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NEW YORK January 2006 | No. 45 Your FREE Monthly Guide to the New York Jazz Scene newyork.allaboutjazz.com YUSEF LATEEF Roots & Routes
Annie Ross • Ken Vandermark • ArtistShare • Enzo’s Jazz • Event Calendar piano by
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MONDAY NIGHTS • 8 & 10:30PM LATE NIGHT GROOVE SERIES • 12:30AM SUNDAY JAZZ BRUNCH • 12:30&2:30PM DEBORAH DAVIS Jan 2 REGGIE WASHINGTON 4TET Fri Jan 6 DANA LEONG QUINTET Fri Jan 20 YUKIJURUSHI Jan 1 BENEFIT FOR LEUKEMIA SOCIETY EISHIN NOSE TRIO Jan 8 ALTER EGOS Sat Jan 7 DANIEL SADOWNICK Sat Jan 21 RONDI CHARLESTON Jan 9 'EnJ' - EIJIRO NAKAGAWA & JIM PUGH Jan 15 ROLAND GUERIN Jan 16 QUEEN AAMINAH Fri Jan 13 JONATHAN MARON Fri Jan 27 AYAKO SHIRASAKI TRIO Jan 22 NEW SOUND OF SOUL JAZZ SERIES ANGELA JOHNSON Jan 30 LICORICE Sat Jan 14 THE SQUARE EGG Sat Jan 28 TRIO RICOCHET Jan 29 NEW YORK MILAN TOKYO OSAKA NAGOYA
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8O\cO`g!& 8O\cO`g " ' 8]Sg2S4`O\QSaQ]B`W] ;cZU`Se;WZZS` /4B3@6=C@A(>O^O8]V\2S4`O\QSaQ]B`W] O\REW\Ua^O\ 8O\cO`g # e AbSdS So after turkey overload during Thanksgiving and the exhausting festivity of the holiday season (made extra special by our transit strike), most of us can hope to New York@Night take it easy during January. Don’t count on it. Better make some time in your 4 schedule for the International Association of Jazz Educators (IAJE) 2006 Interview: Annie Ross Conference, four days of all things jazz from performances to panels to clinics to 6 by Marcia Hillman the awarding of the 2006 NEA Jazz Masters Fellowships to general schmoozing (Jan. 11th-14th, visit www.iaje.org for more information). See pgs. 28-31 of the CD Artist Feature: Ken Vandermark reviews for a preview of some of this year’s performers and participants. 7 by Andrey Henkin And as a bonus, as if New York didn’t have enough concerts already, most NYC venues are hosting extra and extra special performances during that week, Label Spotlight: ArtistShare including double and triple bills and late night jam sessions. One particularly 8 by Brian Lonergan exciting event is the first of a series of Jazz at Lincoln Center concerts focusing on important cities in jazz history; the inaugural installment is “Detroit: Motor City” Club Profile: Enzo’s Jazz featuring a rare appearance by Yusef Lateef (On The Cover, pg. 9). Not as rare but by Suzanne Lorge just as special are our Interview (pg. 6) and Artist Feature (pg. 7), vocalist Annie Ross and reedman Ken Vandermark respectively. On The Cover: Yusef Lateef Other coverage in this first issue of 2006 is also vaguely inspired by the 9 by Thomas Greenland IAJE: George Russell (Encore, pg. 11) was a previously awarded NEA Jazz Master; ArtistShare (Label Spotlight, pg. 8) will have heavy presence at this Megaphone VOX News year’s conference; and Enzo’s Jazz (Club Profile, pg. 8) is a new club to appear in 10 by Joel Harrison by Tessa Souter the most important jazz city in the world, the main reason the IAJE has decided to make NYC its permament conference home from now on. Encore: George Russell But big events and spectacles aside, January is just another month full of 11 by Ed Hazell endless concerts to be enjoyed. Now that we have subway service again and you have already set aside your post-New Year diet, go out and get your fill of all the Lest We Forget: Harold Ashby music that the city has to offer. by Donald Elfman See you at the shows... 12 Listen Up! Sebastian Noelle & Robert Stillman Laurence Donohue-Greene, Managing Editor Andrey Henkin, Editorial Director CD Reviews: Bill Frisell, Dick Griffin, Mark Whitecage, Herb Robertson, Milt Jackson, Will Calhoun & more On the cover: YUSEF LATEEF, Alice Tully Hall, 02-25-2000. 13 Photograph © 2000 Jack Vartoogian/FrontRowPhotos. Event Calendar 34 Correction: In the December 2005 Encore, Reece’s first name is Alphonso, not Alfonso. Of several factual errors in the Taylor Ho Bynum CD review, most glaring 39 Club Directory was that Bynum only plays cornet, not trumpet, on the album. Submit Letters to the Editor at newyork.allaboutjazz.com Miscellany In Memoriam • Birthdays • On This Day 43 U.S. Subscription rates: 12 issues, $25. (International: 12 issues, $35) For subscription assistance, send check, cash or money order to the address below. AllAboutJazz-New York A Publication of AllAboutJazz.com Managing Editor Laurence Donohue-Greene Mailing Address AllAboutJazz-New York Editorial Director & Production Andrey Henkin 116 Pinehurst Avenue, ste. J41 Publisher Michael Ricci New York, NY 10033 Staff Writers David R. Adler, Clifford Allen, Ty Cumbie, Donald Elfman, Sean Fitzell, Ken Franckling, Kurt Gottschalk, Thomas Greenland, Advertising Sales Laurence Donohue-Greene Marcia Hillman, Terrell Holmes, Francis Lo Kee, [email protected] Brian Lonergan, Russ Musto, Brandt Reiter, Joel Roberts, Andrew Rowan, Elliott Simon, Event Listings Andrey Henkin Tessa Souter, Jeff Stockton, Celeste Sunderland, Andrew Veléz, Florence Wetzel [email protected] Contributing Writers Ernest Barteldes, Ken Dryden, Joel Harrison, Ed Hazell, Karen Hogg, Robert Iannapollo, Printed by Expedi Printing, Brooklyn, NY Judith Insell, George Kanzler, Suzanne Lorge, Abe Pollack, Michael Puccio, Gregory Robb, Greg Thomas All rights reserved. Reproduction without permission strictly prohibited. All material copyrights property of the authors. ALLABOUTJAZZ-NEW YORK | January 2006 3 NEW YORK @ NIGHT At Makor (Dec. 14th), guitarist Joel Harrison Though what month isn’t one for jazz piano in NYC, premiered an extended five-movement composition December seemed particularly piano-heavy with duo titled “The Wheel”, employing double-quartet piano concerts at Merkin Hall, Birdland and Jazz instrumentation that bring Patrick Zimmerli’s jazz/ Gallery, the latter with five straight piano duo nights Dec. 28-Jan. 1: GATO BARBIERI classical hybrids to mind. Harrison is more the in the midst of their 10th Anniversary celebration. Americana buff, however; violinists Todd Reynolds Qualifying as a late entry into one of this year’s best Jan. 5-8: and Christian Howes conveyed that flavor early in the performances (Dec. 16th), pianists Vijay Iyer and BEATLEJAZZ first movement “American Farewell”. The suite Amina Claudine Myers gelled so naturally they Dave Kikoski, Boris Kozlov, Brian Melvin involved dense interplay between strings (with violist achieved the rare feat of two distinct stylistic pianists Caleb Burhans and cellist Wendy Sutter) and an sounding like one. In Myers’ own words, “Playing Jan. 12-15: efficient horn section featuring trumpeter Russ with Vijay is like playing with myself!” The two WALLACE RONEY Johnson and alto saxist David Binney. Bassist Lindsey naturally complemented each other without Horner and drummer Dan Weiss provided the reluctance, nor being overtly preoccupied with one’s Jan. 18: THE BAD PLUS rhythmic juice. Harrison added guitar colors on the own or the other’s playing, comping as mere Jan. 19: RAVI COLTRANE; THE BAD PLUS Jan. 20-22: RAVI COLTRANE middle three movements but did not solo. background or regressing to competitive tactics - The brisk patterns and ostinatos of the first all common detractors to this unique instrumentation. Jan. 25-29: BILL CHARLAP movement led to the haunting 5/4 lope and trumpet On pianos of legends (once belonging to Carmen solo of “Blues Circle”. Sutter opened the third McRae and Paul Desmond respectively), the two Feb. 2-5: DR. LONNIE SMITH movement “Rising” with angular cello lines, setting displayed an immediate trust in this first-time up a bright tempo and a scorching Binney solo over a collaboration, performing an even mix of originals straight-eighth feel in seven. The fourth movement (Iyer’s previously recorded “Plastic Bag”), ‘free’ EVERY WEDNESDAY: “We Have Been the Victims of a Broken Promise” creations (“By Way Of” found Iyer letting as much ED PALERMO BIG BAND evoked a dark and wistful mood, with cello in the lead hair down as Myers’ beautiful long braids) and THE MUSIC OF FRANK ZAPPA melody. Horner and Reynolds weighed in with standards (Monk’s “Bemsha Swing” theme arose from passionate improvisations. The finale “Ceaseless a Radiohead-like repetition from Myers’ “My True Motion” began with polyrhythmic violins and worked Love” opening, Iyer subtly pressing strings with one up to another heated Binney solo, with Weiss hand while striking keys with the other, a percussive (Binney’s drummer of choice) fanning the flames. effect that eventually and ideally insinuated Monk). -David R. Adler - Laurence Donohue-Greene Jh Rogers/www.flickr.com/photos/crayonsemble ©John Jacob Blickenstaff / www.33-13.com Joel Harrison, Makor, Dec. 14th Vijay Iyer and Amina Claudine Myers, Jazz Gallery, Dec. 16th Saxophonist/composer Patrick Zimmerli is in the Boston-based pianist Donal Fox has been performing midst of a year-long residency at the Triad, bringing his “Monk and Bach Project” for five years with a different ideas and guests to the bandstand every rotating rhythm section and stellar results. He may other Sunday. The eighth concert in the series (Dec. though have recently found perfect foils in George 4th) opened with a set from Zimmerli’s Emergence, an Mraz (bass) and Lewis Nash (drums) during last unusual grouping for soprano sax, piano, electric bass, month’s week-long residency at Dizzy’s Club, the keyboards/digital sound, string quartet and project’s NYC debut. Fox, equally steeped in jazz and percussion. Playing selections from the recent classical, utilizes Monk and Bach as mere samples of Songlines disc Phoenix, the band also featured violinist his cross-genre proficiency. On Dec. 7th, he showcased Yoon Kwon on a lush arrangement of “The Shadow of original arrangements as his trio broke new ground Your Smile” and cellist Patrick Jee on “Stone Elegy”. that the MJQ and pianist Jacques Loussier explored Zimmerli’s writing, melodic and rhythmically but only in a more mainstream sense. The spontaneity complex, gained much from the earthy percussion of in the improvisational-based performances framed by Satoshi Takeishi, who was seated on the floor. Jeff Fox’ understanding and virtuosity in both idioms Andrews subbed for Stomu Takeishi on bass. allowed him naturally to incorporate and explore Following an improvised electro-acoustic themes of each on moment’s notice, resulting in a interlude by Takeishi and pianist/sound sculptor personal combination of the two. Mraz’ omnipresence Shoko Nagai, Zimmerli presented excerpts from his as one of jazz bass’ most under-rated veterans opera-in-progress Lucia, featuring guest vocalists provided an anchor much like Percy Heath with deep Virginia Warnken, Eileen Clark and Nick Hallett. yet concise and always melodic playing (“Blues for Workshopping Lucia has been a main purpose of the Handel”). Nash, a one-man band, weaved Triad residency thus far and the group is playing simultaneous rhythms without breaking a sweat Zimmerli’s charts with bracing vigor and precision. In (Monk’s “Bright Mississippi”). Rhythmically and addition to his jazz doings, Zimmerli is a prolific voice melodically always in tune, the three swung through in contemporary classical music, but his work is Schumann’s “Kinderscenen, Op.15 no. 1” while refreshingly beyond category. His opera, based on the interspersing Bach embellishments into “Cinema life of James Joyce’s daughter, with libretto by Paradiso”. The encore brought the group’s namesake Christine Zorzi, has the makings of a genre-smashing to the fore: Monk’s “Ugly Beauty” seamlessly fused event. (DA) with Bach’s “Little Prelude in C minor”. (LDG) 4 January 2006 | ALLABOUTJAZZ-NEW YORK Fresh off a triumphant performance with The Thing Multi-instrumentalist Peter Apfelbaum brought his earlier in the week, Norwegian rhythm section mates New York Hieroglyphics into the Jazz Gallery for a Paal Nilssen-Love (drums) and Ingebrigt Håker Flaten rare area appearance. The second set Saturday (Dec. (electric bass) joined with another Scandinavian, 10th) began with the leader playing a plaintive dirge Finnish guitarist Raoul Björkenheim, for the US debut on melodica over a deep bottom supplied by Patrice of The Scorch Trio (Dec. 2nd). The occasion was the Blanchard’s electric bass and Norbert Satchel’s bass 49th birthday celebration for Manny Maris of saxophone. The horns, led by trombonist Josh Downtown Music Gallery held at Bowery Poetry Club. Roseman and trumpeter Peck Allmond, came in and Whereas The Thing is a fully cooperative trio, Scorch, Apfelbaum switched to tenor as drummer Dafnis by virtue of Björkenheim’s array of 6- and 12-string Prieto picked up the tempo. Guitarists David Phelps electric guitars and viola de gamba, is an improv rock and Viva DeConcini joined the fray next - the resultant trio akin to Cream in its musical hierarchy. sound resembling a meeting of the Liberation Music The music was loud as befitted the Orchestra and the Mothers of Invention. The suite-like instrumentation and Flaten exceeded what might piece continued with Apfelbaum playing piano, otherwise have been a limited role by incorporating moving from folkish African melodies to slow stride lots of effect pedals and pummeling the neck of the to Tyner-ish torrents. Switching back to tenor, he led bass, a carryover from his unique style on upright. the group through a mechanistic big band interlude Nilssen-Love had to substitute subtlety for sheer featuring a duet with tenorist Tony Jones. Apfelbaum power just in order to be heard at times, limiting then put down his horn to accompany with an array of somewhat his impressive vocabulary. Björkenheim percussion, including bicycle bells, in a spacey though was in his element, a mix of Sonny Sharrock interlude with Charles Burnham’s violin. Jessica Jones and Jimi Hendrix, with all the guitar player faces soloed on alto leading into a call and response section audiences love. The music was at its most interesting with a walking bass line. African vocalist Abdoulaye when the guitar lines resolved into atypical cadences, Diabate added yet another element to the mix. A punctuated by Nilssen-Love’s fractured rhythms. second piece began with Apfelbaum playing gospel When the music reduced in volume for the second tinged piano, moving into rocking rhythms and a piece, Björkenheim could be more textural and samba section. The finale featured Diabate vocalizing inventive, to the benefit of the improvisations and this over a polyphonous blending of jazz, Middle Eastern reviewer’s eardrums. - Andrey Henkin and African melody and rhythm. - Russ Musto ht yRs Musto Russ by Photo Photo by Scott Friedlander Scorch Trio, Bowery Poetry Club, Dec. 2nd Peter Apfelbaum and NY Hieroglyphics, Jazz Gallery, Dec. 10th Listeners worried that saxophonist Joe Lovano has New York City’s resident hardbop sextet One For All set aside some of his more visceral tendencies in the returned to their ‘headquarters’ uptown at Smoke for past couple of years should have attended his duet set two nights of burning straight ahead jazz. Friday with drummer Idris Muhammad at Sweet Rhythm on night’s second set (Dec. 9th) featured the band Dec. 15th. Part of the club’s month of sax-drums stretching out on a couple of its staples, beginning collaborations, Lovano and Muhammad channeled with pianist David Hazeltine’s Messenger-ish ode to some of the energy peers Sonny Fortune and Rashied Cedar Walton “The Poo” and closing with the group’s Ali must have left in the room from the week before. collaboratively composed theme “Nothin’ To It”. In The opening free improv, leading into Sonny between the group grooved on tenor man Eric Rollins’ rousing “Airegin”, set the tone for the evening Alexander’s arrangement of Bill Lee’s classic “John and showed off Lovano’s versatility on both his usual Coltrane”, which opened with a virtuoso solo bass tenor and the club debut of his aulochrome, a fused introduction by David Williams and featured double soprano sax with an extended tonal range. The powerful statements from Alexander and trumpeter second tune, an original blues by Lovano featured his Jim Rotondi, driven by Joe Farnsworth’s propulsive alto clarinet in tight lockstep with Muhammad’s stick and brush work. Trombonist Steve Davis’ cymbal heavy rhythms. By the time the duo had mellow sound was spotlighted on the set’s ballad dispensed with Lovano’s “Blackwell’s Message” (for feature “You Don’t Know What Love Is”. Ed Blackwell) and the standard “A Weaver of The night’s final show began with Rotondi’s Dreams”, any resemblance to Interstellar Space was swinging title track to the group’s first outing, “Too supplanted by a thoroughly gutbucket blues Soon To Tell”, followed by Farnsworth’s Eastern- sensibility. The closing “Lonnie’s Lament” was played tinged “I See You Brother”, which featured muted in a much more straight foward manner than the rest trumpet wrapped warmly in the harmonies of of the set, or even how the tune was played originally Alexander and Davis. San Francisco vocalist Kim by Coltrane. In fact, the whole set, apart from the 30 Nalley sat in for a beautiful rendition of “The Very minute opener was a refreshing mixture of freedom Thought of You” with exemplary accompaniment within structure, Lovano in his raspy glory and from Hazeltine and then swung a straight ahead blues Muhammad playing the stiff rhythms that any with the band. The satisfying set ended with drummer whose roots lay in R&B, Lou Donaldson and Hazeltine’s soulful “We All Loved Eddie Harris”. We buy collections of Jazz, Modern Pharoah Sanders would play. (AH) (RM) Classical, Avant-Garde - CDs &LPs !!! ALLABOUTJAZZ-NEW YORK | January 2006 5 INTERVIEW Davey had been putting down on paper, had been singing those kind of songs, with lyrics added. And I met Dave in the Village very inconsequentially. And I was at a friend’s house and my friend said, “I’m Annie waiting for two guys to come over. Maybe you want to stick around and see what they have to say. They have an idea to put Basie to music.” My friend had a tiny, teeny record company. So Dave and Jon came over. They put on a Basie record and they started illustrating what they were going to do. And it looked fine and that was that. And then about two weeks later, I got a call from Dave, saying “We’ve hired these Ross (CONTINUED ON PAGE 40) by Marcia Hillman photo by David Beyda/www.davidbeyda.com Annie Ross is a vocal legend, a consummate storyteller, a AR: Well, my whole family was from Scotland. And I spellbinder and one of the few proponents of the unique art have grown to love Scotland. I really have. They have of vocalese. The niece of vocalist Ella Logan, she began her wonderful writers and directors and actors and career early. Known on both sides of the Atlantic, she producers and wonderful stuff going on...Glasgow is attained much success when she teamed with Dave Lambert very much like New York. They’re very up front. and Jon Hendricks. As Lambert, Hendricks and Ross, the They’ll tell you their opinion even if you don’t ask for group ‘sang’ the arrangements of Count Basie with Ross it ... So, a friend of mine who works for Cameron singing the trumpet section to perfection. AAJ-NY visited Mackintosh, the producer, talked about this for about with Ross last month at her upper East Side apartment. six months. He said, “You know, there is a possibility that we may do a concert version of Follies. And I AllAboutJazz-New York: Your new CD is called Let haven’t got it together yet, but would you be Me Sing. Is that the reason you’re still out there interested?” And I said, “Yes. I’d love to do it.” So, it performing and chasing around the globe? finally all came together and I finished work on a Wednesday and I took a plane. I was in Glasgow Annie Ross: Well, yes. Part of it. It comes with the Thursday night. I got off the plane. I went to territory. But I love performing. And there’s so many rehearsal. It was in the concert hall in Glasgow which wonderful songs that have never been sung to any is new, which has great acoustics. It was a 52 piece degree except maybe years and years ago. And I think orchestra which made me cry. It was just beautiful. to let the people hear exactly what they’re missing is important to me. And I love words. I always have. AAJ-NY: You connect so with your audience. It’s like THE JAZZ MUSEUM IN HARLEM PRESENTS And to think when you contrast what’s on today and you’re singing to them in the middle of your living what’s going around. I mean, you can’t understand the room or their living room. words. And I’ve spoken to young kids who say that Harlem it’s not about the words, it’s about the feel. Well, that’s AR: Letting them…not letting them but sharing things their take on it. It’s not mine. And I was just saying to that I’ve loved for years. someone the other day - my God it must have been Speaks wonderful if you were in the inner circle or if you were AAJ-NY: I love what you do with “One Meatball”. It’s just a fly on the wall with Rodgers and Hart and Cole such a fun thing. You should do “Frim Fram Sauce”. Porter and George Gershwin and Jerome Kern. I can A SPECIAL SERIES HONORING HARLEM HEROES imagine them - because lyric writing is such a craft - I AR: There are a lot of Nat Cole songs that are great. I can imagine one of them phoning up the other one and want to do “Meet Me In No Special Place and I’ll Be saying “I’ve got it! I’ve found it! I spent all night but I There At No Particular Time”. I should really get his Thurs., January 12: Buster Williams found it!” And that to me is what lyric writing should composite. He recorded everything. Bassist/ Bandleader be. It should be a craft. That’s what I find lacking today. AAJ-NY: You probably have a lot of stories going back to when you were with Dave Lambert and Jon Thurs., January 26: Rudy Lawless AAJ-NY: So you need to keep showing everybody Hendricks, doing the Basie book. You were doing a lot Drummer what it is. of traveling then too. AR: What a real song should sound like and say. AR: A hell of a lot. You know, it was a long time ago and we played so many places and I’m trying to AAJ-NY: So many of the things, the original material recollect as much as I can because I’m writing my that some people are writing are not really songs. book. They’re fragments. They don’t have an AABA. AAJ-NY: There’s so much stuff. It’s hard to… AR: I know. And the terrible kind of sloppiness in writing. To rhyme sue with loon. I really hate that. AR: It is. But someone will say something and I’ll think, oh my God, I remember when…once, where TIME PRICE AAJ-NY: There is another thing. If you get a lyric, a was I. Chicago or somewhere. And you’ll connect it : 6:30 --- 8:00 pm : Free really good lyric, whatever the writer meant you don’t from there. have to know. There’s something that you can bring. LOCATION: Offices of The Jazz Museum in Harlem, AAJ-NY: I’ve got the Sing A Song of Basie LP. I’ve had 104 East 126th Street Between Park and Lexington Aves. AR: Well, it’s your interpretation of what he’s written. it for years. You’re sitting on top of the piano. There’s I think one of the most terrific lyrics is “I Wish I Were all kinds of good stuff on there. And hardly anybody For reservations: 212-348-8300 In Love Again”. “The self deception that believes a does what you do. How did that happen? How did lie.” What a great line. Brilliant. you fall into that segment? Because it’s a special niche. HARLEM SPEAKS is co-produced by Loren Schoenberg and Greg Thomas Associates AAJ-NY: I understand that you just came back from AR: Well, I had written “Twisted”. So I knew that style www.jazzmuseuminharlem.org across the pond. of writing lyrics. Jon had been writing lyrics forever. 6 January 2006 | ALLABOUTJAZZ-NEW YORK ARTIST FEATURE For more information, visit www.kenvandermark.com. Vandemark is at Tonic Jan. 10th with Joe Morris and Jan. Ken 31st with the Vandermark 5. See calendar. Recommended Listening: • Steelwool Trio - International Front (Okkadisk, 1994) • AALY Trio/Ken Vandermark - Hidden in the Stomach (Silkheart, 1998) Vandermark • Ken Vandermark’s Joe Harriott Project - Straight Lines (Atavistic, 1999) • Vandermark 5 - Elements of Style/Exercises in Surprise (Atavistic, 2005) • Vandermark 5 - Alchemia (Not Two, 2005) • Free Music Ensemble - Cuts (Okkadisk, 2005) by Andrey Henkin Photo by Peter Gannushkin/DOWNTOWNMUSIC.NET “Chicago is kind of like this island out in the middle “the music itself explains itself when it’s seen live. The of a bunch of land,” says multi-reedman Ken problem is getting people into the room.” Vandermark. The Rhode Island-born musician settled “The albums are primarily a way of documenting in the Windy City in the early ‘80s after college in the work and if I think the work is really worthwhile Montreal and a stint living and working in Boston. But and merits having an example for people to hear that in Chicago Vandermark has thrived, making countless weren’t able to be exposed to it in a live context, then musical friendships that have led to his extensive it makes sense to have that stuff happen,” Vandermark discography, plentiful tour schedule and critical believes. “Because also you have the issue of history attention. “Musicians [here] are not likely to see each and in the case of the earlier years in Chicago with the other as a competitor, but maybe more as a Vandermark Quartet, we were lucky enough to have collaborator. And when they hear something that they someone interested in putting out these records, which like, they tend to communicate with each other. Most is surprising, but they were interested and that of the musicians I know on the scene are supportive of enabled people to hear what we were doing outside of each other, even if they’re doing music that would be Chicago for the first time. And those records were quite different aesthetically. And there really seems to important because it enabled people to be exposed to be a lot of cooperation between sharing of what was happening here that aren’t from here.” information.” Touring is a large part of Vandermark’s activities, The above statement speaks to two opposing who says that he spends seven months of the year facets of Vandermark’s career: a continuing effort to away from Chicago, on a couple of US tours but develop his music and make it self sustaining versus primarily in Europe: “The reality of trying to tour in dealing with some of the resentment his ‘success’ has North America for me is...it doesn’t matter if the group engendered from other players. “I was really, really is the Vandermark 5 and then the Free Music willing - and still am very willing - to listen to people Ensemble and then the Peter Brötzmann Tentet, a who have more experience working on this than I do number of them connect them as being associated with in terms of this so-called business and promotional me and then somehow ‘well, we can’t program it stuff,” he says. “I found that there are a lot of people anymore’ because the media won’t cover it because who can do things better than me if I just listen to they’ve already covered something else I’ve done.” them. It helps. So it’s been a process of working on that Vandermark is also interested in moving outside for two decades. It’s all been motivated by the fact that established methods such as different ways to tour, I really, really love to play the concerts and want to communicate and collaborate, as he sees his activities play as often as I can, A) because I enjoy it - actually, as part of larger field of endeavor than what is that’s the main thing, is that I just love doing it and B) generally considered to be ‘jazz’. It’s necessary to developing the music I want to play.” It is this pragmatic attitude that Vandermark has But this kind of honest enthusiasm has been come to realize is crucial to be successful, even if misapprehended by some as a result of what others don’t. “I definitely see the business side of Vandermark hopes will not become his defining things being motivated by the music,” he says. “And I characteristic - the winning of the MacArthur think that there are people who have criticized me and “Genius” Prize and the financial and creative have felt I have been ambitious and motivated to be flexibility it has afforded him. “”You don’t apply for successful in this way. …I think they’ve the MacArthur,” he states unequivocally. “I was misunderstood from my standpoint the motivation fortunate enough to be selected for that and I wasn’t and the way that I’ve tried to work.” aware of the fact that I was even in the running for it… The way that Vandermark works - whether it be there were some people in the media who suggested I leading the Vandermark 5 and Free Music Ensemble, got the prize because the MacArthur Foundation is in being part of collective groups like Sonore and DKV, Chicago and it was some kind of manipulation of the participating in an international large electro- process, which is unbelievably insulting. ... That acoustical ensemble like Territory Band or as a money is gone now; it’s been spent primarily on the ‘sideman’ - is consistent conceptually, even if the music and I will continue to work as I’ve done before.” result can seem very far ranging. “There is some kind Continuing to work as he’s done before means of thread to the different things I’m doing,” he continuing to learn how to “have the work sustain explains. “Many times, people see, o.k., there’s this itself through concert attendance or record sales or range of projects and I’ll be asked ‘how can you do whatever it is that’s connected directly to the music… that?’ or be questioned like, ‘how can [he] be serious how to get the music to succeed economically on its about all these different things, they’re too own terms.” Early experience began with hanging disparate’… I think that from my standpoint the posters in clubs. He then discovered, in a pre-Internet things are connected because all the work is one world, the power of mailing lists. Now that he is more general sweep in a somewhat similar direction in established, he can concentrate on the traditional finding something new to say and needing - currency of the jazz musician: making recordings and a personal need - to try and explore the things that are getting people to come to performances as he feels that going to inform that path.” K ALLABOUTJAZZ-NEW YORK | January 2006 7 LABEL SPOTLIGHT One was the mistreatment of musicians by record companies. But not just any musicians, “because that’s ArtistShare been happening forever,” he said. “It was the record companies screwing over my friends. Then I got mad.” by Brian Lonergan The other trend was the explosion of online file sharing, where computer users download copyrighted In early 2005, something happened at the 47th music for free. “Everybody was in a big panic and I Grammy Awards that had never happened before: an thought to myself, that’s not where the value in music album won its category (Best Large Jazz Ensemble is,” said Camelio. Album) without having been available in any brick- “To me, that end result has been so devalued,” he and-mortar record store - only through online sales. continued. “Once you put it into digital format, it’s The album was the Maria Schneider Orchestra’s game over. It’s done. It’s out in the universe and superlative Concert in the Garden and the engine anybody can freely pass it to one another. I’m trying to behind its distribution was ArtistShare. take the perceived value off of the end result and put In fact, it was Schneider’s project that got it on the process, the entire thing.” ArtistShare off the ground in the Fall of 2003, though Camelio cites a number of his best friends, like its CEO and founder Brian Camelio conceived of the Jim Hall, Maria Schneider, Dave Binney, Scott Colley idea a full three years earlier in an epiphany one day and Chris Potter, as examples. “These are the most on the treadmill. It took those years to develop amazing people I’ve ever met and, on top of that, their software, secure patents and get other business and creative processes, how they work, is incredibly legal affairs lined up, but one couldn’t ask for much interesting.” better of an early success story. Grammy-winner Schneider, for one, was eager to ArtistShare is a new business model in the music try a new approach. “Brian knew my situation and industry, one where traditional middlemen like other artists’ too, where we were helping invest in distributors are missing from the picture. But more records and were seeing absolutely no return on the than simply providing the technology for artists to sell investment, even though in my case I was selling a fair their finished product online, ArtistShare promotes an amount of records,” she said. “So when he approached opening up of the artist’s entire creative process along me with this idea that we could expand the product by the way, sharing that process with the consumer as the sharing the whole creative process, it intrigued me and work evolves. “It’s about the creation of new art,” said I thought it was a great idea.” Camelio. “It’s about the here and now, always, With ArtistShare, each artist’s website will list because that’s the most exciting thing about an artist.” different participant offers that give the consumer The motivation to create ArtistShare came from access to different parts of their work - from video the confluence of two trends, according to Camelio. (CONTINUED ON PAGE 40) Concert in the Garden Maria Schneider Live at the JazzDanilo Showcase Perez Magic Meeting Jim Hall CLUB PROFILE benefit of a stage or excessive amplification. For a $15 Enzo’s Jazz cover charge ($10 for hotel guests) plus a one-drink minimum, you can stay all night and bask in the music by Suzanne Lorge and the fire’s warmth. Sets are at 7 pm and 9 pm; in between you can feel free to peruse various Jazz enthusiasts in search of a cozy shelter and some international newspapers (if you read Japanese, Italian hot music during the winter months might just want to or British English). The room seats 50 and with check out Enzo’s Jazz (aka “The Whaler Bar”) in the standing room can hold up to 90 persons. Jolly Madison Hotel at 38th and Madison. Dating from Contributing to the homey atmosphere and in the ‘20s, the Jolly Madison sits in the shadow of some keeping with the hotel’s Italianate theme, the bar of the city’s most notable Art Deco landmarks - not to offers complimentary antipasti during the live music be outdone by its prominent neighbors, the Italian sets. The bar menu lists salads, pastas, sandwiches, boutique hotel stands out for its venerable architecture and appetizers ($7-15) from the hotel’s Cinqueterra and dignified European décor. (CONTINUED ON PAGE 41) The jazz room comes as a surprise amid all of this early 20th century sophistication - at once chummy and expansive, vibrant and sedate. A large wood-burning fireplace dominates one end of the well-appointed room and a floor-to-ceiling mural depicting a whaling scene of colonial New York (hence the room’s name) spans another. Tall recessed windows swathed in delicate treatments of white and gold offset the red carpets and the broad wooden beams that cross the ceiling perhaps a good 20 feet up, not the typical acoustical setting for a jazz performance. Yet the room swings. Every Wednesday and Friday night, the audience nestles into comfy armchairs grouped around cocktail tables; the band plays but a few feet away, beside the fireplace, without KJ Denhert at Enzo’s Jazz 8 January 2006 | ALLABOUTJAZZ-NEW YORK ON THE COVER Yusef Lateef is one of the first practitioners of “our explanatory, if you look at it; it means music from the rehearsals for the Queen Amina production, Lateef music” to embrace “the other”, those peoples and physical, the mental and spiritual self. That’s the discovered that the chorus was spontaneously cultures far removed geographically and often meaning I have for what I do. I taught a class at the reharmonizing his composition. “They taught us in the ideologically from the sounds and sensibilities of Manhattan School of Music after I graduated [from] Germanic schools of music that minor keys denote North America. A renaissance man for the new there; I was in the theory department and I had to sadness. So I orchestrated a minor chord for the millennium, Lateef is a philosopher, organologist, write what my class was about and I coined the term chorus, like C, Eb, and G. And I noticed, each time in composer/arranger/performer, educator, author and at that time.” Lateef is also wary of the word rehearsal, it would start out sometimes with the minor acoustic Argonaut. He’ll be in town in January for improvisation. “Improvised? That term is kind of chord, but would revert into a quartal chord, like it’d “Detroit: Motor City Jazz” at Jazz at Lincoln Center, a strange also, because when you look up the definition be C, F, Bb. And so I just let it stay that way because, concert series featuring fellow Detroit alumni Charles innately, it was a quartal sound that denoted sadness McPherson, Ron Carter, Marcus Belgrave to them. So that was a learning thing for and Curtis Fuller. In a recent phone me. A quartal chord in America is some conversation, Lateef shared his thoughts type of contemporary chord.” about growing up in Detroit, music His sojourn in Nigeria also education, uses of language and stimulated Lateef’s interest in making his ethnomusicology in Africa, among other own instruments. “I started making a lot of things. flutes of my own, because they made their Lateef’s autobiography The Gentle own instruments. They didn’t go to the Giant, co-written with Herb Boyd, is due store to buy an instrument, like a Selmer for release within the year and he is excited saxophone, etc.; they made their one-string about his upcoming gig in Manhattan: “I fiddles out of goatskin and horsehair. And feel honored by being asked to the structure of the instruments, like the participate. They also engaged me to write xylophone, is different than the xylophone some music for the concert, which I’ve in North America. The lowest note the done already. I’m looking forward to it and North American xylophone is on the far to playing with Curtis Fuller and Charles left, but you may find the lowest note right McPherson. I saw Charles last week in San in the middle of the xylophone in Nigeria. Diego, but I haven’t seen Curtis Fuller in They put spider fibers inside some of the years. It should be a thrill to play with him flutes, at the aperture; it gives it a certain again and to play with the [Lincoln Center resonance. So the structuring of the Jazz] orchestra, a very erudite orchestra.” instruments and the psychological effects A product of Detroit’s fertile musical Photograph © 1998 Jack Vartoogian/FrontRowPhotos of a certain sound were different.” environment, Lateef attended Miller High School, Inspired by the Nigerians’ industriousness, Lateef where he hung out and jammed with Art Mardigan has developed some unique ideas of his own. “I tried and Lucky Thompson. “I was there at the same time to acquire their understandings and feelings of Milt Jackson was and Kenny Burrell followed after I Roots & structure and formation of music which has led me to graduated. There were two teachers, Mr. Goldenberg things like what I call endophyte composition. It and John Cebera, and in fact I was there the day that comes out of biology; it’s something that lives inside Mr. Cebera suggested that Milt Jackson play the something else. Well, I applied that endophyte vibraphone. He suggested that I play the oboe, but I Routes condition to, say, a vertical chord, which is made up of didn’t take him up on it until years later. They were by Thomas Greenland certain intervals - it may have a minor second, a very serious and that was an influence on us to be perfect fourth - and so I delegated each note of that serious about the music. Teachers are very important chord to move horizontally in one of the intervals that in fashioning their students, what they become. I’ve it says, ‘to do something without previous are in the vertical sonority. Like if you have a quartal never forgotten them. Mr. Cebera’s father, who was preparation.’ Now, in essence, if that were true, you sonority, like C up to F#, an augmented fourth and still in Spain at that time, was a musician and a wouldn’t have to practice; you wouldn’t need then maybe above the F# is an A, a minor third. If I composer and he used to send us compositions that we preparation. You could take a carpenter and give him kept those notes as the verticality, then I would let played with the high school band. That was one reason the saxophone and let him go play.” each of those notes move. One would move an that we became very popular and played for many Lateef’s interest in African music was in part augmented fourth interval - for example, the F# would other high schools’ affairs. At that time, in the ‘40s, to stimulated by a four-year research fellowship at the move to C - and the A would move down a minor third be playing this Spanish music - it was unprecedented.” University of Ahmadu Bello in Zaria, Nigeria from to F#. And then it would continue and I, by intuition, Another Detroit high school, Cass Technical, produced 1981 to 1984. “I was helping them document the music choose the rhythm that they move in. There’s a the likes of Geri Allen, Ron Carter, Donald Byrd, of the Fulani herdsmen, who are the cattle barons of definite order and you hear that order because it is Regina Carter, Paul Chambers, Wardell Gray, Sir Nigeria. They made a flute out of wood called a ordered. [I got that] from wanting to find my way to Roland Hanna, Doug Watkins and Gerald Wilson. sarewa and it was my job to document this flute; they do composition as they found their ways to play their A long-time educator himself, Lateef has now were manufactured right in front of my eyes. I also music.” retired from teaching African-American music and taught research methodology to Nigerian cultural Yusef Lateef has traveled many roads since his composition at the colleges of Hampshire, Amherst, students from different emirates and I had to interact formative years in Michigan, making fascinating Smith and the University of Massachusetts. “What I with the dramatists and the musicians to produce discoveries along the way. He’ll have colorful stories try to do with students is to help them find what convocation plays. We did a very significant take on a to share, musical and otherwise, when the gang from they’re looking for; once I find that out, then I try to script that our director wrote called Queen Amina. In Detroit gathers this January. K start moving them in that direction. I recommend the drama we had to simulate the music of the various practice, education, performance, teaching and ethnic groups like the Nupe, the Hausa and the For more information, visit www.yuseflateef.com. Lateef is composing. And of course it’s important to study Mugazwa. Frequently I had to go out into the bush at Rose Hall Jan. 12th-14th as part of Jazz at Lincoln other scientists, because they seem to overlap, in my and hire musicians and sometimes pay them to record Center’s “Detroit: Motor City”. See calendar. thinking; like for example philosophy, when you look their music so we could stylize it for the drama. What at the pre-Socratics, who taught that numbers are I found so striking about the music of each group: it Recommended Listening: things. The Schillinger Method of Musical was entirely different; the rhythm and the melodies • Yusef Lateef - Morning: The Savoy Sessions Composition did the very identical thing. So I were different and each group distinctly knew their (Savoy, 1957) encourage my students to have options or rhythms. For example, the Mugazwa were dancing to • Yusef Lateef - Cry!...Tender (New Jazz-OJC, 1959) alternatives.” the court very vociferously whereas, diametrically • Yusef Lateef - Eastern Sounds Similar to Duke Ellington, who disliked being opposed, the Nupe people danced as though they (Moodsville/Prestige-OJC, 1961) pigeonholed as a ‘jazz’ musician and who referred to were in slow motion; the Igbo danced bent over, as • Yusef Lateef - Live at Pep’s, Vol.1&2 the music and musicians that inspired him as “beyond though they were picking yams in the ground; and the (Impulse!-MCA, 1964) category”, Lateef is careful with language. “I don’t Hausa danced upright, as though they were threshing • Yusef Lateef - The Blue Lateef (Atlantic, 1968) refer to my music as ‘jazz’, because of the ambiguity of wheat. It seems as though their occupation had an • Yusef Lateef/Adam Rudolph/Go:Organic Orchestra the term; so I coined my own term for my music: it’s influence on their dancing. I found that interesting.” - In The Garden (YAL-Meta, 2003) autophysiopsychic music. The word is self- Another cross-cultural insight came when, during ALLABOUTJAZZ-NEW YORK | January 2006 9 MEGAPHONE Musicians in their own words... the love permeates your style and becomes part of More Music, Less Opportunity? your voice. Amongst all musical streams jazz is the most advanced in its ability (quoting Stanley Crouch) #5@/;;G/eO`R<][W\SS by Joel Harrison to integrate “high intellect and country soul”. Its /T`]:ObW\8Ohh=`QVSab`O inventors endowed it with properties that have eWbV/`bc`]=¸4O``WZZ We live in extraordinary times. Relatively recently a allowed us, its younger adherents, to bring sounds phenomenal number of types of music have taken from all walks of life to its doors and feel (somewhat) form: blues, jazz, rock ‘n’ roll, country, reggae, welcome. Maybe for some it’s ‘indie rock’ soul or soul/r&b, bossa nova, samba, soukous, salsa, gospel, ‘funk’ soul or ‘Hindu’ soul instead of ‘country’ soul hiphop, free improv (to name a few). Atonalism, noise, that mixes with their intellect. As Oliver Lake said, electronics, computer language are now a part of many “Put all the music on the same plate.” musicians’ lexicon. The future is approaching at 1000 In a sane world all this variety would lead to a ·YXaf times the speed of its counterpart in, say, 1805. As all commensurate variety of outlets for creative music. these models intertwine, giving rise to innumerable The continuing overflow of new music that is in New k_\^i\XkkiX[`k`fe permutations, the modern notion of ‘eclectic’ or York, for instance, seems part and parcel to the f]k_\cXk`eYXjj ‘hybrid’ becomes superfluous. Musicians are currently dwindling number of clubs, exorbitant cost of living describing our country’s present and future, though and lack of quality radio. There seems to be an inverse few fellow citizens are listening. ratio between numbers of creative music makers and In my catholic view of jazz, I see incredible jobs, record deals, airplay, media coverage. Every jazz promise in this multi-skinned, poly-voiced, inter- player is perennially asking, “How do I stay relevant? tribal energy: everywhere throughout the world and How do I get my music heard?” within our own borders, there are creative souls who If there’s one thing that bonds all jazz players, want to be part of jazz, who bring Latin, Asian, besides irreverent humor, it’s a feeling of African, Nordic, Native American sounds to it. This is marginalization. Great swaths of our country seem to inevitable and its self-propelling motion defies have little need for the delight and enlightenment that anyone to hold jazz back, to own or circumscribe it. art brings. This has been great for the creation of art in Some will choose not to call a lot of this new music one sense, because a countervailing, urgent cry from jazz - it doesn’t matter. We don’t have to call, say, many artists has continued to rise against the entropy Henry Threadgill’s music jazz to know and admire the of mass culture, but it has been awful for the fact that there is a galaxy of fascinating influences in commerce of art. All you have to do to prove this to his life work. yourself is try to tour with a jazz group in America. There are still people who act as if the intersection It’s a joke! You can drive 12 hours straight, past of, say, rock and jazz, or Chinese folk song and jazz, is poisonous restaurants, stultifying shopping malls, odd or unusual and I find that amazing. For me and weary provincial suburbs, Clear Channel possessed every single jazz player I feel close to, these ‘hybrids’ counties and not pass a single substantial jazz or new have been going on for years, maybe even forever and music venue, or find a decent jazz or classical radio are simply the result of who we are as people. When station. You cannot tour unless you get a clinic or you love more than one kind of music, really love it, (CONTINUED ON PAGE 41) VOX NEWS Be]bVc\RS`]ca\WUVba]T`VgbV[ by Tessa Souter Following hot on Christine’s heels will be two of eWZZVOdSg]cP]eR]e\b] bVS my favorite singers Rhiannon and Kate McGarry (Jan. :ObW\POaa;O[P]ZSUS\R First of all congratulations to Tierney Sutton for 14th) in what I’m sure will be a spectacular double bill. 7a`OSZµ1OQVO]¶:]^SheWbV winning a Grammy nomination for Best Jazz Vocal CD Another wonderful double bill follows: Chilean POaaWaba/\Rg5]\hOZSh@cPS\ I’m With The Band (Telarc). Her star has been rising all Claudia Acuña and Czechoslovakian Marta @]R`WUcSh1VO`\Sbb;]TTSbb year and this is surely the apogee for a band that has Topferova (Jan. 19th). Marta will also be celebrating P`SOYR]e\bVSPSObabVOb been together for over ten years and couldn’t be her new CD La Marea (World Village). Then Luciana ab]`[SRbVSb`]^WQaZO\RSR tighter. Next big news of the month is the IAJE Souza, who was nominated for a Grammy last year W\ Masters Awards Concert will feature the Count Basie A Walk in the Park (MAXJAZZ) … Carla Cook guests >V]b](;O`Y2WO[]\R 2WO[]\RW[OUSa Q][ Orchestra with special guest Nnenna Freelon, where with the Terrell Stafford Band (Jan. 13th) … At vocal national treasure Tony Bennett is being honored Birdland, vocalists Eric Comstock, Hilary Kole and as a first-time NEA Jazz Master. Promises to be a Christopher Gines, will celebrate the musical legacy of fantastic conference - as always. Fred Astaire every Saturday and Sunday in January … Meanwhile, Joe’s Pub is a great spot for vocalists Also at Birdland check out Kurt Elling (Jan. 10th - this month. Among the cream of UK contemporary 14th), Judi Silvano (Jan. 12th), who is leading a vocalists, Irish born singer/songwriter Christine performance by the Jazz Vocal Alliance and 4`SRS`WQY> @]aS6OZZ6][S]T8OhhOb:W\Q]Z\1S\bS` Tobin, who was a nominee for ‘Best Vocalist’ at the (CONTINUED ON PAGE 41) 0`]OReOgOb$ bVAb`SSb 2004 BBC Jazz Awards, will be there (Jan. 11th). 10 January 2006 | ALLABOUTJAZZ-NEW YORK ENCORE Back in the spotlight... Russell’s theoretical treatise on the relationships compositions are fed and supported first by the George Russell between chords, scales, and modes is the first and thinking that’s involved. It comes first from the mind probably the most influential music theory to grow out and the soul. Then the music comes out.” K by Ed Hazell of jazz practice. He has just finished a fourth and he says final revision. “The foundation of the concept is For more information, visit www.georgerussell.com At 83, George Russell that the Lydian scale is the true scientific scale, in the moves a little slower sense that it gives birth to the basic unit of tonal Recommended Listening: than he used to and his gravity, which is the interval of the fifth. That’s how • George Russell - The Jazz Workshop voice, which has never music behaves. There’s nothing there because I like it. (Bluebird-RCA, 1956) lost its Midwestern I don’t speak as its author; I speak as a conduit. It was • George Russell - Ezz-thetics (Riverside - OJC, 1961) twang, is softer. But his already there, but I do think that I was on its • George Russell - The Outer View ‘60s ‘90s eyes have not lost their wavelength to pick it up.” (Riverside-OJC, 1962) amused, intelligent twinkle and he has never lost his After his initial discoveries, Russell logged an • George Russell - At Beethoven Hall (Saba-MPS, 1965) passion for making music. impressive list of milestones in jazz composition. His • George Russell - New York Big Band “My aim at this point is to understand the 1947 “Cubana Be, Cubana Bop”, which he wrote for (Soul Note, 1977-78) language of music in its deepest sense and contribute Dizzy Gillespie’s big band with Cuban percussionist • George Russell/Living Time Orchestra - The 80th to it, enrich it,” he said one evening recently, sitting at Chano Pozo, is both the first modal jazz composition Birthday Concert (Concept Publishing, 2003) the kitchen table of his home on a quiet side street in and an early AfroCuban jazz piece. Works blending Jamaica Plain, a Boston neighborhood. “Music as a classical and jazz, like 1949’s “A Bird in Igor’s Yard” living thing, a component of the emotional center of all anticipated Third Stream music. By the time he made living things. It speaks not only to the emotional New York, New York (1958) and Jazz in the Space Age NEW FROM center, but also to the intellectual and physical centers. (1960), Russell’s integration of writing and soloing, PACIFIC COAST JAZZ What it has to say must be understood. I want to see in ability to interweave several themes, handle tempo the meanings of music more deeply. I want to know changes and attention to the overall form of BRADLEY LEIGHTON the inner of everything. My music is trying to tell me increasingly long composition marked him as one of Back to the Funk that so I can tell the world.” the era’s most advanced composers. Jazz/pop flute stylist, recording The passions that have driven Russell’s quest for In the early ‘60s, Russell’s sextets played charts artist and clinician Bradley “the inner of everything” for more than half a century that transcended the usual head-solos-head formula Leighton’s third solo release are beautifully showcased on The 80th Birthday Concert and often employed bitonality and multiple tempos. combines groove with soul that (Concept), the latest release by Russell and his Living Albums by small groups, such as At the Five Spot and will take you back to the funk. Time Orchestra. The urgency of Russell’s Ezz-thetics are among Russell’s best releases. Despite In Stores January 17 compositions, their searching quality, their the quality of his work, Russell got little attention and Pacific Coast Jazz intellectual rigor, emotional vibrancy and sheer in 1964, disenchanted with the US, he moved to physicality make this ageless music, even Scandinavia, where his writing grew increasingly compositions from 35 years ago, sound freshly minted ambitious in scope. At 40 minutes, his 1969 “Electronic and shocking in their intensity. It’s also shocking to Sonata for Souls Loved by Nature”, (heard on the first realize this is his first domestic release since his Blue disc of the new set) stretches the limits of jazz Note recordings of 20 years ago. composition. By integrating a musique concrète tape As a young drummer and arranger out of into the piece, Russell also stretched jazz into the Cincinnati, Russell came east to New York after stints world of electronic sound, creating one of the very with the Benny Carter Orchestra and the Earl “Fatha” first electro-acoustic jazz compositions. Hines Big Band. Tuberculosis sidelined Russell’s Russell returned to the US in 1969 when he joined SHERRI ROBERTS promising, if somewhat conventional, jazz career, and the jazz faculty that Gunther Schuller assembled at the The Sky Could Send You ultimately sent it careening off in new directions. New England Conservatory of Music. Over the past 35 Her latest recording produced While convalescing, Russell made the single most years, his pieces continued to grow in scope. New York and arranged by Harvie S with important discovery of his life and established a Big Band and Live in an American Time Spiral (Black special guests, legendary milestone in jazz history. “I began my Lydian Saint/Soul Note) probably provide the best overview saxophonist Phil Woods and Chromatic research in 1945 in St. Joseph’s Hospital, of Russell’s music in the late ‘70s and early ‘80s. Blue trumpet virtuoso Lew Soloff. 143 Brook Avenue, Bronx, New York, where I stayed Note signed him briefly and in 1986 released his In Stores February 7 for 14 months recovering from tuberculosis. Six monumental The African Game (which takes up most of Blue House Recordings/ DISTRUBUTED months of bed rest. When I could get up, I asked a nun disc 2 in the new release), a vast programmatic piece EXCLUSIVELY BY Pacific Coast Jazz if they had a piano. She took me to the hospital library, that unites African, jazz-funk, and swing rhythms into which no one ever used. So for months I just played one of his most exciting works. Since then, recordings the major scale and the Lydian scale, octaves. The have been less and less frequent and for French and For more information on the artists of major scale octave didn’t sound final, the Lydian scale Japanese labels that are hard to come by in the States. AVAILABLE AT Pacific Coast Jazz visit us online at octave did. Tonal gravity and the birth of chord-scale Even with all the musical milestones to his credit, unity were born there in St. Joseph’s.” Russell still believes, “my most important contribution www. .com The Lydian Chromatic Concept of Tonal Organization, to world music is the Lydian Chromatic Concept. The pacificcoastjazz LEST WE FORGET Gone but not forgotten... Harold Ashby 1925-2003 the ‘50s with blues artists Otis Rush, Willie Dixon, Europe. He maintained a connection to Duke - in 1978 Jimmy Witherspoon and others. Moving to New York he toured Europe with an alumni band. In the late ‘80s by Donald Elfman in 1957, he did freelance big band work with Basie and until the end of the ‘90s he recorded several albums as Mercer Ellington, first working with Duke Ellington in leader - small-group sessions that inevitably included Harold Ashby was one of the last of the big-toned, 1960 subbing for Paul Gonsalves. an Ellington tune. He can be heard to great advantage expressively extroverted tenor saxophonists to be Ashby worked off and on with Ellington for a few on the aforementioned Ellington albums, such featured in the Ellington band. Like his major years and then became a regular, full-time band swinging small group sessions as What am I Here For influence and mentor Ben Webster (it was Webster member in 1968, replacing Jimmy Hamilton. He is a (CrissCross) and Just for You (Mapleshade) and on the who actually introduced Ashby to Duke in the ‘50s), favorite and featured tenor soloist on some of Duke’s wonderful Earl Hines date Once Upon a Time Ashby knew how to engage a listener through emotion finest recordings of the period including New Orleans (Impulse!). Ash, Harold Ashby’s first record without and the telling of a story. Suite and Afro-Eurasian Eclipse. any Duke compositions or works from other Ashby was born in Kansas City in 1925 and began Ashby went back to freelancing after leaving the songwriters and featuring Hilton Ruiz (piano), Victor his musical life in that city in the late ‘40s. He played Ellington band in 1975, a year after Ellington passed Jones (drums) and Andy McCloud (bass) is now clarinet first but switched to the tenor and worked in away, leading his own quartets in New York and available from Y’All Records. K ALLABOUTJAZZ-NEW YORK | January 2006 11 LISTEN UP! PLANET ARTS Sebastian Noelle Robert Stillman REPecording - ducation - roduction guitar saxophone, piano, drums, etc. After a quick love/hate affair Born and raised in Portland, with the cello, Noelle picked up Maine, Stillman studied at New New Releases the guitar at age 12. By age 15 he England Conservatory in Boston was playing in local clubs in his before moving to NYC in 2001. He hometown of Wuerzburg, uses an eclectic jazz- and various VANGUARD JAZZ ORCHESTRA Germany. After jazz studies in music genre-influenced palette Mannheim and Boston (New consisting of saxophones, Up From The Skies England Conservatory) Noelle moved to New York in clarinets, old pianos, pump organs and drums to create 2002. He’s been busy performing all over the city with short musical narratives that exist on their own, but Music of Jim McNeely various groups featuring Donny McCaslin, Chris also work together to create a vivid, self-contained ______Cheek, Joel Frahm or Ingrid Jensen. world echoing the composer’s interest in all things mysterious. TEACHERS: My main teachers were Gene Bertoncini, GRONINGEN ART ENSEMBLE John Abercrombie, Bob Moses, Jerry Bergonzi, Bob TEACHERS: My first saxophone teacher from age 11 Brookmeyer, George Russell, Joe Maneri and Ran was Raymond Morrow, not a performer but a true Jazz In Jazz Out Blake. master and compassionate human being. My with grandmother always used to sing in a great voice that Joris Teepe, David Berkman, Don Braden, INFLUENCES: Hermeto Pascoal’s spirit, joy and taught me quite a bit - the song I remember most was Dena DeRose, Corad Herwig, Ron Jackson, incredible musicianship, the Beatles, Bob Dylan, John called “Paper Doll”. Her daughter (my mother) also Scofield, Miles, Egberto Gismonti, Jim Hall, John Cage has a beautiful voice and played folk guitar quite well Brian Lynch, Ralph Peterson (mostly his writings), James Joyce. As far as my when I was growing up. ______instrument goes, the guitarists on the scene today: Kurt Rosenwinkel, Ben Monder, Steve Cardenas, INFLUENCES: Kurt Weill’s Three Penny Opera with his Adam Rogers. wife Lotte Lenya singing the part of Jenny (the way she sings “Pirate Jenny” is filled with spite and sadness Available at IAJE CURRENT PROJECTS: My main project is writing and the tone of her voice is like an animal). The rock and playing original music. I just finished a recording group The Band had a huge influence on me during with my quartet (Donny McCaslin/Javier Vercher on the time of my Horses recording; it made me really Booth # 221 saxophone, Ben Street on bass, Ari Hoenig on drums), think hard about what kind of world you can create which will soon be released on Fresh Sound-New through recording. www.PlanetArts.org Talent. I’m also part of the group Animal Channel, a Miles Davis’ collaborative records with Gil Evans (917) 699-5339 Balkan/Brazilian/Indian groove oriented 7-piece gave me a real idea of how I wanted my saxophone to ensemble. Other projects I’m involved in are composer sound. Gil described how those notes Miles was Darcy James Argue’s big band Secret Society, the Rob playing actually hurt him physically; That sound Miles Garcia Quartet, the composers’ collective Pulse, among got on those records is so beautiful that it really made others. I’m also a member of the BMI Workshop me consider how pure and beautiful and emotive a Orchestra directed by Jim McNeely and Michael sound I wanted to have, like a voice. I like the way Abene. Ravel’s music unfolds. Another influence is Milton Nascimento. BY DAY: I write, practice, teach at the Brooklyn Conservatory, listen, research, do laundry and CURRENT PROJECTS: My debut release as leader, socialize occasionally. Horses (Mill Pond Records), recorded almost a year ago, is scheduled to “street” the beginning of ‘06. I am I KNEW I WANTED TO BE A MUSICIAN WHEN... still writing more Horses music to play live with the I guess I’ve been one all my life. We don’t choose the same band which toured the US this past summer as a gifts we’re given. I was singing songs before I could backing band for singer/songwriter Luke Temple (I talk. Hearing “Yellow Submarine” (sung in German!) played piano instead of saxophone). I am playing on the radio at age 6 and a tape of John Scofield’s Blue drums with a rock band called The End of the World, Matter at age 16 were definitely key moments though. which recorded this past summer. G. MORATTI ARTIST MANAGEMENT DREAM BAND: The musicians I play with here in BY DAY: Work on music, listen to records, cook meals, New York are my dream band. Another one would be read, walk around, odd jobs and playing. Personal Management for: Lee Konitz, Steve Swallow and Paul Motian. Or to go Don Friedman - Piano back in time and play a gig on rhythm guitar with the I KNEW I WANTED TO BE A MUSICIAN WHEN... Count Basie Orchestra in 1959 (with Sonny Payne on I remember hearing some older kids play at the Benny Powell - Trombone drums). I might never come back though… gymnasium in my high school and knew I wanted to Steve Swell - Trombone be able to do what they did. Randy Johnston - Guitar DID YOU KNOW? My dad’s a catholic priest. Harvie S - Bass DREAM BAND: I’m sure it’s the band I have: RJ Miller Karolina Strassmayer - Alto/Sop Sax FOLLOW UP WITH: (drums) and Adam Chilensky (bass), Pete Rende plays (Klaro) email: [email protected] piano and pump organ and Jonathan Rossman plays Drori Mondlak - Drums web: www.sebastiannoelle.com clarinet mostly. (Straight Circle) Mike DiRubbo - Alto Sax Noelle is at 55Bar Jan. 17th, Flushing Public Library Jan. DID YOU KNOW? I can’t think of anything off the Daniela Schächter - Piano/Vocals 23rd with Animal Channel, Jan. 24th at Old Stone House wall (right now). Sayuri Goto - Piano with Numinous; and Jan. 27th at Kavehaz as a leader. See calendar. FOLLOW UP WITH: For bookings of any of the above e-mail: [email protected] musicians contact: web-site: www.millpondrecords.com Gino Moratti Stillman is at Knitting Factory Old Office Jan. 6th. See 86-220 Park Lane South calendar. Woodhaven, N.Y. 11421 Phone 718 805-11078 e-mmail [email protected] Each month, AAJ-NY spotlights two musicians that we think you ought to know about. www.ginomoratti.com To suggest someone who deserves a listen, email some information to [email protected] 12 January 2006 | ALLABOUTJAZZ-NEW YORK CD REVIEWS clarinet work is equally compelling, his tone warm Any idiot can play badly; play outside the staff lines and rich on the low register and spine-tingling on the with prolonged disorder and you have done high. something special. If one is travelling on a paved road, Embracing the Tide/Making Eye Contact with God is Richter 858 is the moment when the rubber slides into two CDs: the first was recorded at Galapagos in 2004 endless, unpaved possibilities. and Zebulon in 2005 and the second at the latter club also in 2005. Throughout Lavelle plays with bassist For more information, visit www.songlines.com. This Matt Heyner and drummer Ryan Sawyer, forming a group is at Zankel Hall Jan. 29th. See calendar. trio of great sympathy and power. Heyner is an amazing bassist, highly intuitive and lyrical, with a Some of My Favorite Songs Are… wealth of influences including flamenco and heavy Neal Smith (NAS Music) metal. Sawyer is exciting as well, his kit propelling the by Elliott Simon music whether he’s offering delicate stickwork or Debut CDs can give a deceptively strong impression full-out cooking. of a leader as their best hour of material is showcased. Among the highlights are the beautiful “2013”, Many an artist can’t match that initial effort and fall Lavelle wailing with open-hearted urgency and prey to the dreaded sophomore jinx. Drummer Neal holding nothing back. His bass clarinet pours out Smith has confounded that scenario by releasing his lovely, lyrical runs as well as gritty blues and Middle second recording along with his first and when taken Eastern flavor, all backed by the simmering, together one is left with a multifaceted drummer who shimmering rhythm section. “Sweat Lodge Dance” is a is at home in a variety of milieus. While Swingin’ is dance indeed, a shamanistic outpouring invoking a Believin’ (reviewed last month) was a horn fest of bop primordial trance state, exploring the edge where the and swing, Some of My Favorite Songs Are… has Smith ego gives way to something bigger. The tour de force joining bassist Peter Washington and pianist Rick is “Eye Contact with God”, a highly personal song Germanson for deep in-the-pocket interpretations of where Lavelle marvels over his mother’s recovery the leader’s best loved tunes. from her second brain surgery. The song travels the Although there is a soulful bluesy feel running line between life and death, again invoking powers through these interpretations, Smith’s hardbop greater than our own. Lavelle’s playing is absolutely leanings are evident in his choice of music. Songs that fearless and his ability to express himself are better known for versions from larger horn based unparalleled, with rhythm section right beside him for groups are recast here for a more intimate look. Such the entire journey. is the case on the trio’s delightfully melodic presentation of the Tom McIntosh composed Dizzy For more information, visit www.utechrecords.com. Lavelle Recommended Gillespie standard “The Cup Bearers” and their tight is at The Stone Jan. 7th and 29th with William Parker; straight ahead version of tenor man Joe Henderson’s Bowery Poetry Club Jan. 8th and 15th with Nation of We; New Releases “A Shade of Jade”. On four cuts, the crystal clear Zebulon Jan. 11th with Eye Contact; and Brecht Forum Jan. guitar stylings of Mark Whitfield expand the trio to a 21st. See calendar. quartet for some of the program’s more muscular • Edsel Gomez - Cubist Music (Zoho) material. CD opener “Holy Land” refries the Cedar • Ari Hoenig - Kinetic Hues (Smalls DVD) Walton tune into a cooker as Whitfield turns up the • Ryan Kisor - This Is Ryan (Videoarts) gas with brilliant guitar work and Herbie Hancock’s “Driftin’” has all playin’ the blues. Trumpeter Kenny • Michel Lambert - Le Passant (rant) Dorham’s “Blues for Jackie” has Smith and • David Murray - Waltz Again (Justin Time) Washington setting the pace for an uptempo homage • Loueke/Nemeth/Biolcati - Gilfema (Obliqsound) to altoist Jackie McLean featuring some impressive -David Adler guitar runs while Germanson and Whitfield’s interplay recall Buddy and Wes on a deliciously juicy NY@Night Columnist, AllAboutJazz.com take on the younger Montgomery’s “Bock to Bock”. Richter 858 With these two solid first efforts, Smith has left no Bill Frisell (Songlines) • Louie Belogenis - Unbroken (Tick Tock) doubt that he is a drummer/leader of the first order. by Gregory Robb • Tim Berne’s Paraphrase - Pre-Emptive Denial For more information, visit www.nealsmithjazz.com. Smith Inspired by Gerhard Richter’s abstract paintings, Bill (Screwgun) is at Kitano Jan. 27th-28th. See calendar. Frisell rips the fabric of rationale in a wholly • Joe Fiedler - Plays the Music of Albert Mangelsdorff ambitious and far-reaching effort. Richter 858 is (Clean Feed) creatively tailored to provoke our emotive, intuitive, subjective selves. Richter paints to music; here, Frisell • Rubén Gonzalez - Momentos (Escondida Music) plays to paint. • Earl May Quartet - Swinging the Blues (Arbors) The radiant composition-destruction dichotomy • Reuben Radding - Intersections (Pine Ear Music) demands that we listen as we seldom do (these days). -Laurence Donohue-Greene Music lovers historically let sounds spark universes of mind-fired imagery. Here, paintings are intended to Managing Editor, AllAboutJazz-New York serve as our trigger. Frisell strives for unorthodox musical climes by demanding that we invert mundane • Anthony Braxton Quintet - [London] 2004 (Leo) aural tendencies. “I believe that the deeper and more Embracing the Tide/Making Eye Contact with God intimately involved you are with looking,” writes • Zé Eduardo/Jack Walrath Quartet - Matt Lavelle (Utech) Bad Guys (Clean Feed) by Florence Wetzel Frisell, “the more perfect will be the relationship between your music and Richter’s paintings.” • Exploding Customer - Embracing the Tide/Making Eye Contact with God is the Frisell’s main interest is the intersection of Live at Tampere Jazz Happening (Ayler) real thing: raw, live, avant garde jazz recorded in New disorder and decomposition. The guitarist attempts to York City, music that soars and uplifts and ignores all defy the order of notes and harmonic structure to coax • Satoko Fujii Quartet- Angelina (Libra) boundaries. Trumpeter and bass clarinetist Matt us far beyond our comfort zones, as Richter’s work • Barry Guy/London Jazz Composers Orchestra - Lavelle is blessed with technical skill and great heart attempted to do with paint. In this sense, Bill Frisell Study II/Stringer (Intakt) and he’s fueled by a ferocious spiritual imperative. His succeeds to the mind’s expanse. • Otomo Yoshihide New Jazz Orchestra - music questions and explodes human limitations and Traditional string instruments (Eyvind Kang’s he’s constantly discovering new ways to express this viola, Jenny Scheinman’s violin and Hank Roberts’ Plays Dolphy's ‘Out to Lunch’ (Doubt) search. Currently Lavelle is rewriting the rules for the cello) are more environmental than symphonic. In -Bruce Gallanter trumpet by using a scale that includes nondiatonic such cases, playing discord so well is the best Proprietor, Downtown Music Gallery notes, giving his music a unique richness. His bass testament to highly-accomplished musical statement. ALLABOUTJAZZ-NEW YORK | January 2006 13 Patri (drums) play great throughout and give it up to from the pure, crystal clear, spacious sound. Michael the tunes that center around Threadgill’s voice and the Manring’s fretless bass demonstrates what Miles could imaginative lyrics that can be thoughtful or playful or have done with Jaco, his notes vibrating like uncoiled sardonic. springs and Tom Carter’s keyboards jab and punctuate Calling this jazz vocals would be limiting, yet jazz shorter movements within longer tunes. aesthetics (is there such a thing?) is the seed of much But you keep returning to Greg Osby, who, if you of this music. The vocal interaction with the band, her consider his marvelous trio recording Channel Three bluesy phrasing, the swinging drums, rich acoustic (Blue Note), had quite a year in 2005. Cut after cut, his bass, the original lyrics and tunes like “Ambrosia” and perfectly formed and rhythmically conceived solos Fats Waller’s “Jitterbug Waltz” give away the jazz prove that Miles’ influence extends well beyond the Maverick impetus. Surely “Jitterbug Waltz” has been covered by trumpet. Carli Muñoz (Pelosenel Q Lo) hundreds, if not thousands of artists, yet Threadgill’s by Ernest Barteldes version has a fresh and joyous swing to it that’s For more information, visit cuneiformrecords.com. Kaiser is Carli Muñoz is a self-taught pianist who began his irresistible. “Power Trip” uses a saxophone choir and at Flushing Town Hall Jan. 28th as part of the NY Guitar career in dance bands in his native land of Puerto Rico “Wishing Well” uses overdubbed celli (Dana Leong) to Fest. See calendar. in the early ‘60s, then leaving for the mainland. He orchestrate the music and frame the voice in yet returned home in 1986, where he founded his own another setting that calls for attention. The playful, club, the Carli Cafe Concierto. Muñoz came to town clever words of “It’s Late” hit you as they peek out composed by bill mccormick performed by jon damian ken hatfield recently to perform at Jazz Standard on November from the grooving Latin rhythm section, a slightly pete smith craig wagner special guest percussionist steven kroon 30th for the release of his new CD Maverick. jesting effect. “Inner Lining” has an infectious groove On the album Muñoz shows his various but it never overpowers the lyrics and in fact the song influences, going from more swingers such as “Three ends with just voice. It is a gentle but powerful music for guitar Little Steps to Heaven” into more improvisational delivery of the words, haunting into the silence before moments, such as the title track which gives fellow the next track. “Close to Me” is sweetly swaying, with Puerto Rican saxophonist David Sanchez space for a acoustic bass driving the bottom, a marimba adding hard-edged solo. In the more elegant “Katira’s Waltz”, rhythmic snap and a sustained guitar that floats in and he channels Brubeck without losing sight of his own around the voice and the other instruments. Of The Air distinctive style while allowing himself to sound has an air of peaceful confidence, such as when darker on songs such as “Entre Neuse”. Threadgill sings in “Catapillar Crossing”: “watch the In performance, he started out with a solo piano dreaming that you’ve done materialize, inch by inch, piece and was later joined by Eddie Gomez (bass) and row by row, these legs are unstoppable, see this Lenny White (drums). Gomez made quite an garden, watch it grow.” impression, sometimes stealing the attention from To order: See us at cdbaby.com or send check or money order for $15.00 to mPub-AJ Muñoz with his technique and groove. On “Besame For more information, visit www.randomchancerecords.com. P.O. Box 1234 Stamford, CT 06904-1234 USA - All checks/money orders in U.S. dollars CT residents add 6% sales tax - Foreign orders add $5.00 shipping/handling Mucho”, Gomez started out with an extended arco Threadgill is at Knitting Factory Jan. 22nd. See calendar. CD distributed by North Country Distributors - [email protected] solo - his instrument had a bit of reverb to it, which gave the song an eerie feel. Muñoz joined a few minutes later, briefly taking the song into a more Latin direction but changing again into a more standard feel as White began to play. Young saxophonist Chris Potter was introduced during the third number, a blues-via-bebop tune that got a good reaction from the audience. On “On The Way To The Gig”, Muñoz was pretty much on the spotlight as Gomez played a “Take Five”-like bassline. Lenny White played his first solo of the night here, Yo Miles!: Upriver starting off by keeping the beat on one of the cymbals, Henry Kaiser/Wadada Leo Smith (Cuneiform) Thu-Sat, Jan 5 - 7 while soloing single-armed for most of the time. He by Jeff Stockton A TRIBUTE TO would have another go during the last number, DANNY MOORE clenching a drumstick between his teeth as he ast year the Yo Miles! collective released Sky Garden George Coleman (ts) L Anthony Wonsey (p) adjusted a cymbal during the solo while he did what (Cuneiform), a 2-disc set that surveyed (‘covered’ John Webber (b) he could with the rest of his body - quite an amazing trivializes its accomplishment) Miles Davis’ brand of Joe Farnsworth (ds) feat that drew sonorous applause from the audience. funky ‘70s jazz fusion. At over 2½ hours, it was a Thu-Sat, Jan 12 - 14 massive slab of music. Upriver is also a massive slab. PETER BERNSTEIN For more information, visit www.carlisworld.com And once again, it begs the question: “Does the world QUARTET Brad Mehldau (p) need another 25 minute version of ‘Bitches Brew’?” Doug Weiss (b) Yo Miles! convinces that the answer is Yes. The Bill Stewart (ds) group is larger than the band Miles led on Agharta and Fri & Sat, Jan 20 - 21 Pangaea by a couple of guitars and an extra saxophone, AL FOSTER but what Yo Miles! loses in menace and Ef You BIRTHDAY CELEBRATION attitude, it gains in commitment, enthusiasm and Thu, Jan 26 virtuosity. Unlike Sky Garden, which was roughly half DMITRI KOLESNIK/ original compositions, Upriver offers only two: a ANDREI KONDAKOX FIVE CORNERS 3-minute group jam that is a drop in this bucket and Eric Alexander (ts) co-leader and trumpeter Wadada Leo Smith’s Jim Rotondi (tp) Lenny White (ds) “Thunder and Lightning”, which taps Miles’ vibe and Of The Air sensibility (and track time) without resorting to Fri & Sat, Jan 27 - 28 Pyeng Threadgill (Random Chance) BRUCE BARTH by Francis Lo Kee imitation. Two other tracks in particular stand out. TRIO “On the Corner Jam” puts Miles alumnus Zakir On Of the Air Ms. Threadgill presents an album of Hussain’s tabla up against Greg Osby’s alto and the original music that cuts a broad swather stylistically. pair attacks the groove with mind-blowing Yet, Of The Air is focused, honest and travels through inventiveness. On “Tatu/Agharta Funk”, guitarists Sundays: Latin Jazz w/ Syotos Band the various stylistic contexts organically. There are Mike Keneally, Chris Muir and co-leader Henry Kaiser Mondays: Jam Session w/ John Farnsworth Quintet several reasons for the honest coherence of this music. fuzz-out and wah-wah as if they were competing in a Tuesdays: B3 Organ Grooves w/ The CD is recorded (analog) with a core group of cutting contest based on the “Theme from Shaft”. Eric Alexander, Mike LeDonne, musicians, a working band rather than using the The rest washes over you like radiator heat. Peter Bernstein heavy-hitter/hired gun type of player. Lisa Kaiser has made a point to record the Yo Miles! Tuesday & Wednesdays: Vocalist Series 6:30- 9 pm Mezzacapa (bass), Shelly Doty (guitar) and Micha sessions to audiophile standards and the band benefits Thursdays: Early Jam 6:30- 9 pm 14 January 2006 | ALLABOUTJAZZ-NEW YORK to create a trombone choir resonance on “Love Always The penultimate “Bahia” spotlights Barbieri Blue”. The four “More” tracks feature a larger lineup, hearkening to Coltrane’s ‘50s persona in the opening with two tenor saxophones, some flute, pianos, strains of the beautiful ballad (over the lush cushion of drummers and a hand percussionist. The tunes are Johnson’s tuba) and moving on to the master’s highly impressionistic, conjuring images of their titles: uninhibited ‘60s tone (mingled with a Rollins-esque “The Queen”, which employs Mingus accelerations; coarseness) later in the song. The final selection, the “Peaceful Thinking”, loping gracefully on shimmering leader’s “Lluvia Azul”, a pretty melody first heard in hand bells; “Oree Me”, a fast, parading samba; and a Chico O’Farrill arrangement on the previous Chapter “Madrid”, mixing flamenco with the ritual bugle calls Three: Viva Emiliano Zapata, features the whole band in (translated to trombone) of the bull ring. Clifford an AfroCuban styled descarga (jam) that was quite Swingin’ Stuff Jordan’s tenor sax greatly enhances the proceedings. novel at the time. Stuff Smith (Storyville) All Blues is a far-ranging march through a by Ken Dryden variety of blues, many with specific musician For more information, visit www.impulserecords.com. Not only was Stuff Smith one of the first prominent associations, with Griffin’s trombone substituting for Barbieri is at Iridium through Jan. 1st. See calendar. jazz violinists, his gritty sound was very distinctive. the usual tenor sax in an organ combo with Larry These live sessions, recorded in 1965 (two years prior Goldings, guitarist Ron Jackson and drummer Cecil to his death), will be of great interest to fans of his Brooks III. The leader’s “Sneakers for Jimmy” is a fond work, with the addition of four previously unissued pastiche of “High Heeled Sneakers” as boogalooed by songs. Smith is accompanied by a superb rhythm organist Jimmy Smith and he also dedicates originals section consisting of pianist Kenny Drew, bassist to Art Blakey, James Brown and Shirley Scott. There’s Niels-Henning Ørsted Pedersen and drummer Alex a trio of Ellingtonia, including plunger-muted Riel. The music was recorded at Jazzhus Montmartre wah-wah high jinks on “C Jam Blues” and varying for a radio broadcast, though the sound is well approaches - from dreamy ensemble to soulful funk - balanced and beautifully remastered. Among the new to multiphonics on “Mood Indigo” and “Creole Love material is a brilliant take of “Caravan” featuring Call” respectively. Blues from Miles Davis, Horace Smith playing a bit of pizzicato and potent solos by the Silver and Hampton Hawes round out the leader, Drew and Pedersen. Other performances entertainingly diverse program. issued for the first time include Smith’s spacious interpretation of “Perdido”, a feature for Smith’s For more information, visit www.dickgriffin.com. Griffin is hoarse vocals (“S’posin’”), along with a teasing at Bowery Poetry Club Jan. 8th and 15th with Nation of We arrangement of “How High the Moon” in which and Brecht Forum Jan. 21st. See calendar. Pedersen interpolates “Ornithology” into his solo. “Take the A Train” and “One O’Clock Jump” are the best examples of Smith’s slashing approach in uptempo settings, while his humorous vocal is added for the snappy “My Blue Heaven”. This is an essential purchase for any fan of jazz violin. For more information, visit www.storyville-records.com USED NEW Alive in New York Gato Barbieri (Impulse!-Verve) by Russ Musto The final installment of Gato Barbieri’s excellent “Latin America” series features the fire breathing Argentinean tenor saxophonist leading a smoking 236 West 26 Street, Room 804 internationalist septet of Howard Johnson’s bass New York, NY 10001 clarinet, flugelhorn and tuba, Eddie Martinez’ A Dream for Rahsaan... All Blues keyboards, Paul Metzke’s electric guitar, Ron Carter’s Dick Griffin (Konnex/Amosaya - Ruby) Monday-Saturday, 10:00-6:00 by George Kanzler bass, Portinho’s drums and Ray Armando’s (June, July, August-closed Saturdays) percussion, at the Bottom Line back in 1975 - a time Trombonist Dick Griffin, now in his 60s, has an when jazz was moving in many directions. A impressive resume, ranging from the bands of post-Coltrane avant gardist with a firm grounding in Tel: 212-675-4480 Ellington, Basie, Mingus, Lionel Hampton, Sun Ra and the tenor saxophone tradition, Barbieri merged the Fax: 212-675-4504 Roland Kirk to stints with James Brown, Michael world music of his native continent and the Jackson and, last March, a guest appearance with the blossoming fusion movement into a uniquely personal Email: [email protected] Allman Brothers Band in Manhattan. A Dream for mélange that is still exciting today. Web: jazzrecordcenter.com Rahsaan and More includes sessions he recorded in 1985 The satisfying set begins with Barbieri’s “Milonga and 1979 while All Blues is a mid ‘90s session by his Triste”, a melancholy tango that showcases the LP’s, CD, Videos (DVD/VHS), (still active) Organ Ensemble. leader’s sensual sound swathed in an opulent textural Books, Magazines, Posters, Griffin is a master of the sounds of the trombone, tapestry of interwoven rhythms and tones (enriched Postcards, T-shirts, from a clarion clear to a jaggedly raspy tone and from by Johnson’s superb bass clarinet backgrounds). The Calendars, Ephemera smears and slides to vocalized wah-wah plunger- album’s centerpiece, “La China Leoncia”, an extended muted cries and multiphonics (playing two or three four-part suite by Barbieri, is constructed similarly, Buy, Sell, Trade notes simultaneously). He’s also well-versed in a wide but unfolds even more dramatically. It begins with the range of jazz composing and arranging styles as well composer’s poetic recitation over an airy backdrop of as being a connoisseur of jazz traditions. A Dream for fluttering tuba, keyboards and percussion, seamlessly Collections bought Rahsaan and More is a showcase for his writing and segueing into the second section, which opens with and/or appraised arranging, showing influences of two of his former Martinez’ processional piano and gives way to employers, Ellington and Mingus. The first six tracks Carter’s insistent bass line and Barbieri’s flamenco Also carrying specialist labels feature a quintet with alto saxophonist Gary Bartz, inspired handclapping, before the tenor enters, e.g. Fresh Sound, Criss Cross, pianist Stanley Cowell, bassist Cecil McBee and either gradually building in dynamics until shrieking and Ayler, Silkheart, AUM Fidelity, drummer Idris Muhammad or Billy Hart. “There’s a squealing fervently in the third section. Metzke’s Nagel Heyer, Eremite, Venus, Time for Love” moves over a richly processional cavaquinho styled strumming opens the final Clean Feed, Enja and many more progression; “Darkness of Duke” evokes Ellington’s movement, Portinho’s drumming and Johnson’s deep-hued ballads; and Griffin employs multiphonics flugelhorn pushing the leader’s high energy horn. ALLABOUTJAZZ-NEW YORK | January 2006 15 transition. A master collaboration of musicians. LIVE PERFORMANCES Bartlomiej Brat Oles` Free Drum Suite starts out opposite from Pride’s disc. With an eerie lead in, Oles goes off, sometimes so quiet you forgot he was there. AT Shortly after you turn the volume up, Oles is blasting through your speakers. He shows a great sense of timing here; not just playing in a certain tempo, but timing when he is going to beat his drums or when he is going to softly lay out a rhythm. You’re bound to be entranced by his songs as they go from mild to wild Shades of Carol and explore a full palette of bells, bamboo sticks and Carol Sudhalter (Alfamusic) by Andrew Veléz even birds. This record puts out a great vibe, like your stereo has got a mind of its own and painted a surreal This beautifully orchestrated set showcases multi- soundscape. instrumentalist Sudhalter (saxophones and flute) in a Pride and Oles hit both sides of the kit - being the compilation of four sessions with different musical backbone to an ensemble or creating one’s own solo groupings. It gets off to a jumping, upbeat start with suite. While Scrambler and Free Drum Suite have two Cedar Walton’s “Firm Roots”, immediately showing different formats, a sense of intensity and thought is off her roots firmly in happy, mainstream swing, present in both. Andrea Torozzi’s piano providing exhilarating company for the warm tenor sax. For more information, visit www.nottwo.com. Pride is at What follows is a rarely heard beauty, Victor Red and Black Jan. 6th, Café Grumpy and BPM Jan. 7th, Young’s “A Weaver of Dreams”, on which Vittorio Cakeshop and City Crab Jan. 8th, Tea Lounge Jan. 12th and Sicbaldi’s drums provide just the right amount of light The Stone Jan. 31st. See calendar. seasoning, accentuating Sudhalter’s own very appealing flight of fancy. On her own tune “Dry”, Sudhalter’s flute plays the gentle, samba-like melody, which wafts as lightly as an ocean breeze on a warm summer day. Some of our performances this month include: Of a pair of vocals with Martha J, the too-rarely- Tue Jan 3 PETE ROBBINS & CENTRIC 8:30PM heard “Lotus Blossom” (Strayhorn/Schore), a fine, late Sam Sadigursky, Ryan Blotnick, Thomas Morgan, Dan Weiss night lament, is especially welcome. Three tunes are Thu Jan 5 GREG LAMY QUARTET 8:30PM Javier Vercher, Massimo Biolcati, Ferenc Nemeth performed by the Astoria Big Band, which Sudhalter Fri Jan 6 CHRIS LIGHTCAP GROUP 9 & 10:30PM founded in 1986. For this listener they’re the highlight Tony Malaby, Mark Turner, Craig Taborn, Gerald Cleaver of the collection. This trifecta is made up of that old Mon Jan 9 COMPOSERS COLLABORATIVE INC. 8:30PM BushWacked: A Spoken Opera perennial “Lullaby of the Leaves”, Monk’s “In Walked IAJE SPECIAL PROGRAM Mark Whitecage (Acoustics) Half price Jan 11, 12 & 15 when you show your IAJE credentials Bud” and Frank Loesser’s “On A Slow Boat to China”. by Judith Insell Wed Jan 11 JACOB ANDERSKOV ACCIDENT 8 PM Sudhalter’s flute is especially expressive on the Monk Cuong Vu, Jesper Zeuthen, Ned Ferm, Chris Speed, tune, while the orchestra and the fullbodied warmth of BushWacked: A Spoken Opera takes a bold political Peter Dahlgren, Jeppe Skovbakke, Rune Kielsgaard her baritone sax lends a depth to Loesser’s pop tune stand. The feeling presented through each track is of JOHN MCNEIL 10 PM Pete McCann, Allison Miller, Mike McGuirk which is nothing less than transformational. anger, outrage and distrust of George W. Bush and his Thu Jan 12 GNU VOX ALL NIGHT IAJE VOCAL SPECIAL 6-11:30 PM There’s a spirited energy in the work here, which political regime. Joining Whitecage (alto sax and - EMERGING SINGER SHOWCASE audiences have long enjoyed in adopted New Yorker clarinet) are the members of The Bi-Coastal Orchestra: - FEATURE PERFORMANCE: Rachel Caswell, David Devoe, Julia Dollison, Sara Leib Sudhalter’s performances. On Shades of Carol, the tones Rozanne Levine (alto and soprano clarinets), Bill - SINGER SESSION and colors prove to be varied and inviting. Larimer (piano), Robert Mahaffay (drums) and Scott Fri Jan 13 JEREMY STEIG QUARTET 9 & 10:30PM Steele (guitar), all who appear throughout the CD as Vic Juris, Cameron Brown, Anthony Pinciotti For more information, visit www.alfamusic.com. Sudhalter presenters of the spoken word material. Sat Jan 14 JAMES CARNEY GROUP 8:30 PM David Binney, Josh Roseman, Jonathan Finlayson, is at The Cajun Sundays. See regular engagements. The CD takes its text from news media excerpts Chris Lightcap, Ted Poor (The Nation, Harper’s and The Progressive Populist) and BEN WALTZER GROUP with Bill McHenry 10:30 PM lyrics written in 1992 by Jeanne Lee adapted for Sun Jan 15 NICK BISESI QUARTET CD RELEASE PARTY 8:30 PM Whitecage’s composition “BushWacked” and presents Pete McCann, Cliff Schmitt, Owen Howard, Gayle Bisesi the almost ‘singspiel’ vocal style of text and lyrics in a Mon Jan 16 BIG BANG 8:30PM hosted by Katie Down Tue Jan 17 MOSTLY OTHER PEOPLE DO THE KILLING 8:30PM very free form setting. Most of the music is performed Peter Evans, Jon Irabagon, Moppa Elliot, Kevin Shea in a ‘free jazz’ style with no clear structure, excluding Wed Jan 18 SONGWRITERS BEAT 8:30PM hosted by Valerie Ghent “Jesus” which is a short gospel blues segment. Thu Jan 19 KIM BOCK QUARTET 8:30PM David Smith, Adam Armstrong, Peter Retzlaff Likewise, the spoken word portions have no clear Sun Jan 22 STRYKER/SLAGLE BAND 8:30PM rhythmic form, appearing mostly over the music Dave Stryker, Steve Slagle, Ed Howard, Victor Lewis Mon Jan 23 21 CENTURY SCHIZOID MUSIC Presents without any clear rhythmic relationship. MATTHEW WELCH 8:30PM Levine’s voice, which appears on “In Our Name” Scrambler Free Drum Suite Tue Jan 24 TANYA KALMANOVITCH HUT FIVE 8:30PM and “Who’s the War for?” has an off-putting quality: a Pete McCann, John Hebert, Owen Howard Mike Pride Bartlomiej Brat Oles Wed, Jan 25 SOUL OF THE BLUES 8:30PM hosted by Jon Sobel (Not Two) (Not Two) weathered sound weak in tone and Larimer’s Thu Jan 26 GNU VOX VOCAL SERIES 8:30PM hosted by David Devoe by Michael Puccio intentionally out-of-tune singing on “Who’s the War Fri Jan 27 PETE ZIMMER QUINTET 9 & 10:30PM For?” doesn’t quite connect with the feel of the swing Joel Frahm, Toru Dodo, David Wong Sat Jan 28 THE FRINGE 9 & 10:30PM Mike Pride’s Scrambler starts off with a bang. On the style backing music that accompanies him. The solely George Garzone, John Lockwood, Bob Gullotti first track, “A Cry For Unity”, the drummer-leader spoken word “Fugue”, however, interestingly utilizes Mon Jan 30 IGOR LUMPERT GROUP 8:30PM starts the trip with a barricade of beats. Soon enough words as they become fugal subjects. And the final Matt Brewer, Daimon Reed and guests Tue Jan 31 GABRIEL ALEGRIA AFRO-PERUVIAN JAZZ SEXTET 8:30PM his “Cry For Unity” is answered by a tremendous trio track “Fool Me Twice, Shame on Me” provides a final Laurandrea Leguia, Freddy ¨Huevito¨ Lobaton, Hugo Alcazar, of sounds, William Parker booming his bass in with commentary comprised solely of instrumental Jochio Velazquez, Joscha Oetz Charlie Looker’s subtle yet key guitar, allowing Tony improvisation, as if words simply weren’t sufficient to For our full schedule check out our website Malaby to fly out of the boundaries of his sax. Looker reflect the populace of this group’s anger and message. www.corneliastreetcafe.com steps front stage in “Sometimes It Just Goes To Show” The quality of the recording itself is of a rough, with a refreshing tone. Clean and fast, with the raw, unmixed recording that was made in a basement occasional handmade effect, Looker delivers. At the studio, possibly an intentional effect, thus giving the CORNELIA STREET CAFE drop of a hi-hat, this band of four can go off in their product its ‘grass roots’ feel. 29 Cornelia Street own dimensions, as they weave in and out of each New York, NY 10014 (212) 989-9319 other to create a smooth and ‘scrambling’ sound. The For more information, visit www.erjn.it/mus/whitecage.htm. beauty is that as much as these guys go out riffing, This project as well as a group led by Rozanne Levine is at Between West 4th and Bleecker West of 6th Avenue they tighten up just as quickly with a flawless The Stone Jan. 11th. See calendar. 16 January 2006 | ALLABOUTJAZZ-NEW YORK engage in a lengthy duet and Blakeslee doesn’t emerge until halfway through the piece’s ten minutes. The arrangement of “Come Sunday” finds Campbell on French horn and the three essay the theme with a somber resonance. They engage in a 3-way improvisation that builds in intensity with Bisio bowing ever-denser thickets of sound, swelling the piece to an effective climax. Each track has something to offer and Composance stands as a testament to the variety and substance that can be invested in a trio Songs for Samuel Composance [\kif`k Jay Rosen Michael Bisio format when the musicians have intelligence and (CIMP) (Cadence Jazz) imagination. dfkfiZ`kpaXqq by Robert Iannapollo For more information, visit www.cadencebuilding.com. Drummer Jay Rosen is an imaginative musician and Rosen is at The Stone Jan. 6th with Bisio and Jan. 11th with he set for himself what some would consider a Mark Whitecage and Rozanne Levine. Bisio is at The Stone monumental task: an homage to his recently deceased Jan. 6th and with Vijay Iyer Jan. 31st. See calendar. µBVSOZeOga father played on drums and percussion. However, W\\]dObWdS@]\ Rosen is one of the most accomplished drummers 1O`bS`^caVSa around and his musical acumen, as demonstrated in T]`eO`ReWbV groups like Trio X and the Cosmosamatics, is second Oa]c\ROaT`SaV to none. OaSdS` ¶CA/B]ROg The set begins with a triumphant drum fanfare, melodic and rhythmic material bouncing from drum to drum. The sections remain dynamic and highly charged rhythmically through the early material. Around “Part 5”, tempos slow and that track is pushed forward by a slow drag beat. It would be foolhardy to Demian as Posthuman read too much into this material but Rosen gives us a Steve Lehman (Pi) clue regarding “Part 6”, a meditation on the last days by Terrell Holmes of his father’s life in the hospital. It’s all ominous, low rumbling drums, clicking hi-hat, cymbal washes and How can a disc with Steve Lehman’s alto sax, Meshell the sound of Rosen blowing through two organ pipes. Ndegeocello’s electric bass, Tyshawn Sorey’s drums All elements are played off each other and are united and Vijay Iyer’s piano go wrong? Demian as Posthuman by Rosen’s mastery of polyrhythms. It’s an eerie yet clocks in at a short, sweet 37 minutes and is effective piece of music. Rosen is among the subtlest of essentially a series of sax/drum duets with variations drummers and this disc has a wide dynamic range. on the same theme (Ndegeocello and drummer Eric One feels Rosen is painting his father’s canvas of life McPherson are on 3 of 12 cuts, Iyer on only 2). While using all effective means at his disposal. aspiring to a jazz/funk/fusion blend, despite the Bassist Michael Bisio has been a mainstay of the heavyweight players it’s only moderately successful. Seattle jazz scene since the ‘70s, although he’s made “Vapors” finds Lehman blowing his impatient forays east in the groups of Joe McPhee and Charles alto over the rhythmic stylings of Sorey and bassist Gayle and is now an NYC resident. For Composance, Meshell Ndegeocello, with electronic flourishes added BVSZSUS\RO`g@]\1O`bS` Bisio assembled a trio of Northwest compatriots with by Jahi Lake, Iyer elegantly holding down the fort. GcaST:ObSST1c`bWa4cZZS` trumpeter Rob Blakeslee and drummer Greg “Demian”, the nominal title cut, might have been 1VO`ZSa;Q>VS`a]\O\R Campbell. Since the trumpet trio format isn’t exactly better without the overuse of the electronics. The ;O`Qca0SZU`OdSTcSZO common, Composance comes off as a breath of fresh air. acoustic version of “Damage Mobility” features a[]ZRS`W\URS¿O\bPOaa From the thick rubbery bass line leading into a Lehman’s solo alto being enhanced electronically as he b`ORWbW]\eWbVEg\b]\ pressed roll that slams into a puckish trumpet stating plays outside the box, mixing straight blowing with ;O`aOZWaO\RbVS:W\Q]Z\ the tricky theme, the opener “CRT” heralds a his own effects. On the extended version Sorey joins 1S\bS`8Ohh=`QVSab`O dynamic, charging band ready to play. Mingus is a him for an electronically enhanced, overdubbed duet touchstone on a couple of tracks. In addition to the that features his singular percussive highlights. 8O\cO`g ! " quote from “Haitian Fight Song” on the title track, “CognitionoCurtis Duncan” and “CognitionoDrew @]aSBVSObS`&^[ there’s an unusual homage to the bassist on “Charles, Hill” are also restless alto/drum duets. Too!”. Campbell plays gamelan-sounding percussion “LogicoMeshell” brings the jazz/R&B diva into the as Bisio states an arco theme that recalls Mingus’ fold to deepen the music and give it another direction. :SOR1]`^]`ObSA^]\a]` statement to “Meditations”. Bisio and Campbell Ndegeocello lays down some wicked bass, Lehman and Sorey are rock solid, but the electronic effects by k`Zb\kj Jahi Lake are more of a distraction than an fejXc\ enhancement. The brooding “LogicoTyshawn” is eee XOZQ ]`U arguably the best cut, Lehman’s hiccupping alto 1S\bS`1VO`US % $# meshing with Sorey’s edgy drumming. 0]f=T¿QS In the case of “CognitionoHaywood Jeffires” the 0`]OReOgOb$ bVAb`SSb electronic effects actually serve to give the tune more 5`]c\R4Z]]` depth, instead of effects for effects’ sake. “Emphonic” ;]\³AOb O[&(! ^[ is Lehman’s tour de force; he programs the drums and Ac\ O[&(! ^[ picks up the sopranino sax for an impassioned solo effort. Everyone comes together at the end for the appropriately titled “Community” (McPherson is on drums, not Sorey). This cut is a cycle of repeated phrases, with the rhythm section going through the motions as though they recognize that their playing is secondary to the concept itself. Demian as Posthuman, which seems so promising on the surface, is Visit Vince on the web at ultimately disappointing. www.Vincentector.com For more information, visit www.pirecordings.com. 4`SRS`WQY> @]aS6OZZ6][S]T8OhhOb:W\Q]Z\1S\bS` for current performances in the area. 0`]OReOgOb$ bVAb`SSb cD is aVailable at all major retailers. Lehman is at Jazz Gallery Jan. 25th-26th. See calendar. ALLABOUTJAZZ-NEW YORK | January 2006 17 By “Part One”, the third track, the full ensemble leads the band, with Tim Berne on saxophone, Mark finally joins together. Laswell’s bass, Perowsky’s Dresser on bass, Tom Rainey on drums and relatively- drums and Burger’s organ create a spacey groove new-kid-on-the-block Sylvie Courvoisier on piano. above which Zorn’s alto and Douglas’ trumpet dance The group was brought together at the invitation of in intervals that sound plucked from the Middle East, Vancouver Jazz Festival organizer Ken Pickering in or perhaps North Africa. Some extreme sax technique 2004. Something must have clicked, because they leads to another brief “Interlude” where it’s reconvened shortly after for a session that produced often difficult to tell sax from trumpet from voice. the 48-minute piece that comprises this disc. “Part Two” provides another loose framework for Although the festival was a first meeting for the the horn players to explore extended, thoughtful and band, its members are riddled with shared history. The Stone, Issue One impassioned solos. The climax of the suite comes at the Berne and Rainey have a strong and long-standing Various Artists (Tzadik) end of this section, with both horns building in an relationship, going back to the ‘80s when they played by Brian Lonergan emotional crescendo. And while the remainder of the in a number of projects with the leader. Berne and One of the more striking aspects of the playing on piece may be denouement, it’s still beautiful, Rainey also have been playing recently with The Stone, Issue One, especially the interplay of altoist especially Douglas’ low, muted trumpet phrases Courvoisier (sometimes joined by electronic John Zorn and trumpeter Dave Douglas, is the sense of throughout the pensive “Postlude”. percussionist Ikue Mori) and Robertson and immediacy and transparency about the music. It’s as if Courvoisier have played together in various settings the listener has a clear window into the improvisatory For more information visit www.tzadik.com. For this for a decade. Dresser has less of a common heritage, act, witnessing pure, unpremeditated creation as it month’s performers, visit www.thestonenyc.com. but has going for him the fact that he can do anything; happens for the very first time. until his recent relocation to San Diego he was one of Recorded at the nascent Alphabet City club, the most valuable sidemen in town. The Stone, Issue One is essentially an untitled suite of The results are rich and dense. The piece has alternately serene, grooving and anguished music, something of the feel of Berne’s long-form with Zorn and Douglas joined by Mike Patton (voice) compositions, but with quicker changes between the Rob Burger (organ, electric piano), Bill Laswell (bass) various settings. At times it’s highly rhythmic, at other and Ben Perowsky (percussion). The Stone was voted points pedal-to-metal energy. The horns work one of this gazette’s Best Venues for 2005 and with this perfectly together, as - at times - do the rhythmic special release to benefit the club, it’s easy to see why. counterpoints of Rainey and Courvoisier. The only The “Introduction” creates a tranquil ambience drawback is that some of Courvoisier’s more nuanced filled with shimmering organ chords and gentle playing gets lost, a fact she makes up for 35 minutes in electric piano tones. But that serenity is soon shattered Elaboration with a great, hard solo, the sort of playing she’s done by “Interlude 1” and a rising, anxious howl that opens Herb Robertson (Clean Feed) less frequently on record. by Kurt Gottschalk up the tormented world of Patton’s visceral and spastic extreme-vocals. (Picture the cartoon character Dubbing a band the “NY Downtown Allstars” is For more information, visit www.cleanfeed-records.com. the Tazmanian Devil in violent death throes and certainly bold, but it’d be hard to argue against this Robertson is The Stone Jan. 10th with Fonda/Stevens you’re about halfway there.) lineup: under-recognized trumpeter Herb Robertson Group. See calendar. 18 January 2006 | ALLABOUTJAZZ-NEW YORK on “Abacus” when his freight train-power-blues triangles: scalene (no congruent sides), isosceles (two makes an unexpected appearance. Lovano follows suit congruent sides) and equilateral (all sides congruent). and Motian meanwhile switches from swirling, sonic If the trio of clarinetist Perry Robinson, bassist Ed embellishments to supportive swing to demonstrate Schuller and drummer Ernst Bier became the subject of his restrained, tamer side. “The Sunflower” has a mathematical paper, they would create a new type of everything that can be expected from this band: triangle, one whose congruency of sides is not fixed eccentric guitar manipulation, an energetic horn that but instead changes throughout time. cuts through like a church bell and cymbals that can Recorded live in 1990 in Cologne, Germany, the fill a song with just the slightest touch. performance demonstrates how jazz often is music At The Village Vanguard is a timeless recording, played without distinct leaders. Throughout the At The Village Vanguard but only because it could be mistaken as a album’s material - three tunes by Robinson including Paul Motian (JMT-Winter & Winter) contemporary one. Consistency isn’t always a bad “The Call”, two by Schuller, one collective by Abe Pollack thing; the trio has the ability to move an audience with improvisation and one cover each from Sidney Bechet The Paul Motian Trio is considered one of the greatest their emotive expression and to play with a synergy and Jake Holmes - the emphasis changes. Robinson, jazz bands of today, if not of all time. With Bill Frisell unmatched by any other working band. If it ain’t who one would assume by default is the lead voice and Joe Lovano working in symbiotic melody and broke, don’t fix it. At The Village Vanguard proves just gets subsumed by forceful rhythms, coming from harmony, Motian has the freedom to showcase his use how unbreakable this band is. either Schuller or Bier or both. The foundational role of color and texture. The group approaches a standard of the bass can be subverted by direct communication as if it were an original, having just as much For more information, visit www.winterandwinter.com. between Robinson and Bier. Bier’s participation can be conviction and respect for the melody as if they had Motian is at Village Vanguard Jan. 24th-29th. See dominant or distant. written it. calendar. This makes for an album of fascinating textures For 20 years, the band has been leading the jazz and many possibilities. In a strictly ‘free’ record, this world in innovative as well as classic recordings. They would be a minimum requirement. But since the trio is have redefined the role of a trio. Each voice supports playing written material, the dynamic shifts from one another, as a soloist is just as much of a support as acute to right to obtuse to equiangular make every the accompanist. With such a successful formula, it tune seem like several, a refreshing departure from the would be a shock if the trio were to release any head-solos-head or leader-rhythm section formats that deviation from their previous works. can suck the life out of much jazz. Add in Robinson’s And so it is that At The Village Vanguard is a mischievious personality and unique sound on the predictably beautiful record. Ten years after the instrument (modern clarinet would be nowhere recording, this reissue offers the same somersaulting without him) and you have one math problem that Lovano, texturizing Motian and brink-of-insanity both children and adults can enjoy. Frisell that can be heard playing their Village Children’s Song Robinson/Schuller/Bier (Konnex) Vanguard engagement every fall. Save for “You Took For more information, visit www.konnex-records.de. by Andrey Henkin The Words Right Out Of My Heart”, this is a collection Robinson is at The Stone Jan. 11th with Rozanne Levine. of Motian originals. Bill Frisell pulls out all the stops In mathematics, there are three basic types of See calendar. Rome Neal’s BANANA PUDDIN’ a JAZZ JAM AND OPEN MIC JAN 31ST at 7 P.M. $7 A Screening of MONK on DVD (From the live Off- Broadway Show by Laurence Holder, Starring Rome Neal as Thelonious Monk with a music score by Bill Lee (Do The Right Thing, Mo’ Better Blues) “acting was superb... it was Monk.” - Max Roach “Reminded me of Monk.” - Barry Harris “Rome Neal brings the same creative intensity to Monk Rhiannon and Kate McGarry in Performance as Jamie Foxx brought to his Oscar winning Saturday, Jan. 14, 2006 7:00 PM portrayal of Ray Charles” - Ron Scott, Jazz Critic Joe’s Pub Come see the screening at the Nuyorican Poets 425 Lafayette St. NYC 212.539.8778 Cafe or Order DVD online at www.monktheplay.com Tickets: $20 advance purchase advised http://web.joespub.com/caltool JAN 31ST at 9 P.M. www.telecharge.com or 212.239.6200 $10 AND $5 FOR JAMMIN MUSICIANS Featuring “McGarry is a wonder, blessed with sheer lung power The DONALD SMITH TRIO and bounteous taste and sensitivity.” - Jazziz Magazine with Donald Smith (piano), Bernice Brooks (drums) 7pm and Dave “Jake’ Jacobs (bass) “Rhiannon shows what heights jazz singing can reach when it combines disciplined musicianship with utter **COMPLIMENTARY BANANA PUDDIN’ FOR ALL** fearlessness.” - Time Out NY RSVP NOW!!! @ 212-465-3167 7:50pm at the world famous NUYORICAN POETS CAFE 236 East 3rd Street, (Bet B& C Aves) (take F- train to 2nd Avenue) www.nuyorican.org Sponsors: Ella Joyce, Barbara’s Flower Shop, This & That Jewelry Shop, Milton Slaughter Esq., The Source Unltd, 4W Circle, Keur NDeye Restaurant, Malchijah Hats, [email protected], Sankofa Kuumba Cultural Arts Consortium, Hot House Jazz, EricFraizerMusic.com, 966 Jazz, Boca Chica, Audley Haffenden, le Souk/B3 Restaurants, Pulse Ensemble Theatre, Kiini Ibura Jewelry, BigAppleJazz.com, Namaskar- Bob Law’s Health & Body Shop, Land Shark CD Duplication and Design ALLABOUTJAZZ-NEW YORK | January 2006 19 Flanagan’s and Sulieman’s solos. John Coltrane, here in his middle period, begins his improvisation languorously but quickly assures with his “sheets of sound”, squeezing flurries of notes from his horn. Burrell follows suit, starting with a blues-drenched statement of empathy, but filling the arc of his solo with double-time finesse. The CD closes with a blues, “Tommy’s Tune”, and tells a similar instrumental story, each player initially mournful but fighting the blue devils of discontent. Milt Jackson The Cats Milt Jackson Flanagan/Coltrane/Burrell Rhythm section support is superlative. Coltrane’s cries (Prestige-Fantasy) (Prestige-Fantasy) and Watkins’ sighs during his one solo on the session by Greg Thomas are a fitting end: only two of these artists, Hayes and Burrell, remain with us today. From the opening tag of the first tune on this 1955 recording, one relaxes on the axis of the steel vibes of For more information, visit www.concordmusicgroup.com. Milt Jackson, joined by his Modern Jazz Quartet mates The Music of Jackson and Flanagan is at Dizzy’s Club Jan. Percy Heath and Connie Kay, along with soul jazz 10th-15th. See calendar. pioneer Horace Silver. The original Prestige rerelease in the early ‘60s was dubbed Soul Pioneers. Marketing labels aside, Jackson’s playing sings throughout and his trademark warm vibrato rings on ballads such as “My Funny Valentine”, “The Nearness of You” and “I Should Care”. His incorporation of a blues/gospel feel peppered with traces of bebop is another Jackson signature. Silver, pianist in Art Blakey’s Jazz Messengers at the time, was a perfect choice; his comping and solos combine similar aspects of the Afro-American musical Twin Song continuum. Silver is a master of accompaniment and Avi Rothbard (Midlantic) “Stonewall”, an uptempo favorite of this listener and by Karen Hogg the opening number “Wonder Why” spotlight his contribution in this regard. Twin Song, guitarist Avi Rothbard’s second recording, Unlike MJQ’s contrapuntal approach however, is a funky, atmospheric exploration. Rothbard’s group, this date is a loose blowing session following a basic which includes organist Jared Gold, drummer Joe melody-solos-melody format. Heath and Kay are Strasser and guest tenor saxophonist Wayne Escoffery stalwart on bass and drums respectively, as usual. The (on three tracks), works as a tight unit, inviting the disc’s re-mastering, utilizing JVC’s 20-Bit K2 Super listener in on their spirited musical conversations. The Coding System, is a high-resolution wonder, CD opens with “Preach’s Inches”, a soulful, infectious providing remarkable clarity of sound. groove that’s hard not to dance along to. “Minor The Cats, a 1957 Tommy Flanagan date featuring Impact”, the next cut, is an uptempo number that John Coltrane, Idrees Sulieman and fellow Detroit really lets each musician burn. They slow things down natives Kenny Burrell, Doug Watkins and Louis with the ballad “Cheerleader”. The title track is a Hayes, showcases Flanagan’s compositional talents swinging 6/8 workout. with four of his original tunes performed by the sextet. Other highlights on the recording include “Five The standard “How Long Has This Been Going On” is Corners”, a moody 5/4 tune and “The Password”, a presented via trio and showcases Flanagan’s tender beautifully executed solo guitar piece. Rothbard’s touch and Hayes’ brush prowess, with Watkins’ bass compositions are fully realized and clever, while at the blending perfectly. same time retaining their emotional center. A great “Eclypso”, with its Caribbean-flavored head, has rhythm section, Strasser and Gold are skilled in the art Flanagan flowing bebop lines with ease and Sulieman of listening. It is a joy to hear the interplay between the blowing a textured trumpet solo in the Fats Navarro- musicians. Overall, Twin Song is an excellent CD. Clifford Brown style. Kenny Burrell, regarded by many as the midpoint guitar master between Charlie For more information, visit www.midlanticrecords.com. Christian and Wes Montgomery, shares the melody Rothbard is at Cleopatra’s Needle Jan. 24th and 31st with Julius line on “Solacium” (The tune’s title is the Latin word Tolentino and Kavehaz Jan. 26th as a leader. See regular for ‘solace’). This sentiment is especially true of engagements and calendar. Neues Kabarett Presents: Saturday, January 21st 2006 Live At The Brecht Forum 451 West Street (between Bank & Bethune Streets) NYC 212-242-4201 www.brechtforum.org 9pm & 10pm $10 Richard Drexler, z The Large Musiic Now Set z musician/composer/arranger/orchestrator/producer piano/bass/violin/viola/voice Hill Greene z Ted Daniel z Matt Lavelle www.richarddrexler.com, Sabir Mateen z Dick Griffin [email protected] Joe Rigby z Ras Moshe z Roy Campbell 727/539-7921, 727/365-4581 discography over 100 recordings on web site Andre Martinez z Michael Thompson 20 January 2006 | ALLABOUTJAZZ-NEW YORK “Carol’s Dream” is as intricate (and in perfect unison player and he and Parker respond and resist in tandem between sax and piano) as any post Charlie Parker over the course of the disc. Fielder hits his drums hard, melody ever written, however the crescendo of energy rolling across his kit and crashing his cymbals, in “Bird’s Word” or “Warne Marsh” seems closer to spurring Lamb ever higher. Parker is impressively Cecil Taylor’s band with Jimmy Lyons and Andrew versatile, his notes cascading or dropping like darts Cyrille than it does Lennie Tristano. (Crothers did from a blowgun. The track titles indicate a cosmic, study with Tristano and admits his influence, but the celestial vibe, given overt expression when Parker constant comparisons to him and only him are makes his electric piano sound like a spacey church inaccurate and lazy.) organ. In addition to tenor, Lamb even puts some From piece to piece the music moves smoothly muscle into his flute and, on one track, leads the Long Night Waiting First, Keep Quiet from accurate melodies to intense interaction then soft swingingest conch shell feature ever. Stephen Gauci (Cadence Jazz/CIMP) and mysterious textures that allow poet Mark Weber’s by Laurence Donohue-Greene poetry to come through. Through many gestures that For more information, contact [email protected] It’s a rare pleasure to hear a musician warming up could be modal, harmonically static, bebop harmony, and [email protected]. Lamb is at The Stone Jan. 13th their instruments preceding a live performance. How dense or open, vertical or horizontal, there is a lot with Warren Smith and Jan. 22nd as a leader. See calendar. magical to eavesdrop on a saxophonist breathing out more conversation going on than in many standard unaccompanied scales and unguarded creative lines in jazz quintets. an empty club as the notes echo off the walls. In “Bird’s Word”, part of Crothers’ solo is The near 40-year old New Yorker Stephen Gauci developed through two independent lines in each has a deep, warm, buzzing tone on tenor sax that hand. “Carol’s Dream” presents a musical paradox: a creates such a personal vibe that you feel as if you are ballad tempo and volume with a fast paced piano/sax the only audience member listening in, particularly on unison. Moving from the melody into the solos the one of his two most recent studio releases, Long Night music flows in waves of changing dynamics, tempos Waiting. The seven tunes (four of which hover around and moods. Both Ratzo Harris (bass) and Roger the ten-minute mark) comprise a CD of collectively Manacuso (drums) play the role of supporting rhythm composed and/or spontaneously and empathetically section players well but go way beyond that, turning improvised pieces featuring Michael Bisio (bass) and in solos that have the dynamics, form and tonal Jay Rosen (drums). They equally touch the most ingenuity of little 21st century symphonies. This music mainstream of listeners as well as open-eared music defies soundbite explanations, is deeply developed fans in a session that showcases organically driven trio and demands your worthy attention. performances. Highlights are the ever-subtle, masterful cymbal/gong/percussion work of drummer For more information, visit www.newartistsrecordsinc.com. Rosen as well as Bisio’s always moving though Crothers is at The Stone Jan. 14th with Jemeel Moondoc and patiently creative pizzicato bass lines and astounding Henry Grimes. See calendar. multi-layered arco playing, up there with some of the great contemporary innovators of experimental arco including Mark Dresser and Henry Grimes. First, Keep Quiet, a bit more in your face, carries with it extended time-kept grooves with rhythmic contributions by Todd Nicholson (bass) and Jeremy Carlstedt (drums). A different compositional concept is also utilized, as “From the First, Not A Thing Is” is the only group improv on the entire CD and exploits what seems to be Gauci’s greatest strength: music of the moment. Other than “What’s New”, a nice Unbroken The Orbit of Sirius interpretation given to the sole jazz standard, nine Louie Belogenis M41 hard-driving Gauci originals help to give a more (Tick Tock) (s/r) well-rounded picture of a saxophonist deserving of by Jeff Stockton more attention. Tenor saxophonist Louie Belogenis traces his roots to For more information, visit www.cadencebuilding.com. Coltrane and Ayler explicitly, having recorded as a CDM 1006 Gauci is at The Stone Jan. 6th with Michael Bisio. See duo with drummer Rashied Ali and in Prima Materia, WATCH OUT! IT’S COMING!! calendar. a band led by Ali that has recorded album-long MARCH 2006! interpretations of Meditations and Bells. His agenda is the same (transcendence) and his vocabulary is similar CDM Records Double Disc Set (ecstatic), but Belogenis builds to his explosions, THE VAMPIRE’S REVENGE rather than exploding right out of the box. In this featuring... respect, he resembles Pharoah Sanders most. Backed Dom Minasi-guitars, by bassist Shanir Ezra Blumenkranz and drummer Ken Filiano-bass/electronics, Kenny Wollesen, the rhythm section frequently Jackson Krall-drums establishes modal grooves and repeated bass vamps that induce a mild hypnosis before Belogenis’ tenor smears away the pleasantry. Blumenkranz and With Guest Artists: Wollesen shake bells and tick and chime like a Live - Outpost Performance Space grandfather clock while Belogenis’ tone is alternately Perry Robinson-clarinet Joe Giardullo-soprano sax Connie Crothers (New Artists) hoarse and whispery, high-pitched and urgent and Jason Kao Hwang-violin Tomas Ulrich-cello by Francis Lo Kee smooth and mystical, with a touch of vibrato. Joe McPhee- tenor sax Sabir Mateen- tenor sax This is a great example of truly free music, not that Belogenis has been a sideman for too long: his John Gunther-reeds Ras Moshe-reeds kind of posing, temper tantrum stuff that is enslaved outstanding trio proves they can play in a tradition Blaise Siwula-alto sax Mark Whitecage-alto sax Paul Smoker- flugelhorn Herb Robertson-trumpet by its ignorance of melody or harmony. Connie established by rarified company. Steve Swell-trombone Francois Grillot-bass 2 Crothers has forged a truly individual path in music Substituting piano for bass, M41 is a tenor sax trio Borah Bergman-piano Matthew Shipp-piano with next to no help from the marketplace. From track with a twist. Pianist Chris Parker is no stranger to this Carol Mennie-voice Peter Ratray- recitative one, “Bird’s Word”, you get the feeling that, even instrumental lineup, having recently recorded with Byron Olson-conductor though this is pretty standard instrumentation, the downtown alto legend Henry P. Warner in the approach to the music is very original. It would be a Vibrational Therapists. This time, drummer, respected misleading oversimplification to say that it’s a teacher and registered pharmacist (just in case) Alvin Distribution: North Country combination of free energy music and bebop, but for a Fielder is the elder statesman and reedman Andrew Label contact: [email protected] fast description that might give an idea. The melody to Lamb brings the horns. Lamb is a burly, physical www.domminasi.com 22 January 2006 | ALLABOUTJAZZ-NEW YORK and American songbook standards; a highlight is Alden’s sumptuous arrangement of Thelonious Monk’s “Ask Me Now” with alto sax lead and a memorable, astutely Monkish guitar solo. Alden also includes two orchestrations of recorded solos to add spice to the proceedings: Armstrong’s on “Savoy Blues” and Flip Phillips’ tenor sax sermon on “Perdido” from a 1947 Jazz at the Philharmonic concert. Phillips was in the audience and the co-leaders also do a duo version of his Live in 95 surprisingly resonant ballad “With Someone New”. Howard Alden/Dan Barrett (Arbors) by George Kanzler Richards’ vocals are a plus (not always the case with leaders’ wives); they have a welcome artless grace, Carrying on the tradition of chamber jazz pioneered whether she’s swinging “Jeepers Creepers”, vamping by Swing combos like Artie Shaw’s Grammercy Five “It’s Now or Never” or caressing “Skylark”. and the John Kirby Sextet and continued by the Red Norvo Trio, George Shearing Quintet and Ruby Braff- For more information, visit www.arborsrecords.com. Alden George Barnes Quartet, guitarist Alden and is at Tribeca Perf. Arts Center Jan. 5th with Highlights in trombonist Barrett have been leading their quintet - Jazz and Dizzy’s Club Jan. 17th-22nd with Mark with alto saxophonist/clarinetist Chuck Wilson, O’Connor. See calendar. bassist Frank Tate (don’t overlook his lyric solos) and drummer Jackie Williams - intermittently for two decades. This album was recorded at a concert in Fort Lauderdale in early 1995 and also features cameo vocals by Terrie Richards, Alden’s wife. The lithe, nimble quintet creates smart, fresh versions of jazz classics and standards. The absence of a piano and Alden’s penchant for horn-like lines give the group an admirable flexibility and variety of tonal colors. Horns and guitar can riff along in unison, as on the Count Basie swinger “9:20 Special”, create three- part New Orleans polyphony as on the out choruses of two Louis Armstrong Hot Five tunes or fashion Self-Luminous O’Leary/Maneri/Peterson (Leo) intricate counterpoint, as in Barrett’s reimagining of Chamber Trio O’Leary/Maneri/Shipp (Leo) Benny Carter’s classic “When Lights Are Low”. The Pentagon Mat Maneri (Thirsty Ear) repertoire also ranges well beyond classic/swing jazz by Michael Puccio Mat Maneri is the constant on all three of these records. His viola has a brooding tone that rings similar on each album. Self-Luminous starts off slow, but eventually progresses to show some strong playing. Mark O’Leary (guitar) pours out some fast paced scales that parade his abilities. The group tends to go quiet and let Randy Peterson (drums) shine, but Maneri and O’Leary are quick to jump back in and grab the spotlight. Peterson does not get nearly enough playing time on this record. At times the string instruments tend to get a bit jumbled and apart from the last few tracks’ introduction to a chunkier guitar, the album sounds like one continuous piece. Chamber Trio, a better collaboration, has Matthew Shipp’s steady fingers on the piano keys, allowing Maneri to brood off into space. The first track “Jaunt” seems to find this trio’s place, where they are all doing their thing without stepping on each other’s hands. “St. Ives” comes up big with a bit of a fuller sound and a nice piano strut. Some nice crunch comes out of O’Leary’s six string to make this stand out a bit. It’s nice to hear such experimentation and not the same Big Chief Dreaming pattern every time. (Soul Note 1213852) On Pentagon, Mat Maneri goes from having two backing musicians to nine. It sounds as if somebody featuring John Tchicai and Garrison Fewell screamed “Go!” and everybody raced to see who could get the most licks out. At times, this can make the “Top Ten of 2005” album less monotonous, but certainly increases the - JazzReview Magazine jumbling and chaos. The last track serves up a nice and (England) I’m sure sarcastic rendition of the American anthem and Maneri’s father’s odd vocals certainly reveal a “This one demands to be heard again and again, sense of humor. Tchicai and company make an evocative team. For more information, visit www.leorecords.com and They also bring the scorched earth of free jazz www.thirstyear.com. Maneri is at Barbès Jan. 12th. See back to life with a flower or two.” calendar. - Dan Rose, One Final Note www.blacksaint.com www.cdbaby.com ALLABOUTJAZZ-NEW YORK | January 2006 23 and the Lungau Big Band is a modern incarnation, featuring a Native American double bell flute. then the Aardvark Jazz Orchestra might be the way a Native Lands is also a two-disc set, the second jazz orchestra might sound after World War III. being a DVD that features Calhoun commenting about Essentially a live album, Trumpet Madness is a series of the influences on the album’s music, the production of postmodern landscapes - some stark, some humorous, each track and still and video footage taken on his some starkly humorous - that blend seamlessly. travels synched to pieces like “Umoja”. “Flexology” opens with a mock orchestral warmup that segues into a Latin beat. Phil Scarff wails For more information, visit www.halfnote.net. Calhoun is on trumpet, Dan Zupan takes off on soprano sax and at Blue Note Jan. 26th-29th. See calendar. the tune is capped off with a thunderous drum solo by Harry Wellott. “JB’s Dreamtime”, a tribute to the great Jaki Byard, is a free form improvisation, a pastiche of Present TNT: A Tommy Newsom Tribute styles and moods. “Choices for Orchestra and Sherrie Maricle/DIVA Jazz Orchestra (Lightyear) Improviser” is a suite in three movements, ending The Monk’s Progress Lungau Big Band (LBB) with the hilarious “Drunken Waltz”. Trumpet Madness Aardvark Jazz Orchestra (Leo) The title cut is a tribute to jazz trumpet pioneer by Terrell Holmes Buddy Bolden. A series of sound effects, such as Jazz has been a variegated entity practically from its stentorian breathing or an old telegraph machine first note and a trio of new releases in the orchestral transmitting code, play over a distant orchestral genre exemplifies this diversity, which recalls a line murmur as the trumpets bicker among themselves and Bigger from the Wallace Stevens’ poem “Thirteen Ways of with the other horns. “Spirals” is a showcase for Slavic Soul Party (Barbès) Looking at a Blackbird”: “I was of three minds/Like a trumpeter Raj Mehta and his “hybrid trumpet”, with by Kurt Gottschalk tree/In which there are three blackbirds.” which he mimics sounds from a growling Tibetan In addition to being one of Johnny Carson’s monk chant to radio interference. The disc ends with The music of the Roma - some of whom accept the favorite foils, Tonight Show bandleader Tommy “Voices Like Trumpets”, where Aardvark skirts the “Gypsy” moniker and some of whom reject it - is often Newsom was a talented composer and arranger. border separating polyphony from cacophony. joyful, necessarily so. Like the American blues, Gypsy Drummer Sherrie Maricle and the DIVA Jazz music isn’t about complaining so much as surviving Orchestra pay homage to him with takes on several of For more information, visit www.divajazz.com, despite. For even the biggest Balkan stars, the money his compositions and arrangements. www.lungaubigband.com and www.leorecords.com. DIVA gigs are weddings, which involve a week of ceremony The opening tune “Titter Pipes” is a joyful burst is at Blue Note Jan. 3rd-8th with Ann Hampton Callaway. and parties. A successful Balkan band needs not only of color whose lively arrangement practically leaps off See calendar. to know the popular songs of the day, but be able to the disc. Scheila Gonzalez’ brash tenor solo and carry a week of gigs for the same audience. Karolina Strassmayer’s alto turn are standouts. The Mid-Eastern influences in New York’s Strassmayer also displays a light touch on the flute on downtown have taken a different track - decidedly less the Latin-flavored “Pensativa” and completes her secular and leaning more toward high art. But in that triple play on “Three Shades of Blue” with a soprano context, the 12-member Slavic Soul Party (which sax that is dolorous, soulful and gritty. includes Curtis Hasselbring, Matt Moran, Oscar Anat Cohen, well known for her work on tenor, Noriega and Chris Speed) have captured something of plays a Dixieland-flavored clarinet on “Moonlight”. the populist aspect to the music. They are a party The “Nat Cole Medley” features a samba version of band, maintaining a weekly residency at Barbès in “Nature Boy”; the band singing wonderfully on Brooklyn, a small club and now a record label, with “Straighten Up and Fly Right”; and Deborah Weisz’ Bigger being their first release. The band tries to keep Native Lands plungered trombone and Tanya Darby’s soaring the party feel, with spoken snippets between tunes Will Calhoun (Half Note) trumpet on “Route 66”. Lisa Parrott’s full-bodied by Brian Lonergan and a couple crowd pleasing requests (Lee Dorsey’s baritone solo and Jami Dauber’s clear as a bell trumpet “Ya-Ya” and The Meters’ “Look-ka Py Py”), along carry the day on “Trail Mix”. The “Remember Medley” On Will Calhoun’s Native Lands, the electronics of with some traditional folk tunes, less recognizable has a lovely Latin-tinged version of “I Remember drum programming and guitar loops mix covers and a handful of their own compositions. You”. The disc ends with Zoot Sims’ “The Red Door”, convincingly with indigenous acoustic instruments But crowd pleasing works best with a crowd and a showcase for Anat Cohen to display her muscular from around the world. Calhoun is able to combine Slavic Soul Party work best with a party, as was the command of the tenor. Maricle keeps everything on such seemingly disparate sounds, styles and even case in November, when they wound through the point on drums throughout. people into one landscape and still maintain the aisles of the crowded WFMU record fair, led by a The Lungau Big Band takes a different dynamic integrity of the album as a whole. It may be due to the belly-dancer and barely able to make their way approach to the concept of the big band. It too unifying thread throughout, Calhoun’s honest through the room. Bigger captures them well and will features on-point arrangements and a deep, rich rhythmic experiments, as well as the varied cast sound best in a living room filled with friends. sound, but Lungau grooves more than swings. joining the effort: Pharoah Sanders on tenor, Mos Def “Modification” opens up in the standard big band (piano on “East”), guitarists Kevin Eubanks and For more information, visit www.barbesbrooklyn.com. The format but quickly goes into a standard jazz one. Stanley Jordan, pianist Orrin Evans, Wallace and group is at Barbès Tuesdays. See regular engagements. Robert Friedl builds an alto solo with shifting lines Antoine Roney on trumpet and soprano sax and above the melody; Wolfgang Pointner’s guitar solo in percussionist Naná Vasconcelos, among others. tandem with Philip Kopmajer’s drumming is The combination of electronic and acoustic works somewhat reminiscent of “Birdland”. “The Monk’s well on tracks like the cover of Wayne Shorter’s Passion” is a page from the Miles Davis playbook, “Nefertiti”, where Calhoun employs drum loops and with Juraj Bartos’ brooding flugelhorn recalling Quiet “sonic textured ambiance” while Sanders’ tenor and Nights and Sketches of Spain. “El Monasterio del Sur” Wallace Roney’s muted trumpet unmistakably recall has a brief but nice dialogue between Frauenlob and the original. Some Calhoun originals, such as “Dorita” bassist Alexander Meik. Kurt Gersdof’s dreamy tenor and “Naked”, seem to be borderline smooth jazz, but on “Die Lebenslange Sehnsucht Nach Isolation” gives the improvising, especially Sanders’ on the latter, is this tune its center and “Monksmountain” is a undeniably honest and soulful. On “Pyramids”, the splendid big band waltz. “Dancing Monk” opens with tenor legend seems right at home amid the electronic a flute flourish and is followed by brass bursts that swirling of Eubanks’ distorted guitar loops. sound like the music from a ‘70s crime drama chase A standout arrangement is Calhoun’s original scene. “Everyone’s Garden” is a veritable children’s “Umoja”. It’s a gentle, positive uplifting piece, with nursery rhyme, the funky side of Mother Goose. At the Sanders’ tenor and Roney’s muted trumpet sounding outset, “Peace of Mind” is as calm as the title suggests; the theme, Calhoun on the liquid-sounding Nigerian then things escalate as the brass gradually swells, with udu drum, Buster Williams delivering an expressive the trombone leading the charge. “The Maze” is a acoustic bass solo and Orrin Evan’s reserved piano rollicking, quicksilver closer to an impressive CD. guiding the whole group. “Native Lands” is a lively If DIVA reflects the classical sound of a big band percussion showcase for Calhoun and Vasconcelos 24 January 2006 | ALLABOUTJAZZ-NEW YORK DiscoverDiscover String Theory The New Solo Release from Ken Hatfield “The nylon string guitar has no more powerful advocate on the current jazz scene than Ken Hatfield...” – Rick Anderson, All Music.com Acoustic Jazz Tuesdays in January with Ken Hatfield 1649 Third Avenue, NYC Live at Fetch: 212-289-2700 January 3, 8:30 pm - Midnight Ken Hatfield and Gene Torres, guitar and bass duo January 10, 8:30 pm - Midnight Ken Hatfield and Gene Torres, guitar and bass duo January 17, 8:30 pm - Midnight Ken Hatfield and Hans Glawischnig, guitar and bass duo January 24, 8:30 pm - Midnight Ken Hatfield and Hans Glawischnig, guitar and bass duo January 31, 8:30 pm - Midnight Ken Hatfield and Hans Glawischnig, guitar and bass duo For Information on Ken’s Music Visit www.KenHatfield.com Jack Kleinsinger New York's Longest Running Jazz Concert Series presents THURS., FEB. 9, 2006 - 8 PM THURS., MARCH 9, 2006 - 8 PM I Love a Piano Highlights in Jazz 33rd Anniversary Bill Charlap Trio Kenny Peter 4 Super Concerts for one low price * Washington Washington with Highlights In Living Jazz Legends Jay Leonhart . 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Backed by bassist Brad Jones and drummer Nasheet Waits, Harding is the nominal leader on The Calling and while half the writing credit is Ban’s, the band’s sound benefits from Harding’s Musical bass clarinet on the pianist’s “Estonia” and his own arrangement of the traditional “Shades of Ellegua”. On “Cultural Warrior”, Harding’s baritone is a caress while on “Southern Dawn”, a Ban composition that Oort-Entropy Dakryon Artists!! Barry Guy Guy/Homburger/Favre gets to these players’ roots, Harding builds his dirtiest, (Intakt) (Maya) most impressive solo. “Spirit Take My Hand” leaves by Andrey Henkin too early, as the tune fades out on a beat Waits lays down at the finish. Few could imagine in 1972, when bassist Barry Guy Harding sits out for Playground, the product of the Need an first convened the London Jazz Composers Orchestra, Asymmetry Quartet, which features veteran alto its future impact as a large ensemble. When he chose player and native of Panama Jorge Sylvester. to work with a “new orchestra” in 2000, the scope was Drummer Derrek Phillips ignites the opening take of “Artist” Visa ? condensed, 10 players doing the work of what had “Hieroglyphics” and he and bassist Jones provide been 20, but surprisingly was no less expansive. sensitive backing for Ban and Sylvester to shimmer on With his New Orchestra, Guy has brought “Gentle Shifts Rain” and “Silence”. Sylvester is a (O or P) together a international tentet - Evan Parker, Mats gorgeously melodic player whose tone can be light as Gustafsson, Hans Koch, Johannes Bauer, Herb a feather on ballads, particularly on the delicate “For We can help!! Robertson, Augusti Fernandez (replacing original Giuffre”. Even on uptempo numbers, Sylvester is as pianist Marilyn Crispell), Per-Åke Holmlander, Paul frothy as hand-whipped cream on its way to butter, as Lytton and Raymond Strid. These are not he and Ban churn on the title track. improvisational lightweights, having experience in a In addition to Ban’s pairing with Alex Harding wide variety of settings, often with each other. and his work with Asymmetry, his bio indicates Two things stand out in contrast from the 2000 several other active projects and more recordings in recording Inscape - Tableaux (Intakt). Rather than seven the works. He’s a prolific composer, generous with his FREE shorter “parts” of the 2000 disc, Oort-Entropy has sidemen and not content simply to work again and three, allowing for more exposition within sections. again with the same lineup. We should be thankful for And overall the time is almost 15 minutes less, making Lucian Ban’s abundant imagination. CONSULTATION succinctness within expansion a necessary feature, masterfully accomplished. Pay attention to the most For more information, visit www.jazzaway.com. Harding stimulating front line of horns (Parker, Koch and and Ban are at Europa Club Jan. 29th. Ban is at Kavehaz Gustafsson) in recent memory. Jan. 21st and 27th. See calendar. There is a side to Guy unique to most players known as ‘free’ - a love for the wonderful sonorities of composed classical music. In 1997 with baroque Contact violinist Maya Homburger, Guy recorded Celebration (ECM), featuring his own compositions for bass and violin. Dakryon continues this format with greater ambition. Three songs by Guy fill out a program of Katherine Gongora music from the 17th century by composers H.I.F. Biber and Dario Castelli; Strictly composed music, courtesy Barst & Mukamal LLP of Homburger, is mixed with Guy’s incomparable improvising. The bonus is the addition of drummer 2 Park Avenue Pierre Favre, veteran of solo percussion explorations. The format changes throughout the disc: trio, solo New York, NY 10016 violin, duos of bass and violin or percussion and even a closing percussion solo. Taken alone, Dakryon is (212) 686-3838 ext. 370 forceful and dynamic. Taken together with Oort-Entropy, it shows what a broad swathe of musical [email protected] terrain Barry Guy cuts. For more information, visit www.intaktrec.ch and www.barryguy.com Barst & Mukamal LLP is one of the oldest and The Calling Playground largest law firms Alex Harding Lucian Ban (Jazzaway) (Jazzaway) specializing in U.S. by Jeff Stockton Alex Harding (Detroit) and Lucian Ban (Romania) Immigration Law. have developed a fruitful partnership over the last few years. Harding’s bluesy, church-steeped baritone sax is the logical heir to Bluiett’s while Ban’s tasteful, reflective piano playing combines the elegance and 26 January 2006 | ALLABOUTJAZZ-NEW YORK Apria Records St. Louis, MO 800-983-6150 Fax: 917-591-8862 www.apriarecords.com =Veen A^hiZc^c\ [gdb6eg^V Trade Center. His evacuation the next day happened East Wind, was briefly available as an Inner City LP to be filmed by CNN. Despite the travel restrictions, before finally returning to print as a Test of Time CD. Rollins and his band managed to make their With Ron Carter and Grady Tate along for the ride, the September 15th gig at the Berklee Performance Center album’s concept was to mix contemporary works with in Boston. Rollins was still shook up and unsure standards and jazz compositions of the day. The first whether or not he should perform, but his stalwart four tracks are probably unfamiliar to most jazz wife Lucille convinced him to go on. listeners, though the trio makes the most of them. The result is this beautiful CD, five long songs full “Nothin’ Beats an Evil Woman” is brisk with a of energy and hope. “Without a Song” starts off the bluesy undertone, while the pretty ballad “Warm Blue CD, warm and lively with seamless support by Stream” (one of two by Sara Cassey) deserves wider Big Chief Dreaming Pipe Tchicai/Fewell Adam Caine Rollins’ band: Clifton Anderson on trombone, Stephen recognition. But it’s hard to beat the leader’s own (Soul Note) (Truefalse Music) Scott on piano, Bob Cranshaw on electric bass, Perry “Minor Contention”, a driving hardbop number. The by Elliott Simon Wilson on drums and Kimati Dinizulu on percussion. two standards include a percussive treatment of “As Next is Rollins’ classic tune “Global Warming”, 15 Long As I Live” and a dreamy interpretation of “Oh, A partnership between reedman John Tchicai and sublime minutes of engaging calypso. “A Nightingale What a Beautiful Morning” (from the Broadway guitarist Garrison Fewell has resulted in a melodic Sang in Berkeley Square” is more subdued, a lovely musical Oklahoma!) that develops a loping rhythm. The multicultural release while guitarist Adam Caine’s trio meditation with a warm, reflective Rollins and a surprising finale is the very funky title track. offers up a time warping ethereal sonic journey. delicate piano solo by Scott. “Why Was I Born?” starts Hank Jones has been the one constant member of Beginning with an engaging guitar/soprano sax off with Rollins solo and then leaps into full swing. the on again-off again Great Jazz Trio since its duet, “Instant Intuition”, and ending with the full The CD wraps up with the Rodgers/Hart “Where or founding in the ‘70s. Bassist John Patitucci and quintet sound of Tchicai’s swinging autobiographical When”, a nice midtempo number with a playful lilt. drummer Jack DeJohnette round out the latest edition. “Yogi in Disguise”, Big Chief Dreaming is an example of A professional musician performs no matter how DeJohnette’s forceful drums ignite “‘S Wonderful” superb international musicians creating new music. In they feel. One of the most poignant moments on the with a flourish, as Jones avoids the typically breezy addition to Tchicai and Fewell, featured are a trio of CD is when Rollins tells the audience, “We must approaches to this standard. Patitucci’s bowed Italian musicians: saxophonist Tino Tracanna, bassist remember that music is one of the beautiful things in introduction to “Greensleeves” gives this ancient piece Paolino Dalla Porta and drummer Massimo Manzi. life, so we have to try to keep the music alive in some a fresh sound. The call-and-response between “Prayer for Right Guidance” is a tightly kind of way. Maybe music can help; I don’t know, but Patitucci and Jones is a recurring theme in the upbeat constructed piece with a driving Native American we have to try something these days.” arrangement of “Lover, Come Back to Me”. The leader rhythm. Tracanna’s “Simplicity” is built around a devours the bluesy “Night Train” which features a beautiful melody stated by two tenors in call and For more information, visit www.concordmusicgroup.com terrific walking bass solo by Patitucci. The trio’s response fashion. “X-Ray Vision” is a sweet gentle Rollins is a participant in the IAJE including a one-on-one bluesy setting of “Take Five” adds an ominous touch, Fewell foray that highlights guitar/soprano/tenor interview with Ira Gitler Jan. 12th. though it swings like mad. While all three CDs are interaction while the first half of his “Queen of Ra” recommended, ‘S Wonderful is the pick of the pack. contains a fittingly regal opening statement. Duets like “Grappa to Go” and “Splinters No. 1” showcase novel For more information, visit www.testoftimerecords and guitar/soprano and drums/soprano formats. Broader www.441records. Jones is at IAJE Jan. 13th with Count instrumentals, like the glorious bass clarinet/soprano Basie Orhestra. See calendar. tandem “Thrift Shopping + Extension”, make this a session of exceptional depth. Benefiting from a post punk industrial mindset and having its roots in free jazz/psychedelia, Adam Caine’s trio, that bears his last name, has debuted with Pipe, a soundtrack of soundscapes that stretch sonic boundaries. A trio in the truest sense, Caine’s guitar certainly wails, screams and contorts but is an integral Complete Recordings part of the overall sound. Bassist Ken Filiano and Hank Jones (Argo/Cadet/Golden Crest - Gambit) drummer Phil Haynes mesh with Caine and do their Hanky Panky part to blur the lines between specific instruments in Hank Jones (East Wind-Test Of Time) support of the overall feel. Filiano’s bowing is a ‘S Wonderful Great Jazz Trio (441 Records) special treat and adds delicious textures to several by Ken Dryden cuts. “Turgataur” is a short tasty delicacy, “Thitic” features elegant guitar/bowed bass give and take for a Since making his debut recording as a leader in 1947, slow trippy experience and “Maurice” ebbs and flows Hank Jones has continued to impress jazz fans for over between pounding excitement and laid back noodling. five decades. Not only is he still recording in his late “Separator” has a modern classical feel with its 80s, but some of his long out of print sessions are darting rhythms while “Shifting’s” final moments beginning to reappear on the market. could raise Hendrix from his grave. The Gambit compilation of the Hank Jones Quartet With Kenny Burrell and Barry Galbraith: Complete For more information, visit www.blacksaint.com and Recordings restores two long unavailable studio dates. www.caine.tv. Fewell is a participant at the International The first, with Galbraith on guitar, bassist Arnold Association of Jazz Educators (IAJE) 2006 Conference. Fishkin and drummer Don Lamond, was issued by the Caine is at Bowery Poetry Club Jan. 24th. See calendar. obscure Golden Crest label as Swing Songs From Gigi, featuring selections from the Lerner & Loewe musical. The sound is a bit compressed (evidently the label spared a little expense in finding a good studio) and occasionally overmodulated, though Jones’ arrangements are enjoyable. The best known song remains “Thank Heaven for Little Girls” (forever after associated with Maurice Chevalier), with plenty of swinging interaction between Jones and Galbraith. Jones is accompanied by Kenny Burrell, Milt Hinton and Elvin Jones for the second session, first issued by Argo as Here’s Love, consisting of songs from the Without A Song: The 9/11 Concert Meredith Wilson musical. Jones’ lyrical arrangement Sonny Rollins (Milestone) by Florence Wetzel of “My Wish”, a funky “Dear Mister Santa Claus”, along with the gospel-flavored scoring of “Pine Cones On the morning of September 11th, Sonny Rollins and Holly Berries” are among the highlights. was in his home located six blocks from the World Hanky Panky, initially issued by the Japanese label 28 January 2006 | ALLABOUTJAZZ-NEW YORK originals by the trumpeter, document the early work the kitschy, on “Day Dream” they deepen the reverie. of one of jazz’ finest composers. Hubbard begins the “Lush Life” also remains notable as a highly personal disc with three tracks covering his years with the great and courageous reference to gay life by Strayhorn. edition of Art Blakey and the Jazz Messengers with The mood shifts dramatically with the first of the Wayne Shorter, Curtis Fuller, Cedar Walton and Strayhorn and Ellington duets: “Cottontail”. It’s Reggie Workman. He opens with “The Core”, one of hop-hopping race across the keyboards to the the most intensely swinging pieces ever recorded by accompaniment of Wendell Marshall’s bass. The high the band, and continues with “Crisis”, a popular spirits of their exchanges on “C-Jam Blues” are melody that still enjoys a certain currency in the jazz complimented by the tenderness of their “Flamingo”, canon. Hubbard candidly admits in his liner notes that the set’s only cover. Filled with brilliant touches, Bob Brookmeyer & Friends “Up Jumped Spring” (arguably his most popular tune) playful, intimate and thoughtful, we’re fortunate Bob Brookmeyer (Columbia-Legacy) is not the type of melody he would usually write but indeed to be in on this private party of giants. by George Kanzler “everybody seemed to like it.” The big ‘friend’ here is tenor saxophonist Stan Getz, Two lesser known gems from the Hub Tones date, For more information, visit www.storyville-records.com. A who in 1964 when these sessions were recorded, was the Eastern-tinged “Prophet Jennings” and the Legacy of Strayhorn panel is at IAJE Jan. 12th. riding the crest of the bossa nova wave as the most beautiful ballad “Lament For Booker” follow. recognizable jazz figure in music. But valve Featuring James Spaulding’s airy flute and Herbie trombonist Brookmeyer also tapped two of the most Hancock at the piano, the compositions reveal iconic jazz bands of the day for sidemen: bassist Ron Hubbard’s own personal sense of sophisticated open Carter and pianist Herbie Hancock from Miles Davis’ harmonies. “Breaking Point”, the title track from that mid ‘60s quintet and drummer Elvin Jones from John album, is an exciting piece that smashes the hardbop Louie Belogenis Coltrane’s quartet. Getz brought along his band’s mold completely by alternating free blown avant Kenny Wollesen vibes player Gary Burton (as a surprise according to garde structures with a melodic calypso section. Shanir Ezra Blumenkranz Burton’s notes in the CD booklet), who Brookmeyer Dorham’s “Karioka”, from Hubbard’s Blue Note debut worked into about half the tracks. Goin’ Up, is pure swinging with Hank Mobley, McCoy Burton remembers a lot of tension between the Tyner, Paul Chambers and Philly Joe Jones cooking musicians and producer Teo Macero; Brookmeyer from start to finish. “The Melting Pot”, from Blue wanting to do his own tunes and Macero salivating at Spirits, pairs Hubbard with Joe Henderson and the thought of having Getz on an album of presages some of his more modern work with the New CD — “Unbroken” (Tick Tock 001) commercially appealing standards. Happily, there’s saxophonist. The concluding “Birdlike”, a frequently available at Downtown Music Gallery no such tension in the music, a mix of both, done with covered classic from Hubbard, features the trumpeter relaxed warmth. Brookmeyer and Getz, both melodic with Shorter and Bernard McKinney in the front line and cdbaby.com improvisers at the top of their game, trade off leads and the Coltrane rhythm section of Tyner, Art Davis and solos, sometimes in tandem, like a good middle and Elvin Jones. Hubbard would continue “an outstanding and truly spirited trio effort” infield combo, while the rhythm section - considering contributing great songs to the jazz repertory but these — Bruce Gallanter their steady jobs - is wholly supportive and quite early examples of his considerable compositional egoless. Jones uses brushes much of the time, but capabilities remain as some of his best. breaks out with sticks on three Brookmeyer originals and a romping “Who Cares”. “Jive Hoot”, a hipster For more information, visit www.bluenote.com. Hubbard hootenanny, races along in anticipation of fusion 8/8, will be awarded a 2006 NEA Jazz Master Fellowship at the but still cool. And “Sometime Ago” is in hard 3/4 IAJE Jan 13th. time, but the rest of the program is all in straight 4, from easy swing to slow ballad. The original LP had 8 tracks. Two of the three bonus tracks are originals featuring more fine tenor- trombone interplay, but the added gem is a vocal by Tony Bennett. His version of the Duke Ellington-Billy Strayhorn ballad “Day Dream”, with empathetic accompanying solos by Getz and Brookmeyer, make this CD a must for collectors of Ellingtonia. For more information, visit www.legacyrecordings.com. Piano Passion Brookmeyer will be awarded a 2006 NEA Jazz Master Billy Strayhorn (Storyville) Fellowship at the IAJE Jan. 13th. by Andrew Veléz During their nearly three decades of working together, Billy Strayhorn and Duke Ellington created a legacy of music for the ages. This set’s a rare opportunity to hear the composer Strayhorn playing many of his own songs as well as some he wrote with Ellington and others. Their partnership began in 1939 and ended only with the death of ‘Swee’ Pea’, as Strayhorn came to be fondly called by Ellington, at a mere 52 from cancer in 1967. The first ten cuts in this collection, recorded in The Artist Selects Paris in two midnight sessions in 1961, were Freddie Hubbard (Blue Note) by Russ Musto originally released on an LP rather inexplicably called The Peaceful Side of Billy Strayhorn. To that set another Blue Note’s The Artist Selects series offers a valuable 11 sides have been added here. Recorded at various insight into some of the jazz greats who recorded for dates in New York from 1946 and 1950, we’re treated the label by having the musicians themselves “select to both Ellington and Strayhorn at the piano. and sequence” songs to be reissued on a single disc. In The 1961 sides are marked by simplicity and a the case of Freddie Hubbard, the choices are vibrant emotional connection. Strayhorn’s playing is especially interesting because they are culled from a not showy. It’s an honest performance in which each particularly diverse and voluminous discography, note of his “Passion Flower” or his and Ellington’s with only one selection (Kenny Dorham’s “Karioka”) “Strange Feeling” feel invested with his very soul. On replicating the previously assembled Jazz Profiles three numbers, the Paris Blue Notes lend a dash of compilation. The remaining eight numbers, all vocalese. If on “Lush Life” their “aaaaaahs” verge on ALLABOUTJAZZ-NEW YORK | January 2006 29 vocal attitude. Taken together, this set offers a portrait bass and drums, Anderson re-harmonizing the chords of a master singer with more than one way to deliver a on the last chorus. “Puttin’ On The Ritz” and song, each of which, however, is his and his alone. “Indiana” are both performed at breakneck speed. The Bennett’s inaugural Improv project was Life Is former features some very fast fingering by Anderson Beautiful, meticulously arranged by Torrie Zito, whose and a bowed bass solo by the leader. The latter opens piano also leads the rhythm section. As often occurs in with the melody and a first solo taken by the piano, this digital age, this CD presents all recorded material, followed by an arco bass solo by Seaton and some solo so newly released material and alternate takes abound brushwork tap dancing by Fountain. Everybody has a though not always successfully. The long Cole Porter good time on this one. medley is nicely turned but ultimately jarring when This CD is a team effort. All of the participants Keystone set next to such carefully selected and beautifully support each other to create a neat package of well Dave Douglas (Greenleaf Music) executed tracks like Milton Nascimento’s “Bridges” chosen songs performed with a sense of joy. by Michael Puccio and the melancholy Ellington gem “Reflections”. Dave Douglas’ homage to the notorious actor Fatty Although arranged for orchestra, Bennett opens For more information, visit www.nagelheyer.com. Seaton is Arbuckle is full of musically catchy grooves inspired up vocally more on Life than on the Braff/Barnes at IAJE Jan. 13th with Rosana Eckert. See calendar. by the classic visuals found on the accompanying session but still achieves maximum intimacy, nowhere DVD. Like Fatty getting hit in the face with a pie, more than on, ironically, Porter’s “I Used to Be Color Brazilian Jazz a.k.a. Samba Jazz Douglas hits the listener in the ear with soothing Blind” (at a slow tempo that allows the love in the lyric trumpet. His supporting cast includes DJ Olive, to shine) and Rodgers and Hart’s seldom heard and Private Instruction & Workshops who sneaks in just enough effects to perfect the tracks, heartbreaking “This Funny World”. For professionals and advanced so subtle at times you may not realize it’s him until he The live sessions that end the fourth disc feature, musicians only occasionally comes up with a big punch. Olive takes among others, Jimmy and Marian McPartland and are Regardless of your name status you will the backseat on occasion allowing Douglas’ trumpet to mainly historical. A good-time session, full of high have guaranteed confidentiality on request shine while Gene Lake (drums) and Brad Jones (bass) spirits, is outclassed by what has preceded it. create a solid backbeat. Highlights are “Fatty’s Day Then there is the second Bennett-Bill Evans Different types of Samba and Bossa Off” and “Famous Players”, on which the group really collaboration, each a master at his art. Here, Bennett interpretation as well as other rhythms seems to pull together, sending up an infectious riff. offers the full range of his vocal arsenal: tender on Improvising in 2/4 One of the standout things about this ‘tribute’ “Dream Dancing” and full-throated yet unrequited on Many standards other than the most album is the DVD, including the Fatty Arbuckle movie “Maybe September”, a song he first recorded on known Jobim’s songs, played as they from 1916 - Fatty & Mabel Adrift. The film plays with Columbia’s The Movie Song Album. basically should. Douglas’ score over it, providing both a hilarious and If there remains any argument as to Tony Suited for all instruments. Expand your eerie vibe, whether you’re watching Fatty fall over, try Bennett’s importance to American singing, this playing and enjoy a rewarding experience to milk a cow or fall in love while hearing the first-rate box set should allay any remaining doubts. trumpeter’s crescendos, diminuendos and sensitive and responsive dynamics in volume and pitch. The For more information, visit www.concordmusicgroup.com. Convenient West Side location in NYC end result is a very interesting package for any jazz Bennett will be awarded a 2006 NEA Jazz Master (917) 374-4831 lover or film buff. Fellowship at the IAJE Jan 13th. For more information, visit www.greenleafmusic.com. Douglas is a participant in the 2006 IAJE. Puttin’ On The Ritz Lynn Seaton (Nagel Heyer) by Marcia Hillman The Complete Improv Recordings his offering is a refreshing take on a collection of Tony Bennett (Improv-Concord) T by Andrew Rowan eight standard songs and one original. The personnel consists of bassist Lynn Seaton, Stephen Anderson Once upon a time the line between jazz singing and (piano) and Joel Fountain (drums). Between them, jazz-tinged popular singing was blurred. Singers like they make a lot of good music. Mabel Mercer, Sylvia Syms and Bobby Short roamed “Bernie’s Tune” is a perfect opener, swinging the borders between jazz, pop and cabaret and the with solos by all three players. “Gone With The Wind” world was better for it. On the jazz side, singers like starts off with Anderson playing out of tempo solo Billie Holiday, Joe Williams, Carmen McRae and piano and re-harmonized chord changes. Seaton and Shirley Horn looked across that artificial divide and Fountain join in with the tempo, Fountain with admired the intimacy and story telling prowess of brushes and Seaton laying down some double time their cabaret contemporaries. Concord’s release of The bass segments in his solo. Ellington’s “Mood Indigo” Complete Improv Recordings blurs that line further, gets a bluesy treatment with Anderson taking the presenting Tony Bennett performing brilliantly, melody and then bass and piano solos follow. employing jazz and pop to make these songs live. “Pretending”, the CD’s only original, is by Fountain. The Rodgers and Hart Songbook, recorded in 1973 The song has some interesting harmonies and is and released in two stages (in 1976 and 1977), is the performed with bass and piano splitting the melody; most familiar material in this set. Accompanied by the Fountain puts in some tasty brushwork on this one. exquisite Ruby Braff/George Barnes Quartet, Bennett “Nature Boy” is done with a Latin feel, the melody put sings in his most hushed, intimate style. Each tune is a forth by Anderson with counterpoint figures from miniature. The longest track “Lover” runs just under Seaton and a hand-drumming showcase for Fountain. four minutes. Many other tracks do not break the “Moanin’” finds Seaton singing scat with his bass on two-minute mark, disproving the modern notion that the intro and also on his solo. Anderson’s piano solo one must sing all night to make a point. builds nicely, punctuated by Fountain’s drums, before On either side of the Rodgers and Hart lie projects Seaton finishes up with some more scatting with his that highlight a wider range in song choice, bass. The only ballad treatment is “Londonderry Air” accompaniment (save for the Bill Evans reprise) and with Anderson’s solo piano starting off, then joined by 30 January 2006 | ALLABOUTJAZZ-NEW YORK pushing the processional rhythm that marches deliberately, contrasting the minor mood. The rest of the date (with the exception of the haunting old French ballad “Syracuse”) showcases the considerable compositional capabilities of the band’s members. “One for Ray” is a thoughtful homage to Barretto by pianist Rodriguez. Walden’s “The View from Here” lightly swings a line reminiscent of Coltrane’s “Central Park West”, while his entrancing title track is an appealingly pensive piece. Conly’s Unity of action “Palladium Nights” appropriately pays tribute to that Jacob Anderskov (Ilk Music) mambo mecca with an amalgam of Latin dance by Andrey Henkin rhythms (with Sanabria again augmenting the On Unity of action, Rhodes player and composer Jacob percussion section) and is notable for the leader’s rare Anderskov has the enviable task of writing pieces for timbales solo. The concluding “Caper for Chris”, a a front line that can at any time consist of trumpet, collaborative effort by Barretto and Magnarelli cornet, alto sax, clarinet, tenor sax, bass clarinet and dedicated to the former’s son, is a bluesy straight trombone. The colors at his disposal seem limitless. ahead number that features the conguero’s very But many writers have become stymied by all this capable trap drumming and scat singing. choice, instead presenting music that is stilted and overly determined. For more information, visit www.oplus.org. Barretto will be Anderskov instead has brought material that is awarded a 2006 NEA Jazz Master Fellowship at the IAJE loose, varied and fun, making this octet more of a Jan 13th. dynamic small group than a brass-heavy large ensemble. His Mwandishi-like rhythm section of Rhodes, electric bass and pounding drums assures listeners this is not another foray into ‘blat-blat, blat- blat-blat’ big band charts. There is precedent to this looser approach: Sun Ra, Zappa, the Brotherhood of Breath, Soft Machine. But Unity of action is not a pastiche of time-tested approaches or at least it does not come across as such. The best description is that it sounds like what the Dave Holland Big Band could sound like if they just lightened up a little bit and Move stopped being so precise. This is not to say that Birele Lagrène (Dreyfus) Anderskov and his bandmates are sloppy or by Andrew Veléz undisciplined. Rather Anderskov has written tunes that are arranged to expand like a gas rather than Listening to his renditions of “Melodie au pierce like a ray. Crepuscule” and “Hungaria” is instantly a reminder of Lagrène’s deeply bonded connection with the music, For more information, visit www.ILKmusic.com. the style and the sound of guitar legend Django Anderskov is at Cornelia Street Café Jan. 11th and IAJE Reinhardt. As inevitably as the Django connection Jan. 12th. See calendar. seems to be attached to Lagrène, one hastens to add there is nothing as shallow as merely imitative about his playing. As this latest set attests to, he’s a deliciously enjoyable, absolutely contemporary musician in his own right. To back up a bit, as a child prodigy at age four, (and now an ancient 39!), Lagrène quickly became widely known as an ‘infant Django’. The son of jazz guitar player and a gypsy of Sinti origin, (as was Reinhardt), he has been playing jazz since age seven. There are swift tempos a-plenty here. On the title piece, “Move”, a Denzil Best/Paul Walsh tune, Time Was - Time Is Ray Barretto (O Plus Music) Lagrène, Franck Wolf (saxophone) and Hono by Russ Musto Winterstein (guitar) go top speed through every red light. Yet happily, the set is not all at the famously Ray Barretto continues to refine his brand of swinging breakneck pace which has characterized so many of Latin inflected jazz with each succeeding release. On his previous performances, sometimes to the his latest, the venerable conguero leads a polished detriment of the music. instrumental ensemble featuring Joe Magnarelli on Along with a dazzling take on Reinhardt’s own trumpet and Myron Walden on alto with Robert “Hungaria” that can leave your ears breathless, there’s Rodriguez at the piano, Sean Conly and Vince Cherico a meditative, smoky blue “Clair De Lune” which has a on bass and drums. few unlisted whiffs of “It Might As Well Be Spring” The set kicks off with a couple of AfroCuban thrown in for good measure. His own tune “Place Du classics. Bobby Sanabria joins the group on percussion Tertre” is a pastel piece so mellow it verges on the to emphasize the folkloric rhythms of the opening bland, while another Reinhardt tune, “Dance “Drume Negrita” (a staple of the Palladium Ballroom Norvegienne”, makes for a deeper dialogue between a era) and joins Barretto on the ghostly chant that ends pensive Lagrène and Wolf’s responsive sax. the pretty piece. The beautiful “Murmullo”, best As satisfying as that is, the main course is when known for its recent revival by the Buena Vista Social Lagrène and his guys pull all the stops out on Club, receives a relaxed reading emphasizing the “Cherokee”. Cooked and basted to perfection, it’s their poignancy of its memorable melody. Magnarelli’s own irresistible serving of Dixieland Pour Le “Mags” is hard hitting straight ahead jazz in the Millennium. Messenger mold with scorching solos from Walden, Rodriguez and the composer. The uncredited For more information, visit www.dreyfusrecords.com. innovative arrangement of “Motherless Child” is one Lagrene is at IAJE Jan. 12th with WDR Big Band Cologne. of the disc’s high points, with Sanabria’s percussion See calendar. ALLABOUTJAZZ-NEW YORK | January 2006 31 IN PRINT Jaco: The Extraordinary and Tragic Life of Jaco Pastorius ON DVD Monk Bill Milkowski (Backbeat Books) Rome Neal/Laurence Holder (Holder/Neal Prod.) by Ty Cumbie by Suzanne Lorge Very rarely an exceptional artist emerges, dramatically Pianist Thelonious Monk cut an elusive figure throughout altering the possibilitites in music. Jaco Pastorius was one of his public life as an innovator of early bebop. The very these, as Bill Milkowski’s book (updated from the 1995 first mystery surrounding Monk as a personality is what makes edition) on the electric bass phenomenon reveals. Milkowski the one-man play Monk, now available on DVD, compelling carefully stiches together documentary fact and oral history viewing. (Jaco’s twangy voice, plus lots more, can be heard on the The 90-minute theater piece begs the question, Just what companion CD), telling a story of accomplishment and loss. was Monk thinking? Playwright Laurence Holder and actor The picture that emerges is baffling, as Milkowski Rome Neal give us complex answers to that simple question. acknowledges, disclaiming any attempt to “explain” Pastorius. Jaco’s The play, filmed at the June Harris Theater during its spring 2005 run, traces seemingly effortless playing; his dizzyingly quick ascent to superstardom; the Monk’s life chronologically from his early years as a church musician through explosive impact he had on the music scene; and finally, the spectacular his career on the vanguard of the bebop movement to his demise in relative flame-out: it’s all here, but the reader is left to make sense of it. seclusion. Although hyperbole associated with the subject’s gift is generally given free Rather than a point-by-point narration of Monk’s life, however, Holder and reign here, the fact of Jaco’s contribution can’t be refuted. We learn that Neal focus on Monk’s struggle to articulate his inner reality, a Pastorius started as a drummer (thus the striking rhythmic solidity of his reality sometimes clouded by narcotics and possibly mental illness. Monk’s work), played piano and guitar and was a devoted student of harmony. Jaco triumph, in the end, the play suggests, lay in his ability to defy the inner also reveals the less commonly understood impact Pastorius had on both the chattering and outer naysayers long enough to create an enduring musical feeling and propulsion of the music as a potent new catalyst for Weather legacy. Report or as Joni Mitchell’s ideal bassist. Neal renders an engaging Thelonious Monk, making full use of a simple set The last chapters detail the bizarre events of Pastorius’ sad, awful with his inspired dancing, his modest costume changes and his resonant voice. unravelling. Milkowski’s assertion that Pastorius was mentally ill clashes with The original score is by Bill Lee, who also scores son Spike’s films. his own portrait of a clean-living, dedicated young artist who only later Of particular interest is a bonus track that includes, among others, an succumbs to the temptations and pressures inherent in sudden, intense interview with Ossie Davis, most likely one of Davis’ last interviews before his notoriety. It seems plausible that, as Joe Zawinul suggests, years of staggering death in February 2005. substance abuse activated existing mental imbalances, leading him down the sad, squalid path toward homelessness and early death. Jaco Pastorius would For more information, visit www.monktheplay.com. A screening of the film will take be only 53 today. The music testifies best: this was a great loss. place Jan. 31st at Nuyorican Poets Café. For more information, visit www.backbeatbooks.com. The Music of Jaco is at Blue Note Jan. 10th-15th. See calendar. 32 January 2006 | ALLABOUTJAZZ-NEW YORK The Legendary Randy Weston Live in two performances celebrating his 80th Birthday Solo Piano January 12, 2006, 8:00 pm Tickets: $25 80th Birthday Celebration “The Spirit of Afrika” January 14th, 2006, 8:00 pm With guest artists, T. K Blue, Benny Powell and more surprise guest artists. Tickets: $45 and $35 Kumble Theater for the Performing Arts, presented by Long Island University, Brooklyn Campus, One University Plaza (Entrance on Dekalb & Flatbush Avenues) For tickets go to: www.651arts.org or call 718 636-4181 x2229 CALENDAR To be listed, please contact Andrey Henkin at [email protected] no later than the third Saturday of the preceding month. ÌSteve Wilson with Bruce Barth, Ed Howard, Adam Cruz and • BeatleJazz: Dave Kikoski, Boris Kozlov, Brian Melvin ALL LISTINGS SUBJECT TO CHANGE. guest Nicholas Payton Jazz Standard 7:30, 9:30 pm $20 Iridium 8, 10, 11:30 pm $27.50 • Joey DeFrancesco Trio Dizzy’s Club 7:30, 9:30 pm $30 • David Ullman Quartet Detour 9:30 pm $5 Ì= Recommended shows • Papa John DeFrancesco Dizzy’s Club 11 pm $10 • Mark Rapp Group with Joe Kaplowitz, Kyle Struve ÌJimmy Greene Quartet with Xavier Davis, Reuben Rodgers, Kavehaz 6 pm Eric Harland Village Vanguard 9, 11 pm $30 ÌAgrazing Maze: Allison Miller, Enrique Haneine, Carlo DeRosa and • BeatleJazz: Dave Kikoski, Boris Kozlov, Brian Melvin guest Ingrid Jensen Kavehaz 9:30 pm Iridium 8, 10 pm $25 ÌDonny McCaslin Trio Bar Next Door 9 pm 12:30 am $8 • Tim Collins Quartet The Kitano 8, 9:45 pm ÌAndy Statman Barbès 8 pm January • Frank LoCrasto/Tommy Crane Duo • Ayana Lowe with James Weidman, Bob Cunningham, Tea Lounge 9, 10:30 pm Michael T.A. Thompson 55Bar 6 pm • Chris Bergson Band with Jay Collins, Jonah Smith, Chris Berger, • William Spaulding Cleopatra’s Needle 8 pm Sunday, January 1 Tony Leone 55Bar 7 pm ÌCharlie Looker/Mike Pride BPM 12 am • John Zorn, Mike Patton, Bill Laswell, DJ Submerged, Guy Licata • George Dulin Disband with Danny Zanker, Take Toriyama • Joni Paladin The Garage 12 pm Tonic 10 pm $25 Kavehaz 6 pm • Nick Moran Trio The Garage 5:45 pm • Jane Getter Band with Carlos Henderson, Rocky Bryant • Jen Shyu with Carlo DeRosa, Marcus Gilmore, Art Hirahara, 55Bar 9 pm Dayna Stephens Kavehaz 9:30 pm Sunday, January 8 • Gato Barbieri Iridium 8, 10 pm • The Little Tramps Detour 9:30 pm ÌNation Of We Ensemble: Raphe Malik, Flip Barnes, Matt Lavelle, ÌPaquito D’Rivera and Panamericana with Claudio Roditi, • Matt Ray Trio Cleopatra’s Needle 8 pm Roy Campbell, Sabir Mateen, Ras Moshe, Will Connell, Alon Yavnai, Oscar Stagnaro, Mark Walter, Pernell Saturnino, • John Chin Trio The Garage 8 pm Rob Brown, Saco Yasuma, Dick Griffin, Peter Zummo, Raul Jaurena, Dana Leong, Andy Narell Jackson Krall, Mike Thompson, Matthew Heyner, Todd Nicholson, Dizzy’s Club 7:30, 9:30 pm Friday, January 6 Chris Forbes, Steve SwellBowery Poetry Club 7 pm $10 ÌCassandra Wilson with Brandon Ross, Reginald Veal, ÌJohn Hebert Quartet with John Abercrombie, Adam Kolker, ÌRob Brown/Jo Wood Brown/Matt Moran Project; Rob Brown/ Gregoire Maret, Jeffrey Haynes, Marvin Sewell Bob Meyer Detour 9:30 pm $5 Matthew Shipp duo The Stone 8, 10 pm $10 Blue Note 8, 10:30 pm $55 ÌMichael Bisio Quartet with Avram Fefer, Steve Gauci, Jay Rosen; • Ann Hampton Callaway and The Diva Jazz Orchestra ÌDr. Michael White’s Original Liberty Jazz Band of New Orleans Michael Bisio, Matthew Shipp, Jay Rosen Blue Note 8, 10:30 pm $25 Village Vanguard 9, 11 pm The Stone 8, 10 pm $10 ÌSteve Wilson with Bruce Barth, Ed Howard, Adam Cruz and • Jared Schonig Quartet Saint Peter’s 5 pm ÌEric Alexander Quartet with Harold Mabern, Nat Reeves, guest Nicholas Payton Jazz Standard 7:30, 9:30 pm $20 • Mark Capon Trio The Garage 12 pm Joe Farnsworth The Kitano 8, 9:45 pm $20 • Joey DeFrancesco Trio Dizzy’s Club 7:30, 9:30 pm $30 • Melissa Hamilton Trio with Steve Berger, Ari Rowland ÌBob Mintzer Big Band with David Glasser, Peter Yellin, ÌJimmy Greene Quartet with Xavier Davis, Reuben Rodgers, North Square Lounge 12:30, 2 pm Bob Malach, Roger Rosenberg, Jason Jackson, Keith O’Quinn, Eric Harland Village Vanguard 9, 11 pm $30 • Yukijirushi: Eiji Obata, Todd Nicholson, Tatsuya Nakatani Larry Farrell, David Taylor, Scott Wendholt, Mike Rodriguez, • BeatleJazz: Dave Kikoski, Boris Kozlov, Brian Melvin Blue Note 12:30, 2:30 pm $19.50 Bob Millikan, Frank Greene, Rufus Reid, John Riley, Iridium 8, 10 pm $25 Phil Markowitz Sweet Rhythm 8, 10 pm 12 am $20 • Edmar Casteneda Sweet Rhythm 8, 10 pm $15 Monday, January 2 • Kim Kalesti and Marion Cowings ÌThe Four Bags: Bryan Drye, Jakob Garchik, Mike McGinnis, • Deborah Davis Benefit for Leukemia Society Flushing Town Hall 8 pm $35 Sean Moran Barbès 7 pm Blue Note 8, 10:30 pm $25 • Gretchen Parlato, Lionel Loueke, Alan Hampton • Matthew Von Doran with James Genus, Joel Rosenblatt • Seth Okrend Group 55Bar 7 pm 55Bar 6 pm 55Bar 7 pm • Mike Stern 55Bar 10 pm • F Train: Donny McCaslin, Kenny Rampton, Clark Gayton, • Jim Campilongo’s Electric Band with Tim Luntzel, Dan Rieser • New School Presents: Katia Toobool, Chris Tordini, Colin Kilalea Robin Macatangay, Andy Hess, Tony Mason 55Bar 9:30 pm Tommy Crane Sweet Rhythm 8, 10 pm $10 55Bar 10 pm ÌJames Carney Group with Tony Malaby, Ralph Alessi, • William Parker/Steve Dalachinsky Chris Lightcap, Ted Poor Bar 4 8 pm $5 Tuesday, January 3 55Mercer Gallery 7 pm $10 • Sean Smith Quartet Saint Peter’s 5 pm ÌDuck Baker solo Tonic 8 pm $10 ÌDanny Moore Tribute with George Coleman, Anthony Wonsey, • Susan Ellman Memorial Saint Peter’s 7:30 pm • Near East River Ensemble: Brian Prunka, Leanne Darling, John Webber, Joe Farnsworth • Mike Pride’s Snuggle/Stencil with Mike Gamble, Jesse Krakow Mark DiFlorio, Danny Zanker Smoke 9, 11 pm 12:30 am Cakeshop 8 pm Tonic 10 pm $8 ÌChris Lightcap with Tony Malaby, Mark Turner, Craig Taborn, ÌPatrick Brennan solo ABC No Rio 8 pm $3 • Ann Hampton Callaway and The Diva Jazz Orchestra Gerald Cleaver Cornelia Street Café 9, 10:30 pm $10 ÌBy Any Means: Charles Gayle, William Parker, Rashied Ali Blue Note 8, 10:30 pm $25 ÌMarcus Strickland Quartet with Robert Glasper, Vicente Archer, Vision Club 1, 3 pm $20 • Joey DeFrancesco Trio Dizzy’s Club 7:30, 9:30 pm $30 E.J. Strickland Rose Center 6, 7:30 pm • Summer Jazz Institute Martin Luther King Tribute • Papa John DeFrancesco Dizzy’s Club 11 pm $10 • Warmer by the Stove: Jane Rigler, Mari Kimura, Kathleen Supove York College 2 pm ÌJimmy Greene Quartet with Xavier Davis, Reuben Rodgers, Lotus Arts 8 pm $10 • Mike Pride StanDards Duo with Charlie Looker Eric Harland Village Vanguard 9, 11 pm $30 • Deborah Davis and Trio Lenox Lounge 8:30, 10, 11:30 pm $20 City Crab 12:30 pm • BeatleJazz: Dave Kikoski, Boris Kozlov, Brian Melvin ÌJames Moody Quartet with Renee Rosnes, Todd Coolman, • Hayes Greenfield’s Jazz-A-Ma-Tazz Iridium 8, 10 pm $25 Adam Nussbaum Birdland 9, 11 pm $40 Bowery Poetry Club 12 pm $5 ÌHenry Warner Trio with William Parker, Rashid Bakr; • Ann Hampton Callaway and The Diva Jazz Orchestra • Hide Tanaka Trio The Garage 12 pm Andrew Barker Quintet with Rob Brown, Charles Waters, Blue Note 8, 10:30 pm $25 • Roz Corral with Gene Bertoncini, Paul Gill Adam Lane, Hill Greene The Stone 8, 10 pm $10 • Reggie Washington 4tet Blue Note 12:30 am $8 North Square Lounge 12:30, 2 pm • Lezlie Harrison Sweet Rhythm 8, 10 pm $15 ÌSteve Wilson with Bruce Barth, Ed Howard, Adam Cruz and • Eishin Nose Trio Blue Note 12:30, 2:30 pm $19.50 • Jenny Scheinman Barbès 7 pm guest Nicholas Payton Jazz Standard 7:30, 9:30, 11:30 pm $25 • Chuck Braman with Bill Mobley, Dave Rickenberg, Matt Clohesey • Joey DeFrancesco Trio Dizzy’s Club 7:30, 9:30, 11:30 pm $30 Cecilia Coleman 55Bar 7 pm • Papa John DeFrancesco Dizzy’s Club 11 pm $10 • Leni Stern with ATN Stadwyjk, James Genus, Keith Carlock ÌJimmy Greene Quartet with Xavier Davis, Reuben Rodgers, 55Bar 10 pm Eric Harland Village Vanguard 9, 11 pm $35 • Blake Cohen Quartet spoken words Café 9 pm • BeatleJazz: Dave Kikoski, Boris Kozlov, Brian Melvin • Idan Sanhaus Big Band The Garage 8 pm Iridium 8, 10, 11:30 pm $25 • Gary Lucas Bowery Poetry Club 8 pm Wednesday, January 4 • Oscar Noriega, Chris Speed, Anthony Burr ÌJames Moody Quartet with Renee Rosnes, Todd Coolman, Barbès 7 pm Adam Nussbaum Birdland 9, 11 pm $40 • Saco Yasuma and Yo’in with Andy Bemkey, Lee Marvin, ÌCharles Waters’ Chromacolossus with Chris McIntyre, Rob Blumenthal Kavehaz 6 pm George Rush, Drew Barker; Rashid Bakr Quintet with Joe Rigby, • Whitney Slaten Project with Andrew Shantz, Foluso Mimy, Ras Moshe, Mark Hennen, Rueben Radding Phillip McKinney Kavehaz 9:30 pm The Stone 8, 10 pm $10 • Al Margolis, Katherine Liberovskaya, Monique Buzzarte ÌNight of the Ravished Limbs: Transit: Jeff Arnal, Seth Misterka, Issue Project Room 8 pm $10 Reuben Radding, Nate Wooley; Ralph Alessi, Tim Berne, • Dan Brantigan Group with Ryan Scott, Panagiotis Andreao, Shane Endsley Barbès 8, 10 pm $8 Steve Jenkins, Matt Kilmer, Rich Stein, Gilad Ronen, Kelli Scarr, ÌPucho and the Latin Soul Brothers Jordan Perlson Tea Lounge 9, 10:30 pm Sweet Rhythm 8, 10 pm $15 ÌRobert Stillman’s Horses Knitting Factory Old Office 10 pm $8 • Ann Hampton Callaway and The Diva Jazz Orchestra • John Chin Trio Bar Next Door 9 pm 12:30 am $8 Blue Note 8, 10:30 pm $25 • Joe Giglio/Dan Adler 107West 10 pm ÌSteve Wilson with Bruce Barth, Ed Howard, Adam Cruz and • Jason Stein, James Ilgenfritz, Mike Pride guest Nicholas Payton Jazz Standard 7:30, 9:30 pm $20 Red and Black 8 pm • Joey DeFrancesco Trio Dizzy’s Club 7:30, 9:30 pm $30 • Dmitri Kolesnik Quartet Cleopatra’s Needle 8 pm • Papa John DeFrancesco Dizzy’s Club 11 pm $10 • Martine/Stephen Lee Trio The Garage 5:45 pm ÌJimmy Greene Quartet with Xavier Davis, Reuben Rodgers, • Gerald Hayes Trio The Garage 10:15 pm Eric Harland Village Vanguard 9, 11 pm $30 • Allen Vaché Café St. Bart’s 12 pm • BeatleJazz: Dave Kikoski, Boris Kozlov, Brian Melvin Saturday, January 7 Iridium 8, 10 pm $25 • Richard Bennett Quartet with Gaku Takanashi, Tony Lewis, ÌDick and Derek’s Piano Party: Dick Hyman, Derek Smith, Paula Jeanine The Kitano 8, 9:45 pm Bill Charlap, Carol Woods, Evan Christopher, Randy Sandke, ÌEri Yamamoto Trio with Dave Ambrosio, Ikuo Takeuchi Wycliffe Gordon, Nicki Parrott, Eddie Locke 55Bar 7 pm 92nd Street Y 8 pm $45 • Mike Stern 55Bar 10 pm ÌCecil Bridgewater Group Sistas’ Place 9, 10:30 pm $20 • Emmanuel Ruffler, Duane Eubanks, David Gilmore, Kahlil Bell, ÌWarmer by the Stove: Spooky Actions with John Gunther, Nic Thys, Don McKenzie Zebulon 10 pm Bruce Arnold, Aaron Jackson, Thomas Buckner, Tony Moreno, • Lionel Loueke, Garth Stevenson, Ziv Ravitz Kirk Driscoll, Mike Richmond, Dave Phillips Bar 4 8:30 pm Lotus Arts 8 pm $10 • Stein Brothers Quintet with Mferghu, Doug Largent, Chris Brown • Steve Dalachinsky, William Parker, Rob Brown, Sabir Mateen, Kavehaz 8 pm Matt Lavelle, Andrew Bemkey, Henry Wood; Patricia Nicholson, • Sten Hosfalt solo Lucky Cat Lounge 9 pm Billy Bang, William ParkerThe Stone 8, 10 pm $10 • Fukushi Tanaka Trio The Garage 8 pm ÌE.J. Strickland Project with Charenee Wade, Marcus Strickland, • John Luke/Jerry Scott Saint Peter’s 1 pm $5 Myron Walden, Lage Lund, Ugonna Okegwo BAMCafé 9 pm Thursday, January 5 • Free Zone: Rudi Fischerlehner’s Pinx; IXTLAN Trio: Mike Pride, ÌHighlights in Jazz: An Evening of Jazz Guitar with Chris Welcome, Shayna Dulberger Bucky Pizzarelli, Russell Malone, Howard Alden, Gene Bertoncini, Café Grumpy 9, 10 pm $5 Frank Vignola and guests Jay Leonhart, Wycliffe Gordon ÌEric Alexander Quartet with Harold Mabern, Nat Reeves, Tribeca Perf. Arts Ctr. 8 pm $30 Joe Farnsworth The Kitano 8, 9:45 pm $20 ÌBob Mintzer Big Band with David Glasser, Peter Yellin, ÌJuini Booth solo; Spiritual Unity: Marc Ribot, Roy Campbell, Bob Malach, Roger Rosenberg, Jason Jackson, Keith O’Quinn, Henry Grimes, Chad Taylor Larry Farrell, David Taylor, Scott Wendholt, Mike Rodriguez, The Stone 8, 10 pm $20 Bob Millikan, Frank Greene, Rufus Reid, John Riley, ÌDanny Moore Birthday Celebration with George Coleman, Anthony Wonsey, John Webber, Joe Farnsworth Phil Markowitz Sweet Rhythm 8, 10 pm 12 am $20 Smoke 9, 11 pm 12:30 am ÌDanny Moore Tribute with George Coleman, Anthony Wonsey, ÌDrew Gress’ 7 Black Butterflies with Ralph Alessi, Tim Berne, John Webber, Joe Farnsworth Craig Taborn, Tom Rainey55Bar 10 pm Smoke 9, 11 pm 12:30 am ÌPeck Allmond/Kenny Wollesen • Deborah Davis and Trio Lenox Lounge 8:30, 10, 11:30 pm $20 ÌJames Moody Quartet with Renee Rosnes, Todd Coolman, Issue Project Room 8 pm $10 Adam Nussbaum Birdland 9, 11 pm $40 ÌRaymond Scott Orchestrette; Singing Sadie Makor 8 pm $15 • Ann Hampton Callaway and The Diva Jazz Orchestra ÌJames Moody Quartet with Renee Rosnes, Todd Coolman, Blue Note 8, 10:30 pm $25 Adam Nussbaum Birdland 9, 11 pm $40 ÌSteve Wilson with Bruce Barth, Ed Howard, Adam Cruz and • Mobscene Sweet Rhythm 8, 10 pm $15 guest Nicholas Payton Jazz Standard 7:30, 9:30, 11:30 pm $25 • Jamie Saft Blues Explosion with Bobby Previte, Jonathan Maron • Joey DeFrancesco Trio Dizzy’s Club 7:30, 9:30, 11:30 pm $30 Tonic 8 pm • Papa John DeFrancesco Dizzy’s Club 1 am $10 ÌJimmy Greene Quartet with Xavier Davis, Reuben Rodgers, • Ann Hampton Callaway and The Diva Jazz Orchestra Eric Harland Village Vanguard 9, 11 pm 12:30 am $35 Blue Note 8, 10:30 pm $25 34 January 2006 | ALLABOUTJAZZ-NEW YORK ÌDetroit: Motor City: Jazz Lincoln Center Jazz Orchestra with ÌRe: Arranged - The Music of Jaco, Gil Evans, Lennon&McCartney Monday, January 9 Ron Carter, Marcus Belgrave, Curtis Fuller, Charles McPherson, with Gil Goldstein, Chris Potter, Randy Brecker, Mike Mainieri, ÌRoy Hargrove/Mulgrew Miller Yusef Lateef Rose Hall 8 pm $30-130 Richard Bona, Don Alias Blue Note 8, 10:30 pm $35 Merkin Hall 8 pm $25 ÌRandy Weston 80th Birthday Celebration: Randy Weston solo • Kurt Rosenwinkel Village Vanguard 9, 11 pm $35 • Gretchen Parlato Jazz Standard 7:30, 9:30 pm $15 Long Island University 8 pm $20-45 • Wallace Roney Quintet Iridium 8, 10, 11:30 pm $25 • Rondi Charleston with Joel Frahm, Erik Charleston, Bruce Barth, ÌHarlem Speaks: Buster Williams • Mala Waldron Project with Steve Salerno, Miriam Sullivan, Sean Smith, Clarence Penn Jazz Museum in Harlem 6:30 pm Michael T.A. Thompson; Barbara Sfraga and Center Search Quest Blue Note 8, 10:30 pm $10 ÌChico Hamilton Makor 8 pm $15 with Christopher Dean Sullivan, Michael T.A. Thompson, • Alon Yavnai Trio with Massimo Biolcati, Take Toriyama • Bill Charlap Symphony Space 7:30 pm $21 Mala Waldron, Allen Won Enzo’s Jazz 6, 8 pm AC Pianocraft Workshop 8 pm $20 ÌJazz Big Band Graz Tonic 8 pm • Brian Horton Trio Bar Next Door 9 pm 12:30 am $8 • Paul Kogut Trio with Dave Ambrosio, Vinnie Sperrazza ÌPeter Bernstein Quartet with Brad Mehldau, Doug Weiss, • Double Down Detour 9:30 pm 55Bar 7 pm Bill Stewart Smoke 9, 11 pm 12:30 am • Joe Giglio/Frank Potenza 107West 10 pm • Mike Stern 55Bar 10 pm ÌMAXJAZZ: Jeremy Pelt with Frank LoCrasto, Vicente Archer, • Joni Paladin Ensemble Cleopatra’s Needle 8 pm • New School Presents: Andy Milne’s Dapp Theory Eric McPherson Jazz Standard 7:30, 9:30 pm $20 • Fukushi Tanaka Trio The Garage 5:45 pm Sweet Rhythm 8, 10 pm $10 ÌDuane Eubanks Quintet Sweet Rhythm 8, 10 pm $10 • Clay Jenkins The Garage 10:15 pm • Upstarts!: Michigan State University Big Band ÌCurtis Fuller/Louis Hayes Rising Star with Mulgrew Miller, • Bob Mover Café St. Bart’s 12 pm Dizzy’s Club 7:30, 9:30 pm $15 Robert Hurst, Maurice Brown, Sean Jones • Sasha Dobson Trio Bar Next Door 8 pm $5 Sweet Rhythm 11:30 pm 1 am $20 Saturday, January 14 ÌScrambler: Mike Pride, Tony Malaby, Charlie Looker, Mark Helias ÌIAJE Conference: SOCAN; Hear Hear Nordic; WDR Big Band Tuesday, January 10 Tea Lounge 9, 10:30 pm Cologne and guest Paquito D’Rivera; Caswell/Allen Duo; ÌJoe Morris Trio with Ken Vandermark, Luther Gray ÌMat Maneri with Jacob Sacks, John Hebert, John McLellan The Collective; Ester Andujar; US Army Blues Band with Tonic 8 pm $10 Barbès 8, 10 pm $10 Buddy DeFranco; Clairdee; Ken Schaphorst Big Band; • Ravi Coltrane Quartet with Luis Perdomo, Drew Gress, • Peter Eldridge with Joel Frahm, John Hebert, Ben Wittman Judy Wexler; Chick Corea Trio with Eddie Gomez, EJ Strickland Tonic 10 pm $15 55Bar 6 pm Jack DeJohnette; Trondheim Jazz Orchestra and guest ÌJ. Granelli, David Tronzo, Peter Epstein; Peter Epstein, • Kendra Shank with Frank Kimbrough, Dean Johnson, Chick Corea; Javon Jackson Band; Kenny Werner Trio; AAJC Brad Shepik, Matt Kilmer Bowery Poetry Club 10 pm $8 Tony Moreno 55Bar 7:45 pm 2006 IAJE Conference 1 pm-1 am ÌHanuman Sextet: Andy Hass, Don Fiorino, Mia Theodoratus, ÌDave Liebman Trio with Ronan Guilfoyle, Jim Black ÌJason Moran Bandwagon St. Luke's Lutheran Church 6:45 pm Matt Heyner, David Gould, Dee Pop; Joe Fonda/ 55Bar 10 pm ÌJemeel Moondoc Trio with Connie Crothers, Henry Grimes Michael Jefry Stevens Group with Herb Robertson, ÌINDO-PAK: Rudresh Mahanthappa, Rez Abassi, Dan Weiss The Stone 8, 10 pm $10 Harvey Sorgen The Stone 8, 10 pm $10 Joe’s Pub 9:30 pm $15 ÌRhiannon; Kate McGarry Joe’s Pub 7 pm $20 • Kurt Elling Birdland 9, 11 pm $40 • Yuko Fujiyama Quartet with Jennifer Choi, Okyung Lee, ÌBurnt Sugar Joe’s Pub 7 pm $20 ÌThe Music of Tommy Flanagan & Milt Jackson: Lewis Nash, Reggie Nicholson; Eri Yamamoto Trio with David Ambrosio, ÌFree Zone: Lukas Ligeti and guests; Sam Newsome solo Renee Rosnes, Peter Washington, Steve Nelson Ikuo Takeuchi The Stone 8, 10 pm $10 Café Grumpy 9, 10 pm $5 Dizzy’s Club 7:30, 9:30 pm $30 • Andy Milne’s Dapp TheoryJazz Gallery 9, 10:30 pm $12 ÌJames Carney Group with David Binney, Josh Roseman, • IAJE Award Winners Dizzy’s Club 11 pm $10 • Dean Bowman, Patrizia Ferrara, James Weidman, Mark McLean Jonathan Finlayson, Chris Lightcap, Ted Poor ÌRe: Arranged - The Music of Jaco, Gil Evans, Lennon&McCartney Wesley Grant Bowery Poetry Club 10 pm Cornelia Street Café 8:30 pm $10 with Gil Goldstein, Chris Potter, Randy Brecker, Mike Mainieri, ÌOmer Avital Group with Joel Frahm, Avishai Cohen • Ben Waltzer Group Cornelia Street Café 10:30 pm $10 Richard Bona, Don Alias Blue Note 8, 10:30 pm $35 Smalls 10:30 pm, 12:30 am $20 • Yosvany Terry Group with Ambrose Akinmusire, Mike Moreno, • Kurt Rosenwinkel Village Vanguard 9, 11 pm $30 ÌHelen Sung Quartet The Kitano 8, 9:45 pm Luis Perdomo, Yunior Terry, Jeff “Tain”Watts, Pedro Martinez ÌBen Monder Trio with Ben Street, Ted Poor ÌJessica Jones, Diana Wayburn; Daniel Carter, Gil Selinger, Jazz Gallery 9, 10:30 pm $15 Jazz Standard 7:30, 9:30 pm $20 Reuben Radding Via Della Pace 8 pm $10 • Michael Weiss with Steve Wilson, Ugonna Okegwo, Adam Cruz, • Paul Winston Trio NYC Baha’i Center 8, 10 pm $15 • IAJE Gnu Vox Special with Rachel Caswell, David Devoe, Daniel Sadownick The Kitano 8, 9:45 pm $20 • Theo Bleckmann; Judy Niemack Julia Dollison, Sara Leib Cornelia Street Café 6 pm $10 ÌDetroit: Motor City: Jazz Lincoln Center Jazz Orchestra with Sweet Rhythm 8, 10 pm $15 • Judi Silvano Birdland 5 pm Ron Carter, Marcus Belgrave, Curtis Fuller, Charles McPherson, ÌCathy Segal-Garcia 55Bar 7 pm • Kurt Elling Birdland 9, 11 pm $40 Yusef Lateef Rose Hall 8 pm $30-130 ÌDavid Binney’s Balance with Craig Taborn, Thomas Morgan, ÌThe Music of Tommy Flanagan & Milt Jackson: Lewis Nash, ÌRandy Weston 80th Birthday Celebration: The Spirit of Afrika Dan Weiss 55Bar 10 pm Renee Rosnes, Peter Washington, Steve Nelson Long Island University 8 pm $20-45 • Himalayas: Kenny Wollesen, Jonathan Haffner, Tony Scherr Dizzy’s Club 7:30, 9:30 pm $30 ÌBilly Bang Group Sistas’ Place 9, 10:30 pm $20 Zebulon 10 pm • IAJE Award Winners Dizzy’s Club 11 pm $10 ÌPeter Bernstein Quartet with Brad Mehldau, Doug Weiss, • Blake Cohen Quartet with Adam Caine, Kevin Shea ÌRe: Arranged - The Music of Jaco, Gil Evans, Lennon&McCartney Bill Stewart Smoke 9, 11 pm 12:30 am spoken words Café 9 pm with Gil Goldstein, Chris Potter, Randy Brecker, Mike Mainieri, ÌMAXJAZZ: Mulgrew Miller Trio with Ivan Corchran, Rodney Green • Jenny Scheinman Barbès 7 pm Richard Bona, Don Alias Blue Note 8, 10:30 pm $35 Jazz Standard 7:30, 9:30, 11:30 pm $25 • John Wriggle Quartet with Charles Lee, Nick Russo, Robert Sabin • Kurt Rosenwinkel Village Vanguard 9, 11 pm $30 • Gretchen Parlato, Lionel Loueke, Alan Hampton Stain Bar 8 pm • Wallace Roney Quintet Iridium 8, 10 pm $25 55Bar 6 pm • Russ Spiegel Big Band The Garage 8 pm • Michelle Latimer/David Hazeltine ÌSandy Sasso 55Bar 7:45 pm Danny's Skylight Room 9:15 pm $15 ÌMarty Ehrlich Quartet with James Weidman, Brad Jones, Wednesday, January 11 • John Lockwood, Garth Stevenson, Ziv Ravitz Allison Miller 55Bar 10 pm ÌInternational Association of Jazz Educators (IAJE): 5 Alone; Bar 4 8:30 pm ÌMaurice Brown Quintet Sweet Rhythm 8, 10 pm $10 Ravi Coltrane Quartet; No Name Horses Jazz Orchestra directed • Tsutomu Nakai Quartet with Michael Kana, Kenji Rabson, ÌRobert Hurst Quartet with Donald Harrison, Eddie Henderson, by Makoto Ozone; Dafnis Prieto Quintet; Monty Alexander Trio Tony Lenone Kavehaz 6 pm Steve Nelson Sweet Rhythm 11:30 pm 1 am $20 with Hassan Shakur and Herlin Riley; Maria Schneider Orchestra; • Logan Richardson Quartet with Tommy Crane, Chris Tordini, • Warmer by the Stove: Thomas Buckner, Juho Laitinen, IJFO Kjetil Moster 2006 IAJE Conference 7 pm Greg Ruggeiro Kavehaz 9:30 pm Christian Wolff Lotus Arts 8 pm $10 ÌGutbucket with Ty Citerman; Benny Lackner Trio; Rashanim: • Allen Won Quartet with Rave Tessar; Center Search Quest: • Rochelle Thompson Lenox Lounge 8:30, 10, 11:30 pm $20 Jon Madof, Shanir Blumenkranz, Mathias Künzli; Shane Endsley Christopher Dean Sullivan, Michael T.A. Thompson, Eri Yamamoto ÌOmer Avital Group with Joel Frahm, Avishai Cohen with Matt Glassmeyer, Alex Hamlin, Grey McMurray, Enzo’s Jazz 6, 8 pm Smalls 10:30 pm, 12:30 am $20 Chris Vatalaro, Tim Kuyper; Okkyung Lee with Doug Wieselman, • Typhanie Monique/Neal Alger • Kurt Elling Birdland 9, 11 pm $40 Tom Rainey, Jim Pugliese, Trevor Dunn; Jacob Garchik Trio Detour 9:30 pm ÌIAJE Conference Jam led by Gary Bartz, Robin Eubanks, Tonic 8 pm $12 • Victor Len Trio Cleopatra’s Needle 8 pm Bobby Sanabria, others Birdland 1 am ÌMark Whitecage’s “BushWacked” with Roy Campbell, • Combo Novo The Garage 8 pm ÌThe Music of Tommy Flanagan & Milt Jackson: Lewis Nash, Rozanne Levine, Joe Fonda, Jay Rosen; Rozanne Levine, Friday, January 13 Renee Rosnes, Peter Washington, Steve Nelson Perry Robinson, Mark Whitecage, Matt Snyder, Roy Campbell, Dizzy’s Club 7:30, 9:30, 11:30 pm $30 Joe Fonda, Jay Rosen The Stone 8, 10 pm $10 ÌIAJE Conference: US Army Blues Band with Buddy DeFranco; • IAJE Award Winners Dizzy’s Club 1 am $10 ÌNight of the Ravished Limbs: Loren Stillman Quartet with Sultans of Swing; Bob Mintzer Big Band; Cadence; ÌRe: Arranged - The Music of Jaco, Gil Evans, Lennon&McCartney Jacob Sacks, Scott Lee, Jeff Hirshfield; Andy Milne’s Andy Scott/Dave Hassell; Autorickshaw; Jazz Big Band Graz with with Gil Goldstein, Chris Potter, Randy Brecker, Mike Mainieri, Dapp Theory with Loren Stillman, John Moon, Janek Gwizdala, Theo Bleckmann; Curtis Stigers; Rosana Eckert Quintet with Richard Bona, Don Alias Blue Note 8, 10:30 pm $35 Sean Rickman Barbès 8, 10 pm $8 Brian Piper, Lynn Seaton, Mike Drake, Gary Eckert and guest • Kurt Rosenwinkel Village Vanguard 9, 11 pm 12:30 am $35 ÌMAXJAZZ: Dena DeRose Trio with Martin Wind, Matt Wilson Marvin Stamm; Jane Ira Bloom; Kitty Margolis; AC Timba; • Joan Crowe with Tedd Firth, Kelly Friesen, Quintin Gallemore Jazz Standard 7:30, 9:30 pm $20 Jon Faddis Orchestra; Count Basie Orchestra and guest Iridium 7 pm $15 • Yayoi Ikawa Trio Sweet Rhythm 8, 10 pm $10 Nnenna Freelon, Hank Jones; I am Three Mingus • Wallace Roney Quintet Iridium 8, 10, 11:30 pm $27.50 ÌRay Drummond Quartet Sweet Rhythm 11:30 pm 1 am $20 Big Band/Orchestra/Dynasty; Jean-Michel Pilc Trio; ÌDenominators: Michel Gentile, Nate Radley, Roland Schneider ÌJacob Anderskov’s Accident with Cuong Vu, Jesper Zeuthen, Esborn Svensson Trio 2006 IAJE Conference 1 pm-1 am Brooklyn Cons. of Music 8 pm $10 Ned Ferm, Chris Speed, Peter Dahlgren, Jeppe Skovbakke, • Claudia Acuña Joe’s Pub 7:30 pm $20 • Igor Lumpert Trio with Sam Barsh, Tommy Crane Rune Kielsgaard Cornelia Street Café 8 pm $10 ÌRobert Glasper Joe’s Pub 9:30 pm $12 Kavehaz 6 pm ÌJohn McNeil with Pete McCann, Allison Miller, Mike McGuirk ÌWarren Smith Quartet with Andrew Lamb, Tom Abbs, Mark Taylor; • Pete Robbins’ Centric with Sam Sadigursky, Eliot Cardinaux, Cornelia Street Café 10 pm $10 Andrew Bemkey/Newman Taylor Baker Duo Mike Gamble, Thomas Morgan, Tyshawn Sorey • Dave McMurdo Orchestra Jazz Gallery 9, 10:30 pm $12 The Stone 8, 10 pm $10 Detour 9:30 pm $5 • Matt Lavelle Eye Contact Zebulon 10 pm • Yosvany Terry Group with Ambrose Akinmusire, Mike Moreno, • Essiet Essiet Quartet with Rob Scheps, John Butler, • Paula Jeanine’s American Ghazal with Lee Boice, Jerome Harris, Luis Perdomo, Yunior Terry, Jeff “Tain”Watts, Pedro Martinez Marcello Pellitteri Kavehaz 9:30 pm Bill Buchen Tea Lounge 9, 10:30 pm Jazz Gallery 9, 10:30 pm $15 • Freddie Bryant Trio Bar Next Door 9 pm 12:30 am $8 • Walter Thompson Orchestra; Justin Mullins’ Delphian Big Band • Nate Smith Quartet with Jostein Gulbrandsen, Jon Irabagon, • Ed Stoute Quartet ParlorJazz 9, 10:30 pm $20 Bowery Poetry Club 9:15 pm Mark Anderson Kavehaz 6 pm • Steve Belvilus Quintet Cleopatra’s Needle 8 pm ÌDan Nimmer Trio The Kitano 8, 9:45 pm ÌVirginia Mayhew with Kenny Wessel, Harvie S, Victor Jones, • Larry Newcomb Trio The Garage 12 pm • Kurt Elling Birdland 9, 11 pm $40 Marvin Stamm Kavehaz 9:30 pm • John Chin Trio The Garage 5:45 pm ÌThe Music of Tommy Flanagan & Milt Jackson: Lewis Nash, • Michael Weiss with Steve Wilson, Ugonna Okegwo, Adam Cruz, ÌVirginia Mayhew Quartet with Kenny Wessel, Harvie S, Renee Rosnes, Peter Washington, Steve Nelson Daniel Sadownick The Kitano 8, 9:45 pm $20 Victor Jones The Garage 10:15 pm Dizzy’s Club 7:30, 9:30 pm $30 ÌDetroit: Motor City: Jazz Lincoln Center Jazz Orchestra with • IAJE Award Winners Dizzy’s Club 11 pm $10 Ron Carter, Marcus Belgrave, Curtis Fuller, Charles McPherson, ÌRe: Arranged - The Music of Jaco, Gil Evans, Lennon&McCartney Yusef Lateef Rose Hall 8 pm $30-130 with Gil Goldstein, Chris Potter, Randy Brecker, Mike Mainieri, ÌPeter Bernstein Quartet with Brad Mehldau, Doug Weiss, Richard Bona, Don Alias Blue Note 8, 10:30 pm $35 Bill Stewart Smoke 9, 11 pm 12:30 am • Kurt Rosenwinkel Village Vanguard 9, 11 pm $30 ÌMAXJAZZ: Terell Stafford Quintet with Tim Warfield, Bruce Barth, • Ada Rovatti with Jim Rotondi, Jill McCarron, Nicki Parrott, Derrick Hodge, Dana Hall and guest Carla Cook Steve Johns Enzo’s Jazz 6, 8 pm Jazz Standard 7:30, 9:30, 11:30 pm $25 • Christine Tobin Joe’s Pub 9:30 pm $15 ÌAnthony Wonsey Trio Sweet Rhythm 8, 10 pm $10 • Sheryl Bailey’s Power of 3 with Brian Charette, Ian Froman ÌRobert Hurst Quartet with Robert Glasper, Karriem Riggins, 55Bar 6 pm Lionel Loueke Sweet Rhythm 11:30 pm 1 am $20 • Linda Ciofalo with Mark Marino, Marcus McLaurine ÌJeremy Steig Quartet with Vic Juris, Cameron Brown, 55Bar 7:45 pm Anthony Pinciotti Cornelia Street Café 9, 10:30 pm $12 • Mike Stern 55Bar 10 pm • Warmer by the Stove: Miguel Frasconi, Philip Gelb, • Emilie Cardinaux, Tim Lefebvre, Ted Poor; Zach Brock, Toshio Kajiwara, Cornelius Dufallo Sam Barsh, Matt Wigton, Jon Deitemyer, Emilie Cardinaux Lotus Arts 8 pm $10 Rockwood Music Hall 9 pm • Rochelle Thompson Lenox Lounge 8:30, 10, 11:30 pm $20 • Francina Connors Trio with Michael Howell, Dave Jackson ÌTessa Souter with Saul Rubin, Dana Leong Penang 8 pm 55Bar 6 pm • Orbert Davis Quartet with Ryan Cohan, Lorin Cohen, • J.D. Walter with Andrei Kondakov Kobie Watkins Kavehaz 8 pm 55Bar 7:45 pm • Leif Arntzen Quartet Night and Day 9 pm ÌChris Potter 55Bar 10 pm • Manhattan Vibes The Garage 8 pm ÌOmer Avital Group with Joel Frahm, Avishai Cohen ÌDick Katz/Boots Maleson Saint Peter’s 1 pm $5 Smalls 10:30 pm, 12:30 am $20 • Jessica Lurie Ensemble with Erik Deutsch, George Rush, Thursday, January 12 Eric Kalb Tea Lounge 9, 10:30 pm ÌIAJE Conference: High Brass; Andy Milne’s Dapp Theory; • Kurt Elling Birdland 9, 11 pm $40 Syncopation; Jacob Anderskov’s Accident; Christian Scott; ÌIAJE Conference Jam led by Gary Bartz, Robin Eubanks, Lionel Loueke’s Gilfema Trio; John Fedchock Sextet; Bobby Sanabria, others Birdland 1 am Robert Glasper; Millenium Orchestra with Fay Claasen; ÌThe Music of Tommy Flanagan & Milt Jackson: Lewis Nash, Nimmons ‘n’ Nine; Oscar Castro-Neves; Jim Cullum; Renee Rosnes, Peter Washington, Steve Nelson WDR Big Band Cologne and guest Bireli Lagrene; Karrin Allyson; Dizzy’s Club 7:30, 9:30, 11:30 pm $30 Stefon Harris’ Blackout 2006 IAJE Conference 1 pm-1 am • IAJE Award Winners Dizzy’s Club 1 am $10 ALLABOUTJAZZ-NEW YORK | January 2006 35 ÌClaudia Acuña; Marta Topferova • Daniel Sadownick Blue Note 12:30 am $8 Sunday, January 15 Joe’s Pub 7 pm $20 • Mark O’Connor with Roberta Gambarini, Howard Alden, ÌNation Of We Ensemble: Raphe Malik, Flip Barnes, Matt Lavelle, • Ravi Coltrane Quartet with Luis Perdomo, E.J. Strickland, Bryan Sutton, Jon Burr Dizzy’s Club 7:30, 9:30, 11:30 pm $30 Roy Campbell, Sabir Mateen, Ras Moshe, Will Connell, Drew Gress; The Bad Plus: Reid Anderson, Ethan Iverson, • Gretchen Parlato Dizzy’s Club 1 am $10 Rob Brown, Saco Yasuma, Dick Griffin, Peter Zummo, David King Iridium 8, 10 pm $32.50 ÌBobby Previte Issue Project Room 8 pm $10 Jackson Krall, Mike Thompson, Matthew Heyner, Todd Nicholson, ÌJean-Michel Pilc solo Jazz Gallery 9, 10:30 pm $12 • Talib Creative Artists Lenox Lounge 8:30, 10, 11:30 pm $20 Chris Forbes, Steve SwellBowery Poetry Club 7 pm $10 • Tim Ries and The Stones Project with Michael Davis, • Alexander McCabe Group with Ray Macchiarola, Scott Fragala, ÌRamsey Lewis, Mulgrew Miller, Billy Childs, Winard Harper, Bernard Fowler, Ben Monder, Clarence Penn Jeff Brillinger Kavehaz 6 pm Chip Jackson, Frank Wess, Steve Wilson, Jimmy Owens, Jazz Standard 7:30, 9:30 pm $20 ÌLucian Ban and Asymmetry with Jorge Sylvester, Carlo DeRosa, Stefon Harris, Carla Cook St. Luke's Lutheran Church 4:30 pm • Yasmin Charnet-Abler with Paul Abler, Allen Farnham, Derrek Phillips Kavehaz 9:30 pm ÌPeter Zak Trio with Paul Gill, Al Foster Sean Smith, Adriano Santos, Ze’ Mauricio • Jon Gordon Trio Bar Next Door 9 pm 12:30 am $8 Jazz Gallery 9, 10:30 pm $12 Sweet Rhythm 8, 10 pm $15 • Free Zone: Kelly Pratt Café Grumpy 9, 10 pm $5 ÌLisa Sokolov Quartet with John DiMartino, Mark Helias, • Kenny Garrett Quartet with Ronald Bruner, Carlos Mckinney, • Mike Massetti, Bern, Dani Farrell, Joe Parrino, Steve Ortega, Gerry Hemingway; The Daves: Dave Hofstra, Dave Sewelson Kris Funn; Hiromi with Tony Grey, Martin Valihora Eric Thompson CabinFever Bar 9 pm The Stone 8, 10 pm $10 Blue Note 8, 10:30 pm $30 • Marilyn with Saul Rubin 55Bar 6 pm ÌJoel Harrison with Dave Binney, Uri Caine, Stephan Crump, ÌJeff “Tain” Watts Village Vanguard 9, 11 pm $30 • Marek’s Jazz Quartet Cleopatra’s Needle 8 pm Ben Wittman, Todd Isler Jazz Standard 7:30, 9:30 pm $20 • Mark O’Connor with Roberta Gambarini, Howard Alden, • Larry Newcomb Trio The Garage 12 pm • Edmar Casteneda Sweet Rhythm 8, 10 pm $15 Bryan Sutton, Jon Burr Dizzy’s Club 7:30, 9:30 pm $30 • Nick Moran Trio The Garage 5:45 pm ÌDetroit plays New York Tribute to Roy Brooks, Teddy Harris, • Gretchen Parlato Dizzy’s Club 11 pm $10 • Danny Mixon Trio The Garage 10:15 pm Harold and Ray McKinneySweet Rhythm 11:30 pm 1 am $20 ÌReggie Nicholson with Avram Fefer, Brian Smith; Ras Moshe ÌThe Music of Tommy Flanagan & Milt Jackson: Lewis Nash, with Joe Rigby, Todd Nicholson, Jackson Krall, Sunday, January 22 Renee Rosnes, Peter Washington, Steve Nelson Walden Wimberley The Stone 8, 10 pm $10 ÌDave Holland Standards Duo with Steve Nelson Dizzy’s Club 7:30, 9:30 pm $30 • Rachel Z Trio with Chris Luard, Bobbie Rae Birdland 9, 11 pm $40 ÌRe: Arranged - The Music of Jaco, Gil Evans, Lennon&McCartney The Kitano 8, 9:45 pm Ì2006 Winter Jazzfest: Chiara Civello; Dafnis Prieto; Dave Burrell; with Gil Goldstein, Chris Potter, Randy Brecker, Mike Mainieri, ÌDavid Aaron’s Short Memory with Rob Ritchie, Greg Ritchie, Denis Colin; Edmar Castaneda; Eric Lewis; Jason Lindner; Richard Bona, Don Alias Blue Note 8, 10:30 pm $35 Matt Wigton 55Bar 7 pm John Medeski solo; Marc Ribot’s Spiritual Unity; Nano; Tin Hat; • Kurt Rosenwinkel Village Vanguard 9, 11 pm $30 ÌIngrid Jensen and Friends with Lage Lund, Geoffrey Keezer, Pyeng Threadgill; Rez Abassi; Robert Glasper; Zim Ngqawana • Wallace Roney Quintet Iridium 8, 10 pm $25 Matt Clohesy, Jon Wikan 55Bar 10 pm Terence Blanchard; Vijay Iyer, Mike Ladd, Rudresh Mahanthappa; ÌBenny Powell Saint Peter’s 5 pm • Pete Robbins’ Centric with Sam Sadigursky, Mike Gamble, Wise Knitting Factory 6 pm $25 ÌLoren Stillman Bar 4 8 pm $5 Eliot Cardinaux, Thomas Morgan, Tyshawn Sorey ÌAndrew Lamb with Chad Taylor, Shanir Blumenkrantz, Tom Abbs, • Monika Heidemann, Matt Moran, Derek Layes, Take Toriyama, Tea Lounge 9, 10:30 pm Andrei Strobert; Jason Hwang, Taylor Ho Bynum, Andrew Drury, Khabu Doug Young Zebulon 10 pm • Kim Bock Quartet with David Smith, Adam Armstrong, Ken Filiano The Stone 8, 10 pm $10 ÌBob Feldman and guests Downtown Music Gallery 6 pm Peter Retzlaff Cornelia Street Café 8:30 pm $8 • E.S.T.: Esbjorn Svensson, Dan Berglund, Magnus Ostrom • Sheila Cooper 55Bar 7 pm • Gian Tornatore, Nate Radley, Jon Anderson, Thomson Kneeland, Jazz Standard 7:30, 9:30 pm $25 • Bill Connors with Lincoln Goines, Mike Clark Jordan Perlson Kavehaz 6 pm ÌDave Stryker/Steve Slagle Band with Ed Howard, Victor Lewis 55Bar 9:30 pm • Drori Mondlak with Karolina Strassmayer, Cary DeNigris, Cornelia Street Café 8:30 pm $10 • Nick Bisesi with Pete McCann, Cliff Schmitt, Owen Howard, Thomas Bramerie Kavehaz 9:30 pm • Ravi Coltrane Quartet with Luis Perdomo, E.J. Strickland, Gayle Bisesi Cornelia Street Café 8:30 pm $10 ÌBrewed by Noon: Jon Madoff, Thierno Camara, Sean Noonan Drew Gress Iridium 8, 10 pm $30 • Jan Findlay The Garage 12 pm Barbès 8 pm $10 • Kenny Garrett Quartet with Ronald Bruner, Carlos Mckinney, ÌVirginia Mayhew The Garage 7 pm • Gilad Hekselman Trio Smalls 10 pm $10 Kris Funn; Hiromi with Tony Grey, Martin Valihora • Roz Corral with Paul Meyers, Paul Gill • Walter Thompson Sound Painting Quartet and guests Blue Note 8, 10:30 pm $30 North Square Lounge 12:30, 2 pm Via Della Pace 8 pm $10 ÌJeff “Tain” Watts Village Vanguard 9, 11 pm $30 • ‘EnJ’: Eijiro Nakagawa, Jim Pugh • Jason Green Trio Detour 9:30 pm • Mark O’Connor with Roberta Gambarini, Howard Alden, Blue Note 12:30, 2:30 pm $19.50 • Masa Hatsuda Quartet Cleopatra’s Needle 8 pm Bryan Sutton, Jon Burr Dizzy’s Club 7:30, 9:30 pm $30 • Steve Husted Quartet The Garage 8 pm • Harvie S Band Europa Club 7:30 pm $10 Monday, January 16 ÌScott DuBois with Loren Stillman, Jason Rigby, Thomas Morgan, • Upstarts!: WDR Big Band; University of North Carolina Friday, January 20 Gerald Cleaver 55Bar 9:30 pm Jazz Ensemble Dizzy’s Club 7:30, 9:30 pm $15 ÌDave Holland Sextet with Mulgrew Miller, Antonio Hart, ÌTone Collector: Tony Malaby, Eivind Opsvik, Jeff Davis, • Steve Coleman Presents Jazz Gallery 9 pm $15 Robin Eubanks, Eric Harland, Alex Sipiagin Ben Gerstein Bar 4 8 pm $5 • Roland Guerin Blue Note 8, 10:30 pm $10 Birdland 9, 11 pm $40 ÌDominic Duval/Jimmy Halperin • Julia Dollison with Ben Monder, Matt Clohesy, Ted Poor • E.S.T.: Esbjorn Svensson, Dan Berglund, Magnus Ostrom Downtown Music Gallery 6 pm Jazz Standard 7:30, 9:30 pm $15 Jazz Standard 7:30, 9:30, 11:30 pm $25 • J.C. Sanford Triocracy Saint Peter’s 5 pm • Yael Archer’s junk ‘KAT’ with Raashad Dobbins, Ameed Saleem, ÌHilton Ruiz Quartet Sweet Rhythm 8, 10 pm 12 am $20 • Gene Janas/Randy Borra; Matt Crane/Adam Diller Jeremy Clemons 55Bar 7 pm ÌThe Bad Plus: Reid Anderson, Ethan Iverson, Dave King ABC No Rio 8 pm $3 ÌBen Allison Quartet with Steve Cardenas Ron Horton, Joe’s Pub 9:30 pm $20 • The Animal Channel: Sebastian Noelle, Zac Colwell, Michael Sarin 55Bar 10 pm ÌCharles Gayle Trio; Raphe Malik with Sabir Mateen, Larry Roland, Monika Heidemann, K Ishibashi, Mike Savino, John Hadfield, • New School Presents: Tommy Crane Quintet with Frank LoCrasto, Rashid Bakr The Stone 8, 10 pm $10 Matthias Kunzli Flushing Public Library 2 pm Logan Richardson, Greg Ruggiero, Chris Tordini • Henry Butler Metropolitan Museum of Art 8 pm $45 • Joni Paladin The Garage 12 pm Sweet Rhythm 8, 10 pm $10 ÌAl Foster Smoke 9, 11 pm 12:30 am • Barbara Sfraga Trio with Ron Affif, Christopher Dean Sullivan • Chris Bergson Trio Bar Next Door 8 pm $5 ÌDarcy James Argue’s Secret Society North Square Lounge 12:30, 2 pm Bowery Poetry Club 10 pm $10 • Ayako Shirasaki Trio Blue Note 12:30, 2:30 pm $19.50 Tuesday, January 17 • Travis Sullivan’s Björkestra; Miles to Miles: Jason Miles, • Kenny Garrett Quartet with Ronald Bruner, Carlos Mckinney, Cyro Baptista,James Genus, Stefon Harris Kris Funn; Hiromi with Tony Grey, Martin Valihora Bowery Ballroom 9 pm $15 Blue Note 8, 10:30 pm $30 ÌMiguel Zenon Quartet with Luis Perdomo, Hans Glawischnig, ÌJeff “Tain” Watts Village Vanguard 9, 11 pm $30 Henry Cole Jazz Gallery 9, 10:30 pm $15 • Mark O’Connor with Roberta Gambarini, Howard Alden, ÌGeoffrey Keezer Trio with Mike Pope, Terreon Gully Bryan Sutton, Jon Burr Dizzy’s Club 7:30, 9:30 pm $30 The Kitano 8, 9:45 pm $20 • Gretchen Parlato Dizzy’s Club 11 pm $10 • Ravi Coltrane Quartet with Luis Perdomo, E.J. Strickland, ÌReggie Workman/Miya Masaoka/Gerry Hemingway; Myk Freedman Drew Gress Iridium 8, 10, 11:30 pm $27.50 with Ryan Driver, Tania Gill, Liam Robinson, Kai Koschmider, • Kenny Garrett Quartet with Ronald Bruner, Carlos Mckinney, Mike Kammers, Julia Hambleton, Ben Greenberg, Mike Overton, Kris Funn; Hiromi with Tony Grey, Martin Valihora Jake Oelrichs The Stone 8, 10 pm $10 Blue Note 8, 10:30 pm $30 • Mike Longo and the NY State of the Art Jazz Ensemble with ÌJeff “Tain” Watts Village Vanguard 9, 11 pm $35 Hilary Gardner NYC Baha’i Center 8, 10 pm $15 ÌDana Leong Quintet with Jason Lindner, Christian Howes, • Michael Evans/Jeff Arnal Tonic 8 pm Alan Grubner, Gene Jackson, Baba Israel ÌAndrew D’Angelo Trio with Kjetil Moster, Jim Black Blue Note 12:30 am $8 Tonic 10 pm • Mark O’Connor with Roberta Gambarini, Howard Alden, • Jenny Scheinman Barbès 7 pm Bryan Sutton, Jon Burr Dizzy’s Club 7:30, 9:30, 11:30 pm $30 ÌPeter Martin Trio with Reuben Rogers, Greg Hutchinson • Gretchen Parlato Dizzy’s Club 1 am $10 Jazz Standard 7:30, 9:30 pm $20 • Ikue Mori/DJ Olive Issue Project Room 8 pm $10 • Marion Cowings 60th Birthday Celebration ÌAndrew D’Angelo with Jim Black, Kjetil Møster Sweet Rhythm 8, 10 pm $15 Tea Lounge 9, 10:30 pm ÌSebastian Noelle Trio with Thomson Kneeland, Ted Poor ÌAlex Skolnick Trio Detour 9:30 pm $5 55Bar 7 pm • Talib Creative Artists Lenox Lounge 8:30, 10, 11:30 pm $20 ÌLage Lund Group with Geoffrey Keezer, Matt Clohesy, Ari Hoenig • Chris McNulty Quartet with Paul Bollenback, Ugonna Okegwo, 55Bar 10 pm Montez Coleman Enzo’s Jazz 8:30, 10:30 pm ÌMostly Other People Do The Killing: Peter Evans, Jon Irabagon, • Jostein Gulbrandsen Quartet with Jon Irabagon, Eivind Opsvik, Moppa Elliot, Kevin Shea Cornelia Street Café 8:30 pm Jeff Davis Kavehaz 6 pm • SLOG; The New Mellow Bowery Poetry Club 10 pm $8 • Chauncey Upson Quartet with Chris Carroll, Roy Dunlap, • Manny Duran Lucille’s at B.B. King’s 8 pm Steve Watson Kavehaz 9:30 pm • Russ Spiegel Big Band The Garage 8 pm • Stephanie Clark with Janice Friedman 55Bar 6 pm Wednesday, January 18 • Mike Moreno Trio Bar Next Door 9 pm 12:30 am $8 ÌDave Holland Big Band Birdland 9, 11 pm $40 • Joe Giglio/David Shaich 107West 10 pm ÌArthur Doyle Tonic 8 pm • Dona Carter Danny’s Skylight Room 7:15 pm $15 • Samuel Torres, Yosvany Terry, Manuel Valera, Oscar Stagnaro, • Shavel Cassity Quartet Cleopatra’s Needle 8 pm Ernesto Simpson Sweet Rhythm 8, 10 pm $15 • Mark Capon Trio The Garage 5:45 pm ÌThe Bad Plus: Reid Anderson, Ethan Iverson, David King • Bucky Pizzarelli Café St. Bart’s 12 pm Iridium 8, 10 pm $27.50 Saturday, January 21 • Kenny Garrett Quartet with Ronald Bruner, Carlos Mckinney, Kris Funn; Hiromi with Tony Grey, Martin Valihora ÌHenry Grimes/Roswell Rudd Blue Note 8, 10:30 pm $30 The Stone 8, 10 pm $20 ÌJeff “Tain” Watts Village Vanguard 9, 11 pm $30 ÌCyro Baptista and Beat the Donkey; Luminescent Orchestrii; • Mark O’Connor with Roberta Gambarini, Howard Alden, Outernational Makor 8 pm $15 Bryan Sutton, Jon Burr Dizzy’s Club 7:30, 9:30 pm $30 • Cyril Greene Sistas’ Place 9, 10:30 pm $20 • Gretchen Parlato Dizzy’s Club 11 pm $10 ÌRoy Campbell, Ted Daniel, Sabir Mateen, Hill Greene, Dick Griffin, ÌNight of the Ravished Limbs: Sam Bardfeld’s Saul Quintet with Matt Lavelle, Andre Martinez, Ras Moshe, Reut Regev, Joe Rigby, Ron Horton, Tom Beckham, Sean Conly, Satoshi Takeishi; Michael Thompson Brecht Forum 9, 10 pm $10 Jason Kao Hwang’s Edge with Taylor Ho Bynum, Andrew Drury, ÌDave Holland Sextet with Mulgrew Miller, Antonio Hart, Ken Filiano Barbès 8, 10 pm $8 Robin Eubanks, Eric Harland, Alex Sipiagin ÌSylvia Cuenca Trio Kavehaz 8 pm Birdland 9, 11 pm $40 • Donald Edward Quartet The Kitano 8, 9:45 pm • E.S.T.: Esbjorn Svensson, Dan Berglund, Magnus Ostrom • Todd Nicholson Ottic Band with Steve Swell, Nate Wooley, Jazz Standard 7:30, 9:30, 11:30 pm $25 Tatsuya Nakatani; Chris Kuklis, Lelah Simon, Matt Miller, ÌHilton Ruiz Quartet Sweet Rhythm 8, 10 pm 12 am $20 Joel Braverman The Stone 8, 10 pm $10 • Leni Stern Flushing Town Hall 8 pm $20 • Josh Irving Quartet with George Dulin, Ike Sturm, Ted Poor ÌGerry Eastman; Dafnis Prieto, Yosvany Terry, Manuel Valera, 55Bar 7 pm Yunior Terry Williamsburg Music Center 8:30 pm $10 • Rudder: Henry Hey, Chris Cheek, Tim Lefebvre, Zach Danziger ÌAl Foster Smoke 9, 11 pm 12:30 am 55Bar 10 pm ÌMiguel Zenon Quartet with Luis Perdomo, Hans Glawischnig, • Beth Lane Quartet with Daryl Kojak, Paul Gabrielson, Henry Cole Jazz Gallery 9, 10:30 pm $15 Kim Thompson Enzo’s Jazz 8:30, 10:30 pm ÌGeoffrey Keezer Trio with Mike Pope, Terreon Gully • Adam Stoler Trio The Garage 8 pm The Kitano 8, 9:45 pm $20 • Joyce Breach/Keith Ingham • Ravi Coltrane Quartet with Luis Perdomo, E.J. Strickland, Saint Peter’s 1 pm $5 Drew Gress Iridium 8, 10, 11:30 pm $30 • Kenny Garrett Quartet with Ronald Bruner, Carlos Mckinney, Thursday, January 19 Kris Funn; Hiromi with Tony Grey, Martin Valihora Blue Note 8, 10:30 pm $30 ÌDave Holland Quintet Birdland 9, 11 pm $40 ÌJeff “Tain” Watts Village Vanguard 9, 11 pm 12:30 am $35 36 January 2006 | ALLABOUTJAZZ-NEW YORK • Dimitri Kolesnik/Andrei Kondakov and Five Corners with • Alex De Grassi; Henry Kaiser Monday, January 23 Eric Alexander, Jim Rotondi, Lenny White Flushing Town Hall 8 pm $20 ÌDon Byron’s Ivey Divey with Jason Moran, Billy Hart Smoke 9, 11 pm 12:30 am • Gary Lucas Bowery Poetry Club 10 pm $15 Merkin Hall 8 pm $25 ÌCharles Tolliver Big Band Birdland 9, 11 pm $30 ÌNoah Baerman Trio with Henry Lugo, Vinnie Sperrazza ÌJon Faddis Quartet Blue Note 8, 10:30 pm $20 ÌSteve Lehman/Tsyshawn Sorey Duo; Steve Lehman Quintet with Kavehaz 6 pm ÌLuciana Souza Quartet; Brazilian Duo with Romero Lubambo Jonathan Finlayson, Mike Moreno, Matt Brewer, Tyshawn Sorey • Francisco Mora Group with J.D. Allen, Craig Taborn, Joe’s Pub 7 pm $20 Jazz Gallery 9, 10:30 pm $12 Chris Lightcap Kavehaz 9:30 pm • Carla Kihlstedt’s 2 Foot Yard • Bill Charlap Trio Iridium 8, 10 pm $27.50 • Joel Frahm Trio Arthur’s I/P 6 pm Joe’s Pub 9:30 pm $15 ÌPaul Motian Band Village Vanguard 9, 11 pm $30 • Lascivious Biddies Mo'Pitkins 10 pm ÌSteven Bernstein’s Millennial Territory Orchestra with ÌMulgrew Miller and Wingspan with Steve Wilson, Duane Eubanks, • Matt Shulman Trio Bar Next Door 9 pm 12:30 am $8 Clark Gayton, Charlie Burnham, Doug Wieselman, Steve Nelson, Ivan Taylor, Rodney Green ÌTeri Roiger with John Menegon and guests Peter Apfelbaum, Erik Lawrence, Matt Munisteri, Brad Jones, Dizzy’s Club 7:30, 9:30 pm $30 55Bar 6 pm Ben Perowsky Jazz Standard 7:30, 9:30 pm $15 ÌGeorge Colligan Trio Dizzy’s Club 11 pm $10 • Joel Forrestor Quartet Cleopatra’s Needle 8 pm • Ann Hampton Callaway; Benny Green solo ÌGeorge Garzone, Garth Stevenson, Ziv Ravitz • Joni Paladin The Garage 12 pm Birdland 6, 8 pm $30 Bar 4 8:30 pm • Champion Fulton The Garage 5:45 pm • Steve Coleman Presents Jazz Gallery 9 pm $15 ÌWill Boulware Trio with Lonnie Plaxico • Daniel Kelly Quartet The Garage 10:15 pm ÌAndrea Wolper with Michael Howell, Ken Filiano The Kitano 8, 9:45 pm 55Bar 7 pm • Andy Milne’s Bandwidth with Loren Stillman, Jonathan Powell, Sunday, January 29 ÌRenku + 2: Michaël Attias, John Hebert, Satoshi Takeishi and Chris Tordini, Kenny Grohowski ÌBill Frisell’s 858 Quartet with Jenny Scheinman, Eyvind Kang, guests Russ Lossing, Tony Malaby Tea Lounge 9, 10:30 pm Hank Roberts and guests Ron Miles, Greg Tardy 55Bar 10 pm • Synergy: Amir Bey, Saco Yasuma, Sabir Mateen, Ras Moshe, Zankel Hall 8:30 pm $30 ÌBurnt Sugar Tonic 8 pm $10 Jackson Krall, Francois Grillot ÌBenefit for the Stone: William Parker’s Lakota Chamber Music • New School Presents: Kim Marshall with Jamire Williams, Bowery Poetry Club 10 pm $12 with Andrew Bemkey, Matt Lavelle, Sabir Mateen, Daniel Carter, Rashaan Carter, Warren Fields, Anthony Coleman, • Diane Perez Danny's Skylight Room 9:15 pm $12 Alon Nechushtan, Myk Freedman, Todd Nicholson, David Moss, Saunders Sermon; Nick Roseboro with Jarod Kashkin, • Eric Frazier Trio with Danny Mixon, Gene Torres Shiau-shu yu The Stone 8, 10 pm $10 Liques Curtis, Jamire Williams 55Bar 7 pm • Ryan Keberle’s Double Quartet with Adam Birnbaum, Rob Jost, Sweet Rhythm 8, 10 pm $10 ÌRobert Glasper 55Bar 10 pm Brad Wentworth, Mike Rodriguez, Chris Komer, Marshall Gilkes, • Nate Birkey with Michael Cabe, Thomson Kneeeland • Kelly Watson Cabal with Shaul Besser, Chris Tordini, Bob Stewart Knitting Factory Tap Bar 10:30 pm $8 Kavehaz 8 pm Steve Lyman, Mike Pinto, Beth Schenck ÌWill Calhoun’s Native Lands with Greg Osby, Orrin Evans, • Maria Neckham Trio Bar Next Door 8 pm $5 Kavehaz 6 pm Mark Kelly, Corey Wilkes Blue Note 8, 10:30 pm $25 • Avi Rothbard Trio with Jared Gold, Anthony Pinciotti ÌMode For Joe: A Tribute to Joe Henderson with Javon Jackson, Tuesday, January 24 Kavehaz 9:30 pm Jeremy Pelt, Anthony Wonsey, Dwayne Burno, Joe Chambers ÌWilliam Parker with Rob Brown, Lewis Barnes, Eri Yamamoto, • Sonia Szajnberg Detour 9:30 pm Jazz Standard 7:30, 9:30 pm $20 Hamid Drake The Stone 8, 10 pm $10 • Roger Lent Quartet Cleopatra’s Needle 8 pm • Bill Charlap Trio Iridium 8, 10 pm $30 ÌPaul Motian Band Village Vanguard 9, 11 pm $30 • Hall of Mirrors: Lily Maase, Rob Mosher, Evan Smith, Matt Wigton, ÌPaul Motian Band Village Vanguard 9, 11 pm $30 ÌMulgrew Miller and Wingspan with Steve Wilson, Duane Eubanks, Fred Kennedy Stain Bar 8 pm ÌMulgrew Miller and Wingspan with Steve Wilson, Duane Eubanks, Steve Nelson, Ivan Taylor, Rodney Green • Yardena The Garage 8 pm Steve Nelson, Ivan Taylor, Rodney Green Dizzy’s Club 7:30, 9:30 pm $30 Friday, January 27 Dizzy’s Club 7:30, 9:30 pm $30 ÌGeorge Colligan Trio Dizzy’s Club 11 pm $10 ÌLucian Ban, Alex Harding, Bruce Williams, Derrek Phillips, ÌJabane Ensemble: Robert Glasper, Ravi Coltrane, Lionel Loueke, ÌThe Great Latin Tradition of the Latin Bass: Afro-Latin Jazz Bob Stewart Europa Club 7:30 pm $10 Chris Dave, Derrick Hodge, Gregoire Maret and guest Bilal Orchestra with Arturo O’Farrill and guests Israel “Cachao” Lopez, Ì4inObjects: Yoon Choi, Jacob Sacks, Jacob Garchik, Dan Weiss Blue Note 8, 10:30 pm $25 Andy Gonzalez, Ruben Rodriguez, Charnett Moffett Dave Ambrosio 55Bar 9:30 pm ÌPapo Vazquez’ Pirates Troubadours with Willie Williams, Rose Hall 8 pm $30-130 • New New Orleans Sweet Rhythm 8, 10 pm $15 Roberto Cepeda, Edsel Gomez, Juan Gutierrez, Sherman Irby, ÌThe Fringe: George Garzone, John Lockwood, Bob Gullotti ÌNabaté Isles Synergy Saint Peter’s 5 pm John Benitez, Victor Jones Tea Lounge 9, 10:30 pm • Ted Poor Band Bar 4 8 pm $5 Jazz Standard 7:30, 9:30 pm $20 ÌRashied Ali Quintet Sweet Rhythm 8, 10 pm 12 am $20 ÌPeter Bernstein/Santi Debriano • Chip White Ensemble NYC Baha’i Center 8, 10 pm $15 ÌNeal Smith Trio with Cyrus Chestnut, Buster Williams North Square Lounge 12:30, 2 pm • Daniel Kelly 55Bar 7 pm The Kitano 8, 9:45 pm $20 • Trio Ricochet: Nobu Stowe, Tyler Goodwin, Alan Munshower ÌDavid Binney’s Balance with Craig Taborn, Thomas Morgan, ÌBruce Barth Trio Smoke 9, 11 pm 12:30 am Blue Note 12:30, 2:30 pm $19.50 Dan Weiss 55Bar 10 pm • Chip White Ensemble Lenox Lounge 8:30, 10, 11:30 pm $20 ÌAdam Caine, Ken Filiano, Phil Haynes • Brandon Ross Costume with Graham Haynes, Stomu Takeishi, Monday, January 30 Bowery Poetry Club 10 pm $8 J.T. Lewis Tonic 8 pm $10 • Steve Coleman Presents Jazz Gallery 9 pm $15 • Abby Riccards; Julie Hardy • Marc Ribot’s Ceramic Dog with Shahzad Ismaily, Ches Smith • Darius de Haas Birdland 7 pm $25 Sweet Rhythm 8, 10 pm $15 Tonic 10 pm $12 • Stephanie Jordan Jazz Standard 7:30, 9:30 pm $15 • Jenny Scheinman Barbès 7 pm • Gregoire Maret Trio with Federic Pena • Todd Isler Group 55Bar 7 pm ÌTanya Kalmanovitch Hut Five with Pete McCann, John Hebert, Jazz Gallery 9, 10:30 pm $15 • Mike Stern 55Bar 10 pm Owen Howard Cornelia Street Café 8:30 pm $10 ÌOther Dimensions In Music: Daniel Carter, Roy Campbell, • Igor Lumpert Group with Matt Brewer, Daimon Reed and guests • Numinous: Christian Howes, Dan Willis, Ben Kono, Lis Rubard, William Parker, Rashid Bakr; Raining on the Moon: Cornelia Street Café 8:30 pm $8 Mike Christianson, Sebastian Noelle, Tim Collins, William Parker, Hamid Drake, Lewis Barnes, Rob Brown, • New School Presents: MK Groove Orchestra Sarah Bernstein, Paula Cho, John Popham Leena Conquest The Stone 8, 10 pm $10 Sweet Rhythm 8, 10 pm $10 The Old Stone House 8 pm $15 ÌAlmost Mozart Festival: Curtis Hasselbring; Oscar Noriega; • Sanni Orasmaa Trio Bar Next Door 8 pm $5 • Blake Cohen Group Spoken Words Café 9 pm Ted Reichman; The Four Bags; Judith Berkson; Will Holshouser; • John Wriggle Quartet with Charles Lee, Nick Russo, Robert Sabin Michi Wiancko; Pamelia Kurstin; Las Rubias del Norte and more Stain Bar 8 pm Barbès 8 pm • Sabor Brasil Lucille’s at B.B. King’s 8 pm ÌWill Calhoun’s Native Lands with Greg Osby, Orrin Evans, • Rob Silverman Trio Dr. Gilberts Café 8 pm Mark Kelly, Corey Wilkes Blue Note 8, 10:30 pm $25 • Idan Sanhaus Big Band The Garage 8 pm ÌMode For Joe: A Tribute to Joe Henderson with Javon Jackson, Jeremy Pelt, Anthony Wonsey, Dwayne Burno, Joe Chambers Wednesday, January 25 Jazz Standard 7:30, 9:30, 11:30 pm $25 ÌCharles Tolliver Big Band Birdland 9, 11 pm $30 ÌCharles Tolliver Big Band Birdland 9, 11 pm $30 ÌSteve Lehman Blueprint Trio with Matt Brewer, Eric McPherson; • Bill Charlap Trio Iridium 8, 10, 11:30 pm $27.50 with Jonathan Finlayson, Mike Moreno, Matt Brewer, ÌPaul Motian Band Village Vanguard 9, 11 pm $35 Tyshawn Sorey Jazz Gallery 9, 10:30 pm $12 ÌMulgrew Miller and Wingspan with Steve Wilson, Duane Eubanks, ÌGuillermo Brown; William Parker’s Painters Spring with Steve Nelson, Ivan Taylor, Rodney Green Daniel Carter, Hamid Drake Dizzy’s Club 7:30, 9:30, 11:30 pm $30 The Stone 8, 10 pm $10 ÌGeorge Colligan Trio Dizzy’s Club 1 am $10 World Class Jazz ÌJenny Scheinman String Quartet ÌPete Zimmer Quintet with Joel Frahm, Toru Dodo, David Wong Tonic 8 pm Cornelia Street Café 9, 10:30 pm $10 At Affordable Prices! ÌClaire Daly with Joel Forrestor’s People Like Us • Roz Corral and Trio with David Berkman, Thomas Bramerie, Sweet Rhythm 8, 10 pm $15 Matt Wilson Enzo’s Jazz 8:30, 10:30 pm • Night of the Ravished Limbs: Kermit Driscoll, Terry McManus, • Sebastian Noelle Trio with Ike Sturm, Ted Poor Jazz Tuesdays In The John Birks Ted Poor; Curtis Hasselbring’s New Mellow Edwards with Kavehaz 6 pm Shane Endsley, Trevor Dunn, Ches Smith ÌElevation: Abraham Burton, Essiet Okon Essiet, Bruce Cox, Gillespie Auditorium Barbès 8, 10 pm $8 Lucian Ban Kavehaz 9:30 pm • Bill Charlap Trio Iridium 8, 10 pm $27.50 • Kendra Shank 55Bar 6 pm ÌPaul Motian Band Village Vanguard 9, 11 pm $30 • Jay Collins Band with Dred Scott, Chris Tarry, Diego Voglino, Jan. 17th ÌMulgrew Miller and Wingspan with Steve Wilson, Duane Eubanks, Moses Petrou 55Bar 10 pm Steve Nelson, Ivan Taylor, Rodney Green • Talibam and guests Issue Project Room 8 pm $10 Dizzy’s Club 7:30, 9:30 pm $30 • Dan Pratt Trio Bar Next Door 9 pm 12:30 am $8 Mike Longo’s 18 piece ÌGeorge Colligan Trio Dizzy’s Club 11 pm $10 • Joe Giglio/James Silberstein • Jabane Ensemble: Robert Glasper, Ravi Coltrane, Lionel Loueke, 107West 10 pm Chris Dave, Derrick Hodge, Gregoire Maret and guest Bilal • Matt Ray Quartet Cleopatra’s Needle 8 pm NY State of the Art Blue Note 8, 10:30 pm $25 • Hide Tanaka Trio The Garage 5:45 pm ÌPapo Vazquez’ Pirates Troubadours with Willie Williams, • Jonathan Batiste Trio The Garage 10:15 pm Roberto Cepeda, Edsel Gomez, Juan Gutierrez, Sherman Irby, Jazz Ensemble John Benitez, Victor Jones Saturday, January 28 Jazz Standard 7:30, 9:30 pm $20 ÌThe Fringe: George Garzone, John Lockwood, Bob Gulloti featuring vocalist • Joe Adams Quintet The Kitano 8, 9:45 pm Cornelia Street Café 9, 10:30 pm $10 ÌBomb X: Michael Attias, Peter Van Huffel, Art Hirahara, ÌLenora Zenzalai Helm Sistas’ Place 9, 10:30 pm $20 Nicolas Letman-Burtinovic, Ziv Ravitz ÌRon Blake’s Sonic Tonic with David Gilmore, Michael Cain, HilaryGardner Tea Lounge 9, 10:30 pm Reuben Rogers, Greg Hutchinson ÌFay Victor Ensemble 55Bar 7 pm Jazz Gallery 9, 10:30 pm $15 ÌDonny McCaslin Group 55Bar 10 pm ÌThe Great Latin Tradition of the Latin Bass: Afro-Latin Jazz Jan. 10th Paul Winston Trio • DeAnne Gorman and Trio with Jack Glottman, Paul Beaudry, Orchestra with Arturo O’Farrill and guests Israel “Cachao” Lopez, Adam Jackson Enzo’s Jazz 8:30, 10:30 pm Andy Gonzalez, Ruben Rodriguez, Charnett Moffett • Jamaal with Anthony Coleman, Maeve Royce, Sam Knight, Rose Hall 8 pm $30-130 Jan. 24th Chip White Ensemble Warren Fields Kavehaz 8 pm ÌRashied Ali Quintet Sweet Rhythm 8, 10 pm 12 am $20 • Jane LeCroy/Tom Abbs Bowery Poetry Club 8 pm ÌNeal Smith Trio with Cyrus Chestnut, Buster Williams • Avi Rothbard Group with Julius Tolentino The Kitano 8, 9:45 pm $20 Jan. 31st guitarist Ed Cherry Cleopatra’s Needle 8 pm • Bruce Barth Trio Smoke 9, 11 pm 12:30 am • Manhattan Vibes The Garage 8 pm • Chip White Ensemble Lenox Lounge 8:30, 10, 11:30 pm $20 The NYC Baha’i Center ÌJunior Mance Saint Peter’s 1 pm $5 ÌDavid Budbill’s While We Still Have Feet with William Parker, Hamid Drake; Eloping with the Sun: Joe Morris, William Parker, Thursday, January 26 Hamid Drake, Patricia Nicholson 53 E. 11 St (between University Pl. ÌPyramid Trio: Roy Campbell, William Parker, Hamid Drake; The Stone 8, 10 pm $10 and B’way) Raining on the Moon: William Parker, Hamid Drake, Lewis Barnes, ÌFree Zone: Jack Wright Trio with Reuben Radding; Rob Brown, Leena Conquest Diana Wayburn Group Café Grumpy 9, 10 pm $5 The Stone 8, 10 pm $10 • Will Calhoun’s Native Lands with Greg Osby, Orrin Evans, Shows: 8:00 & 9:30 ÌAlmost Mozart Festival: Curtis Hasselbring; Oscar Noriega; Mark Kelly, Corey Wilkes Blue Note 8, 10:30 pm $25 Ted Reichman; The Four Bags; Judith Berkson; Will Holshouser; • Mode For Joe: A Tribute to Joe Henderson with Javon Jackson, Gen. Adm. $15.00 Michi Wiancko; Pamelia Kurstin; Las Rubias del Norte and more Jeremy Pelt, Anthony Wonsey, Dwayne Burno, Joe Chambers Barbès 8 pm Jazz Standard 7:30, 9:30, 11:30 pm $25 Students $10.00 ÌWill Calhoun’s Native Lands with Greg Osby, Orrin Evans, ÌCharles Tolliver Big Band Birdland 9, 11 pm $30 Mark Kelly, Corey Wilkes Blue Note 8, 10:30 pm $25 • Bill Charlap Trio Iridium 8, 10, 11:30 pm $30 212 222 5159 ÌMode For Joe: A Tribute to Joe Henderson with Javon Jackson, ÌPaul Motian Band Village Vanguard 9, 11 pm 12:30 am $35 Jeremy Pelt, Anthony Wonsey, Dwayne Burno, Joe Chambers ÌMulgrew Miller and Wingspan with Steve Wilson, Duane Eubanks, Jazz Standard 7:30, 9:30 pm $20 Steve Nelson, Ivan Taylor, Rodney Green http://bahainyc.org/jazz.html ÌHarlem Speaks: Buster Williams Dizzy’s Club 7:30, 9:30, 11:30 pm $30 Jazz Museum in Harlem 6:30 pm ÌGeorge Colligan Trio Dizzy’s Club 1 am $10 ALLABOUTJAZZ-NEW YORK | January 2006 37 Tuesday, January 31 Regular Engagements ÌKen Vandermark 5 with Fred Lonberg-Holm, Dave Rempis, MONDAYS Kent Kessler, Tim Daisy Tonic 8, 10 pm $12 • Ron Affif Trio Zinc Bar 9, 11pm, 12:30, 2 am ÌMarc Ribot/William Parker; Vijay Iyer, Jason Hwang, Steve Swell, • Dave Allen Group Push Café 8 pm • William Ash Organ Trio Puppets 7:15 pm Michael Bisio, Mike Pride The Stone 8, 10 pm $10 • Gene Bertoncini La Madeleine 7:30 pm (ALSO SUNDAYS) ÌKenny Werner All-Stars with Kenny Wheeler, Chris Potter, • Rick Bogart Trio Seppi’s 8:30 pm (ALSO WED, THURS, SUN) Scott Colley, Brian Blade Blue Note 8, 10:30 pm $30 • Jim Campilongo The Living Room 11 pm ÌJoe Wilder Quartet with Michael Weiss, John Webber, Lewis Nash • Joe Cohn/Harry Allen Quartet Zuni 8 pm free Village Vanguard 9, 11 pm $30 • Patrick Cornelius/Lou Garrett Quartet Mona Lounge 9 pm ÌShades of Jade: Marc Johnson, Joe Lovano, Eliane Elias, • Eddy Davis New Orleans Jazz Band Café Carlyle 8:45 pm $75 Joey Baron Dizzy’s Club 7:30, 9:30 pm $30 • Kevin Dorn Collective The Cajun 8 pm ÌVinicius Cantuaria Jazz Standard 7:30, 9:30 pm $20 • Jam Session with NAMA Band NAMA 7:30 pm • Barbara King Sweet Rhythm 8, 10 pm $15 • JJA Jazz Jam Local 802 7 pm • Ed Cherry Group NYC Baha’i Center 8, 10 pm $15 • John Farnsworth Jazz Jam Smoke 9:30 pm • Ezra Weiss/Elif Caglar Band with Eric Divito, Corcoran Holt, • Jeanne Geis Carnegie Club 9 pm Frederick Kennedy 55Bar 7 pm • Patience Higgins Lenox Lounge 9:30 pm $5 • Leni Stern with James Genus, Keith Carlock • Ari Hoenig Trio Small’s 10 pm $10 • Jason Lindner Big Band Fat Cat 10 pm $10 55Bar 10 pm • Nathan Lucas Trio Perk’s Restaurant 8 pm • Gabriel Alegria Sextet Cornelia Street Café 8:30 pm • Les Paul Iridium 8:30, 10:30 pm • Blake Cohen Group Spoken Words Café 9 pm • Vanguard Jazz Orchestra Village Vanguard 9:30, 11:30 pm • Banana Puddin’ Jazz Jam: Donald Smith Trio with Dave Jacobs, • Melvin Vines Kortet with Kay Mori St. Nick’s Pub 10 pm Bernice Brooks Nuyorican Poets Café 9 pm $10 • Howard Williams Orchestra The Garage 8 pm • Joris Teepe Lucille’s at B.B. King’s 8 pm • Scott Whitfield Jazz Orchestra Birdland 5:30 pm • York College Jazz Faculty Trio • Bill Wurtzel Trio Roth’s Steakhouse 6 - 10 pm York College 12 pm TUESDAYS • Duke Ellington Orchestra Birdland 9, 11 pm • Dekel Bor Trio CharleyO’s 8 pm $7 • Sedric Choukroun Seppi’s 8:30 pm • Seleno Clarke Trio Perk’s Restaurant 8 pm • Anat Cohen and Friends Bistro Jules 8:30 pm • Espriens Café Charbon 10 pm - 1 am free • Joel Frahm Bar Next Door 8 pm $5 • Hammond B3 Organ Grooves Smoke 9, 11 pm, 12:30 am • Ken Hatfield Duo Fetch 8:30 pm • Laurent Medelgi/Stefan Held Duo Ara Wine Bar 8:30 pm After40years of • Mingus Big Band Iridium 8, 10:30 pm $25 • Karin Okada Anyway Café Brooklyn 9 pm • Iris Ornig Duo La Locanda 6 pm • David Ostwald’s Centennial Band Birdland 5:30 pm PAYING HIS DUES, • Stan Rubin Swing Era Big Band Charley O’s Times Square Grill 8:30 pm • Dred Scott Trio Rockwood Music Hall 12 am he shouldn’t have to struggle • Rich Siegel Stonewall Bistro 7:30 pm • Slavic Soul Party Barbès 7 pm • Grant Stewart/Joe Cohn Quintet Small’s 10 pm $10 to payhis rent. • Julius Tolentino Jam Cleopatra’s Needle 8 pm • Jimmy Vass University of the Streets 8 pm • Melvin Vines Kortet with Kay Mori St. Nick’s Pub 10 pm © photography by Bradley Smith. • Bill Wurtzel Trio Roth’s Steakhouse 6 - 10 pm WEDNESDAYS • Hui Cox Group Creole 9 pm Call 1-800-JFA-JAMS or • Eddie Davis and his New Orleans Jazz Band The Cajun 8 pm visit jazzfoundation.org to help. • Stacy Dillard cPhyve No Malice Palace 9 pm • Eric Frazier Trio JRG Fashion Café 6 pm • Rick Germanson Duo Ruth’s Chris Steakhouse 6 - 9 pm • Aaron Goldberg Small’s 10 pm $10 • Jonathan Kreisberg Bar Next Door 8 pm $5 • Nathan & Max Lucas Organ Trio Lenox Lounge 6 pm • Ryan Meagher Jam Marc’s Lounge 10 pm $5 • Laurent Medelgi Due Amici 8pm • Jacob Melchior Philip Marie 7 pm The Jazz Foundation of America / 322 West 48th Street / New York, NY 10036 • New School New Faces in Jazz Le Figaro Café 8 - 11 pm free • Arturo O’Farrill Night and Day 8 pm • Valery Ponomarev Big Band Swing 46 8 pm • Annie Ross Danny’s Skylight Room 9:15 pm • Ray Vega Kavehaz 8:30 pm • Myron Walden/Darren Barrett Group Fat Cat 10, 11:30 pm $10 • Open Mic with Jon Weiss Duo Giovanni’s Atrium 6 pm • Jerry Weldon Trio Showman’s 8:30, 10, 11:30 pm • Bill Wurtzel Trio Roth’s Steakhouse 6 - 10 pm THURSDAYS • Sedric Choukroun Brasserie Jullien 7:30 pm • Erik Frazier Band Club 243 7 pm $10 • Lucy Galliher/Don Moore Open Mic Perk’s Restaurant 8 pm • Rick Germanson Duo Ruth’s Chris Steakhouse 6 - 9 pm • Jazz Vocal Coalition Jam Session Creole 9 pm • Justin Lees Guitar Duo Mr. Babbington’s 7 pm • Wayne Krantz 55Bar 9:30 pm • Manhattan Ragtime Orchestra The Cajun 8 pm • Jacob Melchior Trio Roth’s Steakhouse 7 - 10 pm • Karin Okada Quartet Ciao Stella 7:30, 10pm • Barbara Rosene Times Square Brewery 8 pm • Lorenzo Sanguedolce’s Sweetblood Trio and Jam I.C.U. Bar 10 pm free • Thos Shipley New Leaf Café 7: 30, 9:30 pm free • Tammy Shoji Open Jam Cleopatra’s Needle 12 am • Andy Statman Greenwich Village Synagogue 8 pm $10 • Will Vinson Bar Next Door 8 pm $5 • Eri Yamamoto Trio Arthur’s Tavern 7 pm (ALSO FRI & SAT) • Lonnie Youngblood Frank’s Cocktail Lounge FRIDAYS • Lew Anderson’s All-American Big Band Birdland 5:30 pm • Andy Brown/Petra Jensen Osterua Del Sole 1 pm • Yoni Halevy’s Sienna Quartet Louis 649 7:30 pm • Canal Street Dixieland Jazz and Blues Band The Cajun 8:30 pm • Sedric Choukroun Brasserie Jullien 8:30 pm • Mike Davis Quintet St. Nick’s Pub 10 pm • Jesse Elder Trio Perk’s Restaurant 8 pm • Kelly Friesen Quartet Shelly’s 8:30 pm • Jan Leder Trio La Prima Donna 8:30 pm (ALSO SAT) • Jacob Melchior Trio Roth’s Steakhouse 7 - 10 pm • Brady Miller Trio Bleu Evolution 10 pm (ALSO SAT) • Poma-Swank Io Lounge 7 pm • Donald Smith St. Nick’s Pub 10 pm • Society Giants MOTO 8 pm • Terry Waldo La Belle Epoque 5:30 pm SATURDAYS • Andy Brown/Petra Jensen Osterua Del Sole 1 pm • Sedric Choukroun Brasserie Jullien 8:30 pm • Alex Donner Big Band Café Carlyle 5:30 pm $45 • Jazz Jam with Michael Vitali Group ICU Bar 4 pm • Whitney Moulton/Brian Cashwell Perk’s Restaurant 7 pm • Annie Ross Danny’s Skylight Room 7 pm $25 • Red Onion Jazz Band The Cajun 8 pm SUNDAYS • William Ash Bao 7:30 pm • Kevin Blancq’s Crescent City Trio The Cajun 7:30 pm • David Coss and Trio The Garage 7 pm • Tedd Dolhon Trio Gramercy 24 11:30 am • Choro Ensemble Bistro Jules • Sedric Choukroun Seppi’s 11:30 am • Charles Davis The Zipper Theater 9 pm • Toru Dodo Jam Cleopatra’s Needle 4 pm • Marjorie Eliot, Rudell Drears, Sedric Choukroun ParlorJazz 4 pm • Lafayette Harris Trio Lenox Lounge 7 pm • Grassroots Effort Grassroots Tavern 7:30 pm • Michael Howell/Andy McCloud Village Restaurant 12:30 pm • Jazz Standard Youth Orchestra Jazz Standard 2 pm $5 • Bob Kindred, John Hart, Steve LaSpina Café Loup 12:30 pm • Peter Leitch Walker’s 8 pm • The Jazz Spot with Mike Magilligan Detour 9:30 pm • Peter Mazza Bar Next Door 8 pm $5 • Iris Ornig Trio Café Del Mar 6 pm • Carol Sudhalter The Cajun 12 pm • Bob Ward/Kelly Friesen One91 12 pm • Chris Washburne’s SYOTOS Band Smoke 9, 11 pm, 12:30 am 38 January 2006 | ALLABOUTJAZZ-NEW YORK CLUB DIRECTORY • 55mercer gallery 55 Mercer Street • Fat Cat 75 Christopher Street at 7th Avenue • NYC Baha’i Center Gillespie Auditorium • 92nd Street Y Lexington Avenue at 92nd Street (212-415-5500) (212-675-7369) Subway: 1, 9 to Christopher 53 E.11th Street (212-222-5159) Subway: 4, 5, 6 Subway: 6 to 96th Street www.92ndstreety.com Street/Sheridan Square www.fatcatjazz.com to 14th Street-Union Square www.bahainyc.org • 107West 2787 Broadway • Faust Harrison Pianos 205 W. 58th Street • Night and Day 230 5th Avenuue, Brooklyn (718-399-2161) (212-864-1555) Subway: 1 to 110th Street • 5C Café 68 Avenue C (212-477-5993) • Night of the Cookers 767 Fulton Street, Brooklyn (718-797-1197) • ABC - No Rio 156 Rivington Street Subway: F, V to Second Avenue www.5ccc.com Subway: C to Lafayette Avenue (212-254-3697) Subway: F to Second Avenue, J,M,Z to • Fetch 1649 Third Avenue between 92nd and 93rd Streets • North Square Lounge 103 Waverly Place at McDougal Delancey Street www.abcnorio.org (212-289-2700) Subway: 6 to 96th Street Street (212-254-1200) Subway: A, B, C, E, F, V to West • AC Pianocraft Workshop 333 West 52nd Street (bet. 8th and 9th • 55Bar 55 Christopher Street between Waverly Place 4th Street www.northsquarejazz.com Avenues) Subway: C, E to 50th Street and Seventh Avenue South (212-929-9883) Subway: 1, 2 • Nuyorican Poets Café 236 E. 3rd Street between Avenues B and C • Algonquin Oak Room 59 W. 44th Street between 5th and to Christopher Street www.55bar.com (212-505-8183) Subway: F, V to Second Avenue 6th Avenues (212-840-6800) Subway: B, D, F, V to 42nd Street • Flushing Public Library (718-661-1229) Subway #7 train to end www.nuyorican.org • Allen Room 33 West 60th Street, 11th floor • Flushing Town Hall 137-35 Northern Boulevard, Flushing • The Old Stone House 336 3rd Street between 4th and 5th Avenues, (212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to (718-463-7700) Subway: 7 to Main Street www.flushingtownhall.org Brooklyn, Columbus Circle www.jalc.org • Frank’s Cocktail Lounge 660 Fulton St. at Lafayette, • Orbit 2257 1st Avenue at 116th Street (212-348-7818) • Anyway Café Brooklyn 1602 Gravesend Neck Road Brooklyn (718-625-9339) Subway: G to Fulton Street Subway: 6 to 116th Street www.orbiteastharlem.com (718-934-5988) Subway: Q to Neck Road • Galapagos 70 North 6th Street, Brooklyn • ParlorJazz 119 Vanderbilt Avenue, Brooklyn (718-855-1981) • Arthur’s I/P 13 East 13th Street (bet. 5th Avenue & University) (718-782-5188) Subway: L to Bedford Avenue Subway: G to Clinton-Washington www.parlorjazz.com (212-807-6502) Subway: 6, N, R to 14th Street-Union Square www.galapagosartspace.com • Parlor Entertainment 555 Edgecombe Ave. #3F • Arthur’s Tavern 57 Grove Street • The Garage 99 7th Avenue South between 159th and 160th Streets (212-781-6595) (212-675-6879) Subway: 1 to Christopher Street (212-645-0600) Subway: 1 to Christopher Street Subway: C to 155th Street www.parlorentertainment.com www.arthurstavernnyc.com • Gramercy 24 323 3rd Avenue at 24th Street • Penang 240 Columbus Avenue at 71st Street • The Backroom 485 Dean Street at Sixth Avenue, (212-532-1766) Subway: 6 to 23rd Street (212-769 -3988) Subway: 1, 2, 3 to 72nd Street Brooklyn (718-622-7035) www.freddysbackroom.com • Grassroots Tavern 20 Saint Marks Place • Perk’s Restaurant 553 Manhattan Avenue (at 123rd Street) • BAMCafé 30 Lafayette Ave at Ashland Place, Brooklyn (212-475 9443) Subway: 6 to Astor Place, N,R to 8th Street Subway: A, C, D to 125th Street (718-636-4139) Subway: M, N, R, W to Pacific Street; Q, 1, 2, 4, • Greenwich Village Bistro 13 Carmine Street • Pourhouse Metropolitan Avenue at Humboldt Street, 5 to Atlantic Avenue www.bam.org (212-206-9777) Subway: A,C,E,F,V to W. 4th Street Brooklyn (917-776-6950) Subway: L to Graham Avenue • Bao 111 Avenue C (between 7th and 8th Streets) • Greenwich Village Synagogue 53 Charles Street at www.thepourhouse.com • B.B. King’s Blues Bar 237 W. 42nd Street W. 4th Street (212-242-6425) Subway: 1 train to • Primi dell Classe 228 W. 72nd Street (212-875-0115) (212-997-2144) Subway: 1, 2, 3, 7 to 42nd Street/ Christopher Street-Sheridan Square Subway: 1, 2, 3 to 72nd Street Times Square www.bbkingblues.com • IAJE Conference 2006 • Puppets Jazz Bar 294 5th Avenue, Brooklyn • Bar 4 15th Street and 7th Avenue, Brooklyn Hilton Hotel: 1335 6th Avenue (212-586-7000) (718-499-2627) www.puppetsjazz.com (718-832-9800) Subway: F to 7th Avenue, N, M, R, D Sheraton Hotel: 811 Seventh Avenue at 52nd Street (212-581-1000) • Push 294 Third Avenue between 22nd and 23rd Streets to Prospect Avenue www.bar4.net Subway: 1, 9 to 50th Street www.iaje.org • Pussycat Lounge 96 Greenwich Street at Rector Street • Bar Next Door 129 MacDougal Street • I.C.U. Bar 765 Washington Street at W. 12th Street • Red and Black S. 5th Street at Bedford Avenue, Brooklyn (212-529-5945) Subway: A, C, E, F, V to W. 4th Street • Il Campanello Restaurant 136 West 31st Street • Rockwood Music Hall 196 Allen Street • Bar on A 170 Ave A at 11th Street (212-695-6111) Subway: A, C, E to 34th Street (212-477-4155) Subway: F, V to Second Avenue (212-353-8231) Subway: L to First Avenue • Iridium 1650 Broadway at 51st Street www.rockwoodmusichall.com • Barbès 376 9th Street at 6th Avenue, Brooklyn (212-582-2121) Subway: 1,2 to 50th Street • Rose Center (at the American Museum of Natural (718-965-9177) Subway: F to 7th Avenue www.iridiumjazzclub.com History) 81st Street between Central Park West and www.barbesbrooklyn.com • Issue Project Room 400 Carroll Street, Brooklyn Columbus Avenue (212-769-5100) Subway: B, C to 81st • Baruch College 17 Lexington Avenue at 23rd Street Subway: F, G to Carroll Street www.issueprojectroom.org Street-MNH www.amnh.org/rose (646-312-3924) Subway: 6 to 23rd Street • JRG Fashion Café 177 Flatbush Avenue, Brooklyn (718-399-7079) • Rose Hall 33 West 60th Street, 11th floor • Birdland 315 W. 44th Street between 8th and 9th • Jamaica Center for Arts and Learning 161-04 Jamaica Avenue, (212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to Avenues (212-581-3080) Subway: A, C, E, F, V to 42nd Queens (718-658-7400 ext. 152) www.jcal.org Columbus Circle www.jalc.org Street-Port Authority www.birdlandjazz.com • Jazz 966 966 Fulton Street (718-638-6910) • Ruth’s Chris Steakhouse 148 W. 51st Street • Bistro Jules 60 St Marks Place www.illbrew.com/Jazz966.htm • St. Luke's Lutheran Church 308 W. 46th Street (212-477-5560) Subway: 6 to Astor Place • Jazz Gallery 290 Hudson Street between Dominick • St. Marks Church 2nd Avenue and 10th Street (212- 674-6377) • Blue Note 131 W. 3rd Street at 6th Avenue and Spring Streets (212-242-1063) Subway: C, E, to Subway: 6 to Astor Place (212-475-8592) Subway: A, B, C, D, E, F, V to W. 4th Street Spring Street; 1, 2 to Houston Street • St. Nick’s Pub 773 St. Nicholas Avenue at 149th Street www.bluenotejazz.com www.jazzgallery.org (212-283-9728) Subway: A, C, B, D to 145th Street • Bowery Ballroom 6 Delancey Street • Jazz Museum in Harlem 104 E.126th Street between • St. Peter’s Church 346 West 20th Street (212-563-5124) (212-533-2111) Subway: F to Delancey Street Park & Lexington Avenues (212-348-8300) Subway: 6 to Subway: A, C, E to 23rd Street www.matafestival.org • Bowery Poetry Club 308 Bowery (between 1st and 125th Street www.jazzmuseuminharlem.org • Saint Peter’s Church 619 Lexington Avenue at 54th Bleeker Streets) (212-614-0505) Subway: F to Second • The Jazz Spot 375 Kosciuszko Street (718-453-7825) Street (212-935-2200) Subway: 6 to 51st Street Avenue; 6 to Bleecker Street www.bowerypoetry.com Subway: J to Kosciuszko Street thejazz.8m.com www.saintpeters.org • BPM 237 Kent Avenue Subway: L to Bedford Avenue • Jazz Standard 116 E. 27th between Park and Lexington • Seppi’s 123 W. 56th Street (212-708-7444) • Brecht Forum 451 West Street (between Bank & Bethune) Avenue (212-576-2232) Subway: 6 to 28th Street • Shelly’s 104 W. 57th Street at 6th Avenue (212-242-4201) Subway: A, C, E, L, 1, 2, 3 to 14th Street www.jazzstandard.net (212-245-2422) Subway: E,V to Fifth Avenue www.brechtforum.org • Joe’s Pub at the Public Theater 425 Lafayette Street • Showman’s 375 West 125th Street at Morningside) • Brooklyn Conservatory of Music 58 Seventh Avenue, Brooklyn (212-539-8770) Subway: N, R to 8th Street-NYU; 6 to (212-864-8941) Subway: 1 to 125th Street Subway: Q, B to 7th Avenue www.brooklynconservatory.com Astor Place www.joespub.com • Sistas’ Place 456 Nostrand Avenue at Jefferson Avenue, • Brooklyn Public Library Central Branch • Kavehaz 37 West 26th Steet between Broadway and Brooklyn (718-398-1766) Subway: A to Nostrand Subway: 2/3 to Grand Army Plaza; Q to 7th Avenue Sixth Avenue (212-343-0612) Subway: 1 to 23rd Avenue www.sistasplace.org • CabinFever Bar 1439 York Avenue between 76th and 77th Streets Street www.kavehaz.com • Smalls 183 W 10th Street at Seventh Avenue • Café Bar 247 Eldridge Street • The Kitano 66 Park Avenue at 38th Street (212-929-7565) Subway: 1,2,3,9 to 14th Street (212-607-7835) Subway: F to Second Avenue (212-885-7000) Subway: 6 to 33rd Street www.fatcatjazz.com • Café Carlyle 35 E. 76th Street • Knickerbocker Bar & Grill 33 University Place at 9th • Smoke 2751 Broadway between 105th and 106th (212-570-7189) Subway: 6 to 77th Street Street (212-228-8490) Subway: N, R to 8th Street-NYU Streets (212-864-6662) Subway: 1 to 103rd Street • Café Charbon 168 Orchard Street www.knickerbockerbarandgrill.com www.smokejazz.com Subway: F train to 2nd Avenue • Knitting Factory; Knitting Factory Tap Bar; Old Office • Spoken Words Cafe 226 4th Avenue between Union and President • Café del Mar 89 MacDougal 74 Leonard Street between Broadway and Church Street (718-596-3923) Subway: N, R trains to Union Street (212-777-7521) Subway: A, B, C, D, E, F, V to W. 4th Street (212-219-3055) Subway: 1,2 to Franklin Street • Stain Bar 766 Grand Street, Brooklyn • Café Grumpy Corner of Meserole Avenue and Diamond Street, www.knittingfactory.com (718-387-7840) Subway: L to Grand Street www.stainbar.com Brooklyn Subway: G to Nassau or Greenpoint Avenues • La Locanda 737 Ninth Ave between 49th and 50th Streets • The Stone Avenue C and 2nd Street • Café St. Bart’s 50th Street and Park Avenue (212-258-2900) Subway: 1 to 50th Street, C, E to 50th Street Subway: F, V to Second Avenue www.thestonenyc.com (212-888-2664) Subway: 6 to 51st Street • La Prima Donna 163 W. 47th Street (between 6th & 7th Avenues) • Sugar Bar 254 W. 72 St between Broadway and West End Avenue • Cajun Restaurant 129 8th Avenue (212-398-3400) Subway: B, D, N, R, W train to W 47th Street (212-579-0222) Subway: 1, 2, 3 to 72nd Street (212-691-6174) Subway: A, C, E to 14th Street www.laprimadonnany.com • Sweet Rhythm 88 Seventh Avenue South between • Cargo Café 120 Bay Street, Staten Island (718-876-0539) • Laila Lounge 113 N. 7th Street (between Wythe and Berry) Bleecker and Grove Streets (212-255-3626) • Carnegie Club 156 W. 56th Street (212-957-9676) (718-486-6791) Subway: L to Bedford Avenue Subway: 1 to Christopher Street/Sheridan Square Subway: N, Q, R, W to 57th-Seventh Avenue www.lailalounge.com www.sweetrhythmny.com • Carnegie Hall 881 Seventh Avenue • Le Madeleine 403 W. 43rd Street (212-346-2993) • Swing 46 349 W. 46th Street (212-247-7800) Subway: N, Q, R, W to 57th- Seventh Avenue Subway: A, C, E, 1, 2, 3 to 42nd Street-Times Square (646-322-4051) Subway: A, C, E to 42nd Street www.carnegiehall.org • Le Figaro Café 184 Bleecker Street www.swing46.com • Chez Oskar 211 DeKalb Avenue at Adelphie Street, Brooklyn (212-677-1100) Subway: 6 to Bleecker Street • Symphony Space 2537 Broadway at 95th Street (212-864-5400) (718-852-6250) Subway: D,M,N,R, Q to DeKalb Ave, • Lenox Lounge 288 Lenox Avenue between 124th and Subway: 1, 2, 3 to 96th Street www.symphonyspace.org C to Lafayette Avenue www.chezoskar.com 125th Streets (212-427-0253) Subway: 2, 3 to 125th • Tea Lounge 837 Union Street, Brooklyn • Ciao Stella 206 Sullivan Street Street www.lenoxlounge.com (718-789-2762) Subway: M, R to Union Street (212-505-8530) Subway: A,B,C,D,E,F,V to West 4th Street • The Living Room 154 Ludlow Street www.tealoungeNY.com • City Crab Park Avenue South at 19th Street (between Stanton and Rivington) (212-533-7237) • Tonic 107 Norfolk Street between Delancey and Rivington Streets • Cleopatra’s Needle 2485 Broadway between 92nd and Subway: F, V to Second Avenue (212-358-7503) Subway: F to Delancey Street; J, M, Z 93rd (212-769-6969) Subway: 1, 2, 3 to 96th Street www.livingroomny.com to Delancey-Essex Streets www.tonicnyc.com www.cleopatrasneedleny.com • Local 802 322 W. 48th Street between Eighth and Ninth • Triad 158 West 72nd Street, 2nd floor (212-787-7921) • Cobi’s Place 158 West 48th Street between 6th and 7th Avenues (212-245-4802) Subway: C to 50th Street Subway: B, C to 72nd Street www.triadnyc.com Avenues (516-922-2010) Subway: 1,2 to 50th Street • Location One 20-26 Greene Street (212-334-3347) • Tribeca PAC 199 Chambers Street (212-346-8510) • Cornelia Street Café 29 Cornelia Street Subway: A, C, E to Canal Street www.location1.org Subway: A, 1, 2, 3 to Chambers Street www.tribecapac.org (212-989-9319) Subway: A, B, E, B, D, F, Q to W. 4th • Long Island University 651 Fulton Street, Brooklyn • Tribes Gallery 285 E. 3rd Street Street www.corneliastreetcafé.com (718-636-4181) Subway: 2, 3, 4, 5 to Nevins Street (212-674-8262) Subway: F, V to Second Avenue • Creole 2167 3rd Avenue at 118th Street • Lotus Arts 109 West 27th Street, 8th Floor www.tribes.org (212-876-8838) Subway: 6 th 116th Street www.creolenyc.com Subway: 1, 9 to 28th Street www.lotusarts.com • Velvet Lounge 223 Mulberry Street between Prince and • Dakar 285 Grand Avenue, Brooklyn • Louis 649 649 9th Street at Avenue C (212-673-1190) Spring Streets (212-965-0439) Subway: 6 to Prince Street (718-398-8900) Subway: L to Grand Avenue Subway: L to 1st Avenue www.louis649.com • Via Della Pace 48 East 7th Street and Second Avenue • Danny’s Skylight Room 346-348 West 46th Street • Lucky Cat Lounge 245 Grand Street between Driggs and Roebling (212-253-5803) Subway: 6 to Astor Place (212-265-8130) Subway: A, C, E, N, R to 42nd Street Streets (718-782-0437) www.theluckycat.com • Village Vanguard 178 Seventh Avenue South at 11th www.dannysgrandseapalace.com • Makor 35. W. 67th Street at Columbus Avenue Street (212-255-4037) Subway: 1, 2, 3 to 14th Street • Detour 349 E. 13th Street at First Avenue (212-601-1000) Subway: 1, 2 to 66th Street-Lincoln www.villagevanguard.com (212-533-6212) Subway: L to First Avenue www.jazzatdetour.com Center www.makor.org • Vision Club 107 Suffolk Street www.visionfestival.org • Dizzy’s Club Coca Cola Broadway at 60th Street, 5th Floor • Manhattan School of Music 120 Claremont Avenue • Walkers 16 North Moore Street (212-941-0142) (212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to (212-749-2802) Subway: 1 to 116th Street www.msmnyc.edu • Williamsburg Music Center 367 Bedford Avenue, Brooklyn Columbus Circle www.jalc.org • Merkin Concert Hall 129 W. 67th Street between Broadway and (718-384-1654) Subway: L to Bedford Avenue • Downtown Music Gallery 342 Bowery Amsterdam (212-501-3330) Subway: 1 to 66th Street-Lincoln • York College (CUNY) 94-20 Guy R. Brewer Blvd., Queens (212-473-0043) Subway: 6 to Astor Place; F, V to Second Center www.kaufman-center.org Subway: E train to last stop www.york.cuny.edu Avenue www.downtownmusicgallery.com • Metropolitan Community United Methodist Church • Zankel Hall 881 Seventh Avenue at 57th Street • Dr Gilberts Café 251st Street and Broadway (718-548-9621) 1975 Madison Avenue at 126th Street Subway: 6 to 125th Street (212-247-7800) Subway: N, Q, R, W to 57th Street • The Duplex 61 Christopher Street • Metropolitan Museum of Art 1000 Fifth Avenue at 82nd Street www.carnegiehall.org (212-255-5438) Subway: 1 to Christopher Street (212-570-3949) Subway: 4, 5, 6 to 86th Street • Zebulon 258 Wythe Avenue between Metropolitan and • The Encore NYC 266 W 47th Street www.metmuseum.org North 3rd Street (718-218-6934) Subway: L to Bedford (212-221-3960) Subway: A, C, E, F, V to 42nd • Miller Theater 2960 Broadway and 116th Street (212-854-7799) Avenue www.zebuloncafeconcert.com Street-Port Authority www.theencorenyc.com Subway: 1 to 116th Street www.millertheater.com • Zinc Bar 90 West Houston Street (212-477-8337) • Enzo’s Jazz 22 East 38th Street • Miss Elle’s & Co. 226 West 79th Street between Broadway Subway: A, C, E, F, V, to W. 4th Street www.zincbar.com Subway: 4, 5, 6, 7 to 42nd Street-Grand Central and Amsterdam (212-864-1829) Subway: 1 to 79th Street • The Zipper Theater 336 W. 37th Street (212-563-0480) • Europa Club 98-104 Meserole Avenue, Brooklyn • Mo Pitkins 34 Avenue A (bet. 2nd and 3rd Streets) • Zuni 598 Ninth Avenue at 43rd Street (212-765-7626) (646) 322-4051 Subway: G Train to Nassau Avenue (212-777-5660) Subway: F to Second Avenue www.mopitkins.com Subway: A, C, E to 42nd Street www.europaclub.com • New School 55 West 13th St., 5th floor (212-229-5896) Subway: F, V to 14th Street www.jazz.newschool.edu ALLABOUTJAZZ-NEW YORK | January 2006 39 (ROSS CONTINUED FROM PAGE 6) (ARTISTSHARE CONTINUED FROM PAGE 8) aW\US`a section singers and they can read every note, but they excerpts of rehearsals to lessons in improvisation don’t have the feel. They don’t swing. And could you complete with streaming audio and written sketches. ]dS` come over and coach them?” You can’t do that. You “It’s never just about buying a CD, or buying a score, [O\VObbO\ just can’t teach somebody that. In half an hour or even or buying anything,” said Camelio. “It’s the equivalent an hour. So I went down - and I think there were about of going to a show. You’ve got cheap seats and you’ve 12 - and I gave them some tips but it didn’t work. It got good seats and you get to experience this thing as wasn’t really in their nature. So they were it’s happening, but here it happens slowly over time subsequently finished and gone and the producer was on the Internet and in the end you get a door prize.” going crazy because he didn’t have a product and Artists own all their music and collect 85 percent of Dave, who, among many other things, was royalties, ArtistShare the other 15. electronically interested in how things worked and Though ArtistShare has partnered with many jazz why things worked said “Let’s multi-track.” I didn’t musicians, including Schneider, Danilo Perez, Bob know what it was but I said “Yes, multi-track.” And Brookmeyer, Brian Lynch and Jane Ira Bloom, it is not when we learned the first track which was pretty exclusive to any genre. In fact, it’s not even exclusive straightforward and then the second track which was to music, as the company is working with painters, more complicated and so forth and so on. And one of photographers and even a writer, according to the great moments of my life was standing in front of Camelio. As for consumers, “we get people who are the speaker and hearing what we had done. I just really very dedicated to the artist, because they create knew that it was very special. That’s how that came an emotional bond with them,” he said, a bond formed about. through witnessing the creative process. And I left to go to France because I love France, Camelio’s path to creating ArtistShare has been too. And I got letters from Jon and Dave saying “Come an interesting one. He was a working jazz guitarist for back. We have a manager. Blah, blah, blah. And we many years, having earlier received his undergraduate can work.” And I thought “They’re nuts. They’re degree in composition, writing large orchestral works. totally nuts.” However, when I got back we did indeed Ultimately, in the late ‘90s, he fell in love with have a manager called Willard Alexander who was computer programming. “It’s the same thing as very famous in his day. I was more show business writing music,” he said. “You have a language and minded than Jon and Dave. I said, “We have to try it you put it together creatively to make something that out. We have to hone it.” And so we took a Greyound you want.” bus up to somewhere, to a place that had been a bank. Jazz guitar legend Jim Hall counts Camelio It was called the Bankers’ Club. And Al Haig was among his good friends, as well as erstwhile guitar playing also. And so we did the first set. And Jon and student. He has done two ArtistShare projects, most Dave said “We’ve got it!” I said, “No, we haven’t. It’s recently 2005’s Free Association, a duo album with terrible. We’ve got to work. We’ve got to rehearse.” pianist Geoffrey Keezer. “It seemed like a forward- “No, no.” I said, “Oh, yes, yes.” So we did. And as we looking move to make,” said Hall, “and I knew that went on it got better and better and better until it was Maria had done a recording for him and that had gone wonderful to work with them because it was very really well. I’ve gotten some royalties and Brian’s been professional. working very hard at this thing.” d`^l\cgfm\[X Schneider was ArtistShare’s trailblazer and its eWbVa^SQWOZUcSab5W]dO\\W6WROZU] AAJ-NY: They’re very happy about you at Danny’s first Grammy winner. But next month, two other label Skylight Room from what I understand. So you can mates have a chance to join her company. Actor Rick BVSb`ORWbW]\]TÀO[S\Q]QO\bS make a home there for a while. Moranis’ The Agoraphobic Cowboy is nominated for Best Q][SaOZWdSW\BVS/ZZS\@]][eWbV Comedy Album, while pianist/composer Billy Childs’ ;WUcSZ>]dSROOg]c\UObVZSbWQOZZg AR: I would love it. I just love it because there’s Lyric received four nominations, including Best Jazz d]WQSRTS\[S\] 6WaOT¿\WbgT]` nobody to say, “Do this, do that, wants you to put in Instrumental Album. ArtistShare, it seems, may be W\\]dObW]\O\RO\QWS\bb`ORWbW]\ more.” And it’s a very receptive audience. I love it. sticking around for a while. K And I talked to Blossom [Dearie], you know...and she WaPOQYSRPgbVSU`SObQ]\UcS`] said, “Annie, when you think of the East Side and all For more information, visit www.artistshare.com. Artists 5W]dO\\W6WROZU]O\RÀO[S\Q] the fancy clubs and all the fancy prices,” she said, performing this month include Todd Coolman Jan. 4th-7th UcWbO`Wab1VWQcSZ] “Danny’s on 46th Street is great because you can do at Birdland with James Moody; Cuong Vu Jan. 11th at whatever you want to do.” And I love that... I’ve Cornelia Street Café and Jan. 12th at IAJE, both with Jacob 8O\cO`g ' certainly rebelled enough so that I would never do Anderskov; Maria Schneider Jan. 11th at IAJE 2006; Jane BVS/ZZS\@]][%(! ^[ something I didn’t want to do. You know, Jon and I Ira Bloom Jan. 13th at IAJE 2006 and Rachel Z Jan. 19th at worked for a while together. But I have to do my own The Kitano. See calendar. thing. That was then. Now is now. And I’m just having a great time. And that is what it’s all about. If you’re k`Zb\kj not happy doing it, don’t do it. K Celebrating Our First 10 Years: fejXc\ For the complete interview, visit www.allaboutjazz.com. eee XOZQ ]`U For more information, visit www.annieross.net. Ross is at 1S\bS`1VO`US % $# Records Danny’s Skylight Room Wednesdays. See regular CIMP 0]f=T¿QS CIMP 0`]OReOgOb$ bVAb`SSb engagements. • Recorded for artistry, produced for 5`]c\R4Z]]` excellence, engineered for reality, and played ;]\ ³AOb O[&(! ^[ Recommended Listening: with conviction. Ac\ O[&(! ^[ • King Pleasure/Annie Ross - King Pleasure • 235 releases of excellent artistry. Sings/Annie Ross Sings (Prestige-OJC, 1952-54) • Lambert, Hendricks & Ross - Sing a Song of Basie • Send $1.00 in stamps and we’ll send you (Impulse!-Verve, 1957) a FREE sampler: • Annie Ross - Sings a Song with Mulligan (Pacific Jazz-Capitol, 1958) • Annie Ross - A Gasser! (Pacific Jazz-Capitol, 1959) CIMP Records • Lambert, Hendricks & Ross - Cadence Building The Hottest New Group in Jazz (Columbia, 1959-62) Redwood, NY 13679 USA ph: 315-287-2852 f: 315-287-2860 • Annie Ross - Let Me Sing (CAP, 2005) cimp@cadencebuilding.com 4`SRS`WQY> @]aS6OZZ6][S]T8OhhOb:W\Q]Z\1S\bS` Music Projects Improvised Creative adventuresome music in audiophile sound adventuresome 0`]OReOgOb$ bVAb`SSb www.cadencebuilding.com 40 January 2006 | ALLABOUTJAZZ-NEW YORK (ENZO’S JAZZ CONTINUED FROM PAGE 8) America that is not smooth jazz. In several years the Project and Barbara Sfraga and Center Search Quest existing radio stations will transition from analog double bill (Jan. 13th) … Beth Lane (Jan. 18th) … Chris restaurant, and the bartender specializes in Italian- signals to digital ones. When that happens they will McNulty (Jan. 20th) and Roz Corral (Jan. 27th) … and themed cocktails and martini drinks. triple their capacity for each station. This means they in the Sweet Rhythm vocal series, Theo Bleckmann in Enzo’s Jazz programming, the brainchild of have the ability to slip three separate channels into the a double bill with Judy Niemack (Jan. 10th), Marion booking manager Enzo Capua, debuted in October of space where they used to only have one. Should these Cowings (Jan. 17th), Julie Hardy and Abby Riccards last year. Capua, the US representative for both the radio stations have a requirement to use one of the two (Jan. 24th) and Barbara King (Jan. 31st). K Umbria and Melbourne Jazz Festivals, had wanted to extra channels they will get to program formats that develop a jazz venue in New York City and saw an are increasingly absent from the dial? The musician Tessa Souter is a vocalist, journalist and author and opportunity in the Whaler Bar. After he approached community needs to be far more active in this produces the Tuesday vocal series at Sweet Rhythm. Souter the hotel management with his vision, they agreed to discussion. I weep when I listen to most jazz radio. It is at 55Bar Jan 13th. Her debut CD, Listen Love (Nara the proposal. “We’re testing it for two to three months is so incredibly conservative. We cannot just rely on Music), is available at CDBaby.com and at Tower Records, to see what happens,” says Capua. According to him, the college stations, the WKCR’s of this world Lincoln Center. For more information visit so far so good. The room’s popularity has grown since (Columbia University) for diversity. www.tessasouter.com. the October launch, no doubt the result of his savvy in 2. The FCC will be looking into media ownership selecting performers. “I’m really picky when it comes limits later this fall. At this time the NAB (lobbyists to musicians,” he reports. for the broadcasters) will ask the FCC to raise the If Capua has his way, the club’s roster of artists ownership limit. The last time the FCC did this Clear will expand and diversify. “I love singers - singers Channel went from owning 40 stations to close to 1240 who do bebop, hardbop, some swing like Harold stations. Should these types of companies be allowed Arlen. But I’m not thinking to do only singers. I try to to own as many as 10 to 12 stations in a market place mix instrumentalists in with them,” he says. “I’d also when they are not serving local music communities like to open the room a little bit more to other kinds of with jazz and classical music? Let’s throw down the music besides jazz.” Along these lines, Capua lauds gauntlet. Clear Channel is destroying the airwaves! one of his November performers - singer/guitarist KJ What happened to FREE FORM radio? Radio is not Denhert - for her potent mix of urban folk and jazz, supposed to be about the mass hypnosis of smooth expressing his wish to promote her work in his native jazz or Britney Spears. It’s supposed to reflect the true, Italy. beautiful, rainbow patchwork of America. For personable players like Denhert, the layout of 3. Many jazz artists improvise on other the room makes their job easier: The proximity of the compositions. They are allowed to do this without a band to the tables leads to easy chatter and casual license because of section 115 of the copyright act. The banter with the audience. A gig at Enzo’s Jazz is “like copyright office just opened a notice of inquiry playing in your living room,” she reports. “If you suggesting they would like to change section 115. If happen to have a grand, split-level living room with a they do so without protecting the compulsory license fireplace and a well-tuned baby grand to throw open.” which allows an artist to cover another artist’s song, Singer Roseanna Vitro, recently returned from an without clearing a license, this could have a profound international tour as a Kennedy Center jazz impact on jazz artists. ambassador, echoed Denhert’s comment about the 4. In the United States we do not have a public cozy “living room” feel of the club. “Enzo makes performance royalty for radio. This means that for everyone feel very welcome and it’s clear that we’re all every song that is played on the radio only the there because we love the music, whether you’re in the songwriter is paid and not the performer. (In Europe band or a listener,” comments Vitro. She adds, “The and Canada both songwriter and artist are paid and on location is nice, too, because you can park on the street digital radio and on cable radio both are paid). This after 7 pm.” means when you improvise on “Stella”, you are never As one of Manhattan’s more notable jazz paid for any radio play of your performance. My newcomers, Enzo’s Jazz deserves recognition for its royalty check every quarter for my jazz CDs, probably first three months of successful performances. Though much like yours, is about 31 cents. Can we do a little Capua remains cautious about a quick expansion of better? creating more jazz nights in the room, he does have his 5. Since most artists sign away the copyrights for eye set on the horizon and that possibility: “First I’ll their performances as a condition of their label deals create a base audience and then we could do Saturday and since many jazz artists improvise on other artist’s and Sunday evenings,” he asserts. K compositions, jazz artists may find themselves in a position where they neither control the songwriting Performers this month include Ada Rovatti, Central Search copyright, nor the performance copyright. Aren’t we Quest, Beth Lane, Chris McNulty, DeAnne Gorman and broke enough? Roz Corral. See calendar. The media universe is changing in ways that are as chaotic as they are profound. With the internet in a (HARRISON CONTINUED FROM PAGE 10) sense still up for grabs, a tremendous amount is at stake. We need to stay creative AND combative. performance at a college or are signed to a major I owe much of this information, by the way, to a company (Ha Ha!). Someday I’d like to host a remarkable organization called The Future Of Music roundtable at IAJE called “Stories from US tours”. It Coalition (www.futureofmusic.org). K would be a regular laugh riot. The direction that our leaders are taking in the Harrison is at Jazz Standard Jan. 15th. See calendar. arts is, well…unAmerican! I, like so many jazz musicians, complain a lot and get pretty dark. But For more information, visit www.joelharrison.com. lately I’ve been trying to channel some energy into Guitarist/composer/singer/arranger Joel Harrison occupies really spotting the common enemy (and by the way, a musical space between many worlds. His latest CD is it’s not my fellow musicians, no matter what they Harrison on Harrison: Jazz Explorations of George play!) The people who run the FCC, for instance, are Harrison (HighNote) featuring Dave Liebman, David actual, not metaphorical, crooks. The fellow who just Binney and Uri Caine. got ousted, Kenneth Tomlinson, was found to have spent our tax dollars to hire people to actively monitor and undermine “a liberal bias” on PBS! I’ll believe (VOXNEWS CONTINUED FROM PAGE 10) they have a liberal bias when John Zorn, Uri Caine and William Parker have a daily talk show. But the FCC is Ann Hampton Calloway (Jan. 23rd) … at Enzo’s Jazz not the only monster we face. Consider this: at the Jolly Madison Towers Hotel (a new venue 1. There is not one commercial jazz station in hosted by Enzo Capua), don’t miss the Mala Waldron ALLABOUTJAZZ-NEW YORK | January 2006 41 8]W\bVS[]dS[S\b ASSYW\U XOhhS\aS[PZSab]b]c`bVS UZ]PSO\Ra^SOYbVS /[S`WQO\a]cZbV`c[caWQ <]W\bS`^`SbS`a\SSRSR 4]`O^^ZWQObW]\O\ROcRWbW]\W\T]`[ObW]\dWaWbeee XOZQ ]`U `VgbV[`]OR In Memoriam by Celeste Sunderland Roy Brooks Milt Grayson Skitch Henderson Kasper Malone Creative in approach and technique, the Detroit The baritone lent his velvety voice to the 1970 After a tour with Judy Garland and Mickey His big brother gave him an old cornet at age 3, drummer got his start at age 21 with the quintet Broadway show Purlie. He performed with the Rooney he called Hollywood home. But Frank sparking a lifelong career playing clarinet, flute, of Horace Silver. A decade in NY routed him Metropolitan opera, appeared regularly with Sinatra led him to NY where he became the guitar and bass around the world with groups back home in the ‘70s where he led the the Lincoln Center Jazz Orchestra and recorded “Tonight Show” bandleader in 1954 and he met hitch hiking, in silent film orchestras and Aboriginal Percussion Choir and also was part with Duke Ellington. Grayson was 68 when he founded the NY Pops in 1983. The English born on cruise ships. Malone was 96 when he died of M’Boom. He died Nov. 15th at 67. died Sep. 3rd. bandleader was 87 when he died Oct. 31st. May 30th. Lulu Gontsana Beatrice Rivers Hailing from a musical family, the Ibhayi-born Charlie Hampton Saxophonist Sam Rivers fell in love with her in drummer championed South African jazz. He As leader of the Howard Theatre Orchestra, the Oleg Lundstrum Boston where they were next-door neighbors. played with the Soul Jazzmen and Spirits multi-instrumentalist and arranger worked Settling in Shanghai in 1934, the bandleader After they married she ran the business behind Rejoice before attending the University of Natal with Sarah Vaughan, Earl “Fatha” Hines and formed a group that played dance halls and her husband’s music and managed their where he was a founding member of The Billy Eckstine. A fixture on the DC jazz scene, he radio shows. In 1956, he founded the Soviet renowned Soho loft Studio Rivbea while Jazzanians. Hugh Masakela’s drummer of played twice at the White House. Hampton died Union’s first state jazz orchestra. The “Father of maintaining her matriarchal role in a big family. choice died Dec. 14th. He was 45. Aug. 17th at age 75. Russian Jazz” died Oct. 13th. He was 89. Rivers was 74 when she died Nov. 24th. BIRTHDAYS January 1 January 6 January 11 January 16 January 22 January 26 †Papa Celestin 1884-1954 †Bobby Stark 1906-45 †Wilbur De Paris 1900-73 †Irving Mills 1884-1985 †Juan Tizol 1900-84 †Stephane Grappelli †Al McKibbon 1919-2005 †Keith Christie 1931-80 †Louis Bacon 1904-67 G.T.Hogan b.1929 †Teddy McRae 1908-99 1908-97 †Milt Jackson 1923-99 †Danny Moore 1941-2005 †Tab Smith 1909-71 Aldo Romano b.1941 †J.J.Johnson 1924-2001 Alice Babs b.1924 †Helmut Brandt Barry Altschul b.1943 Bob Enevoldsen b.1920 †Teddy Smith 1932-79 Dick Nash b.1928 1931-2001 †Osie Johnson 1923-66 January 17 †Jean-Louis Viale 1933-84 Benny Golson b.1929 Sonny Greenwich b.1936 January 7 †Cal Massey b.1927-72 †Big Sid Catlett 1910-51 Alan Silva b.1939 Aki Takase b.1948 †Susannah McCorkle †Henry “Red” Allen †Bob Zurke 1912-44 Eberhard Weber b.1940 1946-2001 1908-67 January 12 †George Handy 1920-97 Maarten Altena b.1943 January 27 JANE IRA BLOOM Chris Potter b.1970 †Chano Pozo 1915-48 †Trummy Young 1912-84 †Ted Dunbar 1937-98 Michael Urbaniak b.1943 †Jerome Kern 1895-1945 January 12, 1955 †Keg Purnell 1915-65 Jay McShann b.1916 Cedar Walton b.1934 †Oran “Hot Lips” Page January 2 †Sam Woodyard 1925-88 †Guy Lafitte 1927-98 Billy Harper b.1943 January 23 1908-54 The soprano saxophonist †Nick Fatool 1915-2000 Kenny Davern b.1935 Ronald Shannon Jackson †Benny Waters 1902-98 Jimmie Smith b.1938 joins an elite group of †Arthur Prysock 1929-97 Eldee Young b.1936 b.1940 January 18 †Django Reinhardt Bobby Hutcherson b.1941 composers who have had Jane Ira Bloom b.1955 †Irene Kral 1932-78 1910-53 an asteroid named for January 3 January 8 Don Thompson b.1940 †Teddy Napoleon 1914-64 January 28 them. An appropriate †Preston Jackson 1902-83 Wendell Culley b.1906 January 13 Al Foster b.1944 †Scoops Carry 1915-70 †Rolf Larsson 1918-91 honor for the first Musa Kaleem b.1921 Bobby Tucker b.1923 †Percy Humphrey Steve Grossman b.1951 Ray Abrams b.1920 †Ronnie Scott 1927-96 musician to have been †Geezil (Harold) Minerve Bill Goodwin b.1942 1905-95 †Marty Paich 1925-95 Bob Moses b.1948 commissioned by NASA, 1922-92 Thurman Barker b.1948 †Quentin Butter Jackson January 19 †Curtis Counce 1926-63 launching a musical reach John Jenkins b.1931 Marilyn Mazur b.1955 1909-76 †Israel Crosby 1919-62 Harold Ousley b.1929 January 29 that has touched dance, Motohiko Hino b.1946 †Danny Barker 1909-94 †J.R.Montrose 1927-93 Gary Burton b.1943 †Arnold Ross 1921-2000 theatre, film and the work January 9 Otis Johnson b.1910 Horace Parlan b.1931 Ed Shaughnessy b.1929 of Jackson Pollack, into January 4 †Kenny Clarke 1914-85 †Melba Liston 1926-99 Hod O’Brien b.1936 January 24 †Frank Assunto 1932-74 celestial realms. This †Frankie Newton †Jimmy Maxwell †Joe Pass 1929-95 Phil Wilson b.1937 †Avery Parrish 1917-59 Derek Bailey b.1932 month Bloom turns 50 1906-54 1917-2002 †Sam T. Brown 1939-77 †Jimmy Forrest 1920-80 †Jeanne Lee 1939-2000 years old - CS †Joe Marsala 1907-78 †Betty Roche 1920-99 January 14 †Joe Albany 1924-88 †Slim Gaillard 1916-91 †Carson Smith 1931-97 †Jimmy Crawford January 20 †Bobby Scott 1937-90 January 30 Frank Wess b.1922 Bucky Pizzarelli b.1926 1910-80 Jimmy Cobb b.1929 †Julius Hemphill 1938-95 †Roy Eldridge 1911-89 Separated at Birth? Al Dreares b.1929 Roger Guerin b.1926 †Billy Butterfield 1917-88 Valery Ponomarev b.1943 Lennie McBrowne b.1933 †Bernie Leighton 1921-94 Bassist Eberhard Weber (l.) John McLaughlin b.1942 Malcolm Cecil b.1937 Joe Muranyi b.1928 Chuck Domanico b.1944 †Ahmed Abdul Malik The Cowardly Lion (r.) Kenny Wheeler b.1930 Andy Sheppard b.1957 January 25 1927-93 January 5 January 10 Grady Tate b.1932 Jeff “Tain” Watts b.1960 †Wellman Braud †Tubby Hayes 1935-73 †Wild Bill Davison †Haywood Henry 1913-94 1891-1966 Tony Levin b.1940 1906-89 †Buddy Johnson 1915-77 January 15 January 21 †Truck Parham 1913-2002 Roger Humphries b.1944 †Lennie Hastings 1927-78 Max Roach b.1924 †Gene Krupa 1909-73 †Billy Maxted 1917-2001 †Floyd Smith 1917-82 Dizzy Reece b.1931 †Willie Dennis 1926-65 Artie Shapiro b.1916 Bob Whitlock b.1931 Barbara Carroll b.1925 January 31 Chuck Flores b.1935 †Allen Eager 1927-2003 †Bob Maize 1945-2004 Steve Potts b.1945 †Antonio Carlos Jobim †Bobby Hackett 1915-76 Myra Melford b.1957 Mike Stern b.1954 Baikida Carroll b.1947 Lou Grassi b.1947 1927-95 Garnett Brown b.1936 ON THIS DAY by Andrey Henkin Blow, Arnett, Blow Blackjack Perception Hands of Fire Live at S.O.B.’s New York Arnett Cobb (Prestige-OJC) Donald Byrd (Blue Note) Perception (Future) Ray Mantilla (Red) M’Boom (Blue Moon) January 9, 1959 January 9, 1967 January 9, 1971 January 9, 1984 January 9, 1992 One of a long line of double tenor led Trumpeter Donald Byrd recorded no Futura Records was critical in the Ray Mantilla’s Space Station, a group Since being founded by drummer albums of the ‘50s, this disc was one less than 25 albums for Blue Note documentation of both local French still quite active today, came into Max Roach in 1970, the percussion of over half a dozen records the between 1958 and 1976, in many ways and various expatriate free musicians, recorded existence with this album. In collective of M’Boom, featuring Roy saxophonist recorded for Prestige at reflecting the general direction the many of whom remain obscure. addition to the leader’s percussion Brooks, Joe Chambers, Omar Clay, the turn of the decade and was a label would take over those years. Perception was a group featuring Jeff and originals (four of seven pieces Fred King, Ray Mantilla, Warren battle for the ages. The other tenor of After many hardbop records, Byrd Seffer (reeds), Siegfried Kessler found here), the group consists of Smith, Steve Berrios, Eli Fountain, the tandem is Eddie “Lockjaw” Davis became more experimental before (piano), Didier Levallet (bass) and Peter Barshay (bass), Steve Berrios Craig McIver, Francisco Mora and on five Cobb originals and veering off into funk-based jazz just Jean-My Truong (drums). A fresh and and Joe Chambers (percussion), Freddy Waits, have only recorded Hammerstein/Romberg’s “When I before the turn of the ‘60s. This album innovative ensemble, Perception as a Eddie Martinez (piano) and Dick four albums, this being the last, a date Grow Too Old to Dream”. The of originals - by Byrd and altoist group premiered with this record and Oatts (flute and sax). AfroCuban and recorded live at the famed NYC rhythm section is organist Wild Bill Sonny Red - is a good effort, aided by would only record two more by 1973. Latin styles have been prominent world music club. This lengthy date Davis, bassist George Duvivier (one pianist Cedar Walton, bassist Walter Originals like Levallet’s “Narcisse” parts of the jazz landscape for (clocking in at close to 80 of the instrument’s most Booker and drummer Billy Higgins. Kessler’s “Phenobarbital” and Seffer’s decades, but this album show minutes) is a 14-song program of underappreciated players) and Blackjack is one Byrd’s last classic “Debora” were highlights of French Mantilla and Co. beginning a long originals by group members and drummer Arthur Edgehill. albums. new music. career modernizing the forms. covers from Monk to Stanley Cowell. Subscribe to AllAboutJazz-New York for exclusive content on jazz and improvised music in New York City. $25 national; $35 international Write to: 116 Pinehurst Avenue, # J41 New York, NY 10033 ALLABOUTJAZZ-NEW YORK | January 2006 43 cbG5@9 >5NN I7H7=7P7H;A -- @7C;I97HJ;H% -- Oekhi 78 9OHKI9>;IJDKJ 78 %% =ebZIekdZi %% 6FIB7< ED7@;7BB7D=KC8I -- @ED7J>7D8KJB;H -- ;::?;>?==?DIJH?E -- :7L;>EBB7D: -- H[c[cX[hJ^[_h 78 @edWj^Wd 78 9^h_ijcWiIed]i 78 8?=87D: 78 ?ddeY[dY[ %& %' %' El[hj_c[ %' C?D=KI8?=87D: -- J>; EDB?D;FH?9;IC7OL7HOI7B;;D:I'%',%&+