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188536_HH_Jan_0 12/20/17 1:49 PM Page 1 The only jazz magazine in NY in print, online THE LATIN SIDE and on apps! OF HOT HOUSE P31 January 2018 www.hothousejazz.com Dizzy's Cub Coca-Cola Page 10 Blue Note Page 17 Jeremy Pelt Roberta Gambarini Tom Harrell Russell Malone Village Vanguard Page 10 Jazz Forum Page 21 Where To Go & Who To See Since 1982 188536_HH_Jan_0 12/20/17 4:36 PM Page 2 2 188536_HH_Jan_0 12/20/17 1:49 PM Page 3 3 188536_HH_Jan_0 12/20/17 1:49 PM Page 4 4 188536_HH_Jan_0 12/20/17 1:49 PM Page 5 5 188536_HH_Jan_0 12/20/17 5:17 PM Page 6 6 188536_HH_Jan_0 12/20/17 5:59 PM Page 7 7 188536_HH_Jan_0 12/20/17 1:49 PM Page 8 8 188536_HH_Jan_0 12/21/17 12:05 PM Page 9 9 188536_HH_Jan_0 12/20/17 4:37 PM Page 10 WINNING SPINS By George Kanzler WO TYPICAL CHARACTERISTICS trumpet with scintillating bursts of cre- of trumpet players today are that they ativity. Despite the limited instrumenta- Toften double on the fuller, deeper-toned tion, the album is also a tribute to Tom's flugelhorn and that they can usually be fertile playing and consistently engaging found as part of a frontline of two or more composing and arranging. horns in small groups. The two trumpeters Make Noise!, Jeremy Pelt (HighNote), whose new albums comprise this Winning is the latest CD from a trumpeter who Spins do double on flugelhorn, but their emerged three decades after Tom, but CDs are unusual in that both appear as stands firmly in the modern, post-bop the lone horn player with a rhythm sec- mainstream. Boasting a brighter tone than tion, a setting that puts the horn player Tom, with a crackling bite to it, Jeremy squarely out front as the dominant solo also features his horns with a rhythm sec- voice. tion. But his includes Afro-Latin percus- Moving Picture, Tom Harrell sionist Jacquelene Acevedo as well as (HighNote), finds the veteran trumpeter, drummer Jonathan Barber, bassist who first came on the scene during the late Vicente Archer and pianist Victor Gould. 1960s hard bop era, revisiting five compo- The album is also a fully unplugged sitions he previously wrote and recorded affair, with no electronics or over-dubbed with multi-horn bands and five new ones horns. Seven of the eight pieces are origi- especially prepared for this session with nals by Jeremy, the one exception is the pianist Danny Grissett, bassist Ugonna modal-like ballad "Digression," by Simona Okegwo and drummer Adam Cruz. Four of Permazzi, with one of Jeremy's most lyri- the tunes, including two new ones, feature cal flugelhorn solos. Danny on electric piano. Tom also multi- Like Tom, Jeremy favors an open horn, tracks his horns on four selections. although one of the most enticing numbers The title song leads off the CD with is the congas-driven "Chateau d'Eau," with Tom's trumpet echoed by four more trum- Jeremy seductively employing a tight pet tracks on the theme, the extra horns Harmon mute. Jacquelene opens the shadowing his lead and then letting it soar album with a percussion prologue to the off from an accelerating tempo into a skit- title track, propelled by the kind of jangly tering solo. Danny's solo flows directly out sprung rhythms that characterize open- of Tom's final runs, with a short solo by ended, post-swing 21st Century jazz, Adam ushering back the five-horn mercu- Jeremy wrangling variations on a themat- rial theme. ic phrase in his mercurial solo. "Apple House," another of the new com- "Evolution," prefaced by a two-minute positions, showcases Tom's lyrical side on a solo by Jonathan, finds Jeremy's flugel- graceful, swinging waltz, the theme dou- horn soloing over snappy, broken rhythms ble-tracked on trumpet. Loping Latin and spattering piano chords. On those two rhythms jauntily rock "Montego Bay," with pieces and "Cry Freedom," Jeremy's play- Danny's electric piano engaging in a dia- ing sparkles with a fiery drive, but he is logue with Tom's flugelhorn over the bass also capable of lovely, tender moments. His and drums. Flugelhorn and electric piano solo on the heartbeat tempo "Prince" is also are featured on the new "Different richly melodic and the flugelhorn ballad Clouds," a gently rolling ballad with Tom "Your First Touch…," with its whispered and Danny sharing solo space with cymbals, brings out his most lyrical playing. Ugonna's pizzicato bass. Crashing percussion and drums hint at Tom employs a variety of rhythmic salsa rhythms on the energetic closer, strategies: A shuffling backbeat and elec- "Bodega Special," Jeremy, on trumpet, tric piano ostinato riff driving "Gee, A engaging in a solo duet with Jacquelene, Bee," while a martial snare beat pairs with and Danny unleashing his most impressive the electric piano on "Happy Ring." A drum solo as a shaker provides the pulse over solo opens another new tune, "Time roiling rhythms. Passage," Tom's trumpet negotiating trick- ily moving rhythms and chords. "Sea," a ¾- Tom Harrell performs at the Village time piece Tom revisits, features fleet Vanguard, Jan. 9-14 and 16-21. flugelhorn flurries. Jeremy Pelt brings the Make Noise! A virtuosic centerpiece of the CD, and band to Dizzy's Club Coca-Cola Jan. by far the longest track, is the long form 30-31. He can also be heard in alto (Tom cites the influences of Bud Powell saxophonist Vincent Herring's band at and New Orleans classical composer Birdland, Jan. 23-27 and with Warren Olivier Messiaen) "Vibrer," an often Wolf and Ray Angry at the Blue Note, labyrinthian duet for acoustic piano and Jan. 22. 10 Gambarini cover photo by Angela Sogi, Harrell by Angela Harrell, Malone by Fran Kaufman, Pelt by Ra-Re Valverde. 188536_HH_Jan_0 12/20/17 1:49 PM Page 11 Sign-up for our E-ALERT at www.hothousejazz.com and be the 1st to know when the latest Hot House is available on line PUBLISHER/MANAGING EDITOR: For advertising requests and Gwen Kelley (formerly Calvier) listing info contact Gwen Kelley [email protected] Toll Free Phone: COPY EDITOR: Yvonne Ervin 888-899-8007/[email protected] [email protected] Hot House Jazz Magazine is published monthly and all PRODUCTION & ART DIRECTOR: copyrights are the property of Gwen Kelley. All rights Karen Pica [email protected] reserved. No material may be reproduced without written CONTRIBUTING WRITERS: permission of the President. No unsolicited manuscripts Ken Dryden, Nick Dunston, Yvonne Ervin, will be returned unless enclosed with a self addressed stamped envelope. Domestic subscriptions areavailable for Ken Franckling, Seton Hawkins, $37 annually (sent first class). For Canada $39 and Eugene Holley Jr., Stephanie Jones, international $50. George Kanzler, Elzy Kolb, PUBLISHER EMERITUS: Dave N Dittmann Michael G. Nastos, Tomas Peña, CO-FOUNDERS: Gene Kalbacher, Cary Tone, Gary Walker, Eric Wendell Lynn Taterka & Jeff Levenson CONTRIBUTING PHOTOGRAPHER: Fran Kaufman For press releases and CD revues send a copy to Gwen Kelley: PO Box 20212 - New York, NY 10025 11 188536_HH_Jan_0 12/20/17 4:48 PM Page 12 CLUBS & HALLS UPPER MANHATTAN (Above 70th Street) At City College. 138 AARONConvent DAVIS Av at HALL:W133rd St. www.citycollege centerforthearts.org. 212-650-6900. Jan 26: 7:30-9:30pm Manhattan School of Music Jazz Philharmonic Orch. 148W 133rd St (bet Lenox & 7th BILL’SAvs). PLACE: www.billsplaceharlem.com. 212-281- 0777. Fri-Sat: 8&10pm $20 don Bill Saxton Bebop Band. 2485 Bway (bet CLEOPATRA’S92nd & 93rd Sts).NEEDLE: www.cleopatrasneedleny. com. 212-769-6969. Sets: Early (E), Late (L); Sun E 4-8pm, L 9pm-1am; Mon-Tues E 8- 9pm, L 10pm-1am; Wed-Thurs E 7-11pm, L 11:30pm-2:30am; Fri-Sat E 8pm-12am, L 12:30-3am. Free adm/$10 min. Trios except Mon&Thurs Duets. L Jam. Residencies: Sun E Open mic w/Keith Ingham, L Kelly Green; Mon Nathan Brown; Tues Marc Devine; Wed E Open mic w/Les Kurtz, L Nathan Brown; Thurs L Kazu; Fri L Ben Zweig; Sat L T. Kash. Jan 4: Peter Rubie; 5: Denton Darien; 6: Michika Fukumori; 11: Dan Furman; 12: Carol Sudhalter; 13: Alan Rosenthal; 18: Durrah David; 19: Walter Williams feat Gitesha; 20: Fuku & Chihiro; 25: Matt Baker; 26: Art Lillard; 27: Justin Lees. At Red Rooster. GINNY’S310 Lenox SUPPER Av (bet CLUB: 125th & 126th Sts). www.ginnyssupperclub.com. 212-792-9001. Sets: 7:30&9:30pm. At Aaron Davis Hall. 150 HARLEMConvent STAGE: Av at W135th St. 212-281-9240. www.harlemstage.org. Jan 16: 7pm benefit concert honoring Ella Fitzgerald feat Dee Dee Bridgewater & Wé McDonald. At Cavatappo. 1712 LUCA’S1st Av JAZZ (bet 88thCORNER: & 89th Sts). 212-987-9260. www.lucasjazzcorner.com. Sets/adm: Sun 8- 11pm free adm vocal jam by Jocelyn Medina; Mon 7-10pm free Roger Lent Solo; Tues 8- 10pm $10; Wed 6-9pm free Vino & Jazz Solo guitar series; Thurs 9-11pm $10. Jan 2: Roni Ben-Hur Trio; 4: Ralph Lalama Qrt; 9: 7-9pm Martin Pizzarelli Trio; 11: Jonny King Trio; 16: Jam w/Mike Sailors; 18: Citizens of Blues; 23: $15 Fabrizio Sotti Trio; 25: Mafalda Minnozzi/Paul Ricci; 30: Pasquale Grasso Qrt. 206W 118th St (bet St. Nicholas Av MINTON’S:& Adam Clayton Powell Blvd). 212-243-2222. www.mintonsharlem.com. Sets: Sun 6:30- 10pm, Fri-Sat 7-10:30pm, Sat-Sun 12-3pm Brunch (B). Sun: Singer Meets Saxophonist. Jan 4: Falkner Evans Trio; 11: Eva Cortes Sxt; 13: APAP feat The Royal Bopsters; 17: Quentin Angus Trio; 20: Spinkick; 23: Ryan Slatko Trio; 25: Emilio Solla & La Inestable de Brooklyn; 26: “King” Solomon Hicks; 31: Robby Ameen & the Days in the Night Band.
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  • The-Bridge-Presentat

    The-Bridge-Presentat

    THE BRIDGE a transatlantic network for jazz and creative music « A life without bridges, no stories to tell. » David Sylvian VISIONS If the 1001 musics of the jazz field were the first “world musics”, would it not be because they allowed multiple worlds to express and signify themselves, always passionately, always singularly? Through a musical art dedicated to individual invention and collective reinvention, to the most astonishing connections and sharings. In recent years, after a century of stories and legends during which each improviser, each group, each scene has grown more specific, many French and North American musicians have shown a renewed desire to confront the musical and sociomusical realities of their counterparts on the other side of the Atlantic. To develop true mutual knowledge, in interpersonal and cross-cultural relationships that can develop over the long term, beyond a creation, a concert or a record. The Bridge forms a network of exchanges, production and dissemination, recreating the conditions for this perennial sharing: a transatlantic bridge that French and North American musicians regularly cross, in both directions and in the context of cooperative projects. This bridge between the worlds of music develops an alternative mode of circulation, thanks to tours designed as ethnographic journeys, where one explores a territory (in France or in Chicago and the Midwest) rather than travels relentlessly and thoughtlessly. Journeys in which each musician is given the time and space to resonate with the environment in which his partners evolve. On site and in context, The Bridge collaborates with all kinds of structures. This alternative model of cooperation, inspired by what has always made jazz an art of encounters and relationships – what is now called “in-person” – brings together clubs and festivals, grassroot organizations and cultural centers, music schools and universities on both continents, in a network where human adventures are woven and woven that exceed all expectations.