a part of old NY, attitudinally and what I’m doing This month, Walter moves southward, turning up artistically. I feel a lot closer to older musicians than I at I-Beam, down in Gowanus. He’ll be playing a do to younger players, for those reasons.” Thursday night residency with bassist Max Johnson, Part of Walter’s mission is to be a catalyst between the duo inviting along a series of guests for real-time older and younger artists. “I came here to see if I could interactions. I caught Walter during a rare moment of fucking hack it. This is not where you come to relax; relaxation. “Max noticed that my approach is pretty you come here to work harder than you’ve ever worked catholic in terms of improvisation, style and idiom,” before. There’s more competition, more apathy, there’s Walter explains. “He sussed out immediately that I’m less reward, more potential, more and less of ready to play. He finagled himself into a month-long everything. When I came here, the novelty wore off residency and he figured that I’d be good glue.” after 15 minutes for many people and then I was just Walter and Johnson look up to their older musical another struggling bohemian. The past two years, I’ve heroes, admiring them as well as assisting them on a had to redefine what I do, find new connections and newer scene. “I like to see these people play at their basically step up my game and be better than I’ve ever peak intensity, so I tend to go musically towards that, been. Just to be ignored!” he laughs. “I don’t really let just because that’s my own preference.” The pair are that bring me down. I knew it would be hard. I’m planning to record all of the performances for possible really serious about what I do and I’m prolific and I release and the platform may well be Walter’s think there’s a certain quality to everything I do. My ugEXPLODE imprint. “It’s a very niche market and it’s attitude is to just put as much of it out there as possible very saturated, so my attitude is let’s get the thing out and let people deal with it.” now while it’s still hot!” The Weasel thrives on being an outsider. If he ever The Weasel is somewhat unusual for being became too popular, he’d probably be deeply worried carefully balanced between extreme jazz and extreme about his audience. “My music is based on anger and rock expressions. Often, these manifestations will revolt and iconoclasm and I feel like a lot of people in collide during the same performance. Walter usually this society are not into my expression of it. I play anti- keeps up an almost constant tumble and clatter of complacency music and I don’t think that’s what many muted strikes, but can sometimes be heard at his more people want right now. I think that music is reverting sensitive extreme. His woody articulation is descended to a folk art. It’s not gonna reach the pinnacle of from that of the old-school detail-specialists like Paul recognition, fame and reward that it had in the last half Lovens and, particularly from , players such of the 20th century. I’m a purist. Right now, there’s as Tony Oxley and Roger Turner. Hesitation is almost no other reason. As long as my tape recorder’s completely absent as Walter makes split-second running, that might be the next release. I don’t care if decisions, realizing them as part of an often highly there’s zero people there, or five, or 100, or 1000. As accelerated rush of ornate cacophony. long as I can make my audio painting and sell it to Having recently entered his fourth decade, somebody, that’s to me the goal. The dust is starting to Walter’s life still moves at the same rate as his stick- settle here. We’ll see who perseveres.” v work, crammed with gigs and mostly self-produced record releases. “People throw a lot of stuff at me and I For more information, visit nowave.pair.com/weasel_walter.

THE NEW YORK CITY JAZZ RECORD | July 2012 7

ON THE COVER P h o t g r a p © 2 0 9 J c k V

KENNY a r t o g i n / F

BARRON o n t R w P h s FUN ADVENTURE by George Kanzler

Two words that recur in a conversation with the and sometimes the dancers included a tap and a rehearse. I think it would almost be a sacrilege to now. pianist Kenny Barron are “fun” and “adventurous”. striptease dancer and they danced to standards like We just sit down and one of us will start a song and For Barron, his long career in jazz has been a fun ‘Caravan’. So that kind of experience, and playing for that’s it, we just go from there.” adventure, one where every new playing situation or , just doesn’t exist much anymore”. • Bassist : “He’s wonderful, fun to play configuration is a creative opportunity. Asked about his education from Gillespie, with with, very different. The interaction is great. He’s not During last month and through the rest of the whom he spent the years most young people do in somebody I want to just play the time; he can weave in summer, Barron’s itinerary lists a trip to Brazil, where college, Barron said: “Working with Dizzy I learned and out of things. He’s a master.” he performed with his quartet, celebrated his 69th about things like how to use space. That you don’t • Percussionist , on their duo CD Swamp birthday (Jun. 9th) and recorded with local musicians; have to play everything you know all the time, you can Sally: “It was really fun to do. I played a lot of electric a recent concert with the Classical Jazz Quartet (vibist save yourself for more difficult moments. And he keyboards and keyboard bass, as well as acoustic bass , bassist and drummer Lewis didn’t have to tell me that, just watching him was on one track. We did a lot of tracks at Mino’s home Nash); an upcoming week at the Village Vanguard enough. He always gave 100 percent but I wanted to studio - he was basically the producer and programmer with his quintet; duo concerts with pianist Mulgrew impress people and fill up every beat and I learned since he knew how to use all that stuff and I didn’t - Miller and bassist Dave Holland; a European tour with from Dizzy and other older musicians that you don’t and I overdubbed some acoustic piano in a studio.” Mostly Monk, a quartet of pianists rounded out by have to do that. You’ve got to build a solo, start from Spontaneity is one way Barron tries to keep the fun Miller, Eric Reed and Benny Green, plus solo and trio way down and build it up - it should be filled with and adventure in his playing. “I rarely do set lists,” he dates. hills and valleys, you know. says. “It works out better for me. Every time I try and It’s a typically busy and varied schedule for a jazz “And more specifically, later when I was working do one I’m always sorry I did it. For the quintet I will pianist who divides much of his career between being with Yusef Lateef again [1971-75], he had a real sense do lists, because they have to read music, but doing a super-sideman and leader, as well as a long parallel of adventure in his playing and I was affected by that solo, or even with my trio, I don’t like to prepare in role as an educator (28 years at , and his writing too, because he encouraged me to write advance. I like to read the audience, see who’s out currently at The ). Along the way he’s and recorded my pieces too, as did Dizzy.” there. If there are a lot of blue-haired ladies, for been inducted into the American Jazz Hall of Fame, Barron has learned different lessons from other instance, I’m not going to play too far out because I won jazz polls, been named a National Endowment for leaders, citing how he learned “how to play soft and want them to understand the music and have it be the Arts (NEA) Jazz Master (2010) and garnered still be intense” from Ron Carter “because he was accessible to them, be able to communicate with them. numerous Grammy nominations. But most of all, really into dynamics, which is very important in duos I’ll play more standards than I’d do for a younger Barron is a musician’s musician, admired by a host of too. I learned something from everybody I worked audience. But that’s not pandering, it’s just realizing his peers. with; for example with , it was about lyricism, who you’re playing for.” , a bassist who has worked with Barron about how to play pretty and mean it.” Barron’s last album as a leader was 2008’s The since the early ‘80s, has written (in the notes to an According to Pitcoff, Barron has recorded or Traveler (Sunnyside). And despite having been named album of duets with pianists by bassist Dave Young, performed in duos with dozens of musicians, from an NEA Jazz Master two years ago, he is not currently Two by Two, Vol. 2 [Justin Time, 1996]): “Kenny Barron bassists and other pianists to guitarists, horn players signed with a record company, but does want to do has relentless power and control and possesses the and a violinist. So what is it about duos that so appeals more recordings, maybe on his own or as one-offs or finesse of a fine wine.” Bassist Young himself told Joel to him? internet-only releases. Pitcoff, who is compiling and annotating a jazz duo “Aside from doing duos with a bassist, which is “I’d love to do an album with strings,” he says. “I discography, “Kenny is a very sympathetic player but more normal for pianists,” Barron says, “with horn guess that’s every pianist’s dream, to record with always swings. He’s a spontaneous improviser and players or guitar players you’re kind of on your own, strings, to have that lush underpinning. I also want to gets into the creative space immediately, which is what so to speak. There’s nothing to lean on, nobody giving do a solo piano album again.” I like. He’s also a gentleman and treats you as an equal you the time, nobody accompanying you. No matter Of missed opportunities - even a musician like in the creative process.” what’s going to happen, you have to make it happen, Barron, who has worked with myriad giants, has some The late tenor saxophonist Stan Getz, with whom but without forcing it. Plus, you’re much more exposed, gaps in his resumé - he says, “Most of the people I was Barron made what is often considered the classic jazz obviously, so mistakes - if you want to call them that - dying to play with are literally gone. I would have duo album, People Time, in 1991, said at the time: can be glaring.” loved to play with Miles [Davis] in his pre-electric “There are only three pianists left: Hank [Jones], Duos with pianists are another story, he says. “You days. And Sonny Rollins, who’s still around, but Tommy [Flanagan] and Kenny.” That Barron also have to listen, basically and try not to play the same doesn’t use piano anymore. But I’m fortunate, I’ve recorded duo performances with both Jones and things at the same time. If we’re both playing very been able to work with many great people, had lots of Flanagan is surely no coincidence. dense chords at the same time then obviously it’s going work, so I’m happy and blessed.”v That ascendancy started early, as Barron began to sound dense and not very clear. The question is playing professionally in his hometown, Philadelphia, what to spare, when not to play so much. It’s give and For more information, visit kennybarron.com. Barron is at in Mel Melvin’s R’n’B orchestra as a teenager, joining take fun, especially if you have styles that are Village Vanguard Jul. 3rd-8th. See Calendar. his older (by 15 years) brother, the late tenor compatible.” saxophonist . Later gigs with Philly Joe Here’s how Barron responded to some of his duo Recommended Listening: Jones and Yusef Lateef preceded a move to New York, partners when they were named: • Dizzy Gillespie - Something Old, Something New where he was soon hired - at 19 - by Dizzy Gillespie, on (Philips-Verve, 1963) the recommendation of James Moody. He recalls it as a • Violinist : “It was fun; she’s amazing, • Bill Barron - Motivation (Savoy, 1972) very different time. she’s got big ears and a good imagination so wherever • Kenny Barron - What If? (Enja, 1986) “There were certain things then that just don’t you want to go, she’s right there.” • Kenny Barron - Live at , Vol. 10 exist anymore,” he says. “When I was coming up some • Pianist : “He’s incredibly easy to (Concord, 1990) of my first gigs were shows. You had to play for a play with. His chops are incredible as is his sense of • Stan Getz/Kenny Barron - People Time comedian, you had to play for a singer, you had to play harmonics so sometimes I can’t play for listening to (The Complete Recordings) (Verve-Sunnyside, 1991) for a tap dancer. You had to do all that stuff on one gig him. And again, it’s all give and take. We never • James Moody - Moody 4A/ (IPO, 2008)

THE NEW YORK CITY JAZZ RECORD | July 2012 9 ENCORE

52nd Street and in 1989 Andrews would be the subject Recommended Listening: Ernie Andrews of a documentary entitled Blues For Central Avenue, • Ernie Andrews - Eponymous (Travelin’ Light) which had him walking down a Central Avenue full of (GNP, 1957) by Marcia Hillman vacant lots and vacant buildings, nostalgically • Quintet - Live Session! commenting on what “used to be”.) His blues style led (with Ernie Andrews) (Capitol-EMI, 1962/1964) Ernie Andrews is in it him to some time on the East Coast, engagements in • Ernie Andrews - From The Heart (Discovery, 1980) for the long haul. Born Atlantic City, at the Apollo Theater and a debut at the • Jay McShann - Paris All-Star Blues in Philadelphia on original Birdland. “I was with John Levy management (Heritage Jazz-Limelight, 1989) Christmas Day in 1927, then and he had me scuffling between the East and • Ernie Andrews - No Regrets (Muse-32 Jazz, 1992) this 84-year-old singer West Coasts.” • Ernie Andrews - How About Me (HighNote, 2006) of the blues has been At that time however, the music business for performing since he Andrews was a choice between sticking with his blues was a teenager. “All my folks were singers. My mother approach or going pop as so many other singers had was a good singer and a church organist. My father done. “My idols were Herb Jeffries, Joe Williams, Billy was a good singer and my uncles were good singers. Daniels and Billy Eckstine. I consider Eckstine to be the They even had a quartet,” he explains. He spent his finest balladeer of that time,” Andrews states. By that first 13 years in Philadelphia, where he was able to time Andrews had also married, had two children and hear some of the stars of the day like , did not like being away from his growing family. Chick Webb, Jimmie Lunceford and in (Andrews and his wife Delores were married for 53 nearby theaters. years until her death from cancer, producing five A summer vacation to his grandmother in children, ten grandchildren and a growing number of Louisiana turned into a four-year stay and Andrews great-grandchildren.) Luckily, an offer to join the lucked out because legendary trumpeter Bunk Johnson band came his way and since the band (during a low ebb in his own career) was acting as the was playing Las Vegas and Reno, it was a perfect high school bandmaster. Andrews took up the drums solution. Andrews worked with James from 1959-69 under his direction and continued his listening and with the Band as well. “I think of education in , which was only 90 miles myself as a band singer basically.” July 10th away. Eventually Andrews’ mother obtained work in The years have been filled with highs and lows, The Crescent City and he was able to hear all of the but Andrews has stayed true to himself. He has Ray Blue Group bands that came through. However in 1945, there was performed with the Clayton-Hamilton Orchestra and one more relocation for Andrews and his mother: Los the LA Symphony Camerata and appeared at various Angeles, where he still makes his home today. At festivals. First and foremost Andrews is an entertainer. July 17th Jefferson High School, he pursued his education along He knows himself and he knows his audience. On with schoolmates that included Sonny Criss, Eric stage, he gives more than one hundred percent. “I have Lou Volpe Trio Dolphy, Art and , , to please my audience and I have to sing songs that Chico Hamilton, Hampton Hawes and . I’ve lived because it makes it honest. You sing with the July 24th Andrews was also holding down an ushering job melody and then add your own interpretation,” he at Central Avenue’s Lincoln Theater, where he muses. “I never wanted to be a star. I always wanted to Mike Longo’s NY State of frequently entered and won their Wednesday night sing love songs to lovely ladies.” He continues, “I’ve amateur competitions (the West Coast version of New had some wonderful times and some wonderful the Art Jazz Ensemble York’s Apollo Theater contests). “A guy by the name of friends.” Joe Greene came up to me one night and asked me if I These days Andrews looks forward to more of the with surprise guests would like to record for him,” he recalls. Greene was a same. He has a lady named Bernice in his life. “I’ve noted associated with Stan Kenton and been very lucky. I’ve had two ladies who let me be who wrote the band’s hit “Her Tears Flowed Like Wine”. I was,” he proclaims. Andrews continues to work a New York Baha’i Center Greene would launch his Gem Records company with busy schedule on the west coast but will be heading for 53 E. 11th Street Andrews’ recording of his song “Soothe Me”. Andrews NYC this month. A consummate entertainer with no (between University Place and Broadway) states, “He wrote that song for me and also ‘Don’t Let shortage of audiences who love him, Andrews is Shows: 8:00 & 9:30 PM The Sun Catch You Crying’ as a B-side. Both these certainly in it for the long haul. v Gen Adm: $15 Students $10 songs became hits for me.” 212-222-5159 Though still a teenager, Andrews was playing at For more information, visit ernieandrews.com. Andrews is the various venues along Central Avenue. (In the ‘30s- at 92nd Street Y Jul. 17th as part of Jazz in July. See bahainyc.org/nyc-bahai-center/jazz-night 40s Central Avenue was the equivalent of New York’s Calendar.

LEST WE FORGET

as jazz when the Handy group played in New Orleans. Post-World War II jazz found some of the older Buster Bailey (1902-67) Bailey moved to Chicago after quitting the Handy players simultaneously involved with the music that band there and soon came to join up with Erskine Tate, began to be called and in more contemporary by Donald Elfman with whom he played for four years. In 1923, he signed settings. Bailey worked with and, in on with the Creole Jazz Band and the ‘50s, with and trombonist ‘Big Chief’ Buster Bailey was a master jazz musician. He was a befriended Louis Armstrong. The pair left to join Russell Moore. He also worked in the pit of a superlative clarinet player in the earliest days of the in New York just one year later. production of Porgy and Bess and with orchestras, music, when it was just coming out from ragtime and In the late ‘20s and throughout the ‘30s Bailey putting his classical chops to some renewed use. the blues; played in the bands as the style was became the clarinetist in the best groups in New York. Bailey was sought out in the ‘50s-60s when jazz becoming popular and worked with some of the great He played with Noble Sissle, Edgar Hayes and, of festivals included programs by some of the more names - Fletcher Henderson, Henry ‘Red’ Allen and course, Henderson. In that incarnation, the band traditional musicians. The period found him working King Oliver. He was the first classically trained backed such important singers as Ma Rainey and with Coleman Hawkins, Wild and, as a clarinetist to make a name in the jazz world and his Bessie Smith. After a very brief time with the celebrated kind of poignant career closer, Armstrong once more. playing demands the attention of any serious listener. , in 1934 Bailey began a In 1958, he recorded an album under his own name, All Born William C. Bailey in Memphis, Tennessee on successful run in the sextet started by Henderson About Memphis. He died in New York on Apr. 12th, Jul. 19th, 1902, he received lessons in classical clarinet bassist . This was perhaps the clarinetist’s 1967. His playing still deserves attention, especially his from Franz Schoepp, who also taught . most fruitful association, allowing him to shine on work on Fletcher Henderson Story (Sony-Legacy), some At age 15 (!), Bailey joined the band of so-called ‘Father music written and arranged by trumpeter Charlie recordings under the leadership of Red Allen, Charlie of the Blues’ WC Handy. He played popular dance and Shavers, such as the rapid-fire “Man with a Horn Goes Shavers and King Oliver (Topaz) and on Buster Bailey blues numbers and first heard what came to be known Berserk”. Bailey stayed with Kirby until 1946. Story (Jazz Archives). v

10 July 2012 | THE NEW YORK CITY JAZZ RECORD MEGAPHONE

first -in-residence at the New York found a kinship that transcended kin. Diamonds Philharmonic. He has composed more than 100 This nomadic, insubstantial life sustained my chamber and orchestral works, the scores for such spirit. But it could not last. The Fulbright Commission by Robin Hirsch movies as The Manchurian Candidate, Splendor in the and the English-Speaking Union conspired to pluck me Grass and (another collaboration with Kerouac) Pull out of my impoverished idyll and send me in the hold When Jack Kerouac and I were strolling down My Daisy. He has collaborated with an astonishing of the Queen Elizabeth to the New World to write McDougal Street in Greenwich Village one variety of American icons in addition to Bernstein and about avant garde American theatre and pursue a night in the 1950’s, he paused and pointed to the Kerouac, including, but not limited to, Dizzy Gillespie, Ph.D. sparkling slivers of metal embedded in the litter- Langston Hughes, Willie Nelson, Thelonious Monk, How that came to pass, how I became involved in strewn asphalt. “Look at the diamonds in the Odetta, Elia Kazan, Arthur Miller, Charles Mingus, the experimental theatre in New York, how, on a lunatic sidewalk, Davey,” he said. Jack was referring to and Tito Puente. whim, ten years after my arrival, together with two some of the hidden treasures of New York that The third reason is more personal. other starving artists, I opened a little one-room café we all felt surrounded us...in the most exciting I came to this country in 1967. My very proper with a toaster-oven in Greenwich Village, is meat for a and glamorous city in the world... English education had enabled me to go to Oxford and more substantial meal than this one. Suffice it to say, David Amram, Westword, then to teach for a year and a half at a German that suddenly here I am, the last of the original Denver, February 15, 2008 university (a very complicated undertaking for the son proprietors of the Cornelia Street Café, about to of German Jews who had fled Hitler for London, just in celebrate our 35th anniversary, having graduated to I begin with this reminiscence by David Amram for all time to be bombed by their erstwhile countrymen). By three rooms upstairs, a performance space downstairs, sorts of reasons. the age of 23 I was burnt out. “How soon hath Time, two kitchens, two bars and more refrigerators than I First, he alludes to a magical time in New York the subtle thief of youth, Stol’n on his wing my three- can count. history, which beckoned me when I was a schoolboy in and-twentieth year,” I bemoaned with Milton, another From the beginning we have been nourished by England. I remember an anthology which came out in Old Boy of St. Paul’s, in front of my class on Literary the spirit of camaraderie that I found first in a Jewish the late ‘50s called The Beat Generation and the Angry Analysis. Drained, I returned to England. To my utter youth group in London and later in the theatre. We Young Men. The Beats - Kerouac, Ginsberg, et al. - will joy and disbelief, I was accepted as an actor at the have attempted to provide food for the soul as well as be old news to anyone reading this column, but they Sheffield Playhouse, a well-regarded repertory theatre the stomach. The three of us were artists, which drew were a wild eye-opener to my generation of proper in the North of England, in 1966. in other artists. Suzanne Vega sang her first songs English schoolboys. The Angry Young Men were - with My first professional role - my first paying job when we were one room; Eve Ensler fired the first a little stretch - their British contemporaries. The since giving up my position as Lektor für Anglistik at volley of her Vagina Monologues shortly after we “Angry” sobriquet comes from the seminal British play the Ruhr-Universität Bochum - was as a bee in the excavated downstairs; some of my old Oxford chums, of the ‘50s, John Osborne’s Look Back in Anger, which annual pantomime. A bee. who with their equally rigorous education became was the first salvo in an onslaught of young playwrights Needless to say I had a glorious time. Dousing the Monty Python, performed when they were in town; finding a new, liberated - and liberating - voice, ten searing intensity of Germany, I found myself now in a Senator Eugene McCarthy read his poetry and Dr. years after the end of World War II: Osborne, Arnold community where, since you were perpetually broke, Oliver Sacks his prose; we do a monthly Science series Wesker, Harold Pinter and myriad others. All of this the only currency that mattered was wit, laughter, with Roald Hoffmann, who writes poetry and plays was catnip to me, beginning in my teens to develop outrageousness, the ability to corpse your fellow actors but more famously won the Nobel Prize in Chemistry; what became a lifelong passion for the theatre. But on stage and your willingness to buy a round at the we have done the entire Iliad, the complete theatrical nothing was quite so seductive as the voices from pub. We did mainstage productions of Shakespeare, works of Günter Grass, poetry in a dozen different across the Atlantic. Indeed, in my last year in high Ibsen, Beckett, Feydeau, Galsworthy, Arbutsov, not to languages and music in almost as many genres as school (St. Paul’s, founded in 1509 by John Colet, Dean mention Pinter, Wesker and Osborne. We took theatre David Amram. of St. Paul’s) I shocked the judges at an Elocution into the community. I had the opportunity on a small Which brings me back to the beginning. For the contest by choosing a passage from “Go” by John scale to write and direct. But the real lessons were not last eight or ten years, David has appeared here on the Clellon Holmes - I came in second. something I could articulate at the time - or even first Monday of every month and, to my delight and Second, David straddles every possible genre of recognize. They were lessons which have served me continuing astonishment, links this little venture with music. He began as a classical French horn player. But well for almost half a century. They had to do with the the whole history and range of music, with jazz, with that’s like saying Shakespeare wrote sonnets. He will, whole notion of collective enterprise, with a kind of classical, with folk, with spoken word, with New York in the course of a concert, move effortlessly between democracy of feeling and talent, the democracy of art. in particular and its extraordinary diversity of cultures. French horn, piano, diverse flutes, whistles and drums You were a part of a community, you had a job to do On Jul. 4th, perpetually 201 years behind a slightly and dozens of folkloric instruments culled from travels that took enormous concentration, cooperation and larger entity, we will celebrate our 35th birthday with and performances in more than 25 countries. In the ability, not unlike putting up a new house every three David and his band and a whole host of artists playing ‘50s he hung out in the fertile demi-monde of weeks or, as it later turned out, running a restaurant. on the street. And then downstairs in our cabaret we Greenwich Village with the Beats and many of the jazz And in the heat of battle, deep, intense, intimate will show a sneak preview of Larry Kraman’s film, greats. He and Kerouac virtually invented “Jazz and cameraderies were formed that shortcircuited the (CONTINUED ON PAGE 31) Spoken Word”. In the ‘60s he was Leonard Bernstein’s usual polite civilian formulae for friendship. And you

VOXNEWS by Katie Bull fiery Bettye LaVette, sassy Macy Gray, Dr. John and outdoor programming (Jul. 2nd). U2’s were only a few of the other high-wattage Past is present. From the archival vaults of post- A deeply moving event took place at the Apollo stars, not to mention a slew of wonderful war German broadcasting by Südwestrundfunk Theater in May, one that offers meaning for July’s vocal instrumentalists, who lined up to support this (founded in 1947), 1,600 audio and more than 350 jazz listening. Led by the vibrant Wendy Oxenhorn, wonderful organization. What a night! television recordings - over 3,000 hours of previously The Jazz Foundation of America (JFA) held its 11th So this July and forever more, let’s listen with the unreleased music from major modern jazz artists - is annual fundraiser, “A Great Night In Harlem”, to perspective that experience counts for something now available! Among the first releases are Anita support elderly, homeless and infirm jazz musicians. eternally important in jazz. Let’s all get out for the O’Day with the Benny Goodman Orchestra from 1959 80-something-year-old Essie Mae opened the veterans, like Ernie Andrews and Freddy Cole (Jul. (JazzHaus). event by invoking perspective: “There’s got to be some 17th) or Barbara Carroll celebrating Richard Rodgers And what might tomorrow’s sound be, if you rain in your life, to appreciate the sunshine,” she with the young-yet-old-soul Sachal Vasandani (Jul. could hear it today? Enter a wormhole as you brave wailed on an uplifting Dorothy Norwood blues. There 19th) - both events at the 92nd Street Y’s Jazz In July. Norwegian Tone Åse’s new album Voxpheria (Gigafon), she stood, in unwavering grace and ease, her a cappella For more real-deal richness, catch the New Orleans a semi-dissonant duo with percussionist Thomas voice filling the vaulting space with a depth that only Jazz Brunch with ”Hot Lips” Joey Morant & Catfish Stronen. Åse is an unearthly, achingly soulful singer; life experience can generate. Stew playing the music of Louis Armstrong at Lucille’s the two improvise with raw, symbiotic melding of Many singers who carry the roots of jazz were at BB King’s Blues Bar (Jul. 15th). And to see a electronicized human and inanimate sound in present and honored. 90-something blues man John foundational jazz lineage alive and well in its next expressive ‘singularity’. Åse cracks all category Dee Holeman sat long and limber, strumming his generation, the sensual Bebel Gilberto - João Gilberto orientations apart and invents new language. And guitar and singing his truth, nobly embodying the and Miúcha’s daughter - will weave modern Brazilian thanks to organizations like the JFA, we won’t forget source of everything jazz that’s evolved since. The bossa song-threads as part of Central Park Summerstage the origins of the first words of jazz. v

THE NEW YORK CITY JAZZ RECORD | July 2012 11 LABEL SPOTLIGHT

was released by Elektra. But, for a number of reasons, Gavin’s intervention gave Matchless a grant towards Matchless Recordings this and other examples were all ‘remaindered’, realizing the then-ambitious project of the double sometimes within weeks of their release. So although it boxed release accompanied with documentary by Stuart Broomer was initially satisfying to have the attention from these material. Keith Rowe and I, as part of economic labels, it didn’t lead anywhere. necessity and artistic decision, glued covers - Keith’s Few musician-run labels have the iconic identity or “It soon became clear our musical lives depended design - onto the boxes in the Village Hall of Matching influence of percussionist Eddie Prévost’s Matchless upon our own initiatives. The ‘big break’ was in Tye [where Prévost and Matchless reside].” Recordings, from its 33-year documentation of free dreamland. Also, the feeling of the time was distrust of Prévost describes the reaction: “In one case a improvisation to the visual brilliance of the cover art established structures and people realized that making, distributor was angry at our decision to release this and the challenging, unapologetic thoughtfulness of releasing and selling records was nuts and bolts. The material. He claimed no one would buy it, missing the the liner essays. It is, most conspicuously, the label of mystique had gone. In Britain Incus [founded by Derek point in a number of ways. First, it was not a commodity AMM - the pioneering English Bailey, Tony Oxley and in 1970] was the but the embodiment of our work. Secondly, it turned group that began in 1965 and included Prévost, leading improvising musician co-operative label to out to be the most economically successful recording composer Cornelius Cardew and guitarist Keith Rowe thus develop. It was a good model to follow.” Matchless ever released!” and which continues to this day with Prévost and When Matchless was launched, it had little to do The impact of The Crypt still resonates. The pianist John Tilbury - but it’s also far more than that. with AMM and almost everything to do with Prévost’s saxophonist Seymour Wright, now one of Prévost’s Launched in 1979, the label has flowered along own free jazz projects. “By the time I decided to start closest associates, says, “Actually, when I think of the with Prévost’s multi-faceted projects, including his the label, AMM was in disarray. The band had fractured Matchless label I always think of The Crypt. That box free jazz groups and the London improvisation under the weight of Maoist politics and youthful set, on Matchless, on vinyl, was one of the first records workshop he has convened since 1999. Today Matchless bloodymindedness. Matchless Recordings became the I ever played and listened to as I started to work my releases projects like the free jazz trio Sum, works by vehicle for my free jazz band with Geoff Hawkins on way through my parent’s records as a boy. Everything Morton Feldman and Christian Wolff, the tenor, Gerry Gold on trumpet and Marcio Mattos on about it - music, cover, box and booklet - fascinated brilliant textural improvisations of the French band bass with me on drum-kit. The LPs LIVE Vols. 1 and 2 me.” Hubbub and the computer interactions of pianist [“live” rhymes with “give”] were soon followed by The AMM CDs have a monumental unity about Sebastian Lexer. A publishing wing, Copula, has AMM-connected material as the rapprochement and them. The virtual motto of the band is “as alike as released writings by Prévost, Tilbury and Cardew. the refiguring of AMM occurred with the addition of trees”; each is typically a CD-length improvisation, an The independence of Matchless contrasts sharply John Tilbury.” organic investigation of layers of texture and with the world that Prévost first encountered in the In 1981, the label released The Crypt, a boxed set of continuous sound - The Nameless Uncarved Block and mid ‘60s and he traces the roots of Matchless to an era AMM music from 1968, some of the most challenging Tunes without Measure or End are aptly named. The when intrepid pop labels sought out the most music ever recorded. “The decision to release The Crypt Matchless catalogue includes the full sweep of AMM challenging music. “In 1966 the music was completely was dependent upon a surprising complex of factors. history through all of its permutations and new and some of the early free improvising musicians [Bassist] Gavin Bryars was, at the time, a musician collaborations. were picked up by big labels. AMM’s first recording serving on the Arts Council New Music sub-committee. (CONTINUED ON PAGE 31)

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Imponderable Evidence

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Uncovered Correspondence Interworks dazwischen Blackheath AMM John Butcher/Eddie Prévost S von Schlippenbach/Prévost

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Born in Hong Kong, TERIVER CHEUNG began his Dream Band: A collective band formed with very Teachers: , Mark Helias, Mark Dresser, musical journey at age 5 playing the piano. At age 16, he creative, versatile and open-minded individuals, who Cameron Brown, Reggie Workman and Jeff Carney. switched to guitar and discovered his love for jazz are searching for new fresh sounding music. music. In 2004, he moved to the US to attend the jazz Influences: , , Malachi program at the University of North Texas. In 2009, Did you know? I played at an outdoor festival in Hong Favors, , John Wetton and the teachers Cheung moved to New York to further his music career Kong a couple of months ago. There was a crazy guy above. Also Jimmy Giuffre, , Black and has been playing an active role in the scene since with body right in front of me. Someone Sabbath, Dexter Gordon, Tim O’Brien, John Coltrane. then. Cheung had the opportunities to tour and perform videotaped it and uploaded it on Youtube. with Eddie Gomez, , Billy Drummond, Current Projects: My “working band” is a trio with Kirk Bernard Wright, Taylor Eigsti and has brought his music For more information, visit terivercheung.com. Cheung is at Knuffke and Ziv Ravitz, which has a record on FMR internationally to the US, Poland, , Hong Kong, Fat Cat Jul. 5th. See Calendar. records coming out in the fall. There’s also my quartet , Singapore, Malaysia, Indonesia, Taiwan and with Ingrid Laubrock, Mat Maneri and Tomas Fujiwara, . which plays music inspired by the ‘60s TV Show The Prisoner. I also have an improvised duo with Sylvain Teachers: Fred Hamilton, Stefan Karlson, Ed Soph and Leroux and a trio with Ross Martin and Jeff Davis that other professors at the University of North Texas. plays crazed fiddle tunes.

Influences: Chopin, Debussy, Stravinsky, , By Day: I practice, email folks and eat food. Sometimes Jeff Beck, Wayne Krantz, , Bill Evans, Brad I even go outdoors... Mehldau, John Coltrane, Radiohead, Björk and many

many more. P e t r G a n u s h k i I knew I wanted to be a musician when... It took over Teriver Cheung Max Johnson my life in high school and I haven’t looked back since. Current Projects: Newly released debut album My Nocturne (Tippin’) and my soul/funk/hiphop band MAX JOHNSON is a bassist/composer known for his Dream Band: I don’t know, I already play with some of ‘Nuf Said. work in New York’s free jazz and bluegrass circles. He my favorite musicians in the world! has worked with Anthony Braxton, , William By Day: Doing my music and taking care of the business Parker, Henry Grimes, and Joseph Did you know? I also have a separate career as a semi- side. Jarman. Johnson has performed in Germany, in-demand bluegrass bassist. Switzerland, England and Canada and his debut album, I knew I wanted to be a musician when... I was playing Quartet, with Mark Whitecage, and Tyshawn For more information, visit maxjohnsonmusic.com. Johnson the guitar whenever I had a free minute in high school. Sorey, will be released by NotTwo this month. is at I-Beam Jul. 5th, 12th, 19th and 26th. See Calendar.

12 July 2012 | THE NEW YORK CITY JAZZ RECORD FESTIVAL REPORT Ulrichsberger Kaleidophon FIMAV Moers Festival by Ken Waxman by Stuart Broomer by Andrey Henkin d . c o m . j a z w o r , w ( c ) S u s a n O ’ C o r P h o t b y M a r i n s e P h o t b y H e l m u B r n s John Butcher and John Edwards John Zorn Tanya Tagaq

London saxophonist John Butcher and Chicago Festival de Musique Actuelle de Victoriaville (FIMAV, One might wonder why a New York-based journalist drummer Tim Daisy were the MVPs during the or Victo as it’s known to frequent attendees) is a special would travel all the way to Germany for a festival with Ulrichsberger Kaleidophon (Apr. 27th-29th). To stretch event, a festival nestled in a bucolic Quebec hamlet a large number of acts that are based in and perform in the metaphor further, Butcher was doubly valuable, that, since 1983, has mixed free jazz, avant-rock, the city. Well, besides the obvious (beer and sausage), since as a pinch-hitter he replaced Una Casa/ electronica, all manner of improvisation and theatrical there is the interest in seeing how these bands are Observatorio’s third member when its saxophonist crossovers under the very open French rubric of received overseas; despite protestations to the contrary, was unable to perform with Buenos Aires-based musique actuelle. Artistic Director Michel Levasseur European audiences are often better than American trumpeter Leonel Kaplan and Viennese computer has taken the unlikely and utopian notion of a radical ones, more enthusiastic and far less partisan. This falls manipulator Christof Kurzmann. If Butcher’s playing music festival in his hometown and somehow made it under the three major categorical reasons for any was sympathetically creative with that trio, his work. Part retreat and part full-immersion baptism, festival attendance: you hope the things you think you improvising was equally spectacular with The FIMAV 28 (May 17th-20th) presented 19 concerts over will like, you like; the things you don’t think you will Apophonics, a new group with British bassist John a four-day period. like, you like better than you thought and that you’ll Edwards and Bay-area percussionist Gino Robair. This year’s opening event was a special occasion, discover something new and amazing that you might Meanwhile Daisy subtly paced the chamber-styled as some 30 local singers gathered for one of British never otherwise see. string-and-horn quintet Wrack as well as added vocalist Phil Minton’s Feral Choirs. With three days of The Moers Festival (the word ‘jazz’ was removed rhythmic heft to saxophonist Dave Rempis’ Percussion intense workshops, Minton and the choir had reached several years ago to reflect a more open aesthetic) 4Tet, whose raucous free jazz closed the festival to out to one another to find fresh potential in the human celebrated its 41st anniversary with its latest edition enthusiastic audience cheers. instrument, including a whistling procession to the (May 25th-28th), taking place under what is These were just four of the memorable stage and various massed whispers, conversations, purportedly Europe’s biggest circus tent, set up on the performances that took place during the 27th edition drones and chants that gradually assembled into a outskirts of the lovely Freizeitpark. One thing a visitor of the Kaleidophon, which annually animates this work of substantial and sustained impact. Minton should decide is whether sound quality or ventilation alpine village of fewer than 3,000 people, about 200 creates a community of free voices that combines both is their priority as the combination of warm early kilometers west of Vienna. What’s equally remarkable the known strengths and the new discoveries of the summer days and over 2,000 attendees makes for a is how artistic director Alois Fischer not only attracts group. perspirant listening experience. high-quality players from Europe, Japan and the US to A strong idea of community was just as evident in Of the visiting Americans, Carla Bley’s trio with the Jazz Atelier, a 16th century former pig barn, during ’s Golden Quartet/Quintet’s Steve Swallow and Andy Sheppard on the first day and the fest, but also programs innovative improvised presentation of Ten Freedom Summers, a 90-minute her commission for the Bohuslän Big Band and music throughout the year. It’s a European phenomenon version excerpted from the three-evening work with Dortmund Choral Academy Boys Choir on the last that can make outsiders envious. chamber orchestra that debuted last October and which were the delicately beautiful side of her composing, Built around extrasensory sonic perception, The has just appeared as a four-CD set. Accompanied by a her usual wry humor replaced by wistful harmony. Apophonics’ strategy advanced amoeba-like, live-video stream by Jesse Gilbert that mingled shifting Saxist Ingrid Laubrock’s Anti-House group with Mary continuously melding and breaking apart timbres in abstract graphics with photos of Smith’s subjects Halvorson, Kris Davis, John Hébert and Tom Rainey - different configurations and with varied possibilities: (among them Malcolm X, Emmett Till and Martin mainstays of smaller rooms around New York City - Edwards’ super-speedy wood and string smacking Luther King, Jr.), the invocation and commemoration made quite the impression on the Moers crowd; was sometimes appropriately violent; Butcher’s output of the American Civil Rights Movement was the Laubrock is this year’s Artist-in-Residence and her jumped from sonorous glissandi to staccato reed bites festival’s crowning achievement, music (and sometimes percolating brand of Euro-meets-NYC modern jazz and Robair’s holistic approach sometimes seemed silence) of constant grace, focus and energy with was deceptively loose despite its underlying precision. child-like as he smacked his mallets on the stage floor, tremendous performances by Smith and the band of Andrew D’Angelo’s DNA Big Band, filled with young rubbed a violin bow on drum rims and literally blew pianist Anthony Davis, bassist John Lindberg and luminaries like Bill McHenry, Josh Roseman, Josh on the drum skin. The saxophonist’s lines could be drummers Pheeroan akLaff and Susie Ibarra. Sinton and Dan Weiss, was actually two bands during sonorously wispy or could consist of reed finger- John Zorn, perhaps FIMAV’s most frequent star, its set; it began and ended aggressively, with jump jazz tapping or using foot-pedal-controlled electronics to presented two projects this year. Nova Express had liberally mixing with industrial rock while the middle pick up the feedback generated as he moved his tenor Zorn conducting a quartet with pianist , was a poignant dedication to a sick friend of in different arcs without blowing into it. vibraphonist , bassist Trevor Dunn and D’Angelo’s, wherein the audience was asked to chant This technical versatility and familiarity with drummer Joey Baron in a suite inspired by the writings “Felicia”. The triumvirate of , Mike Pride electronics also served as entrée to Una Casa/ of William S. Burroughs, which matched elements of and metal demi-god Mick Barr was a festival highlight. Observatorio’s gameplan. As quivering, synthesized ’50s period jazz (from the Modern Jazz Quartet and Cal This correspondent actually saw their debut gig in the static produced by Kurzmann’s “ppooll” interface Tjader to early ) with sudden expressionist mellow confines of The Stone and something was underlined the performance, Butcher used key explosions. Zorn’s second project, The Hidden - with missing; it turns out to be ear-splitting volume and an percussion, gurgles and expelled unaccented air to texts and illustrations selected from mystic traditions arena-style light show, fulfilling the group’s destructive make common cause with Kaplan’s multiphonic - was a profound trip through Masada territory with promise. Erik Friedlander played solo, presenting his wheezes. The trumpeter not only inflated his cheeks à the previous quartet augmented by violinist Mark Block Ice & Propane project: songs written about la Dizzy Gillespie to force air out of his horn, but at Feldman and cellist Erik Friedlander. The lyrical music travelling with his father, photographer Lee points held his horn horizontally to blow into included virtuoso flights into Sephardic modes by the Friedlander and accompanied by some of the latter’s (CONTINUED ON PAGE 38) (CONTINUED ON PAGE 38) (CONTINUED ON PAGE 38)

THE NEW YORK CITY JAZZ RECORD | July 2012 13 CD REVIEWS

that date’s sole third member, sharing the role here pianist soon convolutes the ambience, subtly with clarinetist Paquito D’Rivera and vibraphonist rearranging phrases with a Wizard of Oz-like humor. Dave Samuels. The result is an expanded tonal palette Wilner drifts into nostalgic terrain on another standard, that allows for even greater expression of the leader’s “Lullaby of the Leaves”, tumbling into cascades of considerable talents as a composer and arranger. moody notes, only to pick himself up and tumble once The opening ”Sweet Sophie Rose”, an exhilarating more – all while still clasping onto his exploratory wit. reworking of “Sweet Georgia Brown”, features clarinet And as he cinches his final few piano threads, La on an uptempo romp that has the full sound of a much Tendresse becomes too heartfelt to be simply enigmatic, larger ensemble, with O’Connell’s virtuosic two- too enchanting to be simply magnetic and far too

Live in Paris handed pianistic style filling in for the missing bass. breathtaking ever to press “pause”. ABC&D of Boogie Woogie (Eagle Rock Entertainment) “Bill’s Blues” showcases vibes in an “”- by George Kanzler inspired context while “Crazy Samba” finds Valentin For more information, visit posi-tone.com. Wilner is at reclaiming his soloist spot on a funky Brazilian- Smalls Jul. 1st, 3rd, 10th, 12th, 17th, 24th and 31st and at Formed in 2009 by four musicians who had known rhythmed outing. D’Rivera returns for his final Jazz at Kitano Jul. 25th with Abigail Riccards. See Calendar. and played with each other in various combinations appearance on a tipico Latin arrangement of “‘Round over previous decades, ABC&D of Boogie Woogie Midnight”, the first of two O’Connell arrangements of brings together two pianists - German boogie-woogie jazz classics, the other a powerful tête-à-tête between specialist Axel Zwingenberger and British blues rocker the pianist and conguero Richie Flores. Ben Waters, who also sings - with a much more The rest of the date alternately features Samuels seasoned British rhythm section of jazz bassist Dave and Valentin. The former is heard to great effect on the Green and Rolling Stones drummer , who burning uptempo “Non-Sense”, the harmonically grew up next door to each other. This album was intriguing 6/8 grooving “Cobblestones” and the recorded at the Parisian jazz club Duc Des Lombards in breezily vamping “La Playa” while the latter takes September 2010. center stage on the moving memorial “Lake Road” and During the course of the album, the music ranges the salsafied “Mr. EP”, O’Connell’s tribute to the great with populist enthusiasm through a wide swath of . Throughout the date the pianist piano traditions from boogie woogie to stride, Kansas demonstrates the diversified style of both his playing City and New York blues to New Orleans funk. and arranging/composing that has made him a favorite Originals mix with jazz and blues classics, the focus of so many leaders, confirming that he indeed is more squarely on the two pianists, with occasional bass solos than capable of filling that position himself. and Watts content to keep the proceedings swinging from his trap set, even forgoing a solo on a title that For more information, visit zohomusic.com. O’Connell is at beckons one (“More Sympathy for the Drummer”), Birdland Jul. 3rd-7th. See Calendar. though he challenges the pianists with some high- flying flailing and crashing. Each pianist has his own mini-set with the rhythm section before they join together as a quartet for the last third of the album. Waters reveals a fondness for stride and Dr. John, including a vocal on the good Dr.’s RECOMMENDED “Somebody Changed the Lock on My Door”, and performing vocal-piano versions of “Evolution Blues” NEW RELEASES (reminiscent of Mose Allison), “Route 66” and a crowd- pleasing “Roll ’Em Pete” in a rousing KC boogie-blues • Bill Carrothers - Family Life (Pirouet) style. Zwingenberger showcases different aspects of • Darius Jones - Book of Mae’bul: Another Kind of La Tendresse boogie woogie in his features, from the slow and sultry Sunrise (AUM Fidelity) Spike Wilner (Posi-Tone) “Street Market Drag” to the boogie-shuffle of “Struttin’ by Sharon Mizrahi • Branford Marsalis Quartet - at Sebastopol”. The last five tracks feature the full Four MF’s Playin’ Tunes (Marsalis Music) quartet, the two pianists generating a bouncing, At Smalls, club proprietor Spike Wilner is the figure at • Bob Mintzer Big Band - For the Moment (MCG) churning swirl of boogie and blues figures on an the piano many nights - the strident improviser behind • Aruán Ortiz - Santiarican Blues Suite (Sunnyside) original dedicated to the hosting venue, two fast a smattering of concerts and wee-hour jam sessions. • Jesse Stacken - Bagatelles for Trio boogies with vocals by Waters and, in the most And on La Tendresse, he takes his creativity to a new (Fresh Sound-New Talent) seamless and impressive blending of four hands, a “St. dimension, rich with sumptuous aural allure. David Adler, New York@Night Columnist Louis Blues” that struts with a swinging, rolling gait. He eases into the title track like a swimmer into water, breaking through the surface with questioning • Ray Anderson Pocket Brass Band - For more information, visit eagle-rock.com. This group is at Sweet Chicago Suite (Intuition) delicacy before taking a more assertive direction. • Marilyn Crispell/Mark Dresser/ Iridium through Jul. 2nd. See Calendar. Drummer Joey Saylor echoes the rising intensity when Gerry Hemingway - Play Braxton (Tzadik) he melts into Wilner’s opening solo, his cymbal taps • FFEAR (Forum For Electro-Acoustic Research) - evolving into cinematic swoops. Saylor then coaxes Mirage (Jazzheads) bassist Dezron Douglas to join in and the sultry piece • Charlie Haden/ - Come Sunday gains momentum. Wilner emerges in a spectrum of (Emarcy) thoughtful flavors, meandering in and out with • Masabumi Kikuchi Trio - Sunrise (ECM) graceful composure. • David S. Ware/Planetary Unknown - That graceful composure never comes at the Live at Jazzfestival Saalfelden 2011 (AUM Fidelity) expense of emotion, however - the pianist is a brilliant Laurence Donohue-Greene thundercloud throughout, shedding pensive raindrops Managing Editor, The New York City Jazz Record on Ellington’s “Le Sucrier Velours” while “Solace” sees more of a melancholy drizzle, Wilner infusing the Scott Triple Play Plus Three • Ray Anderson Pocket Brass Band - Joplin work with lyrical, rag-tinged reflections. The Bill O’Connell (ZOHO) Sweet Chicago Suite (Intuition) by Russ Musto piece is musical metamorphosis at its finest: the • Duck Baker Trio - Amnesia in Trastevere initially ambiguous vibe coasts to foot-tapping velocity (Les Cousins) Something of an unsung hero on the Latin jazz scene, when Douglas gives the pungent bass pluck signal. • Brian Charette - Music for Organ Sextette pianist Bill O’Connell has served as a sideman in many Wilner original “Happy Ending” expands the bold (SteepleChase) of the genre’s most popular ensembles - from his early sentiment, all three musicians riffing off one another in • Carsten Dahl Experience - Metamorphosis (Storyville) days with conguero Mongo Santamaria to his current feat of musical tag. • Carol Morgan - Blue Glass Music (Blue Bamboo) decades-long tenure as music director of flutist David But this album shines most when at its humblest, • Alex Ward/Tim Hill/Dominic Lash/Mark Sanders Valentin’s band. Triple Play Plus Three builds upon the nestled in Wilner’s unaccompanied hands. “If I Only - Predicate (FMR) unique trio concept of the bassless, conga-driven unit Had A Brain” resonates with a classical sensibility at Andrey Henkin he first unveiled on 2008’s Triple Play, with Valentin, first, evoking Gershwin’s florid yet fluid style. The Editorial Director, The New York City Jazz Record

14 July 2012 | THE NEW YORK CITY JAZZ RECORD

Though the music is clearly improvised, it sounds as if placed rim shots and bass drum smacks. A climax of at least some general harmonic parameters have been sorts is reached on “Hive”, where the three perfectly set. Of course this can happen anyway with improvisers balance the angled and quivering friction produced by who know one another well. vibrating wooden sticks lodged among the viola and As satisfying as 5 More Dialogues is, Haste will bass’ taut strings with the ceremonial references probably appeal to more readers. Where the best created as Costa smacks his kit, Taiko drum-like. moments on the duo outing often come after a Daring and inventive on their debut, the members seemingly earthbound sequence takes flight in some of Natura Morta are sure to be heard - and heard of - unpredictable fashion, the trio music never seems to again in this or other configurations. touch ground. That’s not to say there are no tonal references; for instance, Weston’s chords for the For more information, visit promnightrecords.com. Carlo Costa is Different Tessellations Veryan Weston (Emanem) opening few minutes are almost out of Debussy, but at ShapeShifter Lab Jul. 5th, I-Beam Jul. 6th, Douglass Street Music 5 More Dialogues cellist Hannah Marshall’s not-quite-tempered double Collective Jul. 7th and Sycamore Jul. 30th. Sean Ali is at Launch Trevor Watts/Veryan Weston (Emanem) stops subvert them beautifully. In this sequence Pad Gallery Jul. 14th with Alessandra Ezramo. See Calendar. Haste saxophonist Ingrid Laubrock sides with Marshall, but Veryan Weston/Ingrid Laubrock/Hannah Marshall as things get more fraught she takes Weston’s point of (Emanem) view, matching his thunder with some very dynamic UNEARTHED GEM by Duck Baker lightning. And so it goes, the trio dividing itself in Pianist Veryan Weston is a veteran of London’s free every possible manner and many impossible ones, as improvising circle, but like most associated with that well. All three musicians are very impressive world, he is unfamiliar to most American listeners. instrumentalists, but this music succeeds not because Also like almost everyone else on that scene, his of virtuosity but because the players listen so well to interests and experience are by no means limited to one another. free improvisation. One of his first recordings to attract attention was an adaptation of a Webern String Quartet For more information, visit emanemdisc.com. Weston and movement for the jazz-rock group Stinky Winkles, Trevor Watts are at The Stone Jul. 4th. See Calendar. which may give some indication of the wide-ranging

musical mind with which we’re dealing. Different Tessellations reflects Weston’s interest in At The National Press Club: Red Beans and Rice-ly Yours (with Tyree Glenn) incorporating improvisation in composed works. He Louis Armstrong (Smithsonian Folkways) has recorded a solo version of the piece, but the pianist by George Kanzler on the new first half of this record is a young classical phenom, Leo Svirsky. The second half of the program released privately as a memorial LP is performed by a vocal group called The Vociferous gatefold album the year after Louis Armstrong died, Choir. Most of the music here sounds composed with a 16-page book of “New Orleans recipes that (whether it is or not) and most of it is very ‘inside’, Louis loved”, this album is now available, with that

being based on a series of pentatonic scales. In the recipe booklet, on CD. It consists of two concert Eponymous piano music, this sometimes evokes the sound of Natura Morta (Prom Night) recordings made at the National Press Club in gamelan music while the vocal performances sound by Ken Waxman Washington, DC, the first in early 1971, just months something like the Swingle Singers doing Philip Glass, before Armstrong died, one of his last pubic except that The Vociferous Choir sounds much cooler. Using only acoustic instruments, the members of appearances and very last times he played his In fact, they are probably the most impressive thing Natura Morta replicate the harsh textures of musique trumpet on stage. The second half of the CD is a about the record, Svirsky’s virtuosity notwithstanding. concrète with juddering crunches, abrasive squeaks concert the next year by Armstrong trombonist Recommended to listeners who enjoy intelligent and vibrating pops. Eschewing amplification, the Tyree Glenn’s band in tribute to Satchmo. minimalist composition or exciting vocal groups, but Brooklyn-based trio of violist Frantz Loriot, bassist Although Armstrong was in severely declining its relationship to jazz is tangential. Sean Ali and drummer Carlo Costa operate in a dense health at the time, you’d hardly know it from Trevor Watts has been a force in English free music landscape where extended techniques and hearing him here. His set, largely vocals, was short since his mid ‘60s association with John Stevens’ instantaneous timbral actions reconfigure their and four of the five numbers are tunes he recorded Spontaneous Music Ensemble. Over time the instrument’s conventional timbres into sometimes many times: “Mack the Knife”, “Sleepy Time Down saxophonist’s focus has shifted towards a fusion of unidentifiable pieces of a jagged sound picture. South” and “Rockin’ Chair”, a vocal duet with jazz and African music, particularly as heard with his With the exact same instrumentation as seminal Glenn. But Armstrong stretches out “Hello Dolly”, Moiré Music ensemble. He and Weston have worked early ‘70s chamber-jazz outfit The Revolutionary picking up his trumpet (against doctor’s orders) to together regularly in that band, but also found time to Ensemble, Natura Morta defines its individuality by play an inimitable chorus, then reprising the vocal record a fine set of improvisations for Emanem about displacing that trio’s blues and jazz echoes with instant chorus again. But what makes this album precious 10 years back. On 5 More Dialogues, they pick up the compositions that draw on contemporary advances in and unique, besides a mildly risqué joke he tells, is thread as if they have never done anything else. electronics and notated music. Young veterans all, one track: “Boy from New Orleans”. It is a self- French-Japanese Loriot, Italian Costa and -native portrait, sung over the strains of “When the Saints Debut recording of trombonist-composer John Yao Ali have individually worked with a variety of New Go Marching In”, never formally recorded by York bands, most regularly with Euro ex-pats like Armstrong. In it he sums up his life, sans regrets reedist Joachim Badenhorst and bassist Pascal (“I’ve had a ball”), with stanzas on growing up with Niggenkemper. King Oliver as a mentor/model, Hollywood and his Self-contained, the CD’s tracks range from the role as an international ambassador. first three, which stack and contrast atonal sounds, to Glenn and clarinetist Tommy Gwaltney, both the closing “Glimmer”, which is so opaque it appears featured with Armstrong, return in a band (other that tape machines and electronic impulses are behind personnel are never identified) under Glenn’s its creation rather than wood, skin and metal. Beginning leadership for the 1972 set. “Royal Garden Blues” with thunder-sheet-like echoes, bass string opens in typical New Orleans fashion, with free download reverberations and viola string plucks, “Glimmer” Gwaltney in two-clarinet polyphony with another includes approximations of signal-processed reedman. Glenn displays his command of plunger- oscillations and throbbing buzzes. A quasi-sonata of muted wah-wah trombone on “Mood Indigo” (he isolated actions, separated by silences, the narrative was also an Ellington alumnus) and “Love for Sale” John Yao, Trombone encompasses cymbal pings, shrill string rubs and low- and closes out the set on vibes on “It’s Alright with Jon Irabagon, Alto and Soprano Saxes pitched string reverb that each are momentarily Me” and “Crazy Rhythm”. Randy Ingram, Piano isolated then vanish within dense quivers and flat-line Leon Boykins, Bass drones. For more information, visit folkways.si.edu. The music of Will Clark, Drums Earlier improvisations give more exposure to Armstrong is at BB King’s Blues Bar Jul. 15th and Birdland Loriot’s sul ponticello and spiccato string stopping, Wednesdays. See Calendar and Regular Engagements. www.innova.mu Ali’s thick balanced strokes and Costa’s carefully

THE NEW YORK CITY JAZZ RECORD 2012JohnYao.indd 1 6/13/12 10:00 AM | July 2012 15

“Magnificent Mistifiyo” and “Get To It” take the GLOBE UNITY: GERMANY proceedings into more overtly avant garde territory and include some very hot-blooded outside playing. Meanwhile, “Chicago Greys”, which opens the suite, owes something to both free jazz and late ‘20s-early ‘30s . And after the suite is finished, Anderson and his Pocket Brass Band (trumpeter , sousaphone player Matt Perrine and drummer Bobby Previte) keep the creative momentum going with two

Explicit (Live at the Sunset) more selections, “The Stingray Rag” and “Next March”, Open Loose (Marge) playful, cerebral and humorous all at the same time. by Robert Iannapollo Anderson has always been an eccentric, but he is an eccentric with a game plan - taking chances without Explicit, recorded live at the Sunset in Paris in 2011, is being haphazard. His sense of adventure continues to Melencolia the sixth album by bassist Mark Helias’ Open Loose yield exciting results on Sweet Chicago Suite. Theo Jörgensmann/Albrecht Maurer (Nemu) trio since 1998, making it the most documented of his Deuxième Bureau projects. Saxophonist Tony Malaby and drummer Tom For more information, visit intuition-music.com. This Georg Ruby/Michel Pilz (JazzHaus Musik) Rainey are the perfect players for this ensemble, both group is at Cornelia Street Café Jul. 7th. See Calendar. Live in Wiesbaden highly sensitive and able to respond immediately to Peter Brötzmann/Jörg Fischer (Not Two) any wild cards that may crop up. But, more importantly, by Ken Waxman both immerse themselves in other people’s music, Much of the excitement in early European free jazz sensitive to a leader’s intent but also with the came by way of Germany as local reedists from a confidence to add their personal stamp. country with a long marching band tradition blew All the compositions are by Helias and he gives with cathartic volume and intensity. Tenor his mates plenty into which to sink their teeth. This is saxophonist Peter Brötzmann, 70, bass clarinetist a band that understands pacing and the performance Michel Pilz, 64 and G-low clarinetist Theo follows a classic live arc. After the brief rubato intro of Jörgensmann, 63 were part of that early movement “The Archangel”, the band segues, via a Helias ostinato together and separately. Recent duo sessions with line, into the jaunty “Story Line”. The intensity of the Still Runnin’ Round in the Wilderness: partners using progressively more brawny textures performance keeps building but Malaby doesn’t take The Lost Music of Willard Robison, Volume One show how each has evolved. the easy way by always going for the stratosphere. He Matt Munisteri (Old Cow) Bottrop-born Theo Jörgensmann concentrates focuses on building the material at hand. However, by by David R. Adler on the low-pitched clarinet as he did in bands like the final two tracks the band literally explodes. “Shorty his international group Clarinet Contrast. The One” starts at a medium pace before moving into a Willard Robison is best known in jazz circles as the Melencolia suite with Cologne violist/violinist hellbent uptempo section midway through. composer of the standard “Old Folks”. Otherwise, he Albrecht Mauer is anything but morose however. “Kryptonite” is a perfectly modulated 11-minute piece, is sadly forgotten, with a catalogue that never made it While the instrumentation implies delicacy, staccato which starts out at a modest level with carefully out of the 78-rpm era. In the liner notes to this inspired abrasions are mixed among melodious tones. considered phrasing then gradually develops into a set of Robison songs, guitarist/vocalist Matt Munisteri Mauer’s extreme bow pressure and spiccato skitters Malaby tour de force, the saxist lifting the bandstand ponders Robison’s obscurity and touches on larger avoid lyricism and when he harmonizes string with an almost Coltrane-like fervor as Helias and historical questions of art and commerce. The notes scrubs with guttural vocalizing the result could Rainey push him along with ever-shifting patterns. alone are a scholarly achievement, but it’s the music issue from a hurdy-gurdy. Capable of chalumeau Throughout, Rainey is like a perpetual motion machine that makes the case for Robison’s genius. coloration and clear-toned contralto, Jörgensmann but simultaneously he shades the music with subtle Munisteri’s guitar language is razor-sharp and balances Mauer’s jagged runs with descending coloration. Helias is the anchor of this music, giving deliciously old-timey and his drama-free vocal delivery tongue flutters. the music its shape and momentum, keeping it loose - worlds away from the blues-soaked growl of a Doug Bad Neustadt-born, Luxembourg-based Michel but open. The name of the group says it all. Wamble, for instance - helps to draw out the wry Pilz was part of the aforementioned Clarinet storylines in the lyrics. Bassist Danton Boller and Contrast and played with Brötzmann in the Globe For more information, visit futuramarge.free.fr. Mark drummer Ben Perowsky supply expert rhythm while Unity Orchestra. Deuxième Bureau finds Pilz with Helias is at Joe’s Pub Jul. 2nd with Ricardo Gallo and pianist Matt Ray gives the harmony a legato element, Cologne-based pianist Georg Ruby, a master of free Cornelia Street Café Jul. 6th. See Calendar. balancing the leader’s percussive guitar. The solos and form, who spends more time prodding and poking textural flourishes of trumpeter Jon-Erik Kellso are

his instrument’s innards than playing the keyboard. essential. Scott Robinson’s C melody sax on the ballad The results contrast harsh string strumming with “Heard a Mockingbird Singing” is a thing of wonder. pressurized lowing or frenetic triple-tonguing. Early jazz is Munisteri’s touchstone: “A June of Rattling the soundboard and wound strings, Ruby’s Long Ago” features guest vocalist Rachelle Garniez textures on tunes like “Lunettes Bifocales” resonate sounding not unlike Adelaide Hall on Ellington’s like gongs as Pilz’ chromatic lines define the theme. “Creole Love Call” (while Robinson does his best The two confirm their roots with “Blues Pour clarinet). Munisteri scales down to voice Solène” though, a piece that could have been played and guitar for the moving “Little High Chairman”, not by Albert Nicholas and Don Ewell. long before the band erupts in a hot ’20s vein on the Joining a list of percussionists who have instrumental “Hurry Sundown”. Sweet Chicago Suite matched wits with Wuppertal-based Peter By contrast, the closing treatment of “A Cottage Ray Anderson Pocket Brass Band (Intuition) Brötzmann live is Wiesbaden’s Jörg Fischer in a by Alex Henderson for Sale” would fit on a solo record. concert from the latter’s hometurf. Parrying and “Moonlight Mississippi”, a straight jazz ballad in thrusting on “Cute Cuts”, Brötzmann uses shrill Trombonist Ray Anderson is not only known for his Rosemary Clooney’s hands, turns into a midtempo reflux, ululating puffs and triple-tongued pops to sense of humor but also a vast knowledge of jazz rocker worthy of Levon Helm. “’Taint So, Honey, ’Taint merge Prussian bugle calls and Albert Ayler-ian history. This 58-minute CD is dominated by a six- So”, an ancient vehicle for Bing Crosby with Paul glossolalia. Respite comes when the woody movement suite Anderson composed in remembrance Whiteman, is slowed way down and stretched out, vibrations from Brötzmann’s tarogato are completed of his upbringing in the Windy City and the wide with a magical piano solo over a stately vamp. Despite by woody smacks from Fischer’s sticks and rims. variety of music to which he was exposed there. the numerous liberties taken, Munisteri preserves all On “Buddy Wrapping”, the drummer’s polyrhythms Indeed, Chicago has been revered for everything from the intended charm of numbers like “We’ll Have a match the saxophonist’s kinetic breaths, creating avant garde jazz to swing and the blues and “Sweet New Home in the Morning” and “Truthful Parson shuddering tension. Ironically, it’s the oldest reedist Chicago Suite” reflects that diversity. Parts of the suite Brown”. In a perfect world, those two songs alone who still plays with most volume and intensity. are on the soulful, funky side, especially “Going to would have established Robison as a national treasure. Maxwell Street”, “High School” (reminiscent of Gene For more information, visit nemu-records.com, Ammons) and the churchy, gospel-ish “Some Day”. For more information, visit mattmunisteri.com. Munisteri jazzhausmusik.de and nottwo.com And while this album has plenty of funkiness, it also is at Joe’s Pub Jul. 10th and Brooklyn Public Library Central has its share of dissonance and abstraction: Branch Jul. 25th. See Calendar.

16 July 2012 | THE NEW YORK CITY JAZZ RECORD Know what I mean? Legends Live Cannonball Adderley Cannonball Adderley (Riverside-Concord) (JazzHaus) by Ken Dryden The sudden death of Cannonball Adderley in 1975 at the tender age of 46 was a tremendous loss to the jazz world, though it is fortunate that during his two decades as a professional he was recorded extensively. Apart from his stints with and Miles Davis, the latter with whom he played alongside Bill Evans and John Coltrane, the alto saxophonist spent most of his career as a leader, with a happy expressive sound that could be mistaken for no one else. Know what I mean? has long been considered one of Adderley’s best albums, with an allstar rhythm section consisting of Evans on piano, plus half of the Modern Jazz Quartet: bassist Percy Heath and drummer Connie Kay. Both Adderley and Evans stretch beyond their usual recordings as leaders, with the saxophonist more laid back and the pianist more exuberant. Evans’ “Waltz For Debby” wasn’t yet a jazz standard at the time of these 1961 sessions, though Adderley recognized its potential and used it to open the record, with the give-and-take between the two men making it sound like the group was a working quartet. “Goodbye” had long been Benny Goodman’s closing theme, but Adderley’s soulful, vibrato-filled solo makes it his own in this powerful rendition. The saxist’s expressive tone in the standard “Nancy (With the Laughing Face)” is beautifully complemented by Evans’ thoughtful backing. The pianist brought Earl Zindars’ “Elsa” to the leader’s attention and plays a long introduction with Heath and Kay providing sparse backing, a far more deliberate arrangement than Evans’ many trio recordings of the tune. When Adderley makes his entrance, he’s in a boisterous mood. One of the hidden gems is Clifford Jordan’s playful “Toy”, a spry bop tune that finds Adderley in a humorous mood. Although this album has been reissued multiple times, this edition not only features 24-bit remastering but a previously unissued take of “Toy”. Legends Live is one of the first releases in a series of previously unissued concerts recorded at Liederhalle Stuttgart for broadcast. Adderley’s quintet in 1969 included brother Nat on cornet, pianist/keyboardist Joe Zawinul, bassist Victor Gaskin and drummer Roy McCurdy. At this point in his career, the alto saxophonist was moving away from bop and soul jazz toward fusion, though he doesn’t ignore his roots. There is plenty of fire in the racehorse treatment of Dizzy Gillespie’s “Blue and Boogie” and a thoughtful, dramatic arrangement of Leonard Bernstein’s “Somewhere”. Nat was a bit more prolific as a composer than his older brother, penning the funky “Sweet Emma” and the soulful “Oh Babe”. Zawinul contributes several tunes, including the hip cooker “Rumpelstiltskin”, which features the grittier side of Adderley as he plays variations of its riff theme, and the more commercial, R&B-flavored “Walk Tall”. Zawinul switches to electric piano for The Staple Singers’ funky “Why (Am I Treated So Bad)”. The audio is excellent throughout this rewarding concert, though the label might want to create more striking covers for future releases.

For more information, visit concordmusicgroup.com and jazzhaus-label.com. An Adderley tribute is at Birdland Jul. 10th-14th. See Calendar.

THE NEW YORK CITY JAZZ RECORD | July 2012 17

dream-like waltz more noteworthy for its long, lyrical, “Don’t Let it Bring You Down” and it’s a lovely, cascading solos than its melody. Most of the tracks on emotional jazz ballad that’s both invested in the this album are like that, shaped by the drama of a original tune and making it breathe differently. soloist’s decisions. In this case, Barth and the Tallitsch is in charge here and his saxophone lushly vibraphonist Steve Nelson make some really good delivers the melody with subtle underpinnings in ones. segments from the others. The track is just a little They’re backed by bassist Ben Street and drummer longer than three minutes, but Tallitsch takes a fully , who put down sure, swinging rhythms. The realized solo and then takes the tune out in a sort of music is relatively straightahead, but it doesn’t feel cadenza that riffs on at first but then quietly ends

Unanimous perfunctory nor do the musicians submit to the vice of a cappella. It’s a lovely way to bring to a close these Ulysses Owens, Jr. (Criss Cross) jazz jam egalitarianism. This means that Nelson and very musical proceedings. by Sean O’Connell Barth act as arbiters, in the forefront. (Street takes two short solos by this reviewer’s count while Hall is For more information, visit posi-tone.com. Tallitsch is at Bar Ulysses Owens Jr., possessor of the mighty featured once toward the end of the second track, Next Door Jul. 14th and The Garage Jul. 26th. See Calendar. mythological name and mightier sense of swing, makes “Final Push”, a Barth original.) his bandleading debut with this album. To help him, he Barth and Nelson make good partners; they don’t Cobi Narita presents expertly employs a handful of his own employers as serve as foils to one another but rather as soloistic well as some of the sidemen who shared those dates. compatriots. Nelson lets the sound of his vibraphone The Frank Owens Singers Owens is quoted in the liner notes discussing the radiate out and he evokes equal parts and in concert importance of the Young Lions era: “There was a lot of . Barth seems to possess the strongest great jazz during the ‘90s…even if people were trying attachment to the blues but he’s not too gutbucket Saturday, July 14, 2012 - 8 p.m. $10 different stuff, everyone’s focus was still on swinging.” about it; he won’t knock the wind out of you. In “Wise Zeb’s And here Owens does just that with help from Charlie’s Blues” (which Barth wrote for his friend 223 W. 28 Street (between 7th & 8th Avenues), 2nd Floor - 212-695-8081 trumpeter Nicholas Payton, who contributes to slightly Charlie Weiner, not ), he unspools a more than half the album, and bassist Christian refined and sensitive essay that could easily have McBride. contained a lot of glib expression. It is the latter’s presence that is felt most heavily The last track is played by Barth and Nelson as a on this album. McBride has employed Owens for the duo. The song begins in medias res: Nelson jumps last two years in his swinging trio alongside pianist straight into a brisk solo over a long progression of Christian Sands, who appears here as well. It’s been 18 driving chords put down by Barth. Lyrical exchanges years since McBride’s debut as a leader and that album, ensue. It’s not exactly clear what the tune is until the Gettin’ To It, has a lingering influence over Unanimous last minute: “The Song Is You”. in its urgent sense of instrumentation and dedication to unapologetic swing. For more information, visit jazzdepot.com. Barth is at The impeccable horn section (Payton, trombonist Smoke Jul. 13th-14th. See Calendar. for more information: 516-922-2010 or [email protected] Michael Dease and saxophonist Jaleel Shaw) blast through the first two tunes. “Good and Terrible”, a Dease original, is a ten-minute workout that introduces the bandmember through their well-constructed solos. “Con Alma”, the ever-present Dizzy Gillespie standard, is grounded by Owens’ splashing cymbals and lifted by Payton’s soaring solo. Owens’ lone original, “Beardom X”, is a meditative tune that gets a fiery contribution from Shaw. The album closes out with three trio selections. The years of working together are evident in the classic Heads or Tales piano trio sound. McBride channels his best Ray Brown Tom Tallitsch (Posi-Tone) as Sands plops down a brief but brilliant solo on “You by Donald Elfman Make Me Feel So Young”. “Cherokee” gets a murderous tempo and Owens’ cymbals are a blur until the On Heads or Tales, saxist Tom Tallitsch looks at the waltzing bridge cuts things in half. He and McBride tenor-and-organ quartet format and, with the help of trade blistering solos as both men compete to see who very simpatico musicians, finds new things to say. The can ignite their instrument first. sound of this type of group is now part of the standard These men are committed swingers and their jazz catalogue and it’s to Tallitsch’s great credit that he sound is refreshing in a throwback way. Anyone makes us feel both comforted and challenged. concerned about the disappearance of straight swing The tunes showcase the leader’s virile tenor, both need look no further than the final third of this album. as a solo vehicle and in lovely combination with his The tradition is safe and still going places. cohorts. On “Coming Around”, the album’s opener, the saxophone drops right in and wails a sinewy but For more information, visit crisscrossjazz.com. Owens is at defined theme that snakes and swings at a rapid clip. Smalls Jul. 4th with Michael Dease and Dizzy’s Club Jul. Tallitsch takes a nice, muscular chorus that smartly 11th-15th with Christian McBride. See Calendar. pulls at the edges of the head. The tale continues with guitarist Dave Allen digging into the changes and

being both lyrical and angular. Next, it’s the organist’s turn and Jared Gold reminds us how terrific it is to have this instrument still in the game and making vital and pointed solo statements. Drummer Mark Ferber, who has pulsed his way over and under the other soloists, takes a brief but volcanic solo to lead us back to the quick restatement of the theme. One would think that this combination of instruments could sound somewhat monolithic, but the players care about colors and keep these themes Three Things of Beauty fluid. “Dunes” is an airy tune, ballad-like but also Bruce Barth (Savant) by Matthew Kassel dancing and forward-moving. Tallitsch, though his sound and tone is ‘hard’, finds a way to sing through The pianist Bruce Barth wrote six of the ten songs his horn, working from top to bottom. featured on his new album, including the title track, a A surprise closes this recording. It’s Neil Young’s

18 July 2012 | THE NEW YORK CITY JAZZ RECORD Live at Art D’Lugoff’s Moon Beams Top of The Gate Bill Evans Trio Bill Evans (Resonance) (Riverside-Concord) by Andrew Vélez At the invitation of longtime Bill Evans manager Helen Keane, George Klabin recorded two sets of the then-new Bill Evans Trio on Oct. 23rd, 1968 at The Village Gate. It aired only once on his WKCR-FM radio show and remained stored away until now. Live at Art D’Lugoff’s Top of The Gate documents one of the most influential pianists in jazz history, during a peak period in jazz and his short life. Often when gems like this surface, sound quality proves disappointing. Luckily, Klabin, a passionate music lover, had real engineering skill and positioned microphones for each player. As a part of this totally luxe production, included are liner notes by the surviving members of the trio - Eddie Gomez (bass) and Marty Morell (drums) - as well as critic and Klabin himself. There is a recollection of Evans by vibraphonist and some words from Raphael D’Lugoff, the son of The Village Gate owner Art D’Lugoff. Many iconic photos and contemporary ads recall a great time when Miles Davis, , John Coltrane, Charles Lloyd, Blossom Dearie, , and countless others regularly played at the club. After the tragic death of bassist Scott LaFaro in a 1961 car crash, Evans had sought to find a replacement with whom he could connect. As immediately becomes apparent in opener “Emily”, in Gomez he found a syntonic partner whose style is complementary, melodically improvisational and not merely about keeping time. The “Emily” on the second set is even deeper emotionally. Evans’ way with reharmonizing and arranging the familiar standards of which he was a master is gorgeously evident on Jerome Kern’s “Yesterdays”. The pianist dives into the melody and is at his lyrical best with a wide range of touch and accentuation. On “Turn Out the Stars”, the only Evans original included, Morell anchors the trio rhythmically as Evans and Gomez enjoy soulful and swinging interplay. The results throughout are astonishing, easily ranking with the best sounding recordings Evans ever made. Immediately essential. Moonbeams was Evans’ first recording after his hiatus following LaFaro’s death. This ‘second trio’ in 1962 included Chuck Israels on bass and on drums. Featuring three previously unreleased takes, the set includes three Evans originals. His “Re: Person I Knew” is considered to be both a tribute to producer Orrin Keepnews as well as to LaFaro. Rich in melody as “Person” is, it is so imbued with Evans’ improvisational style that it’s easy to understand why so few of his melodies have been picked up by other players, the exceptions being “” and “Waltz for Debby”. His distinctive touch on “ Dots and Moonbeams” is slow, meditative and lovely in tone. With the subtlest interplay from Israels and Motian, it builds slowly with shadings and a continuing sense of discovery. Across eight tracks, including the first appearance of “Very Early”, this close-knit ensemble showcases the beauty of Evans’ strong and luminous touch, affirming why he remains so admired and imitated.

For more information, visit resonancerecords.org and concordmusicgroup.com. An Evans tribute is at 92nd Street Y Jul. 18th as part of Jazz in July. See Calendar.

THE NEW YORK CITY JAZZ RECORD | July 2012 19

younger trumpeter flee Cuba and launch a new life and career in the US. This is an exuberant big band album that focuses mainly on familiar Gillespie classics, highlighting his role as one of the primary creators of both bebop and AfroCuban jazz. While we’ve heard tunes like “Salt Peanuts”, “Tin Tin Deo” and “Birks Works” countless times before, Sandoval and a top-flight crew of arrangers and musicians imbue them with fresh energy

Wobble Walkin’ and imagination. Among the stellar cast on hand are Duke Robillard Jazz Trio (Blue Duchess) vibraphonist Gary Burton, Hammond B3 titan Joey by Elliott Simon DeFrancesco, tenor saxophonist Bob Mintzer and clarinetist Eddie Daniels. Actors Andy Garcia, who When T-Bone Walker plugged in his archtop, jazz portrayed Sandoval on film, and Joe Pesci also make rediscovered its bluesy roots and the two became more appearances on percussion and vocals, respectively. Sun, Jul 1 CANADA DAY; Host, Kris Davis integrated and Wobble Walkin’ has that same sensibility Sandoval provides plenty of his usual high-note OWEN HOWARD’S “EXPAT QUARTET” 8:30PM running through it. Over a 40-year career, guitarist trumpet pyrotechnics, especially on “A Night in Dave Smith, Andrew Rathbun, Zack Lorber CANADIAN CLUB 10PM Duke Robillard has been a chameleon, albeit always Tunisia”. But he proves himself just as adept on some Tony Malaby, Kris Davis, Nick Fraser with a bluesy tinge, as he championed a variety of of Gillespie’s quieter and more romantic tunes, like Mon, Jul 2 CALEB CURTIS & THE WHEELHOUSE BAND 8:30PM Duane Eubanks, Tyler Blanton, Dylan Shamat, Rodney Green styles. He brought Chicago style, rhythm and blues, “And Then She Stopped” and “Con Alma”, which also JOHN RAYMOND PROJECT 10PM swing, jump and blues-rock to wider audiences features a beautifully arranged classical string quartet. Mike Moreno, Javier Santiago, Aidan Carroll, Kenneth Salters Tue, Jul 3 DOUGLAS BRADFORD: through his solo work and stints with the bands Most importantly, Sandoval and his cohorts are able to ATLAS OBSCURA CD RELEASE 8:30PM Roomful of Blues and The Fabulous Thunderbirds. capture some of Gillespie’s spirit, that rare sense of joy John Beaty, Pascal Niggenkemper, Nick Anderson KENNETH SALTERS QUARTET 10PM Here, his stripped down jazz trio, consisting of bassist and musical mirth that permeated everything Dizzy Tivon Pennicott, Mike Battaglia, Spencer Murphy Brad Hallen and drummer Mark Teixeira, takes on jazz touched. Wed, July 4 CORNELIA STREET CAFE 35TH ANNIVERSARY CELEBRATION 4PM with Robillard’s own marvelously sounding plugged- The only tune not from the Gillespie songbook is David Amram and guests in archtop front and center. the closing “Every Day I Think of You”, an unabashed Thu, Jul 5 WORLD TIME ZONE 8:30PM The session includes jazz standards, bluesy love letter to Gillespie, written and sung by Sandoval Michael Blake, Ben Allison, Rudy Royston Fri, Jul 6 MARK HELIAS – rockers like “High Heel Sneakers” and four originals. against a background of silky strings. It’s a marked THE PARLANCE OF OUR TIMES 9PM & 10:30PM Robillard shines brightest on the originals and bluesier departure from the fiery big-band bebop and Latin jazz Tim Berne, Kirk Knuffke, Mark Ferber Sat, Jul 7 RAY ANDERSON’S tunes and in those situations the band gels. The of the rest of the album, but a fitting way to end this POCKET BRASS BAND 9PM & 10:30PM standard fare is however more limiting to both touching tribute from one trumpet giant to another. Matt Perrine, Eric McPherson Robillard and the rhythm section; while his guitar Sun, Jul 8 ARTHUR VINT 4TET 8:30PM Rich Perry, Darwin Noguera, Massimo Biolcati always sounds gorgeous, the chordal inventiveness of For more information, visit concordmusicgroup.com. Tue, Jul 10 QUENTIN ANGUS QUINTET: say a John Pizzarelli isn’t there. As such, not much new Sandoval is at Prospect Park Jul. 21st as part of Celebrate RETRIEVAL STRUCTURE CD RELEASE 8:30PM Kevin Hays, Jon Gordan, Chad Lefkowitz, life is breathed into well-worn standards like Cole Brooklyn. See Calendar. Scott Colberg, Kenneth Salters Porter’s “You’d Be So Nice to Come Home To” or the Wed, Jul 11 GLOBAL LIVING ROOM; Host, Jean Rohe CATARINA DOS SANTOS Gershwins’ “They Can’t Take That Away From Me”. Jair Coelho, Gerald Thomas, Fernando Saci Exceptions to this are a wonderfully integrative take Thu, Jul 12 SPOTLIGHT ON NEW TALENT - JEREMY SISKIND TRIO: FINGER-SONGWRITER CD RELEASE 8:30PM on Mercer Ellington’s “Things Ain’t What They Used Nancy Harms, Lucas Pino to Be”, which showcases Hallen’s rhythmic command Fri, Jul 13 RUSS LOSSING TRIO: DRUM MUSIC/ and control, and a standout guest vocal performance THE MUSIC OF PAUL MOTIAN 9PM & 10:30PM JULY 2012 Drew Gress, Eric McPherson from Mickey Freeman on a deliciously lazy “Gee Baby Sat, Jul 14 JOHN MCNEIL QUARTET 9PM & 10:30PM Ain’t I Good to You”. Dave Miller, , Jochen Rueckert JAZZ VESPERS Sun, Jul 15 NEW BRAZILIAN PERSPECTIVES; Host, Billy Newman The trio however, is at its most inventive on the Sundays at 5:00 P.M. — All Are Welcome — Free ADRIANO SANTOS BRAZILIAN JAZZ QUARTET 8:30PM originals. Both the title cut and “Sunday Mornin” Hélio Alves, Richard Padron, David Ambrosio creatively use catchy and funky rhythms and riffs to Tue, Jul 17 MICHAEL ATTIAS’ RENKU (+2) 8:30PM 1 — Ike Sturm Ensemble Mat Maneri, Matt Mitchell, John Hébert, Satoshi Takeishi achieve cool simmering vibes. “Skippy’s Dream” is 8 — Beat Kaestli Group Wed, Jul 18 SIM FACULTY CONCERT: RALPH ALESSI, ANDY MILNE, melodically interesting and perfectly in the pocket as a MICHAEL FORMANEK, TOM RAINEY 8:30PM delightful romp recalling the heyday of late ‘50s jazz 15 — Sean Smith Trio Thu, Jul 19 MICHAEL FORMANEK’S CHEATING HEART 8:30PM Tim Berne, Ellery Eskelin, Jacob Sacks, Dan Weiss guitar. A study in perfect timing, tone and technique, Fri, Jul 20 REZ ABBASI & FRIENDS 9PM & 10:30PM 22 — High Standards - Yoron Israel Quartet closer “Jesse’s Blues” simmers with a slow and soulful Amir ElSaffar, Matt Pavolka, Satoshi Takeishi Sat, Jul 21 ELLERY ESKELIN TRIO 9PM & 10:30PM blues club pacing to take the album home. 29 — Sarah Manning Quartet John Hébert, Tyshawn Sorey featuring dancers Anna Fedak and Katherine Moore Sun, Jul 22 JOONSAM LEE TRIO 8:30PM Tarek Yamani, Mark Ferber For more information, visit blueduchessrecords.com. YOUNGJOO SONG TRIO 10PM Robillard is at BB King’s Blues Bar Jul. 20th. See Calendar. IDTOWN AZZ AT IDDAY David Wong, Pete VanNostrand M J M Tue, Jul 24 JEREMY VINER QUINTET 8:30PM Sponsored by Midtown Arts Common Bobby Avey, Travis Reuter, Pascal Niggenkemper, Cody Brown Wednesdays at 1:00 P.M. — ($10 suggested) ARYEH KOBRINSKY’S BRINSK 10PM Jeremy Viner, Adam Dotson, Nate Radley, Devin Gray Thu, Jul 26 MOSTLY OTHER PEOPLE DO THE KILLING 8:30PM 4 — Independence Day – No concert Peter Evans, Jon Irabagon, Kevin Shea, Moppa Elliott Fri, Jul 27 DUANE EUBANKS QUINTET 9PM & 10:30PM 11 — David White Jazz Orchestra Stacy Dillard, Ben Waltzer, Corcoran Holt, Jason Brown Sat, Jul 28 JACOB SACKS QUARTET 9PM & 10:30PM 18 — James Barrack, bass Jacob Garchik, Thomas Morgan, Dan Weiss Sun, Jul 29 AMANDA MONACO’S FORMULA ONE 8:30PM Alex Raderman, drums Michael Attias, Sam Trapchak, Satoshi Takeishi Tue, Jul 31 VOXIFY; Host, Nicky Schrire 25 — Mary Foster Conklin, singer BASAK YAVUZ 8:30PM Tim Basom, Alex Spradling, Guilhem Flouzat, Nicky Schrire, Natalie Galey, Rogerio Boccato Dear Diz (Every Day I Think Of You) VOXIFY: THE FAY VICTOR ENSEMBLE 10PM Arturo Sandoval (Concord) JAZZ ON THE PLAZA Anders Nilsson, by Joel Roberts Thursdays at 12:30 P.M. — Free

There’s no shortage of tribute albums out there these 5 — No concert

days, probably too many. Most are perfectly sincere, if 12 — Gary Versace, organ frequently uninspired, but Arturo Sandoval’s new Project “O” with Ingrid Jensen, trumpet tribute to Dizzy Gillespie, Dear Diz (Every Day I Think Of You), stands outs as a particularly heartfelt and 19 — Ensemble, piano

personal offering. Gillespie wasn’t just a major 26 — Winard Harper Band, drums influence on Sandoval’s development as a musician, he was a friend and a mentor who actually helped the

20 July 2012 | THE NEW YORK CITY JAZZ RECORD STEPHANIE NAKASIAN WITH THE HARRIS SIMON TRIO SHOW ME THE WAY TO GET OUT OF THIS WORLD

APPEARING LIVE: JAZZ AT KITANO JULY 28TH - 8 & 10 PM WITH HOD O’BRIEN & VERONICA SWIFT WWW.CAPRIRECORDS.COM

accomplishments as leader is too narrow. There is the featuring the special rapport between Golia and the beautiful version of “Whisper Not”, from a 1958 film, veteran Bradford (who turns 78 this month). featuring the //Bobby Completing each other’s lines as if through telepathy Timmons Messengers lineup and proving that the (much like the long-developing communication group could swing a ballad, making it personal. between and Roswell Rudd), the piece is an It was Blakey’s ability to find young fresh talent exemplar of this excellent album’s eight distinct tracks that kept the group going until his 1990 death; as - from the intentionally stuttering rhythmic flow of Timmons observed, in perfect summation of this “On the Steel” (Golia on soprano) to the swinging giant’s career, “Art’s a builder who doesn’t like to live “Welcome Home” (Golia on alto), with fabulous

The Quintessence (New York - Paris: 1947-1959) in finished houses.” opening unaccompanied cornet coronation. Art Blakey/ (Fremeaux & Associes) The Ethnic Project finds Golia playing brief but by Marc Medwin For more information, visit fremeaux.com. A Blakey tribute deep duets on an intriguing collection of rarely is at 92nd Street Y Jul. 25th as part of Jazz in July. See recorded ethnic aereophones and woodwinds with French label Fremeaux & Associes is providing the Calendar. four of his favorite bassists: Barre Phillips, Bert jazz community with a wonderful service with its Turetzky, Joëlle Léandre and Lisa Mezzacappa. He Quintessence series. This two-disc set charts Art plays 13 instruments on 15 tracks, including Native Blakey’s development of the Jazz Messengers and, as American flutes, danso (Korean end-blown vertical with the other Quintessence entries, boasts excellent bamboo flute), hulusi (clarinet-sounding Chinese free documentation and first-rate sound. reed wind instrument), mix won (Central American One of the advantages of a set such as this is its flute), nohkhan (Japanese high-pitched transverse broad scope in a distilled form. As 12 years are covered, bamboo flute), zurla (Balkan oboe-like woodwind), the slow incremental changes in style and idea that a suona (Chinese high-pitched oboe used primarily in more comprehensive set might afford are absent. folk music), kaval (an end-blown flute), Maori bone However, points of arrival are delineated with stunning flute and tarogato. These duos range from mellow clarity. The shocking difference between, for example, discourses to orchestral choir-like exaltations. And as a 1947’s “Bop Alley” and 1954’s “Doodlin’” could not be surprise (as if any more were needed) Golia overdubs starker. Martin Davies’ English notes present all Scottish bagpipes on the bonus track, dedicated to manner of descriptors concerning this change from saxophonist/bagpiper Paul Dunmall. This is an bebop to something dirtier, but there are ironies his unusual and ambitious entry into Golia’s discography essay does not address. In hindsight, Blakey’s fiery Abstractions and Retrocausalities and few ‘jazz’ musicians (aside from Yusef Lateef or -influenced opening to “Bop Alley” Vinny Golia Sextet (Nine Winds) Bill Cole) are daring enough for such an undertaking. presages things to come, such as the stormily energetic Low and Inside; (Close Call Anyway...) 1957 rendering of “A Night in Tunisia” included here. Vinny Golia Octet (Nine Winds) For more information, visit ninewinds.com, It’s timbrally expansive drum-solo intro can be heard Take Your Time Vinny Golia Quartet (Relative Pitch) relativepitchrecords.com and kadimacollective.com. Golia is as a continuation of those few late ‘40s explorations, The Ethnic Project Vinny Golia (Kadima Collective) at I-Beam Jul. 26th and Downtown Music Gallery Jul. 29th. by Laurence Donohue-Greene waxed by a band called “Art Blakey’s Messengers”. By See Calendar. the time the Quintet - really a prototypal It might be impossible to find a woodwind that Vinny version of the Jazz Messengers - committed “Doodlin’” Golia has not played in his career. 2012 marks the 35th to tape, bebop had been sublimated in favor of the anniversary of Nine Winds, the label he founded with bluesy aesthetic we now call hardbop. However, his debut as a leader, Spirits in Fellowship, on which he despite a more earthy sound and simpler heads, played tenor and baritone saxes, recorder, piccolo and Blakey’s sound is much more subdued on both flutes. Since then, he has only added to his arsenal, as “Doodlin’” and 1955’s “The Preacher”. Then again, these discs demonstrate. bop is never completely abandoned, as trumpeter On Abstractions and Retrocausalities, Golia is ’s solo makes plain. It is fascinating to featured on sopranino, baritone and contrabass compare his 1947 work in The Messengers with the , contra-, bawu (Chinese free bent notes and smears of eight years later, all vying for reed instrument), daegeum (large Korean bamboo prominence amidst a few Dizzying high notes. flute) and hichiriki (Japanese double-reed instrument). The rest of the set might be seen as a middle way, Golia composed and arranged all 11 selections for a symbiotically combining the bop-and-blues polarities sextet of Dan Rosenboom (piccolo, Bb trumpet, and outlined in the first few tracks. It was a wise decision flugelhorn), Gavin Templeton (alto saxophone), Alex to include a generous sampling of live material and a Noice (guitar), Jon Armstrong (electric bass) and nice long 1959 version of “Bouncing with Bud” drives Andrew Lessman (drums), pared down instrumentally the point home, especially the surprising diversity of if not aesthetically from the writing Golia does for his guest ’s boppishly bluesy piano solo. long-standing Large Ensemble; fanfares or exchanges However, even this constructed view of Blakey’s between reeds and brass lead up to remarkable spotlights from all three members of the frontline. Though hardly fidelious to it, Golia is one of the finest baritone saxophonists in avant garde jazz. On the octet recording Low And Inside; (Close Call Anyway...), he’s heard on the even more unwieldy tone tubax (aka contrabass saxophone). From the opening “The Return of the Post-Marathon Man”, it’s obvious size doesn’t scare Golia, who always plays with a confident, resonant tone. Complex weaving lines written for three reed players (Golia plus Templeton and bass clarinetist Brian Walsh), two brass (Rosenboom and trombonist George McMullen) plus Noice’s guitar are supported beautifully by longtime collaborator Ken Filiano (bass) and Matt Mayhall (drums), with subtle brushwork and pulsing basslines on “You Don’t Like Beethoven” to cymbal coloring in conjunction with exquisite arco for “Velature”. Golia surrounds himself with three close musical friends on Take Your Time: cornetist Bobby Bradford, Filiano and drummer Alex Cline, the leader on tenor, alto and soprano saxes. Golia excels when paired with a single other horn; witness second track “Otolith”,

22 July 2012 | THE NEW YORK CITY JAZZ RECORD

which, like all Collin compositions, has a fresh, precise melodic core. It is quieter, but its repetitions accumulate intensity and continue the cinematic narrative begun by “Storm”. “Runner’s High” is pure speed and exhilaration, but focused within a specific melodic structure. “Strange” and “Airborne” are effective in rendering the states of consciousness suggested by their titles, but unpredictably. The closing “One Last Try” is quintessential Collin: a simple melodic node

The Calling that crystallizes a particular piercing emotion. Romain Collin (Palmetto) The arrangement of John Mayer’s “Stop This by Tom Conrad Train” is relatively unadorned, yet uniquely fervent. What is most distinctive about Collin (and why he just Every year brings forth its new vintage of jazz pianists. might become popular) is that he is a jazz pianist with Only time will tell, but the last couple look promising. a singer/songwriter sensibility. Talents like Colin Vallon, Ivo Neame, Matt Mitchell, It is puzzling and distressing however that the Alfredo Rodríguez and Benito González have recently sonic quality of The Calling is hard, harsh, airless and popped onto the radar. It is not coincidental that most two-dimensional. It is presumably a digital recording, were born outside the US. Much of the energy in but Collin’s percussive approach to the piano often current American jazz comes from offshore. Now there results in a sound like overloaded analog tape. is Romain Collin, originally from Antibes, France. Collin is different. He is not interested in showing For more information, visit palmetto-records.com. Collin is off his chops, but rather in telling stories, portraying at Steinway Hall Jul. 28th. See Calendar. moods and developing a disciplined, personal ensemble concept. He is supported here by two of the strongest young rhythm section players in jazz, bassist Luques Curtis and drummer Kendrick Scott. The Calling expands the piano trio format by adding the guitar of John Shannon on three tracks and the cello of Adrian Daurov for two. Collin also incorporates subtle touches of synth programming in post-production. Ten of the 12 tracks are Collin originals. “Storm” is first, a convincing, concise portrait, without solos, of a gathering tempest. Processed vocals and unspecified Michiana instruments are just audible in the mix, as foreboding Jonah Parzen-Johnson (Primary) subliminal signals. This evolves into the title track, by Wilbur MacKenzie Brooklyn-based baritone saxophonist Jonah Parzen- Johnson hails from Chicago, coming up under the tutelage of AACM members Mwata Bowden and Matana Roberts. The influence of the Windy City’s longstanding tradition for creative music is evident. After a couple great records with his trio Reed’s Bass Drum, Parzen-Johnson’s solo debut recording reveals a technically proficient player with a ruminative, introspective approach. A consistent theme through the 11 tracks is an attention to the tone of the instrument itself, showcased through a penchant for long phrases and single tones that last long enough for the listener to perceive the rich ensemble of hues that, if viewed from afar, would come off as one brilliant color. “I Turn Left On The Tracks” appears in four forms, spread out across the disc. “Wet Rocks” and “You Probably Don’t Remember” revel in a serene melodicism. “Never Meant to Keep in Touch” stands out, with some quick-tempo repeated figures and a return to the multiphonics investigations of some of the earlier tracks. The melodic peaks and valleys of “You Fell Asleep & I Didn’t Mind, But Then I Woke You Up” close the solo saxophone portion of the record, before the two studio remixes of “I Turn Left Over The Train Tracks”, both quite different from one another, “The Building Remix” being an ambient, cloud-like wash of colors while “Lenny Pickett Remix” is firmly grounded in a rhythmic loop created from some slap-tongue techniques, with various slow and fast saxophone fragments superimposed atop. Deft control and wry sense of storytelling bring depth and drama to this work, creating a blend of nostalgia and intrigue that leaves a lasting impression. The economical use of slap tonguing and multiphonics are integrated perfectly with the glacial pacing of the melodic statements, evoking a walk in the woods or a leisurely hike up and down a mountain - or perhaps an afternoon spent on the shores of Lake Michigan.

For more information, visit primaryrecords.org. Parzen- Johnson is at Glasslands Gallery Jul. 31st. See Calendar.

THE NEW YORK CITY JAZZ RECORD | July 2012 23 extensively with trumpeter Roy Hargrove. On this capping in bombastic fashion an evening that saw spry hardbop date that dips heavily into R&B, Marshall McPhee leading a large ensemble and then performing is both crisp and blowsy while Pivec enunciates an solo with a small . Two new albums find approach derived from John Patton and early Larry The Thing hosting first-time guests, both intriguing Young, as well as occasional languid dabbles into choices for very different reasons: bassist Freddie Roach territory. The opening “CCC” finds the and vocalist . organist laying out syrupy, drawn-out chords against Gustafsson and Guy have a history going back to Carter’s dry, cracking time with the leader’s ebullient the early ‘90s with several albums together but Flaten gobs robustly engaging the changes. With no frills, the and Nilssen-Love know Guy with one degree of trio has put together an hour’s worth of crackling, separation (Flaten has made duo records with longtime toothy soul jazz definitely worth seeking out. Guy partner Evan Parker; Nilssen-Love has worked Ronnie Cuber first came to recorded prominence with collaborators of the bassist like Paul Lovens, with organist Dr. Lonnie Smith and guitarist George Louis Moholo and Marilyn Crispell). Guy’s level of Benson and he also worked with , Idris detail, the precision with which he plays each note or Legends Live: Liederhalle Stuttgart (November 22, 1977) Muhammad and in the ‘70s. , generates each sound seems at odds with the shovel- Sextet (JazzHaus) Cuber’s fifth date for SteepleChase, finds his muscular to-the-face brutality of The Thing. Would the Stompin’ With and rollicking horn complemented by pianist Michael component members opt for a more measured approach Ronnie Ross (Parlophone/Ember Jazz - Fantastic Voyage) Wolff, veteran bassist Cameron Brown and drummer - of which they are more than capable - or would they Sign The Book Jason Marshall Organ Trio (s/r) Johnathan Blake on nine knotty bop workouts. Charlie pick Guy up like a tornado snatches up a cow? Well, Boplicity Ronnie Cuber (SteepleChase) by Clifford Allen Parker’s “Cheryl” is a particularly fine example of Barry Guy ain’t no cow and is, along with McPhee, the Cuber’s angular facility, as he’s both robustly churchy most experienced improviser with whom The Thing The baritone saxophone, as ungainly as it might look and coolly eliding at a medium tempo. Wolff evinces has heretofore worked (Guy’s trio with Evan Parker at first blush, is an incredibly versatile instrument and pointillism and earthy funk in a strong solo, before a and Paul Lytton poured the foundation upon which can be played with slick low-to-midrange facility or few ‘fours’ are exchanged with Blake at the tune’s bands like The Thing are built). Metal! documents an hot, lung-busting devilishness. As St. Louis baritonist close. “My Little Suede Shoes” features curious behind- 80-minute April 2011 concert from Vilnius, Lithuania. Hamiet Bluiett has opined, the instrument gets to a the-beat phrasing from the pianist while the leader 10 of the 11 tracks (presumably improvised) are named deeper level of the psyche and the effects of its range navigates with slight burrs and a winking fullness. after elements with the closer, Thing favorite “Ride on human physiology are yet to be fully researched. Finely recorded to boot, Boplicity is a refreshingly hip The Sky”, by Lightning Bolt. The latter is a perky 2 That said, it’s also the provenance of four recent discs jaunt through the bebop songbook. minutes while the opening “Lanthanum” is close to 18, by bari leaders past and present - Gerry Mulligan, so both power and exploration are amply present. With Ronnie Ross, Jason Marshall and Ronnie Cuber. For more information, visit jazzhaus-label.com, Guy in tow, the bombast is more bombastic and the The baritone saxophone, jazz and Gerry Mulligan futurenoisemusic.com, jasonmarshalljazz.com and delicacy (if such a word can be used in Gustafsson’s are an inseparable concept, though the latter is often steeplechase.dk. Marshall is at Jazz Standard Jul. 6th-8th with presence) more delicate. All four players sound treated as an influence to escape as much as he is one Dr. Lonnie Smith and Smoke Tuesdays. Cuber is at Blue Note particularly emboldened, with the saxist at his yelping of the instrument’s most elegant practitioners. At the Jul. 24th-29th. See Calendar and Regular Engagements. best and Guy and Flaten, two of improvised music’s height of romanticism and fusion in the jazz best bassists, bouncing around each other like mainstream, this late 1977 Stuttgart performance finds superheated atoms. The Thing has only relatively Mulligan in full collaborative flower. He’s joined on a recently focused on totally improvised sets and this program of originals and a pair of chestnuts (“My album is the perfect culmination of that aesthetic. Funny Valentine” and “Satin Doll”) by bassist George The Cherry Thing brings the trio full circle, sort of. Duvivier, drummer Bobby Rosengarden, guitarist The featured collaborator is ’s stepdaughter Mike Santiago, pianist Thomas Fay and vibraphonist Neneh (people of a very specific age range will Dave Samuels. The opening “For an Unfinished remember her 1988 hit “”). But the group Woman” is a kaleidoscope of jazz-rock and Latin flair, is further expanded with the contributions of Christer vibes and guitar flinty and oblique across a filmic ten Bothén (guimbri and donso n’goni), Mats Äleklint minutes. The warm lilt of “Line for Lyons” is rendered (trombone) and Per-Åke Holmlander (tuba and Metal! The Cherry Thing with assurance and a sweet keen, the leader supported The Thing (with Barry Neneh Cherry/The Thing cimbasso). The material continues The Thing’s by an attuned rhythmic amble. A surprisingly moody Guy) (NoBusiness) () penchant for covering interesting material, in this case date, poised just to the right of oddness, this first tunes by Suicide, Martina Topley Bird, Madvillain, The by Andrey Henkin volume of the Legends Live series is a fine tribute to Stooges and along with a piece each Mulligan’s small group work during his most In February 2000, three young Scandinavian musicians by Cherry (elder and younger) and Gustafsson. This ambitious years as a composer. - saxist , bassist Ingebrigt Håker Flaten album now displaces the collaborations with British baritone saxophonist Ronnie Ross isn’t and drummer Paal Nilssen-Love - came into a Norwegian indie rock band Cato Salsa Experience as particularly well known on this side of the pond, Stockholm studio to record a tribute to the late Don the most unusual in The Thing’s discography. And lest though he was a standout member of groups and big Cherry (The Thing, Crazy Wisdom). At the time, one worry that it will be relegated to the role of backing bands led by saxophonists Johnny Dankworth, Tubby Gustafsson had already established himself as one of band, one needs to remember dominant musical Hayes and . His combos with vibraphonist/ the lights of the Swedish improvising scene while personalities simply figure out how to adapt most pianist Bill Le Sage were consistently well regarded in Flaten and Nilssen-Love, who first recorded together successfully to different circumstances. So Flaten and swinging ‘60s London, reaching their apex with the in 1996 with Element, were making names for Nilssen-Love, underrated as a ‘rhythm section’, are fine Cleopatra’s Needle (Fontana, 1968). Stompin’ With themselves 500 kilometers away in Norway. They positively buoyant in their accompaniment while from Ross’ quintet was recorded in 1958 and released never could have anticipated that, over a decade later, Gustafsson does his best Big Jay McNeely impression. on a rare Ember LP now being reissued. The leader is The Thing would be one of the most popular and When Cherry lays out, the band is like a teenager joined by pianist/valve trombonist Eddie Harvey, consistent bands in modern avant garde jazz. Now all whose parents have left for the weekend. Also of note trumpeter Bert Courtley, bassist Pete Blannin and three are luminaries on their own, making scads of are Äleklint’s horn arrangements. But what is most drummer on ten originals, contemporary albums a year with a variety of projects. But something interesting about this album is how it sort of starts out tunes and a rendition of “Smoke Gets in Your Eyes”. inimitable happens when the three get together, as The Thing with Cherry and sort of ends up as Cherry Ross can put forth both soft, delicate phrasing and documented on over a dozen albums since that with The Thing. This transformation begins with voluminous forward motion; joined by this spry auspicious debut. Martina Topley Bird’s “To Tough To Die”, continues foursome, he’s an elegant cooker. Though the Yet for that special chemistry, the group is very with Gustafsson’s “Sudden Moment” and reaches its recording’s a little thin and in the red at times, that amenable to working with guests, inserting a fourth apex with The Stooges’ “Dirt”. The most unique tracks lo-fi quality just helps push the music in a heartier (or more) voice as an equal partner into their maelstrom. from this album, which is finally a well-conceived and direction. , Thurston Moore, Otomo Yoshihide, executed ‘crossover’ album, are the closing “What Sign The Book is Jason Marshall’s second disc as a Peter Evans and ZU (The Thing’s Italian doppelganger) Reason Could I Give” by Ornette Coleman and the leader, following 2010’s Overt Negritude. The program have all been beneficiaries of this munificence live and poignant reading of Don Cherry’s “Golden Heart”, features nine original compositions performed by a on record but The Thing’s most regular partner has lyrics by Neneh, from his Complete Communion suite. organ-driven trio, with Czech-born Ondrej Pivec on been eminence grisé saxist/trumpeter Joe McPhee. the B3 and Russell Carter on drums. Marshall has Last month, this mighty quartet played as part of a For more information, visit nobusinessrecords.com and studied with Bluiett and Cuber and has worked celebration of McPhee’s career at the Vision Festival, smalltownsupersound.com

24 July 2012 | THE NEW YORK CITY JAZZ RECORD

Eponymous Canada Day III Canada Day Octet Surface to Air (NCM East) Harris Eisenstadt Harris Eisenstadt by Sean Fitzell (Songlines) (482 Music) by Tom Greenland Blending acoustic guitar and bass with tabla, the collective Surface to Air spins pastoral and meditative While a few jazz artists tend to play it safe within on their self-titled debut. With disciplined patience their established style, others sound like they’re trying they sustain evocative atmospheres, modulating them to be weird. Harris Eisenstadt doesn’t have to. With with improvisation without rending the moods. Absent Canada Day, celebrating a six-year anniversary on its insistent cymbals and drums, guitarist Jonathan namesake day (Jul. 1st), the Toronto-born drummer Goldberger and bassist Jonti Siman use the resultant has found the perfect creative coterie to express his space to sound their notes fully and allow them to fade unique vision of musical humanity - a form of naturally. Though Rohin Khemani’s tabla imparts the disciplined chaos, or ‘ordinary’ weirdness. With flavor, the compositions are not overtly derived from trumpeter Nate Wooley, tenor saxist Matt Bauder, Indian music, instead elegantly merging minimalism, vibraphonist Chris Dingman and bassist Garth blues, pop, jazz into a cinematic soundscape. Stevenson, Eisenstadt’s sonic schema are realized on Film composer Carter Burwell’s gothic-Americana Canada Day III, the first of two current releases. theme “Blood Simple”, arranged by Siman, begins the Boasting a stark photograph of a snow-covered tree CD with guitar articulating the spare melody aided by alone in a winter field, the album showcases songs and burbling tabla. Khemani pushes the movement on the arrangements freshly fleshed out on a recent North trio’s take on the lugubriously paced Icelandic American tour, well-conceived frameworks that allow psychedelia of Sigur Rós’ “Heysatan”. The acoustic the trumpet/tenor frontline to explore the avant guitar’s strings pop in its windswept expanse. Siman’s fringes while still adhering to concise statements with “Certain Backgrounds (For Bunstance)” boasts a taut cohesion. Wooley in particular is impressive for driving progression crisply paced by the tabla and the range of sounds emanating from his brass bell, answered by a ringing guitar line and rangy solo. graded variations of timbre that convey subtleties of “Arcana”, by Khemani, is similarly peppy with spry emotion and tone poetry. During an early set at percussion and tight group interplay. The likely Cornelia Street Café last month, the quintet performed improvisation “The Sleep in Your Eyes” effectively the first half of the album: a hocketing “Slow and builds tension and contours with controlled dynamics Steady” that wound down like a slow polka; “Settled”, and fits comfortably with the composed material. featuring Wooley’s squelched, burbled exhortations; During the CD release concert at Cornelia Street chameleonic tempo shifts throughout “A Whole New Café last month, Goldberger deployed mostly electric Level of Interactivity”; a solo bass launching “The guitar, using sustain and delay to add depth and Magician of Lublin” to climax with Bauder’s free-form saturation of sound. On his tune “Matanzas”, he added hyperdrive; concluding with “Song for Sara”, a moving a treatment that sounded like a bug zapper or radio tribute to Eisenstadt’s wife, bassoonist Sara Schoenbeck. white noise amid haunting bowed bass and punctuating Canada Day Octet adds Ray Anderson’s trombone, tabla thumps, taking freer liberties than on the recorded Jason Mears’ alto sax and Dan Peck’s tuba to the mix. version. Khemani often sparked momentum and With an expanded palette of four high hornmen, shaped the dynamics around the strings. During Eisenstadt explores chorale harmonies with “Heysatan”, Goldberger and Siman’s rigorous contrapuntal embellishments while Dingman’s adherence to the gaps between phrases impressively arpeggiated vibraphone comping preserves a light held the audience’s focus. Flashing avenues worthy of texture and the doubling of upright bass and tuba on further exploration and an obvious rapport, Surface to the composer’s stop-and-go basslines lends a supple Air seems poised for continued progress. punch to the rhythm section. Drawing on rock and Afrobeat influences, Eisenstadt’s drumming resists For more information, visit ncmeast.com overstatement in favor of succinct emphases, punctuating and transitioning through his labile arrangements with easy finesse. In addition to “Ballad for 10.6.2”, the record contains a four-movement suite, “The Ombudsman”, which the octet (with Joe Daley standing in on sousaphone for Peck) performed last month at the fifth annual Red Hook Jazz Festival, a family affair held at Brooklyn’s Urban Meadow community garden. As on the recording, Anderson’s distinctive voice added much to the first movement of the suite, declaiming in high-register swoops over the loping 6/8 ‘amens’ of the horn choir, repeating his oratorical prowess in a similar solo statement during the fourth movement of the suite. Wooley deserves a MVP (Most Voluble Player) award for his intro - both on record and in concert - to the suite’s third movement, a gurgling, gargling exposé on how to play trumpet ‘outside-the-box’. Again, the combination of freedom and formality in Eisenstadt’s compositions, as rendered through the musicians’ imaginations, made for a satisfying afternoon on the green.

For more information, visit 482music.com and songlines.com

THE NEW YORK CITY JAZZ RECORD | July 2012 25

a style concurrently rooted in the AfroCuban traditions of his native land and motivated by the innovative imperatives of the contemporary jazz and modern improvised music flourishing in his adopted New York environs. On his latest release he leads trumpeter Mike Rodriguez, pianist Osmany Paredes, bassist Yunior Terry, drummer Obed Calvaire and conguero/vocalist Pedro Martinez through a program of originals, traversing expansive musical territory, from ancient to

Snuck Out the future, with Martinez’ Santeria-inspired chant on David Weiss & Point of Departure (Sunnyside) the opening “Summer Relief” hearkening to the former by George Kanzler and guest Gonzalo Rubalcaba’s astral keyboards on the concluding “Son Contemporeano” pointing towards The Holy Grail for this quintet is the Miles Davis the latter. Quintet of the mid ‘60s, a band that pushed the idea of Throughout, the group swings with passion and group improvisation and spontaneous interaction, intelligence, their collective virtuosity bringing the coalescing strong, virtuosic individual voices into a leader’s varied compositions to triumphant realization. fluid whole rising to dizzying heights. The group was Terry has melded his diverse musical models - from not alone in its quest, many of the more exploratory, Mozart to Machito, Debussy to Palmieri, Gismonti to avant-bop groups recording for Blue Note during the Shorter - into an identifiable personal style that same period, like Andrew Hill’s Point of Departure combines harmonic and rhythmic sophistication in a (from which trumpeter David Weiss derives his band manner simultaneously intriguing and satisfying, as name) pursuing similarly abstract and intense paths. on the tour de force “Contrapuntistico”, with its It was a cutting edge music that incorporated exciting stylistic shifts. Switching to soprano from alto some of the freedom of the avant garde, but within a for his “Returning Home”, the composer proves context of rhythmic momentum and swing, which no himself equally capable of expressing his emotional matter how abstract, was still there. And it was, like breadth in a simpler, more conventional context. On the music on this CD - recorded at the second set of a “Harlem Matinee” he once again demonstrates the 2008 gig at Jazz Standard that already produced the ability to bring tradition and modernity together, also CD, Snuck In - organized around forms, modes and evident on his “Inner Speech” and “Another Vision of frames. Or as Weiss says: “We are trying to blur the Oji”, as well as brother Yunior’s “Suzanne”. This date lines between the composition and the improvising... is one of the more definitive efforts to originate in the more based on the tune, more of a theme and variation New York melting pot this year. thing than a head, solo, head thing so one can continue on after the melody has been stated and people can For more information, visit crisscrossjazz.com. This group think it is still part of the melody or vice-versa.” is at MoMA Sculpture Garden Jul. 15th. See Calendar. Unlike Miles, Weiss uses guitar (Nir Felder) instead of piano in his quintet. The rest reflects the standard of ‘60s quintets, but with a more centered, less unhinged frontline of Weiss, with his poised attack, and tenor saxist JD Allen, whose concentrated minimalism and calibrated, rich tone provides the group’s eye of the hurricane. Bassist Matt Clohesy supplies shifting, flexible bottom while drummer Jamire Williams exudes a restless energy and drive similar to Tony Williams. The music on Snuck Out, all but one of the five tunes strung together seamlessly, much like a Miles Quintet set, is heedlessly ambitious and, considering that this band never had the advantages of playing together frequently like that Miles Quintet, admirably cohesive. Except for the long centerpiece, ’s “Paraphernalia”, however, where solos flow in and out of the ensemble like an expanding structure, individual solos fail to relate enough to the whole. Nevertheless, this is adventurous, venturesome jazz exploring challenging frontiers well worth further investigation.

For more information, visit sunnysiderecords.com. This group is at The Stone Jul. 20th. See Calendar.

Today’s Opinion Yosvany Terry (Criss Cross) by Russ Musto A leading figure among the generation of Cuban artists presently enriching the international jazz scene, saxophonist/composer Yosvany Terry continues to advance the music narrowly known as Latin jazz, with

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melody drips with hearty bliss, echoing Sci’s beat while exploring soulful dimensions. Stewart accents the rhythm with a layer of brassy richness. “Fishin’ Blues” channels even more good-natured energy, featuring Yamin’s vocals in witty interplay with the tuba. On “A Healing Song”, the cheer gives way to humble introspection. Sci briefly puts down her drumsticks on “I Wish I Knew How It Would Feel To Be Free”, instead shining

I Feel So Glad through her free-spirited voice. She carries on even as Eli Yamin Blues Bnd (s/r) she starts the beat, cruising alongside Yamin’s piano by Sharon Mizrahi streams. Stewart’s hefty tuba sets sail in a poignant solo, crafting a melody that streams like water. But The title of the Eli Yamin Blues Band’s newest release Sci’s graceful vocals remain the star of this tune and is an understatement. As soon as I Feel So Glad hits the the entire album, inspiring hope in humanity and faith airwaves, everything from the ceiling to the floorboards in better days to come. jolts alive. What fills the heart thereafter is more than just gladness: Yamin’s band conjures joy in vivid For more information, visit eliyamin.com. This band is at colors. Wagner Park at Battery Park Jul. 26th. See Calendar. Blues standard “Hound Dog” exudes an irresistible sassiness put forward by vocalist Kate McGarry. Her sly delivery clasps the ears in a chokehold when she croons, “You ain’t nothin’ but a hound dog.” After a tame instrumental interlude, McGarry drops to a growl, then a whisper: “I know you ain’t no real cool cat.” And the band suddenly springs into action. Yamin’s piano takes over, dipping and rising in intensity like McGarry’s voice. Drummer LaFrae Sci’s cymbals provide a shimmering pulse, punctuated by Bob Stewart’s blurts of tuba. McGarry joins in on the Finger-Songwriter edgy vibe but Stewart soon emerges most magnetic of Jeremy Siskind (BJU Records) all, packing plenty of attitude in every curt note. by Alex Henderson The band tosses its sultry acidity aside for the title track, capturing the blues in an uplifting light. A hint Many jazz instrumentalists have no desire to work of gospel seeps through McGarry’s raspier vocals, with singers. They won’t appear on singers’ albums brought to fruition by Yamin’s groove. The pianist’s and refuse to feature singers on their own. And they tend to believe that words only get in the way when it comes to jazz expression. But Jeremy Siskind obviously doesn’t feel that way; the New York City-based pianist (originally from California) featured singer Jo Lawry several times on his previous album Simple Songs and singer Nancy Harms is an indispensable part of Finger- Songwriter. It would be a mistake to think of this CD as straightahead jazz; it is more a mixture of vocal jazz, cabaret and torch singing. But the cabaret that influences Siskind and the expressive Harms isn’t the cheesy sort of cabaret for which Carol Channing and Liza Minnelli are known; rather, Siskind and Harms are interested in finding the link between cabaret and jazz-noir. And a dusky mood prevails on this album, which often finds Siskind reworking literary texts or poetry into new lyrics and uniting those lyrics with his own melodies. For example, Jack Kerouac is the inspiration on “What Is That Feeling?” while poet Wallace Stevens is the basis for “More Mist Than Moon”. Most of the selections are performed at slow ballad tempos, but even when Siskind increases the tempo on “Theme for a Sunrise” and “The Inevitable Letdown”, Finger- Songwriter maintains its moody ambiance. Intimacy is the rule; the only person who joins Siskind and Harms is saxophonist Lucas Pino and he favors a lyrical, melodic approach that serves the album well. Pino is given a fair amount of room to stretch out, which is a plus. The final track, “All You Wanna Do Is Dance”, is not a reworking of a poem or a literary text; it’s the Billy Joel song. Siskind and Harms have no problem removing the tune from pop-rock and fitting it into the jazz-noir/cabaret/torch environment. Finger-Songwriter isn’t recommended to jazz purists. But for those who don’t mind their jazz-noir being mixed with a lot of cabaret, this is a very easy album to enjoy.

For more information, visit bjurecords.com. This group is at Cornelia Street Café Jul. 12th. See Calendar.

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“Stay As Sweet As You Are” features Woods’ slightly expressiveness turn Henry Mancini’s “Charade” into a raspy vocal accompanied by piano with an alto sax mysterious platform that Ess uses to showcase his interlude. “I’ll Never Be the Same” is a rhapsodic duet improvisational ability. Conversely, Ess uses a Trane- for alto saxophones while a loping, unusual like opening exposition to squeeze out the R&B arrangement of “Yesterdays” is done for saxes and sappiness from Joe Sample’s Schubert-inspired “One piano. The jazz master is alone at the piano for his Day I’ll Fly Away”, resulting instead in a poignant foot-tapping setting of the Rodgers-Hart standard smoky jazz atmosphere. On rare occasions planets “Blue Room”; it may have been tempting for him to previously unknown to each other align for a creative overdub his alto but it stands on its own merits. synergy. A Thousand Summers is one of those precious

Dialogues with Christopher There are several impressive interpretations of stylistic moments. Phil Woods (Philology) jazz works. The vast songbook of the late tenor by Ken Dryden saxophonist Al Cohn has been overlooked by nearly For more information, visit jazzgenemusic.com. Ess is at everyone except the musicians who played with him. ShapeShifter Lab Jul. 10th and runs a jam session there Long recognized as one of the modern greats of alto Woods’ touching rendition of Cohn’s ballad “Pensive” Sundays. See Calendar and Regular Engagements. saxophone, Phil Woods has continued to produce is ample proof of his gifts, with the alto saxophonist’s memorable music into his 80s. Dialogues with Christopher lyricism and use of space providing a virtual master is a one-man date, with Woods paying tribute to his class for students. The music to “Gary” was written by IN PRINT new grandson by overdubbing alto saxophone Gary McFarland (whose murder by poisoning was (sometimes multiple lines), piano and occasionally never solved), Woods singing his heartfelt lyric in a vocals in a mix of originals, favorite standards and halting voice with his deliberate piano. Though Woods timeless jazz works. While Woods jests about his vocals downplays his piano chops, his reflective treatment of and piano playing, he hardly embarrasses himself with pianist Bud Powell’s neglected “I’ll Keep Loving You” his efforts. is evidence that not all bop has to be played at a The jazz master opens and closes the disc with his racehorse tempo. brooding “Requiem”, the first version a moving alto One of the joys about Woods’ relationship with sax/piano duet, the other an even more powerful take Philology owner Paolo Piangiarelli is that the producer with multiple saxes. His touching salute to a late is interested in documenting top musicians more than master pianist, “Hank Jones”, reflects the elegant side achieving commercial success, resulting in some of the of Jones’ playing, whom like Woods, took part in most rewarding recordings of Woods’ career. Dialogues If I Knew This Oliver Lake (Talkin’ Stick) numerous recording sessions of all kinds during the with Christopher is a valuable gift to his growing family by John Sharpe ‘50s-60s. “2 4 me 2” is an intricate alto saxophone duet. and an important addition to his considerable Woods could play any of these standards in his discography. In summing up his eclectic musical approach, sleep, but he does more than go through the motions saxophonist Oliver Lake famously stated in the by merely rehashing past arrangements. On a buoyant For more information, visit philologyjazz.it. Woods is at poem “Separation” that he wanted all his food on “You Stepped Out of a Dream”, he skillfully adds Dizzy’s Club Jul. 26th-29th. See Calendar. the same plate. That allusion to not recognizing harmony with overdubbed sax in spots. A playful boundaries between genres also extends to his

attitude towards self-expression. Since emerging from the St. Louis Black Artists Group some four decades ago, Lake has not only garnered acclaim as a founder of both the World Saxophone Quartet and the cooperative Trio 3, but also found time to work as a poet, painter and performance artist. If I Knew This, his second book of poetry, collects 42 pieces, along with a small number of images, into a slim volume. Subject matter is varied and imagery

literal in the free verse meditations. Inspiration A Thousand Summers (featuring Nicki Parrott) Gene Ess (SIMP) comes from big-ticket news headlines like the Iraq by Elliott Simon war, the election of Barack Obama, the devastation wreaked on New Orleans culture by Hurricane Guitarist Gene Ess is a very talented technician and Katrina and the Gulf oil spill, but also from more arranger. He is comfortable with Trane-inspired personal situations. “Dedicated To The Memory of Santana soliloquies: check out “Now, Parting” with Lester Bowie” recounts the debt of gratitude felt to drummer Rashied Ali (Sunrise Falling, Amp Records, the late trumpeter, a formative influence and catalyst 2003) and blistering crisp boppish runs that borrow for the author’s musical journey. from rock and blues. Through this approach he has A wry irony pervades many items, like the constructed his own brand of open yet complex reflection on the use of the word “nigger” - postbop fusion. personally exorcised in the late ‘60s, but now The last thing then one would expect from Ess is a ubiquitous thanks to rap - chorused at his daughter’s mainstream album of jazz standards featuring a female 16th birthday party, DJed by his son, on “Sugar”, vocalist. On the surface that is what A Thousand where after years of collecting sugar cubes from Summers is but close listening reveals much more than around the world, Lake, now a diagnosed diabetic, this old throwpillow. Vocalist Nicki Parrott and the reflects that the only sugar on display is in his body. rhythm section - bassist Thomson Kneeland and Indeed the pieces where Lake speaks from the heart drummer Gene Jackson - are wonderfully engaged in are the most affecting, not least “I Feel The Guilt”, complex arrangements. Parrott, a first-call NYC bassist, recounting filial regret at missing his mother’s here puts aside her upright to concentrate solely on the passing by not rushing to be at her side. vocals and proves to be the perfect choice. Not Recitations of some of these works on Lakes At possessing a powerful set of pipes, she instead uses her The Stone (Passin’ Thru, 2011) reveal different voices command of phrasing, melody, timing and vocal charm talking within individual poems, a dimension not to enable these standards to retain their intent while apparent on the page. Undoubtedly performance is they are up-cycled. where these pieces come to life, with musical Aside from Parrott, the arrangements are center- interjections and emphasis through repetition. But stage, with Ess and Kneeland splitting the duties on for now, this collection acts as a welcome repository these ten nuggets. Rounding out the quartet is pianist of Lake’s life and times. James Weidman and he, along with Parrott, is able to adapt exceptionally well to the two arranger’s differing For more information, visit oliverlake.net. Lake is at styles. Birdland Jul. 17th-21st with Trio 3. See Calendar. Kneeland’s arrangement and Parrott’s

28 July 2012 | THE NEW YORK CITY JAZZ RECORD

bringing out the songful intricacies of the tunes. Both spears of electric guitar. Kozumplik’s bata conjured a McGhee and Edwards bring admirably personal voices tropical flair as Jaye belted out, “It ain’t right, it ain’t to their playing, avoiding the facile technique and wrong, we are so strong!” polished clichés endemic to so many of today’s neo- Loop 2.4.3’s guests took center stage on “I Knew and postbop players. (we shouldn’t)”, marking a refreshing change of pace Of the 12 tracks on the Home Run CD, only seven from the percussive ambience. Cellist An-Lin Bardin are by the McGhee/Bailey Sextet, as one is a feature for nestled into Istvan B’Racz’ somber piano - and opera hard-edged tenor saxist Sonny Redd and four are vocalist Scott Bearden carried the weight on his outtakes (three alternates) from the Edwards Quintet shoulders. As a subway car rumbled beneath the

Jazzcraft Studio Recordings 1978-79 sessions. However, those seven tracks are winners, the floorboards of Joe’s Pub, Bearden, too, rumbled to Various Artists (Storyville) presence of trumpeter Benny Bailey stirring McGhee’s visceral resonance, seizing the air with his vibrant by George Kanzler competitive instincts, resulting in his best solos on the crescendo. album. Largely forgotten today, Howard McGhee (who died Right from the opening track, his own bluesy For more information, visit musicstartsfromsilence.com 25 years ago this month at age 69) was a pioneering hardbop “Get It On”, McGhee plays faster, higher and bebop trumpeter in the ‘40s, a member of Coleman with more crackling intensity than his mellower form Hawkins’ seminal bop band as well as a recording with the Wise in Time quintet. Bailey, who forged most ON DVD partner of Charlie Parker in Los Angeles. In those years of his career in Europe, is a mercurial bopper who he was often compared to Dizzy Gillespie as another plays with bright bravura and a brilliant tone to match. fleet, soaring trumpeter, but one with a less abstract, On “Get It On” he brings out a plunger for fours with more melodic style. McGhee and the trades, down from half-choruses to When these recordings were made, McGhee, fours and twos, on “Brownie Speaks” are a scintillating already in his 60s and buffeted by health problems, brass battle capped off by Bailey’s exuberant slide was a more introverted, reflective player with slightly whistle-effect ending. Other highlights include blurry intonation, rarely rising above his mid-register. “Jonas”, McGhee’s “Love for Sale” contrafact with the But, as these sessions prove, he was also a font of composer Harmon-muted, Bailey tight muted with musical ideas, capable of producing sturdy, lyrically plunger; “Funky Señor”, Bailey’s nod to Horace flowing, logically intriguing solos. Made at the end of Silver’s “Señor Blues”, with more wah-wah trumpet the ‘70s, just on the cusp of the neo-bop revival - before and ’s “Nostalgia”, an “Out of Nowhere” Cuba: Island of Music (A Film by Gary Keys) (MVD Visual) mania - the music here comes from contrafact worth reviving. by Tom Greenland two Jazzcraft CDs: Wise in Time by the Howard McGhee/ Quintet and Home Run from For more information, visit storyvillerecords.com Cuba: Island of Music (originally released in 2004), the Howard McGhee/Benny Bailey Sextet, the latter one of ten-odd music documentaries from Gary including outtakes from the quintet session to round Keys, is based on a 2000 sojourn in Havana. The out the CD. movie mixes ‘drive-by’ footage of street scenes and The Quintet repertoire is almost all from the early daily life (cigar makers, butchers, clowns, taxi cabs, bebop era, plus a Clifford Brown bop tune as well as “I boys surfing on rainwater puddles, a Santería Remember Clifford” and, the one anomaly, John ceremony complete with a graphic chicken sacrifice, Coltrane’s modal “Crescent”. The mood verges on socialist propaganda, beach dancing, oxen plowing, elegiac, with ballads and midtempos dominating. a railroad engine, chess games, a heated argument It’s a mature bebop album by veterans fondly over a baseball game, restored old American cars, et remembering, but not necessarily trying to emulate, al.) with some of the city’s más caliente nightclub the heady, breakneck excitement of those earlier times. bands (Orquesta Aragón, Grupo Cohiba, Jóvenes American Dreamland What they bring is the wisdom of elders leavened with Loop 2.4.3 (Music Starts From Silence) Clásicos del Son, Manolín, Los Zafiros, et al.) along affection for the music of their youth. by Sharon Mizrahi with less formal performances of bolero, son, Edwards, whose tenor’s vocal timbre harks back rhumba, salsa and even rap music. Keys narrates the to the Swing Era, quotes a Kansas City staple of the Before you can get a thought in edgewise, two voices action from the comfort of his own convertible and that time, “I Want a Little Girl”, on Billy Eckstine’s “I say, “Change. The minds will be surfing in our blood… solicits commentary on the footage from Chico Want to Talk About You”. Other bop ballads include No more sexuality. No more stress…Total collapse. Hamilton and Dr. , who respond with ’s “If You Could See Me Now”, Again.” These are some of the words to Loop 2.4.3’s their own impressions of and insights into the music. showcasing McGhee’s lyricism, a valid alternative to “Total Collapse”, the half-minute opener to American Keys views Cuban music, like the gospel, blues and Miles Davis’ modern ballad approach; Bud Powell’s Dreamland. jazz music of black North Americans, as a positive, “Time Waits” and a sumptuous version of Monk’s The fierce motorcycle print on the life-affirming response to oppression, not only the “Ruby My Dear”. Monk’s “In Walked Bud” and a trio gives no hint at the mindplay to come on Thomas historical legacy of slavery but, in Cuba’s case, the of Charlie Parker pieces plus Oscar Pettiford’s “Blues Kozumplik and Lorne Watson’s new CD. At a Joe’s Pub current oppression of socialist dictatorship and, in the Closet” are done at fast but not blistering tempos, release concert last month, the duo’s vision swelled to most importantly for Keys, the economic slavery full-fledged life. imposed by the US embargo. On a stage packed with drums, keyboards, strings Unfortunately, the film also contains flaws that JHM 205 and miscellaneous instruments, Loop 2.4.3 began the undermine its integrity. While it does include evening unaccompanied, fusing into one poignant translated statements by local musicians, ultimate Georg Ruby – Michel Pilz power. Watson rippled his steel drum to Kozumplik’s authority is given to Hamilton, Taylor and the Deuxième Bureau firm beat, both tussling with delicate assertion. director himself, who at one point proclaims that Michel Pilz – bcl Guests Aviva Jaye and Jon Catler later rose to the Cuban music “is the most danceable music in the Georg Ruby – p stage on “Sakura (we must love)” (vocalist Shara world” and later wonders, “Is everybody [in Cuba] a musical genius?” More troubling, especially for a K C Warden appears on CD). Kozumplik stepped toward OR ITY Georg Ruby’s recent duo project is Y J A the microphone, swirling his buzzing voice around film championing local lifestyles, is its treatment of W BEST NEW Z E uncompromisingly dedicated to “instant Z N RELEASES Jaye’s metallic vocals. Both united with the entrancing females. Judging from footage of scantily clad R

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H futurism of Imogen Heap, pierced by Catler’s agitated nightclub dancers and a scene where a Chinese O

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or in recording situations – developed R D electric guitar. Watson’s ritualistic drum cadence immigrant singer traces an hourglass shape with his improvisations without any guideline or 2011 prior agreement. further distressed the air. The band reveled in discord, hands as he praises Cuban girls, Cuban culture is halting abruptly on their way to the apex. complicit in the objectification of women - but a www.georgruby.de The tune’s eerie antithesis (not played live) is blatantly voyeuristic shot that pans to follow a “American Elder”, featuring Watson on Native young roller-skater’s swaying behind (the girl American flute and Kozumplik in a harrowing rhythm. quickly takes refuge behind a truck to avoid the „ JazzHausMusik “So Strong” echoed the same rhythmic drive, though camera) sadly demonstrates Keys’ own insensitivity. Cologne/Germany · www.jazzhausmusik.de in a far different context. The rock fusion anthem - also available at www.amazon.com / www.amazon.de played twice in one set - hearkened to the album’s For more information, visit mvdvisual.com motorcycle cover, opened by an edgy drum roll and

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arranged and early sessions that included Sun Ra in have heard. BOXED SET one of his many roles. The difficulty with the set is also what’s most Given its scale, this is a difficult production to unusual about it. Anderson presents himself as digest. There is a wealth of music here, a kind of “on-air” host/narrator, posing artificial questions to moving image of the music that would create Ra and absentee “guests” and editing in sound clips, 9 dots which he in turn extended. As he remarks at one whether it’s Sun Ra himself going far beyond the point, “I saw the whole Black panorama of pure questions “asked”, or brief sound bites of Ruth Black culture.” You get introductions to the early Brown and defining the blues. blues singers like Ma Rainey that he would have Anderson’s speculations about Ra’s possible heard in childhood as Herman Poole Blount and uncredited roles in various recordings are more recordings from the bands from his adolescence, like difficult still. Luis Russell, Don Redman, Tiny Parham and Byron There’s a 90-page book included in the set, with The Eternal Myth Revealed Vol. 1 Lee. excellent visuals, but much of it is Anderson’s spoken Sun Ra Arkestra (Transparency) Anderson assembles a remarkable continuum, text from the discs. It’s distracting, especially when by Stuart Broomer subverting typical jazz histories to emphasize the at its most speculative, with Anderson explaining elements that would contribute most to Ra’s broad “on-air” why he thinks Sun Ra is the arranger or Sun Ra - composer-arranger, pianist, vocalist, creativity. As the program reaches the ‘40s, Ra’s own pianist on a particular cut, including obscure 16 dots Fletcher Henderson sideman, avant garde big band amateur tapes, sideman appearances and recordings by Paul Bascomb and Coleman Hawkins. leader, early electric keyboard specialist, Doo-wop arrangements stand side by side with contemporary Anderson’s polished delivery tends to turn vocal coach, costume designer, poet, philosopher, music that influenced and paralleled his own work, speculation into certainty, blurring the already grey seer and sideshow emissary from the planet Saturn whether it’s AfroCuban, R&B or Doo-wop. areas of fact, myth and put-on in the Ra universe. - was one of the most creative figures in 20th century The music usually burbles with energy and the Ultimately though, one gets used to the narrative American music, make that culture, an artist whose set provides a window on the continuum to which presence and simply revels in the music, whether it’s wide-ranging performances mingled traditional Ra belongs, bringing as he did the impact of ‘20s material one has heard before or not. Gems include a musical forms (Swing, Doo-wop) with expressionist theater and the R&B show to the world of modern Chicago jam session with Ra, JJ Johnson and Gene free improvisation and sci-fi vaudeville. jazz. It’s great to hear John Kirby’s exotic “Anitra’s Ammons and Sun Ra & His Men from Space playing While Sun Ra was one of the most recorded Dance” and it’s even more rewarding to hear Sun the Champs’ hit “Tequila”, both from 1958. musicians in history, Sun Ra: The Eternal Myth Ra’s arrangements for Wynonie Harris, LaVern Authorities on Sun Ra will be best equipped to sort Revealed Vol. 1 - a 14-CD set, running nearly 17 hours Baker and Joe Williams, all backed by the Red out the claims made here, but it’s a fascinating 25 dots in length - is both a unique document and not exactly Saunders Orchestra, with whom Ra worked for addition to the ever-expanding Ra discography. a work of Sun Ra. Produced by Michael D. Anderson, several years in the late ‘40s-early ‘50s. There’s also disc jockey, archivist and member of the Sun Ra a chance to hear Ra’s own home recordings, whether For more information, visit sunraarchive.webstarts.com. Arkestra during the ‘70s, it’s a vast documentary of playing celeste with the great bassist Wilbur Ware in Burnt Sugar Arkestra performs music inspired by Sun Sun Ra’s influences and early career, filled with 1952 or playing organ on the strange dream-like Ra’s The Nubians of Plutonia at The Stone Jul. 18th. records that influenced him, ones that he may have improvisations so different from anything he might See Calendar.

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JUL 1 JUL 1722 DION PARSON IGOR BUTMAN & THE 21ST CENTURY & MOSCOW STATE BAND JAZZ ORCHESTRA with Ron Blake, Marcus Printup, Late Night Session: Lawrence Leathers Trio Victor Provost, Reuben Rodgers, Alioune Faye, and Carlton Holmes JUL 23 MORGAN JAMES JUL 2 SINGS NINA SIMONE BAND DIRECTORS David Cook, David Finck, Clarence ACADEMY FACULTY Penn, Ron Blake, and Doug Wamble QUARTET with Rodney Whitaker, Alvin Atkinson, JUL 2425 Ron Carter, and Reggie Thomas JEAN CARN & DOUG CARN with Stacy Dillard, Duane Eubanks, JUL 311 Rahsaan Carter, and Russell Carter CLOSED FOR Late Night Session: Frank Basile MAINTENANCE 0.2 mm 0.4 mm 0.6 mm 0.8 mm 1 mm 1.2 mm 1.4 mm 1.6 mm JUL 2629 JUL 1215 PHIL WOODS QUINTET CHRISTIAN MCBRIDE with Bill Mays, Brian Lynch, BIG BAND Steve Gilmore, and Bill Goodwin Late Night Session: Frank Basile Late Night Session: Paul Nedzela Dominick Farinacci (Jul 26 only) JUL 16 JUL 3031 MORGAN JAMES NICOLE HENRY QUINTET SINGS NINA SIMONE with Kevin Hays, Vicente Archer, with David Cook, David Finck, Nate Smith, and Special Guest Clarence Penn, Don Braden, Kirk Whalum and Doug Wamble Late Night Session: Brianna Thomas

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30 July 2012 | THE NEW YORK CITY JAZZ RECORD

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0.4 mm 0.8 mm 1.2 mm 1.6 mm 2 mm 2.4 mm 2.8 mm 3.2 mm 3.6 mm 4 mm (INTERVIEW CONTINUED FROM PAGE 6) • Veryan Weston - Allusions (Solo Piano) (Emanem, 2002) which Prévost plays Roto-toms, and violinist Jennifer • Veryan Weston/John Edwards/Mark Sanders - Allum on Penumbrae, where he plays bowed percussion. well as us. The band called 4 Walls was as a result of Gateway to Vienna (Emanem, 2002/2003) Those discs reflect Prévost’s role as mentor to poor [cellist] Tom Cora dying so tragically young. He • Martin Blume/Yedo Gibson/Marcio Mattos/ successive generations of improvisers. Allum and was part of a band with Luc and Michael called Roof. Veryan Weston - Caetitu (Emanem, 2007) Wright are among the many younger musicians who Luc and Michael wanted to carry on with Phil and so • Trevor Watts/Veryan Weston - have found a path to improvised music through the Phil suggested I get involved. You see 4 Walls were Dialogues in Two Places (Hi4Head, 2011) London workshops. As far as economic reality permits, part of a house of musicians that had no Roof anymore. Prévost takes chances: “Whatever the artistic merits, As for politics: that’s in everything we do. we can only go as far as return on sales makes new things possible. Even the audience for this music is TNYCJR: Recently you’ve recorded CDs dealing with (MEGAPHONE CONTINUED FROM PAGE 11) conservative in its choices and the downturn in the “Tessellations”. Can you define this? economy perhaps makes people more cautious. It has David Amram: the First 80 Years, which ends on the become likely that sales of CDs featuring, for example, VW: Tessellations is completely different from other stage of the Cornelia Street Café. Evan Parker or AMM music will break even and give stuff I do, which may be why I do it. This is a personal In my beginning is my end, as TS Eliot put it in The us a return to invest in other things. Nothing, though, project based on research done on specific kinds of Four Quartets (given an awe-inspiring performance is certain.” pentatonic scales that are all related to one another. from memory here more than 30 years ago by polymath What is certain is Matchless’ impact on the current Tessellations are kinds of visual structures and so I and pianist Rip Keller). Or, to pick up with David landscape of recorded improvisation. While Prévost have borrowed a term to somehow try and describe where we left off: stresses that he’s “unable to respond positively to some of the almost geometric ideas in the Tessellations almost all the unsolicited material I receive,” his pieces that I have written. Trevor gave me a lot of “Today, a half century later, I still treasure playing support has been tremendous to the few musicians inspiration back in the past when I was working in on the first Monday of every month at the associated with label. Bertrand Denzler of Hubbub Moiré Music, since Moiré is another visually-related Cornelia Street Café, two blocks from where recalls that, “Having a CD out on Matchless was quite word. I first played with the Charles Mingus Quintet important for us. A lot of people who wouldn’t have at the old Café Bohemia . . . The Cornelia Street been aware of our existence discovered our music TNYCJR: Your other recent CD is Haste with saxist Café is more elegant and user friendly than any of thanks to the reputation of the label.” Ingrid Laubrock and cellist Hannah Marshall. Is this the places that Kerouac and I used to hang out in, Durability is apparent everywhere in the Matchless another ongoing group? Is the association with but there is a warm spirit and cozy atmosphere catalogue, from the wonderful Supersession of 1988 Marshall another long-time commitment as well? that reminds you that in the giant megalopolis of with Prévost, Rowe, Evan Parker and Barry Guy, an New York, small is still beautiful. When I go out at almost unthinkable assemblage of talents, to the dense TNYCJR: Yes, it is an ongoing group - I feel we have the end of the night to pack up my instruments, I abstraction of 396 by the trio of Yann Charaoui, John only just started. Hannah and I also play in the Trio of walk underneath the nearest street light and always Lely and Seymour Wright and None (-t) by 9!, early Uncertainty, which includes a wonderful classically see those diamonds in the sidewalk, still documents of the London workshop that grow in trained violinist called Satoko Fukuda, and in Sol6 glittering as they did so long ago and welcoming significance. where we sing songs by Satie, Ives, Bacharach and anyone walking by to feel at home, as Jack and Prévost recently launched a concert series of Eisler as well as include instrumental compositions by I always did.” “Meetings with Remarkable saxophonists” and the George Russell and Steve Lacy. There are other results are starting to appear on Matchless. First up is regular affiliations for me as well, a trio with [bassist] I am proud to have been a custodian of some of All Told with Evan Parker, bassist John Edwards and John Edwards and [drummer] Mark Sanders, which is those diamonds. v Prévost on drumkit and CDs with John Butcher and in the process of being expanded out to a quartet which Bertrand Denzler will follow in the series. Also just will include Trevor. Also I play in a duo, which I like a For more information, visit corneliastreetcafe.com. Cornelia released are Impossibility in its Purest Form with lot with [saxist] Caroline Kraabel and perform at the Street Café’s 35th Anniversary Celebration will be held Jul. Sebastian Lexer, Wright and Prévost and Volume 2 of very occasional Skip Film event with [guitarist/ 4th with David Amram and guests. See Calendar. John Tilbury and the Smith Quartet performing Morton violinist] Hugh Metcalfe where he and I improvise Feldman’s music for piano and strings, a series on along with his Super8 films. But in essence I’m a Robin Hirsch is the author of the award-winning memoir, DVD to accommodate the lengths of Feldman’s pieces. freelance musician open to any gig - providing it Last Dance at the Hotel Kempinski; the solo performance A new AMM CD, London Concerts, will be out soon interests me. v cycle, Mosaic: Fragments of a Jewish Life and, with the and projected releases include a CD with saxophonist collaboration and interference of his children, FEG: Stupid Jason Yarde and bassist Oli Hayhurst. “These are two For more information, visit veryan-weston.xanga.com. Weston Poems for Intelligent Children. In 1977, together with very new people on Matchless,” Prévost says, “and is at The Stone Jul. 4th with Trevor Watts. See Calendar. Irish-American actor Charles McKenna and Argentinean- hopefully reveal another surge in the spirit of openness. Canadian-Italian visual artist Raphaela Pivetta, he founded Other material is in the pipeline. It looks like a busy Recommended Listening: the Cornelia Street Café. In 1987 the City of New York period ahead.” v • Eddie Prévost Quartet - Continuum + proclaimed it “a cultural as well as a culinary landmark”. It (Matchless, 1983/1985) has won numerous awards for its food, its wines, its poetry For more information, visit matchlessrecordings.com. • Lol Coxhill/Veryan Weston - and, mirabile dictu, its jazz. Artists performing this month include Veryan Weston at Boundless (Emanem, 1998) The Stone Jul. 4th. See Calendar.

Cobi Narita presents (LABEL CONTINUED FROM PAGE 12) CHIHIRO Celebrating Abbey Lincoln On Sounding Music, recorded at the 2009 Freedom Come celebrate Abbey’s August 6th birthday, YAMANAKA TRIO of the City, AMM is still finding new connections, with as singers who love her sing her songs in tribute! PIANO: CHIHIRO YAMANAKA John Butcher, cellist Ute Kanngiesser and Christian BASS: YOSHI WAKI Wolff joining Prévost and Tilbury. Butcher remarks, DRUMS: JOHN DAVIS “Five musicians playing together, some for the first time, can make for a risky improvisation. I think it has a real edge because of that. You sense the concentrated July 10 listening and decision-making. Eddie’s commitment to Iridium improvisation definitely encourages exploratory 8 & 10 pm $25 musical engagement.” 1650 Broadway Matchless represents Prévost’s other impulses as (at 51st Street) well. In recent years there have been his drum-kit 211-582-2121 forays with free jazz masters like pianist Alex von Saturday, August 11, 2012 - 8 p.m. theiridium.com Schlippenbach (playing together for the first time on 2008’s Blackheath) and the energy-school saxophonist Saint Peter’s Church Suggested Donation: $10 Alan Wilkinson on So Are We, So Are We. His sound- 619 Lexington Ave, at E. 54th Street driven side is evident in work with youthful for more info:[email protected] or 516-922-2010 CHIHIROYAMANAKA.COM experimentalists like Seymour Wright on Gamut, on

THE NEW YORK CITY JAZZ RECORD | July 2012 31 CALENDAR

Sunday, July 1 êDr. Lonnie Smith 70th Birthday Celebration: Dr. Lonnie Smith Trio with • Daniela Schaechter Tomi Jazz 9 pm $10 Jonathan Kreisberg, Allison Miller and guests • Evan Schwam Quartet Cleopatra’s Needle 8 pm êCharlie Watts’ The ABC&D of Boogie Woogie with Axel Zwingenberger, Ben Waters, Jazz Standard 7:30, 9:30 pm $25 • Austin Walker; Joey Morant The Garage 6:15, 10:45 pm Dave Green Iridium 8, 10 pm $65 • Bill O’Connell Latin Jazz All-Stars with Steve Slagle, Luis Bonilla, Richie Flores, • Blue Note 8, 10:30 pm $25 êMarc Ribot Trio with Henry Grimes, Chad Taylor Ruben Rodriguez, Adam Cruz Birdland 8:30, 11 pm $30-40 • Alan Jay Palmer’s The New Soil Ship Village Vanguard 9, 11 pm $25 • Johnny Colon Orchestra Damrosch Park 7:30 pm Blue Note 12:30 am $10 • Cassandra Wilson with Marvin Sewell, Brandon Ross, Brad Jones, Gregoire Maret, êRob Mazurek/Angelica Sanchez; Ryan Sawyer, Darius Jones, Shahzad Ismaily êKenny Barron Quintet with Dayna Stephens, Brandon Lee, , John Davis Blue Note 8, 10:30 pm $55 The Stone 8, 10 pm $10 Johnathan Blake Village Vanguard 9, 11 pm $25 • Trio with Dezron Douglas, Neal Smith and guest James Carter • Matt Garrison and guests ShapeShifter Lab 8 pm êDr. Lonnie Smith 70th Birthday Celebration: Dr. Lonnie Smith’s In The Beginning Octet Jazz Standard 7:30, 9:30 pm $30 • Jack Jeffers and the New York Classics with Antoinette Montague with John Ellis, Ian Hendrickson–Smith, Jason Marshall, Andy Gravish, Ed Cherry, • Dion Parson and The 21st Century Band with Ron Blake, Marcus Printup, Zinc Bar 8, 10 pm Allison Miller, Little Johnny Rivero Jazz Standard 7:30, 9:30, 11:30 pm $30 Victor Provost, Reuben Rodgers, Alioune Faye, Carlton Holmes • Spike Wilner solo; Omer Avital and The Band of the East • Bill O’Connell Latin Jazz All-Stars with Steve Slagle, Luis Bonilla, Richie Flores, Dizzy’s Club 7:30, 9:30 pm $30 Smalls 7, 9 pm $20 Ruben Rodriguez, Adam Cruz Birdland 8:30, 11 pm $30-40 • Tim Hagans Quartet with Vic Juris, Jay Anderson, Jukkis Uotila • Franz Hackl’s IDO Quartet with Mino Cinelu, Adam Holzman • Lucio Ferrara The Bar on Fifth 8 pm Birdland 9, 11 pm $30-40 Drom 7 pm $20 êJunior Mance Bryant Park 12:30 pm êThe Odd Couple Quintet: John Clark, Michael Rabinowitz, Freddie Bryant, Mark Egan, • Erica Dagnino Quartet with Andrea Wolper, Matt Lavelle, Ras Moshe Abe Fogle ShapeShifter Lab 8 pm Cornelia Street Café 6 pm Saturday, July 7 • Loren Connors solo; Kevin Micka solo • Douglas Bradford’s Atlas Obscura with John Beaty, Pascal Niggenkemper, The Stone 8, 10 pm $10 Nick Anderson; Kenneth Salters Quartet with Tivon Pennicott, Mike Battaglia, êRay Anderson Pocket Brass Band with Matt Perrine, Eric McPherson • Canada Day: Owen Howard’s Expat Quartet with Dave Smith, Andrew Rathbun, Spencer Murphy Cornelia Street Café 8:30, 10 pm $10 Cornelia Street Café 9, 10:30 pm $15 Zack Lorber; Canadian Club: Tony Malaby, Kris Davis, Nick Fraser • Sean Smith Trio with John Hart, Russell Meissner • The Wolff & Clark Expedition: Michael Wolff, Mike Clark, Steve Wilson, Chip Jackson Cornelia Street Café 8:30, 10 pm $10 55Bar 7 pm Jazz at Kitano 8, 10 pm $25 • The SmallsLIVE All-Stars with Spike Wilner • Jeremy Manasia Trio; Maximo Bachata Y Merengue; Greg Glassman Jam êJessica Pavone solo; Andrew Lamb Trio with Tom Abbs, Warren Smith Smalls 11 pm $20 Fat Cat 7, 9 pm 12:30 am The Stone 8, 10 pm $10 • The Out of Your Head Collective: Nathaniel Morgan, Anna Webber, Jessie Stacken, • /Carl Barry Bella Luna 8 pm • O’Farrill Brothers Special Quintet: Adam and Zachary O’Farrill, Chad Lefkowitz-Brown, Landon Knoblock, Flin van Hemmen; Ben Syversen, Will McEvoy, Booker Stardrum • Chris Ziemba solo Jazz at Kitano 8 pm Luke Celenza, Daryl Johns The Jazz Gallery 9, 10:30 pm $20 The Backroom 9:30, 11 pm • Ian Underwood with Melissa Aldana, Juan Andres Ospina, Devin Collins; • Spy Music Festival: Dustin Wong/Dan Friel; White Out with Charles Gayle; PC Worship • Fat Cat Big Band; Brandon Lewis/Renee Cruz Jam Marla Sampson Quintet with Matt Baker 285 Kent 8 pm $10 Fat Cat 8:30 pm 12:30 am Somethin’ Jazz Club 7, 9 pm $5-10 ê40twenty: Jacob Sacks, Dave Ambrosio, Vinnie Sperrazza • Peter Leitch/Charles Davis Walker’s 8 pm • Mike Dease Big Band The Garage 7 pm I-Beam 8:30 pm $10 • Simona Premazzi The Bar on Fifth 8 pm • Lucio Ferrara The Bar on Fifth 8 pm • Jake Henry’s Sweet Talk; Minerva: Pascal Niggenkemper, JP Schlegelmilch, • Tammy Scheffer/Francois Moutin Sycamore 8 pm • Sax E and Pure Pressure Shrine 6 pm Carlo Costa Douglass Street Music Collective 8 pm $10 • Emeline Michel, Jowee Omicil, Rigo Simon and guest Monvolyno Alexi êJunior Mance Bryant Park 12:30 pm • Rick Stone Trio with Marco Panascia, Tom Pollard SOB’s 8 pm $20 Bar Next Door 7:30, 9:30, 11:30 pm $12 • Luis Camacho Sounds del Caribe with Luis Fernandez, Roberto Agron, Victor Molina, Wednesday, July 4 • Melissa Aldana Quintet; Rafael D’Lugoff Quintet Matthew Gonzalez Somethin’ Jazz Club 7 pm $5 Fat Cat 7, 10 pm • Shrine Big Band Shrine 9 pm êJohn Blum solo; Trevor Watts/Veryan Weston • Lauren Lee; Chris Davidson Group with Javi Santiago • Erica Dagnino with Blaise Siwula, Ken Filiano The Stone 8, 10 pm $10 Somethin’ Jazz Club 5, 7 pm $5 Downtown Music Gallery 6 pm êCornelia Street Café 35th Anniversary Celebration with David Amram and guests • Allegra Levy; Yumi Takagaki Tomi Jazz 8, 11 pm $10 • Ike Sturm Ensemble Saint Peter’s 5 pm Cornelia Street Café 4 pm • Masami Ishikawa Quartet Cleopatra’s Needle 8 pm • Vic Juris Quartet with Kate Baker, , Anthony Pinciotti êValery Ponomarev “Our Father Who Art Blakey” Big Band • Tomas Janzon/Harvie S Duo Garden Café 7:30 pm Blue Note 12:30, 2:30 pm $29.50 Zinc Bar 8, 10 pm • Quintet with Alex Sipiagin, Cyrus Chestnut, Brandi Disterheft, • Melissa Hamilton Trio with Tom Dempsey, Hillard Greene êMichael Dease Group with Steve Wilson, Helio Alves, John Lee, Ulysses Owens Joe Farnsworth Smoke 8, 10, 11:30 pm $35 North Square Lounge 12:30, 2 pm Smalls 9 pm $20 • Breakstone Trio with , Eliot Zigmund; George Colligan Group • Ben Healy Trio; David Coss Quartet; Masami Ishikawa • Ai Murakami; Groover Trio; Ned Goold Jam with Jaleel Shaw, Tom Guarna, Boris Kozlov, EJ Strickland The Garage 11:30 am, 7, 11:30 pm Fat Cat 7, 9 pm 12:30 am Smalls 7:30, 10:30 pm $20 • Tom Csatari Band with Matt Rousseau, Eric Read, Phil Racz, Adriel Williams • Carmen Lundy Blue Note 8, 10:30 pm $25 Monday, July 2 Barbès 8 pm $10 êDarius Jones Blue Note 12:30 am $10 • Michika Fukumori Trio; Will Terrill Quintet êKenny Barron Quintet with Dayna Stephens, Brandon Lee, Kiyoshi Kitagawa, êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 The Garage 6, 10:30 pm Johnathan Blake Village Vanguard 9, 11 pm $25 êMarc Cary Trio with David Ewell, Sameer Gupta êKenny Barron Quintet with Dayna Stephens, Brandon Lee, Kiyoshi Kitagawa, êDr. Lonnie Smith 70th Birthday Celebration: Dr. Lonnie Smith’s In The Beginning Octet Blue Note 8, 10:30 pm $15 Johnathan Blake Village Vanguard 9, 11 pm $25 with John Ellis, Ian Hendrickson–Smith, Jason Marshall, Andy Gravish, Ed Cherry, êRicardo Gallo’s Tierra de Nadie with Dan Blake, Ray Anderson, Mark Helias, • Bill O’Connell Latin Jazz All-Stars with Steve Slagle, Luis Bonilla, Richie Flores, Allison Miller, Little Johnny Rivero Jazz Standard 7:30, 9:30, 11:30 pm $30 Pheeroan akLaff, Satoshi Takeishi Joe’s Pub 7:30 pm $15 Ruben Rodriguez, Adam Cruz Birdland 8:30, 11 pm $30-40 • Bill O’Connell Latin Jazz All-Stars with Steve Slagle, Luis Bonilla, Richie Flores, • Spy Music Festival: Bryan & The Haggards; Eugene Chadbourne • Lucio Ferrara The Bar on Fifth 8 pm Ruben Rodriguez, Adam Cruz Birdland 8:30, 11 pm $30-40 Vaudeville Park 8:45, 9:45 pm $10 • Dakota Dior Shrine 6 pm • Lucio Ferrara The Bar on Fifth 8 pm • Band Directors Academy Faculty Quintet: Ron Carter, Reggie Thomas, êJunior Mance Bryant Park 12:30 pm • Larry Newcomb Trio; Justin Wood; Virginia Mayhew Quartet Rodney Whitaker, Alvin Atkinson Dizzy’s Club 7:30, 9:30 pm $20 The Garage 12, 6:15, 10:45 pm • Ed Cherry Trio with Barak Mori, Dan Aran; Ari Hoenig Group with Aaron Goldberg, Thursday, July 5 Orlando Le Fleming, Tivon Pennicott; Spencer Murphy Jam Smalls 7:30, 10 pm 1 am $20 • Eugene Chadbourne solo; Eugene Chadbourne/Thomas Heberer Sunday, July 8 • Rob Brown Quartet with Kenny Warren, Peter Bitenc, Juan Pablo Carletti; The Stone 8, 10 pm $10 êBobby Hutcherson Tribute: Jay Hoggard, Steve Nelson, , Warren Wolf, Cantus Firmus: Tony Malaby, Angelica Sanchez, Eivind Opsvik, Martin Urbach • Carmen Lundy Blue Note 8, 10:30 pm $25 George Cables, , Sycamore 8:30 pm • Sacha Perry Group; Ehud Asherie Trio; Jeff Williams Group with Duane Eubanks, Birdland 9, 11 pm $30-40 • Jon Madof’s Zion80 The Stone 9 pm $10 John O’Gallagher, Joe Martin Smalls 4, 7, 10 pm $20 • Dmitry Baevsky with Jeb Patton, David Wong, Joe Strasser êCecilia Coleman Big Band with Bobby Porcelli, Stephan Kammerer, Peter Brainin, • World Time Zone: Michael Blake, Ben Allison, Rudy Royston Smalls 11 pm $20 Geoff Vidal, Stan Killian, Keith Bishop, Hardin Butcher, Colin Brigstocke, Cornelia Street Café 8:30 pm $10 • Arthur Vint 4tet with Rich Perry, Darwin Noguera, Massimo Biolcati Kerry MacKillop, John Eckert, Matt McDonald, Mike Fahn, Sam Burtis, Joe Randazzo, êJason Hwang, Max Johnson, Weasel Walter; Sabir Mateen, Bern Nix, Max Johnson, Cornelia Street Café 8:30 pm $10 Tim Givens, Mike Campenni, David Coss Weasel Walter I-Beam 8:30, 10 pm $10 • Ehud Asherie Trio; Alexi David; Brandon Lewis/Renee Cruz Jam Tea Lounge 9, 10:30 pm • Sketchy Black Dog: Misha Piatigorsky, Chris Wabich, Danton Boller, Liv Wagner, Fat Cat 6, 9 pm 12:30 am • Jonathan Greenstein Quintet ShapeShifter Lab 8 pm Hilary Castle, Colin Benn, Agnes Nagy • Jason Lescalleet solo; Sam Hillmer solo • Melissa Stylianou Trio with , Ike Sturm Iridium 8, 10 pm $25 The Stone 8, 10 pm $10 Bar Next Door 8:30, 10 pm $12 êCurtis Hasselbring, Kirk Knuffke, Simon Jermyn, Vinnie Sperrazza; • Peter Leitch/Harvie S Walker’s 8 pm • Anne Walsh Zinc Bar 7 pm $8 Minerva: Pascal Niggenkemper, JP Schlegelmilch, Carlo Costa; Jesse Stacken’s • Steve Brickman Band ShapeShifter Lab 8 pm êCharlie Watts’ The ABC&D of Boogie Woogie with Axel Zwingenberger, Ben Waters, For the Mill with Andrew D’Angelo, Josh Sinton, Mike Pride • Sofia Rei Koutsovitis/Jorge Roeder Sycamore 8 pm Dave Green Iridium 8, 10 pm $65 ShapeShifter Lab 7:30 pm • Erica Dagnino/Blaise Siwula; Jesse Dulman/Jason Candler • Caleb Curtis and The Wheelhouse Band with Duane Eubanks, Tyler Blanton, • Michika Fukumori Trio with Aidan O’Donnell, Billy Drummond ABC No Rio 7 pm $5 Dylan Shamat, Rodney Green; John Raymond Project with Mike Moreno, Jazz at Kitano 8, 10 pm $10 • Simona Premazzi The Bar on Fifth 8 pm Javier Santiago, Aidan Carroll, Kenneth Salters • Gilad Hekselman Trio with Matt Brewer, Obed Calvaire • Carmen Lundy Blue Note 8, 10:30 pm $25 Cornelia Street Café 8:30, 10 pm $10 Bar Next Door 8:30, 10 pm $12 êKenny Barron Quintet with Dayna Stephens, Brandon Lee, Kiyoshi Kitagawa, • Mike Gamble Bar 4 8 pm • Gregorio Uribe Big Band Zinc Bar 9, 10:30 pm 12 am Johnathan Blake Village Vanguard 9, 11 pm $25 • Johnny O’Neal solo; Behn Gillece; Billy Kaye Jam • Dan Levinson’s Palomar Quartet with Molly Ryan êDr. Lonnie Smith 70th Birthday Celebration: Dr. Lonnie Smith’s In The Beginning Octet Fat Cat 7, 9 pm 12:30 am David Rubenstein Atrium 8:30 with John Ellis, Ian Hendrickson–Smith, Jason Marshall, Andy Gravish, Ed Cherry, • Lucio Ferrara The Bar on Fifth 8 pm • Teriver Cheung Quartet; Saul Rubin; Avi Rothbard Quartet Allison Miller, Little Johnny Rivero Jazz Standard 7:30, 9:30 pm $25 • Howard Williams Jazz Orchestra; Tim McCall Trio Fat Cat 7, 10 pm 1:30 am • SoSaLa: Sohrab Saadat Ladjevardi, Brian Prunka, Damon Banks The Garage 7, 10:30 pm • Amy Cervini sings the Canadian Songbook with Pete McCann, Matt Aronoff, Downtown Music Gallery 6 pm • Antoine Dowdell; Davide Tammaro; Matt Geraghty Project James Shipp 55Bar 7 pm • Beat Kaestli Group Saint Peter’s 5 pm Shrine 6, 8, 9 pm • Dee Daniels Quartet Smoke 7, 9, 10:30 pm êTenor Titans: Ralph Lalama and Billy Drewes with Martin Wind, Billy Drummond êJunior Mance Bryant Park 12:30 pm • Noah MacNeil Quartet with Leah Gough-Cooper, Bob Edinger, Yoshiki Yamada; Blue Note 12:30, 2:30 pm $29.50 Straight Street: Sam Dillon, Andrew Gould, Shinya Yonezawa, Steven Mooney, • Roz Corral Trio with James Shipp, Santi Debriano Tuesday, July 3 Paris Wright Somethin’ Jazz Club 7, 9 pm $5-10 North Square Lounge 12:30, 2 pm • Joel Forrester Trio Cleopatra’s Needle 7 pm • Joonsam Lee Trio; David Coss Quartet; Mauricio de Souza’s Bossa Brasil êKenny Barron Quintet with Dayna Stephens, Brandon Lee, Kiyoshi Kitagawa, • Champian Fulton Trio; Carl Bartlett Jr. Quartet The Garage 11:30 am, 7, 11:30 pm Johnathan Blake Village Vanguard 9, 11 pm $25 The Garage 6, 10:30 pm êKenny Barron Quintet with Dayna Stephens, Brandon Lee, Kiyoshi Kitagawa, Johnathan Blake Village Vanguard 9, 11 pm $25 êDr. Lonnie Smith 70th Birthday Celebration: Dr. Lonnie Smith Trio with Jonathan Kreisberg, Allison Miller and guests JEFF WILLIAMS QUARTET Jazz Standard 7:30, 9:30 pm $25 Duane Eubanks, John O’Gallagher, • Bill O’Connell Latin Jazz All-Stars with Steve Slagle, Luis Bonilla, Richie Flores, Ruben Rodriguez, Adam Cruz Birdland 8:30, 11 pm $30-40 special guest Joe Martin • Lucio Ferrara The Bar on Fifth 8 pm • Apricot Jam Shrine 6 pm êJunior Mance Bryant Park 12:30 pm Thursday July 5th Friday, July 6 10 pm until 12:30 am êJunior Mance Trio with Hide Tanaka, Michi Fuji Smalls Jazz Club Jazz at Kitano 8, 10 pm $25 êMark Helias’ The Parlance of Our Times with Tim Berne, Kirk Knuffke, Mark Ferber 183 W. 10th Street Cornelia Street Café 9, 10:30 pm $15 (212) 252-5091 • Vincent Herring Quintet with Alex Sipiagin, Cyrus Chestnut, Brandi Disterheft, smallsjazzclub.com Joe Farnsworth Smoke 8, 10, 11:30 pm $35 êMatthew Shipp Trio with Michael Bisio, Whit Dickey The Stone 8, 10 pm $10 • Sam Raderman with Tim McCall, Chris Mees, Luc Decker; David Berkman Trio; George Colligan Quintet with Jaleel Shaw, Tom Guarna, Boris Kozlov, EJ Strickland Smalls 4, 7:30, 10:30 pm $20 • Travis Sullivan Björkestra ShapeShifter Lab 8 pm $10 êMichael Attias solo; Minerva: Pascal Niggenkemper, JP Schlegelmilch, Carlo Costa I-Beam 8:30 pm $10 • Ray Gallon Trio; Jared Gold/Dave Gibson; Craig Wuepper Fat Cat 6, 10:30 pm 1:30 am On Another Time, Williams leads a remarkable group • Melissa Aldana Trio with Peter Slavov, EJ Strickland through a series of original compositions that are Bar Next Door 7:30, 9:30, 11:30 pm $12 perfect vehicles for the veteran drummer’s singular approach, as well as the quartet’s consistently inspired • Brandon Terzic Xalam Project Zinc Bar 8 pm improvisations.” - The New York City Jazz Record • Yvonnick Prene; On Ka’a Davis with the Djuke Music Players Shrine 8, 9 pm **** Downbeat / Top 10 CDs of 2011 - AllAboutJazz.com • Steve Nelson with Luca Rosenfeld, Conor Symanski; Paolo Tomaselli’s Crossroads with Hailey Niswanger, Pasquale Strizzi, Shin Sakaino, Alessio Romano willfulmusic.com Somethin’ Jazz Club 7, 9 pm $5

32 July 2012 | THE NEW YORK CITY JAZZ RECORD Monday, July 9 • Arthur Sadowsky and the Troubadours with David Comidi, Joel Rosenblatt ShapeShifter Lab 8 pm êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 • Terrence McManus Brooklyn Lyceum 8, 9:30 pm $10 • Peter Zak Trio with Marcos Varela, Sylvia Cuenca; Jonny King Quartet with • Aaron Comess Sextet with Erik Lawrence, Steven Bernstein, Barney McAll, Steve Wilson, Ed Howard, Nasheet Waits; Spencer Murphy Jam Mike Moreno, Danton Boller Smoke 7, 9, 10:30 pm Smalls 7:30, 10 pm 1 am $20 • Samir Zarif Trio with Zack Lober, Ziv Ravitz; Jeff Davis 5tet with Russ Johnson, • Ned Goold; Billy Kaye Jam Fat Cat 9 pm 12:30 am ® Ohad Talmor, Eivind Opsvik, Russ Lossing • Ryan Snow Trio Unleashed! with Aidan Carroll, Bram Kincheloe; Bobby Avey Group Seeds 8:30 pm $10 JAZZ&SUPPER CLUB with Travis Reuter, Cody Brown Sycamore 8:30 pm • Rafi D’lugoff; Brandi Disterheft Quartet; Ned Goold Jam • Jon Madof’s Zion80 The Stone 9 pm $10 Fat Cat 7, 9 pm 12:30 am SMOKEJazz & Supper Club • Patrick Andy Band with Eli Menezes, Tim Reyes, Carlos Mendoza, Dave Rodriguez, • Darrell Smith Trio with Santiago Vasquez, Peter Yuskauskas 2751 BROADWAY • NEW YORK • NY 10025 • 212 864 6662 • WWW.SMOKEJAZZ.COM Ivory McDonald ShapeShifter Lab 8 pm Somethin’ Jazz Club 9 pm $5 • Erica Seguine/Shannon Baker Jazz Orchestra • Marc Devine Trio; The Anderson Brothers Tea Lounge 9, 10:30 pm The Garage 6, 10:30 pm Thursday, July 5 • Nana Kimthi Dinizulu For My Sweet 7:15, 9:15 pm • Equilibrium: Brad Baker, Pam Belluck, Frederic Gilde, Rich Russo, Terry Schwadron, • Erica Dagnino/Ras Moshe Revival Bar 7:30 pm Dan Silverstone Caffe Vivaldi 8:30 pm • Alberto Pibiri The Bar on Fifth 8 pm êThe Heath Brothers: Jimmy and Albert “Tootie” Heath, Jeb Patton, David Wong Dee Daniels Quartet • Magos Herrera Trio with Mike Moreno, Peter Slavov Village Vanguard 9, 11 pm $25 Bar Next Door 8:30, 10 pm $12 êLouis Hayes Cannonball Adderley Legacy Quintet with Julius Tolentino, Jeremy Pelt, • Camila Meza Zinc Bar 7 pm $8 Rick Germanson, Richie Goods Birdland 8:30, 11 pm $30-40 • Howard Williams Jazz Orchestra; Al Marino Quintet êPaquito D’Rivera Blue Note 8, 10:30 pm $25 Friday & Saturday July 6, 7 The Garage 7, 10:30 pm • Alberto Pibiri The Bar on Fifth 8 pm • Mad Satta; Uncharted Territory Shrine 6, 8 pm • The Wiyos Brooklyn Public Library Central Branch 6:30 pm • Mike LeDonne Bryant Park 12:30 pm êHarold O’Neal solo Cornelia Street Café 6 pm $10 Vincent Herring Quartet • David White Jazz Orchestra Saint Peter’s 1 pm $10 Cyrus Chestnut (p) • Vincent Herring (as) • Alex Sipiagin (t) • Tuesday, July 10 • Mike LeDonne Bryant Park 12:30 pm êThe Heath Brothers: Jimmy and Albert “Tootie” Heath, Jeb Patton, David Wong Brandi Disterheft (b) • Joe Farnsworth (d) Village Vanguard 9, 11 pm $25 Thursday, July 12 êLouis Hayes Cannonball Adderley Legacy Quintet with Julius Tolentino, Jeremy Pelt, • Don Byron New Gospel Quintet with Carla Cook, Nat Adderley Jr., Jerome Harris, Rick Germanson, Richie Goods Birdland 8:30, 11 pm $30-40 Pheeroan akLaff Jazz Standard 7:30, 9:30 pm $25 Wednesday, July 11 êPaquito D’Rivera Blue Note 8, 10:30 pm $25 êElliott Sharp, Max Johnson, Weasel Walter; Elliott Levin, Louie Belogenis, • Chris Bergson Band with Steven Bernstein, Erik Lawrence, Chris Karlic, Bruce Katz, Max Johnson, Weasel Walter I-Beam 8:30, 10 pm $10 Matt Lindsey, Tony Leone Jazz Standard 7:30, 9:30 pm $20 êEivind Opsvik’s Overseas with Jacob Sacks, Brandon Seabrook, Kenny Wollesen Aaron Comess Sextet • Chihiro Yamanaka Trio with Yoshi Waki, John Davis Scandinavia House 7 pm $12 Erik Lawrence (s) • Steven Bernstein (t) • Barney McAll (p) • Iridium 8, 10 pm $25 • Spanish Donkey: , Jamie Saft, Mike Pride; Steve Baczkowski, Bill Nace, Mike Moreno (g) • Danton Boiler (b) • Aaron Comess (d) • Ray Blue Group NYC Baha’i Center 8, 9:30 pm $15 Chris Corsano The Stone 8, 10 pm $10 • Matt Munisteri Joe’s Pub 7:30 pm $20 • Moppa Elliot Trio with Mike Pride, Matt Kanelos • Naked Dance!: Stephen Rush, Andrew Bishop, Jeremy Edwards; Zebulon 10 pm Gold Sparkle Band: Adam Roberts, Roger Ruzow, Charles Waters, Andrew Barker • Dave Lopato Quartet with Marty Ehrlich, Ratzo Harris, Richie Barshay Friday & Saturday July 13, 14 The Stone 8, 10 pm $10 Jazz at Kitano 8, 10 pm $10 • Spike Wilner solo; Omer Avital and The Band of the East • Rob Garcia 4 with Noah Preminger, Jacob Sacks, Joe Martin Smalls 7, 9 pm $20 ShapeShifter Lab 8 pm Bruce Barth Quartet • Saul Rubin; Willie Martinez Y La Familia; Greg Glassman Jam • Jeremy Siskind Trio with Nancy Harms, Lucas Pino Steve Nelson • Bruce Barth • Vicente Archer • Dana Hall Fat Cat 7, 9 pm 12:30 am Cornelia Street Café 8:30 pm $10 • Quentin Angus Sextet with Jon Gordon, Chad Lefkowitz, Kevin Hays, Ben Winkelman, • Sacha Perry Group; Michael Hashim Trio with Spike Wilner, Neal Miner; Scott Colberg, Kenneth Salters Cornelia Street Café 8:30 pm $10 Dave Gibson Organ 4-Tet with Freddie Hendrix, Jared Gold, Rudy Royston • Las Reinas de la Salsa: Mambo Legends Orchestra Smalls 4, 7, 10 pm $20 Damrosch Park 7:30 pm • Clifford Barbaro Quartet; Oscar Perez Quintet Wednesday, July 18 • Matt Garrison and guests; Gene Ess Group Fat Cat 7, 10 pm ShapeShifter Lab 8 pm • Tony Romero Trio with Steve La Spina, Matt Kane • Bizingas: Brian Drye, Kirk Knuffke, Jonathan Goldberger and guest Jason Nazary; Bar Next Door 8:30, 10 pm $12 YAPP: Bryan Rogers, Alban Bailly, Matt Engle, Dave Flaherty; • Gregory Generet Smoke 7, 9, 10:30 pm Dara Tucker Mike McGinnis Roadtrip Ensemble with Jeff Hermanson, Brian Drye, Matt Blostein, • Joe Alterman solo; Jake Hertzog Trio with Harvie S, Victor Jones Peter Hess, Barry Saunders, Vinnie Sperrazza, Dan Fabricatore Somethin’ Jazz Club 7:30, 9 pm $10-20 I-Beam 8 pm $10 • Eiko Rikuhashi Trio Tomi Jazz 9 pm $10 Friday & Saturday July 20, 21 • Mitch Marcus; Sam Dickey and Benyoro • Keith Ingham Trio Cleopatra’s Needle 7 pm Korzo 9, 10:30 pm $5 • Dylan Meek; Randy Johnston The Garage 6, 10:30 pm • Stan Killian Quintet with Mike Moreno, Benito Gonzalez, Corcoran Holt, • Fred Gilde Ensemble with Dave Anderson, Marco Coco, Tim Lancaster, Phil Sirois McClenty Hunter 55Bar 7 pm Azar Lawrence Quintet Caffe Vivaldi 8:30 pm Azar Lawrence (s) • Eddie Henderson (t) • • Jack Wilkins/Ed Laub Bella Luna 8 pm êChristian McBride Big Band with Steve Wilson, Todd Bashore, Ron Blake, • Chris Ziemba solo Jazz at Kitano 8 pm Loren Schoenberg, Carl Maraghi, Frank Greene, Freddie Hendrix, Nicholas Payton, Benito Gonzalez (p) • Essiet Essiet (b) • (d) • Yvonnick Prene Quintet with Javi Santiago, Isaac Darche, Or Bareket, Jesse Simpson Nabate Isles, Steve Davis, Michael Dease, James Burton, Douglas Purviance, Somethin’ Jazz Club 9 pm $5 Xavier Davis, Ulysses Owens, Jr., Melissa Walker • Erica Dagnino/Blaise Siwula Shrine 8 pm Dizzy’s Club 7:30, 9:30 pm $30 Wednesday, July 25 • Eyal Vilner Big Band; Mayu Saeki Quartet êThe Heath Brothers: Jimmy and Albert “Tootie” Heath, Jeb Patton, David Wong The Garage 7, 10:30 pm Village Vanguard 9, 11 pm $25 • Steve Tarshis Trio; Duke Bantu X Shrine 6, 9 pm êLouis Hayes Cannonball Adderley Legacy Quintet with Julius Tolentino, Jeremy Pelt, • Alberto Pibiri The Bar on Fifth 8 pm Rick Germanson, Richie Goods Birdland 8:30, 11 pm $30-40 Emmet Cohen Quartet êMarco Benevento Hudson Square 5:30 pm êPaquito D’Rivera Blue Note 8, 10:30 pm $25 featuring Brian Lynch • Mike LeDonne Bryant Park 12:30 pm • Alberto Pibiri The Bar on Fifth 8 pm • Gary Versace Project “O” with Ingrid Jensen Wednesday, July 11 Citigroup Center Plaza 1 pm Friday & Saturday July 27, 28 êChristian McBride Big Band with Steve Wilson, Todd Bashore, Ron Blake, • Dana Leong Trio One New York Plaza 12:30 pm Loren Schoenberg, Carl Maraghi, Frank Greene, Freddie Hendrix, Nicholas Payton, • Mike LeDonne Bryant Park 12:30 pm Nabate Isles, Steve Davis, Michael Dease, James Burton, Douglas Purviance, Javon Jackson Quartet Xavier Davis, Ulysses Owens, Jr., Melissa Walker Friday, July 13 Javon Jackson (s) • Joel Holmes (p) • Corcoran Holt (b) • Dizzy’s Club 7:30, 9:30 pm $30 • Sam Raderman with Tim McCall, Chris Mees, Luc Decker; The Anderson Twins Octet: McClenty Hunter (d) • Paul Nedzela Quartet Dizzy’s Club 11 pm $10 William and Peter Anderson, Frank Basile, Richie Vitale, John Mosca, Ehud Asherie, • Mark Whitfield Family with Mark Whitfield Jr., Davis Whitfield, James Genus; Clovis Nicolas, Luca Santaniello; Quartet with Ehud Asherie, Leron Thomas Smalls 9 pm 12 am $20 Martin Wind, Matt Wilson Smalls 4, 7:30, 10:30 pm $20 Sundays July 1, 8, 15, 22 • Nellie McKay Madison Square Park 7 pm êBruce Barth Quartet with Steve Nelson, Vicente Archer, Dana Hall • George Mel Quartet with Michael Eaton, Enrique Haneine, Apostolos Sideris Smoke 8, 10, 11:30 pm $35 Jazz at Kitano 8, 10 pm $10 êCooper-Moore Organ Trio with Brian Price, Bernard Myers; Angelica Sanchez Trio with • Lauren Kinhan with Andy Ezrin, Dean Johnson, Jared Schonig Johannes Weidenmueller, Nasheet Waits Allan Harris Band Jazz Standard 7:30, 9:30 pm $20 The Stone 8, 10 pm $10 Allan Harris (v & g) • Pascal LeBoeuf (p & k) • • Arthur Doyle New Quiet Screamers; John Colpitts êRuss Lossing Trio with Drew Gress, Eric McPherson Leon Boykins (b) • Jake Goldbas (d) The Stone 8, 10 pm $10 Cornelia Street Café 9, 10:30 pm $15 • Jonathan Batiste and The Stay Human Band with Phil Kuehn, Joe Saylor, êHafez Modirzadeh with Amir ElSaffar, , Ken Filiano, Royal Hartigan Eddie Barbash, Ibanda Ruhumbika, Kassa Overall, Marvin Sewell The Jazz Gallery 9, 10:30 pm $20 Mondays July 2, 9, 16, 23, 30 Joe’s Pub 9:30 pm $20 • Anupam Shobhakar/Joel Harrison Quintet with Jacob Sacks, Johannes Weidenmuller, • Marika Hughes and Bottom Heavy with Kyle Sanna, Charlie Burnham, Fred Cash, Rob Garcia Drom 8:30 pm Tony Mason Barbès 8 pm $10 • Roni Ben-Hur Quartet with , Santi DeBriano, Tim Horner Jazz at Kitano 8, 10 pm $25 The SMOKE Big Band • La Orquesta Jimmy Bosch SOB’s 8 pm $15 A 16-piece Jazz Orchestra directed by Bill Mobley • Louis Belogenis/Lukas Ligeti Ange Noir Café 8 pm • Jeff Cosgrove Quintet with Noah Preminger, Mat Maneri, Frank Kimbrough, Joe Martin I-Beam 8:30 pm $10 Tuesdays July 3, 10, 17, 24, 31 • Adam Larson Trio with Kiyoshiki Kitagwa, Otis Brown III Bar Next Door 7:30, 9:30, 11:30 pm $12 • Jordan Young Quartet; Manuel Valera New Cuban Express Fat Cat 7, 10:30 pm Mike LeDonne Quartet • Jasmine Lovell-Smith/Angela Morris Common Wealth Sextet Vincent Herring (a s) • tba (g) • Mike LeDonne (B3) • Launch Pad Gallery 9 pm Joe Farnsworth (d) • Ross Kratter Big Band; Matthew Vacanti with John Magnante, Karl Sterling Somethin’ Jazz Club 7, 9 pm $5-15 • Gary Negbaur Tomi Jazz 9 pm $10 • Will Terrill Quartet Cleopatra’s Needle 8 pm Thursdays July 12, 19, 26 • New Tricks; The Garage 6:15, 10:45 pm • Glenn White; Edwin Vasquez Shrine 6, 8 pm • Don Byron New Gospel Quintet with Carla Cook, Nat Adderley Jr., Jerome Harris, Pheeroan akLaff Jazz Standard 7:30, 9:30, 11:30 pm $30 Gregory Generet êChristian McBride Big Band with Steve Wilson, Todd Bashore, Ron Blake, Loren Schoenberg, Carl Maraghi, Frank Greene, Freddie Hendrix, Nicholas Payton, Nabate Isles, Steve Davis, Michael Dease, James Burton, Douglas Purviance, Xavier Davis, Ulysses Owens, Jr., Melissa Walker Saturdays & Sundays Jazz Brunch Dizzy’s Club 7:30, 9:30, 11:30 pm $35 • Paul Nedzela Quartet Dizzy’s Club 12:45 am $20 êThe Heath Brothers: Jimmy and Albert “Tootie” Heath, Jeb Patton, David Wong Vocalist Annette St. John Village Vanguard 9, 11 pm $25 and her Trio êLouis Hayes Cannonball Adderley Legacy Quintet with Julius Tolentino, Jeremy Pelt, Rick Germanson, Richie Goods Birdland 8:30, 11 pm $30-40 êPaquito D’Rivera Blue Note 8, 10:30 pm $25 • Alberto Pibiri The Bar on Fifth 8 pm 2751 Broadway • New York NY 10025 • Jaimeo Brown Group with Katsuko Tanaka Hillstone 6:30 pm 212-864-6662 • Mike LeDonne Bryant Park 12:30 pm • Marika Hughes and Bottom Heavy with Kyle Sanna, Charlie Burnham, Fred Cash, Tony Mason Brower Park 10:30 am www.smokejazz.com

THE NEW YORK CITY JAZZ RECORD | July 2012 33 Saturday, July 14 Tuesday, July 17 • Eleven Twenty-Nine: Tom Carter, Marc Orleans, Michael Evans; êJazz in July - Song & Soul: Freddy Cole Quartet with Randy Napoleon, Elias Bailey, Blood Trio: Sabir Mateen, Whit Dickey, Michael Bisio Curtis Boyd; Ernie Andrews with , , , The Stone 8, 10 pm $10 Kenny Washington 92nd Street Y 8 pm $48 • Harlem Renaissance Orchestra Tribute to Jacquet êTrio 3: Oliver Lake, Reggie Workman, Andrew Cyrille and guest Jason Moran Damrosch Park 7:30 pm Birdland 8:30, 11 pm $30-40 • John McNeil Quartet with Dave Miller, Joe Martin, Jochen Rueckert êBarry Harris Trio with , Leroy Williams Cornelia Street Café 9, 10:30 pm $15 Village Vanguard 9, 11 pm $25 • Group ShapeShifter Lab 8 pm êGeri Allen/Laurie Anderson The Stone 8, 10 pm $20 • The Godwin LouE-Xplosion with Ilan Bar-Lavi, Jonathan Michel, Victor Gould, • Igor Butman and Moscow State Jazz Orchestra Nicholas Falk, Paulo Stagnaro The Jazz Gallery 9, 10:30 pm $20 Dizzy’s Club 7:30, 9:30 pm $30 • Tom Tallitsch Trio with Art Hirahara, Dan Aran • Lawrence Leathers Trio Dizzy’s Club 11 pm $10 Bar Next Door 7:30, 9:30, 11:30 pm $12 êThree Shades of Orrin: Trio with Vicente Archer, Obed Calvaire • Maryanne Deprophetis Trio with Ron Horton, Frank Kimbrough; Ron Horton Quintet Jazz Standard 7:30, 9:30 pm $20 I-Beam 8:30 pm $10 • Lou Volpe Trio with Buddy Williams • Steve Blum; Josh Evans Septet; Jared Gold NYC Baha’i Center 8, 9:30 pm $15 Fat Cat 7, 10 pm 1:30 am êMichael Attias’ Renku +2 with Mat Maneri, Matt Mitchell, John Hébert, Satoshi Takeishi • Alessandra Ezramo with Nathaniel Morgan, Pascal Niggenkemper, Sean Ali Cornelia Street Café 8:30 pm $10 Launch Pad Gallery 8 pm • Matt Garrison and guests ShapeShifter Lab 8 pm • Hyeseon Hong; Gary Fogel Sextet with Lex Samu, Alex Violette, Josh Holcomb, êBizingas: Brian Drye, Kirk Knuffke, Jonathan Goldberger and guest Jason Nazary; Harry Miller, Brian Questa, Gary Fogel; Matt McClellan Quintet with Brad Clymer, Andy Biskin’s IBID with Brian Drye, Kirk Knuffke, Jeff Davis; Gerald Stephens, Gavin Harper, Jeff Schaeffer, Matt McClellan Janel Leppin/Anthony Pirog I-Beam 8 pm $10 Somethin’ Jazz Club 5, 7, 9 pm $5-10 êJames Carney, Chris Lightcap, Ted Poor; Devin Gray, Michael Formanek, Ellery Eskelin, • Shoko Amano Trio; Angela Davis Trio Dave Ballou Korzo 9, 10:30 pm $5 Tomi Jazz 8, 11 pm $10 • Spike Wilner solo; Barak Mori Group • Will Terrill Quartet Cleopatra’s Needle 8 pm Smalls 7, 9 pm $20 • Abe Ovadia Group with Anthony Pocetti, Michael Feinberg, Noel Brennan; • Saul Rubin; Peter Brainin Latin Jazz Workshop; Greg Glassman Jam Tardo Hammer Trio with Lee Hudson, Jimmy Wormworth; Ken Peplowski Quartet with Fat Cat 7, 9 pm 12:30 am Ehud Asherie, Martin Wind, Matt Wilson êJack Wilkins/ Bella Luna 8 pm Smalls 4:30, 7:30, 10:30 pm $20 • Chris Ziemba solo Jazz at Kitano 8 pm êBruce Barth Quartet with Steve Nelson, Vicente Archer, Dana Hall • Squelch: Matthew Poalshek, Sina Khasini, Joesph Wallace, Dan Schloss, John Rubin; Smoke 8, 10, 11:30 pm $35 sHaKe: Bobby Selvaggio, Ashley Summers, Chris Baker • Roni Ben-Hur’s Afro Samba & Beyond Band with Santi DeBriano, Portinho, Café Somethin’ Jazz Club 7, 9 pm $5-10 Jazz at Kitano 8, 10 pm $25 • Lou Caputo Not So Big Band; Abe Ovadia Trio • Don Byron New Gospel Quintet with Carla Cook, Nat Adderley Jr., Jerome Harris, The Garage 7, 10:30 pm Pheeroan akLaff Jazz Standard 7:30, 9:30, 11:30 pm $30 • Lucio Ferrara The Bar on Fifth 8 pm êChristian McBride Big Band with Steve Wilson, Todd Bashore, Ron Blake, • Isaac ben Ayala Bryant Park 12:30 pm Loren Schoenberg, Carl Maraghi, Frank Greene, Freddie Hendrix, Nicholas Payton, Nabate Isles, Steve Davis, Michael Dease, James Burton, Douglas Purviance, Wednesday, July 18 Xavier Davis, Ulysses Owens, Jr., Melissa Walker êJazz in July - Time Remembered, The Music of Bill Evans: Bill Charlap, Renee Rosnes, Dizzy’s Club 7:30, 9:30, 11:30 pm $35 Steve Nelson, Greg Gisbert, Dave Stryker, Scott Colley, Joe La Barbera • Paul Nedzela Quartet Dizzy’s Club 12:45 am $20 ê 92nd Street Y 8 pm $48 The Heath Brothers: Jimmy and Albert “Tootie” Heath, Jeb Patton, David Wong ê Village Vanguard 9, 11 pm $25 Burnt Sugar Arkestra performs music inspired by Sun Ra’s The Nubians of Plutonia ê The Stone 8, 10 pm $10 Cannonball Adderley Legacy Quintet with Julius Tolentino, Jeremy Pelt, êJeff “Tain” Watts Quartet Madison Square Park 7 pm Rick Germanson, Richie Goods Birdland 8:30, 11 pm $30-40 êSIM Faculty Concert: Ralph Alessi, Andy Milne, Michael Formanek, Tom Rainey êPaquito D’Rivera Blue Note 8, 10:30 pm $25 Cornelia Street Café 8:30 pm $10 • Alberto Pibiri The Bar on Fifth 8 pm êGiacomo Gates Trio Jazz at Kitano 8, 10 pm $10 • Ken Filiano, Andrea Wolper, Erika Dagnino; Rosi Hertlein Trio with David Arner, • Brett Sroka’s Ergo with Bryan Reeder, Shawn Baltazor; Ryan Keberle’s Catharsis with David Taylor; Ras Moshe, Joel Freedman, Lewis Barnes, Jason Kao Hwang, Ingrid Jensen, Jorge Roeder, Eric Doob Tor Yochai Snyder, Luke Stewart, David Moss; James Brandon Lewis/Greg Loewer Seeds 8:30 pm $10 Brecht Forum 6 pm $10 • Nate Radley Group with Loren Stillman, Matt Pavolka, Ted Poor • Jaimeo Brown Group with Katsuko Tanaka Barbès 8 pm $10 Hillstone 6:30 pm êDavid Chamberlain’s Band of Bones with Mike Boscarino, Charley Gordon, • Daniela Schaechter Trio; Steve Kortyka Quartet; Akiko Tsuruga Trio Matt Haviland, Nate Mayland, Mark Patterson, Bob Suttmann, Brandon Moodie, The Garage 12, 6:15, 10:45 pm Dale Turk, Kenny Ascher, Jerry DeVore, Ray Marchica, Jorge Jimenez, Kat Gang Zinc Bar 7 pm Sunday, July 15 • Jazzmeia Horn Smalls 9 pm $20 • John Zorn Improv Night The Stone 8 pm $25 • Rafi D’lugoff; Don Hahn/James Zeller Sextet; Ned Goold Jam êYosvany Terry Quintet with Michael Rodriguez, Osmany Paredes, Yunior Terry, Fat Cat 7, 9 pm 12:30 am Obed Calvaire MoMA Sculpture Garden 8 pm • Bob Lanzetti/Mark Lattieri ShapeShifter Lab 8 pm êPedro Giraudo Expansions Big Band • Peter Honan Brooklyn Lyceum 8, 9:30 pm $10 Birdland 9, 11 pm $30-40 • Dara Tucker Smoke 7, 9, 10:30 pm • Grant Stewart Quartet Smalls 11 pm $20 • Melissa Stylianou Quartet with Jamie Reynolds, Gary Wang, Mark Ferber and guest êSpy Music Festival: Magik Markers; Haunted House: Loren Connors, Suzanne Langile, 55Bar 7 pm Neel Murgai, Andrew Burns; Chicago Underground Duo: Rob Mazurek/Chad Taylor • Tom Wetmore Ensemble with Pete Robbins, Brad Williams, Justin Sabaj, Matt Turowski, Roulette 7 pm $15 Garrett Brown Somethin’ Jazz Club 9 pm $10 • Dan Pugach Nonet; Jeff Miles Group • Rick Stone Trio; Andrew Atkinson and Friends ShapeShifter Lab 8 pm The Garage 6, 10:30 pm • Adriano Santos Quartet with Hélio Alves, Richard Padron, David Ambrosio êTrio 3: Oliver Lake, Reggie Workman, Andrew Cyrille and guest Jason Moran Cornelia Street Café 8:30 pm $10 Birdland 8:30, 11 pm $30-40 • Jade Synstelien Quartet with Jack Walrath; Brandon Lewis/Renee Cruz Jam êBarry Harris Trio with Ray Drummond, Leroy Williams Fat Cat 9 pm 12:30 am Village Vanguard 9, 11 pm $25 • Peter Leitch/Sean Smith Walker’s 8 pm • Igor Butman and Moscow State Jazz Orchestra • Beat Kaestli/Claude Diallo Drom 8:30 pm $20 Dizzy’s Club 7:30, 9:30 pm $30 • The Out of Your Head Collective: Peter Hanson, Mariel Berger, TJ Huff; Yoni Kretzer, • Lawrence Leathers Trio Dizzy’s Club 11 pm $10 Danny Gouker, Rick Parker, Matt Plummer • Three Shades of Orrin: Orrin Evans Trio with Vicente Archer, Obed Calvaire and guests The Backroom 9:30, 11 pm Jack Walrath, Tim Warfield Jazz Standard 7:30, 9:30 pm $20 • Cheryl Pyle/Nicolas Letman-Burtonovic; Nora McCarthy/Jorge Sylvester • Lucio Ferrara The Bar on Fifth 8 pm ABC No Rio 7 pm $5 • Gregorio Uribe Big Band Brooklyn Public Library Central Branch 6:30 pm • Yuki Shibata Trio with Yoshiki Yamada; Towner Galaher • Joe Alterman, James Cammack, Alex Raderman Somethin’ Jazz Club 5, 7 pm $5-10 Saint Peter’s 1 pm $10 • Don Byron New Gospel Quintet with Carla Cook, Nat Adderley Jr., Jerome Harris, • Isaac ben Ayala Bryant Park 12:30 pm Pheeroan akLaff Jazz Standard 7:30, 9:30 pm $25 êChristian McBride Big Band with Steve Wilson, Todd Bashore, Ron Blake, Thursday, July 19 Loren Schoenberg, Carl Maraghi, Frank Greene, Freddie Hendrix, Nicholas Payton, ê Nabate Isles, Steve Davis, Michael Dease, James Burton, Douglas Purviance, Jazz in July - An Enchanted Evening, The Songs of Richard Rodgers: Bill Charlap, Xavier Davis, Ulysses Owens, Jr., Melissa Walker Barbara Carroll, Sachal Vasandani, Warren Vaché, Jon Gordon, John Allred, Dizzy’s Club 7:30, 9:30 pm $30 , Sean Smith, Tim Horner ê 92nd Street Y 8 pm $48 The Heath Brothers: Jimmy and Albert “Tootie” Heath, Jeb Patton, David Wong êMichael Formanek’s Cheating Heart with Tim Berne, Ellery Eskelin, Jacob Sacks, Village Vanguard 9, 11 pm $25 Dan Weiss Cornelia Street Café 8:30 pm $10 êPaquito D’Rivera Blue Note 8, 10:30 pm $25 • The 3rd Incarnation: JD Allen, Abraham Burton, Alex Harding, Radu Ben Judah, • Alberto Pibiri The Bar on Fifth 8 pm Roman Diaz, Francisco Mora-Catlett, Anthony Wonsey and guests Eliaser Mendoza, • Jack Wright/Johan Nystrom Downtown Music Gallery 6 pm Alexander La Rosa, Mikael Castellanos, Jesus La Rosa • Sean Smith Trio Saint Peter’s 5 pm SOB’s 8 pm $10 • Kuni Mikami Blue Note 12:30, 2:30 pm $29.50 êMark Whitecage, Max Johnson, Weasel Walter; Kirk Knuffke, Ken Filiano, Max Johnson, • The Music of Louis Armstrong: Hot Lips Joey Morant and Catfish Stew Weasel Walter I-Beam 8:30, 10 pm $10 BB King’s Blues Bar 12 pm $25 • Sacha Perry Group; Danny Fox Trio with Chris van Voorst van Beest, Max Goldman; • Frank Senior Trio with Paul Odeh, Paul Beaudry Joris Teepe Group Smalls 4, 7, 10 pm $20 North Square Lounge 12:30, 2 pm • Jaki Byard Tribute; Radam Schwartz; Behn Gillece Quintet • Iris Ornig Quartet; David Coss Quartet; Abe Ovadia Trio Fat Cat 7, 10 pm 1:30 am The Garage 11:30 am, 7, 11:30 pm • Adam Larson Quartet with Emmet Cohen, Kiyoshi Kitagawa, Rodney Green Jazz at Kitano 8, 10 pm $10 Monday, July 16 • Alon Nechushtan solo; Jake Hertzog Trio with Harvie S, Victor Jones êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 Somethin’ Jazz Club 7:30, 9 pm $10-20 • Morgan James and Company with Don Braden, Doug Wamble, David Cook, • Senri Oe Tomi Jazz 9 pm $10 David Finck, Clarence Penn Dizzy’s Club 7:30, 9:30 pm $20 • Val-Inc.; Mike Lee and New Tricks The Stone 8, 10 pm $10 • Dred Scott Trio; Ari Hoenig Group with Jean-Michel Pilc; Spencer Murphy Jam • Gregory Generet Smoke 7, 9, 10:30 pm Smalls 7:30, 10 pm 1 am $20 • Dan Furman Trio Cleopatra’s Needle 7 pm • George Braith; Billy Kaye Jam Fat Cat 9 pm 12:30 am • George Weldon Trio; Alan Chaubert Trio • Peter Hess Trio with Matt Mitchell, Jeff Davis; Party Pack: Dustin Carlson, The Garage 6, 10:30 pm Adam Hopkins, Nathan Ellman-Bell êTrio 3: Oliver Lake, Reggie Workman, Andrew Cyrille and guest Jason Moran Sycamore 8:30 pm Birdland 8:30, 11 pm $30-40 • Jon Madof’s Zion80 The Stone 9 pm $10 êBarry Harris Trio with Ray Drummond, Leroy Williams • Dawoud Renegade Sufi with Jimmy Lopez Village Vanguard 9, 11 pm $25 ShapeShifter Lab 8 pm • Igor Butman and Moscow State Jazz Orchestra • Franky Rousseau Large Band Tea Lounge 9, 10:30 pm Dizzy’s Club 7:30, 9:30 pm $30 • Lucio Ferrara The Bar on Fifth 8 pm êThree Shades of Orrin: Orrin Evans Captain Black Big Band with Tim Green, • Maria Neckham Trio with Glenn Zeleski, Nir Felder Todd Bashor, Mark Allen, Duane Eubanks, Freddie Hendrix, Tatum Greenblatt, Bar Next Door 8:30, 10 pm $12 Josh Lawrence, David Gibson, Conrad Herwig, Brent White, Stafford Hunter, • Gian Slater Zinc Bar 7 pm $8 Vicente Archer, Obed Calvaire Jazz Standard 7:30, 9:30 pm $25 • Howard Williams Jazz Orchestra; Nick Finzer/Joe McDonough Quartet • Lucio Ferrara The Bar on Fifth 8 pm The Garage 7, 10:30 pm • Harlem Speaks: Matt Wilson Jazz Museum in Harlem 6:30 pm • Isaac ben Ayala Bryant Park 12:30 pm • Steve Nelson Shrine 6 pm • Marika Hughes and Bottom Heavy with Kyle Sanna, Charlie Burnham, Fred Cash, • Ted Rosenthal Ensemble Citigroup Center Plaza 1 pm Tony Mason Haffen Park 10:30 am • Isaac ben Ayala Bryant Park 12:30 pm

34 July 2012 | THE NEW YORK CITY JAZZ RECORD Friday, July 20 • Matt Holman Group Sycamore 8 pm • Matt Munisteri Brooklyn Public Library Central Branch 6:30 pm • Angela Chambers, Adam Dym, Damien Olsen, Kevin Rozza, Anthony Delio; • Mary Foster Conklin Saint Peter’s 1 pm $10 êAzar Lawrence Quintet with Eddie Henderson, Benito Gonzalez, Essiet Essiet, Billy Hart Ras Moshe/Shayna Dulberger ABC No Rio 7 pm $5 • Dona Carter Bryant Park 12:30 pm Smoke 8, 10, 11:30 pm $35 • Devin Bing with Tivon Pennicott, Michael Feinberg, Blaise Lanzetta; êDavid Weiss’ Point of Departure The Stone 8, 10 pm $10 Maryann and Friends with Klaus Mueller, Portinho, Itaiguara Brandao, Fernando Saci Thursday, July 26 • Sean Jones Group with Brian Hogans, Robert Rodriguez, Luques Curtis, John Davis Somethin’ Jazz Club 7, 9 pm $5-10 êJazz in July - Basie Roars Again!: Frank Wess, Bucky Pizzarelli, Bill Charlap, Jazz Standard 7:30, 9:30, 11:30 pm $30 • Sean Jones Group with Brian Hogans, Robert Rodriguez, Luques Curtis, John Davis • Duke Robillard Band BB King’s Blues Bar 7 pm $30 Peter Washington, and Count Basie Orchestra Jazz Standard 7:30, 9:30 pm $25 92nd Street Y 8 pm $48 êRez Abbasi and Friends with Amir ElSaffar, Matt Pavolka, Satoshi Takeishi êBarry Harris Trio with Ray Drummond, Leroy Williams Cornelia Street Café 9, 10:30 pm $15 êPhil Woods Quintet with Bill Mays, Brian Lynch, Steve Gilmore, Bill Goodwin Village Vanguard 9, 11 pm $25 Dizzy’s Club 7:30, 9:30 pm $30 • Claudia Acuña with Juancho Herrera, Michael Olatuja, Yayo Serka • Igor Butman and Moscow State Jazz Orchestra The Jazz Gallery 9, 10:30 pm $20 Dizzy’s Club 7:30, 9:30 pm $30 • Anat Cohen Invitation Series: Anat Cohen/ êRonnie Burrage Band with Rick Tate, Michael Stark, Nimrod Speaks Jazz Standard 7:30, 9:30 pm $25 • YAD: Jeffrey Hayden Shurdut, Gene Moore, Gene Jonas, Todd Capp ê ShapeShifter Lab 8 pm Downtown Music Gallery 6 pm Mostly Other People Do The Killing: Jon Irabagon, Peter Evans, Moppa Elliott, • Sam Raderman with Tim McCall, Chris Mees, Luc Decker; Chris Flory with Lee Hudson, Kevin Shea Cornelia Street Café 8:30 pm $10 • Ben Monder Trio Blue Note 12:30, 2:30 pm $29.50 êVinny Golia, Max Johnson, Weasel Walter; Steve Swell, Mary Halvorson, Max Johnson, Chuck Riggs; Neal Smith Group Smalls 4, 7:30, 10:30 pm $20 • Roz Corral Trio with Dave Stryker, Matt Aronoff • Noah Haidu Group with Jon Irabagon Rubin Museum 7 pm $20 Weasel Walter I-Beam 8:30, 10 pm $10 North Square Lounge 12:30, 2 pm Kassa Overall Experience The Stone 8, 10 pm $10 • Joyce Breach Quartet with Warren Vache, Mike Renzi, Neal Miner • Lou Caputo Quartet; David Coss Quartet; Joe Perry Trio • Jazz at Kitano 8, 10 pm $25 The Garage 11:30 am, 7, 11:30 pm • Mamiko Watanabe Trio with Ameen Saleem, • Yotam Silberstein, Sam Yahel, Greg Hutchinson; Wayne Escoffery Quintet; Josh Evans Jazz at Kitano 8, 10 pm $10 Fat Cat 6, 10:30 pm 1:30 am Monday, July 23 • Sacha Perry Group; Jaz Sawyer NYC4 with Casey Benjamin, Orrin Evans, • Ethan Mann Trio with Chip Crawford, Greg Bandy Vicente Archer Smalls 4, 10 pm $20 Bar Next Door 7:30, 9:30, 11:30 pm $12 êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 • JC Sanford 4tet with Mike Baggetta, Dave Ambrosio, Russell Meissner; • Vladimir Kostadinovic with Danny Grissett, Vicente Archer, Jaka Kopac êRoberta Piket with Putter Smith, Billy Mintz; Jean-Michel Pilc with Noam Wiesenberg, Curtis Hasselbring’s New Mellow Edwards with Chris Speed, Trevor Dunn, I-Beam 8:30 pm $10 Obed Calvaire; Spencer Murphy Smalls 7:30, 10 pm 1 am $20 John Hollenbeck Seeds 8:30 pm $10 • Alter View: Marco Coco, Fraser Campbell, Asen Doykin, Trifon Dimitrov, • Morgan James and Company with Don Braden, Doug Wamble, David Cook, • Corin Stiggall/John Mosca/Chris Byars Quintet; Charles Blenzig Quartet Rossen Nedelchev; Mitch Marcus Quintet with Tomas Fujiwara, Leon Boykins, David Finck, Clarence Penn Dizzy’s Club 7:30, 9:30 pm $20 Fat Cat 7, 10 pm Perry Smith, Sylvain Carton Somethin’ Jazz Club 7, 9 pm $5-10 • Nicolas Letman’s Bomb X + 4 with Michael Attias, Art Hirahara, Tyshawn Sorey; êEli Yamin Blues Band with Inyang Bassey, Bob Stewart, LaFrae Sci, Chris Washburne • Hypercolor: Eyal Maoz, James Ilgenfritz, Lukas Ligeti Smirk: Alan Bjorklund, Jeremy Viner, Travis Reuter, Chris Tordini, Tyshawn Sorey Wagner Park at Battery Park 7 pm Ange Noir Café 7 pm Sycamore 8:30 pm • Jacam Manricks Trio with Des White, Jochen Rueckert • Mark Devine Quartet Cleopatra’s Needle 8 pm • Jon Madof’s Zion80 The Stone 9 pm $10 Bar Next Door 8:30, 10 pm $12 • Anderson Brothers; Dre Barnes The Garage 6:15, 10:45 pm • Akiko Pavolka’s House of Illusion ShapeShifter Lab 8 pm • Teriver Cheung; Simon Yu ShapeShifter Lab 8 pm êTrio 3: Oliver Lake, Reggie Workman, Andrew Cyrille and guest Jason Moran • Manuel Valera The Bar on Fifth 8 pm • Gregory Generet Smoke 7, 9, 10:30 pm Birdland 8:30, 11 pm $30-40 • NewYorkestra Tea Lounge 9, 10:30 pm • Dario Boente/Christos Rafalides; Jake Hertzog Trio with Harvie S, Victor Jones êBarry Harris Trio with Ray Drummond, Leroy Williams • Paris Wright Quintet; Billy Kaye Jam Fat Cat 9 pm 12:30 am Somethin’ Jazz Club 7, 9 pm $10-20 Village Vanguard 9, 11 pm $25 • Sofia Tosello Trio with Juri Juarez, Paulo Stagnaro • Mamiko Taira Trio Tomi Jazz 9 pm $10 • Igor Butman and Moscow State Jazz Orchestra Bar Next Door 8:30, 10 pm $12 • Justin Lees Trio Cleopatra’s Needle 7 pm Dizzy’s Club 7:30, 9:30, 11:30 pm $35 • Emily Braden Zinc Bar 7 pm $8 • Rob Edwards; Tom Tallitsch The Garage 6, 10:30 pm • Lawrence Leathers Trio Dizzy’s Club 12:45 am $20 • Melvin Vines/Bill Peck Quintet For My Sweet 7:15, 9:15 pm êBarry Harris Trio with Ray Drummond, Leroy Williams • Lucio Ferrara The Bar on Fifth 8 pm • Sue Halloran/Ken Hitchcock Metropolitan Room 9:30 pm $20 Village Vanguard 9, 11 pm $25 • Todd Herbert Quartet Shrine 6 pm • Howard Williams Jazz Orchestra; Jason Prover Quintet êThe Latin Side of with Conrad Herwig, Ronnie Cuber, Joe Lovano • Isaac ben Ayala Bryant Park 12:30 pm The Garage 7, 10:30 pm Blue Note 8, 10:30 pm $35 • Affinity Jazz Trio Shrine 6 pm • Cynthia Holiday with Avi Rothbard, Radam Schwartz, Winard Harper Saturday, July 21 • Dona Carter Bryant Park 12:30 pm Birdland 6 pm $20 • Pablo Ziegler’s Tango-Conexion with guest Regina Carter êCelebrate Brooklyn: Arturo Sandoval; Arturo O’Farrill Afro Latin Jazz Orchestra Tuesday, July 24 Birdland 8:30, 11 pm $30-40 Prospect Park 7:30 pm • Manuel Valera The Bar on Fifth 8 pm êGeri Allen/John Zorn Duo The Stone 8 pm $20 êJazz in July - Piano Summit: , Bill Charlap, Sandy Stewart, Ken Peplowski, Harry Allen, Jay Leonhart, Willie Jones III • Harlem Speaks: Jazz Museum in Harlem 6:30 pm êMatt Mitchell/Dan Weiss Duo; Tim Berne Group with Matt Mitchell, Michael Formanek, • Winard Harper Group Citigroup Center Plaza 1 pm Dan Weiss, Ches Smith ShapeShifter Lab 8 pm 92nd Street Y 8 pm $48 êBarry Harris Trio with Ray Drummond, Leroy Williams • Pedrito Martinez Group Metrotech Commons 12 pm êEllery Eskelin Trio with John Hébert, Tyshawn Sorey • Dona Carter Bryant Park 12:30 pm Cornelia Street Café 9, 10:30 pm $15 Village Vanguard 9, 11 pm $25 • Tommy Campbell’s Vocal-Eyes with Miles Griffith, Bria Skonberg, Helio Alves, Harvie S êThe Latin Side of Joe Henderson with Conrad Herwig, Ronnie Cuber, Joe Lovano Jazz at Kitano 8, 10 pm $25 Blue Note 8, 10:30 pm $35 Friday, July 27 • Paul Bollenback Trio with Matt Clohesy, Rogerio Boccati • Pablo Ziegler’s Tango-Conexion with guest Regina Carter • Sam Raderman with Tim McCall, Chris Mees, Luc Decker; Ned Goold Trio; Bar Next Door 7:30, 9:30, 11:30 pm $12 Birdland 8:30, 11 pm $30-40 Lew Tabackin Trio with Boris Kozlov, Shinnosuke Takahashi • Rafiq Bhatia with Jeremy Viner, Jackson Hill, Alex Ritz • Dario Boente and Proyecto Sur with Christos Rafalides, Boris Kozlov, Mauricio Zottarelli Smalls 4, 7:30, 10:30 pm $20 I-Beam 8:30 pm $10 and guest Hernan Romero Jazz Standard 7:30, 9:30 pm $20 êDwight Andrews, Geri Allen, Mino Cinelu and guests; Mino Cinelu/Geri Allen • Ed Cherry Trio with Pat Bianchi, Diego Voglino • Kim Lake; Nasheet Waits The Stone 8, 10 pm $10 The Stone 8, 10 pm $10 Two Boots Brooklyn 10 pm • Jean and Doug Carn with Stacy Dillard, Duane Eubanks, Rahsaan Carter, Russell Carter • John Hollenbeck ShapeShifter Lab 8 pm • Kyoko Oyobe Fat Cat 7 pm Dizzy’s Club 7:30, 9:30 pm $30 • Duane Eubanks Quintet with Stacy Dillard, Ben Waltzer, Corcoran Holt, Jason Brown • MUSOH: Yutaka Uchida, Jostein Gulbrandsen, George Dulin, Trifon Dimitrov; • Mike Longo NY State of the Art Jazz Ensemble with guests Cornelia Street Café 9, 10:30 pm $15 Vladimir Kostadinovic with Jaka Kopac, Federico Devitor, Steve Wood NYC Baha’i Center 8, 9:30 pm $15 • Stan Killian Trio with Bryan Copeland, Darrell Green Somethin’ Jazz Club 5, 9 pm $5-10 • Spike Wilner solo; David Budway Trio Smalls 7, 9 pm $20 Bar Next Door 7:30, 9:30, 11:30 pm $12 • Scot Albertson Trio Tomi Jazz 8 pm $10 • Jeremy Viner Quintet with Bobby Avey, Travis Reuter, Pascal Niggenkemper, • Chris Morrissey Quartet with Ben Wendel, Kris Davis, Mark Guiliana • Kuni Mikami Quartet Cleopatra’s Needle 8 pm Cody Brown; Brinsk: Jeremy Viner, Adam Dotson, Nate Radley, Aryeh Kobrinsky, The Jazz Gallery 9, 10:30 pm $20 • Tomas Janzon Duo Garden Café 7:30 pm Devin Gray Cornelia Street Café 8:30, 10 pm $10 • Javon Jackson Quartet with Joel Holmes, Corcoran Holt, McClenty Hunter êAzar Lawrence Quintet with Eddie Henderson, Benito Gonzalez, Essiet Essiet, Billy Hart • Matt Garrison and guests ShapeShifter Lab 8 pm Smoke 8, 10, 11:30 pm $35 Smoke 8, 10, 11:30 pm $35 • Trio Blastphemy: Marcus Rojas, Ben Holmes, Curtis Hasselbring; Bizingas: Brian Drye, • Anna Webber Band with Matt Holman, Patricia Franceschy, Dan Peck; Dan Weiss/ • Sean Jones Group with Brian Hogans, Robert Rodriguez, Luques Curtis, John Davis Kirk Knuffke, Jonathan Goldberger and guest Chad Taylor; Happy Pappy: Anupam Shonhankar; Mike Pride’s Bass Trio with Jon Irabagon, Alexis Marcelo; Jazz Standard 7:30, 9:30, 11:30 pm $30 Marcus Rojas, Eli Rojas, Petr Cancura, Brandon Seabrook Nick Millevoi Douglass Street Music Collective 8 pm $10 • Matt Panayides with Rich Perry, Mark Ferber; Ralph LaLama with David Wong, I-Beam 8 pm $10 • Joe Alterman Trio with James Cammack, Allan Mednard Clifford Barbaro; Neal Smith Smalls 4, 7:30, 10:30 pm $20 • Saul Rubin; Greg Glassman Jam Fat Cat 7 pm 12:30 am Jazz at Kitano 8, 10 pm $25 êTrio 3: Oliver Lake, Reggie Workman, Andrew Cyrille and guest Jason Moran • Jack Wilkins/Ethan Mann Bella Luna 8 pm • Ryan Ferreira solo; Luce Trio: Jon De Lucia, Ryan Ferreira, Chris Tordini Birdland 8:30, 11 pm $30-40 • Chris Ziemba solo Jazz at Kitano 8 pm I-Beam 8, 9:30 pm $10 êBarry Harris Trio with Ray Drummond, Leroy Williams • Christine Bard; Han-Earl Park The Backroom 8:30 pm $10 • Neal Miner; Sylvia Cuenca Fat Cat 6, 10:30 pm Village Vanguard 9, 11 pm $25 • Josh Paris Group with Nadje Noordhuis, Sam Ryder, Will Clark; • Steph Chou; Rodrigo Bonelli with Alex Goumas, Isamu McGregor, Nash Gullermo, • Igor Butman and Moscow State Jazz Orchestra Karachacha: Freddy “Huevito” Lobat, Renato Diz, Mark Sundermeyer, Ross Kratter, Leah Gough Cooper, Erin Blatti Somethin’ Jazz Club 7, 9 pm $5-10 Dizzy’s Club 7:30, 9:30, 11:30 pm $35 Yael Litwin Somethin’ Jazz Club 7, 9 pm $5-10 • Kayo Hiraki Trio Tomi Jazz 9 pm $10 • Lawrence Leathers Trio Dizzy’s Club 12:45 am $20 êCecilia Coleman Big Band; Mauricio de Souza Trio • Wade Barnes Trio Cleopatra’s Needle 8 pm • Lucio Ferrara The Bar on Fifth 8 pm The Garage 7, 10:30 pm • Kyoko Oyobe Trio; Brandon Lee Quartet • Larry Newcomb Trio; Fukushi Tainaka Trio; Virginia Mayhew Quartet • Manuel Valera The Bar on Fifth 8 pm The Garage 6:15, 10:45 pm The Garage 12, 6:15, 10:45 pm • Dona Carter Bryant Park 12:30 pm êPhil Woods Quintet with Bill Mays, Brian Lynch, Steve Gilmore, Bill Goodwin Dizzy’s Club 7:30, 9:30 pm $35 Sunday, July 22 Wednesday, July 25 • Frank Basile Dizzy’s Club 12:45 am $20 • Anat Cohen Invitation Series: Anat Cohen/Howard Alden and guests • Courtney Bryant solo; Jaimeo Brown’s Transcendence êJazz in July - Messenger of Jazz, The Legacy of Art Blakey: , Kenny Washington, Joe Magnarelli, Jimmy Greene, Michael Dease, Bill Charlap, Jazz Standard 7:30, 9:30, 11:30 pm $30 The Stone 8, 10 pm $10 êBarry Harris Trio with Ray Drummond, Leroy Williams • Yoron Israel Quartet Saint Peter’s 7 pm Renee Rosnes, Peter Washington 92nd Street Y 8 pm $48 êI Don’t Hear Nothin’ But The Blues: Mike Pride, Jon Irabagon, Mick Barr Village Vanguard 9, 11 pm $25 • Ehud Asherie Trio; Billy Kaye; Brandon Lewis/Renee Cruz Jam êThe Latin Side of Joe Henderson with Conrad Herwig, Ronnie Cuber, Joe Lovano Fat Cat 6, 9 pm 12:30 am Barbès 8 pm $10 Regina Carter’s Reverse Thread Madison Square Park 7 pm Blue Note 8, 10:30 pm $35 • Shai Maestro and guests ShapeShifter Lab 8 pm • • Pablo Ziegler’s Tango-Conexion with guest Regina Carter • Joonsam Lee Trio with Tarek Yamani, Mark Ferber; Youngjoo Song Trio with êBern Nix Iridium 8, 10 pm $25 Noah Preminger Quartet with Ben Monder, John Hébert, Collin Stranahan Birdland 8:30, 11 pm $30-40 David Wong, Pete VanNostrand Cornelia Street Café 8:30, 10 pm $10 • • Manuel Valera The Bar on Fifth 8 pm • Peter Leitch/Jed Levy Walker’s 8 pm Jazz Standard 7:30, 9:30 pm $20 êThe Heathens: Jacob Garchik, Josh Roseman, Curtis Hasselbring, Matt Musselman, • Dona Carter Bryant Park 12:30 pm Alan Ferber, Curtis Fowlkes, Brian Drye, Joe Daley, Kenny Wollesen ShapeShifter Lab 8 pm êSIM Faculty Concert: Ralph Alessi, Tim Berne, Drew Gress, Tyshawn Sorey, Kris Davis Provincetown Playhouse 9 pm $10 • John O’Gallagher’s Anton Webern Project with Aidan O’Donnell, Tyshawn Sorey; AMANDA MONACO’S Tivon Pennicott Smalls 9 pm 12 am $20 • Abigail Riccards Quartet with Spike Wilner, Neal Miner, Eliot Zigmund Jazz at Kitano 8, 10 pm $10 • High Space: Tony Mason, Erik Deutsch, Jeff Hill, Jim Campilongo; Will Bernard Band Brooklyn Bowl 8 pm $7 • Jasmine Lovell-Smith with Cat Toren, Russell Moore, Pat Reid, Kate Pittman; Allison Miller Boom Tic Boom Seeds 8:30 pm $10 FORMULA ONE • Rafi D’lugoff; Pete Malinverni Trio; Ned Goold Jam Fat Cat 7, 9 pm 12:30 am êDeborah Latz with Jon Davis, John Hart, Ray Parker, Willard Dyson; Audrey Silver with with Michael Attias (saxophones) Art Hirahara, Rick Stone, Joe Fitzgerald Somethin’ Jazz Club 7, 9 pm $10-15 Sam Trapchak (bass) • Andrew Gutauskas Brooklyn Lyceum 8, 9:30 pm $10 • Emmet Cohen Quartet with Brian Lynch Satoshi Takeishi (drums) Smoke 7, 9, 10:30 pm • Alexis Parsons with Mark Soskin, Dean Johnson Metropolitan Room 7 pm $15 • Stan Killian Jam Session The Backroom 11:30 pm • Mauricio de Souza Quartet The Lambs Club 7:30 pm Cornelia Street Café • Nick Moran Trio; Paul Francis Trio The Garage 6, 10:30 pm êBarry Harris Trio with Ray Drummond, Leroy Williams Village Vanguard 9, 11 pm $25 êThe Latin Side of Joe Henderson with Conrad Herwig, Ronnie Cuber, Joe Lovano July 29th, 8:30 pm $10 Blue Note 8, 10:30 pm $35 • Pablo Ziegler’s Tango-Conexion with guest Regina Carter Birdland 8:30, 11 pm $30-40 • Jean and Doug Carn with Stacy Dillard, Duane Eubanks, Rahsaan Carter, Russell Carter Photo Dizzy’s Club 7:30, 9:30 pm $30 ©Todd Weinstein • Frank Basile Dizzy’s Club 11 pm $10 AMANDAMONACO.COM • Manuel Valera The Bar on Fifth 8 pm

THE NEW YORK CITY JAZZ RECORD | July 2012 35 Saturday, July 28 REGULAR ENGAGEMENTS êVijay Iyer, Geri Allen, Graham Haynes MONDAYS The Stone 8, 10 pm $10 • Tom Abbott Big Bang Big Band Swing 46 8:30 pm êJacob Sacks Quartet with Jacob Garchik, Thomas Morgan, Dan Weiss • Ron Affif Trio Zinc Bar 9, 11pm, 12:30, 2 am at KITANO Cornelia Street Café 9, 10:30 pm $15 • Woody Allen/Eddy Davis New Orleans Jazz Band Café Carlyle 8:45 pm $125 JAZZ • Ben Gerstein/Tyshawn Sorey I-Beam 8:30 pm $10 • Quentin Angus Duo Tomi Jazz 8 pm Music • Restaurant • Bar • Stephanie Nakasian Trio with Hod O’Brien, Veronica Swift • SMOKE Big Band; John Farnsworth Quartet Smoke 7, 9, 10:30 pm “ONE OF THE BEST JAZZ CLUBS IN NYC” ... NYC JAZZ RECORD Jazz at Kitano 8, 10 pm $25 • Michael Brecker Tribute with Dan Barman The Counting Room 8 pm • John Benitez Group The Jazz Gallery 9, 10:30 pm $20 • Sedric Choukroun and The Brasilieros Chez Lola 7:30 pm LIVE JAZZ EVERY • Patrick Cornelius Trio with Ed Howard, Donald Edwards • Pete Davenport/Ed Schuller Jam Session Frank’s Cocktail Lounge 9 pm WEDNESDAY - SATURDAY Bar Next Door 7:30, 9:30, 11:30 pm $12 • Emerging Artists Series Bar Next Door 6:30 pm (ALSO TUE-THU) • Bobby Porcelli Quintet; Greg Glassman Quintet • Joel Forrester solo Brandy Library 8 pm $10 WED./THUR + $15 Minimum/Set. Fat Cat 7, 10 pm • George Gee Swing Orchestra Gospel Uptown 8 pm $25 FRI./SAT. + $15 Minimum/Set • Arun Luthra Quartet Somethin’ Jazz Club 9 pm $10 • Vince Giordano’s Nighthawks Sofia’s 8 pm (ALSO TUE) 2 SETS 8:00 PM & 10:00 PM • Matt Kane Trio with Dave Stryker, Kyle Koehler • Grove Street Stompers Arthur’s Tavern 7 pm Delta Grill 11 pm, 12:30 am • JFA Jazz Jam Local 802 7 pm JAZZ BRUNCH EVERY SUNDAY • Nial Djuliarso Trio Cleopatra’s Needle 8 pm • Roger Lent Trio Jam Cleopatra’s Needle 8 pm • Marko Djordjevic SVETI with Tivon Pennicott, Bobby Avey, Desmond White; • Iris Ornig Jam Session The Kitano 8 pm TONY MIDDLETON TRIO Marion Cowings; Lew Tabackin Trio with Boris Kozlov, Shinnosuke Takahashi • Trio with guests Iridium 8, 10 pm $35 11 AM - 2 PM • GREAT BUFFET - $29 Smalls 4, 7:30, 10:30 pm $20 • Ian Rapien’s Spectral Awakenings Jazz Groove Session Rhythm Splash 9 pm • John Hollenbeck ShapeShifter Lab 8 pm • Stan Rubin All-Stars Charley O’s 8:30 pm OPEN JAM SESSION MONDAY NIGHTS • Javon Jackson Quartet with Joel Holmes, Corcoran Holt, McClenty Hunter • Vanguard Jazz Orchestra Village Vanguard 9, 11 pm $30 Smoke 8, 10, 11:30 pm $35 • Rakiem Walker Project Red Rooster 7:30 pm 8:00 PM - 11:30 PM • HOSTED BY IRIS ORNIG êPhil Woods Quintet with Bill Mays, Brian Lynch, Steve Gilmore, Bill Goodwin TUESDAYS TUES. (3, 10, 17, 24 & 29) IN JULY • 8:00 PM - 11:00 PM Dizzy’s Club 7:30, 9:30 pm $35 • Daisuke Abe Trio Sprig 6 pm (ALSO WED-THU)) CHRIS ZIEMBA - SOLO PIANO • Frank Basile Dizzy’s Club 12:45 am $20 • Bill Campbell and Friends Bar Next Door 8 pm $12 • Anat Cohen Invitation Series: Anat Cohen’s Anzic Orchestra • Evolution Series Jam Session Zinc Bar 11 pm Jazz Standard 7:30, 9:30, 11:30 pm $30 • Irving Fields Nino’s Tuscany 7 pm (ALSO WED-SUN) WED. JULY 4 êBarry Harris Trio with Ray Drummond, Leroy Williams • George Gee Swing Orchestra Swing 46 8:30 pm NO MUSIC Village Vanguard 9, 11 pm $25 • Sean Harkness Trio 54 Below 10:30 pm êThe Latin Side of Joe Henderson with Conrad Herwig, Ronnie Cuber, Joe Lovano • Loston Harris Café Carlyle 9:30 pm $20 (ALSO WED-SAT) FOURTH OF JULY HOLIDAY Blue Note 8, 10:30 pm $35 • Art Hirahara Trio Arturo’s 8 pm • Pablo Ziegler’s Tango-Conexion with guest Regina Carter • Yuichi Hirakawa Trio Arthur’s Tavern 7, 8:30 pm THURS. JULY 5 Birdland 8:30, 11 pm $30-40 • Sandy Jordan and Larry Luger Trio Notaro 8 pm • Manuel Valera The Bar on Fifth 8 pm • Mike LeDonne Quartet; Jason Marshall Quartet Smoke 7, 9, 10:30, 11:30 pm MICHIKA FUKUMORI TRIO • Romain Collin Steinway Hall 4 pm • Russ Nolan Jazz Organ Trio Cassa Hotel and Residences 6 pm MICHIKA FUKUMORI, AIDAN O'DONNELL • Marsha Heydt Quartet; Michika Fukumori Trio BILLY DRUMMOND • Iris Ornig Quartet Crooked Knife 7 pm $10 COVER + $15 MINIMUM The Garage 12, 6:15 pm • Yvonnick Prene Group Tomi Jazz 8 pm • The Metropolitan Room 9:30 pm $25 FRI. JULY 6 Sunday, July 29 • Robert Rucker Trio Jam Cleopatra’s Needle 8 pm êVijay Iyer Trio MoMA Sculpture Garden 8 pm • Slavic Soul Party Barbès 9 pm $10 JUNIOR MANCE TRIO êAmanda Monaco’s Formula One with Michael Attias, Sam Trapchak, Satoshi Takeishi WEDNESDAYS JUNIOR MANCE, HIDE TANAKA, MICHI FUJI Cornelia Street Café 8:30 pm $10 • Astoria Jazz Composers Workshop Waltz-Astoria 6 pm $25 COVER + $15 MINIMUM • Charles Owens Quartet with Jeremy Manasia, Andrew Randazzo, Devonne Harris • Sedric Choukroun and the Eccentrics Chez Oskar 7 pm Smalls 11 pm $20 • Roger Davidson/Pablo Aslan Caffe Vivaldi 6 pm SAT. JULY 7 • Terry Waldo’s Gotham City Band; Tim Ferguson Quintet • Walter Fischbacher Trio Water Street Restaurant 8 pm THE WOLFF & CLARK EXPEDITION Fat Cat 6, 9 pm 12:30 am • Jeanne Gies with Howard Alden and Friends Joe G’s 6:30 pm MIKE CLARK, MICHAEL WOLFF • Jeff Walton Quintet The Stone 10 pm $10 • Les Kurtz Trio; Joonsam Lee Trio Cleopatra’s Needle 7, 11:30 pm CHIP JACKSON, STEVE WILSON • Peter Leitch/ Walker’s 8 pm • Jonathan Kreisberg Trio Bar Next Door 8:30, 10:30 pm $12 $25 COVER + $15 MINIMUM • Vadim Neselovskyi’s Agricultural Dreams • Guillaume Laurent Trio Bar Tabac 7 pm Sycamore 8 pm • Jake K. Leckie Trio Kif Bistro 8 pm WED. JULY 11 • Tom Shad/Joe Gallant; Crime Scene: Carsten Radtke, Blaise Siwula, Bob Meyer • Jed Levy and Friends Vino di Vino Wine Bar 7:30 pm (ALSO FRI) GEORGE MEL QUARTET ABC No Rio 7 pm $5 • Ron McClure solo piano McDonald’s 12 pm (ALSO SAT) GEORGE MEL, MICHAEL EATON • Alberto Pibiri The Bar on Fifth 8 pm • John McNeil/Mike Fahie Tea and Jam Tea Lounge 9 pm ENRIQUE HANEINE, APOSTOLOS SIDERIS êPhil Woods Quintet with Bill Mays, Brian Lynch, Steve Gilmore, Bill Goodwin • Jacob Melchior Philip Marie 7 pm (ALSO SUN 12 PM) $10 COVER + $15 MINIMUM Dizzy’s Club 7:30, 9:30 pm $30 • John Miller Quartet 54 Below 10:30 pm • Anat Cohen Invitation Series: Anat Cohen/Fred Hersch • Alex Obert’s Hollow Bones Via Della Pace 10 pm THURS. JULY 12 Jazz Standard 7:30, 9:30 pm $25 • Yuko Okamoto Trio Tomi Jazz 8 pm êBarry Harris Trio with Ray Drummond, Leroy Williams • David Ostwald’s Louis Armstrong Centennial Band Birdland 5 pm $10 DAVID LOPATO QUARTET Village Vanguard 9, 11 pm $25 • Roxy Coss Smoke 11:30 pm DAVID LOPATO, MARTY EHRLICH êThe Latin Side of Joe Henderson with Conrad Herwig, Ronnie Cuber, Joe Lovano • Stan Rubin Orchestra Swing 46 8:30 pm RATZO HARRIS, RICHIE BARSHAY Blue Note 8, 10:30 pm $35 • David Schnug Papa’s Gino’s Restaurant 8:30 pm $10 COVER + $15 MINIMUM • Sarah Manning Quartet Saint Peter’s 7 pm • Alex Terrier Trio Antibes Bistro 7:30 pm êVinny Golia Nine Winds Celebration; Yoshi Fruchter • Justin Wert/Corcoran Holt Benoit 7 pm FRI. JULY 13 Downtown Music Gallery 6 pm • Bill Wurtzel/Tony Decaprio American Folk Art Museum Lincoln Square 2 pm RONI BEN-HUR QUARTET • Roy Assaf Trio with Yasushi Nakamura, Clarence Penn • Bill Wurtzel Duo Velour Lounge 6:30 pm WITH SPECIAL GUEST FRANK WESS Blue Note 12:30, 2:30 pm $29.50 • Jordan Young Group Bflat 8:30 pm • Roz Corral Trio with Pete McCann, Paul Gill RONI BEN-HUR, FRANK WESS North Square Lounge 12:30, 2 pm THURSDAYS SANTI DEBRIANO, TIM HORNER • Evan Schwam Quartet; David Coss Quartet • Jason Campbell Trio Perk’s 8 pm $25 COVER + $15 MINIMUM The Garage 11:30 am, 7 pm • Sedric Choukroun Brasserie Jullien 7:30 pm (ALSO FRI, SAT) • JaRon Eames/Emme Kemp Eats 6 pm SAT. JULY 14 • Jazz Open Mic Perk’s 8 pm Monday, July 30 • Lapis Luna Quintet The Plaza Hotel Rose Club 9 pm RONI BEN-HUR'S • Nicole Henry Quintet with Kirk Whalum, Kevin Hays, Vicente Archer, Nate Smith • Latin Jazz Jam Nuyorican Poets Café 9 pm AFRO SAMBA & BEYOND BAND Dizzy’s Club 7:30, 9:30 pm $30 • Barry Levitt Trio 54 Below 10:30 pm RONI BEN-HUR, SANTI DEBRIANO, PORTINHO, CAFÉ êMingus Dynasty Jazz Standard 7:30, 9:30 pm $25 • Michael Mwenso and Friends Dizzy’s Club 11 pm $25 COVER + $15 MINIMUM • Jill McCarron Trio with Paul Gill, Tim Horner; JD Allen Group; Spencer Murphy Jam • Eri Yamamoto Trio Arthur’s Tavern 7 pm (ALSO FRI-SAT) WED. JULY 18 Smalls 7:30, 10 pm 1 am $20 FRIDAYS • Avi Rothbard Quartet; Billy Kaye Jam • The Crooked Trio: Oscar Noriega, Brian Drye, Ari Folman-Cohen Barbès 5 pm GIACOMO GATES TRIO Fat Cat 9 pm 12:30 am • Deep Pedestrian Sintir 8 pm GIACOMO GATES, JOHN DI MARTINO, BORIS KOSLOV • All the Kings Horses: Jake Henry, Kenny Warren, Jeremy Thal, Rick Parker, Ben Stapp, $10 COVER + $15 MINIMUM Kate Pittman; Laila and Smitty: Kenny Warren, Jeremiah Lockwood, Myk Freedman, • Charles Downs’ Centipede The Complete Music Studio 7 pm Josh Meyers, Carlo Costa Sycamore 8:30 pm • Gerry Eastman’s Quartet Williamsburg Music Center 10 pm THURS. JULY 19 Jon Madof’s Zion80 The Stone 9 pm $10 • Ken Fowser Quintet Smoke 12:30 am • • Kengo Nakamura Trio Club A Steakhouse 11 pm ADAM LARSON QUARTET • Sean Smith Quartet with John Ellis, John Hart, Russell Meissner ADAM LARSON, EMMET COHEN Blue Note 8, 10:30 pm $15 • Brian Newman Quartet Duane Park 10:30 pm • Frank Owens Open Mic The Local 802 6 pm KIYOSHI KITAGAWA, RODNEY GREEN • Rami Lakkis Quartet; Kung Fu Masters $10 COVER + $15 MINIMUM ShapeShifter Lab 8 pm • Albert Rivera Organ Trio B Smith’s 8:30 pm (ALSO SAT) • Tulivu Donna Cumberbatch/Bertha Hope • Brandon Sanders Trio Londel’s 8, 9, 10 pm (ALSO SAT) FRI. JULY 20 For My Sweet 7:15, 9:15 pm • Bill Saxton and Friends Bill’s Place 9, 11 pm $15 • JC Sanford Orchestra Tea Lounge 9, 10:30 pm SATURDAYS JOYCE BREACH QUARTET • Camila Meza Trio with Sam Anning, Colin Stranahan • Candy Shop Boys Duane Park 8, 10:30 pm JOYCE BREACH, MIKE RENZI, NEAL MINER, WARREN VACHÉ Bar Next Door 8:30, 10 pm $12 • Jesse Elder/Greg RuggieroRothmann’s 6 pm $25 COVER + $15 MINIMUM • Andrea Wolper Zinc Bar 7 pm $8 • Joel Forrester solo Indian Road Café 11 am SAT. JULY 21 • Howard Williams Jazz Orchestra; Tsutomu Naki Trio • Guillaume Laurent/Luke Franco Casaville 1 pm The Garage 7, 10:30 pm • Johnny O’Neal Smoke 12:30 am TOMMY CAMPBELL'S • Alberto Pibiri The Bar on Fifth 8 pm • Skye Jazz Trio Jack 8:30 pm • Michelle Walker/Nick Russo Anyway Café 9 pm “VOCAL-EYES” • Sue Maskaleris Bryant Park 12:30 pm TOMMY CAMPBELL, MILES GRIFFITH • Bill Wurtzel Duo Henry’s 12 pm BRIA SKONBERG, HELIO ALVES, HARVIE S Tuesday, July 31 SUNDAYS $25 COVER + $15 MINIMUM êThe Fellowship Band: Brian Blade, Melvin Butler, Jon Cowherd, Christopher Thomas, • Bill Cantrall Trio Crescent and Vine 8 pm Myron Walden Village Vanguard 9, 11 pm $25 • Marc Devine Trio TGIFriday’s 6 pm WED. JULY 25 êMichael Carvin Experience with Keith Loftis, Yayoi Ikawa, Jansen Cinco • Ear Regulars with Jon-Erik Kellso The Ear Inn 8 pm • Marjorie Eliot/Rudell Drears/Sedric Choukroun Parlor Entertainment 4 pm ABIGAIL RICCARDS QUARTET Jazz Standard 7:30, 9:30 pm $20 ABIGAIL RICCARDS, SPIKE WILNER • Blue Note 8, 10:30 pm $35 • Gene Ess Jam Session ShapeShifter Lab 3 pm $3 • Sean Fitzpatrick and Friends Ra Café 1 pm NEAL MINER, ELIOT ZIGMUND • Jana Herzen and guest The Stone 8, 10 pm $10 $10 COVER + $15 MINIMUM • Spike Wilner solo; Jim Ridl Trio with John Benitez, Donald Edwards • Joel Forrester solo Grace Gospel Church 11 am Smalls 7, 9 pm $20 • Nancy Goudinaki’s Trio Kellari Taverna 12 pm THURS. JULY 26 • Itai Kriss and the Salsa All-Stars; Greg Glassman Jam • Enrico Granafei solo Sora Lella 7 pm Fat Cat 9 pm 12:30 am • Annette St. John; Allan Harris; Cynthia Soriano Smoke 11:30 am, 7, 11:30 pm MAMIKO WATANABE TRIO • Matt Garrison and guests ShapeShifter Lab 8 pm • Stan Killian Trio Ocean’s 8 8:30 pm MAMIKO WATANABE, AMEEN SALEEM, FRANCISCO MELA • Abysm: Shoko Nagai/Satoshi Takeishi; Bizingas: Brian Drye, Kirk Knuffke, • Bob Kindred Group Café Loup 12:30 pm $10 COVER + $15 MINIMUM Jonathan Goldberger and guest Chad Taylor; Dan Blacksberg Trio with Matt Engle, • Alexander McCabe Trio CJ Cullens Tavern 5 pm Mike Szekely I-Beam 8 pm $10 • Junior Mance Trio Café Loup 6:30 pm FRI. JULY 27 • Basak Yavuz with Tim Basom, Alex Spradling, Guilhem Flouzat, Nicky Schrire, • Peter Mazza Bar Next Door 8 pm $12 JOE ALTERMAN TRIO Natalie Galey, Rogerio Boccato; Fay Victor Ensemble with Anders Nilsson, Ken Filiano • Arturo O’Farrill Afro-Latin Jazz Orchestra Birdland 9, 11 pm $30 JOE ALTERMAN, JAMES CAMMACK, ALLAN MEDNARD Cornelia Street Café 8:30, 10 pm $10 • Lu Reid Jam Session Shrine 4 pm $25 COVER + $15 MINIMUM êJonah Parzen-Johnson Glasslands Gallery 9 pm • Vocal Open Mic; Johnny O’Neal Trio Smalls 4:30, 8:30 pm • Jack Wilkins/Ron Jackson Bella Luna 8 pm • Rose Rutledge Trio Ardesia Wine Bar 6:30 pm SAT. JULY 28 • Chris Ziemba solo Jazz at Kitano 8 pm • Annette St. John and Trio Smoke 11:30 am, 1, 2:30 pm • Yoojin Park Quintet with Richard Parker, Seoyoun Yang, Eunjin Lee, Spiro Sinigos • Secret Architecture Caffe Vivaldi 9:45 pm STEPHANIE NAKASIAN TRIO Somethin’ Jazz Club 9 pm • Gabrielle Stravelli Trio The Village Trattoria 12:30 pm STEPHANIE NAKASIAN, HOD O'BRIEN, VERONICA SWIFT • Fat Cat Big Band; Justin Lees Trio The Garage 7, 10:30 pm • Swingadelic Swing 46 8:30 pm $25 COVER + $15 MINIMUM • Nicole Henry Quintet with Kirk Whalum, Kevin Hays, Vicente Archer, Nate Smith • Cidinho Teixeira Zinc Bar 10, 11:30 1 am RESERVATIONS - 212-885-7119 Dizzy’s Club 7:30, 9:30 pm $30 • Jazz Jam hosted by Michael Vitali Comix Lounge 8 pm VISIT OUR TWEETS AT: http://twitter.com/kitanonewyork • Brianna Thomas Dizzy’s Club 11 pm $10 • Brian Woodruff Jam Blackbird’s 9 pm www.kitano.com • email: [email protected] • Sue Maskaleris Bryant Park 12:30 pm 66 Park Avenue @ 38th St.

36 July 2012 | THE NEW YORK CITY JAZZ RECORD CLUB DIRECTORY

• 285 Kent Subway: L to Bedford Avenue • Damrosch Park at Lincoln Center Broadway and 62nd Street • North Square Lounge 103 Waverly Place (212-254-1200) • 54 Below 254 West 54th Street Subway: N, Q, R to 57th Street; Subway: 1 to 66th Street www.lincolncenter.org Subway: A, B, C, E, F to West 4th Street www.northsquarejazz.com B, D, E to Seventh Avenue www.54below.com • David Rubenstein Atrium Broadway at 60th Street (212-258-9800) • Notaro Second Avenue between 34th & 35th Streets (212-686-3400) • 55Bar 55 Christopher Street (212-929-9883) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.jalc.org Subway: 6 to 33rd Street Subway: 1 to Christopher Street www.55bar.com • The Delta Grill 700 9th Avenue • Nublu 62 Avenue C between 4th and 5th Streets • 92nd Street Y Lexington Avenue at 92nd Street (212-956-0934) Subway: C, 3 to 50th Street www.thedeltagrill.com (212-979-9925) Subway: F, V to Second Avenue www.nublu.net (212-415-5500) Subway: 6 to 96th Street www.92y.org • Dizzy’s Club Broadway at 60th Street, 5th Floor (212-258-9800) • Nuyorican Poets Café 236 E. 3rd Street between Avenues B and C • ABC No-Rio 156 Rivington Street (212-254-3697) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.jalc.org (212-505-8183) Subway: F, V to Second Avenue www.nuyorican.org Subway: J,M,Z to Delancey Street www.abcnorio.org • Douglass Street Music Collective 295 Douglass Street • Ocean’s 8 at Brownstone Billiards 308 Flatbush Avenue • American Folk Art Museum 45 W 53rd Street (212-265-1040) Subway: R to Union Street www.295douglass.org (718-857-5555) Subway: B, Q to Seventh Avenue Subway: E to 53rd Street www.folkartmuseum.org • Downtown Music Gallery 13 Monroe Street (212-473-0043) • One New York Plaza Subway: N, R to Whitehall Street • Ange Noir Café 247 Varet Street (347-294-4759) Subway: L to Morgan Avenue Subway: F to East Broadway www.downtownmusicgallery.com • Parlor Entertainment 555 Edgecombe Ave. #3F between 159th and • Antibes Bistro 112 Suffolk Street (212-533-6088) • Drom 85 Avenue A (212-777-1157) 160th Streets (212-781-6595) Subway: C to 155th Street Subway: J, Z to Essex Street www.antibesbistro.com Subway: F to Second Avenue www.dromnyc.com www.parlorentertainment.com • Antique Garage 41 Mercer Street (212-219-1019) • Duane Park 157 Duane Street (212-732-5555) • The Plaza Hotel Rose Club Fifth Avenue at Central Park South Subway: N, Q, R, W to Canal Street Subway: 1, 2, 3 to Chambers Street www.duaneparknyc.com (212-759-3000) Subway: N, Q, R to Fifth Avenue www.fairmont.com • Anyway Café 34 E. 2nd Street (212-533-3412) • The Ear Inn 326 Spring Street at Greenwich Street (212-246-5074) • Prospect Park Bandshell Subway: F to Prospect Park Subway: F to Second Avenue Subway: C, E to Spring Street www.earinn.com www.bricartsmedia.org • Ardesia Wine Bar 510 West 52nd Street • Eats Restaurant 1055 Lexington Avenue Subway: 6 to 77th Street • Provincetown Playhouse 133 MacDougal Street (212-247-9191) Subway: C to 50th Street www.ardesia-ny.com • Fat Cat 75 Christopher Street at 7th Avenue (212-675-6056) Subway: A, B, C, D, E, F, M to W. 4th Street • Arthur’s Tavern 57 Grove Street (212-675-6879) Subway: 1 to Christopher Street/Sheridan Square www.fatcatmusic.org • Red Rooster Harlem 310 Malcolm X Boulevard Subway: 1 to Christopher Street www.arthurstavernnyc.com • Feinstein’s at Loews Regency 540 Park Avenue (212-339-4095) (212-792-9001) Subway: 2, 3 to 125th Street www.redroosterharlem.com • Arturo’s 106 W. Houston Street (at Thompson Street) Subway: 4, 5, 6 to 59th Street www.feinsteinsattheregency.com • Revival Bar 129 East 15th Street (212-253-8061) (212-677-3820) Subway: A, B, C, D, E, F, M to W. 4th Street • The Firehouse Space 246 Frost Street Subway: 4, 5, 6, L, N, R, Q, W to Union Square www.revivalbarnyc.com • BB King’s Blues Bar 237 W. 42nd Street (212-997-2144) Subway: L to Graham Avenue www.thefirehousespace.org • Rhythm Splash 673 Flatbush Avenue Subway: 1, 2, 3, 7 to 42nd Street/Times Square www.bbkingblues.com • For My Sweet Restaurant 1103 Fulton Street at Claver Place Subway: B, Q to Parkside Avenue • Bflat 277 Church Street (between Franklin and White Streets) (718-857-1427) Subway: C to Franklin Avenue • Roulette 509 Atlantic Avenue Subway: 1, 2 to Franklin Streets • Frank’s Cocktail Lounge 660 Fulton St. at Lafayette, Brooklyn (212-219-8242) Subway: 2, 3, 4, 5 to Atlantic Avenue www.roulette.org • The Backroom 627 5th Avenue (718-768-0131) (718-625-9339) Subway: G to Fulton Street • Rubin Museum 150 West 17th Street (212-620-5000) Subway: D, N, R to Prospect Avenue www.freddysbar.com • The Garage 99 Seventh Avenue South (212-645-0600) Subway: A, C, E to 14th Street www.rmanyc.org • Bar 4 15th Street and 7th Avenue, Brooklyn Subway: 1 to Christopher Street www.garagerest.com • SOB’s 204 Varick Street (718-832-9800) Subway: F to 7th Avenue, N, M, R, D to Prospect Avenue • Garden Café 4961 Broadway at 207 Street (212-243-4940) Subway: 1 to Varick Street www.sobs.com www.bar4brooklyn.com (212-544-9480) Subway: A to 207th Street-Inwood • Saint Peter’s Church 619 Lexington Avenue at 54th Street • Bar Next Door 129 MacDougal Street (212-529-5945) • Glasslands Gallery 289 Kent Avenue (212-935-2200) Subway: 6 to 51st Street www.saintpeters.org Subway: A, B, C, D, E, F, M to W. 4th Street www.lalanternacaffe.com Subway: L to Bedford Avenue www.glasslands.blogspot.com • Scandinavia House 58 Park Avenue at 37th Street (212-879-9779) • The Bar on Fifth 400 Fifth Avenue • Gospel Uptown 2110 Adam Clayton Powell Junior Boulevard Subway: 4, 5, 6 to 42nd Street-Grand Central www.scandinaviahouse.org (212-695-4005) Subway: 6 to 33rd Street www.jazzbaronfifth.com (212-280-2110) Subway: A, B, C, D to 125th Street www.gospeluptown.com • The Schomburg Center 515 Macolm X Boulevard (212-491-2200) • Barbès 376 9th Street at 6th Avenue, Brooklyn (718-965-9177) • Grace Gospel Church 589 East 164th Street Subway: 2, 3 to 135th Street www.nypl.org/research/sc/sc.html Subway: F to 7th Avenue www.barbesbrooklyn.com (718-328-0166) Subway: 2, 5 to Prospect Avenue • Seeds 617 Vanderbilt Avenue Subway: 2, 3, 4 to Grand Army Plaza • Bella Luna 584 Columbus Avenue Subway: B, C to 86th Street • Haffen Park Subway: 5 to Baychester Avenue www.seedsbrooklyn.org • Benoit 60 W. 55th Street • Henry’s 2745 Broadway (212-866-060) 1 to 103rd Street • ShapeShifter Lab 18 Whitwell Place Subway: F to 57th Street, N, Q, R,W to 57th Street • Hillstone 153 East 53rd Street (646-820-9452) Subway: R to Union Street www.shapeshifterlab.com • Bill’s Place 148 W. 133rd Street (between Lenox and 7th Avenues) (212-888-3828) Subway: E, M to 53rd Street www.hillstone.com • Showman’s 375 West 125th Street at Morningside) (212-864-8941) (212-281-0777) Subway: 2, 3 to 125th Street • Hudson Square Spring Street between Varick and Hudson Streets Subway: A, B, C, D to 125th Street www.showmansjazz.webs.com • Birdland 315 W. 44th Street (212-581-3080) Subway: C to Spring Street www.citywinery.com/hudsonbbq • Shrine 2271 Adam Clayton Powell Boulevard (212-690-7807) Subway: A, C, E, to 42nd Street www.birdlandjazz.com • I-Beam 168 7th Street between Second and Third Avenues Subway: B, 2, 3 to 135th Street www.shrinenyc.com • Blackbird’s 41-19 30th Avenue (718-943-6898) Subway: F to 4th Avenue www.ibeambrooklyn.com • Sintir 424 E. 9th Street between Avenue A and First Avenue Subway: R to Steinway Street www.blackbirdsbar.com • Indian Road Café 600 West 218th Street @ Indian Road (212-477-4333) Subway: 6 to Astor Place • Blue Note 131 W. 3rd Street at 6th Avenue (212-475-8592) (212-942-7451) Subway: 1 to 215th Street www.indianroadcafe.com • Sistas’ Place 456 Nostrand Avenue at Jefferson Avenue, Brooklyn Subway: A, B, C, D, E, F, M to W. 4th Street www.bluenotejazz.com • Iridium 1650 Broadway at 51st Street (212-582-2121) (718-398-1766) Subway: A to Nostrand Avenue www.sistasplace.org • Brandy Library 25 N. Moore Street Subway: 1,2 to 50th Street www.theiridium.com • Smalls 183 W 10th Street at Seventh Avenue (212-252-5091) (212-226-5545) Subway: 1 to Franklin Street • Issue Project Room 110 Livingston Street Subway: 1,2,3,9 to 14th Street www.smallsjazzclub.com • Brecht Forum 451 West Street (212-242-4201) Subway: 4, 5 to Borough Hall www.issueprojectroom.org • Smoke 2751 Broadway between 105th and 106th Streets Subway: A, C, E, L, 1, 2, 3, 9 to 14th Street www.brechtforum.org • Jack 80 University Place Subway: 4, 5, 6, N, R to 14th Street (212-864-6662) Subway: 1 to 103rd Street www.smokejazz.com • Brooklyn Bowl 61 Wythe Avenue • Jazz @ the Crypt Church of the Intercession 550 W. 155th Street • Sofia’s 221 W. 46th Street Subway: B, D, F to 42nd Street (718-963-3369) Subway: L to Bedford Avenue www.brooklynbowl.com (212-283-6200) Subway: 1 to 157th Street www.intercessionnyc.org • Somethin’ Jazz Club 212 E. 52nd Street, 3rd floor (212-371-7657) • Brooklyn Lyceum 227 4th Avenue (718-857-4816) • Jazz at Kitano 66 Park Avenue at 38th Street (212-885-7000) Subway: 6 to 51st Street; E to 53rd Street www.somethinjazz.com/ny Subway: R to Union Street www.brooklynlyceum.com Subway: 4, 5, 6 to Grand Central www.kitano.com • Sora Lella 300 Spring Street (212-366-4749) • Brooklyn Public Library Central Branch • The Jazz Gallery 290 Hudson Street (212-242-1063) Subway: C, E to Spring Street www.soralellanyc.com Subway: 2, 3 to Grand Army Plaza; Q to 7th Avenue Subway: C, E, to Spring Street www.jazzgallery.org • Steinway Hall 109 W. 57th Street (212-246-1100) • Buona Sera 12th Street and University Place • Jazz Museum in Harlem 104 E.126th Street (212-348-8300) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.steinwayhall.com Subway: 4, 5, 6, L, N, R, Q, W to Union Square Subway: 6 to 125th Street www.jazzmuseuminharlem.org • The Stone Avenue C and 2nd Street • Brower Park Subway: 3 to Kingston Avenue • Jazz Standard 116 E. 27th between Park and Lexington Avenue Subway: F to Second Avenue www.thestonenyc.com • Bryant Park 5th and 6th Avenues between 40th and 42nd Streets (212-576-2232) Subway: 6 to 28th Street www.jazzstandard.net • Swing 46 349 W. 46th Street (646-322-4051) Subway: 4, 5, 6 to 42nd Street www.bryantpark.org • Joe G’s 244 West 56th Street (212-765-3160) Subway: A, C, E to 42nd Street www.swing46.com • CJ Cullens Tavern 4340 White Plains Road, Bronx Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle • Sycamore 1118 Cortelyou Road (347-240-5850) Subway: 2 to Nereid Avenue/238th Street • Joe’s Pub 425 Lafayette Street (212-539-8770) Subway: B, Q to to Cortelyou Road www.sycamorebrooklyn.com • Café Carlyle 35 East 76th Street (212-744-1600) Subway: N, R to 8th Street-NYU; 6 to Astor Place www.joespub.com • Symphony Space Leonard Nimoy Thalia and Peter Jay Sharp Theatre Subway: 6 to 77th Street www.thecarlyle.com • Kellari Taverna 19 West 44th Street (212-221-0144) 2537 Broadway at 95th Street (212-864-5400) • Café Loup 105 W. 13th Street between Sixth and Seventh Avenues Subway: B, D, F, M, 7 to 42nd Street-Bryant Park www.kellari.us Subway: 1, 2, 3, 9 to 96th Street www.symphonyspace.org (212-255-4746) Subway: F to 14th Street www.cafeloupnyc.com • Knickerbocker Bar & Grill 33 University Place (212-228-8490) • Tea Lounge 837 Union Street, Brooklyn (718-789-2762) • Caffe Vivaldi 32 Jones Street Subway: N, R to 8th Street-NYU www.knickerbockerbarandgrill.com Subway: N, R to Union Street www.tealoungeNY.com Subway: A, B, C, D, E, F, M to W. 4th Street www.caffevivaldi.com • Korzo 667 5th Avenue, Brooklyn (718-285-9425) • Tomi Jazz 239 E. 53rd Street (646-497-1254) • Casaville 633 Second Avenue Subway: R to Prospect Avenue www.korzorestaurant.com Subway: 6 to 51st Street www.tomijazz.com (212-685-8558) Subway: 6 to 33rd Street www.casavillenyc.com • The Lambs Club 132 W. 44th Street • Two Boots Brooklyn 514 2nd Street at 7th Avenue, Brooklyn • Cassa Hotel and Residences 70 W. 45th Street, 10th Floor Terrace 212-997-5262 Subway: A, C, E, to 42nd Street www.thelambsclub.com (718-499-3253) Subway: F to 7th Avenue (212-302-87000 Subway: B, D, F, 7 to Fifth Avenue www.cassahotelny.com • Launch Pad Gallery 721 Franklin Avenue, Brooklyn • Vaudeville Park 26 Bushwick Avenue Subway: L to Graham Avenue • Charley O’s 1611 Broadway at 49th Street (212-246-1960) (718-928-7112) Subway: S to Park Place www.brooklynlaunchpad.org • Velour Lounge 297 10th Avenue Subway: N, R, W to 49th Street • Le Poisson Rouge 158 Bleecker Street (212-228-4854) (212-279-9707) Subway: C, E to 23rd Street www.velournyc.com • Chez Lola 387 Myrtle Avenue, Brooklyn (718-858-1484) Subway: A, B, C, D, E, F, M to W. 4th Street www.lepoissonrouge.com • Via Della Pace 48 East 7th Street and Second Avenue Subway: C to Clinton-Washington Avenues www.bistrolola.com • Lenox Lounge 288 Lenox Avenue between 124th and 125th Streets (212-253-5803) Subway: 6 to Astor Place • Chez Oskar 211 Dekalb Ave, Brooklyn (718-852-6250) (212-427-0253) Subway: 2, 3 to 125th Street www.lenoxlounge.com • The Village Trattoria 135 West 3rd Street (212-598-0011) Subway: C to Lafayette Avenue www.chezoskar.com • The Local 802 322 W. 48th Street between Eighth and Ninth Avenues Subway: A, B, C, D, E, F, M to W. 4th Street www.thevillagetrattoria.com • Citigroup Center Plaza 53rd Street and Lexington Avenue (212-245-4802) Subway: C to 50th Street www.jazzfoundation.org • Village Vanguard 178 Seventh Avenue South at 11th Street Subway: 6 to 51st Street • Londel’s 2620 Frederick Douglas Boulevard (212-234-6114) (212-255-4037) Subway: 1, 2, 3 to 14th Street www.villagevanguard.com • Cleopatra’s Needle 2485 Broadway (212-769-6969) Subway: 1 to 145th Street www.londelsrestaurant.com • Vino di Vino Wine Bar 29-21 Ditmars Boulevard, Queens Subway: 1, 2, 3 to 96th Street www.cleopatrasneedleny.com • MoMA Sculpture Garden 11 West 53rd Street (212-708-9400) (718-721-3010) Subway: N to Ditmars Blvd-Astoria • Club A Steakhouse 240 E. 58th Street (212-618-4190) Subway: E, V train to Fifth Avenue/53rd Street www.moma.org • Wagner Park at Battery Park Subway: 4 or 5 to Bowling Green Subway: 4, 5, 6 to 59th Street www.clubasteak.com • McDonald’s 160 Broadway between Maiden Lane and Liberty Street • Walker’s 16 North Moore Street (212-941-0142) • Comix Lounge 353 W. 14th Street Subway: L to 8th Avenue (212-385-2063) Subway: 4, 5 to Fulton Street www.mcdonalds.com Subway: A, C, E to Canal Street • The Complete Music Studio 227 Saint Marks Avenue, Brooklyn • Madison Square Park 5th Avenue and 23rd Street • Waltz-Astoria 23-14 Ditmars Boulevard (718-95-MUSIC) (718-857-3175) Subway: B, Q to Seventh Avenue www.completemusic.com Subway: R, W to 23rd Street Subway: N, R to Ditmars Blvd-Astoria www.Waltz-Astoria.com • Cornelia Street Café 29 Cornelia Street (212-989-9319) • Metropolitan Room 34 West 22nd Street (212-206-0440) • Water Street Restaurant 66 Water Street (718-625-9352) Subway: A, B, C, D, E, F, M to W. 4th Street www.corneliastreetcafé.com Subway: N, R to 23rd Street www.metropolitanroom.com Subway: F to York Street, A, C to High Street • The Counting Room 44 Berry Street (718-599-1860) • Metrotech Commons corner of Flatbush and Myrtle Avenues • Williamsburg Music Center 367 Bedford Avenue Subway: L to Bedford Avenue www.thecountingroombk.com (718-488-8200) Subway: A, C, F to Jay Street/Borough Hall (718-384-1654) Subway: L to Bedford Avenue • Creole 2167 3rd Avenue at 118th Street • NYC Baha’i Center 53 E. 11th Street (212-222-5159) • Zeb’s 223 W. 28th Street (212-876-8838) Subway: 6 th 116th Street www.creolenyc.com Subway: 4, 5, 6, N, R to 14th Street-Union Square www.bahainyc.org 212-695-8081 Subway: 1 to 28th Street www.zebulonsoundandlight.com • Crescent and Vine 25-01 Ditmars Boulevard at Crescent Street • Night of the Cookers 767 Fulton Street, Brooklyn • Zebulon 258 Wythe Avenue, Brooklyn (718-218-6934) (718-204-4774) Subway: N, Q to Ditmars Boulevard-Astoria (718-797-1197) Subway: C to Lafayette Avenue Subway: L to Bedford Avenue www.zebuloncafeconcert.com • Crooked Knife 29 East 30th Street (212-696-2593) • Nino’s Tuscany 117 W. 58th Street (212-757-8630) • Zinc Bar 82 West 3rd Street (212-477-8337) Subway: 6 to 33rd Street www.thecrookedknife.com Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.ninostuscany.com Subway: A, B, C, D, E, F, M to W. 4th Street www.zincbar.com

THE NEW YORK CITY JAZZ RECORD | July 2012 37 (ULRICHSBERGER CONTINUED FROM PAGE 13) (FIMAV CONTINUED FROM PAGE 13) (MOERS CONTINUED FROM PAGE 13) individual valves. Key to the interaction was a buzzing trio of strings while Friedlander played a brilliant images. This may have been the loveliest set of the timbral exchange that occurred between the horns. unaccompanied piece that mined and its festival, Friedlander’s virtuosity making everyone Another instance of electronic interface came from middle-Eastern roots. nostalgic for their own long-forgotten trips. And the No Business for Dogs trio, which used graphic While Friedlander invoked an older guitar music, finally, trumpeter Peter Evans showed off a new group scores plus processing to link Juun’s piano harp with Joe Morris embodied a furious contemporary form, with Evan Parker and Craig Taborn, the trio aided and the unison pressure from the drums of Bernhard Breuer combining runs of unthinkable velocity and walls of abetted by the electronics of Sam Pluta. Parker and and Steven Hess. Although excitement was engendered distortion in the ear-bleed volume of Spanish Donkey Evans are two of improvised music’s most unique by lockstep cymbal clacks and bass-drum smacks, with keyboardist Jamie Saft and drummer Mike Pride, voices yet seem made for each other. temple-bell-like or marimba-approximating inferences an oddly medieval variation of the organ trio that Each evening ended with what might be called a from the piano strings ensured there was an overlay of never deviated from its tortuous motto in an hour-long ‘party set’: Juan de Marcos Afro Cuban All Stars from delicacy as well. More chamber music-like were a improvisation. Cuba; guitarist James “Blood” Ulmer with Joe Bowie’s series of miniatures performed by Munich-based For sheer collective spirit and invention, Mary Defunkt n’EU Soul and Lakecia Benjamin’s Soul Squad. soprano saxophonist/bass clarinetist Udo Schindler, Halvorson’s quintet had few peers, her edgy, Whatever late evening coolness had pervaded the tent cellist Margarita Holzbauer and tabletop guitarist sometimes-pitch-twisting guitar pressing the more was quickly replaced by the heat of very loud, very Harald Lillmeyer. Low-key and elegant, concerned traditional timbres of Jon Irabagon’s saxophone and funky, very exuberant music that drew the festival’s with subtle tonal shifts as well as extended techniques, Jonathan Finlayson’s trumpet into uneasy heterodox biggest crowds (apart from Bley’s two performances). there were points at which pauses were too elongated textures. Bassist Miles Perkin, originally from Some sets were underwhelming. German big band and solos too minimalist. Manitoba, led an international quartet with British The Dorf was just too loud, obscuring any possible On the other hand Wrack’s tactics uniquely trumpeter Tom Arthurs, French pianist Benoît Delbecq detail and the novelty of the 30-piece group (Zappa mingled the qualities of so-called and and Montreal drummer Thom Gossage. Perkin’s writing for the Globe Unity Orchestra) wore off rather jazz improv. Oboist/English hornist Kyle Bruckmann compositions created a continuous stream of melody quickly. The 10-piece Radiation 10, led by electric and violist Jen Clare Paulson provided the airy sonority that passed from the written heads throughout the piano and vibes, exemplified jam band aimlessness - somewhat leavened when Bruckmann wrenched his solos in a smooth continuum. If the festival seemed at with cups of noodling solos. The trio of keyboardist straight horns’ tone into narrowed shrillness - while times to be a tale of two cities, Montreal and Chicago, Jozef Dumoulin, featuring visiting bassist Trevor bassist Anton Hatwich and Daisy maintained jazz saxophonist Matana Roberts brought them together in Dunn, was just too gauzy and lacking in any real rhythms. Meanwhile the slurs, cries and honks “Gens de couleur libres”, a work inspired by African- melodic content to be interesting, the musical masticated from bass clarinetist Jason Stein’s reed American history and performed by an ensemble she equivalent of too much cotton candy. Myanmar Meets created the taut friction that epitomized free-form calls her “Montreal 10”, which found fresh ways to Europe (traditional instrumentalists accompanied by improv. combine text and improvisation. European jazzers) had lots of cultural interest but Rempis’ Percussion 4Tet also offered an updated There is always strong representation of Quebecois never really gelled as an ensemble, seeming overly variant of energy music: the leader’s alto and tenor music at FIMAV and this year was no exception. The stitched together. The German trumpet-drum duo saxophone lines often came across as if played by a Maïkotron Unit, the long-standing trio that combines Dus-Ti, liberally frosted with electronics, would have combination of Charles Gayle and Big Jay McNeely; modal and free jazz improvisation with reed-player been better if something other than tedious breakbeats Ingebrigt Håker Flaten rigidly pulled and thickly Michel Côté’s “maïkotrons” (homemade combinations were propelling the electric-Miles-era trumpet. And stroked his bass strings while Daisy and Frank Rosaly of brass and reed instruments that burble with a host the Pan-European Phalle Fatale, featuring two singers, pummeled ruffs, claps and bangs from dual drum kits. of unrelated sounds), played a fascinating set with two bassists and drums was a bit too much of pop- Surprisingly, when not wedded to the backbeat, both trumpeter Stephen Haynes as guest. Ensemble hiphop-jazz mishmosh to be successful. percussionists produced subtle rhythms as well: Rosaly Supermusique assembled leading Montreal figures Which leaves only the revelatory sets. Gunter with graceful tap-dance-like strokes and Daisy with like saxophonists Jean Derome and Joane Hétu and Hampel is a known commodity to this reporter but it clean pops. turntablist Martin Tétreault in an electro-acoustic was nice to see the German legend - one of the fathers Taking Rempis’ go-for-broke brutality one step nonet that playfully mixed and mangled genres at an of his country’s jazz scene - play for more than a further, trombonist Matthias Müller, guitarist Olaf accelerated pace, eventually launching an extended handful of disaffected New Yorkers; while the vocals Rupp and drummer Rudi Fischerlehner - all based in percussion piece that seemed to turn the entire group of daughter Cavana Lee Hampel were somewhat Berlin - reconfigured a heavy metal trio’s - electronics and strings included - into a brilliantly dubious, the hookup between Hampel Senior and instrumentation for improvised music, with Müller unified drum-kit. The Victoriaville-based violist Jean saxist Johannes Schleiermacher was delicious. The and Rupp as the two lead voices. Often cradling his René led a particularly thoughtful project, a quartet bass-drum duo of Robert Landfermann and Jonas instrument vertically, Rupp’s distorted fingering or that revived pieces from numerous Montreal Burgwinkel was a remarkable 30 minutes of single-line picking united with Fischerlehner’s hard experimentalists (like Derome) in a too-rare exploration improvisation that didn’t grow stale and always had smacks and press rolls to drive the tunes forward. of existing repertoire. exploratory forward momentum, never begging for a Meanwhile the substitution of Müller’s horn for a rock The festival ended as strongly as it had begun, missing ‘frontline’. But the finest moment of the Moers band’s electric bass added taste to the trio’s forceful with the trio of pianist Muhal Richard Abrams, Festival was the transcendent North Canadian duo of interpretations. The trombonist’s facility with a trombonist George Lewis and multi-reedist Roscoe vocalist Tanya Tagaq and violinist Jesse Zubot. plunger, hand mutes and slide positions meant that his Mitchell, who bring a tremendous collective wisdom to Employing a remarkably far-ranging type of throat tongue jujitsu and staccato braying brought passion as improvisation. At the outset they moved from one singing (everything from coital groans to demonic well as power to the forefront. isolated long tone to another; by the end it had become growls to manic giggles), Tagaq mesmerized her With other sets showcasing everything from a solo an extended sonic tapestry, from intense oration to the audience, exuding sensuality with her movements violin recital of contemporary notated music to a site- fun-house mirrors of Lewis’ electronics. while creating multilayered soundscapes buoyed by specific happening encompassing schuhplatten, drone Ultimately this year’s FIMAV was a polystylistic, Zubot’s processed instrument. This correspondent had guitars, action painting and free samples of luncheon multi-cultural and multi-generational festival of never seen or heard anything like it and reinforced in meat, the Kaleidophon truly lived up to its designation radical music, a celebration of the music’s potential to just over 30 minutes why festival attendance is so as a festival for all types of advanced music. v renew itself and to refresh the spirits of its listeners. v mandatory. v

More information visit, jazzatelier.at/kal_e.htm For more information, visit fimav.qc.ca For more information, visit moers-festival.de

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38 July 2012 | THE NEW YORK CITY JAZZ RECORD IN MEMORIAM By Andrey Henkin CHUCK AUSTIN - The trumpeter played in Count Basie’s last concert in Pittsburgh. STEVE BEN ISRAEL - The actor, comedian and political activist was a veteran of the Named a Pittsburgh Jazz Legend by the Manchester Craftsman’s Guild, Austin was part Living Theatre company in the ‘60s. In addition to his thespian credits, Israel performed of the Stanley Theater Orchestra, accompanying touring acts, and a stalwart player in the libretto of Frederic Rwezski’s 1972 work Attica and appeared as part of Anthony the Steel City’s jazz scene. Austin died May 26th at 84. Braxton’s 1996 Composition, No. 173. Israel died Jun. 4th at 74. FARUQ Z. BEY - The multi-reedist never left his hometown of Detroit for greater fame, VINNIE JOHNSON - A member of the cult favorite group Stark Reality, which also instead staying to nurture the local jazz scene with his Griot Galaxy, founded in the ‘70s. featured a young John Abercrombie, the drummer studied jazz at Berklee College of The group was a fixture in the Motor City, taking cues from Sun Ra and the AACM Music with Alan Dawson, honed his craft in the army and went on to play regularly with (performing without Bey after he suffered a traumatic motorcycle accident in the ‘80s). Lester Bowie from 1989-97. Johnson died in June at an unknown age. His more recent collaborations were with the Michigan-based Northwoods Improvisers. Bey died Jun. 1st at 70 or 71. JERRY KRANTZ - Jazz in Denver would not have been the same without the club owner, who ran El Chapultepec (founded in 1933) in that city since the late ‘60s after inheriting FREDERICK J. BROWN - A boyhood friend of musicians in Chicago and later those it from his father-in-law. The no-cover-no-dresscode club hosted many big names during who congregated in his SoHo loft in the ‘70s, the Willem de Kooning-mentored artist, the decades, including and Ella Fitzgerald. Krantz died May 29th at 77. whose work can be found in the Metropolitan Museum of Art, painted over 300 vibrant portraits of musicians like Anthony Braxton, Thelonious Monk, Ornette Coleman and WALTER MALLI - Despite membership in the early ‘90s triphop group Hip Hop Count Basie. Brown died May 5th at 67. Fingers, the Austrian trumpeter’s real passion lay in free improvisation and he recorded albums with drummers George Brown and Sunny Murray, guitarist Eugene Chadbourne - The guitarist was a member of the AACM in Chicago and a session and bassist Peter Kowald. Malli died May 25th at 71. guitarist for Chess Records but he is best known as part of the 1973-75 Miles groups that made such records as Agharta and Pangaea. Cosey was out of music for years but in 2001, BERNARDO SASSETTI - The Portuguese pianist worked with the British trumpeter he co-founded the group Children of Agharta with other Davis alumni and appeared on Guy Barker in ‘90s London as well as doing film and television scoring but in the last the 2008 album Miles from India. Cosey died May 30th at 68. decade moved into more abstract realms, releasing several albums with various ensembles on his hometown label Clean Feed. Sassetti died May 10th at 41. JERRY DORN - The trombonist led various lives, working in the big bands of , Johnny Long and others in the ‘40s, then running a Philadelphia haberdashery CARRIE SMITH - Her powerful voice was featured in hundreds of performances of the frequented by jazz stars playing across the street at Pep’s Bar and finally becoming a Broadway music review Black and Blue. While her roots were in gospel singing, Smith practicing speech therapist while leading a local ensemble. Dorn died May 21st at 90. performed with Tyree Glenn’s sextet in the ‘60s and in 1974 performed as part of the Louis Armstrong tribute show, St. Louis Blues. Smith died May 20th at 86. ANDY HAMILTON - The saxist was playing in America in the ‘30s and his native Jamaica until the ‘50s, when he then settled in Birmingham, England. There he scrabbled BERT WEEDON - The British guitarist worked with Stephane Grappelli and George for decades until his reputation grew and he released his debut, Silvershine, in 1992 at 72, Shearing in the ‘40s and was a member of the BBC Showband. But it was as an educator which was the best-selling UK jazz album of the year. Fame followed, he toured the that Weedon gained his greatest fame, penning the Play in a Day manual in the late ‘50s, world and in 2008 he was knighted by Queen Elizabeth. Hamilton died Jun. 3rd at 94. assisting the careers of many British rock guitarists. Weedon died Apr. 20th at 91. BIRTHDAYS July 1 July 7 July 11 July 17 July 22 July 26 †Earle Warren 1914-95 †Tiny Grimes 1916-89 Henry Lowther b.1941 †Mary Osborne 1921-92 †Paul Moer 1916-2010 †Gus Aiken 1902-1973 †Rashied Ali 1935-2009 †Frank Rehak 1926-87 Tomasz Stanko b.1942 †Ray Copeland 1926-84 †Al Haig 1924-82 †Erskine Hawkins 1914-93 Ndugu (Chancler) b.1952 Doc Severinsen b.1927 Travis Sullivan b.1971 †Vince Guaraldi 1928-76 †Bill Perkins 1924-2003 † 1924-2009 Erik Friedlander b.1960 † 1930-86 Will Vinson b.1977 †Joe Morello 1928-2011 †Keter Betts 1928-2005 Charli Persip b.1929 Sameer Gupta b.1976 †Joe Zawinul 1932-2007 b.1933 †Junior Cook 1934-92 b.1938 Brandee Younger b.1983 Sue Evans b.1951 July 12 †Nick Brignola 1936-2002 Johannes Bauer b.1954 Natsuki Tamura b.1951 b.1951 †Sam “The Man” Taylor Chico Freeman b.1949 Al DiMeola b.1954 July 2 JA Granelli b.1966 1916-90 July 27 †Charlie Kennedy 1927-2009 Orlando Le Fleming b.1976 † 1920-74 July 18 July 23 †Charlie Queener 1923-97 Richard Wyands b.1928 †Conte Condoli 1927-2001 †Charlie LaVere 1910-83 †Emmett Berry 1915-93 Charlie Shoemake b.1937 Ahmad Jamal b.1930 July 8 †Big John Patton 1935-2002 †Ray McKinley 1910-95 †Johnny Hartman 1923-83 Carl Grubbs b.1944 †William Fielder 1938-2009 †Bill Challis 1904-94 †Jean-Francois Jenny-Clark † 1917-88 †Claude Luter 1923-2006 Joel Harrison b.1957 July 30th, 1937 Mike Abene b.1942 †Louis Jordan 1908-75 1944-98 Don Bagley b.1927 Bill Lee b.1928 Jean Toussaint b.1960 As with many of his Gary Dial b.1954 †Johnny Mince 1912-97 Mark Soskin b.1953 †Carl Fontana 1928-2003 †Richie Kamuca 1930-77 †Billy Eckstine 1914-93 Ken Thompson b.1976 †Buschi Niebergall 1938-~80s †Steve Lacy 1934-2004 July 28 generation, the saxophonist/ July 3 †Ken Hanna 1921-82 Ron Caswell b.1977 †Dudu Pukwana 1938-90 Daoud-David Williams b.1943 †Corky Corcoran 1924-79 flutist and Indiana native got † 1926-96 Roy Babbington b.1940 William Hooker b.1946 Khan Jamal b.1946 Jim Galloway b.1936 his early experience in army Ronnell Bright b.1930 Sakari Kukko b.1953 July 13 Theo Croker b.1985 Loren Schoenberg b.1958 Nnenna Freelon b.1954 bands. By the late ‘50s, †Ron Collier 1930-2003 Russ Johnson b.1965 †George Lewis (cl) 1900-68 Achille Succi b.1971 Delfeayo Marsalis b.1965 Spaulding was in Chicago, Pete Fountain b.1930 Kendrick Scott b.1980 Bengt-Arne Wallin b.1926 July 19 working with Sun Ra’s Rhoda Scott b.1938 Tyshawn Sorey b.1980 † 1928-99 †Buster Bailey 1902-67 July 24 July 29 Arkestra and making five Dr. Lonnie Smith b.1942 Matt Wigton b.1980 †Albert Ayler 1936-70 †Cliff Jackson 1902-70 †Joe Thomas 1909-84 †Don Redman 1900-64 albums with the group. He John Klemmer b.1946 †Earl Grubbs 1942-89 †Charlie Teagarden 1913-84 †Billy Taylor 1921-2010 †Charlie Christian 1916-42 came to New York in 1962 and July 9 George Lewis (tb) b.1952 Bobby Bradford b.1934 Ronnie Lang b.1927 † 1945-2008 subsequently recorded with July 4 †Joe Darensbourg 1906-85 †Carmell Jones 1936-96 † 1934-88 , Charles Aaron Sachs b.1923 †June Richmond 1915-62 July 14 Didier Levallet b.1944 Mike Mainieri b.1938 July 30 Tolliver, , Conrad Bauer b.1943 †Duke Burrell 1920-93 †Billy Kyle 1914-66 Charles McPherson b.1939 † 1903-68 Grant Green, Wayne Shorter, Butch Miles b.1944 †Alex Welsh 1929-82 †Alan Dawson 1929-96 July 20 b.1953 †Roy Porter 1923-98 Max Roach, McCoy Tyner and Fred Wesley b.1943 †Frank Wright 1935-90 Lauren Sevian b.1979 †Bill Dillard 1911-95 Barry Romberg b.1959 †Frank Smith 1927-74 Matt Steckler b.1974 †Joachim Ernst Berendt James Zollar b.1959 †Vernell Fournier 1928-2000 Archie Shepp, among many July 10 July 15 1922-2000 Etienne Charles b.1983 James Spaulding b.1937 others, in a discography July 5 †Noble Sissle 1889-1975 † 1923-85 † 1922-99 Hal Smith b.1953 numbering over 100 sessions. †Ray Biondi 1905-81 †Ivie Anderson 1905-49 †Joe Harriott 1928-73 Peter Ind b.1928 July 25 Kevin Mahogany b.1958 His first album as a leader was †Bruce Turner 1922-93 † 1910-85 Henry Warner b.1940 † 1941-82 †Darnell Howard 1895-1966 The Legacy of Sha b.1983 †Milt Buckner 1915-77 Rodrigo Amado b.1964 Samuel Blaser b.1981 †Johnny Wiggs 1899-1977 July 31 (Storyville, 1975) and a †Dick Cary 1916-94 Petros Klampanis b.1981 † 1907-70 †Hank Jones 1918-2010 handful have followed for the July 6 †Major Holley 1924-90 July 21 †Jef Gilson 1926-2012 †Ahmet Ertegun 1923-2006 Muse and HighNote labels. In †Betty Smith 1929-2011 Buddy Clark b.1929 July 16 Helen Merrill b.1930 †Don Ellis 1934-78 †Bjarne Nerem 1923-91 the new century, Spaulding b.1936 †Arnie Lawrence 1938-2005 †Teddy Buckner 1909-94 † 1931-63 Günter Lenz b.1938 b.1931 founded his own Speetones Klaus Kugel b.1959 †Lee Morgan 1938-72 †Cal Tjader 1925-82 b.1931 Brian Blade b.1970 Mike Wolff b.1952 imprint. -AH Torben Waldorff b.1963 b.1940 Bobby Previte b.1957 Scott Wendholt b.1965 Mike DiRubbo b.1970 Stanley Jordan b.1959 ON THIS DAY by Andrey Henkin

Voila Live at the Five Spot Cosmos Live in Montreux Live at Sweet Basil Babs Gonzales (Hope) Eric Dolphy (Prestige-OJC) (Blue Note) (MPS-Pausa) (Reservoir) July 16th, 1958 July 16th, 1961 July 16th, 1971 July 16th, 1980 July 16th, 1993 Babs Gonzales was a vocalist during This two-volume album came at a of this period have Mel Lewis, drummer and vaunted A live set from the now-defunct West the Bebop era and slightly beyond, busy time for multi-instrumentalist received much less adoration than the co-leader of a big band with Thad Village club makes up the trumpeter’s working with Lionel Hampton and Eric Dolphy. From the beginning of golden era of the mid ‘50s-mid ‘60s. Jones, was over 10 years older than fourth album as a leader after , among others. This the year, he had worked with Abbey Alto saxist Lou Donaldson had been but that didn’t stop establishing a name for himself in the album is the first of only a handful of Lincoln, , , recording for the label since 1952 both him from devoting an entire Swiss late ‘70s edition of Art Blakey’s Jazz discs he made as a leader. More John Coltrane and George Russell, as a leader and sideman in classic festival set to the pianist’s music. Messengers. Joining Ponomarev are important than the program of among others. For this live recording, postbop sessions but this album is far “One Finger Snap”, “Dolphin Dance”, saxist Don Braden, drummer Victor originals (including “The Preacher”, a Dolphy (alto, , flute) is more funk-oriented, no surprise given “Wiggle Waggle”, “Speak Like A Jones and two other former collaboration with Horace Silver) and leading a band with trumpeter Little Leon Spencer Jr.’s keyboards, Melvin Child” and “Eye of the Hurricane” are Messengers: pianist (1964- covers (most notably “A Night in (less than three months before his Sparks’ guitars and a soul-influenced played by a very interesting orchestra, 65) and bassist Peter Washington Tunisia”) are the bandmembers, stars death), pianist , bassist vocal quarter added for good which included future saxophone (1986-88). Ponomarev wrote five of six like Les Spann (flute), Charlie Rouse and drummer Ed measure. Donaldson also plays stars , Joe Lovano, tunes here, the exception being Fred (bass clarinet), Johnny Griffin (tenor), Blackwell, playing tunes by himself, electric alto and covers “When You’re Dick Oatts and Rich Perry, with Lacey’s “Theme for Ernie”, best Horace Parlan (piano), Ray Crawford Waldron and Little, plus the standard Smiling”. “Caracas” is given a third another saxophonist, Bob Mintzer, known in a 1958 version from John (guitar) and (drums). “Like Someone in Love”. reading after 1952 and 1963 takes. doing the arrangements. Coltrane’s Soultrane.

THE NEW YORK CITY JAZZ RECORD | July 2012 39