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MARCH 2017—ISSUE 179 YOUR FREE GUIDE TO THE NYC SCENE NYCJAZZRECORD.COM

FITZGERALDELLA Centenni-ella

WOMEN IN JAZZ ISSUE

SHERRIE NICOLE KALI Z. DOROTHY MARICLE MITCHELL FASTEAU FIELDS Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The City Jazz Record 66 Mt. Airy Road East MARCH 2017—ISSUE 179 Croton-on-Hudson, NY 10520 Phone/Fax: 212-568-9628 New York@Night 4 Laurence Donohue-Greene: Interview : Sherrie Maricle 6 by m.j. lester [email protected] Andrey Henkin: [email protected] Artist Feature : Nicole Mitchell 7 by robert bush General Inquiries: [email protected] On The Cover : 8 by andrew vélez Advertising: [email protected] Encore : Kali Z. Fasteau by clifford allen Calendar: 10 [email protected] VOXNews: Lest We Forget : Dorothy Fields 10 by alex henderson [email protected] LAbel Spotlight : Harbinger by donald elfman 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 Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Fred Bouchard, “” CD Reviews Stuart Broomer, Thomas Conrad, 14 Ken Dryden, Donald Elfman, Philip Freeman, Kurt Gottschalk, Tom Greenland, Anders Griffen, CD Reviews 20 Alex Henderson, Marcia Hillman, Terrell Holmes, Robert Iannapollo, Suzanne Lorge, Mark Keresman, Miscellany 40 Marc Medwin, Ken Micallef, Russ Musto, John Pietaro, Joel Roberts, John Sharpe, Event Calendar 42 Elliott Simon, Andrew Vélez, Ken Waxman, Scott Yanow Contributing Writers Robert Bush, Tyran Grillo, M.J. Lester It must have been some cosmic joke that the inauguration of Donald Trump was followed, in Contributing Photographers short order, by Black History Month and, now, Women’s History Month (to which we dedicate Crystal Blake, Peter Gannushkin, this issue). In the past these celebrations have been filled with inspirational stories of obstacles William P. Gottlieb, , Tom Pich, Frank Stewart, Robert I. Sutherland-Cohen, overcome and rights won, looking backwards at a dark history. Yet the ascension of a bigot and Jack Vartoogian, Garth Woods misogynist to the highest office and the bigotry and misogyny he has unleashed across the country make it clear that the history of blacks and women—as well as other oppressed groups Fact-checker whose progress is in jeopardy—is still being written. The question is by whom? Jazz is but Nate Dorward a part of art and art is but a part of life but written into the DNA of jazz is struggle, whether against American racism, Latin American authoritarianism or European nationalism. The irony is that these month-long celebrations will continue in April when Jazz Appreciation Month competes with Confederate History Month. Wonder which Trump will tweet about...

The centennial of Ella Fitzgerald’s birth is not only a chance to recall her contributions to jazz but also an opportunity to reflect upon the state of the country in 1917 and the strides made by blacks and women and other minorities over the past hundred years. How tragic then all that movement is now under serious threat. Where will the country be next year, much less in nycjazzrecord.com a hundred? That is a question we must answer with action. On The Cover: Ella Fitzgerald (William P. Gottlieb / Courtesy of the ) Corrections: In last month’s CD Reviews, the was incorrectly given the subtitle A Song Cycle for These Dangerous Times thus affecting the review. Also the track mentioning ’s should have indicated it was Lundy playing. All rights reserved. Reproduction without permission strictly prohibited. All material copyrights property of the authors.

2 MARCH 2017 | THE JAZZ RECORD WWW.BLUENOTEJAZZ.COM MARCH 2017

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SUN MAR 19 & this AGAINST THAT - ANDY MILNE - JOHN HÉBERT - MARK FERBER WED MAR 22 “VENUE OF THE YEAR” 2016 -NYCJR H“TOP 10 VENUES IMPACTING NY MUSIC SCENE TODAY”- NY MAGAZINE DAYNA STEPHENS GROUP WED-FRI MAR 1-3 TAYLOR EIGSTI - PETER BERNSTEIN - - THU-SUN MAR 23-26 george COLEMAN: 79TH B’DAY “BirthDAY celebration” celebration FEATURING CHARLES McPherson [3/1-3 ONLY] DAVID WONG -

JEB PATTON - DAVID WONG - CHUCK MCPHERSON [3/1-2 ONLY] - GEORGE COLEMAN JR. [3/3 ONLY] WED MAR 29 duo SAT-SUN 4-5 BirthDAY camille bertault/dan tepfer george COLEMAN QUINTETcelebration THU-SUN MAR 30-APR 2 YOTAM SILBERSTEIN [3/4 ONLY] - PAUL BOLLENBACK [3/5 ONLY] - MIKE LEDONNE - JOHN WEBBER - GEORGE COLEMAN JR. FLAMENCO TUE-WED MAR 7-8 CHANO DOMINGUEZ QUINTET SONIA FERNANDEZ- ISMAEL FERNANDEZ - ALEXIS CUADRADO - JOSE MORENO BEN WENDEL GROUP HMINGUS MONDAYSHMINGUS MONDAYSHMINGUS MONDAYSH [3/7 ONLY] - KEVIN HAYS [3/8 ONLY] - JOE MARTIN - MON MAR 6, 13, 20 & 27 THU-SUN MAR 9-12 MINGUS BIG HMOBETTA TUESDAYSHMOBETTA TUESDAYSH QUARTET TUE MAR 14 TUE MAR 21 TUE MAR 28 MARK TURNER - ETHAN IVERSON -

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For the closing night (Feb. 12th) of pianist Kris Davis’ Friday (Feb. 10th), Rose Theater: , weeklong stand at the venerable (and in its final year— resplendent in a pink coat, rose-red dress, bright blue wow, that’s hard to write) Lower East Side venue The high-heels and eye shadow, spangled earrings, Stone, a single hour-long set presented her in a trio bracelets, rings and smile, was Valentine’s candy for with tenor saxophonist Ingrid Laubrock and drummer the eyes and ears. After her quartet opened with a Tom Rainey for a program of four knotty compositions. samba, the sexagenarian scatted over a slinky 3/4 Rangy and executing interplay with turn-on-a-dime Afrogospel vamp; brought out harmonica maestro precision, the trio found a space uniquely their own Grégoire Maret to riff over “The Man I Love”, the latter but format-wise split the difference between the dipping and bobbing like a bantam-weight boxer; and Schlippenbach Trio and an imagined aggregation of sang her lyrics to ’s “Infant Eyes”, Wayne Shorter, Andrew Hill and . This introduced by pianist Peter Martin. “Nine”, a folksy group is the core of Laubrock’s quintet Anti-House and coming-of-age original replete with swooping soaring the quartet LARK. Davis was somewhat muted, vocal lines, was followed by ’ “All ”, especially compared to the choppy and aggressive launched by Reginald Veal’s gutbucket bass and beats and subdivisions laid down by Rainey and building to a rousing, take-it-back-to-church climax, Laubrock’s thick, pillowy fulminations, but the attuned which ended as Reeves shuffled off stage, shoulders ear could pick up her cellular twists and painstaking shrugging, hips shaking, the crowd clapping on 2 and runs on a prepared instrument or more effusive 3. A brief stretch and she was back (now dressed in floridity emerging once interleaved objects were two-tone orange and black, with new earrings and removed from the strings. The set was initially billed bracelets to match) for a with guitarist Romero as a saxophone-piano duet and in a number of instances Lubambo and a cover of “That’s All”, another showcase the trio was broken down into permuted parts, micro- for her amazing scats, which ranged from bop-inflected phrase worries and clean, teetering brushwork or Fitzgeraldisms and McFerrin-esque yodels to soulful breathy resonance and pulsing tessellations finding shouts. After “” Reeves and common parallels. There is a reason that Davis, Maret again celebrated their intimate chemistry on the Laubrock and Rainey are in demand and it’s closely transcendent “Heavens” (his tune, her lyrics). The set related to their complementary language—one that closed with a slow, wordless tango and a neo-soul ode hinges on absolute clarity and the obvious joy of to the audience, who sang phrases back to her as they challenging one another. —Clifford Allen bathed her in LED phone-light. —Tom Greenland t a r © R . I S u t h e r l a n d - C o / j z x p s i g f r a n k s t e w Kris Davis @ The Stone Dianne Reeves @ Rose Theater

Thomas Buckner’s Interpretations Series has been In homage to historic “drum battles” (Jazz at the convened for 28 seasons since its beginning in 1990. Philharmonic, 1952; , 1964), The goal is to present side-by-side new composition, Joe Farnsworth has challenged fellow stickmen to improvisation and with the idea that friendly duels at Smoke. This year Kenny Washington a vision of borderless new music can occur. At Roulette was the guest of honor, set up stage left, Farnsworth (Feb. 9th), were sets of music from the duo of flutist right, both facing inwards, with Mike LeDonne (piano) Robert Dick and pianist Ursel Schlicht and the quartet and Clovis Nicolas (bass) in back, Eric Alexander of percussionist Gustavo Aguilar, pianist Anthony () and Steve Davis () up Davis and reed players JD Parran and Earl Howard. front. Friday’s (Feb. 10th) final set of three began with Schlicht and Dick are both masters of expanded LeDonne’s “Encounter”, an uptempo hardbopper on technique—the piano’s strings getting as much which the drummers switched off behind soloists, then attention as the keyboard and a bevy of flutes from traded ever shorter phrases with them in a complex piccolo to subcontrabass were employed with vocal that kept the whole group on its toes. A and percussive approaches broadening their expected slower, gently swinging “Shiny Stockings” came next, reach. The central piece of five and the title of their horns ad-libbing background figures, the drummers latest disc The Galilean Moons (NEMU) consisted of more relaxed. Left alone, they played a tribute to Big four parts, punchy thwacks to metallic howls and vocal Sid Catlett based on ’s “Mop Mop”, style chuffs demarcating the room, and the duo closed with differences now brought into sharp relief: Farnsworth the partly-recited “Dark Matter”, subcontrabass flute busier and longer-winded, restless, relentless, as if late towering as Dick declaimed Dadaist texts. For the for a subway train; Washington leaving more space, , Maine-based and -rooted Aguilar taking more time, a yin force to Farnsworth’s yang. brought a dry pummel to his kit augmented by watery “Tune Up”, played at a ferocious pace, was the most laptop rhythms and samples of acoustic sound. In one exciting number, with more 8-, 4-, 2- and even 1-bar long piece opened by Parran’s nagaswaram and bells, exchanges coming so fast and furious that Alexander, an incantatory focus held the quartet’s shiniest standing in the middle, jerking his gaze back and forth moments in unaccompanied salvos (especially between drummers, looked like he was at a ping-pong Howard’s squirrelly alto monologue) or teasing match. Everyone played deep in the pocket on the last and electronic sequences appeared to ground dense number, ’s “Bleecker Street Theme”. Who and otherwise rangy group interplay. (CA) won the battle? All of us there did. (TG)

4 MARCH 2017 | THE NEW YORK CITY JAZZ RECORD One of the challenges of playing an uncommon Celebrating the 2017 centennials of , instrument is to make listeners overlook the novelty of Ella Fitzgerald, and , the tool and instead focus on its application. Cooper- saxophonist/vocalist Camille Thurman, backed by the WHAT’S NEWS Moore is a master of this tricky art and so is Chinese Darrell Green Trio, put a contemporary spin on a pipa virtuoso Min Xiao-Fen (now living in ), program of classic jazz at Dizzy’s Club (Feb. 7th). Recipients of the 2017 Grammy Awards have been named. Winners in relevant categories are: Best Contemporary who performed a mesmerizing set at Brooklyn Drummer Green, with David Bryant at the piano and Instrumental Album: — (Ground Up Conservatory of Music (Feb. 4th) as part of the monthly Lonnie Plaxico on bass, opened the show with his Music); Best Improvised Jazz Solo: “I’m So Lonesome I Could Brooklyn Jazz Wide Open series. It was hard, however, swinging arrangement of Monk’s “Criss Cross”. Cry” by from Country For Old Men (Impulse!); not to focus on her various pipas and qinqins as they Thurman then joined the group, putting down her Best Jazz Vocal Album: Take Me To The Alley— were works of art without even being played, especially tenor saxophone before stepping up to the microphone (Blue Note); Best Jazz Instrumental Album: Country For Old one with delicate cranes for sound holes. One just had to convey her tribute to Fitzgerald, a lively rendition of Men—John Scofield (Impulse!); Best Large Jazz Ensemble to revel in the visual and aural spectacle as best one “”, which began with a deliberate Album: Presidential Suite: Eight Variations On Freedom—Ted Nash (Motéma Music); Best Album: Tribute could. For the first half of her performance, the subject medium tempo reading of the popular lyric before To Irakere: Live In Marciac—Chucho Valdés (Jazz Village); Best was Thelonious Monk and, even with the myriad delivering a soaring scat solo that demonstrated her Compilation Soundtrack For Visual Media: Miles Ahead—Steve interpretations of the pianist’s work over the decades, take on Fitzgerald’s iconic style. Green’s Caribbean- Berkowitz, Don Cheadle & (Columbia/Legacy); it became something new all over again, vigorous flavored arrangement of “My Heart Belongs to Daddy”, Best Instrumental Composition: “Spoken At Midnight” by Ted strumming, delicate finger-picking and even rustic his tribute to Gillespie (who recorded the piece on his Nash from Presidential Suite: Eight Variations On Freedom slidework revealing hitherto unknown facets of pieces Have Will Excite album), featured Thurman’s (Motéma Music); and Best Album Notes: Sissle And Blake Sing Shuffle Along—Ken Bloom & Richard Carlin (Harbinger such as “Misterioso”, played in pithy versions hovering warm tenor, at times recalling the classic sound of Records). Additionally, and the late around five minutes each. Then Japanese percussionist . She then sang a moody romance- received Lifetime Achievement Awards. For more information, Satoshi Takeishi (a longtime NYC resident) was invited tinged version of Dameron’s “You’re A Joy”. Buoyed visit grammy.org. to sit, cross-legged, on stage, surrounded by a variety by Green’s tasteful brushwork and Bryant’s intuitive of instruments, from a a large frame drum to a teensy comping, Thurman exhibited a maturity that belied A free screening of Night Bird Song: The Incandescent Life of electronics generator, to reprise their 2012 Dim Sum her years. Bryant’s improvised interlude beautifully will take place at Jazz at ’s Irene Diamond Education Center Mar. 10th at 7 pm. For more (Blue Pipa) project. The lutes were also amplified and prefaced the singer’s upbeat interpretation of Monk’s information, visit thomaschapinfilm.com. Screenings of I Called anguished vocals were added in a wide-ranging “’Round Midnight”, which also featured a bluesy Him Morgan, a new documentary on the life and death of 23-minute piece, which approached the alien with the Plaxico solo. The set concluded with a high-flying trumpeter (see review on pg. 38) will take place at addition of Takeishi’s multi-purpose waterphone in an arrangement of “Air Mail Special”, ending with IFC Center Mar. 7th and Metrograph Theater Mar. 31st. For extended workout. —Andrey Henkin a climactic scat vocal-drum duet. —Russ Musto more information, visit icalledhimmorgan.com. The Czech Center of New York will present two lectures by producer Velibor Pedevski on famous Czech jazz musicians: (Mar. 16th) and (Apr. 13th). For

o s more information, visit new-york.czechcentres.cz. Drummer Billy Martin will open his new performance/education space Herman House, located in Englewood, NJ. on Mar. 4th. For more information, visit billymartin.net/the-herman-house-presents. O W N M U S I C . E T The Robert D. Bielecki Foundation has announced 2017 grant recipients: Americas Society ($10,000); Creative Music Studio ($11,500); ISSUE Project Room ($5,000); Microscope Gallery ($6,000); Intakt Jazz Festival (£2,000); Gebhard Ullmann

o g i a n / F r t R w P h (€1,000); and Tomas Fujiwara ($1,500). Additionally a challenge t grant of $25,00 has been announced for The Jazz Gallery, a r dependent on the venue raising $30,000 in its Sounds Of The Future campaign by Mar. 8th. For more information, visit rdbf.org. Lincoln Center for the Performing Arts has announced its second

P e t r G a n u s h k i / D O W N T © 2 0 1 7 J a c k V class of Emerging Artists, including saxophonist Julian Lee Min Xiao-Fen @ Brooklyn Conservatory of Music Camille Thurman @ Dizzy’s Club for . For more information, visit LCEmergingArtistAwards.org. leader’s name plus the number of people is the ee Dee Bridgewater and joined A D Airmen of Note, the Jazz Ensemble of the United States band has been standard jazz nomenclature for decades. forces with the Gerald Clayton Trio to commemorate Airforce, is auditioning trumpeters for a vacancy. Materials for So it was with the Ambrose Akinmusire Quartet at the Dizzy Gillespie-Ella Fitzgerald centennial with application are due Mar. 17th and auditions take place Apr. (Feb. 2nd), part of the trumpeter’s a concert dubbed “Jazz and Love” at the Metropolitan 25th-27th. For more information, visit usafband.af.mil/careers. second-ever weeklong stand at the venerable club. Museum of Art’s Grace R. Rogers Auditorium (Feb. This simple identifying tag belied the complex 10th). Payton and the trio got things started in grand Dates for New England Conservatory’s , a one-week relationship between the leader and the three players fashion with a pair of flag wavers out of the Gillespie intensive jazz program for students 14-18, have been announced. The program will take place Jun. 25th-30th, 2017 he chose to support him. Pianist Sam Harris, bassist songbook: “Tour de Force” and “Shaw Nuff”; the and feature a faculty including NEC Jazz Studies Department Harish Raghavan and drummer Justin Brown are not pieces, arranged for the occasion by Clayton, were as Chair Ken Schaphorst, pianist David Zoffer, bassist Rick merely a rhythm section—another reductionist term— rhythmically exciting and harmonically sophisticated McLaughlin, trombonist/Jazz Lab Artistic Director Tim Lienhard but components of Akinmusire’s musical totality. as when they the jazz world on its ear more and guests The Bad Plus, Alex Brown. and Jason Palmer. For Brown represents his aggression and speed of thought, than a half century ago. Payton’s soulful trumpeting more information, visit necmusic.edu/jazz-lab. as the drummer often struggled to contain himself, proved him well-schooled in the Gillespie tradition, as Saxophonists Peter and Will Anderson have initiated a startling everyone with the occasional monumental he smoothly interjected Dizzy-isms into his soaring Kickstarter campaign to fund a tribute album to late Scottish thwack. Raghavan is Akinmusire’s calm center, playing upper register and fat-toned midrange. Clayton too saxophonist/Jazz at Lincoln Center Orchestra stalwart Joe lines that may seem static yet actually develop in demonstrated fluency with , incorporating Bud Temperley and endow a scholarship in his name at the Juilliard minimalist fashion, tethering the high-flying kite to Powell-like voicings within a contemporary vocabulary. School of Music. For more information and to contribute, visit earth. And Harris channels the leader’s emotional Bassist David Wong and drummer Obed Calvaire are kickstarter.com/projects/1107819185/blues-for-joe-tribute- core, pure not florid, lyrically cerebral, especially also capable beboppers, the former soloing on the first album-scholarship. evident during a few trumpet-piano pieces sprinkled song and the latter on the second. Bridgewater joined It has been reported that Terraza 7, a club in the Jackson throughout. The music was unrecorded and some the quartet to sing a couple of Fitzgerald-associated Heights neighborhood of Queens for the past 15 years, will soon tunes came from commissioning projects Akinmusire standards—“” and “On The Sunny close, another victim of outer-borough gentrification. For more has undertaken. The set was exactly an hour long, Side Of The Street” and on Gillespie’s “Ooh-Shoo-Be- information, visit terrazacafe.com. which, again, is standard jazz duration; Akinmusire Doo-Bee” she scatted with tonal authority, dueting made it feel, however, that he was counting the seconds with Payton, who doubled on piano with Wong and The Seattle Women’s Jazz Orchestra Fifth Annual Jazz in his head to achieve a pre-ordained conclusion, not Calvaire on “”. Clayton and Calvaire paired Contest for Women Composers is now accepting submissions. The deadline is Jun. 18th. For more information, visit swojo.org. wishing to add a single superfluous brushstroke to the off on “Con Alma”, then Bridgewater returned to end canvas he and his carefully selected palette of colors things with a sweet “” and fiery Submit news to [email protected] had painstakingly painted before our eyes. (AH) “”. (RM)

THE NEW YORK CITY JAZZ RECORD | MARCH 2017 5 INTERVIEW

wherever we go. We’ve found the most astounding women playing jazz all over the country. In Atlanta we were told we wouldn’t find any suitable players and, guess what, we did. There were women there playing under the radar and they were great. It’s wonderful to find the talent and without fail we always have such SHERRIE fun playing the show.

TNYCJR: Your experience begs the question about women players in jazz, especially drummers.

SM: Women have always played in jazz and drummed. It’s just that they’ve done it under the radar. MARICLE (CONTINUED ON PAGE 50) An EvEning with t h W o d s

G a r by m.j. lester ShEilA JordAn & Sherrie Maricle is a drummer whose musical education is supportive. I also have to credit Ari Hoenig. He’s JAy ClAyton began with the clarinet. Eventually she moved on to her first changed the way we drum now with his creativity. For with John di mArtino (piAno) And CAmEron Brown (BASS) love, the drums, and began playing professionally in her one thing he has an ability to play pitch-perfect duoS - trio - quArtEt...... native Buffalo with bassist . Maricle earned a melodies on the instrument. There aren’t so many true BEBop to frEEBop! BA in music from SUNY-Binghamton and both an MA and innovations in jazz now, so what he does is truly a Doctorate in jazz performance from NYU, where she also amazing. fridAy mArCh 3rd held the position of Director of Percussion Studies. Maricle 8 & 10pm directed Saturday jam sessions at The from TNYCJR: How significant was your first professional JAzz At kitAno 66 pArk AvEnuE 1987 until its closure in 1993 and in 1987 began guest- gig? (At E. 38th StrEEt) performing and leading small groups with . $32 CovEr In 1992 she began her work with the newly formed DIVA SM: It was a transformative, lightbulb moment. I grew rESErvAtionS Jazz Orchestra, which she leads. up in Buffalo without a lot of resources, so I was highly rECommEndEd 212-885-7119 studying and practicing and working as a cashier in The New York City Jazz Record: As a young girl you a local supermarket. Through a friend of one of my ShEilAJordAnJAzz.Com were turned away from the trumpet and studied teachers I got the chance to work locally at the Eagles JAyClAyton.Com clarinet and then because you were told these Club with Bob Grover and The Tune Twisters. I’d www.kitAno.Com instruments were suitable for girls. How did you then ridden my bike to the place and at the end of the gig come to find drumming? got paid $100 for four hours. I couldn’t believe it; I was deliriously happy. This gig was the real start of my Sherrie Maricle: As a young child I was fascinated by commitment to play music, to live my passion. the drum line whenever I went to a parade in my town. The fact that they were playing all the time appealed to TNYCJR: Then you got hooked up with Slam Stewart. me. In junior high I got to see and his Killer Force Orchestra play when a music teacher in SM: Yes and that was also transformative. Through my school took a few of us to the Binghamton Forum. Slam I was introduced to some of the greats of the jazz Rich was mesmerizing. His enthusiasm, explosive world and eventually got to play with musicians such action, creativity and sense of humor, plus the power as , Nancy Wilson, Dee Dee and the sound, made me realize that was the instrument Bridgewater, Carmen Bradford, Slide Hampton, I had to play—and that experience was also my Dr. Billy Taylor, Randy Brecker, Joe Williams, Clark introduction to jazz. When I told my mother I wanted Terry and a lot more. And all of this led me to sitting in to play drums in a big band she thought it was a phase with DIVA. but, to her credit, she supported me when the phase didn’t end. TNYCJR: Tell us how your relationship with DIVA developed. TNYCJR: You feel a connection to the drums. What is it about them that is special to you? SM: The DIVA Jazz Orchestra was the inspiration of the late Stanley Kay. He was originally a drummer and SM: In ancient cultures drums were sacred and women then went into managing. He managed Buddy Rich, were the only ones allowed to play them. So I feel created Hines Hines and Dad and managed Maurice a social connection to the drum as a means of Hines... I was a pick-up drummer when I met Stanley communication. I keep that in mind. It’s good to know and he had this idea for forming DIVA. He wanted me the evolution of your instrument. The drum has an to be a part of it, so I was there from the beginning in important cultural history as high art. But there’s 1992, but not the leader then. Actually that happened a trend I notice and that’s drumming as a sporting because of Maurice. He said to Stanley, “she’s the event. I find that weird—to consider drumming as a leader.” So Maurice and I kept in touch and when he sport not an art. [Editor’s Note: the World’s Fastest needed a drummer, it would be me. Then he had this Drummer Extreme Sport Drumming organization uses idea quite a few years ago for a show about his career, the Drumometer to gauge speed; the event is televised Tappin’ Through Life, and he wanted DIVA to be and held regularly worldwide.] involved. I’d had experience music directing a show before and I knew with Maurice the show would be TNYCJR: Are there drummers besides Rich who have about the music. features prominently in the influenced you as a musician? show and everyone gets to shine in it too.

SM: I’d have to say Philly Joe Jones, Mel Lewis and Jeff TNYCJR: So, you’d consider Tappin’ Through Life Hamilton. They all share the same qualities of playing a special experience? with a very open groove. They’re relaxed and they swing full out and that’s the most comfortable way of SM: It’s been the best and I’d be happy to do it all the hearing, through the fluidity of the phrasing. Their time. Maurice is a brilliant performer with a huge open musicality is mellifluous, seamless and their technique heart. A big part of it has been finding amazing talent

6 MARCH 2017 | THE NEW YORK CITY JAZZ RECORD ARTIST FEATURE

Recommended Listening: • Nicole Mitchell’s Black Earth Ensemble— Xenogenesis Suite (A Tribute to Octavia Butler) (Firehouse 12, 2007) • Nicole Mitchell’s Black Earth Strings— Renegades (Delmark, 2008) NICOLE • Nicole Mitchell’s Ice Crystal— Aquarius (Delmark, 2012) • Nicole Mitchell—Engraved in the Wind (Rogue Art, 2012) • Nicole Mitchell’s Sonic Projections—The Secret Escapades of Velvet Anderson (Rogue Art, 2013) • Nicole Mitchell/Tomeka Reid/Mike Reed— Artifacts (482 Music, 2015)

J A C K S O N MITCHELL

M I C H A E L by robert bush Nicole Mitchell is at the vanguard of the flute virtuoso instrument instantly identifiable. That mastery continuum demonstrated in the ‘60s by obviously came from years of hard work. “I think the and extended by James Newton (with whom Mitchell sound of my instrument was really important to me as studied). Her first college mentor was John Fonville at a developing musician and there was a time when UC San Diego, whom she recalls as “an amazing I first went to college that I practiced 10 or more hours teacher. His creative path had a great impact.” Her a day—sometimes hours on just one note to get the ALEXIS PARSONS TRIO personal favorites range from the envelope-pushing sound I wanted and it was frustrating! My experience Alexis Parsons voice Robert Dick on one end to the soul-jazz pioneer Bobbi with bringing my voice into the flute [multiphonics] Frank Kimbrough piano / Dean Johnson bass Humphrey on the other. probably took place over a 10-year period and there’s Wednesday, March 1, 2017, 8p & 10p Peter Margasak of The Reader describes still a lot more to discover with it. A lot of my Jazz At Kitano Mitchell as “the greatest living flutist in jazz” and discoveries happen more on stage than they do when 66 Park Avenue at 38th Street that’s a hard point to refute. She has collaborated with I’m practicing. I think it starts with your heart—the www.kitano.com Anthony Braxton, George Lewis, Jeff Parker, Myra development of these sounds—it doesn’t start with the Reservations: 212.885.7119

Melford and a slew of other top-drawer talent from the intellect. You have to want to get that feeling across “Alexis Parsons” (Best CDs of 2012) - DownBeat Magazine creative music community. She has won the “Best and then somehow your body figures out how to do it. “Parsons’ breathy, desultory delivery reminds us that Flute” award in DownBeat and prestigious CalArts’ When I first started to improvise, people used to say love is not a game to be entered into lightly.” - John Ephland, DownBeat Magazine Award in the Arts in 2011. After 20 fruitful that the flute wasn’t that expressive compared to years in Chicago, where she joined the Association for a saxophone or trumpet. That really annoyed me and the Advancement of Creative Musicians (AACM) in made me fight much harder to prove it wasn’t true!” 1995 and served as president from 2009-10, Mitchell The outcome of the 2016 elections and the current moved to where she became a Professor of state of acrimony and divisiveness throughout the Music at UC Irvine in the Integrated Composition, country has inspired Mitchell to dig deeper in her Improvisation and Technology program. She has new personal search for truth through music. “I think the coming out this spring with the Tiger Trio political climate has changed a lot over the years since (with Melford and bassist Joëlle Léandre) and her I’ve been here and that has impacted me artistically as long-running Black Earth Ensemble. well. I have felt the need to have a clearer message in The change in geography and culture has had some my music—pure instrumental music hasn’t been inevitable influence, although Mitchell maintains ties enough for me for a while. There is a desire to connect with her Chicago associates. “I would say that since with other things I want to express. For instance, I have I moved to California I’ve done a lot more composing, this new album coming out soon called Mandorla especially ‘through-composing’, stuff with no Awakening, which was inspired by the anthropologist improvising. That has really blossomed since I’ve moved Riane Eisler and her book The Chalice and the Blade. here. Another difference is that I’ve gotten the chance to For me, I’m interested in the collision of utopia and do these collaborations with [bassist] and dystopia. We have to be cognizant of how our ignorance [trombonist] Michael Dessen with Telematics [concerts can affect people in their lives. One example is the by musicians in different geographic locations through clash between the water protectors in North Dakota Internet2 in real time]. I’ve also started doing some versus the oil pipeline. Why can’t we create a society video work, which is very new, since I came here. I think that takes advantage of technology yet still supports these are ways to express myself creatively that are the earth?” possible because I’m not running around playing as Activism is nothing new for Mitchell, who still much as when I was in Chicago.” identifies with many of the lessons she learned from But Mitchell has hit the ground running in her days with the AACM. She is still actively involved Southern California as well, establishing relations with in promoting projects that honor the legacy of that pianists Anthony Davis and Joshua White and as spirit. “I organized a festival celebrating black women a member of the Mark Dresser Seven. “We just in creative music last December. A lot of the women are recorded Mark’s new album and it’s really exciting to members [of the AACM], but not all of them. The idea play his music, which is challenging and soulful at the is to create a platform that puts black women front and same time. That’s hard to balance, music that’s complex center in their expressions of creative music. In the without losing the groove. I’ve been working with future I’d like to develop it beyond music and include [bassist] Lisa Mezzacappa too, so that’s another expressions of [all] black visionary women because relationship. I’ve deepened my relationship with Myra there are so many other aspects of creativity that I want Melford. We have a trio album coming out with Joëlle to spotlight. That’s also a part of the video work that Léandre on Rogue Art called Unleashed. Those I’m doing—making a documentary about this as I’m relationships are really special and I’ve also been working on it. Our first concert had an overwhelming developing relationships with [local] venues like the response. People were very moved to hear what these World Stage and the Blue Whale where the music women had to say and to experience their music.” v carries on.” Mitchell’s sound on the flute is singular and her For more information, visit nicolemitchell.com. Mitchell is mastery of extended techniques makes her voice on the at National Sawdust Mar. 29th. See Calendar.

THE NEW YORK CITY JAZZ RECORD | MARCH 2017 7 ON THE COVER W I L A M P

ELLA FITZGERALD . G O T L I E B / R A

Centenni-ella Y by andrew vélez O F C N G R E S

Ella Jane Fitzgerald, later to be called “Lady Ella” and Hollywood and orchestrated by the very best including Ella ‘walked me’ to the Grammy podium…Whenever beloved as the “ of Song”, was born Apr. , and . I listen it is always uplifting. I can just get lost 25th, 1917 in Newport News, , but her real The range of the Porter canon is enormous, with a mix in the joy and her incredible improvisational skills and growing up was in Yonkers, New York. In 1934, after of wit, sensuality and intelligence, material that gave musicianship.” some hardscrabble times, which included a period of Fitzgerald a chance to sing superbly with boundless Still another voice from an earlier generation, homelessness and on the streets of , she taste and sometimes saucy insouciance. A side effect of veteran songstress Carol Sloane recalls, “When I was began her ascendancy to world fame as a jazz singer the success of her recordings a teenager, Ella’s voice was heard with welcome when, at 17, on a dare, she entered and won a 1934 was to accelerate the racial integration of American regularity from my AM-FM Bendix radio. It sat on the contest at Harlem’s . The prize was $25 music-making (in 1958 she became the first African- bedside table, allowing me to turn down the sound late and a job with ’s band. Soon thereafter American woman to win a Grammy). at night listening to DJs spinning those jazz platters. introduced her to bandleader and In 1957 Granz put her in the studio with Ellington Not surprisingly, I fully incorporated her influence on drummer . When he died in 1939, she took and Strayhorn to create what many consider to be the my own singing: diction, intonation and choice of over the band for two years, renamed Ella Fitzgerald greatest of all the songbooks, the only one where she material. Her clear and fastidious style made it and Her Famous Band, before she eventually went actually worked with creators of the songs. Willie relatively easy to memorize songs and her method solo. From those early years on hers was always Cook, one of the trumpeters on that set, later observed, became my ‘User’s Manual’, forming the basis of my a distinctive personal sound with a jazz musician’s “She did all those different composers’ songs and it own repertoire. Her ballad interpretations, which were fresh sense of phrasing and rhythm. seemed like she was telling their story for them.” stunning in their pristine, uncomplicated manner, During that first phase of her career she was Of working on the Ellington Songbook he recalled, could and did break my heart. Her voice possessed an among the few major vocalists from the to “She could get with…musicians…that she was working enviable fluidity, a brilliant demonstration of her genius embrace bebop, singing with Dizzy Gillespie, among with and fit in just like a glove with whatever they in which she created improvisations equal to any major others. had been Webb’s label and she were playing. Ella’s musical interpretation was more jazz musician. She was simply my idol. Because I stayed with them until 1955 when producer Norman like the musicians would play it.” bought her records and studied them with youthful Granz wooed her away for his then-brand-new Fitzgerald’s nonpareil legacy is reflected in the zeal, in my view we were and remain connected with company Verve. It was a momentous change for both comments of singers from various generations. Two- umbilical strength. …May she never be forgotten.” and the beginning of a relationship that continued time Grammy nominee Jane Monheit says, “I can tell She hasn’t been. In addition to this month’s until the singer’s death in 1996. In celebration of you that her Songbook albums were the records I really celebrations, her centennial month of April 2017 will Fitzgerald’s centennial, Verve initiated an ambitious loved and I love them as much now as I did when I was feature additional celebrations of her legacy: a special schedule of reissues—in digital, CD and LP formats— tiny.” Asked if there was anything she would thank her event at the National Jazz Museum in Harlem; PopsEd: including the Songbook sets last month, continuing this for, Monheit replies, “For showing me that a jazz singer Ella at 100 at various Bronx public schools; WBGO month with four volumes of Decca singles, then The doesn’t always have to be full of sadness and longing. Radio Gala Honoring Ella Fitzgerald and Complete Ella & Louis four-CD set in June and through That it can be just as much about joy.” (Monheit presents by the New Jersey Symphony Orch, both at New Jersey to Nov. 3rd, when The Complete Decca and Verve Albums an Ella centennial celebration at Birdland in late April.) Performing Arts Center; and “Happy 100th Ella!” with 40+ CD boxed set will be released. Acclaimed Italian songstress Roberta Gambarini, at Brooklyn Center for the Performing Arts. With Granz she became the ultimate presenter of who will fête Fitzgerald at Jazz at Lincoln Center’s Worn out from long years on the road, heart American popular song. Among her contemporaries Rose Theater in late April, says hers was the first voice trouble and , Ella Fitzgerald passed away Jun. was capable of velvety swoops, Betty she could remember hearing on records and that what 15th, 1996 at 79. On countless nights she mopped her Carter had audaciousness that commanded awe and is memorable is “her sound and her time. It’s really brow with an ever-present hanky, exclaiming to was a powerhouse of emotion. But two sides of the same coin. The sound is one of the audiences in that endearingly girlish voice, “Thank Fitzgerald—with her near-three-octave range combined most beautiful and unadulterated and has a lot of ring you, thank you so much.” No, Ella, thank you. Thank with flawless technique and instinctive musicianship— to it. At the same time it goes with her sense of time. I you very much. v was a wonderful and rare interpreter who could mean Ella’s pocket, you can’t move her...the sense of perfectly run down a lead sheet yet be among the signal excitement and vitality and joy is created by her For more information, visit ellafitzgerald.com. Fitzgerald improvisatory musicians in jazz. Common sense timing...she set the standard for singing modern tributes are at The Cutting Room Mar. 5th, Schomburg readings of lyrics colored with unexpected musical popular song. [At the Granz Center Mar. 6th, 13th, 20th and 27th, Jazz at Lincoln quotes plus her essential girlishness combined into a concerts] she really shines. It is her natural habitat, Center’s Varis Leichtman Studio Mar. 11th and The Apollo unique ability to delight audiences. Any conversation improvisation and performances with musicians she Theater Mar. 23rd. See Calendar. about Fitzgerald’s career must include reference to the loved and had a relationship with.” diversity of her musical settings, which ranged from One of the three Grammys vocalist/composer/ Recommended Listening: duets (, ), big bands and small actress won was for a tribute • Chick Webb/Ella Fitzgerald—The Complete groups to, of course, the three recorded pairings with called . Among the times they met was when Chick Webb and Ella Fitzgerald Decca Sessions , beginning in 1956 with Ella and Louis. Fitzgerald was given a medal in . At the reception (Mosaic, 1934-41) Her longtime piano accompanist Bridgewater remembers, “Here was this woman being • Ella Fitzgerald/Louis Armstrong— said, “Every musician who worked with her and I mean honored sitting off in a little corner by herself.” It did Ella and Louis (Verve, 1956-57) the greatest like Dizzy felt they were enriched by her. give them an opportunity for a “deep, deep, • Ella Fitzgerald—Sings The George and She made you realize how free you could be. With Ella conversation” Bridgewater has never forgotten. Songbook (Verve, 1959) it was so pure…Eloquent without striving. It was just… “We talked about how difficult it was traveling and she • Ella Fitzgerald—Mack the Knife: Ella in perfect.” regretted not spending more time with , Jr. (Verve, 1960) The beginning of the Granz era was immediately and being a mother. And I should be careful and not • Ella Fitzgerald/— memorable with The Songbook in 1956, the get myself caught up in promoters’ ulterior motives. Ella at Duke’s Place (Verve, 1965) first of the now-classic series. The material in these She gave me great quality time and it felt almost like • Ella Fitzgerald/Oscar Peterson— recordings is superb, mostly written for Broadway and I was with family…And then of course I always say Ella & Oscar (Pablo, 1975)

8 MARCH 2017 | THE NEW YORK CITY JAZZ RECORD THE APOLLO THEATER PRESENTS A JOHN F. KENNEDY CENTER FOR THE PERFORMING ARTS PRODUCTION TRIBUTE

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WOW_AbbeyLincoln_NYCJazzRecord_Final.indd 1 2/15/17 5:57 PM ENCORE

raised as a free thinker, I have a ‘big picture’ mind that artistic freedom of accomplishing projects e k transcends categories. My love and curiosity for independently. I returned to America primarily to a l

B particular musics often shaped my itineraries in life.” work with the many great musicians here who compose

l KALI Z. FASTEAU

a After growing up between Paris and New York, spontaneously with heart. By tuning ourselves and t s y by clifford allen Fasteau attended Reed College where her listening and refining our skills, we develop sensitivity and intuition r

C performing interests ran the gamut from jazz and soul to receive and translate energy into beautiful music Creative improvised music is, quite naturally, an area to blues and in graduate school she studied Carnatic, unique to the present moment. I give form to free-form of open exploration but that openness, while it allows Turkish, Indonesian and African musics. It was in San music by selecting and naming recorded music and many activities to coexist within the artform, also gives Francisco where she met Garrett in 1971 and “it was sequence pieces on the albums to greatest effect, rise to situations in which artists escape broader notice. love at first sight! Rafael was already a feminist and considering both flow and contrast. By designing the Kali Z. Fasteau, a multi-instrumentalist, composer and immediately put me in his band The Sound Circus. We graphics, I also express my taste in visual art.” label owner (Flying Note) is just such a figure— gigged a few days later with reed player Gerald Oshita Being creative goes beyond what can be documented perpetually intriguing in the breadth of her activities, and drummer Oliver Johnson. Rafael had been by recording or live performances though and Fasteau’s yet the true nature of her art is somewhat unknowable performing and recording with [as a job is living as a creative being. “My lifelong love of to those outside the music’s immediate creation. bassist and bass clarinetist] and hung out with John and nature is now more passionate than ever, as I see the Fasteau’s list of instrumental credits itself inspires Alice during their sojourn on the West Coast. Their devastating assaults of industry. At a young age I curiosity—voice, piano, cello, viola, drums, soprano musical marriage was in many ways an inspiration for acquired a healthy skepticism of conventional medicine saxophone, mizmar, ney flutes, sanza, synthesizer— us.” Garrett and Fasteau soon formed The Sea Ensemble, and began my continuing research in natural remedies and has led her to collaborate with vanguard musicians which recorded We Move Together for ESP in 1974 and a and nutrition. Every day I make music, dance and take like saxophonists Noah Howard and Kidd Jordan, pair of albums, After Nature and Manzara, for the Italian long walks, plus long-distance swimming in pianist , bassist William Parker, drummers leftist imprint Red Records in 1977. In 2000, an archival summertime. 17 years ago I added Falun Gong [energy Warren Smith, Rashied Ali, Louis Moholo-Moholo and double-disc containing sessions in Holland and Turkey cultivation] to my daily Tai-Chi practice. I’ve learned to Cindy Blackman and multi-instrumentalist Donald called Memoirs of a Dream was released on Flying Note. heed and completely trust my body’s wisdom.” Rafael Garrett (1932-1989), her first husband. They were a multi-instrumental duo that created their Bringing the vivid color and lively sound of feeling to Celebrating her 70th birthday this month, Fasteau own tradition while traveling through Europe and the audiences throughout New York and worldwide, was born Mar. 9th, 1947 into a musically fruitful Mediterranean, blending Arabic, North and Sub- Fasteau carries with her the transformational spirit environment. In her early life “professional ‘classical’ Saharan African, East and South Asian sonics with free cultivated by innovative musicians going back to the musicians populated both sides of my lineage. This improvisation and a facility that transcended both jazz beginning of the last century. v happenstance perhaps justified and propelled me to and classical realms. Beyond that, the music of The Sea spontaneous composition, the opposite way of making Ensemble was life: “our carrying and playing bamboo For more information, visit kalimuse.com. music and avoiding ‘Western’ musical notation, song flutes was a passport to hearts, hospitality, smiles and structures, specialization and hierarchical organization kinship everywhere, especially in non-European lands, Recommended Listening: of music and musicians. I sang and wrote music very and this blended with our strong drive to experience • The Sea Ensemble—We Move Together early, with formal piano lessons from age 6 [with Olga many cultures, musics, vibes and terrain.” (ESP-Disk’, 1974) Heifetz], cello at 8 and flute at 11. I loved singing both After 14 years of traveling, study and performance • Kali Z. Fasteau—Worlds Beyond Words (Special Guest soprano and baritone parts in school choirs. Later, at age overseas, Fasteau returned stateside in 1985 and Rashied Ali) (Flying Note, 1987-89) 14 I dreamed I improvised on a Bach piece at a piano founded Flying Note a year later. 30 years later, the • Kali Z. Fasteau—An Alternate Universe recital; waking in the morning, I went to the piano and label’s catalog of 17 releases represents varied (Flying Note, 1991-92) music flowed from my fingers! I heard ensembles committed to free music. Whether on • Kali Z. Fasteau—Camaraderie (Flying Note, 1997) when I was seven, seeding my love of music from other cassette or CD, Fasteau’s releases have presented a • Kali Z Fasteau/Kidd Jordan/ lands. The beauty of timbres, rhythms and intonation consistent graphic design and palette that speak to a —Live at the Kerava Jazz not regimented by ‘Western’ aesthetics affected me vision bright and to the point, much like the musical Festival: Finland (Flying Note, 2007) deeply. Perhaps due to me being a left-handed woman contents. “I’ve always had strong tastes in music and • Kali Z. Fasteau—Piano Rapture [therefore a well-connected right and left brain] and visual art. I especially enjoy sculpting sound and the (Flying Note, 2012-13) LEST WE FORGET

for Love” in the ‘30s. Fields’ association with another Mood for Love”, a definitive example of vocalese. icon, Jerome Kern, proved just as Fields kept busy long after Tin Pan Alley’s heyday, DOROTHY FIELDS lucrative, resulting in ‘30s standards such as “The Way collaborating with composer Albert Hague in the 1959 You Look Tonight”, “” and “A Fine Broadway musical Redhead and on by alex henderson Romance”. musicals including Sweet Charity in 1966 and Seesaw in When and Ginger Rogers sang the 1973. One of the best-known songs from Fields’ late Dorothy Fields was one of Tin Pan Alley’s most latter in the 1936 film Swing Time, Fields achieved period was Sweet Charity’s “If My Friends Could See prolific lyricists, penning the words to numerous superstar status as a lyricist. The song was recorded by Me Now”, originally performed by on standards in the ‘20s-40s. While Fields had a strong everyone from Billie Holiday in 1936 and Joe Williams Broadway and receiving a hit disco makeover from connection to Broadway, Hollywood and popular in 1956 to Ella Fitzgerald and Louis Armstrong as a singer Linda Clifford in 1978. music, her lyrics have received a considerable amount 1957 duet. Fitzgerald revisited “A Fine Romance” on Fields was 68 when she died of a heart attack in of attention by jazz vocalists over the years. her 1963 album Ella Fitzgerald Sings the Jerome Kern New York City on Mar. 28th, 1974. v Born in Allenhurst, New Jersey on Jul. 15th, 1905 Songbook, which featured Nelson Riddle and raised in New York City, Fields came from a family and also included “” and A tribute to Fields is at 92nd Street Y’s Lyrics and Lyricists heavily involved in the arts: her father, an immigrant the Kern-Fields songs “Remind Me” and “You Couldn’t series Mar. 18th-20th. See Calendar. from Poland, became a vaudeville comedian in the late Be Cuter”. 19th century and went on to produce Broadway shows Bandleader Duke Ellington was an early proponent Recommended Listening: in the early 1900s-10s and both of her older brothers of Fields’ work, recording vocal versions of “Diga Diga • Oscar Peterson—Plays the Jimmy McHugh Songbook became Broadway writers as well. Doo” and “Bandanna Babies” (also from Blackbirds of (Verve, 1959) Composer J. Fred Coots, who Fields met in 1926, 1928) in the late ‘20s and instrumental versions of • Ella Fitzgerald—Sings the Jerome Kern Songbook proved to be a valuable connection when, in 1928, he McHugh and Kern melodies co-written with Fields. (Verve, 1963) introduced her to Jimmy McHugh. With McHugh Jazz instrumentalists have been voracious • Dorothy Fields—An Evening With Dorothy Fields composing the melodies and Fields writing the lyrics, consumers of the Kern and McHugh songbooks and (DRG, 1972) their partnership resulted in a long list of standards, one of the most interesting examples of a McHugh- • Mark Murphy—Sings Mostly Dorothy Fields and which include “I Can’t Give You Anything But Love”, Fields gem taking on a whole new life came when Cy Coleman (Audiophile, 1977) “Diga Diga Doo” and “I Must Have That Man” (all saxophonist James Moody recorded an instrumental • Daryl Sherman—I’ve Got My Fingers Crossed: included in the musical revue Blackbirds of 1928) in the version of “I’m in the Mood for Love” in 1949. The A Celebration of Jimmy McHugh (Audiophile, 1990) late ‘20s and “Exactly Like You”, “On the Sunny Side of lyrics that singer Eddie Jefferson wrote for Moody’s • Various Artists—The American Songbook Series: the Street”, “Don’t Blame Me” and “I’m in the Mood improvised saxophone solo resulted in “Moody’s Dorothy Fields (Smithsonian, 1995)

10 MARCH 2017 | THE NEW YORK CITY JAZZ SPOTLIGHT

then when he moved to New York. Rudman was the and Rudman know their audience and the Harbinger Associate Director in charge of education at the Great product reaches it. Says Rudman, “This has never been HARBINGER Lakes Theater Festival in , and a money-making project for us. We do it because we a pioneer in the notion that theater was truly love the music, the tradition and the idea that, as the by donald elfman a community venture. The two men met at a conference name Harbinger suggests, we have this to look forward of the Federation for the Extension and Development to.” To further that notion, the label is now a subsidiary The essence of Harbinger Records is, say its founders, of the American Theater in the late ‘70s. Bloom of The Musical Theater Project, a non-profit foundation “The Great American Songbook—in particular songs remembers, “We were on a bus going somewhere and Rudman had founded in Cleveland to produce of stage screen and .” The writers, the Bill started whistling the song ‘Happy Hunting Horn’ educational programming to encourage an appreciation performers from classic to contemporary and the from Pal Joey and stopped and I continued the song. We of musical theater as an art form. And to give further tradition of musical theater from whence timeless started to talk, discovered many common interests and substance to its position as a serious and ongoing label, melodies and lyrics come define the label’s reason for decided then and there to start a record label.” Rudman Harbinger now has Naxos as a distributor. being. The founders are Ken Bloom, a theater historian, informed Bloom that he had a recording of Geraldine Harbinger is informed by an approach to playwright, author and archivist, and Bill Rudman, an Fitzgerald doing her show Street Songs at Playhouse “archaeology” that one can find in the apartment in educator, radio personality and producer. Says Bloom, Square in Cleveland. The recording was on a cassette New York where Bloom lives and works. It’s a “Some of the vocalists in our catalog can certainly be and, amazingly, was recorded on the wrong side of the storehouse of books, posters, recordings and more that considered jazz vocalists. Consider the late Maxine tape. The tape worked, an LP was made and it got a celebrate the world that Harbinger documents in Sullivan, the [late] legendary Barbara Carroll, Nancy rave review by critic John S. Wilson on the front page recordings. Harrow, Mark Murphy. These are jazz artists without of the arts section of . Thus And what of those recordings? To begin, think of any question. Even some of the so-called cabaret Harbinger Records was born in 1983. a songwriter from the American Songbook and they singers can be considered jazz singers in that they have Soon another opportunity for recording presented are represented here. Some examples: Mostly Mercer, harmonic sensibilities and are often accompanied by itself. The movie The Cotton Club was about to be a collection of songs sung by the likes improvisers... And, of course, we have done new released and Rudman and Bloom wanted to find of , Jennifer Holliday, Anita O’Day recordings with singers such as Stacy Sullivan and a connection to the music of that club and that era. and Eydie Gorme; Sublimities, piano recordings and Barbara Fasano that are clearly in the jazz world.” Bloom knew biographer Edward Jablonski and, with radio appearances by Cy Walter; and Burke Beautiful, Rudman goes on to note, “The American song and the his help, had done a show of Harold Arlen-Ted Koehler lyrics of Johnny Burke performed by Sharon Paige and American theater have a jazz sensibility. It’s about an songs. “We found , who had actually Keith Ingham. original art form and a feeling of freedom. And, of played The Cotton Club, and got her to make There’s the Hidden Treasures series with rare course, the great jazz players have long played and a recording of these songs. It was nominated for demos and more from great writers like Sheldon continue to improvise on these songs.” a Grammy!” The arrangements were by Sullivan’s Harnick (, She Loves Me), John Kander Bloom began his theater career in Washington, DC music director Keith Ingham. And the band featured, (Cabaret, Chicago) and Hugh Martin (Meet Me in St. as a vital person—producer, director, marketer, public among others, Phil Bodner on reeds and Marty Grosz Louis). And legendary performances from singers relations—of the New Playwrights Theatre of on guitar. and Susan Johnson. Washington. In addition, he did radio shows in DC and Harbinger Records has continued to thrive. Bloom (CONTINUED ON PAGE 50)

Busy Being Free Live in Athens, Greece Stranger in a Dream The Great Songs from The Cotton Club Sing Shuffle Along Barbara Fasano Mark Murphy Stacy Sullivan Maxine Sullivan Sissle & Blake VOXNEWS

the music that Fitzgerald created with Dizzy Gillespie a satisfying jumble of bossas and sambas that Elias and give the next generation of listeners their first taste sings sometimes in Portuguese, sometimes in English, THE FIRST LADY OF SONG of tunes like “Salt Peanuts” and “A-Tisket A-Tasket”. sometimes in both. The Brazilian singer-pianist opens Kids get to move, sing, play instruments and listen to the album with the engaging classic “O Pato” (the by suzanne lorge stories during the 45-minute session. duck) played at a bright, syncopated clip, the smooth With their February release, Laughing At Life (Anzic vocals standing in contrast to her high-energy piano Last month Verve released several of the Ella Records), Duchess solidifies their reputation as one of soloing. The album contains some other intriguing Fitzgerald Songbook and Decca recordings as Mastered the most exciting (and whimsical) swing vocal groups twists: “You’re Getting to be a Habit with Me” as for iTunes (MFit) files. Listeners can now hear to emerge in recent years. The three vocalists—Amy a sensuous, laid-back samba and “” in remastered recordings of Ella’s voice more faithful to Cervini, Hilary Gardner and Melissa Stylianou—are all a double-time feel with R&B backing vocals by singer the original analog recordings than any editions to known as solid solo performers in their own right yet Mark Kibble. To create this album, recorded in Brazil, date. Recent innovations in technology, driven by are able to nail the sweet spot between individual Elias brought several impressive friends and mentors listeners’ preference for digital downloads, allow for expression and group harmony. Oded Lev-Ari’s from both Brazil and the U.S. into the studio: pianist this enhanced audio experience. Verve’s re-release of carefully choreographed arrangements and the singers’ Amilton Godoy, singer-guitarists João Bosco and these historically important, technologically superior complementary vocal timbres help to establish the , trumpeter Randy Brecker and vibraphonist recordings arrives just in time. group dynamic; the singers joke easily together and . Elias’ current tour takes her to Birdland Fitzgerald would have turned 100 on Apr. 25th. willingly share the spotlight with one another. From the (Mar. 28th-Apr. 1st). Already the tributes are in full swing mode: The Apollo infectious drive of the first tune, “Swing Brother Swing”, Rome Neal’s Banana Puddin’ Jazz will present kicked off its commemorative series, “100: The Apollo to the quiet charm of “Dawn”, a first-time recording of bassist/producer Kim Clarke’s Lady Got Chops Jazz Celebrates Ella”, with a blockbuster concert back in the little-known tune by singer Vet Boswell, each track Festival in honor of Women’s History Month. Sis-Stars, October 2016. The series continues (Mar. 23rd) with is unfailingly engaging. Trombonist Wycliffe Gordon a group comprising singers Sheryl Renee, Patsy Grant “Live Wire: Ella! A Centennial Celebration”, a puts in a star turn on one of the standout tracks—a and Joy F. Brown are set to deliver an evening of discussion on the life of the iconic singer at the theater sweet, slow rendition of “Stars Fell on ”—and powerhouse vocals at Nuyorican Poets Café (Mar. 4th). where she got her start back in 1934. Dr. Farah Jasmine clarinetist Anat Cohen contributes virtuosic solo lines to Avant garde pianist Mara Rosenbloom will join Griffin, professor of English and African-American the relentless swing of “Everybody Loves My Baby”. with singer-percussionist Anaïs Maviel and bassist Studies at Columbia University, will moderate. The recording is full of tongue-in-cheek moments, but Adam Lane (together, the Mara Rosenbloom Flyways) Jazz at Lincoln Center also offers an Ella tribute don’t be fooled. The talent here is serious. to perform a musical setting of Twenty-One Love Poems with “WeBop Family Jazz Party: Dizzy & Ella” (Mar. On Mar. 24th, Grammy-winner will by feminist writer Adrienne Rich at Ibeam Brooklyn 11th). This interactive educational event will focus on release her next CD, Dance of Time (Concord), (Mar. 10th). v

THE NEW YORK CITY JAZZ RECORD | MARCH 2017 11 IN MEMORIAM

BUDDY BREGMAN (Jul. 9th, 1930— Jan. 8th, 2017) The composer, arranger NAT HENTOFF and producer released albums for Verve and World Pacific and collaborated ELIANE by andrey henkin (both via arrangements and bandleading) in the ‘50s-60s with (Bing Sings Whilst Bregman ELIAS Swings, Verve, 1956), Annie Ross (Gypsy, World Pacific 1959), Ella Fitzgerald (Sings The Cole Porter Song Book, Verve, 1956), Carmen McRae (, Brunswick, 1959), Oscar Peterson (Soft Sands, Verve, DANCE OF 1957), Anita O’Day (Anita, Verve, 1957), (The Greatest! Count Basie Plays...Joe Williams Sings Standards, Verve, 1956) and Buddy Rich (This One’s For TIME Basie, Norgran, 1956). Bregman died Jan. 8th at 86. o f t h e n a

t e s y BUDDY GRECO (Aug. 14th, 1926—Jan. 10th, 2017) The vocalist, who got his start with the late ‘40s band of , had his own releases on Columbia, Epic, Reprise and other

o m P i c h / C u r labels more in the ‘50s jazz-pop vein T and was also married to and Nat Hentoff, eminence grise of jazz critics, who was an collaborated with jazz-pop singer Lezlie Anders in the editor, author, producer, champion for social and late ‘90s-early Aughts. Greco died Jan. 10th at 90. criminal justice and inaugural National Endowment for the Arts (NEA) Jazz Master for Jazz Advocacy, died BILL HORVITZ (May 12th, 1947—Jan. Jan. 7th at 91. 15th, 2017) The guitarist (and brother to Hentoff was born Jun. 10th, 1925 in Boston and Wayne Horvitz) released a handful of stayed there to study, first at Northeastern and then albums from 1980 into the new , during which time he hosted millennium on Theatre for your Mother, a radio program. In a 2003 interview with Molly Dossier, Ear-Rational, Marblecone, Murphy for the NEA, Hentoff recalled his earliest jazz Music & Arts, Evander and Rastascan to work: “When I was 19, there was a place called the Ken go along with sessions led by , Peter Kuhn Club...and the Savoy...where I practically lived...I’d and . Horvitz died Jan. 15th at 69. gone into radio at WMEX, and I had a regular jazz show, because they couldn’t sell that time. And we JAKI LIEBEZEIT (May 26th, 1938—Jan. started to do remotes from the Savoy. So I got to know 22nd, 2017) The German drummer was a lot of the musicians, both on and off the air. best known for founding Can, the I interviewed a number of them and began writing, pioneering Krautrock band, and helping first for a very small jazz magazine.” After studies define the motorik beat and whose abroad, Hentoff returned to the States and worked as earliest credits were with the seminal A beautiful and stunning take on Associate Editor for DownBeat Magazine from 1953-57, mid ‘60s Quintet and followed by three years as Co-Editor for Jazz Review. the first iterations of Alexander von Schlippenbach’s classic Brazilian songs featuring During the latter period, Hentoff was also A&R Globe Unity Orchestra. Liebezeit died Jan. 22nd at 78. bassist Marcelo Mariano; Director for Candid Records in 1960-61, producing such seminal albums as ’ Newport ROD MASON (Sep. 28th, 1940—Jan. guitarists Marcus Teixeira and Rebels, Cecil Taylor’s The World of Cecil Taylor, Steve 8th, 2017) The trumpeter was involved Conrado Goys; drummers Edu Lacy’s The Straight Horn Of Steve Lacy and ’s in his native England’s trad jazz scene We Insist! Freedom Now Suite. as part of the Monty Sunshine Band and Ribeiro and Celso de Almeida; Hentoff’s liner notes graced hundreds upon his own co-led unit with Ian Wheeler hundreds of albums, from ’ Jazz At and was then a stalwart in Europe first and percussionists Gustavo di (, 1952) to Scott Hamilton/Rossano as part of the Dutch Swing College Dalva and Marivaldo dos Santos. Sportiello’s Midnight At Nola’s Penthouse (Arbors, Band and then his own albums for Black Lion, Timeless 2010), on labels such as Atlantic, Columbia, World and Sentinel. Mason died Jan. 8th at 76. Pacific, Contemporary, Verve, Blue Note, Bethlehem, Prestige and dozens of others. He also did numerous CHARLES “BOBO” SHAW (Sep. 15th, interviews, profiles and album reviews for publications 1947—Jan. 16th, 2017) The drummer Eliane Elias Live! as varied as The New Yorker and The New Republic as and founding member of the St. Louis- Birdland well as full-length books like Jazz Country (1965), Jazz: based had albums New Perspectives on the History of Jazz by Twelve of the with his Human Arts Ensemble for March 28 - April 1st World’s Foremost Jazz Critics and Scholars (1974), Boston Freedom, Black Saint and Moers Music Tickets/Info: birdlandjazz.com Boy: Growing Up with Jazz and Other Rebellious Passions and credits under , Oliver (1986), Listen to the Stories: Nat Hentoff on Jazz and Lake, Frank Lowe, Leroy Jenkins, , Billy (1995); and American Music Is (2004). In Bang and Anthony Braxton. Shaw died Jan. 16th at 69. addition to his writing on music, Hentoff wrote articles and books championing social and criminal justice (May 21st, 1927— causes, including free speech, the Bill of Rights and the Jan. 20th, 2017) The photographer’s pro-life movement. work was included in hundreds of Speaking about his elevation to the status of Jazz releases since the ‘50s for EmArcy, Master, Hentoff combined his two passions: “Deeply Roost, Roulette, Argo, Columbia, Verve, honored as I am by this award, it could not have come Sonet, Chess, Bethlehem, Riverside, Vee to me but for these creators of this quintessential Jay, Pacific Jazz, Impulse, Mercury, ESP- American language that has become international. As Disk’, Mainstream, Atlantic, His Master’s Voice, www.elianeelias.com the Constitution—very much including its Bill of Milestone, Blue Note, Flying Dutchman, CTI, Freedom, Rights—is the orchestration of our liberties, jazz is Cobblestone, Savoy, Prestige, Concord, Soul Note, ‘The Sound of Surprise’ that is the anthem of our Candid and hatART, among others. Stewart died Jan. freedom.” 20th at 89. v

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audience) with her touring band of guitarist Jon Herington and bassist Barak Mori, with the singer playing guitar as well. She draws upon a different Great American Songbook: scrappy dark-night blues (Willie Dixon), traditional American song (Stephen Foster), New Orleans rhythm & blues (Allen Toussaint), gospel () and contemporary folk (Townes Van Zandt, who could have given Leonard Live at the Hungry Brain Cohen lessons on how to be forlorn), with a detour into The Urge Trio (Veto Records) Chicago Sessions Speechless British reggae (Linton Kwesi Johnson). The musical Silvia Bolognesi (Fonterossa) Champian Fulton (Posi-Tone) framing is lean and intimate, giving Peyroux room to by John Sharpe by Scott Yanow open up the songs her way and, as Holiday did, make them hers. Cellist Tomeka Reid has only one leadership entry in Champian Fulton has become known as a talented She takes gravelly-voiced bard Tom Waits to a her discography but her supple propulsion and poised swing-to-bop pianist who sings and an appealing place of Parisian elegance, the feverishly oblique yet angularity crop up in an increasingly wide variety of singer who also plays piano. Her two skills are equal vivid lyrics rendered with sardonic gentility. On the situations, as evidenced by two discs, which give and complementary. other hand, “Everything I Do Gon’ Be Funky” slips insight into different aspects of her artistry. The well-titled Speechless is a bit different from her and slides like a hepcat on an alcohol-blessed Reid features alongside two reed players, fellow previous recordings in that it is the first comprised dancefloor, Herington’s wiry electric lines crackling Windy City denizen Keefe Jackson and Swiss visitor entirely of instrumentals. Not having to perform songs and popping like a too-hot pot of gumbo. “Shout Sister Christoph Erb, as part of The Urge Trio, in a concert that fit her voice has freed her to write new originals Shout” is a gospel-charged swinger with decidedly recorded live at Chicago’s Hungry Brain club in and put the focus on her piano. While bassist Adi earthy lyrics while the acoustic, ruminative, hopeful October 2015 and released on Erb’s Veto imprint. They Meyerson and drummer Ben Zweig are excellent in “Trampin’” soulfully looks for a way to heaven. The mine a determinedly egalitarian seam across the single support and take a few brief solos, the spotlight is slinky “If The Sea Was Whiskey” features some keening 34-minute, fully improvised set. As an integral part of squarely on the piano player. Fulton contributes nine slide guitar, Peyroux proudly celebrating her appetites the three-way interaction, Reid doesn’t seek a high originals along with a fresh interpretation of Leo with lusty abandon and a big, bottomless tone. “Hello profile. That’s apparent from the start amid the barely Woods’ “Someone Stole My Gal”. Her piano style and Babe” finds her purring like , albeit with an audible susurrations, drones and pops. Her repeated writing is creative within the hardbop tradition. occasional piercing, bittersweet quality. cello abrasions braid into Jackson’s shrieked “Day’s End” opens the CD with Fulton playing in Secular Hymns is as much a compendium of exclamations and Erb’s tenor drone. Although she pianist ’s style. The happy relaxed slow- American roots styles as it is a jazz album, a set follows up with scratchy cello, then nimbly plucked to-medium tempo piece is a perfect vehicle for her to acknowledging assorted traditions and erasing runs with Jackson’s tenor, everyone emulate Garner’s chord voicings, melodic improvising so-called barriers between them…and oh, that voice, resolutely stays in the realm of percussive texture and the way he swung with wit. “Lullaby For Art” is a like a fine wine getting better with age. rather than melody or rhythm. As the piece progresses, tribute to drummer , the minor-toned cooker the exchanges come in waves of overblown juddering utilizing the chord changes of “Lullaby Of The Leaves”, For more information, visit impulse-label.com. Peyroux is and skittering bow work. While much of the dense Fulton’s voicings worthy of pianist . at Town Hall Mar. 4th. See Calendar. interweaving takes complementary form, there is some Although “Somebody Stole My Gal” originated in the contrast, as when Reid scrapes a high whistle to pitch ‘20s, her version is boppish, with plenty of speedy runs against the ruminative tenor saxophone/bass clarinet from her right hand. axis. At times there’s a sense that the horns periodically “Dark Blue” is a ballad that she plays with warmth rein themselves in, as hinted by the spirited duet of while “Tea And Tangerines” shows the similarities screeches and clarion calls when left to their own between “Tea For Two” and “Tangerine”, presented as devices. Reid joins in a careening upper register arco a jazz waltz. “Later Gator” pays tribute to soul jazz and lowers the temperature first to a simmer, then an saxophonist Lou Donaldson and is a catchy minor intermittent boil with strums and bent notes, before blues that is also a bit funky. After the thoughtful a peak of piping reeds and deep bowed cello to end. ballad “Pergola”, “Happy Camper” is more in pianist On Chicago Sessions, Reid lines up in the company ’s style, at least in its rhythmic melody of two other Midwest stalwarts in drummer Mike Reed and structure. Fulton concludes the enjoyable set with and trumpeter Russ Johnson under the banner of Italian the midtempo blues “That’s Not Your Donut” and an bassist Silvia Bolognesi. Since 2009 both women have uptempo romp “Carondeleto’s”, in tribute to the been collaborators in the collective trio Hear In Now. Missouri hometown of late trumpeter . Perhaps as a result, Bolognesi’s writing fully exploits Reid’s facility at moving between lead and support, For more information, visit posi-tone.com. This project is at sometimes, as in “Departure”, even within the space of Smoke Mar. 2nd. See Calendar. a few bars. While the title might imply a blowing date, the quartet digs into a program of five tuneful originals by Bolognesi. Her writing makes the most of the resources available, weaving layers of counterpoint around a melodic core, as in the attractive “It’s Not The Sea”, where Reid plays a prominent role, picking out a high figure filling in the gaps in a bouncy groove, before later contributing a jaunty solo. Vocalist Dee Alexander appears on three of the five pieces, supplemented by the voice of Italian singer Emiliano Nigi on the final track. Reid often sets out the Secular Hymns thematic material in unison with but fluent (Impulse!) trumpet, phrasing together behind Alexander’s by Mark Keresman wordless vocals on “Vision”. The multi-sectioned “Languages/Sounds Colours and Words” serves as a American-born French-raised jazz singer Madeleine summation of the approaches taken, moving between Peyroux has a lovely voice strongly reminiscent of the free, song and groove. While Reid sounds most at home iconic Billie Holiday. But whereas some singers would on the inside components, her sawing towards the end leave it at that—after all, if you must sound like suggests further developments are surely afoot. someone it may as well be someone great—Peyroux takes Holiday’s phrasing, sly, slightly breathy and a For more information, visit veto-records.ch and gentle slurring of syllables with a hint of a Southern silviabolognesi.com/fonterossa. Tomeka Reid is at Roulette drawl and channels it into her own distinctive Mar. 2nd with Taylor Ho Bynum and Mar. 20th as a leader and direction. National Sawdust Mar. 29th with Nicole Mitchell. See Calendar. Secular Hymns finds Peyroux recording live (sans

14 MARCH 2017 | THE NEW YORK CITY JAZZ RECORD

vocals on Abbey Lincoln’s reflective ballad “Throw It Vaughan) of “A Sassy Samba” in both the ranging Away” make the lyrics sound appropriately lived-in. melody and some spectacular scatting; and contributes And the quartet, particularly the thunderous Lewis, her own wide-ranging vocalese line to the hardbopping shows off its chops full-tilt on the samba “Don’t Stop”. “The Thumper”. On that latter tune, as well as two There is a trio of songs where Dixon plays cello, others, trumpeter Freddie Hendrix provides a perfect, joined by guitarist Russell Malone and the redoubtable brassy foil to Heath’s solos. bassist Ron Carter, who lend their own brands of string Connecting Spirits is a perfect template for how to genius. The lighter texture of the cello imbues the ballad showcase both a great jazz musician’s compositions “If My Heart Could Speak to You” with a wistful quality, and a great jazz singer’s voice.

Akua’s Dance especially Dixon’s skyscraping ending that reaches and Akua Dixon (Akua’s Music) reaches and reaches. A splendid dialogue between For more information, visit groovinhighrecords.com. by Terrell Holmes Malone and Carter energizes the waltz “Orion’s Gait” Gambarini is at Blue Note Mar. 15th-19th and Mar. 27th as and Carter’s stunning arco introduction to “Afrika! part of the 7th Annual James Moody Jazz Scholarship Of Akua Dixon has earned a reputation as a first-call Afrika!” shows why he has reigned as one of our musical New Jersey Youth Benefit. See Calendar. cellist, but on Akua’s Dance she showcases her talent kings for decades. His resonance drives Dixon’s mainly on the baritone , a rarely heard instrument impassioned playing and Malone’s hard swinging. with noticeably deeper tones. Dixon skillfully explores Akua’s Dance is a vibrant journey from Africa to UNEARTHED GEM the sonorities of the instrument, accompanied by a Argentina to New Orleans, from the sanctity of the stellar rhythm section of guitarist Freddie Bryant, black church to the secular world of jazz. Dixon’s bassist Kenny Davis and drummer . voicing and fluidity are enviable. One gets the feeling Dixon, an accomplished composer, includes a pair that she isn’t simply playing her instruments as much of songs from her opera about a New Orleans voodoo as she is singing through them and this vocal quality is queen named Marie Laveau. “I Dream a Dream” has an exhilarating and beautiful. African rhythm reminiscent of “Another Star” by and some deft Jack-be-nimble guitar phrasing. For more information, visit akuadixon.com. This project is The title track is a sensual tango whose dialogue at Sistas’ Place Mar. 11th. See Calendar. Live at the 4 Queens between Dixon and Bryant and the foundation of Davis’ drumming gives it a warm texture and balance. Shirley Horn (Resonance) A figure that echoes the intro of “A Night in by Andrew Vélez Tunisia” runs through “Dizzy’s Smile”, Dixon’s loving tribute to trumpeter Dizzy Gillespie; some brisk The happy occasion of a “new” Shirley Horn walking by Davis ensures that Diz is strutting as he recording arrives through the unearthing of tapes smiles. Bryant’s excellent arrangement of the spiritual from a 1988 performance at the 4 Queens in Las “I’m Gonna Tell God All of My Troubles” features Vegas. Now defunct, it was a little club that garnered Dixon’s subdued but hopeful playing, which supports a jazz following from 1982-96. Here the pianist/ Bryant’s own thoughtful embroidery. Dixon’s measured vocalist is nestled in the familiar comfort of longtime

Connecting Spirits cohorts Charles Ables (bass) and Steve Williams Roberta Gambarini with Heath Brothers Band (drums). The set here opens with a luxuriantly (Groovin’ High) wordless trio take on ’s “Hi-Fly”. Just by George Kanzler music, but oh what music! It’s a swinging and carefree rendition with Ables lending close note-for- Subtitled Roberta Gambarini Sings The Jimmy Heath note support. Songbook with The Heath Brothers Band, this album Those who know Horn mainly for her famously showcases a baker’s dozen of Heath’s tunes; six with slow tempos may be surprised at how swift they his own lyrics, four with Gambarini’s and three with sometimes are on this set. Cole Porter’s “You’d Be other collaborators. Heath is a jazz composer first and So Nice to Come Home To” becomes a swinging even though all of the tunes here have lyrics, the music uptempo number. Rather more familiar Horn is her doesn’t conform to easy vocal tropes and forms. This warm, transparent voice with Antonio Carlos Jobim- makes Gambarini’s authoritative singing here a Newton Mendonça’s “Meditacao” (“Meditation” complete vocal triumph. Her command of tone and here with English lyrics by Norman Gimbel), as her timbre are not as bravura as a Sarah Vaughan or Dianne piano shadings merge as one with her singing. Horn Reeves, but are just as creative and accomplished. And was a master at using pauses and silence between throughout the album, the core Heath Brothers Band notes. A line like “...So I will…wait…for you... (Jimmy, tenor and soprano saxophones; brother Albert meditating how sweet life will be…when…you “Tootie” Heath, drums; bassist David Wong and pianist come back to me”, is repeated three times, each with Jeb Patton), as well as judiciously employed guests, different inflections. By the time it draws to a close perfectly complement Gambarini’s voice, Heath’s with wordless sounds blending purrs and coos, the tenor often caressing her vocals with obbligati. listener has been spun ever so gently into a musical A theme that runs through Heath’s songs is the web that is inescapable. importance of music in life. It receives its most tender Yet her “Boy From Ipanema” is more vigorously declaration on the opening track “Without Song”, flirtatious than is usual for that classic. When she a delicate paean to the power of song delivered by sings of the tall and handsome young man passing, Gambarini in lovely legato line with just piano she gives out a “uhmmmm”, the libidinal message accompaniment before a tenor solo and second of which is quite, quite clear. With the Billie Holiday go-around with the quartet. Gambarini’s ability to classic “Lover Man” she takes a slow piano lead-in bring coherence to slow, intricate melodies, weaving before questioning, “I don’t know why…but I’m them into a narrative line, is as impressive as that of feeling so sad.” It’s genuinely meditative and an art singer: she negotiates “A Mother’s Love” with questing for an answer, her piano providing varying flowing ease; coasts delicately through the maze-like soft and emphatic punctuation. chromaticism of “Ellington’s Stray Horn”; and Horn seems especially relaxed in this intimate navigates the complex chord changes of “A Harmonic setting and her strength as a live performer is Future” with aplomb. evident on ’ “Just for a Thrill”. The But Gambarini is not just a fine art and ballad unique nuanced expressiveness of her dead slow singer, she is also a lusty swinger with a bottom range tempos and pauses between notes are spellbinding, employed as much or more than the soaring high notes depth charges. we have come to expect from jazz singers on uptempo pieces. She brings a rougher vibrato and attitude to the For more information, visit resonancerecords.org funky “Life in the City”; channels the subject (Sarah

THE NEW YORK CITY JAZZ RECORD | MARCH 2017 15

far and fast, “Swirlaround” slow-melts at an amiable GLOBE UNITY: trot, pulls up smartly at a yawning cliff, then resumes. Monder’s “Echolalia” pits snappy drum tattoo and guitar under smooth, hauntingly repeated horn lines that lead to Ingrid’s stunning tale, expanded by Monder. A soulful bass solo on “Octofolk” leads to a duo with purling alto, then enlivened with guitar glissandi. “Duo Space” invokes rippling falls (Ingrid) Nagi Hiromi Suda (Blujazz) Composer in Residence furrowing deep through limestone rifts (Monder’s Wish Board Cecilia Persson/Norrbotten Big Band (Prophone) mandolin-like hammertone guitar) toward earth’s Katsuko Tanaka (Katsuko Music) core, then segues smoothly to Kenny Wheeler’s “Old A Result of the Colors by Donald Elfman Megumi Yonezawa Trio (Fresh Sound-New Talent) Time”, linking horns in a gritty, Native American blues by Tom Greenland In 2014, Cecilia Persson was the Artist-in-Residence over hard-stick toms. Soprano and trumpet weave for the Norrbotten Big Band and this extraordinary hand-in-hand along “Hopes Trail”, a languid waltz, Japan has long been home to some of the world’s album documents a live concert from November of switching leads between grand pauses as big as third greatest jazz fans so it’s only fitting that the nation’s that year. The bold, extended compositions present eyes and fleet guitar fills. “Trio: Garden Hour” captures artists now improvise for a global audience. stunning written passages, a dazzling array of colors in still-life pure trumpet, swirling soprano and Vocalist Hiromi Suda hails from Yamanishi. and textures and a flexible framework wherein tintinnabulant hammertone, then edges into a bright Nagi continues in the vein of her earlier work by dynamics and solo statements are open for exploration. waltz to “Margareta”. paying homage to great Brazilian composers, but It’s dedicated to the Swedish city of Luleå, the big The Jensens’ floaty, fly-by worldview shifts in and also brings more of her original songs and vision to band’s homebase. out of focus, here hazy fog, there scintillating ice- the fore. The covers are greatly aided by Romero “Lulu” means “eastern water” and, according to storm, now crystalline unison, then piquant dissonance, Lubambo’s supple acoustic guitar and Anne Persson, “occurs for the first time in a document from spun of a piece from billion-year Archean cratons and Drummond’s lithe flute, but the principal attraction 1327.” (It’s also a nickname for Luleå.) An aggressive fleeting memories of childhood in Northern realms. is Suda’s voice: clarion-toned, with little or no ensemble chord opens the piece and is soon augmented vibrato, exuding a youthful exuberance belying the by small additions from different sections and members For more information, visit whirlwindrecordings.com somber lyrics. One senses she understands these of the band, showcasing the composer’s sense of shape

songs’ deeper sentiments and that her youthfulness and dynamics and the ensemble’s ability to crafting doesn’t equate to naïveté. Her own songs, sung in a a narrative that rushes forward, creating its own logic. breathier style reminiscent of folk-rockers like Joni The band settles into a throbbing, cacophonous groove, Mitchell, round out the other half of the set. English which quiets to a place where tenor saxophonist Karl- translations of the Japanese lyrics reveal her affinity Martin Almqvist intones a solo both tender and for poetic allusion and understated nostalgia. forceful. Pianist Katsuko Tanaka, originally from Osaka, “Stad I Aska” (City in Ashes) is Persson’s evocative now a New Yorker, recently released Wish Board, her portrait of a newspaper account of an 1887 fire that second CD, with bassist Corcoran Holt and drummer destroyed much of the city. Sections and players from Willie Jones III. Like Suda, she’s acquired an affinity those sections create a sound environment suggestive My Moments for and facility with Brazilian music, heard on her of a sleeping city about to be rudely awakened. Håkan Barbara Dennerlein (Bebab) cover of Milton Nascimento-C.C. Mariano’s “Don Broström on soprano gives the clarion call. by Ken Dryden Quixote” and on the well-constructed title track, but “Laba & Manen” is a 16-minute odyssey with brass much of the other music is hard-swinging with blues and woodwind solos integrated into a deft suite while German organ player Barbara Dennerlein began overtones. Although she’s not breaking any stylistic “Till Bengt Hallberg”, dedicated to the memory of the attracting critical acclaim in the late ‘80s, showing sound barriers, Tanaka infuses all of her music with late Swedish pianist/composer, is darkly elegiac and a healthy respect for the greats who preceded her on a distinctive legato touch, relaxed but poised, light features a gorgeous, melancholy and introspective solo the instrument but also displaying a sense of adventure. but assertive, suggesting that rather than trying to from pianist Alexander Zethson. For the past 15-plus years, Dennerlein has focused on impress her audience with pyrotechnics she is This is a striking and original example of the recording for her Bebab label, so American fans can be playing for sheer joy. “With Eyes of Truth”, the title intelligence and invention of the big band tradition as forgiven if they haven’t run across her many releases, track (another reworking of “rhythm changes”) and it moves into the 21st century and the world. which are more widely distributed in Europe. But she especially the Ahmad Jamal-inspired “Have Peace is not to be overlooked, truly one of the most innovative in Your Heart” all bounce along with infectious For more information, visit norrbottenbigband.com organ players of the 21st century, especially on this buoyance while her tasteful take on Tadd Dameron’s unusual CD.

“If You Could See Me Now” sparkles flawlessly. My Moments is an unaccompanied concert setting Pianist Megumi Yonezawa, hailing from of a diverse set of stunning originals for both Hammond Hokkaido, displays a more progressive approach B3 and pipe organ. Downhome “Bluesy” could be (honed by associations with Greg Osby and Meg a tribute to any number of Dennerlein’s inspirations Okura) on A Result of the Colors, her leader debut. while “Sensitivity” has a warm Bossa nova It’s tempting to compare her to , as her undercurrent but quickly becomes a powerhouse graceful intelligence, incisive romanticism and technical showcase. Dennerlein’s virtuoso pedaling existential moodiness all echo the late maestro’s keeps up with her furious attack on the blistering blues oeuvre. Moreover, her phrases often end prematurely, “Black And White”.

tailed by lingering silences that seem to beg Dennerlein’s compositions for pipe organ sound Infinitude questions of trio mates bassist John Hébert and Ingrid and Christine Jensen (with Ben Monder) improvised and don’t readily show the blues influence drummer Eric McPherson. The former is only too (Whirlwind) of her Hammond B3 pieces; in a blindfold test, willing to respond, often with extended asides or by Fred Bouchard “Fantasia Acusticum” could be attributed to classical authoritative disquisitions of his own, prompting player Anthony Newman. This dramatic piece allows a high level of group interplay, which, again, recalls Think on open northlands and envision big sky Dennerlein to make use of the instrument’s many Evans’ collaborations with Scott LaFaro and Paul country as you hear the sisters Jensen explore their sound options in an inspired performance. “Blues in Motian. Yonezawa has a unique way with ballads, elemental music in this halcyon, farseeing suite. Ingrid the Pipeline”, swinging like mad, sounds like a playful best heard on the standard-esque “Sketch” and freer (trumpet) and Christine (reeds), raised in rural British blend of and . “Symphony In “Epilogue”; her “Nor Dear or Fear” is a quirky but Columbia close to arms-wide nature, mesh as Minor” is a lively extended work initially feeling like catchy line written over “rhythm changes”. organically as an aquarelle landscape. Christine a classical piece in a cathedral until a jazzy bassline summed it up: “I’m trees, she’s water.” Also: Christine with a bit of blues is added. The piece continues to For more information, visit hiromisuda.com, writes more, Ingrid solos more. They spin Infinitude shift back and forth between the genres. “Get It On” is katsukotanaka.com and freshsoundrecords.com. Suda is with longtime collaborators in bassist Fraser Hollins pure fun, playful built from a simple, infectious at Subrosa Mar. 9th. Tanaka is at Mezzrow Mar. 14th and drummer Jon Wikan, inviting guitarist Ben riff. This music is also available on a DVD edition. and Hillstone Mar. 18th. See Calendar. Monder, like Ingrid a Maria Schneider Orchestra alum, to their glacial geologic timewarp. “Blue Yonder” flies For more information, visit barbaradennerlein.com

16 MARCH 2017 | THE NEW YORK CITY JAZZ RECORD

Les Deux Versants Se Regardent Ante Luceum Here on Earth Eve Risser White Desert Orchestra (Clean Feed) Iro Haarla (ECM) Jenny Scheinman (Royal Potato Family) by Stuart Broomer by John Sharpe by Mark Keresman

Eve Risser is a young French pianist who has Light—its presence and absence—looms large in Violinist Jenny Scheinman is a musician whose distinguished herself as part of the French Orchestre northern latitudes, both as a subject and metaphor. So creativity cannot be limited or defined by one genre or National de Jazz and with a trio recording called En consider a piece for jazz quintet and symphony style. In one aisle, she’s worked with , ROVA, Corps (Dark Tree), which revealed her as a brilliant free orchestra entitled “Before The Dawn”. Finnish pianist Allison Miller and Christian McBride; in another, with improviser. Les Deux Versants Se Regardent presents her and harpist Iro Haarla meets expectations and more. singer/songwriters Ani DiFranco, Lucinda Williams other sides, as the leader of a 10-member mini-orchestra Her rich orchestrations, which encompass ethereal and . Her own albums encompass jazz, and as a remarkable composer drawing inspiration tone poems, shimmering strings and romantic, folk, bluegrass and combinations thereof. Here On from geology, gemstones and the atmosphere. It also expressive flourishes, emerge from and provide context Earth, featuring originals entirely, falls into the latter reveals the range and invention of an emerging for the work of her quintet. category while leaning to traditional American acoustic generation of French improvisers. Although Haarla largely takes a back seat across the sounds. At her back is the company of fellow eclectic The opening title composition, 20 minutes long, four separate but linked pieces, her guidance ensures types in Frisell and Robbie Fulks (a superbly witty alt- possesses depth and subtlety. Moving from pure that the two ensembles gel. “Songbird Chapel” acts as a country songster, though he does not sing here). percussion sonics to minimalist melody, it suggests majestic curtain-raiser. With Haarla on harp, the quintet “Delinquent Bill”, a duet with guitarist Danny both the textural richness of Gil Evans—there are sets out the tuneful thematic material, Trygve Seim’s Barnes, is a blues-laden near-shuffle, Scheinman shared roots in French modernism—and the mark of a calmly pontificating in folksy vein, combining the elongated, scratchy tone of bluegrass first-rate jazz composer: the ability to before the orchestra amplifies and extends the original fiddle with the suave, swinging assurance of jazz string composition and improvisation, integrating the motifs. Here and elsewhere Mika Kallio’s unexpected players such as Joe Venuti and Billy Bang. “Annabelle distinctive styles and extended techniques of her percussion accents prick up the ears. and the Bird” is a moody modal slice of folk, a link musicians as well as their skills. In this piece, it’s On “Persevering With Winter”, bassist Ulf between the trad folk of the British Isles and American percussionist Sylvain Darrifourcq, bassoonist Sophie Krokfors’ deep vocalized bowing and the brooding mountain dwellers—Robbie Gjersoe’s guitar shimmers Bernado, trumpeter Eivind Lønning and flutist Norrlands Operans Symfoniorkester create a like a mirage, inserting blue notes here ‘n’ there, fluidly Sylvaine Hélary who contribute their sounds and lines mysterious opening, building, Sibelius-like, to a slow- improvising with Scheinman while providing steady to the totality, resulting in work that is distinctly moving crescendo. When the quintet reasserts itself, rhythm. “The Road to ” is an elegant waltz in contemporary while recalling the evocative lyricism of Seim’s bleating tenor, initially supported by Haarla’s which the range of violin evokes the deep woody strains Evans’ Sketches of Spain and a few equivalent works. jazzy comping, later intertwines with Hayden Powell’s of a cello and even an accordion. “Bark, George!” could The pieces that follow go further afield in their heraldic trumpet. have been inspired by the classical works incorporating methodology and their expressive breadth. After a solo Such interaction also informs the most animated traditional folk riffs by and Charles introduction by guitarist Julien Desprez in which he sections for the quintet, which arrive in the last two Ives; Scheinman plays a lilting yet sardonic hoedown achieves the same scattershot brilliance with the pieces. Seim in particular features on “...And The while Frisell conjures bittersweet dissonances that goes fretboard that he usually gets with his pedal board, Darkness Shall Not Overcome It...”. His sliding against the grain of the idyllic violin line as much as “Tent Rocks” is distinctly bright and playful. The dense microtonal soprano, folksy again but with an oriental buoys it. “Broken Pipeline” is a cross between a waltz and tumultuous “Eclats” includes a stunning tinge, opens the proceedings, then returns for a and a lament, Scheinman playing a lurching, driven, exploration of bass saxophone fundamentals and luminous triumphal ending threaded through the ominous melody atop Barnes’ crisply picked acoustic harmonics by Benjamin Dousteyssier while the swirling orchestra. guitar and Frisell’s moderately psychedelic lines. obliquely thoughtful of Antonin Tri Finally, portentous piano introduces the dramatic Take heed, jazz brethren: there’s precious little Hoang dovetails with the repeating motifs and title track, ominous orchestral fanfares giving way to swing here, but lots of heartfelt, sometimes primal expanding complexity of “Earth Skin Cut”. gentle unfurling tenor and poignant trumpet, before Americana. If you can appreciate David Grisman and From the coloristic use of winds like bass flute and more jostling interplay punctuated by horn and string along with Oregon and Frisell’s genre- piccolo trumpet to a compositional vocabulary interjections. But rather than delve into the detail, blurring platters, this Earth is well worth a visit. encompassing Messiaen and the spectral harmonists, perhaps the best way to appreciate the program is to Risser is constructing her own idiom. let its luxuriant filmic sweep wash over you. For more information, visit royalpotatofamily.com. This project is at Metropolitan Museum Grace Rainey Rogers For more information, visit cleanfeed-records.com ForNYCJR12thPageAd0317.qxp_Layout more information, visit ecmrecords.com 1 1/31/17 9:39 AM Page 1 Auditorium Mar. 17th. See Calendar.

March 3 @ ibeam www.ibeambrooklyn.com Diane Moser’s 8pm DUO – Carol Liebowitz (p), Nick Lyons (alto sax) Composers 9pm QUARTET – Carol Liebowitz, Nick Lyons, Big Band Ken Filiano (b), Michael Wimberly (dr) Carol Liebowitz/Nick Lyons FIRST SET Carol Liebowitz/Nick Lyons 20th FIRST SET Carol Liebowitz (piano), Nick Lyons (alto sax) “This is a great duo” Anniversary —Bruce Lee Gallanter, Downtown Music Gallery Concert and “hypnotically engaging” Celebration! —Roger Farbey, All About Jazz PAYNE LINDAL LIEBOWITZ Bill Payne (clarinet), Eva Lindal (violin), Wednesday, March 22 • 8-11 p.m. BILL PAYNE EVA LINDAL Carol Liebowitz (piano) For more info: CAROL LIEBOWITZ Photo: dianemosermusic.com “high caliber musicianship and Chris Drukker intelligent, electrifying artistry” —Hrayr Attarian, All About Jazz 6 Depot Square Montclair, NJ 07042 For reservations, call 973-744-2600 available on CD BABY, JAZZ CLUB www.trumpetsjazz.com lineartrecords.com iTUNES, AMAZON

THE NEW YORK CITY JAZZ RECORD | MARCH 2017 17

of the compositions includes short rhythmic phrases, “Sweatshirt” proceeds by way of open interplay, punchy and precise, leading to tight-knit, fractured by turns exclamatory and dense. One early highpoint lines that seem boiled down from longer reflections. arrives with sudden trumpet swells like notes played Kjær belongs to a long line of alto players who are backwards, echoed by similar arco swipes and scraped essentially laconic: her sound is dried-out with cymbals, underpinned by choppy two-handed piano individual notes and truncated phrases, which can lines. After that crescendo of excitement comes the possess the brevity and intensity of a cry or a curse, the unavoidable lull, uneasy piano matched by grumbling pitch of every note inflected for maximum impact. arco ushering in a hypnotic disorientating mood. Silva There’s a composition called “Alto Madness” that remains at the heart of the interaction as she splutters

2648 West Grand Boulevard might reference an obscure Jackie McLean LP from the like a pressure cooker at the start of “Death By Claire Daly (Glass Beach Jazz) ‘50s (though it’s the freer ‘60s McLean who is more Candiru” before straying into abstract muted lyricism by Terrell Holmes likely to come to mind) or and John prior to a spiky, animated ensemble finish. Coltrane’s better-known Tenor Madness. Either way it The strongest clue about baritone saxophonist Claire suggests deep roots in a long tradition that includes For more information, visit barefoot-records.com Daly’s new album lies in its subtitle: Jazz Interpretations fellow Dane John Tchicai and Roscoe Mitchell and at of Classic Motown 45s. The reference to a bygone era the contemporary limits French saxophonist Jean-Luc underscores her strong emotional connection to those Guionnet. Kjær is an expressionist who reduces her spinning wax circles and the songs therein. Daly seems content for maximum intensity. to know that her listeners know the songs as well as The style is set from the opening “Out of Sight” she does and will be replaying them in their heads. The with freebop dialogues built around tensile bass key is to maintain the creed without being ostinatos and varying drum patterns, all three asserting slavishly tethered to them. And she succeeds big time. a kind of polyrhythmic kinship with Rollins’ early Daly’s supple bari transforms The ’ trios, setting a specific and mobile bounce over which “Loving You Is Sweeter Than Ever” into serious solos and duos unfold naturally. The sole wholly uptempo bop, her dialogue with guitarist Jerome improvised piece, “Pleasantly Troubled”, is distinct for Harris on the melody leading to her bouncing solo. its sometimes swirling passages of alto and bowed Daly transforms The Miracles’ “I Second That Emotion” bass, but there’s the same sense of dialogue and direct into a shoulder-weaving Calypso line dance. Daly is address that conditions the rest of the music, at one equally soulful on the flute, showing off her formidable point Kjær punching out monotone rhythmic patterns. chops on “The One Who Really Loves You” by Mary Named in this gazette as one of 2016’s “Best Debuts”, Wells, played with an invigorated riff on a classic style. this CD presents a compelling new voice. She also delivers a sleek version of The Marvelettes’ classic “The Hunter Gets Captured by the Game”, For more information, visit cleanfeed-records.com which has a nicely ironic pastoral intro.

Daly’s rendering of The Jackson Five’s “I Want You Back” may be described as Caribbean bebop, featuring masterful pizzicato by bassist Mary Ann McSweeney. Daly’s baritone assuming the role of Eddie Kendricks’ falsetto on “I’m Gonna Make You Love Me”, the Supremes/Temptations summit meeting, is a delightful play on opposites. Jimmy Ruffin’s “What Becomes of the Brokenhearted” is appropriately blues-laden and ends perfectly on an unresolved note. Daly takes a more melodically flexible approach on “Cloud Nine”. After an Rasengan! intro that nods toward ’s “Trouble Man”, Santos Silva/Wodrascka/Meaas Svendsen/Berre the band fires off some jazz-funk salvos. The passion and (Barefoot) grittiness of Daly’s playing ignites ’ by John Sharpe cautionary tale and makes it the album highlight. Taking on an institution like Motown, like the Rasengan! captures a first time meeting for Portuguese works of Miles or Monk, is a formidable task. Familiarity trumpeter Susana Santos Silva with a crew of fellow and reverence can be a blessing or a burden. Daly steps adventurers comprising Norwegian bassist Christian up to that tightrope and boogaloos across it. She puts Meaas Svendsen and drummer Håkon Berre and interesting twists on timeless music but doesn’t overdo French pianist Christine Wodrascka. It’s a continuous it, leaving the tunes both familiar and fresh. 36-minute improvised performance from ’s 2016 Blow Out festival demarcated into two tracks. While For more information, visit clairedalymusic.com. This Silva has appeared on a number of albums that allow project is at Dizzy’s Club Mar. 21st. See Calendar. her poetic side full expression—This Love (Clean Feed, 2015) with Slovenian pianist Kaja Draksler springs to

mind—here she traverses the outer limits. Although the rest of the group contains no slouches, the date comes to life when Silva raises her horn to her lips. The bright sonorities almost inevitably cast the brass as the focal point. Silva explores the audacious language of a Peter Evans or Nate Wooley, but situates her buzzes, hums and double- and triple-tonguing among more conventional contours. As such she is the main source of melodic inspiration in a session otherwise dominated Dobbeltgænger by percussive timbres. Wodrascka supplies the Julie Kjær 3 (Clean Feed) by Stuart Broomer momentum for much of the set, imparted by her rhythmic chording and edgy undertow. At times she Julie Kjær is a -based Danish reed player who even adds a structural element to the flow, as with the has toured with Paal Nilssen-Love’s Large Unit. repeated three-note motif towards the end of the set. Recorded at London’s Vortex club, her leader debut Berre maintains a tappy clatter, diverging into bowed presents her sticking to alto saxophone at the helm of a cymbals and drum heads, generally coloring rather trio with a veteran English rhythm section of John than driving the band while Meaas Svendsen alternates Edwards and Steve Noble. The program consists of her between the resonant pizzicato introducing the disc hard-bitten originals with a single improvisation. Each and an abrasive drone that blends well with trumpet.

18 MARCH 2017 | THE NEW YORK CITY JAZZ RECORD But it as an improviser that Léandre is better Diaboliques is a long-running and theatrical trio that BOXED SET known and she comes by this honestly. In a grew out of the Feminist Improvising Group and conversation with Franck Médioni (in the fascinating European Women’s Improvising Group, initially book-CD-DVD package Solo, published by Kadima conceived (in part) as a queer woman’s antidote to Collective in 2012), Léandre says, “in playing, I’m the quintessentially straight male focus of much into the interaction of slow/fast, of loud/soft; creative music. Their 2015 performance in Moscow sometimes leaden material, broken, then lighter, as heard in this set is far-ranging and detailed, tension and release, I would say. Also into ruptures Nicols’ husky swoops and lilts dovetailing with of sound, then lyrical with more velocity. I worked Schweizer’s stippled jounce and the bassist’s a lot on the fragment… It’s an organic pleasure, grumbling bowed glissandi on the opening salvo a jubilation that comes more from jazz, from free and over the course of six pieces the trio moves into jazz, than from written music, where there’s this droning plinks, balletic stomps and pinched, whining A Woman’s Work... obligation to read, to render perfectly the text on the declamations. Joëlle Léandre (Not Two) music-stand.” Léandre plays free and, in response, Cappozzo, a member of the Globe Unity by Clifford Allen orchestrally whether or not there’s a mass of sound Orchestra who has also performed with Léandre in beyond her bass, voice and the immediate focus of both small units and a ten-piece ensemble, is It’s always seemed appropriate that pianist Burton rushed air, sweat and rosin, a tactile dialogue a superb duet partner and his scrunched flits and Greene titled one composition off of his 1969 BYG- between person and instrument. If for someone like gulps are a wonderful match for open strings and Actuel LP Aquariana “Basses Painters”, which guitarist Derek Bailey solo playing was “research” tousled harmonics. His phrasing moves between spotlighted the work of Bèb Guerin and Dieter rather than improvisation (which depends on melodic jazz stanzas and breathy abstraction, Gewissler. There was something about the former’s collective interaction), Léandre unaccompanied is interleaving and cresting Léandre’s vibrating spruce deep, gutsy arco swooping through the crackle of far from playing alone. waves with ease. She notes in the accompanying otherwise unoccupied vinyl space—utterly For her 65th year, the Polish label Not Two has booklet that duets are her preferred mode of expressive, gestural, furrowed and passionate. Barre presented Léandre in a lavish eight-disc boxed set performance (absent are poet Steve Dalachinsky and Phillips, too, on his 1968 solo bass LP Journal titled A Woman’s Work… and in addition to one disc flutist Nicole Mitchell, both of whom have recorded —deft, spry and kneading a bulwark of an of unaccompanied bass and vocal music, finds her in stunning albums with the bassist) and it’s no surprise instrument like malleable impasto. Born in 1951, duets with such players as guitarist , most of these eight discs bring her into direct French bassist Joëlle Léandre occupies this tradition trumpeter Jean-Luc Cappozzo, saxophonist Evan communication with another individual—the as well, though initially her work split the difference Parker, pianist Agustí Fernández, violist Mat Maneri, peppery glint of Parker’s tenor or Frith’s dustbowl between acting as an interpreter of postwar string vocalist Lauren Newton, percussionist Zlatko preparations—and these conversations are presented composition and free music. In league with players Kaučič, a quartet with Parker, Fernández and Kaučič as gamely fresh challenges. A woman’s work is like Stefano Scodanibbio and Bertram Turetzky, she and the trio Les Diaboliques with pianist Irène certainly never done and for Joëlle Léandre, it had pieces written for her by John Cage and Giacinto Schweizer and vocalist Maggie Nicols. Other than appears that she’s just getting warmed up. Scelsi and performed the music of Iannis Xenakis, the solo bass disc, which was recorded in 2005, the Jacob Druckman and others. remainder of the set was recorded more recently. Les For more information, visit nottwo.com

“There is a place of innovation, of improvisation, of impossible. That’s where our survival is. Many have dipped to drink its power. Darkness is the beauty and will always be. New worlds and words can change ALEXIS COLE this illusionary one. Enter.” – Nicole Mitchell

Mandorla Awakening II: Emerging Worlds, the new album from Nicole Mitchell’s Black Earth Ensemble

ALEXIS COLE: NOw’S ThE TImE mARCh 5Th, 6 Pm TEdd FIRTh / dAvId FINCk / ERIC hALvORSON May 5, 2017 ¤ FPE Records fperecs.com ¤ facebook.com/fperecs ALEXISCOLE.COm

THE NEW YORK CITY JAZZ RECORD | MARCH 2017 19

Hoggard speaks with pride of this one-time Lenape group workout on Antonio Carlos Jobim’s “Chega de village of (as he reminds us in the liner notes) Manna Saudade”, featuring fine solo turns from Martin and Hatta island. The music within swings and sits Cruz, and the emotional reading of “Volver”, a tango comfortably in the canon, with gorgeously recorded that Simon’s father used to sing. vibraphone sharing the frontline with the alto and Simon and his sympathetic partners do an soprano saxophones of the much-lauded Gary Bartz. exemplary job throughout the album of putting The album opens with ’s “If I Were a contemporary, personal spin on classic material, a Bell”, which Hoggard states was important to him making the case for these tunes from the Latin symbolically, considering his ax. Played in a Sunday American Songbook to be played as standards by all

Beautiful! brunch feel, as opposed to other selections that carry jazz artists. Charles McPherson (Xanadu-Elemental Music) on well past midnight, this is the kind of standard one by Duck Baker still hears echoing through 125th Street—as well as 7th For more information, visit sunnysiderecords.com. Simon is Avenue South. No matter the lateness of the hour, it is at National Sawdust Mar. 2nd as part of a tribute to Charles McPherson’s career got off to a fast start. He an excellent example of the heritage of our city’s jazz Mercedes Sosa. See Calendar. was just 20 when he moved from Detroit to New York tradition: small-group swing themes, progressive in 1959 and within a year he was working with bassist strains and some delightfully boppish heads. “Sonic Charles Mingus. That association would last until 1972 Hieroglyphs” exemplifies the latter, with the leader’s and it is natural that it will always be the one for which runs up and down the bars feeling like the ascension of the alto saxophonist is best known. Even at that early . At several points, his melodic duels with NANCY stage, McPherson’s adherence to the gospel of Charlie Bartz are reminiscent of the classic Bags and Trane VALENTINE Parker made him a bit of a throwback and he has album (another example is “Airegin”, which contains SINGS THE mUSIC remained a bebopper at heart throughout his career. melodic statements of considerable length and oF BILLY STRAYHoRN But that is not to say that he was ever a mere imitator. rapidity). And Hoggard also manages to conjure Lionel Featuring McPherson may have spoken the language Bird Hampton and perhaps Red Norvo at other points; his HarrY aLLen - tenor sax witH defined, but he had his own story to tell. lack of vibrato, until certain special moments, speaks JoHn di Martino trio JoHn di Martino - Piano During the ‘60s McPherson made six Prestige to the latter connection. Boris KozLov - Bass MarK taYLor - druMs records for producer Don Schlitten and when the latter Throughout, the rhythm section is exemplary: got the Xanadu label up and running in 1975, it didn’t pianist/organ player James Weidman (replaced by Nat wednesdaY, MarcH 22 nd take long for the two men to reunite. Beautiful was the Adderley, Jr on six of the cuts), bassist Belden Bullock jazz at kitano 2 sets: 8PM & 10PM first of four records McPherson made for Xanadu and and drummer Yoron Israel are integral components in ($17 CoVER + $20 mINImUm) is a solid outing guaranteed to please anyone who likes top form. The closing cut, “Disposable Consumption” 66 pARk AVENUE @ 38TH STREET straightahead modern jazz. The rhythm section of (who couldn’t love that title?), is a killer, seemingly RESERVationS HiGHLY SUGGEStED! Duke Jordan, and Leroy Williams is superb twisting cool school into a complex suite that leaves TEL: 212-885-7119 / kITANo.Com and McPherson relishes the opportunity to showcase one awaiting another section by the time the disc ends. a mEmoRabLE SinGER poiSED to makE an impoRtant impact on tHE mUSic ScEnE. - Scott Yanow his rich tone on a program of standards. An early debt to Johnny Hodges, possibly filtered through Sonny For more information, visit jayhoggard.com. Hoggard is at NANCYVALENTINEjAzz.Com Criss, is apparent, but the point is not the influences Roulette Mar. 2nd with Taylor Ho Bynum. See Calendar. but what our protagonist does with them, which is to • Michaël Attias Quartet— turn in confident improvisations full of nicely turned R Nerve Dance (Clean Feed) ideas. McPherson is the kind of player that people • Ernest Dawkins New Horizons Ensemble overlook because one must really tune in to hear how e (featuring Vijay Iyer)—Transient Takes (s/r) engaged he is, always finding a subtle way to punctuate • Harris Eisenstadt—Recent Developments or alter a phrase. c (Songlines) The CD concludes with a bonus track that didn’t o • Satoko Fujii—Invisible Hand (Cortez Sound) appear on the original LP, a trio version of “All God’s • Champian Fulton—Speechless (Posi-Tone) Chillun Got Rhythm”, confirming the importance of m • Noah Preminger— Meditations on Freedom Jordan to the proceedings. Every note and every (Dry Bridge) gesture seems perfect, delivered with elegant grace m Latin American Songbook • Andreas Schaerer—The Big Wig and a minimum of fuss. It must have been a treat for Edward Simon (Sunnyside) e (ACT Music) McPherson to work with the pianist who added so by Joel Roberts • Idrees Sulieman Quartet—The 4 American much to so many of his idol’s classic records. n Jazz Men in Tangier Veteran pianist Edward Simon’s latest release is (Groovin’ High-Sunnyside) For more information, visit elemental-music.com. a love letter to the music of his childhood. Growing up d • Trio 3—Visiting Texture (Intakt) McPherson is at Jazz Standard Mar. 1st-3rd with George in Venezuela, Simon was exposed to a wide spectrum e • Miroslav Vitous—Ziljabu Nights Coleman. See Calendar. of music from across South America, as well as the (Live at Theater Gütersloh) (Intuition) Caribbean, all of which made an indelible impression d on the young artist, informing the musician he is to Laurence Donohue-Greene, Managing Editor this day. The 47-year-old Simon, who has played in the past n • Roberto Fonseca—Abuc (Impulse!) with the likes of Greg Osby, , Terence • Led Bib—Umbrella Weather (RareNoise) Blanchard and the SFJAZZ Collective, fluidly melds e • Robert Dick—Our Cells Know (Tzadik) a modern jazz sensibility with a deep affection for • Ellery Eskelin/Christian Weber/ traditional . The new album is a bookend in w Michael Greiner— some ways to Simon’s 2014 release Venezuelan Suite, Sensations of Tone (Intakt) expanding the focus from just his homeland to the • Miklós Lukács/Larry Grenadier/ entire continent and beyond. The seven songs Simon r Eric Harland—Cimbalom Unlimited Harlem Hieroglyphs covers are classic compositions representing six (BMC Records) Jay Hoggard (JHVM) e • Madness Tenors—Be Jazz for Jazz (Cristal) by John Pietaro different countries and multiple styles, including Brazilian Bossa nova, Argentinean Tango and Cuban l • Cecilia Persson/Norrbotten Big Band— This double-disc release by vibraphonist extraordinaire Bolero, as well as tunes from Puerto Rico, Chile and his Composer in Residence (Prophone) Jay Hoggard stands as a salute to Harlem’s roots and native land. e • Eve Risser White Desert Orchestra— culture. Stringing together original compositions and Simon leads his long-standing trio of bassist Joe Les Deux Versants Se Regardent (Clean Feed) a few key covers offering an overview of the music’s Martin and drummer Adam Cruz through the diverse a • Matthew Shipp Trio—Piano Song journey, Hoggard presents selections of what was once set with a warm, lyrical and easily appealing piano s (Thirsty Ear) commonly thought of as nightclub jazz and bits of style. He plays with drama and flair on Astor • Miroslav Vitous—Ziljabu Nights funky R&B too. With this timewarp, you’d almost Piazzolla’s passionate “Libertango” and with a subtle e (Live at Theater Gütersloh) (Intuition) think New York City rents were affordable again. mastery on the gorgeous Cuban ballad “En la Orilla Andrey Henkin, Editorial Director But Harlem Hieroglyphs is far from a museum piece. del Mundo”. Other highlights include the energetic s

20 MARCH 2017 | THE NEW YORK CITY JAZZ RECORD

soloist. The performances, which could easily hail Archer (bass), Jonathan Barber (drums) and Jacquelene from 1962, contain many highlights. “Two Bass Hit” Acevedo (percussion). The latter is the first player follows the framework of the Davis Sextet’s version heard; she introduces the album-opening title track even though performed by the trio. Louis displays an with a near-minute-long percussion solo. The piece original tone on “Folk Song” (a Cohen original in the itself is a hard-swinging slice of -esque vein of “Dear Old Stockholm”) and “Hard Times”. hardbop. Barber and Acevedo drive the band with “When I Fall In Love” is a fine showcase for Cohen’s force and precision, never getting in each other’s way. ballad artistry. It is a joy having the somewhat obscure Gould’s solo is focused and melodic and Pelt sticks to “If This Isn’t Love” (taken as a cooker) and “Flamingo” the horn’s middle register for the most part, his notes

Masters Legacy Series Volume 1 (featuring Jimmy Cobb) being revived. And while “Concerto For Cobb” is not full-bodied and well chosen. Emmet Cohen (Cellar Live) really a concerto, the uptempo piece (with an unusual “Digression”, the only outside composition, comes by Scott Yanow bridge) has one of the drummer’s best solos. from pianist Simona Premazzi, who played on Pelt’s 2015 release Tales, Musings and Other Reveries. It’s Emmet Cohen is an excellent bop-based pianist who For more information, visit cellarlive.com. This project is at a mellow ballad showcasing the band’s fundamental works in the trios of bassist Christian McBride and Smalls Mar. 3rd-4th. See Calendar. unity. Archer takes a lengthy solo that somehow never drummer Ali Jackson and has gained experience with lets the primary rhythmic impulse fade away and a variety of allstars including Jimmy Heath and Brian Gould does a superb job of providing a melodic anchor. Lynch. Cohen is both a masterful accompanist and a Pelt solos with a gentle but probing intellect, seamlessly soloist whose swinging style is reminiscent of Wynton linking two- and three-note phrases together like he’s Kelly, Red Garland and other late ‘50s masters. discovered a way to breathe through his ears. The Masters Legacy Series is designed to honor Barber’s solo, “Introduction to Evolution”, gets its surviving jazz legends. Volume 1 features veteran own track on the CD, but don’t worry—it’s only two drummer Jimmy Cobb, best known for his years minutes long. The piece itself has the time-fracturing (1958-62) with Miles Davis. Cohen and Cobb are joined feel of Miles Davis’ ‘60s quintet, with the drummer by bassist Yasushi Nakamura with alto saxophonist slicing up the beat and pianist and percussionist both Godwin Louis guesting on two numbers. absent for the first half of its 5:45 running time. This Make Noise! Cobb was on famous recordings of several permits Pelt to bob and weave, alone in the center of (HighNote) numbers: “Flamingo” was on his very first session, by Phil Freeman the ring, occasionally leaping into the horn’s upper recorded with in 1951; “Two Bass Hit” register like he’s been startled. Gould’s solo, by recalls his classic rendition with Miles Davis; “On The Trumpeter Jeremy Pelt led a superb quintet with contrast, has a Latin feel, tinged with romanticism. Trail” was recorded with and Wynton saxophonist JD Allen, pianist Danny Grissett, bassist Pelt’s annual dispatches get every year off to a Kelly; and he was on “Hard Times”, David “Fathead” and drummer Gerald Cleaver for four good start. Make Noise!, which also introduces his new Newman’s hit. In addition to the standards, Cohen albums between 2008-12. Since then, he’s preferred to working band, is no exception. contributes three originals to the program. have new personnel—and a new approach—on every While Cobb takes several short solos and a slightly album (he releases one every January). This year is it For more information, visit jazzdepot.com. Pelt is at Smoke longer one on “Concerto For Cobb”, Cohen is the main up-and-coming star Victor Gould (piano), Vicente Mar. 3rd-5th with Willie Jones III. See Calendar.

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MPS_Anzeige_Ella_Fitzgerald_NYCJR_g.indd 1 16.02.17 16:17 THE NEW YORK CITY JAZZ RECORD | MARCH 2017 21 Frescalalto (Impulse!) Olden Times (Live at Birdland Neuburg) Lee Konitz/Kenny Wheeler Quartet (Double Moon) by Clifford Allen

Alto saxophonist Lee Konitz will be 90 in October and is one of the few remaining players to have encountered as a peer (Bird was just shy of seven years his senior) while coming up in the ranks of bebop saxophonists. Far from limiting himself to the Great American Songbook or jazz standard fare, Konitz has spent decades exploring what bop made possible, through his studies with pianist or collaborations with open-ended modernists. He continues to perform with unsurpassed depth well into what most would call their autumnal period. Frescalalto is Konitz’ first album for Impulse!, which is somewhat surprising given the label’s 55-year history and penchant for presenting vanguard saxophonists. Joined by the established rhythm section of bassist Peter and drummer Kenny Washington along with pianist Kenny Barron, Konitz’ tart quaver is granted supple heft on a program of eight standards and originals. One shouldn’t expect to hear the dry, fluid burble and obscured bar lines of Konitz 40, 20 or even 10 years ago—he’s gamely behind the beat on “Thingin’”, chortling with sharp abstraction before the rhythm section shoves forward with a light bounce and a trade of greasy fours—but his tone and improvising are pure and honest. “” finds Konitz singing the melody in a warm, lightly gruff voice in duet with Barron’s gentle glints before he switches to alto for a brief solo. “Out of Nowhere” is among the most open and spry of the set, alto pushing with breathy force against a muscular, swinging yaw while Barron’s jovial blues and the bassist’s resonant hum separate wind from another vocal melody. If the improvisations presented on Frescalalto are the indicator of late-period Konitz, then his music is alive and well in the 21st century. 18 years ago, Konitz met up with trumpeter Kenny Wheeler (1930-2014), pianist Frank Wunsch and bassist Gunnar Plümar for a live set released as the aptly-titled Live at Birdland Neuberg. With some slight variation in titles and track lengths, the set has been reissued as Olden Times, a brilliantly-recorded example of drummerless bebop and the almost chamber-like sparseness employed by some in Konitz’ circle. The saxophonist and trumpeter had recorded just three years before for ECM on the album Angel Song, and Wunsch and Plümer are more than up to the challenge of propelling and carpeting without a drummer present. Both horns are rendered with full precision, Wheeler’s clarion crinkle splayed out over a strumming chordal vista on “Where Do We Go From Here” as Wunsch’s romanticism echoes in the directions of Keith Jarrett and . Konitz grants his solo a laid-back heave, emphatic and held in glorious suspension as he makes a pass at “Star Eyes”. The tunes are on the rangy side with the staple “Thingin’” nudging close to the 15-minute mark, each of the musicians taking an acappella stand before merging in a unison, staccato call and the composer’s tough, ebullient keen. There’s no question that the Konitz of this tune in 1999 and in 2017 is the same interpreter, hitting with strident conviction no matter how sure the body is of its own ability.

For more information, visit impulse-label.com and challengerecords.com. Konitz is at Brooklyn Conservatory of Music Mar. 4th. See Calendar.

22 MARCH 2017 | THE NEW YORK CITY JAZZ RECORD intakt records www.intaktrec.ch | Distributed by Naxos America | Mailorder: www.naxosdirect.com | Amazon.com iTunes Store | Available in NYC: Downtown Music Gallery | Download-Shop: intaktrec.bandcamp.com OO Pierre Favre DrumSights, Pierre Favre Solo, Schlippenbach Trio with and , et al. Buechi Shadow Garden, Christoph Irniger Pilgrim, Stefan Aeby Trio, – Rudi Mahall, Florian Egli Weird Beard, – Dieter Ulrich, Steve Beresford – Julian Sartorius, Feldman – Evan Parker, – Duo, Omri Ziegele – John Edwards – Mark Sanders, Sarah Buechi – Lauren Kinsella – John Edwards – Hannah Marshall, Sarah Galega Brönnimann Aki – Aly Beyond, Keïta, Wickihalder Omri JürgZiegele Parker,Where’s Evan Africa feat. Jan – – Louis Niggli Lucas GuyMoholo Mahall,Takase Rudi Moholo,Aki – Moholo,Barry MoholoIrène Louis SchweizerNiggli, – Schweizer – Irène Sleepthief,Lucas Maggie Laubrock Ingrid Nicols,Monk, and Plays NoisySchlippenbach von GuyMinority Alexander Laubrock, feat. TakaseIngrid Barry Percy– with Pursglove, TrioSylvie RileyCourvoisier – Howard Mark Guy, Barry – Homburger Maya with Celebration Birthday Guy Barry

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Parker play dreamy unisons in a manner recalling he has rarely been captured but that he clearly relishes. early (think Sweetnighter and Mysterious He digs in with gnarled chords that blend nicely with Traveler) melding with a more hip-hop aesthetic. “Here the rhythm section and prod Dawkins. By the middle Comes Ezra” is infused with Parker’s unique approach of the program (“South Side Breakdown”, the other to modal harmony and dominated by the heartbeat- Dawkins composition), the band is firing on all like kick drum. ’s “Visions” leans on cylinders and sounds like a working group. The the guitarist’s use of distortion and some jump-cut program ends with two duets between Dawkins and choreography clashing against mangled keyboards but Iyer, simply titled “V & E” and “E & V”, a perfect grounded by the organic swirl of Williams’ brushes. conclusion indicating a future full set of duets would

Alba Most of the material avoids the classic head-solos- be a fine idea. /Florian Weber (ECM) head format so it is kind of a relief when “Jrifted” shifts by Mark Keresman from volume pedal swells and ethereal harmonies into For more information, visit ernestdawkins.com. Vijay Iyer conventional features for Parker (who sounds a lot like is at Merkin Concert Hall Mar. 4th as part of the Ecstatic Sometimes the acorn does not fall far from the Sonny Greenwich on this one) and Johnson (who has Music Festival. See Calendar. figurative tree. Trumpeter Markus Stockhausen, who mastered the concept of pensive agitation). Bryan gets straddles the spheres of notated and improvised a welcome showcase on “How Fun It Is To Year Whip”, music(s), is the son of avant garde icon Karlheinz another beat-dominated tune reminiscent of a lot of the Stockhausen, one of the most significant composers of music on the Group’s 1995 session We the 20th century, while pianist Florian Weber is the son Live Here. of a music professor and an opera singer who went on The conversational ambiance that weaves through to study with and . Together, “Get Dressed” is a nice touch, as is the crackling snare Stockhausen and Weber weave a subtly glorious and extended guitar solo in the Grant Green tradition. tapestry of luminous lyricism. It all comes together on the closing number, “Cliché”, Alba consists of 15 concise originals. While where Jobim comes crashing into J Dilla. This tune Stockhausen’s poetic tone might evoke early ‘60s Miles features the guitarist’s daughter Ruby on vocals, who Davis, his style itself does not, impacted by European comes across with solid intonation and limber acuity. as much as jazz. “Mondtraum” begins Johnson also gets some prime real estate to blow over with a simple, somewhat Christmas tune-like melody and he acquits himself well. and Stockhausen’s harmonious horn work (he alternates between trumpet and ), forlornly For more information, visit intlanthem.com. Parker is at The crooning an almost folk-like hymn to a chilly, starry Stone Mar. 4th-5th with Oscar Noriega. See Calendar. sky, looking toward the Bethlehem in your mind with a warm, wide tone vaguely calling to mind a . “Beifreiung” has Stockhausen’s Miles-hinted horn gliding over Weber’s genial bob-and-weave, slightly blues-flavored chords. The breathtakingly lovely “Resonances” finds Stockhausen unaccompanied, drawing forth almost flute-like sounds before building to a brassy yet elegiac crescendo. “Surfboard” has rolling fugue-like piano chords, Stockhausen making with a breezy, Pacific Coast highway idyll that ‘50s would have Transient Takes been proud to call his own. While it starts off as Ernest Dawkins New Horizons Ensemble a restive ballad, “Zephir” gradually builds into an (featuring Vijay Iyer) (s/r) elegant slice of midtempo bebop, Weber swinging by Robert Iannapollo pensively, Stockhausen melancholic, both building to an expanse wherein restorative sunlight can shine. Chicago reed player Ernest Dawkins is perhaps not as Subdued, intimate, thoughtful though laced with well known as some of his peers who emerged from an almost naïve playfulness, Alba is ECM chill-out jazz the Association for the Advancement of Creative of the highest order. Musicians (AACM). Until recently, he was a long- standing member of drummer Kahil El’Zabar’s Ethnic For more information, visit ecmrecords.com. Weber is at Heritage Ensemble and has led his own bands, most Cornelia Street Underground Mar. 1st with Mareike notably the New Horizons Ensemble since 1992. Wiening and Brooklyn Conservatory of Music Mar. 4th A group with fluctuating personnel, it has released ten with Lee Konitz. See Calendar. albums of strong, AACM-style jazz. Pianist Vijay Iyer emerged in the ‘90s and has amassed an impressive

discography for ACT and ECM, several entries of which have topped the year-end polls in the last decade. What’s impressive about Iyer is his penchant for immersing himself in the music and groups of others, including funk collective Burnt Sugar and Wadada Leo Smith’s Golden Quintet. Transient Takes came about in a most casual manner. In 2013, Iyer went to hear Dawkins at a New York concert. The two met and Iyer agreed to record with Dawkins’ New Horizons Ensemble. The program The New Breed consists of three Dawkins compositions, the rest Jeff Parker (International Anthem) by Robert Bush improvised on the spot. Tracks are programmed in the sequence in which they were played. The openers Former Chicago-based guitarist Jeff Parker has (“Dawkness” and “And The Light”, both Dawkins recently relocated to and this album compositions) are of a similar stripe: energy music reflects a renewed interest in samples and beat-making played with an intensity and focus that belies the with a remarkably democratic West Coast ensemble of unfamiliarity of the players. Dawkins’ playing (on electric bassist Paul Bryan, saxophonist Josh Johnson either tenor or alto saxophone) is an attractive mix of and drummer Jamire Williams. Both Johnson and the lyrical line and the ebullient shout and the rhythm Parker also contribute lots of textural keyboards. section of Junius Paul (bass) and Isaiah Spencer The disc begins with “Executive Life”, as scratchy (drums) slips into their role with ease. record sounds wash over throbbing bass. Johnson and It’s great to hear Iyer in this context, one in which

24 MARCH 2017 | THE NEW YORK CITY JAZZ RECORD

Provost’s pan playing is vibraphone-like and his flavored “Rise Up”. Metheny’s sidemen lay out on core group of pianist Alex Brown, bassist Zach Brown a 10-minute solo medley of gems from the past such as and drummer Billy Williams, Jr. are at their best when “Last Train Home”, “Phase Dance”, “Minuano (Six they treat it as such. Opener “Eastern Standard Time” Eight)”, “Midwestern Night’s Dream” and “Omaha is an example of that, hearkening back to the pan’s Celebration” (the latter from his 1975 leader debut place in with Tedd Baker’s tenor saxophone Bright Size Life). and John Lee’s very cool guitar spot-on in relation to Metheny has enjoyed a long career, building the pan’s unique timbre. The title cut features Baker a diverse, far-reaching catalogue over the years. The along with vibraphonist Joe Locke for elegant melodic Unity Sessions is a rewarding demonstration of how

Now Hear This! interplay and is a session highlight. Despite Provost’s unpredictable his Unity Group could be. Ken Fowser (Posi-Tone) mastery sometimes things don’t totally gel. The pan by Ken Dryden seems out of its element on “Fitt Street” and while alto For more information, visit nonesuch.com. A Metheny saxophonist Paquito D’Rivera adds excellent solo work Q&A and tribute is at Le Poisson Rouge Mar. 10th as part Ken Fowser has a healthy respect for past jazz masters to “Homenaje” the tune does not offer much else. of the Alternative Guitar Summit. See Calendar. while forging new harmonic directions of his own. The Ballads like the beautiful “Twenty” and touching saxophonist studied with , Ralph “Ella Nunca Tiene Una Ventana” both profit from Lalama, Grant Stewart and Eric Alexander. Now Hear Paulo Stagnaro’s added percussive color and generate This! features the identical top-notch band featured on piano/pan voicings that are unique and heartfelt while his previous CD for Posi-Tone: trumpeter Josh Bruneau, “Song For Chelle” is a stand-out, a serious composition pianist Rick Germanson, bassist Paul Gill and drummer benefiting from a creative “Intro” setting up boundary- Jason Tiemann. pushing musicality. Closer “La Casa de Fiesta” is an A prolific composer, Fowser brought 11 strong aptly titled burner ending the session on a high note, originals to the session and the familiarity of the courtesy of Ron Blake’s soprano saxophone and musicians likely made it an easy date. One of the Etienne Charles’ trumpet. remarkable things about the players is that they consistently solo with gusto, displaying a gift for For more information, visit sunnysiderecords.com. This melody and interplay, without resorting to excessive project is at The Jazz Gallery Mar. 9th. See Calendar. choruses. The chemistry between Fowser and Bruneau is readily apparent while the rhythm section packs a punch as well. It is also clear that the leader knows how to pace a set with a variety of styles and tempos to avoid wearing out the listener, something all too often overlooked by young musicians. The quintet bursts with energy in “Blast Off”, potent hardbop featuring sizzling yet brief solos by Fowser, Bruneau and Germanson. A salute to Mabern, “Blues For Mabes”, has a sassy, soulful air with a Latin undercurrent and a playful reference by Germanson to The Unity Sessions Dizzy Gillespie. Frenetic “The View From Below” is an Pat Metheny (Nonesuch) intense workout powered by the rhythm section’s by Alex Henderson inventive support as much as the inspired solos. Laid- back Bossa nova “One And Done” showcases the Pat Metheny’s Unity Group could have had a one- PRESENTS lyrical side of Bruneau and Fowser. The catchy album history, but the reaction to 2012’s hardbop title track would have been right at home in and the tour that followed it was so positive that the Art Blakey’s Jazz Messengers songbook and is a perfect veteran guitarist went on to record a second album, set closer for gigs. The title “Ready The Mops” might 2014’s Kin, and release The Unity Sessions DVD in 2015. give the impression of a late-night blues, but that’s far This two-CD set, essentially an audio-only version of from the case: the quintet fires on all cylinders, leaving the DVD, was recorded in a New York City theater but AKIKO listeners wanting more. without a live audience. The Unity Sessions is neither a live album in the traditional sense nor a studio For more information, visit posi-tone.com. Fowser is at Fat recording, although is representative of what audiences TSURUGA Cat Mar. 9th and The Django Mar. 10th, 17th and 24th. See heard on the tour for Kin. The guitarist leads a cohesive Calendar. lineup consisting of Chris Potter (tenor and soprano saxophone, bass clarinet, flute and guitar), Giulio

Carmassi (acoustic piano, synthesizer, flugelhorn and TRIO backing vocals), Ben Williams (acoustic and electric basses) and Antonio Sanchez (drums). Material previously included on Unity Band and Kin is performed, although with different FRIDAY, MARCH 24, 2017 improvisations. Melodic offerings such as “We Go 7:00PM On”, “This Belongs to You” and “Sign of the Season” AARON DAVIS HALL recall Metheny’s work with keyboardist West 135th Street & Convent Avenue during the ‘80s and Carmassi’s occasional background (129 Convent Avenue)

vocals are not unlike the wordless, Brazilian-minded Bright Eyes Tickets: $20 Regular / Students & Seniors $10 Victor Provost (Paquito) improvisations singer Pedro Aznar brought to the by Elliott Simon group back then. But Metheny and Mays didn’t have a star saxophonist and Potter’s attractive sound is Hailing from Osaka, Japan, this Hammond B3 jazz organist With the exception of adding island coloration to a major asset to these performances. has been a mainstay in the New York jazz scene since 2001. a tune or its curious place in jazz fusion, steel pan is Much of The Unity Sessions is best described as Charlie Sigler on guitar and McClenty Hunter on drums join Akiko in a soulful evening of swinging jazz – don’t miss it! not a significant jazz instrument. Since 2011 fusion with postbop leanings, but Metheny makes (Her Favorite Shade of Yellow), however, Victor Provost some exciting detours into the avant garde on “One of the most talked about and acclaimed jazz organists has gone about changing that. Provost is a steel pan “Genealogy”, ’s “Police People” and on the scene today!” –Allegro Music virtuoso and his runs and would make the the intense “Go Get It” (which combines with For more information best bop saxophonist jealous. His sophomore effort, some hard-rock shredding à la Steve Vai and Joe www.citycollegecenterforthearts.org or (212) 650-6900 Bright Eyes, takes his concept to the next level. His Satriani). The double-disc also includes everything skills in combination with a variety of guests generally from an exuberant hardbop workout on Ray Noble’s make up for the instrument’s inherent shortcomings in “Cherokee” and Japanese-like mood of “Come and dynamic range. See” to -ish moments on the flamenco-

THE NEW YORK CITY JAZZ RECORD | MARCH 2017 25

Paul West (bass) and Lewis Nash (drums). Longo has been on the scene for many years, releasing albums starting in the early ‘70s for Mainstream, P-Vine, Pablo and, since the late ‘90s, his own Consolidated Artists Productions, touring on and off with Dizzy Gillespie from the late ‘60s to mid ‘70s and, more recently, presenting a weekly jazz series at the John Birks Gillespie Auditorium of the NYC Baha’i Center. The material consists of songs from musical theater,

Talking Trash pop standards and jazz compositions by Dizzy Gillespie, Pascal Niggenkemper Le 7ème Continent (Clean Feed) Thelonious Monk and to go along with by Stuart Broomer four Longo originals. Longo’s laid-back style allows him space to build Bassist Pascal Niggenkemper’s Le 7ème Continent takes his solos (as in Gillespie’s “Just A Thought”, one of two its name from a peculiar environmental phenomenon: tunes by his former boss) flush with the lyricism and the “seventh continent” is a mass of plastic waste that playfulness inherent in his spirit, as with Monk’s ocean currents have assembled in the Northern Pacific. “Brilliant Corners” where he, West and Nash have It would be easy enough to launch a musical extra fun with the time signatures. Longo’s original diatribe against the degradation of the environment by compositions consist of less-is-more melodies in an a wasteful consumer culture, filled with much breast- uptempo blues format (“Conflict Of Interest”), Latin beating and screeching saxophones. Niggenkemper’s feel (“Why Not Me”) or balladry (the title composition). musical meditations, however, take a radically different Each song (especially the more familiar selections) form. Even the instrumentation suggests a certain is presented in a refreshing manner, be it with tempo multiplicity of perspectives: the group is effectively a changes as on the aforementioned “Brilliant Corners” series of duos or a double trio with Joachim Badenhorst or Longo’s phrasing style on the - and Joris Rühl (clarinets), Eve Risser and Philip Zoubek Martin Charnin opener “Tomorrow” from the musical (prepared ) and Niggenkemper’s bass matched Annie, which emphasizes the melody via Nash’s mallet at times with Julián Elvira’s subcontrabass flute and on work. West’s lyrical bass is featured in his solo on one track Constantin Herzog’s bass. fellow bassist Pettiford’s “” and Amplification, preparation and extended Nash, a complete drummer with equal rhythmic and techniques count for much here; this often sounds like melodic facility, features delicate brushwork on the electronic and percussion music. It often develops closer, ’s golden oldie “Memories of You”, around drones, whether produced by bowing, feedback wherein everything old is new again. or circular-breathing. Niggenkemper uses his resources very differently from piece to piece. The title track— For more information, visit jazzbeat.com. Longo is at NYC with the most ‘natural’ sounds—has jagged, spritely Baha’i Center Mar. 14th. See Calendar. clarinet lines set against disordered ragtime piano. The clarinets predominate on “135°W - 155°W & 35°N - 42°N”, using circular-breathing and multiphonics to create drones and pulses while the prepared pianos of Academy Records “Gyres Océaniques” are a virtual percussion orchestra. The expansive long tones and tinkling metallic percussion of “Plastisphere” move toward an ultimate & CDs unison both original and beautiful while the engaged trios of “Ideonella sakaiensis” have great intensity, resonating with the name, a recently discovered bacteria that breaks down PET plastics into harmless substances. That feeds into what is most remarkable Cash for new and used about this music’s relationship to its subject matter. Inspired by the scale and mystery of both the planet compact discs,vinyl and our excess, Niggenkemper brings a certain sense of records, blu-rays and awe to his subject, a sense that no matter how terrible our waste there is something extraordinary about our dvds. ability to conspire with currents to create any kind of continent, however unintentional our act. The final “Kinetic Islands” is a languorous, New Orleans- flavored blues, more romance than dirge, as if We buy and sell all Niggenkemper has found in that circling mass of trash something wonderful about our creative potential. genres of music. All sizes of collections For more information, visit cleanfeed-records.com. Niggenkemper is at ShapeShifter Lab Mar. 13th. See Calendar. welcome.

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Hamlisch-Carole Bayer Sager title track, originally fingertips, Sharp provides more than enough sung by , is played tongue firmly in cheek atmosphere for Mingus to chew on and the flavors of by Bernstein, with tenor saxophonist Josh Kline and their labors are as poignant as they are savory. Duran getting deep into the fun. Duran arranged two Titles like “We Stand Back And Watch”, “Don’t Get more of the famous themes, “You Only Live Twice” Me Started” and “Mr. Trouble” are enough to clue the and “Thunderball”: the former is a playful waltz with listener in on the politics herein and expectations on dark undertones and lovely solos by Lauritsen and that front don’t disappoint. Wielding capitalism’s tenor saxophonist Dan Erbland while the latter is leftover bones as his oars, Mingus rows a vessel of smokily evocative thanks to Chris Ott’s trombone. keen insight into troubled waters. His voice combines

Nobody Does It Better This smart recording stands as a beautiful the soulfulness of a with the experimental The CCM Orchestra as James Bond (featuring collaboration between talented young musicians and fortitude of a David Moss. Steven Bernstein) (Summit) adventurous arrangements of much-loved material. Styles are as varied as these musicians’ résumés. by Donald Elfman “Neither Guns Nor Money” recalls the dirges of Bryn For more information, visit summitrecords.com. Steven Jones (a.k.a. ) while closer “Going Home” Nobody Does It Better is the realization of an ambition Bernstein is at Bar Lunàtico Mar. 2nd, National Sawdust is an R&B-inflected vision for the future. Both feed into of Scott Belck to have his Cincinnati Conservatory of Mar. 15th as part of the Alternative Guitar Summit and The the album’s mission against hatred. Rather than focus Music Orchestra play what he calls Steven Bernstein’s Stone Mar. 28th-Apr. 2nd. See Calendar. on those who lord power over us, these songs remind “decidedly tweaked renditions” of music John Barry us of the forces that have power over them. wrote for James Bond films. Bernstein’s Sex Mob had Further highlights include: “Back In The Day done a 2001 recording of this music and this effort Blues”, a scathing navigation through a cityscape of converts those charts to big band format. Bernstein and false idols; “Know Much More” (check the timely the Cincinnatian are clearly up to it. refrain, “I don’t want to know much more right now”); The set starts with Bernstein’s “Dr. Yes”, guitar, and “Five Weird Tricks”, all of which affirm the duo’s organ and the orchestra introducing the slinky theme. interlacing of critique and corrosion. The latter Joe Wittman’s wailing guitar is featured prominently, prophetically holds the sun of recent events in its adding color to the full ensemble and in a powerful hands and endures the burn in our stead as it ushers solo. Sam Lauritsen soars on trumpet in amusing past hopes into an uncertain future. contrast to the slithering of Bernstein’s slide trumpet. Here is an historical moment turned inside out, so Tectonics: Fourth Blood Moon (featuring Eric Mingus) The music is mostly familiar themes from the films that we may check ourselves before taking up arms on (Enja/Yellowbird) and some incidental music accompanying dramatic by Tyran Grillo either side of the wall and to which we are bid to respond, scenes. “Bond with Bongos” features the line that not through earthly mundanities, but by the power of started the whole brand; a repeated note from Joe Vocalist Eric Mingus joins New York’s Downtown nature calling beyond the sphere of our influence. Duran’s baritone saxophone is followed by brass and chameleon Elliott Sharp for a thought-provoking flutes, pushed along by Nick Amering’s bass, mosaic of social justice, worthy angst and honest For more information, visit enjarecords.com. Sharp is at percussionist Shane Jones giving new definition with reflection. With an array of guitars, basses, synths, National Sawdust Mar. 15th with Joel Harrison as part of his vibrant thumping. The celebratory Marvin electronics, percussion and other gadgetry at his the Alternative Guitar Summit. See Calendar.

MAR 1–2 MAR 20 nicole henry: a time for love michael bisio: accortet

MAR 3–5 MAR 21 mvp jazz quartet claire daly quintet remembering james williams and MAR 22 tynan davis MAR 6 MONDAY NIGHTS WITH WBGO MAR 23 loston harris quartet MAR 7 MAR 24–26 tessa souter quintet victor goines quartet with MAR 8–9 don vapple

person & eric person MAR 27

MAR 10–12 msm jazz orchestra ted nash quintet MAR 28 MAR 14 brubeck institute jazz quintet little johnny rivero & his giants MAR 29

MAR 15–16 emilio solla & bien sur! aaron goldberg trio with MAR 30 leon parker trio m: myra melford,

MAR 17–19 mark dresser, and matt wilson michele rosewoman: new yor-uba 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

28 MARCH 2017 | THE NEW YORK CITY JAZZ RECORD toughness prevents the slurps from turning sloppy. Breathy reed smears are put in proper proportion by Weber’s lingering string clicks on “Dumbo” while detuning and irregular vibrations from bassist and saxophonist stretch “Ditmas Avenue” with timbral ingenuity. Griener’s clock-like ticking and sudden pops strip the sentimentality from the saxophonist’s tone on “Cornelia Street”. Les Indignés Bing Crosby sang “ Boy” with Paul C.B.G. (Trytone) Sensations of Tone Whiteman’s quasi-Dixieland band, but this trio’s Ellery Eskelin/Christian Weber/Michael Griener approach would probably have baffled him. Eskelin is (Intakt) sleek with notes held longer than expected and double- by Ken Waxman tongue variations, staccato phrasing, freak notes and supple basslines modernizing the tune. Songs by Bennie Journeys inside the Wayback Machine characterize Moten, and Fats Waller also move these CDs by tenor saxophonist Ellery Eskelin and two intuitively but are more sophisticated, Griener saluting different European rhythm sections. Les Indignés was “Baby” Sommer as much as Baby Dodds while Weber’s recorded in 2011 when the saxophonist joined C.B.G. command of low-pitched melody is the Jetsons to while Sensations of Tone mingles improvisations with Dixieland bull fiddlers’ Flintstones. Eskelin produces a hot jazz standards from the ‘20s-30s. notably relaxed solo on “Moten Swing”, as contemporary Guitarist Guillermo Celano and drummer Marcos as it is elementary. This ability to adapt and innovate Baggiani, Amsterdam-based Argentineans, have led simultaneously is his mark on these discs. C.B.G., with different personnel, for a decade. Les Indignés, like splashing Tabasco sauce on Dutch herring, For more information, visit trytone.org and intaktrec.ch. is piquant but a bit unsatisfying. Eskelin often dribbles Eskelin is at Cornelia Street Underground Mar. 15th with Donny his notes with indolent slurs while the guitarist and Stephan Crump. See Calendar. McCaslin drummer are more hard-edged. “Bin Laden’s Trial” for instance, a guitar feature, swells with buzzing reverb and whammy bar and Baggiani sounding like he is nailing skins to his drumheads while Eskelin reed- tongues harshly to match them. On “Bicicleta Boy”, Baggiani and Dutch bassist Clemens van der Feen lay down a constant backbeat, the guitarist’s sizzling upwards string pops limiting Eskelin to contrapuntal GREAT trills until he gathers the strength to challenge the others with emotional altissimo cries. Tunes like “Parcelas Desiguales” and “Demagogical Dreams of a Beautiful Hear & Now JAZZ AT World” come together more notably, with the pace Nick Finzer (Outside In Music) slowed down to balladry. The former has a candied by George Kanzler melody that is pulled, taffy-like, into mouth-watering CARNEGIE and ear-pleasing shapes through trebly guitar chording This engrossing new album from a sextet led by or chewy saxophone snuffles, bowed bass as the bonding trombonist Nick Finzer carries an epigraph on the CD factor, while the latter is a foot-tapping shuffle with package: “Transformation can only take place HALL Eskelin’s squeezed reed lines harmonizing expressively immediately / the revolution is now, not tomorrow.” with Celano’s exuberantly bouncy chording. And the titles of the eight originals by Finzer suggest The shared history of Eskelin, Swiss bassist Christian recent events have shaped his music in a socio-political Saturday, April 1 at 9 PM Weber and German drummer Michael Griener, a working way. But as with the best cause-inspired jazz, political unit since 2011, allows the three to improvise with the commitment is not necessary to appreciate the music. Donny McCaslin timing of a well-honed Marx Brothers routine on Finzer uses the easy familiarity of a postbop Sensations of Tone. This comfort level is obvious as early uptempo theme, “We The People”, to introduce the Donny McCaslin’s intense, high-flying as opener “Orchard and Broom”, where Griener’s ensemble’s tumbling, racing rhythms propelling solos saxophone playing spearheads an aggressive rim shots and rolls and Weber’s rappelling from the leader, pianist Glenn Zaleski and guitarist exciting electro-acoustic quartet— basslines complement Eskelin’s slurping melodicism. Alex Wintz. Open trombone intones the theme of “The featuring members who performed on The other instant compositions follow comparable Silent One” over slow, sprung rhythms with guitar- strategies. The saxophonist expresses his laid-back piano rising chords, Finzer and tenor saxophonist Blackstar, ’s final album— romanticism via breathy slurs while his sidekicks’ sonic Lucas Pino soloing as the rhythms heat up. Duke that busts through boundaries that Ellington’s “” features the separate jazz and electronica. Doors bookended theme, usually done as a piano solo, limned open one hour before the concert, and by plunger-muted trombone followed by bass clarinet the first 200 ticket holders receive a (Pino), Zaleski soloing in the middle and Finzer overdubbing open and muted on the coda. voucher for a free drink. Variety abounds among the six final tracks, as Finzer mines Mingus expressionism, especially on the This concert and The Shape of Jazz series are made possible by The Joyce and George Wein Foundation in memory of Joyce Wein. multi-themed, elegiac “New Beginnings”, replete with a Dave Baron bass solo cushioned in horns, and Presented by in partnership with Absolutely Live Entertainment LLC. Ellingtonian impressionism, most tellingly on the closing ballad “Love Wins”, where the ensemble billows with yearning. Tandem soloing by trombone Celebrating Latin Jazz, and tenor highlight “Again and Again”, Finzer carnegiehall.org | 212-247-7800 alternating between open and cup-muted horn. The Box Office at 57th and Seventh Gospel and R&B grooves latter also appears in the lovely “Lullaby For An Old Artists, programs, and dates subject to change. © 2017 CHC. Friend” while the uptempo vibe returns on “Race To Photo by Jimmy King. The Bottom” and “Dance of Persistence”, both driven by inspired drumming from Jimmy Macbride and boasting exhilarating solos from trombone and tenor. available on Amazon and iTunes Proud Season Sponsor A JAZZIZ 2017 Pick! For more information, visit outsideinmusic.com. This project is at Smalls Mar. 22nd. See Calendar.

THE NEW 170224_NYCYORK CITY Jazz Record_Donny JAZZ RECORDMcCaslin_B&W.indd | MARCH1 20172/13/17 29 5:24 PM

(with some changes in personnel) and it’s a pleasure to report that Nathanson still suffers no shortage of ideas. There are a couple of soulful slow songs, as per usual CUNEIFORM sung by trombonist Curtis Fowlkes (including a warm rendition of The Main Ingredient’s “Everybody Plays the Fool”) but there’s also surprising hints at Latin RECORDS jazz, most notably in Nathanson’s “Trouble”. That www.cuneiformrecords.com groove-upon-groove is abetted by , who has been added as a second drummer alongside E.J.

Sélébéyone Rodriguez, rounding out the violin (Sam Bardfeld), Steve Lehman (Pi) vibraphone (Bill Ware), saxophone, trombone melodic by Tom Greenland frontline. The album ends with a double-hit of songs by Ware: “Friends” is a near-perfect testament for all of If our government wanted to create a think tank to the singers (and non-singers) in the band that could strategize progressive improvisational music (perhaps have fallen out of a /Bing Crosby vehicle it has?), alto saxophonist and CalArts professor Steve while “Spring Flowers” is a catchy bit of jazz circus Lehman would probably make the short-list of psychedelia that will make you want to start the album potential recruits. Sélébéyone is bedded on the cerebral over from the beginning again. funk of the M-BASE school, rife with mercurial meters If The Jazz Passengers have the warmth and and asymmetrical rhythms, anchored by keyboardist knowledge of old comrades, Papanosh comes off with Carlos Homs, bassist and drummer the wonderfully brash arrogance of a group of young THE MICROSCOPIC SEPTET Damion Reid, augmented by Lehman and soprano guns. The French five-piece is joined by Nathanson saxophonist Maciek Lasserre’s supple lines lacing the and trombonist Fidel Fourneyron on Oh Yeah Ho! for Been Up So Long It Looks Like Down To Me: morphing textures and two very different rappers out a bold live outing with more than a little Mingus in the The Micros Play The Blues front: local alternative hip-hopper HPrizm (aka High mix. They open with an exciting, slightly sloppy Voted the #5 jazz group in the 59th annual Priest, a founding member of the Antipop Consortium) “Los Mariachis”, pushed into new realms by some DownBeat critic’s poll, they combine swing, energy and humor in a distinctive way. and Gaston Bandimic, a Senegalese wordsmith who blistering organ, before taking advantage of Nathanson ‘spits’ in the distinctive Dakarian dialect, a mashup of the poet with his “Snow Day” set to Mingus’ “Canon”. “The nest retro-futurists around.” – The Village Voice Wolof, French and Arabic. Mixer Andrew Wright is one They also take on “Peggy’s Blue Skylight” and a couple last essential ingredient in this heady stew. of originals, but what makes the disc special is their Heavily influenced by French spectral composition reworkings of one of Mingus’ worst and then one of (where form follows the physical properties of sound) his best long-form pieces. They take the turgid and by what trombonist George Lewis has termed an “The Clown” as an opportunity for a Nathanson “Afrological” approach to improvisation, Lehman’s recitation talk about meeting Mingus who, as he makes musical imagination also draws on the drum clear, was anything but a clown. The disc closes with a programming, sampling and sound design of hip-hop, riotous take on what is easily one of Mingus’ most especially its more iconoclastic adherents. The result underrated works, the expansive 1977 suite “Cumbia is, as the album’s Senegalese title translates, an & Jazz Fusion”. They play it with love, like a gang of “intersection”. HPrizm’s clever internal rhymes and punks that ain’t stopping for no one. layered meanings are immediately accessible to Nearness and You falls, in a sense, between the English speakers, but Bandimic’s are more opaque, Passengers and Papanosh discs. It’s mostly old friends requiring a perusal through the online translations to but largely in new environs. Nathanson used a week’s CHICAGO/LONDON UNDERGROUND uncover the many proverbs and ancestral and spiritual residency at The Stone in 2015 to record a series of references enriching his oratory. His “Shaking the cat’s duets (and one trio) and wove from the recordings featuring ROB MAZUREK tail doesn’t make him eat” or “When you step in the a pair of suites that use extrapolations from Hoagy A Night Walking Through Mirrors mouth of an anaconda, you better be ready” offer Carmichael’s “” as a recurring Rob Mazurek (trumpet and electronics) and a poignant counterpoint to HPrizm’s proverbs theme. With fellow Passenger Fowlkes and pianists Chad Taylor (drums andelectronics) meet (“Walking through fire either scars you or it charges , Myra Melford and Arturo O’Farrill, Alexander Hawkins (piano) and you”), ancestral references and poetics of urban angst guitarist and trombonist Lucy Hollier, John Edwards (). (“Scattered ash, empty cigars on park benches, Stared Nathanson works through an array of spiky at my reflection in project elevator mirrors”). A rich, improvisations of a sort almost as ‘standard’ as the old densely layered work, this musi-cultural confluence chestnut they use as an anchor. rewards repeated listening. For more information, visit thirstyear.com, jazzrecords.com/enja For more information, visit pirecordings.com. This project and cleanfeed-records.com. The Jazz Passengers are at Roulette is at Merkin Concert Hall Mar. 27th as part of the Ecstatic Mar. 28th. See Calendar. Music Festival. See Calendar.

THE ED PALERMO BIG BAND With Trouble The Great Un-American Songbook, Volumes I & II The Jazz Passengers (Thirsty Ear) (2 x CDs) Oh Yeah Ho! The 18 piece Ed Palermo Big Band tackle great, Papanosh (Enja/Yellowbird) much-loved British rocksongs from the 60s Nearness and You and beyond...and win! (Clean Feed) by Kurt Gottschalk

Before you buy, listen at Roy Nathanson’s Jazz Passengers may have slowed cuneiformrecords.bandcamp.com their collective pace with age, but the gait of late shouldn’t be taken as a sign of growing weakness. Buy these and thousands of other Still Life With Trouble is only the third record they have interesting releases at our online store: released in the last decade but when the old band waysidemusic.com comes around again, it’s worth paying them some mind. The album marks the band’s 30th anniversary

30 MARCH 2017 | THE NEW YORK CITY JAZZ RECORD “Paints a kaleidoscopic portrait . . . inherently fascinating.” —The Wire

“Through dozens of interviews and painstaking research that included full access to the ample personal archive of percussionist Juma Sultan, a pivotal figure in the movement— refreshingly moves beyond reductionist notions.” —Village Voice

“A beautiful book, a free jazz study at its best.” —Robin D. G. Kelley, author of Thelonious Monk

“Brilliantly reconstructs the loft jazz scene through a community history of rare depth, insight, and creativity.” —Ingrid Monson, Harvard University

For new title announcements, sign up for our monthly Music e-newsletter: ucpress.edu/go/enews Paperback, 272 pages, $29.95 Available Now twitter: @ucpress | facebook.com/ucpress | ucpress.edu/go/music

Juxtaposition Vinnie Sperrazza (Posi-Tone) Message in Motion Peter Brendler (Posi-Tone) Chano Dominguez (Sunnyside) by David R. Adler by Thomas Conrad

We know it’s the rhythm section that drives a band. If you are among those of us who are new to Chano It’s all the more interesting when the same one drives Dominguez, Over the Rainbow will arrive as a major two different ones. Bassist Peter Brendler and drummer surprise. He sounds like no one else alive. Vinnie Sperrazza, appearing on each other’s latest Most of the important Spanish-speaking pianists efforts, are a good case in point: they have a versatile, are from Cuba. Dominguez is from the Andalusia polished, hard-swinging affinity always suiting the region of Spain, the birthplace of flamenco. His use of creative moment. Sperrazza’s Juxtaposition features a those rhythms and harmonies within jazz improvisation quartet with pianist Bruce Barth and tenor saxophonist is the most obvious aspect of his uniqueness. But his MAR 31–APR 1, 7PM & 9:30PM Chris Speed, players you wouldn’t normally connect dense, fiercely percussive lyricism draws on many but whose rapport is consistently engrossing. The cultural sources. Other than two of his originals, there

JOSHUA REDMAN PHOTO BY FRANK STEWART same can be said for Brendler’s Message in Motion, a are no songs by Spanish composers here. Dominguez followup to Outside the Line from 2014 with the same prefers classics from Latin America like “Gracias a la STILL DREAMING band. Tenor saxophonist Rich Perry and trumpeter Vida” (Violeta Parra of Chile), “Hacia Donde” (Marta Peter Evans hail from different corners of the scene but Valdés of Cuba) and “Los Ejes de Mi Carreta” with Ron Miles, they bring unshakable precision and richly contrasting (Atahualpa Yupanqui of Argentina). He transforms Scott Colley, and Brian Blade. solo personalities to the table. The addition of guitarist them. His piano language contains ornate European THE APPEL ROOM Ben Monder on 4 of 10 tracks alters the sonic profile formalism, set free in the moment, with a Spanish considerably, particularly on “Lucky in Astoria”. accent. The Valdés and Yupanqui pieces open as Barth, an underappreciated master, gives halting, hovering ballads, but then a formidable left Juxtaposition a more conventionally beautiful sound and hand stabs countermelodies and flamenco crescendos. fuller harmonic spectrum. Speed’s relaxed feel, warm And when his vision encompasses songs by North MAR 17–18, 8PM and nuanced tone and utterly cliché-free vocabulary is Americans, it is revelatory. He intermittently FREE TO BE: JAZZ OF THE ’60s also reason enough to seek the album out. The program acknowledges the stride bounce of “Evidence”, but starts and finishes with blues, from “Chimes” to “Say spills new content all over Monk, in an ecstasy of & BEYOND the Secret Word”, so the sense of tradition is strong end celebration. Above all, Dominguez is a storyteller. His Jazz at Lincoln Center Orchestra with Wynton to end. Sperrazza’s writing shows impressive range: flamenco roots are revealed in his flair for the dramatic. Marsalis and music director Walter Blanding there’s a dark and abstract harmonic color reminiscent wrote “Django” for a great Gypsy artist, performs the music of , Charles of Wayne Shorter on the title track, a slow rubato ode, lost too soon. Flamenco music was created by the Mingus, Sonny Rollins, and more. Blanding will while “One Hour” and “Warm Winter” have an off- Gypsies of southern Spain. Dominguez’ narrative also premiere his new work, The Happiness kilter swing and melodic logic recalling Herbie Nichols. sweeps you up in its poignancy and majesty. of Being. The waltzes “Hellenized” and “House on Hoxie Road” This album comes from a 2012 solo recital at the are lyrical and radiant as well. The band is just as Palua Falguera in Barcelona. Tracks were recorded ROSE THEATER invested in the covers: an elegantly reharmonized before and during the concert. The acoustics of the “Somewhere” from West Side Story; a fresh look at “Alter venue are excellent. Dominguez’ instrument sings in APR 5, 7PM • APR 6, 7PM & 9PM Ego” by late pianist James Williams; and a wonderfully this space, the notes hard and clear. Fortunately, an : dissonant and ethereal “This Night This Song” by the audience was present for the final haunting title track. Tony Williams Lifetime. Dominguez slowly shares and arrays “Over the THE UNFORGETTABLE Message in Motion favors a free-ish bop aesthetic Rainbow”, fragmenting and reconfiguring Harold NAT “KING” COLE out of the gate with the lowdown shuffle “Splayed” Arlen’s masterpiece, retaining its essence as a fragile, Michael Feinstein with Denzal Sinclaire, and Calypso-ish “Angelica”, a classic from the album brave arc of faith. Loston Harris, and the Tedd Firth Big Band. Duke Ellington & John Coltrane. Perry, not unlike Speed, THE APPEL ROOM has a deep swing feel and a searching, wholly For more information, visit sunnysiderecords.com. Dominguez unrepetitive approach to playing lines. On a bright is at Jazz Standard Mar. 30th-Apr. 2nd. See Calendar. walking tune like “Very Light and Very Sweet”, based APR 7–8, 8PM on “” changes, he’s almost the straight BUDDY RICH CENTENNIAL: man to Evans, whose more experimental rhythmic and CELEBRATING THE JAZZ DRUM tonal instincts push the envelope. The chemistry between Brendler and Sperrazza is most apparent on Jazz at Lincoln Center Orchestra with “Easy Way Out”, an affecting song by the late singer- and music director Ali songwriter Elliott Smith, brought down to C from the Jackson present new arrangements of original D-flat. The arrangement starts with bass Rich’s music and premiere Jackson’s Living playing the melody over quiet brushes. Monder enters, Grooves: A Journey in Jazz Rhymes. in the only horn-less trio cut of the session, to deliver a ROSE THEATER lustrous performance, full of melodic sensitivity. Alice Coltrane’s “Ptah the El Daoud”, which paired Ron Carter and Ben Riley back in 1970, also highlights Brendler and Sperrazza at their best, transforming the venue singable minor-key theme into a march of sorts. If it’s frederick p. rose hall Perry channeling Joe Henderson here, then Evans is box office . His breath effects and half-valving, broadway at 60th st., ground fl. summoning tones between a voice and a violin, bring about one of the disc’s most extraordinary moments. centercharge JAZZ.ORG 212-721-6500 @jazzdotorg For more information, visit posi-tone.com. Sperrazza’s project is at Cornelia Street Underground Mar. 31st. See Calendar.

32 MARCH 2017 | THE NEW YORK CITY JAZZ RECORD

Lewis is as funky as he is complex, churning out Duke Ellington’s 100th birthday meant to be given uptempo freebop and pounding rock as well as away as a free promo CD. Whatever its unlikely origin, measured, sparse time-steps. Much the same can be the pairing of Danish bassist Niels-Henning Ørsted said of Gibbs, whose basslines transform into melodic Pedersen and Mississippi-born pianist Mulgrew Miller statements, double stops and mournful laments while proved to be a valuable one, resulting in an acclaimed never losing sight of the downbeat. Of special mention world tour and now this previously unreleased two- is the cut “Nina Simone”, calling on the memory of the disc CD of those long-lost dates. powerhouse vocalist/activist. A slow, sad build From the start, the musicians, who had never met containing hidden fire, the trio and Smith testify before their European summit, evince an easy and

Araminta through a soaring trumpet melody, searing guitar lines natural rapport, as they romp through a set of standards (Sunnyside) and the kind of slow, seductive rhythmic pattern that leaning heavily on Ellington. Miller draws on his by John Pietaro purposely keeps you guessing. gospel roots on the opener, Benny Golson’s “Whisper This release is a must for radicals of every stripe. Not”, while NHØP takes center stage, beautifully Harriet Tubman, a power trio founded in 1998 and There is a danger to Smith’s addition, however: one is stating the theme on the next tune, Ellington’s classic named for the pioneering female revolutionary who tempted to get far too comfortable in the quartet’s ballad “Sophisticated Lady”. He is also front and battled slavery from the inside, casts musical liberation veritable magic. Unless the guys are willing to commit center on another Duke ballad, “Mood Indigo”, before as a weapon. They have recorded significant works right now to this format! a somewhat sprawling take on Jerome Kern’s “All The including a chilling rendition of ‘”Strange Fruit”, Things You Are” and a spirited “Take the ‘A’ Train”. which featured Cassandra Wilson’s vocal. Araminta For more information, visit sunnysiderecords.com. Brandon Ross The second disc continues in the same vein, offers the trio with the prized catch of trumpeter and JT Lewis are at The Jazz Gallery Mar. 18th. See Calendar. starting with nuanced readings of Kern’s “I’m Old Wadada Leo Smith on several cuts. This is a collection Fashioned” and Ellington’s “In My Solitude”, before that draws on the Black experience and in Brandon closing with crowd-pleasing versions of “Autumn Ross’ guitar one hears the anguish and the rebellion of Leaves” and “Caravan”. field hollers, prayer songs, the blues, rebellious chant, The tunes are certainly familiar, often overly so, Trane-like sheets of sound and Hendrix-ian exploration. but the mastery of the two artists, their sterling But this is a coalition effort, with the ‘front man’-role improvisations, wit and uncanny ability to swing make constantly shifting between Ross, monster bassist their collaboration anything but commonplace. Though Melvin Gibbs and master drummer JT Lewis. they both died far too young (Pedersen at 58 in 2006 Opener “The Spiral Path to the Throne” features and Miller at 57 in 2013), this album stands as a Smith’s horn tearing into the soundscape. The sound is reminder of their marvelous talents and a testament to most inviting when Smith towers over the band, which, their brief but brilliant union. The Duo—Live! pulsating at a quiet boil, seem to be waiting to pounce. NHØP/Mulgrew Miller (Storyville) The orchestral quality this trio seeks out in any setting by Joel Roberts For more information, visit storyvillerecords.com. A tribute and, especially when communing with the likes of to Miller with Donald Brown, Ray Drummond, or Wilson, sets discipline against abandon. This glorious partnership between two jazz giants got “Smitty” Smith and Bobby Watson is at Dizzy’s Club Mar. Listen for selections like “Taken” and “Ne Ander”. its start as a one-off 1999 studio recording celebrating 3rd-5th. See Calendar.

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CRAFT COCKTAILS, SMALL PLATES & LIVE JAZZ! LOCATED IN THE OF TRIBECA CRAFT COCKTAILS, SMALL PLATES & LIVE JAZZ! THE NEW YORK CITY JAZZ RECORD | MARCH 2017 33 LOCATED IN THE OF TRIBECA

Feels’ music is to draw listeners in through familiar techniques to draw forth a range of sounds one may be songs, then capture their imaginations with the hard-pressed to believe emanate from a flute. On Our emotional expressiveness of the improvisational Cells Know, Dick concentrates entirely upon the extrapolations. The hooting and hollering heard from sculptural contrabass flute. the audience between songs here proves they’re “On the Restless Seas of Time” begins with cyclic accomplishing that goal. percussive sounds like a marimba. This is followed by As the album progresses, Stranahan emerges as almost clarinet-like tones and vocalese, then some the group’s most powerful weapon. His skittering, deep sawing racket and fierce blowing with a serrated drum ’n’ bass-ish beats allow Raymond to turn the edge, deepening to a cello, then more vocalized noises,

Live Vol. 1 melody of “Atoms for Peace” into something soaring rising to cinematic levels, as if the listener was floating John Raymond & Real Feels (Shifting Paradigm) and beautiful, but he is just as capable of laying back, upon tempestuous waves near islands with restless by Phil Freeman as he does, brushes in hand, on a meditative and lyrical inhabitants. “Aura Aurora” is a lonely dirge—it’s easy version of “Amazing Grace”. Hekselman, of course, is to imagine a person sitting atop a mountain wailing In 2016, Minnesota trumpeter John Raymond formed more than just a middleman; his guitar stings this lament, only to be joined by someone from afar Real Feels with guitarist Gilad Hekselman and throughout and on the trio’s explosive version of “This playing a harp or maybe percussion? With the wind drummer Colin Stranahan. Their self-titled debut Land is Your Land”, his chords clang like Richard Serra through the trees it’s hard to tell but it’s a journey full included versions of the jazz standard “Donna Lee” sculptures suddenly pushed over. of beautiful mystery. and ’ “Blackbird” as well as “Atoms for There’s another voyage into the realm of simulated Peace” by and songs from the folk and For more information, visit johnraymondmusic.net. This percussion with “Afterimage, Before”, a dedication to gospel repertoire like “This Land is Your Land”, “I’ll band is at Rockwood Music Hall Mar. 21st. See Calendar. the notorious jazz/rock drummer Ginger Baker, Fly Away” and “Scarborough Fair”. Then they hit the wherein Dick sounds as if he is both behind a road. The result is this six-track CD, featuring five and playing the berimbau (a South American string pieces recorded at BLU Jazz in Akron, Ohio and one instrument played as a percussive); as with some of from the Blue Whale in Los Angeles, California. Baker’s efforts, there’s a strong suggestion of West The group performs four songs from the album— African rhythms. Some further overblowing suggests “I’ll Fly Away”, “Atoms for Peace”, “Amazing Grace” electric guitar feedback—apt as Baker was one-third of and “This Land is Your Land” and essay interpretations the power trio Cream—then gently builds to a of “Minor Silverstein”, by another Minnesotan, bassist dramatic, rock-like ending. Chris Morrissey, and The Beatles’ “Yesterday”. This is an impressionistic, occasionally Stranahan launches the album with a taut, martial nonconcrete, always evocative, lively album and Dick call to arms, setting up a strutting gospel-parade beat, frequently has a rhythmic impetus in mind, stated or Our Cells Know atop which Hekselman builds a funk groove at the low implied, playing with intensive yet understated fervor. Robert Dick (Tzadik) end of his guitar’s range. When Raymond enters, he by Mark Keresman lets the melody slowly unfurl with a lush, full tone For more information, visit tzadik.com. Dick is at The Stone (he plays flugelhorn throughout) before jumping into Robert Dick’s work blurs the lines between Mar. 21st-26th, including with this project on Mar. 26th. a melodic but exciting solo. The whole point of Real composition and improvisation and he uses extended See Calendar.

34 MARCH 2017 | THE NEW YORK CITY JAZZ RECORD reuniting with musical soulmate Dave Sewelson thoughtful arrangements of folk songs, reworkings of (baritone and sopranino saxophone) in a quartet with standards and classic jazz works, along with his bassist Larry Roland and drum wizard Gerald Cleaver, creative originals. His band for this session includes released as Our Earth/Our World. Aside from Sewelson Tardy, pianist Louis Heriveaux and frequent and Kuhn, no one had ever played together. collaborator Dave Potter on drums. No Coming, No Going (The Music of Peter Kuhn, 1978-79) All hell breaks loose on the 26-minute opener “Our The decades-old “Another Man Done Gone” is Peter Kuhn (NoBusiness) Earth”, where Kuhn’s post-Ayler screaming sermon powered by the soulful, expressive vocal of Tabreeca The Other Shore wraps like a python around the gruff bellow of Woodside, who makes this troubling song—originally Peter Kuhn Trio (NoBusiness) Sewelson’s baritone as each man reaches for the sung by chain gangs—her own, with Goble’s dramatic Our Earth/Our World heavens. Cleaver opens “Our World” with a stunning, scoring and Tardy’s vocal-like tenor adding to the Peter Kuhn/Dave Sewelson/ extended drum solo laced with logic and dynamics. protest. The tension is relieved a bit with the leader’s Gerald Cleaver/Larry Roland (pfMENTUM) Roland begins “It Matters” with an acappella feature darting “Johnson’s Magic Umbrella”, dedicated to by Robert Bush before the horns return to prod each other into a higher pianist Austin Johnson, with whom he has worked in consciousness. Amazingly enough, there were no the Jason Marsalis Quartet, the musicians negotiating Peter Kuhn, who became something of a free jazz tunes, no discussion, no plans. Kuhn and Sewelson the playful tune’s many sudden twists and turns with underground legend, released several classic freebop have an incredible simpatico going, the result of many ease. The late piano great Mary Lou Williams is albums nearly 40 years ago including Livin’ Right on hours together, and the music they create depends on recognized with her emotional “Dirge Blues”, Goble Big City Records in 1979, Ghost of a Trance on hatHUT listening at the virtuoso level. One could only wish and Potter providing a superb rhythmic canvas to in 1981 and The Kill on Soul Note in 1982. But by 1985, that this concert had been captured in higher fidelity— enable Heriveaux to conjure Williams’ spirit at the he had virtually disappeared from the music scene. something to hope for next time. piano. The leader takes a fresh approach to George Thanks to interest from the Lithuanian label Gershwin’s timeless “It Ain’t Necessarily So” (from the NoBusiness, Kuhn’s first recording has been packaged For more information, visit nobusinessrecords.com and opera Porgy and Bess) by opening with an with an astonishing, previously unreleased live date pfmentum.com. Kuhn is at 5C Cultural Center Mar. 11th introspective solo, which leads to its well-known duet with drummer Denis Charles in the form of No and Muchmore’s Mar. 16th, both in quartets with Dave theme in a roundabout fashion, interweaving Coming, No Going. Sewelson. See Calendar. surprising interludes between choruses and giving Kuhn’s maiden voyage features Charles, the Tardy plenty of space for improvising. The lush ballad redoubtable bassist William Parker and the twin “Belle Isle”, written for Goble’s wife, is also a detour trumpet frontline of Toshinoro Kondo and Arthur from the blues menu as Tardy delivers a lyrical Williams, Kuhn focusing on Bb and bass clarinet performance worthy of the master he has become over exclusively. Everyone is screaming on this date and the past two decades. The standard “Three Little both trumpeters reflect different ways of dealing with Words” is pure swing and lots of fun without sounding the influence of Lester Bowie. Kuhn channels Steve the least bit old-fashioned. Lacy on the smaller clarinet and Eric Dolphy on the larger horn. “Red Tape” distills the ‘70s freebop “time- For more information, visit steeplechase.dk and no-changes” into its finest vintage, Kuhn whinnying Chasing After The Wind origin-records.com. Tardy is at Greenwich House Music like a man possessed and the trumpets stretching the Gregory Tardy (SteepleChase) School Mar. 4th with Michael Bates. See Calendar. limits of tonality and timbre like saltwater taffy. Consider The Blues Will Goble (OA2) But the jewel of the release comes on Disc 2, the by Ken Dryden duet with Charles, who has never got the recognition he earned. This is a monumental document that Kuhn Since his debut as a leader in 1992, tenor saxophonist didn’t know was recorded until Ed Hazell found the Gregory Tardy has shown continuous growth as a tape and approached him about releasing it. The composer and improviser. The New Orleans native is interaction between Kuhn and Charles is raw, intimate a veteran of bands led by Elvin Jones, , and intuitive. You can hear the influence of Anthony , Andrew Hill and , among Braxton and Perry Robinson in the reed player’s many others, and has worked hard to develop his own extended solo on “Stigma”. There’s nowhere to hide in voice on tenor while also returning to clarinet. His a drum/reed duet and yet each moment of this decade-plus work as a leader for SteepleChase has exchange is riveting. Like his peers Ed Blackwell and produced a number of acclaimed CDs. , Charles exudes a feeling of dance at its For his latest release Chasing After The Wind, Tardy most joyful expression and his deep roots in Art Blakey celebrates a reunion with his old friend, trumpeter and Max Roach are never far away. Kuhn adds tenor Alex Norris, joined by pianist Bruce Barth, bassist Sean saxophone to his reed arsenal and on “Drum Dharma”, Conly and drummer Jaimeo Brown, adding flutist Sam the spirit of Albert Ayler is clear and dominant. Sadigursky on some tracks. Fast forward 36 years and Kuhn has reemerged Tardy’s compelling compositions merit high with a vengeance—featuring a brand-new San Diego praise. “The Evidence of Things Not Seen” is a stunning based trio with veteran drum master Nathan Hubbard opener, an ambitious, multi-faceted work that and introducing the remarkable contrabass virtuoso transforms from a quiet, soulful ballad into intense Kyle Motl. postbop, buoyed by exotic ensemble passages and The Other Shore is a freely improvised session that furious solos. “Companion of My First Heartbeat” is a takes Kuhn’s playing to another level. His bass clarinet tender ballad in tribute to Tardy’s mother, a vocalist chants with an agitated simmer on who stimulated his interest in music throughout his “Is Love Enough?” and he manages to sneak a quote youth. With his skill on clarinet, one would never from “” in over resonant double-stops and guess that it wasn’t the leader’s main instrument and feathery brushes. Bb clarinet chirps and growls on Norris and Barth round out the work with equally “Causes & Conditions” as the bassist saws over the thoughtful solos. Tardy’s intriguing setting of Andrew arrhythmic swells of the drums. The leader switches to Hill’s “Ashes” captures the depth of the late pianist’s tenor for a wide comic vibrato on “Unsung Heroes”, work as the band masters its intricate nature. The title which sprints gleefully into the altissimo register over track is built upon a joyful simple riff while pianist the furious walking bass, but Hubbard holds back, Donald Brown’s infectious Caribbean-flavored “A preferring to color and flow rather than go for an Dance For Marie Do” features Norris, Tardy (on obvious swing groove. Kuhn adds alto saxophone to clarinet) and Barth alternating the lead in this delightful his quiver on “Volition”, with an acidic, Jimmy Lyons- piece. On tenor, Tardy shows his interest in jazz greats type flair that orbits tangentially with the throbbing of the past with his warm rendition of Benny Carter’s strum of the bass. Hubbard gets a chance to explore ballad “Janel” and explosive treatment of Eddie here and he responds with a wonderfully conceived “Cleanhead” Vinson’s “Tune Up”, a work long and architecturally sound solo. attributed to Miles Davis. That same year (2015) found Kuhn returning to Bassist Will Goble offers a heavy dose of blues on New York to play a one-nighter at the Vision Festival, Consider The Blues, his second CD as a leader, featuring

THE NEW YORK CITY JAZZ RECORD | MARCH 2017 35

return to New York City in 2010, O’Neal’s health has improved along with his visibility in jazz, his presence felt in Smalls, Smoke and other venues. O’Neal is Back is his first studio effort in over a decade. Stylistically, the album is not a major departure from his ‘80s-90s output. O’Neal still fluctuates between hardbop piano virtuoso and bluesy, smoky torch singer. Forming an intimate trio with bassist Luke Sellick and drummer Charles Goold, O’Neal is featured as a hard-

Bhangra Pirates swinging bop instrumentalist on the Cole Porter Red Baraat (Rhyme & Reason) standard “I Concentrate on You” and Bill Pierce’s by Eliott Simon “Sudan Blue”, which demonstrates his virtuosity. O’Neal is Back is mostly a vocal album and a laid- Red Baraat is an instrumentally heavy aggregation back mood often prevails. While “Tight” matches the fronted by Sunny Jain, who plays a two-sided drum or exuberance of “Sudan Blue”, O’Neal is relaxed and Wed, Mar 1 MAREIKE WIENING QUINTET 8PM dhol. The sound of this Indian-informed party band is introspective on “With Every Breath I Take” and the Rich Perry, Florian Weber, Alex Goodman, Johannes Felscher YUHAN SU QUINTET 9:30PM bright, tight and powerful. In addition to Jain, who is a ballads “Maybe Today” and “First Time on a Ferris Matt Holman, Alex LoRe, Petros Klampanis, Nathan Ellman-Bell madman on his instrument, drummers Chris Eddleton Wheel” (made famous in Berry Gordy’s 1985 movie

Thu, Mar 2 ROB GARCIA QUARTET 8PM & 9:30PM and Tomas Fujiwara, percussionist Rohin Khemani The Last Dragon). The latter is a major departure from Noah Preminger, Gary Versace, Vicente Archer, Rob Garcia and sousaphonists John Altieri and Jon Lampley the version that and the late Syreeta Fri, Mar 3 JEFF DAVIS AUTHORITIES BAND 9PM & 10:30PM rhythmically propel the program. The addition of Wright recorded for the soundtrack, redone here as Jon Irabagon, Russ Johnson, Drew Gress, Jonathan Goldberger guitarist Jonathan Goldberger and the use of effects on torch jazz all the way. O’Neal has long been known for Sat, Mar 4 PETROS KLAMPANIS SEPTET 9PM & 10:30PM Julian Shore, Maria Manousaki, Gokce Erem, the dhol and sousaphone electrify the sound with a bit his ability to sing and play the blues in a jazz context Carrie Frey, Caleigh Drane, John Hadfield of surf, rock, blues and sitar in the mix. and he does exactly that on “Let Me Love You” and Sun, Mar 5 DJANGO AT CORNELIA STREET: DAN LEVINSON 8:30PM & 10PM Horns that include saxophonists Jonathon Haffner “It’s Too Late”. While the former swings aggressively, Koran Agan, Josh Kaye, Eduardo Belo; Koran Agan, host and Mike Bomwell, trumpeters Sonny Singh and MiWi the latter is quiet and plaintive. Whether O’Neal is Tue, Mar 7 VOXECSTATIC: MARY FOSTER CONKLIN 8PM La Lupa and trombonist Ernest Stuart are very much in feeling passionate or gently reflective, Sellick and Deanna Witkowski, Ed Howard VOXECSTATIC: PAUL JOST QUARTET 9:30PM sync with Jain’s quick tempos, starts and stops. The Goold offer skilled accompaniment. Jim Ridl, Dean Johnson, Tim Horner; Deborah Latz, curator band is also not averse to throwing in some camp With O’Neal is Back, long-time admirers will be Wed, Mar 8 JON DE LUCIA QUARTET, CD RELEASE: AS THE RIVER SINGS 8PM & 9:30PM combined with Jain’s impressive konokkol enunciation. happy to see this album picking up where his ‘80s and Greg Ruggiero, Sean Smith, Billy Mintz “Gaadi of Truth” is reminiscent of The B-52s and the ‘90s releases left off.

Thu, Mar 9 STRANABAND 8PM & 9:30PM rendition of the Indian music video web phenomenon Colin Stranahan, Glenn Zaleski, Gilad Hekselman, Rick Rosato “Tunak Tunak Tun”, which Red Baraat previously For more information, visit abeatrecords.com. O’Neal is at Fri, Mar 10 PETER BRENDLER QUARTET 9PM & 10:30PM covered on Chaal Baby (2010), further reimagines and Ginny’s Supper Club Mar. 2nd, 23rd and 30th, Smalls Walt Weiskopf, Zach Lapidus, Billy Drummond invigorates the tune with a heavily textured Mar. 5th and 19th and Smoke Saturdays. See Calendar and Sat, Mar 11 MAT MANERI QUARTET 9PM & 10:30PM Lucian Ban, John Hébert, Randy Peterson arrangement at breakneck speed. Here and on opener Regular Engagements. “Horizon Line”, Lampley’s articulation on his Sun, Mar 12 MICHAEL BLANCO QUARTET 8:30PM & 10PM John Ellis, Kevn Hays, Clarence Penn unwieldy horn is exceptional. Tue, Mar 14 TEST SUBJECTS 8PM The voicings throughout this session have a clarity Billy Test, Marc Mommaas, Ron Horton, Marty Kenney, Curtis Nowosad not usually found on so-called party brass band CURTIS NOWOSAD QUINTET 9:30PM Duane Eubanks, Andrew Renfroe, Michael King, Barry Stephenson releases. “Bhangale” is arranged with precise sound

Wed, Mar 15 STEPHAN CRUMP’S RHOMBAL 8 & 9:30PM layers and features a funky solo from guest guitarist Ellery Eskelin, Adam O’Farrill, Delicate Steve (Marion) while the very pretty “Se Hace Thu, Mar 16 IGOR LUMPERT & INNERTEXTURES 8PM & 9:30PM Camino” provides a Latin take on the format. The title Jonathan Finlayson, Chris Dingman, Drew Gress, Kenny Grohowski cut is an anthemic heavy metal swashbuckler composed Fri, Mar 17 SONG YI / VITOR / ROGERIO TRIO 9PM Song Yi Jeon, Vitor Gonçalves, Rogério Boccato by Khemani with the pop-tinged closer “Layers” SONG YI JEON QUINTET 10:30PM providing a beautiful dénouement. Song Yi Jeon, Vitor Gonçalves, Kenji Herbert, Rick Rosato, Alex Wyatt Bhangra Pirates transports the listener to a unique Sat, Mar 18 MICHAËL ATTIAS QUARTET 9PM & 10:30PM Aruán Ortiz, John Hébert, worldly festival. For those who have not yet been there get ready and fasten your seatbelts. Sun, Mar 19 KATHRYN CHRISTIE QUARTET, MUSIC OF DJAVAN 8:30PM & 10PM Kathryn Christie, Q Morrow, Matt Aronoff, Ross Pederson, Helio Alves Billy Newman, host March 7th For more information, visit rhyme-reason.com. This band is Tue, Mar 21 RYAN KEBERLE & CATHARSIS 8PM & 9:30PM at BRIC Media House Mar. 9th and Le Poisson Rouge Mar. Cecilia Coleman Big Band Camila Meza, Scott Robinson, Ed Perez, Henry Cole 16th. See Calendar. Wed, Mar 22 SEBASTIAN NOELLE QUINTET 8PM & 9:30PM March 14th Marc Mommaas, Matt Mitchell, Matt Clohesy, Thu, Mar 23 ALAN FERBER NONET 8PM & 9:30PM Mike Longo’s NY State Philip Dizack, Alan Ferber, Loren Stillman, Lucas Pino, Charles Pillow, Nir Felder, Bryn Roberts, Matt Pavolka, Mark Ferber of the Art Jazz Ensemble

Fri, Mar 24 GILAD HEKSELMAN ZUPEROCTAVE 9PM & 10:30PM Sat, Mar 25 , Kush Abadey Special concert for

Sun, Mar 26 BEN PEROWSKY TRIO 8:30PM & 10PM UN conference of Women Chris Speed, Michael Formanek

Tue, Mar 28 STREAMS 8PM & 9:30PM Yago Vazquez, Scott Lee, Jeff Hirshfield March 21st

Wed, Mar 29 ANDREW RATHBUN QUARTET 8PM & 9:30PM Paul Hefner Group Tim Hagans, Matt Pavolka, Tom Rainey

Thu, Mar 30 KYLE NASSER SEXTET 8PM & 9:30PM O’Neal is Back Loren Stillman, Jeff Miles, Dov Manski, Nick Jost, Allan Mednard Johnny O’Neal Trio (abeat) March 28th Fri, Mar 31 VINNIE SPERRAZZA QUARTET, by Alex Henderson Jay D’Amico Trio CD RELEASE: JUXTAPOSITION 9PM & 10:30PM Chris Speed, Bruce Barth, Pete Brendler The history of jazz is full of survivors who ran into hard times but bounced back. Veteran pianist/singer Johnny O’Neal fell into relative obscurity after leaving New York Baha’i Center New York City in 1986 and returning to his native 53 E. 11th Street Detroit, where he contracted HIV in 1998. To make (between University Place and Broadway) matters worse, O’Neal lost his health insurance and his Shows: 8:00 & 9:30 PM access to medication in 2009, which caused his Gen Adm: $15 Students $10 condition to deteriorate considerably (if anyone is 212-222-5159 a poster child for why the protections of the Affordable bahainyc.org/nyc-bahai-center/jazz-night Care Act need to continue, it’s O’Neal). But since his

36 MARCH 2017 | THE NEW YORK CITY JAZZ RECORD

unfolding. Eicher is a listener above all and his ability “Sleeper”, initially played with tortoise-lumbering to coax that same level of regard from and between deliberation, showcases the pianist’s pedal-pressured musicians in the studio, when it works this well, is soundboard vibrations plus hard patterns from Lytton. marvelous. The label’s penchant for unprecedented Cymbal smacks and piano glissandi prod the melody collaborations, surprising yet organic by gentle force to triple its pace in its final two minutes. of suggestion, plays out here in the quartet of Tigran Throughout the CD, the three are like fine art Hamasyan (piano), (trumpet), Eivind restorers of neglected canvases. The ambulatory Aarset (guitar) and Jan Bang (live sampling, samples). allusions they bring to the material via buzzes, stretches Those familiar with Hamasyan’s work won’t be and echoes sonically brighten themes suggested by

Planktonic Finales surprised to find the Armenian pianist planting seeds O’Donoghue’s mostly murky colors—a key instance of Stephan Crump/Ingrid Laubrock/Cory Smythe of his homeland’s most celebrated composer, Komitas this is titled “Silenced Music”— communicative music (Intakt) Vardapet (1869-1935), into this album’s otherwise due to the sophisticated interaction. by Stuart Broomer spontaneous field. The beloved melodies of “Garun a” and “Tsirani tsar” especially highlight the synergistic For more information, visit intaktrec.ch Planktonic Finales documents the second meeting of core of Henriksen (whose tone often leans toward bassist Stephan Crump, saxophonist Ingrid Laubrock reed-like registers) and Hamasyan, although it was the and pianist Cory Smythe in a program of free latter’s collaborations with Bang at Norway’s Punkt IN PRINT improvisations or, much more appropriately, collective Festival in 2013 that prompted Eicher toward this compositions. Each of the 11 pieces bears the mark of project’s realization. Bang’s sampling, whether banked continuous formal attention. The result is satisfying, or real-time, in combination with Aarset’s freshly-minted chamber music. airbrushing, adds depth and vision to the overall The opening “With Eyes Peeled” sets an immediate soundscape at hand. tone of abstract lyricism to which the three seem to Vardapet aside, ten freely improvised “Traces” return as their most natural mode: Laubrock presents make up the bulk of this two-disc album and are where eerily isolated harmonics gradually finding support in the fullest possibilities of this quartet are achieved. The Crump’s bowed, lower-register long tones and ambience of “Traces I” opens the album on the softest Smythe’s light keyboard flurries, the whole gradually of feet, swelling ever so gradually into audible life. evolving into a kind of sustained ballad. “Tones for Whether in the intonations of “Traces IV” or the misty Climbing Plants” continues the reflective pattern, the layers of “Traces X”, each musician speaks to the other Loft Jazz Improvising in the 1970s Michael C. Heller (University of California Press) title possibly suggested by Crump’s ascending lines in in whispers, true to the album’s titular spirit. Not all is by Ken Waxman a solo passage eventually leading to another glorious mist and drift, however, as tracks such as “Traces II”, Laubrock reverie. The trio’s breadth is most apparent “Traces VI” and “Traces VII” speak of underlying Unlike styles named for locations (Kansas City, in the 12-minute “Sinew Modulations”, a continuous tensions and earthly forces at work in powerful West Coast) or sounds (Bop, Stride), New York’s unfolding in which both the lead and the rhythmic and harmony. This restlessness is always at the mercy of Loft Jazz movement of the ‘70s was defined by real harmonic shape of the music keep shifting, each some distant prayer, one cradled like a candle from estate. Large industrial lofts in SoHo, the result of musician generating strong new paths for the piece to night to dawn, even as its flame dances frantically in policies that allowed large swathes of the southern follow. Crump’s special gravity anchors the episodic the wind of unanswerable questions. part of the city to be neglected waiting for potential “Three-Panel”, moving from lower-register solo to redevelopment, were soon legally (or not) occupied a duet with Laubrock’s skittering soprano to a trio For more information, visit ecmrecords.com. Henriksen is at by artists drawn by expansive spaces and minimal passage that has Smythe contrasting bombastic clusters Le Poisson Rouge Mar. 27th with Supersilent. See Calendar. costs. Many lofts housed experimental jazz with fragile upper-register chords. musicians, who hosted sessions that eventually

Smythe’s organizing strengths come increasingly became regular concert series. Soon not only were to the fore as the music progresses, creatively exploiting locals like drummer Juma Sultan, saxophonist Sam the piano’s percussive possibilities as well as its range Rivers and trumpeter James DuBois presenting door and harmonic possibilities, whether using sparse gigs but adventurous players from the Midwest chords, dense clusters or the clouds of strummed with more business savvy and California music strings. Whether or not the pieces are presented in the emigrants were sharing the spotlight. Using order they were recorded, there’s a strong sense of interviews and archival research, Michael G. Heller development here, an emerging group language examines the scene’s rise and eventual fall from formed by highly developed, strongly empathetic, historical, pedagogical and sociological perspectives. mobile musical personalities. The concluding In the spirit of musician self-sufficiency and Deep Memory “Inscribed in Trees” highlights one of the group’s /Marilyn Crispell/Paul Lytton (Intakt) African-American empowerment of the time, one strongest territories, Laubrock singing warmly through by Ken Waxman galvanizing factor was the NYC arrival of the 1972 the dense consonance of Smythe’s scalar runs. Newport Jazz Festival without local musician input. Suspended between expressive romanticism and A multi-borough counter festival then legitimatized For more information, visit intaktrec.ch. Crump is at City energetic atonality, the fourth CD by bassist Barry Guy, spaces that became Studio Rivbea, Ladies Fort, Ali’s Winery Mar. 2nd, Cornelia Street Underground Mar. 15th pianist Marilyn Crispell and drummer Paul Lytton Alley and Studio We, among others. Discovered by and Le Poisson Rouge Mar. 10th with Liberty Ellman/Miles (the latter pair both turning 70 this month) confirms the jazz media, the movement’s zenith was probably Okazaki as part of the Alternative Guitar Summit. Laubrock the solidity of this sporadically assembled trio and its the acceptance of 1976’s multi-LPs, Wildflowers, The is at Roulette Mar. 2nd with Taylor Ho Bynum. See Calendar. suitability as vehicle for Guy’s compositions. Deep New York Loft Jazz Sessions. But even at that point Memory’s seven pieces throb with reflections on the impetus was being lost, schisms over music industry

draftsmanship and color application of selected works cooperation and the idea of fair wages emerged, by British artist Hughie O’Donoghue, whose paintings as did competition among lofts. And, as multi- provide the track titles and cover image. instrumentalist Cooper-Moore notes, often these O’Donoghue’s highly abstracted figure paintings community ideas didn’t stretch past the musicians’ are musically echoed as the players meld swinging peers. Eventually, rising rents and new development tonality with departures from the expected, yet never gentrified the area out of artists’ reach at the same lose momentum. A tune such as “Return of Ulysses” time as mainstream clubs and European festivals balances Crispell’s double-time kinetics with welcomed more adventurous players, regularized patterns from the piano’s lowest pitches, Heller itemizes what differentiated Loft Jazz which maintain the theme even as she creates new from other styles and how its creation, dissemination Atmosphères /Arve Henriksen/ variations, as if making indentations on cooling and demise affected innovative jazz. One crucial /Jan Bang (ECM) asphalt. Crispell was initially influenced by Cecil aspect is the designation itself. As saxophonist by Tyran Grillo Taylor, so a piece like “Dark Days” approximates Hamiett Bluiett notes: “remember what we were Taylor’s jagged power, especially when coupled with playing was ‘musician’s jazz’, not ‘building jazz’.” As is common to ECM’s finest recordings of this Guy’s spiccato string slices, but she is also enough of century, Atmosphères represents the spirit of producer a melodicist to throw in references to the bagpipe air For more information, visit ucpress.edu through its seemingly inevitable “The Campbells Are Coming”.

THE NEW YORK CITY JAZZ RECORD | MARCH 2017 37 common; the former plays with overt virtuosity, more trombone solo. Three tracks revolve around words: /Oscar Peterson than the latter, and tends to “Rhymes” features Clark Coolidge’s poem “Rhymes speed up tempos, as on “Pannonica”, where his soloing with Monk”, performed by Paul Lichter as the band flies along. In contrast, Evidence’s take on the tune rises behind to engulf him in Monk musical quotes; honors Monk’s original ballad tempo, electric bassist frequent Carlberg collaborator Correa sings lyrics Monk Work Pierre Cartier recalling Wilbur Ware’s warm acoustic derived from two cryptic Monk verbal quotes: “You Evidence (Actuelle) sound, Jean Derome’s baritone saxophone full of ballad Dig” and “Always Night”. The former consists of “You Monk ‘N’ More gravitas. In fact, the Evidence trio—drummer Pierre got to dig it, to dig it. You dig?”, the latter “It must Simon Nabatov (Leo) Tanguay rounds it out—seems deeply committed to always be night, otherwise they wouldn’t need the Monk Dreams Hallucinations and Nightmares preserving and honoring Monk’s music as almost light.” While his music may have multiple sources and Frank Carlberg Large Ensemble (Red Piano) archival repertoire. With Derome alternating on influences, Carlberg is decidedly on Monk’s wavelength. by George Kanzler baritone and alto, they play their Monk with definite affection for the master’s original recordings and For more information, visit actuellecd.com, leorecords.com Just in time for the centennial celebration of his birth, approach. Evidence’s Monk Work will be a comfortable and redpianorecords.com these three albums offer varied approaches to, and listen for Monk fans. perspectives on, Thelonious Monk’s music. The most Nabatov’s Monk ‘N’ More is more enjoyable as an straightforward comes from Evidence, a Montréal example of the pianist’s command and virtuosity, a ON SCREEN based trio that essays 11 of Monk’s compositions on display of outstanding solo piano acumen. And on Monk Work, taking interpretive cues from Monk’s own what he calls “Electroacoustic Extensions” (four of recordings. The unusual twist? Evidence is pianoless, them plus “Sunrise Twice Redux” comprise the 2013 consisting of a saxophonist, electric bassist and piano-live electronics recordings) he very subtly drummer. Simon Nabatov supplies the piano on his incorporates electronic waves and drones, as well as solo CD Monk ‘N’ More and alternates five Monk works delicate distortions, onto what remains largely solo he recorded in 1995 on piano with five pieces of his piano excursions. Although they have little in common own recorded in 2013 on piano and live electronics. with the Monk tunes, they offer a more personal Frank Carlberg’s Monk Dreams Hallucinations and perspective on Nabatov as a questing, creative artist. Nightmares features a 16-piece band, plus a singer on Carlberg has a lot of fun with Monk tunes and what two tracks and a poet/reader on another, doing one the liner notes call “Monk-like shapes” in his inventive Monk composition but referencing Monk’s works and composing-arranging for his Large Ensemble (Kirk I Called Him Morgan Kasper Collin (Filmrise/Submarine Deluxe) words on the other nine tracks. Knuffke, John Carlson, Dave Smith, Jonathan Powell, by Scott Yanow There is little overlap of Monk’s works among the Alan Ferber, Brian Drye, Chris Washburne, Max Seigal, three albums, although “Skippy” and “Pannonica” John O’Gallagher, Jeremy Udden, Sam Sadigursky, The murder of trumpeter Lee Morgan on Feb. 18th, appear on both the Evidence and Nabatov. And Adam Kolker, Brian Landrus, Christine Correa, 1972 by his wife Helen shocked the jazz world. The Nabatov also essays “Light Blue”, a source for Johannes Weidenmueller, Michael Sarin, Paul Lichter story seems simple, the tale of a man who left his Carlberg’s cubistic “A Darker Shade of Light Blue”. and JC Sanford). But don’t go looking for a template in wife for a younger woman and was then killed. Nabatov and Monk’s styles and technique have little in the Monk Orchestra Town Hall concert recordings. However that never seemed like the full tale and Carlberg owes much more to Mingus big band music, what ever happened to Mrs. Morgan? with its accelerandos, retardandos and polyphonic near- I Called Him Morgan, a 91-minute film directed cacophony, than to Monk, with Gil Evans another prime by Kasper Collin, fills in all of the details. Helen (tonal, timbral) influence. His titles reference Monk in Morgan was a regular at New York’s jazz clubs and punning, rhyming ways, most notably “Dry Bean Stew” her apartment was a hangout for musicians who (“I Mean You”). The one Monk composition on the CD, enjoyed her cooking and hospitality. She met Lee “‘Round Midnight”, is a sumptuous, Evans-influenced Morgan when he was down and out. They became chart in a concerto mode, wrapping orchestral colors close, she helped him beat his drug habit and was a around Knuffke’s heavily featured cornet. Knuffke constant asset in his career. However she was 14 is also featured on “International Man of Mystery”, years older than the trumpeter and by late 1971 he a piece that employs the same interval of a sixth upon had gotten a girlfriend, leading to his murder at which “Misterioso” is based. “Sphere” is a jaunty romp Slug’s Saloon in New York’s Alphabet City. After through semi-chaotic ensemble passages, with passing being arrested, Helen Morgan pleaded guilty to references to “Straight No Chaser” and fervid solos second-degree manslaughter, spent a surprisingly from trombonist Washburne and alto saxophonist brief time in jail and was released on probation. Udden. Sarin’s drums, especially the toms, dominate Larry Reni Thomas, an adult education teacher, “No Fear, My Dear”, stately winds and brass referencing was very surprised to discover in 1988 that one of “Ruby, My Dear” around a lyrical Kolker tenor solo. his students was the widow of Lee Morgan. He “Beast” pulses with echoes of “Ugly Beauty”, wah-wah asked to interview her and, after eight years, Helen muted brass ushering in Ferber’s compelling open Morgan finally said yes, just a month before she passed away. Her comments and stories about her life and relationship with her husband are fascinating as are the stories told in interviews with such key figures as saxophonists Wayne Shorter, Billy Harper and Bennie Maupin, bassists Jymie Merritt, Paul West and Larry Ridley, drummers Charli Persip and Albert “Tootie” Heath, Helen’s son, and even Lee Morgan’s girlfriend Judith Johnson. This expertly-edited film tells both of the Morgans’ life stories through footage of the era, interviews, brief performance clips and their own words. It is a suspenseful documentary with no slow moments, keeping viewers who always wondered about the Morgans on the edge of their seats. LOU CAPUTOZINC BAR NOT - MARCH SO 22ND BIG BAND SAINT PETER’S CHURCH - APRIL 26TH For more information, visit icalledhimmorgan.com. This film will have two local screenings: Mar. 7th at IFC “...pulsing organism of a band. Their charts are sophisticated, their arrangements complex. And, boy, can they blow!” - Don McNeil Center and Mar. 31st at Metrograph Theater. For more Tried and true swingers, they can take you around the block with a bunch information, visit ifccenter.com/series/stranger-than- of stops in between, all of which are played to perfection.” -Chris Spector fiction-winter-2017 and metrograph.com LOUCAPUTO.COM

AbeatRecordsSIXTH38 MARCH PAGEesT.indd 2017 1 | THE NEW YORK CITY16/02/17 JAZZ 17:51 RECORD

of “Nerve & Limbo”—one slowed down to a dirge-like The Big Apple’s mainstays of bop/hardbop-based pace, the other an edgy rhythmic complex driven by mainstream jazz. His approach is based on clarity, Ortiz and worthy of Hill—later become the basis of a warm singing tone and indefatigable swing. The “Le Pèse-Nerfs” and “Ombilique”. “Dream in a apropos title of this reissued album references the Mirror”, a tribute to Coleman, is a minor key recasting camaraderie of the quartet heard here, which often of his “The Clergyman’s Dream”. Hébert’s “Rodger appeared together during the period this CD was Lodge” has a distinctly relaxed lyricism of its own. recorded, Summer 1993, at Rudy Van Gelder’s studio. Complexity and composition, however, don’t Joining Leitch are the late (piano), Ray operate in a vacuum. They focus and feed the Drummond (bass) and Marvin “Smitty” Smith (drums).

Nerve Dance realization of vital music through the dynamic of The ease and fluidity expressed in the teamwork of Michaël Attias Quartet (Clean Feed) group improvisation. The pieces reflect intense and this quartet is only half of the pleasure of listening. The by Stuart Broomer elusive psychological states and develop those moods other appealing factor is the strength and distinction of through a simultaneous adherence to demanding the repertoire. Bookending the program are pieces by Nerve Dance presents alto saxophonist Michaël Attias’ patterns and a spirit of improvised dialogue. Every two giant influences on the musicians: Charlie Parker’s latest group, a quartet with frequent co-workers John minute is alive, whether a solo spot for Waits or Hébert “Relaxin’ at Camarillo” kicks things off in bright Hébert (bass) and Nasheet Waits (drums) along with or the ensemble in full flight. fashion at scintillating bebop tempo while John a newcomer, Cuban-born pianist Aruán Ortiz. It’s a Coltrane’s fast “Lazy Bird” caps off the album with remarkably tight-knit band. In part, that’s based on For more information, visit cleanfeed-records.com. This clean, racing lines from Leitch and Hicks plus a snappy certain common values and sources. One is Andrew project is at Cornelia Street Underground Mar. 18th. See round of fours between them and Smith. Hill: Hébert and Waits worked with the pianist together Calendar. Surrounding two Leitch originals—”Avenue B”, and separately and he is clearly an influence on Ortiz a fast riff tune, and “Blues On The West Side”, a modern as pianist and Attias the composer, both of whom are blues—at the center of the nine tracks are two familiar fond of complex rhythmic and harmonic structures, standards: ’ “Goodbye”, caressed by fusing patterns and bits into powerful dynamic wholes. solo guitar and eventually joined by subdued rhythm Another shared influence is Ornette Coleman: Ortiz section, and Fats Waller’s “Jitterbug Waltz”, infused has recorded his compositions and Attias’ lines have with a 6/8 feel indebted to Coltrane’s approach to “My a variety that suggests Coleman, from short, wispy Favorite Things”. sotto voce phrases to cascading, singing figures alive Hicks’ nascent jazz standard “Naima’s Love Song” with shifting inflections. sways to a Bossa beat and Ahmad Jamal’s “New In a sense, it’s very much a composer’s record. Rhumba” recalls the Gil Evans-Miles Davis Attias wrote 9 of the 11 tracks, Hébert the other two; collaboration, although based here on Jamal’s trio A Special Rapport some tracks are interrelated, handling the same chart. A Billy Strayhorn duo (guitar and piano) medley Peter Leitch Quartet (Reservoir) materials in different ways. The ethereal and brief by George Kanzler stresses the poignant primacy of the melodies: “Boca de Luna”, etched by Attias alone on alto and “A Flower Is A Lovesome Thing” and “Lotus Blossom”. minimalist supporting piano, introduces the developed Guitarist Peter Leitch retired from performing in 2015 version of the materials, “Moonmouth”. The two parts due to health problems. Up until then he was one of For more information, visit reservoirmusic.com

THE NEW YORK CITY JAZZ RECORD | MARCH 2017 39 MISCELLANY ON THIS DAY by Andrey Henkin

Live at the Hi-Hat Inspired Abandon First Encounter The Cry Eponymous Stan Getz Quintet (Fresh Sound) Lawrence Brown’s All-Stars (Impulse!) (Victor) Steve Lacy +6 (Soul Note) Jon Gordon Quartet (Chiaroscuro) March 8th, 1953 March 8th, 1965 March 8th, 1971 March 8th, 1988 March 8th, 1992 Released over six decades after it Apart from the rhythm section of Pianist Mal Waldron and bassist Gary One of the many albums the late For what would be his first U.S. label happened, this two-disc live set from , Richard Davis and Peacock, born 10 years apart, meet for soprano saxophonist Steve Lacy made release after a debut for Norway’s the famed Boston club (extant from either Gus Johnson or Johnny Hodges, the first and only time on record for for this Italian label, the two-disc set Taurus, alto/soprano saxophonist Jon 1937-59 and site of a number of mostly Jr., trombonist Lawrence Brown’s All this outing for the Japanese Victor finds him with old friends in vocalist- Gordon celebrates his roots by posthumous recordings) is the earliest Stars is comprised of fellow Duke imprint. Completing the trio is wife Irène Aebi and bassist Jean- featuring legendary alto saxophonist document of tenor saxophonist Stan Ellington alumni: Ray Nance, Cat drummer Hiroshi Murakami, who Jacques Avenel along with new , who inspired him as a Getz working with trombonist Bob Anderson, , Jimmy had worked with Waldron a month associates Tina Wrase (reeds), Petia teenager and later became his teacher, . This then-new quintet Hamilton, Johnny Hodges, Russell earlier in support of singer Kimiko Kaufman (harpsichord), Cathrin on four of the ten tracks found here, (active for about a year and then Procope, Harold Ashby and Paul Kasai. Waldron contributes three Pfeifer (accordion) and Daniel Gioia including Woods’ inspirational “Pass revived in 1961) is filled out by Getz’ Gonsalves. Confirming its status as a songs, “She Walks in Beauty”, “The (percussion). Lacy’s originals utilize It On, Jon”. The rest of the band are regular pianist and bassist of 1952 in moon orbiting the Ellington sun is the Heart of the Matter” and “Walkin’ texts of Women’s Rights (in Muslim Gordon’s contemporaries in pianist Duke Jordan and Bill Crow plus inclusion of Ellington standards like Way”, none which appear elsewhere societies) advocate Taslima Nasrin. Kevin Hays, bassist Scott Colley and drummer Al Levitt. The 14 tracks “Mood Indigo” and “Do Nothin’ Till in his discography, with the same for For this live recording, Lacy also drummer Bill Stewart, playing contained herein are all jazz and You Hear From Me” to go along with Peacock’s “What’s That”. Why there included a set dresser and costumer Gordon originals, standards and Joe songbook standards. several tunes by the elder Hodges. was no second encounter is a mystery. for what he called a “jam opera”. Lovano’s “Land of Ephesus”. BIRTHDAYS March 1 March 6 March 11 March 16 March 22 March 27 † 1904-44 †Red Callender 1916-92 †Miff Mole 1898-1961 †Ruby Braff 1927-2003 †Fred Anderson 1929-2010 †Pee Wee Russell 1906-69 †Teddy Powell 1906-1993 †Howard McGhee 1918-87 † 1919-96 †Tommy Flanagan 1930-2001 John Houston b.1933 †Ben Webster 1909-73 † 1930-2010 †Wes Montgomery 1925-68 †Ike Carpenter 1920-98 Keith Rowe b.1940 †Masahiko Togashi 1940-2007 †Sarah Vaughan 1924-90 Gene Perla b.1940 †Ronnie Boykins 1935-80 †Billy Mitchell 1926-2001 John Lindberg b.1959 George Benson b.1943 †Harold Ashby 1925-2003 Ralph Towner b.1940 Charles Tolliver b.1940 †Leroy Jenkins 1932-2007 Woody Witt b.1969 †Bill Barron 1927-89 Vinny Golia b.1946 Peter Brötzmann b.1941 Vince Giordano b.1952 March 23 †Burt Collins 1931-2007 Norman Connors b.1947 †Robin Kenyatta 1942-2004 Judy Niemack b.1954 March 17 †Johnny Guarnieri 1917-85 Stacey Kent b.1968 Elliott Sharp b.1951 b.1942 †Paul Horn 1930-2014 Dave Frishberg b.1933 Dom Minasi b.1943 March 12 † 1930-2003 †Dave Pike 1938-2015 March 28 March 2 Ayelet Rose Gottlieb b.1979 †Sir Charles Thompson †Karel Velebny 1931-89 †Masabumi Kikuchi 1940-2015 † 1890-1967 †Eddie “Lockjaw” Davis 1918-2016 Jessica Williams b.1948 Gerry Hemingway b.1950 †Herb Hall 1907-96 MARILYN CRISPELL 1921-86 March 7 †Hugh Lawson 1935-97 Abraham Burton b.1971 b.1973 † 1923-86 March 30th, 1947 † 1934-62 Alexander von Schlippenbach Ned Goold b.1959 Daniel Levin b.1974 Bill Anthony b.1930 Buell Neidlinger b.1936 b.1938 Peter Knight b.1965 March 24 †Tete Montoliu 1933-97 Though born in Philly, the Bob Neloms b.1942 Herb Bushler b.1939 March 18 †King Pleasure 1922-81 Barry Miles b.1947 pianist’s career began with Wolfgang Muthspiel b.1965 March 13 †Al Hall 1915-88 Dave MacKay b.1932 Donald Brown b.1954 players out of the avant March 8 †Dick Katz 1924-2009 †Sam Donahue 1918-74 †Kalaparusha Maurice Orrin Evans b.1975 garde scene of Chicago in March 3 †George Mitchell 1899-1972 b.1926 Bill Frisell b.1951 McIntyre 1936-2013 Jen Shyu b.1978 Leo Smith, Roscoe Mitchell † 1906-80 Dick Hyman b.1927 † 1930-79 Joe Locke b.1959 Steve Kuhn b.1938 and, most significantly, † 1918-2008 George Coleman b.1935 Michael Jefry Stevens b.1951 Paul McCandless b.1947 March 29 Anthony Braxton, with †Jimmy Garrison 1934-76 †Gabor Szabo 1936-82 Akira Tana b.1952 March 19 Steve LaSpina b.1954 †George Chisholm 1915-97 whom she worked off and Luis Gasca b.1940 †James Williams 1951-2004 b.1962 †Curley Russell 1917-86 Renee Rosnes b.1962 † 1918-90 on from 1978-93, mostly as Biggi Vinkeloe b.1956 Shoko Nagai b.1971 †Lennie Tristano 1919-78 Dave Douglas b.1963 Allen Botschinsky b.1940 part of a quartet with Mark March 4 Anat Fort b.1970 Bill Henderson b.1930 Joe Fiedler b.1965 † 1949-2007 Dresser and Gerry †Don Rendell 1926-2015 March 14 Mike Longo b.1939 Hemingway. She made her †Cy Touff 1927-2003 March 9 †Joe Mooney 1911-75 David Schnitter b.1948 March 25 March 30 debut as a leader for † 1937-96 †Ornette Coleman 1930-2015 † 1912-2001 Chris Brubeck b.1952 Cecil Taylor b.1929 † 1900-69 Cadence in 1981 in groups David Darling b.1941 †Keely Smith 1932-2015 † 1925-2006 Michele Rosewoman b.1953 † 1931-2011 Lanny Morgan b.1934 featuring violinist Billy b.1947 Kali Z. Fasteau b.1947 †Mark Murphy 1932-2015 Eliane Elias b.1960 †Larry Gales 1936-95 Karl Berger b.1935 Bang and then went on to Kermit Driscoll b.1956 Zakir Hussain b.1951 †Shirley Scott 1934-2002 †Lonnie Hillyer 1940-85 Marilyn Crispell b.1947 record for FMP, Leo, Victo, Albert Pinton b.1962 †Thomas Chapin 1957-1998 Dred Scott b.1964 March 20 Makoto Ozone b.1961 b.1957 Music & Arts, Matchless, Dana Leong b.1980 Erica von Kleist b.1982 †Marian McPartland 1920-2013 Frank Gratkowski b.1963 Okka, ECM, Black Saint, March 15 †Sonny Russo 1929-2013 March 26 Dan Peck b.1983 Intakt and Tzadik, among March 5 March 10 †Jimmy McPartland 1907-91 Harold Mabern b.1936 †Abe Bolar 1908-2000 others. She has also worked †Gene Rodgers 1910-87 †Bix Beiderbecke 1903-31 †Spencer Clark 1908-1998 b.1943 †Flip Phillips 1915-2001 March 31 regularly with bassists such †Bill Pemberton 1918-84 †Pete Clarke 1911-75 †Harry James 1916-83 †Andy Hamilton 1918-2012 †Santo “Mr. Tailgate” Pecora as Reggie Workman, Barry †Dave Burns 1924-2009 † 1923-2000 †Bob Wilber 1928-2006 March 21 †Brew Moore 1924-73 1902-84 Guy, Joëlle Léandre and † 1928-2001 Louis Moholo-Moholo b.1940 Charles Lloyd b.1938 †Hank D’Amico 1915-65 †James Moody 1925-2010 †Red Norvo 1908-99 Gary Peacock in a †Wilbur Little 1928-87 b.1957 Marty Sheller b.1940 Mike Westbrook b.1936 Maurice Simon b.1929 † 1911-87 discography approaching †Pee Wee Moore 1928-2009 Bill Gerhardt b.1962 Joachim Kühn b.1944 Herbert Joos b.1940 Lew Tabackin b.1940 †Jimmy Vass 1937-2006 500 sessions. -AH David Fiuczynski b.1964 Ofer Assaf b.1976 Anne Mette Iversen b.1972 Amina Claudine Myers b.1942 Hiromi b.1979 Christian Scott b.1983 CROSSWORD

1 2 3 4 ACROSS 28. Peter De Rose-Carl Sigman standard “Buona ____” popularized by Louis Prima

5 6 7 8 9 1. Swedish cellist ____ El-Habashi 5. and Doc Severinsen DOWN

10 11 both led this network’s orchestra 8. ‘70s German pop-jazz saxophonist Jochen 1. German saxophonist Max on hatOLOGY 10. Drummer Terri Lyne 2. 1966 Bola Sete New Brazilian Trio Fantasy album 12 12. German trombonist Rolf 3. Washington, D.C. neighborhood of 13. Coltrane’s tribute to his longtime bassist 4. Natl. of trumpeter Amir ElSaffar 13 14 15 14. Defunct music camp based in CT 5. Jazz educators can become this (abbr.) 16. Violinist ____ Deng who recorded with 6. Bassist Guy and keyboardist Miles 16 17 Jane Monheit and 7. Monk’s “____ with Nellie” 17. 1974 Tsuyoshi Yamamoto Three Blind Mice 8. Colorado pianist Art Lande runs this ens. 18 19 20 album Blues For ____ 9. ____.com, official website for the writers of 18. Sons of Sound Productions catalogue prefixes “Getting to Know You”

21 22 23 24 19. Erskine Hawkins Orchestra 1939 single 11. Roaratorio included prints on this ”____ Living “I”” Japanese medium in recent Joe McPhee LPs

25 21. This label, best known for its Allman Brothers 15. Swiss organ player Heinz ____ albums, also released two ‘70s LPs by 20. NYC-based jazz photograher Farber Eddie Henderson 22. Swedish ‘30s-40s bandleader Derwin 26 27 25. Trumpeter Al Hirt performed during 23. Red River Entertainment catalogue prefixes halftime at this sporting 1967 event 24. “____ Mukhtarr Mustapha”, track from 1972 28 26. Benny Goodman tune “Seven Come ____” Stanley Cowell ECM album Illusion Suite 27. Shakuhachi player Rothenberg 25. Strata-East catalogue prefixes By Andrey Henkin visit nycjazzrecord.com for answers 40 MARCH 2017 | THE NEW YORK CITY JAZZ RECORD Wayne Shorter Weekend • April 21-23 Jazz greats salute one of their own: Newark’s famed saxophonist and composer in concert!

Wallace Roney Cécile McLorin Salvant

Wayne Shorter’s The Universe– Cécile McLorin Salvant Weather Report and A Concerto for Miles with Sullivan Fortner Beyond Reimagined By Wallace Roney Orchestra and The Emmet Cohen Trio Christian McBride, Rachel Z, Featuring , Friday, April 21 at 7:30pm Joe Lovano, Steve Wilson, and Patrice Rushen and Thursday, April 20 at 7:30pm Saturday, April 22 at 8pm

Dorthaan’s Place Sunday Jazz Brunches NJPAC’s series of intimate jazz brunches returns, curated and hosted by jazz champion and WBGO legend Dorthaan Kirk, Newark’s “First Lady of Jazz.” Kitchen + Bar • 11am & 1pm Rob Paparozzi March 12 Esperanza Spalding Wayne Shorter Quartet Blues, harmonica and more from Christian McBride Wayne Shorter Quartet NJ’s Rob Paparozzi. & Esperanza Spalding: with special guests The Bucky Pizzarelli One on One and and Ed Laub Duo Sunday, April 23 at 3pm Gretchen Parlato April 2 Sunday, April 23 at 7pm The accomplished guitar duo perform American Songbook selections.

For tickets & full schedule visit njpac.org or call 1.888.GO.NJPAC Groups 973.297.5804 One Center Street, Newark, NJ

NEW JERSEY PERFORMING ARTS CENTER Wayne Shorter Weekend events are produced with and co-sponsored by the Institute of Jazz Studies at Rutgers University-Newark.

9.5x12_NYCJazzRecord_feb_njpac_2016.indd 1 1/19/17 10:43 AM CALENDAR

Wednesday, March 1 êOscar Noriega Quartet with Brandon Seabrook, Trevor Dunn, Dan Weiss • Dan Levinson, Koran Agan, Josh Kaye, Eduardo Belo The Stone 8:30 pm $20 Cornelia Street Underground 8:30, 10 pm $10 êGeorge Coleman Birthday Celebration with Charles McPherson, Jeb Patton, • David Buchbinder Odessa/Havana Le Poisson Rouge 7 pm $25 • Chase Baird Group with Nir Felder, Julian Pollack, Dan Chmielinski, Adam Arruda; David Wong, Chuck McPherson Jazz Standard 7:30, 9:30 pm $35 • Clark Gayton and The Superslicks Bar Lunàtico 8:30, 10 pm $10 Kevin Harris Project with Juan Mayorga, Dan Blake, Matt Garrison êCraig Taborn Quartet with Chris Speed, Chris Lightcap, Dave King êJeff Davis Authorities Band with Jon Irabagon, Russ Johnson, Drew Gress, ShapeShifter Lab 8:15, 9:30 pm $10 Village Vanguard 8:30, 10:30 pm $30 Jonathan Goldberger Cornelia Street Underground 9, 10:30 pm $10 • The Highliners Tomi Jazz 8 pm $10 êDonald Harrison Mardis Gras Celebration with Henry Butler, Theo Croker, Zaccai Curtis, • Tomoko Omura/Yuhan Su; Karolina Beimcik, Miki Yamanaka, Noah Garabedian, • Kristina Koller Minton’s 7 pm $10 Max Moran, Joe Dyson Blue Note 8, 10:30 pm $35 Jimmy Macbride, Rafal Sarnecki ShapeShifter Lab 7, 8:15 pm $15 • Shrine Big Band Shrine 8 pm • Nicole Henry’s A Time For Love with David Cook, Ben Williams, Jonathan Barber, • Philip Dizack Minton’s 7 pm $10 • Mike Sailors Pocket Sized Orchestra Radegast Hall 7 pm Avi Rothbard Dizzy’s Club 7:30, 9:30 pm $40 • Brian Pareschi and BP Express Club Bonafide 7:30, 9:30 pm $15 • Hendrik Helmer Trio with Geoff Burke, George Papageorge • Barry Stephenson Dizzy’s Club 11:30 pm $5 êThe Music of : Michael Cochrane with Kevin Farrell, Jeremy Noller, Symphony Space Bar Thalia 7 pm • Trio Birdland 8:30, 11 pm $50 Eli Asher Bloomingdale School of Music 7 pm êRemembering James Williams And Mulgrew Miller—MVP Jazz Quartet: Donald Brown, • Iridium 8:30 pm $50 • Sebastian Noelle Trio with Matt Clohesy, Mark Ferber Ray Drummond, Marvin “Smitty” Smith, Bobby Watson êTim Berne, Mary Halvorson, Oscar Noriega Bar Next Door 7:30, 9:30, 11:30 pm $12 Dizzy’s Club 7:30, 9:30 pm $35 The Stone 8:30 pm $20 • RITA with Bruce Harris Ginny’s Supper Club 7:30, 9:30 pm $20 êWillie Jones III Quintet with Ralph Moore, Jeremy Pelt, , George Delancey êTravis Laplante’s Battle Trance with Patrick Breiner, Matthew Nelson, Jeremy Viner êMatt Darriau’s Yo Lateef with Peck Allmond, Arthur Kell, Steve Johns, Mez Row Smoke 7, 9, 10:30 pm $38 and guest Gerald Cleaver Roulette 8 pm $20 Owl Music Parlor 7:30 pm $10 êLou Donaldson Blue Note 8, 10:30 pm $35 • Amy Cervini and Janis Siegel with Jesse Lewis, Matt Aronoff, Ross Pederson; • Leila Bordreuil’s Void and Dismissal with Austin Julian, Tamio Shiraishi, Julia Santoli; êGeorge Coleman Birthday Celebration with Paul Bollenback, Mike LeDonne, , Matt Penman, Ben Perowsky and guests Leila Bordreuil/Bill Nace Issue Project Room 8 pm $10 John Webber, George Coleman, Jr. Jazz Standard 7:30, 9:30 pm $35 55Bar 7, 10 pm • Carol Liebowitz/Nick Lyons Duo; Carol Liebowitz, Nick Lyons, Ken Filiano, êCraig Taborn Quartet with Chris Speed, Chris Lightcap, Dave King • Frank Kohl; Tony Hewitt/Pete Malinverni Michael Wimberly Ibeam Brooklyn 8, 9 pm $15 Village Vanguard 8:30, 10:30 pm $30 Mezzrow 8, 11 pm $20 • Cynthia Sayer/Conal Fowlkes Knickerbocker Bar and Grill 9:45 pm $3.50 êAlexis Cole’s Now’s the Time with Tedd Firth, David Finck, Eric Halvorson • Robert Edwards Quintet with , Adam Birnbaum, Dave Baron, • Craig Brann Trio Tomi Jazz 9 pm $10 Birdland 6 pm $30 Aaron Kimmel; Dan Pratt Quartet with Michael Eckroth, Matt Clohesy • Jeremy Bosch Guadalupe Inn 8 pm $5-10 êLady Got Chops Festival: Musique Libre Femmes Quartet: Cheryl Pyle, Jamie Baum, Smalls 7:30, 10:30 pm $20 êLou Donaldson Blue Note 8, 10:30 pm $35 Claire Daly, Claire De Brunner Downtown Music Gallery 6 pm • Miki Yamanaka; Groover Trio; Ned Goold Jam êGeorge Coleman Birthday Celebration with Charles McPherson, Jeb Patton, • Fabian Almazan and Rhizome Saint Peter’s 5 pm Fat Cat 7, 9 pm 12:30 am David Wong, George Coleman, Jr. Jazz Standard 7:30, 9:30 pm $35 êCharlie Burnham solo 440Gallery 4:40 pm $10 • Mareike Wiening Quintet with Rich Perry, Florian Weber, Alex Goodman, êCraig Taborn Quartet with Chris Speed, Chris Lightcap, Dave King • Christian Artmann with Laszlo Gardony, Johannes Weidenmueller, Jeff Hirshfield Johannes Felscher; Yuhan Su Quintet with Alex Lore, Petros Klampanis, Village Vanguard 8:30, 10:30 pm $30 Spectrum 3 pm Nathan Ellman-Bell Cornelia Street Underground 8, 9:30 pm $10 • John Pizzarelli Trio Birdland 8:30, 11 pm $50 • Roz Corral Trio with Gilad Hekselman, Matt Clohesy • Rale Micic Quartet with Nitzan Gavrieli, Ugonna Okegwo, E.J. Strickland • Meshell Ndegeocello Iridium 8:30 pm $50 North Square Lounge 12:30, 2 pm An Beal Bocht Café 8, 9:30 pm $15 • Jon Sheckler Trio Shrine 6 pm • Alexis Parsons Trio with Frank Kimbrough, Dean Johnson Monday, March 6 Jazz at Kitano 8, 10 pm $17 Saturday, March 4 • Greg Diamond Nuance with Edward Perez, Juan Felipe Mayorga êWomen’s Jazz Festival—Ella, Ella A Centennial Celebration of Mama Jazz!: Terraza 7 8 pm $10 êLee Konitz Quartet with Florian Weber, Jeremy Stratton, George Schuller , Jean Baylor, Camille Thurman, Courtney Bryan, Dezron Douglas, • Tsuyoshi Yamamoto Trio; Arthur Sadowsky Duo Brooklyn Conservatory of Music 7:30 pm $25 Kassa Overall Schomburg Center 7 pm $30 Tomi Jazz 8, 11 pm $10 • Madeleine Peyroux Town Hall 8 pm $50-125 êMcCoy Tyner Blue Note 8, 10:30 pm $45 • Sebastian Acosta Silvana 6 pm êDon Byron, Blair McMillen, Cornelius Dufallo, Wendy Sutter • Loston Harris with Gianluca Renzi, Mike Lee Roulette 8 pm $20 Dizzy’s Club 7:30, 9:30 pm $30 Thursday, March 2 êThums Up: Vijay Iyer, Himanshu Suri, Rafiq Bhatia, Kassa Overall; Arooj Aftab Group êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 with Leo Genovese, Jorn Bielfeldt, Yusuke Yamamoto • Calixto Oviedo Cuban Jazz Train with Yosmel Montejo, Jonatan Montes, Aldo Salven, êLou Donaldson Blue Note 8, 10:30 pm $35 Merkin Concert Hall 7:30 pm $25 Lily Hernández Subrosa 8, 10 pm $15 êSex Mob: Steven Bernstein, Briggan Krauss, Tony Scherr, Kenny Wollesen êMichael Bates Shostakovich Project with Russ Johnson, Greg Tardy, Russ Lossing, • Jochen Rueckert Quartet Bar Lunàtico 8:30, 10 pm $10 Bar Lunàtico 8:30, 10 pm $10 Michael Sarin Greenwich House Music School 7:30 pm $15 • Balkan Peppers: Brad Shepik, Seido Salifoski, Kenny Warren, Ethan Helm, • Taylor Ho Bynum’s PlusTet with Dave Ballou, Stephanie Richards, Nate Wooley, • Allan Harris Ginny’s Supper Club 7:30, 9:30 pm $20 Jesse Byrom Sisters 9 pm Vincent Chancey, , Bill Lowe, Jim Hobbs, Ingrid Laubrock, Matt Bauder, • Group Jazz at Kitano 8, 10 pm $32 • Sean Wayland; Henry Hey 55Bar 7, 10 pm Stuart Bogie, Dana Jessen, Jean Cook, Tomeka Reid, Jay Hoggard, Adam Matlock, • Petros Klampanis Septet with Julian Shore, Maria Manousaki, Gokce Erem, Carrie Frey, • Marc Devine Mezzrow 8 pm $20 Mary Halvorson, Ken Filiano, Tomas Fujiwara Caleigh Drane, John Hadfield Cornelia Street Underground 9, 10:30 pm $10 • Brian Melvin’s Bimebop with Danny Walsh, Dave Stryker, Essiet Essiet; Ari Hoenig Trio; Roulette 8 pm $20 êGilad Hekselman Band The Django at The Roxy Hotel 7:30 pm Jonathan Barber Smalls 7:30, 10:30 pm 1 am $20 êTrio Hornito: Oscar Noriega, Brandon Seabrook, Tom Rainey • Lady Got Chops Festival/Banana Puddin’ Jazz: Sheryl Renee, Joy F. Brown, Patsy Grant • Ben Paterson Duo; Theo Hill; Billy Kaye Jam The Stone 8:30 pm $20 with Kim Clarke, Taylor Moore Nuyorican Poets Café 9:30 pm $20 Fat Cat 6, 9 pm 12:30 am êChampian Fulton Quartet with Dor Samoha, Fukushi Tainaka, Stephen Fulton êPlay Party: Oscar Noriega, Jeff Parker, Trevor Dunn, Ben Perowsky • Paul Jubong Lee Trio with Tony Lannen, Diego Maldonato; Valentina Marino Trio with Smoke 7, 9, 10:30 pm $12 The Stone 8:30 pm $20 Mark Marino, Cameron Brown Bar Next Door 6:30, 8:30, 10:30 pm $12 • —Tribute To Mercedes Sosa: Pedro Aznar, Magos Herrera and êMonk in Motion: David Gibson with Freddie Hendrix, Theo Hill, Alex Claffy, • Anti Social Music Drinks Alone: Patrick Castillo/Mihai Marica; Ty Citerman; Edward Simon Trio National Sawdust 7 pm $34 Kush Abadey Tribeca Performing Arts Center 7:30 pm $30 Andrea La Rose/Domenica Fossati; Pat Muchmore; Charles Waters/Domenica Fossati • Josh Green Cyborg Orchestra with Josh Plotner, Charles Pillow, Steve Kenyon, êJerome Sabbagh Trio with Joe Martin, Billy Drummond Delroy’s Café and Wine Bar 9, 10 pm $10 Todd Groves, Jay Hassler, Denise Stillwell, Christine Kim, John Lake, John Challoner, Bar Next Door 7:30, 9:30, 11:30 pm $12 • Yoshiki Miura; Jasper Duts Duo Tomi Jazz 8, 11 pm $10 Alan Ferber, Chris Misch-Bloxdorf, Michael Verselli, Will Holshouser, Sungwon Kim, • Amino Belyamani Owl Music Parlor 7:30 pm $10 • Glenn Crytzer Trio Radegast Hall 8 pm Brian Courage, Josh Bailey National Sawdust 10 pm $34 • Pamela Hamilton Group Sistas’ Place 9, 10:30 pm $20 • Andrew Kushnir Trio Silvana 6 pm êBill Ware/Stephan Crump City Winery 7 pm • Kimberly Thompson Quartet; Paola Quagliata’s Jazzin’ Around Baroque êJohnny O’Neal Ginny’s Supper Club 7:30, 9:30 pm $20 The Cell 8, 9:30 pm Tuesday, March 7 • Rob Garcia Quartet with Noah Preminger, Gary Versace, Vicente Archer • Bayo Fayemi; Keenyn Omari Williamsburg Music Center 10, 11:15 pm $10 Cornelia Street Underground 8, 9:30 pm $10 • Svetlana and The Delancey Five Joe’s Pub 9:30 pm $20 êBucky Pizzarelli Trio Cavatappo Grill 6, 8 pm $15 • Lafayette Harris; Spike Wilner Mezzrow 8, 11 pm $20 • Carlos Cueva Trio with Edward Perez, Juan Felipe Mayorga êGary Burton/Makoto Ozone Duo Birdland 8:30, 11 pm $40 • Tim Hegarty Quintet with Charlie Sigler, Ben Rosenblum, Vincent Dupont, ; Terraza 7 9:30 pm $10 êBill Frisell Trio with , Rudy Royston Nick Hempton Band Smalls 7:30, 10:30 pm $20 • Steve Carrington Quintet; Raphael D’lugoff Quintet; Greg Glassman Jam Village Vanguard 8:30, 10:30 pm $30 • Ivan Renta Quintet; Saul Rubin Zebtet; Paul Nowinski Fat Cat 7, 10 pm 1:30 am • Ben Wendel Group with Gerald Clayton, Joe Martin, Kendrick Scott Fat Cat 7, 10 pm 1:30 am • Audrey Silver with Mike Eckroth, Steve LaSpina; Jovino Santos Neto with Itaiguara, Jazz Standard 7:30, 9:30 pm $35 • Marta Sánchez with Roman Filiu, Jerome Sabbagh, Rick Rosato, Daniel Dor Mauricio Zottarelli Club Bonafide 7:30, 9:30 pm $10 • Keyon Harrold and Friends with Nir Felder, Shedrick Mitchell, Burniss Travis and Owl Music Parlor 7:30 pm $10 • The Truthseekers; Kokichi Yanagisawa Trio; Sharp Tree Trio guests Bilal, BIG K.R.I.T. Blue Note 8, 10:30 pm $25 • Hendrik Meurkens Quartet with Mike LeDonne, Chris Berger, Pete Van Nostrand Tomi Jazz 6, 8, 11 pm $10 êTessa Souter with Adam Platt, Yotam Silberstein, Sean Smith, Billy Drummond Jazz at Kitano 8, 10 pm $17 • Michika Fukumori Trio Cleopatra’s Needle 8 pm Dizzy’s Club 7:30, 9:30 pm $35 • Flavio Silva Trio with Alex Apolo Ayala, Kush Abadey; Kevin Clark Trio with Jeff Reed, • Paolo Stagnaro; Takenori Quartet Guadalupe Inn 8 pm 12 am $5-10 • Adam Moezinia Dizzy’s Club 11:30 pm $5 Sylvia Cuenca Bar Next Door 6:30, 8:30, 10:30 pm $12 êEddie Palmieri—Celebrating 80 Years: Salsa Orchestrasè with Herman Olivera, • Cecilia Coleman Big Band NYC Baha’i Center 8, 9:30 pm $15 • The Jazz Composers Showcase The Jazz Gallery 7:30, 9:30 pm $15 Nelson Gonzalez, Joseph Gonzalez, , Charlie Sepulveda, Jonathan Powell, êI Don’t Hear Nothin’ but the Blues: Jon Irabagon, Ava Mendoza, Mick Barr, Mike Pride • Moth to Flame: Tyson Harvey, Ivo Lorenz, John Krtil, Ken Marino Jimmy Bosch, Doug Beavers, Luques Curtis, Vicente “Little Johnny” Rivero, The Stone 8:30 pm $20 Club Bonafide 7:30, 9:30 pm $15 Camilo Molina, Nicky Marrero; Latin-Jazz Orchestra with Brian Lynch, êTim Berne, Matt Mitchell, Dan Weiss; Anna Webber, Teddy Klausner, Devin Gray • Dennis Joseph Trio Cavatappo Grill 9, 11 pm $10 Charlie Sepulveda, Jonathan Powell, Jimmy Bosch, Doug Beavers, Louis Fouche, Korzo 9, 10:30 pm • Terraza 7 Big Band Terraza 7 9 pm $10 Jeremy Powell, Ivan Renta, Luques Curtis, Vicente “Little Johnny” Rivero, • Voxecstatic: Mary Foster Conklin with Deanna Witkowski, Ed Howard; • Ken Simon Duo Cleopatra’s Needle 7 pm Camilo Molina, Nicky Marrero Rose Theater 8 pm $45-135 Paul Jost Quartet with Paul Jost, Jim Ridl, Dean Johnson, Tim Horner • Raquel Rivera Duo Tomi Jazz 9 pm $10 êDave Douglas Metamorphosis with Wadada Leo Smith, Oliver Lake, Marc Ribot, Cornelia Street Underground 8, 9:30 pm $10 • Leah Hinton Shrine 7 pm Myra Melford, Mark Dresser, Andrew Cyrille, Susie Ibarra êChampian Fulton; Miki Yamanaka/Adi Meyerson • Supermambo Guadalupe Inn 8 pm $5-10 The Appel Room 7, 9:30 pm $65-85 Mezzrow 8, 11 pm $20 êGeorge Coleman Birthday Celebration with Charles McPherson, Jeb Patton, êRemembering James Williams And Mulgrew Miller—MVP Jazz Quartet: Donald Brown, êTheo Hill Trio; Group; Jovan Alexandre David Wong, Chuck McPherson Jazz Standard 7:30, 9:30 pm $35 Ray Drummond, Marvin “Smitty” Smith, Bobby Watson Smalls 7:30, 10:30 pm 1 am $20 êCraig Taborn Quartet with Chris Speed, Chris Lightcap, Dave King Dizzy’s Club 7:30, 9:30 pm $45 • Saul Rubin Zebtet; Willie Martinez y La Familia; Craig Wuepper Village Vanguard 8:30, 10:30 pm $30 • Barry Stephenson Dizzy’s Club 11:30 pm $20 Fat Cat 7, 9 pm 12:30 am • Nicole Henry’s A Time For Love with David Cook, Ben Williams, Jonathan Barber, êSteve Coleman’s Reflex with Anthony Tidd, Sean Rickman • Sam Zerna Trio with Jay Rattman, Fabio Ragnelli; Caroline Davis Trio with John Tate, Avi Rothbard Dizzy’s Club 7:30, 9:30 pm $40 The Jazz Gallery 7:30, 9:30 pm $35-45 Jay Sawyer Bar Next Door 6:30, 8:30, 10:30 pm $12 • Barry Stephenson Dizzy’s Club 11:30 pm $10 • David Berkman Mezzrow 8 pm $20 • Sari Kessler with John di Martino, Yoshi Waki, Alvester Garnett • Charito and John di Martino Trio with Boris Kozlov, Mark Taylor êTommy Campbell Vocal-Eyes; Emmet Cohen Trio with Yasushi Nakamura, 55Bar 7 pm Birdland 6 pm $25 Jimmy Cobb; Brooklyn Circle: Stacy Dillard, Diallo House, Ismail Lawal • Angelo Di Loreto solo Jazz at Kitano 8 pm • John Pizzarelli Trio Birdland 8:30, 11 pm $50 Smalls 7:30, 10:30 pm 1 am $20 • Natalie Dietz Duo; Keri Johnsrud Tomi Jazz 8 11 pm $10 • Meshell Ndegeocello Iridium 8:30 pm $50 êWillie Jones III Quintet with Ralph Moore, Jeremy Pelt, Eric Reed, George Delancey • Adam Rogers, Matt Penman, Ben Perowsky and guests Smoke 7, 9, 10:30 pm $38 Wednesday, March 8 55Bar 10 pm • Cynthia Sayer/Conal Fowlkes Knickerbocker Bar and Grill 9:45 pm $3.50 êGuillermo Gregorio/Art Bailey Silvana 6 pm • Philip Dizack Minton’s 7 pm $10 êCharlie Hunter Rockwood Music Hall Stage 3 8:30 pm $15 êLou Donaldson Blue Note 8, 10:30 pm $35 êPerson2Person: Houston Person and Eric Person with Zaccai Curtis, Corcoran Holt, Friday, March 3 êGeorge Coleman Birthday Celebration with Yotam Silberstein, Mike LeDonne, McClenty Hunter Dizzy’s Club 7:30, 9:30 pm $35 John Webber, George Coleman, Jr. Jazz Standard 7:30, 9:30 pm $35 • Adam Moezinia Dizzy’s Club 11:30 pm $5 êEddie Palmieri—Celebrating 80 Years: Salsa Orchestrasè with Herman Olivera, êCraig Taborn Quartet with Chris Speed, Chris Lightcap, Dave King êJon Irabagon Organ Trio with Gary Versace, Nasheet Waits Nelson Gonzalez, Joseph Gonzalez, Brian Lynch, Charlie Sepulveda, Jonathan Powell, Village Vanguard 8:30, 10:30 pm $30 The Stone 8:30 pm $20 Jimmy Bosch, Doug Beavers, Luques Curtis, Vicente “Little Johnny” Rivero, • John Pizzarelli Trio Birdland 8:30, 11 pm $50 • Gino Sitson and Marie-Jo Thério Lycée Français de New York 7 pm $35 Camilo Molina, Nicky Marrero; Latin-Jazz Orchestra with Brian Lynch, • Eric Comstock/Jay Leonhart Birdland 6 pm • Guilherme Monteiro Bar Lunàtico 8:30, 10 pm $10 Charlie Sepulveda, Jonathan Powell, Jimmy Bosch, Doug Beavers, Louis Fouche, • Middle School Jazz Festival with guest Victor Lewis • Vicki Burns Quartet with Art Hirahara, Sam Bevan, Phil Stewart Jeremy Powell, Ivan Renta, Luques Curtis, Vicente “Little Johnny” Rivero, Brooklyn Music School 12 pm Jazz at Kitano 8, 10 pm $17 Camilo Molina, Nicky Marrero Rose Theater 8 pm $45-135 • Gabrielle Stravelli Trio with Michael Kanan, Pat O’Leary êGilad Hekselman; Tony Hewitt/Pete Malinverni êDjango A Gogo: Stephane Wrembel, Al Di Meola, Stochelo Rosenberg, Larry Keel, Cavatappo Grill 12 pm Mezzrow 8, 11 pm $20 Ryan Montbleau, David Gastine, Nick Anderson, Thor Jensen, Ari Folman Cohen • Owen Howard Trio with Jason Rigby, Matt Clohesy; Luke Sellick’s Alchemist with Auditorium 8 pm $19-175 Sunday, March 5 Chris Ziemba, Andrew Renfroe, Benny Benack III, Jordan Pettay, Billy Drummond êDave Douglas Metamorphosis with Wadada Leo Smith, Oliver Lake, Marc Ribot, Smalls 7:30, 10:30 pm $20 Myra Melford, Mark Dresser, Andrew Cyrille, Susie Ibarra êLouis and Ella!: Trent Armand Kendall and Natasha Yvette Williams with Eli Asher, êRaphael D’lugoff Trio +1; Harold Mabern Trio; Ned Goold Jam The Appel Room 7, 9:30 pm $65-85 Sean Nowell, Mark Berman Belden Bullock, Brian Floody Fat Cat 7, 9 pm 12:30 am êRemembering James Williams And Mulgrew Miller—MVP Jazz Quartet: Donald Brown, The Cutting Room 6:30 pm $20-25 • Grey McMurray with Clarice Jensen, Qasim Naqvi; Hank Roberts/Gerald Cleaver Ray Drummond, Marvin “Smitty” Smith, Bobby Watson êVic Juris Trio with , Billy Drummond; Le Boeuf Brothers Rye 9:30, 10:30 pm Dizzy’s Club 7:30, 9:30 pm $40 55Bar 6, 9:30 pm • Jon De Lucia Quartet with Greg Ruggiero, Sean Smith, Billy Mintz • Barry Stephenson Dizzy’s Club 11:30 pm $10 êPhoenix: Oscar Noriega, Jeff Parker, Dezron Douglas, Pheeroan akLaff Cornelia Street Underground 8, 9:30 pm $10 êSteve Coleman’s Reflex with Anthony Tidd, Sean Rickman The Stone 8:30 pm $20 • Kenny Brooks Duo Tomi Jazz 11 pm $10 The Jazz Gallery 7:30, 9:30 pm $35-45 • Chris Flory; John Merrill Mezzrow 8, 11 pm $20 • Roger Davidson Caffe Vivaldi 6:45 pm êJay Clayton/Sheila Jordan Bebop to Freebop with John di Martino, Cameron Brown • Ai Murakami Quartet with Sacha Perry, Zaid Nasser, Tyler Mitchell; Johnny O’Neal Trio • Brianna Paolino Guadalupe Inn 8 pm $5-10 Jazz at Kitano 8, 10 pm $32 with Ben Rubens, Itay Morchi; Richie Vitale Quintet; Hillel Salem êGary Burton/Makoto Ozone Duo Birdland 8:30, 11 pm $40 • David Berkman Mezzrow 8 pm $20 Smalls 4:30, 7:30, 10:30 pm 1 am $20 êBill Frisell Trio with Thomas Morgan, Rudy Royston êTardo Hammer Trio with Lee Hudson, Clifford Barbaro; Emmet Cohen Trio with • Terry Waldo’s Gotham City Band; Jade Synstelien’s Fat Cat Big Band; Village Vanguard 8:30, 10:30 pm $30 Yasushi Nakamura, Jimmy Cobb Smalls 7:30, 10:30 pm $20 Brandon Lewis/Renee Cruz Jam Fat Cat 6, 8:30 pm 1 am • Ben Wendel Group with Kevin Hays, Joe Martin, Kendrick Scott • Uri Vallès López Quintet; Jared Gold/Dave Gibson; Ray Gallon • Michael Mwenso’s Melting Pot with Chris Pattishall Jazz Standard 7:30, 9:30 pm $35 Fat Cat 6, 9 pm 1:30 am Joe’s Pub 9:30 pm $20 • Keyon Harrold and Friends with Nir Felder, Shedrick Mitchell, Burniss Travis and êWillie Jones III Quintet with Ralph Moore, Jeremy Pelt, Eric Reed, George Delancey • Jacob Varmus; Peyton Pleninger Williamsburg Music Center 9, 10:15 pm $10 guests Bilal, BIG K.R.I.T. Blue Note 8, 10:30 pm $25 Smoke 7, 9, 10:30 pm $38 • Art Lillard’s Heavenly Big Band Saint Peter’s 1 pm $10

42 MARCH 2017 | THE NEW YORK CITY JAZZ RECORD Thursday, March 9 êHighlights In Jazz—Salute to David Amram: Paquito D’Rivera; Jimmy Heath; Earl McIntyre; Bobby Sanabria; David Amram Quartet with Kevin Twigg, René Hart, at Cavatappo Grill Adam Amram Tribeca Performing Arts Center 8 pm $50 • Roy Haynes 92nd Birthday Celebration Blue Note 8, 10:30 pm $45 êBilly Hart Quartet with Mark Turner, Ethan Iverson, Ben Street Jazz Standard 7:30, 9:30 pm $30 êStanley Jordan Baryshnikov Arts Center 8 pm $25 Live Jazz Music êJon Irabagon Trio with Mark Helias, Barry Altschul The Stone 8:30 pm $20 • Victor Provost’s The Bright Eyes Project with Jacques Schwarz-Bart, Robert Rodriguez, Zach Brown, Ulysses Owens, Jr. The Jazz Gallery 7:30, 9:30 pm $15 every Tuesday (8-10 pm) êRed Baraat; Huntertones BRIC Media House 8 pm $18 • Willerm Delisfort; Spike Wilner Mezzrow 8, 11 pm $20 • Klemens Marktl Sextet with John Ellis, Tim Armacost, Joseph Doubleday, Dave Kikoski, Boris Kozlov; Mike Clark Group; Sarah Slonim with Endea Owens, & M’Balia Singley, Adam Moezinia, Ben Zweig Smalls 7:30, 10:30 pm 1 am $20 • Carlos Abadie Sextet; Greg Glassman Quintet; Ken Fowser Thursday (9-11 pm) Fat Cat 7, 10 pm 1:30 am • Gregor Huebner’s El Violin Latino with Klaus Mueller, Itaiguara Brandao, Jerome Goldschmidt Jazz at Kitano 8, 10 pm $17 • Stranaband: Colin Stranahan, Glenn Zaleski, Gilad Hekselman, Rick Rosato Cornelia Street Underground 8, 9:30 pm $10 Live piano every Monday (7-10 pm) • Ryan Carraher Group ShapeShifter Lab 7 pm $10 • Steve Shapiro ElectriQuartet Club Bonafide 7:30 pm $15 • Evan Sherman Big Band Ginny’s Supper Club 7:30, 9:30 pm $20 • Nicole Zuraitis 55Bar 7 pm • Hiromi Suda’s Nagi with , Anne Drummond, Julian Shore, “It’s a joy to create jazz in such a positive atmosphere and Haggai Cohen-Milo, Rogério Boccato Subrosa 7:30, 9:30 pm $20 to be so close to the people too! Enjoying a great bowl of pasta • Carolyn Leonhart Quintet with , Helen Sung Smoke 7, 9, 10:30 pm $12 listening to world class jazz is the only way to go” • Los Aliens: Ricardo Gallo, Andrés Jiménez, Sebastián Cruz, Dylan Kaminkow Jamaica Center for the Arts 8 pm $10 John Pizzarelli, Grammy-nominated guitarist and singer • Mark Sherman Duo City Winery 7 pm • Jeff Miles Trio with Julian Smith, Tim Bulkley; Nadav Remez Trio with Tamir Schmerling, Colin Stranahan Bar Next Door 6:30, 8:30, 10:30 pm $12 • Lady Got Chops Festival: Abbey Lincoln Tribute—Ghosts Appearing through the Sound: Kosi, Brendon Biagi, Aron Marchak, Christopher Hall, Isaiah Pierce WOW Café Theater 7:30 pm $15-20 • Sam Raderman Quartet Cavatappo Grill 9, 11 pm $10 Mondays with Roger Lent solo piano • Arnan Raz; Beekman Williamsburg Music Center 9, 10:15 pm $10 • MJ Territo Trio with David Pearl, Lee Marvin 7-10pm no cover Symphony Space Bar Thalia 9 pm • Greg Merritt Trio Tomi Jazz 9 pm $10 • Jason Prover Sneak Thievery Orchestra Radegast Hall 8 pm saturday brunch with Gabrielle Stravelli • Joel Fass Duo Cleopatra’s Needle 7 pm • MJ Territo Trio with David Pearl, Lee Marvin Symphony Space Bar Thalia 7 pm 12:30-3:30pm no cover • Salsondria Guadalupe Inn 8 pm $5-10 êCharlie Hunter Rockwood Music Hall Stage 3 8:30 pm $15 • Person2Person: Houston Person and Eric Person with Zaccai Curtis, Corcoran Holt, McClenty Hunter Dizzy’s Club 7:30, 9:30 pm $40 March 2nd - 9/11pm $10 COVER • Adam Moezinia Dizzy’s Club 11:30 pm $10 • Axel Tosca Laugart Birdland 6 pm $25 Dennis Joseph Trio • /Makoto Ozone Duo Birdland 8:30, 11 pm $40 • Bill Frisell Trio with Thomas Morgan, Rudy Royston Village Vanguard 8:30, 10:30 pm $30 • Jeremy Powell Silvana 6 pm • Gabe Condon Band Shrine 6 pm MARCH 7th - 6/8 pm $15 cover Friday, March 10 ***Bucky Pizzarelli Trio*** êAlternative Guitar Summit—Celebrating Pat Metheny: Nels Cline Trio with Jorge Roeder, Gerald Cleaver; Liberty Ellman/Miles Okazaki Quartet with Stephan Crump, Damion Reid; Trio with Michael Glam, Sameer Gupta; Joel Harrison String Choir with Liberty Ellman, Christian Howes, Zach Brock, March 9th - 9/11 pm $10 cover Tanya Kalmanovich, Hank Roberts; Nir Felder Trio with Matt Penman, Jimmy Macbride; Mike Moreno Trio with Doug Weiss, Kendrick Scott; Camila Meza/James Francies Le Poisson Rouge 6:30 pm $25 Sam Raderman Quartet êCharles Tolliver New Music Inc. with Bruce Edwards, Theo Hill, Essiet Essiet, Darrell Green Smoke 7, 9, 10:30 pm $38 êTed Nash Quintet with Warren Wolf, Gary Versace, , Matt Wilson Dizzy’s Club 7:30, 9:30 pm $40 MARCH 14th - 8/10 pm $10 cover • Adam Moezinia Dizzy’s Club 11:30 pm $10 • Brazilian Express with Maucha Adnet, Billy Drewes, Helio Alves, Matt Penman Jazz at Kitano 8, 10 pm $32 êJack Wilkins Trio with Andy McKee, Mike Clark ***Ken Peplowski Quartet*** Bar Next Door 7:30, 9:30, 11:30 pm $12 • Joan Belgrave BAMCafé 9 pm êJoanne Brackeen/Cecil McBee Knickerbocker Bar and Grill 9:45 pm $3.50 êEsa Pietila with David Lopato, Joe Fonda, Harvey Sorgen March 16th - 9/11 pm $10 cover The Loft of Thomas Rochon 7:30 pm $20 êJon Irabagon Ensemble with Tim Hagans, Hank Roberts, Matt Mitchell, Chris Lightcap, Mike Casey Trio Dan Weiss The Stone 8:30 pm $20 • Gerald Clayton Mezzrow 8 pm $20 • Bruce Williams Sextet with Josh Evans, Brandon McCune, Chris Berger, Vince Ector; Myron Walden Momentum Smalls 7:30, 10:30 pm $20 MARCH 21st - 8/10pm $5 cover • Emma Dayhuff; Chris Beck Quintet; Avi Rothbard Fat Cat 6, 9 pm 1:30 am • Charles Altura Quartet with James Francies, Rick Rosato, Marcus Gilmore Jam Session hosted by Mike Sailors The Jazz Gallery 7:30, 9:30 pm $22 • Peter Brendler Quartet with Walt Weiskopf, Zach Lapidus, Billy Drummond Cornelia Street Underground 9, 10:30 pm $10 • Ken Fowser Quintet The Django at The Roxy Hotel 7:30 pm March 23rd - 9/10 pm $10 cover êMara Rosenbloom Flyways with Anaïs Maviel, Adam Lane Ibeam Brooklyn 8 pm $15 Jon-Erik Kellso Quartet êEmmet Cohen Minton’s 7 pm $10 • Jonathan Powell/Louis Fouché Latin Project Ginny’s Supper Club 7:30, 9:30 pm $15 • Jocelyn Medina Group with Art Hirahara, Pete McCann, Evan Gregor, Mark Ferber; March 30TH - 9/10 pm $10 cover Greg DeAngelis Quintet Club Bonafide 7:30, 9:30 pm $10 • Dale Wilson Big Band with guest Fiete Felsch ShapeShifter Lab 8 pm $10 KING SOLOMON HICKS • Takenori Nishiuchi Tomi Jazz 9 pm $10 • Libby Richman Trio Cleopatra’s Needle 8 pm • De Lautaros Guadalupe Inn 8 pm $5-10 • Gabe Condon Band; Alita Moses Band Silvana 6, 7 pm Luca’s Jazz Corner • Roy Haynes 92nd Birthday Celebration Blue Note 8, 10:30 pm $45 êBilly Hart Quartet with Mark Turner, Ethan Iverson, Ben Street Jazz Standard 7:30, 9:30 pm $35 at Cavatappo Grill • Lady Got Chops Festival: Abbey Lincoln Tribute—Ghosts Appearing through the Sound: Kosi, Brendon Biagi, Aron Marchak, Christopher Hall, Isaiah Pierce WOW Café Theater 7:30 pm $15-20 1712 First Avenue - (212) 987-9260 êGary Burton/Makoto Ozone Duo Birdland 8:30, 11 pm $40 êBill Frisell Trio with Thomas Morgan, Rudy Royston Village Vanguard 8:30, 10:30 pm $30 êTessa Souter 55Bar 6 pm lucasjazzcorner.com

THE NEW YORK CITY JAZZ RECORD | MARCH 2017 43 Saturday, March 11 êBilly Hart Quartet with Mark Turner, Ethan Iverson, Ben Street • Jim Ridl; 55Bar 7, 10 pm Jazz Standard 7:30, 9:30 pm $35 • Dominic Miller Nublu 9 pm êAlternative Guitar Summit: Nels Cline solo; John Schott Trio with , • Lady Got Chops Festival: Abbey Lincoln Tribute—Ghosts Appearing through the Sound: êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 Aaron Alexander; Rafiq Bhatia with Rashaan Carter, Marcus Gilmore; Kosi, Brendon Biagi, Aron Marchak, Christopher Hall, Isaiah Pierce • The Great Trumpeters: New York Youth Symphony Jazz with guest Sean Jones Adam Rudolph’s Go Organic Guitar Orchestra with Miles Okazaki, Nels Cline, WOW Café Theater 7:30 pm $15-20 Dizzy’s Club 7:30, 9:30 pm $35 Joel Harrison, Liberty Ellman, David Gilmore, Damon Banks, Marco Cappelli êGary Burton/Makoto Ozone Duo Birdland 8:30, 11 pm $40 êPascal Niggenkemper solo; Pascal Niggenkemper/Nate Wooley Trio Nublu 8 pm $20 êBill Frisell Trio with Thomas Morgan, Rudy Royston ShapeShifter Lab 9:30 pm $10 êKenny Werner/Wadada Leo Smith Sheen Center for Thought & Culture 7:30 pm $25-50 Village Vanguard 8:30, 10:30 pm $30 • Alan Bjorklund Trio with Kim Cass, Kenny Grohowski êPeter Kuhn, Dave Sewelson, William Parker, Federico Ughi • Jason Green and Labor of Love with Yanko Valdes, Tom Papadatos Bar Lunàtico 8:30, 10 pm $10 5C Cultural Center 8 pm $10 55Bar 6 pm • Mark Whitfield Mezzrow 8 pm $20 êAkua Dixon Group with Richard Padron, Kenny Davis, Orion Turre êWeBop Family Jazz Party: Happy 100 Dizzy and Ella! • Andrew Gould Quartet with Steven Feifke, Marco Panascia, Jake Goldbas; Sistas’ Place 9, 10:30 pm $20 JALC Varis Leichtman Studio 1, 3 pm $35 Ari Hoenig Trio; Jonathan Barber Smalls 7:30, 10:30 pm 1 am $20 êInnova Recordings Showcase: Miya Masaoka Double Quartet; Eleonore Oppenheim; • Underground Horns Radegast Hall 3 pm • Ned Goold Quartet; Billy Kaye Jam Fat Cat 9 pm 12:30 am Mari Kimura; Bohemian Trio National Sawdust 7 pm $34 • Gabrielle Stravelli Trio with Art Hirahara, Pat O’Leary • Mark Phillips Trio with Hugh Stuckey, Sam Zerna; Nora McCarthy Trio with êLady Got Chops Festival: Kim Clarke and Friends Cavatappo Grill 12 pm Marvin Horne, Donald Nicks Bar Next Door 6:30, 8:30, 10:30 pm $12 BAMCafé 9 pm • Greg Chudzik solo; Andrew Smiley/Nick Podgurski êLady Got Chops Festival: Bertha Hope Nu Trio with Lady Cantreese Sunday, March 12 Delroy’s Café and Wine Bar 9, 10 pm $10 Farafina’s 8 pm • Oscar Hernandez Alma Libre Subrosa 8, 10 pm $15 • Mat Maneri Quartet with Lucian Ban, John Hébert, Randy Peterson êOutright!: Tim Hagans, Jon Irabagon, Uri Caine, Michael Formanek, Tyshawn Sorey êBenito Gonzalez Trio Terraza 7 8 pm $10 Cornelia Street Underground 9, 10:30 pm $10 The Stone 8:30 pm $20 • David Love Duo; Kazuya Araki Duo Tomi Jazz 8, 11 pm $10 • Larry Cooper Standard Experience with Orlando Le Fleming, Obed Calvaire • The Big Band with guest Hendrik Meurkens • Greg DeAngelis Silvana 6 pm The Drawing Room 7 pm $20 The Cutting Room 7:30 pm $20 • Stan Chovnick and Friends with Linda Presgrave, Mary Ann McSweeney, Seiji Ochiai • Gene Bertoncini The Drawing Room 7 pm $20 Tuesday, March 14 Club Bonafide 7:30 pm $15 • Michael Blanco Quartet with John Ellis, Kevin Hays, Clarence Penn • Vanderlei Pereira Quartet; Manuel Valera; Greg Glassman Jam Cornelia Street Underground 8:30, 10 pm $10 êKen Peplowski Quartet Cavatappo Grill 8, 10 pm $10 Fat Cat 7, 10 pm 1:30 am • Jay Leonhart; John Merrill Mezzrow 8, 11 pm $20 êBill Frisell Quartet with Gerald Clayton, Thomas Morgan, Rudy Royston • Jan Sturiale Trio with Miha Koren, Klemens Marktl • Ai Murakami Quartet with Sacha Perry, Zaid Nasser, Tyler Mitchell; Lezlie Harrison; Village Vanguard 8:30, 10:30 pm $30 Bar Next Door 7:30, 9:30, 11:30 pm $12 Jerry Weldon Group; Hillel Salem Smalls 4:30, 7:30, 10:30 pm 1 am $20 • Kurt Rosenwinkel’s Caipi with Pedro Martins, Olivia Trummer, Antonio Loureiro, • Eva Novoa/Manel Fortià; Eva Novoa Trio with Kim Cass, Devin Gray; Analog Sextet: • Terry Waldo’s Gotham City Band; Willie Applewhite Quintet; Frederico Heliodoro, Bill Campbell Birdland 8:30, 11 pm $40 Sarah Bernstein, Dave Scott, Sean Sonderegger, Eva Novoa, Max Johnson, Brandon Lewis/Renee Cruz Jam Fat Cat 6, 8:30 pm 1 am • Maurice Brown’s The Mood with Chelsea Baratz, Chad Selph, Antoine Katz, Jeff Hirshfield Ibeam Brooklyn 7:30 pm $15 • Adam Larson Band with Can Olgun, Matt Penman, Kendrick Scott Marcus Machado, Joe Blaxx Jazz Standard 7:30, 9:30 pm $25 • Sirius Quartet: Fung Chern Hwei, Gregor Huebner, Ron Lawrence, Jeremy Harman and 55Bar 9:30 pm • Diego Schissi Quinteto with Santiago Segret, Guillermo Rubino, Ismael Grossman, guests Jon Irabagon, Myra Melford The Stone 8:30 pm $20 • Corey Wallace DubTrio Williamsburg Music Center 9 pm $10 Juan Pablo Navarro Dizzy’s Club 7:30, 9:30 pm $30 • Curtis Macdonald Trio with David Bryant, Craig Weinrib; Uri Gurvich Quartet with • Rob Price, Ben Gallina, Andy O’Neill; Nicolas Letman-Burtinovic Trio • Bruce Harris Dizzy’s Club 11:30 pm $5 Leo Genovese, Edward Perez, Francisco Mela Downtown Music Gallery 6, 7 pm • Mike Longo’s NY State of the Art Jazz Ensemble The Cell 8, 9:30 pm • New York Jazzharmonic: Jay Rattman, Chris Ziemba, Ron Wasserman and guests NYC Baha’i Center 8, 9:30 pm $15 • Lena Bloch, Russ Lossing, Cameron Brown Jim Saporito, Harrison HollingsworthSymphony Space Bar Thalia 7 pm • Stan Killian; David Binney Quartet with Matt Mitchell, Eivind Opsvik, Dan Weiss The Treehouse 8 pm $10 • Akemi Yamada Trio Tomi Jazz 8 pm $10 55Bar 7, 10 pm • Lathan Hardy, Flin van Hemmen, Sean Ali; Jeremiah Cymerman solo; • Alex Simon Gypsy Swing Ensemble • Megan Schubert, Lisa Karrer, Denman Maroney, Ratzo Harris, David Simons Shayna Dulberger/Anaïs Maviel New Revolution Arts 8 pm Radegast Hall 7 pm The Stone 8:30 pm $20 • Kathryn Allyn Duo; Standard Procedures; Sein Oh Trio êCharles Tolliver New Music Inc. with Bruce Edwards, Theo Hill, Essiet Essiet, • Test Subjects: Billy Test, Marc Mommaas, Ron Horton, Marty Kenney, Curtis Nowosad; Tomi Jazz 6, 8, 11 pm $10 Darrell Green Smoke 7, 9, 10:30 pm $38 Curtis Nowosad Quintet with Duane Eubanks, Andrew Renfroe, Michael King, • Kayo Hiraki Trio Cleopatra’s Needle 8 pm êTed Nash Quintet with Warren Wolf, Gary Versace, Rufus Reid, Matt Wilson Barry Stephenson Cornelia Street Underground 8, 9:30 pm $10 • Kumbakin Guadalupe Inn 8 pm $5-10 Dizzy’s Club 7:30, 9:30 pm $45 • Jan Sturiale Trio with Miha Koren, Klemens Marktl êCharles Tolliver New Music Inc. with Bruce Edwards, Theo Hill, Essiet Essiet, • Roy Haynes 92nd Birthday Celebration ShapeShifter Lab 7 pm $10 Darrell Green Smoke 7, 9, 10:30 pm $38 Blue Note 8, 10:30 pm $45 • Steven Frieder Quintet with Jon Irabagon, Mike Eckroth, Luca Rosenfeld, Bob Meyer êTed Nash Quintet with Warren Wolf, Gary Versace, Rufus Reid, Matt Wilson êBilly Hart Quartet with Mark Turner, Ethan Iverson, Ben Street Metropolitan Room 7 pm $24 Dizzy’s Club 7:30, 9:30 pm $45 Jazz Standard 7:30, 9:30 pm $30 • Katsuko Tanaka/Lonnie Plaxico; Miki Yamanaka/Adi Meyerson • Adam Moezinia Dizzy’s Club 11:30 pm $20 êBill Frisell Trio with Thomas Morgan, Andrew Cyrille Mezzrow 8, 11 pm $20 • Duduka Da Fonseca Brazilian Express with Maucha Adnet, Billy Drewes, Helio Alves, Village Vanguard 8:30, 10:30 pm $30 • Spike Wilner Trio with Tyler Mitchell, Anthony Pinciotti; Steve Nelson Group; Matt Penman Jazz at Kitano 8, 10 pm $32 • Joe Alterman Trio with Nathaniel Schroeder, Doug Hirlinger Jon Beshay Smalls 7:30, 10:30 pm 1 am $20 êJoanne Brackeen/Cecil McBee Knickerbocker Bar and Grill 9:45 pm $3.50 Birdland 6 pm $30 • Saul Rubin Zebtet; Peter Brainin Latin Jazz Workshop • Gerald Clayton Mezzrow 8 pm $20 • Mike Forfia Quartet Saint Peter’s 5 pm Fat Cat 7, 9 pm • Bruce Williams Sextet with Josh Evans, Brandon McCune, Chris Berger, Vince Ector; • Roz Corral Trio with Josh Richman, Jay Leonhart • Prawit Siriwat Trio with Daniel Durst, Mario Irigoyen; Aleksi Glick Trio with Shari Hassan, Myron Walden Momentum; Philip Harper Quintet North Square Lounge 12:30, 2 pm Ben Zweig Bar Next Door 6:30, 8:30, 10:30 pm $12 Smalls 7:30, 10:30 pm 1 am $20 • Jay G. Seiden Jazz at Kitano 8 pm • Charles Altura Quartet with James Francies, Rick Rosato, Kendrick Scott Monday, March 13 • Ayaka Duo; Yukiyo Masuda; Ian Bass Duo The Jazz Gallery 7:30, 9:30 pm $22 Tomi Jazz 8, 9:40, 11 pm $10 • Roy Haynes 92nd Birthday Celebration êWomen’s Jazz Festival—Ella, Ella A Centennial Celebration of Mama Jazz!: • Andrew Schiller Silvana 6 pm Blue Note 8, 10:30 pm $45 Terri Lyne Carrington and guests Schomburg Center 7 pm $30

Piano Masters: 10% OFF Toshiko Akiyoshi use (gener JR10 & al tickets only) MAR 31 | FRI | 8 PM @ FLUSHING TOWN HALL

Two NEA Jazz Master pianists Toshiko Akiyoshi and Barry Harris perform together in a piano duo of classic jazz standards and original arrangements riffing, complementing, and answering each other in melodic and harmonious responses.

Tickets: $42/$32 Members/$20 Students; Table Package: $125/$100 Members (Reserved Table for 2, Wine & Snacks)

www..ushingtownhall.org (718) 463-7700 x222 137-35 Northern Blvd. Flushing NY 11354

44 MARCH 2017 | THE NEW YORK CITY JAZZ RECORD êMusette Explosion: Will Holshouser, Marcus Rojas, Matt Munisteri êBrianna Thomas Ginny’s Supper Club 7:30, 9:30 pm $20 Wednesday, March 15 Owl Music Parlor 7:30 pm $10 • Michael Weiss Mezzrow 8 pm $20 êAlternative Guitar Summit—Guitars From Heaven and Hell: Dither Guitar Quartet Plays • Kevin Sun New Trio with Walter Stinson, Matt Honor êMichael Cochrane Lines of Reason with Joe Ford, Marcus McLaurine, Alan Nelson; Fred Frith; Steve Mackey/Jason Treuting; Joel Harris Resophonic Guitar Orchestra with The Jazz Gallery 7:30, 9:30 pm $15 Freddie Hendrix Quartet with Davis Whitfield, Alexander Claffy, Mark Whitfield, Jr.; Elliott Sharp, Brandon Ross, Dither; Steven Bernstein Blue Campfire with Dave Tronzo, • Igor Lumpert Innertextures with Jonathan Finlayson, Chris Dingman, Drew Gress, Brooklyn Circle: Stacy Dillard, Diallo House, Ismail Lawal Steve Cardenas and guest National Sawdust 7 pm $34 Kenny Grohowski Cornelia Street Underground 8, 9:30 pm $10 Smalls 7:30, 10:30 pm 1 am $20 êKenny Barron Quintet with Mike Rodriguez, Dayna Stephens, Kiyoshi Kitagawa, • Ross Kratter Electric Project with Bob Franceschini, Yuri Juárez, Mark Sundermeyer, êAlexis Cole/David Finck Knickerbocker Bar and Grill 9:45 pm $3.50 Johnathan Blake Jazz Standard 7:30, 9:30 pm $35 Sam Gautier Club Bonafide 7:30 pm $10 • Lady Got Chops Festival: Abbey Lincoln Tribute—Ghosts Appearing through the Sound: êStephan Crump’s Rhombal with Ellery Eskelin, Adam O’Farrill, Tyshawn Sorey • Mark Sherman Duo City Winery 7 pm Kosi, Brendon Biagi, Aron Marchak, Christopher Hall, Isaiah Pierce Cornelia Street Underground 8, 9:30 pm $10 • Valentina Marino Quintet with Jay Azzolina, Max Zooi, Cameron Brown, WOW Café Theater 7:30 pm $15-20 êRoberta Gambarini Blue Note 8, 10:30 pm $35 Anthony Pinciotti Jazz at Kitano 8, 10 pm $17 êKenny Barron Quintet with Mike Rodriguez, Dayna Stephens, Kiyoshi Kitagawa, • Melissa Stylianou; Mike Stern 55Bar 7, 10 pm • Peter Amos Trio with Dave Hassell, Tim Talavera; Tony Mata Trio with Jordan Ponzi, Johnathan Blake Jazz Standard 7:30, 9:30 pm $35 êMark Elf; Tony Hewitt/Pete Malinverni Abinnet Berhanu Bar Next Door 6:30, 8:30, 10:30 pm $12 êRoberta Gambarini Blue Note 8, 10:30 pm $35 Mezzrow 8, 11 pm $20 • Mike Casey Trio Cavatappo Grill 9, 11 pm $10 êBill Frisell Quartet with Gerald Clayton, Thomas Morgan, Rudy Royston • Dave Glasser Quartet with Tardo Hammer, Lee Hudson, Clifford Barbaro; • Dor Sagi Symphony Space Bar Thalia 9 pm Village Vanguard 8:30, 10:30 pm $30 Harold Mabern Trio Smalls 7:30, 10:30 pm $20 • Gordon’s Grand Street Stompers Radegast Hall 9 pm • Kurt Rosenwinkel’s Caipi with Pedro Martins, Olivia Trummer, Antonio Loureiro, • Raphael D’lugoff Trio +1; Don Hahn/Mike Camacho Band; Ned Goold Jam • Lady Got Chops Festival: Abbey Lincoln Tribute—Ghosts Appearing through the Sound: Frederico Heliodoro, Bill Campbell Birdland 8:30, 11 pm $40 Fat Cat 7, 9 pm 12:30 am Kosi, Brendon Biagi, Aron Marchak, Christopher Hall, Isaiah Pierce • Rocco John Quartet Caffe Vivaldi 6 pm êAaron Goldberg Trio with Yasushi Nakamura, Leon Parker WOW Café Theater 7:30 pm $15-20 • Nick Di Maria Silvana 6 pm Dizzy’s Club 7:30, 9:30 pm $30 • Linda Presgrave Quartet with Stan Chovnick, Dimitri Moderbacher, Seiji Ochiai • The Cameraman: Vince Giordano and The Nighthawks • Bruce Harris Dizzy’s Club 11:30 pm $5 Tomi Jazz 9 pm Town Hall 3 pm $25-35 êWRY: Tim Berne, John Hébert, Ches Smith • Dan Furman Duo Cleopatra’s Needle 7 pm • Glenn Crytzer Quintet Minton’s 12 pm $10 Rye 9:30, 10:30 pm • Ed Martinez Guadalupe Inn 8 pm $5-10 êalt.times: Denman Maroney, Ratzo Harris, Bob Meyer êKenny Barron Quintet with Mike Rodriguez, Dayna Stephens, Kiyoshi Kitagawa, Sunday, March 19 The Stone 8:30 pm $20 Johnathan Blake Jazz Standard 7:30, 9:30 pm $35 êHarvey Diamond Trio with Marcus McLaurine, Satoshi Takeishi êRoberta Gambarini Blue Note 8, 10:30 pm $35 êRalph Alessi This Against That with Ravi Coltrane, Andy Milne, John Hébert, Jazz at Kitano 8, 10 pm $17 êAaron Goldberg Trio with Yasushi Nakamura, Leon Parker Mark Ferber Jazz Standard 7:30, 9:30 pm $25 • El Ombligo: Santiago Botero, Kike Mendoza, Ricardo Gallo, Andrés Jiménez Dizzy’s Club 7:30, 9:30 pm $35 êalt.times: Denman Maroney, Ratzo Harris, Bob Meyer Terraza 7 8 pm $10 • Bruce Harris Dizzy’s Club 11:30 pm $10 The Stone 8:30 pm $20 • Matt Gordeuk Duo Tomi Jazz 11 pm $10 êBill Frisell Quartet with Gerald Clayton, Thomas Morgan, Rudy Royston • Neal Kirkwood; John Merrill Mezzrow 8, 11 pm $20 • Mike Sailors Guadalupe Inn 8 pm $5-10 Village Vanguard 8:30, 10:30 pm $30 • Ai Murakami Quartet with Sacha Perry, Zaid Nasser, Tyler Mitchell; Johnny O’Neal Trio êBill Frisell Quartet with Gerald Clayton, Thomas Morgan, Rudy Royston • Boris Strulev Birdland 6 pm $25 with Ben Rubens, Itay Morchi; David Gibson Quintet with Bruce Williams, Theo Hill, Village Vanguard 8:30, 10:30 pm $30 • Kurt Rosenwinkel’s Caipi with Pedro Martins, Olivia Trummer, Antonio Loureiro, Alexander Claffy, Anwar Marshall; Hillel Salem • Kurt Rosenwinkel’s Caipi with Pedro Martins, Olivia Trummer, Antonio Loureiro, Frederico Heliodoro, Bill Campbell Birdland 8:30, 11 pm $40 Smalls 4:30, 7:30, 10:30 pm 1 am $20 Frederico Heliodoro, Bill Campbell Birdland 8:30, 11 pm $40 • Chris Bacas Silvana 6 pm • Terry Waldo’s Gotham City Band; Michael Thomas; Brandon Lewis/Renee Cruz Jam • Drew Cooper Silvana 6 pm • Joe Pino Quintet Shrine 6 pm Fat Cat 6, 8:30 pm 1 am • Mary Foster Conklin/Deanna Witkowski • Kathryn Christie Quartet with Q Morrow, Matt Aronoff, Ross Pederson, Helio Alves Saint Peter’s 1 pm $10 Cornelia Street Underground 8:30, 10 pm $10 Friday, March 17 • Dana Saul Trio; Nathan Bellott Quartet Williamsburg Music Center 9, 10:15 pm $10 Thursday, March 16 • Kannapolis—A Moving Portrait: Jenny Scheinman with Robbie Fulks, Robbie Gjersoe, • Yuko Ito Trio Tomi Jazz 8 pm $10 êPeter Kuhn, Dave Sewelson, William Parker, Leonid Glaganov Bill Frisell, Danny Barnes Met Museum Grace Rainey Rogers Auditorium 8 pm $40 êBaby, Dream Your Dream—Dorothy Fields and the Women of the American Songbook: Muchmore’s 9 pm $10 êFree To Be—Jazz of the ‘60s & Beyond: Jazz at Lincoln Center Orchestra Deborah Grace Winer, John Oddo, Marilyn Maye, Kenita Miller, Nancy Opel, • Eric Comstock/Barbara Fasano Neue Galerie 7 pm $65 Rose Theater 8 pm $45-135 Margo Seibert, Emily Skinner 92nd Street Y 2, 7 pm $60 êSylvie Courvoisier/Mary Halvorson; Sylvie Courvoisier/Mark Feldman êHeads of State: Gary Bartz, , David Williams, êHeads of State: Gary Bartz, Larry Willis, David Williams, Al Foster Greenwich House Music School 7:30 pm $20 Smoke 7, 9, 10:30 pm $45 Smoke 7, 9, 10:30 pm $45 êUdentity: Denman Maroney, Nate Wooley, Ned Rothenberg, Reuben Radding, êMichele Rosewoman’s New Yor-Uba with Alex Norris, Roman Filiu, Stacy Dillard, • Michele Rosewoman’s New Yor-Uba with Alex Norris, Roman Filiu, Stacy Dillard, Michael Sarin The Stone 8:30 pm $20 Chris Washburne, Gregg August, Robby Ameen, Mauricio Herrera, Nicky Laboy, Chris Washburne, Gregg August, Robby Ameen, Mauricio Herrera, Nicky Laboy, êDavid Weiss Sextet with Myron Walden, David Bryant, Luques Curtis, E.J. Strickland Rafael Monteagudo, Nina Rodriguez Dizzy’s Club 7:30, 9:30 pm $40 Rafael Monteagudo, Nina Rodriguez Dizzy’s Club 7:30, 9:30 pm $35 Smoke 7, 9, 10:30 pm $12 • Bruce Harris Dizzy’s Club 11:30 pm $10 êRoberta Gambarini Blue Note 8, 10:30 pm $35 êRed Baraat Le Poisson Rouge 7:30 pm $20 êJoe Locke Birthday Bash Quartet with Jim Ridl, Lorin Cohen, Samvel Sarkisyan êBill Frisell Trio with Thomas Morgan, Rudy Royston • Interpretations: Gisburg; David Behrman Jazz at Kitano 8, 10 pm $32 Village Vanguard 8:30, 10:30 pm $30 Roulette 8 pm $20 êBrianna Thomas Ginny’s Supper Club 7:30, 9:30 pm $20 • Eric Comstock/Barbara Fasano Birdland 6 pm $30 • Bill O’Connell; Spike Wilner Mezzrow 8, 11 pm $20 • Michael Weiss Mezzrow 8 pm $20 • Aaron Zarzutzki; Julie Kirshner Downtown Music Gallery 6 pm • Behn Gillece Quartet with Nate Radley, Ugonna Okegwo, Jason Tiemann; • Andy Fusco Quintet with John Hart, James Navan, Bill Moring, Marcello Carelli; • Arturo O’Farrill Boss Level Sextet Saint Peter’s 5 pm Ed Cherry Trio with Kyle Koehler, Anwar Marshall Freddie Hendrix Quartet with Davis Whitfield, Alexander Claffy, Mark Whitfield, Jr. • Hilary Gardner Trio with Greg Ruggerio, Joel Forbes Smalls 7:30, 10:30 pm $20 Smalls 7:30, 10:30 pm $20 North Square Lounge 12:30, 2 pm • Lawrence Clark Fat Cat 10 pm êDenman Maroney, Lisa Karrer, Nate Wooley, Arthur Kell, David Simons; • Dandy Wellington Minton’s 12 pm $10 Denman Maroney, Arthur Kell, , Herb Robertson, David Simons The Stone 8:30 pm $20 êDave Chamberlain Band of Bones Zinc Bar 8 pm $20 êSheryl Bailey Trio with Ron Oswanski, Anthony Pinciotti Bar Next Door 7:30, 9:30, 11:30 pm $12 • Grupo Los Santos: Paul Carlon, Pete Smith, David Ambrosio, William “Beaver” Bausch, Max Pollack Club Bonafide 7:30 pm $15 • Song Yi Jeon, Vitor Gonçalves, Rogério Boccato; Song Yi Jeon Quintet with Song Yi Jeon, Vitor Gonçalves, Kenji Herbert, Rick Rosato, Alex Wyatt Cornelia Street Underground 9, 10:30 pm $10 • Ken Fowser Quintet The Django at The Roxy Hotel 7:30 pm • Daniel Bennett Group; Colleen Clark Collective Rockwood Music Hall Stage 3 8:30, 11:30 pm $10 êAlexis Cole/David Finck Knickerbocker Bar and Grill 9:45 pm $3.50 • Scot Albertson Trio with Lee Tomboulian, Ron Jackson Café Noctambulo 8 pm $15 • Josh Lawrence Color Theory Minton’s 7 pm $10 • Kuni Mikami Trio Tomi Jazz 9 pm $10 • Kate Cosco Trio Cleopatra’s Needle 8 pm • De Lautaros Guadalupe Inn 8 pm $5-10 Dave Chamberlain’s • Lady Got Chops Festival: Abbey Lincoln Tribute—Ghosts Appearing through the Sound: Kosi, Brendon Biagi, Aron Marchak, Christopher Hall, Isaiah Pierce WOW Café Theater 7:30 pm $15-20 êKenny Barron Quintet with Mike Rodriguez, Dayna Stephens, Kiyoshi Kitagawa, Johnathan Blake Jazz Standard 7:30, 9:30 pm $35 BAND of BONES ê Roberta Gambarini Blue Note 8, 10:30 pm $35 Presents an êBill Frisell Quartet with Gerald Clayton, Thomas Morgan, Rudy Royston Village Vanguard 8:30, 10:30 pm $30 All Latin-Jazz Show • Kurt Rosenwinkel’s Caipi with Pedro Martins, Olivia Trummer, Antonio Loureiro, Samba, Cha-cha-cha, Frederico Heliodoro, Bill Campbell Birdland 8:30, 11 pm $40 Bossa, Mambo, Latin-Jazz Saturday, March 18 êBaby, Dream Your Dream—Dorothy Fields and the Women of the American Songbook: Deborah Grace Winer, John Oddo, Marilyn Maye, Kenita Miller, Nancy Opel, Margo Seibert, Emily Skinner 92nd Street Y 8 pm $60 êPhantom Station: Brandon Ross, David Virelles, JT Lewis Friday March 17th The Jazz Gallery 7:30, 9:30 pm $22 êMichaël Attias Quartet with Aruán Ortiz, John Hébert, Nasheet Waits Cornelia Street Underground 9, 10:30 pm $10 8:00-9:30 PM êDuos: Denman Maroney, Mark Dresser, Hans Tammen The Stone 8:30 pm $20 • Tulivu Donna Cumberbatch Sistas’ Place 9, 10:30 pm $20 • Jackie Gage Quartet; Michael Thomas Septet ZINC BAR The Cell 8, 9:30 pm 82 West 3rd Street • Jostein Gulbrandsen Trio with Andrea Veneziani, Mark Ferber Bar Next Door 7:30, 9:30, 11:30 pm $12 $20 Admission • Steve Blum Trio; Camille Thurman; Greg Glassman Jam Fat Cat 7, 10 pm 1:30 am • Nir Naaman Quartet Club Bonafide 7:30 pm $15 call 646-373-5372 for info • Steve Carrington Minton’s 7 pm $10 • Benjamin Serveney Trio; Daniel Bennett Group; Paul Lee Trio www.bandofbones.com Tomi Jazz 6, 8, 11 pm $10 • Katsuko Tanaka Trio with Jaimeo Brown www.zincbar.com Hillstone 6:30 pm • Allan Rosenthal Trio Cleopatra’s Needle 8 pm • Salsondria Guadalupe Inn 8 pm $5-10 êFree To Be—Jazz of the ‘60s & Beyond: Jazz at Lincoln Center Orchestra Three CDs available Rose Theater 8 pm $45-135 êHeads of State: Gary Bartz, Larry Willis, David Williams, Al Foster at cdbaby.com: Smoke 7, 9, 10:30 pm $45 êMichele Rosewoman’s New Yor-Uba with Alex Norris, Roman Filiu, Stacy Dillard, Band of Bones, Caravan Chris Washburne, Gregg August, Robby Ameen, Mauricio Herrera, Nicky Laboy, Rafael Monteagudo, Nina Rodriguez Dizzy’s Club 7:30, 9:30 pm $45 and Stomp • Bruce Harris Dizzy’s Club 11:30 pm $20 êJoe Locke Birthday Bash Quartet with Jim Ridl, Lorin Cohen, Samvel Sarkisyan Jazz at Kitano 8, 10 pm $32

THE NEW YORK CITY JAZZ RECORD | MARCH 2017 45 Monday, March 20 • Spike Wilner Trio with Tyler Mitchell, Anthony Pinciotti; Lucas Pino Nonet; Thursday, March 23 Jovan Alexandre Smalls 7:30, 10:30 pm 1 am $20 êWomen’s Jazz Festival—Ella, Ella A Centennial Celebration of Mama Jazz! • Saul Rubin Zebtet Fat Cat 7 pm êElla! A Centennial Celebration: Andrea Frierson and Trio Schomburg Center 7 pm • Sagi Kaufman Trio with Yoav Eshed, Noam Israeli; Casey Berman Trio with The Apollo 6:30 pm êMcCoy Tyner Blue Note 8, 10:30 pm $45 Martin Nevin, Jason Burger Bar Next Door 6:30, 8:30, 10:30 pm $12 êYo La Tengo with guests Chad Taylor, Amy Garapic, , Mary Halvorson, êTomeka Reid Quartet with Mary Halvorson, Jason Roebke, Tomas Fujiwara • Juilliard Composer’s Ensemble led by Dave Douglas Terry Adams, Vincent Chancey, Roswell Rudd, Daniel Carter, Taylor Ho Bynum Roulette 8 pm $20 Juilliard School Paul Hall 7:30 pm Town Hall 8 pm $45-55 êMike Stern 55Bar 10 pm • Micah Thomas Jazz at Kitano 8 pm êStanley Cowell Quartet with Jay Anderson, Billy Drummond, Bruce Williams êMichael Bisio Accortet with Kirk Knuffke, Art Bailey, Michael Wimberly • Fima Chupakkin Duo; Miki Yohoyama Duo Dizzy’s Club 7:30, 9:30 pm $40 Dizzy’s Club 7:30, 9:30 pm $30 Tomi Jazz 9:40, 11 pm $10 • Patrick Bartley Dizzy’s Club 11:30 pm $10 êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 • Jhoe Garay Guitar Trio; Julia Karosi Quartet êSteve Kuhn 79th Birthday Celebration with David Wong, Billy Drummond • David Hazeltine Mezzrow 8 pm $20 Silvana 6, 7 pm Jazz Standard 7:30, 9:30 pm $30 • Adam Larson Quartet with Can Olgun, Matt Penman, Obed Calvaire; Ari Hoenig Trio; • Elise Wood Duo Shrine 6 pm êSonelius Smith Duo Cleopatra’s Needle 7 pm Jonathan Michel with Mike Troy, Savannah Harris êHenry Butler Bar Lunàtico 8:30, 10 pm $10 Smalls 7:30, 10:30 pm 1 am $20 Wednesday, March 22 êJohnny O’Neal Ginny’s Supper Club 7:30, 9:30 pm $20 • George Braith; Billy Kaye Jam Fat Cat 9 pm 12:30 am êBill Ware Duo City Winery 7 pm • Alan Kwan Trio with Dustin Kiselbach, Tanguy Stevenart; Tammy Scheffer Trio with • Brooklyn Hospital Center Benefit: Norah Jones êRoger Kellaway/Peter Beets Sheen Center for Thought & Culture 7:30 pm $25-50 Max ZT, Joshua Davis Bar Next Door 6:30, 8:30, 10:30 pm $12 The Bell House 8 pm $100 êNeal Smith Quartet with Donald Vega, Dezron Douglas and guest • Yuri Juarez Group Bar Lunàtico 8:30, 10 pm $10 êDissonant Geranium: Miya Masaoka, Ken Filiano, Robert Dick Smoke 7, 9, 10:30 pm $12 • Charlie Burnham/Joanna Sternberg The Stone 8:30 pm $20 êTiffany Chang/Robert Dick The Stone 8:30 pm $20 Delroy’s Café and Wine Bar 9, 10 pm $10 êImages of Monk: Ted Rosenthal, Mike Rodriguez, Joel Frahm, Martin Wind, John Riley • Yuka Mito Quartet with Allen Farnham, Dean Johnson • Juilliard Jazz Ensembles Zinc Bar 7;30, 9:30 pm Riverdale Y 7:30 pm $35 Jazz at Kitano 8, 10 pm $17 • Josh Deutsch Terraza 7 8:30 pm $10 êDayna Stephens Group with Taylor Eigsti, Peter Bernstein, Larry Grenadier, êAlan Ferber Nonet with Philip Dizack, Loren Stillman, Lucas Pino, Charles Pillow, • Bill Stevens, Corey Larson, Paul Pricer; Shoko Igarashi Duo Eric Harland Jazz Standard 7:30, 9:30 pm $25 Nir Felder, Bryn Roberts, Matt Pavolka, Mark Ferber Tomi Jazz 8, 11 pm $10 • Tynan Davis with Kenny Rampton, Clark Gayton, Ted Nash, Dan Block, Paul Nedzela, Cornelia Street Underground 8, 9:30 pm $10 êBaby, Dream Your Dream—Dorothy Fields and the Women of the American Songbook: Ray Gallon, Jeff Carney, Jerome Jennings • Tuomo Uusitalo Quartet Club Bonafide 7:30 pm $10 Deborah Grace Winer, John Oddo, Marilyn Maye, Kenita Miller, Nancy Opel, Dizzy’s Club 7:30, 9:30 pm $35 • Dominant Funktion: Kevon Scott, Scott Bell, Darion Roberts, Kertron Mackey, Margo Seibert, Emily Skinner 92nd Street Y 2, 7:30 pm $60 • Patrick Bartley Dizzy’s Club 11:30 pm $5 Francisco Moraga, Stefano Genova, Damian Chambers • Julio Botti Shrine 6 pm • Massimo Farao; Tony Hewitt/Pete Malinverni ShapeShifter Lab 7 pm $8 Mezzrow 8, 11 pm $20 • Michael Mwenso and The Shakes with Vuyo Sotashe, Mathis Picard, Kyle Poole, Tuesday, March 21 • Chet Doxas Quartet with Jacob Sacks, Zack Lober, Vinnie Sperrazza; Nick Finzer Sextet Russell Hall, Michela Marino Lerman Greenwich House Music School 8 pm $15 with Lucas Pino, Alex Wintz, Chris Ziemba, Dave Baron, Jimmy Macbride • Nerissa Campbell’s After The Magic with Desmond White, Kush Abadey, Sarah Mullins, êTrio 3 +1: Oliver Lake, Marc Cary, Reggie Workman, Andrew Cyrille Smalls 7:30, 10:30 pm $20 Suzanne La The Jazz Gallery 7:30, 9:30 pm $15 Village Vanguard 8:30, 10:30 pm $30 • Raphael D’lugoff Trio +1; Ned Goold Jam • Justin Kauflin; Spike Wilner Mezzrow 8, 11 pm $20 • Roy Hargrove Quintet Blue Note 8, 10:30 pm $35 Fat Cat 7 pm 12:30 am • Willy Rodriguez Group; Carlos Abadie Quintet; Sarah Slonim with Endea Owens, êThe Tristano Project: Helen Sung, Greg Osby, Jaleel Shaw, Ben Allison, Matt Wilson êNancy Valentine Quartet with Harry Allen, John di Martino, Boris Kozlov, Mark Taylor M’Balia Singley, Adam Moezinia, Ben Zweig Birdland 8:30, 11 pm $40 Jazz at Kitano 8, 10 pm $17 Smalls 7:30, 10:30 pm 1 am $20 êClaire Daly Quintet Dizzy’s Club 7:30, 9:30 pm $35 • Sebastian Noelle Quintet with Marc Mommaas, Matt Mitchell, Matt Clohesy, Dan Weiss êJon-Erik Kellso Quartet Cavatappo Grill 9, 11 pm $10 • Patrick Bartley Dizzy’s Club 11:30 pm $5 Cornelia Street Underground 8, 9:30 pm $10 • NanJo Lee Trio with Matt Clohesy, Craig Weinrib; Perry Smith with Ben Wolfe, • Maurice Brown’s Love Potion with Marcus Strickland, James Francies, Ben Williams, • Angela Carlucci; Ideal Bread: Josh Sinton, Kirk Knuffke, Adam Hopkins, Dan Schnelle Bar Next Door 6:30, 8:30, 10:30 pm $12 Marcus Machado, Joe Blaxx, Chris Turner Tomas Fujiwara Rye 9:30, 10:30 pm • Benjamin Furman; Ken Ychicawa Williamsburg Music Center 9, 10:15 pm $10 Jazz Standard 7:30, 9:30 pm $25 • Lou Caputo Not So Big Band Zinc Bar 8, 9:30 pm • Alexis Parsons/ Symphony Space Bar Thalia 9 pm • Paul Hefner Group NYC Baha’i Center 8, 9:30 pm $15 • Michael Gallant Trio; Yoko Kowata Duo • Atsushi Ouchi Trio Tomi Jazz 9 pm $10 êJohn Raymond’s Real Feels with Gilad Hekselman, Colin Stranahan Tomi Jazz 8, 11 pm $10 • Equilibrium: Elliot Honig, Brad Baker, Richard Russo, Pam Belluck, Dan Silverstone, Rockwood Music Hall Stage 3 7 pm $10 • Joanna Wallfisch Guadalupe Inn 8 pm $5-10 Terry Schwadron Caffe Vivaldi 8:30 pm • We Are the Walrus: Thomas Buckner/Robert Dick êTrio 3 +1: Oliver Lake, Marc Cary, Reggie Workman, Andrew Cyrille • Natalia Clavier Guadalupe Inn 9 pm $15 The Stone 8:30 pm $20 Village Vanguard 8:30, 10:30 pm $30 êTrio 3 +1: Oliver Lake, Marc Cary, Reggie Workman, Andrew Cyrille êRyan Keberle Catharsis with Camila Meza, Scott Robinson, Ed Perez, Henry Cole êRoy Hargrove Quintet Blue Note 8, 10:30 pm $35 Village Vanguard 8:30, 10:30 pm $30 Cornelia Street Underground 8, 9:30 pm $10 êThe Tristano Project: Helen Sung, Greg Osby, Jaleel Shaw, Ben Allison, Matt Wilson êRoy Hargrove Quintet Blue Note 8, 10:30 pm $35 • University Plummer Sextet directed by Walter Smith III with guest Marquis Hill Birdland 8:30, 11 pm $40 • Fleurine Birdland 6 pm $25 The Jazz Gallery 7:30, 9:30 pm $15 • Indiana University Plummer Sextet directed by Walter Smith III with guest Marquis Hill êThe Tristano Project: Helen Sung, Greg Osby, Jaleel Shaw, Ben Allison, Matt Wilson • Manu Delago’s Metromonk Le Poisson Rouge 7 pm $15 The Jazz Gallery 7:30, 9:30 pm $15 Birdland 8:30, 11 pm $40 • Maucha Adnet; Miki Yamanaka/Adi Meyerson • Valerie Capers/John Robinson Saint Peter’s 1 pm $10 • Art Baron and Friends Silvana 6 pm Mezzrow 8, 11 pm $20

ROBERT DICK Residency at The Stone - March 21 - 26, 2017, all concerts at 8:30 PM $20 - corner of East 2nd Street and Avenue C Tuesday, March 21 — We Are the Walrus — Thomas Buckner, baritone and Robert Dick, flutes Two long-time musical collaborators who always surprise each other and themselves! Wednesday, March 22 — Dissonant Geranium — Miya Masaoka, koto; Ken Filiano, bass and Robert Dick, flutes Robert has played many times with Miya in duo and with Ken in a wide range of ensembles. This is the first outing for this intensively colorful trio. Thursday, March 23 — Raise the River — Flutes and Drums — Tiffany Chang, drums and Robert Dick, flutes Primal music from the next dimension. Friday, March 24 — The Time Between Us — Stephanie Griffin, viola; Ned Rothenberg, alto sax, bass clarinet and shakuhachi; Satoshi Takeishi, drums; Robert Dick, flutes Improvisations and compositions by Robert. Saturday, March 25 — Bermuda Rectangle — Vince Bell, spoken word and song; David Mansfield, guitars of all types; Ratzo B. Harris, bass; Robert Dick, flutes and voice Texas Blues deconstructed — and reconstructed! Sunday, March 26 — Our Cells Know — Robert Dick, contrabass flute solo Celebrating the release of Robert’s solo contrabass flute CD on Tzadik! Music that’s truly unique.

“A flutist whose imagination and technical resources seem limitless.” — Alan Kozinn, new York Times

ROBERTDICK.nET

46 MARCH 2017 | THE NEW YORK CITY JAZZ RECORD êJoe Fiedler Quintet with Jeff Lederer, Pete McCann, Rob Jost, Michael Sarin Friday, March 24 The Jazz Gallery 7:30, 9:30 pm $22 Sunday, March 26 êEthan Iverson/Albert “Tootie” Heath; Theo Hill • Bermuda Rectangle: Vince Bell, David Mansfield, Ratzo Harris, Robert Dick êRobert Dick solo The Stone 8:30 pm $20 Mezzrow 8, 11 pm $20 The Stone 8:30 pm $20 êBen Perowsky Trio with Chris Speed, Michael Formanek êBucky Pizzarelli/Ed Laub Group with Larry Fuller, Martin Pizzarelli êZeena Parkins/Mary Halvorson Ibeam Brooklyn 8:30 pm $15 Cornelia Street Underground 8:30, 10 pm $10 Jazz at Kitano 8, 10 pm $17 êHank Roberts with Sarah Bernstein, Shoko Nagai, Satoshi Takeishi • Camila Meza and the Nectar Orchestra; Elsa Nilsson Quartet êRenee Rosnes Quartet with Steve Nelson, , Lewis Nash Owl Music Parlor 8 pm $10 Rockwood Music Hall Stage 2 7, 8 pm $15 Smoke 7, 9, 10:30 pm $38 • Lena Bloch/Roberta Piket Duo The Drawing Room 7:30 pm $15 • Ai Murakami Quartet with Sacha Perry, Zaid Nasser, Tyler Mitchell; Michela Lerman; • Victor Goines Quartet with Jo Ann Daugherty, Emma Dayhuff, Greg Artry and • A Tribute to : Thos Shipley Neal Smith/Donald Vega Quartet with Dezron Douglas; Hillel Salem guest Don Vappie Dizzy’s Club 7:30, 9:30 pm $40 Metropolitan Room 7 pm $22.50 Smalls 4:30, 7:30, 10:30 pm 1 am $20 • Patrick Bartley Dizzy’s Club 11:30 pm $5 • Daniel Levin, Chris Pitsiokis, Brandon Seabrook • Terry Waldo’s Gotham City Band; Ark Ovrutski; Brandon Lewis/Renee Cruz Jam êValerie Capers/John Robinson Knickerbocker Bar and Grill 9:45 pm $3.50 Soup & Sound 8 pm $20 Fat Cat 6, 8:30 pm 1 am êThe Time Between Us: Stephanie Griffin, Ned Rothenberg, Satoshi Takeishi, • Mike Rood Trio with Sam Minaie, Jerad Lippi • Sean Ali solo Downtown Music Gallery 7 pm Robert Dick The Stone 8:30 pm $20 Bar Next Door 7:30, 9:30, 11:30 pm $12 • Kengo Yamada Tomi Jazz 8 pm $10 • Ben Williams Ginny’s Supper Club 7:30, 9:30 pm $20 • Los Aliens: Ricardo Gallo, Andrés Jiménez, Sebastián Cruz, Victor Murillo êRenee Rosnes Quartet with Steve Nelson, Peter Washington, Lewis Nash êGilad Hekselman Zuperoctave with Sam Yahel, Kush Abadey Nublu 10 pm $10 Smoke 7, 9, 10:30 pm $38 Cornelia Street Underground 9, 10:30 pm $10 • New Masses Nights—Women’s History Month Celebration: Maryanne de Prophetis Trio • Victor Goines Quartet with Jo Ann Daugherty, Emma Dayhuff, Greg Artry and • Ken Fowser Quintet The Django at The Roxy Hotel 7:30 pm with Ron Horton, Dean Johnson; Lee Odom Quartet guest Don Vappie Dizzy’s Club 7:30, 9:30 pm $35 êJochen Rueckert Trio with Dayna Stephens, Joshua Crumbley Henry Winston Unity Hall 7 pm $10 êSteve Kuhn 79th Birthday Celebration with David Wong, Billy Drummond Bar Next Door 7:30, 9:30, 11:30 pm $12 • Lil Phillips Sistas’ Place 9, 10:30 pm $20 Jazz Standard 7:30, 9:30 pm $30 êAkiko Tsuruga Trio with Charlie Sigler, McClenty Hunter • Lee Tomboulian’s Weekly Reeders DiMenna Center 8 pm $20 êTrio 3 +1: Oliver Lake, Marc Cary, Reggie Workman, Andrew Cyrille Aaron Davis Hall 8 pm $20 • Tres Mujeres, Magnificas del Jazz Latino: Annette Aguilar and String Beans; Village Vanguard 8:30, 10:30 pm $30 êCharlie Burnham Owl Music Parlor 7:30 pm $10 Jenn Jade Ledesna Trio; Laura Andrea Leguía Ensemble êRoy Hargrove Quintet Blue Note 8, 10:30 pm $35 • Mike Moreno Quartet The Jazz Gallery 7:30, 9:30 pm $22 Hostos Center 7:30 pm $15 • Júlia Karosi Quartet Saint Peter’s 5 pm • Ralph Lalama Bop-Juice with Alec Claffy, Clifford Barbaro; Charles Ruggiero Quartet • Carolina Calvache Quintet with Camila Meza; Lady Cantrese • NY Jazz Women: Lee Torchia, Jill McManus, Melissa Slocum, Carol Sudhalter with Ian Hendrickson-Smith, Jeremy Manasia, Neal Miner The Cell 8, 9:30 pm Metropolitan Room 4 pm $24 Smalls 7:30, 10:30 pm $20 • Dan Greenblatt Group with Dave Marck, Ed Fuqua, Jeff Brillinger êAlexis Cole Trio with Doug Munro, Michael Beaudry • Rachel Therrien Quartet Club Bonafide 7:30 pm $15 Club Bonafide 7:30 pm $10 North Square Lounge 12:30, 2 pm • Takenori Nishiuchi Tomi Jazz 9 pm $10 • Sharp Tree Trio; Akihiro Yamamoto Trio; Annie Chen Trio • Dandy Wellington Minton’s 12 pm $10 êRale Micic/Ed Cherry Symphony Space Bar Thalia 9 pm Tomi Jazz 6, 8, 11 pm $10 • Dona Carter Trio Cleopatra’s Needle 8 pm • Fuku and Chihiro Trio Cleopatra’s Needle 8 pm Monday, March 27 • Cumbiagra Trio Guadalupe Inn 8 pm $5-10 • Joshua Levine Guadalupe Inn 8 pm $5-10 êSteve Kuhn 79th Birthday Celebration with David Wong, Billy Drummond êEthan Iverson/Albert “Tootie” Heath; Theo Hill êWomen’s Jazz Festival—Ella, Ella A Centennial Celebration of Mama Jazz!: Jazz Standard 7:30, 9:30 pm $35 Mezzrow 8, 11 pm $20 Hélène and Célia Faussart Schomburg Center 7 pm $30 êTrio 3 +1: Oliver Lake, Marc Cary, Reggie Workman, Andrew Cyrille êRenee Rosnes Quartet with Steve Nelson, Peter Washington, Lewis Nash • Steve Lehman Sélébéyone with HPrizm, Gaston Bandimic, Maciek Lasserre, Carlos Homs, Village Vanguard 8:30, 10:30 pm $30 Smoke 7, 9, 10:30 pm $38 Chris Tordini, Damion Reid Merkin Concert Hall 7:30 pm $25 êRoy Hargrove Quintet Blue Note 8, 10:30 pm $35 • Victor Goines Quartet with Jo Ann Daugherty, Emma Dayhuff, Greg Artry and ê7th Annual James Moody Jazz Scholarship Of New Jersey Youth Benefit: êThe Tristano Project: Helen Sung, Greg Osby, Jaleel Shaw, Ben Allison, Matt Wilson guest Don Vappie Dizzy’s Club 7:30, 9:30 pm $45 David Hazeltine, Kenny Barron, Jamie Baum, Randy Brecker, Paquito D’Rivera, Birdland 8:30, 11 pm $40 • Patrick Bartley Dizzy’s Club 11:30 pm $20 Roberta Gambarini, Allan Harris, , Jimmy Heath, Freddie Hendrix, • Jun Miyake Trio Shrine 6 pm êValerie Capers/John Robinson Knickerbocker Bar and Grill 9:45 pm $3.50 John Lee, Victor Lewis, , Rufus Reid, Ada Rovatti, Terell Stafford êGilad Hekselman Zuperoctave with Sam Yahel, Kush Abadey Blue Note 8, 10:30 pm $65-100 Saturday, March 25 Cornelia Street Underground 9, 10:30 pm $10 êMike Stern 55Bar 10 pm êSteve Kuhn 79th Birthday Celebration with David Wong, Billy Drummond • Supersilent: Helge Sten, Arve Henriksen, Ståle Storløkken êWadada Leo Smith/Angelica Sanchez; Angelica Sanchez Trio with Michael Formanek, Jazz Standard 7:30, 9:30 pm $35 Le Poisson Rouge 8 pm $25 Tyshawn Sorey Greenwich House Music School 7:30 pm $25 • Dave Stryker Quartet with Jared Gold, McClenty Hunter; Charles Ruggiero Quartet with • Mingus Big Band Jazz Standard 7:30, 9:30 pm $25 êAdam Rudolph’s Go: Organic Orchestra: Kaoru Watanabe, Michel Gentile, Ze Luis, Ian Hendrickson-Smith, Jeremy Manasia, Neal Miner; Philip Harper Quintet • Manhattan School of Music Jazz Orchestra conducted by Jim McNeely Sylvain Leroux, Mariano Gil, Avram Fefer, Ivan Barenboim, JD Parran, Smalls 7:30, 10:30 pm 1 am $20 Dizzy’s Club 7:30, 9:30 pm $35 Sean Sonderegger, Batya Sobel, Graham Haynes, Stephen Haynes, Peter Zummo, êTrio 3 +1: Oliver Lake, Marc Cary, Reggie Workman, Andrew Cyrille • Edward Perez/Helio Alves Terraza 7 9 pm $10 Julianne Carney, Mark Chung, Sana Nagano, Gwen Laster, Melanie Dyer, Village Vanguard 8:30, 10:30 pm $30 • Joe “Blaxx” Grissett Band Bar Lunàtico 8:30, 10 pm $10 Stephanie Griffin, Leco Reis, James Hurt, Shakoor Sanders, Kenny Wessel, êRoy Hargrove Quintet Blue Note 8, 10:30 pm $35 • Dred Scott Mezzrow 8 pm $20 Jerome Harris, Marco Cappelli, Alexis Marcelo, Damon Banks êThe Tristano Project: Helen Sung, Greg Osby, Jaleel Shaw, Ben Allison, Matt Wilson • Manuel Valera Trio with Hans Glawischnig, E.J. Strickland; Jonathan Michel with Brooklyn Conservatory of Music 8 pm Birdland 8:30, 11 pm $40 Micah Thomas, Julius Rodriguez Smalls 7:30 pm 1 am $20 • Bobbi Humphrey Ginny’s Supper Club 7:30, 9:30 pm $30 • Adam Rudolph’s Go: Organic Orchestra Improvising Workshop • David Kuhn Trio with Patricia Wichmann, Aaron Caceres; Dana Reedy Trio with êStephanie Nakasian/Veronica Swift Double Vision with Tardo Hammer Trio Brooklyn Conservatory of Music 1:30 pm $60 Ed Cherry, James Robbins Bar Next Door 6:30, 8:30, 10:30 pm $12 Jazz at Kitano 8, 10 pm $32 • Sebastien Ammann; Jessie Bielenberg, Asher Kurtz, Aaron Rourk Delroy’s Café and Wine Bar 9, 10 pm $10

THE NEW YORK CITY JAZZ RECORD | MARCH 2017 47 Tuesday, March 28 • Eliane Elias Birdland 8:30, 11 pm $40 • Nick Finzer Trio with Or Bareket, Allan Mednard êThe Jazz Passengers: Roy Nathanson, Curtis Fowlkes, Sam Bardfeld, Bill Ware, Silvana 6 pm REGULAR ENGAGEMENTS Brad Jones, Ben Perowsky, EJ Rodriguez Roulette 8 pm $20 Friday, March 31 MONDAY • /Ron Carter Duo with guest Russell Malone Blue Note 8, 10:30 pm $45 êDIVA Jazz Orchestra Celebrates The Divas with guest Brianna Thomas • Richard Clements and guests 11th Street Bar 9 pm êPeter Bernstein Quartet with , Doug Weiss, Al Foster Dizzy’s Club 7:30, 9:30 pm $40 • Glenn Crytzer Orchestra Slate 7:30 pm Village Vanguard 8:30, 10:30 pm $30 êPiano Masters: Toshiko Akiyoshi and Barry Harris • Vince Giordano’s Nighthawks Iguana 8 pm (ALSO TUE) Flushing Town Hall 8 pm $42 • Grove Street Stompers Arthur’s Tavern 7 pm • Eliane Elias Birdland 8:30, 11 pm $40 • Quartet and Smoke Jam Session Smoke 7, 9, 10:30 pm • Maurice Brown’s Electric Ride with Skerik, Chad Selph, Nir Felder, Michael League, êJoshua Redman Still Dreaming Quartet with Ron Miles, Scott Colley, Brian Blade The Appel Room 7, 9:30 pm $65-85 • Patience Higgins Band with Lady Cantrese Nabe Harlem 7 pm Lee Pearson Jazz Standard 7:30, 9:30 pm $25 • Jazz Foundation of American Jam Session Local 802 7 pm • Brubeck Institute Jazz Quintet: Brandon Woody, Isaiah Collier, Jamael Dean, • Steven Feifke Dizzy’s Club 11:30 pm $10 • Arthur Kell and Friends Bar Lunatico 8:30 pm Zane DeBord, Timothy Angulo Dizzy’s Club 7:30, 9:30 pm $35 êAzar Lawrence Quintet with Eddie Henderson, Benito Gonzalez, Essiet Essiet, • Roger Lent solo Cavatappo Grill 7 pm • Steven Feifke Dizzy’s Club 11:30 pm $5 Brandon Lewis Smoke 7, 9, 10:30 pm $38 • Renaud Penant Trio Analogue 7:30 pm • Jay D’Amico Trio NYC Baha’i Center 8, 9:30 pm $15 êLew Tabackin Birthday Bash with Yasushi Nakamura, Mark Taylor and guest • Earl Rose solo; Earl Rose Trio Bemelmans Bar 5:30, 9 pm êHelge Sten’s Deathprod Issue Project Room 8 pm $15 Joe Magnarelli Jazz at Kitano 8, 10 pm $32 • Stan Rubin All-Stars Charley O’s 8:30 pm êDiaspora Special Edition: Arturo O’Farrill, Peter Apfelbaum, Brad Jones, Billy Martin, êSpanish Fly: Steven Bernstein, Marcus Rojas, Dave Tronzo • Svetlana and the Delancey 5 The Back Room 8:30 pm Steven Bernstein The Stone 8:30 pm $20 The Stone 8:30 pm $20 • Swingadelic Swing 46 8:30 pm êAndrew Drury, Dan Blake, Ricardo Gallo • Cuba—: Elio Villafranca’s Letters to Mother Africa II with Vincent Herring, • Gracie Terzian Bar Hugo 6 pm Bruce Harris, , Ricky Rodriguez, Dion Parson, Miguelito Valdes • Vanguard Jazz Orchestra Village Vanguard 8:30, 10:30 pm $30 Korzo 10:30 pm • James Zeller Duo Spasso 7 pm (ALSO SUN) • Streams: Yago Vazquez, Scott Lee, Jeff Hirshfield Aaron Davis Hall 7:30 pm $30 Cornelia Street Underground 8, 9:30 pm $10 êVinnie Sperrazza Quartet with Chris Speed, Bruce Barth, Pete Brendler • Marianne Solivan; Miki Yamanaka/Adi Meyerson Cornelia Street Underground 9, 10:30 pm $10 TUESDAY Mezzrow 8, 11 pm $20 êRalph Alessi solo; Alex Koo, Mark Turner, Ralph Alessi • Orrin Evans Evolution Series Jam Session Zinc Bar 11 pm • Ehud Asherie Trio with Neal Miner, Aaron Kimmel; Steve Nelson Group; Jon Beshay Greenwich House Music School 7:30 pm $18 • Ronnie Burrage and The Robu Trio The Five Spot Brooklyn 11 pm $10 Smalls 7:30, 10:30 pm 1 am $20 • Graham Haynes Group with Hardedge • Joel Forrester solo Stop Time 7 pm • Saul Rubin Zebtet; Itai Kriss and Gato Gordo; John Benitez Latin Bop BAMCafé 9 pm • George Gee Orchestra Swing 46 8:30 pm Fat Cat 7, 9 pm 12:30 am • Steve Davis Mezzrow 8 pm $20 • Chris Gillespie; Loston Harris Bemelmans Bar 5:30, 9:30 pm (ALSO WED-SAT) • Dan Hartig Trio with Alex Ball, JC Polo; Kyle Moffatt Trio with Brad Whitely, • Joey “G-Clef” Cavaseno Quartet with Jeremy Bacon, William Ash, David F. Gibson; • Jerome Harris/Dave Baron Barawine 7 pm (ALSO SUN 6 PM) Peter Tranmueller Bar Next Door 6:30, 8:30, 10:30 pm $12 George Colligan Quintet with Jimmy Greene, Jon Irabagon, Linda Oh, Jochen Rueckert • Loston Harris Café Carlyle 9:30 pm $20 (ALSO WED-SAT) Micah Thomas Jazz at Kitano 8 pm Smalls 7:30, 10:30 pm $20 • Art Hirahara Trio Arturo’s 8 pm • • Yuichi Hirakawa Trio Arthur’s Tavern 7, 8:30 pm • Peter Ayres Trio; Andrew Licuta Trio; Tomoko Omura • David Weiss Point of Departure Fat Cat 10:30 pm Dario Chiazzolino Trio with Marco Panascia, Jerome Jennings • Mike LeDonne Quartet; Emmet Cohen Band Smoke 7, 9, 10:30, 11:30 pm Tomi Jazz 8, 9:40, 11 pm $10 • • Mona’s Hot Four Jam Session Mona’s 11 pm • Elise Wood Duo Silvana 6 pm Bar Next Door 7:30, 9:30, 11:30 pm $12 • Annie Ross The Metropolitan Room 9:30 pm $25 • Florian Klinger Group Shrine 6 pm • Roberta Piket Quartet with Daniel Carter, Billy Mintz • Bill Todd Open Jam Club Bonafide 9 pm $10 Spectrum 9 pm • Diego Voglino Jam Session The Fifth Estate 10 pm Wednesday, March 29 • Sean Smith/David Hazeltine Knickerbocker Bar and Grill 9:45 pm $3.50 • The Westet Analogue 7:30 pm • Chris Turner and The DropOuts Ginny’s Supper Club 7:30, 9:30 pm $20 êStone Commissioning Series: Nicole Mitchell with Fay Victor, Tomeka Reid, Aruán Ortiz • Kendra Shank Group 55Bar 6, 7:45 pm WEDNESDAY National Sawdust 7 pm $34 • King Solomon Hicks Minton’s 7 pm $10 êBucky Pizzarelli, Ed Laub, Harold Allen, Martin Pizzarelli • Julio Botti Trio Tomi Jazz 9 pm $10 • Astoria Jazz Composers Workshop Waltz-Astoria 6 pm The Jazz Gallery 7:30 pm $50 • Denton Darien Trio Cleopatra’s Needle 8 pm • Rick Bogart Trio L’ybane 9:30 pm (ALSO FRI) ê • Jacob Varmus Trio Shrine 7 pm • Django Big Band and Jam Session The Django 8 pm Sexmob: Steven Bernstein, Briggan Krauss, Tony Scherr, Kenny Wollesen • Rob Duguay’s Low Key Trio Turnmill NYC 11 pm The Stone 8:30 pm $20 • Solange Prat Guadalupe Inn 8 pm $5-10 ê • Jeanne Gies with Howard Alden and Friends Joe G’s 6:30 pm • Emilio Solla’s Bien Sur! with Chris Cheek, Julien Labro, Jorge Roeder, Ferenc Nemeth Chano Dominguez Flamenco Quintet with Sonia Fernandez, Ismael Fernandez, • Lezlie Harrison; Mel Davis B3 Trio and Organ Jam Smoke 7, 9, 10:30, 11:30 pm Dizzy’s Club 7:30, 9:30 pm $35 Alex Cuadrado, Jose Moreno Jazz Standard 7:30, 9:30 pm $30 • Martin Kelley’s Affinity John Brown Smoke House 5:30 pm • Steven Feifke Dizzy’s Club 11:30 pm $5 • Stanley Clarke/Ron Carter Duo with guest Russell Malone • Mark Kross and Louise Rogers WaHi Jazz Jam Le Chéile 8 pm • Camille Bertault/Dan Tepfer Duo Jazz Standard 7:30, 9:30 pm $25 Blue Note 8, 10:30 pm $45 • Les Kurtz Trio Cleopatra’s Needle 7 pm • Andrew Rathbun Quartet with Tim Hagans, Matt Pavolka, Tom Rainey êPeter Bernstein Quartet with Brad Mehldau, Doug Weiss, Al Foster • Jonathan Kreisberg Trio Bar Next Door 8:30, 10:30 pm $12 Cornelia Street Underground 8, 9:30 pm $10 Village Vanguard 8:30, 10:30 pm $30 • Ron McClure solo piano McDonald’s 12 pm (ALSO SAT) • Plucky Strum: Sheryl Bailey/Harvie S; Tony Hewitt/Pete Malinverni • Eliane Elias Birdland 8:30, 11 pm $40 • David Ostwald’s Louis Armstrong Centennial Band Birdland 5:30 pm $20 Mezzrow 8, 11 pm $20 • Jane Ira Bloom’s Wild Lines with Dawn Clement, Mark Helias, , • Stan Rubin Orchestra Swing 46 8:30 pm Stafford Hunter Quintet with Todd Bashore, Victor Gould, Luques Curtis, Vince Ector; Deborah Rush The New School Arnhold Hall 2 pm • Eve Silber Arthur’s Tavern 7 pm • • Noël Simoné Spaha Soul Restaurant 8 pm (ALSO FRI) Benny Benack III Group Smalls 7:30, 10:30 pm $20 • Donald Smith and Friends Cassandra’s Jazz and Gallery 8, 10 pm $10 • Raphael D’lugoff Trio +1; Ned Goold Jam • Bill Wurtzel/Jay Leonhart American Folk Art Museum 2 pm Fat Cat 7 pm 12:30 am • Tony Middleton Quartet with Roy Dunlap, Kenji Yoshitake, Dwayne “Cook” Broadnax THURSDAY Jazz at Kitano 8, 10 pm $17 Paul Jones & Jason Yeager Present: • Ricardo Gallo solo Terraza 7 8 pm $15 • Marc Cary’s The Harlem Sessions Ginny’s Supper Club 10:30 pm $10 • Jean Rohe Rye 9:30 pm • Gene Bertoncini Ryan’s Daughter 8:30, 10:30 pm • Abel Mireles Duo; Dayeon Seok Duo • Dr. Dwight Dickerson Cassandra’s Jazz and Gallery 8 pm $5 Tomi Jazz 8, 11 pm $10 CONCERT FOR A CURE • Harlem Renaissance Orchestra Swing 46 8:30 pm • Carte Blanche Guadalupe Inn 8 pm $5-10 • Jazz Jam Session American Legion Post 7:30 pm • Stanley Clarke/Ron Carter Duo with guest Russell Malone A fundraiser for Type 1 Diabetes Research • Kazu Trio Cleopatra’s Needle 11:30 pm Blue Note 8, 10:30 pm $45 • Martin Kelley’s Affinity Domaine Wine Bar 8:30 pm • Jon Lang’s First Name Basis Jam Session Symphony Space Bar Thalia 9 pm êPeter Bernstein Quartet with Brad Mehldau, Doug Weiss, Al Foster • Lapis Luna Quintet The Plaza Hotel Rose Club 8:30 pm Village Vanguard 8:30, 10:30 pm $30 • Jam Session Shell’s Bistro 9 pm • Eliane Elias Birdland 8:30, 11 pm $40 • Sol Yaged Grata 8 pm • Bill Stevens, Rich Russo, Gary Fogel • Eri Yamamoto Trio Arthur’s Tavern 7 pm (ALSO FRI-SAT) Silvana 6 pm • John Colliani Jazz Orchestra Saint Peter’s 1 pm $10 FRIDAY Thursday, March 30 • Scot Albertson Parnell’s 8 pm (ALSO SAT) • Birdland Big Band Birdland 5:15 pm $25 êChano Dominguez Flamenco Quintet with Sonia Fernandez, Ismael Fernandez, • Rick Bogart Trio New York Yankees Steakhouse 5 pm • Day One Trio Prime and Beyond Restaurant 9 pm (ALSO SAT) Alex Cuadrado, Jose Moreno Jazz Standard 7:30, 9:30 pm $30 • Gerry Eastman Quartet Williamsburg Music Center 10 pm êTrio M: Myra Melford, Mark Dresser, Matt Wilson • Finkel/Kasuga/Tanaka/Solow San Martin Restaurant 12 pm $10 Dizzy’s Club 7:30, 9:30 pm $40 • Patience Higgins Sugar Hill Quartet Smoke 11:45 pm 12:45 am • Steven Feifke Dizzy’s Club 11:30 pm $10 • Sandy Jordan and Friends ABC Chinese Restaurant 8 pm êMillennial Territory Orchestra: Doug Wieselman, Peter Apfelbaum, Erik Lawrence, • Michael Kanan Trio Arturo’s 8 pm Curtis Fowlkes, Charlie Burnham, Matt Munisteri, Ben Allison, Ben Perowsky, • Richard Russo Quartet Capital Grille 6:30 pm Steven Bernstein The Stone 8:30 pm $20 • Bill Saxton and the Harlem Bebop Band Bill’s Place 9, 11 pm $15 (ALSO SAT) êHush Point: John McNeil, Jeremy Udden, Aryeh Kobrinsky, Anthony Pinciotti Featuring special guests: Brooklyn Conservatory of Music 8 pm $15 SATURDAY êJohnny O’Neal Ginny’s Supper Club 7:30, 9:30 pm $20 êJochen Rueckert Quartet with Mark Turner, Mike Moreno, Orlando Le Fleming Steve Wilson • Rob Anderson Jam Session University of the Streets 10 pm Smoke 7, 9, 10:30 pm $12 • Rick Bogart Trio Broadway Thai 7:30 pm (ALSO SUN) Frank Kimbrough • The Candy Shop Boys Duane Park 8, 10:30 pm • Ayako Shirasaki Trio with Noriko Ueda, Gene Jackson • Agustin Grasso Quartet Duet 8 pm (ALSO SUN 11 am) Jazz at Kitano 8, 10 pm $17 Kevin Hays • Assaf Kehati Duo Il Gattopardo 11:30 am • Take Off Collective: Ole Mathisen, Matthew Garrison, Marko Djordjevic • Curtis Lundy Trio with guests Shell’s Bistro 9 pm ShapeShifter Lab 8:15 pm $10 Marcello Pellitteri • Jonathan Moritz/Chris Welcome/Shayna Dulberger The Graham 1 pm êFay Victor In Praise of Ornette with Darius Jones, Kenny Wessel, Sean Conly • Ruben Steijn/Sharik Hasan/Andrea Veneziani Farafina Café & Lounge 8:30 pm 55Bar 7 pm Danny Weller • Nabuko and Friends Nabe Harlem 12 pm • Kyle Nasser Sextet with Loren Stillman, Jeff Miles, Dov Manski, Nick Jost, • Johnny O’Neal and Friends Smoke 11:45 pm 12:45 am Allan Mednard Cornelia Street Underground 8, 9:30 pm $10 • James Zeller Trio Spasso 1pm • Emilio Teubal Trio Club Bonafide 7:30 pm $15 RSVP & Donate: • Adam Birnbaum; Spike Wilner Mezzrow 8, 11 pm $20 SUNDAY Mark Zaleski Band with Jon Bean, Glenn Zaleski, Mark Cocheo, Danny Weller, gofundme.com/concertforacure • • Avalon Jazz Quartet The Lambs Club 11 am Oscar Suchanek; Mike Fahn Group Smalls 7:30, 10:30 pm $20 • Rick Bogart Trio New York Yankees Steakhouse 12 pm • The Masakowski Family Band: Steve, Sasha and Martin Masakowski • Emily Braden; Davi Vieira Club Bonafide 7, 9 pm $10 Greenwich House Music School 8 pm $15 April 1st at 7 PM, Steinway Hall th • The Candy Shop Boys The Rum House 9:30 pm • Lara Bello’s Sikame The Jazz Gallery 7:30, 9:30 pm $15 1133 6 Ave, NYC • Creole Cooking Jazz Band; Stew Cutler and Friends Arthur’s Tavern 7, 10 pm • Bobby Katz Trio with Ryan Slatko, Tim Rachbach; Tony Romano Trio with • Glenn Crytzer Group Pegu Club 6:30 pm Lenny Sendersky, Steve LaSpina Bar Next Door 6:30, 8:30, 10:30 pm $12 • Stefano Doglioni Trio Analogue 7:30 pm • King Solomon Hicks Cavatappo Grill 9, 11 pm $10 • JaRon Eames/Emme Kemp The Downtown Club 2 pm $20 • Manhattan School of Music Jazz Orchestra conducted by Jim McNeely • The EarRegulars with Jon-Erik Kellso The Ear Inn 8 pm Manhattan School Neidorff-Karpati Hall 7:30 pm • Marjorie Eliot/Rudell Drears/Sedric Choukroun Parlor Entertainment 4 pm • Senri Oe Tomi Jazz 9 pm $10 • Joel Forrester solo Grace Gospel Church 11 am Hot Club of Flatbush Radegast Hall 9 pm • Broc Hempel/Sam Trapchak/Christian Coleman Trio Dominie’s Astoria 9 pm • • Ian Hendrickson-Smith The Strand Smokehouse 7 pm • Joe Bonacci Duo Cleopatra’s Needle 7 pm • Jazz Brunch Harlem Besame Latino Soul Lounge 1:30 pm • Mar Sala Guadalupe Inn 8 pm $5-10 • Peter Mazza Trio Bar Next Door 8, 10 pm $12 • Stanley Clarke/Ron Carter Duo with guest Russell Malone • Tony Middleton Trio Jazz at Kitano 11 am $35 Blue Note 8, 10:30 pm $45 • Arturo O’Farrill Afro Latin Jazz Orchestra Birdland 9, 11 pm $30 êPeter Bernstein Quartet with Brad Mehldau, Doug Weiss, Al Foster • Earl Rose solo; Champian Fulton Bemelmans Bar 5:30, 9 pm Village Vanguard 8:30, 10:30 pm $30 • Lu Reid Jam Session Shrine 4 pm • Rob Silverman Quartet with James Halliday, Andy Bassford, Scott Hamilton • Annette St. John; Wilerm Delisfort Quartet Smoke 11:30 am 11:45 pm Birdland 6 pm • Sean Smith and guest Walker’s 8 pm

48 MARCH 2017 | THE NEW YORK CITY JAZZ RECORD CLUB DIRECTORY

• 11th Street Bar 510 E. 11th Street • Fat Cat 75 Christopher Street at 7th Avenue (212-675-6056) • Nublu 62 Avenue C between 4th and 5th Streets (212-982-3929) Subway: L to 1st Avenue www.11thstbar.com Subway: 1 to Christopher Street/Sheridan Square www.fatcatmusic.org (212-979-9925) Subway: F, V to Second Avenue www.nublu.net • 440Gallery 440 Sixth Avenue, Brooklyn • The Fifth Estate 506 5th Avenue, Brooklyn • Nuyorican Poets Café 236 E. 3rd Street between Avenues B and C (718-499-3844) Subway: F, G to Seventh Avenue www.440gallery.com (718-840-0089) Subway: F to 4th Avenue www.fifthestatebar.com (212-505-8183) Subway: F, V to Second Avenue www.nuyorican.org • 5C Cultural Center 68 Avenue C • The Five Spot 459 Myrtle Avenue, Brooklyn • Opia 130 E. 57th Street (212-477-5993) Subway: F, V to Second Avenue www.5cculturalcenter.org (718-852-0202) Subway: G to Clinton/Washington (212-688-3939) Subway: 4, 5, 6 to 59th Street www.opiarestaurant.com • 55Bar 55 Christopher Street (212-929-9883) www.fivespotsoulfood.com • The Owl Music Parlor 497 Rogers Avenue, Brooklyn Subway: 1 to Christopher Street www.55bar.com • Flushing Town Hall 137-35 Northern Boulevard, Flushing (718-774-0042) Subway: 2, to to Sterling Street www.theowl.nyc • 92nd Street Y Lexington Avenue at 92nd Street (718-463-7700) Subway: 7 to Main Street www.flushingtownhall.org • Parlor Entertainment 555 Edgecombe Ave. #3F (212-415-5500) Subway: 6 to 96th Street www.92y.org • For My Sweet Restaurant 1103 Fulton Street at Claver Place (212-781-6595) Subway: C to 155th Street www.parlorentertainment.com • ABC Chinese Restaurant 34 Pell Street (917-757-0170) Subway: C to Franklin Avenue • Parnell’s 350 East 53rd Street #1(212-753-1761) (212-346-9890) Subway: J to Chambers Street • Ginny’s Supper Club at Red Rooster Harlem 310 Boulevard Subway: E, M to Lexington Avenue/53 Street www.parnellsny.com • Aaron Davis Hall 133rd Street and Convent Avenue (212-792-9001) Subway: 2, 3 to 125th Street www.ginnyssupperclub.com • Pegu Club 77 W. Houston Street (212-473-7348) (212-650-7100) Subway: 1 to 137th Street/City College www.adhatccny.org • Grace Gospel Church 589 East 164th Street Subway: B, D, F, M to Broadway-Lafayette www.peguclub.com • American Folk Art Museum 65th Street at Columbis Avenue (718-328-0166) Subway: 2, 5 to Prospect Avenue • Pianos 158 Ludlow Street (212-595-9533) Subway: 1 to 66th Street www.folkartmuseum.org • The Graham 190 Graham Ave (718-388-4682) (212-505-3733) Subway: F, V to Second Avenue www.pianosnyc.com • American Legion Post 248 West 132nd Street Subway: L to Montrose Avenue www.thegrahambrooklyn.com • The Plaza Hotel Rose Club Fifth Avenue at Central Park South (212-283-9701) Subway: 2, 3 to 135th Street www.legion.org • Grassroots Tavern 20 Saint Marks Place (212-759-3000) Subway: N, Q, R to Fifth Avenue www.fairmont.com • An Beal Bocht Café 445 W. 238th Street (212-475 9443) Subway: 6 to Astor Place, N,R to 8th Street • Prime and Beyond Restaurant 90 East 10th Street Subway: 1 to 238th Street www.LindasJazzNights.com • Grata 1076 1st Avenue (212-842-0007) (212-505-0033) Subway: 6 to Astor Place www.primeandbeyond.com • Analogue 19 West 8th Street (212-432-0200) Subway: 4, 5, 6, N, Q, R to 59th Street www.gratanyc.com • Radegast Hall 113 North 3rd Street Subway: A, B, C, D, E, F, M to W. 4th Street www.analoguenyc.com • Greenwich House Music School 46 Barrow Street (718-963-3973) Subway: L to Bedford Avenue www.radegasthall.com • Apollo Theater & Music Café 253 W. 125th Street (212-242-4770) Subway: 1 to Christopher Street www.greenwichhouse.org • Riverdale YM-YWHA 5625 Arlington Avenue (718-548-8200) (212-531-5305) Subway: A, B, C, D, 2, 3 to 125th Street • Guadalupe Inn 1 Knickerbocker Avenue Subway: 1 to 242 Street - Van Cortlandt Park www.riverdaley.org www.apollotheater.org (718-366-0500) Subway: L to Morgan Avenue www.guadalupeinnbk.com • Rockwood Music Hall 196 Allen Street (212-477-4155) • The Appel Room Broadway at 60th Street, 5th floor (212-258-9800) • Harlem Besame Latino Soul Lounge 2070 Adam Clayton Powell, Jr. Blvd. Subway: F, V to Second Avenue www.rockwoodmusichall.com Subway: 1, 2, 3, 9, A, C, E, B, D, F to Columbus Circle www.jalc.org Subway: 2, 3 to 125th Street www.harlembesame.com • Rose Theater Broadway at 60th Street, 5th floor (212-258-9800) • Arthur’s Tavern 57 Grove Street (212-675-6879) • Henry Winston Unity Hall 235 W. 23rd Street, 7th floor Subway: 1, 2, 3, 9, A, C, E, B, D, F to Columbus Circle www.jalc.org Subway: 1 to Christopher Street www.arthurstavernnyc.com Subway: 1 to 23rd Street www.facebook.com/NewMassesNights • Roulette 509 Atlantic Avenue • Arturo’s 106 W. Houston Street (at Thompson Street) • Highline Ballroom 431 W 16th Street (212-219-8242) Subway: 2, 3, 4, 5 to Atlantic Avenue www.roulette.org (212-677-3820) Subway: A, B, C, D, E, F, M to W. 4th Street (212-414-5994) Subway: A, C, E to 14th Street www.highlineballroom.com • Rue B 188 Avenue B • B.B. King’s Blues Bar 237 W. 42nd Street • Hostos Center 450 Grand Concourse (718-518-6700) (212-358-1700) Subway: L to First Avenue www.ruebnyc188.com (212-997-2144) Subway: 1, 2, 3, 7 to 42nd Street/Times Square Subway: 2, 4, 5 to 149th Street www.hostos.cuny.edu • The Rum House 228 W. 47th Street www.bbkingblues.com • Ibeam Brooklyn 168 7th Street between Second and Third Avenues (646-490-6924) Subway: N, Q, R to 49th Street www.edisonrumhouse.com • BAMCafé 30 Lafayette Ave at Ashland Place Subway: F to 4th Avenue www.ibeambrooklyn.com • Ryan’s Daughter 350 E 85th Street (718-636-4139) Subway: M, N, R, W to Pacific Street; • Iguana 240 West 54th Street (212-765-5454) (212-628-2613) Subway: 4, 5, 6 to 86th Street www.ryansdaughternyc.com Q, 1, 2, 4, 5 to Atlantic Avenue www.bam.org Subway: B, D, E, N, Q, R to Seventh Avenue www.iguananyc.com • Rye 247 S. 1st Street (718-218-8047) Subway: G to Metropolitan Avenue • Bar Hugo 525 Greenwich Street • Il Gattopardo 13-15 W. 54th Street • S.O.B.’s 204 Varick Street (212-608-4848) Subway: C, E to Spring Street www.hotelhugony.com (212-246-0412) Subway: E, M to Fifth Avenue/53rd Street (212-243-4940) Subway: 1 to Varick Street www.sobs.com • Bar Lunàtico 486 Halsey Street www.ilgattopardonyc.com • Saint Peter’s Church 619 Lexington Avenue at 54th Street (917-495-9473) Subway: C to Kingston-Throop Avenues • Iridium 1650 Broadway at 51st Street (212-582-2121) (212-935-2200) Subway: 6 to 51st Street www.saintpeters.org • Bar Next Door 129 MacDougal Street (212-529-5945) Subway: 1,2 to 50th Street www.theiridium.com • San Martin Restaurant 143 E. 49 Street between Lexington and Park Subway: A, B, C, D, E, F, M to W. 4th Street www.lalanternacaffe.com • Issue Project Room 22 Boerum Place Avenues (212-832-0888) Subway: 6 to 51st Street • Barawine 200 Lenox Avenue at W. 120th Street (718-330-0313) Subway: 2, 3, 4, 5 to Borough Hall • The Schomburg Center 515 Macolm X Boulevard (646-756-4154) Subway: 2, 3 to 116th Street www.issueprojectroom.org (212-491-2200) Subway: 2, 3 to 135th Street • Barbès 376 9th Street at 6th Avenue, Brooklyn (718-965-9177) • JALC Varis Leichtman Studio Broadway at 60th Street (212-258-9800) www.nypl.org/locations/schomburg Subway: F to 7th Avenue www.barbesbrooklyn.com Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.jazz.org • ShapeShifter Lab 18 Whitwell Place • Baryshnikov Arts Center 450 West 37th Street, 4th floor • Jamaica Center 161-04 Jamaica Avenue, Queens (646-820-9452) Subway: R to Union Street www.shapeshifterlab.com (212-279-4200) Subway: A, C, E, F, V to 42nd Street-Port Authority (718-658-7400 ext. 152) Subway: E to Jamaica Center www.jcal.org • Sheen Center 18 Bleecker Street • The Bell House 149 7th Street (718-643-6510) • Jazz at Kitano 66 Park Avenue at 38th Street (212-885-7000) (212-219-3132) Subway: 6 to Bleecker Street www.sheencenter.org Subway: F to 4th Avenue, M, R to 9th Street www.thebellhouseny.com Subway: 4, 5, 6, 7, S to Grand Central www.kitano.com • Showman’s 375 W. 125th Street at Morningside) (212-864-8941) • Bemelmans Bar 35 E. 76th Street (212-744-1600) • The Jazz Gallery 1160 Broadway, 5th floor (212-242-1063) Subway: A, B, C, D to 125th Street www.showmansjazz.webs.com Subway: 6 to 77th Street www.thecarlyle.com Subway: N, R to 28th Street www.jazzgallery.org • Shrine 2271 Adam Clayton Powell Boulevard (212-690-7807) • Bill’s Place 148 W. 133rd Street (between Lenox and 7th Avenues) • Jazz Museum in Harlem 58 W. 129th Street between Madison and Lenox Subway: B, 2, 3 to 135th Street www.shrinenyc.com (212-281-0777) Subway: 2, 3 to 135th Street Avenues (212-348-8300) Subway: 6 to 125th Street • Silvana 300 West 116th Street • Birdland 315 W. 44th Street (212-581-3080) www.jazzmuseuminharlem.org (646-692-4935) Subway: B, C, to 116th Street www.silvana-nyc.com Subway: A, C, E, to 42nd Street www.birdlandjazz.com • Jazz Standard 116 E. 27th between Park and Lexington Avenue • Sistas’ Place 456 Nostrand Avenue at Jefferson Avenue, Brooklyn • Bloomingdale School of Music 323 West 108th Street (212-576-2232) Subway: 6 to 28th Street www.jazzstandard.net (718-398-1766) Subway: A to Nostrand Avenue www.sistasplace.org (212-663-6021) Subway: 1 to Cathedral Parkway www.bsmny.org • Joe G’s 244 W. 56th Street (212-765-3160) • Sisters 900 Fulton Street (347-763-2537) • Blue Note 131 W. 3rd Street at 6th Avenue (212-475-8592) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle Subway: C to Clinton-Washington Avenue www.sistersbklyn.com Subway: A, B, C, D, E, F, M to W. 4th Street www.bluenotejazz.com • Joe’s Pub at the Public Theater 425 Lafayette Street • Slate 54 W. 21st Street • BRIC House Ballroom, Media House and Stoop 647 Fulton Street (212-539-8770) Subway: N, R to 8th Street-NYU; 6 to Astor Place (212-989-0096) Subway: F, M, N, R to 23rd Street www.slate-ny.com (718-683-5600) Subway: 2, 3, 4, 5 to Nevins Street www.bricartsmedia.org www.joespub.com • Smalls 183 W 10th Street at Seventh Avenue (212-252-5091) • Broadway Thai 241 West 51st Street • John Brown Smokehouse 10-43 44th Drive, Queens (347-617-1120) Subway: 1 to Christopher Street www.smallsjazzclub.com (212-226-4565) Subway: 1, C, E to 50th Street www.tomandtoon.com Subway: 7, E, M to Court Square www.johnbrownseriousbbq.com • Smoke 2751 Broadway between 105th and 106th Streets • Brooklyn Conservatory of Music 58 Seventh Avenue, Brooklyn • Juilliard School Peter Jay Sharp Theater and Paul Hall 155 W. 65th Street (212-864-6662) Subway: 1 to 103rd Street www.smokejazz.com Subway: F to Seventh Avenue, N, R to Union Street www.bkcm.org (212-769-7406) Subway: 1 to 66th Street www.juilliard.edu • Soup & Sound 292 Lefferts Avenue • Brooklyn Music School 126 Saint Felix Street • Korzo 667 5th Avenue Brooklyn (718-285-9425) Subway: R to Prospect Avenue (between Nostrand and Rogers Avenues) Subway: 2 to Sterling Street (718-907-0878) Subway: 4 to Atlantic Avenue-Pacific Street www.facebook.com/konceptions • Spaha Soul Restaurant 2294 Second Avenue • Café Carlyle 35 E. 76th Street (212-744-1600) • The Lambs Club 132 W. 44th Street (347-463-7387) Subway: 6 to 116th Street www.spahasoul.com Subway: 6 to 77th Street www.thecarlyle.com 212-997-5262 Subway: A, C, E, to 42nd Street www.thelambsclub.com • Spectrum 121 Ludlow Street, 2nd floor • Café Loup 105 W. 13th Street between Sixth and Seventh Avenues • Le Chéile 839 W. 181st Street Subway: F to Delancey Street www.spectrumnyc.com (212-255-4746) Subway: F to 14th Street www.cafeloupnyc.com (212-740-3111) Subway: A to 181st Street www.lecheilenyc.com • Stern Auditorium at Carnegie Hall 881 Seventh Avenue • Café Noctambulo at Pangea 178 Second Avenue • Le Poisson Rouge 158 Bleecker Street (212-228-4854) (212-247-7800) Subway: N, Q, R, W to 57th- Seventh Avenue (212-995-0900) Subway: L to First Avenue www.pangeanyc.com Subway: A, B, C, D, E, F, V to W. 4th Street www.lepoissonrouge.com www.carnegiehall.org • Caffe Vivaldi 32 Jones Street Subway: A, B, C, D, E, F, Q, V • Local 802 322 W. 48th Street between Eighth and Ninth Avenues • The Stone Avenue C and 2nd Street to W. 4th Street-Washington Square www.caffevivaldi.com (212-245-4802) Subway: C to 50th Street www.jazzfoundation.org Subway: F to Second Avenue www.thestonenyc.com • Capital Grille 120 Broadway • The Loft of Thomas Rochon 100 Grand Street, 6th Floor • Stop Time 1223 Bedford Avenue Subway: A, C to Nostrand Avenue (212-374-1811) Subway: 2, 3, 4, 5 to Wall Street www.thecapitalgrille.com Subway: 6, A, C, E, N, Q, R to Canal Street • The Strand Smokehouse 25-27 Broadway, Queens • Cavatappo Grill 1712 First Avenue • L’ybane 709 8th Avenue (212-582-2012) (718-440-3231) Subway: N, Q to Broadway (212-987-9260) Subway: 4, 5, 6 to 86th Street www.cavatappo.com Subway: A, C, E to 42nd Street-Port Authority www.lybane.com www.thestrandsmokehouse.com • The Cell 338 West 23rd Street • Lycée Francais de New York 505 E. 75th Street • Subrosa 63 Gansevoort Street (646-861-2253) Subway: C, E to 23rd Street www.thecelltheatre.org (212-439-3820) Subway: 6 to 77th Street www.lfny.org (212-997-4555) Subway: 1, 2, 3 to 14th Street; L to Eighth Avenue • Charley O’s 1611 Broadway at 49th Street • McDonald’s 160 Broadway between Maiden Lane and Liberty Street www.subrosanyc.com (212-246-1960) Subway: N, R, W to 49th Street (212-385-2063) Subway: 4, 5 to Fulton Street www.mcdonalds.com • Swing 46 349 W. 46th Street (646-322-4051) • City Winery 155 Varick Street • Manhattan School of Music Neidorff-Karpati Hall, Miller Recital Hall, Subway: A, C, E to 42nd Street www.swing46.com (212-608-0555) Subway: 1 to Houston Street www.citywinery.com Ades Performance Space, Carla Bossi-Comelli Studio Broadway and • Symphony Space Leonard Nimoy Thalia, Peter Jay Sharpe Theatre • Cleopatra’s Needle 2485 Broadway (212-769-6969) 122nd Street (212-749-2802 ext. 4428) Subway: 1 to 116th Street and Bar Thalia 2537 Broadway at 95th Street (212-864-5400) Subway: 1, 2, 3 to 96th Street www.cleopatrasneedleny.com www.msmnyc.edu Subway: 1, 2, 3 to 96th Street www.symphonyspace.org • Club Bonafide 212 E. 52nd Street (646-918-6189) Subway: 6 to 51st Street; • Merkin Concert Hall 129 W. 67th Street between Broadway and Amsterdam • Terraza 7 40-19 Gleane Street E, V to 53rd Street www.clubbonafide.com (212-501-3330) Subway: 1 to 66th Street-Lincoln Center (718-803-9602) Subway: 7 to 82nd Street www.terrazacafe.com • Cornelia Street Underground 29 Cornelia Street (212-989-9319) www.kaufman-center.org • Tomi Jazz 239 E. 53rd Street Subway: A, B, C, D, E, F, M to W. 4th Street www.corneliastreetcafé.com • Metropolitan Museum Grace R. Rogers Auditorium (646-497-1254) Subway: 6 to 51st Street www.tomijazz.com • The Cutting Room 44 E. 32nd Street 1000 Fifth Avenue at 82n Street • Town Hall 123 W. 43rd Street (212-691-1900) Subway: 6 to 33rd Street www.thecuttingroomnyc.com (212-570-3949) Subway: 4, 5, 6 to 86th Street www.metmuseum.org (212-997-1003) Subway: 7, B, D, F, M to 42nd Street-Bryant Park • Delroy’s Cafe and Wine Bar 65 Fenimore Street • Metropolitan Room 34 W. 22nd Street (212-206-0440) www.the-townhall-nyc.org Subway: Q to Parkside Avenue www.facebook.com/65fenmusicseries Subway: N, R to 23rd Street www.metropolitanroom.com • The Treehouse 833 Broadway, Ste. 6 • DiMenna Center 450 West 37th Street (212-594-6100) • Mezzrow 163 W. 10th Street Subway: 4, 5, 6, L, N, Q, R to Union Square Subway: A, C, E to 34h Street-Penn Station www.dimennacenter.org (646-476-4346) Subway: 1 to Christopher Street www.mezzrow.com • Tribeca Performing Arts Center 199 Chambers Street • Dizzy’s Club Broadway at 60th Street, 5th Floor (212-258-9800) • Minton’s 206 West 118th Street (212-220-1460) Subway: A, 1, 2, 3, 9 to Chambers Street Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.jalc.org (212-243-2222) Subway: B, C to 116th Street www.mintonsharlem.com www.tribecapac.org • The Django The Roxy Hotel 2 Sixth Avenue (212-519-6600) • MIST - My Image Studios 40 West 116th Street • Troost 1011 Manhattan Avenue Subway: A, C, E to Canal Street; 1 to Franklin Street www.roxyhotelnyc.com Subway: 2, 3 to 116th Street www.mistharlem.com (347-889-6761) Subway: G to Greenpoint Avenue www.troostny.com • Domaine Wine Bar 50-04 Vernon Boulevard (718-784-2350) • Mona’s 224 Avenue B Subway: L to First Avenue • Turnmill NYC 119 East 27th Street Subway: 7 to Vernon Boulevard-Jackson Avenue www.domainewinebar.com • Muchmore’s 2 Havemeyer Street (646-524-6060) Subway: 6 to 27th Street www.turnmillnyc.com • Dominie’s Astoria 34-07 30th Avenue Subway: N, Q to 30th Avenue (718-576-3222) Subway: L to Bedford Avenue • University of the Streets 2381 Belmont Avenue, 2nd Floor (212-254-9300) • The Downtown Club 240 E. 123rd Street • NYC Baha’i Center 53 E. 11th Street (212-222-5159) Subway: B, D to 182-183 Streets www.universityofthestreets.org (212-868-4444) Subway: 4, 5, 6 to 125th Street Subway: 4, 5, 6, N, R to 14th Street-Union Square www.bahainyc.org • Village Vanguard 178 Seventh Avenue South (212-255-4037) • Downtown Music Gallery 13 Monroe Street (212-473-0043) • National Sawdust 80 N. 6th Street Subway: 1, 2, 3 to 14th Street www.villagevanguard.com Subway: F to East Broadway www.downtownmusicgallery.com (646-779-8455) Subway: L to Bedford Avenue www.nationalsawdust.org • Walker’s 16 North Moore Street (212-941-0142) Subway: A, C, E to Canal Street • The Drawing Room 56 Willoughby Street #3 (917-648-1847) • Neue Galerie 1048 Fifth Avenue • Waltz-Astoria 23-14 Ditmars Boulevard Subway: A, C, F to Jay Street/Metrotech www.drawingroommusic.com (212-628-6200) Subway: 4, 5, 6 to 86th www.neuegalerie.org (718-95-MUSIC) Subway: N, R to Ditmars Blvd-Astoria • Drom 85 Avenue A (212-777-1157) • New Revolution Arts 7 Stanhope Street Subway: J to Kosciuszko Street www.Waltz-Astoria.com Subway: F to Second Avenue www.dromnyc.com www.jazzrightnow.com/new-revolution-arts-series • Williamsburg Music Center 367 Bedford Avenue, Brooklyn, NY • Duet 37 Barrow Street (212-255-5416) • The New School Arnhold Hall 55 West 13th Street (718-384-1654) Subway: L to Bedford Avenue Subway: 1 to Christopher Street www.duetny.com (212-229-5600) Subway: F, V to 14th Street www.newschool.edu • WoW Café Theater 59-61 E 4th Street #4 • The Ear Inn 326 Spring Street at Greenwich Street (212-246-5074) • New York Yankees Steakhouse 7 W. 51st Street (646-307-7910) (917-725-1482) Subway: 6 to Astor Place www.wowcafe.org Subway: C, E to Spring Street www.earinn.com Subway: E, M to Fifth Avenue/53rd Street www.nyysteak.com • Zinc Bar 82 W. 3rd Street • Farafina Café & Lounge Harlem 1813 Amsterdam Avenue (212-281-2445) • North Square Lounge 103 Waverly Place (212-254-1200) (212-477-8337) Subway: A, B, C, D, E, F, M to W. 4th Street Subway: 1 to 145th Street www.farafinacafeloungeharlem.com Subway: A, B, C, E, F to West 4th Street www.northsquareny.com www.zincbar.com

THE NEW YORK CITY JAZZ RECORD | MARCH 2017 49 (INTERVIEW CONTINUED FROM PAGE 6) look for an attitude that says you’re here to serve the Recommended Listening: music—it’s an attitude of giving. At the same time, • Slam Stewart—The Cats Are Swinging Smith was one of the first and a great. She just turned even though the music is in a collaborative situation, (Sertoma/Slamco, 1987) 104 years old and she’s still with us. it’s also necessary to do what the leader wants you to • DIVA—No Man’s Band: Something’s Coming was an amazing drummer but she’s remembered for do and with great attitude toward that end. I personally (Perfect Sound, 1994) her singing career. What happens is, when someone hope that our musicians love what they do and bring • Five Play—Five Play…Plus (Arbors, 2004) breaks the mold, when you see someone else do it, it that to the band. It’s about energy, really. A person can • Sherrie Maricle & The DIVA Jazz Orchestra— gives you permission to go ahead. You say, “I can do be a great musician but without the right energy that Live from Jazz at Lincoln Center’s Dizzy’s Club Coca-Cola that too!” Yet, there are too many women who should fits in with the rest of the members, then she’s simply (s/r, 2007) have been notable but aren’t. I suggest watching the not a good fit. • DIVA Jazz Trio—Never Never Land (Arbors, 2009) film The Girls in the Band. • —The Man and His Music TNYCJR: Are there any special projects you are (featuring Sherrie Maricle and The DIVA Jazz Orchestra) TNYCJR: What is the future for women in drumming? currently involved in? (Arbors, 2010)

SM: Again, it’s about being under or over the radar. SM: We’ve recently formed a partnership with Maria Among female jazz drummers Terri Lyne Carrington is Schneider and and ArtistShare. DIVA (LABEL CONTINUED FROM PAGE 11) the most notable in the last 30 years, but she’s by no turns 25 in 2017. We’re commemorating this landmark means the only one. Unfortunately, the attrition rate with an anniversary project that features original Old and new gems abound. ’s Love Held for women drummers is high. It’s a topic of concern in compositions by our band members. It’s a big Lightly is a stunningly intimate set of rare Harold Arlen educational circles as to why this is so. One of the undertaking and I’m very excited by it. I also have tunes. Sissle and Blake Sing Shuffle Along was released prime reasons I think is that there are pretty much no opened my own performance arts space in . last year to coincide with the recent updating of the full-time jobs in the arts. If you’re a musician you can show. From Bloom’s friendship with Jablonski, only be guaranteed a permanent gig by joining the TNYCJR: Is there a bucket list? biographer of Arlen, Gershwin, etc. came sessions from military. The lack of guaranteed work has to have an the Walden label of stylish recordings of the songs of impact on career decision-making. SM: I’m always going to play the drums and do what Cole Porter, Rodgers-Hart and Arlen. I do. That’s not going to change. But I do have a fantasy. A feeling for jazz and a love of classic song clearly TNYCJR: Should there be more advocacy for women The DIVA band had its first international gig in 1995 at go together. Singer Stacy Sullivan recorded Stranger in in drumming? the Pori Jazz Festival where we also saw Wynton a Dream in tribute to her performance on the late Marsalis perform. It’s since been my fantasy to have a Marian McPartland’s celebrated Piano Jazz radio SM: For women in drumming and for women in jazz. Battle of the Bands with DIVA and Wynton and the program. She says, “The recording process was The status of women who play jazz is slightly better Jazz at Lincoln Center Orchestra! seamless and my tastes for everything seems to match now than it has been, but there’s more to be done. For theirs perfectly!” Pianist/vocalist Eric Comstock’s example in 2013 the Kennedy Center renamed the TNYCJR: If a musician can master the demands of debut recording, Young Man of Manhattan, was made in Mary Lou Williams Women in Jazz Festival [started by playing jazz, what rewards might he or she expect? 1997 and he’s since made two more, including the very Dr. Billy Taylor in 1996] to the Mary Lou Williams Jazz special No One Knows, which takes him from being Festival. They said the emphasis on women was too SM: For any musician, jazz is a great way to express considered a cabaret singer (“I hate that word,” he limiting. They also said the designation for women emotion. The music allows you to tap into your own says) to an accomplished pianist and singer. Comstock was unnecessary because women had made such self-expression, to the most creative part of your own muses, “It’s clear that Harbinger is about digging for a success in the jazz world they didn’t need it anymore. soul, and then make it a shared expression. All music songs and writers from our past, but it’s also greatly That was a step back. We also still have the clothes and has the power to move people, but there’s an extra about looking for new ‘voices’ to carry the tradition hair syndrome to deal with. What we wear or how our layer in that power with jazz, because to hear a jazz forward.” Harbinger continues to find talented hair is fixed has nothing to do with the music. It’s piece played is a once-in-a-lifetime experience. Jazz is vocalists. Barbara Fasano (performing partner and a double standard. I applaud Wynton Marsalis, who’s in the moment. What you’re hearing now you’ll never wife to Comstock) offers Busy Being Free, with now conducting blind auditions. That’s what it’s hear again. Jazz is never the same twice. The freedom arrangements and smart piano from John di Martino about, the music first, what you are hearing, not what to improvise within the piece guarantees that. So, and sensitive cornet playing by Warren Vaché. Fasano you’re seeing. unlike a symphonic piece, for example, where the said, “I think the guys are playing their hearts out.” notes are pretty much played the same way all the So the tradition does indeed go forward. Rudman TNYCJR: Since you’re working with women time, jazz makes room for constant evolution. This and Bloom agree. “We do this for the love of the exclusively in the DIVA Jazz Orchestra, what do you capacity for jazz to allow the players to express music—how important and necessary it is to the story look for in a musician? themselves and combine with other players in a shared of America,” says Rudman. And Bloom adds, “At the experience happens on two levels. It happens among end of the day, it’s about relationships. We form bonds SM: DIVA offers an opportunity for a work experience themselves and with the audience and that has the with the musicians and with the music.” v that women musicians might not otherwise have. Of potential to be nothing less than transformative. v course we first look for technique and talent, of mastery For more information, visit harbingerrecords.com. Artists of the instrument. But it’s also necessary for our For more information, visit divajazz.com. DIVA Jazz Orchestra performing this month include Eric Comstock and Barbara Fasano musicians to be wide open to every experience. We is at Dizzy’s Club Mar. 31st-Apr. 2nd. See Calendar. at Neue Galerie Mar. 16th and Birdland Mar. 19th. See Calendar.

50 MARCH 2017 | THE NEW YORK CITY JAZZ RECORD

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CHRISTOPHE CHRISTOPHEKEREBEL KEREBEL My Twitter : @chriskereMy Twitter : @chriskere