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November 2012 | No. 127 Your FREE Guide to the NYC Scene nycjazzrecord.com

EDDIE HENDERSON Trumpeting Change

FRED • TED • PHIL • GLIGG • EVENT VAN HOVE NASH COHRAN RECORDS CALENDAR & ELLIS MARSALIS QUARTET ERIC PERSON CURTIS STIGERS KENNY G BAND 11/8 - 11 11/12 11/13 - 14 11/15 - 18 ft. & MARCUS GILMORE 11/3 - 7

SHEILA JORDAN & DUO JACQUI NAYLOR THE MANHATTAN TRANSFER 11/19 11/20 - 22 11/23 - 25 11/29 - 12/2

LATE NIGHT GROOVE SERIES: SuNdAy BRuNcH SERIES: JEFF FOXX & CHARMAINE AMEE 11/2 NYU JAZZ: MICHAEL RODRIGUEZ 11/4 THOUSANDS OF ONE 11/3 IRIS ORNIG 11/11 RITMOSIS 11/9 JUILLIARD JAZZ ENSEMBLE 11/18 MAURICIO ZOTTARELLI - MOZIK 11/10 ERIKA 11/25 JOHN RAYMOND PROJECT 11/16 MUTHAWIT 11/17 MATT DICKEY & TRY THIS AT HOME 11/23 SWISS CHRIS 11/24 MICHAEL FEINBERG 11/30

TELECHARGE.COM TERMS, CONDITIONS AND RESTRICTIONS APPLY Everyone has seen one of those classic kung fu movies where some line like “Now the student has become the master” is spoken. It may seem a bit trite when heard with bad overdubbing but jazz wouldn’t be the same without the concept. While @Night there have been some players that appeared fully formed, most worked numerous 4 apprenticeships - learning on the bandstand, as it were - with their elders, Interview: absorbing lessons they themselves later passed on. Trumpeter Eddie Henderson (On The Cover) got his start as part of Herbie 6 by Clifford Allen Hancock’s band in 1970 but is now an elder statesman himself, sharing Artist Feature: Ted Nash decades of jazz wisdom. He performs at and this month. Belgian pianist Fred Van Hove (Interview) came up in the groups of saxophonist by George Kanzler 7 Peter Brötzmann in late ‘60s Europe and now is a legendary free improviser in his On The Cover: Eddie Henderson own right. He makes two rare New York appearances this month at ShapeShifter by Brad Farberman Lab and The Firehouse Space. And saxophonist Ted Nash (Artist Feature) learned 9 his lessons early on at the hands of his trombonist father Dick and saxist uncle Encore: Lest We Forget: Ted. A founder of the Jazz Collective, Nash takes part in that 10 organization’s 20th anniversary celebration at Jazz Standard and is part of the Jazz Phil Cohran Gigi Gryce at Lincoln Center Orchestra at Rose Hall this month. veteran trumpeter by Kurt Gottschalk by Ken Waxman Phil Cohran (Encore) takes the idea of mentorship to its extreme, schooling his Megaphone VOXNews eight sons to be musicians (they perform together as the Hypnotic Brass Ensemble). by Andy Milne by Katie Bull One imagines saxophonist Gigi Gryce (Lest We Forget) and pianist Andy 11 Milne (Megaphone) had similar experiences. Jazz thrives on its history and the Label Spotlight: Listen Up!: griot tradition. The youngest alto saxophonist just starting out can be traced, no matter how indirectly, to . But jazz at its best is not a calcified, 12 Emily Braden Gligg Records nostalgic exercise. Each new generation, imbued with the knowledge of their by Ken Waxman & Louise DE Jensen forbears, makes the music its own, which then gets transmogrified down the line, keeping the music vital and constantly evolving. 13 Festival Report: Jazz Brugge We’ll see you out there in the middle of the whole process...

CD Reviews: Richard Sussman, , JD Allen, Laurence Donohue-Greene, Managing Editor Andrey Henkin, Editorial Director Ben Holmes, Sara Gazarek, , and more 14 On the cover: Eddie Henderson (photo by Alan Nahigian) Event Calendar Corrections: In last month’s NY@Night on Wilbur Ware, the MC/bassist’s name is 38 spelled Bill Crow. In On The Cover, Brad Mehldau’s Introducing was released by Warner Bros. In VOXNews, the Voxify Festival at Cornelia Street Café was not curated by Inner Circle Music. In the Globe Unity three-CD review, Ankara, not Club Directory Istanbul is the capital of Turkey and Mark Alban is based in The Hague, not . 45 In the Boxed Set review, “Just You, Just Me” is the basis of Monk’s composition “Evidence”. Miscellany: In Memoriam • Birthdays • On This Day 47 Submit Letters to the Editor by emailing [email protected] US Subscription rates: 12 issues, $30 (International: 12 issues, $40) For subscription assistance, send check, cash or money order to the address below or email [email protected].

The 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, Alex Henderson, Marcia Hillman, Terrell Holmes, Robert Iannapollo, Francis Lo Kee, Martin Longley, Wilbur MacKenzie, Laurence Donohue-Greene: Marc Medwin, Matthew Miller, Sharon Mizrahi, Russ Musto, Sean O’Connell, Joel Roberts, [email protected] John Sharpe, Elliott Simon, Jeff Stockton, Andrew Vélez, Ken Waxman Andrey Henkin: [email protected] Contributing Writers General Inquiries: [email protected] Brad Farberman, George Kanzler, Andy Milne Advertising: [email protected] Contributing Photographers Editorial: [email protected] Jim Anness, Peter Gannushkin, Erika Kapin, Alan Nahigian, Susan O’Connor, Jack Vartoogian Calendar: [email protected]

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

An announcer at Town Hall (Oct. 12th) erred when he The Interpretations series brought an inspired first- introduced the night’s marquee act as the time pairing to Roulette (Oct. 11th) in the form of ®Group. It was in fact the Pat Metheny Unity Band, with trumpeter Peter Evans and visiting German bassist Chris Potter on reeds, Ben Williams on upright bass John Eckhardt, each playing short solo sets before an andJAZZ&SUPPER Antonio Sanchez on drums. Winding downCLUB a exploratory duet. Eckhardt opened with a surprisingly SMOKEJazz & Supper Club 2751 BROADWAY • NEW YORK • NY 10025worldwide • 212 tour,864 the 6662 band • dugWWW.SMOKEJAZZ.COM into material from its rich arco growl and slowly crawled up the neck, deftly Friday & Saturday Nov 2, 3 eponymous Nonesuch CD but also explored a range of moving between tonal territories (the sounds were too the master ’s older repertoire. Potter’s bass resonant to call them simply “notes”). Each movement Orrin Evans Quintet on the opening “Come and See” was right of the bow seemed essential: from a full 15 seconds in Joel Frahm (sax) • Jack Walrath (tp) • away a departure - a tone color not found in Metheny’s silence spent building up enough vibration in the Orrin Evans (p) • Ben Wolfe (b) • Obed Calvaire (dr) previous work. There were moments, such as the bridge for the strings to resonate to a percussive vivacious coda of “New Year”, the flowing rubato exploration of bow handle between muted strings. Wednesday, Nov 7 portions of “This Belongs To You” or the slightly sour Evans similarly explored minutiae, although magnified Brandon Wright Quintet harmony of “Interval Waltz”, which pointed to subtle by the microphone and moving into jet propulsion. He compositional triumphs. Crowd energy surged when considered and then pushed past the instrument’s Friday & Saturday Nov 9, 10 Metheny detoured into “James”, an older concert sonorities, working it as a sound chamber, a feedback staple, and “Two Folk Songs”, a rare gem from the chamber, seeming to give it breath of its own and Quintet 80/81 with Potter in ’s perhaps not getting to what might be called a melody Roxy Coss (sax) • Jeremy Pelt (tp) • Danny Grissett (p) • unforgettable role, blowing brutally dissonant tenor line or three until the last few minutes of his solo. Their Dwayne Burno (b) • JD Allen (dr) sax lines over a simple strumming progression. duo began cautiously, Eckhardt traipsing across the Wednesday, Nov 14 “Signals”, which found the band creating in tandem bass before settling at the back of the scroll where he with Metheny’s “orchestrion” - a jaw-dropping array matched Evans in a prolonged but broken single note. George Burton Quintet of mechanized instruments - was climactic in its way. From there on they stayed in close proximity like a But the machines were put to even more inspired use joint monologue. Perhaps it was a part of feeling each Friday & Saturday Nov 16, 17 in the early ’80s classic “Are You Going With Me”, the other out, playing together for the first time. Perhaps first of three encores. Airy textures and beats, meshing there was a bit of a shared hesitancy, but even if so it David Hazeltine Quartet with Potter’s gorgeous alto flute (in place of Lyle Mays’ was a hesitancy of alarming proficiency, resolving with Jim Rotondi (tp) • David Hazeltine (p) • (b) • Joe Farnsworth (dr) original synths), brought the night to another level. a wonderfully satisfying sort of walking (and tripping) - David R. Adler blues. - Kurt Gottschalk Wednesday, Nov 21 Vondie Curtis Hall Friday & Saturday Nov 23, 24 Eddie Henderson Quintet (sax) • Eddie Henderson (tp) • Kevin Hays (p) • Doug Weiss (b) • Carl Allen (dr) Wednesday, Nov 28

Cynthia Holiday P h o t b y E r i k a K p n Friday & Saturday Nov 30 & Dec 1 Victor Bailey’s V-BOP A n e s Alex Foster (sax) • Monte Croft (p) • Victor Bailey (b) • (dr) P h o t b y J i m Sundays, Nov 11, 25 Chris Potter & Pat Metheny @ Town Hall John Eckhardt @ Roulette SaRon Crenshaw George Papageorge (o) • Thomas Hutchings (sax) • After a warm spell of several days, the temperature It says something pretty remarkable about a band that Richard Lee (tp) • Cliff Smith (b) • Damon Due White (dr) was dropping just outside The Bar on Fifth, on the it can remain contemporary while doing what it’s done Sundays Nov 4, 18 ground floor of the Setai Hotel (Oct. 6th). Pianist for close to 50 years. The trio Musica Elettronica Viva Pete Malinverni captured the moment with Vernon opened a rare appearance (Oct. 6th) at The Kitchen Allan Harris Band Duke’s “Autumn in New York”, easing into a ballad with a fitting silence and then a tone so faint it sounded Allan Harris (vox & g) • Pascal LeBoeuf (p & keys) • feel with his partners for the night: tenor saxophonist like a distant train whistle. Another moment’s silence Leon Boykins (b) • Jake Goldbas (dr) Attilio Troiano, bassist Giuseppe Venezia and drummer produced an electronic cricket chirp suggesting Mondays, Nov 5, 19 Carmen Intorre. Part of the annual Italian Jazz Days something almost too audio-scenic until Alvin Curran series, the gig was Malinverni’s with started dropping quick symphonic swells and Captain Black Big Band these sidemen. The tunes they chose were common fragmented human voices from his and A 14-piece Jazz Orchestra conducted by Orrin Evans standards, sensible hotel-bar fare, enlivened by a Frederic Rzewski’s - the only truly acoustic voice flexible and alert sense of swing. Malinverni and the - entered slowly but surely. They built a cocoon inside Mondays, Nov 12, 26 rhythm section broke the ice as a trio, opening the first the room, the sound emanating not from the players set with “There Will Never Be Another You”. Troiano but from eight speakers on the Kitchen stage. The Bill Mobley’s Big Band came on board for “There Is No Greater Love” in a piano sounded beautiful submerged in synthetics, but A 16-piece Jazz Orchestra directed by Bill Mobley similar midtempo vein. The robust, vibrato-rich sound also beautiful was a sampled clarinet that sounded just Thursdays, 1, 8, 15, 29 of his tenor hinted at a influence; it as real and came from nowhere, or the convincing became much clearer when the group offered “Body piano voice from Curran’s electric keyboard, which Gregory Generet and Soul”, famously Hawkins’ signature number. came like a holograph in front of the baby grand before Venezia soloed with tenacity throughout the evening being outpaced by Richard Teitelbaum’s stereo-panned Sundays Jazz Brunch and Intorre’s trading choruses were tight and spirited, bass rumblings. The trio didn’t seem to play together not least on an uptempo reading of Cole Porter’s “I but simply stayed out of each other’s way with a keen Vocalist Annette St. John Love You”. Malinverni brought a boppish vocabulary ear toward when a particular mismatch should be held and her Trio and a restrained old-school touch to the music, opting onto. There’s something mysterious about a single for a faster-than-usual tempo on “Like Someone In piano note placed within a bed of sampled voices and 2751 Broadway • New York NY 10025 Love” but a very slow one on “Stompin’ at the Savoy”. squelching feedback, something funny about a brief 212-864-6662 His bandmates took these twists in stride and put harmonica/slide whistle duet, something remarkable forward a sound impeccably steeped in the tradition. about a melody line remaining stubbornly slow against www.smokejazz.com (DA) contrary electronic trills building in intensity. (KG)

4 November 2012 | THE NEW YORK CITY JAZZ RECORD Crescent City spirit was in the hall - Carnegie that is Jazz is a decidedly democratic music - on stage in its - when trumpeter Irvin Mayfield brought his New implementation and off in the principal political party WHAT’S NEWS Orleans Jazz Orchestra (NOJO) and some very special affiliation of its practitioners. So it was apropos to find guests to Stern Auditorium (Oct. 8th) to celebrate the some of its most famous artists featured on a Jazz For group’s tenth anniversary. NOJO is no ‘museum’ band, Obama benefit concert at Symphony Space (Oct. 9th). A remarkably ambitious event will take place in Central but a live-and-in-living-colorful assemblage of Opening the auspicious gathering, NEA Jazz Masters Park on Nov. 10th. The first annual Jazz & Colors will distinctive musical personalities, each with his own , and , with present 30 jazz ensembles of various sizes at different sound and swagger. Unfortunately, the audio drummer Greg Hutchinson, swung hard in the locations throughout the park’s 1.3 square miles, all technicians for the concert frequently fumbled the ball: tradition on “There Will Never Be Another You” simultaneously performing the same setlist of autumn- many solos were buried due to poor mic-ing and the (dedicated by Heath to the President) and “Autumn In related jazz standards. A guide with a map of electric/acoustic balance was muddy and uneven. New York”, with Carter remaining on the bandstand performers will be available at several entrances to Such technical difficulties didn’t rain on the second- for a pair of duets with guitarist Jim Hall and another the park (Columbus Circle, 6th Avenue, 72nd Street line parade, however. From the opening “I’ve Got the with Barron. The energy level rose to a fever pitch on and Central Park West, 72nd Street and Pilgrim Hill, World on a String”, complete with a kazoo (!) solo, to an impassioned reading of ’s “Wise One” 79th Street and 5th Avenue, 85th Street near West the final march down the aisles (and through the seats), (an Obama favorite) by Ravi Coltrane, , Drive, 90th and Central Park West, Engineer’s Gate NOJO emphasized that jazz is first and foremost about Christian McBride and Ralph Peterson, remained with at 90th and 5th Avenue, Great Hill and the Charles A. having fun and expressing yourself. Highlights McCoy Tyner and on “Walk Spirit, Talk Dana Discovery Center). For more information, visit included Mayfield’s ‘oratory’ over “God Bless Spirit” and “Search For Peace” and finally for McBride jazzandcolors.com. the Child” and later behind singer Aaron Neville’s and MC , who funked it up on rendition of “Nature Boy”; “The Elysian Fields Suite”, “It’s Your Thing”. and Becca Stevens The winners of the 2012 Jazzmobile Vocal featuring hoedown banjo pickin’ and rollicking piano; gently opened the second half, followed by Brad Competition have been announced, after a live saxophonist Edward Petersen’s foghorn tenor over Mehldau and McBride with Jeff “Tain” Watts and then judging at the end of September. The winner is Emily “Sweet Bread on the Levy”; vocalist Dee Dee the Arturo O’Farrill family band with Claudia Acuña Braden. First runner-up was Laura Brunner. Judging Bridgewater and saxist ’ tasteful singing a soulful “Moondance”. Allen and Watts the competition were Carla Cook, Eve Cornelious and exchanges on “Lady Sings the Blues”; clarinetist Evan joined bassist Henry Grimes for a free flowing Dr. Dee Daniels. For more information, visit Christopher’s operatic high notes on “Creole Thang” “Freedom Jazz Dance” before the night closed with the jazzmobile.org. and Mayfield’s sanctified on “May His Soul irrepressible powering Lovano, McBride Rest in Peace”, an elegy for his father that raised hairs and event organizer/pianist Aaron Goldberg through The first international edition of Jazz at Lincoln on the back of my arms. - Tom Greenland Monk’s “Epistrophy”. - Russ Musto Center, located in Doha, Quatar in partnership with St. Regis Hotels & Resorts, opened last month with performances by the Quintet. For more information, visit jalc.org. Late September saw the completion of a deal whereby Universal Music, which owns such jazz labels as Verve and ECM, acquired EMI Music, parent company of Note Records, for $1.9 billion, making it by far the largest of the three major record companies still in existence (alongside Sony Music Entertainment and o n t R w P h s

P h o t b y Warner Music Group). As part of the regulatory process, Universal is required to sell off major portions of EMI’s musical holdings. A l a n N h i g a r t o g i n / F The Latin Grammys have announced the nominees for their award ceremony taking place Nov. 15th in Las Vegas. Relevant category nominees include

© 2 0 1 J a c k V Album of the year: Dear Diz (Every Day I Think Of Branford Marsalis & Irvin Mayfield @ Carnegie Hall Dee Dee Bridgewater & Christian McBride @ Symphony Space You) - Arturo Sandoval (Concord Jazz); Best Latin Jazz Album: Live In - Chuchito Valdes (Music The Sidney Bechet Society held the third show of its In accordance with the will of its deceased leader, the Roots Records); Dear Diz (Every Day I Think Of You) 15th-year season (Oct. 10th) at Kaye Playhouse, with Willem Breuker Kollektief departed its Holland home - Arturo Sandoval (Concord Jazz); Chano Y Dizzy! - bassist/tubist Vince Giordano fronting a Hot 7-style for one final world tour, bringing the late Dutch Poncho Sanchez And (Concord band including three members of his Nighthawks multi-reedist/’s venerable band to Picante); Tempo - Tania Maria (Naive) and Eponymous group - soprano saxist/clarinetist Mark Lopeman, for a memorial concert at ShapeShifter Lab (Oct. 4th), - Jerry González y El Comando De La Clave guitarist/banjoist Ken Salvo and drummer Arnie performing music from its voluminous songbook. (Sunnyside); Best Instrumental Album: Alma Adentro: Kinsella - along with trumpeter , Opening with a raucous two-minute “Mahagonny” by The Puerto Rican Songbook - Miguel Zenón (Marsalis trombonist John Allred and pianist Mark Shane, joined Kurt Weill, the band’s brand of (ir)reverently blending Music); Brasilianos 3 - Hamilton De Holanda Quinteto by vocalist Catherine Russell and pianist elements of avant garde jazz in the tradition of the Art (Adventure Music); Rasgando Seda - Guinga + as guests. The setlist emphasized songs associated Ensemble of Chicago, Mingus Jazz Workshop and Quinteto Villa-Lobos (SESC SP); Día Y Medio - with late clarinetist/saxophonist Bechet, particularly Carla Bley Band with polkas, tangos and other Paquito D’Rivera & Berta Rojas (On Music Recordings) his Big 4 recordings with cornetist Muggsy Spanier European forms was immediately on display. A medley and - Chick Corea, Eddie Gomez (“Sweet Sue”, “Four or Five Times”, “If I Could Be of Breuker’s dark march “Hasse 2” and the swinging & (Concord Jazz). For more information, with You (One Hour Tonight)” and “Squeeze Me”) and “Deining” followed, featuring Frans Vermeerssen’s visit latingrammy.com. sterling of popular and lesser-known Dolphy-esque alto and Andy Bruce’s unaccompanied chestnuts from jazz’ earliest days, performed with flair trombone on the former and the pyrotechnical Bill Terry has been named Interim Executive Director and impeccable musicianship. In addition to his fine trumpeting of George Pancras on the latter. A piano of the National Jazz Museum in Harlem. Terry is a finger-work, Wein recounted several personal interlude by Henk de Jonge hearkening to Ellington, veteran in not-for-profit arts organization management. experiences he’d had with Bechet, offering insight into James P. Johnson and flowed into David Reese, formerly curator of Gracie Mansion, has the man and his music. Russell rocked the house with “Antelope Cobbler”, a brisk pastiche of , Irish jig been named to the same position at the Louis Fats Waller’s “Inside This Heart of Mine”, Duke and Hungarian sabre dance spotlighting Maarten van Armstrong House Museum. Ellington-Billy Strayhorn’s “I’m Checkin’ Out, Noorden’s tenor and Hermine Deurloo’s alto. The Goombye” and two tunes associated with Louis trombone of Bernard Hunnekink was heard to great Bassist/vocalist Esperanza Spalding began hosting Armstrong, “Back O’ Town Blues” and “Struttin’ with effect on the funereal “Waddenall” over the New Groundbreaking Music, a weekly television program Some Barbecue”. Shane swung soulfully on “Indian Orleanean bass and drums of Arjen Gorter and Rob on ASPiRE, the television network from Magic Summer” and elsewhere and the frontline (brass and Verdurmen. Vermeerssen’s soprano was featured on a Johnson Enterprises. reed) soloists were consistently excellent, individually coupling of Breuker’s “Steaming” and “Annabelle”, and as a team, with the MVP award going to Allred for which began in frenetic cartoon chase mode and flowed Submit news to [email protected] his ebullient intelligence and greasy growls. (TG) into romantic melodicism to end the first set. (RM)

THE NEW YORK CITY JAZZ RECORD | November 2012 5 INTERVIEW

around its founding?

FVH: We tried to get some subsidy from the Flemish Government and they said you must have an Fred association. In 1973, we founded WIM, or Werkgroep Improviserende Musici. Most members came from Antwerp and Ghent. We had about 50 or 60 people, but many of them thought that with improvisation you didn’t need to have any experience with the instrument

O W N M U S I C . E T - that is not true! By a certain point we had a subsidy of Van Hove €25,000 and we knew we would not get more, so we stopped. In 2004 I was chairman of the 32nd festival of Free (CONTINUED ON PAGE 46) P e t r G a n u s h k i / D O W N T by Clifford Allen …Jazz pianist Belgian pianist/organist Fred van Hove, born Feb. 19th, Kowald married an Antwerp girl, so he was around. Hidé Tanaka…Bassist 1937, has been at the forefront of European free improvisation We also invited [saxophonist] to play a Michi Fuji...violinist for over 45 years, playing early on with Peter Brötzmann, couple gigs and [drummer] also played at Han Bennink, Peter Kowald and Kris Wanders. In addition with us. Café Loup to his work in various multinational groups, he has recorded EVERY SUNDAY and performed as a soloist since the ‘70s and founded the TNYCJR: I often associate the Belgian community 6:30 - 9:30 pm WIM (now defunct) in 1973 as an organization to promote during the ‘60s-70s with having a lot of collaboration free improvisation in Belgium. Van Hove rarely performs in with the Dutch players. the United States, but he will be in New York this month as part of an East Coast tour. FVH: The Netherlands is very near Flemish Belgium [Antwerp to Breda is about 30 miles] and we all wanted The New York City Jazz Record: How did you become to hear each other. We were few but we found like- NO COVER, JUST AWARD interested in music and specifically the piano? minded people. On the Flemish National Radio was a WINNING JAZZ AND FOOD man named Elias Gistelinck who played jazz and he 105 West 13th Street 212-255-4746 Fred Van Hove: For about 10 or 15 years my father was founded the festival Middelheim, which is still going a professional musician, playing trombone and bass. each August. Because there was a new movement in He was mostly self-taught and the end of the Second jazz, I founded another radio program that played for www.juniormance.com World War and the birth of my younger sister didn’t a half hour on Sunday and I called it Jazz Now. I knew stop this interest - he continued semi-professionally many musicians - I asked for or bought their LPs and and played on the weekends. His favorite music was even was the first to interview these artists on a jazz jazz and he probably wanted me to have more radio program. opportunities than he did. I was eight years old when I went to the music academy - you had to do three years TNYCJR: Could you describe the transition from of theory before you were allowed to play an modern jazz into free music as you experienced it instrument. I was asked at home (when I was 11 or so), during those years? Were the new forms of playing how about learning the piano? I thought well, why well regarded by modern jazz musicians or not? After hearing my father’s trombone and bass, the contemporary composers within Belgium? piano said something to me. My dad and his friends listened to 78-rpm records FVH: It was a [cultural] feast, discovery after discovery. from the States and while I did my piano exercises, But the modern jazz people never did like free they argued about the music. Antwerp has a port and improvisation. In Belgium there are many places for ships went to New York, not only with trade but also jazz, but those for free improvisation are rare. Belgian people and they often had a band on board. So we modern jazz is entertainment music and it is not knew about bebop shortly after the war. In a discussion culturally interesting. Some contemporary composers between musicians in our house about this bebop and liked our free improvisation and there were composers whether it was jazz or not, I was asked if I liked bebop. who turned to it, but their version was quite different At age 11 I said yes - that was the beginning of my from ours. interest in jazz. TNYCJR: How did you begin working with Brötzmann? TNYCJR: What was the climate for jazz and improvised music like in Belgium in the ‘60s? Who were some of FVH: We [Wanders, Van den Ven and myself] invited the Belgian musicians you worked with during the Brötzmann and Kowald for a small tour in Belgium. early years? The first concert I could not play because there was no piano; by the next concert there was a piano and FVH: There was of course mainstream jazz in Belgium [drummer] Sven-Åke Johansson had arrived from like [pianist] Marc Moulin, [guitarist] René Thomas Sweden. After a short period of time I was invited to and [saxophonist] Jacques Pelzer in the Walloon play in a quartet with Brötzmann, Kowald and [French-speaking] part. Many Flemish Belgians also Johansson. Machine Gun followed in 1968 with two played the music - saxophonists Mike Zinzen and Cel drummers, two basses, three saxes and an upright Overberghe, for example. We had a quartet playing in piano. Mike’s bar with a number of different drummers and The quartet soon changed drummers, with the payment was a beer. Johansson out and Bennink in. After a time Kowald Gradually there came another jazz with more stepped out to do his own group and freedom and no rules, which became . The replaced him. Then Buschi left and the trio of next group I had was with [saxophonist] Kris Wanders Brötzmann, Van Hove and Bennink remained. Finally, (now in Australia) and [drummer] Jan Van de Ven, who the last step was that I was gone and it became the duo died young. I memorialized him with the piece of Brötzmann and Bennink. “Responsible” on [saxophonist] Peter Brötzmann’s Machine Gun [BRÖ-FMP, 1968]. The bassist Peter TNYCJR: Could you discuss WIM and the environment

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

as part of the Jazz Composers Collective Festival, Jazz Museum in Harlem Nov. 15th and Rose Hall Nov. 16th-17th with the Jazz at Lincoln Center Orchestra. See Calendar.

Ted Recommended Listening: • Herbie Nichols Project - Love is Proximity (Soul Note, 1995-96) • - Medicine Wheel (Palmetto, 1997) • Ted Nash Double Quartet - Rhyme & Reason (Arabesque, 1999) • Ted Nash - The Mancini Project (Palmetto, 2007)

o n t R w P h s . Nash • Jazz at Lincoln Center Orchestra - Portrait in Seven Shades (The Orchard-JALC, 2010) • Ted Nash - The Creep (Plastic Sax, 2011) a r t o g i n / F

© J a c k V by George Kanzler

It took a guest appearance by trumpeter Wynton with or don’t like all that much, such as the accordion, Marsalis at a Jazz Composers Collective (JCC) concert and tuba, because as jazz instruments I’d never in Greenwich Village at in 1999 to got connected very much with any of them: the bring out New York’s jazz critics, many of them for the accordion was such a corny instrument; the tuba, what first time even though the JCC had been by then can you do with a tuba? And the violin, it just always presenting concerts for seven years. The draw for the sounds so old-fashioned. So I had all these critics was, as more than one wrote (and I here misconceptions about these instruments, but at the paraphrase), Uptown comes Downtown, the two time I was working with Bill Schimmel, the accordionist, different worlds of Big Apple jazz coming together in a in Threepenny Opera and I said, man, you can do so rare meeting. It was as if Jazz at Lincoln Center and the much with that accordion.” JCC had nothing in common. Schimmel showed him he could do a lot more, “A lot of critics in the ‘90s were trying to be including “Giant Steps”, so he became a part of the divisive, trying to put people in categories,” says Ted band, Odeon. “In putting together this band,” says Nash. “Uptown music, Downtown music. But I’ve Nash, “I asked myself what instrument I was least never been a big believer in that kind of separation in comfortable playing and OK, it was clarinet. So I put music. I think music is music, jazz, swing, everything together all these instruments and it was really ear- JSnycjr1112 10/16/12 2:23 PM Page 1 is related. The JCC had a reputation for pushing the opening for me, what all these instruments could do envelope, of being Downtowny or whatever, but we combined, everything from Debussy and Monk to had all sorts of music and different kinds of players.” tango and my own music.” Saxophonist, clarinetist and flutist Ted Nash isn’t Although Nash is currently promoting a new speaking hypothetically here, for it was his band album, The Creep, featuring a piano-less quartet in Odeon with whom Marsalis appeared as a guest at that which he plays alto sax, modeled on ’s concert. And at the time Nash had been a member of late ‘50s band, he is so fond of Odeon that he recently “Best Jazz Venue of the Year” NYC JAZZ RECORD#“Best Jazz Club” NY MAGAZINE+CITYSEARCH THU-SUN NOV 1-4#7:30PM & 9:30PM ONLY the Jazz at Lincoln Center Orchestra (JLCO) for over a acquired the rights to Sidewalk Meeting, the band’s STEVE KUHN TRIO year and appeared off and on with Marsalis for half a debut album on Arabesque, and began making it - decade. So if Uptown was meeting Downtown available online as a digital download on iTunes, etc. anywhere, it was in the person of Nash. In 2010 the JLCO debuted, released an album of TUE NOV 6 The namesake of an uncle who once placed right and then went on the road with Nash’s Portrait in Seven BEN ALLISON BAND behind Lester Young in a DownBeat poll, Nash, 52, Shades, a suite that was one of the first JLCO major WED NOV 7 GROUP grew up in a musical family in Los Angeles. His father, works not composed by Wynton Marsalis. It is based THU NOV 8 Dick, a trombonist, and tenor saxophonist uncle Ted on works by seven modern painters - Claude Monet, SEXTET 7:30PM both were first-call studio musicians, working in Salvador Dali, Henri Matisse, Pablo Picasso, Vincent RON HORTON/TIM HORNER ELEVENTET 9:30PM FRI NOV 9 Hollywood for both the movies and TV. Van Gogh, Marc Chagall and Jackson Pollock - and TED NASH DOUBLE QUARTET 7:30PM “Growing up in a musical family is something I during the performances images of the relevant TED NASH QUARTET 9:30PM definitely share with Wynton,” says Nash, who also paintings, courtesy of the Museum of Modern Art, HERBIE NICHOLS PROJECT 11:30PM points out that both are in their early 50s and have were projected on a screen behind the orchestra. “It SAT NOV 10 ’S ELEVATED QUARTET 7:30PM “kids the same age. We even grew up listening to the was a nice collaboration with MoMA,” says Nash. “I BEN ALLISON & MEDICINE WHEEL9:30PM same music. When we talk about the parallels between would go to the museum [when it was closed to the BEN ALLISON PLAYS THE MUSIC OF JIM HALL 11:30PM us, it’s amazing it took us so long to hook up and work public] and play my soprano sax in front of the SUN NOV 11 MICHAEL BLAKE BAND 7:30PM together.” paintings, inspiring me to write the music.” HERBIE NICHOLS PROJECT 9:30PM Nash came to New York in the late ‘70s and was Marsalis has said of Nash: “He plays, on a virtuosic TUE-WED NOV 13-14 soon playing alto sax in some of the Big Apple’s best level, all of the reed instruments. He plays them all & JELI POSSE JAZZMEIA HORN- BRUCE HARRIS - ALIOUNE FAYE - JOVAN ALEXANDER big bands, including those of , Gerry perfectly in tune and has a personality on each one JONATHAN BESHAY - ROY ASAF - STEPHEN PORTER SPECIAL GUESTS Mulligan and Mel Lewis’ Monday night at the Village that’s different.” So, does he have a different approach DELFEAYO MARSALIS & Vanguard orchestra, as well as working in pit orchestras to all his different instruments? THU-SUN NOV 15-18 for Broadway musicals. He was also gravitating away “I don’t really have a particular method,” says VINICIUS CANTUÁRIA from the alto, at least as a solo instrument, favoring his Nash. “I enjoy playing them all, I love the different HÉLIO ALVES - PAUL SOCOLOW - ADRIANO SANTOS - DENDE TUE-SUN NOV 20-25 tenor sax in small groups and his own bands. He colors. It makes me feel different when I’m playing THU NOV 22 CLOSED FOR THANKSGIVING became one of the charter members of the Jazz them, even in the family. The alto for me is MARIA SCHNEIDER Composers Collective when it formed in the ‘90s (it has more intense, open and expressive; the tenor a little ORCHESTRA been largely in hiatus since 2004 or so) and is looking cooler; the clarinet I feel a little more quirky and the TUE NOV 27 CLOSED FOR PRIVATE EVENT forward to the Collective’s 20th anniversary reunion flute, which I always considered a double I had to play WED-SUN NOV 28-DEC 2 week taking place at The Jazz Standard early this in bands, is becoming more expressive for me as an GERI ALLEN’S TIMELINE BAND month. outlet for creative improvising just in recent years.”v KENNY DAVIS - KASSA OVERALL - MAURICE CHESTNUT MON NOV 5, 12, 19 & 26 “The JCC gave us the opportunity to explore a lot of different things,” says Nash, whose JCC groups For more information, visit tednash.com. Nash is at Jazz JAZZFORKIDSWITHTHEJAZZSTANDARDYOUTHORCHESTRAEVERYSUNDAYAT2PM [EXCEPT11/4&25]-DIRECTEDBYDAVIDO’ROURKE included a double quartet joining jazz combo and Standard Nov. 8th with Ron Horton, Nov. 9th as a leader strings. “And for this one concert I said I’d like to put and with the Herbie Nichols Project, Nov. 10th with Ben together a group of instruments I’m not that familiar Allison and Nov. 11th with the Herbie Nichols Project, all

THE NEW YORK CITY JAZZ RECORD | November 2012 7

ON THE COVER P h o t b y A l a n N h i g EDDIE henderson Trumpeting Change by Brad Farberman

“Everything must change,” says the veteran band. We had people following us - men and women. At the dawn of the ’80s, Henderson shifted focus trumpeter Eddie Henderson after explaining that “the They left their homes and stuff. They were just from electric music to bop and hardbop, the styles he Swing Era went to bebop, bebop went to the cool era, enthralled by that band. It was really somethin’ else.” still prefers today. An eye-opening music hang pointed the cool era went to avant garde.” But the 72-year-old One trademark of the group was the soaring, him in his current direction. could easily have been talking about his nearly five- mysterious interplay between Maupin, Henderson and “It got to the point where I would take my Echoplex decade career, a trip that began in earnest with Herbie Priester. “Sometimes, I wouldn’t know whether I [delay pedal] to jam sessions,” remembers Henderson Hancock’s Mwandishi crew and has seen layovers with played the note or Bennie played it or Julian played it,” of the ’70s. “And I used to think to myself, ‘Wow, , Gary Bartz, Kenny Barron and Norman says Henderson. “It was just a natural chemistry of Eddie, you sure have a big, beautiful sound.’ And then, Connors, not to mention his own varied bands. As musicians that had something unique. The way we accidentally, somebody kicked the plug out of the wall. busy as ever with record dates and groups like The breathed together. And phrased together. It really Went back to my meek little sound. So I gave all my Cookers, one thing remains unchanged for Henderson: changed my life.” The band made three in the electrical equipment away. I said, ‘I’ll use it again when his strong, clear voice on his horn. early ‘70s: 1971’s Mwandishi, 1972’s Crossings and I get my own sound back together.’” Raised in the Bronx and, from the age of 14, San 1973’s Sextant. It was at the January 1971 sessions for In the years since his electric period, Henderson Francisco, Henderson first gained traction as a Mwandishi that Henderson was made a permanent has continued to hone his craft in the company of the musician in Washington, DC. While a medical student member of the group. “On the tune ‘Ostinato’, Herbie greats: McCoy Tyner, , , at Howard University from 1964-68, Henderson found only had three notes for me,” says Henderson. “I said, . But he sees this well drying up and the time for a little bit of everything: jams with drummer ‘Where do you want me to place these notes?’ And he knowledge that comes of drinking from it disappearing. Eric Gravatt; sit-ins with ; gigs as a leader said, ‘If you don’t know, maybe I should get somebody “There are really no more institutions of masters like at legendary jazz haunt Bohemian Caverns and backup else.’ I said, ‘Give me one shot.’ And that was on the Art Blakey and ,” laments work for James Brown and as part of album. We did one take. Listening to the tape back, he Henderson. “That was a musical institution where the Howard Theatre house band. looked at me and said, ‘You’re in the band.’” younger musicians could come up, do their After Howard, Henderson moved back to the West Jazz groups aren’t built to last though and in 1973 apprenticeship for four or five years and go out and be Coast to do a residence in psychiatry under doctor and Mwandishi dissolved due to financial reasons. In the journeymen on their own. There was the fellow jazz man Denny Zeitlin. Then, in the fall of 1970, wake of the breakup, Henderson experienced little group, there was the group, there was the Henderson got The Call: had booked a downtime. “ used to tell me, ‘Your Coltrane group. There are no more musical institutions week at San Francisco’s Both/And club and he needed credentials are in order. You played with Herbie.’ I in the field of quote-unquote jazz like that anymore. a trumpeter. “One of [Hancock’s] regular trumpet started getting these calls from Joe Henderson. Jackie It’s just a different era.” players, , was on sabbatical with Ray McLean. I didn’t have to go up through the ranks like A master himself at this point, Henderson sees his Charles,” says Henderson. “At that time, other musicians paying their dues. I started at the top. sound not as an original concept that came out of thin was living in San Francisco and Woody Shaw It just thrust me out there. After playing with Herbie, it air, but as an amalgamation of the people he’s studied recommended me to play the week with Herbie. Herbie sorta lifted me up by my bootstraps, musically and and the things he’s heard. And he’s transparent about didn’t expect me to play as well as I did. Even though personally and spiritually.” his debt: One of his latest albums, 2010’s For All We I was a doctor, I was playing music. That was where It was also during this time that Henderson started Know, includes an of Hancock’s my heart was. And I was keeping abreast with all the recording as a leader. Prior to the disbanding of “” and an composition current music that was happening at that time. All of Mwandishi, producer Skip Drinkwater had hooked entitled “Missing Miles”. Message received. Miles’ records. Herbie’s records. And I knew what Henderson up with rock label Capricorn Records and “Right before the Mwandishi group, I had the Herbie was gonna play. So when he had a rehearsal, he the company released Henderson’s first two albums: advantage of listening to Miles Davis’ ,” was kinda shocked that I knew the music so well. And 1973’s Realization and 1974’s Inside Out. Both albums explains Henderson. “I would play along with the then I did the gig with him that whole week. And that feature lineups nearly identical to Mwandishi’s and record and listen carefully to that floaty style. And I’d turned into the rest of my life. I actually quit the the music, to some fans, is better than the real thing. “A try to emulate that. People say they like my style. It’s residency and joined Herbie. And the people at the lot of people say that’s really how the Mwandishi band just a collection of little things that I’ve emulated or hospital were aghast; they couldn’t understand how I sounded in person,” says Henderson, referring to his stolen from other people that I like and Scotch-taped could stop being a doctor and being a psychiatrist and two Capricorn albums. “Because [Hancock’s] albums ’em all together. I could play like Miles Davis. I could go and play music. I said, ‘You’re in the mental health were a little watered-down. The record companies he play like . I could play like Freddie field. You can’t understand how a person can go do was with wanted him to be a commercial success. But Hubbard. And I liked some of the phrases that John something that makes them happy? I should put you on my albums, I just let the reins go.” Coltrane played. I liked some of the phrases Charlie on a 72-hour hold!’” After a couple of years at Capricorn, Henderson Parker played. And I’d steal little fragments from each At the Both/And, Hancock’s sextet - trombonist moved to Blue Note, which released two funk-oriented of those heroes of mine.” v , saxophonist , bassist albums by the brass expert: 1975’s Sunburst and 1976’s Buster Williams, drummer , Hancock and Heritage. The latter, in particular, is an appealing greasy Henderson is at Village Vanguard Nov. 1st-4th with Jeff Henderson - played tunes from . affair, due in no small part to its crack rhythm section: Ballard and Smoke Nov. 23rd-24th as a leader. See Calendar. Then, during a stint at Chicago’s House that keyboardist Patrice Rushen, bassist , lasted all of November, a new, looser set of tunes drummer Mike Clark and percussionist Mtume. The Recommended Listening: emerged and Hancock’s sextet became a band. album’s raw lead track, “Inside You”, was sampled on • Herbie Hancock - Mwandishi (Warner Bros., 1970) Rechristened Mwandishi, the group toured the world Jay-Z’ 1996 song “Coming of Age” but Henderson isn’t • Eddie Henderson - Heritage (Blue Note, 1976) from 1970-73. [A new book on the band, Herbie Hancock holding his breath for a royalty check. “That’s way • Eddie Henderson - Phantoms (SteepleChase, 1989) and The Mwandishi Band: You’ll Know When You Get back in 1996 that he sampled it and he hasn’t paid me • - Live on Tour in the Far East, Vol. 1-3 There by Bob Gluck, has recently been published.] any money yet,” says Henderson with a laugh. “I’ve (SteepleChase, 1991) “I worked with that band for three years, about ten been after him with lawyers and everything, trying to • Eddie Henderson - So What months a year and [the experience] was like a collage,” get him to pay me for sampling that record. I got a (Village/Eighty-Eights - Columbia, 2002) remembers Henderson fondly. “It was such a powerful funny feeling about that.” • The Cookers - Believe (Motéma Music, 2012)

THE NEW YORK CITY JAZZ RECORD | November 2012 9 ENCORE

Cohan suggested they collect dues from members and • Sun Ra Arkestra - Holiday for Soul Dance Phil Cohran was elected financial secretary. He also suggested that (Saturn-Evidence, 1968-69) they use the word “musicians” rather than “music” in • Phil Cohran and The Artistic Heritage Ensemble - by Kurt Gottschalk their name as it was “the musicians who need help.” The Spanish Suite: Martina, Delores & Marguirite He left the organization to found his own (Zulu-Katalyst, 1968) The phrase “Great enterprise, also focused on education and performance • Phil Cohran and The Artistic Heritage Ensemble - Black Music” - a creed on Chicago’s south side, building awareness with The Malcolm X Memorial (A Tribute in Music) for the Association for weekly lakefront concerts and asking people for small (Zulu, Katalyst, 1968) the Advancement of donations to go towards founding a center for African • Kelan Philip Cohran and The Hypnotic Brass Creative Musicians American arts, a goal that gained easy traction during Ensemble - Eponymous (Honest Jon’s, 2011) (AACM) - is generally the heady Black Power days. The Affro Arts Theater credited to the great (the unusual spelling connoted AFrica FROm out of) . But it might apply just as well to another was founded in an old movie theater and was soon trumpeter who was a part of the formative years of hosting regular concerts as well as weekly classes. that seminal Chicago collective. Kelan Phil Cohran’s , who went on to front Earth Wind lifetime in jazz has stretched from working for Clark & Fire, was a regular visitor to the center, as were other Terry and Jay McShann to Sun Ra, has involved poetry future members of the band. “Maurice was with me and theater and has even spawned a pair of progenies almost three years,” Cohran said. “He didn’t have any in Earth Wind & Fire, the hit-making soul band source of knowledge. He came out of Chicago schools. founded by his former students, and the Hypnotic He played with me and learned my system.” White Brass Ensemble, a nonet featuring his eight sons (a took up Cohran’s Frankiephone, an electric thumb collaborative album was released this year). piano devised and named for his mother, and in 1974 Born in Oxford, Mississippi in 1927, Cohran moved put it on the Top 40 with Earth Wind & Fire’s “Evil”. to Missouri with his family when he was still young. In more recent years, Cohran’s focus has been He won first prize singing and tap-dancing in a St. teaching (including a two-year stint at Northeastern Louis citywide talent competition when he was five, University), playing solo shows (he recently ended a November 6th studied piano and took up the trumpet, his primary 15-year engagement at the Ethiopian Café on Chicago’s Charli Persip big band Supersound instrument, in high school. Touring with Terry first north side) and studying astronomy, as well as keeping took him to Chicago and, after being drafted in 1951 a watchful eye over his sons’ band. His eight horn- November 13th and studying at the US Naval School of Music in playing children all benefitted from his tutelage, Chip White Ensemble Washington, DC, he made his way back there, starting daily two-hour lessons before school when eventually meeting up with the forward thinking Sun they were five years old. He still plays in Europe when November 20th Ra. He spent a mere two years with the band, opting to the occasion arises but he said he was happy to give up stay in Chicago when they relocated to New York, but the regular gigging around town. “Now I’m just Mike Longo Trio CD release Party those two years seemed to have challenged both men. cruising,” he said. “When you get to be 85 you don’t November 27th “The old jazz died with Sun Ra,” Cohran said, have that pop, you don’t want to play too many gigs.” speaking from his Chicago home. “Sun Ra said ‘Jazz is Instead he makes daily trips to Lake Michigan, this Cecilia Coleman and Group dead’ in 1958 but people are hanging onto it like they time to the beach in Rogers Park, the city’s northernmost hang on to Bach and Mozart. But our music is alive. My neighborhood and a good stretch from the South Side December 3rd system I developed when I was with Sun Ra, but he beach where he got his start and leading workshops in Richard Boukas and Quarteto Moderno didn’t like my system. He’d start playing real wellness and astronomy. “You got two tides a day and disruptively when I started playing my thing.” your body is 90% water,” he said. “What the hell do Dark until January 8th 2013 Continuing to work in Chicago, Cohran met you think the moon does to your body? Everything in pianists and the cosmos is balanced, so everything here has to and drummer Steve McCall. It was those four, sitting follow that rule because we’re part of the cosmos.” v New York Baha’i Center in the kitchen in Cohran’s home in the Bronzeville 53 E. 11th Street neighborhood, who first formulated the AACM. For more information, visit philcohran.com (between University Place and Broadway) Cohran’s Artistic Heritage Ensemble (with Amina Shows: 8:00 & 9:30 PM Claudine Myers and Gene Easton) played the second Recommended Listening: Gen Adm: $15 Students $10 AACM concert and Cohran would arguably play a key • Sun Ra Arkestra - We Travel The Spaceways 212-222-5159 part in the organization’s ethos of self-determination. (Saturn-Evidence, 1959-60) bahainyc.org/nyc-bahai-center/jazz-night According to George Lewis’ essential A Power Stronger • Philip Cohran and The Artistic Heritage Ensemble - Than Itself: The AACM and American Experimental Music, Singles (Zulu, 1967)

LEST WE FORGET

quickly mastered flute, clarinet and and ran Melotone Music/Totem Music to publish his own Gigi Gryce (1927-83) by the early ‘50s had attended Boston Conservatory compositions and those of his contemporaries. That and worked in many groups, most prominently on an many popular hardbop tunes, including ’s by Ken Waxman overseas tour with ’s big band. By the “Little Susie”, ’s “I Remember Clifford”, end of the decade, established in New York, Gryce’s ’ “Moanin’” and ’s “Hi Arguably the most accomplished jazz musician to skills as composer, arranger and player made him Fly”, were administered by Gryce’s firms didn’t endear abandon his career at the height of his fame then make nearly ubiquitous. His best-known band was the Jazz him to other publishers, record companies or bookers. his mark elsewhere was alto saxophonist Gigi Gryce. Lab Quintet with trumpeter . But he also Although most of the pressure exerted against him led Gryce was one of jazz’ most creative composer- played in large and small bands led by , to a slowing of work rather than outright threats, his arrangers, whose precisely organized small groups , Lee Morgan, Art Blakey and others, already secretive nature soon turned paranoid. and now classic tunes such as “Minority”, “Nica’s many of which featured his compositions. He arranged Eventually he returned rights to all tunes to their Tempo” and “” established new orchestral and conducted the famous -Buddy Rich composers, cut himself off from the jazz world and in the ‘50s-60s. However, he abruptly drum battle date, Rich versus Roach (Verve) and worked taught under his Muslim name of Basheer Qusim until abandoned music in 1963 and spent the remainder of with . He’s the third saxophonist his death from a heart attack on Mar. 14th, 1983. his life teaching music and other subjects full time. alongside John Coltrane and Coleman Hawkins on This abrupt change of direction after 1963 After his death, his educational achievements were Monk’s Music (Riverside). shouldn’t preclude an investigation of Gryce’s music. honored when the Bronx public school at which he Gryce was also convinced that jazz musicians Even a cursory listen to sessions featuring his playing, taught was renamed for him. weren’t getting a fair share of publishing royalties. arranging and especially his compositions, Born in Pensacola, FL on Nov. 28th, 1925, George Business-oriented, he encouraged others to set up their unmistakably reveal the breadth of his contributions to General Grice, Jr. was an instrumental polymath who own publishing companies and from 1955 until 1963 jazz. v

10 November 2012 | THE NEW YORK CITY JAZZ RECORD MEGAPHONE

solo playing. I think it is this heightened proximity to are happy to have their company, but the arrangement Why Do We Duo? group and solo playing sensibilities that makes the requires that you relearn how you navigate your space. duo such an exhilarating configuration. It is possible the piano duo may never become as by Andy Milne In trios, quartets, quintets and larger, sometimes common as the piano/bass or piano/voice duo. Left to musicians reference the challenge they occasionally our own devices, pianists might yet find new ways to The duo configuration in jazz is both common and experience connecting with one musician over another. explore co-habiting their musical worlds for the simple uncommon. Countless musicians have performed in Of course, the past and present of this music have been reason of what we gain through giving something up. stand-alone duos and as featured duos within larger robustly populated with bands whose chemistry Perhaps this is a lesson the duo within music can offer ensembles. What is the allure of the duo and what embodies the ideal ‘hookup’, so I am certainly not humanity as we struggle to reconcile the necessity for drives us to revisit it frequently? On a basic level, I making a case for the duo being the only place where sharing space, resources and diverging philosophies. v believe it reflects something powerful about human this exists. I am instead celebrating the delicate nature. Why do we couple, car-pool, share books, proportions of the duo and the inherent challenge it For more information, visit andymilne.com. Milne is at music, recipes and generally impart profound creates for satisfying our desire for freedom and the ShapeShifter Lab Nov. 28th-30th in duo with Benoît Delbecq discoveries to those around us? From my time on the hookup. I think the societal framework within which and with guests. See Calendar. planet, it appears that we often experience a deeper all humans exist plays a role in cultivating our dual meaning of the events in our lives when we are able to desire both to be free and connected. Perhaps that is Considered one of the most respected voices in jazz today, share those experiences with another being. Perhaps the wonderful gift jazz has given humanity, as it pianist Andy Milne composes for multiple projects in which the growing tide of narcissism I often cynically represents a highly sophisticated form of democracy he is a principle performer and improviser. His music spans attribute to technology is merely in service of our where somehow the needs of the individual and group everything from contrapuntal, odd-metered grooves, free human nature rather than a reprogramming of that exist in balance. I am not ruling out the possibility that improvisation and multi-form structures to an orchestral- nature. Assuming our kinship for the duo is in no some musical performances might not live up to this inspired palette and prepared piano textures. Awarded The danger of being challenged, can its multiple forms ideal, but I do often wonder what the world would be 2009 Civitella Fellowship to compose a new orchestral work, within music offer helpful insights for humanity as we like were our systems of governance headed by Milne is a 2012 PennPAT roster member and the recipient grapple with increasingly complex issues related to improvisers, artists and creative types. of numerous commissions and awards from The Canada global sharing? Although there are significant logistical challenges Council, The Japan Foundation, New Music USA and As a pianist, I have often envied the ease of how for piano duos more than duos between and Chamber Music America. Milne’s group Dapp Theory, two or more musicians who play the same instrument other instruments (or two players of the same which lives at the meeting-point of lyrical jazz piano, can interact. I have known numerous horn players who instrument), piano duos do flourish. I think the first funkified polyrhythmic exploration and spoken word would frequently get together to practice or share piano duo I experienced was the one between Herbie poeticism, is currently recording their next CD with experiences on the mechanics of their horn. In the Hancock and Chick Corea. In the ‘90s, Harold Mabern, Grammy-winning producer Jimmy Haslip. drum world, there is support for several annual events , Donald Brown, James Williams and where players gather to geek out and celebrate their Geoff Keezer toured as a rotating four-piano summit. instrument and their approach to it. Pianists Earlier this year, on WBGO radio, jazz historian Bill occasionally get together to play for one other but it is Kirchner examined the lineage of piano duos, profiling Donna Singer rare that we actually play together because of how duos ranging from Dick Hyman and Dick Wellstood to difficult it is to find two pianos in the same room, let and . During the last decade, with the alone same venue. Pianists do, however, perform both Merkin Hall and The Jazz Gallery presented piano Doug Richards Trio frequently as part of a duo. Sometimes these duos are duo series. Of course, Marian McPartland’s formed purely for artistic reasons while other times program on NPR has long been an opportunity for Live At they are merely a result of financial pressures or sound listeners to experience piano duos. restrictions placed upon us by a venue. Despite the efforts of musicians and presenters, When I stop to consider the number of duos I have our ears are not particularly used to the sound of two 217 East 119th Street, NYC performed in over the years, it is actually quite pianos. When I began to explore the format seriously, it Thursday, Nov. 8th, 2012 staggering. Regardless of my perceived inspiration for was very clear to me that I had to learn to adjust my 7:30pm - $10.00 the formation of these duos, I am actually more ears to react to the sound of another person playing Reservations 212-280-2248 intrigued with considering the underlying resultant ‘my’ instrument. It was somehow foreign and familiar potency the format offers. As an educator, I often at the same time. It requires that each pianist be willing @Critical Jazz: “Donna Singer instruct my students to explore duo playing to help to surrender temporarily a portion of ‘their’ instrument is a first call vocalist” develop better listening skills. Duos force us to interact AND redefine their role and function. There are issues A remarkable repertoire of jazz, using musical behaviors and reactions that solo playing of how to share the physical space available on stage, swing, rhythm and blues does not require. Duos also leave us exposed just as well as the sonic space in the room. It’s a little bit enough, so that we remain connected to the like having to share your tiny studio apartment with a donna-singer.com responsibilities and vulnerabilities associated with our friend who needs to crash for a couple of weeks. You

VOXNEWS by Katie Bull using her own body to incorporate percussive accents, Electronic-edged violinist, singer and spoken- she is an earthy grounding rod for some powerfully wordist Sarah Bernstein releases Interactive Album Jazz vocalists in this month’s VOXNews highlights are streaming wattage. Hear her Jazz Flamenco Fusion Rock (Phase Frame Music) with her trio, Iron Dog. connected to elemental core energy in the body; a life Trio at Drom (Nov. 16th). There is a bluesy and funk- Playing an EKG of the modern world, her violin sings force energy that moves the breath swirls and impels edged roar at the core of smooth and easy flowing as her spoken poetry frames an arrestingly intense truthfully expressive sound. It is a vibratory center, . His lion-like presence will fill Dizzy’s Rorschach for our times. Andrew Drury’s drumming part of the whole body flow of electricity pulsing Club (Nov. 8th-11th) and Littlefield (Nov. 17th). and Stuart Popejoy’s electric bass and synthesizer form through the heart, around the solar plexus and Rambling over towards the ‘out’ side, wild a bed of harnessed mayhem. Hear them at JACK in centering down into the gut of the belly and pelvis. virtuosic Austrian Katja Cruz pairs with percussionist Brooklyn (Nov. 10th). The chakra system in traditional Indian singing Howard Curtis for Lightning and Thunder (Ein Klang) in And, speaking of spoken word, saxophonist involves the exploration of energy centers generating improvisations about the elements. From the ear- Oliver Lake will ‘harmonize’ in collaboration with sound. In Korean pansori singing the master points to opening perspective of shamanistic ritual, this album poet Cornelia Eady and singer/poet Sabrina Hayeem- “the core” in the belly and says, feel your power here, sounds like a channeling. Cruz’ mercury-fast unbound Ladani at St. Augustine’s Church (Nov. 18th). breathe with your heart rhythm and let everything else range resounds like echoes in mystical canyons. As November comes to a close, consider producer go. When a jazz singer or a spoken word vocalist comes Andrea Wolper’s leaderless trio on TranceFormation Cobi Narita’s invitation to “Speak to me of love. Speak from their core energy, the listener’s core resonates. (New Artists) is comprised of free jazz veterans like to me of Truth.” 60 improvising singing voices scat You can ‘feel’ them singing. pianist Connie Crothers and bassist Ken Filiano. As with saxophonist Billy Harper’s Sextet at Saint Peter’s “If you have a heartbeat you have rhythm,” says unified as an harmonic overtone series, their energy Church (Dec. 1st)! Narita, a producing ‘shaman’, has the vibrant Rebecca Vallejo who calls herself “a jazz moves in synchronous impulse. Hear them organically been keeping the intangible alive, forever. Bow down singer with a Flamenco flair”. Hailing from Spain, spill together in sonic landscapes at I-Beam (Nov. 9th). and feel it. v

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

is owner and managing director of both, is Spielraum’s production phase is that Schmidt and I realized a lot of Gligg Records chief engineer and so far has played on seven Gligg projects, which could now be released via the label,” CDs. Thewes is on 12. Spielraum and Gligg are both says Thewes. “In addition I recorded a couple of projects by Ken Waxman located in Schiffweiler/Heiligenwald, about 150 miles which could be released by Gligg in very small editions. from Frankfurt. In local dialect “spielraum” means With these records Schmidt could experiment with the Perhaps Martin Schmidt could be thought of as a Mark playroom while “Gligg” means luck. Also “Gligg” is design, colors and picture selection without being Zuckerberg with improvised music cred. A German intentionally unusual to appear easily on internet under time pressure - which is important for the start mandolinist and electric bassist who has been gigging search engines. of a label. I hope I can go on to record in the Spielraum since the ‘80s, he was able to start Gligg Records and This mixture of the local and the futuristic Studio in the future and publish via Gligg, but the the Spielraum recording studio because his love for characterizes Gligg’s releases. Committed to the most number of CDs will definitely decrease - although I advanced mathematics plus the growth of social up-to-date standards of fidelity; physical, download still have material for another 50 or so,” he jokes. networking presented a unique opportunity. and streaming distribution; focused marketing and As for Gligg’s musical identity: “There’s no hard In 1996, Schmidt, who had previously been a full- publicity and a five-year plan to establish the label, the definition of what Gligg publishes, but the core spreads time musician, usually in groups with trombonist initial CDs feature musicians Schmidt has played with definitely from avant garde and experimental jazz Christof Thewes, decided to pursue a long-time over the years. “We started with what existed and what through free improvisation to contemporary music, ancillary interest in physics, mathematics and was ready to be released first, bands that were mostly which will come with two records dedicated to John computer programming. In 1999 he helped create a driven by Christof or both of us,” Schmidt explains. Cage’s compositions performed by percussionist Dirk comprehensive, worldwide social network for “We then extended our network to include many Rothbrust,” Schmidt elaborates. “These genres fit scientists using a system he invented and patented. By Berlin-based musicians. There will always be music by nicely together and overlap in many cases. I see no 2009, when the network was sold to Elsevier Science, us on Gligg, but over time it will balance with other problem to publish any genre, as long as there’s a good B.V., the world’s leading science information provider, artists.” A dozen CDs make up Gligg’s first set of portion of innovation in it.” it had registered more than 400,000 scientists and had releases, with the second another 12. “There’s more “It was [bassist] Jan Roder who first came up with 1.8 million scientific profiles. going on than current labels are willing to publish so the idea to record our trio Die Dicken Finger in Martin’s “The sale gave me the chance to step out of that too many things lack documentation,” avers Schmidt. studio,” notes Berlin-based guitarist Olaf Rupp, business and get back to music,” Schmidt recalls, “and “That drove me to build a studio for documentation featured on four Gligg CDs. “Later [trombonist] it explains where the financing for Gligg Records and first and then a label to get things published.” Matthias Müller offered Martin a recording we made the studio comes from: I decided to invest a good part Although Gligg’s first projects were built around in Berlin and it was [saxophonist] Frank-Paul Schubert of the money into long-lasting and sustainable Schmidt and Thewes’ Undertone ensembles, who invited me to a recording session there. Die platforms, specializing in music that always suffers subsequent releases feature, among others, such Dicken Finger was difficult to record, because of band- from lack of money.” players as Japanese drummer Shoji Hano, Australian sound was more akin to hardcore and rock, so I drove Founded with an investment of €100,000, the high- bassist Clayton Thomas, American cellist Tomas Ulrich to do the mix together with Martin. I brought my end Spielraum Studio does no commercial productions and Greek pianist Antonis Anissegos. and on the third day we recorded some duos. and is a separate entity from Gligg. However Schmidt “The reason I appear so frequently in Gligg’s first (CONTINUED ON PAGE 46)

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LISTEN UP!

EMILY BRADEN is a Harlem-based vocalist I knew I wanted to be a musician when... I’ve always Influences: Dewey Redman, Pharoah Sanders, Miles from the great jazz mecca of Boise, Idaho. Her training felt there was nothing else that could make me this Davis, , , Coleman Hawkins, includes two years with the award-winning vocal happy! , Björk, Jan Garbarek, , Wayne group Genesis in Oregon. Her album Soul Walk features Shorter, the Danish countryside and that my father is a her fresh take on standards and marks her debut as Dream Band: Not sure yet. I moved to NYC to meet them. social worker and my mother is a teacher. bilingual songwriter. Braden was just named NYC’s “Best of the Best” Jazz Vocalist as the winner of the Did you know? I excel at the art of jazz whistling! Current Projects: My duo The Home of Easy Credit New York City’s 2012 Jazzmobile Vocal Competition. with Tom Blancarte; a duo with drummer Luca Marini For more information, visit emilybraden.net. Braden is at called Herbert Eckardt; another duo with drummer Teachers: Dave Barduhn (former arranger for Stan Zinc Bar Nov. 26th. See Calendar. Andrew Drury; trios with Weasel Walter and Tim Dahl, Kenton) and Louise Rose (student of Duke Ellington Han-earl Park and Michael Evans, Damon Holzborn and Oscar Peterson protégé). and Tom Blancarte; an upcoming electro-acoustic ensemble that will play at Douglass Street Music Influences: So many musical influences! Billie, Ella, Collective. Sarah, Carmen, Dinah, Nancy, Nina, Etta (Jones), Betty, Joe Williams, Andy Bey. Classic and modern soul By Day: I teach and play for a living. artists such as , Sam Cooke, , , D’Angelo and Bilal. Erroll I knew I wanted to be a musician when... I was six and Garner, Ahmad Jamal, Jimmy Smith - and I love Hank started to learn recorder in my village’s music school. Mobley!

Emily Braden P e t r G a n u s h k i Louise DE Jensen Dream Band: , Björk, Mats Gustafsson, Current Projects: I’m constantly experimenting with Weasel Walter, Brandon Seabrook, Craig Taborn, Tim new artists. I have straightahead groups, an original LOUISE DAM ECKARDT JENSEN is a saxophonist Dahl. music project and a steady R&B gig at the Ella Lounge. hailing from the Danish-German border region of I have recently been collaborating with tap dancer Denmark known as Sønderjylland. She has spent time Did you know? I love coffee and tend to be clumsy. I Michela Marino Lerman. in Copenhagen, Amsterdam and Berlin, but her am shy but once you get to know me, it completely marriage to bassist Tom Blancarte several years ago disappears…haha… By Day: I juggle my business responsibilities as an brought her into the New York music scene. independent artist with a part-time job as a bilingual For more information, visit myspace.com/louisejensen. (Spanish/English) interviewer at a nursing home in Teachers: Ferdinand Povel, Albert Beltman, Dick Jensen is at JACK Nov. 10th and Douglass Street Music the Bronx. Oatts, Arnold Dooyeweerd. Collective Nov. 11th. See Calendar.

12 November 2012 | THE NEW YORK CITY JAZZ RECORD FESTIVAL REPORT

Bearzatti, Giovanni Falzone, who played trumpet and Jazz Brugge electronics and led sing-alongs, electric bassist Danilo Gallo and drummer Zeno de Rossi. Although Monk’s by Ken Waxman themes are no more sacrosanct than Ellington or Vivaldi’s, unlike the sympathetic genre-mulching of Godard and Monniot, this was a cut-and-paste job. Explaining that as 40-something musicians their sympathies were as much with heavy metal as Monk’s music, the four proceeded to mash up Monk themes with rock standards such as “Iron Man”, “Immigrant Song” and “Walk on the Wild Side”. Trouble was that d . c o m once the Monk head was played, the band ignored it until the end, with the remainder of the performances

. j a z w o r standard rock tropes: de Rossi pummeled the backbeat; Gallo’s output was crunchingly repetitive; heavily

, w processed, Falzone’s capillary flourishes borrowed Thu Nov 1 GV3 8:30PM Geoff Vidal, Dezron Douglas, Neil Smith from Miles Davis’ fusion period and while pogo-ing TYLER BLANTON’S “GOTHAM” 10PM Donny McCaslin, Matt Clohesy, Nate Wood up-and-down like a punk rocker and miming guitar licks, Bearzatti’s reed smears attempted to channel the Fri Nov 2 JASON RIGBY 9PM & 10:30PM , Gerald Cleaver spirit of . More praiseworthy were three duos linking Sat Nov 3 DEVIN GRAY, DIRIGO RATAPLAN 9PM & 10:30PM ( c ) S u s a n O ’ C o r Dave Ballou, Jeff Lederer, Michael Formanek Irène Schweizer & Jürg Wickihalder veterans and youngish players. One concert at the Sun Nov 4 MANNER EFFECT 9PM & 10:30PM Concertgebouw’s Kamermuziekzaal united two Swiss: Sarah Elizabeth Charles, Caleb Curtis, Logan Evan Thomas, hen Jazz Brugge takes place in a Belgium town pianist Irène Schweizer, 71, and soprano and tenor PJ Roberts, Josh Davis W designated as an UNESCO World Heritage site for its saxophonist Jürg Wickihalder, 39. Another, at Sint- Mon Nov 5 AMRAM & CO 8:30PM David Amram, Kevin Twigg, John de Witt, Adam Amram picturesque canals and lovingly preserved medieval Janshospitaal matched British soprano/tenor buildings, a certain time and space dislocation can be saxophonist Evan Parker, 67, with Belgian bassist Peter Tue Nov 6 ABE OVADIA ORGAN TRIO 10PM Anthony Pocetti, Steve Picataggio expected. Considering that concerts (Oct. 4th-7th) were Jacquemyn, 49; the third at Sint-Janshospitaal, featured Wed Nov 7 LIFE SIZE: FEATURING SAMIR ZARIF 8:30PM in the attic performance space of the 12th century Sint- percussionist Pierre Favre, 75, and fellow Swiss Brian Krock, Samir Zarif, Olli Hirvonen, Dan Rufulo, Janshospitaal museum or in a massive or a smaller hall trombonist Samuel Blaser, 31. Philippe Lemm, Leo Sherman

of the four-tier Concertgebouw, purpose built in 2002, An object lesson in how to blend Monk tunes with Thu Nov 8 JESS KORMAN: THE KORMUDGEON PROJECT 8:30PM Mark Wade, Tony Romano this time displacement intensified. Additionally, three others, Schweizer and Wickihalder joyously slipped of the most insightful performances melded in-and-out of “Ruby, My Dear”, “Little Rootie Tootie” Fri Nov 9 JIM BLACK MYSTERY DUO 9PM & 10:30PM Mystery Guest celebrations of art from earlier centuries with and other Monkisms without altering the program’s Sat Nov 10 ELLERY ESKELIN TRIO 9PM & 10:30PM perceptive improvisations. flow. Mixing allusions to blues or boogie-woogie Chris Lightcap, Billy Mintz Most spectacular was an afternoon Sint- alongside snatches of or Carla Bley Sun Nov 11 GLOBAL LIVING ROOM: TENORES DE ATERÚE 8:30PM Janshospitaal multimedia presentation by France’s themes, Schweizer played with the economy that Avery Book, Gideon Crevoshay, Carl Linich, Doug Paisley Collective ARFI. As individual details or entire scenes comes from 50 years of self-sufficiency. Able to produce GLOBAL LIVING ROOM: ZOZULKA 10PM Eva Salina Primack, Maria Sonevytsky, Willa Roberts from Flemish Renaissance painter Pieter Bruegel the -like hollers or telescope his breaths to Jean Rohe, host

Elder’s “A La Vie, La Mort” were projected on a video microtones, Wickihalder’s comments were meaningful Tue Nov 13 VOXIFY: ROSANA ECKERT 8:30PM screen, trumpeter Jean Mereu, saxophonist Jean whether sounding two saxes at once for polyphonic Peter Eldridge, Matt Aronoff, Ben Wittman, Jay Rattman, Gary Eckert Aussanaire, bassist Bernard Santacruz and Laurence contrast, blowing into the up-ended soprano’s bell or VOXIFY: ALISON WEDDING 10PM Matt Aranoff, Pete McCann, Ben Wittman Bourdin on the hurdy-gurdy provided musical disassembling his horns to display the individual Nicky Schrire, host interpretations of the scenes of rampaging skeletons, parts’ sonic qualities. Wed Nov 14 JEROME SABBAGH QUARTET prone peasants and bleak landscapes. Also conversant with every saxophone part was FEATURING BEN MONDER 8:30PM , Colin Stranahan As impressive were sets on the Concertgebouw’s Parker, who underlined the sonorous possibilities of main stage by French musicians whose bands both horns, as Jacquemyn - whose strikingly human- Thu Nov 15 PETER EVANS QUARTET 8:30PM Ron Stabinsky, Tom Blancarte, Jim Black reinterpreted the Renaissance-to-Baroque themes of looking sculptures were on display at Sint-Janshospitaal Fri Nov 16 NASHEET WAITS-ABRAHAM BURTON 3 Italian composer Claudio Monteverdi or Antonio during the festival - hacked at, slapped and scrubbed 9PM & 10:30PM Vivaldi’s 17th Century Italian Baroque concerto The his bass. Sporadically inserting two bows behind his Sat Nov 17 BOBBY AVEY GROUP 9PM & 10:30PM Four Seasons. With an ensemble of soprano saxophonist/ strings for reflective multiphonics, Jacquemyn Miguel Zenón, Ben Monder, Thomson Kneeland, Jordan Person bass singer Gavino Murgia, Katharina Bäuml playing frequently smacked strings sul tasto, not only in the Sun Nov 18 NEW BRAZILIAN PERSPECTIVES: Renaissance woodwinds, Bruno Helstroffer on theorbo, warm mid-range, but to reveal unexpected textures PAUL MEYERS, DEANNA WITKOWSKI 8:30PM Billy Newman, host a medieval lute, lyric soprano Guillemette Laurens and from beneath the bridge and near the scroll. Rarely Michel Godard playing tuba’s ancestor, the serpent, evoking circular breathing, Parker stuck to smears and Wed Nov 21 JACAM MANRICKS ‘CLOUD NINE’ CD LAUNCH 8:30PM Des White, Obed Calvaire plus electric bass, this was no typical jazz combo. reed bites, at points making two complementary trills Fri Nov 23 HUSH MONEY WITH Godard’s arrangements expanded Monteverdi’s audible. Near the end, the two attained organic JOHN MCNEIL & JEREMY UDDEN 9PM & 10:30PM adaption of basso continuo and polyphony with connection, as abrasive reed shrieks and frenetic string Aryeh Kobrinski, Vinnie Sperrazza

multiphonics and improvisations. Meanwhile pumps settled into concentrated lines. Sat Nov 24 DAVID LIEBMAN QUINTET 9PM & 10:30PM , Ellery Eskelin, Chris Tordini, Jim Black Helstroffer’s slurred fingering and Murgia’s agitated Synchronization was also in evidence with Favre/ licks were thoroughly contemporary as the bass’ pedal- Blaser. Using sticks, brushes, mallets and curved bean Mon Nov 26 ALTERMAN/CAMMACK/RADERMAN TRIO FEATURING RALPH LALAMA 6PM point pattern provided ostinatos as much as Murgia’s pods to produce rhythms that contrasted or rumbled Joe Alterman, James Cammack, Ralph Lalama, Alex Raderman alongside the trombonist’s actions, the percussionist subterranean throat rumbles. Saxophonist Christophe Tue Nov 27 PETER BRENDLER QUARTET 8:30PM Monniot played up Vivaldi’s populist appeal, using exuded a sense of relaxed swing at all tempos. Peter Evans, Rich Perry, Vinnie Sperrazza

the composer’s motifs as reference points as others Comfortable with a variety of mutes, Blaser used Wed Nov 28 SURFACE TO AIR 8:30PM would utilize Ellington or Monk material. Tubaist silences to support the drummer’s pacing. Employing Jonathan Goldberger, Jonti Siman, Rohin Khemani

Michel Massot provided the rhythmic foundation, lip-pressure and slide positions, his solos encompassed Thu Nov 29 TOM CHANG QUARTET 8:30PM Jason Rigby, Sam Trapchak, Jeff Davis drummer Eric Echampard’s press rolls and paradiddles tandem multiphonics, breakneck boppy lines and touched on rock and jazz beats, pianist Emil Spányi emphasized plunger growls. Both men played Fri Nov 30 LOREN STILLMAN AND FRIENDS 9PM & 10:30PM Russ Lossing, John Hebert, Eric McPherson spun out swinging asides while the all-saxophone distinctively enough to underscore each other’s skills, Quatuor Arcanes recreated Vivaldi’s themes, but cohesively enough to reach exultant conclusions. harmonized distinctively or backed Monniot’s notable It was sets like this that emphasized the festival’s solos on soprano, alto and baritone. Mutating a famous strengths. Unabashedly European, Jazz Brugge takes concerto to fit another context worked admirably; place every second year, 55 miles northwest of Brussels, trying to extend the metaphor by adding pre-recorded providing a meaningful illustration of advanced voices discussing climate change didn’t. continental improv. v Another missed opportunity was the Monk’n’Roll project of tenor saxophonist/clarinetist Francesco For more information, visit jazzbrugge.be

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

his honey-smooth tonality and high-octane upper- On their own, the musicians reference the blues register flights to “Meridian” and the standard “Alone plus some extended techniques. Pastor occasionally Together”, whose inclusion on this album deepens the adds electronic oscillations to his showy triple stopping theme of endurance. Bassist Mike Richmond is a rock while stacked harmonies cleanly balance the on the bottom and his singing pizzicato on the waltz trumpeter’s grace notes or plunger tones with the “It’s Never Too Late” is one of the highlights. Guitarist saxophonist’s mellow vamping or low-pitched runs. makes a guest appearance on “Mike’s Perhaps in Italian Dagnino performs with the aplomb Blues”, a fusion trip that Sussman wrote specifically and confidence of a Leonard Cohen. Narcéte, however, for him. Stern’s fervid riffs blaze a path for Sussman’s offers neither of these qualities.

Brand New For China! retro-futuristic synthesizer on a tune that manages to Cactus Truck (Public Eyesore) sound old school and contemporary simultaneously. For more information, visit slamproductions.net. Dagnino by Clifford Allen Sussman’s excellent composing and playing is the is at Douglass Street Music Collective Nov. 2nd, Brecht driving force at the center of Continuum. Whether Forum Nov. 11th, Boulevard Books & Café Nov. 14th and Fleshing out the lengthy but not always appreciated weaving a tender meditation like “The Wayfarer”, Downtown Music Gallery Nov. 18th. See Calendar. connection between free jazz and is the third comping with Richmond and drummer Jeff Williams, and latest LP by Amsterdam trio Cactus Truck, which doubling up wonderfully on piano and synthesizer or consists of expatriate saxophonist John Dikeman, building a solo whose intricacy seems to reflect his guitarist/bassist Jasper Stadhouders and drummer kinetic energy, Sussman mines countless riches from Onno Govaert. They’ve collaborated with agitprop the keyboard. All of this great music, reflective but bouncers The Ex as well as open-form improvisers like unburdened with misty-eyed sentimentality and Ab Baars, Dave Rempis and Jeb Bishop and it’s not played by some of the best in the business, is what difficult to see why they’ve found a willing stable of makes Continuum an excellent album. partners: the trio gets things done. Spry and limber they have energy to spare, but For more information, visit origin-records.com. Sussman is being go-for-broke is not without a healthy amount of at Smalls Nov. 1st. See Calendar. conversational awareness. I use the term

“conversational awareness” as opposed to “listening”, because Weasel Walter recently pointed out in a discussion that musicians’ refusal to listen can create diverse and complex musical environments. Players may be aware of the plurality and instead choose to isolate themselves formally, which in the most successful instances can create bizarrely tense structures. It’s a risk, but most good art is. Certainly a healthy dose of obstinance is at play here, Stadhouders doggedly strumming a detuned Narcéte guitar in careening chunks as Govaert rattles and Erika Dagnino/George Haslam/ pushes, Dikeman’s effusive and steely keen soaring Stefano Pastor/Steve Waterman (SLAM) atop it all. Or, in a fine tenor and drum duet towards by Ken Waxman RECOMMENDED the end of “Sweet Movie”, the fourth track here, Govaert hangs out just behind the beat and a little to Mixing jazz with poetry or prose has been attempted NEW RELEASES the left, continuing his twinkle-eyed random careen as almost from the music’s beginnings, reaching an Stadhouders picks up a gritty bass line reminiscent of apogee in the ‘50s when a clutch of writers, including Confusion is Sex-era Kim Gordon. Clocking in at a half Jack Kerouac and Langston Hughes, recorded with • Nik Bärtsch’s Ronin - Live (ECM) hour in its CD incarnation (the vinyl is pressed at 45 instrumental accompaniment. Only a few of these • Michael Blake - In the Grand Scheme of Things rpm and less two tracks), Brand New For China! doesn’t efforts, most notably The New York Art Ensemble’s (Songlines) overstay its welcome or much else. Once again: Cactus “Black Dada Nihilismus” and Charles Mingus’ “Scenes • Dan Block - Duality (Miles High) Truck gets things done. in the City” are wholly satisfying. Rather than being • George Cables - My Muse (HighNote) jazz with spoken word, these two were jazz and spoken • Dave King - I’ve Been Ringing You (Sunnyside) For more information, visit publiceyesore.com. This group word, with the speaker’s cadences intertwined among • Angelica Sanchez Quintet - is at Zebulon Nov. 1st. See Calendar. the music. Narcéte isn’t in that category despite the players’ Wires & Moss (Clean Feed)

qualifications. Erika Dagnino, who wrote the 10 David Adler, New York@Night Columnist selections, is an Italian author of nine books of poetry and three of prose and has performed alongside • Katja Cruz/Howard Curtis - musicians such as saxophonist Ras Moshe. Italian Lightning & Thunder (Ein Klang) Stefano Pastor, an award-winning violinist who has • Joe Harriott Quintet - Movement/High Spirits performed with pianist Borah Bergman, also reveals an (Columbia-Vocalion) unexpected talent as a bassist here. From England, • Bill Laswell - Means of Deliverance (Innerhythmic) trumpeter Steve Waterman was in Carla Bley’s big band and baritone saxophonist George Haslam has • Jason Robinson - Tiresian Symmetry (Cuneiform) played with almost everyone in his lengthy career. • David Virelles - Continuum (Pi) Continuum • Jesper Zeuthen - PLUS (Barefoot) Richard Sussman Quintet (Origin) So what’s the problem? With the musicians by Terrell Holmes playing exemplarily, the drawback is Dagnino and her Laurence Donohue-Greene material. The English translations that Dagnino emotes Managing Editor, The New York City Jazz Record As the title suggests, Richard Sussman’s album is a aren’t the highest form of prose-poetry. Many of the 10 study in endurance. By reuniting with some of the “chants” seem either needlessly prosaic or rife with • Michaël Attias - Spun Tree (Clean Feed) players who appeared on his 1978 debut Free Fall and pseudo-classical allusions that don’t jibe. It’s also • Han Bennink Trio - Bennink # Co. (ILK Music) presenting a diverse roster of new tunes, Sussman beneficial that the words are published in the CD • underscores how true musicality is never diminished booklet. For when the music pauses for Dagnino, she’s Fischermanns Orchestra - Sessions (Unit) by the passage of time. often difficult to understand. While her accented • Fred Lonberg-Holm’s Fast Citizens - In other words, the ol’ fellas still have it. Tenor English isn’t the same as foreign singers who learn Gather (Delmark) man Jerry Bergonzi steps in straight from the woodshed lyrics phonetically, misplaced accents or mumbled • Peter Knight - Allotrope (Listen Hear Collective) on the Jazz Messengers-inflected “Spare Change” and expressions add confusion. For instance “pinches” • Alexander Von Schlippenbach - his enthusiastic, harmonically challenging style sounds like “beaches” and “sticking fingers” like Plays Monk (Piano Solo) (Intakt) enhances the uptempo “Crossroads” and the ballad “chicken fingers”. Plus if she wants idiomatic English, Andrey Henkin “Theme For Ernie”. Randy Brecker plays trumpet and the expression is “hemming and hawing”, not Editorial Director, The New York City Jazz Record flugelhorn ( appeared on Free Fall), giving “humming and hawing” - poetic license or not.

14 November 2012 | THE NEW YORK CITY JAZZ RECORD Their take on Kurt Weill’s “My Ship” has a mythic air “Quintet”. It opens with a strained solo by Bowie that before dissolving into Corea’s own “Mozart Goes resonates with the trademark AEC sound. A full eight Dancing”, on which they are joined by the Harlem minutes of horn-and-drum meditation is allowed String Quartet. It serves as a fine reminder of the pair’s before saxophones step up and soft-spoken bass slides previous work with a string quartet in the ‘80s. But as underneath. A free blow is allowed to last only a few good as that piece is, this endlessly creative dynamic minutes before shifting down to another contemplation. duo really requires nothing more than each other to It can be seen as foreshadowing much of Jarman’s deliver what’s needed. career (which he has referred to as being the music of a peaceful and chaotic universe), ending in horn Hot House For more information, visit eaglerockent.com and harmonies that reveal their free-reigning groupthink. Chick Corea/ concordmusicgroup. Chick Corea and Stanley Clarke are at (Eagle Rock) (Concord) Blue Note Nov. 3rd-7th. See Calendar. For more information, email [email protected]. by Andrew Vélez Mitchell is at Roulette Nov. 4th with S.E.M. Ensemble. See Calendar. It was after first gigging together with Joe Henderson in the early ‘70s that Chick Corea and Stanley Clarke formed the iconic group Return to Forever (RTF). The UNEARTHED GEM double-disc-set-plus-DVD The Mothership Returns celebrates the fourth version of the band and its 2011 world tour along with RTF longtimer Lenny White (drums), Jean-Luc Ponty (electric ) and (electric and acoustic ). It was with RTF that Clarke, a virtuoso on the bass Before There Was Sound Early Combinations guitar, came to real prominence. In talking about the Roscoe Mitchell latest tour, Corea speaks of Clarke as “helping me to (Nessa) (Nessa) put the ship back on its course of unrestrained creative by Kurt Gottschalk communication and for being the undeniable inspirational force that he is to the creation of our The story of the coming of age of Roscoe Mitchell and ideals and in all our performances.” the Art Ensemble of Chicago (AEC) is one of the great Super Bass Wilbur Ware (Wilbur Ware Institute) That heady praise is borne out by the performances, tales of avant garde jazz, if not 20th Century American by George Kanzler as well as the conversations captured on the DVD in music. The band’s formative years are mostly known the set, which offer specific windows into their through a prolific two years spent in at the end of Back in 1957 we (college students from New Jersey) creativity. Corea and Clarke’s delight in each other’s the ‘60s but there were some ripples before they left for favored two jazz clubs in the Village that had company and their articulate detailing of how Europe. Mitchell’s Sound was the first commercial memorable bassists. Charles Mingus led his Jazz particular pieces came about deepens the enjoyment record to come out of the nascent Association for the Workshop at the Half Note and Wilbur Ware (1923- when listening to the Latin pleasure of Corea’s “Sénor Advancement of Creative Musicians and a year before 78) was with Thelonious Monk’s Quartet (with John Mouse” or Clarke’s signature piece “School Days”. that recording Mitchell got together with trumpeter Coltrane) . Ware’s sound was as These are pieces typical of the seemingly endlessly Fred Berry, drummer Alvin Fielder and future AEC distinctive and unmistakable as Mingus’, maybe creative rhythmic and textural changes that emerge bassist to record the eight tracks that even more emphatic. He evinced a booming, from their decades of mutual musical know-how. see their first release on Before There Was Sound. sonorous tone from the instrument, which he played Nowhere is that creativity more evident than on Mitchell hadn’t entirely come into his own by the with a percussive fervor, plucking out short, fully- the undulating rhythms of Ponty’s “Renaissance”. The 1965 session - there’s a strong Ornette Coleman formed notes. He could execute double- and triple- long passages of his sweetly pulsating violin are joined influence heard here, not just due to the instrumentation. stops with alacrity, but what impressed most was to White’s solid drumming and are nigh to hypnotic. No doubt part of what Mitchell saw in Coleman was his big sound and rhythmic drive, plus the sheer Corea chimes in and a mystical journey is further the determined spirit of forging one’s own path and narrative melodicism he could bring to what were deepened by Gambale’s cascading acoustic riffs. As the path Mitchell was to set out on is apparent on the primarily staccato, single-note line solos. Corea smilingly observes, “Of all the jazz rock bands of album. The shifting, near-unison horns of Coleman’s Plagued by addictions and ill health throughout the ‘70s, we are the last band standing.” No kidding. quartet would of course become a feature of the AEC, his life, Ware’s career was sporadic, his most Hot House finds Corea turning up the heat yet with played out in more dramatic and sometimes even sustained activity the years he spent in New York another longtime partner, vibes virtuoso Gary Burton. comical ways. The titles here are mostly Mitchell’s from 1956-62, including classic recordings with Their four-decades-long collaboration first began in (including two takes of “Carefree”, which would also Monk, (live with a trio at the 1972 when they performed a spur-of-the-moment be recorded by the AEC more than once, and “Jo Jar”, Vanguard) and as house bassist for the Riverside encore at a jazz festival in Berlin. Only a few months which would be recorded 25 years later by Mitchell’s label. This album, Ware’s last as a leader, was later they recorded their first studio album together, 3x4 Eye Ensemble) but there’s a lovely, loping ballad recorded in 1968 as part of “The Dolphy Series” for the now-classic . by Berry and a rare composition by Favors. It’s also Strata East but never released. Produced by Clifford What Burton characterizes as their “natural worth noting that if Mitchell hadn’t entirely come into Jordan, who also played tenor sax, it is an ideal reaction” together is heard on a collection from favorite his own at 25, he was still supremely capable of leading showcase for Ware, a bare-bones piano-less quartet composers from the ‘40s-60s. It opens with “Can’t We a strong session of distinctive music. date completed by ’s trumpet and Ed Be Friends”, a salute to Art Tatum. It’s a lighthearted By 1967, the AEC was starting to come together. Blackwell’s drums. take, which intentionally retains some of Tatum’s Mitchell and Favors were playing with Lester Bowie But the main attraction for Ware fans are two flourishes and stride/swing feel. What follows is a and “Jo Jar” dedicatee , both of whom long, unaccompanied bass solo tracks, “Symphony darker piece, ’ “Eleanor Rigby”, in which would be members of the longstanding quintet that for Jr.” and “By Myself”. Both are fully conceived Burton mirrors the uptempo urgency of Corea’s piano. came back from Paris. In September of that year, they and realized performances. The former manages to Jobim’s “Chega de Saudade” is a salute to , recorded two demos (with drummer Thurman Barker create melodic lines out of walking bass rhythms, with whom Corea and Burton played in the ‘60s. It and Charles Clark supplying a second bass on one) to enveloping the listener in Ware’s rhythmic work. opens with a glowing, slightly meditative Corea before send out to European festivals. Those two tracks saw The latter is more playful and exuberant, trills and Burton comes in with lines so in synch they seem to light as part of the five-disc set Art Ensemble: 1967-68 triple-stops announcing the theme out of the gate, have flowered out of the piano. (released by Nessa in 1993) and are available now on a Ware continuing with double-timing, slapping ’s title track gets a particularly single disc. The first of the two cuts, “A To Ericka”, strings on bass body and effortless octave leaps, vigorous workout as Burton sweeps into Corea’s shows the group already establishing its working illustrating the term “tonal virtuosity”, ending it all pulsating intro. Here again their high energy and methods, playing in distinct isolation and snapping with rhythmic authority. His powerful beat anchors melodic take is the perfect joining of piano and vibes. together on tight themes, using shouts and song the quartet tracks, often with his bass sharing a lead “Strange Meadow Lark” is taken from Dave Brubeck’s fragments, whistles and handheld percussion to role as well as solo space. Jordan’s “A Real Nice 1959 classic Time Out and gets a playful turn. There is a broaden the scope of their sound and creating a feeling Lady” is a seductive contrafact on “Sophisticated mercurial quality throughout this set, never more so that anything might happen. It’s actually two pieces, Lady”, the gem of the ensemble pieces. than on ’ “Time Remembered”. Corea opens the 22 minutes resolving in Jarman’s “Ericka”, another it with an ease as solid as it is pleasing. Soon it feels if track that the classic AEC lineup would revisit more For more information, visit wilburwareinstitute.org the tune has been gently wrapped in Burton’s vibes. than once. The second half is a Jarman piece entitled

THE NEW YORK CITY JAZZ RECORD | November 2012 15

one are by Blake and his work is rich in color and GLOBE UNITY: POLAND texture. He and his mates can be beautifully lyrical and evocative and then surprise with a funky groove or smart electronic effect. For example, opener “The Road to Lusaka” starts with percussion colors and JP Carter’s electronically altered trumpet and then evolves over a groove courtesy of Chris Gestrin’s keyboards and Dylan van der Schyff’s drums. The whole mood is evanescent - it slowly comes into being, does what it

A Postcard From the Road needs to and fades back into a pulsing quiet and then William Hooker Strings 3 (New Atlantis) to a kind of cosmic stillness. “Cybermonk” suggests by Fred Bouchard the jumpiness of Monk and moves forward with a terrific, ranging Blake solo that is virtuosic but ever Drummer William Hooker’s career trajectory began in musical. There’s lots of lovely melody here, too. “Willie Quachatta Samech (Tzadik) rock and soul (Isley Brothers, Dionne Warwick) and (The Lonely Cowboy)” is a glorious ballad that is Watching Edvard strode inexorably into free jazz while acknowledging moving emotionally, intelligent in its use of space and Ircha-Mikolaj Trzaska Clarinet Quartet (Kilogram) these roots. Here Hooker with two guitars (Edward variety of mood and fruitful in its improvisation, TOM TRIO Tomasz Dabrowski (ILK) Ricart, Dave Ross) and Glen Hall on tenor sax tear it up indicative of the whole of this very special recording. by Tom Greenland at Toronto’s Placebo Space in August 2011. Ted Nash reveals a world of influences on his Polish musicians from Krzysztof Komeda to the Seven slashing, driving tracks - the fades suggest tasty, adventurous new quartet album The Creep but Oles Brothers have embraced jazz for eight decades, these five-to-six-minute chunks may have been cut still emerges as his own person - he’s got an engaging currently active in thriving local scenes in Warsaw, from a longer suite - seem energized by a rough-cut tone, a unique approach to writing and a striking Cracow, Poznan, Gdansk and other areas. Recent African-inspired animus. The restless, protean, clarity of expression. The recording has everything: releases reveal the country’s eclectic legacy. inchoate melodies unfold as exuberant blues-tinged smart, communicative group interplay, thoroughly Samech, a string trio with percussion from 6/8 dance rhythms in animatedly gesticulating open- absorbing solo work and a great variety of mood. Cracow, debuts with Quachatta, a blend of western ended discussions and animated group dancing. The sinuous and sleek title tune finds the two classical, Ashkenazi and Middle Eastern musical From the powerful onset, a riveting five-minute horns playing a long and mysterious line deep in the influences. Founded by cellist and principal drum solo, Hooker’s kit commands center stage, with jazz tradition but still going into strange and wonderful composer/arranger Anna Ostachowska, the group spoken exhortations not unlike Charles Mingus’ prayer places. Trumpeter Ron Horton is a perfect partner for includes cellist Magdalena Pluta, double bassist meetings, in the role of chief locutor or deacon. Even Nash and his solo is open and dark at the same time. Marek Lewandowski and percussionist Robert when slightly detuned guitar chorales quietly lead in Then comes a bluesy bit of chaos in “Plastic Sax Sztorc, with ‘silent partner’ Agata Krauz, writer on some segments (on “Harmony” and “Tantri” they Rumble”. It’s as raucous as the title suggests but, half the tracks. Many melodies use the Ahavo Rabbah sound like a harmonium or computer-tweaked), again, these players, buoyed by the ferociously mode, with minor second and major third pitch Hooker’s brushes swish a turbulent undercurrent. swinging rhythm of bassist Paul Sikivie and drummer intervals, a distinctive color often associated with Hall’s role is that of an occasional testifier, usually Ulysses Owens, take the seeming disorder into Greek, Turkish and especially Jewish musics. buoyed (sometimes drenched, as on “Kulit”, Tagalog controlled and always appealing structure. The bubbly Sztorc’s hand percussion, favoring Arabic dumbek for ‘pesky’) by Hooker’s unrelenting tidal whitecaps. “Twilight Sounds” seems like a mélange of lovely riffs rhythms, lifts the low-pitched strings. “Sun Salute” The recording is primitive: this grainy black-and- from real and imagined jazz classics. Both horns solo in and “Zwiertnuk” are particularly strong, the former white postcard arrives dog-eared and manhandled, a more frenetic way, suggesting that possibly twilight for graceful chords and responsorial gestures, the but with its powerful message incontrovertible. is just turning into full-fledged night. All of this music later for rhythmic interplay and charismatic solos. sounds somehow both freeform and exceptionally well Mikolaj Trzaska’s Ircha, a quartet of Bb and For more information, visit facebook.com/NewAtlantisRecords. planned. bass , is another chamber group blending Hooker is at The Firehouse Space Nov. 4th. See Calendar. The moods from the John Gallagher/Vardan Jewish and jazz influences. Watching Edvard, their Ovsepian recording Nocturnal Prophecy all seem to second date, contains restrained tone poems that come from a quiet night. It’s a daring endeavor to take explore the rich timbres of the low reeds, posing on such uniformly shadowy and sleepy sound picture, three bass clarinets against a single Bb, or vice versa, but this recording is the aural equivalent of, say, a film or two-on-two. Most of the tracks are co-composed, by a stylist in which the pictures drawn are so singular providing minimal but cohesive scaffolds for free- and different that they create a new and different flowing improvisation, often consisting of held-out, world. The music is never overly brooding. pulsing chords or staggered contrapuntal textures, Saxophonist Gallagher and pianist Ovsepian met both dense and sparse, with extended techniques at the Maine Jazz camp and the result of their work at such as tongue-slaps, aspirated notes and bird calls. that facility has found individual and unmatched “Cenozoic-Kenobi” embodies the group’s strengths, fruition. “New Objects Old Game” opens this from the opening four-way free-for-all to a barely excursion, exquisitely slow and atmospheric. The audible section of pinched whispers followed by piano tolls insistently but sparingly while the In The Grand Scheme of Things lush lyricism, ending with Bb clarinet ‘call’ to the saxophone spills out a breathy paean to the night. It’s Michael Blake (Songlines) choir with microtonal pitch shadings. The Creep Ted Nash (Plastic Sax) over before we know it but we also know that quite a Tomasz Dabrowski’s TOM TRIO, with bassist Nocturnal Prophecy lot has been expressed in that short space. And that Nils Bo Davidsen and drummer Anders Mogensen, John O’Gallagher/Vardan Ovsepian (Red Piano) short form defines most of what we hear here. features the young Polish trumpeter in a subdued by Donald Elfman “Damnable Soul” is the longest track at over eight but expansive set of originals, recalling the folksy minutes and suggests a solitary walk through the futurism of Ornette Coleman, with hummable Here are three new recordings with saxophones in the darkest part of the night. Sure it’s lonely but seems to melodies that morph unexpectedly. A subtle sonic lead with music that is vital, in-the-groove, lyrical, find a universality in that loneliness. By the time the colorist à la Nate Wooley or Cuong Vu, Dabrowski smart - all the finest qualities to assure that the music last of the 18 tunes comes around - “Old Object New shades his rich, warm tone with squelches, half- continues and that new instrumentalists will thrive. Game” - the night is drawing to an end and it’s time to valvings and wah-wahs to achieve a bright but On Michael Blake’s latest recording In The Grand face the morning or quietly find solace in sleep. burred effect. The trio synchs seamlessly, plodding Scheme of Things, he uses words by writer Michael lyrical melodies bolstered by Mogensen’s active but Ondaatje in the notes: “There is a story always ahead For more information, visit songlines.com, tednash.com and unobtrusive percussion to expand and unfold mid- of you. Barely existing. Only gradually do you attach redpianorecords.com. As part of the Jazz Composers track. Highlights include the chameleonic “Cold yourself to it and feed it.” Blake seems to be a searcher Collective Festival at Jazz Standard, Blake plays Nov. 9th Hands” and “CPH Talk”, the intimate dialogue of for that story and he feeds it by looking around in the with Herbie Nichols Project, 10th as a leader and with Ben “Triangle” and the ever-changing but ever-swinging present and past to find ways of being extraordinarily Allison and 11th as a leader and with Herbie Nichols tempos of “This Way Up”. expressive. Project; Nash plays Nov. 8th with Ron Horton, Nov. 9th as There is so much sound in this recording coming a leader and with the Herbie Nichols Project, Nov. 10th For more information, visit tzadik.com, kilogram.pl and from the depth and breadth of Blake’s experience and with Ben Allison and Nov. 11th with the Herbie Nichols ilkmusic.com imagination, but also from the creative way he works Project; O’Gallagher plays Nov. 8th with Ron Horton/Tim with his fellow musicians. All the compositions but Horner. See Calendar.

16 November 2012 | THE NEW YORK CITY JAZZ RECORD visitors center: OPEN M-F 10 AM - 4 PM 104 E. 126th Street, #2C, New York, NY 10035 (Take the 2/3/4/5/6 train) WWW.JMIH.ORG

THE NATIONAL JAZZ MUSEUM IN HARLEM PRESENTS

Quartet Elevated Vegetation Max Johnson Max Johnson (Not Two) (FMR) by John Sharpe Harlem Speaks Bassist Max Johnson has gigged around town with A SPECIAL SERIES HONORING HARLEM HEROES bluegrass and out-jazz ensembles and popped up with masters such as Anthony Braxton. Now come his first 11/15: Ted nash 11/29: bill kirchner two releases featuring a roster of hoary and contemporary talent. If you run with the fastest, you Saxophonist Saxophonist need to be able to keep up, but with his big sound and fertile imagination that’s no problem. Over the past two years, he has penned a program of well-crafted Time: 6:30 --- 8:30 pm Price: Free LocaTion: The NJMH Visitors Center, 104 E. 126th Street, 4D charts, far from blowing vehicles, whose interlocking # parts corral his resources to unpredictable ends. And what resources he has assembled in his eponymous quartet debut. Exciting soloing is almost saturday panels guaranteed from the likes of trombonist , 12:00 PM – 4:00 PM • FREE whose subtly shaded lines are ripe with bluster, and Jazz for Curious Listeners FILMS, PANEL DISCUSSIONS & LIVE MUSIC reedman Mark Whitecage, whose accomplished seat- of-the-pants navigation can’t mask an irrepressible Tuesdays 7:00 - 8:30 p.m. Nov. 17: Hearing Tremé swing. But all are integrated into a strong group ethos. The NJMH Visitors Center, 104 E. 126th Street, 4D On “Lost & Found (for Henry Grimes)”, the trajectory # A New Orleans Jam Free classes celebrating Harlem and its legacy. mirrors that of its dedicatee. After an appropriately Attend any individual class. hairy bowed introduction, a dirge-like theme frames a NJMH Visitors Center, 104 E. 126th St., #4D minimalist collective exchange, which gives way to a nimble-fingered pizzicato statement full of interpolated Tuning into TremE with Larry Blumenfeld, asides. That in turn blossoms into a duet with Swell’s The Wall Street Journal muted ‘bone, followed by a triumphant passage for 11/6: Bands on the Run Whitecage’s mellifluous serpentine clarinet, before a 11/13: Tremé at 200 - Maysles Cinema Jazz at The Players return to the opening device. Elsewhere sometimes Nov. 14: Wayne Escoffery w/ Danny Grissett, there is a disconnect between the themes and the (343 Lenox Avenue between 127th & 128th) Ugonna Okegwo, Mike Clark ensuing arrangement, which perhaps betokens an 11/20: In The Tradition? additional layer of compositional intrigue. On “60-66” 11/27: Do You Know What It Means? a boppish head presages an extended series of rapidly 7:00pm | $20 | The Players, 16 Gramercy Park S. [email protected] | 212-475-6116 alternating mercurial duets while the klezmer-tinged whirl of “Iset-Ra” bookends an initially finger- propelled excursion of customary precision and timbral wit by drummer , building into pulsating freeform episodes for trombone and alto. On Elevated Vegetation, the bassist’s working trio, completed by cornetist Kirk Knuffke and drummer Ziv Ravitz, takes a spin through six more of the leader’s Christian McBride & Jonathan Batiste originals, along with one from the trumpeter and two unlikely covers. Even allowing for the reduced TOGETHER IN CONCERT! numbers, the arrangements are noticeably more BENEFIT CONCERT spacious and skeletal. Both materials and methods A concert to benefitThe National Jazz Museum in Harlem have been completely internalized making ever- featuring: Christian McBride Trio, Jonathan Batiste and the Stay Human Band sudden transitions seem natural. With his soft but The National Jazz Museum All-Star Big Band,led by Loren Schoenberg, articulate attack and understated lyricism, Knuffke is an equal partner in an inverted triangle, which has featuring: Janis Siegel Ravitz supplying momentum and color at its base. Their rendition of Abba’s “Money, Money, Money” provides a good illustration of the bassist’s thinking, For more information or to buy tickets, go to: with the almost unrecognizable low-key exposition providing the loosest of structures off which to hang a http://www.jazzmuseuminharlem.org/evite/ diaphanous improvisation. Elsewhere heads and riffs or call 212-348-8300 x106 act as the anchor points on an otherwise sheer face of spontaneous interplay, with the airy “” and Thursday, November 8, 2012 the trumpeter’s angular “Meta Analylitcal Procedures 6:30pm Reception | 7:30pm Concert | El Teatro at El Museo del Barrio for Social Research” particularly fine. Knuffke’s rumination against an almost subliminal tattoo 1230 Fifth Avenue @ 104th Street, New York, NY introduces a heartfelt soliloquy from the bassist on ’ “Bali H’ai” for a gentle close to an album whose depths repay longer acquaintance. t h e DOCTOROW FAMILY FOUNDATION For more information, visit nottwo.com and fmr-records.com. The trio is at The Stone Nov. 8th, the quartet Nov. 29th. See Funded in part by Council Member Inez E. Dickens, 9th C.D., Speaker Christine Quinn and the New York City Council Calendar.

THE NEW YORK CITY JAZZ RECORD | November 2012 17

Kerouac exclaimed, “Responsibility? Who wouldn’t Fonda original, a jagged line that moves into free help a dying man on an empty road!” His comment territory, testing the free improv chops of the young addresses a fundamental characteristic of human drummer. “Trio Generations” by Fonda is a beautiful, interaction and, consequently, musical interaction moody, almost expressionistic piece, which features when two or more improvisers assemble. They share some of Stevens’ most trenchant piano work of the set. the responsibility either to communicate with each On the final two tracks the band is joined by saxophonist other or not, but the decision is integral to their Lily White for the title track and “Boot Camp”, both freedom. TranceFormation’s debut shows that when her compositions. White is an engaging saxophonist such considerations are taken seriously, the resulting with a full-bodied tone and the band delivers the songs

The Matador and the Bull music can be miraculous. with vigor. But these two tracks seem apart from the JD Allen (Savant) The disc’s opening phrases give the game away. rest of the set and break the deep piano trio spell this by Jeff Stockton Bassist Ken Filiano begins a line and pianist Connie group had woven previously. But even as it stands, Crothers continues it, both acting with the absolutely Side Effects is a worthwhile enterprise. JD Allen and his rhythm section deliver The Matador natural simplicity of a conversation. This happens In 2009 Fonda recorded a trio session with German and the Bull as a novel concept. No, not the bullfight repeatedly as the music proceeds; there’s a remarkable pianist Patrick Bebelaar and bassoonist Michael metaphor. It’s the fact that the album lists 12 titles and moment in “Whale Song” where Filiano hints at a Rabinowitz. Between Shadow and Light is a follow-up of yet clocks in at just over 40 minutes. No 20-minute pulse, Crothers offers a bluesy retort and the two lock sorts with Rabinowitz being replaced by legendary cuts. No ten-minute cuts. In fact, the experience of into a groove that broadens and pervades the texture. German trumpeter Herbert Joos, one of the major listening to this CD is so self-contained, succinct and Hearing the pitch complexes on offer, vocalist Andrea players in the Vienna Art Orchestra with a large relatively brisk that I was tempted to rip it to my Wolper circles the pattern, ultimately adopting and number of his own releases dating back to the mid ‘70s. computer as a single continuous work. flavoring it with swells and sudden full-voice bursts. Joos, whose soft, breathy sound seems almost to be a Allen has earned a lot of recent attention for his These switches from parallel to serial listening are template for modern day trumpeters like Nils Petter band’s economy of approach and the title cut kicks off delightfully unpredictable and satisfying on many Molvaer, is all over this disc. He’s complemented by the album with a swift hardbop statement delivered levels, speaking to deep listening and collaboration. Bebelaar’s strongly melodic piano with Fonda’s deep, via Allen’s authoritative tone on . Crothers and Filiano have fostered a well-documented sonorous bass both contrasting and complementing Rhythmic interaction among Allen, bassist Gregg musical relationship in her quartet, but these the lighter aura of the other two players nicely. Fonda’s August and drummer Rudy Royston catapult the performances mark the first time that Wolper has “Small Melody For A. Schoenberg” captures the music through the first three cuts before the first recorded with them. The timbre of her voice conjures essence of this session: a beautiful melody etched by  audible break and lowering of energy for the ballad uncanny shades of and , drawing Joos, Bebelaar’s inside-the-piano work and Fonda’s “Santa Maria”. August handles the segue into on rhetoric that juxtaposes ‘soul’ slides and operatic bass lending a mysterious underpinning. This session “Cathedral”, bowing his bass before being joined by bloom with easy skill. Her collaborators demonstrate wouldn’t sound out of place in ECM’s current Royston’s splashing cymbals and Allen’s continually similar diversity, jumping into tradition with acrobatic catalogue. searching, exploratory lines. “Paseillo” ratchets up the dexterity and casting it aside with the muscular  tempo with Royston’s pulse getting a bit more regular certainty only experience affords. Ben Manley’s For more information, visit artistsrecordingcollective.info and August’s bass moving from a walk to a trot. recording is gorgeous as usual and it captures each and doublemoon.de. is at 92YTribeca Nov. 10th “Erlanger” arrives in the middle of the program and detail of the multivalent interaction that inhabits every with Joe Fonda/Michael Jefry Stevens Group. See Calendar. serves as a showcase for a controlled torrent of Allen’s moment of this group’s excellent first offering. May ideas. Just as you’re getting into it, the band resolves there be many more! the melody, the track stops and it’s on to the next. They “Masters at work and   say what they have to say and move on. No time to For more information, visit newartistsrecords.com. This play, whose music is waste. group is at I-Beam Nov. 9th. See Calendar. Whenever a CD doesn’t wear out its welcome and “Masters atirrepressibly work and play,individual without ever being presents jazz music with conventional instrumentation, whose music is irrepressibly  it’s said to evoke “the classic era of ”. individual withoutabout theirever masterybeing That comparison is as tired as the struggle between about their ormastery individuality.” or matador and bull, but in the case of the JD Allen Trio, individuality.” Cadence Magazine  bringing up Blue Note couldn’t be more apt. Allen Cadence Magazine conjures memories of John Coltrane, Wayne Shorter and Joe Henderson, et al, while the music he makes with his bandmates is made the old-fashioned way: it’s melodic, conveys emotional content, lacks self-  indulgence and rewards and encourages repeated Side Effects Between Shadow and Light The Matador and the Bull Julian Priester,New Recording trombone Project: listening. goes down easy and Trio Generations Bebelaar/Fonda/Joos leaves you hungry for more. (ARC) (Double Moon) David Haney, BLANKET piano FOR THE MOON by Robert Iannapollo For more information, visit jazzdepot.com. Allen is at Smoke Nov. 9th-10th with Jeremy Pelt and Rose Hall Nov. Bassist-for-all-seasons Joe Fonda is always involved Primitive The Art crowdfunding OrchestrA campaign to 16th-17th with Jazz at Lincoln Center Orchestra. See in a multitude of his own projects but he also seems record and produce a new CD  Calendar. game to collaborate in many unusual group settings. of PrimitiveNew Art Recording Orchestra Project:with One combination he seems to favor most is the trio,  Julian Priester. especially the piano trio. His long-standing collaboration with pianist Michael Jefry Stevens has Blanket for the been ongoing since the late ‘80s and actually predates For more info, visit moon the forming of their long running Fonda/Stevens www.martincrowdfund.com Group. The bassist and pianist began performing as Trio Generations about two years ago with The crowdfunding campaign 20-something Austrian drummer Emil Gross. This has to record and produce a new developed into quite an enterprising side project and CD by Primitive Art Orchestra  the results on the new CD Side Effects bode quite well with Julian Priester. for the future of the group. TranceFormation In Concert The material on Side Effects, primarily by Fonda Connie Crothers/Ken Filiano/Andrea Wolper To help fund this project or for and Stevens, has mostly been performed in other (New Artists) more information visit by Marc Medwin bands. “Parallel Lines” goes back to the mid ‘90s as the www.martincrowdfund.com title track of Fonda/Stevens’ second album. It’s a good  50 years after it became a topic of public interest and one to pull out, a complex and multi-sectional controversy, many still have the wrong idea about construction that requires a drummer to be on top of  freedom in improvised music. In one of those “What is his game. Gross rises to the occasion, segueing in and the Beat Generation” lectures of the late ‘50s, Jack out of the passages with ease. “Full Figure” is a new    18 November 2012 | THE NEW YORK CITY JAZZ RECORD 

 

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things off with an unexpected tone-rousing march, and on “Autumn Kiss”, where he shows off on a series leading the ensemble not to a passionate battle of wills of rapid runs. Rosenwinkel plays a bluesy guitar on but a grotesque dismemberment of traditional “We Shall Meet Beyond The River” and stands out ensemble dynamics, as previously groovy bass quickly with compelling statements on “Venus As A Boy” and digresses into backwards drones and feedback. “Gate 29”. Sung is in great form with her piano fills “Love Segment” features heavily processed bass and solos, most notably on “Gate 29” and the title and rumbling percussion textures, with Bernstein’s track, which also features some delicious Gilmore delay-laden vocals instigating a tumultuous sonic drumming. excursion. The violin is featured more heavily on This well-put-together CD (produced by Ornig)

Cookbook “Februarists”, with bass and drums setting up a can only increase Ornig’s visibility on the jazz scene as Thomas Heberer’s Clarino (Red Toucan) frenetic tempo that eventually collapses into a beautiful a fresh instrumentalist and composer. by Stuart Broomer ending. “Comic Reactions” finds heavily processed bass setting up an evocative time feel, one that serves For more information, visit irisornig.com. Ornig is at Blue Thomas Heberer is a German trumpeter of thoughtful not as a foundation but as a focal point, as percussion Note Nov. 11th and The Garage Nov. 25th. See Calendar. phrase and subtle wit, best known for his long-running and violin maintain a resolute focus on texture and presence in the Orchestra. In colors. Bernstein’s poetry on this track plays with recent years he has also aligned himself with a group expectation in that every line suggests a move towards of younger New York-resident musicians with more conversational approach, which ultimately does European backgrounds and a common aesthetic. not materialize, her words instead emerging and His group Clarino includes Belgian clarinetist receding from the abstract textures. Joachim Badenhorst and French-German bassist Pascal “Pain Glorious” calls to mind the irreverent Niggenkemper. Heberer’s system of graphic notation excesses of ‘70s arena rock, highlighting the particular that he calls “Cookbook” was employed on the group’s elements that perhaps linked Miles Davis and Jimmy first CD (Klippe, Cleanfeed, 2011); for this recording, Page in those days. Of course, in Iron Dog land, such Heberer has extended the system to include specifically cultural references are balanced by only the most notated passages as well, creating a mixed methodology delightfully esoteric of percussion techniques and that structures, conditions and grows with the indecipherable bass loops. improvisation. Where one method begins or ends, The mix of violin pizzicato and poetry on “He though, is unlikely to be immediately apparent to the Said Writing” and the closing track “Is It For Breaking” listener: the 12 short works are virtually seamless, free- bring to mind the classic Iron Dog sound, the latter form chamber pieces that assume their ultimate shape offering a rather ruminative ending, as Drury’s bowed with a refinement that might be achieved through any cymbals fade into darkness. of the methods involved when employed by musicians of this level. Heberer, Badenhorst and Niggenkemper For more information, visit phaseframemusic.com. This are all masters of varied sonorities, consistently giving group is at JACK Nov. 10th. See Calendar. the music a particularly beautiful surface, whether it’s

Heberer’s subtle use of mutes, the controlled overtones of Badenhorst’s or the woodiness of his soprano or the cello-like sweetness of Niggenkemper’s New Release bowed upper-register. 2012 There’s often a spaciousness here and it connects with the breadth of timbres to suggest a much larger The first performance of group. It might feel like chamber music, but there’s the trio that became Trio X nothing precious about it: it’s controlled, focused and, in its own spare way, intense. The Joe McPhee Trio No Restrictions For more information, visit www3.sympatico.ca/cactus.red/ Iris Ornig (s/r) toucan. Heberer is at 92YTribeca Nov. 10th with the Fonda/ by Marcia Hillman FIRST DATE Stevens Group, Seeds Nov. 14th with Joe Hertenstein and Live at the third annual Vision Festival El Taller LatinoAmericano Nov. 15th with Karl Berger. See No Restrictions is bassist Iris Ornig’s second CD outing Calendar. as leader. Ever since this German-born instrumentalist relocated to New York City, she has been a frequent

collaborator with musicians like Joel Frahm, and Gretchen Parlato in clubs such as Blue Note, Jazz at Kitano, Joe’s Pub and Zinc Bar. Her cohorts here for eight Ornig original compositions and two covers - Björk’s “Venus As A Boy” and the late Michael Jackson’s “The Way You Make Me Feel” - are trumpeter Michael Rodriguez, guitarist , pianist Helen Sung and drummer Marcus Gilmore. As a composer, Ornig is of the less-is-more school. Interactive Album Rock Her melodies are spare but lyrical and her chord Iron Dog (Phase Frame Music) by Wilbur MacKenzie changes often go to interesting and unexpected places. She is an advocate of the mainstream and knows how Iron Dog started as a duo with the wife/husband team to construct a standard AABA song form (unlike many Joe McPhee of Sarah Bernstein on processed violin and vocals and contemporary jazz songwriters who compose only riffs tenor and soprano saxophones and pocket trumpet Stuart Popejoy on electric bass and . The and pass them off as ‘songs’). As a player, Ornig has a mix of Iron Dog’s abstract poetry and electroacoustic mellow sound and feel to her bass work. She is solidly bass textures owes much to the sonic experimentation behind the ensemble on every track and shines with generally associated with ’s ‘70s recordings her conversational solos on “The Way You Make Me and ‘80s No Wave (which initially gained wider Feel” and the bop-oriented, toe-tapping closer drums attention through Eno’s No New York compilation). The “Uptight”. addition of drummer Andrew Drury and the occasion From the position of leader, Ornig has put together North Country Distributors to make their first studio recording results in a more a group that is very tightly knit. Rodriguez has a Cadence Building, Redwood, NY 13679-3104 completely immersive musical experience that captures wonderfully clear tone and carries the initial melody Tel: 315-287-2852 s Fax: 315-287-2860 the group’s live performance potential. on each of the tracks. He shines on the surprisingly Email: [email protected] The opening track, “Like The Slow Train”, kicks swinging rendition of “The Way You Make Me Feel”

20 November 2012 | THE NEW YORK CITY JAZZ RECORD

sung in Japanese. Perhaps this is because the non- Sperrazza matches their cadence. Nodding to sci-fi cult Japanese speaking listener is better able to focus on her favorite They Live, the bouncy head of “Nada vs. emotion and interconnectedness with her piano and Armitage” fuels the quartet’s improvisations: Pavolka band - an apperception of the whole based on one’s twists and stretches the phrases; Holmes blows subtle own experience as opposed to a perception of the lyric. then forceful squalls; Hasselbring bounds over and Regardless, each of these pieces impress as a beautifully spars with the groove and Sperrazza plays it out with delicate reminiscence. a flurry across the kit. “Alfama“ is a subtle vision of yearning and On just his second release as a leader, Holmes remembrance that includes touching arco establishes himself as a performer and composer to

Thoughts on God deftly matched by Stillman’s alto. “Immigrants“ is a note, craftily expressing a range of emotion and Eric Person (Distinction) brilliant portrayal of pathos, opening with an ethereal influence within seemingly traditional jazz settings. by Alex Henderson voice/guitar harmonic pairing of Pavolka with guitarist Nate Radley. The latter’s touch and Guillermo For more information, visit skirlrecords.com. This group is at Spiritual music has been influencing jazz for many Klein’s Wurlitzer are central to many of these pieces, ShapeShifter Lab Nov. 12th and Barbès Nov. 13th. See Calendar. years. Duke Ellington incorporated elements of gospel both in setting the mood and broadening the sound. at times; John Coltrane, Alice Coltrane, Pharoah “Tango” features drummer Bill Campbell up in the mix Sanders and Lonnie Liston Smith were all influenced as he sets up a walking rhythmical figure that defines by Hindu ideas. So if a jazz improviser wants to record this dance. The title cut closes out the session as a an album with some type of spiritual focus, there is a peaceful ballad, which includes vocal harmony lot of history. between Pavolka and Klein. Alto and soprano saxophonist/flutist Eric Person’s While the current state of the world may make it Thoughts on God doesn’t express spiritual ideas with seem like Mahoroba is slipping further and further any lyrics, the extended 12-movement suite totally away, Pavolka and her House of Illusion skillfully instrumental. Instead, Person creates a spiritual mood assemble around these heartfelt compositions to pull it with his melodies, harmonies and saxophone playing, a tiny bit closer. sometimes recalling the mid ‘60s albums of Coltrane and Sanders. There are hints of Ellington on “Never For more information, visit freshsoundrecords.com. Pavolka Far from His Grace”, but the Coltrane/Sanders is at ShapeShifter Lab Nov. 12th. See Calendar. aesthetic is a stronger influence on “Song of Praise”,

“Soothes the Soul” and the probing “The Lighted Way”. Thoughts on God has both a Hindu/Eastern and a biblical connection. While Person’s melodies and harmonies clearly owe something to Eastern aesthetics, some of the song titles have biblical references: “And Then There Was Light” is a Book of Genesis reference from the Old Testament while “All Those with Ears Hear” is a Book of Revelations reference from the New Testament. The optimistic “Gratitude” has a delightfully churchy, Sunday-morning feel. Anvil of the Lord Person has usually been heard in small groups, Ben Holmes Quartet (Skirl) but here he leads a 13-piece ensemble. And while he is by Sean Fitzell the main soloist, there are also enjoyable contributions from trumpeter/flugelhornist Duane Eubanks, pianist With its 20th release, trumpeter Ben Holmes’ Anvil of Adam Klipple, vibist Bryan Carrott and others. With the Lord, Skirl Records again proves its aesthetic Thoughts on God, Person offers an engaging reminder of commitment to vibrant, sincere performances. Unlike the role that spirituality can play in the jazz tradition. other catalog titles that unabashedly flout genre notions with extreme experimentation, Holmes leads a For more information, visit ericperson.com. Person is at more traditional two-horns-plus-rhythm quartet in a Blue Note Nov. 12th. See Calendar. jazz romp. That’s not to say that the music is staid or old-fashioned, but it weaves its influences more subtly without rending the forms. Holmes pairs with Curtis Hasselbring’s trombone for an uncommon two-brass frontline and they echo or complement each other with uncanny interplay that bolsters the nine originals. Bassist Matt Pavolka and drummer Vinnie Sperrazza propel the brass with solid grooves and rhythmic creativity to help shape the music. Insistent ride cymbal paces “A Doodle for Rhapsody”, forming a deep pocket with the taut , buoying the horn’s regal theme. Without Mahoroba wavering from the groove, Sperrazza prods the Akiko Pavolka & House of Illusion (-New Talent) spiraling soloists with effective fills and accents. by Elliott Simon Emerging from the lilting melody, Holmes builds a Our Latest Release narrative that plays off the bass before ceding to Deeply felt vocals sung in Japanese against a band Hasselbring’s elegant turn and Pavolka’s tuneful solo Trio is the long-standing improvising unit of Dartmouth perfectly in tune with her timbre and phrasing define on “Magic Mondays”. Holmes boasts clarion tone that pianist/vocalist Akiko Pavolka’s Mahoroba. The title is figures prominently on the lovely unfolding of “Moved composers Kui Dong, Larry Polansky and Christian Wolff. an allusion to an illusion, a fictional Japanese land of Like a Ghost”, his effective mute coloring the lolling perfect harmony. Pavolka’s voice is deeply resonant, swing of “Kingston” and Hasselbring responding in They have crafted a disc of singular beauty, huge contrast hyper-mature in a way and carries with it a gorgeous kind over the accelerating rhythm, the two exchanging and immense power. round resonance that blends incredibly well with both quips through the fadeout. Loren Stillman’s expressive alto and Matt Pavolka’s Pavolka’s probing line supports Hasselbring’s emotive bass. Her piano style is measured and likewise hushed introduction to “Otesánek”, which evolves richly tonal, imparting an overall harmony to into a marching feel spurring the Eastern European- compositions that stylistically borrow from and blend tinged theme and Holmes’ effervescence, as he pops HenCeforTH records together pop, jazz and Japanese balladry. notes in tandem with the snare hits. The bassist’s www.henceforthrecords.com Her allusion to a state of perfect harmony comes galloping opening pushes the title track’s whirling through loudly and clearly even though her lyrics are horn parts - first phased, then joined in unison - as

THE NEW YORK CITY JAZZ RECORD | November 2012 21

de Holanda. “Take the Coltrane”, and on a pair of originals Double Portion, in keeping with the duo dedicated to his sons, “Teddy” and “Little B’s Poem”. configurations correlating to the biblically derived DeFrancesco has mellowed over the years, too. Once a title, features Castaneda playing two different harps, bit of a bombastic player, prone to overly frequent the folk harp native to South America and the classical displays of his full pyrotechnical arsenal, he’s learned instrument of European origin. The opening title track, to play with greater subtlety and nuance, as on the title an exciting duo excursion with Rubalcaba, features tune and the ballad staple “My Foolish Heart”. And he him on the former in a rhythmically expansive, and Hutcherson play off each other terrifically, harmonically rich environment. On the unaccompanied particularly on the hard-charging closing take on

Double Portion “Zeudi” that follows, he exhibits an appealingly Gershwin’s “S’Wonderful”. Theirs is a bit of an Edmar Castaneda (Arpa Y Voz Productions) delicate lyrical impressionism on the classical harp. “A unexpected collaboration, but it’s certainly a by Russ Musto Harp In New York”, once more with arpa llanera, pairs worthwhile one. Castaneda with Zenón in an Africa-New York- Another example of vibes with organ has now Very few musicians have revolutionized the approach influenced rhythmic setting, the harpist projecting a been reissued, featuring the superb, but underrated to their instrument and its sound in jazz on the scope raw folkish primitivism from the instrument’s sonic vibraphonist . Blue Vibes/Happy Ground achieved by Colombian harpist Edmar Castaneda palette in contrast with the rich liquid sound of the alto pairs two early ‘60s albums by Lytle, who recorded during his relatively young career, possessing a while the solo “Poem Of Strings” displays a pretty with everyone from Louis Armstrong to Miles Davis heretofore-unheard stylistically inventive virtuosity melodicism on classical harp. Astor Piazzolla’s (Lytle began his career in the late ‘50s as a drummer), on “el arpa llanera”. Castaneda’s unique ambidextrous “Libertango”, the date’s one piece not penned by but never really established himself as a major jazz handwork finds him playing engaging melodies and Castaneda, is a thrilling tour de force dancing string figure despite close to two dozen albums as a leader improvisations simultaneously with powerful outing featuring folk harp and mandolin. Brazilian from 1960-92. It’s not from any lack of talent, however. basslines concurrently informed by the deep rhythms rhythms are played by classical harp on the solo “Ocaso Lytle has serious chops and a pop-leaning style that of the AfroCuban and jazz traditions, as he plucks, De Mar” and the bracing cadences of the Joropo music draws on fellow vibraphonists , Lionel strums and hammers an amazing array of sounds from from the plains of Colombia and Venezuela come alive Hampton and . the strings of the chordophone. On his previous two on the Rubalcaba-Castaneda duet “Quitapesares”, Both albums feature Lytle and his main foil Milt releases he demonstrated his imposing talents, both as which demonstrates the rich sound of the arpa llanera Harris on organ, along with two different drummers, an instrumentalist and composer, within the context of in its natural setting - much as the pastoral Debussian including a young Albert “Tootie” Heath on Blue Vibes. his idiosyncratic trio of trombonist Marshall Gilkes beauty of “Portrait D’un Jardin” does for its European The mood here is heavy with a touch of and multi-percussionist David Silliman, intermittently counterpart. Castaneda and Zenón come together one bebop, the material mostly standards except for a pair adding guests such as Paquito D’Rivera, Joe Locke, more time on “A La Tierra”, an exhilarating episodic of Lytle originals per album and Milt Jackson’s “Movin’ Mike Rodriguez and John Scofield to the mix. Here he flamenco-tinged dance that is equally passionate and Nicely” from Blue Vibes. It’s a heck of a lot of fun and pares down the instrumentation, but not the music’s brooding. The concluding “Samba for Orvieto” finds well worth searching out. sound, on a date divided evenly between solo the harpist alone, once more proving that he needs no performances and a series of duets with Cuban pianist company to deliver similar excitement. For more information, visit kindofbluerecords.com and Gonzalo Rubalcaba, Puerto Rican alto saxophonist freshsoundrecords.com. Hutcherson is at Allen Room Nov. Miguel Zenón and Brazilian mandolin player Hamilton For more information, visit edmarcastaneda.com. Castaneda is 16th-17th as part of a Joe Henderson tribute. See Calendar. at Americas Society Nov. 13th, 19th and 26th. See Calendar. The New York City Jazz Record take our 10th anniversary

questionnaire online! Somewhere in Blue Vibes/Happy Ground the Night Johnny Lytle Trio (Jazzland/Riverside - (Kind of Blue) Fresh Sound) by Joel Roberts Vibes and organ is a relatively rare combination in jazz - so rare, in fact, that until veteran vibraphonist and NEA Jazz Master Bobby Hutcherson began working with Joey DeFrancesco a few years ago, he had not recorded with an organist since he cut a pair of mid ‘60s sides with Big John Patton and NEW YORK’S ONLY (with Larry Young on the B3). Recorded in October 2009 at Dizzy’s Club in New HOMEGROWN JAZZ GAZETTE! York, Hutcherson’s new release Somewhere in the Night, his first in three years, features the vibraphonist • EXCLUSIVE CONTENT ON JAZZ AND alongside DeFrancesco and his trio of guitarist Peter Bernstein and drummer Byron Landham. Like a lot of IMPROVISED MUSIC IN NEW YORK CITY former radicals, Hutcherson, who was one of the most • COMPETITIVE & EFFECTIVE ADVERTISING: innovative artists of the ‘60s when he appeared on seminal albums by fellow free thinkers like Eric [email protected] Dolphy, Andrew Hill, Archie Shepp and Jackie McLean, has settled comfortably into the mainstream as he’s • SUBSCRIPTIONS AND GENERAL INFO: grown older - though it’s a mainstream he’s helped [email protected] expand and make more inclusive of challenging musical ideas. • FOLLOW US ON TWITTER: @NYCJAZZRECORD The set he performs here doesn’t break any new ground, but it features some sublime moments and plenty of exciting playing from all members of the ensemble. Hutcherson is at his most intense and nycjazzrecord.com creative on Duke Ellington’s nod to John Coltrane,

22 November 2012 | THE NEW YORK CITY JAZZ RECORD

Half of the 14 tracks are the guitarist’s originals, that roll with a popping, straightahead swing. beginning with the deliberate “Everybody Has Soul”, a The album opens with a song associated with throwback to ‘60s soul jazz. The gospel flavor of “We’re Dearie’s 1957 debut, “Everything I’ve Got”. The upbeat a Work in Progress” makes it sound like it was written tale of physical violence is driven by Harmon’s crisp decades ago as well, highlighted by mellow, drumming while Nelson takes a brief, two-handed conversational guitar and understated organ. “Against solo. Guitarist John Pizzarelli follows, lending a little the Grain” takes the session in another direction with a celebrity to the ensemble, dueting on the titular decidedly Latin flavor while “Our First Dance” is a Gazarek co-write. The two tangle in tight harmonies as mellow ballad that Napoleon plays unaccompanied. Gazarek works her higher range. She gets a little too

The Jukebox Crowd McMillan contributed the funky midtempo cooker sentimental on a cover of Ben Folds’ pop love song Randy Napoleon (Gut String) “Road Warrior”. “The Luckiest” (Gazarek notes that both she and her by Ken Dryden husband have a snippet of the lyrics tattooed with hers For more information, visit gutstringrecords.com. Napoleon clearly visible on her outstretched arm on the cover). Many young up-and-coming jazz artists focus on is at Saint Peter’s Nov. 21st. See Calendar. The album retorts with a little oomph, letting Harmon showcasing themselves by playing blazing uptempo drive on the bell of his cymbal during “Down With solos. Yet guitarist Randy Napoleon, who has toured Love” while Nelson gives an off-kilter solo that bounds with the Clayton-Hamilton Jazz Orchestra and Freddy across the keyboard. A pair of well-worn standards Cole, is quite comfortable emphasizing melody and hover next to each other. “Tea for Two” gets a sultry, space in his playing. The Jukebox Crowd is his third CD slow rendition with Price getting room to amble gently as a leader, with a fine supporting cast of trumpeter for a chorus while “I’m Old Fashioned” feels equally Justin Walter, tenor saxophonist Ben Jansson, hushed but the band quietly churns, peaking during trombonist Josh Brown, organist Duncan W. McMillan Nelson’s flickering solo. and drummer Quincy Davis. The album closes with another nod to Dearie, There are several standards. Dimitri Tiomkin’s “Unpack Your Adjectives”, from the old Schoolhouse “Wild is the Wind” is usually found on vocalists’ Rock series. Goldings lends some blues organ touches Blossom & Bee albums, but Napoleon’s elegant, deliberate scoring of Sara Gazarek (Palmetto) as Nelson is muscular on the piano, Gazarek adding it works well without the presence of a singer. The hip by Sean O’Connell some sass to her delivery, which will hopefully make Latin setting of “Fools Rush In” has the flavor of Wes more than a cameo in her next album. Montgomery while the golden oldie “I’m in the Mood Sara Gazarek does not sound like Blossom Dearie. Gazarek has a beautiful, pure voice that is For Love” is transformed from its usual slow ballad Thankfully, she isn’t trying to. Instead, the young, Los perpetually indebted to the lyrics. Rather than flighty setting to a brisk bop arrangement with intricate solos. Angeles-based vocalist is reaching a sound of her own, histrionics or bubbly mumbling, Gazarek sells the tune The strutting take of “You Make Me Feel So Young” a little less coy but no less swinging in her tip of the with a straightforward, refreshing approach. Hopefully finds Napoleon and McMillan joined at the hip. cap to the late Dearie. Under the production guidance it will be less than five years before her next outing. Napoleon is also comfortable tackling ‘60s pop like of organist , Gazarek sticks with her ’ “”, contributing rich working group (pianist Josh Nelson, bassist Hamilton For more information, visit palmetto-records.com. Gazarek writing for the horns in addition to his sublime guitar. Price, drummer Zach Harmon) to craft a dozen tunes is at Blue Note Nov. 26th. See Calendar.

$20.00 Adults / $10.00 Students & Seniors

THE YORK COLLEGE PERFORMING ARTS CENTER 94-45 Guy Brewer Blvd., Jamaica, NY 11451

Tickets available at the box office: 718-262-2840 or online at: www.yorkpac.com PAC Office: 718-262-3750

24 November 2012 | THE NEW YORK CITY JAZZ RECORD

almost de rigueur of late, but “Coming On the Hudson” ranges from Lewis’ own compositions to his inventive deserves an honored place on the list. Dempsey takes on pianist Thelonious Monk’s work. And in this eschews his usual fluid style for one of the closest context, this album can be judged in part by its pitch- approximations of Monk’s plunking dissonances, black cover - Lewis crafts 14 complex tracks that abrupt hesitations and quirky rushes you’ll ever hear. showcase the organ in a stormy and passionate light. His a cappella intro channels solo Monk and his Despite its bubbly name, “Little Rootie Tootie” is comping in the ensemble and behind Frahm continues one of the most charged pieces on the record, à la Monk, right down to the odd spacing and atonal hearkening back to the organ’s gospel roots. Lewis plucks. He asserts his own style on other album immediately makes clear that he doesn’t merely play

Beautiful Friendship highlights, including an atmospheric “Autumn in New the organ, he pours raw emotion into every winding Tom Dempsey/Tim Ferguson Quartet (Planet Arts) York” and the exhilaratingly quick, start-stop time title note, morphing his instrument into a daring by George Kanzler track. And don’t miss the collaborative counterpoint thunderbolt. Ronald Jackson’s guitar heightens the and tandem guitar-tenor sax soloing on “It’s True”, a electric appeal and packs a punch in each fluid riff. Smart repertoire choices, reciprocal ease among the contrafact on the changes of “There Is No Greater Tenor saxist Reginald R. Woods, however, proves players and memorable solo and ensemble moments Love”, or Ferguson’s “Last Summer”, its echoes of “It that brass and organ can also intertwine with intuitive help catapult this mainstream-modern quartet session Might As Well Be Spring” also recalling the sound of harmony, notably on the hazy Monk piece “Ugly led by guitarist Tom Dempsey and bassist Tim Ferguson the ‘50s Johnny Smith Quintet with Stan Getz. Beauty”. His smooth, almost soprano-like sax cuts above the quotidian norm. The finely meshed through Lewis’ seemingly infinite notes, offering an interaction is a result of familiarity mixed with novelty, For more information, visit planetarts.org. This group is at intense textural contrast between acidic and savory. as the co-leaders have worked frequently with both Smalls Nov. 23rd. See Calendar. The enigmatically named piece is, too, an aural drummer Eliot Zigmund and saxophonist Joel Frahm, mystery, hinting at brewing chaos without delving into who had not played with each other before this date. disorder. Yet Lewis achieves the same complexity in Zigmund is a catalyst for the elegant, airy “Stuffy Turkey”, one of the album’s few outwardly ensemble textures. His fluid yet crisp cymbal time, gregarious tracks. Drummer Nasheet Waits acts as the accents and lithe brushwork, combined with an ability fuel to this upbeat fire, rippling away one cymbal tide to interact with nuanced empathy to changing musical after the other and peppering the air with playful textures, keep the tracks tight and focused. On Randy nuances. As Woods charges through a stream of bold Weston’s “Little Niles” his nimble drum patterns slurs, Lewis takes a subtler approach in the background, complement the seductive weave of tenor and guitar tactfully accenting the easygoing melody. The organist around the theme and join with Ferguson’s bass in then spins the light ambience with his signature dark sustaining the lilting African 6/8 feel. Zigmund’s twist, leaving a poignant mark on the ears. Uwo in the Black sprightly, syncopated beats and paradiddles spark Greg Lewis Organ Monk (s/r) “Cakewalk”, a Ferguson concoction redolent of New by Sharon Mizrahi For more information, visit greglewismusic.com. Lewis’ Organ Orleans second-line rhythms, with prancing soprano Monk is at For My Sweet Restaurant Nov. 5th, Lenox Lounge sax and dancing double lines from guitar. Organist Greg Lewis illustrates the darker side of Nov. 9th and 16th, The Garage Nov. 25th and Sapphire New Guitar versions of Thelonious Monk have become innovation in Uwo in the Black. The 70-minute album York Wednesdays. See Calendar and Regular Engagements.

The New York Society for Ethical Culture Presents

An Evening of Great Jazz featuring Lenore Raphael & Friends SAVE THE DATE Friday, November 16, 2012 8pm

WP Strouse Wonderful Tenor Saxophone Renowned Jazz Pianist HARRY ALLEN Great Bassist LENORE RAPHAEL PHIL BOWLER Featuring Tasty Drummer RUDY LAWLESS

Ceremonial Hall, 2 West 64th Street- 4th Floor, New York, New York 10023 Tickets: General Admission $20; Members, Seniors & Students $15 TEL: 212.874.5210 A member of the American Ethical Union and the International Humanist & Ethical Union 2 West 64th Street · New York, NY 10023 · 212.874.5210 · www.nysec.org Our 100-year-old building is accessible for most wheelchair users with prior arrangements. Please call ahead (212 874 5210 x 107) for set up of our portable system and plan to arrive one hour before start time.

THE NEW YORK CITY JAZZ RECORD | November 2012 25

Steve Lacy and through him Duke Ellington. Accommodating in his writing, Houle balances Delbecq has worked with Vancouver-based interludes of extended techniques with sequences that clarinetist François Houle since the mid ‘90s and the are more formally organized to maintain pacing. temperate Because She Hoped is their third duo disc. Exclamatory expositions can include discordant reed Houle is the perfect match for the pianist. Dazzlingly variations or jabbing keyboard pulses while other interactive here, both allow sounds to evolve themes approach bop, with Delbecq sprinkling organically rather than calling attention to their arpeggios like and Bates producing a prodigious techniques. steady Mingus-like pulse. Displaying all Houle’s For instance, a live and a studio version of “Pour influences, “Sulfur Dude” features an infectious head

Eponymous Pee Wee” are distinct. Houle smears intense reed that keeps reappearing. Karl 2000 (s/r) variations atop Delbecq’s echoing key clicks during by Clifford Allen the 120-second studio piece. Three times the length, For more information, visit songlines.com and natomusic.fr. the live version is buoyant and swinging. The title tune Delbecq is at ShapeShifter Lab Nov. 28th-30th in duo with Just taking a wild guess, the tenor/bass/drums power demonstrates that interactive romanticism can arise Andy Milne and with guests. See Calendar. trio Karl 2000 appears to take its name from the 2000 from an exposition featuring tongue slaps and key Upper Deck Century Legends #19 card, featuring early clipping while “Le Concombre de Chicoutimi” Spurs guard George Karl. Two of Karl 2000’s members expresses a mood rather than a melody, with the - tenorman Daniel Rovin and bassist Austin White - are clarinetist’s almost pure tones uniting with the pianist’s renowned basketball card collectors. Along with impressionistic harmonies. Paying homage to their drummer Dave Miller, they bring an athletic approach ancestors, ’s “Clichés” finds Delbecq’s to 11 rollicking tunes. Like the music of Albert and marimba-like string pops perfect accompaniment to Donald Ayler, Karl 2000 uses folk and popular songs as the jaunty theme elaborated by Houle. Ellington’s “The a framework and leaping-off point, casting Gustav Mystery Song” is restructured with expressive Lange’s “Blumenlied” into Gato Barbieri-derived glissandi paired with clavichord-like plinks. romanticism and free martial antics. With negligible The hints of Ellingtonia displayed on Because She irony, they also cover the Partridge Family’s already Hoped become a commitment on Crescendo in Duke. A loopy “I Think I Love You”, “A Birch-Tree in a Field dozen participants besides Delbecq - Europeans such Did Stand” (the Soviet Army Chorus & Band), “We’ll as clarinetist and percussionist Steve Meet Again” and a number of Russian folk songs in Argüelles, plus Americans including saxophonist Tony addition to featuring several of their own compositions. Malaby and bass guitarist Yohannes Tona - help honor “A Cliff on the Volga” takes a similar tack as jazz’ most celebrated canon. Delbecq proclaims his “Blumenlied”, steely and burred tenor in measured individuality by concentrating on later period material, steps against press rolls and throaty, - mainly taken from Ellington’s many suites. like strums. It’s not too far off from some of the music While the featured soloists are often clarinetists - that the Liberation Music Orchestra performed in its Kenni Holmen and Kathy Jensen as well as Coe - Tona’s early years (especially as an overdubbed saxophone choice of instruments provides a clue to how Delbecq section comes in at the end) or Portuguese bassist Zé reconstitutes the Ducal charts. A veteran of Eduardo’s underrated trio with tenorman Jesús Minneapolis’ funk scene, Tona plus acoustic bassist Santandreu and drummer José Salgueiro. The strongest Jean-Jacques Avenel, Argüelles and drummer Michael pieces on the disc are those brimming with populist Bland ensure the backbeat is powerful, confirming melody, allowing the trio to scream, yank and careen Ellington’s influence on R&B. Those links are within a referential environment. Rovin is a fine player, fundamentally emphasized during a performance of NOVEMBER 2012 not always given to a huge dose of variety but that’s “Diminuendo and Crescendo in Blue”, famously okay - he is young (as are White and Miller), has played at Newport 1956, and the “Get-With-Itness” JAZZ VESPERS already got a pretty remarkable dynamic range and sequence from The Goutelas Suite. A marvel of quickened Sundays at 5:00 P.M. — All Are Welcome — Free can hold an unaccompanied solo with interest tension, the former is piloted by swaying, near-stride (“Xhocolate Wonderfall”). “Der…” has a swinging, piano and a walking bassline, as Coe and Malaby 4 Arne Hiorth almost shit-kicking bounce as well as meaty alternate flutter-tongued solos and polyphonic Richard Maegraith multiphonics while “Birch-Tree” is nuanced and obbligati. Stop-time excitement, the latter is notable for Helge Nysted charged. It’ll be interesting to watch and listen as this a saxophonist’s howling slurs and corkscrewed shrieks. 11 Steve Nelson triadic brotherhood develops. Overall these frenetic interludes nicely contrast with the treatment of the suite’s other themes, divided 18 Alexis Cole Quartet For more information, visit karl2000.com. This group is at among fanfares, swing sequences and processional John DiMartino ShapeShifter Lab Nov. 13th. See Calendar. marches. Still, the only notable example of Delbecq’s Jim Cammack own expressive playing appears on interludes like Clarence Penn “Fontainebleau Forest”. A sideman rather than a partner on Genera, 25 Chanda Rule

consisting of 10 Houle compositions, Delbecq’s presence confirms the sextet’s internationalism. JAZZ FOR ALL Although New York residents, bassist Michael Bates November 4 at 4:00 and drummer Harris Eisenstadt are Canadian like Norwegian Folk Melodies Houle, trombonist Samuel Blaser is Swiss and cornetist Free Improvisation Workshop American. Dedicated to group for families and people of all ages expression, Houle’s writing, like Ellington’s, also aims to emphasize each soloist’s personality. MIDTOWN JAZZ AT MIDDAY The title tune is a perfect instance of this, as the Sponsored by Midtown Arts Common measured composition makes room for idiosyncratic Wednesdays at 1:00 P.M. — ($10 suggested) Because She Hoped expression without losing the harmonic thread. Blaser Benoît Delbecq/François Houle (Songlines) 7 Aaron Graves, piano Crescendo in Duke Benoît Delbecq (Nato) spews out sinewy multiphonics, Bates’ pulse includes 14 Chris Gines, singer guitar-like twanging and Eisenstadt’s hand-pats reflect Genera François Houle 5 +1 (Songlines) Ronny Whyte, piano by Ken Waxman his study of African percussion. “Le Concombre de Chicoutimi” reappears twice, briefly heard as a study Boots Maleson, bass Paris-based, but as likely to turn up on North for piano key-clipping blended with and clarinet 21 Randy Napoleon, guitar American as well as European sessions, pianist Benoît slurs and later growing to intermezzo length, as David Wong, bass Delbecq is the very model of a cosmopolitan improviser. Ellington would often do with his sketches. Embellished Kevin Kanner, drums Often working with prepared piano and/or electronics, with electronic quivers and string buzzes from Delbecq, he specializes in cutting-edge interpretations, but his Houle’s flutter-tongued reed lines gust upwards 28 Art Lillard’s Heavenly Big Band limpid playing also relates to a tradition that takes in backed by ecclesiastical piano chords.

26 November 2012 | THE NEW YORK CITY JAZZ RECORD

from that night has managed to come to light, allowing more than 60 titles as well as making those original ten us now to hear that casual meeting. available again. It’s a lot of ground to cover, but the Some of the details of 2BY2 (Duets) are lost to journey is made easier by means of a sampler that’s history. Neidlinger writes in the notes to the two-CD available for free. Composition, Improvisation, Synthesis: release that “not even Braxton scholars can identify the Selections from the Tri-Centric Foundation Archives isn’t pieces we played that weren’t written by Monk.” If entirely satisfying as an album in itself and that may be they truly can’t be ID’d, that suggests a certain the point. Like good businesspeople, they give you the informality to the proceedings. But its having been a first one for free. Braxton’s work tends to run in hour- casual evening doesn’t mean a lack of intensity. The long chunks, so this 80-minute collection includes only 2BY2 (Duets) Composition, two make for a wonderfully focused duo. Braxton excerpts from the 11 performances represented. The Anthony Braxton/ Improvisation, Synthesis stays in the upper register, playing alto, soprano, tracks are culled from over 30 years of performances Buell Neidlinger Anthony Braxton sopranino and C-melody saxophones while Neidlinger and feature a variety of projects, so this is really just a (K2B2) (Tri-Centric Foundation) remains securely in an accompanist’s role. Which starter set. Braxton is heard solo, in duet with Max by Kurt Gottschalk doesn’t mean he’s doing anything simplistic: the other Roach, in quartet, sextet and septet and with one and association Neidlinger is best known for is playing three orchestras. Recording quality varies, of course If we were to map out the various terrains in the with Cecil Taylor in the early ‘60s. In both partnerships (none are bad but the differences break the flow), so acreage of Anthony Braxton’s recorded output, one the bassist beautifully managed to find ways to give what the disc does best is create landmarks for further particularly fascinating bit of geography would be his grounding to his high-flying associates. exploration. Highlights (in addition to the previously use of the standard repertoire. The masterfully The Monk cuts range from the loosely faithful unreleased excerpt with Roach) include a trumpet inventive composer has turned to the jazz songbook a “Criss-Cross” and joyously exploratory “Well You septet, an excerpt from the wonderful first Braxton number of times in his long career and generally does Needn’t” to a slowly simmering “’Round Midnight”, House release (Sextet (Istanbul) 1996) and a segment so for pointedly specific reasons. As with everything which seems to heat up the saxophonist so much that from the 2011 recording of his Trilium E opera, itself Braxton does, we can trust that his standards projects he follows it with an explosive 80-second solo, some four hours long. aren’t undertaken lightly, even if we don’t always furiously puncturing his own lines with reed-shredding Once this is absorbed, there are also free ‘bootleg’ know the thinking at work. One of his most purely stabs. The other cuts, the half-dozen unknown recordings to be found at tricentricfoundation.org enjoyable takes on the tradition is the 1987 Black Saint properties, have a similar spontaneity without seeming before making the (recommended) plunge of paying release Six Monk Compositions. A wonderful quartet open-ended - a loosely scripted dialogue. The whole the monthly rate for the rest of the recordings. 44 years including pianist Mal Waldron and bassist Buell session is nicely bookended by two takes on “Off after the release of his first record, the landmark solo Neidlinger plays like an overstuffed easy chair: big Minor”, the latter melting into a brief and joyful coda. saxophone album For Alto, Braxton is continuing to and comfortable but so full it seems about to tear apart Covering the whole of Braxton’s terrain has make challenging and exciting music. And, as he might at the seams. A year and three quarters after that always been a formidable task, but it has expanded say, we are fortunate now to be in a time-space where session, Braxton and Neidlinger met again for a duo multi-fold since the relaunch of the Braxton House we are able to access that work. session at McCabe’s Guitar Shop in Santa Monica, CA, imprint. Originally a CD label that produced ten titles dedicating close to half the two sets they played to between 1995-98, the imprint was relaunched in 2010 For more information, visit k2b2.com and Monk’s music - although interestingly enough no titles as a download (FLAC and mp3) label. Operated by the tricentricfoundation.org. Kyoko Kitamura/Ann Rhodes sing were repeated from the Black Saint session. A tape Tri-Centric Foundation, the label has already released Braxton at Downtown Music Gallery Nov. 11th. See Calendar.

THE NEW YORK CITY JAZZ RECORD | November 2012 27

this legend. So who’s here? Keith Richards playing and singing “It’s Been A Long, Long Time”. Eddie Brigati of The Young Rascals performing “I’m Confessin’” with Bucky Pizzarelli. ZZ Top guitarist Billy Gibbons playing “September Song” and the aforementioned Mr. BEN Feliciano doing “Bésame Mucho”. Many of these musicians would come to New York’s Iridium club and get to play with Paul on his much-celebrated Monday nights, where he provided a warm and often funny

Click Track Jazz: Slave to the Machine, Vol. 1 & 2 setting for them to play opposite the master. And Paul HOLMES Sean Wayland (Seed Music) never disappointed. Even in later years, with fingers by Andrew Vélez bent through age, he could make music that swung and danced and made you smile. Click Track Jazz: Slave to the Machine is the 21st album And that’s what this entire collection is about. It’s from prolific Australian-born, Brooklyn-resident, a Les love-fest with everyone playing in his memory QUARTET improvisational jazz and funk instrumentalist Sean and still in his light. The DVD contains six videos of Wayland. His early jazz influences were performances of songs from the album plus a feature and Chick Corea and classically Messiaen and Debussy. on the making of the album with interviews of…well NEW ALBUM Touring and recording has been mostly with his piano …everyone. There’s great footage of Paul and Pallo trio of Jochen Rueckert (drums) and Matt Penman recreating an Edison cylinder. Everyone is calling him “ANVIL OF THE LORD” (bass). In his words, “I’ve spent a great deal of time a genius or something like it. tinkering with what’s possible.” Highlights? Well, certainly Richards crooning and Possibilities are a rollercoaster blend of Wayland’s paying funny homage to both Les Paul and “Bing”. acoustic jazz piano trio and modern rhythms. Nicki Parrott, who played bass and was the sexy ‘girl Embedded within the “possibles” are jazz and funk singer’ with Paul in his later years, is charming on a fusion style echoes of guitarist Wayne Krantz, with quietly enchanting “Tennessee Waltz”. Frank Vignola whom Wayland has worked. It all rocks off with the spins out dazzlingly speedy but always thoroughly opener of Vol. 1, “Belt Parkway”; a blend of acoustic musical runs on “Avalon”, “Brazil” and “Carioca”. piano and swirling synthesizers, it’s a constantly This is an allstar revue but it’s important to shifting mix as Wayland swings nimbly to and from remember that Pallo, who often seemed in the synthesizer to piano. The drums of Mark Guiliana keep background at the shows, is the driving force and him very close company along with a so subtle yet loving presence behind it. solid throb from Orlando Le Fleming’s bass. At one point it even exudes an Oriental flavor. For more information, visit showplacestudios.com. Pallo is On “Devotional”, the set’s only vocal, Kristen at J&R Music World Nov. 9th and Iridium Mondays. See Berardi’s beckoning charm is low-key and wistful. On Calendar and Regular Engagements. the anthem-like chords of “Stop I Want to Get Off”, Wayland cascades crystal piano well complemented by James Muller’s rapidly vibrant guitar. Throughout there is Guiliana’s solid support. On Vol. 2’s “Waiting AVAILABLE 11/12 ON SKIRL RECORDS for the Computer to Take Over”, influences as varied as a Debussy-like motif along with smoothly insistent, Philip Glass-like passages prove syntonic. FEATURING BEN HOLMES trumpet By contrast, swing easy is the mood of the CURTIS HASSELBRING trombone Wayland-Rueckert-Penman Trio on “Special When Lit” and on “Neu Neu Blow” the threesome kicks it up, MATT PAVOLKA bass Wayland and Rueckert happily trading licks. From end VINNIE SPERRAZZA drums to end as he straddles multiple styles, Wayland’s explorations on Click Track Jazz are nothing if not constantly surprising. CD release shows For more information, visit seanwayland.com. Wayland is TH MONDAY NOVEMBER 12 8 PM at 55Bar Nov. 5th. See Calendar. with

AKIKO PAVOLKA’S HOUSE OF ILLUSION SHAPESHIFTER LABS 18 WHITWELL STREET - BROOKLYN shapeshifterlab.com

TUESDAY NOVEMBER 13TH 7 PM BARBÈS 6TH AVE. & 9TH STREET - BROOKLYN Thank You Les (A Tribute to Les Paul) Lou Pallo (Showplace Music Productions) barbesbrooklyn.com by Donald Elfman If any music fan ever needed or wanted to know about the influence of and the loving spirit that was Les Paul, they could do no better than by listening to this tribute album and watching the accompanying DVD. Guitarist Lou Pallo, Paul’s musical compatriot for so many years, has, under the expert guidance of producer Stephen Schiff and producer/director Ben Elliott, FOR MORE INFORMATION VISIT recorded with many of the people who came under the ben-holmes.com skirlrecords.com spell of the wonderful late guitarist. José Feliciano says here that anyone who ever played an electric guitar anywhere has to know and love the work and life of

28 November 2012 | THE NEW YORK CITY JAZZ RECORD

before getting the heck out of the spotlight just as quickly as he appears. Threadgill’s alto takes the lead on “So Pleased, No Clue”, the shortest of the disc’s six tracks, supported by plucked cello, wallowing tuba and Ellman’s strummed outbursts. Davila takes up the trombone for the final track, “Put on Keep/Frontispiece, Spp”, developing a coming-into-being feel as Kavee hits the drums prior to Hoffman and Threadgill’s (on flute) entry.

Tomorrow Sunny/The Revelry, Spp Collectively the band extends the idea that creativity, Henry Threadgill Zooid (Pi) improvisation and musical realization are part of an by Jeff Stockton interlinked continuum. Threadgill’s music lends itself to this sort of theorizing. It’s intellectualized, but also Henry Threadgill remains as individualistic, intelligent and enjoyable. Challenging, but accessible. iconoclastic and enigmatic as ever. Just look at the title It’s almost as if with each outing Threadgill says, of his new CD: Tomorrow Sunny/The Revelry, Spp. Of “Trust me” and expects you to do so, with complete course the music made by Zooid hasn’t much to do confidence in his ability to deliver on the agreement. with convention, anyway. The concept and composition are typically Threadgillian, but the music is as defined For more information, visit pirecordings.com. This group is by Christopher Hoffman’s cello or Liberty Ellman’s at Roulette Nov. 23rd-24th. See Calendar. guitar as it is the leader’s darting alto sax or fluttering flutes. And with Jose Davila’s tuba and Stomu Takeishi’s , the tunes are deeply rooted in the low end. The music has ballast, but with so much of it emanating from acoustic hollow-bodied string instruments, is also remarkably light on its feet. Take “Ambient Pressure Thereby”, at ten-and-a- half minutes the disc’s longest track. Threadgill participates with a couple of nervous solos, but the first half is given to Hoffman while the latter half is Ellman’s, strumming against Davila’s tuba-heavy Wires and Moss undertow. The opening cut, “A Day Off”, is practically Angelica Sanchez Quintet (Clean Feed) its inverse, less agitated but just as generous to the solo by Stuart Broomer and melodic space granted to guitar. Over Hoffman’s push-pull bowing and Elliot Humberto Kavee’s Pianist Angelica Sanchez presents a new band here, skittering drums, Threadgill makes his statement with a frontline of Tony Malaby on soprano and tenor saxes and Marc Ducret on guitar and a rhythm section of Drew Gress and Tom Rainey. It might be convenient to call it a quintet, but at times it hints at that ancient usage of “orchestra” for even the smallest number of musicians: there’s a breadth and a passion and a vision here that suggest great movements and the sweep of history. Sanchez’ compositions are essentially lyrical, whatever the tempo, and they draw on the expressive reserves of both Malaby and Ducret. The former’s sound is a kind of on-going mutation of the idea of breath with the latter’s a sometimes astonishing transformation of the human, his guitar a machine that has learned to speak its own language. The degrees of empathy and focused intensity come to the fore on “Soaring Piasa”, an almost anthemic melody first drawn from Malaby’s mutters, then carried forward by Sanchez’ lightly darting, abstract piano lines, the subtle underpinnings of Ducret, the power of Gress and the looming drama of Rainey all extending the range of motion until Malaby returns and tests the theme for every hint of meaning, expanding its phrases until new messages break through the dense grain and wide vibrato of his sound. Each member of the group assumes the foreground, whether in solo spots or as a leading voice. “Dare” has Rainey at his most abstract, a central figure in a dialogue in which other musicians may keep time while he plays with, plunders and ultimately trivializes its conventionality. Sanchez’ structure is made for it, an elastic vision in which that play of time ultimately becomes a kind of five-ring circus, the various speakers bending the notion of time toward a lyric center. This quintet might be an ideal vehicle for Sanchez, whether the musicians are picking up strands of meaning in her work or adding their own (like Ducret’s intro to the title track or that of Gress on “Bushido”), enriching them all and creating a richly layered field of interpretation and realization around each theme.

For more information, visit cleanfeed-records.com. Sanchez is at Korzo Nov. 13th, I-Beam Nov. 16th and Klavierhaus Nov. 17th. See Calendar.

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up on “All Of You”. “Begin The Beguine” has drum (which brings together the big-toned tenor man with and voice in the forefront, delivering a feeling akin to pianist , bassist Ray Drummond and Ravel’s “Bolero”. drummer ), Person once again demonstrates But the standout items are two tracks featuring why his followers hold him in such high regard. His guest saxophonist James Moody, done within about six chops haven’t suffered a bit, which is a plus, but for months of his death in 2010. Moody plays the first Person technique alone is not enough. chorus on “What Is This Thing Called Love”, Bentyne Person has always made a point of reaching sings the second and Moody follows with a swinging audiences on an emotional level and true to form, he is solo. Particularly bittersweet is “Ev’ry Time We Say highly expressive throughout Naturally. Whether he is

Let’s Misbehave (The Cole Porter Songbook) Goodbye”, an exquisitely sensitive duo reading. turning his attention to Victor Young-Ned Washington’s Cheryl Bentyne (Summit) This album will require more than one listening to “My Foolish Heart”, Carolyn Leigh-Phil Springer’s by Marcia Hillman reap the rewards of its rich tapestry. Cheryl Bentyne “How Little We Know” or Will Grosz’ “Red Sails in the and Cole Porter are a perfect combination of talent, Sunset”, Person invests considerable feeling in the Vocalist Cheryl Bentyne delivers her take on the Cole sophistication and enjoyment. songs he’s chosen for this album. Porter Songbook with a selection of 14 familiar and Two of the things that Person has been revered for memorable songs, covering his writing from 1927 (the For more information, visit summitrecords.com. Bentyne is over the years are ballads and the blues. On Naturally, album’s title track) until 1955 (“All Of You”). Since at Blue Note Nov. 23rd-25th with The Manhattan Transfer. he savors the latter with a gritty performance of Milt Bentyne feels that all of Porter’s songs are “little houses See Calendar. Jackson’s “Bags’ Groove”. And he reminds us how in which our hearts still live”, each one is approached expressive a ballad player he can be with performances as an individual story with an appropriate musical of Alan Brandt-Bob Haymes’ “That’s All” and Duke arrangement. Ellington-’ “It Shouldn’t Happen to a Bentyne - reigning soprano of the vocal group The Dream”. Naturally, like other Person dates of recent Manhattan Transfer - enjoys a dual career, still singing years, favors a generally laid-back mood with lots of with the group and pursuing a solo path. She has a relaxed medium-tempo performances: “How Little We wide vocal and emotional range, a warmth of tone and Know”, Chester Conn-Benny Krueger’s “Sunday” and can sing just about anything. And listen for her perfect Illinois Jacquet’s “Black Velvet”, aka “Don’ Cha Go diction, innovative phrasing and obvious love and ‘Way Mad”. understanding of the lyric. Special mention should be made of Walton’s There are many highlights, starting with the contributions. Person and the 78-year-old Walton have Naturally opening “Love For Sale”, which is done uptempo in a been playing together on and off since the ‘60s and we Houston Person (HighNote) bluesy and provocative manner. “My Heart Belongs To by Alex Henderson are lucky for another chapter in their long musical Daddy” is done as a salsa number and Bentyne’s vocal friendship. is high-spirited here as well. She does a little vocal Many of the great soul-jazz saxophonists of the Bach invention to start off “You’d Be So Nice To Come ‘50s-70s have passed away, but Houston Person (now For more information, visit jazzdepot.com. Person is at Home To” - inspired by the Swingle Singers vocal 77) continues to provide quality soul-jazz/hardbop Jazz 966 Nov. 9th and Metropolitan Room Nov. 15th and group of the ‘60s - and some well-done vocalese shows albums almost yearly. And on this July 2012 session 17th with Pamela Luss. See Calendar.

“a fresh take on the age-old piano trio, catapulted by McCraven's propulsive percussion into an orbit that few rst-time groups ever achieve.” - Neil Tesser Available at CDBaby, iTunes, Amazon, ChicagoJazz.com, everywhere

www.chicagosessions.com

30 November 2012 | THE NEW YORK CITY JAZZ RECORD

Likewise, Rende steps out of the shadows to push husband show a remarkable ease and rapport on this things toward a more standard form on the intricately album of exploratory originals. configured “Ascent”. Radley, Poor and Stillman are The set was recorded in the couple’s Hamptons three parts of the working band Bad Touch and a home along with two frequent associates, the extremely special connection exists among them. However, the sympathetic drummer and, on five tunes, most creative aspects of this release are when Radley is the tireless saxophone titan Joe Lovano. There’s an freed up to interact with Poor on his own terms. Within obvious debt here to Bill Evans - Johnson was a member that context, “Archipelago” is a clinic in the use of of the great pianist’s last trio in the ‘70s and Elias dynamics, dissonance and chordal inventiveness to recorded the terrific Something for You: Eliane Elias

The Big Eyes infuse disconcerting tension into a light folk melody; Sings & Plays Bill Evans for Blue Note in 2008 - in the Nate Radley (Fresh Sound-New Talent) drummer and guitarist broodingly contemplate on the harmonic complexity of the tunes, in Elias’ delicate by Elliott Simon ambient flow of “Wise River” and “All That’s Solid” touch at the keyboard and in the group’s subtly belies its title as an airy and elegant relaxed discourse. sophisticated improvisations. Another young musician has crystallized his skills A fine first effort from a thoughtful player. Elias has made a number of exquisite vocal into a distinctive voice via the New England recordings, but here she focuses solely on her Conservatory-to-Brooklyn jazz highway. Guitarist For more information, visit freshsoundrecords.com. Radley’s considerable piano skills. Many of the tunes, like the Nate Radley uses the musically fertile Kings County quartet is at Seeds Nov. 28th. See Calendar. title track, “It’s Time” and the gorgeous “B is for soil to nurture his NEC mantra of individual creativity Butterfly”, have a mood of quiet, even haunting and experimentation within group improvisation. The introspection. One exception to the generally hushed result is his strikingly pensive debut as a leader. tone is the infectious, danceable “One Thousand and Joining Radley on these nine original compositions One Nights”, on which Elias showcases both her are bassist Matt Pavolka and drummer Ted Poor. They pianistic virtuosity and her sheer joy of playing. prove to be like-minded and the session gains its Johnson is the quintessential bassist, whether he’s foothold primarily from the soundscape this core trio supporting the rest of the group or playing his own develops, defined by the intersection of Poor’s elegant solos, most impressively on the closing solo drumming and Radley’s sustained reverby approach. feature “Shenandoah”. Baron, meanwhile, is a model Pete Rende uses Fender Rhodes to widen the setting of unobtrusive, yet always creative drumming while even further and alto saxophonist Loren Stillman joins Lovano, who can steal the show at the drop of a hat, Swept Away on several cuts both to blend with Radley for Marc Johnson/Eliane Elias (ECM) wields his axe here in an unusually restrained, interestingly complex voicings and challenge him to by Joel Roberts understated manner. more uptempo solo interchanges. It all adds up to one of the most enjoyable and Stillman impresses with his ability to partner with It would be easy to attribute the musical intimacy and imaginative collaborations of the year, a masterpiece of Radley in exposing the beautifully melodic empathy Eliane Elias and Marc Johnson express on gentle, inspirational and unabashedly beautiful jazz. underpinnings of a tune like “January”, providing their new release Swept Away to the fact that they’re a boppish counterpoint on session opener “Boo” and longtime married couple. Regardless of the reason, the For more information, visit ecmrecords.com. Johnson and leisurely exploring the recesses of the title cut. Brazilian pianist and her Nebraska-born bassist Elias are at Birdland Nov. 27th-Dec. 1st. See Calendar.

Paulette McWilliams Flushing Town Hall Friday, December 14, 7pm & 9pm She sang with , Marvin Gaye and Luther Vandross. Experience her sultry jazz vocals in this NEA JAZZ MASTERS rare NY appearance! Fri, Nov 16, 8 pm Classic standards from the Great American Songbook - Five NEA Jazz Telling Stories with Masters Jimmy Heath, saxophone; Barry Harris, piano; Ron Carter, bass; The Jr. Quartet , trombone; , trumpet, with Tootie Heath, drums. Nat Adderley, Music Director & Piano Dedicated to Phoebe Jacobs, Executive Vincent Herring, Reeds Vice President, Louis Armstrong Jimmy Heath Vince Ector, Drums Educational Foundation, who Gregory Jones, Bass passed away this year. Produced by GJ Productions (Table seating for 2, Wine & Snacks) Pre-concert panel discussion at 7pm (Free with tickets to 8 pm show)

FREE Monthly Jazz Jams for Musicians; FREE Monthly High School Jazz Clinics – Call FoR dEtailS. Ron Carter General admission $25 www.adhatccny.org | Call 212-650-6900 ORdER TiCkETS TOdAy! aaroN daViS haLL iS LocatEd at W. 135th St. (718) 463-7700 x222 flushingtownhall.org & coNVENt aVE. oN thE caMPuS of thE citY These programs are made possible by the NEA; NYSCA; DCA; Bloomberg Philanthropies; coLLEGE of NEW York Louis Armstrong Educational Foundation; Macys; and Paul and Cobi Ash.

THE NEW YORK CITY JAZZ RECORD | November 2012 31

Kitagawa and drummer Donald Edwards. Verheyen’s calm and sauntering soprano sax, guided After that masterful display, a majority of the along by Davis’ earthy hand drum rhythm. Such focus is on Stephens’ pen. The swinging “Kwooked textural contrast forms the crux of this disc. Stweet” places the leader in tight harmony with Yet the minimalist opening to “Roscopaje” offers trumpeter Michael Rodriguez, Stephens putting his the most striking textural contrast of all. Verheyen guttural honk to use, digging in over Edwards’ embraces silence as an instrument in and of itself as he persistent cymbal. “Radio-active Earworm” is punctuates the first minute with stray, half-finished supplemented by the addition of Raffi Garabedian. and trailed-off notes. Though the band soon interjects The two tenor saxophones blend in close harmony on at full speed, the saxist’s brief adventure remains the

Cymbal Melodies held-out tones while Parks takes an equally spacious highlight of the entire album, illustrating Verheyen’s Jordan Young (Posi-Tone) solo. Guitarist Julian Lage is added to the troupe for mastery of uncanny innovation. by Ken Dryden Joe Henderson’s “Black Narcissus”, taken as a gentle waltz with Rodriguez returning on flugelhorn and For more information, visit 52creations.com. Verheyen is at With his second CD as a leader, drummer Jordan Parks on a shimmering Rhodes. The band digs into the Sycamore Nov. 26th. See Calendar. Young is establishing himself as a rising star. While he Parks-enabled ‘70s vibe, neither rushing nor dragging is a strong soloist, Young prefers to put the focus on his the tune, as Lage takes a brief but spidery solo. musicians and here his crack band includes organist Parks makes a couple of compositional Brian Charette and guitarist Avi Rothbard, with tenor contributions that bring out the beast in Stephens. saxophonist Joe Sucato making it a quartet on a few “Hard-boiled Wonderland” gets a rich tenor solo over tracks. The songs include a mix of fresh arrangements the pulsating rhythm section while album closer of standards, pop songs from several decades, along “Cartoon Element” is equally bright. Stephens and After 40 years of with originals and overlooked jazz works. Parks dip and dive in formation on the melody before ’s sleepy ballad “By the Time I Get to the tune turns into a tug of war between Stephens’ PAYING HIS DUES, Phoenix” was a huge hit for Glenn Campbell in the ‘60s splattering phrases and the rumbling rhythm section. he shouldn’t have to struggle but Young transforms it via Charette and Rothbard‘s The resulting hour plus is an inspiring collection solid groove, propelled by the leader’s light touch. of performances that rise above Stephens’ health to payhis rent. “Raindrops Keep Falling on My Head” also takes on a hurdles and present a powerful band rolling through a new sound with a decidedly funky arrangement. well-rehearsed set. Here’s to many more tomorrows. © photography by Bradley Smith. Young shines as well with his settings of standards, including a sublime rendition of “Ghost of a Chance”, For more information, visit crisscrossjazz.com. Stephens is Call 1-800-JFA-JAMS or visit jazzfoundation.org to help. which showcases Rothbard’s spacious playing (à la at Oceana Restaurant Nov. 10th, Smalls Nov. 12th and Bar ), and a furious bop setting of “Easy Next Door Nov. 17th with Daniel Ori. See Calendar. Living” with hard-charging solos all around.

Sucato’s robust tenor is paired with Young’s brushwork in a snappy duo take of Irving Berlin’s The Jazz Foundation of America / 322 West 48th Street / New York, NY 10036 warhorse “The Best Thing For You is Me”. The drummer’s versions of classic Blue Note music from the ‘60s also prove memorable. Sucato is on hand for an infectious take of Lee Morgan’s bluesy hardbop vehicle “Free Wheelin’”, in which the saxophonist’s big tenor tone is the focal point, bookending tasty solos by Rothbard and Charette. A brief trio performance of Grant Green’s “Grantstand” is punchy, with Young’s Trinity Job # & CC: JAZZ2282_1/12_V2 solo as its centerpiece. The drummer’s originals also Robin Verheyen Quartet (52 Creations) stand up to the familiar songs. “Bird Bath” settles into by Sharon Mizrahi Job Name: All About Jazz New York Ad Date: 08-22-02 a playful groove for the trio while the perky soul jazz Live: 3.209"x3.147" Trim: Rule prints Bleed: — Page: 1 Rev: 3 cooker “Mood For McCann” is an enthusiastic tribute. Hailing from Belgium, saxophonist Robin Verheyen Stage: Mech Release: 08-23-02 gm AD: SC CW: AD PM: TB RM: LB Scale: 100% Expect to hear more from Jordan Young. brings a new kind of experimentalism to the table with Color: b&w Gutter: — Other: — ST: GM/ his NY Quartet on Trinity. Trumpeter , For more information, visit posi-tone.com. Young is at Fat bassist Thomas Morgan and drummer Jeff Davis round Initials / Date Initials / Date Initials / Date C-LO MK: ______PM: ______AB:______Cat Nov. 29th and B-Flat Mondays and Wednesdays. See out the group, making this collaboration a melting pot MECH AD:______CW: ______RM: ______Calendar and Regular Engagements. of intrepid avant garde explorers. Verheyen’s quartet undergoes many transformations over the course of PROOF QC: ______CD: ______

this album, tirelessly paving new musical terrain while Client / Date: stimulating the senses. APPROVALS ______“RR” proves to be just as enigmatic in sound as in name, opening as a quiet duo between Verheyen and Alessi. Each musician carefully follows the other in a continuous stream of brass, alternately echoing and leading the music. Davis cracks the thread-thin veneer with his deep, rumbling drums, especially complementing Morgan’s dense sound. An electric guitar seemingly streaks across the bustling Today is Tomorrow Dayna Stephens (Criss Cross) atmosphere, only to reveal itself as Verheyen’s newly by Sean O’Connell outspoken sax. Within moments, however, Alessi’s fierce horn takes over, launching a power play that Young tenor saxophonist Dayna Stephens has been runs throughout the remaining ten tracks. dogged by health issues lately. While waiting for a The two brass players intertwine with varying kidney donation, he continues a rigorous schedule of shades of agreement in “Africa”, oscillating between dialysis but his newest album is filled with strength harmony and argumentation within seconds. Morgan’s and vitality. Recorded over a single day last October, instrument bellows in the background while Alessi Stephens managed to compile ten confident serves as the dominant force, embarking on intriguing performances with a stellar band. and pungent streams of thought. Verheyen waits his Stephens sticks mostly to the seize-the-day turn while the trumpeter sails on convoluted tangents, direction but he starts the album off with a confident slowly emerging in the foreground as Alessi returns to swing through Hoagy Carmichael’s “Skylark”. His shore. This exchange took on an even more gripping languid take on the melody floats over the driving immediacy live at the Jazz Standard CD release concert rhythm section of pianist Aaron Parks, bassist Kiyoshi last month. Alessi’s shrieking trumpet gave way to

32 November 2012 | THE NEW YORK CITY JAZZ RECORD 723 7th Ave. 3rd Floor New York, NY. 10019 212-730-8138 Store Hours: 11-7 Monday-Friday & 11-6 Saturday Owner: Steve Maxwell Manager: Jess Birch Steve’s cell: 630-865-6849 Email: [email protected] Visit us on the web at: www.maxwelldrums.com COME SEE US IN IN MANHATTAN We celebrated our 1 year anniversary in Manhattan on April 1st. Our shop is located at 723 7th Ave. 3rd floor. We’re right at the corner of 7th Avenue and 48th Street, which is known as “Music Row” in Manhattan. Thanks to all who have stopped by!!! NEW: We have a full service repair facility now open. Willie Martinez, New York's premier craftsman, joins our team heading up our repair shop. We are your one stop shop for new and vintage drums and cymbals, accessories, repairs, lessons and practice space. Our philosophy for the shop is to create an inviting atmosphere where players and collectors alike can visit and see wonderful vintage and custom drums and cymbals that you can’t find anywhere else; enjoy listening to some jazz vinyl while hanging in the drummer’s lounge area of our museum; and exchange ideas and information with friends. We even have sound proof rooms for testing cymbals, drum sets and snare drums. Our sets, snares and cymbals are set up and ready for you to play. We believe in the highest level of personal, professional service and we have the experience you need when considering vintage and custom drums and cymbals. Call Steve on his cell anytime, or email him at [email protected] . He wants to hear from you. Our shop includes: • Craviotto: World’s largest selection of Craviotto one-ply snares and drum sets. We are the largest Craviotto dealer in the world. • Vintage: Extensive inventory of high end vintage snare drums, sets and cymbals. We have vintage Gretsch, Rogers, Slingerland, Ludwig, Leedy, Camco and more! • Player’s Specials: Snares, sets and cymbals focused on the needs of players • Gretsch: USA Custom drums in bebop sizes made famous by the 60s era jazz greats • Leedy: Our Leedy USA Custom Shop drums will debut in NYC later this year • GMS: Great USA made drums built in New York! • George Way: We are your source for Ronn Dunnett’s great new George Way snares • Maxwell: Our Maxwell line of custom drums includes small bebop sets and more. • Heads, hardware, sticks, bags and more Cymbals: We have Istanbul, Bosphorus, Zildjian, Old As, Old Ks, Spizzichino, Dream and our own Session Cymbals line of hand hammered cymbals made in Turkey. New and vintage cymbals galore. Stop in and see our museum section with items such as: Gene Krupa’s 30s Slingerland Radio King! • ’s Tama brass shell snare used by him from 78-88. Rare Slingerland black beauty snare drum. Recording Studio Support: Enormous selection of vintage and custom drums to suit the needs of any recording studio looking for that special, unique sound. Need that “vintage” drum or cymbal sound? Come see us. We have what you need. Need a versatile but unique custom drum sound? We have that as well with our Craviotto solid shell drums. None finer in the world. NYC DRUMMERS, WE HAVE DRUM SET PRACTICE SPACE AVAILABLE FOR RENT ON AN HOURLY BASIS. CALL JESS AT 212-730-8138 FOR DETAILS. TEACHING STUDIO IS OPEN Ron Tierno has relocated his long standing teaching studio to our shop. Call Ron directly at 646-831-2083 for lesson information and visit his site at www.nydrumlessons.com WE NOW HAVE OUR BRAND NEW VINTAGE STYLE RAIL CONSOLETTE TOM HOLDER IN STOCK. CHECK IT OUT ON OUR WEBSITE AND IN THE SHOP.

eke out a furrowed palette of metallic footfalls and it’s growing organically on its own. Maoz wrote much eliding cubistic tendencies, resulting in a series of of the material and he makes clear just how open his skewed but fascinating conversations. ears are with a tune like “Wind of Water”, a combination Reedman Josh Sinton is primarily known for his of the most creative kind of rock balladry with the soprano-less Steve Lacy repertory ensemble Ideal imagination of jazz and other new musics. “Yes Your Bread and work with Anthony Braxton, Nate Wooley Majesty” shares ‘composer’ credits among the three and Harris Eisenstadt. While all of this music is group members. It’s a synthesis of many things that important and part of Sinton’s personality, he hasn’t define powerful ‘new’ music - electronics and other had much chance to step out on his own as a leader. sound elements, very free improvisation and the

Trio Caveat - Introspective Athletics / This solo recording of ten vignettes shifts focus to passion of the world of rock. It builds to powerful Josh Sinton - Pine Barren Sinton’s arsenal and vision, with muscular and often climaxes and ends suddenly and with conviction. (Engine) aggressive pieces for baritone saxophone, contrabass by Clifford Allen and bass clarinet. An ensemble version has been For more information, visit outnowrecordings.com. An OutNow recorded and released digitally on Prom Night, but showcase is at ShapeShifter Lab Nov. 23rd. See Calendar. It’s hard to tell exactly where it started, but the ‘split’ these unaccompanied iterations stand up well, ranging album can be traced back at least to the heyday of punk from bright and mouthy boppishness to bluesy weight, rock, related bands each gracing one side of a seven- microtonal sputter and layered minimalism. While the IN PRINT inch single. Coming from punk rock as Engine Records music is rooted in autobiographical excavation (as the founder Steven Walcott does, it’s not particularly accompanying online notes detail), Sinton’s playing is surprising that he’d find a way to cater to the fans’ wry and pure and his music relatable rather than cagey. interests, releasing budget double-disc sets and this curious split CD by two rather different projects, Trio For more information, visit enginecompilation.bandcamp.com. Caveat and reedman Josh Sinton’s Pine Barren. Sinton is at Douglass Street Music Collective Nov. 2nd with Bassist James Ilgenfritz and saxophonist Jonathan Erika Dagnino and Nov. 26th-29th with Nate Wooley and Moritz have been working in Trio Caveat for the better ShapeShifter Lab Nov. 27th. See Calendar. part of five years. Their initial EP, Compliments of the Season (KMB, 2008), joined them with drummer John McLellan. Introspective Athletics finds the drummer’s chair absent and the addition of Chris Welcome on Herbie Hancock and The Mwandishi Band: You’ll Know When You Get There guitar. The instrumentation reflects Jimmy Giuffre’s Bob Gluck (University of Chicago Press) trio with Jim Hall and Ralph Peña, but musically this is by Tom Greenland a far spikier affair, marking tension with flinty guitar strokes and tough, breathy saxophone harmonics. With a few recent exceptions, surprisingly little Were it not for Ilgenfritz’ gorgeous, full tone and scholarly work has focused on pianist/keyboardist bright, keening pizzicato lines, the music might seem Herbie Hancock, an oversight redressed by Bob too rarified. Throughout nine improvisations, the trio Gluck’s You’ll Know When You Get There, which Weight Open Circuit Yoni Kretzmer 2Bass 9Volt focuses on Hancock’s post-Miles Mwandishi group, Quartet (OutNow) (OutNow) arguably the most creative period of his stunning career. by Donald Elfman An accomplished keyboardist and electronic Tenor saxophonist Yoni Kretzmer, guitarist Yair Yona synthesist himself, Gluck provides a wealth of and guitarist Ido Bukelman have come together to insight into Hancock’s music, discussing his early found OutNow Recordings, a new music label whose influences and development; his solo and comping motto is, “Search for the sound you never stop styles; his early solo career and tenure with Miles hearing”. The releases considered here celebrate the Davis; his experiments with timbre, ostinati, abstract essence of improvised music: the convergence of what harmony, open musical forms, electronic keyboards, is happening now and what might be in the offing. sound effects and studio postproduction techniques Kretzmer slams these notions to us immediately in and his approach to musical collectivism and how he approaches his own classic sax-bass-drums spirituality. The book gives close readings of all of ensemble on Weight. For one thing, he adds an extra the Mwandishi band recordings, track by track, bass (uprights courtesy of Sean Conly and Reuben section by section, revealing the intricate interplay Radding), adding depth and expanding the core. The of improvisation and mixology, form and flow, funk album states that the “written ideas” are by Kretzmer, and freedom that produced this innovative music. It indicating that the music blends a sense of the also compares recorded versions of the repertoire composed and the improvised. The album opens, with extant bootlegs of live concerts to give an appropriately, with “Number One” and all the players indication of how the music evolved on the road. work to move the music forward but also up, down Casual readers may get lost in the dense musical and sideways. It recalls the playing of avant garde descriptions, particularly because the music itself is pioneers like Frank Lowe, and of, course, highly abstract, but for those who have heard these John Coltrane. “A Bit of Peace” almost suggests a kind recordings, or are willing to follow the guided of Ayler hymn, something that gives true shape to the listening tour, Gluck’s commentary is enlightening. word “peace”. It’s not necessarily quiet or even Even better, he conducted extensive interviews with peaceful but rather it suggests that in some important bandmembers and others affiliated with or ways the notion of peace may be clarified or measured influenced by the group, quoting them at length to in the form of music. After the tenor plays the ‘theme’, provide insider perspectives, supplementing these first the basses and then drums (Mike Pride) step with published reviews of gigs. Gluck also takes forward to make forceful solo expressions. time to introduce the distinctive musical Imagine the energy enabled by a 9-volt battery personalities of Buster Williams, Billy Hart, Bennie and you begin to get a sense of the power generated by Maupin, Eddie Henderson and Julian Priester and Open Circuit. Trombonist Rick Parker, guitarist Eyal examines the influence of producer Maoz and drummer Yonadav Halevy utilize electronics and synthesist Patrick Gleeson. What emerges is an and sheer drive to create music with shape and pulse. incredible coalition of collective improvisers that Saxist Tim Berne complements this band with incisive, straddled the ‘divide’ between postbop and thrusting alto playing on four of the eight tracks. postmodernism, the ultimate jazz jam band. Parker’s “Squeegee” opens the set, building in intensity thanks to Halevy’s propulsive drumming and For more information, visit press.uchicago.edu. A book the dynamic use of electronics. There is thematic release event is at 92YTribeca Nov. 2nd. material but the power and volume make it sound as if

34 November 2012 | THE NEW YORK CITY JAZZ RECORD

International Phonograph label-head Jonathan Collective last month, where a trio with Golia and Horwich later collaborated on the West Coast label bassist Adam Lane was slated to celebrate the new Revelation, active from the mid ‘60s until the ‘80s. record. Hammond thoughtfully hovered over his Extension features a veritable Who’s Who of the guitar as Daryl Shawn of the next set explained that Los Angeles scene of the time, including reedmen Bud the trio would become a last-minute guitar duo due to Shank, , Jerry Coker, Gary Foster and Sam Golia and Lane’s traffic delays. Yet the two musicians Most, drummers and Colin Bailey and poignantly captured the introspective and searching bassist Bobby West. The orchestra ranges from 16 to 18 spirit of Adored. Methodical experimentalism branched musicians, creating both lush and strikingly mirror- into a linear, then abstract rhythm, evoking the

Hayley Sings bent textures on eight pieces totaling a half hour. The journeying vibe of “Water Always Finds Its Way, Like Rachael MacFarlane (Concord) opening “Ornithardy” isn’t so much a play on Charlie The Soul”. And indeed, Hammond found his way on by Sharon Mizrahi Parker as it is homage to Hardy’s other great love, the the venue’s stage as he did on his stellar album. study of birds (he was a professor of ornithology). It’s “I began to wonder where Hayley stopped and a soaring waltz, subtle wheeling patterns and For more information, visit prescottrecordings.blogspot.com Rachael began,” remarked Rachael MacFarlane in undulating low brass against a spry and organ-abetted concert at the Highline Ballroom last month and in the rhythm with Coker’s soft knots woven into the fabric. liner notes to her new record Hayley Sings. MacFarlane “Quiet Dawn” sports large and unsettled dissonances, ON DVD refers to Hayley - the music-loving character she voices looking to Elliott Carter and Igor Stravinsky in its on the animated comedy American Dad - quite often, overlapping, dry and open-ended architecture, which peppering each description of her album tracks with wraps elegantly around Fischer’s crisply atonal piano. quips about the cartoon. The vocalist’s passion for her “Igor” is, of course, a nod to the favored composer television counterpart is clear, but this disc is one- with glassy blues flourishes and garish horn statements hundred percent Rachael MacFarlane. that, in true Fischer form, are arranged with enough In collaboration with arranger Tedd Firth, the dappling to go down easily. The title track voices flutes crisp-voiced MacFarlane brings her charisma to music in such a tight fashion that they seem almost electronic; of the ‘60s-70s. “Makin’ Whoopee!” opens in the hands Coker is supple and fluid across spare, eliding and odd of an ultra-smooth brass section but MacFarlane shows horn blocks, which are picked up in Fischer’s Sun the ears what smoothness is truly all about. She is Ra-like organ solo. “Canto Africano” is the closer, its Billy Bang: Long Overdue effortless yet poignant, intertwining with the big band exotica-like flourishes (congas, bells, shakers, sansa) Oscar Sanders (Malcolm Entertainment) while shining in her own right. Pianist and singer Tony given serious weight with taut horn arrangements. by John Sharpe DeSare turned the tune into a duo live in concert, his This may be the ideal starting point for a firm raspy vocals providing an evocative counterpoint to reevaluation of Fischer’s work. It’s still hard to comprehend the jazz world without MacFarlane’s sound. Brilliance also comes in the form someone as vital and exuberant as violinist Billy of “Sooner or Later”, a tune led into full bloom by For more information, visit internationalphonographinc.com Bang, who tragically passed away in April 2011, forceful trumpeters Wayne Bergeron, Rick Baptist and after struggling with cancer. By way of tribute and

Bob Summers. MacFarlane sashays across the track celebration, director Oscar Sanders has produced a with a dancing flair that aptly carries into “Do You 77-minute documentary focusing on the musical life Want to Dance?” The tune proceeds with gusto as of the violinist. It’s a story he knows well, as both a vocalist Rafael Ferrer brings Spanish zest to the affair. childhood friend of Bang from the Bronx and as the The true allure of this album, however, rests in guitarist on some of his ‘80s albums. MacFarlane’s remarkable way of harmonizing her Bang appears briefly, in concert sequences with impeccable technique with personality. “Feelin’ his quartet shot in 2010, six months before his Groovy” illustrates her resonance to the fullest. Each passing, and in a short interview shot at the same word slowly unwinds, streaked with time. But the bulk of the film is composed of extracts melancholy as it drapes across guitarist George from interviews with a wide array of articulate and Adored Doering and pianist Randy Waldman’s warm notes. Ross Hammond Quartet (Prescott) engaging associates from across Bang’s career, Joe LaBarbera accents the air with wisps of percussion by Sharon Mizrahi including early colleagues such as bassists John while Mike Valerio’s bass heightens the piece’s depth. Lindberg and William Parker through to pianist Yet this depth is most apparent when the song ends, Cap draped across his forehead, body slung over his Andrew Bemkey and drummer Newman Taylor for it lingers like a sultry cloud. instrument, Ross Hammond is the image of the intense Baker from his last quartet. Rather than take a artist - but when he puts a pick to his guitar strings, the straightforward chronological route, Sanders For more information, visit concordmusicgroup.com image rises to full-fledged life. Hammond’s latest disc structures the film by posing questions of the type sheds some light on the inspiration and complexity which might be asked by a jazz journalist, using the

behind his pensive approach. most eloquent and revealing answers for each Though Hammond dons the electric guitar, his segment. Subjects range from inquiring about the sound takes on an acoustic personality, rooted in violinist’s bowing technique to his preferences for warmer textures and subtler dynamics. Saxophonist recording to what made him different from other Vinny Golia provides a stark contrast to Hammond’s violinists. implicit style, piercing “Maribel’s Code” with a Apart from touching on the musical aspects of continuous stream of angular notes, deep bellows and his Vietnam trilogy, there is nothing about Bang’s assertive squeals. Even when Hammond engages in army experiences, or indeed his life away from conversation with Golia’s sax, the two musicians music. But there is very little of Bang’s music in the maintain a degree of dissonance, tapered by drummer film either, notwithstanding the short concert Extension Alex Cline’s swift cymbals. episodes. That’s even more strange as slightly Orchestra (Pacific Jazz-International Phonograph) “Sesquipedalian” features Hammond in more intrusive, out-of-context fusion, classical and by Clifford Allen acerbic form, as he departs from sparse instrumentation contemporary music is used as background behind onto a more gregarious path. His solo resembles a many of the interviews. Sanders does seek to Composer/pianist/organist Clare Fischer (1928-2012) series of distinct aural thunderbolts rather than just illuminate Bang’s humanity by asking interviewees didn’t often get his due in the world of modern jazz, plucks on a string, ceaselessly powering through for funny and caring stories. One of the most which is unfortunate because over the course of five Cline’s quickstep rhythm. Tensions rise as Golia grows affecting comes from Baker: even as Bang lay dying decades, he cut some extraordinary sessions. Following agitated, bringing his sax to both high and low in hospital, he was phoning promoters to ensure two trio albums for the Pacific Jazz label (First Time extremes. And “extremes” is the word that comes to that his band got gigs even though he himself Out and Surging Ahead, both reissued on the Mosaic mind when experiencing “Just Knowing You’re There”. wouldn’t be there. The credits roll over footage of Select Pacific Jazz Piano Trios), Fischer upped the ante It opens with a few unassuming plucks of Steuart the musical send-off given at the violinist’s funeral, considerably with Extension, an orchestral recording Liebig’s electric bass before thrashing into a heavy concluding a fitting testament to his legacy. released in 1963 and seeing its first CD reissue. John metal-inspired conglomerate of guitar and brass. William Hardy (1930-2012) produced the original What most illuminated Hammond’s artistry, For more information, visit malcolmentertainment.com sessions; to bring this release full circle, Hardy and however, was a brief set at the Douglass Street Music

THE NEW YORK CITY JAZZ RECORD | November 2012 35 up a stream of kinetic rhythms, always mindful of exploration. For a little added irony there are a BOXED SET his textural impact as well. These three work couple of covers, including a highly abstracted perfectly together. version of “Cherokee”. This is a rich and inimitable The trio’s first album, 1992’s 3900 Carol Court, album and the gem of the set. (the address of American clarinetist John Carter, Party at the Bimhuis celebrated the band’s tenth with whom Baars studied) was almost a statement of year and they partied with a number of luminaries intent. In “Glorpjes” (with a remarkable clarinet solo including flutist Mariëtte Rouppe van der Voort and that takes in the entire range of the instrument) one violist Ig Henneman. The repertoire is mostly drawn hears intimations of future swinging excursions from the trio’s albums. “Indiaan”, one of the covers such as their Kinda Dukish phase. “Krang”, featuring from the Songs disc, authored by Guus Janssen (he Baars on tenor, incorporates both the group’s and van der Voort formed Baars’ first trio in 1984), penchant for textural exploration as well as their finds the composer sitting in on piano while Baars’ 20 Years (1991-2011) abilities to shape their music into a more traditional boss in the ICP Orchestra (the reedist’s other major Ab Baars Trio (GeestGronden/Wig) jazz structure. And “Trav’lin In Plastic Dreams” is an gig), pianist , guests on five tracks by Robert Iannapollo off-the-beaten-track cover that including a version of Monk’s “Reflections”. A plays to the group’s strength in putting an individual rousing “Von”, dedicated to Chicago saxophonist What? You say you never heard of the Ab Baars stamp on outside material. It’s a diverse program Von Freeman with all guests present is the disc’s Trio, so how could they have a five-CD boxed set? delineating the trio’s directions in the future. high point. Here’s your chance to find out. The trio of clarinetist/ 1999’s A Free Step, the trio’s third album (1995’s The final disc is the trio’s most recent release saxophonist Ab Baars, bassist Wilbert De Joode and Sprok is absent for some reason) is an all John Carter Gawky Stride, a studio session from 2011. (At this drummer Martin van Duynhoven, all from The program, Baars given access to scores by Carter’s point it’s only available as part of the set.) The Netherlands, have been delivering their distinctive widow. The material is chosen wisely: the playful program is all Baars originals except for two group brand of trio interplay for over two decades and it’s “Juba Stomp”; pieces that test the limit of the clarinet improvisations. The trio is a lot looser on this set celebrated with 20 Years (1991-2011), a rerelease of (especially the intro to “Woodman’s Hall Blues”); (compare it to 3900 Carol Court) and the music shows four of their previous albums and one newly “Karen On Sunday”, which is given over to De how this trio has become masterful at beautiful, recorded disc. Joode’s spectral bass work gently limned by Baars uncluttered improvisations. While they have Baars is a distinctive reed player. His tenor and van Duynhoven. One hears Carter compositions collaborated with many others (not shown on this set sports a dry tart tone delivered in angular skittering from throughout his career, filtered through the except for the Bimhuis date) including Roswell lines. His clarinet has a fluid, wispy sound that he unique prism of this trio. Rudd, Joost Buis, Steve Lacy and Ken Vandermark, flavors with well-placed distortion. De Joode’s bass Songs (2001) emerged from Baars’ interest in it’s the trio in its pristine state that’s frequently the roams actively in the lower end, working with Baars, Native American culture. Drawing from the music of most satisfying and this boxed set demonstrates the complementing and counterpointing his lines, various tribes, this isn’t your everyday cliché ‘Injun’ high quality of their music. playing almost as much arco as pizzicato. Van music. Baars took his source material from a turn-of- Duynhoven (a true veteran of the Dutch scene going the-century sourcebook and the trio explores the For more information, visit stichtingwig.com. Baars is at back to the ‘60s) is a remarkable drummer, keeping music, using it for both rhythmic and melodic ShapeShifter Lab Nov. 6th. See Calendar.

NOV 1–4 NOV 12

WYCLIFFE GORDON & FRIENDS: MANHATTAN SCHOOL OF MUSIC Dreams of New Orleans JAZZ ORCHESTRA

NOV 5 NOV 13–18 | THE BEST OF BLUE NOTE FESTIVAL

MANHATTAN SCHOOL OF MUSIC LOU DONALDSON QUARTET AFRO-CUBAN JAZZ ORCHESTRA with Pat Bianchi, Randy Johnston, and Fukushi Tainaka Conducted by Bobby Sanabria

NOV 19 | MONDAY NIGHTS WITH WBGO NOV 6 BARCELONA JAZZ ORCHESTRA GIACOMO GATES ALL STARS with John DiMartino, Lonnie Plaxico, Tony Lombardozzi, NOV 20–25 and Vincent Ector HARLEM-KINGSTON EXPRESS NOV 7

MOLLY JOHNSON NOV 26 with Seamus Blake, Robi Botos, Larnell Lewis, and Mike Downes BRANDI DISTERHEFT ALL STARS with Anne Drummond, Greg Hutchinson, and Aaron Goldberg NOV 8–11

GREGORY PORTER: Be Good NOV 27–DEC 2 with Chip Crawford, Yosuke Sato, Aaron James, and Emanuel Harrold MARY STALLINGS & ERIC REED TRIO

LIVE JA ZZ NIGHTLY RESERVATIONS 212-258-9595 / 9795 JALC.ORG/DIZZYS

36 November 2012 | THE NEW YORK CITY JAZZ RECORD Rose Bonanza Live! with Ricky Ritzel Musical Director/Pianist Sunday November 4th 4:00 PM At the Metropolitan Room 34 W 22nd St, New York, NY Rose will be singing many of her original recordings along with the classics from her Las Vegas career during the days of the “Rat Pack”. You’ll also be thrilled by her reminiscences about well known Las Vegas celebrities from her many years performing there. Tickets for the upcoming “Memories of Las Vegas” show at the Metropolitan Room are available from their website: www.metropolitanroom.com. You can also make reservations by calling the Metropolitan Room at: (212) 206-0440. Experience Rose Bonanza on CD!

available from Amazon k www.rosebonanza.com 800.526.1526 CALENDAR

Thursday, November 1 êWycliffe Gordon’s Dreams of New Orleans with Jon Erik-Kellso, Adrian Cunningham, • Craig Flanagin, Matthew Choplick and Company; Sean Ali/Jake Henry Michael Dease, Matt Munisteri, Ibanda Ruhumbika, Marion Felder ABC No Rio 7 pm $5 êLee Konitz Quartet with Florian Weber, Jeff Denson, Adam Cruz Dizzy’s Club 7:30, 9:30, 11:30 pm $35 • Shrine Big Band Shrine 8 pm Birdland 8:30, 11 pm $30-40 • Chris Pattishall Quintet Dizzy’s Club 12:45 am $20 • Alberto Pibiri The Bar on Fifth 8 pm êSteve Kuhn Trio with Buster Williams, Billy Drummond êJeff Ballard’s Fairgrounds with Eddie Henderson, Kevin Hays, Jeff Parker, êChick Corea/Stanley Clarke Band with Ravi Coltrane, Marcus Gilmore Jazz Standard 7:30, 9:30 pm $25 Village Vanguard 9, 11 pm $25 Blue Note 8, 10:30 pm $75 êWycliffe Gordon’s Dreams of New Orleans with Jon Erik-Kellso, Adrian Cunningham, • Lucio Ferrara The Bar on Fifth 8 pm êSteve Kuhn Trio with Buster Williams, Billy Drummond Michael Dease, Matt Munisteri, Ibanda Ruhumbika, Marion Felder • Rakiem Walker Project Shrine 6 pm Jazz Standard 7:30, 9:30 pm $25 Dizzy’s Club 7:30, 9:30 pm $30 • Jane Ira Bloom Trio with Dominic Fallacaro, Dean Johnson êWycliffe Gordon’s Dreams of New Orleans with Jon Erik-Kellso, Adrian Cunningham, êJeff Ballard’s Fairgrounds with Eddie Henderson, Kevin Hays, Jeff Parker, New School Wollman Hall 1 pm Michael Dease, Matt Munisteri, Ibanda Ruhumbika, Marion Felder Larry Grenadier Village Vanguard 9, 11 pm $25 Dizzy’s Club 7:30, 9:30 pm $30 • Camila Meza Duet; Richard Sussman Group Saturday, November 3 êJeff Ballard’s Fairgrounds with Eddie Henderson, Kevin Hays, Jeff Parker, Smalls 7:30, 9:30 pm $20 Larry Grenadier Village Vanguard 9, 11 pm $25 • Phil Markowitz/ Quartet with James Cammack, Jordan Perlson êChick Corea/Stanley Clarke Band with Ravi Coltrane, Marcus Gilmore • Philip Gibbs/Mossa Bildner with guests Steve Swell, Jason Kao Hwang, Gerald Cleaver Jazz at Kitano 8, 10 pm $10 Blue Note 8, 10:30 pm $75 Downtown Music Gallery 6 pm • Al Margolis and PAS; Elliott Sharp solo êRudresh Mahanthappa’s Indo-Pak Coalition with Rez Abbasi, Dan Weiss • Jazz Mass: Arne Hiorth, Richard Maegraith, Helge Nysted The Stone 8, 10 pm $10 Miller Theatre 8 pm $25-30 Saint Peter’s 5 pm êPublic Eyesore Showcase: Nels Cline/Elliot Sharp; Cactus Truck; Normal Love; êJeff “Tain” Watts Group with Mark Whitfield, Manuel Valera, Yunior Terry Cabrera • Bob Rodriguez Trio with Lou Pappas and guest Jimmy Martocci Bunny Brains Zebulon 8 pm ShapeShifter Lab 8:30 pm $15 Somethin’ Jazz Club 5 pm $15 • Mat Maneri, Gerald Cleaver, Jesse Stacken; 40Twenty: Vinnie Sperrazza, Jacob Garchik, êRuss Lossing solo Greenwich House Music School 8 pm $15 • Rose Bonanza’s More Memories of Las Vegas Jacob Sacks, Dave Ambrosio I-Beam 8:30 pm $10 êDonal Fox solo 92YTribeca 8 pm $25 Metropolitan Room 4 pm $20 • Thiefs: Guillermo E. Brown, Christophe Panzani, Keith Witty with guest Shoko Nagai • Jane Monheit with Michael Kanan, Neal Miner, Rick Montalbano and guest • NYU Jazz Brunch: Michael Rodriguez The Jazz Gallery 9, 10:30 pm $15 Mark O’Connor 92nd Street Y 8 pm $40 Blue Note 12:30, 2:30 pm $29.50 • GV3: Geoff Vidal, Dezron Douglas, Rudy Royston; Tyler Blanton Gotham Quartet with • Idiot Saint Crazy; Anthony Coleman with Mat Maneri, Brian Chase • Metropolitan Klezmer; Isle of Klezbos Donny McCaslin, Matt Clohesy, Nate Wood The Stone 8, 10 pm $10 Brooklyn Center for the Performing Arts 2 pm $30 Cornelia Street Café 8:30, 10 pm $10 êBen Williams Quartet Ginny’s Supper Club 8, 10:30 pm $15 • Frank Senior Trio with Lou Rainone, Paul Beaudry • Gregorio Uribe Big Band Zinc Bar 9, 10:30 pm 12 am • Devin Gray Dirigo Rataplan with Dave Ballou, Jeff Lederer, Michael Formanek North Square Lounge 12:30, 2 pm • Sylvain Leroux Quartet with Karl Berger, Matt Pavolka, Sergo Decius; Damon Banks Cornelia Street Café 9, 10:30 pm $15 • Evan Schwam Quartet; David Coss Quartet; Masami Ishikawa Trio ShapeShifter Lab 8, 9:30 pm $11 • David Schnitter Quartet; Raphael D’lugoff; Todd Herbert Quartet The Garage 11:30 am 7, 11:30 pm • Kyoko Oyobe Quintet; Saul Rubin; Will Terrill Quartet Fat Cat 7, 10 pm 1:30 am Fat Cat 7, 10 pm 1:30 am êImprovisations: Carol Robinson, Frances-Marie Uitti, Nate Wooley, Satoshi Takeishi Monday, November 5 • Lucio Ferrara The Bar on Fifth 8 pm Issue Project Room 8 pm $10 • Rory Stuart Trio with Aidan Carroll, Obed Calvaire • Philip Gibbs solo and with Daniel Carter, Joe Hertenstein, Harvey Valdes, êBucky Pizzarelli, Ken Peplowski, John Allred, Bill Allred, Rossano Sportiello, Bar Next Door 8:30, 10:30 pm $12 Sylvain Leroux, Gianluigi Diana, Mossa Bildner, Max Johnson Joel Forbes, Chuck Riggs Feinstein’s at Loews Regency 7 pm $25 • Phil Gibbs/Mossa Bildner Spectrum 8 pm I-Beam 8:30 pm $10 êSidney Bechet Society - Sidney Bechet & The New Orleans Trumpet Greats: • Cécile Broché; Simone Weißenfels and Friends • Brooklyn Jazz Wide Open: Rob Garcia 4 with Noah Preminger, , Matt Pavolka; Jon-Erik Kellso and Evan Christopher with Ehud Asherie, Matt Munisteri, Pat O’Leary, The Firehouse Space 8, 9:15 pm $10 Michel Gentile Quintet with Shane Endsley, Nate Radley, Chris Lightcap, Rob Garcia Marion Felder Kaye Playhouse 7:15 pm $35 • Broken Reed Saxophone Quartet ZirZamin 7 pm Brooklyn Conservatory of Music 8 pm $15 êSteve Turre’s Three-Trombone Sextet with Steve Davis, Frank Ku-Umba Lacy • Kate Pittman/Dustin Carlson; Jeremy Udden/Mike Baggetta êMr. Ho’s Orchestrotica: Brian O’Neill, Geni Skendo, Jason Davis, Noriko Terada Smoke 7, 9 pm Lark Café 8:30 pm Barbès 8 pm $10 • Manhattan School of Music Afro Cuban Jazz Orchestra Conducted by Bobby Sanabria • Richard Clements Trio Cleopatra’s Needle 7 pm • Jerome Sabbagh Trio with Joe Martin, Billy Drummond Dizzy’s Club 7:30, 9:30 pm $20 • Golda Solomon/Will Connell Jr. Eve’s Lounge 8 pm Bar Next Door 7:30, 9:30, 11:30 pm $12 • David Amram and Company with Kevin Twigg, John de Witt, Adam Amram • The McCarron Brothers: Paul Carlon, Mark McCarron, Phil Palombi, Russ Meissner; • Jessica Pavone/Nick Millevoi Exapno 8 pm $5 Cornelia Street Café 8:30 pm $10 The CHASE Experiment: Jackie Coleman, Mark Chuvala, Michael Davis, • Captain for Dark Mornings: Emma Alabaster, Charlie Rauh, Zach Dunham; • Kendra Shank Trio with John Stowell, Dean Johnson Aaron Rockers, Maria Eisen, Brad Whiteley, Dean Anbar, Nick Oddy, Adam Minkoff, Gabrield Guerrero and Friends Douglass Street Music Collective 8 pm $10 Bar Next Door 8:30, 10:30 pm $12 Marco Bucelli Somethin’ Jazz Club 7, 9 pm $5-10 • Ryan Hayden Quartet with Jean Caze • Sean Wayland with Sam Minaie, Nate Wood, Sarah Tolar, James Muller • Rick Stone Trio; Alan Chaubert Trio Oceana Restaurant 9 pm 55Bar 10 pm The Garage 6, 10:30 pm • Fukushi Tainaka Quartet Cleopatra’s Needle 8 pm • Asen Doykin Trio; Group • Keith Curbow Shrine 6 pm • CHIVES: Steven Lugerner, Matt Wohl, Max Jaffe Smalls 7:30, 9:30 pm $20 The Freedom Garden 8 pm • Noriko Ueda Jazz Orchestra Tea Lounge 9, 10:30 pm Friday, November 2 • Tomas Janzon Duo Garden Café 7:30 pm • Lucio Ferrara The Bar on Fifth 8 pm • Ross Kratter Big Band; Hiromi Kasuga Band with Joe Magnarelli, Marco Panascia, • Yulia Musayelyan Quartet with Maxim Lubarsky, Oleg Osenkov, Franco Pinna; • Falafel, Freilach, and Frijoles: From Mambo to Borscht: Arturo O’Farrill and the Mark Taylor; Noshir Mody Quintet with Tsuyoshi Niwa, Carmen Staaf, Daniel Foose, Manu Koch with Panagiotis Andreou, Mauricio Zottarelli, Sebastian Nickoll and Afro Latin Jazz Orchestra with guests Larry Harlow, Steve Bernstein Yutaka Uchida; Gianni Gagliardi’s Nomadic Nature with Yago Vazquez, Scott Colberg, guest Brahim Fribgane ShapeShifter Lab 7:30, 9 pm $8 Symphony Space Peter Jay Sharp Theatre 8 pm $30-50 Jesse Simpson Somethin’ Jazz Club 5, 7, 9, 11 pm $5-15 • Napoleon Revels-Bey with Greg Lewis Organ Monk êDon Friedman Quartet with Tim Armacost, Phil Palombi, Shinnosuke Takahashi • Russel Brown G-Slinger Band Metropolitan Room 11:30 pm $20 For My Sweet Restaurant 7:15, 9:15 pm Jazz at Kitano 8, 10 pm $25 • Falafel, Freilach, and Frijoles: From Mambo to Borscht: Arturo O’Farrill and the êChick Corea/Stanley Clarke Band with Ravi Coltrane, Marcus Gilmore êBucky Pizzarelli, Russ Kassoff, Steve LaSpina Afro Latin Jazz Orchestra with guests Larry Harlow, Steve Bernstein Blue Note 8, 10:30 pm $75 Knickerbocker Bar and Grill 9:45 pm $5 Symphony Space Peter Jay Sharp Theatre 8 pm $30-50 • Kevin Kastning/Mark Wingfield Drom 7 pm $15 êOrrin Evans Quintet with Joel Frahm, Jack Walrath, Ben Wolfe, Obed Calvaire êDon Friedman Quartet with Tim Armacost, Phil Palombi, Shinnosuke Takahashi • Juilliard Jazz Ensembles Paul Hall 8 pm Smoke 8, 10, 11:30 pm $30 Jazz at Kitano 8, 10 pm $25 • PascAli: Sean Ali/Pascal Niggenkemper; Cheryl Pyle/Nicolas Letman-Burtinovic; êJohnathan Blake Group with Jaleel Shaw, Ben Wendel, Ben Street êBucky Pizzarelli, Russ Kassoff, Steve LaSpina Unattended Parking: Nicolas Letman-Burtinovic, Tony Malaby, Bobby Avey, The Jazz Gallery 9, 10:30 pm $20 Knickerbocker Bar and Grill 9:45 pm $5 Satoshi Takeishi Sycamore 8 pm êJason Rigby Trio with Cameron Brown, Gerald Cleaver êOrrin Evans Quintet with Joel Frahm, Jack Walrath, Ben Wolfe, Obed Calvaire • Evan Shinners; Joe Farnsworth; Billy Kaye Jam Cornelia Street Café 9, 10:30 pm $15 Smoke 8, 10, 11:30 pm $30 Fat Cat 6, 9 pm 12:30 am • Deco Heart: Lucian Ban/Mat Maneri êJohnathan Blake Group with Jaleel Shaw, Ben Wendel, Ben Street • Elisabeth Lohninger Zinc Bar 7 pm $8 Greenwich House Music School 8 pm $15 The Jazz Gallery 9, 10:30 pm $20 • Howard Williams Jazz Orchestra; Ben Cliness Trio • Ralph LaLama Bop-Juice with David Wong, Clifford Barbaro; Steve Davis Quintet • Virginia Mayhew Group; Steve Davis Quintet The Garage 7, 10:30 pm Smalls 7:30, 10:15 pm $20 Smalls 7:30, 10:15 pm $20 • Judith Berkson Roulette 8 pm $15 • Judith Berkson Roulette 8 pm $15 Tuesday, November 6 • Gene Ess’ Fractal Attraction with Thana Alexa, David Berkman, Thomson Kneeland; êLee Konitz Quartet with Florian Weber, Jeff Denson, Adam Cruz Maryanne de Prophetis, Ron Horton, Satoshi Takeishi Birdland 8:30, 11 pm $30-40 êFred Van Hove solo and duo with Lou Grassi; Ab Baars/Ig Henneman; I-Beam 8:30, 9:30 pm $10 êSteve Kuhn Trio with Buster Williams, Billy Drummond Lars Graugaard/Brad Shepik ShapeShifter Lab 7:30, 9, 10 pm $15 • Hazel Rah: Tim Byrnes, Adam Minkoff, Rich Bennett; Steve Buchanan/Ken Yamazaki Jazz Standard 7:30, 9:30 pm $30 êJazz Composers Collective Festival: Ben Allison Band with Steve Cardenas, The Stone 8, 10 pm $10 êWycliffe Gordon’s Dreams of New Orleans with Jon Erik-Kellso, Adrian Cunningham, Brandon Seabrook, Allison Miller, Rogerio Boccato • Dmitry Baevsky Quartet; Dave Gibson; Behn Gillece Quartet Michael Dease, Matt Munisteri, Ibanda Ruhumbika, Marion Felder Jazz Standard 7:30, 9:30 pm $25 Fat Cat 6, 10:30 pm 1:30 am Dizzy’s Club 7:30, 9:30, 11:30 pm $35 • Guillermo Klein with Richard Nant, Aaron Goldberg, Matias Mendez, Sergio Verdinelli • Mercedes Figueras, Tomas Ulrich, Joe Hertenstein, Philip Gibbs, Mossa Bildner êJeff Ballard’s Fairgrounds with Eddie Henderson, Kevin Hays, Jeff Parker, and guest Liliana Herrero Village Vanguard 9, 11 pm $25 Nublu 10 pm Larry Grenadier Village Vanguard 9, 11 pm $25 êDjango Reinhardt Festival: Dorado, Amati, Bronson and Samson Schmitt with • Lars Graugaard and the NYU Improvisers’ Ensemble with Robert Dick, Chris Jordan, • Lucio Ferrara The Bar on Fifth 8 pm Ludovic Beier, Pierre Blanchard, Xavier Nikq and guest Ken Peplowski Katherine Liberovskaya The Firehouse Space 8 pm $10 • Larry Newcomb Trio; Evgeny Lebedev Birdland 8:30, 11 pm $30-40 • Daniel Weiss Band; Patrick Cornelius Maybe Steps with Miles Okazaki, John Chin, The Garage 12, 6:15 pm êGiacomo Gates All Star Election Night Special with John di Martino, Lonnie Plaxico, Peter Slavov; Nick Vayenas with Doug Wamble, Linda Oh, Dan Kaufman, • Carol Sudhalter Astoria Big Band Steinway Reformed Church 3 pm Tony Lombardozzi, Vincent Ector Dizzy’s Club 7:30, 9:30 pm $30 Colin Stranahan ShapeShifter Lab 7:30, 8:30 pm $10 • Pete Zimmer Quartet Dizzy’s Club 11:30 pm $10 • World on a String Trio: Paul Meyers, Leo Traversa, Vanderlei Pereira Sunday, November 4 • Charli Persip Supersound NYC Baha’i Center 8, 9:30 pm $15 Bar Next Door 7:30, 9:30, 11:30 pm $12 • Jack Jeffers and the New York Classics with Antoinette Montague • Erika Dagnino, Andrea Wolper, Sarah Bernstein, Ras Moshe, Josh Sinton, Ken Filiano, êS.E.M Ensemble with guests Conrad Harris, Petr Kotik, Roscoe Mitchell Zinc Bar 8, 10 pm John Pietaro Douglass Street Music Collective 9 pm $10 Roulette 5 pm $15 • Joe Sanders Group Smalls 9:30 pm $20 • François Grillot Trio with Christian Amigo, Blaise Siwula • William Hooker Quartet with Matt Lavelle, Larry Roland, Mark Hennen • Brilliant Coroners: John McDonough, Ed Littman, Tom Shad, Andy O’Neill; Culture Fix 8 pm The Firehouse Space 8 pm $10 XBOP: Will Arvo, Jon Roberds, Brandon Miller • Raya Brass Band; Pitchblak Brass Band • Mike Kanan/Peter Bernstein; Dmitry Baevsky Quartet The Stone 8, 10 pm $10 Littlefield 10 pm $10 Smalls 7:30, 11 pm $20 êJames Carney Group; Kris Davis, Eivind Opsvik, Flin van Hemmen • Benny Benack Band with Adam Larson, Emmet Cohen, Raviv Markovitz, êThe Four Bags: Brian Drye, Jacob Garchik, Sean Moran, Mike McGinnis Korzo 9, 10:30 pm $5 Jimmy Macbride Metropolitan Room 11:30 pm $20 Barbès 8 pm $10 êRebecca Martin/Larry Grenadier The Jazz Gallery 9, 10:30 pm $15 • Ed Stoute Quintet Jazz 966 8 pm $15 • Ehud Asherie; Fat Cat Big Band; Brandon Lewis/Renee Cruz Jam • Abe Ovadia Organ Trio with Anthony Pocetti, Steve Picataggio • Jeff King Band with Yoichi Uzeki, Rachiim Asu-Sahu, George Gray Fat Cat 6, 8:30 pm 12:30 am Cornelia Street Café 10 pm $10 Buka Restaurant 9, 10:30 pm • Ku Fu Masters; Marko Djordjevic Group • Saul Rubin; Maximo Bachata Y Merengue; Gregg Glassman Jam • Jocelyn Medina Quartet with Pete McCann, Sean Smith, Greg Ritchie ShapeShifter Lab 8:30 pm Fat Cat 7, 9 pm 12:30 am Zinc Bar 7 pm • Manner Effect: Sarah Elizabeth Charles, Caleb Curtis, Logan Evan Thomas, PJ Roberts, • Jake Saslow Trio with Matt Clohesy, Colin Stranahan • YoungJoo Song Trio Cleopatra’s Needle 8 pm Josh Davis Cornelia Street Café 8:30 pm $10 Bar Next Door 8:30, 10:30 pm $12 • Line of Sight: John Blevins, Brad Mulholland, Jeff McLaughlin, Kameron Markworth, • Victor Poison-Tete; Tamio Shiraishi/Cammisa Buerhaus • Antonio Ciacca The Bar on Fifth 8 pm Alex Raderman; Hyuna Park Quintet with David Bertrand, Jacob Teichroew, The Stone 8, 10 pm $10 êJack Wilkins/ Bella Luna 8 pm Amadis Dunkel, Joseph Han, Spiro Sinigos; Anthony Fung Quartet with Ben Solomon, • Peter Leitch/ Walker’s 8 pm • Tom Beckham Trio Interstate Food and Liquor 9:30 pm Davis Whitfield, Russell Hall Somethin’ Jazz Club 7, 9, 11 pm $5-10 • Tony Romano Trio with Steve LaSpina, Matt Kane • Maurício de Souza Quartet The Lambs Club 7:30 pm • JB Baretsky Trio Triad 9:15 pm $10 Bar Next Door 8, 10 pm $12 • David Jimenez with Ryan Park Chan, Jon Nankof, Keelan Dimick, Wesley Troeger; • Doug McDonald Trio; Hot House The Garage 6:15, 10:45 pm • Edgar Allan Poe’s “The Tell Tale Heart”: Katie Down, Eyal Maoz, Daniel Kelly, GKTV Quartet: Jostein Gulbrandsen, Gian Tornatore, Eddy Khaimovich, êLee Konitz Quartet with Florian Weber, Jeff Denson, Adam Cruz Rob Garcia and guest Lenard Petit Sycamore 8:30 pm $10 Rodrigo Villanuva Somethin’ Jazz Club 7, 9 pm $5-10 Birdland 8:30, 11 pm $30-40 • Out of Your Head: Drew Williams, Danny Gouker, JP Schlegelmilch, Keisuke Matsuno, • DK Ibomeka Metropolitan Room 7 pm $20 êSteve Kuhn Trio with Buster Williams, Billy Drummond Matt Rosseau; Carlo Costa, Kate Pittman, Devin Gray, Devin Drobka • Kyle Athayde Big Band The Garage 7 pm Jazz Standard 7:30, 9:30 pm $30 The Backroom 9:30, 11 pm êChick Corea/Stanley Clarke Band with Ravi Coltrane, Marcus Gilmore Blue Note 8, 10:30 pm $75

38 November 2012 | THE NEW YORK CITY JAZZ RECORD Wednesday, November 7 êHouston Person Jazz 966 8, 10 pm $25 • Mauricio Zottarelli’s Mozik with Gilson Schachnik, Yulia Musayelyan, Fernando Huergo, • David Amram Tribute with Paquito D’Rivera, Peter Yarrow, Tom Paxton, John Sebastian, Gustavo Assis Brasil Blue Note 12:30 am $10 • Band Of The East; Gregory Tardy Quintet Josh White, Jr., Guy Davis, Henry Butler êGregory Porter with Chip Crawford, Yosuke Sato, Aaron James, Emanuel Harrold 92YTribeca 8 pm $12 Symphony Space Peter Jay Sharp Theatre 6:30 pm $60-125 Dizzy’s Club 7:30, 9:30 pm $30 êTom Swafford; Maro Cappelli Acoustic Trio with Ken Filiano, Satoshi Takeishi • Mark Murphy Quartet Jazz at Kitano 8, 10 pm $25 • Sue Raney with Alan Broadbent, Harvie S, Bill Goodwin The Stone 8, 10 pm $10 êNed Rothenberg’s Ghost Stories with Erik Friedlander, Min Xiao-Fen, Satoshi Takeishi, Feinstein’s at Loews Regency 8, 10:30 pm $30 êValery Ponomarev “Our Father Who Art Blakey” Big Band Mivos Quartet Roulette 8 pm $15 êJazz Composers Collective Festival: Michael Blake’s Elevated Quartet with Zinc Bar 8 pm êEddie Allen York College Performing Arts Center 7 pm $20 Frank Kimbrough, Ben Allison, ; Ben Allison and Medicine Wheel with êRick Germanson Trio with Phil Palombi, Joe Farnsworth êJim Black Mystery Duo Cornelia Street Café 9, 10:30 pm $15 Ron Horton, Ted Nash, Michael Blake, Frank Kimbrough, Michael Sarin, Ben Allison; An Beal Bocht Café 8, 9:30 pm $15 êJacob Garchik’s The Heavens with Josh Roseman, Jason Jackson, Curtis Hasselbring, Ben Allison Trio with Ted Nash, Steve Cardenas plays Jim Hall • Pamelia Kurston with Vehicle of Ascension Curtis Fowlkes, Brian Drye, Joe Daley, Kenny Wolleson Jazz Standard 7:30, 9:30, 11:30 pm $30 Roulette 8 pm $15 Barbès 10 pm $10 • Guillermo Klein with Richard Nant, Aaron Goldberg, Matias Mendez, Sergio Verdinelli • with Seamus Blake, Robi Botos, Larnell Lewis, Mike Downes êJeremy Pelt Sextet with Roxy Coss, Darren Barret, Danny Grissett, Dwayne Burno, and guest Liliana Herrero Village Vanguard 9, 11 pm $25 Dizzy’s Club 7:30, 9:30 pm $30 JD Allen Smoke 8, 10, 11:30 pm $30 êDjango Reinhardt Festival: Dorado, Amati, Bronson and Samson Schmitt with • Pete Zimmer Quartet Dizzy’s Club 11:30 pm $10 • Ehud Asherie/Harry Allen Knickerbocker Bar and Grill 9:45 pm $5 Ludovic Beier, Pierre Blanchard, Xavier Nikq and guest Jisoo Ok • Sue Raney with Alan Broadbent, Harvie S, Bill Goodwin • Jon Davis Trio; Vincent Gardner Group Birdland 8:30, 11 pm $30-40 Feinstein’s at Loews Regency 8 pm $30 Smalls 7:30, 10:15 pm $20 • Antonio Ciacca The Bar on Fifth 8 pm • Mercedes Hall Quartet with Glafkos Kontemeniotis, Gaku Takanashi, George Mel • Grew Lewis Organ Monk with Napoleon Revels-Bey • Karen Bentley Pollick The Firehouse Space 3 pm $10 Jazz at Kitano 8, 10 pm $10 Lenox Lounge 8:30, 10:30 pm • 9th Annual Encuentro NYC Colombian Music Festival: êLoren Stillman, Brad Shepik, David Ambrosio, Mark Ferber • Ray Gallon Trio; Sylvia Cuenca Fat Cat 6, 10:30 pm Sebastián Cruz Cheap Landscape Trio; Martin Vejarano-Chia’s Dance Party; Barbès 8 pm $10 • The Molecules: Ron Anderson, Thomas Scandura, John Shiurba; Drum Trio: Nilko Andreas Guarín; Alejandro Flórez-Tibaguí; Alejandro Zuleta Vallenato Collective; • Life Size: Brian Krock, Samir Zarif, Olli Hirvonen, Dan Rufulo, Leo Sherman, Tom Scandura, Keith Abrams, Mike Pride Pablo Mayor’s Folklore Urbano Orchestra; Daniel Fetecua and Pajarillo Pinta’o Philippe Lemm Cornelia Street Café 8:30 pm $10 The Stone 8, 10 pm $10 Dance Company; Gregorio Uribe Big Band; M.A.K.U. SoundSystem; Grupo Rebolú • Rob Duguay Songevity with Abraham Burton, Justin Kauflin, Nadav Snir; êTranceFormation: Connie Crothers, Ken Filiano, Andrea Wolper; Gene Ess’ Le Poisson Rouge 3:30 pm $20 Simona Premazzi with Ameen Saleem, Melissa Aldana Fractal Attraction with Thana Alexa, Gadi Stern, Thomson Kneeland, Chris Beck • Daniela Schaechter Trio; Brooks Hartell Trio; Akiko Tsuruga Trio Smalls 9:30 pm 12 am $20 I-Beam 8:30, 9:30 pm $10 The Garage 12, 6:15, 10:45 pm • Tyler Blanton’s Gotham Quartet with Donny McCaslin, Matt Clohesy, Nate Wood; • Eric Lewis’ ELEW Le Poisson Rouge 7:30 pm $20 Franz Hackl’s IDO with Adam Holzman, Freddy Cash, Kim Plainfield êDizzy Atmosphere - The Big Band Music of : MSM Jazz Orchestra with Sunday, November 11 ShapeShifter Lab 8, 9:30 pm guest Borden Auditorium 7:30 pm $12 • Raphael D’lugoff; Groover Trio; Ned Goold Jam • Richard Boukas Trio with Gustavo Amarante, Mauricio Zottarelli • Chico Hamilton with Nick Demopoulos, Paul Ramsey, Evan Schwam, Mayu Saeki, Fat Cat 7, 9 pm 12:30 am Bar Next Door 7:30, 9:30, 11:30 pm $12 Jeremy Carlstedt and guests Drom 7:15 pm $15 • Brandon Wright Quintet Smoke 7, 9 pm • Rudi Mwongozi Quartet Cleopatra’s Needle 8 pm • Elliott Sharp’s Terraplane with Tracie Morris, Eric Mingus, David Hofstra, Don McKenzie, • Ed Vodicka Trio with guest Warren Vache • The Music of Hyeseon Hong: Ange Sande, Jeremy Miloszewicz, Colin Brigstocke, Alex Harding Joe’s Pub 9:30 pm $20 Pier 9 Restaurant 8 pm Jason Wiseman, Jason Colby, Matt Vashlishan, Mike Wilkens, Alex Terrier, Justin Wood, • Victor Wooten Band BB King’s Blues Bar 8 pm $35 • Eric Fraser/Steven Celluci Seeds 9 pm $10 Paul Nedzela, Matt McDonald, Joe Beaty, Nick Finzer, Andrew Jaeger, Matt Panayides, • Marti Mabin Duo; David Schnitter Quartet • Sean Ali/David Grollman Spectrum 7 pm Broc Hempel, Fumi Tomita, Dan Pugach; Maya Nova Quintet with Yasuno Katsuki, Smalls 7:30, 11 pm $20 • Matt Panayides Group with Rich Perry, Jeff Davis Tuomo Uusitalo, Eduardo Belo, Joao Mota; Ray Parker with Russell George, John Hart • Will Redmond; Michael Evans/Scott Robinson Somethin’ Jazz Club 9 pm $10 Somethin’ Jazz Club 7, 9, 11 pm $5-10 The Stone 8, 10 pm $10 • Marc Devine; Anderson Brothers The Garage 6, 10:30 pm • Kyoko Oyobe Trio; Kevin Dorn and the Big 72 • Ehud Asherie; Jade Synstelien Quartet; Brandon Lewis/Renee Cruz Jam êJazz Composers Collective Festival: Frank Kimbrough Group with Steve Wilson, The Garage 6:15, 10:45 pm Fat Cat 6, 8:30 pm 12:30 am , Lewis Nash Jazz Standard 7:30, 9:30 pm $25 êEllis Marsalis Quartet with Derek Douget, Jason Stewart, Joe Dyson • Cthulhu’s Electro-Acoustic Ensemble of Xibalba: Dan Blake, Matt Nelson, • Guillermo Klein with Richard Nant, Aaron Goldberg, Matias Mendez, Sergio Verdinelli Blue Note 8, 10:30 pm $35 Louise Dam Eckardt Jensen, Taavi Kerikmäe, Sam Pluta, Damon Holzborn, Tim Dahl, and guest Liliana Herrero Village Vanguard 9, 11 pm $25 • Ritmosis: David Deej, Doron Lev, Eddie Torres, Elvin Cartagena, Josh Ortiz, Tom Blancarte, Craig Taborn; Dan Blake solo; Stuart Popejoy Project êDjango Reinhardt Festival: Dorado, Amati, Bronson and Samson Schmitt with Adam Iofida, John Arrons, Satish Robertson Douglass Street Music Collective 8 pm $10 Ludovic Beier, Pierre Blanchard, Xavier Nikq and guest Anat Cohen Blue Note 12:30 am $10 • Bill Cole/Catherine Moones; Music Now: Omar Tamez, John Pietaro, Matt Lavelle, Birdland 8:30, 11 pm $30-40 • The Wolff and Clark Expedition: Mike Clark, Michael Wolff, Tom Harrell, Steve Wilson, Ras Moshe; Erika Dagnino Brecht Forum 7 pm $10 • Antonio Ciacca The Bar on Fifth 8 pm Alex Foster, James Genus Iridium 8, 10 pm $30 • Yoon Sun Choi’s E-String Band with Thomas Morgan, Jacob Sacks, Vinnie Sperrazza, êChick Corea/Stanley Clarke Band with Ravi Coltrane, Marcus Gilmore êGregory Porter with Chip Crawford, Yosuke Sato, Aaron James, Emanuel Harrold Khabu Doug Young Sycamore 8:30 pm $10 Blue Note 8, 10:30 pm $75 Dizzy’s Club 7:30, 9:30 pm $30 • Brett Sandler Trio with Peter Longofono, Adam Pin; Adam Larson Quintet with • Elise Wood Duo Shrine 6 pm • Pete Zimmer Quartet Dizzy’s Club 11:30 pm $20 Nils Weinhold, Raviv Markovitz, Can Olgun, Guilhem Flouzat • Aaron Graves Saint Peter’s 1 pm $10 • Sue Raney with Alan Broadbent, Harvie S, Bill Goodwin ShapeShifter Lab 8:30, 9:30 pm $8-10 Feinstein’s at Loews Regency 8 pm $30 • Nate Radley Trio with Matt Pavolka, Ted Poor Thursday, November 8 êJazz Composers Collective Festival: Ted Nash Double Quartet with Nathalie Bonin, Bar Next Door 8, 10 pm $12 Joyce Hammann, Lev Zhurbin, Tomas Ulrich, Erik Charlston, Frank Kimbrough, • Peter Leitch/Charles Davis Walker’s 8 pm êEllis Marsalis Quartet with Derek Douget, Jason Stewart, Joe Dyson Ben Allison, Tim Horner; Ted Nash Quartet with Ron Horton, Paul Sikivie, • Flip City: David Aaron, Will McEvoy, Kate Pittman; Brian Price/Federico Ughi Blue Note 8, 10:30 pm $35 Ulysses Owens; Herbie Nichols Project: Ron Horton, Ted Nash, Michael Blake, ABC No Rio 7 pm $5 êNational Jazz Museum in Harlem Benefit: Christian McBride Trio; Jonathan Batiste Frank Kimbrough, Ben Allison, Michael Sarin • Alberto Pibiri The Bar on Fifth 8 pm Stay Human Band; National Jazz Museum All-Star Big Band led by Loren Schoenberg Jazz Standard 7:30, 9:30, 11:30 pm $30 • Yoshiki Miura Group; Stevie Swaggz: Steven Fowler, Stephen Gladney, Rafeal Statin, with guest Janis Siegel El Museo Del Barrio 7:30 pm • Guillermo Klein with Richard Nant, Aaron Goldberg, Matias Mendez, Sergio Verdinelli Joe Harley, Tony Lannen, Owen Erickson êVince Giordano and The Nighthawks with guest Catherine Russell and guest Liliana Herrero Village Vanguard 9, 11 pm $25 Somethin’ Jazz Club 5, 7 $5-10 Merkin Concert Hall 8 pm $25-250 êDjango Reinhardt Festival: Dorado, Amati, Bronson and Samson Schmitt with êEllis Marsalis Quartet with Derek Douget, Jason Stewart, Joe Dyson êMiguel Zenón, , Antonio Sanchez Ludovic Beier, Pierre Blanchard, Xavier Nikq and guest Jisoo Ok Blue Note 8, 10:30 pm $35 The Jazz Gallery 9, 10:30 pm $20 Birdland 8:30, 11 pm $30-40 êGregory Porter with Chip Crawford, Yosuke Sato, Aaron James, Emanuel Harrold • The Wolff and Clark Expedition: Mike Clark, Michael Wolff, Tom Harrell, Steve Wilson, • Antonio Ciacca The Bar on Fifth 8 pm Dizzy’s Club 7:30, 9:30 pm $30 Alex Foster, James Genus Iridium 8, 10 pm $30 • Rakiem Walker Shrine 6 pm êJazz Composers Collective Festival: Michael Blake Band with Kirk Knuffke, êGregory Porter with Chip Crawford, Yosuke Sato, Aaron James, Emanuel Harrold • Lou Pallo Trio J&R Music World 12:30 pm Ryan Blotnick, Landon Knoblock, Michael Bates, Greg Richie; Herbie Nichols Project: Dizzy’s Club 7:30, 9:30 pm $30 Ron Horton, Ted Nash, Michael Blake, Frank Kimbrough, Ben Allison, Michael Sarin • Max Johnson Trio with Kirk Knuffke, Ziv Ravitz; J-Zee-Shushi-Car: Zachary Pruitt, Saturday, November 10 Jazz Standard 7:30, 9:30 pm $25 Derek Leslie, Justin Veloso The Stone 8, 10 pm $10 • Guillermo Klein with Richard Nant, Aaron Goldberg, Matias Mendez, Sergio Verdinelli êJoe Hertenstein’s Future Drone with Jon Irabagon, Ken Filiano êJazz and Colors: JD Allen Quartet; Jamie Baum Quintet; Kahlil Kwame Bell; and guest Liliana Herrero Village Vanguard 9, 11 pm $25 The Firehouse Space 8, 9:30 pm $10 Lakecia Benjamin and Soul Squad; Quartet; Sharel Cassity Quintet; êDjango Reinhardt Festival: Dorado, Amati, Bronson and Samson Schmitt with • Marco Panascia Birthday Party; Sylvia Cuenca Group Claire Daly Quartet; Chris Dingman Quartet; ELEW; Wayne Escoffery Quartet; Ludovic Beier, Pierre Blanchard, Xavier Nikq and guest Stephane Seva Smalls 7:30, 9:30 pm $20 Mitch Frohman Quartet; Joel Harrison Quartet; Kevin Hays Trio; JC Hopkins Quintet; Birdland 8:30, 11 pm $30-40 • Taylor Haskins with Ben Monder, Chris Lightcap, Jeff Hirshfield; Greg Diamond with Marika Hughes’ Bottom Heavy; Jason Kao Hwang Trio; Jazz at Lincoln Center All-Stars; • Mofodishu: Mike Noordzy, Chris Welcome, Max Ross; Kyoko Kitamura/Ann Rhodes Seamus Blake, Brian Hogans, Mike Eckroth, Edward Perez, Henry Cole, The Klezmatics; Gregoire Maret; Jason Marshall Quartet; Mingus Big Band; sing Anthony Braxton Downtown Music Gallery 6 pm Mauricio Herrera ShapeShifter Lab 8, 9:30 pm $12 Mike Mo Quartet; Jacques Schwartz-Bart Quartet; Bob Stewart Quintet; • Steve Nelson Saint Peter’s 5 pm • Antonio Barbagallo Quartet with Craig Hartley, Ugonna Okegwo, Kirk Knuffke, Jesse Stacken, Bill Goodwin; Roy Campbell Tazz Quartet; • Iris Ornig with Brandon Wright, Helen Sung, Jerome Jennings Jeremy “Bean” Clemons Jazz at Kitano 8, 10 pm $10 Yosvany Terry Quartet; Kimberly Thompson Quartet; Doug Wamble Quartet; Blue Note 12:30, 2:30 pm $29.50 • Andy Statman Barbès 8 pm $10 YES! Trio: Aaron Goldberg, Omer Avital, and Ali Jackson • Medicine Woman of Jazz: Golda Solomon, Michael TA Thompson, Will Connell Jr., • Tal Ronen Quartet; Greg Glassman Quintet; Avi Rothbard Central Park 4 pm Larry Roland Harlem Arts Salon 2:30 pm $25 Fat Cat 7, 10 pm 1:30 am êJoe Fonda/Michael Jefry Stevens Group with Thomas Heberer, Harvey Sorgen • The Music of Louis Armstrong: Hot Lips Joey Morant and Catfish Stew • Timothy Hayward Trio with Thomson Kneeland, Steve Johns 92YTribeca 8 pm $25 BB King’s Blues Bar 12 pm $25 Bar Next Door 8:30, 10:30 pm $12 êHarry Allen Quartet with Rossano Sportiello, Joel Forbes, Alvin Atkinson • Roz Corral Trio with Ron Affif, Paul Gill • Tim Lancaster Group with Tim Hagans, Michael Bard, Jason Shattil, Steve LaSpina Jazz at Kitano 8, 10 pm $25 North Square Lounge 12:30, 2 pm Metropolitan Room 9:30 pm $20 • Jack Wright, Ron Stabinsky, John McClellan; PAK: Ron Anderson, Keith Abrams, • Lou Caputo Quartet; David Coss Quartet; Mauricio DeSouza Trio • Donna Singer and Doug Richards Trio with Billy Alfred, Mike Cervone and Tim Byrnes, Marco Cappelli, Nonoko Yoshida The Garage 11:30 am 7, 11:30 pm guest Luis Camacho Billie’s Black 7:30 pm $10 The Stone 8, 10 pm $10 • Damien Olsen/Lisa Dowling; Adam Dym Trio êEllery Eskelin Trio with Chris Lightcap, Billy Mintz Spectrum 8 pm Cornelia Street Café 9, 10:30 pm $15 • Equilibrium; Roger Davidson Caffe Vivaldi 8:30, 9:30 pm • Dayna Stephens Quartet Oceana Restaurant 9 pm • Christian Finger Band with Pete McCann, Adam Armstrong • Corin Stiggall Quintet; Valery Ponomarev Septet Inkwell Café 8 pm Fat Cat 7, 10 pm • Don Furman Trio Cleopatra’s Needle 7 pm • Charenee Wade Sistas’ Place 9, 10:30 pm $20 • David Engelhard Group with Matt Baker, Willie Harvey; Jeron White Quintet with • Iron Dog: Sarah Bernstein, Stuart Popejoy, Andrew Drury; The Home of Easy Credit: Sean Powell, Kaori Yamada, Sam King, Mayu Saeki Louise Dam Eckardt Jensen/Tom Blancarte; Briggan Krauss/Jim Black Somethin’ Jazz Club 7, 9 pm $5-10 JACK 8 pm $10 • Champian Fulton Quartet; Andrew Hadro Quartet • Michael Winograd’s Tarras Band with Pete Sokolow, Ben Holmes, Jim Guttmann, The Garage 6, 10:30 pm Dave Licht Barbès 8 pm $10 • Sue Raney with Alan Broadbent, Harvie S, Bill Goodwin • The Moon: Adam Caine/Federico Ughi; Daniel Carter/Federico Ughi Astonishment Feinstein’s at Loews Regency 8 pm $30 I-Beam 8:30, 9:30 pm $10 êJazz Composers Collective Festival: Ron Horton Sextet with Marty Ehrlich, Ted Nash, • Steve Bloom Trio with Danton Boller, Jeremy Carlstedt Frank Kimbrough, Ben Allison, Tim Horner; Ron Horton/Tim Horner Eleventet with Bar Next Door 7:30, 9:30, 11:30 pm $12 Nate Ecklund, Marty Ehrlich, John O’Gallagher, Ted Nash, Marc Mommaas, Mike Fahn, • Isra-Alien: Oren Neiman/Gilad Ben-Zvi Alan Ferber, Mark Sherman, Frank Kimbrough, Ben Allison Drom 7:15 pm $15 Jazz Standard 7:30, 9:30 pm $25 • Carlo Costa/Ryan Ferreira; HAG: Brad Henkel, Sean Ali, David Grollman • Guillermo Klein with Richard Nant, Aaron Goldberg, Matias Mendez, Sergio Verdinelli Launch Pad Gallery 8 pm and guest Liliana Herrero Village Vanguard 9, 11 pm $25 • Ken Simon Quartet Cleopatra’s Needle 8 pm êDjango Reinhardt Festival: Dorado, Amati, Bronson and Samson Schmitt with • Aaron Ward’s NuGen Jazz Project with Keith Curbow, Chris Perkins, Kom Wongsawat, Ludovic Beier, Pierre Blanchard, Xavier Nikq and guest Nicki Parrott Jesse Bielenberg, Jim Bloom; Cara Campanelli Group with Thomas Meunier, Birdland 8:30, 11 pm $30-40 Adam Shulman, Mike Lembke; Sam Mortellaro Trio with Peter Yuskauskas, • Antonio Ciacca The Bar on Fifth 8 pm Dan Kleffmann; James Robbins Quintet with Christoph Huber, Nat Janoff, • Cheryl Pyle/Nicolas Letman-Burtinovic Duo Sharik Hassan, Charles Goold Somethin’ Jazz Club 5, 7, 9, 11 pm $5-15 Orchard Windows Gallery 6 pm êNed Rothenberg’s Ghost Stories with Erik Friedlander, Min Xiao-Fen, Satoshi Takeishi, • Peter Honan Shrine 6 pm Mivos Quartet Roulette 8 pm $15 êJeremy Pelt Sextet with Roxy Coss, Darren Barret, Danny Grissett, Dwayne Burno, Friday, November 9 JD Allen Smoke 8, 10, 11:30 pm $30 êEhud Asherie/Harry Allen Knickerbocker Bar and Grill 9:45 pm $5 êFred Van Hove solo and duo with Lou Grassi êPete Malinverni Trio; Vincent Gardner Group The Firehouse Space 8, 9:30 pm $15 Smalls 7:30, 10:15 pm $20 êReggie Nicholson/Marty Ehrlich; Craig Harris 4 Trombones with Ray Anderson, êEllis Marsalis Quartet with Derek Douget, Jason Stewart, Joe Dyson Art Baron, Aaron Johnson Community Church Of New York 8 pm $35 Blue Note 8, 10:30 pm $35

THE NEW YORK CITY JAZZ RECORD | November 2012 39 Monday, November 12 êThe Best of Blue Note Festival: Lou Donaldson with Pat Bianchi, Randy Johnston, • Matt Baker Trio; Harmony Keeney; Tommaso Gambini Fukushi Tainaka Dizzy’s Club 7:30, 9:30 pm $30 Somethin’ Jazz Club 7, 9, 11 pm $5-12 êEric Person and Metamorphosis with Adam Klipple, Adam Armstrong, • Bruce Harris Quintet Dizzy’s Club 11:30 pm $10 • Ben Benack Quartet; Kevin Dorn and the Big 72 Shinnosuke Takahashi Blue Note 8, 10:30 pm $15 êPharoah Sanders Quartet Birdland 8:30, 11 pm $30-40 The Garage 6:15, 10:45 pm • Ben Holmes Quartet with Curtis Hasselbring, Matt Pavolka, Vinnie Sperrazza; • Winard Harper and Jeli Posse with Jazzmeia Horn, Bruce Harris, Jovan Alexander, • Vinicius Cantuaria with Helio Alves, Paul Socolow, Adriano Santos, Dende Akiko Pavolka Band with Matt Pavolka, Guillermo Klein, Loren Stillman, Nate Radley, Jonathan Beshay, Roy Assaf, Stephen Porter, Alioune Faye and guests Jazz Standard 7:30, 9:30, 11:30 pm $30 Bill Campbell ShapeShifter Lab 8:30 pm Delfeayo Marsalis, Frank Wess Jazz Standard 7:30, 9:30 pm $25 • Kenny G Blue Note 8, 10:30 pm $75 • Manhattan School of Music Jazz Orchestra • Greg Osby Quartet with Kenny Drew Jr, Lonnie Plaxico, Justin Brown • John Raymond Project with , Javier Santiago, Ben Williams, Dizzy’s Club 7:30, 9:30 pm $20 Village Vanguard 9, 11 pm $25 Ulysses Owens Jr. Blue Note 12:30 am $10 • Blaise Siwula/François Grillot; Timaeus: Douglas Bradford, Zack Lober, Cody Brown; • Curtis Stigers with Matthew Fries, Cliff Schmitt, Keith Hall, John “Scrapper” Sneider êThe Best of Blue Note Festival: Lou Donaldson with Pat Bianchi, Randy Johnston, Bobby Avey Trio with Thomson Kneeland, Jordan Perlson Blue Note 8, 10:30 pm $25 Fukushi Tainaka Dizzy’s Club 7:30, 9:30 pm $35 Sycamore 8 pm • Antonio Ciacca The Bar on Fifth 8 pm • Bruce Harris Quintet Dizzy’s Club 11:30 pm $20 • Yotam Silberstein solo; Dayna Stephens Group • Chris Gines, Ronny Whyte, Boots Maleson êPharoah Sanders Quartet Birdland 8:30, 11 pm $30-40 Smalls 7:30, 9:30 pm $20 Saint Peter’s 1 pm $10 • Greg Osby Quartet with Kenny Drew Jr, Lonnie Plaxico, Justin Brown • Public String Quartet; Ned Goold Quartet; Billy Kaye Jam Village Vanguard 9, 11 pm $25 Fat Cat 7, 9 pm 12:30 am Thursday, November 15 • Antonio Ciacca The Bar on Fifth 8 pm • Deanna Witkowski Trio with Marco Panascia, Scott Latsky • Alex Hoffman Fat Cat 6 pm Bar Next Door 8:30, 10:30 pm $12 êFred Ho’s Saxophone Liberation Front with James Carter, Darius Jones, Bhinda Keidel • David Caldwell-Mason Trio with Pablo Menares, Alan Mednard • NewYorkestra Tea Lounge 9, 10:30 pm St. Mary’s Church 7 pm $15 Shrine 6 pm • Ron Dabney Metropolitan Room 7 pm $20 êPeter Evans Quartet with Ron Stabinsky, Tom Blancarte, Jim Black • Jane Irving Zinc Bar 7 pm $8 Cornelia Street Café 8:30 pm $10 • Antonio Ciacca The Bar on Fifth 8 pm • Vinicius Cantuaria with Helio Alves, Paul Socolow, Adriano Santos, Dende • Ed Stoute Trio with Gene Ghee For My Sweet Restaurant 7:15, 9:15 pm Jazz Standard 7:30, 9:30 pm $25 • Howie Leshaw Trio with Sean Mahony, Dave Dunaway • Kenny G Blue Note 8, 10:30 pm $75 Bello Giardino 7:30 pm êSteve Swell Trio with Tim Daisy, Matt Bauder; Steve Swell Quartet with Darius Jones, • Howard Williams Jazz Orchestra; David Baron Max Johnson, Chad Taylor The Stone 8, 10 pm $10 LESLIE PINTCHIK TRIO The Garage 7, 10:30 pm êHoward Alden/Anat Cohen Duo Bar Next Door 8:30, 10:30 pm $12 • Glenn Zaleski solo; Samir Zarif Alternative Trio with Maria Neckam, Zack Lober, Thursday, November 15th 8:00 PM & 10:00 PM Tuesday, November 13 Colin Stranahan ShapeShifter Lab 8:30 pm $10 • Leslie Pintchik Trio with Scott Hardy, Michael Sarin The Kitano Hotel êThe Best of Blue Note Festival: Lou Donaldson with Pat Bianchi, Randy Johnston, Jazz at Kitano 8, 10 pm $10 66 Park Ave @ 38th St. NYC Fukushi Tainaka Dizzy’s Club 7:30, 9:30 pm $30 • Ehud Asherie; Matt Jorgensen Quartet (212) 885-7119 for reservations Smalls 7:30, 9:30 pm $20 • Bruce Harris Quintet Dizzy’s Club 11:30 pm $10 “...enormous gifts as a composer, arranger and pianist.” êPharoah Sanders Quartet Birdland 8:30, 11 pm $30-40 • Karl Berger Workshop Band El Taller LatinoAmericano 9 pm $15 • Winard Harper and Jeli Posse with Jazzmeia Horn, Bruce Harris, Jovan Alexander, • Pamela Luss/Houston Person Metropolitan Room 9:30 pm $20 All Music Guide Jonathan Beshay, Roy Assaf, Stephen Porter, Alioune Faye and guests • Jill McManus/Boots Maleson Sofia’s 7 pm Delfeayo Marsalis, Frank Wess Jazz Standard 7:30, 9:30 pm $25 • Interpretations: Erik Griswold; Camilla Hoitenga Leslie Pintchik - piano • Greg Osby Quartet with Kenny Drew Jr, Lonnie Plaxico, Justin Brown Roulette 8 pm $15 • Jesse Stacken and Friends; Party Pack: Dustin Carlson, Adam Hopkins, Scott Hardy - bass Village Vanguard 9, 11 pm $25 - drums êEdmar Castaneda Trio with Shlomi Cohen, Davd Silliman and guest Jorge Glem Nathan Ellman-Bell Lark Café 8:30 pm MIchael Sarin Americas Society 7 pm • David Ullmann Quintet with Chris Dingman, Karel Ruzicka, Eivind Opsvik • Curtis Stigers with Matthew Fries, Cliff Schmitt, Keith Hall, John “Scrapper” Sneider ShapeShifter Lab 7:30 pm $10 • Brandee Younger Quintet; POD; Tal Ronen Quartet DVD/CD Combo Blue Note 8, 10:30 pm $25 LESLIE PINTCHIK QUARTET • Chip White Ensemble NYC Baha’i Center 8, 9:30 pm $15 Fat Cat 7, 10 pm 1:30 am • Le Boeuf Brothers: Remy and Pascal Le Boeuf, Mike Ruby, Martin Nevin, Henry Cole LIVE IN CONCERT • Pedro Giraudo Big Band Zinc Bar 8, 10 pm available now at Amazon.com • Joe Sanders Group Smalls 9:30 pm $20 with Myth String Quartet: Jeremy Blanden, Tallie Brunfelt, Kim Uwate, Isaac Melamed • Barrsheadahl: Tim Dahl, Mick Barr, Kevin Shea; Inzinzac: Alban Bailly, Dan Scofield, The Jazz Gallery 9, 10:30 pm $15 Eii Litwin The Stone 8, 10 pm $10 • LathanFlinAli: Lathan Hardy, Sean Ali, Flin van Hemmen www.lesliepintchik.com êBen Holmes Quartet with Curtis Hasselbring, Matt Pavolka, Vinnie Sperrazza Spectrum 8 pm Barbès 7 pm $10 • Stephanie Chou; Lisa Dowling The Firehouse Space 7:30, 9 pm $10 êKarl 2000: Daniel Rovin, Austin White, David Miller • Baby Soda: Ben Polcer, Patrick Harrison, Jared Engel, David Langlois, Peter Ford ShapeShifter Lab 8:30 pm Barbès 10 pm $10 • Phyllis Chen Roulette 8 pm $15 • Keith Ingham Trio Cleopatra’s Needle 7 pm êAngelica Sanchez, Omar Tamez, Ratzo Harris, Satoshi Takeishi; Loren Stillman, • Deborah Latz; Ross Kratter Fusion Trio with Robby Mack, Mark Sundermeyer Ryan Ferreira, Billy Mintz Korzo 9, 10:30 pm $5 Somethin’ Jazz Club 7, 9 pm $5-10 • Stan Killian Quartet with Benito Gonzalez, Bryan Copeland, Darrell Green • Nick Moran Trio; New Tricks The Garage 6, 10:30 pm 55Bar 7 pm êThe Best of Blue Note Festival: Lou Donaldson with Pat Bianchi, Randy Johnston, • Saul Rubin; Peter Brainin Latin Jazz Workshop; Gregg Glassman Jam Fukushi Tainaka Dizzy’s Club 7:30, 9:30 pm $30 Fat Cat 7, 9 pm 12:30 am êPharoah Sanders Quartet Birdland 8:30, 11 pm $30-40 • Voxify: Rosana Eckert with Peter Eldridge, Matt Aronoff, Ben Wittman, Jay Rattman, • Greg Osby Quartet with Kenny Drew Jr, Lonnie Plaxico, Justin Brown Gary Eckert; Alison Wedding with Matt Aronoff, Pete McCann, Ben Wittman Village Vanguard 9, 11 pm $25 Cornelia Street Café 8:30, 10 pm $10 • Antonio Ciacca The Bar on Fifth 8 pm • Perry Smith Trio with Sam Minaie, Ross Pederson • Harlem Speaks: Ted Nash Jazz Museum in Harlem 6:30 pm Bar Next Door 8:30, 10:30 pm $12 • /Tom Dempsey Bella Luna 8 pm Friday, November 16 • Sapphire Adizes with Lucas Del Calvo, Jochem Le Cointre, Zack Hartmann, Donnie Spackman; Troy Roberts Quartet êNEA Jazz Masters: Jimmy Heath, Curtis Fuller, Jimmy Owens, Barry Harris, Ron Carter, Somethin’ Jazz Club 7, 9 pm $5-10 Albert Tootie Heath Flushing Town Hall 8 pm $40 • Eyal Vilner Big Band with Andrew Gould, Mike McGarril, Asaf Yuria, Lucas Pino, êThe Best of Blue Note Festival: Joe Henderson’s 75th Birthday Celebration with Jonah Parzen-Johnson, Cameron Johnson, Matt Jodrell, John Mosca, Nick Finzer, Chris Potter, Renee Rosnes, Bobby Hutcherson, Robert Hurst, Jeremy Pelt, Yonatan Riklis, Tal Ronen, Joe Strasser, Yaala Ballin, Brianna Thomas; Mayu Saeki Trio Lewis Nash, Michael Dease Allen Room 7:30, 9:30 pm $55-65 The Garage 7, 10:30 pm êThe Best of Blue Note Festival: Jazz at Lincoln Center Orchestra with guests • Antonio Ciacca The Bar on Fifth 8 pm Ryan Kisor, JD Allen Rose Hall 8 pm $30-120 êJunior Mance Trio with Hide Tanaka, Michi Fuji Wednesday, November 14 Jazz at Kitano 8, 10 pm $25 êSteve Coleman and Five Elements with Jonathan Finlayson, Anthony Tidd, êMike DiRubbo Quintet with Mike Rodriguez, Helen Sung, Rashaan Carter, Sean Rickman The Jazz Gallery 9, 10:30 pm $20 Rudy Royston Jazz at Kitano 8, 10 pm $10 êAaron Dugan/Anders Nilsson; Billy Martin’s Percussion Festival êWayne Escoffery Group with Danny Grissett, Ugonna Okegwo, Mike Clark ShapeShifter Lab 8, 9:30 pm $12 The Players Club 7 pm $20 • Dayramir Gonzalez and Habana enTRANCE with Yosvany Terry, Luis Faife, Yunior Terry, êSteve Cardenas Group Smalls 9:30 pm $20 Richie Flores, Obed Calvaire; Aldo López-Gavilán Quartet with Roberto Martínez, êJonathan Moritz Secret Tempo with Shayna Dulberger, Mike Pride; Joe Hertenstein’s Raúl Gil, Ruy Adrián López-Nussa Zankel Hall 9 pm $40-50 HNH with Pascal Niggenkemper, Thomas Heberer • David Hazeltine Quartet with Jim Rotondi, Peter Washington, Joe Farnsworth Seeds 8:30, 10 pm $10 Smoke 8, 10, 11:30 pm $30 êCacaw: Oscar Noriega, Landon Knoblock, Jeff Davis êLenore Raphael and Friends with Harry Allen, Phil Bowler, Rudy Lawless Barbès 8 pm $10 NY Society for Ethical Culture 8 pm $20 • MJ-12: Percy Jones, Steve Moses, Aubrey Smith; Daniel Carter, David Schnug, • Roy Campbell Akhenanton Band with Hill Greene, Bryan Carrott; Will McEvoy, Max Goldman The Stone 8, 10 pm $10 Outside Within: Daniel Carter, Maria Grand, Akili Haynes, Larry Roland • Jerome Sabbagh Quartet with Ben Monder, Joe Martin, Colin Stranahan The Stone 8, 10 pm $10 Cornelia Street Café 8:30 pm $10 êNasheet Waits/Abraham Burton 3 Cornelia Street Café 9, 10:30 pm $15 • ACT: Ben Wendel, Harish Raghavan, Nate Wood êAngelica Sanchez Quartet with Omar Tamez, Ratzo Harris, Satoshi Takeishi The Jazz Gallery 9, 10:30 pm $15 I-Beam 8:30 pm $10 • George Burton Quintet Smoke 7, 9 pm • Greg Lewis Organ Monk Trio Lenox Lounge 8:30 pm • Sean Smith Trio with John Hart, Russell Meissner • Ned Goold Trio; Ken Fowser/Behn Gillece Group 55Bar 7 pm Smalls 7:30, 10:15 pm $20 • Gilad Hekselman Trio Museum of Jewish Heritage 7 pm $15 • Sean Smith/Adam Birnbaum Knickerbocker Bar and Grill 9:45 pm $5 • Raphael D’lugoff; Ryan Berg Quintet; Ned Goold Jam • Stix Bones Metropolitan Room 11:30 pm $20 Fat Cat 7, 9 pm 12:30 am • Rebeca Vallejo; Hadar Noiberg Trio with Edward Perez, Ziv Ravitz • Ed Vodicka Trio with guest Ron Odrich Drom 6:45 pm $15 Pier 9 Restaurant 8 pm • Tom Dempsey Trio with Ron Oswanski, Dion Parsons • Marcus Goldhaber Metropolitan Room 9:30 pm $20 Bar Next Door 7:30, 9:30, 11:30 pm $12 • Erika Dagnino/John Pietaro Boulevard Books & Café 7 pm • Weekly Reeders: Carlos Cuevas, Elizabeth Tomboulian, Christine Bard, Cliff Schmidt, • Projection with Matthew Jodrell, Roy Assaf, George DeLancey, Lee Tomboulian The Firehouse Space 8 pm $10 Andrew Swift; Yuki Shibata Quartet with Tomoko Omura, Yuki Shibata, Yoshiki Yamada, • Jocelyn Medina Quartet with Jesse Lewis, Zack Lober, Paul Wiltgen Bob Edinger Somethin’ Jazz Club 7, 9 pm $5-10 Apologetics Café 8:30 pm • Dylan Meek Trio; Ryan Meagher Trio • La Voz De Tres: Natalia Bernal, Michael Eckroth, Jason Ennis The Garage 6, 10:30 pm Concertino 7 pm • Terry Blossom Shrine 7 pm • Mamiko Watanabe Quartet Cleopatra’s Needle 8 pm

40 November 2012 | THE NEW YORK CITY JAZZ RECORD Saturday, November 17 • Vinicius Cantuaria with Helio Alves, Paul Socolow, Adriano Santos, Dende • Greg Osby Quartet with Kenny Drew Jr, Lonnie Plaxico, Justin Brown Jazz Standard 7:30, 9:30, 11:30 pm $30 Village Vanguard 9, 11 pm $25 êJunior Mance Trio with Hidé Tanaka, Michi Fuji • Kenny G Blue Note 8, 10:30 pm $75 • Bill Cole/Shayna Dulberger Duo; Erika Dagnino, Ras Moshe, Matt Lavelle York College Performing Arts Center 7 pm $20 êThe Best of Blue Note Festival: Lou Donaldson with Pat Bianchi, Randy Johnston, Downtown Music Gallery 6 pm êSylvie Courvoisier/Mark Feldman Greenwich House Music School 8 pm $12 Fukushi Tainaka Dizzy’s Club 7:30, 9:30 pm $35 • Alexis Cole Quartet with John di Martino, Jim Cammack, Clarence Penn • Michele Rosewoman’s Time in Textures Trio with Liberty Ellman, Tyshawn Sorey êPharoah Sanders Quartet Birdland 8:30, 11 pm $30-40 Saint Peter’s 5 pm 92YTribeca 8 pm $25 • Greg Osby Quartet with Kenny Drew Jr, Lonnie Plaxico, Justin Brown • Magos Herrera with Luis Perdomo, Nir Felder, Hans Glawischnig, Alex Kautz, • Claudia Acuña Quartet with Pablo Vergara, Yayo Serka Village Vanguard 9, 11 pm $25 Rogerio Boccato and guest Javier Limon Jazz at Kitano 8, 10 pm $25 • Antonio Ciacca The Bar on Fifth 8 pm Abrons Arts Center 3 pm êKris Davis/Angelica Sanchez Duo; Angelica Sanchez/Omar Tamez Duo êYosvany Terry Quintet with Michael Rodriguez, Manuel Valera, Yunior Terry, • Yoon Sun Choi/Elena Camerin Lark Café 4 pm $5 Klavierhaus 7 pm Obed Calvaire El Museo del Barrio 4 pm • Oliver Lake, Cornelius Eady, Sabrina Hayeem-Ladani êGregory Porter Littlefield 8 pm $15 • Larry Newcomb Trio; Mark Marino Trio; Virginia Mayhew Quartet St. Augustine’s Church 2 pm $20 • Pedro Giraudo Sextet Barbès 8 pm $10 The Garage 12, 6:15, 10:45 pm • Juilliard Jazz Brunch - Groove in Time: Chase Baird, Adison Evans, Gabe Medd, • Medicine Woman of Jazz: Golda Solomon, Larry Roland, Michael TA Thompson; Adam Moezinia, Samora Pinderhuges, Luke Sellick, Carmen Intorre Jazz & Poetry Choir Collective: Michael TA Thompson, EJ Antonio, Sarah Bernstein, Sunday, November 18 Blue Note 12:30, 2:30 pm $29.50 Rosie Hertlein, Larry Roland, Golda Solomon, Phylisha Villanueva • Marianne Solivan Trio with Ethan Mann The Stone 8, 10 pm $10 • Stanley Jordan solo Iridium 8, 10 pm $35 North Square Lounge 12:30, 2 pm • Nioka Workman Fiery Strings Sistas’ Place 9, 10:30 pm $20 êSecret Keeper: Mary Halvorson/Stephan Crump • Jesse Stacken solo; Douglas Detrick, Hashem Assadullahi, Rafal Sarnecki, Barbès 8 pm $10 Monday, November 19 Michael Bates I-Beam 8:30, 9:30 pm $10 • Larry Roland’s Outside Within with Charles Burnham, Sonya Roberson, Melonie Dyer, • Bobby Avey Group with Miguel Zenón, Ben Monder, Thomson Kneeland, Nioka Workman, David Harwood The Stone 8, 10 pm $10 êSheila Jordan/Steve Kuhn Duo Blue Note 8, 10:30 pm $25 Jordan Perlson Cornelia Street Café 9, 10:30 pm $15 • International Contemporary Ensemble with Tyshawn Sorey êJames Spaulding Swing Expressions with TC III • Eden Ladin Quintet; George Burton; Ray Gallon Roulette 8 pm $15 For My Sweet Restaurant 7:15, 9:15 pm Fat Cat 7, 10 pm 1:30 am • Paul Meyers/Deanna Witkowski Cornelia Street Café 8:30 pm $10 êEdmar Castaneda Trio with Shlomi Cohen, Davd Silliman and guest Joe Locke • Pamela Luss/Houston Person Metropolitan Room 9:30 pm $20 • Terry Waldo’s Gotham City Band; Alexi David; Brandon Lewis/Renee Cruz Jam Americas Society 7 pm • Adam Kromelow Trio with Jason Burger, Raviv Markovitz; Federico Ughi Quartet with Fat Cat 6, 8:30 pm 12:30 am êDave Kikoski solo; Ben Wolfe Group David Schnug, Kirk Knuffke, Max Johnson • Lucas Pino Group; Lezlie Harrison Duo; Charles Owens Quartet Smalls 7:30, 9:30 pm $20 ShapeShifter Lab 8 pm $6-10 Smalls 4:30, 7:30, 11 pm $20 • Barcelona Jazz Orchestra Dizzy’s Club 7:30, 9:30 pm $20 • Daniel Ori Trio with Dayna Stephens, Greg Ritchie • Ray Parker, Zack Brock, John Hart Metropolitan Room 9:30 pm $20 • Bill Charlap/Sandy Stewart Feinstein’s at Loews Regency 8 pm $30 Bar Next Door 7:30, 9:30, 11:30 pm $12 • Out of Your Head: Patrick Breiner, Timo Volbrecht, Nico Soffiato, Tim Kuhl; • Curtis Lundy The Bar on Fifth 8 pm • Mayuko Katakura Trio Oceana Restaurant 9 pm Curtis Sydnor, Scott Colberg, Max Jaffee êJeff Davis Trio with Eivind Opsvik, Russ Lossing; James Carney Quartet with • Ken Butler The Firehouse Space 8 pm $10 The Backroom 9:30, 11 pm Oscar Noriega, Chris Lightcap, Chad Taylor • Ray Blue Quartet Cleopatra’s Needle 8 pm • Trust the Tomatoes; Dave Brahinsky, Rocco John Iacovone, Jon Sea, Mike Davis, ShapeShifter Lab 7:30, 10 pm $10 • Sapphire Adizes Quintet University of the Streets 9 pm $10 Keith Dorgan; Omar Tamez NY Trío with Katie Bull, Ratzo B. Harris • Trio Russo: Akira Ishiguro, Julian Smith, Rodrigo Recabarren; Laila & Smitty: • Tamm E. Hunt and Trio Metropolitan Room 11:30 pm $20 ABC No Rio 7 pm $5 Kenny Warren, Jeremiah Lockwood, Myk Freedman, Josh Meyers • Tomas Janzon Duo Garden Café 7:30 pm • Peter Mazza Trio with Marco Panascia, Dan Wilson Sycamore 8 pm • SambuluS: Luana Mariano/Caesar Barbosa; Brenda Earle Quartet; Fredrick Levore Bar Next Door 8, 10 pm $12 • Inconspicuous Meeting: Daniel Carter, Jeff Platz, Nicolas Letman-Burtinovic, Somethin’ Jazz Club 5, 7, 9 pm $5-10 • Peter Leitch Duo Walker’s 8 pm Frederico Ughi, Ras Moshe Shrine 11 pm êThe Best of Blue Note Festival: Joe Henderson’s 75th Birthday Celebration with • Sarah Bernstein’s Chamber Music Project • Johnny O’Neal; George Braith; Billy Kaye Jam Chris Potter, Renee Rosnes, Bobby Hutcherson, Robert Hurst, Jeremy Pelt, Sycamore 8:30 pm $10 Fat Cat 6, 9 pm 12:30 am Lewis Nash, Michael Dease Allen Room 7:30, 9:30 pm $55-65 • Alberto Pibiri The Bar on Fifth 8 pm • Holli Ross Trio with Paul Meyers, Dean Johnson êThe Best of Blue Note Festival: Jazz at Lincoln Center Orchestra with guests • Heights: John Blevins, Drew Williams, Jeff McLaughlin, Alex Minier, John Doing Bar Next Door 8:30, 10:30 pm $12 Ryan Kisor, JD Allen Rose Hall 8 pm $30-120 Somethin’ Jazz Club 7 pm $7 • Kay Matsukawa Zinc Bar 7 pm $8 êSteve Coleman and Five Elements with Jonathan Finlayson, Anthony Tidd, • David Coss Quartet; Ethan Mann Trio • Erica Seguine/Shannon Baker Jazz Orchestra Sean Rickman The Jazz Gallery 9, 10:30 pm $20 The Garage 7, 11:30 pm Tea Lounge 9, 10:30 pm • David Hazeltine Quartet with Jim Rotondi, Peter Washington, Joe Farnsworth • Vinicius Cantuaria with Helio Alves, Paul Socolow, Adriano Santos, Dende • Howard Williams Jazz Orchestra; Kenny Shanker Quartet Smoke 8, 10, 11:30 pm $30 Jazz Standard 7:30, 9:30 pm $25 The Garage 7, 10:30 pm • Nick Hempton Quartet; Ken Fowser/Behn Gillece Group • Kenny G Blue Note 8, 10:30 pm $75 • Stanley Jordan solo Iridium 8, 10 pm $35 Smalls 7:30, 10:15 pm $20 êThe Best of Blue Note Festival: Lou Donaldson with Pat Bianchi, Randy Johnston, • Sean Smith/Adam Birnbaum Knickerbocker Bar and Grill 9:45 pm $5 Fukushi Tainaka Dizzy’s Club 7:30, 9:30 pm $30

THE NEW YORK CITY JAZZ RECORD | November 2012 41 Tuesday, November 20 êGerald Clayton The Jazz Gallery 9, 10:30 pm $20 êJohn McNeil’s Hush with Jeremy Udden, Aryeh Kobrinski, Vinnie Sperrazza êJason Moran and The Bandwagon with Tarus Mateen, Nasheet Waits Cornelia Street Café 9, 10:30 pm $15 Village Vanguard 9, 11 pm $25 • Tom Dempsey/Tim Ferguson Group; Sacha Perry Sextet • Maria Schneider Orchestra Jazz Standard 7:30, 9:30 pm $35 Smalls 7:30, 10:15 pm $20 • Monty Alexander Harlem-Kingston Express • The Manhattan Transfer: Tim Hauser, Cheryl Bentyne, Alan Paul, Janis Siegel with Dizzy’s Club 7:30, 9:30 pm $30 Yaron Gershovsky, Adam Hawley, Gary Wicks, Steve Hass • Ryan Hayden Quartet Dizzy’s Club 11:30 pm $10 Blue Note 8, 10:30 pm $65 • Cyrille Aimée and The Surreal Band with Wayne Tucker, Matt Simons, Assaf Gleizner, • Matt Dickey’s Try This At Home Blue Note 12:30 am $10 Sam Anning, Rajiv Jayaweera Birdland 8:30, 11 pm $30-40 • John Zorn Improv Night The Stone 8 pm $25 • Mike Longo Trio NYC Baha’i Center 8, 9:30 pm $15 • Dee Daniels Quartet with Carlton Holmes, Paul Beaudry, Alvester Garnett www.gligg-records.com • Art Baron and Friends David Rubenstein Atrium 7:30 pm Jazz at Kitano 8, 10 pm $25 • Tomas Ulrich/Maxim Pakhomov; Jeremy Carlstedt/Jim Motzer • Cat Toren Band with Ryan Ferreira, Pat Reid, Nathan Ellman-Bell; The Stone 8, 10 pm $10 Jasmine Lovell-Smith’s Towering Poppies with Cat Toren, Pat Reid, Kate Pittman Musikverein Heilijewald • Jon Irabagon Trio with Yashushi Nakamura, Rudy Royston I-Beam 8:30, 9:30 pm $10 Bar Next Door 8:30, 10:30 pm $12 • Tessa Souter Joe’s Pub 7:30 pm $15 call me cake • Glenn Zaleski, Rick Rosato, Craig Weinrib; Ralph Alessi Group • Todd Herbert Quartet; Avi Rothbard Quintet Rudi Mahall bcl, Christof Korzo 9, 10:30 pm $5 Fat Cat 6, 10:30 • Rick Stone Trio with Marco Panascia, Tom Pollard Thewes tb, Martin Schmidt • Juilliard’s Artist Diploma Ensemble with guest Paulo Braga Paul Hall 8 pm Bar Next Door 7:30, 9:30, 11:30 pm $12 mandolin, Hartmut Oßwald ts, • JC Sanford Orchestra with Meg Okura, Will Martina, Taylor Haskins, Matt Holman, • Jijye Park Trio Cleopatra’s Needle 8 pm Dirk-Peter Kölsch dr, Jan Chris Komer, Mark Patterson, Jeff Nelson, Dan Willis, Ben Kono, Chris Bacas, • Natalie Fernandez Project with Jarrett Cherner, Alex Hernandez, Reinaldo DeJesus; Oestreich bs Kenny Berger, Tom Beckham, Jacob Garchik, Aidan O’Donnell, Satoshi Takeishi Terry Vakirtzoglou Quartet with Tuomo Uusitalo, George Kostopoulos, Joao Mota Douglass Street Music Collective 8 pm $10 Somethin’ Jazz Club 7, 9 pm $5-10 êJack Wilkins/Bucky Pizzarelli Bella Luna 8 pm • Michika Fukumori Trio; Joey Morant Trio • Andrea Brachfeld Zinc Bar 8, 10 pm The Garage 6:15, 10:45 pm • Saul Rubin; Cocomama; Gregg Glassman Jam êJason Moran and The Bandwagon with Tarus Mateen, Nasheet Waits Tomas Ulrich’s Fat Cat 7, 9 pm 12:30 am Village Vanguard 9, 11 pm $25 • Dorian Wallace Big Band with Cam Collins, Lynn Ligammari, Tim McDonald, • Maria Schneider Orchestra Jazz Standard 7:30, 9:30, 11:30 pm $35 TransAtlantic Quartet Zach Mayer, Frank London, Wayne Tucker, Alphonso Horne, John Raymond, • Monty Alexander Harlem-Kingston Express Andy Hunter, Frank Niemeyer, Joe McDonough, Frank Cohen, Tim Basom, Dizzy’s Club 7:30, 9:30 pm $35 clear horizon Dmitri Kolesnik, Mike Campenni, Madison Cano • Ryan Hayden Quartet Dizzy’s Club 11:30 pm $20 Tomas Ulrich cello, Christof Somethin’ Jazz Club 9 pm $10 • Cyrille Aimée and The Surreal Band with Wayne Tucker, Matt Simons, Assaf Gleizner, Thewes tb, Martin Schmidt • Fat Cat Big Band; JT Project The Garage 7, 10:30 pm Sam Anning, Rajiv Jayaweera Birdland 8:30, 11 pm $30-40 • Bill Charlap/Sandy Stewart Feinstein’s at Loews Regency 8, 10:30 pm $30 mandolin, Michael Griener dr êBen Wolfe Group Smalls 9:30 pm $20 • Bill Charlap/Sandy Stewart Feinstein’s at Loews Regency 8 pm $30 • Curtis Lundy The Bar on Fifth 8 pm • Curtis Lundy The Bar on Fifth 8 pm • Rakiem Walker Shrine 6 pm • Yuko Yamamura Shrine 6 pm Saturday, November 24 Wednesday, November 21 Ulrich / Schmidt / êDave Liebman Quintet with Sam Newsome, Ellery Eskelin, Chris Tordini, Jim Black • Leni Stern Iridium 8, 10 pm $25 Cornelia Street Café 9, 10:30 pm $15 Thewes • Music Now Duo: Ras Moshe/Shayna Dulberger; Music Now Extended Unit: Ras Moshe, êKen Peplowski Quartet with , Phil Palombi, Shinnosuke Takahashi Shayna Dulberger, Tor Yochai Snyder, James Keepnews, Matt Lavelle, Jazz at Kitano 8, 10 pm $25 two pieces Jason Kao Hwang, Steve Swell, Nick Gianni, Jeremy Dannemann, John Pietaro êVincent Chancey and Phat Chance with Steve Bloom, Jeremy Carlstedt; Roy Campbell/ Tomas Ulrich cello, Christof The Stone 8, 10 pm $10 Louis Belogenis Coltrane Project with Uri Caine, Hill Greene, Michael Wimberly Thewes tb, Martin Schmidt êJeff Lederer’s Swing n’ Dix with Kirk Knuffke, Bob Stewart, Matt Wilson The Stone 8, 10 pm $10 êDawn of Midi: Aakaash Israni, Amino Belyamani, Qasim Naqvi mandolin Barbès 8 pm $10 • Noah Garabedian 6tet with Ralph Alessi, Pat Carroll, Jared Weinstock, Raffi Garabedian, Joe’s Pub 9:30 pm $15 Evan Hughes; Loren Stillman and Bad Touch with Nate Radley, Gary Versace, Ted Poor • PUBLIQuartet: Jessie Montgomery, Curtis Stewart, Nick Revel, Amanda Gookin Seeds 8:30, 10 pm $10 92YTribeca 8 pm $20 • Kaoru Watanabe Group with Satoshi Takeishi • Jack Wilkins Trio with Andy McKee, Mike Clark ShapeShifter Lab 8:30 pm Bar Next Door 7:30, 9:30, 11:30 pm $12 • Jana Herzen/ Joe’s Pub 7:30 pm $20 • Bobby Porcelli Quartet; Carlos Abadie Rupp/ Müller / • Jacob Manricks’ Cloud Nine with Des White, Obed Calvaire Fat Cat 7, 10 pm Fischerlehner Cornelia Street Café 8:30 pm $10 • Michael Dease Quartet Oceana Restaurant 9 pm • Vondie Curtis Hall Smoke 7, 9 pm • Tamm E. Hunt and Trio Metropolitan Room 11:30 pm $20 tingtingk • Abe Ovadia Quartet with Anthony Pocetti, Jonah Jonathan, Steve Picataggio • Kuni Mikami Quartet Cleopatra’s Needle 8 pm Olaf Rupp git ,Matthias Müller Jazz at Kitano 8, 10 pm $10 • Yacine Boulares Band Shrine 8 pm ê tb, Rudi Fischerlehner dr • Melissa Stylianou Quintet with Jamie Reynolds, Pete McCann, Gary Wang, Mark Ferber Eddie Henderson Quintet with Javon Jackson, Kevin Hays, Doug Weiss, Carl Allen 55Bar 7 pm Smoke 8, 10, 11:30 pm $35 • Raphael D’lugoff; Don Hahn; Ned Goold Jam êHenry Threadgill’s ZOOID with Liberty Ellman, Jose Davila, Stomu Takeishi, Fat Cat 7, 9 pm 12:30 am Elliot Humberto Kavee Roulette 8 pm $25 • Jonathan Lefcoski Trio Smalls 12 am $20 êGerald Clayton The Jazz Gallery 9, 10:30 pm $20 • Audrey Silver Quintet Metropolitan Room 9:30 pm $20 • Tardo Hammer Trio; Sacha Perry Sextet • Ed Vodicka Trio with guest Tony Middleton Smalls 7:30, 10:15 pm $20 Pier 9 Restaurant 8 pm • The Manhattan Transfer: Tim Hauser, Cheryl Bentyne, Alan Paul, Janis Siegel with Undertone Project • Maurício de Souza Quartet The Lambs Club 7:30 pm Yaron Gershovsky, Adam Hawley, Gary Wicks, Steve Hass • Rob Edwards Quartet; Danny Walsh Quartet Blue Note 8, 10:30 pm $65 beyond the yellow line The Garage 6, 10:30 pm êJason Moran and The Bandwagon with Tarus Mateen, Nasheet Waits Christof Thewes tb, Martin êJason Moran and The Bandwagon with Tarus Mateen, Nasheet Waits Village Vanguard 9, 11 pm $25 Schmidt mandolin+bass, Village Vanguard 9, 11 pm $25 • Maria Schneider Orchestra Jazz Standard 7:30, 9:30, 11:30 pm $35 • Monty Alexander Harlem-Kingston Express Hartmut Osswald reeds, • Maria Schneider Orchestra Jazz Standard 7:30, 9:30 pm $35 • Ryan Hayden Quartet Dizzy’s Club 11:30 pm $10 Dizzy’s Club 7:30, 9:30 pm $35 Dirk-Peter Kölsch dr • Monty Alexander Harlem-Kingston Express • Cyrille Aimée and The Surreal Band with Wayne Tucker, Joel Frahm, Assaf Gleizner, Dizzy’s Club 7:30, 9:30 pm $30 Sam Anning, Rajiv Jayaweera Birdland 8:30, 11 pm $30-40 • Cyrille Aimée and The Surreal Band with Wayne Tucker, Matt Simons, Assaf Gleizner, • Bill Charlap/Sandy Stewart Feinstein’s at Loews Regency 8, 10:30 pm $30 Sam Anning, Rajiv Jayaweera Birdland 8:30, 11 pm $30-40 • Curtis Lundy The Bar on Fifth 8 pm • Bill Charlap/Sandy Stewart Feinstein’s at Loews Regency 8 pm $30 • Brown Girl Blue: Carol R. Daggs, James Daggs, Billy Arnold • Curtis Lundy The Bar on Fifth 8 pm Metropolitan Room 4 pm $20 Die Dicken Finger • Glenn White Quartet Shrine 6 pm • Marsha Heydt Quartet; Champian Fulton Quartet; Virginia Mayhew Quartet • Randy Napoleon Trio with David Wong, Kevin Kanner The Garage 12, 6:15, 10:45 pm offroad core Saint Peter’s 1 pm $10 Olaf Rupp git, Oliver Steidle dr, Jan Roder bs Thursday, November 22 êChes Smith and These Arches with Tim Berne, Tony Malaby, Mary Halvorson, Andrea Parkins ShapeShifter Lab 8:30 pm êJason Moran and The Bandwagon with Tarus Mateen, Nasheet Waits Village Vanguard 9, 11 pm $25 • Monty Alexander Harlem-Kingston Express Dizzy’s Club 7:30 pm $30 • Cyrille Aimée and The Surreal Band with Wayne Tucker, Matt Simons, Assaf Gleizner, Sam Anning, Rajiv Jayaweera Birdland 8:30, 11 pm $30-40 Fischer / Rupp / • Joel Frahm Quartet; Carlos Abadie Group Smalls 9 pm 12 am $20 Schubert • Kazu Trio Cleopatra’s Needle 7 pm Phugurit • Yoshino Nakahara Quartet with Jeff Miles, Leon Boykins, Nahum Corona Olaf Rupp git, Frank Paul Somethin’ Jazz Club 7 pm $5-10 • Curtis Lundy The Bar on Fifth 8 pm Schubert reeds, Jörg Fischer dr • Isaac Darche Shrine 6 pm • Larry Newcomb Trio; Justin Lees Trio The Garage 1:30, 10:30 pm Friday, November 23

êEddie Henderson Quintet with Javon Jackson, Kevin Hays, Doug Weiss, Carl Allen Smoke 8, 10, 11:30 pm $35 Also available on iTunes êHenry Threadgill’s ZOOID with Liberty Ellman, Jose Davila, Stomu Takeishi, Elliot Humberto Kavee Roulette 8 pm $25 êOutnow Showcase: Sean Conly/Michael Attias; 9Volt: Rick parker, Eyal Maoz, and AmazonMP3 Yonadav Halevi; Yoni Kretzmer 2Bass Quartet with Sean Conly, Reuben Radding, Mike Pride; RIBBS: Dave Ballou, Jason Robinson, James Ilgenfritz, George Schuller ShapeShifter Lab 7:30 pm

42 November 2012 | THE NEW YORK CITY JAZZ RECORD Sunday, November 25 Tuesday, November 27

• Here and Now: Gerard Farous/Jane Ira Bloom; Matt Lavelle and Solidarity with êJoe Lovano/ Sound Prints with Lawrence Fields, Linda Oh, Joey Baron Ras Moshe, Catherine Sikora, , François Grillot, Dave Miller Village Vanguard 9, 11 pm $25 The Stone 8, 10 pm $10 • Marc Johnson and Eliane Elias with Rafael Barata, Rubens de La Corte • Larry Gelb; Bucky Pizzarelli/Ed Laub; Spike Wilner Group Birdland 8:30, 11 pm $30-40 Smalls 4:30, 7:30, 11 pm $20 • Mary Stallings with Eric Reed Trio Dizzy’s Club 7:30, 9:30 pm $30 • Tony Moreno with Ron Horton, Marc Mommaas, Nate Radley, Johannes Wiedenmueller • Cecilia Coleman Group NYC Baha’i Center 8, 9:30 pm $15 55Bar 9:30 pm • Nicole Henry Joe’s Pub 7:30, 9:30 pm $25-30 • Aaron Dugan/Anders Nilsson Duo Sycamore 8 pm $10 êPeter Brendler Group with Peter Evans, Rich Perry, Vinnie Sperrazza • Bjorn Solli Trio with Matt Clohesy, Kendrick Scott Cornelia Street Café 8:30 pm $10 Bar Next Door 8, 10 pm $12 • SAMA: Sabir Mateen/Matthew Shipp; Sabir Mateen Ensemble with Jason Kao Hwang, • Peter Leitch Duo Walker’s 8 pm Daniel Levin, Raymond King, Jane Wang, Michael Wimberley and guest Roy Campbell • Terry Waldo’s Gotham City Band; Billy Kaye; Brandon Lewis/Renee Cruz Jam The Stone 8, 10 pm $10 Fat Cat 6, 8:30 pm 12:30 am êJosh Sinton’s Ideal Bread with Kirk Knuffke, Richard Giddens, Tomas Fujiwara; • Frederika Krier with Richard Padron, James Cammack, Malik Washington; Michael Dessen Trio with Christopher Tordini, Dan Weiss Peter Apfelbaum/Josh Jones ShapeShifter Lab 7:30, 9 pm ShapeShifter Lab 8:30, 9:30 pm $10 • Commun Disgression: Keith Parker, Nicolas Letman-Burtinovic, Cheryl Pyle, • Joe Sanders Group Smalls 9:30 pm $20 Daniel Carter, Blaise Siwula ABC No Rio 7 pm $5 • Leni Stern with Mamadou Ba, Yacouba Sissoko, Makan Kouyate • Alberto Pibiri The Bar on Fifth 8 pm Barbès 7 pm $10 • Paula Jaakkola Somethin’ Jazz Club 7 pm $10 • Jerome Sabbagh, Simon Jermyn, Allison Miller; Terry McManus/Ben Monder • The Manhattan Transfer: Tim Hauser, Cheryl Bentyne, Alan Paul, Janis Siegel with Korzo 9, 10:30 pm $5 Yaron Gershovsky, Adam Hawley, Gary Wicks, Steve Hass • Lukas Kranzelbinder’s Lukas im Dorf with Jure Pukl, Phil Yaeger, Max Andrzejewski Blue Note 8, 10:30 pm $65 Austrian Cultural Forum 7:30 pm êJason Moran and The Bandwagon with Tarus Mateen, Nasheet Waits • Saul Rubin; Itai Kriss Salsa All-Stars; Gregg Glassman Jam Village Vanguard 9, 11 pm $25 Fat Cat 7, 9 pm 12:30 am • Maria Schneider Orchestra Jazz Standard 7:30, 9:30 pm $35 • Catherine Sikora; Chris Welcome/Bonnie Kane Duo • Monty Alexander Harlem-Kingston Express The Backroom 8:30 pm $10 Dizzy’s Club 7:30, 9:30 pm $30 • Yaron Gershovsky Drom 9:30 pm $10 • Dee Pop/Daniel Carter; Flip City: David Aaron, Will McEvoy, Kate Pittman • Benjamin Drazen Trio with Carlo DeRosa, Shinnosuke Takahashi Downtown Music Gallery 6 pm Bar Next Door 8:30, 10:30 pm $12 • Chanda Rule Saint Peter’s 5 pm êJack Wilkins/John Stowell Bella Luna 8 pm • Marie-Claire with Luc Decker, Murray Wall, Sam Raderman, Dwayne Clemons, • Jazz Band Classic; Justin Lees Trio The Garage 7, 10:30 pm Nial Djuliarso Metropolitan Room 4 pm $20 êThe Gate: Dan Peck, Tom Blancarte, Brian Osborne and guest Nate Wooley; • Erika with Helio Alves, Freddie Bryant, Ben Zwerin, Willard Dyson, Yosvany Terry Nate Wooley Quintet Omega with Josh Sinton, Matt Moran, Dan Peck, Blue Note 12:30, 2:30 pm $29.50 Harris Eisenstadt Douglass Street Music Collective 8, 9:30 pm $10 êDaryl Sherman Metropolitan Room 1 pm $20 • Antonio Ciacca The Bar on Fifth 8 pm • The Music of Louis Armstrong: Hot Lips Joey Morant and Catfish Stew BRANDI DISTERHEFT BB King’s Blues Bar 12 pm $25 Wednesday, November 28 Few bassists this young have such a • Roz Corral Trio North Square Lounge 12:30, 2 pm • Iris Ornig Quartet; David Coss Quartet; Greg Lewis Organ Monk Trio êCrystal Magnets Piano Duo: Andy Milne/Benoît Delbecq with guest mature approach to the instrument or The Garage 11:30 am 7, 11:30 pm ShapeShifter Lab 8 pm $15 such a deep appreciation of jazz icons • Geri Allen’s Timeline Band with Kenny Davis, Kassa Overall, Maurice Chestnut Monday, November 26 Jazz Standard 7:30, 9:30 pm $25 like Charles Mingus and Duke Ellington or • Duke Robillard Band BB King’s Blues Bar 8 pm $30 revered songwriters like George Gershwin êEdmar Castaneda Trio with Shlomi Cohen, Davd Silliman and guests Andrea Tierra, • Aaron Parks The Jazz Gallery 9, 10:30 pm $20 Hector del Curto Americas Society 7 pm • Jeff Davis, Kirk Knuffke, Russ Lossing; Aaron Irwin Trio with Pete McCann, and . But that’s where • Sara Gazarek Blue Note 8, 10:30 pm $15 Matt McDonald I-Beam 8:30, 9:30 pm $10 • Brandi Disterheft All Stars with Anne Drummond, Aaron Goldberg, Greg Hutchinson • Raphael D’lugoff; Pete Malinverni Trio; Ned Goold Jam Disterheft lives as a budding jazz and guests Dizzy’s Club 7:30, 9:30 pm $20 Fat Cat 7, 9 pm 12:30 am musician-composer. • For the Mill: Jesse Stacken, Andrew D’Angelo, Josh Sinton, Mike Pride; • Sara Serpa Trio with Andre Matos, Tommy Crane; Nate Radley 4tet with Loren Stillman, Nate Wooley Quintet Alpha with Josh Sinton, Matt Moran, Eivind Opsvik, Matt Pavolka, Mark Ferber Seeds 8:30, 10 pm $10 Harris Eisenstadt Douglass Street Music Collective 8, 9:30 pm $10 êSurface to Air: Jonathan Goldberger, Jonti Siman, Rohin Khemani • Federico Ughi Quartet with Kirk Knuffke, David Schnug, Max Johnson Cornelia Street Café 8:30 pm $10 Zebulon 9 pm • Curtis Macdonald Group with Bobby Avey, Zach Lober, Adam Jackson êPeter Bernstein solo; Ari Hoenig Group Barbès 8 pm $10 Smalls 7:30, 9:30 pm $20 • Cynthia Holiday Smoke 7, 9 pm 2 • Antonio Ciacca The Bar on Fifth 8 pm • Yuka Aikawa Trio with Atsundo Aikawa, Newman Taylor Baker SHOWS • Radu Ben Judah Quintet with Joe Ford, Bruce Edward, Janice Taylor Jazz at Kitano 8, 10 pm $10 For My Sweet Restaurant 7:15, 9:15 pm • Milton Suggs; Philip Dizack Smalls 9:30 pm 12 am $20 • Life Squad: Sean Sonderegger, Michael Eaton, Nicolas Letman-Burtinovic, • Build: Matt McBane, Andrea Lee, Mike Cassedy, Ben Campbell, Adam D. Gold; Kate Pittman; Robin Verheyen Trio with Todd Neufeld, Flin van Hemmen Tarana: Ravish Momin, Rick Parker, Tanya Kalmanovitch Sycamore 8 pm The Stone 8, 10 pm $10 • Taj Palmer Group; Jonathan Moritz Secret Tempo with Shayna Dulberger, Mike Pride; • Ed Vodicka Trio with guest John David Simon alt.timers: Denman Maroney, Ratzo B. Harris, Bob Meyer Pier 9 Restaurant 8 pm Monday November 26th ShapeShifter Lab 8:30, 9:30, 10:30 pm $10 • Stan Killian Jam Session The Backroom 11:30 pm & 7:30 pm • Emily Braden; Albare with Albert Dadon • Sapphire Adizes Quintet with Lucas Del Calvo, Jochem Le Cointre, Zack Hartmann, 9:30 pm Zinc Bar 7, 9 pm Donnie Spackman; The Archi-tet: Miki Hirose, Mike Wilkens, Elizabeth!, Dave DeMotta, • Dida Pelled Trio with Tal Ronen, Joe Strasser Aki Yamamoto, Yutaka Uchida Somethin’ Jazz Club 7, 9 pm $5-10 Bar Next Door 8:30, 10:30 pm $12 • Josh Lawrence; Paul Francis Trio The Garage 6, 10:30 pm • Billy Kaye Jam Fat Cat 12:30 am êJoe Lovano/Dave Douglas Sound Prints with Lawrence Fields, Linda Oh, Joey Baron • Delphian Jazz Orchestra Tea Lounge 9, 10:30 pm Village Vanguard 9, 11 pm $25 Dizzy’s Club Coca-Cola • Angela Davis Quartet with Chris Ziemba, Sam Anning, Rajiv Jayaweera • Marc Johnson and Eliane Elias with Rafael Barata, Rubens de La Corte Located in Jazz at Lincoln Center’s Somethin’ Jazz Club 9 pm $10 Birdland 8:30, 11 pm $30-40 • Howard Williams Jazz Orchestra; Camille Thurman • Mary Stallings with Eric Reed Trio Dizzy’s Club 7:30, 9:30 pm $30 Frederick P. Rose Hall The Garage 7, 10:30 pm êNate Wooley Quintet Alpha and Omega with Josh Sinton, Matt Moran, Eivind Opsvik, • Joe Alterman, James Cammack, Ralph Lalama, Alex Raderman Dan Peck, Harris Eisenstadt Douglass Street Music Collective 9:30, 10:30 pm $10 Time Warner Center, 5th floor Cornelia Street Café 6 pm $15 • Antonio Ciacca The Bar on Fifth 8 pm New York, NY 10019 • Art Lillard’s Heavenly Big Band Saint Peter’s 1 pm $10 Reservations: 212-258-9595 or jalc.org/dizzys

Brandi Disterheft: bass Aaron Goldberg: piano Anne Drummond: flute Gregory Hutchinson: drums

GRATITUDEAVAILABLE AT

www.justin-time.com

THE NEW YORK CITY JAZZ RECORD | November 2012 43 Thursday, November 29 REGULAR ENGAGEMENTS MONDAYS • Cassandra Wilson Blue Note 8, 10:30 pm $55 • Tom Abbott Big Bang Big Band Swing 46 8:30 pm êLords of the Trumpet play Dizzy Gillespie: Randy Brecker, Brian Lynch, Jeremy Pelt, • Ron Affif Trio Zinc Bar 9, 11pm, 12:30, 2 am • Woody Allen/Eddy Davis New Orleans Jazz Band Café Carlyle 8:45 pm $125 at KITANO James Weidman, Lonnie Plaxico, Billy Drummond JAZZ • SMOKE or Captain Black Big Band; John Farnsworth Smoke 7, 9, 10:30 pm Music • Restaurant • Bar Iridium 8, 10 pm $30 • Michael Brecker Tribute with Dan Barman The Counting Room 8 pm “ONE OF THE BEST JAZZ CLUBS IN NYC” ... NYC JAZZ RECORD êMax Johnson Quartet with Mark Whitecage, Steve Swell, Tyshawn Sorey; Kris Davis, • Sedric Choukroun and The Brasilieros Chez Lola 7:30 pm Max Johnson, Mike Pride The Stone 8, 10 pm $10 • Pete Davenport/Ed Schuller Jam Session Frank’s Cocktail Lounge 9 pm LIVE JAZZ EVERY êAlt Timers: Denman Maroney, Ratzo Harris, Bob Myers • Emerging Artists Series Bar Next Door 6:30 pm (ALSO TUE-THU) WEDNESDAY - SATURDAY The Firehouse Space 8, 9:30 pm $10 • Joel Forrester solo Brandy Library 8 pm • Gato Loco ZirZamin 10 pm $10 WED./THUR + $15 Minimum/Set. êFay Victor Ensemble with Anders Nilsson, Ken Filiano • George Gee Swing Orchestra Gospel Uptown 8 pm $25 FRI./SAT. + $15 Minimum/Set 55Bar 7 pm • Vince Giordano’s Nighthawks Sofia’s 8 pm (ALSO TUE) • Tom Chang Quartet with Jason Rigby, Sam Trapchak, Jeff Davis • Grove Street Stompers Arthur’s Tavern 7 pm 2 SETS 8:00 PM & 10:00 PM Cornelia Street Café 8:30 pm $10 • JFA Jazz Jam Local 802 7 pm JAZZ BRUNCH EVERY SUNDAY • Lillie Bryant-Howard Quartet with Joe Vincent Tranchina, Christopher Dean Sullivan, • Roger Lent Trio Jam Cleopatra’s Needle 8 pm Bobby Sanabria Jazz at Kitano 8, 10 pm $10 • Mingus Big Band Jazz Standard 7:30, 9:30 pm $25 TONY MIDDLETON TRIO • Iris Ornig Jam Session The Kitano 8 pm êEhud Asherie/Bob Wilber Duo; Jay Collins Trio • Les Paul Trio with guests Iridium 8, 10 pm $35 11 AM - 2 PM • GREAT BUFFET - $35 Smalls 7:30, 9:30 pm $20 • Ian Rapien’s Spectral Awakenings Jazz Groove Session Rhythm Splash 9 pm OPEN JAM SESSION MONDAY NIGHTS • Jeanne Gies with , Sherman Irby, Paul Gill • Stan Rubin All-Stars Charley O’s 8:30 pm Metropolitan Room 11:30 pm $20 • Vanguard Jazz Orchestra Village Vanguard 9, 11 pm $30 8:00 PM - 11:30 PM • HOSTED BY IRIS ORNIG • Jordan Young; Darryl Yokley Quintet • Rakiem Walker Project Red Rooster 7:30 pm SOLO PIANO EVERY TUESDAY IN NOVEMBER (6, 13, 20 & 27): • Jordan Young Group Bflat 8 pm (ALSO WED 8:30 pm) Fat Cat 7 pm 1:30 am MICHIKA FUKUMORI • 8:00 PM - 11:00 PM • Camille Thurman The Jazz Gallery 9, 10:30 pm $15 TUESDAYS • Daisuke Abe Trio Sprig 6 pm (ALSO WED-THU) THURS. NOVEMBER 1 • Eduardo Belo Trio with Freddie Bryant, Victor Prieto • Rick Bogart Trio with Louisa Poster L’ybane 9 pm (ALSO FRI) Bar Next Door 8:30, 10:30 pm $12 • Orrin Evans Evolution Series Jam Session Zinc Bar 11 pm PHIL MARKOWITZ/ • Lonnie Gasperini Trio Cleopatra’s Needle 7 pm • Irving Fields Nino’s Tuscany 7 pm (ALSO WED-SUN) ZACH BROCK QUARTET • Fred Gilde Ensemble with Dave Anderson, Marco Coco, Phil Sirois, Tim Lancaster; • George Gee Swing Orchestra Swing 46 8:30 pm PHIL MARKOWITZ, ZACH BROCK Chives: Matthew Wohl, Steven Lugerner, Max Jaffe • Loston Harris Café Carlyle 9:30 pm $20 (ALSO WED-SAT) JAMES CAMMACK, JORDAN PERLSON Caffe Vivaldi 8:30, 9:30 pm • Art Hirahara Trio Arturo’s 8 pm $10 COVER + $15 MINIMUM • Yuichi Hirakawa Trio Arthur’s Tavern 7, 8:30 pm • Paul Carlon Strayhorn Tribute Project; Zeke Martin Project with Kevin Choo, Wan Gigi, • Sandy Jordan and Larry Luger Trio Notaro 8 pm FRI. & SAT. NOVEMBER 2 & 3 Yusaku Yoshimura, Rozhan Razman • Mike LeDonne Quartet; Jason Marshall Quartet Smoke 7, 9, 10:30, 11:30 pm Somethin’ Jazz Club 7, 9 pm $5-10 • Russ Nolan Jazz Organ Trio Cassa Hotel and Residences 6 pm DON FRIEDMAN QUARTET • Nue Jazz Project; Bryan Carter Trio • Iris Ornig Quartet Crooked Knife 7 pm FEATURING TIM ARMACOST The Garage 6, 10:30 pm • Annie Ross The Metropolitan Room 9:30 pm $25 CD RELEASE EVENT “FRIDAY AM” êCrystal Magnets Piano Duo: Andy Milne/Benoît Delbecq with guest • Robert Rucker Trio Jam Cleopatra’s Needle 8 pm DON FRIEDMAN, TIM ARMACOST • Slavic Soul Party Barbès 9 pm $10 PHIL PALOMBI, SHINNOSUKE TAKAHASHI ShapeShifter Lab 8 pm $15 • Ed Vodicka Trio with guests Pier 9 8 pm (ALSO WED-THU; FRI-SAT 9 PM) $25 COVER + $15 MINIMUM • Geri Allen’s Timeline Band with Kenny Davis, Kassa Overall, Maurice Chestnut WEDNESDAYS WED. NOVEMBER 7 Jazz Standard 7:30, 9:30 pm $25 • Astoria Waltz-Astoria 6 pm êJoe Lovano/Dave Douglas Sound Prints with Lawrence Fields, Linda Oh, Joey Baron • Sedric Choukroun and the Eccentrics Chez Oskar 7 pm MERCEDES HALL QUARTET Village Vanguard 9, 11 pm $25 • Roxy Coss Smoke 11:30 pm MERCEDES HALL, GLAFKOS KONTEMENIOTIS • Roger Davidson/Pablo Aslan Caffe Vivaldi 6 pm GAKU TAKANASHI, GEORGE MEL • Marc Johnson and Eliane Elias with Rafael Barata, Rubens de La Corte $10 COVER + $15 MINIMUM Birdland 8:30, 11 pm $30-40 • Walter Fischbacher Trio Water Street Restaurant 8 pm Mary Stallings with Eric Reed Trio Dizzy’s Club 7:30, 9:30 pm $30 • Jeanne Gies with Howard Alden and Friends Joe G’s 6:30 pm THURS. NOVEMBER 8 • • Les Kurtz Trio; Joonsam Lee Trio Cleopatra’s Needle 7, 11:30 pm • Antonio Ciacca The Bar on Fifth 8 pm • Jonathan Kreisberg Trio Bar Next Door 8:30, 10:30 pm $12 ANTONIO BARBAGALLO QUARTET êEivind Opsvik and Friends; Nate Wooley Quintet Alpha and Omega with Josh Sinton, • Guillaume Laurent Trio Bar Tabac 7 pm ANTONIO BARBAGALLO, CRAIG HARTLEY Matt Moran, Eivind Opsvik, Dan Peck, Harris Eisenstadt • Jake K. Leckie Trio Kif Bistro 8 pm UGONNA OKEGWO, JEREMY “BEAN” CLEMONS Douglass Street Music Collective 9:30, 10:30 pm $10 • Jed Levy and Friends Vino di Vino Wine Bar 7:30 pm (ALSO FRI) $10 COVER + $15 MINIMUM • Harlem Speaks: Bill Kirchner Jazz Museum in Harlem 6:30 pm • Greg Lewis Organ Monk with Reggie Woods Sapphire NYC 8 pm FRI. NOVEMBER 9 • Ron McClure solo piano McDonald’s 12 pm (ALSO SAT) • John McNeil/Mike Fahie Tea and Jam Tea Lounge 9 pm MARK MURPHY QUARTET Friday, November 30 • Jacob Melchior Philip Marie 7 pm (ALSO SUN 12 PM) $25 COVER + $15 MINIMUM • Alex Obert’s Hollow Bones Via Della Pace 10 pm SAT. NOV. 10 • Victor Bailey’s V-BOP with Alex Foster, Monte Croft, Lenny White • David Ostwald’s Louis Armstrong Centennial Band Birdland 5:30 pm $20 • Saul Rubin Vocalist Series Zeb’s 8 pm $10 HARRY ALLEN QUARTET Smoke 8, 10, 11:30 pm $35 HARRY ALLEN, ROSSANO SPORTIELLO êDarcy James Argue’s Secret Society • Stan Rubin Orchestra Swing 46 8:30 pm JOEL FORBES, ALVIN ATKINSON The Jazz Gallery 9, 10:30 pm $20 • David Schnug Papa’s Gino’s Restaurant 8:30 pm $25 COVER + $15 MINIMUM • Alex Terrier Trio Antibes Bistro 7:30 pm êJoanne Brackeen/Cecil McBee Knickerbocker Bar and Grill 9:45 pm $5 • Justin Wert/Corcoran Holt Benoit 7 pm WED. NOVEMBER 14 êRahn Burton Quartet Cleopatra’s Needle 8 pm • Bill Wurtzel/Mike Gari American Folk Art Museum Lincoln Square 2 pm êLoren Stillman with Russ Lossing, John Hébert, Eric McPherson MIKE DIRUBBO QUINTET • Bill Wurtzel Duo Velour Lounge 6:30 pm MIKE DIRUBBO, MIKE RODRIGUEZ Cornelia Street Café 9, 10:30 pm $15 THURSDAYS HELEN SUNG, RASHAAN CARTER. RUDY ROYSTON • Sleep Song: Mike Ladd, Ahmed Abdul Hussein, Maurice Decaul, , • Rahn Burton 449 Lounge 1 pm (ALSO SAT) $10 COVER + $15 MINIMUM Serge Teyssot-Gay, Ahmed Mukhtar • Jason Campbell Trio Perk’s 8 pm Harlem Stage Gatehouse 7:30 pm $30 • Sedric Choukroun Brasserie Jullien 7:30 pm (ALSO FRI, SAT) THURS. NOVEMBER 15 • Jazz Open Mic Perk’s 8 pm LESLIE PINTCHIK TRIO • Bob Gluck solo; James Keepnews solo; Bob Gluck, James Keepnews, Daniel Carter, • Lapis Luna Quintet The Plaza Hotel Rose Club 9 pm LESLIE PINTCHIK, SCOTT HARDY, MICHAEL SARIN Ken Filiano I-Beam 8:30 pm $10 • Michael Mwenso and Friends Dizzy’s Club 11 pm (ALSO SAT 11:30 pm) $10 COVER + $15 MINIMUM • Mark Sherman Quartet with Frank Kimbrough, Ray Drummond, Greg Hutchinson • Eri Yamamoto Trio Arthur’s Tavern 7 pm (ALSO FRI-SAT) FRI. NOVEMBER 16 Jazz at Kitano 8, 10 pm $25 FRIDAYS • Jason Kao Hwang’s Edge with Taylor Ho Bynum, Ken Filiano, Andrew Dury; • The Crooked Trio: Oscar Noriega, Brian Drye, Ari Folman-Cohen Barbès 5 pm JUNIOR MANCE TRIO • Deep Pedestrian Sintir 8 pm JUNIOR MANCE, HIDE TANAKA, MICHI FUJI Andrew Lamb’s The Black Lamb Quartet with Tom Abbs, Michael Wimberly, $25 COVER + $15 MINIMUM Guillermo Brown The Stone 8, 10 pm $10 • Charles Downs’ Centipede The Complete Music Studio 7 pm • Gerry Eastman’s Quartet Williamsburg Music Center 10 pm SAT. NOVEMBER 17 • Ben Monder Trio with Joe Martin, Jochen Rueckert • Patience Higgins & The Sugar Hill Quartet Smoke 11:30 pm Bar Next Door 7:30, 9:30, 11:30 pm $12 CLAUDIA ACUNA QUARTET • Kengo Nakamura Trio Club A Steakhouse 11 pm CLAUDIA ACUNA. PABLO VERGARA • Bryn Roberts Trio; Ian Hendrickson Smith Group • Brian Newman Quartet Duane Park 10:30 pm TBA – BASS, YAYO SERKA Smalls 7:30, 10:15 pm $20 • Frank Owens Open Mic The Local 802 6 pm $25 COVER + $15 MINIMUM • Electroacoustic Trio: Ben Gerstein, Mike Pride, Gian Luigi Diana • Albert Rivera Organ Trio B Smith’s 8:30 pm (ALSO SAT) WED. NOVEMBER 21 The Firehouse Space 8, 9:30 pm $10 • Brandon Sanders Trio Londel’s 8, 9, 10 pm (ALSO SAT) • Bill Saxton and Friends Bill’s Place 9, 11 pm $15 • Ras Moshe/Shayna Dulberger; Dafna Naphtali; Chris Jones Ensemble ABE OVADIA QUARTET SATURDAYS ABE OVADIA, ANTHONY POCETTI Goodbye Blue Monday 8 pm • Cyrille Aimee The Cupping Room 8:30 pm JONAH JONATHAN, STEVE PICATAGGIO • Burning Gums: Ron Jackson, Norbert Marius, Hiroyuki Matsuura and guest • Candy Shop Boys Duane Park 8, 10:30 pm $10 COVER + $15 MINIMUM Lucia Jackson Brooklyn Conservatory of Music 8 pm $15 • Jesse Elder/Greg RuggieroRothmann’s 6 pm THURS. NOVEMBER 22 • Eugene Marlow’s Heritage Ensemble • Joel Forrester solo Indian Road Café 11 am Nuyorican Poets Café 7:30 pm $15 • Guillaume Laurent/Luke Franco Casaville 1 pm THANKSGIVING - NO MUSIC • Kendra Shank with John Stowell 55Bar 6 pm • Johnny O’Neal Smoke 12:30 am FRI. NOVEMBER 23 • Skye Jazz Trio Jack 8:30 pm • Stix Bones Metropolitan Room 11:30 pm $20 • UOTS Jam Session University of the Streets 11:30 pm $5 (ALSO SAT) DEE DANIELS QUARTET • Jake Henry/Sean Ali Douglass Street Music Collective 8 pm $10 • Michelle Walker/Nick Russo Anyway Café 9 pm DEE DANIELS, CARLTON HOLMES • Tyler Kaneshiro Sextet with Chad Lefkowitz-Brown, Keisuke Matsuno, • Bill Wurtzel Duo Henry’s 12 pm PAUL BEAUDRY, ALVESTER GARNETT $25 COVER + $15 MINIMUM Adam Kromelow, Jeff Koch, Jamie Eblen SUNDAYS University of the Streets 9 pm $10 • Birdland Jazz Party Birdland 6 pm $25 SAT. NOVEMBER 24 • Songs of Charley Gerard and Judith Weinstock: Kris Adams, Syberen van Munster, • Bill Cantrall Trio Crescent and Vine 8 pm KEN PEPLOWSKI QUARTET Petros Klampanis, Tony Lewis; Matt Baker Trio; Reach Sextet: John Petrucelli, • Barbara Carroll 54Below 1 pm $30-40 FEATURING DON FRIEDMAN Adam Machaskee, Jack Giannini, Will Macirowski • Marc Devine Trio TGIFriday’s 6 pm KEN PEPLOWSKI, DON FRIEDMAN • JaRon Eames/Emme Kemp Eats 6 pm PHIL PALOMBI, SHINNOSUKE TAKAHASHI Somethin’ Jazz Club 7, 9, 11 pm $5-10 • Ear Regulars with Jon-Erik Kellso The Ear Inn 8 pm $25 COVER + $15 MINIMUM • Dave Kain Group; Dre Barnes Trio The Garage 6:15, 10:45 pm • Marjorie Eliot/Rudell Drears/Sedric Choukroun Parlor Entertainment 4 pm • Cassandra Wilson Blue Note 8, 10:30 pm $55 • Gene Ess Jam Session ShapeShifter Lab 3 pm $3 WED. NOVEMBER 28 • Michael Feinberg with Tivon Pennicott, Eliot Mason, Glenn Zaleski, Ari Hoenig • Sean Fitzpatrick and Friends Ra Café 1 pm YUKA AIKAWA TRIO Blue Note 12:30 am $10 • Joel Forrester solo Grace Gospel Church 11 am YUKA AIKAWA, ATSUNDO AIKAWA, NEWMAN TAYLOR BAKER • Nancy Goudinaki’s Trio Kellari Taverna 12 pm $10 COVER + $15 MINIMUM êLords of the Trumpet play Dizzy Gillespie: Randy Brecker, Brian Lynch, Jeremy Pelt, • Enrico Granafei solo Sora Lella 7 pm THURS. NOVEMBER 29 James Weidman, Lonnie Plaxico, Billy Drummond • Broc Hempel/Sam Trapchak/Christian Coleman Trio Dominie’s Astoria 9 pm Iridium 8, 10 pm $30 LILLIE BRYANT-HOWARD QUARTET • Annette St. John; Allan Harris; Cynthia Soriano Smoke 11:30 am, 7, 11:30 pm TRIBUTE TO êCrystal Magnets Piano Duo: Andy Milne/Benoît Delbecq with guests Greg Osby, • Bob Kindred Group Café Loup 12:30 pm LILLIE BRYANT – HOWARD, JOE VINCENT TRANCHINA Michael Attias, Vincent Chancey, Jacob Garchik • Nate Lucas All Stars Ginny’s Supper Club 7 pm CHRISTOPHER DEAN SULLIVAN, BOBBY SANABRIA ShapeShifter Lab 8 pm $15 • Alexander McCabe Trio CJ Cullens Tavern 5 pm $10 COVER + $15 MINIMUM Geri Allen’s Timeline Band with Kenny Davis, Kassa Overall, Maurice Chestnut • Junior Mance Trio Café Loup 6:30 pm • • Arturo O’Farrill Afro-Latin Jazz Orchestra Birdland 9, 11 pm $30 FRI. & SAT. NOV. 30 & DEC. 1 Jazz Standard 7:30, 9:30, 11:30 pm $30 • Lu Reid Jam Session Shrine 4 pm MARK SHERMAN QUARTET êJoe Lovano/Dave Douglas Sound Prints with Lawrence Fields, Linda Oh, Joey Baron • Vocal Open Mic; Johnny O’Neal Smalls 4:30, 8:30 pm MARK SHERMAN, FRANK KIMBROUGH Village Vanguard 9, 11 pm $25 • Rose Rutledge Trio Ardesia Wine Bar 6:30 pm RAY DRUMMOND, GREG HUTCHINSON • Marc Johnson and Eliane Elias with Rafael Barata, Rubens de La Corte • Secret Architecture Caffe Vivaldi 9:45 pm $25 COVER + $15 MINIMUM • Gabrielle Stravelli Trio The Village Trattoria 12:30 pm RESERVATIONS - 212-885-7119 Birdland 8:30, 11 pm $30-40 VISIT OUR TWEETS AT: http://twitter.com/kitanonewyork Mary Stallings with Eric Reed Trio Dizzy’s Club 7:30, 9:30 pm $35 • Cidinho Teixeira Zinc Bar 10, 11:30 1 am • • Jazz Jam hosted by Michael Vitali Comix Lounge 8 pm www.kitano.com • email: [email protected] • Antonio Ciacca The Bar on Fifth 8 pm • Brian Woodruff Jam Blackbird’s 9 pm 66 Park Avenue @ 38th St.

44 November 2012 | THE NEW YORK CITY JAZZ RECORD CLUB DIRECTORY

• 449 Lounge 449 Lenox Avenue Subway: 2, 3 to 135th Street • Douglass Street Music Collective 295 Douglass Street • New School Wollman Hall 65 W. 11th Street, 5th floor • 54 Below 254 W. 54th Street (646-476-3551) Subway: N, Q, R to 57th Subway: R to Union Street www.295douglass.org (212-229-5600) Subway: F, V to 14th Street www.newschool.edu Street; B, D, E to Seventh Avenue www.54below.com • Downtown Music Gallery 13 Monroe Street (212-473-0043) • NY Society for Ethical Culture 2 W. 64th Street at Central Park West • 55Bar 55 Christopher Street (212-929-9883) Subway: F to East Broadway www.downtownmusicgallery.com (212-873-2848) Subway: 1, 2 to 66th Street-Lincoln Center www.nysec.org Subway: 1 to Christopher Street www.55bar.com • Drom 85 Avenue A (212-777-1157) • Night of the Cookers 767 Fulton Street, Brooklyn • 92nd Street Y Lexington Avenue at 92nd Street Subway: F to Second Avenue www.dromnyc.com (718-797-1197) Subway: C to Lafayette Avenue (212-415-5500) Subway: 6 to 96th Street www.92y.org • Duane Park 157 Duane Street (212-732-5555) • Nino’s Tuscany 117 W. 58th Street (212-757-8630) • 92YTribeca 200 Hudson Street Subway: 1, 2, 3 to Chambers Street www.duaneparknyc.com Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.ninostuscany.com (212-601-1000) Subway: 1, A, C, E to Canal Street www.92ytribeca.org • The Ear Inn 326 Spring Street at Greenwich Street (212-246-5074) • North Square Lounge 103 Waverly Place (212-254-1200) • ABC No-Rio 156 Rivington Street (212-254-3697) Subway: C, E to Spring Street www.earinn.com Subway: A, B, C, E, F to West 4th Street www.northsquarejazz.com Subway: J,M,Z to Delancey Street www.abcnorio.org • Eats Restaurant 1055 Lexington Avenue • Notaro Second Avenue between 34th & 35th Streets (212-686-3400) • Abrons Arts Center 466 Grand Street (212-396-3287) Subway: 6 to 77th Street www.eatsonlex.com Subway: 6 to 33rd Street (212-598-0400) Subway: F to Grand Street www.henrystreet.org/arts • El Museo Del Barrio 1230 Fifth Avenue at 104th Street • Nublu 62 Avenue C between 4th and 5th Streets • American Folk Art Museum 45 W 53rd Street (212-265-1040) (212-831-7272) Subway: 6 to 103rd Street www.elmuseo.org (212-979-9925) Subway: F, M to Second Avenue www.nublu.net Subway: E to 53rd Street www.folkartmuseum.org • El Taller LatinoAmericano 2710 Broadway (at 104th Street - 3rd floor) • Nuyorican Poets Café 236 E. 3rd Street between Avenues B and C • Americas Society 680 Park Avenue (212-665-9460) Subway: 1 to 103rd Street (212-505-8183) Subway: F, M to Second Avenue www.nuyorican.org (212-628-3200) Subway: 6 to 68th Street www.as-coa.org • Eve’s Lounge 769 Washington Avenue • Oceana Restaurant 120 W. 49th Street (212-759-5941) • An Beal Bocht Café 445 W. 238th Street (347-442-5959) Subway: 2, 3 to Eastern Parkway-Brooklyn Museum Subway: B, D, F, M to 47-50 Streets - Rockefeller Center Subway: 1 to 238th Street www.anbealbochtcafe.com • Exapno 33 Flatbush Avenue Subway: 2, 3, 4, 5 to Nevins Street www.oceanarestaurant.com • Antibes Bistro 112 Suffolk Street (212-533-6088) • Fat Cat 75 Christopher Street at 7th Avenue (212-675-6056) • Orchard Windows Gallery 37 Orchard Street Subway: J, Z to Essex Street www.antibesbistro.com Subway: 1 to Christopher Street/Sheridan Square www.fatcatmusic.org (917-995-1001) Subway: B, D to Grand Street • Anyway Café 34 E. 2nd Street (212-533-3412) • Feinstein’s at Loews Regency 540 Park Avenue (212-339-4095) • Parlor Entertainment 555 Edgecombe Ave. #3F between 159th and Subway: F to Second Avenue Subway: 4, 5, 6 to 59th Street www.feinsteinsattheregency.com 160th Streets (212-781-6595) Subway: C to 155th Street • Apologetics Café 205 E. 7th Street Subway: 6 to Astor Place • The Firehouse Space 246 Frost Street www.parlorentertainment.com • Ardesia Wine Bar 510 W. 52nd Street Subway: L to Graham Avenue www.thefirehousespace.org • Paul Hall 155 W. 65th Street (212-769-7406) Subway: 1 to 66th Street (212-247-9191) Subway: C to 50th Street www.ardesia-ny.com • Flushing Town Hall 137-35 Northern Boulevard, Flushing www.juilliard.edu • Arthur’s Tavern 57 Grove Street (212-675-6879) (718-463-7700) Subway: 7 to Main Street www.flushingtownhall.org • Pier 9 802 9th Avenue Subway: 1 to Christopher Street www.arthurstavernnyc.com • For My Sweet Restaurant 1103 Fulton Street at Claver Place (212-262-1299) Subway: N, Q, R to 57th Street www.pier9restaurant.com • Arturo’s 106 W. Houston Street (at Thompson Street) (718-857-1427) Subway: C to Franklin Avenue • The Players Club 16 Gramercy Park South (212-677-3820) Subway: A, B, C, D, E, F, M to W. 4th Street • Frank’s Cocktail Lounge 660 Fulton St. at Lafayette, Brooklyn (212-475-6116) Subway: 6 to 23rd Street www.theplayersnyc.org • Austrian Cultural Forum 11 East 52nd Street at Madison Avenue (718-625-9339) Subway: G to Fulton Street • The Plaza Hotel Rose Club Fifth Avenue at Central Park South (212-319-5300) Subway: 6 to 51st Street www.acfny.org • The Freedom Garden 294 Troutman Street Subway: L to Jefferson Street (212-759-3000) Subway: N, Q, R to Fifth Avenue www.fairmont.com • BB King’s Blues Bar 237 W. 42nd Street (212-997-2144) • The Garage 99 Seventh Avenue South (212-645-0600) • Rhythm Splash 673 Flatbush Avenue Subway: 1, 2, 3, 7 to 42nd Street/Times Square www.bbkingblues.com Subway: 1 to Christopher Street www.garagerest.com Subway: B, Q to Parkside Avenue • Bflat 277 Church Street (between Franklin and White Streets) • Garden Café 4961 Broadway at 207 Street • Rockwood Music Hall 196 Allen Street (212-477-4155) Subway: 1, 2 to Franklin Streets (212-544-9480) Subway: A to 207th Street-Inwood Subway: F, M to Second Avenue www.rockwoodmusichall.com • The Backroom 627 5th Avenue (718-768-0131) • Ginny’s Supper Club at Red Rooster Harlem 310 Malcolm X Boulevard • Rose Hall Broadway at 60th Street, 5th floor (212-258-9800) Subway: D, N, R to Prospect Avenue www.freddysbar.com (212-792-9001) Subway: 2, 3 to 125th Street www.redroosterharlem.com Subway: 1, 2, 3, 9, A, C, E, B, D, F to Columbus Circle www.jalc.org • Bar 4 15th Street and 7th Avenue (718-832-9800) Subway: F to 7th Avenue, • Goodbye Blue Monday 1087 Broadway, Brooklyn (718-453-6343) • Roulette 509 Atlantic Avenue N, M, R, D to Prospect Avenue www.bar4brooklyn.com Subway: J, M train to Myrtle Avenue www.goodbye-blue-monday.com (212-219-8242) Subway: 2, 3, 4, 5 to Atlantic Avenue www.roulette.org • Bar Next Door 129 MacDougal Street (212-529-5945) • Gospel Uptown 2110 Adam Clayton Powell Junior Boulevard • Rubin Museum 150 W. 17th Street (212-620-5000) Subway: A, B, C, D, E, F, M to W. 4th Street www.lalanternacaffe.com (212-280-2110) Subway: A, B, C, D to 125th Street www.gospeluptown.com Subway: A, C, E to 14th Street www.rmanyc.org • The Bar on Fifth 400 Fifth Avenue (212-695-4005) Subway: 6 to 33rd Street • Grace Gospel Church 589 E. 164th Street • St. Augustine’s Church 290 Henry Street www.capellahotels.com/newyork/bar-on-fifth-en.html (718-328-0166) Subway: 2, 5 to Prospect Avenue (212-673-5300) Subway: F to East Broadway www.staugnyc.org • Barbès 376 9th Street at 6th Avenue, Brooklyn (718-965-9177) • Greenwich House Music School 46 Barrow Street • St. Mary’s Church 521 W. 126th Street Subway: F to 7th Avenue www.barbesbrooklyn.com (212-242-4770) Subway: 1 to Christopher Street www.greenwichhouse.org (212-864-4013) Subway: 1 to 125th Street www.stmarysharlem.org • Bella Luna 584 Columbus Avenue Subway: B, C to 86th Street • Harlem Arts Salon 1925 Seventh Avenue, Apt 7L • Saint Peter’s Church 619 Lexington Avenue at 54th Street • Bello Giardino 71 W. 71st Street (212-749-7771) Subway: 2, 3, B, C to 116th Street (212-935-2200) Subway: 6 to 51st Street www.saintpeters.org (212-875-1512) Subway: B, C to 72nd Street www.bellogiardino.com • Harlem Stage Gatehouse 150 Convent Avenue at West 135th Street • Sapphire NYC 333 E. 60th Street (212-421-3600) • Benoit 60 W. 55th Street (212-650-7100) Subway: 1 to 137th Street www.harlemstage.org Subway: 4, 5, 6, N, Q, R to 59th Street www.nysapphire.com Subway: F to 57th Street, N, Q, R,W to 57th Street • Henry’s 2745 Broadway (212-866-060) 1 to 103rd Street • Seeds 617 Vanderbilt Avenue Subway: 2, 3, 4 to Grand Army Plaza • Bill’s Place 148 W. 133rd Street (between Lenox and 7th Avenues) • I-Beam 168 7th Street between Second and Third Avenues www.seedsbrooklyn.org (212-281-0777) Subway: 2, 3 to 125th Street Subway: F to 4th Avenue www.ibeambrooklyn.com • ShapeShifter Lab 18 Whitwell Place • Billie’s Black 217 E.119th Street • Indian Road Café 600 W. 218th Street @ Indian Road (646-820-9452) Subway: R to Union Street www.shapeshifterlab.com (212-280-2248) Subway: 6 to 116th Street (212-942-7451) Subway: 1 to 215th Street www.indianroadcafe.com • Showman’s 375 W. 125th Street at Morningside) (212-864-8941) • Birdland 315 W. 44th Street (212-581-3080) • Inkwell Café 408 Rogers Avenue between Lefferts and Sterling Subway: A, B, C, D to 125th Street www.showmansjazz.webs.com Subway: A, C, E, to 42nd Street www.birdlandjazz.com Subway: 5 to Sterling Street www.plgarts.org • Shrine 2271 Adam Clayton Powell Boulevard (212-690-7807) • Blackbird’s 41-19 30th Avenue (718-943-6898) • Interstate Food & Liquor 74 Orchard Street Subway: B, 2, 3 to 135th Street www.shrinenyc.com Subway: R to Steinway Street www.blackbirdsbar.com (212-804-6237) Subway: B, D, to Grand Street; J, M, Z to Essex Street • Sintir 424 E. 9th Street between Avenue A and First Avenue • Blue Note 131 W. 3rd Street at 6th Avenue (212-475-8592) www.interstatenyc.com (212-477-4333) Subway: 6 to Astor Place Subway: A, B, C, D, E, F, M to W. 4th Street www.bluenotejazz.com • Iridium 1650 Broadway at 51st Street (212-582-2121) • Sistas’ Place 456 Nostrand Avenue at Jefferson Avenue, Brooklyn • Borden Auditorium Broadway and 122nd Street (212-749-2802 ext. 4428) Subway: 1,2 to 50th Street www.theiridium.com (718-398-1766) Subway: A to Nostrand Avenue www.sistasplace.org Subway: 1 to 116th Street www.msmnyc.edu • Issue Project Room 22 Boerum Place • Smalls 183 W 10th Street at Seventh Avenue (212-252-5091) • Boulevard Books & Cafe 7518 13th Ave, Brooklyn (718-330-0313) Subway: 2, 3, 4, 5 to Borough Hall; A, C, F, N, R to Jay Street Subway: 1,2,3,9 to 14th Street www.smallsjazzclub.com (718-680-5881) Subway: D to 71st Street www.issueprojectroom.org • Smoke 2751 Broadway between 105th and 106th Streets • Brandy Library 25 N. Moore Street • J&R Music World Park Row (212-864-6662) Subway: 1 to 103rd Street www.smokejazz.com (212-226-5545) Subway: 1 to Franklin Street (212-238-9000) Subway: 2, 3, 4, 5, 6 to Fulton Street www.jr.com • Sofia’s 221 W. 46th Street Subway: B, D, F to 42nd Street • Brecht Forum 451 W. Street (212-242-4201) • JACK 505 Waverly Avenue • Somethin’ Jazz Club 212 E. 52nd Street, 3rd floor (212-371-7657) Subway: A, C, E, L, 1, 2, 3, 9 to 14th Street www.brechtforum.org (718-388-2251) Subway: C to Clinton-Washington Avenue www.jackny.org Subway: 6 to 51st Street; E to Lexington Avenue-53rd Street • Brooklyn Center for the Performing Arts 2900 Campus Road • Jack 80 University Place Subway: 4, 5, 6, N, R to 14th Street www.somethinjazz.com/ny (718-951-4500) Subway: 5 to Flatbush Avenue - • Jazz 966 966 Fulton Street • Sora Lella 300 Spring Street (212-366-4749) www.BrooklynCenterOnline.org (718-638-6910) Subway: C to Clinton Street www.jazz966.com Subway: C, E to Spring Street www.soralellanyc.com • Brooklyn Conservatory of Music 58 Seventh Avenue, Brooklyn • Jazz at Kitano 66 Park Avenue at 38th Street (212-885-7000) • Spectrum 121 Ludlow Street, 2nd floor Subway: F, M to Second Avenue Subway: F to Seventh Avenue, N, R to Union Street www.bqcm.org Subway: 4, 5, 6 to Grand Central www.kitano.com • Steinway Reformed Church 21-65 41 Street at Ditmars Boulevard • Brooklyn Lyceum 227 4th Avenue • The Jazz Gallery 290 Hudson Street (212-242-1063) Subway: N to Ditmars Blvd-Astoria (718-857-4816) Subway: R to Union Street www.brooklynlyceum.com Subway: C, E, to Spring Street www.jazzgallery.org • The Stone Avenue C and 2nd Street • Buka Restaurant 946 Fulton Street (347-763-0619) • Jazz Museum in Harlem 104 E.126th Street (212-348-8300) Subway: F to Second Avenue www.thestonenyc.com Subway: C to Clinton-Washington Avenues www.bukanewyork.com Subway: 6 to 125th Street www.jazzmuseuminharlem.org • Swing 46 349 W. 46th Street (646-322-4051) • CJ Cullens Tavern 4340 White Plains Road, Bronx • Jazz Standard 116 E. 27th between Park and Lexington Avenue Subway: A, C, E to 42nd Street www.swing46.com Subway: 2 to Nereid Avenue/238th Street (212-576-2232) Subway: 6 to 28th Street www.jazzstandard.net • Sycamore 1118 Cortelyou Road (347-240-5850) • Café Carlyle 35 E. 76th Street (212-744-1600) • Joe G’s 244 W. 56th Street (212-765-3160) Subway: B, Q to to Cortelyou Road www.sycamorebrooklyn.com Subway: 6 to 77th Street www.thecarlyle.com Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle • Symphony Space Leonard Nimoy Thalia and Peter Jay Sharp Theatre • Café Loup 105 W. 13th Street between Sixth and Seventh Avenues • Joe’s Pub 425 Lafayette Street (212-539-8770) 2537 Broadway at 95th Street (212-864-5400) (212-255-4746) Subway: F to 14th Street www.cafeloupnyc.com Subway: N, R to 8th Street-NYU; 6 to Astor Place www.joespub.com Subway: 1, 2, 3, 9 to 96th Street www.symphonyspace.org • Caffe Vivaldi 32 Jones Street • Kaye Playhouse 695 Park Avenue at 68th Street (212-772-5207) • Tea Lounge 837 Union Street, Brooklyn (718-789-2762) Subway: A, B, C, D, E, F, M to W. 4th Street www.caffevivaldi.com Subway: 6 to 68th Street www.kayeplayhouse.hunter.cuny.edu Subway: N, R to Union Street www.tealoungeNY.com • Casaville 633 Second Avenue • Kellari Taverna 19 W. 44th Street (212-221-0144) • Triad 158 West 72nd Street, 2nd floor (212-685-8558) Subway: 6 to 33rd Street www.casavillenyc.com Subway: B, D, F, M, 7 to 42nd Street-Bryant Park www.kellari.us (212-787-7921) Subway: B, C to 72nd Street www.triadnyc.com • Cassa Hotel and Residences 70 W. 45th Street, 10th Floor Terrace • Klavierhaus 211 West 58th Street (212-245-4535) • Tribeca Performing Arts Center 199 Chambers Street (212-220-1460) (212-302-87000 Subway: B, D, F, 7 to Fifth Avenue www.cassahotelny.com Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.klavierhaus.com Subway: A, 1, 2, 3, 9 to Chambers Street www.tribecapac.org • Charley O’s 1611 Broadway at 49th Street (212-246-1960) • Knickerbocker Bar & Grill 33 University Place (212-228-8490) • University of the Streets 130 E. 7th Street Subway: N, R, W to 49th Street Subway: N, R to 8th Street-NYU www.knickerbockerbarandgrill.com (212-254-9300) Subway: 6 to Astor Place www.universityofthestreets.org • Chez Lola 387 Myrtle Avenue, Brooklyn (718-858-1484) • Korzo 667 5th Avenue, Brooklyn (718-285-9425) • Velour Lounge 297 10th Avenue Subway: C to Clinton-Washington Avenues www.bistrolola.com Subway: R to Prospect Avenue www.korzorestaurant.com (212-279-9707) Subway: C, E to 23rd Street www.velournyc.com • Chez Oskar 211 Dekalb Ave, Brooklyn (718-852-6250) • The Lambs Club 132 W. 44th Street • Via Della Pace 48 E. 7th Street and Second Avenue Subway: C to Lafayette Avenue www.chezoskar.com 212-997-5262 Subway: A, C, E, to 42nd Street www.thelambsclub.com (212-253-5803) Subway: 6 to Astor Place • Cleopatra’s Needle 2485 Broadway (212-769-6969) • Lark Café 1007 Church Avenue, Brooklyn • The Village Trattoria 135 W. 3rd Street (212-598-0011) Subway: 1, 2, 3 to 96th Street www.cleopatrasneedleny.com (718-469-0140) Subway: Q to Beverly Road www.larkcafe.com Subway: A, B, C, D, E, F, M to W. 4th Street www.thevillagetrattoria.com • Club A Steakhouse 240 E. 58th Street (212-618-4190) • Launch Pad Gallery 721 Franklin Avenue • Village Vanguard 178 Seventh Avenue South at 11th Street Subway: 4, 5, 6 to 59th Street www.clubasteak.com (718-928-7112) Subway: S to Park Place www.brooklynlaunchpad.org (212-255-4037) Subway: 1, 2, 3 to 14th Street www.villagevanguard.com • Comix Lounge 353 W. 14th Street Subway: L to 8th Avenue • Le Poisson Rouge 158 Bleecker Street (212-228-4854) • Vino di Vino Wine Bar 29-21 Ditmars Boulevard, Queens • Community Church of New York 40 E. 35th Street Subway: A, B, C, D, E, F, M to W. 4th Street www.lepoissonrouge.com (718-721-3010) Subway: N to Ditmars Blvd-Astoria (212-594-7149) Subway: 6 to 33rd Street • Lenox Lounge 288 Lenox Avenue between 124th and 125th Streets • Walker’s 16 North Moore Street (212-941-0142) • The Complete Music Studio 227 Saint Marks Avenue, Brooklyn (212-427-0253) Subway: 2, 3 to 125th Street www.lenoxlounge.com Subway: A, C, E to Canal Street (718-857-3175) Subway: B, Q to Seventh Avenue www.completemusic.com • Littlefield 622 Degraw Street • Waltz-Astoria 23-14 Ditmars Boulevard (718-95-MUSIC) • Concertino 425 W. 45th Street Subway: A, C, E to 42nd Street-Port Authority (718-855-3388) Subway: M, R to Union Street www.littlefieldnyc.com Subway: N, R to Ditmars Blvd-Astoria www.Waltz-Astoria.com • Cornelia Street Café 29 Cornelia Street (212-989-9319) • The Local 802 322 W. 48th Street between Eighth and Ninth Avenues • Water Street Restaurant 66 Water Street (718-625-9352) Subway: A, B, C, D, E, F, M to W. 4th Street www.corneliastreetcafé.com (212-245-4802) Subway: C to 50th Street www.jazzfoundation.org Subway: F to York Street, A, C to High Street • The Counting Room 44 Berry Street (718-599-1860) • Londel’s 2620 Frederick Douglas Boulevard (212-234-6114) • Williamsburg Music Center 367 Bedford Avenue Subway: L to Bedford Avenue www.thecountingroombk.com Subway: 1 to 145th Street www.londelsrestaurant.com (718-384-1654) Subway: L to Bedford Avenue • Creole 2167 3rd Avenue at 118th Street • L’ybane 709 8th Avenue (212-582-2012) • York College Illinois Jacquet Perf. Space 94-20 Guy R. Brewer Blvd. (212-876-8838) Subway: 6 th 116th Street www.creolenyc.com Subway: A, C, E to 42nd Street-Port Authority www.lybane.com Subway: E to Jamaica Center www.york.cuny.edu • Crescent and Vine 25-01 Ditmars Boulevard at Crescent Street • McDonald’s 160 Broadway between Maiden Lane and Liberty Street • York College Performing Arts Center 94-20 Guy R. Brewer Blvd. (718-204-4774) Subway: N, Q to Ditmars Boulevard-Astoria (212-385-2063) Subway: 4, 5 to Fulton Street www.mcdonalds.com Subway: E to Jamaica Center www.york.cuny.edu • Crooked Knife 29 E. 30th Street (212-696-2593) • Merkin Concert Hall 129 W. 67th Street between Broadway and Amsterdam • Zankel Hall 881 Seventh Avenue at 57th Street Subway: 6 to 33rd Street www.thecrookedknife.com (212-501-3330) Subway: 1 to 66th Street-Lincoln Center (212-247-7800) Subway: N, Q, R, W to 57th Street www.carnegiehall.org • Culture Fix 9 Clinton Street www.kaufman-center.org • Zeb’s 223 W. 28th Street (646-863-7171) Subway: F to Second Avenue www.culturefixny.com • Metropolitan Room 34 W. 22nd Street (212-206-0440) 212-695-8081 Subway: 1 to 28th Street www.zebulonsoundandlight.com • The Cupping Room 359 West Broadway between Broome and Grand Street Subway: N, R to 23rd Street www.metropolitanroom.com • Zebulon 258 Wythe Avenue, Brooklyn (718-218-6934) (212-925-2898) Subway: A, C, E to Canal Street • Miller Theatre 2960 Broadway and 116th Street (212-854-7799) Subway: L to Bedford Avenue www.zebuloncafeconcert.com • David Rubenstein Atrium Broadway at 60th Street (212-258-9800) Subway: 1 to 116th Street-Columbia University www.millertheater.com • Zinc Bar 82 W. 3rd Street (212-477-8337) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.jalc.org • Museum of Jewish Heritage 36 Battery Place Subway: A, B, C, D, E, F, M to W. 4th Street www.zincbar.com • Dizzy’s Club Broadway at 60th Street, 5th Floor (212-258-9800) (212-968-1800) Subway: 4, 5 to Bowling Green www.mjhnyc.org • ZirZamin 90 West Houston Street (646-823-9617) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.jalc.org • NYC Baha’i Center 53 E. 11th Street (212-222-5159) Subway: B, D, F, M to Broadway-Lafayette Street www.zirzaminnyc.com • Dominie’s Astoria 34-07 30th Avenue Subway: N, Q to 30th Avenue Subway: 4, 5, 6, N, R to 14th Street-Union Square www.bahainyc.org

THE NEW YORK CITY JAZZ RECORD | November 2012 45 (INTERVIEW CONTINUED FROM PAGE 6) have to contradict and provoke in order to shape the JAZZ AT LINCOLN CENTER stars. v 25 YEARs OF JAZZ Music in Antwerp. It is now called Follow the Sound and it’s curated by Rob Leurentop. We not only did the For more information, visit efi.group.shef.ac.uk/mvanhove. festival, but also regular concerts in different locations html. Van Hove plays solo and in duo with Lou Grassi at - sometimes every week, sometimes once a month, as ShapeShifter Lab Nov. 6th and The Firehouse Space Nov. NOv well as workshops for children or adults and so forth. 9th. See Calendar.

d EC TNYCJR: As an improviser and a composer, how do Recommended Listening: you approach solo performance, and how is that • Peter Brötzmann/Fred Van Hove/Han Bennink - contrasted with your approach to duo or small group Balls (FMP-Atavistic , 1970) situations? • Fred Van Hove - Complete Vogel Recordings (Vogel-Atavistic Unheard Music Series, 1972-74) FVH: There was a time I refused to do solo concerts. • Fred Van Hove/Marc Charig/Radu Malfatti/ With free jazz and the equality of the instruments, that Paul Rutherford - M.L.A. ‘Blek’ (FMP, 1980) meant there were no more rhythm sections with only • Fred Van Hove - Flux (Potlatch, 1998) trumpet and sax getting the improvisations - that • Fred Van Hove - Journey (psi, 2007) situation was finished! We were all equal, a collective • Fred Van Hove/Paul Dunmall/Paul Rogers/ like the bands of the ‘20s. Paul Lytton - Asynchronous (SLAM, 2008) Later on, I decided to do solos and it was fine to have all the space for oneself. In the beginning I prepared my solos - this was not composition, but things I chose randomly from a set of known variables. (LABEL CONTINUED FROM PAGE 12) Now I do not prepare anything - the things I prepared beforehand never really succeeded because the room “The big problem with improvised music in was always different from what I planned for, the Europe has been that there are so few private sponsors piano was different and at home were no people and and we depend so much on the benevolence of public the energy was different. Now I go with a blank mind cultural budget administrators. With the rise of turbo- - the second before I start is terrible, but the following capitalism this benevolence ended and financial second the train is on the rails. support has gone down to almost zero. It’s very special With a solo the only response is that of the that in a small village in the countryside something is audience - you can feel if they are following you or not, possible that was never possible here among the even if they are silent. With a duo or a small group you arrogant and shattered Berliner improvising scene. I listen to what the others do and you react to it and you can’t tell you how much I was surprised when I heard can go along or you can contradict them. You give the about Martin’s plans to start a new label in my old other musicians space or you accompany - or you may home region. I like Martin’s well-thought-out grass- claim the space for yourself. roots approach. He’s planning everything very carefully and realistically. I hope I can travel many TNYCJR: What was the impetus in forming MLA/ times to the hilly countryside of Saarland and do many MLB? Is this work still ongoing? recordings for Gligg.” Gligg can record, mix and master a CD plus FVH: Instead of using the formal “Opus xx” to provide a cover design and publishing at a cost far less designate a new work, I named the groups based on than musicians could do on their own, notes Schmidt. joe henderson Photo courtesy of the Frank Driggs Collection their different [improvised] approaches and used Latin Since “musicians never make CDs without the need of abbreviations. So there was MLB III, which was Musica at least 150 for themselves, we split the costs for the nov 3 JOHN COLTRANE FESTIVAL | FAm ILy CONCERT Libra Belgica, a trio with [reedman] André Goudbeek initial release.” 1 PM & 3 PM WhO I s J O h N COLTRANE ? and [percussionist] Ivo Vanderborght. MLA stood for Adds Thewes: “The main advantage of Gligg is the Jazz at Lincoln Center Orchestra Musica Libra Anversa and then there was MLB blek connection to a first-class recording studio. Selected with Wynton Marsalis (meaning “tin”), which had the trombones of Radu musicians who do not receive payments for recording Malfatti and Paul Rutherford as well as trumpeter sessions can use the studio without any costs for their nov 9–10 A L v IN Y O u NGBLOOd hART Marc Charig. MLB DD4 was a quartet with [violinist] productions, recording, editing, mixing, mastering and 7:30PM Blues master Alvin Youngblood Hart Phil Wachsmann, Charig and [drummer] Günter Baby finally publishing via Gligg. Musicians are only bound & 9:30 PM with special guests Corey Harris and Phil Wiggins Sommer. Except for MLB III, none of the other groups to the label for that particular production and can still perform. publish with other labels.” Still Schmidt is realistic about improvised music’s nov 16–17 THE b EST OF b L u E NOTE FESTIVAL TNYCJR: You have done a significant amount of place in the business world. “Sales don’t yet play any 7:30PM J OE hENd ERs ON’ s T h intermedia work – with film and visual artists. Could serious role, as this kind of music only finds a very & 9:30 PM 75 B IRThdAY Saxophonist Chris Potter with Renee you talk more about that? small audience around the world,” he adds. “But the Rosnes, Bobby Hutcherson, and others idea is to build on the image over the next years to FVH: Yes, I worked with film and painting, as well as establish Gligg in the world-wide community of nov 16–17 THE b EST OF b L u E NOTE FESTIVAL 8 PM ThE B E s T OF B L u E N OTE theater; I did all three, including some short films of enthusiasts.” The label’s multi-focus will continue Jazz at Lincoln Center Orchestra my own. I also accompanied very old films, such as with projected CDs including a quartet helmed by with trumpeter Ryan Kisor and saxophonist JD Allen Laurel and Hardy, and performed with two painters. trumpeter Axel Dörner and one matching legendary There were also quite a few plays, mostly in Belgium German pianist Alexander von Schlippenbach with the Dec 7 B IG B ANd hOLI d AYs or The Netherlands and also in Germany. The work Undertone trio. 8 PM Jazz at Lincoln Center Orchestra with was alright, but it was strictly accompanying someone So is this ambitious five-year plan to establish an Wynton Marsalis and vocalists Renee Dec 8 Marie and Gregory Porter. else’s idea and you have to follow others’ directions. important creative music imprint while running a 2 PM & 8 PM high-end recording studio enough to occupy Schmidt’s TNYCJR: My one opportunity to see you perform, in time? Not really. Since 2009, he has been studying for a BOX OFFICE Broadway at 60 T h duet with trombonist Johannes Bauer at the 2004 Vision bachelor’s degree in physics from a UK-based distant Fest, the contrast between his theatricality and what I learning university and expects to have it completed in CENTERCh ARGE 212-721-6500 viewed as your rigor was rather apparent. I feel that in 2014. v a number of settings, what has struck me about your voice and those of your partners is a remarkable sense For more information, visit gligg-records.com. Artists jalc.org of contrasting extremes. Is this an aspect of your performing this month include Tomas Ulrich at Nublu Nov. approach that has been cultivated? 2nd, Jazz Standard Nov. 9th with Ted Nash as part of the Preferred Card of Jazz at Lincoln Center Lead Corporate Sponsors of Jazz for Young People ® Jazz Composers Collective Festival and The Stone Nov. FVH: I’ll say this - the average is not interesting, you 20th. See Calendar.

46 November 2012 | THE NEW YORK CITY JAZZ RECORD IN MEMORIAM By Andrey Henkin - Two years before his first professional gig with the Sam Donahue Orchestra, JOHN WILLIAM HARDY - A world-renowned ornithologist (owner of the leading bird the trombonist got lessons from Basie stalward Benny Morton. He would go on to work with recording label), Hardy also documented some less-feathered but no less deserving creatures dozens of big bands from the ‘40s on: , , Benny Goodman, Illinois with his Revelation Records imprint from the ‘60s-70s, including Clare Fischer, Warne Marsh Jacquet, Lionel Hampton, to name only some. He was part of the Town Hall groups of both and John Carter/Bobby Bradford. Hardy died Oct. 1st at 82. Thelonious Monk and Charles Mingus as part of a discography of hundreds of albums. In between all of this work, Bert managed to release over a dozen albums as a leader. Bert died JACKY SAMSON - The French bassist was a stalwart on that country’s jazz scene, working Sep. 27th at 90. with countrymen like George Arvanitas (as part of his trio and in a working rhythm section), Eddy Louiss and Jef Gilson from the late ‘60s on as well as with visiting Americans like Ted JOSÉ CURBELO - No less than Tito Puente owed his career to the Latin jazz bandleader. Curson, Anita O’Day and Ben Webster. Samson died Oct. 3rd at 72. Moving to New York in 1939 from Cuba, after playing in orchestras there, Curbelo formed a new band that featured a young Puente. Later he became a manager for major Latin music PATRICK SAUSSOIS - A child of Basque and Gypsy parents, the Parisian guitarist was acts, working diligently to get his clients proper wages and working conditions. Curbelo died naturally drawn to the work of . His discography included work with Sep. 21st at 95. countrymen like George Arvanitas and the Schmitt Family. A 2009 stroke left him unable to perform and he died Sep. 21st at 58. MAT DOMBER - In a world of changing musical tastes, the producer was integral in keeping traditional jazz forms in the spotlight through his Arbors . Originally an attorney, DICK SHANAHAN - A veteran of the Big Band Era, the drummer - a peer of Buddy Rich and after moving to Florida in the mid ‘80s, Domber started with an album by Dixielander Rick Gene Krupa - worked with the large groups of Charlie Barnet and Les Brown as well as Fay. Now Arbors has a catalogue of over 300 recordings by both original practitioners and appearing on bassist ’s 1960 album Jazz Cello (Verve), Spike Jones’ 1954 TV show younger musicians Domber helped bring into the music. He died Sep. 19th at 84. and numerous soundtracks. Shanahan died Aug. 5th at 91. - There is little on record from the bassist after the ‘80s but Gaskin worked - He may have gotten his first wide exposure as part of John Coltrane’s 1965 steadily in the ‘60s-70s, appearing on albums by Les McCann, and Ascension group, but the alto-later-tenor saxophonist was already a trailblazer by the time of Monty Alexander. 1970 found him working in various Duke Ellington groups and he held that 1965 session. Moving to New York from his native Denmark after meeting Archie Shepp down the bass chair in ’s trio from the late ‘70s until the early ‘90s. Gaskin died and at a 1962 Finnish jazz festival, Tchicai was part of three groundbreaking Jul. 14th at 77. metropolitan groups of The New Thing: New York Contemporary Five, New York Art Quartet and New York Eye and Ear Control. Returning home in 1966, he founded the monumental JERRY GORDON - An adherent of the Wes Montgomery school, the Washington DC-based Cadentia Nova Danica large ensemble and went on to bring his strident lyricism to his own guitarist was a mainstay in bars and nightclubs throughout the capital and nearby Baltimore. varied groups (from the ‘70s Strange Brothers quartet to his most recent Danish groups with In 1993 his group won the Best of DC Jazz contest at Blues Alley and he released five albums players a third of his age) as well as sideman appearances with everyone from Johnny Dyani as a leader while working during the day as an auto mechanic and salesman in a record store. and Cecil Taylor to the ICP Orchestra and Pierre Dørge’s New Jungle Orchestra. Tchicai died Gordon died Aug. 26th at 58. Oct. 7th at 76. BIRTHDAYS November 1 November 5 November 11 November 16 November 22 November 26 †Sabby Lewis 1914-94 Diego Urcola b.1965 †Ivy Benson 1913-93 †WC Handy 1873-1958 †Hoagy Carmichael 1899-1981 †Jack Perciful 1925-2008 †Sam Margolis 1923-96 Kenny Brooks b.1966 † 1923-2000 †Eddie Condon 1905-73 †Horace Henderson 1904-88 Kiane Zawadi b.1932 Lou Donaldson b.1926 Neil Cowley b.1972 Mose Allison b.1927 † 1927-83 †Ernie Caceres 1911-71 Art Themen b.1939 b.1939 Ben Markley b.1981 b.1928 Diana Krall b.1964 b.1925 Mark Dresser b.1952 †Raphe Malik 1948-2006 b.1940 †Jimmy Knepper 1927-2003 b.1954 November 6 Hannibal Peterson b.1948 November 17 Ron McClure b.1941 November 27 Conrad Herwig b.1959 †Francy Boland 1929-2005 Kahil El’Zabar b.1953 David Amram b.1930 Tyrone Hill b.1948 †Eddie South 1904-62 Antonio Sanchez b.1971 Arturo Sandoval b.1949 Mark Shim b.1971 b.1935 Rogerio Boccato b.1967 †Nesuhi Ertegun 1917-89 Tim Luntzel b.1972 Lisle Ellis b.1951 Michel Portal b.1935 November 7 November 12 Ben Allison b.1966 November 23 Randy Brecker b.1945 November 2 †Joe Bushkin 1916-2004 † 1911-91 †Tyree Glenn 1912-74 Lyle Mays b.1953 TONY COE †Bunny Berigan 1908-42 Howard Rumsey b.1917 †Lou Blackburn 1922-90 November 18 b.1925 Maria Schneider b.1960 November 29th, 1934 b.1924 †Al Hirt 1922-99 † 1923-2009 † 1909-76 † 1929-1991 Joris Teepe b.1962 That saxophone playing on b.1928 †Ray Brown 1948-2002 †Sam Jones 1924-81 Claude Williamson b.1926 †Victor Gaskin 1934-2012 Wessell Anderson b.1964 b.1931 David S. Ware b.1949 Wolfgang Schluter b.1933 b.1927 Alvin Fielder b.1935 Jacky Terrasson b.1966 the original Pink Panther theme Phil Minton b.1940 René Marie b.1955 Koby Israelite b.1966 b.1928 Jiri Stivin b.1942 belonged to British multi- Ernest Dawkins b.1953 †Don Cherry 1936-95 Ray Drummond b.1946 November 28 reedist Tony Coe, a veteran of Frank Kimbrough b.1956 November 8 November 13 Bennie Wallace b.1946 Melton Mustafa b.1947 †Gigi Gryce 1927-83 numerous English and Gebhard Ullmann b.1957 †Chris Connor 1927-2009 †Bennie Moten 1894-1935 Cindy Blackman-Santana b.1959 Gato Barbieri b.1934 European big bands during Kurt Elling b. 1967 Bertha Hope b.1936 †Eddie Calhoun 1921-93 November 24 Roy McCurdy b.1936 the ‘60s onwards. Like many Chris Byars b.1970 Don Byron b.1958 †Hampton Hawes 1928-77 November 19 †Scott Joplin 1868-1917 Adelhard Roidinger b.1941 of his countrymen, Coe thrives Jerry Costanzo b.1959 b.1939 †Tommy Dorsey 1905-56 † 1912-86 Butch Thompson b.1943 in eclectic situations, whether November 3 Russell Malone b.1963 Janet Lawson b.1940 Nobuo Hara b.1926 †Wild Bill Davis 1918-95 † 1951-2008 it be the †Joe Turner 1907-90 John O’Gallager b.1964 Ernst Reijseger b.1954 †André Persiany 1927-2004 †Serge Chaloff 1923-57 Charlie Kohlhase b.1956 Orchestra, ’s †Billy Mitchell 1926-2001 Vadim Neselovskyi b.1977 Ari Hoenig b.1973 Vincent Herring b.1964 †Al Cohn 1925-88 Company, a co-led group with Andy McGhee b.1927 Gary Boyle b.1941 November 29 drummer or as a Henry Grimes b.1935 November 9 November 14 November 20 Brian Charette b.1972 †Billy Strayhorn 1915-67 first-call musician for Joe McPhee b.1939 †Mezz Mezzrow 1899-1972 †Art Hodes 1904-93 †Skeeter Best 1914-85 †Nathan Gershman 1917-2008 soundtrack work. The first Azar Lawrence b.1953 †Pete Brown 1906-63 †Billy Bauer 1915-2005 † 1925-90 November 25 †Bobby Donaldson 1922-71 †Muggsy Spanier 1906-67 †Don Ewell 1916-83 Jay Rosen b.1961 †Willie “The Lion” Smith Ed Bickert b.1932 non-American to win the November 4 Ellis Marsalis b.1934 Don Braden b.1963 1897-1973 Tony Coe b.1934 Danish Jazzpar Prize (1995), †Joe Sullivan 1906-71 November 10 George Cables b.1944 Geoffrey Keezer b.1970 †Willie Smith 1910-67 Billy Hart b.1940 Coe, who also plays clarinet †Joe Benjamin 1919-74 b.1932 Kim A. Clark b.1954 †Joe “Bebop” Carroll 1919-81 Adam Nussbaum b.1955 and bass clarinet, has †Ralph Sutton 1922-2001 Houston Person b.1934 November 21 †Paul Desmond 1924-77 Fredrik Ljungkvist b.1969 composed numerous large- †Carlos “Patato” Valdes Andrew Cyrille b.1939 November 15 †Coleman Hawkins 1904-69 †Matthew Gee 1925-79 scale works for ensembles and 1926-2007 b.1939 †Gus Johnson 1913-2000 †Lloyd Glenn 1909-85 †Dick Wellstood 1927-87 November 30 film. His leader discography - †Larry Bunker 1928-2005 Stanton Davis b.1945 † 1920-2000 †Alvin Burroughs 1911-50 † 1928-2001 †Benny Moten 1916-77 for labels like hatART, Nato †Willem Breuker 1944-2010 John LaBarbera b.1945 Ali Haurand b.1943 †Sal Salvador 1925-99 †Rusty Bryant 1929-91 Jack Sheldon b.1931 and Storyville - is not massive Eddie Gomez b.1944 b.1965 Kevin Eubanks b.1957 Peter Warren b.1935 †Nat Adderley 1931-2000 †Johnny Dyani 1945-86 but his sideman credits are David Arner b.1951 Gustavo Casenave b.1971 Roland Guerin b.1968 b.1948 Steve Johns b.1960 b.1948 vast and impressive. -AH Jeremy Pelt b.1976 Warren Wolf b.1979 Susie Ibarra b.1970 Rainer Brüninghaus b.1949 Terell Stafford b.1966 b.1959 ON THIS DAY by Andrey Henkin

Miles: The New Miles Davis Quintet Infinity Outback Garden The D Stands For Diesel Miles Davis (Prestige) Lee Morgan (Blue Note) (CTI) Cecil Taylor (hatHUT) Karl Denson (Greyboy) November 16th, 1955 November 16th, 1965 November 16th, 1970 November 16th, 1981 November 16th, 1994 This would be, at the time, the debut Trumpeter Lee Morgan’s impact on Joe Farrell, player of too many wind For all his various groups - trios, large Saxophonist Karl Denson may have of Miles Davis’ first classic quintet the jazz landscape far outsized his and reed instruments to list, deserves ensembles, etc. - perhaps the best trouble convincing jazz purists of his (slightly earlier material surfaced relatively brief career ( at greater acclaim than he receives. His distillation of pianist Cecil Taylor are legitimacy but who cares when you later). The trumpeter had worked 18, murdered at 33). He was one of the work with people like Charles his solo performances. He began sold millions of records as part of with pianist Red Garland and leading lights of the Blue Note label, Mingus, Chick Corea, and working in this format over 15 years Lenny Kravitz’ group and are revered drummer Philly Joe Jones before but it having made a dozen albums for it Elvin Jones was consistently excellent. after beginning his career and has in the jam band circuit? And clearly was the addition of saxist John prior to this one, underappreciated His own albums though never really returned to it frequently over the legendary jazz vocalist Andy Bey, Coltrane and bassist due to its proximity to such discs as presented him at his best, partially years, many of the concerts recorded who appears here on two tracks, that birthed a legendary group (which Search For The New Land or Cornbread due to the influence of producers like for posterity. This particular solo didn’t need any cajoling. Denson, actually didn’t last all that long in this (as well as its posthumous release). CTI’s Creed Taylor. But this may be concert took place in Basel, whose jazz career began in earnest incarnation). For their first album, the Joining him are Jackie McLean (alto his best effort, Corea and Jones in tow, Switzerland, released on the Swiss after leaving Kravitz, wrote eight of material is all from outside of the sax), (piano), Reggie Buster Williams playing bass and hatHUT label, and includes seven the nine tunes on this two-LP set (Bey group - Ellington, Benny Golson, Workman (bass) and Airto on percussion, a short four-tune expositions of decreasing length, from wrote closer “Tune-Up”), released on three standards - except for the first (drums) on four Morgan originals and program of two originals, a piece by the nearly 27-minute “Ellel” to two- the Greyboy imprint, the label of the appearance of Davis’ “The Theme”. McLean’s “Portrait of Doll”. Corea and the title soundtrack theme. and-a-half minute “Points”. Greyboy Allstars.

THE NEW YORK CITY JAZZ RECORD | November 2012 47