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AUGUST 2017—ISSUE 184 YOUR FREE GUIDE TO THE NYC SCENE NYCJAZZRECORD.COM

NELS CLINE for lovers

VINCENT ERIC HUGH TADD HERRING HARLAND STEINMETZ DAMERON Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The Jazz Record 66 Mt. Airy Road East AUGUST 2017—ISSUE 184 Croton-on-Hudson, NY 10520 Phone/Fax: 212-568-9628 New York@Night 4 Laurence Donohue-Greene: Interview : 6 by alex henderson [email protected] Andrey Henkin: [email protected] Artist Feature : 7 by marilyn lester General Inquiries: [email protected] On The Cover : 8 by john pietaro Advertising: [email protected] Encore : HUGH STEINMETZ by andrey henkin Calendar: 10 [email protected] VOXNews: Lest We Forget : 10 by stuart broomer [email protected] LAbel Spotlight : CIRCUM-DISC by ken waxman US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or VOXNEWS 11 by suzanne lorge money order to the address above or email [email protected] In Memoriam Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Fred Bouchard, Festival Report Stuart Broomer, Thomas Conrad, 13 Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, Tom Greenland, Anders Griffen, CD Reviews 14 Alex Henderson, Marcia Hillman, Terrell Holmes, Robert Iannapollo, Suzanne Lorge, Mark Keresman, Miscellany 31 Marc Medwin, Ken Micallef, Russ Musto, John Pietaro, Joel Roberts, John Sharpe, Event Calendar 32 Elliott Simon, Andrew Vélez, Ken Waxman, Contributing Writers Mathieu Bélanger, Robert Bush, Ori Dagan, Laurel Gross, A generation is loosely defined as those born within a ten-year period, given such colorful George Kanzler, Matthew Kassel, epithets as Baby Boomers, Gen-Xers and Millennials. Our Big Three features this month Marilyn Lester, Ivana Ng represent three consecutive generations and were all mentored by members of earlier eras. This Contributing Photographers is the connectivity that has kept jazz in its myriad forms evolving, drawing a direct line from Valerie Gay-Bessette, Peter Gannushkin, Buddy Bolden to . William Gottlieb, Pierre Langlois , Alan Nahigian, John Rogers, Nels Cline (On The Cover, born 1956) got early direction (and a recording debut) Adrien H. Tillmann, Nathan West from reed player ; this month, Cline premieres the music from his debut Lovers as part of BRIC Celebrate Brooklyn! Festival and curates a week at The Stone. Fact-checker Saxophonist Vincent Herring (Interview, born 1964) had crucial experience in the bands of Nate Dorward and ; Herring is part of a birthday celebration at Birdland this month and hosts Monday Night jam sessions at . Eric Harland (Artist Feature, born 1976) attended University on his way to becoming one of today’s most in-demand performers; he leads a variety of bands at this month.

The music industry has changed, clubs come and go, jazz festivals become pop extravaganzas nycjazzrecord.com but as long as younger musicians keep learning from their elders, jazz will be just fine.

On The Cover: Nels Cline (photo by Nathan West, courtesy of )

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

2 AUGUST 2017 | THE NEW YORK CITY JAZZ RECORD WWW.BLUENOTEJAZZ.COM AUGUST 2017

CHRISTIAN SCOTT EARL KLUGH AUGUST 3 - 6 AUGUST 8 - 13

BOB JAMES FEAT. RANDY BRECKER (8/16) & SPECIAL GUESTS AUGUST 15 - 20 AUGUST 29 - SEPTEMBER 3 JOEY DEFRANCESCO & THE PEOPLE AUGUST 1 & 2 • EDDIE PALMIERI AUGUST 7 & 28 MCCOY TYNER AUGUST 14 JESSICA CARE MOORE - 8PM / THEO CROKER MONTHLY RESIDENCY - 10:30PM AUGUST 21 JOYCE MORENO AUGUST 22 • DERRICK HODGE AUGUST 23 SPECIAL SUNDAY JAZZ BRUNCH $39.50 INCLUDES BRUNCH, MUSIC & COCKTAIL LATE NIGHTS ALEX HAN AUGUST 4 • GABRIEL ROYAL AUGUST 5 • TBA AUGUST 11,12,18,19,25,26 l3l WEST 3RD STREET NEW YORK CITY • 2l2.475.8592 • WWW.BLUENOTEJAZZ.COM @bluenotenyc TWO SHOWS NIGHTLY 8PM & l0:30PM • FRIDAY & SATURDAY LATE NIGHTS: l2:30AM TELECHARGE.COM TERMS, CONDITIONS AND RESTRICTIONS APPLY

THE SUN AUG 20 BAYLOR PROJECT:“THE JOURNEY” TOUR KEITH LOFTIS - TERRY BREWER - BEN WILLIAMS - MARCUS BAYLOR TUE AUG 22

-NYCJR H - NY MAGAZINE BRANDEE YOUNGER QUARTET “VENUE OF THE YEAR” 2016 “TOP 10 VENUES IMPACTING NY MUSIC SCENE TODAY” CHELSEA BARATZ - DEZRON DOUGLAS - EJ STRICKLAND TUE AUG 1 - FIMA EPHRON WED-THU AUG 23-24 NATE SMITH’S KINFOLK BRAD WILLIAMS - AMMA WHATT WED AUG 2 MARQUIS HILL BLACKTET JOHN ELLIS - GARY VERSACE BRAXTON COOK - JOEL ROSS - JEREMIAH HUNT - MAKAYA McCRAVEN MIKE RODRIGUEZ QUINTETRICK ROSATO - CRAIG WEINRIB FRI-SUN AUG 25-27 THU-SUN AUG 3-6 PAT BIANCHI DAFNIS PRIETO BIG TRIOCARMEN INTORRE TUE-WED AUG 29-30 TUE AUG 8 SAT AUG 12 FEATURING chris ORACLE ERIC HARLAND TRIO ERIC HARLAND QUARTETpotter JOHN ELLIS - - - BEN WILLIAMS MICHAEL LEAGUE - - BIG YUKI THU-SUN AUG 31-SEP 3 WED-THU AUG 9-10 SUN AUG 13 ERIC HARLAND’S VOYAGER ERIC HARLAND TRIO TRIO WALTER SMITH III - TAYLOR EIGSTI - HARISH RAGAVAN JAMES FRANCIES - BIG YUKI FEATURING & FRI AUG 11 HMINGUS MONDAYSHMINGUS MONDAYSHMINGUS MONDAYSH ERIC HARLAND QUARTET MON AUG 7, 14, 21 & 28 TTAYLOR EIGSTI - BIG YUKI - CHRIS TURNER TUE AUG 15 MINGUS SARA GAZAREK TAYLOR EIGSTI - ALEX BONEHAM - CHRISTIAN EUMAN HJAZZ BRUNCH SUNDAYSHJAZZ BRUNCH SUNDAYSH WED AUG 16 JOEL ROSS - STEVE LEHMAN JAMES FRANCIES PRESENTS FLIGHTMATT BREWER - JEFF “TAIN” WATTS SUNSmokestack AUG 6 11:30 BrunchAM MUSIC, FOOD 1:30PM $35 & A DRINK THU-SAT AUG 17-19 Sundays FEATURING POOLE & THE GANG SUN AUG 20 RUBEN ROGERS SUN AUG 13 TUBBY TRIOERIC HARLAND JOHN CHIN SUN AUG 27 JAY SAWYER TRIO NEW YORK @ NIGHT

It’s hard to think of a better way to spend a humid, “This is like the end of The Stone,” trumpeter Steven rainy Friday evening than in an artists’ bunker in Bernstein remarked at the beginning of the Millennial Bushwick bearing witness to free improv and cracked Territory set (Jul. 2nd), though the closing electronic exploration. The venue was Noise Workshop of the venue (named for beloved fan Irving Stone) was (Jul. 14th), hosting sets from the New York Review of still months away. A denizen of erstwhile Downtown Cocksucking (NYROCS, Michael Foster and Richard ‘clubhouses’ like the “Old Knit” and Tonic (where Kamerman) and Plane Crash, the volatile but incisive MTO cut its teeth), Bernstein has learned to play (and trio of guitarist , roll with) the changes. His nonet—clarinetist Doug and drummer . NYROCS opened, sitting Wieselman; saxophonists Peter Apfelbaum (tenor/ presented by across from one another at card tables festooned with soprano) and Erik Lawrence (baritone); trombonist little and not-so-little instruments—harmonicas, Curtis Fowlkes; bassist Ben Allison; drummer Ben rattles, pot lids, , cassette players, pedals, Perowsky; plus two subs in violinist Sam Bardfeld and megaphone, no-input mixer and soprano — guitarist Will Bernard—showed fine form on the and conjured a landscape of feedback, bilious band’s traditional opener, “St. Louis ”, displaying multiphonic gurgle, percussive clatter and disembodied its unique but recognizable sound, which (somehow) CHARLIE PARKER voices. While both Plane Crash volumes (released on consolidates ‘20s whore-house blues, gospel, Swing, ugEXPLODE and New Atlantis, respectively) have Bird-bop, and free improv. Harnessed in offered sharply-defined acoustic gamesmanship, in Bernstein’s agile , the group’s strong JAZZ FESTIVAL person they stuck to a charged energy often veering personalities emerge in a communal, not individual, towards , Walter on an expansive context, a renovation of the heterophonic style of early rock-drummer’s kit, a sweaty and powerful chug New Orleans jazz. “One 4 Dos”, a new chart, profited 25TH ANNIVERSARY behind Kaiser’s more topographical electric latticework from Bernstein’s ongoing adjustments, swelling to CELEBRATION and the throaty incisions of Smith’s arco and meaty a loud, messy collective roar. Another original, “Silver pizzicato. The trio worked through one long and one Talk”, was pure R&B, moving through cued sections. short improvisation, the section occasionally Alongside the party music were complex harmonic subsuming Kaiser’s detail under brute force, but the explorations: ’ “’s three eventually found a common axis of listening, Sound of Love” and Ellington’s own “Flirtibird”. Sure, AUGUST 23–27 winnowing their improvisation to a focused, vibrantly The Stone will close its door, but these guys will find undulating language. —Clifford Allen new territory to travel. —Tom Greenland FREE AUGUST 23, 2017 | 7:30-9 PM CHARLIE PARKER WITH STRINGS The New School Auditorium O W N M U S I C . E T 66 West 12th St., Manhattan

AUGUST 24, 2017 | 7-9 PM . j o h n r g e s y c m JASON SAMUELS SMITH’S “CHASIN’ THE BIRD” REMIXED Marcus Garvey Park, Manhattan P e t r G a n u s h k i / D O W N T © J o h n R g e r s w AUGUST 25, 2017 | 7-9 PM Henry Kaiser @ Noise Workshop Steven Bernstein @ The Stone ANAT COHEN TENTET / CAMILLE THURMAN IN ASSOCIATION WITH JAZZMOBILE One would be forgiven for assuming that Saxophone Sandwiched between nondescript warehouse fronts Marcus Garvey Park, Manhattan at Birdland (Jul. 1st) would be a blowing near the Gowanus canal, a small square box of a room session in the vein of a or an Altissimo with white brick walls and colored baffles to dampen performance. Far from that, soprano saxophonist Dave the echoes, Ibeam Brooklyn is a far cry from AUGUST 26, 2017 | 3-7 PM Liebman, tenor saxophonist and alto Manhattan’s glitzy jazz palaces—and thus the ideal LEE KONITZ QUARTET / AND saxophonist used their 75-minute set to setting for guitarist Joe Morris’ duet double-header SOCIAL SCIENCE / / CHARENEE WADE explore four originals from the late (Jul. 1st). The , with pianist Sylvie Courvoisier, saxophonist’s 1960-67 floruit. The trio were joined by began with a brief exchanged glance, quickly Marcus Garvey Park, Manhattan an endlessly inventive of pianist Phil developing into a long suite of changing textures and Markowitz, bassist John Benítez and drummer Obed temperament. Courvoisier, the more exuberant (and AUGUST 27, 2017 | 3-7 PM Calvaire, the latter’s insistent and dappled press rolls louder) of the two, zeroed in on low pedal tones, QUARTET / LOU DONALDSON and brassy flair recalling more than Elvin countering them with clacking high notes produced by Jones. Beginning with the trilling modes of “”, hand-plucks or mallets on the bared strings. Morris TIA FULLER / ALICIA OLATUJA it was clear that none of the saxophonists were favored a traditional jazz tone, creating variety Tompkins Square Park, Manhattan beholden to recreating prior forms: Osby, husky and with muted notes and scratching attacks, generally meditative in his quizzical phrase reworking; Liebman, following Courvoisier’s lead with soft lines or chords. a sinewy beam of light, exploding from the narrows; The second duet, with violinist Mark Feldman, was Lovano, at times conservative, but with a liquid more balanced in terms of instrument volume and the VISIT SUMMERSTAGE.ORG deftness belying the unflagging mass of his tone. give and take between players. Morris’ muted touches FOR THE FULL SCHEDULE “Seraphic Light” took things further out, a saxophone now came to the fore, his chords more audible, rich trio exploring rhythm and tonal overlay in a manner as and mellow. Feldman played with romantic bluster, much George Crumb as it was the blues, Calvaire see-sawing the bow across wide intervals, feathering it #SummerStage entering in free time alongside Markowitz’ supple, to make bird-call harmonics, drilling his finger into the impish rhapsody before soprano, bass and took neck on piercing vibratos, sliding to the upper brink of SummerStageNYC off in flight. The closing “India” found Liebman on the fingerboard for stratospheric sighs. But the best wooden with a bent and piercing call, augmented moments were the most subdued, when the mood was SummerStage by strings and spry staccato before the familiar quiet, unforced. Courvoisier came back for a trio finale, tune appeared at a breakneck tempo, Lovano quoting which, after some initial unease, ultimately achieved ’ “East Broadway Rundown”. (CA) gratifying and restorative, if unexpected, closure. (TG)

4 AUGUST 2017 | THE NEW YORK CITY JAZZ RECORD All these decades later, even as rents go up and “This is my final set here … We’ve been working hard subways derail, musicians still want to move to New all week. By the end of the night, there’ll be blood, York. On a macro level, there is the challenge of seeing sweat and tears all over the stage,“ WHAT’S NE WS if you can make it there (and thus anywhere). More announced to the packed house at the Blue Note micro is the chance to play such stunning venues as the (Jul. 2nd). Wilson kicked off the show her The Creative Music Studio (CMS) Fall Workshop Museum of Modern Art’s Sculpture Garden, your original lyric to “Miles Runs The Voodoo Down”, dates have been announced. The program will notes wafting among Picassos and Matisses and more droning the ominous words “I got High John in my take place Oct. 2nd-6th at Full Moon Resort in Big recent works by Dan Graham and Isa Genzken. The pocket and mud in my shoes / Walked all the way Indian, NY with a faculty including Mary Halvorson, latter was represented by a 36-foot stainless steel rose, from Mississippi just to spread the news / Don’t care next to which Marquis Hill performed to a capacity for idle conversation, I’m not your girl about town / Billy Martin and Omar Tekbilek. In related news, crowd and dozens more listening over the wall on 54th But when it comes to making music, I run the voodoo CMS founders Karl Berger and Ingrid Sertso have Street (Aug. 16th). Hill, winner of the 2014 Thelonious down” in her signature smoky tone over the plucked, given over control of the organization, founded in Monk Competition, has relocated here from then bowed violin of Warren Benbow and wah-wah 1971, to Rob Saffer, new Executive Director, and his native and, rose-like, already bloomed in guitar of Brandon Ross, backed by the rhythm section Steven Bernstein, Peter Apfelbaum and Billy his new surroundings. Accompanying Hill was another of , and John Davis. Ross’ Martin, artistic directors of the workshops (as well Chicago ex-pat and man-about-town in vibraphonist folkish guitar opened the singer’s “Another Country”, as alumni). For more information, visit Joel Ross (Hill likes the instrument in his groups, its as she sang, “The midday sun is beating drums quarter creativemusic.org. gauziness enveloping his perfectly articulated clarion time on our parade / We drove past city limits, engines tone), bassist Chris Smith and drummer Jonathan blazing all the way”, with telling authority over the Saxophonist received the Barber completing the quartet. The , presented band’s swelling dynamics. “We’re doing a tour of my in partnership with MoMA and Jazz at , DNA,” she declared, detailing her multi-racial prestigious Polar Music Prize, given annually by was a breezy affair on an evening when the humidity background after a rendition of “Angola” delivered in the Royal Swedish Academy of Music and was broke, Hill presenting five originals, including a Portuguese patois. She stirringly sang her “Love Is fêted by during the award closing piece commissioned as part of MoMA’s Blind” seated, wiping her eyes before standing to sing ceremony. Summergarden series in honor of sculptor Augusta “Last Train To Clarksville”, clapping to Savage. This was classic ‘60s postbop translated into honky-tonk piano. After a stirring “Crazy He Calls Smalls Jazz Club will host a Josh Benko Repair new millennium swing, shades of gospel and Mongo Me”, she paused to dedicate the closing “St. James Fund Benefit Event and a musical tribute to the Santamaria’s “Afro Blue” vying with soul flourishes Infirmary” to “fallen comrade” Geri Allen, ending recently departed saxophonist led by Dwayne and funky . —Andrey Henkin with “The Saints Go Marching In”. —Russ Musto Clemons and Sacha Perry Aug. 6th at 2 and 4:30 pm, respectively.

WGXC 90.7-FM in upstate New York has announced a partnership with Roulette to broadcast a monthly program, Tracking The Odds: The Roulette Concert Archive, utilizing recordings from the venue’s long history of presenting . a h t 1 9 8 5 c o m progressive . For more information, visit roulette.org.

Benjamin Barson was named recipient of the 2017 Fred Ho Award as given annually by the The ASCAP Foundation. Barson worked with the composer for several years before his 2014 death. For more information, visit ascapfoundation.org. a l n h i g A d r i e n H . T l m a - w Marquis Hill @ MoMA Sculpture Garden Cassandra Wilson @ Blue Note In addition to the concert scheduled for this year’s Charlie Parker Jazz Fest, taking place at The Before the Evanses, Wooleys, Finlaysons, et. al, Russ Revisiting music from his series of Latinizing New School for Jazz and Contemporary Music Johnson was the city’s go-to guy for envelope-pushing classic jazz compositions by some of the music’s most (Aug. 23rd), Marcus Garvey Park (Aug. 24th-26th) trumpet for a wide array of groups. Then six years ago renowned artists, Conrad Herwig and his Latin Side he gave up Brooklyn hipsters for Wisconsin badgers, All Stars began the first of four nights at Jazz Standard and Tompkins Square Park (Aug. 27th), there will taking a teaching gig and establishing himself anew in (Jul. 13th) performing the music of two of the be free outreach events at The National Jazz the progressive jazz world of nearby Chicago. Johnson trombonist’s former leaders: and Joe Museum in Harlem (Aug. 23rd), Gin Fizz Harlem still comes and visits, as he did for a weekend at Henderson, getting started with Herwig’s (Aug. 23rd), 6BC Botanical Garden (Aug. 24th), Cornelia Street Underground with a pair of old friends of the former’s “Cape Verdean Blues”. It featured Ginny’s Supper Club (Aug. 24th) and Harlem Rose in bassist Michael Bates and drummer Gerald Cleaver, heated solos by Herwig, trumpeter and Garden (Aug. 25th). For more information, visit plus new associate Aruán Ortiz at the piano bench. For tenor saxophonist Craig Handy over pulsating Afro- summerstage.org. his first set (Jul. 1st), Johnson presented 50 minutes of Caribbean cadences by the rhythm section of pianist new music, four pieces of 10+ minute duration and Bill O’Connell, bassist Ruben Rodriguez, drummer It seems that a resolution of sorts has been reached a five-minute closing volley. Johnson’s playing is not Robby Ameen and conguero Richie Flores, the latter dependent on virtuosic fanfares, extended techniques whose climactic solo had the room cheering. in the long-standing case between the estate of or textural explorations. He does quite a bit with Henderson’s beautiful “Black Narcissus” found Handy late saxophonist and the label changes in dynamics, with the space between his notes. and Sipiagin on flute and flugelhorn, respectively, System Dialing Records, which released New He recalls Tomasz Stańko in his ability to lead a group blowing mellifluous harmonies while the orchestration Vocabulary in 2014, which was, at the time, exploration from behind his instrument. His themes of ’s “Blue Bossa” (a Henderson Coleman’s last recording. The United States are, well, thematic and incorporate elements of twisty favorite) had the trumpet/tenor/ frontline District Court, Southern District of New York, bop learned, perhaps, from his time with saxophonist give the ensemble the sound of a big band. Things dismissed the federal lawsuit “with prejudice”, Lee Konitz (to whom Johnson dedicated a tune, “Lees”, slowed for Silver’s “Peace”, which began with noting the plaintiff’s “sanctionable” and “dilatory also celebrating his daughter and mother). One piece trombone, flugelhorn and alto flute playing with conduct”, and thus absolving System Dialing of found him presenting a five-minute buzzing intro of chorale-like intimacy sans rhythm section, prior to any liability. For more information, visit sparse melodic strokes, the piece developing slowly, lyrical solos by O’Connell and Herwig, who tagged the Johnson demonstrating an incomparable way with pianist’s arrangement with a solo . O’Connell’s systemdialingrecords.com. ballads. And to show that the Midwest is not all Trump take on Silver’s classic “Song For My Father” was country, the closing “Slightly Off”, written post- replete with original melodic interludes, before election, was a drunken lurch, getting more strident as Herwig’s CuBopping arrangement of Silver’s Submit news to [email protected] it progressed, like the administration itself. (AH) “Nutville” closed things explosively. (RM)

THE NEW YORK CITY JAZZ RECORD | AUGUST 2017 5 INTERVIEW

everything together—not just his music, but his relationship with the band. His relationship with the people who dealt with the business. You would never know that Cedar booked so much of his own stuff. We had a pattern: we would do Dizzy’s Club for two weeks in the summer. We would do the Vanguard for VINCENT two weeks at the end of the year, before New Year’s. And we’d do Birdland in April. That was five weeks in

t i s New York City with Cedar. Then, he had a whole

a r pattern around the country and around the world he would always follow.

o f t h e TNYCJR: And Nat Adderley? t e s y HERRING (CONTINUED ON PAGE 38) o c u r

p h o t by alex henderson Vincent Herring is one of the most skillful /postbop we have a vocalist named Nicolas Bearde. He’s a West players to come out of the Young Lion movement of the ‘80s. Coast person. A lot of people don’t know him, but he’s Born Nov. 19th, 1964 in Hopkinsville, Kentucky and raised very special. Mike LeDonne is on piano. Kenny Davis in California, the alto and soprano saxophonist moved to is playing bass and is on drums. We run New York City in 1983 and worked with , through the history of jazz. The best way I can describe Cedar Walton, Nat Adderley, , Lionel this is if you ever went to a Motown revue—or even Hampton and many other greats along the way. Herring, Michael Jackson back in the day when he would run known for his robust, -influenced tone, through all of his hits—this, similarly, runs through the has been recording as a leader since 1988 for Evidence, history of jazz. The history of recorded jazz is pretty Landmark, MusicMasters, HighNote and, most recently, short; recorded jazz is 100 years old this year. We start Smoke Sessions. During a recent interview, the 52-year-old with things from 1917— on the LOU CAPUTOThe ZINC NOT BAr - ASOUG 9BIGTh BAND Herring discussed his current projects as well as his and on the trumpet have such expertise in impressive history. playing that music—and we end up to today. We really “TrIeD AND TrUe SwINGerS, They CAN TAke yOU ArOUND The BLOCk wITh A BUNCh Of STOPS IN BeTweeN, ALL run through the whole history of jazz. It turned out to Of whICh Are PLAyeD TO PerfeCTION ThrOUGhOUT.” The New York City Jazz Record: In what ways do you be quite a crowd-pleaser hearing somebody like Jeremy -mIDweST reCOrD feel you have evolved and grown as a musician since Pelt playing “One Finger Snap” and the next thing you you started out? know, he’s playing “Feels So Good”. Or hearing Jon LOUCAPUTO.COm Faddis playing “Things to Come” and the next thing Vincent Herring: Wow, the list is too long to detail. you know, he’s doing “What a Wonderful World”. It I guess the most important thing is that intellectually runs through all the important times in this music and I have learned more about music but, at the same time, it’s just an amazing show. We’re going to be at Birdland I have also grown emotionally with music. I’ve in January. connected with the history of the music and I’ve had a chance to work with some historical guys. The lessons TNYCJR: What’s going on with Friendly Fire, your of life and the lessons of music have helped me to grow project with Eric Alexander? and become the musician I am now. I’m continuing to evolve, but I’m aware of all the life lessons. VH: Unfortunately, [High Note Records President] Joe Fields just died. Eric and I were both on that label at TNYCJR: You’ve been recording for the Smoke Sessions the same time; so, it was easier to get stuff done before. label in recent years. What are you currently doing for We would like to do another record, but now I’m on them? Smoke Sessions and Eric is still on HighNote. So how do we get it done? Whose record is it? What label does VH: I just recorded another project and it’s going to be it come out on? coming out in, I think, October or November. The project is slightly different from what we TNYCJR: So, it’s up in the air whether Friendly Fire discussed. Originally, they just wanted me to go in and will do a new for HighNote? cut a record. But I added a vocalist, Nicolas Bearde. I added a and [guitarist] VH: It’s up in the air whether or not we can get it done. joins us for a few tracks. The record really came out well. I’m really proud of it. TNYCJR: Eric is extremely expressive. He has major chops, but he doesn’t approach jazz in an overly TNYCJR: You seem to have a very positive relationship technical way. He’s soulful and warm. with Smoke Sessions, the in-house label of Smoke Jazz Club. VH: That’s correct. That’s the thing that separates Eric from everybody else. Eric does have the technical side VH: My relationship with Paul Stache, the owner of and he is an incredibly knowledgeable musician. But the label [and Smoke Jazz Club], is very good. The the thing that separates Eric from so many people label is all about music. Paul really cares about music. today is that he is genuinely soulful. He makes decisions based on music and that is rare. Paul has a good business sense, but he is also someone TNYCJR: Eric learned from the best, much like who really loves and cares about the music. yourself. Pianist was his mentor. Along the way, you played with quite a few major jazz icons TNYCJR: One of your current projects is The Story of who are no longer with us, from Cedar Walton to Jazz, which has an historic outlook. , Art Blakey, Nat Adderley, Dizzy Gillespie and Horace Silver. What are some of the most VH: The Story of Jazz is an allstar group of musicians, important things you learned from playing with starting with Jon Faddis and on , musicians of that caliber? Cedar, for example? Eric Alexander and James Carter and myself on , on trombone and shells—and VH: With Cedar, I watched and examined how he put

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

For more information, visit ericharland.com. Harland is at Jazz Standard Aug. 8th-13th as a leader and Aug. 17th-19th with Joey Alexander. See Calendar.

Recommended Listening: • Greg Osby—Inner Circle (Blue Note, 1999) ERIC • Charles Lloyd—Sangam (ECM, 2004) • Sextet—Pass It On (Dare2-Emarcy, 2007)

t i s • Eric Harland Voyager—Live by Night a r (Space Time, 2008) • SFJAZZ Collective—Live 2009: The Works of McCoy Tyner (SFJAZZ, 2009) o f t h e • Charles Lloyd New Quartet—Passin’ Thru t e s y HARLAND (Blue Note, 2016) o c u r –SUPERCONDUCTOR p h o t by marilyn lester The power of music as a channel for healing and reports. “He’s an amazing teacher/drummer from spiritual exploration is, for many musicians, a given. .” In 1993 Harland began playing Where some may unconsciously channel these high professionally while at the same time completing concepts in their playing, others, such as Duke studies at Houston’s High School for the Performing Ellington with his Sacred Music, John Coltrane with and Visual Arts. He won the first chair with the regional and drummer Eric Harland with his and state in 1992-93 and also met Marsalis, latest release Vipasanna, deliberately pursue this line of who encouraged him to continue his studies in New creativity. In fact, Harland says it was Coltrane who York City. Harland won a full scholarship to the was the chief influence on his drumming. As he has Manhattan School of Music, where he excelled, but at “...AMBITIOUS “SUPERCONDUCTOR... “ONE Of ThE MOST developed his musicianship, Harland’s personal a cost. After completing music school Harland AND IMAgINATIVE, fINDS ThE BRILLIANT, ExPLORINg SAxOPhONIST-COMPOSER fULLy REALIzED philosophy of his artistry and skill is based on his collapsed from exhaustion and self-starvation. It was DISTINCTIVE SERVINg DIVERSE ALBUMS I’VE spirituality, plus a proclivity for experimentation, at this point that he enrolled in Houston Baptist MEANS TO ExPAND ThE DICTATES fROM hIS hEARD IN LONg TIME. jAzz PALETTE.” CONSIDERABLE MUSE.” gET IT.” continuous creative learning and fearlessness in University, studying the theology that has since performing. These elements, he believes, open a portal informed his life in many ways. -DOWNBEAT -jAzzTIMES - that allow listeners to gain insight into each musical Harland’s early experience with the late vocalist moment for “the highest musical experience.” It’s not Betty Carter (who died in 1998) was a pivotal step in AVAILABLE AT 5PASSION.COM surprising, then, to learn that after graduating from his musical development. She loved fast tunes, the Manhattan School of Music, Harland went on to Harland recalls, which called for constant focus and study theology at Houston Baptist University, attention. He credits Carter with teaching him how to becoming an ordained minister. use the drums as a way of orchestrating within the Born in Houston, in 1978, Harland is now at band. Notable in his playing is the capacity to treat that point where youth yields to maturity. The journey each element of the kit as a fully realized instrument so far has yielded a rich frame of reference, with while integrating them all into a cohesive sound. Harland not only leading his own group Voyager but Harland notes that when he got seriously into jazz at also being in demand with major players. Over the 14 he would play all over the set, “trying to hit years he’s been a sideman for the likes of Charles everything in sight.” Eventually, he learned to swing Lloyd, , McCoy Tyner, Joshua the set with less effort, which was ultimately more Redman, Chris Potter, , , powerful. Along with that ability to control his playing , , Betty Carter and came subtlety and nuance. Harland at any volume a host of other notables. He’s so in-demand that his level is articulate, detailed, even when it’s a challenge, discography now numbers in the hundreds. Yet such as when there are no definable rhythmic patterns Harland is modest, a feature of his innate strength of in a piece. Here’s where creativity comes in, he character as well as the result of his evolution as a acknowledges. Beyond being a drummer he considers person and a musician. To prove the point, when asked himself a shaper of the music. what he has yet to accomplish as an artist, he responds, Carter also encouraged Harland to stay true to his “If you would have asked me this years ago, I would own style, no matter what the musical situation. That have had a list of greats that I would have loved to style—and his musical evolution to date—is showcased play with.” The Harland of 2017 has a different outlook: in Harland’s latest release Vipasanna with Voyager. In “Now I’m just really happy for who’s in my life and it, Harland demonstrates his capacity to support, what I get to experience. I feel like that’s what’s meant enhance and lead. One of his strong suits, and hence for me. So if there’s anything to be accomplished, his popularity as a drummer, is a capacity to adjust it’s to be more in this space of appreciating who’s here and conform, yet never yielding his own point of view. right now.” ”My approach is just to allow the vibrations to be Yet life was not always so fluid for Harland. As a there,” he says, “to not get in the way of what the child and young man he was clinically obese, which music is trying to say.” His priority is a cohesive sound, caused much grief. The road to turning his life around achieved by attuning to his fellow musicians, meaningfully was a long one. His mother was often perceiving what is needed by them in any given uncomfortably religious, but also musical and his early session. Vipasanna is named for a meditation that genius was encouraged. Harland precociously began focuses on the body to gain insight through sensory learning piano as a toddler, switching to drums at age awareness. Harland achieves rhythmic complexity, five. As to that memorable and remarkable experience, coupled with melodic lines and improvisations, he says, “Piano definitely informs my work. The through an eclectic mix of styles, including several instrument allows me to hear harmonies and sound in hip-hop-influenced tracks. a way that I wouldn’t if I just played drums.” And so, Vipasanna reflects what Harland is striving for provided with a Ludwig kit at an age when most most in his playing: “Bliss in terms of being able to be children were happily playing with blocks in available for the purity of what’s . It’s kindergarten, Harland found his strength and solace in awesome to have ideas, but even better when those music under the direction of Craig Green. “He was my ideas meet other ideas and become woven into a drum mentor since I was five years old,“ Harland beautiful tapestry of sound and momentum.” v

THE NEW YORK CITY JAZZ RECORD | AUGUST 2017 7 ON THE COVER NELS CLINE music for lovers

t h a n w e s by john pietaro n a

Nels Cline is just a few hours away from lift-off. cast his disparate identity into the role of leader of the great change, as did ; so much Europe-bound, he’ll be hitting the stage with , Nels Cline Quartet and the ironically titled instrumental invention, so much innovation. The very low tones the band he’s been a member of since ensemble Nels Cline Singers. In the midst of this came were suddenly articulated in music and sound design. 2004. First stop: Barcelona. The band will play dates the 2004 offer to join Wilco. “I’d been trying to play Film scores particularly benefited. The rise of ethnic there and in Madrid as well as other sites including music for a living in L.A. Though I was playing with and influence of electronics can be heard in the Finland’s Pori Festival, an annual jazz and new music a lot of great artists, I was struggling to get by! Wilco genre of New Age where there are relatively few gathering founded in 1966. “I played Pori a few years rescued me from going back to a day job. I wasn’t chords, drones, mood, timber and modality. Minimalist ago and recall it as a super inelegantly drunken looking to join a rock band but when they came acuity to create tension or immersion. Yet, no wave, festival,” Cline said, laughing. But the performances knocking… (laughs). 13 years later all I can say is that punk, classical music of the ‘60s and all with Wilco, a job he describes as “like winning the it’s been a wonderful, simpatico experience.” hold these qualities as well.” lottery,” aren’t the only events for which he’s excited. The attention this highly-coveted gig brought Spoiler alert: it’s all in Lovers, amid killer August finds him back home in Brooklyn where the Cline surely hasn’t damaged his reputation as an musicianship over the brilliant, timeless orchestrations big stage in Prospect Park beckons. instrumentalist with whom to be reckoned. Several of conductor and trumpet player , Born in 1956 L.A., Nels Cline came of age alongside years ago he was cited by as among the Cline’s partner in the project. The album may speak of the music. “It was 1968 and I was 12 years old. I’d began 100 greatest of all time. “I used to listen to a past era but ultimately stands as a testament to the playing the guitar that year, but everything changed for guys like Scott Hamilton and think, ‘God I wish I could guitarist’s very versatility or, as he put it, his “mutt- me upon hearing Jimi Hendrix’ song ‘Manic Depression’. just focus on one style, one genre, then I wouldn’t feel like existence.” Here, songs of Rodgers-Hart and It was pure electric excitement, sound mastery and like a sham.’ But, no, I feel lucky and enriched that share space with , Jimmy completely phenomenal at the time. It was a defining I got to hear all of these other voices and incorporate Giuffre, Gabor Szabo, , Cline originals moment then and I still feel it’s one of the main sources them into my vision,” he said. In fact, Cline’s and sound clouds of indeterminate pitch, pastel drips of inspiration for me.” Cline’s twin Alex, who had breadth has only become more expansive as of late. and swaths of charcoal grey. Listen for a waning begun playing drums that same year, first heard the Following his 2010 marriage to composer-multi- moment from Henry Mancini’s Breakfast at Tiffany’s Hendrix recording and frantically called Nels down to instrumentalist Yuka Honda, a frequent collaborator, score, “Where’s The Cat?”. This gripping cue toward the family’s Gerard Hi-Fi to revel in the moment with Cline has engaged in sessions with many of the the film’s close doesn’t appear on the soundtrack him. In that record’s wake, the two embarked on a Downtown New Yorkers whose careers he’d followed album, but its impact on the screen action is utterly musical sojourn that continues to this day. from afar in the ‘80s and ‘90s. And it goes on from thorough. It stayed with Cline for decades. Spectrally. By 1975, Cline began working at L.A.’s Rhino there. “Lately I’m obsessed with Harry Partch. The musicians who encompass the ensemble Records store and he, Alex and other Listening with detailed scrutiny to Partch ensemble include some of the usual suspects as well as names devotees gathered regularly to bask in the avant garde. pieces and Cage’s prepared piano work. These guys— primarily associated with Nels or bands: Soon, Vinny Golia, a decade senior to the Clines, began American iconoclastic homosexual composers—were JD Parran, Steven Bernstein, , Kenny frequenting the store. “Vinny had a huge impact on my the true mavericks. Frank Lloyd Wright looks like a Wollesen, Stephanie Griffin, Julian Lage and more. life. He’d been working with , Chick wimp compared to these guys!” Unlikely as it may seem in 2017, Cline has engaged the Corea, so many of the people we saw as gods. He was a Cline’s oeuvre also includes the stark, pensive full ensemble to reproduce the music of Lovers. He’s painter who had been creating album covers for many clarity that produced his Blue Note debut Lovers. This done it in L.A. already and has plans to bring the show of these musicians and he started playing soprano intrepid double-album deftly reimagines ‘mood to Europe, but the Prospect Park concert this month saxophone later in life. We jammed, listened to records, music’, viscerally capturing the haunting, late-night will be a hallmark. “I’m extremely grateful to Celebrate talked about music. He’d come over like three nights lounge sound of the late ‘50s-early ‘60s. But within it, Brooklyn for this amazing opportunity,” he stressed. per week and have dinner with my family. We played there is an earnest embrace of latter-day edginess. “It’s “I never thought I’d be playing my own music in that together on and off, but his music is so complex, it’s so the border where Duke Ellington and Gil Evans met incredible setting on a summer Saturday night.” hard for me.” The guitarist can trace his recording Henry Mancini and Johnny Mandel,” Cline explained. Shortly after the Brooklyn gig wraps, Cline will be debut to Golia’s Openhearted (, 1979). “But it’s also an homage to musicians like Arto Lindsay moving into The Stone for a week’s residency and also In the ‘80s, Cline’s multi-faceted career was already and . Lovers is a project I first imagined planned for this month is the release of Sky Music in evidence. Beyond the avant scene with Golia, he’d decades ago. I never thought it would actually be (Rune Grammofon), an allstar recording in honor of the founded an ensemble, BLOC, and recorded and at the eleventh hour it was licensed by 70th birthday of legendary guitarist Terje Rypdal. It’s also began working in ’s JAH Band. Blue Note. Going to the sessions with a 22-piece the kind of event in which we expect Nels Cline to take Simultaneously, he happily crossed the boundary to orchestra, it was like we were in 1963. I felt like Sinatra part. He’s always aiming for the musical red zone. v projects within the expansive punk sphere. In the (laughs). Within a few years these large ensembles and company of and Lee Ranaldo of Sonic the mood music became lost.” For more information, visit nelscline.com. Cline is at Prospect Youth and then , late of Minutemen, the For those born during the later baby boom years, Park Bandshell Aug. 5th as part of BRIC Celebrate Brooklyn! guitarist descended upon the NYC’s underground— the bizarre nexus of popular song, cool jazz and (the Festival and The Stone Aug. 22nd-27th. See Calendar. from a distance of 3,000 miles. “I’m very proud of the dreaded) easy listening music remains central to one’s music I made with Mike,” Cline reminisced. “We toured personal soundtrack. Cline couches this in the advances Recommended Listening: and did a couple of records. I was/am a huge Minutemen of postmodern concert music, austere darkness. He • Vinny Golia—Openhearted (Nine Winds, 1979) fan. That was the connection between the music I was has found the means to present this intimate experience • Nels Cline/—Interstellar Space engaged in and the world of punk.” sans irony. Sorry, hipsters, this isn’t the stuff of the tiki Revisited (The Music of John Coltrane) (Atavistic, 1998) Cline’s bifurcated track has continued over the bar/bachelor pad lampoon. Even within its lightest • Nels Cline— (A View Into the Music of ensuing years, with a resumé that boasts performances strains, Lovers is constructed with certain import. Then Andrew Hill) (Cryptogramophone, 2006) with guitarist Wayne Kramer of the revolutionary rock Cline takes it still deeper: “By the early ‘70s, the • ROVA/Nels Cline Singers— band MC5, cutting-edge jazz drummer Gregg Bendian, counter-culture had become a leading influence [in (New World, 2008) no wave maven , ROVA Saxophone popular culture]. And it was by then immersed in • Nels Cline & Julian Lage—Room (Mack Avenue, 2013) Quartet, and Karl Berger. He also ethnic music, especially Indian classical. This brought • Nels Cline—Lovers (Blue Note, 2013)

8 AUGUST 2017 | THE NEW YORK CITY JAZZ RECORD

ENCORE

that Steinmetz made his recording debut, waxing complicated surgery in the sinuses after which the Action in 1964 with American drummer doctors grounded me as a trumpet player,” he recalled. HUGH (at that time part of the / “That depressed me so much that I completely Quartet) and as The Contemporary Jazz Quintet (with withdrew from making music. For some years I worked tenor saxophonist Niels Harrit added) in 1968, both for in different fields: accountant/cashier in a craftsman o the Debut label, which also released Steinmetz’ first LP company, sound engineer and cameraman in a film

p h o t STEINMETZ as a leader, NU!, in 1966 (only tangentially related to production company and for a period even as a taxi the Charles Mingus/ imprint of the same driver.” In 1982 he “decided to go back to making s e i d l by andrey henkin name, Fantasy Records licensing the name and some of music and to start all over again from scratch. I began the U.S. releases to Danish bookseller Ole Westergaard). to study at The Institute of Musical Science at The In Spring 2016 Storyville Records released August 1966 Steinmetz and Andersen went on to work with University of Copenhagen and finished in 1990 with an Jazzhus Montmartre, the debut performance of CND from its founding. The influence of Tchicai, who M.D. During that time I started to play trumpet with saxophonist John Tchicai’s Cadentia Nova Danica had spent several years in New York City as part of The The University Big Band and I realized that the scars (CND). The group, an important European large New Thing, was the next stepping stone for Steinmetz. from the surgery had healed so much that I could ensemble, has tumbled into obscurity compared to the “As a whole the Copenhagen jazz scene was very continue to play trumpet again.” Since that time, Globe Unity Orchestra or Mike Westbrook Concert Band reluctant to accept ‘The New Thing’ or and Steinmetz has come back to recording, making albums due to both its recordings (Cadentia Nova Danica, John was not afraid to demonstrate his frustration,” with his old friend from CND and late ‘60s-early ‘70s Polydor, 1968 and Afrodisiaca, MPS, 1969) being long out said Steinmetz. “One day he showed up in the radio band Burnin Red Ivanhoe, alto of print. The group featured a number of Danish players, canteen and smashed his saxophone and flute and saxophonist Karsten Vogel, and leading his own groups some lost to history and others whose work continued. several trays with drinking glasses on the floor while like Communio Musica and his Octet, which released One of the latter is trumpeter Hugh Steinmetz. shouting his displeasure at all the radio bosses in the its debut of Steinmetz originals in 2012. Steinmetz was born Feb. 15th, 1943 in Copenhagen. room. I was there myself experiencing the whole scene, Steinmetz aims to be varied in his musical output: Like other native players, the trumpeter was heavily because it was in a break of recordings for a broadcast “In Denmark there is a tendency to put people in boxes influenced by visiting Americans who played at Jazzhus of some of my compositions with The Radio Jazz with labels. Once you have been labeled for example a Montmartre. As he related, “I do not think the influence Group. The demonstration paid off after all, because ‘free jazz pioneer’, God help you if you write and play from American musicians settling in Copenhagen has later John and I was signed up as leaders and composers thoroughly composed and written music. However, been overstated... Youngsters like me, who more or less of a new Radio Orchestra, the at-that-time 25-piece I totally refuse to be put in a box and I try to play and ‘lived’ in Montmartre like it was our second home, got to orchestra Cadentia Nova Danica with regular weekly write new compositions all the time... I play free jazz know and make friends with the American guests pretty rehearsals and regular monthly broadcasts.” and standard jazz with equal pleasure and I compose well. We were very young, naive and inexperienced and Steinmetz was among the few Danish musicians to ‘free fantasy compositions’ as well as -style the meeting with, for example, opened become part of the fabric of the larger European free jazz compositions for big band.” v up a totally new world and vocabulary. I remember that scene. German saxophonist Peter Brötzmann hired him to when he explained the expression “mother...... ” for us, it tour around , which led to participation in the For more information, visit hughsteinmetz.dk left us totally flabbergasted.” seminal FMP LP European Echoes led by German trumpeter Steinmetz got his first trumpet at 14, inspired by Manfred Schoof, featuring players from Holland, Recommended Listening: the music of Louis Armstrong. He learned jazz via New Germany, Switzerland, England, Belgium and Italy. The • Contemporary Jazz Quartet—Action: The Original Orleans standards, moved on to and John Afrodisiaca LP was produced by Joachim Berendt, who Debut Recordings (Debut-SteepleChase, 1964/1967) Coltrane, finally falling into the music of Ornette invited Steinmetz to be part of The Baden-Baden Free • Hugh Steinmetz—NU! (Debut-SteepleChase, 1966) Coleman and his trumpeter Don Cherry. “The group Jazz Orchestra, which worked with the visiting Art • Cadentia Nova Danica—August 1966: Jazzhus The Contemporary Jazz Quartet with [alto saxophonist] Ensemble of Chicago and released Gittin’ To Know Y’All Montmartre (Storyville, 1966) Franz Beckerlee, I, [bassist] Steffen Andersen and (MPS, 1969) and a variation of which appeared on the • Communio Musica—Gate of Changes (Olufsen, 1997) various was the first group in Denmark to bootleg festival LP Born Free (Scout, 1970). • Hugh Steinmetz Quartet—Janus Head (CIM, 2002-03) play almost all of Ornette Coleman’s compositions of His star seemingly on the rise, Steinmetz’ career • Hugh Steinmetz Sextet—The Cherry Blossom that time,” Steinmetz recalled. It was with this group was put on indefinite hold in 1975. “I had a severe and (Hummin’, 2007) LEST WE FORGET

recorded regularly by Dizzy Gillespie and Charlie including tunes from the ‘40s-50s as well as new pieces, Parker and then everyone else. He wrote the wonderful played by superb bands that included , TADD “If You Could See Me Now” for . Given , and . the opportunity, Dameron composed larger-scale Dameron died of cancer in 1965 but his works expanding upon the French impressionist compositions have endured, from the easy swing of influences of Debussy and Ravel, creating “Soulphony “” and fiery “” to the ballads that DAMERON for Three Hearts” for Gillespie’s big band (1948) and have inspired readings by the most lyrical players, like later the three-part “Fontainebleau” for his Prestige and Bill Evans. In the mid ‘80s his old w i l a m g o t e b by stuart broomer octet session in 1956. friend Philly Joe Jones and trumpeter No one would mistake Dameron for a great bop launched , a big band devoted to Dameron’s Composer Tadd Dameron made a unique contribution pianist, but his harmonic imagination was a wellspring music. Paul Combs’ study Dameronia: The Life and to the vocabulary of modern jazz, creating the most for creative soloists. In 1948 he led bands at The Royal Music of Tadd Dameron (University of Michigan Press, melodically memorable of the bop anthems as well as Roost that featured trumpeters and Miles 2012) is an excellent introduction to his work. v crafting richly imagined orchestral arrangements. Davis, the radio broadcasts later released on LP and Tadley Ewing Peake Dameron was born in CD. He also led incidental recording sessions until the A Dameron centennial tribute with the Joe Lovano Nonet is on Feb. 21st, 1917. Growing up in a musical mid ‘50s, crafting distinctive voicings for midsize at Village Vanguard Aug. 1st-6th. See Calendar. family, he started playing piano at four. Moving to the bands with sidemen including Navarro, Davis, Clifford musical hotbed of Kansas City, he was composing for Brown and . In 1957, he recorded Mating Recommended Listening: and His Rockets in 1940, already Call with John Coltrane and Philly Joe Jones, including • Fats Navarro and Tadd Dameron—The Complete demonstrating a quintessential swing and lush another great ballad “On a Misty Night”. Blue Note and Capitol Recordings romanticism. A year later Dameron was in New York, Like many of his generation, Dameron suffered (Capitol-Blue Note, 1947-49) comparing harmonies with the other proto-boppers from heroin addiction and was confined at the federal • Miles Davis/Tadd Dameron Quintet—In and bringing that subtle impressionism and loping hospital in Kentucky in 1958. Released in 1960, he Festival International de Jazz (Columbia, 1949) swing to the leading bands of the day, writing first for enjoyed a career resurgence, writing big band • —Memorial (Prestige, 1953) and eventually for , arrangements for Riverside sessions led by • Tadd Dameron—Fontainebleau (Prestige, 1956) , and Benny Goodman. and , the latter featuring the soaring title • Tadd Dameron with John Coltrane— As bop emerged from the war-time recording ban, track “”, a reminder of Dameron’s Mating Call (Prestige, 1956) Dameron’s strongest work started to appear, classics devotion to the beautiful. His own LP, The Magic Touch • Tadd Dameron and his Orchestra— like “Good Bait”, “Our Delight” and “Hot House”, from 1962, was in many ways a summation of his work, The Magic Touch (Riverside, 1962)

10 AUGUST 2017 | THE NEW YORK CITY JAZZ SPOTLIGHT

awareness of advanced and improvised music through allows the audience to have an overview of that concerts and workshops aimed at school, professional group’s different projects. Musician-run labels are circum-disc and amateur audiences. Muzzix has three artistic a part of a homemade chain that has been extended directors, Orins, Yanik Miossec and Christian Pruvost, into players creating festivals and organizing concerts by ken waxman plus four other musicians who are elected annually by themselves. Musicians create conditions to practice, from the collective. The seven are responsible for all meet, share and promote their shows. Musicians often Creating more exposure and new opportunities for artistic decisions, which include who records for the lose money putting out CDs, but at least they know the music of the members of Muzzix collective was the label, which is set up as a financially independent a CD is available to promote their work.” idea behind establishing Circum-Disc in 2004. Based in organization. When it comes to day-to-day label Le Benefice Du Doute by Orins’ quintet of the time Lille, France, the label now not only puts out some activity though, pre-production to release is taken care was Circum-Disc’s first release. It was financed by a discs by non-Muzzix members, but has also established of by Orins, as coordinator, and the musicians featured grant the collective received from a regional music two additional imprints, HeliX and microcidi. “The on the sessions, which have ranged from solo discs to institution and is still in print. Since that time financing idea at the beginning was the same as the idea of big band projects. “Nobody works fulltime for Circum- for the discs has come from government grants, creating a collective: being independent in our choice Disc and nobody is employed by it,” Orins adds. contributions from the collective as well as from and master all the aspect of our artistic projects,” Circum-Disc certainly wasn’t the first musician musicians involved in individual productions, plus explains drummer Peter Orins, one of Muzzix’ artistic created label in France, but Orins recalls that its birth sales of earlier CDs. The usual press run is between 500 directors and Circum-Disc label coordinator. “In the came about at a time when “almost no record company and 1,000. About 4 of the 42 discs are completely sold beginning Circum-Disc was only devoted to Circum had the budget to produce anything, so it was easier out with no plans yet to repress them. Although the project, or the ‘contemporary jazz’ side of Muzzix. and more logical to do it by ourselves. We wanted to situation varies from release to release, the association HeliX was launched in 2007 with two releases of use it as a tool to promote our projects and the usually retains about 20% of the profit, if there is one, La Pieuvre, which was not a Circum band, but from musicians of the collective, as well as have the to cover general costs, with 80% going to the producer, another collective, Le Crime, which was dedicated to possibility to propose something different than usually the musician(s). “For me the success of Circum- improvised and experimental music. So HeliX is more concerts. A recording can be a method to promote an Disc depends in a large part on Peter’s presence,” says about free music and experimental music. In 2010 artist, but it can also be part of the artistic path of a keyboardist Jérémie Ternoy, a non-Muzzix member Circum and Le Crime merged as Muzzix. As for project and both of those aspects are important to us.” who has been featured on nine Circum-Disc sessions. microcidi, the idea was to release live concerts and Artistic Director of France’s National Jazz “He’s a wonderful drummer, who has also become an projects coming from the collective.” Orchestra, guitarist Olivier Benoit, who has recorded excellent sound engineer who knows how to organize By the end of 2016 the three Circum-Disc labels several CDs for HeliX adds: “The label reflects sessions. The most important thing about Circum-Disc combined had released 42 productions featuring about a specific approach to extending jazz improv and other is that it allows projects to exist. Without Circum-Disc, 100 different musicians. “But of course we have many styles, which wasn’t common in France 15 years ago. many projects and musicians would have no visibility.” big ,” jokes Orins. “There are more Muzzix Circum exists because of necessity. Due to the economic Although he has been featured on 26 of the label’s members featured, because that’s the initial goal of the situation, the so-called classic labels can no longer play releases so far, Orins also records for other imprints as do label. But that’s not a condition.” Founded in 2000, their role of watching and support. So a label like other members of the collective. “There is no exclusivity Muzzix not only releases records but also promotes Circum reflects the identity of an artistic group and (CONTINUED ON PAGE 38)

Le Benefice Du Doute Stöt Haircut Ipteravox June Impression Stefan Orins Trio TOC Christian Pruvost Trouble Kaze VOXNEWS

crisp vocals in luscious Portuguese feature more will honor the life of Nat King Cole at Dizzy’s Club prominently than his grandfather’s did on the original. (Aug. 1st). DURING THE DOG DAYS In truth, the album is more Jobim than Sinatra, but it’s Producer Larry Klein was similarly inspired by hard to imagine how that is a bad thing during the dog Charlie Parker, so much so that he created “an by suzanne lorge days of summer. Pizzarelli celebrates the album at impressionistic narrative” of Parker’s life using the Birdland (Aug 8th-12th). saxophone virtuoso’s compositions, set with lyrics (by 50 years ago, and Antônio Carlos Allegra Levy is the rare singer/ who can David Baerwald). An impressive array of vocal talent Jobim recorded the landmark Francis Albert Sinatra & channel the auteurs of the Great American Songbook. turned out to help create The Passion of Charlie Parker Antônio Carlos Jobim (Reprise), a collection of seductive Her second album, Cities Between Us (SteepleChase), (Impulse): , Gregory Porter, bossa novas that kept Sinatra musically relevant opens with “Cherry Blossom Song”, an engaging swing Luciana Souza, Kurt Elling and Gardot during the onslaught of British rock in the latter part of composition showing off her talent for melding modern among them. As it happens, this year Summerstage the ‘60s. The album features lush arrangements by lyrics with traditional jazz sonority and closes with the will celebrate the 25th anniversary of the Charlie Claus Ogerman; would later rip a page title cut, an evocative poem set to a skyline-inspired Parker Jazz Festival. The uber-talented Charenée from the Sinatra/Jobim book to record her own bossa soundscape. In between these two, Levy explores Wade will participate in the festival (Aug. 26th), album, Quiet Nights (Verve), with Ogerman in 2009. myriad emotions and jazz feels, strongly supported by followed by rising star Alicia Olatuja (Aug. 27th). Earlier this year, Universal Music Enterprises dropped trumpeter John McNeil’s dexterous arrangements. Final notes: Vocalist/arranger MJ Territo will a luxe, remastered version of the classic album to TCB Music has discovered another unreleased launch Ladies Day (Jollie Mollie), an album of tunes by commemorate this inspired collaboration—but they beauty: Swiss Radio Days Vol. 43—Zurich 1950: Nat female composers or lyricists, played by female weren’t the only ones wanting to pay homage. King Cole Trio, which presents Cole as the headliner instrumentalists, at Club Bonafide (Aug. 17th). Artists Guitarist/singer John Pizzarelli met up digitally on vocals and piano along with the unusual backing of represented on the album include Iola Brubeck, Marian with Jobim’s Rio-based grandson, singer/pianist guitar, bass and bongos. The lineup of tunes contains McPartland, Mary Lou Williams, , Daniel Jobim to record Sinatra & Jobim @50 (Concord). the jazz standards that you’d expect (“Body & Soul” Lorraine Feather and Blossom Dearie, to single out just Pizzarelli doesn’t include every tune from the original— and “How High The Moon”), some instrumentals that a handful. Territo reminds us that there are more where he stays clear of “The Girl from Ipanema”, for instance— you wouldn’t (“Bop Kick” and “Bluesology”) and only these came from. The VOXFest at Cornelia Street instead offering a nice mix of medleys and singles from one of his pop hits (“Route 66”). The live recording is Underground promises an impressive lineup of singers the original, some other Jobim tunes and a few originals. full of charming impromptu moments and amusing this month: Kelley Suttenfield, Peggy Chew, Anaïs His arrangements feature a trio with occasional tenor improvisations; Cole was an exceptional jazz pianist, Maviel, Aubrey Johnson, Júlia Karosi and curator saxophone rather than an orchestra, so right away his a truth that his pop stardom often obscured. Among Deborah Latz will explore the boundaries of vocal jazz renditions are less formal, more open. And Daniel’s those that Cole inspired: vocalist Sachal Vasandani (Aug 21st-23rd). v

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

PHIL COHRAN (May 8th, 1927—Jun. Open at 28th, 2017) The trumpeter was an early GERI ALLEN member of Chicago’s Association for 7:30pm! the Advancement of Creative Musicians, by andrey henkin played with the Arkestra from 1959-61, led his own Artistic Heritage Ensemble from 1967 onwards with a number of releases on his own Zulu Records and early performances at the Affro-Arts Theater, which he also founded, and fathered all eight members of the modern all-horn Hypnotic Brass Ensemble. Cohran died Jun. 28th at 90.

EDDIE DIEHL (Jun. 16th, 1936—Jun. This Month! 20th, 2017) The guitarist was mostly active in the ‘60s groups of Sonny Live! Stitt (Stitt Meets Brother Jack, Prestige, 1962), George Braith (Laughing Soul, WED PASQUALE GRASSO 8:30PM Prestige 1966 and Musart, Prestige, 8/2 DJANGO JAM 11:00PM 1967), Jack McDuff (Soul Circle, Prestige 1968) and Johnny “Hammond” Smith (Love Potion #9, THU MARK WHITFIELD 9:00PM Prestige 1967) as well as a handful of sessions in the 8/3 a l n h i g early ‘70s with , and Geri Allen, a pianist who was among the most McDuff and an appearance on Roswell Rudd’s 1999 FRI 8:00PM KEN FOWSER QUINTET significant musicians of her generation, both through Knitting Factory Works album Broad Strokes. Diehl died 8/4 JC HOPKINS BIGGISH BAND 10:00PM her own albums and voluminous sideperson credits, Jun. 20th at 81. SAT BRASIL FT. 8:00PM died Jun. 27th at 60 after a battle with cancer. 8/5 ZABELÊ & ALEXIA BOMTEMPO 10:00PM Allen was born Jun. 12th, 1957 in Pontiac, Michigan CHRIS MURRELL (Dec. 18th, 1956— and raised in the Detroit area. Her early interest in jazz Jun. 18th, 2017) The gospel singer was WED PASQUALE GRASSO 8:30PM came from her father, as she recounted to Greg Thomas tapped by to be the 8/9 DJANGO JAM 11:00PM for this newspaper in 2009: “I remember seeing his featured singer in the Count Basie records and the beautiful artwork on them and how Orchestra from 1991-2004, recording THU KATINI 9:00PM elegant, stylish and sophisticated the people were. two albums with the band in the late 8/10 People like Ellington, Charlie Parker, Sarah, Ella. He ‘90s, Live At Manchester Craftsmen’s played the music all the time when my brother and Guild (MCG Jazz, 1996) and Swing Shift (MAMA FRI KEN FOWSER QUINTET 8:00PM I were kids.” Allen began classical studies on piano as Records, 1999). Murrell died Jun. 18th at 60. v 8/11 LADY BUGS FT. MARTINA DA SILVA 10:00PM a child, was influenced early on by the music she heard in her Lutheran church (the latter “laid a foundation USED SAT BRIAN CHARETTE TRIO 8:00PM for my work on the music of Mary Lou Williams”) and 8/12 10:00PM received extensive jazz training at the famed Cass LOS HACHEROS NEW Technical High School. “The teachers had an WED PASQUALE GRASSO 8:30PM expectation that was very high,” Allen recalled. “It 8/16 DJANGO JAM 11:00PM made us rise to that expectation. From the beginning, when I stepped in there, I knew it was no joke.” THU 9:00PM IAN HENDRICKSON-SMITH Legendary Detroit trumpeter Marcus Belgrave was 8/17 also an early mentor. Allen attended Howard FRI KEN FOWSER QUINTET 8:00PM University in Washington, DC and then relocated to 8/18 ETIENNE CHARLES 10:00PM Pittsburgh, where she was able to study Mary Lou Williams’ music and influence in her hometown. 236 West 26 Street, Room 804 SAT EMMET COHEN TRIO 8:00PM Allen’s first album as leader, The Printmakers, New York, NY 10001 8/19 SVETLANA & came out in 1984 on Minor Music, which was followed THE DELANCEY FIVE 10:00PM over the decades by releases on Polygram, Soul Note, Monday-Saturday, 10:00-6:00 Blue Note, Winter & Winter, Verve, DIW, Storyville, WED PASQUALE GRASSO 8:30PM Telarc and, the past decade, Motéma Music, the most 8/23 11:00PM Tel: 212-675-4480 DJANGO JAM recent being 2016’s Perfection by the trio of Allen, saxophonist David Murray and drummer Terri Lyne Fax: 212-675-4504 THU HUDSON HORNS FT. 8/24 ALITA MOSES 9:00PM Carrington. This was complemented by hundreds of recording sessions with , Frank Lowe, Email: [email protected] FRI DAVID GIBSON QUINTET 8:00PM , , John Stubblefield, James Web: jazzrecordcenter.com 8/25 CRAIG HANDY Newton, Greg Osby, Paul Motian, Ralph Peterson, & 2ND LINE SMITH 10:00PM Chico Freeman, Jay Hoggard, Betty Carter, Cassandra LP’s, CD, Videos (DVD/VHS), Wilson, Marcus Belgrave, , Joseph Books, Magazines, Posters, SAT ED CHERRY TRIO 8:00PM Jarman, Reggie Workman, Lenny White, Bob Belden, Postcards, T-shirts, 8/26 MICHAEL STEPHENSON 10:00PM Andy Bey, Charlie Haden, Ravi Coltrane, Craig Handy, Calendars, Ephemera Buster Williams, Charles Lloyd, Mary Lou Williams Collective, Carmen Lundy, Trio 3 and Terri Lyne Buy, Sell, Trade Carrington, among many others. The influence of Mary Lou Williams and her own Collections bought The Roxy Hotel experience with church music gave Allen’s playing and/or appraised 2 AVE. OF THE and composing a spiritual undercurrent that resonated Reservations AMERICAS deeply with her peers, bandmates and the many Information Also carrying specialist labels (212)519.6649 THEDJANGONYC. Cellar Level younger pianists who admired her. As she told Thomas, com Tribeca “I listen to Coltrane’s A Love Supreme every day. When e.g. , Criss Cross, you turn it on it changes the vibrations of whatever’s Ayler, Silkheart, AUM Fidelity, going on. It draws the Light. I think that’s what this Nagel Heyer, Eremite, Venus, CRAFT COCKTAILS, SMALL PLATES & LIVE JAZZ! music has always been about: people finding ways to Clean Feed, Enja and many more LOCATED IN THE OF TRIBECA express the Light even in the midst of darkness, finding a way to it through the power of the Spirit.”

12 AUGUST 2017 | THE NEW YORK CITY JAZZ RECORD FESTIVAL REPORT MONTRÉAL SUONI PER IL POPOLO by ori dagan by mathieu bélanger - b e s t y LOGAN STROSAHL TEAM a l e r i g v p i e r l a n g o s BOOK I OF ARTHUR David Virelles & Ravi Coltrane Dave Rempis, Aaron Lumley, Michel Lambert LOGAN STROSAHL as & narration For the 11-day fiesta that is the Festival International The annual Suoni Per Il Popolo festival took place MICHAEL SACHS cl - SAM DECKER ts de Jazz de Montréal (FIJM), tourists return regularly, over the first three weeks of June in Montréal. AQUILES NAVARRO tp - NICK SANDERS p locals look forward and even the merchandise is hip! As always, the festival featured many different genres. Musically there is something for everyone and while However, compared to recent editions, there was CONNOR BAKER dr - HENRY FRASER b purists will huff and puff about ‘non-jazz’ acts in the a recentering on jazz and improvised music. Also, the JULIA EASTERLIN narration mix, the sheer variety of 500 concerts, more than two- festival continued with its approach of inviting thirds of them free, is mind-boggling. Nearly 3,000 musicians with whom it has built a relationship musicians from around the world appeared in the 38th through the years. Indeed, the 2017 edition saw Peter SSC 1493 - IN STORES AUGUST 25 edition (Jun. 28th-Jul. 8th). The indoor program, Brötzmann, Nate Wooley, Ingebrigt Håker Flaten, presented largely at the prestigious Place des Arts, Chris Corsano—the latter three forming the trio ike most jazz musicians, Strosahl has exam- boasts some of the finest acoustics in many miles. Here Icepick—return to the festival, but also Montréal-based Lined the full scope of the jazz tradition to are a few of the highlights from FIJM 2017: musicians such as Yves Charuest, Lori Freedman and inform his own approach to the music. He has, One of Montréal’s most prized venues is the Gesù Craig Pedersen. This approach did not prevent the however, gone a few steps farther. Strosahl’s Centre de Créativité. The sonic and spiritual quality of festival from inviting musicians outside of its circle of admiration for the polyphonic music of the 16th this room is rooted in its origins as a Roman Catholic ‘usual suspects’, such as Travis Laplante, Lê Quan and 17th centuries has shaped his compositional church; this basement space was a perfect setting for Ninh and Alan Licht. As with most festivals, it is technique, and his knowledge of the classical an ethereal set by saxophonist Ravi Coltrane and impossible to give an account of all the concerts and so pianist David Virelles. The former, son of John and this report will concentrate on some that stood out. canon, modern composition, and an array of , hauntingly channeled his heritage, Paradoxically, the first memorable moment was a improvised music has been translated to a large digging deeper with each selection, while Cuban-born 15-minute long silence courtesy of composer/ musical “toolset.” He makes use of this toolset Virelles, now based in New York, shone throughout, filmmaker Phill Niblock, who performed at La Sala with his “Team,” made up of tenor saxophonist displaying dynamics ranging from feathery delicate to Rossa as part of the Suspended Music Series, presented Sam Decker, clarinetist Michael Sachs, trumpeter fiery dynamite. Their breathtaking set featured much in collaboration with Quatuor Bozzini, a Montréal- Aquiles Navarro, pianist Nick Sanders, bassist improvisation out of time, including Coltrane’s based string quartet. The first part of the concert saw Henry Fraser and drummer Connor Baker. “Expression”, Monk’s “Epistrophy” and striking Niblock and the quartet play two pieces. In the second compositions by both players. part, Niblock played three pieces with video Aubrey Logan stands out in a crowded field for so projections. Musically, it was perfectly faithful to one’s ttracted as he was to the idea, the compos- many reasons, it’s almost impossible to list them all in expectations: a loud drone rich in overtones. However, Aer was able to find a certain philosophy run- this limited space. A powerhouse on trombone, vocals when the piece faded out, the video projections ning concurrently through another one of his fasci- and on camera, her musicianship, explosive stage continued, Niblock himself remained seated and the nations: the tales about King Arthur, with their presence and a 21st century approach to the music crowd held back its applause. Progressively, some many characters coming together in the service of business make for a refreshing experience. Logan’s spectators stood up and left, but the majority remained good. Strosahl sees the structure of the stories of memorable videos with Postmodern Jukebox have seated, some processing the music, others not wanting the Round Table as polyphonic—an interconnect- garnered her a worldwide following. On the free to break such a surreal moment. It took nearly 15 ed web of the actions of individual people with outdoor stage on Jul. 4th she was joined by Jesse Elder minutes for Niblock to stand up and indicate his (piano), Seth Johnson (guitar), Cee Smith (bass) and performance was indeed over, at which point the entirely different stories. David Tedeschi (drums). Get your kicks on her remaining audience members burst into applause. Facebook page where you can find a selfie video of Dave Rempis played at Casa del Popolo as part of n Book I of Arthur, Strosahl sets the scene of Aubrey duetting with the Montréal festival audience a tour across North America. The Chicago-based I5th century England as a chaotic, semi-myth- on “Route 66”! saxophonist first played a solo set, well executed and ical place by utilizing 21st century musical tech- It’s hard to believe he is improvising when guitarist confirming the place he occupies in the landscape of nique to express an eerie, at times aleatoric John Pizzarelli scats and plays so smoothly in unison. improvised music. For the , Rempis was soundworld that becomes more and more struc- Beyond the swing and bop licks on the likes of “Ring- joined by bassist Aaron Lumley and drummer Michel tured as Arthur grows, discovers his roots and, a-Ding-Ding”, this master’s banter is second to none; Lambert. Despite requiring a few minutes to find its Pizzarelli’s introduction of “ of mark—as is often the case with first meetings—the trio finally, claims the throne. The artifice of the later the Morning” was as impressive as the tune itself. played a solid set. In this respect, the music had notable pieces, with their precise tonal part-writing, is—to Guest vocalist Catherine Russell brought scintillating melodic elements that kept everything together, but some extent—the artifice of the moral code that class and the essential honesty required of a Billie not at the expense of the energy level and a certain Arthur tried to apply to the world around him. Holiday salute: “All of Me” and “Them There Eyes” hard edge, thanks to Rempis’ incisive sound and cooked to a crisp while “Ghost of Yesterday” eerily Lambert’s use of dynamics. recalled the spirit of Lady Day in its last chilling note. Another highlight was the set by saxophonist Joe The show was perfectly supported by the Pizzarelli’s McPhee and drummer John Heward at Casa del band, notably pianist Konrad Paszkudzki. Popolo. The former recited a short poem of his own iTunes.com/LoganStrosahl www.sunnysiderecords.com (CONTINUED ON PAGE 39) (CONTINUED ON PAGE 39)

THE NEW YORK CITY JAZZ RECORD | AUGUST 2017 13 CD REVIEWS

does best: improvising. Washington. “Suddenly”, which has Jon Hendricks’ Although the title suggests post-Grappelli swing vocalese lyrics to ’s “In Walked Bud”, with chromatic innovations, in fact the album is features the veteran singer (who is now 95) scatting a straightahead interpretation of covers like Lionel and trading off with Charles Turner and Thomas. Hampton’s “Midnight Sun” and Charlie Parker’s Queen Esther is quite spirited on James F. Hanley- “Relaxin’ at Camarillo” to more unusual fare like Lewis Raymond-Walter Bishop, Sr.-Clarence Williams ‘ Claude Debussy’s “Arabesque”, performed as a “Swing Brother Swing” while Andy Bey gives the running waltz, and Heitor Villa-Lobos’ “Bachianas Thelonious Monk tune “Reflections” (outfitted with Brasileiras No. 5 Aria”, done as a bossa/tango. Hendricks’ lyrics and renamed “Looking Back”) a

Thoughts Become Matter Accompanied by guitarist Alex Goodman and bassist heartfelt and warm vocal. Zero Point (Mole-Tree Music) George DeLancey—though the former’s contributions Jazzmeia Horn, the winner of the 2016 Thelonious by John Sharpe are so strong and interactive that it hardly seems fair to Monk vocal competition, swings well on Hopkins’ call him an accompanist—Omura solos with an organic “What Is Love” as does Thomas on both Hopkins’ Multi-instrumentalist Daniel Carter has become an sense of narrative, unfolding improvised tales that “Meant To Be” and an uptempo and scat-filled romp elder statesman of the NYC jazz and improvised music eschew licks and display of chops to concentrate on on “Them There Eyes”, a tune by Maceo Pinkard-Doris scene. As a member of Other Dimensions In Music, plot and character development. As a result, her solos Tauber-William Tracey made famous by . Carter was free-improvising aristocracy until the often sound like new tunes composed to the old chord The team of Queen Esther and Turner interact joyfully untimely demise of his partner in the frontline, changes. In contrast, Goodman is restless, ebullient, on Hopkins’ title track and the fairly obscure Teddy trumpeter Roy Campbell, in 2014. But even as his constantly inventive; with a lexicon of guitar techniques Koehler-Jimmy McHugh swing tune “Spreadin’ regular outlets become less, he nonetheless remains and textures ready at hand, he’s an agile foil for Omura. Rhythm Around”. open to lending his considerable experience to a “Relaxin’ at Camarillo”, Thelonious Monk’s “Four Alicia Olatuja performs the Benny Goodman- seemingly endless variety of up-and-coming outfits. in One”, Warne Marsh’s “Background Music” Edgar Sampson-Irving Mills ballad “Dreams Come One such is Zero Point, whose debut Thoughts (a of “All of Me”) and Denzil Best’s “Wee” True”, Hicks is jumping on Sidney Wyche’s “Alright, Become Matter Carter graces alongside drummer Deric all feature the two musicians trading eight-, four- and OK, You Win” and Kathy Sledge fares well on the Dickens, guitarist Marius Duboule and bassist Michael even two-bar sections, ideas piled upon ideas, Gerald Marks-Seymour Simons standard “All Of Me”. Bates. Carter’s charisma elevates this set of a dozen flawlessly intermeshed, while their interactions on A special highlight takes place on the Monk ballad uncharted but restrained encounters beyond the “Arabesque” and “Midnight Sun” provide some of the “Ask Me Now” (renamed “How I Wish”), matching ordinary. The group concept stays so strongly focused album’s highlights. In places, Omura too provides Hendricks with the nearly 70-years-younger Horn. that it sometimes seems as if they are all culled from , bowing sparse counter-lines or The arrangements by Wayne Tucker, Corey one longer piece. Carter switches between his armory plucking double-stop chords. DeLancey anchors it all, Wallace, J. Walter Hawkes and Chuck MacKinnon are to help avoid any sameness creeping in. walking ever-steady eighth notes and supplying fleet, uniformly excellent, the band’s musicianship is Overall the quartet mines the same introverted conversational solos, especially on Charlie Chaplin’s impressive and all of the singers are in top form during spacious, sensitive seam, exemplified by the opening “Smile” and “JR”, one of two Omura originals. this enjoyable set. “Errance”, in which Carter’s unruffled flute flows over Without challenging any stylistic boundaries, Post waves of conversational rejoinders between the Bop Gypsies is nevertheless a testament to Omura’s For more information, visit jchopkins.com. This band is at remaining threesome. Where there are exceptions it is originality, where we hear her own voice emerging The Django at Roxy Hotel Aug. 4th. See Calendar. by a matter of degree rather than radical departure. On from a of influences. the title cut, fuzzed guitar adds some grit as elongated • Mulatu Astatke—Mulatu of Ethiopia tones glide above the trio like For more information, visit tomokoomura.com. Omura is at R (Worthy-Strut) a gull over breakers crashing on a rocky shore. Dickens Tomi Jazz Aug. 1st, The Cell Aug. 5th with Aubrey Johnson • Jakob Davidsen—Silence Trio 1 (ILK Music) instigates a pacy clip on “Silicon Valley Folk Art” and Club Bonafide Aug. 30th. See Calendar. e • Allegra Levy—Cities Between Us before the band somehow ends up in the same reflective (SteepleChase) territory, although with some fine consonant c • Charles Lloyd New Quartet— intermingling between soprano and bowed bass. o Passin’ Thru (Blue Note) Four-way interplay prevails most of the time with • Aruán Ortiz—Cub(an)ism (Intakt) little in the way of solos. So when tenor is accompanied m • Mario Pavone Dialect Trio— by bass and drums only on “Circular Vibing” it stands Chrome (Playscape) out. Interestingly, Carter doesn’t play any more m • Flip Phillips—Your Place or Mine? emphatically in the absence of guitar. In fact, the only (Jump-Delmark) track where he overtly takes the lead is the concluding e • Timuçin Şahin’s Flow State— “Time For Clearance”, where his alto pontificates with n Nothing Bad Can Happen haiku-like simplicity over a loose backing shuffle. (Between The Lines) Meet Me At Minton’s d • —Verisimilitude (Pi) JC Hopkins Biggish Band (Harlem Jazz) • Kasper Tranberg/Peter Danstrup/ For more information, visit store.cdbaby.com/cd/zeropoint22. by Scott Yanow This band is at Korzo Aug. 1st. See Calendar. e Marilyn Mazur—Damaztra: Flag of Time Pianist JC Hopkins originally worked as a folk singer (ILK Music) d and led a folk/rock band. After moving to Brooklyn in Laurence Donohue-Greene, Managing Editor 2000, he became interested in Swing, soon forming his Biggish Band. During its early period, the band’s n • Ambrose Akinmusire—A Rift in Decorum singer was Norah Jones. Madeleine Peyroux also spent (Live at the Village Vanguard) (Blue Note) time with the group; she was eventually succeeded e • Raoul Björkenheim Triad— by Queen Esther. The JC Hopkins Biggish Band Beyond (Eclipse Music) recorded their debut album Underneath A Brooklyn w • Joseph Bowie/Oliver Lake— Moon in 2005. 12 years later, they have finally released Live at ‘A SPACE’ 1976 (Sackville-Delmark) their long overdue followup. • Helmut Brandt Orchestra—Spree Coast Jazz Meet Me At Minton’s celebrates the group’s r (Berlin 1963) (Sonorama) Post Bop Gypsies • Buffalo Jazz Octet—PausaLive (Cadence Jazz) longtime residence at Minton’s Playhouse, which has Tomoko Omura (Inner Circle Music) e • Rüdiger Carl Inc.—King Alcohol by Tom Greenland been renamed Minton’s Harlem. On this CD, the (FMP - Corbett vs. Dempsey) orchestra functions primarily as a swinging backup l • Jack DeJohnette// From Stuff Smith and Joe Venuti to Stéphane Grappelli, band for a wide assortment of singers on eight John Medeski/—Hudson Zbigniew Seifert, Jean-Luc Ponty and Mark Feldman, standards and five Hopkins originals. There are nice e (Motéma Music) violinists have been a surprising minority presence in solo spots for tenor saxophonist Troy Roberts, baritone a • Thelonious Monk— jazz, given the instrument’s flexibility and intimate, saxophonist Claire Daly, trombonist Corey Wallace, Les Liaisons Dangereuses 1960 (Sam/Saga) vocal quality. Post Bop Gypsies, Japanese five-string trumpeter Bruce Harris and guitarist Solomon Hicks s • Aruán Ortiz—Cub(an)ism (Intakt) violinist Tomoko Omura’s third release for Inner Circle but the emphasis is mostly on the vocalists. • Trevor Watts/Stephen Grew Duo— Music, moves beyond the influence of these artists (all The program begins with the Hopkins original e All There Is (Discus Music) celebrated on her sophomore release, Visions), paring “Remember When”, a nostalgic piece interpreted by Andrey Henkin, Editorial Director down her quartet to a trio and focusing on what she Brianna Thomas, whose shouting style recalls Dinah s

14 AUGUST 2017 | THE NEW YORK CITY JAZZ RECORD

There are ten pieces here: eight improvised and around everyone’s ankles like lush vines. two composed. The sequence begins with a brief Warning: on the last track, “I Do”, Blake does not episode called “Blue Light”. It’s the only time Parker is play saxophone—he sings, in a not-awful voice that on soprano, Maneri playing rapid pizzicato abstractions fits the song well, since it’s a straight-up jam-band/ and Ban plucking the piano strings. There’s a bracing blues-rock track with nothing to do with jazz at all. energy, but it’s an isolated flurry. The same might be Scofield tears off licks like he’s hoping to revive the said about two duos: on “The Rule of Twelves” Maneri Allman Brothers Band, as Kinsey’s organ surges and and Parker create rapid dovetailing lines; on “This!” Garrison and Smith rumble and thwack. This is Parker and Ban touch on a kind of abstracted a surprising song on a surprising album. Open-minded

Spiral barrelhouse with occasional Monkish chords and even listeners will find much to enjoy; hardbop diehards Gene Segal (SteepleChase Lookout) a transposed tenor phrase. should stay far away. by Ken Dryden The bulk of the pieces, including the composed and longer ones, somehow embody the mysterious For more information, visit 5passion.com. Blake is at A native of Moscow, Russia, Gene Segal is an up-and- album title, whether it’s a reverie on transparency or Mezzrow Aug. 6th. See Calendar. coming electric guitarist and composer. Moving to synaesthesia. Maneri’s piece “Blessed” has Ban Brooklyn in his youth, musical influences came in part providing occasional pedal tones and a spare, limpid from his father and uncle, both of whom were melody, with the composer matching lightly bowed, UNEARTHED GEM professional musicians. He studied with Scott harmonic-rich long tones and Parker delicate Henderson and Joe Diorio, detoured into rock and multiphonics. The whole is as abstract and resilient as blues for a period, then enrolled in William Paterson a Morton Feldman composition. Ban’s “Hymn” University’s heralded jazz program, where Vic Juris, emphasizes repeating phrases and simple diatonic Gene Bertoncini and Paul Meyers were his teachers. materials, its resonant depths suggesting some of Spiral, Segal’s fourth CD as a leader, serves as a Virgil Thomson’s music. Each improvisation is genuine tribute to his favorite organ trios, though it focuses on spontaneous composition. The most lyrical, “Scilence”, his original compositions rather than the repertoire of has the musicians playing close rhythmic phrases, then groups he is saluting. The band includes the highly- converging and diverging with the piano resonating sought-after organ player Brian Charette alongside and tenor hovering, the whole a model of lucidity. Groovin’ High (Live in Haarlem 1964) drummer Bruce Cox. As with his earlier releases, Maneri, Ban and Parker take improvisation to Meets The Jacobs Brothers Segal’s approach varies widely from one selection to levels of clarity and coherence rarely achieved. This (Dutch Jazz Archive) by Duck Baker the next: his brittle sound in the well-named title track will undoubtedly be among the most beautiful is reminiscent of John Scofield; “Creeper” is a greasy recordings released in 2017. blues with a strong backbeat, Segal showing off a bit Don Byas, who died 45 years ago this month at 59, more technique than would be expected in such a For more information, visit cleanfeed-records.com. Maneri was one of the greatest and most influential of all setting, Charette nearly stealing the show with his hip and Ban are at Barbès Aug. 5th. See Calendar. jazz players, but it is difficult to get choruses; and the funky “Dharma” features edgy his historical position into focus. The usual guitar and inventive organ. description of him as an important figure in the Icelandic singer/songwriter Björk has been transition from Swing to bop seems to conjure up championed by many jazz musicians (remaining an something on the road from Lester Young to Charlie acquired taste for some jazz fans). In her “Hidden Parker, but Byas owed more to Place”, Segal makes use of special effects and darting than Young and always cited pianist Art Tatum as organ in the introduction, with the piece eventually his main model. On the other side of the equation, taking shape. “Sunken Treasure” would seem to draw his influence is more apparent with the crop of from country with its often loping tempo and laidback saxophonists who came up in the ‘50s rather than feeling until fuzztone guitar and sudden organ volume with the bop generation. Perhaps it is more helpful surges make the piece defy classification, off-center to try and imagine a bridge from Tatum to Sonny Superconductor percussion adding to its flavor. “Blues Out” is breezy Rollins and John Coltrane and if that seems like a Seamus Blake (5Passion) funk at its best, with a catchy unison line by Segal and by Phil Freeman quite a bridge, listening to his 1945 Town Hall set in Charette backed by Cox’ driving groove. The guitarist marvelous duo with bassist Slam Stewart may help. remains an artist to watch. Saxophonist Seamus Blake journeys into outer space Byas moved to Europe in 1946, but his influence on this release. The opening track, “Ohm”, features never waned. Even though the jazz press forgot For more information, visit steeplechase.dk. Segal is at Bar himself, Judd Miller and Steve Tavaglione all playing what a giant he was, touring American musicians Next Door Aug. 5th. See Calendar. EWI (Electronic Wind Instrument). The horns sound found the way to his gigs in Europe, as if paying like synths, or like electric violins, and are occasionally homage to a king in exile, and they repeatedly

joined by distorted voices too. Behind them, the core reported being blown away. He managed to make band—keyboard player Scott Kinsey, electric bassist several fine studio records in the quarter-century Matt Garrison and drummer Nate Smith—lay down left to him and an even greater number of releases of a stuttering funk groove. In the final two minutes, live performances have been issued over the years, Blake switches to his usual tenor for a solo that could mostly since his death. have come off a Steely Dan album. This electro-fusion The present CD captures Byas at a 1964 concert sound is heard throughout most of the album; on in the Netherlands, backed by a fine Dutch rhythm “Forecast” and “I Do”, guitarist John Scofield shows section featuring the highly regarded pianist Pim up to trade tasty licks with the saxophonist. Jacobs. We can assume the backing musicians These electronic/funk pieces are energetic, fun (bassist Ruud Jacobs, Pim’s brother, and drummer Sounding Tears Mat Maneri//Lucian Ban (Clean Feed) and frequently surprising, particularly if a listener is John Engels complete the group) had worked by Stuart Broomer more familiar with Blake via, say, his Criss Cross together often; they certainly interact well and give albums (under his own name or as a member of Reeds good accounts as far as soloing and following the Violist Mat Maneri and pianist Lucian Ban revealed Ramble). This side of Superconductor recalls Donny leader (not always true of Byas’ accompanists, alas). shared reflexes and empathy on Transylvanian Concert, McCaslin’s recent work. Three other pieces, though, The leader’s monstrous form is on full display recorded for ECM in 2011. In this 2014 recording, they take the album in an entirely different direction and on a set of familiar standards. Even on his umpteenth extend the partnership to include saxophonist Evan make it even more interesting. “Sofa Song”, “Last version of “Indiana”, he still finds new places to Parker. Each musician has followed a particular route Continent” and “Gracia” feature an expanded explore. Sound quality is excellent and the balance to a special sensitivity to pitch. With Maneri it’s ensemble with orchestral horns and a string quartet. generally good, though Byas’ beautiful tone is, for literally in the blood, part of his extended exploration (Scofield also reappears on the third of these and some reason, not captured at its best, especially on of microtonality with his father Joe; with Ban it’s in the pianist Gonzalo Rubalcaba plays on two of them.) some of the high notes. This will certainly be a culture, in a detailed study of the music of his native Surprisingly, given the number of players, the welcome release for Byas fans. Romania; with Parker it’s in the symbiosis between orchestrations are spacious; even when things get man and saxophones, with embouchure, breath, air really rockin’, as on “Gracia”, the extra horns mostly For more information, visit jazzarchief.nl column and keys creating a panorama of intervals. sway stoically in the background as the strings twine

THE NEW YORK CITY JAZZ RECORD | AUGUST 2017 15

Antônio Carlos Jobim. Pizzarelli has, in fact, already GLOBE UNITY: B RAZIL recorded two separate albums fêting each. Sinatra & Jobim @50 is for the most part a celebration of the studio album Francis Albert Sinatra & Antônio Carlos Jobim (Reprise, 1967) and featuring tracks by Jobim as well as American composers like Cole Porter. The 1967 album suggests an easy rapport between the American songbook and Jobim’s infectious , which have become as much a part of the Sampa Romero Lubambo Trio (Sunnyside) Mr. EP: A Tribute to Eddie Palmieri jazz canon as Irving Berlin or . 1954 Charlie Sepulveda & The Turnaround (HighNote) Pizzarelli bears that out with a couple of medleys, Ricardo Grilli (Tone Rogue) including one of “I Concentrate on You” (Porter) and Trajetórias (Live at Galeria West) by Russ Musto Mauríco de Souza’s Bossa Brasil (Pitoca Music) “Wave” (Jobim) and another combining “If You Never by Tom Greenland A mainstay on the New York Latin Jazz scene for more Come to Me” (Berlin) and “Change Partners” (Jobim). than 20 years, trumpeter Charlie Sepulveda has been Joining Pizzarelli on a few tracks—“Two Kites”, Soon there will be a Blue Note jazz club in Rio de heard infrequently on the U.S. mainland since returning “Bonita”—is Daniel Jobim, Antônio’s grandson, whose Janeiro, but Brazilian musical sensibilities long ago to his native Puerto Rico two decades ago. Mr. EP: breathy, vibrato-less voice recalls João Gilberto. In spread north to jazz’ native shores, bringing choro, A Tribute To Eddie Palmieri demonstrates that his time a similar way, Pizzarelli’s somewhat thin, womanly samba and bossa nova. away has in no way diminished his abilities. The date voice brings to mind , who sang “The Romero Lubambo came to New York from Rio de introduces a new edition of Sepulveda’s longstanding Girl From Ipanema”, Jobim’s most famous song. Janeiro 30 years ago, since when he’s become a prolific ensemble The Turnaround, which features talented Pizzarelli’s rhythm section is comprised of Helio sideman and led ten album projects. Sampa is named players largely unknown off the island, along with Alves (piano), Mike Karn (bass) and Duduka Da for São Paulo, where he gigged with local Paulistas several guests, including Palmieri himself. Fonseca (drums); tenor saxophonist Harry Allen also bassist Sidiel Vierira and drummer Thiago Rabello. A pair of Palmieri solo improvisations, “Variations joins in, as does Jessica Molaskey, Pizzarelli’s wife, Inspired by these performances, the trio tried to On A Theme 1” and “2”, bracket the date, the fêted who contributes backing vocals and co-wrote a couple capture the same energy in the studio. Lubambo favors pianist fleetingly referencing Monk’s “Ruby My Dear” of the album’s songs with Pizzarelli, such as “She’s So acoustic fingerstyle guitar, plucking intricate rhythmic as the foundation for his thematic expansions. Sensitive” and “Canto Casual”. On full display is and harmonic patterns associated with Brazilian Palmieri’s “Charlie’s Whole Tone Blues” brings The Pizzarelli’s dexterous guitar playing (which is better accompanists, but also using pizzicato technique for Turnaround into the spotlight. Beginning with Gabriel than his singing). It’s best featured on the Jobim classic rapid, incisive single-note lines more associated with Rodriguez’ funky electric bass introduction, the “Agua de Beber”, in which Pizzarelli puts his pick-wielding guitarists like . On two pianist’s angular composition has the composer, trademark soloing style to impressive use, mouthing tracks he switches to a biting electric blues style, Sepulveda and tenor saxophonist Norberto Ortiz the notes of his instrument simultaneously, like George finessing held tones with shaking or sliding ornaments. contributing incendiary solos on top of the churning Benson famously did in “On Broadway”. His best playing is heard on “Gostoso Demais” and clave rhythms of drummer Raul Maldonado and “Contrato de Separação” (both covers) and “Luisa” conguero Gadwin Vargas, who stretches out over For more information, visit concordmusicgroup.com. This (for his daughter), where the chief interest lies not in Palmieri’s hypnotic tumbao and riffing horns. project is at Birdland Aug. 8th-12th. See Calendar. the high melodies or low but in the middle, The remainder showcases Sepulveda’s talents as a where he keeps the chords’ inner voices in motion, composer and arranger. “Bomba Pa’ Carmen”, a soulful strong melodies in their own right. outing with an infectious melody, adds vibraphonist Guitarist Ricardo Grilli, a Paulista relocated to Felipe Fournier, Eduardo Zayas replacing Palmieri. DAFNIS PRIETO New York, is of a more progressive bent. On 1954 he The title track is funky jazz in the tradition of Horace shows a flair for writing singable tunes, many with Silver, with blues-drenched solos by the two horns, BIG BAND world premiere chromatic ornaments in the melodic line, usually set pianist Bienvenido Dinzey and Rodriguez on top of a to slightly unusual rock chord progressions and beats, leisurely cha cha rhythm. Sepulveda’s arrangement resulting in music both probing and approachable. of “Besame Mucho” slows down Consuelo Velazquez’ His slightly overdriven sound is a bit distant; his classic, Dinzey’s Fender Rhodes underpinning lending legato touch dexterous, fluid, accelerating around the emotional depth to Yarimar Denisse’s moving vocal fast curves, slowing down for musical congestion. and Sepulveda’s mournful horn. Backed by pianist Aaron Parks, bassist Joe Martin and The trumpeter’s “Peer Magic” follows with suite- drummer Eric Harland, the playing is strong all like fluidity, Sepulveda and Ortiz delivering powerful around, Parks more supportive than adventurous, his lines over Dinzey’s relentless montuno and Vargas’ ideas unfolding like afterthoughts rather than no-holds-barred congas. “Si Tú Sabes” successfully inevitabilities. On opener “Arcturus”, Grilli stretches melds jazz and hip-hop with Sepulveda blowing out in long-limbed phrases, graceful at speed, muted trumpet to complement the exploratory oration chording insightfully, always retaining his forward of rapper SieteNueve, after which the band, with Zayas momentum. Most comfortable in a rock-fusion vein, and Fournier back on piano and , charges / Trumpets / he shows his agility in a postbop style on “Pulse”. straightahead on the anthemic “Mr. Jazz”. MIKE RODRIGUEZ TIM ALBRIGHT Drummer Maurício de Souza, another former NATHAN EKLUND ALAN FERBER Paulista, now lives in New Jersey. Trajitórias, his third For more information, visit jazzdepot.com. Eddie Palmieri ALEX SIPIAGIN JACOB GARCHIK CD, was recorded live at Westfield’s Galeria West is at Blue Note Aug. 7th and 28th. See Calendar. JOSH DEUTSCH JEFF NELSON with Bossa Brasil, comprised of alto saxophonist / Saxophones / Piano Dmitry Baevsky, vibraphonist Jerry Weir and bassist ROMAN FILIU MANUEL VALERA Gary Mazzaroppi, with Rhodes pianist Bob Rodriguez MICHAEL THOMAS / Bass on three numbers. Dominated by Jobim covers (six PETER APFELBAUM RICKY RODRIGUEZ JOEL FRAHM / Percussion out of nine cuts), the setlist also includes Hermeto CHRIS CHEEK ROBERTO QUINTERO Pascoal’s baião “Bebê”, Milton Nascimento’s “Vera Cruz” and ’s “Spring Ain’t Here”, which / Drums & Compositions provide welcome respite from the bossa novas. DAFNIS PRIETO De Souza’s drumming is supple and energetic, never overbearing. On the baião and “Inútil Paisagem”, @ a samba taken at breakneck tempo, he plays extended Sinatra & Jobim @50 but well-developed solos, inspired yet unflustered by John Pizzarelli (Concord) 116 e. 27th st (btw park/lex), nyc the pressures of high-speed improvisation. by Matthew Kassel august 25 - 27, 2017 For more info, visit sunnysiderecords.com, ricardogrilli.com Guitarist and singer John Pizzarelli has a sure sense of 7:30 & 9:30 sets each night and mauriciodesouzajazz.com. Lubambo is at Dizzy’s rhythm and an effortless command of the American tickets: jazzstandard.com Club Aug. 15th-20th and 22nd-27th. See Calendar. Songbook, two attributes that make him a perfect dafnisprietobigband.com candidate for a dual tribute album to Frank Sinatra and

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The Hill influence is well-outlined in the opening Mount Vesuvius. A late 19th century tune that has track, “Euterpe’s Dance”, in which there is a slightly since been widely adapted, “Funiculi Funicula” starts ominous yet not unwelcoming melodic line carried by with a lilting guitar solo and descends into rock fusion piano and ’ gently somber tenor under the wing of rhapsodic cymbals and off-kilter saxophone. It has a softly undulating rhythm, lent strings. The interpretation is refreshingly modern relish by the solid, unhurried swing of bassist Joe under Hooker’s expansive direction and the ensemble’s Martin and drummer Nasheet Waits. “Up on A. Hill” is inventive instrumentation. the tribute to Hill, with Premazzi applying dark, heavy “Impro II” marks the second chapter and continues chords to the mood-rich melody, Waits thundery and the free improvisation thread that the group explored

Falling Forward volatile, gradually building in force and Stephens in “Impro I”. Soldier’s emotional range on violin and Ulysses Owens, Jr. (Spice of Life) making with bluesy wails. The hardbopping “Peltlude” guitar, as well as his ability to anchor Hooker’s by George Kanzler features a guest shot from Pelt, whose Freddie rollicking percussion and potent lyrics, is on full Hubbard-like brassiness is allayed by a bit of buttery display. Relentless drums and plucked guitar notes On his latest album, Ulysses Owens, Jr. eschews the tone…that is until he gradually turns up the heat, collide with dizzying piano, a chaotic intermission usual prerogatives of the drummer as leader, forgoing bristling and crying out in a declamatory fashion while before returning to the lightness of Italian folk. It’s bombastic showcases for his prowess and not maintaining a harmonious flow. Premazzi’s playing a befitting transition to “Santa Lucia”, a traditional showcasing his own compositions, although his astute here is brisk, jabbing and forceful. ballad transformed into an alt-rock anthem. Soldier’s arranging chops are amply demonstrated. Also “It Is Here” is a joining of the words of playwright sweetly melodic lines are juxtaposed with Davis’ unusual for a drummer-leader, this is mostly a trio CD Harold Pinter with Premazzi’s wry tune-writing, given psychedelic guitar, giving the romantic tune a rock ‘n’ and one without piano or guitar as lead instrument. voice by the cool-toned warble of Sara Serpa. The roll tinge. Owens features vibraphonist Joel Ross, rounding out centerpiece of this set is the Strayhorn standard “Lush The third chapter affirms the improvisational the group with bassist Reuben Rogers. Vocalist Vuyo Life”—Premazzi renders it unaccompanied with a thread that marked the first two parts. “Epilogue” is an Sotashe appears on 2 of the 11 tracks, with pianist cyclic introduction, discreetly inserting rolling J.S. exaltation of spiritual, expansive percussion and heady, Stephen Feifke joining her on one. Bach-like motifs to offset slightly the core of low-register woodwinds while “Impro III” sees Hooker Owens is a subtle and supple drummer, qualities melancholy. Premazzi gives this classic a most becoming more aggressive. Violin explores folk melodies he highlights on the opening track, Harold Arlen’s distinctive spin by treating it abstractly while never and dark industrial tones deftly as piano supports with “My Shining Hour”. It begins with just brushes laying completely abandoning the tune’s mindset of reverie. quiet yet assertive lines. The record concludes with a down an easy swing, soon joined by bass, Ross playing The next track, “Later Ago”, may be her attempt to second version of “Clown”, a reworking of an earlier the melody before Rogers solos pizzicato, Owens then write a similar-themed song à la “Sometime Ago”, track that is more solemn, but retains a lilting spinning an airy solo with brushes over melody going by the wistful introduction, but then Premazzi romanticism that could be heard in the renditions of backgrounds from bass and vibraphone. That is one of and Stephens make with slightly Monk-like angular “Santa Lucia” and “Funiculi Funicula”. It’s a triumphant four familiar standards Owens brings to the program. phrasing. The former jabs at the keys like a boxer while marriage of the ensemble’s tonal rock and free jazz “Poinciana” is indebted to Ahmad Jamal’s famous the latter sails gracefully around her. Waits inserts leanings and the brightness of Italian . recording, Owens invoking the toms from its opening powerful accents and asides, then Stephens flirts with and following Ross’ solo with one making virtuosic amiably anguished yelps as Waits kicks it up a notch For more information, visit williamhooker.com. Hooker is at use of his entire . Duke Ellington’s “In A with roiling New Orleans-style cadences before the Lantern Hall Aug. 13th. See Calendar. Sentimental Mood” finds bass and vibraphone theme is restated. for the first two A sections, Owens adding brushes to While this is a most rewarding set with excellent the final 16 bars of melody, Ross taking it out with a and inspired performances, it could’ve benefited from solo and coda. Thelonious Monk’s “Evidence” has variety of tone, which is almost unrelentingly somber. a drum solo ushering in the fractured theme at a pace reminiscent of “Cottontail”, a solo round culminating For more information, visit simonapremazzi.com. Premazzi is with spirited trading of fours by Ross and Owens. at The Cell Aug. 12th and Mezzrow Aug. 13th. See Calendar. The balance of the album’s instrumentals emphasize rhythmic versatility, from the sprightly funk of Roy Ayers’ “Cocoa Butter” to the loping beats and odd meters of Djavan’s “Maria Des Mercedes” and Mulgrew Miller’s “Spectrum”. The latter is also represented by his “Farewell to Dogma”, outfitted with inspirational lyrics by Sotashe, who sings them over a quartet with Feifke prominently featured.

For more information, visit spiceoflife.co.jp. This project is at Dizzy’s Club Aug. 9th. See Calendar. Aria (The Italian Project) William Hooker (Mulatta) by Ivana Ng Drummer William Hooker is known for his expressive and forceful playing and inventive collaborations with rock, hip-hop and jazz luminaries. Aria brings together longtime associates Mark Hennen (piano), On Ka’a Davis (guitar), Welf Dorr (reeds), Richard Keene (reeds), Louie Belogenis (reeds) and David Soldier (violin, guitar) to reimagine Italian folk music.

Inspired by his wife, who is Italian, and the cultural Outspoken Simona Premazzi (s/r) exchange he has experienced in Italy, Hooker explores by Mark Keresman Neapolitan classics in a record divided into three parts, each marked with a jazz aria. The first chapter begins Simona Premazzi is an Italian-born, NYC-based with “Impro I”, a light melody supported by rustic pianist whose credits include the bands of Greg Osby guitar, somber piano and Hooker’s powerful poetry. and Jeremy Pelt. The latter produced Outspoken, “So that I can catch the grey, dark silence in this Baltic Premazzi’s fourth release as a leader. Stylistically she blue,” he exclaims, before delving into brings to mind the late great Andrew Hill, to whom on the drums. The septet continues the spiritual one of her compositions is a direct homage. Premazzi exchange in “Selfcommunion”, a languorous tune shares his measured, deliberate placement of notes and featuring Hennen’s deliberate notes in the lower while her compositions, like Hill’s, are not register and a rustic, unadorned reed section. conventionally pretty, they share a pleasing Next, the septet tackles “Funiculi Funicula”, obliqueness, like a slowly unfolding tale of mystery. written to commemorate the first funicular cable car on

18 AUGUST 2017 | THE NEW YORK CITY JAZZ RECORD

Horace Silver’s “The St. Vitus Dance”. It’s a driving cooperation. A similar dynamic of synchronicity is start to this live performance at Green’s favorite venue, central to Will’s “Exceptional Elegance”. The enterprise Kuumbwa Jazz Workshop in Santa Cruz, California. wraps up beautifully with “The Truth Will Prevail” and This is a set devoted to the music of classic jazz “Few And Far Between”, two fast-to-medium paced composers. Green grew up in ‘70s Berkeley, California, vibrant originals by Will that may eventually resonate devouring all the jazz he could, especially imprinting as new ‘classics’, worthy of being realized by others. the sound of his heroes from ‘50s-60s Blue Note LPs The takeaway effect of all of this impressive music, into his psyche. Later he was able to put his knowledge expertly varied in mood, lyricism, tempo, harmonics to work directly for singer and mentor Betty Carter and and rhythm with at times pleasing Latin inflections, is

Eponymous went on to have tenure in the bands of two of his other life-affirming and uplifting. Temperley would be proud. Amina Baraka & the Red Microphone (ESP-Disk’) heroes, drummer Art Blakey and bassist . by Clifford Allen Green’s own music through the years evolved into For more information, visit gutstringrecords.com. The Andersons having swing and blues as essential elements. With his are at 59E59 Theaters Aug. 2nd-6th, 8th-13th, 15th-20th and Because it is an inherently generative music, creative encyclopedic knowledge of the music he continues to 22nd-27th and Saint Peter’s Aug. 23rd. See Calendar. improvisation has a bond with activism, revolutionary be a true standard bearer for generations of jazz. So politics and the potential to improve people’s lives. here he is as comfortable and familiar with a thunderous The top-down power structures that have attempted to take on Freddie Hubbard’s “Down Under” as he is stymie people of color, women, queer people, the with the dynamic twists and turns of Cedar Walton’s LESLIE PINTCHIK TRIO destitute and children have no place in a creative “Martha’s Prize”. The blues are highlighted in Duke Friday, August 11th environment. But these structures do give both Pearson’s “Chant”, on which the power of Green’s Sets at 8:00 PM and 10:00 PM ammunition and reflective opportunity to the artist- chords are layered with a fine dusting of drums. soldiers who have spent decades in the trenches. There is particularly outstanding history and Jazz at Kitano Somewhat obscured by the notoriety of her late brotherhood to be savored in “Pittsburgh Brethren”, 66 Park Avenue @ 38th Street, NYC (212) 885-7119 husband, the poet and activist Amiri Baraka (1934- a Green salute to one of the most important jazz towns “...a composer of emotional depth and eff ortless 2014), Amina Baraka took on a similar role in her as well as its progeny, including Blakey, lyricism...” DownBeat.com homebase of Newark, publishing her first volume of and Erroll Garner. Ever so mellow drumming keeps poetry the year of Amiri’s death and now performing company for gentle piano until joined by the warmth Leslie Pintchik - piano and recording with improvising musicians. of bass. Deep musical knowledge and love radiates Scott Hardy - bass On this first full-length recording of her work, from the trio throughout the set. Michael Sarin - drums Baraka is joined by The Red Microphone, a quartet of Latest CD drummer John Pietaro, reed players Ras Moshe Burnett For more information, visit sunnysiderecords.com. Green is TRUE NORTH and Rocco John Iacovone (doubling on piano) and at Birdland Aug. 22nd-26th. See Calendar. available now at electric bassist Laurie Towers, surrounding and feeding Amazon and iTunes her vocal delivery on nine original compositions. Baraka’s poetic exhortations stride reverential history, www.lesliepintchik.com black experience, political adversaries (the more things change…) and reflections on being and identity (“The Things I Love”—quality meals out, Communism and Coltrane all share space). “Afro American Child” is the disc’s centerpiece, just shy of 20 minutes in length, and Academy Records begins wistful and sharp over a rolling bass, brushes and bluesy piano filigree, Baraka setting images of rural simplicity against the collective muscle of the Blues for Joe (Dedicated to Joe Temperley) & CDs Civil Rights Movement. The ensemble is liquid and Peter and Will Anderson (Gut String) vast, Burnett’s tenor shouting, purring and squealing by Laurel Gross as a constant nudge to gravelly, bright depictions of a life in music, art and the unionized working class, Saxophonists/identical twins Peter and Will Anderson Pietaro switching to sticks and filling out a snappy excel in every aspect of their new album Blues for Joe, Cash for new and used rhythmic pulse, the entire piece exuberant but deadly a tribute to their former teacher and friend, the late compact discs,vinyl serious. “Talking Drum” is a dialogue with Pietaro, saxophonist Joe Temperley, stalwart of the Jazz at charging through a list of jazz percussion forebears Lincoln Center Orchestra, who guided them through records, blu-rays and while “For Margaret Walker Alexander” is crackling six years at Juilliard. The Andersons are excellent and and scruffy, loosely-nattering horns atop a rubbery thoughtful programmers. Each showcases four of his dvds. walk as Baraka stitches together a fiery hymn to the own originals and laced at perfect intervals are two late writer and thinker. landmark standards, ’s “Lush Life” and With a deeply personal sense of caterwaul, Baraka Johnny Green’s “Body and Soul”, both exquisitely and The Red Microphone create an invigorating executed by this top-notch quintet of Peter (tenor We buy and sell all addition to the landscape of musical culture. saxophone), Will (alto), Peter Bernstein (guitar), Pat Bianchi (organ) and Kenny Washington (drums). genres of music. For more information, visit espdisk.com. This project is at 5C From the leisurely paced and emotionally astute All sizes of collections Café Aug. 19th as part of Dissident Arts Festival. See Calendar. title track (composed by Peter) in honor of Temperley then on to his highly lyrical, self-assured “The Royal welcome. Standard” to Will’s “Exceptional Elegance” (it is “exceptional”) and on to that gorgeously realized “Lush Life”, the program proceeds without a stumble. Will’s “Relaxed Beauty”, exactly at the halfway mark, For large collections, keeps the level of focus rolling, a perfect launch into the rest of the offerings. Bernstein melodically please call to set up an underscores the brothers’ musicianship with his warm appointment. soloing as well as superb rhythmic support. What also distinguishes this project is how well all of the players

listen and respond to each other. Happiness! (Live at Kuumbwa) (Sunnyside) It’s rare to witness such a perfectly blended sound. Open 7 days a week 11-7 by Andrew Vélez At the top of Peter’s “The Royal Standard”, for instance, the brothers play joint statements honoring Temperley Veteran pianist Benny Green and trio mates bassist with such confidence and precision it recalls the 12 W. 18th Street NY, NY 10011 David Wong and drummer Rodney Green get matters sharpest of big band reed sections. Their inventive 212-242-3000 off to a swinging start with an effervescent take on solos have an impeccable sense of timing and

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Not surprisingly, a Spanish orientation runs solid jazz vocalist) Jeffrey Wright appears on a couple through a good deal of the program and after opener of selections, playing the role of Parker himself with a “Song for Kate”, where the band and Gurvich don’t mix of ferocity and sophistication that fits Bird to a tee. quite get it together, “Dance of the Ñañigos” solidifies While some traditionalists might scoff at the the approach with Mela and Slavov providing a firm liberties Klein and his cohorts take with such hallowed center. “El Chubut” features poet Bernardo Palombo as material, everything is done with reverence and a high he retells the tragic history of the Argentinian province level of artistry. The result is a joyous and rewarding intertwined with Gurvich’s family roots. celebration of Parker that takes his revolutionary The Israeli aspect of Gurvich’s identity is presented music another step forward.

To Love and Be Loved along several different dimensions. In stark contrast to Harold Mabern (Smoke Sessions) “El Chubut”, a Middle Eastern tinge serves as an For more information, visit impulse-label.com. Parker tributes by Alex Henderson obvious inspiration for the bouncy “Twelve Tribes” are at Summerstage’s Charlie Parker Jazz Fest Aug. 23rd-27th while two songs from Israeli composer Sasha Argov at various locations and Birdland Aug. 29th-Sep. 2nd. See Veteran pianist Harold Mabern, 81, has had his share get disparate treatments: syrupy love tune “Im Tirtzi” Calendar. of talented students, but if you had to cite the one to is a bit too smooth while the transcendent “Ha’im have the most productive relationship with him, it Ha’im” has the band, especially Genovese, doing would be Eric Alexander. The big-toned tenor a very nice job of channeling John Coltrane. “Blue AKIKO TSURUGA saxophonist has featured Mabern on many albums but Nomad” is exceptional and a session standout, this time, Alexander is the sideman. The pair continue blending Gurvich’s cultural influences into a new Akiko Tsuruga Quartet to enjoy a strong rapport on To Love and Be Loved. form. The title cut takes the more difficult path of Roxy Lounge AT ROXY HOTEL This is primarily a quartet album, Mabern and weaving together differing emotions yet succeeds SATURDAY, AUGUST 19, 8 pm Alexander joined by bassist Nat Reeves and drummer quite well with its comforting pathos. Jimmy Cobb (now 88). Trumpeter Freddie Hendrix is Gurvich succeeds in presenting both contrasting lou donaldson Quartet featured on three selections: McCoy Tyner’s “Inner and complementary takes on his views of Kinship. charlie parker jazz fest Glimpse”, Miles Davis’ “So What” and ’s sunday, AUGUST 27, 3 pm “The Gigolo”, sounding especially at home on the For more information, visit difymusic.com/jazz-family. This project latter. Percussionist Cyro Baptista appears on the title is at The Stone at The New School Aug. 25th-26th. See Calendar. new album! track, helping bring a bossa nova flavor to the Jimmy so cute, so bad

Van Heusen-Sammy Cahn song. And Mabern gives a solo reading of ’ “Dat Dere”. It’s great to hear two jazz octogenarians like Mabern and Cobb still going strong. The pair briefly worked together in 1963 as part of a Miles Davis residency at The Blackhawk in . Cobb is, of course, the lone survivor of Davis’ and this album’s inspired performance of “So What” finds akikojazz.com him revisiting the modal standard 58 years later, with Alexander’s fiery solo channeling John Coltrane. Time The Passion of Charlie Parker has not robbed Mabern or Cobb of their considerable Various Artists (Impulse) powers. Both are in fine form on Richard Rodgers- by Joel Roberts Lorenz Hart’s “My Funny Valentine”, Cole Porter’s “I Get a Kick Out of You” and ’ slow The brainchild of producer Larry Klein, The Passion of blues “Hittin’ the Jug”. The lone original of the session Charlie Parker is an ambitious project that reimagines is Alexander’s “The Iron Man”, a hard-swinging bop/ the music of the legend if he were alive and blues number along the lines of Sonny Rollins. working today. The album brings together a host of top Smoke Sessions Records reflects the spirit of the jazz vocalists, including Madeleine Peyroux, Gregory Upper West Side jazz club. To Love and Be Loved is very Porter, Kurt Elling and Luciana Souza, to interpret new much in the vein of Mabern’s Smoke appearances, lyrics from singer-songwriter David Baerwald for some making it an excellent addition to his discography. of Parker’s classic compositions. While Baerwald often works in more pop-oriented settings, he clearly knows For more information, visit smokesessionsrecords.com. This the jazz terrain covered here extremely well. His lyrics project is at Smoke Aug. 25th-27th. See Calendar. are dramatic and expressive, but spare enough to leave August 1st the talented cast of singers plenty of room to stretch out Lena Bloch and Feathery and put their own mark on the songs. The instrumental backing is provided by saxophonist Donny McCaslin, guitarist Ben Monder August 8th and drummer Mark Guiliana (who formed the core group for David Bowie’s final jazz-tinged album Rosemary George Blackstar), plus keyboardist , and Friends Larry Grenadier and and second drummer Eric Harland. The group dissects and reassembles the familiar tunes, cooling their frenetic bebop energy, but August 15th never losing the melodies or the soul of the songs. Kinship Rob Silverman Group There’s a narrative arc to the album, built around Uri Gurvich (Jazz Family) by Elliott Simon key events in Parker’s life, from his early days in Kansas City to his tragic death in New York at the age August 22nd Using music, alto and soprano saxophonist Uri of 34, but the individual tracks can stand equally well Art Lillard Group Gurvich makes a very timely point—that Kinship on their own. Peyroux kicks things off with a soft, knows no artificial borders. Aiding Gurvich in this smoky reading of “Ornithology” (retitled “Meet exercise is an ethnically diverse band that adapts well Charlie Parker”), with swirling tenor saxophone to the eclectic compositions. Gurvich is the son of floating around her. Some of the arrangements stick New York Baha’i Center Argentinian immigrants to Israel and the session is a closer to classic bebop vocalese, including Souza’s 53 E. 11th Street critical reflection of his roots and identity. Argentinian splendid version of “Bloomdido” (called “Every Little (between University Place and Broadway) pianist Leo Genovese is outstanding and his well- Thing”) and Elling’s moody, blues take on Shows: 8:00 & 9:30 PM articulated solos, coalescing and superb sense “” (retitled “Los Angeles”). Others Gen Adm: $15 Students $10 of self are the threads that make Gurvich’s premise pay like Porter’s “” (“A Genius in His 212-222-5159 off. Bulgarian bassist Peter Slavov and Cuban drummer Youth”) and Barbara Hannigan’s “Visa” (“The Epitaph bahainyc.org/nyc-bahai-center/jazz-night Francisco Mela round out the quartet. of Charlie Parker”) are more experimental. Actor (and

20 AUGUST 2017 | THE NEW YORK CITY JAZZ RECORD November 2017

crosscurrents with dave holland & friends Sun, Nov 5 @ 7 PM Indian music meets jazz with , Dave Holland, Shankar Mahadevan and more!

Wed, Nov 8 @ 7:30 PM john This world’s best-selling jazz instrumentalist returns to NJPAC. mclaughlin & Fri, Nov 10 @ 8 PM Guitar virtuosos from Mahavishnu Orchestra and . More TD Moody Jazz to love this November! Manhattan Transfer Sat, Nov 4 @ 7:30 PM Hiromi & Edmar Castaneda Sun, Nov 5 @ 3 PM ella & dizzy Christian McBride & Dianne Reeves: the centennial One-on-one celebration Fri, Nov 10 @ 7:30 PM Sun, Nov 12 @ 7 PM Dorthaan’s Place Jazz Brunch Gregory Porter, , , Valerie Simpson, Randy Brecker, Sean Jones and the Christian McBride Big Band salute and Sun, Nov 12 @ 11 AM & 1 PM Dizzy Gillespie and celebrate the Ella songbook. Sarah Vaughan Int’l Sponsored by: Jazz Vocal Competition Sun, Nov 12 @ 3 PM Guest judges include TS Monk, , Will Downing, and WBGO’s Gary Walker

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

9.5x12_NYCJazzRecord_aug_njpac_2017.indd 1 7/10/17 10:37 AM

gigged with and , Westbrook remained reluctant to promote himself or record. Thank goodness the Westbrook sisters had the sense to contact Jordi Pujol at Fresh Sound Records and, thus, The Remarkable Forrest Westbrook was born. Westbrook recorded these sessions on an Ampex tape machine in his Santa Monica apartment in 1958 (plus one cut featuring bassist Gary Peacock in 1960). Tristeza On Guitar & Images on Guitar The pianist was “an audiophile’s audiophile” according Baden Powell (MPS-Edel) by Fred Bouchard Live in Tokyo to Leslie—and the fidelity is startling. Turn up the (Xanadu-Elemental Music) volume and it sounds like the trio is in your living Baden Powell’s pure and forceful , by Duck Baker room. Westbrook can be favorably compared to Wynton brawny-toned with pinpoint attack, rings clearly Kelly on one hand to Paul Bley on the other and from through these studio ensembles with a cat-like grace; The sporadic leadership career of guitarist Jimmy the opening strains of “I’m Over he easily blends folksy samba with classical, even Raney, who was born 90 years ago this month and died You”, one hears both ends of the spectrum on this flamenco styling, graceful and ringing in 1995 at 67, began with a very active period in the wildly swinging yet forward-thinking exposition. sustains, over all a primeval, singular lyricism. mid ‘50s, but then tailed off to almost nothing after Especially instructive is the maniacally effusive tempo Powell, who was born 80 years ago this month and 1957, until he came back in the mid ‘70s with three on Charlie Parker’s “Buzzy”, upon which Westbrook died in 2000 at 63, was a maverick, an original, dripping releases featuring a guitar-bass-drums trio format. layers one brilliant chorus after another. This is a prime with duende: he seemed to shun limelight, but enriched This is worth noting because it was unusual for example of the ‘state-of-the-art’ in piano performance the bossa nova book in enchanting collaborations with straightahead guitarists at that point; such figures as of its time and it’s a crying shame that it lingered in Vinícius de Moraes (hear their hallmark album Os Afro never recorded with it and Raney a cardboard box for 57 years before being rescued and Sambas, from whence comes “Canto de Ossanha”) and himself had not on his earlier dates. The first of these brought to the attention of the jazz public. was snapped into the U.S. market by the enterprising records, Momentum, appeared in 1974 and demonstrated Since he had no intention of putting this out, flutist , with whom he made a cute 1962 that Raney, who had been largely forgotten at that Westbrook defies the recording practices of the day Atlantic date. His influences (miles-wide open-string point, had few if any equals at spinning out chorus and delivers an expansive and relaxed set where vistas and metallic touch on nylon strings) became after chorus of inspired melodic invention and the trio everyone gets a chance to stretch. “Shine On Harvest a noticeable reference for Brazilian guitarists such as setting gave him full rein. Raney signed with Xanadu Moon” is a prime example: ebullient, swinging and Egberto Gismonti and Edu Lobo. in 1975 and made The Influence, which was even looser than a billionaire’s ethics—this cut perfectly Polymath MPS producer Joachim Berendt—talent stronger. The following spring, the guitarist was part illustrates how a musical genius can transform even scout, jazz historian, philosopher, A&R man, liner note of a Japanese tour organized by Xanadu, which also the blandest of material into top-notch jazz. The 1960 writer, festival honcho—relished showcasing exotic included alto saxophonist Charles McPherson, pianist cut with Peacock offers another tantalizing taste of jazz geniuses (e.g., ) but occasionally Barry Harris and the rhythm team of and what could have been. They are clearly on the same showed excess enthusiasm for audio gadgetry and Leroy Williams. Live recordings by Raney, McPherson page and their conversation remains riveting. echo effects. The jazz listener’s one yardstick in these and Harris were issued later that year. two juicy vinyl reissues is a widely-pirated, haunting If you ask modern fans to name their For more information, visit freshsoundrecords.com “‘Round Midnight” duo with bass: Powell winkles out favorite five or so guitar-bass-drum records, Live in bluesy phrases in a tart, spidery Tokyo is going to place near the top of most lists and formalism, with a percussive flair that Monk would likewise any list of Raney’s best records. He himself have gruntingly approved. thought this was his best. From start to finish, Tristeza on Guitar (1966, recorded in Rio), the better everything was clicking, from the ridiculous uptempo date, has pristine flute, clangy agogo, clattery atabaque romps like “Cherokee” to sensitive ballads like “Stella and numinous surdo in support of brilliant guitar By Starlight” (though even this is peppered with 32nd musings. The title track, never ‘sad’, finds Powell note passages). Everyone is tuned in to each other and slashing joyous chords. On “Canta da Ossanha” he having a ball. Obviously the situation inspired Raney, invents miniscule variations on a haunting single-note but we may as well note that attaining these heights line. Best left to his own musings, Powell evokes may also have frightened him, as by the time his return classical minuet on “Invençao em 7½” and elegant flight to the U.S. touched down, he had already ruminations on “Das Rosas”. Three ballads, just guitar embarked on one of the destructive drinking binges and bass, stand out for heart-rending simplicity. “Som that he had to contend with for most of his adult life. Do Carnaval” is a street dance groove! If you are one of the few jazz guitar fans who Images on Guitar (1971, MPS Studio in Villingen, doesn’t already own this record, what are you waiting Germany), by contrast smooth, plush and polished, for? If you do, note that this release contains a bonus finds French contralto Janine de Waleyne and Powell track and excellent new liners. Besides, isn’t that old teaming up on vocals, she wordless and ‘classical’, he vinyl kind of scratchy after all these years? hushed and confidential à la João Gilberto. De Waleyne’s clarion, exhibitionist hooting makes an For more information, visit elemental-music.com awkward fit—far from Elis Regina and Tom Jobim— prevailing as a personal triumph over a musical one. To the instrumentals: “Petit Waltz”, a breathless quickstep, sounds through-composed, or instantly imagined, Fernando Sor tippling cachaça; “Sentiment: If You Forget, No One Will Know” is a rich, wistful chôro; on “Conversation with Myself” Powell ‘trios’ via overdub (acoustic guitar, guitar , hammered dulcimer-like electric lines) with bass and percussion. Rich variations and cross-pollinated ideas do in their way conjure a Brazilian Bill Evans. Of Powell’s three The Remarkable Forrest Westbrook compositions with Música Popular Brasileira poet/ Forrest Westbrook (Fresh Sound) lyricist Paulo César Pinheiro, two are rarefied, cat-and- by Robert Bush mouse vocals and one a zinging bassline-driven “E De Lei”, referring to Powell’s TV show title and his There are few unsung heroes with less accolades than steadfastness in the face of swirling musical fashions. reclusive piano virtuoso Forrest Westbrook, born 90 The hefty audiophile pressings on 180-gram grade years ago this month. He flew under the commercial vinyl are silky beauties that surpass the originals in jazz recording radar with imperious stealth until his enhancing the AAA recordings. death in 2014 when his daughters, Leslie and Yvonne, discovered a treasure trove of unreleased tapes while For more information, visit mps-music.com cleaning out his San Diego apartment. Even though he

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heard on two recent releases, both 2016 live dates. recognition. The Osaka, native started on organ Live at the Jazzfestival Steyr from Austria features when she was just three and was attracted from an an international combo of Austrian trumpeter Daniel early age to straightahead jazz. Drummer Grady Tate Nösig, Pukl, Hungarian pianist Tzumo Árpád and two convinced her to move to the U.S. and Dr. Lonnie Smith North Americans, bassist Josh Ginsburg and drummer became her mentor. While she considers the latter to be Gregory Hutchinson. The set begins with lone acoustic her main influence, like most organ players who bass, followed by a flurry of trumpet and tenor notes, perform blues, ballads and jazz standards, Jimmy then a loosely doubled melody—now in unison, now Smith’s innovations in the ‘50s were her starting point. harmonized—swinging along in 5/4, with freely So Cute, So Bad is her tenth album as a leader. It

chapter one: THE CLOCKS HAVE GONE MAD rendered solos by trumpet and tenor, both playing in was recorded live at the Alvas Showroom near Los Brian Marsella’s Imaginarium (Red Palace) fast, conversational bursts, the whole group coasting Angeles, teaming her with two of Los Angeles’ top by John Sharpe home at last to end on a gargled saxophone tone. Pukl’s musicians: Graham Dechter, a bop-based guitarist who “Straight Story”, in 7/4, follows a similar template: can hold his own with his New York counterparts and Brian Marsella’s chapter one: THE CLOCKS HAVE loose phrasing and lots of give and take between the Jeff Hamilton, famous as both a big band drummer and GONE MAD sounds exactly as the title and the eccentric horns; Árpád taking the first solo; Ginsburg and one who sounds equally at home with small combos capitalization suggest: a whacky chase through the Hutchinson changing up the rhythmic accompaniment including his own trio. genres. The prodigious Philadelphian pianist may be by inserting sections of 4/4 time or half-time; Pukl The music here is both bluesy and soulful and best known for his place as a satellite in the orbit of breathing in ebbs and flows, giving his sound a subtle, features many solos from Tsuruga and Dechter with , where he has contributed to both Zorn’s gasping quality; Hutchinson taking the last solo. This occasional spots for Hamilton. The repertoire consists of Bagatelles and his Book of Angels, but this collection segues into Árpád’s “Message”, a sweet ballad in 6/8 the title cut (a midtempo blues), cooking “The Lady Is A recorded between 2009-2012 represents his leadership that toggles between two chords, with solos by the Tramp”, Baby Face Willette’s catchy melody “Face To debut. Unlike his mentor’s famous cut-up pieces, the composer and Ginsburg. The latter’s “Sweatshop Face”, slow blues “Frame For The Blues”, genre-hopping here is not primarily within numbers, Blues” contains a compelling theme elevated by Pukl’s faster than usual “You Don’t Know What Love Is”, the but between them. While Marsella doesn’t major on solo, which hints at a more avant-jazz sensibility, leader’s likable “Peachie” (using the chord changes of thematic development or solo storytelling, his easy bolstered by the proactive rhythm team. “Opener”, the Charlie Parker’s “Confirmation”), bossa nova-flavored melodies and energetic quirkiness make for an ironically titled closer, switches between the tricky “Tanabata” and Tsuruga’s thoughtful jazz waltz “Pretty enjoyable ride nonetheless. A sections (the first note of the melodic phrases seems Please”. Everything works well with Dechter often Marsella’s Imaginarium comprises a loose core of to arrive either too early or too late), played with taking the melody and sharing solo honors. players supplemented with a varied cast from track to ‘straight’ eighth-notes and a swinging bridge, the The accessible music is easy to enjoy and forms a track. Two unaccompanied cuts frame ten group co-leaders both pulling against the pulse in their solos, solid outing for Akiko Tsuruga. realizations. Marsella not only plays piano but also elongating phrases or squeezing in extra notes. Fender Rhodes, Hammond B3, Prophet and Yamaha Live at Thelonious features the Jure Pukl Quartet at For more information, visit akikojazz.com. Tsuruga is at synths, vibraphone, accordion, xylophone and the titular venue in Santiago, Chile. Besides Pukl, the Bar Next Door Aug. 12th with Jeff Barone, The Roxy melodica and he executes the opening “Lullaby” on group—guitarist Nicolás Vera, bassist Pablo Menares, Lounge at Roxy Hotel Aug. 19th and Tompkins Square Park shahi baaja (a sort of Indian ), achieving a drummer Félix Lecaros, plus guest tenor saxophonist Aug. 27th with Lou Donaldson as part of Summerstage’s winsome bluegrass feel, while for the final “Psalm” he Melissa Aldana—is Chilean, all but Vera residing in Charlie Parker Jazz Festival. See Calendar. builds a pretty but low-key line up to an ultimately New York, which may help to explain the close grand flourish just on piano. But between he touches camaraderie, particularly between Pukl and Vera, who on everything from soul to folk dance, settling on jazz often seem to be thinking with a single mindset. Pukl only sparingly, best exemplified by “Better Watch wrote five of the six numbers, provocative tunes setting What You Wish For (In These Historic Times) Part 1”. him apart from many of the less memorable composers His “NewArk Trilogy” begins with vaulting inundating the jazz mainstream. After “False klezmer over a jazzy groove, before moving on to Accusation”, Aldana joins the quartet for “Up & Over”, a jerky cartoon soundtrack allied to a funky beat. an amazing two-tenor feature with a pair of interlinked Erstwhile Sun Ra Arkestra boss guests solo sections, Pukl and Aldana improvising a on EWI, but you would be hard pressed to pick him conversation with no interruptions, each conversant out. For the relaxed last installment Marsella enlists a dovetailing the other’s sentences so seamlessly it’s children’s choir and throws in a swooping instrumental difficult to tell who’s playing what in a triumph of break from a keyboard on a flute setting. Thereafter musical empathy. “Sequence III”, an interesting theme, “Who’s Going to Follow Your Revolution?” packs a provides a format for interplay between Pukl and Vera, slow-building charge featuring Eyal Maoz’ guitar segueing into “Enko Dunko”, over which they trade shredding while “Lost in the Bubbles” proposes a open-ended phrases. “Compassion”, a sweet ballad, sashaying Hawaiian lilt, which morphs into Parisian contains similar interplay, both tenor and guitar gypsy music when Marsella takes up the accordion. achieving comparable sound effects through You get the idea. ornamentation. Pukl delivers strong cohesive solos on “La Rueda del Tiempo” (composed by Vera) and For more information, visit redpalacerecords.com. Marsella “Bizgo”, a snaky line with a blues-rock feel. is at The Stone Aug. 17th-18th. See Calendar. For more information, visit sounddesign-austria.at and discospendiente.com. Pukl is at Bar Next Door Aug. 29th. See Calendar.

Live at the Jazzfestival Steyr Daniel Nösig/Jure Pukl Quintet (Alessa) Live at Thelonious Jure Pukl Quartet (Discos Pendiente) by Tom Greenland So Cute, So Bad Jazz artists working within the so-called mainstream Akiko Tsuruga (ATM) (an admittedly oceanic category) face the significant by Scott Yanow challenge of doing something new with something old, of making an historically established style sound Akiko Tsuruga has been one of the top organ players contemporary. Slovenian tenor saxophonist Jure Pukl in jazz ever since she moved to New York in 2001, is one younger artist who meets this challenge, as although it has taken a while for her to gain proper

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Legacy of Ashes Nate Wooley/Daniele Martini/João Lobo Roll On (Creative Sources) Sing Me Some Cry Grant Stewart Trio (Cellar Live) Purple Patio Eric Revis (Clean Feed) by Ken Dryden Nate Wooley/Hugo Antunes/Jorge Queijo/ by Phil Freeman Mário Costa/Chris Corsano (NoBusiness) A native of Canada, tenor saxophonist Grant Stewart by Stuart Broomer Bassist Eric Revis shuttles between mainstream jazz was drawn to New York City to work with jazz masters and avant garde experimentation with ease and grace. like and Barry Harris. Now in his mid Nate Wooley’s work moves in several directions, from He’s been part of saxophonist Branford Marsalis’ group 40s, his resumé is filled with recordings or performances the mystical intensity of his recurring Seven Storey for 20 years, works regularly with pianist Orrin Evans with numerous greats, in addition to his many CDs as Mountain and the classic free jazz of his quintet/sextet and is a sought-after sideman. At the same time, he a leader or co-leader. His trio here is completed by to the complex techniques that have defined his solo leads experimental albums for Clean Feed. To date, bassist Paul Sikivie and drummer Phil Stewart, Grant’s trumpet work. Along with that are regular partnerships, these have included 2012’s Parallax, a quartet session brother. While many saxophonists have taken on the like those with drummer Paul Lytton and the trio Icepick with saxophonist Ken Vandermark, pianist challenge of playing in this type of trio, not all are with bassist Ingebrigt Håker Flaten and drummer Chris and drummer Nasheet Waits; two trio discs, 2013’s City equal to the task. The lessons that Stewart learned Corsano. These two recordings come from a broader of Refuge and 2016’s Crowded Solitudes, featuring pianist working alongside veterans have rubbed off and while category: ad-hoc improvised groups. While these two Kris Davis and, respectively, drummers he shows the influence of greats Rollins and recent releases have waited a while to appear on disc, and Gerald Cleaver; and 2014’s In Memory of Things Yet Dexter Gordon, he is no carbon copy. there’s plenty of musical substance on each. Seen, with saxophonists Darius Jones, Bill McHenry and The creative setlist draws from several decades, Legacy of Ashes shares its title with Tim Weiner’s Marsalis and drummer Chad Taylor. starting with the ‘20s song “Thinking of You”, which 2007 history of the CIA and the organization’s history Sing Me Some Cry draws from this same pool of the trio turns into a brisk bop vehicle, getting up to informs its track titles as well, from “Dull, Duller, players, bringing together Vandermark, Davis and speed in no time. “After You’ve Gone” has long been a Dulles” to “Chasing El Lider Forever”. Though they Taylor for a set of nine pieces that have a fierce energy standard for jazz musicians and Stewart’s fast-paced could have been added at any time, the titles add but also exhibit restraint and calculation. Taylor’s long workout is a clear nod to Gordon, with sizzling energy material for reflection to this 2011 Brussels meeting of partnership with player Rob Mazurek in various provided by his rhythm section. Bud Powell’s musicians from three NATO nations: Wooley (USA), Chicago Underground projects seems like a powerful “Un Poco Loco” became a bop staple and Stewart’s trio saxophonist Daniele Martini (Italy) and drummer João influence on his work here; on “Solstice…the Girls (for dives head first into this challenging theme, mastering Lobo (Portugal). Wooley opens “In China One Max & Xixi)”, his slow, throbbing rhythm is decorated it effortlessly. “The End Of A Love Affair” is a ballad Moonless Night” with an exalted longing that links to with tiny ripples from what could just as easily be a that was popular for a time but fell out of favor; Stewart the lineage of lyrical trumpeters (Miles Davis, Don mbira as a piano and Vandermark’s clarinet is patient finds plenty of life in this forgotten gem, supported by Cherry, Wadada Leo Smith), but the music shifts and minimal, a murmuring presence. The opening title walking bass and subtle brushwork. quickly to intense contrapuntal improvisation, whether piece, on the other hand, begins with taped voices played With his premature death in his 20s, Fats Navarro the mood is combative, conspiratorial or celebratory. backward over a calling-to-order solo from Revis and has been all but forgotten by many jazz musicians; Martini is a stellar saxophonist, contributing warm to a ritualistic shaking of beads; the cymbals are ominous, Stewart’s rendition of “Fats Flats” (based on the chord explosive tenor while Lobo is a subtle, inventive piano haunted, saxophone sputters and erupts in changes to “What Is This Thing Called Love?”) is on drummer, finding fresh ways to hold the music Braxton-ian squawks and squiggles. While never the money, with potent drum breaks. “Do You Know together and press it along. “Operation Mocking Birds” rocketing into free blare, the music feels like it could at What It Means To Miss New Orleans” is giving a loping is a highlight: mercurial soprano has a crowing force, any moment and the ghostly voices, which return at the treatment comparable to life in the Big Easy, Stewart’s drumming is propulsive and when Wooley enters he end, are eerie. It brings listeners to full attention, saying lyrical tone conveying the nostalgia anyone who has supplies a complex blast that sounds like an amplified in effect: Get ready. You don’t know what’s coming. spent significant time living there feels, an understated fan, anything but a trumpet. By the conclusion Martini Pieces like “Rumples” and “Drunkard’s Lullaby”, bass solo the centerpiece of the memorable and Wooley are animatedly echoing one another’s are more conventional, even bluesy, but the feeling of arrangement. is another jazz figure who phrases. There’s a deliberateness about all the music exploration and curiosity remains. Revis has never been has fallen into obscurity a half-century after his death: here, driving forcefully and inventively ahead. interested in finding a creative comfort zone and Clean Stewart’s intricate setting of his title track shows Purple Patio comes from a Portuguese recording Feed is to be lauded for giving him space to roam. appreciation for a jazz master who died far too young. session in May 2012, with Wooley and bassist Hugo Antunes joined by up to three drummers: Chris For more information, visit cleanfeed-records.com. Revis is For more information, visit cellarlive.com. Stewart is at Corsano, Jorge Queijo and Mário Costa. The trio of at The Stone at The New School Aug. 11th-12th with Kris Smalls Aug. 11th-12th with John Marshall. See Calendar. Wooley, Antunes and Corsano previously released Davis. See Calendar. Malus from a later 2012 concert in Brugge (also on NoBusiness) and this session is every bit as enjoyable.  Opener “Parturition” has Wooley taking immediate  inspiration from the dense mesh of percussion,  Bossa Brasil® embarking on a solo that splatters rapid lines and  Westfield Jazz brassy blasts around the studio. He launches an  festival unaccompanied exploration of alternative techniques  Cd release for to begin “Aurora”—evocative, strangely furtive play  “traJetórias” with air—until the drummers join in. Antunes is an   MauriCio de souza (druMs) exceptionally grounded bassist, with a big sound and adrian CunninghaM a strong sense of line, whether insisting on a pulse or  (tenor saxophone) coming to the fore as an equal melodic partner on the  Jerry Weir almost balladic “Aurora” or the pointed and splintering  (viBraphone) speculations of “Sueca”. The drummers contribute as  gary Mazzaroppi (Bass) much taste and invention as sheer force: on their tuesday, august 22nd feature, “Triangle”, the threesome construct a spacious, subtly detailed world of varied percussion sounds.  Westfield, nJ  free outdoor ConCert For more information, visit creativesourcesrec.com and  nobusinessrecords.com. Wooley is at The Stone at The New MauriCiodesouzaJazz.CoM School Aug. 18th and New Revolution Arts Aug. 26th. See  Calendar. 

24 AUGUST 2017 | THE NEW YORK CITY JAZZ RECORD www.mps-music.com

TRISTEZA, IMAGES AND HIS LAST CONCERT ON GUITAR FELIZ ANIVERSÁRIO MR. BADEN POWELL

LP, CD and in all digital Fomats Also available on DVD

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down to her signature stylistic quirks, like the “yes” she elements of their style, without ever seeming like he’s interjects into the trio (sans Person) track “I’ll Close My trying on hats. His reading of Evans’ “The Two Lonely Eyes”. Other songs from the Washington repertoire People” retains the introspection of the late pianist’s affirm how versatile the late singer was and how style, but has the driving energy that has always been a authoritatively Morrison makes them her own. She hallmark of Davis’ own work. The disc’s second half captures both the gruff edge and tenderness in “Please kicks off with Corea’s “Tones for Joan’s Bones”, Kozlov Send Me Someone to Love” and unabashed sensuality and Ferber establishing a pulsing rhythm atop which of “Make Me A Present of You”. And she and Person Davis dances through the melody, giving it an almost forge a seamless partnership on the ballads “Skylark” Latin feel. On Hancock’s “Speak Like a Child”, the

I Wanna Be Loved (featuring ) and “When Sunny Gets Blue” and a swinging tandem music ripples and throbs, Davis heading for the low end Barbara Morrison (Savant) on “September In the Rain”. This is a welcome tribute to of the keyboard, where Kozlov meets him, deploying by George Kanzler one of the 20th century’s greatest singers. a massive tone. Tyner’s “Search for Peace” is a ballad but here is set to more of a groove. Happy Juice concludes A stalwart of West Coast jazz, singer Barbara Morrison For more information, visit jazzdepot.com. Person is at with a version of Jarrett’s “Rainbow”; it begins with is internationally famous yet has a low profile here on Grant’s Tomb Aug. 2nd and Brooklyn Bridge Park Aug. 15th Davis solo, trilling around the keyboard before his the East Coast, where she rarely performs. But her with Eric Person, both as part of JazzMobile. See Calendar. partners join him for a slow, gentle lap around the track. fruitful recording collaborations with tenor saxophonist Davis kicks off the album with two originals, the

Houston Person (this is her third), reminiscent of his title track and “Slant Six”, inspired by Hancock’s early simpatico work over many years with the late Etta ’60s Blue Note recordings and Tyner’s early ’70s work Jones, has widened her appeal. I Wanna Be Loved is for Milestone, respectively. Another new piece, “As We based on a show of the same name Morrison did Know”, explores the lyricism of Jarrett’s Impulse-era honoring . recordings; it could have been an outtake from Treasure According to Person, Morrison is also steeped in the Island. Later, we get the intriguing “Bred On Red”, an blues, bringing a bluesy ambiance to songs—none of original in which the pianist explores Evans’ feel, but by them true blues in form—recorded by Washington. The focusing on the elements he thinks Evans borrowed only real, rocking blues, Nat Adderley’s “Work Song”, from another hugely important figure of the era, Red stands out for the way Morrison and Person out in Garland. Unsurprisingly, this is the hardest-swinging Happy Juice trades as she repeats, with more rocking emphasis each track, stuffed with big block chords and propelled by a Jon Davis (Posi-Tone) time, the phrase “I been breakin’ them rocks.” Another by Phil Freeman bouncing drum performance. The final Davis original, song not associated with Washington, Frank Foster’s “Mostly Minor”, takes inspiration from Corea and that Basie classic “Shiny Stockings”, exemplifies her and Pianist Jon Davis pays tribute to five (possibly six) of fact is as audible in Ferber’s twitchy, excited playing as Person’s easy rapport as well as her buoyant sense of the major figures of the modern jazz era on his latest the pianist’s. swing. Their comfort with even much faster rhythms is Posi-Tone CD. Backed by bassist Boris Kozlov and evident on a barnburner version of “Perdido”, Person drummer Mark Ferber, he essays pieces by , For more information, visit posi-tone.com. Davis is at Smalls shadowing the vocal lead with undulant . At Bill Evans, , Keith Jarrett and McCoy Aug. 3rd with JC Stylles/Steve Nelson and Birdland Aug. times Morrison seems to channel Washington, right Tyner, then composes five originals that incorporate 6th with Tom Tallitsch. See Calendar.

$35

THEATERS MEMBERS PETER WILL MOLLY JEB CLOVIS PHILIP $24.50 ANDERSON ANDERSON RYAN PATTON NICOLAS STEWART Tenor Sax, Clarinet Alto Sax, Clarinet, Flute Vocals Piano Bass Drums

26 AUGUST 2017 | THE NEW YORK CITY JAZZ RECORD

postbop veterans (three of them are in their 70s) returns unafraid of bluesy extemporized vamps as well as the for its sophomore outing after making a strong debut odd well-placed madcap flail. Drummer Tim Daisy’s with 2015’s Search for Peace, focused primarily on the readiness to propel the trio with his pulsing cymbals music of McCoy Tyner. This time, the group’s focus is and insistent time puts this session firmly in the free broader, mixing original compositions by the quartet jazz tradition. “Long Night Ahead” maintains an and material from jazz forebears and contemporaries. overall trajectory of repeated pressure and release with There’s been one, nearly seamless change in Rempis’ impassioned cry predominant. personnel since the first release, with David Williams, Although “Keep Alert” begins with breathy saxophone the longtime Cedar Walton bassist, replacing the great overtones and sonic piano droplets, it soon leaves

Dolphy Formations Buster Williams. The rest of the impressive lineup— ballad territory for another three-way charge, Rempis Aram Bajakian (Sansar) (alto saxophone), Larry Willis (piano) and weaving in and out of the lattice formed by a reiterated by Mark Keresman (drums)—remains the same. piano motif and tappy tattoo. How you move Foster and Bartz introduce , with Bartz’ from A to B is critical in such music and this crew Guitarist Aram Bajakian has a most unusually darting, swirling alto perfectly capturing the essence achieves it effortlessly, making the transitions almost impressive resumé, playing on the last two tours of the of the Thelonious Monk title cut. A Bartz original, seamless, whether that’s through echoing, as when late rock icon Lou Reed as well as with singer “And They Called Him a Messenger”, follows, written Rempis takes on Piet’s rippling sonorities as a bridge Diana Krall; and legendary multi-instrumentalist and in honor of famed drummer Art Blakey. While he’s to an unaccompanied segment, or jumping in just at world music progenitor , the latter under certainly mellowed with age, no longer the the right split second, as saxophone and piano do after whom he studied. —one of the early ‘60s revolutionary of his youth, Bartz remains a thrilling, a typically well-ordered drum solo. This is a worthwhile jazz revolutionaries—gave Lateef a portion of one-of-a-kind player, as evidenced by his performances and exciting set and, better still, all proceeds from the a composition, “Synthetic Formations” (a scale which on two very different tunes by legendary saxophonists: album go to a local charity supporting refugees. encompasses two octaves without repeating a note) in Wayne Shorter’s dreamy “Dance Cadaverous” and Rempis and Daisy go way back, so it’s no surprise 1961 and Bajakian uses it as an inspiration for a series Charlie Parker’s frenetic “Moose the Mooche”. that Rempis features as an impact soloist on the latter’s of dreamy/dreamlike soundscapes. Foster, who has emerged as a composer and leader optimistically named The Halfway There Suite. It’s Dolphy fans please note: this music herein does of note after decades of working almost exclusively as performed by a special sextet of the drummer’s favorite not at all resemble or even evoke Dolphy’s music, but a sideman (most famously with Miles Davis), penned musicians convened to celebrate his 40th birthday and does bear his influence in the way that he expanded the hard-hitting “Aloysius”, which he opens with it’s some present. Daisy has clearly learned from his the range of the instruments he played (alto saxophone, a propulsive solo. A lush Willis ballad, “The Day You erstwhile employer Ken Vandermark as he has crafted bass clarinet and flute). Superficially, Dolphy Formations Said Goodbye”, quiets things down, showcasing his varied and thematically coherent small-group charts resembles the minimalist (from the progressive rock elegant piano artistry and leading into a sterling group while also nailing the trick of providing fertile settings sphere) vistas of (Robert) Fripp & (Brian) Eno reading of the Miles Davis masterpiece “Milestones”. for some terrific collaborators. “Part 1” sets out the (especially their classic album Evening Star) and the The album closes on a high note with a quirky take on carefully voiced main theme, which launches an intricately designed, slowly evolving tapestries of saxophonist ’ soul-jazz classic “Freedom eloquent Steve Swell trombone soliloquy. In “Part 2” classical composer Morton Feldman. Jazz Dance”, Williams and Foster laying down a deep Fred Lonberg-Holm’s pizzicato cello riff combines Bajakian, cellist Peggy Lee and trumpeter funk groove on bass and drums. with ticking hi-hat and unison horns to dispatch James J.P. Carter coax long, sustained tones from their At an age when some might be slowing down, the Falzone’s keening clarinet. At this point Rempis’ tenor instruments, separately and in unison, subtly members of this septuagenarian super-group continue rears up into the mix, at first in tandem with Falzone, modulating their held notes. Bajakian plays no melodic to push forward, making music that’s vital, engaging then stretching out in a thrilling display. Then, in one lines but with constant yet restrained distortion and packed with the wisdom of their hard-earned years. of the highpoints of the disc, the raucous polyphonic throughout. Trumpet rarely sounds like a horn but backing of the other horns ratchets up the fervor to more like a winter wind echoing through the crevices For more information, visit smokesessionsrecords.com. another level. In “Part 3” conversational drums duet of a house while cello saws away gently but surely. Gary Bartz and David Williams are at Iridium Aug. with Russ Johnson’s expressive muted trumpet. There are moments of mild agitation followed by 31st-Sep. 2nd. See Calendar. Further solos and duets follow until Falzone’s sprightly serenity, but similar to a serenity that can come from pied piper clarinet leads the dashing ensemble into the a repetition of an electric fan or falling rain on a metal final “Part 4”, which culminates in some suggestive awning. All the participants used extended techniques muttering from Johnson with staccato interjections, and, as such, during these three “Variations” one may during which the original theme is once more threaded hear a , bass flute, , oboe, tuba in, but this time with a more somber cast. One and/or the sound of power tools replayed at one- advantage of the 34-minute playing time is that once quarter speed. the end is reached, it’s not too much of an ask to go To some, these pieces may all sound rather same-y immediately back to the start of this superb work. until you listen closely. Appreciation for this entrancing Hit The Ground Running album depends on one’s taste for minimalism and For more information, visit aerophonicrecords.com and Dave Rempis/Matt Piet/Tim Daisy (Aerophonic) drone-based music. There is improvisation afoot, but The Halfway There Suite timdaisyrelayrecords.bandcamp.com. Rempis is at Queer not , and motion is like the Tim Daisy’s Celebration Sextet (Relay) Trash Aug. 24th, The Stone Aug. 25th, New Revolution Arts movement of a clock’s hands or the Earth’s orbit. With by John Sharpe Aug. 26th and Legion Bar Aug. 27th. See Calendar. the right mood or mindset, this is an album to immerse one’s self into and get lost. Saxophonist Dave Rempis remains one of Chicago’s busiest and most accomplished improvisers and For more information, visit arambajakian.com. Bajakian is organizers. It’s hard to believe that he first came to The at The Stone Aug. 18th-20th. See Calendar. Windy City in 1993 to study classical saxophone at Northwestern University. He quickly became intensely

caught up in the city’s vibrant jazz scene and joined the seminal Vandermark 5 at age 22, before spawning a slew of his own projects, such as the Rempis Percussion Quartet and Ballister. But as not all the members of those bands reside in Chicago, he has also been assiduous in developing more accessible outlets for his fiery saxophonics. Rempis unites with two like-minded spirits on Hit The Ground Running, a digital-only issue on his own Aerophonic imprint recorded live at Elastic Arts in Four in One January 2017, which contains two freely improvised Heads of State (Smoke Sessions) by Joel Roberts pieces benefitting from a practiced flow. Rempis’ inventive tale-spinning dominates, making full use of You’d be hard pressed to find a band with more talent, emotive tonal distortion and even the occasional R&B experience and exuberance than the allstar ensemble lick. Pianist Matt Piet, one of a new wave of talented known as Heads of State. This foursome of respected natives, accentuates the percussive feel and proves

THE NEW YORK CITY JAZZ RECORD | AUGUST 2017 27

a piece combining hints of Thelonious Monk’s The title of the CD is Latino slang for Upper “Misterioso” and “Well You Needn’t” with Latin Manhattan, where Slagle has lived for two decades. rhythms. -’s “It Could His core quartet is comprised of pianist Lawrence Happen To You” is taken slow and out of tempo, the Fields, bassist Gerald Cannon and drummer Bill results a bit dreamy. O’Connell performs his augmented Stewart, with guest saxophonist Joe Lovano and blues “Zip Line”, Mongo Santamaria’s “Afro Blue” percussionist Roman Díaz added on some selections. (taken in a McCoy Tyner explorative style rather than “Family” is the frenetic AfroCuban opener, Latin) and an atmospheric and colorful original showcasing the full sextet, with adventurous solos by “Hither Hills”. The program concludes with two more the leader and Lovano leading the way, immediately

Monk’s Cha Cha (Live at the Carnegie-Farian Room) originals, “Gibberish” (a short but fiery sketch) and the followed by the darting first version of the title track Bill O’Connell (Savant) episodic and unpredictable “White Caps”. featuring the quartet. “I Know That You Know” is a by Scott Yanow The music on Monk’s Cha Cha is so consistently loping blues vehicle that is weary but infused with intriguing that it is surprising that Bill O’Connell took a bit of humor. Slagle tackles “Body & Soul” as an Bill O’Connell has been a very active jazz pianist since this long to record in this setting. unaccompanied alto saxophone solo, providing ample the ‘70s, performing both advanced hardbop and Latin proof that there are still fresh avenues through this oft- jazz and has worked with the likes of Chet Baker, For more information, visit jazzdepot.com. O’Connell is at traveled theme. “Inception” is a lost masterpiece Sonny Rollins, , Emily Remler and Dizzy’s Club Aug. 28th. See Calendar. penned by McCoy Tyner at the dawn of his career, Charles Fambrough. He had particularly important Slagle’s fierce attack complemented by the superb associations with Mongo Santamaria (1977-79), Jerry rhythm section and a fluid solo by Fields, who doesn’t Gonzales’ Fort Apache Band and the recently departed attempt to mimic the composer’s style. Dave Valentin. In recent times O’Connell has led the Slagle’s breathtaking interpretation of the chestnut Latin Jazz All-Stars, a group also including Conrad “Guess I’ll Hang My Tears Out To Dry” is full of Herwig and Steve Slagle. emotion, alternating between held notes and fluid bop Monk’s Cha Cha, recorded live at the Carnegie- runs. Lovano returns on tenor for “(Alto Manhattan) Farian Room of the Nyack Library, is Bill O’Connell’s A.M.” and fireworks ensue with potent solos by Fields 13th album as a leader, but surprisingly his first as and both saxophonists. Slagle switches to flute and a solo pianist. He sounds like a natural in this setting, Lovano to the rarely heard G mezzo soprano starting with an uptempo and fearless exploration of saxophone, Díaz on congas, for the lyrical Latin- Alto Manhattan Oscar Hammerstein-Jerome Kern’s “The Song Is You”. flavored “Holiday”, which the leader wrote with Steve Slagle (Panorama) While fitting into the modern , by Ken Dryden harmonica virtuoso Toots Thielemans in mind. O’Connell sounds unlike any other pianist and during The music succeeds in creating the image of a these six minutes, he never runs out of creative ideas. Alto saxophonist Steve Slagle has built an impressive Caribbean beach vacation and will easily stand the test O’Connell’s interpretation of Ray Gilbert-Antônio career since he arrived on the scene in the early ‘80s. of time. Carlos Jobim-Aloysio de Oliveira’s “Dindi” is quite After recording for several labels, Slagle launched thoughtful, taking his time and really drawing out the Panorama in 2010 to have control over his CDs. This For more information, visit steveslagle.com. Slagle is at beauty of the melody. Most intriguing is the title track, session is yet another important chapter in his career. Dizzy’s Club Aug. 28th with Bill O’Connell. See Calendar.

Hear Songs from the New CD by GIACOMO GATES JUN-AUG “What Time Is It?” • Savant SCD 2157 FREE Check out the full lineup at

At The Kitano Wed., August 23rd • Sets at 8pm & 10pm 66 Park Ave @ 38th St., NYC • 212-885-7119

“Giacomo Gates digs interesting songs that, more often than not, have a clever twist to them. What he delivers—and what you hear—is not always what you expect.” – Ken Frankling “Gates is a deeply insightful vocal acrobat, preternaturally skilled in scat and vocalese, and a first-rate storyteller.” – Christopher Loudon Sat, Aug 5, 7:30PM “ His words are hip, pungent, and seasoned with soul. There's no lovey- Nels Cline: LOVERS dovey here, but genuine, certainly Post Office Bulletin Board-worthy badass jazz singing.” – Nick Mondello Sam Amidon

28 AUGUST 2017 | THE NEW YORK CITY JAZZ RECORD “Triangle”, a piece first conceived as a trio in which the musicians sit in a triangle and respond to what the IN P RINT others are playing while acting as a sound as well. The nonet version extends the idea to a triangle of three trios playing simultaneously, each musician working first listening to his own triangle until the trios begin interacting with each other, developing into an extended collective improvisation. Different elements The Conscience will catch your ear, whether the foregrounded high- Paul Rutherford/Sabu Toyozumi (NoBusiness) Search & Reflect pitched wisps of soprano saxophones, cornet or Spontaneous Music Orchestra (Emanem) trumpet or the underbrush of sound from guitar and by Stuart Broomer piano. Eventually the spectrum shifts and Rutherford’s euphonium and Alan Tomlinson’s trombone come Conversations with Charlie Haden Trombonist Paul Rutherford (born 1940, died ten years increasingly to the fore, each adding to the further Josef Woodard and Charlie Haden (Silman-James Press) ago this month) was one of the signal figures in the rise fracturing and subdividing of time. The nonet is also by John Pietaro of the English school of free improvisation. In 1965 he heard in a fragment of Stevens’ “Static” in which the partnered with drummer John Stevens and saxophonist group explores sustained sounds: the fragment here In the annals of biography, the bond developed Trevor Watts in a group that would become the builds from near-silence to wailing expression. It’s between author and subject, the trust-factor if you Spontaneous Music Ensemble (SME). He launched the deeply involving music, even in its abridged state. will, is essential. This document of the music and trio Iskra 1903 with guitarist and bassist life of Charlie Haden, who was born 80 years ago Barry Guy in 1970. His large ensemble credits ranged For more information, visit nobusinessrecords.com and this month and died in 2014, is a testament to that from the Globe Unity Orchestra to Mike Westbrook emanemdisc.com bond. And when considering both Haden’s Concert Band and he distinguished himself as one of accomplishments and the hurdles he faced, mutual the most creative of solo trombonists, from his mastery trust bore a unique insight. Conversations with Charlie of conventional techniques to extended methodology. Haden is a series of dialogues between Josef Woodard In the intimate gathering of a small improvising and Haden over a 20-year period. Here are portraits group, Rutherford was intensely engaged, whether of this artist at various stations of life, set in picking up on a partner’s phrase and extending it or assorted locations. Over the course of the book, launching a fresh, sometimes witty new direction. It’s Haden’s growth and change are in full evidence, but apparent in The Conscience, his duet with the powerful then so are his candid reflections on jazz, activism, veteran drummer Sabu Toyozumi, recorded in Japan in marital struggles and the years of substance abuse. 1999. The extended opening title track testifies to a In his introduction, Woodard states, “Economy shared commitment to close listening, each musician was the essence of Charlie Haden’s voice” and All Smiles simultaneously offering new material and support, /Francy Boland Big Band (MPS-Edel) attributes this to Haden’s rural roots as much as the whether Rutherford’s sequences of staccato runs by George Kanzler polio he experienced as an adolescent. Though the consisting of shifting, unpredictable intervals or disease usually assaulted one’s very body mechanics Toyozumi’s forceful encouragement, sometimes briefly Based in France, the Kenny Clarke-Francy Boland Big by paralyzing extremities, in the young Haden’s case assuming pressing rhythmic patterns, at others Band was a largely ex-pat (mostly Americans, Brits) the illness affected his throat. No longer able to emote a precise explosion of shimmering metal. That affair, founded in 1961 by Americans Clarke, the vocally within the Haden Family singing group, he conversational tack gives way to the initially continuous pioneering bebop and original became an upright bassist. But also well illustrated development of the relatively brief “Beer, Beer and drummer, and bassist and Ellingtonian ; here is the larger concept of voice: Haden is lauded Beer”, Rutherford’s register-traversing lines bouncing and Belgian pianist Boland, the principal arranger- for his expansive vision, yet his was a carefully across Toyozumi’s shifting techniques, stretching as far composer who died 12 years ago this month. The band constructed musical style. Woodard tells us that even afield as brisk brushwork. The interaction is at once carried on through 1972 and during that decade-plus it within the avant garde, the bassist “lured the ear into constant and ever-evolving, filled with wit and energy. rivaled such American big bands as Count Basie, an expressive world of folk-tinged lyricism.” “Dear Ho Chi Minh” has a shape of its own: developing Woody Herman and Buddy Rich in pulsing power and The interviews bring us from Haden’s second from an extended drum solo, it ends in a reflective precision. This CD reissue of a 1968 LP is unusual in relocation to L.A. to his 2008 record Rambling Boy, moment of sustained trombone multiphonics. the band’s discography as it does not feature a staple but each segment offers reminiscences that bring the Rutherford’s commitment to large-scale of the band: Boland’s compositions. His only original reader into the depths of Haden’s story. Fascinating improvisation is apparent on Search & Reflect (the title is a reworking of a John Philip Sousa march, a high- memories of the early years with the Ornette comes from John Stevens’ manual for group flying, quick-stepping “High School Cadets”, a brief, Coleman Quartet include his initial meeting with improvisation) by the Spontaneous Music Orchestra rousing two-minute ensemble romp. The balance of the Don Cherry and while subbing for (SMO). The two-CD set collects and reissues work that program is mostly familiar standards. another bass player. But his first encounter with previously appeared on three Emanem CDs. Rutherford Boland does make his mark as an arranger though. Ornette is classic: Haden happened to be in a appears on two pieces recorded by a nonet version of “You Stepped Out of A Dream” features an open brass- nightclub when Coleman and his plastic alto were the SMO in 1981. He plays euphonium on a version of muted trumpet lead giving way to a gorgeous ejected from the stage, mid-song. “I heard him play saxophone section soli that takes out the tune. The first and thought, ‘Man, that’s what I’ve been hearing!’” two tracks, “Let’s Face The Music and Dance” and “I’m The four coming together, one can argue, was meant Relay RecoRdings All Smiles”, feature solos from vibraphonist to be. You know the story: angry audiences in L.A. limited edition cd and digital downloads that vie with ensemble soli and shout choruses for saw the Quartet move to New York and the legendary dominance. There are echoes of New Testament Count Five Spot residency. Haden’s view from the stage is tRiptych - Ken VandeRmaRK/ Basie Orchestra in the swinging drive of “Get Out of nothing if not fascinating. michael thieKe/tim daisy Town”, a saxophone-led melody ushering in solos The book also covers Haden on Paul Bley, Miles (Relay 019) from trombonist Åke Persson and trumpeter Jimmy Davis, Ginger Baker, Pat Metheny, Quartet West, tim daisy - Red nation “1” Deuchar. Four tracks are mini-concertos for trumpeters Old and New Dreams, his country roots and so (Relay 018) or tenor saxophonists: wields flugelhorn much more. The Liberation Music Orchestra (LMO) wolteR wieRbos/ for a ballad take of “I’m Glad There Is You”; Idrees is a frequent topic, threading Haden’s (and co-leader JaspeR stadhoudeRs/tim daisy Sulieman applies his open trumpet to “When Your ) progressive politics through multiple (Relay 017) Lover Has Gone”; British tenor saxophonist Tony Coe chapters. LMO’s militant origins and its incarnations essays Branislaw Kaper’s “Gloria”, complete with in protest of Ronald Reagan and George W. Bush the celebRation sextet a lovely cadenza-coda; and Johnny Griffin’s tenor flies fuel the fight-back, even in retrospect. “You’ve got “halfway theRe suite) through changes in his inimitable, machine gun-like to speak out,” Haden affirmed, recalling his 1971 (Relay 016) way on “Sweet and Lovely”. George Gershwin’s “By onstage arrest. It’s not difficult to imagine the daRRen Johnston & tim daisy Strauss”, a bright waltz, features the other British creative explosion he would have unleashed in “cRossing belmont” tenor, , as well as Boland’s piano and some response to the 2016 election. (Relay digital 006) deft brass soli choruses. timdaisyRelayRecoRds.bandcamp.com For more information, visit silmanjamespress.com For more information, visit mps-music.com

THE NEW YORK CITY JAZZ RECORD | AUGUST 2017 29 for a few party scenes (Amram can be seen briefly released about four minutes of the soundtrack. The BOXED SET playing , as can classical trumpet great mini-suite, which is almost entirely written-out, Maurice Peress and veteran clarinetist Buster Bailey). features Barrow with oboe, bassoon and a rhythm 1969’s The Arrangement, which deals with the section. Pianist made his recording son of an immigrant struggling through life while debut in this score. being haunted by reminders of the Old World, gave The fourth disc in this set is comprised of Amram an opportunity to utilize musicians from Amram’s music for two plays: Arthur Miller’s After Greece, Turkey, Morocco, Israel and other countries The Fall (1964) and a remake of On The Waterfront. along with an orchestra and top jazz artists. His Since “Waltz From ‘After The Fall’” was the best- score covers quite a bit of ground and features known piece in the first play, a full-length version saxophonists and George Barrow and was recorded by Amram in 1971 and is heard here members of the Egyptian Gardens Ensemble. In for the first time, featuring a sextet with Adams, Classic American Film Scores 1956-2016 1957, Amram teamed up with to Dodgion and Amram on both piano and French horn. David Amram (Moochin’ About) perform the very first live jazz/poetry readings. In On The Waterfront was a complete flop that closed by Scott Yanow 1959 Amram was involved in a Kerouac film project, quickly (Amram tells the whole story in the liner Pull My Daisy, which features verbal improvisations notes). He recorded the score in 1995 and utilizes David Amram has always been a very open-minded over silent footage. Disc 3 has the soundtrack of the a top-notch jazz group that includes Dodgion, musician with quite a few talents. This five-CD set 26-minute film with Kerouac in the spotlight; trumpeter Jimmy Owens, trombonist Slide Hampton contains seven of Amram’s film scores and two from it sounds incomplete without the film even with and guitarist Vic Juris. The ballad “Dare To Dream” plays. Most of the music has never been released Anita Ellis singing the title cut and some background not only deserves to be heard but to become a previously and Amram’s scores fare very well as music provided by a group with baritone saxophonist standard in the future. independent works. A major benefit of this release is . A 1971 remake of the title song with This collection closes with music from the 2016 that Amram (now 86) wrote the extensive liner notes. singer Lynn Sheffield is also included. independent film Isn’t It Delicious, about a very Amram’s most famous film score was for 1962’s The remaining scores are of much greater dysfunctional family. Amram’s first film score in 47 The Manchurian Candidate, alternating spooky sounds interest. The 1961 film The Young Savages stars Burt years has 21 themes of varying length performed by to depict Frank Sinatra being brainwashed and West Lancaster in a crime drama about New York gangs in a medium-size group that includes alto saxophonist Coast jazz that fit perfectly with the time period (1952). Spanish Harlem. Amram was very familiar with the Paquito D’Rivera, a string quartet and Amram As is often true with films, the jazz was very much in neighborhood in which the story takes place and mostly on piano. The moody music balances modern the background but on this set it is in the forefront. used the opportunity to write an orchestral score jazz with string interludes and Latin-tinged pieces. One can hear some fine playing by tenor saxophonist flavored with Latin rhythms along with some While Classic American Film Scores 1956-2016 will be Harold Land and Amram on French horn. 1960’s straightahead jazz jams featuring Land. Amram’s of interest to movie music collectors, jazz fans are urged Splendor In The Grass is set in the ‘20s and starred earliest score was for a short documentary (Echo Of to go out of their way to pick up this colorful collection. Natalie Wood and Warren Beatty (in his first film). The An Era) in 1956 about the elevated subway in New score called for Amram to write music that sounded York. Only one worn-out copy of the film still exists. For more information, visit moochinabout.com. Amram is like the ‘20s, or at least the ‘50s version, particularly Fortunately, Amram saved the score and he has at Cornelia Street Underground Aug. 14th. See Calendar.

AUG 1 AUG 11–13 Celebrating nat king Cole with rené marie saChal vasandani & friends AUG 14 MONDAY NIGHTS WITH WBGO AUG 2 jane bunnett and maqueque dominiCk farinaCCi AUG 15–20 & 22–27 AUG 3–6 trio da paz and friends with ben wolfe sextet with speCial mauCha adnet, harry allen, and guest randy breCker Claudio roditi music of getz, jobim & AUG 7 brazilian classics

jazz house kids with host AUG 21 Christian mCbride danowsky/wolsk jazz orChestra AUG 8 AUG 28 john ellis sextet bill o’Connell and the latin jazz AUG 9 all-stars

ulysses owens, jr. three Cd release AUG 29 featuring joel ross, reuben a night in havana with axel tosCa rogers, and special guest vuyo sotashe AUG 30–31

AUG 10 ann hampton Callaway ulysses owens, jr. and the new Century big band

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

30 AUGUST 2017 | THE NEW YORK CITY JAZZ RECORD MISCELLANY ON THIS DAY by Andrey Henkin

What’s New Luna Surface Re-Entry Summer Serenade [soul search] J.J. Johnson (Nederlands Jazz Archief) (BYG-Actuel) Charles Sullivan (Trio) (Storyville) Joe Morris/Mat Maneri (AUM Fidelity) August 17th, 1957 August 17th, 1969 August 17th, 1976 August 17th, 1980 August 17th, 1999 This is another in the fine Dutch Not only did BYG-Actuel record Charles Sullivan, a trumpeter recently Saxophonist Benny Carter was a jazz This is a multi-generation meeting of series of posthumous recordings American ex-pats who had moved to reappearing on the scene as Kamau lifer, making dozens of albums from two musicians intensely interested in released by the Nederlands Jazz Paris in the late ‘60s, it also connected Adilifu, was a veteran of the ‘70s 1952 well into the ‘90s when he was the production of sound. Guitarist Joe Archief. This volume features them with locals working in a similar groups of Dollar Brand, Sonny in his late 80s. He is a relative spring Morris has influenced a whole slew of trombonist J.J. Johnson during his vein. Those worlds meet in large-scale Fortune, Carlos Garnett and others. chicken here at 73, leading younger avant garde players with his Columbia period leading a quintet of fashion on this release led by bassist He had two leader releases during the a band of one Dane and two American approach while electric violinist Mat saxophonist , pianist Alan Silva. Saxophonists Archie period, this the follow-up to Genesis ex-pats living in Copenhagen: Kenny Maneri has continued to explore the , bassist Wilbur Little Shepp, Anthony Braxton and Kenneth (Strata-East, 1975). Only drummer Drew (piano), Jesper Lundgaard world of microtonality spearheaded and drummer , pretty much Terroade, trombonist Grachan Billy Hart remains from the earlier (bass) and (drums), by his father, saxophonist Joe Maneri his working band of the era. Recorded Moncur III, trumpeter Bernard Vitet, session, the band completed by Rene vocalist Richard Boone added for one (with whom the pair recorded in 1995 live at the Concertgebouw in violinist Leroy Jenkins, pianist Dave McLean (saxophones), track. Four Carter originals, including for ECM and hatOLOGY). The album Amsterdam, the band essays versions Burrell, bassists Beb Guerin and (piano) and Buster Williams (bass). the now-classic “When Lights Are is 10 duet improvisations, ranging of a number of jazz and Great and drummer Claude The leader wrote five of the seven Low”, are paired with three Great from 3:06 to 8:26, the title implying American Songbook standards in Delcloo perform the two-part, tunes alongside two versions of the American Songbook standards in the process as the pair dig deep into pithy, punchy interpretations. 28-minute “From The Luna Surface”. standard “Body & Soul”. another solid Carter session. each other’s musical consciousness. BIRTHDAYS August 1 August 6 August 11 August 17 August 22 August 27 †Luckey Roberts 1887-1968 †Norman Granz 1918-2001 Peter King b.1940 †Ike Quebec 1918-63 †Malachi Favors 1937-2004 †Lester Young 1909-59 †Elmer Crumbley 1908-93 † 1921-2010 Steve Nelson b.1954 † 1920-85 Warren Daly b.1943 †Tony Crombie 1925-99 †Dorothy Ashby 1932-86 Russ Gershon b.1959 †Derek Smith 1931-2016 Vernon Reid b.1958 †Rudolf Dašek 1933-2013 August 2 Joe Diorio b.1936 Donny McCaslin b.1966 †Duke Pearson 1932-80 Aruán Ortiz b.1973 †Alice Coltrane 1937-2007 †Big Nick Nicholas 1922-97 †Charlie Haden 1937-2014 Peter Martin b. 1970 †Sonny Sharrock 1940-94 †Albert Stinson 1944-69 †Baden Powell 1937-2000 August 12 Jeb Patton b.1974 August 23 Edward Perez b.1978 †Naná Vasconcelos 1944-2016 †Byard Lancaster 1942-2012 †Bent Axen 1925-2010 b.1927 b.1961 Joseph Daley b.1949 Dave Lee b.1930 August 18 †Gil Coggins 1928-2004 August 28 b.1962 Victor Goines b.1961 Pat Metheny b.1954 †Eddie Durham 1906-87 †Danny Barcelona 1929-2007 †Phil Seaman 1926-72 Zach Brock b.1974 Ramón López b.1961 Phil Palombi b.1970 †Don Lamond 1920-2003 Terje Rypdal b.1947 † 1928-93 BRANFORD MARSALIS Ravi Coltrane b.1965 †Chuck Connors 1930-94 b.1953 John Marshall b.1941 August 3 Andrew Bemkey b.1974 August 13 Adam Makowicz b.1940 b.1970 Stephen Gauci b.1966 August 26th, 1960 † 1917-71 †Stuff Smith 1909-67 b.1984 Christoph Pepe Auer b.1981 He may not be the most †Eddie Jefferson 1918-79 August 7 † 1919-2011 August 24 Robin Verheyen b.1983 famous of the Marsalises but †Dom Um Romao 1925-2005 † 1923-2002 †Benny Bailey 1925-2005 August 19 †Al Philburn 1902-72 his career has been the most Tony Bennett b.1926 † 1936-77 †Joe Puma 1927-2000 †Jimmy Rowles 1918-96 †Buster Smith 1904-91 August 29 compelling. His credits † 1940-82 Howard Johnson b.1941 †Mulgrew Miller 1955-2013 Danny Mixon b.1949 †Alphonso Trent 1905-59 †Charlie Parker 1920-55 include Art Blakey, brother b.1940 Marcus Roberts b.1963 b.1954 Chris Tarry b.1970 †Dinah Washington 1924-63 Wynton and father Ellis, Hamid Drake b.1955 August 14 Marc Ducret b.1957 Jerry Dodgion b.1932 Dizzy Gillespie, Miles Tom Zlabinger b.1971 August 8 †Eddie Costa 1930-62 August 25 Bennie Maupin b.1940 Davis, , Nancy Wilson, †Lucky Millinder 1900-66 Jimmy Wormworth b.1937 August 20 †Bob Crosby 1913-93 Florian Hoefner b.1982 Sonny Rollins, Charlie August 4 †Benny Carter 1907-2003 Tony Monaco b.1959 †Jack Teagarden 1905-64 †Leonard Gaskin 1920-2009 Haden, Harry Connick, Jr. †Louis Armstrong 1901-71 †Jimmy Witherspoon 1923-97 Walter Blanding b.1971 †Frank Rosolino 1926-78 †Rune Gustafsson 1933-2012 August 30 David Murray, , Roy Hargrove †Bill Coleman 1904-81 b.1926 †Jimmy Raney 1927-95 Wayne Shorter b.1933 †Kenny Dorham 1924-72 and many others. His own †Herb Ellis 1921-2010 Don Burrows b.1928 August 15 Enrico Rava b.1939 †Carrie Smith 1941-2012 John Surman b.1944 output has been impressive, b.1933 †Vinnie Dean 1929-2010 † 1925-2007 Milford Graves b.1941 Pat Martino b.1944 Bronislaw Suchanek b.1948 with albums for Columbia, Bobo Stenson b.1944 Stix Hooper b.1938 Jiggs Whigham b.1943 Keith Tippett b.1947 Anthony Coleman b.1955 Marsalis Music and, most Terri Lyne Carrington b.1965 August 9 Günter “Baby” Sommer b.1943 Terry Clarke b.1944 Michael Marcus b.1952 b.1956 recently, OKeh and a strong Eric Alexander b.1968 Jack DeJohnette b.1942 Art Lillard b.1950 John Clayton b.1952 Karriem Riggins b.1975 quartet he has maintained Michäel Attias b.1968 Dennis Gonzalez b.1954 Reto Weber b.1953 b.1982 August 31 for over 20 years. He has August 10 Stefan Zeniuk b.1980 †Edgar Sampson 1907-73 been a live guest with the August 5 † 1918-89 August 21 August 26 †Herman Riley 1933-2007 three times, †Terry Pollard 1931-2009 Chuck Israels b.1936 August 16 †Count Basie 1904-84 †Jimmy Rushing 1903-72 Gunter Hampel b.1937 led The Tonight Show Band Sigi Schwab b.1940 Denny Zeitlin b.1938 †Mal Waldron 1926-2002 † 1928-99 †Francis Wayne 1924-78 †Wilton Felder 1940-2015 from 1992-95 and also took †Lenny Breau 1941-84 on the challenge of Mike Mantler b.1943 †Bill Evans 1929-80 †Malachi Thompson 1949-2006 †Peter Appleyard 1928-2013 Bengt Berger b. 1942 performing Coltrane’s A Airto Moreira b.1941 †Fred Ho 1957-2014 Alvin Queen b.1950 Peter Apfelbaum b.1960 † 1941-99 Stefano Battaglia b.1965 Love Supreme in its entirety Phil Wachsmann b.1944 Akiko Pavolka b.1965 Cecil Brooks III b.1959 Oscar Perez b.1974 Andrew Lamb b.1958 Evan Christopher b.1969 in 2003, released on CD. -AH Jemeel Moondoc b.1951 Cyrille Aimée b.1984 Ellery Eskelin b.1959 Chris Dingman b.1980 Branford Marsalis b.1960 Tineka Postma b.1978 CROSSWORD

1 2 3 4 5 6 7 8 ACROSS DOWN

1. 2004 NEA Jazz Master Jim 1. 2008 NEA Jazz Master Andrew 9 10 5. Saxophonists do this to their reeds 2. With Jai, Mongo Santamaria recorded song named 9. Russian guitarist Lushtak for this odd sport 11 12 13 10. Traditional song “Don’t ____ Headstone On My Grave” 3. Bassist Seaton 11. French trumpeter Eric Le 4. Philly drummer Byron

14 15 16 12. Pianist Ursula 5. Sun Ra made a 1957 recording with this group that is 14. Keyboard player/producer Jason not the Motown girl supergroup 16. Neapolitan standard “O Sole ____” 6. Octopus Records catalogue prefixes 17 18 17. Bill Simon-Chuck Darwin ballad “At ____ The Blues” 7. Miles Davis had the sickle-cell version of this illness 19. Billy Childs/Buster Williams/Carl Allen 8. 2009 NEA Jazz Master Lee 19 20 21 1999 Metropolitan album Skim ____ 10. 1969 BYG-Actuel album ____ For Malcolm 21. Rowles called him Bounce because he was 13. British-German trio of Alan, Tony and Ali 15. 22 23 “one bad czech” Compose music officially? 22. Home of KCSM jazz radio 18. Home of the Jazztopad Festival 24. “All The Things You ____” 19. 2004 NEA Jazz Master Ron 24 25 26 27 28 25. French vocalist Marie-Hélène ____ 20. British trumpeter Rob ____ 29. Jonathan Robinson 2009 ITM album Spatial ____ 22. Take this airline when you visit the Fasching 29 30 31 31. Argentine pianist/composer Schifrin jazz club (abbr.) 32. Paul Whiteman And His Orchestra recorded a version 23. Lookout Farm bassist Frank of this female-named foxtrot in 1937 26. Jack DeJohnette 1970 CBS/Sony album ____ You Heard? 32 33 33. Clusone 3 1997 hatOLOGY album Rara ____ 27. Percussionist Fountain and saxophonist Fountaine 34. Fellow saxophone playing son of Jackie 28. 2010 NEA Jazz Master Annie 34 35 35. 2007 NEA Jazz Master Frank 30. Paal Nilssen-Love/Mats Gustafsson 2014 Bocian album ____ Gas By Andrey Henkin visit nycjazzrecord.com for answers THE NEW YORK CITY JAZZ RECORD | AUGUST 2017 31 CALENDAR

Tuesday, August 1 • Eiko Rikuhashi and La Descarga Band; Saul Rubin Zebtet; Paul Nowinski • Assaf Kehati Quartet with Joel Frahm, Michael O’Brien, Peter Traunmueller Fat Cat 7, 10 pm 1:30 am $10 Jazz at Kitano 8, 10 pm $32 • JazzMobile: T.K.Blue Quartet 32nd Police Precinct 7 pm êJohnny O’Neal Ginny’s Supper Club 7:30, 9:30 pm $15 êPat Martino Trio with Pat Bianchi, Carmen Intorre • Guilherme Monteiro Trio Bar Lunàtico 8:30, 10 pm $10 êGreg Lewis Organ Monk Hudson River Park 7 pm Jazz Standard 7:30, 9:30 pm $35 • Tommy Holladay Trio with Dean Torrey, JK Kim; Yves Brouqui Trio with Paul Gill, êLines Of Reason: Michael Cochrane, Joe Ford, Marcus McLaurine, Alan Nelson • New York Stories: Bernard Purdie/David Haney with guests Herb Robertson, Phil Stewart Bar Next Door 6:30, 8:30, 10:30 pm $12 Jazz at Kitano 8, 10 pm $17 Adam Lane, Donna Jarosak Joe’s Pub 9:30 pm $20 • Birdland Big Band Birdland 8:30, 11 pm $40 êPat Martino Trio with Pat Bianchi, Carmen Intorre êRufus Reid/Gary Versace Mezzrow 8 pm $20 • Joey DeFrancesco and The People with Dan Wilson, Jason Brown, Troy Roberts Jazz Standard 7:30, 9:30 pm $30 êBRIC Celebrate Brooklyn Festival!: Nels Cline Lovers Large Ensemble with Alex Cline, Blue Note 8, 10:30 pm $35 • Jim Rotondi Trio with David Hazeltine, John Webber , Steven Bernstein, Yuka Honda, Julian Lage, Michael Leonhart, êBertha Hope Bryant Park 12:30 pm Mezzrow 8 pm $20 Taylor Haskins, , JD Parran, Charles Pillow, Sara Schoenbeck, • Hilary Gardner/Ehud Asherie Cavatappo Grill 8 pm • BRIC Celebrate Brooklyn Festival!: Béla Fleck and The Flecktones; Nellie McKay Doug Wieselman, Ray Mason, Pauline Kim, William Shore • NY JazzWork Vocal Showcase presented by Fay Victor Prospect Park Bandshell 7:30 pm Prospect Park Bandshell 7:30 pm Club Bonafide 7, 8:30 pm $15 • Kenny Shanker Quintet Rockwood Music Hall Stage 3 7 pm $10 • Behn Gillece Quartet with Paul Bollenback, Brian Charette, Jason Tiemann; • VoxEcstatic: Brenda Earle Stokes, Evan Gregor, Ross Pederson; Eliane Amherd • Pedro Giraudo Tango Quartet Rockwood Music Hall Stage 3 10 pm $10 Tim Green Quintet; Brooklyn Circle: Stacy Dillard, Diallo House, Ismail Lawal Cornelia Street Underground 8, 9:30 pm $10 • Endless Field; Awakening Orchestra Smalls 7:30, 10:30 pm 1 am $20 • Celebrating Nat King Cole: Sachal Vasandani with Terell Stafford, , ShapeShifter Lab 7 pm $10 • Victor Goines Quartet with Jo Ann Daugherty, Emma Dayhuff, Marion Felder Josh Ginsburg, Jeremy Dutton Dizzy’s Club 7:30, 9:30 pm $35 • Miguel Angel Crozzoli Shrine 6 pm Smoke 7, 9, 10:30 pm $38 • Luke Sellick with Andrew Renfroe, Will Bonness, Jimmy Macbride • Kevin Sun Trio Silvana 6 pm • Trigger: Will Greene, Simon Hanes, Aaron Edgcomb Dizzy’s Club 11:15 pm $5 • Josh Brown Quintet with Glenn Zaleski, Nick Vayenas, Peter Slavov, Luca Santaniello; The Stone at The New School 8:30 pm $20 • Tyler Blanton Electric Band; David Oquendo and Havana 3; Craig Wuepper JC Stylles/Steve Nelson Bobby Hutcherson Project with Jon Davis, , êZeena Parkins, George Lewis, Ikue Mori Fat Cat 7, 9 pm 12:30 am $10 Byron Landham Smalls 7:30, 10:30 pm $20 The Stone 8:30 pm $20 • Kazuhiro Yokoshima solo Jazz at Kitano 8 pm • Gregory Generet with Rick Germanson, Gerald Cannon, Lawrence Leathers • Rocco John Iacovone/Chris Forbes • Nate Smith’s Kinfolk with Jaleel Shaw, Fima Ephron, Brad Williams, Amma Whatt Smoke 7, 9, 10:30 pm $12 Tomi Jazz 8 pm $10 Jazz Standard 7:30, 9:30 pm $25 • A Tribute to Louis Armstrong: Hot Lips Joey Morant êTadd Dameron Centennial Celebration: Joe Lovano Nonet êZero Point: Marius Duboule, Daniel Carter, Michael Bates, Deric Dickens; Socrates Sculpture Park 6:30 pm Village Vanguard 8:30, 10:30 pm $35 Dred Scott Trio with Ben Rubin, Tony Mason êZeena Parkins solo The Stone 8:30 pm $20 Korzo 9 pm êTadd Dameron Centennial Celebration: Joe Lovano Nonet • Gene Bertoncini/Josh Marcum Mezzrow 8 pm $20 Village Vanguard 8:30, 10:30 pm $35 Sunday, August 6 • Lena Bloch Feathery Group with Russ Lossing, Lim Yang, Billy Mintz New York City Baha’i Center 8, 9:30 pm $15 êSongbook Summit—Cole Porter: Peter and Will Anderson, Molly Ryan, Jeb Patton, • Glenn Crytzer Trio Radegast Hall 8 pm Friday, August 4 Clovis Nicolas, Phil Stewart 59E59 Theaters 3, 7:15 pm $35 • Michael Bank Septet; Michael Sarian and The Chabones • Tom Tallitsch Quintet with Josh Lawrence, Jon Davis, Peter Brendler, Vinnie Sperrazza Shrine 6, 7 pm êSongbook Summit—Cole Porter: Peter and Will Anderson, Molly Ryan, Jeb Patton, Birdland 6 pm $30 • Miko Shinno Group with Senri Oe; Ken Fowser Quintet with Josh Bruneau, Clovis Nicolas, Phil Stewart 59E59 Theaters 8 pm $35 • New Band with Jason Marsalis Rick Germanson, Paul Gill, Jason Tiemann; Abraham Burton Quartet êJack Wilkins Trio with Andy McKee, David Gibson Blue Note 11:30 am 1:30 pm $39.50 Smalls 7:30, 9, 10:30 pm $20 Bar Next Door 7:30, 9:30, 11:30 pm $12 • aTunde Blue Note 8, 10:30 pm $35 êMZM: , Zeena Parkins, • Birdland Big Band Birdland 8:30, 11 pm $40 • IN/TER\SECT—Music of Derek Bermel: Ashley Jackson; Derek Bermel; ’s The Stone 8:30 pm $20 • Christian Scott aTunde Blue Note 8, 10:30 pm $35 Sung with Words; Luciana Souza’s Sappho with Patrick Zimmerli, Gary Versace, • Tomoko Omura Duo Tomi Jazz 11 pm êBertha Hope Bryant Park 12:30 pm Satoshi Takeishi; Manhattan Chamber Players; Derek Bermel/Nate Smith; êTadd Dameron Centennial Celebration: Joe Lovano Nonet • NY Jazz Academy Student and Faculty Showcase Metropolis Ensemble Bryant Park 6 pm Village Vanguard 8:30, 10:30 pm $35 Club Bonafide 3:15 pm êBen Wolfe Sextet with Ben Solomon, Victor Gould, Joel Ross, Donald Edwards êTony Malaby Apparitions with Michael Formanek, Tom Rainey, Randy Peterson and guest Randy Brecker Dizzy’s Club 7:30, 9:30 pm $35 Cornelia Street Underground 9, 10:30 pm $10 • Paper Balls: David Grollman/Jeff Barsky Wednesday, August 2 êBen Wolfe Sextet with Ben Solomon, Luis Perdomo, Joel Ross, Donald Edwards Downtown Music Gallery 6 pm and guest Randy Brecker Dizzy’s Club 7:30, 9:30 pm $40 • Terry Waldo’s Gotham City Band; Jade Synstelien’s Fat Cat Big Band; êSongbook Summit—Cole Porter: Peter and Will Anderson, Molly Ryan, Jeb Patton, • Luke Sellick with Andrew Renfroe, Will Bonness, Jimmy Macbride Brandon Lewis/Renee Cruz Jam Fat Cat 6, 8:30 pm 1 am $10 Clovis Nicolas, Phil Stewart 59E59 Theaters 7 pm $35 Dizzy’s Club 11:15 pm $10 • Poole and the Gang: Kyle Poole, Mathis Picard, Russell Hall êEric Alexander/John Webber Birthday Celebrations êKen Fowser Quintet; JC Hopkins Biggish Band Jazz Standard 11:30 am 1:30 pm $35 An Beal Bocht Café 8, 9:30 pm $15 The Django at Roxy Hotel 8, 10 pm êPat Martino Trio with Pat Bianchi, Carmen Intorre • Jocelyn Medina with Pete McCann, Evan Gregor, Ross Pederson, Eric Phinney, • Sarah Slonim; Jared Gold/Dave Gibson; Nick Hempton Jazz Standard 7:30, 9:30 pm $30 Anjna Swaminathan Art Café 8 pm $15 Fat Cat 6, 10:30 pm 1:30 am $10 êSeamus Blake Trio with Dave Kikoski, Matt Penman • Mike Neer and Steelonius Bar Lunàtico 8:30, 10 pm $10 • Chris Turner Ginny’s Supper Club 7:30, 9:30 pm $20 Mezzrow 8 pm $20 • Birdland Big Band Birdland 8:30, 11 pm $40 • Martin Piecuch’s Jazzical Fusion with Regan Ryzuk, Laurence Goldman, David Acker • Roz Corral Trio with Paul Bollenback, Paul Gill • Joey DeFrancesco and The People with Dan Wilson, Jason Brown, Troy Roberts Jazz at Kitano 8, 10 pm $32 North Square Lounge 12:30, 2 pm Blue Note 8, 10:30 pm $35 êPat Martino Trio with Pat Bianchi, Carmen Intorre • Alex Simon’s Gypsy Swing Ensemble êBertha Hope Bryant Park 12:30 pm Jazz Standard 7:30, 9:30 pm $35 Radegast Hall 7 pm • Alex Wyatt Group with Kyle Wilson, Jon De Lucia, Danny Fox, Pablo Menares • Louis Armstrong Birthday Celebration: “Hot Lips” Joey Morant and Catfish Stew • Jon Gordon Saint Peter’s Church 5 pm Cornelia Street Underground 8 pm $10 Lucille’s at BB King’s Blues Bar 7:30 pm êBrooklyn Jazz Underground Fest: Brooklyn Youth Ensembles with • Dominick Farinacci with Shenel Johns, Julien Labro, Christian Tamburr, êJazzMobile: Jeremy Pelt Marcus Garvey Park 7 pm Brooklyn Jazz Underground; Brooklyn Jazz Underground Ensemble with Yasushi Nakamura, Lawrence Leathers, Jamey Haddad • Ngoma Hill Medgar Evers College 7 pm Tammy Scheffer, David Smith, Adam Kolker, David Cook, Anne Mette Iversen, Dizzy’s Club 7:30, 9:30 pm $35 êRufus Reid/Gary Versace Mezzrow 8 pm $20 Owen Howard, Rob Garcia; Owen Howard Trio with Jason Rigby, Matt Clohesy; • Luke Sellick with Andrew Renfroe, Will Bonness, Jimmy Macbride • Jessica Pavone String Ensemble with Robby Kraft, Sarah Bernstein, Dina Maccabee Adam Kolker Group; David Smith Quintet with Dan Pratt, Nate Radley, Gary Wang, Dizzy’s Club 11:15 pm $5 and guest Nick Podgurski The Owl Music Parlor 7 pm $10 Anthony Pinciotti ShapeShifter Lab 6 pm $15 • Ilya Lushtak Quintet; Groover Trio; Ned Goold Jam • Chuck Braman Band Pier 45 7 pm • Shrine Big Band Shrine 8 pm Fat Cat 7, 9 pm 12:30 am $10 • Tom Guarna Group with Victor Gould, Joe Martin, Kush Abadey; Tim Green Quintet • Dwayne Clemons/Sacha Perry Tribute to Josh Benko; Larry Ham/Woody Witt Quartet • Carol Sudhalter Jazz Jam Flushing Town Hall 7 pm $10 Smalls 7:30, 10:30 pm $20 with Lee Hudson, Tom Melito; Yves Brouqui Trio with Paul Gill, Joe Strasser; êJazzMobile: Houston Person Grant’s Tomb 7 pm • Victor Goines Quartet with Jo Ann Daugherty, Emma Dayhuff, Marion Felder Jon Beshay Smalls 4:30, 7:30, 10:30 pm 1 am $20 • John Fedchock Quartet with Allen Farnham, David Finck, Eric Halvorson Smoke 7, 9, 10:30 pm $38 • Victor Goines Quartet with Jo Ann Daugherty, Emma Dayhuff, Marion Felder Jazz at Kitano 8, 10 pm $17 • Trigger: Will Greene, Simon Hanes, Aaron Edgcomb Smoke 7, 9, 10:30 pm $38 êMike Rodriguez Quintet with John Ellis, Gary Versace, Rick Rosato, Craig Weinrib The Stone at The New School 8:30 pm $20 • Green Dome: Ryan Sawyer, Ryan Ross Smith, Zeena Parkins Jazz Standard 7:30, 9:30 pm $25 êZeena Parkins, Devin Hoff, Michael TA Thompson The Stone 8:30 pm $20 • Paul Bollenback/David Kikoski Mezzrow 8 pm $20 The Stone 8:30 pm $20 êTadd Dameron Centennial Celebration: Joe Lovano Nonet • Gordon’s Grand Street Stompers Radegast Hall 9 pm êTadd Dameron Centennial Celebration: Joe Lovano Nonet Village Vanguard 8:30, 10:30 pm $35 • Carli Munoz/Jesse Murphy Saint Peter’s Church 1 pm $10 Village Vanguard 8:30, 10:30 pm $35 • Proyecto Imuda: Paula Shocron, Pablo Diaz, Ras Moshe Burnett and guest Lee Odom • Jack Jeffers and The New York Classics Scholes Street Studio 8 pm $15 Zinc Bar 8 pm Monday, August 7 • Dan Blake and Digging with Leo Genovese, Dmitry Ishenko, Jeff Williams; Or Bareket Quartet with Nitai Hershkovits, Shahar Elnatan, Jeremy Dutton; • Sean Wayland with Orlando le Fleming, David Frazier, Jr. Aaron Seeber Smalls 7:30, 10:30 pm 1 am $20 Saturday, August 5 55Bar 6 pm êZeena Parkins/Brian Chase The Stone 8:30 pm $20 • Michael Weiss Trio Bar Lunàtico 8:30, 10 pm $10 êTadd Dameron Centennial Celebration: Joe Lovano Nonet êSongbook Summit—Cole Porter: Peter and Will Anderson, Molly Ryan, Jeb Patton, • Les Grant Trio with Asen Doykin, Evan Gregor Village Vanguard 8:30, 10:30 pm $35 Clovis Nicolas, Phil Stewart 59E59 Theaters 2, 8 pm $35 Bar Next Door 8:30, 10:30 pm $12 • Gene Segal Trio with Dan Loomis, Bruce Cox êHerbie Hancock Beacon Theatre 7:30 pm $75-125 Bar Next Door 7:30, 9:30, 11:30 pm $12 êEddie Palmieri Blue Note 8, 10:30 pm $45 Thursday, August 3 • Lucian Ban/Mat Maneri Barbès 8 pm $10 • Dan Manjovi Bryant Park 12:30 pm • Birdland Big Band Birdland 8:30, 11 pm $40 • Jazz House Kids Hosted by Christian McBride • Oz Noy Quartet with Nir Felder, Nate Smith • Christian Scott aTunde Blue Note 8, 10:30 pm $35 Dizzy’s Club 7:30, 9:30 pm $35 55Bar 10 pm êIN/TER\SECT—Music of Billy Childs: Manuel Valera Trio with Hans Glawischnig, • “KAT” Modian Trio with Adam Lane, Austin Williamson êSongbook Summit—Cole Porter: Peter and Will Anderson, Molly Ryan, Jeb Patton, E.J. Strickland; Triton Brass Quintet with guest Glenn Zaleski; The City of Tomorrow; Farafina Café & Lounge Harlem 7:30, 9 pm Clovis Nicolas, Phil Stewart 59E59 Theaters 7 pm $35 Billy Childs Quartet with Steve Wilson, Hans Glawischnig, Ulysses Owens, Jr. • Jim Ridl Trio with Lorin Cohen, Tim Horner êGhost Train Orchestra The Archway 6 pm Bryant Park 6 pm Mezzrow 8 pm $20 • Prawit Siriwat Trio with Yuma Uesaka, Ben Silashi; Kyle Moffatt Trio with Zach Lapidus, • Aubrey Johnson Sextet with Roxy Coss, Tomoko Omura, Matthew Sheens, • Hashem Assadullahi’s Safety Buffalo Jay Sawyer Bar Next Door 6:30, 8:30, 10:30 pm $12 Matt Aronoff, Jeremy Noller The Cell 8 pm $15 Rockwood Music Hall Stage 1 7 pm • Birdland Big Band Birdland 8:30, 11 pm $40 êJazzMobile: Big Band; Allan Harris; Matthew Whitaker • Francesco Geminiani Colorsound 4et • Christian Scott aTunde Blue Note 8, 10:30 pm $35 Central Park Great Hill 4 pm Rockwood Music Hall Stage 3 7 pm $10 êMonnette Sudler Brooklyn Museum of Art 6 pm • Kayo Hiraki Trio Cleopatra’s Needle 8 pm • Unseen Rain Showcase: Matt Lavelle Quartet with Lewis Porter, Hilliard Greene, êBertha Hope Bryant Park 12:30 pm êTony Malaby Quartet with Brandon Seabrook, William Parker, Billy Mintz Tom Cabrera; Sumari: Jack DeSalvo, Matt Lavelle, Tom Cabrera • David Gibson Quintet Cavatappo Grill 9 pm Cornelia Street Underground 9, 10:30 pm $10 Scholes Street Studio 9 pm $10 êJoel Forrester Duo Cleopatra’s Needle 7 pm êBen Wolfe Sextet with Ben Solomon, Luis Perdomo, Joel Ross, Donald Edwards • Bobby Spellman’s Revenge of the Cool Nonet êTony Malaby Trio with Ben Monder, Tom Rainey; Tony Malaby Quartet with and guest Randy Brecker Dizzy’s Club 7:30, 9:30 pm $45 Sir D’s 8 pm Leo Genovese, William Parker, Billy Mintz • Luke Sellick with Andrew Renfroe, Will Bonness, Jimmy Macbride • Mike Noordzy, Jason Loughlin, Nate Radley, Robin Macmillan Cornelia Street Underground 8, 9:30 pm $10 Dizzy’s Club 11:15 pm $20 Skinny Dennis 9 pm êVernon Reid David Rubenstein Atrium 7:30 pm • Zabelê; Alexia Bomtempo The Django at Roxy Hotel 8, 10 pm êBrooklyn Jazz Underground Fest: Rob Garcia 4 with Noah Preminger, Gary Versace, êBen Wolfe Sextet with Ben Solomon, Luis Perdomo, Joel Ross, Donald Edwards • Mike King; Raphael D’lugoff Quintet; Greg Glassman Jam Joe Martin; David Cook Quintet with Dave Smith, John Ellis, Matt Clohesy, and guest Randy Brecker Dizzy’s Club 7:30, 9:30 pm $40 Fat Cat 7, 10 pm 1:30 am $10 Ross Pederson; Anne Mette Iversen Quartet + 1 with John Ellis, Ryan Keberle, • Luke Sellick with Andrew Renfroe, Will Bonness, Jimmy Macbride • Louis Fouché and Jonathan Powell Gary Versace, Jochen Rueckert; Tammy Scheffer Sextet with David Smith, John Yao, Dizzy’s Club 11:15 pm $10 Ginny’s Supper Club 7:30, 9:30 pm $20 Pete McCann, Daniel Foose, Jay Sawyer • Mark Whitfield The Django at Roxy Hotel 9 pm Smalls 7:30 pm $20

32 AUGUST 2017 | THE NEW YORK CITY JAZZ RECORD Tuesday, August 8 • Jennifer Sanon Dizzy’s Club 11:15 pm $10 êBill Frisell solo The Stone 8:30 pm $20 • Katini The Django at Roxy Hotel 9 pm êManuel Valera Quartet Terraza 7 10:30 pm $10 • Stan Killian with Jon Heagle, Brad Whiteley, Matt Pavolka, Russell Carter • Greg Glassman Quintet Fat Cat 10 pm $10 êA Tribute to Geri Allen: Terri Lyne Carrington and Esperanza Spalding with guests 55Bar 7 pm • Sharel Cassity Ginny’s Supper Club 7:30, 9:30 pm $15 Cassandra Wilson, Ravi Coltrane Village Vanguard 8:30, 10:30 pm $35 êSongbook Summit—Harold Arlen: Peter and Will Anderson, Molly Ryan, Jeb Patton, • Loren Connors, Daniel Carter, Steve Dalachinsky and guests Ikue Mori, Andrea Parkins Clovis Nicolas, Phil Stewart 59E59 Theaters 7 pm $35 HOLO 8 pm • Sagi Kaufman Trio with Tal Yahalom, Noam Israeli; Kevin McNeal Trio with • Dawn Clement Trio with Dean Johnson, Matt Wilson Sunday, August 13 Noriko Kamo, Tom Baker Bar Next Door 6:30, 8:30, 10:30 pm $12 Jazz at Kitano 8, 10 pm $17 êRotem Sivan Trio The Jazz Gallery 7:30, 9:30 pm $15 • Sinatra and Jobim @50: John Pizzarelli with Daniel Jobim, Konrad Paszkudzki, êSongbook Summit—Harold Arlen: Peter and Will Anderson, Molly Ryan, Jeb Patton, êEric Harland’s Voyager with Walter Smith III, Taylor Eigsti, Harish Ragavan Mike Karn, , Jessica Molaskey, Madeleine Pizzarelli Clovis Nicolas, Phil Stewart 59E59 Theaters 3, 7:15 pm $35 Birdland 8:30, 11 pm $50 Jazz Standard 7:30, 9:30 pm $30 • Sony Holland Blue Note 11:30 am 1:30 pm $39.50 • Earl Klugh Blue Note 8, 10:30 pm $35 êScott Robinson/Bill Cunliffe Mezzrow 8 pm $20 • Earl Klugh Blue Note 8, 10:30 pm $35 • Dan Manjovi Bryant Park 12:30 pm êBRIC Celebrate Brooklyn Festival!—SELMA: Jason Moran and Wordless Music Orchestra êRené Marie with John Chin, Elias Bailey, Quentin Baxter, Jr. êBucky Pizzarelli Trio Cavatappo Grill 6 pm Prospect Park Bandshell 7:30 pm • John Ellis Sextet with Joel Ross, Alan Ferber, Gary Versace, Reuben Rogers, • Napoleon Revels-Bey Putnam Triangle Plaza 6 pm Dizzy’s Club 7:30, 9:30 pm $35 Joe Dyson Dizzy’s Club 7:30, 9:30 pm $30 • Aaron Irwin Trio Silvana 6 pm • Gene Bertoncini The Drawing Room 7 pm $20 • Jennifer Sanon Dizzy’s Club 11:15 pm $5 êRalph Alessi This Against That with Ravi Coltrane, Andy Milne, Drew Gress, • Terry Waldo’s Gotham City Band; Ark Ovrutski Quintet with , • Saul Rubin Zebtet; Peter Brainin Latin Jazz Workshop Mark Ferber; Jonathan Thomas Smalls 10:30 pm 1 am $20 Benny Benack III, Willerm Delisfort, Jason Brown; Brandon Lewis/Renee Cruz Fat Cat 7, 9 pm $10 • Juan Carlos Polo Neo Latin Jazz Quartet with Ben Rosenblum, Eduardo Belo, Fat Cat 6, 8:30 pm 1 am $10 • Kazuhiro Yokoshima solo Jazz at Kitano 8 pm Roland Guerrero Smoke 7, 9, 10:30 pm $12 • John Chin Trio with Elias Bailey, Quentin Baxter êEric Harland Trio with Taylor Eigsti, Michael League êBill Frisell solo The Stone 8:30 pm $20 Jazz Standard 11:30 am 1:30 pm $35 ê Jazz Standard 7:30, 9:30 pm $30 A Tribute to Geri Allen: Terri Lyne Carrington and Esperanza Spalding with guest êEric Harland Trio with James Francies, Big Yuki • Woman’s Raga Massive: Trina Basu, Anjna Swaminathan, Amali Premawardhana, Village Vanguard 8:30, 10:30 pm $35 Jazz Standard 7:30, 9:30 pm $30 Perry Wortman, Camila Celine, Lauren Crump, Roshni Samlal, Roopa Mahadevan, êWilliam Hooker Trio with Dave Ross, Larry Roland Priya Darshini Joe’s Pub 7 pm $20 Lantern Hall 6 pm êDezron Douglas; Good For Cows: Devin Hoff/Ches Smith Friday, August 11 Simona Premazzi Mezzrow 8 pm $20 Korzo 9, 10:30 pm • Melissa Stylianou Trio with Gene Bertoncini, Ike Sturm • Janice Friedman/Marco Panascia Mezzrow 8 pm $20 êSongbook Summit—Harold Arlen: Peter and Will Anderson, Molly Ryan, Jeb Patton, • • Rosemary George and Friends New York City Baha’i Center 8, 9:30 pm $15 Clovis Nicolas, Phil Stewart 59E59 Theaters 8 pm $35 North Square Lounge 12:30, 2 pm • Frank Lacy Group; Abraham Burton Quartet • Yacine Boulares and Ajoyo Bar Lunàtico 8:30, 10 pm $10 • Andrew Hartman Quartet Saint Peter’s Church 5 pm Smalls 7:30 pm 1 am $20 • Nelson Riveros Trio with Peter Slavov, Steve Johns êJohnny O’Neal Trio with Ben Rubens, Itay Morchi; Jerry Weldon Quartet; êBill Frisell solo The Stone 8:30 pm $20 Bar Next Door 7:30, 9:30, 11:30 pm $12 Robert Edwards Smalls 7:30, 10:30 pm 1 am $20 • Daniel Rotem Quartet Terraza 7 9:30 pm $10 • Sinatra and Jobim @50: John Pizzarelli with Daniel Jobim, Konrad Paszkudzki, êKevin Mahogany Quartet with Daniela Schächter, Marco Panascia, J.T. Lewis êA Tribute to Geri Allen: Terri Lyne Carrington and Esperanza Spalding with guest Mike Karn, Duduka Da Fonseca, Jessica Molaskey, Madeleine Pizzarelli Smoke 7, 9, 10:30 pm $38 Joe Lovano Village Vanguard 8:30, 10:30 pm $35 Birdland 8:30, 11 pm $50 êBill Frisell solo The Stone 8:30 pm $20 • Earl Klugh Blue Note 8, 10:30 pm $35 • Bill Stevens, Rich Russo, Gary Fogel • Dan Manjovi Bryant Park 12:30 pm Tomi Jazz 8 pm • Alex Layne Trio Cleopatra’s Needle 8 pm Wednesday, August 9 êA Tribute to Geri Allen: Terri Lyne Carrington and Esperanza Spalding with guests • NY Jazz Academy Student and Faculty Showcase Cassandra Wilson, Ravi Coltrane Village Vanguard 8:30, 10:30 pm $35 • Kürrent: Brian Charette, Ben Monder, Jordan Young Club Bonafide 3:15 pm 55Bar 10 pm • Gilad Hekselman Trio with , êSongbook Summit—Harold Arlen: Peter and Will Anderson, Molly Ryan, Jeb Patton, Cornelia Street Underground 9, 10:30 pm $10 Clovis Nicolas, Phil Stewart 59E59 Theaters 7 pm $35 êRené Marie with John Chin, Elias Bailey, Quentin Baxter, Jr. Monday, August 14 • Wayne Tucker Group Bar Lunàtico 8:30, 10 pm $10 Dizzy’s Club 7:30, 9:30 pm $40 • Sinatra and Jobim @50: John Pizzarelli with Daniel Jobim, Konrad Paszkudzki, • Jennifer Sanon Dizzy’s Club 11:15 pm $10 • Jim Ridl Trio with Chris Tarry, Joel Rosenblatt Mike Karn, Duduka Da Fonseca, Jessica Molaskey, Madeleine Pizzarelli • Ken Fowser Quintet; Martina DaSilva and The Ladybugs 55Bar 6 pm Birdland 8:30, 11 pm $50 The Django at Roxy Hotel 8, 10 pm • Nir Felder with Joe Martin, Jimmy Macbride • Earl Klugh Blue Note 8, 10:30 pm $35 • Eric Wheeler Fat Cat 10:30 pm $10 55Bar 10 pm • Dan Manjovi Bryant Park 12:30 pm • Afro Yaqui Music Collective Honors Fred Ho êPatience Higgins Sugar Hill Quartet with Marcus Persiani, Neal Caine, Dave Gibson êSexmob: Steven Bernstein, Briggan Krauss, Tony Scherr, Kenny Wollesen and guest Ginny’s Supper Club 7:30, 9:30 pm $20 Bar Lunàtico 8:30, 10 pm $10 John Medeski City Winery 8 pm $35-55 • Leslie Pintchik Trio with Scott Hardy, Michael Sarin • Alan Kwan Trio with Evan Gregor, Curtis Nowosad; Nora McCarthy Trio with • Dave Scott Quintet with Rich Perry, Gary Versace, Johannes Weidenmueller, Jazz at Kitano 8, 10 pm $32 Marvin Sewell, Donald Nicks Bar Next Door 6:30, 8:30, 10:30 pm $12 êManuel Valera Trio with Hans Glawischnig, E.J. Strickland Jeff Williams; Hashem Assadullahi Quartet with Leonard Thompson, Peter Brendler, êMcCoy Tyner Blue Note 8, 10:30 pm $45 Vinnie Sperrazza Cornelia Street Underground 8, 9:30 pm $10 The Jazz Gallery 7:30, 9:30 pm $22 • Deanna Witkowski Bryant Park 12:30 pm • Spanish Harlem Orchestra; Edmar Castañeda êEric Harland Quartet with Taylor Eigsti, Big Yuki, Chris Turner êDavid Amram and Co. with Kevin Twigg, Rene Hart, Elliot Peper Damrosch Park at Lincoln Center 7:30 Jazz Standard 7:30, 9:30 pm $30 Cornelia Street Underground 8:30 pm $10 êUlysses Owens, Jr. with Reuben Rogers, Joel Ross, Vuyo Sotashe êJazzMobile: Craig Harris Marcus Garvey Park 7 pm Dizzy’s Club 7:30, 9:30 pm $35 • Melby Joyce Bradford and Friends Medgar Evers College 7 pm • Jane Bunnett and Maqueque with Danae Olano, Celia Jimenez, Magdelys Savigne, • Jennifer Sanon Dizzy’s Club 11:15 pm $5 êKen Peplowski Trio with Ehud Asherie, Kevin Dorn Elizabeth Rodriguez, Yissy Garcia Dizzy’s Club 7:30, 9:30 pm $30 • Raphael D’lugoff Trio +1; Harold Mabern Trio; Ned Goold Jam Mezzrow 8 pm $20 • Ned Goold Quartet; Billy Kaye Jam Fat Cat 7, 9 pm 12:30 am $10 • Sugar Hill Trio Shrine 6 pm Fat Cat 9 pm 12:30 am $10 • JazzMobile: Alyson Williams Grant’s Tomb 7 pm • Dave Schnitter Group; John Marshall Quintet with Grant Stewart, Jeb Patton, • Ehud Asherie Trio with Peter Washington, Aaron Kimmel • Pucci Amanda Jhones Quintet with Joseph Tranchina, Ralph Williams, Eric Lemon, David Wong, Phil Stewart Smalls 7:30, 10:30 pm $20 Mezzrow 8 pm $20 Willie Martinez Jazz at Kitano 8, 10 pm $17 êKevin Mahogany Quartet with Daniela Schächter, Marco Panascia, J.T. Lewis • Greg Tardy Group; Jonathan Barber Group êEric Harland’s Voyager with Walter Smith III, Taylor Eigsti, Harish Ragavan Smoke 7, 9, 10:30 pm $38 Smalls 10:30 pm 1 am $20 Jazz Standard 7:30, 9:30 pm $30 êKris Davis Trio with Eric Revis, Andrew Cyrille êKenny Garrett Madison Square Park 7 pm The Stone at The New School 8:30 pm $20 êRoberta Piket Trio with Harvie S, Billy Mintz and guests êBill Frisell solo The Stone 8:30 pm $20 Mezzrow 8 pm $20 êA Tribute to Geri Allen: Terri Lyne Carrington and Esperanza Spalding with guest Tuesday, August 15 • Melissa Hamilton with Lee Tomboulian, Hilliard Greene Nicholas Payton Village Vanguard 8:30, 10:30 pm $35 Saint Peter’s Church 1 pm $10 êSongbook Summit—George Gershwin: Peter and Will Anderson, Molly Ryan, • Nathan Peck and The Funky Electrical Unit; Andy Bianco Quintet; Beledo, Tony Steele, Jeb Patton, Clovis Nicolas, Phil Stewart Doron Lev ShapeShifter Lab 7, 8:15, 9:30 pm $8-15 Saturday, August 12 59E59 Theaters 7 pm $35 • Nick Di Maria Shrine 6 pm • Nadav Peled Trio with Scott Colberg, Peter Kronreif • Vitaly Golovnev Quintet with David Gibson, Bruce Barth, Gerald Cannon, êSongbook Summit—Harold Arlen: Peter and Will Anderson, Molly Ryan, Jeb Patton, Bar Next Door 8:30, 10:30 pm $12 Donald Edwards; Michael Feinberg Quartet with Noah Preminger, Ian Froman, Clovis Nicolas, Phil Stewart 59E59 Theaters 2, 8 pm $35 êCount Basie Orchestra Directed by Scotty Barnhart Billy Test; Jovan Alexandre Smalls 7:30, 10:30 pm 1 am $20 • Jeff Barone Trio with Akiko Tsuruga, Paul Wells Birdland 8:30, 11 pm $50 êBill Frisell solo The Stone 8:30 pm $20 Bar Next Door 7:30, 9:30, 11:30 pm $12 • Bob James Blue Note 8, 10:30 pm $35 êA Tribute to Geri Allen: Terri Lyne Carrington and Esperanza Spalding with guest • Sinatra and Jobim @50: John Pizzarelli with Daniel Jobim, Konrad Paszkudzki, êJazzMobile: Eric Person Band with Houston Person, Zaccai Curtis, Kenny Davis, Nicholas Payton Village Vanguard 8:30, 10:30 pm $35 Mike Karn, Duduka Da Fonseca, Jessica Molaskey, Madeleine Pizzarelli McClenty Hunter Brooklyn Bridge Park 7 pm Birdland 8:30, 11 pm $50 • Lou Caputo’s Not So Big Band Zinc Bar 7:30, 9, 11 pm • Deanna Witkowski Bryant Park 12:30 pm • Earl Klugh Blue Note 8, 10:30 pm $35 Dan Weisselberg Trio with Jehofatach Kari, Guy Paz • Rocco John Iacovone/Chris Forbes • Thursday, August 10 Caffe Vivaldi 6 pm Caffe Vivaldi 6:30 pm • Simona Premazzi Quintet with Philip Dizack, , Pablo Menares, Kush Abadey • Mike Sailors Cavatappo Grill 8 pm • Dan Pugach Nonet 55Bar 7 pm The Cell 8 pm • Trio Da Paz: Romero Lubambo, Nilson Matta, Duduka Da Fonseca and guests êSongbook Summit—Harold Arlen: Peter and Will Anderson, Molly Ryan, Jeb Patton, • Masami Ishikawa Trio Cleopatra’s Needle 8 pm Maucha Adnet, Harry Allen, Claudio Roditi Clovis Nicolas, Phil Stewart 59E59 Theaters 7 pm $35 êGilad Hekselman Trio with Joel Ross, Nate Wood Dizzy’s Club 7:30, 9:30 pm $40 • Vaughn Stoffey Trio with Tony Marino, Alex Ritz; Tim Hayward Trio with Cornelia Street Underground 9, 10:30 pm $10 • Nate Sparks Ensemble Dizzy’s Club 11:15 pm $5 Essiet Okon Essiet, John Riley Bar Next Door 6:30, 8:30, 10:30 pm $12 êRené Marie with John Chin, Elias Bailey, Quentin Baxter, Jr. • Saul Rubin Zebtet; Danitos Salsondria • Laila Biali Birdland 6 pm $30 Dizzy’s Club 7:30, 9:30 pm $45 Fat Cat 7, 9 pm $10 • Sinatra and Jobim @50: John Pizzarelli with Daniel Jobim, Konrad Paszkudzki, • Jennifer Sanon Dizzy’s Club 11:15 pm $20 • High and Mighty Brass Band Gantry Plaza State Park 7 pm Mike Karn, Duduka Da Fonseca, Jessica Molaskey, Madeleine Pizzarelli • Brian Charette Trio; Los Hacheros The Django at Roxy Hotel 8, 10 pm • Kazuhiro Yokoshima solo Jazz at Kitano 8 pm Birdland 8:30, 11 pm $50 • Gotham Kings Ginny’s Supper Club 7:30, 9:30 pm $15 • Sara Gazarek with Taylor Eigsti, Alex Boneham, Christian Euman • Earl Klugh Blue Note 8, 10:30 pm $35 • Roseanna Vitro’s Bossas and Ballads on a Summer Night with Mark Soskin, Jazz Standard 7:30, 9:30 pm $25 Dean Johnson, Tim Horner Jazz at Kitano 8, 10 pm $32 • Neil Clarke Trio Plus Brooklyn Museum of Art 6 pm Sacred Prostest Songs—From Africa to America: Mwenso and The Shakes, êEric Harland Quartet with Chris Potter, Nir Felder, Big Yuki • • Dan Manjovi Bryant Park 12:30 pm Vuyo Sotashe, Sullivan Fortner Le Poisson Rouge 7 pm $20 • Nick Myers and The Varitones Cavatappo Grill 9 pm Jazz Standard 7:30, 9:30 pm $30 • Nellie McKay Mezzrow 8 pm $20 • Robert Rocker Duo Cleopatra’s Needle 7 pm êVeronica Swift Metropolitan Room 7 pm $24 • Audrey Silver Band with Bruce Barth êKen Peplowski Trio with Ehud Asherie, Kevin Dorn • Rob Silverman Group with Steve Dash, Andy Bassford, Scott Hamilton, James Halliday Club Bonafide 7:30 pm $20 Mezzrow 8 pm $20 New York City Baha’i Center 8, 9:30 pm $15 êGilad Hekselman Trio with Ben Williams, Billy Hart • Ralph Lalama Bop-Juice with David Wong, Clifford Barbaro; John Marshall Quintet with • Joe Pino Quintet Shrine 6 pm Cornelia Street Underground 8:30 pm $10 Grant Stewart, Jeb Patton, David Wong, Phil Stewart; Philip Harper Quintet êSteve Nelson Quintet; Abraham Burton Group • Ulysses Owens, Jr. New Century Big Band with Tim Green, Lakecia Benjamin, Smalls 7:30, 10:30 pm 1 am $20 Smalls 10:30 pm 1 am $20 Daniel Dickinson, Michael Thomas, Carl Maraghi, Michael Dease, Tom Malone, êKevin Mahogany Quartet with Daniela Schächter, Marco Panascia, J.T. Lewis êUnbroken: Louie Belogenis, Shanir Ezra Blumenkranz, Kenny Wollesen Nicholas Lee, Wyatt Forhan, Benny Benack III, Frank Green, Marcus Parsley, Smoke 7, 9, 10:30 pm $38 The Stone 8:30 pm $20 Alphonso Horne; Takeshi Ohbayashi, Yasushi Nakamura, Shenel Johns, êKris Davis Trio with Eric Revis, Andrew Cyrille êBilly Hart Quartet with Ethan Iverson, Ben Street and guest Charles Turner Dizzy’s Club 7:30, 9:30 pm $40 The Stone at The New School 8:30 pm $20 Village Vanguard 8:30, 10:30 pm $35

THE NEW YORK CITY JAZZ RECORD | AUGUST 2017 33 Wednesday, August 16 • Ken Fowser Quintet; Etienne Charles êAbraxas: Aram Bajakian, Eyal Maoz, Shanir Ezra Blumenkranz, Kenny Grohowski The Django at Roxy Hotel 8, 10 pm The Stone 8:30 pm $20 êSongbook Summit—George Gershwin: Peter and Will Anderson, Molly Ryan, • Troy Roberts’ Nujive 5 Fat Cat 10:30 pm $10 êBilly Hart Quartet with Ethan Iverson, Ben Street and guest Jeb Patton, Clovis Nicolas, Phil Stewart • Allan Harris Ginny’s Supper Club 7:30, 9:30 pm $20 Village Vanguard 8:30, 10:30 pm $35 59E59 Theaters 7 pm $35 êHermione Johnson: Susan Alcorn, Ingrid Laubrock, Leila Bordreuil • Christian Marclay/Okkyung Lee Whitney Museum 8 pm $22 êCount Basie Orchestra Directed by Scotty Barnhart Ibeam Brooklyn 8:30 pm $15 Birdland 8:30, 11 pm $50 • Lynette Washington/Dennis Bell Jazz NY with Alex Blake, Luciana Padmore • Bob James Blue Note 8, 10:30 pm $35 Jazz at Kitano 8, 10 pm $32 Monday, August 21 • Deanna Witkowski Bryant Park 12:30 pm êDavid Gilmore Quintet with Mark Shim, Victor Gould, Carlo De Rosa, E.J. Strickland • Equilibrium: Elliot Honig, Brad Baker, Richard Russo, Pam Belluck, Dan Silverstone, The Jazz Gallery 7:30, 9:30 pm $22 êMeg Okura/Sam Newsome Group with Ayako Shirasaki, Noriko Ueda, Paul Wells Terry Schwadron Caffe Vivaldi 8 pm • Joey Alexander Trio with Reuben Rogers, Eric Harland Bar Lunàtico 8:30, 10 pm $10 • En Route Trio: Jean-Marie Corrois, Nick Grondin, Flavio Lira Jazz Standard 7:30, 9:30 pm $35 • Andrew Shillito Trio with Jakob Dreyer, Matt Honor; Tammy Scheffer Trio with Billy Test, Club Bonafide 7:30 pm $15 • Rhythm Future Quartet: Jason Anick, Olli Soikkeli, Max O’Rourke, Greg Loughman Daniel Foose Bar Next Door 6:30, 8:30, 10:30 pm $12 • Satoshi Takeishi/John Hadfield; Rogério Boccato, Keita Ogawa, James Shipp Joe’s Pub 9:30 pm $15 • Theo Croker Blue Note 10:30 pm $25 Cornelia Street Underground 8, 9:30 pm $10 • Bashiri Johnson Medgar Evers College 7 pm • Armen Donelian Bryant Park 12:30 pm • Trio Da Paz: Romero Lubambo, Nilson Matta, Duduka Da Fonseca and guests êKenny Barron/ Mezzrow 8 pm $20 êVOXFest: Deborah Latz Quartet with Jim Ridl, Ray Parker, Kevin Twigg; Maucha Adnet, Harry Allen, Claudio Roditi • Songs of Protest and Reconciliation: Damien Sneed and Keyon Harrold Kelley Suttenfield Cornelia Street Underground 8:30, 10 pm $10 Dizzy’s Club 7:30, 9:30 pm $40 New York Botanical Garden Conservatory 7 pm $45 • Danowsky/Wolsk Jazz Orchestra Dizzy’s Club 7:30, 9:30 pm $30 • Nate Sparks Ensemble Dizzy’s Club 11:15 pm $5 • Dana Reedy Silvana 7 pm • George Braith; Billy Kaye Jam Fat Cat 9 pm 12:30 am $10 • Raphael D’lugoff Trio +1; Don Hahn/Mike Camacho Band; Ned Goold Jam êLeon Parker Humanity Quartet; Victor Gould Group êEd Palermo Big Band Iridium 8 pm $25 Fat Cat 7, 9 pm 12:30 am $10 Smalls 7:30, 10:30 pm $20 • Shai Maestro The Jazz Gallery 7:30, 9:30 pm $15 • ’s Jasssz Band Iridium 8:30 pm $25-35 êJohn Coltrane Tribute: Azar Lawrence Quartet with Benito Gonzalez, • Bruce Harris Mezzrow 8 pm $20 • Paul Jost Quartet with Jim Ridl, Dean Johnson, Tim Horner Smoke 7, 9, 10:30 pm $40 • Summer Youth Combo directed by Zack O’Farrill Jazz at Kitano 8, 10 pm $17 êVCR: Sylvie Courvoisier, Ken Vandermark, Nate Wooley, Tom Rainey ShapeShifter Lab 7, 8:15 pm $10 êJames Francies’ Flight with Joel Ross, Steve Lehman, Matt Brewer, Jeff “Tain” Watts The Stone at The New School 8:30 pm $20 • Mike Noordzy, Jason Loughlin, Nate Radley, Robin Macmillan Jazz Standard 7:30, 9:30 pm $25 • The Fugu Plan: Yuka, Shanir Ezra Blumenkranz, Eyal Maoz, Aram Bajakian, Skinny Dennis 9 pm êCyrille Aimée with Michael Valeanu, Adrien Moignard, Dylan Shamat, Dani Danor Brian Marsella, Yoni Halevy, Yuval Lion • Ari Hoenig Trio with Nitai Hershkovits, Or Bareket; Jonathan Michel Group Le Poisson Rouge 8 pm $25-35 The Stone 8:30 pm $20 Smalls 10:30 pm 1 am $20 • Matthew Fries Trio with Steve LaSpina, Ron Affif êBilly Hart Quartet with Ethan Iverson, Ben Street and guest • Christian Marclay/Okkyung Lee Whitney Museum 1 pm $22 Mezzrow 8 pm $20 Village Vanguard 8:30, 10:30 pm $35 • Eyal Vilner Big Band Saint Peter’s Church 1 pm $10 • Neal Caine Group with Stephen Riley; Harold Mabern Trio; Aaron Seeber Tuesday, August 22 Smalls 7:30, 10:30 pm 1 am $20 Saturday, August 19 • War Paint: Briggan Krauss, Shanir Ezra Blumenkranz, Brian Chase êSongbook Summit—Richard Rodgers: Peter and Will Anderson, Molly Ryan, The Stone 8:30 pm $20 êSongbook Summit—George Gershwin: Peter and Will Anderson, Molly Ryan, Jeb Patton, Clovis Nicolas, Phil Stewart êBilly Hart Quartet with Ethan Iverson, Ben Street and guest Jeb Patton, Clovis Nicolas, Phil Stewart 59E59 Theaters 7 pm $35 Village Vanguard 8:30, 10:30 pm $35 59E59 Theaters 2, 8 pm $35 • Peter Amos Trio with Dave Hassell, Brian Plautz; Paul Jones Trio with Leon Boykins, êDissident Arts Festival: Amina Baraka and The Red Microphone: Ras Moshe Burnett, Jake Robinson Bar Next Door 6:30, 8:30, 10:30 pm $12 Rocco John Iacovone, Laurie Towers, John Pietaro; Trudy Silver’s • Benny Green Trio Birdland 8:30, 11 pm $40 Thursday, August 17 Where’s the Outrage? with Scottie Davis, Kathryn Hall, Sanae Buck, • Joyce Moreno Blue Note 8, 10:30 pm $35 Raymond Nat Turner, Zigi Lowenberg; Lindsey Wilson Human Hearts Trio with • Armen Donelian Bryant Park 12:30 pm êSongbook Summit—George Gershwin: Peter and Will Anderson, Molly Ryan, Michael Trotman, Reggie Sylvester; Steve Dalachinsky; Raymond Nat Turner; êJonny King Trio with Gerald Cannon, Joe Strasser Jeb Patton, Clovis Nicolas, Phil Stewart Crystal Shipp; Bernard Block 5C Café 7 pm Cavatappo Grill 8 pm $10 59E59 Theaters 7 pm $35 • Ben Sher Trio with Gary Fisher, Steve Johns • VOXFest: Peggy Chew’s Sonic Calligraphy with Chris Washburne, Adrian Frey; • Dan Hartig Trio with Jeff Koch, JC Polo; Steve Bloom Trio with Danton Boller, Bar Next Door 7:30, 9:30, 11:30 pm $12 Anaïs Maviel, Leonid Galaganov, Alexis Marcelo Jeremy Carlstedt Bar Next Door 6:30, 8:30, 10:30 pm $12 êCount Basie Orchestra Directed by Scotty Barnhart Cornelia Street Underground 8, 9:30 pm $10 êCount Basie Orchestra Directed by Scotty Barnhart Birdland 8:30, 11 pm $50 • Trio Da Paz: Romero Lubambo, Nilson Matta, Duduka Da Fonseca and guests Birdland 8:30, 11 pm $50 • Bob James Blue Note 8, 10:30 pm $35 Maucha Adnet, Harry Allen, Claudio Roditi • Bob James Blue Note 8, 10:30 pm $35 • Denton Darien Trio Cleopatra’s Needle 8 pm Dizzy’s Club 7:30, 9:30 pm $40 • Deanna Witkowski Bryant Park 12:30 pm • Trio Da Paz: Romero Lubambo, Nilson Matta, Duduka Da Fonseca and guests • Martina DaSilva/Justin Poindexter Dizzy’s Club 11:15 pm $5 • Kat Gang and Matthew Fries Cavatappo Grill 9 pm Maucha Adnet, Harry Allen, Claudio Roditi • Saul Rubin Zebtet Fat Cat 7 pm $10 • Matt Baker Duo Cleopatra’s Needle 7 pm Dizzy’s Club 7:30, 9:30 pm $45 • Dan Martin Ensemble Gantry Plaza State Park 7 pm • MJ Territo and Ladies Day Jazz Ensemble with Linda Presgrave, Iris Ornig, • Nate Sparks Big Band Dizzy’s Club 11:15 pm $20 • Jorge Sylvester ACE Collective with Nora McCarthy, Waldron Mahdi Ricks, Barbara Merjan Club Bonafide 7:30 pm $15 • Emmet Cohen Trio; Svetlana and The Delancey Five Pablo Vergara, Donald Nicks, Ethan Kogan • Nick Finzer’s Hear & Now with Lucas Pino, Glenn Zaleski, Alex Wintz, Dave Baron, The Django at Roxy Hotel 8, 10 pm Goddard Riverside Community Center 7:30 pm $10 Jimmy Macbride Cornelia Street Underground 6 pm $10 • Bruce Williams Quintet; Greg Glassman Jam • Kazuhiro Yokoshima solo Jazz at Kitano 8 pm • Trio Da Paz: Romero Lubambo, Nilson Matta, Duduka Da Fonseca and guests Fat Cat 10:30 pm 1:30 am $10 êBrandee Younger Quartet with Chelsea Baratz, Dezron Douglas, E.J. Strickland Maucha Adnet, Harry Allen, Claudio Roditi • Allan Harris Ginny’s Supper Club 7:30, 9:30 pm $20 Jazz Standard 7:30, 9:30 pm $25 Dizzy’s Club 7:30, 9:30 pm $45 êLaura Henningsdottir Trio with J.P. Lakehill, Ollie Herman êHarvey Diamond/Cameron Brown Mezzrow 8 pm $20 • Nate Sparks Ensemble Dizzy’s Club 11:15 pm $10 Ibeam Brooklyn 8:30 pm $15 • Art Lillard Group New York City Baha’i Center 8, 9:30 pm $15 • Ian Hendrickson-Smith The Django at Roxy Hotel 9 pm êScott Robinson Quartet with Helen Sung, Jay Anderson, Tim Horner • So Wrong It’s Right Trombone Quartet: Dave Taylor, Kalun Leung, David Whitwell, • Point of Departure Fat Cat 10 pm $10 Jazz at Kitano 8, 10 pm $32 Felix Del Tredici ShapeShifter Lab 7 pm $8 êJohnny O’Neal Ginny’s Supper Club 7:30, 9:30 pm $15 • Joey Alexander Trio with Reuben Rogers, Eric Harland • Joe Pino Quintet Silvana 6 pm • Geoffrey Gallante Band with Morgan Guerin, Daryl Johns, Robin Baytas Jazz Standard 7:30, 9:30 pm $35 • Lucas Pino Nonet with Alex LoRe, Andrew Gutauskas, Nick Finzer, Philip Dizack, Jazz at Kitano 8, 10 pm $17 êKenny Barron/Ray Drummond Mezzrow 8 pm $20 Rafal Sarnecki, Glenn Zaleski, Desmond White, Jimmy MacBride; • Ricky Rodríguez Group with John Ellis, Luis Perdomo, Lage Lund, Obed Calvaire êAkiko Tsuruga The Roxy Lounge at Roxy Hotel 7 pm Abraham Burton Quartet Smalls 7:30 pm 1 am $20 The Jazz Gallery 7:30, 9:30 pm $15 êLeon Parker Humanity Quartet; Victor Gould Group; Brooklyn Circle: Stacy Dillard, êNearer the Spheres: Erik Friedlander, Yuka Honda, Ikue Mori, Nels Cline • Joey Alexander Trio with Reuben Rogers, Eric Harland Diallo House, Ismail Lawal Smalls 7:30, 10:30 pm 1 am $20 The Stone 8:30 pm $20 Jazz Standard 7:30, 9:30 pm $35 êJohn Coltrane Tribute: Azar Lawrence Quartet with Benito Gonzalez, Essiet Essiet • Kurt Rosenwinkel Trio with Dario Fromit, Greg Hutchinson êJazzMobile: Ray Mantilla Louis Armstrong House 7 pm Smoke 7, 9, 10:30 pm $40 Village Vanguard 8:30, 10:30 pm $35 • Lafayette Harris Trio with Lonnie Plaxico, Terell Stafford êSylvie Courvoisier Trio with Drew Gress, Kenny Wollesen Mezzrow 8 pm $20 The Stone at The New School 8:30 pm $20 • Jason Prover Sneak Thievery Orchestra êAbraxas: Aram Bajakian, Eyal Maoz, Shanir Ezra Blumenkranz, Kenny Grohowski Wednesday, August 23 Radegast Hall 9 pm The Stone 8:30 pm $20 êColleen Clark Collective with Chad Lefkowitz-Brown, Randy Ingram, Augie Haas, êBilly Hart Quartet with Ethan Iverson, Ben Street and guest êSongbook Summit—Richard Rodgers: Peter and Will Anderson, Molly Ryan, Henry Beal, Linda Briceño Rockwood Music Hall Stage 3 8:30 pm $10 Village Vanguard 8:30, 10:30 pm $35 Jeb Patton, Clovis Nicolas, Phil Stewart • Alex Nguyen Silvana 6 pm • Christian Marclay/Okkyung Lee Whitney Museum 8 pm $22 59E59 Theaters 7 pm $35 • Rick Rosato Quartet with Dayna Stephens, Sam Harris, ; • Benny Green Trio Birdland 8:30, 11 pm $40 Josh Ginsburg Quartet with Dayna Stephens, George Colligan, E.J. Strickland • Derrick Hodge Trio with Mike Mitchell, Mike Aaberg Smalls 7:30, 10:30 pm $20 Sunday, August 20 Blue Note 8, 10:30 pm $25 • M’Balia with Josh Lawrence, Sarah Slonim, Adrian Moring, Anwar Marshall • Armen Donelian Bryant Park 12:30 pm Smoke 7, 9, 10:30 pm $12 êSongbook Summit—George Gershwin: Peter and Will Anderson, Molly Ryan, • VOXFest: Vadim Neselovskyi Trio with Dan Loomis, Ronen Itzik and êTheatre of Operations: Shanir Ezra Blumenkranz, Brian Marsella, Kenny Grohowski Jeb Patton, Clovis Nicolas, Phil Stewart guest Aubrey Johnson; Júlia Karosi Hidden Roots with Yago Vázquez, Ike Sturm, The Stone 8:30 pm $20 59E59 Theaters 3, 7:15 pm $35 Peter Kronreif Cornelia Street Underground 8, 9:30 pm $10 • Linda Presgrave Quartet with Stan Chovnick, Iris Ornig, Seiji Ochiai • Bob James Blue Note 8, 10:30 pm $35 • Trio Da Paz: Romero Lubambo, Nilson Matta, Duduka Da Fonseca and guests Tomi Jazz 9 pm $10 • Jerram Original Network Band: Jerry Griffin, Kiane Zawadi, Tyler Mitchell Maucha Adnet, Harry Allen, Claudio Roditi êBilly Hart Quartet with Ethan Iverson, Ben Street and guest Brooklyn Waterfront Artists Coalition 2 pm Dizzy’s Club 7:30, 9:30 pm $40 Village Vanguard 8:30, 10:30 pm $35 • Trio Da Paz: Romero Lubambo, Nilson Matta, Duduka Da Fonseca and guests • Martina DaSilva/Justin Poindexter Dizzy’s Club 11:15 pm $5 Maucha Adnet, Harry Allen, Claudio Roditi • Raphael D’lugoff; Ned Goold Jam Fat Cat 7 pm 12:30 am $10 Dizzy’s Club 7:30, 9:30 pm $35 êGiacomo Gates Trio with John di Martino, Ed Howard Friday, August 18 • Ras Moshe Music Now! Unit Downtown Music Gallery 6 pm Jazz at Kitano 8, 10 pm $17 • Terry Waldo’s Gotham City Band; Brandon Lewis/Renee Cruz êMarquis Hill Blacktet with Braxton Cook, Joel Ross, Jeremiah Hunt, Makaya McCraven êSongbook Summit—George Gershwin: Peter and Will Anderson, Molly Ryan, Fat Cat 6 pm 1 am $10 Jazz Standard 7:30, 9:30 pm $25 Jeb Patton, Clovis Nicolas, Phil Stewart • Tubby: Luca Benedetti, Matt Parker, Danny Fox, Dave Speranza, Dan Rieser • Steve Feifke Mezzrow 8 pm $20 59E59 Theaters 8 pm $35 Jazz Standard 11:30 am 1:30 pm $35 êBurnt Sugar the Arkestra Chamber: Greg Tate, Shelley Nicole, Julie Brown, • Adison Evans Trio with Jared Gold, Robert Gianquinto • The Baylor Project: Jean and Marcus Baylor, Keith Loftis, Terry Brewer, Ben Williams Karma Mayet Johnson, Leon Gruenbaum, Bruce Mack, Lewis Barnes, Micah Gaugh, Bar Next Door 7:30, 9:30, 11:30 pm $12 Jazz Standard 7:30, 9:30 pm $25 Avram Fefer, Paula Henderson, Ben Tyree, Jason DiMatteo, Val Jeanty, Chris Eddleton, êCount Basie Orchestra Directed by Scotty Barnhart • Edin Ladin Mezzrow 8 pm $20 Jared Michael Nickerson National Sawdust 7, 10 pm $25 Birdland 8:30, 11 pm $50 êSteve Cromity Quintet with Richard Clements, Gene Ghee, Lonnie Plaxico, êCharlie Parker Jazz Festival: Charlie Parker with Strings • Bob James Blue Note 8, 10:30 pm $35 Dwayne “Cook” Broadnax Milk River Café 6 pm $10 New School Tishman Auditorium 7:30 pm • Deanna Witkowski Bryant Park 12:30 pm • Vanessa Perea Trio with Greg Ruggiero, Dave Baron êNew Cicada Trio: Iva Bittová, Timothy Hill, David Rothenberg • Chip Shelton Peacetime Ensemble with Noriko Kamo, Ray Newton North Square Lounge 12:30, 2 pm Rubin Museum 7 pm $25 Cleopatra’s Needle 8 pm êSummerstage: Mulatu Astatke; Emel Mathlouthi; Alsarah and The Nubatones; DJ Sirak • Peter and Will Anderson with Alex Wintz • NY Jazz Academy Student and Faculty Showcase Rumsey Playfield in Central Park 6 pm Saint Peter’s Church 1 pm $10 Club Bonafide 3:15 pm • Yotam Ben-Or Quartet Saint Peter’s Church 5 pm • Andy Fusco Quintet with Rudy Petschauer, Joe Magnarelli, John Hart, Bill Moring; • Trio Da Paz: Romero Lubambo, Nilson Matta, Duduka Da Fonseca and guests • Todd Marcus Ensemble ShapeShifter Lab 7 pm Steam Trio: Jeff Hirshfield, Yago Vazquez, Scott Lee; Jovan Alexandre Maucha Adnet, Harry Allen, Claudio Roditi • Tardo Hammer Trio with Lee Hudson, Mark Taylor; Saul Rubin Group; Jon Beshay Smalls 7:30, 10:30 pm 1 am $20 Dizzy’s Club 7:30, 9:30 pm $45 Smalls 7:30, 10:30 pm 1 am $20 êNels Cline/Zeena Parkins The Stone 8:30 pm $20 • Nate Sparks Ensemble Dizzy’s Club 11:15 pm $10 êJohn Coltrane Tribute: Azar Lawrence Quartet with Benito Gonzalez, Essiet Essiet • Kurt Rosenwinkel Trio with Dario Fromit, Greg Hutchinson Smoke 7, 9, 10:30 pm $40 Village Vanguard 8:30, 10:30 pm $35

34 AUGUST 2017 | THE NEW YORK CITY JAZZ RECORD Thursday, August 24

êSongbook Summit—Richard Rodgers: Peter and Will Anderson, Molly Ryan, Jeb Patton, Clovis Nicolas, Phil Stewart at Cavatappo Grill 59E59 Theaters 7 pm $35 • Mike Moreno Group Bar Lunàtico 8:30, 10 pm $10 • NanJo Lee Trio with Rick Rosato, Jochen Rueckert; Larry Corban Trio with Harvie S, Steve Johns Bar Next Door 6:30, 8:30, 10:30 pm $12 • Michelle Lordi with Michael Kanan, Matthew Parrish, Bill Avayou, Larry McKenna Live Jazz Music Birdland 6 pm $30 • Benny Green Trio Birdland 8:30, 11 pm $40 êJames Carter Blue Note 8, 10:30 pm $35 every Tuesday (8-10 pm) • Armen Donelian Bryant Park 12:30 pm êSonelius Smith/Dave Hofstra Cleopatra’s Needle 7 pm • Trio Da Paz: Romero Lubambo, Nilson Matta, Duduka Da Fonseca and guests & Maucha Adnet, Harry Allen, Claudio Roditi Dizzy’s Club 7:30, 9:30 pm $45 • Martina DaSilva/Justin Poindexter Dizzy’s Club 11:15 pm $10 Thursday (9-11 pm) • Alita Moses and Hudson Horns The Django at Roxy Hotel 9 pm • Poole and The Gang; Charlie Parker Jazz Festival Jam Session Ginny’s Supper Club 7:30, 9:30 pm $20 • Yuko Ito Quartet with Oriente Lopez, Edward Perez, Alexander Kautz Live piano every Monday (7-10 pm) Jazz at Kitano 8, 10 pm $17 êMarquis Hill Blacktet with Braxton Cook, Joel Ross, Jeremiah Hunt, Makaya McCraven Jazz Standard 7:30, 9:30 pm $25 • Nicole Henry Joe’s Pub 7 pm $25 “It’s a joy to create jazz in such a positive atmosphere and êSummerstage/Charlie Parker Jazz Festival: Jason Samuels Smith’s Chasin’ The Bird Remixed with Dormeshia Sumbry-Edwards, Derick K. Grant to be so close to the people too! Enjoying a great bowl of pasta Marcus Garvey Park 7 pm • Laura Ainsworth Metropolitan Room 7 pm $24 listening to world class jazz is the only way to go” êOrrin Evans Trio with Ben Wolfe, JD Walter Mezzrow 8 pm $20 John Pizzarelli, Grammy-nominated guitarist and singer êDave Rempis/Jaimie Branch; Gordon Beeferman, Chris Cochrane, Kevin Shea; Kate Mohanty solo; Samantha Riott Queer Trash 8 pm • Hot Club of Flatbush Radegast Hall 9 pm • Joe Magnarelli Silvana 6 pm Mondays with Roger Lent solo piano • Kevin Harris Jazz All Stars with Craig Handy, Mark Berman, Tony Garnier, Mike Clark; Hendrik Meurkens Quartet with David Berkman, Chris Berger, Peter Van Nostrand; 7-10pm no cover Jonathan Thomas Smalls 7:30, 10:30 pm 1 am $20 • George Burton Quartet with Terell Stafford, Pablo Menares, Jeremy Clemons Smoke 7, 9, 10:30 pm $12 AUGUST 1ST - 8/10 pm $10 COVER êTrio Teeth: Okkyung Lee, Booker Stardrum, Nels Cline The Stone 8:30 pm $20 Hilary Gardner & Ehud Asherie • Hendrik Helmer Trio with Geoff Burke, George Papageorge Symphony Space Bar Thalia 9 pm • Kurt Rosenwinkel Trio with Dario Fromit, Greg Hutchinson AUGUST 3RD - 9/11 pm $10 cover Village Vanguard 8:30, 10:30 pm $35 David Gibson Quintet Friday, August 25

• Kendra Shank/Dean Johnson 55Bar 6 pm AUGUST 8TH - 6-8 pm $15 cover êSongbook Summit—Richard Rodgers: Peter and Will Anderson, Molly Ryan, Jeb Patton, Clovis Nicolas, Phil Stewart *** Trio*** 59E59 Theaters 8 pm $35 • Richard Padron Trio with Ludwig Afonso, Dan Martinez Bar Next Door 7:30, 9:30, 11:30 pm $12 AUGUST 1OTH - 9/11 pm $10 cover • Benny Green Trio Birdland 8:30, 11 pm $40 êJames Carter Blue Note 8, 10:30 pm $35 Nick Myers & The Varitones • Armen Donelian Bryant Park 12:30 pm • Art Lillard Trio Cleopatra’s Needle 8 pm • NY Jazz Academy Student and Faculty Showcase AUGUST 15TH - 8/10 pm $5 cover Club Bonafide 3:15 pm • Trio Da Paz: Romero Lubambo, Nilson Matta, Duduka Da Fonseca and guests Maucha Adnet, Harry Allen, Claudio Roditi Jam Session hosted by Mike Sailors Dizzy’s Club 7:30, 9:30 pm $45 • Martina DaSilva/Justin Poindexter Dizzy’s Club 11:15 pm $10 • David Gibson Quintet; Craig Handy and 2nd Line Smith AUGUST 17TH - 9/11 pm $10 cover The Django at Roxy Hotel 8, 10 pm êHarvey Diamond, Lena Bloch, Lim Yang, Dayeon Seok Kat Gang and Matthew Fries The Drawing Room 7:30 pm $15 • Bobbi Humphrey Ginny’s Supper Club 7:30, 9:30 pm $20 • The Treehouse All-Stars: Dave Frank, Richard Tabnik, Jimmy Halperin, Frank Canino, AUGUST 22nd - 8/10 pm $10 cover BIlly Mintz Hari NYC 9 pm • Emi Makabe/Eva Novoa; Hery Paz, Eva Novoa, Kenneth Jiménez, Evan Hyde trio Ibeam Brooklyn 8, 9 pm $15 • Dominick Farinacci Quartet with Dan Kaufman, Jon Michel, Lawrence Leathers Jazz at Kitano 8, 10 pm $32 AUGUST 24th - 8/10 pm $10 cover êDafnis Prieto Big Band with Mike Rodriguez, Nathan Eklund, Alex Sipiagin, Josh Deutsch, Roman Filiu, Michael Thomas, Peter Apfelbaum, Joel Frahm, Citizens of the Blues Chris Cheek, Tim Albright, Alan Ferber, Jacob Garchik, Jeff Nelson, Manuel Valera, Ricky Rodriguez, Roberto Quintero Jazz Standard 7:30, 9:30 pm $30 AUGUST 29TH - 8/10 pm $10 cover êSummerstage/Charlie Parker Jazz Festival: Anat Cohen Tentet with Oded Lev-Ari, Rubin Kodheli, Stuart Mack, Nick Finzer, Owen Broder, James Shipp, Vitor Gonçalves, Dennis Joseph Quartet Sheryl Bailey, Joe Martin, Anthony Pinciotti; Camille Thurman Marcus Garvey Park 7 pm êJazzmeia Horn Medgar Evers College 7 pm • Jeanne Gies and Her Jazz Masters with Jack Wilkins, Andy McKee, Ray Blue, AUGUST 31st - 9/11 pm $10 cover Michael Rorby Metropolitan Room 7 pm $20 êJoanne Brackeen Mezzrow 8 pm $20 ***lew tabackin trio*** • Eugene Seow Group; Kevin Quinn Protocol with Mark Dziuba, David Savitsky, Sean Wayland, Daryl Chen, Mark Ferber ShapeShifter Lab 7 pm $10 • Kuumba Soul Band Silvana 6 pm • Joey “G-Clef” Cavaseno Quartet with Jeremy Bacon, William Ash, David F. Gibson; Luca’s Jazz Corner Melissa Aldana Quintet Smalls 7:30, 10:30 pm $20 êHarold Mabern Quintet with Freddie Hendrix, Eric Alexander, Nat Reeves, Smoke 7, 9, 10:30 pm $40 at Cavatappo Grill • Uri Gurvich Quartet with Luis Perdomo, Peter Slavov, Johnathan Blake and guest Bernardo Palombo The Stone at The New School 8:30 pm $20 êThe Ring Nebula Project: Dave Rempis, Taylor Ho Bynum, Chris Lightcap, 1712 First Avenue - (212) 987-9260 Michael TA Thompson, Nels Cline The Stone 8:30 pm $20 • Kurt Rosenwinkel Trio with Dario Fromit, Greg Hutchinson Village Vanguard 8:30, 10:30 pm $35 lucasjazzcorner.com

THE NEW YORK CITY JAZZ RECORD | AUGUST 2017 35 Saturday, August 26 • Ari Hoenig Trio with Nitai Hershkovits, Or Bareket; Jonathan Michel Group Smalls 10:30 pm 1 am $20 êSongbook Summit—Richard Rodgers: Peter and Will Anderson, Molly Ryan, REGULAR ENGAGEMENTS Jeb Patton, Clovis Nicolas, Phil Stewart 59E59 Theaters 2, 8 pm $35 Tuesday, August 29 MONDAY • Greg Skaff Trio with Ugonna Okegwo, Jonathan Barber • David Kuhn Trio with Jasper Dutz, Nick Dunston; Jure Pukl Trio with Carlo De Rosa, • Richard Clements/Murray Wall Band Bar Next Door 7:30, 9:30, 11:30 pm $12 11th Street Bar 8 pm • Benny Green Trio Birdland 8:30, 11 pm $40 Eric McPherson Bar Next Door 6:30, 8:30, 10:30 pm $12 • Grove Street Stompers Arthur’s Tavern 7 pm êJames Carter Blue Note 8, 10:30 pm $35 êCharlie Parker Birthday Celebration: Vincent Herring, Greg Osby, Jeremy Pelt, • Svetlana and the Delancey 5 • Walter Williams Trio Cleopatra’s Needle 8 pm Helen Sung, Lonnie Plaxico, The Back Room 8:30 pm • Trio Da Paz: Romero Lubambo, Nilson Matta, Duduka Da Fonseca and guests Birdland 8:30, 11 pm $40 • Earl Rose Bemelmans Bar 5:30, 9 pm êRoy Hargrove Blue Note 8, 10:30 pm $45 • Roger Lent solo Cavatappo Grill 7 pm Maucha Adnet, Harry Allen, Claudio Roditi • Jon Weiss Duo Cleopatra’s Needle 8 pm Dizzy’s Club 7:30, 9:30 pm $45 • Frank Owens Bryant Park 12:30 pm • Vince Giordano and The Nighthawks • Martina DaSilva/Justin Poindexter Dizzy’s Club 11:15 pm $20 • Dennis Joseph Quartet Cavatappo Grill 8 pm Iguana 8 pm • Ed Cherry Trio; Michael Stephenson • Maria Guida Trio with Jeff Barone, Harvie S • Iris Ornig Jam Session Jazz at Kitano 8 pm Cornelia Street Underground 6 pm $10 • Mingus Big Band Jazz Standard 7:30, 9:30 pm $25 The Django at Roxy Hotel 8, 10 pm • Glenn Crytzer Orchestra Kola House 7 pm • Martin Porter Group The Drawing Room 7 pm $20 • Axel Tosca Dizzy’s Club 7:30, 9:30 pm $35 • JFA Jam Session Local 802 7 pm êDissident Arts Festival: Bern Nix Tribute Trio: Matt Lavelle, François Grillot, • Patrick Bartley Dizzy’s Club 11:15 pm $5 • Dred Scott Trio Rockwood Music Hall Stage 1 12 am Reggie Sylvester; The Beyond Group: Pyle, Ingrid Laubrock, Larry Roland, êRaymond Macdonald/George Burt Downtown Music Gallery 6 pm • Vincent Herring Quartet and Smoke Jam Session Newman Taylor Baker; Ras Moshe’s Music Now! with Lee Odom, Dave Ross, • Saul Rubin Zebtet; Itai Kriss and Gato Gordo; John Benitez Latin Bop Smoke 7, 9, 10:30 pm Fat Cat 7, 9 pm 12:30 am $10 • Swingadelic Swing 46 8:30 pm Larry Roland, Charles Downs, John Pietaro • Vanguard Jazz Orchestra Henry Winston Unity Hall 7 pm • Kazuhiro Yokoshima solo Jazz at Kitano 8 pm Village Vanguard 8:30, 10:30 pm $30 êBilly Mintz Quintet with Tony Malaby, John Gross, Roberta Piket, Hilliard Greene • Kendrick Scott Oracle with John Ellis, Mike Moreno, Aaron Parks, Ben Williams Ibeam Brooklyn 8:30 pm $15 Jazz Standard 7:30, 9:30 pm $25 TUESDAY • Arun Ramamurthy, Jay Gandhi, Sameer Gupta; Pawan Benjamin, Arun Ramamurthy, • Steve Turre Band with Javon Jackson, , Jimmy Cobb • Nick West’s Westet Analogue 7 pm Iridium 8 pm $30-40 Jay Gandhi, Sharik Hasan, Michael Gam, Sameer Gupta • Yuichi Hirakawa Trio Arthur’s Tavern 7 pm • Marlene VerPlanck Trio with Mike Renzi, Jay Leonhart ShapeShifter Lab 7, 8:15 pm • Art Hirahara Trio Arturo’s 8 pm Jazz at Kitano 8, 10 pm $32 • Andrew Pereira Quartet Shrine 7 pm • Joel Forrester solo The Astor Room 6 pm êDafnis Prieto Big Band with Mike Rodriguez, Nathan Eklund, Alex Sipiagin, • Spike Wilner Trio with Paul Gill, Anthony Pinciotti; Abraham Burton Quartet • Chris Gillespie; Loston Harris Smalls 7:30 pm 1 am $20 Bemelmans Bar 5:30, 9:30 pm Josh Deutsch, Roman Filiu, Michael Thomas, Peter Apfelbaum, Joel Frahm, • Marc Devine Trio Cleopatra’s Needle 8 pm Chris Cheek, Tim Albright, Alan Ferber, Jacob Garchik, Jeff Nelson, Manuel Valera, êTrevor Dunn solo The Stone 8:30 pm $20 • Battle Of The Horns Farafina Jazz Café and Lounge 8 pm Ricky Rodriguez, Roberto Quintero • Kurt Rosenwinkel Quintet with Mark Tuner, Nitai Hershkovits, Dario Fromit, • and The Robu Trio Jazz Standard 7:30, 9:30 pm $30 Marcus Gilmore Village Vanguard 8:30, 10:30 pm $35 The Five Spot Brooklyn 6 pm $10 • Diego Voglino Jam Session Halyard’s 10 pm êSummerstage/Charlie Parker Jazz Festival: Lee Konitz Quartet with Dan Tepfer, • Vince Giordano and The Nighthawks Jeremy Stratton, George Schuller; Terri Lyne Carrington and Social Science; Iguana 8 pm Louis Hayes Serenade for Horace with Abraham Burton, Steve Nelson, David Bryant, Wednesday, August 30 • Miki Yamanaka/Adi Meyerson “Polite” Jam Session Dezron Douglas; Charenee Wade Marcus Garvey Park 3 pm Mezzrow 11 pm êJoanne Brackeen Mezzrow 8 pm $20 • Paul Jost 55Bar 7 pm • Mona’s Hot Four Mona’s 11 pm êCharlie Parker Birthday Celebration: Vincent Herring, Greg Osby, Jeremy Pelt, • Mike LeDonne Quartet; Emmet Cohen Band êDave Rempis, Nate Wooley, Brandon Lopez Smoke 7, 9, 10:30, 11:30 pm New Revolution Arts 8 pm Helen Sung, Lonnie Plaxico, Billy Drummond • George Gee Orchestra Swing 46 8:30 pm • Kuumba Soul Band Shrine 6 pm Birdland 8:30, 11 pm $40 • Evolution Series Jam Session êEddie Allen Quintet with Bruce Williams, Misha Tsiganov, Kenny Davis, êRoy Hargrove Blue Note 8, 10:30 pm $45 Zinc Bar 11 pm Jerome Jennings; Melissa Aldana Quintet; Philip Harper Quintet • Frank Owens Bryant Park 12:30 pm Smalls 7:30, 10:30 pm 1 am $20 êSquirrel Nut Zippers City Winery 8 pm $40-55 WEDNESDAY êHarold Mabern Quintet with Freddie Hendrix, Eric Alexander, Nat Reeves, • Tomoko Omura Roots Quintet with Jeff Miles, Glenn Zaleski, Noah Garabedian, • Bill Wurtzel/Jay Leonhart American Folk Art Museum 2 pm Joe Farnsworth Smoke 7, 9, 10:30 pm $40 Jay Sawyer Club Bonafide 7:30 pm $10 • Monika Oliveira Analogue 7 pm • Uri Gurvich Quartet with Luis Perdomo, Peter Slavov, Johnathan Blake and guest • Ann Hampton Callaway Dizzy’s Club 7:30, 9:30 pm $40 • Eve Silber Arthur’s Tavern 7 pm Patrick Bartley Dizzy’s Club 11:15 pm $5 • Jonathan Kreisberg Trio Bar Next Door 8:30, 10:30 pm $12 Bernardo Palombo The Stone at The New School 8:30 pm $20 • • Chris Gillespie; Loston Harris êBando Bro Jo: , Brandon Seabrook, Mary Halvorson, Julian Lage, • Raphael D’lugoff Trio +1; Ned Goold Jam Bemelmans Bar 5:30, 9:30 pm Ava Mendoza, Nels Cline The Stone 8:30 pm $20 Fat Cat 7 pm 12:30 am $10 • David Ostwald’s Louis Armstrong Centennial Band • Kurt Rosenwinkel Trio with Dario Fromit, Greg Hutchinson êJazzMobile: Grant’s Tomb 7 pm Birdland 5:30 pm $20 êAlan Broadbent Trio with Harvie S, Billy Mintz • Les Kurtz Trio Cleopatra’s Needle 7 pm Village Vanguard 8:30, 10:30 pm $35 • Pasquale Grasso; Django Jam Session Jazz at Kitano 8, 10 pm $17 The Django 8:30, 11 pm • Kendrick Scott Oracle with John Ellis, Mike Moreno, Aaron Parks, Ben Williams • Mark Kross and Louise Rogers WaHi Jazz Jam Sunday, August 27 Jazz Standard 7:30, 9:30 pm $25 Le Chéile 8 pm • Dred Scott Trio with Ben Rubin, Tony Mason • Tony Hewitt/Pete Malinverni Mezzrow 11 pm êSongbook Summit—Richard Rodgers: Peter and Will Anderson, Molly Ryan, Mezzrow 8 pm $20 • Lezlie Harrison; Mel Davis B3 Trio and Organ Jam Jeb Patton, Clovis Nicolas, Phil Stewart êThe Stone Commissions: Mary Halvorson/Ambrose Akinmusire Smoke 7, 9, 10:30, 11:30 pm 59E59 Theaters 3, 7:15 pm $35 National Sawdust 7 pm $25 • Lorin Cohen Birdland 6 pm $30 • Roxy Coss Quintet Rockwood Music Hall Stage 3 8:30 pm $10 THURSDAY • Kat Gang with Matthew Fries, Phil Palombi, Tim Bulkley • Nanny Assis and Friends Blue Note 11:30 am 1:30 pm $39.50 • Ray Blue Organ Quartet American Legion Post 398 7 pm êJames Carter Blue Note 8, 10:30 pm $35 Saint Peter’s Church 1 pm $10 • Chris Gillespie; Loston Harris • Trio Da Paz: Romero Lubambo, Nilson Matta, Duduka Da Fonseca and guests • Will Vinson Quartet with Kevin Hays, Matt Brewer, ; Bemelmans Bar 5:30, 9:30 pm Maucha Adnet, Harry Allen, Claudio Roditi Tivon Pennicott Group; Aaron Seeber • Spike Wilner Mezzrow 11 pm Smalls 7:30, 10:30 pm 1 am $20 • Gene Bertoncini Ryan’s Daughter 8:30, 10:30 pm Dizzy’s Club 7:30, 9:30 pm $35 • Stan Rubin Orchestra Swing 46 8:30 pm • Terry Waldo’s Gotham City Band; Brandon Lewis/Renee Cruz • SpermChurch with , Sannety • Rob Duguay Low Key Trio Turnmill NYC 11 pm Fat Cat 6 pm 1 am $10 The Stone 8:30 pm $20 • Steve Turre Band with Javon Jackson, Ron Carter, Jimmy Cobb • Kurt Rosenwinkel Quintet with Mark Tuner, Nitai Hershkovits, Dario Fromit, FRIDAY Iridium 8 pm $30-40 Marcus Gilmore Village Vanguard 8:30, 10:30 pm $35 • Eri Yamamoto Trio Arthur’s Tavern 7 pm • Jay Sawyer Trio with Michael King, Endea Owens • The Crooked Trio Barbès 5 pm Jazz Standard 11:30 am 1:30 pm $35 • Chris Gillespie; Loston Harris êDafnis Prieto Big Band with Mike Rodriguez, Nathan Eklund, Alex Sipiagin, Thursday, August 31 Bemelmans Bar 5:30, 9:30 pm Josh Deutsch, Roman Filiu, Michael Thomas, Peter Apfelbaum, Joel Frahm, • Birdland Big Band Birdland 5:15 pm $25 • Tommaso Gambini Trio with Cole Davis, Dan Nedau; Yuto Kanazawa Trio with • Johnny O’Neal Mezzrow 11 pm Chris Cheek, Tim Albright, Alan Ferber, Jacob Garchik, Jeff Nelson, Manuel Valera, • Nico Soffiato Nha Minh 7 pm Ricky Rodriguez, Roberto Quintero Zwelakhe-Duma Bell Le Pere, Jonathan Barber • Gerry Eastman Quartet Williamsburg Music Center 10 pm Jazz Standard 7:30, 9:30 pm $30 Bar Next Door 6:30, 8:30, 10:30 pm $12 êYoni Kretzmer, John Hébert, Billy Mintz; Dave Rempis, Michael Foster, Brandon Lopez, êCharlie Parker Birthday Celebration: Vincent Herring, Greg Osby, Jeremy Pelt, SATURDAY Weasel Walter Legion Bar 8 pm $10-15 Helen Sung, Lonnie Plaxico, Billy Drummond Birdland 8:30, 11 pm $40 • Eri Yamamoto Trio Arthur’s Tavern 7 pm êLage Lund/Sullivan Fortner Mezzrow 8 pm $20 • Chris Gillespie; Loston Harris • Kate Baker Trio with Vic Juris, Todd Coolman êRoy Hargrove Blue Note 8, 10:30 pm $45 Bemelmans Bar 5:30, 9:30 pm North Square Lounge 12:30, 2 pm • Frank Owens Bryant Park 12:30 pm • Bill Saxton and the Harlem Bebop Band • Elsa Nilsson Quartet Rockwood Music Hall Stage 1 6 pm êLew Tabackin Trio Cavatappo Grill 9 pm Bill’s Place 8, 10 pm $20 • Joe Bonacci Duo Cleopatra’s Needle 7 pm • Joel Forrester Café Loup 12:30 pm • Sari Kessler Saint Peter’s Church 5 pm • Stan Rubin Orchestra Carnegie Club 8:30, 10:30 pm êJohnny O’Neal Trio with Ben Rubens, Itay Morchi; Bruce Harris Group; Robert Edwards • Dorian Devins with Lou Rainone, Paul Gill • Assaf Kehati Duo Il Gattopardo 11:30 am Smalls 7:30, 10:30 pm 1 am $20 Cornelia Street Underground 6 pm $10 • Johnny O’Neal Smoke 11:45 pm 12:45 am êHarold Mabern Quintet with Freddie Hendrix, Eric Alexander, Nat Reeves, • Jazzrausch Bigband David Rubenstein Atrium 7:30 pm Joe Farnsworth Smoke 7, 9, 10:30 pm $40 • Ann Hampton Callaway Dizzy’s Club 7:30, 9:30 pm $40 SUNDAY Patrick Bartley Dizzy’s Club 11:15 pm $10 êNels Cline/Julian Lage The Stone 8:30 pm $20 • • Sam Martinelli Trio Analogue 6:30 pm êSummerstage/Charlie Parker Jazz Festival: Joshua Redman Quartet with êSax Appeal: Jimmy Heath, Gary Bartz, Javon Jackson, with • Creole Cooking Jazz Band; Stew Cutler and Friends , Reuben Rogers, Marcus Gilmore; Lou Donaldson; Tia Fuller; Jeremy Manasia, David Williams, McClenty Hunter Arthur’s Tavern 7, 10 pm Alicia Olatuja Tompkins Square Park 3 pm Iridium 8, 10 pm $35-45 • Peter Mazza Trio Bar Next Door 8, 10 pm $12 êTony Hewitt Quartet with David Kikoski, Rick Rosato • Earl Rose solo; Billy Stritch and Jim Caruso Trio • Kurt Rosenwinkel Trio with Dario Fromit, Greg Hutchinson Bemelmans Bar 5, 9 pm Village Vanguard 8:30, 10:30 pm $35 Jazz at Kitano 8, 10 pm $17 • Arturo O’Farrill Afro Latin Jazz Orchestra êCyrus Chestnut with Buster Williams, Lenny White Birdland 9, 11 pm $30 Jazz Standard 7:30, 9:30 pm $35 • Glenn Crytzer Trio Blacktail 8 pm Monday, August 28 êBob DeVos/Andy LaVerne Mezzrow 8 pm $20 • Keith Ingham Trio Cleopatra’s Needle 4 pm Shanir Ezra Blumenkranz Russ & Daughters Café 8 pm • Trampelman Dominie’s Astoria 9 pm • • The EarRegulars The Ear Inn 8 pm • Itai Kriss Quartet Bar Lunàtico 8:30, 10 pm $10 • Andres Rot/Angela Watson Silvana 6 pm • Joel Forrester solo Grace Gospel Church 11 am • Daniel Dickinson Trio with Hugh Stuckey, Noel Mason; Dana Reedy Trio with • Willy Rodriguez Quintet; Nick Hempton Band • Tony Middleton Trio Jazz at Kitano 12 pm $40 Pete McCann, Morrie Louden Bar Next Door 6:30, 8:30, 10:30 pm $12 Smalls 7:30, 10:30 pm $20 • John Merrill Mezzrow 11 pm ê • Brandon Bain with Wayne Tucker, Marvin Dolly, Willerm Delisfort, Jonathan Michel, • Marjorie Eliot/Rudell Drears/Sedric Choukroun Eddie Palmieri Blue Note 8, 10:30 pm $45 Parlor Entertainment 4 pm • Frank Owens Bryant Park 12:30 pm Malik Washingon Smoke 7, 9, 10:30 pm $12 • Lu Reid Jam Session Shrine 4 pm êBill O’Connell Latin Jazz All-Stars with Steve Slagle, Conrad Herwig, Luques Curtis, • The Secret Quartet: Jennifer Choi, Dufalo, Ljova Zhurbin, Yves Dharamraj • Annette St. John; Wilerm Delisfort Quartet Richie Barshay, Roman Diaz Dizzy’s Club 7:30, 9:30 pm $30 and guest Kris Davis The Stone 8:30 pm $20 Smoke 11:30 am 11:45 pm • Sullivan Fortner Mezzrow 8 pm $20 • Kurt Rosenwinkel Quintet with Mark Tuner, Nitai Hershkovits, Dario Fromit, • Sean Smith and guest Walker’s 8 pm Marcus Gilmore Village Vanguard 8:30, 10:30 pm $35

36 AUGUST 2017 | THE NEW YORK CITY JAZZ RECORD CLUB DIRECTORY

• 5C Café 68 Avenue C • Downtown Music Gallery 13 Monroe Street (212-473-0043) • Mona’s 224 Avenue B Subway: L to First Avenue (212-477-5993) Subway: F, V to Second Avenue www.5cculturalcenter.org Subway: F to East Broadway www.downtownmusicgallery.com • National Sawdust 80 N. 6th Street • 32nd Police Precinct 250 W. 135th Street • The Drawing Room 56 Willoughby Street #3 (917-648-1847) (646-779-8455) Subway: L to Bedford Avenue www.nationalsawdust.org (212-690-6311) Subway: 2, 3 to 135th Street Subway: A, C, F to Jay Street/Metrotech www.drawingroommusic.com • New Revolution Arts 7 Stanhope Street • 55Bar 55 Christopher Street (212-929-9883) • The Ear Inn 326 Spring Street at Greenwich Street (212-246-5074) Subway: J to Kosciuszko Street Subway: 1 to Christopher Street www.55bar.com Subway: C, E to Spring Street www.earinn.com www.jazzrightnow.com/new-revolution-arts-series • 59E59 Theaters 59 East 59th Street • Farafina Café & Lounge Harlem 1813 Amsterdam Avenue • New School Tishman Auditorium 66 W. 12th Street (212-753-5959) Subway: 4, 5, 6 to 59th Street www.59e59.org (212-281-2445) Subway: 1 to 145th Street (212-229-5488) Subway: F, L, M to 14th Street • American Folk Art Museum 65th Street at Columbis Avenue www.farafinacafeloungeharlem.com • New York Botanical Garden Conservatory 2900 Southern Boulevard, Bronx (212-595-9533) Subway: 1 to 66th Street www.folkartmuseum.org • Fat Cat 75 Christopher Street at 7th Avenue (212-675-6056) (718-817-8700) Subway: 4 to Fordham Road www.nybg.org • American Legion Post 398 248 W. 132nd Street Subway: 1 to Christopher Street/Sheridan Square www.fatcatmusic.org • New York City Baha’i Center 53 E. 11th Street (212-222-5159) (212-283-9701) Subway: 2, 3 to 135th Street www.legion.org • The Five Spot 459 Myrtle Avenue, Brooklyn (718-852-0202) Subway: 4, 5, 6, N, R to 14th Street-Union Square www.bahainyc.org • American Museum of Natural History 79th Street and Central Park West Subway: G to Clinton/Washington www.fivespotsoulfood.com • Nhà Minh 485 Morgan Avenue (212-769-5100) Subway: B, C to 81st Street-MNH www.amnh.org • The Flatiron Room 37 West 26th Street (718-387-7848) Subway: L to Graham Avenue • An Beal Bocht Café 445 W. 238th Street (212-725-3860) Subway: N, R to 28th Street www.theflatironroom.com www.nhaminh.squarespace.com Subway: 1 to 238th Street www.LindasJazzNights.com • Flushing Town Hall 137-35 Northern Boulevard, Flushing • North Square Lounge 103 Waverly Place (212-254-1200) • Analogue 19 West 8th Street (212-432-0200) (718-463-7700) Subway: 7 to Main Street www.flushingtownhall.org Subway: A, B, C, E, F to West 4th Street www.northsquareny.com Subway: A, B, C, D, E, F, M to W. 4th Street www.analoguenyc.com • Freddy’s Backroom 627 5th Avenue, Brooklyn • The Owl Music Parlor 497 Rogers Avenue, Brooklyn • The Archway Water Street Brooklyn Subway: F to York Street (718-768-0131) Subway: R to Prospect Avenue www.freddysbar.com (718-774-0042) Subway: 2, to to Sterling Street www.theowl.nyc www.dumbo.is • Gantry Plaza State Park 49th Avenue and Center Boulevard • Parlor Entertainment 555 Edgecombe Ave. #3F • Art Café 884-886 Pacific Street Subway: 7 to Vernon-Jackson Boulevard (212-781-6595) Subway: C to 155th Street (718-857-2522) Subway: C to Clinton-Washington Avenue • Ginny’s Supper Club at Red Rooster Harlem 310 Malcolm X Boulevard • The Penrose 1590 2nd Avenue • Arthur’s Tavern 57 Grove Street (212-675-6879) (212-792-9001) Subway: 2, 3 to 125th Street www.ginnyssupperclub.com (212-203-2751) Subway: 4, 5, 6 to 86th Street www.penrosebar.com Subway: 1 to Christopher Street www.arthurstavernnyc.com • Goddard Riverside Community Center 593 Columbus Avenue • Pier 45 Subway: 1 to Chistopher Street • Arturo’s 106 W. Houston Street (at Thompson Street) (212-873-6600, ext. 314) Subway: 1 to 86th Street www.goddard.org • Prospect Park Bandshell Subway: F to Prospect Park (212-677-3820) Subway: A, B, C, D, E, F, M to W. 4th Street • Grace Gospel Church 589 East 164th Street • Putnam Triangle Plaza 22 Putnam Avenue, Brooklyn • The Astor Room 34-12 36th Street, Queens (718-328-0166) Subway: 2, 5 to Prospect Avenue (212-639-9675) Subway: A, C to Clinton-Washington Avenue (718-255-1947) Subway: M, R to Steinway Street www.astorroom.com • Grant’s Tomb 122nd Street and Riverside Drive Subway: 1 to 125th Street www.nycgovparks.org • BB King’s Blues Bar 237 W. 42nd Street • Halyard’s 406 3rd Avenue, Brooklyn • Queer Trash 1090 Wyckoff Avenue Subway: L to Halsey Street (212-997-2144) Subway: 1, 2, 3, 7 to 42nd Street/Times Square (718-532-8787) Subway: R to 9th Street www.barhalyards.com • Radegast Hall 113 N. 3rd Street www.bbkingblues.com • Hari NYC 140 W 30th Street, 3rd floor Subway: 1 to 28th Street (718-963-3973) Subway: L to Bedford Avenue www.radegasthall.com • Bar Lunàtico 486 Halsey Street • Henry Winston Unity Hall 235 W. 23rd Street, 7th floor • Rockwood Music Hall 196 Allen Street (212-477-4155) (917-495-9473) Subway: C to Kingston-Throop Avenues Subway: 1 to 23rd Street www.facebook.com/NewMassesNights Subway: F, V to Second Avenue www.rockwoodmusichall.com • Bar Next Door 129 MacDougal Street (212-529-5945) • HOLO 1563 Decatur Street Subway: L to Halsey Street • The Roxy Hotel 2 Sixth Avenue (212-519-6600) Subway: A, B, C, D, E, F, M to W. 4th Street www.lalanternacaffe.com • Hudson River Park 555 12th Avenue at 44th Street Subway: A, C, E to Canal Street; 1 to Franklin Street www.roxyhotelnyc.com • Barbès 376 9th Street at 6th Avenue, Brooklyn (718-965-9177) (212-627-2020) Subway: A, C, E, F, V to 42nd Street-Port Authority • Rubin Museum 150 W. 17th Street Subway: F to 7th Avenue www.barbesbrooklyn.com www.hudsonriverpark.org (212-620-5000) Subway: A, C, E to 14th Street www.rmanyc.org • Beacon Theatre 2124 Broadway at 74th Street • Ibeam Brooklyn 168 7th Street between Second and Third Avenues • Russ & Daughters Café 127 Orchard Street (212-496-7070) Subway: 1, 2, 3 to 72nd Street www.beacontheatre.com Subway: F to 4th Avenue www.ibeambrooklyn.com (212-475-4881) Subway: F to Delancey Street • Bemelmans Bar 35 E. 76th Street (212-744-1600) • Iguana 240 West 54th Street (212-765-5454) www.russanddaughterscafe.com Subway: 6 to 77th Street www.thecarlyle.com Subway: B, D, E, N, Q, R to Avenue www.iguananyc.com • Saint Peter’s Church 619 Lexington Avenue at 54th Street • Bill’s Place 148 W. 133rd Street (between Lenox and 7th Avenues) • Il Gattopardo 13-15 W. 54th Street (212-935-2200) Subway: 6 to 51st Street www.saintpeters.org (212-281-0777) Subway: 2, 3 to 135th Street (212-246-0412) Subway: E, M to Avenue/53rd Street • Scholes Street Studio 375 Lorimer Street • Birdland 315 W. 44th Street (212-581-3080) www.ilgattopardonyc.com (718-964-8763) Subway: L to Lorimer Street; G to Broadway Subway: A, C, E, to 42nd Street www.birdlandjazz.com • Iridium 1650 Broadway at 51st Street (212-582-2121) www.scholesstreetstudio.com • Blacktail 2nd floor, Pier A Harbor House, 22 Battery Place Subway: 1,2 to 50th Street www.theiridium.com • ShapeShifter Lab 18 Whitwell Place (212-785-0153) Subway: 4, 5 to Bowling Green www.blacktailnyc.com • Jazz at Kitano 66 Park Avenue at 38th Street (212-885-7000) (646-820-9452) Subway: R to Union Street www.shapeshifterlab.com • Blue Note 131 W. 3rd Street at 6th Avenue (212-475-8592) Subway: 4, 5, 6, 7, S to Grand Central www.kitano.com • Showman’s 375 W. 125th Street at Morningside (212-864-8941) Subway: A, B, C, D, E, F, M to W. 4th Street www.bluenotejazz.com • The Jazz Gallery 1160 Broadway, 5th floor (212-242-1063) Subway: A, B, C, D to 125th Street www.showmansjazz.webs.com • Brooklyn Bridge Park Furman Street and Atlantic Avenue Subway: N, R to 28th Street www.jazzgallery.org • Shrine 2271 Adam Clayton Powell Boulevard (212-690-7807) Subway: A, C to High Street; 2, 3 to Clark Street • Jazz Museum in Harlem 58 W. 129th Street between Madison and Lenox Subway: B, 2, 3 to 135th Street www.shrinenyc.com • Brooklyn Museum of Art 200 Eastern Parkway Avenues (212-348-8300) Subway: 6 to 125th Street • Silvana 300 West 116th Street (718-638-5000) Subway: 2, 3 to Eastern Parkway www.jazzmuseuminharlem.org (646-692-4935) Subway: B, C, to 116th Street www.silvana-nyc.com www.brooklynmuseum.org • Jazz Standard 116 E. 27th between Park and Lexington Avenue • Sir D’s 837 Union Street, Brooklyn Subway: M, R to Union Street • Brooklyn Waterfront Artists Coalition 499 Van Brunt Street (212-576-2232) Subway: 6 to 28th Street www.jazzstandard.net • Skinny Dennis 152 Metropolitan Avenue (718-596-2507) Subway: F to Smith - 9 Streets www.bwac.org • Joe’s Pub at the Public Theater 425 Lafayette Street Subway: G to Metropolitan Avenue www.skinnydennisbar.com • Bryant Park 5th and 6th Avenues between 40th and 42nd Streets (212-539-8770) Subway: N, R to 8th Street-NYU; 6 to Astor Place • Smalls 183 W 10th Street at Seventh Avenue (212-252-5091) Subway: 4, 5, 6 to 42nd Street www.bryantpark.org www.joespub.com Subway: 1 to Christopher Street www.smallsjazzclub.com • Café Carlyle 35 E. 76th Street (212-744-1600) • Kola House 408 W. 15th Street • Smoke 2751 Broadway between 105th and 106th Streets Subway: 6 to 77th Street www.thecarlyle.com (646-869-8873) Subway: A, C, E, L to 14th Street www.kolahouse.com (212-864-6662) Subway: 1 to 103rd Street www.smokejazz.com • Café Loup 105 W. 13th Street between Sixth and Seventh Avenues • Korzo 667 5th Avenue Brooklyn (718-285-9425) Subway: R to Prospect Avenue • Socrates Sculpture Park 32-01 Vernon Boulevard, Long Island City (212-255-4746) Subway: F to 14th Street www.cafeloupnyc.com www.facebook.com/konceptions (718-956-1819) Subway: 7 to Vernon Boulevard-Jackson Avenue; • Caffe Vivaldi 32 Jones Street Subway: A, B, C, D, E, F, Q, V • Lantern Hall 52 Harrison Place M to Broadway www.socratessculpturepark.org to W. 4th Street-Washington Square www.caffevivaldi.com (718-381-2122) Subway: L to Morgan Avenue www.lanternhall.com • The Stone Avenue C and 2nd Street • Carnegie Club 156 W. 56th Street • Le Chéile 839 W. 181st Street Subway: F to Second Avenue www.thestonenyc.com (212-957-9676) Subway: N, Q, R, W to 57th-Seventh Avenue (212-740-3111) Subway: A to 181st Street www.lecheilenyc.com • The Stone at The New School 55 West 13th Street • Cavatappo Grill 1712 First Avenue • Le Poisson Rouge 158 Bleecker Street (212-229-5600) Subway: F, V to 14th Street www.thestonenyc.com (212-987-9260) Subway: 4, 5, 6 to 86th Street www.cavatappo.com (212-228-4854) Subway: A, B, C, D, E, F, V to W. 4th Street • Swing 46 349 W. 46th Street (646-322-4051) • The Cell 338 West 23rd Street www.lepoissonrouge.com Subway: A, C, E to 42nd Street www.swing46.com (646-861-2253) Subway: C, E to 23rd Street www.thecelltheatre.org • Legion Bar 790 Metropolitan Avenue • Symphony Space Leonard Nimoy Thalia, Peter Jay Sharpe Theatre • Central Park Great Hill 105th Street Subway: B, C to 103rd Street (718-387-3797) Subway: L to Graham Avenue www.legionbrooklyn.com and Bar Thalia 2537 Broadway at 95th Street (212-864-5400) • Central Park Summerstage, Rumsey Playfield • Local 802 322 W. 48th Street between Eighth and Ninth Avenues Subway: 1, 2, 3 to 96th Street www.symphonyspace.org 72nd Street and Fifth Avenue (212-360-2777) (212-245-4802) Subway: C to 50th Street www.jazzfoundation.org • Terraza 7 40-19 Gleane Street Subway: B, D to 72nd Street www.summerstage.org • Louis Armstrong House 34-56 107th Street, Queens (718-803-9602) Subway: 7 to 82nd Street www.terrazacafe.com • City Winery 155 Varick Street (718-478-8274) Subway: 7 to 11th Street www.satchmo.net • Tomi Jazz 239 E. 53rd Street (212-608-0555) Subway: 1 to Houston Street www.citywinery.com • Madison Square Park 5th Avenue and 23rd Street (646-497-1254) Subway: 6 to 51st Street www.tomijazz.com • Cleopatra’s Needle 2485 Broadway (212-769-6969) Subway: R, W to 23rd Street • Tompkins Square Park 7th to 10th Streets between Avenue A and Avenue B Subway: 1, 2, 3 to 96th Street www.cleopatrasneedleny.com • Marcus Garvey Park 120th Street between Mt. Morris Park and Madison (212-387-7685) Subway: L to 1st Avenue; 6 to Astor Place • Club Bonafide 212 E. 52nd Street (646-918-6189) Subway: 6 to 51st Street; Avenue (212-201-PARK) Subway: 2, 3, 4, 5, 6 to 125th Street • The Treehouse 833 Broadway at 13th Street, Suite #6 E, V to 53rd Street www.clubbonafide.com • Medgar Evers College 1650 Bedford Avenue, Brooklyn Subway: 4, 5, 6, L, N, R to 14th Street-Union Square • Cornelia Street Underground 29 Cornelia Street (212-989-9319) Subway: 2, 3, 4 to Franklin Street • Turnmill NYC 119 East 27th Street Subway: A, B, C, D, E, F, M to W. 4th Street www.corneliastreetcafé.com • Metropolitan Room 34 W. 22nd Street (212-206-0440) (646-524-6060) Subway: 6 to 27th Street www.turnmillnyc.com • The Cutting Room 44 E. 32nd Street Subway: N, R to 23rd Street www.metropolitanroom.com • Village Vanguard 178 Seventh Avenue South (212-255-4037) (212-691-1900) Subway: 6 to 33rd Street www.thecuttingroomnyc.com • Mezzrow 163 W. 10th Street Subway: 1, 2, 3 to 14th Street www.villagevanguard.com • Damrosch Park at Lincoln Center Broadway and 62nd Street (646-476-4346) Subway: 1 to Christopher Street www.mezzrow.com • Walker’s 16 North Moore Street (212-941-0142) Subway: A, C, E to Canal Street Subway: 1 to 66th Street • Milk River Café 960 Atlantic Avenue • Whitney Museum 1845 Madison Avenue at 75th Street • David Rubenstein Atrium Broadway at 60th Street (718-636-8600) Subway: C, S to Franklin Avenue (800-944-8639) Subway: 6 to 77th Street www.whitney.org (212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.milkriverbrooklyn.com • Williamsburg Music Center 367 Bedford Avenue, Brooklyn, NY www.LincolnCenter.org/Atrium • Minton’s 206 West 118th Street (718-384-1654) Subway: L to Bedford Avenue • Dizzy’s Club Broadway at 60th Street, 5th Floor (212-258-9800) (212-243-2222) Subway: B, C to 116th Street www.mintonsharlem.com • Zinc Bar 82 W. 3rd Street Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.jalc.org • MIST - My Image Studios 40 West 116th Street (212-477-8337) Subway: A, B, C, D, E, F, M to W. 4th Street • Dominie’s Astoria 34-07 30th Avenue Subway: N, Q to 30th Avenue Subway: 2, 3 to 116th Street www.mistharlem.com www.zincbar.com

THE NEW YORK CITY JAZZ RECORD | AUGUST 2017 37 (INTERVIEW CONTINUED FROM PAGE 6) University and the Manhattan School of Music. In (LABEL CONTINUED FROM PAGE 11) what ways do the young music students of 2017 differ VH: I’m sure there were musical lessons I learned from when you were their age back in the ‘80s? about the label,” he notes. “Everybody is free, and even when I was with Nat Adderley, but one of the most encouraged, to record somewhere else. We’re very proud important things I learned was that Nat was just VH: Students today, overall, are much more prepared, of all the releases, but some musicians or bands would a great person. Nat was just a really kind man and had much more aware, much more in tune than me and my be happy to get more exposure for a project than what a really kind spirit. I matured quite a bit when I played peers were at the same age. There are some things that you get with Circum-Disc. This is a micro-economy, with Nat and I started to appreciate people in are better and some things that are not as good. One of especially in our field. I guess we are just happy to be a different kind of way. the things that is better is that they are able to able to publish our music and to make it known.” With some other bands, like Horace Silver’s, I was experience and hear great players via video, YouTube The majority of Circum-Disc’s projects are really not ready for that job when I got it. But I couldn’t and things like that online. available as CDs, three are on both CD and LP, with turn it down, being a young musician who had a It’s not as good as getting to hear these people only one, Empty Orchestras, Orins’ solo disc, accessible chance to play with Horace. Between needing the live; through no fault of their own, they didn’t get to on vinyl and as a download. All sessions can be money and wanting to play with Horace, I took it. I hear them live. But in terms of having mechanical downloaded from the Circum-Disc website as or enjoyed the experience, but I wasn’t ready for it. When information about the music, they’re much more in high-resolution FLAC files as well as through streaming we were finished, I was immediately working hard to tune and often come in very well-informed and more services or platforms like iTunes and Amazon. try to improve my musicianship and it gave me the technically proficient than me and my peers were. “Physical sales are still much more important and direction and the motivation for developing myself. numerous for us,” Orins reports. “But for unknown That was in 1986 or 1987. TNYCJR: That’s saying a lot because the ‘80s is the era projects or musicians, being available on the web or on that gave us Wynton and Branford Marsalis, Terence streaming platforms can help promote sales.” TNYCJR: Art Blakey? Blanchard, Donald Harrison and many others— Two non-Muzzix members who collaborate with The Young Lions. Orins and trumpeter Pruvost are pianist Satoko Fujii and VH: When I worked with Art, I had just really started trumpeter Natsuki Tamura. Their band Kaze has three to get it together, playing decent. And that was one of VH: I’m telling you: the percentage of people that are CDs on Circum-Disc and, with pianist Sophie Agnel and my target jobs that I wanted. But at the same time, prepared is higher now. I’ll put it to you like this. Are Didier Lasserre added to the quartet, have a new CD, I had met Nat and started playing with him and Nat you into sports? People want to talk about how great June, released earlier this year. Others scheduled sessions was just a great person. We were the best of friends. the NBA was in the ‘60s, ‘70s and ‘80s. But guys now, will be guitarist Ivann Cruz’ first solo album, the fifth I called Nat up to tell him I had just finished two weeks their skill set is so superior. Their physical training and CD by pianist Stefan Orins’ trio and the fourth by the with Art at Sweet Basil and we were going to Europe nutrition is so superior. Any of these peak athletes TOC trio with Ternoy. Despite the presence of sessions on such and such a date. Before that—months before would have been a freak of nature back in the day. A lot by non-Muzzix members such as Fujii and Tamura, that—I was always pressuring Nat, “Hey, man, we of old-timers would tell you that it was much better saxophonist Jean-Luc Guionnet and Ternoy, Circum- have to do some gigs. Why don’t we work a bit? Why back then, but these young guys today are faster, Disc continues to fulfill its original mandate: exposing don’t you want to tour?” All this stuff. When I told Nat stronger, more skilled. It’s like this in music also. the music of the collective. As Orins says: “Our releases that Art and I were going on a tour on such and such are the best illustrations of what we do.” v a date, he was like, “No, you’re not.” I was like, “Yes, TNYCJR: The question for young musicians is, “What we are. Art just told me.” And Nat was like, “No, we’re opportunities are there going to be for them in the For more information, visit circum-disc.com going on a tour.” future?” So, I had to make a decision between those two bands right then and there. And it’s funny: VH: There’s things that we can’t see. For instance, the I occasionally sign stuff that I have from an Art Blakey ‘70s—going from what people have told me—was tour in Europe and I tell them, “I wasn’t there.” And a down period for jazz. It seemed like things were they just point to it. I sign it anyway. But I didn’t go to dying out. No one saw Wynton coming along. Europe with Art. The first tour with Nat, I think, was Australia. So, you have to make decisions in life. Was TNYCJR: In the ‘70s, people were saying that there necessarily a best choice? I don’t know. I enjoyed straightahead jazz was music of the past. my time with Nat and it was very important for me. I’m sure if I had stayed with Art, it would have also VH: And all of a sudden, the whole Wynton been important. But these are life decisions that you phenomenon happened and the next thing you know, have to make. I couldn’t make a wrong decision with there was a resurgence of the whole jazz scene. that one. TNYCJR: You’ve been living in New York City since TNYCJR: What a choice to have to make: Art Blakey or the early ‘80s. In what respects has New York’s club Nat Adderley. scene for jazz evolved since then?

VH: Right. I’ve had the good fortune to work with a lot VH: To be honest, I don’t really notice that big of of great musicians. a difference in the jazz clubs. One extreme difference is that at that time, the space where Smoke is now was TNYCJR: You also played with singer Nancy Wilson. a watering hole. Now, it’s a professionally-run jazz club. But that’s one isolated place. As a business model, VH: Yes, I did some tours with her and some isolated it hasn’t really changed much with the jazz clubs. v gigs like the Hollywood Bowl and Avery Fisher Hall. For more information, visit vincentherring.com. Herring is TNYCJR: Nancy is quite versatile, having recorded at Birdland Aug. 29th-Sep. 2nd as part of a Charlie Parker everything from straightahead jazz, traditional pop birthday celebration and Smoke Mondays. See Calendar and and standards to soul and funk. Working with her, did Regular Engagements. you have to approach a variety of styles? Recommended Listening: VH: No, because every time I worked with her, it was • Vincent Herring—American Experience doing the Nancy Wilson/Cannonball Adderley music. (MusicMasters, 1986/1989) That’s what it was every time I played with Nancy • Vincent Herring—Evidence (Landmark, 1990) Wilson. • Nat Adderley Quintet (featuring Vincent Herring)— Workin’ (Timeless, 1992) TNYCJR: Which was appropriate given the influence • Cedar Walton— (HighNote, 2001) Cannonball had on your playing. • Louis Hayes and the Cannonball Legacy Band (featuring Vincent Herring)—Maximum Fire Power VH: Absolutely. (HighNote, 2006) • Vincent Herring—Night and Day TNYCJR: You have been teaching at William Paterson (Smoke Sessions, 2014)

38 AUGUST 2017 | THE NEW YORK CITY JAZZ RECORD (MONTRÉAL CONTINUED FROM PAGE 13) towards the end of the festival and given a cash prize If one had to find an adjective to qualify Association and an additional concert. This year the Allison Au for the Advancement of Creative Musicians/Art Rising stars on the global world music scene, Quartet took home the prize, its leader recognized for Ensemble of Chicago veteran Roscoe Mitchell’s solo A-WA is a dynamic trio of Israeli sisters, Tair, Liron a mature compositional style, which complements her performance, which took place at La Sala Rossa, and Tagel Haim, who fuse Yemenite vocals and laidback, sincere way on the alto saxophone. “radical” would come to mind. Mitchell opened with a traditional dance with contemporary beats and There was one major disappointment: this year 28-minute piece on sopranino saxophone, making instruments. Although by applause nearly no one in there was no official jam session at FIJM. It goes ample use of circular breathing and piercing tones. The the crowd was of Yemenite descent, the audience was without saying that jam sessions are not money makers; second piece was for alto saxophone and used twisted quickly seduced by the unique harmony exclusive to it is always a gamble as to whether or not an audience lines with circular breathing and multiphonics. The sisterhood, original songs that sounded ancient and will support a late-night event and, even if they do, third and final piece, for soprano, explored some the sheer talents of each person on stage, including they will have already spent their money elsewhere. fascinating multiphonics that sounded like distortion. their solid supporting musicians: Tal Kohavi (drums However, being an integral part of an improvised All three pieces were extremely focused and without and loops), Nitzan Eisenberg (bass), Noam Havkin tradition, where musicians from anywhere in the world compromise. It definitely counts as one of the strongest (keyboards) and Yogev Glusman (guitar and violin). can connect and create, jam sessions belong in any performances of the festival. Now in its ninth year at the marvelous La Maison serious jazz festival and this was a disappointing Anthony Braxton ZIM Sextet at La Sala Rossa Symphonique, Battle of the Big Bands is a thoroughly omission. Thankfully, Alex Bellegarde’s weekly marked the first visit of the American saxophonist to educational and highly engaging competition. Tuesday night session at Diese Onze was included—do Montréal in over 20 years and, judging by the size of Nostalgia, humor and surprising repertoire choices check that one out year-round if you are visiting the audience and a certain electricity in the air, it was were all instrumental in winning over the mostly Montréal, the second largest city in Canada, possessing obvious many were delighted to see him back. The blue-haired crowd, many of them dedicated locals. By one of the world’s greatest jazz festivals. v group played an unannounced composition that lasted audience vote, the Cab Calloway Orchestra, directed around 60 minutes and, as the name of the group by the founder’s charismatic grandson Christopher For more information, visit montrealjazzfest.com suggests, used the ZIM system. Based on a single Calloway-Brooks, emerged victorious over the Xavier concert experience, not only is it unclear what the Cugat Orchestra. Memorable solos included Larry principles underlying the ZIM system are, it is also Spivack on marimba for the Cugat side and New York’s (SUONI CONTINUED FROM PAGE 13) hard to say to what extent they are different from those own Champian Fulton guesting on piano and vocals underlying Braxton’s recent systems such as Ghost for the Calloway Orchestra. before playing his tenor saxophone. This set the tone or Falling River Music. Nevertheless, the The festival annually celebrates musicians with for the concert: reflexive and profound. After a few performance was as enjoyable as those based on those awards. This year’s honorees were Charlie Musselwhite minutes, Heward started playing straightforward other systems and, if a standing ovation is anything to (B.B. King Award), Buika (Antônio Carlos Jobim rhythmic patterns with a soft touch, which go by, the audience definitely liked it. Award), Jack DeJohnette (Miles Davis Award), Lizz complemented the mood already established and Overall, this year’s edition turned out to be one of Wright (Ella Fitzgerald Award) and Christine Jensen created a background over which McPhee would the strongest and most enjoyable in recent years and (Oscar Peterson Award). To springboard emerging explore and develop ideas. The resulting music was one can only look forward to the next one. v talents across Canada, eight nominated groups vie for intense without being loud or fast-paced, but also the Grand Prix de Jazz, with the winner revealed heartwarming without being sentimental. For more information, visit suoniperilpopolo.org

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