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APRIL 2014 - ISSUE 144 YOUR FREE GUIDE TO THE NYC SCENE NYCJAZZRECORD.COM FIRST FUSION

BILL • LISA • ANDREW • CHESKY • EVENT LASWELL MEZZACAPPA WHITE RECORDS CALENDAR April 10, 2014

April 9, Solo Piano 2014 BUIKATHE TOWN HALL 123 W. 43RD ST. B/T 6TH & BROADWAY (212) 840-2824 WWW.THETOWNHALL.ORG

APRIL 2014

ROY HARGROVE & SAVION GLOVER PLAYING FOR : ’S APR 1 - 6 MAKOTO OZONE & FRIENDS WITH BILL FRISELL, JULIAN LAGE, & FRIENDS VOYAGER DUETS , , JOEY BARON APR 22 - 27 W/ APR 8 - 13 + MORE + FRIENDS FEAT. CHRIS POTTER, APR 29 - 30 APR 15 - 17 GREG OSBY, , , RUSSELL MALONE, , & MORE APR 18 - 20 PURCHASE JAZZ ORCHESTRA FEAT. APR 7 • BERKLEE GLOBAL JAZZ INSTITUTE FEAT. MIGUEL ZENÓN APR 14 & GRAFFITI APR 21 • JJ SANSAVERINO APR 28 SUNDAY BRUNCH & HIS NYU ENSEMBLE APR 6 “EAST MEETS WEST BRUNCH SERIES”: MANAMI MORITA APR 13 • THE ARCHI-TET (AKIHIRO YAMAMOTO) APR 20 • KYOKO OYOBE GROUP APR 27

131 WEST THIRD STREET 212.475.8595 WWW.BLUENOTE JAZZ.COM TWO SHOWS NIGHTLY FRIDAY & SATURDAY SUNDAY BRUNCH 8PM & 10:30PM TELECHARGE.COM LATE NIGHTS: 12:30AM 11:30AM & 1:30PM TERMS, CONDITIONS AND RESTRICTIONS APPLY

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Fri & Sat, Apr 4 & 5 Wed, Apr 2 SMOKE Smoke’s 15th Anniversary Celebration KEN FOWSER SEXTET Winter / Spring 2014 Josh Bruneau (trumpet) • Ken Fowser () QUARTET Behn Gillece (vibraphone) • (piano) featuring Paul Gill (bass) • Jason Tiemann (drums) SESSIONS George Coleman (tenor saxophone) • Harold Mabern (piano) (bass) • (drums) Wed, Apr 9 COMPACT DISC AND DOWNLOAD TITLES CHRIS WASHBURNE & SYOTOS Fri & Sat, Apr 11 & 12 Wed, Apr 16 JD ALLEN QUARTET DUANE EUBANKS QUINTET JD Allen (tenor saxophone) • Orrin Evans (piano) Duane Eubanks (trumpet) • Abraham Burton (tenor saxophone) Alexander Claffy (bass) • Jonathan Barber (drums) Marc Cary (piano) • Dezron Douglas (bass) • Eric McPherson (drums) Wed, Apr 23 Fri & Sat, Apr 18 & 19 GEORGE BURTON QUINTET Record Release Weekend Freddie Hendrix (trumpet) • Mike Lee (tenor saxophone) George Burton (piano) • Noah Jackson (bass) • Wayne Smith, Jr. (drums) QUINTET Right On Time SSR-1402 The Uptown Shuffle SSR-1403 featuring special guest Wed,SPECIAL Apr EVENT30 / 7:00, 9:00 & 10:30pm (trumpet) • Vincent Herring (alto saxophone) Mike LeDonne (piano) • Brandi Disterheft (bass) Sun & Mon, Feb 9 & 10 Louis Hayes (drums) Mon,BRAD Apr MEHLDAU 28 & PETER BERNSTEIN ORRINBrad Mehldau EVANS’ (piano) • Peter CAPTAIN Bernstein (guitar)BLACK Fri & Sat, Apr 25 & 26 RECORD RELEASE PARTY QUINTET featuring Antonio Hart Music 7 Nights a Week & Sunday Brunch Jim Rotondi (trumpet) • Antonio Hart (alto saxophone) No Music Charge (Sunday to Thursday) (piano) • John Webber (bass) For Complete Music Schedule Visit Willie Jones III (drums) www.smokejazz.com Expression SSR-1404 For All We Know SSR-1405 WWW.SMOKESESSIONSRECORDS.COM 212-864-6662 • 2751 Broadway NYC (Between 105th & 106th streets) • www.smokejazz.com SMOKE In 2013, is “fusion” still a dirty word? Of course, in the late ‘60s through the ‘80s, the battle between the new electrified jazz and the proponents of tradition was New York@Night like the Crips and the Bloods. Decades later, it is hard to say who won, really, if 4 anyone, and if anyone really needs to win. Nowadays, up-and-coming musicians Interview: take the best part of fusion - a willingness to embrace other styles of music with the welcoming arms of jazz - and make their own music richer as a result. Those by Kurt Gottschalk 6 musicians, such as our Artist Feature, bassist Lisa Mezzacappa, who visits from Artist Feature: Lisa Mezzacappa the West Coast for a number of performances around town, owe a debt to our by Ken Waxman Cover and Interview feature subjects. Drummer Lenny White (On The Cover) 7 played on one of the original fusion documents, ’ , and On The Cover: Lenny White then went on to work with the fusion supergroup ; his own 9 by Brad Farberman work still has some of that feeling, even years later, sure to be heard in a raucous trio at Iridium this month with guitarist and bassist . Encore: Lest We Forget: Bassist Bill Laswell (Interview) also has a connection to Miles the fusioneer, having 10 Andrew White created the 1998 “tribute” Panthalassa, based on music from the trumpeter’s fecund electric period. Laswell curates a week at The Stone and appears with by Clifford Allen by Fred Bouchard various groups. Saxophonist Andrew White (Encore), who makes a very rare Megaphone VOXNews appearance in the city this month at The Jazz Gallery, also dabbled in fusion, 11 by Amanda Monaco by Katie Bull liberally mixing R&B and jazz (and playing electric bass with Steve Wonder in the late ‘60s and oboe for Weather Report in 1972). And even late clarinetist Jimmy Label Spotlight: Listen Up!: Giuffre (Lest We Forget), known mostly for progressive acoustic trios, went electric for a period in the early ‘80s. 12 Chesky James Brandon Lewis After you’ve absorbed all of that, peruse our CD Reviews, where we’ll bet & Charles Turner by Ken Dryden you’ll find the fingerprints of fusion everywhere, whether it be a searing electric CD Reviews: , Alfredo Rodriguez, Conference Call, guitar line, Indian rhythmic concept or funky bassline. You see? Fusion’s not so 14 , Connie Crothers, Vincent Herring, Dr. Lonnie Smith & more bad when you realize all the good things it has brought to jazz over the years. We’ll see you out there... 34 Event Calendar Laurence Donohue-Greene, Managing Editor Andrey Henkin, Editorial Director 41 Club Directory On The Cover: Lenny White (Sánta István Csaba / www.photo-santa.com)

Miscellany: In Memoriam • Birthdays • On This Day In Correction: In last month’s NY@Night, the instrument Rob Schwimmer 43 played with David Krakauer’s Big Picture was a Haken Continuum, not a theremin. In the Bertha Hope Encore, the name of the Jazzberry Jam drummer is Paula Hampton.

Submit Letters to the Editor by emailing [email protected] US Subscription rates: 12 issues, $35 (International: 12 issues, $45) For subscription assistance, send check, cash or money order to the address below or email [email protected].

The New York City Jazz Record www.nycjazzrecord.com - twitter: @nycjazzrecord - facebook.com/nycjazzrecord Managing Editor: Laurence Donohue-Greene To Contact: Editorial Director & Production Manager: Andrey Henkin The New York City Jazz Record Staff Writers 116 Pinehurst Avenue, Ste. J41 David R. Adler, Clifford Allen, Fred Bouchard, Stuart Broomer, New York, NY 10033 Katie Bull, Tom Conrad, Ken Dryden, Donald Elfman, Brad Farberman, Sean Fitzell, Kurt Gottschalk, Tom Greenland, Alex Henderson, Marcia Hillman, Terrell Holmes, Robert Iannapollo, Suzanne Lorge, Wilbur MacKenzie, Laurence Donohue-Greene: Marc Medwin, Robert Milburn, Russ Musto, Sean J. O’Connell, Joel Roberts, [email protected] John Sharpe, Elliott Simon, Jeff Stockton, Andrew Vélez, Ken Waxman Andrey Henkin: [email protected] Contributing Writers General Inquiries: [email protected] Duck Baker, Brian Charette, Brad Cohan, George Kanzler, Ken Micallef, Amanda Monaco Advertising: [email protected] Contributing Photographers Editorial: [email protected] Sánta István Csaba, Scott Friedlander, Peter Gannushkin, Jack Vartoogian, Michael Weintrob Calendar: [email protected] VOXNews: [email protected]

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

THE NEW YORK CITY JAZZ RECORD | APRIL 2014 3 NEW YORK @ NIGHT

The looms large in ’s work, Poised on the opposite side of the floor from his amp though he spent the first two nights of his residency at as if they were staring each other down, Brandon SPRING 2014 The Stone solely on tenor saxophone. In the last of four Seabrook launched abruptly into noisy, distorted runs trio sets with bassist Chris Tordini and drummer Dave in a fast and furious solo set at 61 Local’s “Snugs” series King (Mar. 12th), Speed focused mainly on music from (Mar. 2nd), only occasionally giving three or four SPECIAL SELECTIONS his new Skirl release Really OK, sitting in a low chair seconds of attention to particular groupings. Within the with the bell of the horn far away from the mic. “It’s fast runs - sometimes a single note repeated ten or more FROM nice to play some here at The Stone,” he times per second - an occasional, solitary chord, struck said after a loping, slower-than-usual reading of John and quickly muted, could seem to give up a or Coltrane’s “26-2” came to a close. “All of Me”, the metal or prog derivation. It rarely felt as if a thought NAXOS OF AMERICA similarly relaxed and swinging finale, was also was completed throughout the first of three pieces; a something you wouldn’t expect under this downtown bassline walked in and out of dissonance coupled with roof. But the opener, a brief and agitated take on Albert a quick, country lick. The playing may have seemed Ayler’s “Spirits”, fit like a glove. Regardless of source static, but it was loaded with information, enough so material, the trio brought to bear a unified aesthetic, that the first real altering of course (less than 10 minutes rooted in Speed’s dark tenor sound and exploratory in) seemed to fall at least at the 20-minute mark just for JAZZphrasing. There were two originals from the album the sensory overload. He began the second piece by & played back to back: first the slowly churning 5/4 putting a handheld cassette player emitting bits of vehicle “Takedown” and then the brighter “Argento”, noise up to the guitar’s pickup then, through NEW MUSIC PARTNERS prefaced by King’s incendiary intro. “Transporter”, set considerable delay and distortion, creating patterns to up by Tordini with resonant double-stops, harmonics which he could then respond. He took to arco and pedal HELEN CARR | DOWN IN THE DEPTHS OF THE 90TH FLOOR and other textures, came from the book of a different manipulation for a comparatively softer improvisation, project: yeah NO, the quartet slated for the following broken by short, delay-driven attacks. By the third “You take the records to your pad (home, apartment) still mumbling Helen-Helen-Carr-Carr-Carr, you put a black grooved disc on your night. Some six more lineups would play before piece he was speaking in sentences, employing bits of phonograph and it starts to spin. Suddenly the sound of “I Don’t Want To Cry Anymore” makes you realize in an atom-flash that here is no Speed’s residency ran its course, so the Really OK trio fingerpicking and pronounced chordal structures stranger, but a friend you have yet to meet…” seemed a fine way to limber up. Its loose and effortless repeated to maintain a midtempo momentum. Or –SID GARRIS, KBLA interaction, broad dynamic contrasts and controlled moderately more midtempo anyway. In 30 flying wild streak played to Speed’s strengths and got at minutes he played more than many guitarists do in an cd: BCP1027 • 689466687057 lp: BCP1027LP • 689466687309 something vital about his artistry. - David R. Adler hour. - Kurt Gottschalk Bigbands Live: Orchestra Following his comeback in 1956, Ellington’s career staging posts were largely marked by studio recordings, releasing around 35 between 1960 and 1967 alone. 1967 was a year of triumphs: the outstanding trumpeter Cootie Williams was back on board, but then tragedy struck again a few weeks after this Stuttgart with the death of Duke’s alter ego Billy Strayhorn. Throwing caution to the FROM 2013 NYC JAZZ wind, Duke and his 14 musicians launched RECORD LABEL OF THE YEAR, themselves into a new adventure. JAZZHAUS cd: 101703 • 807280170399 lp: 101722 • 807280172294

ANDREW LITTON | A TRIBUTE TO

Collecting all of Peterson’s recordings over the years, Litton realized O W N M U S I C . E T that his admiration was shared by many of the classical musicians that he met during his ‘day job’ as a conductor. As he kept learning new improvisations, a dream took shape – to record his own performances of some of these transcriptions as a tribute to his hero.

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MEREDITH MONK • ERIC SALZMAN | WESTERN WIND 45TH ANNIVERSARY COMMISSIONS While noted for its performances of early music, The Western Wind Vocal Ensemble, is also a leader in the performance of new works. This P h o t b y S c F r i e d l a n P e t r G a n u s h k i / D O W N T recording of Meredith Monk’s ‘Basket Rondo’ and Eric Salzman’s ‘Juke- box In The Tavern Of Love’ celebrates the ensemble’s 45th anniversary Chris Speed Trio @ The Stone Brandon Seabrook @ 61 Local with two commissioned works that address contemporary issues in fascinatingly original musical styles. RELEASE PARTY AT ROUGH TRADE, NYC - Relationships run deep in pianist Noah Baerman’s Isabel Duthoit and Franz Hautzinger began their set MAY 10, 1 PM Jazz Samaritan Alliance, even if the sextet’s engagement at Clemente Soto Velez Cultural Center (Mar. 10th) - LAB 7094 • 790987709422 LABOR RECORDS at The Jazz Gallery (Mar. 13th) was the first live gig of part of a benefit for Arts for Art organized by Ingrid TIMO LASSY BAND | Live with Lassy its existence. Celebrating the release of Ripples (Lemel), Laubrock - in silence and under stark lights. At length

“If you would ask me how to tell a great band apart from all the quite Baerman opened with the expansive “Motherless” - noteless trumpet blowing and a vocal squeal from good ones, my answer would be to just listen to any given group live for based on the spiritual “Motherless Child” - and called Duthoit broke the silence. After a few lungfuls three nights in a row. See if you still think they sound fresh for your ears during the encore of the third show. Timo Lassy Band does.” upon the prodigious talents of vibraphonist Chris Hautzinger began playing percussive rolls on the - Matti Nives Dingman, alto saxophonist Kris Allen, tenor saxophonist valves and Duthoit, her clarinet still at her feet, became , bassist Henry Lugo and drummer more animated, emitting screeches like one imagines SCHEMA RECORDS SCLP465 • 8018344114651 LIMITED 2LP + CD SPECIAL EDITION! Johnathan Blake. There were rubato passages, from a baby Godzilla. It took more than several minutes unaccompanied spots and tight restatements of the before either brushed up against musical notes, not YVES LÉVILLÉ | essences des bois theme, animated by a strutting feel and horn harmonies quite playing them but skirting the edges with breathy Difficult to resist are the flood of imagery and the muffled waves of the that recalled classic Blue Note. Baerman’s “Peeling the multiphonics. Duthoit sighed and groaned under her woodwinds set in motion by the latest album from the composer/pianist Yves Léveillé. Shifting from the pursuit of ideal phrasing to the complex Onion” was funkier, moderately paced, full of rhythmic singing, her vocalizing varied enough that there was a and the lyrical, Léveillé persistently strives for jazz-like beauty. intricacy and harmonic ambiguity. Guest flutist Erica temptation to think of it as ‘moods’, although that von Kleist brought an emotional connection to the 3/4 would have been a bit too...anchored. She was

EFFENDI ballad “The Healer”, forming a mini horn section with expressive but not easily pinned. She approached her FND131 • 690579013121 Allen and Escoffery and venturing her own solo just clarinet slowly, rolling the bell across or banging it before Baerman’s. Two vignettes, “Ripple: Persistence” against the floor, cradling it, then playing short sounds bud powell | birdland 1953 and “Ripple: Brotherhood”, featured modified lineups. barely different from her vocal utterances. Hautzinger, “Having spent more than sixteen months in various mental institutions, where he was subjected to electroshock therapy, the great pianist The first was a boppish quartet feature for the virtuosic meanwhile, ran through a confident sequence of was released in early 1953. Subsequently, the regularity of work that Powell had during that period facilitated his regaining a great deal Allen while the second took an atmospheric turn, with settings, not necessarily related to what Duthoit was of the virtuoso technique that had often eluded him in the wake of repeated nervous breakdowns. Despite the previous availability of the Escoffery’s soprano sax guiding (and Allen sitting out). doing - or to each other for that matter - but assuredly material, this set is a valuable addition to the jazz discography because of its vastly improved sound quality- the fruits of producer Michael “Zaneta”, from Dingman’s album Waking Dreams, delivered in quick, regulated lines. At some length they Anderson’s hard work and keen ear.” - Russ Musto, The New York City Jazz Record closed the in a decisively swinging mood, with found a dialogue, sitting side by side on the edge of the ESP4073 • 825481407328 Escoffery blowing fiercely once again. As intent as stage, seeming to relate within the abstract framework ESP-DISK, LTD. Baerman was on sharing the spotlight, he did plenty to they’d constructed. Then they found another purposeful available at : fasdlfkjdaflshalsdkhfldaksnvl light up the music with his lyricism, drive and confident silence, broken again by Hautzinger, speaking this touch at the keys. (DA) time, “It’s a beautiful place here.” (KG)

4 APRIL 2014 | THE NEW YORK CITY JAZZ RECORD Catching pianist/composer Uri Caine in an acoustic The culmination of a ten-day program at the Harlem trio setting - such as at (Mar. 3rd) - is Stage Gatehouse fêting the seminal female figure in WHAT’S NEWS the best way to (begin to) get a handle on this musical jazz, A Conversation with Mary Lou: visionary’s free-ranging imagination. Performing with Celebrates Mary Lou Williams (Mar. 13th) brought to bassist and drummer Clarence Penn, from life the words and music of the influential pianist, As if you needed a reminder, April is Jazz the of the first set Caine unleashed a fusillade whose artistry spanned many eras of the music. The Appreciation Month and Apr. 30th is of explosive melodies, hammered chords and punchy multimedia production, featuring a book by Farah International Jazz Day. If you happen to be basslines, a dense soundscape that left no piano key Jasmine Griffin and directed by Law & Order luminary in Osaka (this year’s Global Host City, as untouched. The all-original setlist included the S. Epatha Merkerson, combined the words of Williams, chosen by UNESCO), you can go to the frenetically swinging “Loose Trade”, fractured gospel- dramatically intoned by vocalist Carmen Lundy, with official allstar concert there, featuring blues of “Siren”, hard-hitting “I’m Meshugah for My an assortment of the legendary pianist’s many UNESCO Goodwill Ambassador Herbie Sugah (And My Sugah’s Meshugah for Me)”, easy compositions, performed by Allen’s trio with bassist Hancock. But if not, visit jazzday.com for swing, plunging chromaticism and serpentine Kenny Davis and drummer Kassa Overall. Set in a events taking place in your city. counterpoint of “Smelly” and quirky, unrelenting recreation of Williams’ Harlem sitting room, where she “Snaggletooth”, where Caine delivered a jaw-dropping mentored many artists as jazz moved from Swing to In honor of his recent multi-million dollar deluge of spontaneous ideas. The set culminated with bop, the beautifully begowned Lundy’s narration donation to Jazz at Lincoln Center, the Allen the classically-tinged minor ballad “Foolish Me”, recounted the life of Williams in her own words, telling Room performance space has been renamed which was a merciful respite from the foregoing frenzy. of her early encounters with and Jelly Roll The Appel Room for Robert J. Appel, current But this was only a preamble for the , which Morton - as Allen provided musical context with chairman of the JALC Board of Directors. For took it to, and kept it at, the ‘next level’, commencing readings of “Handful Of Keys” and “The Pearls” - and more information, visit jalc.org. with ’s “Nefertiti”, which, similarly to her later travels and travails while pianist/arranger Miles Davis’ iconic rendition from the 1967 album of with Andy Kirk, exemplified by the group’s There is a jazz connection in the bands of the same name, used the melody as an anchoring performance ”The Lady Who Swings The Band” NBC’s two late-night talk shows that have leitmotif in the midst of a musical maelstrom. “Hazy (featuring Lundy). The music progressed through the recently premiered. Saxophonist Ian Lazy Crazy”, revealing Caine’s affinity for soulful night to Williams’ later work, including her Zodiac Hendrickson-Smith is part of on gospel, albeit sifted through a postmodernist Suite, as Lundy told the story of her religious conversion, with Jimmy Fallon while drummer perspective, was followed by Irving Berlin’s “Cheek to hiatus from music and eventual return, climaxing in a Kim Thompson is part of the 8G Band for Cheek”, the evening’s high watermark, capped by a rousing reading of “Praise The Lord” with the audience Late Night With Seth Meyers. bluesy reprise of “Meshugah”. - Tom Greenland joining in singing and clapping. - Russ Musto Satchmo at The Waldorf, a play written by jazz critic Terry Teachout based on trumpeter and one of his final performances, is at The Westside Theatre. For more information, visit satchmonyc.com.

o n t R w P h s The latest issue of Sound American, the quarterly journal of the Database of Recorded American Music, is dedicated to defining the word “jazz”, through interviews with over 30 a r t o g i n / F international musicians (as conducted by trumpeter Nate Wooley), including , , Ab Baars, , Ted Nash, Mary Halvorson, , Satoko Fujii and others. To access the issue, visit soundamerican.org.

P h o t b y S c F r i e d l a n P h o t g r a p © 2 0 1 4 J c k V The work of jazz photographer Sánta István Uri Caine @ Smalls A Conversation with Mary Lou @ Harlem Stage Gatehouse Csaba will be on display at the Consulate General of Hungary Apr. 3rd-30th, Mondays, Richie Beirach may be a better-kept secret than he Widely recognized for his work as first call-bassist for Wednesdays and Fridays from 9:30 am-12:30 ought to be, but a recent duo date with flutist Jamie numerous artists and as leader of his own small groups, pm. Additionally, an opening party will take place Baum at the elegant Jazz at Kitano (Mar. 7th) erased Rufus Reid revealed yet another facet of his imposing Apr. 3rd at 7:30 pm, featuring pianist Joanne any doubt that he’s a living master of contemporary artistry with the New York City premiere at Jazz Brackeen. For more information, visit piano improvisation. Typical of his oeuvre, the early Standard (Mar. 12th) of music from his newest mfa.gov.hu/kulkepviselet/US/en. set contained three song types: jazz standards recording, Quiet Pride: The Elizabeth Catlett Project. A (Schwartz-Dietz’ “Alone Together”, Monk’s “’Round five-part suite inspired by the works of the renowned A crowd-funding initiative has been started to Midnight”, Coltrane’s “Transition”); classical African-American sculptress, the ambitious support the production of the jazz documentary compositions used as improvisational vehicles undertaking showed Reid to be a composer of music They Died Before 40, a retrospective on such (Bartók’s “Bagatelle #4”, JS Bach’s “Siciliano”) and for large ensemble on a scale that could arguably be musicians as Herschel Evans, , originals (Baum’s “Richie’s Lament”, Beirach’s described as Ellingtonian in its beauty, strength and Chick Webb, Fats Waller, Charlie Christian, “Testament” and “Elm”). As Jazz at Kitano’s host Gino grandeur. Leading the 21-piece group of standard jazz Jimmie Blanton, and Chu Berry. Moratti likes to say, “The artist paints on a canvas of big band instrumentation - augmented by John Clark The producer of the film is seeking contributions silence” and Beirach certainly had an attentive and Vincent Chancey (French horns), Vic Juris (guitar) to offset the large licensing fees involved with the audience as he spent the set coaxing an astonishing and Charenee Wade (vocals) - from his place behind film. For more information or to contribute, visit variety of lush to snarky harmonies from the the bass, Reid provided an authoritative beat that hatchfund.org/project/they_died_before_40_ beautifully-toned Steinway A “parlor grand”. It navigated the band through the shifting tempos and new_jazz_film. appears Beirach’s extended residency in Germany has tonalities sensitively conducted by Dennis Mackrel. inured him to the intense emotions of sturm und drang “Recognition” began the set dramatically, with bowed The Castle Ballroom in St. Louis, which saw (storm and stress), but his most memorable moments bass and understated guitar chords, swelling with the performances by many legendary jazz musicians arose when, in the midst of a blitzkrieg of fast-fingered introduction of cacophonous brass, resolving into a during the last century, such as Duke Ellington fireworks, he would pause, abruptly, to let a chosen swinging big band sound. “Mother and Child” and Miles Davis, and is on the National Register chord float into the atmosphere, as if he were captivated showcased the ethereal vocalizing of Wade in the of Historic Places, has been deemed a safety by its singular beauty. Baum, a former mentee of context of conversing bass clarinet and flutes. Despite hazard by local building inspectors after damage Beirach, now graduated to full colleagueship, was the presence of too many star soloists (such as Mike incurred during winter storms and is slated for slightly underamplified, but proved nevertheless to be Rodriguez and Steve Wilson) to name, it was the demolition. an adept foil for Beirach’s ebullient brilliance, riposting unified sound of the ensembles with Reid’s rhythm even his most outré harmonizations with apposite partners, pianist Steve Allee and drummer Johnathan Submit news to [email protected] melodic inventions. (TG) Blake, that gave the music its brilliance. (RM)

THE NEW YORK CITY JAZZ RECORD | APRIL 2014 5 INTERVIEW

coming in the future. Different places, things, people.

TNYCJR: I want to talk to you more about your ideas about creating sound. You have such a distinctive Bill sound as both a bassist and a producer. Is there an overarching aesthetic that lends to both of those?

BL: As far as aesthetic and creating sound, I believe it comes from kind of life experience. And there’s multi-

O W N M U S I C . E T directional layers of impressions and influences and Laswell experience that all changes pretty much everyday. So it’s... although complicated in terms of how much happens, it’s also spontaneous and subject to change (CONTINUED ON PAGE 42)

P e t r G a n u s h k i / D O W N T by Kurt Gottschalk smalls jazz club Bassist and producer Bill Laswell has made as much of an There’s nothing to hide behind. The process is very imprint on the genre-blasting of Downtown experimentalism different, you’re not collaborating with anyone, there’s as just about anyone in the last 40 years. He has remixed no one to bounce off. Miles Davis and Bob Marley as well as Tori Amos and Ozzy Osbourne, put out-metal guitarist Buckethead and P- TNYCJR: I wanted to ask you about that record as well bassist Bootsy Collins in the same band and was the first to [Means of Deliverance, Innerhythmic, 2012]. That, too, is record Whitney Houston. He has worked with Sly Dunbar, very different than anything you’ve released before. , Jah Wobble and , to name just a What prompted you to make a solo bass guitar record? few diverse touchstones. For almost as long as he has been playing and BL: It’s a four-string Warwick [Alien model fretless producing, Laswell has been creating opportunities for other hollowbody]. I got an endorsement from the company 183 west 10th street musicians. He has had a hand in founding and operating a and most people never do anything with those. I , number of record labels and putting forth musicians across wanted to use it. new york city 10014 styles and generations. His most recent venture is Method of Defiance (MOD), a label founded in 2010 with Giacomo TNYCJR: I’m looking forward to your week at The www.smallsjazzclub.com Bruzzo, who also started the RareNoise label, which has Stone. We don’t get to see you very often in New York. released nearly a dozen albums of diverse ambition. MOD Is there something about the finances or the sound at sign up for our FREE live video has recently released Elevation: The Upper Air, the first clubs that keeps you from playing here? solo piano record by another frequent collaborator and P-Funk alum, Bernie Worrell. BL: There’s always a lot of live performance but it’s Laswell is not, however, known for granting interviews usually in Europe or Japan. In New York it’s usually often, which made for a good starting point for our very small, favor-related things. I don’t play a lot in conversation. America. It’s hard to make it pay. And The Stone schedule is subject to change. It’s all in the moment. The New York City Jazz Record: I want to thank you for taking the time to talk to me. I don’t recall seeing TNYCJR: Do you prefer working in the studio to interviews with you very often. Why is that? playing live? There’s so much detail in your music, it seems like you might prefer a more controlled Bill Laswell: I’m doing it for Bernie [Worrell]. I read environment. the music magazines and they’re not very interesting. If there’s a label starting or something I’m trying to BL: It’s all the same. It’s all manipulating music. It’s promote - it’s just kind of pointless unless there’s just generating music. something somebody wants to know. TNYCJR: What else is coming up for you? TNYCJR: I love Bernie’s new record. It’s really unlike anything else he’s done. The playing is great but the BL: I’m working on an album called Yemen Blues, recording itself is remarkable. The sustain on the piano mixing traditional African and Israeli music. There’s is hard to believe. Is it electronically enhanced? I mean, always a lot of mixing and reconstructing music. it doesn’t sound like it is, but I’ve never heard anything There’s a project with keyboardist Jonathan Batiste [of quite like it. The wavering in the decay is just beautiful. the famed New Orleans family of musicians] and [drummer] Chad Smith from the Red Hot Chili BL: There’s no electronics. It was recorded in New Peppers. I’ve been in Morocco with Pharoah Sanders. Jersey at The Barber Shop with Jason Corsaro. He’s a That’s kind of where it’s at - all over the place. All of very famous engineer who’s worked with Duran these are time-consuming. It’s a lot of work. Step by Duran and Robert Palmer and Paul Simon and they step everything gets resolved. have a fantastic room. The piano had belonged to Chick Corea and he sold it to the studio. All that goes TNYCJR: It’s great to hear you have another project into making a good sound - the resonance in the room with Pharoah. You’ve worked with so many people, is and the acoustics of the piano. there anyone you haven’t worked with that you’d like to? TNYCJR: It’s such a great idea to have Bernie alone at the piano. Of course, you guys have played together a BL: Living? I’ve worked with everybody I’ve wanted lot. How did the idea to record him solo come about? to, pretty much everybody, 90% of them.

BL: Playing live is always great with Bernie. If the TNYCJR: Well, OK, since you kind of bring it up, what conditions are right, we can always make it happen. I about anyone not living. suggested it. I had just done a solo bass record and he had never done a solo record. I had just done a solo BL: Obviously you can’t. It’s fantasy. I don’t feel like record and I had never done a record like that either. I’ve missed anything. You have to imagine what’s

6 APRIL 2014 | THE NEW YORK CITY JAZZ RECORD ARTIST FEATURE

Recommended Listening: • duo B. (Lisa Mezzacappa/Jason Levis) - These Things Seem Natural To Us (Evander Music, 2005) • Lisa Mezzacappa Nightshade - Cosmic Rift Lisa (Leo, 2010) • Darren Johnston//Lisa Mezzacappa/ Kjell Nordeson - Cylinder (Clean Feed, 2010) • Vinny Golia/Marco Eneidi/Lisa Mezzacappa/ Vijay Anderson - Hell-Bent in the Pacific

O W N M U S I C . E T (NoBusiness, 2011) Mezzacappa • Lisa Mezzacappa’s Bait & Switch - Comeuppance (Not Two, 2012) • Lisa Mezzacappa Trio - X Marks The Question (Queen Bee, 2012)

P e t r G a n u s h k i / D O W N T by Ken Waxman

As a teenage electric bass player in metal, punk and or “Festival-of-Us”, an annual mini-festival celebrating ska bands on Staten Island, Lisa Mezzacappa probably the local creative jazz and improvised music scene never envisioned her eventual musical future. But taking place at ’s Center for New Music today, Mezzacappa, 39, concentrating on acoustic bass, (CNM) now in its second year; plus the newest, the is acknowledged as one of improvised music’s movers CNM-based Best Coast jazz composers series. and shakers in the Bay area, where she has lived since Additionally Mezzacappa programs the JazzPOP 2001. She has recorded a dozen CDs as leader or concert series at Los Angeles’ UCLA Hammer Museum. co-leader, many more as a sideperson, played all over Besides gigs in bands with, among others, North America and Europe and organizes local clarinetist Cory Wright and trumpeter Darren Johnston, as a “musical instigator”. her Bait & Switch quartet includes tenor saxophonist “As a kid I was encouraged to pursue whatever I Aaron Bennett, guitarist John Finkbeiner and drummer wanted and I only really let myself commit to music Vijay Anderson while Nightshade is made up of later in life, almost in my 30s, even though it was always Wright, Finkbeiner, percussionist Kjell Nordeson and a big part of who I was and how I spent my time.” she electronics whiz Tim Perkis. Other affiliations are the states. Mezzacappa took up electric bass at 13 and her New York City-based Lisa Mezzacappa Trio with role models were Led Zeppelin’s John Paul Jones, Sly guitarist Chris Welcome and drummer Mike Pride; the JSnycjr0414 3/6/14 2:02 PM Page 1 and the Family Stone’s Larry Graham, Iron Maiden’s Eartheater trio with Finkbeiner and vocalist Fay Victor; Steve Harris and Metallica’s Cliff Burton. After her and BODABODA, with multi-reedist Piero Bittolo Bon, exposure to jazz in university, however, “I really got tuba player Glauco Benedetti and drummer Francesco into Mingus and all the bass heroes: , Paul Cusa, all from Italy. Chambers, Wilbur Ware, , Jimmie Blanton, While she describes some of her groups like , Scott LaFaro, etc.,” she recalls. Nightshade as “textural and chamber-like”, those on Impetus was what she terms the “seductive and her newest CDs, Bait & Switch’s Comeuppance (Not “Best Jazz Venue of the Year” NYC JAZZ RECORD#“Best Jazz Club” NY MAGAZINE+CITYSEARCH TUE-WED APR 1-2 supportive local jazz scene” in Charlottesville, where Two) and her trio’s X Marks the Question (Queen Bee), SHADES OF JAZZ: she enrolled in the University of Virginia, initially as a can be heard as abstract and asymmetrical variants on ’S MUSIC Biology Major, but emerging with a BA in Music in rock-styled music. This may have something to do with TIM HAGANS - GREG OSBY - DAN TEPFER - - MATT WILSON 1997. “The university became my unofficial jazz school. her garage-band background, as well as the fact that THU-FRI APR 3-4 I started taking upright bass lessons, learning most of her bands feature a guitar. “I just hear the guitar ALFREDO RODRIGUEZ TRIO FEATURING & HENRY COLE everything I could from local players like trumpeter whenever I start writing music, or imagine the sound of SAT SUN APR 5-6 John D’earth, who was a real mentor for me early on, a new group,” she admits. “I often feel like I speak the ALFREDO RODRIGUEZ and within a few years I was playing constantly. I sold same language as guitarists as improvisers, which & THE INVASION PARADE all my punk and hardcore CDs at the local record store maybe comes from having come up in so many different ROMAN FILIU - PETER SLAVOV - HENRY COLE TUE-WED APR 8-9 to immerse myself in the Blue Note catalogue. Returning guitar-centric musical styles. Guitar players obsess “FACE THEJEREMY PELT SHOW FORWARD, to New York on college breaks, I was addicted to the over their sounds too and I appreciate that. The guitar ROXY COSS - DAVID BRYANT - CHRIS SMITH - DANA HAWKINS JEREMY” Mingus big band at the Time Café, later David Murray’s can just do anything: texture, noise, lyricism, angular THU-SUN APR 10-13 band at the Knitting Factory and I spent an absurd melodic intervals or floating clouds of harmony. It can TRIO amount of time at the Internet Café checking out Tim be foreground, background, the glue that holds it all DAVID WONG - RODNEY GREEN TUE-WED APR 15-16 Berne, Tony Malaby and all their cohorts.” together. It’s endlessly interesting to me.” CHET DOXAS STEVE SWALLOW By the time she was accepted at the University of Besides finishing up a CD with Victor and JIM DOXAS California, Berkeley, graduating with an MA in organizing a new Bait & Switch project, inspired by THU-FRI APR 17-18 PLUS SPECIAL GUEST LIONEL Ethnomusicology in 2003, Mezzacappa realized that crime fiction, the bassist is also expanding the work DR. LONNIE SMITH TRIO LOUEKE her definition of jazz was very broad and had expanded she does with experimental filmmakers. Mission Eye & JONATHAN KREISBERG - JOHNATHAN BLAKE since she made the Bay area her home. “There’s such an Ear, another series she curates, involves commissioning SAT SUN APR 19-20H11:30PM ON SAT ONLY incredibly wide range of music people make here that local musicians to compose and perform live scores for DR. LONNIE SMITH “IN THE BEGINNING” OCTET is masterfully improvised or involving improvisation shorts by collaborating filmmakers. “It’s been ANDY GRAVISH - JOHN ELLIS - IAN HENDRICKSON-SMITH - JASON MARSHALL and that touches on so many musical genres and especially fantastic to bring these films to cities around ED CHERRY - ALLISON MILLER - LITTLE JOHNNY RIVERO TUE-SUN APR 22-27H7:30PM & 9:30PM ONLY traditions. There’s the excellent electro-acoustic the world when I’m on tour,” she adds. “I haven’t done THE BAD PLUS weirdos coming out of Mills College; the folks who one in New York yet, but hopefully soon.” ETHAN IVERSON - REID ANDERSON - DAVID KING worked or trained with Braxton when he was out here; There is little reason to doubt her capacity to keep TUE APR 29 the Rova Sax Quartet. So I guess the improvisation part presenting more and different projects. As she declares: PEDRO GIRAUDO’S became the overarching concept of interest to me.” “It’s nice when labels and venues express interest in us “EXPANSIONS” BIG BAND Because the West Coast has a smaller number of as improvising musicians. But we can’t rely on any of WED APR 30 promoters, most creative music venues and/or series that support to make our music or get it out there. TRIO FEATURING LINDA OH & JACK DEJOHNETTE are musician-run. “As I became more integrated into Instead I have very much a West-Coast DIY ethos.” v HHHMINGUS MONDAYSHMINGUS MONDAYSHHH the scene, I would sometimes see a need for a MON APR 7, 14 & 21 MON APR 28 MINGUS BIG BAND MINGUS ORCHESTRA performance opportunity and tried to make that For more information, visit lisamezzacappa.com. Mezzacappa HJAZZFORKIDSWITHTHEJAZZSTANDARDYOUTHORCHESTRAEVERYSUNDAY AT2PM [EXCEPT 4/20]-DIRECTEDBYDAVIDO’ROURKEH happen.” Some of the undertakings include the is at Downtown Music Gallery Apr. 6th, The Firehouse Makeout Creative Music Series in San Francisco’s Space Apr. 10th, Legion Bar Apr. 13th and Clemente Soto Mission District, which began 4 years ago; “Festivus” Velez Cultural Center Apr. 14th. See Calendar.

THE NEW YORK CITY JAZZ RECORD | APRIL 2014 7 Fimav_NYCJR_2014.03.13.pdf 1 2014-03-13 14:58 ON THE COVER P h o t b y M i c a e l W e i n t r LENNY WHITE o b / C u r t e s y f

FIRST FUSION A b s t r a c L o g i x by Brad Farberman

By the time he was 20 years old, drummer Lenny Liebman, Steve Grossman. And when I made [Red was great. You know, we had fun.” White had played on two albums, both of which would Clay], said that they felt so great because Though was the most serious work be released in 1970. The first one he recorded was Miles it was one of the crew that had gone on and, you know, that White and Pastorius did together, the pair would Davis’ rough, wild Bitches Brew. White was 19 years done something great. And was playing with, like, you occasionally unite afterwards. A highlight of their old when those tracks - “Pharaoh’s Dance”, “Bitches know, the masters. So he felt really great about it and I post-Pastorius musical relationship saw the bassist Brew”, “Spanish Key” and “John McLaughlin” - were felt the opposite because I didn’t like the way I played.” show up at one of White’s gigs unannounced. “One laid down and he was drumming alongside Jack The title track, of course, became a bona fide jazz special time, I was playing at a club called Seventh DeJohnette (White is in your left headphone). His next standard and one wonders if it would have had the Avenue South with and move was ’s funky , on which same longevity without White’s driving drums. and ,” remembers White. “And Jaco he propels a five-piece filled out by Ron Carter, Joe According to White, Hubbard himself was a big fan. came in and we all played together and it was cool, Henderson and . As the sole drummer, “Well, you know, it’s interesting, because Freddie used because on ‘Continuum’, it was double-tracked and so you can really focus on White and he sounds great: to say to me all the time, he said, ‘Man, you made that he and Marcus played it together live and sounded just fiery, energetic, enthusiastic. That’s quite a way to kick record with that beat. ’Cause I didn’t know what to do like the record.” off a career in jazz. and you came and you made it work.’ And he would Unsurprisingly, White is still out in the fusion Born and raised in Jamaica, Queens, White’s first thank me all the time and say, ‘Man, you know, thank field, including as a leader. 2010’s Anomaly is a tough, big break came in the late ’60s, when he replaced you for that, because you did what was needed.’ And I rock-influenced affair and his latest, 2013’s Lenny White DeJohnette in Jackie McLean’s group at age 17. The basically, I just interpreted the bassline and played Live, is full of smooth but moody funk. The latter band also included , Scotty Holt and what I thought would work.” album, recorded in 1997 and featuring another Bitches Harold Mabern and it played at New York venues like In 1973, just three years after the release of Red Brew buddy, multi-reed player , has a Slugs’ and Gold Lounge. White wound up in the Clay, White made his next dent in jazz history by bit of bite, too. “Dark”, for instance, lives up to its title. ensemble simply from word of mouth. joining fusion outfit Return to Forever, which, for the “I just can’t believe how music and musical tastes “Back in that time period, New York was like the duration of White’s ’70s stay - the ensemble has have become so isolated now,” says White when asked wild, wild west,” remembers White over the phone reunited a few times - included Corea, bassist Stanley about the rock influence on Anomaly. “When I was from Virginia Beach, where he was vacationing. “If you Clarke and either or on coming up, I made music at the same time as Led were a new gunslinger, everybody would wanna check guitar. On his website, White singles out the Return to Zeppelin, , , Igor Stravinsky, you out. See how fast you were. So, you know, there Forever albums and Where Have I The Beatles, . We all were making music were sessions. You’d play sessions and that’s how Known You Before as two of his top albums on which he at the same time. And all the music influenced different people would get to know you. There still are things has recorded. During our interview, White remembers kinds of music. Miles was listening to Sly [Stone] and like that; that still is a place. And word had gotten to the moment he realized that he was a member of an James Brown. John Coltrane was still alive. I mean, so, Jackie and he gave me a call - everyone gave my important unit. like, there were all these different kinds of musics that parents a call - and, you know, I met him on the gig... I “1975,” says White. “They used to have concerts in influenced the music that I played as a young musician. got on the bandstand with him and he said, ‘Hey, Central Park, in Wollman Skating Rink and I think the And so I really wanted to get back to that feeling.” what’s going on? One, two, one, two, three four.’ And Wollman Skating Rink held 7,000 people. And Return When asked if he has a philosophy on drumming, that was it. [laughs] That’s how I met him.” to Forever played there and they had fences and they White, who has been in the business for nearly 50 years After a year with McLean, White received another broke down the fences to come and see the band. And now, explains that, in a group, there’s a lot riding on invitation. In 1969, the drummer made music for there was about 12,000 people in Central Park. To see the person behind the kit. That player can make or Bitches Brew with a large Miles Davis ensemble this band that didn’t have a lead singer, didn’t have a break the music. including , Wayne Shorter, John hit record on the radio and when we walked out on “No band is better than its drummer,” says White. McLaughlin and Chick Corea, as well as fellow that stage and I saw that, that’s when it changed. And “When the drummer is happening, the band is percussionists DeJohnette, and Jumma I knew that it was something special.” happening. And, situation is, the drummer is like the Santos. In the summer of 1976, just six months after White traffic cop. The drummer channels how soloists will “I recorded that in August of 1969 - this is a true recorded his last ’70s album with Return to Forever, play and how the music moves. I mean, the drummer story,” says White. “In October of ’69, I woke up out of electric bass giant Jaco Pastorius dropped his first puts the exclamation points and quotations and a dead sleep, sat up in my bed, said, ‘Ah! I recorded album as a leader, Jaco Pastorius, which featured White periods and question marks behind the solos.” v with Miles Davis.’ It took me that long to realize that I on the tracks “Continuum”, “Opus Pocus” and “(Used had done something that was documented, that was to Be a) Cha-Cha”. Pastorius and White get each other For more information, visit lennywhite.com. White is at gonna be a part of history. I’m a kid who used to write on these cuts, especially on the ethereal “Continuum”, Iridium Apr. 11th-12th with Larry Coryell and Victor his name on the back of album covers so you could see but the height of their collaboration for this album is Bailey. See Calendar. how it looked. And then I get an opportunity to record the not-released-until-2000 “6/4 Jam”. Hypnotic and and make a historical statement in music history. It intense, the piece is essentially a meeting of Pastorius, Recommended Listening: was really, really, very, very heavy for me.” White and White’s Bitches Brew session-mate Alias on • Miles Davis - Bitches Brew (Columbia-Legacy, 1969) White’s winning streak resumed at the end of congas, save for a few interjections from Hancock’s • - At The Lighthouse (If You’re Not Part January 1970, when he holed up with Hubbard, Fender Rhodes. White remembers the sessions fondly, of the Solution, You’re Part of the Problem…) Henderson, Hancock and Carter at Van Gelder Studios but had no particular expectations for the album. (Milestone-Fantasy, 1970) in Jersey to mold Red Clay. Despite the influence and “At the time, you know, it was a great record. It • Return to Forever (feat. Chick Corea) - popularity of the album, White was never happy with was cool,” says White. “And, you know, Jaco was a Hymn of the Seventh Galaxy (Polydor-Verve, 1973) his performance and didn’t listen to it for the first great player and he was a great friend and we played • Lenny White - Venusian Summer decade of its existence. “It was interesting, because my basketball. We were fellow Sagittarians and that was it. (Nemperor-Wounded Bird, 1975) musical friends coming up at the time were Mike and And then the record blew up and became this huge • Wallace Roney - Village (Warner Bros., 1996) Randy Brecker and and ,” record. [laughs] But at the time we were making it, it • Larry Coryell/ Victor Bailey/Lenny White - recalls White. “A lot of other guys: I mean, Dave was a session. You know, it was a good session, but it Electric (Chesky, 2005)

THE NEW YORK CITY JAZZ RECORD | APRIL 2014 9 ENCORE

working in the JFK Quintet, for which he was the remains what it was 20 or 50 years ago: “People would Andrew White leader and musical director. They recorded two LPs for tell Coltrane what reeds and mouthpieces to buy; Riverside: New Jazz Frontiers from Washington and nobody would ever have the nerve to tell me stuff like by Clifford Allen Young Ideas. White was also a principal oboe soloist that. The fact that I’m coming in to New York now after during this time with the American Ballet Theatre. 20 years, there will be people who were at my last The world of jazz and Growing up, White “worked in [his] father’s office concert at Lincoln Center wondering if I still play the improvised music is for about seven years between the 6th through the 12th same way. All my records still sell and people call me made up of people who grade. My father was the Executive Secretary for the asking whether I still do it and I say ‘yeah!’” v do things themselves - Department of Christian Education for the AME it has to be, because so Church, so I worked in his office and subliminally I White is at The Jazz Gallery Apr. 26th. See Calendar. little art is created picked up a lot and having contact with ideologies and validly from somebody personalities and religious figures and philosophies, Recommended Listening: else’s mobilizing hand. Though not quite as well all the way to filling orders for religious material for • The JFK Quintet - New Jazz Frontiers from known as he should be outside of his Washington, DC seven years, unwittingly prepared me. I had a Washington/Young Ideas (Riverside-Fresh Sound, 1961) homebase, saxophonist and bandleader Andrew White background and I could see things as a young person • McCoy Tyner - Asante (Blue Note, 1970) is the epitome of doing it oneself. His company, that guys in their 40s couldn’t see at all because they • Andrew White - Passion Flower Andrew’s Musical Enterprises, has published 48 didn’t have the exposure or background in any kind of (Andrew’s Music, 1974) volumes of LP and CD recordings on the Andrew’s a business.” He was prepared for being a bandleader - • Andrew White - Live in New York at The Ladies Fort Music label, including the seminal Passion Flower which he has been since 1961 - and a businessman, (Vol. 1 & 2) (Andrew’s Music, 1977) (1974), Marathon ’75 (eight volumes), Live at the Foolery efficiently running a label and publishing house. • Beaver Harris - Beaver Is My Name (Timeless, 1983) (six volumes), Andrew Nathaniel White III (a solo The mass of Coltrane transcriptions is a particularly • Julius Hemphill Sextet - The Hard Blues recording from 1971) and numerous others. He has remarkable achievement and White has a far-reaching (Clean Feed, 2003) published 46 separate books of his writings, 80 approach to Coltrane’s work. “When I postulate about transcriptions of his own solos for musicological Coltrane, I’m speaking of him as a formidable jazz investigation and, most herculean of all, 15 volumes of linguist, so that’s all I’m approaching in making my IN - An exciting John Coltrane transcriptions, covering 844 of the publications available. We all know that Mr. Coltrane saxophonist’s solos in both musical and textual format. was a cumulative bandsman and his musicality was all new trio As White (born Sep. 6th, 1942) puts it, “people rooted in bandsmanship and the musicality of his featuring: took another kind of interest in me, because in the phrasing and the way he perceived solos. It’s not Harvie S/ patronage system there are wheels that have to be enough to just accept that when you’re talking about Tim Armacost/ greased and everything else in order to get the work to the magnitude of his soloistic expression and his DownBeat editors and I had nothing like that. My whole linguistic contributions, so that’s what my musicology Christian Finger career people have been hitting on me from that is all about - the fact that he was quite astute as a perspective, for all the 42 years I’ve been in business melodist and theoretician in terms of how he developed and a lot of people have been waiting for me to go out his music. The miracle of improvisation is epitomized New CD - “DEFINING MOMENT” of business because they know how much it takes to do through his playing and my work stands as a statement Now available at certain things and, though I never discuss my business to that effect more than anything else.” CDbaby.com/cd/intrio with anybody, the point is that it might not cost as All of this work does make it fairly difficult to tour much money as people think it does. It could be just and perform regularly; White averages about a gig a CD Release Concerts: the fact that its basis is the broad-based iconoclasm year at this point, though 2014 may see three including April 3: Bar Next Door, Manhattan that I came [to Washington] from Nashville, Tennessee the forthcoming stand at The Jazz Gallery. The last April 5: Upstream Gallery, Hastings on Hudson with in September 1960.” White studied at Howard time he was in New York was in 1995 for a celebration June 27: Inkwell Café, Brooklyn University and graduated cum laude with a BA in of the music of Coltrane and Julius Hemphill (White facebook.com/ingreatmusic Music in 1964; throughout that time he had been was in the Julius Hemphill Sextet). Yet his outlook

LEST WE FORGET

Shelly Manne); guitar/bass (Jim Hall/Ralph Peña); companionable silence that descends on a long drive Jimmy Giuffre (1921-2008) guitar/trombone (Jim Hall/); bass/ when Jimmy turned to Juanita [Odjenar, his wife] and drums (Kiyoshi Tokunaga/Randy Kaye). Hall’s asked, ‘Juanie, what’s the name of that disease I have by Fred Bouchard limpidity and Brookmeyer’s growl upended traditional that makes me forget the name of that disease I have?’” instrumentation with contrapuntal conundrums; it A Giuffre piece may evoke cactus haunts, a First of spring: shy shoots poke through snow, a dog quietly dazzled in the sailboat backwash of the opening wheeling hawk in high desert air or a dank swamp snoops along squirrel tracks, a cardinal wheet-wheets credits to Bert Stern’s iconic film, fulla wriggling thangs, but always holds a deep focus. low-down. Makes one think of Jimmy Giuffre, that Jazz On A Summer’s Day (1958). Elusive yet durable His bestiary of tunes includes portraits of fauna lone pioneer of solo clarinet performance, leafy, drum- proved the trio with and Steve Swallow, (crawdad, mosquito, dragonfly, mule, ducks, elephant, free chamber trios, cant-free forthright orchestrations which lightly leapt from 1961 to 1993 in a nanoblink cobra) and onomatopoeic ventures (Whirrrr, Om, - cocking an ear to Ma Nature to play and write just and often dwelt in mysterious, spooky rambles. Woodoo). Expanding his palette with bass and alto how he heard her. Heck, even his name conjures up his In between (1979-83), Giuffre, impressed by flutes lent a palpable Zen-like contemplative burnish. tenor tone. That humid chuffling in the clarinet’s dark Weather Report and no stranger to reinvention, His heartland blues motifs presaged prairie lads like chalumeau evoked a primeval, halcyon strain yet explored electrified sounds with The Quartet (Randy , and Bill Frisell. Giuffre unheard in jazz. Kaye/Marc Rossi/Bob Nieske). Bassist Nieske echoes died of pneumonia on Apr. 24th, 2008, two days shy of So Giuffre, Dallas-born, North Texas State-reared, Giuffre’s fellow New England Conservatory composer his 87th birthday. v headed West and drove footloose into Los Angeles’ George Russell when he says: “Jimmy could really lively big-band and small-session scenes. He earned write a melody.” Keyboardist Rossi, like Nieske an A Giuffre tribute is at Apr. 15th-16th. See Calendar. spurs writing sax-rich band charts (“Four Brothers”, a NEC acolyte anointed as Quartet member, keys on 1947 hit), set comfy among Howard Giuffre’s intensely personal style as one of “wisdom Recommended Listening: Rumsey’s Lighthouse All-Stars (1952-54) and lit up and dignity. He’d lift phrases out of time, let them • Shelly Manne - The Three (Contemporary, 1954) ’ bands (1952-60). He wrote big for brass, breathe, back off the edge of the beat. I’d ghost his • Jimmy Giuffre - Jimmy Giuffre 3 (Atlantic, 1956) a 1959 suite for clarinet and strings, edgy big-band lines to give the music depth and substance.” • Jimmy Giuffre - 1961: Fusion/Thesis (Verve-ECM, 1961) Broadway sets and limber vehicles backing the volatile Deadpan wizardry (think Buster Keaton) pervaded • Jimmy Giuffre//Bill Connors/Paul Bley - singer Anita O’Day. Meetings with other like minds Giuffre’s word and deed. He’d amble like a mule to set IAI Festival (Great American Music Hall) (IAI, 1978) took place with Modern Jazz Quartet at Music Inn and a loping tempo, tug on his goatee Boho-wise to crack • Jimmy Giuffre - Life of a Trio: Saturday/Sunday with bop’s gentle alto-ego Lee Konitz. up an ensemble class. He’d fun on himself Twain-like, (Owl-Sunnyside, 1989) Traveling light suited him best and trios bristled in even late in life. Swallow recalls a Giuffre-ism from a • Jimmy Giuffre - Conversations with a Goose sprays of invention: trumpet and drum (Shorty Rogers/ late European trio road trip: “We were enjoying the (Soul Note, 1993)

10 APRIL 2014 | THE NEW YORK CITY JAZZ RECORD MEGAPHONE

well as musically thrilling. For more information, visit amandamonaco.com. Monaco is All Together Now But another concept of a collective is leaders of at Flushing Town Hall Apr. 26th as part of the Queens Jazz different ensembles coming together for a OverGround Spring Jazz Fest. See Calendar. by Amanda Monaco purpose. And that’s how the seeds of what has become the Queens Jazz OverGround (QJOG) were planted. Since moving to New York City, Amanda Monaco has “People who need people/are the luckiest people in We knew about the Brooklyn Jazz Underground, a performed with a variety of musical groups, from jazz the world,” writes lyricist Bob Merrill to Jule Styne’s collective we’ve admired for quite a while. We chose chamber ensembles and big bands to regular appearances classic tune “People”. I spent a lot of years plugging our name because most of the trains in Queens are with her own groups at such venues as Birdland, Joe’s Pub away as a bandleader. I did everything myself, to above ground, reached out to jazz musicians and The Blue Note. She has released five albums to date and mixed results. My family is a large Italian one, where throughout the borough and made it our mission to her current projects include her quartet Deathblow, the word “I” doesn’t really exist; doing all of this music bring more jazz to Queens. Not that it was missing - collaborative quintet Playdate and Kiss the Leslie. stuff alone all the time felt weird. I started playing jazz one walk through the Long Island Railroad Station in Monaco is a resident musician at Congregation B’nai because I loved the community. But then I moved to Jamaica will remind you of the many famous jazz Jeshurun in New York City and has released an album of New York and felt like I was lost in this sea of musicians musicians that have called Queens home - but we had original music based on the Pirkei Avot, a collection of fighting for the same silly gig where you pass the hat. a mission of creating something for the school kids that rabbinical teachings compiled in the Third Century C.E. It was a warm summer evening and I was thinking found jazz interesting and people who never venture Monaco is on the faculty of and about all of the musicians I knew in my neighborhood into Manhattan or Brooklyn to hear music. Artistic Director of Convergence Arts, Inc., a not-for-profit in Queens. Sure, Brooklyn gets a lot of the attention I could never do this alone. I have people skills, organization whose mission is to share the art and fun of these days but there are a lot of us in Queens too. I but grant writing? Fuhgeddaboudit. The beauty of improvisation with people of all ages. She also co-founded decided that I would email all of the musicians I knew being a part of a collective is that each of us brings the Queens Jazz OverGround, a collective that stimulates a in Long Island City (my home for the past ten years) different skills. Almost as soon as we formed, Flushing wider awareness of Queens as an important destination for and see if they were interested in forming a collective. Town Hall approached us to see if we would be live jazz and enriches the cultural life of the borough. Unfortunately it petered out pretty fast and I got interested in attending some jazz concerts they were discouraged. But then I heard about this guy named presenting. They were also interested in learning more Marty Khan, who had written a book about the about our mission, our goals and dreams for jazz in HYMN TO THE WORLD CONCERT business of jazz called Straight Ahead. I got an e-copy Queens. With Flushing Town Hall’s partnership, we A BENEFIT FOR UN WOMEN and a half-hour consultation. That has turned into a began planning what would become our first annual weekly hour-long conversation for the last year and a spring jazz festival. My QJOG partners Josh Deutsch April 3rd, 2014 • 7:00 pm half, to phenomenal results. The basic philosophy is and Brian Woodruff were in charge of the educational how jazz musicians in the 21st century can create programming; Mark and Teri Wade wrote the grant Saint Peter’s Lutheran Church something sustainable without compromising our proposals. My job was to secure the guest artist as well 619 Lexington Avenue @54th St., NYC artistic integrity. The two main concepts using the as pursue corporate contacts. The result was a free, all- collective and the non-profit organization 501(c)(3) to day jazz event with something for jazz fans of all ages. Featuring: Heikki Sarmanto, piano with Jeannine Otis, vocals • Bim Strasberg, bass promote our music. We’re doing our second one this month. Greg Bufford, percussion “Well, isn’t the 501(c)(3) a given for the arts?” Being part of a collective has been satisfying on someone asked me recently. I could only respond many levels. It’s great to have like-minded people who Tickets $20 at www.finlandcenter.org or with, “a lot of jazz musicians are more individual- can act as checks and balances for each other in order $25 at the door. Intermission reception included. based than collective-based.” Her response to that: to achieve the same goal. There’s also strength in Supported by Arts Promotion Net proceeds to benefit UN Women. “oh, you mean like herding cats?” (Ouch.) I’m not numbers. One can accomplish much more saying Centre Finland, Finnish Performing saying that doing one’s own thing is bad - quite the “we’re a collective whose mission is to share more jazz Music Promotion Centre, Suomi-Seura, Consulate General contrary. Even if one is doing his own thing, that with people in the borough of Queens” than simply of Finland in New York, Finland doesn’t mean it isn’t a collective. The Modern Jazz saying to someone, “I’m a jazz musician with a band Center Foundation, Paul Tirri Fund Quartet and Art Ensemble of were both and I want a gig so you should give me one.” That’s and Samuel Rubin Foundation. collective ensembles that were wildly successful as my favorite part - we’re all in this together. v

VOXNEWS

Roberta Gambarini, blues-edged Vivian Sessoms and in the bank of time beg the deep question: how do you The Essential Vocalist narration by the one and only Yolande Bavan of spend it? Catch Nathanson’s band at Joe’s Pub (Apr. Lambert, Hendricks & Bavan - the original narrator in 2nd), featuring the leader sing-talking, joined by by Katie Bull the 1962 performance at the , its bandmembers singing or talking (like beat poets) at only live rendering. least once. Napoleon Maddox is the thread throughout, There is an entire world of jazz vocals in which the Percussionist Dan Weiss will celebrate the release a beat-boxing phenomenon. musical event is not ‘about’ the singer delivering a of Fourteen (Pi) at The Jazz Gallery (Apr. 11th-12th). At Roulette, NEA Jazz Master, composer and song. In this world, the singer is essential in supporting Weiss’ 14-member ensemble of guitar, horns, harp, saxophonist Anthony Braxton’s Tri-Centric Presenting the delivery of a compositional message and is one voices, piano, organ, bass and percussion is like a radio Series features singer Fay Victor’s ensemble (Apr. part in a whole, rather than outfront as ‘the voice’. satellite capturing the feedback of our whole planet. 12th), tightly at one with her ever-expanding at Lincoln Center’s Festival Croatian Lana Cenčić, Brooklynite Judith Berkson and experiments. Braxton’s new four-act jazz opera offers a remarkable example: the restaging of an epic Italian Maria Neckam are the vocal strings in the Weiss Trillium J involves numerous singers employing scored work pianist Dave Brubeck and recently departed wife, ‘theory’ of inter-weaving signals. tones and improvisational options. The singers create a lyricist Iola Brubeck, created in 1962 in collaboration Speaking of strings, pioneer experimental jazz vocal language revealing meaning in our universe. with Louis Armstrong. Brubeck and Armstrong’s vocalist Jay Clayton’s 1988 ITM recording, As Tears Go Note Braxton’s use of progressive jazz vocalists Roland bands, singer Carmen McRae and jazz vocalese group By (recently reissued by Jazzwerkstatt), initiated and Burks, Kyoko Kitamura and Jen Shyu in a new music Lambert, Hendricks & Ross performed the original produced by bassist John Lindberg, is an archival gem ‘choir’ of 12 singers (Apr. 17th-19th). work, which was drawn from the composers’ capturing Clayton’s groundbreaking impulses. The ethereal and soulfully intimate sound of New experiences traveling the globe in the late ‘50s during Clayton is at the Metropolitan Room with her close York-based/Korean-born Yeahwon Shin merges the Cold War on behalf of the US State Department. friend, Judy Niemack (Apr. 10th), interpreting and sympathetically with pianist Aaron Parks and The suite is titled The Real Ambassadors. “The State inter-connecting standards by integrating poetry and accordion player Rob Curto on Lua Ya (ECM). Their Department has discovered jazz. It reaches folks like improvisation. Hear them venture outside the box synergy will dissolve all sense of separateness at the nothing ever has,“ sang Armstrong in the song alongside guitarist Jean François Prins and bassist Jay Rubin Museum (Apr. 23rd). And poignant moments of “Cultural Exchange”. The work also includes Anderson. life imagined in sonic three dimension grace trumpeter Armstrong’s strong feelings about civil rights here in Saxophonist Roy Nathanson’s Sotto Voce: ’s beautiful new CD, The Imagined America. Hear The Real Ambassadors in The Appel Complicated Day (Enja/Yellowbird) is a group of songs Savior Is Far Easier to Paint (Blue Note), with indie- Room (Apr. 11th-12th), with pianist and Musical that amalgamate into one coherent composition rock-tinged singer Becca Stevens, experimental artist Director Peter Martin leading a large group of vocalists overflowing with sonic imagery. Lush rivers, nettle Theo Bleckmann and gospel-influenced Cold Specs including the clarion tones of Grammy-nominated trees (of life) on riverbanks and scenes of days passed integral to the vision. v

THE NEW YORK CITY JAZZ RECORD | APRIL 2014 11 LABEL SPOTLIGHT

the desired results without headphones or baffles, as pick up the paint and figure it out on your own.” Chesky Chesky noted, “They have to be people who can do it Chesky has made considerable advances with live and nail it. Think of it this way: we do black and their recording technique. While they aren’t the only by Ken Dryden white photos. If there’s a blemish on a person’s cheek, label making binaural recordings, they are doing it that’s what you get. We want it to be a clear, transparent from the perspective of the listener, versus the Since its debut release in 1988, the Chesky label has window, not my version of an album. We try to be performer. “When you play the music on headphones, drawn critical praise for its unique approach to audio. stealth with sophisticated electronics to capture every it’s like you’re present at the record date. It’s not two It began as a jazz label and issued valuable recordings nuance. If the guy takes a breath, I want you to hear it. microphones, but a whole head.” by greats like , , McCoy Tyner, When you’re playing in a quartet, you’ve got to be able Chesky helped Latin and South American artists and Lee Konitz. Chesky recorded younger to hear the next person or it’s your own fault. If we do gain greater exposure, including Brazilian vocalist generations of musicians as well, including Fred a take and one guy is buried, we tell him that you have Leny Andrade, the late nuevo tango composer and Hersch, , , Larry Coryell and to play like you’re playing real. Once they get into that, bandoneon player Astor Piazzolla and guitarist/ Wycliffe Gordon. Co-founder ’s interests they hear exactly what we’re going to capture. We’re vocalists Ana Caram and , among others. as a performer himself covered many styles of music, not trying to make it slick, that’s the whole point.” Being based in New York City gives Chesky many so it was only natural that the label expanded into The label’s debut release was violinist Johnny opportunities to hear international musicians. Latin jazz, , classical music and a Frigo’s Live from Studio A in New York City; “We had The label remains busy in the studio. “We recently subsidiary label for children’s music. him with , Ron Carter, Butch Miles and recorded the great percussionist Candido. Saxophonist Brothers David and Norman Chesky grew up in this up-and-comer named ,” recalls David Liebman worked with four young percussionists the South Beach area of Miami, Florida. David, a Chesky. “Nobody knew what we were doing, it was and a bass player.” Chesky, who himself recently pianist, was immersed in music from an early age. He the first time either we or the musicians had recorded released an album of original rags, has several goals left Miami due to the limits of its music scene at the an album in this way. Bucky and Johnny got it because for the immediate future. “I want to get the binaural time, moving to New York to become a professional they came from an era when they used just one or two going better. I think it’s a better way to hear and I want studio musician. “I recorded a big band jazz album for microphones.” The Chesky sound developed over the to get a lot of great acoustic bands in the studio while Columbia around 1978. I was into sound, but really did years. “I used to be a conductor in the studios for we have this new technology. It’s really 3-D and we’re not understand how to do it.” After he was dropped by movies and television shows. I always thought the working on applications where we can put you into the Columbia, Chesky made new plans. “I wanted to start sound was the best where I stood. That inspired us to space. In theory we can put you in the jazz club. If my own jazz audiophile label, but from the perspective create a label based on a single point person. We put you’re in Tahiti on the beach, with binaural, we can put of a single listener.” He and Norman opted for a novel the microphone where he would be listening to the you in the venue.” approach, recording exclusively with a single point music. We keep refining how far should the mic be Chesky has switched from an emphasis on microphone. “We just had a left and right channel, no from the instruments and every time it’s new. We’ve manufacturing discs to almost exclusively making the mixing, just pure. We captured real musicians in a real learned a lot, but every time you walk into a new hall music available through downloads for the past year, space.” This required top-notch musicians to achieve with a new band, you have a white canvas and have to (CONTINUED ON PAGE 42)

Impressions Dreams of New Orleans The New York Rags Impromptu Three For All Larry Coryell Organ Trio Wycliffe Gordon David Chesky David Hazeltine Trio Bucky Pizzarelli Trio

LISTEN UP!

Saxophonist/composer JAMES BRANDON LEWIS discovered. What a joy to discover players such as age of three. In 2010, Turner finished school at Berklee was born in 1983 in Buffalo, NY. He earned a Bachelors and many others. College of Music and then moved to New York City. He from Howard University and MFA from California has performed at Birdland, Smoke, Iridium, Smalls institute of the Arts. Lewis currently lives in New York, Dream Band: , , John Carter, and Dizzy’s Club. performing at venues such as The Firehouse Space, Bobby Bradford, Charlie Haden. So many others...hard Ibeam Brooklyn, Joe’s Pub, Groove, Roulette and question. I live the dream being able to play with Teachers: Cheryl Turner, Charles Turner Jr, John ShapeShifter Lab with artists such as Karl Berger, William Parker and Gerald Cleaver and would love to Hamilton, Dave Samuels, and Terri William Parker, Gerald Cleaver, Eri Yamamoto, Max continue to play with my peers and friends and those Lyne Carrington. Johnson, Dominic Fragman and many others. He has who are open to collaborate. two albums as leader, with Divine Travels (with bassist Influences: Nat “King” Cole, Eddie Jefferson, Sarah William Parker, drummer Gerald Cleaver and poet Did you know? My favorite basketball player is Allen Vaughan, and . Thomas Sayers Ellis) released last February on OKeh Iverson and I love reading philosophy. Records. Current Projects: I recently released my debut album For more information, visit jblewis.com. Lewis is at Freddy’s Dreamers on Sound on Purpose Records. I am also the Teachers: Wadada Leo Smith, Charlie Haden, Dave Backroom Apr. 22nd. See Calendar. featured vocalist on drummer Ulysses Owens Jr’s new Douglas, Matthew Shipp, Vinny Golia. album Onward & Upward.

Influences: Life!, John Coltrane, Wardell Gray, Dewey By Day: Teach, perform and compose music. Redman, , Eric Dolphy, , Charlie Parker, , Wadada Leo Smith, my I knew I wanted to be a musician when... I was three friends and family. years old. I loved singing and all of my family are musicians. It was a very natural feeling. Current Projects: James Brandon Lewis Trio with Dominic Fragman (drums) and Max Johnson or Luke Dream Band: Oscar Peterson, Christian McBride and Stewart (bass). . James Brandon Lewis Charles Turner By Day: Practicing, composing, reflection, living life. Did you know? I am actually Charles Turner III. Both my father and grandfather are musicians. I knew I wanted to be a musician when... I started Vocalist CHARLES TURNER was born Sep. 28th, playing at the age of nine. My curiosity for music never 1988 in Los Angeles, California and began his musical For more information, visit charlesturnermusic.com. Turner faded and my love for it intensified the more I journey learning from his parents, both singers, at the is at Smoke Tuesdays. See Regular Engagements.

12 APRIL 2014 | THE NEW YORK CITY JAZZ RECORD LIVE MUSIC 7 NIGHTS BROADWAY AND 51ST • RESERVATIONS: 212-582-2121 • BUY TICKETS AT: WWW.THEIRIDIUM.COM APRIL 2014 LIKE US FOLLOW US APR 3 / 8:30PM & 10:30PM APR 7 & 8 / 8:30PM & 10:30PM APR 9 & 10 / 8:30PM & 10:30PM APR 11 & 12 / 8:30PM & 10:30PM APR 13 / 8:30PM & 10:30PM

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was regularly gigging as a central figure in the Jazz Country was produced by drummer Matt Downtown/Knitting Factory jazz irreverence. Wilson, a musical colleague of Cervini, but there are no While the Passengers were on hiatus, Nathanson drums, or other percussion instruments, on the album. focused on making radio plays, completing a Master’s The core band is Jesse Lewis (guitars) and Matt Aronoff in poetry at New England College and pulling together (bass), replaced or augmented on 7 of the 14 tracks by a new band, which even in name represented his new (usually a single) guests. So this is an intimate interest in verse. “Sotto Voce” (literally “in a quiet recording, emphasized by opening with a sensually voice”, or as a musical direction “very softly”) features slow, conspiratorial ( including pregnant pauses) “Blue the soulful alto of trombonist - a Moon” with the core duo. The other classic standard,

Southern Comfort constant in all of Nathanson’s projects - and the “Smile”, is also treated tenderly and more than a touch ( Masterworks) subdued but still unexpected beatboxing of Napoleon wistfully. A sweet tenderness is one of Cervini’s by Robert Milburn Maddox, as well as Nathanson’s own singing and strengths, also at the fore on her duet with McKay’s speaking voice. It’s a logical progression but is still a ukulele and voice on Dave Frishberg’s “Wallflower One of jazz’ preeminent violinists, Regina Carter has fairly different sort of project. There may not even be a Lonely, Cornflower Blue” and Dominique Eade’s spent a good portion of her career reconnecting with whole lot of jazz left in his music, not in any post-1960 enigmatic “Go Gently to the Water”. the idiom’s roots. On 2010’s Reverse Thread, she took sense anyway. Horns and solos are still at the core on But Cervini is no one-trick pony, displaying an full advantage of generous funding as a MacArthur Complicated Day, the group’s third release, but they’re appreciation for the playful jump tempo of the old Nat Fellow to delve into the music of Africa’s rich Diaspora in service to the text. Nathanson has always been a fine “King” Cole Trio hit “Frim Fram Sauce” and the as reconstituted for violin, accordion, bass, drums and arranger and it seems as if his charts are even more Parisian Django swing of her own “Je Danse Avec la kora (21-string African harp). focused when conceived as accompaniment. On top of Neige”, both with Anat Cohen’s clarinet. She’s also a Similarly, an intense period of research preceded the music is all kinds of collaboration. Poet Gerald convincing purveyor of both folk - Neil Young’s “After Southern Comfort’s recording. Carter searched through Stern delivers his own “The Nettle Tree” over music by the Gold Rush” and Canadian choral folk standard the Library of Congress and the collections of folklorists Nathanson seemingly touched by Rahsaan Roland “Song for the Mira” - and down-home country, from Alan Lomax and John Work III to rediscover the music Kirk and the verse is reconfigured later by Nathanson, Hank Williams’ “I’m So Lonely I Could Cry”, with encountered by her paternal grandfather as a coal crafting it into a song sung by bassist Tim Kiah. twangy melismas and ’s alto sax, to miner in Alabama. For this disc, Carter, enamored by Elsewhere, a poem of Nathanson’s is reworked by poet Johnny Cash’s “I Still Miss Someone”, Nadje Noordhuis the diversity, selected Cajun fiddle music, early gospel Jeff Friedman and then set to music. growling trumpet obbligatos in vintage Satchmo and coal miners’ work songs, rearranged by herself, The album isn’t, however, a record of jazz and fashion. Lewis adds wordless vocal chants on the bandmembers and a cadre of musicians she has worked poetry. Sotto Voce is a song band, filled out by violinist haunting near standard “Calling You” and the CD ends with throughout the years, like pianist Xavier Davis. Sam Bardfeld and new addition on with a pair from two contemporary country chanteuses: An obvious rapport has developed between the guitar and banjolin. The leader’s love for Carrie Underwood’s deliciously spiteful “Before He musicians on this disc since Carter maintained a good turns up in fine arrangements of Isaac Hayes’ “Do Cheats” and KT Oslin’s teary, torchy “Drivin’ Cryin’ portion of Reverse Thread’s personnel. Your Thing” (sung by Fowlkes) while Kiah brought in Missin’ You”, a vocal/bass duet. The music is an amalgamation of seemingly Johnny Nash’s “I Can See Clearly Now”, which is sung contrasting lifestyles since Scots, Irish, Native by Nathanson’s teenage son Gabriel, who also adds For more information, visit anzicrecords.com. This project Americans and slaves inhabited the melting pot of some trumpet. From the more distant past, Nathanson is at 55Bar Apr. 3rd-4th. See Calendar. Appalachia. As a result, the diversity of the album is draws “On a Slow Boat to China”, using it as a vast. Traditional Appalachian tunes like “Miner’s springboard for a monologue of childhood Child” feature guitar, accordion and violin alternating reminiscence. RECOMMENDED interchangeably between lines of spirited, interwoven Complicated Day is more mannered, more grown- twang. Meanwhile, “Trampin’” has a hip-hop feel with up, than anything the Passengers ever did and perhaps NEW RELEASES a twist of New Orleans bounce cast against a scratchily- more fully realized - or at least more disciplined. recorded chorus of moaned lyrics. Contrast this again Nathanson’s recent work may be his most unique and • Diego Barber + - Tales (Sunnyside) with Cajun dance tune “Blues De Basile”, which feels is likely the most personal in two-and-a-half decades • Digital Primitives - Lipsomuch (Hopscotch) buoyant in all its elasticity. Carter’s violin struts of recording. • Quartet - One Is the Other (ECM) through the party with great revelry. • Tom Rainey - Obbligato (Intakt) The albums’s highlights are “See See Rider” and For more information, visit jazzrecords.com/enja. This • Pete Robbins - Pyramid (Hate Laugh) “Shoo-Rye”. The former is a blues with Carter’s violin project is at Joe’s Pub Apr. 2nd. See Calendar. • Ton Trio II - On and On (Singlespeed) serving as raconteur about the failings of an unfaithful David Adler, New York@Night Columnist lover, evoking such emotion you can almost hear the gruff, yet lamentable, lyrics. Underneath her the band • Kris Davis Trio - Waiting For You To Grow (Clean Feed) kicks in a loose vibe that exudes attitude. The latter, in • Free Nelson MandoomJazz - The Shape of contrast, is a light children’s song, coasting amid Jazz to Come/Saxophone Giganticus Carter’s triumphant melody and Will Holshouser’s (RareNoise) vivacious accordion playing. Southern Comfort is a fun • Oscar Peterson//Tony listen, bolstered by a unique thoughtfulness. Inzalaco/Niels-Henning Ørsted Pedersen - During This Time (MIG) For more information, visit sonymasterworks.com. This • JC Sanford Orchestra - Views from the Inside project is at Birdland Apr. 1st-5th. See Calendar. (Whirlwind) Jazz Country • Henri Texier Hope Quartet - Amy Cervini (Anzic) At «l’Improviste» (Label Bleu) by George Kanzler • Torbjörn Zetterberg & Den Stora Frågan - Eponymous (Moserobie) If you’re a stickler for strict boundaries, thinking a jazz Laurence Donohue-Greene country should be as circumscribed as Liechtenstein or, Managing Editor, The New York City Jazz Record at most, Switzerland, then singer Amy Cervini’s Jazz Country may stretch beyond your idea of jazz borders. • Matt Bauder and Day in Pictures - Besides the obviously implied country music, Jazz Nightshades (Clean Feed) Country encompasses pop, honky-tonk, folk-rock, jump • Nils Davidsen - Noget at Glæde Sig Til novelty and even beloved Canadian choral songs, as (ILK Music) well as gold-plated standards. But Cervini, whose last • Barry Guy New Orchestra - Complicated Day Amphi, Radio Rondo (Intakt) Roy Nathanson’s Sotto Voce (Enja/Yellowbird) album was a tribute to , also considers • Alexander Hawkins Ensemble - by Kurt Gottschalk the musicians she knows in her Big Apple base as her Step Wide, Step Deep (Babel) “jazz country”. In her catholic breadth of repertoire and • Charlotte Hug & Stefano Pastor - Roy Nathanson’s recorded output has slowed since refusal to be stylistically pigeon-holed, Cervini belongs Paragone D’Archi (Leo) the days of his great Jazz Passengers, but the returns to a circle of young jazz-plus singers who resist • Torbjörn Zetterberg & Den Stora Frågan - have been diminishing only in quantity. He’s averaged categorization and sometimes work in vocal groups not Eponymous (Moserobie) about one album every three or four years since the to be confused with jazz, such as Nellie McKay, Kate Andrey Henkin 20-naughts, a reasonable rate, if not the pace when he McGarry and Heather Massé. Editorial Director, The New York City Jazz Record

14 APRIL 2014 | THE NEW YORK CITY JAZZ RECORD

with tenderness and power. The Invasion Parade is a more in the forefront here than on the Longo and stellar work that will enhance Rodriguez’ reputation as Mabern releases, with Mraz sharing solo duties on an exciting new talent and a true world musician. several cuts and drummer Jason Brown also taking some powerful turns. Hazeltine plays beautifully, but For more information, visit mackavenue.com. This project is very quietly, on a selection of songs by , at Jazz Standard Apr. 5th-6th. See Calendar. Rodgers-Hart, and Mraz. This is an album of subtlety and nuance, which rewards attentive and repeat listening.

The Invasion Parade For more information, visit smokesessionsrecords.com, Alfredo Rodriguez (MACK Avenue) jazzbeat.com and cube-metier.com. Mabern is at Smoke by Terrell Holmes Apr. 4th-5th with George Coleman. Longo is at NYC Baha’i Center Apr. 22nd. Hazeltine is at Smoke Apr. 25th-26th Having as a mentor implies some serious with Jim Rotondi and Dizzy’s Club Apr. 30th. See Calendar. chops. Pianist Alfredo Rodriguez played one tune for Jones in Montreux in 2006 and the music legend assured him that they would work together someday. Eventually UNEARTHED GEM they co-produced Rodriguez’ acclaimed MACK Avenue debut Sounds of Space and they collaborate again on his Right on Time followup, The Invasion Parade. Harold Mabern (Smoke Sessions) Rodriguez’ virtuosity embraces various genres Step On It and cultures but the spirit of his native Cuba is the Mike Longo (CAP) basis for his musical expression. Roman Filiu’s Your Story proclamatory soprano saxophone flourish ignites the /David Hazeltine Trio (Cube-Metier) opening title track, a percussive overture, with by Joel Roberts Rodriguez alternating stinging single notes with dreamlike glissandi. He shows the benefits of his The 78-year-old pianist Harold Mabern has had a classical training with “El Guije”, Esperanza Spalding remarkable career that has seen him perform with just lending her bass and sprite-like vocals to this delightful about every jazz icon of the past five decades, including Different Times, Different Places Harry Miller (Ogun) jazz minuet, where she and flutist Javier Porta sound Miles Davis, Sonny Rollins, , Freddie by Andrey Henkin like two birds darting among the trees. Spalding also Hubbard and many others. In recent years, he’s found a sings on “Snails in the Creek”, as does percussionist home at Smoke, the palace of hardbop, The cover of this album is a picture of South African , who improvised his lyrics in a voice where he’s mentored a younger group of artists bassist Harry Miller in the mid ‘70s, location so distinctive that it should be trademarked. Rodriguez following in his footpath. unknown. He doesn’t look that much different than translates the guajiro (country song) “A Santa Barbara” Right on Time is a live date from Smoke pairing he did in the mid ‘60s when he was an integral piece into the bop idiom, playing stark block chords over Mabern with frequent partners John Webber (bass) and to many parts of the puzzle or, indeed, Filiu’s wicked alto saxophone and Peter Slavov’s steady Joe Farnsworth (drums). They delve into a set of mostly on the cover of his 1983 album Down South, recorded bass, then shifting into an approach whose harmonic familiar standards and a few Mabern originals. several months before he died in a road accident. strategy recalls . The leader enjoys Mabern’s take on “My Favorite Things” doesn’t stray Born 73 years ago this month, it is preferable to juxtaposing opposites and nowhere is that clearer than too far from McCoy Tyner’s modal playing on John remember him this way, in his mid ‘30s, brimming on the daring “Timberobot”. He uses piano and Coltrane’s famous version of the tune while an uptempo with music and leading the two wonderful bands synthesizer not only to convey a cautionary run through “” sounds nothing featured on this newly unearthed release. technological tale but also to present a debate like the classic Miles Davis interpretation. While any new music from Miller and this era concerning ‘traditional’ versus ‘modern’ musical styles. As one of the last surviving heirs to a glorious line of British jazz is welcome, this album is also another Rodriguez opens the throttle and does his most dynamic of Memphis piano giants that includes Phineas opportunity for mourning. Alto saxophonist Mike playing, energetically and brilliantly defending both Newborn Jr., James Williams and , the Osborne was a regular collaborator of Miller’s and sides of the issue. And while he embraces modernity, blues is ever-present in Mabern, as evident on his his career was cut off right around the same time, his reverence for standards is clear. The rhythm section interpretation of “The Nearness of You” and an original though he lived for many years longer. So in three versions of “Guantanamera”, “Quizas, Quizas, Quizas” blues dedicated to the staff at Smoke. One small gripe: tunes from London 1974 and four from the 1976 and “Veinte Anos” are dream-like, haunting and there’s nothing wrong with kitschy material, but Chateauvallon Festival in France, we get another sensual. covering the theme song from “Laverne and Shirley” opportunity to hear the wondrous hookup between The elemental dance tune “Cubismo” underscores alongside compositions by , Duke Ellington, these two departed masters, particularly on the Rodriguez’ goal of creating challenging music that is Rodgers-Hammerstein and seems a opening ballad “Bloomfield”. abstract but not arcane. This young man has already blunder. The rest of the bands are no slouches themselves. developed a sophisticated harmonic language with Pianist Mike Longo, just a few years Mabern’s Louis Moholo is behind the kit, lending his pliant ideas that are understated yet vivid and articulated junior, also has a new trio disc out. Perhaps best known swing to the proceedings. Fellow South African for his long stint with in the ‘60s-70s, Chris McGregor is on piano in London, giving that Longo has been active in New York for many years segment a stronger Township vibe, while Keith fronting a big band and leading jam sessions dedicated Tippett plies the keys more abstractly in France. Nick to Gillespie. Evans is on trombone for the earlier date, replaced Step On It is Longo’s third release with the sublime by the more bombastic Malcolm Griffiths for the rhythm section of (bass) and later recording. Cornetist Marc Charig expands the (drums). Longo is an extremely fluid, seldom flashy group to a sextet for the Chateauvallon material. pianist with a highly refined style, which is a bit more If you made one of those organized crime modern than Mabern’s, as shown by a repertoire connection charts with these players, you’d see work focusing on classic tunes by the likes of John Coltrane, together in countless amalgamations, experience Herbie Hancock, Joe Henderson and three by Wayne that comes through in the music, some from the Shorter. All the material is handled with aplomb by the Isipingo songbook (of which the 1976 group is a veteran ensemble on this state-of-the-art trio recording. variant) and albums like Family Affair and Which Way David Hazeltine is a couple of decades younger is Now. But three of the tunes, all written by Miller, than Longo and Mabern, but he mines similar musical are heard for the first time. This makes the album terrain and is one of the most talented heirs to the even more precious as Miller was one of the strongest tradition they’ve helped establish. His new trio release, composers to come out of British jazz. If Miller had Your Story, is his latest collaboration with the fine lived and Osborne continued to play, this would be bassist George Mraz. just another album but clearly it is so much more. The trio harks back to the great trios for its inspiration, taking its album title from an Evans For more information, contact [email protected] tune, as well its focus on group interplay. The bass is

THE NEW YORK CITY JAZZ RECORD | APRIL 2014 15

both the cozy confines of Cornelia Street Café and GLOBE UNITY: FRANCE Barbès to the raw, DIY venues like JACK and Spectrum. That cross-pollination proves manifold when glancing at Johnson’s cadre of cohorts. His working trio of cornetist Kirk Knuffke and drummer Ziv Ravitz doesn’t partake in the manic and shrieking energy music of some of his other collaborations, instead opting for a controlled chaos - experimentally-minded yet elegantly composed tunes, highlighting the

Sayat-Nova: Songs of My Ancestors individual gifts of each player. Johnson may pen a Armen Donelian (Sunnyside) majority of the compositions but he has no problem by Elliott Simon ceding the spotlight to Knuffke and Ravitz for the twosome to dart away on adventurous tangents. One can relate to pianist Armen Donelian’s Sayat- That synergy quickly arrived to fruition on the At «l’Improviste» Nova: Songs of My Ancestors on many different levels. trio’s excellent debut, Elevated Vegetation (FMR), a set Henri Texier Hope Quartet (Label Bleu) While most will not be familiar with the melodies of of free form-imbued interplay. Now the group is back Voix Croisées the 18th century Armenian minstrel whose corpus of with The Invisible Trio, a solid, tightly constructed Didier Levallet Quintet (Fremeaux & Associes) work is presented here, Donelian uses jazz and classical platter with less improvisational flourishes but Resurgence styling to make the music immediately accessible yet brimming with infectiously melodic counterpoint and Michel Edelin Quartet (Rogue Art) keeping its cultural richness intact. Similarly, an equal platforms, where each instrument takes center by Tom Greenland American-born jazz musician re-experiencing his own stage, traversing its own terrain with a spontaneous France has long embraced the sounds of jazz, the ethnically distinct music through jazz is by now a gusto before ultimately converging into a whole. home of legendary and influential musicians, native familiar journey. An extensive digital booklet presents Johnson is an intrepid composer, architect of sound and immigrant, its cities host to numerous clubs and the history of both Sayat-Nova and Donelian in detail and beast of the bass, layering postbop cuts like “Don festivals, its national character thoroughly in sync and anyone can also relate to the mixture of joy and Wrinkles” and “Moving Vehicle” with rhythmic and with the artistic ethos of improvised music. pathos of continuing to breathe life into music and beefy might, plucking, bowing and strumming his bass At «l’Improviste», a live date by bassist Henri culture almost wiped out through genocide. strings with aplomb while Knuffke colors the Texier’s Hope Quartet, features the leader’s brother The first CD consists of solo piano renderings. The soundscapes with swinging lyricism and expressive Sébastien on alto sax, soprano and alto , deceptive simplicity of opener “Where do you come tone. The Invisible Trio may be Johnson’s vehicle but François Corneloup on baritone sax and Louis from, Wandering Nightingale” engages the listener this group’s organic and remarkable confluence is (identical twin brother of bassist François) Moutin with strains of pathos, which prepares for the extremely truly of one mind. on drums. The unusual combination of low sax and powerful lament of “I Have Travelled the Whole World flute creates an immediate sonic signature, enhanced Over” and childlike wonder of the elegant melody For more information, visit freshsoundrecords.com. Johnson by the strength of each player, elevated by collective within “Without You, What Will I Do?” Nothing, is at Ibeam Brooklyn Apr. 4th, Spectrum Apr. 8th, New interplay on tracks like “La Fin du Voyage” (cleverly however, prepares for the sadness of “I’ll Never Know School Arnhold Hall Apr. 18th, Barbès Apr. 20th and hocketing horns), “Desaparecido” (nimble tempo Your True Worth” or melismatic prayerfulness of “With Freddy’s Backroom Apr. 22nd. See Calendar. modulations), “Song for ” (strong bass the Nightingale You Also Cry”, as Donelian artfully work) and “S.O.S. Mir” (effective phrase-trading in combines Eastern European modes with jazz the rhythm section). As Texier writes in the liner improvisation. “Were I Offered Your Weight in Pearls” notes, these musicians are undeniably «les concludes the disc. Recorded live, it is light-hearted sculpteurs du temps qui passe» (“sculptors of and sets up a striking contrast to the previous pieces, passing times”). providing a welcomed emotional respite and leading Voix Croisées, a studio date by the Didier into the more upbeat trio performances that follow. Levallet Quintet, is another bassist-led outfit, sans The second CD is as worldly as the first is piano or guitar, with a distinct timbral thumbprint, introspective. With bassist David Clark and drummer here created by the unique frontline combination of George Schuller, Donelian takes the emotionally Airelle Besson’s trumpet, Sylvaine Hélary’s alto and prepared listener on an instructional tour of the world soprano flutes and Céline Bonacina’s baritone and according to Sayat-Nova and beyond. An upbeat “King alto saxophones, underpinned by François Laizeau’s Of Cathay” opens up in the Orient while “Your drums. Levallet’s compositions and arrangements Headdress Is Silver And Silk” cleverly constructs a nod to the classic “Cool School”, subduing rhythmic royal wedding. “You Are Golden And Exotic Brocade” and tonal variation in favor of lush chorale textures reaches across time to mix a 19th Century melody with with subtly weaving counterlines. Hélary’s darting 21st Century jazz. Sayat-Nova’s best-known melody, and unpredictable improvisations add much to the “As Long As I Draw Breath”, returns to his inner self color and chemistry of this effort. with a classically-inspired and masterful presentation. Resurgence, from the Michel Edelin Quartet, is a Sayat-Nova: Songs of My Ancestors is a moving live outing of a piece with the aforementioned performance of complex melodic structures, which, in recordings in that it features bass and drums (Jean- Donelian’s expressive hands, reveal universal emotions Jacques Avenel and Simon Goubert, respectively) in of passion, sadness, pain, wonder and joy. support of yet another distinctive frontline: Edelin’s soprano, alto and bass flutes matched with Jacques For more information, visit sunnysiderecords.com. This Di Donato’s soprano and bass clarinets and soprano project is at Tenri Cultural Institute Apr. 4th. See Calendar. sax. Of the three recordings, this is perhaps the most

adventurous, eschewing definitive statements of B pulse for a more open-ended metrical approach, what you might call ‘free-swing’, phrased in broad gestures through group cues, with abrupt stops and starts punctuating the proceedings. Edelin’s compositions, short and sketchy, more suggestive than prescriptive, are templates for a broad range of group responses: brief ‘solos’, accented unisons, layered sound-painting, or, on tracks like “Bailes de Tango”, seemingly almost anything and everything The Invisible Trio in between. Max Johnson (Fresh Sound-New Talent) by Brad Cohan For more information, visit label-bleu.com, B fremeaux.com and roguart.com As a stalwart of New York’s avant garde jazz scene, bassist Max Johnson’s impressive purview extends to

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Live at Smalls 20th Anniversary Tour Seven: Johnny O’Neal (smallsLIVE) Live from Spielboden Live @ Firehouse 12 by Alex Henderson Fonda/Stevens Group Conference Call (ARC) (Not Two) Johnny O’Neal is part of a time-honored jazz tradition: by Robert Iannapollo the singing pianist. Over the years, a wide variety of improvisers - from Nat “King” Cole to Fats Waller to 22 years and still going strong, the (Joe) Fonda/ Henry Butler - have made their mark as both vocalists (Michael Jefry) Stevens Group has earned the and acoustic pianists. appellation of best, least-known working American On , O’Neal continues to express jazz group. After 13 or 15 albums (depending on what CAROLINA CALVACHE himself with gritty singing and skillful pianism. you’re counting) this band has had surprisingly stable Drawing on influences that include Cole, Oscar personnel, completed by trumpeter Herb Robertson SOTAREÑO Peterson, Bud Powell and , O’Neal soars as and drummer Harvey Sorgen. All four members have an instrumentalist on inspired performances of Walter very active musical lives outside the band but they SSC1376 / in stores April 1st Davis’ “Uranus”, Gordon Jenkins’ standard “Goodbye” clearly relish playing with each other, borne out by and the Carol Connors/ song “With You, their sustained existence despite geographical I’m Born Again” (which was a major adult separation (Stevens lives in Memphis). contemporary hit for and Syreeta Wright In order to celebrate their 20th anniversary, they in 1979 but becomes a lively bop romp in O’Neal’s embarked on a European tour, partially documented hands). Much of the time, however, O’Neal sings on on Live from Spielboden (Austria). The band was Live at Smalls and his soulfulness is evident whether on founded to feature the compositions of bassist Fonda “Blues for Sale” and “Let the Good Times Roll” or and pianist Stevens and has turned out to be a winning getting into torch singing on Schwartz-Harburg’s and satisfying combination. Stevens plays the melodist “Then I’ll Be Tired of You”. O’Neal is also in fine form to Fonda’s more oblique compositional style, but it’s on energetic versions of standards “Tea for Two” and never that cut and dried. “The More I See You”. Stevens’ “Round Trip” is a journey unto itself, O’Neal has not made a secret of his appreciation of working its way through several complex R&B and has no problem uniting ’s metamorphoses before its conclusion. Fonda’s “My “Overjoyed” and the Roberta Flack/Donny Hathaway Song” contains a lovely melody at its core, which hit “Where Is the Love” as a seven-minute instrumental shines before being abstracted through a series of performance; the bossa nova-influenced medley makes dissolves. Robertson’s innate sense of adventure featuring the songs sound perfectly natural as jazz instrumentals. always adds an appealing edge to the proceedings and JALEEL SHAW Some of his piano improvisations hint at AfroCuban Sorgen, a truly underrated player, balances the MICHAEL RODRIGUEZ music, but the main rhythm employed is a Brazilian abstraction and melody with both drive and coloristic HANS GLAWISCHNIG bossa nova rhythm. aplomb. These players are well attuned to each other O’Neal has solid accompaniment in bassist Paul and each invests his own ideas into the music, making LUDWIG ALONSO Sikivie and drummer Charles Goold and Spike Wilner, this a unique sounding group. If one is looking for a ANTONIO SANCHEZ founder of the smallsLIVE label and manager/ good starter album to explore this band, Live from co-owner of Smalls Jazz Club, makes a guest appearance Spielboden is as good a place as any. on piano for “Tea for Two”. But otherwise it is O’Neal Fonda and Stevens are also members of the at the ivories in an intimate format that has served him collective and long-lived quartet Conference Call with well in the past and continues to do so on this German saxophonist Gebhard Ullmann. The band was memorable document. formed in 1998 and after a few shuffles in the drummer’s seat, George Schuller settled in. For more information, visit smallslive.com. O’Neal is at Seven: Live @ Firehouse 12 is a double-disc set from Smoke Saturdays and Smalls Sundays. See Calendar and a 2008 tour celebrating the band’s tenth anniversary, Regular Engagements. taken from a concert at the New Haven, CT venue. from Colombia, the wonderfully Conference Call follows a democratic method with talented pianist Carolina Calvache made her each player contributing compositions and operates Swing Era with an outside/inside aesthetic. Their interplay has way to the United States to study and to pur- Songbird been fine-tuned over the years and is well demonstrated sue her dream of playing jazz with the best. In Molly Ryan here. Ullmann’s reeds (tenor and soprano saxes, bass her debut recording, Sotareño, Calvache “...worldly wise beyond clarinet) give the music a wider sonic palette, presents her own unique combination of jazz her years, wonderfully particularly on his own pieces like “29 Shoes” and “Desert…Bleue…East”. While many of these tracks and Colombian folkloric music alongside a gentle and lyrical…” group of fabulous collaborators. - Will Friedwald, (two by Fonda, three each by Stevens and Ullmann, plus “A Map Would Help” by Schuller) were recorded in a studio for their previous album Poetry In Motion, Help Fund Molly’s New Album the versions here tend to be a little longer and breathe CD Release concert Through the Month of April! with a little more fire and space. The first set featured Tuesdayy, April 15, 8:00 pm www.kickstarter.com on disc one is quite good but it’s during the second set where the band really comes alive, stringing pieces drom together into a continuous suite. This recording 85 Ave A (b/w 5th & 6th st.) captures this band at the peak of its powers.

For more information, visit artistsrecordingcollective.biz and nottwo.com. Joe Fonda is at Shrine Apr. 6th with Shrine for Performances, Bookings www.sunnysiderecords.com & Recordings, visit mollyryan.com Big Band and Clemente Soto Velez Cultural Center Apr. eOne Distribution 21st with Lou Grassi. See Calendar.

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continuum, with the top - not front - line consisting of it deserves. His reading of the Jobim-De Moraes- improvising expressions from Braxton plus another Gimbel classic “How Insensitive” has a haunting reed or brass player. With violinist Erica Dicker, alto quality while he gives the Warren-Gordon standard saxophonist James Fei and cornetist Taylor Ho Bynum, “There Will Never Be Another You” a fresh feel by plus the composer on alto and tenor saxophones, this reharmonizing the chords and including a two-part composition approaches that earlier style. However invention. One more notable cut is “You Don’t Know real-time electronic processing by SuperCollider What Love Is”, treated whimsically with a funky supplies the tense, crackling ostinato here. rhythmic pattern in the bass register. From cacophonous to chromatic, the narrative is This album is a gem, delivering a lot of music from

Solo Guitar: Live at Smalls pulled many ways during its 70-minute running time, a pianist who knows how to treat a Steinway. Peter Bernstein (smallsLIVE) with multiphonic themes coexisting, but never by Ken Dryden blending, and contradictory tempos and textures For more information, visit jondavismusic.com. Davis is at propelled onwards. Besides the truculent extended Knickerbocker Bar and Grill Apr. 11th-12th and Smalls Solo Guitar is guitarist Peter Bernstein’s third live techniques needed to negotiate the twists and turns of Apr. 21st. See Calendar. recording from Smalls, culled from two nights in 2012 the composition, the signal processing leaves space for at the Greenwich Village club and mixing standards, a soloist to expose moments of unexpected beauty. At time-tested jazz compositions and lesser-known gems. some points Bynum’s muted flutter tonguing creates a LESLIE PINTCHIK QUINTET Bernstein constantly finds new avenues within familiar shimmering tonal arc, which is in stark contrast to the songs, always utilizing his considerable technique brassy smears and sour triplets he exhibits elsewhere. CD Release Performance without overdoing it. Dicker too puts aside her spiccato string plucking and Friday April 25th, sets at 8:00 PM & 10:00 PM Without a rhythm section, the guitarist is left to fill multi-string bow slices in one of the composition’s Jazz At Kitano in the gaps and sometimes he makes it seem like final sequences to outline a gossamer romantic motif. 66 Park Avenue @ 38th Street, NYC (212) 885-7119 another player is present. The striking rendition of Frenetic and calm passages follow one another in a ’ “Django” makes brilliant use of characteristic manner, as the horns often cunningly “...enormous gifts as a composer, arranger and pianist.” countermelodies and space. In his treatment of a pair harmonize just long enough to prepare the sequence All Music Guide of Monk works (“Crepuscule With Nellie” and for a distinctive Braxton solo. Leslie Pintchik - piano Steve Wilson - sax “Pannonica”), Bernstein incorporates dissonant These sorts of instantaneous contrasts have been - trumpet chords, at one point simulating an out-of-tune piano part of jazz’ vocabulary since at least the era, Scott Hardy - bass key for effect. He also explores a pair of Coltrane plus a half-century after Free Jazz and Ascension, - drums pieces: “”, in a roundabout fashion without quivering harshness shouldn’t upset anyone. Tellingly celebrating the release of clearly stating its theme, letting it slowly simmer until and perhaps nose-thumbing at those who still doubt IN THE NATURE OF THINGS picking up its tempo near the conclusion, while “Wise Braxton’s commitment to the jazz canon, one available now at One”, infrequently performed, especially by solo saxophonist - again probably Braxton - briefly quotes Amazon and iTunes guitarists, has its potential demonstrated by Bernstein’s “Goodbye Pork Pie Hat” just before the widening lyrical conception. echoes that had previously characterized the theme www.lesliepintchik.com The standards fare equally well. Bernstein takes smooth out and complete the track. This constant considerable liberties in his treatment of “Star Eyes”, musical conflict makes Braxton such a challenging using its chords as a rough framework for his composer and all his work demand careful listening. captivating improvised flight. His ominous introduction to “Yesterdays” provides a different twist For more information, visit for-tune.pl. A Braxton Festival to this melancholy ballad; he then picks up the tempo is at Roulette Apr. 10th-12th and 17th-19th. See Calendar. to deliver a stunning improvisation. Bernstein appreciates the whimsical nature of the show tune “The Tender Trap”, which he plays as if joined by a singer in his head. The guitarist explores two ballads infrequently recorded in jazz, a moving take of “Two Different Worlds” and an expressive, whispering “Put Your Dreams Away”. The intimacy of this album makes it feel like you have a front-row seat.

For more information, visit smallslive.com. Bernstein plays solo at Smalls Apr. 7th. See Calendar. How Insensitive And Other Ballads (Solo Piano) April 1st Jon Davis (s/r) Falkner Evans Quintet by Marcia Hillman Performing as a solo musician is a huge challenge. The April 15th artist must be creative enough to sustain the listener’s interest. Pianist Jon Davis’ newest album was recorded Cecilia Coleman at the Remnant Presbyterian Church in New York, where one of his students invited him to see the Big Band church’s performance space (equipped with recording facilities) and its new nine-foot Steinway piano. April 22nd According to the liner notes, no program was planned Quartet (Warsaw) 2012 and Davis just kept playing requests, amassing enough Mike Longo Trio- Anthony Braxton (ForTune) by Ken Waxman material - songs from the Great American Songbook Great American and original “Wedding Waltz” - for a complete album. True appreciation of Anthony Braxton’s music must Davis’ unplanned session has produced a Songbook come with the understanding that its only reference beautifully relaxed and intimate CD. He has a light points are often other Braxton works. It’s also important touch and range in all registers, producing interesting to remember that there is no definitive Braxton style colors and textures. All of the material is done in a New York Baha’i Center any more than there was an exclusive Ellington or Sun ballad mode but listeners will not lose interest because 53 E. 11th Street Ra one. Braxton’s influences range over jazz, modern Davis approaches each song with a different reading, (between University Place and Broadway) notated music, pure improvisation and electronics. paying attention to the entire selection (possibly a “Composition 363b+”, taking up all of Quartet result of his past experience accompanying vocalists), Shows: 8:00 & 9:30 PM (Warsaw) 2012, appears to be a step away from his thus allowing him to interpret the individual emotional Gen Adm: $15 Students $10 recent repetitively tremolo Ghost Trance and Falling content of each song. The opening track, “I Fall In Love 212-222-5159 River musics. Instead it relates to his sessions from the Too Easily”, is a prime example of his ‘playing the bahainyc.org/nyc-bahai-center/jazz-night ‘70s, where a stringed instrument would provide the lyric’ and treating this lovely ballad with the delicacy

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plays Evans in the new Swedish film Monica Z, a biopic On the skins is longtime Ludwig drummer Randy about singer/actress Monica Zetterlund. But Ingram Gelispie, who hooks up delightfully with the organ doesn’t sound like Evans. They share an emotional player and has great spang-a-lang in the trading, giving atmosphere more than a set of specific procedures. the cuts a greasy, anything-goes swagger. Check out Evans would not have played “Silent Cinema” with how he mixes it up on the challenging Martino original such open, free-floating, ambiguous aural imagery. “Colossus”, snapping and popping, all while smashing Quartets with a piano and a guitar can be the hi-hat on different beats for unusual accents. problematic. Two chordal instruments in a partially Close your eyes and imagine you are in a 1968 overlapping pitch range do not always gracefully share organ juke joint when you put on this magical album.

Fourteen the same space. But is a sensitive This is a great snapshot in time of two Young Guns in Dan Weiss (Pi) collaborator. On “The Sea”, his guitar sometimes their prime. by David R. Adler coincides with Ingram’s piano and sometimes suggestively shadows it, a few steps away. The For more information, visit jazzdepot.com. Martino’s Organ Expanding on his trio output and his marvelous tabla- ensemble sound becomes wide and deep. When he Quartet is at Birdland Apr. 15th-19th. See Calendar. inspired albums for solo drum set, drummer Dan Weiss solos, Moreno belongs in that aforementioned ventures into large-scale composition with the emotional atmosphere where Evans and Ingram reside. ambitious Fourteen. The seven tracks run together His lines have that hush, that lyrical austerity. without pause and though the ensemble swells to 14 Bassist Matt Clohesy is the expressive lead voice members, the first 90 seconds feature Weiss with just on “Time Remembered”, but he doesn’t need to solo to his regular trio mates: pianist Jacob Sacks and bassist imprint his sensibility. His carefully placed notes, dark . Sacks opens alone with strong strokes within the spaces of the music, create their own articulation, generating counterpoint in a vague mysterious storyline within the larger narrative. tonality before Weiss abruptly joins, as if breaking Closer “Nicky” is for British pianist Nicky Hopkins, through the door. The jolt of that initial entrance says who accompanied John Lennon and . much about Weiss as an artist: full of eccentric spark It is the album’s groove piece, but Ingram always but controlled, as ready to pounce as he is to pull back. gravitates toward pensive contemplation. Even “Nicky” Surprises like these, both jarring and exceedingly can be played at two in the morning. gentle, occur throughout the work. Some passages take on a chamber-like quality thanks to Matt Mitchell For more information, visit sunnysiderecords.com. This (glockenspiel and organ), Katie Andrews (harp) and project is at Smalls Apr. 14th. See Calendar. Miles Okazaki (classical guitar, but also some of his grungiest electric playing on record as well). Vocalists Lana Cenčić, Judith Berkson and Maria Neckam bring a choral element, singing wordlessly with great rhythmic finesse and reaching uncanny high-register extremes in “Part Six”. and Ohad Talmor unleash on alto and tenor saxophones, respectively, while trombonists Jacob Garchik and Ben Gerstein intersect most notably on the sparse duo intro of “Part Five”. The groove syntax of Fourteen is fluid but broken up, unstable, something Weiss has honed and Young Guns documented in his trio and sideman sessions as well. Gene Ludwig/ Trio (HighNote) The slow heaving beat of “Part One” hints at his metal by Brian Charette influences, but soon it’s on to Meredith Monk-like minimalist patterns toward the end of “Part Two” and Young Guns is just that: two young bebop mavens, ultimately no drums at all on the concluding “Part Gene Ludwig and Pat Martino, at the height of their Seven”. There, Garchik supplies a low tuba drone as powers on a greasy B3 gig from the 118 Club in Sacks plays rubato and voices rise and fall softly. At a Lexington, Kentucky. The recording comes via midpoint, when harp and guitar join, it’s almost the Martino’s library from 1968-69, when the two co-led a inverse of the jolt from the first track. The singers come group that traveled the US organ circuit extensively. in too, sounding like flutes, hovering at an implied Ludwig began his career on piano, but soon tempo until the music disappears. switched after hearing . The B3 on this record is a little cooked and one wonders if it’s from Support Independent Free Press For more information, visit pirecordings.com. This project too many blazing lines from Ludwig. He plays amazing is at The Jazz Gallery Apr. 11th-12th. See Calendar. bebop informed by Bird and Smith but with a vocabulary all his own and his time feel is very aggressive. Dig the solo on “Mr. P.C.”; Ludwig is right CADENCE in the pocket, whips out some killer 4th lines à la , then goes back to the blues with a thumping Fest 2014 beat that never lets up. On the medium blues workout “Sam Sack”, his double-time runs melt into a blues shout that makes us all throw our hands in the air and music, dance, film testify. Ludwig can also groove slow, as on the downtempo number “Road Song”, where his precise touch cascades effortlessly over the changes. His finest solo is on the burner “Close Your Sky | Lift Eyes”, replete with searing chromaticism, humorous Randy Ingram (Sunnyside) Charlie Parker quote and modern fourth interval ShapeShifter Lab by Tom Conrad hemiolas - a little something for everyone. Brooklyn, NY Sky | Lift grows on you. It seems unassuming at first, Martino, though, may be the MVP. It’s amazing to but by the fourth track (a surging, insistent version of hear the 23-year-old rip. His time is as solid as a rock June 27-28 Bill Evans’ “Time Remembered”) you hear that Randy and creativity boundless. On the opening track, “Who Ingram’s moody, thoughtful piano language is firm at Can I Turn To”, Martino kills from the first phrase, its core. His melodicism is alluring but etched; his perfectly placed notes melting organically into chords fresh harmonic concepts contain subtle tensions; his with a clever cadence to make way for Ludwig’s improvisations flow to unanticipated places. statement. Martino usually blows first - and note the www.cadencejazzmagazine.com Evans is the permanent poet laureate of this piano humorous quotes, exaggerated vibrato and intense 315-289-1444 style. Ingram has acknowledged the debt and even repetitive riffs he employs to make a point.

THE NEW YORK CITY JAZZ RECORD | APRIL 2014 19

the big band, a Messiaen-ic mystic whose visions were it’s hard not to be captivated when they’re wiped away embodied in distorted organ wails and radio signals by the Schlippenbach-Lovens-esque tag team of steely from outer space, combined with levels of saxophone keys and thrashing percussion that emerges minutes mayhem prefiguring much to come, including the later, making the trio’s abstracted, energized pulse energy music soon to be associated with such seem unending. The 27-minute “There Goes the Sun” combinations as John Coltrane and Pharoah Sanders or is the disc’s centerpiece/high-point and gives a and Charles Tyler. Continuation is the rollicking and varied view of the trio’s palette, from immediate predecessor to Sun Ra’s masterpieces of icy, resonant concentration to unfettered chases in 1965, both The Magic City and The Heliocentric Worlds. which all stops are pulled. A Fine Day in Berlin presents

Continuation a first look at a highly versatile piano trio. Sun Ra (El Saturn-Corbett vs. Dempsey) For more information, visit corbettvsdempsey.com. The Sun by Stuart Broomer Ra Arkestra directed by Marshall Allen is at Drom Apr. For more information, visit daverempis.com and timdaisy. 18th. See Calendar. wordpress.com/relay-recordings. Tim Daisy is at Le Poisson Continuation was first released as an LP in 1970, in a Rouge Apr. 23rd with Made To Break. See Calendar. micro-edition on Sun Ra’s El Saturn label. This is its first release on CD and it comes with historical clarification of dates and personnel from , remastering from the original tapes by Michael D. Anderson and a second disc of unreleased tracks. Its source is a March 1963 session, which also yielded material for other significant Ra recordings, including Other Planes of There and When Angels Speak of Love. It was a crucial moment in the band’s history, early in its New York residency, when it was transforming the exotic version of swing and bop it had practiced in Second Spring A Fine Day in Berlin /Tim Daisy Tim Daisy Trio Chicago in the ‘50s, beginning to integrate elements of (Aerophonic) (Relay) free jazz and explore Sun Ra’s own distinctive experimental methodology. Sun Ra was using by Clifford Allen increasingly raw electronic keyboard sounds and The Vandermark 5 (V5) held a central position in the developing his expressionist forays while the band’s evolution of Chicago jazz for nearly 15 years, though brilliant coterie of reed players - alto saxophonists the reach of the ensemble’s other members became Marshall Allen and Danny Davis, baritone saxophonist broad enough to ensure that the group’s dissolution in Pat Patrick, bass clarinetist Robert Cummings and 2010 held no sway on any one player’s activities. tenor saxophonist , the centerpiece of the Drummer Tim Daisy and saxophonist Dave Rempis are ensemble - were embracing and expanding the sonic two former V5 musicians who have become increasingly vocabularies of the jazz avant garde. prolific over the last few years and whose art has True to its LP origins, Continuation is very much a reached a level of distinction apart from the V5 orbit two-sided production. A series of episodic short pieces that remains interesting to follow. are pure Sun Ra, like the diamond-hard “Biosphere Second Spring is the first recorded duo of Rempis Blues”, with nerve-end solos by Gilmore, Patrick and and Daisy and the third release in the Aerophonic trombonist Ali Hasaan standing out; Sun Ra’s own catalogue (Rempis’ label, already six discs strong since feature “Intergalactic Research”, with its previously entering the market last summer). Heard on alto, unheard groans and swirls of electronic keyboards; or baritone and tenor, Rempis is squirrelly and blowsy, the advanced jungle of “Earth Primitive Earth”. though not without a sense of sharp direction to his The second side of the original LP is “Continuation to declamations. The lengthy “Frijoleo” (beans and Jupiter Festival”, a highly ritualized, 20-minute series Rollins?) is full of mouthy baritone chunks and hot, of shifting and unpredictable textures launched by a rubbery peals as the saxophonist roots around in the brief passage of screaming horns and pounding drums. underbrush with Daisy’s crisp, selective patter. In the Along the way there is slashing, rapid-fire piano; a liner notes to a reissue of ’s Yasmina, A free-time interlude by trumpeter Walter Miller marked Black Woman (1969), there is text to the effect that alto by sudden hand drumming; a Gilmore tenor solo that saxophonist Arthur Jones very nearly steals the achieves distortions of line, pitch and timbre rarely leader’s thunder on that record and Rempis was in that dreamt of in 1963 and eerie passages of massed category on some of the V5 records. His bright and percussion, drones and whistling highs. Although it intelligent phraseology delivered with nearly unhinged starts and ends in mid-phrase, it’s a cohesive work, levels of expressionism, this writer recalls being focused by the idea of transformation: of its materials, frequently bowled over by Rempis’ playing in that its makers and its audience. context. “For R. Barry” is a delicate hymn to the retired The unissued pieces consists of mostly brief Chicago drummer Robert Barry (Sun Ra Arkestra), episodes, but there are works of surprising beauty - Rempis’ alto curling out in smoky breaths as Daisy Gary Smulyan Sextet surprising in that they never found previous release in offers malleted chatter in economic supplication. The Sun Ra’s enormous output. Among the highlights are closing “Gerosten and Gesalten” begins with a snippet with Jeff Lederer, Gary Versace, “Blue York”, an Ellingtonian gem of lyrical alto of prerecorded harmonica; the improvisation is played Joseph Brent, saxophone; “Meteor Shower”, a sequence of solos by with restraint, but the tenor’s muscularity and Daisy’s Miller, Allen (on oboe) and Gilmore in a reverb-laden brushwork, scrapes and gong accents give their Martin Wind, Matt Wilson dream of the night sky; and “Conversation of the Night dialogue a tensile presence. and guest Dominic Chianese Sky”, an orchestral setting for ’ arco A Fine Day in Berlin joins Daisy with the Norwegian bass. There’s also the strange lilt of “Endlessness”, a pianist Håvard Wiik (Atomic, Free Fall) and Australian- Jazz at Kitano genre unto itself that might be called “chaos bop”, and born, Berlin-rooted bassist Clayton Thomas for a April 4th & 5th - 8, 10 pm $30 the mad combination of the two altos of Allen and Davis program of four seamless trio improvisations, released on “Red Planet Mars”. In fact, this second disc could on the drummer’s Relay Recordings. “Suite for Three” 66 Park Avenue at 38th Street easily stand on its own merits as a Sun Ra LP of the era. opens the set and finds the trio searching for Mixing the freedom of jazz with the passion of A decade later Sun Ra would reach backward to commonality, though it only takes a few minutes for traditional Italian pieces such as “Funiculi Funicula” and his early experiences with Fletcher Henderson, them to erupt into a dry charge, quick tom accents and “O Sole Mio”, Chianese and Smulyan sound like integrating the earliest forms of African-American jazz relentless ride cymbal an electric nudge for piano, compadres serenading each other in Piazza Navona. orchestras into a pageant with dances and songs to supplanting introspective grace with ironclad motion -JazzWeekly.com dramatize the theme of emissaries from space. But in and gnashing angularity. That said, Wiik’s rolling, 1963, he was focused on the future, succeeding Duke -like passages of lyricism place an Ellington and Dizzy Gillespie at the creative edge of occasional imprint of levity on the proceedings, though WWW.CAPRIRECORDS.COM

20 APRIL 2014 | THE NEW YORK CITY JAZZ RECORD Two Deep Friendship Gershwin: Take Two And The Gershwin Brothers Jemeel Moondoc/Connie Connie Crothers Quartet Simon Tedeschi (OJC) Crothers (Relative Pitch) (New Artists) (ABC Classics) (Pablo-Concord) by John Sharpe by Andrew Vélez Though she studied with radical bopper Lennie Pianist Simon Tedeschi’s Gershwin: Take Two opens Tristano, pianist Connie Crothers also runs with the with “Promenade” a delightful bit of fluff from Shall modern avant garde. As such she is no stranger to We Dance, a Fred Astaire-Ginger Rogers film, recalling freeform invention, as evidenced by her four-CD how finely attuned as collaborators were Gershwin magnum opus of freely improvised suites with fellow and Astaire. Coming from classical background with pianist David Arner from 2009. She brings both those an affinity for jazz, Tedeschi is eminently suited to strands to bear in the two discs below. mine the rich variety that is the Gershwin heritage. Crothers hooks up with alto saxophonist Jemeel The influence of Scott Joplin and early 20th Moondoc on Two. Although she hasn’t recorded with century can be heard in the charming whimsy Moondoc before, she has appeared as part of his of “Prelude - Novelette in Fourths”. There’s more of quintet at NYC’s annual Vision Festival, where she is a that blend of happy sad wistfulness on “Sweet and regular participant and attendee. It’s Moondoc’s first Lowdown”, one of several Broadway show tunes release in some ten years and it’s wonderful to hear his included on the set. “Do-Do-Do” from the Flapper-Era exuberantly characterful horn intertwine with the Oh, Kay is another irresistible gem. But Tedeschi can piano. Where Moondoc delivers astringent and blues- dive and dive deeply as he does on “Jazzbo Brown infused narrative, Crothers responds variously Blues”, with a pulsating delivery of this taste from the cushioning and challenging. Profound listening is Gershwin masterpiece . evident throughout the eight cuts, of which six are Trumpeter James Morrison joins Tedeschi for two spontaneous creations where one or the other sets the sterling duets. On “Nice Work If You Can Get It”, the initial template with a phrase that draws first rejoinder, former is center stage, swinging sweetly as the latter but then embellishment, as on “Improvisation 2”. lends nice and easy support until breaking out for a Here Moondoc’s searching holler is met by staccato hot solo. Their other duet is “Prelude - Melody No. arpeggios, presaging a spiky exchange, which 17”, Morrison leading again, this time with a wailing concludes with both parties moving lock-step in blues and ever-so-gentle piano backing him up. repeated pattern. They generally hew close to tonal Emerging singer Sarah McKenzie lends an easy centers, real or implied, with dissonance at a premium. youthful sweetness to “Embraceable You”. But mostly One early highpoint is their rendition of Moondoc’s the set is solo Tedeschi and the abundance of his lovely ballad “You Let Me Into Your Life”, where his musicality serves these treasures well, particularly keening alto meets Crothers’ dramatic gospelish expressive of the underlying blues so intrinsic a part of formulations and ringing digressions. When Crothers Gershwin’s music. does become more assertive on the concluding Naming both and Ben Webster as “Improvisation 6”, her rumbling atonal piano creates a mentors, at various times Zoot Sims played tenor, majestic swell upon which Moondoc’s plaintive alto soprano and alto saxophone. By 1975’s And The cries coast to form another highlight. Gershwin Brothers, he was playing tenor saxophone in Another distinctive alto saxophonist joins Crothers what was to be a peak period in his career. With many on Deep Friendship. Here it’s Richard Tabnik, part of her dozens of recordings to his credit, this set still ranks longstanding quartet, completed by bassist Ken Filiano among Sims’ most highly regarded. As if anything and drummer Roger Mancuso. Tabnik studied with more was needed, this reissue is further sweetened Lee Konitz, as well as Crothers, though that’s hardly with three previously unreleased tracks. the first name that springs to mind when regarding his The extraordinary high-energy interplay on this sinuous stylings, angular attack and the vocalized set between Sims and Oscar Peterson’s piano is quality in his upper register, heard to good effect on immediately evident with the opener, “The Man I his own “Fortuity”. The quartet, captured live in 2010, Love”. It’s a glorious treat to hear these two dueling betrays their years of familiarity through telepathic masters pressing each other on with super-energized ensemble work and sparkling interaction. “Ontology”, exchanges. Sims just blows and blows with great a twisting line with boppish antecedents, comprises 13 rhythmic strength and imagination and even tosses a minutes of joyful interplay and illustrates the few bars from “Carioca” into the brew. Somehow Joe astounding connection between the foursome. Crothers Pass manages to get in some tasty guitar licks into the orchestrates and encourages from behind her keyboard conversation. By contrast, on “How Long Has This by means of gloriously offkilter comping, probing Been Going On?”, the tempo slows and Sims is counter-melodies and bracing arrhythmic bursts while melodically sweet with some gentle partnering from Tabnik rides the bucking rhythm section with aplomb. Pass. Later there is “I’ve Got A Crush On You” with Filiano adds another dimension with his surefooted Sims at his smokily romantic best. Sims and Peterson’s accompaniment and fine soloing, whether pizzicato or breakneck pace totally explodes on “I Got Rhythm”, with bow in hand, while Mancuso, the least showy piano and sax hotly welded together in a member of the quartet, keeps time with a light touch. performance made to leave you breathless. Pass His pulsing solo on the breezy “Roy’s Joy” is pitched interjects some touches but really this is totally the against an unruly chorus of edgy piano figures and Zoot and Oscar show. They are no less effective alto shout-outs, showing how it’s almost impossible together with the gentle pacing on “Someone To Watch for these guys not to get involved in the fun. Over Me”.

For more information, visit newartistsrecords.com and For more information, visit abc.net.au and relativepitchrecords.com. Crothers is at Ibeam Brooklyn concordmusicgroup.com. A tribute is at Apr. 10th and The Firehouse Space Apr. 19th. See Calendar. The Appel Room Apr. 23rd-24th. See Calendar.

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then establishes a gentle pulse, with intimacy like a expressive. Pintchik is a deft and imaginative player rising wisp of smoke. “Ghost Dance” simmers over a and a composer who understands texture, color and subtle Latin groove, Slocum extracting a wide berth of how best to utilize her players, working in a relaxed, percussive sounds from his kit as the band plays a assured fashion that is engaging and always intelligent. melody that seems ready to fall at any second into a Her newest recording features her working trio of Shorter composition circa Miles Davis’ Nefertiti. Scott Hardy (bass) and Michael Sarin (drums) but adds “Yerazel” is by turns spectral and lovely, Stephens’ the extra pleasure of some beautiful and sensitive roaming tenor swinging over Slocum’s brushes and horns, arranged by Hardy. The horns are inspired by Clayton’s fragrant comping. “Prelude” and the title Herbie Hancock’s 1968 classic Speak Like a Child and are

Black Elk’s Dream track form the main theme of the recording, dense mostly used as a kind of aural backdrop to the pianist’s Matt Slocum (Chandra) compositions written in suite-like formation. Pat melodic touches, but get good solo time too. by Ken Micallef Metheny’s “Is This America?” plays it straight while Opener “With You in Mind” is an intimate setting penultimate track “A Disappearing Path” shows the for Pintchik’s melodic sense, subtly complemented by There are those rare records that cast a spell as soon as group’s great empathy as it rounds diverse terrain. the delicate horns, Steve Wilson making it clear that the music begins. Black Elk’s Dream is a beautiful dream A thoughtful, thematic record that retains its his soprano is a rich storyteller and not just an state of a recording from promising drummer Matt emotional intimacy, Black Elk’s Dream is over before ornament. Elsewhere he shines on alto, as does Slocum. His previous outings revealed a rich melodic you know it, demanding repeated listening. trumpeter Ron Horton, notably on “Sparkle”, “Terse sense and supple drumming and Black Elk’s Dream Tune” and “Ripe”. The trio gets down on the amusing confirms a major double-threat talent: his perceptive, For more information, visit mattslocumjazz.com. Slocum is and catchy “I’d Turn Back if I Were You” and then at times startling, drumming recalls Jon Christensen at Jazz at Kitano Apr. 24th. See Calendar. Pintchik comes in and wails hard and funky but…not and Paul Motian while the engrossing compositions too hard. Sarin gives just the right amount of oomph are indebted to Wayne Shorter. for dancing and even opens with a kind of New Orleans Inspired by Native American leader Black Elk as second-line feel. A dark pulsing vamp introduces “I’ve portrayed in a book by John Neihardt, Slocum Grown Accustomed to Her Face” and the tune is composed and arranged the music for a band as transformed from a show-stopping anthem to a ballad telepathic as it is gifted: tenor saxophonists Walter of great love and feeling. Hardy’s bass playing is Smith III and , pianist Gerald Clayton gorgeous and gentle and he and Sarin provide just the and bassist . The leader’s solos add right bottom for this stunning reading. weight with their surprising use of dynamics and All the tunes here work together to find the best in sources but Slocum isn’t the only one that shines. the leader and her band right up to the closing “There Clayton mines Slocum’s melodies with elegance and You Go”, a smoking live trio performance. In The Nature In The Nature of Things wit and Smith and Stephens almost sound as one in of Things is a spirited tribute to Hancock’s album but Leslie Pintchik (Pintch Hard) their dual richness and warmth. by Donald Elfman also a beautifully detailed portrait of Leslie Pintchik. Much of the album is reflective and probing but seriously potent, as in opener “Pine Ridge”, which A great thing about Leslie Pintchik’s music is that it For more information, visit lesliepintchik.com. This project floats over rubato passages and painterly drums and defies categorizing and is simply and appealingly is at Jazz at Kitano Apr. 25th. See Calendar.

22 APRIL 2014 | THE NEW YORK CITY JAZZ RECORD

saxophonist Chet Doxas, is the musical legacy of Jimmy blowing some dynamite flute, push each other in the Giuffre, the clarinetist/saxophonist who brought, finest improvisatory spirit and interplay. Although among other things, a folksy openness to modern jazz. “Shuffle Boil” might be one of Thelonious Monk’s There are few overt references to - and only one tune by lesser-known tunes, it has its share of harmonic riches - Giuffre here, but as electric bassist Steve Swallow, who and the band mines them joyfully. Finger’s intense, take also played in a famous Giuffre trio with pianist Paul no prisoners drumming enlivens Harold Arlen-Johnny Bley, says, this band is “doing exactly what we were Mercer’s “My Shining Hour”, particularly when he and doing back then: looking for ways to move music into Armacost engage in a fierce mano a mano, driving each new places.” other to the . Finger slows it down on Kenny

The Vigil Both Douglas and Doxas - his brother Jim is the Barron’s “The Only One” and it sounds like he’s Chick Corea (Concord) drummer - often favor the lower registers of their simulating finger popping on the ride cymbal as he by Robert Milburn instruments, as Giuffre did, and engage in ample supports Harvie S’ strutting plucked bass. colloquy between themselves and among the quartet, When one plays songs that have been recorded With The Vigil, Chick Corea casts himself as the elder another feature of Giuffre’s music. Although “The Train countless times, it is paramount to bring something statesman of electric jazz. After the keyboardist’s run and the River”, played by trumpet and tenor sax at a new, which is what the brief but arresting arco and with Return to Forever (RTF) helped define fusion in the faster clip than the original, is the only Giuffre tune, two percussion duet between S and Finger on Kurt Weill-Ira ‘70s, Corea began experimenting with a blend of acoustic standards he also favored make appearances. “Travelin’ Gershwin’s “My Ship” does. and electric instrumentation. This subtle merge of Light” combines Harmon-muted trumpet and clarinet The band also includes a pair of intriguing originals, seemingly contrasting timbres was unpalatable at the over soft, brushes-driven swing in an intimate reading which reveals its more adventurous side, one that’s in time but Corea broke down those barriers. Recent RTF while Douglas turns “All of Me” into a contrafact, “No opposition to and seems almost impatient with, the reunion tours and live recordings garnered much critical Good Without You”, suggesting Ornette Coleman respect they have paid to the standards. “Truth and acclaim and showed fans were still craving that electric channeled through Lennie Tristano. It also quotes from Beauty”, written by the bassist, is the kind of long-form sound Corea helped create. His recent effort more than the rapid-fire main riff of Douglas’ “Handwritten tone poem whose unbounded structure and telepathic satiates. The Vigil is the pianist at his best: captivating Letter”, a seeming nod to bluegrass, shored up with improvisation was a staple of the ‘70s loft era. Perhaps for its soaring intensity; unique in the mélange of other catchy riffs and phrases in a format including it’s a reflection of the group’s sense of humor that a song electric and acoustic tonal color; and instantly stop-time and rubato passages. It is typical of the entitled “Endlessness”, by Finger, is the last and shortest recognizable for Corea-style epics (only one of the episodic, extended form structure of Douglas’ more folk song on Defining Moment. What is certain, though, is album’s seven songs clocks in under eight minutes). and/or Americana-influenced tunes here. The that the aural space the trio travels in those 85 seconds The first three tracks are fine examples of Corea’s exceptions are the aforementioned “No Good…” and a holds the promise of some serious cutting-edge music in unique approach to songwriting. Opener “Galaxy 32 fervently swinging bop nod to trumpeter Shorty Rogers, the future. Star 4” is a piece that steadily percolates until boiling “Big Shorty”, in whose bands Giuffre played. Maybe the band stayed a little too close to shore on over with intensity, with Tim Garland’s soprano Most memorable are “Front Yard” and “Backyard”, its maiden voyage but that only whets the appetite for saxophone improvisations and the satiny guitar work of the former with the “Travelin’ Light” instrumentation, what will follow this rock-solid debut. wunderkind Charles Altura particularly impressive. the latter featuring open trumpet and tenor sax with The tune erupts when the entire band joins for some galloping rhythms in different time signatures, For more information, visit christianfinger.com. This project powerhouse, electronics-driven riffing. “Planet Chia” juxtaposed with quiet, out-of-tempo moments. Doxas’ is at Bar Next Door Apr. 3rd. See Calendar. follows, Corea laying out the Spanish-tinged melody “Old Church, New Paint” includes an opening solo bass unaccompanied, Altura proving equally adept on track that introduces the indelible melody (crying out USED acoustic guitar and the impact of Marcus Gilmore’s for lyrics) before the quartet restates it (open trumpet adroit drumming even more apparent. “Portals To and tenor sax) and adds solos and interplay at a faster NEW Forever” is an evolving weave of adventurous intricacy, tempo. Doxas’ “Sing on the Mountain High/Northern Corea switching expertly between keyboards and piano Miner”, a medley and by far the longest track, ends the and his keyboard improvisations pitted against bassist album in a striking and memorable manner, the first Hadrien Feraud among the album’s highlights. tune another folksy, lyric-ready melody limned by tenor One quibble: the hokey lyrics and overly crystalline sax, the second a framework for engaging solos by vocals of Corea on “Outside of Space” are Douglas, who quotes “It Ain’t Necessarily So” and a bit excessive, though the band does its best to salvage Doxas, whose tenor sax is engaged by increasingly the tune musically. It is immediately followed by the martial drum rhythms. rip-roaring “Pledge For Peace”, which features guest 236 West 26 Street, Room 804 appearances by bassist Stanley Clarke and saxophonist For more information, visit greenleafmusic.com. This project New York, NY 10001 . The song was recorded before a studio is at Jazz Standard Apr. 15th-16th. See Calendar. audience, with audible cheering for Corea’s searing Monday-Saturday, 10:00-6:00 piano, whistling for the respite of Clarke’s formidable and deeply groovy solo bass and howling for the ebb Tel: 212-675-4480 and flow of Coltrane’s frustrated tension. The Vigil is an artistic tour de force, with Fax: 212-675-4504 contributions from everyone involved but always with Email: [email protected] that unmistakable Corea imprint. Web: jazzrecordcenter.com For more information, visit concordmusicgroup.com. Corea plays solo at Town Hall Apr. 10th. See Calendar. LP’s, CD, Videos (DVD/VHS), Books, Magazines, Posters, Defining Moment IN (Harvie S/Tim Armacost/Christian Finger) (s/r) Postcards, T-shirts, by Terrell Holmes Calendars, Ephemera In jazz, as in life, what is old is new again and the truly Buy, Sell, Trade special things are the most enduring and sustaining. The trio IN, comprised of Harvie S (bass), Tim Armacost Collections bought (flute and saxophones) and Christian Finger (drums), bring a relaxed musicality to their debut release Defining and/or appraised Moment, an album whose songs rank high among the most celebrated standards in jazz, and/or were written Also carrying specialist labels Riverside and performed by some of its legendary figures. e.g. Fresh Sound, Criss Cross, Dave Douglas/Chet Doxas/Steve Swallow/ This is a tall order but IN is quite up for the Ayler, Silkheart, AUM Fidelity, Jim Doxas (Greenleaf Music) challenge. The trio swings with a rocking-chair lightness by George Kanzler Nagel Heyer, Eremite, Venus, on Charlie Parker’s “Quasimodo”, led by the archetypal Clean Feed, Enja and many more The inspiration for this quartet project, spearheaded by cool of Armacost’s tenor sax. The group stretches out on the co-leaders trumpeter Dave Douglas and clarinetist/ McCoy Tyner’s “Contemplation”; S and Armacost,

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“Strike Up the Band”), along with a handful of cut opens the album and is rearranged into a modern originals, including Herring’s rousing opener, platform with guest drummer “Elation”, and the bluesy bebop title track, penned by Antonio Sanchez. The band, especially saxophonist Chestnut. The session closes with a stellar workout on Jaleel Shaw, impresses but somewhat at the expense of ’s overlooked gem, “Big Bertha”, which the song’s intent. The tune is then recast closer to its has become a signature piece for the leader. The original form as a solo piano piece to end the session. saxophonist impresses throughout with his powerful In between, Calvache presents melodic modern jazz solos and warm ballad playing and he and Chestnut with a rhythmical Latin undercurrent. have a particularly sympathetic rapport. The blowing tunes with Shaw and trumpeter

The Uptown Shuffle Herring isn’t a trailblazer as much as an artist Michael Rodriguez are tight but formulaic and it is the Vincent Herring (Smoke Sessions) working within and extending an established genre, so more pensive cuts that are the gems. Calvache has a by Joel Roberts don’t expect a lot of surprises from this lively wonderfully expressive line with beautiful phrasing, straightahead outing. But what the album lacks in perfect for the traditional beauty found in an emotional Saxophonist Vincent Herring learned the ropes the innovation, it makes up for in the energy and overall tune like “Melodia Triste”, combining with bass and old-fashioned way, by playing alongside some of the excellence of the musicians involved. saxophone for a delicately pensive portrait. “Stella” is music’s masters. He was a member of ’s a pretty trio piece that has Calvache, Glawischnig and big band in the early ‘80s and then served an extended For more information, visit smokesessionsrecords.com. drummer Ludwig Afonso engaging in delightful apprenticeship with cornetist/trumpeter , Herring is at Smoke Apr. 18th-19th. See Calendar. interplay. It is a peek at a format that suits Calvache which was appropriate, since Herring’s alto sound is exceedingly well. “Melancolia” is all the more plaintive so strongly reminiscent of Nat’s brother Cannonball. and allows Calvache and Shaw to contemplate their He also studied with alto legend Phil Woods, recorded personal blues from differing perspectives. with trumpet icon Freddie Hubbard and played for Glawischnig and Calvache are made for each other many years with the great pianist . A few and the very pretty “Te Agradezco” is meant for the decades later, Herring has firmly established himself two of them. Calvache classically informs the melody as one of his generation’s masters, continuing the and Glawischnig adds achingly beautiful coloration to hardbop tradition pioneered by the likes of the turn the piece into a special thank you to one of Adderleys, , and others. Calvache’s mentors. “Monday” and “Too Soon” are Though he’s had forays into funk and R&B with ensemble pieces, within which Calvache takes a back his group Earth Jazz, Herring’s latest CD finds him seat, the latter featuring poignant trumpet and Sotareño solidly in his wheelhouse, playing no-nonsense hard- basslines inspired by the late trombonist Bob Carolina Calvache (Sunnyside) swinging jazz. He’s joined by always-soulful pianist by Elliott Simon Brookmeyer. While Calvache occasionally tries to have , in-demand drummer Joe Farnsworth this debut do too much, Sotareño is a well-structured and an appealing young bassist, Brandi Disterheft. Pianist Carolina Calvache leans on her nice touch, first effort. In this live date, recorded last year at Manhattan’s Colombian roots and some heavy bandmates, Smoke club, the group works through a set heavy on especially bassist Hans Glawischnig, for Sotareño. For more information, visit sunnysiderecords.com. This standards (“Tenderly”, “Polka Dots and Moonbeams”, Intended as a reflective Colombian folk song, the title project is at Drom Apr. 15th. See Calendar.

IX-STRING UMMIT AT INGLECUT

FRIDAY, APRIL 18TH: DAVID TORN/ TIM BERNE MIKE BAGGETTA QUARTET SINGLECUT BEERSMITHS 19-33 37TH STREET, FRIDAY, MAY 16TH: Astoria, QUEENS TRONZO TRIO N/Q to astoria-Ditmars AMANDA MONACO 3 facebook.com/ 6stringsummit FRIDAY, JUNE 20TH: 8 & 9:30 PM - nels cline/ $10 GETS YOU IN & julian lage A PINT OF QUEENSLAGRRR! MIKE BAGGETTA trio

24 APRIL 2014 | THE NEW YORK CITY JAZZ RECORD

at KITANO JAZZMusic • Restaurant • Bar “ONE OF THE BEST JAZZ CLUBS IN NYC” ... NYC JAZZ RECORD LIVE JAZZ EVERY WEDNESDAY - SATURDAY $15 WED./THUR + $15 Minimum/Set. $30 FRI./SAT. + $15 Minimum/Set 2 SETS 8:00 PM & 10:00 PM

JAZZ BRUNCH EVERY SUNDAY There Were Flowers Also in Hell It Takes All Kinds Liverevil TONY MIDDLETON TRIO Aram Bajakian (Sanasar) Jon Irabagon Jon Lundbom & Big Five 11 AM - 2 PM • GREAT BUFFET - $35 by Brad Cohan (Jazzwerkstatt) Chord (Hot Cup) OPEN MONDAY NIGHTS • $15 MINIMUM 8:00 PM - 11:30 PM • HOSTED BY IRIS ORNIG by Robert Iannapollo SOLO TUESDAYS IN FEB. • 8:00 PM - 11:00 PM • $15 MINIMUM 2013 was witness to a bevy of exceptional releases by YOUNG PIANO SHOWCASE APRIL 1 & 15 - BILLY TEST guitar innovators across countless aesthetic dimensions he cover of saxophonist Jon Irabagon’s It Takes All APRIL 29 -GLENN ZALESKI • $15 MINIMUM T APRIL 8 - SAMBA MEETS JAZZ OPEN HOUSE of the jazz orb. 2014 is still young but already the six- Kinds has a small drawing of Don Quixote and Sancho HOSTED BY • $15 MINIMUM string is ruling the landscape. Enter the fledgling and Panza. While not exactly clear what it references, it TUES. APRIL 22 FUND RAISER "JAZZ BENEFIT FOR YOUTH • 7 PM TO 10 PM WED. APRIL 2 terrific Queens-based guitarist and John Zorn protégé could easily be Irabagon’s 2010 release Foxy. Surely the MARIANNE SOLIVAN QUARTET Aram Bajakian to join the fray of masters of the release of a 78-minute non-stop dissection of Sonny MARIANNE SOLIVAN, XAVIER DAVIS instrument. There Were Flowers Also in Hell, Bajakian’s Rollins’ “Doxy” is a quixotic act. Probably very few MATTHEW PARRISH, LEWIS NASH $15 COVER + $15 MINIMUM first offering with bassist Shahzad Ismaily and drummer people listened for the entire duration of the disc, which THURS. APRIL 3 Jerome Jennings, exposes the guitarist as a disciple of was unrelenting, almost compulsive, in the trio’s ADAM NUSSBAUM TRIO but clearly a player in possession of his own examination of the venerated tune. But those who did ADAM NUSSBAUM, GIOVANNI MAZZARINO MARCO PANASCIA singular voice and tone. Akin to his 2011 recording Kef were amply rewarded. $15 COVER + $15 MINIMUM (Tzadik) but equipped with an entirely different set of It Takes All Kinds finds the saxophonist’s most FRI. & SAT. APRIL 4 & 5 GARY SMULYAN SEXTET aesthetics (there the leader was supported by only bass recent trio with bassist Mark Helias and drummer Barry WITH SPECIAL GUEST DOMINIC CHIANESE and violin), There Were Flowers Also in Hell is no less Altschul operating with similar intent, live in Peitz, (UNCLE JUNIOR - SOPRANOS) CD RELEASE EVENT “BELLA NAPOLI” sonic in its din, raw in its dipped in sludge-recorded Germany last June. But it’s presented in more easily GARY SMULYAN, DOMINIC CHIANESE JEFF LEDERER, GARY VERSACE fabric and mind-bogglingly fierce in its - manageable units. JOSEPH BRENT, MARTIN WIND, MATT WILSON ingrained assault. The tunes, all originals by Irabagon (playing tenor $30 COVER + $15 MINIMUM That rugged and furious vision of urban vistas is exclusively), are in the 7-10 minute range but packed WED. APRIL 9 RUBENS SALLES QUINTET mirrored by both Bajakian’s bleeding of deep New York with three-way interplay. Irabagon is a member of RUBENS SALLES, SP. GUEST JOHN CLARK roots and his collaborative pedigree. The guitarist Altschul’s 3dom Factor and the drummer returns the LECO REIS, KAREL RUZICKA, CONOR MEEHAN counts the aforementioned Ribot and the late Lou Reed favor by playing with the dynamism and intricacy that $15 COVER + $15 MINIMUM THURS. APRIL 10 as luminaries he’s played beside and, with that lineage, has been his trademark in any musical situation since PENDULUM QUINTET the specter of this city can only hover above There Were his emergence in Paul Bley’s trios of the mid ‘60s. Helias’ JOE LOCKE, ROBERT RODRIGUEZ RICARDO RODRIGUEZ, TERREON GULLY Flowers Also in Hell. And does it ever. rich bass colors the lower end of the sound spectrum SP. GUEST - ROSARIO GIULIANI A grizzled and dissonant monster is what Bajakian and his feature, the balladic “Elusive”, finds him filling $15 COVER + $15 MINIMUM creates and in the record’s liner notes, Bajakian provides in solo bass parts between thematic material with rich FRI. & SAT. APRIL 11 & 12 JOE LOCKE PENDULUM QUINTET a deeply personal testimonial to his beloved uncle, who imagination. As for Irabagon, he is among the best of JOE LOCKE, ROBERT RODRIGUEZ schooled the then-ten year old on slide blues. Bajakian the younger saxophonists, not only displaying technique RICARDO RODRIGUEZ, TERREON GULLY SP. GUEST - ROSARIO GUILIANI manifests that wisdom into his own post-blues aesthetic and a deep knowledge of the tradition but also $30 COVER + $15 MINIMUM with New York flavor. unabashed joy in improvising and willingness to WED. APRIL 16 From the album’s get-go, a relentless spirit rules experiment. Listen to his combination of braying lines DMITRY BAEVSKY QUARTET DMITRY BAEVSKY, JEB PATTON the day. From the klezmer-meets-punk rollick of salvos and maniacal use of repetition on “Wherewithal” for MIKE KARN, AARON KIMMEL “Texas Cannonball”, “Orbisonian” and “Rent Party” further elucidation. But it’s there in all eight $15 COVER + $15 MINIMUM THURS. APRIL 17 and meditative and noisy slow burn of the Reed tribute compositions on this excellent disc. JOHN DI MARTINO TRIO “LouTone” to spooky, atmospheric ballads like Irabagon has been part of bassist Moppa Elliott’s FEATURING: KLEMENS MARKTL “Requiem for 5 Pointz” (an ode to Queens’ much- band Mostly Other People Do the Killing since 2003. JOHN DI MARTINO, BORIS KOZLOV, KLEMENS MARKTL $15 COVER + $15 MINIMUM lamented graffiti mecca) and “Medicaid Lullaby”, He’s also been a member (along with Elliott) in guitarist FRI. APRIL 18 Bajakian shows he’s a purveying jack-of-all-trades, Jon Lundbom’s Big Five Chord for roughly the same TRIO mastering fire-breathing free jazz, Jewish music, blues, duration and the group’s sixth release is a live double FRANK KIMBROUGH, JAY ANDERSON, LEWIS NASH $30 COVER + $15 MINIMUM Armenian folk and punk rock. disc set, palindromically titled Liverevil. SAT. APRIL 19 While the band may lack the antic energy of Elliott’s SARA GAZAREK/JOSH NELSON DUO For more information, visit arambajakian.com. Bajakian is ensemble, it’s clearly the equal in improvisational $30 COVER + $15 MINIMUM WED. APRIL 23 at Grand Victory Apr. 17th with Elliott Sharp. See Calendar. prowess. Irabagon (on alto and soprano) fits in LAURA CAMPISI QUARTET comfortably alongside frontline partner Bryan Murray “VEDRAI VEDRAI” MUSIC OF LUIGI TENCO & MORE LAURA CAMPISI, JON DAVIS on tenor and balto! (sic) saxes. This two-disc set captures GIANLUCA RENZI, TOMMY CAMPBELL the band in full flight at the Brooklyn Fire Proof club in $15 COVER + $15 MINIMUM THURS. APRIL 24 2013 and the material is a combination of Lundbom MATT SLOCUM QUARTET originals, a few Wiccan prayer songs (!) and cover of a CD RELEASE EVENT “BLACK ELK'S DREAM” song by Canadian group Rural Alberta Advantage. MATT SLOCUM, JON IRABAGON GERALD CLAYTON, MASSIMO BIOLCATI Interestingly, the two discs have very different $15 COVER + $15 MINIMUM emphases. Disc One focuses on more jazz-oriented FRI. APRIL 25 material and swings and shouts like a committed jazz LESLIE PINTCHIK QUINTET CD RELEASE EVENT “IN THE NATURE OF THINGS” band. Disc Two gets into a harder, rock-ish energy with LESLIE PINTCHIK, STEVE WILSON more groove material. It almost sounds like two different RON HORTON, SCOTT HARDY, MICHAEL SARIN bands and that’s not easy to do. But an odd penchant for $30 COVER + $15 MINIMUM SAT. APRIL 26 the group is seeming to relish unexpected endings. WOLFF & CLARK EXPEDITION Liverevil is a worthwhile document of a band that should MICHAEL WOLFF, MIKE CLARK be better known. SP. GUEST HAILEY NISWANGER, ANDY MCKEE $30 COVER + $15 MINIMUM For more information, visit jazzwerkstatt.eu and WED. APRIL 30 hotcuprecords.com. Irabagon is at Clemente Soto Velez SARAH SILVERMAN QUARTET SARAH SILVERMAN, Cultural Center Apr. 21st, Bar Next Door Apr. 22nd, Jazz MATT ARONOFF, STEVE WILLIAMS at Kitano Apr. 24th with Matt Slocum and Flushing Town $15 COVER + $15 MINIMUM RESERVATIONS - 212-885-7119 Hall Apr. 26th with Peter Brendler as part of Queens Jazz VISIT OUR TWEETS AT: http://twitter.com/kitanonewyork OverGround Spring Jazz Fest. See Calendar. www.kitano.com • email: [email protected] ò 66 Park Avenue @ 38th St.

THE NEW YORK CITY JAZZ RECORD | APRIL 2014 25

jazz. Her kinetic dynamism on the keyboard and inside the piano extends from the advances of while her structural sophistication and thematic implementation can be related to the work of fellow Canadian Paul Bley. Filiano’s thick and darkened string throbs, plus Grassi’s agile command of the standard and extended percussion kits, bring extra and unexpected timbres into play. The two, no slouches when it comes to expression during (moderated) solo

Hard Hittin’ at The Bird’s Eye spots, have experience in nearly every form of inside- Jim Rotondi And The Loop (Sharp Nine) and-outside jazz, developing accompanist expertise by Ken Dryden along the way. The introductory “Intentions Woven” succinctly Trumpeter Jim Rotondi’s departure for a professorship lays out the trio’s strengths. Minimizing her output in Graz, Austria in 2010 was a loss to the New York jazz from genial vamps to singular key-clipping, Lerner scene. But it resulted in a new quartet called The Loop, then lays out long enough for a defining arco solo from featuring big-toned tenor saxophonist Eric Alexander Filiano. Regrouping, the trio’s taut harmonies finally (a fellow One For All member and frequent collaborator subside into pace-setting swing. Most notable is with Rotondi), organist Renato Chicco (who worked “Elegia por A.J.C.”, a 34-minute mini-suite, which is with the leader when he lived in New York) and not particularly elegiac. Instead sliced abrasions from Austrian drummer Bernd Reiter. Recorded live over the bassist, harp-like arpeggios from the piano’s inner two nights at The Bird’s Eye in Basel, Switzerland at strings plus abstract drum-top and bell vibrations the end of a two-week tour in 2012, the quartet is in create a measure of reflective forbidding, finally great form. While most of the tracks feature extended exploding one-third of the way through as the threnody blowing, there is no coasting by the players. is converted into a buoyant commemoration. With left- Alexander dominates his powerful “Summit handed echoes and expressive sparkles from the other Meeting”, a hardbop gem with a brief-yet-effective hand, Lerner reaches a summit of sophisticated swing. Rotondi solo and Chicco’s playful offering. Rotondi’s Filiano’s bowed staccato variations join the piano lines, “Higher Calling” is more laidback, a breezy number creating a moving, intervallic climax. with the leader’s expressive trumpet well supported Lerner-Filiano-Grassi, three players who by the band. George Coleman’s “Amsterdam After instinctively know how to touch on experimental Dark” deserves to be more widely known, a pulsating improvisation without neglecting rhythm inflections, hardbop vehicle with sublime ensemble work. It’s hard have produced an inspired session of first-class jazz. not to be impressed with Rotondi’s fiery flugelhorn and Alexander’s burning tenor, especially when both For more information, visit cadencejazzrecords.com. This incorporate a bit of dissonance in their solos to spice project is at The Firehouse Space Apr. 25th. See Calendar. things up. When Chicco takes over, things get a bit more subdued and mysterious, leading to Reiter’s ONCE UPON A TIME explosive solo to wrap the piece. A spirited groove setting of ballad “Cry Me a River” gives this chestnut a new dimension, Alexander blending both mellow and gritty touches while Rotondi’s rapid-fire outburst increases the intensity. The standard “Blue Moon” simmers with passion and Rotondi’s heartfelt trumpet, backed by Chicco and Reiter. The organist penned “The Loop”, which wraps the date with a flourish. Who knows how long Rotondi will remain in Austria. But it’s a safe bet that Alexander will cross the Atlantic to be a part of The Loop whenever their schedules align.

For more information, visit sharpnine.com. Rotondi is at Smoke Apr. 25th-26th and Dizzy’s Club Apr. 30th with David Hazeltine. See Calendar.

ABDULLAH IBRAHIM MUKASHI / ONCE UPON A TIME SSC 1356 / IN STORES 4/29

iTunes.com/AbdullahIbrahim Live in Madrid sunnysiderecords.com Marilyn Lerner/Ken Filiano/Lou Grassi (Cadence Jazz) by Ken Waxman photography: Ines Kaiser (Abdullah) / Uwe THEO Kropinski (album cover) One of the most successful Canadian-American partnerships since the St. Lawrence Seaway, Toronto pianist Marilyn Lerner continues her musical relationship with New York bassist Ken Filiano and drummer Lou Grassi. Live in Madrid, the trio’s second outing after 2008’s Arms Spread Wide, charts the band’s maturation process, with three long improvisations. Equally proficient in klezmer and austere free music, Lerner positions herself here firmly within the core of

26 APRIL 2014 | THE NEW YORK CITY JAZZ RECORD

Argentina with Peñas’ take on classic tango, “The a shocking shout chorus with all the stops out. In the Everyday Struggle”, Goldstein on accordion in place of Beginning Volumes 1 & 2 is a collection of Smith’s early the more typical bandoneon. Another original, “Etude hits arranged for octet by the very able alto saxophonist No. 1”, displays the leader’s classical guitar training, Ian Hendrickson-Smith. opening with a Bach-like melody, accented by rhythmic Smith really has a great musical dialogue with the counterpoint by the bass. Mompou’s “Canço Némero. horns - listen to how soulful organ phrases are 6” (Catalan for ‘song’) features the unusual but exciting answered by the section backgrounds on opener instrumental combination of guitar and accordion on “Falling in Love”. The solos are thoughtfully its melody. Most notable is the Mercer-Carmichael developed, with no unnecessary verbosity. The horn

Music of Departures and Returns standard “Skylark”; Peñas’ sensitive solo rendition is section statements, which often begin in unison, break Oscar Peñas (Musikoz) short but touching and heartfelt. out into interesting harmonies, such as the swampy by Marcia Hillman This is a delightful journey, guided by an artist fog on the salsa-infused “Call of the Wild”. As the tune with a rich imagination. progresses, Andy Gravish’s powerful trumpet is Barcelona native guitarist Oscar Peñas takes listeners framed by the trading of Hendrickson-Smith, bass on a musical voyage, by way of various genres that For more information, visit oscarpenas.com. This project is clarinetist John Ellis and baritone saxophonist Jason have influenced him, with his new CD. He arranged all at BAMCafé Apr. 18th. See Calendar. Marshall to create an especially interesting timbre. the material, a collection of mostly originals with one The rhythm section of guitarist Ed Cherry, composition each by Cuban Silvio Rodríguez, Johnny drummer Johnathan Blake and percussionist Little Mercer-Hoagy Carmichael and Catalan Federico Johnny Rivero supplies a relentless undulating funk. Mompou. Peñas’ accompanists are Cherry can switch on a dime from super legit funk (violin), Moto Fukushima (six-string electric bass) and comping to great bebop lines. The killing groove of Richie Barshay (drums/cajón), with upright bassist Blake is very cleverly augmented by Rivero, whose Edward Perez and percussionist Rogério Boccato on mélange of percussion instruments on Latin tunes two tracks each. Additional guests are Paquito D’Rivera “Slow High” and “Psychedelic Pi” provides the perfect (clarinet on one track), (accordion on complement. two) and a vocal by Esperanza Spalding. We also get to hear Smith sing a little, his smooth Peñas’ journey reflects his cultural and musical tenor floating amid the unison horns and sharp In The Beginning, Volumes 1 & 2 background as well as the experiences of a touring chunking of Cherry on “Move your Hand”, Dr. Lonnie Smith Octet (Pilgrimage Prod.) musician. He starts out with a visit to Brazil in his by Brian Charette Hendrickson-Smith and Marshall both killing on this original “Paquito’s Choro”, referencing Brazilian cut. This album is a funk soul party from start to finish, urban pop music. This track features an inspired Dr. Lonnie Smith is undoubtedly the greatest living a real treat hearing a master revisit his earlier work. performance from its dedicatee with equally inspired Hammond organist from the heyday of the Chitlin’ The octet puts you in a trance and keeps you there - a guitar work by Peñas, the pair achieving a magical circuit. His organ playing is subtle. When he turns his must-have for organ jazz fans. connection. Spalding’s vocal on Rodríquez’ “Rabo de Leslie speaker on, it’s just a taste. Vibrato is also used Nube” starts out softly, then slowly builds in intensity very sparingly. Often, he will set up his audience with For more information, visit drlonniesmith.com. This project towards the final note. Another stop takes listeners to a simmering groove and lots of space before delivering is at Jazz Standard Apr. 19th-20th. See Calendar.

THE NEW YORK CITY JAZZ RECORD | APRIL 2014 27

measure, the CD version also includes a set of Fielder- Jordan duets recorded in Houston in 2005. The third movement (Side C) offers a particularly broad vision of what this short-lived trio was capable. Beginning with high-register tenor peals and a palette of brushes and vibra-slaps, Kowald supplants percussion and saxophone with deft muscularity and telepathic detail. One can imagine him draped over the instrument and beaded in sweat. Kowald’s position as

What / If / They Both Could Fly an architect of European - especially Evan Parker/Joe McPhee (Rune Grammofon) with figures like multi-reedist Peter Brötzmann and by Stuart Broomer pianist Alexander von Schlippenbach - contains a elio villafranca certain rigorous brutalism, at least on the surface, but When Evan Parker and Joe McPhee got together in that music is incredibly rich and Kowald’s motoring, 1998, the result was Chicago Tenor Duets (), full pizzicato in the tempo sections attests to his nuanced each concentrating on what they shared on the tenor drive. Fielder brings the snare attack of Sunny Murray saxophone: an at-times uncanny matching of breath, and the quickness of to the proceedings, sonority and line. Meeting 14 years later at Norway’s loose and athletic. The three engage a bluesy walk Kongsberg Jazz Festival, the two have elected for a toward the section’s final third, Jordan digging clean different strategy, Parker sticking to his tenor and multi- burrs and volleying upward as Fielder and Kowald link instrumentalist McPhee choosing pocket trumpet and into a simple, effortless beat, flexible enough to match soprano saxophone. the saxophonist’s harmonic and rhythmic turns. As it turns out, the two still have a lot in common, The closing part of the set follows suit, funereal an opening series of runs indicating that they can purrs making an abrupt shift into Ayler-ian stomp respond to one another in microseconds that aren’t before Jordan emerges with a fluttering landscape of necessarily apparent to the audience, starting, stopping brassy, interwoven runs and the bassist and drummer and pausing with surgical precision. They clearly share link into a popping swing. Fielder keeps the pulse while the special legacy of early free jazz and its consistent ensuring that Jordan’s knotty blowing is stoked and sonic pairing of trumpet (usually pocket) and saxophone teased. It’s easy to forget that these improvisations were (usually tenor) as a key device, McPhee at times waxed nearly a dozen years ago; Jordan and Fielder suggesting matching brash and spiky bleats sound as fleet and inspired now as they did then. Only and blasts against most of the major saxophonists active Kowald is gone, his life cut short at 58 and one can only in the ‘60s. It’s the sound of two disparate timbres and imagine what results the ensuing decade-plus would conceptions of line simultaneously seizing freedom. have had on his music. The music is a series of pure dialogues, each episode apparently free of overarching structure. The For more information, visit nobusinessrecords.com three pieces shrink successively in length, “What” photo by whit lane and marylene mey almost 19 minutes long, “If” just under 14 and “We Both Could Fly” skirting 7, as if the two grew more succinct dave brubeck festival as their exchanges continued. Though Parker, who turns the life & musiC 70 this month, takes more frequent solos - he’s the more of dave BruBeCK voluble member of the team - there’s a genuine conversational dynamic here. It’s two veterans of apr 10–12 • 8pm improvised music matching phrases and patterns with a Jazz at Lincoln Center Orchestra with storehouse of shared experiences, memories and history unfolding through them. The result is as warm and dave brubeck festival dave BruBeCK’s familiar an encounter as you’ll find in improvised ‘the real amBassadors’ music. apr 11–12 • 7pm, 9:30pm For more information, visit runegrammofon.com Peter Martin with , James Zollar, Ulysses Owens, Brian Owens, Vivian Sessoms, and more new jazz standards

may 16 • 7pm | may 17 • 9:30pm Carla Kihlstedt, Guillermo Klein, Bill McHenry, Reid Anderson, and Eric Harland perform original new songs

nuevo jazz latino Live in New Orleans Kidd Jordan/Peter Kowald/Alvin Fielder may 16 • 9:30pm | may 17 • 7pm (NoBusiness) Carlos Henriquez, Elio Villafranca, Yosvany Terry, Dafnis by Clifford Allen Prieto, and Pedrito Martinez perform original new Latin jazz works After nearly succumbing to a heart ailment in 2008, it’s pretty obvious that 79-year-old Mississippi-based drummer Alvin Fielder is here for as long as possible. The last year has seen four new recordings, including this one. A historian of from Cuba jalc.org Austin to , Fielder tours frequently and jazz at lincoln center many of his hookups since the mid ‘70s have been with tenor saxophonist Edward “Kidd” Jordan, based in New Frederick P. Rose Hall Venue Orleans. Live in New Orleans features a rare performance Broadway at 60th, Ground Fl. Box Office with itinerant German Peter Kowald, months before the 212-721-6500 CenterCharge bassist’s untimely passing in September 2002 (he would have turned 70 this month). The set presents one sprawling improvisation across two LPs; for good

28 APRIL 2014 | THE NEW YORK CITY JAZZ RECORD of the band, so the structure is improvised as well as the the other recorded in a Chicago studio five months later. solos. It’s an idea Vandermark has touched on previously With the Resonance Ensemble, Vandermark supplements with his FME unit and the Frame Quartet, but it’s given an already impressive resumé of writing for large free rein over the first three releases by the new unit. gatherings of improvisers. Precursors include early Alongside Vandermark in Made To Break are two editions of Peter Brötzmann’s Chicago Tentet, as well as other Windy City denizens in drummer Tim Daisy, a Vandermark’s own various Territory Bands. His craft long-term collaborator with the sadly missed allies imaginative non-repeating charts with space for Vandermark 5, the Frame Quartet and, more recently, enthralling soloists and cohesive collectives. One could The Resonance Ensemble, and bassist Devin Hoff, who say that his success lies in executing the mobility and has played in free jazz and avant rock alongside Nels tightness of a small unit with an outfit numbering at Cline and Ches Smith, among others. However it is least ten strong. Even though the cast hails from four Christof Kurzmann, an Austrian residing in , different countries (the US, Sweden, Poland and whose maverick electronics add the most distinctive Ukraine), they still work in a jazz syntax. Spacey ingredient to the brew, via the medium of lloopp, interludes, frequently those spotlighting the assorted Provoke software designed to promote live improvising, which clarinets of the leader and the Polish pairing of Mikołaj Made To Break (Clean Feed) notably allows him to layer textures and pursue multiple Trzaska and Wacław Zimpel, rub shoulders with alt Lacerba parallel courses, offering either oblique commentary or rock, improv, African cadences and modern classical Made To Break (Clean Feed) contrary reaction. influences, as well as jazz. Cherchez La Femme Issued at the same time, Provoke and Lacerba present Once again Vandermark employs the modular Made To Break (Trost) Head Above Water/Feet Out Of The Fire the fruits of a three-day concert series in Lisbon, approach. At its most obvious that results in both “Type Ken Vandermark/The Resonance Ensemble Portugal in 2011 during Clean Feed’s 10th anniversary A” and “Lipstick In Hi-Fi”, beginning with what sounds (Not Two) festival, the former in CD format containing three cuts like the same cooking theme, which could have come by John Sharpe and the latter, at Vandermark’s request, as an LP from the Vandermark 5 songbook, before an event for boasting two tracks, all around the 20-minute mark. Per-Åke Holmlander’s virtuoso tuba and a subsequent How do you keep the music fresh, capturing the Vandermark’s innovative methodology achieves a blend tenor saxophone explosion by Dave Rempis, probably spontaneity and excitement of improvisation, but still in which pronounced thematic materials surface from the most effective soloist on board thanks to preternatural utilizing notation to take a group places they otherwise the flow, often seamlessly through an apparently organic fluency supercharged by bursts of feral energy. But might not reach? That’s the conundrum Chicago multi- process, but occasionally as the result of an abrupt thereafter divergent outcomes ensue, as Vandermark reed player Ken Vandermark has pondered at length switch. A favorite tactic sees the interpolation of lockstep exploits the talents on hand to the max. There is just one over the years. Now with his new electro/acoustic rhythms, making for a startling contrast with some of small downside: as with previous Resonance Ensemble outfit Made To Break he explores the solution. The the more open forms. outings, would be enhanced even more if principle followed is modular organization. What that “Presentation” from the CD provides a striking some indication of soloists/featured players were given. means is that not only is each piece constructed from a example of what can be accomplished. At the outset series of distinct defined modules, which can be Kurzmann’s intermittent electronics create an For more information, visit cleanfeed-records.com, trost.at deployed in ever-changing permutations, but that parts otherworldly soundscape, evoking menacing and nottwo.com. Made To Break is at Le Poisson Rouge can be combined spontaneously by the various members helicopters, radio interference, phantom cries and alarm Apr. 23rd. See Calendar. clock beeps. From this cacophony emerges a steady pulse from clarinet and gently tapping and later an electric bass drone. Gradually a tiptoeing line for Vandermark’s clarinet, with Daisy supportive on brushes, acts as the basis for the consequent interplay. Suddenly Hoff breaks in with an aggressive riff, joined by Vandermark’s skirling tenor saxophone, fast-ticking cymbals and whooshing electronics. But the tour de force comes as the band syncs into a gritty R&B-inflected incantation (to which Kurzmann introduces a swarm of buzzing imitations of the saxophone) for a frenzied conclusion. Cherchez La Femme was recorded in the studio some 18 months later, but still retains the same mix of unpredictable thrills and strangely familiar settings. Even though Vandermark draws from a whole range of inspirations, including funk, rock, European free JON DAVIS DUO improvisation and the New York School of composition (, Morton, Feldman, Christian Wolff, Earle Brown), the outcome remains recognizably within the jazz domain due to the instrumentation and unfettered framework. April 11th & 12th - At the heart of the group lies the simpatico union of 9:45 pm - 2 am Vandermark and Daisy, most conspicuously at the start of “Capital Black”. But while they are a tested formula, Knickerbocker Bar and Grill each module opens up further of other (featuring Jay Anderson) duos and group interactions. Later in the same number, a reflective passage hinges on the amalgam of rippling bass and soothing lullaby-like phrases from clarinet, which recalls a similar gambit on the “Further” from the April 21st - first CD. However, here it leads to more mayhem from Kurzmann, as an electronic storm threatens to intrude 7:30 pm - 10 pm on the pastoral idyll. Although some of the abstract Smalls Jazz Club textural sections edge close to ambient music, there is sufficient attitude in Vandermark’s spirited delivery, (featuring Gianluca Renzi) particularly on baritone and tenor saxophones, to dispel totally any incipient new age atmosphere. Daisy and Hoff mesh well, so that when the band hits, as it does for many of the best moments, it’s done with affirmative power. JONDAVISMUSIC.COM Head Above Water, Feet Out of the Fire comprises two sets, one documented live in Belgium in March 2012 and

THE NEW YORK CITY JAZZ RECORD | APRIL 2014 29

house band. It seems fitting that he revisit those 10-minute-plus one, “Homecoming”, is an intricate humble days as he comes into his eighth decade. mini-suite in itself. Pianist Ryan Cohan channels the The concept, though, is not without precedent. In eponymous “Randy Weston”, displaying an empathetic 2011, Worrell debuted Standards, a collection of jazz sense of form and pace in a piece also notable for bass classics, all but the album’s first track filtered through clarinet (Bradfield), trumpet and guitar voicings and a swirling synthesizers and funky backbeats. That first 6/8 North African feel. A long tenor sax cadenza by the song, Duke Ellington’s “Take the ‘A’ Train”, Worrell leader introduces “Detroit/Kingston”, its deliberate solo on piano, was the standout and obvious antecedent tempo suggestive of reggae and Motown, its centerpiece to Elevation, an eclectic collection of jazz, R&B, Latin a reflective but lively guitar solo by Jeff Parker. By

Reflections: The Music of Thelonious Monk and one Bob Marley classic. invoking the spirit of Melba Liston in a highly personal, Hat & Beard (Trio Rec. & Prod.) Songs like Miles’ “” and “Light On creative fashion, Bradfield honors her memory as he by Donald Elfman Water” offer flimsy content and little development carries on her legacy. beyond their hollow and moody beginnings. Charles Thelonious Monk is certainly part of the jazz canon Mingus’ “Goodbye Pork Pie Hat” is fairly well-done For more information, visit origin-records.com and yet it’s surprising how few of his tunes are tackled but Worrell’s selection of lighter non-jazz numbers are and how the ones that are stay close to a kind of particularly moving. ’s “Samba Pa Ti” accepted approach. Guitarist Ken Aldcroft and bubbles in vivacity while displaying Worrell’s graceful IN PRINT drummer Dave Clark take on the Monk repertoire and approach. A remarkably honest rendition of Marley’s vocabulary with flair, great humor and in short takes - anti-war anthem “Redemption Song” closes the album, the longest track is five minutes long! Worrell so delicate with the melody as to encapsulate The subversion starts immediately. Clark opens its sorrowful message. “Friday the Thirteenth” with some noisy and busy The album’s highlight is R&B staple “Ooh Child” drum business but out comes a hard-edged but faithful by The Five Stairsteps. Much like Worrell’s rendition of reading of the melody by Aldcroft. The music moves “Take the ‘A’ Train”, notes of gospel and soul ring forcefully until Clark dramatically drops the volume particularly true. Some might be skeptical of Worrell momentarily, giving Aldcroft a while to repeat, Zen- alone behind the piano but this septuagenarian has like, the ‘simple’ melodic line. “Work” emerges chops and is not to be underestimated. immediately, Aldcroft bending notes and goading Clark to a series of drum shots, which sound chaotic at For more information, visit mod-technologies.com. Worrell Learning to Listen: The Jazz Journey of Gary Burton (An Autobiography) first, but ultimately present a new logic. The textures is at The Stone Apr. 26th-27th. See Calendar. (Berklee Press) and colors change throughout but we’re never really by Ken Dryden very far from Mr. Hat and Beard himself. Both players have chops but use them to find new ways to approach Gary Burton’s credentials as a bandleader, sideman a historic set of compositions. and educator are formidable. A memoir was long The title tune is a surprise in yet another way. It overdue. Yet as confident as Burton was about his begins with Aldcroft playing this most engaging abilities as a musician, he questioned his sexual melody sweetly and reflectively to very spare drums. identity, finally revealing to Fresh Air radio host It’s the closest thing to a conventional reading. The Terry Gross that he was gay in 1994 (after two guitar solo opens up - but just slightly - and lets this marriages that ended in divorce). While this issue elegant tune ring its own wonderful changes. recurs at various points in his autobiography, it isn’t Though the overall effect seems clamorous, most the book’s central theme. Melba! tunes take on a kind of intimate new coloring, even Burton was already a virtuoso vibraphonist at a Geof Bradfield (Origin) when Clark is bashing away and Aldcroft is in power by George Kanzler young age, figuring out how to play with four mode. The two smoke a two-and-a half-minute “Off mallets. Before graduating from high school, he Minor”, get down and dirty with “Five Spot Blues”, Melba Liston, who died 15 years ago this month at 73, would gig and record with country guitarist Hank offer an intimate new tribute to Baroness “Pannonica” was to post-swing and bebop what Mary Lou Williams Garland and soon gained the attention of guitarist/ and go to the parade ground with “Jackie-ing”. The had been to the Swing Era, a woman who rivaled the producer Chet Atkins, who recommended that RCA album closes with a pointillistic take on the rarely done most accomplished jazz arrangers and instrumentalists give Burton a record contract. All of this happened “Boo Boo’s Birthday” and then a strange - what else - of her time. As a trombonist, she worked with greats of before Burton spent his first day at Berklee College drum intro to a vague yet substantive ”Monk’s Dream”. the later 20th Century, including Quincy Jones, Charles of Music. Burton’s RCA years saw him evolve from You haven’t heard Monk like this before. Mingus, Dizzy Gillespie and Randy Weston. She wrote leading small bop groups to becoming a big band charts for the latter two and her collaborations pioneer. In the midst of this period were extended For more information, visit www.kenaldcroft.com. Ken with Weston are analogous to the musical partnership stints as a sideman with and Stan Aldcroft is at ABC No-Rio and Downtown Music Gallery Apr. of Duke Ellington and Billy Strayhorn. Rather than Getz. The former taught him the value of concise 27th. See Calendar. rehash tunes and arrangements Liston wrote and/or solos while the latter was another matter, prone to recorded, on Melba! composer/arranger/saxophonist extreme mood swings and penny-pinching. After

Geof Bradfield has created an original suite in tribute leaving Getz, Burton was ready to be a full-time to and inspired by her musical accomplishments. leader, blending jazz and rock into one of the earliest The six movements trace Liston’s musical and fusion groups. He continued to explore various geographical journey, from her childhood in Kansas styles of music but it was incredible duo meetings City to her homecoming there to headline the Kansas with pianist Chick Corea, which continued for City Women’s Jazz Festival in 1979 with her all-female decades, that are some of the most memorable music septet, ending with Bradfield’s setting of the Harlem in Burton’s discography. The vibraphonist’s long Renaissance poet Georgia Douglas Johnson’s “Let Me tenure at Berklee included both teaching and serving Not Lose My Dream”, sung by Maggie Burrell. The as an administrator, spanning over three decades. band is a septet often implying a larger ensemble due Burton is an excellent storyteller and doesn’t Elevation: The Upper Air to Bradfield’s inventive, Liston-inspired sonic palette. mind taking time out to discuss a particular musician Bernie Worrell (M.O.D. Technologies) by Robert Milburn The crucial trombone role falls to Joel Adams, whose or topic in an extended sidebar. His ability to burnished tone dominates the introductory “Kansas confront his moments of self-doubt is admirable. This month, funk master Bernie Worrell will turn 70. City Child”, a mostly rubato, spiritual rumination. He The reader never feels shortchanged on a topic and He is perhaps best known for his work with Parliament- also takes the culminating solo on “Central Avenue”, Burton also doesn’t skimp on photos or humorous in the ‘70s but since the funk heyday, referencing swinging charts Liston did for Williams and odd anecdotes. Fans of Burton will be delighted Worrell, synth in tow, has explored a hodgepodge of and in her Los Angeles bebop days. with his book while young jazz musicians will be other genre-bending collaborations. It’s been a long, Bradfield creates a richly varied texture of Latin inspired by this virtuoso’s engaging story. circuitous journey back to his musical beginnings in rhythms, changing time signatures, riffs, vamps and downtown Boston but with Elevation: The Upper Air solos weaving in and out of the ensemble on “Dizzy For more information, visit berkleepress.com. Burton is he’s arrived. While in college during the ‘70s, Worrell Gillespie”, Victor Garcia both Harmon-muted and at Blue Note Apr. 8th-13th. See Calendar. played jazz, R&B and Latin music in a Basin Street open in the titular role. The long track, like the other

30 APRIL 2014 | THE NEW YORK CITY JAZZ RECORD

timbres and Don Ayler-like trumpet insouciance These range from his clarion, processional solo on the (courtesy of Matt Lavelle and Lewis ”Flip” Barnes) Iranian scale number “Grace” to his prancing, until both sections connect following watery vibrations exuberant one on “O’Mangas”, one of two pieces in from tuba player Mike Guilford. odd meters inspired by rembetika, a Turkish-influenced The strings’ inner mournfulness is put to good use Greek bohemian style. The CD is nothing if not a on “Shades of Brother ”, performed a cornucopia of styles, ranging from downhome backbeat month after the legendary violinist’s death. As agitated blues (two tracks) to homage to Wayne Shorter’s Miles as it is reflective, the piece cleverly unites rasps, rubs Davis period, “Panopticon”, with a circular form and and ratchets from various instruments into a howl of Miles-ian Harmon-muted trumpet. Walrath throws a

The Sabir Mateen Jubilee Ensemble anguish, then downshifts to plainsong via Nadar’s lot of curves in his writing, but this band executes Sabir Mateen (Not Two) keening, plus lyrical obbligatos from pianist Raymond them all with an easy camaraderie, which makes even by Ken Waxman King. The latter’s power chording provides the the most challenging pieces irrepressible. straightforward bedrock during Mateen’s other major One of the visionary improvisers loosely affiliated statement, the three-part “We Can Do”. With its load of For more information, visit steeplechase.dk with bassist William Parker’s Lower East Side projects, shaking percussion, chanted phraseology and stack of multi-reedist Sabir Mateen is often featured with his high-intensity saxophone solos from the five reed own bands or contributing to-the-point solos in other players, including baritone slurs from the ON DVD small groups. Recorded at The Stone in 2007, this CD underappreciated Joe Rigby, the suite is almost a is, on the other hand, a rare and valuable instance of throwback to ‘70s rhythmic exercises by Archie Shepp Mateen’s writing for a crack 15-piece ensemble, which and Pharoah Sanders. King’s playing provides calming he leads as well as playing saxophones, flutes and influences, propelling the performance away from clarinets. Consisting of two extended suites and a faux-Africanized percussion and chanting, and couple of shorter pieces, these taut yet expansive confirms the tune’s jazz roots. themes bolster the continued validity of free jazz Jubilee Ensemble convincingly demonstrates that without slipping into inchoate blowing. Sabir Mateen’s composing is at the same high level as Most laudable is the two-part “A Better Place”, his playing. which cycles though several moods until it reaches a stop-time climax at the two-thirds mark. String power For more information, visit nottwo.com pumps, slurred brass triplets and shaking bells 1969 New Orleans Jazz Festival Various Artists (MVD Visual) gradually swell to an optimistic finale, helped by Duck Baker immeasurably by lyrical cries from vocalist “M” Nadar. This is an appropriate conclusion to its despondent Taken from a TV broadcast, this is a fairly interesting exposition, expressed in counterpoint by Mateen’s alto document, but unfortunately there are distractions. clarinet and Shiau-Shu Yu’s cello. Later the vocalist’s It looks like it would have on television, with whispering admonition to “have a little faith” is washed-out colors and sometimes-blurry images contrasted by jagged string shrieks, gulping reed and the sound quality and balance are uneven. Worse yet is the fact that no information about personnel or tune titles is given anywhere.

KATJA CRUZ, HOWARD CURTIS LIGHTNING&THUNDER Things kick off with an informal quintet of vocals drums, percussion improvisations about the elements To Hellas And Back Jack Walrath (SteepleChase) Clark Terry (trumpet), Zoot Sims (tenor saxophone), by George Kanzler (piano), (bass) and (drums), which just about gets going on In commenting on his use of an Iranian scale on “Creole Love Call” before having to back a local

ein_klang records “Grace”, one of the tracks on To Hellas And Back, singer on, Lord help us, “Stormy Monday”. Next, trumpeter Jack Walrath illuminates his creative baritone saxophonist is joined by process: “You know, people say that everything has alto saxophonist Paul Desmond with the same been codified and done in jazz, but this is not true. A rhythm section, though in this case the accompanists good composer borrows, a great composer steals, as tend to get lost in the mix. The two principals are in somebody said. There’s no need to keep playing the good if not brilliant form. Things brighten up when same thing when you can adopt strands and create Dizzy Gillespie’s quintet takes over for two tunes, something different in your own way.” Walrath including a rousing “Mas Que Nada”. The band in definitely does just that on a CD commemorating his those days featured James Moody on tenor and flute band’s tour of Greece, featuring material composed with Mike Longo (piano), Frank Schifano (bass) and and/or played there. He’s joined by familiar colleagues, Candy Finch (drums). including tenor saxophonist Abraham Burton, a Next are two vocals by Marian Love, a jazzy frequent partner, and the rhythm section from the pop stylist whose star seemed to be rising rapidly at Mingus Big Band in which both Walrath and Burton this moment but who left the business not long after. ein klang_records play: pianist George Burton, bassist Boris Kozlov and Since Love was a strong vocalist with a short career, drummer Donald Edwards. one imagines that there are some who will treasure Walrath’s compositions - all ten tracks here are his this performance, though devotees HEXAPHONE - THE COSMOLOGY OF IMPROVISED MUSIC - owe a debt to Mingus, in whose last working band he might feel cheated by her one forgettable number. played, in not only their populist thematic appeal but But at least lovers of jazz vocals can enjoy Richard KATJA CRUZ featuring OLIVER LAKE Rudi Records Rudi also in their incorporation of intros, second strains, Boone’s contribution. Boone, a section trombonist in shifting tempos and quirky voicings. The opener, ’s band, delivers a humorously hip, “Leaving Santorini Blues”, begins with a fanfare intro semi-scat blues some will remember from the 1967 and moves into a rolling 6/8 feel as trumpet and tenor record Basie’s Beat. The Basie set accounts for about voice the blues line in a slightly dissonant harmony. half the playing time and features memorable Both then take solos veering from the established blowing from Terry, Eric Dixon on flute and scales, trumpet shuffling tones and timbres, sax especially Eddie “Lockjaw” Davis on tenor. The careening and overblowing before the meter shifts and band hits fine grooves on “Cute”, “Little Darlin’” the piano solos over a fast 4/4. In contrast, “Bees”, the and “April in ”, but since these were all in the track that follows, a contrafact of ’s “Every Breath book forever, they can all be seen on several more You Take”, toes a fast hardboppish line in theme and consistent videos. Overall, this is an enjoyable DVD, solos worthy of a mid-20th Century Blue Note date. but nothing over which to get too excited. Walrath has a distinctive, brash and brassy open trumpet sound, capable of varying timbres and plays For more information, visit mvdb2b.com. The New unpredictable, angular lines and runs incorporating Orleans Jazz & Heritage Festival is Apr. 25th-May 4th. elements of humor and an unsentimental melodicism.

THE NEW YORK CITY JAZZ RECORD | APRIL 2014 31 them while also maintaining allegiance to the deep else could be expected with James Spaulding, Bobby BOXED SET groove, even deeper soulfulness and spontaneous Bradford and Billy Bang on board? The surprise ensemble communication that made Coleman’s comes when that deep funk only Parker and Drake quartet offerings so rich. can lay down excites the others to riff with intensity With so much music of such quality, illustrative straight out of Kansas City’s ‘30s heyday. By contrast, moments must exemplify the whole. The first four the version recorded at the Swiss AMR Jazz Festival discs find the quartet in full flight, scaling the heights in 2011 boasts the scope to showcase both the quartet of imagination and unpretentious homage. Like and the AMR ensemble, vocalist Ernie Odoom Ornette, Parker’s compositions are often frameworks, conjuring the spirits by name, evoking all eras of jazz wiry bodies the group then drapes in layers of history as the group struts into territory juxtaposing melody, rhythmic complexity and shouted exaltation, the spirit of New Orleans collective improv with an landmarks to be revisited as the tune scales peaks infectious “bound for glory” groove, such as the Wood Flute Songs (Anthology/Live 2006-2012) and forges paths through tone-and-timbral thickets ones that group often sets up on the last night of the William Parker (AUM Fidelity) of varying density. Listen seven minutes into the first Vision Festival to make the crowd dance. by Marc Medwin of three versions of the title track, this one recorded There are treasures a-plenty for which room at Yoshi’s in 2006, where Brown hits the B-flat toward does not permit more than a mention, such as the In his liner notes to this eight-disc live anthology, which his freebop explorations have been guiding incendiary reunion set from In Order to Survive, bassist William Parker writes: “Once when I was him. He grabs the note, trills around it, Barnes where Cooper-Moore’s fire-and-velvet pianism is a playing at a jazz club in the 1980’s Don Cherry was screams assent, Parker and Drake crank up the heat perfect foil for the quartet’s rapid dynamism. We’re there when I got off the bandstand he said I wish I and the dance becomes a momentary sprint before a also treated to a quartet version of Parker’s Alphaville could be that free. So maybe the sky wants to be the hairpin group dynamic shift restores the previous Suite, which would later be released on Rogue Art. earth and the ocean wants to be the desert but only mood. What is truly amazing, what only emerges Then, there is Raining on the Moon’s tribute to for a moment.” after repeated listening, is that during the sprint, vocalist , perhaps the most moving The quotation is apt on many levels, not least of Drake actually slows down, adding a layer of performance in the set, where Leena Conquest brings which is that the seminal Ornette Coleman quartet, polyrhythm via staggering uhr-funk evocation. Time stunning emotion to the sentence “I will sing with all which featured Cherry and shocked the jazz stands still amid the height of tension, making the my heart.” how far these musicians establishment in 1959, is the spiritual forbearer of return and release all the more remarkable while journey and in what contexts they function, their Parker’s long-standing quartet with trumpeter Lewis anticipating the vast slow-down later in the tune. telepathic communication is from the heart to the Barnes, saxophonist Rob Brown and drummer Hamid The second half of the box finds the quartet as hearts of those willing to listen and receive. This set Drake. Cherry’s comment succinctly contextualizes backbone to ensembles of varying dimensions and, is a testimony to their success. the Parker aggregate’s accomplishments. Given the again, “Wood Flute Song” proves demonstrative. It originality of vision, high level of interaction and is as if the 2009 Vision Festival version is a brief For more information, visit aumfidelity.com. Parker is at musical diversity on offer in the six years this set extension of the Yoshi’s rendering; the theme spawns Clemente Soto Velez Cultural Center Apr. 14th, Brecht documents, it seems fair to posit that Parker’s group free blowing à la Coleman’s Free Jazz, complete with Forum Apr. 23rd and Downtown Music Gallery Apr. propels Coleman’s innovations forward, abstracting a few ensemble sustains for good measure and what 27th. See Calendar. Cobi Narita Presents

APR 1 APR 15 EVERY FRIDAY northern university the mason brothers quintet: rosebud jazztet two sides, one story APR 16 APR 2 7:30 TO 10:30 PM clarence penn: juilliard jazz ensemble “Monk” – the lost files APR 3–6 OPEN MIC/JAM SESSION APR 17–20 uhadi: all–stars of johannesburg jazz victor goines quartet Open Mic/Jam Session for Singers, Tap Dancers, APR 21 APR 7–8 dave brubeck festival Instrumentalists, Poets - hosted by Frank Owens, brubeck brothers quartet purchase jazz orchestra one of the most gifted pianists you will ever hear! with chris brubeck, dan brubeck, APR 22–23 mike demicco, and chuck lamb nicole henry: definitively diva APR 9, APR 13 dave brubeck festival APR 24–27 Our Open Mic is one of the best of the Open Mics darius, chris, and dan brubeck wessell “warmdaddy” happening in New York & elsewhere, with the with special guest dave o’higgins anderson incomparable Frank Owens playing for you. APR 10, APR 12 dave brubeck festival APR 28 brubeck institute jazz quintet manhattan school of music An unmatchable moment in your life! APR 11 dave brubeck festival afro–cuban orchestra As a participant, or as an audience member, brubeck institute jazz APR 29 you will always have an amazing time, alumni quintet the nyu wayne shorter one you will never forget! APR 14 monday nights with wbgo ensemble

adam birnbaum trio APR 30 david hazeltine quartet Don’t miss! Admission: $10 swing by tonight set times jalc.org / dizzys 7:30pm & 9:30pm Pearl Studios, 519 8th Ave, 12th Floor, Studio A Jazz at Lincoln Center’s Frederick P. Rose Hall Broadway at 60th Street, 5th Floor, nyc cobinarita.com

32 APRIL 2014 | THE NEW YORK CITY JAZZ RECORD THE NELS CLINE SINGERS MACROSCOPE IT’S SPECTACULARGE

GUITARIST NELS CLINE’S AURAL PALETTE REQUIRES BOTH OPEN EARS AND AN OPEN MIND. MACROSCOPE BOASTS BLISTERING MASH-UPS OF GROUND-ZERO ROCK & SKRONK JAZZ WHILE VEERING INTO JAGGED PSYCHEDLIA/ELECTRONICS AND OVERT BRASILIANA. WORTH NOTING: IT’S THE FIRST SINGERS RECORD WITH ACTUAL SINGING. NELS ALSO ENJOYS A DECADE OF EXPERIENCE PLAYING WITH ALT-ROCK GODS WILCO. YOU SHOULD DIG THIS.

WITH SCOTT AMENDOLA, AND GUESTS , YUKA C. HONDA, AVAILABLE WHEREVER YOU LIKE TO BUY MUSIC OR LISTEN TO MUSIC JOSH JONES AND ZEENA PARKINS NELSCLINE.COM • MACKAVENUE.COM CALENDAR

Tuesday, April 1 • Roman Filiu’s Qrteria with Sam Harris, Matt Brewer, Craig Weinrib, Yusnier Sanchez • Sean Meehan/Ben Manley; Håkon Stene; Hubert Zemler Cornelia Street Café 8:30 pm $10 Issue Project Room 8 pm $15 êLew Tabackin Trio with Boris Kozlov, Mark Taylor • Kenji Herbert Quartet with Dan Blake, Chris Tordini, Devin Drobka; Lukas Ligeti Group • Josh Marks Trio with Preston Murphy, Nadav Snir-Zelniker Iridium 8:30, 10:30 pm $25 with Shoko Nagai, Tom Bergeron The Firehouse Space 8 pm $10 Bar Next Door 7:30, 9:30, 11:30 pm $12 êTom Harrell’s Trip with , , Adam Cruz • Chembo Corniel Nuyorican Poets Café 9:30 pm $10 • Banana Puddin’ Jazz: Rome Neal Quartet with Lafayette Harris Jr., Christopher Hall, Village Vanguard 8:30, 10:30 pm $25 • Theo Croker’s DVRK FUNK WhyNot Jazz Room 10 pm Mary Rodriguez and guest Richard Williams • Regina Carter’s Southern Comfort Birdland 8:30, 11 pm $30-40 êSpectral Interzone - Color Smash: Carlos Homs, Cody Brown, Louis de Meiulle, Nuyorian Poets Café 9:30 pm $15 • Blue Note 8, 10:30 pm $35 Joe “Madman” Albano, Jamie Rose; Kris Davis/Ingrid Laubrock • Alexis Hightower Ginny’s Supper Club 7:30, 9:30 pm $15 • Shades of Jazz - Keith Jarrett’s Music: Tim Hagans, Greg Osby, Dan Tepfer, Ben Allison, Spectrum 7:30, 9:30 • Jonathan Scales Fourchestra; House of Waters Matt Wilson Jazz Standard 7:30, 9:30 pm $25 • Gregorio Uribe Big Band Zinc Bar 9, 10:30 pm SubCulture 10 pm $15-20 • Northern Illinois University Rosebud Jazztet • Samora Pinderhughes and Tha Unit with Elena Pinderhughes, Braxton Cook, • Diego Obregon Grupo Chonta with Franco Pinna, Alejandro Florez, Edgar Gomez, Dizzy’s Club 7:30, 9:30 pm $30 Corey King, Chris Smith, Corey Fonville and guests Justin Wood, Nestor Gomez Terraza 7 10:30 pm $7 êFalkner Evans Quintet with Ted Nash, Ron Horton, Belden Bullock, Tony Moreno The Jazz Gallery 9, 11 pm $10-15 • Philipp Gerschlauer Microtonal Band; Dollshot: Noah and Rosalie Kaplan, NYC Baha’i Center 8, 9:30 pm $15 • Central Brooklyn Jazz Consortium Festival: Emeline Michel Wes Matthews, Peter Bitenc, Mike Pride • Spike Wilner Trio with Yotam Silberstein, Paul Gill; Smalls Legacy Band: Josh Evans, Dweck Center at Brooklyn Public Library 7 pm Spectrum 7:30, 9:30 pm Stacy Dillard, , Theo Hill, Ameen Saleem, Kush Abadey; • Jacques Schwarz-Bart’s Jazz Racine Haiti • Yoni Kretzmer/Chris Forbes; Earth Tongues: Joe Moffett, Dan Peck, Carlo Costa Kyle Poole and Friends Smalls 7:30, 10:30 pm 1 am $20 SubCulture 7:30 pm $20-25 Ibeam Brooklyn 8 pm $10 • Jack Jeffers and the New York Classics with Monika Oliveira • Alex Brown Quartet Terraza 7 9 pm $7 • Maya Nova; George Mel Quartet; Alon Nechushtan Trio Zinc Bar 8, 10 pm • Persons of Interest: Eric Wollman, Jim Donica, Peter Grant; Nelson Riveros Quartet WhyNot Jazz Room 8:30 pm • Relative Resonance: Devin Gray, Chris Speed, Kris Davis, Adam Hopkins; with Mike Eckroth, Ricky Rodriquez, Pablo Bencid • Brian Kastan Quartet with George Dulin, Eddy Khaimovich, Yutaka Uchida; Double Double: Patrick Breiner, Will McEvoy, Adam Hopkins, Flin van Hemmen Somethin’ Jazz Club 7, 9 pm $10-12 Leland Baker Quintet with Alex Tremblay, Dylan LaGamma, Mike Dick; Korzo 9, 10:30 pm • Misa Ogasawara Duo Tomi Jazz 9 pm $10 Brett Sandler Trio with Peter Longofono, Adam Pin • Yotam Silberstein Trio with Barak Mori, Jochen Rueckert • Jay Collins Jules Bistro 8:30 pm Somethin’ Jazz Club 5, 7, 9 pm $10 Bar Next Door 8:30, 10:30 pm $12 • Dylan Meek Trio The Garage 7 pm • Emilio Teubal Trio Tomi Jazz 8 pm • Nick Vayenas Quartet with Glenn Zaleski, Peter Slavov, Marion Felder • Jeremy Manasia Group with Barak Mori, Charles Ruggerio; Aaron Parks Quartet with • Kuni Mikami Trio Cleopatra’s Needle 8 pm WhyNot Jazz Room 9 pm , Omer Avital, Allan Mednard; Carlos Abadie Quintet • Dave Rogers Indian Road Café 8 pm • Billy Test Jazz at Kitano 8 pm Smalls 6, 9:30 pm 12:30 am $20 • Nick Di Maria; Florencia Gonzalez Duo • “Freddie and Joe”: Juilliard Jazz Ensembles êTom Harrell’s Trip with Mark Turner, Ugonna Okegwo, Adam Cruz Shrine 6, 9 pm Paul Hall 8 pm Village Vanguard 8:30, 10:30 pm $25 • Brad Shepik Work Ensemble; Samantha Carlson • Inna Barmash Stephen Wise Free Synagogue 7:30 pm $15 • Albert Marques, Walter Stinson, Zack O’Farrill Silvana 6, 8 pm • Antonio Ciacca Measure 8 pm Birdland 6 pm $20 êHugh Masekela - Celebrating 75 Years • The Golden Ratio Project: ArcoIris Sandoval, Edward Perez, Karina Colis • Regina Carter’s Southern Comfort Birdland 8:30, 11 pm $30-40 Rose Hall 8 pm $30-120 Somethin’ Jazz Club 7, 9 pm $10 • Roy Hargrove Blue Note 8, 10:30 pm $35 êGeorge Coleman Quartet with Harold Mabern, John Webber, Joe Farnsworth • Shailah Edmonds Tomi Jazz 8 pm • Antonio Ciacca Measure 8 pm Smoke 7, 9, 10:30 pm $40 • Gabriel Richards Jules Bistro 8:30 pm • Mark Patterson Silvana 6 pm êThe Brownie Roach Project - A Tribute to Clifford Brown & Max Roach: Louis Hayes, • Jon Hatamiya Shrine 9 pm , Jeremy Pelt, Sharp Radway, Wayne Escoffery • Stan Killian Trio with Bryan Copeland, Joe Nero Iridium 8:30, 10:30 pm $25-30 The Garage 7 pm Friday, April 4 • Gary Smulyan Sextet with Jeff Lederer, Gary Versace, Joseph Brent, Martin Wind, • Central Brooklyn Jazz Consortium Festival: Brooklyn Jazz Hall of Fame Ceremony Matt Wilson and guest Dominic Chianese honoring and êHugh Masekela - Celebrating 75 Years Jazz at Kitano 8, 10 pm $30 Brooklyn Historical Society 5:30 pm Rose Hall 8 pm $30-120 • Guitarra De Palo: Jerry González, Jorge Pardo, Raimundo Amador, Javier Colina, • American Composers Orchestra with Antón Jiménez, Israel Suárez “Piraña”, Rafita Jiménez, David Paniagua Zankel Hall 7:30 pm $43-50 Symphony Space Peter Jay Sharp Theater 8 pm $20 Wednesday, April 2 êGeorge Coleman Quartet with Harold Mabern, John Webber, Joe Farnsworth • Ralph Lalama and Bop-Juice; Gerald Clayton Trio with Joe Sanders, Justin Brown and Smoke 7, 9, 10:30 pm $40 guest Lionel Loueke; Stacy Dillard, Diallo House, Ismail Lawal • Roy Nathanson’s Sotto Voce Joe’s Pub 7 pm $20 êThe Brownie Roach Project - A Tribute to Clifford Brown & Max Roach: Louis Hayes, Smalls 7:30, 10:30 pm 1:30 am $20 êValery Ponomarev “Our Father Who Art Blakey” Big Band Ray Drummond, Jeremy Pelt, Sharp Radway, Wayne Escoffery • Ehud Asherie/David Wong Knickerbocker Bar and Grill 9:45 pm $5 Zinc Bar 8 pm Iridium 8:30, 10:30 pm $25-30 • Uhadi - All-Stars of Johannesburg Jazz: Sibongile Khumalo, McCoy Mrubata, êAlan Broadbent Trio with Putter Smith, Billy Mintz • Gary Smulyan Sextet with Jeff Lederer, Gary Versace, Joseph Brent, Martin Wind, Feya Faku, Paul Hanmer, Herbie Tsoaeli, Justin Badenhorst The Drawing Room 7 pm $20 Matt Wilson and guest Dominic Chianese Dizzy’s Club 7:30, 9:30 pm $45 • Aaron Parks Quartet with Chris Cheek, Omer Avital, Allan Mednard; Jazz at Kitano 8, 10 pm $30 êTom Harrell’s Trip with Mark Turner, Ugonna Okegwo, Adam Cruz Chris Pattishall Group Smalls 9:30 pm 12:30 am $20 êSayat-Nova - Songs of My Ancestors: Armen Donelian solo and Trio with David Clark, Village Vanguard 8:30, 10:30 pm $25 • Marianne Solivan Quartet with Xavier Davis, Matthew Parrish, Lewis Nash George Schuller Tenri Cultural Institute 7:30 pm • Regina Carter’s Southern Comfort Birdland 8:30, 11 pm $30-40 Jazz at Kitano 8, 10 pm $15 • Guitarra De Palo: Jerry González, Jorge Pardo, Raimundo Amador, Javier Colina, • Roy Hargrove Blue Note 8, 10:30 pm $35 • Alma Micic Trio with Luis Perdomo, Corcoran Holt Antón Jiménez, Israel Suárez “Piraña”, Rafita Jiménez, David Paniagua • Nanny Assis Blue Note 12:30 am $10 An Beal Bocht Café 8, 9:30 pm $15 Symphony Space Peter Jay Sharp Theater 8 pm $20 • Antonio Ciacca Measure 8 pm • Juilliard Jazz Ensemble Dizzy’s Club 7:30, 9:30 pm $25 • Jean-Michel Pilc Trio +1 with Sam Minaie, Ross Pederson • Larry Newcomb Quartet; Jesse Simpson; Gerald Hayes Trio • Ari Hoenig Quartet with Tivon Pennicott, Eden Ladin, Noam Wiesenburg Cornelia Street Café 9, 10:30 pm $15 The Garage 12, 6, 10:30 pm Terraza 7 9 pm $7 êRoberto Gatto Trio with , Joseph Lepore • Ken Fowser Sextet with Josh Bruneau, Behn Gillece, Rick Germanson, Paul Gill, Bar Next Door 7:30, 9:30, 11:30 pm $12 Jason Tiemann Smoke 7, 9, 10:30 pm êJonathan Finlayson and Sicilian Defense with Miles Okazaki, Keith Witty, David Virelles, êMichael Lytle, Denman Maroney, Stephanie Griffin, ; Han-Earl Park, The Jazz Gallery 9, 11 pm $20 Mike Pride, Catherine Sikora Spectrum 8:15, 9:30 pm êJonny King Trio with Ed Howard, ; Gerald Clayton Trio with êJagged Spheres: Teddy Klausner, Devin Gray, Anna Webber Joe Sanders, Justin Brown; Lawrence Leathers Austrian Cultural Forum 7 pm Smalls 7:30, 10:30 pm 1:30 am $20 • EVOL; Oren Ambarchi with Sinfonietta Cracovia, James Rushford, Joe Talia • Central Brooklyn Jazz Consortium Festival: Jeff King Septet Issue Project Room 8 pm $25 Jazz 966 8 pm • Adam Schneit Group with Sean Moran; Martin Porter Trio with Vinnie Sperrazza • Jagged Spheres: Teddy Klausner, Devin Gray, Anna Webber; SEEDS 8:30, 10 pm Matt Mitchell Quartet with Chris Speed, Chris Tordini, Dan Weiss • Kyle Nasser Quartet with Jeff Miles, Dov Manski, Chris Van Voorst Van Beest, ShapeShifter Lab 8:15, 9:30 pm $10 Devin Drobka Cornelia Street Café 8:30 pm $10 • Luis Tabuenca, Stephanie Griffin, James Ilgenfritz, Briggan Krauss, Dafna Naphtali • Rale Micic/Lage Lund WhyNot Jazz Room 9 pm The Firehouse Space 8 pm $10 • Hot Club of Cowtown SubCulture 8 pm $20-25 • Dan Blake’s The Digging with Dmitry Ishenko, Devin Drobka • Percussion Ensemble: Carlo Costa, David Grollman, Flin van Hemmen, Max Jaffe; Neighborhood Church of Greenwich Village 8, 10 pm Joe Moffett, Jack Wright, Michael Evans; Nathaniel Morgan Large Ensemble • Ross Hammond/Max Johnson; Stephen Haynes, JD Parran, Ross Hammond; Legion Bar 9 pm Stephen Haynes, JD Parran, Ross Hammond, Max Johnson, Andrew Drury • Queens Jazz OverGround Jazz Jam Ibeam Brooklyn 8, 9, 10 pm $10 Flushing Town Hall 7 pm $10 • Underground Horns Drom 11 pm $15 • Perpendicular Triangle: Jeremy Viner, Alex Ritz, Travis Reuter, • Ehud Asherie/David Wong Knickerbocker Bar and Grill 9:45 pm $5 Nicolas Letman-Burtinovic Bar Chord 9 pm • Thibault Cauvin Rockwood Music Hall 3 8 pm $25 • Combat Jazz: John McQueeney, John Turner, Iakov Kremenskiy, Fumio Tashiro, • Ross Hammond/Daryl Shawn Way Station 7 pm Trevor Walker Way Station 9 pm • Brenda Earle Stokes Quartet with Pete McCann, Even Gregor, Jordan Perlson; • Paul Tafoya Sextet with Matt Chalk, Alex “Blade” Silver, Quincy Chimich, Samantha Carlson with Fima Chupakhin, Steve Kaiser; Joao Martins Quintet with Devon Gillingham, Connor Parks; Dave Acker Quartet with Dale Kleps, Lecco Reis, Yongmun Lee, Inhigo Galdeano, Stephen Harms, Ekah Kim Dan Pugach Somethin’ Jazz Club 7, 9 pm $10-12 Somethin’ Jazz Club 7, 9, 11 pm $10-12 • Kristen Lee Sergeant Trio Tomi Jazz 8 pm • Ben Woods Trio Tomi Jazz 9 pm $10 • Gabriel Richards Jules Bistro 8:30 pm • Luke Franco Jules Bistro 8:30 pm • Baby Soda Radegast Hall 9 pm • Masami Ishikawa Organ Trio Cleopatra’s Needle 8 pm • Machine Gun Project; Dan White Sextet • Rob Silverman Indian Road Café 8 pm Silvana 8, 10 pm • Fukushi Tainaka Trio; Akiko Tsuruga Trio êBobby Porcelli Quartet The Garage 7 pm The Garage 6, 10:30 pm êTom Harrell’s Trip with Mark Turner, Ugonna Okegwo, Adam Cruz • Uhadi - All-Stars of Johannesburg Jazz: Sibongile Khumalo, McCoy Mrubata, Village Vanguard 8:30, 10:30 pm $25 Feya Faku, Paul Hanmer, Herbie Tsoaeli, Justin Badenhorst • Regina Carter’s Southern Comfort Birdland 8:30, 11 pm $30-40 Dizzy’s Club 7:30, 9:30 pm $40 • Roy Hargrove Blue Note 8, 10:30 pm $35 • Alfredo Rodriguez Trio with Lionel Loueke, Henry Cole • Shades of Jazz - Keith Jarrett’s Music: Tim Hagans, Greg Osby, Dan Tepfer, Ben Allison, Jazz Standard 7:30, 9:30, 11:30 pm $30 Matt Wilson Jazz Standard 7:30, 9:30 pm $25 êTom Harrell’s Trip with Mark Turner, Ugonna Okegwo, Adam Cruz • Antonio Ciacca Measure 8 pm Village Vanguard 8:30, 10:30 pm $25 • Lou Caputo’s Not-So-Big-Band Saint Peter’s 1 pm $10 • Regina Carter’s Southern Comfort Birdland 8:30, 11 pm $30-40 • Roy Hargrove Blue Note 8, 10:30 pm $35 • Antonio Ciacca Measure 8 pm Thursday, April 3 • Amy Cervini’s Jazz Country with Jesse Lewis, Matt Aronoff and guests 55Bar 6 pm • Uhadi - All-Stars of Johannesburg Jazz: Sibongile Khumalo, McCoy Mrubata, • Andy Bianco Quintet Shrine 6 pm Feya Faku, Paul Hanmer, Herbie Tsoaeli, Justin Badenhorst • Alex Wan’s Dream Orchestra Silvana 6 pm Dizzy’s Club 7:30, 9:30 pm $35 • Patti Austin Iridium 8:30, 10:30 pm $30 • Karl Berger Improvisers Orchestra; Dan Tepfer Trio with Pablo Menares, Arthur Hnatek Saturday, April 5 ShapeShifter Lab 8:15, 9:30 pm $10 • Alfredo Rodriguez Trio with Lionel Loueke, Henry Cole • The Music of Antonio Carlos Jobim and - Trio de Paz: , Jazz Standard 7:30, 9:30 pm $25 Nilson Matta, with Harry Allen, Joe Locke, Maucha Adnet • Hymn to the World Concert - A Benefit for UN Women: Heikki Sarmanto with Zankel Hall 9:30 pm $43-50 Jeannine Otis, Bim Strasberg, Greg Bufford êAlfredo Rodriguez and The Invasion Parade with Roman Filiu, Peter Slavov, Henry Cole Saint Peter’s 7 pm $25 Jazz Standard 7:30, 9:30, 11:30 pm $30 • Adam Nussbaum Trio with Giovanni Mazzarino, Marco Panascia êKris Davis Trio with Mary Halvorson, Ingrid Laubrock Jazz at Kitano 8, 10 pm $15 Cornelia Street Café 9, 10:30 pm $15 êIN Trio: Harvie S, Tim Armacost, Christian Finger êTyshawn Sorey Trio with Cory Smythe, Chris Tordini Bar Next Door 8:30, 10:30 pm $12 The Jazz Gallery 9, 11 pm $20 • Clifford Barbaro Trio Cleopatra’s Needle 7 pm • Central Brooklyn Jazz Consortium Festival: Neil Clarke • Amy Cervini’s Jazz Country with Jesse Lewis, Matt Aronoff and guests Sistas’ Place 9, 10:30 pm $20 55Bar 7 pm • Honoring Great Women Vocalists in Jazz: Yaala Ballin with Zaid Nasser, Chris Byars, êMatt Darriau’s Paradox Trio with Rufus Cappadocia, Brad Shepik, Seido Salifoski Pasquale Grasso, Ari Roland, Keith Balla Barbès 8 pm $10 Brooklyn Conservatory of Music 8 pm $20

34 APRIL 2014 | THE NEW YORK CITY JAZZ RECORD Sunday, April 6 êJason Marshall Big Band Smoke 7, 9 pm • Stan Killian Quintet with Josh Evans, Chris Dingman, Corcoran Holt, McClenty Hunter • Purchase Jazz Orchestra with guest Gary Smulyan 55Bar 7 pm êAlan Broadbent Trio with Putter Smith, Billy Mintz Blue Note 8, 10:30 pm $15 • Matt Marantz Trio with Martin Nevin, Peter Kronreif Iridium 8:30, 10:30 pm $25 êRob Brown/Daniel Levin; Rob Brown Quartet with Kenny Warren, Peter Bitenc, Bar Next Door 8:30, 10:30 pm $12 êBocian Showcase: Paal Nilssen-Love/Robert Piotrowicz; James Rushford/Joe Talia; Juan Pablo Carletti; Horace Tapscott Birthday Celebration with Will Connell, Ras Moshe, • Ava Mendoza Trio with Tim Dahl, Nick Podgurski; Thollem McDonas/Brian Chase Kapital: Kuba Ziołek/Rafał Iwański Issue Project Room 8 pm $15 Rob Brown, Vincent Chancey Clemente Soto Velez Cultural Center 7:30 pm $11-22 Manhattan Inn 10:30 pm • Judi Silvano Quintet with Kenny Wessel, Ratzo B. Harris, Adam Kolker, Lamy Istrefi; • Charlotte Greve; Yes/And: Glenn White, Sean Nowell, Alix Tucou, Scott Kulick, • Brian Glassman’s Klezmer Jazz Alliance Brian Adler’s Helium Music Project with Nick Kadajski, Josh Deutsch, Danny Fox, Luis Ianes, David Perrot, Chris Benham; Michael Thomas Quintet with Greg Duncan, Stephen Wise Free Synagogue 7:30 pm $15 Rene Hart WhyNot Jazz Room 7:30, 9 pm $10 Lee Fish ShapeShifter Lab 7, 8:15, 9:30 pm $10 • New School Brazilian Jazz Ensemble: Richard Boukas, Mariel Bildsten, • The Bears: Alex Weiss, Dmitry Ishenko Mike, Dalius Naujo; • Lakecia Benjamin Rockwood Music Hall 2 8 pm $10 Yehonatan Cohen, Jasper Dutz, Eran Sabo, Andrew Freedman, Chris Vendetti, ProtestMusic: Yoni Kretzmer, Pascal Niggenkemper, Yoni Halevy; • Viv Corringham, Pascal Niggenkemper, Flin van Hemmen, Joe Moffett; Zan Tetickovic; Nightingale Jazz Band: Nora Ritchie, Alex Clough, Daniel Foose, Alex Weiss Fighter Planes & Praying Mantis with Rick Parker, Eyal Maoz, Jonathan Moritz’ Secret Tempo with Shayna Dulberger, Mike Pride John Hubbell Somethin’ Jazz Club 7, 9 pm $10 Dmitry Ishenko, Yoni Halevy Cameo Gallery 8 pm $10 Spectrum 9, 10 pm • Lars Ekmam Duo Tomi Jazz 8 pm • John Merrill Trio; Chris Flory Trio with Lee Hudson, Larry Ham; Johnny O’Neal Trio with • Andrea Wolper Trio with Michael Howell, Ken Filiano • Pete Davenport Jules Bistro 8:30 pm Paul Sikivie, Charles Goold; Bruce Harris Quintet Zinc Bar 7 pm $10 • Mayu Saeki Quartet The Garage 7 pm Smalls 4:30, 7:30, 10 pm 12 am $20 • Chris Stover’s Book of Sand Tea Lounge 8, 9:30 pm $5 • Dave Brubeck Festival: Brubeck Brothers Quartet: Dan and Chris Brubeck, • Jim Hobbs solo; solo 61 Local 6, 7 pm $10 • Deanna Witkowski Trio with Michael O’Brien, Scott Latsky Mike DeMicco, Chuck Lamb Dizzy’s Club 7:30, 9:30 pm $30 • Patrick Derivaz/Cornelius Dufallo and guest Rob Schwimmer Bar Next Door 8:30, 10:30 pm $12 • Kazumi Watanabe Iridium 8:30, 10:30 pm $30-45 Spectrum 7 pm • Swingadelic Swing 46 8:30 pm • Antonio Ciacca Measure 8 pm • Peter Leitch/Harvie S Walker’s 8 pm • Antonio Ciacca Measure 8 pm • The New York Bakery Connection Shrine 6 pm • Jooklo Duo: Virginia Genta/David Vanzan with guests Bill Nace, Tamio Shiraishi • Transitory: Jacob Spadaro, Bridget Supka, Yael Cederbaum, Mordy Weinstein, JACK 8, 9:30 pm $10 Will Armstrong, Ross Kratter, Sam Gautier; Tanguy Stevenart Quartet with • Broc Hempel, Sam Trapchak, Christian Coleman with guest Chad Lefkowitz-Brown Antonello Parisi Somethin’ Jazz Club 7, 9 pm $10-12 Wednesday, April 9 Dominie’s Astoria 9 pm • Kumiko Yamakado Tomi Jazz 8 pm • Marco Di Gennaro Measure 8 pm • Diane Marino Quartet with Harry Allen, Frank Marino, Neal Smith • Dave Brubeck Festival: Darius, Chris and Dan Brubeck with Dave O’Higgins • Evan Gallagher’s Really Big Ensemble; J.A.V. Le Cirque Café 7 pm Dizzy’s Club 7:30, 9:30 pm $30 ABC No-Rio 7 pm $5 • Luke Franco Jules Bistro 8:30 pm • Buika Town Hall 8 pm $47-87 • Shrine Big Band with guest Joe Fonda • Jason Prover Radegast Hall 9 pm • Dionne Farris with Russell Gunn Quartet Shrine 8 pm • Susan Wagner High School Jazz Band Iridium 8:30, 10:30 pm $25 êAlfredo Rodriguez and The Invasion Parade with Roman Filiu, Peter Slavov, Henry Cole The Garage 7 pm • William S. Burroughs Centennial: Jazz Standard 7:30, 9:30 pm $25 The Stone 8 pm $15 • Uhadi - All-Stars of Johannesburg Jazz: Sibongile Khumalo, McCoy Mrubata, • Chris Washburne and SYOTOS Smoke 7, 9, 10:30 pm Feya Faku, Paul Hanmer, Herbie Tsoaeli, Justin Badenhorst Tuesday, April 8 • Gilad Hekselman Quartet with Mark Turner, Joe Martin, Marcus Gilmore; Dizzy’s Club 7:30, 9:30 pm $35 Migrant Workers: Itai Kriss, Nick Hempton, Adam Birnbaum, Tal Ronen, Dan Aran êTom Harrell’s Trip with Mark Turner, Ugonna Okegwo, Adam Cruz êGary Burton/Makoto Ozone Blue Note 8, 10:30 pm $35 Smalls 9:30 pm 12:30 am $20 Village Vanguard 8:30, 10:30 pm $25 êKenny Barron Quintet with Dayna Stephens, Mike Rodriguez, Kiyoshi Kitagawa, • Rubens Salles Quintet with Leco Reis, Karel Ruzicka, Conor Meehan and guest • Roy Hargrove Blue Note 8, 10:30 pm $35 Johnathan Blake Village Vanguard 8:30, 10:30 pm $25 John Clark Jazz at Kitano 8, 10 pm $15 êLisa Mezzacappa/Darius Jones; Ross Hammond/Ken Filiano • The Jeremy Pelt Show with Roxy Cross, David Bryant, Chris Smith, Dana Hawkins êLena Bloch Quartet with Russ Lossing, Dave Miller, Billy Mintz; Curtis Macdonald Trio Downtown Music Gallery 6, 7 pm Jazz Standard 7:30, 9:30 pm $20 with David Virelles, Craig Weinrib SEEDS 8:30, 10 pm • The Jose Armengott Experience with Stan Killian, Lluis Capdevila, Bryan Copeland, • and Manhattan School of Music Big Band êKevin Hays New Day Trio with Rob Jost, Greg Joseph Diego Joaquin Ramirez Silvana 6 pm Birdland 8:30, 11 pm $30-40 55Bar 7 pm • Chanda Rule Saint Peter’s 5 pm • Samba Meets Jazz Open House hosted by Nilson Matta with Harry Allen, Matt King, • Akie Bermiss Rockwood Music Hall 2 9 pm êThe Black Jazz Collective: Jeremy Pelt, Wayne Escoffery, James Burton, Xavier Davis, Fernando Saci Jazz at Kitano 8 pm • Peggy King; Ben Cassara’s Sister Moon with Harry Allen, Tedd Firth, Iris Ornig, Jonathan Blake Abyssinian Baptist Church 4 pm $20 • William S. Burroughs Centennial: David Scanlon solo; Killer Bob: Daniel Ellis-Ferris, Ronen Itzik Metropolitan Room 7, 9:30 pm $20 • The Manhattan Transfer Queensborough Performing Arts Center 3 pm $40 Max Jaffe, Jessica Pavone, Dave Scanlon • Norbert Farkas Quartet; JP Jofre Somethin’ Jazz Club 7, 9 pm $10 • Brad Shepik NYU Ensemble Blue Note 11:30 am 1:30 pm $29.50 The Stone 8, 10 pm $15 • Racha Fora Tomi Jazz 8 pm • Audrey Silver Trio with Ron Affif, Joe Fitzgerald êMike Hashim/Mike Lipskin; Lucas Pino No Net Nonet with Rick Rosato, John Raymond, • Diego Voglino Jules Bistro 8:30 pm North Square Lounge 12:30, 2 pm Colin Stranahan, Glenn Zaleski, Alex LoRe, Rafal Sarnecki, Nick Finzer, • Martin Terens Group Silvana 7 pm • Michkia Fukumori Trio; David Coss Quartet Andrew Gutauskas; Kyle Poole and Friends • The Anderson Brothers The Garage 7 pm The Garage 11:30 am 7 pm Smalls 7:30, 10:30 pm 1 am $20 êGary Burton/Makoto Ozone Blue Note 8, 10:30 pm $35 • Yuhan Su Group with Matt Holman, Kenji Herbert, Petros Klampanis, êKenny Barron Quintet with Dayna Stephens, Mike Rodriguez, Kiyoshi Kitagawa, Nathan Ellman-Bell; Jason Yeager Trio with Danny Weller, Jay Sawyer Johnathan Blake Village Vanguard 8:30, 10:30 pm $25 Monday, April 7 ShapeShifter Lab 8:15, 9:30 pm $10 • The Jeremy Pelt Show with Roxy Cross, David Bryant, Chris Smith, Dana Hawkins • Chris Pitsiokos and guests; Ross Hammond, Max Johnson, Billy Mintz Jazz Standard 7:30, 9:30 pm $20 • Dave Brubeck Festival: Brubeck Brothers Quartet: Dan and Chris Brubeck, Spectrum 9, 10 pm $15 • Jane Monheit and Manhattan School of Music Big Band Mike DeMicco, Chuck Lamb Dizzy’s Club 7:30, 9:30 pm $30 • Ben Holmes Quartet with Curtis Hasselbring, Matt Pavolka, Vinnie Sperrazza Birdland 8:30, 11 pm $30-40 • Kazumi Watanabe Iridium 8:30, 10:30 pm $30-45 Barbès 7 pm $10 • Antonio Ciacca Measure 8 pm êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 • Chelsea Baratz Group with Willerm Delisfort, , Joe Blaxx Grissett and • Bill Wurtzel/Mike Gari Duo Strand Bistro 6 pm êPeter Bernstein solo; Ari Hoenig Quartet; Spencer Murphy guest Maurice Brown Zinc Bar 8, 10 pm • Judy Niemack, Jean-Francois Prins, Smalls 7:30, 10 pm 12:30 am $20 • Federico Ughi Quartet; Joe Morris Silent Bar 8 pm $9 Saint Peter’s 1 pm $10

Amy Cervini Jazz Country

CD Release 55 Bar April 3, 7 - 9PM April 4, 6 - 9PM No cover, 2-drink minimum

“…Cervini can sing most any song and tell a story worth hearing.” - DownBeat

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THE NEW YORK CITY JAZZ RECORD | APRIL 2014 35 Thursday, April 10 • Bobby Lynn Jules Bistro 8:30 pm • Gioel Severini; Dave Chisholm Calligraphy • Lonnie Gasperini Organ Trio Cleopatra’s Needle 8 pm Silvana 6, 9 pm êChick Corea solo Town Hall 8 pm $47-97 • Sam Decker Quartet; Peter Valera and the Band • Benny Green Trio with David Wong, Rodney Green êThe Life & Music of Dave Brubeck - Jazz at Lincoln Center Orchestra The Garage 7, 10:30 pm Jazz Standard 7:30, 9:30 pm $25 Rose Hall 8 pm $30-120 • Dave Brubeck Festival: Dave Brubeck Institute Jazz Alumni Quintet êGary Burton/Makoto Ozone Blue Note 8, 10:30 pm $35 êClaudia Quintet: John Hollenbeck, Chris Speed, Red Wierenga, Matt Moran, Dizzy’s Club 7:30, 9:30 pm $35 êKenny Barron Quintet with Dayna Stephens, Mike Rodriguez, Kiyoshi Kitagawa, Drew Gress Cornelia Street Café 8:30 pm $10 êThe Life & Music of Dave Brubeck - Jazz at Lincoln Center Orchestra Johnathan Blake Village Vanguard 8:30, 10:30 pm $25 êHighlights in Jazz - Cabaret Jazz: Barbara Carroll/Jay Leonhart; Andy Bey Rose Hall 8 pm $30-120 • Jesse Dulman, Ras Moshe, Will Connell Tribeca Performing Arts Center 8 pm $40-45 • Joe Locke Pendulum Quintet with Robert Rodriguez, Ricardo Rodriguez, Terreon Gully Downtown Music Gallery 6 pm êThe Tri-Centric Presenting Series: James Fei’s Hysteresis with Josh Sinton, Jen Baker, and guest Rosario Guiliani Jazz at Kitano 8, 10 pm $30 • Central Brooklyn Jazz Consortium Festival: Steve Cromity Christopher McIntyre, Kato Hideki, Ed Tomney; The Trillium Chamber Players: • Benny Green Trio with David Wong, Rodney Green Two Steps Down 6 pm Anthony Braxton, Vincent Chancey, Jacob Garchik, Jim Hobbs, Ingrid Laubrock, Jazz Standard 7:30, 9:30, 11:30 pm $30 • Amy Cervini Saint Peter’s 5 pm Nicole Mitchell, Oscar Noriega, Dan Peck, Reut Regev, Stephanie Richards, êGary Burton/Makoto Ozone Blue Note 8, 10:30 pm $35 • Sandy Cressman Perez Jazz 2 pm $20 Katie Scheele, Josh Sinton, Libby Van Cleve • Sangmin Lee Group Blue Note 12:30 am $10 • Manami Morita Blue Note 11:30 am 1:30 pm $29.50 Roulette 8 pm $20 êKenny Barron Quintet with Dayna Stephens, Mike Rodriguez, Kiyoshi Kitagawa, • Roz Corral Trio with Gilad Hekselman, Joe Martin • Joe Locke Pendulum Quintet with Robert Rodriguez, Ricardo Rodriguez, Terreon Gully Johnathan Blake Village Vanguard 8:30, 10:30 pm $25 North Square Lounge 12:30, 2 pm and guest Rosario Giuliani Jazz at Kitano 8, 10 pm $15 • Jane Monheit and Manhattan School of Music Big Band • Rudi Mwongozi, Larry Johnson, Jim Hankins • Benny Green Trio with David Wong, Rodney Green Birdland 8:30, 11 pm $30-40 MIST 11:30 am 1:30 pm $24.99 Jazz Standard 7:30, 9:30 pm $25 • Yoosun Nam Shrine 6 pm • Lou Caputo Quartet; David Coss Quartet êMary Halvorson solo; Lisa Mezzacappa’s Ensemble Ouest with Jason Kao Hwang, • Terry’ s Quartet Silvana 6 pm The Garage 11:30 am 7 pm Sara Schoenbeck, Mya Masaoka The Firehouse Space 8 pm $10 • Voices in Flight: Judy Niemack and Jay Clayton with Jeanfrançois Prins, Jay Anderson Metropolitan Room 9:30 pm $20 Saturday, April 12 • William S. Burroughs Centennial: James Ilgenfritz; The Stone 8, 10 pm $15 êTim Berne/Michal Formanek Greenwich House Music School 8 pm $20 • Getz au Go Go Revisited - Another Look at Bossa Nova in the 1960’s: Vitor Gonçalves, êPRISM Quartet with Steve Lehman, Rudresh Mahanthappa Andy Bianco Quintet Cesar Garabini, Marcos Kuzka, Sergio Krakowski, Eduardo Belo, Fernanda Bravo Symphony Space Leonard Nimoy Thalia 7:30 pm $22 Shrine World Music Greenwich House Music School 8 pm $15 êCentral Brooklyn Jazz Consortium Festival: Winard Harper April 4th, 6-8pm. • Dave Brubeck Festival: Brubeck Institute Jazz Quintet: Max Boiko, Joel Ross, Sistas’ Place 9, 10:30 pm $20 Premiering music from his new Sean Britt, Sarah Kuo, Jalon D’Mere Archie with guests Joe Gilman, Patrick Langham êEivind Opsvik Overseas Trio with Tony Malaby, Kenny Wollesen Dizzy’s Club 7:30, 9:30 pm $35 Cornelia Street Café 9, 10:30 pm $15 album “Homefront”, an homage êJaime Baum Trio with Ron Oswanski, Jeff Hirschfield • Dan Wilson Trio with Marco Panascia, Jerome Jennings to the modern jazz legacy of Bar Next Door 8:30, 10:30 pm $12 Bar Next Door 7:30, 9:30, 11:30 pm $12 his hometown of . • Kettle Music Collective: Christopher Forbes Trio with Hill Greene, • The Golden Ratio Project: ArcoIris Sandoval, Edward Perez, Karina Colis; Get your copy today! Michael TA Thompson; Gene Ess and Fractal Attraction with Thana Alexa, Paulo Stagnaro Group with Marcos Lopez, Alex Ayala, Dayramir Gonzalez Vicet, , Thomson Kneeland, Cory Jerome Cox; Connie Crothers/Ken Filiano Jeremy De Jesús Terraza 7 8, 10:30 pm $7 cdbaby.com/cd/andybianco Ibeam Brooklyn 8, 9, 10 pm $10 êJussi Reijonen: UN with Utar Artun, Bruno Raberg, Tareq Rantisi • Frank Sinatra School of the Art Jazz Ensemble Alwan For The Arts 8 pm $20 Concert Hall 7 pm • Clark Warren Metropolitan Room 7 pm $20 • Cheryl Pyle, , Newman Taylor Baker, Anthony Cerretani • Scot Albertson/Lee Tomboulian Klavierhaus 8 pm ShapeShifter Lab 9:30 pm $8 • Swingadelic Swing 46 8:30 pm • Theo Croker’s DVRK FUNK WhyNot Jazz Room 10 pm • Yayoi Filipski; Hiroko Kanna; Noshir Mody Quintet with Tsuyoshi Niwa, Carmen Staaf, • Victor Prieto Trio Terraza 7 9 pm $7 John Lenis, Yutaka Uchida Somethin’ Jazz Club 5, 7, 9 pm $10-12 • Albert Marques, Walter Stinson, Zack O’Farrill • Jackson Heights Trio; Tak Iwasaki Quartet Caffe Vivaldi 9 pm Tomi Jazz 8, 11 pm $10 • Dave Kardas Band with Shane Coverdale, Justin Stadler, Brian Buster, • Lluis Capdevila Trio Cleopatra’s Needle 8 pm Justin Ottaviano; Geo Progulakis Trio with Tony Lannen, David James; êLarry Coryell, Victor Bailey, Lenny White Junko Sakai Quartet with Doami Kenichi, Jordan Scannella Iridium 8:30, 10:30 pm $30 Somethin’ Jazz Club 7, 9, 11 pm $10-12 êDan Weiss’ Fourteen with Jacob Sacks, Thomas Morgan, Miles Okazaki, David Binney, • Erika Matsuo Tomi Jazz 9 pm $10 Ohad Talmor, Ben Gerstein, Jacob Garchik, Lana Cenčić, Judith Berkson, • Jay Collins Jules Bistro 8:30 pm Maria Neckam, Matt Mitchell, Katie Andrews, Stephen Cellucci • Baby Soda Jazz Band Radegast Hall 9 pm The Jazz Gallery 9, 11 pm $20 • Dan Furman Trio Cleopatra’s Needle 7 pm êThe Tri-Centric Presenting Series: Fay Victor Neighborhood Dynamics with • Paul Abler Whole Foods Midtown East 7 pm Nicole Mitchell, Vincent Chancey, Anders Nilsson, Ken Filiano; • Yvonnick Prene Quartet The Garage 7 pm Anthony Braxton Falling River Music Nonet with James Fei, Ingrid Laubrock, • Dionne Farris with Russell Gunn Quartet Jasmine Lovell-Smith, Mary Halvorson, Brandon Seabrook, , Nate Wooley, Iridium 8:30, 10:30 pm $25 Taylor Ho Bynum Roulette 8 pm $20 • Dwayne Clemons Quintet with Clifford Barbaro, Sacha Perry, Josh Benko, Murray Wall; êDave Brubeck Festival - The Real Ambassadors: Peter Martin, Yolande Bavan, Gilad Hekselman Quartet with Mark Turner, Joe Martin, Marcus Gilmore; Roberta Gambarini, Russell Graham, Robert Hurst, Brian Owens, Ulysses Owens, Emmet Cohen Trio with Russell Hall, Evan Sherman Vivian Sessoms, Ty Stephens, James Zollar Smalls 6, 9:30 pm 12:30 am $20 The Appel Room 7, 9:30 pm $45 êGary Burton/Makoto Ozone Blue Note 8, 10:30 pm $35 êJD Allen Quartet with Orrin Evans, Alexander Claffy, Jonathan Barber êKenny Barron Quintet with Dayna Stephens, Mike Rodriguez, Kiyoshi Kitagawa, Smoke 7, 9, 10:30 pm $38 Johnathan Blake Village Vanguard 8:30, 10:30 pm $25 êJon Davis/Jay Anderson Knickerbocker Bar and Grill 9:45 pm $5 • Jane Monheit and Manhattan School of Music Big Band • Victor Gould Measure 8 pm Birdland 8:30, 11 pm $30-40 êGrant Stewart Quartet with Tardo Hammer, Joel Forbes, Phil Stewart; • Antonio Ciacca Measure 8 pm The Hutchmaniacs: Ron Blake, John Ellis, Gerald Clayton, Joe Sanders, Greg Hutchinson; Philip Harper Smalls 7:30, 10:30 pm 1:30 am $20 • Dave Brubeck Festival: Brubeck Institute Jazz Quintet: Max Boiko, Joel Ross, Friday, April 11 Sean Britt, Sarah Kuo, Jalon D’Mere Archie with guest Stefon Harris Dizzy’s Club 7:30, 9:30 pm $35 êLarry Coryell, Victor Bailey, Lenny White êThe Life & Music of Dave Brubeck - Jazz at Lincoln Center Orchestra Iridium 8:30, 10:30 pm $30 Rose Hall 8 pm $30-120 êDan Weiss’ Fourteen with Jacob Sacks, Thomas Morgan, Miles Okazaki, David Binney, • Joe Locke Pendulum Quintet with Robert Rodriguez, Ricardo Rodriguez, Terreon Gully Ohad Talmor, Ben Gerstein, Jacob Garchik, Lana Cenčić, Judith Berkson, and guest Rosario Guiliani Jazz at Kitano 8, 10 pm $30 Maria Neckam, Matt Mitchell, Katie Andrews, Stephen Cellucci • Benny Green Trio with David Wong, Rodney Green The Jazz Gallery 9, 11 pm $20 Jazz Standard 7:30, 9:30, 11:30 pm $30 êEllery Eskelin Trio with John Hébert, Billy Mintz êGary Burton/Makoto Ozone Blue Note 8, 10:30 pm $35 Saxophone Summit Cornelia Street Café 9, 10:30 pm $15 • Marcus Goldhaber with John di Martino, Hans Glawischnig, Willard Dyson, êThe Tri-Centric Presenting Series: Nate Wooley Battle Pieces with Ingrid Laubrock, Evan Schwam Blue Note 12:30 am $10 Sylvie Courvoisier, Matt Moran; The Trillium Chamber Players: Taylor Ho Bynum, êKenny Barron Quintet with Dayna Stephens, Mike Rodriguez, Kiyoshi Kitagawa, Jamie Baum, Domenica Fossati, Michel Gentile, Adrianne Greenbaum, Johnathan Blake Village Vanguard 8:30, 10:30 pm $25 Heritage/Evolution Margaret Lancaster, Erin Lesser, Aleksandra Miglowiec, Leah Paul, Helene Rosenblatt, • Jane Monheit and Manhattan School of Music Big Band Peter Standaart, Heather Stegmaier, Sarah Bouchard Stockton, Joseph Daley, Birdland 8:30, 11 pm $30-40 Jay Rozen, Chris Dingman Roulette 8 pm $20 • Alan Leatherman Silvana 6 pm APRIL 12, 7:30 êDave Brubeck Festival - The Real Ambassadors: Peter Martin, Yolande Bavan, • Alex Layne Trio; Brooks Hartell Trio; Virginia Mayhew Quartet Roberta Gambarini, Russell Graham, Robert Hurst, Brian Owens, Ulysses Owens, The Garage 12, 6, 10:30 pm PRISM Quartet Vivian Sessoms, Ty Stephens, James Zollar The Appel Room 7, 9:30 pm $45 Steve Lehman êJD Allen Quartet with Orrin Evans, Alexander Claffy, Jonathan Barber Sunday, April 13 Smoke 7, 9, 10:30 pm $38 Rudresh Mahanthappa • William S. Burroughs Centennial: Interzone: Raha Raissnia/John Zorn; êLisa Mezzacappa Trio with Chris Welcome, Mike Pride; Haim Peskoff Band PROOFReaders Trio: Trevor Dunn, Darius Jones, Ryan Sawyer Legion Bar 8, 9 pm The Stone 8, 10 pm $15 • Grace Kelly Iridium 8:30, 10:30 pm $25 • Central Brooklyn Jazz Consortium Festival: Cynthia Scott Quartet • New York Voices Rose Hall 8 pm $30-120 MAY 9, 7:30 Jazz 966 8 pm • Dave Brubeck Festival: Darius, Chris and Dan Brubeck with Dave O’Higgins êJon Davis/Jay Anderson Knickerbocker Bar and Grill 9:45 pm $5 Dizzy’s Club 7:30, 9:30 pm $30 PRISM Quartet • Greg Hutchinson Group; Nasar Abadey and Supernova with JS Williams, , • Lou Grassi Quartet with Cécile Broche, Bill Gagliardi, Dave Hofstra; Allyn Johnson, James King; The Hutchmaniacs: Ron Blake, John Ellis, Gerald Clayton, Cécile Broche/Sandra Sprecher The Firehouse Space 8 pm $10 Joe Sanders, Greg Hutchinson; Anthony Wonsey Trio • Spanish Harlem Orchestra Highline Ballroom 8 pm $28-45 Smalls 4, 7:30, 10:30 pm 1:30 am $20 • Mary LaRose Reincarnation Project with Jeff Lederer, Mark Feldman, Felicia Wilson, Miguel Zenón • Rick Stone Trio with Marco Panascia, Joe Strasser Nicole Federici, Rene Hart, Matt Wilson; Lisa Sokolov Bar Next Door 7:30, 9:30, 11:30 pm $12 WhyNot Jazz Room 7:30, 9 pm $10 • George Gee Swing Orchestra Swing 46 8:30 pm • Andre Sumelius Group; Ehud Asherie Trio; Johnny O’Neal Trio with Paul Sikivie, • Jorge Luis Pacheco with guest Jose “Pepito” Gomez Charles Goold; Charles Owens Trio Smalls 4:30, 7:30, 10 pm 12 am $20 JUNE 12, 7:30 Drom 6, 8:30 pm $69 êGene Bertoncini solo The Drawing Room 7 pm $20 • Mark Wade Trio with Tim Harrison, Scott Neumann • Peter Leitch/Jed Levy Walker’s 8 pm PRISM Quartet Flushing Town Hall 8 pm $15 • Kaoru Watanabe; JP Schlegelmilch; Michael Clemow • Ozma Code: Tommy Campbell, Adam Holzman, Mino Cinelu, Glenn Alexander, ShapeShifter Lab 7, 8:15, 9:30 pm $10 William Kenney ShapeShifter Lab 8:15 pm $15 • Nadje Noordhuis with Sara Caswell, Vitor Gonçalves, Matt Aronoff, Jared Schonig • Victor Gould Measure 8 pm 55Bar 10 pm Greg Osby • Gary Levi Quartet WhyNot Jazz Room 9 pm • Broc Hempel, Sam Trapchak, Christian Coleman with guest Greg Ward • Embarker; Newton; Seth Graham; Truck Stanley’s Night Dreams; Dominie’s Astoria 9 pm Close Your Eyes I’m Changing; Flesh Control; McChord • Marco Di Gennaro Measure 8 pm Silent Bar 8 pm $7 • Peter Knoll Trio; Bob Meyer, Tom Shad, Nate Reit, Michael Bocian symphonyspace.org • Audrey Silver with Alex Norris, Joel Weiskopf, Joe Fitzgerald, Marcello Pelletteri; ABC No-Rio 7 pm $5 Somethin’ Vocal with Matt Baker Trio • Tim Hegarty Band with Ben Rosenblum, Daryl Johns, Steve Johns; Somethin’ Jazz Club 7, 9 pm $10-15 Mareike Wiening Band with Marty Kenney; Acoustic Quartet: Costas Baltazanis, • John Malino Duo Tomi Jazz 9 pm $10 Manu Koch, Panayiotis Andreou, Engin Kaan Gunaydin Somethin’ Jazz Club 5, 7, 9 pm $10

36 APRIL 2014 | THE NEW YORK CITY JAZZ RECORD Monday, April 14 • Quartet with Jeremy Manasia, David Williams, Willie Jones III • Guy Mintus Trio; Kevin Dorn and the BIG 72 Village Vanguard 8:30, 10:30 pm $25 The Garage 6, 10:30 pm êRob Brown/William Parker; Rob Brown Trio with Kenny Warren, Gerald Cleaver; • Savion Glover Blue Note 8, 10:30 pm $45 êAnthony Braxton’s Trillium J with Roland Burks, Kelvin Chan, Tomas Cruz, Lisa Mezzacappa Trio with Tomeka Reid, Jeff Davis • Jill McCarron Measure 8 pm Lucy Dhegrae, Chris DiMeglio, Kristin Fung, Nick Hallett, Kyoko Kitamura, Clemente Soto Velez Cultural Center 7:30 pm $11-22 • Gene Segal Shrine 6 pm Kamala Sankaram, Elizabeth Saunders, Jen Shyu, Vince Vincent, Erica Dicker, êEddie Allen Aggregation Big Band with guest Renee Baker, Sam Bardfeld, Sarah Bernstein, Julianne Carney, Jason Hwang, Zinc Bar 9 pm Mazz Swift, Scott Tixier, Amy Cimini, Jessica Pavone, Erin Wight, Marika Hughes, êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 Thursday, April 17 Tomeka Reid, Tomas Ulrich, Ken Filiano, Mark Helias, Leah Paul, Domenica Fossati, êAdam Rudolph Go: Organic Orchestra with Michel Gentile, Zé Luis Oliveira, Kathy Halvorson, Katie Scheele, Libby Van Cleve, Mike McGinnis, Jim Hobbs, Kaoru Watanabe, Ivan Barenboim, Avram Fefer, Sean Sonderegger, Stephen Haynes, êAnthony Braxton’s Trillium J with Roland Burks, Kelvin Chan, Tomas Cruz, Ingrid Laubrock, Oscar Noriega, Josh Sinton, Sara Schoenbeck, Katherine Young, Graham Haynes, Peter Zummo, Libby Schwartz, Benjamin Stapp, Elektra Kurtis, Lucy Dhegrae, Chris DiMeglio, Kristin Fung, Nick Hallett, Kyoko Kitamura, Nathan Koci, Vincent Chancey, Gareth Flowers, Stephanie Richards, Jacob Garchik, Charlie Burnham, Sarah Bernstein, Rosemarie Hertlein, Midori Yamamoto, Kamala Sankaram, Elizabeth Saunders, Jen Shyu, Vince Vincent, Erica Dicker, Reut Regev, Dan Peck, David Shively, Jacqui Kerrod Julianne Carney, Sanaco Nagano, Ozlem Kaya, Stephanie Griffin, Alva Anderson, Renee Baker, Sam Bardfeld, Sarah Bernstein, Julianne Carney, Jason Hwang, Roulette 8 pm $35 Emma Alabaster, Leco Reis, James Hurt, Matt Kilmer, Tim Kieper, Keita Ogawa, Mazz Swift, Scott Tixier, Amy Cimini, Jessica Pavone, Erin Wight, Marika Hughes, êDr. Lonnie Smith Trio with Jonathan Kreisberg, Johnathan Blake and guest Joe Hertenstein, Shakoor Sanders, Alex Marcelo, Kenny Wessel, Marco Cappelli, Tomeka Reid, Tomas Ulrich, Ken Filiano, Mark Helias, Leah Paul, Domenica Fossati, Lionel Loueke Jazz Standard 7:30, 9:30 pm $30 Stuart Popejoy ShapeShifter Lab 8 , 9:30 pm $15 Kathy Halvorson, Katie Scheele, Libby Van Cleve, Mike McGinnis, Jim Hobbs, • Victor Goines Quartet with Chris Pattishall, Yasushi Nakamura, Ulysses Owens êIngrid Laubrock Quintet with Tim Berne, Ben Gerstein, Dan Peck, Tom Rainey Ingrid Laubrock, Oscar Noriega, Josh Sinton, Sara Schoenbeck, Katherine Young, Dizzy’s Club 7:30, 9:30 pm $40 Cornelia Street Café 8:30 pm $10 Nathan Koci, Vincent Chancey, Gareth Flowers, Stephanie Richards, Jacob Garchik, êPat Martino Organ Quartet with Eric Alexander, Pat Bianchi, Carmen Intorre Jr. êOrrin Evans Captain Black Big Band Reut Regev, Dan Peck, David Shively, Jacqui Kerrod Birdland 8:30, 11 pm $30-40 Smoke 7, 9 pm Roulette 8 pm $35 • Javon Jackson Quartet with Jeremy Manasia, David Williams, Willie Jones III • Adam Birnbaum Trio Dizzy’s Club 7:30, 9:30 pm $30 êElvin Lives!: David Liebman, Adam Niewood, Gene Perla, Adam Nussbaum Village Vanguard 8:30, 10:30 pm $25 • Randy Ingram Quartet with Mike Moreno, Orlando le Fleming, Jochen Rueckert; Zinc Bar 8:30, 10:30 pm • Jill McCarron Measure 8 pm Ben Williams and Sound Effect with , Matt Stevens, Christian Sands, êDr. Lonnie Smith Trio with Jonathan Kreisberg, Johnathan Blake and guest • Noah MacNeil Shrine 6 pm John Davis; Spencer Murphy Smalls 7:30, 10 pm 12:30 am $20 Lionel Loueke Jazz Standard 7:30, 9:30 pm $25 • Berklee Global Jazz Institute: Leandro Pellegrino, Alex Gasser, Takafumi Suenaga, • Victor Goines Quartet with Aaron Diehl, Yasushi Nakamura, Ulysses Owens Michael Wang, Jharis Yokley, Mao Sone and guest Miguel Zenón Dizzy’s Club 7:30, 9:30 pm $35 Blue Note 8, 10:30 pm $15 • William S. Burroughs Centennial: Thurston Moore • The Wee Trio SubCulture 7:30 pm $12-17 The Stone 8, 10 pm $15 Billy Lester • John Malino Trio with Carlton Holmes, Melissa Slocum êElliott Sharp’s Terraplane Grand Victory 7 pm $10 Bar Next Door 8:30, 10:30 pm $12 êSol(o)los: Nate Wooley solo and duo with Giacomo Merega is accepting new students, • John Yao Big Band Tea Lounge 8, 9:30 pm $5 Prospect Range 8:30 pm $10 offering an original approach to jazz • Swingadelic Swing 46 8:30 pm • Russ Nolan’s Relentless with Manuel Valera, Michael O’Brien, Brian Fishler, • Jill McCarron Measure 8 pm Yasuyo Kimura Terraza 7 9 pm $7 creativity, technique, theory and ear • Klemens Marktl NY Explosion; AGE Quintet: Jim Piela, Sean Little, Mike Verselli, • Pasquale and Luigi Grasso with Ari Roland, Keith Balla; Ira Coleman’s Reunion Band Kai Klopfleisch, Alvaro Gutierrez Somethin’ Jazz Club 7, 9 pm $10-12 with Steve Wilson, Freddie Bryant, , Billy Drummond; Nick Hempton Band training to students of all levels. • Takenori Nishiuchi Quartet Tomi Jazz 8 pm with Jeremy Manasia, Barak Mori, Dan Aran • Matt Baker/Marisa Mulder Le Cirque Café 7 pm Smalls 6, 9:30 pm 12:30 am $20 Re: Storytime - Billy’s solo piano CD: • Luke Franco Jules Bistro 8:30 pm • John di Martino Trio with Boris Kozlov, Klemens Marktl • Lou Caputo Not So Big Band The Garage 7 pm Jazz at Kitano 8, 10 pm $15 • Travis Laplante Trio with , Gerald Cleaver “Connoisseur jazz...at an ever higher level Ibeam Brooklyn 8:30 pm $10 Tuesday, April 15 • Water Sign: Tom Chang, Greg Ward, Sam Trapchak, Kenneth Salters of daring and mastery.” Cornelia Street Café 8:30 pm $10 -Howard Mandel, President, êThe Riverside Band: Dave Douglas, Chet Doxas, Steve Swallow, Jim Doxas • Ron Dabney Metropolitan Room 7 pm $25 Jazz Standard 7:30, 9:30 pm $25 êMilton Suggs Ginny’s Supper Club 7:30, 9:30 pm $15 Jazz Journalists Association êPat Martino Organ Quartet with Eric Alexander, Pat Bianchi, Carmen Intorre Jr. • Theo Croker’s DVRK FUNK WhyNot Jazz Room 10 pm Birdland 8:30, 11 pm $30-40 • Jorge Luis Pacheco with guest Jose “Pepito” Gomez “You won’t get any better than this.” • Javon Jackson Quartet with Jeremy Manasia, David Williams, Willie Jones III Drom 6, 8:30 pm $69 Village Vanguard 8:30, 10:30 pm $25 • Perry Smith Trio with Sam Minaie, Ross Pederson -Rotcod Zzaj, rotcodzzaj.com • Savion Glover Blue Note 8, 10:30 pm $45 Bar Next Door 8:30, 10:30 pm $12 • The Mason Brothers Quintet Dizzy’s Club 7:30, 9:30 pm $30 • Manhattan School of Music Ensemble êCecilia Coleman Big Band with Bobby Porcelli, Stephan Kammerer, Peter Brainin, MSM Ades Performance Space 7:30 pm $12 “Solo jazz piano at its best” Sam Dillon, Keith Bishop, Colin Brigstocke, John Replogle, Kerry MacKillop, • Bill Warfield Quartet with Art Hirahara, Dimitri Kolesnik, Scott Neumann; Ralph Lalama/ - Scott Albin, Jazz Times John Eckert, Matt McDonald, Nick Grinder, Sam Burtis, Joe Randazzo, Tim Givens, Nicole Pasternak; Five Below: JQ Whitcomb, Andy Hunter, Greg Ruggiero, Dan Loomis, Mike Campenni, David Coss NYC Baha’i Center 8, 9:30 pm $15 Donald Edwards Somethin’ Jazz Club 7, 9, 11 pm $10 www.billylester.com êPeter Brendler Quartet with , Peter Evans, Vinnie Sperrazza • Scot Albertson/Ron Jackson Tomi Jazz 9 pm $10 Cornelia Street Café 8:30 pm $10 • Bobby Lynn Jules Bistro 8:30 pm studio in Yonkers, NY • Spike Wilner Trio with Yotam Silberstein, Paul Gill; Smalls Legacy Band: Josh Evans, • High & Mighty with Natalie Cressman Stacy Dillard, Frank Lacy, Theo Hill, Ameen Saleem, Kush Abadey; Radegast Hall 9 pm Kyle Poole and Friends Smalls 7:30, 10:30 pm 1 am $20 • Steve Elmer Trio Cleopatra’s Needle 7 pm • Susan Clynes/Antoine Guenet; Rebecka Larsdotter/Dayna Stephens Band with • Max Eilbacher; Gene Pick Silent Bar 8 pm $7 Gerald Clayton, Ben Street, Jimmy MacBride • Michael Bank Septet; Atto Castro Shrine 6, 9 pm ShapeShifter Lab 7, 8:15, 9:30 pm $10 • Champian Fulton Quartet The Garage 7 pm • Carolina Calvache with Jaleel Shaw, Mike Rodriguez, Hans Glawischnig, êPat Martino Organ Quartet with Eric Alexander, Pat Bianchi, Carmen Intorre Jr. Ludwig Afonso and guest Samuel Torres Birdland 8:30, 11 pm $30-40 Drom 8 pm $14 • Javon Jackson Quartet with Jeremy Manasia, David Williams, Willie Jones III • Julian Lage/Chris Eldridge Rockwood Music Hall 2 7:30, 9:30 pm $15 Village Vanguard 8:30, 10:30 pm $25 • Alex Lore Trio with Desmond White, Colin Stranahan • Savion Glover Blue Note 8, 10:30 pm $45 Bar Next Door 8:30, 10:30 pm $12 • Jill McCarron Measure 8 pm • Gabriel Zucker/Gabriel Globus-Hoenich; Elijah Shiffer’s Quirkestra; Joel Forrester • Noah Bless Silvana 6 pm Spectrum 9, 10 pm • Mathias Kunzli WhyNot Jazz Room 9 pm • Billy Test Jazz at Kitano 8 pm Friday, April 18 • Vince Scuderi Out of the Box Big Band with guest Martha Lorin Metropolitan Room 7 pm $20 êThe Sun Ra Arkestra directed by Marshall Allen with Knoel Scott, James Stewart, • Laura Dubin Trio with Jay Sawye; Dorian Wallace and The Free Sound Ahn-somble Danny Ray Thompson, Kwami Hadi, Cecil Brooks, Dave Davis, Farid Barron, Somethin’ Jazz Club 7, 9 pm $12 Dave Hotep, Tyler Mitchell, Wayne Anthony Smith, Jr., Elson Nascimento, Atakatune, • Tom Papadatos Trio Tomi Jazz 8 pm Teddy Thomas, Tara Middleton Drom 7 pm $25 • Pete Davenport Jules Bistro 8:30 pm êPlaying For Jim Hall: Bill Frisell, Julian Lage, Greg Osby, Kate Schutt, Scott Colley, • Avi Rothbard Trio The Garage 7 pm Joey Baron Blue Note 8, 10:30 pm $35 • Jill McCarron Measure 8 pm • John Raymond with Gilad Hekselman, Matt Brewer, Otis Brown III • Forest Band Shrine 6 pm Blue Note 12:30 am $10 êCentral Brooklyn Jazz Consortium Festival: Jazz 966 8 pm Wednesday, April 16 êDavid Torn/Tim Berne; Mike Baggetta Quartet SingleCut Beersmiths 8, 9:30 pm $10 • Duane Eubanks with Abraham Burton, Marc Cary, Dezron Douglas, Eric McPherson êVincent Herring Quintet with Wallace Roney, Mike LeDonne, Brandi Disterheft, Smoke 7, 9, 10:30 pm Louis Hayes Smoke 7, 9, 10:30 pm $38 • Clarence Penn’s Monk, the Lost Files with Makoto Ozone, Chad Leftkowitz-Brown, êFrank Kimbrough Trio with Jay Anderson, Lewis Nash Yasushi Nakamura Dizzy’s Club 7:30, 9:30 pm $30 Jazz at Kitano 8, 10 pm $30 • William S. Burroughs Centennial: Nick Didkofsky; JG Thirlwell/Sarah Lipstate • Oscar Peñas with Sara Caswell, Moto Fukushima, Richie Barshay The Stone 8, 10 pm $15 BAMCafé 9 pm • Tivon Pennicott Quartet with Mike Battaglia, Spencer Murphy, Kenneth Salters; êAllison Miller’s Boom Tic Boom with Matt Mitchell, Kirk Knuffke, Chris Lightcap, Adam Larson Group with Nils Weinhold, Gerald Clayton, Matt Penman, Jason Burger Rachel Friedman Cornelia Street Café 9, 10:30 pm $15 Smalls 9:30 pm 12:30 am $20 êDon Friedman Trio with Phil Palombi, Klemens Marktl; Joel Frahm Quartet; • Dmitry Baevsky Quartet with Jeb Patton, Mike Karn, Aaron Kimmel Jeremy Manasia Trio Smalls 7:30, 10:30 pm 1:30 am $20 Jazz at Kitano 8, 10 pm $15 • William S. Burroughs Centennial: Billy Martin/Trevor Dunn; Eyvind Kang • Rale Micic/Vic Juris WhyNot Jazz Room 9 pm The Stone 8, 10 pm $15 • Jan Sturiale Trio with Jure Pukl, Marco Panascia • Lucian Ban with Mat Maneri, Tony Malaby ShapeShifter Lab 9:30 pm $12 Greenwich House Music School 7:30 pm $20 • Rabbit Fingers Quartet: Peter McKnight, Quinsin Nachoff, Michael Bates, Jeff Davis; • Marco Benevento SubCulture 7:30, 10 pm $25-30 Brian Drye Trio with Matt Pavolka, Jeff Davis êBobby Avey with Miguel Zenón, Ben Monder, Thomson Kneeland, Jordan Perlson Ibeam Brooklyn 8:30, 9:30 pm $10 The Jazz Gallery 9, 11 pm $20 • Duchess: Melissa Stylianou, Hilary Gardner, Amy Cervini with Jesse Lewis, Ike Sturm, • Ancestral Instrument: Travis Laplante, Mary Halvorson, Trevor Dunn, Ches Smith Matt Wilson 55Bar 7 pm Ibeam Brooklyn 8:30 pm $10 • Samuel Torres Encuentro Latinoamericano with Maria Raquel Vásquez, Eric Kurimski, • Jill McCarron/Jay Leonhart Knickerbocker Bar and Grill 9:45 pm $5 Ricky Rodriguez Terraza 7 9 pm $7 • Ricky Rodriguez Quartet with guest Ignacio Berroa • Juilliard Jazz Ensembles Paul Hall 8 pm Terraza 7 9 pm $7 • Vox Syndrome: Robin Verheyen, Ziv Ravitz, Nick Anderson, Travis Reuter, êMax Johnson Trio with Kirk Knuffke, Ziv Ravitz Nicolas Letman-Burtinovic Bar Chord 9 pm New School Arnhold Hall 7 pm • Luis Camacho Sounds del Caribe with Roberto Agron, Victor Molina; • Joe Benjamin And A Mighty Handful; Omer Klein Trio with Haggai Cohen Milo, James Francies Trio with Connor Schultze, Jeremy Dutton Ziv Ravitz ShapeShifter Lab 8, 9:30 pm $12 Somethin’ Jazz Club 7, 9 pm $10-12 • Kolja Gjoni Trio with Igor Lumpert, Matt Brewer • Hyun Joo Lee Trio Tomi Jazz 8 pm Bar Next Door 7:30, 9:30, 11:30 pm $12 • Aimee Allen Jules Bistro 8:30 pm • Daniel Ori Trio with Pablo Vergara, Engin Gunaydin • Jason Prover Sneak Thievery Orchestra WhyNot Jazz Room 9 pm Radegast Hall 9 pm • Ms. Blu and Trio with Billy Test, Iris Ornig, Chris Benham; Ladies Day: MJ Territo, • Colin Gordon Group; Kenny Shanker Linda Presgrave, Iris Ornig, Barbara Merjan; C Dub Trois: Cam Wharram, Theo Brierley, Silvana 8, 9 pm Mike Dettorre Somethin’ Jazz Club 7, 9, 11 pm $12 • Danny Jonokuchi and Friends The Garage 7 pm • NY Choro Tomi Jazz 9 pm $10 êThe Riverside Band: Dave Douglas, Chet Doxas, Steve Swallow, Jim Doxas • Diego Voglino Jules Bistro 8:30 pm Jazz Standard 7:30, 9:30 pm $25 • Sarah Slonim Trio Cleopatra’s Needle 8 pm êPat Martino Organ Quartet with Eric Alexander, Pat Bianchi, Carmen Intorre Jr. • Asher Ben-Or Trio Indian Road Café 8 pm Birdland 8:30, 11 pm $30-40

THE NEW YORK CITY JAZZ RECORD | APRIL 2014 37 Saturday, April 19 • Claudia Acuña Rockwood Music Hall 3 8 pm $12 • Marjorie Eliot The Schomburg Center 3:30 pm êSidney Bechet Society: Dan Levinson’s Jam Session of the Millenium with êSheila Jordan/ Saint Peter’s 1 pm $10 êWilliam S. Burroughs Centennial: John Zorn/Bill Laswell Duo; Dennis Lichtman, Gordon Au, Mike Davis, Josh Holcomb, Matt Musselman, Bill Laswell’s The Road to the Western Lands with Dr. Israel, Grandmaster DXT Gordon Webster, Dalton Ridenhour, Nick Russo, Jared Engel, Rob Adkins, Kevin Dorn, The Stone 8, 10 pm $20 Rich Levinson, Terry Wilson Symphony Space Peter Jay Sharp Theatre 7:15 pm $35 Thursday, April 24 êDr. Lonnie Smith Octet with Ed Cherry, Johnathan Blake, Kahlil Kwame Bell, êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 Andy Gravish, Ian Hendrickson-Smith, John Ellis, Jason Marshall • Elliott Sharp/Steve Buscemi Issue Project Room 8 pm êWessell “Warmdaddy” Anderson Quartet with Richard Johnson, Reuben Rogers, Jazz Standard 7:30, 9:30, 11:30 pm $30 • Lou Grassi and Friends with Cécile Broche, Kenny Wessel, Joe Fonda; Geoff Clapp Dizzy’s Club 7:30, 9:30 pm $35 • Jean-Michel Pilc Octet with Rhys Tivey, John Beaty, Jerome Sabbagh, Joe Beaty, Jon Irabagon Quartet with Luis Perdomo, Yasushi Nakamura, Rudy Royston; • Vijay Iyer and The Brentano String Quartet Muriel Vergnaud, Or Bareket, Jerad Lippi William Hooker Trio Clemente Soto Velez Cultural Center 7:30 pm $11-22 The Greene Space 7 pm $20 ShapeShifter Lab 8:15 pm $10 • Jon Davis/Gianluca Renzi; Ari Hoenig Quartet; Spencer Murphy êIntepretations: Tom Hamilton with Nate Wooley, Al Margolis, Peter Zummo êTony Malaby’s Paloma Xtra with Ben Monder, Eivind Opsvik, Ben Gerstein, Billy Mintz, Smalls 7:30, 10 pm 12:30 am $20 Meaghan Burke, Alan Zimmerman; Ned Rothenberg’s Inner Diaspora with Dan Weiss Cornelia Street Café 9, 10:30 pm $15 êJason Marshall Big Band Smoke 7, 9 pm Mark Feldman, Erik Friedlander, Jerome Harris, Samir Chatterjee • Loren Stillman and Bad Touch with Nate Radley, Gary Versace, Ted Poor • Brad Shepik Trio with Pat Bianchi, Diego Voglino Roulette 8 pm $15 The Jazz Gallery 9, 11 pm $20 55Bar 10 pm • Todd Sickafoose; Tyrone Birkett’s Emancipation with Paula Ralph-Birkett, • Travis Laplante Quartet with Mat Maneri, Michael Formanek, Randy Peterson • Purchase Jazz Orchestra Dizzy’s Club 7:30, 9:30 pm $35 Gregory Royals, Reggie Young, Jason Patterson; Mumpbeak: Roy Powell, Ibeam Brooklyn 8:30 pm $10 êFrank Basile Quintet with Jeb Patton, David Wong, Pete Van Nostrand Shanir Ezra Blumenkranz, Pat Mastelotto • Sara Gazarek/Josh Nelson Duo Jazz at Kitano 8, 10 pm $15 Measure 8 pm ShapeShifter Lab 7, 8:15, 9:30 pm $10 êConnie Crothers, Kevin Norton, Ed Schuller, Roger Mancuso • Tom Erickson’s Flying Dragon Orchestra • Matt Slocum Quartet with Jon Irabagon, Gerald Clayton, Massimo Biolcati The Firehouse Space 8 pm $10 Tea Lounge 8, 9:30 pm $5 Jazz at Kitano 8, 10 pm $15 • Central Brooklyn Jazz Consortium Festival: Akua Dixon • Daniela Schaechter Trio with Vic Juris, Jay Anderson • Dwayne Clemons Quintet with Josh Benko, Sacha Perry, Murray Wall, Sistas’ Place 9, 10:30 pm $20 Bar Next Door 8:30, 10:30 pm $12 Jimmy Wormworth; Trio; Carlos Abadie Quintet • Paul Bollenback Trio with Joseph Lepore, Rogério Boccato • Swingadelic Swing 46 8:30 pm Smalls 6, 9:30 pm 12:30 am $20 Bar Next Door 7:30, 9:30, 11:30 pm $12 • Robert Woodard Heath Trio with Franz Robert, Eli Heath; Brad Whiteley/Michael Eaton êLage Lund Trio with Jochen Rueckert • Becca Stevens solo Church For All Nations 8 pm $12 Somethin’ Jazz Club 7, 9 pm $10 Bar Next Door 8:30, 10:30 pm $12 • Trio Feral: Jonathan Maron, Bill Campbell, Barney McAll • Norihiro Kikuta Trio Tomi Jazz 8 pm • Novas Trio: Jeff Miles, Carlos Vera, Rodrigo Recabarren BAMCafé 9 pm • Sabrina Wender Le Cirque Café 7 pm Cornelia Street Café 8:30 pm $10 • Nico Soffiato’s Paradigm Refrain Goodbye Blue Monday 8 pm • Luke Franco Jules Bistro 8:30 pm • Eric Kurimski Quartet with Edward Perez, Josh Deutsch, Arturo Stable • Maya Nova; George Mel Quartet; Alon Nechushtan Trio • Caravan Radegast Hall 8 pm Terraza 7 9 pm $7 WhyNot Jazz Room 8:30 pm • Common Quartet: Nitzan Gavrieli, Pablo Menares, Alex Wyatt, Seth Trachy and guest • Higgins Waterproof Black Magic Band: Tunde Adebimpe, Josh Werner, Alex Holden, • Nick Vayenas Quartet; Nick Brust/Adam Horowitz Quintet with Matthew Sheens, Becca Stevens Vodou Bar 8 pm Ryan Sawyer The Stone 8, 10 pm $15 James Quinlan, Dani Danor Somethin’ Jazz Club 5, 9 pm $10 • Howard Wiliams Jazz Orchestra The Garage 7 pm • James Hall’s Thousand Rooms Quartet; Angela Morris’ Candidland • Sumire Kaneko; Silver Moon Tomi Jazz 8, 11 pm $10 Spectrum 8 pm • Richard Clements Trio Cleopatra’s Needle 8 pm • Nick Zedd/Andre Perkowski Incubator Arts Project 8 pm $13 êPlaying For Jim Hall: Bill Frisell, Julian Lage, Greg Osby, Kate Schutt, Scott Colley, Tuesday, April 22 • Willie Martinez y La Familia Sextet Nuyorican Poets Café 9:30 pm $10 Joey Baron Blue Note 8, 10:30 pm $35 • Theo Croker’s DVRK FUNK WhyNot Jazz Room 10 pm • ’s Beat Music Blue Note 12:30 am $10 êMilford Graves/Bill Laswell; Wadada Leo Smith/Bill Laswell • Patrick Breiner’s Double Double with Will McEvoy, Adam Hopkins, Flin van Hemmen êVincent Herring Quintet with Wallace Roney, Mike LeDonne, Brandi Disterheft, The Stone 8, 10 pm $20 Launch Pad Gallery 8 pm Louis Hayes Smoke 7, 9, 10:30 pm $38 êStanley Clarke and Friends Blue Note 8, 10:30 pm $45 • Takeshi Asai Trio with Daniel Ori, Russ Meissner; Pericopes + 1: Emiliano Vernizzi, • Chris Byars Sextet; Joel Frahm Quartet; Stacy Dillard, Diallo House, Ismail Lawal êThe Bad Plus: Ethan Iverson, Reid Anderson, David King Alessandro Sgobbio, Nick Wight Somethin’ Jazz Club 7, 9 pm $10 Smalls 7:30, 10:30 pm 1:30 am $20 Jazz Standard 7:30, 9:30 pm $30 • Senri Oe Tomi Jazz 9 pm $10 • Jill McCarron/Jay Leonhart Knickerbocker Bar and Grill 9:45 pm $5 • James Carter Organ Trio with Gerard Gibbs, Leonard King Jr. • Satish Robertson Jules Bistro 8:30 pm êAnthony Braxton’s Trillium J with Roland Burks, Kelvin Chan, Tomas Cruz, Birdland 8:30, 11 pm $30-40 • Mamiko Watanabe Trio Cleopatra’s Needle 7 pm Lucy Dhegrae, Chris DiMeglio, Kristin Fung, Nick Hallett, Kyoko Kitamura, • Nicole Henry Quintet Dizzy’s Club 7:30, 9:30 pm $40 • Nicole Zuraitis; Albert Marques, Walter Stinson, Zack O’Farrill Kamala Sankaram, Elizabeth Saunders, Jen Shyu, Vince Vincent, Erica Dicker, • Quartet with Aaron Goldberg, Orlando le Fleming, Caffe Vivaldi 8, 9 pm Renee Baker, Sam Bardfeld, Sarah Bernstein, Julianne Carney, Jason Hwang, Village Vanguard 8:30, 10:30 pm $25 • Judi Marie Indian Road Café 8 pm Mazz Swift, Scott Tixier, Amy Cimini, Jessica Pavone, Erin Wight, Marika Hughes, • Mike Longo Trio NYC Baha’i Center 8, 9:30 pm $15 • Carl Maraghi Group; Victor Baker Band Tomeka Reid, Tomas Ulrich, Ken Filiano, Mark Helias, Leah Paul, Domenica Fossati, êElliott Sharp solo BRIC House Stoop 7 pm Silvana 6, 8 pm Kathy Halvorson, Katie Scheele, Libby Van Cleve, Mike McGinnis, Jim Hobbs, • Travis Sullivan’s Björkestra SubCulture 7:30 pm $12-15 • Rick Stone Trio The Garage 7 pm Ingrid Laubrock, Oscar Noriega, Josh Sinton, Sara Schoenbeck, Katherine Young, • Jazz Benefit For Youth Jazz at Kitano 7 pm • The Music of George Gershwin: Michael Feinstein, Vince Giordano and the Nighthawks, Nathan Koci, Vincent Chancey, Gareth Flowers, Stephanie Richards, Jacob Garchik, • Jon Irabagon Trio with Yasushi Nakamura, Rudy Royston Catherine Russell, Carole J. Bufford Reut Regev, Dan Peck, David Shively, Jacqui Kerrod Bar Next Door 8:30, 10:30 pm $12 The Appel Room 7, 9 pm $75 Roulette 3, 8 pm $35 • Spike Wilner Trio with Yotam Silberstein, Paul Gill; Theo Hill Quartet with êStanley Clarke and Friends Blue Note 8, 10:30 pm $45 • Victor Goines Quartet with Aaron Diehl, Yasushi Nakamura, Ulysses Owens Dayna Stephens, Joe Sanders, Rodney Green; Kyle Poole and Friends êThe Bad Plus: Ethan Iverson, Reid Anderson, David King Dizzy’s Club 7:30, 9:30 pm $45 Smalls 7:30, 10:30 pm 1 am $20 Jazz Standard 7:30, 9:30 pm $30 êPat Martino Organ Quartet with Eric Alexander, Pat Bianchi, Carmen Intorre Jr. êT Taylor solo; James Brandon Lewis/Max Johnson • James Carter Organ Trio with Gerard Gibbs, Leonard King Jr. Birdland 8:30, 11 pm $30-40 Freddy’s Backroom 8;30, 10 pm $10 Birdland 8:30, 11 pm $30-40 • Javon Jackson Quartet with Jeremy Manasia, David Williams, Willie Jones III • Lydia Lunch and Quintan Ana Wikswo • Kurt Rosenwinkel Quartet with Aaron Goldberg, Orlando le Fleming, Kendrick Scott Village Vanguard 8:30, 10:30 pm $25 Incubator Arts Project 8 pm $23 Village Vanguard 8:30, 10:30 pm $25 • Jill McCarron Measure 8 pm • Isaac Sadigursky Stephen Wise Free Synagogue 7:30 pm $15 êFrank Basile Quintet with Jeb Patton, David Wong, Pete Van Nostrand • Jan Sturiale Trio Silvana 6 pm • Manhattan School of Music Jazz Student Composers’ Chamber Concert Measure 8 pm • Jerry Costanzo and Trio; Mark Marino Trio MSM Ades Performance Space 7:30 pm • Stan Killian Trio with Will Slater, Michael Vitali The Garage 12, 6 pm • Martino Dessi Quartet; LHS Jazz Group: Evan Marcantonio, Nathan Katz, Steven Feifke, Strand Bistro 6 pm Raviv Markovitz, Dan Garmon Somethin’ Jazz Club 7, 9 pm $10 • Stan Killian/Brad Whitely Tomi Jazz 8 pm Sunday, April 20 • Pete Davenport Jules Bistro 8:30 pm Friday, April 25 • Joel Forrester; Pericopes Silvana 6, 8 pm êPlaying For Jim Hall: Russell Malone, Adam Rogers, Bill Charlap, John Pondel, • Ben Patterson Organ Trio The Garage 7 pm êConcert To Feed The Hungry: Esperanza Spalding/Leo Genovese; David Occhipinti, , Scott Colley, Joey Baron êFrank Basile Quintet with Jeb Patton, David Wong, Pete Van Nostrand Kenny Werner Quartet with Dan Blake, Johannes Weidenmueller, Richie Barshay Blue Note 8, 10:30 pm $35 Measure 8 pm Interchurch Center 7 pm $40-100 êThe Cookers: , , Eddie Henderson, David Weiss, êMarilyn Lerner, Ken Filiano, Lou Grassi George Cables, Cecil McBee, Billy Hart The Firehouse Space 8, 9:30 pm $10 Iridium 8:30, 10:30 pm $25 Wednesday, April 23 • Jim Rotondi Quintet with Antonio Hart, David Hazeltine, John Webber, Willie Jones III • William S. Burroughs Centennial: with Bill Frisell, Eyvind Kang, Smoke 7, 9, 10:30 pm $38 The Stone 8, 10 pm $15 êMade To Break: Ken Vandermark, Tim Daisy, Devin Hoff, Christof Kurzmann • David Stoler Group; Wayne Escoffery Quartet with Dave Kikoski, Ugonna Okegwo, êDavid Virelles Continuum with Dezron Douglas, Eric McPherson and guest Nate Wooley Le Poisson Rouge 10:30 pm $15 Kush Abadey; Charles Ruggerio Group Greenwich House Music School 7:30 pm $15 • The Music of George Gershwin: Michael Feinstein, Vince Giordano and the Nighthawks, Smalls 7:30, 10:30 pm 1:30 am $20 êMax Johnson Trio + 2 with Kirk Knuffke, Michaël Attias, Ingrid Laubrock, Ziv Ravitz Catherine Russell, Carole J. Bufford êLeslie Pintchik Quintet with Steve Wilson, Ron Horton, Scott Hardy, Michael Sarin Barbès 7 pm $10 The Appel Room 7 pm $75 Jazz at Kitano 8, 10 pm $30 • Dana Lyn’s Aqualude with Mike McGinnis, Jonathan Goldberger, Clara Kennedy, • Yeahwon Shin with Aaron Parks, Rob Curto • Daniel Levin Quartet with Nate Wooley, Peter Bitenc, Matt Moran Vinnie Sperrazza The Firehouse Space 8 pm $10 Rubin Museum 7 pm $20 Cornelia Street Café 9, 10:30 pm $15 êSmalls Chamber Music Salon: Paul Nowinski, Amy Kang, Daniel Adams, Alex Fortes; • Renee Manning Quartet Lucille’s at BB King’s Blues Bar 7, 9:30 pm $20 • Ben Monder Trio with Joe Martin, Adam Cruz Milton Suggs Quartet; Johnny O’Neal Trio with Paul Sikivie, Charles Goold; êHenry Butler, Steven Bernstein and The Hot 9 Bar Next Door 7:30, 9:30, 11:30 pm $12 Frank Basile Sextet with , Ehud Asherie, David Wong, Pete Van Nostrand Zinc Bar 9, 11 pm • Deleted Scenes: James Ilgenfritz Anagram Ensemble with James Moore, Brian Chase, Smalls 4:30, 7:30, 10 pm 12 am $20 • Fred Ho Eco-Music Big Band with Earl McIntyre, Winston Byrd, David Taylor, Kevin Norton, Megan Schubert, Jeff Gavett, Conrad Harris, Pauline Kim Harris and • Scott Feiner Pandeiro Jazz with Guilherme Monteiro, Sam Yahel Jay Rodriguez, Zack O’Farrill, Adam O’Farrill, Ben Barson Stephanie Sleeper Dance; Lea Bertucci/G. Lucas Crane Cornelia Street Café 8:30 pm $10 Ginny’s Supper Club 7:30, 9:30 pm $25 Incubator Arts Project 8 pm $13-23 • Lamy Istrefi, Jr./Aleksander Petrov; Eridanus: Lamy Istrefi, Jr., Joe Hertenstein, • George Burton Quartet with Freddie Hendrix, Mike Lee, Noah Jackson, • Central Brooklyn Jazz Consortium Festival: Ahnee Sharon Freeman Quartet George Spanos, On Ka’a Davis, Elias Meister Wayne Smith, Jr. Smoke 7, 9, 10:30 pm Jazz 966 8 pm WhyNot Jazz Room 7:30, 9 pm $10 • Helio Parallax: Josh Werner, Takuya Nakamura, Gintas Janusonis, Mari Ayabe • The Super O’Farrill Brothers: Adam O’Farrill, Patrick Bartley, Travis Reuter, • Rema Hasumi Trio with Todd Neufeld, Billy Mintz; Architeuthis Walks on Land: The Stone 8, 10 pm $15 Isaac Sleator, Max ‘Maxo’ Coburn, Walter Stinson, Zack O’Farrill Amy Cimini/Katherine Young Spectrum 7, 8:30 pm • Lainie Cooke Quartet with , Martin Wind, Neal Smith The Jazz Gallery 9, 11 pm $20 • Jorge Luis Pacheco with guest Jose “Pepito” Gomez Cornelia Street Café 8:30 pm $10 • Blayer PointduJour; Jahn Daversa Big Band Drom 5:30, 8 pm $69 • Laura Campisi Quartet with Jon Davis, Gianluca Renzi, Tommy Campbell ShapeShifter Lab 8:15, 9:30 pm $10 • Peter Leitch/Ray Drummond Walker’s 8 pm Jazz at Kitano 8, 10 pm $15 êFrank Basile Sextet with Grant Stewart, Ehud Asherie, David Wong, Pete Van Nostrand • Josh Richman Measure 8 pm • Jean Lou Treboux Group with Ohad Talmor, Rick Rosato, Craig Weinrib; Fat Cat 10:30 pm • Cécile Brioche/Francois Grillot; Luciano Troja, Blaise Siwula, John Murchison Michael Bates Trio with Michael Blake, Jeremy Clemmons • Ray Gallon/Paul Gill Knickerbocker Bar and Grill 9:45 pm $5 ABC No-Rio 7 pm $5 SEEDS 8:30, 10 pm • MUMPBEAK: Roy Powell, Shanir Ezra Blumenkranz, Pat Mastelotto • Ben Rosenblum Group with Ben Ruben, Ben Zweig • Theo Hill Quartet with Dayna Stephens, Joe Sanders, Rodney Green; The Stone 8, 10 pm $15 Somethin’ Jazz Club 7 pm $10 Craig Wuepper Trio Smalls 9:30 pm 12:30 am $20 • Yuhan Su Group with Matt Holman, Kenji Herbert, Petros Klampanis, êDr. Lonnie Smith Octet with Ed Cherry, Johnathan Blake, Kahlil Kwame Bell, • Brad Shepik Trio with Anthony Pinciotti Nathan Ellman-Bell Ibeam Brooklyn 8:30 pm $10 Andy Gravish, Ian Hendrickson-Smith, John Ellis, Jason Marshall Bar Next Door 8, 10 pm $12 • George Gee Swing Orchestra Swing 46 8:30 pm Jazz Standard 7:30, 9:30, 11:30 pm $25 • Manhattan Vibes: Christos Rafalides, Robert Rodriguez, Ricky Rodriguez, • Alberto Pibiri Measure 8 pm • Victor Goines Quartet with Aaron Diehl, Yasushi Nakamura, Ulysses Owens Vince Cherico Terraza 7 9 pm $7 • Erika Dagnino with Ras Moshe, Rocco John Iacovone, Nicolas Letman-Burtinovic, Dizzy’s Club 7:30, 9:30 pm $35 • Tavche Gravche: Vasko Dukovski, Dan Nadal, Daniel Ori, Aleksandar Petrov John Pietaro Goodbye Blue Monday 8 pm • Javon Jackson Quartet with Jeremy Manasia, David Williams, Willie Jones III WhyNot Jazz Room 10 pm • Bob Arthurs with Dave Frank, Jon Easton, Joe Solomon; Village Vanguard 8:30, 10:30 pm $25 • Ignatz; Marcia Bassett Silent Bar 8 pm $7 Somethin’ Vocal with Matt Baker Trio • Todd Capp’s Mystery Train Downtown Music Gallery 6 pm • Quarteto Moderno: Richard Boukas, Lucas Pino, Gustavo Amarante, Somethin’ Jazz Club 7, 9 pm $10-12 • Tanguy Stevenart Silvana 6 pm Mauricio Zottarelli; Andres Malagon Quintet with Javi Santiago, David James, • Kuni Mikami Trio Tomi Jazz 9 pm $10 • Ike Sturm’s Evergreen Saint Peter’s 5 pm Colman Nakano, Expedito Andrade • Chris Bergson Jules Bistro 8:30 pm • Eileen Howard with Daniel Bennett, Ron Jackson, Eddy Khaimovich, Darrell Smith Somethin’ Jazz Club 7, 9 pm $10-12 • Ray Blue Quartet Cleopatra’s Needle 8 pm The West End Lounge 3:30 pm • Yusuke Yamanouchi Quartet Tomi Jazz 8 pm • Alex Layne Trio; Peter Valera Jump Blues Band • Chris McNulty Perez Jazz 2 pm $20 • Aimee Allen Jules Bistro 8:30 pm The Garage 6, 10:30 pm • The Music of Louis Armstrong: “Hot Lips” Joey Morant and Catfish Stew • Eric Plaks Trio; Alison Shearer Quintet êWessell “Warmdaddy” Anderson Quartet with Richard Johnson, Reuben Rogers, Lucille’s at BB King’s Blues Bar 1 pm $25 Silvana 6, 8 pm Rodney Green Dizzy’s Club 7:30, 9:30 pm $40 • Akihiro Yamamoto Blue Note 11:30 am 1:30 pm $29.50 • Joe Pino Organ Trio The Garage 7 pm êStanley Clarke and Friends Blue Note 8, 10:30 pm $45 • Roz Corral Trio with Saul Rubin, Kevin Hailey êStanley Clarke and Friends Blue Note 8, 10:30 pm $45 êThe Bad Plus: Ethan Iverson, Reid Anderson, David King North Square Lounge 12:30, 2 pm êThe Bad Plus: Ethan Iverson, Reid Anderson, David King Jazz Standard 7:30, 9:30 pm $30 • Tyrone Birkett Emancipation with Paula Ralph-Birkett, Greg Royals, Reggie Young, Jazz Standard 7:30, 9:30 pm $30 • James Carter Organ Trio with Gerard Gibbs, Leonard King Jr. Jason Patterson MIST 11:30 am 1:30 pm $24.99 • James Carter Organ Trio with Gerard Gibbs, Leonard King Jr. Birdland 8:30, 11 pm $30-40 • Ben Healy Trio; David Coss Quartet Birdland 8:30, 11 pm $30-40 • Kurt Rosenwinkel Quartet with Aaron Goldberg, Orlando le Fleming, Kendrick Scott The Garage 11:30 am 7 pm • Nicole Henry Quintet Dizzy’s Club 7:30, 9:30 pm $40 Village Vanguard 8:30, 10:30 pm $25 • Kurt Rosenwinkel Quartet with Aaron Goldberg, Orlando le Fleming, Allan Mednard • Yoosun Nam Silvana 6 pm Village Vanguard 8:30, 10:30 pm $25 • Central Brooklyn Jazz Consortium Festival: William Spaulding Quintet Monday, April 21 êFrank Basile Quintet with Jeb Patton, David Wong, Pete Van Nostrand New York Aquarium 4 pm Measure 8 pm • Dennis Chambers and Graffiti with Gary Grainger, Haakon Graf êFor Roy Campbell and Amiri Baraka: William Parker, Ras Moshe, Warren Smith, Blue Note 8, 10:30 pm $20 David Henderson, Ngoma Hill Brecht Forum 6 pm $11

38 APRIL 2014 | THE NEW YORK CITY JAZZ RECORD Saturday, April 26 êThe Bad Plus: Ethan Iverson, Reid Anderson, David King êThe Bad Plus: Ethan Iverson, Reid Anderson, David King Jazz Standard 7:30, 9:30 pm $30 Jazz Standard 7:30, 9:30 pm $30 êAndrew White III Quartet with Wade Beach, Steve Novesel, Nasar Abadey • James Carter Organ Trio with Gerard Gibbs, Leonard King Jr. • Kurt Rosenwinkel Quartet with Aaron Goldberg, Orlando le Fleming, Kendrick Scott The Jazz Gallery 9, 11 pm $20 Birdland 8:30, 11 pm $30-40 Village Vanguard 8:30, 10:30 pm $25 êBernie Worrell/Bill Laswell; Bernie Worrell, Bill Laswell, Dr. Israel, Adam Rudolph, • Kurt Rosenwinkel Quartet with Aaron Goldberg, Orlando le Fleming, Kendrick Scott êKen Aldcroft/William Parker, Erika Dagnino, Ras Moshe, John Pietro, Ken Filiano Grandmaster DXT The Stone 8, 10 pm $20 Village Vanguard 8:30, 10:30 pm $25 Downtown Music Gallery 6, 7 pm • Wolff & Clark Expedition: Michael Wolff, Mike Clark, Andy McKee and guest • Kathleen Potton Silvana 6 pm • Daro Behroozi solo 61 Local 6 pm $10 Hailey Niswanger Jazz at Kitano 8, 10 pm $30 • Central Brooklyn Jazz Consortium Festival: For My Sweet Jazz Africa Heritage • Taylor Haskins’s Fuzzy Logic Saint Peter’s 5 pm • Central Brooklyn Jazz Consortium Festival: Vanessa Rubin with Block Festival Claver Place 3 pm • A Tribute to : Smithsonian Jazz Masterworks Orchestra Sistas’ Place 9, 10:30 pm $20 êQueens Jazz OverGround Spring Jazz Fest: Lazy Susan: Josh Deutsch, Brooklyn Center for the Performing Arts 3 pm $35 • /Adam Kolker Quartet with Ugonna Okegwo, Billy Drummond; Sam Sadigursky, Danny Fox, Sam Trapchak, Alex Wyatt; Edward Perez Trio with • York College Gospel Choir salutes Duke Ellington Carlo De Rosa’s Crossfade with Mark Shim, , Rudy Royston Alex Brown, Eric Doob; Amanda Monaco/Noah Baerman Quintet with York College Academic Core Atrium 3 pm Brooklyn Conservatory of Music 8 pm $10 Wayne Escoffery, Sean Conly, Victor Lewis; UoU: Takuji Yamada, Daisuke Abe, • Amy Cervini and Jazz Kids! 55Bar 2 pm $5 • Prasanna and Friends with Shalini, Matt Geraghty, Harvey Wirht; Toru Dodo, Kuriko Tsugawa, Anthony Lee; Peter Brendler Quartet with Jon Irabagon, • Kyoko Oyobe Quartet with Chris Speed, Francois Moutin, David King Groove Square: Manuel Valera, Tom Guarna, Hans Glawischnig, Ludwig Afonso Josh Deutsch, Vinnie Sperrazza; Mark Wade Trio with Tim Harrison, Scott Neumann; Blue Note 11:30 am 1:30 pm $29.50 Terraza 7 8, 10:30 pm $7 Brian Woodruff Sextet with Hashem Assudullahi, Jacob Varmus, , • The Curtis Brothers MIST 11:30 am 1:30 pm $24.99 • Leo Genovese’s Legal Aliens with Dan Blake, Francesco Marcocci, Uri Gurvich, Pete McCann, Matt Clohesy Flushing Town Hall 6 pm • Iris Ornig Quartet; David Coss Quartet Mariano Gil, George Mel, Sergio Camaran, Claudio Altesor, Juanca Oholeguy, • Marsha Heydt and the Project of Love; Al Marino Quintet; Virginia Mayhew Quartet The Garage 11:30 am 7 pm Jack Daniels, Irma Nejando, Aquiles Meode Latorre, Alan Brando The Garage 12, 6, 10:30 pm El Taller LatinoAmericano 8 pm • Jack Wilkins Trio with Andy McKee, Mike Clark Monday, April 28 Bar Next Door 7:30, 9:30, 11:30 pm $12 Sunday, April 27 êBrianna Thomas Ginny’s Supper Club 7:30, 9:30 pm $15 êJohn Tchicai Birthday Celebration; Jonathan Finlayson Tribute to Tchicai with • Roberta Piket Trio with Daryl Johns, Billy Hart; Lena Bloch with Dave Miller, • Method of Defiance - 3rd Column: Dr. Israel, Garrison Hawk, Bernie Worrell, Guy Licata, Brian Settles; Ascension UnEnding Tchicai 6 Points: Garrison Fewell, Alex Weiss, Cameron Brown, Billy Mintz Ibeam Brooklyn 8, 9:30 pm $10 , Adam Rudolph, Bill Laswell Rosie Hertlein, Dmitry Ishenko, Ches Smith; Yoni Kretzmer 2Bass Quartet with • Alex LoRe Trio with Desmond White, Colin Stranahan and guest The Stone 8, 10 pm $20 Sean Conly, Reuben Radding, Mike Pride Cornelia Street Café 9, 10:30 pm $15 êBruce Barth solo The Drawing Room 7 pm $20 Clemente Soto Velez Cultural Center 7:30 pm $11-22 • Scot Albertson/Dr. Joe Utterback Klavierhaus 8 pm • Marbin; Michael Webster Momentus with Ingrid Jensen êMingus Big Band Jazz Standard 7:30, 9:30 pm $25 • Maya Nova; George Mel Quartet; Alon Nechushtan Trio ShapeShifter Lab 7, 8:15, 9:30 pm $10 êOrrin Evans Captain Black Big Band WhyNot Jazz Room 8:30 pm • Chico Hamilton Tribute - Euphoria: Paul Ramsey, Evan Schwam, Jeremy Carlstedt, Smoke 7, 9 pm • Bob Bennett Quintet with Eric Burns, Erica Seguine, Charlie Dougherty, Mayu Saeki, Nick Demopolous Drom 7:15 pm $20 • JJ Sansaverino Blue Note 8, 10:30 pm $15 Gusten Rudolph; Chris Clark Quartet with Jean-Michel Pilc, Sam Minaie, êThe Four Bags: Brian Drye, Jacob Garchik, Sean Moran, Mike McGinnis; • Manhattan School of Music Afro-Cuban Orchestra led by Bobby Sanabria Ross Pederson; Eliane Amherd with Gustavo Amarante, Ze Mauricio Nashaz: Brian Prunka, Kenny Warren, Reuben Radding, George Mel Dizzy’s Club 7:30, 9:30 pm $35 Somethin’ Jazz Club 5, 7, 9 pm $10-12 WhyNot Jazz Room 7:30, 9 pm $10 • John Zorn’s Book of Angels: Jon Madof’s Zion80 with Matt Darriau, Greg Wall, • Standard Procedures; Yusuke Seki • Julien Desprez Trio with Ben Syversen, Max Joffe Frank London, Jessica Lurie, Zach Mayer, Yoshie Fruchter, Shanir Ezra Blumenkranz, Tomi Jazz 8, 11 pm $10 Legion Bar 8 pm Brian Marsella, Marlon Sobol, Yuval Lion • Kayo Hiraki Trio Cleopatra’s Needle 8 pm • Larry Gelb Trio; Lezlie Harrison/Saul Rubin; Johnny O’Neal Trio with Paul Sikivie, The Stone 8, 10 pm $15 • Jim Rotondi Quintet with Antonio Hart, David Hazeltine, John Webber, Willie Jones III Charles Goold; Ben Paterson Smalls 4:30, 7:30, 10 pm 12 am $20 • Roberta Piket Trio with Daryl Johns, Billy Hart; Ari Hoenig Quartet; Spencer Murphy Smoke 7, 9, 10:30 pm $38 • Peter Leitch/Harvie S Walker’s 8 pm Smalls 7:30, 10 pm 12:30 am $20 êDavid Schnitter Quartet with Ugonna Okegwo, Spike Wilner, Anthony Pinciotti; • Ken Aldcroft solo; John Boyle ABC No-Rio 7 pm $5 • Scott Reeves Jazz Orchestra Tea Lounge 8, 9:30 pm $5 Wayne Escoffery Quartet with Dave Kikoski, Ugonna Okegwo, Kush Abadey; • Bossa Brasil: Maurício de Souza, Ben Winkelman, Joonsam Lee • Chris McNulty Trio with Paul Bollenback, Ugonna Okegwo Philip Harper Smalls 7:30, 10:30 pm 1:30 am $20 Inwood Local 9 pm Bar Next Door 8:30, 10:30 pm $12 • Deleted Scenes: James Ilgenfritz Anagram Ensemble with James Moore, Brian Chase, • Ben Zweig; Craig McGorry Sextet with Marco Chello, Ed Cionek, Wajdi Cherif, • Central Brooklyn Jazz Consortium Festival: Jazz Africa Heritage Reunion Kevin Norton, Megan Schubert, Jeff Gavett, Conrad Harris, Pauline Kim Harris and Clement Piezanowski, John Marino For My Sweet 7 pm Stephanie Sleeper Dance; Shelley Hirsch; Ecstasy Mule Somethin’ Jazz Club 5, 7 pm $10-12 • Blaise Siwula Goodbye Blue Monday 8 pm Incubator Arts Project 8 pm $13-23 • Deleted Scenes: James Ilgenfritz Anagram Ensemble with James Moore, Brian Chase, • Swingadelic Swing 46 8:30 pm êHypnotic Brass Ensemble Knitting Factory 12 am $10 Kevin Norton, Megan Schubert, Jeff Gavett, Conrad Harris, Pauline Kim Harris and • Benjamin Servenay Trio Tomi Jazz 8 pm • Ray Gallon/Paul Gill Knickerbocker Bar and Grill 9:45 pm $5 Stephanie Sleeper Dance; Bob Bellerue; Anne Waldman/David Little • Chris Norton Le Cirque Café 7 pm • Alberto Pibiri Measure 8 pm Incubator Arts Project 8 pm $13-23 • Diego Voglino Jules Bistro 8:30 pm êWessell “Warmdaddy” Anderson Quartet with Richard Johnson, Reuben Rogers, • Alberto Pibiri Measure 8 pm • Cecilia Coleman Big Band with Bobby Porcelli, Stephan Kammerer, Peter Brainin, Rodney Green Dizzy’s Club 7:30, 9:30 pm $45 • Annette Genovese; Franglais Silvana 6, 9 pm Sam Dillon, Keith Bishop, Colin Brigstocke, John Replogle, Kerry MacKillop, êStanley Clarke and Friends Blue Note 8, 10:30 pm $45 êWessell “Warmdaddy” Anderson Quartet with Richard Johnson, Reuben Rogers, John Eckert, Matt McDonald, Nick Grinder, Sam Burtis, Joe Randazzo, Tim Givens, êScott Tixier Quartet with Tony Tixier, Marco Panascia, Andrew Atkinson Rodney Green Dizzy’s Club 7:30, 9:30 pm $35 Mike Campenni, David Coss The Garage 7 pm Blue Note 12:30 am $10 êStanley Clarke and Friends Blue Note 8, 10:30 pm $45

Queens Jazz OverGround Spring Jazz Festival queensjazz.org

saturday, april 26 Featuring performances by: noon - 10:30 pm lazy susan free admission! edward perez trio amanda monaco/ flushing town hall noah baerman quartet 137-35 northern blvd. UOU QUINTET flushing, NY peter brendler quartet 718-463-7700, ext. 222 mark wade trio flushingtownhall.org brian woodruff sextet

*plus performances by local middle & high school all ages are welcome! jazz bands, master classesand worshops

MORE JAZZ @ FLUSHING TOWN HALL Monthly Jazz Jam - Wednesday, April 2, 2014, 7:00 PM $10/FREE for Performers, Members & Students The Mark Wade Trio (with Tim Harrison & Scott Neumann) - Friday, April 11, 2014, 8:00 PM $15/$10 Members & Students

THE NEW YORK CITY JAZZ RECORD | APRIL 2014 39 Tuesday, April 29 Wednesday, April 30 REGULAR ENGAGEMENTS MONDAYS êSteve Kuhn Trio with Steve Swallow, Joey Baron INTERNATIONAL JAZZ DAY • Ron Affif Trio Zinc Bar 9, 11pm, 12:30, 2 am Birdland 8:30, 11 pm $30-40 • Woody Allen/Eddy Davis New Orleans Jazz Band Café Carlyle 8:45 pm $145 êEnrico Pieranunzi Trio with Scott Colley, Joe LaBarbera êDavid Hazeltine Quartet with Jim Rotondi, David Williams, Billy Drummond • Big Band Night; John Farnsworth Quintet Smoke 7, 9, 10:30 pm Village Vanguard 8:30, 10:30 pm $25 Dizzy’s Club 7:30, 9:30 pm $30 • Rick Bogart Trio Broadway Thai 6:30 pm (ALSO SUN) ê • Tribute with Dan Barman The Counting Room 8 pm Eric Harland’s Voyager with Jason Moran, Julian Lage, Walter Smith III, • George Colligan Trio with Linda Oh, Jack DeJohnette • Sedric Choukroun and The Brasilieros Chez Lola 7:30 pm Harish Raghavan Blue Note 8, 10:30 pm $25 Jazz Standard 7:30, 9:30 pm $25 • Pete Davenport/Ed Schuller Jam Session Frank’s Cocktail Lounge 9 pm • Pedro Giraudo’s “Expansions” Big Band with Jonathan Powell, Tatum Greenblatt, • Hilary Kole Iridium 8:30, 10:30 pm $25 • Emerging Artists Series Bar Next Door 6:30 pm (ALSO TUE-THU) Matt Jodrell, Josh Deutsch, Alejandro Aviles, Todd Bashore, Luke Batson, John Ellis, • Mark Taylor Quintet with Jonathan Finlayson, Darius Jones, Ken Filiano, • Joel Forrester solo Brandy Library 8 pm Carl Maraghi, Ryan Keberle, Mike Fahie, Alan Ferber, Nate Mayland, Jess Jurkovic, Michael TA Thompson Cornelia Street Café 8:30 pm $10 • Vince Giordano’s Nighthawks Iguana 8 pm (ALSO TUE) Franco Pinna, Paulo Stagnaro Jazz Standard 7:30, 9:30 pm $20 • Joe Martin Quartet with ; Wayne Tucker Group • Grove Street Stompers Arthur’s Tavern 7 pm • NYU Wayne Shorter Ensemble led by Dave Pietro Smalls 9:30 pm 12:30 am $20 • Minton’s House Band Minton’s Playhouse 5, 7:15, 9:30 pm (THRU SAT) • Earl Rose solo; Earl Rose Trio Bemelmans Bar 5:30, 9 pm Dizzy’s Club 7:30, 9:30 pm $35 • Alexis Cuadrado Poetica with Melcion Mateu, Rowan Ricardo Philips, Miles Okazaki, • Stan Rubin All-Stars Charley O’s 8:30 pm • Sharón Clark Iridium 8:30, 10:30 pm $25 Andy Milne, Tyshawn Sorey SEEDS 9 pm • Swingadelic Swing 46 8:30 pm • Mandala: Ivo Perelman, Daniel Levin, Ingebrigt Håker Flaten, Mike Pride • Fleurine Smoke 7, 9, 10:30 pm • Vanguard Jazz Orchestra Village Vanguard 8:30, 10:30 pm $25 Spectrum 8 pm • Kathleen Supové and MIVOS Quartet: Olivia De Prato, Joshua Modney, Victor Lowrie, • Diego Voglino Jam Session The Village Lantern 9:30 pm • Spike Wilner Trio with Yotam Silberstein, Paul Gill; Josh Evans Big Band with Mariel Roberts; Annie Gosfield, Brian Chase and guests • Jordan Young Group Bflat 8 pm (ALSO WED 8:30 pm) Ned Goold, Stafford Hunter, Stacy Dillard, Freddie Hendrix, David Gibson, The Stone 8, 10 pm $15 TUESDAYS Bruce Williams, Theo Hill, Ameen Saleem, Chris , Max Seigel, Vitaly Golovnev, • Sarah Silverman Quartet with Bruce Barth, Matt Aronoff, Steve Williams • Daisuke Abe Trio Sprig 6 pm (ALSO WED-THU) Frank Lacy, Yunie Mojica, Lauren Sevian; Kyle Poole and Friends Jazz at Kitano 8, 10 pm $15 • Rick Bogart Trio L’ybane 9:30 pm (ALSO FRI) Smalls 7:30, 10:30 pm 1 am $20 êCaveHorse: Jesse Stacken/Patrick Breiner Duo; Carlo Costa solo; Michael Foster, • Orrin Evans Evolution Series Jam Session Zinc Bar 11 pm • Timucin Sahin 4 with John Escreet, Chris Tordini, Tom Rainey Michael Evans, Steve Swell Ibeam Brooklyn 8, 9, 10 pm $10 • Irving Fields Nino’s Tuscany 7 pm (ALSO WED-SUN) • George Gee Swing Orchestra Swing 46 8:30 pm $12 ShapeShifter Lab 8:15 pm $10 • Chamber Orchestra; Erica Seguine/Shannon Baker Big Band with • Chris Gillespie; David Budway Bemelmans Bar 5:30, 9:30 pm (ALSO WED-SAT) • Jennifer Choi, Felix Fan, Annie Gosfield; Sylvie Courvoisier, Ha-Yang Kim, Ben Kono, John Lowery, Steve Kortyka, Alden Banta, Nathan Eklund, Jonathan Saraga, • Loston Harris Café Carlyle 9:30 pm $20 (ALSO WED-SAT) Annie Gosfield The Stone 8, 10 pm $15 Dave Smith, Adam Horowitz, Scott Reeves, Nick Grinder, Bob Bennett, Dan Jordan, • Art Hirahara Trio Arturo’s 8 pm • Michael Blanco Quartet with Jonathan Kreisberg, David Cook, Clarence Penn Sonia Szajnberg, Eric Burns, Carmen Staaf, Leo Sherman, Paolo Canatrella • Yuichi Hirakawa Trio Arthur’s Tavern 7, 8:30 pm Cornelia Street Café 8:30 pm $10 ShapeShifter Lab 8:15, 9:30 pm $10 • Mike LeDonne Quartet; Charles Turner III Smoke 7, 9, 10:30, 11:30 pm • Peggy King Metropolitan Room 7 pm $20 • Rale Micic/ WhyNot Jazz Room 9 pm • Ilya Lushtak Quartet Shell’s Bistro 7:30 pm • Jeff McLaughlin Trio with Marcos Varela, Rudy Royston • Juan Felipe Mayorga Group Terraza 7 9 pm $7 • Mona’s Hot Four Jam Session Mona’s 11 pm • Russ Nolan Jazz Organ Trio Cassa Hotel and Residences 6 pm Bar Next Door 8:30, 10:30 pm $12 • Equilibrium: Brad Baker, Pam Belluck, Rich Russo, Elliot Honig, Terry Schwadron, • Annie Ross The Metropolitan Room 9:30 pm $25 • Melissa Stylianou Quartet with Jamie Reynolds, Gary Wang Dan Silverstone Caffe Vivaldi 8:30 pm • Saul Rubin; Greg Glassman Jam Fat Cat 7 pm 12:30 am Classon Social Club 8, 10 pm • Isaiah Barr with Keefe Martin, Zen Groom, Malik McLaurine, Austin Williamson; • Slavic Soul Party Barbès 9 pm $10 • Stan Killian Trio with Corcoran Holt, McClenty Hunter Alexis Parsons Somethin’ Jazz Club 7, 9 pm $10-12 • Diego Voglino Jam Session The Fifth Estate 10 pm WhyNot Jazz Room 9 pm • Kathryn Allen Duo Tomi Jazz 8 pm WEDNESDAYS êCarlo Costa Quartet with Jonathan Moritz, Steve Swell, Sean Ali • Aimee Allen Jules Bistro 8:30 pm • Astoria Jazz Composers Workshop Waltz-Astoria 6 pm JACK 8 pm • Grand Street Stompers: Gordon Au, Tamar Korn, Molly Ryan, Dennis Lichtman, • Sedric Choukroun and the Eccentrics Chez Oskar 7 pm • Antonio Ciacca Measure 8 pm Matt Musselman, Nick Russo, Rob Adkins, Kevin Dorn • Raphael D’lugoff; Ned Goold Jam Fat Cat 7 pm 12:30 am • Glenn Zaleski solo Jazz at Kitano 8 pm Radegast Hall 9 pm • Rob Duguay’s Low Key Trio Turnmill NYC 11 pm • Susan Leviton Band with Michael Winograd, Carmen Staaf, David Lich • Dre Barnes Project The Garage 7 pm • Jeanne Gies with Howard Alden and Friends Joe G’s 6:30 pm ê • Les Kurtz Trio; Joonsam Lee Trio Cleopatra’s Needle 7, 11:30 pm Stephen Wise Free Synagogue 7:30 pm $15 Steve Kuhn Trio with Steve Swallow, Joey Baron • Jonathan Kreisberg Trio Bar Next Door 8:30, 10:30 pm $12 • Vincent Brown Project with Jan Kus, Elad Cohen, Vincent Brown, Antonello Parisi, Birdland 8:30, 11 pm $30-40 • Jed Levy and Friends Vino di Vino Wine Bar 7:30 pm (ALSO FRI) Joseph Han, Joochan Im, Brevan Hampden êEnrico Pieranunzi Trio with Scott Colley, Joe LaBarbera • Ron McClure solo piano McDonald’s 12 pm (ALSO SAT) Somethin’ Jazz Club 9 pm $10 Village Vanguard 8:30, 10:30 pm $25 • David Ostwald’s Louis Armstrong Centennial Band Birdland 5:30 pm $20 • Nicholas Wight Trio Tomi Jazz 8 pm êEric Harland’s Voyager with Jason Moran, Julian Lage, Walter Smith III, • Saul Rubin Vocalist Series Zeb’s 8 pm $10 • Pete Davenport Jules Bistro 8:30 pm Harish Raghavan Blue Note 8, 10:30 pm $25 • Stan Rubin Orchestra Swing 46 8:30 pm • Gene Segal; aStridd Duo Silvana 6, 9 pm • Antonio Ciacca Band Measure 8 pm • Eve Silber Arthur’s Tavern 7 pm • Brianna Thomas Quartet Smoke 11:30 pm • Eric DiVito Trio with Corcoran Holt, Nadav Snir-Zelniker • Paul Jones Silvana 6 pm • Reggie Woods with Greg Lewis Organ Monk Sapphire NYC 8 pm The Garage 7 pm • Carol Fredette/Tedd Firth Saint Peter’s 1 pm $10 • Bill Wurtzel/Mike Gari American Folk Art Museum Lincoln Square 2 pm THURSDAYS • Michael Blake Bizarre Jazz and Blues Band Bizarre 9 pm • Sedric Choukroun Brasserie Jullien 7:30 pm (ALSO FRI, SAT) • Lucy Galliher Singers Session Zinc Bar 6 pm $5 • Gregory Generet Smoke 7, 9, 10:30 pm • and the Harlem Night Songs Big Band MIST 9, 10:30 pm $15 • Jazz Jam Session American Legion Post 7:30 pm Academy Records • Kazu Trio Cleopatra’s Needle 11:30 pm • Lapis Luna Quintet The Plaza Hotel Rose Club 8:30 pm • Curtis Lundy Jam Session Shell’s Bistro 9 pm • Metro Room Jazz Jam with guests Metropolitan Room 11 pm $10 & CDs • Eri Yamamoto Trio Arthur’s Tavern 7 pm (ALSO FRI-SAT) FRIDAYS • Scot Albertson Parnell’s 8 pm (ALSO SAT) • The Crooked Trio: Oscar Noriega, Brian Drye, Ari Folman-Cohen Barbès 5 pm • Day One Trio Prime and Beyond Restaurant 9 pm (ALSO SAT) • Lisa DeSpain solo Machiavelli’s 8 pm • Gerry Eastman Quartet Williamsburg Music Center 10 pm Cash for new and used Join us for... • Finkel/Kasuga/Tanaka/Solow San Martin Restaurant 12 pm $10 • Patience Higgins & The Sugar Hill Quartet Smoke 11:45 pm • Tommy Igoe Birdland Big Band Birdland 5:15 pm $25 compact discs,vinyl Ouse • Sandy Jordan and Friends ABC Chinese Restaurant 8 pm Open H • Frank Owens Open Mic Pearl Studios 7:30 pm $10 • Richard Russo Quartet Capital Grille 6:30 pm records, blu-rays and • Bill Saxton and the Harlem Bebop Band Bill’s Place 9, 11 pm $15 (ALSO SAT) nYC • Joanna Sternberg Trio Cleopatra’s Needle 12:30 am dvds. & Jam - • UOTS Jam Session University of the Streets 11:30 pm $5 (ALSO SAT) SATURDAYS • Avalon Jazz Quartet Matisse 8 pm • The Candy Shop Boys Duane Park 8, 10:30 pm • Barbara Carroll/Jay Leonhart Duo Birdland 6 pm $35 We buy and sell all Tues, april 8 • Michika Fukumori Trio Cleopatra’s Needle 9 pm • Joonsam Lee; Diego Voglino Jules Bistro 12, 8:30 pm • Curtis Lundy Trio with guests Shell’s Bistro 9 pm genres of music. • Johnny O’Neal Smoke 11:45 pm 7:30-11:00pm • Skye Jazz Trio Jack 8:30 pm SUNDAYS All sizes of collections • Avalon Jazz Quartet The Lambs Club 11 am Jazz at Kitano • Birdland with Carolyn Leonhart Birdland 6 pm $25 • Satish Robertson; Renaud Penant Jules Bistro 12, 8:30 pm welcome. Park Ave. & E. 38 St. • The Candy Shop Boys The Rum House 9:30 pm • Creole Cooking Jazz Band; Stew Cutler and Friends Arthur’s Tavern 7, 10 pm Faculty concert • Isaac Darch Group Basik Bar 7 pm • Marc Devine Trio TGIFriday’s 6 pm & open Jam! • Ear Regulars with Jon-Erik Kellso The Ear Inn 8 pm • Marjorie Eliot/Rudell Drears/Sedric Choukroun Parlor Entertainment 4 pm For large collections, Join Artistic/Music Director • Ken Foley/Nick Hempton Quintet Smithfield 8:30 pm Nilson Matta & Faculty • Joel Forrester solo Grace Gospel Church 11 am please call to set up an • Nancy Goudinaki Trio Kellari Taverna 12 pm Bring Your Instruments! • Broc Hempel/Sam Trapchak/Christian Coleman Trio Dominie’s Astoria 9 pm RSVP: [email protected] • Bob Kindred Group; Trio Café Loup 12:30, 6:30 pm appointment. • Ras Chemash Lamed Vocal Jam Session University of the Streets 6:45 pm $10 2014 Bar HarBor Faculty: • Peter Leitch Duo Walker’s 8 pm • Peter Mazza Trio Bar Next Door 8, 10 pm $12 Dave Stryker, Arturo O’Farrill, Claudio Roditi, Harry Allen, • Arturo O’Farrill Afro Latin Jazz Orchestra Birdland 9, 11 pm $30 Café, Fernando Saci, Matt King, Célia Vaz, Nilson Matta • Earl Rose solo; Eric Yves Garcia Trio Bemelmans Bar 5:30, 9 pm • Lu Reid Jam Session Shrine 4 pm Alice Schiller, Executive Director • Annette St. John; Roxy Coss Smoke 11:30 am 11:30 pm Open 7 days a week 11-7 • Ryo Sasaki Trio Analogue 7 pm [email protected] • Sara Serpa/André Matos Pão Restaurant 2 pm Luisa Matta, Director of Production, Brazil • Corin Stiggall and Associates Speedy Romeo 12 pm 12 W. 18th Street NY, NY 10011 [email protected] • Milton Suggs Cávo 7 pm • Terry Waldo; Brandon Lewis/Renee Cruz Fat Cat 6 pm 12:30 am • Brian Woodruff Jam Blackbird’s 9 pm 212-242-3000 SambameetsJazz.com 888.435.4003

40 APRIL 2014 | THE NEW YORK CITY JAZZ RECORD CLUB DIRECTORY

• 55Bar 55 Christopher Street (212-929-9883) • For My Sweet Restaurant 1103 Fulton Street at Claver Place • Perez Jazz 71 Ocean Parkway Subway: F, G to Fort Hamilton Parkway Subway: 1 to Christopher Street www.55bar.com (718-857-1427) Subway: C to Franklin Avenue • The Plaza Hotel Rose Club Fifth Avenue at Central Park South • 61 Local 61 Bergen Street • Frank’s Cocktail Lounge 660 Fulton St. at Lafayette, Brooklyn (212-759-3000) Subway: N, Q, R to Fifth Avenue www.fairmont.com (347-763-6624) Subway: F, G to Bergen Street www.61local.com (718-625-9339) Subway: G to Fulton Street • Prime and Beyond Restaurant 90 East 10th Street • ABC Chinese Restaurant 34 Pell Street • Freddy’s Backroom 627 5th Avenue, Brooklyn (718-768-0131) (212-505-0033) Subway: 6 to Astor Place www.primeandbeyond.com (212-346-9890) Subway: J to Chambers Street Subway: R to Prospect Avenue www.freddysbar.com/events • Prospect Range 1226 Prospect Avenue • ABC No-Rio 156 Rivington Street (212-254-3697) • The Garage 99 Seventh Avenue South (212-645-0600) Subway: F to Fort Hamilton Parkway www.prospectrange.com Subway: J,M,Z to Delancey Street www.abcnorio.org Subway: 1 to Christopher Street www.garagerest.com • Queensborough Performing Arts Center 222-05 56 th Avenue • Abyssinian Baptist Church 132 Odell Clark Place/W. 138th Street • Ginny’s Supper Club at Red Rooster Harlem 310 Malcolm X Boulevard (718-631-6311) Subway 7 to Main Street www.qcc.cuny.edu (212-862-5959) Subway: 2, 3 to 135th Street www.abyssinian.org (212-792-9001) Subway: 2, 3 to 125th Street www.ginnyssupperclub.com • Radegast Hall 113 North 3rd Street • American Folk Art Museum 45 W 53rd Street (212-265-1040) • Goodbye Blue Monday 1087 Broadway, Brooklyn (718-453-6343) (718-963-3973) Subway: L to Bedford Avenue www.radegasthall.com Subway: E to 53rd Street www.folkartmuseum.org Subway: J, M train to Myrtle Avenue www.goodbye-blue-monday.com • Rockwood Music Hall 196 Allen Street (212-477-4155) • American Legion Post 248 West 132nd Street • Grand Victory 245 Grand Street (347-529-6610) Subway: F, V to Second Avenue www.rockwoodmusichall.com (212-283-9701) Subway: 2, 3 to 135th Street www.legion.org Subway: G to Metropolitan Avenue www.thegrandvictory.com • Rose Hall Broadway at 60th Street, 5th floor (212-258-9800) • An Beal Bocht Café 445 W. 238th Street • Grace Gospel Church 589 E. 164th Street Subway: 1, 2, 3, 9, A, C, E, B, D, F to Columbus Circle www.jalc.org Subway: 1 to 238th Street www.LindasJazzNights.com (718-328-0166) Subway: 2, 5 to Prospect Avenue • Roulette 509 Atlantic Avenue • Analogue 19 West 8th Street (212-432-0200) • The Greene Space 44 Charlton Street (212-219-8242) Subway: 2, 3, 4, 5 to Atlantic Avenue www.roulette.org Subway: A, B, C, D, E, F, M to W. 4th Street www.analoguenyc.com (646-829-4400) Subway: 1 to Houston Street www.thegreenespace.org • Rubin Museum 150 W. 17th Street (212-620-5000) • Alwan for the Arts 16 Beaver Street, 4th floor • Greenwich House Music School 46 Barrow Street Subway: A, C, E to 14th Street www.rmanyc.org (646-732-3261) Subway: 4, 5 to Bowling Green www.alwanforthearts.org (212-242-4770) Subway: 1 to Christopher Street www.greenwichhouse.org • The Rum House 228 W. 47th Street • The Appel Room Broadway at 60th Street, 5th floor (212-258-9800) • Highline Ballroom 431 W 16th Street (646-490-6924) Subway: N, Q, R to 49th Street www.edisonrumhouse.com Subway: 1, 2, 3, 9, A, C, E, B, D, F to Columbus Circle www.jalc.org (212-414-5994) Subway: A, C, E to 14th Street www.highlineballroom.com • Saint Peter’s Church 619 Lexington Avenue at 54th Street • Arthur’s Tavern 57 Grove Street (212-675-6879) • Ibeam Brooklyn 168 7th Street between Second and Third Avenues (212-935-2200) Subway: 6 to 51st Street www.saintpeters.org Subway: 1 to Christopher Street www.arthurstavernnyc.com Subway: F to 4th Avenue www.ibeambrooklyn.com • San Martin Restaurant 143 E. 49 Street between Lexington and Park • Arturo’s 106 W. Houston Street (at Thompson Street) • Iguana 240 West 54th Street (212-765-5454) Avenues (212-832-0888) Subway: 6 to 51st Street (212-677-3820) Subway: A, B, C, D, E, F, M to W. 4th Street Subway: B, D, E, N, Q, R to Seventh Avenue www.iguananyc.com • Sapphire NYC 333 E. 60th Street (212-421-3600) • Austrian Cultural Forum 11 East at Madison Avenue • Incubator Arts Project 131 East 10th Street (at Second Avenue) Subway: 4, 5, 6, N, Q, R to 59th Street www.nysapphire.com (212-319-5300) Subway: 6 to 51st Street www.acfny.org (212- 674-6377) Subway: 6 to Astor Place • The Schomburg Center 515 Macolm X Boulevard (212-491-2200) • BAMCafé 30 Lafayette Ave at Ashland Place • Indian Road Café 600 West 218th Street @ Indian Road Subway: 2, 3 to 135th Street www.nypl.org/research/sc/sc.html (718-636-4139) Subway: M, N, R, W to Pacific Street; (212-942-7451) Subway: 1 to 215th Street www.indianroadcafe.com • SEEDS 617 Vanderbilt Avenue Subway: 2, 3, 4 to Grand Army Plaza Q, 1, 2, 4, 5 to Atlantic Avenue www.bam.org • Interchurch Center 475 Riverside Drive at 120th Street www.seedsbrooklyn.org • BB King’s Blues Bar 237 W. 42nd Street (212-997-2144) Subway: 1 to 116th Street • ShapeShifter Lab 18 Whitwell Place Subway: 1, 2, 3, 7 to 42nd Street/Times Square www.bbkingblues.com • Inwood Local 4957 Broadway (646-820-9452) Subway: R to Union Street www.shapeshifterlab.com • BRIC House Stoop 647 Fulton Street (212-544-8900) Subway: 1 to 207th Street www.inwoodlocal.com • Shell’s Bistro 2150 5th Avenue (718-683-5600) Subway: 2, 3, 4, 5 to Nevins Street www.bricartsmedia.org • Iridium 1650 Broadway at 51st Street (212-582-2121) (212) 234-5600 Subway: 2, 3 to 135th Street www.shellsbistro.com • Bflat 277 Church Street (between Franklin and White Streets) Subway: 1,2 to 50th Street www.theiridium.com • Showman’s 375 W. 125th Street at Morningside) (212-864-8941) Subway: 1, 2 to Franklin Streets • Issue Project Room 22 Boerum Place (718-330-0313) Subway: A, B, C, D to 125th Street www.showmansjazz.webs.com • Bar Chord 1008 Cortelyou Road Subway: 2, 3, 4, 5 to Borough Hall www.issueprojectroom.org • Shrine 2271 Adam Clayton Powell Boulevard (212-690-7807) (347-240-6033) Subway: Q to Cortelyou Road www.barchordnyc.com • JACK 505 Waverly Avenue (718-388-2251) Subway: B, 2, 3 to 135th Street www.shrinenyc.com • Bar Next Door 129 MacDougal Street (212-529-5945) Subway: C to Clinton-Washington Avenue www.jackny.org • Silent Barn 603 Bushwick Avenue Subway: A, B, C, D, E, F, M to W. 4th Street www.lalanternacaffe.com • Jack 80 University Place Subway: 4, 5, 6, N, R to 14th Street Subway: J, M, Z to Myrtle Avenue www.silentbarn.org • Barbès 376 9th Street at 6th Avenue, Brooklyn (718-965-9177) • Jazz 966 966 Fulton Street • Silvana 300 West 116th Street Subway: F to 7th Avenue www.barbesbrooklyn.com (718-638-6910) Subway: C to Clinton Street www.jazz966.com (646-692-4935) Subway: B, C, to 116th Street • Bemelmans Bar 35 E. 76th Street (212-744-1600) • Jazz at Kitano 66 Park Avenue at 38th Street (212-885-7000) • SingleCut Beersmiths 19-33 37th Street, Astoria (718-606-0788) Subway: 6 to 77th Street www.thecarlyle.com Subway: 4, 5, 6 to Grand Central www.kitano.com Subway: N, Q to Astoria-Ditmars Boulevard www.singlecutbeer.com • Bill’s Place 148 W. 133rd Street (between Lenox and 7th Avenues) • The Jazz Gallery 1160 Broadway, 5th floor (212-242-1063) • Sistas’ Place 456 Nostrand Avenue at Jefferson Avenue, Brooklyn (212-281-0777) Subway: 2, 3 to 125th Street Subway: N, R to 28th Street www.jazzgallery.org (718-398-1766) Subway: A to Nostrand Avenue www.sistasplace.org • Birdland 315 W. 44th Street (212-581-3080) • Jazz Standard 116 E. 27th between Park and Lexington Avenue • Smalls 183 W 10th Street at Seventh Avenue (212-252-5091) Subway: A, C, E, to 42nd Street www.birdlandjazz.com (212-576-2232) Subway: 6 to 28th Street www.jazzstandard.net Subway: 1,2,3,9 to 14th Street www.smallsjazzclub.com • Bizarre 12 Jefferson Street Subway: J, M, Z to Myrtle Avenue • Joe G’s 244 W. 56th Street (212-765-3160) • Smithfield 215 West 28th Street www.facebook.com/bizarrebushwick Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle (212-564-2172) Subway: 1 to 28th Street www.smithfieldnyc.com • Blackbird’s 41-19 30th Avenue (718-943-6898) • Joe’s Pub 425 Lafayette Street (212-539-8770) • Smoke 2751 Broadway between 105th and 106th Streets Subway: R to Steinway Street www.blackbirdsbar.com Subway: N, R to 8th Street-NYU; 6 to Astor Place www.joespub.com (212-864-6662) Subway: 1 to 103rd Street www.smokejazz.com • Blue Note 131 W. 3rd Street at 6th Avenue (212-475-8592) • Jules Bistro 60 St Marks Place • Somethin’ Jazz Club 212 E. 52nd Street, 3rd floor (212-371-7657) Subway: A, B, C, D, E, F, M to W. 4th Street www.bluenotejazz.com (212-477-5560) Subway: 6 to Astor Place www.julesbistro.com Subway: E to Lexington Avenue-53rd Street www.somethinjazz.com/ny • Brandy Library 25 N. Moore Street • Kellari Taverna 19 W. 44th Street (212-221-0144) • Spectrum 121 Ludlow Street, 2nd floor Subway: F to Delancey Street (212-226-5545) Subway: 1 to Franklin Street Subway: B, D, F, M, 7 to 42nd Street-Bryant Park www.kellari.us www.spectrumnyc.com • Brecht Forum 388 Atlantic Avenue (212-242-4201) • The Kitchen 512 W. 19th Street • Speedy Romeo 376 Classon Ave (718-230-0061) Subway: A, C, G to Hoyt/Schermerhorn Streets www.brechtforum.org (212-255-5793) Subway: A, C, E to 23rd Street www.thekitchen.org Subway: G to Bedford-Nostrand Avenues www.speedyromeo.com • Brooklyn Center for the Performing Arts 2900 Campus Road • Klavierhaus 549 W. 52nd Street, 7th Floor (212-245-4535) • Stephen Wise Free Synagogue 30 W. 68th Street Subway: 5 to Flatbush Avenue - Brooklyn College www.brooklyncenter.org Subway: C, E to 50th Street www.klavierhaus.com (212-877-4050) Subway: 1 to 66th Street www.swfs.org • Brooklyn Conservatory of Music 58 Seventh Avenue • Knickerbocker Bar and Grill 33 University Place (212-228-8490) • The Stone Avenue C and 2nd Street Subway: F to Seventh Avenue, N, R to Union Street www.bqcm.org Subway: N, R to 8th Street-NYU www.knickerbockerbarandgrill.com Subway: F to Second Avenue www.thestonenyc.com • Brooklyn Historical Society 128 Pierrepont Street (718-222-4111) • Knitting Factory 361 Metropolitan Avenue • Strand Bistro 33 West 37th Street (212-584-4000) Subway: 2, 3, 4, 5 to Borough Hall www.brooklynhistory.org (347-529-6696) Subway: L to Lorimer Street www.knittingfactory.com Subway: 7, B, D, F, M to 42nd Street-Bryant Park www.thestrandbistro.com • Broadway Thai 241 West 51st Street • Korzo 667 5th Avenue, Brooklyn (718-285-9425) • SubCulture 45 Bleecker Street (212-533-5470) (212-226-4565) Subway: 1, C, E to 50th Street www.tomandtoon.com Subway: R to Prospect Avenue www.konceptionsmusicseries.wordpress.com Subway: 6 to Bleecker Street www.subculturenewyork.com • Café Carlyle 35 E. 76th Street (212-744-1600) • The Lambs Club 132 W. 44th Street • Swing 46 349 W. 46th Street (646-322-4051) Subway: 6 to 77th Street www.thecarlyle.com 212-997-5262 Subway: A, C, E, to 42nd Street www.thelambsclub.com Subway: A, C, E to 42nd Street www.swing46.com • Café Loup 105 W. 13th Street between Sixth and Seventh Avenues • Launch Pad Gallery 721 Franklin Avenue, Brooklyn • Symphony Space Leonard Nimoy Thalia and Peter Jay Sharp Theatre (212-255-4746) Subway: F to 14th Street www.cafeloupnyc.com (718-928-7112) Subway: S to Park Place www.brooklynlaunchpad.org 2537 Broadway at 95th Street (212-864-5400) • Caffe Vivaldi 32 Jones Street between Bleecker and W. 4th Streets • Le Cirque Café One Beacon Court, 151 East 58th Street (212-644-0202) Subway: 1, 2, 3, 9 to 96th Street www.symphonyspace.org Subway: A, B, C, D, E, F, Q, V to W. 4th Street-Washington Square Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.lecirque.com • Tea Lounge 837 Union Street, Brooklyn www.caffevivaldi.com • Le Poisson Rouge 158 Bleecker Street (212-228-4854) (718-789-2762) Subway: M, R to Union Street • Cameo Gallery 93 N. 6th Street Subway: L to Bedford Avenue Subway: A, B, C, D, E, F, V to W. 4th Street www.lepoissonrouge.com • Tenri Cultural Institute 43A West 13th Street between Fifth and Sixth • Capital Grille 120 Broadway • Legion Bar 790 Metropolitan Avenue Avenues Subway: F to 14th Street (212-374-1811) Subway: 2, 3, 4, 5 to Wall Street www.thecapitalgrille.com (718-387-3797) Subway: L to Graham Avenue www.legionbrooklyn.com • Terraza 7 40-19 Gleane Street • The Carlyle 35 E. 76th Street (212-744-1600) • Local 802 322 W. 48th Street between Eighth and Ninth Avenues (718-803-9602) Subway: 7 to 82nd Street/Jackson Heights Subway: 6 to 77th Street www.thecarlyle.com (212-245-4802) Subway: C to 50th Street www.jazzfoundation.org www.terrazacafe.com • Cassa Hotel and Residences 70 W. 45th Street, 10th Floor Terrace • L’ybane 709 8th Avenue (212-582-2012) • Tomi Jazz 239 E. 53rd Street (212-302-87000 Subway: B, D, F, 7 to Fifth Avenue www.cassahotelny.com Subway: A, C, E to 42nd Street-Port Authority www.lybane.com (646-497-1254) Subway: 6 to 51st Street www.tomijazz.com • Cávo 42-18 31st Avenue, Astoria • McDonald’s 160 Broadway between Maiden Lane and Liberty Street • Tony Bennett Concert Hall at Frank Sinatra School of the Arts 30-20 (718-721-1001) Subway: M, R, to Steinway Street www.cavoastoria.com (212-385-2063) Subway: 4, 5 to Fulton Street www.mcdonalds.com Thomson Avenue, Queens Subway: 7 to 33rd Street • Charley O’s 1611 Broadway at 49th Street • Machiavelli’s 519 Columbus Avenue • Town Hall 123 W. 43rd Street (212-997-1003) (212-246-1960) Subway: N, R, W to 49th Street (212-724-2658) Subway: B, C to 86th Street www.machiavellinyc.com Subway: 7, B, D, F, M to 42nd Street-Bryant Park www.the-townhall-nyc.org • Chez Lola 387 Myrtle Avenue, Brooklyn (718-858-1484) • Manhattan Inn 632 Manhattan Avenue (718-383-0885) • Tribeca Performing Arts Center 199 Chambers Street Subway: C to Clinton-Washington Avenues www.bistrolola.com Subway: G to Nassau Avenue www.themanhattaninn.com (212-220-1460) Subway: A, 1, 2, 3, 9 to Chambers Street • Chez Oskar 211 Dekalb Ave, Brooklyn (718-852-6250) • Manhattan School of Music 120 Claremont Avenue www.tribecapac.org Subway: C to Lafayette Avenue www.chezoskar.com (212-749-2802, ext. 4428) Subway: 1 to 116th Street www.msmnyc.edu • Turnmill NYC 119 East 27th Street • Church For All Nations 417 West 57th Street between 9th & 10th Avenues • Matisse 924 Second Avenue (646-524-6060) Subway: 6 to 27th Street www.turnmillnyc.com Subway: 1, A, B, C, D to Columbus Circle (212-546-9300) Subway: 6 to 51st Street www.matissenyc.com • Two Steps Down Restaurant 240 Dekalb Avenue • Classon Social Club 807 Classon Avenue • Measure 400 Fifth Avenue (212-695-4005) Subway: B, D, F, M to 34th Street Subway: G to Clinton-Washington Avenues (718-484-4475) Subway: 2, 3 to Eastern Parkway www.theclasson.com www.langhamplacehotels.com www.twostepsdownrestaurant.com • Claver Place Subway: C to Franklin Avenue • Merkin Concert Hall 129 W. 67th Street (212-501-3330) • University of the Streets 130 E. 7th Street • Clemente Soto Velez Cultural Center 107 Suffolk Street Subway: 1 to 66th Street-Lincoln Center www.kaufman-center.org (212-254-9300) Subway: 6 to Astor Place www.universityofthestreets.org Subway: F, J, M, Z to Delancey Street www.csvcenter.com • Metropolitan Room 34 W. 22nd Street (212-206-0440) • The Village Lantern 167 Bleecker Street • Cleopatra’s Needle 2485 Broadway (212-769-6969) Subway: N, R to 23rd Street www.metropolitanroom.com (212-260-7993) Subway: A, B, C, D, E, F, M to W. 4th Street Subway: 1, 2, 3 to 96th Street www.cleopatrasneedleny.com • Minton’s Playhouse 206 West 118th Street (212-243-2222) • Village Vanguard 178 Seventh Avenue South at 11th Street • Cornelia Street Café 29 Cornelia Street Subway: B, C to 116th Street www.mintonsharlem.com (212-255-4037) Subway: 1, 2, 3 to 14th Street www.villagevanguard.com (212-989-9319) Subway: A, B, C, D, E, F, M to W. 4th Street • MIST - My Image Studios 40 West 116th Street • Vino di Vino Wine Bar 29-21 Ditmars Boulevard, Queens www.corneliastreetcafé.com Subway: 2, 3 to 116th Street (718-721-3010) Subway: N to Ditmars Blvd-Astoria • The Counting Room 44 Berry Street (718-599-1860) • Mona’s 224 Avenue B Subway: L to First Avenue • Vodou Bar 95 Halsey Street Subway: L to Bedford Avenue www.thecountingroombk.com • NYC Baha’i Center 53 E. 11th Street (212-222-5159) (347-405-7011) Subway: A, C to Nostrand Avenue www.vodoubar.com • Dizzy’s Club Broadway at 60th Street, 5th Floor (212-258-9800) Subway: 4, 5, 6, N, R to 14th Street-Union Square www.bahainyc.org • Walker’s 16 North Moore Street (212-941-0142) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.jalc.org • Neighborhood Church of Greenwich Village 269 Bleecker Street Subway: A, C, E to Canal Street • Dominie’s Astoria 34-07 30th Avenue Subway: N, Q to 30th Avenue (212-691-1770) Subway: A, B, C, D, E, F, V to W. 4th Street • Waltz-Astoria 23-14 Ditmars Boulevard (718-95-MUSIC) • Downtown Music Gallery 13 Monroe Street (212-473-0043) • New School Arnhold Hall 55 West 13th Street Subway: N, R to Ditmars Blvd-Astoria www.Waltz-Astoria.com Subway: F to East Broadway www.downtownmusicgallery.com (212-229-5600) Subway: F, V to 14th Street www.newschool.edu • Way Station 683 Washington Avenue (917-279-5412) • The Drawing Room 56 Willoughby Street #3 (917-648-1847) • New York Aquarium 602 Surf Avenue (718-265-3474) Subway: A to Clinton-Washington Avenues; 2, 3, 4 to Brooklyn Museum; Subway: A, C, F to Jay Street/Metrotech www.drawingroommusic.com Subway: F, Q to W. 8th Street-NY Aquarium www.nyaquarium.com Q to Seventh Avenue www.waystationbk.blogspot.com • Drom 85 Avenue A (212-777-1157) • Nino’s Tuscany 117 W. 58th Street (212-757-8630) • The West End Lounge 955 West End Avenue at West 107th Street Subway: F to Second Avenue www.dromnyc.com Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.ninostuscany.com (212-531-4759) Subway: 1 to 110th Street www.thewestendlounge.com • Dweck Center at Brooklyn Public Library Central Branch • North Square Lounge 103 Waverly Place (212-254-1200) • Whole Foods Midtown Eastside 226 E. 57th Street, 2nd floor Subway: 2, 3 to Grand Army Plaza; Q to 7th Avenue Subway: A, B, C, E, F to West 4th Street www.northsquareny.com (646-497-1222) Subway: E, M to Lexington Avenue/53 Street • The Ear Inn 326 Spring Street at Greenwich Street (212-246-5074) • Nuyorican Poets Café 236 E. 3rd Street between Avenues B and C • WhyNot Jazz Room 14 Christopher Street Subway: C, E to Spring Street www.earinn.com (212-505-8183) Subway: F, V to Second Avenue www.nuyorican.org (917-428-4575) Subway: 1 to Christopher Street • El Taller LatinoAmericano 2710 Broadway (at 104th Street - 3rd floor) • Pão Restaurant 322 Spring Street • Williamsburg Music Center 367 Bedford Avenue (212-665-9460) Subway: 1 to 103rd Street (212-334-5464) Subway: C, E to Spring Street www.paonewyork.com (718-384-1654) Subway: L to Bedford Avenue • Fat Cat 75 Christopher Street at 7th Avenue (212-675-6056) • Parlor Entertainment 555 Edgecombe Ave. #3F (212-781-6595) • York College (CUNY) 94-20 Guy R. Brewer Blvd., Queens Subway: 1 to Christopher Street/Sheridan Square www.fatcatmusic.org Subway: C to 155th Street www.parlorentertainment.com Subway: E to Jamaica Center www.york.cuny.edu • The Fifth Estate 506 5th Avenue, Brooklyn • Parnell’s 350 East 53rd Street #1(212-753-1761) • Zankel Hall 881 Seventh Avenue at 57th Street (212-247-7800) (718-840-0089) Subway: F to 4th Avenue www.fifthestatebar.com Subway: E, M to Lexington Avenue/53 Street www.parnellsny.com Subway: N, Q, R, W to 57th Street www.carnegiehall.org • The Firehouse Space 246 Frost Street • Paul Hall 155 W. 65th Street • Zeb’s 223 W. 28th Street Subway: L to Graham Avenue www.thefirehousespace.org (212-769-7406) Subway: 1 to 66th Street www.juilliard.edu 212-695-8081 Subway: 1 to 28th Street www.zebulonsoundandlight.com • Flushing Town Hall 137-35 Northern Boulevard, Flushing • Pearl Studios 500 8th Avenue • Zinc Bar 82 W. 3rd Street (212-477-8337) (718-463-7700) Subway: 7 to Main Street www.flushingtownhall.org (212-904-1850) Subway: A, C, E to 34th Street www.pearlstudiosnyc.com Subway: A, B, C, D, E, F, M to W. 4th Street www.zincbar.com

THE NEW YORK CITY JAZZ RECORD | APRIL 2014 41 (INTERVIEW CONTINUED FROM PAGE 6) playing seven-string guitars. He remarked, “We never heard one playback until some time after the session. day to day. It can be memories, it can be images, it can There was a lot of fire in it.” be multiple references. It’s moving constantly. In a Pianist David Hazeltine, who recently released the way, no different than nature. In fact, the result will all trio album Impromptu on the label, praised Chesky’s be influenced by nature. approach. “Over the years, he’s presented me with some very interesting and musically challenging ideas TNYCJR: Are there producers/engineers who you for recording projects, like playing the Jobim Songbook especially learned from, either through working with with a swinging jazz feeling or recording jazz them or listening to their work? arrangements/interpretations of popular classical pieces... working on these various projects with him BL: In the last 10-20 years, I felt that hip-hop producers has exposed me to a whole other set of listeners, many took the most risks, experimented the most and took of whom may not have known about me otherwise.” chances, sometimes with very unusual results. As far Guitarist Larry Coryell is enthusiastic about as names, past and present, there’s many, many to say working with the label: “I met David through my good - Lee “Scratch” Perry, George Martin. In current times, colleague and friend . I was immediately Kanye West, RZA and on and on. Everything has some impressed by David’s remarkable talents. My first value in terms of influence and nothing should be recording with them featured my family band CD, really overlooked. with me, my sons Murali and Julian, plus Brian Torff and . David worked the deal out TNYCJR: Likewise, as a bassist are there musicians with my boys’ mother, Julie, and we started organizing you would point to as being particularly inspirational? the music for the date. ...None of us had recorded in I hear some Bootsy in the deepness and richness of this manner before, without the fallback, lazy-inducing your sound but that may be me projecting. How did multi-track with overdub options.” Yet Coryell didn’t you arrive at such a distinctive sound? hear the finished product right away. “Years later after this first recording with my boys, I heard the CD just BL: As far as bassists being influential, there’s so many. before I went on stage for a West Coast gig. I was And again, everyone has something to say, anywhere flabbergasted at the incisiveness of the sound. There from virtuoso players to punk rock musicians or non- had been no mix, it was simply what we played with musicians, but the list is big and it’s all hybrid. You the mics so skillfully placed by David. David’s know, these influences that you experience over long revolutionary recording technique led to a Chesky periods of time, some names, if I were just to say 100 Records sound that I came back to repeatedly, especially people, I’ll be leaving out some, but the obvious: Doug with the records I did with Lenny White and Victor Rauch, Chuck Rainey, Duck Dunn, “Family Man” Bailey. I hear those CDs from time to time in clubs or Barrett, Robbie Shakespeare, Jaco Pastorius, Jah on the radio and I’m blown away by the uniqueness of Wobble, Bootsy Collins, Paul Chambers, Charlie the sound. Working with has been like Haden, you know, on and on. Flabba Holt, the guy in working inside a family, inputting their love of music [Martin Turner], Tim Bogert and so as well as infusing their technical expertise and many more. It’s a lot. But it’s all taking little pieces and business acumen. I’m grateful to be a part of their deep putting it together and taking it back apart, it’s all and brilliant catalogue. To call them cutting edge is recombinant. So it comes from experience. The many only the tip of the iceberg of kudos that they’ve earned SCOTT TIXIER influences come from much experience. v and will continue to earn.” v QUARTET For more information, visit mod-technologies.com. Laswell For more information, visit chesky.com. Artists performing curates a week at The Stone this month and is there Apr. this month include George Coleman at Smoke Apr. 4th-5th; 19th, 22nd, 26th and 27th. See Calendar. George Colligan at Jazz Standard Apr. 30th; Larry Coryell/ APRIL 26, 2014 Victor Bailey/Lenny White at Iridium Apr. 11th-12th; Tom Recommended Listening: Harrell at Village Vanguard Apr. 1st-6th; Louis Hayes at • Curlew - 1st Album + Live at CBGB 1980 Iridium Apr. 4th-5th and Smoke Apr. 18th-19th with WITH TONY TIXIER (DMG/ARC, 1980) Vincent Herring; David Hazeltine at Smoke Apr. 25th-26th MARCO PANASCIA • Last Exit - Köln (ITM, 1986) with Jim Rotondi and Dizzy’s Club Apr. 30th; Ari Hoenig • Painkiller - Execution Ground (Subharmonic, 1993) at Terraza 7 Apr. 2nd and Smalls Apr. 7th, 21st and 28th; ANDREW ATKINSON • Massacre - Lonely Heart (Tzadik, 2003) Javon Jackson at Village Vanguard Apr. 15th-20th; Romero • Raoul Björkenheim/Bill Laswell/Morgan Ågren - Lubambo at Zankel Hall Apr. 5th; and Steve Wilson at (Cuneiform, 2010) Smalls Apr. 17th with Ira Coleman and Jazz at Kitano Apr. • Bill Laswell - Means of Deliverance 25th with Leslie Pintchik. See Calendar. (Innerhythmic, 2012)

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though they are nothing like the compressed mp3s that provoke criticism from audiophiles. They opt for much larger WAV files. “It’s a better-sounding way to do things. A CD is a limited format; it’s 1,400 kilobytes per second. Our downloads are over 9,000 kilobytes per second, it’s super high-definition sound. We’re in the age of high-def sound and we want to exploit that. Chesky Records is like a nice restaurant, not a fast food place. If you listen to music while vacuuming or Brooklyn Bazaar SSC 1311 jogging, Chesky Records isn’t for you. Our customers in stores NOW are passionate about music.” Although the binaural process has been used exclusively in studios, Chesky envisions using it in live venues in the future. How do the artists feel about Chesky’s approach to

sunnysiderecords.com photo Ꭿ 2012 CHRIS?DRUKKER recording? Bucky Pizzarelli’s recent release Three of a Kind features him with his son John and Ed Laub

42 APRIL 2014 | THE NEW YORK CITY JAZZ RECORD IN MEMORIAM by Andrey Henkin PAUL ASH - A scion of the musical Ash family, who, along with his brother, expanded his father’s PACO DE LUCÍA - The Spanish guitarist greatly expanded the scope of his native Flamenco music, single music store into a nationwide chain, and was the husband to jazz advocate Cobi Narita and releasing dozens of albums and collaborating with fellow guitarists Larry Coryell, John McLaughlin former husband of late jazz singer Ada Moore. Ash died Feb. 4th at 84. and Al Di Meola, individually and as part of . de Lucía died Feb. 26th at 66. ALICE BABS - The Swedish singer followed up decades of European success in both the pop world RICHARD MCDONNELL - The one-time banker founded the straightahead jazz label MAXJAZZ in and jazz scene alongside Danish violinist Svend Asmussen by regular work with Duke Ellington’s 1998, originally featuring musicians from his local St. Louis area but expanding to include Carla Cook, orchestra in the ‘60s as part of his Sacred Concerts. Babs died Feb. 11th at 90. René Marie, the late Mulgrew Miller, Jeremy Pelt and , among many others, in a catalogue approaching 100 releases. McDonnell died Feb. 7th at 68. - The drummer’s break came at the 1958 Monterey Jazz Festival with and he then went on to work with the groups of Bill Barron/, , Jean-Luc Ponty, LULU REINHARDT - The guitarist was a scion of the famous Reinhardt musical family and performed , Charlie Shoemake and many others, as well as releasing albums as a leader and fronting around the world in both traditional formats and expansions of the Gypsy jazz genre, a style he called the Jazz Adoption Agency since the ‘80s. Berk died Feb. 8th at 74. Latin Swing. Reinhardt died Feb. 10th at ~62. SID CAESAR - The legendary actor, comedian and writer was a staple of movies and TV shows from TREBOR TICHENOR - The Washington University educator was an acknowledged expert in ragtime, the ‘50s onwards but got an early start as an entertainer by playing saxophone with the big bands of playing the early jazz style for decades in his native St. Louis and on his radio show, amassing a huge Shep Fields and Claude Thornhill. Caesar died Feb. 12th at 91. collection of rolls and sheet music and authoring books. Tichenor died Feb. 22nd at 74. BIRTHDAYS April 1 April 6 April 11 April 17 April 22 April 26 †John LaPorta 1902-2004 † 1924-88 †John Levy 1912-2012 Chris Barber b.1930 †Buzzy Drootin 1910-2000 †Dave Tough 1907-48 †Harry Carney 1910-74 Randy Weston b.1926 Emil Mangelsdorff b.1925 Sam Noto b.1930 Candido Camero b.1921 †Jimmy Giuffre 1921-2008 †Duke Jordan 1922-2006 †Gerry Mulligan 1927-96 Matt Lavelle b.1970 Warren Chiasson b.1934 † 1922-79 † 1924-2003 b.1947 Andre Previn b.1929 Jakob Bro b.1978 Han Bennink b.1942 †Tommy Turrentine 1928-97 †Herman Foster 1928-99 †Gil Scott-Heron 1949-2011 † 1929-95 b.1942 †Paul Chambers 1935-69 †Bill Byrne 1942-2002 Antoine Roney b.1963 † 1933-90 April 12 b.1948 Barry Guy b.1947 Axel Dörner b.1964 †Horace Tapscott 1934-99 †Johnny Dodds 1892-1940 b.1957 April 2 Manfred Schoof b.1936 †Russ Garcia 1916-2011 Sam Sadigursky b.1979 April 23 April 27 Max Greger b.1926 Gene Bertoncini b.1937 Herbie Hancock b.1940 †Jimmie Noone 1895-1944 †Connie Kay 1927-94 † 1938-61 †Noah Howard 1943-2010 Ryan Kisor b.1973 April 18 †Little Benny Harris 1919-75 †Sal Mosca 1927-2007 †Sal Nistico 1940-91 John Pizzarelli b.1960 †Tony Mottola 1918-2004 † 1920-2000 Calvin Newborn b.1933 BARRY GUY Larry Coryell b.1943 April 13 †Leo Parker 1925-62 †Bobby Rosengarden 1924-2007 Ruth Price b.1938 April 22nd, 1947 Rahsaan and Roland Barber April 7 † 1906-91 †Ken Colyer 1928-88 Bunky Green b.1935 †Freddie Waits 1943-89 The bassist is among the b.1980 †Billie Holiday 1915-59 † 1928-2012 Freddy Hill b.1932 Pierre Courbois b.1940 Scott Robinson b.1959 most important musicians to †Mongo Santamaria 1922-2003 Rusty Jones b.1932 Hal Galper b.1938 Alan Broadbent b.1947 Martin Wind b.1968 come out of the rich British April 3 † 1934-87 †Eddie Marshall 1938-2011 Susanna Lindeborg b.1952 b.1952 jazz scene of the ‘60s as well †Bill Potts 1928-2005 †Freddie Hubbard 1938-2008 Simon Spang-Hanssen b.1955 Kendra Shank b.1958 April 28 as being an acknowledged †Scott LaFaro 1936-61 † Sims 1938-2012 John Ellis b.1974 April 19 Bryan Carrott b.1959 †Russ Morgan 1904-69 and much-copied innovator †Jimmy McGriff 1936-2008 Alex von Schlippenbach b.1938 †Tommy Benford 1905-94 Chris Lightcap b.1971 †Blossom Dearie 1926-2009 on his instrument. His early † 1936-87 † 1951-2002 April 14 †Alex Hill 1906-37 Petr Cancura b.1977 †Oliver Jackson 1933-94 work was with Spontaneous b.1949 Fredrik Lundin b.1964 †Shorty Rogers 1924-94 Randy Ingram b.1978 † 1936-2012 Music Ensemble, Howard Tessa Souter b.1956 † 1925-74 April 24 Mickey Tucker b.1941 Riley’s trio and ISKRA 1903. Ali Jackson b.1976 April 8 †Monty Waters 1938-2008 April 20 †Rube Bloom 1902-76 Willie Colon b.1950 In 1972, he released the first †George Dixon 1909-94 b.1967 †Lionel Hampton 1909-2002 †Aaron Bell 1922-2003 album by his London Jazz April 4 †Carmen McRae 1922-94 Rafi Malkiel b.1972 b.1935 †Fatty George 1927-82 April 29 Composers Orchestra, a †Gene Ramey 1913-84 Paul Jeffrey b.1933 “Sonny” Brown b.1936 † 1928-2008 †Duke Ellington 1899-1974 group that was active into Buster Cooper b.1929 April 15 †Beaver Harris 1936-91 Frank Strazzeri b.1930 †Philippe Brun 1908-94 the new century and †Jake Hanna 1931-2010 April 9 †Bessie Smith 1894-1937 † 1936-2009 †Spanky DeBrest 1937-73 b.1922 presaged his most recent Hugh Masekela b.1939 †Teddy Roy 1905-66 †Charlie Smith 1927-66 b.1948 †Joe Henderson 1937-2001 Big Jay McNeely b.1927 New Orchestra. Guy is part Ole Kock Hansen b.1945 †Julian Dash 1916-74 b.1930 Avishai Cohen b.1971 †Colin Walcott 1945-84 †Ray Barretto 1929-2006 of a 30+ year trio with saxist Ray Russell b.1947 b.1945 Sy Johnson b.1930 Matt Brewer b.1983 b.1946 †Andy Simpkins 1932-99 Evan Parker and drummer b.1954 Dave Allen b.1970 †Herb Pomeroy 1930-2007 Trudy Silver b.1953 †George Adams 1940-92 and has worked Gary Smulyan b.1956 † 1935-94 April 21 †Hugh Hopper 1945-2009 with every major European Benny Green b.1963 April 10 †Johnny Blowers 1911-2006 April 25 Julius Tolentino b.1975 improviser as well as †Fess Williams 1894-1975 April 16 †Joe Dixon 1917-98 †Earl Bostic 1913-65 Americans like Cecil Taylor, April 5 †Morty Corb 1917-96 †Herbie Mann 1930-2003 b.1922 George Johnson b.1913 April 30 Bill Dixon and Marilyn † 1925-2005 †Fraser MacPherson 1928-93 Sabir Mateen b.1951 b.1932 †Ella Fitzgerald 1918-96 †Sid Weiss 1914-94 Crispell. He also has a † 1934-2000 Claude Bolling b.1930 Jukka Tolonen b.1952 † 1933-2009 †Rick Henderson 1928-2004 †Percy Heath 1923-2005 extensive duo discography Evan Parker b.1944 †Lea Barbara 1929-2011 †Esbjorn Svensson 1964-2008 Alan Skidmore b.1942 †Willis “Gator” Jackson 1932-87 †Dick Twardzik 1931-55 with Baroque violinist and Jerome Harris b.1953 Omar Sosa b.1965 Junko Onishi b.1967 †Peter Kowald 1944-2002 †Harry Miller 1941-83 Abdul Wadud b.1947 wife Maya Homburger. -AH Håkon Kornstad b.1977 Roy Assaf b.1982 Landon Knoblock b.1982 b.1957 b.1961 Russ Nolan b.1968 ON THIS DAY by Andrey Henkin

Rodgers Revisited Projections Live at the Quartier Latin Face to Face Piano Jazz with guest Cy Walter (Atlantic) (Columbia) von Schlippenbach/Johansson (FMP) Montoliu/Ørsted Pedersen (SteepleChase) Marian McPartland (Jazz Alliance) April 15th, 1956 April 15th, 1968 April 15th, 1976 April 15th, 1982 April 15th, 1993 The pianist was a fixture in some of Alto saxophonist John Handy began German pianist Alexander von Tete Montoliu was a Catalan pianist, Despite the name of her long-running the swankiest rooms in New York City his career as a leader concurrent with Schlippenbach and Swedish who first recorded as a leader in the radio program, pianist/host Marian from the late ‘30s up to his death in membership in the late ‘50s-early ‘60s percussionist Sven-Åke Johansson’s mid ‘50s. Niels-Henning Ørsted McPartland often invited other 1968. Known for his encyclopedic groups of Charles Mingus. This album musical relationship goes back to the Pedersen was a Danish bassist who got instrumentalists as guests. For this knowledge of popular music, Walter came at the end of a three-year period mid ‘60s quintet of trumpeter Manfred his start as a teenager in 1961, backing broadcast, she features guitarist Kenny was a hit with audiences and visiting with Columbia, beginning with a live Schoof and Johansson’s participation up visiting Americans as part of the Burrell, already a legend but still a luminaries. He didn’t record very LP from the Monterey Jazz Festival in Schlippenbach’s Globe Unity house band of the Jazzhus Montmartre relative youngster to her, McPartland much during his career though he did and ending with this NYC studio Orchestra. This live album from a in Copenhagen. It was there that the having begun her own career some 15 play on albums by Mabel Mercer, session. Along with Handy is his right- Berlin club was the pair’s first duo pair first worked together during the years earlier than Burrell. As was Greta Keller and Lee Wiley. Albums hand violinist Michael White, plus the release, Johansson playing accordion mid ‘60s, under various leaders. In the typical with the show’s format, the under his own name were usually solo rhythm section of Mike Nock, Bruce and singing along with his drums on a ‘70s, they made albums as a trio with pair intersperse extensive conversation affairs like this one, focusing on the Cale and Larry Hancock (White and program of one long Johansson drummer Albert ‘Tootie’ Heath but about Burrell’s long musical life with a music of famous composers, in this Nock would go on to form The Fourth original, three shorter Schlippenbach this is their first duo disc, a radio pair of Burrell solo pieces and five case the songbook of Richard Rodgers, Way) on a program of originals from pieces (including a dedication to Dudu broadcast featuring long versions of duos, mostly languorous standards both known and obscure pieces. Handy, Nock and White. Pukwana) and a pair of Monk tunes. popular jazz standards. from the Great American Songbook.

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