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Jean-Luc Ponty Tomeka Reid Reuben Wilson Paul Motian

Jean-Luc Ponty Tomeka Reid Reuben Wilson Paul Motian

JUNE 2017—ISSUE 182 YOUR FREE GUIDE TO THE NYC SCENE NYCJAZZRECORD.COM

CHRIS POTTER LIVING THE DREAM

JEAN-LUC TOMEKA REUBEN PAUL PONTY REID WILSON MOTIAN Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The Jazz Record 66 Mt. Airy Road East JUNE 2017—ISSUE 182 Croton-on-Hudson, NY 10520 Phone/Fax: 212-568-9628 New York@Night 4 Laurence Donohue-Greene: Interview : JEAN-LUC PONTY 6 by ken dryden [email protected] Andrey Henkin: [email protected] Artist Feature : 7 by clifford allen General Inquiries: [email protected] On The Cover : chris potter 8 by marilyn lester Advertising: [email protected] Encore : reuben wilson by alex henderson Calendar: 10 [email protected] VOXNews: Lest We Forget : 10 by john pietaro [email protected] LAbel Spotlight : ROPEADOPE by mark keresman US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or VOXNEWS 11 by suzanne lorge money order to the address above or email [email protected] In Memoriam Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Fred Bouchard, Festival Report Stuart Broomer, Thomas Conrad, 13 Ken Dryden, Donald Elfman, Philip Freeman, Kurt Gottschalk, Tom Greenland, Anders Griffen, CD Reviews 14 Alex Henderson, Marcia Hillman, Terrell Holmes, Robert Iannapollo, Suzanne Lorge, Mark Keresman, Miscellany 39 Marc Medwin, Ken Micallef, Russ Musto, John Pietaro, Joel Roberts, John Sharpe, Event Calendar 40 Elliott Simon, Andrew Vélez, Ken Waxman, Scott Yanow Contributing Writers Robert Bush, George Kanzler, Matthew Kassel, Marilyn Lester We have referenced poet John Donne’s 17th Century work “No Man Is an Island” in this space before but it seems like a particularly good time to revisit the concept. We are currently Contributing Photographers at the mercy of a president who can’t remember or won’t admit if he has ignored his advisers Anthony Alvarez, Bill Bungard, Caterina di Perri, Peter Gannushkin, or not, a small man who feels that he and he has the wisdom, knowledge, charisma and Rene Jakobson, Alan Nahigian, experience to solve complex issues that have befuddled generations. Another relevant quote is John Rogers, Robert I. Sutherland-Cohen Louis XV’s “Après moi, le déluge”, generally taken to mean that after the French king’s reign was over, little mattered to him; our current president’s motto instead is, “Before me, nothing Fact-checker of consequence happened”, demonstrated by his notion of historical significance in everything Nate Dorward related to him, regardless of its wild inaccuracy.

Our feature subjects have far more humility and maturity. Saxophonist Chris Potter (On The Cover), violinist Jean-Luc Ponty (Interview) and cellist Tomeka Reid (Artist Feature) all speak of the musical communities of which they were a part, of how mentorship and partnership made them the musicians they are today. The same sentiment runs through the label profile on Ropeadope Records and is implied in every CD review, every calendar listing. nycjazzrecord.com If our president wants to be an island, he should buy one and relocate there permanently.

On The Cover: Chris Potter (Bill Bungard Photography) In Correction: In last month’s crossword, Ig Henneman’s name was misspelled.

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

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

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As local spaces for experimental music dwindle, it’s Behind The Appel Room stage a huge wall of windows good to know that there is a sacred home for creativity revealed a panoramic view of Central Park South, rows in Brooklyn Heights at the First Unitarian Universalist of red and white car lights wending through the drizzly Church, a Gothic Revival structure erected in 1844. Friday night (May 5th), an apt setting for guitarist While the surroundings may change (and the context), ’s second double-set. The first section, a this vaulted and resonant building has provided the revisiting of his 1996 album Quiet, included six horns foreground for a range of auditory explorers over the (three brass, three reeds) featuring tenor saxophonist last several years, lately hosting performances curated . Scofield’s tangy tone and short, barbed by Blank Forms. May 2nd featured two particularly phrases linked into longer thematic chains, which appropriate sets utilizing far-flung instrumentation, stood in stark relief to the muted sonorities of the two beginning with the trio of Medieval flutist Norbert French horns, bass , baritone and Rodenkirchen, reed player Robbie Lee and bassist —a bit like hearing Ray Charles’ gruff baritone James Ilgenfritz. Across five pieces divided into solos, against a treacly string section or chorus. Scofield’s duos and group improvisation, Ilgenfritz’ tugged playing, always interesting, and Lovano’s brief solo harmonic resources supported false-fingered unison spots, though tasteful, lacked the inspiration that leaps and transverse elisions. Lee’s palette, in addition elevates a concert into a jazz experience, though the to Baroque and Medieval flutes, also includes closer, “Rolf and the Gang”, was certainly headed in JUN-AUG | FREE contrabass recorder, chalumeau and gemshorn, that direction as drummer , bolstered by alternately piping and globular. French conceptualist bassist , dug deeply into a swinging Jean-Luc Guionnet followed with a lengthy, multi- groove. The second section, comprising material from Sat, Jun 10, 7:00PM part work on the church’s organ. Known also as a Scofield’s 1986 album Blue Matter, recorded just after saxophonist and electronics artist, Guionnet’s use of his stint with , featured bassist Gary intervallic, twittering leaps against pillowy subtones Grainger and drummer , two of the ALICE SMITH and obsessive, glitchy cycles spoke as much to the funkiest musicians to play jazz. With on Bilal post- lineage as to the sonic architecture of keyboards, this set was definitely heavier, especially Iannis Xenakis (with whom he studied) and the during Scofield’s solos on the title track and “Trim”, Kris Bowers theatricality of Mauricio Kagel. In the darkened and where he coaxed a wide range of dynamics from his sparsely populated church, Guionnet’s cast shadows without once pushing a pedal, highlights in an Fri, Jun 23, 7:30PM were those of a scientist and sculptor. —Clifford Allen otherwise fairly straightforward set. —Tom Greenland AMERICAN EXPRESS SERIES Brooklyn Raga Massive: Coltrane Tribute O W N M U S I C . E T

Sat, Jun 24, 7:00PM BUD LIGHT MUSIC SERIES THE SOUL REBELS feat. TALIB KWELI, P e t r G a n u s h k i / D O W N T A l a n h i g PHAROAHE MONCH & Jean-Luc Guionnet @ First Unitarian Church John Scofield @ The Appel Room It’s a bit surprising that one of the foremost musician- Known for earlier work in seminal AfroCuban jazz KIRK KNIGHT scholars of ’s music, saxophonist Andrew orchestras, in the latter part of his 50-plus-year career Goapele White, was not interviewed in the recent Coltrane Chucho Valdés has performed in smaller ensembles, documentary Chasing Trane. After all, White has bringing his magnificent playing to the fore. As Natasha Diggs transcribed and published 840 Coltrane solos in part of his 75th birthday celebration tour, he opened addition to internalizing and making the legacy of the the early set at Blue Note (May 10th) with the lively late saxophonist’s ‘60s quartet music his own. White “Conga-danza”, backed by bassist Gastón Joya, Fri, Jul 7, 7:30PM celebrates his 75th birthday on Sep. 6th and started the drummer Rodney Barreto and percussionist Yaroldy party early with shows in his home city of Washington, Abreu Robles, cutting a spry figure in his florid shirt MUSIQ SOULCHILD D.C. (Apr. 26th) and at The Jazz Gallery (May 6th) with and blue beret, easily matching the younger musicians’ his longtime quartet of pianist Wade Beach, bassist considerable energy. The second number, a punto People's Champs Steve Novosel and drummer Nasar Abadey. The guajiro, combined elements of classical and folk music, program featured White originals and Real Book Valdés’ playing veering from delicate to orchestral. classics like “Afro Blue”, “Footprints” and “Theme for “Yansa” unfolded mystically over snake-charmer Thu, Jul 13, 7:30PM Ernie”, approached in harried but monstrously rattles, turning out to be a perfect contrafact for Paul compelling suites. Following an unaccompanied alto Desmond’s “Take Five”, quoted at its conclusion. BUD LIGHT MUSIC SERIES cadenza of baroque flurries and bluesy, honking “Lorena’s Tango” and “AfroComanche” contained shimmies, Abadey thundered out of the gate as White’s truly exciting piano work: zipping glissandos, hands ROBERT RANDOLPH & harmonic torrents (on tenor) and Beach’s knotty chasing hands like kittens and high, fast figures over chordal recombinations set the proceedings firmly in a rambling low lines on the former; unbroken streams of THE FAMILY BAND Trane-constructed house. But it was the clutch of elegantly crafted eighth notes (à la a Bach partita), Eric Krasno White’s “French” tunes—poised and evocative, double- and triple-time flourishes that pulled loosely drawing from classicism and stride—that showed the across the pulse but landed with drone-strike precision group’s elegant versatility before charging back in the and dense rhapsodic chord rolls on the latter. A cover direction of “Afro Blue”. Wryly pitching that he’s “the of “But Not for Me” revved up to a propulsive samba AND MORE! most voluminously self-industrialized musician” and before the set closed with the plaintive “Caridad Check out the full lineup at ensuring that all in attendance knew of his “over 2,900 Amaro”, Valdés building tastefully to a rousing climax, products and services available”, White’s occasional hands scuttling across the keys, gently returning for New York stands are an essential experience. (CA) a second solo of sweet chimes. (TG)

4 JUNE 2017 | THE NEW YORK CITY JAZZ RECORD Now that France has reaffirmed its political sanity, On the last leg of a 17-year run, The Bad Plus, soon to reed player David Murray may want to rethink his be minus a founding member in pianist , repatriation after decades abroad in , given his brought their singular brand of performance into Jazz WHAT’S NEWS native country’s current leadership. Until he does, the Standard for their penultimate New York stand. (The city will benefit from his residence, especially with original formation will finish up New Year’s Eve at The 2017 Ertegun Jazz Hall of Fame inductees have been a recent stand at Village Vanguard last month, leading Village Vanguard, after which Orrin Evans will take announced: Tito Puente, Don Redman, and McCoy Tyner, who will be celebrated in concerts at Dizzy’s Club in July. a quintet for most of the week, then augmenting it with over the piano chair). Opening its May 11th late set three horns on Saturday (May. 6th). It was a family with Iverson’s “Let Our Garden Grow”, the band’s The winners of the 21st Annual Jazz Journalists Association affair, both literally and figuratively, as Murray had his deconstructionist character was immediately on Jazz Awards have been announced and will be celebrated at a son Mingus in tow on guitar plus the fraternal rhythm display, Anderson getting things started with a folkish banquet in New York City on Jun. 6th. Major category winners section of bassist Rashaan and drummer Russell Carter bass solo, subsequently buoyed by King’s atmospheric are Lifetime Achievement in Jazz: McCoy Tyner; Musician of the to go along with old musical brothers cymbals. With the emergence of Iverson’s classically- Year: ; Up and Coming Musician of the Year: (), () and D.D. Jackson tinged melodic line, King shifted gears, briefly Joey Alexander; Composer of the Year: Ted Nash; Arranger of (piano), plus unannounced guest Jay Rodriguez (alto swinging straightahead, provoking dissonant Monkish the Year: Maria Schneider; Record of the Year: Madera Latino saxophone). It was a long set, over 70 minutes, split chords from the pianist that were met with crackling – A Perspective on the Music of Woody Shaw, Brian among only five songs, which showed how much drum rolls. Throughout the piece tempo variations and Lynch (Hollistic MusicWorks); Historical Record of the Year: Some Other Time: The Lost Session from the Black Forest, Bill soloing needed to be done on pieces by Murray, late unexpected silences gave the music a suspenseful Evans (Resonance Records); and Record Label/Platform of the friend Butch Morris and Billy Strayhorn (the latter episodic quality. King’s “Wolf Out” had Iverson’s rich Year: Resonance Records. For the complete list and to buy a quartet respite from the remaining onslaught). There harmonies out front as it moved from minimalist tickets to the banquet, visit jjajazzawards.org. was enough electricity to light up the Empire State austerity to complex counterlinearity. The group’s Building or Eiffel Tower (though Murray should have cover of “Time After Time” fragmented the song into The Sound It Out Series at Greenwich House Music School will been a sterner father and turned down his son’s amp; variant components so that at times one wondered if have a fifth anniversary fundraising concert Jun. 22nd at 7:30 often Mingus’ comping was louder than the soloists) the three men were playing the same song, a trait also pm with a program entitled “Motian in Motion”. Tickets are $30 and Ragin and Harris in particular were positively evident on Iverson’s “Do Your Sums (Die Like A Dog)”. with a post-concert wine reception. For more information, visit frothy. Blues was the language across the Anderson’s “Neptune The Planet” had an earthier facebook.com/sounditoutnyc. generations of players, whether spoken by quality while his “Seven Minute Mind” swung hard. Swing 46, the Times Square mainstay, will celebrate its 20th or . At the end of the set, the audience got The band ended its set with a cover of The Yeah Yeah anniversary with a month’s worth of special concerts running what it deserved: four-horn polyphony of World Yeahs’ “Maps”, then obliged the crowd with an encore through Jun. 30th. For more information, visit swing46.com. Saxophone Quartet-like intensity. —Andrey Henkin of Johnny Cash’s “I Walk The Line”. —Russ Musto Shenandoah University of Winchester, VA has endowed a scholarship in the name of recently departed pianist Hod O’Brien to be split equally between Music Therapy and Jazz Studies. For more information, visit su.edu.

The winners of the German Echo Jazz Prize have been announced and include Gregory Porter, Antonio Sanchez, Joachim Kühn New Trio, , Branford Marsalis Quartet, Lars Danielsson, Charlie Hunter, Cuong Vu, Daniel Erdmann, Michael Wollny, , Émile Parisien and Vincent Peirani. For more information, visit echojazz.de.

New Orleanais saxophonist Kidd Jordan and Brazilian multi- instrumentalist Hermeto Pascoal received honorary doctorates from Loyola University New Orleans and New England Conservatory, respectively, at commencements last month.

Troubling news has come out of the Mosaic Records camp. To quote the press release: “We’ve always tried to be diligent about J o h n R g e r s / j y c . m © R . I S u t h e r l a n d - C o / j z x p s i g D. D. Jackson and David Murray @ Village Vanguard The Bad Plus @ warning you when sets were running low so you wouldn’t miss out on titles that you wanted. But at this point, some sets which are temporarily out of stock may not be pressed again. We are It is one thing to be a good drummer, another to be Seated on a bar stool center stage at Iridium, his head not certain how Mosaic Records will continue going forward or a good composer. And it is still another thing to be bent slightly over his signature black Benedetto guitar, how many more sets we will be able to create and release. a confident enough drummer-composer not to play Pat Martino exuded Zen-like serenity in stark contrast We’ve got a lot of great plans but few resources.” For more throughout the entirety of one of your pieces. Harris to the electrifying sounds emanating from his information and to purchase releases, visit mosaicrecords.com. Eisenstadt gave himself the extra challenge of directing instrument. Flanked by organ player Pat Bianchi and his set-long Recent Developments suite from the back of drummer Carmen Intorre, Jr., Martino kicked off ’s Weill Music Institute has announced the launch the Greenwich House Music School stage, cueing opening night (May 4th) with his fiercely swinging of NYO Jazz, a “four-week intensive summer program designed to nurture and showcase the talents of exceptional young sections and tempo for a slightly altered ensemble than “Lean Years”. Soloing over the walking basslines American jazz instrumentalists.” Applicants must be between that found on the recently released Songlines album of pedaled by Bianchi, the guitarist improvised ages 16-19 for the program, which will begin in Summer 2018. the same name. Anna Webber (), Sara Schoenbeck harmonically sophisticated, rhythmically breathtaking Participants led by trumpeter Sean Jones will perform at (), Nate Wooley (trumpet), lines matched by his sensitive comping behind Carnegie Hall and undertake a European tour. For more (trombone) and (bass) were holdovers Bianchi’s solo. On Ivan Lins’ beautiful bossa nova information and to apply, visit carnegiehall.org/nyojazz. while Joe Daley spelled Dan Peck on tuba, Rubin “The Island” Martino’s soulful lyricism came to the Kodheli stepped in for on and fore, after which he paid homage to Winners of the 22nd Annual Essentially Ellington High School vibraphonist Patricia Brennan’s shimmery lines with an exhilarating rendition of his fellow guitarist’s Jazz Band Competition, which took place last month at Jazz at replaced the jittery of Brandon Seabrook. It was classic “Full House”. On Mingus’ “’s Lincoln Center, have been announced. Newark Academy of New the latter substitution that added the most interesting ” his notes sighed with voice-like Jersey received an Honorary Mention. For more information and quality to the ensemble, an almost electronic aspect in emotion. Then, revealing the influence of saxophonists complete list of winners, visit academy.jazz.org/ee. an impish layer running underneath the rest of the on his virtuoso artistry, Martino followed with Applications are being accepted for the 6th Annual Sarah band. Harris’ writing took full advantage of this a blistering outing on Coltrane’s “Impressions”, Vaughan International Jazz Vocal Competition. For the first unusual instrumental aggregation, whether it was in ethereal exploration of Wayne Shorter’s “Footprints” time in the competition’s history, both female and male the rounded sonority of the whole nonet or the textural and finally a hardbopping rendition of ’ applications are being accepted. For more information and to subgroupings that acted as connective tissue between “”, which would have, after more than an hour apply by Sep. 5th, visit sarahvaughancompetition.com. the suite’s sections, most notably muted trumpet and into the set, signaled the end of most jazz performances. pizzicato cello or flute and tuba like an Oxpecker bird But Martino had more music in him, stretching out June has been declared New York Music Month by the Mayor’s on a hippopotamus. Eisenstadt was understated over Bianchi’s swelling chords and Intorre’s rhythmic Office. For a complete list of events, visit nymusicmonth.nyc. throughout, laying down skeletal rhythms as structure brush work on Ellington’s “In A Sentimental Mood”, for his complex forays, his kit serving him as a then ending with his funky theme song “Mac Tough”, Submit news to [email protected] conductor’s podium. (AH) a tribute to his early boss, Brother Jack McDuff. (RM)

THE NEW YORK CITY JAZZ RECORD | JUNE 2017 5 INTERVIEW

concert [New ] with younger generation violinists. I was a few years older and about the same generation as Don “Sugarcane” Harris, with the Polish violinist Michal Urbaniak and Nipso Brantner. We were closer in style, but I was happy to do both.

JEAN-LUC TNYCJR: One of your first American concerts was at the 1967 . Have you checked to see if a tape is in Stanford University’s library?

JLP: I have a new trio in Europe with Biréli Lagrène on guitar and Kyle Eastwood on . Kyle lives in t s Carmel near Monterey and he mentioned that he saw A r PONTY (CONTINUED ON PAGE 46) double bass WoRKsHoP WitH GReG CoHen S o c h i W n t e r by ken dryden August 5 - 12, 2017 in the BeAutiful mountAins of tuscAny! Jean-Luc Ponty has been one of the great innovators of jazz it was not exactly what I heard in Miles with Coltrane, violin since the early ‘60s. The classically trained artist has Clifford Brown. So I was inspired by horn players and continued to evolve on his instrument and as a composer/ piano players and I understood right away that the arranger. Though he took time off from leading his own band violin should be used and adapted to this music with to record and tour with both and The that phrasing, inspired by horn players and that the Mahavishnu Orchestra in the early ‘70s, Ponty soon became traditional European classical way didn’t fit at all. one of the major faces of , particularly in his extensive recordings for Atlantic. Now 74 and splitting his TNYCJR: How did trio HLP come together? time between homes in France and the U.S., Ponty continues to tour the world playing with several different lineups. JLP: I was with Daniel Humair, a great drummer, and Eddy Louiss, a fantastic player and one of the pioneers Explore concepts for building strong bass skills in jazz and pop musics. Develop your sound, intonation, soloing and accompaniment skills. The New York City Jazz Record: Being the son of a on jazz organ. We were supposed to play as a quartet, Bass ensemble performance on the last day! Level - intermediate to advanced. violinist and a pianist, did you feel like a career in because Eddy was mostly playing piano and organ a Cohen has been bassist for , Ornette Coleman and Tom Waits. music was destined for you? little bit. But the bass player [Guy Pedersen] was ill, so Space is limited so apply early. Onsite housing in a lovely mountain retreat setting. Home-cooked meals provided. since Eddy was playing the organ, I said, “Why don’t Workshop price: €550 food and lodging costs range between €290-565 Write to: Renate & Andreas, Jean-Luc Ponty: It definitely influenced my choice. we have you playing the basslines on organ, until he Loc. Doccione Vallesanta 152010 Biforco (AR) I was passionate for music from the time they put the feels better to join us instead of finding a replacement Tel +39 0575 518172 / + 39 333 95 57 329 / [email protected] violin in my arms and taught me piano. I never thought for the bass player.” So we started this engagement in of doing anything else but playing music all my life. the club with Eddy on organ playing basslines with his Then I started clarinet at 11 and loved it, even more left hand and feet. We thought it was really original. than violin. I decided to dedicate my life to music When Guy felt better and came down one evening, he when I was 14. heard us and said, “Guys, this is great! Keep playing like this, there’s no need for me to join the band.” TNYCJR: What led to your transition to jazz? TNYCJR: How did your debut album come about? JLP: While I was studying classical violin at the Paris Conservatory, I made friends with guys from another JLP: The director of Philips had seen me perform in university who were not classical musicians. They had a club and liked the way I was playing and gave me my a jazz band playing once a month and were looking for first chance. At the time, there was really no bandleader, a clarinet player. I thought it would be fun to play for it was whoever got the gig or engagement who would parties and meet girls. I auditioned, they gave me a list call the other guys. Once in a while, it could be Daniel of jazz standards of the time. The band was playing Humair, another day it would be me. Each one would swing style. I played and was able to improvise right contribute equally. We were playing mostly standards, away, very strangely, on what they were playing. The although in this album there were a few originals. bandleader said, “You know nothing about jazz, but I was proud and excited to record my very first album. you have a good ear, you can improvise, so we’re I rediscovered this recording many years later. That hiring you.’’ was only a few years after I started playing jazz and I was surprised to hear the jazz phrasing. TNYCJR: Which jazz musicians inspired you? TNYCJR: How did you become involved in the Violin JLP: When I started playing jazz on clarinet, Summit concerts? I discovered the whole jazz scene at the time: Miles Davis, his quintet with John Coltrane and Wayne JLP: The first one was produced by Joachim Berendt. It Shorter after that. Then Coltrane started his own band. was only one concert. I had met Grappelli before and When I heard modern jazz, Sonny Rollins, Clifford we had been hired to play together on television in Brown, it really appealed to me because it was more France and at a jazz festival in Berlin. I had met Stuff sophisticated harmonically and in tune with what Smith because he was my favorite jazz violinist. When I was playing in classical music. Once I decided that he came to perform in Paris at a club, I went and talked jazz was my life, from the moment I was eating to him. So I was thrilled to be asked to participate in breakfast, I would put an album on and listen through this concert with these great jazz violinists. Svend the day, play along with the record. Then at night Asmussen was also a great guy. With only one concert I would go jam in clubs. I was hired later to play in jazz on tape, maybe the producer was a little bit scared that clubs. I started playing jazz on clarinet because I was it wasn’t good enough. So we recorded the whole attracted right away to modern jazz, , postbop program again in a studio, like 2 or 3 a.m. (laughs). and even more modern than that. There wasn’t a single Everyone was tired and after we listened to the jazz violinist that I could take as an inspiration. There recordings, we said, “Nah”. Even though we might were fantastic jazz violinists but they were from the have made a few mistakes during the concert, the Swing period before that: [Stéphane] Grappelli, Stuff energy was so different that they kept the live Smith, who was maybe the closest to modern jazz. Still recording. Then Berendt got the idea of doing a second

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

For more information, visit tomekareid.net. Reid is at Judson Memorial Hall Jun. 1st as part of Vision Festival, Roulette Jun. 7th and ShapeShifter Lab Jun. 12th with David Haney. See Calendar.

Recommended Listening: • ’s Loose Assembly—Last Year’s Ghost TOMEKA (482 Music, 2006) • Nicole Mitchell’s Black Earth Strings—

O W N M U S I C . E T Renegades (Delmark, 2008) • Swift/Reid/Bolognesi— Hear in Now (Rudi, 2010) • Tomeka Reid—Tomeka Reid Quartet (Thirsty Ear, 2014) • Mitchell/Reid/Reed— Artifacts (482 Records, 2015) REID • —Fly or Die (International Anthem, 2016) Anker fred mcphee Asmundsen lonBerG-holm melech P e t r G a n u s h k i / D O W N T by clifford allen AttiAs cello/noise mirrA It’s true that the category of “miscellaneous and, fortuitously, met Mitchell. “I remember being Bishop new And old nilssen-love instruments” in the jazz polls has gotten a bit too large really excited as a person of color because I was always Blonk recordinGs rempis and many committed instrumentalists deserve their the only black girl in the orchestra or one of two and AvAilABle. for own sphere and a healthy noncompetitive environment there were like five—so I said ‘I’m moving to Chicago BrötzmAnn A complete list risser in which to work. As flutist Nicole Mitchell has often when I graduate!’” dAisy of cds, lps, roeBke And downloAds, said to cellist Tomeka Reid, “you’ve gotta get that cello Mitchell encouraged her to join her ensemble as erB rosAly out of the miscellaneous category!” Reid has emerged well as the AACM and has been significant as a send A sAse GjerstAd russell as a highly individual musician over the last decade- mentor—she’s recorded on three of Mitchell’s discs, as to po Box 3057, GoleBiewski GAry, in, 46403 sAkAtA plus, subtle but with a rich tone and robust swing. The well as on three of drummer Mike Reed’s albums or emAil cello, far from being an obscure gimmick, has graced (another young and significant force in Chicago’s new GreGorio sAndAlumGmt@ shelton many an improvised music recording at least since music scene) and in a trio with both, titled Artifacts GustAfsson GmAil.com swell Fred Katz came to prominence with drummer Chico (482 Music, 2015). “I remember Nikki was trying to get Hamilton in the ‘50s and Reid, along with Hannah me to make these crazy sounds that my teachers had jAckson for upcominG vAndermArk Marshall, Okkyung Lee, Daniel Levin, Leila Bordreuil, been trying to get me not to make. And now you want jernBerG GiGs And wooley Fred Lonberg-Holm and veterans like , me to do that on stage in front of people?!? I was a very other, visit kotche fAceBook.com/ zerAnG Tristan Honsinger and Nioka Workman, has been part shy person so it still amazes and makes me laugh that lopes lonBerGholm zu of a continual stage-resetting for the instrument in I play this kind of music, because people are watching creative music. While based for some time in Chicago you compose on the spot and I’ve never been someone and a member of the city’s chapter of the Association who is like ‘look at me! look at me!’ I love being part of for the Advancement of Creative Musicians (AACM), the foundation and I like being part of making Reid has been seen more frequently in New York in something happen. I like being a part of this organism recent years through her work with reed player that is making music. You’re the root and the foundation , trumpeter Jaimie Branch and leading holding things together.” her own quartet with guitarist , bassist With new music and groups in her repertoire— Jason Roebke and drummer Tomas Fujiwara. in addition to recording and touring with her quartet, Raised in Montgomery County, Maryland, Reid Reid also co-leads the trio Hear In Now with violinist attended school in Silver Spring, where she picked the Mazz Swift and bassist Silvia Bolognesi, which releases cello in fourth grade: “As it was a French immersion its second disc, Not Living in Fear, on International school, music class was the only place you could speak Anthem in June—history and legacy are also extremely English. Even though I really liked music I was mostly important. Reid has worked extensively with Braxton excited because I could speak easily to other kids. and reed player , both of whom I liked singing and didn’t know what a cello was when advocate for leaving as much information as possible I picked it, but I just knew other girls were picking the for the next generation and continuing to refine and flute and the violin and since I was more of a tomboy expand one’s scope. “Braxton is always like ‘bring me I wanted to play something else.” Improvisation wasn’t a recording’ or ‘what are you working on?’ He’s such part of the equation at that time, though she did have a productive person, always creating, saying ‘record, early forays into composition. “When I was a kid record, record’ and encouraging us to be as active as I would compose all the time. I didn’t know how to do possible. Do as much as you can while you can while it but my mom got me a Casio keyboard with one-key you’re on the planet. Say what you want to say and play. I have these little compositions—between fourth keep trying to say it and keep trying to figure out who and eighth grade I would run home and write these you are.” little melodies. Me and this girl had a band. We would In this realm, since 2013 Reid has also been read cassette labels, copy down addresses and you involved in the Chicago String Summit, which seeks to know how you could copy over a tape? Somehow present a wide variety of improvising string players in I learned all this, so we would record our songs and concert settings. “I would like to keep bringing send them to record labels.” attention to strings in jazz because there’s a trumpet In college, Reid became aware of jazz and summit and a saxophone summit and a drum summit— improvised music, but was spending most of her time let’s give the strings some love. There is a wealth of getting her technique together. “I remember seeking people that aren’t well known and with string players, out black classical string players and falling in love it can be so competitive—there’s one track for one kid with Earth, Wind & Fire and and people in an orchestra and nobody else can get it—well, maybe like that. I had a mentor who said, ‘there’s a post by there is some other way to make music that is fulfilling someone looking for a cello in a rock band’ and some or maybe more fulfilling for some people if they only other kinds of ensembles. Even though I started had exposure to it.” playing cello in fourth grade I didn’t take lessons until Reid is certainly an active embodiment of the Great eleventh grade...and there was still so much repertoire Black Music dictum “” and whether I had to learn and so much technique I hadn’t gotten.” her own orchestral music or conducting an oral history After college, Reid spent a summer in Chicago where of Abdul Wadud, she’s doing her part to ensure that the she performed in the Classical Symphony Orchestra strings and their players continue to be recognized. v

THE NEW YORK CITY JAZZ RECORD | JUNE 2017 7 ON THE COVER CHRIS POTTER LIVING THE DREAM d i P e r / E C M R c o s by marilyn lester t e r i n a © C a

Saxophonist Chris Potter is the Energizer Bunny of Eddie Harris, Hank Mobley, , Dewey of choosing material that would best make a statement musicians. He’s just released his 16th CD as a leader, Redman, Albert Ayler, Jan Garbarek and Michael as an album.” Potter explains there were three pieces The Dreamer Is The Dream (ECM) with his quartet of Brecker. But Potter’s vision and preferences are thought of as “dreams” called “Dream 1”, David Virelles (piano and celeste), Joe Martin (bass) extremely wide-ranging and also encompass Bach, “Dream 2” and “Dream 3”, ultimately renamed “Heart and Marcus Gilmore (drums), an acoustic group Stravinsky, Bartók, Copland, Reich and Pärt as well as In Hand”, “Memory and Desire” and the title track, combining melodic rhapsody with intense rhythm. and those in the realm of world music: forming the core of the album. Potter believes an album Potter also tends to other projects: Chris Potter Trio, an Africa’s Salif Keita, Youssou N’Dour and Ali Farka is always only a snapshot of “what to us is a dynamic acoustic group mixing original work with standards; Touré; India’s Ravi Shankar, Hariprasad Chaurasia musical process.” The hope, he says, is to lay down a Chris Potter Underground, a small electric ensemble; and Zakir Hussain; and Brazil’s Tom Jobim, Milton “good version” of where the band is at that moment. Chris Potter Underground Orchestra, an 11-piece Nascimento, Djavan and Elis Regina. “This list of “You’re trying to present a musical point of view,” group exploring Potter’s compositions with a larger course only scratches the surface,” Potter says. “I’m Potter says. “You want to present that as clearly and sound; and Chris Potter Tentet, with violin, viola, cello, just a big fan of music and all the feelings and emotions strongly as possible, disregarding anything that can flute, clarinet, bassoon, acoustic guitar, bass and it can express. It’s such a big world to explore and as lessen the impact of your energy, like self-doubt or drums. And he has recorded on well over 100 CDs as a an artist it’s important to me to have as big an overview over-analysis.” guest soloist or sideman with the most recognized as possible.” Not to be open to such a bounteous array Potter knows he has to get to a point where he’s names in jazz. Potter’s talents have translated into of musical possibility is self-limiting, he believes. not thinking about what influences him consciously. a prodigious level of recognition and popularity: “I want to incorporate these various sounds and It’s at this point that he’s able to write and play what a consistent winner in DownBeat music polls, Grammy- rhythms in an organic way,” he says. “I want people to he believes is most effective in a particular setting, nominated and roundly hailed by his contemporaries feel the music, even be able to dance to it.” seeking to achieve highly focused clarity to express for his accomplishments. Red Rodney gave Potter his first professional work himself. “I don’t have one specific ideology or method Potter was a child prodigy eager to take on as in New York and under the trumpeter’s leadership of working,” he says. “Different situations inspire me much knowledge as he possibly could. He began Potter became a rising star. He also played with to react in different ways.” As a bandleader, he believes playing piano and a little guitar by ear in grammar drummer Paul Motian’s Electric Bebop Band, which in working with the best people he can and saying as school and took up the alto at age 10, having heard the expanded on Rodney’s old-school bebop style. Motian, little as possible to them: “I want to hear what they work of Paul Desmond and others. “The alto was according to Potter, was a revelation of sorts in his bring to the music with their own personality rather a good size for me,” he says. “I started playing tenor, approach, playing “anti-analytically” from instinct than try to control the situation too much.” This soprano and clarinet in addition while in high school, and the gut. It was a different way of working for approach can sometimes border on being chaotic, he but alto was still probably my most developed Potter, one he says took a lot of courage to make work. notes, but concedes this method of working is worth instrument.” Potter played his first professional gig at As to his long association with bassist , the risk so that magic will happen. age 13 and two years later was noticed by the late the takeaway was the value of “believing in what As to what lies ahead, Potter looks forward to even pianist Marian McPartland, who told his father that you’re doing.” Potter is quick to acknowledge his more challenge and inspiration. “For me music is a the young musician was ready for the road. After admiration for many of the bandleaders he’s worked step-by-step, day-by-day process,” he says. “Each time graduating from high school in Columbia, South with, such as drummers and Billy Hart, I play is a development of the last time, so I hope to Carolina, Potter traveled to New York City, studying at guitarists Jim Hall, and John Scofield and keep having these opportunities to grow—to be doing The New School and then at School of pianists and McCoy Tyner. “These are what I’m doing now, only with more wisdom!” Potter Music, where he began to concentrate on the tenor. some of the leaders I’ve been supremely fortunate to is also keen on sharing experiences as a community “The tenor is closer to my vocal range,” Potter says. have had the chance play with,” he says. “Just being and creating a society where everyone’s contributions “The tenor has an extended high register you can around these masters day to day on the road and seeing are heard and appreciated. Potter hopes to inspire basically play as high as the alto, but with more notes how they think, what they talk about and, people as others have inspired him: “I hope I can be available in the low register. It also has a thicker tonal of course, how they play, this is a window into who a good advocate for this point of view, both in music color than the alto through the whole range.” Another they are as people and how they can get the sound they and in all my social interactions. At a certain point you factor in the switch to tenor was . “On do. For me this is the best school possible, both for realize that music is all about energy, that what makes the alto I felt so influenced by Charlie Parker’s voice music and life.” music beautiful is related to learning how to have that I just didn’t hear what else to play on it!” he says. On his new CD, and third release for ECM, Potter a rich and meaningful life and, ultimately, this “The tenor seemed a little more open somehow. Even not only plays the tenor, but also , importance goes way beyond the notes.” v with the huge influences of people like [John] Coltrane bass clarinet, clarinet, ilimba [Tanzanian lamellophone], and Sonny [Rollins], I felt like I had somewhere to flute and samples. “They bring out other sides of my For more information, visit chrispottermusic.com. explore on the tenor and a way to make it my own.” personality and are useful in different situations,” he Potter and his quartet are at Village Vanguard Jun. The early influences still inform his music as a says. “I particularly like the rich woodiness of the bass 20th-25th. See Calendar. player and composer. Of them he says, “Charlie Parker clarinet.” He adds that he’s working on his flute is of course a huge influence on all modern jazz music playing. “That’s the double I’ve spent the least time on Recommended Listening: and I find myself thinking about his approach often as over the years,” he explains, “but I love that sound too, • Chris Potter—Presenting Chris Potter a guide, even in musical contexts that are quite especially the alto flute.” (, 1992) different than the ones Bird used. His joy, his clarity The Dreamer Is The Dream evolved from Potter’s • Quartet—Magic Triangle/Leap of Faith and his perfect integration of harmony, melody and desire to bring something fresh to the tried-and-true (Arabesque-Green Leaf Music, 1997-98) rhythm still sound so fresh and beautiful.” Other saxophone/piano/bass/drums quartet. The players • Dave Holland Quintet—Extended Play (Live at players who informed Potter’s music are many. He didn’t have a long history and it was also Potter’s wish Birdland) (ECM, 2001) cites as inspirations “a long list of tenor players” that to start a working band that could develop the music • Chris Potter 10—Song for Anyone (Sunnyside, 2006) include , Lester Young, , further live. “I wrote a whole lot of music for the group • Chris Potter Underground—Ultrahang Paul Gonsalves, , , Sonny to see what would work best,” he says. “Only a fraction (ArtistShare, 2008) Rollins, John Coltrane, Wayne Shorter, , of the book is on the final recording, so it was a matter • Chris Potter—The Dreamer Is The Dream (ECM, 2016)

8 JUNE 2017 | THE NEW YORK CITY JAZZ RECORD

ENCORE

recalls. “I was particularly drawn to for 51 years after moving to New York City, Wilson the organ/keyboard thing. I was certainly impressed still stresses, without hesitation, that he is glad he REUBEN with the Philadelphia guys and the Midwest had some moved east. And he looks forward to continuing to great players too. I felt like I should have been on the perform and record. “I’m still here,” Wilson asserts. East Coast in the first place, but that came over time.” “I have been blessed in that respect. I’m still taking up In 1966, Wilson took the plunge and moved to New some space. It’s all good as long as everybody enjoys it. WILSON York City, where he formed the soul- Wildare I like this part of the country and I’m glad to be here at Express with drummer Tommy Derrick. Moving east this time in my life.” v by alex henderson worked out well for Wilson, who signed with in 1968 and recorded his first album as a Wilson is at Smoke Jun. 29th. See Calendar. While many of the great soul-jazz organists of the leader, On Broadway, that year. Wilson’s five groove- ‘60s-70s have passed away, Reuben Wilson, who oriented Blue Note recordings of the late ‘60s-early ‘70s Recommended Listening: celebrated his 82nd birthday in April, is still going were the essence of soul-jazz, combining hardbop and • Reuben Wilson—Love Bug (Blue Note, 1969) strong with a busy schedule of live appearances and R&B elements and finding the jazz potential in the • Reuben Wilson—The Sweet Life forthcoming CDs. The veteran (whose last album, popular Stevie Wonder, Marvin Gaye and Sam & Dave (, 1973) Revisited, was released by American Showplace in 2011) songs of the era. • Reuben Wilson—Down With It (Cannonball, 1998) has been working on a new disc with Jerry Weldon Wilson has played with his share of jazz greats, • Reuben Wilson—Fun House (Savant, 2004) (), Johnny DeFrancesco (guitar) and like tenor saxophonist Willis “Gator” Jackson, guitarist • Reuben Wilson/Bernard “Pretty” Purdie/ Carmen Intorre, Jr. (drums), the same quartet that will and drummer Roy Haynes. Wilson has Grant Green, Jr.—The Godfathers of Groove appear at Smoke this month. A live album featuring fond memories of playing with trumpeter , (18th & Vine-American Showplace Music, 2005) Weldon, guitarist Paul Bollenback and drummer Don who was featured on his 1969 Blue Note session Love • Reuben Wilson—Revisited Williams is also soon to be released. “I’ve known Jerry Bug along with tenor saxophonist , (American Showplace Music, 2011) Weldon for a very long time,” Wilson explains. “He’s guitarist Grant Green and drummer Leo Morris [Idris always a pleasure to play with. I’ve never heard Muhammad]. “Lee was a very important musician and anything negative about him. Johnny, Jerry and he was so good at what he did,” Wilson asserts. “Lee Carmen are all good players and we’ve played together really was a great player and I’m sorry that I didn’t get over the years at different times. They have a way of to play with him more. But it was a pleasure having the sounding fresh each time I work with them.” little time with Lee that I did have.” Wilson has lived in New York City for more than Wilson’s connection to the Green family continued half a century but was born in Mounds, Oklahoma on many years later when he was featured as a sideman Apr. 9th, 1935, moved to the Los Angeles area as a child and co-leader on some albums that Grant Green, Jr.— and grew up in Pasadena. It was in Southern also a guitarist—recorded in the ‘90s-00s and the that Wilson became a professional boxer during the younger Green appeared on Wilson’s 2002 release ‘50s and was managed by the iconic actor Kirk Douglas. Organ Blues (Jazzateria). “I was in there with the Green “I did box professionally,” Wilson remembers. “I was family,” Wilson notes. “Grant Green, the father, was a heavyweight. I could handle myself pretty well. I was very influential, of course. He was renowned and never knocked down. I had a few knockouts...I was Grant Green, Jr. was in good company all the way. But actually a sparring partner with [former World Heavy Grant Green, Jr. is not a copy of his dad. He has his Weight Champion] Floyd Patterson.” own thing going and is a very good player.” Wilson shifted his focus to music in the early ‘60s Reuben’s ‘60s-70s recordings have been sampled with Jimmy Smith as a major influence. “When I was in by hip-hop artists like Nas, A Tribe Called Quest and California breaking into the business and listened to US3. Wilson himself acknowledged hip-hop when he the way people played, I noticed that I was very drawn recorded Boogaloo to the Beastie Boys, a 2004 jazz-funk to the East Coast and Midwestern players,” Wilson tribute to the influential rappers. LEST WE FORGET

jazz they produced. Hear these tracks as chamber standards in a more common jazz setting (the Broadway music, perhaps, but the essence of jazz is always album is essential listening) or simply played free. PAUL present. The drumming carried it through and well Afflicted with myelodysplastic syndrome—a blood beyond introspection. Motian’s use of wire brushes and bone marrow disorder—Motian stooped touring whispered but also snapped, rolled, danced. but his bands became fixtures , Later, Motian entered a lengthy and notable gig the stage he’d first adorned with Evans. MOTIAN with pianist , whose trio advanced on the Motian died in 2011 at the age of 80, his contribution Evans sound by daringly fusing composition and to music’s progress immortalized. Regardless of the by john pietaro improvisation. Motian, though retaining respect for notes he may have played in the course of any given space and atmosphere, offered a more animated selection, solo, chorus, indeed any measure, Motian Paul Motian conquered silence. In his career, he turned counterpoint here than with Evans. Bar lines made the very silences between them swing, bringing spaciousness into an art form. His professional foray disappeared beneath his blurring, timeless pulsations the listener to the next sound with anticipation. v into jazz came during the period when struggles for and jazz became new all over again. Civil Rights exploded into public consciousness. The In the ‘70s Motian began a long tenure in pianist A tribute to Motian is at Greenwich House Music School musical path he embarked on over 50 years threaded ’s band, an extension on what he had Jun. 22nd led by Michaël Attias and featuring Satoshi the shock of the new to the mainstream, postbop achieved with Evans and Bley and Jarrett accompanied Takeishi, Jeff Davis, Vinnie Sperrazza, Harris Eisenstadt modernism to traditional Armenian song and militancy the drummer on his own leader debut in 1972. While and Billy Mintz. See Calendar. in both his music and politics. still engaged in the Jarrett band, Motian began to As a young Naval recruit in the early ‘50s, Motian explore his own concepts throughout the decade and Recommended Listening: was stationed in Brooklyn, a member of the U.S. Navy by the ‘80s came to be known as the leader of one of the • —The Complete Village Vanguard Band. He studied with Radio City’s celebrated hippest ensembles in jazz. His own and trios Recordings 1961 (Riverside, 1961) percussionist Billy Gladstone, but during his subway were fluid, with time being an implied concept and • Keith Jarrett/Charlie Haden/Paul Motian— sojourns to 52nd Street or Greenwich Village, Motian musicians’ roles in the ensemble always subject to the Hamburg ’72 (ECM, 1972) absorbed firsthand the advances in drumming being artistry of the moment. The trio with guitarist Bill • Paul Motian— (Soul Note, 1983) cast by and . Motian came to Frisell and saxophonist Joe Lovano allowed for an • Paul Motian—Monk in Motian prominence as part of the classic Bill Evans Trio. In this atmospheric kind of jazz rarely heard anywhere. (JMT—Winter&Winter, 1988) aggregation, neither he nor groundbreaking bassist Motian’s ensembles in his final decades were • Paul Motian—Bill Evans (JMT—Winter&Winter, 1990) Scott LaFaro were viewed as mere accompanists by always fresh and exciting: at times he led all-electric • Paul Motian & The Electric Bebop Band— Evans. The trio were partners in the unique brand of groupings, at other points performed his own take on Play Monk and Powell (Winter&Winter, 1998)

10 JUNE 2017 | THE NEW YORK CITY JAZZ RECORD LABEL SPOTLIGHT

Ropeadope was originally founded in 1999 by music biz who served as inspirations, he declared John Medeski (of Medeski Martin & Wood) and Andy “Ahmet Ertegun, Rick Hall [Fame Records], Sam ROPEADOPE Hurwitz with the [electronica artist] DJ Logic record Phillips [Sun Records, the blues/country/rockabilly Project Logic. While Medeski and Hurwitz were label that first recorded Elvis Presley and Howlin’ by mark keresman devoted to the music, their business shrewdness was Wolf]. People who had the intent of furthering the found wanting. Enter Louis Marks, then CEO of Banzai music and having the business follow. [But] I stay Briefest of history lessons: once upon a time there Inc., a company that manufactured apparel for away from traditional models and refuse guidance were record labels run by business people that were musicians and labels such as Blue Note and Daptone. from those who built the old music business.” also active music FANS: one of the prime movers of “I stepped in when they needed a bailout,” said Marks. Does the label sign artists to exclusive contracts? was Ahmet Ertegun; Motown was “I had no plan to run the label, did not think I was “We license only the recordings, we do not sign artists,” founded by Berry Gordy; John Hammond and Clive qualified, but I found out that the combination of my says Marks. “This allows artists both business and Davis cultivated artists during their respective sojourns upbringing in a family of ten in the ‘60s and ‘70s creative freedom to advance their career…but at times at . The Point? Nowadays the major informed my musical taste and that I did know quite a we get involved in supporting the recording process. record companies are mostly run by faceless corporate bit about music. I’ve kept those fan ears. In fact, I rarely We do not mess with the music in either case.” In terms entities, which explains [newsflash] why much of the listen to the music until it is ready for release, so that I of getting “involved” with the making of an album, mainstream is interchangeable and forgettable. can stay in touch with what listeners will hear, rather a superb example is the compilation The Harlem Small labels to the rescue, as usual, but even than what musicians hear.” Having no literal business Experiment, a set that should be required in curricula as among them, Ropeadope is still a unique operation. model, he applied his experience in the clothing part of American history education. Executive For one thing, they have a clothing line. More business to the label—no, he didn’t treat musicians like produced by Marks and Hurwitz, the compilation pays importantly, Ropeadope has a zeal for the music being mass-produced shirts but rather applied accumulated homage to the rich musical history of the neighborhood. made NOW in various parts of the globe; according to acumen from his previous vocation to this new venture, This album draws lines direct and indirect wherein their website, “Releases range in style and locale with “to stay lean, to run a business on next to nothing.” aspects of Jewish, African-American and Hispanic world music, Latin, folk and soul from artists in Rome, “Our mission here at Ropeadope is to build culture, where jazz, folk and pop traditions and Tokyo, Guatemala and of course, Georgia.” Based in a distributed collaborative organization—a network of hybrids coexist, overlap and intersect. “Bei Mir Bist Du Philadelphia, Ropeadope is an incubator for jazz talent artists with the persistent goal of each building their Schön” was originally a popular song from a Yiddish (and other genres as well). Musicians on their roster independent business and retaining full creative musical comedy in the early ‘30s. In 1937 songwriter include Nicholas Payton, Ollie Howell, David Weiss, control of their work,” says Marks. “We believe we are extraordinaire Sammy Cahn heard it at Harlem’s Frank Catalano, Nate Smith, Christian Scott, Dred in a unique time in history, where the advent of the performed by African-American duo Scott and Michael Blake. Artists that flout the very idea internet and the networking concepts that drives it Johnnie & George and was so inspired by the audience’s of ‘genre’ are Tin Hat Trio, Eddie Palmieri, Dr. John, offer opportunities for a redistribution of power and enthusiasm that he wrote a swing-influenced , Dirty Dozen Brass Band, the recently passed self-determination. We seek to break down the arrangement with English lyrics, pitched it to the then- Col. Bruce Hampton, Fresh Cut Orchestra, The Funk traditional vertical and hierarchical systems of the past unknown Andrews Sisters and pop music history was Ark and Jesse Fischer. The only thing predictable about by building this distributed network, to operate in the made. It’s rendered here as a pensive bit of sultry Ropeadope is the uniqueness of the music. moment.” When asked if there were any figures in the (CONTINUED ON PAGE 46)

Sabiduria (Wisdom) Tokyo Number 9 Self-Identity Wake Up Call Plays Duke Ellington’s Far East Suite Eddie Palmieri Frank Catalano/Jimmy Chamberlin Ollie Howell David Weiss & Point of Departure Slavic Soul Party VOXNEWS

ardor in Harris’ silvery rich baritone. Harris’ official finds supportive fellow travelers in his quest to find album release party will happen at Dizzy’s Club (Jun. musical answers to life’s perplexing questions. JUKEBOX DAYS 14th-15th). By way of comparison, follow a listen of Gates’ Giacomo Gates’ new release, What Time Is It? album with one of Mark Murphy’s. Try Wild and Free: by suzanne lorge (Savant), opens with an original spoken word piece on Live at the (High Note), one of the many the ephemeral nature of time and segues into “I Didn’t recent Mark Murphy discoveries. This live recording Singer/guitarist Allan Harris has been quietly gaining Know What Time It Was”. This opener sets up Gates as catalogues an ‘80s gig when Murphy was at the height stature in the jazz world over the last three decades, a musical philosopher: in jazz standards he finds of his voice and career; on it you can hear the elder but it wasn’t until 2015 that he claimed a spot in the a gateway into something beyond mere romantic Murphy that Gates is channeling now. Also, a quick DownBeat Critics Poll—remarkably, as a Rising Star frippery. “Clocks on chains, so time won’t run away,” shout-out to journalist James Gavin for exceptionally Vocalist. This accolade followed on the heels of his he muses. The opening track is the only oft-recorded well-researched, artfully written liner notes on this 2015 release Black Bar Jukebox (Love Production vocal standard on the album; the remaining 10 tracks major figure in jazz history. Records), his tenth album. Weaned on jazz at the knee feature lesser-known tunes by Oscar Brown Jr., Tadd Young Canadian bandleader Quinn Bachand leapt of none other than , a family friend, Dameron, Eddie Jefferson and Artt Frank. In and about into the foreground of mainstream jazz with his band Harris likes mixing it up on his albums; like Armstrong, these tunes, Gates mixes in snippets of his own original Brishen’s 2014 eponymous release. This year the group he’ll cover a country-western tune with the same vocal verse and the final track, “Too Many Things”, features adds to their success with Blue Verdun (Beacon Ridge), alacrity as a jazz standard. one of his thought-provoking, full-length poems over a sophomore effort that categorically upends Bachand’s His new album, Nobody’s Gonna Love You Better improvised blues on piano and bass. newcomer status. With this record, Bachand earns his (Black Bar Jukebox Redux) (Love Production Records), Gates uses classic jazz phrasing, laidback bebop bona fides as a seasoned multi-instrumentalist and picks up where his last left off. Both albums showcase scats and cool vocalese to get his message across; his jazz singer in the modern gypsy jazz/vintage pop vein tunes from what Harris calls his “jukebox days” deep, resonant instrument puts him in the same class as he croons in a softly echoing voice and fiddles, picks growing up in Harlem and Brooklyn, when the as Mark Murphy, Kurt Elling and Andy Bey (these and strums his way into your grateful ear. He’s touring airwaves carried songs by artists like , Jimi singers toured Europe together as The Four Brothers in the Canadian festival circuit this summer, but surely Hendrix, Eddie Jefferson, Spiral Starecase and Ray 2004). Gates’ voice in particular lends itself to the blues a New York visit can’t be too far away. Charles. Harris’ cover of tunes by these diverse artists especially well, as on the Oscar Brown, Jr. tune Vocalist Sari Kessler, whose 2016 release Do Right is something of a revelation: it’s hard to imagine what “Somebody Buy Me a Drink”, his raspy homage to the (s/r) contains many a charming surprise, like “Walk on the 1969 hit “More Today than Yesterday” by Spiral bottle. In pianist/arranger John di Martino, saxophonist By” at a sultry midtempo and “Sunny” as a samba, will Starecase and the 1952 vocalese standard “Moody’s Jerry Weldon, guitarist Tony Lombardozzi, bassist perform at Cornelia Street Underground as part of the Mood for Love” have in common until you hear the and drummer Vincent Ector, Gates VoxEcstatic series (Jun. 5th). v

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

HUGH BRODIE (Feb. 7th, 1933—Apr. Open at 5th, 2017) The saxophonist, vocalist and BOB CUNNINGHAM cousin to released albums on Cadence (including a live 7pm! by andrey henkin co-led session with J.R. Monterose), First Quake and P-Vine alongside appearances with Cal Massey and Illinois Jacquet. Brodie died Apr. 5th at 84.

DELMAR BROWN (Feb. 20th, 1954— Apr. 1st, 2017) The keyboard player worked with Pat Martino, Bob Moses, Hiram Bullock, Jaco Pastorius, James “Blood” Ulmer, Kenwood Dennard, This Month! Stanley Jordan, , Miles Davis and others to go along with a handful of Live! albums as a leader. Brown died Apr. 1st at 63. THU ANTOINE DRYE QUINTET 7:00PM 6/1 WAYNE TUCKER 10:00PM ALLAN HOLDSWORTH (Aug. 6th, 1946—Apr. 15th, 2017) The British FRI KEN FOWSER QUINTET 7:30PM 6/2 BRIANNA THOMAS 10:30PM guitarist’s own releases were in the jazz-fusion and art-rock veins to go SAT FELIX PEIKLI & JOE DOUBLEDAY’S along with membership in iterations of 6/3 SHOWTIME BAND 7:30PM Bob Cunningham, a bassist who appeared on sessions Tempest, Gong, and U.K., JC HOPKINS BIGGISH BAND 10:30PM led by , Bill Hardman, Ken McIntyre, and jazz credits with , Tony Walt Dickerson, Frank Foster, Freddie Hubbard, Junior Williams Lifetime, Gordon Beck, John Stevens, Jean- WED PASQUALE GRASSO 7:30PM Mance, , , and Luc Ponty, and Stanley Clarke. Holdsworth 6/7 DJANGO JAM 10:00PM others since the early ‘60s, died Apr. 1st at 82. died Apr. 15th at 70. Cunningham was born in Cleveland, Ohio on Dec. THU DIDA PELLED 7:00PM 28th, 1934. As with many others, he got his musical KIM PLAINFIELD (Mar. 24th, 1954— 6/8 BRAXTON COOK 10:00PM start in school band. As he recounted to our own Terrell Apr. 8th, 2017) The drummer and FRI KEN FOWSER QUINTET 7:30PM Holmes in a 2004 interview, “I had friends who played longtime educator at Berklee College of 6/9 CHINO PONS 10:30PM and and I wanted to play the Music worked with , Tania saxophone. So the way to go about that was to get into Maria, Jon Lucien, Andrea Brachfeld, SAT WALT WEISKOPF QUARTET 7:30PM the school band. You get a clarinet first and from there Kenny Rankin, Didier Lockwood and 6/10 KING SOLOMON HICKS 10:30PM you move to saxophone. But there were no or Bill O’Connell and was part of fusion saxophones available because I was late in applying supergroup The Avengers with Adam Holzman, Beledo WED PASQUALE GRASSO 7:30PM for a spot in the band. They offered me a violin, viola, and Lincoln Goines, releasing one album in 2012. 6/14 DJANGO JAM 10:00PM cello and bass. So I said, ‘Well, gee, if I take the bass at Plainfield died Apr. 8th at 63. least I can play along with my friends.’ The guy gave THU NATHAN PECK 7:00PM 6/15 MARK WHITFIELD 10:00PM me a bass and a bow and I started playing that and STAN ROBINSON (Apr. 13th, 1936— I just fell in love with it.” Apr. 9th, 2017) The British saxophonist’s FRI KEN FOWSER QUINTET 7:30PM After working successfully in his hometown, credits include /Ian Carr 6/16 JERRY WELDON QUARTET 10:30PM Cunningham made the inevitable move to New York Quintet, Neil Ardley, Maynard on “October 11th, 10:30 p.m...I drove here and I parked Ferguson, Francy Boland, Nathan Davis SAT PASQUALE GRASSO TRIO 7:30PM in the lot next to the YMCA where I was staying... and a number of English big bands. 6/17 SVETLANA & THE DELANCEY FIVE 10:30PM It was eight dollars for 24 hours, so I figured I could Robinson died Apr. 9th at 80. manage that for a week. I put my car in, then I took it WED PASQUALE GRASSO 7:30PM out and went to Birdland or somewhere. I took the car JOHN SHIFFLETT (Jan. 1st, 1953—Apr. 6/21 DJANGO JAM 10:00PM back, put it in, and the guy asked for another eight 27th, 2017) The bassist recorded with THU DAVID GIBSON QUINTET 7:00PM dollars! I told him, ‘I got my ticket here, I paid for the Fred Ho, Peter Apfelbaum, Joel 6/22 IAN HENDRICKSON-SMITH 10:00PM day.’ He says, ‘No, no. Every time you go in and out of Harrison, Will Bernard, Anton Schwartz, here you gotta pay again!’ So that was my first Jacqui Naylor, Taylor Eigsti and Scott FRI KEN FOWSER QUINTET 7:30PM awakening to New York.” Bassist Morris Edwards, Amendola and was longtime faculty at 6/23 LOS HANCHEROS 10:30PM whom Cunningham had met in Cleveland, introduced San Jose State and the California Jazz him to fellow bassist Ben Tucker, with whom Conservatory. Shifflett died Apr. 27th at 64. v SAT RUBEN FOX 7:30PM Cunningham would stay for a few months. By February 6/24 EVAN SHERMAN BIG BAND 10:30PM of 1961, Cunningham was working as part of the

quintet of trumpeter Dizzy Gillespie, who WED PASQUALE GRASSO 7:30PM Cunningham said impressed him with “the intensity of 6/28 DJANGO JAM 10:00PM his seriousness about the music, his focus on quality.” THU JOHN DOKES QUINTET 7:00PM This auspicious start led to a number of sessions as a 6/29 MICHAEL STEPHENSON 10:00PM sideman for Verve, Prestige, Atlantic, Milestone, Marge, Black Saint and others and work with the Jazz FRI KEN FOWSER QUINTET 7:30PM Composer’s Orchestra and . 6/30 CHRIS NORTON 10:30PM Cunningham’s only album as a leader was 1985’s Walking Bass for drummer Alvin Queen’s Nilva imprint. As he told Holmes, “...introduced Alvin Queen [to me]. So that’s how I got my first record The Roxy Hotel session. I hadn’t been working that much as a leader at 2 AVE. OF THE Reservations AMERICAS that point and I just hadn’t taken the initiative to be Information aggressive about it. I guess one reason why I wasn’t so (212)519.6649 THEDJANGONYC Cellar Level com aggressive was that many of my acquaintances who Tribeca had made records were so unhappy with the relationship with the record companies they were CRAFT COCKTAILS, SMALL PLATES & LIVE JAZZ! working for. And I guess I’m a procrastinator. But this deal with Alvin Queen came along some years later LOCATED IN THE OF TRIBECA and it was a good deal.”

12 JUNE 2017 | THE NEW YORK CITY JAZZ RECORD FESTIVAL REPORT WAYNE SHORTER FEST JAZZKAAR by joel roberts by andrey henkin a r e z v A l

A n t h o y © R e n J a k o b s Herbie Hancock & Wayne Shorter @ NJPAC Tigran Hamasyan

Newark welcomed home native son Wayne Shorter for a The range of the Jazzkaar Festival is reflected in its weekend-long tribute (Apr. 20th-23rd) at home of Tallinn, the coastal capital of Estonia. Walk Performing Arts Center featuring an allstar roster, led by outside of the charming medieval central city, where the saxophonist/composer himself and fellow legend the oldest city hall in the Baltics is still standing, and Herbie Hancock. Even four days of concerts aren’t one is faced with architectural remnants of a recent enough to capture the diverse achievements of the man Soviet past. The weather can be spring sunny or winter once known as the Newark Flash, so the festival treacherous, seemingly one minute to the next. organizers wisely concentrated on just a few highlights Jazzkaar, which celebrated its 28th edition Apr. from his six-decade-long career. 21st-30th, is emblematic of the ‘European Jazz Festival’, Thursday’s opening show focused on the Miles with requisite American acts, continental stars and Davis years, with a rare performance of “Universe”, an local groups. Jazz purists of any stripe should leave ambitious concerto Shorter had written for Davis in the their preconceptions in Customs as the programming late ‘60s, but never recorded. Shorter eventually passed emphasizes inclusiveness. the piece along to Davis trumpet protégé Wallace Roney, Your correspondent was in attendance for four who was on hand to lead the 21-piece ensemble. days and each was a fascinating külmlaud (the Estonian As its title suggests, “Universe” has an otherworldly, version of the smörgåsbord): Danish classical-minded celestial feel and draws on a wide spectrum of world trio The Firebirds and fusion superhero Steve Gadd; music. At times, there are shades of the large-group work Diva Dianne Reeves and world music ensemble Yemen of Davis collaborator Gil Evans; at others, the sound is Blues; modern electronics of Grandbrothers and art- even more modern and bracing. Roney himself expertly rock of Toomas Rull; introspective pianism of Tigran handled the solos originally written for his mentor while Hamasyan and computerized swing of Alice Francis. the ace rhythm section of pianist Patrice Rushen, bassist The Firebirds are one of European’s most Buster Williams and drummer Lenny White kept the compelling ensembles. I have seen them five times and orchestra hopping. Despite a few fits and starts, it was each viewing shows a band maturing within a noble a memorable evening and a valuable peek at a valuable concept: jazzifying of classical composers. Much of the and long-neglected part of Shorter’s canon. set was given over to their first album’s interpretations Friday night’s concert, featuring the supremely of Stravinsky but also included was a new muse, talented singer Cécile McLorin Salvant, had little to do Danish national composer Carl Nielsen, and an encore with Shorter, but was enthralling nonetheless. by Armenia’s Aram Khachaturian. The trio—reed Accompanied by young New Orleans piano sensation player Anders Banke, keyboard player Anders Filipsen Sullivan Fortner, Salvant sang mostly blues and break-up and drummer/arranger Stefan Pasborg—are the songs, digging hungrily into and Bessie Smith musical equivalent of an Instagram filter. Steve Gadd’s classics and showing off her range and vocal clarity. set, preceded by the presentation of the Estonian Jazz Saturday night took the audience back to the ‘70s Awards, was slick and generally uptempo, guitarist with a joyous and crowd-pleasing revisiting of Shorter’s Michael Landau more Stevie Ray Vaughan than Wes time with jazz-rock supergroup . The Montgomery (or even ). The leader showed band here was a knockout one, featuring Joe Lovano and remarkable restraint for a fusion drummer, waiting Steve Wilson (saxophones), fusion maven Rachel Z until well into the set to unleash his first proper solo. (keyboards), Christian McBride (bass) and former Dianne Reeves should have her own cooking show, Weather Report members Omar Hakim (drums) and so deftly did she add new flavors and spices and slowly Manolo Badrena (percussion). raise the heat on her creation, backed by crack sous- The group tore through Weather Report favorites chefs Peter Martin (keyboards), Romero Lubambo like “Palladium” and “Sightseeing”, as well as some of (guitar), Reginald Veal (bass) and Terreon Gully Shorter’s fusion-era compositions like “Condition Red”, (drums). Reeves limited her showmanship to her easily handling the twists and turns of the complex tunes. vocals, tending to stand still and solemn during the set, Each member also had an unaccompanied solo feature, while Lubambo, known mostly for his Latin work, was with McBride’s magnificent reading of Shorter’s revelatory as a straight jazz guitarist and even a rocker “Footprints” making the strongest impression. on occasion. Yemen Blues is meant for dancing, this to The last night of the festival opened with the silky- distract from a repetitiveness in the grooves and often- voiced singer-songwriter Gretchen Parlato, who led her shrill vocalizing of leader Ravid Kahalani. Shanir quartet through a serene set that included tunes by both Blumenkranz’ shift from electric bass to oud offered a Shorter (“JuJu”) and Hancock (“Butterfly”), for which different bit of shading but pianist Tomer Bar was she’d penned lyrics. swallowed up in the percussive (w)hole. (CONTINUED ON PAGE 47) (CONTINUED ON PAGE 47)

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

dimension when the listener goes beyond these interest reflected in his compositions, which utilized mysteries of identity to the real mysteries of sound’s 18th Century musical practices, including fanfares, imaginative power. rondos and fugues. Of the extended suites he wrote for Evans’ identity as a composer and bandleader has the MJQ, none encapsulates that love more than been focused on his quartet and quintet (and more The Comedy, his take on Commedia dell’arte. At the A Wing Dissolved in Light recently his septet): Genesis, a 96-minute presentation center of this program are four pieces from the suite ANEMONE (NoBusiness) (available as download or as USB) testifies to the Lewis had arranged for his concert with JLCO, with A Quietness of Water originality of that work and to its importance. In some Batiste in the piano chair. Heraldic trumpet introduces Peter Evans/Agustí Fernández/ sense, it’s a direct and radical extension of postbop: “La Cantatrice”, with piano soloing over orchestral (Not Two) composed materials and structures including advanced sections alternating 3/4 and 4/4 tempi. Horns create Genesis triadic harmony and cyclical patterns are developed a processional opening for “Piazza Navona”, Batiste Peter Evans Quintet (More is More) through improvisation. In its collisions, overlays and and Marsalis trading solos over shifting time signatures by Stuart Broomer sped-up time, however, it is jazz fully informed by free and piano then soloing over just Ali Jackson’s improvisation. It begins with an unaccompanied solo tambourine. “Pulcinella” recalls Lewis’ early Music for In little more than the first decade of his public career, demonstrating Evans’ prodigious technique: it’s all Brass LP tracks, referencing styles from Baroque to trumpeter Peter Evans has proceeded on several fronts, there, his range, his control, his facility, his ability to Swing, and “Spanish Steps” again mixes 3/4 and 4/4 from the postmodern postbop of Mostly Other People leap intervals, to call up novel timbres and techniques as Batiste trades licks with the band, given extra heft Do the Killing through highly original recordings of and execute them instantly. It sounds at times like by a guesting Howard Johnson’s tuba. solo improvisation and membership in large groups Freddie Hubbard 3.0 but, more importantly, it has The concert ends with the classic Dizzy Gillespie (Barry Guy, , Mats Gustafsson) to transient Evans beginning this presentation around the limits of Big Band chart (by Dizzy and Gil Fuller) of Lewis’ membership in a host of ad hoc improvising ensembles. the solo improviser, in a sense emphasizing the values “Two Bass Hit”, with a rollicking solo by Batiste He’s heard here in two performances by assemblies of group and composition. “Fanfares” is a radical beginning in Lewis’ style and ending like Professor of multi-generational international improvisers of the retake on the postbop tradition. Along with the input Longhair. Lewis’ take on the blues, “Two Degrees East, first rank and in his current quintet. There’s a of pianist Ron Stabinsky, bassist Tom Blancarte and Three Degrees West”, is showcased by a quintet with continuous sense of exchange between Evans’ work in drummer , Sam Pluta contributes live guest guitarist Doug Wamble and JLCO’s Victor Goines and his evolving practice as electronics, creating sudden mutations of other on clarinet. Marsalis, alto saxophonist Ted Nash, composer and leader of a more jazz-traditioned group. instruments as well as his own input. It’s a critical trombonist Chris Crenshaw, bassist Carlos Henriquez He also covers a range of contemporary media, destabilizing element, both opening the material and and Ali join Batiste on Lewis’ contrafact of “I Got beginning with an LP, continuing with a standard CD providing on it, something apparent Rhythm”, “Delaunay’s Dilemma”. And Batiste gives and ending with a USB. throughout the program and one that increases with a bravura, even florid, solo performance of Lewis’ The earliest of these recordings is A Wing Dissolved Stabinsky and Black deploying their own electronic famous “Django”, emphatically asserting that an in Light, recorded at Finland’s Tampere Jazz Happening elements. Genesis is a kind of pageant, moving from the homage doesn’t have to be a copy. in 2013. The quintet is an international collection of social to the diseased (“Patient Zero”) to some sense of brilliant players, each a member of numerous bands reintegration in the concluding “3 for Alice (Coltrane)”, For more information, visit blueenginerecords.org. The Jazz and all who should be more widely heard. Alongside an LP-length suite achieving both great complexity at Lincoln Center Orchestra is at Rose Theater Jun. 1st-3rd. Evans on piccolo trumpet, there is English saxophonist and great coherence, from its meditative beginnings to See Calendar. John Butcher on soprano and tenor, French pianist its sometimes joyous, highly mobile spreading dissonance first announced by Stabinsky in the opening Frédéric Blondy (hear him with Hubbub), Australian • Jaimie Branch—Fly or Die bassist Clayton Thomas (check out The Ames Room) “Intergalactic”. The final mad variety and momentum R (International Anthem) and veteran German drummer Paul Lovens (a member of “12 Earthly Branches” makes the Coltrane homage • Tim Daisy// of Schlippenbach Trio for the last 47 years). It’s a one- a family affair, beginning in “Miles’ Mode” and ending e Michael Thieke—Triptych (Relay) piece set only interrupted for the purposes of the LP in “Giant Steps”. • Dominique Eade/Ran Blake— and is continuously engaging, with every musician c Town and Country (Sunnyside) constantly shaping the unity and complexity of the For more information, visit nobusinessrecords.com, nottwo.com • Brian Marsella Trio—Buer (John Zorn: experience, crafting a whole as richly poetic and and moreismorerecords.com. Evans plays solo and with his trio o Book of Angels, Volume 31) (Tzadik) elusive as the title. There are moments when one of the at The Jazz Gallery Jun. 1st and is at The Stone at The New m • Hank Mobley—To One So Sweet Stay That horns will focus the discourse, every member of the School Jun. 2nd and the Jewish Museum Jun. 4th, both with Way (Hank Mobley In Holland) (Dutch Jazz Archive) John Zorn. See Calendar. group fastening on a kind of trance-like power, often m • Charnett Moffett—Music From Our Soul abetted by Lovens’ highly effective cymbal work. That e (Motéma Music) it eludes any kind of blow-by-blow description only • — adds to its cumulative depth and value. n Les Liaisons Dangereuses 1960 (Sam/Saga) A Quietness of Water is very different. While • Ryan Nielsen/Ra Kalam Bob Moses— Anemone generally maintains a band dynamic and d The Gift of Breath (Ra-Kalam) some resemblance to traditional instrumental roles, the • Sexmob—Cultural Capital (Rex) trio of Evans, pianist Agustí Fernández and baritone e • Camille Thurman— saxophonist Mats Gustafsson is largely devoted to d Inside the Moment (Chesky) sonic exploration. The trio first recorded together in Laurence Donohue-Greene, Managing Editor 2009 on Kopros Lithos (Multikulti Project), emphasizing extended techniques in improvisation, sound creation n over lines. While each is a maximal improviser, often The Music of • —One Minute Later (Sunnyside) generating as much sound and material as one could Jazz at Lincoln Center Orchestra (with Wynton • Ornette Coleman - Marsalis featuring Jon Batiste) (Blue Engine) e imagine, here their approach to the trio is virtually Celebrate Ornette (Song X) by George Kanzler w • Fred Frith/Hans Koch— minimalist, working with subtly inflected, continuous You Are Here (Intakt) sound, sometimes reduced to inflected air. There are While best known as the pianist and principal • Jazz Passengers— moments on when the music is so intense and the composer-arranger of the seminal Modern Jazz Quartet Still Life with Trouble (Thirsty Ear) sound so novel, it’s not particularly material whether (MJQ), John Lewis (1920-2001) was also a force in r • Gregory Lewis Organ Monk - it’s Evans or Gustafsson’s column of air in play. orchestral jazz, leading the Third Stream Orchestra e The Breathe Suite (s/r) “I Speak to Hear” matches air-shaft sonics with light U.S.A. in the mid ‘60s and serving as director of the • /Joe Lovano—Compassion: and fleet pointillist jabs at the piano while “Thoughts” American Jazz Orchestra, which had concert seasons at l The Music of John Coltrane (Resonance) has a balladic quality moving in and out of traditional Cooper Union in the late ‘80s. In his last years, Lewis • Brian Marsella Trio—Buer (John Zorn: and radical timbres. The results are always striking brought his music, in big band charts, to play with the e Book of Angels, Volume 31) (Tzadik) and sometimes imbued with rare imaginative power. Jazz at Lincoln Center Orchestra (JLCO) headed by • Nick Mazzarella/Tomeka Reid— a Signaling (Nessa) By the final title track, the clarity of the recording and trumpeter . In 2013, Marsalis invited • Roscoe Mitchell— the fundamental mystery remain: initially Gustafsson’s then 26-year-old New Orleans pianist Jon Batiste, who s (ECM) percussive pad slaps seem to initiate Fernández’ string now leads The Late Show with Stephen Colbert band, to • Oleś Brothers/Theo Jörgensmann— whacks; later Evans’ staccato blasts might be sourced curate a concert featuring Lewis’ music. The results of e TRaNsGRessioN (Fundacja SŁUCHAJ!) to Gustafsson, but at that point the baritone is clearly that concert constitute this album. Andrey Henkin, Editorial Director doing something else. The music only achieves its full Lewis loved Renaissance and Baroque music, an s

14 JUNE 2017 | THE NEW YORK CITY JAZZ RECORD world-weary lyricism. Although unrelenting for much of its near half-hour length, Swell’s sweet rejoinders to Brötzmann’s heroic fanfares form an early high point in “ Maneuvers”. Swell introduces the final “Last Night Was, For Sure” with a series of wheezy Kalamania susurrations before Brötzmann’s quietly intense elegy, Michel Edelin’s Flute Fever Orchestra (Rogue Art) accompanied by cymbal washes and scrapes, creates a reflective ending to a fine outing. Moments of Fatherhood The Chicago Plan Nicole Mitchell Black Earth Ensemble/ /Gebhard Ullmann/ Ensemble Laborintus (Rogue Art) Fred Lonberg-Holm/ (Clean Feed) For more information, visit cleanfeed-records.com and Mandorla Awakening II: Emerging Worlds Live in Copenhagen nottwo.com. Swell is at Judson Memorial Church Jun. 2nd Nicole Mitchell (FPE) Peter Brötzmann/Steve Swell/Paal Nilssen-Love with The Chicago Plan as part of Vision Festival, by Terrell Holmes (Not Two) ShapeShifter Lab Jun. 12th with David Haney and Metro by John Sharpe Baptist Church Jun. 13th. See Calendar. Nicole Mitchell, named 2017 Flutist of the Year by the Jazz Journalists Association, has a creative drive Trombonist Steve Swell has been a fixture on the matched only by her tremendous talents as a player, Downtown scene for over 40 years. His wit and vigor UNEARTHED GEM composer and arranger. Her projects defy categorization has graced the bands of bassist William Parker, because of their thematic and musical diversity and are saxophonist Jemeel Moondoc and pianists Dave Burrell invariably challenging and thought provoking. and , to name but a few, while his leadership Mitchell stars on Kalamania, a double-CD by flutist dates have consistently sought new avenues to explore. Michel Edelin and his Flute Fever Orchestra, comprised But Swell hasn’t been constrained by his roots and in of four flutes, bassist and drummer (the orchestra is his quest for new outlets has increasingly made only on one disc; the other is an Edelin solo venture). connections outside the New York City milieu. Two The crisp arrangements let the flutes swing and such fertile hook-ups with European figures provide Mitchell thrives among her peers (Sylvaine Hélary and the latest bulletin on his activities. Ludivine Issambourg are the other flutes). Her solo on Sharing a name with a much needed but At Club 7 “Five O’Clock Tea” is harmonically intense and unimplemented proposal to reform the banking Detail (Not Two) intricate. She contributes one song, “Joyful Struggle”, system, The Chicago Plan represents a further by Ken Waxman at once somber and triumphant and, like the entire installment in Swell’s association with German reed disc, explores the range of the flutes both individually player Gebhard Ullmann, following on from their At Club 7 is the only document of this configuration and within jazz and chamber music. Mitchell’s playing eponymous quartet. As such it’s a battle-hardened of Detail, which had begun as a trio in late December is challenging and tensile, a juxtaposition of opposites; frontline well able to navigate the intricacies of the 1981. It was recorded in September 1982, one week on “Marche Solennelle des Aquaziques” she duets program emanating from the pens of the principals. To before keyboard player Eivin One Pedersen quit the with drummer John Betsch and shows the stunning complete the lineup and account for the name is band, which had recently become a quartet when musicianship that has made her a first-call flutist. another well-acquainted pairing, this time from the South African bassist Johnny Mbizo Dyani joined Mitchell leads ensembles of her own as the sole Windy City, of cellist Fred Lonberg-Holm and drummer Pedersen, British drummer John Stevens (born 77 flutist, one of which is the Black Earth Ensemble, whose Michael Zerang. Zerang displays his distinctive years ago this month) and reed player Frode Moments of Fatherhood is light, almost playful, in its combination of rolling rhythms and novel timbres, Gjerstad. construction. The sounds and attitude behind “Building nowhere better than on the intro to Swell’s typically Pedersen (1956-2012) played with fellow Stuff” are straight out of the childlike wonder of Saint- punchy “Composite #10”. Having Lonberg-Holm on Norwegian Gjerstad in the Calling Signals group Saens’ Carnival of or Prokofiev’s Peter and board dramatically increases the options available as a decade later so listening to the nearly 57-minute the Wolf. But it soon moves into a driving, layered, he moves easily between the engine room and the improvisation 35 years afterwards offers almost no pulsating tempo with intense rhythms, quickly spotlight. He demonstrates his range in the same musical clues for his exit. The bassist, transplanted shedding its youth. Mitchell’s instrumentation and number as he runs the gamut from unison head to to London in the mid ‘60s with South African jazz sound layering on “Explorers” is splendid. “Listening” lilting vamp via a skittering twosome and scratchy band The Blue Notes, and drummer had been is a single tune constructed as a suite, beginning as a solo replete with electronics. Other highlights include involved with free music for a couple of decades kind of off-kilter tango, then moving into a somber, “For Henry”, a woozy dirge containing two duets, one and added overseas legitimacy to what was at the saxophone-driven elegy (courtesy of David Boykin), comprising mercurial exchanges between bass clarinet time Norway’s only purely experimental unit. with a fierce solo by Mitchell in the middle and ending and wiry cello and the other finely wrought waves Stevens’ power thumping relates little to the hushed with fluttering hopefulness. “Cold Hard Facts” has from Swell and Zerang while the trombonist’s stop- group music he had pioneered with the Spontaneous various instrumental shifts yet never loses its insistent start “Rule #1: Make Sure You Can Play Your Own Music Ensemble while Dyani’s string thrusts, rhythmic power. There’s innovation and depth in every Tune” features Ullmann’s overblown tenor exhortations especially in the introductions to “Part 2” and “Part note, right down to the cartoon sound effects. and the author’s abrasive preaching. As plans go, this 4” of the program, resonate with the thickness of Mitchell also leads The Black Earth Ensemble on one’s a winner. If only its namesake could be delivered industrial strength rubber bands, the pair locking Mandorla Awakening II: Emerging Worlds, a science half as effectively. into a groove throughout. In fact, it is Dyani’s fiction-informed work in the vein of her Xenogenesis In 2015 Swell joined one of the most carefully placed stentorian strums that provide the Suite, which puts forth her vision of the quest to save uncompromising units in jazz, the pairing of German ballast upon which Pedersen’s often peppy phrase- an imaginary egalitarian society amid our flawed but reed behemoth Peter Brötzmann and Norwegian making stand out, complementing Gjerstad’s overtly still precious planet. The music doesn’t express a desire drummer Paal Nilssen-Love. Live In Copenhagen, atonal squeezed saxophone patterning or bass for utopia but rather the need for balance, a solution recorded in spring 2016, just over a year after their clarinet braying. for today’s conflicts that is more rational and vital. debut Krakow Nights, documents their progress. Swell Discursive asides from each player are Except for Mitchell and violinist Renèe Baker the has carved out his niche not by looking to compete in decisively assembled into focused, forward motion Ensemble’s instrumentation is completely different, terms of power and energy or by enthusiastic riffing, by Dyani and Stevens’ teamwork, so that the which makes sense for the concept. Clarinet, but by determinedly continuing an unpredictable mix program’s final moments are both rhythmically saxophone, piano and harp give way to shakuhachi, of galloping bluster and delicate filigree embellishment, creative and satisfactorily conclusive. Perhaps on oud, theremin and electric guitar. Mitchell conveys the which can be interpreted either as germane counterpoint the evidence of his subsequent, more restrained intensity of the message with the foreboding of “Egoes or a separate line in its own right. Swell has also work, Pedersen must have felt he was becoming a War”, warmth of “Dance of Many Hands” and R&B developed a stunning rapport with Nilssen-Love, poor fit for the group, which existed in various poetry call-to-arms “Staircase Struggle”, “Shiny evidenced by several wonderful passages such as the configurations (adding cornet player Bobby Divider” and “Timewrap”, read and sung brilliantly conversational interplay in “Actionable Rhetoric”, full Bradford in 1986 and Kent Carter replacing Dyani in with spine-straightening vocals by Avery R. Young. of unexpected suspensions, sudden exclamations and 1988) until Stevens’ death on Sep. 13th, 1994 at age Mandorla is both a stern warning and a plea delivered dramatic timbral interchange. All the possible 54. Despite subsequent developments without the with eloquence and love. permutations are investigated during a 77-minute pianist, it’s still very good to have this performance program, which paints a picture of tremendous available. For more information, visit roguart.com and fperecs.com. empathy, stamina and invention. Brötzmann remains a Mitchell is at Judson Memorial Church Jun. 1st as part of force of nature whether on alto, tenor or clarinet, For more information, visit nottwo.com Vision Festival. See Calendar. though not averse to excursions into an attractive

THE NEW YORK CITY JAZZ RECORD | JUNE 2017 15

company of Europeans as Americans, his sophisticated GLOBE UNITY: ISRAEL use of cello, electronics and, recently, guitar, bringing exuberant novelty to each situation. Ballister’s Slag, recorded live at London’s Café Oto, is three slabs of ecstatic improvisation by the cellist, Chicago’s on alto and tenor saxophones and Oslo-based drummer Paal Nilssen- Love, worthy of a Where’s Waldo of his own. The basic proposition is how swiftly the collective interaction Freedom Is An Option Albert Beger Quartet (Jazzis) Highsmith can be pushed to the stratosphere as it is harshly Birdwatching / (Tzadik) deconstructed into mere atoms and, conversely, how Trio (with ) (ECM) speedily it can be reconstructed into an organic whole. Choice by Kurt Gottschalk Eden Bareket Trio (Fresh Sound-New Talent) Playing tenor saxophone on “Fauchard” and “Glaive”, by Tom Greenland Academic though the point may be, it’s informative to Rempis uses reed slurs, screams and split tones to look at Ikue Mori’s work as that of a percussionist. She carve out wide swathes of musical real estate where Anyone active on the New York scene can’t help played kit drums when she first arrived in New York excitement and emotion surpass bar lines or melodies. but be amazed at the ongoing influx of extremely City 40 years ago, then switched to the more malleable Nilssen-Love’s unruly repertoire of washboard-like talented Israeli jazz musicians, begging the question: drum machine before making the laptop her axe of shuffles and deflated balloon-like pops, especially on is it something in those (southeastern Mediterranean) choice. Even still, the electronic patches she uses are “Fauchard”, help direct the tracks towards limitless waters? More likely it’s the high-caliber art schools, built from drum machine samples. It makes sense then nirvana. So it is the cellist’s double-stopping competitive local scene and, perhaps, a sense of that her most consistently rewarding project is Mephista dexterity and focused electric pulses that cram the urgency arising from troubled socio-political times, with pianist Sylvie Courvoisier and drummer Susie others’ textural shards into an unconventional but which make it such a rich source of jazz artistry. Ibarra—by definition a percussion trio but one that recognizable program of thematic sounds. “Glaive” Veteran free improv-er Albert Beger, born in pushes hard at the seams of such typecasting. ups the ante with the drummer channeling John Istanbul but raised in Israel, has made a dozen While the piano is also, by definition, a percussion Bonham as much as Sunny Murray and whiny reed albums as leader. Freedom Is An Option, his most instrument, we rarely hear it that way. With muting spits angling more towards punkish James Chance recent, was recorded in with a team of and other alterations of the strings, Courvoisier and excess. Playing alto, Rempis makes “Guisarme” calm younger Israeli musicians: pianist Milton Michaeli, others bring out the piano’s percussive voice but, more and reflective with slow-paced vibrations, aided by the bassist Shay Hazan and drummer Adam Cohen. often, in the hands of such players as Craig Taborn (for drummer’s wood-block slaps and Lonberg-Holm’s Based around solid, relatively bare-boned melodies, example), the piano sings like nothing else. Taborn is modulated plucks, slurred fingering and press rolls the improvisations on each of the five tracks are a wonderfully lyrical player, as evidenced by his work jerking the reed player back to connective pulses for loose yet cohesive, amoeboid yet centripetal. On with , and Wadada Leo the climax. most tracks Beger’s stentorian tenor saxophone Smith, among others and on his own exceptional if Cut finds Lonberg-Holm playing guitar along with points the way in a style recalling the existential occasional projects. cello on a Chicago foray with locals bassist Nick Macri soulfulness of Albert Ayler, but never at the expense There has always been a lot of tonal texture in and drummer Charles Rumback as Stirrup. With fuzz of group interplay. “Rest Now” features his beautiful Mori’s electronics, but on the duo meeting Highsmith tones and choppy strings licks prominent on tracks soprano horn sound on a lovely ballad. “Spiritual she follows Taborn to find some of her most melodious such as “Rodney’s Last Ride”, “Five Ruminations” and Existence”, the powerful finale, is a poignant playing to date. There are times when the pair revels in the almost give-away titled “Who We Were”, the end pentatonic-minor meditation (à la John Coltrane’s electro-acoustic tension but more often they circle and product recalls so-called Super-sessions of the late ‘60s “Alabama”) on the meaning(s) of life. reinforce each other, providing an ongoing sequence of when rockers stretched out simple tunes to exaggerated Born near Tel Aviv, pianist Anat Fort recently platforms for the other to climb to and from again. The lengths. More admirable are those tracks where returned to the Israeli metropolis after two decades 11 tracks here are all improvised, but always with a Lonberg-Holm returns to the cello, such as “You May in New York, where she developed a close working keen ear toward the greater good. Think”, swinging lightly, reflecting the perfect balance relationship with bassist Gary Wang and drummer At times, as on “Variations on a Game”, the among a moderato cello exposition, accented drum Roland Schneider. For Birdwatching, her third ECM dialogue between the two is vibrant and surprising. beats and double bass thumps. Expanding from these date, she augments the trio with Italian alto Elsewhere, as on “Dangerous Hobby”, they push the practiced motions, Lonberg-Holm’s bow thrusts are clarinetist Gianluigi Trovesi. An artful amalgam of instruments to their limits, not with speedy blurs but thornier and diffuse on “Domi’s Dream” without classical, jazz and more aleatoric inclinations, Fort’s by building density. “Mermaids on the Golf Course”— upsetting the trio’s comprehensive architecture. The style is both accessible and adventurous. Beautiful at close to 10 minutes the longest track on the album by closing “You ‘n’ Me” subtly modulates from an intense solo pieces bookend a handful of ariose tunes (her a stretch—allows some more traditional soloing and cello tour de force to a guitar coda where accelerating lilting 7/4 “It’s Your Song” is on par with Steve comping for listeners who like to hear the chops. flanges enhance and fuse separate narratives. Swallow’s “Falling Grace”), structures in which the It’s rare to hear a project from either Mori or Relephant is the experimental foray. Recorded in musicians invariably discover wide-open spaces. Taborn that falls flat. Highsmith is, perhaps, a geometry Poznań with Polish percussionist Adam Golebiewski, Trovesi is by turns humorous, mischievous, eccentric of their individual successes, a fantastic new discovery the pair quickly reach a zenith of staccato ferocity, or plaintive, his alto horn a deeper, richer-toned of familiar artistry. extracting percussive commotion from anything that cousin to the more often heard chalumeau range of can be stroked, hit, reverberated or programmed. The the soprano clarinet. For more information, visit tzadik.com. Taborn and Mori percussionist’s loudness is cunningly countermanded Born in Argentina but raised in Israel, baritone are at The Stone at The New School Jun. 2nd with John by the cellist’s extended techniques and plug-ins, saxophonist Eden Bareket, the youngest bandleader Zorn. See Calendar. which produce tones as astringent as a hail storm and of the three featured, is a relative newcomer to the just as clangorous. The session is carefully recorded so New York scene. Choice, his official debut, is a trio that the bounce of bow on strings or the pealing of a outing with brother Or on bass and Felix Lecaros on small bell is distinctively outlined. “Being Run Around drums. The considerable volume of air required to Inside”, the penultimate and most distinctive track, fill the big horn proves no obstacle for Bareket, who features pressured shuffle bowing and multi-textural spins out fleet robust lines more often associated cymbal resonations, extruding like jagged wire, until with smaller saxophones. His aggressive tunes are both improvisers’ timed contributions sweep into Slag based on intricate bass parts and incisive rhythms of wheezy concordance. The effect is uplifting and Ballister (Aerophonic) shifting accent patterns. Hints of the barroom blues- Cut upsetting at the same time. It highlights the duo’s shouter can be heard in his solos on “Raccoon” and Stirrup (Clean Feed) command of every manner of hair-trigger-launched Peter Gabriel’s “Don’t Give Up” (the record’s only Relephant technical extensions while communicating a coherent cover) while “Camel” and “Diphthong” allude to Fred Lonberg-Holm/Adam Golebiewski (Bocian) theme, followed up by equal parts aviary cello string Middle Eastern influences. The title track floats a by Ken Waxman whistles and gale-force reverb from the percussionist high-pitched pedal note over descending bass, on the closing “Meeting Three Blind People”. arcing up to then returning from a daring peak. Perhaps one day some canny jazz entrepreneur will come up with a Where’s Waldo game featuring Fred For more information, visit aerophonicrecords.com, For more information, visit jazzis.com, ecmrecords.com Lonberg-Holm. Over the past quarter century, the cleanfeed-records.com and bocianrecords.com. Lonberg- and freshsoundrecords.com cellist is as likely to appear on a recording from Holm is at Judson Memorial Church Jun. 2nd as part of Copenhagen as Chicago and as frequently in the Vision Festival. See Calendar.

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with intelligent lyrics (included in the CD insert) while wunderkind Kyle Motl, joined by the legendary New her trumpet playing is conversational and sometimes Orleans tenor saxophone icon Kidd Jordan. full of humorous phrasing (the aforementioned Rader opens each of the three selections with “Cocktails For Two”). The only track that does not increasingly expansive drum solos. “New Found have a vocal is the closer, a rousing Skonberg original Spirits” is a tight and muscular essay, soon joined by titled “Time To Go”, which comes off as a - elastic bass and McMinn’s alto, which begins in style jam with high-flying trumpet and rip-roaring languid fashion before taking a more Pentecostal turn. drumwork by Matt Wilson. Brandmark follows in post-Albert Ayler fashion before Having seen Bria Skonberg in live performance, Jordan comes rippling in with hoarse, masterful

With A Twist this reviewer can say this CD manages to capture the manipulation of the altissimo register. The latter proves Bria Skonberg (Okeh-Sony Masterworks) spirit and personality of this multi-talented artist. to be an endless font of energy, all driven by the by Marcia Hillman pinpoint precision of relentless ride cymbal. For more information, visit okeh-records.com. Skonberg is The drum soliloquy that leads off “Facing The Singer/trumpeter Bria Skonberg’s second outing on at Highline Ballroom Jun. 2nd as part of Blue Note Jazz Wall” is very much indicative of the storytelling the Okeh label again focuses on her talent as a vocalist Festival. See Calendar. tradition, birthing a volcanic episode from Jordan and rather than an instrumentalist. The material consists of a superb contribution from Motl, whose fleet pizzicato

American songbook and musical theater choices plus is reminiscent of ’s indelible contributions five originals. The instrumental accompaniment to Ayler’s early ‘60s music. McMinn and Brandmark depends on the arrangement so there is a large group each dial up variations on the post-Ascension scream of musicians appearing (including horns, strings on fest before chilling out with a quote from “Nature Boy” some tracks and a basic rhythm section, which also in the closing minutes. varies from track to track). Which brings us to the tour de force finale, “Talkin’, The highlights here are those arrangements, divided Burnin’, Prayin’”, clocking in at nearly 21 minutes. between , who likes the sound of strings, Rader opens this benediction with a loose and flutes and piccolo, and Skonberg, who favors traditional architecturally inspired solo, joined initially by the jazz sonority (i.e. horns plus rhythm section). She plays malleably intoned alto of McMinn. Rader and Motl, the Reunion with tempo changes on “Cocktails For Two”, moving glue throughout this disc, make a compelling rhythm Abbey Rader Quartet (with Kidd Jordan) (ABRAY) from stride to Latin to swing, and treats the bluesy “All by Robert Bush team, inspiring Brandmark to come wailing in super Right, Okay, You Win” as a bossa nova. expressive terms. Jordan follows with another kinetic Skonberg’s voice is laid-back and projects warmth Free jazz veteran drummer Abbey Rader may not be a masterpiece, toggling low-toned honks with ecstatic and charm. She shows off her playfulness with household name, but is an important contributor with squeals. Everyone ratchets up the energy in a free-for-all “Whatever Lola Wants” (from Damn Yankees) and roots in the ‘70s Loft Movement and a C.V. that includes before Rader dials it down for a short poetry recitation. “It’s Oh So Quiet” (the tempo shifting from a waltz to violinist , tenor saxophonist Frank Lowe and 4/4 and back again several times), her sultriness with many others. Rader’s latest disc, Reunion, is a live date For more information, visit abbeyrader.com. Kidd Jordan is a treatment of “Sway” and scatting on “High Hat, with his long-running quartet of saxophonists John at Judson Memorial Church Jun. 2nd as part of Vision Trumpet and Rhythm”. Her original songs are melodic McMinn and Noah Brandmark plus contrabass Festival. See Calendar.

FLUSHING TOWN HALL presents Queens Jazz Orchestra A Musical Tribute to Sonny Rollins FRI | JUNE 9 | 8 PM “Jazz never ends... it just continues” (Sonny Rollins) The Queens Jazz Orchestra under the direction of NEA Jazz Master performs a loving musical tribute to living legend, tenor saxophonist, NEA Jazz Master, and National Medal of Arts recipient Sonny Rollins. Tickets: $42/$32 Members/$20 Students; 20% Table Package: $125/$100 Members OFF (Reserved Table for 2, Wine & Snacks) (generaluse & advance QC20 tickets only)

���.�ushingto�nhall.org (718) 463-7700 x222 137-35 Northern Blvd. Flushing NY 11354

THE NEW YORK CITY JAZZ RECORD | JUNE 2017 17

Considering he was the pianist on Pharoah Sanders’ mighty Tauhid, who would have expected his first album (High, Douglas, 1968) to have included a side-long “West Side Story” medley backed with a 14-minute piano trio blowout with legendary free jazz drummer Sunny Murray and Revolutionary Ensemble bassist ? Burrell’s fondness for early piano styles resulted in that first album ending with an original rag, “Margy Pargy”, presenting him as a true original,

Moving Still extending the range of contemporary jazz piano by Jonathan Finlayson & Sicilian Defense (Pi) drawing back on its origins. by Tom Greenland In 1991, Burrell recorded a Jelly Roll Morton tribute, Jelly Roll Joys, and three years later, Burrell and Chess-think and jazz-think are highly compatible in tuba player did a European tour, The Crave the sense that both jazz musicians and chess masters taken from a concert at Kölner Stadtgarten in Germany. work within predetermined limits (e.g., 12 notes per It’s a remarkable set combining three Morton pieces octave, 16 pieces per side) to explore an almost with three Burrell compositions. Stewart is very much judi silvano unlimited range of possibilities, each approaching in keeping with the spirit of the material. Burrell sets their art with a combination of intelligence, creativity the tempo with the title track, one of Morton’s and combativeness. Sicilian Defense’s leader/ compositions redolent with the “Spanish tinge”. bruce arnold trumpeter/composer Jonathan Finlayson and his close Burrell and Stewart give the music a strong rhythmic collaborator, guitarist Miles Okazaki, are both chess forward momentum, not too fast and tempered with enthusiasts, so it is fitting that Moving Still, the group’s playfulness. The Burrell compositions consist of songs sophomore effort, is rife with chess-worthy moves. from his opera Windward Passages, two of which were Three new members—pianist Matt Mitchell, previously unrecorded, definitely more modern bassist John Hébert and drummer Craig Weinrib—fill harmonically and rhythmically. The theme to the oft- out the quintet, but the overall sound still retains recorded “Popolo Paniolo” seems to shift key, tempo Finlayson’ distinctive imprint: long through-composed and rhythm every four measures, Stewart deftly melodies with dense counterpoint, layered rhythmic maneuvering these intricacies with aplomb and mining structures and just a hint of hardbop bravado. Hardly the melodies for all they are worth. This is a wonderful a blowing session, with relatively short, song-serving set and one of the best examples of Burrell recording solos, the tracks nevertheless showcase three distinctive Morton’s music. The only complaint is that at 38 improvisers. Finlayson, always articulate, leans toward minutes, it should have been longer. lighter, cleaner tones, though brash when he wants to Trandans is a 2016 recording with the Dutch duo of be. Okazaki fleshes out the harmonies with deft ICP saxophonist Ab Baars and violist Ig Henneman. arpeggios and melodic cells. Mitchell displays a flair The latter pair have been releasing recordings for the for embellishing compositional materials. On tracks past ten years, developed a method of communication like “Cap vs. Nim”, guitarist and pianist show a that skirts the boundaries between notes and enjoy remarkable ability to interact with Finlayson’s inviting other people into their world (they did a LISTEN TO THIS is an Electro- improvisations, blurring the roles of soloist and successful album with pianist Misha Mengelberg, Acoustic collaboration accompanist. Named for a famous match in which Sliptong, in 2008). Burrell is another excellent choice for Cuban master José Capablanca (playing black) defeated collaboration: he understands their methodology and between Composer/Guitarist Russian Aron Nimzowitsch by putting him in zugzwang the music unfolds organically. Baars’ tripling on tenor, Bruce Arnold and Composer/ (forcing him to make a disadvantageous move), the clarinet and shakuhachi assures variety and his Vocalist Judi Silvano. song’s long-form melody and harmony are derived focusing on the latter (his main instrument on three from the match’s board positions and moves, creating tracks) gives the music an otherworldly ambience, Recorded Live in NYC, these a labyrinthine layout, which, in turn, forces the band to Burrell fitting in nicely with his harmonic palette. The Adventurous Soundscapes prove its mettle. final track begins with an eight-minute piano solo, Similarly complex designs can be heard on “All of beautiful in its abstraction and brought to full fruition are the result of their the Pieces”, “Flank and Center” and “Space And” but when Baars (on clarinet) and Henneman enter to collective improvisation the gently stuttering “Between Moves” and slowly conclude as a trio. It’s a remarkable moment, bringing and compositional skills while undulating “Folk Song” closing out the album reveal the album to a satisfying conclusion. a lighter side to the play. Yes, Finlayson seems to utilizing SuperCollider and suggest, you have to think a few moves ahead and For more information, visit nobusinessrecords.com and Eventide digital effects. adjust quickly to developing situations, but the real stichtingwig.com. Burrell is at Judson Memorial Church reason we play is because we want to be moved by the Jun. 2nd as part of Vision Festival. See Calendar. NYC Electro-Acoustic Festival music we make. Wednesday June 21, 8PM For more information, visit pirecordings.com. Finlayson is Judi Silvano at The Stone at The New School Jun. 3rd with John Zorn. Mamiko vocals/Eventide Effects See Calendar. Watanabe Bruce Arnold Trio guitar/SuperCollider June 14th, 2017 Abrons Arts Center 8 & 10PM 466 Grand Street Jazz at Kitano 66 Park Avenue nycemf.net/2017-festival Reservations: 212-885- 7119 The Crave: Dave Burrell and Bob Stewart Play the www.kitano.com Music of Jelly Roll Morton and Dave Burrell muse-eek.com/listen-to-this Dave Burrell/Bob Stewart (NoBusiness) Trandans Mamiko Watanabe-Piano Duo Baars Henneman & Dave Burrell (Wig) -Bass judisilvano.com by Robert Iannapollo Richie Morales-Drums

brucearnold.com Of the pianists who emerged from The New Thing in the ‘60s, Dave Burrell proved to be the most unique. mamikowatanabe.com

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one often hears a combination of crooner-associated until he was offered a commission by Dave Douglas for American standards of the ‘40s-60s and traditional his Festival of New Trumpet Music in New York City). songs from Southern Italy. New York City-based The details as to how the puzzle was used to Vanessa Racci, herself an Italian-American, delves into construct the suite will overwhelm the average jazz fan that type of repertoire on Italiana Fresca, celebrating the but one doesn’t have to be an honors jazz school folk traditions of Southern Italy and paying homage to graduate to recognize the brilliance of Palmer’s Italian-American artists like Dean Martin (né Dino Paul conception, which utilizes numbers and individual Crocetti), Louis Prima and Connie Francis (née Concetta cells in Sudoku puzzles to inspire the approach to each Rosa Maria Franconero). Racci takes chances with the composition. Even if the listener isn’t familiar with

Fly or Die material, embracing postbop arrangements and Sudoku, it’s easy to recognize the stimulating music Jaimie Branch (International Anthem) incorporating elements of AfroCuban or Brazilian jazz. Palmer has created with his group of guitarist Mike by Clifford Allen Italiana Fresca favors a bilingual approach, with Moreno, bassist Ed Perez and drummer Lee Fish. Racci fluctuating between English and the Naples The Sudoku Suite has 16 separate movements, Over the last two years, trumpeter Jaimie Branch has dialect of Italian. She clearly has a strong appreciation which flow perfectly from one to the next, in addition emerged as a powerful newcomer on the New York of Neapolitan culture: Eduardo di Capua’s “O Sole to working as stand-alone compositions. The themes creative music scene, keeping the city’s climate from Mio”, Giuseppe Fanciulli’s “Guaglione (Street are challenging to the musicians but also allow them getting too staid—Branch is, after all, an enthusiastic Urchin)”, Renato Carosone’s “Tu Vuò Fà l’Americano” freedom. “Obsessive” is a brisk samba where the and gregarious person willing to try out numerous and Paolo Citorello’s “C’é la Luna Mezzo Mare” all quartet interacts rather than simply accompanying the situations with a range of fellow improvisers. That come from Naples. But instead of performing them in leader, with a fiery solo by the leader and a percolating enthusiasm hasn’t only resulted in her fronting groups, a traditional fashion, Racci gives them imaginative effort by Moreno. The introduction to “Compulsive” but also booking concerts at venues like Brooklyn’s jazz vocal makeovers with the help of the album’s features Palmer and Perez in a free-spirited call and Manhattan Inn (now closed). With an incisive, producer, acoustic bassist David Finck. response that segues into a samba as the others join blistering tone and compact, wiry phraseology capped Though “C’é la Luna Mezzo Mare” has been them. “Control” has a lively AfroCuban rhythm in off by serious heft, Branch is reminiscent of forebears recorded most often as a tarantella, Racci employs support of Palmer’s engaging postbop theme, featuring Raphé Malik, Barbara Donald, Paul Smoker and Bobby a Brazilian samba beat and adds some English lyrics of plenty of musical fireworks. “Thanks” is Bradford. Though she debuted in Chicago almost 13 her own. Racci also combines Neapolitan and English an exotic miniature with Palmer playing a background years ago, a circuitous and tumultuous path landed lyrics on her bilingual interpretation of “O Sole Mio”, vamp in support of Perez and Moreno. “Of Fun And her in Brooklyn, with her first recording as a leader avoiding the Aaron Schroder-Wally Gold lyrics from Games” has a Middle Eastern-exotic flavor with its arriving in short succession. Fly or Die is an apt title for “It’s Now or Never” (Elvis Presley’s English-language hypnotic rhythmic vamp, showcasing chant-like this suite of ten pieces performed by her working version of the song, recorded in 1960) and instead trumpet and spacious, ethereal guitar. Jason Palmer group of the same name with cellist Tomeka Reid, writing her own. has added another important chapter to his already bassist Jason Ajemian and drummer Chad Taylor, plus “Tu Vuò Fà l’Americano”, a major hit for Carosone impressive discography. occasional assistance from trumpeter Ben Lamar Gay, in 1956, makes fun of a Neapolitan man’s attempts to cornet player Josh Berman and guitarist Matt Schneider. appear Americanized. Racci’s version is no less For more information, visit steeplechase.dk. Palmer is at Following a short blast of conical chuffs, the snappy humorous, although her use of postbop and Brazilian Village Vanguard Jun. 6th-11th with Mark Turner. See “Theme 001” emerges, dry and break-heavy grooves elements is an interesting departure from Carosone’s Calendar. from Taylor propelling a linked yaw of pizzicato and classic version. And on “Scapricciatiello (Do You Love arco strings, the trumpeter pursed and exuding a Me Like You Kiss Me?)”, she brings an AfroCuban beat cutting, thin cry that unspools in daubs across the to a Neapolitan song. Racci performs male/female muscular push-pull of cello, bass and drums. An duets with singer Paul Marinaro on “Italian Love interlude of subtonal growls and acoustic guitar Medley” and the Prima-associated “Buona Sera (Kiss harmonics leads into shimmering scrabble, Taylor Me Goodnight)”. Marinaro has an appealing, crooner- building from glinting cymbal heads into a richly influenced vocal style, sometimes sounding a bit like Reunion layered, cracking rumble. “Theme 002” blends Kwela- vocalist Lou Lanza. like energy with double-dutch rhythms, Branch tough Racci’s backing on Italiana Fresca includes horns and particulate over crosshatches before fading into an and a rhythm section as well as some strings and environment of reverb-drenched electricity, churning arrangers Glafkos Kontemeniotis and Yaron glisses and papery huffs. As the LP’s second side opens, Gershovsky deserve some of the credit for the album’s distant whines and ponticello cycles are joined by freshness. Putting a fresh spin on so many familiar downward-pitched brass plods, eventually spreading songs is not easy. into the loose, parallel flit and pomp of “Waltzer”. “Theme Nothing” is cemented in anthemic drive, For more information, visit vanessaracci.com. This project a dusky staccato vamp and elegant rimshot bounce is at Birdland Jun. 4th. See Calendar. yoked to gurgled twitter and sideways chortling shouts, congealing in punchy tarnish. Branch has been through a lot in her young life and a range of emotions and experiences are declaimed and alluded to in the 35 minutes between opening volleys and closing strums. The new For more information, visit intlanthem.com. Branch is at album from Downtown Music Gallery Jun. 4th and 18th and Ibeam Brooklyn Jun. 17th. See Calendar. Abbey Rader

Beauty ‘n Numbers: The Sudoku Suite Jason Palmer (SteepleChase) Kidd Jordan by Ken Dryden John McMinn Over the past decade, trumpeter Jason Palmer has proven to be one of the most compelling artists of his Noah Brandmark generation. With each new volume in a series of CDs Kyle Motl for SteepleChase, Palmer reveals a different aspect to his musical mind while the expressiveness of his horn continues to expand as well. Italiana Fresca In his liner notes to his latest disc, the North Available from CDBaby.com Vanessa Racci (s/r) by Alex Henderson Carolina native explains how his obsessive compulsion and everywhere music is sold. with numbers led to his getting underway in the For booking: [email protected] At Italian-American festivals on the East Coast, composing of Beauty ’n’ Numbers: The Sudoku Suite in alongside the pizza fritte and sausage and peppers, 2006 (although he quit work on it after a short time

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Baevsky wrote 5 of the album’s 10 tracks. The Day through the chord changes of “Dinah”. Also on this disc After also includes ’s “Chant”, Jerome are two obscurities and three Wrembel originals, Kern’s “I’ve Told Ev’ry Little Star”, Victor Young’s including a pair of melancholy waltzes in “Carnets De “Delilah”, the title track by Tom McIntosh and “The Wise Route” and “Jacques Prevert”. Ones” by Patton. The opening track “Would You?” kicks The Django Experiment II begins with a surprise. What things off in a relaxed and loping style; Baevsky’s melody if Django Reinhardt had been around in the ‘60s and has a bounce and lightness that immediately lets the jammed with John Coltrane in New York? ”Douce listener know this will be a fun ride. Wong takes a short Ambiance” has Driscoll on soprano making a passionate solo that actually manages to build the energy level postbop statement over a one-chord vamp for the first

Zurich 1959 rather than dragging it down. The next piece, “Rollin’”, is two minutes before the rhythm section turns it into a Sonny Rollins Trio & Quintet (TCB) a galloping bebop burner with solo space for everyone; more conventional performance. Surprisingly, when by Duck Baker Patton in particular is lightning-fast, issuing a flurry of Driscoll returns for a second adventurous solo, the notes that set up a hard-driving break from Wong and rhythm section continues swinging as if he is not even This is one of the most desirable volumes yet issued in some controlled demolition from Strasser. The drummer present instead of interacting with him. this series, featuring excellent sound and top-drawer takes his most aggressive solo on “Four Seven Nine One”, There are plenty of rewarding performances and performances that few will know. This last is especially though, hammering the kit like he just found out he unusual moments throughout the second volume: true of the previously-unissued tracks by pianist Horace won’t be paid for the session. Wrembel’s “Boston” evolves from an original ballad into Silver’s quintet, not long after trumpeter One of the most appealing aspects of The Day After is a high-energy and somewhat menacing strut; his “Nanoc” had come on board to join tenor saxophonist Junior Cook the way the originals and standards fit seamlessly is an adventurous drone piece putting the spotlight on on the frontline for a five-year run with a stable lineup together; it never feels like the musicians are trying on his heated guitar; and “Viper’s Dream” is a Swing Era (apart from Roy Brooks replacing Louis Hayes on drums old clothes. The group’s slow walk through “Delilah”, tune that Reinhardt enjoyed playing. Bamboula Ferret’s later in 1959). This classic Silver quintet would record live the longest track, is a particular highlight; Baevsky gives “Valse de Bamboula”, the type of appealing jazz waltz at The Village Gate in 1961 and in Paris in 1962 and the its hypnotic melody stealth and grace, as Patton, Wong that one could also imagine being included in music here is up to the same high standard. If any and Strasser keep the rhythm relaxed and exotic. a Woody Allen movie, is a joy. Reinhardt’s “Double criticism is possible, it would be that Hayes is slightly Scotch” is a witty bop tune that has Driscoll contributing high in the mix and bassist Gene Taylor hard to find, but For more information, visit difymusic.com/jazz-family. some swinging soprano. Driscoll also lends his clarinet to the piano comes through loud and clear and Hayes Baevsky is at Smalls Jun. 9th-10th. See Calendar. a jam on Reinhardt’s “Heavy Artillery” and a swinging himself is so good that hearing him extra well is a treat. “Songe d’autumne”. More conventional but certainly Of special interest are “Nica’s Dream”, which was only welcome are versions of “Tears” (one of Reinhardt’s recorded a couple of times, and the lovely trio feature finest melodies) and “Minor Blues”. “Shirl”, which only appeared on 6 Pieces of Silver. The Django Experiment is very much a success. The Sonny Rollins set has been released before and it Wrembel creates consistently original ideas while always is really spectacular. This is the trio that the tenor being respectful to the immense legacy of Reinhardt. saxophonist took to Europe with bassist and, at various points, three different drummers (Pete La For more information, visit stephanewrembel.com. This Roca here, the others being Joe Harris and Kenny Clarke). project is at Drom Jun. 10th. See Calendar. And while virtually no other documentation of the Silver The Django Experiment I & II tour seems to have survived, we do have other recordings Stephane Wrembel (Water is Life) and even footage of the Rollins trio and it is all amazing. by Scott Yanow He is really reaching for the stars on uptempo bashes like Nick Fraser “Oleo” and the ballad playing is gorgeous. This music Django Reinhardt was the top jazz guitarist of the ‘30s JuNe 20: shows how Rollins’ playing evolved in a straight line and he continued to evolve, becoming one of the top bop- between the Village Vanguard 1957 date and the 1962 based electric guitarists of the late ‘40s. But when he Nick Fraser Village Vanguard recordings, which begs the question: passed away in 1953, very few other guitarists sounded (drums, compositioNs), why did he feel the need for the sabbatical that began like him. Charlie Christian was the dominant influence shortly after this tour? In any case, this date ranks with by then and Reinhardt’s style was considered too (saxophoNes), the best of Rollins’ live output. That makes this release personal and virtuosic for others to emulate. However, indispensable for those who don’t have it and those who starting in the ‘70s, the swing style and repertoire of do may well want the CD just for the Silver set. Reinhardt has become a major movement, particularly in (piaNo) Europe. Quite a few guitarists have emerged who are korzo, 8:30pm, For more information, visit tcb.ch. A Rollins tribute led by able to duplicate Reinhardt’s style and various “Hot Jimmy Heath is at Flushing Town Hall Jun. 9th. See Calendar. Club” groups have brought back the sound of Django 667 5th ave, brooklyN Reinhardt-Stéphane Grappelli’s Hot Club of France.

It can be difficult to be part of the Gypsy jazz movement and sound like oneself. Stephane Wrembel has managed to master the style without becoming a mere duplicate. Born in France and based in New Jersey, “Fraser not so much plays the drums as hurls himself whole body Wrembel is perhaps best known for contributing his piece and soul against skin and metal... truly talented.” “Bistro Fada” to Woody Allen’s 2011 film Midnight In - bill stunt, cbc radio Paris. He plays electric guitar and looks more towards “the young toronto drummer is perhaps a little too progressive Reinhardt’s style in the ‘40s. The two volumes of for the hidebound canadian scene... Fraser is a deft and sensitive Wrembel’s The Django Experiment find him stretching the percussionist with a hint of an enigmatic streak, a feeling Reinhardt sound with acoustic rhythm guitarist Thor for economical gestures, and an innate sense of form.” The Day After - mark miller, the Globe & mail Dmitry Baevsky (Jazz Family) Jensen, bassist Ari Folman Cohen, drummer Nick by Phil Freeman Anderson and occasionally Nick Driscoll on clarinet and soprano saxophone. Alto saxophonist Dmitry Baevsky has been recording as The Django Experiment I begins with a dissonant a leader for 13 years and has established himself as a introduction leading into “Nuages”, Reinhardt’s most lyrical, mainstream player in the vein of Will Vinson. His famous original. The piece is taken a little faster than tone is rich and full, frequently hovering in the middle or usual and includes heated double-time runs from bottom of the alto’s range and his phrasing, while steeped Wrembel while keeping the famous melody nearby. in bebop, has just enough modernity to keep him from Wrembel also performs six other Reinhardt numbers, sounding like he crawled out of a time capsule. His including the charming waltz ”Gin-Gin”, ”Djangology” compatriots on this, his sixth album as a leader and and “Minor Swing”, with the latter given a surprising second for the Jazz Family label, have been with him for ballad section in the middle. Other departures on a while: pianist Jeb Patton and bassist David Wong first Reinhardt’s songs include “Troublant Bolero” and a witty backed him on 2010’s Down With It while Wong and and eccentric jam on “Place de Broukere”. Driscoll makes NickFraserthedrummer.com drummer Joe Strasser were on 2015’s Over And Out. his one appearance playing clarinet on “Dinette”, a jam NickFraserthedrummer.baNdcamp.com

THE NEW YORK CITY JAZZ RECORD | JUNE 2017 21

musical glimpse inside a computer works very well. Not all prodigies develop their early technical gifts A deliciously trippy “Singapore Rhapsody” illustrates into mature artistic achievements. Find The Way proves how in sync Delbecq and Dumoulin are as they slowly that Parks’ piano chops are now only a means to an morph the voyage into a variegated travelogue. end. The end is beauty. The lyricism of this music is There are, however, times when the duo perhaps vast. It engulfs you, wave upon wave. didn’t pray hard enough. “I Had a Dream About This A risk of making an album that is a single rush of Place” and “Sonate Pour un Printemps” struggle to romanticism is that it will come out soft and too much find their purpose. The refreshing aspects of this the same. But Parks’ compositions, with their diverse session though are the risks and surprises that both time signatures and intriguing open forms, provide

Evergreens Delbecq and Dumoulin are free to take. They know inner contrast and his sidemen provide hard edges. Plug and Pray (dStream) their main instruments (piano and Rhodes) so well that Ben Street’s basslines are compelling forces that often by Elliott Simon they become the session’s sense organs with the pull against Parks’ flow. Drummer Billy Hart’s accent electronics providing the sensations. marks are everywhere, in unexpected places, constantly Evergreens is the debut release from Plug and Pray, the redirecting the energy. Parks even includes a miniature duo of pianists Benoît Delbecq and Jozef Dumoulin. For more information, visit bureau-de-son.org/dstream.html. drum concerto, “Hold Music”. Hart’s kit moves to the The former is known in creative music circles for his Benoît Delbecq is at Jazz Standard Jun. 14th. See Calendar. foreground and becomes a cauldron simmering and prepared piano pieces and trans-disciplinary music, bubbling with song. film and theater efforts while the latter is a master of The opener is called “Adrift” but, in fact, it sets the the Fender Rhodes. Their sobriquet alludes to the course. A right-hand ascent is soon awash in obsessive improvisational and heavily electronic nature of the left-hand tremolos and chord cycles. Parks writes vivid, session. Dumoulin has attached a bass station, keys subtle melodies and when he unleashes them through and e-drums to his Rhodes while Delbecq has similarly improvisation they spread outward like floods. “Alice” hooked up electronic wizardry to his piano. For what is for Alice Coltrane and is tense with Parks’ cross are primarily excursions in conversational rhythms and Hart’s eruptions. It comes as a release when improvisation, the musicians have literally plugged in “Alice” finally settles into an incantatory ceremony, and “prayed” that the result would be interesting. darker than the rest of the album but consistent with its In most cases their prayers were answered. Opener presiding atmosphere. “Melquiades” is metrically Find The Way “Cortex Rewired” is a spacey voyage while a deliciously complex yet coalesces into one long arc of aspiration. Aaron Parks (ECM) thick bass undercurrent rhythmically grounds “Slow by Thomas Conrad Parks wrote every song here except the title track, Stepper” as the musicians discover fascinating an obscure standard he discovered on a 1963 LP by happenings down various roads. Though different Aaron Parks was a prodigy. At 14 he entered the Rosemary Clooney and Nelson Riddle. It is easy to stylistically, tension-filled chords on closer “The Zorro University of Washington in Seattle with a dual major hear what drew him to “Find The Way”. Its romanticism Bus”, presumably a reference to computer circuitry not in music and computer science. At 18 he began winning is deep yet elusive with yearning and mystery. the guy in the mask, grab the listener’s interest. The prizes like the Cole Porter Fellowship at the American tune’s dynamics engender anticipation for something Jazz Piano Competition. At 20 he began touring and For more information, visit ecmrecords.com. This project is to jump out from behind the next circuit and this recording with . Parks is now 33. at Smalls Jun. 16th. See Calendar.

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JOËLLE LÉANDRE MATTHEW SHIPP WILLIAM PARKER GERALD CLEAVER WILLIAM PARKER

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22 JUNE 2017 | THE NEW YORK CITY JAZZ RECORD

frontline with veterans Phil Markowitz (piano), Ron inflected nod to the Carter Family, who popularized McClure (bass) and the great Billy Hart (drums). The the folk song. Another tune is “Subconscious-Lee”, the quintet offers a broad overview of Coltrane’s cool, postbop composition with a tortuous melody by remarkable (and remarkably diverse) musical legacy, alto saxophonist ; Frisell and Morgan play it with seven tunes representing the various creative relatively straight, at a medium tempo. The other tunes stages of his far-too-brief career. are “What a Party” by Fats Domino, “Goldfinger” (the Opener “Locomotion” is the album’s oldest track, James Bond tune written by John Barry, which really dating back to Coltrane’s landmark 1957 release Blue needs no introduction) and “It Should’ve Happened a Train. After stating the hard-driving, hardbop theme, Long Time Ago” by Motian, another Vanguard standby

Beckon Liebman and Lovano immediately take the tune further whose mysterious presence still lingers in the room six Adam Kolker (Sunnyside) out than the original, with freewheeling modern years after his death. by Donald Elfman flourishes. A ballad medley follows, pairing “Central Park West” and “Dear Lord”, seemingly incongruent For more information, visit ecmrecords.com. This project is From the first notes of “Millersville”, the hauntingly compositions from different points in Coltrane’s at Roulette Jun. 30th. See Calendar. lovely tune that opens Beckon, it is evident that Adam development, but shown to have much in common Kolker has spent time and energy in crafting an here. A rousing version of the Spanish-influenced expressive and thoughtful setting for an original “Olé” is next, highlighting Coltrane’s growing interest vision. The tune, a dedication to Kolker’s friend and in world music, while “Equinox” offers a modernist teacher Ron Miller (Professor Emeritus of Jazz Studies take on the blues. “Reverend King” and the title track at the University of Miami), combines simple and quiet represent Coltrane’s exploratory late period, the notes from the leader’s breathy tenor saxophone and former a complex, diatonic study with Liebman on Steve Cardenas’ elegant and quiet guitar with only the flute and the latter a 17-minute group excursion hint of drums from Billy Mintz. The whole eloquently introduced by a brilliant extended drum solo. displays the way a seasoned, talented trio thinks and This is a heartfelt, inspired session by a group of works together. artists clearly shaped and influenced by Coltrane and Kolker has written four diverse yet cohesive tunes dedicated to carrying on his musical legacy. Half a and also included two intriguing originals by Mintz. century after his death, this recording serves as a The title tune complements the trio with three reminder that the music of John Coltrane remains extraordinary woodwinds: Lawrence Feldman (flute), relevant, vital and very much alive. David Gould (clarinet) and Jackie Henderson LOUTRUMPETS CAPUTO (MONTCLAIR, NOT SONJ) - JUNEBIG 11TH BAND (bassoon). The piece is delicate and yet, as its name For more information, visit resonancerecords.org. Liebman ZINC BAR (NYC) - JUNE 24TH implies, inviting in its harmonies. and Lovano are at Birdland Jun. 27th-Jul. 1st as part of SEE LOU CAPUTO WITH RONNY WHYTE, A true surprise is “Cannonball”, a tribute by Mintz Saxophone Summit. See Calendar. CELEBRATING “SHADES OF WHYTE” JAZZ AT KITANO - JUNE 17TH, 8 & 10 PM to the groove tradition made popular and ever SAINT PETER’S CHURCH - JUNE 21ST, 1 PM appealing by , Kolker wailing on tenor over some fine grinding guitar work. “Slow LOUCAPUTO.COM Dance” is another lovely and contemplative tune by the leader, inspired by the score to Kurosawa’s master film Ran. The woodwinds, moving from major to minor tonality, give the piece the shape of a reflective poem. Kolker’s group is also comfortable and innovative in his creative take on the ballad “I Wish I Knew” in a stark, no-nonsense arrangement. This fascinating and poignant set closes with Mintz’ “Beautiful You” in which Kolker accomplishes dazzling intimacy by Small Town / (ECM) overdubbing flute, clarinet and bass clarinet as a frame by Matthew Kassel for his striking tenor playing. Adam Kolker has woven a wealth of elements In the canon of “Live at the Village Vanguard” albums, from many musical traditions into a fresh and this intimate duo recording of guitarist Bill Frisell and individual way of hearing them. bassist Thomas Morgan doesn’t stand out as a particularly memorable contribution. But that, as it For more information, visit sunnysiderecords.com. This project turns out, is one of its selling points; the album isn’t June 6 is at Cornelia Street Underground Jun. 21st. See Calendar. straining for greatness or solemnity or historical reach Mike Longo NY State of the and its casual feel eliminates any sense of self- Art Jazz Ensemble consciousness. Perhaps that’s because Frisell has with Ira Hawkins performed so many times and in so many different ensembles at the Vanguard, New York’s most hallowed jazz club, that he isn’t in awe of the room, whose June 13th acoustics well suit this duo’s nuanced sound. Or maybe Russ Kassoff Orchestra it is because Frisell and Morgan, whose woody tone is with Catherine Dupuis on full display throughout the set, have frequently collaborated since first playing together with the late June 20 drummer Paul Motian and have such an easy rapport. Small Town is somewhat reminiscent of Frisell’s Lou Volpe Group Compassion: The Music of John Coltrane twangy first album as a leader, In Line (1983), Dave Liebman/Joe Lovano (Resonance) June 27 by Joel Roberts a combination of solo tracks and collaborations with the Norwegian bassist Arild Andersen. Frisell wrote all Jeff “Siege” Siegel Quintet This powerful tribute to John Coltrane from two of his the tunes on In Line, but on Small Town only two of the most noteworthy disciples was originally recorded for eight tracks included are by him—“Song for Andrew the BBC in 2007 to honor the 40th anniversary of the No. 1”, dedicated to the drummer , and legendary tenor saxophonist’s death. A decade later, as the title track, with traces of Ennio Morricone’s New York Baha’i Center we prepare to mark 50 years since Coltrane’s passing, spaghetti western music. Frisell also contributes 53 E. 11th Street the newly unearthed session is finally being released a meditative introduction to another tune, “Poet/ (between University Place and Broadway) and is well worth the wait. Pearl”, a laid-back composition by Morgan (one of the Shows: 8:00 & 9:30 PM An outgrowth of the Saxophone Summit group first he ever wrote, as it happens). Gen Adm: $15 Students $10 (which at the time featured Liebman, Lovano and Ravi The other tracks represent Frisell’s ecumenical 212-222-5159 Coltrane, who replaced the late Michael Brecker), sensibility as well as his deep connection with bahainyc.org/nyc-bahai-center/jazz-night Compassion joins the formidable twin saxophone Americana. There is “Wildwood Flower”, a country-

24 JUNE 2017 | THE NEW YORK CITY JAZZ RECORD

is credited to both Byard and Miles Davis and not long Ben Webster and King Curtis in his approach. This live into the wide two-handed chordal melody (with set, recorded at The Velvet Lounge a few months before pointillist runs so very reminiscent of Monk), the his passing, captures Anderson in excellent form. Parisian crowd is awakened by the juxtaposed presence The four lengthy pieces here are collectively of Davis’ “All Blues”. Henceforth, whoops, hollers and composed by the Anderson Quartet. “The Greeting” thickets of applause populate the spirited sounds and features rumbling bass, clattering-building-to-a-storm solos onstage. You can almost smell the smoke, taste drumming and the dual saxophones of Anderson and the liquor. Tim O’Dell. The latter engage in some call and response The set progresses with Byard’s original “Darryl”, (some clarion call-like cries), intertwine, then break

Live at the Jazz’Inn the coda of which is stark, stirring, before leaping into free of each other. The playing is emotive and Trio (Futura) Tadd Dameron’s “Lady Bird”. This selection unfettered but there is little upper-register skronk by John Pietaro exemplifies the music of Jaki Byard: an homage to playing. O’Dell is a dandy foil for Anderson, his tart, heritage extended by a burning solo piano cadenza lithe, occasionally coarse alto and soprano make for By 1971, when this concert was captured live at Paris’ (pointing toward where Don Pullen was heading). By a fascinating and invigorating contrast to Anderson’s Jazz’Inn, pianist Jaki Byard’s relevance as an artist of the time the rhythm section is back in at a tempo, Byard deep-blue tone. “Part II” features some punchy, significant import had been widely documented. His is sounding out on , bringing in newer rollicking duets between both saxophonists and work for an eclectic group of leaders, most famously and newer textures without effort. drummer Avreeayl Ra, who juggles and balances swing , paved the path for his own leadership The album is filled with surprises, including the and forward motion with powerful punctuations, of an array of ensembles. Largely, his bands extended leader’s nine-year-old son sitting in on drums sometimes dispensing with a fixed beat. Furthermore, the time-honored format of the piano trio (of particular (“Gerald’s Tune”). One hears the elder Byard offering he never overplays. “Part III” commences with Tatsu note is the 1967 Prestige date Sunshine Of My Soul, verbal cues to his boy before Gerald jumps into an Aoki’s unaccompanied eerie bowed bass, a haunting, which matched Ornette Coleman bassist excited drum solo, culminating in a father-son duet by harrowing, slightly buzzing exposition approaching with erstwhile Coltrane drummer Elvin Jones) yet way of atonal alto saxophone sparring with unbridled the range of a cello or viola. The horns play long, Byard’s vision of same was anything but common. An enthusiasm. Perhaps it was that infusion of liberation sustained passages (with variations between them) anomaly right to the end—his 1999 death by gunshot that led the band to take it further outside after Truong over the crackle of drums—while not pleasantly remains officially unsolved; he would have turned 95 returned to the drum chair (or, rather, raised it back to melodious, there is a meditative quality to the this month—the pianist wielded an outward-bound adult height), but the mix following is a mélange to saxophones’ lines. Closer “Thank You. Fred” has a conception that wrested tonality to the edge of avant please the visceral appetite. Harlem piano with fistfuls cool, steady, loping, somewhat suave rhythm over garde, even as lush standards reflected the breadth of of blues and swing shares the spotlight with free jazz which the horns peal out some blues-rich wails, tradition. and wonderful reconstructions of standards. Look out alternating leisurely pacing with some energized, Live at the Jazz’Inn offers a vision of middle-period for “There Goes My Heart/San Francisco”, credited as cathartic agitation. Byard, the repertoire drawn from his own compositions “trad” but with fervent echoes of a noted Tony Bennett Live Volume IV stands as a fine addition to as well as improvisation, traditional tunes and some of hit. And of course the central piece, “Pagliacci”—yes, Anderson’s not-exactly-massive discography and the best of the jazz canon. The album opens with polite that “Pagliacci”. makes a fine entry point for avant-jazz novices besides. applause as Byard, bassist Gus Nemeth and drummer The set closes off with two selections that had been Jean-My Truong kick into “Green/Just Blue”. The piece unissued until this CD reissue. On both “What is This For more information, visit asianimprov.org Thing Called Love” and “Now’s the Time”, pianist Siegfried Kessler (Truong’s bandmate in the early ‘70s, short-lived, Paris-based European avant jazz Academy Records ensemble Perception) joins the ensemble, giving Byard free rein to focus on his saxophone. And he makes the most of the opportunity. Cole Porter’s famous song & CDs here carries a certain vertigo with it and Bird’s anthem, well, flies high as only Jaki Byard could escalate it. It must have been one hell of a hot night in Paris. Liberté, égalité, fraternité.

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We buy and sell all 20 - 26 AUGUST 2017 genres of music. Live Volume IV THE NETHERLANDS All sizes of collections Fred Anderson Quartet (Asian Improv) WORK AND PLAY WITH welcome. by Mark Keresman THE DUTCH MASTERS OF IMPROVISATION Tenor saxophonist Fred Anderson, who died seven years ago this month at 81, was a seminal figure in the 2017 FACULTY: Chicago jazz scene. Aside from being a great tenor HAN BENNINK drums For large collections, player, Anderson was among the founders of the city’s ANNE LA BERGE fl ute, electronics Association for the Advancement of Creative Musicians OSCAR JAN HOOGLAND electric clavichord please call to set up an collective (AACM), a club owner (The Velvet Lounge) WILBERT DE JOODE double bass appointment. and mentor to many players, including drummer Hamid Drake, bassists Josh Abrams and Harrison MICHAEL MOORE reeds Bankhead, flutist Nicole Mitchell and saxophonist MARY OLIVER violin Greg Ward. While Anderson was at the foundation of Chicago’s More information and application: Open 7 days a week 11-7 avant garde scene, his playing contains a soulful, WWW.DUTCHIMPROACADEMY.COM sumptuous, visceral blues feeling in the manner of SIGN UP NOW 12 W. 18th Street NY, NY 10011 Ornette Coleman but even more overt (like Coleman, 212-242-3000 Anderson was born in the Southern USA). One can discern echoes of such tenor legends as Gene Ammons,

THE NEW YORK CITY JAZZ RECORD | JUNE 2017 25

have stepped into tributes to Davis. Jones claims a larger jazz tradition, embracing the heritage of Louis Armstrong and . That was evident on his last album, the live-in-the-studio quartet recording Im-pro-vise Never Seen Before (Mack Avenue), and even more strongly on this live recording. He’s joined by regular quartet members Orrin Evans (piano), Luques Curtis (bass) and Obed Calvaire (drums), with Mark Whitfield Jr. spelling Calvaire on four of the seven

Quintet (Basel) 1977 tracks and Brian Hogans’ alto and/or soprano Anthony Braxton (hatOLOGY) saxophone also added on four tracks. by Stuart Broomer Jones honoring earlier trumpet traditions is most notable here on two of the quartet numbers (both with Anthony Braxton’s music has grown so multi- Whitfield), “The Ungentrified Blues” and the ballad dimensional, including a plethora of genres and “BJ’s Tune”. After a down-home bluesy backbeat original compositional systems, that it is easy to lose rhythm and piano channeling Monk in the Delta, Jones sight of some singular performances from the past. His arrives with long held notes that pinch and crackle, à la sustained quartet projects have also assumed the lion’s Satchmo, and a solo that rises from low growls to full ADAM KOLKER with Billy Mintz & Steve Cardenas share of attention among his small ensembles: the mid blare, closing with a slow coda over churchy piano BECKON ‘70s quartet with Dave Holland and Barry Altschul and chords. Jones builds his solo dynamically on the ballad, either or George Lewis as the second the rhythm section cresting with drum crescendos as SSC 1486 - IN STORES JUNE 2nd horn; then the quartet with , Mark trumpet rises from a whisper to a blare, with Appearing on 6/21 @ Cornelia St. Café Dresser and Gerry Hemingway that played together a bravura charisma reminiscent of Eldridge. Jones from 1985-93. Given all that, one might miss this avoids mainstream modern hardbop orthodoxies for singular episode from 40 years ago this month in which the most part—the closest the music comes is on Braxton leads a quintet with Lewis, pianist Muhal Hogans’ “Piscean Dichotomy”—a goal made easier by Richard Abrams, bassist and drummer Evans’ radical, Monk school-inspired approach. That Charles “Bobo” Shaw on then-recent compositions. influence is evident on the opener, Jones’ “Art’s The pieces come from Braxton’s No. 69 series, Variable”. Another influence is Ornette Coleman on combining notated components or directions with both Evans’ “Doc’s Holiday” and the leader’s “Prof”. space left for improvisation. Listening to this music, Throughout the album, this band confounds facile it’s hard not to associate it with its ancestry. The expectations, bringing that description of jazz as “the opening of “Composition 69 J”, with its combination of sound of surprise” to exuberant life. chirping sopranino saxophone and blustery trombone, suggests New Orleans jazz, as do passages of collective For more information, visit mackavenue.com. This project is improvisation, albeit sped up to bebop pace and at Jazz Standard Jun. 1st-4th. See Calendar. freebop licence. In the same spirit, “Composition 69 N” flirts with a dirge tempo, its sombre exaggeration further emphasized by the sense of foreboding Upcoming concert at the conveyed by Helias’ bowed lower register. But there’s also something comic slyly afoot, gradually coming to Austrian Cultural Forum the fore in Lewis’ laughing muted trombone and New York NICK SANDERS & LOGAN STROSAHL Shaw’s slightly theatrical rolls. It eventually evolves into “69 G” with its bebop tempo and improvisers in JANUS full flight with maximum interaction, whether Helias’ SSC 1469 - IN STORES NOW driving pulse, Shaw’s constant stream of metallic detail or the sheer brilliance of Abrams. Dr. Didi Appearing on 6/5 @ Mezzrow The music is an explosion of passion and joy, fire- June 29, 7:30 PM breathing solos and transforming forms and nowhere blues, death metal, more so than in the 18-minute encore of “Composition 40 B”, with its madcap drive and collective interaction. chamber music, kunstlied Abrams’ contribution is as notable as Braxton’s: he just keeps playing more and more music, adding layer upon layer to the excursion. Relatively few of Braxton’s small group performances from the period have been documented. This one, first issued in 2000, should be widely heard and celebrated.

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BLACK ART JAZZ COLLECTIVE at the Austrian Cultural Forum New York AT THE SIDE ROOM JAZZ CLUB Live from Jazz at the Bistro 11 East 52nd Street SSC 1441 - IN STORES NOW Sean Jones (Mack Avenue) (betw. 5th and Madison) Appearing on 6/28-29 @ Dizzy’s Club Coca Cola by George Kanzler New York, NY 10022 Trumpeter Sean Jones sports a wide breadth of experiences, from the Gerald Wilson and Jazz at free admission iTunes.com/AdamKolker Lincoln Center Orchestras to touring in a Miles Davis more information at iTunes.com/NickSanders&LoganStroshal tribute band with Herbie Hancock and Wayne Shorter. iTunes.com/BlackArtJazzCollective www.acfny.org But Jones is not a Miles wannabe like some others who

26 JUNE 2017 | THE NEW YORK CITY JAZZ RECORD Music for Six Musicians: Hommage à Olivier Messiaen

Live Recording/Concert for Silkheart Records (Sweden)

June 13, 2017 at 8 pm Metro Baptist Church 410 West 40th St. (between 9th and 10th Ave.) Manhattan

Music written and performed by Steve Swell (trombone) Jason Kao Hwang, violin/viola; Tomas Ulrich, cello; Rob Brown, alto saxophone; Robert Boston, piano/ organ; Jim Pugliese, drums/percussion

Tickets: $15, $10 seniors/students Doors open at 7:15 pm

In Association with The Sanctuary Arts Initiative of Metro Baptist Church, Silkheart Records, Lars Olof-Gustavsson, Abby London-Crawford and Steve Swell visit: steveswell.com photo: Peter Gannushkin

scratching of a modem trying to connect. Sometimes its distinctive flavor are the charts, which serve as the the electronics collaborate with Braxton and Masaoka; basis for inventive and playful extrapolation. Of the ten at other times they are signposts for solos or, in cuts, five are by Halvorson and four by Courvoisier Braxton’s case, horn changes. with one joint creation. Their blend works well, There are noticeable differences in the experiences. especially when exploiting the extended sonic The first segment unfolds slowly over its 50-plus possibilities from either preparations within the piano minutes, with more open space and feints toward or effects pedals attached to the guitar. straight melody. The music is neither constrained nor Courvoisier’s “La Cigale” hits the sweet spot right tentative and takes root with deliberate speed. The from the git-go. A skew-whiff theme quickly stretches

Duo (DCWM) 2013 second and third parts are more free-flowing, with less into knotty Morse code, prepared keyboard twanging Anthony Braxton/Miya Masaoka (Rogue Art) musing. Braxton and Masaoka play more dense and jagged strums in a delicious juxtaposition of the by Terrell Holmes harmonies and Braxton more defined melodies, predetermined and the impromptu, which establishes inserting fragments that approach the coasts of “Lush the template for the rest of the set. Both make reiterated Anthony Braxton and Miya Masaoka’s collaboration on Life” and “Ruby, My Dear”. motifs a source of tension and ultimate release and Duo (DCWM) 2013, a double-CD set recorded at Wesleyan when they lock together into those passages it is both University, reaffirms their innovative and improvisatory For more information, visit roguart.com. Masaoka is at dramatic and exciting. “Absent Across The Skies” genius. These three pieces, or “Experiences”, are daring Issue Project Room Jun. 2nd. See Calendar. begins as a mysterious concoction of piano figures and explorations of sound, harmony and color. bent notes before developing into a slow unison, with

Duo is an aural bouquet. Braxton plays the alto, bursts of improv erupting between the phrases. First soprano and sopranino saxophones, encompassing a stately piano cushions explosive fretwork, then they range from strident snarls to dog-whistle frequency. switch so that gentle chording sustains melodic He mixes in earthy blues riffs and cyclonic flurries or pianism, gradually becoming ever more convoluted. inserts playful avian effects by chirping and quacking But, as in the fizzing “Downward Dog”, the lines through his mouthpiece. Masaoka produces myriad between support and solo are so blurred and liable to captivating sounds on koto. When she isn’t plucking rupture the bounds of structure that it transcends any the strings with resonance and celerity she strums with hint of convention. Elsewhere they take different the vigor of a flamenco guitarist, caresses to produce a approaches. Halvorson’s spacious lilting ballad raga and even simulates whale-like grousing. A few “Aftershock” contains a brief storm at its heart, before Crop Circles times she literally plays outside of the koto when she Sylvie Courvoisier/Mary Halvorson (Relative Pitch) a subsequent exchange of textures and dampened keys gives percussive support by drumming on the koto’s by John Sharpe and a fiercely dark finale, while Courvoisier’s “Woman frame. And there are exciting moments when she in the Dunes” offers a moody soundscape punctuated climbs the ladder to the upper register and meets Over the last decade or so, pianist Sylvie Courvoisier by two outbreaks of muscular ostinato. Braxton for some high-wire call and response. and guitarist Mary Halvorson have become two of the Electronic effects, designed and programmed by outstanding proponents on their instruments. On Crop For more information, visit relativepitchrecords.com. Braxton, enhance the instruments. They vary from the Circles they present the result of their combined talents Courvoisier is at The Stone at The New School Jun. 2nd and unobtrusive soft pings of a hearing test to the distorted for the first time to dazzling effect. What gives this disc 9th-10th and National Sawdust Jun. 25th. See Calendar.

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28 JUNE 2017 | THE NEW YORK CITY JAZZ RECORD IN THE STEAMY SOUTH OF THE 1930’s NOTHING COMES EASY BUT DREAMS ARE BIG Limited Premiere Engagement May 23 – June 18 Live at Španski Borci Frank Gratkowski/Sebi Tramontana (Leo) Mirthful Myths Frank Gratkowski/ (Leo) by Ken Waxman

During a nearly three-decade career, German saxophonist/clarinetist Frank Gratkowski has performed in configurations ranging from raucous large ensembles to hushed solo discs. Some of his most personal and profound sessions though have been in duos, with these CDs as recent evidence. In improvised music, familiarity often breeds eminence and both his partners are longtime associates. Gratkowski’s affiliation with Russian-American, Cologne-based pianist Simon Nabatov dates back to ‘90s membership in several of the pianist’s bands. Although the association with Munich-based Italian trombonist Sebi Tramontana is almost as long lasting, Live at Španski Borci is one of their few recorded documents. The product of two different Ljubljana concerts, Live at Španski Borci’s 15 tracks highlight how both players instinctively and intimately know each other’s strategies. Able to source textures from bass clarinet, Bb clarinet and alto saxophone, Gratkowski’s forays into extended techniques are given shape by A NEW MUSICAL Tramontana’s measured chromatics. Some interactions, A NEW MUSICAL such as those on “Time and Space”, are harsh and unyielding; others like “Singer”, true to its title, instead offer mellow harmonies. On “You’re Tough”, trombone grace notes are stretched tauter and tauter to match reed snarls that not only escalate in speed but with multiphonics. “Daydream” has timbral blending resulting in a dense program distilled from whines, slurs and a few yowls. Gratkowski’s broad alto octave jumps, prominent on “Empathy”, highlight joyous freeform possibility while the trombonist adds to the excitement with constant slide motions. “Despedida” and “Homage” sound as if the two are engaging in An outcast minister leads a young street singer private musical jokes, subverting expectations while and a ragtag band of orphans as they struggle preserving the narratives. Gratkowski and Nabatov play even more atonally to make music and find their place in the world on Mirthful Myths, the latter using inner piano string plucks and vibrations as often as sweeping Cecil amid the bigotry and poverty of the 1930’s south. Taylor-like keyboard dynamics while the former spills unexpected sharp timbres onto the narrative as frequently as he blends with the accompaniment. The introductory “Three Tamed Furies” is the only misstep. Moving from somber to spirited, both devote Book, Music, and Lyrics by GAIL KRIEGEL too much time to brazen extended techniques only reaching a satisfying pas de deux of jittery pianism and Directed and Choreographed by PATRICIA BIRCH sighing trills at the finale. More notable are the five subsequent tunes, where one overriding motif is tried out for size, examined every which way like a stone under a jeweler’s loupe and leads to the next sequence. “Progress of Notus” is a lesson in keyboard control, Ticketcentral.com • 212 279-4200 as Nabatov rolls textures from inner strings at a crawling tempo, eventually blending with Gratkowski’s measured note cascades. “Eirene All Around” turns string scrubbing and reed splutters into vibrant THE PERSHING SQUARE SIGNATURE CENTER storytelling while “Cloud Gatherer Awakes” reflects nd th th how intense piano multiphonics and sharp reed bites 480 W 42 Street (Between 9 and 10 Ave) can be inveigled into a squiggly tune that swings enough to make one yearn for its extension. Jazz duos are one way in which sophisticated musicians demonstrate their interactive dexterity. Gratkowski, as well as Tramontana and Nabatov, WWW.SWEETEETHEMUSICAL.COM demonstrate their skill on these discs. @SWEETEETHEMUSICAL For more information, visit leorecords.com. Gratkowski is at Downtown Music Gallery Jun. 25th. See Calendar.

SWEETEE.NYCJazz Record.6.5x12.indd 1 5/12/17 5:40 PM THE NEW YORK CITY JAZZ RECORD | JUNE 2017 29

noirish theme adding Lovano for a series of gutbucket though Shim’s rough legato lines are an apt match and turnbacks. foil for Gilmore’s gritty/smooth tone and Gould easily “Blueish”, from the pen of Helias, opens Disc 2 balances their intensity with coiling figurations. with Anderson’s gruff and blustery timbre teasing Closing the album is a cover of Hermeto Pascoal’s a slinky, then screaming solo from Lovano, offset by dense lyrical ballad “Nem um Talvez”, which features the joyous groove of Hemingway, held together by the Gilmore’s deft tasteful acoustic guitar navigating composer’s firm center of gravity. There’s a minor- intricate lush harmonies. Ironically, like other blues feel permeating Hemingway’s “Cherry Pickin”, consummate sidemen, Gilmore’s considerable which begins with a trombone/bass unison before strengths may also be a weakness: he does so many

Shades of Whyte breaking into a smoking duet between the reliably things well that it makes it correspondingly more Ronny Whyte (Audiophile) woody pulse of Helias and Lovano’s tenor. It’s the difficult to hear his singularity. by Marcia Hillman details that make this so exquisite—the ping of Hemingway’s ride cymbal and the grit of Helias’ For more information, visit crisscrossjazz.com. This project Vocalist/pianist Ronny Whyte shows off his talents pizzicato are perfectly aligned. The second disc is at Jazz Standard Jun. 13th. See Calendar. here as a prime example of a “saloon singer”— concludes with an extended live concert performance a celebrated class of performers that include Nat King by the core trio best characterized by the 18-minute Cole, Matt Dennis, Buddy Greco and Bobby Troup. He exploration of “The Line Up”, a wild conversation has chosen his material (a selection of 16 songs) from featuring Anderson’s audacious and turgid bleating the American songbook, film songs plus five originals and a series of free-wheeling conversations that revel and is accompanied by Boots Maleson (bass), Sean in the universal language of the blues. Harkness (guitar), Lou Caputo (tenor saxophone/ If you are new to BassDrumBone, or haven’t flute), Mauricio De Souza or David Silliman (drums) checked in with them for a while, The Long Road is an and Alex Nguyen (trumpet). excellent place to start. Highly recommended. Whyte has a clear vocal quality with warm tones, great diction and projects a feeling of intimacy as if he For more information, visit gerryhemingway.com/ knows each individual listener to whom he is singing. auricle.html. This band is at Judson Memorial Church Jun. He also exudes a good sense of humor (as evidenced in 2nd as part of Vision Festival. See Calendar. his original “Blame It On The Movies” and the Vernon

Duke-John LaTouche tune “Love Me Tomorrow”). He plays just enough piano to accompany himself, shifting the focus to his vocal and his bandmates. Because of the large number of tracks, the arrangements (also by Whyte) only allow for a chorus or a chorus and a half for each song, which does not allow for much solo time for any of the musicians. However, worth mentioning is Maleson’s inventive work on the Jerome Kern-Oscar Hammerstein classic “The Song Is You” and Caputo’s lovely flute Transitions contribution to “I’ll Close My Eyes”. The outstanding (Criss Cross) highlight of this offering is the many shades of love by Tom Greenland songs (in love or out of love and in between) and Whyte’s ability to interpret them so well. If there is any such a thing as a jazz studio guitarist, then David Gilmore might fit the bill. A versatile stylist For more information, visit jazzology.com/audiophile_ and consummate technician with a penchant and flair records.php. This project is at Jazz at Kitano Jun. 17th and for rhythmic flexibility, he has enjoyed a prolific and Saint Peter’s Church Jun. 21st. See Calendar. eclectic career as sideman for Wayne Shorter, Steve Coleman, Cassandra Wilson and other jazz artists,

along with an equally impressive roster of popular musicians. Four previous albums under his leadership contain knotty, fusion-inflected compositions, but Transition, his first for Criss Cross, is just that: a turn from original material towards standards, though the repertoire is anything but predictable. Woody Shaw’s quirky lyrical “Beyond All Limits”, Victor Bailey’s shuffling “Kid Logic” and two tunes by the late — angular “Blues Mind Matter” and much suppler The Long Road BassDrumBone (Auricle) “Farralone”—all present Gilmore as a fine interpreter by Robert Bush in the spirit of : quicksilver phrases THE MUSIC OF incisively picked; patent influences of rock and R&B; It’s an amazing notion that the cooperative trio of ariose, singable phrases; and a seamless technical ANDREW HILL BassDrumBone—bassist Mark Helias, drummer Gerry facility making even the hardest, fastest lines sound with Hemingway and trombonist Ray Anderson—has been easy to play. ’s angular and anarchic making music for the last 40 years. The Long Road “Both”, falling midway through the set, contains the TRIO documents and celebrates this journey on Hemingway’s album’s only concession to freer improv, a welcome Frank Kimbrough - piano Auricle Records and, as a special treat, augments the respite from the precisely controlled playing heard John Hébert - bass (Hill’s last bassist) trio with the tenor saxophone of Joe Lovano and the elsewhere. piano of on this two-disc set. Two originals, “End of Daze” and “Spontanuity”, - drums Anderson’s “Oh Yeah” kicks off the celebration, the latter perhaps an indirect result of Gilmore’s tenure with an ebullient New Orleans theme. The trombone with Wayne Shorter, showcases the backing band’s master bursts out of the speakers with giddy whinnies strong chops. Comprised of tenor saxophonist Mark Friday and Saturday, and fat blats emanating from the bowels of his horn Shim, pianist Victor Gould, bassist Carlo De Rosa and June 30 - July 1st, 2017 while Hemingway lays down an irresistible snare drummer E. J. Strickland, the core quintet is augmented Sets at 8 pm and 10 pm drum groove. “Bungle Low” adds the luxuriant by chromatic harmonic player Gregoire Maret on harmonies and rhythmic shadings of Moran, who lets a cover of Toots Thielemans’ “Bluesette” and Jazz at Kitano his fingers fly with a knotty, imaginative solo. vibraphonist Bill Ware on the aforementioned 66 Park Ave at 38th Street Anderson and Moran create an attractive synthesis. “Farralone”. Most of the group members adopt Reservations advised : 212.885.7119 “Blue Ray” represents a highlight moment, with its subordinate, if active, roles throughout the recording,

30 JUNE 2017 | THE NEW YORK CITY JAZZ RECORD Sound It Out series @ Greenwich House Music School Tickets: $25/$30 Meet the performers at the Fifth Anniversary June Extravaganza! post-show parties, with free wine! Four All-Star Fundraising Concerts for Greenwich House

Thursday, June 22, 7:30pm / “Motian in Motion” Celebrating the music of Paul Motian with Michaël Attias, alto saxophone/bandleader; Ralph Alessi, trumpet; , alto sax; Dan Blake, tenor sax; Frank Kimbrough, , Angelica Sanchez and , piano; André Matos, guitar; Sean Conly and , bass; Satoshi Takeishi, Jeff Davis, Vinnie Sperrazza, Harris Eisenstadt and Billy Mintz, drums; more TBA Advance purchases at Friday, June 23, 7:30pm / Fay Victor’s Herbie Nichols Sung (two sets) www.eventbrite.com Fay Victor, voice; Michaël Attias, alto and baritone saxophones; Anthony Coleman, Greenwich House Music School piano; Ratzo Harris, double-bass; Rudy Royston, drums 46 Barrow Street, NYC

Thursday, June 29, 7:30pm / Matt Mitchell Plays Tim Berne + Matt Mitchell www.sounditoutnyc.com and Tim Berne duo (two sets) www.greenwichhouse.org Matt Mitchell, piano; Tim Berne, alto saxophone facebook.com/sounditoutnyc twitter.com/sounditoutnyc Friday, June 30, 7:30pm / “Monk on ” Celebrating the music of Thelonious Monk with Rez Abbasi, guitar/bandleader; Nels This ad made possible by Cline, Julian Lage, Miles Okazaki, , Steve Cardenas, Anders Nilsson and Mike Baggetta, guitars; Stephan Crump and Chris Lightcap, bass; Colin Stranahan and Gerald Cleaver, drums; more TBA Fay Victor (above) / Photo: Eliseo Cardona

Tickets & Info: 914.232.1252 caramoor.org Your Key to Summer Music July 6 / The Westerlies July 15 / Jazz Festival Featuring McCoy Tyner Presented in Collaboration with Jazz at Lincoln Center

July 28 / Butler, Bernstein & The Hot 9 Presented in Collaboration with Jazz at Lincoln Center

1 hour from NYC /Free Shuttle from Metro-North Katonah Station / Free parking on site Photo by John Abbott John by / Photo Tyner McCoy

jazz works and decades-old standards. between freedom and structure. Tunes like the reverential The opener, Ralph Rainger’s “Please”, is hardly “Grace”, penetrating “Heliocentric” and awe-inspired a song typically found in the playlists of today’s jazz “Prayer” are interspersed among more controlled musicians. Their spry, lively rendition features Riley’s compositions. “For Arthur Rhames” is a gorgeous bluesy light-hearted, playful tone with a touch of vibrato hymn to this underappreciated guitarist/saxophonist fueled by engaging, rich piano. Riley’s breathy Ben highlighted by Clark’s sorrowful lines. The title cut is Webster-like vibrato is impossible to miss in “Lover representative of the band’s overall approach and Man” and his inventive solo will make the listener take exquisitely allows for freedom in the context of structural notice, inspired by Zak’s lyrical yet understated integrity. Lovely flowing piano lines and bluesy tenor

Die Trommel Fatale support. The saxophonist’s rapid-fire opening to the define a take on “Humanity” equal parts cautious Brandon Seabrook (New Atlantis) normally placid “Everything Happens to Me” is a bit of optimism and tentative gloom to close out the session. by Clifford Allen a surprise, though his rhapsodic lines are not, while Zak’s lighthearted bop solo adds just the right touch. For more information, visit kiermyer.com. Kiermyer is at Guitarist Brandon Seabrook’s latest and perhaps most Another overlooked gem is their choice of Joe The Stone Jun. 19th. See Calendar. fully-fledged project yet is Die Trommel Fatale, Henderson’s “Tetragon”, slowed considerably from the combining his axe and direction with drummers Sam composer’s recording to emphasize the challenging Ospovat and Dave Treut, cellist Marika Hughes, bassist melodic line, negotiated with seeming ease by the duo. Eivind Opsvik and vocalist/electronic artist Chuck Jerome Kern’s “Who?” is another song one doesn’t Bettis. Seabrook’s battered, worn-through Telecaster expect to hear, since it fell into obscurity after the Swing and skittering rhythmic orchestration has graced a Era. But there is nothing dated about the insightful variety of ensembles as well as a wide variety of solo exploration of this standard, with a delightful exchange and small-group projects. Bringing as much from the growing in intensity throughout the piece. world of SST-influenced oddball rock as improvisational Zak penned the exotic “Shala”, which keeps music of the post-Ornette Coleman Prime Time variety, revealing new facets as it progresses while Riley takes Seabrook and Die Trommel Fatale also make sense in the to it as if it has long been part of his repertoire. It is also discography of New Atlantis, which has released discs refreshing to hear musicians who don’t try to soften from trumpeter Stephen Haynes, drummer Weasel the sometimes jagged edges of a work like Thelonious Walter and math-rock units like STATS and U Sco. Monk’s “Pannonica”, which they imbue with rich The music here veers between sublime physical improvised lines while staying true to the spirit of the mass and scumbled, wiry coagulations, operatic in work. Zak steals the spotlight a bit with his offbeat scope and chambered in detail. The latter is reminiscent accompaniment to Riley in “Exactly Like You”, the of Italian progressive ensemble Area, especially on the saxophonist sounding buoyed by his fresh approach. pummeling, flinty garishness of the two-part suite Expect more recorded meetings by these talented “The Greatest Bile”, Bettis unintelligible in his flails musicians deserving of wider recognition. and growls against reverb-drenched strums, sawing dust of arco strings and the torqued sashay of drumsets For more information, visit steeplechase.dk. Zak is at and cymbals periodically blasted through with gobs of Mezzrow Jun. 9th-10th. See Calendar. sampled noise and glitched loops.

There are occasions for terse signifiers of calm, as on “Rhizomatic”, where a crackling energy field is built up from didactic brushwork, electronic and bowed subtones and twangy charged tendrils. However, the set’s main thrust is in no wave gamesmanship, as on “Quickstep Grotesquerie”, martial clamoring pot-stirs dancing with shards of fuzz and bow in a play of elongation and crumpled brevity, which bookends staggered and processed vocal whoops, or the crumpled shimmy of tunes like Closer to the Sun the opening “Clangorous Vistas”, cueing Sonny Franklin Kiermyer (Mobility Music) Sharrock’s later rock-inflected scrabble or an archly by Elliott Simon reduced James “Blood” Ulmer. Die Trommel Fatale is a well-crafted slab of Coltrane has many disciples but very few both progressive music, genre be damned, and it will be apprehend and employ the universal spirituality interesting to see how this work continues to take root. realized with A Love Supreme (Impulse!, 1965). Drummer Franklin Kiermyer is such a musician and For more information, visit newatlantisrecords.com. This his collaborations with saxophonist Pharoah Sanders project is at Joe’s Pub Jun. 8th. See Calendar. (Solomon’s Daughter, Evidence, 1994) and the Tibetan cultural unifier Auspicious Blazing Sun (Sunship

Records, 1999) are evidence. With his latest release, Kiermyer’s enlightened journey has now taken him even Closer to the Sun. Each of these 13 cuts is an example of interconnected improvisation and the communication among the quartet of tenor saxophonist Lawrence Clark, pianist Davis Whitfield and bassist Otto Gardner is breathtaking. The New book by MacArthur Awarded Following a fittingly reverent “Greeting to Pharoah”, Kiermyer states a groove that creates a liberated atmosphere. Contrasting themes from each Dafnis Prieto Deuce musician then coalesce to present the band as a Stephen Riley/ (SteepleChase) “A World of Rhythmic Possibilities” by Ken Dryden cohesive force on “Unified Space-Time”. The haunting An Analytical and Instructional Book worldly blues of “Ota Benga” depicts the tragic life of It has been a delight to hear tenor saxophonist Stephen an African man who in the early part of the last century for Drummers, Percussionists, Riley and pianist Peter Zak together over the course of was brought to the United States to be part of a human and Lovers of Rhythm several SteepleChase CDs, with this their second duo zoo exhibit. On the beautiful “Song for My Daughters”, outing. They are kindred spirits with musical curiosity, Clark displays a soulful tenor deriving its plaintiveness Now Available at vast knowledge of jazz history and intuitive sense in from the clarity of his tone. their work, to go with a looseness reminiscent of an Individual songs stand as unique statements but earlier era. Their program combines originals, classic taken as a whole the program strikes a perfect balance dafnisonmusic.com

32 JUNE 2017 | THE NEW YORK CITY JAZZ RECORD BLUENOTEJAZZFEST.COM

PAT METHENY • DR JOHN • LAURA MVULA ISLEY BROTHERS • JERRY LEE LEWIS JACOB COLLIER • HIROMI EDDIE PALMIERI • CASSANDRA WILSON THE HOT SARDINES DANILO PEREZ/JOHN PATITUCCI/ BRIAN BLADE TRIO DIRTY DOZEN BRASS BAND MCCOY TYNER • INCOGNITO JEAN-LUC PONTY • HENRY BUTLER TERENCE BLANCHARD • BRIA SKONBERG DAYME AROCENA & MORE

labels. Henderson played on pianist Andrew Hill’s Point of Departure, an avant garde jazz classic, and had a brief stint in the proto-fusion band Blood Sweat & Tears. Mirror, Mirror is a long-unavailable session recorded in 1980 for the German MPS label (the only one Henderson made for the imprint). For the uninitiated, Henderson is perhaps best described as an inside/outside player. While he has the slightly

Heaven breathy smoothness of and burnished tone Pete Malinverni Trio (Saranac) of Dexter Gordon, his sound also reflects a strong John by Thomas Conrad Coltrane influence. He can swing with mellow ease or honk and skronk with best of them. Few musicians have been better at blending jazz with His original “Joe’s Bolero” finds him raw and fiery religious music than Pete Malinverni. He is probably with some intense squalls (upper and lower register on the only Italian-American jazz pianist who has served his horn) yet with a solid swing. Pianist ’s as musical director of both an African-American piano is sparse and punchy, is out front Baptist church and a Jewish synagogue. His albums with his crisp, crackling snare drumming and Ron usually contain at least one hymn, freely reimagined. Carter’s bass is the throb that anchors it all. The Corea- Heaven is his third recording devoted entirely to sacred penned title tune is an elegantly swinging near-waltz music. wherein Henderson plays with remarkable restraint, The thematic unity does not mean a lack of variety. Corea is earnestly lyrical and swinging and Carter Malinverni’s spiritual quest leads him to many musical buzzes and zooms like an Indy 500 driver on the tight traditions. There are several American hymns, like turns. “Down in the River to Pray” and “A City Called If you have a Getz fan in your life that doesn’t like Heaven”. There are two Ellington pieces, the title track jazz recorded after 1971, play “Candlelight” for him/ and “Come Sunday”. There is a quietly dramatic her and see a warm smile emerge (this Carter original Malinverni original, “Psalm 23”, and “Ashokan is virtually the quintessential jazz ballad). Farewell”, an achingly poignant folk song by Jay Ungar While Mirror, Mirror is not an essential Henderson and Molly Mason, featured in Ken Burns’ Civil War set—check out Inner Urge (Blue Note, 1964), If You’re series. Malinverni marks out the melody with Not Part of the Solution, You’re Part of the Problem knowledge of longing and patience that comes from (Milestone, 1970) or Lush Life (Verve, 1991)—it’s very, acceptance. “Eili, Eili”, by the Hungarian Jewish very good, a fascinating balance between mainstream martyr Hannah Senesh, is also portrayed in careful, and edgy, recommended both for fans and neophytes. clear piano placements, in keeping with a song about JAZZ’S BIGGEST ARTISTS loss becoming hope. For more information, visit mps-music.com Most of the moods on this album are inward and SUMMER’S HOTTEST NIGHTS prayerful, but Ellington’s title track is a boisterous JULY 18-27 celebration and the backbeat funk of “Down in the River to Pray” proves that spirituals and sensuality are not incompatible. Bassist Ben Allison and drummer Akira Tana, in their sensitive, fervent responses, are committed Bill Charlap, artistic director companions on Malinverni’s journey. Allison threads one long counterline through “A City Called Heaven”, a personal backstory, a song within the song. On three pieces the trio is enhanced by guests who are beautifully in tune with this project. Jon Faddis, on muted trumpet, Jon Faddis draws out “Come Sunday” like a sigh straight up . “Wade in the Water” is lit on fire by alto Benny Golson saxophonist Steve Wilson, who combines spiritual passion with musical elegance. Then there is “Shenandoah”. Is there a more perfect song than Cécile McLorin Salvant “Shenandoah”? Karrin Allyson only applies her lovely Jimmy Heath pure voice to it. “Shenandoah” needs nothing more. For more information, visit petemalinverni.com. This Jane Monheit project is at Mezzrow Jun. 28th. See Calendar. Harold Mabern and more!

ORDER TODAY! 92Y.org/Jazz | 212.415.5500

Mirror Mirror 92nd Street at Lexington Ave, NYC Joe Henderson (MPS-Edel) by Mark Keresman 92Y Jazz in July is partially endowed by a generous gift from Simona and Jerome A. Tenor saxophonist Joe Henderson, who died 16 years Chazen. Additional support is generously ago this month at 64 from emphysema, had quite the provided by Mrs. Suzanne Valenstein, the Wechsler Foundation, and an anonymous donor. career: as a sideperson, he played and recorded with Horace Silver, Lee Morgan and Freddie Hubbard; as photo: Richard Termine a leader, he helmed many excellent albums from the mid ‘60s on for the Blue Note, Milestone and Verve

34 JUNE 2017 | THE NEW YORK CITY JAZZ RECORD

Knight & The Pips are twice covered: multi-layered field (kit and mallet)—this 22-minute exploration “The Nitty Gritty” and easy shuffle of “Everybody would be worth the price of admission alone. But that Needs Love”. Lana del Rey’s “Video Games” and Otis would leave out the gorgeously sinewy “Evolutions”, Redding’s “I Love You More Than Words Can Say” are woody frames and a calabash-aided North African ballads, the former minor and pensive, the latter like rhythmic feel underpinning a chorus of violin, soprano, something out of Memphis’ Stax Studios. “Did You tenor and bass clarinet, with Lytle’s warbling trills and Call Her Today” reimagines Ben Webster and Harry Burnett’s discursive flute as certain highlights, or the “Sweets” Edison’s swinging conversation as a boogaloo opening “Aurora Borealis”, which shifts effortlessly duet between Scherr and Blake, both of whom play from plaintive entreaties to passages of jubilant

Think Ahead with deep emotion on the closing cover of Ray Charles’ forward motion and rich concentration. Steve Davis (Smoke Sessions) “That Lucky Old Sun”. Although jazz purists would by George Kanzler probably file this disc in the ‘soul’ bin, they shouldn’t For more information, visit unseenrainrecords.com. John is be dissatisfied with the infectious, giga-funky sound. at Nublu Jun. 9th with Matt Lavelle, Caffe Vivaldi Jun. 10th Trombonist Steve Davis is uniquely qualified to carry The band escalated from giga- to tera-funky at its and Henry Winston Unity Hall Jun. 24th. See Calendar. on the tradition of modern bop and hardbop. On his appearance last month at Bar Lunàtico, a long narrow latest outing, Davis flips the usual model of the modern venue in Bed-Stuy with white paint peeling from the sextet frontline from two brass and a reed to two reeds hammered-tin ceiling. Crammed onto the shallow stage and a brass, his trombone with Steve Wilson, the alto in back, the pared-down quintet (sans Bortnick and saxophonist doubling on soprano and flute, and tenor Patrou, Rob Jost replacing Luntzel) performed three saxophonist Jimmy Greene. Rounding out the band is charts from the album (“Everybody Needs Love”, “King veteran pianist who, like Davis, played Curtis”, “Did You Call Her Today”), an original (“Sexy with hardbop icon Jackie McLean, bassist Peter Shop”), plus Otis Redding’s “Good to Me” and James Washington and drummer Lewis Nash. The program Brown’s “Pass the Peas”. The retro soul sound proved the consists of seven tunes from the leader, plus a pair each perfect musical mise-en-scène for a room divided between of pop and jazz standards. drinkers, listeners and occasional dancers. Swaying in Davis’ originals tend toward hardbop orthodoxy, time as they locked onto a common pulse, the musicians BENOÎT DELBECQ 4 with blues, riff, or AABA structures, quickstep to brisk played looser, freer than on the record, Scherr and THE CONVERSATION «A brilliant and unconventional french pianist.» tempos and muscular soloing. Even his ballad “Abena’s Deutsch unveiling more adventurous attitudes. (Nate Chinen) Gaze” is delivered at an agile groove and his memorial Eschewing the honking theatrics typical of soul-school featuring Mark Turner, John Hébert to his recently deceased brother, “Farewell, Brother”, horn men, Blake impressed with his ability to generate & Gerald Cleaver has a strong heartbeat tempo that picks up and emotion through understatement, especially his tentative complicates during trombone and tenor solos. The intro to “Did You Call Her Today”, which eventually bluesy “Atmosphere” makes use of a bright turnaround expanded into a five-man, deep-pocket groove. 7:30 // 9:30 PM, one night only. to kick off assertive solos from trombone, tenor and @THE JAZZ STANDARD, flute. Three tracks feature a quintet (without Wilson), For more information, visit ropeadope.com NYC, JUNE 14, 2017 including one of the album’s high points, “Mountaintop”, referencing Martin Luther King Day, when this music was recorded. It’s a riffy hardbop line dominated by trombone and tenor solos that alternate The National at shorter intervals, culminating in two-bar trades and tandem lines. Exceptions to the dominant mid-to-up Jazz Museum hardbop 4/4 rhythms are Bobby Hutcherson’s waltz “Little B’s Poem”, fetchingly arranged with flute prominent, and the leader’s “Evening Shades of Blue”, in Harlem sporting a bossa-tinged Latin groove. Smithsonian A liate For more information, visit smokesessionsrecords.com. This Peace and Love (A Tribute to Will Connell) project is at Smoke Jun. 2nd-4th. See Calendar. Rocco John Improvisational Composers Ensemble (Unseen Rain) by Clifford Allen 2017 Alto saxophonist Rocco John Iacovone, who generally performs under the name Rocco John, has been a fixture on New York’s free music underground for over Annual Benefit four decades but, inasmuch as creative improvisation Concert is already obscure, Iacovone has often remained unheard by even the scene’s most diehard followers. His friend and mentor, reed player Will Connell, Jr. Wednesday (1938-2014), had hoped to spotlight Iacovone’s music during a December 2014 Stone residency but Connell June 14 Red Hook Soul passed suddenly and the residency became a requiem. Michael Blake (Ropeadope) by Tom Greenland Peace and Love (A Tribute to Will Connell) is the result of 7:30PM Iacovone’s performance in that celebratory week and Jazz and funk music are uncomfortable partners. The features his Improvisational Composers Ensemble latter requires a fat slice of repetition and thus with reed players Ras Moshe Burnett and Michael CÉCILE McLORIN SALVANT predictability, for its full effect, while the former relies Lytle, guitarist Rich Rosenthal, violinist Sana Nagano, AARON DIEHL on surprise. Along the spectrum of funky jazz to jazzy bassist Phil Sirois and percussionists John Pietaro and JOEY ALEXANDER funk, tenor saxophonist Michael Blake’s Red Hook Dalius Naujo on a program of three original pieces. Soul band falls closer to the right, nodding to Junior The closing “What If The Moon Were Made Out of HONORING: Walker, King Curtis, Booker T & The MGs, The Meters, Jazz” finds Iacovone switching to piano, alternately RANDY WESTON even Fela Kuti’s Afrobeats. Backed by the twin guitar chunkily resonant and spectral, intertwining with team of Tony Scherr (lead) and Avi Bortnick (rhythm), Rosenthal’s kaleidoscopic flecks and outlined by ARTHUR H. BARNES keyboardist Erik Deutsch, electric bassist Tim Luntzel, shimmering bells and gongs. Sirois’ rubbery pizzicato JAZZMOBILE percussionist Moses Patrou and drummer Tony Mason, is given an interlude before the ensemble hits an Blake leads the team through two originals (the title uptempo swagger that elevates Burnett’s hard- track and “King Curtis”, both odes to the great R&B charging tenor to full-on group squall. At turns dryly Tickets: $20, 25, 50 THE K AY E PLAY HOUSE AT H U NTER COLLEGE saxophonist) and seven covers. ’s measured, crepuscular and blisteringly intense—all 695 Park Ave, New York, NY Available online and at the (68th Street between Park & Lexington Avenues) “Volunteered Slavery”, an anthemic slow jam, features three modalities captured in Iacovone’s massive, Box Office Scherr’s slide work and Blake’s brash tenor. Gladys squirrelly alto solo supported by an allover percussive

36 JUNE 2017 | THE NEW YORK CITY JAZZ RECORD

dynamic and sound of the trio (with drummer Al alto saxophone. “Some Other Time”, not to be mistaken Foster) via his incredible work on an acoustic bass for Leonard Bernstein’s popular standard, opens with hooked up to an amp with some special effects. Moffett, a repeated funky riff before shifting to playful flute, who turns 50 this month, has gone on to become one of sassy bass clarinet, engaging guitar and hip arco bass. his generation’s leading bassists. On this album, a The exploration of “Ollie”, a lush, languid ballad, is summation and celebration of his three decades on the highlighted by its call and response between alto and jazz scene, he brings together music from four groups— the reeds and horn, darting guitar, a soft bassline and three of them recorded at live jazz club gigs—featuring whispering brushes providing a bit of seasoning. musicians he’s played with over his career: tenor Chris Byars has done a remarkable job reviving

Wade in the Water saxophonist Pharoah Sanders, guitarist Stanley Jordan, these neglected compositions of Frank Strozier while Ellis Marsalis/Harold Battiste/ pianist/keyboardist Cyrus Chestnut and drummers also putting his own stamp on them with his inventive Alvin Batiste/Ed Blackwell (VSOP) Jeff “Tain” Watts, Lewis Nash and Mike Clark. arrangements. by Ken Dryden Moffett plays acoustic bass on 5 of the 14 tracks, one a brief pizzicato/arco solo excursion, the only two For more information, visit steeplechase.dk The American Jazz Quintet existed briefly in New standards on the CD, in trios with Chestnut and Nash Orleans during the mid to late ‘50s, featuring four on “Mood Indigo” and Jordan and Clark on “So What?”, musicians who eventually achieved widespread plus two originals with the same trios. His pizzicato ON SCREEN recognition: pianist Ellis Marsalis, tenor saxophonist soloing is up front and center, playing the melody Harold Battiste (who died two years ago this month), leads, languorous and delicate on “Mood Indigo”, brisk clarinetist Alvin Batiste and drummer Ed Blackwell. in a sped-up (like Miles Davis in later years) “So While they were all very familiar with traditional jazz, What?”. With Chestnut doubling piano and keyboards, their interests spread to modern sounds. The band the uptempo “Come and Play” finds Moffett soloing released one LP during its existence but left over seven both pizzicato and arco and “Love in the Galaxies” has hours of unissued performances behind, which were a rock-march feel and rare reverb from Jordan’s guitar. eventually acquired by V.S.O.P. This second volume of On other tracks Moffett is on Moon electric fretless historical material features one of two bassists (Richard bass, joined by Watts, Jordan and, with one trio exception, Payne or William Swanson) with the core group, with either Chestnut or Sanders. The originals with Sanders joint arranging credit to Marsalis, Battiste and Batiste conjure up early John Coltrane Quartet memories, with on most selections. rolling, Elvin Jones-like polyrhythms and Sanders in a Chasing Trane While many of the songs are hymns and spirituals Trane-ish mode. A popping, dancing bassline infuses John Scheinfeld (Abramorama) by Anders Griffen the players knew from church, there is little that is “Freedom”, a faster, jazz-rock one “Mediterranean” traditional about their interpretations. The title track with Chestnut. “Freedom Swing”, with Sanders, recalls Chasing Trane constructs a narrative of John still has plenty of soul, Battiste’s adventurous tenor A Love Supreme. This CD is a good argument for Moffett’s Coltrane’s life by deftly weaving together music, and the unidentified bassist’s walking line sharing the importance on the jazz scene. still and moving images and dialogue made up of spotlight with the inventive Blackwell. The brisk original interviews with family, musicians, writers treatment of “When the Saints Go Marching In” is For more information, visit motema.com. Moffett is at Jazz and others. Actor Denzel Washington reads nothing like the typical cliché-filled performances Standard Jun. 7th. See Calendar. Coltrane’s words from interviews and liner notes. expected by tourists to the Crescent City; instead there Reminiscing about his contemporary, saxophone are prominent bop elements in the fluid clarinet and great Sonny Rollins states, “you can’t describe music terrific support from the rhythm section takes it into with words; it’s about hearing it.” This film is unexpected territory. The dramatic spiritual “Sinner worthwhile to those familiar with his story and as Don’t Let This Harvest Pass” is transformed by bluesy good a place as any to start for those just discovering piano and forceful toms into a lively jazz vehicle. the musical genius and spiritual giant. Another favorite spiritual, “Nobody Knows the Saxophonist Benny Golson recalls befriending Trouble I’ve Seen”, puts Batiste’s New Orleans roots Coltrane as a teenager in Philadelphia and their center stage in a deliberate setting. minds being blown seeing Charlie Parker in 1945. There are several originals on the date as well: Saxophonist Jimmy Heath talks about their time in Batiste’s “Valse de Batiste” is a playful, quirky blues Dizzy Gillespie’s band when Coltrane began The Music of Frank Strozier waltz filled with surprises and Battiste’s “Harold’s Chris Byars (SteepleChase) practicing compulsively. By 1957 heroin addiction Church” has a gospel flavor with his soulful tenor by Ken Dryden got in the way of his music and Miles Davis fired preaching to the jazz congregation, Marsalis making him from one of the great jazz groups of all time. the most of his turn in the instrumental pulpit. The Chris Byars has focused on the works of many This turning point led to a newfound dedication to date concludes with the infectious minor blues overlooked artists in his songbook albums recorded for his life’s purpose. “During the year 1957, I “Selassie” (named for the then-emperor of Ethiopia), in SteepleChase. For his latest project, he chose the music experienced, by the grace of God, a spiritual which Blackwell’s blazing solo steals the show. It is sad of fellow alto saxophonist Frank Strozier (who turns 80 awakening, which was to lead me to a richer, fuller, that the group never gained wide recognition but one this month), a Memphis native who played with high more productive life,” reads Washington from the can hope that more valuable music from the unissued school classmates Harold Mabern, George Coleman liner notes to A Love Supreme. “At that time, in stockpile will be deemed worthy of release. and Booker Little before they all left to pursue their gratitude, I humbly asked to be given the means and dreams in Chicago and New York. Strozier was widely privilege to make others happy through music.” For more information, visit magnebit.xeran.com/store acclaimed by his peers, though the decade he spent on The film focuses on Coltrane’s spirituality and the West Coast with Shelly Manne and others before music during the last 10 years of his life, 1957-67. He

returning to New York probably reduced his exposure. briefly worked with Thelonious Monk, rejoined By 1979, he had left music altogether to teach high Davis and recorded and formed his own school math and science. powerful band. “We thought that what we were Byars arranged the music for a top-notch group of doing, the gift came from the almighty,” says pianist trombonist John Mosca, bass clarinetist Stefano McCoy Tyner, speaking of that quartet. “It’s what Doglioni, oboe player James Byars, guitarist Pasquale you were put here for.” He also married his second Grasso, bassist Ari Roland and drummer Stefan Schatz. wife, Alice McLeod, and fathered three sons. “Extension 27” is a fluid, extended opener revealing Coltrane’s stepdaughters Antonia Andrews and the freshness of Strozier’s musical approach, providing Michele Coltrane and sons Oran and Ravi share plenty of space to showcase each musician. Byars stories and we hear from musicians , Music From Our Soul switches to flute for the intricate waltz “Neicy”, Wynton Marsalis and Kamasi Washington, among Charnett Moffett (Motéma Music) by George Kanzler featuring rich harmonic interaction with the reeds and others. Dr. Cornell West and former president Bill horn. The flute work in the infectious rhumba “For Clinton also offer valuable commentary. Like In the ‘90s I attended a concert by tenor saxophonist Chris” is reminiscent of Eric Dolphy’s sudden twists Coltrane’s music, this film is uplifting and beautiful. Joe Henderson’s trio at a festival in Newark. Bassist while bass clarinet is simultaneously adventurous and couldn’t make it and was replaced by a understated. “Long Night” is a slow, extended blues For more information, visit coltranefilm.com young Charnett Moffett, who completely changed the infused with rich harmonic backgrounds behind weary

THE NEW YORK CITY JAZZ RECORD | JUNE 2017 37 latter work famously featured a soundtrack recordings were Jordan, Wilen, drummer Kenny BOXED SET performed by Miles Davis and French saxophonist Clarke, trumpeter Kenny Dorham and bassist Pierre Barney Wilen. Michelot. Through the deluxe reissue label Sam Monk is perhaps an even more surprising choice Records, 17 of the 37 cuts recorded by Monk are now for a film composer than Davis, whose music could, available on disc for the first time in a swank box with in a sense, be ‘placed’ even as it conjured a sharply a book of essays and mostly unpublished photos. The sculpted and very present cloud. As punchy and two LPs contain multiple takes of “Rhythm-a-Ning”, didactic as Monk’s art was in the late ‘50s, there was “Crepuscule with Nellie”, “Pannonica”, “Light Blue”, still an element of roguish unpredictability—his “Well, You Needn’t” and lone examples of “Six in muscular koans set his tunes apart, speaking for One”, “Ba-Lue Bolivar Ba-Lues-Are” and gospel nothing other than themselves. Monk’s then- standard “We’ll Understand It Better By and By”. manager Harry Colomby knew Marcel Romano, the The sound is extremely crisp and warm, Taylor’s Les Liaisons Dangereuses 1960 impresario who had gotten Davis’ music placed in woody economy given a dry resonance as Monk is Thelonious Monk (Sam/Saga) Ascenseur, so it probably seemed like the next logical crystalline and subversive both underneath and by Clifford Allen step to have Monk score Roger Vadim’s 1960 catapulting over the ensemble. Rouse is given most adaptation of Les Liaisons Dangereuses (Vadim was a of the tenor spots and at this early stage presents as There is something about the man and music of jazz fan and had utilized the Modern Jazz Quartet in gruff, wry and bullish, contra Wilen’s clean fluidity. Thelonious Monk that seems naturally appealing to the preceding Et Dieu… Créa la Femme). The logistics, Especially fascinating is a studio breakdown of postwar sensibilities in France. An eccentric black though, were a bit more complicated—Monk was “Light Blue”, with Monk clearly audible instructing composer whose pianism begat jewels of overworked, stressed and in ill health, as well as Taylor on the drum parts as Nica de Koenigswarter incomparable expressive beauty and painstaking having recently lost his cabaret card for the second laughs in the background. True audio vérité, Monk complexity, Monk’s rhythms and pacing sometimes time and in Spring 1959, when he was set to bring walks around the studio explaining the beat or stands appeared deliberately obscure, uncanny or his group to Paris, was committed after a breakdown at the piano carving out a curling galumph. It’s quite downright ‘untrained’. Monk first came to Paris in to a stay in a mental hospital. obvious that nothing in Monk’s soundtrack to Les 1954 for a stand at the third Salon du Jazz before Nevertheless, Monk went into Tommy Nola’s Liaisons Dangereuses 1960 is ‘film music’, but that was recording a session for Vogue; bebop was something Penthouse Studio in Midtown to record a program of never the point—rather, Vadim and his peers found French jazz fans were already acquainted with, familiar tunes with bassist Sam Jones, drummer Art parallel worlds in jazz and abstract art that pass especially through the modernist critic and musician Taylor and both Wilen and Charlie Rouse on tenor through human experience or, rather, human André Hodeir. French New Wave filmmakers were saxophones. While Monk’s music was used, in some experience stalls out to take in sonic and visual quick to utilize American jazz in their work, bebop well-known passages of the film Vadim employed digressions that are themselves all-encompassing. lending cultural cachet as well as knotty urbane pianist Duke Jordan’s compositions as played by Art drive alongside the “theater of images” and coolly- Blakey’s Jazz Messengers and this is the soundtrack For more information, visit samrecords.fr/home. Monk wrought existential voids experienced by the players that until now has been the primary trace of Les tributes are at Dizzy’s Club Jun. 1st-3nd, Rose Theater in period dramas like Rififi (Jules Dassin, 1955) and Liaisons Dangereuses in record bins. Curiously, the Jun. 1st-3rd, The Appel Room Jun. 2nd-3rd and Ascenseur Pour l’Échafaud (Louis Malle, 1958). The players onscreen miming to the Messengers’ Greenwich House Music School Jun. 30th. See Calendar.

JUN 1 JUN 19 light blue: gabe schnider and Jon gordon quartet

friends celebrate monk JUN 20 JUN 2–4 theo hill trio

monk’s dream: russell hall plays JUN 21–22 JAZZTOPAD FESTIVAL monk wóJciński / szmańda quartet and JUN 5 stryJo Jlcyo with Justin robinson *presented in partnership with the polish cultural institute of new york JUN 6 paul nedzela quartet JUN 2 3–24 kurt elling quintet JUN 7–8 chico freeman plus+tet JUN 25 montery Jazz festival’s next JUN 9–11 generation orchestra dion parson & 21st century band JUN 26 JUN 12 MONDAY NIGHTS WITH WBGO band director academy faculty samora pinderhughes band

JUN 13–14 JUN 27–28 the allan harris band black arts Jazz collective

JUN 16–18 JUN 29–JUL 2 barry harris trio willie Jones iii quintet

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

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

38 JUNE 2017 | THE NEW YORK CITY JAZZ RECORD MISCELLANY ON THIS DAY by Andrey Henkin

At The Tip Top And His Orchestra Solo At Mandara John Cage Meets Sun Ra Blues for Falasha Kid Thomas (American Music) (Radio Canada) (Alm) John Cage & Sun Ra (Meltdown) Glenn Spearman (Tzadik) June 8th, 1957 June 8th, 1967 June 8th, 1975 June 8th, 1986 June 8th, 1997 Kid Thomas was a native Louisianian Trumpeter Maynard Ferguson was 10 of the nearly 400 albums soprano Two giants of modern music come Tenor saxophonist Glenn Spearman trumpeter active from the ‘20s until born in Montréal and 39 years later saxophonist Steve Lacy made during together in this fascinating and first came to ‘prominence’ in the his death in the mid ’80s at 91. He was appeared in his hometown as part of his career were recorded in Tokyo, all counterintuitive summit meeting, in international collective Emergency, of a regular at New Orleans’ Preservation the Canadian Pavillion of the 1967 for a variety of Japanese labels Coney Island of all places. This LP, which bassist Bob Reid was the most Hall but this album was recorded International & Universal Exposition. between 1975-95. This was his only the only known release from known member. In addition to his (first released in 2002) at the Tip Top Two albums resulted, one from May session for Alm Records (and only Meltdown Records, is portions of the own albums, he worked with Raphé Ballroom in nearby Marrero with with Ferguson leading a sextet, three album not by a Japanese artist), a live concert wherein the composer, known Malik, Cecil Taylor, Marco Eneidi, Thomas leading a sextet of Edmund players from which appeared in June date from the Mandara Coffee Shop, for his silent music, and the and others. This was Washington (alto saxophone), Louis as part of an orchestra of local Lacy performing solo, one of over 30 bandleader, from Saturn supposedly, one of his last recordings, made in his Nelson (trombone), Joe James (piano), musicians on a program of standards such scenarios since 1971. All the both presented their own works and adopted home of Berkeley, CA 16 Burke Stevenson (bass) and Sammy such as “Take the ‘A’ Train”, “‘Round pieces, “Existence”, “The Way”, also collaborated on stage. Two tracks, months before his death at 51. Larry Penn (drums). The material is an mix Midnight”, “Alfie” and “Georgia On “Bone”, “Name”, “The Breath”, “Life both untitled, both just north of 20 Ochs (reeds), Chris Brown (piano), of popular fare like “Blueberry Hill”, My Mind”. This album came during On Its Way”, “Snips” and “Stabs”, minutes, comprise the album. In 2016 (bass), William Winant and “Tennessee Waltz”, “Mack The Knife” a fallow period in between Ferguson’s ranging from 7:20 to 2:50, were regular Modern Harmonic released a two-LP Donald Robinson (percussion) join and “Twelfth Street Rag”. stints at Roulette and Columbia. tunes in Lacy’s repertoire. set of the entire concert. Spearman for four originals. BIRTHDAYS June 1 June 6 June 11 June 15 June 21 June 26 †Nelson Riddle 1921-85 †Jimmie Lunceford 1902-47 †Clarence “Pine Top” Smith †Allan Reuss 1915-1988 †Dewey Jackson 1900-94 †Teddy Grace 1905-92 †Herbie Lovelle 1924-2009 †Raymond Burke 1904-86 1904-29 †Erroll Garner 1921-77 †Jamil Nasser 1932-2010 †Don Lanphere 1928-2003 †Hal McKusick 1924-2012 †Gil Cuppini 1924-96 †Shelly Manne 1920-84 †Jaki Byard 1922-99 Lalo Schifrin b.1932 †Jimmy Deuchar 1930-93 Lennie Niehaus b.1929 †Grant Green 1931-79 †Hazel Scott 1920-81 Mel Moore b.1923 Jon Hiseman b.1944 Dave Grusin b.1934 Rossano Sportiello b.1974 Monty Alexander b.1944 †Bob Gordon 1928-55 Tony Oxley b.1938 Chuck Anderson b.1947 Reggie Workman b.1937 †Zbigniew Seifert 1946-79 Nils Lindberg b.1933 Eric Reed b.1970 b.1955 June 2 Paul Lovens b.1949 Bernard “Pretty” Purdie b.1939 June 16 Bill Cunliffe b.1956 †Ernie Hood 1923-91 G. Calvin Weston b.1959 b.1956 †”Lucky” Thompson 1924-2005 June 22 Mathias Eick b.1979 Gildo Mahones b.1929 Alex Sipiagin b.1967 †Clarence Shaw 1926-73 Ray Mantilla b.1934 John Pisano b.1931 June 7 Assif Tsahar b.1969 Joe Thomas b.1933 Hermeto Pascoal b.1936 June 27 b.1937 †Gene Porter 1910-1993 Tom Harrell b.1946 Heikki Sarmanto b.1939 † 1923-67 PAUL LOVENS Irène Schweizer b.1941 †Tal Farlow 1921-98 June 12 Fredy Studer b.1948 Eddie Prevost b.1942 George Braith b.1939 June 6th, 1949 Matthew Garrison b.1970 †Tina Brooks 1932-74 † 1936-2015 Mike Baggetta b.1979 Ed “Milko” Wilson b.1944 Todd Herbert b.1970 Noah Preminger b.1986 Norberto Tamburrino b.1964 Kent Carter b.1939 Ryan Keberle b.1980 Drummer Paul Lovens, born Devin Gray b.1983 Chick Corea b.1941 June 23 June 28 in Aachen, Germany, is five June 3 b.1954 June 17 †Eli Robinson 1908-72 †Jimmy Mundy 1907-83 years younger than †Carl Pruitt 1918-1977 June 8 b.1957 †Lorenzo Holden 1924-87 †Milt Hinton 1910-2000 †Arnold Shaw 1909-89 saxophonist Evan Parker †Al Harewood 1923-2014 †Billie Pierce 1907-74 Oscar Feldman b.1961 †Frank E. Jackson, Sr. 1924-2013 †Eddie Miller 1911-91 Gene Traxler b.1913 and nine years junior to Phil Nimmons b.1923 †Erwin Lehn 1919-2010 Christian Munthe b.1962 Chuck Rainey b.1940 †Helen Humes 1913-81 †Pete Candoli 1923-2008 pianist Alexander von †Dakota Staton 1932-2007 †Kenny Clare 1929-85 Peter Beets b.1971 Tom Varner b.1957 †Lance Harrison 1920-2000 Bobby White b.1926 Schlippenbach, the two †Bob Wallis 1934-91 Bill Watrous b.1939 †George Russell 1923-2009 John Lee b.1952 musicians with whom he †Ted Curson 1935-2012 Julie Tippetts b.1947 June 13 June 18 † 1925-89 Tierney Sutton b.1963 has played the most over the Grachan Moncur III b.1937 Uri Caine b.1956 †Charlie Elgar 1885-1973 †Sammy Cahn 1913-93 †Hank Shaw 1926-2006 Aaron Alexander b.1966 past 45 years as part of the Corey Wilkes b.1979 †Doc Cheatham 1905-97 William Hooker b.1946 Donald Harrison b.1960 Jesse Stacken b.1978 latter’s trio. Lovens got his June 9 †Eddie Beal 1910-84 start in Schlippenbach’s June 4 †Les Paul 1915-2009 †Phil Bodner 1919-2008 June 19 June 24 June 29 Globe Unity Orchestra in †Teddy Kotick 1928-86 †Jimmy Gourley 1926-2008 †Attila Zoller 1927-98 †Joe Thomas 1909-86 †Charlie Margulis 1903-67 †Mousey Alexander 1922-88 1970 and continues to work † 1932-75 †Eje Thelin 1938-90 †Buddy Catlett 1933-2014 †Jerry Jerome 1912-2001 †Manny Albam 1922-2001 †Ralph Burns 1922-2001 with the occasionally- †Alan Branscombe 1936-86 Kenny Barron b.1943 Frank Strozier b.1937 †Al Kiger 1932-2013 †George Gruntz 1932-2013 †Ove Lind 1926-1991 assembling international Mark Whitecage b.1937 Mick Goodrick b.1945 Harold Danko b.1947 Chuck Berghofer b.1937 †Frank Lowe 1943-2004 Julian Priester b.1935 large ensemble to this day. Ted Daniel b.1943 Mike Khoury b.1969 Paul Nieman b.1950 †Clint Houston 1946-2000 Ike Sturm b.1978 He has also worked with Anthony Braxton b.1945 June 10 b.1959 Greg Burk b.1969 Peter Kowald, Toshinori Paquito D’Rivera b.1948 †Chink Martin 1886-1981 June 14 John Hollenbeck b.1968 †Bernardo Sassetti 1970-2012 June 30 Kondo, Günter Christmann, Winard Harper b.1962 †Willie Lewis 1905-71 †John Simmons 1918-79 †Harry Shields 1899-1971 Mats Gustafsson, Eugene †Dicky Wells 1907-85 Burton Greene b.1937 June 20 June 25 †Grady Watts 1908-86 Chadbourne and Mario June 5 †Guy Pedersen 1930-2005 Pete Lemer b.1942 †Doc Evans 1907-77 †Jean Roberts 1908-81 †Lena Horne 1917-2010 Schiano, was one-fifth of the †Kurt Edelhagen 1920-82 †John Stevens 1940-94 Marcus Miller b.1959 †Lamar Wright 1907-73 †Johnny Smith 1922-2013 †Andrew Hill 1937-2007 British-Finnish-German †Specs Powell 1922-2007 b.1961 b.1960 †Thomas Jefferson 1920-86 †Bill Russo 1928-2003 Chris Hinze b.1938 Quintet Moderne and is a †Pete Jolly 1932-2004 Charnett Moffett b.1967 Diallo House b.1977 †Eric Dolphy 1928-64 Joe Chambers b.1942 Jasper Van’t Hof b.1947 fixture in many European †Misha Mengelberg 1935-2017 Jonathan Kreisberg b.1972 Loren Stillman b.1980 Joe Venuto b.1929 Marian Petrescu b.1970 Stanley Clarke b.1951 improvising groups. -AH Jerry Gonzalez b.1949 Ben Holmes b.1979 Ben Syversen b.1983 Anders Nilsson b.1974 John Yao b.1977 Ken Fowser b.1982 CROSSWORD

1 2 3 4 5 6 ACROSS DOWN

1. One-half of a hlf. note 1. Saxophonist Paul nicknamed Vice-Pres 7 8 9 4. Three of the five notes in a Cmaj9 2. label releasing albums by Chris Conway, 7. song about the pants of this The Rain Garden and others 10 11 ancient Greek tragedian 3. Danish trumpeter Jakob who works with , 10. 1975 Toshi Tsuchitori/Mototeru Takagi Alm album Liudas Mockūnas and others 12. 1960 Oscar Brown, Jr. Columbia album ____ & Soul 4. 12 13 14 Travel company booking European jazz packages 13. Jazz festival held annually in San Luis Obispo, CA. 5. Finnish big band named for an insecticide? 14. Catalogue prefixes used by saxophonist Paul Dunmall’s 6. Last name of turn-of-the-last-century cornet player born 15 16 17 DUNS label Leon Bismark 15. ’90s trio of François Moutin/André Ceccarelli/ 7. Producer son of a legendary trumpet player

18 19 Nguyên Lê 8. Label run by The Thing drummer 17. /Billie Holiday song “____ Alone” 9. Method used to teach sight-singing 18. This company released the 1989 VHS 10. Type of slit drum preferred by Keith Jarrett 20 21 22 Memorial Scholarship Concert 11. 2013 Wayne Shorter Blue Note album Without a ____ 19. Lester Young and Sun Ra bassist John 16. “Do Nothin’ ____ You Hear From Me” 23 24 25 26 27 20. Bassist Tim who works with and 17. 1967 Dizzy Gillespie Impulse album Ava Mendoza Swing ____, Sweet Cadillac 21. Newark, NJ jazz station 20. J.J. Johnson/Kai Winding Prestige album ____. 3, 1954 28 29 30 23. French pianist Risser 22. Dizzy Gillespie song “ ____-Ya-Koo” 24. Re Do Do in 9 Down 24. Famous London jazz club in Roman numerals 31 27. ‘70s German label with a chip on its shoulder? 25. British saxophonist/clarinetist Tony 28. Where jazz musicians go for local funding 26. Birthplace of Paquito D’Rivera 31. Louis Moholo wrote a song for this Apartheid hero 29. “Noddin’ ____ Head Blues”, misspelled tune on 32 33 32. Pianist Yamamoto Andy Summers 2007 Mingus tribute Peggy’s Blue Skylight 33. Sven-____ Johansson or Per-____ Holmlander 30. ECM pianist Bärtsch By Andrey Henkin visit nycjazzrecord.com for answers THE NEW YORK CITY JAZZ RECORD | JUNE 2017 39 CALENDAR

Thursday, June 1 • Yasmine Aziaez/Joe Morris The Stone 8:30 pm $20 êRonnie Burrage Trio with Nimrod Speaks, Michal Wierba; • Javon Jackson Quartet with Jeremy Manasia, David Williams, McClenty Hunter Wayne Escoffery Tenor Traditions with Walt Weiskopf, Abraham Burton, Kush Abadey; • Greg Lewis Organ Monk with Ray Blue Village Vanguard 8:30, 10:30 pm $30 Philip Harper Quintet Smalls 7:30, 10:30 pm 1 am $20 American Legion Post 7 pm • Steve Davis Sextet with Steve Wilson, Jimmy Greene, Larry Willis, David Wong, • Bobby Katz Trio with Ryan Slatko, Shareef Taher; Hironobu Saito Trio with Friday, June 2 Lewis Nash Smoke 7, 9, 10:30 pm $40 Marco Panascia, Rajiv Jayaweera Bar Next Door 6:30, 8:30, 10:30 pm $12 êJohn Zorn Improv Night with Dave Douglas, Uri Caine, , Chris Tordini, • Emmet Cohen Birdland 6 pm $30 • Round Midnight—Monk’s Legacy: Joey Alexander; Sullivan Fortner Jonathan Finlayson, Jim Staley The Stone at The New School 8:30 pm $20 êRavi Coltrane Quartet with Yunior Terry, E.J. Strickland The Appel Room 7:30, 9:30 pm $100-120 • Shock Axis: Joe Morris, Chris Cretella, Dave Parmelee Birdland 8:30, 11 pm $40 êEd Cherry Trio with Kyle Kohler, Anwar Marshall The Stone 8:30 pm $20 êDirty Dozen Brass Band 40th Anniversary Celebration Bar Next Door 7:30, 9:30, 11:30 pm $12 • Javon Jackson Quartet with Jeremy Manasia, David Williams, McClenty Hunter Blue Note 8, 10:30 pm $45 êRavi Coltrane Quartet with Yunior Terry, E.J. Strickland Village Vanguard 8:30, 10:30 pm $30 • Larry Ham Bryant Park 12:30 pm Birdland 8:30, 11 pm $40 • Eco-Music Big Band: Larry Bustamante, David Taylor, Lauren Ishida, David Whitwell, • Jason Prover Quartet Cavatappo Grill 9, 11 pm $10 êDirty Dozen Brass Band 40th Anniversary Celebration John Palladino, Nolan Tsang, Felix Del Tredici, Andrea Vitello, Diego Ceretta • Mikhail Romanov Duo Cleopatra’s Needle 7 pm Blue Note 8, 10:30 pm $45 Zankel Hall 8 pm $25-40 • Brian Pareschi and The BP Express; Ronin Ali; René Calvin • Larry Ham Bryant Park 12:30 pm Club Bonafide 7:30, 9:30, 11 pm $15 • Denton Darien Trio Cleopatra’s Needle 8 pm Sunday, June 4 • Michael Blanco Quartet with John Ellis, Kevin Hays, Clarence Penn • Dom Palombi Project; Circular Time Cornelia Street Underground 8, 9:30 pm $10 Club Bonafide 7:30, 9:30 pm $15 • Tony Romano solo 440Gallery 4:40 pm $10 • Monk Festival: Gabe Schnider and Friends • Dayna Stephens Quartet with Philip Dizack, Gilad Hekselman, Jaimeo Brown êNed Rothenberg/ Alain Kirili Loft 8 pm Dizzy’s Club 7:30, 9:30 pm $35 Cornelia Street Underground 9, 10:30 pm $10 êStephane Wrembel Barbès 9 pm $10 • Micah Thomas Dizzy’s Club 11:15 pm $10 • Monk Festival: Russell Hall with Ruben Fox, Mathis Picard, Joel Ross, Kyle Poole • Vanessa Racci’s Italiana Fresca Birdland 6 pm $30 • Antoine Dry; Wayne Tucker The Django at Roxy Hotel 7, 10 pm Dizzy’s Club 7:30, 9:30 pm $40 • Svetlana and The Delancey Five Blue Note 11:30 am 1:30 pm $35 • Tyler Blanton; Saul Rubin Zebtet; Pablo Bencid • Micah Thomas Dizzy’s Club 11:15 pm $10 êDirty Dozen Brass Band 40th Anniversary Celebration Fat Cat 7, 10 pm 1:30 am $10 êKen Fowser; Brianna Thomas The Django at Roxy Hotel 7:30, 10:30 pm Blue Note 8, 10:30 pm $45 • Johnny O’Neal Ginny’s Supper Club 7:30, 9:30 pm $20 • Emma Dayhuff; Jared Gold/Dave Gibson; Nick Hempton • Koran Agan with Josh Kaye, Eduardo Belo êJazz Foundation of America Presents: George Braith Fat Cat 6, 10:30 pm 1:30 am $10 Cornelia Street Underground 8:30, 10 pm $10 Hudson River Park 7 pm • Blue Note Jazz Festival: Bria Skonberg with Gil Goldstein, Mathis Picard, Evan Arntzen, • Monk Festival: Russell Hall with Ruben Fox, Mathis Picard, Joel Ross, Kyle Poole • Masami Ishikawa Quartet with Michika Fukumori, Jeff Andrews, Adam Nussbaum Eric Wheeler, Gabe Schnider, Corey Wilcox, Joyce Hammann, Kathleen Nester, Dizzy’s Club 7:30, 9:30 pm $35 Jazz at Kitano 8, 10 pm $17 Maria Jeffers, Matt Wilson, Beth Goodfellow • Thomas Helton, Jaimie Branch, Michael Evans; Kalabalik: Raoul Björkenheim, êPeter Evans solo; Peter Evans Trio with Joel Ross, Max Jhin Jaffe Highline Ballroom 8 pm $30 Anders Nilsson, Gerald Cleaver Downtown Music Gallery 6, 7 pm The Jazz Gallery 7:30, 9:30 pm $15 • Brian Drye solo; Aaron Shragge’s Innocent When You Dream with Ryan Anselmi, • Gotham City Band; Jade Synstelien Fat Cat Big Band; • Sean Jones Quartet with Orrin Evans, Luques Curtis, Obed Calvaire Myk Freedman, Mike Gam, Deric Dickens Brandon Lewis/Renee Cruz Jam Fat Cat 6, 8:30 pm 1 am $10 Jazz Standard 7:30, 9:30 pm $30 Ibeam Brooklyn 8 pm $15 • Sean Jones Quartet with Orrin Evans, Luques Curtis, Obed Calvaire êVision Festival: Odean Pope Saxophone Choir with Gene Ghee, Terry Lawson, • Chris Pitsiokos; Miya Masaoka Issue Project Room 8 pm $15 Jazz Standard 7:30, 9:30 pm $30 Julian Pressley, Louis Taylor, Robert Landham, Joe Sudler, Lee Smith, Tom Lawton, • Helio Alves Quartet with Chico Pinheiro, Sam Minaie, Eric Doob êThe Arcades Project: John Zorn and Kenneth Goldsmith with JACK Quartet, Craig McIver; Djassi DaCosta Johnson/Shayna Dulberger; Jazz at Kitano 8, 10 pm $32 Peter Evans, Mark Feldman, Erik Friedlander, Ches Smith, Michael Nicolas, : Gerald Cleaver, William Parker, Craig Taborn and guest • Alexis Cuadrado A Lorca Soundscape with Claudia Acuña, Miguel Zenón, David Fulmer Jewish Museum 12 pm Darius Jones; Jesus Papoleto Melendez; Artifacts: Tomeka Reid, Nicole Mitchell, Robert Rodriguez, Mark Ferber The Jazz Gallery 7:30, 9:30 pm $22 êPRISM Quartet with guest Joe Lovano Mike Reed Judson Memorial Church 7 pm $40 • Sean Jones Quartet with Orrin Evans, Luques Curtis, Obed Calvaire Le Poisson Rouge 7 pm $15-20 • As Is: Stacey and Alan Schulman Metropolitan Room 7 pm $24 Jazz Standard 7:30, 9:30 pm $30 • Kenwood Dennard Metajam All Stars with Emanuel “Chulo” Gatewood, • Warren Vaché with Earl Sauls, Tardo Hammer; Spike Wilner with guests êVision Festival: Chicago Plan: Gebhard Ullmann, Steve Swell, Fred Lonberg-Holm, Billy “Spaceman” Patterson Manna House 4 pm Mezzrow 8, 11 pm $20 Michael Zerang; Joe McPhee’s The Dream Book with Daniel Carter, Dom Minasi, • Danny Fox Trio with Christopher van Voorst van Beest, Max Goldman; John Merrill • Jerome Sabbagh Trio Minton’s 6:30 pm Larry Roland, Dominic Duval, Jr., ; Fred Moten; Dave Burrell Quartet with Mezzrow 8, 11 pm $20 • Filtron M: Manu Koch, Panagiotis Andreou, Mauricio Zottarelli, Samuel Torres Kidd Jordan, William Parker, William Hooker; BassDrumBone: Mark Helias, • Roz Corral Trio with Josh Richman, Jay Leonhart Nublu 9 pm Gerry Hemingway, Ray Anderson Judson Memorial Church 7 pm $40 North Square Lounge 12:30, 2 pm êVision Fest After Dark: Aruán Ortiz/Darius Jones êFrank Kimbrough with , Jeff Hirshfield; Johnny O’Neal • Perez/Art Hirahara; Jed Levy/Misha Tsiganov Nublu 12 am $15 Mezzrow 8, 11 pm $20 Perez Jazz 3 pm $20 êBriggan Krauss String and Reed Quartet with Wayne Horvitz, Sara Schoenbeck, • Sara Serpa/Sofía Rei; Aubrey Johnson êSwing! Swing! Swing!: Ted Rosenthal, , , Nicki Parrott, Kenny Wollesen The Owl Music Parlor 7:30 pm $10 Neighborhood Church of Greenwich Village 8, 9:30 pm Alvester Garnett Riverdale YM-YWHA 7 pm $35 • Andreas Arnold Ojos Cerrados with Mario Rincon, El Vikingo, Juan el Gato and guests • Vision Fest After Dark: Fay Victor, Joe Morris, Reggie Nicholson • Hyeseon Hong Orchestra with guest Rich Perry Kenny Warren, Maria Toro Rockwood Music Hall Stage 3 10 pm $10 Nublu 12 am $15 Rockwood Music Hall Stage 2 4:45 pm $15 • World of Monk: Jazz at Lincoln Center Orchestra and guests Baqir Abbas, • World of Monk: Jazz at Lincoln Center Orchestra and guests Baqir Abbas, • Ike Sturm + Evergreen Saint Peter’s Church 5 pm Hamilton de Holanda Rose Theater 8 pm $45-135 Hamilton de Holanda Rose Theater 8 pm $45-135 • Johnny O’Neal Trio with Ben Rubens, Itay Morchi; Clifford Barbaro Group; • Patrick Wolff Quintet with Grant Stewart, Clovis Nicolas, Adam Shulman, Phil Stewart; êValery Ponomarev Quintet with Chris Hemingway, Mamiko Watanabe, Ruslan Khain, Jon Beshay Jam Smalls 7:30, 10:30 pm 1 am $20 Nick Hempton Band; Jonathan Thomas Jam Jerome Jennings; Wayne Escoffery Tenor Traditions with Walt Weiskopf, • Steve Davis Sextet with Steve Wilson, Jimmy Greene, Larry Willis, David Wong, Smalls 7:30, 10:30 pm 1 am $20 Abraham Burton, Kush Abadey; Eric Wyatt Jam Lewis Nash Smoke 7, 9, 10:30 pm $40 êAlexis Cole Smoke 7, 9, 10:30 pm $12 Smalls 7:30, 10:30 pm 1 am $20 • Joe Morris, Dre Hocevar, Chris Pitsiokos, Henry Fraser, Lester St. Louis, Charmaine Lee êJazz Foundation of America Presents: René McLean’s Music of the Spirit with • Steve Davis Sextet with Steve Wilson, Jimmy Greene, Larry Willis, David Wong, The Stone 8:30 pm $20 Josh Evans, Hubert Eaves, Nat Reeves, Jonathan Barber Lewis Nash Smoke 7, 9, 10:30 pm $40 • Javon Jackson Quartet with Jeremy Manasia, David Williams, McClenty Hunter Socrates Sculpture Park 6:30 pm êJohn Zorn Improv Night with Ikue Mori, Peter Evans, Wadada Leo Smith, Craig Taborn, Village Vanguard 8:30, 10:30 pm $30 Sylvie Courvoisier, Kenny Wollesen The Stone at The New School 8:30 pm $20 • Brad Barrett, Eric Stillwell, Joe Morris USED The Stone 8:30 pm $20 • Román Díaz and The Brooklyn Raga Massive All-Stars Subrosa 7:30, 9:30 pm $20 • Javon Jackson Quartet with Jeremy Manasia, David Williams, McClenty Hunter NEW Village Vanguard 8:30, 10:30 pm $30 Saturday, June 3 • Round Midnight—Monk’s Legacy: Joey Alexander; Sullivan Fortner The Appel Room 7:30, 9:30 pm $100-120 • Tyler Blanton Electric Band Bar Lunàtico 8:30, 10 pm $10 • Phil Robson Trio with Peter Slavov, Rob Garcia Bar Next Door 7:30, 9:30, 11:30 pm $12 êRavi Coltrane Quartet with Yunior Terry, E.J. Strickland Birdland 8:30, 11 pm $40 êDirty Dozen Brass Band 40th Anniversary Celebration Blue Note 8, 10:30 pm $45 • Amy Winehouse Teen Jazz Program Directed by Bill Stevens and Josh Sinton 236 West 26 Street, Room 804 with guest Matt Wilson Brooklyn Conservatory of Music 1 pm New York, NY 10001 • Masami Ishikawa Trio Cleopatra’s Needle 8 pm êScott Dubois Quartet with Michael Bates, Gerald Cleaver and guest Cornelia Street Underground 9, 10:30 pm $10 • Monk Festival: Russell Hall with Ruben Fox, Mathis Picard, Joel Ross, Kyle Poole Monday-Saturday, 10:00-6:00 Dizzy’s Club 7:30, 9:30 pm $45 • Micah Thomas Dizzy’s Club 11:15 pm $20 • Felix Peikli/Joseph Doubleday; JC Hopkins Biggish Band The Django at Roxy Hotel 7:30, 10:30 pm Tel: 212-675-4480 • Malik Washington; Raphael D’lugoff Quintet; Greg Glassman Jam Fax: 212-675-4504 Fat Cat 7, 10 pm 1:30 am $10 • Alphonso Horne Gotham Kings Ginny’s Supper Club 7:30, 9:30 pm $15-20 êConnie Crothers Celebration: David Arner solo; Ursel Schlicht, Andrea Wolper, ; Mark Gabriele solo; Tom Thorndike with Nick Lyons, Joanna Sternberg, Email: [email protected] Roger Mancuso; Carol Liebowitz, Bill Payne and guests; Aaron Johnson solo; Paula Hackett; Kazzrie Jaxen/Virg Dzurinko Web: jazzrecordcenter.com Greenwich House Music School 7:15 pm êJay Clayton Trio with George Cables, Essiet Okon Essiet Jazz at Kitano 8, 10 pm $32 LP’s, CD, Videos (DVD/VHS), • Alexis Cuadrado A Lorca Soundscape with Claudia Acuña, Miguel Zenón, Robert Rodriguez, Mark Ferber The Jazz Gallery 7:30, 9:30 pm $22 Books, Magazines, Posters, • Ellington and Strayhorn Jam Session: David Durrah Quartet Jazz Museum in Harlem 2 pm Postcards, T-shirts, • Sean Jones Quartet with Orrin Evans, Luques Curtis, Obed Calvaire Jazz Standard 7:30, 9:30 pm $30 Calendars, Ephemera êVision Festival: Positive Knowledge: Oluyemi Thomas, Ijeoma Thomas and guest Andrew Cyrille; Tony Malaby, Mat Maneri, Daniel Levin; Ivo Perelman Quartet with Matthew Shipp, Michael Bisio, Whit Dickey; David Murray Trio with Gerry Eastman, Buy, Sell, Trade Kahil elZabar; Oliver Lake/William Parker’s Songs for a Free World Judson Memorial Church 6:30 pm $40 • Spanish Harlem Orchestra Lehman Center 8 pm $55-85 êFrank Kimbrough with Jay Anderson, Jeff Hirshfield Collections bought Mezzrow 8 pm $20 • Chiara Izzi/Kevin Hays; Asaran Earth Trio and/or appraised Neighborhood Church of Greenwich Village 8, 9:30 pm êVision Fest After Dark: Heroes are Gang Leaders: Thomas Sayers Ellis, Randall Horton, Crystal Good, Margaret Morris, Janice Lowe, Ryan Frazier, James Brandon Lewis, Also carrying specialist labels Devin Brahja Waldman, Luke Stewart, Warren Trae Crudup III Nublu 12 am $15 e.g. Fresh Sound, Criss Cross, • Rome Neal’s Banana Puddin’ Jazz 14th Anniversary Celebration/Fundraiser with Carol Woods, Johnny O’ Neal, T.S. Monk, John di Martino, Shahadi Wright Joseph, Ayler, Silkheart, AUM Fidelity, T.K. Blue, Larry Ridley, Carl Hancock Rux, Marion Cowings, Andre Chez Lewis, Eric Frazier, Frank Owens, Patience Higgins, Nick Scheuble, Bryce Sebastien, Nagel Heyer, Eremite, Venus, Martha Redbone, Aaron Whitby, Steven Kroon, Joy F. Brown, Lezlie Harrison, Clean Feed, Enja and many more Frederika Krier, Chapman Roberts, Leonieke Scheuble, Craig Harris, Rachiim Ausar Sahu Nuyorican Poets Café 9:30 pm $75 • World of Monk: Jazz at Lincoln Center Orchestra and guests Baqir Abbas, Hamilton de Holanda Rose Theater 8 pm $45-135

40 JUNE 2017 | THE NEW YORK CITY JAZZ RECORD Monday, June 5 • Sean Wayland Trio with Orlando le Fleming, Nate Wood; Mike Stern 55Bar 7, 10 pm at Cavatappo Grill • Aron Namenwirth, Adam Dym, Eric Plaks, John Loggia; Stephen Gauci, Adam Lane, Kevin Shea; Nick Lyons solo; Nick Lyons, Adam Lane, Igal Foni; Nick Lyons, Ras Moshe, Adam Lane, Igal Foni Artichoke Basille 7 pm $10 êHelen Sung Trio with Ricky Rodriguez, Henry Cole Bar Lunàtico 8:30, 10 pm $10 • Tommy Holladay Trio with John Tate, Adam Arruda; Dida Pelled Trio with Or Bareket, Live Jazz Music Andrew Millar Bar Next Door 6:30, 8:30, 10:30 pm $12 • Blue Note Jazz Festival: Candy Dulfer BB King’s Blues Bar 8 pm $40 êThe Hot Sardines Blue Note 8, 10:30 pm $25 every Tuesday (8-10 pm) • Voxecstatic: Sari Kessler Quartet with Ben Paterson, Sean Smith, Tommy Campbell; Beat Kaestli with Jesse Lewis, Vitor Gonçalves Cornelia Street Underground 8, 9:30 pm $10 • Jazz at Lincoln Center Youth Orchestra & Dizzy’s Club 7:30, 9:30 pm $35 • Abhik Mukerjee; Alexi; Billy Kaye Jam Fat Cat 6, 9 pm 12:30 am $10 Thursday (9-11 pm) • Yasushi Nakamura Trio with Lawrence Fields, Mark Whitfield, Jr. Instituto Cervantes New York 7 pm $20 • Nick Sanders/Logan Strosahl; Ari Roland Mezzrow 8, 11 pm $20 • Olli Hirvonen New Helsinki with Adam O’Farrill, Luke Marantz, Marty Kenney, Live piano every Monday (7-10 pm) Nathan Ellman-Bell Rockwood Music Hall Stage 2 7 pm $10 • James Brandon Lewis/Chad Taylor; Heroes Are Gang Leaders: Thomas Sayers Ellis, Randall Horton, Margaret Morris, No Land, Crystal Good, Janice Lowe, Ryan Frazier, James Brandon Lewis, Devin Brahja Waldman, Luke Stewart, Warren Trae Crudup III Roulette 8 pm $20 “It’s a joy to create jazz in such a positive atmosphere and • Eyal Vilner Big Band Sir D’s 8 pm • Jonathan Saraga Sextet with Remy Le Bouef, Chris Pattisall, Aki Ishiguro, Rick Rosato, to be so close to the people too! Enjoying a great bowl of pasta Kenneth Salters; Noam Wiesenberg Quintet with Philip Dizack, Immanuel Wilkins, Gadi Lehavi, Kush Abadey; Jonathan Michel Jam listening to world class jazz is the only way to go” Smalls 7:30, 10:30 pm 1 am $20 êBrian Marsella Trio with Trevor Dunn, Kenny Wollesen John Pizzarelli, Grammy-nominated guitarist and singer The Stone 8:30 pm $20 êEddie Palmieri Quintet with Luques Curtis, Vicente “Little Johnny” Rivero, Nicky Marrero, Camilo Molina and guest Alfredo De La Fe Subrosa 7, 9 pm $35 êRaoul Björkenheim, Joe Fonda, Gerald Cleaver Zürcher Gallery 8 pm $15 Tuesday, June 6 Mondays with Roger Lent solo piano • Chris Carroll Band 55Bar 7 pm • Alicyn Yaffee Trio with Andrew Hartman, Pravin Thomson; Kyle Nasser Trio with 7-10pm no cover Pablo Menares, Vinnie Sperrazza Bar Next Door 6:30, 8:30, 10:30 pm $12 • Troy Roberts Quartet Birdland 8:30, 11 pm $40 • Hiromi/Edmar Castañeda Blue Note 8, 10:30 pm $45 JUNE 1ST - 9/11 pm $10 COVER êBucky Pizzarelli Trio Cavatappo Grill 8, 10 pm $10 • NYJW Vocal Showcase presented by Fay Victor Club Bonafide 7, 8:30 pm $15 JASON PROVER QUARTET • Devin Gray’s Deeg Trio with , Cornelia Street Underground 8, 9:30 pm $10 • Paul Nedzela Quartet with Dan Nimmer, Dezron Douglas, Rodney Green Dizzy’s Club 7:30, 9:30 pm $35 • Alphonso Horne Dizzy’s Club 11:15 pm $5 JUNE 6th - 8/10 pm $10 cover • Saul Rubin Zebtet; Willie Martinez Y La Familia; Craig Wuepper Fat Cat 7, 9 pm 12:30 am $10 • Peter Cincotti Iridium 8:30 pm $25-40 ***Bucky Pizzarelli Trio*** • Chris Ziemba solo Jazz at Kitano 8 pm • Savion Glover and guest The Jazz Gallery 7:30, 9:30 pm $20 • Sasha Masakowski and New Orleans Art Market with Martin Masakowski, Mike Moreno, Sullivan Fortner, Björn Ingelstam, Peter Varnado JUNE 8th - 9/11 pm $10 cover Jazz Standard 7:30, 9:30 pm $25 • Angela Morris, Cat Toren, Anthony Taddeo; Gloryhole: Jeff Lederer, , Allison Miller Korzo 9, 10:30 pm john dokes QUARTET • Daryl Sherman; Miki Yamanaka/Adi Meyerson Jam Mezzrow 8, 11 pm $20 • Mike Longo NY State of the Art Jazz Ensemble with Ira Hawkins JUNE 13TH - 8/11 pm $5 cover New York City Baha’i Center 8, 9:30 pm $15 • Hans Tammen Third Eye Orchestra with Shelley Hirsch, Dafna Naphtali, Sarah Bernstein, Jason Hwang, Stephanie Griffin, Tomas Ulrich, Ned Rothenberg, stuart mack trio Michael Lytle, Briggan Krauss, Josh Sinton, Ursel Schlicht, Shoko Nagai, Nick Didkovsky, Satoshi Takeishi Roulette 8 pm $20 • Jim Nolet Angelica Nolet with Arturo O’Farrill, Zack O’Farrill, Rafael Barata, Neymar Dias JUNE 15th - 9/11 pm $10 cover ShapeShifter Lab 8:15, 9:30 pm $10 • Frank Lacy Group; Abraham Burton Quartet with Dezron Douglas, Eric McPherson Smalls 7:30, 10:30 pm $20 pasquale grasso êUri Caine solo The Stone 8:30 pm $20 êMark Turner Quartet with Jason Palmer, Joe Martin, Marcus Gilmore Village Vanguard 8:30, 10:30 pm $30 JUNE 20th - 8/10 pm $5 cover Wednesday, June 7 jam session • Eric Alexander Quartet with Joe Farnsworth An Beal Bocht Café 8, 9:30 pm $20 • Ella On My Mind: Michael Feinstein with Tedd Firth Big Band and guests Jessie Mueller, JUNE 22nd - 9/11 pm $10 cover Vuyo Sotashe, Nicole Henry The Appel Room 7 pm $95 êNicki Parrott Quintet Birdland 8:30, 11 pm $40 • Hiromi/Edmar Castañeda Blue Note 8, 10:30 pm $45 matthew fries with kat gang • Chris Rob Club Bonafide 7:30, 9:30 pm $15 • Celebrating Bob Dorough The Dimenna Center 7 pm $150 êChico Freeman Plus+Tet with Anthony Wonsey, Warren Wolf, Kenny Davis, JUNE 27TH - 9/11 pm $10 cover Nasheet Waits Dizzy’s Club 7:30, 9:30 pm $30 • Alphonso Horne Dizzy’s Club 11:15 pm $5 • Raphael D’lugoff Trio +1; Groover Trio; Ned Goold Jam DENNIS JOSEPH trio Fat Cat 7, 9 pm 12:30 am $10 • Carol Sudhalter Jazz Jam Flushing Town Hall 7 pm $10 êPeter Brötzmann/Heather Leigh Issue Project Room 8 pm $20 JUNE 29TH - 8/11 pm $10 cover • Kelley Suttenfield Band with Michael Cabe, Tosh Sheridan, Matt Aronoff, Brian Adler Jazz at Kitano 8, 10 pm $17 êCharnett Moffett’s NeTTwork with Scott Tixier, Brian Jackson, Mark Whitfield, Jr. DONALD VEGA TRIO Jazz Standard 7:30, 9:30 pm $25 êJacob Garchik’s The Atheist Gospel Trombone Choir with , Curtis Fowlkes, Curtis Hasselbring, Alan Ferber, Matt Musselman, Brian Drye, Joe Daley, Kenny Wolleson Joe’s Pub 9:30 pm $15 • Randy Napoleon/John Pizzareli; Tony Hewitt/Pete Malinverni Mezzrow 8, 11 pm $20 • Fabian Almazan’s Rhizome with Camila Meza, Linda Oh, Henry Cole, Megan Gould, Tomoko Omura, Karen Waltuch, Noah Hoffeld Luca’s Jazz Corner National Sawdust 10 pm $25 êTomeka Reid Large Ensemble with Sarah Bernstein, Mazz Swift, Jason Hwang, Christopher Hoffman, Melanie Dyer, Adam Hopkins, Tomas Fujiwara at Cavatappo Grill Roulette 8 pm $20 • Matt Baker Saint Peter’s Church 1 pm $10 • Steve Lyman Trio with Dan Tepfer, Dan Chmielinksi; Wayne Tucker Quartet; Aaron Seeber Jam Smalls 7:30, 10:30 pm 1 am $20 1712 First Avenue - (212) 987-9260 êUri Caine Trio with John Hébert, Ben Perowsky The Stone 8:30 pm $20 êMark Turner Quartet with Jason Palmer, Joe Martin, Marcus Gilmore lucasjazzcorner.com Village Vanguard 8:30, 10:30 pm $30

THE NEW YORK CITY JAZZ RECORD | JUNE 2017 41 Thursday, June 8 • Rocco John Trio with Chris Forbes, Lukas McCrosson êFreddy Cole Quartet with Joel Frahm Caffe Vivaldi 6 pm Birdland 8:30, 11 pm $40 • Greg Lewis Organ Monk with Ray Blue • Clifford Barbaro Trio Cleopatra’s Needle 8 pm êDanilo Pérez, John Patitucci, Brian Blade American Legion Post 7 pm • Richard Bona Mandekan Cubano Club Bonafide 7:30, 9:30 pm $30 Blue Note 8, 10:30 pm $35 • Ella On My Mind: Michael Feinstein with Tedd Firth Big Band and guests Jessie Mueller, • Matt Brewer Trio with Mark Shim, Damion Reid • Stuart Mack Trio Cavatappo Grill 8, 11 pm $10 Vuyo Sotashe, Nicole Henry The Appel Room 7, 9 pm $95 Cornelia Street Underground 9, 10:30 pm $10 • Blanca Cecilia González/Jesse Elder; Jesse Elder Trio with Rashaan Carter, • Vaughn Stoffey Trio with Thomson Kneeland, Dan Nadeau; Patrick Cornelius Trio with êDion Parson 21st Century Band with Ron Blake, Rashawn Ross, Carlton Holmes, Nasheet Waits Cornelia Street Underground 8, 9:30 pm $10 Sean Conly, Jochen Rueckert Bar Next Door 6:30, 8:30, 10:30 pm $12 Reuben Rogers, Victor Provost, Aioune Faye • Peter and Will Anderson Quintet with Peter Bernstein, Pat Bianchi, Kenny Washington • David Finck’s Low Standards with , Jim Ridl, Carl Allen and guest Alexis Cole Dizzy’s Club 7:30, 9:30 pm $45 Dizzy’s Club 7:30, 9:30 pm $35 Birdland 6 pm $30 • Alphonso Horne Dizzy’s Club 11:15 pm $20 • Kush Abadey Dizzy’s Club 11:15 pm $5 êNicki Parrott Quintet Birdland 8:30, 11 pm $40 • Walt Weiskopf Quartet with Allen Farnham, Ugonna Okegwo, Jason Tiemann; • Saul Rubin Zebtet; Peter Brainin Latin Jazz Workshop • Hiromi/Edmar Castañeda Blue Note 8, 10:30 pm $45 King Solomon Hicks The Django at Roxy Hotel 7:30, 10:30 pm Fat Cat 7, 9 pm $10 • John Dokes Quartet Cavatappo Grill 9, 11 pm $10 • Russ Lossing, Billy Mintz, Lena Bloch • Dor Sagi Trio The Flatiron Room 9 pm • Uri Zelig Duo Cleopatra’s Needle 7 pm The Drawing Room 7:30 pm $15 • Peter Cincotti Iridium 8:30 pm $25-40 • Nate Hook Progressive Overload; Sol Liebeskind/Andrés Rotmistrovsky êStephane Wrembel Quartet; Slavic Soul Party with guest Demiran Cerimovic • Chris Ziemba solo Jazz at Kitano 8 pm Club Bonafide 7:30, 9:30 pm $15 Drom 8, 10 pm $20 • Savion Glover and guest The Jazz Gallery 7:30, 9:30 pm $20 êChico Freeman Plus+Tet with Anthony Wonsey, Warren Wolf, Kenny Davis, • CMS Improvisers Orchestra El Taller LatinoAmericano 8:30 pm $10 • David Gilmore Group with Mark Shim, Victor Gould, Carlo De Rosa, E.J. Strickland Nasheet Waits Dizzy’s Club 7:30, 9:30 pm $30 • Rafael Monteagudo Music Connection; Jason Marshall; Greg Glassman Jam Jazz Standard 7:30, 9:30 pm $25 • Alphonso Horne Dizzy’s Club 11:15 pm $10 Fat Cat 7, 10 pm 1:30 am $10 • Gary Versace, The Bleckmann, John Hollenbeck; The Mannequins: Kate Gentile, • Dida Pelled; Braxton Cook The Django at Roxy Hotel 7, 10 pm • Eva Novoa, Masa Kamaguchi, Satoshi Takeishi Jeremy Viner, Matt Mitchell, Adam Hopkins • Jordan Young; Greg Glassman Quintet; Ray Parker Ibeam Brooklyn 8, 9 pm $15 Korzo 9, 10:30 pm Fat Cat 7, 10 pm 1:30 am $10 • Tribute to Nancy Wilson: Laura Kinhan, Andy Ezrin, Matt Penman, Eric Doob • H-Trio: Jorge Hernaez, David Haney, David Bajda with guest Blaise Siwula • Willerm Delisfort Project Ginny’s Supper Club 7:30, 9:30 pm $15-20 Jazz at Kitano 8, 10 pm $32 Medicine Show Theatre 8 pm • Melissa Hamilton Quartet with Lee Tomboulian, Dan Loomis, Peter Runnells êMelissa Aldana Sextet with Craig Weinrib, Glenn Zaleski, Philip Dizack, Pablo Menares, êMusic for Six Musicians—Hommage à Olivier Messiaen: Steve Swell, Jazz at Kitano 8, 10 pm $17 Alex Lore The Jazz Gallery 7:30, 9:30 pm $22 Jason Kao Hwang, Tomas Ulrich, Rob Brown, Robert Boston, Jim Pugliese • Samurai Mama Big Band: Zach Schurr, Xenia Berkowitz, Theo Padua, Ben Sperling, • Etienne Charles Creole Soul with Godwin Louis, Brett Williams, Alex Wintz, Metro Baptist Church 8 pm $15 Georgia Shehas, Seuss Fu-Rubin, Isaiah Berkowitz, Austin Celestin, Graeme Buehrer, Jonathan Michel, John Davis Jazz Standard 7:30, 9:30 pm $30 • Barbara Rosene/Conal Fowkes; Miki Yamanaka/Adi Meyerson Jam Carter, Jack Eisenthal, Taja Graves-Parker, Dylan Matos, Deandre Desir, êPeter Zak Trio with , Billy Drummond; Anthony Wonsey Mezzrow 8, 11 pm $20 Henry Nelson, Zachary Detrick, Maxwell Violet, Declan St. Onge, Kabir Adhiya-Kumar Mezzrow 8, 11 pm $20 • Russ Kassoff Orchestra with Catherine Dupuis The Jazz Gallery 7:30, 9:30 pm $15 • BRIC Celebrate Brooklyn: Alice Smith; Bilal; Kris Bowers New York City Baha’i Center 8, 9:30 pm $15 • Etienne Charles Creole Soul with Godwin Louis, Brett Williams, Alex Wintz, Prospect Park Bandshell 7 pm • Orlando le Fleming Romantic Funk with John Ellis, Frank LoCrasto, Greg Tuohey, Jonathan Michel, John Davis Jazz Standard 7:30, 9:30 pm $30 • Dmitry Baevsky Quartet with Jeb Patton, Clovis Nicolas, Joe Strasser; Nate Smith Nublu 8:30 pm êBrandon Seabrook’s Die Trommel Fatale with Marika Hughes, Chuck Bettis, Brooklyn Circle: Stacy Dillard, Diallo House, Ismail Lawal êSteve Nelson Quintet with Angela Roberts, Rick Germanson, Kiyoshi Kitagawa, Eivind Opsvik, Sam Ospovat, Dave Treut Smalls 10:30 pm 1 am $20 Charles Goold; Abraham Burton Quartet with Dezron Douglas, Eric McPherson Joe’s Pub 9:30 pm $15 êCyrus Chestnut Trio Smoke 7, 9, 10:30 pm $40 Smalls 7:30, 10:30 pm $20 • Steven Frieder Quintet with Jon Irabagon, Neil Alexander, Luca Rosenfeld, Bob Meyer êChealsea Music Festival: Helen Sung Trio with Boris Kozlov, Henry Cole and guest • Russell Malone Quartet with Rick Germanson, Luke Selleck, Willie Jones III Metropolitan Room 9:30 pm $24 Verona Quartet St. Paul’s German Lutheran Church 10 pm Village Vanguard 8:30, 10:30 pm $30 • Ramsey Lewis Metrotech Commons 12 pm êMark Feldman/Sylvie Courvoisier The Stone at The New School 8:30 pm $20 • Geoffrey Keezer/Joe Locke; Spike Wilner with guests êUri Caine Trio with Mark Helias, Clarence Penn Wednesday, June 14 Mezzrow 8, 11 pm $20 The Stone 8:30 pm $20 êHarris Eisenstadt Old Growth Forest with Tony Malaby, Jeb Bishop, Jason Roebke • Carol Sudhalter Astoria Big Band Sunnyside Reformed Church 7 pm • Diane Monroe Quintet with Tony Miceli, Mike Boone, Dan Monaghan, Paul Jost; The Owl Music Parlor 7:30 pm $10 • Chip Shelton PeaceTime Ensemble with Noriko Kamo, Sipho Kunene Mike Stern 55Bar 7, 10 pm • Patsy Grant Putnam Triangle Plaza 6 pm Symphony Space Bar Thalia 9 pm • The Hot Future Four: Frank Perowsky, Ed Cherry, Bob Stewart, Ben Perowsky êIn the Sea: Tristan Honsinger, Nicolas Caloia, Joshua Zubot; êMark Turner Quartet with Jason Palmer, Joe Martin, Marcus Gilmore Bar Lunàtico 8:30, 10 pm $10 Michael Bisio/Kirk Knuffke Duo ShapeShifter Lab 8:15, 9:30 pm $10 Village Vanguard 8:30, 10:30 pm $30 • Kenny Warren Group Barbès 8 pm $10 • Russ Meissner Group; Tatum Greenblatt Quartet; Sarah Slonim Jam êFreddy Cole Quartet with Joel Frahm Smalls 7:30, 10:30 pm 1 am $20 Sunday, June 11 Birdland 8:30, 11 pm $40 • George Coleman, Jr. Quartet Smoke 7, 9, 10:30 pm $12 êDanilo Pérez, John Patitucci, Brian Blade • Ursel Schlicht with Andrea Wolper, Ken Filiano, Lou Grassi êStephane Wrembel Barbès 9 pm $10 Blue Note 8, 10:30 pm $35 Soup & Sound 8 pm $20 • Barbara Lica Birdland 6 pm $30 • John Maurice Restrepo Quartet Club Bonafide 9:30 pm $15 êOfakim: Uri Caine, Jim Black, Ralph Alessi • Hiromi/Edmar Castañeda Blue Note 8, 10:30 pm $45 • Eri Yamamoto Trio with David Ambrosio, Ikuo Takeuchi The Stone 8:30 pm $20 êRed Hook Jazz Fest: William Parker/Cooper-Moore; Thana Alexa Project with Cornelia Street Underground 8, 9:30 pm $10 êMark Turner Quartet with Jason Palmer, Joe Martin, Marcus Gilmore Carmen Staaf, Noam Wiesenberg; Richi Debonis NOWtet with Abraham Burton, • Kush Abadey Dizzy’s Club 11:15 pm $5 Village Vanguard 8:30, 10:30 pm $30 Greg Gisbert, Zaccai Curtis, Carlo De Rosa; Jane Ira Bloom Trio with Mark Helias, • Allan Harris Band with Pascal Le Boeuf, Nimrod Speaks, Shirazette Tinnin ; Eric Person Quartet with Bryan Carrott, Adam Armstrong, Dizzy’s Club 7:30, 9:30 pm $30 Friday, June 9 Tony Jefferson Cabrini Green Urban Meadow 1 pm • Raphael D’lugoff Trio +1; Harold Mabern Trio; Ned Goold Jam • Melvin Smith Ensemble; Annie Chen Septet Fat Cat 7, 9 pm 12:30 am $10 • Tessa Souter 55Bar 6 pm Club Bonafide 7:30, 9:30 pm $15 • Nicole Henry Feinstein’s/54 Below 9:30 pm $35-45 • Alvaro Benavides Cuban Group Bar Lunàtico 8:30, 10 pm $10 êDion Parson 21st Century Band with Ron Blake, Rashawn Ross, Carlton Holmes, • Mamiko Watanabe Trio with Santi Debriano, Tommy Campbell • Paul Meyers Trio with Leo Traversa, Vanderlei Pereira Reuben Rogers, Victor Provost, Aioune Faye Jazz at Kitano 8, 10 pm $17 Bar Next Door 7:30, 9:30, 11:30 pm $12 Dizzy’s Club 7:30, 9:30 pm $35 êBenoît Delbecq’s The Conversation with Mark Turner, John Hébert, Gerald Cleaver • Urbanity: Albare, Phil Turcio, Peter Mollica, Gerry Pantazis • Italian Soda: Cody Putnam, Molly Pease, Miller Wren, Jacob Richards; Jazz Standard 7:30, 9:30 pm $25 Birdland 8:30, 11 pm $40 Robbie Lee/Hampus Ohman-Frolund êJazz Museum in Harlem 2017 Annual Benefit Concert with Cécile McLorin Salvant, • Hiromi/Edmar Castañeda Blue Note 8, 10:30 pm $45 Downtown Music Gallery 6, 7 pm Aaron Diehl, Joey Alexander Honoring Randy Weston, Jazzmobile, Arthur H. Barnes • Libby Richman Trio Cleopatra’s Needle 8 pm • Terry Waldo Gotham City Band; Jamale Davis Quintet; Brandon Lewis/Renee Cruz Jam Kaye Playhouse, Hunter College 7:30 pm $25-50 • Stan Chovnick and Friends with Linda Presgrave, Dimitri Moderbacher, Seiji Ochiai Fat Cat 6, 8:30 pm 1 am $10 êMark Soskin/Jay Anderson; Tony Hewitt/Pete Malinverni Club Bonafide 7:30 pm $15 • Blue Note Jazz Festival: Terence Blanchard Mezzrow 8, 11 pm $20 êMichael Bates Northern Spy with Michael Blake, Jeremy “Bean” Clemons Highline Ballroom 8:30 pm $30-55 êGuy Mintus Trio with Dan Pappalardo, Philippe Lemm and Brooklyn Raga Massive Cornelia Street Underground 9, 10:30 pm $10 • Etienne Charles Creole Soul with Godwin Louis, Brett Williams, Alex Wintz, All Stars Rockwood Music Hall Stage 3 8:30 pm $10-15 êDion Parson 21st Century Band with Ron Blake, Rashawn Ross, Carlton Holmes, Jonathan Michel, John Davis Jazz Standard 7:30, 9:30 pm $30 • Nick Finzer’s Hear & Now Rockwood Music Hall Stage 3 10:30 pm $10 Reuben Rogers, Victor Provost, Aioune Faye • Sara Serpa/André Matos Band with Erik Friedlander, Joanna Mattrey, Devin Gray • David Chamberlain’s Band of Bones with Antoinette Montague Dizzy’s Club 7:30, 9:30 pm $40 Joe’s Pub 7:30 pm $15 Saint Peter’s Church 1 pm $10 • Alphonso Horne Dizzy’s Club 11:15 pm $10 • Yoni Kretzmer, Josh Sinton, Christopher Hoffman, Flin Van Hemmen; • Francisco Mela Crash Trio with Gerald Cannon; Jacques Schwarz-Bart Quartet with • Tad Shull Quartet; Stafford Hunter; Ray Gallon Gordon Beeferman Organ Trio with Chris Corcoran, Kevin Shea Nitai Hershkovitz, Desmond White, E.J. Strickland; Jovan Alexandre Jam Fat Cat 6, 10:30 pm 1:30 am $10 Legion Bar 9, 10 pm $10-15 Smalls 7:30, 10:30 pm 1 am $20 êForever Sonny: Queens Jazz Orchestra led by Jimmy Heath with Antonio Hart, • Bryn Roberts/; John Merrill • Russell Malone Quartet with Rick Germanson, Luke Selleck, Willie Jones III Mark Gross, Bobby LaVell, Sam Dillon, , John Mosca, Steve Davis, Mezzrow 8, 11 pm $20 Village Vanguard 8:30, 10:30 pm $30 Jason Jackson, Douglas Purviance, Frank Greene, Michael Mossman, Greg Gisbert, êMichaël Attias Quartet with Aruán Ortiz, John Hébert, Nasheet Waits Diego Urcola, Jeb Patton, David Wong, Evan Sherman The Owl Music Parlor 8, 9 pm $10 Thursday, June 15 Flushing Town Hall 8 pm $42 • Dori Sagi Trio The Penrose 8 pm • RITA with Bruce Harris, Brendan Skidmore êColleen Clark Collective Rockwood Music Hall Stage 3 8:45 pm $10 • Greg Lewis Organ Monk with Ray Blue Ginny’s Supper Club 7:30, 9:30 pm $15-20 • Chris Byars Octet; Hillel Salem Jam American Legion Post 7 pm • Chris Jentsch Group with Matt Renzi, Jim Whitney, John Mettam Smalls 7:30 pm 1 am $20 êNanJo Lee Trio with Matt Clohesy, Jochen Rueckert; Jon Irabagon Trio with Ibeam Brooklyn 8 pm $15 êCyrus Chestnut Trio Smoke 7, 9, 10:30 pm $40 Gary Versace, Tom Rainey Bar Next Door 6:30, 8:30, 10:30 pm $12 • Eva Novoa Trio with Drew Gress, Devin Gray êUri Caine and guests The Stone 8:30 pm $20 êFreddy Cole Quartet with Joel Frahm Ibeam Brooklyn 9 pm $15 • Bill Stevens, Rich Russo, Gary Fogel Birdland 8:30, 11 pm $40 êEd Palermo Big Band Iridium 8:30 pm $25 Tomi Jazz 8 pm êDanilo Pérez, John Patitucci, Brian Blade êGhost Train Orchestra Jalopy 9 pm $15 êMark Turner Quartet with Jason Palmer, Joe Martin, Marcus Gilmore Blue Note 8, 10:30 pm $35 • Janice Friedman Trio with Rusty Holloway, Paul Wells Village Vanguard 8:30, 10:30 pm $30 • Pasquale Grasso Cavatappo Grill 9, 11 pm $10 Jazz at Kitano 8, 10 pm $32 • Bob Albanese Duo Cleopatra’s Needle 7 pm êJohn Escreet The Jazz Gallery 7:30, 9:30 pm $22 Monday, June 12 • Jimbo Ro; Sirius Quartet: Fung Chern Hwei, Gregor Huebner, Ron Lawrence, • Etienne Charles Creole Soul with Godwin Louis, Brett Williams, Alex Wintz, Jeremy Harman Club Bonafide 7:30, 9:30 pm $15 Jonathan Michel, John Davis Jazz Standard 7:30, 9:30 pm $30 • Jim Ridl Group 55Bar 7 pm • Tom Chang Quartet with Quinsin Nachoff, Matt Aronoff, Kenny Grohowski • Spin Cycle: Tom Christensen, Pete McCann, Phil Palombi, Scott Neumann êAron Namenwirth, Adam Dym, Eric Plaks, John Loggia; Stephen Gauci, Adam Lane, Cornelia Street Underground 8, 9:30 pm $10 KD’s 7:30 pm Kevin Shea; Michael Foster solo; /Tom Rainey • Allan Harris Band with Pascal Le Boeuf, Nimrod Speaks, Shirazette Tinnin • Peter Zak Trio with Peter Washington, Billy Drummond; Johnny O’Neal Artichoke Basille 7 pm $10 Dizzy’s Club 7:30, 9:30 pm $40 Mezzrow 8, 11 pm $20 • Matt Darriau’s Yo Lateef with Peck Allmond, Arthur Kell, Steve Johns • Kush Abadey Dizzy’s Club 11:15 pm $10 • Josh Lawrence Minton’s 7 pm Bar Lunàtico 8:30, 10 pm $10 • Nathan Peck; Mark Whitfield The Django at Roxy Hotel 7, 10 pm • Mob Job; Walter Thompson Orchestra; Matt Lavelle’s 12 House with Gil Selinger, • David Kuhn Trio with Daniel Durst, Mario Irigoyen; Perry Beekman Trio with Jack Ryon, êDavid Weiss Point of Departure Fat Cat 10 pm $10 Ras Moshe, Rocco John Iacovone, Jeremy Danneman, Alan Brady, Charlie Waters, Lou Pappas Bar Next Door 6:30, 8:30, 10:30 pm $12 • Evan Sherman Big Band Ginny’s Supper Club 7:30, 9:30 pm $15-20 Mary Cherney, Jen Baker, Reut Regev, Yeonathan Shachar, Sam Harmet, êThe Hot Sardines Blue Note 8, 10:30 pm $25 • , Kato Hideki, Sean Meehan Julianne Carney, Anaïs Maviel, Andrew Drury, François Grillot, Chris Forbes, • Samora Pinderhughes Transformations Suite Issue Project Room 8 pm $15 Evan Mazunik Nublu 8 pm Dizzy’s Club 7:30, 9:30 pm $30 • Carl Bartlett, Jr. Quartet with Paul Odeh, Eric Lemon, Sylvia Cuenca • Tardo Hammer Trio with Lee Hudson, Steve Williams; Dmitry Baevsky Quartet with • Ned Goold Quartet; Billy Kaye Jam Fat Cat 9 pm 12:30 am $10 Jazz at Kitano 8, 10 pm $17 Peter Bernstein, Clovis Nicolas, Joe Strasser; Joe Farnsworth Jam • Kimberly Fergie and Erick Alfaro Quartet • Kenneth Salters Group with Dayna Stephens, Myron Walden, Matt Holman, Smalls 7:30, 10:30 pm 1 am $20 Instituto Cervantes New York 7 pm $20 Aki Ishiguro, Brad Whiteley The Jazz Gallery 7:30, 9:30 pm $15 êCyrus Chestnut Trio Smoke 7, 9, 10:30 pm $40 êErnst Reijseger solo Joe’s Pub 7:30 pm $20 • Tierney Sutton Band with Christian Jacob, Trey Henry, Ray Brinker • Michela Marino Lerman St. George’s Episcopal Church 7:30, 9:30 pm $15 • Dan Cray; Pasquale Grasso Mezzrow 8, 11 pm $20 Jazz Standard 7:30, 9:30 pm $30 êMark Feldman/Sylvie Courvoisier The Stone at The New School 8:30 pm $20 êDave Valentin Memorial with Bill O’Connell, Lincoln Goines, Robby Ameen, • Auktyon with guest John Medeski Le Poisson Rouge 8 pm $55 êUri Caine Mahler Project with Joyce Hammann, Ralph Alessi, , Mark Helias, Sammy Figueroa, Andrea Brachfeld, Connie Grossman, Karen Joseph, Papo Vázquez • John Colianni; Spike Wilner with guests Jim Black The Stone 8:30 pm $20 Saint Peter’s Church 6 pm Mezzrow 8, 11 pm $20 • Rale Micic Duo Symphony Space Bar Thalia 9 pm • David Haney’s Birth of a City with Steve Swell, Jason Kao Hwang, Sarah Bernstein, • Petros Klampanis Chroma with Shai Maestro, Gilad Hekselman, John Hadfield, êMark Turner Quartet with Jason Palmer, Joe Martin, Marcus Gilmore Melanie Dyer, Leonor Falcon, Sana Nagano, Tomeka Reid, David Bajda, Jorge Hernaez, Maria Manousaki, Gokce Erem, Eylem Basaldi, Hajnal Pivnic, Carrie Frey, Peter Kiral, Village Vanguard 8:30, 10:30 pm $30 Adam Lane, James Ilgenfritz, Jim Pugliese Colin Stokes, Caleigh Drane National Sawdust 7 pm $25 ShapeShifter Lab 8:15 pm $10 • Leni Stern Rockwood Music Hall Stage 3 7 pm $10 Saturday, June 10 • Music of Memphis Composers: Bill Mobley, Jon Gordon, Scott Reeves, Billy Test, • Music of Memphis Composers: Bill Mobley, Jon Gordon, Scott Reeves, Billy Test, Todd Coolman, Eric Reeves Sir D’s 8 pm Phil Palombi, Eric Reeves Silvana 6 pm • Ajoyo with Yacine Boularès Bar Lunàtico 8:30, 10 pm $10 • Aaron Burnett Group; Lesedi Ntsane Group; Jonathan Barber Jam • Rob Garcia Quartet with Noah Preminger; Yotam Silberstein Quartet; • Will Bernard Trio with Matt Pavolka, Jochen Rueckert Smalls 7:30, 10:30 pm 1 am $20 Jonathan Thomas Jam Smalls 7:30, 10:30 pm 1 am $20 Bar Next Door 7:30, 9:30, 11:30 pm $12 • Herman Olivera with Jimmy Bosch, Joe Fiedler, Hector Davila, Jose Tabares, • Marianne Solivan Smoke 7, 9, 10:30 pm $12 êBlue Note Jazz Festival: Pat Metheny with guests Antonio Sanchez, Linda May Han Oh, Orlando Vega, Wilmer Vega Subrosa 7, 9 pm $15 • Linda Presgrave Quartet with Stan Chovnick, Dimitri Moderbacher, Seiji Ochiai Gwilym Simcock Beacon Theatre 8 pm $40-115 Tomi Jazz 9 pm $10 • Urbanity: Albare, Phil Turcio, Peter Mollica, Gerry Pantazis Tuesday, June 13 êBlue Note Jazz Festival: Dr. John and Henry Butler Birdland 8:30, 11 pm $40 Town Hall 8 pm • Hiromi/Edmar Castañeda Blue Note 8, 10:30 pm $45 • Paul Jubong Lee Trio with Daniel Durst, Diego Maldonado; Aleksi Glick Trio with • Russell Malone Quartet with Rick Germanson, Luke Selleck, Willie Jones III Sharik Hasan, Ben Zweig Bar Next Door 6:30, 8:30, 10:30 pm $12 Village Vanguard 8:30, 10:30 pm $30

42 JUNE 2017 | THE NEW YORK CITY JAZZ RECORD Friday, June 16 • 7CROSSING Metropolitan Room 9:30 pm $24 • Dayeon Seok, Eunhye Oh, Adam Kolker; Osmany Paredes Quartet • Deborah Davis; John Merrill Mezzrow 8, 11 pm $20 Club Bonafide 7:30, 9:30 pm $15 êAmir ElSaffar’s Rivers of Sound with Carlo De Rosa, Aruán Ortiz, Dena ElSaffar, • Jane Irving Trio with Ron Affif, Kevin Hailey êJazztopad Festival: Szymon Wójciński/Krzysztof Szmańda Quartet with Fabrizio Cassol, George Ziadeh, , JD Parran, Miles Okazaki, North Square Lounge 12:30, 2 pm Maurycy Wójciński, Ksawery Wójciński; STRYJO: Nikola Kołodziejczyk, Mohammed Saleh, Naseem AlAtrash, Nasheet Waits, Ole Mathisen, • MATKOT Rockwood Music Hall Stage 1 6 pm Maciej Szczyciński, Michał Bryndal Rajna Swaminathan, Tareq Abboushi, Tim Moore, Zafer Tawil • Johnny O’Neal Trio with Ben Rubens, Itay Morchi; Charles Owens Quartet with Dizzy’s Club 7:30, 9:30 pm $40 28 Liberty Plaza 6 pm Joel Frahm, Alexander Claffy, Ari Hoenig; Jon Beshay Jam • Alina Engibaryan Dizzy’s Club 11:15 pm $10 • Andrae Murchison’s Murch Church Ensemble Smalls 7:30, 10:30 pm 1 am $20 • David Gibson Quintet with Bruce Williams, Theo Hill, Alex Claffy, Kush Abadey; Bar Lunàtico 8:30, 10 pm $10 êGeorge Coleman Quartet Smoke 7, 9, 10:30 pm $40 Ian Hendrickson-Smith Quintet with Dave Guy, James Poyser • Adriano Santos/Eduardo Belo Trio with Richard Padron • New York Jazzharmonic: Jay Rattman, Chris Ziemba, Ron Wasserman and guests The Django at Roxy Hotel 7, 10 pm Bar Next Door 7:30, 9:30, 11:30 pm $12 Jim Saporito, Harrison Hollingsworth • Lord Tannenbaum’s Jamaican Orchestra êFreddy Cole Quartet with Joel Frahm Symphony Space Bar Thalia 7 pm Fat Cat 10 pm $10 Birdland 8:30, 11 pm $40 • Russell Malone Quartet with Rick Germanson, Luke Selleck, Willie Jones III • Johnny O’Neal Ginny’s Supper Club 7:30, 9:30 pm $20 êDanilo Pérez, John Patitucci, Brian Blade Village Vanguard 8:30, 10:30 pm $30 êMotian in Motion: Michaël Attias, Ralph Alessi, Loren Stillman, Dan Blake, Blue Note 8, 10:30 pm $35 Frank Kimbrough, Russ Lossing, Angelica Sanchez, André Matos, Sean Conly, • Scot Albertson/Dan Furman Café Noctambulo at Pangea 8 pm $20 Monday, June 19 Chris Lightcap, Satoshi Takeishi, Jeff Davis, Vinnie Sperrazza, Harris Eisenstadt, • Julie Bluestone Trio Cleopatra’s Needle 8 pm Billy Mintz Greenwich House Music School 7:30 pm $30 • Yotam Silberstein and La Familia with Glenn Zaleski, Rick Rosato, Daniel Dor • Mike Stern 55Bar 10 pm êTony Middleton Quartet with Joe Vincent Tranchina, Saadi Zain, Daniel Glass Cornelia Street Underground 9, 10:30 pm $10 êAron Namenwirth, Adam Dym, Eric Plaks, John Loggia; Stephen Gauci, Adam Lane, Jazz at Kitano 8, 10 pm $17 • Kush Abadey Dizzy’s Club 11:15 pm $10 Kevin Shea; Yoni Kretzmer, John Hébert, Billy Mintz; Rick Parker, Michaël Attias, • Ole Mathisen Floating Points with Amir ElSaffar, Bobby Avey, Gregg August êBarry Harris Trio with Ray Drummond, Leroy Williams Simon Jermyn, Sam Ospovat Artichoke Basille 7 pm $10 The Jazz Gallery 7:30, 9:30 pm $15 Dizzy’s Club 7:30, 9:30 pm $45 • Rez Abbasi Group Bar Lunàtico 8:30, 10 pm $10 êAzar Lawrence Quintet with Steve Turre, Benito Gonzalez, Essiet Okon Essiet, Billy Hart • Ken Fowser; Jerry Weldon The Django at Roxy Hotel 7:30, 10:30 pm • Alan Kwan Trio with Perrin Grace, Eugene Seow; Deborah Latz Trio with Jazz Standard 7:30, 9:30 pm $30 • Chris Turner and The DropOuts Ginny’s Supper Club 7:30, 9:30 pm $15-20 Freddie Bryant, Ray Parker Bar Next Door 6:30, 8:30, 10:30 pm $12 • Luques Curtis; Spike Wilner Mezzrow 8, 11 pm $20 êMike DiRubbo Quartet with Brian Charette, Ugonna Okegwo, JK Kim êThe Hot Sardines Blue Note 8, 10:30 pm $25 • Olli Hirvonen New Helsinki with Luke Marantz, Marty Kenney, Nathan Ellman-Bell Jazz at Kitano 8, 10 pm $32 • Jon Gordon Quartet with Bryn Roberts, Matt Clohesy, Quincy Davis Scandinavia House 7 pm $15 • Maria Grand with Román Filiú, David Bryant, Rashaan Carter, Mauricio Herrera, Dizzy’s Club 7:30, 9:30 pm $30 • Dave Robaire Quintet with Josh Johnson, Eric Miller, Miro Sprague, Jonathan Pinson; Jeremy Dutton, Lucia Rodriguez, Amani Fela • George Braith; Billy Kaye Jam Fat Cat 9 pm 12:30 am $10 Asaf Yuria Quintet; Sarah Slonim Jam The Jazz Gallery 7:30, 9:30 pm $22 • Brian Charette Kürrent with , Jordan Young Smalls 7:30, 10:30 pm 1 am $20 • Tierney Sutton Band with Christian Jacob, Trey Henry, Ray Brinker Rockwood Music Hall Stage 2 8:30 pm $12 • Steve Kroon Sextet with Craig Rivers, Bryan Carrott, Igor Atalita, Waldo Chavez, Jazz Standard 7:30, 9:30 pm $35 • Rafal Sarnecki Sextet with Lucas Pino, Bogna Kicinska, Glenn Zaleski, Rick Rosato, Joel Mateo Smoke 7, 9, 10:30 pm $12 êTroker Joe’s Pub 7 pm $20 Colin Stranahan; Ari Hoenig Group; Jonathan Michel Jam êWadada Leo Smith The Stone at The New School 8:30 pm $20 • Michelle Della Fave Metropolitan Room 6:30 pm $24 Smalls 7:30, 10:30 pm 1 am $20 • John Bischoff, Tim Perkis, Chris Brown • Spike Wilner; Johnny O’Neal Mezzrow 8, 11 pm $20 êBruce Lee Gallanter’s Birthday Celebration: Unbroken: Louie Belogenis, The Stone 8:30 pm $20 • Jazz & Chihuly: The French Connection: Alphonso Horne, Camille Bertault, Shanir Blumenkranz, Kenny Wollesen; Franklin Kiermyer Quartet with • Eyal Vilner Big Band Swing 46 8:30 pm Patrick Bartley, Ben Sutin, Gabe Schnider, Dan Chmielinski, Chris Pattishall Jovan Alexandre, Davis Whitfield, Otto Gardner êChris Potter Quartet with David Virelles, Joe Martin, Marcus Gilmore New York Botanical Garden Conservatory 7 pm $45 The Stone 8:30 pm $20 Village Vanguard 8:30, 10:30 pm $30 • Tony Tixier Trio Rockwood Music Hall Stage 3 10 pm $10 • Jonathan Powell/Louis Fouche Project with Zaccai Curtis, Luques Curtis, • Aaron Parks Group; Amanda Sedgewick Quartet with Dwayne Clemons; Camilo Molina, Marcos Lopez and guest Jimmy Bosch Friday, June 23 Corey Wallace Jam Smalls 7:30, 10:30 pm 1 am $20 Subrosa 7, 9 pm $15 êGeorge Coleman Quartet Smoke 7, 9, 10:30 pm $40 • Ricardo Grilli Trio with Matt Clohesy, Allan Mednard • Brandon Ross Blazing Beauty with , Charlie Burnham, JT Lewis Tuesday, June 20 Bar Next Door 7:30, 9:30, 11:30 pm $12 The Stone at The New School 8:30 pm $20 • Stacy Kent Birdland 8:30, 11 pm $50 • Russell Malone Quartet with Rick Germanson, Luke Selleck, Willie Jones III • Michael Bliss Trio with Mark McIntyre, Aron Cacares; Leandro Pellegrino Trio with • Michel Camilo Trio Blue Note 8, 10:30 pm $45 Village Vanguard 8:30, 10:30 pm $30 Tim Norton, Diego Ramirez Bar Next Door 6:30, 8:30, 10:30 pm $12 • Harry Belafonte Tribute: Richard Cummings, Jr. Branice McKenzie, Ty Stephens, • Stacy Kent Birdland 8:30, 11 pm $50 Sam McKelton, Gina Breedlove, Sharon Brooks, Gabrielle Lee, Neil Clarke, Saturday, June 17 • Jacob Collier Blue Note 8, 10:30 pm $25 Morris Goldberg, Bob Weiner, Dan Carillo, Chulo Gatewood, Steve Jones • Vicki Burns Trio with Ron Affif, Michael O’Brien Club Bonafide 7:30, 9:30 pm $30 • Steve Dalachinsky, Edgar Oliver, Yuko Otomo, Loren Connors, Charles Waters, Cornelia Street Underground 6 pm $10 êGilad Hekselman Zuperoctave with Aaron Parks, Kush Abadey Daniel Carter, Billy Cancel, Octave Doctors • Alex Goodman Quintet with Matt Marantz, Eden Ladin, Rick Rosato, Jimmy Macbride Cornelia Street Underground 9, 10:30 pm $10 240 Frost 6 pm Cornelia Street Underground 8, 9:30 pm $10 • Kurt Elling Quintet with Stu Mindeman, John McLean, Clark Sommers, • Rotem Sivan Trio with Raviv Markovitz, Nathan Ellman-Bell êTheo Hill Trio with Yasushi Nakamura, Mark Whitfield, Jr. Ulysses Owens, Jr. Dizzy’s Club 7:30, 9:30 pm $45 Bar Next Door 7:30, 9:30, 11:30 pm $12 Dizzy’s Club 7:30, 9:30 pm $30 • Alina Engibaryan Dizzy’s Club 11:15 pm $10 • Freddy Cole Quartet with Joel Frahm • Alina Engibaryan Dizzy’s Club 11:15 pm $5 êDavid Weiss Point Of Departure Fat Cat 10:30 pm $10 Birdland 8:30, 11 pm $40 • Mona’s Hot Four with guests Drom 8 pm $12-20 • Chop and Quench Ginny’s Supper Club 7:30, 9:30 pm $20 êDanilo Pérez, John Patitucci, Brian Blade • Saul Rubin Zebtet Fat Cat 7 pm $10 êFay Victor’s Herbie Nichols Sung with Michaël Attias, Anthony Coleman, Ratzo Harris, Blue Note 8, 10:30 pm $35 • Peter Cincotti Iridium 8:30 pm $25-40 Rudy Royston Greenwich House Music School 7:30 pm $25 • Matt Baker Trio Cleopatra’s Needle 8 pm • Chris Ziemba solo Jazz at Kitano 8 pm êKAZE: Satoko Fujii, Kappa Maki, Christian Bezos, Peter Ménard • Richard Bona Mandekan Cubano Club Bonafide 7:30, 9:30 pm $30 • Shai Maestro Trio with Jorge Roeder, Ziv Ravitz and guest Gretchen Parlato Ibeam Brooklyn 8:30 pm $15 • Matt Pavolka Band with Ben Monder, Pete Rende, Nate Wood Jazz Standard 7:30, 9:30 pm $25 • Al Di Meola Iridium 8:30, 10:30 pm $55-125 Cornelia Street Underground 9, 10:30 pm $10 • Nick Fraser, Tony Malaby, Kris Davis; Tony Malaby, Leo Genovese, William Parker, êGeorge Cables Trio with Ed Howard, Victor Lewis êBarry Harris Trio with Ray Drummond, Leroy Williams Billy Mintz Korzo 9, 10:30 pm Jazz at Kitano 8, 10 pm $32 Dizzy’s Club 7:30, 9:30 pm $45 • Paula West, Emmet Cohen, Ed Cherry; Miki Yamanaka/Adi Meyerson Jam êAzar Lawrence Quintet with Steve Turre, Benito Gonzalez, Essiet Okon Essiet, Billy Hart • Kush Abadey Dizzy’s Club 11:15 pm $20 Mezzrow 8, 11 pm $20 Jazz Standard 7:30, 9:30 pm $30 • Pasquale Grasso; Svetlana and The Delancey Five • Lou Volpe Group New York City Baha’i Center 8, 9:30 pm $15 • Jazztopad Festival: Marcin Masecki with Jerzy Rogiewicz The Django at Roxy Hotel 7:30, 10:30 pm êGuy Mintus Trio with Dan Pappalardo, Philippe Lemm Joe’s Pub 7 pm • Essiet Essiet; Greg Glassman JamFat Cat 10 pm 1:30 am $10 Rockwood Music Hall Stage 2 7 pm $12 • Rose Colella Metropolitan Room 9:30 pm $24 • Ismael and The Radiant Select Ginny’s Supper Club 7:30, 9:30 pm $15-20 • ’s The Other River with Glenn Patscha, Jack Devine, Stephan Crump, • Mike LeDonne; Johnny O’Neal Mezzrow 8, 11 pm $20 • Blue Note Jazz Festival: Daymé Arocena Allison Miller Rockwood Music Hall Stage 3 7 pm $12 êChristopher McBride and The Whole Proof Highline Ballroom 8 pm $30 • Lucas Pino No Net Nonet; Abraham Burton Quartet with Dezron Douglas, Minton’s 7 pm êGuillermo Gregorio/Paul Giallorenzo; Jaimie Branch Trio with Brandon Lopez, Eric McPherson Smalls 7:30, 10:30 pm $20 êDoug Wieselman’s Trio S with Jane Scarpantoni, Kenny Wollesen Mike Pride Ibeam Brooklyn 8:30 pm $15 • Kyle Bruckmann, Theresa Wong, Chris Brown National Sawdust 10 pm $25 • Ronny Whyte Quintet with Boots Maleson, Mauricio DeSouza, Alex Nguyen, The Stone 8:30 pm $20 êBRIC Celebrate Brooklyn: Pharoah Sanders; Brooklyn Raga Massive Lou Caputo Jazz at Kitano 8, 10 pm $32 • Group Subrosa 7, 9 pm $15 John Coltrane Tribute Prospect Park Bandshell 7 pm • Maria Grand with Román Filiú, David Bryant, Rashaan Carter, Mauricio Herrera, êChris Potter Quartet with David Virelles, Joe Martin, Marcus Gilmore êIkonostasis: Kari Ikonen, Ra-kalam Bob Moses, Ole Mathisen Jeremy Dutton, Lucia Rodriguez, Amani Fela Village Vanguard 8:30, 10:30 pm $30 ShapeShifter Lab 8:15 pm $10 The Jazz Gallery 7:30, 9:30 pm $22 • Joshua Breakstone Cello Trio; Mike DiRubbo Quartet with Bruce Barth, • Tierney Sutton Band with Christian Jacob, Trey Henry, Ray Brinker Wednesday, June 21 Ugonna Okegwo, JK Kim; Corey Wallace Jam Jazz Standard 7:30, 9:30 pm $35 Smalls 7:30, 10:30 pm 1 am $20 • Corina Bartra Septet Metropolitan Room 9:30 pm $16 • Mike Stern 55Bar 10 pm êHarold Mabern solo Smoke 7, 9, 10:30 pm $40 • Spike Wilner; Emmet Cohen Mezzrow 8, 11 pm $20 • Judi Silvano/Bruce Arnold Abrons Arts Center 8 pm êWadada Leo Smith The Stone at The New School 8:30 pm $20 êSixth Annual Concert to Feed the Hungry: Arturo O’Farrill, David Liebman, • Stacy Kent Birdland 8:30, 11 pm $50 • Endless Field: Jesse Lewis/Ike Sturm Slavic Soul Party, Innov Gnawa, Arta Jekabsone, Dan Blake • Jacob Collier Blue Note 8, 10:30 pm $25 SubCulture 8 pm Middle Collegiate Church 7 pm $30-50 • West Side 5 Club Bonafide 7:30 pm $15 • Rale Micic Duo Symphony Space Bar Thalia 9 pm • Curtis Nowosad Quintet Minton’s 7 pm • Adam Kolker Beckon with Steve Cardenas, Billy Mintz, Lawrence Feldman, êChris Potter Quartet with David Virelles, Joe Martin, Marcus Gilmore • Common Quartet: Seth Trachy, Nitzan Gavrieli, Pablo Menares, Alex Wyatt Jeff Nichols, Jackie Henderson Cornelia Street Underground 8, 9:30 pm $10 Village Vanguard 8:30, 10:30 pm $30 Rockwood Music Hall Stage 3 8:30 pm êJazztopad Festival: Szymon Wójciński/Krzysztof Szmańda Quartet with • Blue Note Jazz Festival/Central Park Summerstage: Laura Mvula; Maurycy Wójciński, Ksawery Wójciński; STRYJO: Nikola Kołodziejczyk, Saturday, June 24 Taylor McFerrin/Marcus Gilmore; Blue Lab Beats Maciej Szczyciński, Michał Bryndal Rumsey Playfield in Central Park 7 pm Dizzy’s Club 7:30, 9:30 pm $35 • Shauli Einav Quartet Bar Lunàtico 8:30, 10 pm $10 • Eliot Zigmund Quartet with Allan Farnham, Matthew Garrison, David Kingsnorth; • Alina Engibaryan Dizzy’s Club 11:15 pm $5 • Tobias Meinhart Trio with John Tate, Adam Arruda Amanda Sedgewick Quartet with Dwayne Clemons; Philip Harper Quintet • Tim Ries Band with Chano Dominguez, James Genus, Clarence Penn and guest Bar Next Door 7:30, 9:30, 11:30 pm $12 Smalls 7:30, 10:30 pm 1 am $20 Randy Brecker Drom 8 pm $20 • Stacy Kent Birdland 8:30, 11 pm $50 êGeorge Coleman Quartet Smoke 7, 9, 10:30 pm $40 • Raphael D’lugoff Trio +1; Don Hahn/Mike Camacho Band; Ned Goold Jam • Michel Camilo Trio Blue Note 8, 10:30 pm $45 êChealsea Music Festival: Adam Birnbaum/Aaron Diehl Quartet with Peter Washington, Fat Cat 7, 9 pm 12:30 am $10 • Phil Briggs Trio Cleopatra’s Needle 8 pm Quincy Davis St. Paul’s German Lutheran Church 7:30 pm • Nick Vayenas Septet with Glenn Zaleski, Peter Slavov, Colin Stranahan, • Ty Stephens and (the) SoulJaazz Club Bonafide 9:30 pm $20 • Phantom Station: Brandon Ross, Hardedge, Sadiq Bey, JT Lewis Dayna Stephens, Patrick Cornelius êGilad Hekselman Zuperoctave with Aaron Parks, Kush Abadey The Stone at The New School 8:30 pm $20 Jazz at Kitano 8, 10 pm $17 Cornelia Street Underground 9, 10:30 pm $10 • Ken Silverman Trio Symphony Space Bar Thalia 9 pm • Steve Slagle’s Alto Manhattan Band with Lawrence Fields, Gerald Cannon, Victor Lewis, • Kurt Elling Quintet with Stu Mindeman, John McLean, Clark Sommers, • Russell Malone Quartet with Rick Germanson, Luke Selleck, Willie Jones III Román Díaz Jazz Standard 7:30, 9:30 pm $25 Ulysses Owens, Jr. Dizzy’s Club 7:30, 9:30 pm $45 Village Vanguard 8:30, 10:30 pm $30 • Immanuel Wilkins/Aaron Parks; Tony Hewitt/Pete Malinverni • Alina Engibaryan Dizzy’s Club 11:15 pm $20 Mezzrow 8, 11 pm $20 • Ruben Fox; Evan Sherman Big Band Sunday, June 18 • Jerome Sabbagh Trio Minton’s 6:30 pm The Django at Roxy Hotel 7:30, 10:30 pm • Tribute to Fellini: Mario Forte, Sergio Krakowski, Anat Cohen, Steve Dalachinsky • Anbessa Orchestra Ginny’s Supper Club 7:30, 9:30 pm $15-20 êStephane Wrembel Barbès 9 pm $10 Planeta 8 pm • Steve Cohn Trio with , Marvin Bugalu Smith; Amina Baraka and • Donald Vega Trio with Luke Sellick, Neal Smith • Ronny Whyte with Boots Maleson, Sean Harkness, Lou Caputo, Mauricio DeSouza The Red Microphone with Ras Moshe Burnett, Rocco John Iacovone, Laurie Towers, Birdland 6 pm $30 Saint Peter’s Church 1 pm $10 John Pietaro; Len Xang Henry Winston Unity Hall 7 pm • Joey Morant and Catfish Stew Blue Note 11:30 am 1:30 pm $35 • Clay Giberson Pastures Project with Drew Gress, Matt Wilson, ; êHank Roberts Sextet with Brian Drye, Dana Lyn, Mike McGinnis, Jacob Sacks, êDanilo Pérez, John Patitucci, Brian Blade Avi Granite’s Verse with Ralph Alessi, Aidan O’Donnell, Owen Howard Vinnie Sperrazza Ibeam Brooklyn 8:30 pm $15 Blue Note 8, 10:30 pm $35 ShapeShifter Lab 8:15, 9:30 pm $10 • Al Di Meola Iridium 8:30, 10:30 pm $55-125 êMatt Lavelle 12 Houses Orchestra with Ras Moshe, Sweet Lee Odom, Charles Waters, • Jure Pukl Quartet with Luis Perdomo, Rick Rosato, Kush Abadey; Harold Mabern Trio; êGeorge Cables Trio with Ed Howard, Victor Lewis Mary Cherney, Nicole Davis, Ras Miguel, Meg Montgomery, Ar’Braf-Brafmatic, Aaron Seeber Jam Smalls 7:30, 10:30 pm 1 am $20 Jazz at Kitano 8, 10 pm $32 Anaïs Maviel, Chris Forbes, Stephanie Griffin, Sana Nagano, Gil Selinger, Jack DeSalvo, êZeena Parkins, Nate Wooley, Chris Brown • Jazztopad Festival: Szymon Wójciński/Krzysztof Szmańda Quartet with François Grillot, Jeremy Carlstedt; Iris Ornig’s IO-5 with Jonathan Powell, The Stone 8:30 pm $20 Maurycy Wójciński, Ksawery Wójciński and guest Erik Friedlander Jeremy Powell, Glenn Zaleski, Allan Mednard; 40Twenty: Jacob Garchik, Jacob Sacks, êChris Potter Quartet with David Virelles, Joe Martin, Marcus Gilmore The Jazz Gallery 7:30, 9:30 pm $22 David Ambrosio, Vinnie Sperrazza; David Binney Fifty Five with Matt Mitchell, Village Vanguard 8:30, 10:30 pm $30 êAzar Lawrence Quintet with Steve Turre, Benito Gonzalez, Essiet Okon Essiet, Billy Hart Eivind Opsvik, ; Matthew Garrison Band Jazz Standard 7:30, 9:30 pm $30 Cabrini Green Urban Meadow 1 pm Thursday, June 22 • Mike LeDonne Mezzrow 8 pm $20 • Eduardo Belo Group with Alejandro Avilés, Lívio Almeida, Ari Hoenig; • Central Park Summerstage: The Gift; Dead Combo with guest Marc Ribot; Sofia Ribeiro Richard Miller Trio with Itaiguara Brandao, Sergio Krakowski • Kavita Shah/François Moutin 55Bar 7 pm Rumsey Playfield in Central Park 6 pm Cornelia Street Underground 8:30, 10 pm $10 • Greg Lewis Organ Monk with Ray Blue • Mike DiRubbo Quartet with Bruce Barth, Ugonna Okegwo, JK Kim; êBarry Harris Trio with Ray Drummond, Leroy Williams American Legion Post 7 pm Brooklyn Circle: Stacy Dillard, Diallo House, Ismail Lawal Dizzy’s Club 7:30, 9:30 pm $40 • Tommaso Gambini Trio with Dean Torrey, Aaron Seeber; Assaf Kehati Trio with Smalls 10:30 pm 1 am $20 êKyle Motl/Trevor Dunn; Paul Giallorenzo/Jaimie Branch Trio Michael O’Brien, Peter Tranmueller Bar Next Door 6:30, 8:30, 10:30 pm $12 êHarold Mabern solo Smoke 7, 9, 10:30 pm $40 Downtown Music Gallery 6, 7 pm • Lynn Stein Birdland 6 pm $30 • Miguel Frasconi, Chris Brown, John McCowen • Terry Waldo Gotham City Band; Televana; Brandon Lewis/Renee Cruz Jam • Stacy Kent Birdland 8:30, 11 pm $50 The Stone 8:30 pm $20 Fat Cat 6, 8:30 pm 1 am $10 • Michel Camilo Trio Blue Note 8, 10:30 pm $45 êChris Potter Quartet with David Virelles, Joe Martin, Marcus Gilmore • Tierney Sutton Band with Christian Jacob, Trey Henry, Ray Brinker • Matthew Fries/Kat Gang Cavatappo Grill 9, 11 pm $10 Village Vanguard 8:30, 10:30 pm $30 Jazz Standard 7:30, 9:30 pm $30 • Robert Rocker Duo Cleopatra’s Needle 7 pm • Lou Caputo Not So Big Band Zinc Bar 8, 10 pm $10

THE NEW YORK CITY JAZZ RECORD | JUNE 2017 43 Sunday, June 25 • Kyle Poole and The Gang with Joel Ross, Mathis Picard, Russell Hall Dizzy’s Club 11:15 pm $5 • Elsa Nilsson Quartet with Jeff McLaughlin, Alex Minier, Cody Rahn • Swingtime Big Band Dweck Center Brooklyn Pub. Lib. Central Branch 6:30 pm REGULAR ENGAGEMENTS 55Bar 6 pm • Raphael D’lugoff Trio +1; Powell/Fouche Latin Jazz Project; Ned Goold Jam êStephane Wrembel Barbès 9 pm $10 Fat Cat 7, 9 pm 12:30 am $10 êBlue Note Jazz Festival: Jean-Luc Ponty The Atlantic Years with Wally Minko, • Jaimoe’s Jasssz Band Iridium 8:30 pm $25-35 MONDAY Jamie Glaser, Baron Browne, Rayford Griffin • Vicki Burns Quartet with Art Hirahara, Sam Bevan, Hashem Assadullahi BB King’s Blues Bar 8 pm $39.50-75 Jazz at Kitano 8, 10 pm $17 • Grove Street Stompers Arthur’s Tavern 7 pm • Interplay Jazz Orchestra Birdland 6 pm $30 êDr. Lonnie Smith 75th Birthday Celebration: Dr. Lonnie Smith Trio with • Svetlana and the Delancey 5 • Joe Alterman Trio Blue Note 11:30 am 1:30 pm $35 Jonathan Kreisberg, Johnathan Blake The Back Room 8:30 pm • Michel Camilo Trio Blue Note 8, 10:30 pm $45 Jazz Standard 7:30, 9:30 pm $30 • Earl Rose solo; Earl Rose Trio • Monterey Jazz Festival’s Next Generation Jazz Orchestra • Pete Malinverni Trio with Ben Allison, Aaron Seeber; Tony Hewitt/Pete Malinverni Bemelmans Bar 5:30, 9 pm Dizzy’s Club 7:30, 9:30 pm $35 Mezzrow 8, 11 pm $20 • Roger Lent solo Cavatappo Grill 7 pm êThomas Heberer/Frank Gratkowski; Nicolas Letman-Burtinovic New Unit êThe Stone Commissions: Julian Lage • Woody Allen and New Orleans Jazz Band National Sawdust 7 pm $25 Café Carlyle 8:45 pm $165 Downtown Music Gallery 6, 7 pm • Nathan Brown Duo Cleopatra’s Needle 8 pm • Alexis Cuadrado, Claudia Acuña, Pablo Vergara êJay Clayton, Frank Kimbrough, Dean Johnson Saint Peter’s Church 1 pm $10 • and The Nighthawks Dupuy’s Landing 3 pm Iguana 8 pm • Terry Waldo Gotham City Band; Brandon Lewis/Renee Cruz Jam • Michael Cain solo and with Mike McGinnis, Tondrae Kemp; Maureen Choi ShapeShifter Lab 8:15, 9:30 pm $10 • Mingus Big Band Jazz Standard 7:30, 9:30 pm $25 Fat Cat 6 pm 1:30 am $10 • Glenn Crytzer Orchestra Kola House 7 pm • Al Di Meola Iridium 8:30, 10:30 pm $55-125 • Jochen Rueckert Quartet with Mark Turner, Matt Penman, Gilad Hekselman; • Jazz Foundation of American Jam Session êAzar Lawrence Quintet with Steve Turre, Benito Gonzalez, Essiet Okon Essiet, Billy Hart Kirk Lightsey Quartet; Jovan Alexandre Jam Local 802 7 pm Jazz Standard 7:30, 9:30 pm $30 Smalls 7:30, 10:30 pm 1 am $20 • Vincent Herring Quartet and Smoke Jam Session • Maestro Day: Sam Wineberg, Henry Fraser, Joe Muffette; Think Shadow: Sean Conly, êCreative Music Studio Improvisers Ensembles led by Karl Berger with Ingrid Sertso, Smoke 7, 9, 10:30 pm Michaël Attias, Satoshi Takeishi Legion Bar 8, 9 pm $10-15 Kirk Knuffke, Billy Martin, Peter Apfelbaum, Steven Bernstein, Graham Haynes, • Swingadelic Swing 46 8:30 pm êJazztopad Festival: Lutosławski Quartet with guests Mark Feldman, Sylvie Courvoisier Kenny Wessel, Ken Filiano, Warren Smith, • Vanguard Jazz Orchestra National Sawdust 4 pm $25 The Stone 8:30 pm $20 Village Vanguard 8:30, 10:30 pm $30 • Marianne Solivan Trio with Ron Affif, Neal Caine êDave Holland Trio with , Obed Calvaire Village Vanguard 8:30, 10:30 pm $30 North Square Lounge 12:30, 2 pm TUESDAY • Barbara Martinez, Maria Manousaki, Panagiotis Andreou, Guy Mintus, Engin Gunaydin, Vasilis Kostas, Andreas Arnold Rockwood Music Hall Stage 3 10 pm $10 Thursday, June 29 • Nick West’s Westet Analogue 7 pm • Blue Note Jazz Festival/Central Park Summerstage: Robert Glasper Experiment; • Yuichi Hirakawa Trio Arthur’s Tavern 7 pm Phony Ppl; Tank and The Bangas Rumsey Playfield in Central Park 3 pm • Greg Lewis Organ Monk with Ray Blue • Art Hirahara Trio Arturo’s 8 pm êHarold Mabern solo Smoke 7, 9, 10:30 pm $40 American Legion Post 7 pm • Joel Forrester solo The Astor Room 6 pm • Michael Wimberly solo; Paul Harding • Dr. Didi: Peter Androsch, Dietmar Bruckmayr, Bernd Preinfalk • Chris Gillespie; Loston Harris Soup & Sound 8 pm $20 Austrian Cultural Forum 7:30 pm Bemelmans Bar 5:30, 9:30 pm • Frank Kartovsky, William Winant, Chris Brown • Stuart Mack Trio with Vaughn Stoffey, Noah Garabedian; Randy Villars Trio with • Marc Devine Trio Cleopatra’s Needle 8 pm The Stone 8:30 pm $20 Matt Wiles, Jeff Mellott Bar Next Door 6:30, 8:30, 10:30 pm $12 • Ronnie Burrage and The Robu Trio • Hendrik Helmer Trio with Geoff Burke, George Papageorge êSaxophone Summit: Dave Liebman, Joe Lovano, , Phil Markowitz, The Five Spot Brooklyn 6 pm $10 Symphony Space Bar Thalia 7 pm Cecil McBee, Billy Hart Birdland 8:30, 11 pm $40 • Diego Voglino Jam Session Halyard’s 10 pm êChris Potter Quartet with David Virelles, Joe Martin, Marcus Gilmore êCassandra Wilson Blue Note 8, 10:30 pm $55 • Vince Giordano and The Nighthawks Village Vanguard 8:30, 10:30 pm $30 • Donald Vega Trio with Luke Sellick, Neal Smith Iguana 8 pm Cavatappo Grill 8, 11 pm $10 • Mona’s Hot Four Jam Session Monday, June 26 • Elan Bortniker Duo Cleopatra’s Needle 7 pm Mona’s 11 pm • Or Bareket Quartet with Charles Altura, Vitor Gonçalves, Daniel Dor • Mike LeDonne Quartet; Emmet Cohen Band • Mike Stern 55Bar 10 pm Cornelia Street Underground 8, 9:30 pm $10 Smoke 7, 9, 10:30, 11:30 pm • Aron Namenwirth, Adam Dym, Eric Plaks, John Loggia; Stephen Gauci, Adam Lane, • Willie Jones III Quintet with Terell Stafford, Ralph Moore, Eric Reed, George Delancey • George Gee Orchestra Swing 46 8:30 pm Kevin Shea; Jonathan Goldberger, Shoko Nagai, Jeff Davis; Jonathan Haffner, Dizzy’s Club 7:30, 9:30 pm $40 • Evolution Series Jam Session Jonathan Goldberger, Max Jaffe Artichoke Basille 8, 9, 10 pm $10 • Kyle Poole and The Gang with Joel Ross, Mathis Picard, Russell Hall Zinc Bar 11 pm • Noah Gershwin Trio with Dan Steijn, Peter Manheim; Dorian Devins Trio with Dizzy’s Club 11:15 pm $10 Lou Rainone, Paul Gil Bar Next Door 6:30, 8:30, 10:30 pm $12 • John Dokes; Michael Stephenson The Django at Roxy Hotel 7, 10 pm WEDNESDAY êThe Hot Sardines Blue Note 8, 10:30 pm $25 êMatt Mitchell solo; Tim Berne/Matt Mitchell Greenwich House Music School 7:30 pm $25 • Bill Wurtzel/Jay Leonhart American Folk Art Museum 2 pm • Sarah Bernstein Quartet with Ron Stabinsky, Stuart Popejoy, Satoshi Takeishi • Monika Oliveira Analogue 7 pm Cornelia Street Underground 8:30 pm $10 • Aaron Irwin Trio with Mike Baggetta, Jeff Hirshfield • Eve Silber Arthur’s Tavern 7 pm • Band Director Academy Faculty Band with Terell Stafford, Rodney Whitaker Ibeam Brooklyn 8 pm $10 • Jonathan Kreisberg Trio Bar Next Door 8:30, 10:30 pm $12 Dizzy’s Club 7:30, 9:30 pm $35 • Jane Getter Premonition with Adam Holzman, Alex Skolnick, Mark Egan, Rocky Bryant, • Chris Gillespie; Loston Harris • Asaf Yuria; Billy Kaye Jam Fat Cat 9 pm 12:30 am $10 Randy McStine Iridium 8:30, 10:30 pm $25 Bemelmans Bar 5:30, 9:30 pm • Savion Glover solo The Jazz Gallery 7:30, 9:30 pm $20 • Gabrielle Stravelli Quartet with Art Hirahara, Pat O’Leary, Eric Halvorson • David Ostwald’s Louis Armstrong Centennial Band • Polly Gibbons Joe’s Pub 9:30 pm $20 Jazz at Kitano 8, 10 pm $17 Birdland 5:30 pm $20 • David Hazeltine; Pasquale Grasso Mezzrow 8, 11 pm $20 êDr. Lonnie Smith 75th Birthday Celebration: Dr. Lonnie Smith Trio with • Les Kurtz Trio Cleopatra’s Needle 7 pm • Shauli Einav Group; Ari Hoenig Group; Jonathan Barber Jam Jonathan Kreisberg, Johnathan Blake • Pasquale Grasso; Django Jam Session Smalls 7:30, 10:30 pm 1 am $20 Jazz Standard 7:30, 9:30 pm $30 The Django 7:30, 10:30 pm êEddie Palmieri Quintet with Luques Curtis, Vicente “Little Johnny” Rivero, êSam Newsome/Jean-Michel Pilc; Spike Wilner with guests • Mark Kross and Louise Rogers WaHi Jazz Jam Nicky Marrero, Camilo Molina and guest Roy Haynes Mezzrow 8, 11 pm $20 Le Chéile 8 pm Subrosa 7, 9 pm $35 • Jochen Rueckert Quartet with Mark Turner, Matt Penman, Gilad Hekselman; • Lezlie Harrison; Mel Davis B3 Trio and Organ Jam Kirk Lightsey Quartet; Jonathan Thomas Jam Smoke 7, 9, 10:30, 11:30 pm Tuesday, June 27 Smalls 7:30, 10:30 pm 1 am $20 êReuben Wilson Trio Smoke 7, 9, 10:30 pm $12 THURSDAY êFrançois Moutin Quartet with Joel Frahm, Yotam Silberstein, Ari Hoenig êCreative Music Studio Improvisers Ensembles led by Karl Berger with Ingrid Sertso, 55Bar 10 pm Kirk Knuffke, Billy Martin, Peter Apfelbaum, Steven Bernstein, Graham Haynes, • Jazz Jam Session American Legion Post 7:30 pm • Mark Phillips Trio with Hugh Stuckey, Sam Zerna; Benjamin Bryden Trio with Kenny Wessel, Ken Filiano, Warren Smith, Tani Tabbal • Chris Gillespie; Loston Harris Desmond White, Rajiv Jayaweera Bar Next Door 6:30, 8:30, 10:30 pm $12 The Stone 8:30 pm $20 Bemelmans Bar 5:30, 9:30 pm êSean Conly Trio with Michaël Attias, Jeff Davis êDave Holland Trio with Kevin Eubanks, Obed Calvaire • Gene Bertoncini Ryan’s Daughter 8:30, 10:30 pm Barbès 7 pm $10 Village Vanguard 8:30, 10:30 pm $30 • Stan Rubin Orchestra Swing 46 8:30 pm êSaxophone Summit: Dave Liebman, Joe Lovano, Greg Osby, Phil Markowitz, • Rob Duguay’s Low Key Trio Cecil McBee, Billy Hart Birdland 8:30, 11 pm $40 Friday, June 30 Turnmill NYC 11 pm êLiberation Music Orchestra: Carla Bley, Tony Malaby, , Loren Stillman, Michael Rodriguez, Seneca Black, Curtis Fowlkes, Vincent Chancey, Earl McIntyre, • Kendra Shank/Dean Johnson 55Bar 6, 7:45 pm FRIDAY Steve Cardenas, Steve Swallow, Rodney Green • Sam Reider Bar Lunàtico 8:30, 10 pm $10 Blue Note 8, 10:30 pm $35 • Brandon Coleman Trio with Matt Wiles, Jeff Mellott • Eri Yamamoto Trio Arthur’s Tavern 7 pm Bar Next Door 7:30, 9:30, 11:30 pm $12 • Birdland Big Band Birdland 5:15 pm $25 • Dennis Joseph Trio Cavatappo Grill 9, 11 pm $10 • Gerry Eastman Quartet Williamsburg Music Center 10 pm êJohn Raymond and Real Feels with Gilad Hekselman, Colin Stranahan êSaxophone Summit: Dave Liebman, Joe Lovano, Greg Osby, Phil Markowitz, Cecil McBee, Billy Hart Birdland 8:30, 11 pm $40 • The Crooked Trio Barbès 5 pm Cornelia Street Underground 8, 9:30 pm $10 • Chris Gillespie; Loston Harris êMidsummer Night Swing: êCassandra Wilson Blue Note 8, 10:30 pm $55 Tobias Meinhart Quintet with Charles Altura, Yago Vázquez, Orlando le Fleming, Bemelmans Bar 5:30, 9:30 pm Damrosch Park at Lincoln Center 7:30 pm $20 • • Nico Soffiato Nha Minh 7 pm êBlack Art Jazz Collective: Freddie Hendrix, Wayne Escoffery, James Burton, Jesse Simpson Blue Note 12:30 am $10 ê • Patience Higgins Sugar Hill Quartet Xavier Davis, Vicente Archer, Johnathan Blake Joel Forrester Trio Cleopatra’s Needle 8 pm Smoke 11:45 pm 12:45 am Dizzy’s Club 7:30, 9:30 pm $35 êRuss Johnson Quartet with Aruán Ortiz, , Gerald Cleaver • Kyle Poole and The Gang with Joel Ross, Mathis Picard, Russell Hall Cornelia Street Underground 9, 10:30 pm $10 Dizzy’s Club 11:15 pm $5 • Midsummer Night Swing: Margi and The Dapper Dots SATURDAY • Saul Rubin Zebtet; Itai Kriss and Gato Gordo; John Benitez Latin Bop Damrosch Park at Lincoln Center 7:30 pm $20 • Eri Yamamoto Trio Arthur’s Tavern 7 pm Fat Cat 7, 9 pm 12:30 am $10 êWillie Jones III Quintet with Terell Stafford, Ralph Moore, Eric Reed, George Delancey • Bill Saxton and the Harlem Bebop Band • Dor Sagi Trio The Flatiron Room 9 pm Dizzy’s Club 7:30, 9:30 pm $40 Bill’s Place 8, 10 pm $20 • Jazz and The Environment Salon: Fabian Almazan and Strings • Kyle Poole and The Gang with Joel Ross, Mathis Picard, Russell Hall • Chris Gillespie; Loston Harris Jazz Museum in Harlem 7 pm $10 Dizzy’s Club 11:15 pm $10 Bemelmans Bar 5:30, 9:30 pm êDr. Lonnie Smith 75th Birthday Celebration: Dr. Lonnie Smith Trio with • Darryl Yokley Fat Cat 10:30 pm $10 • Bill Saxton and the Harlem Bebop Band Jonathan Kreisberg, Johnathan Blake êWinard Harper Ginny’s Supper Club 7:30, 9:30 pm $20 Bill’s Place 8, 10 pm $20 Jazz Standard 7:30, 9:30 pm $30 êMonk on Guitars: Rez Abbasi, , Miles Okazaki, Liberty Ellman, • Eric Comstock/Sean Smith • James Carney Group; John O’Gallagher, Johannes Weidenmüller, Mark Ferber Steve Cardenas, Anders Nilsson, Mike Baggetta, Stephan Crump, Chris Lightcap, Birdland 6 pm $30 Korzo 9, 10:30 pm Colin Stranahan, Gerald Cleaver Greenwich House Music School 7:30 pm $30 • Stan Rubin Orchestra Carnegie Club 8:30, 10:30 pm • Vanisha Gould/Victor Gould; Miki Yamanaka/Adi Meyerson Jam • The Treehouse All-Stars: Dave Frank, Richard Tabnik, Jimmy Halperin, Frank Canino, • Assaf Kehati Duo Il Gattopardo 11:30 am Mezzrow 8, 11 pm $20 Billy Mintz Hari NYC 9 pm • Johnny O’Neal Smoke 11:45 pm 12:45 am • Jeff “Siege” Siegel Quintet New York City Baha’i Center 8, 9:30 pm $15 êCelebrating the Music of Andrew Hill: Frank Kimbrough Trio with John Hébert, • Torrey Newhart’s Obsidian Animals Jeff Hirshfield Jazz at Kitano 8, 10 pm $32 SUNDAY ShapeShifter Lab 8:15 pm $10 êDr. Lonnie Smith 75th Birthday Celebration: Dr. Lonnie Smith Evolution with • Spike Wilner Trio with Tyler Mitchell, Anthony Pinciotti; Abraham Burton Quartet with Alicia Olatuja, Sean Jones, Robin Eubanks, John Ellis, Jason Marshall, • Sam Martinelli Trio Analogue 6:30 pm Dezron Douglas, Eric McPherson Smalls 7:30, 10:30 pm $20 Jonathan Kreisberg, Johnathan Blake • Creole Cooking Jazz Band; Stew Cutler and Friends êCreative Music Studio Improvisers Ensembles led by Karl Berger with Ingrid Sertso, Jazz Standard 7:30, 9:30 pm $35 Arthur’s Tavern 7, 10 pm Kirk Knuffke, Billy Martin, Peter Apfelbaum, Steven Bernstein, Graham Haynes, • Courtney Fortune Metropolitan Room 7 pm $15 • Peter Mazza Trio Bar Next Door 8, 10 pm $12 Kenny Wessel, Ken Filiano, Warren Smith, Tani Tabbal • Aaron Goldberg; Johnny O’Neal Mezzrow 8, 11 pm $20 • Earl Rose solo; Billy Stritch and Jim Caruso Trio The Stone 8:30 pm $20 êBill Frisell/Thomas Morgan Roulette 8 pm $20 Bemelmans Bar 5, 9 pm • Pedrito Martinez Group Subrosa 7, 9 pm $15 • Leon Parker Quartet with Fred Nardin, Or Bareket, Chiara Izzi; Ken Fowser Quintet with • Arturo O’Farrill Afro Latin Jazz Orchestra êDave Holland Trio with Kevin Eubanks, Obed Calvaire Josh Bruneau, Rick Germanson, Paul Gill, Jason Tiemann; Joe Farnsworth Jam Birdland 9, 11 pm $30 Village Vanguard 8:30, 10:30 pm $30 Smalls 7:30, 10:30 pm 1 am $20 • Glenn Crytzer Trio Blacktail 8 pm • Eric Alexander Quartet Smoke 7, 9, 10:30 pm $38 • Gabrielle Stravelli Cavatappo Grill 12:30 pm Wednesday, June 28 êDave Douglas, Chet Doxas, Steve Swallow, Jim Doxas • Broc Hempel/Sam Trapchak/Christian Coleman Trio The Stone at The New School 8:30 pm $20 Dominie’s Astoria 9 pm • The EarRegulars The Ear Inn 8 pm êSaxophone Summit: Dave Liebman, Joe Lovano, Greg Osby, Phil Markowitz, êCreative Music Studio Improvisers Ensembles led by Karl Berger with Ingrid Sertso, Kirk Knuffke, Billy Martin, Peter Apfelbaum, Steven Bernstein, Graham Haynes, • Joel Forrester solo Grace Gospel Church 11 am Cecil McBee, Billy Hart Birdland 8:30, 11 pm $40 • Tony Middleton Trio Jazz at Kitano 12 pm $40 êMcCoy Tyner Blue Note 8, 10:30 pm $45 Kenny Wessel, Ken Filiano, Warren Smith, Tani Tabbal • Marjorie Eliot/Rudell Drears/Sedric Choukroun • Yuca Mito Quartet Club Bonafide 7:30, 9:30 pm The Stone 8:30 pm $20 Parlor Entertainment 4 pm • Atlantico: Dave Schroeder, Sébastien Paindestre, Martin Wind, Billy Drummond êDave Holland Trio with Kevin Eubanks, Obed Calvaire • Lu Reid Jam Session Shrine 4 pm Cornelia Street Underground 8, 9:30 pm $10 Village Vanguard 8:30, 10:30 pm $30 • Annette St. John; Wilerm Delisfort Quartet êBlack Art Jazz Collective: Freddie Hendrix, Wayne Escoffery, James Burton, Smoke 11:30 am 11:45 pm Xavier Davis, Vicente Archer, Johnathan Blake • Sean Smith and guest Walker’s 8 pm Dizzy’s Club 7:30, 9:30 pm $35

44 JUNE 2017 | THE NEW YORK CITY JAZZ RECORD CLUB DIRECTORY

• 28 Liberty Plaza William and Nassau Streets • The Five Spot 459 Myrtle Avenue, Brooklyn (718-852-0202) • New York City Baha’i Center 53 E. 11th Street (212-222-5159) Subway: 2, 3, 4, 5 to Wall Street Subway: G to Clinton/Washington www.fivespotsoulfood.com Subway: 4, 5, 6, N, R to 14th Street-Union Square www.bahainyc.org • 240 Frost 240 Frost Street, Apt. 1R, Brooklyn Subway: L to Graham Avenue • The Flatiron Room 37 West 26th Street • Nhà Minh 485 Morgan Avenue • 440Gallery 440 Sixth Avenue, Brooklyn (212-725-3860) Subway: N, R to 28th Street www.theflatironroom.com (718-387-7848) Subway: L to Graham Avenue (718-499-3844) Subway: F, G to Seventh Avenue www.440gallery.com • Flushing Town Hall 137-35 Northern Boulevard, Flushing www.nhaminh.squarespace.com • 55Bar 55 Christopher Street (212-929-9883) (718-463-7700) Subway: 7 to Main Street www.flushingtownhall.org • North Square Lounge 103 Waverly Place (212-254-1200) Subway: 1 to Christopher Street www.55bar.com • Ginny’s Supper Club at Red Rooster Harlem 310 Malcolm X Boulevard Subway: A, B, C, E, F to West 4th Street www.northsquareny.com • Abrons Arts Center 466 Grand Street (212-792-9001) Subway: 2, 3 to 125th Street www.ginnyssupperclub.com • Nublu 62 Avenue C between 4th and 5th Streets (212-598-0400) Subway: F to Grand Street www.abronsartscenter.org • Grace Gospel Church 589 East 164th Street (212-979-9925) Subway: F, V to Second Avenue www.nublu.net • Alain Kirili Loft 17 White Street (212-226-0343) Subway: 1 to Franklin (718-328-0166) Subway: 2, 5 to Prospect Avenue • Nuyorican Poets Café 236 E. 3rd Street between Avenues B and C • American Folk Art Museum 65th Street at Columbis Avenue • Greenwich House Music School 46 Barrow Street (212-505-8183) Subway: F, V to Second Avenue www.nuyorican.org (212-595-9533) Subway: 1 to 66th Street www.folkartmuseum.org (212-242-4770) Subway: 1 to Christopher Street www.greenwichhouse.org • The Owl Music Parlor 497 Rogers Avenue, Brooklyn • American Legion Post 248 West 132nd Street • Halyard’s 406 3rd Avenue, Brooklyn (718-774-0042) Subway: 2, to to Sterling Street www.theowl.nyc (212-283-9701) Subway: 2, 3 to 135th Street www.legion.org (718-532-8787) Subway: R to 9th Street www.barhalyards.com • Parlor Entertainment 555 Edgecombe Ave. #3F • American Museum of Natural History 79th Street and Central Park West • Hari NYC 140 W 30th Street, 3rd floor Subway: 1 to 28th Street (212-781-6595) Subway: C to 155th Street www.parlorentertainment.com (212-769-5100) Subway: B, C to 81st Street-MNH www.amnh.org • Henry Winston Unity Hall 235 W. 23rd Street, 7th floor • The Penrose 1590 2nd Avenue • An Beal Bocht Café 445 W. 238th Street Subway: 1 to 23rd Street www.facebook.com/NewMassesNights (212) 203-2751 Subway: 4, 5, 6 to 86th Street www.penrosebar.com Subway: 1 to 238th Street www.LindasJazzNights.com • Highline Ballroom 431 W 16th Street • Perez Jazz 71 Ocean Parkway Subway: F, G to Fort Hamilton Parkway • Analogue 19 West 8th Street (212-432-0200) (212-414-5994) Subway: A, C, E to 14th Street www.highlineballroom.com • Planeta 295 E. 8th Street Subway: 6 to Astor Place www.planeta.cc Subway: A, B, C, D, E, F, M to W. 4th Street www.analoguenyc.com • Hudson River Park 555 12th Avenue at 44th Street • Prospect Park Bandshell Subway: F to Prospect Park • The Appel Room Broadway at 60th Street, 5th floor (212-258-9800) (212) 627-2020 Subway: A, C, E, F, V to 42nd Street-Port Authority • Putnam Triangle Plaza 22 Putnam Avenue, Brooklyn Subway: 1, 2, 3, 9, A, C, E, B, D, F to Columbus Circle www.jalc.org www.hudsonriverpark.org (212-639-9675)Subway: A, C to Clinton-Washington Avenue • Arthur’s Tavern 57 Grove Street (212-675-6879) • Ibeam Brooklyn 168 7th Street between Second and Third Avenues www.nycgovparks.org Subway: 1 to Christopher Street www.arthurstavernnyc.com Subway: F to 4th Avenue www.ibeambrooklyn.com • Riverdale YM-YWHA 5625 Arlington Avenue, Riverdale • Artichoke Basille 18 Wyckoff Avenue • Iguana 240 West 54th Street (212-765-5454) (718-548-8200) Subway: 1 to 242 Street - Van Cortlandt Park (718-386-0333) Subway: L to DeKalb Avenue www.artichokepizza.com Subway: B, D, E, N, Q, R to Seventh Avenue www.iguananyc.com www.riverdaley.org • Arturo’s 106 W. Houston Street (at Thompson Street) • Il Gattopardo 13-15 W. 54th Street • Rockwood Music Hall 196 Allen Street (212-477-4155) (212-677-3820) Subway: A, B, C, D, E, F, M to W. 4th Street (212-246-0412) Subway: E, M to Fifth Avenue/53rd Street Subway: F, V to Second Avenue www.rockwoodmusichall.com • The Astor Room 34-12 36th Street, Queens www.ilgattopardonyc.com • Rose Theater Broadway at 60th Street, 5th floor (212-258-9800) (718-255-1947) Subway: M, R to Steinway Street www.astorroom.com • Instituto Cervantes New York 211 E. 49th Street Subway: 1, 2, 3, 9, A, C, E, B, D, F to Columbus Circle www.jalc.org • Austrian Cultural Forum 11 East 52nd Street at Madison Avenue (212-308-7720 Subway: 5 to 51st Street www.newyork.cervantes.org • Roulette 509 Atlantic Avenue (212-319-5300) Subway: 6 to 51st Street www.acfny.org • Iridium 1650 Broadway at 51st Street (212-582-2121) (212-219-8242) Subway: 2, 3, 4, 5 to Atlantic Avenue www.roulette.org • BB King’s Blues Bar 237 W. 42nd Street Subway: 1,2 to 50th Street www.theiridium.com • Rumsey Playfield in Central Park 72nd Street and Fifth Avenue (212-997-2144) Subway: 1, 2, 3, 7 to 42nd Street/Times Square • Issue Project Room 22 Boerum Place (718-330-0313) (212-360-2777) Subway: B, D to 72nd Street www.summerstage.org www.bbkingblues.com Subway: 2, 3, 4, 5 to Borough Hall www.issueprojectroom.org • St. George’s Episcopal Church 4 Rutherford Place • Bar Lunàtico 486 Halsey Street • JACK 505 Waverly Avenue (646-723-4178) Subway: L to Third Avenue www.calvarystgeorges.org (917-495-9473) Subway: C to Kingston-Throop Avenues (718-388-2251) Subway: C to Clinton-Washington Avenue www.jackny.org • St. Paul’s German Lutheran Church 315 W 22nd Street • Bar Next Door 129 MacDougal Street (212-529-5945) • Jalopy 315 Columbia Street, Brooklyn (212-929-1695) Subway: A, C, E to 23rd Street www.stpaulny.org Subway: A, B, C, D, E, F, M to W. 4th Street www.lalanternacaffe.com (718-395-3214) Subway: F to Smith Street www.jalopy.biz • Saint Peter’s Church 619 Lexington Avenue at 54th Street • Barbès 376 9th Street at 6th Avenue, Brooklyn (718-965-9177) • Jazz at Kitano 66 Park Avenue at 38th Street (212-885-7000) (212-935-2200) Subway: 6 to 51st Street www.saintpeters.org Subway: F to 7th Avenue www.barbesbrooklyn.com Subway: 4, 5, 6, 7, S to Grand Central www.kitano.com • Scandinavia House 58 Park Avenue at 37th Street (212-879-9779) • Beacon Theatre 2124 Broadway at 74th Street • The Jazz Gallery 1160 Broadway, 5th floor (212-242-1063) Subway: 4, 5, 6 to 42nd Street-Grand Central www.scandinaviahouse.org (212-496-7070) Subway: 1, 2, 3 to 72nd Street www.beacontheatre.com Subway: N, R to 28th Street www.jazzgallery.org • ShapeShifter Lab 18 Whitwell Place • Bemelmans Bar 35 E. 76th Street (212-744-1600) • Jazz Museum in Harlem 58 W. 129th Street between Madison and Lenox (646-820-9452) Subway: R to Union Street www.shapeshifterlab.com Subway: 6 to 77th Street www.thecarlyle.com Avenues (212-348-8300) Subway: 6 to 125th Street • Showman’s 375 W. 125th Street at Morningside) (212-864-8941) • Bill’s Place 148 W. 133rd Street (between Lenox and 7th Avenues) www.jazzmuseuminharlem.org Subway: A, B, C, D to 125th Street www.showmansjazz.webs.com (212-281-0777) Subway: 2, 3 to 135th Street • Jazz Standard 116 E. 27th between Park and Lexington Avenue • Shrine 2271 Adam Clayton Powell Boulevard (212-690-7807) • Birdland 315 W. 44th Street (212-581-3080) (212-576-2232) Subway: 6 to 28th Street www.jazzstandard.net Subway: B, 2, 3 to 135th Street www.shrinenyc.com Subway: A, C, E, to 42nd Street www.birdlandjazz.com • Jewish Museum 1109 Fifth Avenue at 92nd Street • Silvana 300 West 116th Street • Blacktail 2nd floor, Pier A Harbor House, 22 Battery Place (212-423-3200) Subway: 4, 5, 6 to 86th Street www.thejewishmuseum.org (646-692-4935) Subway: B, C, to 116th Street www.silvana-nyc.com (212-785-0153) Subway: 4, 5 to Bowling Green www.blacktailnyc.com • Joe’s Pub at the Public Theater 425 Lafayette Street • Sir D’s 837 Union Street, Brooklyn Subway: M, R to Union Street • Blue Note 131 W. 3rd Street at 6th Avenue (212-475-8592) (212-539-8770) Subway: N, R to 8th Street-NYU; 6 to Astor Place • Sistas’ Place 456 Nostrand Avenue at Jefferson Avenue, Brooklyn Subway: A, B, C, D, E, F, M to W. 4th Street www.bluenotejazz.com www.joespub.com (718-398-1766) Subway: A to Nostrand Avenue www.sistasplace.org • Brooklyn Conservatory of Music 58 Seventh Avenue, Brooklyn • Judson Memorial Church 55 Washington Square South • Smalls 183 W 10th Street at Seventh Avenue (212-252-5091) Subway: F to Seventh Avenue, N, R to Union Street www.bkcm.org Subway: A, B, C, D, E, F, V to W. 4th Street Subway: 1 to Christopher Street www.smallsjazzclub.com • Bryant Park 5th and 6th Avenues between 40th and 42nd Streets • KD’s 408 Rogers Avenue between Lefferts and Sterling • Smoke 2751 Broadway between 105th and 106th Streets Subway: 4, 5, 6 to 42nd Street www.bryantpark.org Subway: 5 to Sterling Street www.plgarts.org (212-864-6662) Subway: 1 to 103rd Street www.smokejazz.com • Cabrini Green Urban Meadow President and Van Brunt Streets • Kaye Playhouse 695 Park Avenue at 68th Street • Socrates Sculpture Park 32-01 Vernon Boulevard, Long Island City Subway: 2, 3, 4, 5 to Borough Hall then B61 Bus (212-772-5207) Subway: 6 to 68th Street (718-956-1819) Subway: 7 to Vernon Boulevard-Jackson Avenue; • Café Carlyle 35 E. 76th Street (212-744-1600) www.kayeplayhouse.hunter.cuny.edu M to Broadway www.socratessculpturepark.org Subway: 6 to 77th Street www.thecarlyle.com • Knickerbocker Bar & Grill 33 University Place at 9th Street (212-228-8490) • Soup & Sound 292 Lefferts Avenue • Café Noctambulo at Pangea 178 Second Avenue Subway: N, R to 8th Street-NYU www.knickerbockerbarandgrill.com (between Nostrand and Rogers Avenues) Subway: 2 to Sterling Street (212-995-0900) Subway: L to First Avenue www.pangeanyc.com • Kola House 408 W. 15th Street • Spectrum 121 Ludlow Street, 2nd floor • Caffe Vivaldi 32 Jones Street Subway: A, B, C, D, E, F, Q, V (646-869-8873) Subway: A, C, E, L to 14th Street www.kolahouse.com Subway: F to Delancey Street www.spectrumnyc.com to W. 4th Street-Washington Square www.caffevivaldi.com • Korzo 667 5th Avenue Brooklyn (718-285-9425) Subway: R to Prospect Avenue • The Stone Avenue C and 2nd Street • Carnegie Club 156 W. 56th Street www.facebook.com/konceptions Subway: F to Second Avenue www.thestonenyc.com (212-957-9676) Subway: N, Q, R, W to 57th-Seventh Avenue • Le Chéile 839 W. 181st Street • The Stone at The New School 55 West 13th Street • Cavatappo Grill 1712 First Avenue (212-740-3111) Subway: A to 181st Street www.lecheilenyc.com (212-229-5600) Subway: F, V to 14th Street www.thestonenyc.com (212-987-9260) Subway: 4, 5, 6 to 86th Street www.cavatappo.com • Le Poisson Rouge 158 Bleecker Street (212-228-4854) • SubCulture 45 Bleecker Street • Cleopatra’s Needle 2485 Broadway (212-769-6969) Subway: A, B, C, D, E, F, V to W. 4th Street www.lepoissonrouge.com (212-533-5470) Subway: 6 to Bleecker Street Subway: 1, 2, 3 to 96th Street www.cleopatrasneedleny.com • Legion Bar 790 Metropolitan Avenue www.subculturenewyork.com • Club Bonafide 212 E. 52nd Street (646-918-6189) Subway: 6 to 51st Street; (718-387-3797) Subway: L to Graham Avenue www.legionbrooklyn.com • Subrosa 63 Gansevoort Street E, V to 53rd Street www.clubbonafide.com • Lehman Center 250 Bedford Park Boulevard West, Bronx (212-997-4555) Subway: 1, 2, 3 to 14th Street; L to Eighth Avenue • Cornelia Street Underground 29 Cornelia Street (212-989-9319) (718-960-8833) Subway: 4, D train to Bedford Park Blvd. www.subrosanyc.com Subway: A, B, C, D, E, F, M to W. 4th Street www.corneliastreetcafé.com www.lehmancenter.org • Sunnyside Reformed Church 48-03 Skillman Avenue • Damrosch Park at Lincoln Center Broadway and 62nd Street • Local 802 322 W. 48th Street between Eighth and Ninth Avenues (718-426-5997) Subway: 7 to 52nd Street Subway: 1 to 66th Street (212-245-4802) Subway: C to 50th Street www.jazzfoundation.org www.sunnysidenyc.rcachurches.org • The DiMenna Center 450 West 37th Street • Manna House 338 E. 106th Street between First and Second Avenues • Swing 46 349 W. 46th Street (646-322-4051) (212-594-6100) Subway: A, C, E to 34h Street-Penn Station (212-722-8223) Subway: 6 to 103rd Street Subway: A, C, E to 42nd Street www.swing46.com www.dimennacenter.org • Medicine Show Theatre 549 W. 52nd Street, 3rd Floor • Symphony Space Leonard Nimoy Thalia, Peter Jay Sharpe Theatre • Dizzy’s Club Broadway at 60th Street, 5th Floor (212-258-9800) (212-262-4216) Subway: C, E to 50th Street www.medicineshowtheatre.org and Bar Thalia 2537 Broadway at 95th Street (212-864-5400) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.jalc.org • Metro Baptist Church 410 W. 40th Street (between 9th and 10th Avenues) Subway: 1, 2, 3 to 96th Street www.symphonyspace.org • The Django The Roxy Hotel 2 Sixth Avenue (212-519-6600) (212-765-8446) Subway: A, B, C, D, E, F, S, V to 42nd Street • Tomi Jazz 239 E. 53rd Street Subway: A, C, E to Canal Street; 1 to Franklin Street www.roxyhotelnyc.com • Metropolitan Room 34 W. 22nd Street (212-206-0440) (646-497-1254) Subway: 6 to 51st Street www.tomijazz.com • Dominie’s Astoria 34-07 30th Avenue Subway: N, Q to 30th Avenue Subway: N, R to 23rd Street www.metropolitanroom.com • Town Hall 123 W. 43rd Street • Downtown Music Gallery 13 Monroe Street (212-473-0043) • Metrotech Commons corner of Flatbush and Myrtle Avenues (212-997-1003) Subway: 7, B, D, F, M to 42nd Street-Bryant Park Subway: F to East Broadway www.downtownmusicgallery.com (718-488-8200) Subway: A, C, F to Jay Street/Borough Hall www.thetownhall.org • The Drawing Room 56 Willoughby Street #3 (917-648-1847) • Mezzrow 163 W. 10th Street • The Treehouse 833 Broadway at 13th Street, Suite #6 Subway: A, C, F to Jay Street/Metrotech www.drawingroommusic.com (646-476-4346) Subway: 1 to Christopher Street www.mezzrow.com Subway: 4, 5, 6, L, N, R to 14th Street-Union Square • Drom 85 Avenue A (212-777-1157) • Middle Collegiate Church 50 E. 7th Street • Turnmill NYC 119 East 27th Street Subway: F to Second Avenue www.dromnyc.com (212-477-0666) Subway: 6 to Astor Place www.middlechurch.org (646-524-6060) Subway: 6 to 27th Street www.turnmillnyc.com • Dupuy’s Landing 433 W. 22nd Street • Minton’s 206 West 118th Street • Village Vanguard 178 Seventh Avenue South (212-255-4037) (646-770-0433) Subway: 1 to 23rd Street www.dupuyslanding.com (212-243-2222) Subway: B, C to 116th Street www.mintonsharlem.com Subway: 1, 2, 3 to 14th Street www.villagevanguard.com • Dweck Center at Brooklyn Public Library Central Branch • MIST - My Image Studios 40 West 116th Street • Walker’s 16 North Moore Street (212-941-0142) Subway: A, C, E to Canal Street Subway: 2, 3 to Grand Army Plaza; Q to 7th Avenue Subway: 2, 3 to 116th Street www.mistharlem.com • Williamsburg Music Center 367 Bedford Avenue, Brooklyn, NY • The Ear Inn 326 Spring Street at Greenwich Street (212-246-5074) • Mona’s 224 Avenue B Subway: L to First Avenue (718-384-1654) Subway: L to Bedford Avenue Subway: C, E to Spring Street www.earinn.com • National Sawdust 80 N. 6th Street • Zankel Hall 881 Seventh Avenue at 57th Street • El Taller LatinoAmericano 225 West 99th Street (646-779-8455) Subway: L to Bedford Avenue www.nationalsawdust.org (212-247-7800) Subway: N, Q, R, W to 57th Street www.carnegiehall.org (212-665-9460) Subway: 1, 2, 3 to 96th Street • Neighborhood Church of Greenwich Village 269 Bleecker Street • Zinc Bar 82 W. 3rd Street • Fat Cat 75 Christopher Street at 7th Avenue (212-675-6056) (212-691-1770) Subway: A, B, C, D, E, F, V to W. 4th Street (212-477-8337) Subway: A, B, C, D, E, F, M to W. 4th Street Subway: 1 to Christopher Street/Sheridan Square www.fatcatmusic.org • New School Glass Box Theater 55 West 13th Street www.zincbar.com • Feinstein’s/54 Below 254 West 54th Street (212-229-5600 Subway: F, V to 14th Street www.newschool.edu • Zürcher Gallery 33 Bleecker Street (646-476-3551) Subway: N, Q, R to 57th Street; B, D, E to Seventh Avenue • New York Botanical Garden Conservatory 2900 Southern Boulevard, Bronx (212-777-0790) Subway: 6 to Bleeker Street; B, D, F to Broadway-Lafayette www.54below.com (718) 817-8700 Subway: 4 to Fordham Road www.nybg.org www.galeriezurcher.com

THE NEW YORK CITY JAZZ RECORD | JUNE 2017 45 (INTERVIEW CONTINUED FROM PAGE 6) TNYCJR: How did the addition of digital delay and But let’s face it, many labels release good/ synthesizer enable you to expand your compositions? great music—one thing that separates the wheat from this video of me. I didn’t come with my band. John the chaff, the fresh hot delivery from the frozen, is how Lewis was the musical director of the festival. He was JLP: Sometimes it had the effect of making my a label treats its artists. U.K. drummer/composer Ollie aware of the Violin Summit album and wanted to imagination work further and travel with my mind. At Howell opines: “It feels more like a movement and recreate that concert from the . the time I was agreeing with people who said that a likeminded group of music makers/lovers than However, Grappelli could not make it, nor . violin was not really the ideal instrument in modern simply a way to release music. There’s a real sense of So it was just me with and . music and I felt that the sound had to be changed to be camaraderie between the artists and everyone He also invited Niels-Henning Ørsted Pedersen, the adapted to it. I never had in my youth a deep passion supporting each other… I think the most important young Danish bass player [Lewis, bassist Ray Brown for violin before everything else. My passion was for part of choosing a label is to find a dedicated team who and drummer Louis Bellson also joined them]. We did music, the instrument came second. So that’s why it really believe in your music and its life after the release this violin collaboration, but John also invited me to didn’t bother me too much to change this beautiful and that’s 100% what you get with Ropeadope.” For play alone with the Modern Jazz Quartet. traditional instrument that sounds fantastic; that was trumpeter Andrew Neesley of the band Jesus on the the key, I must say, in defense of the context. It’s all Mainline, Ropeadope stands apart from the rest. “[The TNYCJR: How did you come to work with ? changed, because the technology has improved so label] really believes in the music their artists make. It’s much that there are good electric that do not not simply dollars and cents. Having a team that knows JLP: When I appeared at the Monterey Jazz Festival, need to be transformed so much to sound modern. So your voice and believes in your voice, only makes it Richard Bock, who had founded Pacific Jazz, heard me I came back to a way of using purer sounds than before easier to expand that voice and reach an artistic goal... play and offered me a contract. He recorded me with and closer to the acoustic and traditional. Yet the I’m stoked to be a part of a family that supports that the Gerald Wilson Big Band, then I had engagements in electronic effects are colors for me that can change a variety. Where else could you find the legendary Eddie clubs like Donte’s and other jazz festivals. I didn’t have composition a lot. It’s like a painting where it makes Palmieri’s Sabiduria released one week and my group’s the money to bring a band from France, so I had to find a difference with the colors you use. v The Morning Bell released a few weeks later?” musicians locally. George Duke was a young pianist Another album that exemplifies the label is who sent a demo to Richard, who played it for me. For more information, visit ponty.com. Ponty is at BB David Weiss & Point of Departure’s Ropeadope debut When I heard George’s playing I said, “That’s the guy King’s Blues Bar Jun. 25th as part of Blue Note Jazz Wake Up Call. Weiss and his band pay homage to an I need.” His trio was a perfect match. Whatever gigs Festival. See Calendar. epoch: that time in the late ‘60s where some musicians I got would be with the George Duke Trio. When I did embraced aspects of the avant garde before they (to the album with Frank Zappa, King Kong, where Frank Recommended Listening: varying degrees) embraced fusion, a time when was the producer of the album and chose musicians, • Jean-Luc Ponty—Jazz Long Playing (Jazz in Paris) postbop was a rapidly evolving thing and the fusion I said, “Okay, but my only demand is to have George (Philips-Gitanes Jazz/Universal, 1964) was on the horizon. With his saxophone (J.D. Allen or Duke.” I had such a musical affinity with George from • Daniel Humair/Eddy Louiss/Jean-Luc Ponty— Myron Walden) and three-guitar-fronted lineup, Point the first night we played together at Donte’s, I wanted Trio HLP (Dreyfus, 1968) of Departure exemplify the spirit of that period, to have him with me all the time. That’s how Frank • Jean-Luc Ponty—King Kong (Plays the Music of complete with a good-naturedly caustic punch. Weiss’ discovered George. I would spend one or two months Frank Zappa) (Blue Note, 1969) playing is outstanding, connecting the bristling energy in L.A. and the rest of the time I was living in France. • Jean-Luc Ponty Experience— of Freddie Hubbard and the conceptual imagination of After I left, Frank wanted George to play in his band, (MPS-Promising Music, 1971) Miles Davis without imitating either. the Mothers of Invention. • John McLaughlin’s Mahavishnu Orchestra— In conclusion, as we live in shaky times, some Visions of the Emerald Beyond (Columbia/Sony, 1974) hopeful words from Marks: “I am noticing commonality TNYCJR: What were the challenges of working with Zappa? • Stanley Clarke/Biréli Lagrène/Jean-Luc Ponty— despite the incredible diversity of cultures and sounds D-Stringz (Impulse!, 2014) [from around the world]. 110th Street in Harlem and JLP: I was careful when Richard Bock asked me to do Crenshaw Boulevard seem the same, as they are the a collaboration outside of the traditional jazz world. He places that people congregate around music and life. suggested to have me meet Frank Zappa because he had (LABEL CONTINUED FROM PAGE 11) Eddie Palmieri and Terrace Martin may come from heard that Frank was looking to do a collaboration with different times and places, but they both dig deep into a jazz musician or wanted to do a jazz album. funk featuring protean jazz clarinetist Don Byron. tradition and define it in a new way. This is happening in I was skeptical about whether I liked to do it musically. British singer James Hunter, a spiritual heir to the many places and I am proud that many of the leaders are But Frank was such an open musician and so creative, it mantle of Van Morrison, gives a sterling folk-soul assembling here at Ropeadope.” v went very well. I think that Frank understood the project reading of the Ben E. King ‘60s hit “A Rose In Spanish was about arranging his own music for an album of Harlem” via just voice and guitar. ”Mambo A La Savoy” For more information, visit ropeadope.com. Artists performing instrumental music in jazz. The music was taking me percolates righteously led by the shimmering strings of this month include Michael Blake at Cornelia Street Underground outside of my usual musical world. There was a bit of guitarist Carlos Alomar, a member of the Apollo house Jun. 9th with Michael Bates; Jeremy Danneman at Nublu Jun. rock in the structure of the arrangements. It was a band in the ‘60s and frequent collaborator with the late 9th with Matt Lavelle; Charles Owens at Smalls Jun. 18th; Eddie discovery for me. After I recorded the album, I started to David Bowie. Mike Wallace ‘stops by’ to chat with Palmieri at Subrosa Jun. 5th and 26th; Slavic Soul Party at envision how to grow from what I had done musically Malcolm X (via a sample) and the bold-voiced Queen Drom Jun. 10th and Middle Collegiate Church Jun. 17th; Nate and incorporate more of my classical background and Esther wails James Brown’s “Think” to high heaven, Smith at Nublu Jun. 13th with Orlando le Fleming; and David write music and structures like Frank was doing. bringing bits of jazz and hip-hop into the mix. Weiss at Fat Cat Jun. 15th and 23rd. See Calendar.

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46 JUNE 2017 | THE NEW YORK CITY JAZZ RECORD (SHORTER CONTINUED FROM PAGE 13) young man, all the members have become established convincing, like a soundtrack to a film no one in the leaders on their own, pursuing quite distinct musical audience had seen. Finally, Shorter, still fairly spry at 84, took the stage paths that reflect their distinct personalities. But when The final day was the most diverse and most with longtime collaborator and former Miles Davis they come together, they are entirely on the same page, successful, with one exception. French-Palestinian bandmate Herbie Hancock, for a half-hour of mostly bouncing ideas off one other, pushing onward and Oud player Adnan Joubran was ecstatic in a group improvised material. “Wayne lets me play anything I upward, higher and higher, deeper and deeper. It is with flute, two percussionists and cello, the latter often want to play,” Hancock told the crowd. group interaction and improvisation at its highest level achieving muezzin-like intensity. Joubran is a virtuoso “I don’t bring any music out there. We just play and the results are often stunning. And if age has to be sure yet he exudes so much joy one happily something.” What they played was a whirlwind mix of inevitably slowed Shorter down a bit, forcing him to sit forgives the density of his playing. One of the final fusion, electronica, free jazz and African and Asian out for periods while the rest of group rolls on, he still pieces veered deliciously into the realm of thrash melodies, with Hancock on synthesizers and, too rarely, provides moments that serve as reminders of his metal, Joubran firing off triplets like he was Dave acoustic piano and Shorter alternating between tenor greatness and vitality. Mustaine. Lithuania’s Silent Blast Quintet was at its and soprano saxophones. While Hancock’s electronic The quartet set, along with the duo with Hancock, best when it was just an understated modern jazz beats sometimes overpowered Shorter’s saxophone made it clear that Shorter, well into his ninth decade, quartet and at its worst when Kotryna Juodzevičiūtė whispers, there were moments of bliss, too, as the old has no time for nostalgia. Even in the middle of a was added on vocals, at one point actually singing friends demonstrated their deep musical empathy. career-spanning tribute and homecoming, the Newark Michael Jackson’s “Beat It”. Rising young Armenian In a between-sets conversation with McBride and Flash remains firmly focused on the future and pianist Tigran Hamasyan performed solo, augmenting Esperanza Spalding (who joined forces for an afternoon exploring ever-changing new musical vistas. v himself on occasion with his own sampled vocals and concert and interview earlier in the day), Shorter looped keyboard figures in an ambitious display. Some revealed that one of the pieces he and Hancock had For more information, visit njpac.org forays, where Hamasyan’s prodigious instrumental just played was the premiere of Shorter’s latest skills got in the way of his musicality, were less composition “Scout”, which he said was inspired by successful, but when he worked judiciously, revolving the young heroine from To Kill a Mockingbird. In his (JAZZKAAR CONTINUED FROM PAGE 13) around gorgeous pedals and acted with minimalist brief remarks, Shorter, whose conversational style is as focus, the results were astoundingly beautiful. improvisational and unpredictable as his playing, also The Grandbrothers duo felt their work needed Hamasyan can do it all but maybe he shouldn’t. The referenced Frankenstein, J.J. Johnson, Charlie Parker, explanation to the audience and certainly it is not every last set of the festival for this correspondent, German Igor Stravinsky and Mozart, who he called a jazz day one sees a massive coil of wires oozing out of a vocalist Alice Francis, was the surprise of the festival. musician. “Mozart was a jazz musician, man. Listen to grand piano into a set of electronic controllers. While The idea of Swing Era vocals and dance moves married that drum solo in the G-minor Symphony. Dig it!” the particular application of real-time processing had to samples and a drum machine would seem forced but Shorter then brought out his quartet of Danilo moments of interest, the pieces themselves, all around the trio was remarkably entertaining, due in no small Pérez (piano), John Patitucci (bass) and Brian Blade five minutes, operated in a fairly narrow bandwidth; part to the exuberance of Francis and her bandmates (drums) for a set that started out at a breakneck pace perhaps presentation as a suite instead would mitigate Mr. Goldielocks and Sir Chul-Min Yoo, none of whom and only rose in energy and enthusiasm. This group is this effect. Estonian drummer Toomas Rull had the took themselves too seriously as they turned Ms. by now like a well-tuned instrument of its own, a self- opposite problem. His quartet set with trumpet, Pacman into a Charleston-dancing flapper. v contained organism even greater than the sum of its keyboards and bass lurched wildly from one genre to parts. Like the Davis groups Shorter played in as a another, the seams showing and nothing feeling For more information, visit jazzkaar.ee

OCT 18-21 DRUMS ALONG THE EDGE SUMMER JAZZ AT SCANDINAVIA HOUSE

JONATHAN TAYLOR QUINTET • PHEEROAN AKLAFF • SCOTT ROBINSON TROMBONE INSURGENCY w/ STEVE SWELL, JOE McPHEE & DICK GRIFFIN ALLISON MILLER’S BOOM TICK BOOM • OLUYEMI THOMAS TRIO BEN GOLDBERG’S INVISIBLE GUY • LARRY OCHS’ FICTIVE FOUR WILLIAM HOOKER • MICHAEL MALIS • TOMAS FUJIWARA DOUBLE TRIO STEVE SWELL’S SOUL TRAVELERS • TOM RAINEY TRIO ADAM RUDOLPH’S MOVING PICTURES w/ HAMID DRAKE THURSDAYS—6-22 THROUGH 7-27—7 PM ANDREW DRURY’S CONTENT PROVIDER & MORE! PRE-CONCERT RECEPTION—6 PM $15 ($10 ASF Members) Series Pass $60 ($40 ASF Members)

58 Park Avenue at 38th Street New York, NY KERRYTOWN CONCERT HOUSE • ANN ARBOR, MICHIGAN scandinaviahouse.org (734) 769-2999 • edgefestannarbor.com

THE NEW YORK CITY JAZZ RECORD | JUNE 2017 47

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