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JUNE 2016—ISSUE 170 YOUR FREE GUIDE TO THE NYC SCENE NYCJAZZRECORD.COM

LESTER BOWIE brass memories

REZ MIKE BOBBY CHICO ABBASI REED PREVITE O’FARRILL Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The City Jazz Record 66 Mt. Airy Road East JUNE 2016—ISSUE 170 Croton-on-Hudson, NY 10520 Phone/Fax: 212-568-9628 New York@Night 4 Laurence Donohue-Greene: Interview : Rez Abbasi 6 by ken micallef [email protected] Andrey Henkin: [email protected] Artist Feature : 7 by ken waxman General Inquiries: [email protected] On The Cover : 8 by kurt gottschalk Advertising: [email protected] Encore : by john pietaro Calendar: 10 [email protected] VOXNews: Lest We Forget : Chico O’Farrill 10 by ken dryden [email protected] LAbel Spotlight : El Negocito by ken waxman US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or VOXNEWS 11 by suzanne lorge money order to the address above or email [email protected] In Memoriam by andrey henkin Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Fred Bouchard, Festival Report Stuart Broomer, Thomas Conrad, 13 Ken Dryden, Donald Elfman, Philip Freeman, Kurt Gottschalk, Tom Greenland, Anders Griffen, CD Reviews 14 Alex Henderson, Marcia Hillman, Terrell Holmes, Robert Iannapollo, Suzanne Lorge, Marc Medwin, Miscellany 41 Ken Micallef, Russ Musto, John Pietaro, Joel Roberts, John Sharpe, Elliott Simon, Event Calendar 42 Andrew Vélez, Ken Waxman Contributing Writers Tyran Grillo, George Kanzler, Matthew Kassel, Mark Keresman, Eric Wendell, Jazz is a magical word. While acknowledging its complex history, in 2016 is synonymous with freedom. When you hear the word spoken it opens doors rather than closes them. There Contributing Photographers should be a thousand definitions of the word, as different as the people who play it. George Council, Enid Farber, Scott Friedlander, Radosław Kaźmierczak, Alan Nahigian, Susan O’Connor, This month’s features embody that freedom. Late trumpeter Lester Bowie (On The Cover) R.I. Sutherland-Cohen, Jack Vartoogian balanced entertainment and art like few could. His long-running Brass Fantasy is celebrated at Tribeca Performing Arts Center with a number of original participants. Guitarist Rez Fact-checker Abbasi (Interview) upends notions about his instrument as well clichés like fusion. His new Nate Dorward Cuneiform gets release at Greenwich House Music School and Red Hook Jazz Festival. Drummer Mike Reed (Artist Feature) has brought together generations and styles and built foundation in his adopted home of . He makes a rare-ish NYC appearance as part of . Drummer Bobby Previte (Encore) splits his time between and Upstate yet hasn’t lost his urban groove. He leads a band at Red Hook Jazz Festival and is at Cornelia Street Café with . And Chico O’Farrill (Lest We Forget) helped change the entire trajectory of jazz by blending it with the music of his native Cuba. nycjazzrecord.com “Liberté, Égalité, Fraternité” is the motto of France. It could be a jazz slogan too... On The Cover: Lester Bowie (photo by Alan Nahigian)

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TUE JUNE 21 JAZZTOPAD FESTIVAL PRESENTS: OBARA INTERNATIONAL DOMINIK WANIA - OLE MORTEN VAGAN GARD NILSSEN “TOP 10 VENUES IMPACTING NY MUSIC SCENE TODAY” [2015]-NEW YORK MAGAZINE QUARTET WED-THU JUNE 22-23 WED JUNE 1 CHRIS PATTISHALL LUIS PERDOMO&CONTROLLING JAMISON ROSS BARRY STEPHENSON - RICK LOLLAR MIMI JONES - RUDY ROYSTON EAR UNIT FRI-SUN JUNE 24-26 THU-SUN JUNE 2-5 CLAYTON BROTHERS AZAR LAWRENCE JEFF CLAYTON - JOHN CLAYTON BENITO GONZALEZ GERALD CLAYTON QUINTETTERELL STAFFORD - KENDRICK SCOTT QUARTETMARVIN “SMITTY” SMITH DR. TUE-THU JUNE 28-30 TUE-SUN JUNE 7-12 THEO CROKER ANTHONY WARE LONNIE SMITH TRIO DEE DEE MICHAEL KING JONATHAN KREISBERG - JOHNATHAN BLAKE DR. FRI-SUN JULY 1-3 ERIC WHEELER BRIDGEWATER KASSA OVERALL LONNIE SMITH’S TUE JUNE 14

DARCY JAMES argue’s JONATHAN“evolution KREISBERG - ALICIA OLATUJA - MAURICE” BROWN SECRET SOCIETY JOHN ELLIS - JOHNATHAN BLAKE - JOE DYSON WED-SUN JUNE 15-19 HMINGUS MONDAYSHMINGUS MONDAYSHMINGUS MONDAYSH MON JUNE 6, 13, 20 & 27 STEPHAN CRUMP TRIO MARCUS GILMORE MINGUS NEW YORK @ NIGHT

Circumstances required that the Quartet As Trio 3 closed the of their final night at spend all day working on a new album for ECM before Village Vanguard (May 1st), celebrating 25 years rushing over to The Jazz Gallery to finish a two-night together, saxophonist recited a poem run (May 5th). The band members—pianist/ centered on the phrase “Separation—put all my food keyboardist Taborn, tenor saxophonist/clarinetist on the same plate” and declared the uniting factors , bassist Chris Lightcap and drummer among different strands of Black music. In cadences Dave King—may have been tired but it didn’t show in recalling St. Louis poet Ajulé Rutlin, with whom he the vibrant, rhythmically entrancing music that flowed once collaborated, the alto saxophonist outlined what from the bandstand. The first untitled pieces were full were essentially the precepts behind the trio and its of mystery and sonic abstraction. Taborn began by longevity. Lake is a very different player from bassist coaxing ominous sounds from a small Vox organ before and drummer —the switching over to acoustic . Similarly, Lightcap three performed lengthy unaccompanied soli that alternated between upright and electric bass, pizzicato preceded “Separation”—alternating between Parker- and arco, as the music evolved through loping legato iana and ebullient, grotesque trills, which led into unisons, raw freely improvised passages, intricate Workman expounding on a balladic form with ensemble work and pulsating grooves somewhat quavering arco and harp-like pizzicato glisses and the reminiscent of Taborn’s Junk Magic project (also with drummer exploring a tightly-wound thesis on the King on drums). ’s “Jamaican linkages between drumming and Central or Farewell”, a ballad that Taborn once played on the West African drum choirs. When Lake relocated AACM icon’s , served as a melodic eastward in 1973, he brought a spaciousness that was oasis of sorts, with Speed taking up to offer rare in New York’s bustling avant garde and his lines lyrical expressions and powerful, cleanly executed still unfold with a gentle logic belying their spiky, high-register tones. Taborn closed the brief but fibrous centers. Across six pieces, including renditions explosive set with the originals “New Glory” and of clarinetist John Carter’s “Encounter” and pianist “Ancient”, pieces that bore yet more fruit in terms of Adegoke Steve Colson’s “Leaving East of Java”, Trio 3 beat logic and momentum. Cycling a hypnotic line on made a distinct case for their brand of ‘supergroup’ as electric bass, Lightcap let it gather steam and then a unity of complementary approaches standing slyly dropped an octave, setting King off to burrow decidedly sure on their own, but that look and taste deeper in search of timbral oddity. —David R. Adler wonderful occupying a single dish. —Clifford Allen m o c . y h o s p a r g o t o h P e c n a g e l E c i t e o P o g i a n / F r t R w P h / t l i c a r n u o C

e g r o e G © 2 0 1 6 J a c k V Craig Taborn @ The Jazz Gallery Trio 3 @ Village Vanguard

Reconvening the quintet personnel from his superb After Charlie Parker’s death in 1955, the collection of 2012 Clean Feed release Spun Tree (with pianist Jacob Bird Feathers felt massive and separating rare plumage Sacks subbing for ), alto saxophonist from pigeon chaff was a challenge. (1931- Michaël Attias dove into his first set at Cornelia Street 2015) crafted his own unique approach, hinging on Café (May 12th) with a bright, busy, freely improvised crisp, bitter runs and charged fireworks. At Jazz at and untitled opener. The band began together at close Kitano (May 6th), his life was celebrated by longtime to full intensity, though drummer Tom Rainey’s collaborators drummer Bill Goodwin and bassist Steve deliberate brushwork cooled the music out, allowing Gilmore, pianist James Weidman (subbing for an ailing subtleties in the interplay between Attias and trumpeter Don Friedman) and alto saxophonist , a Ralph Alessi to speak. Bassist Sean Conly brought a Woods protégé. The set consisted of standards, bebop full-bodied pizzicato touch to shifting lines and tunes and one Kelly original, “Man with the Hat” (she patterns, which served as essential transition points in inherited one of Woods’ trademark leather caps). all of this music. “Scribble Job Yin Yang” brought the Certainly a player with visual presence, Kelly’s tone is tempo down, as a stuttering, dissonant theme emerged both warm and brittle and her phraseology includes and the instrumental voices crisscrossed at a measured quizzical left turns, emphatic leaps and honks and a pace, with Sacks playing only single notes. The pianist clean meander. Coupled with Weidman’s inventive, introduced “Moonmouth” with a beautiful abstract chunky clamber and contrasting push-pull between rubato statement, cueing the band in with an elegant bassist and drummer, the music was consistently arpeggiated pattern. The carefully wrought dynamics inspired and Kelly gave quite a bit of space for the and lyrical unisons of this piece contrasted with the rhythm section to forge individual and collective funky, far more aggressive vibe of “Hexway Liner” paths. Goodwin’s brash economy certainly was part of (a “bloodbath”, as Attias termed it when it ended). The the push, but Gilmore’s meticulous explorations leaping-interval lines, compelling solos and vamped provided an elegant carpet. “Smile”, associated with tag ending, preceded by Rainey’s wildest drum fills, Charlie Chaplin, was a vocal number onto which Kelly yielded to “Goodbye Rumination” with its spacious grafted a few different deliveries, although the most rubato atmosphere, followed by the closing romp convincing voice remained that of her horn. The “Many Skins”. These were short, focused tunes that quartet closed with a spry, rare take of Bud Powell’s still offered collective improvisational freedom and not “Webb City”, leaping and pirouetting in a convincing a few individual tours de force as well. (DA) nod to the historical present of modern jazz. (CA)

4 JUNE 2016 | THE NEW YORK CITY JAZZ RECORD It was, as curator Joel Harrison observed in closing, celebrated Side of John “an embarrassment of riches”, referring to the eight Coltrane at The Appel Room in a program starting and other guitarists heard during the Alternative Guitar ending with divinely inspired selections by the iconic WHAT’S NEWS Summit at Drom (May 11th). Each act covered late saxophonist. Fronting an allstar septet featuring 2016 Doris Duke Award winners have been named. Recipients in the compositions by Joni Mitchell and/or , guest Ravi Coltrane, the group fittingly opened its jazz category are , , , Jason making for a less pyrotechnical, more song-centered May 14th early set with a terse reading of “Welcome”. Moran, , Jen Shyu, and Henry . Mike Baggetta began with a crackly, whining It began with Geri Allen’s rumbling piano and Reggie Threadgill. For more information, visit ddpaa.org. In related news, the medley of “Case of You” and “Ictus”, floating uncanny Workman’s bowed bass, joined by Andrew Cyrille’s Doris Duke Charitable Foundation also announced recipients of its new Leadership Grants Program, five organizations receiving grants sounds over incessant electronic hum. Sheryl Bailey, bright cymbals and Brian Blade’s malleted toms, totalling $1 million: City Parks Foundation of the Charlie Parker Jazz paired with bassist Harvie S, demonstrated her introducing the inspirational song before Lovano and Festival ($75,000); Jazz Festival Foundation ($200,000); Jazz crystalline acoustic tone on “Hissing of Summer Lawns” Coltrane entered blowing the classic melody, their Institute of Chicago of the ($225,000); Monterey Jazz Festival ($400,000); Newport Festivals Foundation ($100,000). and “Sad Song”. Wolfgang Muthspiel fingerpicked distinctive sounds coalescing in ecstatic harmony For more information, visit ddcf.org. sensitive renditions of “Amelia” and “Floater”, layering colored by Tom Harrell’s . The two tenors flatpicked solos over looping chords. Harrison’s trio took flight on “Spiritual”, with Lovano’s airy tone Pianist Robert Glasper and author Ashley Kahn will present a class on this fall at ’s Clive Davis Institute of enlisted Muthspiel for “Vox Humana”, vocalist Everett punctuated by signature hoarse cries while Coltrane Recorded Music. For more information, visit tisch.nyu.edu. Bradley for “Borderline”, then did “The Jungle Line”, let loose with blistering “sheets of sound” echoing his featuring bassist ’ vocals and drummer honored father. In between Harrell soloed with boppish Mack Avenue Records has acquired the MAXJAZZ imprint, home of Allison Miller’s funky bare-handed beats. Steve flair, as he did on the smoothly swinging “Lazy Bird”, Carla Cook, Nancy King, the late , René Marie and Geoffrey Keezer. For more information, visit mackavenue.com. Cardenas, Miller and bassist Ben Allison played one of along with the two saxophonists, who improvised with the event’s shortest but most satisfying sets, a mash-up lyrical aplomb. The mood calmed for “Central Park ASCAP (American Society of , Authors and Publishers) of “Yvette in English” and “King Korn”. and West”, with Lovano’s mellow toned straight alto has established an award in honor of the late (1957-2014), which will be presented annually to innovative emerging Julian Lage achieved equally intimate repartee on out front, then got bluesy on “Mr. Day”, composers. For more information, visit ascap.com/eventsawards/ “Temporarily” and “A Fiddle and Drum”, followed by featuring Coltrane on sopranino saxophone. The awards/foundation/awards/fred-ho.aspx. Ben Monder’s rumbling sonic earthquakes under Jo spiritual mode returned with “Swamini” (Allen’s solo Lawry’s vocals to Mitchell’s “Sunny Sunday” and a homage to Alice Coltrane), “Configuration/Jimmy’s Bobby McFerrin will lead a week-long workshop, Aug. 19th-26th, on the improvisational singing technique Circlesongs. The workshop will second version of “Lawns”. Trumpeter Dave Douglas’ Mode” (a forum for wildly conversing tenors and take place in Rhinebeck, NY and feature a faculty of David Worm, Judi trio with Camila Meza and Heather Masse preceded the Workman’s virtuoso bass) and passages from A Love Donaghy Vinar, Rhiannon, Christiane Karam, Karen Goldfeder and finale: a seven-guitar romp over “Ida Lupino” and Supreme (played with joyous swing). The set ended Joey Blake. For more information, visit eomega.org/workshops/ circlesongs-0#-workshop-video-block. “The Circle Game”. —Tom Greenland prayerfully with “Song of Praise”. —Russ Musto The 14th annual International Junior Jazz Meeting will take place Jul. 26th-30th in Emmental, Switzerland as part of the 26th Langnau Jazz Nights. The meeting is an “opportunity for young aspiring artists to meet fellow as well as internationally acclaimed stars in a great musical gathering.” Applicants must be under 25 years old. For more information, visit jazz-nights.ch/en/workshops/junior-jazz-workshop. Alvin Reed, Sr. has won his trademark litigation in the case of ownership of the name/mark Lenox Lounge, previously used for the club of the same name in Harlem. The decision allows Reed to use the name for another club or other licensing . Woodlawn Cemetery will offer jazz trolley tours to visit the graves of , Miles Davis, WC Handy, and others Jun. 5th and 26th, Jul. 24th, Aug. 7th and Sep. 4th. Tours begin at 1 pm and are $15. For more information, visit woodlawnconservancy.org. New England Conservatory’s 2016 Honorary Degree recipients were

s c o t f r i e d l a n in attendance at last month’s commencement ceremonies. Relevant a r b e 2 0 1 6 winners are and Bernie Worrell. For more information, o b y visit necmusic.edu.

p h o t © E n i d F The winners of the 2016 Jazz Journalists Association Jazz Awards Mike Baggetta @ Drom Joe Lovano & Ravi Coltrane @ The Appel Room will be announced at a ceremony Jun. 15th at the Blue Note jazz club. Our humble gazette was nominated for Jazz Periodical of the Year for the ninth time. For the complete list of nominees, visit jjajazzawards.org. Although he now makes his home in New York (after One of the leading instrumental voices to emerge out Hurricane Katrina destroyed his house), blind pianist of Cuba to enrich the New York jazz scene, alto Bob Koester, founder of and owner of the Jazz Henry Butler hasn’t lost his Crescent City accent, saxophonist Yosvany Terry continues to push forward Record Mart, which closed last year, has opened a new shop at the Delmark Records studio, 4121 N. Rockwell Street in Chicago. which was readily audible to Dizzy’s Club patrons the Latin Jazz idiom with an innovative merging of the (May 2nd). After a live radio interview with WBGO’s musical traditions of his native and adopted Jazz at Madison Square Garden? This unlikely scenario will come to Rhonda Hamilton, he began the early set with 1927’s homelands. Leading his AfroCuban Sextet at Symphony pass this summer in two fascinating instances: Locksmith Isadore, the trio led by Chicagoan bass clarinetist Jason Stein, will open up for “Ain’t She Sweet”, his left leg stomping time, his big Space Leonard Nimoy Thalia (May 5th) Terry proved comedienne (and Stein’s cousin) Amy Schumer on Jun. 23rd and post- hands rolling chords to a propulsive stride bass while himself to be not only a commanding saxophonist, but modernist piano trio Dawn of Midi will be the opening act for Radiohead the Fifth Avenue skyline, visible through the club’s also an inventive composer. Opener “Looking In Jul. 26th-27th. panoramic picture windows, rose over Central Park’s Retrospective” was an episodic adventure of intricate Another brick-and-mortar victim to changes in music consumption is trees in the late-late afternoon. “September Song” was construction, the leader exchanging serpentine melodic West Village fixture Other Music, which closes Jun. 25th. delivered in a similarly -drenched dialect, lines with trumpeter Michael Rodriguez and pianist followed by “Samba C”, which featured lightning-fast Osmany Paredes over the ever-shifting rhythms of Winners of the 21st Annual Essentially Ellington High School Jazz Band Competition have been announced. went to New flourishes over a relaxed but propulsive montuno, the Yunior Terry’s bass and Ludwig Afonso’s drums in a World School Of The Arts (Miami, FL), second to Triangle Youth Jazz two hands in a seemingly equal partnership. After heady mix that moved from cacophonous M-Base Ensemble (Raleigh, NC) and third to Tucson Jazz Ensemble, (Tucson, “The ”, from a suite by Alvin Batiste, Butler gave complexity to grooving Messenger-ish swing. Cuban AZ). For the complete list of winners, visit academy.jazz.org/ee. The Beatles’ “Eleanor Rigby” a complete facelift, the hand drummer Mauricio Herrera joined the ensemble Former New York Yankee and four-time World Series Champion new rhythms and harmonies giving a fresh look to an for “Nuevo Jazz Latino”, opening the Terry anthem Bernie Williams received his Bachelor of Music as part of the 2016 old familiar friend. The next three numbers, “L’Esprit with an extended bata drum outing ushering in the graduating class of Manhattan School of Music. de James”, “Booker Time” and “Mardi Gras in New horns’ blaring fanfare over driving piano montuno, Newport Jazz Festival founder George Wein received an honorary Orleans”, homages to James Booker and Professor setting up bass, and alto solos that climaxed in doctorate from Providence College last month in a ceremony taking Longhair, respectively, all evoked the zesty flavors of an exciting Afonso-Herrera duet. Yunior Terry’s taut place a few dozen miles from the site of his annual festival. jazz’ ‘hometown’, a spicy roux of gospel, blues, rumba bass introduced Rodriguez’ Eastern-tinged “Mikey’s has been named Composer-in-Residence of the New and boogie, played in that laid-back Southern rhythmic Tune” and was featured on his own melancholic York Chamber Music Festival, coinciding with the 50th anniversary of style that gives a groove its deepest . As the magic “Winds of Sorrow”. Two rhythmically driving pieces Leonard Bernstein selecting Amram as the first ever Composer-in- hour advanced into darkness, the Fifth Avenue by the leader ended the set: “Contrapuntistico”, Residence of the New York Philharmonic. For more information, visit apartment lights winking on behind him, Butler ended a showcase for his masterful chekeré playing, and newyorkchambermusicfestival.org. his extended soliloquy with two free-form blues sung “Noticero”, a propulsive AfroCuban free-for-all with a Submit news to [email protected] in a harsh but redolent tenor. (TG) vocal coro. (RM)

THE NEW YORK CITY JAZZ RECORD | JUNE 2016 5 INTERVIEW

RA: This is the only track that actually carries a true story with it. I was waiting for my luggage and the airline was taking much too long to deliver. 30 minutes later every bag came out drenched in melted butter. An Indian woman had checked a suitcase full of “holy” butter and because it was summer, it melted. My REZ apartment smelled like buttered popcorn for a week. The tune itself was written during a time when I was

t i s performing with a Bharatanatyam [South Indian]

a r dance troupe. The melody reflects the dancers’ rhythmic bounce but the grease comes from the butter!

o f t h e TNYCJR: What do you practice now? t e s y ABBASI (CONTINUED ON PAGE 50) o c u r

p h o t by ken micallef Guitarist Rez Abbasi is one of jazz’ more restless spirits. metal, electronica, pop, Carnatic and Hindustani His tenth and previous album, Intents & Purposes, tackled classical, to name a few. ‘70s-era classics of the fusion genre. In Abbasi’s skilled hands, however, this was no nostalgia trip into odd-metered TNYCJR: You have exceptional players on the new fuzak, rather a complete reimagining of the works of Corea, record: saxophonist Mark Shim, keyboardist Ben McLaughlin, Zawinul and Shorter through an all-acoustic Stivers and drummer Kenny Grohowski. vision, which recontextualized the music’s sometimes bombastic textures with a supple, singular approach, RA: I consider Mark to be one of the more cutting-edge creating new wine from old wine skins, as it were. With his yet highly grounded soloists on any instrument today. latest release, Rez Abbasi & Junction’s Behind the It’s the balance of emotions he has that’s captivating— Vibration (Cuneiform), he continues a path of growth that angular and in your face but very approachable for began on 1995’s Third Ear (Ozone), staked a serious claim various types of listeners. I discovered Kenny recently on his landmark 2009 recording Things to Come through hearing Andy Milne’s band and liked him (Sunnyside) and now culminates (for the moment) with the immediately. He’s versatile with a downtown paradigm new album. Abbasi’s journey is the journey of jazz itself—a and a fat groove to boot—very cool. Ben first played perpetual merging of influences, sounds and styles in with me as a sub for Gary Versace in my organ quartet. service to the artist’s broader vision of the world around That music was all mixed-meter using independence him. Rez Abbasi’s world is rich, indeed. with both hands and Ben nailed it. Because he’s also worked with people like Barry Gibbs, Matchbox 20 and The New York City Jazz Record: With your two prior Chris Botti, he understands newer keyboard recordings and the new one, you seem to have really technology. found your thing. TNYCJR: Why is the band called Junction? Rez Abbasi: I don’t agree. What I look for in any worthy music is character and that’s been a big RA: It’s where everything meets and is joined—all my ingredient in all my . Has my playing improved influences are successfully captured in this statement over the years? I would hope so. Also, ‘finding’ one’s and presented as one. thing implies that he or she was lost at a point. I view it more as growth. What I did 20 years ago was the TNYCJR: This album is very open ended same as what I do now—play who I am. I wasn’t improvisationally. How do you compose to free your searching for my thing any more then than today. improvisers? I wasn’t searching at all because I am always in my own skin, whether past, present or future. People view RA: The source for improvisation is always inherent in growth as change but that’s more perceived than real. any written music. The source for written music is My music doesn’t change; it grows and in that sense, always inherent in improvisation. So the key is to get I have shifting preferences rather than a directive to an the two elements to work in conjunction and if you’re end result. successful, the music takes on a flow of its own. The players benefit from strong composition because they TNYCJR: Your last record revisited ‘70s fusion have a character to build from. If you play on someone’s acoustically. This record sounds nothing like your last original tune the same as you would when freely record and not only because it’s electric. What was the improvising or playing on your favorite standard, source and direction of the new record? What inspired you’re not doing justice to the composer. The truly the tunes and trajectory? great musicians are composers and improvisers who are able to orbit around both simultaneously. RA: Firstly, I like to live my musical life from a call- and-response framework. Intents & Purposes was an TNYCJR: How do you write new material? Pen and album of all acoustic covers with my band RAAQ. paper? Sibelius? Behind the Vibration on the other hand is fully original and uses a lot of electric instruments to find new RA: All the above. Sometimes I play an idea on the territories within the compositions. Some of the tunes guitar and then input it into Finale. From there it were already written prior to the acoustic album for an becomes technically easier to manipulate. I can let my organ trio but as I researched a lot of ‘70s jazz-rock for imagination do the work rather than be burdened by the acoustic project, I came away with a desire to turn the limitations of the guitar. But sometimes creativity up the heat. Junction was formed with that in mind but comes from limitation and so I sometimes stay with the the caveat was that it had to sound unique to today— guitar until the end of a piece. everything from the technology, the compositions and the players. Each of us has lived inside and outside of TNYCJR: “Holy Butter”! The first track says it all. the jazz universe so what we bring collectively is pretty Catchy melody, blazing solos, lots of space. What is unprecedented—current experiences from heavy this song based on, if anything in particular?

6 JUNE 2016 | THE NEW YORK CITY JAZZ RECORD ARTIST FEATURE

For more information, visit mikereed-music.com. Reed is at Judson Memorial Church Jun. 12th as part of Vision Festival. See Calendar.

Recommended Listening: • Mike Reed—In The Context Of (482 Music, 2004) • Mike Reed’s Loose Assembly—Last Year’s Ghost MIKE (482 Music, 2005) • Mike Reed’s People, Places & Things—

t i s Stories and Negotiations (482 Music, 2008) a r • Sunrooms—Spacer (Delmark, 2011) • Roscoe Mitchell/Mike Reed—In Pursuit of Magic (482 Music, 2013) o f t h e • Mike Reed’s People, Places & Things— t e s y REED A New Kind of Dance (482 Music, 2014) o c u r

p h o t by ken waxman Chicago drummer Mike Reed, 42, is a realist—and a month’s Vision Festival. Reed has long been drawn to visionary. More than a dozen years ago he experienced lyrics, so an association with spoken-word artists isn’t his own epiphany about the (jazz) music business and a stretch. Growing up in Evanston, a Chicago suburb, his place in it while working part-time as a bartender. he was first interested in blues and classic soul music “I was thinking about my future and how I didn’t want and later rock and rap before getting into jazz. billy lester to still be a bartender when I was 39…or 49,” he recalls. Admitting that his parents weren’t very supportive Solo piano concert Reed, who had been involved with different bands in of having a jazz drummer in the house, playing music at Chicago’s music ferment since his mid ‘90s return after was more or less put on hold until he entered the the Drawing room, completing a degree in English and Psychology at the University of Dayton. Deciding that he wanted to play 56 Willoughby St. #3, University of Dayton Ohio, was already co-curating a again he began spending his time with friends in the nY 11201. Saturday, June 11th series of Sunday sessions at the Hungry Brain club school’s jazz program. At that point the department 7pM. $25 admission with cornet player Josh Berman. Earlier, while working was so small he was allowed to participate as much as [email protected] for a marketing agency, he had helped organize city he wanted. new music. concerts encouraging people to vote in the presidential On school breaks, he was able to attend shows by billylestermusic.com election. Promotion seemed to be the appropriate local Chicago legends from swing drummer Barrett youtube.com/user/ career choice and within a year, he had partnered with Deems to bop saxophonist Von Freeman. Reed’s desire billylestermusic Pitchfork, a Chicago-based online music magazine, to was to be and move to New York but a create the annual summer Pitchfork Music Festival. fellow university convinced him that the Related to his booking expertise, but more sui Windy City would be a better choice. Reed soon started generis to the jazz community was another series of playing as much as he could, attending sessions led by incidents that happened about five years ago. Reed, Freeman at The Apartment Lounge or by tenor looking for investment property, found out that the saxophonist at The Velvet Lounge. owners of the Viaduct Theater in Chicago’s northwest “That was a pivotal moment in Chicago,” Reed wanted to sell. Almost simultaneously an e-mail remembers. “There was the emergence of underground arrived from Links Hall, the venerable arts organization groups such as Tortoise, the various configurations of offering space to performing artists for the research, and the Chicago Underground and development and presentation of new works. Rising the reemergence of Fred Anderson. It opened the door rents meant Links needed a new location and it was to a completely creative scene that if you felt you had willing to sign a multi-year lease to obtain it. With enough talent you could pull it off.” Links as a committed tenant, Reed could afford to Around the same time Reed developed as a purchase and renovate the theater. Since the space had composer. “It didn’t seem to be odd to write your own already been zoned to include a bar and Links’ need tunes,” he notes. He had begun composing in college was during the day, why not create a club there as after he realized that rather than transcribing and well? Before getting fully involved he wrote three long arranging tunes he liked, he could create his own in a memos listing the pros and cons and showed them to similar style. That skill was put to good use as he friends involved in business. Most thought it a viable formed bands such as People, Places & Things and proposition. He received a small business grant to help Loose Assembly, most of which feature the same with the conversion and within three years musicians involved in Flesh & Blood. “Around 1999 Constellation has become one of the prime venues for I got involved with thinking ‘what is jazz’, began progressive music in the city and pays for itself. appreciating different sounds and concentrating on “Business is actually organizing a system and working original music,” he says. Reed, who had been working out logical plans and processing,” explains Reed. and recording with musicians associated with the Besides Pitchfork and Constellation commitments, AACM such as saxophonists Roscoe Mitchell and Ed Reed is also part of the programming committee of Wilkerson, cellist and flutist Nicole Chicago’s city jazz festival and was Vice-Chairperson of Mitchell, was asked to join the association in 2004. the Association for the Advancement of Creative Besides putting his organizational skills to work, he Musicians (AACM) from 2009-11. Last year Reed and a explains that his musical work with all AACM members partner bought Hungry Brain, which has a similar is on an equal footing, with them playing his booking policy as Constellation. Citing his commitment compositions as well as him playing theirs. to local music, Reed was recently named one of the city’s Reed, who devoted Proliferation, a CD with People, most influential people by Chicago Magazine. Places & Things, to Chicago hardbop classics plus CDs This business acumen shouldn’t distract from the with Loose Assembly, The Speed of Change and fact that Reed is very much an active recording and Artifacts, a trio with Mitchell and Reid, to versions of touring musician, part of many bands, the newest of AACM classics, feels there’s a lot more jazz created which, Flesh & Bone with long-time associates alto and played in Chicago that can be exposed nationally saxophonist Greg Ward, tenor saxophonist Tim and internationally. His work in the studio, at his Haldeman, bass clarinetist Jason Stein as well as new clubs, at concerts and with the local jazz festival is recruits Ben Lamar Gay (cornet) and Kevin Coval and designed to help promote the city’s creative music Marvin Tate (spoken word), will perform at this scene any way he can. v

THE NEW YORK CITY JAZZ RECORD | JUNE 2016 7 ON THE COVER

lester bowie

brass memories a l n h i g by kurt gottschalk

Chicago doesn’t have a history of being good to local band played in America. Ironically, according to live in Switzerland and easily the best they put out. heroes, but it does love a homecoming. While the city’s Chancey, Bowie’s populist tendencies made the band a Touching on , Jimmie Lunceford, Rahsaan Association for the Advancement of Creative Musicians hard sell stateside. “It’s a band that didn’t play a lot in Roland Kirk, and , the (AACM) has held strong in town for five decades and the States because a lot of club owners and festival album shows how the Brass Fantasy may have counting, it’s only when members leave and return promoters had the Art Ensemble in mind as to what exemplified Bowie’s notion of “Great Black Music— again that they get the star treatment. Such was the Lester would do,” Chancey remembered. “But from Ancient Into the Future” even better than the AEC, case last summer, when AACM co-founder Muhal the moment he formed the band he said, ‘This is going who routinely invoked Bowie’s credo. Richard Abrams reunited his Experimental Big Band to be a show band.’ He wanted it to be in that kind of Stewart acknowledged that there was something for the Chicago Jazz Festival or in 1995 when association vein. We even had our costumes—that the musicians about the band that only happened onstage.”Some of member brought an expanded weren’t so excited to wear.” Brass Fantasy’s best recorded work was done live,” he version of his Very Very Circus to the lakefront stage. Chancey is one of the Brass Fantasy alumni said. “Certain things aren’t necessarily going to happen And such was also the case in 1992, when Lester Bowie returning for the reunion. Bonilla, Lacy and Earl in the studio that happen live. There were no two appeared at the annual free festival with his aptly McIntyre will be on hand, along with Steve Turre, performances that were alike. There were times that named Brass Fantasy. noted for playing seashells along with his . the horns would just levitate.” Bowie was among the first AACM members to Trumpeter will also return and holding Beyond Bowie’s leadership and charm, of course, break out of Chicago’s city limits. His international down the bottom will be a trio of players—Marcus was his musicianship. Dave Douglas, the president fame began with the (AEC), Rojas, David Scheiman and —all of whom and co-founder of the Festival of New Trumpet Music who set up residency in in the late ‘60s and went played in Bowie’s original lineup. The evening will and a prolific artist in his own right, said he was slow on to become about as big a name as an avant garde include a number of guests, including trumpeter to come around to Bowie’s unusual playing and choice jazz band can hope to be. Steven Bernstein, vocalist Renee Manning and students in material, but once he did he learned a lot. The bespectacled trumpeter, in lab coat and pointed from the jazz big band Stewart directs at The Juilliard “I listened to Lester Bowie in high school but the beard, charmed the AEC’s audiences. Drawing on his School. His son Curtis Stewart, who plays violin in the people I was really chasing in terms of style and sound background with R&B acts , PUBLIQuartet, will also join in. Bringing in younger were Miles Davis and ,” Douglas said. and Jackie Wilson, Bowie was never too proud to please players is an effort to keep the band “fresh, both “The impact of what Lester was doing only came to me the crowd. In the midst of percussion jams or free conceptually and musically,” he said. later in my career. The thing that struck me when blowouts, Bowie could blow a few swinging notes and Letting new voices find a place in the band is in I went back to listen was how his use of extended the band would stop on the dime he dropped. If they keeping with Bowie’s style of leadership, according to technique was all at the service of melody and how were there to inject tribal rhythm into jazz Stewart, who is serving as band director for the reunion much he was able to draw from different styles and be experimentalism, Bowie was going to make sure show. “He was a bandleader in the tradition of Duke free to explore different styles of music.” Broadway and weren’t left out of the mix. Ellington,” Stewart said. “Lester hired you because he Bowie was “really brave” to “enter the realm of That hot September night in 1992 was an unusually trusted you and he let you go ahead and play. humor in music,” Douglas said. The costumes and pop strong one for the historically hit-and-miss festival. “Just about everyone who came through the Brass covers all put him at risk of not being taken seriously The Brass Fantasy took the stage to close the night: Fantasy has gone on to have their own ensemble,” he by audiences. But then this was a man who, in 1989, trumpeters Earl Gardner, Eddie E.J. Allen and Gerald added. “It’s one of the first things that Lester gave a Brass Fantasy album the title Serious Fun. With Brazel; trombonists and ; encouraged. I remember at one point he said to me, covers of songs by , Bobby McFerrin and on and Bob Stewart on ‘Don’t just do this and let it be over. Do this and make Sade alongside the more expected jazz tunes, the tuba; and percussionists Vinnie Johnson and Famoudou it mean something. Your own group has to be smoking album epitomized Bowie’s belief that music doesn’t , all decked out in blue sequin jackets that or you’ll just be the tuba player in Brass Fantasy.’ It really live in the boxes people put it in—at least not if hung well past their hips. After a star-denoting pause, was liberating for me.” it’s played with purpose. the leader strutted out, his jacket sparkling in silver. Perhaps a product of Bowie’s concept for the “At the root of it, Lester was a great melody They swung hard like only a brass band can. They band—which, in short, may be described as giving player,” Douglas said. “When he played a melody, like played jazz standards and popular songs of the day, as everyone room to play and making sure you give the you can hear him play a song and a good entertainment review is wont to do. Near the audience a show—is the fact that the Brass Fantasy it’s the most beautiful song you’ve ever heard. The end of the set, they played a haunting rendition of was very much a live band. Whether it be in front of idea of freedom that I took away from him was the “God Bless the Child” during which Bowie staggered thousands at the Chicago Jazz Festival, any number of freedom to move in and out of different styles and do backwards, reached into his jacket, pulled out a pistol festivals across Europe, the cozy confines of Sweet whatever you want at any given moment,” he added. and fired into the air. They left the audience stunned Basil or augmented into a big band with rappers, “The freedom of Lester gave permission to all of us.” v and screaming when they left the stage and when they playing the Celebrate Brooklyn festival in Prospect returned for an encore, the band was bedecked in silver Park as the Hip-Hop Feel-Harmonic, the band fed off A tribute to Bowie led by Bob Stewart is at Tribeca Performing and Bowie all a-glitter in gold. The band was there to the energy of the audience. “It was a live band but Arts Center Jun. 4th as part of Lost Jazz Shrines. See Calendar. put on a show and that’s just what they did. Lester had a way of making everybody feel comfortable, Years later, the band (without Bowie, who died at even in the studio,” Chancey conceded when asked Recommended Listening: his home in Brooklyn in 1999 at the age of 58) is coming about the difference an audience made. • Roscoe Mitchell—Sound (Delmark, 1966) together again to play again. At the Tribeca Performing An unfortunate byproduct of the band having • Lester Bowie—Numbers 1 & 2 (Nessa, 1967) Arts Center, Brass Fantasy will take the stage once been a living, breathing, organism may be that of the • AEC— (Atlantic, 1973) again as a part of the Lost Jazz Shrine series. While ten albums they released (including one posthumously), • David Murray—Live at the Lower Manhattan Ocean memories of the charismatic trumpeter will no doubt only two really show them in top form. The 1990 Club, Volumes 1 & 2 (, 1977) be thick in the air, the evening will actually celebrate double-disc Live at the 6th Tokyo Music Joy ‘90 catches • Lester Bowie’s Brass Fantasy— the West Village club Sweet Basil, which enjoyed a run the band on their own and as a double band with the I Only Have Eyes For You (ECM, 1985) just down the street from the Village Vanguard from AEC (who also play their own set). It’s a good record • Lester Bowie’s Brass Fantasy—The Fire This Time 1974-2001. It was one of the relatively few clubs the but even better is 1992’s The Fire This Time, recorded (In + Out, 1992)

8 JUNE 2016 | THE NEW YORK CITY JAZZ RECORD JAZZ FESTIVAL JUNE 1 - 30, 2016 • NEW YORK WWW.BLUENOTEJAZZFESTIVAL.COM - SAT, JUNE 25 • THE TOWN HALL KAMASI WASHINGTON • ROBERT GLASPER BLUENOTEJAZZFEST.COM MCCOY TYNER • • CHRISTIAN MCBRIDE • JOSHUA REDMAN SCOFIELD/MEHLDAU/GIULIANA ARTURO SANDOVAL • AVISHAI COHEN REBIRTH BRASS BAND • GILBERTO SANTA ROSA JASON MORAN • AFRO CUBAN ALL STARS TERRACE MARTIN • TAYLOR MCFERRIN • ROSA PASSOS SANGAM: CHARLES LLOYD, ZAKIR HUSSAIN, ERIC HARLAND AVERAGE WHITE BAND • BOBBY CALDWELL MICHAEL FRANKS • SONIA SANCHEZ • CORY HENRY HYPNOTIC BRASS BAND • GARY BARTZ • NIGEL HALL & MANY MORE!

® ® ENCORE

frequent drummer issue of having to struggle for full reveals something not quite as radical. His chops and acceptance by other musicians—or his own sense of sense of swing indicate a connection to , BOBBY PREVITE self. “I had to prove to myself that I could write beyond and Cozy Cole. For all of his Lower East a standard jazz lineup, so Claude’s Late Morning Side street cred, Previte harkens back to those [Gramavision, 1988] featured a very disparate lineup drummers of the Swing Era, right down to his t e P r v i by john pietaro

K a and the parts were fully orchestrated. We recorded it preference for white marine pearl finishes on his four- Drummer Bobby Previte is preoccupied, “stuck in the all live after just a few days rehearsal. This was such an piece kits. “I don’t have that kind of self-reflection and composing shed”, working intensely on several new important album to me,” he recalls with pride. I try to never look at videos of my own performances,” pieces while also planning a tour. To complicate life Not long after achieving global success as a leader, he added, “but I’ve been told about the Gene Krupa just a bit more there’s a special project, the performance he was called on by the Moscow Circus to compose a connection before. I don’t know but I do love that old- of a “goth metal mass” he’s been consumed with for score, one that strained traditional Russian brass style swing, R & B and rock. That’s where I come from.” the better part of a decade. “It might be more accurate sounds through very NYC-based improv. The powerful When asked to look back on the Downtown new to call this composing hell,” he exclaimed, music he composed is only half of the story as Previte’s music scene that launched his notoriety, Previte stated: contemplating the need to get away from the time in Moscow was concurrent with the tumultuous “I was extremely lucky. I landed here in NYC in 1979, manuscripts and back on stage. political change that felled the . “I had to the last possible moment to get into the scene. So much Though he’s into some pretty heady work, this ask my interpreter, as we looked out of the hotel was going on, there were so many places to play then, month Previte can be also found behind the drumkit in window, if it was normal for tanks to flank the so many friends to make—but all things must pass. more than one setting—and more than one city. “My Kremlin!” A few of the musicians from then carry the torch, but quartet with guitarist Mike Gamble, bassist Kurt Since that time, Previte the composer is as welcome young people today will find their own way, their own Kotheimer and saxophonist Michael Kammers will be to new music settings as Previte the drummer and ‘Downtown’, metaphorically and physically. They’re playing the Red Hook Jazz Festival and also Club sometimes it’s hard to differentiate the two. “Terminals” following their generation’s path. With gentrification [in Hudson, NY]. I’ve been splitting my time (Canteloupe Music), composed in 2015, unites the and artists being priced out this may not be the New between NYC and Hudson, so it’s been great becoming celebrated percussion ensemble Sō Percussion with York I knew and that’s sad, but musicians will always a part of the scene in the Hudson Valley,” he stated. several noted improvisers in as many concertos: Zeena find each other. Something will be happening in Previte built a studio in his upstate house and has Parkins, Greg Osby, Nels Cline and ; basements and garages. Something will always happen already made good use of it. “And the New Standards Previte himself is the featured soloist on another. These to change everything.” v Trio I have with and will days, he’s deep into writing the followup to this: “It’s a record its second album up there in June as well. It will commission from the Greenfield Foundation, wherein For more information, visit bobbyprevite.com. Previte is at be very bluesy, simple. A radical departure from the the singular improvisers will function as an ensemble. Cornelia Street Café Jun. 5th with Jane Ira Bloom and Urban usually associated with—that was the I added vocalist Jen Shyu to make it a sextet.” Meadow Jun. 19th as a leader as part of Red Hook Jazz whole idea.” And what of his goth metal mass? “It’s a nine- Festival. See Calendar. The drummer’s fame was built on his recording movement work comprising an early music ensemble and performing with top-tier experimentalists like with an organist, plus an electric quartet of heavy Recommended Listening: , , , Wayne Horvitz, metal guitar and bass with my drumset. The early • Bobby Previte—Pushing the Envelope , Anthony Coleman, , Sonny music is based on ‘Missa Sancti Jacobi’ by 15th century (Gramavision, 1987) Sharrock, , Jerome Harris, , composer Guillaume DuFay. I’ve arranged it and • Bobby Previte—Weather Clear, Track Fast (Enja, 1991) Christian Marclay, punk auteur Lenny Kaye and a wide written the crush metal in Messiaen-inspired graphic • John Zorn/Bobby Previte—Euclid’s Nightmare array of others. The magic is that, in addition to this notation,” he explained excitedly. “I’ve been fascinated (Tzadik, 1997) encyclopedic list of collaborators, Previte stands out as by DuFay’s music since college and began to conceive • Bobby Previte—The 23 Constellations of Joan Miró a composer whose leader discography dates back of this project a decade ago. Last year I began the real (Tzadik, 2001) almost as far as his career as an instrumentalist. From work on it. I’m pleased that RareNoise will release this • Bobby Previte & BUMP—Counterclockwise the start, his desire for change has been prevalent. in 2017.” (Palmetto, 2002) While his abilities behind the kit brought him first-call With all of the far-edge music Previte has driven • Groundtruther ( and Bobby Previte)— status early on, Previte didn’t exactly escape the for decades, a close look at his technique as a drummer Longitude (with DJ Logic) (Thirsty Ear, 2004) LEST WE FORGET

and , which boosted his career with its made for the label, two of which were nominated for brilliant blend of big band jazz and Cuban music. Grammys. He also was featured in Calle 54, the first CHICO O’FARRILL Producer was impressed and signed full-length film dedicated to Latin jazz. In addition to him to record a series of albums for his Clef and being commissioned to write for Jazz at , by ken dryden Norgran labels over the next several years. he had a regular booking at Birdland during his final O’Farrill returned to Cuba in 1955 then relocated years with his son, brilliant pianist/composer Arturo, Chico O’Farrill, born Arturo O’Farrill, was one of the to Mexico two years later, where he worked in both as a part of his orchestra (Arturo now leads the band main contributors to the development of Afro-Cuban jazz studios and television. In 1965, O’Farrill returned to Sundays at Birdland). In a 2015 interview for this in the late ‘40s and early ‘50s. Born in Cuba on Oct. 28th, New York City where he served as the arranger and paper, Arturo said: “My father was a forward-looking 1921 to an Irish father and German mother, he came to music director for the television series Festival of Lively musician. He wasn’t content to sit on what made his the U.S. to attend military school in Georgia between Arts. He continued to write arrangements for various bread and butter. He wasn’t content to write mambos 1936-40, where he learned trumpet and became a fan of leaders, including (the hip but overlooked for Count Basie records... My father was a searcher, he big bands. After returning to Cuba, O’Farrill pursued Basie Meets Bond), (Spanish Rice), was a wanderer, he spoke the truth. He sought art over classical studies and composition, in addition to playing (), and , but he commerce and that’s the legacy that I want to continue.” in Havana clubs and leading his own big band. was frustrated with being restricted to AfroCuban jazz Chico O’Farrill died Jun. 27, 2001 in New York City. v Initially, O’Farrill considered a lot of Cuban music as he had wider interests. Aside from a 1975 reunion to be somewhat simplistic. He found that integrating session with Dizzy Gillespie and Machito, AfroCuban Recommended Listening: its infectious rhythms with bebop’s intricate harmonies Jazz Moods (Pablo), his focus was almost exclusively • Machito—Afro-Cuban Jazz Suite: The Music of produced compelling results. Following his move to outside of jazz, O’Farrill opting to write for symphony Chico O’Farrill (Clef-Verve, 1950) New York in 1948, he ghost-wrote charts for the busy orchestras, television, commercials and only the • Dizzy Gillespie and his Orchestra—Afro [Manteca] arranger Gil Fuller and was recommended by clarinetist occasional jazz chart for the Mingus Big Band, Mario (Verve, 1954) Stan Hasselgard to for the clarinet’s Bauza, Willie Bobo and others. • Art Farmer and his Orchestra—The Aztec Suite brief venture into bop. Goodman dubbed O’Farrill For nearly three decades O’Farrill made no new (United Artists, 1959) “Chico” and O’Farrill contributed the memorable jazz recordings under his own name and his jazz • Count Basie and His Orchestra—Basie’s Beatle Bag original “Undercurrent Blues”. The Cuban also wrote exposure remained limited until he was signed by (Verve, 1966) for (“Cuban Episode”), Dizzy Gillespie Milestone in 1995. The magic in his writing was still • Chico O’Farrill & New York Latin All-Stars— (“Manteca Suite”) and many others. It was “AfroCuban present and he assembled a top-notch AfroCuban Latin Roots (Philips, 1976) Jazz Suite”, written for a 1950 session by fellow Cuban orchestra. O’Farrill’s sophisticated, often fiery charts • Chico O’Farrill and His Afro-Cuban Jazz Orchestra— Machito and that featured Charlie Parker, Flip Phillips brought him critical acclaim for the three CDs that he Pure Emotion (Milestone, 1995)

10 JUNE 2016 | THE NEW YORK CITY JAZZ SPOTLIGHT

space soon attracted international guests like concerts a year at least,” he states. “But that’s nothing saxophonist Marshall Allen and trumpeter Jean-Luc in comparison with the early years. Today I almost do EL NEGOCITO Cappozzo. With Rogé friendly with musicians from two full-time jobs, with maybe a bit more time put into nearby Holland, the café also became a regular part of music.” by ken waxman their touring circuit. “It was music that had to be Meanwhile EN has become a full-fledged label. heard,” Rogé insists. “To decide what the label puts out there are two Two words that sum up the appeal of the Ghent, Eventually, hearing it involved starting the record thought patterns,” elaborates Rogé. “One, the musician Belgium-based label El Negocito (EN) are organic and label in 2009. With Barcella and Van Herzeele playing closely involved get full artistic freedom. We make a street-wise. “Our label is run from a collective of the café weekly, Monday Nights Live at El Negocito strategy together and decide what path is the most musicians by somebody that isn’t a musician,” explains became EN 001. Other discs followed quickly. effective or efficient for the project. Two, other music is Rogé Verstraete, describing himself as EN’s “instigator” “We used to perform a lot in the El Negocito bar and heard by what I call the circle of ‘wise men’, who tell and who prefers to be known by his first name. The later in the bar La Resistenza,” remembers Maris, who me what they think. Because I’m funding the operation, label’s street-wise reputation comes from mostly is featured on five EN releases. “So when Rogé started I make the end decision taking in cost, artistic validity, documenting the work of a couple of generations of to focus on records, we were first in line to come up exposure, relevance for the label, etc. I look at an idea local musicians in Belgium’s third largest city. The with material. Rogé would hear the music being played and try to make it happen with a lot of patience as my label is organic as well as one part of Rogé’s activities live in the bar and judge on that to give it ‘a go’ for partner.” alongside concert and festival promotion. recording. He even invested in high-end equipment for Pianist Seppe Gebruers, who has been featured on The label started and grew organically as well. our recording sessions. He’s the one dealing with three EN discs and with three in the works, had self- A little more than a decade ago Rogé, who had spent a money, so he finds the budgets needed for the released his first CD with the Ifa y Xango band and year traveling around South America, decided to open production and releases it, a miracle these days of helped form Troika, a musicians’ collective, when he a Chilean restaurant called El Negocito, which in restrictions in many cultural domains.” moved from Antwerp to Ghent. “I met Rogé, played in Spanish means, “little corner store with the “It didn’t feel like a label in the beginning but his clubs and got closer to him after I moved. He understanding that some negotiation is possible,” more as an appreciation for music by interesting became interested in the piano duo with Erik Vermeulen explains Rogé. Soon he “decided to put a touch of musicians,” confirms Rogé. Sessions moved to and opened the door for me to be part of the label. I can myself into it.” That touch involved live concerts, La Resistenza, a larger club, for another three years bring out upcoming projects on EN and, more which quickly multiplied from a few every month to until the landlord sold the building. Live at La Resistenza importantly, we talk about the label, concerts and around 150 a year. “El Negocito became a place where by saxophonist John Dikeman, bassist William Parker strategy for our collective to make music as accessible improvisation and jazz was heard daily even though it and drummer is a souvenir of the final as possible. Rogé is sufficiently realistic to see that a was pretty much a Latino bar where quite a few concert. Nowadays Rogé, as Citadelic, hosts monthly CD label is not financially very viable. He’s just looking regulars had to endure the sometimes experimental concerts at contemporary art museum S.M.A.K. and for ways to present this music, based on improvisation, music,” he recalls. organizes a summer festival in the city’s Citadel Park. to the largest possible audience.” Rogé first gave carte blanche to local musicians By now the café is on a firm financial footing, with That means outsiders are recording for EN. “All like trumpeter Bart Maris, drummer Giovanni Barcella Rogé mostly overseeing such tasks as preparation, circumstances are possible,” Rogé relates. “We invited and tenor saxophonist Jeroen Van Herzeele, but the bookkeeping and promotion. “The café has maybe 10 (CONTINUED ON PAGE 50)

twice left handed / shavings Bums Drop Your Plans Live at La Resistenza The First Sound Ifa Y Xango Tentet Feecho Bambi Pang Pang w/ Andrew Cyrille Dikeman Parker Drake Basssss VOXNEWS

Sullivan holds the groove tight to her chest, placing seeming to defy time itself. each note, each lyric, just so in pianist Keith Ingham’s Even while Murphy was scatting away in the JAZZ HARBINGERS arrangements. Her performances are an object lesson world’s top jazz clubs, singer Al Jarreau was the one in musical economy. Beyond some of the well-known who managed to revive some popular interest in scat by suzanne lorge tunes (“Stormy Weather” and “I’ve Got the World On a singing with his chart-topping hits, each a fusion of String”), the recording contains three never-before- R&B, jazz and pop. Jarreau has retained his popular Harbinger Records specializes in artists who interpret recorded, now-forgotten Arlen-Koehler compositions: audience and is a dependable headliner at jazz the , though typically “’Neath the Pale Cuban Moon” (1931), “In the Silence festivals. Eagle Rock has just released one of his Broadway stars rather than jazz stylists. The catalogue of the Night” (1932) and “Primitive Prima Donna” Montreux performances on CD, Live at Montreux 1993. stretches back to 1983, almost two decades after the (1934). These tunes don’t have the appeal of the pair’s This concert was the run-up to his 1994 album popular ear had turned away from vocal jazz. Even so, more celebrated pieces, but they give us a glimpse into Tenderness and contains much the same material (“Mas co-founders Ken Bloom and Bill Rudman saw an The Cotton Club’s stock-in-trade: savvy singers, hip Que Nada”, “Try A Little Tenderness”, “Your Song”) opportunity in ’s 1985 film The musicians and romanticized exoticism. mixed in with some perennial favorites (“We’re In This Cotton Club and set out to make an album with Maxine Harbinger has also just released an intriguing Love Together”, “Alonzo”). Local fans can catch him at Sullivan, one of the few remaining Cotton Club singers recording of singer Mark Murphy from 2008, Live in the Blue Note Jazz Fest at Town Hall (Jun. 25th). still actively performing at the time. (She was 73.) Athens, Greece. /producer Spiros Svetlana and The Delancey Five will also appear Maxine Sullivan: Great Songs from The Cotton Club, now Exaras had invited Murphy to perform in Athens for in the Blue Note Jazz Fest at Lucille’s at B.B. King’s stands as a historical record of one of the most influential three days, two shows a day. The indefatigable Murphy, (Jun. 24th). They’ll be working their swing with singers from the formative years of jazz history. who had just turned 76, charmed the Greek fans with trombonist Wycliffe Gordon in an “Ella & Louis” Harbinger, under the auspices of its parent, Ohio- intelligence, wit and sheer, churning force of his vocal tribute to the 60th anniversary of the eponymous Verve based The Musical Theater Project (TMTP), has ideas. In these performances Murphy sticks to recording featuring the Quartet. Most rereleased this Grammy-nominated album of 15 tunes standards (“My Funny Valentine”, “Summertime”, likely they’ll play some selections from their first by composer and lyricist Ted Koehler, “Autumn Leaves”), feeling his way through with long album together, Night at the Speakeasy (OA2)—modern, the preeminent writing duo during The Cotton Club’s stretches of melody sung acappella, calls and shouts, horn-resplendent interpretations of some highly heyday. The liner notes contain little information about vocal percussion and his inimitable scats. This CD— danceable swing tunes (Gershwins’ “Lady Be Good”) Sullivan’s contribution to the recording—or the club’s vocal improv at its purest—is a departure for Harbinger and deeply affecting pop tunes (The Beatles’ “Because” history, for that matter. But the vocals give us a better but a welcome one, so soon after Murphy’s passing. and The Beach Boys’ “God Only Knows”). One spin of understanding of the unerring, unadorned swing of It’s easy to imagine that we’re in Gazarte Club with this disc and you’ll understand why this group is the ‘30s than the printed word ever can. On each tune him, just a short walk from the Parthenon, both everywhere these days. v

THE NEW YORK CITY JAZZ RECORD | JUNE 2016 11 IN MEMORIAM

DENNIS DAVIS (Aug. 28th, 1951— Apr. 6th, 2016) The drummer was GATO BARBIERI known for his association with but had ‘70s jazz credits with by andrey henkin Roy Ayers, Ronnie Foster and George Benson. Davis died Apr. 6th at 64.

BILL HENDERSON (Mar. 19th, 1926— Apr. 3rd, 2016) The vocalist (also prolific actor) began his career in the OLDEST C ONTINUOUSLY R UNNING J AZZ C LUB late ‘50s on Blue Note backed by the b

u Trio and a star turn on l

IN THE C OUNTRY C Quintet’s recording e t

JUNE SCHEDULE o “Señor Blues”, made albums for MGM N (backed by the Oscar Peterson Trio) and Discovery, had e

EVERY THURSDAY JAZZ JAM – NO COVER u

l a brief spell with Count Basie and, many years later, B

6/3 – Skip & Dan Wilkins with Larry McKenna y was featured on Quartet West’s The Art s e

6/4 – Five Play t of the Song. Henderson died Apr. 3rd at 90. r u

6/5 – Bill Mays & Tommy Cecil o c

GÉTATCHÈW MÈKURYA (Mar. 14th, o

6/10 – Denny Carrig, Skip Wilkins & Friends t 1935—Apr. 4th, 2016) The saxophonist’s o

h recordings are hard-to-find releases

6/11 – Michael Stephans’ Quartette Oblique P 6/12 – Joanie Samra & Friends from his native Ethiopia in the ‘50s-70s Gato Barbieri, arguably the most famous jazz player but he came to international prominence 6/17 – Vicki Doney, Walt Bibinger, Zach Brock to come from Argentina and whose career as a via collaborations with ’s Either/ 6/18 – Bob Dorough Trio saxophonist went from avant garde excursions to more Orchestra in 2004 and Holland’s The Ex 6/19 – Michele Bautier culturally specific work, especially with his soundtrack in 2006-12. Mèkurya died Apr. 4th at 81. to Last Tango in Paris, for which he won a Grammy 6/24 – Marianne Solivan Quartet award, died Apr. 2nd at 83. (Jul. 18th, 1941—Apr. 6/25 – Sue Terry: Meeting of Muisical Minds, Barbieri was born Nov. 28th, 1932 (as Leandro) in 13th, 2016) The saxophonist led albums Rosario, Argentina. His love of jazz came early, as he for Mainstream in the ‘70s and then a featuring Rachel Z related to our own Brad Farberman in a 2012 interview: pair for Mons and Metropolitan in the 6/26 – Randy Napoleon “When I was 12 years old, I listened to my first record ‘90s and had sideman credits starting in 6/27 – Phil Woods’ COTA – Orchestra an 18 of Charlie Parker. For me, something opened. I was the mid ‘60s with Buddy Rich, Eddie piece jazz ensemble waiting for something and it came.” Several years Palmieri, , and later, Barbieri relocated to the Argentine capital of . Yellin died Apr. 13th at 74. JAZZ P ACKAGES A VAILABLE Buenos Aires where he became a soloist in the orchestra — includes music, lodging, , dinner breakfast of , a noted composer of music for film and television. Within a few years, the saxophonist Serving breakfast & lunch at The Morning Cure moved to Europe and, in Rome, met trumpeter Don on Fridays, Saturdays , and Sundays Cherry, who would strongly influence Barbieri’s career. “Working with was an incredible DEER H EAD I NN • 5 MAIN S TREET • DELAWARE W ATER experience...I already listened to the quartet with Don Cherry, , Charlie Haden and Ed GAP • PA • 18327 • 570-­‐424-­‐2000 Blackwell... Don Cherry—you never know what’s WWW.DEERHEADINN.COM happening. So I started to learn to listen.” In 1965-66, Barbieri appeared on Cherry’s and Symphony For Improvisers (Blue Note) and Togetherness (Durium) before making his debut as leader with In Search Of The Mystery (ESP-Disk’, 1967), recorded after Barbieri had moved to New York. In the late ‘60s-early ‘70s, he worked with the Jazz Composer’s Orchestra, , Alan Shorter, Charlie Haden’s Liberation Music Orchestra and Carla Bley on her three-LP Escalator Over The Hill. As the ‘70s progressed, Barbieri made albums for Flying Dutchman, Impulse and A&M, with more overt connection to the music of his homeland, smoothing out the rougher edges of his earlier sound. This was exemplified by the music he wrote for “LIVE AT D THE EER H EAD I NN” RECORDINGS Bernardo Bertolucci’s 1972 film Last Tango in Paris, starring Marlon Brando. As Barbieri told Farberman, “I was a friend of Bernardo Bertolucci. And he knew Phil Woods Quintet I made a lot of records...some records I do some tango. • Different tangos. And one day he called me and he • Five Play said, ‘It’s time to write a beautiful melody, because • Nancy Reed & John Coates, Jr. I want you to make the music for Last Tango in Paris.’... Guitar Trio: , Ed Laub, It was a really good experience. Bernardo told me, • ‘I don’t want a Hitchcock movie. I don’t like European Walt Bibinger music. I want in between.’ So what I did was that.” • Quartet: Joe Locke, Bill Goodwin, Jim Throughout his career, Barbieri’s lush tone and Ridl, Tony Marino epic playing was unmistakable, no matter the context. But the saxophonist was self-effacing when discussing • “Sweet” Sue Terry & Friends it, comparing it to something very important in his native country: “I don’t like to make big solos. I like to WWW.DEERHEADRECORDS.COM have, like, when you play soccer—you give the ball to another one, to make an assist. I played a lot of soccer when I was young.”

12 JUNE 2016 | THE NEW YORK CITY JAZZ RECORD FESTIVAL REPORT OPEN PLAN: CECIL KATOWICE JAZZART DOEK ABC by clifford allen by andrey henkin by ken waxman . j a z w o r d c m w K a ź m i e r c z k © R . I S u t h e r l a n d - C o / j z x p s i g R a d o s ł ( c ) S u s a n O ’ C o r w & Min Tanaka @ Whitney Museum AUKSO & Motion Trio @ NOSPR Axel Dörner @ Café de Ceuvel

There is the assumption that once an artist reaches the The Polish city of Katowice is a metropolis of With many parts of the Netherlands reclaimed from academy, the work is already beyond what institutions competing identities. Its resource-rich region of Upper the sea over the centuries, the Dutch have long been can properly codify and disseminate—if it isn’t already Silesia was a wartime prize passed between Prussia adroit at recycling and repurposing. So it’s no surprise over. The latest incarnation of the Whitney Museum, in and Austria in the 18th Century and then Germany that, except for the Bimhuis, with its magnificent the “Meatpacking District”, is a large and airy building and Poland during the World Wars. Incorporated as a waterfront view, most venues for this year’s Doek ABC jutting out in glassy overcrops that stretch over the mining town in 1865, Katowice is a relatively modern Improvisation Festival in Amsterdam (Apr. 29th-May Hudson River. In 2016, the Whitney began its Open city in a country with a complicated, centuries-long 4th) had been built as schools, warehouses and even a Plan series, which gives over the museum’s lengthy history; as such, its architecture is capped by the dungeon. These locations were particularly pertinent fifth floor to rotating installations cycling through a futuristic Spodek Sports Arena rather than the Gothic for this year’s fest, which united local improvisers (A) range of contemporary artists in a variety of media. Wawel Castle in Kraków an hour to the east. With a with visitors from Berlin (B) and Chicago (C). The Curated by Whitney’s Jay Sanders and Lawrence population of just over a quarter-million, its small-city festival also demonstrated how different musicians Kumpf (Issue Project Room), pianist Cecil Taylor’s vibe has been thrust onto the world stage as the first repurpose the jazz and improvised traditions. 60-year career arc was the subject of an ambitious Polish City of Music in the Creative Cities Network of Probably the most spectacular instance of this schedule (Apr. 15th-24th). The approach was to pivot UNESCO. And, as happens with many cities whose came in the three ‘round midnight performances by Taylor somewhat from his place in the modern jazz existence relied upon heavy industry, it has had to Hook, Line & Sinker (HLS) at the Spinhuis. A former canon and into the context of trans-media developments reinvent itself in the 21st Century, coal mines replaced dungeon located beneath the Multatuli Bridge, the from mid ‘50s onward. Concerts were interleaved with by cultural institutions, dusty miners with hip cramped, subterranean space was an ideal setting for readings, movement, archival footage, symposia and a nightgoers filling the 24-hour bars of Mariacka Street. the unique sensibilities of slide trumpeter Axel Dörner, rare performance of playwright ’s The JazzArt Festival (Apr. 25th-30th), now in its tenor saxophonist/clarinetist Tobias Delius, cellist A Rat’s Mass (1968). The latter was cast as an operatic fifth year, reflects this multi-facetedness. International Tristan Honsinger and bassist Antonio Borghini. work in 1976, with Taylor’s Unit providing music—in stars such as Jack DeJohnette and The Thing are Seeming at times either performance of Waiting for the Open Plan, this was partly recalled by prerecorded presented alongside regional performers like the RGG Godot or vaudeville act, the concert relied as much on piano, though Hilton Als’ austere direction gave the Trio and Raphael Rogiński. Concerts are held in the verbal as instrumental improvisation. The wordplay, work a likely different, mercurial imprint. beautiful environs of the recently built concert halls of usually sparked by Honsinger, often devolved into A makeshift stage was installed with river views, the National Polish Radio Symphony Orchestra skits, with the foursome continuously changing places the remainder of the floor occupied by vitrines and wall (NOSPR) or the gritty upstairs Jazz Club Hipnoza. in the room, singing pseudo-sea shanties or acting out mounts holding archival material and dotted by TVs Sedate afternoon film screenings complement the neo-Dadaist playlets. Euphonious as well as screening rare performance footage. Taylor’s musical energetic evening performances. World-class branding entertaining, innate musical sophistication allowed segment from the 1981 documentary Imagine the Sound is applied, grass-roots style, to store windows, novelty Delius to slurp pre-modern styled balladry and post- was on a canted large screen on a loop. It should be cars and oversized three-dimensional displays dragged modern screeches with the same conviction he used to noted that while not Taylor’s first Whitney rodeo, this through the city streets by employees of Katowice deflect the cellist’s puns and Dörner to growl split was certainly the largest: he warmed up his 1969 Unit Miasto Ogrodów, which also runs the Street Art and tones from his bell or rhythmically advance a tune for their famed European tour at the old Whitney Breuer World Music festivals. And there was as much blowing raspberries sans trumpet. building on Madison and returned in 1975 opposite enthusiasm—as shown by consistently full houses— Another musician who epitomized rhythm and pianist Mary Lou Williams. There was the hope that for the music on offer as for the World Hockey humor was South African reed player Sean Bergin Taylor would perform often and the schedule was left Championship Division I-Group A qualifier happening (1948-2012), an Amsterdam resident from 1976 until flexible enough that he could play nine nights or not at concurrently (sadly, Poland did not advance). his death. His music was celebrated as the climax of all—thus, the musical component included a number of JazzArt is unusual in that its programming runs the festival’s five-stop bicycle tour at De Ruimte, an musicians either in his bands (drummer Andrew Cyrille; from Monday-Saturday with either one concert per abandoned factory converted to a café. The packed bassists and William Parker; trumpeter evening (Monday, Wednesday and Thursday) or two house swayed and sometimes danced along to Bergin ) or directly influenced by his music (i.e., (Tuesday, Friday and Saturday). For those worrying tunes that transmuted kwela jive into swinging jazz. Ensemble Muntu; poets Nathaniel Mackey, Fred Moten about getting bang for your złoty, it is refreshing to Celebrants represented all three cities: cornet players and ; drummer Susie Ibarra). have time to reflect upon a performance without Eric Boeren and Josh Berman; trombonists The opening fête, with a massive standing ovation rushing off to ten more in the same night. This approach and Wolter Wierbos; tenor saxophonists John Dikeman as the diminutive Taylor was walked out to the stage, also allows for the programming to take on a discernible and Delius; vibraphonist Jason Adasiewicz; bass heralded a curious trio of Butoh-schooled dancer Min narrative arc. guitarist Jasper Stadhouders; and drummer Frank Tanaka and English percussionist Tony Oxley, who had The 2016 edition opened and closed at Hipnoza to Rosaly. Contrasts between Bishop’s contemporary traded his customary metal armatures for live sampling standing-room-only crowds with twin Scandinavian gutbucket and Wierbos’ polished emotionalism were devices. Oxley and Tanaka are longtime collaborators explosions The Thing and Selvhenter. The former clear, as was Delius’ creamy tone stacked up against with Taylor, the drummer since 1988 and the dancer should have dedicated their set to Lufthansa, which Dikeman’s frenetic New Thing-like textures. since the early ‘90s, though they’d never shared the prevented Ingebrigt Håker Flaten’s upright bass from Adasiewicz’ energetic clanking sparked the ensemble stage as a trio. Tanaka often seemed to be leading the arriving in time for the show; it was a rare instance while Rosaly cannily suggested steel pan vibrations group; in a green canvas suit, he crept across the risers, where he was heard exclusively on electric bass. and African drum beats. (CONTINUED ON PAGE 50) (CONTINUED ON PAGE 51) (CONTINUED ON PAGE 51)

THE NEW YORK CITY JAZZ RECORD | JUNE 2016 13 CD REVIEWS

his style over the past decade. He distills Latin and before Morrissey enters with a figure that anchors the classical leanings as well as avant garde into his work— structure of the song. all in evidence on Montage, his first solo release. The lone cover is “Johnny Was”, originally Five of these 15 pieces are titled “Montage” performed by Bob Marley under the title “Johnny Was followed by a descriptor (Fleeing, Sleepwalker, Angst, a Good Man”. The quartet does its best to translate the Air, The Ascent). Each serves as an opportunity for original feel but it ultimately sounds a little aimless, Perdomo to express himself without the constraints of more of a rendering than an interpretation. tight arrangements. Taken together they form a Guiliana’s near-mastery of the musical sleight of stunning suite translating sensation, emotion and hand is what makes Family First so appealing. It zags

The Silver Lining (The Songs of Jerome Kern) feelings through exquisite touch and lines. This effect more than it zigs and eagerly kicks sand in the face of /Bill Charlap (RPM-Columbia) is greatly enhanced by listening to them in sequence. expectation. by Andrew Vélez Originals and tunes from different parts of Perdomo’s development make up the more structured For more information, visit markguiliana.com. Guiliana is With Tony Bennett singing some of the very greatest material and show his breadth and adaptability: it is at Blue Note through Jun. 5th. See Calendar. songs from the Great American Songbook, of which he intriguing to hear the angles in “Monk’s Dream” is arguably the current premier custodian, this smoothed out; a sophisticated cocktail piano take on collaboration with pianist Bill Charlap is popular “Thinking of You”; the intense emotional aspect of music artistry at its finest. Not since the now-classic “Body and Soul” purified; a buoyant yet touching TJD Online 1975-76 sets with has Bennett had quite so “Mambo Mongo”; “La Revuelta de Don Fulgencio”, The Jazz Discography Online perfect a partner as he does in Charlap, who is perhaps composed by Perdomo’s first teacher Gerry Weill, the leading mainstream jazz pianist of his generation. openly melding classical with Latin; Everything you need to As Bennett approaches his 90th birthday in August, his trappings stripped away from “Si Te Contara”; and the know about virtually any baritone pipes remain as gravelly golden, virile and underappreciated contributions of “Cal Massey” by jazz record ever released expressive as ever. pianist reflected. From the contemplative opening lines of “All the The three originals present a side of Perdomo that Things You Are” until the last piano notes on “Look for is gracefully melodic. “Amani” flows peacefully So much more than just a jazz discography the Silver Lining”, Bennett and Charlap are in sync on through warm changes while “The Sky Beyond” is every level for this celebration of the music of Jerome meditative and “The Boundary Law” is an extended Updated daily Kern. When Charlap takes a solo, he, like Bennett, puts exploration that elegantly ebbs and flows. Montage is · New/Reissues listed by date for 31 days the story of the song first. Together they are emotionally aptly titled as head, heart and hands come together for · Search and sort leaders, musicians, expressive and yet, when given the opportunity, as a carefully planned, diverse and entertaining release. tunes, record labels, etc. with “Pick Yourself Up”, their swinging is infectious. · Catalogue your record collection easily The fun they are having is apparent in the finale when For more information, visit hottonemusic.com. Perdomo is Bennett exuberantly ad-libs, “take me home” and at Jazz Standard Jun. 1st, Terraza 7 Jun. 9th, Smalls Jun. · Charlap does just that with a rollicking finale. 15th with Marc Miralta and The Jazz Gallery Jun. 16th www.lordisco.com Mention must be made of the other stars of this with Ricky Rodriguez. See Calendar. production. Ace pianist Renee Rosnes joins Charlap for several rich double piano numbers. There is rock-solid • Idris Ackamoor & The Pyramids— support from bassist Peter Washington and drummer R We Be All Africans (Strut) Kenny Washington, Charlap’s longtime trio members, • JD Allen—Americana (Savant) completing the orchestrations. And, of course, with e • Jane Ira Bloom—Early Americans (Outline) lyrics by , and Oscar • Cadentia Nova Danica— Hammerstein II, among others, it’s the crème de la crème c August 1966 (Storyville) of American songwriters. • Katja Cruz—I Am The Wind (Unit) Bennett has a unique way of highlighting a word o • Tomasz Dabrowski— or a phrase. With “The Song is You”, he and Charlap m S-O-L-O: 30th Birthday/30 Concerts/ build together to a stirring climax with the final 30 Cities (Barefoot) Family First • Erwin Ditzner/Lömsch Lehmann Duo— statement of “the song…” and then follow it with Mark Guiliana Jazz Quartet (Beat Music Prod.) m II (Fixcel) another and still higher moment with the final “is by Eric Wendell e • Jungle: Mat Walerian// YOU”. Still later on “Yesterdays”, Bennett’s final shout Hamid Drake—Live at Okuden (ESP-Disk’) of “yesterdays!” is triumphant. It’s basic to Bennett’s Whether sideman to bassist Avishai Cohen or Donny n • —Black Orpheus (ECM) unique way with music and lyrics. So when he delivers McCaslin or leader of his genre-bending Beat Music, • —The Unity Sessions a deeply moving “The Way You Look Tonight”, how he drummer Mark Guiliana’s precise way of using drums d (Nonesuch) achieves such profound eloquence without an iota of to export his musical ideas is both keen and exact. Such Laurence Donohue-Greene, Managing Editor emotional excess is a fine mystery to be savored. precision is on display with his latest release. e What makes Family First successful is the control d For more information, visit columbiarecords.com. Charlap Guiliana and Co. maintain as tempos, dynamics and • Duke Ellington & His Orchestra— is at Birdland through Jun. 4th. See Calendar. moods shift and sway throughout the nine tracks. Rotterdam 1969 (Storyville) From the opening serrated rhythms of “One Month” to • Fire!—She Sleeps, She Sleeps n hardbop resonance of “Long Branch”, Guiliana (Rune Grammofon) maintains an ordered sense of control his quartet of e • Jungle: Mat Walerian/Matthew Shipp/ saxophonist Jason Rigby, pianist Shai Maestro and Hamid Drake—Live at Okuden (ESP-Disk’) bassist Chris Morrissey reflect beautifully. w • Jemeel Moondoc/Hilliard Greene— That’s not to say that Family First is all twists and Cosmic Nickelodeon (Relative Pitch) • LOK 03 +1 (/Alexander von turns but rather expertly constructed to undermine Schlippenbach/DJ Illvibe/Paul Lovens)— listener expectations. “Abed” begins as an even- r Signals (Trost) tempoed piece before a mid-song tug of war between e • Glenn Spearmann— saxophone and piano pulls it towards a faster postbop Blues for Falasha (Tzadik) encounter. “The Importance of Brothers” spends much • Starlite Motel—Awosting Falls (Clean Feed) Montage l of its duration feeling like a static march before • Thumbscrew—Convallaria (Cuneiform) Luis Perdomo (Hot Tone Music) • Tiziano Tononi/Daniele Cavallanti— by Elliott Simon deconstructing to a solo piano interlude where Maestro e offers a contemporary classical exercise before the a The Brooklyn Express: No Time Left! Luis Perdomo arrived in NYC from Venezuela in 1993 band resumes the march feel. (Long Song) but it took the pianist a while to make his first CD as a What is most congratulatory is Guiliana’s ability • Finn von Eyben—Plays Finn von Eyben/ s Finn von Eyben Workshop & leader (Focus Point, RKM Music, 2004). It was an to shape a melody, carefully constructing each note to Radiojazzgruppen (1966-1967) (Storyville) ambitious outing that gave glimpses, in the context of fit the character at hand. This is featured most e the powerful septet, of his developing voice. As with prominently on “Welcome Home”, where Rigby Andrey Henkin, Editorial Director that first release, Perdomo has purified the elements of employs long dulcet tones reflecting an abstract ballad s

14 JUNE 2016 | THE NEW YORK CITY JAZZ RECORD

composer, the new release, like its predecessor, Where Mommaas and Hess clearly relish their explorations Do You Start, is comprised entirely of covers. As the they also know their limits. It’s surely no coincidence title implies, the focus here is on ballads and blues. that “Body and Soul”, an oak tree among chestnuts, is While his classical background, lyricism and the shortest, most-played-straight song on the album. romanticism would tend to suggest he’s more attuned Mommaas and Hess deconstruct these songs like to the former than the latter, Mehldau sets a scientists. The experiments aren’t always seamless; at convincingly bluesy tone on the opener, an intensely times, there are residual moments of discord in the soulful, almost down-and-dirty take on “Since I Fell search for balance and common ground. But these are For You”. And even if you’ve heard “These Foolish small missteps on the tightrope. Mommaas and Hess

Groundwork Things” a thousand times before, Mehldau’s slow, invigorate some of jazz’ most enduring and often Willie Jones III (WJ3) patient, picture-perfect version is worth a listen. played songs with vibrant new perspectives. by Scott Yanow As has been his wont for many years, Mehldau deftly mixes standards with more contemporary non- For more information, visit nonesuch.com. This project is at Willie Jones III has been a major straightahead jazz material drawn from the worlds of rock and pop. Jazz at Kitano Jun. 1st. See Calendar. drummer ever since the early ‘90s when he was a So we get reimaginings of familiar fare from Cole co-founder of the Los Angeles-based group Black Note. Porter (“I Concentrate on You”) and Charlie Parker His seven years (1998-2005) as a member of the Roy (“Cheryl”) alongside a sweet ballad (“Little Person”) UNEARTHED GEM Hargrove quintet helped gain him fame and he has by pop producer and frequent collaborator Jon Brion. since worked with many in ’s Who of jazz. He And, as he often has in the past, Mehldau digs into The can be relied upon to add swing, excitement and Beatles catalog, turning the seemingly slight “And I creativity to every bandstand. Jones has led his own Love Her” into a rich, melancholic excursion and one record dates since 2000 when he started the WJ3 label. of the album’s highlights, along with a little-known (at On Groundwork, Jones heads a septet full of least to these ears) but exquisite recent Paul McCartney bandleaders. His trio with pianist Eric Reed and bassist composition, “My Valentine”. Buster Williams is joined by vibraphonist Warren Wolf The Mehldau trio is one of those groups with the and tenor saxophonist Stacy Dillard on six of the eight seeming ability to anticipate one another’s moves and selections (four include both of them), with veteran all three musicians here are in stellar form and always trumpeter Eddie Henderson on four numbers and in sync. It’s a welcome return and a fine outing filled trombonist Steve Davis on two of those. The constant with some hauntingly beautiful moments. Reincarnation (Arhoolie) changing of instrumentation, along with mood and by Clifford Allen tempo shifts, gives Groundwork plenty of variety. For more information, visit nonesuch.com. Mehldau is at The eight selections are concise, clocking in Blue Note through Jun. 5th. See Calendar. Born in in 1933, alto saxophonist Sonny between 3:58 and 6:44. The playing is excellent Simmons paid dues on the West Coast before moving, although there are times when the solos could have along with fellow reed player Prince Lasha, to New been greatly extended. The repertoire includes two York in 1963 at ’s behest. Simmons songs apiece by and Reed and numbers worked alongside Dolphy, , Sonny from Williams, Sherman Irby, Ralph Penland and Rollins, and McCoy Tyner, eventually Floriaan Wempe. While none are destined to become forming his own group with trumpeter Barbara standards, they have viable chord changes to challenge Donald (they also married). They recorded two dates the soloists. Wolf and Reed, in particular, make many for ESP-Disk’ and recruited progressive improvisers fine (if brief) statements with other memorable to come east from the Bay Area. By the end of the moments being contributed by Williams on his own decade, they and most of their peers had returned midtempo blues “Toku Do” and Dillard on the moody west. Though part of a coterie of musicians playing Ballads and Standards “Charity”. Reed’s “Git’Cha Shout On” is probably the barreling and harmonically advanced postbop in Marc Mommaas/Nikolaj Hess (Sunnyside) most stirring performance of the set. by Terrell Holmes , Simmons and Donald struggled to find It would benefit this allstar group to make a live work, based partly on the fact that their interracial album where they can stretch out away from the studio. Standards are welcome signposts on the jazz landscape musical and romantic partnership caused strife. to help players and listeners navigate its frequently In the ‘70s, the pair relocated to Olympia, For more information, visit williejones3.com. Jones is at exhilarating and often challenging terrain. Pitfalls can Washington to raise their young son Zarak, though Village Vanguard through Jun. 5th with occur when a standard is played too close to its original they fared little better and eventually divorced— and Smoke Jun. 8th-9th with Steve Turre. See Calendar. form, with neither the imagination nor risk to make the Simmons was playing on the streets of Oakland as journey more compelling. Tenor saxophonist Marc “Blackjack Pleasanton” by the following decade and

Mommaas and pianist Nikolaj Hess’ new project has battling addiction. In the early ‘90s, Simmons’ more substance than the elemental title suggests. fortunes started to turn around and by 1994 he’d They examine the harmonies of each song and sign to ’ Qwest label (a rare major-label then use their expansive improvisational skills and turn for uncompromising music). By the time that opulent tonalities to enrich its sound and structure. this live Simmons-Donald reunion disc was recorded They establish their approach on “The Peacocks”, 25 years ago this month, Zarak Simmons had become Mommaas fixing his perch at the high end of the an ebulliently swinging and fiery drummer. The tenor’s register; Hess has such strength and resonance family band is fleshed out here by bassist Court it sounds like piano and bass simultaneously. Crawford and pianist Travis Shook (who would also Bassist Thomas Morgan joins the duo on “Ask Me appear on Simmons’ American Jungle in 1997) on a Blues and Ballads Now”, giving the tune more depth and color. program of three originals and renditions of the Brad Mehldau (Nonesuch) by Joel Roberts Interpreting Monk can be a tricky proposition but this standards “Body and Soul” and “Over the Rainbow”. reading is filled with Mommaas’ sure-handed and Simmons’ acrid flywheels are Bird-like (or Dolphy- While Brad Mehldau has been heralded for his exclamatory arpeggios and Hess eschews any overt esque) in scope, yet with a deep, searching tonic that impressionistic solo piano work and experimental suggestions of Monk’s angularity in favor of his own responds to the modal depths plumbed by John efforts involving everything from chamber orchestras crisp, more linear approach. Morgan’s pulse also gives Coltrane. In tandem with the crackling waves of to electronics, the piano trio has remained his bread an added dimension to “The Shadow of Your Smile” energy that Donald puts forth and the rhythm and butter for more than two decades. Starting with his and “Never Let Me Go” while guitar master Vic Juris’ section’s insistent, dense chug, Simmons’ driving 1995 debut and many Art of the Trio albums, Mehldau’s warm phrasing and silky texture underscore the compositions are rendered with explosive, glorious long-running group with bassist Larry Grenadier and eternally hopeful “Over the Rainbow”. Perhaps the immediacy. Zarak has only appeared on one other drummer Jeff Ballard (replacing Jorge Rossy a decade most striking is “In a Sentimental Mood”. It begins recording, 1994’s Ancient Ritual, so it’s a treat to hear ago) has earned a spot as one of the top trios this side of unsettlingly somber and dark, with Hess’ saturnine, more of his playing, especially in dialogue with his Keith Jarrett. metronomic intro downshifting the theme from wistful parents’ vast inside-outside conception. It’s a noteworthy event then when Mehldau and to dark. With Mommaas’ impassioned wailing in the his deeply empathic trio return with a new recording, soprano range and breathiness at the end, this duo For more information, visit arhoolie.com their first in four years. While Mehldau is an established expresses not sentimentality but despair. And while

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sentinel-like between the opposing storms of tenor, GLOBE UNITY: MOROCCO piano and drums. “Well You Needn’t” begins with florid stabs from piano and bass before Kugel’s brash stammers enter and the tune volleys through a tensile display of stridence and clustered fireworks, then moves into the freer juggernaut of “Thy Father’s Will”. A scumbled run through “” finds Gayle working his fingers and breath into a blur, regularly making blatting sidesteps as the rhythm section 53rd Street Robert Kaddouch/ (Odradek) Parallel States charges through heated tempi. The opening “Joy in the Kind of Violet Matthew Fries (Xcappa) Lord” is an affirmation of Gayle’s command, upper- Abdelhaï Bennani Trio (JaZt TAPES) register twirls and hot, emphatic staccato blasts Zarabi by Donald Elfman Oum (Lof Music/MDC) rendered with clear linkages and graceful execution. by Tom Greenland From the first notes of this extraordinary recording, it Just over a month later, Gayle teamed up with is clear that the relationship between music and art is bassist William Parker and drummer Hamid Drake for It’s continually surprising how musicians from all what inspired the project. Each of the works by pianist a concert in Germany as part of the Jazzwerkstatt Peitz over the planet take inspiration from jazz, adopting Matthew Fries and his sister, mixed media artist Loryn series. This disc contains a program of four original and adapting it according to their cultural awareness Spangler-Jones, is individual and exquisite. improvisations plus a ten-minute encore. The lengthy and esthetic affinities. This month shows this On opener “Muse”, Fries starts elegantly with a first segment, “Fearless”, is a vehicle for tenor though globalization through the lens of Moroccan musicians. chordal voicing expanded upon during the course of much stretching room is given for Parker and Drake to Using the concept of ‘conductivity’, Casablanca- the tune’s development. Motifs grow and intertwine spar on their own, breaks and bouncing Highlife flecks born pianist Robert Kaddouch has taught children all yet the central chord is ever-present. It’s a piece about nudging Gayle’s flights from braying, pathos-laden over Europe to improvise. More recently, he is using the graceful expression of ideas and how they mature. cries to supple, jubilant runs. Much of the set, however, what he has learned from teaching—how to play in a Spangler-Jones took inspiration from this sense and features the leader on piano in bluesy fragments, more ‘ductile’ (i.e., creative and personal) way—in a the album’s concept first took shape. The music reflects glinting boppish roil and elemental nods to boogie- series of duo recordings. 53rd Street is an intimate set a quiet passion for how artistic ideas grow. woogie, which while executed with conviction also with bassist Gary Peacock, which includes standards, The feel of “Positive Attitude” is a slow blues and change form on a seeming whim. Parker and Drake originals, a French anthem and Hebrew songs. is a case of the music being inspired by the art. Fries ably keep up with Gayle’s impulses but experiencing Kaddouch’s style is lush and lyrical, utilizing slightly sees those blues as a powerful yet simple statement. from the easy chair is a furrowed challenge. unusual chords and harmonic modulations to He digs down into some truly deep feelings but they While his ostensible first studio recording for ESP- revitalize standbys like “A Foggy Day”, “Lover Man” are never overwhelming. Instead the lines roll out Disk’ has never surfaced, Gayle did make some and even “Jingle Bells”. His radical reharmonization steadily and surely. That quiet subtlety informs both rehearsals while living in Buffalo and performing with of the latter, coupled with the extreme independence the music and the art here even when the title, the bassist Buell Neidlinger, who was then associated with of his left hand, show off his individuality. Peacock, ‘subject’ of the tune, seems to lead towards a narrative. SUNY-Buffalo and the Center for the Creative and an almost subliminal presence, anchors the harmonies “Just Keep Swimming” opens with a repeated riff Performing Arts. Neidlinger’s regular trio was with and pulse against the pianist’s constant ebbs, flows suggesting the relentlessness of what?—evolution? drummer John Bergamo and saxophonist Andrew and upwellings, becoming more interactive during persistence?—but thanks to the economy of the artistry White and Gayle’s first sit-in with that group is the “What Is This Thing Called Love?”, perhaps the most what is suggested instead is space and peacefulness. stuff of local legend. Gayle Force captures a fall 1965 satisfying track. It ends up not really mattering who inspired whom session sans White and, while brief at a hair over 30 Recently deceased tenor saxophonist Abdelhaï or which form came first. The closing tune, the simple minutes, it is impactful, including four original pieces Bennani was born in Fez and spent most of his life in hymn-like “Kerrie”, tells us in a minute and a half that and a version of Ornette Coleman’s “Lonely Woman”. Paris. Kind of Violet, recorded live at Lille’s Muzzix this recording is simply about the magic of creation. Certainly low fidelity, the music here is essential for Festival in 2011, is now available through the artist- completists, but beyond the tape hiss and pieces’ controlled JaZt TAPES. The highly collaborative trio For more information, visit matthewfries.com. Fries is at abrupt beginnings and endings Gayle’s piercing, performance balances Bennani’s mercurial tenor— Hillstone Jun. 2nd, 6th, 16th, 27th and 30th and An Beal voluminous wail is fully-formed and, if not a complete usually subdued but prone to gruff outbursts— Bocht Café Jun. 3rd. See Calendar. phraseology in all cases, makes up for that in gobs of against ’s wide canvas of synthetic temperature-raising energetic action. Bergamo’s dry, keyboard textures and tones, ranging from full-blown allover shimmy and Neidlinger’s perfect intonation tutti sections of digital string, brass and wind sections and robust invention (in glorious evidence on “Lonely and warmer Rhodes piano sounds to eerie metallic Woman”) make for a fascinating partnership and it patches with micro-chromatic pitch-bends. Drummer would have been something to get this trio properly Didier Lasserre favors thin sticking and light documented. brushwork, low kettledrum rumbles, shimmering cymbals, Chinese-style gongs and marching rolls. Christ Everlasting For more information, visit for-tune.pl, jazzwerkstatt.eu The improvisations breathe, as if the musicians are Charles Gayle Trio (ForTune) and k2b2.com. Gayle is at Judson Memorial Church Jun. 7th Live at Jazzwerkstatt Peitz waiting to hear each other’s unfinished thoughts. withNYCJR12thPageAd0616.qxp_Layout Henry Grimes as part of Vision 1 Festival. 4/6/16 5:06See Calendar.PM Page 1 Charles Gayle/William Parker/Hamid Drake Marrakesh-raised vocalist/songwriter Oum (Jazzwerkstatt) El-Ghaït Benessahraoui, better known as Oum, melds Gayle Force multiple elements of her Moroccan heritage Buell Neidlinger (K2B2) (including Sahrawi, Gnawa, Hassani and Berber by Clifford Allen cultures) on Zarabi, her fourth album, aptly named for the ‘carpet’-like headdresses of local weavers Tenor saxophonist/pianist Charles Gayle has been an made from recycled fabrics. Recorded in a makeshift imposing force on New York’s improvised music studio in southern Morocco at the edge of the Sahara community for over 40 years, though documentation of desert with oud player Yacir Rami, percussionist his work didn’t really take off until 1988. Deep religious

Rhani Krija, bassist Damian Nueva and trumpeter convictions, intensely ascetic lifestyle, theatrical Photo: Yelfris Valdés, the latter two from Cuba, the album is personae and a language traversing post- Chris Drukker bright and punchy, fired by Oum’s keening vocals, Coltrane freedom with a curious affection for bebop sung in the Maghrebi Arabic dialect of Darija, and by contribute to Gayle’s enigmatic perception. Diane Moser’s Composers Big Band her catchy songs set to danceable beats. Christ Everlasting captures an April 2014 Gayle w/guest composer Timothy Miller and the Elizabeth High School Improvisational interest is supplied by Rami’s deft concert at Poznań’s Dragon Club with Polish bassist Upper Academy Jazz Band, directed by Wayne Dillon playing, which often ornaments the vocal lines before Ksawery Wójciński and German drummer Klaus Kugel Wednesday, June 8th • 7–11 p.m. and after extended solos, and by Valdés’ trumpet, a on open-form originals and a few standards or semi- mellower counterpoint to Oum’s crystalline voice. standards from the books of Coltrane, Monk, Rollins For more info: dianemosermusic.com and Ayler. Far from a pickup rhythm section, Kugel’s For more information, visit odradek-records.com, airy constance and glinting temporal stirs are a rugged 6 Depot Square Montclair, NJ 07042 For reservations, call 973-744-2600 janstrom.se and music-mdc.com platform and Wójciński continually chomps at the bit, JAZZ CLUB www.trumpetsjazz.com blocky pizzicato and sinewy arco occasionally stiff but

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What would appear to be a triangular relationship in theory turns into a pyramidal one in practice. The atmosphere is joyful and exciting and finds each musician grabbing the wheel in succession with idiosyncratic vigor. It’s a formula that leads to consistent piquancy in the remaining tunes, if at times dulled by the compactness of the engineering, which suffocates tunes like “Peliel” and “Katzfiel”. Other places it works beautifully, however, as in “Shoftiel”.

Row for William O. Here Taborn balances sacred and secular impressions, Michael Bisio/Kirk Knuffke (Relative Pitch) launching into his solos with territorial wanderlust. by John Sharpe But not even a few misfires at the mixing board can reign in a double take on “Talmai”, of which the Bassist Michael Bisio has waxed acclaimed duets in landscape is vast and the rhythm sectioning robust. his career—those with pianist Matthew Shipp come to As may be expected in anything branded Zorn, mind while going further back, a brace with multi- abstractions are never too far away. Their wonders instrumentalist Joe McPhee also hit the sweet spot. To enliven “Katzfiel” and “Rogziel”, the latter recalling its Wed, Jun 1 MARTIN NEVIN GROUP 8PM Immanuel Wilkins, Sam Harris, Craig Weinrib this list must now be added Row for William O., which composer’s fascination with the cartoon music of Carl Thu, Jun 2 BEN VAN GELDER QUINTET 8PM pairs the bassist with in-demand cornet player Kirk Stalling. In this respect, the trio allows the spirit at hand Mark Turner, Matt Brewer, Craig Weinrib Knuffke, a member of Bisio’s Accortet foursome (whose to take the music where it needs to go, even if, like sand Fri, Jun 3 LAGE LUND 3 9PM & 10:30PM well-received debut appeared on the same label last in an hourglass, every particle of improvisation Matt Brewer, Justin Faulkner year). The 37-minute program comprises four Bisio eventually funnels into a steady passage of time. Which Sat, Jun 4 PETROS KLAMPANIS 9PM & 10:30PM Julian Shore, Keita Ogawa, Rogério Boccato, Maria Im, Eylem Basaldi, originals, one joint confection and one by William is not to say that reveries are absent: “Agbas” and Lev Zhurbin, Colin Stokes, Magda Giannikou Overton Smith, the 90-year old dedicatee of the album, “Harbonah” show sensitivity in kind, the latter an Sun, Jun 5 JANE IRA BLOOM EARLY AMERICANS 8:30PM , Bobby Previte who is perhaps best known as the clarinetist in Dave atmospheric gem that draws an arco bass thread through Mon, Jun 6 DAVID AMRAM & CO 8:30PM Brubeck’s seminal octet, as well as being both a mentor a stormy patchwork of piano and cymbals, teasing out Kevin Twigg, Rene Hart, Elliot Peper and teacher to Bisio in Seattle, Washington. the indestructible heart of the whole enterprise. Tue, Jun 7 VOXECSTATIC: VALENTINA MARINO QUARTET CD RELEASE 8PM The pleasing contrast between Knuffke’s floating The way these veterans ease into and out of such Alberto Pibiri, Cameron Brown, Anthony Pinciotti, Maximilian Zooi JOHN HART TRIO “EXIT FROM BROOKLYN” CD RELEASE 9:30PM lyricism and Bisio’s brawny growling resonance, whether eclectic themes is masterful, yielding a fresh take on Bill Moring, Tim Horner; Deborah Latz, curator in counterpoint or partnership, is evident from the start. Zorn that may just be the standout disc of the series and Wed, Jun 8 NEW BRAZILIAN PERSPECTIVES: Q MORROW GROUP 8PM Evan Francis, Sam Bevan, Rogerio Boccato A jerky spacious unison engenders freewheeling one that reasserts his position in the modern jazz canon. NEW BRAZILIAN EXPRESSIONS: KATHRYN CHRISTIE 9:30PM interplay on Smith’s “Drago”, notable for Knuffke’s Matt Aronoff, Ross Pederson; Billy Newman, host breathy insouciance. They draw ample inspiration from For more information, visit tzadik.com. Taborn is at The Thu, Jun 9 SOFIA RIBEIRO GROUP 8PM Sofia Ribeiro, Juan Andrés Ospina, Petros Klampanis, Marcelo Woloski the compositions, as is obvious in “Oh See O.C.” where Stone Jun. 8th. McBride is at Blue Note Jun. 14th-19th. Fri, Jun 10 JON IRABAGON TRIO 9PM & 10:30PM Bisio’s solo plays off motifs in the head, with some of Sorey is at JACK Jun. 12th with Charmaine Lee and The Gary Versace, Tom Rainey those insistent figures that mesh so tightly with Shipp, Stone Jun. 25th. See Calendar. Sat, Jun 11 KEVIN HAYS, NEW DAY TRIO 9PM & 10:30PM Rob Jost, Greg Joseph while Knuffke is at his most punchy and incisive. On Sun, Jun 12 DJANGO AT CORNELIA STREET: ULTRAFAUX 8:30PM Bisio’s appealing “I Want To Do To You What Spring Michael Joseph Harris, Sami Arefin, Eddie Hrybyk; Koran Agan, host Does To Cherry Trees”, Knuffke hews close to the tune Mon, Jun 13 DAVID LOPATO QUARTET 8:30PM Lucas Pino, Ratzo Harris, Mike Sarin while Bisio extrapolates in spirited abandon. Tue, Jun 14 THE OUT LOUDS 8PM On the improvised “December”, the stimulation Tomas Fujiwara, Ben Goldberg, stems from one another. Emphatic pizzicato slurs Wed, Jun 15 MARIO PAVONE/MIXED QUINTET 8PM slither down the fretboard, prompting plaintive cornet , Dave Ballou, Oscar Noriega, Peter McEachern, Michael Sarin exhalations. Such fluid interchange exemplifies the set, Thu, Jun 16 JOHN HADFIELD: SAINTS OF PERCUSSION 8PM Billy Drewes, Matt Kilmer, Tim Keiper, Shane Shanahan heard nowhere better than on the title track, where Fri, Jun 17 JOHN HÉBERT QUARTET 9PM & 10:30PM Bisio shows how tone rows can generate not only David Virelles, , Billy Drummond breezy unsentimental melody, but also dramatic give Sat, Jun 18 JASON RIGY: DETROIT- TRIO 9PM & 10:30PM Cameron Brown, Gerald Cleaver and take. Finally, after a trilling acappella cornet intro, Sun, Jun 19 JIM BLACK TRIO 8:30PM the intimately choreographed dance of “To Birds...” Elias Stemeseder, Thomas Morgan provides a fittingly accomplished end to a fine disc. Tue, Jun 21 Mostly Other People Do the Killing 8 & 9:30PM Ron Stabinsky, Moppa Elliott, Kevin Shea with special guest Matt Nelson For more information, visit relativepitchrecords.com. Bisio is Thu, Jun 23 TRIO 8PM Jacob Sacks, Thomas Morgan at Judson Hall Jun. 8th with Connie Crothers and 9th as part Fri, Jun 24 SCOTT DUBOIS QUARTET 9PM & 10:30PM of Vision Festival and Ibeam Brooklyn Jun. 13th with Darius Jon Irabagon, Thomas Morgan, Kresten Osgood Jones. Knuffke is at Urban Meadow Jun. 19th with Jeff Davis Sat, Jun 25 JAZZTOPAD FESTIVAL: PIOTR DAMASIEWICZ QUINTET 9PM FREE PERFORMING ARTS Tony Malby, Maciej Obara, Dominik Wania, and Matt Pavolka as part of Red Hook Jazz Festival. Max Mucha, Krzysztof Dziedzic JAZZTOPAD FESTIVAL 10:30PM Tony Malaby, Gerard Lebik, Artur Tuźnik, Max Mucha, Krzysztof Dziedzic IN ALL 5 BOROUGHS Sun, Jun 26 PATRICK OCTET 8:30PM Matthew Jodrell, Sam Sadigursky, Nick Vayenas, Alex Wintz, Fabian Almazan, Thomson Kneeland, Eric Doob MAY – SEPTEMBER Tue, Jun 28 PAUL JONES/CURTIS OSTLE GROUP 8PM David Berkman, Eliot Zigmund The season will feature more jazz performances than ever ALEX LORE 4 9:30PM before, including opening night on June 4 in Central Park, Nick Sanders, Martin Nevin, Jr featuring living legends McCoy Tyner, Roy Haynes, and Wed, Jun 29 ISRAELI JAZZ SPOTLIGHT: NOAM WIESENBERG 8PM Will Vinson, Ben Wendel, Jeff Miles, Shai Maestro, Tommy Crane Ron Carter. Season highlights include Kamasi Washington HAGGAI COHEN-MILO TRIO 9:30PM Ben Wendel, Haggai Cohen-Milo, Ziv Ravitz; Or Bareket, host and Henry Butler in Central Park, Terence Blanchard in Clove Lakes Park, Dianne Reeves in Queensbridge Park, Thu, Jun 30 MATT BREWER QUINTET 8PM Ben Wendel, Lage Lund, Tommy Crane John Zorn: Flaga a tribute to Dave Valentin in Crotona Park, and a screening Craig Taborn/Christian McBride/ of What Happened, Miss Simone? in Von King Park. And, (Tzadik) of course, our annual Charlie Parker Jazz Festival, which by Tyran Grillo assembles some of the most important legends of jazz alongside the next generation of innovators, will feature ight tunes from The Book of Angels make up Flaga, the E Jack DeJohnette, Donny McCaslin, , and 27th installment in a series exploring the parallel opus Cory Henry. Join us as we celebrate jazz all summer long! to John Zorn’s popular Masada series. His interpreters this time are pianist Craig Taborn, bassist Christian Visit www.SummerStage.org for the full 2016 schedule. McBride and drummer Tyshawn Sorey. “Machnia” @SummerStage @SummerStageNYC @SummerStage puts listeners into the thick of things, highlighting the playing as much as Zorn’s prolific gift for melody.

18 JUNE 2016 | THE NEW YORK CITY JAZZ RECORD 05-18-16A_NYCJazzAd.indd 1 5/18/16 4:53 PM

solos by piano and trombone. Although Pillow has only of jazz history, sometimes even within the same solo. one feature solo, his bass clarinet is an important part The alto saxophone is his main axe and he plays in a of the overall sound, contributing to the chorale quality deliberate, measured manner; while some noodle and of the two short ensemble pieces “Hourglass” and doodle until an idea alights, Walerian takes his time “Echo Calling”. The former is followed by two of the yet never comes off as ponderous or tentative. strongest tracks: “Clocks” begins with a tick-tocking This double-CD set, recorded live in November rhythm that breaks up as horn riffs dominate; Endsley 2012 at Toruń, Poland’s Okuden performance space, is solos over suspended beats, then horns and guitar the recorded debut of Jungle, the trio of Walerian, contest in a controlled chaos reminiscent of Charles piano ace Matthew Shipp and drummer supreme

Roots & Transitions Mingus before time returns with a piano solo and coda. Hamid Drake (Walerian, while mostly self-taught, Alan Ferber Nonet (Sunnyside) “Wayfarer” is the closest track to a traditional swinger, studied under both; he recorded a duo album with by George Kanzler recalling Miles Davis’ band, with a Shipp, also live from Okuden, in May 2012). Like traditional AABA format and muted brass, but a Walerian, Shipp is primarily an outside/free player, The eight parts of trombonist Alan Ferber’s suite Roots surprisingly long, convoluted vamp-coda. Themes and but both are of the generation of ‘out cats’ that can & Transitions “functions as a modern theme and variations explored on the first seven tracks are reprised embrace rhythmic impetus, congenial inside playing variations”. Ferber wrote the music on trombone rather in the concluding “Cycles”. and influences outside jazz. than piano to emphasize the predominance of single- The angular “Gentle Giants” features Walerian line instruments. The nonet is Scott Wendholt or Shane For more information, visit sunnysiderecords.com. This project is alternating tart, sleek blues phrasing with some Endsley (trumpet), Jon Gordon (alto saxophone), John at Threes Brewing Jun. 9th and Smalls Jun. 16th. See Calendar. gloriously agitated, slightly vocalized runs, Shipp’s Ellis (), Charles Pillow (bass clarinet), percussive clusters and Drake’s clattering yet

Nate Radley (guitar), Bryn Roberts (piano), Matt supportive drumming. “One For” begins with some Clohesy (bass) and brother Mark Ferber on drums. luminously lyrical Shipp, then Walerian gets furious At times the nonet resembles a modern version of and cathartic, adding smooth, harmonious and even classic jazz polyphony, as each instrument plays distinct suave bits along the way, Drake matching each gent in lines in tandem with others, as on “Flow” and “Cycles”, intensity. The 18-minute suite-like “Coach On Da Mic” sections that also eschew conventional time signatures begins with Shipp playing free(ly), spiky notes flying and rhythms for a looser or more jangled beat. Rarely out of the speakers (or earbuds)—enter Walerian with are there sustained ensemble passages with sectional- some gorgeous bluesy clarinet that grows to growl, style harmony, Ferber preferring to pit instruments groan and shriek to the heavens. Jungle juxtapose the against or mirroring each other. cool with the hot, wild ‘n’ wooliness with elegance and Live at Okuden This is how the CD opens, as “Quiet Confidence” Jungle: Mat Walerian/Matthew Shipp/Hamid Drake gentle introspection with purifying proclamations. begins with solo trombone soon echoed by bass clarinet (ESP-Disk’) (its use instead of a baritone saxophone is one of the by Mark Keresman For more information, visit espdisk.com. Shipp is at Judson nonet’s aural signatures), followed by thematic strains Church Jun. 9th with Jemeel Moondoc and Drake is there from brass and reeds, segueing into weaving Polish reed player Mat Walerian is one of those rare Jun. 7th, 9th and 11th, all as part of Vision Festival. See instrumental voices ushering in deliberately paced musicians whose approach seems to span several eras Calendar.

The Austrian Cultural Forum New York presents:

Austrian Jazz Guitarist Andy Manndorff solo acoustic guitar performing music from his forthcoming album, Pandora. Thursday, June 2, 2016 07:30 PM at the ACFNY (11 East 52nd Street, New York, NY 10022)

“Manndorff’s virtuoso technique is both spontaneous and earthy, bringing forth a multitude of colors and diversity of moods.”

get your free ticket at www.acfny.org

THE NEW YORK CITY JAZZ RECORD | JUNE 2016 19

airy held notes with a mysterious and dissonant controller, Ben Stivers on gritty Hammond B3, Rhodes melody and a moody, reflective solo by tenor and additional keyboards and rising drum star Kenny saxophonist Brian Settles. Then follows an “Exoskeleton Grohowski, Abbasi rips his liquid D’Angelico semi- Prelude”: it’s initially a similarly impressionistic piece, hollow body guitar through material recalling Allan which builds from deeply resonant unaccompanied Holdsworth’s Secrets, Bill Connors’ Step It and even bass, through lyrical orchestration to the improvising further back to The Headhunters and, if stretching the trio of Formanek, Davis and Fujiwara and increasingly reference, Brand X. Abbasi and Co. perform his tense and anticipatory lines from the brass. originals with feet planted in fusion’s past while These two works serve almost as meditations, carving out a brave new future. The rhythmic burn can

The Distance preparing the listener for what’s to come, the eight- be credited to 25-year-old Grohowski, who pours his Michael Formanek Ensemble Kolossus (ECM) part “Exoskeleton”, a work that is sometimes intense, influences—including Vinnie Colaiuta, Chris Dave and by Stuart Broomer sometimes relaxed, exploring in myriad ways the Jon Christensen—through a uniquely kinetic vision. title’s notion of reversal, mixing compositional styles Abbasi’s tunes fly and soar, sail around corners and Michael Formanek is best known as a bassist, whether and traditions while providing solo spots for a bang upside your head. For all its acetylene burn, leading his own quartet with saxophonist Tim Berne or wonderful collection of improvisers, ultimately turning Abbasi’s band is graceful and the melodies sustainable in cooperative groups like Thumbscrew with guitarist increasingly to collective improvisation. The brassy and engaging. Mary Halvorson and drummer Tomas Fujiwara. punctuations of “Impenetrable” may suggest “Holy Butter” opens with an itchy unison guitar However, he also has a significant interest in large something from Anthony Braxton’s Creative Orchestra and wind-controller melody juggled over a displaced ensembles and large-scale composition. His duties at Music 1976 while “Beneath the Shell” owes a certain groove. Hammond B3 steam and lyrical guitar drive the Peabody Conservatory in Baltimore include debt to the slippery sounds and harmonies of Olivier the humid pulse of “Groundswell”, followed by the directing the Peabody Jazz Orchestra and he has Messiaen’s Turangalîla; there are more than passing intimate ballad “Inner Context”, which recalls a lost performed his Open Book there, a composition for allusions to ’ methodology while gem from John McLaughlin’s Extrapolation. symphony orchestra and jazz soloists. “Echoes” may not sound out of place in a Maria “Uncommon Sense” begins slowly, then lifts off into The Distance brings this side to the fore, introducing Schneider performance. “@heart” and “Without metric-modulation hyperspace. The cerebral chiming his Ensemble Kolossus, an 18-member group that Regrets” are highlighted by the transformative of “New Rituals” slips and slides, glowing like follows the traditional big band model of five reeds, individual contributions of trombonist Ben Gerstein shooting stars, saxophone and guitar tracing its four trumpets and four then complements and Halvorson, respectively. circuitous melody over multi-rhythmic groove. Closer it with the strings and percussion of Halvorson, With Part 6, the happily titled “Shucking while “Matter Falls” rages like an electric shark, splitting Fujiwara and Formanek as well as pianist Kris Davis Jiving”, group improvisation becomes a key component, waves, surfing whitewater, sleek in its mission as king and Patricia Brennan on marimba, lending an orchestral both with and without composed components, initially of the sea. Similarly, Behind the Vibration cuts a swift breadth to the traditional notion of a rhythm section. with a brawling ensemble of Settles, Berne on baritone course through contemporary jazz with style and To devote himself to his role as bassist, Formanek saxophone, trombonist Jacob Garchik and bass substance. enlists another bassist, Mark Helias, to act as conductor. trombonist Jeff Nelson. “A Reptile Dysfunction” The scale of the band is no greater than the scale of includes a bright, chirping maze of marimba, drums, For more information, visit cuneiformrecords.com. This project the work. The CD begins with the brief title piece, an piano and Oscar Noriega’s clarinet while the concluding is at Greenwich House Music School Jun. 11th and Urban aptly named work that is filled with space, matching “Metamorphic” has an improvised passage by the full Meadow Jun. 12th as part of Red Hook Jazz Fest. See Calendar. orchestra, a standout solo by trumpeter Dave Ballou and dense, composed conclusion appropriate to the work’s breadth and ambition. This is a remarkable debut for Formanek as orchestra leader and composer. He has put together a work in which the compositions and the band fuse multiple voices into a singular entity.

For more information, visit ecmrecords.com. Formanek is at The Jazz Gallery Jun. 10th-11th with Mary Halvorson, Urban Meadow Jun. 12th with Tomas Fujiwara as part of Red Hook Jazz Festival and Ibeam Brooklyn Jun. 17th-18th with Devin Gray. See Calendar.

June 14th Mike Longo Trio annual Oscar Peterson Celebration

June 21st Behind the Vibration Bill Warfield Band Rez Abbasi & Junction (Cuneiform) by Ken Micallef June 28th Back in fusion’s heyday was quoted as saying, “Jazz isn’t dead—it just smells funny.” Rez Rosemary George Abbasi’s latest release could be called a fusion record, Ensemble but it’s also a serious jazz recording and it thankfully has no odor. Of late, Abbasi has changed hats more often than the Queen of England. 2014’s Intents & Purposes turned New York Baha’i Center ‘70s fusion on its ear, Abbasi reimagining classics from 53 E. 11th Street Weather Report, , The Headhunters, (between University Place and Broadway) and others with an entirely Shows: 8:00 & 9:30 PM acoustic palette. Prior to that Abbasi investigated all Gen Adm: $15 Students $10 manner of contemporary electric improvisation. 212-222-5159 Behind the Vibration peeks into a different fusion era, bahainyc.org/nyc-bahai-center/jazz-night one without definitive roads to its destination. Joined by Mark Shim on tenor and MIDI wind-

20 JUNE 2016 | THE NEW YORK CITY JAZZ RECORD EX-SS

World-renowned guitarist and composer Fabrizio Sotti with his signature D’Angelico EX-SS. His trio, featuring Peter Slavov and Francisco Mela, releases their highly-anticipated new album, “Forty,” on June PHOTO BY MARCO GLAVIANO MARCO BY PHOTO 10th, 2016. Available everywhere.

WWW.DANGELICOGUITARS.COM A cosmic rhythm with each stroke Wadada Leo Smith/Vijay Iyer (ECM) Celestial Weather Wadada Leo Smith/John Lindberg (TUM) by Philip Freeman

Trumpeter Wadada Leo Smith is a brilliant arranger, having created works for small groups and large ensembles, as well as solo albums, but some of his most emotionally potent and beautiful work has been when paired with just one other musician. In recent years, he’s recorded duos with saxophonist Anthony Braxton (Organic Resonance and Saturn, Conjunct The Grand Canyon In A Sweet Embrace), pianists John Tilbury (Bishopsgate Concert) and Angelica Sanchez (Twine Forest), bassist (Akashic Meditation) and drummers Jack DeJohnette (America) and Louis Moholo-Moholo (Ancestors), among others. Each pairs his uniquely dry, introspective horn playing with an improvising partner of thoughtful and generous temperament. These latest discs are further demonstrations of Smith’s empathy. His collaboration with pianist Vijay Iyer, A cosmic rhythm with each stroke, is an extension of their work together in the final iteration of Smith’s Golden Quartet on the album Tabligh (Cuneiform, 2005) and the Golden Quintet split release Spiritual Dimensions (Cuneiform, 2008-09). The bulk of the album is taken up by the 52-minute title piece, a suite broken up into seven movements. Smith’s trumpet, often muted, wanders to and fro as Iyer creates an ominous, melancholy atmosphere, exploring the low end of the keyboard almost like Matthew Shipp at times. When Smith plays open horn, though, his slightly smeared tone and long, wavering but expertly controlled notes, with frequent lunges into the upper register, are matched by flurries from the keyboard. This isn’t a purely acoustic album, either; Iyer contributes subtle electronics in places where they’ll create maximum impact with minimal input, mostly background hums and rumbles. On the third movement, “A Divine Courage”, there’s an almost subsonic reverberation, which slowly develops into a minimal bassline recalling John Carpenter’s movie soundtracks; it gives the main instruments an additional resonance, like a layer of reverb. Smith teams up with another Golden Quartet/ Quintet member, bassist John Lindberg, on Celestial Weather. Unlike the more structured, if still free, duos with Iyer, these pieces—which, like the other album, include a multi-part title suite—are fully improvised. The energy level is much higher throughout and the music is slightly more raw and unadorned, with no electronic instruments present. Lindberg bows the bass with a fierce vigor, squealing into the instrument’s upper register and diving deep into its low notes; Smith responds with fast, flickering runs and dense bursts of notes. When the bassist plucks the strings, the trumpeter’s playing grows slower and more spacious, but his trademark piercing power is always present, even when he’s growling at the very bottom of the trumpet’s range, as he does on the two-part album closer “Feathers and Earth”. Taken individually, these two albums are stark, beautiful statements. Taken together, they’re a reminder of the staggering power of the now- disbanded groups that featured all three of these men working together.

For more information, visit ecmrecords.com and tumrecords.com. Smith is at Judson Church Jun. 11th as part of Vision Festival. See Calendar.

22 JUNE 2016 | THE NEW YORK CITY JAZZ RECORD

usual path. Vashlishan’s “Sailing” is a richly textured feature for his ethereal flute, Liebman making a delayed entrance on soprano, providing a bit of contrast, while sublime electric keyboard, nimble bass and whispering percussion provide the perfect backdrop. Liebman’s title track is the CD’s centerpiece, a mysterious, dramatic workout with strong contributions from the rhythm section as they fuel the intriguing harmonic interaction between the leader

The Puzzle and Vashlishan. Avey’s “Continues to Ignore” is a Expansions: The Group powerful protest song about U.S. treatment of Haiti, (Whaling City Sound) incorporating Haitian-inspired rhythms to accompany by Ken Dryden the melancholy lines of the reed players, with the composer’s pensive, often sparse piano used to great Dave Liebman has so many diverse projects underway effect. in his career he is like the man balancing spinning Expansions is a band that demands total focus, not dishes on poles on The Ed Sullivan Show. Expansions is for background listening but rather intellectually GUILLERMO KLEIN one of his most fascinating bands, as it features two stimulating music revealing new facets with every talented young men he mentored as they grew up with hearing. LOS GUACHOS V him in the Poconos: keyboardist Bobby Avey and reed SSC 1414 - IN STORES 6/3/16 player Matt Vashlishan. The rest of the band is also of For more information, visit whalingcitysound.com. Liebman high caliber with veteran bassist Tony Marino (a is at Judson Church Jun. 12th as part of Vision Festival and or 20 years, Guillermo Klein has been creating some of frequent collaborator) and drummer Alex Ritz. Mezzrow Jun. 17th-18th. See Calendar. Fthe most singular and exciting music for his highly adept One of the joys of Expansions is its continuous 11-piece ensemble, Los Guachos. His compositional style ability to surprise the listener, whether via challenging has been evolving over the years, though always utilizing originals or a jazz standard. Marino’s “For J.A.” is elements of jazz, folkloric music of his native Argentina, rock dedicated to the late pianist Jimmy Amadie. It evolves and modern . Klein’s musical voice has from a tense vamp into free territory with Vashlishan’s established a number of unique composing concepts. His expressive alto saxophone and Liebman’s darting, new recording, Guachos V, heralds his use of a new eerie soprano, with Avey adeptly alternating between method: symmetries. To highlight this work, Klein has creat- piano and electric keyboard and a superb undercurrent ed two suites, Suite Indiana and Suite Jazmin, that use by the composer and Ritz. Liebman’s playful setting of familiar works of the jazz canon and his own material Tadd Dameron’s “Good Bait” provides some comic reworked using mirroring, inversions and retrogrades of har- relief from the earlier intense tracks, though the solos monies and melodies to create new compositions. Blue Dialect are every bit as adventurous, particularly Avey’s Mario Pavone (Clean Feed) galloping exploration, which detours far from the by Ken Waxman Prose masters such as Ernest Hemingway wrote with an economy of style, with not a word out of place. In a musical context the concept can be applied to the playing and composing of bassist Mario Pavone. That’s because nine originals that make up Blue Dialect mostly feature his trio members, pianist Matt Mitchell and drummer Tyshawn Sorey. When Pavone steps forward for a brief solo or to add pinpointed phrasing or motion to a line, he strengthens the performance without bringing attention to himself. Pavone, 75, has been a proponent of this philosophy for years, having honed his skills with such masters of understatement as pianist and trumpeter . This adherence has marked most of Pavone’s recording career, which dates to 1979, CHRIS CHEEK when Mitchell was just four years old and Sorey was a SATURDAY SONGS year away from being born. Symbolically dedicating a session to propelling SSC 1453 - IN STORES 6/24/16 the musical equivalent of le mot juste doesn’t mean n his new recording, Saturday Songs, Cheek has uti- abject seriousness, however. The playing is frisky and lized a multitude of techniques and influences to gener- effervescent. Mitchell, responsible for most theme O ate compositions that are stimulating to musical theorists statements, mates a light touch with brisk invention: his crinkling and skittish timbres on a tune like and foot tappers alike. “Suitcase in Savannah” could pass for Bley; a logical uch of his compositional style’s effectiveness stems build up leads to thrilling, but understated Herbie Mfrom his love and use of the guitar. Cheek has always Nichols-like swing on compositions such as “Blue”; been drawn to the instrument and its openness of sound, the and, on “Trio Dialect”, a joint improvisation, his plugged-in aspects of the electric guitar and bass being liter- agitated staccato flow borders on Cecil Taylor-like al driving elements of his ensemble’s sound. The fret masters freedom. He and Pavone function like a reporter and that he enlists for the recording include guitarist Steve editor. With the pianist storytelling at a midrange Cardenas, pedal steel expert David Soler and electric bassist tempo, string plucks and stops provide the breaks and Jaume Llombard. The musical polymath Jorge Rossy rounds punctuation to the yarn. There are places where Sorey out the ensemble on drums, vibes and marimba. The addition rockets the tempo, but his percussive jabs are constantly of the vibes and marimba added a certain flexibility that edited to marvelous restraint. Cheek enjoyed, these fixed pitch instruments blended well Blue Dialect upholds the virtues of economical with the non-fixed pitch of the pedal steel. timbre placement while showing that sparse yet focused improvising is as fulfilling as dense extended performance.

iTunes.com/GuillermoKlein For more information, visit cleanfeed-records.com. Pavone iTunes.com/ChrisCheek www.sunnysiderecords.com is at Cornelia Street Café Jun. 15th. See Calendar.

THE NEW YORK CITY JAZZ RECORD | JUNE 2016 23

was written, as not only a bandleader and arranger, home city in northwestern Spain. The cover, Prieto but also as a pianist. said in an email, represents his music and his life Hyman has lived through a lot of jazz piano between two cities, two continents and two cultures history: he reached adolescence during the Swing Era (Galician Celtic and urban American). and was a young adult when and Prieto now lives in New York, where you don’t Bud Powell became influential in the bop world. His find too many jazz players. That gives him a love of a broad range of piano styles continues to serve secret advantage: he can assert himself on the scene as him well on House of . a leader and establish an easily recognizable voice. That comes out in more ways than one on his fifth

House of Pianos For more information, visit arborsrecords.com. Hyman is at release as a leader, as the name suggests. Prieto uses Dick Hyman (Arbors) Saint Peter’s Jun. 15th and at Tribeca Performing Arts the record to showcase, in the last couple of tracks (the by Alex Henderson Center Jun. 16th as part of Highlights in Jazz. See Calendar. title track and “The Vibration”), a style of Mongolian throat singing in which he manipulates his vocal

Dick Hyman, now 89, has not been an easy artist to chords independently to make a multi-tonal braid of categorize throughout his career. Jazz of the prebop sound. While intriguing, this is hardly the highlight of variety (mainly stride piano and swing) has played a the disc, which mostly features Prieto’s own sprightly, prominent role in his recorded output, yet he has dance-based compositions. (There are two covers: hardly been oblivious to bop. Hyman’s versatility is “Michelangelo 70”, by Argentine composer Astor very much in evidence on House of Pianos, recorded Piazzolla, and “Two Door”, by jazz guitarist Brad live at Farley’s House of Pianos in Madison, Wisconsin Shepik, who doesn’t appear on the record.) on Jun. 1st, 2014. Farley’s is not a jazz club but, rather, Prieto’s voice is most impressive when he puts his a store that sells and repairs pianos. Farley’s also offers incredibly dexterous fingers to his instrument and you educational clinics as well as concerts and Hyman can hear, as in the first track “Chatting With Chris”, the 30 lectured there the day before he performed. physicality of the act. At one point, he makes his Trio Da Paz (ZOHO) Hyman, playing unaccompanied, tackles by Marcia Hillman accordion wheeze with the intensity of a full church everything from Stephen Sondheim’s “Send in the organ while in the last few seconds of “Recuerdos”, he Clowns” and three Thelonious Monk gems (“Blue In this age of instant stardom and obsolescence, it is a elongates a high note that sounds strikingly similar to Monk”, “Ugly Beauty” and “Misterioso”) to the Jerome miracle when a group stays together for 30 years. Trio a violin. Guests include pianist Arturo O’Farrill (his Kern standards “Yesterdays” and “All the Things You Da Paz celebrates this event with their newest, aptly- appearance on the plaintive ballad “Papa Pin” is Are”. Hyman plays two originals as well: his theme titled album. The trio—Romero Lubambo (guitar), particularly lovely), saxophonist John Ellis, violinist from Woody Allen’s 1985 film The Purple Rose of Cairo Nilson Matta (bass) and Duduka Da Fonseca (drums)— Meg Okura and Cristina Pato on gaita, a kind of and music (originally played on organ) from a late are virtuoso musicians from Brazil now based in New Spanish bagpipe. Jorge Roeder on bass and Eric Doob ‘60s-early ‘70s version of the game show Beat the Clock. York City. This album not only features their on drums round out the rhythm section. Listening to Hyman’s spirited six-minute version of musicianship but also demonstrates their talent as Billy Strayhorn’s “Take the ‘A’ Train”, one can hear composers with four songs by Lubambo, three by For more information, visit victorprieto.net. This project is at that he admires Duke Ellington, for whom the song Matta and a pair by Da Fonseca. The only non-original Symphony Space Leonard Nimoy Thalia Jun. 21st. See Calendar. is “Samba Triste” by legendary guitarist Baden Powell, an early virtuoso of Brazilian jazz. Uptempo items such as Lubambo’s “Sweeping The THE STONE RESIDENCIES Chimney” and “Samba Triste” spotlight the guitarist’s LOUIE BELOGENIS chord voicings and lightning-speed runs while Matta’s JUNE 21-JUNE 26 command of both the high and low registers of his instrument and Da Fonseca’s pulsing drumwork and playing of complex rhythms (as in “Alana” where he Andrew Bemkey changes meter from 15/8 to 6/8 to a double 4/4 time Blue Buddha and back to 15/8 with incredible ease) is featured throughout. 30 years of working together has produced a group Dave Douglas that is of one musical mind. A prime example of this is Charles Downs on Matta’s “Aguas Brasileiras” where Lubambo’s solo is picked up by Matta for his lead in his highest register so seamlessly that it takes a few seconds before you Ken Filiano Flow Trio realize that you are no longer listening to the guitar but to the bass. Kudos to Trio Da Paz for capturing the Lou Grassi sheer joy they feel when making music together. Mark Hennen Dave Hofstra For more information, visit zohohomusic.com. This group is Darius Jones at Tribeca Performing Arts Center Jun. 16th as part of Adam Lane Highlights in Jazz. See Calendar. Bill Laswell Russ Lossing Latest release: Tony Malaby Blue Buddha Joe McPhee Tzadik 4010 Billy Mintz ★★★★½ — Downbeat Magazine William Parker ★★★★½ Roberta Piket — The Sydney Morning Herald Ryan Sawyer Matthew Shipp Best Jazz of 2015 — Burning Ambulance The Three Voices Ches Smith Victor Prieto (s/r) Tyshawn Sorey by Matthew Kassel Twice Told Tales Michael Wimberly The accordionist Victor Prieto, instruments in hands, looms large and jubilantly over a city skyline on the cover of his new album. The skyline is actually two full calendar at thestonenyc.com cities mashed together, which is easy to miss if you THE STONE is located at the corner of and 2nd street aren’t looking closely: New York and Ourense, Prieto’s

24 JUNE 2016 | THE NEW YORK CITY JAZZ RECORD He’s available now! Call Steve’s cell at 630-865-6849.

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Midtown Manhattan 723 Seventh Avenue, 3rd / 4th Floor New York, NY 10019 Ph: 212-730-8138 www.maxwelldrums.com member’s surname—playful, cryptic, philosophical. describes his tribute to another artist as “a musical self-portrait” but in Cornelius’ family, the verse of For more information, visit for-tune.pl and doublemoon.de. Milne has been inseparable from childhood. His Dominik Wania is at Jazz Standard Jun. 21st with Obara grandmother read Milne’s poems to his mother. His International and Cornelia Street Café Jun. 25th, both as mother read them to him. When his own daughter was part of Jazztopad Festival Presents. See Calendar. born, the family copy of the book that gives this album its name was passed on to Cornelius.

This music about the joy and wonder of youth is Live in Mińsk Mazowiecki affirmational but never sentimental and only Obara International (ForTune) The Other Side Of If sometimes tender. The band is Jason Palmer (trumpet), NAK Trio (Doublemoon) John Ellis (tenor saxophone/bass clarinet), Nick by Fred Bouchard Vayenas (trombone), Miles Okazaki (guitar), Gerald Clayton (piano), Peter Slavov (bass) and Kendrick Poland has stood firm in the vanguard of jazz in Scott (drums). Cornelius writes graceful melodies and Eastern Europe since the ‘50s, in the wake of then sets his adept ensemble into motion to take his enthusiastic swing bands like Melomani, with gleeful themes through many shapes and colors. His anti-Soviet fervor embracing ‘decadence’ and strong arrangements, intricate with secondary motifs and Live at Montreux (1993) boosts from Willis Conover’s “Voice of America” radio contrasting counterlines, create vivid musical Al Jarreau (Eagle Rock Entertainment) programs. There’s way too much history to go into by John Pietaro counterparts for Milne’s imagery. On “Water Lilies”, here so let’s fast forward to today. Okazaki portrays quiet pools; Clayton bathes them in Drummer Jacek Kochan writes NAK Trio’s book Al Jarreau is an icon of crossover jazz. Far from a light; Palmer introduces the action of the winds. and alto saxophonist Maciej Obara writes all but two slight, as the vocalist is one of the true talents of the All eight individuals contribute compelling input, for his band’s live set at the House of Culture in Mińsk genre, an auteur of quality material in the company of but their solos are organic to the suite. They slip Mazowiecki, a Warsaw suburb. Their common thread leading instrumentalists, he wears the honor well. For seamlessly into and out of Cornelius’ evolving forms. is the commanding piano of Dominik Wania, a canny the uninitiated, Jarreau was a staple of programming “Vespers” is probably Milne’s best-known poem. wild-man with classical chops, adventuresome fluidity on New York’s long-lost WRVR-FM jazz radio due to (“Hush! Hush! Whisper who dares!/Christopher Robin and dramatic flair, skills he honed studying on his unique reimagining of jazz vocals. His abilities are is saying his prayers”) Okazaki opens it, his notes scholarship in Boston with Danilo Pérez. on fine display on this live recording from 1993. glittering like stars in a night sky. Clayton, Palmer and Wania anchors Obara International’s linear Though he appears to revel in faithfully reproducing Cornelius each take the rapt moment away, expanding wanderings as “Sleepwalker” gathers momentum and the hits, Jarreau leaves just enough space for and intensifying the story. “Vespers” fades away as it applies chordal glue as horn lines dip and fray on improvisation to keep the music fresh. His dreamy, began, with peaceful nocturnal guitar. “Magret” but he also flies untethered in widening reaching sound, riding on subtle funk propelling the By the end, Cornelius’ self-portrait belongs to all of gyres of Cecil Taylor-esque lightning arpeggios on rhapsodic, gospel-like turns of phrase, is only enhanced us. In art, the universal always begins with the personal. “M.O.” and clambers through thorny horn harmonies with scat vocals to elevate the listener further still. to illuminate the aforementioned “Magret” with Super-star studio/fusion musicians like drummer For more information, visit whirlwindrecordings.com. This Bartók-ian winking fireflies. , guitarist Eric Gale, keyboardist Joe project is at Cornelia Street Café Jun. 26th. See Calendar. Obara’s lyrical alto has roots in Herb Geller and Sample, bassist , synthesizer player Charlie Mariano, which bear fruit in free-blown Philippe Saisse, percussionist Paulinho Da Costa and sections, of which there are many, as the set evolves in horn player Patches Stewart lay it down well, though a languid flowing jam. British trumpeter Tom Arthurs’ many may wish they got to open up more. Still, there tart tone and lean technique make for a modest are moments: check out a very hip Sample piano solo counterfoil, especially as horn solos often overlap. on “Mas Que Nada” (yes, the wonderful old Sergio A Norse rhythm section fills out the band: bassist Ole Mendes hit) or Miller’s hyper-funky flight on the Morten Vågan goes from energetic pizzicato into closing cut. Sample, Stewart and Gale also color The meditative arco on “M.O.” and drummer Gard Nilssen Beatles’ “She’s Leaving Home” beautifully blue. scores atypical solos with long, quiet rolls early on and The selections cover a swath of Jarreau’s early pensive brushes on the closing ballad “Joli Bord”, discography, beginning with 1975’s “We Got By”, but he reminiscent of the world-weary style of trumpeter throws in a few surprises. Highlights include the Tomasz Stanko, a revered ex-boss. Wania aforementioned titles, Gershwins’ “Summertime”, doublehandedly turns “One For…” from somnolent Jarreau’s “Alonzo” and a slow take on Sample’s “Put It dirge into frisky swagger with dominant technique Where You Want It”. If Jarreau had closed the set with and runaway ideas; the horns stand tall to witness his his noted version of “Take Five”, all may be well in the rolling into an extended coda. And Wania powers the world, at least for a while. lively climactic “Idzie Bokiem” with aggressive lock- hand chugging, then storms into a commanding, For more information, visit eagle-rock.com. Jarreau is at Town tumbao-flecked solo over tight bass and chattering kit; Hall Jun. 25th as part of Blue Note Jazz Festival. See Calendar. when the horns falter, he comes back for more, firing off new-world heat into old-world languor. Voices are in better balance in the NAK Trio, where the creative exhilaration is mutual and the intimacy immediately apparent in the highly synchronized “Fortitude”. The title track rises amiably in 6/8, its jagged cross-rhythms played tautly yet at their ease. “Everything Is A Good Sign” emerges as a relaxed, melodic ballad that confidently gathers speed and raises body temperature. “Wooing to Woo” plays with short phrases with beats added, cheerful accelerations, While We’re Still Young careful attention paid by all while tumbling headlong, Patrick Cornelius (Whirlwind) as Kochan slips from sticks to brushes for Michal by Thomas Conrad Kapczuk’s bass solo. “Between Now and Never” begins as an introspective piano ballad then builds Since 2006, Patrick Cornelius has released a good steam with marvelous cross-rhythms. Kapczuk opens record roughly every two years. He is a little late with “I Have Two But One Is Not Mine”—jumpy left-handed his new one, probably because it is the most ambitious funk with a shuffling sidestep and dry dialogue undertaking of his career. His first five albums showed between piano and electric keyboard. “Illegal Sleeping” a top-tier alto saxophone improviser. While We’re Still wraps this three-way conversation with more natty Young is his breakout as composer, arranger and auteur. polyrhythmic games and speedy, elliptical free-play. It is a six-part suite inspired by the poetry of A.A. Whee, baby. NAK? It’s just the last letter of each Milne. It is initially paradoxical that Cornelius

26 JUNE 2016 | THE NEW YORK CITY JAZZ RECORD Oscar, with Love “His piano, his friends, his music, their way…”

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setting at Capitol Records Studios in Los Angeles, Covered features his trio of bassist Vicente Archer and drummer Damion Reid, the rhythm section from his previous albums Canvas and In My Element (Blue Note 2005 and 2007, respectively), as they interpret several Father’s notable covers as well as selected material from Glasper’s catalogue. Glasper immediately hits his stride on “I Don’t Even Care”, plaintive piano performing against a

Early Americans frenetic drumbeat creating a sprawling dynamic. Day Jazz Jane Ira Bloom (Outline) Glasper’s take on Victor Young’s “Stella By Starlight” by Elliott Simon is both raucous and sentimental, torn between sudden melodic outbursts and ornate passages. The covers on Sidney Bechet, and fond memories of John the record attempt to canvas a wide array of material, Coltrane’s version of “My Favorite Things” aside, the including Radiohead’s “Reckoner” and Joni Mitchell’s Brunch soprano saxophone had not been among this reviewer’s “Barangrill”, both unfortunately feeling way too favorite listening experiences. That is until Jane Ira straightforward coming from Glasper’s fingertips. Bloom. Her warm, mellow tone (yes, I am speaking of The album is at its most successful when it a soprano saxophone), bluesy swing, smooth phrasing attempts to dig deep for emotions. Glasper aims for the and spot-on intonation shatters all misconceptions. funny bone on “In Case You Forgot”, where he quotes Early Americans, surprisingly her first trio release, both Cyndi Lauper’s “Time After Time” and Bonnie presents these essentials of her sound and more in an Raitt’s “I Can’t Make You Love Me”, delighting the intimate setting. audience. On the other side is the closer “I’m Dying of Bloom’s mastery of the lower registers is on Thirst”, which features a spoken word section of a display early with opener “Song Patrol”. Wonderfully child reading a list of people that have died at the understated, bassist Mark Helias and drummer Bobby hands of police brutality. It’s a meditative end to an Previte combine for a rhythm section that doesn’t album showing that Glasper doesn’t just want to overpower the more delicate aspects of Bloom’s entertain but leave the listener to contemplate. approach. With the exception of a poignant solo version On the other side of the spectrum is Everything’s Featuring of Leonard Bernstein’s “Somewhere” to close out the Beautiful, a reimagining of several Miles Davis master session, the remaining 12 tunes are Bloom originals takes and outtakes featuring notable contemporary and traverse an array of styles. The Native American R&B and hip-hop artists like Illa J, Erykah Badu and Black Art cadence of “Dangerous Times” does support some Phonte as well as one-time Davis guitarist John judicious nasal snake-charming but Bloom is at her Scofield. Glasper and his guests beautifully weave a best as the session heats up. The band changes direction tribute to the legendary trumpeter. Jazz immediately after with “Nearly”, a beautiful tribute to What is so noteworthy about Everything’s Beautiful late trumpet player . is how consistently groove-oriented the music is, with Collective “Hips and Sticks” has a soulful spirituality every beat inviting a bounce, every note adding nuance reminiscent of vintage while “Singing and every song resulting in a smile. From the breathy Co-Presented by the Triangle” is a bluesy adventure prominently succulence of vocalist Bilal’s performance on “Ghetto the brooklyn Conservatory of MusiC featuring Helias’ hip approach. Things get Sly Stone Walkin’” to Phonte’s rhymes on “Violets”, the sheer joy funky with “Rhyme or Rhythm” and then abruptly and love that permeates from Glasper and his guests is & exCelsior MusiC studio calm down as “Mind Gray River” washes over you like hard to resist. a hot Southern rain. Previte makes sure the soundscape A highlight is “Maiysha (So Long)”, Glasper’s stays loose on “Cornets of Paradise” and Bloom uses electric piano solo from 2:50-3:20 providing a juicy, sunday June 19 | 3:00 pm shades of Bechet for a nod to both freedom and lively tone that springs off the static drumbeat. “Little . “Gateway to Progress” and “Big Bill” revel Church” feels dream-like as the swells of sound become in the aforementioned roominess and Bloom and Co. transcendent. cook in these environs. The most direct link to Miles is Glasper’s take on Wayne escoffery tenor saxoPhone While there are some lighthearted moments, “Milestones”, which features a beautifully steadfast Bloom’s soprano saxophone mainly speaks in serious performance from singer Georgia Anna Muldrow, Jeremy Pelt truMPet sentences on Early Americans. taking the Miles standard to new heights. James Burton III troMbone For more information, visit janeirabloom.com. This project For more information, visit bluenote.com and Victor Gould Piano is at Cornelia Street Café Jun. 5th. See Calendar. legacyrecordings.com. Glasper is at Blue Note Jun. 21st-26th. See Calendar. Vicente archer bass Johnathan Blake druMs

BKCM.ORG/EVENTS $25 Food & drinks included

Covered Robert Glasper (Blue Note) Everything’s Beautiful Miles Davis & Robert Glasper (Columbia-Legacy) by Eric Wendell Pianist Robert Glasper has been the cupid to the “will they, won’t they?” flirtation that has existed between 58 Seventh Avenue, Brooklyn NY 11217 jazz and hip-hop for years. He has kept a foot in each 718-622-3300 art form with brilliant results in both genres. On his

This program is made possible by the New York State most recent outings Covered and Everything’s Beautiful, Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature, and supported, in part, by public funds from the New York Glasper establishes that jazz may be his language, but City Department of Cultural Affairs in partnership with the City Council. hip-hop is his voice. Covered is an interesting take on both the live album and covers album. Recorded in an intimate

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alongside the band’s high-spirited mix of rock, pop, blues and just about everything else. It’s a quirky formula the group has been honing since it was formed way back in 1966. Talk Thelonious, recorded live in a Vermont club in 2012, features Adams’ idiosyncratic arrangements of a dozen Monk compositions, performed with current members of NRBQ (Adams is the last original member still with the group) and some guests. The album opens

La Zorra dramatically, Adams playing “Reflections” on pipe Bill Watrous Quartet (Famous Door-Progressive) organ, before switching to acoustic piano, where he by Scott Yanow proves his chops in a traditional trio setting. Elsewhere, “Hornin’ In” gets a rollicking, rockabilly treatment Trombonist Bill Watrous, who turns 77 this month, with a terrific turn from guitarist Scott Ligon. “Monk’s first gained attention for the two albums recorded with Mood” is appropriately moody with multi- his Manhattan Wildlife Refuge Big Band for Columbia instrumentalist Jim Hoke doubling on and in 1974-75. He made some of his finest small group sets pedal steel guitar while “Ask Me Now” is performed for the Famous Door label, leading five impressive as a tender duet for Adams on piano and Ligon albums during 1973-83. After moving to Los Angeles in (another accomplished multi-instrumentalist) on the late ‘70s, Watrous became involved in jazz Hammond B3 organ. Adams even revisits Monk’s take education. While Watrous has worked in the studios on the children’s song “This Old Man” (retitled “That and appeared in local jazz clubs in the years since, he Old Man”) featuring, naturally, Hoke on ocarina. has recorded much less frequently and tends to be The two standout cuts come at the end and typify overlooked despite his continuing excellence. Adams’ eccentric approach and willingness to cross Watrous has long had the ability to play bop- any and all musical boundaries. “Straight No Chaser”, oriented music as fast as any other trombonist while one of Monk’s most familiar tunes, is reimagined as, of always displaying a beautiful tone. La Zorra, originally all things, a slice of Bob Wills-inspired Western swing, recorded for Famous Door in 1980, features him in top replete with pedal steel guitar, slap bass and saloon- form leading a quartet/quintet of Jim Cox on acoustic hall piano. That’s followed by something completely and electric pianos, bassist Tom Child, drummer Chad different and unexpected: a lush, beautiful studio- Wackerman and occasionally Dave Levine on recorded version of “Ruby, My Dear” with strings. It’s a percussion and vibraphone. fitting end to Adams’ heartfelt, entertaining and utterly The opening title track is ironically the most dated original spin on the music of Monk. performance due to the Fender Rhodes (Cox is much stronger on piano) and the period rhythms. However, For more information, visit nrbq.com. Adams is at The despite that, the opening four-minute trombone solo is Stone Jun. 17th with . See Calendar. a bit wondrous. “Jitterbug Waltz” would have made a better opener; it is a true rarity in Watrous’ discography as an unaccompanied trombone solo. He alternates his melodic improvising with some low-note multiphonics used for punctuation. “Mudslide Solly”, an uptempo original, has rewarding solos from the trombonist, Cox (this time on piano) and Child. Harry Warren-Al Dubin’s “Shadow Waltz”, an obscure tune from the film Gold Diggers of 1933 worth reviving, is given a rollicking treatment. “How About You?” begins with a slow melody chorus and then, after Watrous takes an explosive break, is taken at a swinging pace. Watrous tosses in an unaccompanied chorus in the middle of his solo. Both “The Song Is You” and the bonus cut “There Is No Greater Love” are taken at burning tempos Watrous handles effortlessly. La Zorra is one of Bill Watrous’ finest recordings and serves as a perfect introduction to the playing of the brilliant trombonist.

For more information, visit jazzology.com

Talk Thelonious Terry Adams (Clang) by Joel Roberts A lot of pianists have recorded tributes to Monk but few are as unique and personal as Talk Thelonious, the new release from Terry Adams, longtime keyboard maven for the hyper-eclectic rock band NRBQ. Adams is no newcomer to Monk’s music. He befriended Monk in New York in the early ‘70s and has been playing Monk tunes with NRBQ for years,

30 JUNE 2016 | THE NEW YORK CITY JAZZ RECORD

and Piket’s own composing, arranging and playing. McPartland, who died in 2013, composed six of the eight tunes. The opener is “Ambiance” and this realizes McPartland’s interest in and . The impressionistic JULY 19–28 melody is fueled by the horn section of Steve Wilson (flute and alto), Virginia Mayhew (tenor saxophone) and Bill Mobley (trumpet). Wilson and Piket solo impressively over the distinctive mood of the changes

ReNew spurred on by the rhythm section of bassist Harvie S Shunzo Ohno (Special Sessions Music) and drummer Billy Mintz. by Terrell Holmes Of special note here is the inclusion of McPartland’s ballad “Twilight World” with lyrics by Johnny Mercer. Trumpeter Shunzo Ohno presents songs with a After a poignant introduction, with what sounds like striking blend and balance of musical and cultural Piket playing inside the piano, guest vocalist Karrin influences on his excellent new album ReNew. Allyson beautifully intones the luscious melody with From the drop of the bass and drums, opener “Easy only Piket as accompaniment. (The idea for the duet Does It” confirms Miles Davis as Ohno’s main stylistic was suggested by producer Todd Barkan.) influence. With its funky street-corner cool and Ohno’s McPartland is shown as an open-minded composer smooth, measured lines, this song is like the guy who on four other tunes: bittersweet ‘In the Days of Our knows he’s cool but doesn’t need to say it. Ohno builds Love”; mournful and soulful “Threnody” (McPartland’s solid harmonies with clear logic and rock-steady recollection of Mary Lou Williams); exotic “Time and tonality. Miles is his muse but Ohno has his own style, Time Again” and “Kaleidoscope”, the ever-changing playing with crisp rhythm and spacing, occasionally tune that served as the theme for Piano Jazz. underscoring his ideas with clustered trills. The title track and “Saying Goodbye” are Piket The title cut is an emotive ballad, contemplative tunes and they touch on the broad interests of and developed gradually, unfolding like one of those McPartland the musician and the person. The former is JIMMY GREENE elapsed-time films of flowers blooming. Ohno, guitarist a cooker with an intriguing melody and brief pointed Tenor Sax Paul Bollenback and keyboardist Clifford Carter solos by Mayhew, Piket and Wilson while Piket played complement each other perfectly (Ohno’s daughter, the latter on McPartland’s last Piano Jazz show and the Sasha, a cellist, joins her dad for the lovely reprise of host liked its expression of positive sense of loss. Piano, the tune). Another ballad, “Alone, Not Alone”, which bass and trumpet solo and help express ongoing love DON’T MISS A BEAT sounds like it has “’Round Midnight” somewhere in its for this great woman of music. of summer’s hottest jazz festival — with lineage, is spare throughout and melancholy at its edges, with Ohno overdubbed on trumpet and Carter For more information, visit thirteenthnoterecords.com. This artistic director BILL CHARLAP mimicking flute on the keys. project is at Ibeam Brooklyn Jun. 4th. See Calendar. and six sizzling lineups. Ohno is admirably fluent in several subsets of jazz, as he proves with “Musashi” and “Lea’s Run”, forays into so-called acid jazz fueled by the passionate vocals of slam poet George Yamazawa. His words are Featuring FREDDY COLE inspirational and the pace is upbeat and urgent. Returning to Miles, one may think of Doo-Bop or, DICK HYMAN perhaps, hip-hop meets hagakure. Ohno is quite adept at playing in the classic style. JIMMY GREENE “Song for Sensei”, written by bassist Buster Williams, is a perfect study in hardbop execution, sparked by HOUSTON PERSON Ohno’s soaring play and a fantastic solo by Bollenback. CAROL SLOANE “First Step” is a similarly fierce race to the finish, relentless drumming . The percussive TED ROSENTHAL genius of , tabla work of Ray Spiegel and more of Carter’s keyboard wizardry fuel the wonderful GENE BERTONCINI “Tairyo Bushi”, a Japanese folk song Ohno translates nicely into the jazz idiom. ANAT COHEN and many more! ReNew will have something for everyone. All of the songs are on point and the energy and enthusiasm that Ohno and his fellow players bring to this project is SPECIAL EVENT! palpable throughout. Screening of feature documentary For more information, visit shunzoohno.com. Ohno is at VINCE GIORDANO — Club Bonafide Jun. 25th. See Calendar. THERE’S A FUTURE IN THE PAST

Sun, Jul 10, 6 pm NEW YORK PREMIERE Join Vince Giordano, Bill Charlap and filmmakers Dave Davidson and Amber Edwards in conversation followed by a performance from Vince Giordano and the Nighthawks.

One for Marian: Celebrating Marian McPartland ORDER TODAY! Roberta Piket (Thirteenth Note) by Donald Elfman 92Y.org/Jazz | 212.415.5500 Roberta Piket first met fellow pianist Marian 92nd Street at McPartland in 1994 and a lasting friendship was Lexington Ave, NYC developed. Piket’s new album is a remarkable tribute An agency of UJA-Federation to her late friend, celebrating McPartland as a composer

32 JUNE 2016 | THE NEW YORK CITY JAZZ RECORD @ The Stone June 7 - 12 12 Sets / 11 Different Bands / 6 Premieres* Sets are at 8p & 10p The Stone is located at Avenue C and 2nd Street

June 7 8 pm - John Zorn’s Bagatelles: Mike Nicolas/Erik Friedlander 10 pm - Claws & Wings: Erik Friedlander, , Ikue Mori June 8 *8 pm - 50 Miniatures for Improvising Quintet: Jennifer Choi, Sylvie Courvoisier, Trevor Dunn, Michael Sarin, Erik Friedlander *10 pm - Vanishing Point: Craig Taborn/Erik Friedlander (cello) June 9 *8 pm - Black Phebe "RINGS": Shoko Nagai, Satoshi Takeishi, Erik Friedlander *10 pm - Velvet White: Erik Friedlander, Ikue Mori, Ava Mendoza, Ches Smith June 10 8 pm - Broken Arm Trio: Michael Sarin, Trevor Dunn, Erik Friedlander *10 pm - Arrullo de la Noche Honda: Erik Friedlander, Lucia Pulido June 11 *8 pm - The Time Quartet: Erik Friedlander, Mark Helias, , Ches Smith 10 pm - : , Erik Friedlander, Michael Sarin, Trevor Dunn June 12 8 pm - Illuminations: Erik Friedlander 10 pm - Nothing on Earth: Shoko Nagai, Satoshi Takeishi, Erik Friedlander For more info visit: erikfriedlander.com/calendar

We the Artists Ask YOU to Help Sustain Vision Festival at artsforart.org/support

An Open Letter FOR YEARS, We Artists have looked forward to presenting our work AFA runs programs that bring Improvisation to underserved children. at Vision. We hold meetings and panels to voice our concerns. Because the Arts For Art Vision Festival is unlike any other festival. Arts for Art has achieved an important place in the global It is run by artists for artists—to help build community and forge cultural landscape. alliances and make sure that the contributions of This year several of their major donors find important FreeJazz Artists will be Visible and Celebrated. themselves unable to donate at a loss to AFA AFA receives no support from major corporations. of over $30,000.

It is unique in presenting the Founders as well as the the creative option This year the city, after 18 years of consistent new generation of creative improvising artists. support, cut funding to many small June 7 - 12, Judson Church, NYC AFA works to pass on the ideals to new diverse organizations, including AFA. generations of artists. This is an emergency Vision Campaign and AFA stands for idealism and SOCIAL RESPONSIBILITY. the donations will help stabilize Arts for Art and cover festival costs. We the Artists ask that you JOIN US in Support of this important festival. signed

William Parker Henry Grimes Hamid Drake Rob Brown Karen Borca Cooper-Moore Roscoe Mitchell Chris Dingman Michele Rosewoman Ras Moshe Michael Bisio Mike Reed Jen Shyu Matthew Shipp William Hooker Larry Roland Wadada Leo Smith Andrew Cyrille Jason Hwang Jo Wood-Brown Oliver Lake Jemeel Moondoc David Mills Hill Greene James Brandon Lewis Joel Futterman Fay Victor John Zorn D.D. Jackson Newman Taylor Baker Andrew Cyrille Connie Crothers extrapolated confections. Each takes the listener on a Dee Bridgewater, Croker’s early mentor, wherein the journey distinguished by the principals’ fondness for earnest vocal and echoing trumpet triumph over the twists in the road. synth-heavy backgrounds. However, other tracks seem There’s often a bracing sweetness to Laubrock’s too abrupt or unfinished. “Because of You” is a progressions, perhaps reflecting the intimate context. promising power ballad, which, despite being one of the Both are masters of textural invention, allied in the longer tracks, ends before any soloing really starts. And drummer’s case to an expansive rhythmic wit. That’s although just over two minutes long, the closer, demonstrated by the considered exchange that opens “Rahspect (Amen)”, resonates as a completely satisfying Elektrotropizm the title track, where tenor banters conversationally duo (trumpet-piano) ballad. Zbigniew Chojnacki (ForTune) Lungfiddle against pulsing cymbals. Charged animation comes Adam Matlock (Off) when an episode of staccato saxophone prompts martial For more information, visit okeh-records.com. Croker is at by Clifford Allen drum cadences, ramping up the intensity, until a return Jazz Standard Jun. 7th-12th with and to the initial gambit. And both know how to defy Herbert Von King Park Jun. 29th as part of SummerStage. While accordion has a lengthy history in jazz, it’s far expectations as exemplified by “Twenty Lanes”, which See Calendar. from a common instrument. Indeed, it probably has far generates a more discursive trip than most. After a start more detractors than supporters, which is unfortunate of pattering percussion like lapping waves against because the accordion is an incredibly versatile axe. The barely audible soprano tones, Laubrock’s foghorn blurts most visible contemporary practitioners fall squarely in shatter the mood. In empathy Rainey’s abrupt the avant garde realm, building on expanded palettes drumbeats erupt from a low-volume crackle. An and a clear understanding of the instrument’s rich unforced evolution common to each of these pieces finding love in preexisting vocabulary. finally leads to a sprightly folk dance, illuminated by an oligarchy on a On the young Polish accordionist Zbigniew skronk over a snappy tattoo. Chojnacki’s unaccompanied debut Elektrotropizm, he A similar trajectory holds sway on the briefer dying planet supplants a grimy Hammond B3-like insistence with an “The Museum Of Human Achievement”, where a gentle Joe Lovano array of pedals and a laptop (as well as occasional ruminative opening suddenly pivots on a contorted wordless vocals). The music ranges from bright, folksy phrase to take a darker turn with rumbling toms and Kate McGarry melodies, like the closing “Tuwim”, to the fantasia of overblown squawks. “Thunderbird” shows some of the Noah Preminger measured blurts and sine-abetted darts that begins the unexpected destinations where such capers can lead. Gary Versace four-part “Suite” central to the disc. By its third section, It features droney tenor and furtive percussive rustlings, Masa Kamaguchi Chojnacki’s deft keyboard work and supple bellows are set amid lots of space. Rainey contributes an emphatic in full view, creating intricate chordal patterns unaccompanied flourish, before the piece finishes with Brendan Burke advancing and receding in relation to dramatic melody a steady pulse fading to silence. fragments, halting in curtailed blows as he builds an Available now on emphatic slink into the lengthy fourth part’s honking For more information, visit relativepitchrecords.com. This Brooklyn Jazz Underground Records www.bjurecords.com minimalism. Elektrotropizm is a flawless, vast exploration project is at Barbès Jun. 15th and Zürcher Gallery Jun. 30th. www.robgarciamusic.com arrived at through singular means. See Calendar. Accordionist, vocalist and composer Adam Matlock is based in New Haven and is mostly known for his work in the Tri-Centric orbit of composer Anthony Braxton and related ensembles (Broadcloth; Dr. Caterwaul’s Cadre of Clairvoyant Claptraps). Lungfiddle is his latest acappella effort, a seven-tune outlay of driving button-flecks, chewy particulars and whirling drone. Matlock is a harried technician with frenzied clarity and, unlike some of his peers, he avoids electronics entirely. In hearing the controlled panoply exhibited on this set, it’s hard to believe this constant Escape Velocity amalgam of breath and finger motion is unadulterated— Theo Croker (OKeh) yet the music shouldn’t be entirely prized for physique, by George Kanzler as out of pure, shapely emotion and breathtaking runs occasionally emerge fully realized structures. In the Trumpeter Theo Croker and his band DVRK FUNK pantheon of solo recordings of any stripe, accordion or bring a decidedly pop-funk electric orientation to his otherwise, Lungfiddle is a stunning achievement. sophomore recording, one not quite as eclectic as his debut AfroPhysicist. The 15 tracks range from just over For more information, visit for-tune.pl and off-recordlabel. the two minute mark to a couple that barely broach five. blogspot.com. Matlock is at Soup & Sound Jun. 25th. See Calendar. With heavily layered rhythms and textures and emphasis on ensemble themes over improvised solos,

many of these tracks resemble funk-jazz tunes suitable for commercial radio stations. Croker is front and center as trumpet lead and soloist, often layering his playing with reverb and/or overdubbing lines from open trumpet and wah or Harmon-muted trumpet. His open sound is tart and low vibrato, capable of growls and clean high, long notes as on “Meditations”, one of the few acoustic (sextet) tracks, a recollection of hardbop with an elongated tag finale. He displays creative flair on the duo track “A Call to the Buoyancy Ingrid Laubrock/Tom Rainey (Relative Pitch) Ancestors”, soloing over African percussion with open by John Sharpe trumpet reminiscent of Hugh Masekela, but layered with bleats from trumpet mouthpiece. At the center of It should come as no surprise that a duet by a husband the album is a pair of tunes with Black Lives Matter and wife team may be described as deeply personal. inspiration: “We Can’t Breathe” evokes the killings of What may be less of a given is the freshness of response Trayvon Martin and Eric Garner, powered by churning saxophonist Ingrid Laubrock and drummer Tom Rainey rhythms and emotive organ and tenor saxophone solos, conjure from their extensive experience, both together followed by “It’s Gonna Be Alright”, an upbeat response and separately. Recorded live at the end of a 17-date over chattering beats, which includes a vocal chorus of North American tour, Buoyancy finds the pair in relaxed the title phrase. but still vigilant mode. The album comprises four jointly A highlight is “Love from the Sun”, featuring Dee

34 JUNE 2016 | THE NEW YORK CITY JAZZ RECORD

immediately. It’s apparent from the first track, as Magnarelli’s powerful opening title track is postbop at Goldberg initiates “Starry/False” with an ascending its best while Davis’ “Easy” has the laid-back feeling of phrase around which Halvorson begins to present lines a walk on a spring day. With its many twists, DiRubbo’s that initially agree then diverge. “False Goat’s Beard” “The Step Up” is infectious, with terrific call-and- covers tremendous ground, ultimately arriving at mere response and tight harmonies. The quintet is up to wisps of evanescent sound when Goldberg lowers the tackling two Coltrane works, a boisterous rendition of volume to the point where his clarinet seems to be “26-2” and a thoughtful treatment of “Central Park whispering secrets. “Yellow Queen” has Halvorson West”, showcasing expressive trumpet and creative playing tentatively, sounding like she’s literally looking organ. French Impressionist Claude Debussy’s music

In My View for something she hasn’t heard yet; when Goldberg has been explored by jazz groups though rarely as Michael Gibbs & The NDR Big Band (Cuneiform) enters, his sound is so liquid as to suggest the sound focused as Magnarelli’s swaggering arrangement of the by Mark Keresman may be found underwater and Fujiwara’s distinct taps ballad “My Reverie”. This consistently high performance seem to be measuring depths. practically demands a follow-up session. Michael Gibbs, composer, arranger, conductor and “Obedience” is a gentle tangle of overlapping With over three-and-a-half decades in the New educator, has long been one of jazz’ most prized assets. repeating phrases that eventually becomes a throbbing York jazz scene, beginning with Buddy Rich and Toshiko That lovely song “Sweet Rain” from the album field of dense, buzzing guitar and drums. “Pink Home Akiyoshi, Walt Weiskopf is long established as a hard- of the same name? His tune. He’s also collaborated with Run” demonstrates Goldberg’s knack for pure blowing tenor saxophonist and creative composer. Gary Burton and The and while spontaneous melody, setting it in a woody lower register Accompanied by Charette, up-and-coming vibraphonist based in the UK Gibbs’ orchestras featured the cream of suggesting Jimmy Giuffre; cymbals and snare provide a Behn Gillece and Fidyk, most of The Way You Say It British jazz (and occasionally rock) talent. In My View, frame while the guitar’s pitches bend off into space. focuses on Weiskopf’s potent originals, starting with the Gibbs directing the estimable NDR Big Band of Germany, Sometimes consistent patterns emerge and strong percolating blues “Coffee and Scones”. The catchy is an album split almost evenly between Gibbs originals continuous play develops, presenting another unison theme of “Blues Combination” is negotiated and choice (and none too obvious) standards. dimension. “Trout-Lily” begins as a kind of free ‘cool with the confidence of a working band, Fidyk providing In My View is in the tradition of - jazz’ only to become increasingly chromatic and a strong undercurrent. Alex -Joan Whitney- Lew Tabackin, , late-period Duke Ellington agitated; Goldberg and Fujiwara generate intense free Mack David’s “Candy” was long favored by soul jazz and circa 1970-75—a swinging modern jazz on “Nearly Wild”. saxophonists and this understated interpretation pays big band with a brassy style, imaginative arrangements Those titles are the names of flowers (“False Goat’s homage to past greats, with sublime organ and soft and concise but inspired soloing. But Gibbs keeps it Beard” is a species of astilbe common in woodlands; brushwork supplying the perfect backdrop. There’s a fresh and unpredictable. His “’Tis As It Should Be” “Pink Home Run” is a rose) and it’s an inspired match change in direction with the dramatic setting of Weather opens with a Latin-tinged cha-cha-cha rhythmic lilt, for music that seems to be playing with its own genetic Report’s “Scarlet Woman”, then an effortless galloping bright, yearning brass lines and the buttery swagger of codes, from things as they are to mixes of unconscious through Charlie Parker’s bop gem “Segment” before Claus Stötter’s flugelhorn. Carla Bley’s “Ida Lupino”, patterns, new hypotheses and sudden interventions. cooling off the listener with the lush title ballad. an elegant homage to the late actress and director, evokes a J.S. Bach chorale, then the soundtrack to a film For more information, visit relativepitchrecords.com. This For more information, visit posi-tone.com. Charette, noir (such as Lupino directed) thanks to the moody, project is at Cornelia Street Café Jun. 14th. See Calendar. Magnarelli and Weiskopf are at Club Bonafide Jun. 24th blues-hinted piano solo by Vladyslav Sendecki and with the Posi-Tone Allstars. See Calendar. warm, fluid clarinet of the recently passed Lutz Büchner. Monk’s “Misterioso” gets a sumptuous Ellington-like treatment until it takes a punchy, darting tone, followed by burlesque-like orchestral backgrounds over which the trombone section goes to town with aggrieved growls, mock-tortured wails and suavely agreeable bluster. Gibbs maintains Ornette Coleman’s “Ramblin’” Once & Future Brian Charette (Posi-Tone) country and blues undertones while adding some off- Three on Two kilter old-school riff-heavy swing à la Count Basie. Joe Magnarelli (Posi-Tone) Attention, big band fans—Gibbs finds a middle The Way You Say It path between the creative approaches of Evans and Bley Walt Weiskopf (Posi-Tone) and the visceral drive of - and by Ken Dryden Herman and traverses that path with plenty of distinctive class and top-shelf technique. Brian Charette has been a rapidly rising star of the Hammond B3 organ for the past few years and his latest For more information, visit cuneiformrecords.com. Gibbs is CD is a salute to his fellow players, ranging from greats at The Stone Jun. 14th with Hal Willner. See Calendar. of the Swing Era to current players. Well accompanied by guitarist Will Bernard and drummer Steve Fidyk,

Charette is interested in modernizing vintage tunes while putting his stamp on them. Starting with ’s “Jitterbug Waltz”, Charette swings but the peppy rhythm section gives this jazz favorite a new flavor. His funky take of Larry Young’s blues “Tyrone” downplays ’s influence on its composer and turns it into a percolating number for partying. The band engages in shout-outs of the title to Jack McDuff’s engaging funky blues “Hot Barbecue”, though Charette’s keyboard fireworks merit the real attention. The Out Louds Bud Powell’s “Dance of the Infidels” isn’t commonly Ben Goldberg/Mary Halvorson/Tomas Fujiwara (Relative Pitch) heard on organ, but this imaginative treatment may by Stuart Broomer open the door for others to conduct further explorations. Charette wraps the session with his hip “Blues For 96”. The Out Louds is a new formation of three accomplished The future of Hammond B3 is in great hands. improvisers: clarinetist Ben Goldberg, guitarist Mary Trumpeter Joe Magnarelli relocated from Syracuse Halvorson and drummer Tomas Fujiwara. While to New York City in the mid ‘80s and has steadily built improvising ensembles usually work within a style, The a solid reputation as a leader and sideman. On Three on Out Louds seem to be living up to their name, literally Two, his ninth CD, he is joined in the frontline by “thinking out loud”, seeking different ways to meld trombonist Steve Davis and alto saxophonist Mike their musical thoughts. DiRubbo, with the “two” being Charette and drummer Distinct approaches arise everywhere here, whether Rudy Royston. This release has an engaging vibe that it’s a lead voice establishing a distinctly odd tack or makes it sound like a working group rather than supportive bits that wander far afield, sometimes almost musicians who rehearsed a few tunes for a record date.

36 JUNE 2016 | THE NEW YORK CITY JAZZ RECORD uly 29 - 31, 2016

Norah Jones • Chick Corea trilogy w/ Christian McBride & Brian Blade • Gregory Porter • Kamasi Washington Robert Glasper Experiment • Joey Alexander Trio • Nels Cline: Music from Lovers • Charles Lloyd New Quartet w/ Jason Moran, Reuben rogers & Eric Harland • /Joe Lovano Quartet The Bad Plus performs Ornette Coleman’s Science Fiction • Galactic • Potter, Holland, Loueke & Harland • José James Donny McCaslin Group • Lizz Wright • Christian Scott aTunde Adjuah Presents Stretch Music • Kneebody Darcy James Argue’s Secret Society • Tierney Sutton: “After Blue” The Joni Mitchell Project • Mary Halvorson Harlem-Kingston Express • Kenny Barron Trio • Steve Coleman & Five Elements • Anat Cohen Tentet Dave Liebman Expansions Group • Edmar Castañeda World Ensemble • The Heath Brothers • Toshiko Akiyoshi Etienne Charles & Creole Soul • Butler, Bernstein & The Hot 9 • Marc Ribot & The Young Philadelphians Harris Sonic Creed • Django Festival All Stars • Yosvany Terry Quintet • Peter Apfelbaum’s Sparkler Tyshawn Sorey & Alloy • Ben Williams & Sound Effect W/ Gilad Hekselman & Christian Sands • The Hot Sardines Sullivan Fortner Quartet • Eric Revis Parallax W/ Ken Vandermark, Kris Davis & Nasheet Waits • The Westerlies Kris Davis • Terry Waldo • Rossano Sportiello • Cory Smythe • Roxy Coss Quintet: 2016 ASCAP Composer Berklee Global Jazz Ambassadors featuring Danilo Pérez • University of Rhode island Big Band & Rhode island Music Educators Associations All-State Jazz Bands newportjazzfest.org

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jazz club and mentoring local talent. He was a founding composers of the 19th Century. member of the AACM but, unlike its members, rarely Throughout the solo, McPhee leaves the melody ventured far from his Midwest base. Presumably—the for a series of distinct improvisations: leaping registers; CD lacks discographical information—this album was speeding up and playing freely; adding honking recorded at the same concert as Vol. I, March 22, 2000 rhythm ‘n’ blues; baring sounding notes to the rhythmic (his 71st birthday), at his Chicago club The Velvet accompaniment of his key pads; or exploring abrasive Lounge with bassist Tatsu Aoki and erstwhile Chicago multiphonics that link low-end roar to squealing highs drummer Chad Taylor. in a single, complex, massed sound, each time returning For a point of reference, the pianoless trios of to the original material and mood for sustenance and

Solidarity from the ‘50s-60s are a good start. Like inspiration. It’s work of rare and special power. Matt Lavelle’s 12 Houses (Unseen Rain) Rollins, Anderson exhibits an orotund tone and by Ken Waxman copious, proliferating ideas in solos that pour out with For more information, visit monofonuspress.com/astral-spirits. fertile, seemingly boundless imagination. McPhee is at The Stone Jun. 21st as a guest of the Flow Trio. Multi-instrumentalist Matt Lavelle, true believer in Opener “It’s Us” finds him reeling off dozens of See Calendar. the latitude of , has worked in ensembles with choruses in an initial ten-minute-plus solo, all such advanced figures as William Parker and Butch constructed over a teeming background with bass Morris. Now, like a post-doctoral fellow ready to take suggesting half-time and drums double-time to his IN PRINT his mentors’ research in new directions, Lavelle has intrepid swing pace. Then he returns with another long organized a 16-piece band, whose in-the-moment unity solo over slower, more syncopated rhythms. splendidly reflects the experiences designated by the For a bare-bones trio performance, there’s a lot of horoscope’s 12 houses. variety here, with each of the four tracks quite The six tracks are satisfying because Lavelle has distinctive and developing in multiple sections with blended additional currents into the program. Building changed-up rhythms and textures. “Prime Moment” on the large-group acumen in Parker’s bands and begins with Aoki’s fluttering, vibrating arco ostinato, utilizing conduction Morris initiated, Lavelle, who tenor intimately fashioning lines on top as Taylor plays cornet, flugelhorn and alto clarinet here, moves enters playing drum heads with his hands. Then tone beyond expected jazz tropes and instrumentation. and texture shift as saxophone creates a staccato Besides the usual , piano, guitar, bass and rhythm picked up by sticks for the second part. drums, 12 Houses is inhabited by piccolo, bassoon, “Hoistin’” begins with a walking bassline introducing Music to Silence to Music (A Biography of Henry Grimes) violin, cello, percussion, banjo and mandolin plus the a slow drag shuffle beat from drums, tenor deliberate Barbara Frenz (Northway Publications) wordless vocalization of Anaïs Maviel. and bluesy. But the piece keeps evolving, the beat by Tyran Grillo The result is chameleon-like themes, which, for accelerating to a fast clip à la Mingus romps. example, have pianist Chris Forbes cracking out Anderson’s late ‘70s composition “Wandering” In his foreword to Music to Silence to Music: dynamic kinetics in “Brooklyn Mountain” as if he was closes, beginning with a long cadenza from tenor, first A Biography of Henry Grimes, Sonny Rollins recalls his Cecil Taylor on Unit Structures, yet playing so acappella, then joined by rubato bass and brushes. with the young bassist in : straightforward on “Faith” that the linkage is to 19th That too morphs from the initial expansive ballad into “He seemed to hear and immediately respond…in an Century Romantic tropes, with a detour into a a rolling toms tattoo under a climactic solo to end it. unbroken circuit between muse and man.” Likewise, devotee’s parlor for a church hymn. German historian Barbara Frenz’ lovingly penned Besides Lavelle, the standout soloists are alto For more information, visit asianimprov.org biography wires an unbroken circuit between reader saxophonist Charles Waters and tenor saxophonist Ras and subject.

Moshe, especially during those moments of altissimo Frenz jumps improvisationally from reportage ecstasy on the title track and elsewhere as if they were to interview. The resulting portrait is as multifaceted and on Ascension. Maviel as the man himself. Grimes may not be interested in too has the ability to alter her tessitura to blend with the anecdotal, but his memories yield a veritable the strings or double the reed parts. Lavelle harmonizes résumé of iconic associations. By the early ‘60s he the bowed and plucked strings to provide interludes of was swimming in the deep end of New York City’s delicate reserve. It’s an indication of his wit and the jazz scene, where collaborations with the likes of group’s freedom that on “Cherry Swing”, prodded by unlocked his evolutionary potential. In bassist François Grillot’s symmetrical pulse, cadence 1967, just two years after his first leader date, he left turns to cacophony when banjo player Jack DeSalvo the East Coast for the west and wasn’t heard from for Zurich (1979) uncorks a salvo of twangs as if Earl Scruggs has pushed Joe McPhee (Astral Spirits) nearly four decades. Grimes was forced to sell his his way into a Count Basie jam. by Stuart Broomer bass in Los Angeles, where he sustained himself Solidarity is the equivalent of research that builds through odd jobs until he was rediscovered in 2002. on its antecedents to affect a breakthrough. But it’s a Zurich (1979) is a work that immediately insists on He has been playing ever since, much to the glee of lot more fun than an academic paper—dig the gospel- your attention, a single-sided LP with a hand silk- listeners and journalists alike, playing hundreds of like handclapping at the climax to “Faith”. screened jacket. It’s a direct invocation of Albert concerts and surpassing even his own exalted Ayler’s Bells, his single-sided, white vinyl LP with a reputation in the process. During the silence, he For more information, visit unseenrainrecords.com. This silk-screened blank side and jacket, the latter in barely didn’t so much as touch an instrument. And yet, as project is at Nublu Sundays. See Regular Engagements. legible yellow print on a black field. More than any Frenz makes clear, the music was always germinating other living musician, Joe McPhee has carried forward inside him, along with a literary worldview that

the Ayler legacy. Though he seems to play alto would feed back into his reprisal endeavors. His saxophone and pocket trumpet more often these days, poetry is dark yet insightful and, like his soloing, McPhee’s tenor sound, like Ayler’s, has a certain focuses its attention on human interaction. sweetness that weaves in and out of the harshest blasts, With this biography, Frenz has undone the sometimes rising to become the dominant sound. misconception of Grimes as reticent ghost, arguing The piece—called simply “Tenor solo” and instead for his bold expressiveness while further originally recorded on cassette—stands isolated here emphasizing his versatility, go-with-the-flow attitude in a kind of glory, reminding one of how much musical and inner growth. His past contributions are obvious, substance can be pressed into 19 minutes. The music is but, as Frenz is quick to point out, his importance to free jazz, its improvisations hinged to an initial motif the future of jazz even more so. Rather than an Quintessential Birthday Trio, Vol. II Fred Anderson (Asian Improv) to which McPhee returns, a few hymn-like notes introvert who almost faded into obscurity, she wants by George Kanzler suggesting a late Coltrane melodic figure. At the outset us to see him as someone uninterested in attachments, it’s hesitant, the sound is breathy and there are pauses living as he has—and always will—in the immaterial. Tenor saxophonist Fred Anderson, who died six years between the phrases as the tune takes shape, gathering ago this month at 81, was one of those formidable force and determination until it begins to break free. For more information, visit parkwestpubs.com. Grimes musicians who fall through the cracks, never garnering It is as if McPhee is calling up the tune from the greatest receives the Vision Festival Lifetime Achievement Award the reputation he deserved because he spent his depth of memory, as if the work is a collective act that at Judson Church Jun. 7th. See Calendar. working life in Chicago, much of it operating his own includes Ayler and Coltrane and the anonymous gospel

38 JUNE 2016 | THE NEW YORK CITY JAZZ RECORD

Gerald Clayton debuts “Morning” as if he had rehearsed (Waters of March)” takes its time to reveal itself, but this it with the composer. , a noted composer boisterous interpretation has terrific interplay between and pianist himself, plays a shimmering rendition of sections and effective use of more wordless vocals. “Harcourt Nights”, which best reveals the capabilities “The L & T Suite” is a three-movement work of Peterson’s treasured piano. dedicated to Reeves’ wife Jane: hard-driving “Wants to The third disc begins with Chick Corea’s “One For Dance” is bold and brassy, featuring Wilson’s effusive Oscar”, an introspective portrait of the late jazz master. alto saxophone; somber yet at times whimsical Lance Anderson, not as well known outside of Canada, “A Trombonist’s Tale” naturally showcases that horn, in makes the first recording of a piece Peterson wrote in this case, Matt McDonald; and Ridl takes center stage in

Oscar, With Love his honor, “Sir Lancewell”; Anderson’s hip stride is not the rousing finale “Hip Kitty”. Scott Reeves’ use of big Various Artists (Two Lions) to be missed while his jaunty version of “OP’s Boogie” band has enabled him to broaden his musical palette. by Ken Dryden (which the two pianists co-wrote) recalls Peterson’s early career. Hiromi’s jaunty original “Oscar’s New For more information, visit origin-records.com. This project Following the death of Oscar Peterson in 2007, his Camera” recalls the pianist’s playful side, showcasing is at ShapeShifter Lab Jun. 17th. See Calendar. treasured nine-foot Bösendorfer Imperial grand piano her tremendous technique and appreciation for sat unused in his home studio. Inspired by a technician’s Peterson’s wide stylistic range. “Goodbye Old Friend” comment that the great instrument needed to be played, was written by Peterson for bassist Niels-Henning ON SCREEN Kelly Peterson (the composer’s widow) began planning Ørsted Pedersen when he left his quartet; performed a recorded tribute in his honor to celebrate what would often but never recorded, David Young’s unaccompanied have been his 90th birthday, inviting musicians of bass pays a fitting tribute to both virtuosos. different age groups, many of whom Peterson knew and This package was issued in four different editions respected, along with young lions who have emerged in last November: a three-CD set and an expanded edition recent years. One of the joys of this three-CD set is the with a deluxe book containing extensive program notes emphasis on Peterson as a composer, especially on a and loads of delightful photographs of the artists and number of pieces not previously recorded or performed. sessions by Tracey Nolan, along with others from the Each pianist captures the essence of the composer’s gift Peterson family archives, including numerous photos for melody and even though there is no attempt to try to taken by the late pianist, who was a big camera buff. play like the master, a bit of influence can’t help but There is also a limited edition five-LP set and a special appear from time to time. collector’s version (with just 20 numbered copies), A Man In A Hurry Tubby Hayes (Mono Media) With so many artists taking part, it is hard to give which adds an LP of unissued performances by Peterson. by Ken Waxman everyone sufficient space, though every track is of high No matter which version is purchased, it will become a caliber. Makoto Ozone’s elegant rendition of previously treasured part of your collection. It seems unlikely for Tenor saxophonist Tubby Hayes, who died 43 years unrecorded “The Contessa” conveys Peterson’s lyrical Oscar, With Love to be a one-off project, as additional ago this month at 38, is acknowledged as the pre- side and is a perfect opener to the set. It’s a joy to hear players and other Peterson works deserve to become a free music British player who could hold his own veteran Canadian pianists who don’t get as much part of forthcoming volumes. with any American innovator; we have the LPs he attention outside their homeland like Robi Botos, whose made with Clark Terry and Roland Kirk as proof. expressive rendition of “Blues For Smedley” sounds as For more information, visit oscarwithlove.com. A Peterson This documentary is a classic look at the if the composer is standing behind him, giving him tribute by Mike Longo is at NYC Baha’i Center Jun. 14th. musician, including performance footage plus encouragement. Delightful husband-wife team of Bill See Calendar. interviews with 21 observers, who outline the Charlap and Renee Rosnes romp through “Sushi” and circumstances that made him the musician he was, bring back memories of Peterson’s two appearances on yet contributed to his early death. Hayes got his first Marian McPartland’s Piano Jazz. Justin Kauflin, the saxophone at 12 and was playing professionally at young blind pianist mentored by the late Clark Terry, 15. He looked young, stood five foot five and plays with the skills of a veteran for “On Danish Shore”, weighed close to 200 pounds. Yet, as tenor the Peterson influence coming to the surface in his saxophonist , his partner in The Jazz blazing right hand. Kenny Barron’s sensitive, spacious Couriers says, the first time he played with him, he arrangement of “Ballad For ” makes it was nearly blown off the stand. seem like a lullaby. Hayes formed his first group in 1954 and Disc Two is full of gems as well. Benny Green, who thrived during hardbop’s heyday. Dressed in sports Peterson honored with a special prize and invited to jackets and narrow tie, the saxophonist projected a Portraits and Places accompany him on a rare duo piano date back in the hip, Mod look in contrast with the scruffy Trad Jazz Scott Reeves Jazz Orchestra (featuring Steve Wilson) ‘90s, pays homage with his touching treatment of the (Origin) followers. Teaching himself flute and vibraphone, ballad “If Only You Knew”. Monty Alexander and Dave by Ken Dryden Hayes also did studio and movie work—there’s a Young, Peterson’s bassist for many years, join forces for clip of him camping it up during an on-screen “The Gentle Waltz”, which gradually transforms from a Arranger/composer Scott Reeves has only recorded appearance in Dr. Terror’s House of Horrors and at quiet setting into a robust, bravura performance. under his own name on occasion over the past 20 years one point he hosted and played on two prime-time and though he has been leading a large ensemble since TV shows. Hayes was acclaimed in the U.S. as well, 2008, this is his first recording with it. Reeves makes with featured gigs at The but musicians’ good use of top-shelf instrumentalists, which include union exchange rules kept him home. more than a few leaders and in-demand session players Another drawback was Hayes’ habits. As Scott in New York City. His instrument, when he isn’t says, “he burned the candle at both ends and started conducting, is the infrequently heard alto flugelhorn. working on the middle.” A prodigious drinker, “The Soulful Mr. Williams” is a tribute to the Hayes was arrested for “hemp” possession in the beloved late jazz pianist and educator James Williams. early ‘50s and soon turned to heroin. The This fleshed-out postbop arrangement captures the explosion then upset his world as audiences turned spirit of its namesake, with a brooding undercurrent for away from jazz. While Hayes grew his hair and tried a superb mix of horns and reeds, featuring the leader to keep up—there’s a clip of the sad looking and pianist Jim Ridl’s darting, dramatic solo. The saxophonist running the changes on “Hey Jude”— sophisticated “3 ’n 2” employs sudden changes in his addiction caught up with him. An arrest for direction, infectious Latin rhythm and passionate solos possession coincided with his singer-girlfriend’s by tenor saxophonist Tim Armacost and trumpeter Bill fatal overdose. His stretch in rehab revealed serious Mobley. “Osaka June” is initially a beautiful tone poem heart problems. Surgery corrected the defect for a featuring Sara Serpa on wordless vocals, but the texture while, but Hayes didn’t change his lifestyle. Finally changes following the use of two Japanese speakers in a so weak he couldn’t play, he was back in hospital brief dialogue, turning the work into a lush aural and died during surgery. landscape, showcasing Steve Wilson’s playful soprano sax in brief passages. Reeves’ modern setting of Antonio For more information, visit amaninahurry. Carlos Jobim’s bossa nova gem “Águas de Março

THE NEW YORK CITY JAZZ RECORD | JUNE 2016 39 piano solos in each case. fraught for courtship. “Reunion” is a swinging affair BOXED SET Hill’s music emphasizes group improvisation and “Andrew”, written by Hill’s second wife, organist but demands attention to form and harmony. The Laverne Gillette, is mellower than the other pieces. Spring 2011 issue of Journal of Jazz Studies contains an When listening to Verona Rag without first insightful article by Jeffrey Lovell called “Out of the noting the content of the set, “Darn That Dream” and Ordinary” in which he points out: “Features of Hill’s “Afternoon In Paris” are surprising and revelatory. style include shifting tempos and meters, expressive The melodies are not as obscured as with “Ceora”, dissonances, percussive chords and angular melodic but these unique readings evince tradition in various lines with elastic rhythmic phrasing.” He goes on to guises. The aforementioned Lovell article contains a observe that, “Hill’s compositions tend to be well- thorough analysis of Hill’s “Verona Rag”: “This conceived roadmaps, with specific (and quite taxing) employment of standard chord relationships makes parts and roles assigned and a definite sense of ‘Verona Rag’ something of an anomaly among Hill’s The Complete Remastered Recordings harmonic direction and climax…this compositional compositions …standard chord relationships on Black Saint & Soul Note forethought hardly makes his performances safe or strengthen the link to the historical model.” Andrew Hill (CAMJazz) predictable.” These remarks can be applied to Shades is a quartet with Clifford Jordan (tenor by Anders Griffen virtually all of Hill’s music. saxophone), Rufus Reid (bass) and Ben Riley After 1975, with his Hommage (East Wind) and (drums). “Monk’s Glimpse” consists of not only Late pianist Andrew Hill, who would have turned Live At Montreux (Arista/Freedom), solo piano is a Monk’s rhythmic influence, but also features his 85 this month, recorded seven amazing albums for recurring vehicle. Faces Of Hope opens with “Rob It three-note chromatic phrase ending from “Bye-Ya”. Blue Note from September 1963-June 1964: Joe Mohe” and exhibits Hill’s trademark language and “Tripping” further demonstrates thematic Henderson’s Our Thing and ’s No Room percussive touch. ’s “Ceora” (from development and rhythmic elasticity. Jordan tears For Squares along with his own visionary sides Black 1965’s Cornbread, Blue Note) is well obscured by apart the upbeat 12-bar blues of “Chilly Mac”. And, Fire, Smokestack, Judgment!, Point Of Departure and reharmonization and changing rhythms. The softly with its magnificent modulation from 4 to 3, “Ball Andrew!. While the progress of jazz continued to geometric “Bayside 1” and “Bayside 2” call to mind Square” is illustrative of what Richard Cook and fracture convention, Hill burst forth with a sound all Hill’s informal study with composer Paul Hindemith, Brian Morton described in The Penguin Guide to Jazz his own. He is best known for this prolific period, about which Hill has said: “What we talked about on CD as tempos “too subliminal to be strictly but his later oeuvre is not to be missed. was musical shapes and spaces more than harmony.” counted.” This set consists of two solo piano discs, one trio Alan Silva (bass) and Freddie Waits (drums) are In the ‘90s, returning to the East Coast and to record and one quartet session. The album titles on phenomenal on Strange Serenade, one of Hill’s most Blue Note, Hill broadened his influence and the box appear in the order they were released, not ‘free’ group performances. Merriam-Webster defines solidified his place among the masters. As Anthony the order they were recorded. Jun. 13th-14th, 1980 “Serenade” as “a complimentary vocal or Braxton wrote, “These compositions are sonic gold produced the music for Strange Serenade and Faces Of instrumental performance; especially one given and can be mined for musical secrets forever.” Hope, in that order, while Jul. 3rd-4th, 1986 resulted outdoors at night for a woman being courted.” The Andrew Hill resonates with vitality throughout. in Shades and Verona Rag was recorded on Jul. 5th, record in hand, then, is indeed “strange”. The title 1986. The group sessions were recorded prior to the track becomes rather boisterous and probably too For more information, visit camjazz.com

JUN 1–5 JUN 20 monty alexander lucas pino’s no net nonet

JUN 6 JUN 21 jazz at lincoln center youth the steve davis quintet orchestra featuring larry willis

JUN 7 JUN 22–23 dan block quintet: mary lou jazztopad festival wiliams and benny carter presented in partnership with meet hard bop the polish cultural institute of new york JUN 8 –9 dominick farinacci: JUN 24–26 short stories album release victor goines

JUN 27 JUN 10 –12 dion parson & 21st century band director academy band faculty band

JUN 28 –2 9 JUN 13*–15 ali jackson trio etienne charles *monday nights with wbgo JUN 30–JUL 3 JUN 16 –19 renee rosnes quartet tom harrell quintet: 70th birthday celebration

swing by tonight set times 7:30pm & 9:30pm jazz.org / dizzys

Jazz at Lincoln Center’s Frederick P. Rose Hall Broadway at 60th Street, 5th Floor, nyc

40 JUNE 2016 | THE NEW YORK CITY JAZZ RECORD MISCELLANY ON THIS DAY by Andrey Henkin

Walking Down Taro’s Mood The Classic Concert Live Celebrated Blazons Bennie Green (Prestige) (SteepleChase) (Enja) Tormé/Mulligan/Shearing (Concord) The Feel Trio (FMP) June 29th, 1956 June 29th, 1967 June 29th, 1973 June 29th, 1982 June 29th, 1990 The trombonist’s star burned brightly Trying to pick one thing for which After a series of albums made in his This concert from Carnegie Hall brings Pianist Cecil Taylor is the venerated but not for too long, beginning with tenor saxophonist Dexter Gordon was native Japan, trumpeter Terumasa together three varied performers in elder ostensibly leading The Feel Trio, 1950 sessions with and most famous is tough but in the mix Hino released two albums for vocalist Mel Tormé (aka The Velvet three players separated by some 23 to his final appearances should be his ballad playing, much Germany’s in the early Fog), baritone saxophone legend Gerry years, on the second of its three releases at the 1972 Newport Jazz Festival five featured during a prolific relationship ‘70s (as well as appearing on LPs by Mulligan and blind British bebopping during a brief existence. Completing years before his death. But he was a with his adopted home of Denmark’s and Mal Waldron later in pianist . Backing up the band was bassist William Parker, prolific leader with nearly 20 albums SteepleChase Records between 1962- the decade). Unlike the international the threesome—Shearing, 62; Tormé, who began working with Taylor off between 1951-64. This was his final 76. This particular album was released cast of 1971’s Vibrations, this live album 56; Mulligan 55—is the latter’s Concert and on in 1981, and British drummer Prestige session before moving to Blue some 22 years after his death and from Munich’s Jazzclub Domicile is an Jazz Band (which included Laurie Tony Oxley, who first worked with the Note, a date with, apart from Basie documents a concert from Jazzhus all-Japanese quintet of Mikio Masuda Frink, Rick Chamberlain and Rich pianist in a 1988 duo that continues to tenor Eric Dixon, a band of obscure Montmartre in with (piano), Yoshio Ikeda (bass), Motohiko DeRosa) on a program of Monk, this day. Recorded live at the Workshop players—Lloyd Mayers (piano), Sonny regular foil Kenny Drew on piano but Hino (drums) and Yuji Imamura Ellington, Basie, The Gershwins, Freie Musik at Berlin’s Akademie der Wellesley (bass) and Bill English the unusual rhythm section of Bo Stief (congas) playing three Hino originals: songbook standards and Mulligan Künste, the performance is the (drums)—playing four standards and and on a program of four “Alone, Alone And Alone”, the title originals, the three leaders all singing 57-minute improvised title suite in five Green’s “East of the Little Big Horn”. standards including the title track. track and side-long “Predawn”. on a couple of tunes. movements. BIRTHDAYS June 1 June 6 June 11 June 15 June 21 June 26 † 1921-85 †Jimmie Lunceford 1902-47 †Clarence “Pine Top” Smith †Allan Reuss 1915-1988 †Dewey Jackson 1900-94 †Teddy Grace 1905-92 †Herbie Lovelle 1924-2009 †Raymond Burke 1904-86 1904-29 †Erroll Garner 1921-77 †Jamil Nasser 1932-2010 †Don Lanphere 1928-2003 †Hal McKusick 1924-2012 †Gil Cuppini 1924-96 † 1920-84 † 1922-99 Lalo Schifrin b.1932 †Jimmy Deuchar 1930-93 Lennie Niehaus b.1929 †Grant Green 1931-79 †Hazel Scott 1920-81 Mel Moore b.1923 Jon Hiseman b.1944 Dave Grusin b.1934 Rossano Sportiello b.1974 Monty Alexander b.1944 †Bob Gordon 1928-55 Tony Oxley b.1938 Chuck Anderson b.1947 Reggie Workman b.1937 †Zbigniew Seifert 1946-79 Nils Lindberg b.1933 Eric Reed b.1970 Joey Baron b.1955 June 2 Paul Lovens b.1949 Bernard “Pretty” Purdie b.1939 June 16 Bill Cunliffe b.1956 †Ernie Hood 1923-91 G. Calvin Weston b.1959 Jamaaladeen Tacuma b.1956 †”Lucky” Thompson 1924-2005 June 22 Mathias Eick b.1979 Gildo Mahones b.1929 Alex Sipiagin b.1967 †Clarence Shaw 1926-73 Ray Mantilla b.1934 John Pisano b.1931 June 7 b.1969 Joe Thomas b.1933 Hermeto Pascoal b.1936 June 27 Pierre Favre b.1937 †Gene Porter 1910-1993 Tom Harrell b.1946 Heikki Sarmanto b.1939 †Elmo Hope 1923-67 JULIAN PRIESTER b.1941 †Tal Farlow 1921-98 June 12 Fredy Studer b.1948 Eddie Prevost b.1942 George Braith b.1939 June 29th, 1935 Matthew Garrison b.1970 †Tina Brooks 1932-74 †Marcus Belgrave 1936-2015 Mike Baggetta b.1979 Ed “Milko” Wilson b.1944 Todd Herbert b.1970 Noah Preminger b.1986 Norberto Tamburrino b.1964 Kent Carter b.1939 Ryan Keberle b.1980 The trombonist has been an Devin Gray b.1983 Chick Corea b.1941 June 23 June 28 unsung hero on his instrument June 3 Jesper Lundgaard b.1954 June 17 †Eli Robinson 1908-72 †Jimmy Mundy 1907-83 for decades, partially because †Carl Pruitt 1918-1977 June 8 Geri Allen b.1957 †Lorenzo Holden 1924-87 †Milt Hinton 1910-2000 †Arnold Shaw 1909-89 his leader output has been so †Al Harewood 1923-2014 †Billie Pierce 1907-74 Oscar Feldman b.1961 †Frank E. Jackson, Sr. 1924-2013 †Eddie Miller 1911-91 Gene Traxler b.1913 sporadic. He made a pair of Phil Nimmons b.1923 †Erwin Lehn 1919-2010 Christian Munthe b.1962 b.1940 †Helen Humes 1913-81 †Pete Candoli 1923-2008 LPs in 1960 for Riverside and †Dakota Staton 1932-2007 †Kenny Clare 1929-85 Peter Beets b.1971 b.1957 †Lance Harrison 1920-2000 Bobby White b.1926 Jazzland in the heavy †Bob Wallis 1934-91 Bill Watrous b.1939 †George Russell 1923-2009 John Lee b.1952 company of , †Ted Curson 1935-2012 Julie Tippetts b.1947 June 13 June 18 † 1925-89 Tierney Sutton b.1963 , Sam Jones Grachan Moncur III b.1937 Uri Caine b.1956 †Charlie Elgar 1885-1973 † 1913-93 †Hank Shaw 1926-2006 Aaron Alexander b.1966 and Elvin Jones (Keep Corey Wilkes b.1979 †Doc Cheatham 1905-97 William Hooker b.1946 b.1960 Jesse Stacken b.1978 Swingin’) and Walter Benton, June 9 †Eddie Beal 1910-84 Charles Davis, McCoy Tyner, June 4 †Les Paul 1915-2009 †Phil Bodner 1919-2008 June 19 June 24 June 29 Sam Jones and Arthur Taylor †Teddy Kotick 1928-86 †Jimmy Gourley 1926-2008 †Attila Zoller 1927-98 †Joe Thomas 1909-86 †Charlie Margulis 1903-67 † 1922-88 (Out Of This World); a pair of † 1932-75 †Eje Thelin 1938-90 †Buddy Catlett 1933-2014 †Jerry Jerome 1912-2001 † 1922-2001 † 1922-2001 mid ‘70s albums for ECM; †Alan Branscombe 1936-86 Kenny Barron b.1943 Frank Strozier b.1937 †Al Kiger 1932-2013 † 1932-2013 †Ove Lind 1926-1991 a smattering of obscure Mark Whitecage b.1937 Mick Goodrick b.1945 Harold Danko b.1947 Chuck Berghofer b.1937 † 1943-2004 Julian Priester b.1935 releases on either side of the Ted Daniel b.1943 Mike Khoury b.1969 Paul Nieman b.1950 † 1946-2000 Ike Sturm b.1978 new millennium; and, most Anthony Braxton b.1945 June 10 Billy Drummond b.1959 Greg Burk b.1969 recently, duo sets with David Paquito D’Rivera b.1948 †Chink Martin 1886-1981 June 14 John Hollenbeck b.1968 †Bernardo Sassetti 1970-2012 June 30 Haney or Jimmy Bennington. Winard Harper b.1962 †Willie Lewis 1905-71 †John Simmons 1918-79 †Harry Shields 1899-1971 But his voluminous sideman †Dicky Wells 1907-85 Burton Greene b.1937 June 20 June 25 †Grady Watts 1908-86 credits include everyone from June 5 †Guy Pedersen 1930-2005 Pete Lemer b.1942 †Doc Evans 1907-77 †Jean Roberts 1908-81 †Lena Horne 1917-2010 Dinah Washington to Max †Kurt Edelhagen 1920-82 †John Stevens 1940-94 Marcus Miller b.1959 †Lamar Wright 1907-73 † 1922-2013 †Andrew Hill 1937-2007 Roach to to Duke †Specs Powell 1922-2007 b.1961 Gary Husband b.1960 †Thomas Jefferson 1920-86 †Bill Russo 1928-2003 Chris Hinze b.1938 Ellington to Mwandishi to Art †Pete Jolly 1932-2004 Charnett Moffett b.1967 Diallo House b.1977 †Eric Dolphy 1928-64 b.1942 Jasper Van’t Hof b.1947 Blakey, to name just some of Misha Mengelberg b.1935 Jonathan Kreisberg b.1972 Loren Stillman b.1980 Joe Venuto b.1929 Marian Petrescu b.1970 b.1951 the highlights. (AH) Jerry Gonzalez b.1949 Ben Holmes b.1979 Ben Syversen b.1983 Anders Nilsson b.1974 John Yao b.1977 Ken Fowser b.1982 CROSSWORD

1 2 3 4 5 6 ACROSS 24. 2002 Keith Rowe, Otomo Yoshihide, Taku Sugimoto album on Alcohol 1. 1975 John Tchicai--Group 25. ____ Nova, Philadelphia series 7 8 9 album Willi The ____: Live At The Willisau 26. British saxophonist Tony Jazz Festival 10 11 12 4. received this honor in 2008 DOWN (abbr.) 7. Saxophonist Mark that will keep 1. label 13 14 things steady? 2. Fifth tune from Alice Coltrane’s 9. Swiss saxophonist Yves who records for Huntington Ashram Monastery

15 Unit Records 3. Evans, Coggins or Goldstein 10. converted to this faith 4. ‘70s free jazz label _____ of the World 12. Israeli pianist Fort 5. Trumpets, trombones, , etc. 16 13. ____ of Jazz: Time Life Records series 6. Trio of Ido Bukelman, Daniel Davidovsky 15. John Coltrane performed the entire and Ofer Bymel A Love Supreme suite at this French festival 8. Attractive 1986 album from Steps Ahead? 17 16. Saxophonist Michael or trumpeter Randy 9. Birthplace of guitarist Frank Gambale 17. Orchestra founded by Russ Gershon 11. Latin jazz saxophonist Frohman 18 19 20 21 22 in 1985 14. Dorsey Brothers saxophone stalwart Jack 18. ____ Jones, vocal alter-ego of bassist 15. Keyboardist Susumu and Miriam Sullivan clarinetist Yasuhiko 23 24 19. Italian soundtrack composer covered by 16. Accordion player Ludovic F.Hubbard, R.Galliano, M.Peyroux 18. Motéma Music catalogue prefix and others 20. Reissue series initiated by Fantasy (abbr.) 25 26 23. Tokyo-based audio equipment 21. Steve Lacy/Andrea Centazzo Ictus album manufacturer 22. “All The Things You ____” By Andrey Henkin visit nycjazzrecord.com for answers THE NEW YORK CITY JAZZ RECORD | JUNE 2016 41 CALENDAR

Wednesday, June 1 • Andrew Suvalsky Quintet with Dan Zinn, Asen Doykin, Trifon Dmitrov, Pete Zimmer • Spike Wilner; Bill Mays; Jon Davis Mezzrow 8, 9:30 pm 12:30 am $20 Jazz at Kitano 8, 10 pm $17 • Eliot Zigmund Quartet with Matt Garrison, Allen Farnham, David Kingsnorth; • John Scofield, Brad Mehldau, Mark Giuliana • Sebastian Noelle/Danny Fox Dominique Bistro 9:30 pm $10 Rob Scheps Core-tet with Jim O’Connor, Jamie Reynolds, Cameron Brown, Blue Note 8, 10:30 pm $55 • Ehud Asherie solo; Alex Claffy/Michael Stephenson; Davis Whitfield Sylvia Cuenca; Eric Wyatt Quartet Smalls 7:30, 10:30 pm 1:30 am $20 • Monty Alexander Dizzy’s Club 7:30, 9:30 pm $40 Mezzrow 8, 9, 11:30 pm $20 êAzar Lawrence Quartet with Benito Gonzalez, Buster Williams, Marvin “Smitty” Smith • Brandon Bain Dizzy’s Club 11:30 pm $5 • Jonathan Kreisberg Quartet; Dan Pratt Quartet with Michael Eckroth, Matt Clohesy, Jazz Standard 7:30, 9:30 pm $30 • Herb Alpert/Lani Hall Café Carlyle 8:45 pm $70-135 Allan Mednard Smalls 7:30, 10:30 pm $20 • John Scofield, Brad Mehldau, Mark Giuliana êBill Charlap Trio with Peter Washington, Kenny Washington • Dan Aran; Saul Rubin Zebtet; Tadataka Unno Blue Note 8, 10:30 pm $55 Birdland 8:30, 11 pm $40 Fat Cat 7, 10 pm 1:30 am • Monty Alexander Dizzy’s Club 7:30, 9:30 pm $45 • Russell Malone Quartet with Rick Germanson, Luke Sellick, Willie Jones III • Dan Hartig Trio with Ari Kessler, Ben Silashi; Justin Lees Trio with Noah Jackson, • Brandon Bain Dizzy’s Club 11:30 pm $20 Village Vanguard 8:30, 10:30 pm $30 Lawrence Leathers Bar Next Door 6:30, 8:30, 10:30 pm $12 • Herb Alpert/Lani Hall Café Carlyle 8:45, 10:45 pm $80-155 • Luis Perdomo and Controlling Ear Unit with Mimi Jones, Rudy Royston • Jeff Warschauer, Deborah Strauss, Aaron Alexander and Friends êBill Charlap Trio with Peter Washington, Kenny Washington Jazz Standard 7:30, 9:30 pm $25 Jalopy 8:30 pm $15 Birdland 8:30, 11 pm $40 êMarc Mommaas /Nikolaj Hess Quartet with Vic Juris, Thomas Morgan • Peter Maness Quartet Cavatappo Grill 9, 11 pm $8 • Russell Malone Quartet with Rick Germanson, Luke Sellick, Willie Jones III Jazz at Kitano 8, 10 pm $17 • Luciana Menzes Tomi Jazz 9 pm $10 Village Vanguard 8:30, 10:30 pm $30 • Eric Alexander Quartet An Beal Bocht Café 8, 9:30 pm $15 • Steve Elmer Duet Cleopatra’s Needle 7 pm • Kat Modiano/Adam Lane Morris Jumel Mansion 6 pm • Lezlie Harrison Quartet with Saul Rubin, Ben Paterson, Vince Ector • John Venezia Project Shrine 7 pm • Rosi Hertlein solo Gallery 440 4:40 pm $5 Smoke 7, 9, 10:30 pm $12 • John Scofield, Brad Mehldau, Mark Giuliana • Eugenia Choe Trio with Danny Weller, Alex Wyatt; Álvaro Domene’s Desvelo with Blue Note 8, 10:30 pm $55 Sunday, June 5 Briggan Krauss, Josh Sinton, Devin Gray • Monty Alexander Dizzy’s Club 7:30, 9:30 pm $40 ShapeShifter Lab 8:15, 9:30 pm $8-10 • Brandon Bain Dizzy’s Club 11:30 pm $10 êJane Ira Bloom Trio with Mark Helias, Bobby Previte • Flin van Hemmen, Brandon Seabrook, Pascal Niggenkemper; • Herb Alpert/Lani Hall Café Carlyle 8:45 pm $70-135 Cornelia Street Café 8:30 pm $10 Caroline Davis/Greg Saunier Rye 9, 10:15 pm êBill Charlap Trio with Peter Washington, Kenny Washington êMichael Dessen Trio with Chris Tordini, Dan Weiss • Becca Stevens Rockwood Music Hall Stage 3 8:30 pm $12 Birdland 8:30, 11 pm $40 Ibeam Brooklyn 8:30 pm $15 • Art Hirahara/Walt Weiskopf Mezzrow 8 pm $20 • Russell Malone Quartet with Rick Germanson, Luke Sellick, Willie Jones III • Adam Birnbaum/Cécile McLorin Salvant; David Wong/Martin Bejerano • Jonathan Kreisberg Quartet with Dave Kikoski, Rick Rosato, Colin Stranahan; Village Vanguard 8:30, 10:30 pm $30 Mezzrow 7, 10:30 pm $20 Jure Pukl Quartet with Matt Nowak, Matt Brewer, Johnathan Blake; Sanah Kadoura • Lezlie Harrison Quartet with Saul Rubin, Ben Paterson, Vince Ector • Murakami Trio with Sacha Perry; Johnny O’Neal Trio; Bruce Harris Sextet with Smalls 7:30, 10:30 pm 1:30 am $20 Smoke 7, 9, 10:30 pm $12 Frank Basile, Jeb Patton, Dmitry Baevsky, Clovis Nicolas, Peter Van Nostrand; • Katsuko Tanaka Trio; Groover Trio; Ned Goold Jam êPete McGuinness Silvana 6 pm Hillel Salem Smalls 4:30, 7:30, 10:30 pm 1:30 am $20 Fat Cat 7, 9 pm 12:30 am • Matthew Fries Trio with Phil Palombi, Vince Cherico • Terry Waldo’s Gotham City Band; Jade Synstelien’s Fat Cat Big Band; • Martin Nevin Group with Immanuel Wilkins, Sam Harris, Craig Weinrib Hillstone 6 pm Brandon Lewis/Renee Cruz Jam Fat Cat 6, 8:30 pm 1 am Cornelia Street Café 8:30 pm $10 êBertha Hope Bryant Park 12:30 pm • Sara Serpa/André Matos Rockwood Music Hall Stage 3 7 pm $10 • Gracie Terzian; Hailey Niswanger PDX Soul êRoberta Gambarini Quartet Citigroup Center Plaza 12:30 pm • Kyoko Kitamura Tidepool Fauna with Ken Filiano, Ingrid Laubrock; Club Bonafide 7:30, 9:30 pm $10-15 Carate Urio Ensemble Downtown Music Gallery 6, 7 pm • Mika with André Vasconcellos, Rafael Barata Friday, June 3 • Tamuz Nissim/George Nazos Band with Willie Applewhite, Danny Weller, Ronen Itzik Zinc Bar 7 pm ShapeShifter Lab 9:30 pm $8 • Dark Mountains: Nicolas Letman-Burtinovic, Jacob Varmus, Benny Woodard êFrank Kimbrough Trio with , Jeff Hirshfield • Stan Nishimura, Claire de Brunner, Evan Gallagher, Blaise Siwula; Alex Soreff solo Bar Chord 9 pm Jazz at Kitano 8, 10 pm $32 ABC No-Rio 7 pm $5 • Alan Kwan Duo Tomi Jazz 8 pm êBen Allison Trio with Ted Nash, Matt Wilson • Valentina Marino Club Bonafide 7 pm $10 • Organ Trio Fuego; EJB Quartet Silvana 6, 7 pm Neighborhood Church of Greenwich Village 8, 9:30 pm • Marcus Goldhaber with Gabrielle Stravelli, Ron Affif • Paul Abler/James Weidman Whole Foods Market Union Square 6 pm êHelen Sung Quartet with John Ellis, Boris Kozlov, Rudy Royston Symphony Space Bar Thalia 7, 8:30 pm $5 • Mike Alfieri Trio Shrine 6 pm Smoke 7, 9, 10:30 pm $38 • Yako Eicher Tomi Jazz 8 pm • Andrew Drury DRUM/BRIDGE with Jason Kao Hwang, Stephanie Griffin, JD Parran, • Lisle Atkinson’s Neo-Bass Ensemble • Shrine Big Band Shrine 8 pm Briggan Krauss, Ingrid Laubrock, Ku-umba Frank Lacy, Brandon Seabrook, Ken Filiano Symphony Space Leonard Nimoy Thalia 8:30 pm $30 • Alex Simon’s Gypsy Swing Ensemble ShapeShifter Lab 1 pm $15 • Vinicius Cantuária Bar Lunàtico 8:30, 10 pm $10 Radegast Hall 7 pm êDavid Chamberlain Band of Bones Saint Peter’s 1 pm $10 êManuel Valera Trio with Hans Glawischnig, E.J. Strickland êHelen Sung Quartet with John Ellis, Boris Kozlov, Rudy Royston êBertha Hope Bryant Park 12:30 pm Terraza 7 8:30 pm $10 Smoke 7, 9, 10:30 pm $38 • Gregorio Uribe Big Band Ginny’s Supper Club 7:30, 9:30 pm $20 êAzar Lawrence Quartet with Benito Gonzalez, Buster Williams, Marvin “Smitty” Smith Thursday, June 2 êLage Lund 3 with Matt Brewer, Justin Faulkner Jazz Standard 7:30, 9:30 pm $30 Cornelia Street Café 9, 10:30 pm $10 • John Scofield, Brad Mehldau, Mark Giuliana êAzar Lawrence Quartet with Benito Gonzalez, Buster Williams, Marvin “Smitty” Smith • Luis Bonilla, Jon Snell, Andy McKee Blue Note 8, 10:30 pm $55 Jazz Standard 7:30, 9:30 pm $30 Knickerbocker Bar and Grill 9, 10:15 pm $3.50 • Monty Alexander Dizzy’s Club 7:30, 9:30 pm $40 • Ben van Gelder Quartet with Matt Brewer, Mark Turner, Craig Weinrib êChet Doxas/John Escreet Ibeam Brooklyn 8:30 pm $15 • Russell Malone Quartet with Rick Germanson, Luke Sellick, Willie Jones III Cornelia Street Café 8:30 pm $10 • Sacha Perry solo; Bill Mays; Johnny O’Neal Village Vanguard 8:30, 10:30 pm $30 êMiles Okazaki Group with Paul Cornish, Anthony Tidd, Sean Rickman Mezzrow 8, 9:30 pm 12:30 am $20 • Ike Sturm and Evergreen Saint Peter’s 5 pm The Jazz Gallery 7:30, 9:30 pm $15 • Patrick Wolff Quartet with Glenn Zaleski, Christian Van Voorst Van Beest, Matt Wilson; êJohn Zorn’s Bagatelles: Matt Mitchell Trio with Kim Cass, Dan Weiss • Andy Manndorff solo Austrian Cultural Forum 7:30 pm Rob Scheps Core-tet with Jim O’Connor, Jamie Reynolds, Cameron Brown, The Stone 3 pm $20 • Tulivu Cumberbatch Harlem Safe House Jazz Parlor 8 pm $60 Sylvia Cuenca; Joe Farnsworth Smalls 7:30, 10:30 pm 1:30 am $20 êGilad Hekselman Trio Blue Note 11:30 am 1:30 pm $35 • Carte Blanche; Joe Breidenstine Quartet with Matthew Fries, Phil Palombi, êGuillermo Gregorio, Ratzo B. Harris, Omar Tamez • Catherine Dupuis Trio with Russ Kassoff, Jay Anderson Vince Cherico Club Bonafide 7:30, 9:30, 11 pm $10-15 The Firehouse Space 8 pm $10 North Square Lounge 12:30, 2 pm • Paul Meyers Trio with Leo Traversa, Vanderlei Perreira Bar Next Door 7:30, 9:30, 11:30 pm $12 • Victor Gould The Jazz Gallery 7:30, 9:30 pm $22 • Andrew Drury DRUM/BRIDGE with Jason Kao Hwang, Stephanie Griffin, JD Parran, Briggan Krauss, Ingrid Laubrock, Ku-umba Frank Lacy, Brandon Seabrook, Ken Filiano Sunset Park High School Theater 7 pm • 718 Electric Trio: Matthew Fries, Phil Palombi, Eric Halvorson Academy Records An Beal Bocht Café 9 pm • Carlos Cuevas Trio; Jared Gold/Dave Gibson; Ray Gallon Fat Cat 6, 10:30 pm 1:30 am • Devin Bing and the Secret Service; Gin Fizz; Nomar Negroni with Jose Negroni, Josh Allen Club Bonafide 7:30, 9:30, 11 pm $10-20 & CDs • Craig Brann Trio Tomi Jazz 9 pm $10 • Masami Ishikawa Trio Cleopatra’s Needle 8 pm êAzar Lawrence Quartet with Benito Gonzalez, Buster Williams, Marvin “Smitty” Smith Jazz Standard 7:30, 9:30 pm $30 Contravening state, local • John Scofield, Brad Mehldau, Mark Giuliana Blue Note 8, 10:30 pm $55 • Monty Alexander Dizzy’s Club 7:30, 9:30 pm $45 and natural law, not to • Brandon Bain Dizzy’s Club 11:30 pm $10 • Herb Alpert/Lani Hall Café Carlyle 8:45 pm $70-135 mention the advice of êBill Charlap Trio with Peter Washington, Kenny Washington Birdland 8:30, 11 pm $40 琀栀 • Russell Malone Quartet with Rick Germanson, Luke Sellick, Willie Jones III our attorney and the 圀攀搀渀攀猀搀愀礀 Ⰰ 䨀甀渀攀 㠀 Ⰰ ㈀ ㄀㘀 愀琀 㜀㨀㌀ Village Vanguard 8:30, 10:30 pm $30 êBertha Hope Bryant Park 12:30 pm collective wishes of our 吀栀攀 䜀爀攀愀琀 䨀攀眀椀猀栀 䄀洀攀爀椀挀愀渀 匀漀渀最戀漀漀欀 Saturday, June 4 upstairs neighbors, 䔀砀焀甀椀猀椀琀攀 樀愀稀稀 椀渀琀攀爀瀀爀攀琀愀琀椀漀渀猀 漀昀 䜀攀爀猀栀眀椀渀Ⰰ 刀椀挀栀愀爀搀 êLost Jazz Shrines: Sweet Basil—Remembering Lester Bowie: Bob Stewart, Stanton Davis, Randall Haywood, Riley Mulherkar, Earl McIntyre, Nick Finzer, Academy Records 刀漀搀最攀爀猀Ⰰ 䠀愀爀漀氀搀 䄀爀氀攀渀Ⰰ 䨀攀爀漀洀攀 䬀攀爀渀Ⰰ 猀漀洀攀 漀昀 Marcus Rojas, David Scheiman, Vincent Chancey, Buddy Williams and guests Renee Manning, Steven Bernstein, Gerald Brazel, Luis Bonilla, Frank Lacy, Steve Turre 吀栀攀 䜀爀攀愀琀 䄀洀攀爀椀挀愀渀 匀漀渀最戀漀漀欀✀猀 洀漀猀琀 Tribeca Performing Arts Center 8:30 pm $25 proudly presents the 戀攀氀漀瘀攀搀 挀漀洀瀀漀猀椀琀椀漀渀猀⸀ êSummerStage/Blue Note Jazz Festival—The Legends Honor McCoy: McCoy Tyner, Ron Carter, Roy Haynes Central Park SummerStage 6 pm êJamie Baum and Short Stories with Gregoire Maret, Gilad Hekselman, Andy Milne, GHOSTS OF THE HOLY Joe Martin, Jeff Hirshfield The Jazz Gallery 7:30, 9:30 pm $22 吀攀搀 刀漀猀攀渀琀栀愀氀 ⠀瀀椀愀渀漀Ⰰ 䄀爀琀椀猀琀椀挀 䐀椀爀⸀⤀ • Ronny Whyte Quartet with Sean Harkness, David Silliman Jazz at Kitano 8, 10 pm $32 GHOST SPERMIC 刀刀愀渀搀礀 䈀爀攀挀欀攀爀 ⠀琀爀甀洀瀀攀琀⤀ • Ben Monder Trio with Matt Brewer, Johnathan Blake Bar Next Door 7:30, 9:30, 11:30 pm $12 BROTHERHOOD 䨀漀攀氀 䘀爀愀栀洀 ⠀猀愀砀⤀ • Tatran: Tamuz Dekel, Offir Benjaminov, Dan Mayo Iridium 8:30 pm $25 䐀愀瘀椀搀 䜀爀漀猀猀洀愀渀 ⠀戀愀猀猀⤀ • Roberta Piket Band with Steve Wilson, Virginia Mayhew, Shunzo Ohno, Harvie S, in a musical bloodletting, Billy Mintz Ibeam Brooklyn 8:30 pm $15 吀椀洀 䠀漀爀渀攀爀 ⠀搀爀甀洀猀⤀ • Petros Klampanis with Julian Shore, Keita Ogawa, Rogério Boccato, Maria Im, Eylem Basaldi, Lev Zhurbin, Colin Stokes, Magda Giannikou aka FREE Concert Cornelia Street Café 9, 10:30 pm $10 • Lummie Spann Quintet; Raphael D’lugoff Quintet Sunday, June 12 at 5:30. Fat Cat 7, 10 pm 吀椀挀欀攀琀猀 • Brenda Navarette Trio with Melvis Santa; Simona Premazzi Quartet 䤀渀搀椀瘀椀搀甀愀氀㨀 ␀㌀㔀 ∠ 匀攀渀椀漀爀㨀 ␀㈀㔀 ∠ 匀琀甀搀攀渀琀㨀 ␀㄀㔀 The Cell 8, 10 pm $15 • Monday Michiru; David Bixler Auction Project with Heather Martin Bixler, (Tickets for the previously Arturo O’Farrill, Victor Prieto, Carlo De Rosa, Vince Cherico; Noé Codjia 眀眀眀⸀刀椀瘀攀爀搀愀氀攀夀⸀漀爀最⼀䨀愀稀稀 Club Bonafide 7:30, 9:30, 11 pm $10-15 announced Budapest String • E.J. Decker Quartet with Claire Daly, Les Kurtz, John Lang Café Noctambulo 7, 9 pm $20 Quartet recital will be honored) 愀琀 吀栀攀 刀椀瘀攀爀搀愀氀攀 夀 • Dorian Devins Trio with Lou Rainone, Jeff Dingler 㔀㘀㈀㔀 䄀爀氀椀渀最琀漀渀 䄀瘀攀渀甀攀 Symphony Space Bar Thalia 9 pm • Nich Mueller; Hsinwei Chiang Duo Tomi Jazz 8, 11 pm $10 刀椀瘀攀爀搀愀氀攀Ⰰ 一夀 ㄀ 㐀㜀㄀ • Phill Briggs Cleopatra’s Needle 8 pm Open 7 days a week 11-7 • Nick Di Maria Silvana 7 pm ⠀㜀㄀㠀⤀ 㔀㐀㠀ⴀ㠀㈀ • Verve Quartet; Valentina Marino Shrine 6, 7 pm êHelen Sung Quartet with John Ellis, Boris Kozlov, Rudy Royston Smoke 7, 9, 10:30 pm $38 12 W. 18th Street NY, NY 10011 • Luis Bonilla, Jon Snell, Andy McKee Knickerbocker Bar and Grill 9, 10:15 pm $3.50 212-242-3000

42 JUNE 2016 | THE NEW YORK CITY JAZZ RECORD Monday, June 6 • Rebecca Angel and Dennis Angel Band with Gottfried Stoger, Jon Werking, Gregory Jones, êDion Parson 21st Century Band with Ron Blake, Melvin Jones, Victor Provost, Nadav Snir Zelniker Metropolitan Room 7 pm $20 Reuben Rogers, Carlton Holmes, Alioune Faye • Rosa Passos with Helio Alves, Paulo Paulelli, Rafael Barata, Lula Galvão • Hironobu Honshuku Trio Tomi Jazz 8 pm Dizzy’s Club 7:30, 9:30 pm $35 Blue Note 8, 10:30 pm $35 • Hot Club of Flatbush Radegast Hall 9 pm • Michela Marino Lerman Dizzy’s Club 11:30 pm $10 • Blue Note Jazz Festival: Supermambo! A Vibes Tribute To êDee Dee Bridgewater with Theo Croker, Anthony Ware, Michael King, Eric Wheeler, • Chuck Redd Quartet with Larry Fuller, Paolo Benedettini, Jimmy Cobb Subrosa 8, 10 pm $15 Kassa Overall Jazz Standard 7:30, 9:30 pm $40 Jazz at Kitano 8, 10 pm $32 • Walter Smith III/Jason Moran; John Merrill • Herb Alpert/Lani Hall Café Carlyle 8:45 pm $70-135 • John Raymond Trio with Chris Smith, Jochen Rueckert Mezzrow 8, 10:30 pm $20 • Maria Schneider Orchestra with Steve Wilson, Dave Pietro, Rich Perry, Donny McCaslin, Bar Next Door 7:30, 9:30, 11:30 pm $12 • Jordan Piper Trio with George DeLancey, Noel Sagerman; Jonathan Barber Scott Robinson, Tony Kadleck, Greg Gisbert, Nadje Noordhuis, Mike Rodriguez, • Daniel Freedman Bar Lunàtico 8:30, 10 pm $10 Smalls 7:30, 10:30 pm 1 am $20 Keith O’Quinn, Ryan Keberle, Marshall Gilkes, George Flynn, Gary Versace, Lage Lund, • Guillermo Gregorio/Nicolas Letman-Burtinovic Intersection 6et with Ernesto Llorens, • Malang Jobarteh; Behn Gillece Quartet; Billy Kaye Jam Frank Kimbrough, Jay Anderson, Clarence Penn Nick Jozwiak, Leonor Falcón Pasquali Fat Cat 6, 9 pm 12:30 am Birdland 8:30, 11 pm $40 Spectrum 8:30 pm êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 • Terell Stafford Quintet with Tim Warfield, Bruce Barth, Peter Washington, Billy Williams êJon Irabagon Trio with Gary Versace, Tom Rainey • David Amram and Co. with Kevin Twigg, Rene Hart, Elliot Peper Village Vanguard 8:30, 10:30 pm $30 Cornelia Street Café 9, 10:30 pm $10 Cornelia Street Café 8:30 pm $10 • Rosa Passos with Helio Alves, Paulo Paulelli, Rafael Barata, Lula Galvão • Gutbucket: Ty Citerman, Ken Thomson, Pat Swoboda, Adam Gold êScott Neumann Trio with Michael Blake, Mark Helias Blue Note 8, 10:30 pm $35 Ibeam Brooklyn 8:30 pm $15 Bar Lunàtico 8:30, 10 pm $10 • Paul Abler/James Weidman Whole Foods Market 6 pm • Infrequent Seams Spring Festival: Lucie Vitkova/; • Kate Mohanty solo: Yes Deer: Sigourney Delmar/Avram Vestman • John Venezia Project Silvana 6 pm Providence Research Ensemble; Red Desert Ensemble: Devin Maxwell/Katie Porter; Delroy’s Cafe and Wine Bar 9, 10 pm $10 êToshiko Akiyoshi, Lew Tabackin, Steve Whipple, Tim Horner Jen Baker’s Polyverse Ensemble with Ingrid Laubrock, Anaïs Maviel • Jazz at Lincoln Center Youth Orchestra Saint Peter’s 1 pm $10 The Firehouse Space 7:15 pm $10 Dizzy’s Club 7:30, 9:30 pm $35 • Dona Carter Bryant Park 12:30 pm • Luiz Simas Trio with Itaiguara, Mauricio Zottarelli; ITA Jazz Competitions • Dave Juarez Trio with Marty Isenberg, Rodrigo Recabarren; Marianne Solivan Trio with Club Bonafide 9:30, 11 pm $10-20 Ethan Mann, Matthew Parrish Bar Next Door 6:30, 8:30, 10:30 pm $12 Thursday, June 9 êRale Micic/Peter Bernstein Symphony Space Bar Thalia 9 pm • Wayne Batchelor/Miki Hayama Boudoir 7:30 pm • Yes Deer: Sigourney Delmar/Avram Vestman; The Ghost: Michael Foster, Henry Fraser, • Julia Ehninger Silvana 7 pm êVision Festival: Douglas Dunn Dancers/ UnTempered Trio with Ras Moshe, Connor Baker New Revolution Arts 8, 9 pm • Matterhorn Shrine 6 pm Lisette Santiago, Jules Bakshi, Emily Pope, Paul Singh, Jin Ju Song-Begin; • Michael Mwenso and the Shakes Ginny’s Supper Club 7:30, 9:30 pm $15-20 • Matthew Fries Trio with Rusty Hollaway, Akira Tana Jemeel Moondoc The Zookeeper’s House with Matthew Shipp. Nathan Breedlove, • The Buffalo Band Trio: Geoff Countryman, Zack Eldridge, Chris Bonner Hillstone 6 pm Hilliard Greene, Newman Taylor Baker; Tonya Foster; Steve Swell Quintet with The Cave at St. George’s Episcopal 7:30, 9:30 pm $10 • Dona Carter Bryant Park 12:30 pm Rob Brown, Connie Crothers, Larry Roland, Chad Taylor; Garland of Blessing: • Wataru Uchida Quartet with Yago Vazquez, Kim Clarke, Lucianna Padmore Hamid Drake, , Cooper-Moore, Michael Bisio Inkwell Café 7:30 pm Tuesday, June 7 Judson Memorial Church 7 pm $40 • Takenori Nishiuchi Tomi Jazz 9 pm $10 êArturo Sandoval Blue Note 8, 10:30 pm $45 • Libby Richman Trio Cleopatra’s Needle 8 pm • Vision Festival—Heny Grimes Lifetime Achievement Celebration: Opening Invocation: êHenry Butler Bar Lunàtico 8:30, 10 pm $10 • The Valentine Quintet; Rebecca Sullivan Hamid Drake, Whit Dickey, Patricia Nicholson; Henry Grimes Quartet with êDave Schnitter Quintet; Greg Glassman Quintet; Todd Herbert Silvana 6, 7 pm Graham Haynes, Geri Allen, Andrew Cyrille; Karma Mayet Johnson, Fat Cat 7, 10 pm 1:30 am • Jon Sheckler Trio Shrine 7 pm Meshell Ndegeocello, Lisa Sokolov, Dwight Trible, Imani Uzuri, Henry Grimes; êBlack Phebe: Shoko Nagai, Satoshi Takeishi, Erik Friedlander; • Mark Sganga/Larry D’Albero Knickerbocker Bar and Grill 9, 10:15 pm $3.50 Henry Grimes Septet with Charles Gayle, Melanie Dyer, Nicole Mitchell, Tomeka Reid, Velvet White: Erik Friedlander, Ikue Mori, Ava Mendoza, Ches Smith êArturo Sandoval Blue Note 8, 10:30 pm $45 Marc Ribot, Chad Taylor Judson Memorial Church 6:30 pm $40 The Stone 8, 10 pm $20 êDee Dee Bridgewater with Theo Croker, Anthony Ware, Michael King, Eric Wheeler, êConcert for Clean Power: Mago: John Medeski/Billy Martin; ; êBrian Drye Trio; Alan Ferber Nonet with Scott Wendholt, Jon Gordon, Jason Rigby, Kassa Overall Jazz Standard 7:30, 9:30 pm $40 Yuka C. Honda Brooklyn Bowl 8 pm Charles Pillow, Nate Radley, Bryn Roberts, Matt Clohesy, Mark Ferber; • Herb Alpert/Lani Hall Café Carlyle 8:45 pm $70-135 êBlue Note Jazz Festival: Dizzy Gillespie Afro-Cuban All Stars Wing Walker Orchestra Threes Brewing 8 pm $10 • Maria Schneider Orchestra with Steve Wilson, Dave Pietro, Rich Perry, Donny McCaslin, Subrosa 8, 10 pm $25 êWater Birds: Darius Jones, , Brandon Lopez, Chad Taylor; Scott Robinson, Tony Kadleck, Greg Gisbert, Nadje Noordhuis, Mike Rodriguez, êDee Dee Bridgewater with Theo Croker, Anthony Ware, Michael King, Eric Wheeler, Charles Rumback Quartet with Tony Malaby, Jason Stein, John Tate Keith O’Quinn, Ryan Keberle, Marshall Gilkes, George Flynn, Ron Oswanski, Kassa Overall Jazz Standard 7:30, 9:30 pm $40 Manhattan Inn 10 pm $10 Lage Lund, Frank Kimbrough, Jay Anderson, Clarence Penn • Herb Alpert/Lani Hall Café Carlyle 8:45 pm $70-135 êBruce Gertz Quartet with Jerry Bergonzi, Gabriel Guerrero, George Schuller Birdland 8:30, 11 pm $40 • Maria Schneider Orchestra with Steve Wilson, Dave Pietro, Rich Perry, Donny McCaslin, ShapeShifter Lab 8:15 pm $15 • Terell Stafford Quintet with Tim Warfield, Bruce Barth, Peter Washington, Billy Williams Scott Robinson, Tony Kadleck, Greg Gisbert, Nadje Noordhuis, Mike Rodriguez, • Blue Note Jazz Festival: Fabrizio Sotti Trio with Peter Slavov, Francisco Mela Village Vanguard 8:30, 10:30 pm $30 Keith O’Quinn, Ryan Keberle, Marshall Gilkes, George Flynn, Gary Versace, Lage Lund, Highline Ballroom 8 pm $20-40 êIN/TER\SECT: Sandbox Percussion; Andy Lin and Kelly Lin; Andy Akiho and Frank Kimbrough, Jay Anderson, Clarence Penn êLuis Perdomo, John Benitez, Marc Miralta The Foundry; Jonathan Finlayson’s Sicilian Defense; Birdland 8:30, 11 pm $40 Terraza 7 8:30 pm $10 Chris Potter Underground Orchestra • Terell Stafford Quintet with Tim Warfield, Bruce Barth, Peter Washington, Billy Williams • E.J. Strickland Transient Beings Ginny’s Supper Club 7:30, 9:30 pm $15 Bryant Park 5 pm Village Vanguard 8:30, 10:30 pm $30 • Spike Wilner solo; Rob Scheps Trio with Jamie Reynolds, Cameron Brown; • Dona Carter Bryant Park 12:30 pm êJohn Zorn’s Bagatelles: Mike Nicolas/Erik Friedlander; Claws & Wings: Erik Friedlander, Davis Whitfield Mezzrow 8, 9, 11:30 pm $20 Sylvie Courvoisier, Ikue Mori The Stone 8, 10 pm $20 êMiles Okazaki Group with Paul Cornish, Anthony Tidd, Sean Rickman Saturday, June 11 • PRISM Quartet and Sō Percussion Roulette 7:30 pm $20-25 SEEDS 9 pm $10 • It’s DeLovely—A 125th Birthday Celebration of Cole Porter: Matt Baker, Spencer Day, • Rodrigo Recabarren Trio with Jeff Miles, Shin Sakaino; Rotem Sivan Trio with êBlue Note Jazz Festival: Charles Lloyd’s Sangam with Zakir Hussain, Eric Harland Dawn Derow, Marcus Goldhaber, Kim Grogg, Jeff Harnar, Lindsey Holloway, Haggai Cohen-Milo, Colin Stranahan Town Hall 8 pm $47.50-125 Annie Hughes, Martha Lorin, Kristoffer Lowe, Tammy McCann, Beckie Menzie, Bar Next Door 6:30, 8:30, 10:30 pm $12 êVision Festival: Wadada Leo Smith/Miriam Parker; Hamiet Bluiett Quartet with Tom Michael, Carolyn Montgomery-Forant, Molly Pope, Julie Reyburn, Steve Ross, • Kalí Rodríguez-Peña Sextet with Kazemde George, Sami Stevens, Gabriel Chakarji, DD Jackson, Bob Stewart, Hamid Drake; David Mills; Wadada Leo Smith Viola Quartet Josephine Sanges, Jacob Storms, Ronny Whyte, Amra Faye-Wright Nick Dunston, Amaury Acosta; Ralph Irizarry and Timbalaye with Adan Perez, with Stephanie Griffin, Jason Kao Hwang, Hardedge; Paradox of Freedom: Weill Recital Hall 8 pm Ivan Renta, Alex Ayala, Roberto Quintero, Dennis Hernandez, Hommy Ramos; Dave Burrell/Hamid Drake Judson Memorial Church 7 pm $40 • Mary Lou Williams and Benny Carter meet Hard Bop: Dan Block Quintet with Chip Shelton PeaceTime Ensemble with Tom Charlap, John Cotsonals, Jim Klein, êTime Quartet: Erik Friedlander, Mark Helias, Uri Caine, Ches Smith; Godwin Louis, Adam Birnbaum, Jennifer Vincent, Alvester Garnett Will Terrill Club Bonafide 7:30, 9:30, 11 pm $10-20 Oscalypso: Michael Blake, Erik Friedlander, Trevor Dunn, Michael Sarin Dizzy’s Club 7:30, 9:30 pm $30 • Judimarie Canterino Quartet with Mark Shane, Steve Lamatina, Jerry Bruno The Stone 8, 10 pm $20 • Michela Marino Lerman Dizzy’s Club 11:30 pm $5 Jazz at Kitano 8, 10 pm $17 êRez Abbasi’s Junction with Mark Shim, Ben Stivers, Kenny Grohowski • Rob Clearfield with Marquis Hill, Caroline Davis, Curt Bley, Quin Kirchner • Sofia Ribeiro Group with Juan Andrés Ospina, Petros Klampanis, Marcelo Woloski Greenwich House Music School 8 pm $15 The Jazz Gallery 7:30, 9:30 pm $15 Cornelia Street Café 8 pm $10 êBilly Lester solo The Drawing Room 7 pm $20 • Camille Bertault Mezzrow 8 pm $20 • Bass Holograms: Floyd Krouchi, Mark Bingham, Emilie Lesbros and guests • Kevin Hays New Day Trio with Rob Jost, Greg Joseph • Jeremy Manasia Quartet with Peter Bernstein, Mike Karn, Charles Ruggiero; The Firehouse Space 8 pm $10 Cornelia Street Café 9, 10:30 pm $10 Smalls Legacy Band; Kyle Poole Smalls 7:30, 10:30 pm 1:30 am $20 • Keigo Hirakawa Trio Rockwood Music Hall Stage 3 7 pm $10 êMarc Cary’s Harlem Story Ginny’s Supper Club 7:30, 9:30 pm $15 • Saul Rubin Zebtet; John Benitez; Yoshi Waki • Sam Raderman Trio Cavatappo Grill 9, 11 pm $8 • Rick Stone Trio with Harvie S, Joe Strasser Fat Cat 7, 9 pm 12:30 am • Brian Glassman’s Klezmer Jazz Alliance Bar Next Door 7:30, 9:30, 11:30 pm $12 • Voxecstatic: Valentina Marino Quartet with Alberto Pibiri, Cameron Brown, Jalopy 8:30 pm $15 • Sammy Figueroa with Silvano Monasterios, Gabriel Vivas, Dennis Hernandes, Anthony Pinciotti, Maximilian Zooi; John Hart Trio with Bill Moring, Tim Horner • Blue Note Jazz Festival: Professor Cunningham and His Old School New York Jazz Band Carlos Averhoff, Jr., Ludwig Afonso; Jeremy Warren and the Rudiment Cornelia Street Café 8, 9:30 pm $10 Lucille’s at B.B. King’s 7:30, 9:30 pm $15 Club Bonafide 7:30, 9:30, 11 pm $10-120 • Beekman: Kyle Nasser, Yago Vasquez, Pablo Menares, Rodrigo Recabarren • Shane Hampsheir Swing Band Metropolitan Room 9:30 pm $24 • Ivan Renta Quintet Fat Cat 7 pm Korzo 9, 10:30 pm • The Highliners Tomi Jazz 9 pm $10 • Adam Birnbaum Trio with Matt Clohesy, Quincy Davis and guests Gillian Bell, • PLS.trio: Pier Luigi Salami, Martin Fowler, Shawn Crowder • Dan Furman Duet Cleopatra’s Needle 7 pm Natalie Kress, Amy Galluzzo, Caitlin Lynch, Caleb van der Swaagh Club Bonafide 7:30 pm $10 • Group with Ed Cherry, David “Happy” Williams, Steve Williams; Canoe Studios 10 pm • Yuto Kanazawa Trio with with Zack Westfall, Ray Belli; Paul Bollenback Trio with Nick Hempton Quartet Smalls 7:30, 10:30 pm $20 • Jay Rattman Quintet The Cell 8 pm $15 Nilson Matta, Rogério Boccato Bar Next Door 6:30, 8:30, 10:30 pm $12 • Sing Me A Swing Song: Michael Feinstein with Catherine Russell, Allyson Briggs and êColleen Clark Collective with Lauren Sevian, Adam Larson, Julian Shore, • Stephen Fuller Trio Tomi Jazz 8 pm Tedd Firth Big Band The Appel Room 7, 9 pm $65-120 Bam Bam Rodriguez Rockwood Music Hall Stage 2 7:15 pm • Billy Test solo Jazz at Kitano 8 pm êThe Bones of Art: Steve Turre, Steve Davis, Ku-umba Frank Lacy, Xavier Davis, • Daniel Bennet Group; Chika Tanaka • Rosa Passos with Helio Alves, Paulo Paulelli, Rafael Barata, Lula Galvão Corcoran Holt, Willie Jones III Smoke 7, 9, 10:30 pm $12 Tomi Jazz 8, 11 pm $10 Blue Note 8, 10:30 pm $35 • Dominick Farinacci’s Short StoriesDizzy’s Club 7:30, 9:30 pm $40 • Richard Clements Trio Cleopatra’s Needle 8 pm • Peter Watrous Silvana 6 pm • Michela Marino Lerman Dizzy’s Club 11:30 pm $10 • Mike Serrano Band with Stephen C. Josephs • Dona Carter Bryant Park 12:30 pm êDee Dee Bridgewater with Theo Croker, Anthony Ware, Michael King, Eric Wheeler, University of the Streets 8 pm $10 êDavid Murray Rendall Memorial Presbyterian Church 12, 1 pm $15 Kassa Overall Jazz Standard 7:30, 9:30 pm $40 • Valentine Quintet; Rodrigo Bonelli Shrine 6, 7 pm • Herb Alpert/Lani Hall Café Carlyle 8:45 pm $70-135 êTribute to Jackie McLean: Rene McLean Sextet with Gary Bartz, Alan Jay Palmer, Wednesday, June 8 • Maria Schneider Orchestra with Steve Wilson, Dave Pietro, Rich Perry, Donny McCaslin, Dezron Douglas, , Neil Clark Scott Robinson, Tony Kadleck, Greg Gisbert, Nadje Noordhuis, Mike Rodriguez, Smoke 7, 9, 10:30 pm $38 êVision Festival: Jen Shyu Song of Silver Geese with Satoshi Haga, Olivia De Prato, Keith O’Quinn, Ryan Keberle, Marshall Gilkes, George Flynn, Gary Versace, Lage Lund, • Spike Wilner; Kirk Lightsey Trio with Ed Cherry, David Williams; Anthony Wonsey Erica Dicker, Victor Lowrie, Mariel Roberts, Mat Maneri, Chris Dingman, Frank Kimbrough, Jay Anderson, Clarence Penn Mezzrow 8, 9:30 pm 12:30 am $20 Thomas Morgan, Anna Webber, Dan Weiss; Quincy Troupe; Connie Crothers Trio with Birdland 8:30, 11 pm $40 • Peter and Will Anderson Quintet with Jeb Patton, Clovis Nicolas, Phil Stewart; Michael Bisio, Warren Smith; Sun Ra Arkestra 60th Anniversary led by Marshall Allen • Terell Stafford Quintet with Tim Warfield, Bruce Barth, Peter Washington, Billy Williams Steve Slagle Quartet with Dave Stryker, Gerald Cannon, McClenty Hunter; with Danny Ray Thompson, James Stewart, Cecil Brooks, Dave Davis, Village Vanguard 8:30, 10:30 pm $30 Philip Harper Quintet Smalls 7:30, 10:30 pm 1:30 am $20 Vincent Chancey, Tyler Mitchell, Dave Hotep, Calvin Edwin Newborn, George Burton, • Sam Hoyt Silvana 6 pm êLush Life: Celebrating 100 Years Of Billy Strayhorn: Jazz at Lincoln Center Orchestra Wayne Anthony Smith, Jr., Elson Nascimento, Atakatune, Tara Middleton • Dona Carter Bryant Park 12:30 pm with guest Johnny O’Neal Rose Theater 8 pm $40-135 Judson Memorial Church 7 pm $40 êJohnathan Blake Band Citigroup Center Plaza 12:30 pm êMary Halvorson’s Code Girl with Amirtha Kidambi, Ambrose Akinmusire, • Kirk Lightsey Group with Ed Cherry, David “Happy” Williams, Steve Williams; Michael Formanek, Tomas Fujiwara Nick Finzer Sextet; Aaron Seeber Smalls 7:30, 10:30 pm 1:30 am $20 Friday, June 10 The Jazz Gallery 7:30, 9:30 pm $22 • Sing Me A Swing Song: Michael Feinstein with Catherine Russell, Allyson Briggs and êDion Parson 21st Century Band with Ron Blake, Melvin Jones, Victor Provost, Tedd Firth Big Band The Appel Room 7 pm $65-120 • Vision Festival: William Hooker Triangle with Chris DiMeglio, Adam Lane, Mark Hennen, Reuben Rogers, Carlton Holmes, Alioune Faye • The Great Jewish American Songbook: Ted Rosenthal, , Joel Frahm, Goussy Celestin; Fay Victor SoundNoise Quartet with Sam Newsome, Melvin Gibbs, Dizzy’s Club 7:30, 9:30 pm $45 David Grossman, Tim Horner Riverdale Y 7:30 pm $15-30 Reggie Nicholson; Bob Holman/Todd Nicholson; Cooper-Moore Quartet with • Michela Marino Lerman Dizzy’s Club 11:30 pm $20 • Raphael D’lugoff Trio +1; Trio; Ned Goold Jam Alan Michael, Brian Price, Michael Wimberly; Michele Rosewoman’s New Yor-Uba with • Chuck Redd Quartet with Larry Fuller, Paolo Benedettini, Jimmy Cobb Fat Cat 7, 9 pm 12:30 am Alex Norris, Chris Washburne, Roman Filiu, Stacy Dillard, Yunior Terry, Robby Ameen, Jazz at Kitano 8, 10 pm $32 • Mike DiRubbo Quintet with Josh Evans, Brian Charette, Matt Dwonszyk, Roman Diaz, Mauricio Herrera, Rafael Monteagudo, Amma Mcken • Gutbucket: Ty Citerman, Ken Thomson, Pat Swoboda, Adam Gold Jason Tiemann; Dor Sagi; Marko Churnchetz 4 with Mark Shim, Ricky Rodriguez, Judson Memorial Church 7 pm $40 Ibeam Brooklyn 8:30 pm $15 Ludwig Afonso Club Bonafide 7:30, 9:30, 11 pm $10-20 • Dizzy Revisited: Jimmy Heath’s Jazz Orchestra • Infrequent Seams Spring Festival: Seth Parker Woods; Philip White solo; êThe Bones of Art: Steve Turre, Steve Davis, Ku-umba Frank Lacy, Xavier Davis, Flushing Town Hall 8 pm $42 Hate Speech: Charlie Looker/Jeremiah Cymerman; Anagram Ensemble Corcoran Holt, Willie Jones III Smoke 7, 9, 10:30 pm $12 êTribute to Jackie McLean: Rene McLean Sextet with Gary Bartz, Alan Jay Palmer, The Firehouse Space 8 pm $10 • Dominick Farinacci’s Short StoriesDizzy’s Club 7:30, 9:30 pm $35 Dezron Douglas, Ronnie Burrage, Neil Clark • Mark Sganga/Larry D’Albero Knickerbocker Bar and Grill 9, 10:15 pm $3.50 • Michela Marino Lerman Dizzy’s Club 11:30 pm $5 Smoke 7, 9, 10:30 pm $38 • Arturo Sandoval Blue Note 8, 10:30 pm $45 ê50 Miniatures for Improvising Quintet: Jennifer Choi, Sylvie Courvoisier, Trevor Dunn, • Ehud Asherie solo; Kirk Lightsey Trio with Ed Cherry, David Williams; Johnny O’Neal êDee Dee Bridgewater with Theo Croker, Anthony Ware, Michael King, Eric Wheeler, Michael Sarin, Erik Friedlander; Vanishing Point: Craig Taborn/Erik Friedlander Mezzrow 8, 9:30 pm 12:30 am $20 Kassa Overall Jazz Standard 7:30, 9:30 pm $40 The Stone 8, 10 pm $20 • Tom Guarna Quartet with Jon Cowherd, Henry Cole, Ricky Rodriguez; • Herb Alpert/Lani Hall Café Carlyle 8:45, 10:45 pm $80-155 • Jaimie Branch Quartet with Tomeka Reid, Jason Ajemian, Chad Taylor; Steve Slagle Quartet with Dave Stryker, Gerald Cannon, McClenty Hunter; • Maria Schneider Orchestra with Steve Wilson, Dave Pietro, Rich Perry, Donny McCaslin, Jooklo Duo with Brandon Lopez Rye 9, 10:15 pm Corey Wallace Smalls 7:30, 10:30 pm 1:30 am $20 Scott Robinson, Tony Kadleck, Greg Gisbert, Nadje Noordhuis, Mike Rodriguez, • Take Off Collective: Ole Mathisen, Matthew Garrison, Marko Djordjevic; • Tal Ronen; Full Circle; Paul Nowinski Keith O’Quinn, Ryan Keberle, Marshall Gilkes, George Flynn, Gary Versace, Lage Lund, Marko Djordjevic Sveti with Isamu McGregor, Evan Marien Fat Cat 6, 10:30 pm 1:30 am Frank Kimbrough, Jay Anderson, Clarence Penn ShapeShifter Lab 8:15, 9:30 pm $12 êLush Life: Celebrating 100 Years Of Billy Strayhorn: Jazz at Lincoln Center Orchestra Birdland 8:30, 11 pm $40 • Thaisa Olivia Quartet with John di Martino, Ed Howard, Vince Cherico with guest Johnny O’Neal Rose Theater 8 pm $40-135 • Terell Stafford Quintet with Tim Warfield, Bruce Barth, Peter Washington, Billy Williams Jazz at Kitano 8, 10 pm $17 êBroken Arm Trio: Michael Sarin, Trevor Dunn, Erik Friedlander; Village Vanguard 8:30, 10:30 pm $30 • Leon Parker with Jazzmeia Horn, Lafayette Harris, Calvin Jones Arrullo de la Noche Honda: Erik Friedlander/Lucia Pulido • Thomas Music Study Club Concert: Chip Shelton/Dotti Anita Taylor Mezzrow 8 pm $20 The Stone 8, 10 pm $20 Saint Peter’s 3 pm • Q Morrow Group with Evan Francis, Sam Bevan, Rogério Boccato; Kathryn Christie êMary Halvorson’s Code Girl with Amirtha Kidambi, Ambrose Akinmusire, • Andrew Drury DRUM/BRIDGE with Jason Kao Hwang, Stephanie Griffin, with Matt Aronoff, Ross Pederson Cornelia Street Café 8, 9:30 pm $10 Michael Formanek, Tomas Fujiwara Jay Rodriguez, Briggan Krauss, Ingrid Laubrock, Ku-umba Frank Lacy, The Jazz Gallery 7:30, 9:30 pm $22 Brandon Seabrook, Ken Filiano PS 189 11 am

THE NEW YORK CITY JAZZ RECORD | JUNE 2016 43 Sunday, June 12 • Darcy James Argue’s Secret Society with Dave Pietro, Rob Wilkerson, Peter Hess, êVijay Iyer Trio with Stephan Crump, Marcus Gilmore Jon Irabagon, Carl Maraghi, Seneca Black, Jonathan Powell, Matt Holman, Jazz Standard 7:30, 9:30 pm $30 êVision Festival: Breath through Stone: David Mills, Patricia Nicholson, Djassi Johnson, Nadje Nooordhuis, Jason Palmer, Mike Fahie, Ryan Keberle, Jacob Garchik, • Steve Kroon Sextet with Craig Rivers, Bryan Carrott, Igor Atalita, Waldo Chavez, Yoshiko Chuma, Jason Kao Hwang, Michael TA Thompson; Mike Reed’s Flesh & Bone Jennifer Wharton, Sebastian Noelle, Adam Birnbaum, Matt Clohesy, Jon Wikan Joel Mateo Smoke 7, 9, 10:30 pm $12 with Ben Lamar Gay, Greg Ward, Tim Haldeman, Jason Stein, Jason Roebke, Jazz Standard 7:30, 9:30 pm $25 • Ethan Iverson Quartet with Houston Person, Ben Street, Kevin Coval, Marvin Tate; James Brandon Lewis Trio with Luke Stewart, êAmarcord : Hal Willner, Giancarlo Vulcano, Steven Bernstein, Michael Gibbs, Village Vanguard 8:30, 10:30 pm $30 Warren Trae Crudup III; Dave Liebman, Sam Newsome, Jeff Coffin, Tatsuya Nakatani; , Doug Wieselman, Jane Scarpantoni, Jim White • Sean Harkness Duo Birdland 6 pm $25 Kidd Jordan Ensemble with Joel Futterman, , Alvin Fielder and The Stone 8, 10 pm $20 • Mike Stern/Bill Evans Quartet with Darryl Jones, Dennis Chambers guest Judson Memorial Church 6 pm $40 êRenku: Michaël Attias, John Hébert, Satoshi Takeishi; Anna Webber, Teddy Klausner, Birdland 8:30, 11 pm $40 êErik Friedlander solo; Nothing on Earth: Shoko Nagai, Satoshi Takeishi, Erik Friedlander Devin Gray Korzo 9, 10:30 pm êChristian McBride Quartet Blue Note 8, 10:30 pm $35 The Stone 8, 10 pm $20 • Deanna Kirk Mezzrow 8 pm $20 • New York Trombone Conspiracy Silvana 6 pm êInternational Anthem Summer Showcase: Makaya McCraven with Junius Paul, • Spike Wilner Trio; Brian Charette Trio with Steve Fidyk, Will Bernard; Jovan Alexander • Tsuyoshi Yamamoto Shrine 6 pm Justefan, Greg Ward, Marquis Hill; /Chad Taylor; Jaimie Branch Quartet Smalls 7:30, 10:30 pm 1:30 am $20 • Matthew Fries Trio Hillstone 6 pm with Tomeka Reid, Jason Ajemian, Chad Taylor • Saul Rubin Zebtet; Peter Brainin Latin Jazz Workshop êJoel Forrester Bryant Park 12:30 pm Le Poisson Rouge 9:30 pm $22 Fat Cat 7, 9 pm • Monika Herzig Citigroup Center Plaza 12:30 pm • Marshall Gilkes with Donny McCaslin, Adam Birnbaum, Matt Clohesy, Eric Doob • Kyle Moffatt Trio with Brad Whitely, Peter Tranmueller; Mike Robinson Trio with Club Bonafide 7:30 pm $15 Dave Speranza, Connor Parks Bar Next Door 6:30, 8:30, 10:30 pm $12 Friday, June 17 êNorthern Spy: Michael Bates, Michael Blake, Jeremy “Bean” Clemons; • Matt McDonald Group; John Yao and His 17-piece Instrument with Alejandro Aviles, Charles Evans/Ron Stabinsky; VUDUnification: Paul Austerlitz, Alexis Marcelo, Aaron Irwin, Rich Perry, Jason Rigby, Andrew Hadro, John Walsh, Jason Wiseman, êGabriel Alegría Afro-Peruvian Sextet with Laura Andrea Leguía, Jean-Marie Brignol Threes Brewing 8, 9, 10 pm $15 David Smith, Andy Gravish, Luis Bonilla, Matt McDonald, Eric Miller, Jennifer Wharton, Freddy “Huevito” Lobatón, Yuri Juárez, John Benitez, Franco Pinna; • Charmaine Lee with Tyshawn Sorey, Joanna Mattrey, Henry Fraser, Leila Bordreuil Jesse Stacken, Robert Sabin, Vince Cherico Corners of the World: Andres Malagon, Yuma Uesaka, Paul JB Lee, Tony Lannen, JACK 8 pm $10 ShapeShifter Lab 7, 8:15, 9:30 pm $10 Diego Maldonado Club Bonafide 7:30, 9:30, 11 pm $10-30 • Ai Murakami Trio with Sacha Perry; Johnny O’Neal Trio; Behn Gillece Quartet with • Victor Rendón Bronx Conexión Latin-Jazz Big Band • Sacha Perry solo; David Liebman; Johnny O’Neal Nate Radley, Clovis Nicolas, Jason Tiemann; Hillel Salem Nuyorican Poets Café 9:30 pm $10 Mezzrow 8, 9:30 pm 12:30 am $20 Smalls 4:30, 7:30, 10:30 pm 1:30 am $20 • Jon Sheckler Trio with Steve Denny, Aron Caceras êJimmy Greene Quartet with Kevin Hays, Doug Weiss, Otis Brown III • Ehud Asherie; Ark Ovrutski; Brandon Lewis/Renee Cruz Jam Club Bonafide 7:30 pm $10 Smoke 7, 9, 10:30 pm $38 Fat Cat 6, 8:30 pm 1 am • Paul Corn Duo Tomi Jazz 8 pm • Jon Burr Quintet with Tim Ouimette, Steven Frieder, Michael Eckroth, Steve Williams; • Simone Parker The Drawing Room 7 pm $10 • Larry Corban Electric Trio Silvana 7 pm Donald Edwards Quintet with Ralph Bowen, , Manuel Valera, Ben Wolfe; • Constance Cooper Arc Welding Trio; Stone Arabia: Robyn Siwula, Michael Irwin, • Billy Test solo Jazz at Kitano 8 pm Joe Farnsworth Smalls 7:30, 10:30 pm 1:30 am $20 Dmitry Ishenko, Joe Hertenstein ABC No-Rio 7 pm $5 • Ali Jackson Trio with Emmet Cohen, Yasushi Nakamura • Duduka Da Fonseca 65th Birthday Bash with Anat Cohen, Maucha Adnet, Helio Alves, • The New York Jazzharmonic Trio: Jay Rattman, Chris Ziemba, Ron Wasserman and Dizzy’s Club 7:30, 9:30 pm $35 Nilson Matta Jazz at Kitano 8, 10 pm $32 guests Jim Saporito, Harrison Hollingsworth • Benny Benack III Dizzy’s Club 11:30 pm $5 • Hal Willner with Terry Adams, and guests; Hal Willner with Janine Nichols, Symphony Space Bar Thalia 7 pm êJoel Forrester Bryant Park 12:30 pm LeeAnn Brown, Nile Southern, Tony Torn, Steven Bernstein • Ken Kobayashi Tomi Jazz 8 pm êAdegoke Steve Colson Rendall Memorial Presbyterian Church 12, 1 pm $15 The Stone 8, 10 pm $20 êTribute to Jackie McLean: Rene McLean Sextet with Gary Bartz, Alan Jay Palmer, • Gene Bertoncini The Drawing Room 7 pm $20 Dezron Douglas, Ronnie Burrage, Neil Clark Wednesday, June 15 • John Benitez The Jazz Gallery 7:30, 9:30 pm $22 Smoke 7, 9, 10:30 pm $38 • Blue Note Jazz Festival: Williamsburg Salsa Orchestra • Kirk Lightsey Trio with Ed Cherry, David Williams êVijay Iyer Trio with Stephan Crump, Marcus Gilmore Subrosa 8:30 pm $12 Mezzrow 9:30 pm $20 Jazz Standard 7:30, 9:30 pm $30 êDevin Gray’s Dirigo Rataplan with , Dave Ballou, Michael Formanek êDion Parson 21st Century Band with Ron Blake, Melvin Jones, Victor Provost, êHarris Eisenstadt’s Recent Developments with Jeb Bishop, Eivind Opsvik, Dan Peck, Ibeam Brooklyn 8:30 pm $15 Reuben Rogers, Carlton Holmes, Alioune Faye Hank Roberts, Brandon Seabrook, Sara Schoenbeck, Anna Webber, Nate Wooley • Steve LaSpina/Gary Dial Knickerbocker Bar and Grill 9, 10:15 pm $3.50 Dizzy’s Club 7:30, 9:30 pm $35 ShapeShifter Lab 8 pm $10 • John Hébert Quartet with David Virelles, Tim Ries, Billy Drummond • Infrequent Seams Spring Festival: Anagram Ensemble êTom Rainey/Ingrid Laubrock Barbès 8 pm $10 Cornelia Street Café 9, 10:30 pm $10 The Firehouse Space 7 pm $10 • Romain Collin Iridium 8:30 pm $27.50 • DIY Labels Festival: Joe Moffett solo; Yolt/Hero of Warchester: Weston Minissali, êArturo Sandoval Blue Note 8, 10:30 pm $45 êMario Pavone Mixed Quintet with Tony Malaby, Dave Ballou, Oscar Noriega, David Grollman, Nathanile Morgan, Anna Webber; Gordon Beeferman Trio with êDee Dee Bridgewater with Theo Croker, Anthony Ware, Michael King, Eric Wheeler, Peter McEachern, Michael Sarin Cornelia Street Café 8 pm $10 Michael Evans, Brandon Lopez; Michael Evans/Susan Hefner Kassa Overall Jazz Standard 7:30, 9:30 pm $40 • Marlene VerPlanck Trio with Tedd Firth, Boots Maleson The Firehouse Space 8 pm $10 • Terell Stafford Quintet with Tim Warfield, Bruce Barth, Peter Washington, Billy Williams Jazz at Kitano 8, 10 pm $17 • Mark Cocheo Trio with Mark Zaleski, Brian Adler Village Vanguard 8:30, 10:30 pm $30 • Jon Irabagon/Juan Pablo Carletti; Curtis Hasselbring Trio with Simon Jermyn, Bar Next Door 7:30, 9:30, 11:30 pm $12 • Mari Koga Quintet Birdland 6 pm $25 Satoshi Takeishi Rye 9, 10:15 pm • Vivian Reed Metropolitan Room 9 pm $35 • Ghosts Of The Holy Ghost Spermic Brotherhood: Michael Evans, David Grollman, • Steve Kroon Sextet with Craig Rivers, Bryan Carrott, Igor Atalita, Waldo Chavez, • Erica Seguine/Shannon Baker Jazz Orchestra; Scott Reeves Jazz Orchestra Andy Haas Academy Records 5:30 pm Joel Mateo Smoke 7, 9, 10:30 pm $12 ShapeShifter Lab 8, 9:30 pm $15 • Chris Whittaker Quartet Saint Peter’s 5 pm • Doing the Things We Want To: Hal Willner, Chloe Webb, Lee Ranaldo, Sim Cain, • Underground Horns Radegast Hall 9 pm êJohn Zorn’s Bagatelles: John Zorn/Dave Douglas Quartet with , Ches Smith Doug Weiselman, Steven Bernstein, Don Fleming, Jacob Faulkner • Julio Botti Trio Tomi Jazz 9 pm $10 The Stone 3 pm $20 The Stone 8, 10 pm $20 • Gustavo Moretto Trio Cleopatra’s Needle 8 pm êRed Hook Jazz Festival: Joe Fiedler’s Big Sackbut with Ryan Keberle, Luis Bonilla, • Ray Gallon Mezzrow 8 pm $20 • Rachel Linkovsky Quintet Silvana 7 pm Jose Davila; Tomas Fujiwara and The Hook Up with Mary Halvorson, Brian Settles, • Marc Miralta Quartet with Luis Perdomo, Miguel Zenón, John Benitez; • Shigemasa Nakano Shrine 7 pm Jonathan Finlayson, Michael Formanek; Rez Abbasi’s Junction with Mark Shim, Harold Mabern Trio; Sanah Kadoura êTom Harrell 70th Birthday Celebration with Wayne Escoffery, Danny Grissett, Ben Stivers, Kenny Grohowski; Judi Silvano’s Zephyr Quintet with Bruce Arnold, Smalls 7:30, 10:30 pm 1:30 am $20 Ugonna Okegwo, Johnathan Blake Kenny Wessel, Ratzo Harris, Bob Meyer; Sexmob: Steven Bernstein, Briggan Krauss, • Raphael D’lugoff Trio +1; Ned Goold Jam Dizzy’s Club 7:30, 9:30 pm $40 , Kenny Wollesen Urban Meadow 1 pm $10 Fat Cat 7 pm 12:30 am • Benny Benack III Dizzy’s Club 11:30 pm $10 • Emilio Solla Tango-Jazz Quartet with Joel Frahm, Edward Perez, Ferenc Nemeth • Moth to Flame: Tyson Harvey, Ivo Lorenz, John Krtil, Ken Marino; Costas Baltazanis; êVijay Iyer Trio with Stephan Crump, Marcus Gilmore Blue Note 11:30 am 1:30 pm $35 Lucas Kadish Trio with Devon Gillingham, Connor Parks Jazz Standard 7:30, 9:30 pm $30 • Roz Corral Trio with Howard Alden, David Silliman Club Bonafide 7:30, 9:30, 11 pm $10-20 • Ethan Iverson Quartet with Houston Person, Ben Street, Billy Hart North Square Lounge 12:30, 2 pm • Matterhorn Rockwood Music Hall Stage 1 11:30 pm Village Vanguard 8:30, 10:30 pm $30 • Dragonflies: Nicolas Letman-Burtinovic, Douglas Bradford, Peter Kronreif • Mike Stern/Bill Evans Quartet with Darryl Jones, Dennis Chambers Monday, June 13 Bar Chord 9 pm Birdland 8:30, 11 pm $40 • Tsuyoshi Yamamoto Trio Tomi Jazz 8 pm êChristian McBride Quartet Blue Note 8, 10:30 pm $35 êMilford Graves/Deantoni Parks Park Avenue Armory 8 pm $45 • Roger Davidson Caffe Vivaldi 7:15 pm êJoel Forrester Bryant Park 12:30 pm êMarty Ehrlich’s Traveler’s Tales with James Brandon Lewis, Brad Jones, • Ethan Iverson Quartet with Houston Person, Ben Street, Billy Hart Bar Lunàtico 8:30, 10 pm $10 Village Vanguard 8:30, 10:30 pm $30 Saturday, June 18 • John Zorn’s Bagatelles: Secret Quartet: Cornelius Dufallo, Jennifer Choi, Ljova Zhurbin, • Mike Stern/Bill Evans Quartet with Darryl Jones, Dennis Chambers Yves Dharamraj; A New Quartet: Pauline Kim, Conrad Harris, William Hakim, Birdland 8:30, 11 pm $40 êSummerStage/Blue Note Jazz Festival: Kamasi Washington Okkyung Lee The Stone 8, 10 pm $20 • Christian McBride Quartet Blue Note 8, 10:30 pm $35 Central Park SummerStage 6 pm • Ali Jackson Trio with Emmet Cohen, Yasushi Nakamura • Ali Jackson Trio with Emmet Cohen, Yasushi Nakamura êJason Rigby Detroit-Cleveland Trio with Cameron Brown, Gerald Cleaver Dizzy’s Club 7:30, 9:30 pm $35 Dizzy’s Club 7:30, 9:30 pm $35 Cornelia Street Café 9, 10:30 pm $10 êMara Rosenbloom Trio with Adam Lane, Chad Taylor; Darius Jones Quintet with • Benny Benack III Dizzy’s Club 11:30 pm $5 êBrianna Thomas Ginny’s Supper Club 7:30, 9:30 pm $15 Ben Gerstein, Jason Stein, Michael Bisio, Jason Nazary • Paul Abler/James Weidman Whole Foods Market Union Square 6 pm • Tord Gustavsen Trio with Simin Tander, Jarle Vespestad Ibeam Brooklyn 8:30, 9:30 pm $15 • Mike Alfieri Trio Silvana 6 pm Saint Peter’s 8 pm • Calixto Oviedo with Bob Franceschini, Cesar Orozco, Robert Quintero, • Gioel Severini Shrine 6 pm • Melissa Aldana/Glenn Zaleski Sextet with Ben van Gelder, Philip Dizack, Rick Rosato, Ruben Rodriguez Subrosa 8, 10 pm $15 êDick Hyman solo Saint Peter’s 1 pm $10 Craig Weinrib The Jazz Gallery 7:30, 9:30 pm $22 • Evan Christopher/Ehud Asherie; John Merrill êJoel Forrester Bryant Park 12:30 pm • DIY Labels Festival: Brian Osborne solo; Flin Van Hemmen Trio with Eivind Opsvik, Mezzrow 8, 10:30 pm $20 Christopher Hoffman; Dustin Carlson/Juan Pablo Carletti; Blood of the Stars: Dan Peck/ • Torben Waldorff Quartet with Ingrid Jensen, , Johnathan Blake; Thursday, June 16 Erica Dicker The Firehouse Space 8 pm $10 Ari Hoenig Trio with Nitai Hershkovits, Or Bareket; Jonathan Michel êHal WillnerGarth Hudson The Stone 8, 10 pm $20 Smalls 7:30, 10:30 pm 1 am $20 êHighlights in Jazz—Trio Time: Dick Hyman Trio with Jay Leonhart, Howard Alden; • Petros Klampanis Trio with Yotam Silberstein, John Hadfield • Ned Goold Quartet Fat Cat 9 pm 12:30 am Trio Da Paz: Duduka Da Fosenca, Romero Lubambo, Nilson Matta Bar Next Door 7:30, 9:30, 11:30 pm $12 êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 Tribeca Performing Arts Center 8 pm $50 • Ali Bello and the Sweet Wire Band with Gabriel Chakarji, Bam Bam Rodríguez, • David Lopato Quartet with Lucas Pino, Ratzo Harris, Mike Sarin êTom Harrell 70th Birthday Celebration with Wayne Escoffery, Danny Grissett, Ismael “Maelo” Baiz and guest; Buyu Ambroise Blues in Red Band; Cornelia Street Café 8:30 pm $10 Ugonna Okegwo, Johnathan Blake Wataru Predawn Shenanigans Club Band with Abelita Mateus, Itaiguara Brandão, êJeb Bishop/Josh Sinton; CROOKS: Jaimie Branch, John Welsh, Brandon Lopez, Dizzy’s Club 7:30, 9:30 pm $40 Vanderlei Pereira Club Bonafide 7:30, 9:30, 11 pm $10-20 Sam Ospovat; Hero of Warchester: Anna Webber, Nathaniel Morgan, Liz Kosack • Benny Benack III Dizzy’s Club 11:30 pm $10 • Scott Healy Ensemble with Brian Swartz, Andrew Lippman, Alex Budman, Rick Shaw, Delroy’s Cafe and Wine Bar 9, 9:30, 10:15 pm $10 êCécile McLorin Salvant and Aaron Diehl Trio with Paul Sikivie, Lawrence Leathers Bill Wysaske, Aaron Heick, Bob Magnuson, Frank Greene, Joël Vaïsse • Becca Stevens Band Rockwood Music Hall Stage 2 7 pm $12 St. Paul’s German Lutheran Church 7:30 pm St. Paul’s German Lutheran Church 7:30 pm • Philippe Crettien Quartet with Patrick Mottaz, Sean Farias, Mike Connors • Ben Allison Band with Joey Arias, Brandon Seabrook, Steve Cardenas, Allison Miller; • Jackie Gage Siren Songs The Cell 8 pm $15 ShapeShifter Lab 8:15 pm $15 Sivan Arbel with Shai Portugaly, Nadav Shapira, Yogev Gabay, Ron Warburg, • Astoria Big Band Sunnyside Reformed Church 7 pm • David Kuhn Trio with Daniel Durst, Diego Maldonato; Elisabeth Lohninger Trio with Jack Sheehan, Ori Jacobson ShapeShifter Lab 7, 8:15, 9:30 pm $10 • Standard Procedures; Takafumi Suenaga Walter Fischbacher, Marco Panascia • Whoops I’m An Indian: Martin Brumbach, , Hal Willner and guest Tomi Jazz 8, 11 pm $10 Bar Next Door 6:30, 8:30, 10:30 pm $12 Professor Irwin Corey; Homage to : Adam Dorn, Hal Willner, • Ken Simon Trio Cleopatra’s Needle 8 pm • Tony Tixier/Damian Henderson Boudoir 7:30 pm Martin Brumbach, William Eaton, William Fischer • Noshir Mody Sextet Shrine 7 pm • Linda Presgrave Quartet with Stan Chovnick, Dimitri Moderbacher, Seiji Ochiai The Stone 8, 10 pm $20 • Spike Wilner; David Liebman; Jon Davis Tomi Jazz 8 pm êBobby Katz Trio with Perrin Grace, Tim Rachbach; Jon Irabagon Trio with Mezzrow 8, 9:30 pm 12:30 am $20 • Danny Bacher Quartet Le Cirque 7:30 pm Chris Lightcap, Gerald Cleaver Bar Next Door 6:30, 8:30, 10:30 pm $12 êJimmy Greene Quartet with Kevin Hays, Doug Weiss, Otis Brown III • DUBtrio+1; Benji Kaplan Sextet Silvana 6, 7 pm • Frank Vignola/Vinny Raniolo Cavatappo Grill 9, 11 pm $10 Smoke 7, 9, 10:30 pm $38 êJoel Forrester Bryant Park 12:30 pm • Alan Ferber Nonet with Scott Wendholt, Jon Gordon, Jason Rigby, Charles Pillow, • Eddie Diehl Quartet with Joel Fass, John Beal, Taro Okamoto; Donald Edwards Quintet Nate Radley, Bryn Roberts, Matt Clohesy, Mark Ferber; JC Stylles Quartet with Ralph Bowen, David Gilmore, Manuel Valera, Ben Wolfe; Brooklyn Circle Tuesday, June 14 Smalls 7:30, 10:30 pm $20 Smalls 7:30, 10:30 pm 1:30 am $20 • Point of Departure Fat Cat 10 pm • Duduka Da Fonseca 65th Birthday Bash with Anat Cohen, Maucha Adnet, Helio Alves, • National Jazz Museum in Harlem 2016 Annual Benefit Concert: René Marie; • Ayako Shirasaki Trio with Noriko Ueda, Lewis Nash Nilson Matta Jazz at Kitano 8, 10 pm $32 Monty Alexander and Harlem-Kingston Express Jazz at Kitano 8, 10 pm $17 êDevin Gray’s Dirigo Rataplan with Ellery Eskelin, Dave Ballou, Michael Formanek Kaye Playhouse 7:30 pm $35-55 • Ricky Rodriguez Group with Myron Walden, Adam Rogers, Luis Perdomo, Ibeam Brooklyn 8:30 pm $15 • Ethan Iverson Quartet with Houston Person, Ben Street, Billy Hart Obed Calvaire The Jazz Gallery 7:30, 9:30 pm $15 • Steve LaSpina/Gary Dial Knickerbocker Bar and Grill 9, 10:15 pm $3.50 Village Vanguard 8:30, 10:30 pm $30 • John Hadfield Saints of Percussion with Billy Drewes, Matt Kilmer, Tim Keiper, êTom Harrell 70th Birthday Celebration with Wayne Escoffery, Danny Grissett, • Mike Stern/Bill Evans Quartet with Darryl Jones, Dennis Chambers Shane Shanahan, John Hadfield Cornelia Street Café 8 pm $10 Ugonna Okegwo, Johnathan Blake Birdland 8:30, 11 pm $40 • Sumie Kaneko; Marcus Machado Club Bonafide 7:30, 9:30 pm $15 Dizzy’s Club 7:30, 9:30 pm $45 êChristian McBride Quartet Blue Note 8, 10:30 pm $35 • Patrick Brennan’s Transparency Kestra with Eli Asher, Haruna Fukazawa, • Benny Benack III Dizzy’s Club 11:30 pm $20 • Blue Note Jazz Festival: Terrace Martin; Keyon Harrold Michel Gentile, Brian Groder, Lloyd Haber, Thomas Heberer, Patrick Holmes, êVijay Iyer Trio with Stephan Crump, Marcus Gilmore Highline Ballroom 8 pm $30-65 Jason Kao Hwang, Chris McIntyre, Dave Treut, David Sidman, Nico Soffiato, Jazz Standard 7:30, 9:30 pm $30 êBlue Note Jazz Festival: Dizzy Gillespie Afro-Cuban All Stars Justin Wood El Taller LatinoAmericano 7 pm $10 • Ethan Iverson Quartet with Houston Person, Ben Street, Billy Hart Subrosa 8, 10 pm $25 • Eden Bareket Rockwood Music Hall Stage 3 10 pm $5 Village Vanguard 8:30, 10:30 pm $30 êOscar Peterson Celebration: Mike Longo Trio • Ehud Asherie solo; Spike Wilner; Davis Whitfield • Mike Stern/Bill Evans Quartet with Darryl Jones, Dennis Chambers NYC Baha’i Center 8, 9:30 pm $15 Mezzrow 8, 9, 11:30 pm $20 Birdland 8:30, 11 pm $40 êThe Out Louds: Ben Goldberg, Mary Halvorson, Tomas Fujiwara • Susan Leviton and Lauren Brody Jalopy 8:30 pm $15 êChristian McBride Quartet Blue Note 8, 10:30 pm $35 Cornelia Street Café 8 pm $10 • Scot Albertson Tomi Jazz 9 pm $10 • The Word on the Street Ensemble: Roy Meriwether, Bill Saxton, Vincent Chancey, • Lauren Lee Duet Cleopatra’s Needle 7 pm Philip Harper, Alex Grassel, Dave Gibson Brownsville Heritage House 3 pm

44 JUNE 2016 | THE NEW YORK CITY JAZZ RECORD All-Female Jazz Residency Artistic Director: Geri Allen July 10 - 16, 2016 at Rutgers University-Newark Young women work alongside the most respected jazz musicians in the field.

Linda Oh Ingrid Jensen Bruce Williams

Geri Allen Tia Fuller

Photo: Norman DeShong

#NJPACArtsEd Financial aid To register visit njpac.org/getacceptd available For more information: njpac.org/summer Apply today! [email protected] • 973.353.7058

NYC Jazz Record All-Female Jazz Residency Ad_9.5x12_ad.indd 1 5/17/16 4:00 PM Sunday, June 19 êConnie Crothers, Louie Belogenis, Ken Filiano, Michael Wimberly; Rob Brown, • Stephen Gauci/Philip White; Briggan Krauss/Alvaro Domene; Nick Demopoulos/ Louie Belogenis, Roberta Piket, Billy Mintz Jeremy Carlstedt The Firehouse Space 8 pm $10 • Lena Bloch Feathery Quartet with Russ Lossing, Cameron Brown, Billy Mintz The Stone 8, 10 pm $20 • Jazztopad Festival Presents: Piotr Damasiewicz/Gerard Lebik Duo The Drawing Room 7:30 pm $15 • Kendra Shank/Frank Kimbrough Jazz at Kitano 8, 10 pm $17 Happylucky no.1 8, 9:30 pm $10 • Jim Black Trio with Elias Stemeseder, Thomas Morgan • Victor Gould Sextet with Jeremy Pelt, Godwin Louis, Myron Walden, Ben Williams, • Marc Cary’s Harlem Story Ginny’s Supper Club 7:30, 9:30 pm $15 Cornelia Street Café 8:30 pm $10 E.J. Strickland Smoke 7, 9, 10:30 pm $12 • Midsummer Night Swing: Mint Julep Jazz Band êDave Chamberlain Band of Bones Club Bonafide 7 pm $20 • Samuel Torres Group with Alex Norris, Tom Guarna, Manuel Valera, Ricky Rodriguez, Damrosch Park 7:30 pm $17 êDIY Labels Festival: Sean Conly solo; Booker Stardrum solo; Carlo Costa Quartet with Pablo Bencid; Sandy Gabriel Club Bonafide 7:30, 9:30 pm $15-20 • Ten Thousand Leaves: Becca Stevens, Aya Nishina, Shimpei Takeda Steve Swell, Jonathan Moritz, Sean Ali; Yoni Kretzmer, Jason Ajemian, Kevin Shea êGreg Lewis Organ Trio Bar Lunàtico 8:30, 10 pm $10 The Jazz Gallery 7:30, 9:30 pm $22 The Firehouse Space 8 pm $10 • Leon Parker Quartet Mezzrow 8 pm $20 êScott Dubois Quartet with Jon Irabagon, Thomas Morgan, Kresten Osgood êUri Gurvich Quartet with Manuel Valera, Peter Slavov, Francisco Mela; • Rick Rosato Trio with Peter Bernstein, Craig Weinrib; Dave Baron Quartet with Cornelia Street Café 9, 10:30 pm $10 Braxton Cook Quintet Rockwood Music Hall Stage 3 7, 10 pm $10-12 Lucas Pino, Bruce Barth, Aaron Kimmel; Aaron Seeber • Aaron Parks and Little Big with Greg Tuohey, Immanuel Wilkins, Spencer Murphy, • Lezlie Harrison Quartet; Joe Magnarelli Quartet; Hillel Salem Smalls 7:30, 10:30 pm 1:30 am $20 Kush Abadey Greenwich House Music School 8 pm $15 Smalls 7:30, 10:30 pm 1:30 am $20 • Raphael D’lugoff Trio +1; Don Hahn/Mike Camacho Band; Ned Goold Jam • Dan Loomis Ibeam Brooklyn 8:30 pm $15 • Ehud Asherie; Brandon Lewis/Renee Cruz Jam Fat Cat 7, 9 pm 12:30 am • Michael Sarian and The Chabones with Jim Piela, Ricky Alexander, Fat Cat 6 pm 1 am • Martin Philadelphy, Trevor Dunn, Kresten Osgood; Jonas Kullhammar, Michael Blake, Christopher Misch-Bloxdorf, Michael Verselli, Josh Bailey êJosh Sinton/Guillermo Gregorio; Mike Sopko/Chris Pitsiokos George Braith, Goran Kajfes, Johan Berthling, Kresten Osgood ShapeShifter Lab 7 pm $8 Downtown Music Gallery 6, 7 pm Ibeam Brooklyn 8:30, 10 pm $10 • Blue Note Jazz Festival: Svetlana and The Delancey Five with guest Wycliffe Gordon • Eden Ladin Mezzrow 9:30 pm $20 • BMI Showcase Concert Lucille’s at B.B. King’s 7:30, 9:30 pm $20-25 • Scott May Ensemble; Evan Gallagher Ensemble Christ-St. Stephens Church 7:30 pm • Falkner Evans/Paul Gill Knickerbocker Bar and Grill 9, 10:15 pm $3.50 ABC No-Rio 7 pm $5 • Hans Lüdemann solo; Koi4: Teo Vanovski, Paul JuBong Lee, Marcio Garcia, • Jerram Original Network: Jerry Griffin, Tyler Mitchell, Jahn Davis • Luciana Menzes Tomi Jazz 8 pm Zach Kirsimae ShapeShifter Lab 7, 8:15 pm $8-10 Inkwell Café 7:30 pm êJimmy Greene Quartet with Kevin Hays, Doug Weiss, Otis Brown III • Sam Weinberg Band; The Skellettes: Nathaniel Morgan, Angela Morris, Jason Ajemian, • Takenori Nishiuchi Tomi Jazz 9 pm $10 Smoke 7, 9, 10:30 pm $38 Booker Stardrum Rye 9, 10:15 pm • Lluis Capdevila Trio Cleopatra’s Needle 8 pm êTom Harrell 70th Birthday Celebration with Wayne Escoffery, Danny Grissett, • Shoko Igarashi Trio Tomi Jazz 8 pm • Gonçalo Leonardo Group; Brian Harrington Group Ugonna Okegwo, Johnathan Blake • Equilibrium: Brad Baker, Pam Belluck, Rich Russo, Elliot Honig, Terry Schwadron, Silvana 6, 7 pm Dizzy’s Club 7:30, 9:30 pm $35 Dan Silverstone Caffe Vivaldi 8:30 pm êSEEDS Solo Festival: Tyshawn Sorey; Dan Weiss; Miles Okazaki; Anna Webber; êVijay Iyer Trio with Stephan Crump, Marcus Gilmore • Caravan Radegast Hall 9 pm Ben Gerstein; Chet Doxas; Josh Sinton; Lana Is; Judith Berkson; Stephan Crump; Jazz Standard 7:30, 9:30 pm $30 êStanley Cowell Quartet with Bruce Williams, Jay Anderson, Billy Drummond Ohad Talmor; Christoph Knoche; Jacob Sacks; Brian Drye; Justin Mullens • Ethan Iverson Quartet with Houston Person, Ben Street, Billy Hart Village Vanguard 8:30, 10:30 pm $30 SEEDS 8:30 pm Village Vanguard 8:30, 10:30 pm $30 • Robert Glasper Trio with Vicente Archer, Damion Reid êStanley Cowell Quartet with Bruce Williams, Jay Anderson, Billy Drummond êChristian McBride Quartet Blue Note 8, 10:30 pm $35 Blue Note 8, 10:30 pm $45 Village Vanguard 8:30, 10:30 pm $30 êBucky Pizzarelli Birdland 6 pm $30 • Eliane Elias Birdland 8:30, 11 pm $40 êRobert Glasper/Jason Moran Blue Note 8, 10:30 pm $45 • David Love Trio Silvana 6 pm • Paul Abler/James Weidman Whole Foods Market Bowery 6 pm • Ben Williams and Sound Effect Blue Note 12:30 pm $10 • Nadje Noordhuis and Cablework Saint Peter’s 5 pm • Tom Blatt Project Silvana 6 pm • Eliane Elias Birdland 8:30, 11 pm $40 êJohn Zorn’s Bagatelles: Jim Black Trio with Elias Stemeseder, Chris Tordini • Benji Kaplan Sextet Shrine 6 pm • Roy Eaton Bryant Park 12:30 pm The Stone 3 pm $20 • Eyal Vilner Big Band Saint Peter’s 1 pm $10 êBlack Arts Jazz Collective: Wayne Escoffery, Jeremy Pelt, James Burton III, • Roy Eaton Bryant Park 12:30 pm Saturday, June 25 Victor Gould, Vicente Archer, Johnathan Blake Brooklyn Conservatory of Music 3 pm Thursday, June 23 êSummerStage/New York Hot Jazz Festival: Butler, Bernstein and the Hot 9; êEric Wyatt Band with Benito Gonzalez, Essiet Okon Essiet, Chris Beck The Hot Sardines; Bria Skonberg and the New York Hot Jazz Festival All-Stars with First Baptist Church Of Crown Heights 3 pm êJazztopad Festival Presents: Piotr Damasiewicz Quintet; Lutoslawski Quartet with Anat Cohen, Vince Giordano, Wycliffe Gordon, Joe Saylor, Dalton Ridenhour êRed Hook Jazz Festival: Jeff Davis Authorities Trio + 1 with Kirk Knuffke, Eivind Opsvik Uri Caine; Marcin Wasilewski Trio Dizzy’s Club 7:30, 9:30 pm $30-40 Central Park SummerStage 3 pm and guest Jonathan Goldberger; Matt Pavolka Horns Band with Kirk Knuffke, • Sammy Miller Congregation Dizzy’s Club 11:30 pm $10 • Blue Note Jazz Festival: Al Jarreau Town Hall 8 pm $45-130 Loren Stillman, Jacob Garchik, Mark Ferber; Ari Hoenig Group; êHenry Butler Bar Lunàtico 8:30, 10 pm $10 êBlue Buddha: Dave Douglas, Louie Belogenis, Bill Laswell, Tyshawn Sorey James Brandon Lewis Trio with Luke Stewart, Warren G. Crudup III; êDarius Jones, Louie Belogenis, Adam Lane, William Hooker; Louie Belogenis, The Stone 8, 10 pm $20 Bobby Previte and the Visitors with Mike Gamble, Michael Kammers, Kurt Kotheimer Russ Lossing, Kenny Wollesen The Stone 8, 10 pm $20 êSpecial Piano Extravaganza: Don Friedman, George Cables, Frank Kimbrough, Urban Meadow 1 pm $10 êDean Johnson’s Triology with Joel Frahm, Jim Ridl, Tim Horner George Mraz, Anthony Pinciotti Jazz at Kitano 8, 10 pm $32 • Joe Alterman Trio Blue Note 11:30 am 1:30 pm $35 Jazz at Kitano 8, 10 pm $17 êJazztopad Festival Presents: Tony Malaby’s Polish Quintets with Maciej Obara, • Roz Corral Trio with Sheryl Bailey, Paul Gill êDan Weiss Trio with Jacob Sacks, Thomas Morgan Piotr Damasiewicz, Dominik Wania, Max Mucha, Krzysztof Dziedzic and Gerard Lebik, North Square Lounge 12:30, 2 pm Cornelia Street Café 8 pm $10 Artur Tuźnik, Max Mucha, Krzysztof Dziedzic • Brandon Seabrook Die Trommel Fatale with Marika Hughes, Eivind Opsvik, Dave Treut, Cornelia Street Café 9, 10:30 pm $10 Monday, June 20 Sam Ospovat, Chuck Bettis Greenwich House Music School 8 pm $15 • Shunzo Ohno; Kat Vokes Club Bonafide 7:30, 9:30, 11 pm $10-25 • Unidentified Fusion Orangement: Alexander Anderson, Cosimo Boni, Connor Steck, • Jeff Pearring The Drawing Room 7 pm $15 êRebirth Brass Band Blue Note 8, 10:30 pm $35 David Milazzo, Bryant Jackson, Max Acree, Shin Sakaino, Tiago Michelin; • Erik Deutsch Bar Lunàtico 8:30, 10 pm $10 êGeorge Braith Fat Cat 9 pm 12:30 am Roman Filiu’s Quarteria with Ralph Alessi, Dayna Stephens, Maria Grand, David Virelles, • Rale Micic Trio with Steve LaSpina, McClenty Hunter êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 Matt Brewer, Craig Weinrib, Yusnier Sanchez Bar Next Door 7:30, 9:30, 11:30 pm $12 • Lucas Pino’s No Net Nonet with Mat Jodrell, Alex LoRe, Nick Finzer, Andrew Gutauskas, ShapeShifter Lab 7, 8:15 pm $10 • Adam Matlock solo; Alexis Marcelo solo; Tom Blancarte Trio with Ron Stabinsky, Rafal Sarnecki, Glenn Zaleski, Desmond White, Jimmy MacBride, Vuyo Sotashe, êSEEDS Solo Festival: Tyshawn Sorey; Dan Weiss; Miles Okazaki; Anna Webber; Kevin Shea Soup & Sound 7 pm $20 Nancy Harms Dizzy’s Club 7:30, 9:30 pm $35 Ben Gerstein; Chet Doxas; Josh Sinton; Lana Is; Judith Berkson; Stephan Crump; • Underground Horns Nublu 11:55 pm • Jerome Sabbagh/Danny Grissett; John Merrill Ohad Talmor; Christoph Knoche; Jacob Sacks; Brian Drye; Justin Mullens • Monika Ryan Metropolitan Room 9:30 pm $24 Mezzrow 8, 10:30 pm $20 SEEDS 8:30 pm • Sanah Kadoura Quintet Fat Cat 7 pm • Dan Cray Quartet with Dayna Stephens, Clark Sommers, Mark Ferber; • Spike Wilner solo; Mike Longo; Davis Whitfield • Yuko Ito; Yusuke Seki Tomi Jazz 8, 11 pm $10 The Humanity Quartet: Leon Parker, Joel Frahm, Sean Smith, Fred Nardin; Mezzrow 8, 9, 11:30 pm $20 • Denton Darien Trio Cleopatra’s Needle 8 pm Jonathan Michel Smalls 7:30, 10:30 pm 1 am $20 • Carl Bartlett Jr. Quartet with Yoichi Uzeki, Marcus McLaurine, Sylvia Cuenca; • B.J. Jansen Silvana 7 pm • Confirmed: Leonid Galaganov, Sana Nagano, Lester St.louis, Jordan Morton; Loren Stillman Quintet with Gary Versace, Nate Radley, David Ambrosio, Mark Ferber êBuster Williams Quartet with Jaleel Shaw, Victor Gould, Lenny White Polyverse: Jen Baker, Ingrid Laubrock, Stephanie Griffin, Anaïs Maviel Smalls 7:30, 10:30 pm $20 Smoke 7, 9, 10:30 pm $38 Delroy’s Cafe and Wine Bar 9, 10 pm $10 • Roxy Coss Quintet with Alex Goodman, Miki Yamanaka, Rick Rosato, Craig Weinrib; êThe Clayton Brothers Quintet: Jeff, Gerald and John Clayton, Terrell Stafford, • Jon Davis Trio Bar Lunàtico 8:30, 10 pm $10 Chiara Izzi/Kevin Hays; Swingatto: Alex Woods, Antonio Feula, Giacomo Tagliavia Kendrick Scott Jazz Standard 7:30, 9:30 pm $35 • Henrique Eisenmann Trio with Jorge Roeder, Rogério Boccato Club Bonafide 7:30, 9:30, 11 pm $10-15 • Spike Wilner; Gary Smulyan Trio; Anthony Wonsey ShapeShifter Lab 8:15 pm $12 • Guillermo Gregorio Group with Brandon Lopez; Dustin Carlson Largetet with Mezzrow 8, 9:30 pm 12:30 am $20 • Sandy Gabriel Subrosa 8, 10 pm $12 Danny Gouker, Nathaniel Morgan, Eric Trudel, Adam Hopkins, Kate Gentile • David Bixler Quintet; Freddie Hendrix Quintet with Abraham Burton, Theo Hill, • Mark Phillips Trio with Peter Amos, Sam Zerna; Daniela Schächter Trio with Manhattan Inn 10 pm $10 Chris Berger, Chris Beck; Philip Harper Quintet Marco Panascia Bar Next Door 6:30, 8:30, 10:30 pm $12 êMiles Okazaki Group with Paul Cornish, Anthony Tidd, Sean Rickman Smalls 7:30, 10:30 pm 1:30 am $20 • Richard Sears/Karl McComas-Reichl Jazz Museum in Harlem 7 pm $10 • Igor Butman Quartet with Nick Levinovsky, Vitaly Solomonov, Eduard Zizak Boudoir 7:30 pm • Chris Turner/Killiam Shakespeare Ginny’s Supper Club 7:30, 9:30 pm $15 Feinstein’s/54 Below 9:30 pm $30-70 • Erena Terakubo Tomi Jazz 8 pm • Tribute to Sinatra: Perez Metropolitan Room 7 pm $20 • Victor Goines Quartet with Aaron Diehl, Yasushi Nakamura, Marion Felder • Roy Eaton Bryant Park 12:30 pm • Isabella Lundgren and Carl Bagges Trio Dizzy’s Club 7:30, 9:30 pm $45 Scandinavia House 7 pm $15 • Sammy Miller Congregation Dizzy’s Club 11:30 pm $20 Tuesday, June 21 • Sam Zerna Trio with Matt Marantz, Fabio Ragnelli; Mike Trio with Jared Henderson, • Ten Thousand Leaves: Becca Stevens, Aya Nishina, Shimpei Takeda Roberto Giaquinto Bar Next Door 6:30, 8:30, 10:30 pm $12 The Jazz Gallery 7:30, 9:30 pm $22 êStanley Cowell Quartet with Bruce Williams, Jay Anderson, Billy Drummond • Mike Sailors Quartet Cavatappo Grill 9, 11 pm $8 • Falkner Evans/Paul Gill Knickerbocker Bar and Grill 9, 10:15 pm $3.50 Village Vanguard 8:30, 10:30 pm $30 • The Workshop Band Performance; Dave Levitt Trio êSEEDS Solo Festival: Tyshawn Sorey; Dan Weiss; Miles Okazaki; Anna Webber; • Robert Glasper Trio with Vicente Archer, Damion Reid Jalopy 8:30 pm $15 Ben Gerstein; Chet Doxas; Josh Sinton; Lana Is; Judith Berkson; Stephan Crump; Blue Note 8, 10:30 pm $45 • Emi Takada Tomi Jazz 9 pm $10 Ohad Talmor; Christoph Knoche; Jacob Sacks; Brian Drye; Justin Mullens êJazztopad Festival Presents: Obara International Quartet: Maciej Obara, • Patrick Poladian Duet Cleopatra’s Needle 7 pm SEEDS 8:30 pm Dominik Wania, Ole Morten Vågan, Gard Nilssen • Jamison Ross Quartet with Chris Pattishall, Barry Stephenson, Rick Lollar êStanley Cowell Quartet with Bruce Williams, Jay Anderson, Billy Drummond Jazz Standard 7:30, 9:30 pm $25 Jazz Standard 7:30, 9:30 pm $25 Village Vanguard 8:30, 10:30 pm $30 • Eliane Elias Birdland 8:30, 11 pm $40 • Victor Gould Sextet with Freddie Hendrix, Godwin Louis, Myron Walden, Ben Williams, • Robert Glasper with guest Taylor McFerrin • Steve Davis Quintet with Mike DiRubbo, Larry Willis, Gerald Cannon, Joe Farnsworth E.J. Strickland Smoke 7, 9, 10:30 pm $12 Blue Note 8, 10:30 pm $45 Dizzy’s Club 7:30, 9:30 pm $35 êStanley Cowell Quartet with Bruce Williams, Jay Anderson, Billy Drummond • Eliane Elias Birdland 8:30, 11 pm $40 • Sammy Miller Congregation Dizzy’s Club 11:30 pm $5 Village Vanguard 8:30, 10:30 pm $30 • Giant Dwarf: Martin Philadelphy/Jeremy Carlstedt • Bill Garfield Band NYC Baha’i Center 8, 9:30 pm $15 êRobert Glasper/Jason Moran Blue Note 8, 10:30 pm $45 Downtown Music Gallery 6 pm êMidsummer Night Swing: Catherine Russell Septet • Pucci Amanda Jhones Birdland 6 pm $25 • Sonia Sanchez/Gary Bartz Blue Note 4 pm $20 Damrosch Park 7:30 pm $17 • Eliane Elias Birdland 8:30, 11 pm $40 êBlue Note Jazz Festival: Dizzy Gillespie Afro-Cuban All Stars • Beat Kaestli The Archway 6 pm Subrosa 8, 10 pm $25 • Eric Plaks Silvana 6 pm êVictor Prieto The Three Voices with Arturo O’Farrill, Meg Okura, Daniel Blake, • Tom Blatt Project Shrine 6 pm Xohan Manuel Xil Paxaro, Carlo De Rosa, Eric Doob • Roy Eaton Bryant Park 12:30 pm Symphony Space Leonard Nimoy Thalia 8 pm $20 • David Weiss Sextet Citigroup Center Plaza 12:30 pm êFlow Trio: Louie Belogenis, Joe Morris, Charles Downs and guest Joe McPhee • Arturo O’Farrill Fat Afro Latin Jazz Cats The Stone 8, 10 pm $20 Metrotech Commons 12 pm • Mostly Other People Do the Killing: Ron Stabinsky, Moppa Elliott, Kevin Shea and guest Matt Nelson Cornelia Street Café 8, 9:30 pm $10 Friday, June 24 êMichael Blake Quintet with Marcus Rojas, James Carney, Chris Lightcap, Kresten Osgood; Ken Thomson Sextet with Anna Webber, Russ Johnson, Alan Ferber, êBuster Williams Quartet with Jaleel Shaw, Victor Gould, Lenny White Adam Armstrong, Daniel Dor Korzo 9, 10:30 pm Smoke 7, 9, 10:30 pm $38 • JC Sanford’s Triocracy with Chris Bacas, ; Aaron Irwin Group with êThe Clayton Brothers Quintet: Jeff, Gerald and John Clayton, Terrell Stafford, Marshall Gilkes, Pete McCann, Thomson Kneeland; JC Sanford 4 with Mike Baggetta, Kendrick Scott Jazz Standard 7:30, 9:30 pm $30 Dave Ambrosio, Russ Meissner ShapeShifter Lab 7, 8:15, 9:30 pm $10 • Ehud Asherie solo; Gary Smulyan Trio; Johnny O’Neal • Daryl Sherman Mezzrow 8 pm $20 Mezzrow 8, 9:30 pm 12:30 am $20 Celebrate FATHER'S DAY • Spike Wilner Trio; Lucas Pino No Net Nonet; Kyle Poole • Freddie Hendrix Quintet with Abraham Burton, Theo Hill, Chris Berger, Chris Beck; Smalls 7:30, 10:30 pm 1:30 am $20 Corey Wallace Smalls 10:30 pm 1:30 am $20 with • Saul Rubin Zebtet; Cocomama Fat Cat 7, 9 pm • Igor Butman Quartet with Nick Levinovsky, Vitaly Solomonov, Eduard Zizak • Tommy Holladay Trio with Josh Crumbly, Kush Abadey; Tom Finn Trio with Feinstein’s/54 Below 9:30 pm $30-70 Dave Chamberlain’s Zwe Bell Le Pere, Bryan Carter Bar Next Door 6:30, 8:30, 10:30 pm $12 • Victor Goines Quartet with Aaron Diehl, Yasushi Nakamura, Marion Felder • George Dulin Tomi Jazz 8 pm Dizzy’s Club 7:30, 9:30 pm $45 BAND of BONES • Billy Test solo Jazz at Kitano 8 pm • Sammy Miller Congregation Dizzy’s Club 11:30 pm $10 • Lauren Lee Trio Silvana 6 pm êPosi-Tone Allstars: Brian Charette, Joe Magnarelli, Walt Weiskoff, Doug Webb, CLUB BONAFIDE • Roy Eaton Bryant Park 12:30 pm Peter Bernstein; Sivan Arbel Septet with Nick Hetko, Nadav Shapira, Yogev Gabay, June 19th, 7:00-8:15 (one set) $20 Kahlil Kwame Bell Rendall Memorial Presbyterian Church 12, 1 pm $15 Ron Warburg, Ori Jacobson, Jack Sheehan • Club Bonafide 7:30, 8:45, 10, 11:30 pm $10-15 212 East 52nd St. between 3rd & Lex. êTwice Told Tales: Tony Malaby, Louie Belogenis, Trevor Dunn, Ryan Sawyer #6 train to 51st St. Wednesday, June 22 The Stone 8, 10 pm $20 êJazztopad Festival Presents: Marcin Wasilewski Trio; Lutoslawski Quartet with Uri Caine; • Wayne Krantz/Gabriela Anders ShapeShifter Lab 8:15 pm Piotr Damasiewicz Quintet Dizzy’s Club 7:30, 9:30 pm $30 • John Hart Trio with Bill Moring, Tim Horner “Tight and crisp, and • Sammy Miller Congregation Dizzy’s Club 11:30 pm $5 Bar Next Door 7:30, 9:30, 11:30 pm $12 almost Basie-esque!” www.bandofbones.com • Jamison Ross Quartet with Chris Pattishall, Barry Stephenson, Rick Lollar • Tony Middleton Birthday Celebration 80 + 2 with Brandon Wright, DOWNBEAT Jazz Standard 7:30, 9:30 pm $25 Joe Vincent Tranchina, Saadi Zain Jazz at Kitano 8, 10 pm $32 www.clubbonafide.com

46 JUNE 2016 | THE NEW YORK CITY JAZZ RECORD

Sunday, June 26 • Marque “Inna Most” Gilmore and the Burnt Sugar Arkestra with David Gilmore, Mikel Banks, and guests êLouie Belogenis, Ikue Mori, Sylvie Courvoisier; Daniel Carter, Louie Belogenis, ShapeShifter Lab 8:15 pm $10 REGULAR ENGAGEMENTS Andrew Bemkey, Dave Hofstra, Lou Grassi • Kenny Warren Quartet with JP Schlegelmilch, Noah Garabedian, Satoshi Takeishi; The Stone 8, 10 pm $20 Hearts And Minds: Jason Stein, Paul Giallorenzo, Chad Taylor êJazztopad Festival Presents: Lutosławski Quartet with Uri Caine Rye 9, 10:15 pm MONDAY National Sawdust 8 pm $25 • Noam Wiesenberg with Will Vinson, Ben Wendel, Jeff Miles, Shai Maestro, • Richard Clements and guests 11th Street Bar 9 pm • Ben Allison/Michael Wolff Mezzrow 9:30 pm $20 Tommy Crane; Haggai Cohen-Milo Trio with Ben Wendel, Ziv Ravitz • Orrin Evans Captain Black Band Smoke 7, 9 pm $9 êNacka Forum: Jonas Kullhammar, Goran Kajfes, Johan Berthling, Kresten Osgood Cornelia Street Café 8, 9:30 pm $10 • Vince Giordano’s Nighthawks Iguana 8 pm (ALSO TUE) Nublu 7 pm • Gregory Generet with Rick Germanson, Gerald Cannon, Chris Beck • Grove Street Stompers Arthur’s Tavern 7 pm êTerrence McManus/John Hébert; Thomas Heberer/Jason Stein Smoke 7, 9, 10:30 pm $12 • Patience Higgins Band with Lady Cantrese Nabe Harlem 7 pm Downtown Music Gallery 6, 7 pm • Yasser Tejeda and Palotré with Kyle Miles, Jonathan Troncoso, Ely Vasquez; • Jazz Foundation of American Jam Session Local 802 7 pm • Patrick Cornelius Octet with Matthew Jodrell, Sam Sadigursky, Nick Vayenas, 3D Rhythm of Life Club Bonafide 7:30, 9:30 pm $15 • Arthur Kell and Friends Bar Lunatico 8:30 pm Alex Wintz, Fabian Almazan, Thomson Kneeland, Eric Doob • Jane Irving Quartet with Paul Odeh, Kevin Hailey, Brian Fishler • Renaud Penant Trio Analogue 7:30 pm Cornelia Street Café 8:30 pm $10 Jazz at Kitano 8, 10 pm $17 • Earl Rose solo; Earl Rose Trio Bemelmans Bar 5:30, 9 pm • George Gee Swing Orchestra; Johnny O’Neal Trio; Hillel Salem • Sofie Salonika with Jessica Lurie, Katie Down, Arthur Kell, Rich Stein • Stan Rubin All-Stars Charley O’s 8:30 pm Smalls 4:30, 10:30 pm 1:30 am $20 Bar Lunàtico 8:30, 10 pm $10 • Smoke Jam Session Smoke 10:30 pm • Terry Waldo’s Gotham City Band; Brandon Lewis/Renee Cruz Jam • Rob Schneiderman Mezzrow 8 pm $20 • Svetlana and the Delancey 5 The Back Room 8:30 pm Fat Cat 6 pm 1 am • Randy Napoleon Trio with Rodney Whitaker, Quincy Davis; Lafayette Harris Quintet • Swingadelic Swing 46 8:30 pm • Tali Rubinstein Quartet; Paola Quagliata Quartet with Antoine Drye, Caleb Curtis, George DeLancey, Will Terrill; Sanah Kadoura • Gracie Terzian Bar Hugo 6 pm The Cell 8, 10 pm $15 Smalls 7:30, 10:30 pm 1:30 am $20 • Vanguard Jazz Orchestra Village Vanguard 8:30, 10:30 pm $30 • Brad Linde’s Team Players with Billy Wolfe, Aaron Quinn, Deric Dickens • Raphael D’lugoff Trio +1; Ned Goold Jam • James Zeller Duo Spasso 7 pm (ALSO SUN) Ibeam Brooklyn 8:30, 9:30 pm $15 Fat Cat 7 pm 12:30 am • Dialogue: Dan Davis, Cole McCormick, Eli Marzano • Kyle Hernandez Trio; Jao Martins Trio ShapeShifter Lab 7 pm $10 Tomi Jazz 8, 11 pm TUESDAY ê • The New York Jazzharmonic Trio: Jay Rattman, Chris Ziemba, Ron Wasserman and Dr. Lonnie Smith Trio with Jonathan Kreisberg, Johnathan Blake • Orrin Evans Evolution Series Jam Session Zinc Bar 11 pm guests Jim Saporito, Harrison Hollingsworth Jazz Standard 7:30, 9:30 pm $30 • Irving Fields Nino’s Tuscany 7 pm (ALSO WED-SUN) Symphony Space Bar Thalia 7 pm • Ravi Coltrane Quartet Birdland 8:30, 11 pm $40 • George Gee Orchestra Swing 46 8:30 pm ê • Kengo Yamada Tomi Jazz 8 pm Joshua Redman 4tet with Aaron Goldberg, Larry Grenadier, Greg Hutchinson • Chris Gillespie; Loston Harris Bemelmans Bar 5:30, 9:30 pm (ALSO WED-SAT) • Professor Cunningham and His Old School New York Jazz Band Blue Note 8, 10:30 pm $35 • Joel Forrester solo Stop Time 7 pm Silvana 7 pm • Etienne Charles with Brian Hogans, Victor Gould, Alex Wintz, Jonathan Michel, • Loston Harris Café Carlyle 9:30 pm $20 (ALSO WED-SAT) êBuster Williams Quartet with Jaleel Shaw, Victor Gould, Lenny White John Davis Dizzy’s Club 7:30, 9:30 pm $35 • Art Hirahara Trio Arturo’s 8 pm Smoke 7, 9, 10:30 pm $38 • Kris Allen Quartet Dizzy’s Club 11:30 pm $5 • Yuichi Hirakawa Trio Arthur’s Tavern 7, 8:30 pm êThe Clayton Brothers Quintet: Jeff, Gerald and John Clayton, Terrell Stafford, • Rudy Royston 303 with Nadje Noordhuis, Jaleel Shaw, Sam Harris, Nir Felder, • Mike LeDonne Quartet; Emmet Cohen Band Smoke 7, 9, 10:30, 11:30 pm Kendrick Scott Jazz Standard 7:30, 9:30 pm $30 Mimi Jones, Yasushi Nakamura Village Vanguard 8:30, 10:30 pm $30 • Mona’s Hot Four Jam Session Mona’s 11 pm • Victor Goines Quartet with Aaron Diehl, Yasushi Nakamura, Marion Felder • Paul Abler/James Weidman Whole Foods Market Union Square 6 pm • Annie Ross The Metropolitan Room 9:30 pm $25 Dizzy’s Club 7:30, 9:30 pm $35 • Patti Dunham/Gary Haberman Saint Peter’s 1 pm $10 • Bill Todd Open Jam Club Bonafide 9 pm $10 êStanley Cowell Quartet with Bruce Williams, Jay Anderson, Billy Drummond • Larry Ham Bryant Park 12:30 pm • Diego Voglino Jam Session The Fifth Estate 10 pm Village Vanguard 8:30, 10:30 pm $30 • The Westet Analogue 7:30 pm • Robert Glasper with guest Taylor McFerrin Thursday, June 30 Blue Note 8, 10:30 pm $45 WEDNESDAY • Kris Allen Quartet Saint Peter’s 5 pm êRenee Rosnes Quartet with Steve Nelson, Peter Washington, Lewis Nash • Yaala Ballin/Ari Roland The Drawing Room 4 pm $10 Dizzy’s Club 7:30, 9:30 pm $40 • Astoria Jazz Composers Workshop Waltz-Astoria 6 pm • John Zorn’s Bagatelles: /Chris Otto Duo • Kris Allen Quartet Dizzy’s Club 11:30 pm $10 • Rick Bogart Trio L’ybane 9:30 pm (ALSO FRI) ê The Stone 3 pm $20 Anthony Coleman, Doug Wieselman, Billy Martin; Anthony Coleman solo • Rob Duguay’s Low Key Trio Turnmill NYC 11 pm • Whitney Marchelle with Sweet Lee Odom, Willerm Delisfort, Lonnie Plaxico, The Stone 8, 10 pm $20 • Jeanne Gies with Howard Alden and Friends Joe G’s 6:30 pm ê Camile-Jones Gainer Richard Rogers Amphitheater 3 pm Ingrid Laubrock/Tom Rainey Zürcher Gallery 8 pm $15 • Martin Kelley’s Affinity John Brown Smoke House 5:30 pm • Gregoire Maret/Kevin Hays Blue Note 11:30 am 1:30 pm $35 • Mats Eilertsen Trio Scandinavia House 7 pm $15 • Mark Kross and Louise Rogers WaHi Jazz Jam Le Chéile 8 pm • Paul Jost Trio with Jim Ridl, Boris Kozlov • Lena Bloch Feathery Quartet with Russ Lossing, Cameron Brown, Billy Mintz • Les Kurtz Trio Cleopatra’s Needle 7 pm North Square Lounge 12:30, 2 pm Michiko Studios 8 pm • Jonathan Kreisberg Trio Bar Next Door 8:30, 10:30 pm $12 • Matt Brewer Quartet with Ben Wendel, Lage Lund, Tommy Crane • Ron McClure solo piano McDonald’s 12 pm (ALSO SAT) Monday, June 27 Cornelia Street Café 8 pm $10 • David Ostwald’s Centennial Band Birdland 5:30 pm $20 • Tim Hegarty Quartet with Mark Sherman, Essiet Okon Essiet, Carl Allen • Stan Rubin Orchestra Swing 46 8:30 pm êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 Jazz at Kitano 8, 10 pm $17 • Eve Silber Arthur’s Tavern 7 pm • Band Director Academy Faculty Band • Ehud Asherie solo; Colin Stranahan; Davis Whitfield • Donald Smith and Friends Cassandra’s Jazz and Gallery 8, 10 pm $10 Dizzy’s Club 7:30, 9:30 pm $35 Mezzrow 8, 9, 11:30 pm $20 • Bill Wurtzel/Jay Leonhart American Folk Art Museum 2 pm • Blue Note Jazz Festival: The Music Of The with Francois Wiss, • Randy Napoleon Trio; Carlos Abadie Quintet Smalls 7:30, 10:30 pm $20 Damian Quiñones, Danny Valdez Subrosa 7:30, 9:30 pm $15 THURSDAY êSheryl Bailey 3 with Ron Oswanski, Ian Frohman • Myriam Phiro with Hyuna Park, Elias Bailey, Rob Garcia and guests; 55Bar 7 pm Festejation: Christelle Durandy, Eric Kurimski, Mike Eckroth, Juan Felipe Mayorga, • Marc Cary’s The Harlem Sessions Ginny’s Supper Club 10 pm $10 • Jake Henry solo; Aryeh Kobrinsky solo; Ton Trio: Aram Shelton, Kurt Kotheimer, Kan Yanabe, Jeremy Smith, Edward Perez • Dr. Dwight Dickerson Cassandra’s Jazz and Gallery 8 pm $5 Sam Ospovat Delroy’s Cafe and Wine Bar 9, 9:45, 10:30 pm $10 Club Bonafide 7:30, 9:30, 11 pm $10-15 • Orchestra Swing 46 8:30 pm • Josh Davis Trio with Emmet Cohen; Ari Hoenig Trio with Or Bareket, Nitai Hershkovits; • Midsummer Night Swing: Evan Sherman Big Band • Jazz Jam Session American Legion Post 7:30 pm Jonathan Barber Smalls 7:30, 10:30 pm 1 am $20 Damrosch Park 7:30 pm $17 • Kazu Trio Cleopatra’s Needle 11:30 pm • Saul Rubin Group Bar Lunàtico 8:30, 10 pm $10 • Schuyler Tsuda’s Instrument Builder Series with Lea Bertucci, MV Carbon, • Martin Kelley’s Affinity Domaine Wine Bar 8:30 pm • Chris Beaudry Trio with Timothy Norton, Ken Ychicawa; Melissa Stylianou Trio with Tommy Martinez, Aaron Moore ShapeShifter Lab 7 pm $10 • Jon Lang’s First Name Basis Jam Session Symphony Space Bar Thalia 9 pm Orlando Le Fleming, Mark Ferber Bar Next Door 6:30, 8:30, 10:30 pm $12 • Yvonnick Prene Trio Cavatappo Grill 9, 11 pm $8 • Lapis Luna Quintet The Plaza Hotel Rose Club 8:30 pm • Marco Panascia/Mike Kanan Boudoir 7:30 pm • Ladies Day: MJ Territo, Linda Presgrave, Iris Ornig, Barbara Merjan • Curtis Lundy Jam Session Shell’s Bistro 9 pm • Ikiz Cabin Crew with Jonne Bentlöv, Joel Lyssarides Metropolitan Room 7 pm $24 • Sol Yaged Grata 8 pm ShapeShifter Lab 8:15 pm $10 • Peter Amos Trio with Michael Brownell, Sebastian Chiriboga; Tony Mata Trio with • Eri Yamamoto Trio Arthur’s Tavern 7 pm (ALSO FRI-SAT) • SlideAttack Quintet Silvana 6 pm Jordan Ponzi, Tim Talavera Bar Next Door 6:30, 8:30, 10:30 pm $12 • Larry Newcomb Duet Cleopatra’s Needle 7 pm • Matthew Fries Trio Hillstone 6 pm FRIDAY • Larry Ham Bryant Park 12:30 pm • Glen Crytzer’s Quartette Radegast Hall 9 pm • Gregory Generet with Rick Germanson, Gerald Cannon, Chris Beck • Scot Albertson Parnell’s 8 pm (ALSO SAT) Tuesday, June 28 Smoke 7, 9, 10:30 pm $12 • Gene Bertoncini Ryan’s Daughter 8 pm êDr. Lonnie Smith Trio with Jonathan Kreisberg, Johnathan Blake • Birdland Big Band Birdland 5:15 pm $25 êDr. Lonnie Smith Trio with Jonathan Kreisberg, Johnathan Blake Jazz Standard 7:30, 9:30 pm $30 • Rick Bogart Trio New York Yankees Steakhouse 5 pm Jazz Standard 7:30, 9:30 pm $30 • Matt Baker Quartet with Jim Cammack, Montez Coleman, Joel Frahm • The Crooked Trio: Oscar Noriega, Brian Drye, Matt Pavolka Barbès 5 pm • Ravi Coltrane Quartet Birdland 8:30, 11 pm $40 Birdland 6 pm $25 • Day One Trio Prime and Beyond Restaurant 9 pm (ALSO SAT) êJoshua Redman 4tet with Aaron Goldberg, Larry Grenadier, Greg Hutchinson • Ravi Coltrane Quartet Birdland 8:30, 11 pm $40 • Gerry Eastman Quartet Williamsburg Music Center 10 pm Blue Note 8, 10:30 pm $35 êJoshua Redman 4tet with Aaron Goldberg, Larry Grenadier, Greg Hutchinson • John Farnsworth Quartet Smoke 11:45 pm 12:45 am • Blue Note Jazz Festival: Avishai Cohen Trio with Omri Mor, Daniel Dor Blue Note 8, 10:30 pm $35 • Finkel/Kasuga/Tanaka/Solow San Martin Restaurant 12 pm $10 Highline Ballroom 8 pm $29.50-60 • Rudy Royston 303 with Nadje Noordhuis, Jaleel Shaw, Sam Harris, Nir Felder, • Sandy Jordan and Friends ABC Chinese Restaurant 8 pm êAnthony Coleman/Matt Wilson; Anthony Coleman/Eli Keszler Mimi Jones, Yasushi Nakamura Village Vanguard 8:30, 10:30 pm $30 • Richard Russo Quartet Capital Grille 6:30 pm The Stone 8, 10 pm $20 • Brian Harrington Group Shrine 6 pm • Bill Saxton and the Harlem Bebop Band Bill’s Place 9, 11 pm $15 (ALSO SAT) • Etienne Charles with Brian Hogans, Victor Gould, Alex Wintz, Jonathan Michel, • Matthew Fries Trio Hillstone 6 pm • Joanna Sternberg Trio Cleopatra’s Needle 12:30 am John Davis Dizzy’s Club 7:30, 9:30 pm $35 • Larry Ham Bryant Park 12:30 pm • Rob Anderson Jam Session University of the Streets 10 pm • Kris Allen Quartet Dizzy’s Club 11:30 pm $5 • Oxford University Jazz Orchestra Citigroup Center Plaza 12:30 pm • George Gray Groove Coalition with Jazzmeia Horn • Rudy Royston 303 with Nadje Noordhuis, Jaleel Shaw, Sam Harris, Nir Felder, SATURDAY Mimi Jones, Yasushi Nakamura Village Vanguard 8:30, 10:30 pm $30 Metrotech Commons 12 pm • Rosemary George Ensemble NYC Baha’i Center 8, 9:30 pm $15 • Rick Bogart Trio Broadway Thai 7:30 pm (ALSO SUN) êBlue Note Jazz Festival: Dizzy Gillespie Afro-Cuban All Stars • The Candy Shop Boys Duane Park 8, 10:30 pm Subrosa 8, 10 pm $25 • Birdland 6 pm $30 • Eco-Music Big Band Roulette 8 pm $20 • Agustin Grasso Quartet Duet 8 pm (ALSO SUN 11 am) • Balázs Elemér Group with guest Tim Ries • Curtis Lundy Trio with guests Shell’s Bistro 9 pm Drom 7:30 pm $20 • Jonathan Moritz/Chris Welcome/Shayna Dulberger The Graham 1 pm • Jesse Stacken Quartet with Tony Malaby, Sean Conly, Tom Rainey; André Matos Trio • Ruben Steijn/Sharik Hasan/Andrea Veneziani Farafina Café & Lounge 8:30 pm with Tony Malaby, Billy Mintz Greenwich House Music School 7:30 pm $15 • Nabuko and Friends Nabe Harlem 12 pm • Marianne Solivan Mezzrow 8 pm $20 • Johnny O’Neal and Friends Smoke 11:45 pm 12:45 am • Ehud Asherie Trio; Josh Evans Group; Jovan Alexander ANTHONY • James Zeller Trio Spasso 1pm Smalls 7:30, 10:30 pm 1:30 am $20 • Saul Rubin Zebtet; Itai Kriss and Gato Gordo; John Benitez Latin Bop Fat Cat 7, 9 pm 12:30 am SUNDAY • Aaron Burnett and The Big Machine • Avalon Jazz Quartet The Lambs Club 11 am Korzo 9, 10:30 pm COLEMAN • Rick Bogart Trio New York Yankees Steakhouse 12 pm • A Tribute To Nat King Cole: Jerry Costanzo and His Orchestra • Emily Braden; Davi Vieira Club Bonafide 7, 9 pm $10 Iridium 8:30 pm $30 THE STONE RESIDENCY • The Candy Shop Boys The Rum House 9:30 pm • Paul Jones/Curtis Ostle Group with David Berkman, Eliot Zigmund; Alex LoRe 4 with • Creole Cooking Jazz Band; Stew Cutler and Friends Arthur’s Tavern 7, 10 pm Nick Sanders, Martin Nevin, Mark Whitfield with: • Glenn Crytzer Group Pegu Club 6:30 pm Cornelia Street Café 8, 9:30 pm $10 Eli Keszler / J. T. Lewis / Billy Martin / • Stefano Doglioni Trio Analogue 7:30 pm • Kyle Nasser Quintet Club Bonafide 7:30 pm $15 Tyshawn Sorey / Grant Calvin Weston / Matt Wilson • JaRon Eames/Emme Kemp The Downtown Club 2 pm $20 • Sagi Kaufman Trio; Benny Benack Trio with Raviv Markowitz, Jimmy MacBride Michaël Attias / James Brandon Lewis / Doug Wieselman • The EarRegulars with Jon-Erik Kellso The Ear Inn 8 pm Bar Next Door 6:30, 8:30, 10:30 pm $12 John Zorn / Ted Reichman / Tanya Kalmanovitch • Marjorie Eliot/Rudell Drears/Sedric Choukroun Parlor Entertainment 4 pm • Billy Test solo Jazz at Kitano 8 pm • Joel Forrester solo Grace Gospel Church 11 am • Marcos Rosa Silvana 6 pm Brad Jones / Survivors Breakfast and more… • Broc Hempel/Sam Trapchak/Christian Coleman Trio Dominie’s Astoria 9 pm • Larry Ham Bryant Park 12:30 pm • Ian Hendrickson-Smith The Strand Smokehouse 7 pm êKali Z. Fasteau Quartet Rendall Memorial Presbyterian Church 12, 1 pm $15 • Jazz Brunch Harlem Besame Latino Soul Lounge 1:30 pm • Bob Kindred Group; Trio Café Loup 12:30, 6:30 pm Wednesday, June 29 JUN 28-JULY 3, 2016 • Matt Lavelle’s 12 House Orchestra Nublu 9:30 pm • Peter Mazza Trio Bar Next Door 8, 10 pm $12 êAnthony Coleman/Grant Calvin Weston; Michaël Attias’ Without Autumn Sonata with • Tony Middleton Trio Jazz at Kitano 11 am $35 Anthony Coleman, Mike Pride The Stone 8, 10 pm $20 Ave C, 2nd St. NYC, $20 per set • Arturo O’Farrill Afro Latin Jazz Orchestra Birdland 9, 11 pm $30 • SummerStage—Soul in the Horn: Theo Croker; Maurice “Mobetta” Brown; • Earl Rose solo; Champian Fulton Bemelmans Bar 5:30, 9 pm Marcus Machado; Kendra Foster Herbert Von King Park 7 pm • Lu Reid Jam Session Shrine 4 pm thestonenyc.com • Annette St. John; Wilerm Delisfort Quartet Smoke 11:30 am 11:45 pm

48 JUNE 2016 | THE NEW YORK CITY JAZZ RECORD CLUB DIRECTORY

• 11th Street Bar 510 E. 11th Street • Farafina Café & Lounge Harlem 1813 Amsterdam Avenue (212-281-2445) • Nuyorican Poets Café 236 E. 3rd Street between Avenues B and C (212-982-3929) Subway: L to 1st Avenue www.11thstbar.com Subway: 1 to 145th Street www.farafinacafeloungeharlem.com (212-505-8183) Subway: F, V to Second Avenue www.nuyorican.org • 440Gallery 440 Sixth Avenue, Brooklyn • Fat Cat 75 Christopher Street at 7th Avenue (212-675-6056) • Opia 130 E. 57th Street (718-499-3844) Subway: F, G to Seventh Avenue www.440gallery.com Subway: 1 to Christopher Street/Sheridan Square www.fatcatmusic.org (212-688-3939) Subway: 4, 5, 6 to 59th Street www.opiarestaurant.com • 55Bar 55 Christopher Street (212-929-9883) • Feinstein’s/54 Below 254 West 54th Street (646-476-3551) • Park Avenue Armory 643 Park Avenue Subway: 1 to Christopher Street www.55bar.com Subway: N, Q, R to 57th Street; B, D, E to Seventh Avenue (212-616-3930) Subway: 6 to 68th Street www.armoryonpark.org • ABC Chinese Restaurant 34 Pell Street www.54below.com • Parlor Entertainment 555 Edgecombe Ave. #3F (212-346-9890) Subway: J to Chambers Street • The Fifth Estate 506 5th Avenue, Brooklyn (212-781-6595) Subway: C to 155th Street www.parlorentertainment.com • ABC - No Rio 156 Rivington Street (212-254-3697) (718-840-0089) Subway: F to 4th Avenue www.fifthestatebar.com • Parnell’s 350 East 53rd Street #1(212-753-1761) Subway: F to Second Avenue, J,M,Z to Delancey Street www.abcnorio.org • The Firehouse Space 246 Frost Street Subway: E, M to Lexington Avenue/53 Street www.parnellsny.com • Academy Records 12 W. 18th Street (212-242-3000) Subway: L to Graham Avenue www.thefirehousespace.org • Pegu Club 77 W. (212-473-7348) Subway: F, M to ; L to Sixth Avenue www.academy-records.com • First Baptist Church of Crown Heights 450 Eastern Parkway Subway: B, D, F, M to Broadway-Lafayette www.peguclub.com • American Folk Art Museum 65th Street at Columbis Avenue (718-778-1200) Subway: 2, 3, 4, 5 to Franklin Avenue www.myfbcch.org • The Plaza Hotel Rose Club Fifth Avenue at Central Park South (212-595-9533) Subway: 1 to 66th Street www.folkartmuseum.org • Flushing Town Hall 137-35 Northern Boulevard, Flushing (212-759-3000) Subway: N, Q, R to Fifth Avenue www.fairmont.com • American Legion Post 248 West 132nd Street (718-463-7700) Subway: 7 to Main Street www.flushingtownhall.org • Prime and Beyond Restaurant 90 East 10th Street (212-283-9701) Subway: 2, 3 to 135th Street www.legion.org • Ginny’s Supper Club at Red Rooster Harlem 310 Malcolm X Boulevard (212-505-0033) Subway: 6 to www.primeandbeyond.com • An Beal Bocht Café 445 W. 238th Street (212-792-9001) Subway: 2, 3 to 125th Street www.ginnyssupperclub.com • PS 189 1100 E. New York Ave, Brooklyn (718-756-0210) Subway: 1 to 238th Street www.LindasJazzNights.com • Grace Gospel Church 589 East 164th Street Subway: 3 to Sutter Avenue-Rutland Road www.schools.nyc.gov • Analogue 19 West 8th Street (212-432-0200) (718-328-0166) Subway: 2, 5 to Prospect Avenue • Radegast Hall 113 North 3rd Street Subway: A, B, C, D, E, F, M to W. www.analoguenyc.com • The Graham 190 Graham Ave (718-388-4682) (718-963-3973) Subway: L to Bedford Avenue www.radegasthall.com • The Appel Room Broadway at 60th Street, 5th floor (212-258-9800) Subway: L to Montrose Avenue www.thegrahambrooklyn.com • Rendall Memorial Presbyterian Church 59 W. 137th Street #61 Subway: 1, 2, 3, 9, A, C, E, B, D, F to Columbus Circle www.jalc.org • Grata 1076 1st Avenue (212-842-0007) (212-283-2928) Subway: 2, 3 to 135th Street • The Archway Water Street Brooklyn Subway: F to York Street Subway: 4, 5, 6, N, Q, R to 59th Street www.gratanyc.com • Richard Rogers Amphitheater at Marcus Garvey Park www.dumbo.is • Greenwich House Music School 46 Barrow Street 120th Street between Mt. Morris Park and Madison Avenue (212-201-PARK) • Arthur’s Tavern 57 Grove Street (212-675-6879) (212-242-4770) Subway: 1 to Christopher Street www.greenwichhouse.org Subway: 2, 3, 4, 5, 6 to 125th Street Subway: 1 to Christopher Street www.arthurstavernnyc.com • Happylucky no.1 734 Nostrand Avenue • Riverdale Y 5625 Arlington Avenue (718-548-8200) • Arturo’s 106 W. Houston Street (at Thompson Street) (347-295-0961) Subway: 2, 3, 4, 5 to Franklin Avenue Subway: 1 to 242 Street - Van Cortlandt Park www.riverdaley.org (212-677-3820) Subway: A, B, C, D, E, F, M to W. 4th Street • Harlem Besame Latino Soul Lounge 2070 Adam Clayton Powell, Jr. Blvd. • Rockwood Music Hall 196 Allen Street (212-477-4155) • Austrian Cultural Forum 11 East 52nd Street at Madison Avenue Subway: 2, 3 to 125th Street www.harlembesame.com Subway: F, V to Second Avenue www.rockwoodmusichall.com (212-319-5300) Subway: 6 to 51st Street www.acfny.org • Harlem Safe House Jazz Parlor 27 Mount Morris Park West • Rose Theater Broadway at 60th Street, 5th floor (212-258-9800) • The Back Room 102 Norfolk Street (between W. 122nd and 123rd Streets) (212-662-7779) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.jazz.org (212-228-5098) Subway: F to Delancey Street; J, M, Z to Essex Street Subway: 2, 3 to 125th Street www.welcometoharlem.com • Roulette 509 Atlantic Avenue www.backroomnyc.com • Herbert Von King Park 670 Lafayette Avenue (718-622-2082) (212-219-8242) Subway: 2, 3, 4, 5 to Atlantic Avenue www.roulette.org • Bar Chord 1008 Cortelyou Road Subway: G to Bedford-Nostrand Avenue www.nycgovparks.org • The Roxy Hotel 2 Sixth Avenue (212-519-6600) (347-240-6033) Subway: Q to Cortelyou Road www.barchordnyc.com • Highline Ballroom 431 W. 16th Street Subway: A, C, E to Canal Street; 1 to Franklin Street www.roxyhotelnyc.com • Bar Hugo 525 Greenwich Street (212-414-5994) Subway: A, C, E to 14th Street www.highlineballroom.com • Rubin Museum 150 West 17th Street (212-608-4848) Subway: C, E to Spring Street www.hotelhugony.com • Hillstone 153 E. 53rd Street (212-888-3828) (212-620-5000) Subway: A, C, E to 14th Street www.rmanyc.org • Bar Lunàtico 486 Halsey Street Subway: E, M to Lexington Avenue/53rd Street www.hillstone.com • Rue B 188 (917-495-9473) Subway: C to Kingston-Throop Avenues • Ibeam Brooklyn 168 7th Street between Second and Third Avenues (212-358-1700) Subway: L to www.ruebnyc188.com • Bar Next Door 129 MacDougal Street (212-529-5945) Subway: F to 4th Avenue www.ibeambrooklyn.com • The Rum House 228 W. 47th Street Subway: A, B, C, D, E, F, M to W. 4th Street www.lalanternacaffe.com • Iguana 240 West 54th Street (212-765-5454) (646-490-6924) Subway: N, Q, R to 49th Street www.edisonrumhouse.com • Barbès 376 9th Street at 6th Avenue, Brooklyn (718-965-9177) Subway: B, D, E, N, Q, R to Seventh Avenue www.iguananyc.com • Ryan’s Daughter 350 E 85th Street Subway: F to 7th Avenue www.barbesbrooklyn.com • Inkwell Café 408 Rogers Avenue between Lefferts and Sterling (212-628-2613) Subway: 4, 5, 6 to 86th Street www.ryansdaughternyc.com • Bemelmans Bar 35 E. 76th Street (212-744-1600) Subway: 5 to Sterling Street www.plgarts.org • Rye 247 S. 1st Street (718-218-8047) Subway: G to Metropolitan Avenue Subway: 6 to 77th Street www.thecarlyle.com • Iridium 1650 Broadway at 51st Street (212-582-2121) www.ryerestaurant.com • Bill’s Place 148 W. 133rd Street (between Lenox and 7th Avenues) Subway: 1,2 to 50th Street www.theiridium.com • St. Paul’s German Lutheran Church 315 W 22nd Street (212-281-0777) Subway: 2, 3 to 125th Street • Issue Project Room 22 Boerum Place (718-330-0313) (212-929-1695) Subway: A, C, E to 23rd Street www.stpaulny.org • Birdland 315 W. 44th Street (212-581-3080) Subway: 2, 3, 4, 5 to Borough Hall www.issueprojectroom.org • Saint Peter’s Church 619 Lexington Avenue at 54th Street Subway: A, C, E, to 42nd Street www.birdlandjazz.com • JACK 505 Waverly Avenue (212-935-2200) Subway: 6 to 51st Street www.saintpeters.org • Blue Note 131 W. 3rd Street at 6th Avenue (212-475-8592) (718-388-2251) Subway: C to Clinton-Washington Avenue www.jackny.org • San Martin Restaurant 143 E. 49 Street between Lexington and Park Subway: A, B, C, D, E, F, M to W. 4th Street www.bluenotejazz.com • Jalopy 315 Columbia Street, Brooklyn Avenues (212-832-0888) Subway: 6 to 51st Street • Boudoir 135 Atlantic Avenue (718-395-3214) Subway: F to Smith Street www.jalopy.biz • Scandinavia House 58 Park Avenue at 37th Street (212-879-9779) Subway: 4, 5 to Borough Hall www.boudoirbk.com • Jazz at Kitano 66 Park Avenue at 38th Street (212-885-7000) Subway: 4, 5, 6 to 42nd Street-Grand Central www.scandinaviahouse.org • Broadway Thai 241 West 51st Street Subway: 4, 5, 6, 7, S to Grand Central www.kitano.com • SEEDS 617 Vanderbilt Avenue (212-226-4565) Subway: 1, C, E to 50th Street www.tomandtoon.com • The Jazz Gallery 1160 Broadway, 5th floor (212-242-1063) Subway: 2, 3, 4 to Grand Army Plaza www.seedsbrooklyn.org • Brooklyn Bowl 61 Wythe Avenue Subway: N, R to 28th Street www.jazzgallery.org • ShapeShifter Lab 18 Whitwell Place (718-963-3369) Subway: L to Bedford Avenue www.brooklynbowl.com • Jazz Museum in Harlem 104 E.126th Street between Park & Lexington (646-820-9452) Subway: R to Union Street www.shapeshifterlab.com • Brooklyn Conservatory of Music 58 Seventh Avenue, Brooklyn Avenues (212-348-8300) Subway: 6 to 125th Street • Showman’s 375 W. 125th Street at Morningside) (212-864-8941) Subway: F to Seventh Avenue, N, R to Union Street bqcm.org www.jazzmuseuminharlem.org Subway: A, B, C, D to 125th Street www.showmansjazz.webs.com • Brownsville Heritage House 581 Mother Gaston Boulevard • Jazz Standard 116 E. 27th between Park and Lexington Avenue • Shrine 2271 Adam Clayton Powell Boulevard (212-690-7807) (718-385-1111) Subway: L to New Lots Avenue (212-576-2232) Subway: 6 to 28th Street www.jazzstandard.net Subway: B, 2, 3 to 135th Street www.shrinenyc.com • Bryant Park 5th and 6th Avenues between 40th and 42nd Streets • Joe G’s 244 W. 56th Street (212-765-3160) • Silvana 300 West 116th Street Subway: 4, 5, 6 to 42nd Street www.bryantpark.org Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle (646-692-4935) Subway: B, C, to 116th Street • Café Carlyle 35 E. 76th Street (212-744-1600) • Joe’s Pub at the Public Theater 425 Lafayette Street (212-539-8770) • Smalls 183 W 10th Street at Seventh Avenue (212-252-5091) Subway: 6 to 77th Street www.thecarlyle.com Subway: N, R to 8th Street-NYU; 6 to Astor Place www.joespub.com Subway: 1,2,3 to 14th Street www.smallsjazzclub.com • Café Noctambulo at Pangea 178 Second Avenue • John Brown Smokehouse 10-43 44th Drive, Queens (347-617-1120) • Smoke 2751 Broadway between 105th and 106th Streets (212-995-0900) Subway: L to First Avenue www.pangeanyc.com Subway: 7, E, M to Court Square www.johnbrownseriousbbq.com (212-864-6662) Subway: 1 to 103rd Street www.smokejazz.com • Caffe Vivaldi 32 Jones Street Subway: A, B, C, D, E, F, Q, V • Judson Memorial Church 55 Washington Square South • Soup & Sound 292 Lefferts Avenue (between Nostrand and Rogers to W. 4th Street-Washington Square www.caffevivaldi.com Subway: A, B, C, D, E, F, V to W. 4th Street Avenues) Subway: 2 to Sterling Street • Canoe Studios 601 W. 26th Street #1465 • Kaye Playhouse 695 Park Avenue at 68th Street (212-772-5207) • Spectrum 121 Ludlow Street, 2nd floor (212-924-9020) Subway: C, E to 23rd Street www.canoestudios.com Subway: 6 to 68th Street www.kayeplayhouse.hunter.cuny.edu Subway: F to Delancey Street www.spectrumnyc.com • Capital Grille 120 Broadway • Knickerbocker Bar & Grill 33 University Place at 9th Street (212-228-8490) • The Stone Avenue C and 2nd Street (212-374-1811) Subway: 2, 3, 4, 5 to Wall Street www.thecapitalgrille.com Subway: N, R to 8th Street-NYU www.knickerbockerbarandgrill.com Subway: F to Second Avenue www.thestonenyc.com • Cassandra’s Jazz and Gallery 2256 Adam Clayton Powell, Jr. Boulevard • Korzo 667 5th Avenue Brooklyn (718-285-9425) Subway: R to Prospect Avenue • Stop Time 1223 Bedford Avenue Subway: A, C to Nostrand Avenue (917-435-2250) Subway: 2, 3 to 135th Street www.cassandrasjazz.com www.facebook.com/konceptions • The Strand Smokehouse 25-27 Broadway, Queens (718-440-3231) • Cavatappo Grill 1712 First Avenue • The Lambs Club 132 W. 44th Street Subway: N, Q to Broadway www.thestrandsmokehouse.com (212-987-9260) Subway: 4, 5, 6 to 86th Street www.cavatappo.com 212-997-5262 Subway: A, C, E, to 42nd Street www.thelambsclub.com • Subrosa 63 Gansevoort Street (212-997-4555) • The Cell 338 West 23rd Street (646-861-2253) • Le Chéile 839 W. 181st Street Subway: 1, 2, 3 to 14th Street; L to Eighth Avenue www.subrosanyc.com Subway: C, E to 23rd Street www.thecelltheatre.org (212-740-3111) Subway: A to 181st Street www.lecheilenyc.com • Sunnyside Reformed Church 48-03 Skillman Avenue (718-426-5997) • Central Park SummerStage, Rumsey Playfield 72nd Street and Fifth Avenue • Le Cirque One Beacon Court, 151 East 58th Street (212-644-0202) Subway: 7 to 52nd Street www.sunnysidenyc.rcachurches.org (212-36O-2777) Subway: B, D to 72nd Street www.summerstage.org Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.lecirque.com • Sunset Park High School Theater 153 35th Street, Brooklyn (718-840-1900) • Charley O’s 1611 Broadway at 49th Street • Le Poisson Rouge 158 (212-228-4854) Subway: D, N, R to 36th Street www.sunsetparkhighschool.org (212-246-1960) Subway: N, R, W to 49th Street Subway: A, B, C, D, E, F, V to W. 4th Street www.lepoissonrouge.com • Swing 46 349 W. 46th Street (646-322-4051) • Christ-St. Stephen’s Church 120 W. 69th Street • Local 802 322 W. 48th Street between Eighth and Ninth Avenues Subway: A, C, E to 42nd Street www.swing46.com Subway: 1, 2, 3 to 72nd Street (212-245-4802) Subway: C to 50th Street www.jazzfoundation.org • Symphony Space Leonard Nimoy Thalia, Peter Jay Sharpe Theatre • Citigroup Center Plaza 53rd Street and Lexington Avenue • L’ybane 709 8th Avenue (212-582-2012) and Bar Thalia 2537 Broadway at 95th Street (212-864-5400) Subway: 6 to 51st Street Subway: A, C, E to 42nd Street-Port Authority www.lybane.com Subway: 1, 2, 3 to 96th Street www.symphonyspace.org • Cleopatra’s Needle 2485 Broadway (212-769-6969) • McDonald’s 160 Broadway between Maiden Lane and Liberty Street • Terraza 7 40-19 Gleane Street (718-803-9602) Subway: 1, 2, 3 to 96th Street www.cleopatrasneedleny.com (212-385-2063) Subway: 4, 5 to Fulton Street www.mcdonalds.com Subway: 7 to 82nd Street/Jackson Heights www.terrazacafe.com • Club Bonafide 212 E. 52nd Street (646-918-6189) Subway: 6 to 51st Street; • Manhattan Inn 632 Manhattan Avenue • Town Hall 123 W. 43rd Street (212-997-1003) E, V to 53rd Street www.clubbonafide.com (718-383-0885) Subway: G to Nassau Avenue www.themanhattaninn.com Subway: 7, B, D, F, M to 42nd Street-Bryant Park www.the-townhall-nyc.org • Cornelia Street Café 29 Cornelia Street (212-989-9319) • Metropolitan Room 34 W. 22nd Street (212-206-0440) • Threes Brewing 333 Douglass Street Subway: A, B, C, D, E, F, M to W. 4th Street www.corneliastreetcafé.com Subway: N, R to 23rd Street www.metropolitanroom.com (718-522-2110) Subway: R to Union Street www.threesbrewing.com • Damrosch Park at Lincoln Center Broadway and 62nd Street • Metrotech Commons corner of Flatbush and Myrtle Avenues • Tomi Jazz 239 E. 53rd Street Subway: 1 to 66th Street (718-488-8200) Subway: A, C, F to Jay Street/Borough Hall (646-497-1254) Subway: 6 to 51st Street www.tomijazz.com • Delroy’s Café and Wine Bar 65 Fenimore Street • Mezzrow 163 W. 10th Street Subway: 1, 2, 3 to 14th Street • Tribeca Performing Arts Center 199 Chambers Street Subway: Q to Parkside Avenue www.facebook.com/65fenmusicseries www.mezzrow.com (212-220-1460) Subway: A, 1, 2, 3 to Chambers Street www.tribecapac.org • Dewey’s Pub 135 W. 30th Street • Michiko Studios 149 West 46th Street, 3rd Floor (212-302-4011) • Turnmill NYC 119 East 27th Street (212-685-7781) Subway: 1 to 28th Street www.deweyspub-hub.com Subway: B, D, F, M to 47-50 Streets www.michikostudios.com (646-524-6060) Subway: 6 to 27th Street www.turnmillnyc.com • Dizzy’s Club Broadway at 60th Street, 5th Floor (212-258-9800) • Minton’s 206 West 118th Street (between St. Nicholas Avenue and Adam • University of the Streets 2381 Belmont Avenue, 2nd Floor (212-254-9300) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.jalc.org Clayton Powell Jr. Blvd) (212-243-2222) Subway: B, C to 116th Street Subway: B, D to 182-183 Streets www.universityofthestreets.org • Domaine Wine Bar 50-04 Vernon Boulevard (718-784-2350) www.mintonsharlem.com • Urban Meadow President and Van Brunt Streets Subway: 7 to Vernon Boulevard-Jackson Avenue www.domainewinebar.com • Mona’s 224 Avenue B Subway: L to First Avenue Subway: 2, 3, 4, 5 to Borough Hall then B61 Bus • Dominie’s Astoria 34-07 30th Avenue Subway: N, Q to 30th Avenue • NYC Baha’i Center 53 E. 11th Street (212-222-5159) • Village Vanguard 178 Seventh Avenue South (212-255-4037) • Dominique Bistro 14 Christopher Street Subway: 4, 5, 6, N, R to 14th Street-Union Square www.bahainyc.org Subway: 1, 2, 3 to 14th Street www.villagevanguard.com (646-756-4145) Subway: 1 to Christopher Street www.dominiquebistro.nyc • National Sawdust 80 N. 6th Street • Walker’s 16 North Moore Street (212-941-0142) Subway: A, C, E to Canal Street • The Downtown Club 240 E. 123rd Street (646-779-8455 Subway: L to Bedford Avenue www.nationalsawdust.org • Waltz-Astoria 23-14 Ditmars Boulevard (718-95-MUSIC) (212-868-4444) Subway: 4, 5, 6 to 125th Street • Neighborhood Church of Greenwich Village 269 Bleecker Street Subway: N, R to Ditmars Blvd-Astoria www.Waltz-Astoria.com • Downtown Music Gallery 13 Monroe Street (212-473-0043) (212-691-1770) Subway: A, B, C, D, E, F, V to W. 4th Street • Weill Recital Hall (at Carnegie Hall) 154 W. 57th Street at Seventh Avenue Subway: F to East Broadway www.downtownmusicgallery.com • New Revolution Arts 7 Stanhope Street (212-247-7800) Subway: N, R to 57th Street www.carnegiehall.org • The Drawing Room 56 Willoughby Street #3 (917-648-1847) Subway: J to Kosciuszko Street • Whole Foods Bowery 95 East Houston Street Subway: A, C, F to Jay Street/Metrotech www.drawingroommusic.com www.jazzrightnow.com/new-revolution-arts-series Subway: F, V to Second Avenue • Drom 85 (212-777-1157) • New York Yankees Steakhouse 7 W. 51st Street (646-307-7910) • Whole Foods Union Square 4 Union Square East Subway: F to Second Avenue www.dromnyc.com Subway: E, M to Fifth Avenue/53rd Street www.nyysteak.com Subway: 4, 5, 6, L, N, R to 14th Street-Union Square • Duet 37 Barrow Street (212-255-5416) • Nino’s Tuscany 117 W. 58th Street (212-757-8630) • Williamsburg Music Center 367 Bedford Avenue, Brooklyn, NY Subway: 1 to Christopher Street www.duetny.com Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.ninostuscany.com (718-384-1654) Subway: L to Bedford Avenue • The Ear Inn 326 Spring Street at Greenwich Street (212-246-5074) • North Square Lounge 103 Waverly Place (212-254-1200) • Zinc Bar 82 W. 3rd Street (212-477-8337) Subway: C, E to Spring Street www.earinn.com Subway: A, B, C, E, F to West 4th Street www.northsquareny.com Subway: A, B, C, D, E, F, M to W. 4th Street www.zincbar.com • El Taller LatinoAmericano 225 West 99th Street • Nublu 62 Avenue C between 4th and 5th Streets • Zürcher Gallery 33 Bleecker Street (212-777-0790) (212-665-9460) Subway: 1, 2, 3 to 96th Street (212-979-9925) Subway: F, V to Second Avenue www.nublu.net Subway: 6 to Bleeker Street www.galeriezurcher.com

THE NEW YORK CITY JAZZ RECORD | JUNE 2016 49 (INTERVIEW CONTINUED FROM PAGE 6) Greenwich House Music School Jun. 11th and Urban Meadow (TAYLOR CONTINUED FROM PAGE 13) Jun. 12th as part of Red Hook Jazz Festival. See Calendar. RA: I practice expression. Scales, technique, etc. are all hanging onto the windows overlooking the Hudson subservient to expression so even when I need to do Recommended Listening: and centering his movements on slow revolutions as them, it’s from a place of expression. I am, however, • Rez Abbasi—Modern Memory (Cathexis, 1996) head and arms, stretched upward, accentuated the writing a guitar book for Hal Leonard that gets into • Rez Abbasi—Snake Charmer (Earth Sounds, 2003) slowness of time and the somewhat reserved, narrower some complex ideas that I’ll need to learn fluidly and • ’s Indo-Pak Coalition— sound world Taylor chose to occupy. After an initial record for the CD insert. Apti (Innova, 2008) flurry, Oxley mostly sat out, observing the interactions • Rez Abbasi—Things to Come (Sunnyside, 2008-09) between body and space, body and sound and body TNYCJR: Can you detail your rig as heard on the new • Rez Abbasi’s Invocation—Suno Suno (Enja, 2010) and room. There was gleeful drama in Tanaka’s record? Guitar, amps, pedals, software? • Rez Abbasi & Junction—Behind the Vibration movement—he’s like the of Butoh—and (Cuneiform, 2015) at one point, he crept behind Taylor, wrapped his arms RA: Rather not because it’s the end result that matters. around the maestro, miming caress and embrace while I’ll save that answer for Guitar Player magazine. resting his head on the pianist’s shoulder. Meanwhile, (LABEL CONTINUED FROM PAGE 11) Taylor played elegant, dusky overlaps and quietly TNYCJR: What advice can you give to jazz composers gnarled, small masses, eyes mostly locked on Tanaka. trying to break free of constraints or their own history? Charles Gayle to our festival a few years ago because But there was a second set and it seemed like the I believed he would be great to perform with Barcella. Whitney staff were caught off-guard by the pianist RA: I think if someone really wants to grow they Now they’ve already toured and will release an album showing up with several musicians in tow—drummer should try to be as objective as possible and aware of before summer. Other musicians send a mail when Jackson Krall, saxophonists Harri Sjöström, Elliott being objective. This means not letting the ego do the they have a project. For example Feecho [pianist Kaja Levin and Bobby Zankel, cellist Tristan Honsinger, steering. If you’re always right, how can you grow? Draksler and drummer Onno Govaert] were touring bassist Albey Balgochian and vocalist Jane Balgochian, More technically, maybe get away from your instrument and asked if I wanted to bring out something for the billed as the Cecil Taylor New Unit. Whereas the first as being the only source of expression. Obviously, tour. In the end, time became too short, so we released set was a gentle, floral unfolding, this was an old- listen to music that’s outside of your wheelhouse. the concert in La Resistenza because it was a good one. fashioned blowout, to the extent that piano was almost Naked Wolf was the first band I had no relationship inaudible under the mass. Balgochian’s vocal entreaties TNYCJR: Backwards guitar in “Uncommon Sense”? with except that [Amsterdam drummer] Gerri [Jäger] and raps (I’d hesitate to call them poetic) were doubly Pedal used or what? How was this created? played at my festival. Naked Wolf was a hard nut to perplexing, as Taylor is an accomplished poet and text crack even though the group came highly is a significant part of his aesthetic worldview—if it’s RA: It’s a delay pedal that I use usually to enhance my recommended. So I took it mostly with the vision of there, it should be done right. Clearly unrehearsed, it Indian phrasing. I never had the desire to sound like a seeing what this would mean for the label. We just was a strange cap tacked onto a sublime evening. sitar or sarod player but did want to reflect the subtlety brought out a duo with [saxophonist] Yedo Gibson of The 15th brought back Sjöström and Honsinger in of that phrasing. Effects allow me to phrase a little like Naked Wolf, so the story continues.” trio with cellist Okkyung Lee; the Finnish soprano them while still sounding unique. “All my projects were established organically,” saxophonist has been one of Taylor’s right-hand men notes Gebruers. “Ifa y Xango started as a bunch of since the early ‘90s and this trio had him in fine form, TNYCJR: “And I You” sounds like an outtake from a friends jamming in the garage. Antiduo arose from curling and popping with a present dance amid the horror movie with the Hammond and the brushed improvisation sessions at piano lessons and Bambi grind and skirl of the two cellos. Honsinger’s ever- drums. Spooky. What’s the message? Pang Pang featuring Andrew Cyrille was recorded after a present vocal soundings and caricatures of parlor concert at Jazz Middelheim where Ifa y Xango got carte tradition brushed up against Lee’s straight-edged RA: That’s interesting you hear it that way. People hear blanche and invited [drummer] Cyrille. Rogé and grapple. A different aggregate of onetime collaborators darkness differently. I think that is one of the most I brainstorm a lot about what the label could be and followed—Grimes, dancer Cheryl Banks-Smith and beautiful pieces I’ve written. One day long after also about my personal steps. He gives me his opinion poet Thulani Davis. The concentrated openness of I wrote it I started hearing the melody not knowing about how I could better take care of my musical career dance was sometimes challenged by isolationist whose tune it was but also thinking what a deep feeling without making artistic compromises.” contrabass rumble, though Davis’ poetry seemed it carried. I was stoked when I realized it was one of Rogé is EN’s only employee. “Subsidy-wise our unencumbered (she also read one of Grimes’ pieces). mine! organization is too organic to get proper funding,” he On the 16th, longtime Taylor Unit drummer Cyrille reveals. “We’re perceived as a guerrilla music presented a lengthy, gorgeous solo recital, ritual motifs TNYCJR: With essentially three melodic instruments movement. Plus, if you want to write [grant drawing from AfroCaribbean and Central African up front, are we hearing triple-played melodies? applications] you need somebody to do that and there’s traditions, coaxing micro-patterns out of his kit and no possibility to pay somebody else a proper wage.” building them into percussive chorales, gradually RA: Sometimes yes and sometimes it’s counterpoint Referring to the Ancient Roman patron, he jokes, modulating forms into recognizable jazz elements that with all three. I do like the feeling of a unison melody “I always say I’m a Maecenas without any money. The recalled , and in a because, like in Qawwali music, it captures a spiritual café works well, so EN and Citadelic surf on that true master class on the drums in Black music. strength that just can’t be found in a singular voice. wave.” Among the EN projects to be released in 2016 The closing performance on the 23rd was hotly are a disc featuring five players called anticipated—the band that emerged consisted of TNYCJR: Why no bass player? Basssss; a trumpet-piano duo with Maris; and a double Taylor, Oxley, Lee, Sjöström and Krall in an explosive CD celebrating the 80th birthday of Belgian free jazz performance primed to blow the roof off the Whitney. RA: Why bass? But really, I have bass: it’s keyboard pioneering bassist Paul Van Gysegem. Electronic palimpsests were fairly difficult to hear bass. The keyboard creates a wider sonic range plus it “My biggest motivation to work with Rogé is his under the constant, churning dialogue of piano and allows Mark to play occasional bass parts on his MIDI vision of the Ghent community of alternative and percussion, Taylor spitting out furious runs as Krall instrument. Keyboard bass and the MIDI instrument young improvisers,” says Maris. “He creates stitched together a swinging wall with occasional J.C. contributed in making this project unique, I believe. opportunities for them to meet the established players Moses-like breaks and backbeats while cello and and this really makes young musicians believe in what soprano barked and trilled over and around hurtling TNYCJR: What’s next as far as touring, recording, they’re doing and to look for their own voices. For bricks and swiped fields. They stuck to one long set commissions, etc.? most other labels the work we produce is too divided into piano-led and poetic-textual portions, the alternative.” latter featuring a lengthy and somewhat William RA: We’ll tour more in October and November. I also Because of his organic business plan and links to Burroughs-esque delivery on a thesis of systems, have another album in the mixing stage. It’s a ever-changing street-wise music, Rogé feels the biology, botany, evolution, gender and ancient cultures. commissioned work by Chamber Music America for my musical situation will only get better in the future. Brushy, delicate ensemble work limned this reading, Invocation group with Rudresh Mahanthappa, Vijay “Time is on our side, like a steam train getting nearer which closed with Taylor’s speech accompanied only Iyer, Johannes Weidenmueller, Dan Weiss and Elizabeth and nearer.” v by ghostly electronics and cello filaments, the phrase Means. It concludes a trilogy I set out to do based on “gives amplitude to the leaf” ringing out in the hall. three types of South Asian musics: Hindustani, Qawwali For more information, visit elnegocitorecords.com. Artists If this is the last time we get to see Taylor perform and now Carnatic. That’ll hit in late 2017 and from what performing this month include Andrew Cyrille at Judson in public, we know that he gave us everything we need I’ve listened back to it’s pretty magical. I have two other Church Jun. 7th with Henry Grimes as part of Vision to move forward as a creative species. v projects in mind but what’s the rush, right? v Festival; Hamid Drake at Judson Church Jun. 7th, 9th and 11th as part of Vision Festival; and Simon Jermyn at Rye For more information, visit whitney.org/Exhibitions/ For more information, visit reztone.com. Abbasi’s Junction is at Jun. 15th with Curtis Hasselbring. See Calendar. OpenPlanCecilTaylor

50 JUNE 2016 | THE NEW YORK CITY JAZZ RECORD (JAZZART CONTINUED FROM PAGE 13) Polish debut of a collaboration between Paquet and the running Hyperactive Kid trio, swept and slugged Brussels Jazz Orchestra (BJO). Paquet’s drawings are every implement in sight while chopping the beat into And also added soprano saxophone charming and lively and the BJO is a crack European tinier particles. Avery, whose playing appeared to his arsenal (the military term is apt in his case) of big band yet it took a while for the mind not to split its fragmented and tame as part of Amsterdam pianist baritone and tenor for only the second time in the attention between the visual and aural elements. Oddly, Oscar Jan Hoogland’s otherwise all-Windy City quartet group’s history. Alongside drummer Paal Nilssen- the multi-part title suite was the least successful of tenor saxophonist Keefe Jackson and bassist Josh Love, the trio, recalling the just-about-to-fall-off-the- pairing; far more compelling and connected was the Abrams, which ran through abrupt versions of Monk rails energy of ‘80s Corrosion of Conformity, played mildly terrifying—both visually and musically—”The and Herbie Nichols tunes following the Hyperactive for 75 minutes, giving just what audiences expect of Blues” (both were commissioned by the BJO while the Kid set, was a revelation in the Bimhuis percussion them yet constantly surprising, whether it be a lengthy rest of the program repurposed earlier Paquet works). discussion. His illusion of sluggishness was, in fact, and apocalyptic bass solo (making lemonade?); Håker Friday night began at NOSPR’s smaller hall with restraint and Avery scored with modest motions: Flaten and Nilssen-Love channeling Geezer Butler and Jack DeJohnette in a solo performance not behind his rubbing a mini-cymbal on the snare; balancing a small Bill Ward; a celebration of seminal Japanese free jazz customary drumkit but at the keyboard of a Steinway tin on a drum stick; shaking a bell; and intermittently via Yosuke Yamashita’s “Chiasma”; or three minutes of Grand as part of a solo tour supporting his new setting up hypnotic press rolls. Govaert chose the scratch-and-sniff for their second encore after the bass subscription-only release on Newvelle Records. middle course, using mallets, stick and brushes either amp finally gave out. Selvhenter was more unhinged. DeJohnette is a functional pianist who tended to stay to complement the German’s bluster or stimulate the The quartet of Jaleh Negari (drums), Maria Bertel within the framework of his repertoire, though he American’s rhythmic latitude. (trombone), Sonja LaBianca (saxophone) and Maria became more expansive as the concert progressed. Hoogland, who emceed most performances and Diekmann (violin) played for just under an hour but Originals like “Ebony” or “Silver Hollow”, first done participated in terpsichorean plus musical fashion in packed ten tunes into that duration, each stopping with bands, seemed thin in solo arrangements while some of the meetings between instrumentalists and suddenly in glorious punk fashion. Sounding like Led DeJohnette had more fun deconstructing “Giant Steps” seven dancers during the festival, directed a salute to Zeppelin passed through a meat-grinder or Ministry or “Flamenco Sketches” and inhabiting the child-like Sun Ra’s music during an earlier bicycle tour stop at a without the dance hooks, the unusual instrumentation lullaby of Milton Nascimento’s “Ponta De Areia”. permanently moored boat converted into an arts space. was rendered even more abstract via doom-laden Afterwards it was back to Drzwi Zwane Koniem for Hoogland, playing mostly clavichord and synthesizer, effects, so much so that you could be excused for another unusual CD release concert: the twin Oleś was joined by Dörner, Lillinger, bass clarinetist Jason thinking you were listening to guitars and bass. Negari Brothers—bassist Marcin and drummer Bartłomiej— Stein, bassist Josh Abrams and drummer Mike Reed. occupied the Gina Schock role, keeping the maelstrom celebrating their Fenom Media album One Step From The wiggling foot-tappers from Ra’s ‘50s-60s period grounded. The volume and intensity only occasionally The Past. The obvious question was how does a ‘rhythm were perfect melodies for a sunny afternoon and overwhelmed the underlying complexity of these post- section’ exceed its role? The answer was by not trying demonstrated that Dörner, who was seeing the charts jazz morsels. (As a postscript to the festival—putting to do too much. Marcin added variety through multiple for the first time, was as effective playing in a near- other attempts at community outreach to shame— techniques and Bartłomiej changed textures via sticks mainstream context as with . Selvhenter played an afternoon concert at the local or brushes or mallets. The bass had the tone of a Experimental sounds were paramount at Zaal 100 detention center for female inmates in what was this strongly brewed cup of tea while drums had a coffee- on the festival’s penultimate day with a band of Bishop, correspondent’s most unique concert experience ever.) like jitteriness. The hour-long set was split into three Dikeman, Borghini, Lillinger and pianist Kaja Draksler. Tuesday night focused on Polish performers with medleys of varying length, melodies often looping in Barefoot and bellicose, with the exaggerated moves of Katowice’s RGG Trio at NOSPR’s smaller hall and on themselves and a dirge-like open E string as the an arena rock guitarist, Dikeman produced reed Podkowa Lesna’s Rogiński in the wood-paneled connecting motif. The effect was trance-like if a bit splutters and cries that at times may have seemed coziness of the upstairs performance space Drzwi static; a shorter set may have shown fewer limitations. random and epileptic but relaxed into an unexpectedly Zwane Koniem. RGG—Łukasz Ojdana (piano), Maciej Prior to the closing Hipnoza concert on Saturday, melodious interlude during the set’s final minutes. Garbowski (bass) and Krzysztof Gradziuk (drums)— JazzArt audiences in the marvelously sci-fi large hall at Lillinger worked up a continuous sound barrage from are one of many young groups adapting the standard NOSPR (seating 1,800) were treated to the fascinating behind his three-cymbal kit. Borghini vibrated a stick piano trio to their needs. Ojdana is the newest member pairing of the 22-piece AUKSO Chamber Orchestra between his strings and whacked bridge with bow for and the most interesting while Garbowski veers from Tychy, just south of Katowice, and Kraków’s maximum percussiveness and even Draksler used between folksiness and harmonic reinforcement of Motion Trio, comprised of accordion players Janusz mallets to wham the piano’s string set sporadically Ojdana’s musings. The weak link was Gradziuk; quite Wojtarowicz, Paweł Baranek and Marcin Gałażyn. That when she wasn’t providing continuum with focused simply, he overplayed and trotted out every tired the audience kept encouraging the musicians for chording. Bishop was in his element, as he shook out modern drumming trope there is, whether the music encore after encore and that they obliged (the show elongated smears to match Dikeman’s expositions. called for it or not. He became a distraction against the was two hours!) gives some sense of the success of the More mannerly contemporary improvisation followed sensitive interaction between piano and bass. partnership. The virtuosity of the accordion players with a quintet uniting Chicagoans Reed, Adasiewicz Rogiński’s solo guitar exposition had no such problem. was featured in pieces just for the trio and leavened by and alto saxophonist Greg Ward with hosts Boeren and For nearly 90 minutes, he held the audience entranced the orchestra in the full ensemble works. The lighting bassist Wilbert de Joode, whose every move nailed the by his minimalist explorations of a vast array of styles: reflected the mood: red for demonic; blue for solemn; compositions’ expositions. Tuneful where the previous cowboy balladry; psychedelia; meditative koans. With green for bizarre. Founder Wojtarowicz composed band had been spiky, this quartet blended cornet, his case open next to him like he was busking, Rogiński most of the pieces, which had chasing vibraphone and bowed bass tones, with Ward’s came across like a medieval lute player transported strings like cartoon cops and robbers; recalling unexpected smoothness contrasting nicely with Reed’s into the 21st Century, especially when he split his Krautrock; soaring like hair-metal power ballads; or rugged rim shots. The most memorable moment came instrument in two via a pair of capos or inserted a stick pounding like a construction site’s worth of when Boeren uncorked a perfectly constructed by the guitar bridge to produce a wooden flute sound. jackhammers. Accordions functioned as piano, organ, unaccompanied solo both audacious and admirable. Wednesday’s concert was the “world music” entry harpsichord, brass and even percussion. It was a Boeren and Draksler were two of the eight with Israeli-Spanish vocalist Yasmin Levy at Sala marvelous distillation of and exclamation point on the Amsterdam residents who provided a variant of new Teatralno-Kinowa Pałacu Młodzieży. Fronting a quartet week’s programming. Dutch swing at the festival’s opening—flawlessly of clarinet/duduk, piano/synthesizer, guitar and As the festival progressed, an unseasonable chill executed, if lacking an edge—Bimhuis concert. Featured percussion, Levy warned, “it is going to be a sad gave way to sunshine warm enough to defrost even the was alto saxophonist/clarinetist Michael Moore’s Bigtet concert because I love melancholia.” She was even cold Slavic heart of your correspondent. But the music with Wierbos, baritone saxophonist Giuseppe Doronzo, appropriately dressed in black funereal crêpe. The and atmosphere at JazzArt had done that already. v guitarist Jorrit Westerhof, former Willem Breuker warning was a bit of a czerwony śledź, however, as she Kollektif stalwart bassist Arjen Gorter and ICP Orchestra introduced pieces about betrayed love or For more information, visit jazzartfestival.eu co-founder/drummer . The latter gravediggers—originals and traditional works sung in epitomized the festival’s cooperative theme, adding a Big Spanish, Hebrew Ladino and even Polish—with Sid Catlett-like momentum to Moore’s compositions. charming dark humor. Levy’s gorgeous voice pleaded (DOEK CONTINUED FROM PAGE 13) Transmitted by horn riffs to which Draksler sometimes to the entire audience yet whispered in each ear. She added melodica harmonies, Moore alluded to Tin Pan narrowly avoided a riot by giving two encores. Other drum distinctions were presented at a rare Alley ditties, boogie blues, Ellington-like elegance and Thursday was a multi-media affair coinciding with showcase in the Bimhuis bar the next night with the “Battle Hymn of the Republic”. The presence of so the opening of the “Graphicology” exhibition: jazz- Amsterdam’s Onno Govaert, Berlin’s Christian venerable a Dutch improviser as Bennink and one as inspired, comic-book-style drawings of Belgian artist Lillinger and Chicago’s Mikel Avery. Lillinger, whose young as Draksler in the same band confirmed the Philip Paquet at Katowice Miasto Ogrodów’s immense energy and jerky, marionette-like motions continued vitality of the Dutch improvisational scene. v headquarters. After the reception, the crowd moved to were prominently showcased with comfortable the Soviet-esque concert hall of the building for the cohesion during an earlier Bimhuis set with his long- For more information, visit doekfestival.org

THE NEW YORK CITY JAZZ RECORD | JUNE 2016 51 June 5 June 7–12 Judson Memorial Church

Celebrating Lifetime of Achievement — the Legendary Henry Grimes

A joy to perform with Henry I’m thrilled to be included in I am honored to be playing with Grimes at Vision 21 for his the celebration of this very Henry Grimes for his Lifetime Lifetime Achievement award. special artist, Henry Grimes! Achievement Award... —Geri Allen —Nicole Mitchell —Marc Ribot

Marshall Allen Celebrating the 60th Anniversary of the Sun Ra Arkestra

Photos: Hollis King (Grimes), John Rogers (G. Allen), Luciano Rossetti (Mitchell), Barbara Rigon (Ribot), Luciano Rossetti (M. Allen) View entire schedule & purchase tickets: s bit.ly/vision-21