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NEW YORK February 2009 | No. 82 Your FREE Monthly Guide to the New York Jazz Scene newyork.allaboutjazz.com CHICO HAMILTON JOYOUS SHOUT

Charli Persip • Larry Ochs • Blue Note Records • Miller Theater • Event Calendar

NEW YORK

We hate to be the ones to temper all the post-election enthusiasm for potentially New York@Night more arts support, but it seems like the financial crisis facing the world has 4 trickled (or deluged) down into jazz. Recent reports indicate that Festival Network, which took over George Wein’s Festival Productions company last year, Interview: Charli Persip has laid off most its staff, making it uncertain if New York (or any other city for 6 by George Kanzler that matter) has seen its last JVC Jazz Festival. We will report more as we obtain Artist Feature: Larry Ochs information but this is a serious blow as jazz rarely got that level of exposure otherwise. Another, more personal casualty, is the dismissal of legendary jazz 7 by Marc Medwin journalist Nat Hentoff from the Village Voice after 50 years. His final column for Label Spotlight: Blue Note Records the once-proud counterculture rag was Jan. 6th, 2009. Hentoff will still continue writing for other outlets including, ironically, the Wall Street Journal. 8 by Joel Roberts But jazz as an art form has weathered such storms before and, honestly, how Club Profile: Miller Theater much smaller can its market share get anyway? It has become a music of perseverance, something to which drummers Chico Hamilton and Charli Persip by Marcia Hillman (On The Cover and Interview, respectively) and saxophonist Larry Ochs (Artist On The Cover: Chico Hamilton Feature) can attest. Another entity that thus far has shown ‘staying power’ is Blue 9 by Donald Elfman Note Records (Label Profile), celebrating its 70th anniversary (overlooking a period of dormancy) this year with numerous local and national events. Encore: Lest We Forget: In additional coverage, free jazz icon Arthur Doyle (Encore) makes a rare 10 Arthur Doyle JR Monterose appearance this month and jazz lives on the Upper West Side at Columbia University’s Miller Theater (Club Profile). We also have two new CD features: by John Sharpe by Clifford Allen Globe Unity (covering releases from a specific country) and an in-depth look at a Megaphone VOXNews Boxed Set, starting with the 50th Anniversary Collector’s Edition of Kind of Blue. 11 by Charles Tolliver by Suzanne Lorge Winter is in full swing and despite depressing news and weather reports, put on an extra scarf and go see some jazz this month. Our Event Calendar is packed and jazz needs your support more than ever. Listen Up!: Kirk Knuffke & Ben van Gelder 12 We’ll see you out there... Laurence Donohue-Greene, Managing Editor Andrey Henkin, Editorial Director 13 Festival Report: Umbria Jazz Winter On the cover: Chico Hamilton (photo by Todd Boebel) CD Reviews: Benny Golson, Uri Caine, Heikki Sarmanto, 14 Max Raabe, Steve Swell, Phil Markowitz, Jeff “Tain” Watts and more Corrections: In the January 2009 CD Reviews, the Bo’Weavil label was mistakenly Event Calendar referred to as Australian. It is English. Also, Waldron Mahdi Ricks was mistakenly 36 credited as having played on Danny Grissett’s new album. 41 Club Directory Submit Letters to the Editor at newyork.allaboutjazz.com Miscellany In Memoriam • Birthdays • On This Day U.S. Subscription rates: 12 issues, $30 (International: 12 issues, $40) 43 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, Fred Bouchard, Stuart Broomer, Ken Dryden, Donald Elfman, Sean Fitzell, Graham Flanagan, Kurt Gottschalk, Advertising Sales Laurence Donohue-Greene Tom Greenland, Laurel Gross, Marcia Hillman, [email protected] Terrell Holmes, Robert Iannapollo, Francis Lo Kee, Martin Longley, Suzanne Lorge, Marc Medwin, Event Calendar Andrey Henkin Matthew Miller, Russ Musto, Ivana Ng, Joel Roberts, Jim Santella, Elliott Simon, Listings [email protected] Jeff Stockton, Celeste Sunderland, Andrew Vélez Contributing Writers Thomas Conrad, Ted Gordon, Adrian Jackson, Printed by Expedi Printing, Brooklyn, NY George Kanzler, John Sharpe, Charles Tolliver, Florence Wetzel

ALLABOUTJAZZ-NEW YORK | February 2009 3 NEW YORK @ NIGHT

The big draw of Winter Jazzfest was drummer Jeff The trumpeter Don Cherry was remembered in a “Tain” Watts’ midnight set at Le Poisson Rouge Jan. concert at Symphony Space Jan. 16th with an octet led 10th, in honor of Max Roach’s birthday, with Terence by Karl Berger, the pianist and vibraphonist most Blanchard (trumpet), Branford Marsalis (tenor and noted for founding the vital Creative Music Studio in soprano sax) and Christian McBride (bass) - the 1972, the impact of which is still felt through the many quartet heard on Watts’ new release, simply titled musicians who worked there. The fact that there were Watts. Anticipation was high and the band knew it, so no vibes on stage was unexpected, but the biggest they flattened listeners against the wall with “Return surprise of all was how safely the music was of the Jitney Man”. In this breakneck opener, the even approached. Cherry started his career in the faster “Dancin’ 4 Chicken” and also the slower, groundbreaking Ornette Coleman Quartet and went fragmented blues choruses of “Brekky with Drekky” (a on to incorporate non-Western traditions into his Michael Brecker homage), no one could ignore the music, creating a multicultural aesthetic that not only electricity of Marsalis and Watts’ interaction, honed influenced Afrocentrism in jazz but has been cited by over many years. There was, however, something of a dub, punk and rap artists. As they worked through creative gulley mid-set as the band seemed to succumb seven of Cherry’s compositions (and one by Berger to allstar syndrome: more chops than musical interest. that did show a hint of South African rhythm), they (Interestingly, bassist Eric Revis, Marsalis and Watts’ stripped the music down to not just mainstream jazz longtime bandmate, delivered a superior set across the but a conservative repertory. Berger assembled a street at Kenny’s Castaways with the new group Tar strong band, with Graham Haynes filling the trumpet Baby.) Blanchard played with depth and wit but role on cornet, saxophonist Peter Apfelbaum, seemed stuck for ideas in a couple of spots. When guitarist Kenny Wessel, bassist Mark Helias, drummer Lawrence Fields, a young pianist from St. Louis, came Tani Tabbal and Bob Stewart on tuba, any one of on board to reprise his album cameo on the soprano whom would seem inclined to push the envelope. sax ballad “Owed…”, the crowd energy dissipated Berger’s wife, the vocalist Ingrid Sertso - who like further. But interest piqued again with the peculiar Berger and much of the band worked with Cherry structure of “The Devil’s Ring Tone”, pushing during his life - offered invocation through lyrics she Marsalis and Blanchard into a heady round of trading, wrote to Cherry’s music (some at his request), perhaps and “Wry Köln”, an older piece brimming with sonic the most heartfelt element of the evening. It’s a shame surprise and AfroLatin influences. - David R. Adler the current didn’t run deeper. - Kurt Gottschalk htgah©20 akVartoogian/FrontRowPhotos Jack 2009 © Photograph ©johnrogersnyc.com Branford Marsalis, Winter Jazz Fest, Le Poisson Rouge Don Cherry Tribute, Symphony Space

As one of three venues hosting the epic Winter Nicole Mitchell, one of the brightest stars to rise Jazzfest (Jan. 10th), Kenny’s Castaways had its from Chicago’s Association for the Advancement of limitations - mainly a horrid piano barely fit for Creative Musicians (AACM) in years, brought New amateurs, let alone world-class jazzers. Some bands Year wishes to New York over two nights at The Stone suffered for it, but thankfully, By Any Means, the trio Jan. 2nd-3rd. Dubbing the effort “Sonic Projections”, of saxophonist Charles Gayle, bassist William Parker Mitchell composed separate sets of music for the and drummer Rashied Ali, was not one of them. In occasion, played by fellow Chicagoan David Boykins fact, for all its frenetic, crosscutting interplay, the free on sax and drummer Tomas Fujiwara, with pianist jazz supergroup - ambassadors from New York’s Vijay Iyer on the first night and guitarist Mary Vision Festival circle, in effect - wrung some of the Halvorson the second. In true Chicago form, it was cleanest sound of the night from the room. The set was horns (Boykins’ saxophone and Mitchell’s flute) out split into two extended improvisations, but one could front most of the time. And in line with AACM detect at least five different episodes folded within. tradition, the music worked with unabashedly Beginning in a fast, busy frame of mind, Parker skated beautiful, simple melodies and overt messages of hope gracefully across an implied tempo; Ali generated a and optimism, the composition “Affirmation” (the less-is-more mass of sound he’d favor throughout and only piece repeated both nights) even incorporating Gayle blew alto with great endurance and pronounced wishes for the coming year written by audience Ornette-ian turns of phrase. After 10 or so minutes the members. At the same time, the music pushed harder music grew sparser, with Parker’s low, resonant tones than much of Mitchell’s previous work, giving ample coming into focus. Ali weighed in with a chatty solo, room for Boykins’ gutsy tenor, especially in a leading the band to reenter at an even faster tempo, prolonged and powerful duet with Fujiwara. Mitchell with an explicit quarter-note pulse. Parker sawed is extraordinarily inventive on her instrument, manically with his bow, Ali jousted with Gayle in a matching the power of the sax on the wee piccolo and round of trading and the first segment came to an singing through her flute with slurring pitches abrupt but logical end. The second piece began slower, reminiscent of a vintage synthesizer. While the set with a loopy swing feel highlighting Gayle at his with Iyer contained some wonderfully pointillistic bluesiest. Again the music grew more abstract, then moments, it was with Halvorson that Mitchell seemed accelerated, giving the entire set the contour of to open the throttle with enticingly slippery, variations on a theme. (DA) fragmented scores. (KG)

4 February 2009 | ALLABOUTJAZZ-NEW YORK There are few musicians better-suited to be The Dave Holland Octet, an authoritative assemblage bandleaders than bassists. As sidemen, they are that augmented the visionary bassist’s long-standing expected to keep things in order anyway and the quintet of saxophonist/flutist Antonio Hart, WHAWHAT’ST’S NEWSNEWS nature of their instrument precludes egotistical trombonist Robin Eubanks, vibesman Steve Nelson solo-driven composing. Mingus is the archetype but and drummer Nate Smith with horn players Alex Mario Pavone has been steadily creating his own Sipiagin, Chris Potter and Gary Smulyan drawn from DAVID S. WARE compelling body of work for decades. His latest his award-winning big band, held forth at Birdland for The saxophonist, who was diagnosed with project is named “Double Tenor Quintet”, as in Tony five nights of intensely idiosyncratic music. kidney failure in 1999 and has been undergoing Malaby and Jimmy Greene, longtime pianist Peter Combining the harmonic and dynamic power of the dialysis since then, is in urgent need of a kidney Madsen and drummer Gerald Cleaver filling out the larger ensemble with the improvisational and transplant. Interested individuals with blood type group. For the CD release concert at Iridium Jan. 7th, rhythmic agility of the small group, the band’s O are urged to contact Steven Joerg, David S. Pavone showed that the name is not just an honorific; performances throughout the week gave a glimpse of Ware’s manager at [email protected] or the pieces from Ancestors (Playscape) are written jazz at its very best, full of intelligence and surprises. 718-854-2387. specifically to highlight the many possibilities of a The second set, opening night (Jan. 7th), began with two-horn group: cutting contests, baton-relay themes Holland’s “Pathways”, a melody built on Nelson’s and in-tandem stylistic and textural counterpoint. The vaguely Eastern vibes wrapped around the composer’s NAT HENTOFF tunes on the album are of reasonable length but were potent bass vamp. Solos by Sipiagin and Holland were The prominent music writer Nat Hentoff was laid deliciously expanded in the live setting, their density buttressed by bottom-heavy horn harmonies out of off from the staff of the Village Voice as of Jan. making them seem even longer. The churning rhythms which Smulyan’s baritone emerged for a climactic 6th, ending a 50-year relationship. The layoff were a roiling backdrop for the unique approaches of statement. Potter’s “Sea of Marmara” featured his came as part of a larger staff reduction. Hentoff Malaby and Greene, the legacy of Joe Henderson taken soprano and the rhythm section, Smith’s bass drum will continue to write for other outlets, including in two very different directions. Even when the two dancing contrapuntally with Holland’s bass. The the Wall Street Journal, and the University Press horns sat for the earlier piece “East Arc”, Pavone’s latter’s “Happy Jamming” showcased the potent horn of California will publish his At the Jazz Band compositional ethic was clear: he wants his music to section on a joyous romp, with raucous riffing and Ball: 60 Years on the Jazz Scene this year. keep generating momentum as it plunges forward. backgrounds driving the soloists to dizzying heights. This mission suits Malaby particularly well, giving Kenny Wheeler’s homage to Holland, “So-Fo-Da”, him the opportunity to apply his specific brand of spotlighted his lyricism in an Ellingtonian milieu, NATIONAL PUBLIC RADIO virtuosic belligerence to some especially meaningful setting up the powerful big band-styled closer, “What National Public Radio (NPR) has debuted what statements. - Andrey Henkin Goes Around”. - Russ Musto it hopes will be a regular service: downloadable recordings of recent live jazz in New York City. The inaugural file was from guitarist Kurt Rosenwinkel’s January 2009 run at Village Vanguard. For more information, visit npr.org/villagevanguard.

JACO PASTORIUS A park has been named for the late bassist in Oakland Park, Florida, where the Weather ht yOypa .Ioffe S. Olympiad by Photo Report veteran attended high school. John Francis “Jaco” Pastorius died in 1987 at age 35.

KNITTING FACTORY On Dec. 31st, 2008, the Knitting Factory, once a home for New York’s Downtown scene in two locations, officially closed its doors. Plans are for Photograph © 2009 Jack Vartoogian/FrontRowPhotos Mario Pavone, Iridium Dave Holland Octet, Birdland a pared-down version of the club to reopen in Brooklyn and to present concerts under its Right in the middle of the Association of Performing The spirit of the late great Jackie McLean loomed banner at other local venues. For more Arts Presenters (APAP) Conference, a new large over Smalls during the Steve Davis Quintet’s set information, visit knittingfactory.com. management agency, Company of Heaven, put on its (Jan. 7th), which was being recorded live for the inaugural festival for three days at three venues. The basement bastion of bebop’s own record label. Davis, timing couldn’t have been coincidental though any the last of the Jazz Messengers, cut his chops on ROGUE BREWERY interested APAPers would need open minds and ears trombone in McLean’s sextet and, like his frontline Rogue Ales has produced a limited edition Jazz for the agency’s eclectic artist roster. The final night of partner alto saxophonist Mike DiRubbo, was one of Guy Ale bottle for the Portland Jazz Festival the festival (Jan. 12th) took place at the truly bizarre McLean’s prize students in the jazz program that now (Feb. 13th-22nd). Additionally, Jazz Guy Ale will Monkeytown venue in Williamsburg and bears his name. Seated at the club’s piano, at the helm be available in New Orleans, San Francisco, demonstrated the pool from which Company of of the same tight rhythm section - bassist Gerald Boston, Minneapolis, New York City, Heaven draws its refreshment. The first set of the Cannon and drummer Willie Jones III - that once Philadelphia, Kansas City, Seattle and Chicago. evening featured agency head Judith Insell on a brief, propelled the band of Roy Hargrove (who had For more information, visit rogue.com. almost unrecognizable, deconstruction of John recorded with McLean in the same group that Coltrane’s “India” for solo viola. For the second included Davis) was the veteran Larry Willis. Willis group, bassist Mark Helias’ Open Loose with saxist first gained notoriety as both a pianist and composer QUINCY JONES Tony Malaby and drummer Tom Rainey, the oddity of with McLean’s quintet over 40 years ago and Davis The legendary producer and arranger (and the room became apparent. Bands play in the center wisely called upon him to contribute his long proven one-time trumpeter with the bands of Dizzy with low-lying sofas on all four sides and a very high skills as a writer to the band’s book. His swinging Gillespie, David “Fathead” Newman, Clifford ceiling. As a result, Helias’ braising funk was arrangement of “Surrey With The Fringe On Top” Brown, Gigi Gryce and Lionel Hampton) told the tempered a bit as the trio figured out the acoustical made good use of the contrasting sonorities of Davis’ Washington Post he would like to discuss geometry, Malaby doing his best not to blow out the smooth burnished sound and DiRubbo’s tart biting creating a Secretary of the Arts Cabinet-level space. The feel was chamber-like and the audience tone that were also spotlighted on the two horn-two position with President Obama. A petition has seemed like well-stuffed nobles watching court rhythm introduction to the leader’s “Spirit Waltz” that been created independently to push the idea. musicians. Rainey stayed behind the kit for the last followed. Willis’ solo piano rendition of “Nature Boy” Visit petitiononline.com/esnyc/petition.html. group of the first segment, guitarist Brad Shepik’s trio hushed the excited room that then exploded with with bassist Matt Penman. They played previews from approval as he segued into his classic “To Wisdom The a new album and some older material, Shepik’s Prize”. Davis featured the pianist on a solo Ellington Submit news to [email protected] proto-swing guitar veering into fusion territory, medley and then ended with the band blowing his bouncing around the room in every direction. (AH) “Insidious Behavior”. (RM)

ALLABOUTJAZZ-NEW YORK | February 2009 5 INTERVIEW

1979. The idea was to make it the resident band at Manhattan Plaza, but things didn’t work out and when Gerry wanted to keep the band together he asked me, since I had the bigger name at the time, to Charli be the leader. So the first album we made was as co-leaders. ...I took the band over and made some personnel changes and Frank Foster gave me seven arrangements, then fired me from his Loud Minority band because he felt I should have my own band. That’s how the band got started and we did our first album in 1985.

Persip AAJ-NY: What was your musical goal, with the band? (CONTINUED ON PAGE 42) by George Kanzler

People looking for the magic elixir, the Fountain of Youth, my last year at West Side the music department should stop looking and start jazz drumming. Charli formed a stage band and I tried out for it and made it. Persip, who’ll turn 80 in July, will soon join Roy Haynes That was the first time I found myself in a big band and Chico Hamilton as fully active octogenarian jazz situation and that did it for me, I made up my mind drummers with busy careers. Persip grew up in Newark, NJ there and then that I was going to be a professional and, after touring with Dizzy Gillespie’s small group and drummer. State Department Big Band (1953-58), he became one of the most in demand drummers on jazz recordings, especially AAJ-NY: So you went to Juilliard. big band ones, in the late ‘50s and early ‘60s. He’s continued to work steadily ever since and has been leading CP: That was later. Once I got out of high school I was his big band for a quarter-century. Charli Persip’s playing around Newark; there were still a lot of little Supersound’s new album is Intrinsic Evolution and they bands around town. I studied with a private teacher, play an exclusive engagement this month at York College. Al Jamanski, who got me to improve my technique and put me on the road to reading. Then I played the AllAboutJazz-New York: The book you wrote on R&B chitlin’ circuit up until the early ‘50s then joined drumming has an odd title: How Not to Play Drums: Not Dizzy right after that and that was my first chance to for Drummers Only. How did that title come about? play bebop. Wade Legge was the pianist and baritone saxophonist Sahib Shihab was in that quintet too. Charli Persip: The irony is the title came from Dizzy. Everybody is dead except me. It’s kinda sad you When I got in his band I knew all the arrangements; I know. One of the reasons why I don’t like to spend a CAROLYN LEONHART & loved that band and I thought I played my ass off. whole lot of time talking about what I used to do is Dizzy pulled me aside and said, “You seem to know because so many of the people I worked with are gone. WAYNE ESCOFFERY the arrangements pretty well and be doing a great job And the young kids, they want to know about and see Valentine’s Day Weekend but now that you know what to play you gotta learn something and it’s hard to get through to them when what not to play.” And the subtitle, Not for Drummers you talk about people who are gone they can never February 12 - 14, 2009 Only, is because the book is all about the instrument; see. I like to talk about what I’m doing now and plan at not just how to play, but how to take care of your to do in the future. body, exercise. It’s a book for everybody with any interest in drums. And I have my patented drum AAJ-NY: You also worked with Randy Weston. exercises you can do by just patting your hands and tapping your feet. You don’t have to have a drum set CP: Oh yeah, Randy was great. When I recorded with with or be a drummer to do them and they’ll help with your Randy it was the first time I got to play something in David Kikoski - piano coordination. three [3/4 time], “Little Niles”. After I got to play on Ed Howard - bass Jason Brown - drums that album, Elvin Jones - we were very good friends, AAJ-NY: How did you get to be such a good reader? Elvin and me - was getting ready to record “My 2751 Broadway @ West 106th Street Favorite Things” with John Coltrane and he asked me sets at 8, 10, and 11:30 pm reservations are highly recommended CP: Mainly because I objected to the word that was “How do you play in three, I don’t know what the fuck cover charge & minumum apply going around that jazz drummers couldn’t read well. to play?” I was so shocked; as good a drummer as he visit www.smokejazz.com or call 212.864.6662 Then it translated into black drummers couldn’t read was I was flattered and shocked and everything and well. I totally took umbrage with that. I said OK I’m the rest is history. If you hear “My Favorite Things” gonna be the best reader in the land - I’ll fix you. I now you know he learned how to do it. Another band spent many hours practicing, I took music books to I was very pleased and flattered to have been with is bed with me to read instead of novels. I was fighting Gil Evans. That was the other band I played with that the fight for the good name of black jazz drummers. helped me learn about listening and broadening my concept. I went with Gil Evans after Billy Eckstine. Gil AAJ-NY: You learned some of that in school, right? always said that there were two drummers he liked to play in his bands, Elvin and myself. CP: No, actually I never studied any instrument when I was in school. I was self-taught. Learned mostly the AAJ-NY: Let’s talk about your band; you’ve been parade stuff first. When I got to school I really wanted doing the Superband since the ‘70s, right? to play football. Went to West Side High School [in Newark] because Arts High didn’t have a team. The CP: I call it Supersound now because of the Phillip West Side football team wasn’t any good and neither Morris Superband. I was advised not to sue/fight was I. In my junior year I joined the marching band them even though I had the name first because you’re and that was a lot of fun because I’d never played in going up against serious money and a company like any kind of band before. I used to go see the big bands that can just keep postponing things. So my wife, god at theaters; the Adams Theatre was my real university rest her soul, said change the name to Supersound. when it came to how to play big band drums. That and Started out as trumpeter Gerry La Furn’s rehearsal listening to a lot of records my older sister had. During band in the late ‘70s and I became the drummer in

6 February 2009 | ALLABOUTJAZZ-NEW YORK ARTIST FEATURE

Recommended Listening: • Rova - Favorite Street: Rova Plays Lacy (Black Saint, 1983) • What We Live - Trumpets (Black Saint, 1996-98) Larry • Larry Ochs/Joan Jeanrenaud/Miya Masaoka - Fly Fly Fly (Intakt, 2001-02) • Larry Ochs Sax & Drumming Core - Up from Under (Out Trios, Vol. 5) (Atavistic, 2004) • Larry Ochs/Rova Special Sextet/Orkestrova - The Mirror World (Metalanguage, 2005) • Larry Ochs/Miya Masaoka/Peggy Lee - Ochs Spiller Alley (Rogue Art, 2006) by Marc Medwin

Photo by Peter Gannushkin/DOWNTOWNMUSIC.NET John Fedchock NY Sextet

“It started out as a social thing,” says saxophonist Indeed, space is of primary importance to Ochs, LIVE!! and composer Larry Ochs of what would eventually an obvious example being the two realizations of his determine the course of his life. “I played trumpet as a composition “Mirror World” for filmmaker Stan Fri-Sat, Feb 27-28 kid in New York, but it wasn’t really because I enjoyed Brakhage, released last year by Metalanguage. In it. I played music because friends of mine were doing addition to a seamless blend of composed and Smalls it; then it was supposed to be good for college credit. improvised elements, the project’s soundstage is My private teachers never even suggested to me that I enormous. On “Hand”, the Rova Orkestrova 183 W. 10th St could play music I liked or hinted at the idea of self- version, the stereo spectrum is preternaturally wide NYC 10014 expression on the instrument, of having fun, so as and each instrument or combinations of instruments 212-252-5091 soon as I got accepted into college, I just dropped the seems to inhabit its own acoustic space. playing.” The trumpet and didgeridoo duet in “Hand” is a 10:30pm & 12am Listening to Ochs’ compositions, improvisations stunning case in point, but each transformation in and arrangements, waxed over the last 30 years, it is timbre brings fresh awareness of the space in which difficult to believe that such a voice was almost the sounds are developing. Ochs likens such detail in quelled by indifference and relative disinterest. Yet, his music to the hand-painted Brakhage films that "of the highest order" Ochs would go on to co-found such pioneering inspired it. “You could mount each frame in one of - ALLABOUTJAZZ aggregates as the long-lived Rova Saxophone Quartet those films as a painting, because there’s so much and the multi-timbral improvising trio Maybe Monday detail in each one, but he was interested in the moving with Fred Frith and Miya Masaoka. Along the way, he image.” Yet, even in the context of his epic homage, has delved into the world of electronic sound Ochs is emphatic that Brakhage’s inspiring work manipulation in projects such as Room and on his served as confirmation from a like-minded spirit. “I electric realization of John Coltrane’s Ascension. was already way into that space; I just wanted to Such a multifarious approach now seems translate what he was doing into something that inevitable. “I was a listener first,” says Ochs of his would inspire ideas within my oeuvre.” compositional aesthetic. “I went into college and got Indeed, similar concerns inform many of Ochs’ involved at WXPN, the great radio station at U. projects, including the lithely-improvised landscapes Pennsylvania, with a really extensive library, so I got of all three Maybe Monday discs and his recent into everything - everything that I’d known a little contribution to the Rogue Art label, Spiller Alley. The about and wanted to explore further.” When Ochs remarkable sonic pallet Ochs conjures even leaves its finally returned to playing and began composing after mark on the compositions of others. 2003’s Electric relocating to San Francisco in the early ‘70s, it was Ascension is as much an update as a tribute, bringing with fresh insight gained from hours of concerts, score Coltrane’s quasi-modal composition into starkly study and saturation in all manner of recorded music. modern relief. “I really feel like we had something to He has attempted to remember his experience as a offer,” states Ochs, “and that we still do, because the listener, translating it into a compositional language in piece can change so much depending on who’s which sound is foremost and in which improvisation involved.” The live recording, released on Atavistic in impacts and is impacted by radical compositional 2005, shares the cinematic approach with The Mirror frameworks. World, using several of the same musicians. However, For Ochs, “improvised music is the umbrella term Ikue Mori and Otomo Yoshihide bring their own vast within which ‘jazz’ or ‘traditional jazz’ is one form, sonic arsenals into the mix, the whole underpinned by one way… All forms that last are really deep and the swinging rhythms of Donald Robinson, one of the deserve our respect. But for whatever reason, I’ve drummers (along with Scott Amendola) for yet always been interested in forms for improvisers that another Ochs ensemble, the Sax and Drumming Core are not the ‘trad jazz’ form. I mean, I love listening to (now a quintet with Satoko Fujii and Natsuki Tamura). great jazz soloists, but the form the soloist is exploring A harder rawer edge can be heard in much of The interests me less than the forms I work in now.” Ochs Core’s recent work and Ochs’ playing, as mutable as likens his experience of music to looking out his his compositional approach, follows suit. Much should window and seeing unity rather than judging each be said of his tenor and sopranino saxophone work, component of the landscape. “It was like that when I veering wildly as it does between the emotive power heard late Coltrane and Cecil Taylor in the middle ‘60s of the Trane/Ayler axis and the pointillisms of AACM for the first times. It was too much for me, no doubt, membership or European improv. It is particularly but I was hearing shapes and energy. Of course now, I fine on Juke Box Suite, the most recent Rova disc, follow every note of that stuff, but my initial released on Not Two last year. Perhaps such impression was of innovative energy and form.” versatility comes from being self-taught. “Teachers,” Visuals inform not only Ochs’ compositional Ochs laughs. “Braxton, Roscoe [Mitchell], Leo Smith - rhetoric but also the way he articulates the concepts I learned from all of them.” K behind the groups in which he is involved. He speaks of musicians inhabiting different spaces on different For more information, visit ochs.cc. Ochs is at Roulette Feb. evenings or after an extended period of rehearsal. 27th. See Calendar.

ALLABOUTJAZZ-NEW YORK | February 2009 7 LABEL SPOTLIGHT

Grammy Awards. Lovano said Lundvall “first heard me at Sweet Basil Blue Note Records In February alone, as part of what’s being billed with the Peter Erskine band” around 1990. “I didn’t as “Blue Note Records Takes New York”, area jazz know who he was, but from the first moments I by Joel Roberts fans can look forward to performances at various local walked into his office he really knew who I was. He venues by label artists like Blanchard, Charlap, Robert was so warm, so incredible. I never had to prove No label in jazz can match the history and legacy of Glasper, Lionel Loueke, Lovano and Dianne Reeves myself.” Blue Note Records. Since its founding in New York in (with the Lincoln Center Jazz Orchestra), Wynton For his part, Lundvall says his friendships with 1939 by German émigré Alfred Lion, Blue Note has Marsalis and Willie Nelson (with Norah Jones) and musicians are the things he cherishes most. “The best been associated with an amazing assortment of jazz Moran, among others. part of the job is hearing and facilitating great music luminaries including Thelonious Monk, Miles Davis, Blue Note has also released Mosaic: A Celebration and having relationships with so many wonderful John Coltrane, Cannonball Adderley, Horace Silver, of Blue Note Records, an eight-song disc revisiting some artists,” Lundvall said. “They are not just fantastic Art Blakey, Jimmy Smith, Lee Morgan, Freddie of the label’s classic repertoire, by the Blue Note 7, an musicians; they are unique, interesting and brilliant Hubbard, Joe Henderson, Herbie Hancock, Wayne all-star septet led by pianist Bill Charlap and featuring people. ... It’s been an honor and I consider myself to Shorter, McCoy Tyner, Andrew Hill and Ornette Ravi Coltrane, Nicholas Payton, Steve Wilson, Peter be extremely lucky to be doing this.” Coleman, among many others. Bernstein, Peter Washington and Lewis Nash. While it remains an artist-centered label, Blue While hundreds of jazz labels have come and So why has Blue Note been so successful for so Note has certainly changed since its heyday in the ‘50s gone over the past 70 years, Blue Note continues to long? Much of the credit goes to Lundvall. and ‘60s when there was a clearly defined Blue Note survive and thrive with an impressive roster featuring “He’s the inspiration and force behind the label,” sound, rooted in hardbop, as well as a Blue Note look some of today’s most important jazz voices such as said pianist-vocalist Elias, who has recorded 18 thanks to the label’s striking album design and Terence Blanchard, Bill Charlap, Eliane Elias, Joe albums for Blue Note, including her latest, Bossa Nova photography. “There isn’t a Blue Note sound today,” Lovano, Wynton Marsalis, Jason Moran, Gonzalo Stories. “He’s a major force in jazz and the music said Lundvall. “It’s a different world. We record a Rubalcaba and Cassandra Wilson. business. He loves music and understands the soul of greater variety of music. Individual artists have “We’ve always been driven by artists we believe the musician. He’s one of a kind,” Elias said. preferences in studios, producers, album designers, in,” said Blue Note president Bruce Lundvall, who has That sentiment is echoed by another longtime etc. So it’s not all Alfred Lion, Francis Wolff [label been at the label’s helm since it was relaunched in 1984 Blue Note artist, saxist Lovano. “It’s been a thrill and executive and photographer], Rudy Van Gelder after a brief hiatus. “We never panicked in bad times a pleasure to work with someone like Bruce,” said [engineer] and Reid Miles [designer] and a circle of and tried to second guess the public, signing artists Lovano, whose latest release, Symphonica, is his 20th great New York-based jazz artists anymore.” somebody else thinks can be ‘hits’. That has derailed for the label. “Bruce encouraged me to be myself.” (CONTINUED ON PAGE 42) labels in terms of their marketing spending and their direction. We try to make as few bad decisions as possible.” To commemorate the label’s 70th anniversary, as well as the 25th anniversary of its revival, a slew of special album releases, concerts and tributes are planned in New York and throughout the US and the world, including a salute to Blue Note at this month’s Symphonica Joe Lovano Mosaic The Blue Note 7 Bossa Nova Stories Eliane Elias

CLUB PROFILE

proscenium-style theater designed to support its adventure. Another plus for attendance is the eclectic mix of artists and programming. The theater is University’s hosting of a family/parents weekend Miller Theater wider than it is deep, making for a more intimate every October. “We always try to have one of our jazz feeling for the audience. concerts on that weekend because the chances are that by Marcia Hillman Aside from the talented musicians, the events also the performance will be a complete sellout,” said offer low ticket prices. The top price for a concert is Smey. Family and parents come in from all parts of the Just to the left of the impressive Columbia University $25, but there are discounts for Columbia students country and “this makes for a wonderfully diverse entrance gate at Broadway and 116th Street is the who pay only $7. Seniors get a 15% discount and other audience and they definitely get the music.” Miller Theater. Beginning its life as a lecture hall, the students and people under 25 get a 40% discount. The Miller Theater is one of the few venues theater was established with funding from the There is also a price break if you buy a subscription. featuring jazz left on the Upper West Side of Kathryn Bache Miller Fund, Brooke Astor and John Smey explained this is done “so that we are able to Manhattan, and although it does not advertise in the Goelet (marking last year as its 20th anniversary) and attract new and younger audiences. Especially for the usual media outlets, has a loyal core audience to is now a performing arts center covering jazz concerts, up to 25 to 30 percent of the audience whom it markets. Smey added, “We even get people contemporary classical music, opera, dance, film and will be people under the age of 30 who are not regular from New Jersey because it is easy to get here for jazz. concert goers. But for a low price, they are willing to them.” And since the attendance at the jazz concerts George Steel, who was the Director until last take a chance on something. We are getting people have been good, “500-600 people is the norm, “ stated October when he left to head up the Dallas Opera, was from the neighborhood, people from the community Smey, “our plans are to keep doing more of what responsible for reshaping the theater’s programming and from the surrounding areas that are willing to we’ve been doing.” K to include a jazz series. There were only three jazz come to something close by. And we’re getting top events per season scheduled for the first few years, but quality artistic choices that are affordable. And so, at For more information, visit millertheater.com. Artists as the acceptance and audience has grown, the jazz least for the past five years, it’s been a winning performing this month include James Carter (Feb. 7th) and events now number up to five per season. Melissa combination.” Wycliffe Gordon (Feb. 21st). See Calendar. Smey, who is now the Acting Director and was The jazz events at the theater are also tied into the General Manager for eight years, had been doing the University’s radio station, WKCR (89.9 FM). On jazz programming for the last few years. She is Fridays from 4:30-6 pm, the station features a “Live delighted to be working with jazz artists: “It’s such a From Miller Theater” program which plays music dream job to be able to work with musicians and put from the concerts and also interviews some of the on their concerts, bring an audience to it and bring the performers. George Steel founded the show about musicians to the audience and have them enjoy it.” seven years ago and it was decided to continue it after Musicians such as Eric Reed, Wycliffe Gordon, Lewis he left. Director of Marketing Lauren Bailey, Audience

Nash, Cyrus Chestnut, Terence Blanchard and even Services Manager Denise Blostein and Smey are Coulter Alex by Photo John Zorn have performed at the theater. The co-producers and co-hosts for the show. Lewis Nash programming leans towards straightahead jazz with was Smey’s first on-air interview when he guested few forays into ‘new’ or avant garde jazz. “Our before his concert last October. audience likes straightahead jazz best,” commented The theater is able to draw audiences from its Smey. student body. College students have always leaned Miller Theater is a (comfortable) 688-seat towards jazz, possessing a curiosity and a spirit of

8 February 2009 | ALLABOUTJAZZ-NEW YORK ON THE COVER

When Chico Hamilton was a boy growing up in Los personnel changed over the years and showcased such Jeffrey implicitly with everything! He even started a Angeles, the film studios used to send trucks out to notables as Paul Horn, John Pisano and Eric Dolphy. label [Joyous Shout] to release my music. He’s a great pick up the little African-American children to play In 1961, he revamped the group yet again, this time manager and a wonderful and caring human being.” natives in their Tarzan movies. “It was work, after all, with Charles Lloyd, George Bohanon, Albert Stinson Some of the recent days have been difficult for and we got paid for it,” says the drummer, now 87 and Gabor Szabo. During these years, these groups Hamilton. In 2008 he lost his wife Helen and his years of age. ”And what you learned very quickly is made hit recordings and Hamilton did film work (he brother Bernie. (Bernie, incidentally, was an actor, a not to look into the camera. Once you did that they scored the Roman Polanski film Repulsion). “I had a kind of pioneer in film acting by African-Americans.) could never hire you again.” That’s a lesson that family to feed and, besides, good music is good music. And, at 87 years old, he’s had some health problems. relates to Hamilton’s entire career as a musician; it’s All of my work was part of a lifelong learning But, says the musician, “Hey, I’m still here! I’m the craft and the work that have always mattered to process.” blessed, man! How many guys get to do what I’ve him and though he’s done countless things to appeal done? I’ve played with and known some of the to many audiences, it’s always been about the music. greatest musicians on the planet. My family has been Let’s review that career a bit, Photo by Matthew Sussman wonderful and supportive. And I’m because it’s truly quite extraordinary. still writing, studying and teaching Born Foreststorn Hamilton in East Los music!” So, yes, some things have been Angeles in 1921, he was in a big family. difficult, but one look at the activity of His mother’s heritage was Mexican, this giant lets us know how therapeutic Indian and German Jewish and his work - and especially the work of father worked as a railroad porter and making music - can be. Since 2001, he later, in LA, at the University Club of has released nine recordings. On those Southern California. It was the first he has played with old friends Arthur Great Depression and things were tight Blythe, George Bohanon, Larry Coryell, for the Hamiltons. Says Hamilton, Rodney Jones, Joe Beck and more. In “Everyone was poor so we didn’t think addition he has written music for every of ourselves that way. Many ethnic one of those albums and has taken the groups lived together there so it wasn’t opportunity to work with some of his really a ghetto.” talented students. Hamilton started playing clarinet Three unique recordings in the at age eight but switched a year or so Hamilton canon were released in 2008. later to a set of drums that belonged to On Trio! Live @ Artpark, the drummer is an older brother who had graduated. “I at the helm of a trio that includes made my own drumsticks and played stalwart guitarist DeNigris and, on a them on everything in the house. My fiery Fender bass, Matthew Garrison, parents weren’t necessarily musical but son of Coltrane’s famous bassist, Jimmy they encouraged me to play despite the Garrison. The other Joyous Shout fact that the church frowned on it. My release is Dreams Come True, a rare duo mother took me to hear Duke Ellington session from 1993 with the late Andrew when I was about nine and I had never Hill. Hill and Hamilton were old seen anything like that. The band was friends and this collaboration had never in a pyramid and Sonny Greer was at before seen the light of day. And for a the top. I consider him the first true true change of pace, there is The percussionist - he played everything.” Alternative Dimensions of El Chico, billed Hamilton bought his first set of as “recastings from and of” Blaze, ‘Joe’ drums at age 12 with money he earned from shining Claussell, Fertile Ground, Soul Feast, Mark De Clive- shoes. While in junior high school, Chico competed in Lowe and Chico himself. an “amateur hour” at a local theater and won a first This year looks to be similarly fruitful. He and his prize of $50, playing with a local pianist. Hamilton Euphoria band play the Rubin Museum of Art this went to the noted Jefferson High School where some of JOYOUS SHOUT month. And April sees the release of still another new his celebrated schoolmates were Ernie Royal, Dexter recording called Twelve Tones of Love, featuring some Gordon, Buddy Collette and Charles Mingus. by Donald Elfman very special guests. First, there’s the old cohort George Soon, Hamilton had engagements with a wide Bohanon on trombone. Then there’s a sterling young variety of extraordinary musicians including Lionel saxophonist/flutist from Juilliard, Eddie Barbash and Hampton, Slim Gaillard and Slam Stewart, T-Bone The latest chapter in Hamilton’s career also involved a young singer José James - Chico taught him at the Walker, Lester Young, Count Basie, Duke Ellington, learning. As one of the original faculty New School. “He’s terrific,” say both Hamilton and Charlie Barnet, Billy Eckstine, Nat King Cole, Sammy members of The New School jazz program, the Caddick. Finally and possibly most surprising and Davis Jr., Billie Holiday and Gerry Mulligan. He also drummer found a way to discover and highlight exciting of all, is the appearance of Jack Kelso. “He’s was part of the group backing Fred Astaire in the 1941 another generation of great players. The group my oldest friend in the world,” Hamilton says fondly, film You’ll Never Get Rich. Euphoria was founded in 1987 with saxophonist Eric “and it’s a thrill to have recorded with him.” For eight years, starting in the late ‘40s, Hamilton Person, guitarist Cary DeNigris and bassist Reggie The thrills of Chico Hamilton keep coming our became the drummer for Lena Horne. He remembers, Washington. This group’s personnel has also changed; way too. K “I was a ‘hotshot’ drummer on the West Coast and I it still features DeNigris but also includes saxophonist worked for a dancer, Marie Bryant, who was a friend Evan Schwam and bassist Paul Ramsey. For more information, visit joyousshout.com. Hamilton is of Lena’s. When Lena needed a drummer, Marie The continued activity - as a teacher, bandleader, at Rubin Museum Feb. 20th. See Calendar. recommended me. I had never even heard of her. I composer, recording artist and more - has been went to her house in the hills and the guy that opened accomplished with the extraordinary and tireless work Recommended Listening: the gate was this sharply dressed dude - turned out to of Hamilton’s manager, Jeffrey Caddick. Based in • Gerry Mulligan - The Original Quartet with be Luther Henderson, Lena’s pianist and musical Evansville, Indiana, Caddick booked Hamilton into a Chet Baker (Pacific Jazz-Capitol, 1952-53) director. We started rehearsing right away and while college performance many years ago and was soon his • Chico Hamilton - The Complete Pacific Jazz we were there a guy with a painter’s outfit and a can manager. Caddick says, “Chico taught two of the most Recordings (Pacific Jazz-Mosaic, 1954-59) of paint came in a few times. I find out later it’s Lennie valuable lessons of my life. One is what it means to • Chico Hamilton - Passin’ Thru (Man From Hayton, Lena’s husband. Both he and Luther were give yourself unreservedly to something. He Two Worlds) (Impulse-GRP, 1962) great musicians and major mentors for me. We consistently crosses the line from playing music to • Chico Hamilton - The Dealer rehearsed and only saw Lena after about a week!” making music. Secondly, he proves that when you (Introducing Larry Coryell) (Impulse, 1966) In 1955, Chico Hamilton left the employ of Horne create a comfortable and supportive space for others, • Chico Hamilton and Euphoria - and went out on his own as a leader. That year he you provide them with the opportunity to discover My Panamanian Friend (Soul Note, 1992) made the eponymous debut recording of a unique, their own voices and personalities and then share • Chico Hamilton - Believe (Joyous Shout!, 2000-05) chamber-like group that included Buddy Collette, Jim knowledge with others. This is a remarkable act of Hall, Carson Smith and, on cello, Fred Katz. The humility.” And Hamilton notes, “Oh, man! I trust

ALLABOUTJAZZ-NEW YORK | February 2009 9 ENCORE Back in the spotlight...

earliest recording was the classic The Black Ark (1969) • Milford Graves - Babi Music (IPS, 1976) Arthur Doyle under alto saxophonist Noah Howard’s leadership, • Arthur Doyle - Alabama Feeling while his next exposure was on Graves’ Babi Music (AK-BA - DRA, 1977) by John Sharpe (1976). It wasn’t until 1977 that he made his • The Blue Humans - Live NY 1980 leadership debut, his much sought after quintet (Audible Hiss, 1980) Better known by recording Alabama Feeling. Sonic Youth guitarist • Arthur Doyle - Prayer for Peace (Zugswang, 1999) repute than in person Thurston Moore cites this disc as one of the Top Ten • Arthur Doyle/Sunny Murray - saxist Arthur Doyle is from the Free Jazz Underground, for “its incredible Live at Glenn Miller Café (Ayler, 2000) nonetheless a free jazz post-Aylerisms - mystic music which took on the air of legend. Though active chasing ghosts and spirits through halls of mirrors.” since the ‘60s he has Like many of his peers, a greater appreciation for ‘70s ‘00s garnered barely a his music in Europe attracted Doyle to Paris in the footnote in the written accounts of the music’s history, early ‘80s, but there was to be a bitter twist. Accused not helped by a diminutive discography on obscure of rape, Doyle was imprisoned for five years until independent labels in limited pressings. But he has released in 1988, still maintaining his innocence. persevered and his rediscovery by a younger During that time, without access to a horn, he generation hungry to experience noise allied with composed some 150 songs, which he set about passion led to a late career resurgence of sorts. documenting once he had got himself back in the Doyle was born in Birmingham, Alabama on Jun. frame of mind to play again. Recorded onto a portable 25th, 1944, the second of five children. Inspired to play cassette recorder, a series of low-fi solo recordings music by Louis Armstrong and Duke Ellington on TV, appeared on small independent labels through the the sound of the saxophone fascinated him as a child. ‘90s, featuring raw shrieking saxophone alongside His first gig as a teenager was with Sun Ra alumni sometimes otherworldly vocals. trumpeter Walter Miller. “It paid six dollars,” Doyle Doyle’s unique sound on the saxophone was recalled in a 1994 interview with Cadence magazine. something that happened by accident. He told Cadence: Following a degree in Music Education at Tennessee “I had this reed on that was too soft and my voice State University in Nashville, Doyle stayed in the area, came through my saxophone. I liked the sound so I gigging with Gladys Knight and the Pips and Donny began singing and playing at the same time.” Even Hathaway among others, grounding him in the R&B applying the same technique to the flute, he found that which was to reemerge later in his solo work. At the this wasn’t enough to express all he wanted and now same time he played bop, touring as far as Detroit. alternates saxophone and flute with passages of Initially Doyle was unmoved by reports of the singing and chanting, with the words sometimes New Thing of John Coltrane, Archie Shepp and slurring into scatting and sounds. Doyle terms his Pharoah Sanders, telling WHRW Radio in 1979, “No music “free jazz soul music” and in a strange way it man, I didn’t want to play that shit. I just wanted to does combine the repetition of the R&B he played in study some more. I learned all these changes and his youth with the passionate conviction music of his scales and arpeggios. I couldn’t abandon all that.” But adult self. “You can’t separate the singing from the with social change afoot, Doyle played at a Black saxophone, you can’t separate the flute from the Panthers festival channeling the same rhetoric as saxophone, you can’t separate none of it from the Shepp and others and little by little moved to the saxophone. It all revolves around one instrument and related style of music. “When I first got to New York, that is Me, Myself,” he asserted in a 1998 interview. I tried to play both musics but I thought I had to give Life has come full circle for Doyle who once again a total commitment to what I was doing. You can’t lives back in Birmingham, making New York play bop and then turn around and play some appearances all the more rare. He last played in town freeform.” A friend saw drummer Milford Graves at the now defunct Tonic back in 2006. Make the most playing on the street and told him he knew a musician of chances to catch this still indefatigable spirit. K from Nashville who played the same sort of music. Graves gave him his number and so Doyle hooked up Doyle is at Issue Project Room Feb. 20th. See Calendar. with him and also began sitting in on dates with Sanders and Sun Ra. Recommended Listening: Part of Doyle’s mystique has been his appearance • Noah Howard - The Black Ark on some of free jazz’ most important documents: his (Freedom-Bo’Weavil, 1969)

LEST WE FORGET Gone but not forgotten... from any marked influence. trumpet). Monterose recorded again in 1959, this time Monterose journeyed with territory bands around for the Jaro label (The Message), joined by Tommy JR Monterose (1927-1993) upstate New York in the late ‘40s. His education in Flanagan, Jimmy Garrison and Pete La Roca. However, bebop came from local pianist/guitarist Sam Mancuso he soon lost his cabaret card and working around New by Clifford Allen and he quickly became an aficionado of the harmonic York became difficult. He returned to Utica before complexity of Bud Powell. In 1951, he had a six-month going to work in the Quad Cities of Illinois and Iowa The jazz scene is full of players whose lives and work stint with the Buddy Rich Orchestra, which also in 1963-64, where he recorded the excellent J.R. in stretched decades, but were never given the sort of featured Philly Joe Jones. He then worked with the Action LP with the Joe Abodeely Trio. due their playing deserved. Tenor saxophonist JR Claude Thornhill band and with drummer Nick Monterose journeyed to Europe in the late ‘60s Monterose is a prime example. Born Frank Anthony Stabulas in New York City in the early ‘50s, becoming and was a featured leader at the Paradiso Jazz Club in Monterose, Jr. in Detroit Jan. 19th, 1927, Monterose acquainted with fellow modernists like Charles Amsterdam in 1969, where he recorded for Hans moved to Utica, New York at a young age, playing Mingus and Teddy Charles, recording on significant Dulfer’s Heavy Soul Music label. In addition to clarinet by the time he was 13. Despite a big sound that dates like Mingus’ Pithecanthropus Erectus (Atlantic, regular appearances at the Paradiso, he also echoed Chu Berry and a little bit of Coleman Hawkins, 1956) and The Teddy Charles Tentet (Atlantic, 1956). performed in Denmark and Germany during the early Monterose told Leonard Feather in the Encyclopedia Following an all-too-brief stint with Kenny ‘70s and recorded with Dutch pianist Rein de Graaff Yearbook of Jazz that “the real inspiration that decided Dorham’s Jazz Prophets, with whom he recorded for (Body and Soul, Munich Records, 1970). He returned to me to take up tenor seriously rather than clarinet or Blue Note and ABC-Paramount, Monterose stepped New York State in the late ‘70s and worked with alto was, believe it or not, Tex Beneke [of the Glenn out as a leader for Alfred Lion’s esteemed label in late pianist Hod O’Brien and bassist Teddy Kotick, Miller Orchestra].” Later, Charlie Parker, Sonny 1956. He was joined by Horace Silver, Philly Joe Jones recording more frequently than he had in nearly 20 Rollins and John Coltrane became more prevalent in and two Chicagoans: bassist Wilbur Ware and years, but still little-known to the public. Monterose his playing, though he did his best to distance himself multi-instrumentalist Ira Sullivan (here featured on died in Utica Sep. 29, 1993 at the age of 66. K

10 February 2009 | ALLABOUTJAZZ-NEW YORK MEGAPHONE Musicians in their own words...

of Duke Performances and The Center For Monk at Town Hall Documentary Studies at Duke University asked me to recreate the scores. I completed the entire by Charles Tolliver transcription in 2007. Even though an opportunity had been offered to listen to newly found recording tapes Thelonious Monk was and is a central and seminal of the actual rehearsals for the Monk Town Hall figure, along with Bird and Diz et. al., responsible for concert, I decided not to give a listen to them because the creation and growth of the jazz idiom. His I wanted to recreate his orchestra’s actual visceral patented and innovative stride-intervallic reading of Hal Overton’s orchestrations exactly as the improvisatorial style was inextricably tied to his performance of them was captured, notwithstanding harmonic genius as a composer. In fact, nearly all of the difficulty of gleaning a precise ur-text these original innovators possessed this quality. At the transcription from the recorded LP with respect to the dawn of the creation of modern jazz in the early ‘40s, near inaudibility of the low-horn instruments in many Monk had already worked out how to utilize certain passages. In order to pull that off necessitated a total musical theoretical formulas - II-IV-I, flatted V, whole working ‘inside’ chordal and nuance knowledge of and half-scale use, substitute and passing chords - Monk’s compositions pianistically. Suffice it to say in ways that would become substantive underpinnings that even though it was a daunting task working on for all jazz improvisation and composition then, now this historic project, it gave me a great deal of pleasure and forever. Diz has said that looking over Monk’s while doing it, reliving and remembering how I shoulders at his voicings during those fertile creative absorbed Thelonious Monk during my formative years informed us harmonically by sight and ear that teenage years and how and why I fell in love with we were on track with the new approach to what was to become my life’s work, being a jazz improvisation and composition. musician. Perhaps one of the most enduring qualities of To be called on to present once again, in its Thelonious Monk, already immediately apparent circa entirety, the 50th anniversary celebration of Monk’s the early ‘40s, was his innovative use of dominant 1959 Town Hall orchestra repertoire program is seventh, tritone, whole tone and minor second indeed an honor. K harmonies in constructing his compositions. Albeit diatonic, his compositional technique however not For more information, visit charlestolliver.com. Tolliver is only suggested and anticipated but was in the at Town Hall Feb. 26th as part of the two-night Monk At forefront of what is now commonly referred to as Town Hall 50th Anniversary Celebration. See Calendar. ‘outside’, much the same as the similar feat accomplished by Bartók with his new idiom- When once asked “What trumpet players do you hear today shattering compositional language that did not rely on whom you like?” Dizzy Gillespie’s reply was, “Charles a hubristic use of dodecaphony. Tolliver - I like him.” Tolliver is a recent Grammy Nominee Since the original orchestrations by Hall Overton and Jazz Journalist Association’s “Best Large Ensemble of of the six Monk compositions premiered at Town Hall, the Year” award recipient. His new CD, recorded live at the Feb. 28th, 1959 were lost many years ago, the Directors Blue Note, will be released this March on Half Note.

VOXNEWS

seen the prism of Callaway’s emotional life change by Suzanne Lorge and on this album we find Callaway in a mellow, optimistic mood, as someone who has come into her One of the greatest things about being the VoxNews own and wants to encourage others on their way to columnist is speaking with singers I’ve long admired fulfillment. The first tune, “What Is This Thing Called and asking all of the burning questions. Like “what are Love”, poses the question on Callaway’s mind these you thinking when you first look at a chart,” and days and the answer, the driving R&B rendition of the “what song just really tears you apart every time you title cut, will surprise anyone who thinks they know sing it” and “what is vocal jazz, really?” Actually, I’ve this singer. But if you’re still looking for heartbreaking stopped asking that last question because no one beauty, listen to her version of “Landslide” - really knows and everyone is starting to get annoyed. repeatedly. The album launches Feb. 3rd and Callaway The long-admired Ann Hampton Callaway performs at Dizzy’s Feb. 17th-Mar. 1st. recently agreed to a quick interview to discuss her new Singer/pianist Liz Childs also asks “What Is This album, At Last, a mix of 11 pop, standard and original Thing Called Love” on her superb debut album of tunes on the Telarc label. Callaway has been a standards, Oh, You Crazy Moon (s/r). Childs’ mainstay on New York jazz stages for at least two infectiously rhythmic answer differs from Callaway’s decades, but it’s hard to sum up the full extent of her but like her, Childs is an expert at swinging and reach as a singer. She’s done everything from club scatting. One curious thing: Some of the tunes were work to Broadway to TV and film and as a composer recorded almost a decade ago - an unusual deferral for she’s contributed to three platinum albums and one so masterful. We urge this wonderful singer not to written for some of the most popular of contemporary wait so long next time. Childs is at 55Bar Feb. 15th. entertainers - Barbra Streisand, Liza Minnelli, Patti Let’s duet: Two guys with great voices and Lupone, Carole King, Michael Feinstein and others. serious piano and/or guitar chops team up with two But on her albums (all 12 of them) and in her live gals with great voices and the result is two terrific performances Callaway is anything but hurried; her albums. Andy Scott just released Don’t Tempt Fate, bailiwick has been the slow mournful ballad where she featuring Madeleine Peyroux and will perform at treats each note, each word, as something precious, Joe’s Pub Feb. 18th. And Tony DeSare’s new offering, something too easily lost. I once read a review of Radio Show, includes a track with guest singer Jane Callaway that described her singing as so Monheit; he’ll be at the Oak Room Feb. 2nd-21st. heartbreakingly beautiful that it made you want to Finally, what a great month in the city’s rooms: jump off a building (the reviewer meant this in a good Robin McKelle (Feb. 1st at Blue Note), Laurie Krauz way). I do agree that it is nothing if not a cathartic (Feb. 3rd at Iridium), Cassandra Wilson (Feb. 10th- experience and the adjective “beautiful” is always apt. 15th at Blue Note), Catherine Dupuis (Feb. 11th at “Making an album is such a personal thing,” Saint Peter’s Church) Dianne Reeves (Feb. 19th-21th Callaway asserts. “It’s always a record in time of at Rose Hall), and The Bad Plus with Wendy Lewis at where you’re at emotionally.” Over the years we have Bowery Ballroom (Feb. 17th). K

ALLABOUTJAZZ-NEW YORK | February 2009 11 LISTEN UP!

Kirk Knuffke Ben van Gelder trumpet alto sax

Kirk Knuffke was born in Ben van Gelder, born in The Colorado in 1980 and began Netherlands in 1988, grew up in a playing the trumpet at 12. He musical family, his father a record dropped out of music school at 19 store owner and his mother a and focused his energy on taking classically-trained musician. He

Photo by Peter Gannushkin lessons and playing decided to pursue music at a professionally in a variety of venues. Knuffke moved young age studying with main figures in the Dutch to New York with his wife Stephanie in 2005, where he jazz scene such as Simon Rigter, Benjamin Herman developed musical collaborations and friendships and Wil Jasper. Van Gelder has received various with many great individuals. Knuffke's first album as national and international prizes and honors such as a leader, Big Wig, came out on Clean Feed Records in First, Audience and Alumni Prizes at the Princess 2008, featuring the Kirk Knuffke Quartet. Christina Jazz Competition in 2004 (as a duo with his brother Gideon) and the “gold award” from National Sun Feb 1 PETE ROBBINS & SILENT Z 8:30PM Pete Robbins, Jesse Neuman, Mike Gamble, TEACHERS: Mike Smith, Ron Miles, Art Lande, Foundation for the Advancement in the Arts. Van Thomas Morgan, Tyshawn Sorey Ornette Coleman. And my friends! Gelder has performed with Jean-Michel Pilc, Ari Mon Feb 2 AMRAM & CO 8:30PM Hoenig, Adam Rogers, David Binney, James Genus David Amram, Kevin Twigg, John de Witt, INFLUENCES: My friends are a big influence on me; I and Keith Carlock at venues such as 55Bar, Smalls, Adam Amram, John Ventimiglia consider them as teachers too. Others include Chet Jazz Gallery, Dizzy’s Club and the IAJE conference, Wed Feb 4 ENSEMBLE ELEKTRA 8:30PM Elektra Kurtis, Curtis Stewart, Lefteris Bournias, Baker, Art Pepper, Pee Wee Russell, Sonny Terry, both as sideman and as a leader. Brad Jones, Kahlil Kwame Bell Lester Bowie, Roscoe Mitchell, Butch Morris, Ornette Thu Feb 5 GNU VOX: AMANDA BAISINGER Coleman, Robert Pete Williams, Steve Lacy, Howlin’ TEACHERS: As a student of the Conservatory of & KRISTIN ANDREASSEN 8:30PM Wolf and Jimmy Giuffre. Amsterdam, I studied under the tutelage of Ferdinand Mike Moreno, Pete Rende, Peter Slavov, Jordan Perlson Povel, Dick Oatts and Albert Beltman. After high Fri Feb 6 LUCIAN BAN’S CURRENT PROJECTS: Co-leading the Butch Morris school, I moved to New York where I now attend the ASYMMETRY QUARTET 9PM & 10:30PM Sextet; the Kirk Knuffke Quartet with Jeff Davis, New School for Jazz and Contemporary Music. I have Jorge Sylvester, Brad Jones, Gene Jackson Reuben Radding and Brian Drye; a duo with Brian studied with George Coleman, George Garzone, Lee Sat Feb 7 LUIZ SIMAS TRIO 9PM & 10:30PM Drye; a duo with Jesse Stacken (CD out on Konitz, Ari Hoenig and Jimmy Halperin. Itaiguara, Kenny Grohowski SteepleChase in the summer of 2009); leading a new Sun Feb 8 SARA SERPA QUINTET 8:30PM trio with Kenny Wollesen and Doug Wieselman, INFLUENCES: My influences are too numerous but a Andre Matos, Vardan Ovsepian, Tyshawn Sorey which was inspired by compositional work I have few in no order of importance are Lee Konitz, FLY, Mon Feb 9 COMPOSERS COLLABORATIVE: SERIAL UNDERGROUND 8:30PM done thanks to a Jerome Foundation Grant that I Mark Turner, Hank Mobley, John Coltrane, Charlie Newspeak, Tom Bolster, Jenny Lin, Miranda Sielaff received through Roulette in 2009 (debut at Roulette Parker, Kurt Rosenwinkel, Dick Oatts, Elvin Jones, Wed Feb 11 FLOW 8:30PM in March). I also work as a sideman with the Nublu Ornette Coleman, Benjamin Herman, Simon Rigter Kim Bock, Soren Moller, Peter Retzlaff Orchestra, Jeff Davis Band, Bizingas, Ideal Bread, The and Ferdinand Povel. Thu Feb 12 GNU VOX: DIANE BIRCH 8:30PM E.R.A., Andrew D’Angelo/Curtis Hasselbring Big Fri Feb 13 MARK HELIAS’ OPEN LOOSE 9PM & 10:30PM Band, James Ilgenfritz, The Invisible Landscape, CURRENT PROJECTS: The Ben van Gelder Trio. Tony Malaby, Nasheet Waits Kenny Wollesen and Federico Ughi. Sat Feb 14 BY DAY: Student VALENTINE’S WITH TESSA SOUTER 9PM & 10:30PM BY DAY: Practice and rehearse, play with the cats, Jason Ennis, Gary Wang, Conor Mehan work part-time at the Juilliard Bookstore. I KNEW I WANTED TO BE A MUSICIAN WHEN... Sun Feb 15 OREN NEIMAN QUARTET 6PM I saw jazz performed by young inspiring musicians. Kenny Warren, Javier Moreno Sanchez, Martin Urbach I KNEW I WANTED TO BE A MUSICIAN WHEN... LUCIAN BAN/BADAL ROY DUO I went to my brothers Jay’s high school big band DREAM BAND: with SAM NEWSOME 8:30PM concert. I thought the trumpet players looked cool I would love to play with Jeff Ballard and Kurt Mon Feb 16 JACAM MANRICKS GROUP 8:30PM because they got to stand up while playing. Rosenwinkel some day. Jacob Sacks, Thomas Morgan, Dan Weiss Thu Feb 19 PO’JAZZ HOSTED BY GOLDA SOLOMON 6PM James Bartow, Hope Berkely, Golda Solomon DREAM BAND: DID YOU KNOW? I´m also an aspiring art historian. GNU VOX: Art Pepper, Elvin Jones, Gary Peacock and Paul Bley. MIKE AND RUTHY & CADY WIRE 8:30PM FOLLOW UP WITH: Mike Merenda, Ruth Ungar Merenda, Sam Riley, Nila K Leigh, Mike Nolan, Jonathan, Nick Cisik DID YOU KNOW? Email: [email protected] Fri Feb 20 JOHN MCNEIL GROUP 9PM & 10:30PM When I was 19 I got rid of my bed because I thought Web: benvangelder.com Sat Feb 21 JEREMY UDDEN'S PLAINVILLE 9PM & 10:30PM that if I slept less I could practice more, but it ended Pete Rende, Brandon Seabrook, up making things much worse. This experiment lasted Van Gelder is at Jazz Gallery Feb. 5th. See calendar. Eivind Opsvik, RJ Miller four months. Mon Feb 23 21ST SCHIZOID MUSIC presents: MARC OSTROW 8:30PM FOLLOW UP WITH: Tue Feb 24 KAORU AZUMA: “FOOTPRINTS IN NEW YORK” - Email: [email protected] CD RELEASE 8:30PM Web: kirkknuffke.com Scott Reeves, Mike Holober, Jesse Forest, Rob Morse, Paolo Orlandi Thu Feb 26 SCOTT DUBOIS QUARTET 8:30PM Knuffke is at Douglass Street Music Collective Feb. 12th, Loren Stillman, Eivind Opsvik, Jeff Davis CoCo66 Feb. 15th with Brian Drye’s Bizingas and Tea Fri Feb 27 JAMES SHIPP’S NÓS NOVO 9PM & 10:30 pm Lounge Feb. 17th with Andrew D’Angelo/Curtis Jo Lawry, Steve Cardenas, Rogerio Boccato Hasselbring Big Band. See calendar. Sat Feb 28 PIANO TRIOS 9 PM Kerry Politzer Trio & George Colligan Trio Josh Ginsberg, Jeff Hirshfield

12 February 2009 | ALLABOUTJAZZ-NEW YORK FESTIVAL REPORT

Piano/alto duos often sound like gigs where half the Umbria Jazz Winter band failed to show up. But even the duo-averse must admit that by Thomas Conrad sometimes duos rock. Pianist Helio Alves and vocalist Maucha Adnet gave a flawless recital of Brazilian songs at noon in the Museo Emilio Greco. The surface of the music was elegant but the sensuous undercurrents were passionate. Another successful duo combined the piano of Danilo Rea with the synthesizers of Martux_M. Their “Belle Epoque Suite” was a “concerto multimediale”, with video by Massimo Achille. Although the visual imagery from turn-of-the-20th-century Europe was not memorable (it appeared that Achille had just discovered the filters in Photoshop), the music prevailed. It was not always apparent in Rea’s suite where notation left off and improvisation began, but his towering, spilling, singing inventions all tied together. Joe Locke played everyday at the Palazzo del Popolo with a quartet: pianist Dado Moroni, bassist Bob Cranshaw and drummer Joe LaBarbera. Locke has Martial Solal become a fixture at Umbria events, usually with more adventurous ensembles than this one, which stuck Umbria Jazz Winter in Orvieto, Italy (Dec. 30th-Jan. mostly to standards. No one complained. To be in the 4th) has a very different vibe from the huge Umbria presence of this group working through timeless songs Jazz summer festival in Perugia. It is too cold for all- like “But Beautiful” was simultaneously reassuring night conga parties in the piazzas. There is more and stimulating. Locke is known for his speed, energy intimacy and more concentration on the music. The and showmanship, but his secret weapon is his ballad winter sunlight is pale, but still fires the gold on the playing. façade of the 13th century duomo, described by Another band that played five times was a sextet historian Jacob Burckhardt as “the greatest and richest led by drummer Duduka da Fonseca. All the members polychrome monument in the world.” are from Brazil - trumpeter Claudio Roditi, guitarist The scheduled headliner was João Gilberto. His Guilherme Monteiro, pianist Helio Alves, bassist cancellation because of a hernia left the festival Leonardo Cioglia - except for the reed player, whom without a major international star, but had no adverse da Fonseca introduced as “Anat Cohen, from Tel Aviv, effect on attendance. Virtually every concert was near Brazil”. Da Fonseca’s drumming and world-class or at or overflowing capacity. soloists like Alves and Roditi and Cohen makes this The festival may have been shy of big names, but band’s version of ‘samba jazz’ special. not talent. There were musicians from the US (Joe In the blur of sensory overload and sleep Locke, the Harlem Jubilee Singers), France (Martial deprivation that is a six-day jazz festival, two Solal) and the wider world (Duduka da Fonseca and impressions remain as the most lasting. One is Anat Claudio Roditi from Brazil, Anat Cohen from Israel, Cohen. She is highly accomplished on tenor and Lionel Loueke from Benin). There was also broad soprano saxophones and as she dances to the music, representation from Italy, including Stefano Bollani, glorious mop of curls flying, it is impossible to take Enrico Rava, Enrico Pieranunzi, Danilo Rea, Paolo your eyes off her. On clarinet she is so strong that, Fresu, Antonello Salis, Dado Moroni, Renato Sellani when she follows another clarinetist in the program, and Gianni Basso. They were grouped (and whether playing parts or blowing, it is startling: regrouped) in a variety of ensemble configurations, Cohen plays a clarinet on steroids. She is also but the format that dominated was the duo. versatile. In Orvieto she played Brazilian music This reporter acknowledges that he rarely likes exclusively, in da Fonseca’s band and with Stefano duos. The decision to present Stefano Bollani/ Bollani on his “Brazilian night”. Da Fonseca, who Antonello Salis and Bollani/Martial Solal in duos took should know, says, “Anat plays Brazilian music with great pianists and turned them into novelty acts. The no accent.” conservatory-trained Bollani and Salis, the wild man The other is Stefano Bollani, who dominated this from Sardinia who does not read music, are very festival. Because he filled in for João Gilberto, Bollani different pianists, but share a manic sense of musical played six times, with six different groups, usually in humor. In the joint general mayhem of forearm the ornate 19th century Teatro Mancinelli, where he smashes on keys and metal discs thrown onto piano filled all four tiers of opera boxes. He played in three strings, “Caravan”, “Something In The Way She duos, with his own Italian quintet and Brazilian Moves” and “Lady Madonna” became audible. Salis project and as a sideman with Roberto Gatto. It would also leaped off his piano bench for a wheezing, soaring have been preferable if, with so much exposure, he free-form interlude on “fisarmonica”, which is the had been able to perform at least once solo or with his lovely Italian word for accordion. working trio. Then he would have made it even more The scheduling of Martial Solal in duos for two of indisputable that, at 36, he has become one of the most his three performances was even more of a lost creative and complete pianists in jazz. opportunity. Only his solo concert provided a But the set with Enrico Rava was magical. Forget representative example of his mastery, unique among everything you heard earlier about duos. Rava and living pianists. Pieces like “In A Sentimental Mood” Bollani made one of the best albums of 2008 together, and “‘Round Midnight” were camouflaged in The Third Man (ECM). In Orvieto they recreated its astonishing embroidery and dizzying successions of rapt atmosphere. Rava makes Bollani stay within digressions. In his duo with Bollani, Solal seemed a himself. When Bollani and Rava are alone together, half-reluctant participant, serving as a muted voice of there is space for silence. Behind Rava, Bollani played reason while Bollani pursued random keyboard soft, broken chords and his solos were poetic impulses. In a later duo with vibraphonist Joe Locke, fragments and suggestive implications. Rava, too, was the two were tentative, seeking common ground for inspired to pare his own lines down to cryptic partial their dissimilar musical languages. messages that he left to hang in the air. K Another duo that didn’t work was pianist Enrico Pieranunzi with alto saxophonist Rosario Giuliani. For more information, visit umbriajazz.com

ALLABOUTJAZZ-NEW YORK | February 2009 13 CD REVIEWS

accented triads with a series of sweeping, intervallic runs that blanket the steady, swinging rhythm. It’s a typical exchange for the trio, blurring the lines between composition and improvisation and balancing freedom with rhythmic cohesion and structure. Nodding to his classical roots, Netsvetaev offers a loping take on Prokofiev’s “Intermezzo” that finds the pianist coyly layering dense - at times heavy-handed - New Time, New ‘Tet The Best Of Decade lines over Steen and Bussenius’ playful beat. Steen Benny Golson Jazztet Benny Golson Clifton Anderson (Doxy-Emarcy) offers a virtuosic statement of his own over a beat that (Concord) (Concord) by Ken Dryden vacillates between loose time and lock-step quarter- by George Kanzler notes. The album’s other cover, Billy Strayhorn’s Clifton Anderson has spent almost a quarter-century “Bloodcount”, is a rich rendering that, nonetheless, The seductive charm that makes Benny Golson’s playing trombone in Sonny Rollins’ band, rarely lacks the depth of feeling and patient delivery that the “Whisper Not” so appealing has not diminished in leading his own groups. Decade is Anderson’s second evocative melody demands. half a century, as is evident when listening to the two release as a leader, utilizing a variety of musicians in Now I Know Who Shot J.F.K. ends with the performances found here, one recorded in 1956, the different combinations (several of whom are Rollins expansive title track, a vast exploration of time and other just last year. The latter, with Al Jarreau singing alumni or sidemen): pianists Larry Willis and Stephen freedom that morphs from a swift flag-waver to an the Leonard Feather lyrics with surprising sensitivity, Scott, bassists Bob Cranshaw or Christian McBride, open-ended improvisation that features the group at comes from Golson’s latest version of the sextet he drummers Al Foster or Steve Jordan, saxophonists its most avant garde. Netsvetaev strums up the piano’s originally formed with the late Art Farmer in 1959. The Kenny Garrett or Eric Wyatt, plus percussionist Kimati strings behind Steen’s screeching multiphonics before 1956 instrumental recording, by a nonet, is an opulent Dinizulu. On his own, Anderson has a better chance to the group makes way for an extended solo exploration rendering with heraldic flourishes by Julius Watkins’ showcase himself without the competition from his by Bussenius. A percussive jumble is reassembled by French horn plus solos from Farmer’s trumpet, Gigi uncle’s long solos, as well as featuring his catchy the resourceful drummer before the trio launches back Gryce’s alto and Golson’s rococo climactic tenor sax. postbop compositions. He isn’t trying to ignore his into the original, breakneck tempo as Netsvetaev takes “Whisper Not” is one of many tunes that have association with Rollins though; check out the upbeat the melody out, ending in a cloud of emphatic made Golson one of jazz’ leading composers. He has calypso “Aah Soon Come”, which features Wyatt’s glissandos. displayed an unfailing gift for suave melodies punchy tenor in a humor-filled solo. His snappy “So combined with elaborate and sophisticated harmonies, Wrong About You” is a strutting affair that sounds For more information, visit altrisuoni.com. Boris all spiced with rhythms ranging from sultry saunters like it was written during the heyday of hardbop. Netsvetaev is at Joe’s Pub Feb. 3rd with Steve Reid. See to high-stepping marches. And his playing, like his The standards are just as much fun. Anderson’s Calendar. compositions, never relinquishes melody, no matter improvised muted introduction to “I’m Old how baroque or extravagant his bebop-inspired Fashioned” is backed solely by Foster, taking this old harmonic flights may soar. So it’s not surprising that warhorse for a spirited ride in a driving bop setting. on the new CD he includes interpretations of those Anderson also uses a mute for “We’ll Be Together romantics Chopin and Verdi, as well as an affectionate Again” with Scott as his only partner, taking the song take on El DeBarge’s “Love Me In A Special Way”, away from its typical bittersweet flavor and adding a complete with an R&B triplet rhythmic feel. touch of whimsy. He transforms the ‘70s pop song “If” RECOMMENDED Six of the ten tracks on New Time, New ‘Tet are into a slightly breezy hardbop setting, with his from Golson’s pen, including the Chopin and Verdi expressive solo complemented by Scott, McBride and NEW RELEASES adaptations, the first a ballad feature for Harmon- Jordan. Hopefully it will not be another decade before muted trumpet, the second a stomping contrapuntal Clifton Anderson releases his next CD. swinger. Trombonist Steve Davis, whose cool sound • Lotte Anker/Craig Taborn/Gerald Cleaver - and melodic bent perfectly complement Golson, For more information, visit cliftonanderson.com. Anderson Live at the Loft (ILK) contributes “Grove’s Groove”, a piece in the tradition is at Dizzy’s Club Feb. 2nd. See Calendar. • Ravi Coltrane - Blending Times (Savoy Jazz) of Golson’s “Blues March”. Sonny Rollins’ “Airegin” is • The Flatlands Collective - Maatjes (Clean Feed) given the Jazztet treatment in a performance • Rudresh Mahanthappa’s Indo-Pak Coalition - highlighted by Eddie Henderson’s crackling trumpet Apti (Innova) solo and Golson’s low, slippery smooth tenor sax turn. • Jen Shyu - Jade Tongue (s/r) Monk’s “Epistrophy” is slowed down a bit, allowing • Tar Baby - Eponymous (Imani) the leader’s solo to yearn and slither and providing David Adler deft turns for bassist Buster Williams and drummer New York@Night Columnist Carl Allen. Golson’s sumptuous, long-form ballad “From Dream to Dream” showcases Davis at his most • Steve Adams Trio - Surface Tension (Clean Feed) lyrical and Mike LeDonne’s elliptically tender piano • Cory Combs & The Great Plains Ensemble - musings. The frisky “Gypsy Jingle-Jangle” is Golson’s Fairfax in the Pacific (Evander Music) Now I Know Who Shot J.F.K. most entertaining piece, mixing stop-time march and • Garrison Fewell - Variable Density Sound Orchestra Das Hammerklavier Trio (Altrisuoni) (Creative Nation Music) fast swing sections plus a tongue-in-cheek interlude by Matthew Miller for trombone and arco bass. • Jim Hall/Bill Frisell - Hemispheres (ArtistShare) • Bill Henderson - Beautiful Memory The Best Of CD concentrates as much on Pianist Boris Netsvetaev’s Das Hammerklavier Trio presenting Golson the improviser as it does the (archaic German for Grand Piano Trio) is a throwback (Live at the Vic) (Ahuh Prod.) composer, with his early work represented by tracks in name only. The fleet, youthful ensemble is deeply • Joshua Redman - Compasss (Nonesuch) featuring mostly quintets with trombonist Curtis entrenched in jazz’ 21st century incarnations, Laurence Donohue-Greene Fuller. His solos reflect the influence of Lucky embracing genre-hopping styles, global influences and Managing Editor, AllAboutJazz-New York Thompson with intimations of John Coltrane’s a devotion to collective freedom. The group is also explorations, especially on an aggressive “Are You • Box - Studio 1 (Rune Grammofon) aptly named in that Netsvetaev’s piano occupies the • Braff Blaser Duo - Real?” The heavy, breathy vibrato of Thompson, most foreground for the vast majority of Now I Know Who YaY (Fresh Sound-New Talent) prominent on a very slow “April in Paris” from 1959, Shot J.F.K., unleashing eighth-note runs and • Robert Dick/Steve Baczkowski/ became much less pronounced over the years, as thundering fourths over the nimble, more reserved Ravi Padmanabha - Doh Tala (Epoch Music) tracks from the ‘80s on confirm, but Golson never lost rhythmic underpinnings of bassist Phillipp Steen and • John Edwards - Volume (psi) that edge of velvet in his tone, nor that commitment to drummer Kai Bussenius. • Harry Miller’s Isipingo - Full Steam Ahead melody that make his solos on “Five Spot After Dark” Born in St. Petersburg, Netsvetaev views the jazz (Reel Recordings) (1997) and “Killer Joe” (2004) so warmly engaging. tradition through the thick lens of European • Aki Takase/Alexander von Schlippenbach - classicism. His piano is equal parts Monk and Hancock Iron Wedding - Piano Duets (Intakt) For more information, visit concordmusicgroup.com. with a healthy dash of Ellington and Prokofiev. Four Andrey Henkin Golson is at Dizzy’s Club Feb. 3rd-8th and Jazz Museum of minutes into “Crazy Eighths”, the album’s exuberant Editorial Director, AllAboutJazz-New York Harlem Feb. 12th. See Calendar. opener, Netsvetaev follows a group of sharply-

14 February 2009 | ALLABOUTJAZZ-NEW YORK performance by inserting elements of jazz, rock, funk, calypso crawl of “Mel Chi 1”, for example, barely has soul, blues, hiphop and electronica, always utilizing a time to make itself known, when the band could have cast of players from a broad range of backgrounds. done so much with it. Their takes on “There Will Now, it’s a Verdi mashup. Othello is similarly Never Be Another You” and “Someday My Prince Will dissected, analyzed, reshuffled and responded to, Come” invert the problem, familiar melodies barely making an opera that could possibly possess appeal surfacing as the tracks whiz by. The production itself among the united front of opera-loathers. The feels rushed as well, lacking the label’s customary expected schizophrenic changes ensue, quite like a crispness. It’s a good album, but somehow it ends up lyrically marshmallowed John Zorn. Or like a house- feeling like a demo from Shipp’s past. What Lies Within trained Frank Zappa. Or even like a Hal Willner Denise Donatelli (Savant) project from Beyondsville. This work debuted at the For more information, visit thirstyear.com. Shipp is at Jazz by Marcia Hillman 2003 Venice Biennale and was mostly recorded two Standard Feb. 3rd. See Calendar. years later, aside from the odd overdubbed drop-in. Every now and then - in the sea of good but Caine seeks grandiloquent melodrama one interchangeable, up-and-coming female vocalists - moment, komic kapering vaudeville the next. He arrives a distinctive voice. Denise Donatelli is such a preserves the pomp, but also sets off the pearl necklace voice. Backed by Geoffrey Keezer (piano/arranger), detonators at the soirée. His vocalists arrive from Carl Saunders (trumpet), Bob Sheppard (reeds), Peter diverse zones: Bunny Sigler (Philly soul on the Met UNEARTHED GEM Sprague (guitar), Hamilton Price (bass), Marvin stage), Dhafer Youssef (taking Moorish flight), Sadiq “Smitty” Smith (drums), Carlos Del Rosario (organ), Bey (rap-poetic toughness), Josefine Lindstrand Giovanna Clayton (cello) and Alex Acuña (ethereal balladry), Marco Paolini (Italian (percussion), the LA-based singer sails through an theatricality) and Julie Patton (cooled narration) and interesting and unhackneyed selection of material. musicians include Ralph Alessi (trumpet), Zach As the liner notes indicate, Donatelli chooses to Danziger (drums), Joyce Hammann (violin), Nguyên “be another instrument”. This approach is reminiscent Le (guitar), Tim Lefebvre (bass), Stefano Bassanese of Stan Kenton’s work with vocalist June Christy. and Bruno Fabrizio Sorba (electronics), although However, Donatelli sounds like no other instrument. several more are on hand for guest appearances. She possesses a silky smooth quality that enables her Prog posturing creams up against lounge soul, to sing anything, is lyric-driven and gifted with then Caine runs his pianistic rivers like Oscar Live in Zurich, Switzerland Louis Armstrong All-Stars (TCB) perfect pitch and wonderful timing. Peterson, but the interleavings usually keep to by Graham Flanagan The CD is well-crafted and paced to keep you separate songs rather than co-existing in a smeared listening. The selections demonstrate how well slide of seamless development. Bey wins out in the In the movie Manhattan, Woody Allen’s depressed Donatelli can handle any kind of material - possibly voice battles, as wiry as Sigler is soft. The channel- protagonist dictates a list of the things he believes even singing the telephone book. The underdone hopping frenzy is tightly controlled, but emits an air make life truly worth living. Along with Willie standard ballad “My Shining Hour”, here in a of looseness and chaos. The only problem is that even Mays and Cézanne’s paintings of apples and pears, swinging uptempo fashion with scatting in the final admirers of tiny-attention-span event-packed sounds Allen includes Louis Armstrong’s recording of bars, is an attention-grabbing starter. The cute little might get lost amidst this style-shuffling maximalist “Potato Head Blues”. Whenever you listen to Louis item “I Love It When You Dance That Way” shows off phantasmagoria. Each time something engaging Armstrong, you are doing right by your soul. Donatelli’s sense of humor and features some voice happens, Caine is already traipsing off to the next And you can keep doing right by it in 2009, and bass collaboration. Her sensitive rendition of highly-orchestrated collision. This is a work to be thanks to this live date from Switzerland, which “We’ll Be Together Again” in a trio setting, featuring admired within the head, but it provokes a sense of comprehensively chronicles a performance by some fine work by Price, can take your breath away. coitus interruptus down below. Armstrong’s (what I like to call) “Hot Six” given in But Donatelli can bop with the best of them as Zurich in October of 1949. The term ‘All-Stars’ on Clifford Brown’s “Daahoud” (done here as For more information, visit winterandwinter.com. Caine is is apt, describing a six-man summit of premiere “Beloved” with a lyric by Meredith D’Ambrosio). at Abrons Arts Center Feb. 6th with Masada Sextet. artistry. Along with the legendary Armstrong, who Notable also is her turn on a funky blues called “Be See Calendar. sounds more vibrant and exciting than ever, it Cool” on which Saunders’ muted trumpet shines. includes the great Jack Teagarden (trombone), who Keezer’s fine piano contributions and arranging shows off his second talent as a singer on two are heard throughout the CD but it is Donatelli’s voice wonderful odes to the Big Easy: “Do You Know that stands out, having the power to envelop the What It Means (To Miss New Orleans)?” and “Basin listener. Perhaps a CD done in a trio setting might be a Street Blues”. thought for a future offering. At any rate, there will be The rest of the group only enhances this more to be heard from Donatelli - a welcome and formidable horn-duo, beginning with “Mood needed arrival. Indigo” co-composer Barney Bigard (clarinet), fresh off a years-long engagement with Duke Ellington’s For more information, visit jazzdepot.com. Donatelli is at orchestra. Bigard shines brightest on a lengthy Dizzy’s Club Feb. 10th-14th. See Calendar. “Body and Soul” that unexpectedly evolves into a Harmonic Disorder swinging party. Earl Hines, who would remain with Matthew Shipp (Thirsty Ear) by Kurt Gottschalk Armstrong for many years, had already finished leading what many considered to be the first bebop It’s been ten years since Thirsty Ear tempted Matthew large ensemble. You never would’ve known it when Shipp out of his recording exile and in that time he has he seamlessly sinks into a stride-oriented reading of not only made some of his most adventurous Fats Waller’s “Honeysuckle Rose”. Rounding out recordings for the label but has proven to be a daring the rhythm section are Armstrong mainstay Arvell A&R man as well. Now, a decade in, he seems to be Shaw (bass) and another swing-king in drummer circling back on his career. While some of the strongest Cozy Cole, known as one of the top men in his field projects on the label’s Blue Series (including his own) after supporting Cab Calloway and Jelly Roll have worked electronic instruments into jazz settings, Morton. The Othello Syndrome Shipp has returned to the piano trio and two of his Solid (though not totally pristine) audio Uri Caine Ensemble (Winter & Winter) oldest musical relationships. quality, as well as comprehensive liner notes by Martin Longley His new group with Joe Morris and Whit Dickey, including fascinating photos and promotional flyers Addressing the output of classical composers seems which first appeared on 2007’s Piano Vortex, returns from the event, combine with the terrific music eventually to have become the dominant thrust of with Harmonic Disorder, a set of 14 brief pieces (three itself to make Live in Zurich, Switzerland a purchase keyboardist Uri Caine’s work. Schumann, Wagner, under three minutes, only one tops six) that follow the no Armstrong (or jazz) fan will regret. Bach, Beethoven and Mahler have fallen to sometimes graceful ease of the previous album while recalling the radical reposturing of their grand scores. Caine punch of his earliest records. The band sounds fine For more information, visit tcb.ch messes with the old assumed interpretations, and is a strong vehicle for guitarist Morris’ recent bass deliberately distorting the usual expectations of playing, but the record moves all too quickly. The

ALLABOUTJAZZ-NEW YORK | February 2009 15 improviser and a memorable composer. On Other GLOBE UNITY People he presses his vision far into the territory of classical chamber music in the company of long-time associate pianist John Taylor and the Hugo Wolf String Quartet. Wheeler has developed his own harmonic language in the combination of wide intervals and compound chords with close voicings, creating intriguing tension. His thoughtful concern with characteristic overtones was apparent in his work with a brass choir a decade ago on A Long Time Ago (ECM) and here he’s continued his preoccupations with voicings and overtone patterns with strings. While Hugo Wolf is a traditional string quartet, it’s a brilliant one and it’s remarkable to hear how closely Lost and Found So Hard to Forget their phrasing is continuous with Wheeler’s own. The Jamie Oehlers/Paul Grabowsky/David Beck Bucky Pizzarelli and Strings (Arbors) biggest surprise here may be the pieces on which (Jazzhead) Moon of the Falling Leaves Wheeler isn’t performing, marking his first forays into Trio-Live Julien Wilson (Sound Vault) Tyrone Brown String Ensemble (Dreambox Media) through-notated composition with the richly textured, Kodaly/We Are None Of Us Precious Other People (with John Taylor) Christopher Hale Ensemble & Josh Roseman (UAR) Kenny Wheeler/Hugo Wolf String Quartet (CAMJazz) deeply evocative “String Quartet No. 1”. by Adrian Jackson Horizons Ensemble Quinsin Nachoff (Musictronic) Quinsin Nachoff is a young Canadian saxophonist No Strangers Here Ben Wolfe (MAXJAZZ) now residing in Brooklyn. He can create striking Is there a unique, identifiable Australian jazz by Stuart Broomer contrasts between the dry clarity of his soprano and sound? If there is, it would be as hard to define as the raw, R&B-derived honk of his tenor. His Horizons ‘jazz’ itself. But there are plenty of musicians in Jazz and the string section have had a long and often Ensemble combines two veteran improvisers, Dutch Australia producing highly distinctive music. Here uneasy relationship, strings often signaling a selection cellist Ernst Reijseger and English pianist John Taylor, are three releases from 2008 that support that claim, of lachrymose ballads suited for consumption as easy with violinists Nathalie Bonin and Parmela all emerging from the fertile Melbourne scene. listening. Despite critical opprobrium, however, the Attariwala. There are moments of angular composition Lost And Found combines three of the country’s thought of strings have often been close to the heart of and extended improvisation within each of the most accomplished players: Jamie Oehlers (tenor some great musicians, especially since the significant saxophonist’s suite-like pieces and the exploration of saxophone), Paul Grabowsky (piano) and Dave success of Charlie Parker’s 1949 venture. Since then, heritage ranges from spiky composed approaches that Beck (drums). Their music is wholly improvised, a serious string projects have matched improvised and touch on bop and School of Vienna with improvised challenge they approach with a collective discipline composed elements in varied proportions, usually passages that invoke meditative Eastern approaches. and logic, making ‘spontaneous composition’ a placing improvising jazz musicians among score- Reijseger is a bridge between many musical worlds more apt description. They avoid the tentative reading classical players. What’s striking about this and he makes a key contribution to Nachoff’s success. pokes and frantic outbursts that often constitute the recent collection of jazz and strings projects is the Ben Wolfe finds yet another approach to the clichés of free blowing. Instead, they latch onto frequency with which the string players demonstrate merging of jazz and strings on No Strangers Here, some form or structure (perhaps a pulse that Beck fluid improvising skills. working from the combination of two quartets, one establishes or a Grabowsky pattern) that gives Guitarist Bucky Pizzarelli’s So Hard to Forget is the jazz and one strings, to create a kind of compound Oehlers a platform over which to blow. For most traditional-sounding of these CDs, a lyrical musical space. Wolfe’s jazz approach runs to the instance, they generate unstoppable momentum on effusion that matches great songs with a fluid swing- modern mainstream - his notable soloists include “Evolution Part III” or build up to an intense climax based musical conception. Bassist Jerry Bruno first Branford Marsalis and Marcus Strickland on on “Evolution Part IV”. “Vanquish” is the shortest worked with Pizzarelli in 1949, while Frank Vignola saxophones and Terell Stafford on trumpet - and the track at under 5 minutes and it’s a brilliant, sharply has often joined him in duets. The string quartet here sustained string sounds provide a striking backdrop. focused exploration. At 50, Grabowsky is one of the includes two violinists - Sara Caswell and Aaron They seem to fix the jazz approach in time with an major figures on the Australian scene; it’s no mean Weinstein - who are adept improvisers, able to shift almost cinematic clarity, creating a mood of urban feat for the 30-something Oehlers and Beck to join from a carpet of melody to idiomatic solos that show romance akin to film noir. Pianist Luis Perdomo him as equal partners. some passing relationship to Stuff Smith and Stéphane combines with the strings to create a strikingly lush Another trio whose music is based on an Grappelli. Pizzarelli sometimes goes it alone on theme ambience on the title ballad, while Marsalis solos uncanny rapport combines Julien Wilson (tenor sax) statements, drawing warm, singing tones from his across the strings and rhythm section to achieve a with Stephen Magnusson (nylon string acoustic lightly amplified seven-string, acoustic and classical striking complexity on “The Filth”. guitar) and Stephen Grant (piano and accordion). guitars, finding grace and emotional resonance in Trio-Live, recorded at the Melbourne club Bennetts songs like “Laura” and “Last Night When We Were For more information, visit arborsrecords.com, Lane, begins with Milton Nascimento’s “Clube De Young” and some brief classical pieces by Torraba and dreamboxmedia.com, camjazz.com, quinsin.com and Esquina #2”, establishing a lilting, Brazilian mood Castelnuovo-Tedesco. The swing is strongest on maxjazz.com. Pizzarelli is at Smalls Feb. 2nd with John carried over in ensuing originals. Wilson and Ellington’s “Do Nothin’ Till You Hear from Me” and Bunch, Bella Luna Feb. 17th and Jazz Gallery Feb. 18th. Magnusson have been known to live on the edge in the robust “Boot’s Blues”. Few musicians make better Nachoff is at Brooklyn Lyceum Feb. 8th. See Calendar. other contexts, but pursue their lyrical inclinations swing records and this is a genuine treat. here. The trio seems to breathe and sigh through Tyrone Brown’s roots are definitely in a later their instruments as one (even the guitarist, style; witness his long association with Max Roach and especially when he employs discreet electronic a tribute here to McCoy Tyner. Moon of the Falling effects to sustain his notes). Irresistibly gorgeous. Leaves is the third outing for his string ensemble and The same applies to the intricate, intimate, it’s a well-conceived project, both for the richness of its finely balanced music that acoustic bass guitarist textures and Brown’s compositional interests. After40years of Christopher Hale has been playing with pianist Will Anchored in the leader’s rich bass sound, the five Poskitt and cellist Will Martina for several years. bowed strings (two violins, two violas and cello) PAYING HIS DUES, For this project, they are joined by American sound like a much larger group and the frequent use he shouldn’t have to struggle trombonist Josh Roseman (who met them at a of sustained chords and dense harmonies combine workshop in Banff). He fits in perfectly here, with Craig McIver’s drums to create complex multi- to payhis rent. matching the richness of tone and the fluid dimensional music. Several additional percussionists eloquence of his younger colleagues. Kodaly/We Are turn up, including vibraphonist Randy Sutin, to create © photography by Bradley Smith. None Of Us Precious is all original save for an music that’s as much about rhythmic specifics as arrangement of Zoltan Kodaly’s cello sonata, which textural generalizations. The drifting tones of Call 1-800-JFA-JAMS or demonstrates how successfully this group blurs the Coltrane’s “Giant Steps” are as mysterious in this visit jazzfoundation.org to help. line between chamber music and jazz. forum as they are familiar. Brown is to be applauded for finding an approach to strings that’s so distinct and For more information, visit jazzhead.com, yet so natural and he’s aided tremendously in this by soundvault.com.au and uar.com.au violinist John Blake’s gifts as a soloist. Trumpeter Kenny Wheeler is both a major The Jazz Foundation of America / 322 West 48th Street / New York, NY 10036

16 February 2009 | ALLABOUTJAZZ-NEW YORK Peace Warriors Happy House (Forgotten Children) Makaya Ntshoko & Tiziano Tononi & The The New Tsotsis Ornettians (Black Saint) (SteepleChase) by Robert Iannapollo

It’s been 50 years since Ornette Coleman’s Five Spot residency pushed jazz inexorably toward its next evolutionary step. Since that time he’s left a hefty body that has been largely unexplored. While several of his tunes have become standards (“Lonely Woman”, “Happy House”, “Focus On Sanity”), there is so much more as these two albums show. Both are also a study in contrasts in how to approach a tribute album. On first hearing, Tiziano Tononi’s Peace Warriors, Vol. 2 sounds scattered. It’s loud, messy and seems to have everything thrown into the mix in a haphazard fashion. But repeated listening reveals a method to Tononi’s madness. The drummer loves to pay homage to his heroes; earlier tributes to Don Cherry and Rahsaan Roland Kirk were superb and idiosyncratic examples of the genre and the first volume of Peace Warriors was well-received. While there are some holdovers from that session (reed players Daniele Cavallanti and Achille Succi and violinist Emanuele Parrini) there are some significant differences. The two-bass team has been replaced by a pair of electric guitars; lack of a bass means the sonic orientation of this music leans towards the high end. Like the player he is fêting, Tononi has his own way of doing things. He throws in a barrage of elements that shouldn’t fit Coleman’s music: guitar feedback, thrash-metal rhythms, sung and spoken word passages (courtesy of the great Italian singer Tiziana Ghiglioni) and bits of electronics. But somehow it’s all pulled together in an epic two-disc tribute to the master iconoclast. While Happy House isn’t precisely a tribute to Coleman, four out of the seven tracks are his compositions. Makaya Ntshoko was part of the South African diaspora in Europe in the ‘60s as Abdullah Ibrahim’s (then Dollar Brand) drummer. He eventually settled in Switzerland, backing many players including Joe McPhee, John Tchicai and Mal Waldron. Little was heard from him on disc since the mid ‘80s until a few years ago when he formed a band, the New Tsotsis (his 1974 Enja debut was called Makaya & the Tsotsis) with some younger Swiss players. This is their second release. The New Tsotsis approach Coleman’s music from their own perspective. Vera Kappeler’s very enjoyable piano is part of the reason, Coleman rarely employing the instrument, and tenor saxophonist Andy Scherer sounds more closely allied to Coltrane. Rhythmically, the music hovers closely to freebop territory and is a little more straightforward than Coleman’s. That said, this is a solid session, one getting the sense of joy that Coleman’s music can convey and it’s good to see some unusual cover choices as well. “Morning Song”, an obscure, haunting ballad from the 1965 Golden Circle sessions, should be better known. Ntshoko directs this session, eschewing his earlier bashing style, yet no less driving. His return to active playing is welcome and he benefits greatly from his spirited group.

For more information, visit blacksaint.com and steeplechase.dk. A seminar on Ornette Coleman is taught by WKCR’s Ben Young at Jazz at Lincoln Center Feb. 17th and 24th. Visit jalc.org/jazzed.

ALLABOUTJAZZ-NEW YORK | February 2009 17 balladry mixing in two penetrating studies of triple collected works of Yanni”. Subjects also include David meter. Drummer Craig Herndon is beautifully subtle Ignatow’s “No Theory”, a description of the and never shies away from gorgeously intimate brush evisceration of a chicken, and “Miss Teen USA”, and cymbal work. This album is more straightforward whose legendary incoherence might be the seeds of a than its counterparts, but don’t be fooled by the soft Vice Presidential candidacy someday. While the biting veneer; there are snakily deceptive runs from sarcasm of “The War Works Hard” is presented over a saxophonist Juhani Aaltonen which complement the cacophonous build, all is not dark and moments like sinewy-sweet melody of a track such as “Run”. Langston Hughes’ uplifting “The Dream Keeper” and Equally fascinating are the multi-rhythmic Sadi Ranson Polizzotti’s lover’s delight “Such Once There Was A Moon experiments of “African Echos”, Sarmanto’s keyboard Fruit-The Ritual” are points of light. Marlene VerPlanck (Audiophile) work almost Monkish in its sparseness. by Andy Vélez Only occasionally does Aaltonen show signs of For more information, visit newamsterdamrecords.com. his growlingly Ayler-esque roots, evident throughout This project is at Greenwich House Music School Feb. 28th. Marlene VerPlanck is a singing canary of the old- the other two discs. A Boston Date is a previously See Calendar. fashioned sort, one who consistently picks great songs unreleased outing from late 1970 and it’s the most and then sings them in a brightly chirping soprano so blatantly experimental of those on offer. All group that every single lyric is quite intelligible. The songs members are obviously firing on all cylinders and the come out radiating an aura of a singer in love with music swings between jazz and some other what she’s doing. Maybe that all ought to be unnameable but freer trope as Sarmanto finds himself commonplace in music, but it isn’t. On this latest set in Keith Jarrett American Quartet territory. The epic she continues to demonstrate what a reliable “Top of the Prude” is a case in point, swinging in and custodian she is of the American Songbook. out of steady tempo and rhythm at key moments. The Although some of the songs here are well known, guitarwork of Lance Gunderson brings a slightly VerPlanck has a way of going her own fresh way with fusion feel to the proceedings. them. For instance, Irving Berlin’s “The Best Thing For This also occurs on Counterbalance, the first studio You” (and the simplicity of Berlin’s song fits hand-in- recording by this group, originally released on EMI in glove with her style) gets a racing-breathlessly-down- 1971. Here, we are treated to very different versions of the-street-in-love-hooray delivery. By contrast, Cole some of the pieces that would appear on Moonflower, Porter’s “I’ve Got You Under My Skin” finds her in an including that album’s title track. Sarmanto is on after-hours meditation, the mood somehow both electric piano and Aaltonen’s flute work is exquisite as insouciant and cheerfully obsessed. the track follows its meditative path. In stark contrast, Happily, along with those gems there are more “Seagull” exudes raw energy as Sarmanto slams than a few old treasures to (re)discover. Among them power chords out of his instrument before everything is Segal-Wells’ slyly seductive “What Are You Afraid kicks into high gear with a dramatic tempo increase. Of?” When she invitingly warbles, “Take your shoes The recording is slightly distorted at key moments, but off, baby”, surely only a fool would delay. Resonant is a welcome reissue and one hopes this trilogy of and haunting, Benny Carter’s romantic “Evening Star” releases will introduce many to Sarmanto’s fine offers an irrefutable reminder of what a fine song- contributions. writer that great musician also was. Another gem is Bob Haymes-Marty Clarke’s “They Say It’s Spring”. A For more information, visit porterrecords.com. Sarmanto is breathless consideration of love in bloom, it’s at Salmagundi Club Feb. 12th and St. Mark’s Church Feb. irresistible and, as throughout, Tedd Firth’s piano 25th. See Calendar. accompaniment is the keyboard Baccarat for serving up VerPlanck’s dry martini vocalizing.

For more information, visit marleneverplanck.com. VerPlanck is at Iridium Feb. 10th and NYC Baha’i Center Feb. 24th. See Calendar.

Feb 3rd Warren Chiasson Red Norvo Tribute Words Project II Sam Sadigursky (New Amsterdam) by Elliott Simon Feb 10th Mike Longo and Multi-instrumentalist Sam Sadigursky has released the second of his Words Projects wherein musicians the New York State of the Art and like-minded vocalists present poetry in a beat- Jazz Ensemble with cum-back to the future manner. This is not your Hilary Gardner Moonflower (Porter) grandfather’s poems read over a bongo but is creative A Boston Date (1970) (Porter) integration of vocals into an instrumental fabric. Feb 17th Counterbalance (EMI/Odeon - Porter) Sadigursky’s saxophones and clarinet as well as Heikki Sarmanto Chip White Ensemble Pete Rende’s piano/Rhodes and accordion thoroughly by Marc Medwin blend with the vocals to create a ‘reading’ true to the Feb 24th Porter Records, one of the most unpretentiously overall meter and phrasing of the poem(s). Nate eclectic labels around today, now has three titles by Radley’s guitar/banjo stylings and Richie Barshay’s Marlene and Billy VerPlank Finnish composer/pianist Heikki Sarmanto in its percussion add a bit of needed color to what otherwise already diverse catalogue. They speak to his range and is a fairly monophonic sound palette, texturally rich subtlety as a composer and performer, not to mention but sonically narrow. This, combined with the artful demonstrating the fruits of continued collaboration. vocals of Wendy Gilles, Monika Heidemann and Becca The newest disc on offer is Moonflower, but Stevens, makes for a deeply engaging listen. Sarmanto uses musicians that have worked with him Poet Andrew Boyd’s three contributions are in various capacities for more than 30 years. The choice narrations of desperate situations that are a results are gorgeous, each moment full of rhythmic perfect fit for these environs. A lyric sheet is included and melodic detail. Just check out the different kinds and the way to experience these pieces is to use it of swing informing the two versions of “At the while listening; otherwise one might not realize that Fountain” to hear this quartet interact, blues and the true definition of “rock bottom’ is “purchasing the

18 February 2009 | ALLABOUTJAZZ-NEW YORK joins Peacock and drummer Milford Graves for five missing on the CD package, but one can hear Davis’ riveting pieces of post-tonal jazz totaling 44 minutes in influence). “Forest Cover”, a spirited stutter strut, length. There are echoes of Cecil Taylor in the dense features agile soprano, a feisty duel between Robinson and ceaseless movement of “‘L’” and “Ad Hoc” (the and Dessen and a rattling solo fantasia by Davis. latter featuring an unaccompanied bass solo). But Robinson leads decidedly thoughtful, ebullient “Stately 1” starts in a calmer rubato feel with a explorations into interior creative landscapes. minor-key tinge, bringing Andrew Hill to mind. The sound is rewarding, although Peacock’s is the least For more information, visit cuneiformrecords.com and present instrument in the mix. Still, he cuts through circumventionmusic.com. Cosmologic with Jason Robinson the oddly placed intervals of “Dunce” and the acidic is at Le Grand Dakar Feb. 19th. See Calendar. motifs of “Strong Tears”, heightening the record’s Live in Japan 93/96 (DVD) aura of mystery. Keith Jarrett/Gary Peacock/Jack DeJohnette (ECM) Home Row Bill Carrothers (Pirouet) For more information, visit ecmrecords.com, Trio Lowell Davidson (ESP-Disk) by David R. Adler pirouetrecords.com and espdisk.com. Peacock is at Birdland Feb. 25th-28th. See Calendar. The bass is something like the spinal column of a jazz ensemble, where rhythm and harmony are made to cohere. For over 40 years, Gary Peacock has fulfilled the role with mastery, enmeshing himself in nearly every modality of modern jazz, in trios as dissimilar as Albert Ayler (Spiritual Unity) and Bill Evans (Trio 64). While he can point to a respectable archive as a leader and composer, he’s spent the bulk of his time as a sideman, interpreting the music of famous and not-so- famous colleagues. Admirers of this complex figure can now sink their teeth into three piano trio Eyes in the Back Fingerprint recordings - Keith Jarrett’s double-DVD Live in Japan of My Head Jason Robinson 93/96, Bill Carrothers’ Home Row and Lowell Cosmologic (Cuneiform) (Circumvention Music) Davidson’s Trio - to get a fuller sense of Peacock’s by Fred Bouchard aesthetic range and adaptability. Obviously, Peacock’s highest-profile gig is with Over the past decade, street-savvy, hard-hitting Keith Jarrett and Jack DeJohnette in a trio that urban quartet Cosmologic has built its high-impact, continues to parse the American Songbook. To low-comfort-zone approach to groupwork that recalls Jarrett’s already extensive trio catalogue, Live in Japan Anthony Braxton’s small-band intelligence and The 93/96 adds a pair of ‘90s dates from Tokyo, the first of Fringe’s raw energy. The California-based band enjoys which is filmed outdoors and has more of an up-close- bumpy textures, aggressive stances, loose-wheeled (if and-personal feel. The Peacock we encounter here is a not off-track) soloing and equal voices for horns and fierce bebopper and sensitive ballad player - his rhythm players. melody feature on “Mona Lisa”, from the ‘96 date, The writing in Eyes in the Back of My Head, comes across like a classical piece, short and to the generally implied rather than scored, is weighted point. But we also hear Peacock as an expounder of equally between drummer Nathan Hubbard (longish funky straight-eighth vamps on “Caribbean Sky” and suite-like pieces that roil and reflect in jagged parts), “Extension” (improvised codas to “Last Night When trombonist Michael Dessen (“Code View”’s We Were Young” and “Solar”, respectively). For all its open-ended circle jam rumbles into weird chorale and focus on straightahead swing, Jarrett’s trio is also out to hammering dance and “The Rumpus” instigates FEBRUARY SCHEDULE quite the soul-jazz band, putting the grooviest spin on a group shout) and sax-man Jason Robinson (an SHOWTIMES - 8:30, 10, 11:30 pm Ray Bryant’s “Tonk” and venturing the dark original impatiently pulsing pro-Darfur rail-wail and a pensive WEEKEND COVER CHARGE - $20 “The Cure”, which could even be said to recall Jarrett’s Future/Past poem that opens memorably with a WEEKDAY COVER CHARGE - $10 electric Miles period (imagine the tune played on booming arpeggiated bowed bass turn for Scott Rhodes). Walton). A swaggering unison melody for horns alone Peacock is as much if not more effective on Home ends the set. Row, Bill Carrothers’ long-shelved 1992 date with Bill Fingerprint, on Robinson’s newly formed Fri & Sat, February 6 & 7 Stewart on drums. Living off the grid on Michigan’s Circumvention Music label, offers quite a different WILLIE MARTINEZ Upper Peninsula, Carrothers is Jarrett’s heir in some quartet (and perspective on the leader’s cross-cultural ways: an elegant, vehemently swinging pianist who interests): Hubbard stays on drums with bassist Rob Fri & Sat, February 13 & 14 composes but devotes serious time to standards, Thorsen and pianist/soprano saxist Kamau Kenyatta. DANNY MIXON playing within tonal bounds yet leading off Home Row Robinson, whose tenor sax owns a burly, robust sound with a weirdly polyphonic gloss on Ornette Coleman’s and stirs up skeins of fluttering melody, is sometimes Fri & Sat, February 20 & 21 “When Will the Blues Leave”. The sound is reminiscent of Lew Tabackin’s expressive grit and ALYSON WILLIAMS consistently rich and assertive and the woody, Billy Harper’s declamatory keening. He’s plenty three-dimensional bass tone greatly helps. Peacock adventurous in terms of environments and horn sonics Fri & Sat, February 27 & 28 leaps from the speakers on the hard midtempo swing (he works stuttering triple-tonguing into his playing tunes, including Thelonious Monk’s “Off Minor” and like rock salt rubbed on raw steak, as in the opening WINARD HARPER the original title track. He makes short work of the cadenza of his hauntingly Strayhorn-esque ballad extremely difficult head to Carrothers’ “A Squirrel’s “Conundrum”). Sun. Jazz vocalist Open Mic Tale”. His patient, deeply felt single notes lend a The foursome amble unhurriedly across four tidy haunted quality to the pianist’s more meditative originals, stretched with juicy vamps and solo spots, with Lafayette Harris Trio works “Hope Song” and “Ballad of Billy Milwaukee”. and tantalizingly titled like “The Wiggle Room” and Mon. Patience Higgins & Sugar Hill Quartet On Lowell Davidson’s Trio, we hear Peacock in “Thin Veil”. A trio without Kenyatta expands to Wed. Nathan & Max Lucas Organ Trio late July 1965, when Carrothers was one year old and quintet on two tracks featuring guest pianist Anthony Jarrett’s breakthrough with Charles Lloyd was still a Davis and Dessen. This quintet is further fleshed out 288 Lenox Avenue year away. In a mere two weeks, Peacock would enter by flute section on “Silence Becomes A Roar”, a (Malcolm X Boulevard/124th & 125th) the studio to record Spring, Tony Williams’ second languid sassy romp balancing 6/8+2/8 with seething 212-427-0253 avant garde album for Blue Note. Davidson, a trained solos by Davis and Dessen, where Robinson reaches a biochemist, was subsequently injured in a lab accident sonority that’s fuller and deeper amid the treble www.lenoxlounge.com and never recorded again. On his one and only outing, voices, especially in the framing call-and-response very much a product of those extraordinary times, he chorales and the all-out coda (composer credits are

ALLABOUTJAZZ-NEW YORK | February 2009 19 minute to a shade over five) totaling about 40 minutes. On bass clarinet, Scott Robinson’s lengthy intro clears The West Coast-based Baker, who has worked with the main street of town while Smulyan closes the piece kindred spirits like Joëlle Léandre and Alvin Curran, with one big booming chorus after another. improvised all but one of the tracks contained therein, Laine wrote the lyrics for “A Man Ain’t Supposed what she refers to as “lyrical vibrations”. Interestingly, to Cry”, “Torchin’” and “We’ll Be Together Again”, all she claims as her inspiration Tuvan throatsinging and which come with heavy blues overtones. Smulyan’s Gregorian chant, a new way to think about what horn ‘sings’ like the original, his nonet providing multiphonic playing is trying to accomplish. As such, plenty of jazz atmosphere, affixing a balance to the these pieces are more ethereal, quite different from the eclectic quality of Laine’s emotional Italian-American tuneful explorations of Mangelsdorff and Bauer crooning melded with whiplash cowboy stories. without veering too far in the Rutherford direction, structural sense being retained, particularly in the For more information, visit reservoirmusic.com. Smulyan is at longer pieces. Blue Dreams manages to be both serene Village Vanguard Feb. 3rd-8th and Mondays with the and disconcerting at the same time, Baker’s expert Vanguard Orchestra. See Calendar and Regular Engagements. Solo Albert Mangelsdorff (MPS-Universal) multiphonic technique almost extraterrestrial at times. Der Gelbe Klang Conny Bauer (Jazzwerkstatt) Blaser, a native Swiss who splits his time between Blue Dreams Jen Baker (Dilapidated Barns) New York and Berlin, follows up his excellent debut Solo Bone Samuel Blaser (SLAM) quartet recording 7th Heaven with a live document by Andrey Henkin recorded for Swiss Radio. Solo Bone is the direct heir to Lest anyone think that solo trombone is modern Mangelsdorff’s work in conception and aesthetic. Even generic innovation, know that unaccompanied music if one didn’t read the liner notes that make the has been written for the instrument since the 1600s. connection clear (Blaser studied the German’s work However, the form has arguably reached its creative extensively), it would be apparent from the first two apex in the hands of modern, usually European, tracks, “La Vache” and “Solo Bone”. In fact Blaser’s practitioners like Vinko Globokar, Albert version of Ellington’s “Mood Indigo” is based on an Mangelsdorff and Paul Rutherford. The wide tonal earlier Mangelsdorff interpretation and the original and textural range of the instrument makes it a perfect “Solo Bone” was inspired by Mangelsdorff’s “Bonn” candidate for solo investigation. from the aforementioned Tromboneliness. But like bass At the end of last year, Universal released the clarinetists escaping Dolphy’s shadow, Blaser’s solo complete works of Albert Mangelsdorff from MPS effort is far more than a Mangelsdorff tribute. The (Most Perfect Sound) Records, in celebration of what technique is there as is the emphasis on tonal melodic would have been his 80th year. Part of this campaign improvisation, but it was up to Blaser to make collects all three of his solo recordings for the label on something of it, and in a live setting no less. Solo Bone two discs: 1972’s Trombirds, 1976’s Tromboneliness and is an eminently listenable album that shows much 1982’s Solo. Though he is inaccurately credited as the promise if, like his forbearers, he decides to explore creator of trombone multiphonics, this extended the genre further. technique abounds on the three sessions. But Mangelsdorff was also wrongly relegated to the world For more information, visit mps-label.de, of the avant garde. His early traditional forays jazzwerkstatt-berlin-brandenburg.de, baker7jenz.com and informed the rest of his life’s work and what becomes slamproductions.net. Baker is at ABC No Rio Feb. 15th and immediately apparent is that Mangelsdorff was using Le Grand Dakar Feb. 19th. See Calendar. the solo form as a melodic, rather than sensory, vehicle. Unlike, say, Rutherford’s concurrent work, some of the pieces on these three albums, perky ditties like “Trombirds”, “Do Your Own Thing” or “Responsory”, could be played with a band, Mangelsdorff’s approach best equated with early ragtime piano. On other more abstruse tracks, extended technique is still in the service of specific motific development. And it should be stressed that the graceful ease with which Mangelsdorff plays these pieces belies how challenging they are technically. Another German, Conny Bauer, also has a long High Noon: The Jazz Soul of Frankie Laine Gary Smulyan (Reservoir Music) history releasing solo trombone albums, with four by Jim Santella from 1980-91 and a more recent one from 2002. Der Gelbe Klang (The Yellow Sound) is a 2007 recording This tribute album by bari saxist Gary Smulyan that features this Bauer brother (Johannes is also a features his bebop-based nonet pulling inspiration trombonist who has yet to record solo) on both from a 1956 album by pop singer Frankie Laine (1913- trombone and electronics. The solo material was 2007) and trumpeter Buck Clayton. As Laine’s foray played continuously, with electronic flourishes and into jazz’ ‘50s mainstream, Jazz Spectacular (Columbia) additional Bauers layered above and below in varied represented a piece of the singer’s repertoire not as arrangements. As such, it is satisfying both as a recital known as his pop music. It allowed him to interact and a post-production endeavor. Like Mangelsdorff, with instrumentalists of the era who represented jazz Bauer works with a strong melodic foundation, even authority and had little to do with themes such as when improvising, so many of these pieces are simply “High Noon”, “Mule Train”, “Cool Water”, beautiful. The digital supplements, usually introduced “Rawhide”, “Gunfight at the O.K. Corral” and the after a solo exposition of a theme, fill out these pieces more recent “Blazing Saddles” and “3:10 to Yuma”. with appealing section work and harmonic expansion. Laine did not sing on the soundtrack for High Noon, Though his own player, and also a remarkable but did record it as another of his Western-based hits. technician in his own right, this album is the heir to On Smulyan’s album, “High Noon” is hardly the earlier Mangelsdorff works, at least in intent. recognizable. While the ten songs come from a broad Jen Baker and Samuel Blaser, forward-thinking spectrum of Laine’s career, each has been rearranged 30-something musicians, are keeping the tradition of by Mark Masters to fit a nonet akin to that found on “posaune solo” established by the likes of The Birth of the Cool, with similar instrumentation, a Mangelsdorff and Bauer going with new albums, both pervading blues quality and soulful soloing. Here, initial recorded forays into the discipline. “High Noon”’s theme dances in and out of dense Baker’s disc, Blue Dreams, is short and to the harmony and ‘gunfight’ choruses traded between point, with 13 tracks of manageable length (less than a French horn and trombone and alto sax and trumpet.

20 February 2009 | ALLABOUTJAZZ-NEW YORK 723 7th Ave. 3rd Floor New York, NY. 10019 212-730-8138 Store Hours: Mon-Sat: 11-7 Sun: Closed Owner: Steve Maxwell Manager: Jess Birch Steve’s cell: 630-865-6849 Email: [email protected] Visit us on the web at: www.maxwelldrums.com WE HAVE A NEW LOCATION IN MANHATTAN After six years in Chicago we’ve opened a new location in Manhattan. Our shop is located at 723 7th Ave. 3rd floor. We’re right at the corner of 7th Avenue and 48th Street, which is known as “Music Row” in Manhattan. Our NYC manager is Jess Birch and he and Steve will both be at the shop. We’ve been open since April 1st and business has been great. Thanks to all who have stopped by!!! Now we’re ready to spread the word!

Our philosophy for the shop is to create an inviting atmosphere where players and collectors alike can visit and see wonderful vintage and custom drums and cymbals that you can’t find anywhere else; enjoy listening to some jazz vinyl while hanging in the drummer’s lounge area of our museum; and exchange ideas and information with friends. We even have sound proof rooms for testing cymbals, drum sets and snare drums. Our sets, snares and cymbals are set up and ready for you to play. We believe in the highest level of personal, professional service and we have the experience you need when considering vintage and custom drums and cymbals. Call Steve on his cell anytime, or email him at [email protected] . He wants to hear from you. Our shop includes: • Craviotto: World’s largest selection of Craviotto one-ply snares and drum sets. We are the largest Craviotto dealer in the world. • Vintage: Extensive inventory of high end vintage snare drums, sets and cymbals. We have vintage Gretsch, Rogers, Slingerland, Ludwig, Leedy, Camco and more! • Player’s Specials: Snares, sets and cymbals focused on the needs of players • Gretsch: USA Custom drums in bebop sizes made famous by the 60s era jazz greats • Leedy: Our Leedy USA Custom Shop drums will debut in NYC later this year • GMS: Great USA made drums built in New York! • George Way: We are your source for Ronn Dunnett’s great new George Way snares • Maxwell: Our Maxwell line of custom drums includes small bebop sets and more. • Heads, hardware, sticks, bags and more Cymbals: We have Istanbul, Bosphorus, Zildjian, Old As, Old Ks, Spizzichino, Dream and our own Session Cymbals line of hand hammered cymbals made in Turkey. New and vintage cymbals galore. Stop in and see our museum section with items such as: Gene Krupa’s 30s Slingerland Radio King! • Elvin Jones’s Tama brass shell snare used by him from 78-88. Rare Slingerland black beauty snare drum. Recording Studio Support: Enormous selection of vintage and custom drums to suit the needs of any recording studio looking for that special, unique sound. Need that “vintage” drum or cymbal sound? Come see us. We have what you need. Need a versatile but unique custom drum sound? We have that as well with our Craviotto solid shell drums. None finer in the world.

NYC DRUMMERS, WE HAVE DRUM SET PRACTICE SPACE AVAILABLE FOR RENT ON AN HOURLY BASIS. CALL JESS AT 212-730-8138 FOR DETAILS. TEACHING STUDIO IS OPEN Ron Tierno has relocated his long standing teaching studio to our shop. Call Ron directly at 646-831-2083 for lesson information and visit his site at www.nydrumlessons.com WE NOW HAVE OUR BRAND NEW VINTAGE STYLE RAIL CONSOLETTE TOM HOLDER IN STOCK. CHECK IT OUT ON OUR WEBSITE AND IN THE SHOP. Quartet, but increasingly, survival in the jazz world demands the pursuit of parallel projects. Consequently Ochs participates in groups as diverse as the all-improv Maybe Monday and his uncategorizable Sax and Drumming Core, as well as the trio found on Spiller Alley. Ochs has stated that all his written music has been concerned with the integration of composition and improvisation using non-traditional forms and/or alternative devices. In Gunther Schuller: Journey Into Jazz these two fine but very different live recordings he Boston Modern Orchestra Project (BMOP) reveals how a clear overall intent can be delivered by Ted Gordon through an almost ghostly compositional framework. Now in its ninth year the unusual trio with Peggy What might seem the most innocuous music is often Lee’s cello and Miya Masaoka’s koto conjures a the most avant garde, the most challenging, the spark kaleidoscopic mélange encompassing free improv, that forces us to question the boundaries of what we country blues, contemporary chamber music and might call jazz. Gunther Schuller’s “Journey Into oriental courtliness, but beholden to none of them. Jazz”, composed in 1962, is just that: a children’s Recorded in 2006 at three European venues, Spiller narrative, telling the story of one Eddie Jackson, “a Alley’s two collective improvisations buttress three boy who learned about jazz”, a communal mode of Ochs pieces, though the distinctions between them are music-making that is free, ostensibly, of all the subtle, with Ochs’ light structures allowing full restraints that come with genre labels. Though the freedom of expression within their airy demarcations. piece is over 40 years old, the Boston Modern Though there are many pleasing passages - one comes Orchestra Project’s new recording captures Schuller’s in the lengthy title track where plucked koto is pitched strong aesthetic statement about the “third stream” of against arco cello whooshes, suddenly echoed by jazz and its staying power throughout history - with Ochs’ swooping sopranino - this is in truth a group its composer narrating. music which demands to be judged on its own terms. “Journey Into Jazz” walks a fine line between A deeply felt project for Ochs, evidenced by the simplicity and didacticism. Described by Leonard attention to detail on the gatefold sleeve and liner Bernstein (among others) as “a sort of ‘Peter and the notes, The Mirror World draws musical inspiration Wolf’ of Jazz”, it seems simple: a young boy has a from the fast cuts, juxtaposition of images and hunger for music, picks up the trumpet and sometimes luminous colors of avant garde film maker eventually discovers that music need not be notated, Stan Brakhage’s works. Both versions are continuous that it can be free-flowing, stemming from raw performances, though tracked for listening emotion. Yet the music that accompanies the convenience, but they could easily pass for different narration, written by Nat Hentoff, seems slightly pieces. “Hand”, for the 17- strong Orkestrova, blends static: made legible for even the youngest ears, overlapping instrumental textures and billowing ‘classical’ and ‘jazz’ are rendered into crystallizations electronics into a haunting canvas, where change can of their mass-market definitions. Though the playing be imperceptible or erupt suddenly. Midway through and recording quality of this album are undoubtedly the ensemble explorations comes an interlude for high, they cannot escape the constraints of the Bruce Ackley’s Bb clarinet and Moe! Staiano’s self-ascribed “third stream” genre, stuck literally percussion, reprised for a wonderful conclusion where between European and African musical traditions. they pierce the enveloping murk of two didgeridoos. Reduced to its most basic argument, Schuller’s “Wall”, for the Rova saxophone quartet abetted children’s narrative also brings the music down to its by percussionists Gino Robair and William Winant, is ‘essentials’, reducing both other ‘streams’ to overly all darting horn lines and energetic polyrhythms, simplistic, often bland passages. marshaled by a mix of cues, notation and game pieces, The other two pieces on this album, “Variats” and though with space for brief cameos and duets against “Concertino”, both scored for Jazz Quartet and the swirling backdrop. Though the sparser Orchestra, come closer to Amiri Baraka (then LeRoi instrumentation promotes a more easily absorbed Jones’) demand of third stream music, that the experience, both versions make for rich listening “techniques [of jazz and classical music] be used and payback. not canonized”. All three are pieces full of contradictions, which make them some of the most For more information, visit web.roguart.com and ochs.cc. interesting compositions of the ‘50s and late ‘60s: they Ochs is at Roulette Feb. 27th. See Calendar. struggle to reconcile composition and improvisation, not perfectly, but resoundingly musically.

For more information, visit bmop.org. Schuller is at Manhattan School Feb. 20th as part of the Mingus Summit. Visit msmnyc.edu.

Thu - Sat, February 5 - 7 THE GROOVEMASTER OF SOUL JAZZ REUBEN WILSON Melvin Sparks • Jerry Weldon • Vince Ector Thu - Sat, February 12 - 14 CAROLYN LEONHART & WAYNE ESCOFFERY QUARTET Dave Kikoski • Ed Howard • Jason Brown Spiller Alley The Mirror World Thu - Sat, February 19 - 21 Ochs/Masaoka/Lee Larry Ochs/Rova A TRIBUTE TO TADD DAMERON (Rogue Art) (Metalanguage) Eric Alexander • Richard Wyands • Nat Reeves • Joe Farnsworth by John Sharpe Thu - Sat, February 26 - 28 RON CARTER Since 1978 saxophonist Larry Ochs’ activities have been primarily centered on the Rova Saxophone MIKE LEDONNE JOE FARNSWORTH

22 February 2009 | ALLABOUTJAZZ-NEW YORK Dunbar and Jim Hall, yet his first release was the point of being subliminal. The compelling “Juniper decidedly un-bebop - a half-hour solo recording of Tree” sounds like free jazz and straightahead arm prepared and abused acoustic guitar entitled Canto. wrestling for dominance, with tenorman Mike Bows, rattles and knocks then traversed their way McGinnis and Sperrazza leading the charge. through the long-running (if sporadic) duo Tin/Bag Even when stripped down to its essentials, as on with California-based trumpeter Kris Tiner (of the the Blostein/Morgan/Sperrazza trio tune “Liftoff”, Empty Cage Quartet). Now, on Small Spaces, Baggetta the sound is just as compelling. Jazz is clearly the has applied these experiences to an expanded and irresistible force at the core of this band, but it’s their thorny postbop quartet. He’s joined by Fresh Sound deep sense of musical heritage and willingness to Notes from the Village Suelos regulars, bassist Eivind Opsvik, tenorman Jason Rigby explore, challenge and transform genres, that gives Anat Cohen Cuarteto de Clarinetes de and drummer RJ Miller (since replaced by George this excellent group its singular voice and vibrancy. (Anzic) Caracas (Cacao Musica) Schuller) on seven originals and an arrangement of the by Tom Greenland Taiwanese folksong “Olive Tree”. For more information, visit envoirecordings.com. This Opener “The Heights” is a subtle manifesto for group is at I-Beam Feb. 6th, 13th and 27th. See Calendar. Anat Cohen, an Israeli-born multi-reedist, is rapidly the leader’s approach to group music. After an emerging from the jazz ‘underground’. Notes from the eddying free duet between Opsvik and Miller, with Feb 6: Village, her fourth release, is sure to enhance her the bassist pushing the tempo slightly, tenor and Diana Wayburn Quartet + growing reputation. Ably abetted by Jason Lindner guitar enter in a series of phrases that float around, Pascal Niggenkemper Group (keyboards), Omer Avital (bass) and Daniel Freedman ahead of and behind the beat, in a jumpy unison that 8pm ($7) (drums), with strong support by Gilad Hekselman recalls Warne Marsh and Billy Bauer on a wobbly Feb 7: Michael Vallarelli & (guitar), Cohen covers a lot of musical ground, from deck. The Dunbar training seems readily apparent; Dwight Goodyear 8pm ($7) graceful tone poetry to raw-boned ‘world-bop’. Baggetta comps with dissonant chordal accents, Jah of York presents Playing the soprano and bass clarinets and the placed at odd intervals and spiking the quartet’s hip-hop+ 10pm ($7) soprano and tenor saxes with equal facility, her sound punch. Yet he expands on that as a “pure-sound Feb 14: is light and unforced, ranging from subtle pastels to player”, his holdover from preparations and detuning Sean Baucom hosts words n motion 8pm ($5) bold primary colors. Tracks like “Washington Square a tendency to sit and chew a tart chord, isolating and Feb 19: Park” and “Until You’re in Love Again” (both letting it hang in the air. Even on a taut groover like Albey Balgochian, Lisle Ellis, originals) and Ernesto Lecuona’s “Siboney” display “No Gravity”, cutting edges poke through the theme’s Francois Grillot & Lola Danza the former quality, while workouts such as “J Blues”, fabric, piercing highs that tug at comfort zones. 8pm ($8) “Lullaby for the Naïve Ones” (also originals) and Fats Baggetta’s single-note lines are evenly paced, but the 5C CAFE Feb 21: Waller’s “Jitterbug Waltz” flaunt Cohen’s considerable ear recalls the head’s lemony flavor and his solo Secret Orchestra 8pm ($8) technique and quicksilver imagination. The band retains a strong, wiry nature. By comparison, Rigby’s 68 AVENUE C Feb 27: members, frequent collaborators on various outings, hard edge is positively rounded and the two make an (AT 5TH STREET) Billy White Trio 8pm ($7) exude well-oiled synergism. Lindner is particularly excellent frontline. Indeed, Baggetta’s work with 212-254-1142 Feb 28: Dom Minasi String Quartet 8pm ($8) strong as a creative accompanist and as an arranger, hornmen plays out in an affinity for breath if only to WWW.5CCC.COM writing rhythmically vibrant charts for three tracks. coil around it over supple rhythmic support. Rare is Cohen also makes a brief guest appearance on the the young musician who fuses avant garde and Cuarteto de Clarinetes de Caracas’ Suelos, filling in as postbop mettles so effortlessly - Small Spaces is a fifth clarinetist on Lecuona’s “Danza Negra” and refreshingly unsafe approach to modern jazz. contributing a powerful cadenza mid-chart. An impressive date by Venezuela’s premiere clarinet For more information, visit freshsoundrecords.com. chamber quartet, Suelos continues the group’s 20-year Baggetta is at Tea Lounge Feb. 25th. See Calendar. mission to feature and foment the work of South American composers, arrangers and song forms. Comprised of Gregory Parra, Orlando Pimentel, Victor Salamanques and Gorgias Sanchez (piccolo, soprano, alto and bass clarinets, respectively), the quartet boasts strong chops and sensitive interpretative skills. Featuring compositions by Aldemaro Romero, Silvestre Revueltas, Hermeto Pascoal and Paquito D’Rivera and representing the genres of Venezuelan joropo and guasa, Colombian bambuco, Cuban danzon, Mexican mariachi, along with Latin jazz and avant-leaning classical music, Suelos is local in flavor, Ursa Minor Vinnie Sperrazza/Matt Blostein (Envoi) pan-national in scope. by Terrell Holmes For more information, visit anzicrecords.com and The Vinnie Sperrazza/ Matt Blostein Band sits boldly cacaomusica.com. Cohen is at Bargemusic Feb. 12th, Smalls on the outer branches of the jazz tree. This group Feb. 18th and Tribeca Performing Arts Center Feb. 19th as specializes in what might be described as art-house, a part of Highlights in Jazz. See Calendar. style defined by complex, cutting edge compositions and arrangements played at perfect pitch. Their new recording displays a balanced and impressive combination of color and substance. These tunes, penned by alto saxophonist Blostein or drummer Sperrazza (and in the case of “Liftoff”, both) are poetic in structure, unfolding slowly to reveal a wealth of layers and textures, each one giving the fine musicians on board space to weave their rich tapestries of sound. Pianist Jamie Reynolds’ deep blue single-note highlights and Khabu Young’s guitar amply support Bryan Drye’s thoughtful, articulate Small Spaces trombone on “Color Red”. The title cut, a pianoless Mike Baggetta Quartet (Fresh Sound-New Talent) by Clifford Allen quartet piece, is a slow burn that develops gradually around Blostein’s appropriately moody alto and Guitarist Mike Baggetta might not be a familiar name Young’s edgy, persistent licks. Young and pianist to those outside the coasts, though he’s recorded and Jacob Sacks’ delightfully fractured duet on “Hey Jax” worked on both. He received his formal education in sounds like a playful riff on free jazz; Thomas music from Rutgers and name checks players like Ted Morgan’s pizzicato on this tune is sotto voce almost to

ALLABOUTJAZZ-NEW YORK | February 2009 23 Heute Nacht Oder Nie Another Place Max Raabe & Palast Orchester (SPV) New York Trio Recordings, Vol. 3: Night Whispers by Suzanne Lorge Marc Copland (Pirouet) by Francis Lo Kee In November 2007 German singer Max Raabe performed at Carnegie Hall with the Palast Orchester, The prolific pianist Marc Copland continues the trend presenting a half-English, half-German program of of high quality music that he and Pirouet release with songs from the golden years of Weimar Germany. The two more immaculately recorded CDs. resulting recording - Heute Nacht Oder Nie (Tonight Or Another Place features John Abercrombie (guitar), Never) - has spurred a flurry of activity both here in Billy Hart (drums) and longtime collaborator Drew the States and abroad and Raabe has been on the road Gress (bass), the same personnel found on Copland’s ever since its release in 2008. Second Look (1994). Abercrombie contributes three Raabe and the Palast Orchester, 12 musicians of attractive and effective compositions; his “River Bend” stunning precision (multiple horns, violin, viola, is interesting in that it gives a guitar-like arpeggio to guitar, banjo, piano, bass and percussion), have been the piano, with an almost African 12/8 underpinning performing together for the last two decades, but the in the drums and the “B section” is a 10-bar phrase new CD represents the group’s first major launch in that proceeds in a relaxed swinging groove. Hart and the US. And what a launch it is: two discs and almost Gress make a good rhythm section and effortlessly two hours of resurrected tunes from the ‘20s and ‘30s bring out the contrast between the two sections. The by composers such as Irving Berlin, Walter Jurmann guitarist’s soloing here, indeed throughout the album, and Kurt Weill, delivered in Raabe’s faultless baritone. weaves melodically up and down through the sky of To appreciate Raabe’s innovation one must first the piano and the earth of bass and drums. toss aside any preconceived notions. Perhaps it’s Abercrombie’s “Car Blue Lady”, one of the CD’s most Raabe’s ironic take on each number that pulls them striking pieces, launches great solos by the composer, into the 21st century, but never once do the well- Copland and Hart over the hypnotic section of the seasoned tunes (“Bei mir bist Du schoen” and “Just melody. “Ballad in Two Keys” is his final piece and One Of Those Things”, for example) sound clichéd. this time the first soloist is Gress, who sets the And the German tunes that never really made it across soundstage for introspective, emotive melodic the ocean (“Mein kleiner grüner Kaktus” and “Ich improvisation. It is to Copland’s credit that he küsse Ihre Hand, Madame”, among others) come as a provides so much space for his players (and surprising discovery to our modern American ears. composers). His accompaniment for both the solos by You mean, there’s more jazz-era music to be Gress and Abercrombie is so sensitive it also causes discovered? What good news! his own solo to be immediately impressive upon entry. Raabe was in New York last month to promote the Cole Porter’s “Everything I Love” supplies the perfect CD and performed solo at the Neue Galerie Jan. 9th- ending, a friendly reminder that loose, relaxed 10th as part of that effort. Raabe is an utterly jamming on a standard is a wonderful way for an captivating performer, even without the orchestra, audience and musicians to bond. even if you don’t understand German, even if his tux Night Whispers is part of a series of trio and clearly enunciated vowels seem a bit formal for recordings, this one featuring Bill Stewart (drums) and today’s more casual music scene. True, his again bassist Gress. One of the CD’s features is that it presentation is all very stylized, but this serves as a contains three solo piano takes of Johnny Mandel’s clever backdrop for his deadpan humor, a humor that “Emily”, spread out between the ten tracks. All three seduces as much as does the music. Of course, it’s a lot are relatively short (between two and three minutes) easier to get the songs’ jokes if you speak German, but and offer a great glimpse into the working process of even in English, Raabe is a pretty funny guy. an improvising musician. For instance, one could look Raabe drew much of his repertoire for the Neue at “take one” as being somewhat Bill Evans-ish in its Galerie from that of Weimar singers like Max Hansen flexible, breathy phrasing while “take two” sounds as and the Comedian Harmonists, whose popularity in if “Emily” is being filtered through Chopin’s Germany ended for the most part once the Nazis came “Revolutionary Etude”. “Take three” brings the tune to power in the ‘30s. Some of these songs are satires back to its waltz roots, with a pedal tone that makes from that time - like “War’n Sie schon mal in mich this the most poignant variation. As on Another Place, verliebt”, a spoof of Hitler that Raabe performed as Copland invites his colleagues to contribute original one of his encores - and some are evergreen, compositional work: Stewart offers “Space Acres” and melancholic airs, like “Liebesleid”, about the quixotic Gress presents “Like It Never Was”. The latter is set nature of love. But Raabe never lingers on the serious up like a passacaglia, a repeating set of harmonies points that might be made, whether topical or over a descending bass line. The musical events that timeless, and thus leaves us pondering the deeper take place over that ostinato run the gamut from meanings in his work, wishing he would explain. gentle block chords through a lyrical bass aria to a full That evening Christoph Israel accompanied Raabe trio crescendo urged on by Stewart’s polyrhythms. on piano and at times joined Raabe in whistling duets Copland includes three of his own compositions - the - this kind of virtuosity is not something you hear title track, “Scattered Leaves” and “The Bell Tolls”. everyday and, quite frankly, it’s rather a brilliant The latter starts with a single note on the piano and touch. After some 12 tunes the two closed the evening conjures the image of a tolling bell but also serves as a with three encores, the last being “Gib mir den letzten mid-register pedal point around which cymbals and Abschiedskuss”, which, roughly translated, means, brushes swirl, bass notes fall and upper register “Give me a farewell kiss”. A precipitous request, chords float. perhaps: Raabe will most likely be back. For more information, visit pirouetrecords.com. Copland is For more information, visit spv.de at Birdland Feb. 25th-28th with Gary Peacock. See Calendar.

24 February 2009 | ALLABOUTJAZZ-NEW YORK tapper; “Here’s That Rainy Day” explores the rich increasingly ubiquitous drummer Dylan van der undertones of melancholy and “Blue Moon” is Schyff. Way Out Northwest documents the trio’s surprisingly upbeat, with Person’s tenor fat and initial outing, a nearly 50-minute performance of six happy. And don’t miss “Mack the Knife”, a duet with improvisational exercises. Ron Carter where the two musicians turn the song Butcher and van der Schyff had previously played inside out and trade lines with fluent ease. as a duo at the festival and other concerts and the In a 2004 interview, Person defined jazz as, drummer and Muller have also worked together. Their “Something that when the end of the day comes, after intertwined histories provide a sense of familiarity, a hard and frustrating day out in the world, that bolstering their confidence as the music develops The Art and Soul Of Houston Person relieves you. Relaxes you and makes you feel good.” chancier ideas. Tentative probes of sputtering sax and Houston Person (HighNote) The Art and Soul of Houston Person is exactly that kind warbling bowed bass open as the trio settles in, soon by Florence Wetzel of music, a treasure chest of luscious, soothing sound. unfurling in sweeping dynamic arcs that build intensity then recede to nuance. The improvisers all The Art and Soul of Houston Person is an irresistible For more information, visit jazzdepot.com. Person is at take turns prodding the music, the others uncannily combination of the celebrated tenor saxophonist and Allen Room Feb. 13th-14th with Bill Charlap. See Calendar. responding in an instant. the Great American Songbook. The 30 songs on this Alternating between and using the full ranges of generous three-CD set were culled by Person from ten tenor and soprano, Butcher extends the trio’s sonic of his HighNote CDs, with the addition of four new potential. He also judiciously uses multiphonics, songs recorded in Spring 2008. The songs feature an creating the illusion of two horns, as in the ghostly array of talented sidemen, including pianist Bill introduction of “Magic Clock Machine”. Muller wields Charlap, bassists Ron Carter and Ray Drummond and his bow to tease the upper register and often blends drummer Grady Tate. If that isn’t compelling enough, with the horn’s piercing notes. He avoids obvious all the tracks were mixed, edited and mastered by the lines, preferring to color abstractly and shape the eminent Rudy Van Gelder in his legendary Englewood proceedings with thick notes and percussive Cliffs studio. flourishes that sound like prepared piano. Likewise, The collection is full of high points, with several van der Schyff eschews beats, using the full kit to songs particularly worth noting. The upbeat opener Way Out Northwest shade with rumbling toms, scraping cymbal edges or “You Do Something to Me” showcases Houston’s John Butcher/Torsten Muller/Dylan van der Schyff clattering sticks across the rims. The kinetic burst of (Drip Audio) golden warmth and impeccable swing. The song also “Gone, Goner” finds the trio playing more tightly, an by Sean Fitzell features John di Martino’s exquisite touch on piano effective epilogue hinting at another path. and John Burr’s fluid bass. The same group shines on British saxophonist John Butcher is a longtime What might have been a one-off became an “I Don’t Stand a Ghost of a Chance”, elegantly practitioner of spontaneous performances, game for auspicious beginning for the trio: building on their capturing the song’s quiet longing. Person exhibits a playing with unfamiliar musicians in concert. For the affinity for each other’s playing, they have performed poignant tenderness and drummer Jerome Jennings 2007 Vancouver Jazz Festival, he took the stage with a handful of dates since. adds just the right backup with incredibly spacious local musicians that shared his sensibilities: the brushwork. “Sentimental Journey” is a joyful toe- adventurous bassist Torsten Muller and the For more information, visit dripaudio.com

reproductions of a Columbia Records promo in Green”, so easy-going on “All Blues” you begin to BOXED SET brochure and Bill Evans’ hand-written liner notes; a relax and so arresting and still on “Flamenco poster, a DVD documentary and, perhaps of most Sketches” you almost stop. interest to completists and/or collectors, a 180-gram All of this is well known to listeners, but it’s a blue vinyl LP that brings myriad versions of this joy to hear the likes of the late Ed Bradley, Bill recording full circle. Cosby, Ron Carter, Jimmy Cobb, Q-Tip and, at his Sony has come a long way from the neglect most eloquent, Herbie Hancock, talk about jazz in Kind of Blue had suffered by the ‘80s. Its then-current the ‘50s, the effect Miles has had on jazz and “Columbia Jazz Masterpieces” version was released American culture and about the music of Kind of Blue with a different cover (Miles in a post ‘50s floral itself. The DVD’s hour-long documentary combines print shirt) and even more outrageously, the music photos and radio interviews with comments from had been transferred at the wrong speed. The Miles admirers, as well as clips from a 1959 Kind of Blue (50th Anniversary Collector’s Edition) reissue prepared for CD restored the original cover, television special that featured Miles, Coltrane, Miles Davis (Columbia-Legacy) by Jeff Stockton corrected the pitch and added the alternate version Cobb, Chambers and Kelly augmented by a jazz of “Flamenco Sketches”. Unfortunately, the short orchestra conducted by Gil Evans. This program If you’re reading this periodical, chances are you bits of studio dialogue tacked on here don’t add appears in its entirety on the DVD and the music already own a copy (or copies) of Kind of Blue, much to the picture. If anything, what you hear is and conversation reward repeated viewing. widely acknowledged to be the best-selling jazz Miles as affable as he was ever likely to be at a Ironically, if you want a digital copy of Kind of record of all time. The funny thing and what makes session, audibly upbeat about the proceedings. Blue as it first appeared you have to recreate it it a phenomenon is how many people who don’t read And why not. Miles, along with significant yourself. If you never junked your record player, AllAboutJazz-New York own a copy of the record. It’s collaborative input from pianist Bill Evans, was though and you spring for the Kind of Blue: 50th usually the first jazz title someone buys and it’s about to rewrite the rules of jazz, moving away from Anniversary Collector’s Edition, you can put the LP on probably the one record that has appeal to listeners the speedy intricacies of bebop toward modal-based the turntable, page through the book and browse the regardless of their prevailing tastes. improvisation, an approach that endures to this day. essays and the photos or flip through the 8x10s and Just what accounts for this album’s enduring Everything seems to have come together at the right handle Evans’ liner notes as if getting acquainted popularity is the central question raised by Sony’s moment to have made this record a masterpiece with a secret dossier, all while the music plays. But 50th Anniversary Collector’s Edition, a lavishly (Evans, Coltrane and Cannonball Adderley were all this is bad music for the background. It draws you in packaged LP-sized box set that includes a CD of the only a year or two away from leading bands that cut and holds you as only the highest art can. There original release (plus the session’s lone alternate their own paths through jazz history). The opening aren’t too many recordings that demand such version and some brief snippets of studio chatter); a piano notes of “So What” establish a mood of attention and appreciation. This package does: a second CD of the only other recordings from the thoughtful reflection before bassist Paul Chambers towering achievement for past, present and future Kind of Blue sextet (as well as a live “So What” from enters with his cool wooden bass and engages in a listeners to pass along and cherish. the following year, all excellent); a beautiful call and response with the horns. It’s a beginning as hardcover book of photographs and essays by familiar as anything in jazz. Followed by the For more information, visit legacyrecordings.com. A Francis Davis, Gerald Early and Ashley Kahn (Early relatively jaunty “Freddie Freeloader” Tribute to Kind of Blue is at Rose Hall Feb. 12th-14th, and Kahn have both written books on the subject); a (characteristic of Wynton Kelly, the pianist on this featuring Jimmy Cobb, the last surviving member of the wax paper envelope of black and white stills and track), the record gets so quiet you lean in for “Blue group. See Calendar.

ALLABOUTJAZZ-NEW YORK | February 2009 25 band comes to mind), employing novel voicings, contrapuntal and fugal strategies and a highly developed architectonic structure that makes each of the eight instrumental pieces here utterly engrossing: complete and detailed jazz creations that seem much longer than their three-plus to six-plus minute running times. Take “Dance of the Fakowees”, which manages to develop three distinct melodic strains and shifting rhythms through four turns by soloists plus a News from the Mystic Auricle coda featuring dueling wah-wah trumpet and Steve Swell Rivers of Sound Ensemble (Not Two) trombone over handclaps - all in just four-and-a- by Jeff Stockton quarter minutes. Or “Tenth Lament”, a three-part (slow-fast-slow) impressionistic concerto-like piece Journeys. Greek religious artifacts. Oracles that send featuring Shihab’s muscular baritone over chimed you into the mystic. Trombonist Steve Swell and his orchestral voicings in the middle section - clocking in Rivers of Sound Ensemble direct their stream-of- as the longest track at 6’20”. consciousness improvisations toward the deepest sea “Mai Ding”, a piece with AfroLatin beats that of musical inspiration they can find. seem unique to Shihab (he’s heard introducing them to Swell’s Slammin’ the Infinite pianoless quartet the band on cowbell as a prelude to the track) has been expanded before (Live at the Vision Festival alternating with two- and four-beat rhythms adds from 2006, when they were joined by pianist John extra time layers in the chordal pacing of the low Blum), but the band retained the essence of its horns (bari sax and tuba), building tension through swinging inside/out approach. On this date, interlocking lines. “Da-Di” builds a simple phrase into trumpeter Roy Campbell joins the frontline and the a full-bodied theme by slowly adding instruments and name of the band has changed along with the bassist. layers of staccato counterpoint. “Harvey’s Tune”, a As downtown veteran Hilliard Greene replaces Matt waltz featuring Shihab’s hummed-blown flute solo, Heyner, the melodies evaporate and the rhythms grow employs a counter-melody hinting at a round, while more attenuated. Greene is a monster pizzicato player “The Cross-Eyed Cat” develops a busy little theme and his presence on any date is a mark of quality, but into a fugue. on News from the Mystic Auricle it’s his arco playing Shihab’s compositions and solos are the stars that sets the mood and tone on the three long here, but the band is terrific too, with fine solo improvisations offered. Campbell’s lines sound as if contributions from the likes of bassist Niels Henning they follow from the introspective, questing style best Ørsted-Pedersen, trumpeter Palle Mikkelborg, tenor presented on 2008’s Akhenaten Suite, where the process saxophonist Bent Jaedig and numerous others. of music-making is more to the point than merely arriving at an end. Sabir Mateen is his usual fiery self For more information, visit naxosjazz.com on tenor and alto and then turns reflective on flute and clarinet. Swell, as usual, prefers to play in his bands as an equal, enabling each horn to follow its own path. The Zinc Bar presents With the horns coming together and cleaving apart in a continuous seamless flow and Greene’s strings squealing under his bow, it’s Klaus Kugel’s tireless drumming that tethers Campbell, Swell and Mateen to the ground. Every journey requires a driving force and in the Rivers of Sound Ensemble, Kugel is the engine that keeps it going.

For more information, visit nottwo.com. Swell is at Yippie Café Feb. 9th and Webster Hall Studios Feb. 20th. See Calendar.

JD Walter CD Release Party Wed. February 18th And the Danish Radio Jazz Group for his New Double CD Sahib Shihab (OKTAV Music) by George Kanzler “Live in Portugal” w/Donald Edwards-drums Made in the mid ‘60s, over a decade before Thad Mark Kelley-electric bass Jones led the Danish Radio Big Band, this gem of an Jim Ridl-keyboard album offers more evidence of the centrality of Denmark to the modern, post-World War II jazz scene. 82 West 3rd Street It’s also a forceful reminder of the limitations of the (btw Thompson & Sullivan) “great names” approach to jazz history, where such Set times-9:30, 11pm, 12:30am worthy talents as the late Sahib Shihab (1925-89) are ignored or marginalized. Shihab, a pioneering bebop baritone saxophonist and flutist, continued to develop “Walter is reshaping what jazz singing is all about. …he is an original in an art overpopulated and innovate in the postbop years, as these with copycats.” – Don Heckman, LA Times compositions/arrangements with a slightly smaller version of today’s Radio Big Band, ably attest. JDWalter.com Shihab’s approach to orchestral jazz is decidedly post-Swing era modern (Charles Tolliver’s current big

26 February 2009 | ALLABOUTJAZZ-NEW YORK Nussbaum’s role becomes more prominent in the hurried atmosphere of the title track as he switches to brushes. “Fine” closes the release in a more conventional setting, while retaining an element of potential danger woven into its theme.

For more information, visit sunnysiderecords.com. Markowitz is at Manhattan School Feb. 3rd. See Calendar.

Catalysis Phil Markowitz Trio (Sunnyside) by Ken Dryden

Phil Markowitz has been on the jazz scene for several decades, though the veteran pianist is more widely known to many jazz fans as a sideman than as a leader, having worked with Chet Baker, Bob Mintzer, Dave Liebman, Jack Wilkins, Al Di Meola and many others. But Markowitz has written a number of impressive compositions over the years, one of the best being Quartet (Moscow) 2008 The Double Trio Anthony Braxton Stephen Haynes/Taylor “Sno’ Peas”, recorded by the late Bill Evans on his (Leo) Ho Bynum (Engine) album Affinity with Toots Thielemans in the late ‘70s. by Kurt Gottschalk Catalysis is just his fourth CD as a leader, but like his earlier efforts, it is a potent session full of tense, Having both studied under Anthony Braxton at challenging postbop works. Joined by bassist Jay Wesleyan University and now playing in his Anderson and drummer Adam Nussbaum, many of ensembles, Taylor Ho Bynum and Mary Halvorson Markowitz’ eight selections have an ominous edge to have established themselves in town working together them, beginning with the opener, “M.D.A.”, which is in various other groupings. Halvorson plays in built upon an eerie unison line between the piano and Bynum’s sextet and they play together in the bass accompanied by sparse percussion. The title of Thirteenth Assembly quartet. They are also two-thirds “For the Sake Of …” suggests that one is about to hear of Braxton’s Diamond Curtain Wall trio, as heard on a ballad, but it is a turbulent uptempo affair with the last year’s excellent release on Victo. energy of his earlier composition “Taxi Ride”. The That trio was augmented with Katherine Young swaggering “Whys and Wherefores” is a bit cynical, for a concert in Moscow in June of 2008 - just over a giving the impression of politicians talking at length month after the Victo recording. And where the Victo without providing solutions to real problems. set introduced a new field of work for Braxton, incorporating Supercollider electronics, here they return to more familiar ground, with Halvorson’s tasteful use of effects being the only electronics heard here. The group plays the leader’s “Composition 367B” and gives it a fantastic reading. Given the instrumentation - Braxton on contrabass clarinet and sopranino, soprano and alto saxophones; Bynum on cornet, flugelhorn, valve trombone and bass and piccolo trumpets; Halvorson on electric guitar; Young on bassoon - and given the intricacies of Braxton’s work, it’s fantastic how organic the playing sounds. While the sophisticated interplay indicative of his work is, of course, present here, the group is grounded in a familiarity that makes this one of the most accessible Braxton releases in recent memory. Bynum and Halvorson also collaborated in an interesting configuration for the 2006 Festival of New Trumpet Music (FONT). The set paired Bynum’s trio (with Halvorson and drummer Tomas Fujiwara, also of Bynum’s sextet and the Thirteenth Assembly) against fellow trumpeter Stephen Haynes’ trio (guitarist Allan Jaffe and drummer Warren Smith). The “double band”, a collision of two groups with like instrumentation, is always an interesting challenge and theirs is a thoughtful take on the concept. Along with original compositions by each of the co-leaders, they play arrangements of Ornette Coleman’s “YX 6C” and Dizzy Gillespie’s “Kush” that show this was more than a tossed-together meeting. While double bands can end up stepping all over each other, the players here are cognizant of not taking up more than their share of the soundspace. It’s a shame then that the group didn’t make it into the studio. The recording quality is not great and the case - laudably using recycled chipboard but roughly assembled - is less than the music deserves.

For more information, visit leorecords.com and engine-studios.com. Taylor Bynum is at HVG Lounge Feb. 22nd with Adam Lane and Tea Lounge Feb. 26th. Mary Halvorson is at Roulette Feb. 13th and Issue Project Room Feb. 18th. See Calendar.

ALLABOUTJAZZ-NEW YORK | February 2009 27 set it’s a typically diverse gathering of musicians. Because his music goes down so easily and is yes! romantic, some mistakenly dismiss it as being merely some of that bland pablum, smooth jazz. His relentlessly driving sound on “Stoney Lonesome” is like one long hot breath. If the sound is smooth, it’s the smoothness of unpitted heat. On the opener, he slides into “St. Louis Blues”, playing with his distinctive warmth and a minimum of Heritage frills. You’ll listen in vain for wasted notes. He’s Long Ago Today Eddie Henderson (Blue Note) solidly backed up on this one with a shimmering wall Sumi Tonooka Trio (Arc) by Stuart Broomer of brass (Keyon Harrold, Lew Soloff and Wallace by David R. Adler Roney) as well as Gil Goldstein’s funky Rhodes. Later Trumpeter Eddie Henderson has been moving in and on “Brother Ray”, Goldstein switches over to a Players as acclaimed as Uri Caine speak highly of out of jazz since the ‘60s, combining parallel careers as Hammond B3, delivering a heavy, rhythmical their fellow Philadelphian, pianist Sumi Tonooka, who a musician and psychiatrist. In that time he’s applied accompaniment to Sanborn’s gospel testimony. deserves a far wider hearing but works at her own his strongly lyrical playing to both acoustic postbop On “I’m Gonna Move to the Outskirts of Town”, pace. Long Ago Today, her first leader date in 10 years and fusion settings, but his greatest celebrity has Eric Clapton jumps in for some very Ray Charles- and her fifth since 1990, is accurately titled in the sense definitely come from his credits on the electric side. In influenced vocalizing as Sanborn flavors and that it was recorded back in 2004. Sadly, drummer Bob the early ‘70s he was a charter member of the Herbie accentuates each line with steeped-in-the-blues Braye died in the interim. But thanks in no small part Hancock sextet that recorded Mwandishi and that blowing. With Sam Moore’s sweet potato pie vocal on to him, the music from this trio session pulses with fusion of horns and funk rhythms would shape some the closing, “I’ve Got News For You”, plus more of life. Bassist Rufus Reid, Tonooka’s longtime musical of Henderson’s most successful recordings. that Hammond B3 and Sanborn cooking full tilt, it associate and by far the best known of the three, Heritage is close to the Hancock fold. Recorded in does not seem they may have left any cobwebs completes the lineup. 1976, it includes trombonist Julian Priester, hanging around in the recording studio. Tonooka made a gripping appearance on Reid’s Henderson’s bandmate from the sextet, while the Live at the Kennedy Center, a 2007 CD/DVD package rhythm section of bassist Paul Jackson and drummer For more information, visit deccaclassics.com. Sanborn is at from Motéma. Her firm attack and lush, off-centered Mike Clark was drawn from Hancock’s Blue Note Feb. 17th-22nd. See Calendar. harmonic palette had much to do with the Reid contemporaneous Head Hunters. There’s a definite quintet’s appeal and the same qualities permeate her Miles influence at work in Henderson’s trumpet, a trio music. On “Be the Dance”, the leadoff track, she taste for few notes placed for maximum dramatic and Reid play a bass melody in coordinated, springing impact, but what ultimately shapes this music is forward motion - the very model of ensemble Henderson’s vision of jazz-funk as a community counterpoint and rhythmic confidence, a nugget of enterprise, a dynamic and democratic mix of the whole jazz modernist perfection. band and its available technologies. Jackson’s Having commanded our attention, Tonooka popping, bending electric bass, for instance, is carries on with eight more original tunes. But first she frequently prominent, as far up in the mix as the reads Cole Porter’s “All of You”, departing from soloing horn, while there’s usually an intense Miles’ definitive version. Rubato musings over polyrhythmic dialogue going on between Jackson, brushes give way to subtle reharmonization and Clark, conga drummer Mtume and Patrice Rushen, Ghost arching, chromatic bass figures played in unison with Tim Kuhl (WJF) who provides bubbling electric keyboards in advance Reid. It’s this kind of consistent piano-bass chemistry by Elliott Simon of her own success in R&B. that underlies the album’s success. Each of the horns is willing to improvise within This sextet, put together by drummer Tim Kuhl for In the fragmented theme of “The Clinging”, one that rhythmic dialogue and reed player Hadley his debut, has a big sound while also incorporating can hear traces of “Effendi” by McCoy Tyner, Caliman is as apt to be assigned a structuring ostinato unique voices. Most specifically, trombonist Rick Tonooka’s Philadelphian forebear. “Renewal”, a as Jackson or Rushen and there are moments when Parker and guitarist Nir Felder combine to 24-bar extended blues, harks back to the swinging Henderson will play a drum part on his trumpet. The differentiate this release from the rest of the pack by fanfare of the opener. “Dreaming of Tibet” and original LP has provided samples for several hiphop broadening the sonic palette in a way that adds “Moroccan Daze” evoke worlds beyond jazz. During records (including Jay-Z’ “Coming of Age”), but it surprising twists to strong compositions. Saxophonist the latter, Tonooka moves from tense 7/8 to flowing definitely deserves to be heard on its own terms as one JC Kuhl and pianist Mark Aanderud blend into this 3/4; her surprise solo piano interlude abounds in of jazz-funk’s most creative moments. mix exceedingly well, the former evincing a crisp clean dissonance, rhythmic and melodic. The title track and touch and the latter, on both tenor and soprano, the closing “Nami’s Song” inject a calmer, more For more information, visit bluenote.com. Henderson is at contrasting Parker’s more venturesome playing. introspective feel, just as integral to the set. Dizzy’s Club Feb. 3rd-8th as part of Benny Golson’s 80th Kuhl has himself up in the mix and is an Birthday Celebration. See Calendar. ever-present force. His primary focus, however, with For more information, visit sumitonooka.com. Tonooka is at bassist Jeff Reed, is in keeping things from straying too Bargemusic Feb. 19th. See Calendar. far afield from his compositional intent. He does this admirably well and tunes like the title cut, with its eloquent horn lines and pleasantly puzzling guitar opener, still maintain their melodic purpose. The all- too-short “Dr. Doom” kisses up against the crime jazz genre with its pumping rhythm and fantastic call-and- response tradeoffs as do the twists and turns of the full-speed-ahead “Eye of the Beholder”. While “Nemesis” is a delicately produced pensive portrait that features expert storytelling by piano and Here & Gone tenor, the band for the most part cooks. They do this in David Sanborn (Decca Label Group) by Andy Vélez a little big band way as evidenced by improvisational vehicles such as opener “Versus” and the uptempo Alto saxophonist and flutist David Sanborn has been “Boogie Monsters of Swing” but also in the more associated with everything from electronica, fusion narrative tunes. “(N)” is a tantalizing brief guitar coda and disco-tinged recordings to Svengali, a now-classic that opens up more possibilities than it closes out. set he recorded with Gil Evans. Although he’s Kuhl and his like-minded musicians have coined acknowledged having been influenced by Hank a sound that is both melodically accessible and Crawford, Charlie Parker and Jackie McLean, he’s not improvisationally impressive. easily categorizable. Other musical partners have been as diverse as Billy Butterfield early on in his career and For more information, visit wjazzfestival.com. Kuhl is at on to Stevie Wonder and the Brecker Brothers. For this Goodbye Blue Monday Feb. 24th. See Calendar.

28 February 2009 | ALLABOUTJAZZ-NEW YORK

Roswell Rudd. If for no other reason, Logan is approaches to the material, all the pieces display the significant for essentially starting the recording agile and muscular (as well as sensitive) alto playing careers of pianist Don Pullen, bassist Eddie Gomez of the leader. Even though the references to New and drummer Milford Graves, the band found on this Orleans are throughout the CD, Harrison chooses to session. Apart from that, Logan, who himself begin the CD with “Mr. PC”, John Coltrane’s minor suddenly reappeared at last year’s Vision Festival (a key blues dedicated to bassist Paul Chambers. At one pattern to be sure), probably had a hand in influencing point the piece becomes a sax-and-drum duet (Joseph the modern freeish reedmen who seem to play every Dyson, Jr.), a very Trane-ish thing to do, yet the duo instrument out there. The five tracks on this disc, presents some very strong, unique musical ideas Quartet Music From Europe remastered as best they could be, are all Logan demonstrating they don’t have to copy Coltrane and Giuseppi Logan Gunter Hampel originals, including “Dance of Satan”, recast as Elvin Jones to be in the tradition. (ESP-Disk) (ESP-Disk) “Satan’s Dance” on Rudd’s 1966 Impulse disc Another example of pushing the tradition by Andrey Henkin Everywhere. “Tabla Suite” features Graves on the forward is “If I Were a Bell” (Frank Loesser’s song titular instrument in an Eastern foray and the rest is from the show Guys and Dolls, made famous by Miles Anyone who might be revisiting classic movies via a typical avant garde jazz of the time, meaning on Relaxin’ with Miles and since then a jazz standard). Netflix subscription has probably noticed they don’t completely all over the place and reflective of the city The leader literally extends the tradition of this tune make films like they used to. A similar observation can when it was really dynamic and diverse. Word is that by playfully elongating the final measures of it (aka be applied to jazz records from the ‘60s. Some of the Logan intends to record again and it will be interesting tagged). The extra measures get used in the most striking examples can be found on the being- to see if the results are anything like plans to clone improvisations, giving the soloists - Harrison and reissued-as-we-speak ESP-Disk catalogue. Labels dinosaur DNA. pianist Victor Gould - that much more harmonic fuel often function as time capsules and few took that role The stimulus of New York City in the early ‘60s for melodic surprise. Harrison is so inspired, he quotes more seriously than Bernard Stollman, who captured a made it to Europe via two dissimilar conduits: the Ellington’s “Rockin’ in Rhythm”. “To Nola with Love” grittily inventive period in New Thing history with 1964 tours of Albert Ayler and Charles Mingus (and by is a very slow, musical love letter. starkly recorded and designed LPs. extension Eric Dolphy’s addendum performances after Harrison is right in that lineage of saxophonists as That period claimed a lot of lives, both literally leaving the latter’s group). That influence sowed the testifiers: Stanley Turrentine, Gene Ammons, and figuratively. A look through the label’s back seeds of the region’s soon-to-be mighty free and avant Cannonball Adderley, Lou Donaldson and Charlie catalogue is to see a number of fine musicians gone garde jazz scenes. German multi-instrumentalist Parker. Speaking of Bird, Harrison covers one of the before their time: Albert Ayler, Byron Allen, Marzette Gunter Hampel may have released the first original- legend’s greatest performances (from Bird with Watts, Jacques Coursil, Henry Grimes (the last two sounding European jazz album in 1965 (Heartplants, Strings), “They Can’t Take That Away from Me”. having resurfaced in the last several years) and SABA) but his US debut Music From Europe (and Other highlights on this solid CD include Ellington’s Giuseppi Logan. The latter, who played alto and tenor conversely ESP-Disk’s second album by a European “Caravan”, the title track and “Drum Line”, which saxes, Pakistani oboe, bass clarinet, flute and piano, after countryman Karl Berger) actually fits quite well exhibits some deep groovin’ between Harrison and had a brief recording career: this eponymous debut with the rest of the music being released by the label at The Old School Drum Line from New Orleans. album from October 1964, a live followup from May the time. Dutchman Willem Breuker (soprano, alto, 1965 and two Spring 1966 sideman dates, one with tenor, baritone, clarinet and bass clarinet) is featured For more information, visit nagelheyer.com. Harrison is at Patty Waters and the other a major label release with prominently alongside Hampel’s vibes, bass clarinet BB King’s Feb. 21st. See Calendar. and flute; interestingly, two weeks prior they were both playing on the landmark album Globe Unity by Alex von Schlippenbach, who was in Hampel’s Heartplants band. Hampel wrote all three tunes: the “Assemblage” suite, “Heroicredolphysiognomystery”, dedicated to Dolphy, and “Make love not war to everybody”. Piet Veening and Pierre Courbois (the latter appearing on the label later as part of the Dutch Free Music Quintet with trumpeter Boy Raaymakers, still a member of Breuker’s Kollektief) are a solid rhythm section but it is the battle between Hampel and Breuker, two natural leaders, that gives this session its wonderful prickliness. Fans of bristling European free jazz will be reminded that Breuker was easily the equal of any other squawking continental saxophonist, even if he hasn’t played this way in years.

For more information, visit espdisk.com. Hampel and Logan are at Bowery Poetry Club Feb. 17th. See Calendar.

The Chosen Donald Harrison (Nagel Heyer) by Francis Lo Kee Donald Harrison’s The Chosen is dedicated to the people who do their “best, no matter what circumstances come” their way. If you know anything about Harrison, you know that he’s from New Orleans and suffered significantly after Hurricane Katrina so he knows what he is talking about. This collection of originals and standards displays Harrison as a saxophonist who prefers the honest, direct route to musical expression. Though there are some intricate

30 February 2009 | ALLABOUTJAZZ-NEW YORK and likewise creased, gentle swing. “Blue Monk” takes classic without diluting its character. This pride of this to a coy extreme as the saxists inhabit a disheveled once-young lions are all standard bearers now, Sun Ra-like space apposite precision timing. ascending gradually toward elder statesmanship. For Mostly, though, the band is incredibly tight and one very special night, it was exciting to hear them in fleshes out arrangements like the stately Tunisian their prime. whirl of “In the Valley” with uncommon poise. This schooled reverence is likely wholly in response to the For more information, visit darkkeymusic.com. Watts is at history and weight sprung forth from players like Bey Puppet’s Feb. 3rd, Jazz Standard Feb. 2nd and 23rd with and Shelton, who are far from household names in Mingus Dynasty and Feb. 4th-5th with Joey Calderazzo. Journey into the Valley contemporary improvisation, but whose groundwork See Calendar. Faruq Z. Bey (Entropy) the Northwoods Improvisers will doubtless expand by Clifford Allen upon for years to come.

Though in the jazz world Detroit and southern For more information, visit entropystereo.com Michigan often get the most credit for producing hardbop talents like Kenny Burrell, Tommy Flanagan and the brothers Jones, there has long been a slow-burning fire of free improvisation and creative music tapping into the Motor City’s pulse. Reedmen Faruq Z. Bey and Skeeter Shelton, both onetime co-leaders of the Griot Galaxy, are longtime members of the region’s new music community. A somewhat Gentle Storm Don Braden (HighNote) younger set (but not by much) are the Northwoods by Ken Dryden Improvisers, who have been collaborating with the saxophonists since earlier in the decade. The Don Braden has come a long way since his days at Northwoods Improvisers have been active since 1976, Watts Harvard, where he studied engineering along with Jeff “Tain” Watts (Dark Key Music) though their initial steps were a brand of playing in the university’s jazz band. Over two by Terrell Holmes unclassifiable homegrown electro-acoustic decades into his career in jazz at the time of these improvisation. Since that time, their approach has The title of drummer Jeff “Tain” Watts new CD, recording sessions, the tenor saxophonist is very much become keyed into a well-groomed hybrid of modal Watts, isn’t as superficial as it seems. While referring at the top of his game. Joined by pianist George jazz, freedom and non-Western musics that fit naturally to the leader, it also recalls the site of the Colligan, bassist Joris Teepe and drummer Cecil perfectly with the approach - somewhat tangential to apocalyptic riots in 1965, a neighborhood that Brooks III, all who have worked together on a number the AACM - that collaborators Bey and Shelton have produced jazz legend Charles Mingus. This is of occasions, Braden assembles a terrific program. long instilled in their playing. important because the tunes on the disc, written by He recasts the standard “Secret Love” as a Journey into the Valley (a set that also includes a Watts, are reverential, referential and have a satirical turbulent postbop vehicle, with Colligan showing DVD of the ‘live’ recording session) is one of two edge that echoes some of Mingus’ finest moments. shades of McCoy Tyner. Braden’s laconic, recent Bey-Shelton-Northwoods Improvisers discs and This disc reteams Watts with his long time blues-drenched setting of another standard, “Willow their sixth collaboration. Reedman Mike Carey partners in crime: sax titan Branford Marsalis, bassist Weep For Me”, features some of his most heartfelt introduces “Family Folk Song” on concert flute in a Christian McBride and trumpeter Terence Blanchard. playing of the date. Braden offers a punchy take of Lee spare cascade of metal, wood and air before vibes, bass Watts pays immediate homage to his Pittsburgh roots Morgan’s hardbop masterpiece “Speedball”. Not and drums produce the meaty slink of “Moors”. The with “Return of the Jitney Man”, setting a fierce pace many artists could take a hit for the pop group The three tenors - Bey, Shelton and Carey - weave together for Marsalis’ lightning quick tenor and Blanchard’s Jackson Five and turn it into meaningful jazz, but into an earthy bounce in thematic homage to Archie vibrato rich trumpet. The blues “Brekky with Drekky”, Braden’s bluesy treatment of “Never Can Say Shepp’s “Wherever June Bugs Go”. Bassist Mike a tribute to the late Michael Brecker, has more solid Goodbye” in a midtempo groove works perfectly. Johnston and drummer Nick Ashton sally forth a tenor by Marsalis. Watts himself pays homage to Max Leon Russell’s “This Masquerade” has been tackled by downbeat as Mike Gilmore’s vibes provide sleek Roach and Elvin Jones with the passionate drum solo jazz players with mixed success; the tenorist’s punchy, counterpoint, an interpenetration of deft, nearly “M’Buzai”. The satirical tunes here are sharp without soulful arrangement makes it one of the better urbane minimalism and musty energy from the messages overshadowing the music. The funky interpretations. Braden switches to alto flute for a somewhere more rural. A Griot Galaxy staple, “Katrina James”, for example, is James Brown meets warm rendition of “My Foolish Heart”, accompanied “Zychron”, replaces the R&B honk of “Moors” with Dixieland - protest music to which you can dance. solely by Teepe. The leader’s originals are just as delicately-spread long tones that mirror electronics, McBride’s gutbucket arco on the gospel-tinged Uncle valuable. “Gentle Storm” is a low key, lyrical bossa before Bey’s alto is off at a curling run, buoyed by an Tom indictment “Dancin’ 4 Chicken” is brilliant. “The nova, while “The Hunter” is an intricate duet with incredibly uptempo rhythm section romp of dust and Devil’s Ring Tone - The Movie” is an sneering Teepe. Highly recommended. glass. There’s a delicate play here between adroit, indictment of our former President with a New detailed technique and a coarseness befitting an Orleans funeral segment that is at once a joyful For more information, visit jazzdepot.com. Braden is at The earlier age, gritty tenor playing soft as a handkerchief goodbye and another reference to the Katrina debacle. Cellar Feb. 15th. See Calendar. This quartet played a set in front of a packed house at Le Poisson Rouge as the highlight of the 2009 NYC Winter Jazzfest last month. All of the members were present, with Marsalis billed as his alter ego, Prometheus Jenkins. Over two hours the band performed the entire album. With a Pittsburgh Steelers doll at hand for inspiration, Watts claimed that the band hadn’t played together since recording the album but the chemistry was dynamite from the top. Marsalis blew tirelessly throughout the set and Blanchard, who flew in from New Orleans for the gig, actually stood on his tip-toes to coax high notes from his trumpet a few times. With the crowd energy behind them, the band’s blistering live version of “Dancin’ 4 Chicken” actually surpassed the studio take. The ballad “Owed…” is the only tune with a piano, with lyrical keyboard work by guest star Lawrence Fields, who played the song as gently as a lullaby, Marsalis accompanying on his typically lovely soprano. Watts playfully described “Dingle-Dangle” as “the lazy man’s “Trinkle Tinkle” and his clever arrangement smoothed the brilliant corners of Monk’s

ALLABOUTJAZZ-NEW YORK | February 2009 31 They appear here with former Andrew Hill bassist solo should make him a drum god. When the band John Hebert and Kolker could not have picked better plays Johnny Nash’s reggae-pop hit “I Can See Clearly partners. It is surprising that someone has not thought Now” the band plays dark, tense minor chords where to pair Abercrombie and Motian together more the lyrics would be “sun shiny day”. Well, if you can frequently because they click like a dream. Perhaps it laugh at death you can cry on a sunny day. Musical is Abercrombie’s association with drummer Jack food for thought with amazing jazz playing, this DeJohnette or Motian’s own associations with Bill recording can’t be praised highly enough. Evans’ but the pianist’s legacy is evident. Originals include “gNash”, which is a For more information, visit steeplechase.dk. Walrath is at Happy Together: Live at Birdland, Vol. 1 freeformish opener; the title cut soprano sax showcase NYC Baha’i Center Feb. 10th with Mike Longo and Ken Peplowski/Jesper Thilo (Nagel Heyer) closer; the chamber-infused “Lies” that has Kolker Douglass Street Music Collective Feb. 25th with Cynthia by Andy Vélez exposing the beauty of clarinet and flute; the bluesy Hilts. See Calendar. “In Or Out” and the lightly swinging “Only One”. Ken Peplowski and Jesper Thilo have much more in These contrast with deconstructions of Neil Young’s common than the solid expertise of each on both tenor “Don’t Let It Bring You Down”, Monk’s “Played saxophone and clarinet as demonstrated here. The two Twice” and Harold Arlen’s “Last Night When We effortlessly and authentically bring the Swing Era to Were Young”. All of these tunes, including the vibrant life anew. With “Peps”, who began his originals, seem to have begun somewhere else, with professional career with the Tommy Dorsey Orchestra, roots in disparate places. Kolker’s tone as he spins one has only to hear the first few notes from his delicate webs, Abercrombie’s inventive strumming, clarinet on “I Want to Be Happy” to appreciate how Motian’s insight and intuition along with Hebert’s great an influence Benny Goodman had on him. phrasing bring them together into a cohesive sound Thilo’s thrilling trilling as he races up and down the that is as open as it is musical. scales on “The World is Waiting for the Sunrise” is more straightahead and euphoric Swing Era jazz. This For more information, visit sunnysiderecords.com number is also an opportunity for some friendly dueling of clarinets that understandably evokes excited roars from the audience on this live set. Don’t misunderstand. This is no mere nostalgic or imitative nod to a bygone era. On the ‘40s classic, “Polka Dots and Moonbeams”, Peplowski weaves an alluring spell that is as intricate as it is delicately dreamy. On this tune and throughout the set, Thilo Wagner’s piano offers accompaniment that is subtle and quiet so that at times it almost seems on the verge of disappearing. Yet somehow it doesn’t and the effect Ballroom is to lend a constant underpinning of melodic strength. Jack Walrath (SteepleChase) Everyone gets time to swing easy on the wrapup by Francis Lo Kee number, an extended take on Edison-Hendricks’ “Centerpiece”. Both Peplowski and Thilo give out Jack Walrath not only displays tremendous with unhurried tenor sax sweetness on this one, Thilo trumpet playing, a rich and varied approach to especially with a warmth that for this listener recalled composition and wonderful band, he also puts shades of the great Ben Webster. something into this fantastic CD that’s missing from Hey fellas, bring on Volume Two! too much new jazz: a sense of fun and humor. That’s not to say that it isn’t sensitive and touching at times - For more information, visit nagelheyer.com. Peplowski is at “An Hour Blessed” is arguably as gorgeous as The Kitano Feb. 27th-28th. See Calendar. anything ever recorded. However, what is a listener to make of a version of Elvis Presley’s “Heartbreak Hotel”? Just the inclusion of a tune from the king of early rock ‘n’ roll can make one chuckle, but since the tune is a blues, Walrath channels Louis Armstrong, Bubber Miley, Hot Lips Page and Freddie Hubbard as he lays down some serious playing, complete with plunger mute effects. At the end of his solo, the band moves into a twisted stop-time section (something akin to what Walrath’s former boss Mingus would do in some of his pieces, harkening back to an older technique of jazz), a Flag Day drum solo (Johnathan Blake) provides a bridge to Adam Kolker (Sunnyside) another twisted stop-time section that is a background by Elliott Simon for Boris Kozlov’s wonderful arco bass solo. Pianist Flag Day, the latest from saxophonist Adam Kolker, Bill Mays, who is magnificent throughout, plays a lead exquisitely raises the standard of creative that also has one foot in the older jazz vocabulary, but improvisation with its refreshingly cerebral musical mostly brings a modern harmonic sound and explorations. Kolker is of the school that favors virtuosity that, again, playfully cuts an ironic path unhurried journeys through tunes. This allows the across The King’s hit. musicians to discover interesting musical nooks and On the original “He Was Such A Nice Quiet Boy!” crannies, expand on them and in the process create Walrath and band even move into free jazz territory, new music. Kolker wields an elegant instrument, reminding us again that the older jazzmen always said whether it is his tenor, soprano, flute or clarinet, on that this music is about telling a story. What then these eight tunes. And he and the rest of this quartet could be the story behind the leader’s original “Death forcefully remind that through keen reflection, is Just Around the Corner Cha Cha Cha”? The happy- introspection and inspection jazz can be stylistically sounding tune features great improvised solos from all powerful without postbop frenetics in a kind of members of the quartet and is certainly not a funeral re-birth of the cool. dirge. “Impure Inspiration” is a Walrath blues in F Both drummer Paul Motian and guitarist John where, in the middle of an intense, astounding solo, Abercrombie are the masters of this craft that plays he calmly quotes John Lewis’ “Afternoon in Paris”, “yin” to the “yang” of the typical blowing session. Mays does some unaccompanied stride and Blake’s

32 February 2009 | ALLABOUTJAZZ-NEW YORK Announcing the debut album of percussionist Daniel Sadownick, "There Will Be A Day" on In Time Records.

It features original compositions and arrangements by this in-demand percussionist who has recorded with Michael Brecker, Nicholas Payton, Pat Martino, Christian McBride, Dennis Chambers and Al Green. The Album also features: Scott Colley - Bass Rob Bargad - Piano Joe Magnarelli - Trumpet Michael Karn - Tenor Saxophone David Binney - Alto Saxophone Daniel Freedman - Drums Keve Wilson - Oboe Kenny Wollesen - Percussion Available at: iTunes.com CD Baby.com Amazon.com EarBuzz.com CD Universe.com IndieRhythm.com please visit danielsadownick.com The Jazz Singers: The Ultimate Guide Live from Jazz at Lincoln Center, NYC IN PRINT Scott Yanow (Backbeat Books) ON DVD Willie Nelson/Wynton Marsalis (Eagle Eye) by Suzanne Lorge by George Kanzler

Gosh, there are a heck of a lot of jazz singers out there. Willie Nelson has the final word on this DVD, heard over More than 700 at least, according to Scott Yanow, who the closing credits and he nails it: “You know labels were takes on the daunting task of cataloguing them all. Jazz invented to sell the music. You had to name it before you singing doesn’t lend itself to ready analysis, as do, say, the can sell it. But some music encompasses it all and what do football strategies that lead to a Super Bowl win. Reason you call that? That’s what I like to play”. being, before you can say who the greatest jazz singers are Nelson and Wynton Marsalis were the perfect odd you have to define jazz singing and there’s the rub. couple of 2008, the CD made of their concert at Jazz at Yanow gives a nod to the problem and proceeds to offer Lincoln Center a surprisingly satisfying and deservedly a working definition at the get-go: To be a jazz singer, first acclaimed album. The heart of this DVD is that same and foremost one must have an interesting voice and contribute in some way concert music, illuminated with rehearsal clips and reflections on the concert to the professional jazz lexicon. Vocal innovation is the key factor in jazz and on each other by the two principles. As the best such films do, it enhances singing, but not scatting necessarily and he points to Billie Holiday, Frank the music. And it is very special music, a real slice of Americana that, as the Sinatra and Tony Bennett as candidates for inclusion and goes on to note, by quote above suggests, transcends market genres and easy labels. Marsalis contrast, that great improvising does not necessarily a great jazz singer make: calls it blues, Nelson calls it jazz, but comments along the way suggest Chet Baker could be one heck of a scatter but wasn’t much of a singer. Still, everything from country and folk to gospel and traditional New Orleans. Baker made the cut. Norah Jones, the jewel in the crown of Blue Note Records, Call it what you will, the music is all perfectly calibrated to swing, whether did not. Yanow explains and it’s all very convincing. fleetly racing on “That’s All” or settling into a slow heartbeat on “Georgia On These kinds of conversations run throughout the book and give us the My Mind”. Marsalis’ responsibility for setting those apropos second reason to read it: namely, to see who made it in and why. Yanow is tempos is revealed in rehearsal shots that show him laying down the beat and careful in his explanations and generous to his subjects, even as some of his rhythmic feel by clapping and scatting for the band. The trumpeter also selections still beg the question, Why this one and not that one? But this is not comments on how “unpredictable” Nelson’s guitar solos are and we see him an official ranking and Yanow is clear when the opinion is his. and other band members silently laughing as they watch and listen on stage The book is divided into six sections: the greats, today’s up-and-comers, to the bent notes and odd chords wrung from his battered, gouged guitar. One singing instrumentalists, vocal groups, jazz singers on film and other books of the delights of this concert is Nelson and his harmonica player Mickey on jazz singers. The introduction is full of interesting background information Raphael easing right in to the jazz improvising and saxophonist Walter but could have done without the paragraphs on unskilled singers: How much Blanding and pianist Dan Nimmer joyously going with the flow as if they time on Super Bowl Sunday do we spend complaining about the quarterback were at a hip hoedown. who fumbled during our high school’s Homecoming game? For more information, visit kayosproductions.com. Nelson and Marsalis are at Rose For more information, visit backbeatbooks.com Hall Feb. 9th-10th. See Calendar.

34 February 2009 | ALLABOUTJAZZ-NEW YORK

CALENDAR

• Brein’s Café: Georg Breinschmid, Frantisek Janoska, • The Yellowjackets: Bob Mintzer, Russell Ferrante, Jimmy Haslip, Sunday, February 1 Roman Janoska Austrian Cultural Forum 7:30 pm Marcus Baylor and guest Mike Stern ÌRobin McKelle Blue Note 8, 10:30 pm $25 • Jane Monheit Feinstein’s 8:30 pm $88 Blue Note 8, 10:30 pm $35 • Joey DeFrancesco Band with Larry Coryell • Jesse Elder Group with Logan Richardson, Jeremy Viner, • Jane Monheit Feinstein’s 8:30 pm $88 Iridium 8:30, 10:30 pm $35 Chris Tordini, Tyshawn Sorey, Zack Foley; Grant Stewart Quartet; • Dmitri Kolesnik Trio Cleopatra’s Needle 7 pm ÌLou Donaldson Quartet with Akiko Tsuruga, Randy Johnston, Ken Fowser Quintet with Behn Gelice • Nick Moran Trio; Ron Petrides Trio Fukushi Tainaka Dizzy’s Club 7:30, 9:30 pm $30 Smalls 7:30, 9, 10:30 pm 12, 1:30 am $20 The Garage 6, 10:30 pm Ì • Gonzalo Rubalcaba Quintet with Yosvany Terry, Nataliya Z Duo; Jeff “Tain” Watts Michael Rodriguez, Matt Brewer, Obed Calvaire Puppet’s 6:30, 9 pm $6 Friday, February 6 Jazz Standard 7:30, 9:30 pm $30 • James Ilgenfritz, Mike Pride, Jonathan Moritz, Chris Welcome ÌFrancisco Mela Quartet with Greg Osby, Sam Yahel, Matt Penman Le Grand Dakar 8:30 pm $8 ÌCharli Persip and Supersound Village Vanguard 9, 11 pm $30 • Zach Layton and Brian Chase York College Perf. Arts Ctr. 8 pm $20 ÌThurston Moore/Mats Gustafsson; John Olson with Okkyung Lee, The Stone 10 pm $10 ÌEddie Palmieri La Perfecta II with Herman Olivera, Brian Lynch, C.Spencer Yeh; Sunburned Hand of the Gene Moore; Tovah d-day • Greta’s Bakery With Sandro Albert Jimmy Bosch, Jose Claussell, Nelson Gonzalez, Vicente “Little The Glasslands 9 pm $7 Zinc Bar 9:30, 11 pm 12:30 am Johnny” Rivero, Orlando Vega, Luques Curtis, Karen Joseph, ÌEivind Opsvik’s Overseas with Tony Malaby, Jacob Sacks, • Ken Hatfield, Hans Glawischnig, Jamie Baum Joe Fiedler, Ray Viera Rose Hall 8 pm $30-120 Kenny Wollesen 55Bar 9:30 pm Fetch 7:30 pm ÌMasada Sextet: John Zorn, Dave Douglas, Greg Cohen, • Pete Robbins and Silent Z with Jesse Neuman, Mike Gamble, • Jack Wilkins/Carl Barry Bella Luna 8 pm Joey Baron, Uri Caine, Cyro Baptista Thomas Morgan, Tyshawn Sorey • Valery Ponomarev Big Band; Ai Murakami Trio Abrons Arts Center 8 pm $25 Cornelia Street Café 8:30 pm $10 The Garage 7, 10:30 pm ÌHelen Sung/Ron Carter Rubin Museum 7 pm $20 Ì • Pamela Z Issue Project Room 8 pm $10 Inner Diaspora: Mark Feldman, Erik Friedlander, Jerome Harris, • Yiddish Princess; Avi-Fox-Rosen Band Wednesday, February 4 Samir Chatterjee, Ned Rothenberg Puppet’s 7:30, 9 pm $6 Union Temple 8:30 pm Ì • Katherine Young & Co. with Peter Evans, Mike McCurdy, • John Scofield Trio and the Scohorns with Matt Penman, Lucian Ban’s Assymetry Quartet with Jorge Sylvester, Brad Jones, Caley Monahon-Ward; Josh Sinton solo; Nate Wooley Quartet with Bill Stewart, Philip Grenadier, Frank Vacin, Tom Olin Gene Jackson Cornelia Street Café 9, 10:30 pm $10 Ivar Grydeland, Chris Riggs, Ben Hall Zankel Hall 8:30 pm $34-44 • Lukas Ligeti Whitney Museum 7 pm Douglass St. Music Coll. 8 pm $10 • Lewis Nash Quintet Birdland 8:30, 11 pm $30 ÌMickey Bass and The New York Powerhouse Ensemble with Ì • Bud Burridge Brooklyn Lyceum 9, 10:30 pm $10 Joey Calderazzo Trio with Boris Kozlov, Jeff “Tain” Watts George Cables, Eric Allen Creole 8 pm $20 • Peter Leitch/Charles Davis Jazz Standard 7:30, 9:30 pm $20 • Images of Monk: Ted Rosenthal Quintet with Joel Frahm, Walker’s 8 pm • Gino Sitson Quartet with Klaus Mueller, Lonnie Plaxico, Mike Rodriguez, Martin Wind, Quincy Davis • Erika Matsuo with Carlton Holmes, Essiet Essiet, Willard Dyson, Willard Dyson The Kitano 8, 10 pm Dicapo Opera Theatre 8 pm $25 Paulo Levi Blue Owl 8 pm $5 • Clark Gayton’s Reggae Jazz Tribute To Bob Marley ÌCindy Blackman’s Explorations with Antoine Roney, Zaccai Curtis, • Alan Ferber Nonet + Strings Zinc Bar 9:30, 11 pm 12:30 am Rashaan Carter Jazz Standard 7:30, 9:30, 11:30 pm $30 Saint Peter’s 5 pm • Carol Fredette with Helio Alves, David Finck, Kevin Winard, • Dwayne Clemons with Josh Benko, Sacha Perry, Jim Wormworth; • Mark Adamy Trio Middle Collegiate Church 6 pm Barry Danielian, Bob Malach, Roger Squitero Seamus Blake Quintet with Dave Kikoski, Lage Lund, Bill Stewart, • Yaala Ballin Smoke 6, 7 pm Iridium 8:30, 10:30 pm $25 Matt Clohesy; Tim McCall Smalls 7:30, 9, 10:30 pm 12, 1:30 am $20 ÌJoe Giardullo’s Gravity Music • Freddie Bryant Smoke 8, 10 , 11:30 pm $5 • Mike Melvoin Trio with Jay Leonhart, Bill Goodwin Tribes Gallery 3 pm ÌSpike Wilner Solo; Joan Stiles with Joel Frahm, Matt Wilson; The Kitano 8, 10 pm $25 Ì • Metropolitan Klezmer City Winery 11 am $10 Joe Magnarelli Quartet Smalls 7:30, 9, 10:30 pm 12 am $20 Denman Maroney, Jay Rozen, Jeremiah Cymerman, • NYU Jazz Brunch Blue Note 12, 2:30 pm $24.50 • From Bacteria to Boys: Mike Pride, Darius Jones, Peter Bitenc, James Ilgenfritz Issue Project Room 8 pm $10 Ì • Sachal Vasandani Trio with Paul Meyers, Neal Miner Alex Marcelo Issue Project Room 8 pm $10 Darcy James Argue’s Secret Society North Square Lounge 12:30, 2 pm • Robin Aleman Symphony Space 9 pm Jazz Gallery 9, 10:30 pm $15 Ì • John Colianni Quintet; David Coss and Trio; • Elektra Kurtis and Ensemble Elektra with Curtis Stewart, Paul Carlon Octet Drom 8 pm $12 Ryan Anselmi Quartet The Garage 12, 7, 11:30 pm Lefteris Bournias, Brad Jones, Kahlil Kwame Bell • Mary Foster Conklin with John DiMartino, Marco Panascia, Cornelia Street Café 8:30 pm $10 Tim Horner Metropolitan Room 7:30 pm $20 Monday, February 2 • Fay Victor Ensemble with Anders Nilsson, Ken Filiano, • Willie Martinez Lenox Lounge 8:30, 10 pm 12 am $20 Michael TA Thompson 55Bar 7 pm • Nanni Assis, Cidinho Teixeira, David Finck ÌClifton Anderson Quintet with Stephen Scott, Eric Wyatt, • Sean Wayland Group with Mark Guiliana, Matt Clohesy, Knickerbocker Bar and Grill 9:45 pm $5 Russel Blake, Steve Williams Aki Ishiguro 55Bar 10 pm $10 • Diana Wayburn Quartet; Pascal Niggenkemper Group Dizzy’s Club 7:30, 9:30 pm $20 ÌFire in July Brooklyn Lyceum 8, 9:30 pm $10 5C Café 8 pm $7 • Will Sellenraad Quartet with Abraham Burton, Kiyoshi Kitagawa, • JP Schlegelmilch Quartet Barbès 8 pm $10 • Shelley Hirsch, Aki Onda, Ursula Scherrer; Magick Report Eric McPherson Blue Note 8, 10:30 pm $10 • James Keepnews’ Stalker with Todd Nicholson, Mike Golub Issue Project Room 8 pm $10 • Sean Noonan’s Brewed by Noon with Aram Bajakian, Tim Dahl Yippie Café 8 pm $10 • Braden Palmer Trio; Randy Johnston Trio Joe’s Pub 9:30 pm $15 • Bomb X: Robin Verheyen, Masa Yamamoto, Red Wierenga, Puppet’s 6, 9 pm $6-12 ÌMingus Dynasty Jazz Standard 7:30, 9:30 pm $25 Nicolas Letman-Burtinovic, Ziv Ravitz • Collar City Createology: George Muscatello, Dean Sharp, • Terence Blanchard conducts the Juilliard Jazz Orchestra with VoxPop 8 pm Michael Bisio Douglass St. Music Coll. 8:30 pm $10 Will Reardon-Anderson, Jordan Pettay, Pete Reardon-Anderson, • Arturo O’Farrill Solo; Lena Bloch • Scopa Trio: Brian Drye, Vinnie Sperrazza, Geoff Kraly; Jeremy Viner, Adison Evans, Melvin Fowler, Matthew Jodrell, Puppet’s 7, 9 pm $6-10 Vinnie Sperrazza/Matt Blostein Quartet with Jesse Stacken, Randall Haywood, Chris Burbank, James Burton, Melissa Jean, ÌBenny Golson New Jazztet 80th Birthday Celebration with Geoff Kraly I-Beam 9, 10 pm $10 Robert Edwards, Javier Nero, Kris Bowers, Thomas Guarna, Eddie Henderson, Steve Davis, Mike LeDonne, Buster Williams, • Chris Crocco’s Fluid Trio Bar Next Door 9, 11:15 pm $10 Phil Kuehn, Lee Pearson Peter Jay Sharp Theater 8 pm Carl Allen Dizzy’s Club 7:30, 9:30 pm $30 • Tunde Adebimpe/Ryan Sawyer; Kría Brekkan ÌJohn Bunch Trio with Bucky Pizzarelli, Jay Leonhart; ÌMarshall Gilkes with Mike Rodriguez, Jon Cowherd, Eric Doob, The Stone 8 pm $10 Ari Hoenig Group with Gilad Hekselman, Johannes Weidenmueller Yasushi Nakamura Dizzy’s Club 11 pm $10 • David Freeman/Daniel Carter Duo Smalls 7:30, 9, 10:30 pm 12 am $20 ÌVanguard Jazz Orchestra Village Vanguard 9, 11 pm $30 VoxPop 8 pm • David Amram and Co. with Kevin Twigg, John de Witt, • The Yellowjackets: Bob Mintzer, Russell Ferrante, Jimmy Haslip, • Chase Experiment: Jackie Coleman, Marc Osterer, Aaron Rockers, Adam Amram, John Ventimiglia Marcus Baylor and guest Mike Stern Cameron Summers, Mike Taylor, Brad Whiteley, Chris Conly, Cornelia Street Café 8:30 pm $10 Blue Note 8, 10:30 pm $35 Adam Minkoff, Ian Carroll, Scott Patterson • Jason Lindner’s Now vs. Now • Jane Monheit Feinstein’s 8:30 pm $88 Tea Lounge 9, 10:30 pm $5 Rose Live Music 8 pm • David White Quintet; Ryan Oliver Quartet • Eidolon: Tucker Dulin, Andrew Lafkas, Kenny Wang, Jim Altieri, • Gary Morgan’s Panamericana with Jon Owens, John Chudoba, The Garage 6, 10:30 pm Ann Adachi, Bryan Eubanks, Katie Young, Dave Ruder, Chris Rogers, John Bailey, Alan Ferber, Mike Fahie, Chris Olness, • Art Lillard’s Heavenly Jazz Band Dave Kaden, Leif Sundstrom Chris Komer, Amie Margoles, Norbert Stachel, Bruce Williamson, Saint Peter’s 1 pm $5 Lutheran Church of the Messiah 8 pm $5 Ben Kono, Dave Riekenberg, Terry Goss, Cliff Korman, Bass, ÌBarry Harris Trio Iridium 8:30, 10:30 pm $30 Andy Eulau, Drums, Renato Thoms, Tony deVivo Thursday, February 5 • Reuben Wilson with Melvin Sparks, Jerry Weldon, Vince Ector Cachaça 7:30, 9 pm $15 Smoke 8, 10 , 11:30 pm $30 Ì • On Davis Solo Yippie Café 7:30 pm $10 Barry Harris Trio Iridium 8:30, 10:30 pm $30 • Lewis Nash Quintet Birdland 8:30, 11 pm $30 • Colin Stetson, Adam Roberts, Ryan Sawyer, Shahzad Ismaily • Reuben Wilson with Melvin Sparks, Jerry Weldon, Vince Ector • Robin Aleman Symphony Space 9 pm Zebulon 9 pm Smoke 8, 10 , 11:30 pm $30 ÌBenny Golson New Jazztet 80th Birthday Celebration with • Mike Gamble, Matt Vorzimer, Rashaan Carter, Logan Richardson • Amy Cervini Quartet with Michael Cabe, Mark Lau, Ernesto Cervini Eddie Henderson, Steve Davis, Mike LeDonne, Buster Williams, Bar 4 7 pm $5 55Bar 7 pm Carl Allen Dizzy’s Club 7:30, 9:30 pm $30 Ì • Sachal Vasandani Trio Bar Next Door 8 pm $10 • Steve Cardenas Quartet with Chris Cheek, Ben Allison, Marshall Gilkes with Mike Rodriguez, Jon Cowherd, Eric Doob, • Dominic Lash, Magda Mayas, Peter Evans, Okkyung Lee, Matt Wilson 55Bar 10 pm Yasushi Nakamura Dizzy’s Club 11 pm $10 Tom Blancarte, Louise Dam Eckardt Jensen • Gabriel Alegria Afro Peruvian Sextet with Laurandrea Leguía, ÌVanguard Jazz Orchestra Village Vanguard 9, 11 pm $35 Paris London West Nile 9:30 pm Yuri Juárez, Ramón De Bruyn, Hugo Alcázar, • The Yellowjackets: Bob Mintzer, Russell Ferrante, Jimmy Haslip, • New School Presents: Andy Milne/Gregoire Maret Freddy “Huevito” LobatónTribeca Perf. Arts Ctr. 8 pm $25-35 Marcus Baylor and guest Mike Stern Sweet Rhythm 8, 10 pm $10 ÌThe Dream of the Ants: Terrence McManus, Ellery Eskelin, Blue Note 8, 10:30 pm $35 • Secret Signs: Stefan Bauer, Nate Radley, Art Kell, Christian Finger Gerry Hemingway; Matt Bauder/Jason Ajemian; • Jane Monheit Feinstein’s 8, 10:30 pm $88 VoxPop 7 pm Architeuthis Walks on Land: Matt Bauder, Katherine Young, • Craig Hartley Quartet Cleopatra’s Needle 8 pm • Jocelyn Medina Lola Is Soul 7:30 pm Amy Cimini Issue Project Room 8 pm $10 • Hide Tanaka Trio; Kevin Dorn’s Traditional Jazz Collective • Number 1; Nate Smith and Category Four; Kirk Schoenherr; • John Merrill Trio with Brian Floody, Tom Pietrycha; The Garage 6, 10:30 pm Danny Fox Spike Hill 8 pm Joe Martin Group with Chris Potter; Alex Hoffman • Master Class: Sean Smith Manhattan School 3 pm Smalls 7:30, 9, 10:30 pm 12 am $20 • Howard Williams Jazz Orchestra; Ben Cliness Trio • Chris Forsyth with Nate Wooley The Garage 7, 10:30 pm The Stone 8 pm $10 • Sam Newsome Sister’s Uptown Bookstore 7:30 pm $15 REGGIE NICHOLSON Tuesday, February 3 • Amanda Baisinger and Kristin Andreassen with Mike Moreno, Pete Rende, Peter Slavov, Jordan Perlson PERCUSSION CONCEPT ÌBenny Golson New Jazztet 80th Birthday Celebration with Cornelia Street Café 8:30 pm $10 Eddie Henderson, Steve Davis, Mike LeDonne, Buster Williams, • Tony Barba Quartet with George Garzone, Tony Falco Carl Allen Dizzy’s Club 7:30, 9:30 pm $30 Tea Lounge 9, 10:30 pm $5 “TIMBRE SUITE” ÌMarshall Gilkes with Mike Rodriguez, Jon Cowherd, Eric Doob, ÌBen van Gelder Quartet with Kyle Wilson, Ben Street Yasushi Nakamura Dizzy’s Club 11 pm $10 Jazz Gallery 9, 10:30 pm $10-15 ÌMatthew Shipp Trio with Joe Morris, Whit Dickey ÌKyle Farrell/Jenna Bravatski Duo; Pete Robbins Group with featuring Jazz Standard 7:30, 9:30 pm $20 Mario Pavone, Tyshawn Sorey ÌVanguard Jazz Orchestra Village Vanguard 9, 11 pm $30 Le Grand Dakar 8 pm $8 • Songs and Spirituals: John Patitucci, Jon Cowherd, • Miho Nobuzane with Jorge Continantino, Itaiguara Brandao, Warren Smith - percussion Adriano Santos The Kitano 8, 10 pm Rogerio Boccato West Side YMCA 7:30 pm $15 Don Eaton - percussion • The Yellowjackets: Bob Mintzer, Russell Ferrante, Jimmy Haslip, • Patrick Wolff Trio Bar Next Door 8 pm $10 Marcus Baylor and guest Mike Stern • Tyler Blanton Quartet; Jorge Anders Quartet Salim Washington - percussion, woodwinds Blue Note 8, 10:30 pm $35 Puppet’s 6, 9 pm $6 • Phil Markowitz Manhattan School 7:30 pm • Blaise Siwula, Claire DeBrunner, Sten Hostfalt Reggie Nicholson - drums, percussion • Laurie Krauz and The Daryl Kojak Octet with Sean Conly, Yippie Café 8 pm $5 Gene Lewin, ‘Sweet’ Sue Terry, Jamie Fox, Emily Bindiger, • Lewis Nash Quintet Birdland 8:30, 11 pm $30 Margaret Dorn, Kathryn Raio ÌJoey Calderazzo Trio with Boris Kozlov, Jeff “Tain” Watts Iridium 8, 10 pm $25 Jazz Standard 7:30, 9:30 pm $20 • Warren Chiasson Red Norvo Tribute • Robin Aleman Symphony Space 9 pm NYC Baha’i Center 8, 9:30 pm $15 ÌBenny Golson New Jazztet 80th Birthday Celebration with CD available at • Steve Reid Ensemble with Joe Rigby, Boris Netsvetaev, Eddie Henderson, Steve Davis, Mike LeDonne, Buster Williams, Mamadou Sars, Dominic Lash Carl Allen Dizzy’s Club 7:30, 9:30 pm $30 Downtown Music Gallery Joe’s Pub 9:30 pm $15 ÌMarshall Gilkes with Mike Rodriguez, Jon Cowherd, Eric Doob, 342 Bowery @ East 3 Street, NYC ÌJosh Roseman’s Execution Quintet with Ambrose Akinmusire, Yasushi Nakamura Dizzy’s Club 11 pm $10 Myron Walden, Peter Apfelbaum, Rudy Royston ÌVanguard Jazz Orchestra Village Vanguard 9, 11 pm $30 mp3 available from CDbaby.com Bowery Poetry Club 10 pm $10

36 February 2009 | ALLABOUTJAZZ-NEW YORK • Arturo O’Farrill Solo; Ralph Hamperian’s Tuba D’Amore Saturday, February 7 Monday, February 9 Puppet’s 7, 9 pm $6-10 ÌThe Dreamers: Marc Ribot, Jamie Saft, Kenny Wollesen, ÌWillie Nelson and Wynton Marsalis with guest Norah Jones • Robbie Lee Project Barbès 8 pm $10 Trevor Dunn, Joey Baron, Cyro Baptista, John Zorn Rose Hall 8 pm $157.50 ÌPaul Motian Trio with Chris Potter, Jason Moran Abrons Arts Center 8 pm $25 • Juilliard Jazz Ensemble with guest Steve Turre Village Vanguard 9, 11 pm $30 ÌConnection Works Ensemble: Michel Gentile, Daniel Kelly, Dizzy’s Club 7:30, 9:30 pm $15 ÌCassandra Wilson Blue Note 8, 10:30 pm $55 Rob Garcia and guests Bill McHenry, Chris Lightcap; • Mingus Big Band Jazz Standard 7:30, 9:30 pm $25 • Kenny Werner Trio with Johannes Weidenmueller, Ari Hoenig Steve Coleman and the Five Elements with Jonathan Finlayson, ÌAdam Rudolph Go: Organic Orchestra Jazz Standard 7:30, 9:30 pm $25 Tim Albright, Jen Shyu, Miles Okazaki Roulette 8:30 pm $15 • Cinema Paradiso: Modern Romantic Film Music of Belarusian Church 8 pm $15 • Antonio Ciacca Quartet with Stacy Dillard, Dezron Douglas, Ennio Morricone, Johnny Mandel & Henry Mancini: • James Carter Organ Trio with Gerard Gibbs, Leonard King and Ulysses Owens Blue Note 8, 10:30 pm $10 Kenny Washington, Joe Locke, Geoffrey Keezer, George Mraz, guest Miché Braden Miller Theatre 8 pm $25 ÌSteve Swell Trio with Ken Filiano, Andrew Drury Clarence Penn Dizzy’s Club 7:30, 9:30 pm $30 • Luiz Simas Trio with Itaiguara Brandao, Kenny Grohowski Yippie Café 7:30 pm $10 • Denise Donatelli Quartet Dizzy’s Club 11 pm $10 Cornelia Street Café 9, 10:30 pm $10 • Curhachestra: Curtis Hasselbring, Ron Caswell, Brian Drye, • Hilary Kole with guest John Pizzarelli • TK Blue’s Birthday and Tribute to Randy Weston and Gigi Gryce Tim Monaghan, Brandon Seabrook Birdland 8:30, 11 pm $30 Sistas’ Place 9, 10:30 pm $20 Barbès 7 pm $10 • The Invisible Trio with John Chin; Dave Kain Group • Jason Lindner’s Now vs. Now • Hector Del Curto’s Eternal Tango Quintet The Garage 6, 10:30 pm Jazz Gallery 9, 10:30 pm $15 Joe’s Pub 7:30 pm $20 • Catherine Dupuis/Russ Kassoff • Naranjana; Alex Blake Quartet • Romain Collin Trio with Luques Curtis, Ferenc Nemeth; Saint Peter’s 1 pm $5 Puppet’s 6, 9 pm $6-12 Ari Hoenig Trio with Jean-Michel Pilc, Francois Moutin ÌChris Schlarb’s Twilight & Ghost Stories with Tom Abbs, Smalls 7:30, 9, 10:30 pm 12 am $20 Diane Cluck, G. Lucas Crane, Shannon Fields, Sebastian Krueger, • Salo: Josh Rutner, Ed Rosenberg, Andrew Smiley, Brady Miller, Mick Rossi, Chad Taylor, Katherine Young and guests Ben Gallina Rose Live Music 9 pm The Stone 8, 10 pm $10 • Michael Coleman, Mike Gamble, Nate Brenner • Grant Stewart Trio Bar Next Door 9, 11:15 pm $10 Bar 4 7 pm $5 ÌHarris Eisenstadt’s Mixed Company with Judith Berkson, • Shayna Steele Trio Bar Next Door 8 pm $10 Jeremiah Cymerman, Jacob Garchik, Tanya Kalmanovitch, • New School Presents: Andy McKee Charles Mingus Ensemble with Aryeh Kobrinsky, Dominic Lash, Sara Schoenbeck, Josh Sinton, Jack Ramsey, Brian Kesley, Darrell Smith, Justin Matthews, Finnish jazz legend Owen Stewart-Robertson, Mark Taylor, Jacob Wick, Katie Young Richard Savage, Paolo Sapia, Montana Agte-Studier Douglass St. Music Coll. 8 pm $10 Sweet Rhythm 8, 10 pm $10 • Welf Dorr, David Tunnel, Marc Constant, Sam Knight • Inter-oceanico; Miki Hirosi; Matt Snow Quintet; Popsicle Head Heikki Sarmanto Night of the Cookers 10 pm Spike Hill 7 pm • Michael Vallarelli/Dwight Goodyear ÌRocco John Group Otto’s Shrunken Head 6 pm in concert at 5C Café 8 pm $7 • Howard Williams Jazz Orchestra; Michael O’Brien Trio • Banana Puddin’ Jazz: Martha Redbone The Garage 7, 10:30 pm Nuyorican Poets Café 9 pm $15 St. Mark's Church ÌEddie Palmieri La Perfecta II with Herman Olivera, Brian Lynch, Tuesday, February 10 Jimmy Bosch, Jose Claussell, Nelson Gonzalez, Vicente “Little Feb. 25th, 2009 Johnny” Rivero, Orlando Vega, Luques Curtis, Karen Joseph, ÌThe Necks Le Poisson Rouge 7:30 pm $20 Joe Fiedler, Ray Viera Rose Hall 8 pm $30-120 ÌPaul Motian Trio with Chris Potter, Jason Moran 8:15pm ÌMickey Bass and The New York Powerhouse Ensemble with Village Vanguard 9, 11 pm $30 George Cables, Eric Allen Creole 8, 10 pm $20 ÌCassandra Wilson Blue Note 8, 10:30 pm $55 with guests: ÌCindy Blackman’s Explorations with Antoine Roney, Zaccai Curtis, • Kenny Werner Trio with Johannes Weidenmueller, Ari Hoenig Rashaan Carter Jazz Standard 7:30, 9:30, 11:30 pm $30 Jazz Standard 7:30, 9:30 pm $25 Jeannine Otis (vocals) • Warren Oree Arpeggio Jazz Ensemble; Seamus Blake Quintet with • Cinema Paradiso: Modern Romantic Film Music of Dave Kikoski, Lage Lund, Bill Stewart, Matt Clohesy; Ennio Morricone, Johnny Mandel & Henry Mancini: Wei Sheung Lin (bass) Spencer Murphy Smalls 7:30, 9, 10:30 pm 12, 1:30 am $20 Kenny Washington, Joe Locke, Geoffrey Keezer, George Mraz, Sieji Ochai (drums) • Mike Melvoin Trio with Jay Leonhart, Bill Goodwin Clarence Penn Dizzy’s Club 7:30, 9:30 pm $30 The Kitano 8, 10 pm $25 • Denise Donatelli Quartet Dizzy’s Club 11 pm $10 • Mary Foster Conklin with John DiMartino, Marco Panascia, • Hilary Kole with guest John Pizzarelli Tim Horner Metropolitan Room 7:30 pm $20 Birdland 8:30, 11 pm $30 131 E. 10th St. • Willie Martinez Lenox Lounge 8:30, 10 pm 12 am $20 • Marlene VerPlanck and Barry Levitt Trio • Nanni Assis, Cidinho Teixeira, David Finck Iridium 8, 10 pm $25 Donations accepted Knickerbocker Bar and Grill 9:45 pm $5 • Mike Longo New York State of the Art Jazz Ensemble with ÌBarry Harris Trio Iridium 8:30, 10:30 pm $30 Hilary Gardner NYC Baha’i Center 8, 9:30 pm $15 Sponsored by the • Reuben Wilson with Melvin Sparks, Jerry Weldon, Vince Ector • Matt Geraghty Project with Jonathan Kreisberg, Matt Shulman, St. Mark's Music Fund Smoke 8, 10 , 11:30 pm $30 Satya Gummuluri, Adriano Santos, Sam Barsh; • Lewis Nash Quintet Birdland 8:30, 11 pm $30 Nick Hempton Quartet with Art Hirahara, Marco Panascia, ÌBenny Golson New Jazztet 80th Birthday Celebration with Dan Aran; Ken Fowser Quintet with Behn Gelice Eddie Henderson, Steve Davis, Mike LeDonne, Buster Williams, Smalls 7:30, 9, 10:30 pm 12, 1:30 am $20 Carl Allen Dizzy’s Club 7:30, 9:30 pm $30 • Mossa Bildner’s Harvest Of My Tongue with Hill Greene, ÌMarshall Gilkes with Mike Rodriguez, Jon Cowherd, Eric Doob, Adam Morrison, Ras Moshe, Jorge Amorim and guest Yasushi Nakamura Dizzy’s Club 11 pm $10 Barry Altschul The Living Theatre 8 pm $10 ÌVanguard Jazz Orchestra Village Vanguard 9, 11 pm 12:30 am $35 • Jason Lindner Now Vs. Now Special Valentine's Day Concert • The Yellowjackets: Bob Mintzer, Russell Ferrante, Jimmy Haslip, Zinc Bar 9:30, 11 pm 12:30 am Marcus Baylor and guest Mike Stern • Brad Farberman Group The Creek 8 pm February 14th at 8 PM Blue Note 8, 10:30 pm $35 • Juan Pablo Carletti Trio with Ben Stapp, Kenny Warren • Jane Monheit Feinstein’s 8, 10:30 pm $88 Le Grand Dakar 8:30 pm $8 • Vladimir Cetkar with Milan Milanovic, Moto Fukushima, • Ryan Anselmi Quartet Puppet’s 9 pm $6 Aaron Steele Blue Note 12:30 pm $8 ÌWillie Nelson and Wynton Marsalis with guest Norah Jones A LOVE SUPREME • Ken Simon Quartet Cleopatra’s Needle 8 pm Rose Hall 8 pm $157.50 • Laurent David Band Goodbye Blue Monday 10 pm • David Schumacher/JC Sanford Sound Assembly with Matt Wilson, Words and music by John Coltrane • Ayana Lowe, Patrizia Scascitelli, Dave Colding, Lou Grassi Kermit Driscoll, Deanna Witkowski, Andy Green, Dan Willis, 55Bar 6 pm John O’Gallagher, Chris Bacas, Ben Kono, Kenny Berger, One of Coltrane's most profound and personal • Larry Newcomb Trio; Fumi Tomita; Akiko Tsuruga Trio Jon Owens, Bud Burridge, John Bailey, Russ Johnson, compositions, A Love Supreme is deeply probing The Garage 12, 6, 10:30 pm Mark Patterson, Alan Ferber, Noah Bless, Mike Christianson on both a musical and a spiritual level. Bowery Poetry Club 10 pm $10 Sunday, February 8 • Jon Natchez/Kelly Pratt The Stone 8 pm $10 • Jocelyn Medina Quartet with Jo Junghanss, Perry Wortman, Roy Campbell Jr., trumpets and flute ÌRashied Ali Quintet with Lawrence Clark, Josh Evans, Bodek Janke Bella Sguardo 8:30 pm $8 Louie Belogenis, tenor saxophone Greg Murphy, Joris Teepe Jazz Standard 7:30, 9:30 pm $25 • Ken Hatfield, Hans Glawischnig, Steve Kroon ÌQuinsin Nachoff Brooklyn Lyceum 9, 10:30 pm $10 Fetch 7:30 pm Beth Anne Hatton, vocals • Sara Serpa Quintet with Andre Matos, Vardan Ovsepian, • Jack Wilkins/Sheryl BaileyBella Luna 8 pm Andrew Bemkey, piano Tyshawn Sorey Cornelia Street Café 8:30 pm $10 • Valery Ponomarev Big Band; Gasper Bertoncelj Trio • Synergy Sight and Sound: Amir Bey, Saco Yasuma, Ras Moshe, The Garage 7, 10:30 pm Hilliard Greene, bass Dave Ross, Christopher Dean Sullivan, Lou Grassi Michael Wimberly, drums Sweet Rhythm 7:30, 9:30 pm $10 Wednesday, February 11 And: • Pablo Aslan’s Avantango Joe’s Pub 7:30 pm $15 • Cooper-Moore; Jason Ajemian’s Joy Mega with Matt Bauder, ÌText of Light: Alan Licht, Lee Ranaldo, DJ Olive, William Hooker Jacqui Lewis, speaker Jacob Wick, Amy Cimini, Jessica Pavone, Mary Halvorson, Issue Project Room 8 pm $10 Chad Taylor Zebulon 7, 9 pm • Barbara King Iridium 8:30, 10:30 pm $25 • Yoshie Fruchter’s Pitom Puppet’s 10 pm $10 • In The Spirit of Mingus: Diane Moser and the New School Jazz $15 suggested donation • Stone Arabia: Robyn Siwula, Mike Irwin, Dmitry Ishenko, Composers Big Band with Marcelino Feliciano, Andy Eulau, Brian Adler; Dominic Lash Trio with Jeremiah Cymerman, Scott Neumann, Larry Maltz, Ed Xiques, Tom Colao, Harris Eisenstadt ABC No Rio 8 pm $5 Rob Middleton, Marty Fogel, Barbara Cifelli, Erick Storckman, • Peter Leitch/Harvie S Walker’s 8 pm Ben Williams, Matt Haviland, Dennis Argul, Mike Spengler, • Akiko Pavolka and House of Illusions with Matt Pavolka, Jim Cifelli, Steve Jankowski, Rob Henke Also join us for"Jazz on High" Pete Rende, Bill CampbellBarbès 7 pm $10 New School 8 pm every Sunday at 6 PM. • Marty Isenberg Big Band; Steve Lugerner Sextet • Jay Leonhart Solo; Adam Birnbaum Trio with Joe Sanders, Bowery Poetry Club 7 pm $5 Rodney Green; Simona Premazzi and The Intruders with ÌBarry Harris Trio Iridium 8:30, 10:30 pm $30 Stacy Dillard, Ryan Berg, Jason Brown ÌBenny Golson New Jazztet 80th Birthday Celebration with Smalls 7:30, 9, 10:30 pm 12 am $20 Eddie Henderson, Steve Davis, Mike LeDonne, Buster Williams, • Maria Guida with James Weidman, Dean Johnson, Tony Moreno Carl Allen Dizzy’s Club 7:30, 9:30 pm $30 The Kitano 8, 10 pm ÌVanguard Jazz Orchestra Village Vanguard 9, 11 pm $30 • Marion Cowings Symphony Space 9 pm • The Yellowjackets: Bob Mintzer, Russell Ferrante, Jimmy Haslip, • Sean Moran Group with Mike McGinnis, Reuben Radding, Marcus Baylor and guest Mike Stern Vinnie Sperrazza, Harris Eisenstadt Blue Note 8, 10:30 pm $35 Monkeytown 8 pm • Erica vonKleist’s No Exceptions • Christine Capdeville Zinc Bar 9:30, 11 pm 12:30 am Saint Peter’s 5 pm • Michael Webster’s Leading Lines with Nadje Noordhuis, • Christine Capdeville and Trio Rob Mosher, Mike Fahie, Carl Maraghi, Jesse Lewis, Dan Loomis, Middle Collegiate Church 6 pm Chris Higginbottom, Jesse Stacken • Michelle Walker Smoke 6, 7 pm Brooklyn Lyceum 8, 9:30 pm $10 • Gabriel Alegria Afro Peruvian Sextet with Laurandrea Leguía, • FLOW: Kim Bock, Soren Moller, Peter Retzlaff Yuri Juárez, Ramón De Bruyn, Hugo Alcázar, Cornelia Street Café 8:30 pm $10 Freddy “Huevito” LobatónFlushing Town Hall 2 pm $20 • Jessica Medina with Mamiko Watanabe, Rob Duguay, • Rachel Pastarnack Blue Note 12, 2:30 pm $24.50 Vince “Kazi” McCoy and guests • Vicki Burns Trio with Paul Meyers, Neil Miner Drom 7 pm $10 North Square Lounge 12:30, 2 pm • Blaise Siwula/Sten Hostfalt • Lou Caputo Quartet; David Coss and Trio; Bossa Brasil: Goodbye Blue Monday 11 pm 2nd Avenue at 7th Street Maurício de Souza, Carl Viggiani, Leonardo Cioglia • Matthias Löscher 4tet VoxPop 8 pm The Garage 12, 7, 11:30 pm • Adam Schneit Group with JP Schlegelmilch, Phil Rowan, www.middlechurch.org Max Goldman Tea Lounge 9, 10:30 pm $5

ALLABOUTJAZZ-NEW YORK | February 2009 37 • John Zorn’s Valentine’s Day Improv Night with Shannon Fields, • Tim Zeismer Group; Blast off: Adam Shatz, Shane Endsley, Thursday, February 12 Lance Grabmiller, Jon Natchez, Matt Lavelle, Laura Ortman, Mike Gamble, Sam Levin Bar 4 7 pm $5 ÌMiles and Coltrane: 50th Anniversary of Kind of Blue and Shayna Dulberger, Ikue Mori, Sylvie Courvoisier, Cyro Baptista • Gato Loco: Stefan Zeniuk, Ari Folman-Cohen, Joe Exley, Giant Steps: Jimmy Cobb with Mulgrew Miller, Take 6; Ted Nash and guests The Stone 8, 10 pm $20 Clifton Hyde, Greg Stare Barbès 9:30 pm $10 with Walter Blanding, Sherman Irby • Onaje Allen Gumbs Quartet • Sarah Lynch Trio Bar Next Door 8 pm $10 Rose Hall 8 pm $3-120 ParlorJazz 9, 10:30 pm $30 • New School Presents: Bernard “Pretty” Purdie Rhythm and Blues ÌHeikki Sarmanto Salmagundi Club 7 pm ÌA Love Supreme: Roy Campbell, Louie Belogenis, Andrew Bemkey, Ensemble with Mike Stein, Thana Pavelic, Brianna Thomas, • Carolyn Leonhart and Wayne Escoffery Quartet with Dave Kikoski, Hill Greene, Michael Wimberly, Beth Anne Hatton, Annette Lovtangen Sweet Rhythm 8, 10 pm $10 Ed Howard, Jason Brown Smoke 8, 10 , 11:30 pm $30 Jacqueline Lewis Middle Collegiate Church 8 pm $15 • Cirkestra; Rob Mosher; Galen Pittman Quartet; Innertextures • L’Image: Mike Manieri, Warren Bernhardt, David Spinozza, • Tessa Souter with Jason Ennis, Gary Wang, Conor Mehan Spike Hill 7 pm Tony Levin, Steve Gadd Iridium 8:30, 10:30 pm $35 Cornelia Street Café 9, 10:30 pm $10 • Howard Williams Jazz Orchestra; Kenny Shanker Quartet • Helio Alves Brazilian Quartet • Hot 8 Brass Band Kupferberg Center 8 pm $22 The Garage 7, 10:30 pm Zinc Bar 9:30, 11 pm 12:30 am ÌEbony Brass Quintet Sistas’ Place 9, 10:30 pm $20 • Omer Avital Ensemble with Omer Klein, Matan Chapnizka, • Gretchen Parlato/Sachal Vasandani Tuesday, February 17 Itamar Borochov, Hadar Noiberg, Chris Karlic, Ismail Lumanovski, Jazz Gallery 9, 10:30 pm $15 Carmel Raz, Guy Figer, Amelia Hollander, Isabel Castellvi, • Hendrik Meurkens Trio Bar Next Door 9, 11:15 pm $10 ÌMedeski Martin & Wood 92YTribeca 7 pm $35 Itamar Doari, Matt Kilmer Jazz Gallery 9, 10:30 pm $15 • Skye Steele Quintet with Harel Shachal, Nir Felder, Josh Myers, ÌESP Disk Live: Gunter Hampel; Giuseppi Logan ÌPiano + 1: Jesse Stacken/Kirk Knuffke; Randy Ingram/Josh Sinton; John Hadfield Tea Lounge 9, 10:30 pm $5 Bowery Poetry Club 10 pm $10 Ethan Iverson/Bill McHenry • Brooklyn Repertory Ensemble • The Bad Plus: Ethan Iverson, Reid Anderson, David King and Douglass St. Music Coll. 8 pm $10 Saint Peter’s 7:30 pm guest Wendy Lewis Bowery Ballroom 8 pm $25 ÌHoward Alden/Anat CohenBargemusic 8 pm $35 • Scott Trixier Quintet Goodbye Blue Monday 9:45 pm • Terence Blanchard Quintet with Brice Winston, Fabian Almazan, • Ehud Asherie with Jon-Erik Kellso; Aruan Ortiz Quartet with • Valentine Nights: Bill Charlap Trio with Peter Washington, Derrick Hodge, Kendrick Scott Myron Walden, Matt Penman, Eric McPherson; Alex Hoffman Kenny Washington and guests Freddy Cole, Houston Person Village Vanguard 9, 11 pm $30 Smalls 7:30, 9, 10:30 pm 12 am $20 Allen Room 7:30, 9:30 pm $60 • David Sanborn Blue Note 8, 10:30 pm $55 • Charles Waters and Concertimento Orchestra; Ben Vida with • Chris Ward with Milan Milanovich, Francois Mouton, Steve Davis, • Ann Hampton Callaway with Ted Rosenthal, Jay Leonhart, Matt Bauder, Jason Ajemian Holly Laessig, Joe Beaty, Aki Ishiguro, Jim Robertson, Victor Lewis Dizzy’s Club 7:30, 9:30 pm $30 The Stone 8, 10 pm $10 Kenny Grohowski; Slide Hampton/Jonathan Voltzok; • Emilio Solla NY Tango Project • Esperanza Spalding with Ricardo Vogt, Leo Genovese, Otis Brown Spencer Murphy Smalls 7:30, 9, 10:30 pm 12, 1:30 am $20 Dizzy’s Club 11 pm $10 Jazz Standard 7:30, 9:30 pm $25 • Danny Mixon Trio Lenox Lounge 8:30, 10 pm 12 am $20 ÌHelen Sung Quartet with Seamus Blake, Ben Williams, ÌVic Juris Trio Bar Next Door 8 pm $10 • Randy Johnston Trio with Harvie S, Matt Wilson Eric Harland Jazz Standard 7:30, 9:30 pm $20 • Hiromi Kasuga Quartet with Mike DiRubbo, Marco Panascia, The Kitano 8, 10 pm $25 • Barbara Rosene and her New Yorkers Pete Van Nostrand The Kitano 8, 10 pm • Melba Joyce and Trio Creole 8, 10 pm $20 Iridium 8, 10 pm $25 • Ryan Meagher’s Atroefy Nublu 8 pm $10 • Aaron Weinstein/Russ Kassoff • Chip White Ensemble NYC Baha’i Center 8, 9:30 pm $15 • Tina Richerson Trio with Reuben Radding, Andrew Drury Knickerbocker Bar and Grill 9:45 pm $5 • Tobias Gebb’s Trio West with Ron Blake, Ugonna Okegwo; Tea Lounge 9, 10:30 pm $5 ÌMiles and Coltrane: 50th Anniversary of Kind of Blue and Grant Stewart Quartet; Ken Fowser Quintet with Behn Gelice • Oran Etkin’s Kelenia with Balla Kouyate, Meckane Kouyate, Giant Steps: Jimmy Cobb with Mulgrew Miller, Take 6; Ted Nash Smalls 7:30, 9, 10:30 pm 12, 1:30 am $20 Joe Sanders Le Grand Dakar 8 pm with Walter Blanding, Sherman Irby • Will Calhoun Band Zinc Bar 9:30, 11 pm 12:30 am • Igor Lumpert and Inner Textures with Jason Palmer, Chris Tordini, Rose Hall 8 pm $3-120 • Roger Kleier El Pocho Loco Project Tommy Crane Inkwell Café 8 pm $5 • Carolyn Leonhart and Wayne Escoffery Quartet with Dave Kikoski, Roulette 8:30 pm $15 • Ronen Itzik Quartet Tapeo 29 8 pm Ed Howard, Jason Brown Smoke 8, 10 , 11:30 pm $30 • Andrew D’Angelo Living Health Big Band with Jim Black, • Laurent David Group Puppet’s 9 pm $6 • L’Image: Mike Manieri, Warren Bernhardt, David Spinozza, Matt Wilson, Jonathon Goldberger, Peter Evans, Josh Sinton, • Diane Birch Cornelia Street Café 8:30 pm $10 Tony Levin, Steve Gadd Iridium 8:30, 10:30 pm $35 Eric Biondo, Kirk Knuffke, Chris Tordini, Brian Drye, Ryan Snow • Marion Cowings Symphony Space 9 pm • Esperanza Spalding with Ricardo Vogt, Leo Genovese, Otis Brown Tea Lounge 9, 10:30 pm $5 ÌPaul Motian Trio with Chris Potter, Jason Moran Jazz Standard 7:30, 9:30 pm $30 • Dom Minasi/Fay Victor; Dakar Trio Village Vanguard 9, 11 pm $30 ÌPaul Motian Trio with Chris Potter, Jason Moran Le Grand Dakar 8:30 pm $8 ÌCassandra Wilson Blue Note 8, 10:30 pm $55 Village Vanguard 9, 11 pm 12:30 am $35 • Keith Ganz Quintet with Kate McGarry, Gary Versace, Sean Smith, Ì • Cinema Paradiso: Modern Romantic Film Music of Cassandra Wilson Blue Note 8, 10:30 pm $55 Dan Rieser 55Bar 10 pm Ennio Morricone, Johnny Mandel & Henry Mancini: • Cinema Paradiso: Modern Romantic Film Music of • Nick Hallett; Ryan Ingebritsen with Andrew Barker Kenny Washington, Joe Locke, Geoffrey Keezer, George Mraz, Ennio Morricone, Johnny Mandel & Henry Mancini: The Stone 8, 10 pm $10 Clarence Penn Dizzy’s Club 7:30, 9:30 pm $30 Kenny Washington, Joe Locke, Geoffrey Keezer, George Mraz, • Aaron Burnett Trio Puppet’s 9 pm $6 • Denise Donatelli Quartet Dizzy’s Club 11 pm $10 Clarence Penn Dizzy’s Club 7:30, 9:30, 11:30 pm $30 • Ken Hatfield, Harvie S, Jamie Baum • Hilary Kole with guest John Pizzarelli • Denise Donatelli Quartet Dizzy’s Club 1 am $10 Fetch 7:30 pm Birdland 8:30, 11 pm $30 • Hilary Kole with guest John Pizzarelli ÌJack Wilkins/Bucky Pizzarelli • David Berkman Trio Cleopatra’s Needle 7 pm Birdland 8:30, 11 pm $30 Bella Luna 8 pm • Harlem Speaks: Benny Golson • Tori Gee Quartet Cleopatra’s Needle 8 pm • Lou Caputo’s Not So Big Band; Jason Ennis Jazz Museum of Harlem 6:30 pm • Valentines Day Jazz Love-Fest The Garage 7, 10:30 pm • Champian Fulton Trio; Even Howard Trio Puppet’s 6 pm $6 The Garage 6, 10:30 pm • Gypsy Jazz Caravan; David Coss and Trio; Wednesday, February 18 Virginia Mayhew Quartet The Garage 12, 6, 10:30 pm ÌBucky Pizzarelli/Jack Wilkins Friday, February 13 Sunday, February 15 Jazz Gallery 8, 9:30 pm $20 Ì • Valentine Nights: Bill Charlap Trio with Peter Washington, Randy Weston’s African Rhythms Quartet with TK Blue, Kenny Washington and guests Freddy Cole, Houston Person • Matt Lavelle with Lance Grabmiller, Laura Ortman, Dan Levin, Benny Powell, Alex Blake, Neil Clarke Allen Room 7:30, 9:30 pm $60 Shelley Burgon, Shayna Dulberger, Shannon Fields; Jazz Standard 7:30, 9:30 pm $25 ÌNed Goold Trio; Slide Hampton/Jonathan Voltzok; Tim McCall Ashley Paul/Sakiko Mori The Stone 8, 10 pm $10 ÌMedeski Martin & Wood Le Poisson Rouge 8 pm $35 Smalls 7:30, 9, 10:30 pm 12, 1:30 am $20 • Oren Neiman Quartet with Kenny Warren, Javier Moreno, ÌIngrid Laubrock, Mary Halvorson, Tom Rainey ÌMark Helias’ Open Loose with Tony Malaby, Nasheet Waits Martin Urbach Cornelia Street Café 6 pm Issue Project Room 8 pm $10 Cornelia Street Café 9, 10:30 pm $10 ÌLucian Ban, Badal Roy, Sam Newsome • Bobby Caldwell Big Band Birdland 8:30, 11 pm $30 ÌMary Halvorson Trio with John Hebert, Ches Smith Cornelia Street Café 8:30 pm $10 • Peter Zak with Paul Gill, Quincy Davis Roulette 8:30 pm $15 • Okkyung Lee/Thomas Herberer; Elliott Sharp, Adam Minkoff, Iridium 8:30, 10:30 pm $25 ÌRuss Johnson/Frank Carlberg’s Friday the 13th with Ches Smith Rose Live Music 8:30, 10 pm • Pete Malinverni solo and with Devoe Street Baptist Church Choir Noah Preminger, Matt Pavolka ÌJen Baker/Reuben Radding; killer BOB; Dave Scanlon; Max Jaffe, and Soul Voices Gospel Choir Douglass St. Music Coll. 8:30 pm $10 Rob Lundberg ABC No Rio 8 pm $5 Weill Hall 8 pm $35 • Danny Mixon Trio Lenox Lounge 8:30, 10 pm 12 am $20 • Peter Leitch/Ray Drummond • Terry Waldo Solo; Anat Cohen Group; Joe Magnarelli Quartet • Randy Johnston Trio with Harvie S, Matt Wilson Walker’s 8 pm Smalls 7:30, 9, 10:30 pm 12 am $20 The Kitano 8, 10 pm $25 • Akiko Pavolka Brooklyn Lyceum 9, 10:30 pm $10 ÌLandon Knoblock Trio with Joe Rehmer, Austin McMahon • Melba Joyce and Trio Creole 8, 10 pm $20 • Evil Eye: Jonathan Moritz, Mike Pride, Ken Filiano; Bazingas: Barbès 8 pm $10 • Aaron Weinstein/Russ Kassoff Bryan Drye, Jon Goldberger, Kirk Knuffke, Ches Smith; • JD Walter Quartet with Donald Edwards, Mark Kelley, Jim Ridl Knickerbocker Bar and Grill 9:45 pm $5 Fulminate Trio: Anders Nilsson, Michael Evans, Ken Filiano Zinc Bar 9:30, 11 pm 12:30 am • Sofia Rei Koutsovitis Group with Dana Leong, Juancho Herrera, CoCo 9 pm $6 • Iris Ornig Quartet with Wycliffe Gordon, Klaus Mueller, Pedro Giraudo, Yayo Serka • L’Image: Mike Manieri, Warren Bernhardt, David Spinozza, Jerome Jennings The Kitano 8, 10 pm Jazz Gallery 9, 10:30 pm $15 Tony Levin, Steve Gadd Iridium 8:30, 10:30 pm $35 • Dawn Clement Symphony Space 9 pm • Oscar Noriega and Friends; Vinnie Sperrazza/Matt Blostein Quintet • Esperanza Spalding with Ricardo Vogt, Leo Genovese, Otis Brown • Arturo O’Farrill Solo; John McNeil Group with Noah Preminger, with Mike McGinnis, Jacob Sacks, Geoff Kraly Jazz Standard 7:30, 9:30 pm $25 Mike McGuirk, Jochen Rueckert I-Beam 9, 10 pm $10 ÌPaul Motian Trio with Chris Potter, Jason Moran Puppet’s 7, 9 pm $6 • Tim Collins Trio Bar Next Door 9, 11:15 pm $10 Village Vanguard 9, 11 pm $30 • Ecstatic Sunshine: Matt Papich/Dustin Wong; Andrea Parkins/ Ì • WU LI: Mike Shobe, Adam Strum, Maxfield Gast, Ben Wright, Cassandra Wilson Blue Note 8, 10:30 pm $55 Jennifer Walshe The Stone 8, 10 pm $10 Ziv Ravitz Tea Lounge 9, 10:30 pm $5 • Cinema Paradiso: Modern Romantic Film Music of • Andrew D’Angelo Gay Disco Trio with Trevor Dunn, Jim Black • Jon Davis Trio Puppet’s 9 pm $12 Ennio Morricone, Johnny Mandel & Henry Mancini: Tea Lounge 9, 10:30 pm $5 ÌMiles and Coltrane: 50th Anniversary of Kind of Blue and Kenny Washington, Joe Locke, Geoffrey Keezer, George Mraz, • Jon Gordon Nonet Brooklyn Lyceum 8, 9:30 pm $10 Giant Steps: Jimmy Cobb with Mulgrew Miller, Take 6; Ted Nash Clarence Penn Dizzy’s Club 7:30, 9:30 pm $30 • Dan Pack Trio; Architeuthis Walks on Land; Matt Welch/ with Walter Blanding, Sherman Irby ÌHelen Sung Saint Peter’s 5 pm Jeremiah Cymerman Goodbye Blue Monday 9 pm Rose Hall 8 pm $3-120 ÌLew Soloff Trio Middle Collegiate Church 6 pm • Terence Blanchard Quintet with Brice Winston, Fabian Almazan, • Carolyn Leonhart and Wayne Escoffery Quartet with Dave Kikoski, • Patrizia Ferrara Smoke 6, 7 pm Derrick Hodge, Kendrick Scott Ed Howard, Jason Brown Smoke 8, 10 , 11:30 pm $30 ÌLiz Childs with Ed MacEachen, Dan Fabricatore, Anthony Pinciotti Village Vanguard 9, 11 pm $30 • L’Image: Mike Manieri, Warren Bernhardt, David Spinozza, 55Bar 6 pm • David Sanborn Blue Note 8, 10:30 pm $55 Tony Levin, Steve Gadd Iridium 8:30, 10:30 pm $35 • Ayako Shirasaki Trio Flushing Town Hall 2 pm $20 • Ann Hampton Callaway with Ted Rosenthal, Jay Leonhart, Ì • Esperanza Spalding with Ricardo Vogt, Leo Genovese, Otis Brown Alex Kontorovich’s Deep Minor Victor Lewis Dizzy’s Club 7:30, 9:30 pm $30 Jazz Standard 7:30, 9:30 pm $30 City Winery 11 am $10 • Emilio Solla NY Tango Project • Marion Cowings Symphony Space 9 pm • Juilliard Jazz Brunch Blue Note 12, 2:30 pm $24.50 Dizzy’s Club 11 pm $10 ÌPaul Motian Trio with Chris Potter, Jason Moran • Roz Corral Trio with Jonathan Kreisberg, Boris Kozlov ÌDick Hyman Saint Peter’s 1 pm $5 Village Vanguard 9, 11 pm $35 North Square Lounge 12:30, 2 pm • Andrew Hadro Quartet; Austin Walker Trio ÌCassandra Wilson Blue Note 8, 10:30 pm $55 • Don Braden Master Class The Cellar 2 pm $15 The Garage 6, 10:30 pm • Cinema Paradiso: Modern Romantic Film Music of • Hayes Greenfield’s Jazz-A-Ma-Tazz Ennio Morricone, Johnny Mandel & Henry Mancini: Bowery Poetry Club 12 pm $10 Kenny Washington, Joe Locke, Geoffrey Keezer, George Mraz, • John Colianni Quintet; David Coss and Trio; Ryan Anselmi Quartet Clarence Penn Dizzy’s Club 7:30, 9:30, 11:30 pm $30 The Garage 12, 7, 10:30 pm • Denise Donatelli Quartet Dizzy’s Club 1 am $10 • Hilary Kole with guest John Pizzarelli Monday, February 16 Birdland 8:30, 11 pm $30 Ì • David Levin Quartet Cleopatra’s Needle 8 pm Ernestine Anderson Blue Note 8, 10:30 pm $30 • Laurent David, Kevin Russell, Borra Janas and Friends • Dominick Farinacci Quintet with Joe Locke Goodbye Blue Monday 9 pm Dizzy’s Club 7:30, 9:30 pm $15 • Tomoko Miyata with Romero Lubambo, Helio Alves • Mingus Orchestra Jazz Standard 7:30, 9:30 pm $25 Drom 6:30 pm $15 ÌAdam Rudolph Go: Organic Orchestra • Brooks Hartell Trio; Dre Barnes Project Roulette 8:30 pm $15 The Garage 6, 10:30 pm ÌJoan Stiles, Joel Frahm, Matt Wilson Cachaça 7:30, 9 pm • Jacam Manricks Quartet with Jacob Sacks, Thomas Morgan, Saturday, February 14 Dan Weiss Cornelia Street Café 8:30 pm $10 ÌWynton Marsalis Quintet Jazz 966 8 pm $50-75 • Jill McCarron Trio with Tim Horner, Tom Kennedy; Ari Hoenig Group with Tigran Hamasyan, Matt Penman Smalls 7:30, 9, 10:30 pm 12 am $20

38 February 2009 | ALLABOUTJAZZ-NEW YORK Thursday, February 19 • David Sanborn Blue Note 8, 10:30 pm $55 ÌAdam Rudolph Go: Organic Orchestra • Ann Hampton Callaway with Ted Rosenthal, Jay Leonhart, Roulette 8:30 pm $15 ÌAndré Previn/David Finck Zankel Hall 8:30 pm $34-44 Victor Lewis Dizzy’s Club 7:30, 9:30 pm $30 • Rachael Price Blue Note 8, 10:30 pm $10 ÌThe Best of Blue Note Records: Hard Bop and Beyond with • Emilio Solla NY Tango Project • Jocelyn Medina Quartet with Sandro Albert, Aidan Carroll, Dianne Reeves, Joe Lovano and Jazz at Lincoln Center Orchestra Dizzy’s Club 11 pm $10 Bodek Janke Zinc Bar 7 pm with Wynton Marsalis Rose Hall 8 pm $30-120 • Joe Sucato Quartet Cleopatra’s Needle 8 pm • Ben Waltzer Trio with Chris Lightcap, Gerald Cleaver; ÌHighlights In Jazz 36th Anniversary: Dick Hyman, Wycliffe Gordon, • David White Quintet; Kevin Dorn’s Traditional Jazz Collective Ari Hoenig Group with Jonathan Kreisberg, Will Vinson, Jon-Erik Kellso, Anat Cohen, Kevin Dorn, David Ostwald’s The Garage 6, 10:30 pm Danton Boller Smalls 7:30, 9, 10:30 pm 12 am $20 Gully Low Jazz Band with Joe Wilder ÌDarius Jones, Chris Welcome, Adam Lane, Mike Pride Tribeca Perf. Arts Center 8 pm $35 Saturday, February 21 Yippie Café 7:30 pm $10 • Stanley Jordan Iridium 8:30, 10:30 pm $35 • Gilad Hekselman Trio with Sam Yahel, Marcus Gilmore ÌMedeski Martin & Wood City Winery 9 pm $35 ÌJoey Baron Roulette 8:30 pm $15 Fat Cat 8:30 pm ÌCharlie Hunter Trio Sullivan Hall 8:30 pm $20 ÌCedar Walton Trio and Octet • Mark Giuliana’s Thing; Kami Quintet • A Tribute to Tadd Dameron: Eric Alexander, Richard Wyands, Kumble Theater 8 pm $15-50 Rose Live Music 9 pm Nat Reeves, Joe Farnsworth ÌWycliffe Gordon’s In The Cross • Tony Barba, Ari Folman-Cohen, Conor Elmes; Pete Robbins, Smoke 8, 10 , 11:30 pm $30 Miller Theatre 8 pm $25 Dan Levin, Jeff Davis Bar 4 7 pm $5 ÌSam Bardfeld’s Up Jumped The Devil with Anthony Coleman, • Butch Morris Issue Project Room 8 pm $10 • Sofia Koutsovitis Trio Bar Next Door 8 pm $10 Doug Wamble, Sean ConlyBarbès 8 pm $10 • Carla Cook Sistas’ Place 9, 10:30 pm $20 • New School Presents: Melanie Charles Quintet • Ehud Asherie with Stepko Gut; Jonathan Kreisberg Quintet with • With a Song in My Heart: John Pizzarelli Salutes Richard Rodgers Sweet Rhythm 8, 10 pm $10 Will Vinson, Matt Penman, Ari Hoenig; Zaid Nasser with Jessica Molaskey Allen Room 10:30 pm $60 • Telmo Fernandez; Adam Larson Project; Vesuvius Takes a Nap; Smalls 7:30, 9, 10:30 pm 12 am $20 • Gabriel Alegria Afro Peruvian Sextet with Laurandrea Leguía, Alper Yilmaz Project Spike Hill 7 pm ÌCosmologic: Jason Robinson, Michael Dessen, Nate Hubbard, Yuri Juárez, Ramón De Bruyn, Hugo Alcázar, • Howard Williams Jazz Orchestra; Iris Ornig Quartet Scott Walton; Reuben Radding/Jen Baker Duo Freddy “Huevito” LobatónBAMCafé 9 pm The Garage 7, 10:30 pm Le Grand Dakar 8 pm $8 • Mardi Gras Jam: Leo Nocentelli, Trombone Shorty, • David Gibson Quartet with Julius Tolentino, Jared Gold, Donald Harrison, Andy Hess and guests Tuesday, February 24 McClenty Hunter The Kitano 8, 10 pm BB King’s 8 pm $25 ÌSumi Tonooka Trio with Rufus Reid, Johnathan Blake • MSM Mingus Ensemble led by Steve Slagle with Remy Le Boeuf, • New Voices of Blue Note - A 70th Anniversary Celebration: Bargemusic 8 pm $35 Samuel Ryder, Jonathan Barnes, Craig Davis, Ruben Samana, Aaron Parks Quartet with Mike Moreno, Matt Pennman, ÌJesse Stacken Trio Roulette 8:30 pm $15 Will Clark Manhattan School 7:30 pm Kendrick Scott Jazz Standard 7:30, 9:30 pm $25 • Alan Ferber Nonet with Strings with Scott Wendholt, Jon Gordon, • Marcus Gilmore Group Jazz Gallery 9, 10:30 pm $15 • Spanish Harlem OrchestraBlue Note 8, 10:30 pm $25 John Ellis, Douglas Yates, Nate Radley, Bryn Roberts, • Jeremy Udden’s Plainville with Pete Rende, Brandon Seabrook, • Ann Hampton Callaway with Ted Rosenthal, Jay Leonhart, Matt Clohesy, Mark Ferber, Zach Brock, Olivia De Prato, Eivind Opsvik, RJ Miller Cornelia Street Café 9, 10:30 pm $10 Victor Lewis Dizzy’s Club 7:30, 9:30 pm $30 Corrina Albright, Jody Redhage, Maria Jeffers • Brooklyn Qawwali Party Barbès 10 pm $10 • Noriko Ueda/Tomoko Ueda Trio Tea Lounge 9, 10:30 pm $5 • Tristan Perich; Christopher Willits Dizzy’s Club 11 pm $10 Ì • Mike, Ruthy and Cady Wire with Mike Merenda, The Stone 8, 10 pm $10 Ed Simon Trio with Ben Street, Adam Cruz Ruth Ungar Merenda, Sam Riley, Nila K Leigh, Mike Nolan, ÌLage Lund Trio Bar Next Door 9, 11:15 pm $10 Village Vanguard 9, 11 pm $30 Nick Cisik Cornelia Street Café 8:30 pm $10 • Secret Orchestra 5C Café 8 pm $8 • Julian Yeo Retro-Jazz Band • Gilad Hekselman Trio with Joe Martin, Marcus Gilmore • Argentine Jazz; Buenos Aires Vanguard Iridium 8, 10 pm $25 Cachaça 7:30, 9 pm Puppet’s 6, 9 pm $6-12 • Marlene and Billy VerPlanck with Tedd Firth Trio Ì • Tim Green Quartet with Warren Wolf, Aaron Parks, Matt Brewer, Charles Davis Quartet Creole 8, 10 pm $20 NYC Baha’i Center 8, 9:30 pm $15 Obed Calvaire Jazz Gallery 9, 10:30 pm $10-15 ÌSteve Nelson Quartet The Kitano 8, 10 pm $25 • Jerry Costanzo Nonet with Andy Farber, Dave Glasser, Dan Block, • Albey Balgochian, Lisle Ellis, Francois Grillot, Lola Danza • Roy Dunlap with Marcus Parsley, Alex Mincek, Jeff Hanley, Brian Parechi, Wayne Goodman, Isaac Ben Ayala, 5C Café 8 pm $8 Bill Campbell, Doug Wamble; Richie Vitale Quintet with Jennifer Vincent, Stefan Schatz; Ralph Lalama’s Bopjuice with • Nick Hempton Band Zinc Bar 9:30, 11 pm 12:30 am Frank Basile, Keith Saunders, Paul Gill, Clifford Barbaro; Pat O’Leary, Clifford Barbaro; Ken Fowser Quintet with • Sam Barsh, Mark Guiliana, Ned Ferm Spencer Murphy Smalls 7:30, 9, 10:30 pm 12, 1:30 am $20 Behn Gelice Smalls 7:30, 9, 10:30 pm 12, 1:30 am $20 Rose Live Music 9 pm • James Weidman/Harvie S Knickerbocker Bar and Grill 9:45 pm $5 • Edmar Castaneda/Mark Guiliana • Byron Westbrook; Gene Park/Ryan Smith • Alyson Williams Lenox Lounge 8:30, 10 pm 12 am $20 Zinc Bar 9:30, 11 pm 12:30 am The Stone 8, 10 pm $10 ÌThe Best of Blue Note Records: Hard Bop and Beyond with • Music Now Large Unit Brecht Forum 8, 9 pm $10 • Sharon LaMotte, Bill Gerhardt, Francois Moutin, Jeff Brillinger Dianne Reeves, Joe Lovano and Jazz at Lincoln Center Orchestra • Brad Farberman Group; Amanda Monaco Group Ido Sushi 7 pm with Wynton Marsalis Rose Hall 8 pm $30-120 The Creek 8 pm • Jim Hershman Trio Bar Next Door 8 pm $10 • Stanley Jordan Iridium 8:30, 10:30 pm $35 • Rob Sudduth Trio with Trevor Dunn, Tommy Crane • DC Mason Trio Goodbye Blue Monday 9 pm • A Tribute to Tadd Dameron: Eric Alexander, Richard Wyands, Le Grand Dakar 8:30 pm $8 • Matt Parker Quartet Puppet’s 9 pm $6 Nat Reeves, Joe Farnsworth • Stan Edwards Quartet Puppet’s 9 pm $6 ÌRandy Weston’s African Rhythms Quartet with TK Blue, Smoke 8, 10 , 11:30 pm $30 • Peter Evans, Dave Reminick, Cory Smythe, Nathan Davis; Tuple: Benny Powell, Alex Blake, Neil Clarke ÌRandy Weston’s African Rhythms Quartet with TK Blue, Rachael Elliott/Lynn Hileman Jazz Standard 7:30, 9:30 pm $25 Benny Powell, Alex Blake, Neil Clarke The Stone 8, 10 pm $10 • Bobby Caldwell Big Band Birdland 8:30, 11 pm $30 Jazz Standard 7:30, 9:30, 11:30 pm $30 • Kaoru Azuma with Scott Reeves, Mike Holober, Jesse Forest, • Dawn Clement Symphony Space 9 pm • Bobby Caldwell Big Band Birdland 8:30, 11 pm $30 Rob Morse, Paolo Orlandi Cornelia Street Café 8:30 pm $10 • Terence Blanchard Quintet with Brice Winston, Fabian Almazan, • Terence Blanchard Quintet with Brice Winston, Fabian Almazan, • Ken Hatfield, Gene Torres, Butch Campbell Derrick Hodge, Kendrick Scott Derrick Hodge, Kendrick Scott Fetch 7:30 pm Village Vanguard 9, 11 pm $30 Village Vanguard 9, 11 pm 12:30 am $35 • Jack Wilkins/Harvie S Bella Luna 8 pm • David Sanborn Blue Note 8, 10:30 pm $55 • David Sanborn Blue Note 8, 10:30 pm $55 • Kami Quintet; Tim Kuhl Goodbye Blue Monday 9 pm Ì • Ann Hampton Callaway with Ted Rosenthal, Jay Leonhart, • Ann Hampton Callaway with Ted Rosenthal, Jay Leonhart, Rocco John Group Otto’s Shrunken Head 6 pm Victor Lewis Dizzy’s Club 7:30, 9:30 pm $30 Victor Lewis Dizzy’s Club 7:30, 9:30 pm $30 • David White Jazz Orchestra; Will and Peter Anderson • Emilio Solla NY Tango Project • Emilio Solla NY Tango Project The Garage 7, 10:30 pm Dizzy’s Club 11 pm $10 Dizzy’s Club 11 pm $10 • Master Class: Lew Soloff Manhattan School 3 pm • Ray Parker Trio Cleopatra’s Needle 7 pm • Bruce Harris Quartet Cleopatra’s Needle 8 pm • Nick Moran Trio; Joseph Perez Quartet • Paradigm Jazz Refrain Goodbye Blue Monday 8 pm Wednesday, February 25 The Garage 6, 10:30 pm • Victor Magnani Quartet with Kris Kaiser, George Coleman, Jr. The Cellar 9 pm ÌGary Peacock Trio with Marc Copland, Bill Stewart • Larry Newcomb Trio; Mark Marino Trio Birdland 8:30, 11 pm $30 Friday, February 20 The Garage 12, 6 pm ÌHeikki Sarmanto with Jeannine Otis, Wei Sheung Lin, Sieji Ochai ÌChico Hamilton with Cary DeNigris, Paul Ramsey, Evan Schwam, St. Mark’s Church 8:15 pm Eddie Barbash, Jeremy Carlstedt Sunday, February 22 • Linda Presgrave with Todd Herbert, Stan Chovnick, Harvie S, Rubin Museum 7 pm $20 Allison Miller Iridium 8:30, 10:30 pm $25 ÌQbico U-Nite XIII: Arthur Doyle; Acid Birds: Andrew Barker, • Morton Subotnick Roulette 8:30 pm $15 ÌRossano Sportiello Solo; Anthony Wonsey Trio; Charles Waters, Jaime Fennelly; Muruga/Perry Robinson Duo with • The Downtown Horns: Roy Campbell, Daniel Carter, Sabir Mateen Dmitry Baevsky Quartet with Jeb Patton, David Wang, guest Badal Roy; Direct Current: Daniel Carter, Dave Nuss, Alain Kirili’s Loft 7 pm $10 Joe Strasser Smalls 7:30, 9, 10:30 pm 12 am $20 Atiba Kwabena-Wilson Issue Project Room 8 pm $25 • Alfred Brown; Scott Mou The Stone 8, 10 pm $10 ÌCleve Pozar Free Funk Trio with Darius Jones, Lee Marvin ÌDave Burrell Whitney Museum 7 pm • Frank Basile Brooklyn Lyceum 9, 10:30 pm $10 Issue Project Room 8 pm $10 ÌCharles Davis Quartet Creole 8, 10 pm $20 • Ben Holmes Trio with Dan Loomis, Vinnie Sperrazza • Jody Sandhaus/Pete Malinverni ÌSteve Nelson Quartet The Kitano 8, 10 pm $25 Barbès 7 pm $10 Symphony Space 9 pm ÌJohn McNeil Group Cornelia Street Café 9, 10:30 pm $10 • Matt Silberman with Rob Hecht, Sascha Groschang, Travis Reuter, • Richard Chartier; Miguel Frasconi ÌDrew Gress’ 7 Black Butterflies with Tim Berne, Ralph Alessi, Chris Tordini, Alex Wyatt; Travis Reuter with Andrew Carrico, The Stone 8, 10 pm $10 Craig Taborn, Tom Rainey Jazz Gallery 9, 10:30 pm $15 Alex Hills, Danny Sherr Rose Live Music 8:30 pm • Exposed Blues Duo; Radio I-Ching: Andy Haas, Don Fiorino, ÌEnsemble Hellacious: JD Parran, Peter Zummo, Kevin Norton • Peter Leitch/Sean Smith Walker’s 8 pm Dee Pop; The French Exit; Pete Robbins Group Roulette 8:30 pm $15 • Diane Hoffman with Don Militello, Bim Strasberg, Rudy Petschauer Cake Shop 8 pm • Rufus Cappadocia BAMCafé 9 pm Lola Is Soul 7:30 pm • Tessa Souter Quartet with Jason Ennis, Gary Wang, Conor Meehan ÌChromatic Mysteries: Marshall Allen, Elliot Levin, • Stanley Jordan Iridium 8:30, 10:30 pm $35 The Kitano 8, 10 pm Michael Gibbons, Ed Ricart, Scott Verrastro; Paul Flaherty, ÌRandy Weston’s African Rhythms Quartet with TK Blue, • Arturo O’Farrill Solo; John McNeil Group with Noah Preminger, Randall Colbourne, Steve Swell Benny Powell, Alex Blake, Neil Clarke Mike McGuirk, Jochen Rueckert Webster Hall Studios 7 pm $10 Jazz Standard 7:30, 9:30 pm $25 Puppet’s 7, 9 pm $6 Ì • Bill Wares Vibes Trio with Ayanna Williams • Terence Blanchard Quintet with Brice Winston, Fabian Almazan, Mike Baggetta Group with Jason Rigby, Eivind Opsvik, Puppet’s 9 pm $12 Derrick Hodge, Kendrick Scott George Schuller Tea Lounge 9, 10:30 pm $5 • Dwayne Clemons with Josh Benko, Sacha Perry, Jim Wormworth; Village Vanguard 9, 11 pm $30 • Cynthia Hilts’ Lyric Fury with Jack Walrath, Lily White, Richie Vitale Quintet with Frank Basile, Keith Saunders, Paul Gill, • David Sanborn Blue Note 8, 10:30 pm $55 Lisa Parrott, Debra Weisz, Martha Colby, Ratzo Harris, Clifford Barbaro; Tim McCall • Ann Hampton Callaway with Ted Rosenthal, Jay Leonhart, Jun Saito Douglass St. Music Coll. 8 pm $10 Smalls 7:30, 9, 10:30 pm 12, 1:30 am $20 Victor Lewis Dizzy’s Club 7:30, 9:30 pm $30 • White Rocket: Greg Felton, Sean Carpio, Jacob Wick • James Weidman/Harvie S Knickerbocker Bar and Grill 9:45 pm $5 • Rev. Michael Cobbler and Friends Barbès 8 pm $10 • Will Vinson Trio Bar Next Door 9, 11:15 pm $10 Saint Peter’s 5 pm • Jason Colby’s New Brooklyn Quartet • Dave Scott with Billy Mintz; Matt Blostein and Friends • Sheera Ben-David, Adam Ben-David, Mat Fieldes, Damien Bassman Brooklyn Lyceum 8, 9:30 pm $10 I-Beam 9, 10 pm $10 Middle Collegiate Church 6 pm • Bill Stevens Quintet with Charlie Gushee, Elliot Honig, Paul Pricer, • The Four Runner: Robin Verheyen, Masa Yamamoto, • Perez Smoke 6, 7 pm Eric Peters Drom 7 pm $10 Red Wierenga, Nicolas Letman-Burtinovic, Steve Davis ÌDead Cat Bounce Bowery Poetry Club 6 pm • Diane Hoffman/Cathy Harley VoxPop 8 pm ÌAdam Lane’s Full Throttle Orchestra with David Bindman, Cupping Room 8 pm • Alyson Williams Lenox Lounge 8:30, 10 pm 12 am $20 Avram Fefer, Matt Bauder, Nate Wooley, Taylor Ho Bynum, • Flotilla; Dave Deporis; Ish Marquez ÌThe Best of Blue Note Records: Hard Bop and Beyond with Reut Regev, Igal Foni HVG Lounge 5 pm Goodbye Blue Monday 9 pm Dianne Reeves, Joe Lovano and Jazz at Lincoln Center Orchestra • Michael Winograd City Winery 11 am $10 • Sten Hostfalt Trio with Marko Djordjevic with Wynton Marsalis Rose Hall 8 pm $30-120 • Roz Corral Trio with James Shipp, Matt Clohesy The Annex 10 pm $10 • Stanley Jordan Iridium 8:30, 10:30 pm $35 North Square Lounge 12:30, 2 pm • New Voices of Blue Note - A 70th Anniversary Celebration: • A Tribute to Tadd Dameron: Eric Alexander, Richard Wyands, • Mingus Summit: Finalists of the Northeastern High School Big Aaron Parks Quartet with Mike Moreno, Matt Pennman, Nat Reeves, Joe Farnsworth Band Competition, MSM Jazz Orchestra with Justin DiCioccio and Kendrick Scott Jazz Standard 7:30, 9:30 pm $25 Smoke 8, 10 , 11:30 pm $30 guests; Mingus Dynasty with Boris Kozlov, Vincent Herring, • Spanish Harlem OrchestraBlue Note 8, 10:30 pm $25 • Sharon LaMotte, Bill Gerhardt, Francois Moutin, Jeff Brillinger Conrad Herwig, Justin Faulkner • Ann Hampton Callaway with Ted Rosenthal, Jay Leonhart, Ido Sushi 7 pm Manhattan School 10 am Victor Lewis Dizzy’s Club 7:30, 9:30 pm $30 ÌRandy Weston’s African Rhythms Quartet with TK Blue, • Eve Silber Trio; David Coss and Trio; Ariel del a Portilla Trio • Noriko Ueda/Tomoko Ueda Trio Benny Powell, Alex Blake, Neil Clarke The Garage 12, 7, 11:30 pm Dizzy’s Club 11 pm $10 Jazz Standard 7:30, 9:30, 11:30 pm $30 • Ed Simon Trio with Ben Street, Adam Cruz • Bobby Caldwell Big Band Birdland 8:30, 11 pm $30 Monday, February 23 Village Vanguard 9, 11 pm $30 • Dawn Clement Symphony Space 9 pm • Edmar Castaneda/Mark Guiliana • Terence Blanchard Quintet with Brice Winston, Fabian Almazan, • Purchase Jazz Orchestra with guest Jimmy Greene Zinc Bar 9:30, 11 pm 12:30 am Derrick Hodge, Kendrick Scott Dizzy’s Club 7:30, 9:30 pm $15 • The Invisible Trio with John Chin; John David Simon Trio Village Vanguard 9, 11 pm $35 • Mingus Dynasty Jazz Standard 7:30, 9:30 pm $25 The Garage 6, 10:30 pm

ALLABOUTJAZZ-NEW YORK | February 2009 39 • Kerry Politzer and George Colligan Trios with Josh Ginsberg, Thursday, February 26 Jeff Hirshfield Cornelia Street Café 9, 10:30 pm $10 ÌThelonious Monk at Town Hall 50th Anniversary Celebration: • Sam Sadigursky’s The Words Project; Gregg Kallor Duo, Charles Tolliver OrchestraTown Hall 8 pm $25-60 Frank Carlberg Quintet with Christine Correa, Chris Cheek, • New Voices of Blue Note - A 70th Anniversary Celebration: John Hebert, Michael Sarin; Gabriel Kahane; Jody Redhage Lionel Loueke Trio with Massimo Biolcati, Ferenc Nemeth and Greenwich House Music School 7 pm $20 guest Gregoire Maret Jazz Standard 7:30, 9:30 pm $25 • Welf Dorr with Mike Irwin, Kevin Moehringer, Joe Keady, ÌRon Carter, Mike LeDonne, Joe Farnsworth Keviv Raczka Tea Lounge 9, 10:30 pm $5 Smoke 8, 10 , 11:30 pm $30 ÌDom Minasi String Quartet5C Café 8 pm $8 Ì • Pucho and His Latin Soul Brothers James Spaulding and The Swing Expression Iridium 8:30, 10:30 pm $30 Creole 8, 10 pm $20 Ì • Dual Identity: Rudresh Mahanthappa, Steve Lehman, Ken Peplowski Quartet with Don Friedman, David Finck, Liberty Ellman, Matt Brewer, Damion Reid Alvin Atkinson The Kitano 8, 10 pm $25 Jazz Gallery 9, 10:30 pm $15 • Winard Harper Lenox Lounge 8:30, 10 pm 12 am $20 ÌTaylor Ho Bynum with John Hebert, Gerald Cleaver • Jacob Warren Trio with Will Terrill, Ryan Berg; John Fedchock Tea Lounge 9, 10:30 pm $5 NY Sextet with Scott Wendholt, Allen Farnham, Ugonna Okegwo, • Jeff Newell’s New-Trad Quartet with Nate Mayland, Ron Caswell, Dave Ratajczak; Spencer Murphy Brian Woodruff Bargemusic 8 pm $35 Smalls 7:30, 9, 10:30 pm 12, 1:30 am $20 ÌShoko Nagai/Satoshi Takeishi • Arturo O’Farrill Quartet Puppet’s 9 pm $12 Roulette 8:30 pm $15 • Sherisse Rogers’ Uprising with Erica vonKleist, Dave Riekenberg, ÌScott Dubois Quartet with Loren Stillman, Eivind Opsvik, Mike Webster, Dave Richards, Nathan Warner, Ingrid Jensen, Jeff Davis Cornelia Street Café 8:30 pm $10 Nadje Noordhuis, James de la Garza, Mike Boscarino, John Yao, • Spike Wilner Trio with Ugonna Okegwo, Eric McPherson Nate Mayland, Max Seigel, Jesse Stacken, Jesse Lewis, Ike Sturm, The Kitano 8, 10 pm Obed Calvaire Jazz Gallery 9, 10:30 pm $15 • Ehud Asherie with Harry Allen; Gerald Clayton Trio with • Victor Lin/David Wong Knickerbocker Bar and Grill 9:45 pm $5 Joe Sanders, Justin Brown; Zaid Nasser ÌRon Carter, Mike LeDonne, Joe Farnsworth Smalls 7:30, 9, 10:30 pm 12 am $20 Smoke 8, 10 , 11:30 pm $30 • Alexis Cuadrado Trio Bar Next Door 8 pm $10 • Pucho and His Latin Soul Brothers ÌGary Peacock Trio with Marc Copland, Bill Stewart Iridium 8:30, 10:30 pm $30 Birdland 8:30, 11 pm $30 ÌGary Peacock Trio with Marc Copland, Bill Stewart • Jody Sandhaus/Pete Malinverni Birdland 8:30, 11 pm $30 Symphony Space 9 pm • Spanish Harlem OrchestraBlue Note 8, 10:30 pm $25 • Spanish Harlem OrchestraBlue Note 8, 10:30 pm $25 • Yohimbe Bros: Vernon Reid, DJ Logic, Maya Azucena, • Ann Hampton Callaway with Ted Rosenthal, Jay Leonhart, Taylor McFerrin, Leon Gruenbaum, Jared Michael Nickerson, Victor Lewis Dizzy’s Club 7:30, 9:30 pm $30 Don McKenzie Blue Note 12:30 am $8 • Noriko Ueda/Tomoko Ueda Trio • Ann Hampton Callaway with Ted Rosenthal, Jay Leonhart, Dizzy’s Club 11 pm $10 Victor Lewis Dizzy’s Club 7:30, 9:30 pm $30 ÌEd Simon Trio with Ben Street, Adam Cruz • Noriko Ueda/Tomoko Ueda Trio Village Vanguard 9, 11 pm $30 Dizzy’s Club 11 pm $10 Ì • Dan Furman Trio Cleopatra’s Needle 7 pm Ed Simon Trio with Ben Street, Adam Cruz • Harlem Speaks: Wendy Oxenhorn Village Vanguard 9, 11 pm 12:30 am $35 Jazz Museum of Harlem 6:30 pm • Don Slatoff Quartet Cleopatra’s Needle 8 pm • Rick Stone Trio; Alex Hoffman • Harry Lime: Adam Minkoff, Nick Oddy, Peter Lalish, The Garage 6, 10:30 pm Nick Anderson, Scott Chasolen, Matt Thomas, Kevin Moehringer, Ben Syversen Bowery Poetry Club 6 pm • Even Schwam Quartet; Champian Fulton Trio; Tim Price and Friday, February 27 Ryan Anselmi’s Tenor Madness ÌThelonious Monk at Town Hall 50th Anniversary Celebration: The Garage 12, 6, 10:30 pm Jason Moran’s The Big Bandwagon Town Hall 8 pm $25-60 ÌODE: Larry Ochs, Trevor Dunn, Lisle Ellis with guest Michael Sarin REGULAR ENGAGEMENTS Roulette 8:30 pm $15 MONDAYS ÌJames Spaulding and The Swing Expression • Ron Affif Trio Zinc Bar 9, 11pm, 12:30, 2 am Creole 8, 10 pm $20 • Dave Allen Group Push Café 8 pm ÌKen Peplowski Quartet with Don Friedman, David Finck, • Carter-Davis Ensemble Judi’s 8 pm • Sedric Choukroun and The Brasilieros Chez Lola 7:30 pm Alvin Atkinson The Kitano 8, 10 pm $25 • Pete Davenport Jam Session Annabelle’s 9 pm • Winard Harper Lenox Lounge 8:30, 10 pm 12 am $20 • Eddy Davis New Orleans Jazz Band The Carlyle 8:45 pm $75-100 • William Parker; James Ilgenfritz Group with Denman Maroney, • Jesse Elder Destino’s 7:30 pm (ALSO TUE, WED, FRI) Jay Rozen, Sara Schoenbeck, Jay Rosen and guest • John Farnsworth Jam Smoke 8, 9:30 pm $8 Steve Dalachinsky Issue Project Room 8 pm $15 • Vince Giordano’s Nighthawks Sofia’s 8 pm • William Ash Trio; John Fedchock NY Sextet with Scott Wendholt, • Harlem Renaissance Orchestra Swing 46 8:30 pm • Patience Higgins Lenox Lounge 9:30 pm $5 Allen Farnham, Ugonna Okegwo, Dave Ratajczak; Tim McCall • Jack Jeffers Big Band Minton’s 9, 10:30 pm 12 am $10 Smalls 7:30, 9, 10:30 pm 12, 1:30 am $20 • JFA Jazz Jam Local 802 7 pm • James Shipp’s Nos Novo with Jo Lawry, Steve Cardenas, • Bill Wurtzel Duo Plum 6:30 pm (ALSO WED) Rogerio Boccato Cornelia Street Café 9, 10:30 pm $10 • Vanguard Jazz Orchestra Village Vanguard 9, 11 pm $30 • Overcast; Arturo O’Farrill Quartet • Melvin Vines Kortet with Kay Mori St. Nick’s Pub 10 pm (ALSO TUE) Puppet’s 6, 9 pm $6-12 TUESDAYS • Shane Endsley and Friends; Vinnie Sperrazza/Matt Blostein • David Berger & The Sultans of Swing Birdland 8:30, 11 pm $25 Quintet with Tony Malaby, Jacob Sacks, Dave Ambrosio • Sedric Choukroun Seppi’s 8:30 pm I-Beam 9, 10 pm $10 • Irving Fields Nino’s Tuscany 7 pm (ALSO WED-SUN) • Joel Frahm Bar Next Door 8 pm $10 • Sherisse Rogers’ Uprising with Erica vonKleist, Dave Riekenberg, • George Gee Make Believe Ballroom Orchestra Swing 46 8:30 pm Mike Webster, Dave Richards, Nathan Warner, Ingrid Jensen, • Yuichi Hirakawa Trio Arthur’s Tavern 7, 8:30 pm Nadje Noordhuis, James de la Garza, Mike Boscarino, John Yao, • Loston Harris Café Carlyle 9:30 pm $20 (ALSO WED-SAT) Nate Mayland, Max Seigel, Jesse Stacken, Jesse Lewis, Ike Sturm, • Sandy Jordan and Larry Luger Trio Notaro 8 pm Obed Calvaire Jazz Gallery 9, 10:30 pm $15 • Kats in Black Hats Zip Code Restaurant & Lounge 7 pm • Victor Lin/David Wong Knickerbocker Bar and Grill 9:45 pm $5 • Annie Ross The Metropolitan Room 9:30 pm $25 • Dred Scott Trio Rockwood Music Hall 12 am • Jared Gold with Julius Tollentino, Avi Rothbard, Colby Inzer • Slavic Soul Party Barbès 9 pm $10 NCGV 9, 10:30 pm • Diego Voglino Jam Royale 10:30 pm • Bryn Roberts Trio Bar Next Door 9, 11:15 pm $10 • Bill Wurtzel Duo Café du Soleil 7 pm • The Four Runner: Robin Verheyen, Masa Yamamoto, WEDNESDAYS Red Wierenga, Nicolas Letman-Burtinovic, Steve Davis • Astoria Jazz Composers Workshop Waltz-Astoria 6 pm VoxPop 8 pm • Frank Lacy St. Nick’s Pub 10 pm • Dan Pugach Trio with Shai Maestro, Mickey Varshai • Rick Bogart Trio Seppi’s 8:30 pm (ALSO THUR-SAT) Tillie’s 8 pm $5 • Eddy Davis Dixieland The National Underground 9 pm • Billy White Trio 5C Café 8 pm $7 • Felix and the Cats Swing 46 8:30 pm • Rick Germanson Ruth’s Chris Steakhouse 6 pm (ALSO THU-SAT) • New Voices of Blue Note - A 70th Anniversary Celebration: • Patience Higgins Sugar Hill Quartet Minton’s 9, 10:30 pm 12 am $10 Lionel Loueke Trio with Massimo Biolcati, Ferenc Nemeth and • Shan Kenner Trio Jam Tamboril 8 pm guest Gregoire Maret Jazz Standard 7:30, 9:30, 11:30 pm $30 • Jonathan Kreisberg Bar Next Door 8 pm $10 ÌRon Carter, Mike LeDonne, Joe Farnsworth • Jed Levy and Friends Vino di Vino Wine Bar 7:30 pm (ALO FRI) Smoke 8, 10 , 11:30 pm $30 • Nathan & Max Lucas Organ Trio Lenox Lounge 8 pm • Pucho and His Latin Soul Brothers • Jeremy Manasia Solo Roth’s Westside Steakhouse 6 pm • Jacob Melchior Philip Marie 7 pm (ALSO SUN 12 PM) Iridium 8:30, 10:30 pm $30 • David Ostwald’s Louis Armstrong Centennial Band Birdland 5:30 pm $10 ÌGary Peacock Trio with Marc Copland, Bill Stewart • Sedric Choukroun and the Eccentrics Chez Oskar 7 pm Birdland 8:30, 11 pm $30 THURSDAYS • Jody Sandhaus/Pete Malinverni • Sedric Choukroun Brasserie Jullien 7:30 pm (ALSO FRI, SAT) Symphony Space 9 pm • Avram Fefer Trio Le Pere Pinard 9 pm • Spanish Harlem OrchestraBlue Note 8, 10:30 pm $25 • Gerald Hayes and the Qualified Gents Minton’s 9, 10:30 pm 12 am $10 • Matt Geraghty with Satya Gummuluri, Jonathan Kreisberg, • Barbara Rosene Times Square Brewery 8 pm Adriano Santos Blue Note 12:30 am $8 • Sugartones Brass Band Jacques-Imo’s 8 pm • Ann Hampton Callaway with Ted Rosenthal, Jay Leonhart, • Eric Wyatt Late Night Session Sweet Rhythm 11:30 pm $10 Victor Lewis Dizzy’s Club 7:30, 9:30 pm $30 • Eri Yamamoto Trio Arthur’s Tavern 7 pm (ALSO FRI-SAT) • Noriko Ueda/Tomoko Ueda Trio FRIDAYS Dizzy’s Club 11 pm $10 • Steve Blanco Trio Domaine Wine Bar 9 pm (ALSO SAT) • George Braith Jam University of the Streets 10 pm (ALSO SAT) ÌEd Simon Trio with Ben Street, Adam Cruz • Bill Saxton and Friends Bill’s Place 10 pm 12 am $15 Village Vanguard 9, 11 pm $35 • Donald Smith St. Nick’s Pub 10 pm • Jason Marshall Quartet Cleopatra’s Needle 8 pm SATURDAYS • Candace DeBartolo Quartet; Gerald Hayes Trio • Ted Hefko Quartet Antique Garage 12:30 pm The Garage 6, 10:30 pm • Wayne Roberts Duo City Crab 12 pm (ALSO SUN) • Skye Jazz Trio Jack 8:30 pm Saturday, February 28 • Ryoichi Zakota Buona Sera 7 pm SUNDAYS ÌNew Voices of Blue Note - A 70th Anniversary Celebration: • Rick Bogart Trio Seppi’s 3 pm Robert Glasper Trio with Vicente Archer, Chris Dave • Toru Dodo Jam Cleopatra’s Needle 8 pm Jazz Standard 7:30, 9:30, 11:30 pm $30 • Ear Regulars with Jon-Erik Kellso The Ear Inn 8 pm ÌNed Rothenberg and Mivos Quartet with Olivia De Prato, • Marjorie Eliot/Rudell Drears/Sedric Choukroun Parlor Entertainment 4 pm • Lafayette Harris Trio Lenox Lounge 7 pm Joshua Modney, Victor Lowrie, Isabel Castellvi • Satoshi Inoue Duo Roth’s Steakhouse 6 pm Brecht Forum 9 pm $10 • Bob Kindred Grouo Café Loup 12:30 pm • Barbara King Sistas’ Place 9, 10:30 pm $20 • Spike Wilner Group; Alex Stein Jam Smalls 10:30 pm 1:30 am $20 • Ben Monder Trio Bar Next Door 9, 11:15 pm $10 • Lapis Luna Trio Bocca 7 pm • Zeena Parkins/Ikue Mori’s Phantom Orchard; Phantom Limb: • Peter Mazza Bar Next Door 8 pm $10 Jaime Fennelly, Chris Forsyth, Nate Wooley • Chico O’Farrill’s AfroCuban Jazz Big Band Birdland 9, 11 pm $25 • TC III St. Nick’s Pub 10:30 pm Issue Project Room 8 pm $10 • Cidinho Teixeira Zinc Bar 10, 11:30 1 am • Chris Washburne’s SYOTOS Band Smoke 8, 10, 11:30 pm $8

40 February 2009 | ALLABOUTJAZZ-NEW YORK CLUB DIRECTORY

• 5C Café 68 Avenue C (212-477-5993) • Feinstein's 540 Park Avenue (212-339-4095) • ParlorJazz 119 Vanderbilt Avenue, Brooklyn (718-855-1981) Subway: F, V to Second Avenue 5ccc.com Subway: 6 to 77th Street feinsteinsattheregency.com Subway: G to Clinton-Washington parlorjazz.com • 55Bar 55 Christopher Street (212-929-9883) • Fetch 1649 Third Avenue between 92nd and 93rd Streets • Peter Jay Sharp Theater 155 W. 65th Street (212-769-7406) Subway: 1 to Christopher Street 55bar.com (212-289-2700) Subway: 6 to 96th Street Subway: 1 to 66th Street juilliard.edu • 92YTribeca 200 Hudson Street (212-601-1000) • Flushing Town Hall 137-35 Northern Boulevard, Flushing • Plum 4009 Broadway at 168th Street (212-781-3333) Subway: 1, A, C, E to Canal Street 92ndstreety.com (718-463-7700) Subway: 7 to Main Street flushingtownhall.org Subway: A, 1 to 168th Street • ABC No Rio 156 Rivington Street (212-254-3697) Subway: F to • The Garage 99 Seventh Avenue South (212-645-0600) • Puppets Jazz Bar 481 5th Avenue, Brooklyn (718-499-2622) Second Avenue, J,M,Z to Delancey Street abcnorio.org Subway: 1 to Christopher Street garagerest.com Subway: F to 7th Avenue puppetsjazz.com • Abrons Art Center 466 Grand Street • The Glasslands 289 Kent Avenue • Push 294 Third Avenue Subway: 6 to 23rd Street Subway: F to Grand Street henrystreet.org/arts Subway: L to Bedford Avenue glasslands.com • Rockwood Music Hall 196 Allen Street (212-477-4155) • Alain Kirili’s Loft 17 White Street • Goodbye Blue Monday 1087 Broadway, Brooklyn (718-453-6343) Subway: F, V to Second Avenue rockwoodmusichall.com (212-226-0343) Subway: 1 to Franklin Subway: J, M train to Myrtle Avenue goodbye-blue-monday.com • Rose Hall Broadway at 60th Street, 5th floor (212-258-9800) • Allen Room Broadway at 60th Street, 5th floor (212-258-9800) • Greenwich House Music School 46 Barrow Street Subway: 1, 2, 3, 9, A, C, E, B, D, F to Columbus Circle jalc.org Subway: 1, 2, 3, 9, A, C, E, B, D, F to Columbus Circle jalc.org (212-242-4770) Subway: 1 to Christopher Street • Rose Live Music 345 Grand Street between Havemeyer and Marcy • Annabelle’s 44 Beard Street (718-643-1500) • HVG Lounge 183rd and Pinehurst Avenue (718-599-0069) Subway: L to Lorimer Street liveatrose.com Subway: G to Smith - 9 Streets annabelles-nyc.com (212-923-7800 ext. 1314) Subway: A to 181st Street • Roth’s Westside Steakhouse 93rd Street at Columbus Avenue • The Annex 152 Orchard Street • Havana Central 22 East 17th Street (Bewteen Broadway & 5th) Subway: B to 96th Street (212-673-3410) Subway: F, V to Second Avenue (212-414-4999) Subway: 4, 5, 6, L, N, R, Q, W to Union Square • Roulette 20 Greene Street (between Canal and Grand Streets) • Antique Garage 41 Mercer Street • I-Beam 168 7th Street between Second and Third Avenues (212-219-8242) Subway: 1 to Franklin Street roulette.org (212-219-1019) Subway: N, Q, R, W to Canal Street Subway: F to 4th Avenue ibeammusic.com • Royale 506 5th Avenue • Arthur’s Tavern 57 Grove Street (212-675-6879) • Ido Sushi 29 Seventh Ave South at Bedford Street (718-840-0089) Subway: F to 4th Avenue royalebrooklyn.com Subway: 1 to Christopher Street arthurstavernnyc.com (212-691-7177) Subway: 1 to Christopher Street • Rubin Museum 150 West 17th Street • Austrian Cultural Forum 11 East 52nd Street at Madison Avenue • Il Campanello Restaurant 136 West 31st Street (212-695-6111) (212-620-5000) Subway: A, C, E to 14th Street rmanyc.org (212-319-5300) Subway: 6 to 51st Street acfny.org Subway: A, C, E to 34th Street • St. Marks Church 2nd Avenue and 10th Street • BB King’s Blues Bar 237 W. 42nd Street (212-997-2144) • Inkwell Café 408 Rogers Avenue between Lefferts and Sterling (212- 674-6377) Subway: 6 to Astor Place Subway: 1, 2, 3, 7 to 42nd Street/Times Square bbkingblues.com Subway: 5 to Sterling Street plgarts.org • St. Nick’s Pub 773 St. Nicholas Avenue at 149th Street • The Backroom 485 Dean Street, Brooklyn (718-622-7035) • Iridium 1650 Broadway at 51st Street (212-582-2121) (212-283-9728) Subway: A, C, B, D to 145th Street Subway: 1, 2 to Bergen Street freddysbackroom.com Subway: 1,2 to 50th Street iridiumjazzclub.com • Saint Peter’s Church 619 Lexington Avenue at 54th Street • BAMCafé 30 Lafayette Avenue (718-636-4139) Subway: M, N, R, W • Issue Project Roon 232 Third Street (at the corner Third Avenue) (212-935-2200) Subway: 6 to 51st Street saintpeters.org to Pacific Street; Q, 1, 2, 4, 5 to Atlantic Avenue bam.org Subway: M to Union Street issueprojectroom.org • Salmagundi Club 47 Fifth Avenue (212-255-7740) • Bar 4 15th Street and 7th Avenue, Brooklyn (718-832-9800) • Jack 80 University Place Subway: 4, 5, 6, N, R to 14th Street Subway: 4, 5, 6, N, R to 14th Street-Union Square salmagundi.org Subway: F to 7th Avenue, N, M, R, D to Prospect Avenue bar4.net • Jacques-Imo’s 366 Columbus Avenue at 77th Street (212-799-0150) • Seppi’s 123 W. 56th Street (212-708-7444) • Bar Next Door 129 MacDougal Street (212-529-5945) Subway: C to 81st Street jacquesimosnyc.com Subway: F to 57th Street Subway: A, C, E, F, V to W. 4th Street lalanternacaffe.com • Jazz 966 966 Fulton Street (718-638-6910) • Showman’s 375 West 125th Street (212-864-8941) • Barbès 376 9th Street at 6th Avenue, Brooklyn (718-965-9177) Subway: C to Clinton Street illbrew.com/Jazz966.htm Subway: 1 to 125th Street Subway: F to 7th Avenue barbesbrooklyn.com • Jazz Gallery 290 Hudson Street (212-242-1063) Subway: C, E, to • Sistas’ Place 456 Nostrand Avenue at Jefferson Avenue, Brooklyn • Bargemusic Fulton Ferry Landing (718-624-4061) Spring Street; 1, 2 to Houston Street jazzgallery.org (718-398-1766) Subway: A to Nostrand Avenue sistasplace.org Subway: F to York Street bargemusic.org • Jazz Museum in Harlem 104 E.126th Street between Park and • Sister’s Uptown Bookstore 1942 Amsterdam Avenue at 156th Street • Belarusian Church 401 Atlantic Avenue at Bond Street Lexington Avenues (212-348-8300) Subway: 6 to 125th Street (212-862-3680) Subway: 1 to 157th Street Subway: 4 to Nevins Street jazzmuseuminharlem.org • Smalls 183 W 10th Street at Seventh Avenue (212-252-5091) • Bella Luna 584 Columbus Avenue Subway: B, C to 86th Street • Jazz Standard 116 E. 27th between Park and Lexington Avenue Subway: 1,2,3,9 to 14th Street smallsjazzclub.com • Bello Sguardo 410 Amsterdam Subway: 1 to 79th Street (212-576-2232) Subway: 6 to 28th Street jazzstandard.net • Smoke 2751 Broadway between 105th and 106th Streets • Birdland 315 W. 44th Street (212-581-3080) • Joe’s Pub 425 Lafayette Street (212-539-8770) (212-864-6662) Subway: 1 to 103rd Street smokejazz.com Subway: A, C, E, F, V to 42nd Street birdlandjazz.com Subway: N, R to 8th Street-NYU; 6 to Astor Place joespub.com • Sofia’s 221 W. 46th Street Subway: B, D, F, V to 42nd Street • Blue Note 131 W. 3rd Street at 6th Avenue (212-475-8592) • Judi’s 2308 Adam C. Powell Jr. Boulevard (212-690-0353) • Spike Hill 184 Bedford Avenue Subway: L to Bedford spikehill.com Subway: A, B, C, D, E, F, V to W. 4th Street bluenotejazz.com Subway: 2, 3, B, C train to 135th Street • Stain Bar 766 Grand Street, Brooklyn (718-387-7840) • The Blue Owl 196 Second Avenue Subway: L to First Avenue • Jules Bistro 60 St Marks Place (212-477-5560) Subway: L to Grand Street stainbar.com • Bocca 39 East 19th Street Subway: 6 to Astor Place julesbistro.com • The Stone Avenue C and 2nd Street (212-387-1200) Subway: 4, 5, 6, L, N, R, Q, W to Union Square • The K-Lounge 30 West 52nd Street Subway: F, V to Second Avenue thestonenyc.com • Bowery Ballroom 6 Delancey Street Subway: E to Lexington Avenue/53 Street • Sullivan Hall 214 Sullivan Street (212-634-0427) (212-533-2111) Subway: F to Delancey Street • The Kitano 66 Park Avenue at 38th Street (212-885-7000) Subway: A, B, C, D, E, F, V to W. 4th Street sullivanhallnyc.com • Bowery Poetry Club 308 Bowery (212-614-0505) Subway: Subway: 4, 5, 6 to Grand Central kitano.com • Sweet Rhythm 88 Seventh Avenue South (212-255-3626) F to Second Avenue; 6 to Bleecker Street bowerypoetry.com • Knickerbocker Bar & Grill 33 University Place (212-228-8490) Subway: 1 to Christopher Street sweetrhythmny.com • Brecht Forum 451 West Street (212-242-4201) Subway: N, R to 8th Street-NYU knickerbockerbarandgrill.com • Swing 46 349 W. 46th Street (646-322-4051) Subway: A, C, E, L, 1, 2, 3 to 14th Street brechtforum.org • Kupferberg Center 65-30 Kissena Boulevard, Flushing Subway: A, C, E to 42nd Street swing46.com • Brooklyn Lyceum 227 4th Avenue (718-857-4816) (718-793-8080) Subway: E to 71 - Continental Avs - Forest Hills • Symphony Space 2537 Broadway at 95th Street (212-864-5400) Subway: R to Union Street brooklynlyceum.com • Kumble Theater I University Plaza (718-488-1051) Subway: 1, 2, 3, 9 to 96th Street symphonyspace.org • Brooklyn Conservatory of Music 58 Seventh Avenue, Brooklyn Subway: B, M, Q, R to Dekalb Avenue • Tamboril 527 Myrtle Avenue (718-622-5130) Subway: F to Seventh Avenue, N, R to Union Street bqcm.org brooklyn.liu.edu/kumbletheater Subway: G to Classon Avenue • Buona Sera 12th Street and University Place • Le Grand Dakar 285 Grand Avenue (718-398-8900) • Tapeo 29 29 Clinton Street (212-979-0002) Subway: F to Delancey Subway: 4, 5, 6, L, N, R, Q, W to Union Square Subway: G to Classon Avenue granddakar.com • Tea Lounge 837 Union Street, Brooklyn (718-789-2762) • Cachaça 35 W.8th Street (at McDougal) (212-388-9099) • Le Poisson Rouge 158 Bleecker Street (212-796-0741) Subway: N, R to Union Street tealoungeNY.com Subway: A, B, C, D, E, F, V to W. 4th Street cachacajazz.com Subway: A, B, C, D, E, F, V to W. 4th Street lepoissonrouge.com • Tillie’s 248 DeKalb Avenue (718-783-6140) • Café Carlyle 35 East 76th Street (212-744-1600) • Lenox Lounge 288 Lenox Avenue between 124th and 125th Streets Subway: B, D, F, Q, N to DeKalb Subway: 6 to 77th Street thecarlyle.com (212-427-0253) Subway: 2, 3 to 125th Street lenoxlounge.com • Town Hall 123 W. 43rd Street (212-997-1003) • Café du Soleil 2723 Broadway at 104 Streets • The Living Theatre 21 Clinton Street below Houston Street Subway: 1, 2, 3, 7 to 42nd Street-Times Square (212-316-5000) Subway: 1 to 103rd Street Subway: F to Second Avenue livingtheatre.org the-townhall-nyc.org • Café Loup 105 W. 13th Street between Sixth and Seventh Avenues • Local 802 322 W. 48th Street between Eighth and Ninth Avenues • Tribeca Performing Arts Center 199 Chambers Street (212-255-4746) Subway: F to 14th Street (212-245-4802) Subway: C to 50th Street jazzfoundation.org (212-220-1460) Subway: A, 1, 2, 3, 9 to Chambers Street • Caffe Vivaldi 32 Jones Street between Bleecker and W. 4th Streets • Lola is Soul 15 Watts Street tribecapac.org Subway: A, B, C, D, E, F, Q, V to W. 4th Street-Washington Square (212-675-6700) Subway: A to Canal Street lolaissoul.com • Tribes Gallery 285 E. 3rd Street • Cake Shop 152 Ludlow Street • Lutheran Church of the Messiah 129 Russell Street (212-674-8262) Subway: F, V to Second Avenue tribes.org (212-253-0036) Subway: F, V to Second Avenue cake-shop.com Subway: G to Nassau Avenue • Union Temple 17 Eastern Parkway, Brooklyn • The Cellar 304 Manor Road, Staten Island • Manhattan School of Music 120 Claremont Avenue (212-749-2802, (718-638-7600) Subway: 4 to Franklin Avenue (718-887-1405) Subway: 1 to South Ferry musentcent.com ext. 4428) Subway: 1 to 116th Street msmnyc.edu • University of the Streets 130 East 7th Street • Chez Lola 387 Myrtle Avenue, Brooklyn (718-858-1484) • Metropolitan Room 34 West 22nd Street (212-206-0440) (212-254-9300) Subway: 6 to Astor Place Subway: C to Clinton-Washington Avenues bistrolola.com Subway: N, R to 23rd Street metropolitanroom.com • Village Vanguard 178 Seventh Avenue South at 11th Street • Chez Oskar 211 Dekalb Ave, Brooklyn (718-852-6250) • Middle Collegiate Church 50 E. 7th Street (212-477-0666) (212-255-4037) Subway: 1, 2, 3 to 14th Street villagevanguard.com Subway: C to Lafayette Avenue chezoskar.com Subway: 6 to Astor Place middlechurch.org • Vino di Vino Wine Bar 29-21 Ditmars Boulevard, Queens • City Crab Park Avenue South at 19th Street (212-529-3800) • Miller Theater 2960 Broadway and 116th Street (212-854-7799) (718-721-3010) Subway: N to Ditmars Blvd-Astoria Subway: 6 to 23rd Street Subway: 1 to 116th Street-Columbia University millertheater.com • VoxPop 1022 Cortelyou Road, Brooklyn • City Winery 155 Varick Street • Minton’s Playhouse 208 West 118th Street at St. Nicholas Avenue Subway: Q to Cortelyou/East 16th voxpopnet.net (212-608-0555) Subway: 1 to Houston Street citywinery.com and Adam Clayton Powell Jr. Blvd-7th Avenue (212-864-8346) • Walker’s 16 North Moore Street (212-941-0142) • Cleopatra’s Needle 2485 Broadway (212-769-6969) Subway: 2 to 118th Street uptownatmintons.com Subway: A, C, E to Canal Street Subway: 1, 2, 3 to 96th Street cleopatrasneedleny.com • Monkeytown 58 N. 3rd Street between Kent and Wythe • Waltz-Astoria 23-14 Ditmars Boulevard (718-95-MUSIC) • Cornelia Street Café 29 Cornelia Street (212-989-9319) Subway: L Train to Bedford Avenue Subway: N, R to Ditmars Blvd-Astoria Waltz-Astoria.com Subway: A, B, C, D, E, F, V to W. 4th Street • The National Underground 159 E. Houston (212-475-0611) • Webster Hall Studios 125 E. 11th Street corneliastreetcafé.com Subway: F, V to Second Avenue (212-353-1600) Subway: 6 to 14th Street-Union Square • The Creek 10-93 Jackson Avenue, Queens (718-706-8783) • NCGV 269 Bleecker Street • Weill Hall (at Carnegie Hall) 154 W. 57th Street at Seventh Avenue Subway: 7 to Vernon-Jackson Boulevard (212-691-1770) Subway: A, B, C, D, E, F, V to W. 4th Street (212-247-7800) Subway: N, R to 57th Street carnegiehall.org • Creole 2167 3rd Avenue at 118th Street • New School 66 W. 12th Street (212-229-5896) • West Bank Café 407 W. 42nd Street (212-695-6909) (212-876-8838) Subway: 6 th 116th Street creolenyc.com Subway: F, V to 14th Street jazz.newschool.edu Subway: A, C, E to 42nd Street westbankcafe.com • Cupping Room 359 West Broadway between Broome and • Nino’s Tuscany 117 W. 58th Street (212-757-8630) Subway: 1, 2, 3, • West Side YMCA 5 W. 63rd Street (212-875-4100) Grand Street (212-925-2898) Subway: A, C, E to Canal Street A, C, E, B, D, F to Columbus Circle ninostuscany.com Subway: A, C, E, B, D to 59th Street/Columbus Circle • Destino 891 First Avenue at 50th Street • North Square Lounge 103 Waverly Place (212-254-1200) • Whitney Museum 1845 Madison Avenue at 75th Street (212-751-0700) Subway: 6 to 50th Street destinony.com Subway: A, B, C, E, F, V to West 4th Street northsquarejazz.com (800-944-8639) Subway: 6 to 77th Street whitney.org • Dicapo Opera Theatre 184 East 76th Street at Lexington Avenue • Notaro Second Avenue between 34th & 35th Streets • Yippie Café 9 Bleeker Street between Elisabeth and Bowery Subway: 6 to 77th Street (212-686-3400) Subway: 6 to 33rd Street Subway: 6 to Bleeker Street • Dizzy’s Club Coca Cola Broadway at 60th Street, 5th Floor • Nublu 62 Avenue C between 4th and 5th Streets (212-979-9925) • York College Performing Arts Center 94-20 Guy R. Brewer Blvd., (212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to Subway: F, V to Second Avenue nublu.net Queens Subway: E to Jamaica Center york.cuny.edu Columbus Circle jazzatlincolncenter.org • Nuyorican Poets Café 236 E. 3rd Street between Avenues B and C • Zankel Hall 881 Seventh Avenue at 57th Street (212-247-7800) • Domaine Wine Bar 50-04 Vernon Boulevard (212-505-8183) Subway: F, V to Second Avenue nuyorican.org Subway: N, Q, R, W to 57th Street carnegiehall.org Subway: 7 to Vernon Boulevard-Jackson Avenue • NYC Baha’i Center 53 E. 11th Street (212-222-5159) • Zebulon 258 Wythe Avenue, Brooklyn (718-218-6934) • Douglass Street Music Collective 295 Douglass Street Subway: 4, 5, 6, N, R to 14th Street-Union Square bahainyc.org Subway: L to Bedford Avenue zebuloncafeconcert.com (between 3rd and 4th Avenues), Brooklyn Subway: R to Union Street • Otto's Shrunken Head 538 E 14th Street between Avenues A and • Zinc Bar 82 West 3rd Street (212-477-8337) Subway: A, C, E, F, V, • Drom NYC 85 Avenue A B (212-228-2240) Subway: L to First Avenue Grand Street Shuttle to W. 4th Street zincbar.com (212-777-1157) Subway: F to Second Avenue dromnyc.com • Paris London West Nile 285 Kent Avenue #2 • Zip Code Restaurant & Lounge 2207 Adam Clayton Powell Jr Blvd. • The Ear Inn 326 Spring Street at Greenwich Street Subway: L to Bedford Avenue shinkoyo.com/parislondon (212-281-3180) Subway: D to 125th Street (212-246-5074) Subway: C, E to Spring Street • Parlor Entertainment 555 Edgecombe Ave. #3F between 159th and • Fat Cat 75 Christopher Street at 7th Avenue (212-675-7369) 160th Streets (212-781-6595) Subway: C to 155th Street Subway: 1 to Christopher Street/Sheridan Square fatcatjazz.com parlorentertainment.com

ALLABOUTJAZZ-NEW YORK | February 2009 41 (INTERVIEW CONTINUED FROM PAGE 6) (LABEL CONTINUED FROM PAGE 8)

CP: To play music starting from the bebop era and into For Elias, being a part of the Blue Note tradition whatever the music is now and hopefully something “has been an incredible experience and a great honor.” into the future. You hear the band now you’ll hear a She says she feels “a responsibility to uphold the little bit of fusion, you’ll hear AfroLatin, you’ll hear a continuity” of the label. “I have always had so much whole lot of bebop of course. That’s really the musical respect for the quality” of the music Blue Note makes, direction of the band. Another reason I wanted to keep she said. Elias grew up listening to Blue Note albums, the band together, and I don’t mean to be racist or which were very difficult to acquire in her native anything, was because here’s a band led by a man of Brazil in the ‘70s. “My father would come back from color so other musicians of color can aspire to. Most trips to the US with stacks of Blue Note records I had big bands are led by white people and then they have requested,” she said. “I had Herbie, Wynton Kelly, a basically white people in their bands. I had a really lot of Bud Powell. I would devour Blue Note great talk once about this with Mel Lewis - we were recordings of Bud Powell and Monk.” really good friends - we talked about that whole Lovano also grew up listening to classic Blue Note situation and he said if you’re a white band leader you records, courtesy of his father, Cleveland saxophonist know more white musicians than musicians of color. Tony “Big T” Lovano. “The records that stood out? Some of the Art Blakey and the Jazz Messengers: Live AAJ-NY: But your band seems to be pretty integrated. at Birdland and Live at Café Bohemia. Jimmy Smith, The Sermon. Blue Train …The history of Blue Note speaks CP: And that’s what I wanted. At one time I was for itself. It’s documented in such an honest and thinking of naming the band just Culture. I like beautiful way. The legacy of the label will live forever. diversity. I don’t want it all people of color, I don’t Just mention the names and the sound comes through: want it all white, I don’t want it all Asian, I don’t want Jackie McLean, you hear it; Jimmy Smith, you hear it.” it all women, I don’t want it all men. I want a little bit Blue Note’s legendary catalogue remains a vital of everything. revenue stream for the label, but Lundvall also recognizes how essential it is for jazz itself and for the AAJ-NY: On the new album, band members have culture at large to keep such historic recordings before contributed quite a few of the charts. the public. “From the time we restarted the label, its great CP: That’s the other thing. As the band grows we’re catalogue has been the profitable safety net being more self-contained as more members are throughout the years,” Lundvall said. “It’s also bringing music into the band. The last arrangement we important to keep important music available, not just brought into the book numbers 136. for fans but for young musicians coming up. They have to grasp the past in order to write the future.” AAJ-NY: What is your input as to how the charts are Blue Note has also enjoyed considerable developed? commercial success in recent years with crossover artists, notably Norah Jones, as well as veterans like CP: I let the composer write the way they want. Then Van Morrison, Al Green and Anita Baker, who have when they bring it in to the band I may reshape it to extended the label’s reach beyond a strictly jazz some degree, without hurting the composer’s ideas. audience. That way the band can have some kind of identity. “Our crossover artists have been very important in terms of sales and in terms of doing quality projects AAJ-NY: You don’t take that many drum solos, in other adult music realms,” said Lundvall. “The first especially for a leader-drummer. time I heard Norah, I was knocked out by her sound, her phrasing and her unique delivery. I didn’t see CP: No, I don’t want to do that. I want to play with the dollar signs. In fact, we thought the first album would band, I want to be on the team. It’s like a football team. be a great success if it sold 100,000 copies or so.” You have to have a lot of stars, a running back and a It went on to sell more than 20 million copies tight end and wide receivers and a blocking back and worldwide, by far the best-seller in Blue Note history they all handle the ball. I like to have a lot of soloists. and one of the biggest-selling albums ever. I don’t wanna solo on every tune. To me a lot of drum So what does the future hold for the longest- solos get boring after a while. I want it to be music. I running label in jazz? Despite the recession, the went through that you know, the period of the long challenge new technology poses for the music industry drum solo, but I passed that, I kinda don’t like that and the never-ending questions about how jazz can anymore. All due respect to the great drummers who survive, Lundvall is optimistic. are still playing great solos today but I don’t want to “Methods of delivery and marketing may have do that, I want to try to make music. I like to solo, but changed, but it begins and ends with the music,” he I like it to be rhythmic and musical. K said. “We are in bad economic times in general and in the music industry in particular. But there is no For more information, visit myspace.com/charlipersip.com. shortage of great music and no shortage of fresh new For the complete interview, visit allaboutjazz.com. Persip’s voices emerging. Jazz will be just fine, thank you!” K Supersound is at York College Performing Arts Center Feb. 6th. See Calendar. For more information, visit bluenote.com. Artists performing this month include Dianne Reeves, Joe Lovano Recommended Listening: and Wynton Marsalis at Rose Hall Feb. 19th-21st as part of • Dizzy Gillespie - At Newport (Verve, 1957) “The Best of Blue Note Records: Hard Bop and Beyond” and • Charles Persip - And the Jazz Statesmen Aaron Parks (Feb. 24th-25th), Lionel Loueke (Feb 26th- (Bethlehem, 1960) 27th) and Robert Glasper (Feb. 28th) at Jazz Standard as • Pat Martino - Baiyina (The Clear Evidence) part of “New Voices of Blue Note - A 70th Anniversary (Prestige-OJC, 1968) Celebration”. See Calendar. • Charli Persip & Superband - No Dummies Allowed (Soul Note, 1987) • Randy Weston/Melba Liston - Volcano Blues (Gitanes/Antilles - Verve, 1993) • Charli Persip & Supersound - Intrinsic Evolution (s/r, 2007)

42 February 2009 | ALLABOUTJAZZ-NEW YORK IN MEMORIAM by Celeste Sunderland WARREN BROWN OMAR CLAY GAYLE DIXON FREDDIE HUBBARD AUGUSTO MANCINELLI TOMMY SAMPSON The trombonist started out A member of Max Roach’s As founder of Jazzbows At 20 he moved to New York, In the ‘80s he worked with “Scotland’s King of Swing” playing in his brother Les percussion group M’Boom, Music, she published and began playing with Sonny Gil Evans in Rome and led one of the most Brown’s band, but soon the St. Louis-born drummer recorded the string music of Rollins and signed with Blue recorded with Enrico Rava. celebrated big bands in moved to music’s business shared the stage with Sarah black composers. The Note. He joined Art Blakey’s Later came his own albums. Europe during and after side, finding hits like “Girl Vaughan, Charles Mingus violinist also shared the stage Jazz Messengers in 1961 and The Italian guitarist passed WWII. A trumpet player, he from Ipanema” and and Horace Silver before his with Archie Shepp, Carmen recorded with Coltrane in away Jul. 20th, aged 54. later started a vocal quartet “Strangers in the Night”. At death Dec. 4th at age 73. McRae and Terence 1965. At 70 Hubbard died and arranged for the BBC. At 92 he died Sep. 15th. Blanchard before her death Dec. 29th. DAVID “FATHEAD” 90, Sampson died Oct. 20th. KENNY COX Nov. 23rd, at 61. NEWMAN PAGE CAVANAUGH A collector of records, radio PRINCE LASHA Before immersing himself in LOUIS “STUDS’ TERKEL He accompanied Sinatra at interviews, books and RAY ELLIS The multi-instrumentalist the New York scene, playing He played Mahalia Jackson’s the Waldorf Astoria, played publications dealing with He played sax in dance bands grew up in Fort Worth, with Lee Morgan, Kenny early recordings on his radio on radio shows and in Detroit, the pianist in the ‘40s before joining playing with Ornette Dorham and Billy Higgins, show The Wax Museum in the movies and developed a performed with Wes Columbia as an arranger. His Coleman before heading to the saxophonist spent 12 ‘40s at the start of a long whispered style of singing Montgomery, Rahsaan work included Billie California, hooking up with years touring and recording career as a host and author. with his trio in the ‘40s. At 86 Roland Kirk and Etta Jones. Holiday’s final two albums. Sonny Simmons and with Ray Charles. At age 75, The Chicago icon passed the pianist died Dec. 19th. At 68 he died Dec. 19th. Ellis passed away Oct. 27th at recording The Cry. Lasha was he died Jan. 20th. away Oct. 31st, aged 96. age 85. 79 when he died Dec. 12th. BUDDY CHARLES GEORGE DAVIS JOE ROMANO LAWRENCE WHEATLEY As a child, he sat under his Before becoming a top New JIMMY GOURLEY FRANCES LYNNE At 17 the saxophonist sat in The DC composer and pianist mother’s piano. Later, he Orleans session guitarist, he After relocating to France in At age 5, she started her at a Rochester club with led jam sessions for over four made his way through the played with Art Neville. In the ‘50s, the guitarist helped career on a Texas radio show. Charlie Parker. He recorded decades, but was against Chicago club circuit, settling 1966 he formed his label promote bebop, recording In the ‘40s, she sang with with Woody Herman in 1957 recording his playing, in at Acorn on Oak in 1972, Parlo and in 1970 joined with Lee Konitz, Zoot Sims Dave Brubeck and Paul and later worked with Buddy though he did appear on a for 18 years. The pianist was Sarah Vaughan and Duke and Clifford Brown. Gourley Desmond before touring with Rich, Chuck Israels and Stan 1955 record with Gene 81 when he died Dec. 18th. Ellington in New York. At 70, was 82 years old when he Gene Krupa. Lynne was 82 Kenton. Romano died Nov. Ammons. At 73 Wheatley Davis died Sep. 10th. passed away Dec. 7th. when she died Dec. 4th. 26th, aged 76. passed away Oct. 19th. BIRTHDAYS February 1 February 6 February 11 February 17 February 22 February 25 †James P.Johnson †George Brunis 1902-74 †Claude Jones 1901-62 †Wallace Bishop 1906-86 †James Reese Europe †Tiny Parham 1900-43 1894-1955 †Ernie Royal 1921-83 †Bob Casey 1909-86 †Charlie Spivak 1906-82 1881-1919 †Ray Perry 1915-50 †Tricky Sam Nanton †Conrad Gozzo 1922-64 †Matt Dennis 1914-2002 †Harry Dial 1907-1987 †Bob Ysaguirre 1897-1982 Fred Katz b.1919 1904-46 Sammy Nestico b.1924 Martin Drew b.1944 †Alec Wilder 1907-80 †Joe Tarto 1902-86 †Rene Thomas 1927-75 Sadao Watanabe b.1933 †Bernie Glow 1926-82 Buddy DeFranco b.1923 †Rex Stewart 1907-67 †Sandy Brown 1929-75 †Don Fagerquist 1927-74 February 12 Buddy Jones b.1924 †Claude “Fiddler” Tommy Newsom b.1929 February 2 Tom McIntosh b.1927 †Paul Bascomb 1912-86 Williams 1908-2004 †Ake Persson 1932-75 †Andrew Brown 1900-60 Nelson Boyd b.1928 †Tex Beneke 1914-2000 February 18 †Buddy Tate 1914-2001 †Emanual Paul 1904-88 †Ernst Landl 1914-83 †Emil Barnes 1892-1970 Joe Wilder b.1922 February 26 †Joe Mondragon 1920-87 February 7 Leroy Harris b.1916 †De De Pierce 1904-73 Dave Bailey b.1926 †Chauncey Haughton †Sonny Stitt 1924-82 †Eubie Blake 1883-1983 †Bernie Privin 1919-99 Hazy Osterwald b.1922 Whitey Mitchell b.1932 1909-89 CHARLES GAYLE Mimi Perrin b.1926 †Wilbur Sweatman †Hans Koller 1921-2003 †Frank Butler 1928-84 Roman Dylag b.1938 Dave Pell b.1925 †Stan Getz 1927-91 1892-1961 †Art Mardigan 1923-77 †Billy Butler 1928-91 Marc Charig b.1944 †Chris Anderson February 28th, 1939 James Blood Ulmer †Ray Crawford 1924-97 †Mel Powell 1923-98 Harvey Mason b.1947 1926-2008 b.1942 †Ray Alexander February 19 Joe La Barbera b.1948 †Hagood Hardy 1937-97 He went from the 1925-2002 February 13 †Johnny Dunn 1897-1937 Trevor Watts b.1939 subway platforms of February 3 †King Curtis 1934-71 †Wingy Manone 1900-82 Fred Van Hove b.1937 February 23 Yosuke Yamashita b.1942 †Lil Hardin Armstrong †Les Hite 1903-62 Ron Mathewson b.1944 †Cie Frazier 1904-85 New York to the 1898-1971 February 8 †Lennie Hayton 1908-71 David Murray b.1955 †Sterling Bose 1906-58 February 27 recording studios of †Dolly Dawn 1919-2002 †Lonnie Johnson †Wardell Gray 1921-55 †John Benson Brooks †Leo Watson 1898-1950 Silkheart Records in Snooky Young b.1919 1889-1970 Ron Jefferson b.1926 February 20 1917-99 †Mildred Bailey 1907-51 †Chico Alvarez 1920-92 Buddy Morrow b.1919 Keith Nichols b.1945 †Jimmy Yancey 1894-1951 †Money Johnson 1918-78 †Abe Most 1920-2002 Sweden, releasing a trio John Handy b.1933 †Pony Poindexter 1926-88 †Fred Robinson 1901-84 †Harry Lim 1919-90 †Dexter Gordon 1923-90 of albums in the late Leroy Williams b.1937 Eddie Locke b.1930 February 14 †Oscar Aleman 1909-80 †Hall Overton 1920-72 †Chuck Wayne 1923-97 ‘80s that caught the Bob Stewart b.1945 †Perry Bradford Frank Isola b.1925 †Johnny Carisi 1922-92 John B. Williams b.1941 attention of FMP, February 9 1893-1970 †Bobby Jaspar 1926-63 †Richard Boone 1930-99 February 4 †Walter Page 1900-57 Jack Lesberg b.1920 Nancy Wilson b.1937 Les Condon b.1930 February 28 Knitting Factory and †Manny Klein 1908-96 †Peanuts Holland 1910-79 Elliot Lawrence b.1925 Lew Soloff b.1944 Edmund Cohanier b.1905 Clean Feed, for whom †Artie Bernstein 1909-64 †Joe Dodge 1922-2004 Anthony Davis b.1951 February 24 †Louis Metcalf 1905-81 he later recorded. An †Harold “Duke” DeJean February 15 Leroy Jones b.1958 †Jimmy Bertrand 1900-60 †Lee Castle 1915-90 1909-2002 February 10 †Harold Arlen 1905-86 Iain Ballamy b.1964 †Johnny Miller 1915-88 Svend Asmussen b.1916 intriguing and †Jutta Hipp 1925-2003 †Walter “Foots” Thomas †Walter Fuller 1910-2003 †Eddie Chamblee 1920-99 †Bill Douglass 1923-94 controversial character, †Wally Cirillo 1927-77 1907-81 Nathan Davis b.1937 February 21 †Ralph Pena 1927-69 †Donald Garrett 1932-89 the saxophonist has †Tony Fruscella 1927-69 †Chick Webb 1909-39 Henry Threadgill b.1944 †Al Sears 1910-90 Andrzej Kurylewicz †Willie Bobo 1934-83 †Wade Legge 1934-63 †Larry Adler 1914-2001 Kirk Lightsey b.1937 †Tommy Stevenson b.1932 Charles Gayle b.1939 played with Cecil †John Stubblefield †Sir Roland Hanna †Edward Vesala 1945-99 1914-44 Michel Legrand b.1932 Pierre Dørge b.1946 Taylor, and William 1945-2005 1932-2002 †Tadd Dameron 1917-65 †David “Fathead” Parker and Rashied Ali †Walter Perkins February 16 Eddie Higgins b.1932 Newman 1933-2009 Leap Year Babies with whom he February 4 1932-2004 †Machito 1912-84 †Nina Simone 1933-2003 Steve Berrios b.1945 †Jimmy Dorsey 1904-56 †Roxelle Claxton 1913-95 Rahn Burton b.1934 †Bill Doggett 1916-96 Graham Collier b.1937 Vladimir Chekasin b.1947 †Paul Rutherford recorded. †Gene Schroeder 1915-75 Rufus Reid b.1944 †Charlie Fowlkes 1916-80 Herb Robertson b.1951 Bob Magnusson b.1947 1940-2007 -CS Bill Mays b.1944 “Butch” Morris b.1947 Howard Riley b.1943 Warren Vaché b.1951 Maggie Nicols b.1948 Richie Cole b.1948 ON THIS DAY by Andrey Henkin

Complete Surf Club Sessions ‘Four’ & More Jazz a Confronto Irina Blowing the Blues Away Art Pepper (Xanadu-Jazz Factory) Miles Davis (Columbia) Schiano/Gaslini (Horo) Barry Altschul (Soul Note) Charles Earland (HighNote) February 12th, 1952 February 12th, 1964 February 12th, 1974 February 12th, 1983 February 12th, 1997 The saxophonist Art Pepper began The second Miles Davis Quintet was Part of the 35-LP Jazz a Confronto Though drummer Barry Altschul has Known as The Mighty Burner, his career as a leader in 1952, after a prolifically recorded, both in the series released by the Italian label been an important figure in avant organist Charles Earland was one of long stint with Stan Kenton, with a studio and live. By this Lincoln Horo, Volume 8 brought together two garde circles since mid ‘60s work with the many talented and energetic series of California recordings. The Center concert, the lineup had important figures in the Italian avant Paul Bley and membership in the players to come out of the ‘60s soul- music for this two-disc set was taken stabilized with George Coleman, garde - recently departed alto collective Circle, he has not recorded jazz movement. After getting his start from the early and late sets of a Herbie Hancock, Ron Carter and saxophonist Mario Schiano and too much as a leader. For this date, with Lou Donaldson, Earland Pepper gig at Hollywood’s Surf Club Tony Williams completing the group pianist Giorgio Gaslini - to co-lead a Altschul brings in a geographically recorded regularly as a leader. This and features the also recently-on-his (but turned out to be Coleman’s last septet of similarly progressive Italian diverse group, he and bassist Mark album was one of his last before his own pianist Hampton Hawes along gig with the group, replaced first by musicians. Gaslini contributes two Helias from the United States and death at 58 of heart failure. Joining with a rhythm section of Joe Sam Rivers and then permanently by originals to the session (“Canto frontline players John Surman and him for this eclectic program of Mondragon and Larry Bunker (also Wayne Shorter). This album is the Ritrovato” and “Unita”) and Schiano Enrico Rava from England and Italy material from Horace Silver, Herbie on vibes). The music is a mix of companion piece to My Funny one (“Life Saver”), with tenor respectively. Altschul wrote four of Hancock, Joe Sample and the soul standard material and Pepper Valentine, containing all the faster saxophonists Toni Formichella and the six pieces here, the other two world are young guns James Rotondi, originals, a valuable early document numbers while the other is strictly Maurizio Giammarco filling out the “Jitterbug Waltz” and trombonist Ray Eric Alexander, Bob DeVos and Greg of a troubled legend. ballads. adventurous program. Anderson’s “Tap-a-jack”. Rockingham.

ALLABOUTJAZZ-NEW YORK | February 2009 43